What's Your Favorite Movie Line? Zach's Top Ten

            A few days ago, Terry came across a great clip from the Academy where individuals from the film industry named and discussed their favorite movie lines (you can watch it here). That got us to thinking: What are our personal favorite lines from movies?  Everyone has their own criteria for ranking lines, but for us it really only boils down to one thing: Whether the line stuck with us or not.  Here is a ranking of my favorite lines from movies, along with brief explanations of who said them and why I love them so much.

Honorable Mention

Dr. Strangelove (1964)

The line: “Mr. President, we must not allow a mineshaft gap!”

Said by: General “Buck” Turgidson (George C. Scott) 

Annie Hall (1977) 

The line: “I guess that’s the way I feel about relationships. You know, they’re totally irrational, crazy and absurd.  But I guess we keep going through it because most of us need the eggs.” 

Said by: Alvy Singer (Woody Allen)  

A Fish Called Wanda (1988)

The line: “Don’t call me stupid!” 

Said by: Otto (Kevin Kline)

Speed (1994)

The line: “Pop quiz, hot shot.” 

Said by: Howard Payne (Dennis Hopper) 

Kill Bill Vol. 2 (2004)

The line: “Bitch, you don’t have a future.”

Said by: The Bride (Uma Thurman)

The Top Ten

10. Terms of Endearment (1983)

The line: “You got me into this, so you’re gonna have to trust me about this one thing: You need a lot of drinks.” “To break the ice?” “To kill the bug you have up your ass.” 

Said by: Garrett Breedlove (played by Jack Nicholson)

This list kicks off with a line that is not the world’s most profound or memorable or clever or even that funny – at least, when you read it on paper.  But watching Jack Nicholson deliver this line is nothing short of tremendous.  I tend to think it’s the ultimate Jack Nicholson quote, demonstrating the essence of his onscreen persona.  It’s rude, crass, shockingly vulgar, and wickedly funny.  It’s a perfect setting for the line, too: At a highfalutin Houston bistro Nicholson has taken his next door neighbor Shirley MacLaine to, on a date which has been years in the making.  The line belongs to Jack of course, but MacLaine is great here too: Look at the ostentatious outfit she is wearing, the blue eye shadow smeared on her face, and the pretentious batting of her eyelids when she informs Jack that she does not care for escorts who get drunk (in retrospect, it’s a softball set-up that every movie audience knows Jack is about to smack out of the park).  The delivery here is also important; replace Jack with an Al Pacino or Nicolas Cage or Adam Sandler and the effect of the line is entirely different.  Jack Nicholson is an actor who has always understood the power of restraint (albeit, perhaps more so earlier in his career).  The key to this scene is that in actuality, Jack really likes Shirley MacLaine and wants her to free herself of her pompous pretension.  The line reads as a startling insult, but its intelligent delivery by Nicholson renders it as fundamentally good-natured as it is unexpected.

9. Sideways (2004)

The line: “If anyone orders Merlot, I’m leaving. I am not drinking any fucking Merlot!”

Said by: Miles Raymond (played by Paul Giamatti)

For this list, I’ve tried to select quotes that go against conventional wisdom and mass consensus (“I make him an offer he can’t refuse” is nowhere to be found here), but sometimes a line is so beautiful and so catchy and so reflective of the totality of a character, I must force myself to look past its understandable popularity.  In Sideways, Miles loves wine but has a particular disdain for Merlot.  He doesn’t explain why he feels this way until a crucial passage at the middle of the film (which occurs shortly after this scene), so for the first hour of Sideways, his hatred of all things Merlot comes off as a curious tic-like amusement that reflects his utter dysfunction and anxiety in all things social.  It’s even funnier when you watch the movie; for all his boneheaded ignorance about wine, Jack at least knows one thing for certain – Miles hates Merlot, and knows his explosive rage toward anyone inferior enough to suggest drinking it.  He also knows, like the audience, that Miles is quirky and absurd, like the best kind of humorists.  Robin Williams once said that comedy is a kind of explosion that comes out of a deeper and darker side of anger.  Miles is a dark and depressed individual who is newly-divorced, works a thankless job, cannot get published, and indulges in alcohol, the strongest depressant of all.  Drinking Merlot should be on a shortlist of things that wouldn’t bother the oenophile Miles, but somehow, ironically, this absurd small detail is precisely the thing to set him off and lead him “to the dark side.”  Had Miles been a viewer watching Sideways, it would be the most enjoyable experience he’d have had in a long time.

8. This is Spinal Tap (1984)

The line: “You can’t really dust for vomit.”

Said by: Nigel Tufnel (played by Michael McKean)

Yeah, I have a lot of lines from comedies on this list, but somehow, movies like Schindler’s List and 12 Years a Slave aren’t particularly rife with wicked one-liners.  So be it.  Spinal Tap, of course, is and there are so many lines to choose from that boiling down the dialogue to one single moment is a virtually impossible task.  Of course, “This one goes to eleven” is the one everyone picks, so why not opt for what is at the very least a top-five Spinal Tap line, and one that typically elicits the most amount of voracious laughter from audiences – that is, if audiences even catch it.  It’s one of those buried lines that has “improvisation” written all over it, and many times goes unheard because audiences are too busy laughing at the dialogue that precedes it: A recalling of the tragic death of Tap’s second drummer, Eric “Stumpy Joe” Childs, at the hands of choking on vomit not believed to be his own.  Indeed, Stumpy Joe’s death will always be an unsolved mystery because, alas, you can’t really dust for vomit.  Just as Derek and Nigel explain later in the film, there is such a fine line between stupid and clever, and Spinal Tap’s script dialogue finds an uncanny balance between insights containing outright stupidity and bizarre cleverness, albeit with frequently misplaced and confused logic.  The real symphonic harmony of Tap comes not when the actors are performing on stage, but when McKean, Guest and Shearer are riffing on each other through unbroken stretches of seemingly unrehearsed and blithely honest conversation. 

7. Naked Gun 33 1/3: The Final Insult (1994)

The line: “It looks like Phil Donahue is throwing up in a tuba.”

Said by: James Earl Jones (played by James Earl Jones).

My unfailing love of Naked Gun 33 1/3 oscillates somewhere between indefensible and contrarian, but moments like these make it unapologetic.  Like many of the lines on this list, it operates successfully on two levels: first, without any context or background (because the idea of Phil Donahue throwing up into a tuba is funny in its own right), and second, within the context of Naked Gun 33 1/3’s story events.  The set-up: Lieutenant Frank Drebin (Leslie Nielson) learns of a diabolical terrorist plot to blow up the Oscars.  In order to find the trigger to the bomb (which is located inside one of the award envelopes), Drebin disguises himself as Phil Donahue, and abundant hilarity ensues.  But perhaps the funniest moment occurs after the girlfriend of the head mobster (played by Anna Nicole Smith) tries to thwart Drebin by seducing him backstage, until it is revealed that she is – SHOCK! – a man (of course, this joke was probably funnier when audiences could recall the cultural zeitgeist of The Crying Game, but no matter).  Drebin’s response of disgust – itself unintentionally funny in its outrageous lack of political correctness by 2015’s standards – results in an ill-timed stomach discharge at the precise moment Mr. Jones and Ms. Dukakis are about to present the award for Best Picture (and for those of you counting on home, that’s the second line of dialogue on this list pertaining to vomit.  This list is nothing if not scatological.)  And keeping in line with the Zuckers’ brand of rapid-fire comedy, immediately following Jones’ subdued exclamation comes another comic gem by the film’s sendup of Gil Cates: “Someone take a note.  I don’t think we should invite Phil Donahue back next year.” 

6. Tootsie (1982)

The line: “That is one nutty hospital.”

Said by: Jeff, the roommate (played by Bill Murray).

Bill Murray has had so many great deadpan lines over the course of his career, and this one never fails to crack me up.  It actually comes at the heels of an even funnier moment in Tootsie (who am I kidding, it might be the funniest moment in cinematic history), when Dustin Hoffman reveals to a shocked medical staff at Southwest General that he is not the outspoken hospital administrator Dr. Emily Kimberly, but “Edward Kimberly, the reckless brother of my sister Emily” (and he is “not deranged!”)  The reaction of the medical staff, the actors who play them, the TV crew at the soundboard, and audiences across the country is the same: Genuine shock, horror, and disbelief.  Actually, that’s only partially true.  The reaction is all the same except for in one place: Michael Dorsey’s apartment, where his roommate Jeff (a brilliantly understated Murray) is halfheartedly reading a Dashell Hammett novel and exclaims, in the wry way only Bill Murray could master, that Southwest General “is one nutty hospital.”  Perfect.  Acting is such a crucial part of what makes these lines memorable, and Murray’s subtle body movements (wagging his finger, shaking his head, the hint of a smirk) make this line a perfect coda in a movie that is always self-consciously aware how ridiculous its story really is. 

5. Apollo 13 (1995)

The line: “We’ve never lost an American in space, we’re sure as hell not going to lose one on my watch.  Failure is not an option.”

Said by: Gene Krantz (played by Ed Harris)

In actuality, “Houston, we have a problem” is a rather empty line, void of any real meaning, substance, or eloquence.  It’s essentially the glorified way Tom Hanks exclaims “Oh shit!” after the first main bus undervolt goes haywire.  So if we’re really scavenging Apollo 13 for its most memorable and erudite sentences, we need look no further than Ed Harris’ character, NASA flight director Gene Krantz.  Krantz has several zingers that do a great job of putting the potential of mass disaster in a broader perspective, while espousing the need for an optimistic outlook when all hope looks lost (“With all due respect, sir, I believe this will be our finest hour.” “I don’t care about what anything was designed to do, I care about what it can do.” “Let’s work the problem, people. Let’s not make things worse by guessing.”)  But it is this line that most effectively sums up Krantz’s philosophy and outright purpose at mission control (while serving as the convenient coopting of his image for larger mass consumption).  Specifically, I like two things about this line.  First, Krantz is not-so-subtly watching out for his back by making sure he avoids any blame at the future day of reckoning.  And secondly, if you really think about the line, it’s seems somewhat redundant.  I mean, do the eggheads at mission control, in the midst of sleepless work schedules and sweat-filled moments of haphazard and improvisational patchwork, really need to be reminded that failure is not an option?  They may not need the reminder, but we as an audience do.  The beauty of Apollo 13 is watching how countless individuals, from the spacecraft’s designers to the NASA pilots to medical staff to the engineers to CAPCOM  (and even to “the guys sweeping sweeping the floor,” as Lovell says early in the film) are firmly committed to getting Lovell, Haise, and Swigert back safely to home.  It’s simple and extremely honorable.  Failure is not an option for anyone.

4. Casablanca (1942)

The line: “Round up the usual suspects.” 

Said by: Captain Louis Renault (played by Claude Rains)

There are more well-known lines (“Here’s looking at you kid;” “Play it, Sam.”)  There are more evocative and richly worded lines (“Of all the gin joints in all the towns in all the world . . .”  “The problems of three people don’t amount to a hill of beans in this crazy world.”)  There are more ironic lines (“I think this is the beginning of a beautiful friendship).  And certainly funnier lines (“I’m shocked – SHOCKED – to find that gambling is going on here!”)  But the usual suspects line has always been my favorite; not so much because of what is spoken in the line, but what is unspoken.  After Major Strasser has been shot by Rick, Captain Renault is faced with a major decision: Whether to arrest Rick and conform to Vichy’s Nazi apologists, or tacitly stand up to the Nazis by turning the other cheek.  By opting to round up the usual suspects – code word for “Nothing happened here!” – Renault enables Casablanca’s amoral code of justice (or lack thereof) to serve as a victory for Rick, Ilsa, and the rest of the Allied Powers.  Renault’s line could have been something bland and simplistic like “Major Strasser deserved to get shot” or “Let’s head back home.”  But this eloquent dialogue serves as a symbolic refrain throughout Casablanca – that corruption almost certainly corrupts, but also (as Renault significantly informs Strasser earlier in the film) “blows with the wind” and of course by the end of the film, we know from what side of the ideological vortex the prevailing wind is blowing. It’s saying exactly what we need to know, but without saying it. 

3. Jackie Brown (1997)

 

The line: “You can’t trust Melanie. But you can trust Melanie to be Melanie.”

Said by: Ordell Robbie (played by Samuel L. Jackson)

A line that probably no one remembers, is uttered in such passing reference that you might miss it, and really doesn’t have much to do with the main events of the film.  It’s so overlooked, in fact, that I can’t even find a sufficient YouTube clip of the scene it is in.  But no matter – someone needs to talk about how great this line is.  Like I said, the actual circumstances behind this line aren’t particularly important; Ordell (Samuel L. Jackson) has just discovered that his girlfriend l'il beach girl Melanie (Bridget Fonda) tried to enlist his former cellmate Louis (Robert De Niro) to scheme Ordell out of his money.  After busting Louis’s balls for having sex with the woman he assumed to be Ordell’s girlfriend (“I hope you felt appropriately guilty afterwards!”), Ordell’s response to Melanie’s wily treachery is not surprise or even anger, but resignation that, alas, some people behave in exactly the ways we expect them to behave.  You can’t trust them, dammit, but you can trust them to be them.  This line actually reveals less about Melanie than it does about Louis – that he’s more loyal to Ordell than Melanie suspects – and Ordell – that he knows this about Louis and he knows Melanie’s true agenda behind seducing Louis.  Hell, he even sort of respects her for it.  Why not, it’s not as though he’s exactly morally pure either.  The line may be about Ordell’s relationship with Melanie within the confines of the quirky Tarantino cinematic universe, but quietly, it’s about all of human nature.

2. Ocean’s Eleven (2001)

The line: “Does he make you laugh?” “He doesn’t make me cry.”

Said by: Danny Ocean (played by George Clooney) and Tess Ocean (played by Julia Roberts)

#2 may sound high, but let me explain.  Here’s an example of a line that cuts across like a dagger to the heart.  In this particular scene, Tess (Julia Roberts) is explaining to her former beau Danny Ocean (George Clooney) why she left him for the emotionally cold casino baron Terry Benedict (Andy Garcia).  But in reality, this exchange is as much about Danny and Tess as it is Rick and Ilsa or Jack Dawson and Rose DeWitt Bukater or Rhett and Scarlett.  In only ten brief words, the entire history of motion picture romances – and in particular, love triangles and forbidden passions – is thoroughly expounded.  You don’t need any flashbacks, any reminiscing, any sex scenes, or any cheesy romantic montages to explain the power of Danny and Tess’s attraction.  You also don’t need anything more to demonstrate the helpless inadequacy of Terry Benedict as a replacement for Danny.  And it is at this point of the movie where you know, without any doubt, that these two characters must end up with each other by the end of the movie, because as everyone who watches movies knows, the only sin greater than being with someone who can’t make you laugh is being with someone so distant that they can’t even make you cry.  Just ask this guy.  Of course, it is extremely helpful having actors as elegant, beautiful, and iconic as George Clooney and Julia Roberts recite this dialogue.  But like many lines on this list, all it takes is simply a few brief, fleeting words to explain everything.

1. My Dinner With Andre (1981) / Autumn Sonata (1978)

The line: “I could always live in my art, but never in my life.” 

Said by: Wally (played by Wallace Shawn).

My all-time favorite line from a movie has two unique qualities going for it.  For starters, it comes from not one, but two different movies.  And secondly, I must confess that I have never actually seen Autumn Sonata, the movie by the Bergmans (Ingmar and Ingrid) from which it initially arises.  My knowledge of the line purely comes from my many viewings of My Dinner With Andre, a movie obsessed with words and phrases and the startling ideas that are sometimes contained inside and conjured by them.  The line comes early in the film, when Wally (Shawn) is explaining to the audience his uncertainty toward meeting his old friend Andre (Gregory) for dinner.  You see, Andre was once a promising up-and-coming theater director and close friend of Wally’s, but in recent years, had begun behaving in erratic ways, such as traveling to remote places and talking to trees.  “Obviously, something terrible had happened Andre,” Wally explains. But the straw that breaks the camel’s back comes one night when a mutual friend of theirs witnesses Andre on a street corner in a strange part of town “seized by a fit of ungovernable crying” while repeating the aforementioned line from Autumn Sonata.

OK, OK, sounds a bit hysterical, I realize.  But the line reinforces the central question of My Dinner With Andre: How are artists supposed to function in a “real” world where they are left without the tools to create their art?  What happens when the painter loses his brush, or when the sculptor loses uses of his hands?  Perhaps it isn’t even this extreme; maybe the question is more how anyone with a passion is able to successfully find balance.  For most of us, the two weightiest compartments of life which struggle to coexist are “work” and “family,” which Wally and Andre spend a good amount of time discussing.  But artists have an additional impulse to fulfill: Creativity, something which often demands more time, attention, and money spent away from those other aspects of life, leading to dysfunction, abuse, and bitterness.

This line strikes me as particularly resonant for people who love movies because when life presents you with difficult or demanding circumstances, it is so tempting to simply tune everything else out by turning on a movie.  Movies illustrate complex problems too, but they also show crafty and commendable way those problems are battled and conquered.  Life is not so convenient.  For artists – or anyone with a passion – life’s problems are dealt with indirectly and tragically, through channeling fiery emotions on to a blank canvass rather than the individuals or circumstances that are actually the root cause of the dysfunction.  Vincent Van Gogh cut his ear off.  William S. Burroughs injected heroin.  Hemingway, Fitzgerald, and countless others drank.  It’s so much easier to live in your art rather than in your life.  But My Dinner With Andre (and maybe Autumn Sonata, I’m not entirely sure) warn us of the dangers of indulging too much in that temptation.

Thoughts?  Disagreements?  Any lines left unfairly overlooked?  Write in the comments section below!

Power Rankings: Top 10 Biggest Thrills

---Recently, Zach told me that he had revamped his all time top 10 list, which got me thinking about doing the same. Mine is always fluctuating, so I came up with the idea of doing a series of power rankings of AFI categories (as well as some of my own) leading up to the unveiling of my all time list. These lists will include  Cheers (inspiring), Peers (on-screen couples), Fears (scariest), Tears (emotional), Jeers (worst), Thrills, Laughs, and finally my top 10 films of all time. Note: My lists are not going to be even a fraction as objective as AFI’s lists. They are solely my personal preferences and experiences. Enjoy!---

This is a list of the movies that provided the biggest thrills to me, particularly ones whose thrills can be carried over to subsequent viewings. For the sake of not being repetitive, I am going to exclude horror films from this list. AFI’s list was topped by Psycho (1960), Jaws (1975), and The Exorcist (1973), along with non-horror thrillers like North by Northwest (1959), The French Connection (1971), and The Silence of the Lambs (1991). Will any of those make an appearance on this list? Find out below!

Blind spots (notable unseen films): Deliverance (1972), Harry Potter saga (2001-2011), King Kong (1933), Marathon Man (1976), The Night of the Hunter (1955)

Others receiving votes: The Day of the Jackal (1973), Drive (2011), Fight Club (1999), The Killing (1956), The Silence of the Lambs (1991)

10. White Heat (Raoul Walsh, 1949)

Of all of the early Cagney gangster movies, this is the only one that truly transcends the genre. Back when it came out, he considered it “just another gangster flicker”, but it is so much more. It is a thrill ride from beginning to end. It delves into the mind of the volatile and magnetic main character, and scene after scene it is simply explosive and brilliant entertainment.

Memorable sequence: “Made it, Ma! Top of the world!”

9. Pulp Fiction (Quentin Tarantino, 1994)

This is not a thriller in the classic sense of the word, but to watch the movie is as exhilarating and thrilling as any. Tarantino’s screenplay of interconnecting, non-linear stories is a marvel. Each scene is crafted with enough precision that every shot seems like something absolutely vital. Perhaps the greatest edited movie of all time, Pulp Fiction is a blur of a 150 minute movie, and one that will constantly keep the audience on the edge of their seat and deliver the goods, even when the view count gets up to 10 or 20 or 30…

Memorable sequence: Lance’s house

8. Star Wars Episode V: The Empire Strikes Back (Irvin Kershner, 1980)

I could have included the entire first trilogy, but in my eyes, this is by far the best movie of the entire franchise. This movie has one of the all time great twist endings, and every line, every shot, every character just seems classic. It is one of those movies that if you start watching any segment of it, you will be there for the duration. There is nothing like the Star Wars saga anywhere, and without this vital chapter in the story, it would have never gained the status that it has.

Memorable sequence: AT-AT Walkers attack the rebel base on Hoth

7. Battle Royale (Kinji Fukasaku, 2000)

Before there were Hunger Games, there was Battle Royale. This is a crazy, absurd, luridly entertaining, and painfully funny thriller. Putting junior high classmates on an island, forcing them to kill each other until there is one remaining, is as dark of a story I have ever seen onscreen. Following the news-like opening sequence, we are left with our jaws on the floor for the rest of this furiously exciting movie. The intensity is only heightened as it goes along, as the time, space, and number of students shrinks. The movie will get in your head and not leave for quite some time.

Memorable sequence: Lighthouse

6. Terminator 2: Judgment Day (James Cameron, 1991)

In another case of the second film trumping the original masterpiece in almost every aspect, Terminator 2 is perhaps the greatest pure action movie ever made. It uses the first movie as a reference and plays off of it to some extent, but unlike so many other film sequels, this one can stand on its own. Each scene has a setting that makes it absolutely memorable, and visually the movie is as impressive as it gets. It is a ride that you will never forget, and one that you will want to continue to take from time to time.

Memorable sequence: Galleria shootout

5. The Departed (Martin Scorsese, 2006)

It is difficult to maintain a tense atmosphere for the duration of a 150 minute movie. This, however, is the most breathtaking one of its kind, one where there is never a false note or scene that is not absolutely thrilling in every way. In what Marty called his “first movie with a plot”, he crafted a movie that will be looked back on in 50 years as the one film to define the crime genre for this generation of filmmaking. It is a furious, heart-pounding crime epic with unforgettable characters and astonishing visual aspects. It is one of a kind.

Memorable sequence: Chase through Chinatown

4. Runaway Train (Andrey Konchalovskiy, 1985)

As far as relentless pure actions movies go, everyone has a favorite. Terry’s is Die Hard. Zach’s is Speed. Mine is unquestionably Runaway Train. It is a movie that from the opening shot until the credits begin rolling the audience is glued to the screen for some insane stunts and action sequences held together by Jon Voight and Eric Roberts acting their asses off. The “runaway train” plot vehicle is not exactly groundbreaking, but this is not Unstoppable or something of the like. This is a fantastic, thoughtful, and exhilarating ride.

Memorable sequence: Suicide mission outside F-Unit

3. Memento (Christopher Nolan, 2000)

I didn’t necessarily know what I was getting into at the start of this movie. When it started, I was intrigued. As it went along, I was spellbound. When it ended, I was left breathless, as I am with each addition viewing. This movie is as brilliantly written and edited as any mystery thriller. Once you get a hold of what the movie is trying to do, trying to piece it together is nearly impossible since every moment and every word is so vital to the experience. There is no movie that is like Memento, and there probably never will be. If one attempts to copy its style, it will fail. This is a master class in inventive filmmaking.

Memorable sequence: Natalie (ab)uses Leonard

2. Kill Bill (Quentin Tarantino, 2003-2004)

Words cannot express what I felt watching these movies for the first time. Volume 1 is an edge-of-your-seat action picture that does not give you a chance to breathe, but then the second one is a much quieter but equally intense experience. There was a time when I felt Volume 2 was the best movie I had ever seen. Making a movie where the audience knows about how long about the it is going to be because of obvious checkpoints (like a Death List Five) makes for an even greater and more exciting experience because it develops a paranoid-type energy, not knowing what is going to happen next, but knowing that something significant certainly will. This is just filmmaking at its finest, and Tarantino’s best movie by far. Hopefully Volume 3 will not spoil it. Just kidding... no chance QT would do that to The Bride and her story.

Memorable sequence: “Elle and I”

1. The Usual Suspects (Bryan Singer, 1995)

In terms of mystery thrillers, it does not get better than The Usual Suspects. You would think that the first time watching a movie like this (with such a complex puzzle of a screenplay and a twist ending) that it would not hold up on additional viewings. That would be incorrect. This movie only gets better. The first viewing makes for a furiously thrilling experience. After that, you notice more little things that add to the story, and everything can somehow maintain that level of uncertainty even when you know how it is all going to wind up. For a mystery to be able to accomplish that feat, it is something truly astounding. This used to be my #1 of all time, and every time I catch it on DVD or cable, I wonder why that ever changed.

Memorable sequence: Police trafficking “taxi service"

It may be a bit blasphemous to not mention “The Master of Suspense” Alfred Hitchcock on a list of thrills, but other than Psycho (horror) and North by Northwest (overrated), I consider the majority of his movies as more mysteries of intrigue rather than thrills. What are your thoughts, comments, and most thrilling films? Post below.

Previous Articles:

Cheers (Most Inspiring Movies)

Peers (Best On-screen Couples)

Fears (Scariest Movies)

Tears (Most Emotional Movie Experiences)

Jeers (Worst Movies)

Coming up next: Top 10 Laughs, my final ranking before unveiling my revamped Top 10 Films of All Time!

Power Rankings: Top 10 Cheers (Inspiring Movies)

---Recently, Zach told me that he had revamped his all time top 10 list, which got me thinking about doing the same. Mine is always fluctuating, so I came up with the idea of doing a series of power rankings of AFI categories (as well as some of my own) leading up to the unveiling of my all time list. These lists will include Cheers (inspiring), Peers (on-screen couples), Fears (scariest), Tears (emotional), Jeers (worst), Thrills, Laughs, and finally my top 10 films of all time. Note: My lists are not going to be even a fraction as objective as AFI’s lists. They are solely my personal preferences and experiences. Enjoy!---

The first of my top 10 lists is the AFI-style list of cheers, the most inspiring movie experiences. I have not planned all of these lists out yet, so hopefully they do not all equate to knee-jerk reactions and skew toward the past few years. I will give a bit more weight to my favorite movies as opposed to ones that are more manipulatively inspirational (for example: Shane, while not really as inspiring of an experience, will receive slightly more merit than something like The Pursuit of Happyness). AFI’s list was topped by It’s a Wonderful Life, To Kill a Mockingbird, and Schindler’s List. Will those crack my top 10? Check out below. Note: There may be mild spoilers within the clips if you aren’t familiar with the stories.

Blind spots (notable unseen films): Being There (1979), The Diary of Anne Frank (1959), Miracle on 34^th Street (1947), The Miracle Worker (1962), Norma Rae (1979)

Others receiving votes: Apollo 13 (1995), The Fighter (2010), Saving Private Ryan (1998), Shane (1953), Titanic (1997)

10. The Ten Commandments (Cecil B. De Mille, 1956)

This may have lost a bit of its vigor over the years, but you will be hard-pressed to find something as inspiring as the story of Moses freeing his people. I still catch myself watching chunks of this movie every Easter when ABC does its annual broadcast of it.

9. Dead Poets Society (Peter Weir, 1989)

This is the most obvious choice of inspirational sentiment on this list. Just watching this clip brought back all of those feelings I had when I first watched the movie. Of all the inspiring teacher movies, this is my overwhelming favorite. Carpe diem: seize the day. 

8. A Beautiful Mind (Ron Howard, 2001)

This movie will always hold a special place in my heart, standing as the first movie to really open my eyes to seeing film as something more than just entertainment. This film is an inspiring portrait of overcoming great obstacles and achieving greatness despite them.

7. 12 Angry Men (Sidney Lumet, 1957)

There has never been a better portrait of standing up for what is right than in this movie. Conformity is easy, but holding your ground against it is much more difficult.

6. Schindler’s List (Steven Spielberg, 1993)

The power of the human spirit is on display in Steven Spielberg’s masterpiece. Even when he has saved the lives of over 1000 people, he still proclaims “I could have done more.” Chills. If this were #1 on anyone’s list, I would not argue for a second. 

5. Mr. Smith Goes to Washington (Frank Capra, 1939)

This is another film about standing up against something much greater and more powerful than one person. I find it hard to believe that someone would not get caught up in it. This is 1930s cinema at its finest and most timeless.

4. The Truman Show (Peter Weir, 1998)

This is not exactly a typical choice, but there are few things more stirring than the final scenes of this movie. Even when it is much simpler to stay put, change is a good thing. Breaking norms and finding meaning in life is one of the most difficult things anyone can do.

3. Rocky (John G. Avildsen, 1976)

There has never been an underdog story quite like the Rocky saga. Just hearing the iconic score makes me want to get up and work out. If you are not moved by Rocky, then you do not deserve to be reading this.

2. The Shawshank Redemption (Frank Darabont, 1994)

It would be difficult to argue with anyone who calls this the most inspirational movie. It is one of the most heartwarming and rousing film conclusions that I have ever seen. “Get busy living or get busy dying.” That’s about as good as it gets.

1. Hoosiers (David Anspaugh, 1986)

Now this is the greatest underdog sports movie of all time. It is not obvious or overblown. It is grounded and just poetically-written. Watching tiny Hickory High battle its way to the top will inspire any audience. “My team is on the floor.”…“We’re gonna run the picket fence at ‘em!”…“I’ll make it.” It is so loaded with classic quotes and scenes that it almost seems corny now. This movie started it all. It is the gold standard for sports films and inspirational movies.

I know I had to exclude a bunch of favorites. I was tempted to just load this list with sports movies, but I tried to mix it up. Thoughts? Comments? Your most inspirational movies? Let me know below.

Coming up soon: Top 10 Peers, my favorite on-screen pairs!