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10 Films To 'Enjoy' On 4/20

By Austin Dale, Steve Greene, Eric Kohn and Nigel M. Smith | Indiewire April 20, 2012 at 1:24PM

While not exactly an official holiday, 4/20 has long been a pleasurable calendar marking for many folks. And often something that goes hand in hand with a few hours of movie watching. So Indiewire has decided to offer a few suggestions. But instead of a typical list filled with the expected likes of Cheech, Chong, Harold or Kumar, Indiewire is taking a slightly less conventional approach.
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"The Boy Friend"
"The Boy Friend"

While not exactly an official holiday, 4/20 has long been a pleasurable calendar marking for many folks. And often something that goes hand in hand with a few hours of movie watching. So Indiewire has decided to offer a few suggestions. But instead of a typical list filled with the expected likes of Cheech, Chong, Harold or Kumar, Indiewire is taking a slightly less conventional approach.

Here's 10 films we dare you to enjoy with your 4/20 celebration:

"3 Women"
That Robert Altman's masterpiece seems to show up on every other online movie list is a testament to its immortality, versatility, and singularity. Inspired by a dream and half-improvised, "3 Women" is actually a portrait of two. Pinky, a scrawny and immature girl from Texas moves in with Millie, her annoying, conceited and lonely co-worker at an unusual spa for the elderly. Then, their personalities start to switch. Or maybe they don't. It's up to you. Either way, Shelley Duvall's Cannes-winning performance as Millie is unforgettable. Equal parts "Single White Female," "Persona" and "Ritual in Transfigured Time," it's endlessly quotable and designed to get lost in over and over in whatever state of intoxication strikes your fancy.  [Austin Dale]

"Boom!"
I have only ever watched Joseph Losey's "Boom!" stoned out of my mind. In its day it was either hated or ignored, and it amounted to one of the loudest flops of the late studio era, and its reputation has never been rehabilitated. It's easy to say why. I couldn't for the life of me tell you much about the plot. What I do remember, however, is writhing in my seat, exhilarated by the delirious barbs exchanged by Elizabeth Taylor and Richard Burton, the intoxicating Mediterranean cinematography, and the overwhelming surreality of Tennessee Williams' world. The costumes are a thesis of camp references, and Taylor, plump and drunk, exudes a twisted elegance. By the time Noel Coward shows up as the Angel of Death - yes, for real - your confusion no longer matters and you just give yourself up to the movie's singular mania. [Austin Dale]

"The Boy Friend"
To call Ken Russell's "The Boy Friend" spectacular would be putting it lightly. It takes Sandy Wilson's of-its-time Broadway fluff and elevates it to a heavenly plane of pleasure uninterrupted for the movie's epic duration. Russell lets his imagination run wild, expanding the straightforward romance into a movie-musical-within-a-stage-show-within-a-backstage-comedy. There are about two hundred plots, four hundred characters, and a thousand musical numbers, each more inventive and invigorating than the last. On second thought, you don't even need to be stoned to be blown away, but it takes your experience off the screen and into cosmos with Ken Russell's frontal lobe. And for the record, Twiggy's debut screen performance is as powerful as anything Judy Garland ever achieved. Imbibe accordingly.  [Austin Dale]







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