My Favorite Movies

An astounding motion picture, the pinacle of 1970s moviemaking and of moviemaking altogether.

It's a cliche to say by now, but The Godfathes was, is, and will always be the greatest movie ever made.

Edited together with Vol. 2, Kill Bill is not only Tarantino's masterpiece, but also one of the greatest films of the 21st century and maybe even one of the greatest movies of all time. A beautiful mix of action and drama, a full two hours of nonstop bloody action, and then a brilliant two hour breather to delve into the past of the brilliantly developed protagonist and antagonist, The Bride and Bill (Thurman and Carradine). Five stars all around for Tarantino's KILL BILL.

Edited together with Vol. 1, Kill Bill is not only Tarantino's masterpiece, but also one of the greatest films of the 21st century and maybe even one of the greatest movies of all time. Taking a break from the endless action of the first half, we are now given an exciting, dangerous, and even tragic look into the pasts, presents, and futures of The Bride and Bill (both played to museum perfection by Thurman and Carradine). Also brilliant are the pulse-pounding battle between The Bride and nemesis Elle Driver (Hannah) and the introduction of the Bride's merciless tutor, Pai Mei (Liu).

The HOLY BIBLE of screenplays. The movie that re-defined the careers of John Travolta, Bruce Willis, Samuel L. Jackson, and some other people. The poster art that made both a star and a sex symbol out of goddess Uma Thurman. Basically, what Tarantino's Pulp Fiction is: the best movie of the 90s and a role model for amatuer directors and writers to look up to.

My personal pick for the Best Motion Picture of 2004. An incredibly harsh and nerve-jangling exploration into the last hours of Christ's life. Whether you are a believer or not - and whether you're a fan of Mel Gibson or not - his brutal plight will drain you emotionally and Gibson's direction and considerate attention to detail shows why Gibson is one of the modern age's more underrated directors. Caviezel and Maia Morgenstern give heart-wrenching performances mainly using simple gestures and looks (the scenes between Jesus and Mary are perhaps the most agonizing moments committed to film as we witness a mother unable to do anything but watch as her son is brutally slain before her eyes), Deschanel's cinematography is a sumptuous force to be reckoned with, and the makeup... well, I can't even think of the words. The makeup is perhaps the most realistic on-camera carnage in the last fifteen or twenty years (and that's meant in a good way).