
I love musicals, but I love musical climaxes even more. No, not like that, get your mind out of the gutter! I’ve always enjoyed movies that have either the climax of the story, or at least a major plot point, revolve around a musical number, particularly when it is unexpected. I don’t mean in musicals, but in movies that otherwise have no musical numbers and are not about music. In other words, not movies like Crazy Heart, Ray, or A Prairie Home Companion, all of which are in some way about music.
I also don’t mean scenes set to music, either as a montage or to set the mood for the scene, like in Rocky, The Breakfast Club or Cruel Intentions. I’m not even talking about musical climaxes that are the obvious result of the plot, like in Dirty Dancing, Sister Act, or Little Miss Sunshine. What I’m talking about are moments when characters in otherwise non-musical movies have some sort of musical performance/dance number/song that resolves their issues, expresses their feelings, or advances the plot in a way that’s unique compared to the rest of the film, and is often unexpected or completely surprising. Here are some examples of what I mean: Continue reading
Jurassic Park is, to me, a perfect film, one of a very small handful of films which can not be improved in any way. 




I’ve never had a spot on the anti-Star Wars prequels bandwagon. When The Phantom Menace came out in 1999, I was 14 and a huge Star Wars fan. I was too young at the time to go to a midnight showing, so I had to wait all day to see the film that evening, and I could not sit still. By the time the 20th Century Fox fanfare started playing, I was in tears, and stayed that way through most of the film. I remember everyone in the theater enjoying it immensely, laughing and cheering throughout, and I saw it again two days later. Needless to say, I’m a Star Wars fanboy, and while my 28 viewings of the Star Wars saga films in the theater are not anything close to a record, it’s safe to say that I was in no way disappointed by the prequels.