Gone in 60 Seconds (2000)

Remake of the bizarre 1974 film by H. B. Halicki, directed by Dominic Sena. 

Nicolas Cage plays Memphis Raines, who has to save his brother Kip (Giovanni Ribisi) from dangerous gangsters by stealing 50 cars in one night. He’s helped by his old criminal pals (who of course are all good guys really) and his old flame (an awkwardly awful Angelina Jolie). 

It’s extremely silly, but – unlike the original – it has a proper plot and characters with motivations and interactions, even if those characters (like villain Christopher Eccleston) are ridiculous. There’s even a script, albeit one that might have been written by a 12-year-old boy. 

The lighting is conspicuously styled with lots of blue and yellow shades, and while that might be atmospheric it makes the film less “realistic”. The original looked far more real, mainly because it was built around actual footage of real situations. 

What holds it all together and makes it worth seeing (once) is Nicolas Cage, who has a bottom-line charisma and presence.

Lost in Translation (2003)

Another masterpiece directed (and also written) by Sofia Coppola. It’s a gentle drama with comic elements. Bob Harris (Bill Murray) is in Tokyo to film a whiskey advert. He meets a young college graduate called Charlotte (Scarlett Johansson). They are both experiencing marital problems and get time alone in their hotel rooms to reflect on them. Bob’s wife faxes him home decor suggestions and posts him carpet samples, while Charlotte’s husband (Giovanni Ribisi) is an absent, immature photographer. Feeling alien, lonely and disorientated in a culture they don’t understand, the two develop a deep connection that goes beyond casual friendship. 

The film is poignant and touching. There are glimmers of romance between the pair, but it’s to the film’s huge credit that it resists that obvious option and instead focuses on the two characters and their far less predictable kind of relationship. Murray and Johansson each give the performance of a lifetime, perfectly handling the empathy and restraint evident in the sensitive script. 

Coppola creates a strange and lovely atmosphere, understanding that what goes unsaid can be more potent than the words actually uttered, and each successive scene builds upon that. By the end, you feel profoundly engaged with these characters in a way that doesn’t usually happen when you watch a film. 

There are too many perfect scenes to mention, but my favourite is the karaoke episode. Charlotte sings “Brass in Pocket” (The Pretenders) and Bob sings “More Than This” (Roxy Music). In each case, they seem to be using the song to communicate something to each other. 

A really special film. One of the very best.