The filmmaking team of Edgar Wright, Simon Pegg, and Nick Frost first made waves with their TV series Spaced, but it was the trio's 2004 feature film Shaun of the Dead that made them household names. The film is the anti-party movie party movie, having its cake and eating it too, and it is delicious. It’s to Hughes’ credit that he was able to tackle weighty subjects and in the same breath stage a massive dance sequence in the middle of Chicago, and it’s that balance of pure joy and crushing reality that make Ferris Bueller so memorable. Cameron’s struggling with depression and a troubled relationship with his father, while Sloane worries about her future. As with all of his films, there’s a hefty amount of heart to be found in Ferris Bueller, and while the title character is a fun-loving dude, it’s Cameron and Sloane who carry the hefty thematic weight. But with Ferris Bueller, Hughes tackled quite possibly his most trite subject yet-skipping school-and churned out a classic. By 1986, John Hughes had perfected the “teen movie” format in a variety of ways, from the female-centric young love of Sixteen Candles to the outsider POV of The Breakfast Club. If we were ranking this list in terms of rewatchability, Ferris Bueller’s Day Off would be towards the top. It is, obviously, tremendously watchable, and that Scorsese was able to combine such entertainment value with such rich storytelling is a testament to his talent. The film has not one but multiple pieces of cinema iconography in it, from the legendary Copacabana tracking shot to the frenetic, visceral “coked out cooking day” sequence. Scorsese proves his mastery of cinema with a film that is impeccably paced, filling out the ensemble with unforgettable performances from Robert De Niro, Ray Liotta, Lorraine Bracco, and of course Joe Pesci. The result is a rollicking, epic, comic, and ultimately tragic tale of life in the mob from street-kid to rat. Scorsese dug back into his Italian roots to craft one of the best gangster films of all time, with a contemporary spin. So you could say he had something to prove. When filmmaker Martin Scorsese made Goodfellas, he was coming off the controversial reaction to his 1988 film The Last Temptation of Christ and before that, the tepid reception to The Color of Money.
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