2010 Blockbuster Movies Last Flag Flying (2017)
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The 5. 0 Best Summer Blockbusters Of All Time. June is nearly here, and we’re really in the thick of summer blockbuster season. We all remember that feeling as kids: school being out, long lazy summer days, waiting days and weeks for opening day for that movie you’d been dreaming about.
Most of the time, the film wouldn’t quite be as good as you’d hope, but sometimes? Sometimes it exceeded your wildest hopes, providing a sensory thrill ride that you’d remember for the rest of your life.
READ MORE: The 2. Best Summer Blockbusters Ever. With Memorial Day in the rearview mirror and summer fully underway, it seemed like a good time to celebrate the blockbuster, so we’ve gathered together a list of our 5.
On one hand, the rules were clear: it had to be released between the start of May and the end of August in the U. Film Noir Movies War Room (2015) on this page. S., and it had to be a big, event- type movie, which meant no surprise sleeper comedies or counter- programming horrors.
But even then, you know a summer blockbuster when you see it, so we occasionally ruled out a movie that might seem to fit the criteria but didn’t just sit right (“Saving Private Ryan” or “The Truman Show,” for example). Oh, and we kept it to one movie per franchise, just to keep some level of diversity (with allowances for rebooted versions of characters, or interlocking franchises). Agree with our picks?
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You can let us know what you think in the comments. A Paul Verhoeven- directed sequel never materialized, and it’s one of the few cases where we’re actually sad about a sequel never coming to pass. Literally beginning with Pee- Wee Herman dumping a baby down a sewer, it’s darker than the original, but also funnier, kinkier (thanks to Michelle Pfeiffer’s Catwoman), and more satisfying.
2010 Blockbuster Movies Last Flag Flying (2017) Justice
Michael Keaton’s Batman remains underserved, but the villains and their toys are so much fun that it doesn’t matter too much. It’s breathlessly tense stuff with a pleasingly characterful feel (aided by a script polish, famously, from Quentin Tarantino), that provides more fireworks just by pitting two screen titans against each other than when Michael Bay dropped a bunch of asteroids on the Earth. Pitting our extraterrestrial immigrant hero against General Zod (Terence Stamp) and his two Kryptonian criminal chums, it’s overstuffed and manically plotted, but also lighter on its feet, and generally more fun than its predecessor, if not quite as charming. Thirty- seven years on, it’s still the last really good Superman movie, sadly.
With a bright color palette, an instantly iconic and much- replicated ’8. AM- radio soundtrack, and a big, sincere heart that made it the most emotional superhero movie in a while, it became the biggest franchise- starter in the mega- series because it deviated from the formula, not because it adhered to it. Brian De Palma’s original and Brad Bird’s . But his absolute, uncompromised success came with “Face/Off,” which took a ludicrous high- concept premise — FBI agent John Travolta and terrorist Nicolas Cage swap faces — and brought on both the best American translation of Woo’s particular bag of tricks (dual pistols, slo- mo, a bucket of doves), and strange quirks of its own (Travolta’s queasy incestuous fixation on his daughter, weirdo character turns from Thomas Jane, Nick Cassavetes and Alessandro Nivola, sci- fi overtones like the magnetic- boots prison). It delivers on the spectacle front in a big way, but it’s the strange texture that lingers. But while there are a few other contenders (David Yates’ stirring franchise- closer in particular), the best entry is easily Alfonso Cuar. The Mexican helmer has the advantage of having J.
K. Rowling’s best plot, which sees Harry (Daniel Radcliffe) seemingly threatened by Sirius Black (Gary Oldman), but he also has a feeling for coming- of- age and a visual eye lacking from earlier Potter pics. And no moment is more satisfying in the franchise than the rousing time- travel ending. But it was nevertheless released in the summer, made a ton of money, and is great, so we’re happy to include it here. The most minimalist, tense and purely commercial film of Michael Mann’s career, his take on the story of the LA cabbie (Jamie Foxx) and the hitman who forces him to drive him around for a night, it’s a truly great Los Angeles movie (with Mann starting to experiment digitally to striking effect), sleek and suspenseful, and driven by a truly sinister performance by Tom Cruise that’s easily one of his best. Even if you, like us, find Lee Unkrich’s third entry, which sees Woody & the gang ending up at daycare, to be the least brilliant of the trilogy, it’s still pretty damn brilliant, a dazzlingly entertaining and deeply moving picture that grapples impressively with mortality.
