I was recently bamboozled online trying to search for the Bake Off start date this year when I was presented with an array of hokum. So, in the spirit of that experience, here are some films where the true world is hard to decipher.
The Matrix
This is the big one when it comes to the unreality vibes. The groundbreaking special effects and amazing action sequences may have been slightly overshadowed by the right-wing retconning of the red pill concept, but the Wichowski’s work still stands the test of time as a maverick journey into the unknown. It cemented Keanu as the cool with his iconic shades and sweeping black cloak, and also showcased great performances from Hugo Weaving and Lawrence Fishburne. The former’s speech about humans as a virus is vintage dialogue that reminds you how inferior the sequels are. True, we’d never have the classic ending fight sequence in Step Brothers without the second film, but still.
The Truman Show
One of Jim Carey’s finest performances, blending the comedy he’s already well-known for with heartfelt angst and attitude that we’re slightly less used to. The premise is fairly simple, but Carey gives the central character so much heart and gravitas that he just elevates the whole procedure. The film’s dystopian focus on reality television and social media also did a fine job predicting the future, with shows like Big Brother subsequently taking over our screens with mass viewing audiences. Beyond that, it comments on the nature of voyeurism in a really profound way. Not the tired, sexist voyeurism that you tend to get in a Brian de Palma joint, but actual meaningful commentary on our obsessions with poking our noses where they shouldn’t be.
Inception
I could fit a lot of Nolan films into this category, but Inception’s the big boss here, so I’m going to focus on that. The high-end premise of exploring and infiltrating other people’s dreams without their knowledge makes for seriously compelling drama and action, especially with that nail-biting final image. It doesn’t get discussed enough, but it’s the side characters that make the biggest impact, not Leo. Controversial? Maybe. But it’s Cillian Murphy that forms the big emotional beats here. He’s the one getting conned here, and even if the reality he believes in by the end is a false one, you still feel like he’s maybe better off with the lie.
Shutter Island
Lots of people seem to like this one from Scorsese. Newsflash? I don’t. It’s not because of my internal bias against Leo, it’s just that the final ‘I’m not who I think I am’ reveal isn’t that revelatory. The build-up isn’t worth it , and it’s just disappointing. Oh, and it besmirches the good name of Max Richter’s ‘On the Nature of Daylight’, too. That song’s been used to death at this point to evoke emotional heartbreak without words, and it just ain’t effective here. You know what is super effective at using that song in a meaningful, profound and emotionally gut-wrenching form? Arrival. On that subject…
Arrival
This is the best ‘On the Nature of Daylight’ use out of all these fools, trust me. Director Chloe Zhao claimed that the inclusion of Max Richter’s song in Arrival inspired her use of it in Hamnet. But, try as she might, the tune didn’t have the same impact as it did in Dennis Villeneuve’s sci-fi classic. Uses in both the opening and final scenes, ‘On the Nature’ acts as a sonic bookend to Louise Banks’ journey of self-discovery as she deciphers her understanding of time and self through an alien language. The whole marketing scheme masquerading the film as just a generic alien invasion joint is pretty darn cool too.
Fight Club
Another classic ‘you’re not who you think you are’ joint. You should’ve watched this flick by now, but anyway, I won’t spoil it. But the real kicker, like Arrival, is the use of music to signal the identity change and the main character’s acceptance of their newfound reality. The Pixies have produced some banging tunes, but it’s impossible to think of ‘Where is my mind’ without linking it to this iconic movie.
Winner? There are some absolute bangers to choose from in this competition, but the golden gong’s got to go to Arrival. That’s a film on a whole other level.