My Favorite Movies

'Rear Window' is the pinnacle of Alfred Hitchcock's distinguished career and one of the finest cinematic achievements ever to grace the silver screen.

"That's a secret private world you're looking into out there. People do a lot of things in private they couldn't possibly explain in public."

"Rear window ethics" come under the intimate glare of the zoom lens in this voyeuristic thriller, when a wheelchair bound James Stewart observes a medley of private dramas unfolding across the courtyard. Each is a disparate plot thread woven around the principal themes with imperious craftsmanship and witnessed by a subjective camera that serves as a gateway into an inextricable tapestry of human behaviour.

The ever reliable Stewart brings a touch of class to proceedings, impressing his considerable presence and talent to convey a vulnerability to his cynical character. He is matched in his efforts by a sterling supporting cast, including the acerbic Thelma Ritter, sophisticated Grace Kelly and laconic Wendell Corey. The chemistry between Stewart and Kelly is wonderful, crackling with entertaining interchanges, but Ritter and Corey also get in on the act, delivering sly black humour that offers light relief to a dark tale.

However, the name of the game is suspense and Hitchcock is the consummate master, gleefully playing the audience strictly to his rules. He and his crew have shrouded the movie in a sinister ambiance that gradually takes hold, smothering the playful humour with fragments of morbid intrigue, like pieces of a puzzle that form a frightening image of depravity.

The Matrix is a revolutionary movie that blends a challenging and inventive story with cutting-edge visual effects, all combining to create a flowing and exciting masterpiece of modern cinema.

It's a Wonderful Life is a winning slice of "Capra-corn".

This beloved family movie has inspired for 60 years and its impact has not diminished with time.

It is a joyous and heart warming experience that reminds you why you started watching movies to begin with.

Shadow of a Doubt is a sinister thriller that charms you with Teresa Wright's luminous presence, but simultaneously unsettles you with Joseph Cotton's insidious evil.



It was also Alfred Hitchcock's personal favourite, as he was interested in the contrast of the innocent and naïve small town America, whose closed community is so isolated from the dark perversions of the big cities.



In this movie, the darkness infringes upon the Arcadian world in the form of Joseph Cotton's Uncle Charlie; the 'Merry Widow' murderer, whose charming exterior masks a cold heart and malignant soul. He escapes from Philadelphia and journeys to sleepy Santa Rosa, to hide out with his sister and her family, who are completely unaware of his true nature.



Within the family is Teresa Wright's Young Charlie, who embodies the small town qualities and worships her uncle. His arrival in Santa Rosa casts a menacing shadow over the town and it is not long before Uncle Charlie's poisonous hatred seeps out, polluting Young Charlie's idyllic existence and threatening her life.



What follows is a remarkably suspenseful game of cat and mouse, brimming with moments of incredible tension that resonate throughout the movie, building to an astounding climax that ultimately shatters Young Charlie's innocence.



Shadow of a Doubt is quite simply one of the greatest achievements in movie-making and, in my opinion, second only to Rear Window in Hitchcock's impressive catalogue of work.

Rocky is an inspirational drama starring Sylvester Stallone in his career defining role.

The story is pure fairytale material, but outstanding writing and acting from Stallone ensures that the fairytale is built upon a foundation of real humanity. He presents us with a character we can embrace, whose profound heart and sincerity provokes a passionate response.

This response is intensified by a rousing music score from Bill Conti, which helps elevate Rocky to the pinnacle of feel-good cinema and provides the finishing touch to a triumphant movie experience.

The entire cast are on top form in this classic character drama that has aged very well.

The confined space of the jury room and frequent use of close-ups creates a strong claustrophobic atmosphere, which is heightened by the increasing tension among the characters.

The dramatic revelations of the story, whilst a little contrived, add to the impact, making this movie a powerful viewing experience.

Mr. Smith Goes to Washington is an inspirational classic, with a wonderful blend of comedy and powerful drama.

This movie is bursting with energy and optimism, all stemming from James Stewart's dynamic performance as the idealistic young senator.

Jean Arthur is equally good, representing the cynicism found in many of us, when presented with someone who claims to have pure motives.

But, in true Frank Capra style, our passionate hero revives the hope inside of her and the nation, when he confronts the corrupt political machine, building up to the electrifying filibuster climax. A cinematic triumph.

Anatomy of a Murder is a compelling courtroom drama that provoked controversy on its release in 1959, due to its intricate examination of rape and premeditated murder.

Acting heavyweights, James Stewart and George C. Scott invigorate every nuance of this movie with their formidable dramatic talents. Their performances are pitched perfectly and complement one another wonderfully, yielding a potent force that sets the screen alight.

In the beginning, Anatomy of a Murder adopts a fairly light and humorous tone that eases you into the modest world of Stewart's mild-mannered small town lawyer, adorned with the eccentric Arthur O'Connell and cynical Eve Arden for comic value.

However, outsiders infringe upon his peaceful existence in the form of Ben Gazzara's fiery army lieutenant and his seductive wife, Lee Remick, resulting in a terrible crime that shocks the humble sensibilities of the town.

The focus of the story then shifts into the courtroom, as Stewart steps into a ferocious moral debate and a monumental collision with big city prosecutor Scott, who exudes menace and smothers his surroundings with intimidation and hostility.

The simmering tension, thinly veiled by a veneer of civility, boils over in a torrent of vociferous arguments, unleashing a searing passion, which courses through each line of dialogue.

The fates of the four principle actors become intertwined, as the conflict descends into a mire of visceral human behaviour, enveloping them in a whirlwind of jealousy and rage. This erupts into a blistering tornado that tears through the courtroom, before unravelling in a devastating final showdown.

Jerry Maguire is the definitive romantic comedy, from the fantastic Cameron Crowe.

This movie has a strong emotional core that moves me with each viewing. The characters are well rounded and Tom Cruise has never been more likeable.

The Best Years of Our Lives is a monumental cinematic achievement that leads you on a profound emotional journey through the many shades of humanity.

The decimation inflicted upon homes and families during WW2 was a harrowing reminder of the destructive nature of humanity, born from prejudices that continue to infect our planet, inciting intolerance and conflict.

This idea is poignantly encapsulated by Dana Andrews, Frederick March and Harold Russell; three physically and emotionally scarred veterans, who have endured the horrors of the battlefield and their joyous homecoming has now faded into a painful struggle to reintegrate into a society that has progressed beyond them.

These three characters are traumatised by war and further afflicted by their own personal circumstances. Andrews' Fred Derry is plagued by nightmares and trapped in a loveless marriage that starves him of the comfort and support he desperately desires. March's Al Stephenson feels like a stranger in his own home. His children have grown almost beyond recognition and his wife has adapted to life without him. Finally, Russell's Homer Parish is consumed by bitterness and self-loathing after losing his hands in combat. He feels inadequate and despises the pity cast upon him, so he isolates himself from his family and friends.

This establishes the emotional platform, from which the movie soars into the stratosphere of American cinema, fuelled by inspired performances from the three principle actors that tangibly express the torment of their characters and vividly reflect the wounded world of the time; all a result of the darker aspects of human nature.

However, the resounding message is one of hope and the movie transcends the darkness through a heartfelt exhibition of humanity's capacity for compassion, symbolised by Teresa Wright, Myrna Loy and Cathy O'Donnell, who offer the distressed soldiers kindness and understanding.

They are the shining light of the movie, leading humanity to redemption and their performances, brimming with wholesome charm, wonderfully complement the male leads, forming a triumphant union of strength and tenderness that proves 'The Best Years of Our Lives' are still to come.

The Hustler is an intense emotional drama that descends into the sordid depths of society and displays it in grim detail, ensuring a harrowing experience for the viewer.

At the core of the degradation is Paul Newman, who delivers a searing, career-best performance as "Fast" Eddie Felson, a role which perfectly showcases his peerless dramatic capabilities to astounding effect.

He casts aside his movie star status and presents us with a textured portrayal that richly expresses the vulnerable and pathetic nature of Felson.

Newman is also blessed with stellar support from George C. Scott and Piper Laurie. Scott is outstanding as the cancerous Bert Gordon, who preys upon Felson and maliciously drives the equally vulnerable Laurie to tragedy; all with cold satisfaction.

The three performances complement one another perfectly, creating a compelling force that will leave you feeling drained and depressed by the conclusion; but what a ride.

The Shawshank Redemption is a hugely popular prison drama that is a little slow, but always interesting.

The strong, involving story is punctuated by moments of high drama that really pack a punch.

Tim Robbins and Morgan Freeman deliver flawless performances, adding real depth to their characters, making this a truely moving and inspirational experience.

Hollywood's traditional glossy veneer is stripped away, by director Elia Kazan, to reveal a bleak and gritty drama, surging with an intensity that brings the harsh reality of life "On the Waterfront" into sharp focus.

The camera sits perched on the rooftops, surveying all before it, the stark black and white photography casting a critical eye over the unrefined landscapes and crude décor of the New Jersey docks.

The striking austerity of each frame is contravened by the rich tones of everyday life; the mechanical drone, emanating from the docks, infringes upon many scenes, contributing to a tangible atmosphere indicative of the seedy and impoverished lifestyle.

Underworld infiltration has torn through the fabric of the community's fragile existence, condemning them to a moral wilderness where Johnny Friendly flourishes, feeding off their fear and desperation.

Lee J. Cobb consumes the screen with a suitably boisterous performance as the mob boss, chewing on every line of dialogue and spitting out venomous barbs, as he rules over the docks through intimidation and ruthless violence.

Marlon Brando is on Oscar winning form as Cobb's blunt weapon, Terry Malloy. He delivers a nuanced performance that conveys a misguided and conflicted soul, imprisoned in a cage constructed from his own insecurity and loyalty to his brother, Rod Steiger.

However, the luminous Eva Marie Saint is the fragile figure of his salvation, carrying forth a voice of love and kindness that opens his eyes to the sea of corruption washing over his livelihood. Her purity and faith stir his conscience, inspiring the virtuoso Brando to stand with his brethren against the malignant decadence that has infected his neighbourhood.

Karl Malden is equally brilliant as the local priest, who preaches morality and justice, but also incites the passion with which it must be earned. He infuses power into Saint's ideals and is the catalyst for this riveting story that builds to a memorable finale.

Alfred Hitchcock invites us to go "North by Northwest", on a stylish and expansive Cross-country pursuit, from New York to South Dakota. We joyously trail Cary Grant through a series of memorable scenes and iconic set-pieces, danger looming ominously over our hero, as a case of mistaken identity implicates him as an unwitting player in an international cold war - inextricably entangled with refined villain, James Mason.

Each dazzlingly staged episode is a disparate fragment of an exciting and colourful collage, punctuated by interludes of protracted suspense, providing the raw material for an exhilarating and flamboyant composition, assembled by the hands of the master and his fellow craftsmen.

The stand-out moments of this diverse artistry are the crop-dusting plane attack and the climactic chase across the faces of Mount Rushmore. The former is a visual treat, as the glorious panoramic images capture the plane swooping down from the glaring sun, like a bird of prey, chasing our stranded hero across the dusty wilderness of Highway 41. The latter is equally spectacular, boasting searing tension that is balanced on a knife edge, as precarious as Cary Grant and Eva Marie Saint dangling from the face of the famous monument.

"North by Northwest" is yet another fruitful collaboration between Hitchcock and regular composer, Bernard Herrmann; the latter scoring a lively commentary on the elaborately plotted action, beginning with a boisterous overture that sets the tone for a bold and dynamic adventure.

The sprawling script by Ernest Lehman is lightly humorous, brimming with snappy and sophisticated dialogue that is justified by the charismatic Grant, who is particularly enjoyable during the steamy train journey, when he first encounters the elegant seductress, Saint. We are treated to sizzling chemistry between the two charming leads, both eagerly getting their mouths around Lehman's suggestive words.

"North by Northwest" is a rip-roaring thrill ride, relentless from the opening flourishes through to the very peculiar finale - from mortal danger to wedded bliss in the blink of an eye.

Unbreakable is a slow but rewarding thriller, built on an intriguing premise.

M. Night Shyamalan refuses to be rushed in telling his story, spending a lot of time developing the characters and allowing a gradual build-up of suspense.

However, come the end of the movie, you will appreciate what he has achieved with this gem.

Donnie Darko is a challenging Sci-Fi movie, which may require multiple viewings to understand, but is well worth the effort.

It is full of very interesting ideas that will raise many debates and a great atmosphere of impending doom.

This one is an instant classic and Special praise is reserved for debutant writer/director Richard Kelly.

Crash is a highly charged racial drama, expertly acted by the ensemble cast.

The story flows well despite its many plot lines and concludes neatly.

Two phenomenal scenes in particular raise this from an enjoyable movie to an unmissable experience.

The twilight glow of the setting sun scatters the final rays of light on the era of the samurai. Within the fading light of a dying breed, lies a gentle and poignant drama, laced with a sadness that emanates an aura of subdued forbearance.

'The Twilight Samurai' of the title is a humble and honourable man, who appreciates the simple pleasures he is blessed with in life. However, he feels suffocated by his duties and the social structure of the time, both combining to restrain his simple ambitions to be a farmer and husband to the woman he loves.

As the story progresses, his existence is further tainted by the beckoning shadows of a changing world. They cast darkness upon him, shrouding him in fear and violence, as his way of life slowly fades into the gathering dusk, before alighting in the dawn of a new era that ultimately spells tragedy for Seibei Iguchi.

The bleak tone of the story is encapsulated by Mitsuo Naganuma's crisp, earthy visuals, pale in appearance, orchestrated by Yôji Yamada's modest yet fluent style. Also, Isao Tomita's sombre music score wonderfully conveys the fine balance between the characters' moderate happiness and their despair.

The calm exterior of the movie masks a torrent of emotion, tangibly expressed through suitably understated performances by Hiroyuki Sanada and Rie Miyazawa. Each yearning glance between their two characters is surging with unfulfilled desires that resonate profoundly through to the bitter sweet climax.

Also, Sanada is silently tormented by inner conflict; bound by responsibility to his clan and social precedence, but also carrying a burden of personal responsibility to his family. This is beautifully expressed by his often despondent demeanour and slow, sorrowful gestures.

The Twilight Samurai is a deeply poetic viewing experience that succeeds remarkably as both a touching love story and a fascinating cultural exploration. Furthermore, it is yet another masterpiece of the ever impressive Asian cinema.