Category Archives: Best Picture Oscar Winners

1980 Films, Best Picture Oscar Winners, Dinah Manoff, Donald Sutherland, Drama, Elizabeth McGovern, Judd Hirsch, M. Emmet Walsh, Mary Tyler Moore, Robert Redford, Timothy Hutton

Ordinary People-1980

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Ordinary People-1980

Director Robert Redford

Starring Mary Tyler Moore, Donald Sutherland, Timothy Hutton

Scott’s Review #1,500

Reviewed November 15, 2025

Grade: A

Ordinary People (1980) demonstrates that a quiet film with excellent writing and superb acting can pack an emotional punch, surpassing the gimmicks or action sequences that other films often employ to draw attention.

It’s character-driven and tells a story of a family tragedy and the ramifications and complications that affect the surviving members. The emotional intelligence that director Robert Redford embeds in the film is astonishing.

Deservedly winning the 1980 Best Picture Academy Award, it proves how crucial good writing and good characters are to a quality film.

Significantly, it propelled 1970s television sitcom star Mary Tyler Moore, known until then as the iconic girl-next-door type, into cinematic respectability.  Her narcissistic, uptight character was uncharted territory and a career risk for the actor who ended up exceeding expectations.

Tortured by guilt following the death of his older brother, Buck, in a sailing accident, we meet the alienated teenager Conrad Jarrett (Timothy Hutton) right off the bat, following a failed suicide attempt.

Returning home to his affluent Chicago suburban life following an extended stay in a psychiatric hospital, Conrad tries to deal with his mental anguish and also reconnect with his mother, Beth (Mary Tyler Moore), who has grown bitter after the accident.

His emotionally wounded father, Calvin (Donald Sutherland), tries to gently repair the family damage with the help of a psychiatrist, Dr. Berger (Judd Hirsch), who begins to treat Conrad.

The screenplay, written by Alvin Sargent, is based on the 1976 novel by Judith Guest.

Combined with Redford’s masterful direction, the story never shifts to a soap opera direction with Calvin or Beth having affairs, turning to booze, or other showy plot devices, intent on stirring up drama.

Instead, it’s about how they and Conrad handle their trauma. Each has an individual view of the events, who they blame, and how they cope with such trauma.

The audience can easily empathize and relate to the incidents if anyone has faced a death, loss of a job, an accident, a divorce, or any such upheaval in their lives.

The posh autumnal suburban landscape is enveloped by Redford, which enhances the experience. The Jarretts’ affluence is put to good use as they attend local theater, play golf, take European vacations, and can afford to send Conrad to a psychiatrist.

Exterior shots of large suburban homes, accompanied by luxury cars, housekeepers, well-manicured lawns, and sleek golf courses, all convey the comforts of life.

It makes their pain a bit more understandable as they, especially Beth, soak in luxury as a way of comforting herself from the loss of her son.

Can’t their money help alleviate some of the suffering?

I had mixed emotions about Beth’s character. Appearing to be a cold bitch with Conrad and the assumption that she favored the dead son, she never visits Conrad in the hospital after his suicide attempt, instead fleeing to Europe on vacation. She engages in small talk with him rather than caring for him.

What kind of mother could do that?

But I realize that she is hurting too, and when she becomes teary-eyed or crumbles in her husband’s arms, I feel genuine sympathy for her, a testament to Tyler Moore’s talents.

My favorite character, though, is Conrad (Hutton).

Via flashbacks, we see the closeness of the brothers’ relationship and the action that occurred during the drowning.

Hutton delivers on many levels. Whether staring into the distance, pondering events, exploding with rage, tenderly sharing a date with a blossoming love interest, Jeannine (Elizabeth McGovern), or struggling with a friend, Karen, his performance is always inspiring.

Ordinary People (1980) marks his directorial debut; Redford crafts a family drama rich in layers and a beautifully moving pace that draws the viewer into the lives of the primary characters.

The still taboo of mental illness and therapy is also embraced, showing that expressing feelings is better than repressing emotions.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Robert Redford (won), Best Actress-Mary Tyler Moore, Best Supporting Actor-Timothy Hutton (won), Judd Hirsch, Best Adapted Screenplay (won)

#2 Favorite Film, 1974 Films, Al Pacino, Best Picture Oscar Winners, Connie Mason, Danny Aiello, Diane Keaton, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, Harry Dean Stanton, James Caan, John Cazale, Mario Puzo, Michael V. Gazzo, Mob, Robert De Niro, Robert Duvall, Talia Shire, Tony Sirico, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather: Part II-1974

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The Godfather: Part II-1974

Director Frances Ford Coppola

Starring Al Pacino, Robert DeNiro

Top 250 Films #2

Scott’s Review #197

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Reviewed: November 25, 2014

Grade: A

Frances Ford Coppola’s sequel (and technically also a prequel) to the highly regarded and successful The Godfather (1972) is one of the rare sequels to equal, if not surpass, the original in its greatness, creativity, and structure.

The Godfather Part II (1974) feels more profound, more complex, and ultimately richer than The Godfather- and that film itself is a masterpiece. Part II is much darker in tone. Francis Ford Coppola had complete freedom to write and direct as he saw fit, with no studio interference.

The results are immeasurable in creating a film masterpiece.

The film is sectioned into two parts, which is an exciting and practical decision.

The story alternates between the early twentieth century, following Don Corleone’s life, now played by Robert DeNiro, as his story is explained- left without a family and on the run from a crime lord, Don escapes to the United States as a young boy and struggles to survive in the Little Italy neighborhood of New York City.

He obtains a modest job as a grocery stockboy and finally celebrates his eventual rise to power in the mafia.

The other part of the film is set in 1958, as Michael Corleone faces a crumbling empire, with both rivals and the FBI investigating him and holding Senate committee hearings in Washington, D.C., and a failing marriage to Kay (Diane Keaton).

Betrayal is a common theme of the film, as Michael’s wife, brother, and mobster allies are revealed to be cagey enemies. Michael becomes increasingly uncertain and mistrustful of almost everyone around him. Is Kay a friend or foe? Is Fredo plotting against him? He even begins lashing out at Tom Hagen on occasion.

What makes The Godfather Part II so brilliant, and in my opinion richer than The Godfather, is that it is tougher to watch- and that is to its credit. Now, instead of being a warm, respected member of a powerful family, Michael is questioned, analyzed, and betrayed.

New, interesting characters are introduced, including Hyman Roth, played by Lee Strasberg, a former ally of Don’s, and Frankie Pentangeli, played by Michael V. Gazzo. These characters are intriguing, and their allegiances remain unknown throughout most of the film: are they loyal to the Corleones or deadly enemies?

The character of Michael evolves from conflicted to all-out revenge-minded, including seeking revenge against members of his own family. Michael is now a dark, angry character- gone is the nice, decorated war hero with his whole life ahead of him.

He is much older and has changed.

Similar to the original Godfather, the opening scene is a large celebration- this time, Anthony Corleone’s first communion celebration.

Additionally, the film’s finale involves the deaths of several significant characters one after the other.

Unique to this film are the multiple-location scenes, featuring New York, Nevada, Italy, Florida, and Cuba, which make for an enjoyable segue throughout and a more substantial budget.

The blow-up confrontation between Michael and Kay is devastating and shocking in its climax. When Michael punches Kay in a sudden rage, the audience feels punched as well.

The incredible scene at the end of the film, with the entire family gathered around for Don’s fiftieth birthday in 1942, is a special treat for viewers; familiar faces make cameo appearances.

I love these aspects of the film.

The rich history of Don is the most significant aspect of The Godfather Part II, known as “Godfather” and patriarch of the family. His life as a boy and young father is explained, so we see how he became one of the most powerful men in the crime world.

I love how he remains a decent man and helps people experiencing poverty and the victims of ruthless Don Fanucci, his predecessor. He loves his wife and children, but also loves his neighbors and helps them, believing in the principle of fairness.

Ultimately, the characters of Don and Michael are worlds apart.

The Godfather Part II (1974) is one of the most complex and well-written films in movie history- studied in film school, discussed, imitated, and championed.

It remains vital and should be viewed and analyzed repeatedly.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Al Pacino, Best Supporting Actor-Robert De Niro (won), Michael V. Gazzo, Lee Strasberg, Best Supporting Actress-Talia Shire, Best Screenplay Adapted from Other Material (won), Best Original Dramatic Score (won), Best Costume Design, Best Art Direction (won)

#4 Favorite Film, 1972 Films, Al Pacino, Best Picture Oscar Winners, Diane Keaton, Drama, Epic, Favorite Film of the Year, Francis Ford Coppola, James Caan, John Cazale, Mario Puzo, Marlon Brando, Mob, Robert Duvall, Sterling Hayden, Talia Shire, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Godfather-1972

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The Godfather-1972

Director Frances Ford Coppola

Starring Marlon Brando, Al Pacino, James Caan

Top 250 Films #4

Scott’s Review #196

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Reviewed November 24, 2014

Grade: A

The Godfather (1972) is one of the most identifiable and brilliant film masterpieces of all time. It is so ingrained in pop culture and film history that it was a blueprint for 1970s cinema, and its legend deserves to live on.

The film has not aged poorly nor been soured by over-exposure. It is as much a marvel today as it must have been when it was initially released in theaters.

The film revolves around the Corleone family- a mob family living in New York. They are high-powered, wealthy, and influential with politicians and law enforcement alike. They are the cream of the crop of organized crime families.

The patriarch of the family is known as “The Godfather”; his real name is Don Corleone, played by Marlon Brando.

The eldest son is hot-headed Sonny, played by James Caan. Middle son Fredo, played by John Cazale, is dim-witted and immature, serving as the family’s weak link.

Finally, the youngest son is the central character in the film. Michael, played by a very youthful Al Pacino, has just returned home from World War II, a decorated and Ivy League-educated hero.

Throughout the film, Michael wrestles with steering the Corleone family business toward the straight and narrow or continuing the death, bloodshed, and corruption that currently plague the family.

Rounding out the Corleone family is Tom Hagen, an Irish surrogate son of sorts, who serves as the family attorney. Connie, the temperamental and emotional sister, and Mama Corleone, the passive wife of Don, complete the prominent family.

The various supporting characters are numerous, ranging from family friends and relatives to corrupt mob figures and those introduced when Michael lives in Italy.

The brilliance of The Godfather lies in the richness of the numerous characters on the canvas, as well as the film’s structure and pacing.

Even minor characters are vital to the film, and every scene is essential and effortlessly paced, so that they neither seem rushed nor dragged out; the film is immeasurably character-driven.

My favorite character is Michael Corleone, as he is the most troubled and complex of all. Pacino plays him to the hilt as, initially, a nice guy trying to do the right thing, going against the grain, and non-traditional- he proposes to a WASP woman who has no Italian heritage.

When events develop in a particular way, Michael suddenly becomes the leader of the family, despite being the youngest son, and the complexities of the character deepen from this point.

Specifically, the revenge killing sequence is brilliant as the viewer is kept on the edge of their seat through a car ride, a meal in a restaurant, and a men’s room scene, until finally, all hell breaks loose, all the while Michael is conflicted, unsure, and intense.

Has he veered too far from being a nice guy? Can he salvage the family business without being ruthless? Michael faces a battle of good vs. evil.

The scenes are brilliantly structured- the grand opening scene alone is beautiful as the audience is introduced to the entire family- cheerfully dancing and frolicking during a bright and sunny outdoor wedding (Connie’s) at the Corleone estate, while inside a dark interior study, a man begs Don Corleone to help avenge his raped and beaten daughter by having her attackers killed.

Several scenes in The Godfather are my personal favorites —the aforementioned restaurant scene, where Michael is faced with a dilemma involving a corrupt policeman and a high-powered figure. One can feel the tension in this extended scene.

The scene in a Hollywood mansion where poor, innocent, horse Khartoum meets his fate in the most gruesome way imaginable.

Later, Michael’s beautiful Italian wife, Apollonia, has an explosive send-off.

Towards the end of the film, there is an improvised scene featuring a tomato garden with an elderly Don Corleone playing with his young grandson.

Finally, the brutal scene involving Corleone’s son Sonny at the toll booth is mesmerizing, murderous, and flawlessly executed.

The lack of any strong female characters and how women are treated (either beaten or passively following their husbands) is bothersome.

Still, unfortunately, circa the 1940s, this was the way things were.

One could argue that Kay Adams, played by Diane Keaton, is the strongest female character, as she questions the Corleone family’s motives and attempts to keep Michael honest and trustworthy. She has little in common with the other female characters.

Lines such as “I’m gonna make him an offer he can’t refuse” and “Don’t forget the cannolis” are unforgettable and quote-worthy.

The finale of the film is breathtaking —a combination of bloody kills mixed with a peaceful scene of Michael accepting the honor of becoming his nephew’s godfather. As he pledges his devotion to God and denounces Satan, the murders he orchestrated are simultaneously being executed.

The character, while complex, suddenly becomes a hypocrite.

Some view Michael as strictly a hero whose choices should not be questioned or analyzed; others view Michael as not a hero, but rather a complex, tortured, and flawed character.

One must watch The Godfather and The Godfather Part II (1974) as companion pieces, as Part I is slightly more straightforward and easier to follow than the more complex and layered sequel.

The Godfather (1972) is storytelling and filmmaking at its absolute best and continues to influence films to this day.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Francis Ford Coppola, Best Actor-Marlon Brando (won), Best Supporting Actor-James Caan, Robert Duvall, Al Pacino, Best Screenplay Based on Material from Another Medium (won), Best Costume Design, Best Sound, Best Film Editing

#12 Favorite Film, 1961 Films, Best Picture Oscar Winners, Favorite Film of the Year, George Chakiris, Jerome Robbins, John Astin, Marni Nixon, Musical, Natalie Wood, Richard Beymer, Rita Moreno, Robert Wise, Russ Tamblyn, Simon Oakland, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

West Side Story-1961

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West Side Story-1961

Director Robert Wise, Jerome Robbins

Starring Richard Beymer, Natalie Wood

Top 250 Films #12

Scott’s Review #188

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Reviewed November 3, 2014

Grade: A

West Side Story is a musical from 1961 (based on the Broadway stage production from the 1950s), during a period in Hollywood where every other film released seemed to be a version of an enchanting musical.

This particular film version is much darker than most of its contemporaries within this genre. The dreary ending, fantastic and compelling in its dramatic elements, does not detract from the rest of the musical and its hum-along tunes.

West Side Story was crowned the 1961 Academy Award winner for Best Picture.

West Side Story is undoubtedly based on the Shakespearean tragedy of Romeo and Juliet- the Capulets and Montagues becoming rival teen street gangs of the Puerto Rican “Sharks” and the Polish”Jets,” with the lovesick teens Tony and Maria serving as Romeo and Juliet.

And yes, spoiler alert, the story does not end happily ever after.

Loads of suspension of disbelief must be taken- How many gangs sing and dance to each other, snapping their fingers in unison to perfectly choreographed beats?

Additionally, some gang characters do not look authentic, with clearly dyed hair, bronzed skin, or some other phony-looking get-up.

The film is a cherished friend, and these can be overlooked for my enjoyment of the film.

The story, set in 1950s New York City, pits the Sharks (a gang led by Bernardo) against the Jets (led by Riff), who have been bitter rivals for the turf of the rough streets of Manhattan’s west side for many years.

The gang’s girlfriends and one female, “Anybodys,” are in tow. She longs for the day when she can join the Jets and fight alongside the boys.

The other supporting characters primarily include various policemen (Lieutenant Schrank and Officer Krupke) who attempt to keep the gangs apart. They also include a local shopkeeper, Doc, who is the story’s moral compass. Doc encourages the gangs to get along and questions the logic of gang fights.

After a scuffle, the gangs decide to fight after an upcoming dance, and the Jets elect Tony to face Bernardo.

The story is surprisingly dark, especially in the inevitable final act. Amid all this darkness, however, lies a musical with cheery, catchy numbers (I Feel Pretty, Jet Song) and love-struck tunes (Maria and Somewhere).

A musical about diversity and rivalry, the story centers on lovesick Maria and Tony, a la Romeo and Juliet, and their struggle to be together despite adversity from their friends and family due to their significantly different backgrounds.

Throughout the film, we get to know other characters well- Anita, the girlfriend of Bernardo, for example, played by Rita Moreno, is the stubborn yet likable best friend of Maria, who thinks that Maria and Tony are wrong for each other and that things just are not supposed to be that way when you mix cultural diversity.

The film moves along quickly, featuring standoffs, fights, and plots to eliminate the other gang, a failed attempt at a dance to bring the two groups together, and Tony and Maria sneaking off to meet.

The lack of chemistry between Natalie Wood (Maria) and Richard Beymer (Tony) is noticeable, primarily upon multiple viewings. Still, decades later, it is also challenging to imagine anyone else in either role—so ingrained is the duo in film culture.

The cultural diversity of much of the cast (Rita Moreno was the only Puerto Rican) is fascinating, as is the fact that most of the singing was dubbed by other singers.

Yet, the film still manages to work very well.

Oscar Nominations: 10 wins-Best Motion Picture (won), Best Director-Robert Wise and Jerome Robbins (won), Best Supporting Actor-George Chakiris (won), Best Supporting Actress-Rita Moreno (won), Best Screenplay Based on Material from Another Medium, Best Scoring of a Musical Picture (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing (won)

#18 Favorite Film, 1965 Films, Anna Lee, Best Picture Oscar Winners, Charmian Carr, Christopher Plummer, Drama, Eleanor Parker, Favorite Film of the Year, Julie Andrews, Marni Nixon, Musical, Musical Drama, Norma Varden, Peggy Wood, Richard Haydn, Robert Wise, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Sound of Music-1965

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The Sound of Music-1965

Director Robert Wise

Starring Julie Andrews, Christopher Plummer

Top 250 Films #18

Scott’s Review #49

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Reviewed June 20, 2014

Grade: A

The Sound of Music (1965) is a film that almost everyone has seen multiple times. It is undoubtedly ingrained in most people’s childhood memories, especially around the holiday season, and is a treasure to watch.

It is tough to be objective, as I’ve probably seen the film dozens of times and continue to appreciate and love it with each repeated viewing.

Maria (Julie Andrews) is a pretty, young, free-spirited woman living in the gorgeous hills of Austria. We first meet her on a lush hilltop where she sings with the birds and enjoys life.

While very popular with other nuns, she does not quite fit in at the Nonnberg Abbey, where she studies to become a nun. She is sent to discover herself as the governess of seven nearby children. They are the children of well-known and now-retired Georg von Trapp (played by Christopher Plummer).

Since his wife died, no life or music exists inside the house. Maria brings life and music to all, transforming everyone’s existence into a happier one. The threat of the powerful Nazis wishing to recruit a disapproving von Trapp adds tension.

Maria and the von Trapp family fall madly in love.

As a musical, it is top-notch and is the hallmark of all musicals. The songs are challenging to get out of one’s head (“The Sound of Music,” “Climb Ev’ry Mountain,” and “My Favorite Things” are personal favorites), but the list of gems goes on and on.

The political/Nazi story was lost on me as a child, but now I see the film does have a darker tone in the second half and becomes quite severe. Indeed, since it is a family film, the details are glossed over a bit, but so what? It is the wonderful music that makes The Sound of Music great and memorable.

The first half is wholesomely sugary, sweet, and safe, and, from what I’ve read, exceptionally loosely based on the real von Trapp family. However, this hardly matters, as escapism is sometimes needed.

I hate to dissect and overanalyze a film like this, a fantasy/musical extravaganza meant to be enjoyed—lighthearted and fun for everyone.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Robert Wise (won), Best Actress-Julie Andrews, Best Supporting Actress-Peggy Wood, Best Scoring of Music-Adaptation or Treatment (won), Best Sound (won), Best Art Direction, Color, Best Cinematography, Color, Best Costume Design, Color, Best Film Editing (won)

#22 Favorite Film, 1939 Films, Best Picture Oscar Winners, Drama, Epic, Favorite Film of the Year, George Cukor, George Reeves, Hattie McDaniel, Jane Darwell, Leslie Howard, Olivia de Havilland, Sam Wood, Thomas Mitchell, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films, Victor Fleming, Vivien Leigh

Gone With The Wind-1939

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Gone With The Wind-1939

Director Victor Fleming/George Cukor

Starring Clark Gable, Vivien Leigh, Olivia de Havilland

Top 250 Films #22

Scott’s Review #201

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Reviewed December 4, 2014

Grade: A

Gone with the Wind (1939) is the grand masterpiece of sweeping epic drama.

The film is based on Margaret Mitchell’s best-selling novel. Set in the American South (specifically, Georgia) during the Civil War era, it centers on the life of Scarlett O’Hara, a Southern belle who works on the cotton plantation Tara. After the South loses the war, she struggles to keep her plantation alive.

Initially, Scarlett cares little about the war but enjoys her spoiled, narcissistic lifestyle and romances with many men in the town, all vying for her attention. With all eyes on her, she revels in one sunny picnic and ball after another.

As war decimates the South, Scarlett must take over the plantation and survive the ravages of war.

Mixed in with the war theme is a romance between Scarlett and Rhett, one of cinema’s most recognized and enduring couples. Having gone through three directors (Victor Fleming, George Cukor, and Sam Wood), the film is as extravagant and precise in its style, attention to detail, and set design as films come.

At close to four hours, Gone with the Wind is a lavish production that can take an entire afternoon or evening to watch. It is divided into two halves—interestingly, Cukor directs the first half, and Fleming primarily directs the second.

It is a film that can be viewed and analyzed repeatedly, and the set pieces and flawless perfection alone are worthy of marvel. The first half is superior to the second, but that is like comparing prime rib to filet mignon—it’s a matter of personal preference.

The first half is brighter, cheery, and fantastic. The excellent Tara and neighboring plantation Twin Oaks host southern balls and parties filled with romance, gossip, and beautiful costumes. War is coming, but it is a delightful time of merriment.

The Southerners eagerly embrace the prospect of war, assuming it will last only two weeks and that they will emerge victorious. They party and celebrate.

The second half has a much darker tone.

By the beginning of the second half, Atlanta has burned, thousands of men have died, Tara is decimated, Scarlett’s mother has died, and her father has gone batty.

The rebuilding of the South is explored, the troubled Rhett and Scarlett marriage commences, their daughter dies, and the world-famous line uttered by Rhett to Scarlett, “Frankly my dear…. I don’t give a damn”.

Having been now directed by a different person (Fleming), the first and second halves almost seem like two separate films.

Vivien Leigh plays a beautiful role. In 1939, women were rarely portrayed as strong characters in films, so Gone with the Wind is groundbreaking for its portrayal of female characters.

Scarlett is selfish but rises above, is strong, saves her plantation, and succeeds as a successful businesswoman—almost unheard of in cinema in 1939. Her undying love for Ashley Wilkes but her inability to obtain him (he is married to his cousin Melanie) gives her a sympathetic vulnerability.

Clark Gable, already a massive star and the people’s choice to play Rhett, is charismatic and handsome. The fact that he and Leigh did not get along makes their fights and sexual tension electric. They love but hate each other, which is transmitted on screen.

Rhett is his own man—he defines himself as not a Northerner but not a Southerner. He is a vagabond and spends many nights at the local brothel in the company of Belle Watling. Rhett’s character is independent and strong.

The supporting characters are colorful, lively, and humorous. Aunt Pittypat’s dramatic worrying and smelling salts and Prissy’s insistence on expert childbirth when, in reality, she knows nothing is moments meant to lighten the mood.

Mammie, Scarlett’s mother figure, is a moral, kind, yet tough character. Melanie (Olivia de Havilland) is an even sweeter character, characterized by her caring and selflessness.

Lesser characters, such as Dr. Meade, Suellen, Carreen, India, and Frank Kennedy, serve their purpose and are no throwaways.

It is bothersome that, over the years, Gone with the Wind has been unfairly “feminized” once it began airing as an alternative to the annual Super Bowl. The assumption was that only women would enjoy it, which is silly.

I do not find this film to be a female film, and frankly, some of the battle scenes are pretty masculine, with epic fires and guns galore. Is Gone with the Wind now considered a racist film?

Perhaps so, and time has made the political incorrectness much more glaring- this point can be debated endlessly. Ashley participates in a hooded Klan organization and is portrayed as a hero in the film.

Indeed, throughout the film, the enslaved people are portrayed as happy, kindly, and comfortable with their place in life, vastly different from what transpired. However, Hattie McDaniel (Mammie) won the first-ever Oscar for a black actress, which was monumental progress and influence.

Using seemingly thousands of extras, the war-torn Atlanta scene where the camera rises up and up and up, panning down on hundreds of wounded and dead Union soldiers as Scarlett defeatedly walks among them, is still heartbreaking to watch and is a reminder of the power and destruction that war is.

Gone with the Wind is an epic masterpiece from the past that still holds up remarkably well. The sets, the rich characters, and the costumes can be admired and still inspire today.

Oscar Nominations: 8 wins-Outstanding Production (won), Best Director-Victor Fleming (won), Best Actor-Clark Cable, Best Actress-Vivien Leigh (won), Best Supporting Actress-Hattie McDaniel (won), Olivia de Havilland, Best Screenplay (won), Best Original Score, Best Sound Recording, Best Art Direction (won), Best Cinematography, Color (won), Best Film Editing (won), Best Special Effects

#38 Favorite Films, 1968 Films, Best Picture Oscar Winners, Carol Reed, Children, Harry Secombe, Hugh Griffith, Jack Wild, Joseph O'Conor, Mark Lester, Megs Jenkins, Musical, Oliver Reed, Ron Moody, Shani Wallis, Top 100 Films, Top 250 Films, Top 50 Films

Oliver!-1968

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Oliver! -1968

Director Carol Reed

Starring Mark Lester, Oliver Reed, Jack Wild

Top 250 Films #38

Scott’s Review #203

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Reviewed December 10, 2014

Grade: A

Oliver! is a 1968 film based on Charles Dickens’ novel Oliver Twist, which was later adapted into a successful stage musical. The film surprisingly won the Academy Award for Best Picture that year.

Surprising, not because Oliver! is poor, it is magnificent, but it was not predicted to take home the honor.

Telling the tale of the woeful orphan Oliver, the film comes across as a dark musical with a wholesome, happy-ending feel, primarily because of its musical compositions, which inevitably lend a cheerier tone.

When the film begins, Oliver lives in a despicable orphanage outside of London. A drawing of straws forces meek Oliver to ask for more gruel.

After being deemed a problem child, he is sold for cheap to an undertaker, where he is bullied. Defeated, Oliver makes his way towards the big city in hopes of finding his fortune.

He then meets sinister characters such as Fagin, the Artful Dodger, and Bill Sikes, as well as the sympathetic Nancy and Mr. Brownlow.

I love the musical numbers in the film, and for me, they are the strongest aspect of Oliver. The film would have been much darker had it not been for the musical.

Numbers such as “Consider Yourself”, “Food, Glorious Food”, and “As Long As He Needs Me” stick with audiences for days.

The entertaining songs lighten the somber moments- as noted earlier, when meek Oliver dares to ask for more gruel, the enchanting “Food Glorious Food” cannot help but be hummed along to, which lightens the mood of the scene.

I also enjoy how the film contains the long-ago popular trend of containing two acts with an intermission in between- very grand and classy, and an aspect of the film I wish would return in today’s movies.

The London art direction is magnificent, revealing a cold, industrial feel, mixed in with a warm, sunny atmosphere when Oliver stays at the palatial estate of Mr. Brownlow.

The bright and enchanting musical number “Who Will Buy?” is the perfect backdrop for this setting and my favorite number.

Nancy (Wallis) is one of the most complex characters- a prostitute, she happily sings, in denial about her life, in “It’s a Fine Life”, secretly wishing her life was better than it is.

Later, conflicted over helping Oliver or standing by her man, she sings a melancholy number, “As Long As He Needs Me”, which cements her role as a tragic, sad character.

However, as she leads a drunken barroom in a dance of “Oom-Pah-Pah”, the drama is thick when she attempts to help Oliver at the risk of putting her own life in severe jeopardy.

Shani Wallis fills the character with heart and feeling.

Oliver! is a much darker film than one might imagine.

Curiously rated G, the film should have at least been rated PG. The film’s heart is that of a children’s movie- to me personally, a turn-off, but the film is much stronger than that.

Some subject matters (like pedophilia) are toned down from Dickens’ novel, but not completely toned down.

Examples- the novel made clear overtones of child abuse by the thieves by Fagin, yet there is none of that in the film. Contrasting this, the film blatantly shows the beating death of Nancy, albeit out of camera range, but the audience gets enough of a glimpse to ascertain what is happening.

The shooting and swinging death of Bill Sikes borders on brutality.

A glaring flaw of the film is that Oliver’s voice is dubbed by a female singer rather than actor Mark Lester. To me, it’s pretty apparent the voice is not male.

The character of Bill Sykes is convincingly played by Oliver Reed, nephew of director Carol Reed.

Perfect around holiday time, Oliver! (1968) is a terrific musical drama, to be enjoyed for eons to come.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Carol Reed (won), Best Actor-Ron Moody, Best Supporting Actor-Jack Wild, Best Screenplay Based on Material from Another Medium, Best Score of a Musical Picture-Original or Adaptation (won), Best Sound (won), Best Costume Design, Best Art Direction (won), Best Cinematography, Best Film Editing

#15 Favorite Horror Film, #64 Favorite Film, 1991 Films, Anthony Hopkins, Best Picture Oscar Winners, Charles Napier, Diane Baker, Favorite Film of the Year, George A. Romero, Horror, Jodie Foster, Jonathan Demme, Scott Glenn, Ted Levine, Top 100 Films, Top 20 Horror Films, Top 250 Films, Top 40 Horror Films

The Silence of the Lambs-1991

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The Silence of the Lambs-1991

Director Jonathan Demme

Starring Anthony Hopkins, Jodie Foster

Top 250 Films #64

Top 40 Horror Films #15

Scott’s Review #320

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Reviewed January 3, 2016

Grade: A

The Silence of the Lambs (1991) has the honorary achievement of being one of only three films to win the top five Oscar statuettes, having been awarded Best Picture, Best Director (Jonathan Demme), Best Adapted Screenplay, Best Actor (Anthony Hopkins), and Best Actress (Jodie Foster) at the 1991 Oscar ceremonies.

This is no small feat, especially considering the film was released in March (not an Oscar-happy month) and is a horror film. These elements speak volumes for the level of mastery that is The Silence of the Lambs and the film holds up incredibly well as the years go by.

The film was a sleeper hit at the time of release and gradually built momentum throughout the year, becoming a phenomenon and forever a classic.

The film is adapted from the novel of the same name- written by Thomas Harris and, despite being a horror film, contains little gore. The film stars Foster as Clarice Starling, an FBI trainee, sent by her superiors to interview the infamous Hannibal Lecter.

Hannibal, “The Cannibal”, is a highly intelligent former psychiatrist who has been banished to a maximum security insane asylum after having been found guilty of killing and eating his victims.

The FBI hopes that Hannibal will aid them in a current case involving “Buffalo Bill”, a serial killer who skins his female victims.

Hannibal and Clarice embark on an intense and strange relationship in which he gets under her skin and questions her unhappy childhood in exchange for information about “Buffalo Bill”.

This relationship leaves Clarice vulnerable, though the pair develop a strong connection. As Hannibal makes more and more demands in exchange for information, he eventually escapes from custody and a chilling and bizarre escape.

The psychological elements and the intense relationship between Hannibal and Clarice are of monumental importance and Hopkins and Foster share an amazing chemistry.

Hopkins gives a top-notch and downright creepy performance as the cannibalistic killer. His mannerisms are stiff and calculating, his tone of voice monotone, and he simply embodies his character, making him a legendary and recognizable presence in film history.

Two memorable lines that he utters are, “I do wish we could chat longer, but I am having an old friend for dinner.”, and “I ate his liver with some fava beans and a nice Chianti”.

The character of “Buffalo Bill” is as terrifying as Hannibal Lecter.

Portrayed by Ted Levine, the character is maniacal, sexually confused, and otherwise downtrodden. A tailor, he aspires to make a full “woman suit” costume out of his victim’s skin. His current hostage, a Senator’s daughter, is kept confined in an old well and terrorized by Bill’s antics.

His famous line, “It puts the lotion on or it gets the hose again” still terrifies me.

Highly influential, mimicked for years to come, and containing multiple lines and characters permanently etched in film history, The Silence of The Lambs (1991) is a classic not soon forgotten.

The film was followed by multiple sequels, none of which come close to the power and psychological complexities of the original.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Jonathan Demme (won), Best Actor-Anthony Hopkins (won), Best Actress-Jodie Foster (won), Best Screenplay Based on Material Previously Produced or Published (won), Best Sound, Best Film Editing

#71 Favorite Film, 1971 Films, Action, Best Picture Oscar Winners, Crime Thriller, Gene Hackman, Roy Scheider, Thriller, Top 100 Films, Top 250 Films, William Friedkin

The French Connection-1971

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The French Connection-1971

Director William Friedkin

Starring Gene Hackman, Roy Scheider

Top 250 Films #71

Scott’s Review #342

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Reviewed January 9, 2016

Grade: A

The French Connection had the notable distinction of being the first R-rated film to win the coveted Academy Award for Best Picture in 1971.

This praise, similar to The Silence of the Lambs being the first horror film to win Best Picture in 1991, is well worth pointing out and is quite honorary.

The film succeeds, both for me and other critics, due to its unique camerawork style, shot in a documentary manner, and the use of quick edits.

It is much more intricate in every way than the traditional crime thriller.

Gene Hackman stars as the feisty detective, Jimmy “Popeye” Doyle, who along with his partner, Buddy “Cloudy” Russo, (Scheider) are determined to crack the case of a massive heroin smuggling syndicate from France.

The narcotics are flowing into New York City and the duo is determined to get to the bottom of the drug ring, figuring out who is the mastermind and defeating their foe.

The primary culprit is a suave French drug lord named Alain Charnier, brilliantly played by Fernando Rey.

Throughout the film, the action is non-stop, traversing throughout Manhattan and Brooklyn, via subway, and car, as Popeye becomes more and more obsessed with the case.

Director William Friedkin, who also directed the legendary 1973 film, The Exorcist, deserves a heap of praise for creating a film of this caliber. The French Connection can be enjoyed by all and is well beyond the limitations of a “guy film”- it is much more than that.

The editing and frenetic pacing work wonders for the film, all the while not ruining the experience or overshadowing the good plot. Quite simply, the film is a chase across New York City.

Friedkin distinguishes the boroughs by making Manhattan seem sophisticated and stylish, and Brooklyn dirty, grizzled, and drug-laden.

The settings are perfect.

The best scene in the film is the well-known car chase throughout New York City. Popeye is determined not to lose his man, the man riding in a subway on an elevated platform. Popeye steals a car and proceeds to chase the subway narrowly missing pedestrians, including a woman with a baby carriage, as he recklessly weaves in and out of traffic at a high speed, to keep pace with the train.

This is a phenomenal scene as the excitement and tension continue to build.

The conclusion of the film and the final scene is cynical and also leaves the audience perplexed and unsure of what has transpired.

The French Connection is open to good discussion and even interpretation, a novel aspect of the action film.

Providing a tremendous glimpse into 1970s Manhattan and Brooklyn, The French Connection is an exciting film that oozes with thrills, car chases, and a good story.

The film is unique in style and still holds up incredibly well- one of my favorites in the action genre.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Richard Friedkin (won), Best Actor-Gene Hackman (won), Best Supporting Actor-Roy Scheider, Best Screenplay Based on Material from Another Medium (won), Best Sound, Best Cinematography, Best Film Editing (won)

#96 Favorite Film, 1940 Films, Alfred Hitchcock, Best Picture Oscar Winners, Favorite Film of the Year, George Sanders, Gladys Cooper, Joan Fontaine, Judith Anderson, Laurence Olivier, Leo G. Carroll, Nigel Bruce, Thriller, Top 100 Films, Top 250 Films

Rebecca-1940

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Rebecca-1940

Director Alfred Hitchcock

Starring Laurence Olivier, Joan Fontaine

Top 250 Films #96

Scott’s Review #345

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Reviewed January 9, 2016

Grade: A

The only Alfred Hitchcock film to win the coveted Best Picture Oscar trophy, Rebecca is a very early offering in the famous director’s repertoire.

His heyday being well ahead of this film (the 1950s and 1960s saw his best works), Rebecca is a blueprint of fine things to come and, on its own merits, is a great film.

Shot in black and white, the film is a descent into mystery, intrigue, and madness with a gothic look.

Laurence Olivier stars as wealthy widower Maxim de Winter, whose first wife, the title character Rebecca, died sometime before the story begins. In a clever twist, the character of Rebecca is never seen but takes on a life of her own through the tellings of the rest of the cast.

Joan Fontaine plays a nameless, naïve young woman who meets the sophisticated Maxim and marries him, becoming the new Mrs. de Winter.

This development is met with disdain by the servants who work in the Grand de Winter mansion, Manderley, a character in its own right.

The housekeeper, Mrs. Danvers (Judith Anderson), is cold and distant from Maxim’s new wife. She begins to reveal an obsession with the deceased Rebecca, which creates jealousy and intimidation for Fontaine’s character, to the point where she starts to doubt her sanity and decision-making capabilities.

Thanks to Hitchcock’s direction, Rebecca is a fantastic, old-style film with layers of mystery and wonderment. The mansion, Manderley, is central to the story, as is Mrs. Danvers’s creepy obsession with Rebecca.

She keeps the dead woman’s bedroom neat, a sort of shrine to her memory, so much so that, despite the time the film was made, 1940, a lesbian element is crystal clear to attention-paying audiences.

This aspect may not have been noticed at the time, but it is apparent now.

The film is also a ghost story since the central character, Rebecca, is never seen.

Could she be haunting the mansion? Is she dead, or is this a red herring created to throw the audience off the track? Is the new Mrs. de Winter spiraling out of control? Is she imagining the servant’s menacing actions? Is Maxim in on the tormentor, simply seeking a replacement wife for his steadfast love?

The pertinent questions are asked not only of the character but also of the audience as they watch with bated breath.

The climax and finale of Rebecca (1940) are fantastic.

As the arguably haunted mansion is engulfed in flames and the sinister Mrs. Danvers can be seen lurking near the raging drapes, the truth comes to the surface, leaving a memorable haunting feeling to audiences watching.

Rebecca is a true classic.

Oscar Nominations: 2 wins-Outstanding Production (won), Best Director-Alfred Hitchcock, Best Actor-Laurence Olivier, Best Actress-Joan Fontaine, Best Supporting Actress-Judith Anderson, Best Screenplay, Best Original Score, Best Art Direction, Black and White, Best Cinematography, Black-and-White (won), Best Film Editing, Best Special Effects

#102 Favorite Film, 1946 Films, Best Picture Oscar Winners, Cathy O'Donnell, Dana Andrews, Drama, Fredric March, Harold Russell, Hoagy Carmichael, Myrna Loy, Teresa Wright, Top 250 Films, Virginia Mayo, William Wyler

The Best Years of Our Lives-1946

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The Best Years of Our Lives-1946

Director William Wyler

Starring Frederic March, Myrna Loy, Dana Andrews

Top 250 Films #102

Scott’s Review #858

Reviewed January 20, 2019

Grade: A

Many films emerged during the 1940s that depicted the horrific events of World War II. The Best Years of Our Lives (1946) is the first film to focus on the aftermath of the war and the lasting psychological effects on soldiers and their loved ones.

The film may teeter on the edge of soap opera territory. Still, it is powerful, dramatic, tender, and heartfelt, allowing its audience to experience the challenges faced by those who serve their country after leaving the military.

Director William Wyler, who also created the similarly themed Mrs. Miniver (1942), again explores the family drama genre. Still, the drama occurs this time in small-town America rather than outside London.

While Mrs. Miniver focuses on the ravages of the current war, he chooses to delve into its after-effects, which offer a broader range of situations and greater complexity. The result is a more substantial and cerebral experience.

The story centers on three U.S. service members as they attempt to readjust to civilian life upon returning home from the battlefields of World War II. Homer (Harold Russell), Al (Frederic March), and Fred (Dana Andrews) all live in the same small town, Boone City, USA.

The men were acquaintances but did not serve together in the war, as each held a different rank and had other duties.

Al has the most going for him with a loving wife, Milly (Myrna Loy), two children, and a stable household. He is promoted to Vice President of a local bank, but despite this achievement, he is a heavy drinker and prone to anger.

He is enraged at the poor treatment of veterans trying to obtain bank loans and at the United States for hindering veterans’ attempts at rebuilding their lives. His adult daughter Peggy (Teresa Wright) is a prominent character as she begins a flirtation with Fred.

Fred is unskilled and must return to his menial job as a drugstore soda jerk, much to his selfish wife, Marie’s (Virginia Mayo), chagrin. Homer lost both hands in the war and wore mechanical prosthetic hands, which made him insecure and troubled.

His days as a respected high school football quarterback have sadly come to an end, though he has unwavering support from his fiancée, Wilma (Cathy O’Donnell).

The trials and tribulations of many characters begin to mount as one character fights another over a dispute about the meaning of the war. Another character plots to ruin a marriage and embarks on a plan to rescue a character from another.

The plots run the risk of being too daytime drama-like, except that the underlying point of the troubled veterans is always at the forefront, and their challenges are to be taken seriously.

A poignant moment is a crucial scene when one character admits that they have “given up the best years of my life,” a frustrated testimonial and proof that war can ravage not only the lives of the veterans but also of their loved ones.

Wyler does not hold back in conveying a clear message through the film. The viewer will undoubtedly ponder the title, “The Best Years of Our Lives,” and realize that it is open to different interpretations and does not have only a positive connotation.

The most powerful aspect of The Best Years of Our Lives is that the actor who played a military veteran, Harold Russell, was a disabled veteran. This realism of a man portraying himself and the terrible effects the war had on him makes his character my favorite and highly empathetic.

His Academy Award wins for Best Supporting Actor are emotional and deserving, as he a won Best Picture and seven other awards.

Featuring a topic that gained prominence after World War II, The Best Years of Our Lives (1946) is a grand Hollywood film that embodies all the hallmarks of a classic drama.

Under the surface, the film is dripping with relevance, social commentary, and the psychological trauma that veterans face upon returning home, and how some are damaged beyond repair. The rich American-style film remains a worthy watch, nearly a century after production wrapped.

Oscar Nominations: 7 wins-Best Motion Picture (won), Best Director-William Wyler (won), Best Actor-Fredric March (won), Best Supporting Actor- Harold Russell (won), Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture (won), Best Sound Recording, Best Film Editing (won)

#113 Favorite Film, 1951 Films, Best Picture Oscar Winners, Comedy, Gene Kelly, Leslie Caron, Madge Blake, Musical, Nina Foch, Oscar Levant, Romantic Comedy, Top 250 Films, Vincente Minnelli

An American in Paris-1951

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An American in Paris-1951

Director Vincente Minnelli

Starring Gene Kelly, Leslie Caron

Top 250 Films #113

Scott’s Review #120

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Reviewed July 19, 2014

Grade: B+

A classic film directed by Vincente Minnelli, An American in Paris is a musical from 1951 set in marvelous Paris- though, to be fair, the entire movie, save for the opening scenes of Paris, is shot exclusively on a sound stage.

Gene Kelly stars as Jerry Mulligan, a struggling American artist who lives in a quiet neighborhood with his best friend, Adam Cook.

Jerry optimistically sings and tap dances his way through life, befriending neighbors and school kids and spending time in the local cafe until he is finally noticed by wealthy art buyer Milo, played by Nina Foch.

This sets off a quadrangle when Jerry falls for youthful Lise (Leslie Caron), already dating a suave French singer, Georges Guetary.

An American in Paris is a cheerful fantasy film. It is bright and colorful and filled with musical numbers and dancing.

Highlights in this department are “‘S Wonderful” and “I Got Rhythm”.

The brilliance is the incredible eighteen-minute epic finale, which involves Gene Kelly’s ballet on Parisian sets of various artists. It is as innovative as anything in film history.

The film’s drawback is the lack of chemistry between Kelly and Caron, which I notice more with each passing viewing.

There is more chemistry between Kelly and Foch, who is meant to be the odd woman out, and I still find myself rooting for the two of them instead of the intended couple.

I love that none of the four characters in the story are villains, which adds to the film’s merry feel.

The predictable ending is fantastic and romantic.

An American in Paris won the 1951 Best Picture Oscar, upsetting the heavily favored A Streetcar Named Desire.

Oscar Nominations: 6 wins-Best Motion Picture (won), Best Director-Vincente Minnelli, Best Story and Screenplay (won), Best Scoring of a Musical Picture (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Costume Design, Color (won), Best Film Editing

#136 Favorite Film, 1999 Films, Allison Janney, Annette Bening, Best Picture Oscar Winners, Chris Cooper, Comedy, Dark Comedy, Kevin Spacey, Mena Suvari, Peter Gallagher, Sam Mendes, Scott Bakula, Thora Birch, Top 250 Films, Wes Bentley

American Beauty-1999

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American Beauty-1999

Director Sam Mendes

Starring Kevin Spacey, Annette Bening

Top 250 Films #136

Scott’s Review #70

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Reviewed June 25, 2014

Grade: A

American Beauty is a film that holds up magnificently well and packs the same punch as it did when I originally saw it premiered in 1999.

The film won the Best Picture Oscar in 1999, surprisingly so, as it is not a mainstream film and is edgy, artistic, and poetic.

The film is a thought-provoking story of the American Dream gone wrong and how most people live ordinary, humdrum, on the surface, happy lives, but ultimately are unhappy, damaged, or otherwise unfulfilled.

It is a truthful film and reminds me quite a bit of The Ice Storm, a film from 1997.

American Beauty is not a downer but rather is witty, dark-humored, and filled with dry sarcasm.

Kevin Spacey is tremendous as the central character going through a mid-life crisis and Annette Bening is frighteningly good as his neurotic, controlling wife.

Their daughter, played by Thora Birch, has her teenage angst and falls in love with a neighborhood misfit. Every character, even small and supporting, is troubled in some way.

American Beauty (1999) is a film that was loved or hated at the time of its release; some did not get it or did not want to invest in the thought it requires, but, to me, it’s a work of art, which has achieved a timeless quality.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sam Mendes (won), Best Actor-Kevin Spacey (won), Best Actress-Annette Bening, Best Screenplay Written Directly for the Screen (won), Best Original Score, Best Cinematography (won), Best Film Editing

#139 Favorite Film, 1962 Films, Adventure, Alec Guinness, Andre de Toth, Anthony Quayle, Anthony Quinn, Arthur Kennedy, Best Picture Oscar Winners, Biography, Claude Rains, David Lean, Drama, Epic, Jack Hawkins, Jack Hedley, Omar Sharif, Peter O'Toole, Top 250 Films

Lawrence of Arabia-1962

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Lawrence of Arabia-1962

Director David Lean

Starring Peter O’Toole, Alec Guinness, Omar Sharif 

Top 250 Films #139

Scott’s Review #355

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Reviewed January 9, 2016

Grade: A

Lawrence of Arabia (1962) is quite a grand film that must be seen on a large screen. This will ensure full appreciation of the enormous scale of the production.

Numerous shots of objects in the distance are featured, and the small screen dulls the experience.

An excellent film from top to bottom and groundbreaking at the time, due to the scope and vast proportions of the production, Lawrence of Arabia achieves its place in cinematic history.

It’s a treat to revisit from time to time.

The film is divided into two parts with an intermission, as with epics that last nearly four hours.

Peter O’Toole stars as T.E. Lawrence, a bored British Army Lieutenant who talks his way into a transfer to the Arabian desert.

As the film opens, it is 1935, and Lawrence has just been killed in a motorcycle accident. While this concept of revealing the ending and working backward is common in current films, it was novel in 1962 when the film was made.

While in Arabia, Lawrence successfully bonded bitter rival tribes to unite against Turkish oppression during World War I. He meets two young guides and other central characters there: Prince Faisal (Alec Guinness) and Sherif Ali (Omar Sharif).

Much of the film features the battles between the rival tribes and Lawrence’s struggle to achieve peace.

Many location sequences of Lawrence and company traveling miles and miles of hot desert are featured.

Some complain that Lawrence of Arabia is too slow-moving a film, but that is its selling point. I find the scenes of the group languishing across the desert incredibly lush and rich in meaning.

The intense heat and beating sun are fantastic in their cinematic grandeur. The film is meant to take its time—precisely what an experience in the Arabian desert would be like—and the mountainous dunes and swirling winds are brilliantly filmed.

David Lean is the king of the sprawling epic, and Lawrence of Arabia is his crowning achievement.

Lawrence is a well-written, layered, and complex character. He is not easy to describe or understand, which is also to the film’s credit.

The sheer weight loss that O’Toole underwent over the two years it took to film Lawrence of Arabia is impressive enough, but he was also a tortured soul emotionally.

The epic film Lawrence of Arabia (1962) requires a half-day of dedicated viewing, but it is worth every minute.

For a reminder of what an actual, breathtaking film looks like sans the oversaturated CGI and quick edits, one should take a deep breath and appreciate this work of art for its majestic look.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-David Lean (won), Best Actor-Peter O’Toole, Best Supporting Actor-Omar Sharif, Best Screenplay Based on Material from Another Medium, Best Music Score-Substantially Original (won), Best Sound (won), Best Art Direction, Color (won), Best Cinematography, Color (won), Best Film Editing (won)

#152 Favorite Film, 1983 Films, Albert Brooks, Best Picture Oscar Winners, Danny DeVito, Debra Winger, Drama, Favorite Film of the Year, Jack Nicholson, James L. Brooks, Jeff Daniels, Mary Kay Place, Shirley MacLaine, Top 250 Films

Terms of Endearment-1983

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Terms of Endearment-1983

Director James L. Brooks

Starring Shirley MacLane, Debra Winger, Jack Nicholson

Top 250 Films #152

Scott’s Review #368

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Reviewed January 9, 2016

Grade: A

Terms of Endearment (1983) is a sentimental favorite of mine, and while I am slightly embarrassed to include this chick-flick to end all chick-flicks on my favorites list, it is also a damned good sentimental film and makes me a bit weepy each time I see it.

It is pure Hollywood mainstream formula, but somehow Terms of Endearment works (romantic films are not usually at the forefront) and even won the coveted Best Picture Oscar in 1983. That must say something.

So if it is so sappy what makes it so great? For starters, it has some exceptional acting all around, especially by leads Shirley MacLaine, Jack Nicholson, and Debra Winger.

How can you go wrong with a talent of that caliber?

MacLaine and Winger play Aurora and Emma Greenway, a mother and daughter, (the father is deceased) who share a lifelong love/hate relationship, living in the mid-west in present times.

Nicholson plays Garrett, a retired astronaut (and womanizer) and the object of Aurora’s affection.

The chemistry among all three is apparent- I sinfully find it delicious that Winger and MacLaine despised each other throughout filming, adding a layer of curiosity and intrigue to the film, and during their scenes.

Director James L. Brooks wisely balances the heavy drama with comedy so the film does not become too overwrought. For example, Garrett and Aurora have a humorous courtship, constantly bickering or misunderstanding each other- he is a womanizing playboy type and Aurora a domineering, insecure woman- they end up needing each other, nonetheless.

Unforgettable is the hilarious drive along with the beach scene that the two share.  Even though the duo is tenuous and difficult, I love them all the same.

The tear-jerker scenes are emotional, especially the deathbed scene at the end of the film. There is so much raw emotion going on at once and, a rarity in film, the child actors involved are real, believable, and flawless.

The film feels like watching a true, real-life, drama play out. The heartache feels real and the film as a whole feels very genuine.

Also interesting is Emma’s failing marriage to Flap (Jeff Daniels) and her subsequent affair with kind-hearted Sam (John Lithgow) as well as her departure from her mother’s hometown, the constant phone calls, and being in one another’s life, just like a real mother and daughter relationship is oftentimes like.

Terms of Endearment (1983) incorporates all of the elements that make a good, old-fashioned, dramatic tear-jerker, and I find myself a sucker for it each time that I watch it.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-James L. Brooks (won), Best Actress-Shirley MacLaine (won), Debra Winger, Best Supporting Actor-Jack Nicholson (won), John Lithgow, Best Screenplay Based on Material Based on Another Medium (won), Best Original Score, Best Sound, Best Art Direction, Best Film Editing

#155 Favorite Film, 1950 Films, Anne Baxter, Best Picture Oscar Winners, Bette Davis, Celeste Holm, Comedy, Dark Comedy, Drama, Gary Merrill, George Sanders, Joseph L. Mankiewicz, Marilyn Monroe, Thelma Ritter, Top 250 Films

All About Eve-1950

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All About Eve-1950

Director Joe Mankiewicz

Starring Bette Davis, Anne Baxter

Top 250 Films #155

Scott’s Review #73

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Reviewed June 27, 2014

Grade: A

All About Eve is a cynical masterpiece from 1950 set in the competitive world of the New York theater.

Insecure Margo Channing, played to perfection by Bette Davis, is an aging actress whose career is declining. She meets naïve Eve Harrington, played by Anne Baxter, who insinuates herself into Margo’s life and career.

One interesting aspect of this film is the opening scene of Eve’s acceptance speech. The look of anger and disdain on the front table indicates what is to come.

The film backtracks from the first time the two women meet, and the story begins.

It is undoubtedly a dark film, and jealousy and back-stabbing are common themes throughout, as had never been done before, set in the world of theater.

One by one, each of Margo’s friends catches on to Eve’s plot, but at what cost?

This is Bette Davis’s comeback performance as a talented Broadway star, and she makes the most of the opportunity as she deliciously utters her famous revenge-minded line, “Fasten your seat belts. It’s going to be a bumpy night”.

Marilyn Monroe has a cameo role as a debutante in her first film role.

The film deservedly won the 1950 Best Picture Oscar.

Oscar Nominations: 7 wins-Best Motion Picture (won), Best Director-Joseph L. Mankiewicz (won), Best Actress-Anne Baxter, Bette Davis, Best Supporting Actor-George Sanders (won), Best Supporting Actress-Celeste Holm, Thelma Ritter, Best Screenplay (won), Best Scoring of a Dramatic or Comedy Picture, Best Sound Recording (won), Best Art Direction-Set Decoration, Black-and-White (won), Best Cinematography, Black-and-White, Best Costume Design, Black-and-White (won), Best Film Editing

#156 Favorite Film, 1953 Films, Best Picture Oscar Winners, Burt Lancaster, Claude Akins, Deborah Kerr, Donna Reed, Drama, Ernest Borgnine, Favorite Film of the Year, Frank Sinatra, Fred Zinnemann, George Reeves, Jack Warden, Montgomery Clift, Romantic Drama, Top 250 Films, War

From Here to Eternity-1953

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From Here to Eternity-1953

Director Fred Zinnemann

Starring Burt Lancaster, Deborah Kerr, Montgomery Clift

Top 250 Films #156

Scott’s Review #875

Reviewed March 7, 2019

Grade: A

Based on a popular novel of the same name, written by James Jones in 1952, From Here to Eternity (1953) tells a powerful story of romance and drama set against the gorgeous backdrop of Hawaii.

The film is poignant and sentimental for its build-up to the World War II Pearl Harbor attacks, further enhancing the storytelling.

With great acting and a compelling story, the film is a bombastic Hollywood creation that has endured and remains timeless.

A trio of United States Army personnel is stationed on the sunny island of Oahu. The primary principals are First Sergeant Milton Warden (Burt Lancaster), Private Robert E. Lee Prewitt (Montgomery Clift), and Private Angelo Maggio (Frank Sinatra). Their lives in the Schofield Army Barracks are chronicled.

Respective love interests join them, Alma Lorene (Donna Reed) and Karen Holmes (Deborah Kerr), and the triumphs and sorrows of each are explored dramatically before the devastating incident set to take place.

The film’s perspective is centered around the male characters, which risks the film being classified as a “guy’s movie.” Enough melodrama and romance exist to offset the testosterone and masculinity, and as the characters weave in and out of each other’s lives, a broader canvas is painted.

This point is to the film’s credit as each character is rich with development, sympathy, or sometimes pure anger.

Many films have been told, and continue to be informed throughout the decades, of the terrors and after-effects of World War II, but From Here to Eternity remains at the top of the heap. While not going full throttle with too much violence or grit, the film tells of the trials and tribulations of people affected and soon to be affected by the war.

The characters co-exist peacefully in their little slice of the world. Though there is the occasional bullying or insubordination among the ranks, the romance soon takes center stage, followed by the dire attacks.

The smoldering beach scene featuring Burt Lancaster and Deborah Kerr on the ravaging shores of Halona Cove is as iconic as any cinematic moment. Rumors of the star’s torrid love affair and the need to run off to make love after shooting the scene could be myths, but they have never been disproven.

The camera crew reportedly shot the scene quickly, leaving the duo to their desires. Regardless, the scene may cause the iciest of hearts to turn into a torrent of heart-pounding flutters.

The film suddenly turns dark, as if realizing it is about a devastating war. A central character dies, and another character hunts for revenge. Despite these deaths not being at the hands of an enemy or a battle, they are powerful and dim.

Finally, the attack on Pearl Harbor is upon us, just as the audience will no doubt sense it coming. The film ends sadly with a simple dialogue between the two main female characters.

Thanks to fine direction by novice director Fred Zinnemann, From Here to Eternity (1953) elicits a pure breadth of emotions and subject matters.

At its core, it is a cynical film, but the picture is also rich with courage, integrity, and love of one’s country without suffering from phony false patriotism.

With a dash of romance and sexuality, the film is utterly memorable and deserving of the hefty Academy Awards it achieved.

Oscar Nominations: 8 wins– Best Motion Picture (won), Best Director-Fred Zinnemann (won), Best Actor-Montgomery Clift, Burt Lancaster, Best Actress-Deborah Kerr, Best Supporting Actor-Frank Sinatra (won), Best Supporting Actress-Donna Reed (won), Best Screenplay (won), Best Musical Score of a Dramatic or Comedy Picture, Best Sound Recording (won), Best Cinematography, Black-and-White (won), Best Costume Design, Black-and-White, Best Film Editing (won)

#157 Favorite Film, 2019 Films, Best International Film Oscar Winners, Best Picture Oscar Winners, Bong Joon Ho, Cho Yeo-jeong, Choi Woo-shik, Comedy, Dark Comedy, International, International Comedy, International Thriller, Jang Hye-jin, Lee Sun-kyun, Park So-dam, Song Kang-ho, South Korean, Thriller, Top 250 Films

Parasite-2019

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Parasite-2019

Director Joon-ho Bong

Starring Song Kang-ho, Jang Hye-jin

Top 250 Films #157

Scott’s Review #963

Reviewed November 28, 2019

Grade: A

Parasite (2019) is a South Korean language film that has it all. The writing is powerful and thought-provoking, the direction is unique and intriguing, the acting is stellar, and the story is perfectly paced with dizzying twists and turns.

The film is uncomfortable and unsettling (in a good way), shifting from dark humor to horror by the time the shocking finale unfolds—an experience that will both dazzle and ravage the viewer with the emotions it instills.

The story centers on two families. The affluent Park residents live in the lap of luxury, enjoying the finer things in life, such as a lavish residence, a personal driver, and a live-in housekeeper.

Park Dong-ik is the CEO of an IT company; his beautiful wife, Park Yeong-gyo, stays at home with their two children, Park Da-hye and Park Da-Song. They are rich and, on the surface, somewhat spoiled and superficial.

The struggling Kims reside in a semi-basement that constantly floods, accept menial jobs to pay the bills, and are grifters.

Patriarch Kim Ki-taek and his wife, Kim Chung-sook, have two teenage children, Kim Ki-woo and Kim Ki-jeong. They are cagey and resourceful, devising schemes to generate money. Each is good-looking but struggles to find much success in life.

Kim Ki-woo’s friend tutors the Park family’s daughter and will soon travel abroad for further studies. He convinces Kim Ki-woo to interview for the position, who easily gets the job by charming the gullible Park Yeong-gyo.

He and the rest of the Kims devise an elaborate scheme to infiltrate the Park family by deceiving Mr. and Mrs. Park into dismissing their driver and housekeeper. The Parks are unaware that their new staff are related!

The underlying theme of Parasite is one of class distinction and social inequality. The tension builds more and more with each scene, and the monetary differences between the haves and have-nots are always on the surface.

Once the Kims get a taste of the good life, they have no intention of being satisfied merely as hired help- they want it all for themselves.

The fact that the Kims are clever and manipulative is no accident on the part of the director, Joon-ho Bong.

Conversely, the Parks are gullible and easily outsmarted by the Kims. Why are they rich, and the Kims poor? The audience wonders. Are we to root for the Kims to overtake the Parks? The Kims are no saints, as they resort to firing other people to get what they want.

Allegiances to characters will shift along the way.

As the Kims get comfy one night in the Park house, when the family goes on a weekend camping trip, the film takes off. Drunk and sparring with each other, the doorbell rings, and the haggard former housekeeper begs to be let in.

When she claims to have left something behind in the basement, this leads to a shocking secret and dramatic turn of events. I did not see the revelation coming, and events only catapult the film into something else.

The pacing and tension during this scene are outstanding.

It’s tough to rival this scene, but the film does just that with the gruesome and bloody birthday party sequence. The proverbial “sh## hits the fan” as the tensions among the characters come to life.

The scene results in several deaths, and the rage of a prominent character reaches a crescendo.

The scene is set on a gorgeous sunny day, perfect for birthday cake, balloons, and shiny wrapped presents. After a lovely start, the party becomes laden with blood, screams, and intensity.

Bong portrays the Kim patriarch as the most sympathetic character, and a montage at the end of the film reinforces this. The other characters are less benevolent and more complicated.

When Mrs. Kim shoves the family dog, she is unlikeable, but then she is kind to the former housekeeper.

Mrs. Park appears innocent at first, but then she becomes a shrew when she plans her son’s birthday party, expecting everyone to cater to her every whim. Finally, Mr. and Mrs. Park mock Mr. Kim behind his back and insinuate that poor people “smell funny”.

Do the Parks deserve their fates?

Parasite (2019) is a dark film characterized by clever writing and effective character development, taking audiences on a rollercoaster ride.

The subtitles do little to detract from the fantastic experience this film offers as Bong spins a spider web of deceit, desperation, and tragedy.

Viewers will undoubtedly be discussing this one for days to come.

Oscar Nominations: 4 wins-Best Picture (won), Best Director-Bong Joon-ho (won), Best Original Screenplay (won), Best International Feature Film (won), Best Production Design, Best Film Editing

Independent Spirit Award Nominations: 1 win-Best International Film (won)

#160 Favorite Film, 1997 Films, Anne Fletcher, Best Picture Oscar Winners, Billy Zane, Disaster, Epic, Gloria Stuart, James Cameron, Kate Winslet, Kathy Bates, Leonardo DiCaprio, Romantic Drama, Top 250 Films

Titanic-1997

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Titanic-1997

Director James Cameron

Starring Leonardo DiCaprio, Kate Winslet

Top 250 Films #160

Scott’s Review #327

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Reviewed January 6, 2016

Grade: A

1997’s Titanic is a sweeping, gorgeous epic, directed by James Cameron, that is perfection at every level. This film has it all: romance, disaster, gorgeous art direction, and flawless attention to detail.

The film will make you laugh, cry, and fall in love with the characters, despite knowing the inevitable outcome. The film is based on the real-life sinking of the RMS Titanic in 1912 after the ship tragically collided with an iceberg.

I have witnessed this film be derided for being a “chick flick” or too “sappy”, but I vehemently disagree and feel it is a classic for the ages.

Titanic successfully re-invented the Hollywood epic.

Jack Dawkins (Leonardo DiCaprio) is a penniless artist who meets high-class socialite Rose DeWitt (Kate Winslet) aboard the luxurious Titanic, headed from the coast of England to the United States on its maiden voyage.

Rose is engaged to cagey Cal Hockley (Billy Zane).

Depressed, Rose contemplates diving overboard to her death, but Jack saves her and convinces her otherwise. They spend time together and he draws her portrait. As their romance blossoms, Cal catches on and plots revenge.

In the mix is Rose’s snobbish mother, Ruth, played by Frances Fisher.

The main theme of the film is social class and the difference that separates the haves from the have-nots.

James Cameron desired perfection from this film and he sure got what he wanted. Every detail of Titanic is flawless and historically accurate, from the dining room silverware to the costumes to the set pieces barely visible in the background.

Cameron even had a replica of the original Titanic built for filming purposes- with limitations, but what a vast undertaking this must have been. That, along with the smoldering romance between Jack and Rose, is what makes Titanic one of my favorite films.

Two fantastic scenes are when Jack is taken under the wing of Molly Brown, played by Kathy Bates. Molly is not the snob that many of the other upper class is, and lends Jack a tuxedo so that he will look dapper for Rose. She also tenderly teaches him the appropriate way to use silverware.

Tragically, the other scene is more melancholy- a gorgeous classical piece plays in the background as the vast ship is engulfed in water and slowly sinks, causing many deaths.

At well over three hours in length, the conclusion of the film is quite sprawling- and one has the feeling of being aboard the ship. By this time I was invested in the characters, both lead and supporting and the tragedy that ensues is both a marvel and heart-wrenching.

Titanic (1997) is a film that simply must be viewed on the big screen for full effect, and is a timeless masterpiece that has aged perfectly.

Oscar Nominations: 10 wins-Best Picture (won), Best Director-James Cameron (won), Best Actress-Kate Winslet, Best Supporting Actress-Gloria Stuart, Best Original Dramatic Score (won), Best Original Song-“My Heart Will Go On”, Best Sound Effects Editing (won), Best Sound (won), Best Art Direction (won), Best Cinematography (won), Best Makeup, Best Costume Design (won), Best Film Editing (won), Best Visual Effects (won)

#167 Favorite Film, 2016 Films, Alex R. Hibbert, André Holland, Ashton Sanders, Barry Jenkins, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Drama, Favorite Film of the Year, Independent, Independent Drama, Janelle Monáe, Jharrel Jerome, LGBTQ+ Drama, LGBTQ+ Films, Mahershala Ali, Naomie Harris, Top 250 Films, Trevante Rhodes

Moonlight-2016

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Moonlight-2016

Director Barry Jenkins

Starring Trevante Rhodes, Andre Holland

Top 250 Films #167

Scott’s Review #512

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Reviewed November 6, 2016

Grade: A

Moonlight (2016) is an excellent film rich in character and grit. It tells the story of one man’s life, from childhood to teenage years to adulthood, sharing the bonds he forms and the demons he wrestles with.

The acting is fantastic, and the story is poignant and truthful.

The film is not preachy but instead tells a story, leaving the audience to sit and observe, quietly formulating their opinions.

Moonlight is a mixture of beauty and heartbreak and is told very well.

The film is divided into three chronological chapters that describe the central character’s life.

Chiron is a shy, docile young boy of six or seven living in the drug-filled world of Miami, Florida, in the 1980s. He is bullied for being “different,” though he does not know why he is shunned. Chiron is introverted and distrustful.

A kind-hearted drug dealer named Juan (Mahersala Ali) takes a shine to Chiron, whose own mother becomes more and more absent and emotionally abusive to her son.

Naomie Harris plays Paula, mother to Chiron and herself a drug addict. Juan and his girlfriend Theresa (Janelle Monae) become surrogate parents to Chiron and share their home with him as needed.

Chapter two focuses on Chiron as a teenager, still bullied and coming to terms with his sexuality and feelings of insecurity. By this time, his mother has spiraled out of control, and his life is a sad one.

He is filled with emotions such as rage, despair, and confusion. An experience with his best friend, Kevin, changes the direction of his life. Kevin is his saving grace and a decent person amidst his troubled life.

In chapter three, we are re-introduced to Chiron as an adult, having wholly reinvented himself and become a changed man, but is he changed for better or worse? People from his past resurface at this time, and Chiron must face various demons and emotions and come to terms with himself and the others surrounding him.

Does his story have a sad or a happy ending? This is the question we are left wondering.

The aspect that impressed me the most is the storytelling and the ground broken with this film.

From an LGBTQ+ perspective, by this time (2016), we have experienced numerous offerings on the subject. Still, the fact that Moonlight is not only a character study but a love story between two black men has not yet been done to this degree in cinema, or arguably at all, especially in mainstream fare.

Happily, Moonlight is receiving critical praise. The fact that Chiron lives in a macho, male-driven society makes his self-acceptance all the more challenging for him.

The direction in Moonlight is impressive, and director Barry Jenkins deserves much praise.

Quiet scenes of Chiron as a boy asking Juan and Theresa why the bullies call him a specific name are heartbreaking. Another scene muted and in slow motion, reveals an abusive Paula calling Chiron a degrading name, leaving him confused and hurt.

The tender scenes between Chiron and Kevin are sweet and passionate and are told on a humanistic level.

Moonlight delves into such territory as loneliness and self-identity. It is an interesting film for anyone who has struggled with these issues or is empathetic to those who have.

Moonlight (2016) breaks stereotypes and molds a subtle and low-key film that speaks volumes.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-Barry Jenkins, Best Supporting Actor-Mahershala Ali (won), Best Supporting Actress-Naomie Harris, Best Adapted Screenplay (won), Best Original Score, Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 6 wins-Best Feature (won), Best Director-Barry Jenkins (won), Best Screenplay (won), Best Cinematography (won), Best Editing (won), Robert Altman Award (won)

#179 Favorite Film, 1993 Films, Ben Kingsley, Best Picture Oscar Winners, Biography, Drama, Epic, Liam Neeson, Ralph Fiennes, Steven Spielberg, Top 250 Films, War

Schindler’s List-1993

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Schindler’s List-1993

Director Steven Spielberg

Starring Liam Neeson, Ben Kingsley, Ralph Fiennes

Top 250 Films #179

Scott’s Review #775

Reviewed June 19, 2018

Grade: A

Schindler’s List (1993) is a film that is arguably Steven Spielberg’s finest directorial work and Liam Neeson’s finest acting performance.

The film is as disturbing as it is awe-inspiring as many emotions will undoubtedly envelop any viewer- most of them dark and dire.

Spielberg’s most personal story centers on the devastating Holocaust of World War II that will grip and tear audiences to pieces.

The work deservedly secured the Oscar award for Best Picture and Best Director as well as numerous other accolades.

Oskar Schindler (Neeson) is a powerful German businessman who arrives in Krakow, Poland during the antics of World War II, presumably to make his fortune. Handsome and respected, he is charismatic and feared by the German army, who have forced most of the Polish Jews into the overcrowded ghettos where they await their fates.

Schindler himself is a Nazi, but becomes more humanistic than most and ultimately against the Holocaust killings. He establishes a factory and hires a Jewish accountant (Ben Kingsley) to assist.

As he is tremendously affected by the inhumanity he sees throughout the city, he makes arrangements to hire and thus save the lives of over a thousand Polish refugees.

He does so by allowing them to safely work and be productive in his factory. The story is reportedly true and was a rare instance of humanity in a cold and ugly chapter in world history.

To be clear, Schindler does not start as a hero and is admittedly rather an unlikely one. The man is a businessman, greedy, and undoubtedly flawed. He plans to use the Jews because they are cheap labor and can be used to his advantage.

Because of the very long running time of the film (over three hours), Spielberg slowly depicts Schindler’s complex character growth and eventual determination to save these poor people from the Auschwitz gas chambers.

Spielberg shoots Schindler’s List entirely in black and white with tremendous results. The camera work adds such ambiance and style to the 1990s film- so much so that throughout the film I felt as if I were watching a documentary from the 1940s.

The film is epic and choreographed with precision and timeliness- some of the best camera work in cinema history as far as successfully creating the perfect solemn and dreary mood.

Supporting turns by Ben Kingsley and Ralph Fiennes must be noted. In vastly different types of roles, both shine.

As the understandably nervous, Jewish accountant for Schindler’s factory, Itzhak Stern is most notable for creating the famous “list”. This contains the names of those who would be transferred to the factory and thus have their lives spared.

Kingsley, a brilliant actor, fills the character with empathy and heart.

Conversely, Fiennes plays a dastardly character in that of Amon Goth, a commander at the concentration camp. Evil and known for taking glee from killings, he is the man instrumental in deciding to exterminate all of the people in the ghetto.

A pivotal character, Goth is important because he is the man who makes Schindler realize how sickening and inhumane the treatment is.

Fiennes carves the character with so much hate that he is believable in the part.

One of the most beautiful scenes is aptly named “the girl in red” and is highly symbolic and worthy of analysis. Oskar watches as prisoners are escorted, presumably to their executions. He notices a three-year-old girl walking by herself- she is clad in a bright red coat.

The coat is Spielberg’s only use of color throughout the entire film.

The scene is incredibly important as the girl stands out, proving that all the Nazi commanders are accepting of her death. In tragic form, Oskar later sees her dead body draped in her red coat.

The scene is sad and powerfully distressing.

Schindler’s List (1993) is an outstanding film that elicits such raw emotion from anyone who views the masterpiece. By no means an easy watch and most assuredly “a heavy”, the film depicts the true struggles and catastrophic events occurring not all too long ago.

A film for the ages that simply must be seen by all to appreciate the terror and inhumanity that occurs throughout the world.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Steven Spielberg (won), Best Actor-Liam Neeson, Best Supporting Actor-Ralph Fiennes, Best Adapted Screenplay (won), Best Original Score (won), Best Sound, Best Art Direction (won), Best Makeup, Best Costume Design, Best Cinematography (won), Best Film Editing (won)

#212 Favorite Film, 1969 Films, Barnard Hughes, Best Picture Oscar Winners, Brenda Vaccaro, Drama, Dustin Hoffman, Jennifer Salt, John McGiver, John Schlesinger, Jon Voight, M. Emmet Walsh, Ruth White, Sylvia Miles, Top 250 Films

Midnight Cowboy-1969

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Midnight Cowboy-1969

Director John Schlesinger

Starring Dustin Hoffman, Jon Voight

Top 250 Films #212

Scott’s Review #24

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Reviewed June 17, 2014

Grade: A

Midnight Cowboy is a masterpiece from 1969 that remains the only Best Picture Oscar winner to be rated “X” and, sadly, would probably not be made today.

It tells the tale of a friendly, trusting cowboy who moves from Texas to New York City and is challenged to survive the brutal streets any way he can.

Throughout the film, he meets several interesting, unsavory characters and experiences life in the bowels of NYC as drug use and prostitution are explored.

I did not find this to be as much of a downer as many others did, but rather a story of survival.

The grittiness of NYC is wonderfully portrayed, with many locales featured (Times Square).

Jon Voight and Dustin Hoffman are exceptionally cast and have great chemistry, though the film is by no means a “buddy movie”.

Sylvia Miles has a memorable one-scene feature.

It’s bleak, raw, and intense at times, and Midnight Cowboy (1969) is great filmmaking.

Oscar Nominations: 3 wins-Best Picture (won), Best Director-John Schlesinger (won), Best Actor-Dustin Hoffman, Jon Voight, Best Supporting Actress-Sylvia Miles, Best Screenplay Based on Material from Another Medium (won), Best Film Editing

#213 Favorite Film, 1930 Films, Best Picture Oscar Winners, Drama, Favorite Film of the Year, George Abbott, Lew Ayres, Lewis Milestone, Top 250 Films, War

All Quiet on the Western Front-1930

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All Quiet on the Western Front-1930

Director Lewis Milestone

Starring Lew Ayres

Top 250 Films #213

Scott’s Review #820

Reviewed October 12, 2018

Grade: A

All Quiet on the Western Front (1930) is one of the oldest films I have seen. It is a masterpiece that resonates in present times just as much as it did nearly one hundred years ago.

The work of art presents an astounding Anti-war message that is a timeless lesson in humanity, idealism, and despair.

Based on the banned novel by Erich Maria Remarque, much of the action takes place on the front lines during World War I.

The cameras follow an anxious group of spirited young men as they sit in a classroom and listen to a passionate speech given by their professor.

He is pretty “pro-war,” instilling patriotism in the boys and emphasizing the importance of serving the Army and their country. At his urging, the group, led by Paul Baumer (Lew Ayres), joins the Second Company. Once enlisted, the youths are enlightened that war is not fun, and their romantic delusions are smashed.

Paul is the film’s hero, and events are told through his eyes, offering his perspective. Beginning as a young recruit, he ages quickly and sees friends and allies slaughtered senselessly.

One recruit, frightened to death, is blinded by shrapnel and hysterically runs into machine-gun fire, resulting in his death. Other scenes involving the soldiers forced to go without food only to finally be offered more food, simply because there are so many dead, are heart-wrenching.

Paul is portrayed as a good man, conflicted by how he is supposed to feel towards the enemy and how he sees people as human beings. At the young age of nineteen, he possesses an innocence toward the world.

When he returns home on leave, the townspeople do not acknowledge the ravages of war. When Paul recounts the brutal situations on the front line, he is derided as a coward.

In an excruciating scene, Paul is trapped overnight in a foxhole with a dying French soldier whom Paul has stabbed in a cemetery. He desperately tries to save the man’s life, but to no avail.

In this crucial scene, Paul sees the enemy soldier as a human being rather than someone to hate. He crumbles into tears for the dead soldier, begging him to speak. The scene is incredibly poignant and meaningful.

The final scene of All Quiet on the Western Front is lovely and memorable. It is the film’s most remembered scene and is firmly ensconced in cinematic history.

As a wounded Paul lies hiding from German soldiers, he spots a beautiful butterfly peacefully circling. Paul smiles, enamored with the pretty creature amid all the horror. He desperately tries to reach for the gorgeous insect.

What happens next is heartbreaking and fraught with the unfair ruining of life—the scene is of the utmost importance.

The film is both sad and poignant, as we are well into the twenty-first century, and wars continue.

Have we learned nothing?

Director Lewis Milestone brazenly and tragically paints a portrait of war’s foolishness and the senseless loss of life it results in. It is tough to think of an equivalent film that depicts this message more clearly.

Many European leaders and countries, including Germany’s Adolf Hitler, banned All Quiet on the Western Front throughout the 1930s and 1940s.

The film has remained controversial in its blatant depiction of war since its release.

All Quiet on the Western Front (1930) is a groundbreaking film that should remind us how precious life is.

The novel and film were both made after World War I—how profound to think that since this film was made, wars such as World War II, the Korean War, and the Vietnam War have occurred. Is war ever really the answer?

Anyone who watches this terrific film will find out.

Oscar Nominations: 2 wins-Best Picture (won), Best Director (won), Best Writing, Best Cinematography

#243 Favorite Film, 2024 Films, Best Feature- Independent Spirit Award Winners, Best Picture Oscar Winners, Comedy, Drama, Independent, Independent Comedy, Independent Drama, Karren Karagulian, Mark Eidelstein, Mikey Madison, Romantic Comedy, Romantic Drama, Sean Baker, Top 250 Films, Yura Borisov

Anora-2024

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Anora-2024

Director Sean Baker

Starring Mikey Madison, Mark Eidelstein, Yura Borisov

Top 250 Films #243

Scott’s Review #1,450

Reviewed November 3, 2024

Grade: A

Anora (2024) is one of the boldest films I’ve seen in some time and is my favorite Sean Baker film so far. Tangerine (2015) and The Florida Project (2017) are also great works.

Those planning to see the film should do homework and learn what Baker films are about. He frequently directs independent feature films about the lives of marginalized people, especially immigrants and sex workers.

Baker’s films are dirty, dark, and outrageous.

Because Anora has received awards buzz and is classified as a romantic comedy, the audience at my showing seemed slightly overwhelmed by its raw nature. While there are comedic moments, they are shrouded in darkness, and I don’t think my audience quite knew how to respond.

Some cover art captured the main couple, played by Mickey Madison and Mark Eidelstein, happily dancing and depicted them with the caption ‘a modern day Cinderella story’. This is misleading to the gritty nature of the story.

Madison plays Ani (Anora), an exotic dancer and part-time sex worker at a swanky Manhattan strip club. She lives in a Russian section of Brooklyn. Her life takes an unexpected turn when she meets and impulsively marries Vanya (Mark Eidelstein), the childlike son of a Russian billionaire.

When Vanya’s godfather and parents catch wind of the union, they send their henchmen to annul the marriage, setting off a wild chase through the streets of New York. Vanya flees the scene, and the others must find him.

Madison is brilliant. Known for a small role as Susan Atkins in Quentin Tarantino’s Once Upon a Time in Hollywood (2019) and a role in one version of Scream (2022), the young actress comes on as gangbusters.

Her character is tricky. We only know she lives with her older sister, and their mother lives in Florida with her boyfriend. Presumably, her father is absent, and she has had to find work to support herself. She is brassy, savvy, and intelligent. Most importantly, the audience roots for her.

Madison has an aura surrounding her, and she believably plays loving and hysterical with ease. Ani wants love but is also intelligent enough to know love doesn’t come easy and has a price. Madison channels each emotion with seeming ease.

Baker has become a favorite director of mine. He also writes, produces, and edits most of his projects. Although his films are not easy to watch, that’s what I like about them.

His films take marginalized or dismissed groups and provide representation.

Another standout is Russian actor Yura Borisov. Since Ani is the only character worth rooting for, Borisov’s character, Igor, slowly becomes a fan favorite. Assumed to be a henchman, he begins to care for Ani and strive to do the right thing amid chaos.

Borisov provides Igor with warmth and kindness in a world of chaos. I yearned to know more about the character. How did he get to be where he is? Did he need to escape Russia any way he could?

It’s hard to like the other characters, and I wouldn’t say I enjoyed quite a few, especially the wealthier ones. I yearned to leap across the aisles and smack Vanya, his mother, and one stripper who is Ani’s rival.

This caused me to react viscerally to the film and think about my emotions after it ended. Anyone who appreciates good cinema knows that the longer you think about it, the better it is.

Towards the end, Baker incorporates satisfying moments of Ani standing up for herself, especially against Vanya and his mother. This only reaffirmed the passion of her character. Even in despair, Ani remains tough and refuses to be mistreated by anyone.

My favorite sequence is at the end, during a January snowstorm in Brooklyn. A tender moment occurs between Ani and Igor where the writing, cinematography, and camera angles are beautiful.

Anora (2024) is recommended for fans of Baker’s work. He successfully and carefully weaves an emotional and raw tale of adventure, romance, desperation, and the haves versus the have-nots.

Oscar Nominations: 5 wins-Best Picture (won), Best Director-Sean Baker (won), Best Actress-Mikey Madison (won), Best Supporting Actor-Yura Borisov, Best Original Screenplay (won), Best Film Editing (won)

Independent Spirit Award Nominations: 3 wins-Best Feature-(won), Best Director-Sean Baker-(won), Best Lead Performance-Mikey Madison-(won), Best Supporting Performance-Yura Borisov, Karren Karagulian

2023 Films, Alden Ehrenreich, Alex Wolff, Benny Safdie, Best Picture Oscar Winners, Biography, Casey Affleck, Christopher Nolan, Cillian Murphy, Drama, Emily Blunt, Epic, Florence Pugh, Gary Oldman, Gustaf Skarsgård, James Remar, Jason Clarke, Josh Hartnett, Kenneth Branagh, Matt Damon, Matthew Modine, Rami Malek, Robert Downey Jr., Tony Goldwyn

Oppenheimer-2023

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Oppenheimer-2023

Director Christopher Nolan

Starring Cillian Murphy, Robert Downey Jr., Emily Blunt

Scott’s Review #1,384

Reviewed August 1, 2023

Grade: A

Knowing the films of Christopher Nolan who directed works like The Dark Knight Trilogy (2005-2012), Inception (2010), and Dunkirk (2017) I expected what I would be served with by his new film Oppenheimer (2023).

This would include a big booming soundtrack and an arguably more ‘guys’ genre film, but with intelligence, than other contemporary hits like Barbie (2023).

Dark and looming with complexities are usual for Nolan so I settled in for a three-hour epic journey centered on the atomic bomb and physics that has unexpectedly become a blockbuster.

Speaking of the pink phenomenon its simultaneous release with Oppenheimer led to the “Barbenheimer” phenomenon on social media, which encouraged audiences to see both films as a double feature.

This forever links the two vastly different films that were responsible for filling movie theaters once again.

I expected to enjoy Oppenheimer but was jarred (in a good way) by the sheer brilliance of its construction. Prepared for more mainstream fare that typically follows a biography or historical piece I was instead overly fascinated by the experimental elements enshrouding a more conventional film.

During World War II, Lieutenant Colonel Leslie Groves Jr. (Matt Damon) appoints physicist J. Robert Oppenheimer (Cillian Murphy) to work on the top-secret Manhattan Project.

Oppenheimer and a team of scientists spend years developing and designing the atomic bomb. Their work came to fruition on July 16, 1945, as they witnessed the world’s first nuclear explosion, forever changing the course of history.

The film is constructed marvelously in every way and is authentic to the eye. The first notice is that it feels like it’s the 1940s 1920s or 1960s or anywhere in between depending on where the film goes.

The art design, costumes, and makeup feel natural rather than stagey which helps its audience escape into the scientific world.

Speaking of, Nolan constructs the film in a series of pockets and goes back and forth between periods. We see Oppenheimer many times as an aspiring upstart with visions, a confident, established physicist, and in 1963 when President Lyndon B. Johnson presented him with the Enrico Fermi Award as a gesture of political rehabilitation.

His personal life is also explored.

Many, many scenes shift back and forth involving different characters at different ages. Most of the scenes in the 1940s take place in the desert at Los Alamos, New Mexico while the later years are set in a stuffy conference room where Oppenheimer is grilled for his left-leaning and suspected Communist politics.

The cinematography led by Hoyte van Hoytema provides some edgy moments especially when Oppenheimer descends into frightening and psychedelic hallucinations of those suffering the aftereffects of the atomic bomb. Images of peeling and melting faces are terrifying.

Cillian Murphy successfully makes Oppenheimer sympathetic especially after he creates the bomb and is left forgotten by his government.

Various moments in the film showcase Murphy at his best. After relinquishing his deadly bomb after a test the government callously tells Oppenheimer that ‘they’ll take it from here’. The look of dread, regret, and sadness in Murphy’s crystal blue eyes speaks volumes.

Another great scene occurs when President Harry S. Truman (Gary Oldman) a left-leaning democrat calls Oppenheimer ‘a crybaby’ when he expresses interest in returning land to the American Indians.

The supporting cast is a bevy of riches with several top-caliber actors appearing in cameos. My standouts in larger roles are Robert Downey Jr. shredding his Iron Man superhero persona as a slighted and venomous Lewis Strauss, intent on revoking Oppenheimer’s security clearance, and Emily Blunt as the boozy biologist and former communist wife of Oppenheimer.

My biggest takeaway from Oppenheimer (2023) though is a powerful one. The difference between the United States of America during and post World War II and in present times, 2023.

Then, a patriotic infrequently questioned nation brimming with pride and glory, where nationalism was rampant and expected and those with foreign respect were cast aside as traitorous.

Now, a divided country half of whom support an ideology based on hate, racism, and cultlike dedication to a corrupt ex-president, and the other focused on diversity inclusion, and equality for all.

This film resonated so powerfully well and in so many different ways.

Oscar Nominations: 7 wins-Best Picture (won), Best Director-Christopher Nolan (won), Best Actor-Cillian Murphy (won), Best Supporting Actor-Robert Downey Jr. (won), Best Supporting Actress-Emily Blunt, Best Adapted Screenplay, Best Film Editing (won), Best Cinematography (won), Best Costume Design, Best Production Design, Best Original Score (won), Best Sound, Best Makeup and Hairstyling