It's A Wonderful Life

OK—everyone has seen it. Everyone knows the story. Some people can even recite the dialogue (I would have to confess, I’m in this category). When you get right down to it, this is a great movie. Sad thing is that it gets so over-watched around the holiday season that many people have the “not again” mentality. PLEASE don’t disregard this movie just because it has been overplayed, colorized and basically abused. What director Frank Capra does here is capture a little slice of Americana—something that Capra excelled in. Unlike Capra’s other Americana films (most notably Mr. Smith Goes to Washington, Meet John Doe, and Mr. Deeds Goes to Town), this one has a dark edge—a hardness that makes us think for a second that maybe America is not all that it’s cracked up to be. That is where Jimmy Stewart’s acting genius kicks in. His portrayal of the lowly, always-disappointed George Bailey has the audience rooting him on, even when he’s at his most weak. I mean, here is Bailey, standing by a bridge, looking down into the icy waters of the river, waiting for the perfect moment to jump. Does anyone really believe he will? No—not with the genuine way Stewart breathes life into Bailey. No one with that much compassion in their heart could really ever end it all? But, that’s why Stewart is perfect as Bailey. He does give Capra a “hard” edge, all while keeping the film, at its core, a feel-good film…one that can and should be enjoyed ANY time of year, not just in the holiday season.

It Happened One Night

This film set the stage for early romantic comedies and also gave the brilliant career of director Frank Capra a boost. While running away from the demands of her strict, wealthy father, Ellie Andrews (Claudette Colbert) meets struggling newspaperman Peter Warne (Clark Gable) on a bus going from Florida to New York City. They cannot be more different: he likes to drink more than work and she is spoiled and prudish about everything. What should be just a two-night ride turns into a much-longer trip filled with stops and mishaps, all of which bring the two closer together, despite their differences. This movie’s sharp, witty dialogue inspired a new form of film comedy, where the characters’ initial love/hate relationship inevitably turns to romance. This comedy style was used later for films such as Howard Hawks’ 1940 classic His Girl Friday and George Cukor’s The Philadelphia Story, also from 1940. Neither Gable nor Colbert wanted to make this comedy, but after they were both honored with Academy Awards for their work, they were probably glad they did. It Happened One Night also won Best Picture, Best Director, and Best Screenplay Oscars.

In the Valley of Elah

I think right off the bat this film gets a bad rap since it’s unfortunately grouped with the recent films about the Iraq War. That’s unfair, in my opinion, since this is a strong, edgy thriller that deserves to be seen as a THRILLER and not necessarily as an anti-war statement. Tommy Lee Jones plays a father who, at the start of the film, finds out his son, recently back from the war in the Middle East, is missing. Yes, much of the film does deal with the war, since Jones has to find out what happened to his son while he was over there and if it is at all connected to his disappearance. But, most of the story just has Jones searching for the truth and finding bits and pieces of facts and fictions and putting them together to get some answers. Yes, the story has holes, but based how badly this film was received, it was MUCH better than I thought it would be. So, ignore the propaganda – and just enjoy the movie.

In the Heat of the Night

What do they call you? Well, if they call you Mr. Tibbs, watch out. One of the many films of the 1950s and 60s that Sidney Poitier did about race, this one would have to be the best…mostly since it is by far the most powerful. With the films The Defiant Ones (1958) and A Patch of Blue (1965), Poitier had cemented himself as one of the finest actors in American cinema – black or white. With this film, made in 1967 and directed by Norman Jewison, Poitier takes his acting to the next level…sheer power and passion. Also in 1967, he made another “race” based classic Guess Who’s Coming to Dinner. That film, though emotional, does not hit at the anger and the murderous rage that racial issues bring out in some people…especially some from the mid-20th Century South, where In the Heat of the Night is based.

The Hustler

I'm not a pool shark. I'm not even a pool fan. But, I am a Newman fan, which makes this film good enough for me. Newman plays "Fast" Eddie Felson, a young, brash pool shark who needs a lot of sophistication and polishing if he is ever going to become the best. Enter Minnesota Fats (expertly played by Jackie Gleason) who is just the one to add some polish to the young hustler. A romantic relationship with Piper Laurie distracts Felson too much for my taste, but the George C. Scott character as Fats' manager makes up for the diversion. Scott is brilliant here…cocky and tough -- I think it is one of his best roles. And, it is one of Newman's best roles as well…he is perfectly able to balance on that bridge between arrogant jerk and engaging sweetheart. Watch this one for his and Scott's performances alone…and you also might want to pick up a pool cue!

Husbands and Wives

For the first time, Woody Allen acting in one of his movies did not annoy me so much that the temptation to turn the film off was almost irresistible. He does not choose, in Husbands and Wives, to play someone who is more neurotic than anyone else in Manhattan. That is not the ONLY reason I enjoyed this film. It is a strikingly open and honest film about relationships. It doesn't hold anything back and is not afraid to realistically show the anatomy of a break-up, midlife relationship malaise, and the frantic energy of a new relationship. In hindsight (this film is from 1992), it's a strong subject matter for Allen, who has a young college student fall for his middle-aged professor character. It was not long after this film that Allen, in reality...NOT in the movies, fell in love with his adopted step-daughter. But, leaving that alone, he does an excellent job of being as honest as he can be in this film...as an actor AND as a director. His scenes with Juliette Lewis (the young girl that plays the smitten college student) are filled with frank talk...not with silly dribble that many May-September screen romances sometimes fall for. The other characters' relationship dialogue is just as true as Allen's. No one walks away into the sunset in this one. It's brutal at times, but so is life and love. Right?

Hot Fuzz

I had heard of this movie but I wasn’t sure why so many people had been asking for it. So, what I’m saying is that I went in with no expectations. And I came out laughing so hard I couldn’t breathe. This has to be one of the funniest movies I’ve seen in years…close-to-perfect comic writing, timing, acting….everything. Basically, it’s about a hot-shot London cop (Nick) who gets reassigned to a small English village where he thinks he will be completely bored for the rest of his career…but, boy, does he turn out to be wrong. The village police force consists of a bunch of crackpots…one of whom (Danny) becomes Nick’s partner. Some of the repartee between Nick and Danny is just priceless…Danny is quite simple-minded and his slow-wit counteracts perfectly with Nick’s confident policing. When Danny is forced to become a real police officer and fight real crime, the laughs do not stop! I immediately wanted to see Shaun of the Dead, which is the first film written by Simon Pegg (who plays Nick) and Edgar Wright. Sadly, I didn’t like that one as much, but for me, it would be VERY hard to top my Hot Fuzz experience.

Holiday Affair

When I rewatched this one recently, I fell in love all over again with Robert Mitchum's character (OK -- and with Mr. Mitchum himself). This one is a true classic…a film that gets very little attention during the holiday season, but should be up there with those notables Miracle on 34th Street and The Bishop's Wife. Mitchum plays a wandering ex-Army man, who really just wants to make enough money to move to California and build boats. But, to save for the trip, he works retail stores at Christmas. Janet Leigh plays a widowed single mother who works as a comparison shopper…going from store to store buying things to compare prices at different places. She encounters Mitchum during one of her buys and the sparks start from the get-go. Even though she has a fella who's sweet on her, she and her adorable son gravitate to the charming and debonair Mitchum. I mean, I sure would. Wouldn't you?

Holiday (1938)

The teaming of the comedy team of Katherine Hepburn, Cary Grant, and director George Cukor leads to comic mayhem as a bright rich girl steals her sister's fiancée, a struggling young lawyer. Not the most famous of the Grant/Hepburn/Cukor pairings (The Philadelphia Story would have to take that prize) but I feel it’s the best. The comedy has a quirky, strange quality that makes it unconventional, which might be why it was not initially received as a classic, but it’s not too strange to miss this wonderful film.

The Heiress

The Heiress is a magnificent film that defies 1940s Hollywood logic…the woman and man do not walk into the sunset hand-in-hand. Actually, what is even more defiant for a film of this era is a woman having power over a man. Yes, 1940s were the days of the powerful woman in Hollywood: Bette Davis, Joan Crawford, Barbara Stanwyck, etc. But, the films those women were in were mostly about tough ladies who needed the love of a good man to set them straight. The Heiress is nothing like that. The film begins by setting the stage that shy, naïve Catherine Sloper (Olivia de Havilland), the wealthy daughter of a stern New England doctor, played beautifully by Sir Ralph Richardson, will probably never marry. Catherine is plain, timid, and lacks what, as her father claims, men look for in future wives…aside, of course, from her money. Enter Montgomery Clift’s Morris Townsend, who takes a liking to Catherine but her father disapproves and believes Townsend is just an opportunist. By now I’m sure you’re wondering where the “powerful” woman enters the picture. Well, Catherine learns quite a few life lessons over the course of the film and in the end she is a strong, confident woman who knows exactly what she wants and doesn’t want. Even though George Cukor was known in Hollywood circles as being the best “ladies director,” I feel that director William Wyler gives Cukor tough competition here and with some of his other movies (Roman Holiday, Mrs. Miniver, Jezebel, Funny Girl , etc.). This film is a tour de force for de Havilland (she won the Oscar), but Wyler’s brave direction increases both the power of Catherine and the tone of the whole film.

Groundhog Day

In this Harold Ramis film (shot in Woodstock, IL), Bill Murray finds out what it is like to relive one day over and over again, giving himself the time to examine his less-than-personable behavior. The story starts with Murray’s gruff and cruel weatherman character covering the annual “Groundhog Day” festivities in Pennsylvania. He is on assignment with a news producer (Andie MacDowell) and a cameraman (Chris Elliott). As Murray begins to live the same 24-hours again and again, which happens to be Groundhog Day, his hardened character starts to soften.

The Graduate

Mike Nichols’ controversial film about Benjamin (Dustin Hoffman, in his film debut), a recently out of college lost-soul who begins an affair with his parent’s friend, Mrs. Robinson (Anne Bancroft), just out of boredom. The affair allows him to procrastinate on other important decisions like graduate school and/or getting a job, much to his parents’ chagrin. More problems occur when he falls in love with the Robinsons’ daughter, Elaine (Katherine Ross). This film did as much for the 1960’s rebellion as it did for both the careers of Simon and Garfunkel and Mike Nichols, who earned an Oscar for his cutting edge direction.

Goodfellas

In rating movies about mobsters, Goodfellas is right up there with The Godfather. Martin Scorsese took everything he knew about Italians and gangsters and New York and created one of the finest pieces of American cinema ever made. Goodfellas could really be called “Everything You Wanted To Know About Being In The Mob But Were Afraid To Ask.” The main character, Henry Hill, played by Ray Liotta, is a half-Irish, half-Italian Brooklyn kid who wants nothing more out of like than to be a gangster. He watches mobsters as a kid and knows…just knows…that one day, that will be him. And, sure enough, when he gets older, he gets in with the “right” crowd, and bada-boom, he’s a “made” man. The fascinating part is how Scorsese’s camera follows around Henry Hill, capturing his rise (where he can walk into a nightclub and get any seat he wants, etc.) to his downfall (the breakup of his marriage, etc.). It almost feels like every moment of Hill’s life is being recorded…as if this is more a documentary on Henry Hill, as opposed to a feature film with him as a character. Well, that last part might not be far from the truth…Goodfellas is based on the nonfiction book Wiseguys by Nicholas Pileggi. Yes, nonfiction. Hill is a real person. So, in a way, Scorsese making a documentary here is not that far from the truth. Though, I don’t want to give the impression that this film is a dry, boring look at one man. It most definitely is not that…it is a fast-paced, realistic look into the inner-workings of a crime organization, the men who run it, and the women who suffer the consequences. Given how common Mafia movies (and television shows) are, skip the rest and watch this one. Trust me.

Gone with the Wind

One of the most loved and acclaimed movies of the 20th Century, Gone with the Wind is the winner of eight Academy Awards®, including Best Picture. Best Actress® winner Vivien Leigh stars as Scarlett O’Hara, who is simply one of the most timeless characters in cinema history, not to mention one of the prettiest Southern Belles ever. Starting in Margaret Mitchell’s iconic novel on life in the South before, after, and during the Civil War, Scarlett became engrained in the American consciousness as the epitome of beauty and selfishness. She spends most of her time pining over a man she can never have (Ashley Wilkes), and when she can finally have him, she wants the one she has had all along (the infamous Rhett Butler). Her fickleness, somehow though, comes off mostly as charming…the men in her life just simply understand that this is how she is. And every time she is let down by one of her beaus, her Mammy (Hattie McDaniel in her Oscar®- winning performance as Best Supporting Actress) is right there to help Scarlett survive. After all, tomorrow is another day!

Goldfinger

As critics and audiences alike call this their favorite James Bond film, I guess I am no longer alone in thinking this is one of the best spy films ever made. There is very little wrong with Goldfinger and what is wrong is very easily overlooked because of the strong plot and even stronger characters. With many series, the filmmakers begin to wane and rest on their successes when number three (or so) comes along. But, this is the case where the third film truly is the charm. Number one in the series Dr. No and two (From Russia with Love) just seem like practice in order to get to this third installment in the Bond series. Bond creator and author Ian Fleming got the title Goldfinger from the villain’s name…a man who is obsessed with gold. Truly. And the actor who plays the man-in-gold (Gert Fröbe) fits the bill perfectly. Sean Connery’s Bond also comes into his own in this film. In Dr. No he seemed a little unsure of himself and in From Russia with Love, it was the opposite…he seems TOO confident as the super-spy. Here, Connery shows the right tone of power, control and fear. And the plot is also one of the best ever in a Bond film…with Frobe’s Goldfinger trying to destroy the gold in Fort Knox so his mass amounts of gold increase considerably in value. But, for Bond films, plot always seems to take a back seat to the gadgets, romance and action. Here, at least, they made an attempt at a story...and did a great job in the process. No worries, though. There are lots of gadgets, action and romance. Promise.

GoldenEye

For Pierce Brosnan’s first 007 outing, he sure picked a fun ride. This is a James Bond film with bite…one that was perfect for Bond’s reemergence in theaters after a six-year break (the previous Bond film, License to Kill with Timothy Dalton, was produced in 1989). It also is a good film for the end of the 20th Century…no more Cold War doesn’t mean the former Soviet Union countries cannot be used as adequate threats. This story deals with a former MI-6 agent who went over to the other side in order to avenge his past (his Russian parents were Cossacks who were sent home by the British to be executed by Stalin) and cause World chaos. There are MAJOR parts of this film that are outlandish and unbelievable. But, remember, this is a Bond film. Unbelievable is a requirement. Brosnan fits into Bond’s tux perfectly…he mixes the right combination of Connery’s suaveness and Moore’s wit and Dalton’s fierceness. The series lagged with the two Dalton films (License and 1987’s The Living Daylights) mostly because many of the Bond-isms were gone. Yes, Dalton’s 007 was still asking for his Vodka Martini’s “shaken not stirred” but the quips and especially the romances were practically nonexistent…the latter probably because of the 1980s “safe sex” era. Enter Brosnan who brings it all back with gusto! Ian Fleming would be proud.

Impromptu

Hugh Grant playing Frederic Chopin??? When I found this out, I had to watch this film. And, Grant surprised me by pulling off the role of the fragile pianist with considerable ease. I bought him as Chopin, just as I bought the other characters in this subtly lavish film. Judy Davis plays unconventional 19th Century novelist George Sand, of whom then film revolves. Her relationships with men, especially Chopin, are chronicles here in a semi-farcical/semi-serious way. Knowing nothing about Sand’s personal life, I was fascinated by her character. She is a true rebel for the day…wearing men’s clothes and having open affairs with a variety of different men. The way the movie tells her story is by not exactly taking it all seriously and, on the same taken, not exactly poking fun of it. All in all, Sand, Chopin and all of the other 19th Century characters make this a fun, interesting look at the France in the mid-1800s.

I'll Sleep When I'm Dead

Give this one some time to grow on you…I came close to giving up about 30 minutes into this film. Then, just as I practically had my finger on the STOP button of my remote, the plot settled down and began to come together. I understand what the director (Mike Hodges of Croupier fame) was trying to do in the beginning. He was trying to set the stage of a dark, murky movie by showing us the characters in little segments to make us deliberately confused. Just because I understand what Hodges was doing doesn’t mean I like it. Once the crime has been committed, all of the pieces begin to fall into place and turn a complicated premise into a smart, original thriller. We get to know the characters we had only seen in bits and pieces before. We get to know what led up to the crime that is committed. We get to know some back-story on the main character, played brilliantly by Clive Owen. Owen’s character has turned his back on his former criminal/gangster ways, disconnecting himself from his family and friends, and become homeless (he lives out of his van in the woods and moves from one cash-paying construction job to another). The story hinges on the believability of Owen. We HAVE to believe his character in order for the story to work. Of course, going from gangster to homeless man is quite a personality change. But, is the change sincere or just a weak way to escape his past? Owen, once back around his former friends and “associates,” tries his best to stay clean but crime’s a-calling. Owen fights and fights off his temptation and the question of whether he will win the fight is almost as thrilling as the mystery around crime. The ending, at first, bothered me. I wanted a more solid ending…I wanted to know about the characters and what happened to them. But, as I thought more about it, based on what we know about the Owen character, the ending is just as it should be.

An Ideal Husband

Another Oscar Wilde play comes to life…this time in one that is funny and charming and lively and sometimes even wicked… Set in late 19th Century London, the story revolves around an up-and-coming young politician who gets blackmailed by a “lady” into changing his opinion on an upcoming parliamentary bill. She has some evidence of how he got his early influence…and is willing and ready to use it if he doesn’t meet her demands. OK, so that’s the main plot, but as Wilde always does, the plot is only the beginning of the story. The best parts here are the supporting players and the smaller storylines about romances and the search for husbands, etc. Those are the juicy parts that offer the best snippets of Wilde-esque dialogue, innuendo and puns. One of the leaders in this smaller storylines is Rupert Everett, who plays a cad who has made it is goal in life never to marry. His story interweaves perfectly with the main storyline about the blackmail (he is friends with the politician and used to date the lady who is blackmailing him) but on its own, Everett’s story is a perfectly solid work. His entire character could be pulled out and turned into a full-length play or film, since there is so much meaty dialogue and so many stories to tell about him. If you have liked Wilde’s work in the past (such as A Woman of No Importance, Lady Windemere’s Fan’s, and most notably The Importance of Being Earnest), An Ideal Husband is guaranteed to please and if you’ve never seen anything written by Wilde, this is the one to start with. Trust me…you will want to see them all!

In Her Shoes

Not having a sister, I’m not sure I complete understand the family dynamic in this film, but putting that aside, I feel this is a good film about love and relationships that neither gets too gooey or too preachy. It starts off like a lot of films have in the past…two siblings have more than their fair share of issues because they could not be more different. One sister is sleazy and superficial, whereas the other is brainy and slower in the “love” department. Sleazy sister likes loafing off her relatives. Brainy sister always is the responsible one who has to pick up the pieces of Sleazy sister’s life. After the Brainy sister finally gives up and kicks Sleazy sister out, the film takes an unconventional turn. Instead of having the typical resolution of “accepting each other’s faults” this one actually allows the characters to change and grow. Enter Shirley MacLaine, who plays the sisters' estranged grandmother, and there suddenly are three intelligent female characters who are capable of transforming themselves without the help of a “good man” or constant attention from others. The three main characters use what they’ve learned from each other but on their own create their own change.

Gaslight

Did you ever look for something and it’s not where you remember putting it but the next time you look, it’s there? Sure, it happens to all of us occasionally and we think “I’m losing my mind.” In a second or two, that thought is replaced with something else and we forget about our minor brain lapse. But, what if things like that would continue to happen? What if we kept seeing things and hearing thing and doubting our sanity...little occurrences at first and then major things like losing pieces of jewelry and misplacing practically everything…? Well, Ingrid Bergman in Gaslight experiences all of these things plus more. Her husband, played with cruel intensity by Charles Boyer, might or might not be “helping” her out in the insanity department. Regardless, he becomes less and less sympathetic with her as she slips more and more out of reality. The audience never really knows whether Bergman is insane or not. I mean she hears footsteps above her…and we hear them too…but it’s not until the end until the plot is uncovered. Director George Cukor directs this so passionately that at times it has the feel of a horror film. When the light from the gaslights dims, the look on Bergman’s face is pure terror…as if she was being tortured. And…as you come to find out…she is. But how…and by whom????

The Fugitive

I'm sure most people have seen this one and I'm most definitely not in the minority for liking it. I just think this is one of the best action/suspense films in years. Yes, it's ALL supposed to be set in Illinois and us Illinoisans know that we do not have any kind of dam like that in this great state. But, ignoring that, this one is just top-notch in most every way. Harrison Ford plays Richard Kimble, a doctor who comes home to find a one-armed man attacking his wife. Kimble fights with the man, but the murderer gets away. Kimble is accused of the murder, when the police don't buy his "one-armed man" story. After managing to escape from incarceration (one of the best train crashes ever put on film), Kimble makes it his mission to come back to his hometown of Chicago and find the one-armed murderer. It's sharp, fast, well structured, well acted, has just enough humor, and is riveting when it needs to be and laid back when it needs to be. Basically, just a good film.

Frantic

Not being one of Roman Polanski’s biggest fans, I was initially apprehensive about this one. But, I like Harrison Ford and Betty Buckley so I gave it a try. It is a sharp, exciting thriller that really utilizes the feel and atmosphere of Paris. Many thrillers fall short of using location to heighten or complicate the suspense. Polanski really captures the essence of Paris here…from the elegant, tourist side to the dark, seedy underbelly. The plot keeps pretty simple…an American doctor, in Paris for a convention, is convinced his wife has been kidnapped. Yes, it is a little more convoluted than that, but that’s the gist of it. From there, Polanski weaves a thrilling tale of intrigue that will keep you riveted until the finale.

For Your Eyes Only

This is the one James Bond movie that I enjoy mostly because it seems so dated. Earlier Roger Moore Bond films (Live and Let Die, The Spy who Loved Me and The Man with the Golden Gun (I’m not even talking about the REALLY DATED and just plain BAD Moonraker)) somehow were mostly able to avoid being bogged down with era-specific music and technology (remember – I’m NOT talking about Moonraker). But, For Your Eyes Only has great electronic music that is reminiscent of the Disco era at its best! Also, some of the gadgets and technology in this one are a little dated as well…such as the Identograph that Bond and Q use to help identify a bad guy who tried to kill Bond. The story is pretty solid…with your basic “Bond saving the world” plot. This time, 007 is trying to retrieve an encryption machine from men who want to use it against the British. I feel that this film is enhanced by Topol, who plays one of the most interesting Bond characters yet. If you’re in the mood for some good early-1980s fun, For Your Eyes Only is one you have to check out!

Finding Neverland

Not being a Johnny Depp fan, I avoided Finding Neverland as long as I could. Based on recommendations of several people whose opinions I value, I finally caved. I am very infrequently surprised by films. This one surprised me more than any other film in 2004. I was expecting a stuffy, highfalutin film about an author and his life (I have to confess—I hadn’t read any reviews to come to this opinion). Much to my chagrin, the film is not really about adults or adult problems (even though there are several adult issues). It is about children…being a child, holding on to your childhood as long as possible, never letting your child-like innocence and imagination go…etc. The film is based on the life of J.M Barrie, who was a semi-successful playwright in 1900s London…semi-successful only until he wrote the play Peter Pan. Depp plays Barrie in a very toned down way…quiet and introspective. We really never find out what’s going on in Barrie’s mind until it appears on stage through his plays. But, no offense to Mr. Depp, but the children steal this movie. Kate Winslet, as the widowed mother of four boys, including Barrie’s Peter Pan inspiration, and even a small, comic-relief role by Dustin Hoffman do not bring as much joy to the film as the children do when they are on screen. These children provide Barrie with his inspiration and also provide this film with its heart.

Field of Dreams

I have to confess that I really thought this movie was too hokey when I first saw it in the theaters. I was a HUGE Kevin Costner fan at the time and so it was essential I see it. I was 14 at the time and I thought this film was OK, but nothing special and WAY too silly for me. So, I’m not sure if it is age or life experience or what, but seeing it again after all of this time…almost 20 years later…lent a different perspective to this film that I definitely did not have as a teenager. It’s a movie about second chances. About regrets. About living in the NOW. About not letting things fly by you without notice…because one day when you feel like it’s time to finally take notice, it’s way too late. Sure, the “hoke” factor is still there, but it’s not what the movie is about. The fantasy element is just to get to the main point of the film…which I feel is to live life like everyday is your last. And to ENJOY life and try not to alienate too many people along the way because you never know when they might turn up in your yard and want to play catch.

Fatal Attraction

The film that forced married men to think twice before straying…as well as reviving Michael Douglas’ acting career…is a top-notch thriller. It got a lot of attention when it came out in 1987 because of its graphic violence and (especially) sexuality. Sometimes, when you strip the controversy from a film, what you’re left with is a movie that really was not worth all of the attention. I would say that is not true here…this is a great film that knows how to convey fear to the audience. Never would I say something is Hitchcockian (I believe that NOTHING will ever be worthy of that label since the Master of Suspense was, just that, a Master…the one and only), but I think that IF Hitchcock would have been working in 1987, he might have made a film in this same vein. The vein being a continual threat of menacing terror that keeps growing and growing until it just cannot do anything else other than explode! So, watch this one for the thrills…not for the attention it got when it came out. And, whatever you do, please do not call it Hitchcockian. If necessary…maybe pseudo-Hitchcockian, or semi-Hitchcockian? But, only if necessary!

Fargo

Not for the faint of heart, this film is one of the funniest comedies I had seen in years. Frances McDormand won an Oscar for playing very pregnant Marge Gunderson…a fabulous character who is most definitely the sharpest person in the film (though that is not really much of a compliment). Marge is a police officer in Brainerd, Minnesota and she gets involved in an investigation involving kidnapping, brutal murder and theft. The script is sharp and hilarious…and the performances are all right on target. But, be warned…it is a DARK comedy. People die. People kill people. This is the Coen Brothers, after all.

Far from Heaven

When a 1950s housewife falls in love with her black gardener, her life that was already in shambles threatens to complete fall apart. A great, powerful drama in the same tone of the early 20th Century melodramas, especially the Douglas Sirk-directed melodrama All That Heaven Allows. In All That Heaven Allows, Jane Wyman plays a recent widow with two grown children and Rock Hudson plays her gardener. The catch, in the Sirk film from 1955, was the age difference and that he is a lowly gardener and she is a prominent widow with means. Far From Heaven takes off where the Sirk film began and uses racial tensions as the barrier between the two potential lovers. Even though they are two different films told in two totally diverse perspectives, both of these movies are worthy of being seen for their brilliant 1950s styles and their powerful messages.

Evelyn

Based on true events, this sure tearjerker tells the story of an Irish father in the 1950s who loses his kids through circumstances beyond his control and fights to get them back. The subject matter itself makes this story a tough one to film…too much sappiness might drive the audience away and too little sappiness makes the story fall short of its emotional mark. With the help of Pierce Brosnan (who plays the father) and the rest of the cast, Evelyn succeeds in not being too overly syrupy while still retaining enough tenderness to give the audience both tears in their eyes or lumps in their throats (or both). A charming, feel-good film that the entire family can watch and enjoy together.

Eternal Sunshine for the Spotless Mind

If you just let your inhibitions go…feel them float out of your body…watch them disappear…then and only then can you watch this film. The stipulation to this rule is if you are already a Charlie Kaufman (the screenwriter of Adaptation fame), you might be able to watch this and hang on to your inhibitions. But, fans of Jim Carrey be warned…this is NOTa typical Carrey film. Even the more “serious” films the actor has done (The Truman Show, The Majestic) are no comparison to the level of seriousness and un-Carrey like behavior of this film. With all of that said, if you still want to see this one, read on. Eternal Sunshine is a hard movie to write about since I still really don’t know what it’s about or what it meant. It’s a film that brings to life a person’s imagination, intellect, and emotions and captures their essences on the screen. To pigeonhole this film and call it bizarre or weird does not give it enough justice. Though, it is remarkably bizarre and unquestionably weird, it’s also thought-provoking, sensitive, smart, and extremely innovative. One has become to expect these oddities from screenwriter Kaufman. But, unlike Adaptation’s more conventional theme and storyline, Eternal Sunshine defies all conventions…actually more like blows them away. If you are in the mood for something avant-garde yet you’re not quite ready for the French New Wave, watch this one.

The Dreamers

Bernardo Bertolucci continually pushes the envelope and sometimes, I feel, he does it deliberately just to stir up controversy. That is how I felt when I heard about The Dreamers . Once again, the film opening was mired in a heated uproar about the rating system (it was eventually given an NC-17 though an R-rated version was also released on DVD) and sex in motion pictures. So, when I rented it, it was just to see if Bertolucci was once again living up to the reputation I had given him as an over-hyped director. I half expected to fast forward through most of it. Thankfully, I didn’t have to. The film is a good one and deserved to get more praise than it did when it was released, rather than just notoriety over its high sexual content. Yes, the film is sexual. It has graphic erotic scenes (I’m basing this review from the R-rated version), even some incestuous sexuality, which Bertolucci has used before in his films (Luna, in particular). Aside from the sexuality, the story and characters are interesting and captivating. It is a solid, vibrant coming-of-age piece with young people searching for a life like the ones they see in their favorite classic movies. The sexuality is a side note…a distraction that does pertain to the plot but does not actually move any of the action forward. Did this film need to be as sexual as it was? No, but Bertolucci so enjoys stepping over that line and inciting controversy that I’m not sure he could make a movie without sex. And, sadly, that controversy kept some people from seeing a film that is a good story about love and friendship and should be seen.

Downfall

The story of Hitler’s last days in the bunker, told through the eyes of his 24 year old secretary, Traudi Junge. Bruno Ganz’s performance as Hitler is absolutely chilling…it never degenerates into kitschy. As a historical drama, it’s accurate, very compelling and well-made. Yes, it's long, but somehow, the suspense and the pacing keeps everything moving. Another film where you know the outcome (i.e. Titanic, All the President's Men), but you don't care -- you're just riveted.

The Dish

This is the story of how a small Australian town is turned upside-down overnight when NASA needs to utilize its large satellite for the 1969 Apollo 11 moon landing. Sam Neill plays the by-the-book chief who has difficulties controlling his less-than-professional staff. I wasn’t really sure what to expect from this film, since it did not get much buzz when it was out in theaters. I was pleasantly surprised by the cast, the story, and the subtle way this film weaves together all of the plot points. A small dramatic film with quite a bit of comedy tossed in to make a sweet, unassuming film.

Die Hard

This is the one that started it all…we are introduced to John McClane, from the NYPD, for the first time. We like him, though we see he has an edge. And he’s troubled about his estranged relationship with his wife, who accepted a lucrative job in Los Angeles months ago and ended up moving up the corporate ladder quicker than expected. Even without seeing any back story, we know instantly that John is not an “L.A” kind of a guy. So, take this worried, disgruntled man and put him in a skyscraper where he is the only one who is not taken hostage when a gang of slick international terrorists come to rob the joint...to say that his adrenaline kicks in is a vast understatement. All John can think about his that his wife is in danger and he needs to save her. And that means he will go to any lengths, which he does with gusto, humor and incredible vigor. This film became the late 1980-1990s icon of the action film. Films, for years after this one, used the “man trapped someplace alone with baddies” formula. But, none of those imitators came close to the rush of the one and only (and the original) Die Hard.

Die Another Day

For his final outing as the ever-clever MI-6 spy James Bond, Pierce Brosnan has a so-so script to work with but he does a great job, as usual, of keeping the lack-luster story alive. He is joined, this time, by a showy Halle Berry (who adds very little to the film) and some other less-than-exciting characters (with the exception of Rosamund Pike who plays a great friend then foe to Bond). So, even with the daunting challenge of keeping the movie entertaining despite obstacles, Brosnan comes through with a bang! He is really charged here as Bond, finally finding his 007 footing…he’s tough and charming and cynical, yet confident. It’s a shame that this was his last 007 film (though new Bond Daniel Craig is also good spy material, which he proves in 2006’s Casino Royale) but for four films, Brosnan brought life back into a fledgling series…just as he brings life to this fledgling movie.

Derailed

Don't call it "Hitchcockian" but this film is a good, nail-biting thriller. Yes, it's flawed (which is the main reason it shouldn't be called "Hitchcockian") but over-all, I was entertained by this one…mostly because of Clive Owen's brooding intensity, which he has done in films before but that he perfects here. Owen plays a suburban upper-middle-class husband and father who, by chance, meets a seductive woman on the train one morning. After that first encounter, Owen is tempted enough to seek her out again. And, that leads to more and more, etc. Where this film takes off is once the affair is over…then the action begins. Not the best thriller ever made, but something good to hold your interest on a Saturday night...

Death at a Funeral

One of the funnier films I’ve seen in a long while. Set during their father’s funeral, two brothers (one MUCH more successful than the other) run the gamut of problems and family issues during the should-be-sorrowful gathering. From the wrong corpse in the casket to an alleged gay love affair, this movie really does have it all. It’s original and well acted…and most of the humor is above board (there were only a few times I wish the filmmakers hadn’t “gone” there). If you like British comedies, you MUST watch this one. And, even if you don’t normally like the humor of the Brits, try it anyway. It’s a hoot!

Dead Calm

I know I often begin these reviews saying I don't like something or someone but I took a chance and saw such-and-such movie anyway. Well, here I go again. I do not like Nicole Kidman, but I took a chance and watched this one after I'd heard quite a few positive things. And, I was pleasantly surprised. I always like Sam Neill so that part wasn't much of a stretch, but I usually try to give Kidman movies a wide birth. Ignore my rant about that, it is a good thriller...and even if you don't like Nicole, try it. Why? Well, it would have to be something pretty good to overlook the "Kidman" factor. And, it is. This is a methodical thriller that takes place almost entirely on two boats. Neill and Kidman are husband and wife who've just lost their only child. Neill, a naval officer, takes his wife on a long sailboat trip to try and ease her pain and guilt (the child died while she was driving) of losing her son. While at sea, Neill spots a boat that appears to be in trouble. One of its passengers is heading toward them in a dingy. They take him aboard and he tells the couple that all of the passengers he was sailing with have died. Neill, not believing this story, heads to the other boat...finding out that the people didn't just die...they were murdered. That's a big problem, especially since he left his wife on his boat alone...with the murderer! Neill gives an excellent performance and Billy Zane is particularly menacing as the psychotic murderer. And, Kidman is...OK, which is pretty high praise from me. Dead Calm does one of the best jobs ever of giving a realistic feeling of claustrophobia. Even though they are in the middle of the ocean, we continuously feel trapped...which is something that only heightens the suspense. A great thriller!

Dead Again

A good thriller by Kenneth Branagh…who is not your typical “thriller” director. Maybe that’s what keeps this one original—Branagh’s unusual take on the suspense genre. Well, whatever it is that makes this film witty and clever, it works. Set in two time periods, it tells two stories that at first seem mostly separate but then begin to reveal some joint characteristics. The 1940s part is shot in black and white and revolves around a couple who appeared to be madly in love…at least until one of them is killed and the other is accused of the murder. The present-day story (shot in color) deals with a woman who is suffering from amnesia and the private investigator trying to help her. How these stories interweave is the original part. Branagh does a great job of holding off on the suspense until just the right time. But, once it kicks in, watch out!

The Day of the Jackal

The Day of the Jackal was a surprise to me. I have tried other 1960s/1970s-era spy films and had not liked them...The Spy Who Came In From the Cold, The Odessa File, etc. When this Fred Zimmemann film came on cable one night, I begrudgingly thought I would give it a go, but expected I’d be turning it off quickly. I didn’t. I was totally engrossed in the story and captivated by the inner workings of the main characters. The story begins in the 1960s with a failed assassination attempt on Charles de Gaulle and leads us into a web of intrigue about a secret French organization that is determined to succeed in killing then President de Gaulle. This film plays like a documentary, which makes it slower-paced and more intense. Mostly filled with unknown actors (or at least actors who are not known to me) with the exception of Derek Jacobi…playing a Frenchman, no less…The Day of the Jackal demands all of your attention. If you take your eyes away from the screen for a second, an important detail might be missed. I’ve watched this one several times since I first saw it and each viewing, I catch something new…something that makes me like the film even more. From start to finish, this one captivates…it is truly one of the best, most taut spy thrillers ever made.

Dave

Presidential look-alike Dave (Kevin Kline) saves the day and the country when he stands in for the president after the “real guy” has a stroke. Problems ensue when he decides to institute policies without permission and falls in love with the first lady, who soon discovers the secret about her real husband (who is a compassionless, womanizing man) when she gets to know nice-guy “fake” husband Dave. Not the finest comedy ever made but a pretty decent stab at a Capra-like film that succeeds in most areas.

The Darjeeling Limited

First of all, I never thought I would be writing a review on a Wes Anderson movie. Or even an Owen Wilson film. So, it's fair to say that The Darjeeling Limited is another film I didn’t think I would like...at all. But, unlike Wes Anderson’s other films, this one relies more on its plot and characters rather than on its inane quirkiness. A story about three brothers, all of whom have been estranged from each other for a time, who buried their father and are now on a quest to find their long-lost mother. Their quest takes them on a train trip through India, where their mother is believed to be in hiding. Yes, it's quirky, but it's a good, easy-going sort of quirky that I don't mind. The Royal Tenenbaums and The Life Aquatic with Steve Zissou were seeping with quirkiness, and not an innocent, harmless kind either. The quirks here are not part of the plot -- they are just little blips in the characters' personas. It is a colorful, fun movie...a great road-trip film!

Danny Deckchair

No, it’s not going to win any Oscars but it’s a charming film that I think everything will get something out of. Danny is a frustrated bricklayer who has been bitten by the “vacation” bug and has a camping trip planned. His headstrong girlfriend has different ideas…none of which include a vacation but rather include ways to jumpstart her real estate career. After hearing that his vacation has been axed, Danny has one too many beers and comes up with a great idea…or what seems like a great idea at the time. What happens next takes the film on a predictable wild ride. Yes, predictable, but I didn’t care…somehow it all just works. I mean when Danny’s “idea” lands him in the backyard of a beautiful, single lady, I dare you guess what’s going to happen! But, the ride getting to the end is a fun one. Danny is an odd character…not only because of what he does but also because he can go from being wild and outrageous one minute to serious and introspective the next. In the beginning of the film, I kept thinking “what a fool!” but by the end of the film I had grown fond of Danny. And I guess that’s part of the film’s progression…Danny is supposed to “grow” as a man…discovering what he was missing in life and doing something to fill the void. All of this philosophy might be a little too much, since this film is much less complicated than I’m making it out to be. It’s a charming, funny love story with entertaining characters and extremely comical situations.

The Crimson Rivers

This film is unlike most of the thrillers I have seen…and I have seen a lot of them. It is smart and clever and unexpected. A little bit of horror mixes with some science, some drama and a lot of strange characters to achieve an edge-of-your-seat film. I guess I should take time here to tell you that some of the plot (especially toward the ending) is a little confused…OK, a lot confused. It involves science and genetics and anything to do with science is pretty much Greek to me (or any other language). At first, I thought I was alone in my confusion but I watched some of the special features on the DVD and the cast and crew were talking about how they didn’t even understand it completely. It’s kind of like the Macguffin in Hitchcock’s films…it doesn't matter WHAT the thing is, it just matters how exciting it is to find it. What kept me most intrigued with the story were the characters and the quick pacing of the action. It is hard to take a breath during this one…things just keep happening. Sometimes, you don’t know why or how they are happening, but by the time you figure it out, something else is happening. Jean Reno and Vincent Cassel play excellently off each other…Reno is brooding and Cassel is inexperienced and impetuous. The way Cassel involves himself with Reno’s case is clever and not the usual “action” movie cliché of "pairing up" the old master with the young guy that has a lot to learn. If you like action thrillers, this is one you will not want to miss!

The Counterfeiters (Die Fälscher)

A fabulously done Austrian film about a skilled counterfeiter who gets put in the counterfeiting section of a concentration camp during World War II. Him and a few select others are chosen to help the Nazis attempt to counterfeit both the British pound and the American dollar. The rapport among the men in the counterfeiting section is what intrigued me. Some were so sickened by helping the Nazis they came close to self-destruction. Some saw this "duty" as easy work...a way out of hard labor and even out of being killed. The performances are all spot-on and each of the characters is unique and very well-constructed...and even with the dark, grizzly subject matter, we keep watching because we have to find out how all of these characters end up. Any Holocaust film is tough to watch...and hard to say you really "like." I mean, can you "like" a film about death and atrocity? So, avoiding that, I will say this film is well-done and extremely powerful.

The Count of Monte Cristo (2002)

First off, I’m not a big fan of “historical” or “costume” pics, but this one for me worked. It is a love story, a thriller, a drama and a heartwarming tale of both friendship and a saga of life-long betrayed all rolled into one. Based on the novel of the same name by Alexandre Dumas, this story has been told before in movies, and probably will be told again…I mean there is so much hatred and passion in this one that it’s hard for filmmakers to resist using it for subject matter. What makes this version captivating for me was the look and feel of the film, and also the performances by both main players…Jim Caviezel and Guy Pierce. Caviezel plays Edmond Dantes, a man dastardly wronged by a man he assumed was his close friend…Fernand Mondego. Pierce is so malicious and cruel in this film that it’s still hard for me to see him in anything else and not see him as a villain. And Caviezel is convincing as a man who will stop at nothing to get revenge. The film is visually stunning, set mostly in France which has never looks better. The visuals themselves are so vivid that they tell their own story…so even if you’ve read the book or seen another version before, check this one out…for the look alone!

Cool Hand Luke

One of Newman's best roles…in my humble opinion. OK -- it also happens to be the role he probably looks his best in. Does that have something to do with it -- you betcha! Playing a two-bit street kid, one of his petty crimes finally lands him in a prison…and part of a chain gang. Not wanting to be there, he makes trying to escape his new occupation…getting caught and sent back almost as often as he attempts to flee. Newman is not the only reason to watch here…George Kennedy won a Supporting Actor Oscar for his role as one of the fellow inmates. And the other prisoners are also great…befriending Newman, cheering him on as he flees, and welcoming him back as he returns. Not a movie for all people…ladies, be where. This is the antithesis of a "chick flick." But, then again, you can always mute it and just look at Mr. Newman!

The Color of Money

Paul Newman…Tom Cruise…Martin Scorsese. Heaven on film. A sequel 25 years after the fact, Scorsese takes over for The Hustler helmsman Robert Rossen (who died in 1966) and continues the story of "Fast" Eddie Felson…a hustling pool player who uses his exuberant charm and extreme good looks to his benefit at every pool table he plays. The tale Scorsese spins here is much different than Rossen's tale of 1961. This film is more stylized and a little glitzier…at least as glitzy as pool halls can get. Here, Felson encounters a young man whom, seeing a lot of his young self in, he begins to groom into being a proper hustler. The protégée is crass and way to smart for his own good. Felson teaches him some of the lessons he learned over the years…though at times the protégée has trouble listening. The Hustler will always remain the quintessential Fast Eddie film. But, this one adds depth and experience to the aging hustler's character.

Cinema Paradiso

Being as big of a film fan as I am, you would think I’d seen this one long ago. But, I never did. It was not intentional…just an oversight. Recently, I made up for that by finally watching the extended edition on DVD. This is a fabulous movie that will be around forever as a testament to filmmaking and movies in general. Destined to be a timeless classic, Cinema Paradiso tells the story of a man, Salvatore, who finds out his childhood hero has passed away. We are taken into his memory and back in time to his childhood when he first meets his hero Alfredo, a movie projectionist in a small-town cinema. Then, we move into Salvatore’s adolescence where, though Alfredo is still part of his life, his romance with a lady becomes Salvatore’s consuming passion. The movie comes full circle, back where it started with Salvatore as an adult and returning home to the town he grew up in. Cinema Paradiso is a masterpiece about filmmaking, love, regret, and loss. Just when you think it’s as good as it’s going to get, it gets better. Put off seeing this one and you’ll be sorry (like I was).