An original idea is hard to find. This is true for books, music and even movies. In the movie world, where a lot of success comes from franchises and sequels, it seems like the original films are pushed to their limits.
When they enter a theatre, audiences have expectations of what they are about to watch. They want comedies to make them laugh and superhero movies to get the bad guys stomped on: but not all movies play by the rules. Many genre-breaking movies throw the rules out the window and do something special.
Featuring Joaquin Phoenix in an Oscar-winning performance, Todd PhillipsThe brilliantly dark image uses Gotham’s ominous presence to provide a dramatic commentary on classism and social inequality in America today. Gotham has always been influential in Batman’s narrative setting, and the movie has a lot to say about the mental state of its title character and even America itself.
Similarly, the absence of more elaborate action sequences (uncommon in the world of Batman) proves that films such as Jokerand The Batman are more than just a throwback. “Superhero” films are now so entrenched in our culture that they are no longer tied to the conventions of the genre.
“About Schmidt” (2002)
In what became one of the last performances of his career, veteran and undoubtedly iconic actor Jack Nicholson starred as Warren Schmidt, a recently retired insurance salesman who embarks on a journey that requires him to scrutinize his relationship with his family and with the man he has become.
Director and co-screenwriter Alexander Payne is an industry expert at adapting novels that blur the line between comedy and drama. A little like Next to (Oscar for Best Adapted Screenplay), About Schmidt plays like a quiet tragedy while often being a lot of fun. It’s consistently sad yet thoroughly thoughtful, offering an introspective look at the apprehension of a failed life.
‘Blue Valentine’ (2010)
Ryan Gosling and michelle williams are the stars of Derek Cianfrancecontemporary tale of a married couple, seen through two different periods. The film juxtaposes the beginning and the present of the relationship, creating a contrast in tone and visual style.
Cianfrance’s unconventional romantic drama can ultimately be seen as a critique of the more stereotypical characteristics we might associate with conventional romance movies. But blue valentineit isits greatest strength lies in its candid portrayal of an ultimately doomed romance. It’s not a look you often get in movies, with other examples like 500 days of summerand Eternal sunshine of the spotless mindrare.
Moon is an adaptation of an original story by Duncan Jonesthe son of david bowiewho also directed this very gripping sci-fi mystery. Sam Rockwell stars as astronaut Sam Bell, who, working alongside his computer, GERTY, sends packages back to Earth containing a resource that has helped alleviate the planet’s power problems. Towards the end of his three-year stay on the Moon, he has an extremely personal encounter that shapes the foundations of his existence.
What is most admirable Moon is hisability to break into the ever more demanding science fiction format on its own merits. The genre is vastly more structured and relies on a big budget and flashy special effects to reinforce the narrative. Moon can be considered as an independent company that relied on a budget of only 5 million dollars. Shot in Super 35, the film used live action shots and model miniatures to create its distinctive visual style.
“The Unbearable Weight of Massive Talent”
On second thought, it’s a miracle this movie wasn’t made sooner. Nicholas CageThe often hyperbolic approach to acting was personified throughout his career and forms the basis of much of the satire in The unbearable weight of massive talent. As a fictionalized version of himself, Cage finds himself caught between superfan and alleged drug lord Javi Gutierrez (Pedro Pascal) and the CIA.
Very self-aware, the film is fast-paced and mirrors the tone of much of Cage’s work. It’s a commendable achievement for an actor to be so vulnerable and self-deprecating in a comedy that’s as much a pastiche as it is an homage to his Hollywood legacy, but again, that’s what we expect from him. ‘actor. In the end, it could have gone even further, pushing the boundaries to breaking point as Cage himself would have done.
‘Rocket Ball’ (1996)
From a stylistic point of view, Wes Anderson the movies have now become so familiar in film culture that they have arguably become a genre unto themselves. The esteemed writer/director has long defied genre expectations in the comedic realm and generally relies on a rather original use of drama to propel the narrative forward. In this regard, choosing just one of his films to illustrate his use of subversion is a complicated task.
However, as an example of an unconventional heist film, the first image of Wes Anderson, bottle rocket, may be the perfect choice. Anderson has teamed up with the actor Owen Wilson (who also stars as Dignan) to write this script about three friends who try to pull off a simple robbery and get away. Despite the film’s box office bombardment, it was an effective launch pad for Anderson and was number seven on Martin ScorseseTen favorite films of the 1990s.
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