Grudge Match

Grudge Match (2013) – Stallone’s enlistment of De Niro on his quest to self-parody every hit he’s ever had only makes you feel more embarrassed for both of them, in large part because the script is a borderline-insulting Frankenstein’s Monster of clichés; yes, the movie is occasionally amusing, but it’s got about the lamest set of gags and one-liners I’ve been subjected to in a long time. 5

The Sound of Music

The Sound of Music (1965) – It all starts and ends with the numerous classic songs (which make the filler forgivable); it’s a beautiful film, and Wise does a fairly impressive job adapting an overlong musical that wallows in sentimental contrivance but is nevertheless both engaging and charming (and it’s definitely my second-favorite Julie-Andrews-as-a-singing-nanny movie of all time). 7

The Wizard of Oz

The Wizard of Oz (1939) – With so many iconic images, scenes, and songs, few films have pervaded American culture so indelibly; all things considered, it’s aged extremely well, and even though the songless final act isn’t quite up to the level of the rest of the film, this might still be the greatest movie musical of them all. 8

The Lego Movie

The Lego Movie (2014) – This glorified toy commercial looks spectacular, and it’s got great attention to detail; it may not have anywhere near enough story to keep adults fully engaged, though, and it can be sappy and tiresome (especially in the final act), but it’s decently funny, and it’s got a lot of good moments. 6

The Birth of a Nation

The Birth of a Nation (1915) – With groundbreaking artistic, camera, and storytelling techniques, this may be the most innovative film ever made; the problem, of course, is that it’s brutally and unforgivably racist to the extent that a twenty-first century viewer may well have trouble taking it seriously; even Griffith’s otherwise-worthwhile anti-war sentiments are rendered pretentious and hypocritical by his “noble” white-on-black violence; today, the film’s worth is due completely to its status as an artifact of both film and American history. 4

Non-Stop

Non-Stop (2014) – Collet-Serra cultivates a good atmosphere and Liam Neeson carries it with his intensity, but it strains credulity throughout before breaking it to pieces in a ludicrous final act in which logic, physics, and sense-make are completely out the window. 5