My Favorite Movies

It has somehow become "en vogue" to take any film that is widely considered a classic and tear it to shreds. It's common here on Flixster to read how 'over-rated' Psycho is or how Takashi Shimizu is a better director than Alfred Hitchcock.

EXCUSE ME?!?!?

From where I sit, such comments can generally be attributed to one of three major causes: 1) youth, 2) ignorance or 3) brain damage. In spite of what some seem to think, slaughtering a sacred cow is not going to impress your friends or raise your hellishly low self-esteem. Taking pot-shots at cinematic milestones (like Psycho) only exposes a person's complete inability to understand the rich history and complex evolution of American Horror.

One of John Wayne's darkest and most complex roles. It's easy to see why The Searchers is widely considered to be the Duke's best film. Unlike many of his other characters where their disposition and development is set according to type, Ethan Edwards (Wayne) is blatantly racist and morally flawed. He's a walking, talking paradox in the sense that you applaud what he is trying to do but you're appalled by how he's doing it. For example: During the course of his career in the western genre, John Wayne must have shot and killed hundreds of American Indians. But how often have you seen Wayne, after killing an Indian, ride over and shoot out the eyes of the corpse? Not only did he want to kill the man, he wanted him to stumble around blind in the hereafter. That scene, as filmed, shows a level of contempt that no Wayne character possessed before or since.

This isn't the be-all/end-all of John Wayne's films, and neither is it the only time Wayne played a character with depth and substance, but it is arguably his most challenging and triumphant performance. A film deserving of it's status as one of the best westerns to ever grace the big screen.

Kurosawa's compelling "samurai" adaptation of Shakespeare's Macbeth. This isn't just a typical retelling of the story or a film version of the stage play, this is much more of a character study with surprising depth and motivation. An epic film, in every sense of the word.

One of the best film noir pictures ever made. Just look at the plethora of glowing reviews. Not much more can be said.

So...

Let us digress for a moment and delve into the rarely discussed realm of the subtext, the underbelly if you will, of this iconic American classic. There are certain realities concerning Sunset Boulevard that are inescapable. One of the more evident ones is the non-platonic relationship between 50-something Norma Desmond (Gloria Swanson) and 30-something Joe Gillis (William Holden). To get the full effect of the circumstance one must, if only for a moment, visualize the two of them together... mono a mono. Personally, every time I try to wrap my brain around that I throw up a little in my mouth. My twisted imagination conjures up a Harold-n-Maude(ish) image. I know what you're thinking. It is an unsettling mental visage that no one (except of course ME) would ever dwell on. Still, its a crucial concept that must be grasped if you're to immerse yourself in the ambiance of the picture and fully appreciate its geriatric sexuality.

I spent 8 years of my life in the U.S. Navy. Six of those years I was on active duty making FBM submarine patrols in both the Atlantic and the Pacific. If there is a grittier, more realistic submarine movie out there I've never seen it. Cinematically speaking, this is about as close as you'll ever get to knowing what the submarine service is really like (unless, of course, you enlist).

*Note: Skip this one if you're claustrophobic.

Gene Tierney's character gets my vote as the most cold-hearted, sociopathic, beautifully packaged villain to ever grace the silver screen. On a scale of pure evil she's right up there with Hannibal Lector and the shark from Jaws.

*NOTE: That scene in the rowboat gives me chills every time I see it.

The absolute BEST adaptation of Charles Dickens ever put on film.

This is arguably the best of Universal's classic monster movies. It's also director James Whale's last horror film. Whale, who directed the original Frankenstein, returned with a very different approach for the sequel. Where the sets of Frankenstein were close to perfect in their European authenticity, sets for "The Bride" were essentially a hodge-podge of canted architecture and macabre facades. The director also reworked the characters. He reduced Henry Frankenstein [Colin Clive] to what amounted to be a minor supporting role, added Dr. Pretorius [Ernest Thesiger], a flamboyant mad scientist (providing dark comic relief), and gave voice to the monster [Karloff]. The result is a film that is entirely original and self-sustaining.

Aside from the opening scene and perhaps some later close-ups of the bride [Elsa Lanchester], there is little to frighten an audience here. Instead Whale achieves something much more rare. He creates a film that subtly pokes fun at itself while, at the same time, is very serious in it's approach.

If there is anything here to be critical of it is Whale's unabashed attempt at religious symbolism. The camera seems to love the cross prominently displayed in the hermit's shack, and the raising of the captured monster tied to a stake is an obvious and distasteful reference to the crucifixion. It seems to me that what we have here is a case of Whale's enormous ego getting the better of his good judgment. Otherwise, the film may be as close to flawless, in terms of direction, casting, makeup, and set design, as any production before or since. A true cinematic masterpiece.

A young Russian lad dreams of leaving his mother and younger siblings behind to join the Partisan army and "kill Germans". But later, when his military unit pulls out and orders him to stay and guard the camp, he finds himself alone behind enemy lines in the midst of a Nazi blitzkrieg.

I don't recall ever seeing a more powerful anti-war film. The transformation of Florya (Aleksei Kravchenko) from an innocent boy into a battle-hardened soldier is something that must be witnessed in order to be fully appreciated.

As a child of the 60's, I grew up knowing Peter Lorre as a spooky looking character actor with supporting roles in old classics like The Maltese Falcon and Arsenic and Old Lace. Although I enjoyed his performances I never fully appreciated his talent until I saw this 1931 Fritz Lang masterpiece. In it, Lorre plays a psychotic child murderer stalking a German city. Lorre's approach to the character is unusual in the sense that he himself is tormented by the unspeakable acts he commits. There is a tangible emanation of right and wrong, of good versus evil, that Lorre projects. I found myself fascinatingly disgusted (or disgustingly fascinated) by my empathy for his character.

Peter Lorre - M

There are a handful of examples of so-called "character actors" who have had that one shining moment in a lead role and then, strangely, returned to bit parts and supporting performances. For Ray Milland it was The Lost Weekend, for Ernest Borgnine it was Marty, and for Peter Lorre it was most definitely M.

Picture this: 1920-something China. A rich man has four wives. Each wife has her own house. Each house is connected by a common courtyard. Every night the four wives stand by their door to see which house will get the red lantern. The house with the red lantern gets to 'host' the husband for the night. The wife with the red lantern also gets to decide what's for dinner and has general control of the combined households. You'd think that would be enough to pit four women against each other, right? Well it does, but there's one more thing that the lantern bearer gets... a foot massage! Throw four women together in vicious competition for a foot massage and you've got the makings of top-notch drama. Five stars.

I was absolutely engrossed in this story from beginning to end. The only knock on this film is that it most likely put a dent in Brazil's tourist trade. Simply outstanding cinema.

Pedro Almodóvar continues to confound and amaze me. He can take the most peculiar circumstances, the most perverse scenarios, and extract incredible, romantic love stories. I'm not certain how he does it, but after viewing several of his films I have formed a hypothesis: he views situations without prejudice. He ignores preconceived notions. Instead of focusing on the differences, Almodóvar concentrates on the commonality, thus encouraging us (his audience) to see the world with an unjaundice eye. In the end, what might have appalled us is now cause for reflection, maybe even celebration.

Confounding and amazing...

Underrated and all but forgotten. I'm not a "huge" fan of Mike Nichols but this is a satirical masterpiece.

When it comes to The Big Lebowski you won't find too many critics that ride the fence. In fact, cinemaphiles generally fall into one of three categories. Either (1) they love the film, (2) they haven't seen the film or (3) they just don't get it. Count me among those in group number one.

The Dude - The Big Lebowski

The plot, like most Coen brothers' scripts, begins with a catalystic injustice (i.e. a case of mistaken identity) that starts a chain reaction of strange occurrences, eventually coming full circle to right a wrong. The plot is dark, hilarious and complex (hit the pause button if you get up to go pee). This is one of those rare movies that actually lives up to the hype.

Groundbreaking horror that opened the door for films like Night of the Living Dead.

Great films distinguish themselves in a number of different ways. Some of them are perfectly cast. Others have tremendous cinematography. Still others may have great scripting, direction or editing. I Want to Live stands out for one reason, Susan Hayward's performance.

Hayward shines in this true story about a woman convicted of murder and sentenced to die in California's gas chamber. There are numerous supporting characters in this dramatization but it's Susan Hayward's heart-wrenching portrayal that will haunt you even after the credits roll.

This one is disturbing for all the right reasons. Watching Andy Griffith play a money-grubbing, amoral, unlikeable bastard is like watching Mister Rogers play Hannibal Lector. After all, this is the same Andy that kept the streets of Mayberry safe for all those years and the same Andy that taught Opie how to fish and throw a curve ball. Its even more unnerving that Griffith does it so well. He's completely believable!

Hard to find on DVD. In my opinion, it's the BEST Titanic film ever made.

Fellini puts the loveable Giulietta Masina through yet another tragic set of circumstances. Here she's a prostitute who dreams of finding her one true love, even though her heart is repeatedly broken by a series of men with ill intentions. Masina's irrepressible impish charm compels you to root for her, but her characters always seemed destined for disappointment. Come on Federico, give the gal a break! (Where the hell is Frank Capra when you need him? lol)

A stark, unflinching portrayal of rouge journalism and how one man's ambition can overtake and smother ethics and decency. A box office flop when it was released in 1951, this may well be Kirk Douglas at his absolute best.

Director/Writer/Producer Billy Wilder sends his main character, newspaper reporter Chuck Tatum (Douglas), down a hole, literally as well as figuratively, and presents a tale that is wonderful, brutal, dark and unapologetic. A must-see film.

This one is hard to find on DVD but well worth the effort to search it out. Gary Cooper is absolutely fantastic but it's the ensemble of Albert Dekker, Brian Donlevey, Broderick Crawford and Ray Milland that makes the whole thing work. Oh, and don't forget to check out a very young and very beautiful Susan Hayward in a supporting role.

Underrated classic. Robert Duvall at his best.

Terrence Malick has crafted two characters that treat robbery and murder as incidental mishaps and necessities. Martin Sheen's character is sociopathic and cold-blooded but yet still likeable. Sissy Spacek, as his young accomplice, is fully aware of his atrocities, yet she retains her innocent charm. This bizarre intermingling of murder and manners, of the brutal and the benign, is why Badlands is unnerving and unforgettable.

I'm beginning to wonder if Kirk Douglas ever gave a bad performance. If you only know him from Spartacus then you don't know what you're missing. His lesser known films, like Ace in the Hole, Champion, The Bad and the Beautiful, Paths of Glory, and Lonely are the Brave are a testament to his talent and his enormous contributions to the art of movie making.

This is one of those gems that few have seen and hardly anyone ever talks about. I liked this film the first time I saw it, loved it the second time, and now, after three viewings, I'm thinking about asking it to marry me.

This one could have easily been titled Mexican-American History X. It's a little less polished but every bit as captivating.

This is one of those little gems that almost escaped my notice. Outstanding and highly recommended!

A grieving single mom leaves Madrid to search for her late son's transvestite father.

Fascinating blend of diverse dramatic elements into a cohesive and interesting story. An odd premise for a major motion picture but one that works perfectly.

These are the armies of the night

The Furies

The Boppers

The HighHats

The Lizzies

The Turnbal A/C's

The Gramercy Riffs

...and these are The Warriors

They're from Coney Island

Now they're in the Bronx

27 miles behind enemy lines

Between them and safety stand twenty thousand cops and a hundred thousand sworn enemies

They've got one way out

They've got one chance

They've got one night

The Warriors

I first saw this one in 1972 and enjoyed it very much. Now, some 36 years later, I can honestly say that it's stood the test of time. It's a film that's shot mostly, if not entirely, on location so it never has that "studio" feel about it. It's gritty, it's unpolished, and it's wonderfully understated. You don't have to like westerns in order to enjoy and appreciate this one.

Wicked cool! But don't just take my word for it, read what my Flixster friends are saying:

"Near perfect Swedish film..." -thefog1331

"...one of the most intelligent modern-day vampire movies since George A. Romero's Martin." -harrycaul

"...it is captivating and, in a sense, heartbreaking." -xoxcuddlecorexox

"Creepy, dark and very engaging." -jeg0u812

"...a well done and subtle film." -Stinger839

"...a terrifying tale of forbidden love that is fleshed out superbly." -paultheitie

"the 'other' vampire love story. austere, sad and sweet..." -rubystevens

"The dark atmosphere is great, so are the performances..." -John2223

"It lived up to my high expectations." -johannasince1985

A Cinderella story that quickly turns into a nightmare.

Directed by Hitchcock and produced by David O. Selznick [Gone with the Wind], two of the giants of the golden age of Hollywood. Often times a collaboration of two such egos would result in a competitive struggle that would damage the end product but here there's just the right amount of Hitchcock's noir-ish suspense and Selznick's Hollywood pizzazz to make the whole thing work. There's not one illogical or nonsensical twist or turn in the entire screenplay. I sat, eyes glued to the TV, for an hour and a half, anxiously waiting to see what was going to happen next. Absolutely incredible, top to bottom, side to side.

Not all monsters are grotesque and ugly, sometimes they are as beautiful and breathtaking as Barbara Stanwyck. Considered by many to be the best and most influential film noir ever made, Double Indemnity has become the standard by which all others are judged. For my money, from the cast and direction to the cinematography and scripting, it's a near perfect film. Definitely one of my all-time top 20 movies.

If it is true that Hitchcock's Psycho would have been less effective if it had been filmed in color then the opposite could be said for Dario Argento's Suspiria. It is the abnormally bright hues, especially the reds, that help give the entire picture a surreal sort of feel and atmosphere.

Released in 1977, it has lost some of its initial shock value. In fact, modern "gore-mongers" who enjoy graphic offerings like Saw and Hostel will no doubt find the violence soft-core and perhaps even a little comical. Still, Suspiria is an important, if not timeless, genre classic.

This may be one of the most overlooked and under appreciated classics of all time. A box office flop when first released, this film was simply too far ahead of its own era.

Told in a manner that is part film noir and part Gothic horror, the story steadily becomes more nightmarish and less anchored in reality as it progresses. Sets, over the course of the film, become more stage than screen (some of the backdrops are obviously one-dimensional). They're often silhouetted with unnatural back lighting, adding to the overall ominous feel of the picture. Other scenes, most notably Willa Harper (Shelley Winters) at the bottom of the lake, are shot with an awareness of cinematography that is nothing short of brilliance.

Robert Mitchum is suburb as the villainous Harry Powell, rivaling his equally evil but dimensionally different character in Cape Fear. The Night of the Hunter ranks among my all-time top 100 films and should not be missed.

Some of my favorite Hitchcock 'moments', especially the amusement park scenes. Hitch takes a merry-go-round (could there be anything more innocuous?) and makes it nightmarishly threatening. Brilliant.

Arguably Eastwood's most underrated western. Had it been made at the end of his career, as was Unforgiven, I dare say that THIS might be the film everyone talks about.

"You know, at one time, I used to break into pet shops to liberate the canaries. But I decided that was an idea way before its time. Zoos are full, prisons are overflowing... oh my, how the world still dearly loves a cage."

Billed as a 'dark comedy', one gets the distinct impression that the laughs are purely unintentional. The true value of this 'film' is that it gets worse as it goes along, which actually makes it better. Ed Wood would be so proud!

In 1961 I was barely a twinkle in my father's eye but I'm reasonably sure that there weren't many films or film makers around that were courageous enough to tackle a subject like lesbianism head-on. Here in the 21st century it still raises an eyebrow or two, I can only imagine what it did almost 50 years ago. Brave and breathtaking.