My Favorite Movies

The greatest western and possibly greatest film.

My favorite of the Dollars trilogy.

A western with a lesson.

The bleakest samurai film ever.

The last great western.
*1992 Best Picture: Ahhhh, how sweet it is. Maybe the greatest western of all time, as well as one of the greatest films of all time. Eastwood, Hackman, and Freeman.

Jaw dropping. The definition of film as art.

Italian realist cinema - the bleakest film ever made?

This film is said to have ended film-noir, because it is so dirty and bleak.

The greatest example of why black & white rules.

Burt Lancaster's greatest performance.

The title says it all.
*Should-Be 1994 Best Picture: Forrest Gump is weak compared to Pulp Fiction and Shawshank. It's a gutsy call, but I have to go with Shawshank. It's such a beautiful film.

The Grand-daddy of "cool." Too many films owe their style to this one.

Saddest film ever - bar none.

Tarenteno's first film that took everyone by storm.

Might be my favorite Oliver Stone - very human.

My favorite Brando film. And Elia Kazan's best.

On par with Shindler's List - very hard to watch.
*Should-Be 2002 Best Picture: Did they choose Chicago to get back at Polanski?? I really cannot even fathom another reason why The Pianist lost to a musical.

My favorite Coen film - ripe with symbolism.

Peter Lorre's greatest performance - the greatest acting performance ever?

The story of an outcast samurai who kills ...well...everything.

The whole series rocks -but the first film sets it up and is a bloody good time.

More of a speghetti western than the first - one of the best films of the past 10 years.

Social commentary about communism in western form. Brilliant.

Daniel Day owns ever scene in this film. Unreal acting.

The vietnam movie. Psychologically brilliant. It's unmatched.

My favorite noir.

Herzog's best. He was said to be able to direct landscapes...I believe it.

The title explains it all. The best escape film, and possibly the best action film.

I like it better than the original. Herzog is one of the most breath-taking directors.

Leone's 4 hour, non-western masterpiece.

The perfect film.

One of the best older westerns. Real hard hitting drama.

A hurricane of a performance by Pacino.

Tarkovsky is the most subtle and intellectual director I have ever seen.

Mind-blowing - literally. This film is a metaphor for the limits of knowledge.

Based on "MacBeth" and has the best death scene of any Kurosawa film.

Masterpiece - possibly the greatest direction in a film.

One of the best crime-drama's.

The most technically impressive Kurosawa.

My favorite samurai flick.

Probably the most recognized film in the world.

Acting powerhouse. De Niro gains 60 pounds and wins the oscar.
*Should-Be 1980 Best Picture Winner: Ordinary People is a great flick, but it's hard to believe that Raging Bull was not the best picture. I mean, it could be one of the best films EVER. Mindblowing..

The film that got me into movies. words cant describe it.

Hitch's best.

A different look at Vietnam, mostly the after effects.

Scorsese's first masterpiece.

The most humane Kurosawa.

Peckinpah's masterpiece of violence.

My favorite Scorsese.
*Should-Be 1990 Best Picture: How Dances with Wolves beat this masterpiece makes me angry, so I will stop here. WTF?

Understand it? Hardly. Denying the immense beauty and emotion of the film: impossible.

The Coens are simply amazing. Their first film is a small tale, but filmed with such intensity. It's hard to pin it down; there is just something special that sets it above other crime dramas.

immensly deep, haunting images that question existance and where consciousness ends.

Yet another Bergman film that makes me question life in general. He might suggest that death is a better resort for those who waste life.

The most action in a Bergman film and it is still one of the bleakest. Explores how war creates monsters out of the most passive people.

I will paraphrase Bergman's wife in a quote from IMDB. It goes something like, "Yes Ingmar, it is a masterpiece, but it is a dreary masterpiece."

There are certain images in this film that actually cause you to stutter outloud in awe. Certainly one of his most beautiful films, and if you know your Tarkovskian history, it makes more sense than most of his films on your first viewing.

Damn near perfect. Acting, direction, dialogue, humor, violence, and plot. What more can be said? Scorsese's best since Goodfellas.
*2006 Best Picture: Little Miss Sunshine and Letter from Iwo Jima could have won in any other year. But Scorsese does it again and creates perfection.

Unreal look at a war torn, bleak Europe, where the police become corrupt by chasing criminals.

Not only Germany is responsible for creating Nazis.

*Should-Be 1997 Best Picture: Titanic is crap, really. There are 4 deserving films here. My choice is LA Confidential and it's amazing plot and characters.

The weight of this film is still disturbing in 2006. I cannot even think of how it was recieved in '62. One of the finest films I have ever seen.

Artsy, Italian horror. Argento's most influential film. Truly scary.

While I was not as frightened as I was during "Deep Red" this Argento film is visually overwhelming. The contrast of blue and red, the use of shades and shadow, the score, and vivid color is a feast for the senses.

A must see for western fans. Set in a hellish Austrailian outback, swarming in flies and death. It is a dirty film, with an amazing story.

A truely frightening look at insanity. The film is surrounded in ambiguity which adds to the intense paranoia feeling.

The best western since Unforgiven. One of the more human films in recent memory.

Very stylish, hip crime drama. Not much of a story but more like a series of images. The jump cuts are jaring at first, but flow seemlessly with the jazz score.

*Should-Be 1981 Best Picture: I don't know if it is my love of underworld films or not, but I feel it is better than Reds and WAY better than Chariots.

Turner Preview Edition (122 min)

Pat Garrett: "This country's gettin' old, and I'm to get old with it. The Kid don't want it that way--might be he's a better man for it, I ain't judging. But I don't want you explaining nothin' to me, and I don't want you saying nothin' about The Kid or no on else in my goddamn county."

Here lies the heart of the film: friendship forced apart by the ever-changing West, coupled with a nostalgic, melancholic look toward the past that, at the same time, projects betrayal in the future.

How to rate this experience anywhere lower than 10 is impossible, because it is as much of a nightmare inducing experience as a movie. Haunting.

Turns the samurai genre on its head. Such an anti-samurai film because the samurai code is called into question. It shakes the foundations of what I have seen as "samurai."

Amazing political tale of paranoia in German occupied France. Great visuals accompany an interesting mystery.

The greatest martial arts film I have ever seen. Also, one of the best and most entertaining films I have seen in ages. It's much more than an action film.

Haunting masterpiece. Not only does Bergman question God, but he also questions judgement and revenge. Brilliant story and visuals.

For me this is a much more interesting film than Breathless. It is just as inovative, but the characters and storyline are extra hip and cool.

This is a great film. The scenes are so terrifying and real; leatherface chasing people through the woods is an iconic image. It's like watching horror history.

One of the most surreal experiences in cinema. The comedic beginning quickly gives way to harrowing conclusion.

Sellers is one of the funniest men to ever live, and this movie just goes to prove it. He is the ultimate outsider who wins us over with his humiliating scenes.

Very fast paced film, perfectly edited. It is so simple yet tackles issues of justice and morality.

The best no budget film. It is hard to believe something like this could be made for 60,000. An altogether brilliant film.

Bad DVD. Amazing film. Great mystery and hugely influential martial arts scenes. Possibly the greatest martial arts film.

Classic French gangster picture. Very hip, and cool. French New Wave is beautiful.

It is amazing how darker and violent the original is to the sequal. But the sequal is much cooler and hip than the original. This is just sheer horror, violence, and gore which is not a bad thing.

The best Bond, the best Bond Girl. Bond as he was meant to be, hard nosed, masculine, and completely un-remorseful.

A visual and imaginative overload. A fantasy for adults that is easy to get lost in. The most original, brilliantly thought out films in recent memory.

The faded visuals and barely audible sound make this film feel like a dream or a vision. Also, Dreyer's camera work is "ahead of its time." Visually stunning.

Unflinching docu-drama that exposes the hypocrisy of the US in a slightly future Vietnam. As relavent today as it was then.

the postmodern western? It's possible. A raw and highly ambiguous film. A gem really. Too bad the transfer and sound is bad, because it is brilliant. Oates and Nicholson spark.

How is this not the WW2 flick we all remember? This movie is something special. The acting is perfect, and the story is told truthfully and without remorse. Also, it contains some of the finest images in film history.

Brilliant surreal take on the Hauser tale that relies on facts and does not offer any speculations. Herzog's images radiate beauty.

A simple tale that is told with immense heart and feeling. Beautifully framed, shot, and acted, this film touches home on a personal level and is art in motion.

Beautiful. A brilliant love story and just amazing cinematography.

*Should-Be 1996 Best Picture: Toward The English Patient I feel like Ellain on Seinfeld. The clear winner to me is Fargo.

A personal fav of mine - Leone's last western.

Upon mentioning the word 'minimalist' concerning Bresson to a filmmaker he rebuked me, saying that there is nothing minimal about Bresson's images, but in fact they are among the purist in cinema. In a film where the protagonist is a donkey and it is famous/infamous for its lack of dialogue and expression, 'Balthazar' moves one to the verge of despair and sadness through the unquestionable beauty of its images. To accuse a film of being too filmic seems absurd, but Bresson is often labelled as boring and difficult. His images, however, tell stories that do not need words.

Much darker than 'Flags' both visually and plotwise. Eastwood is a great story teller and does it with minimal camera work. A devastating look at war, with shining humane moments, that ends very somberly.

Bertolucci's masterpiece, combining noir, surrealism, politics, and psychology, filmed in the ultra-cool fashion of the French New-Wave. Incredible contrast of close and long shots, with some of the boldest/bravest lighting in any film I've seen. A deep and harrowing tale not only about Fascism, but about the human psyche as well.

Epic in scope and run length. At about 4 hours and tagged "No Greater Love," it may seem like a chore to sit through but, as always, Kobayashi creates a bleak, devestating film. Nakadai's morals are at war with not only the Chinese prisoners, but his Japanese companions as well. It is one man's personal struggle against war, which sounds Hollywood-ish, but it is anything but. Pure masterpiece.

I finally saw 'Zombie' uncut in all its gory horror, and it actually lives up to the hype (and possibly it's original X rating). Terror and gore, however, is only part of the film's appeal, as the gore-master Fulci is a brilliant director and creates a moody, slightly operatic atmosphere (aided by a gripping score) that delivers chills and intrigues at every step. This must be, or has to be considered, the finest zombie film ever made.

Cinematic perfection from Dreyer yet again. He creates the most fluid, yet impeccably framed images in the history of cinema, and does it with minimal editing, a true testament to a brilliant director, considering the length and detail of his shots. An extremely moving film about conflicted Christianity but, as opposed to someone like Bergman, Dreyer chooses to answer the unanswerable question concerning religion: is there a God? Despite the overt pro-Christian ending, much of the film is a scathing critique of modern Christianity. One of the finest examples of cinema, period.

Tarkovsky makes films that are felt and experienced rather than simply watched. This is an amazing tale of life, death, consciousness, and longing. Constructed using extremely long takes and minimal dialogue, Tarkovsky shows again that he is 'the' enigmatic, cinematic poet.

This is filmmaking at its finest. Each picture I see of Dreyer's convinces me that he is the best, if not one of the best directors, to ever grace the earth. To see this film is to experience it (and I suggest using the 'Visions of Light' score on the Criterion disc). Dreyer's camerawork, framing, pans, and innovative shots are all devastatingly beautiful. Maria Falconetti must be the most picturesque person in the history of cinema; once glance of her agony produces swells of emotion in the viewer. Personally, I cannot believe that Dreyer was this innovative in '28. The brilliance of "Joan" even eclipses his later work, which is also brilliant. I do not know how to respond to the images of this film with words. It really is cinema?s version of poetry.

One of the finest films of the year. Cronenberg's investment into the Russian Mafia is obvious from the beginning (the detail concerning the ins-and-outs of Mafia life is as fascinating to watch as a Scorsese or Melville film). A massive amount of praise must be given to Mortensen who delivers a faultless performance - in a different language to boot! Honestly, the film feels like it is 30 minutes long it is so intriguing - to the extent that I was shocked when the credits rolled. As one can guess, the violence is severe but, as in 'History of Violence,' it is spread out and does not overwhelm the plot. Also, the mysticism of the Russian mafia is aided by Cronenberg's brilliant direction and refusal to reveal all the answers. A must see.

There is something so ominous about the soundtrack in this film. It is similar to Bob Dylan, only slower and more mythodical. Coupled with the bleak visuals, 'McCabe' makes for a harsh viewing experience. The film actually begins quite amusingly; the ending, however, leaves a tragic imprint over the entire film. 'McCabe,' at the time, would have done to the western what 'Touch of Evil' did to film-noir; it is a dark, dreary depiction of an even darker time in American history that is often portrayed as romantic.

'Rules' has to be a candidate for the greatest film ever made. Renoir makes an epic film out of basically one setting, which testifies to the unreal performances in this film. As the pace quickens, so too does the suspense but a charming comedic relief is never too far off either; it is a perfectly balanced film. When read as a critique of the bourgeois during WWII, however, it is a scathing, vicious look at the ignorance of human-beings as a race.

The second part of Kobayashi's haunting WWII epic, finds Nakadai at the front lines of military service after his fall from grace in the first instalment. Again, Nakadai is the only man with virtue in the entire unit it seems, but such cliché does not distract from the brutal depiction of Japan in WWII. The film ends on a cliff-hanger of sorts, but on a series of images that are burnt into your memory as one of the most tragic in film. Bring on the conclusion!

Incredible. I haven't lost myself in a film like this in ages, and it demands a second viewing (a second viewing that will be even more rewarding than the first). The title so accurately describes the film that it is almost comical. The idea of 'paying close attention' to a film takes on a whole new meaning in Roeg's masterpiece. It's billed as 'A Psychic Thriller' but it may be THE psychic thriller and is handled brilliantly by Roeg.

After the first hour and thirty minutes, this film takes a complete 180 becoming one of Bergman's more mysterious and darker works (if that can even be imagined!). I've not been this lost in a Bergman film since 'Persona' and 'Fanny' shares elements with that masterpiece. The TV version is a must; it is slow to develop and conclude, but the rest is damn near perfection.

Fulci's second masterpiece in the zombie genre, the first being "Zombie II." Usually story takes a backseat to atmosphere and style in these Italian horror films, but there are always a few bright spots (Bava, Argento, Fulci) who really bring an intriguing plot to a simply devastating atmosphere and sense of dread. Near perfect film, if you are into this sort of cinema.

It's possible that Bunuel's last film is his best. Fernando Rey has become my hero; there is nobody that could play such a slimy old man with such finesse and dignity! He is amazing. I must admit, I did not notice the two different Conchita's at first, but upon another viewing everything falls into place, and my appreciation for the film continues to grow.

The film grows on me with each viewing, and the brilliant Criterion release helps; but budding moments of what would become Tarkovsky's genius style are intermixed with pure Russian Socialist propaganda. There are also discourse not used by Tarkovsky since, which is rather distracting, such as rear projection, point-of-view handheld shots, quick cuts, and a rather melodramatic soundtrack.

I hate to say it, but the final instalment in this amazing trilogy does not compare to the first two (which would be near impossible, but I still feel let down). Kaji is one tough mother! But his tribulations in this film are beyond the moral decisions of the first two films and he turns into a superman, steel type character. The final act is where the drama from the first two films returns. The final scenes of the film (and especially the flashbacks) are hard to watch in retrospect. Overall, however, "Condition" is one of the finest trilogies I've ever seen.

I'd so love to give this film a 10, it really has everything, but that includes Paul Dano. Pitting him against Day-Lewis is just plain unfair-and with little prep-time for his role. Although Dano and the plot fizzle toward the end, Day-Lewis proves that he may be the finest actor living, actually, I cannot think of a more consistent, challenging actor-sorry Bobby D.
*Should-Be 2007 Best Picture: After repeated viewings, I've forgiven Dano's performance and realized just how brilliant Day-Lewis is. I LOVE No Country for Old Men, but the edge goes to TWBB.

Before I begin, ANYTHING with Keitel as a detective or gangster is going to spike my interest. That being said, without his massive presence, the film is a brilliant, confusing, twisting ride about obsession. Also, Roeg's direction is too cleaver not to have influenced current filmmakers in terms of transitions, and just defying the norm.

This film plays like the ultimate revenge fantasy. It explores the darkest depths of masculinity, ego, and the underdog. Watching "Dogs" is like releasing all one's anger through Hoffman's character. Peckinpah delivers another masterpiece of unflinching violence.

This is possibly one of the finest pieces of work that I can remember in recent memory. Cassavetes' style, combined with under-world themes, methodical plot build-up, a moody funk score, and pure 70's visuals equals pure cinema. Be sure to watch the 135 min version over the 108 min to really appreciate the pacing of the film.

On my recent Allen streak, 'Crimes' is the Mecca of tragi-comedies. How Allen even manages to provoke laughs with such plot developments is startling. But in no way does it distract from the drama that is the core of the film. Equally depressing and yet beautiful.

Just looking at the poster recalls vivid images from 'Persona', and the plot plays out much like 'Autumn Sonata' and 'Cries and Whispers'. That being said, it is far from a complaint. Allen creates a devestating character piece that, while it doesn't rival Bergman and Nykvst in terms of images, is one immaculately written and acted drama.

So outstanding and fantastical; then unsettling like 'Jack the Ripper.'

The greatest action movie? Please someone give this a decent DVD treatment with accurate subtites... Depending on what version of subtitles you read, it makes a world of difference.

Stunning. Penn is a force. Eastwood is graceful, and a great story by Lehane.
*Should-Be 2003 Best Picture: Now, I love Return of the King, but as far as drama and story are concerned, I just cannot choose it over Mystic River. I feel Eastwood crafted one of his best films out of Lehane's deepest work.

Pure genius! It's a shame that Campbell never had much of a career after this. The man IS presence...

Bogart is Sam Spade. Iconic film.

We made it Ma!!! Seriously disturbing Cagney... seriously. It's a masterpiece in my book.

Is Aronofsky the best contemporary talent working today? He can do no wrong by me. Oh ya, Mickey IS a wrestler and Marisa gets sexier every year.

Cronenberg is hard as nails. 'Violence' and 'Promises' pull no punches and show every dirty detail from start to finish.

Holy... shit. A good example of reality trumping fiction. You couldn't write this shit.

Unreal flick by Loach. Again, the dialogue is difficult to make out, but adds to the atmosphere of this film immensely. The tension and dread may be unmatched in any other British/IRA clash film. Showing the division within the Irish community at the time is just devastating to see how it plays out.

Simplicity perfected.

A lament for the days gone by. A time where family was the main institution and life seemed so simple. Allen managed to describe this all through the use of a voice over commentary on a multitude of forgotten characters and forgotten times. Brilliantly nostalgic.

How have I neglected to see this? Easily one of my favourite films made about films. It is incredibly smart but also pure fantasy. It is the type of film that offers something for everyone and anyone. The entertainment value, whether a movie buff or not, is sky high.

First, the dialogue of this film is incredible. It is like a theory lesson combined with a short history on film; it is so intertextual, and this intertextuality is mainly done in a highly comedic fashion. There is nothing funnier than a neurotic Allen, and he is at his best here, as a man jumping from relationship to relationship. The only thing he loves is the city itself, but he doesn?t know what he loves, or wants, or really what he is doing. His confusion is brilliant. This film has its touching moments, but the one-liners from Allen will keep you smiling all the way through.

A-mazing.

Like "The Wild Bunch" destroyed the myth of the Western, Gomorrah utterly crushes the glamorized Hollywood notion of the Mafia.

Brilliant vampire movie (yes, those words can go together). Avoid the DVD like the plague until they properly translate the subs!

What an amazing idea for a flick...

Lino Ventura should have worked exclusively with Melville, as JP gets hair-raising performances from Ventura. With a hat, trench coat, tinted glasses, and a cigarette, Lino is the coolest man on Earth.

For me, P.E. is the film that brought censorship to Hollywood. It's savage and haunting.

Not only one of the finest Yakuza/Gangster films of all time, but one of the best/most complex Japanese films I've ever laid eyes on. Sugawara IS Yakuza.

The second time around makes me even more enamored over this pre-Hollywood Revolution film. Why is it not mentioned in the same light as Bonnie & Clyde or Easy Rider? The violence is brutally real, the relationships starkly honest, and Steve McQueen is at his McQueen-yish. No happy endings, just a close up on his fully loaded six shoot still in the holster. Fade to black. Perhaps the king of San Francisco crime-dramas? Dirty Harry needs another view. Until then, all hail the very soft spoken Bullitt. Oh, did I mention that there is a little car chase? Ya, know, it's kind of historic. Whateves!

Never liked this the first time around. After the second time, I can't stop thinking about it and how it mirrors all Peckinpah's themes. It's like poetry as the writing is just amazing, combined with Peck's visuals and... well... it's cinematic magic!

It's a shame that GUITAR is not on DVD yet. It is one of the finest westerns I've seen and it should be available for more people to see. Hayden is great but the real tension lies between Crawford and McCambridge and there was apparent tension off screen as well. Fasntastic movie.

The greatest of Budd's westerns.

I've been waiting for over 3 years to get my hands on a widescreen copy of Peckinpah's war film, and after waiting that long I have to say that it was absolutely worth it. In fact, I find myself going back to just to watch Peckinpah's brilliance. So, in a week or two, I will give this film a 10/10, as I will be obsessed with it. To begin with, the story is told from a German vantage point, as not a Nazi, SS, Hitler standpoint. Nope, from an ordinary Prussian soldier's view. Awesome. Second and third, James Coburn can do no wrong, especially alongside Peckinpah. Just sit and watch the final 20 minutes of cross-cutting, blood soaked glory over and over! The conclusion is goosebumps.

It is near impossible to get the image of Shimura sitting on the swingset out of your head after the film's conclusion. The DVD cover does not do the scene justice: the snow, the song, the rhythm of the swing, it is pure poetry.

The best dialogue in a film.

One of - if not the greatest - horror films.

The best film of the 90's.

Detective film, noir, mystery? One of the best films ever.

Kurosawa's epic, epic film. Based on King Lear.

*Should-Be 1989 Best Picture: To me, this is one of the biggest slights in Oscar history. Driving Miss Daisy? This film is itself a legend for God's sake...

The most Gothic picture by Hitch, prolly my favorite.

Jean-Pierre Melville is the autuer of cool - the man radiates style. Delon delivers another masculine, top notch performance, and Volonte outside of a western role is fantastic. Brilliant all around.

Mar 1/12 - "Suspense in Melville is the power of cinema to tear the life out of time, freeze it, remove it from abstract space, and make it an object of contemplation." - Fujiwara

Yuuuuup. It's still perfect after another viewing!

One of the more harrowing depictions of personal struggle. The movie is slow but intense - if only a little bit too long.

A mixture of comedy and tragedy.

Ever since seeing "City Lights", I've been amazed at Chaplin's ability to create highly dramatic scenes combined with slapstick comedy. "Gold Rush" is another prime example of a truly romantic tale of Boy seeks Girl, and, as opposed to romantic comedies, it is actually heartbreaking. We know the Tramp will triumph, but Chaplin is able to evoke a multitude of emotions from his audience, making the ride toward the finale worth every second.

Possibly the greatest example of 'art-cinema' I've ever come across. The plot is shuffled to the point of exhaustion, with action, narration, language, and just about every film convention playing second-fiddle to the image. This type of story could only be told through the cinema. Its beauty radiates from the screen, raising many temporal questions in the process, which may or may not be forgotten towards the film's conclusion because of the surprising suspense and intrigue generated from the assortment of imagery. Unconventional? Certaintly. Impossible? Certainly not.

'Sansho' plays very much like a fable set in feudal Japan. It is a fantastic 'Monte Cristo' like drama, revenge piece, and adventure tale. And, of course, Mizoguchi films it as if it were a dream or fairytale, in both mise-en-scene and plotline respectively.

Poetic cinema. A chilling look at religion and hypocrisy. The two seem to go hand-in-hand.

'Heaven' may hold the record for the amount of times I've said "woahhh" because of a film's imagery. Damn it! Malick is brilliant, enough said (not even Gere can ruin him, as he is surprisingly watchable). My only complaint is that it runs slightly longer than it should, missing the opportunity to conclude as a pure tragedy.

I saw the "Final Cut" in a theatre in all its glory (although not much has changed from the "Director's Cut" as far as I can tell). 'Blade Runner' is just a film that needs to be seen on the big screen; the darkness of the cinema, the incredible print, and the thumping sound make the film larger than life, darker, and more violent.

It's been a while since I've felt close to a socially critical film, and it took one from 1951 to wake me out of my haze. Holy sh*t! Minus the spaceship, this is our lives. Jesus we're dumb.

Possibly the most captivating Doc I've ever seen. Man, those Ozzies were FILTHY! And I love it. Sex, terror, violence, and fast cars. What more can you ask for?

I always avoided this film because Martin plays a cowboy, but, I was wrong. This is a classic of the 'Classic Western' genre. The Duke is aging, but is still as intimidating as ever. Martin plays a morally broken drunk perfectly; it's a heartbreaking performance. But, I mean, how does anyone not fall in love with Walter Brennen? He is Rio Bravo. I did have a little issue with the lackluster ending, but it will grow on me, because I plan on watching it over and over.

'Army' cements my belief that Melville is among the world's all-time greatest directors. The fact that the film was buried until last year is astonishing! Melville never gets his due respect because he operates mainly in pictures dealing with the French Underground. 'Army' depicts such foreboding and sadness in its characters, contrasted to its exquisite direction and cinematography that one has to wonder where it stands among his work (possibly harmed by being shelved for near 40 years). Melville again explores the concept of 'honour,' only this time in underground heroes instead of thieves. His lament for a time long gone by is evident in his style: ultra masculine, but menacingly cold and despairing.

While its critics are right about the questionable overuse of voice-over narrative and the fact that it tends to drag in spots, "Jesse James" is a western fan's dream. First, the cinematography is unreal; images of the James Gang robbing the train are drool-worthy, as are much of the landscape shots. Despite the title, the complexity of the characters portrayed by Pitt and Affleck is tense and breathtaking (if sometimes confusing). Pitt is ruthless as Jesse James and there is a tragic note to Affleck's Ford. "Assassination" works within the Jesse James myth and successfully awakens it to a whole new audience.

Ebert calls it "One of the BEST films you will ever see."

Studio's said a silent film couldn't be done in the 70s--Brooks proves them dead wrong! I wonder if a silent could be successful today?

There should be no reason why anyone has not seen parts 1 & 2.

One of the finest comedies ever. The jokes are a mix of subtle and slapstick humour but are done with such grace. This is professional comedy.

Possibly the greatest film in the original trilogy, but one which is often way overlooked. It doesn't have the mystic of the first, or the humour of the second, but in terms of story development, it is much better than the first two; I was rooting for the zombies?

Brilliant acting by Stewart. Such an uplifting film, but not cliche or cheesy. It also contains aspects of voodoo and philosophy concerning time. It is a smart, inspiring film.

Complex story line which is confusing because of the quick subtitles. A very bleak and savage tale, filmed with equal beauty to Sword of Doom.

Funniest film I have seen in ages, or ever. Enough said.

My favorite 'cartoon'...

A charming film that sets a new standard for animated films. It is imaginative and creative. It's a please to watch and I await the next Pixar film.

I feel that this is Mann's best work since HEAT. It has an Epic quality to it, yet is almost stubborn in its simplicity; as, on the one hand, Mann strips the Dillinger mythology of its 'camp-fire' like fantasy while, on the other hand, takes enough liberties with history to keep the film gripping without becoming mundane, The evolution of Mann's style (from Collateral to Miami Vice) continues in the same vane with a grit that can be found on news channels across the dial--yet painstakingly prepared and (near) perfectly executed. Close-ups, jarring camera movement, rapid editing, surreal imagery, and brutality dominate the film. Take it or leave it.

Said to be the rebirth of the French Cinema... I didn't know that French cinema went anywhere! Anyway, I found that at times this film tries to be a little too Scorsese in its presentation. The narrative, however, more than makes up for the mimicing (and an understandable mimicing at that!). The rise of one Arab inmate to the top of the Mafia is extremely well done.

One of the best baseball movies ever.

Brilliant comedy. The plot is minimal, but the characters and situations are lovable and halarious. It is a great time.

A cleaver comedy where the laughs are unexpected and much welcomed. It is a straight comedic gem (even whistle noises are used on the soundtrack!), and the closing voiceover is brilliant describing the actors of the film we have just seen. Although it starts quite sombre, it takes time to build-up great comedy.

'Inferno' seems to have a bad reputation partly because it is a sequel of sorts to the masterpiece that is 'Suspiria' and is only years after arguably one of the greatest horror films in 'Deep Red.' As a standalone film, however, 'Inferno' may just be Argento's most exhaustive and artistic work. Every scene is painstakingly lit and the Suspirian red/blue cinematography is otherworldly. 'Inferno' is both more over-the-top and yet more subtle than Argento's previous works. While the visuals are unavoidably striking (possibly excessively so), the plot is his most ambiguous and open-ended to date. The Maestro cues up another operatic nightmare (with a thumping soundtrack) that stands with his greatest work.

'Hard Boiled' deserves an 8 for its action scenes alone. For my money, this film beats Woo's other so called masterpiece, 'The Killer.' A few things must be mentioned and accepted first: it is an 80s film and, therefore, the soundtrack is bad (cheesy bad); with all the action taking place, who has time for a narrative?; comedic moments seem forced; and, of course, the dialogue isn't the best. Then again, this film is meant to kick as much ass in 2 hours as possible. It is an extremely violent thrill ride that makes you dread bathroom breaks, that is, if it let up enough to allow for them.

Finally, another brilliant giallo! Bava's film is nowhere near as gory as the thrillers I'm used to, but that is ok, he is a pioneer of the genre. He knows how to create tension and insane plot twists, all filmed as if it were a poem (or something lofty like that).

Jan. 20/12 - To think that this is Bava's first color film is at once astonishing and yet logical. If it's your first time using color, why not go big or go home? The reds, greens, and blues foreshadow Argento's "Suspira" by over a decade. Perhaps, I've been hailing the wrong Maestro all my life? From the colors, the gloved handed killer, savage slayings, and lingering tracking shots, Bava predates Argento not only in years (obviously) but originality as well. The one thing Bava didn't have is a Goblin's soundtrack, although the jazzy scores on this film and "The Girl Who Knew Too Much" emphasis all that is the 1960s. After watching "The Girl Who Knew Too Much" and "Blood and Black Lace" back-to-back, there is no doubt in my mind (despite historians) that "B&BL" is the first Giallo, thus making Bava it's father and Argento the son.

Another great gangster flick by Melville! More twists and switches in loyalty than 90210.

Somewhat disappointed. I think that a film like this, although it contains action, is best watched on DVD to hear every bit of dialogue with no distraction. I must give it a second chance. (2010) Well, I rewatched it... about 10 times. It's majestic. Love it.
*Should-Be 2009 Best Picture: When it was first announced I felt Hurt Locker was the proper winner. Now, however, I'm just completely in awe of Basterds. Like I said, it's majestic.

THE slasher film before Halloween and Friday the 13th. All hail Bava! a lot of the ideas found in this film were recycled for the 1980s run of Hollywood slashers--some good, some bad.

Starts off a little wooden, but becomes a complex and surprising action flick. Nobody punches a crotch like Lee Marvin.

This is a very serious revenge tale. I mean it has the most balls in a vengeance story that I've seen in quite some time, if at all. To me, there are a lot of similarities between Carter and Dirty Harry, but (1) Carter works for the Mafia and (2) despite hating women, Latinos, Blacks, and Homos, at least Harry had SOME compassion. Jesus, Caine is one of the coldest most ruthless characters I've seen.

I don't know if it is just me or not, but when James Stewart and Anthony Mann get rolling together, they made the best Westerns of the 50s (not Ford, nor Hawks, and The Duke is nowhere to be seen). Laramie is one super complex character study in an age of 'hero rides into town and fixes all wrongs and evils, while also banging - or about to bang - the prissy chick that falls for whoever is in charge'. You could make a good case that Jimmy Stewart is not the good guy of this film and is actually a shit disturber (poking his nose in another man's salt is bad for your health!). Alex Waggoman (Donald Crisp) and his son Dave (Alex Nicol) begin to appear that they will be the villains of this piece and that their ranch-hand Vic (Arthur Kennedy) is their only voice of reason. Well. To say anymore on this would not be giving proper respect to this near perfect effort from Mann. There is something so 'adult' about Mann's West, especially compared to Hawks (although enjoyable) and Ford (equally enjoyable). For example, in a Mann western, it is fair game to maim a man for a simple act, for petty vengeance. Married women ARE NOT off the market, although they appear to be, and, you get the feeling that at points throughout the film you could just imagine Stewart screaming "F@#K YOU!" in response to his enemies. The film kind of leaves you with a sickening feeling in the end, knowing that nobody was truly good or bad... just human. It's a beautiful thing. Oh ya! And Jack Elam has a small role. Respect the Jack!

John Carpenter. Jesus Christ. John Carpenter. Jesus Christ? J.C.? Not a coincidence. Carpenter is a Man Among Men in independent, brilliant films. With Prince being his first indie after going studio after Escape from New York, it's like he'd been saving all his good ideas that he couldn't use with the studios and unleashed them in this film. First and foremost, I want to emphasis how fawkin' good the story is here! I don't even want to talk about atmosphere, terror, effects, or soundtrack, because those are all Carpenter staples and are excellently executed here, again. I ask, what if The Bible was just a myth? HERESY says the Christians!! I ask, what if this myth was to cover up the real truth of how the Earth came to be? BLASPHEM says the churchgoers!! Thus, oh yes..., I ask, what if God (a God, Allah, Buddha, Johnny Cash) were not the ultimate creator, but, instead, there was an 'Anti-God' just as responsible for modern civilization? LIKE FUCK says the Bishop! Well, that's what Johnny C. is dealing with here. And we're not talking Satan either; Satan is too much of a Momma's Boy for Johnny C. This is EVIL we're dealing with - the exact opposite of God. Here's the question that gets you shot in Wal-Mart: 'What if Anti-God is, in fact, the God mankind thought they knew and prayed to? I'll pause for a mind-blowing sound effect of some sort.... Alright. Well, the answers to all those questions is basically the equivalent of shit hitting the fan. Not only does Evil exist, but he/it left a son on Earth. Since the dawn of time, this vile seed has been hidden from all mankind, for the good of mankind by a secret Christian Clan. What we're introduced to as the film opens, however, is the last member of this mysterious clan dying alone in a semi-abandoned church. On his chest, is a chest (oh snap!) which holds a key. Your key, yes you, is to find this G.D. DVD and unlock it into your DVD player immediately. If you love Carpenter, I suggest having a roll of Kleenex nearby... Crazy good.

No f@#king around here. This is a tale that would leave psychologists scratching their heads, and locking their doors at night. I'm not sure if I've ever seen such confession, about anything, in reality or fiction, that is as chilling as Kuklinski's. The way he avoids making contact with the camera, you begin to think that there may be a hint of regret. No. Then he turns to the camera to deliver the 'punch-line' - if you will - making you readdress your definition of evil. No spoilers, but the one killing that he does still harbour some regret for... It's hard to put into words. It's one of the cruelest acts of man, not just violence, that I've ever heard of. Then he's back in character, minutes later, talking about the next hit. This is a must see for anyone looking for a Mafia-themed film that does not glorify the business of killing.

I find myself at a lose when thinking about Freaks. The one question I keep asking myself is: Could anyone, in any country, remake this film with real deformed people? I think it would be considered an act of cruelty in today's society (as it certainly was back in 1932 in most countries and states of the U.S. because it was banned for so long). It's a very simple story of a beautiful trapeze artist who ruthlessly deceives one of the 'freaks' just when they were willing to welcome her into their society, chanting the ever-famous line: "One of us!" When the truth is uncovered, let's just say that she doesn't make out so well... I don't mean to be offensive, but at times I drew similarities between Freaks and Holocaust footage. There just seems to be something immoral about using this people for their deformities. I don't know... I'll never forget it though.

I'm not sure whether to laugh or cry throughout and at the end of the film. On the one hand, the premise if funny. But, on the other, Sellers never plays the role as if the situation is funny; in fact, he plays the role with a heavy melancholic strain. Knowing the circumstances behind the film, Sellers' career at the time, and that he was to die a year later, and I can't help but sob for Chance (Sellers) even when the film is humorous. Add Shirley MacLaine (who's stunningly beautiful) and her emotional struggle and, well, you'd have to be a monster not to be touched by this film (it's magic!). I agree with Sellers that the film has a sort of 'charm', which is highlighted by the magnificent final shot--one of those few moments of movie magic. Unfortunately, he was also right that the credit sequence, which is a gag reel, really destroys the spell that the film has created up to that point. Apparently there is another version of the credits; for the sake of the film, I hope it is (or becomes) the standard version.

The most confusing film ever?

Is it a good thing that my favorite two films of the year are Rock Docs? Well, after 'Rush: Beyond the Lighted Stage' I completely changed my mind about music docs. 'Some Kind of Monster' was amazing, but most docs were just like 'Behind the Music' and, well, full of shit. One thing you will NOT get when watching 'Lemmy' is anything that is full of shit. Here's a man that does not give a f**k; he just lives (how he's still alive, however, is another question...). It's impossible not to like Lem and, going further, respect and admire him. You don't even have to like Motorhead, rock & roll, metal, or music at all... The man just lives like he's in another century; he's a pirate cowboy! His code of conduct is not for everyone, as I'm sure The Pope would not agree with his lifestyle, but the thing is, he's honest, loyal, trustworthy, thankful... In my opinion, I'd put my faith behind Kilmister before The Pope or any other 'leader' of faith, freedom, bullshit, whatever. What you see is what you get... and in today's world... it's just so f**king refreshing! F**k! He was/is a speed-freak, drinks like a fish, smokes more than a chimney, and f**ks like a rabbit; but when it comes to his friends and fans, he's a 'father figure'??? Weird. I can't describe it. Just watch the Doc! After a week's worth of TV, you'll feel invigorated to get off your ass and live... Born to Lose. Live to Win.

So simple. So devastating. So beautiful. It's truly amazing how a story about a man, a boy, and a stolen bicycle can be so human. The final shots of this film must be on par with the some of the most devastating shots in all of cinema. There is really nothing more to say. Although, with the Oscars just around the corner, watching The Bicycle Thief reminds me of how much of a self-stroke-fest the whole thing is.

You want the truth?!?! You can't handle the truth!!! If you watch Carlin's last brilliant rant, well, you gonna hear da truth! The observations made by Carlin are so outrageous, yet they're hard to argue with. There are some everyday details of life that Carlin adds an interesting spin to; and, as anyone who uses YouTube knows, there are the usual 'Carlin Targets' that he somehow manages to keep original after 30 years, not easy! So, religion takes it in the ass, as does the government (all government), the United Strokes of, oh States, America, and education. The man is 70 years old, yet he'd still make a drunken sailor cringe. He's incredible.

"Hooooly shit," says I. I came into Rising with little to no expectations, unlike this year's True Grit and Black Swan. I am so grateful for my ignorance. If I had to choose a "Best of the Year" film, it would either be Rising or Winter's Bone. Rising is an organic visual dream/nightmare, depending how one sees it. I've not seen a film of such beauty, and suspense from this beauty, since Tarkovsky (I'm an A.T. freak... so better comparisons do exist). This is my type of movie: maybe 120 lines of dialogue in the entire film? (no Russell Crowe Gladiator speeches either!). The scenery is as important as any of the characters besides the boy and One Eye. The seemingly plotless narrative that offers more suspense than anything I've seen in years (I literally needed some Pepto after the credits rolled--it's amazing what a little mystery can do). I suppose if you've read the origin story of how the film came to be made or know your Norse Mythology, it may make more sense, but I IMPLORE you do not read anything before viewing and resist (although incredibly hard) stopping the film in order to see what the f**k is going on! I see Rising as a day spent laying in a field looking up at the clouds... interpret what you will (it won't matter in the end, as the means outshine the ends.) It's not as brutal as the trailer depicts it, as the film is divided into chapters and each chapter is a small voyage of its own. Now, as for the titles... I'm not a big fan, but what can ya do? I thought that the chapters could have cut together seamlessly without the titles (even adding to the mystique). Actually, now thinking about how minor this issue is, I've decided to give it a 10/10 from a 9. It's just beautiful and everlastingly re-watchable.

F**k Will Smith. Thanks for ruining the REAL ending of 'I am Legend.' Of course when Smith's bomb bombed, all the talk was about Vinnie Price and how 'Last Man' is far superior. Alas, I knew the ending. Luckily, it's been years since Smith's shitshow, so catching 'Last Man' on Turner Classics seemed like a good idea, as my memory was hazy concerning the ending, and it was worth every glorious moment. Who delivers a voice-over like Price? Christ, I want my alarm clock to wake me up with his voice--I'd be sure to get the fawk out of bed if Vinnie added his famous, evil laugh at the end of whatever the recording could be (doesn't matter). "Wake up Jarett. Today is sunny with a high of 25 and you're sexy as hell.... (wait for it).... MUHhahahahah!" Bam. Out of bed. Anywho, what a fantastic film. I'm thinking 'Night of the Living Dead Good.' Yes, I went there and I'll go there again! Don't even bother renting it or streaming it or whatever the fawk ways there are to get it. Just go buy it. I promise a good time... and the movie's good too. It's hard to say anything about the film, as it's basically a one man show for most of it, which is fantastic, and then mentioning anything else would get you angry at me like I was/am/always will be at Will I Am. F**king Will Smith... honestly.... (Sigh).

Holy ever-loving Christ... Where do I start? How do I start to describe this? I'm not even sure if I know how... It's not that it's difficult to follow, as it's narrative structure is classical, but there is something so indescribable about Dunes that I'm drawing a blank. I started off curious; curious turned to worry and then repulsion; repulsion gives way to sympathy; back to curious; and then completely f**king uncertain what to think. I do know a few things: this is an EPIC film, not in terms of Hollywood epics or David Lean marathon films, but just in narrative/emotional scope (as there is really only one location... take a guess where it takes place?). Grab yourself the director's cut, just in case there is anything left out of the theatrical cut (I don't know personally as I've only seen the Director's Cut, but NEVER does the film drag or feel tedious). Finally... it's just a mystical, magical piece of work. I felt like I was watching a Japanese Bergman flick, just with a tad less emotional torment! Now, that's a selling point if I ever saw one! "Ladies and Gentleman... Introducing.... the MASTERPIECE 'Woman in the Dunes' directors cut... NOW, and for a limited time only, with 5% LESS emotional torment!! See it before we're forced to increase your visual suffering!"

"Errr, ummm, Don't ask... What... Your country... Can do for you. Umm, weeell, Instead!... Ask... What you...ummm... Can do....err... For your country!" (Echo, echo, echo...). Ladies and Gents, that was my Kennedy impression. Oh, you're too kind! Really, it's nothing... Just like JFK's words (OH, bet ya didn't see that one coming! From a Canadian!). What a story; this blows fiction out of the water. Obviously, I'm spoiling nothing here, because it's just too priceless a film, but, BUT, to see the top military staff before congress, Rumsfeld too!, lying through their holes--a mere 20 feet from the Tillman family--and then smile and congratulate each other AS SOON AS THE GAVEL FALLS! F**k me! You can't write that kind of drama... I'm out of breath. It's incredible to see what a nation will do during wartime to promote patriotism--scary actually. The "men" who organized Tillman's heroism (*cough* Bush/Rummy), could make me into a mythical Jesus loving, country abiding, hung-ho, Arab huntin', national hero--even as I grab my crotch from inside my casket... Amazing. These guys NEED to go into marketing (Tyler Perry & Donnie Rums Presents: The Patriot/TBS Burger--Light's out for the BigMac). Well... where do I go from here? Honestly, Tillman appears (from the Doc's perspective) like an old-school winning warrior, something like the modern day Sheener? Nah. The only thing you can say negatively about the guy is that he had yet to track and kill a grizzly with his bare hands. Seriously. A 'man's man' to the end, and then royally f**ked...

Open on a wide-shot of a samurai performing public Hari-Kiri in front of his Lord's residence as a form of rebellion against said evil, sadistic Lord Naritsugu. My initial thought? "Oh, Christ, this is going to be gruesome." As I was about to flinch, squirm, and turn away, however, something amazing happened. Takashi Miike, the same Miike that directed a scene where a man is hung by his skin with fish-hooks as he's tortured, focused on the struggling samurai's face throughout the entire action: stabbing, slicing, twisting, disembowelment.I may be typecasting Miike here, but I thought that, perhaps, those might be his four favorite words. The opening scene tells us that this is not a regular offering from the uber-violent Miike. Dare I say it? I shall. It looks like we have ourselves a "classic" samurai film in the Year of Our Lord 2011.

It's the film's premise that intrigues after an initial viewing. Feudal Japan is enjoying an era of peace and stability, aside from the Shogun's younger brother (Lord Naritsugu). Thus, the current generation of samurai have not known battle as their elders have, nor are they as skilled as the previous generation who would have fought for the current era of peace. The skill of samurai nationwide is waining. It is, perhaps, the ronin that are the most skilled swordsmen of their age, as they earn essential food and drink by their sword, daily. Is it possible that a band of elder samurai and ronin followers could take down their own Lord and his guard of over 70 samurai warriors? This is the question that 13 Assassins answers through its nostalgic look at blood-soaked loyalties and complex questions of whether strict honor can exist while living under a sadistic tyrant.

It's hard not to make comparisons to past films that thematically drench themselves in loyalty, honor, and nostalgia. I know we like to shit on reviews that make one-off mentions of other films for comparison but, fuck it, I'm doing it to hopefully create a mythical sense of bravado in the reader in order to see 13 Assassins. Miike's film is a remake of a 1963 picture of the same name, so that places the original 13 Assassins about a decade after one of my comparisons and close to seven years before the other: Seven Samurai (1954) and The Wild Bunch (1969).

Like Kurosawa's classic depiction of ronin mercenaries protecting a small village from bandits and modernity, Miike's film also begins with an event that leads to the recruiting of swordsmen. The difference being, of course, Miike's brutally haunting imagery of incidents leading to said recruitment (hey, I said he was more tame than his previous films, not dead!). In both films there is a mixture of generations brought together as a group of outcasts or soon-to-be outcasts, first bound by money (Samurai) or sense of duty (Assassins) before unifying as one, indiscriminate of age or class. Respect solidifies the men underneath the samurai garb, as is proved by the acquisition of the 13th assassin. With such a connection between these 13 men, it's as if Miike is questioning the samurai's elite social status earned by blindly serving whomever is in power at a certain time and place. No doubt there are things worth dying for, but one must decide for oneself what is or is not worthy of self-sacrifice; as dying merely out of duty in the hands of corruption is, on one hand, part of a samurai's code but, on the other, possibly the reason for their extinction. Time is the ultimate assassin.

Pike: "He gave his word." Dutch: "He gave his word to a railroad." Pike: "It's his word!" Dutch: "That ain't what counts! It's who you give it to!" You're goddamn right boys; the philosophy of Sam Peckinpah channeled through the mouths of Holden and Borgnine. Beautiful. It's the proceeding moral dilemma that best sums up the conflict behind 13 Assassins. When does a man put his social label(s) aside and, simply, be a man of conscience? Miike's "wild bunch" find their self-awareness quite a bit earlier than the insignificant wanderers in Peckinpah's saga. Both paths, however, intersect at the same destination: "Total Massacre" (a sign held by Shinza, the leader of the assassins, that was written by one of Lord Naritsugu's victims). It's the final act of Assassins that adds a modern twist on the age-old sacrificial tale, as Miike and crew employ cunning creativity while enacting the final battle scenes, not only in the swordplay, but in the cat-and-mouse strategy employed by the fearless assassins. What plays out is the most intense and entertaining fight scenes in recent memory, combining old-school swordplay against modern arms and a tinge of ... ohhh ... John Rambo?

To simply think, especially in our time of disses (honor, loyalty, respect), that men used to live and breath this lifestyle is, well, enough to make the Tin Man swell with emotion. Miike's restrained visuals and sincere, honest storytelling cuts through the bullshit that destroys most films now-a-days. I know this is set in Feudal Japan, but it's a breath of fresh fucking air compared to the shit we're constantly forced to swallow socially and cinematically. In one film, Miike has redefined himself and matured one-hundred fold. I feel it's a special event when I see a film that has the balls to do as it wants and say what it says, all while retaining its authenticity.

If you're a cinemahead and sometimes your friends or peers give you an odd look when you almost climax over simply hearing the name of your favorite film or actor, we feel your pain. However, when it comes right down to it, sometimes we do damn near explode with ecstasy; this is the beauty of film, no? It's our first love and, excluding the pre-nup, I presume our relationship will still be hot 'n' heavy decades down the road. Case in point: Fernando Di Leo. I consider myself a massive fawkin' fan of Italian genre cinema--not an expert, but a stalkerish fan. I'm reading some articles on Lucio Fulci after re-watching his City of the Living Dead or Gates of Hell or any of the other 2o names it has, and like a bitch-slap from Andy Dick I see the name--for the first time--of Fernando Di Leo. I read words such as 'maestro' (like every Italian genre director), 'classic,' mafia,' 'crime-drama,' 'extremely influential.' I'm thinking: what the fawk? Where have you been all my life and why don't you call anymore? Apparently he is the auteur of the famous "Milieu Trilogy" about the Mafia in 70s Italy (who better to make a Mafia flick than an Ital?). They're harsh, un-glorified, and accompanied by incredible 70s guitar riffs. I may have fallen in love all over again...

The three films of the "Meliu Trilogy" are: Hired to Kill, Calibre 9, and The Boss. I was lucky enough to find Calibre 9 and Hired to Kill; however, like many Italian genre pieces, I was unable to score consistent English language tracks or reliable subtitles. Ya know what? Doesn't matter. It's all about style, operatic drama, and--of course--machismo (lots O' lots of machismo). Excuse me while I slick back my hair and adjust my tie to the beats of Luis Bacalov. Here. We. Fawkin'. Go.

Calibre 9 was like a bullet to my guts. The opening scene, pre-credits, depicts a package of money passing from hand to hand in Rome in order to avoid police detection. By the time our Mafioso's find the package the money's been replaced by paper. Well, it's not Argento or Fulci level violence, but the demise of the members involved in the money exchanges, let's say, meet an untimely death at the hands of a cave, rope, gags, and three packages of dynamite, which equals: DYN-O-MITE! Oh ya, there's an interesting snippet in a barbar shop involving a striaght razor and some dude's cheek. All in all, within 5 minutes, I'm hard as rock. This is before Bacalov's score kicks in for the opening credits, reminding me that the Italians know how to produce 'the epic'--a quality that tucks your balls into your stomach, while causing every hair to stand on end (bag and body...).

It's got lots of familiar faces too: Frank Wolff and Luigi Pistilli of spaghetti western fame; Gastone Moschin of Godfather II and The Conformist; and, it's my pleasure of introducing, Mr. Mario.... Adorf! The other guys we've seen before; Wolff, Pistilli, and Moschin are mostly bit players, but Adorf is like Di Leo's muse. He's got sort of a dirtbag appeal (yes, there is such thing), as he looks like a greased out, mustached, hard-as-fawk Guido. However, he gives the steely, stoic Moschin (the protagonist) a run for his money as the front-man of this film. Moschin plays a character out of Jean-Pierre Melville's world: strong, silent, and deadly. Adorf is more like Chaplin in a Mafia film (the voiceover certainly doesn't help...), yet somehow his 'over-the-top-ness' does not derail or distract from the serious, tense crime-drama that is Calibre 9. Adorf's is a rare screen charisma that one can't help but be attracted to. It's like Bronson, but the complete opposite.



So, the cast and style is all there, but what about the story Gramps? Is it on par with Zombie 2, Suspiria, and For a Few Dollars More? Well, on first viewing, no. "Well then why the fuck are you building it up like it's Christ on a cracker?" It's a solid, solid crime tale; it's the combination of cast, style, and story that make it a top contender Gangster (not Gangsta) flick. It's got that Italian bravado... that oozing machismo... that "OH! Go fuck ya Motha" attitude (by the way, Happy Mother's Day). Honor, respect, silence, and most importantly of all: false loyalty. Ahhh, everyone wants to be the boss, but Di Leo just proved to me that, minus Springsteen, he's my new boss of Italian genre cinema.

Shit, I forgot about Hired to Kill. Well, Adorf is given center stage and he kills (literally). Throw in Woody Strode with biceps like whole hams, and Adolfo Celi (yup, the bad guy from Thunderball) and you got yourself a stew goin'. It's not as good as Calibre 9, as it mixes American B-actors with the Italian faithful, and the plot feels Americanized in terms of it's action cliches. Again, the saving grace? Mario "The Grease Ball" Adorf! Another factor in this inferior offering in comparison to Calibre is the fact that I had the subtitled version and most of the cast is North American (well, at least the big players, and I think Adorf speaks English as well). So, Woody Strode just sounds and looks weird as hell with some Italian guy's voice. He's a B.M.F. but, presumably, some white guy's voice does him no justice. Still, I'm jacked for the final installment (whenever and wherever I may find it), The Boss!

Official Synopsis? Mafia Mayhem... Any questions?

Boxing movies. What are you thinking right now? Yes, yes, the Rocky Franchise; perhaps the recent success of The Fighter? For me, with unabashed passion and extreme stubbornness, it is and always will be Raging Bull (a heavyweight contender for Grampenstein's favorite film). Enter Requiem For a Heavyweight... almost 50 years ago! Talk about "where have you been all my life?" Watch out Rocko and Ward, because "Mountain" Rivera could give Jake La Motta all 12 rounds on any given sunday.

Simply run down the cast: Anthony Quinn as the faded heavyweight Louis Rivera; Jackie Gleason as his sketchy manager Maish; Mickey Rooney as the cut-man named Army; and Julie Harris as a manipulative career counsellor. I feel like I need to say this: I've not seen a small cast of characters this engrained in their roles in... who knows how long?! So much so that I'll remember the actors by the roles they played in Requiem. Gleason will no longer be "Minnesota Fats," he's Maish; and Anthony Quinn was never in La Strada as far as my mind works (admittedly, it often works in odd, backward ways). It feels as if Gleason, Rooney, and Quinn trained, fought, and lived together for years before shooting this film. The emotional strain on Army's face will bring you to tears; Maish's guilt will eat you alive; Grace's "concern" and sympathy for Rivera is heartbreaking yet frustrating; and, finally, "Mountain" is a lost boy in a world of underhanded deals and crooks; what's worse is that there is not even any room left for him in this "asshole of the universe" world. Where's he to go?



As you may have guessed by now, it's the relationships that drive this film, and boxing is just the backdrop. Actually, there is only one fight scene and, unfortunately, it's the weakest scene in the film. Shot from Rivera's perspective, it's a barrage of jabs, crosses, and hooks; shaky movement; fades; spins; blurs; and, finally, a 10 count from the canvas' perspective. However! There is a "holy shit" moment that redeemed the dated fight scene: the announcer keeps mentioning "Clay vs. Mountain," but from the dizzying camerawork it's unclear whether it is Cassius Clay or not. You think: it can't be THE Cassius Clay, until, BAM, a crystal-clear closeup of Mr. Ali himself as he pays his respects to the downed "Mountain." Holy shit indeed; that's a bit of history right there folks. Also, I might as well ruin it: Jack Dempsey has a cameo later in the film.

Requiem is shot in the vein of Noir films of the past; the light between the ropes casts fluid flickers of light/darkness against the crowd; the locker rooms and backstage areas are cloaked in darkness, almost covering the underworld characters waiting for Maish, Rivera, and Army; and the streets, oh the marvelous streets!, how they are shot with such beauty! The back alleys, garbage filled gutters, and rain soaked pavement of New York City never looked so good in striking black and white. Honestly, any DVD screen capture of this film could easily hang alongside the finest of the fine photographs I've seen (I'm not pretending to have seen, created, and cried over all 'art,' nor would I want to, but, fuck me, this film is beautiful).

Coming back to the relationships (the heart of the film) besides Army's loyalty and love for Rivera, it's hard to place Maish's and Grace's feelings toward "Mountain." Rivera is a gorilla, yet he's a child--a child who only knows how to do one thing, and that one thing is taken away from him for fear of serious injury. He was raised a boxer and continues to live as one even after forced retirement, frequenting the local bar where all the failed boxers congregate (called "the Graveyard"). The only person who really understands him is Army, a former boxer turned cut-man. The scenes between Rivera and Grace are agonizingly painful, as Rivera has never known a woman, acting like a 5 year old at Christmas; yet, a 5 year old that could snap into a state of anger and violence at anytime (he seems disillusioned and still connected to his glory days). Grace? She obviously sees more in Rivera than a discarded boxer, yet is there anything romantic to their relationship or is it as Maish says: she simply feels sorry for him and is giving him the wrong idea that a beautiful woman like her could fall in love with a "Mountain" of a man like Rivera.



This brings us to Maish; yes, he's trash, but is he a "realist" trashy arsehole at least? He tells Grace that "you think when you put clothes on an ape you make him a dancing partner;" and, as sad as it is to say, he's partially right, as Rivera has zero social conditioning--violence was/is his way of life. There is one thing for certain, Maish's actions are deplorable, but is there anyway the audience can retain an ounce of sympathy for him? Watch his eyes when he tells Grace not to lead Rivera on, it's as if it breaks his heart as much as it does hers; not only will Rivera not find love, but he'll not even miss it as he has not developed to the point where he could even grasp love's fundamentals. For Rivera, love, like everything else, is equated with roughness and force. It worked in the ring, so why wouldn't it work with a woman? His inner-conflict meshed with the external is enormous: the gentle giant whose life has been stripped from him, trying to make it in a world where no one cares and everyone takes advantage.

Devastating. A one word summery.

Could this be Lemmy's inspiration for "Lawman?" Check it:

See you in the Crown Court,
Seems to me it's like a blood sport,
I know you live by a book of rules,
But anyone who needs a book is a fool,
Lawman, I think you're a poor man

Regardless, I knows my westerns, and this is the most overlooked western since? What? Ride Lonesome? All Boetticher's work? Infuriating.

First off, how does a Michael Winner film float under my radar? Also, how in the holy mother does a Winner film with Lancaster, the LEGEND Robert Ryan, Lee Cobb, and Robert fawkin' Duvall float under?!?

I'm ashamed to no end. I apologize to cowboys everywhere...

Shot on FILM and in black and white? Utter beauty. There are no words to describe this film so, therefore, I close with: Find it and see it, now.

... Like waking up to a fresh cup of coffee... WITH James Stewart! What a beautiful, deeply complex, ruthless tale of the mythical West! I'm breathless. Firstly, the relationship between two men with ruthless pasts and whether they are really able to change is the bread and butter of this film. Stewart and Kennedy are outstanding as former boarder raiders; they reminded me of DeNiro and Pacino in "Heat" - only 40 years earlier! They're doppelgangers. Also, for 1952, Mann's direction is truly ballsy. It's definitely among Mann's most violent films, but also among his best work too.

Ahhhhh, how the slightest gesture from Jean Gabin brings shivers! He's one of THE coolest, suavest, bad-ass, French motherfuckers that even graced the screen. Supposedly this 'revived' his career, but how can a resume like Gabin's ever be washed-up? Becker's film is one of the best French underworld joints around. Tres bons Max!

If I tried to describe or offer my opinions on this installment on the loose
apartment trilogy' you'd think I was crazier than the film itself.
paranoia reigns supreme, carrying Polanski from a meek, passive man to a full blown hallucinatory shell of a man. Lost much of his work, it needs to be seen twice, as it's a complete mindfuck. As such, I love it.