Lord of the rings Trilogy
If you’re looking for a long marathon, I highly recommend the extended editions of the Lord of the Rings trilogy. It’s a big deal that the King’s return is 51 minutes longer than the theatrical cut. Although the theatrical versions of these films may be more concise or better, I find the extended editions to be a “living new” experience. They’re dense, but they take their time with the characters—and these characters, unlike the Hobbit trilogy, are really impressive. Watching these three in a row is like spending the entire day in Middle Earth.
Mission impossible
Mission: Impossible is currently the best franchise on the market, pound for pound. The level of quality in these films is incredible, but what truly distinguishes them is the dynamic from film to film. The Bond and Bourne films blend together a little, but each mission: the impossible film is distinct, and the spy series is made by each director. M:I 2 is over-the-top John Woo action (and, despite some redeeming qualities, the franchise’s only “bad” film); and Mission: Impossible 3, thanks to J.J. Abrams, is a romantic and profoundly personal affair (even if it is a little similar to Alias). Rogue Nation by Christopher McQuarrie is a gentle backlash of the 1940s, and Director Fallout is an epic, Christopher Nolan-esque actioner with breathtaking set pieces. Brad Bird’s Ghost Protocol is almost cartoonish in the best way possible, and Tom Cruise never ceases to be the coolest throughout.
Batman Trilogy
Batman Begins introduced us to a new approach to superhero films. Tim Burton’s first two Batman films were actually quite dark. They were, however, highly stylized, fantastic, and outstanding. Following his indie breakthrough Memento and his studio debut Insomnia, Christopher Nolan has grounded the world of the caped cruiser into something that feels like our present, visceral, and tangible world. Christian Bale’s grumbling, Heath Ledger’s question about these scars, and Tom Hardy’s entire performance are all so common in our culture that they are all parody. However, when you go back to the source material, you can see the power of filmmaking in these films.
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