My 30 Favourite Films (Part 4)

The Elephant Man (1980, David Lynch)

I need to watch more of Lynch's incredible filmography, which is as terrifying to think of as it is exciting. The Elephant man is both delicate and sympathetic towards a very tragic historical figure, yet also harsh and ruthless when condemning the culture that caused this tragedy, and by extension our society.

One of the most visceral and invigorating period pieces ever made, and quiet possibly the most stunningly shot Black and White film I have ever seen (although the competition is certainly fierce in that area).

Just an  incredible film.


Back to the Future (1985, Robert Zemeckis)


Although humble and small in comparison to the true filmmaking juggernauts I have showcased so far, this film is probably the most invigorating and fun examples of basic narrative cinema ever made. Fun and enjoyable in every single scene, and joyful to rewatch. Worthy of its status in pop culture.

Not much to say, other than everything was done to near perfection here. The quintessential recipe for telling a fun and adventurous story.




Grave of the Fireflies (1988, Isao Takahata)


I am going to try and keep this short. With the exception of When the Wind Blows and one or two other films later in the list, this film carries more emotional power over me than any other. I have a long history with this one.

Touching on every level, as emotionally complex as it is amazingly simple structure wise. Just watching two doomed characters trying to survive is more than enough on its own, and some scenes from this film hurt like a gun. Just, incredible.


Do the Right Thing (1989, Spike Lee)

I am trying so hard to not pun off this title, but this film truly does do the right thing. Funny, revealing and playful, this film looks at race in a way which is not preachy nor overly solemn. It blames everybody embroiled in the pointless conflict, showing wisdom well above the years of the young Spike Lee.

Inventive and original in its style, this is a film that actually derives strength from being heavily dated, entrenching itself so firmly in its contemporary setting that it becomes more of a landmark in history than anything else.

Probably the greatest film on race issues that will ever be made, which won't stop hacks like Paul Haggis coming a few years later to try for themselves, with sadly greater success.

By Jack D. Phillips