Moneyball (2011)

starring Brad PItt, Jonah Hill, and Phillip Seymour Hoffman

directed by Bennett Miller

and screenplay by Steven Zaillian and Aaron Sorkin, based on a novel by Michael Lewis

Despite my general reluctance towards the sports genre in general, I do have a soft spot in my heart for baseball, and the reviews pulled me into this one. Moneyball is a lot of things, but what it most importantly isn’t is a cheesy cliché of the sports genre. That’s not to say that there isn’t a lot that’s inspiring about this movie, but it notably breaks beyond the mold to be a clever drama. The true story of Billy Beane, general manager for the Oakland A’s, could very easily fall into monotony, but the structure of this film is well-composed. Bennett’s use of lighting, sound, and stock footage creates a dynamic picture within which the film can be enjoyed. The cinematography is full of variety, and versatility that gives the film fullness. The plot creates a film that tells a baseball story, and yet does not bear the audience down with baseball. You definitely don’t have to be a baseball fan to enjoy this movie (but you might enjoy it even more if you are). Though on the longer side, this film doesn’t relent, rarely losing momentum to superfluity. It’s a carefully executed, smoothly designed film. Both Pitt and Hill play to their opposites, both more reserved, not overtly comic characters, and do so with honesty and precision. The story is full of laugh-out-loud moments, as well as touching conversations. Through the wonderful execution of this film, Beane’s words ring true: how can you not get romantic about baseball?

Final Score: 3.9 out of 5

Next? Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb

American Beauty (1999)

starring Kevin Spacey, Annette Benning, and Thora Birch

directed by Sam Mendes

written by Alan Ball

For a variety of reasons, American Beauty might just be one of the most beautifully tragic movie ever made. There is something so raw about this 1999 Academy Award winner for Best Picture, that makes it stirring and powerful whether it’s your first time watching, or your fifteenth. The story is that of Lester Burnham (Kevin Spacey), a middle-aged man facing the monotony of his suburban existence, between his drab job, his ‘perfect’ wife (Annette Benning), and his rebelliously reclusive teenage daughter (Thora Birch). One day, Burnham finally snaps, finding the courage to break the cycle of boredom that has plagued him. He quits his job, to spend his time flipping burgers at a fast food restaurant and smoking pot in his garage as he lifts weights. Lester becomes an atypical hero against the exasperating suburban ideals, a protagonist worth rooting for. Spacey’s character is fantastically dynamic, a man whose revitalized sense of self is as heart-breaking as it is inspiring. The supporting cast of Benning and Birch, as well as intricate performances by Chris Cooper, Wes Bentley, and Mena Suvari, create the weary image of Spacey’s surroundings fully and with subtle, yet vivacious, emotional presence. Mendes’ direction is aesthetically masterful, utilizing light and space to say the things that are often left unsaid. His directorial style dissects even the most miniscule moments, and lets them bleed the emotional potency hidden underneath. At its core, the premise of American Beauty is very basic, yet this examination of the human condition is as thought-provoking as any of its grander dramatic counterparts. It’s shocking ending, wit-fueled dialogue, and an efficiently composed plot make the film engaging asa whole, as entertaining as it is intriguing. Not a single moment of superfluousness, every minute of American Beauty is purposeful, and beautifully intense, leaving you simultaneously defeated and hopeful. American Beauty is the supreme modern American tragedy, and a must-see. Truly flawless.

Final Score: 5.0 out of 5.0

Winter’s Bone (2011)

starring Jennifer Lawrence

directed by Debra Granik

written by Debra Grank and Anne Rosellini

The subject of high critical praise after its immense success at the Sundance Film Festival, Winter’s Bone is an interestingly composed work of cinema. Ree (Jennifer Lawrence) is left taking care of her brother, sister, and debilitated mother after the disappearance of her deadbeat father, a meth addict. Ree must find her father, after learning that if he fails to show to a court hearing, that they will lose their home. Winter’s Bone’s greatest strength and weakness is it subtlety. The cast, particularly Lawrence, deliver nuanced performances that show emotional depth and dimension. But the film is more of a character study in this sense, than a well-rounded story. Resultantly the momentum builds slowly, dragging with drabness. There are moments of utter dullness throughout, since the film cannot seem to distinguish between using simplicity as a method of creating depth, and shallow pointless dialogue. It’s subsequently monotonous, even more so because of the grim and destitute nature of the story. I could not determine whether the tone was simply one of dry sadness, or was non-existent completely. It’s certainly an interesting social analysis, exploring through tragedy the lifestyle of impoverished Americans in places like the Orzaks and Appalachia. Winter’s Bone was certainly an impressive display of acting capability for its cast, but otherwise it would be cheap to call this film a thriller; it was a boring movie, with a plot that failed to ever advance in a way that was engaging, entertaining, or thought-provoking.

Final Score: 2.2 out of 5

www.2hiptoquit.tumblr.com

for my personal endeavors… enjoy?

Super 8 (2011)

starring Joel Courtney, Elle Fanning, and Kyle Chandler

directed by J.J. Abrams

written by J.J. Abrams

Say what you want about J.J. Abrams, the man knows how to tell a story. Super 8 is a work of quality cinema for thatvery reason: it tells a story well. As my mother said, the movie is like a mix of Stand by Me and E.T. The story is that of a young group of boys working on a zombie movie in their small town, when their world is rocked by a strange train accident with results in a series of supernatural occurrences. The movie does well balancing humor, drama, and suspense. Some moments the boyhood bickering will have you in stitches, and yet other moments the stunning cinematography will have your heart racing as you sit on the edge of your seat. Super 8 has many levels of emotional depth alongside its massive explosions; the characters develop thoroughly, and we get to experience the characters’ inner-growth, but also the development of the characters’ relationships. Despite their youth, the pubescent protagonists all display incredible skill as actors, showing realistic emotional range, notably Elle Fanning and Joel Courtney. Like the best science-fiction movies, the story does not revolve around the uncanniness of its supernatural elements, but rather on how the extreme circumstances amplify the characters’ emotions, giving us insight into their personalities and perspectives. Super 8 is a great movie conclusively for one real reason: it has range, without spreading itself too thin. It’s action-packed, humorous, suspenseful, and yet still builds relatable characters, with interesting relationships, which gives it such wide overall appeal.

Final Score: 4.2 out of 5

Brick (2005)

starring Joseph Gordon-Levitt, Lukas Haas, Zora Zehetner, and Emilie De Ravin

directed by Rian Johnson

written by Rian Johnson

It’s hard to find a good movie that can modernize the classic noir genre while still keeping it fresh and faithful to the classics, but Brick achieves this amazingly. When wallflower Brendan (Gordon-Levitt) finds his ex-girlfriend dead, he takes it upon himself to do whatever it takes to find out what led to her death, pushing through a world of crime to find the answers. In turn, Brendan faces an ensemble of classic mystery archetypes such as Zehetner’s enigmatic socialite and Haas’ drug kingpin. This is no simple high school sleuth story though; the story is gritty and dark, a thrilling roller-coaster ride rich in drama and tension. It asks you to suspend your disbelief to a degree in believing that all such things could happen to a bunch of high school students, but the film’s goal is certainly not realism, but to deliver a mystical noir reminiscent of the smoky black and white pictures of the 40’s and 50’s. This is without a doubt Joseph Gordon-Levitt’s magnum opus, his performance as the defiant protagonist is raw and captivating. The dialogue is fast-paced, witty and well-designed, with conversation sliding together like jigsaw puzzle pieces. The cast delivers the dialogue with a precision that makes it fascinating. The plot is unpredictable and complex. It’s labyrinthian design pulls the audience alongwithout skipping a beat, relentlessly delivering intrigue. It’s got innovative cinematography, that is used as a story telling element as effectively as the others. Rian Johnson’s Brick is an unbridled tour-de-force, an unstoppable neo-noir mystery entrenched in intricate twists and turns. Brick is a go-to for suspense and thrills; it is the epitome of what hard-boiled crime drama should be.

Final Score: 4.5 out of 5 

There has been some dispute over the way I rate the films using the 1 to 10 system I currently have in place, considering everything tends to never dip far below a 6.5 (which is an F based on my scale).

Regardless, I can see how a 6 out of 10 might appear to actually be a good score when that isn’t the intent, so I play on revising how my ratings will be presented.

Starting with my most recent posts and working backwards, I’m slowly going to edit my film ratings from at 1 to 10 scale, into a 1 to 5 scale. I think this will show what I’m trying to express better.

The conversion will be essentially:

10.0 = 5.0

9.0 = 4.0

8.0 = 3.0

7.0 = 2.0

6.0 = 1.0

and I don’t think I’ve ever given a rating under 6.0, but if it were to come to that obviously it would just be a decimal. 

It could take a while to edit all the posts so they follow this format so bear with me. Hopefully this will make Films in 5 more coherent, and the ratings more understandable!

The Change-Up (2011)

starring Jason Bateman and Ryan Reynolds

directed by David Dobkin

and written by Jon Lucas and Scott Moore

The Change-Up is a classic Hollywood formula. Two lives, switched by some freak event, teaches each how valuable their lives are respectively. Playboy Mitch (Ryan Reynolds) and working stiff Dave (Jason Bateman) are lifelong friends, who after a night at the bar magically wake up in each other’s bodies. The Change-Up earns its R rating with ease; it’s packed with profanity, and nudity. The crude nature of the comedy is sometimes discomforting, rousing laughter only from an anxious awkwardness. Other scenes are hilarious, laugh-out-loud, moments, but The Change-Up is often confused about where a line should be drawn. Some moments feel excessive, and not funny enough to be redeem the crudeness. It’s unfortunate, because Reynolds and Bateman actually both give good performances, but are stuck dealing with a shallow script. Both show growth, but its not at the credit of Lucas and Moore’s childish dialogue.  The Change-Up doesn’t attempt anything beyond gags and shock, which is good for a cheap laugh, and I won’t deny that it had me laughing, but also dooms it to being a forgettable movie. It was too long, and could’ve be trimmed down. There were plenty of unnecessary scenes, such as one on the set of a porno, that were just pointless and unfunny. The whole movie is hit-or-miss, and if it had been more carefully composed, could’ve actually been a good comedy, but it’s so hard to look past its superficiality, that the humor is often counteracted by going too far. There is certainly a place in an R-rated comedy for profanity, nudity, and overall crudeness, but The Change-Up fails to find a proper moderation, and that detracts from its occasionally strong moments of humor.

Final Score: 2.5 out of 5

Crazy, Stupid, Love (2011)

starring Steve Carrell, Ryan Gosling, Julianne Moore, and Emma Stone

directed by Glenn Ficarra and John Requa

and written by Dan Fogelman

The idea of an ensemble cast’s interweaving relationships showing a spectrum of love is not particularly original, and in general a hit or a miss. Crazy, Stupid, Love follows the formula pretty closely. but its lack of originality does not detract from its quality. The story is that of Cal (Steve Carrell), trying to find his way in the world after his wife of 25 years asks for a divorce. With the help of ladies man Jacob (Ryan Gosling, who was so smooth that even I was swooning), Cal attempts to break back into the world of romance. The ensemble’s relationships are intricately connected. All the performances are emotionally invested, filled with growth and character development. Steve Carrell once again displays his ability to provide a stirring dramatic performance, but still clinging to his comic roots. The plot is multi-tiered, depicting love at all ages but distributing screen-time in a balanced manner that made all subplots feel fully matured by the end of the film. There’s a lot going on in Crazy, Stupid, Love, but never too much as to be confusing or overwhelming. The movie is filled with fun surprises, twists and turns that keep the audience hooked. Dialogue sometimes flounders, but is generally sharp. There are some interesting cinematographic approaches, such as a bar scene where the camera tracks through the bar depicting Cal’s multiple conversations with impressively fluid transitions. Crazy, Stupid, Love doesn’t try to go too deep, and in the end is a predictable love story, but it is inspiring without being corny, a major achievement for a romantic comedy. It’s relatable, funny, and touching, accurately detailing the crazy, stupid things, that we all do for love.

Final Score: 3.7 out of 5

Arthur (2011)

starring Russell Brand and Helen Mirren

directed by Jason Winer

screenplay by Peter Baynham, based on a story by Steve Gordon

Russell’s Brand’s first journey into a lead role was critically eviscerated, torn apart for being idiotic and shallowly written, but Brand’s comedic stylings were fantastic, one of the best executed comic performances I’ve ever seen. Despite its highly predictable plot, its drunken playboy protagonist Arthur (Brand) is a charmingly lovable man-child, whose journey to maturity is as hilarious as it is engaging. The script follows a predictable path, a story of redemption that is overused in rom-coms with slight variations since the genre’s rise to prominence, but Arthur executes its script with scalding wit and precision. The one-liners are subtle, yet boisterously hilarious, and in high supply. The delivery of both Brand and his nanny, played by Helen Mirren, is quick, intelligent, and easy, and filled the film with laugh-out-loud moments. It’s style is definitely uncommon; it is a more dry and simplistic dialogue, rich in British tone, and perhaps that’s why it is snubbed upon. But its criticisms are unwarranted, maybe because it defies expectations. Arthur is not a crude gag film like popular Judd Apatow comedy hits. It has immense amounts of tact, and cleverness. Beyond its comedy, its love story is touching. Brand and love interest Greta Gerwig make a great pair, and their love, bonded by their kooky fun-loving life outlooks, is thoroughly endearing. Arthur doesn’t rely on shocking the audience, doesn’t depend on overtly sexual snideness or immature potty humor. It’s a rare venture into comedic class; Arthur transcends is comic counterparts with its indubitably flawless wit, and consistently entertaining dialogue. One of the best comedies I have seen in years.

Final Score: 4.3 out of 5

Horrible Bosses (2011)

starring Jason Sudeikis, Charlie Day, and Jason Bateman

directed by Seth Gordon

written by Michael Markowitz, John Francis Daley, and Jonathan M. Goldstein.

It’s great to see new comedians get a chance in main roles instead of just another Adam Sandler or Kevin James movie. The comic trio of Sudeikis (from Saturday Night Live), Day (It’s Always Sunny in Philadelphia), and Bateman (Arrested Development) prove their ability to crack up an audience from the big screen in this film. The three play best friends, all fed up with their sadistic bosses, who decide that the only way to solve their overwhelming work problems is to murder their psychopathic superiors. The banter between the three is classic Stooges, a well-applied formula. The dialogue is quick, witty, and well-executed, rarely feeling rehearsed or scripted. A lot of the movie’s best laughs can be attributed to this trifecta of maniacs, who are each hilarious in their own way. Kevin Spacey is perfectly evil, one of the best tyrannical bosses since Bill Lumbergh in Office Space, and his delivery is wryly conniving and tactful. Jennifer Anniston’s sexually abusive dentist is perfect amounts of crazy, constantly pushing the envelope and defining her comedic chops. Colin Farrell’s transformation into an ugly coke-head moron is impressively hilarious, as he fumbles through his idiotically offensive management. The script is clever, taking a somewhat shallow, albeit original, premise and developing it into a well-rounded film. There are issues though; the movie feels somewhat rushed, trying to hit all plot points quickly, but sometimes sloppily. The comedy was consistently chuckle-worthy, and even though it’s not uproariously hilarious, this crude film rarely lags in its humorous flow, and conclusively hits its mark.

Final Score: 3.7 out of 5

Childhood epitomized; this list was inevitable. The magic of Disney is that years later, you can still watch these movies and love them. Disney movies are so much more than visual distractions for inattentive kids. Disney movies are insightful analyses of life, beloved for being timeless in their entertainment and moral value. They might be adaptions, but Disney makes all these stories truly inspiring on the screen. Note: I’m not including Pixar movies, that will most likely be a different list entirely. In no particular order, as always:

1. Peter Pan (1953)

One of my absolute favorites, as a kid, I wanted nothing more than to go sword to sword with Captain Hook. Nowadays, Peter Pan means so much more, as a symbol of youth and innocence. The idea of never growing up, enjoying the joy of childhood forever, touches people of any age. Based on J.M. Barrie’s classic, Peter Pan is Disney’s greatest story of adventure, a mixture of mythical dimensions, between pirates and mermaids, fairies and indians. Peter Pan is an epic in every sense of the word, and makes the list for being simultaneously full of wild action, and yet gently nostalgic.

2. Beauty and the Beast (1991)

It may be animated, but Beauty and the Beast will forever be one of the greatest love stories of all time. This film is an art form in every sense of the word. Characters we can empathize with, dialogue that builds dynamically multidimensional, notably interesting cinematography. It seems odd to say, I don’t even know if it can be considered cinematography, but the ballroom scene is magic, because of its “camera angle”. The movie flows, and characters develop wonderfully. The soundtrack is fantastic, filled with songs of pure romance, and exciting fun. It’s a perfectly balanced, and in my opinion, a true romantic comedy.

3. The Little Mermaid (1989)

Ariel is such a lovable protagonist. Her simplistic passion for adventuring the unknown is so enjoyable. The plot evolves Ariel (pun intended?) emotionally, bringing her to maturity, though she never loses her innocent appreciation for the vastness of life. While Ariel is usually grouped in with the Disney princesses, Ariel is one of the few that is the hero of her film, not waiting to be rescued, but taking an initiative to push herself to growth. It’s amazing that a film geared to children can have so much depth, but The Little Mermaid definitely transcends beyond a simple kid’s movie into a movie that can teach us at any age.

4. The Lion King (1994)

Who would’ve thought that you could make a kid’s movie, let alone an extremely successful kid’s movie, out of the tragic Hamlet, but Lion King certainly achieves. Like I said about The Little Mermaid, The Lion King is a story of growth. Simba learns to deal with the death of his father, overcoming his fear to find the courage to save his people (animals?), and rise into the role of a hero. Timon and Pumba are some of the best supporting characters, a classic comedy duo, who are as wise as they hilarious. The Lion King teaches us to ascend into ourroles in life, embracing the hero in us all, and serves as one of the greatest coming of age stories ever.

5. The Hunchback of Notre Dame (1996)

Quasimodo is an anomaly in the Disney world; a hideous man who doesn’t get the girl, and yet he is one of Disney’s greatest, most inspiring, heroes. He is humble in the face of diversity, doing the right thing even though he knows he’ll get nothing in return. The Hunchback of Notre Dame teaches us that anyone can be a hero, that anyone has the potential to do great things. Here’s afairy tale story, with a non-typical ending, but inspiring nonetheless, showing us that even though thinks don’t always work out as we expect, in the end, things end up alright.

Honorable Mentions: Aladdin (1992), Mulan (1998), Princess and the Frog (2009), Snow White and the Seven Dwarves (1937), The Emperor’s New Groove (2000), Hercules (1997)

Bad Teacher (2011)

starring Cameron Diaz, Justin Timberlake, and Jason Segel

directed by Jake Kasdan

and screenplay by Gene Stupnitsky and Lee Eisenberg

I’ll be blunt: Bad Teacher is a big disappointment. I was admittedly pretty excited to see this flick; the teasers were certainly hilarious. Unfortunately, the only truly funny moments are wasted in the trailers, and there are few punch-lines that we haven’t already seen worthy of laughter. Cameron Diaz plays Elizabeth Halsey, a boozing, smoking, hedonistic middle school teacher, only concerned with finding herself a rich husband to support her. Diaz’s character is cruel, but not funny enough to redeem her nastiness, and the result is an uninteresting protagonist that evokes no audience sympathy. Diaz’s delivery is good, but she isn’t working with very much content. Jason Segel is fantastic, but underused, and Justin Timberlake’s performance misses the mark, perhaps because he was miscast as the boringly flat Scott Delacorte, the object of Halsey’s affection. The plot flows uneasily, sometimes steering off course into unnecessary, and subsequently, underdeveloped sub-plots. While you get a couple of chuckles, Bad Teacher isn’t exactly laugh-out loud, with punch-lines falling short, more crude and awkward than funny. Bad Teacher also lacks any character development. Diaz never really learns her lesson, and never really grows. The result is a story that wanes with redundancy, with only occasional moments of comedy, mostly composed of flat filler scenes.

Final Score: 2.1 out of 5

Captain America: The First Avenger (2011)

starring Chris Evans

directed by Joe Johnston

screenplay by Christopher Markus and Stephen McFeely, based on a character by Joe Simon and Jack Kirby

Coming out only 2 months after Thor, Captain America is the second half of Marvel’s one-two summer blockbuster knockout. The story is that of frail Steven Rogers (Chris Evans), a young Brooklyn boy adamant to fight for the US during World War II, despite his frequent rejections. He is finally given the chance to serve when Dr. Abraham Erskine chooses him for his super soldier project, endowing him with the power to become the iconic Captain America, and wage war against the villainous Nazi group H.Y.D.R.A. Captain America is different than its predecessors in that it is not merely a superhero flick, but also somewhat of a period piece, taking place in the early 40’s. The vintage tone instills the film with a compelling uniqueness in turn. Captain America does not follow the normal mold of superhero film plot. Captain America is an interesting hero in comparison to previous silver screen comic adaptions, like a James Bond / Batman hybrid. What also makes Cap such a compelling protagonist is the development of his character. Steven Rogers is a truly noble man, undoubtedly courageous, compassionate, and persevering. He may wear the colors of an American flag, but Chris Evans plays a hero that anyone can get behind, with his morals tried and true. There is a fantastic supporting cast with Sebastian Stan, Tommy Lee Jones, Stanley Tucci, Neal McDonough, and Hayley Atwell. Hugo Weaving notably creates the bone-chilling Nazi scientist The Red Skull with the villainous flair he has become iconic for. The perfect hybrid of war movie and superhero movie, Captain America also includes plenty of high-octane action sequences, ranging from battlefront shootouts to super-powered fist-fights. Like Thor though, the character development and plot construction is very impressive for a superhero movie, and Captain America serves as another success from Marvel Studios winning recipe for cinema.

Final Score: 3.9 out of 5

p.s. After the credits is a special teaser for Avengers that is so exciting, it alone may have been worth the price of admission. Don’t leave early!

One of the greatest tools used in movies is sound. For all there is visually, there must be something auditory that can fulfill the need to create a strong environment for the audience, and one of the best ways to create those atmospheres is with music. Many movie scores are iconic, sometimes more noticeable than the movie itself. In this lists, I pay tribute to my favorites. I’ll also include YouTube links to each score! So without further ado, and in no particular order as always:

1. Star Wars trilogy (1977, 1980, 1983)

Is the original Star Wars trilogy one of the greatest series of all time? Yes. Yes, it is. And while these movies will forever live on as the epitome of all that science fiction epics can be, one of the greatest facets of this film in John William’s marvelous soundtracks. On alien worlds, where the environments are bizarre and surreal, the score instills awe and wonder. Action scenes are intensified with sharp horn sections, and intimate scenes are carried on with the aid of gentle yet eerily futuristic string accompaniment. Nothing says excitement, adventure, and splendorous cinema like Star Wars’ deeply mesmerizing score.

http://www.youtube.com/watch?v=KeXMZpOYtt0

2. The Lord of the Rings trilogy (2001, 2002, 2003)

If Star Wars is the king of sci-fi epics, then Lord of the Rings is easily its fantasy counterpart. Lord of the Rings is truly a magical adventure, and visually magnificent, but its score can be heavily accredited with creating the awesome world of Middle-Earth. Horns erupt powerfully as the Fellowship crosses valleys of grassy grandioseness, and soft wind instruments whistle in the comforting knolls of the Shire. The Lord of the Rings score, composed by Howard Shore, succeeds in creating powerful tones for each respective scene, without skipping a beat, and keeps the audience engaged in the world of Middle Earth, through the mystical odyssey to defeat the dark lord Sauron once and for all. 

http://www.youtube.com/watch?v=1OvmsZ5-gYw

3. Inception (2010)

This one might be arguable for some, as it is a relative newcomer, but I fully believe that Hans Zimmer’s score for Christopher Nolan’s science-fiction masterpiece will stand the test of time as one of the greatest scores in cinema history. The bellowing horns are haunting and exciting. The slow paced pounding somehow creates a fast-paced feeling of intrigue and exhilaration as Leonardo DiCaprio team of dream hackers performs their ultimate work. The sharp quick beating against climactic crescendo as they fight for their lives in the surrealist world of their minds hooks the audience flawlessly. The range of powerful horns and shrill winds makes Inception one of the greatest scores to ever been written, fueled with adrenaline, precision, and tact.

http://www.youtube.com/watch?v=imamcajBEJs&feature=related

4. Jurassic Park (1993)

John Williams lands another on the list with this work of genius. One of my personal favorite Stephen Spielberg films, Jurassic Park tells a story that is so out of this world that the only way to do it justice was to give it a score that was filled with equal amounts of awesomeness. Between the fast whistling of the wind section and the epic horns, this score achieves both excitement and suspense, awe and fear. William’s score makes the world of recreated dinosaurs as fantastic as its premise, and carries tones of joy as well as it does tones of terror. The duality of it is what makes it so timeless, so exhilarating, and so epic. 

http://www.youtube.com/watch?v=o6fka74ZnpU

5. Batman (1989)

Danny Elfman knows how to do superheroes. Say what you will about the actual films, but Spider-Man, Hulk, and Darkman all have scores worthy of superheroes. Elfman’s super-powered (pun!) magnum opus however is Tim Burton’s Batman. In the Caped Crusader’s first real silver screen adaption, Elfman’s score is fittingly as dark and intriguing as the Dark Knight himself. Its fast to slow tempo shifts make the movie a real adventure, as fast-paced and rattling as a roller-coaster.  It is noir-centric, yet still plays to the playfulness of its comic book origins, and that balance makes it a staple of cinema.

http://www.youtube.com/watch?v=_6frI0Xjufg&feature=fvst

Honorable mentions: The Godfather (1972), The Matrix (1999), The Dark Knight (2008), Raiders of the Lost Ark (1981), Close Encounters of the Third Kind (1977), and Mission: Impossible (1996)

P.S. While it is NOT a movie but in fact a TV show, it’s still film so I wanted to give a shout out to Dexter, which has some of the best music ever.

Here’s a link

http://www.youtube.com/watch?v=e2xxizpHuoo&feature=related