Sally: But it’s there. It’s just sitting there, like this big dead end. And it’s not the same for men. Charlie Chaplin had babies when he was 73.
Harry: Yeah, but he was too old to pick them up.
It wasn’t until I was in my early thirties when I finally did the math. Sally was THIRTY-TWO in When Harry met Sally. Thirty-two! And it started to dawn on me: I’m almost thirty-two. I live in a small dark apartment on West 83rd street where I look at a brick wall—not nearly as nice as Sally’s Upper West Side apartment. I do not even have Cold Hard Mexican Ceramic Tile Floors or a Wagon Wheel Coffee Table or andirons. (I still, to be totally honest, am not clear on what andirons are.) This was my first clue that When Harry Met Sally was a fantasy. And a realization that the messages I internalized from it were wrong.
“Serendipity” is one of those movies that was out in the world before people figured out how special it really was.
The film, a romantic comedy set in holiday-time New York City, starring John Cusack and Kate Beckinsale, followed two star-crossed strangers, Jonathan and Sara, who risked ruining their relationships to find one another again.
On paper, it looked to be another early 2000s hit for studio head Harvey Weinstein and his thriving indie juggernaut Miramax Films.
Suddenly, director Peter Chelsom — whose only real challenge during filming was figuring out a way to make his stars look like they were on wintery New York City streets during July — had a major issue on his hands.
Not only was the movie one of the first to open in theaters after the cataclysmic event, but weeks before it hit screens on October 5, Weinstein demanded that Chelsom erase the Twin Towers from a skyline shot in the movie.
The film “Reminiscence” is set in a Miami of rising waters and scorching heat, where people have now flipped the clock to work at night and sleep by day. Nick, a war vet who’s now a private eye, uses a technology that floats people in a tank, so they can relive cherished memories.
(SOUNDBITE OF FILM, “REMINISCENCE”)
HUGH JACKMAN: (As Nick Bannister) You’re going on a journey, a journey through memory. Your destination – a place and time you’ve been before. To reach it, all you have to do is follow my voice.
It’s been 25 years since the first time I ever bought advanced tickets to see a movie.
I know this because that movie was Independence Day, and it opened 25 years ago this week. After seeing its unforgettable Super Bowl commercial, I immediately became obsessed with the movie and knew I had to see it as soon as possible.
So on July 2, 1996, I walked into the theater optimistic I was going to see something special and the film delivered. In the 25 years since that day, I’ve probably seen it 25 times. Not only has it become my go-to film to watch over the U.S. holiday weekend, anytime it’s on TV, I have to keep it on. It’s funny, exciting, massive, I loved it. I still do, mainly because watching it brings me back to being that geeky teenager seeing an amazing movie on its opening night.
Since July 2, 1996, that’s basically all Independence Day has been to me: an entertaining dose of nostalgia. But revisiting it last week in anticipation of its 25th anniversary I realized it’s so much more. It plays differently with a few decades of life experience under your belt and as much as I adored it in 1996, I may love it even more in 2021.