Tag Archives: Top 250 Films

#201 Favorite Film, 1977 Films, Bernardo Bertolucci, Burt Lancaster, Donald Sutherland, Drama, Epic, Gerard Depardieu, Period Drama, Robert De Niro, Stefania Sandrelli, Top 250 Films

1900 (Novecento)-1977

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1900 (Novecento)-1977

Director Bernardo Bertolucci

Starring Robert De Niro, Gerard Depardieu

Top 250 Films #201

Scott’s Review #984

Reviewed January 28, 2020

Grade: A

An epic to rival all epics, 1900 (Novecento) (1977) is a grandiose offering of monumental proportions featuring legendary actors and created by a brilliant director.

With a running time of a whopping three-hundred and seventeen minutes in its original version, 1900 is known for being one of the longest commercially released films ever made.

The cinematography is breathtaking, and the historical values, like friendship, class distinction, and rivalry are outlined and explored in depth.

The key is to let the experience marinate and blossom with a slow and patient build.

Brilliant director Bernardo Bertolucci’s tale follows the lives of two Italian men, a peasant named Olmo (Gerard Depardieu) and landowner Alfredo, (Robert De Niro), both ironically born on January 1, 1900.

Inseparable as children, the two become estranged as their differing social status pulls them apart. Their conflicts mirror the political events in Italy, as both fascism and socialism gained prominence in the country.

Here is a bit of background on the film.

Due to its length, the film was presented in two parts when originally released in many countries, including Italy, East, and West Germany, Denmark, Belgium, Norway, Sweden, Colombia, Pakistan, and Japan.

In other countries, such as the United States, a single edited-down version of the film was released.

The latter is not the way to watch this film. I do not like severely edited films, especially in an epic such as 1900, so the full-length version is highly recommended.

The film opens on April 25, 1945, the day Italy is liberated from the fascists, and this is key to the political message Bertolucci crafts. As peasants revolt against the owner of the land, Alfredo (De Niro), and female laborers wield deadly pitchforks, the resulting ambiance is one of chaos.

We know nothing of Alfredo yet but know enough to realize he is rich and perceived as a tyrant. The natural reaction is to sympathize with them because they are oppressed.

As the film backtracks to the turn of the century, a more elegant scene emerges with the birth of two infants, Alfredo and Olmo. The sequence is sweet, both babies are bright and filled with promise.

Sadly, this is not meant to be.

A railway track is an important addition to the film and one that culminates in the climactic finale.

The most interesting aspect of the film is the dynamic development of Alfredo and Olmo as they grow. Alfredo resents his family’s wealth and sides with Olmo, a socialist. Alfredo sees his family as false and Olmo and his family as genuine.

This aspect is timeless and can be related to by any viewer with any intelligent sense of the world today. The obvious analogy of the haves and have-nots cannot be clearer in this film. Frightening, is that some have-nots are convinced they will one day become the haves.

The messages and feelings that 1900 elicited are emotional and strong. Aren’t all men created equal? On the surface they are, but Alfredo and Olmo are not equal. As the birth scene reveals and as Bertolucci makes clear, they are born with advantages and disadvantages.

These characteristics simply are what they are, and as human beings grow and learn social norms the financial differences become more robust and the humanistic connections weaker.

If the social aspects of the film or the brilliant cinematography are not enough to please a viewer, the historical lessons presented are second to none. One can revel in the political and historical excitement that existed in Europe throughout the forty-five years in which the film is set.

I wish Hollywood made more films like this.

1900 (Novecento) (1977) can be enjoyed as both a grandiose dramatic period piece, revered for its majestic and flourishing design style, or as a thought-provoking message film, about the unresolved social class distinctions that exist in the world.

I found the film a treasure that works on all levels and showcases just how good a director Bertolucci is.

This film is not his best-known work, but for fans of cinema as an art form, this is a must-see.

#202 Favorite Films, 1981 Films, Brian De Palma, Dennis Franz, John Lithgow, John Travolta, Nancy Allen, Thriller, Top 250 Films

Blow Out-1981

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Blow Out-1981

Director Brian De Palma

Starring John Travolta, Nancy Allen

Top 250 Films #202

Scott’s Review #574

Reviewed December 31, 2016

Grade: A-

The follow-up to the 1980 masterpiece that was Dressed to Kill, Brian De Palma carves a web of intrigue and mystery with Blow Out, a film starring some of the same cast members from Dressed to Kill (1980) and from 1976’s Carrie.

Comparisons can be drawn to the trio as they are all in the psychological thriller/horror vein- notwithstanding, the predecessors are the superior films.

Blow Out is not quite on the level with those masterpieces but is still a worthy effort and a must-see for fans of De Palma’s work.

John Travolta and Nancy Allen are the stars of the film-recreating their chemistry from Carrie. In that film, the pair are the clear villains, but in Blow Out they are the heroes and have a rooting value.

Dennis Franz appears as a shady thug and John Lithgow is superb as the dastardly  Burke, hired to commit a crime, and enjoying it all too much.

Travolta plays Jack Terry, a sound effects technician, working and living in Philadelphia, Pennsylvania. He works on low-budget horror films and is highly respected for his craft. Alone in a remote park, recording sound, and video, he records a car careening off a bridge into a creek.

He saves Sally (Allen) from the sinking car and this is the point in the film where the intrigue takes off. The driver of the car is a governor and he has died- Sally was having an affair with the governor and his aides are intent on covering this up.

To make matters more complicated, Jack has detected a gunshot on his recording-just before the crash, leading to obvious foul play.

I adore the beginning sequence of the film- my favorite. The film begins as a slasher film, unbeknownst to the audience. A collection of dizzy college girls dance, drink, and shower, as the cameras are placed outside of the dorms.

We see all of the action through the glass windows, then the steady cam is used from the killer’s point of view. This is a highly effective scene and rather humorous too. Inevitably, a creepy killer appears in the shower to butcher one of the college girls until the real beginning of the film starts.

This aspect is clever on the part of  De Palma. Why not trick the audience early and keep them guessing?

Also compelling is the villain of the film- Lithgow. Typically playing sweet-natured characters, it was interesting to see him as a maniacal killer- and reminiscent of the crazed killer from Dirty Harry, in his harried, grotesque facial features.

One particularly chilling scene involves the murder of a prostitute at the train station. I like this scene because the audience gets to know her a bit before she meets her fate- adding a level of empathy for the victim.

Enjoyable are the location sequences of Philadelphia, which give authenticity to the film. Specifically, the train station. Grizzled, dirty, and bustling, the locales set the tone of the film.

The chemistry between Travolta and Allen is decent, though I found more chemistry between them in Carrie. I did not care for Allen’s use of an accent- intended to be a Philadelphia accent, it seemed a New Jersey one to me and simply does not work at all in the film.

This distraction is the only weak point of the film.

All in all, Blow Out is a very good film. It combines mystery, political intrigue, and the famed De Palma stamp- which in itself is worthwhile enough to watch.

Blow Out (1981) contains a dream-like element- as Carrie and Dressed to Kill before it did, which only enhances the mystique. The not so happily-ever-after ending is superb.

#203 Favorite Film, 1975 Films, Al Pacino, Charles Durning, Chris Sarandon, Drama, LGBTQ+ Drama, LGBTQ+ Films, Sidney Lumet, Top 250 Films

Dog Day Afternoon-1975

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Dog Day Afternoon-1975

Director Sidney Lumet

Starring Al Pacino, Chris Sarandon

Top 250 Films #203

Scott’s Review #185

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Reviewed October 13, 2014

Grade: A-

Director Sidney Lumet successfully sets the smoldering hot summer afternoon in New York City for his 1975 film Dog Day Afternoon, as Al Pacino plays Sonny, an unemployed, desperate man who, while married with two kids, has a gay lover, Leon, (brilliantly played by Chris Sarandon) who he is attempting to help finance a sex change operation.

Based on a true story, Sonny, along with his dimwitted friend Sal- played by John Cazale, decides to rob First Brooklyn Savings Bank.

Predictably, their plans go awry when Sonny burns a ledger during the robbery attempt and a pedestrian sees the smoke and alerts the police.

As the police become aware of the attempted heist, a standoff ensues between Sonny and the cops, led by Detective Moretti, played by Charles Durning, and the robbery receives media coverage.

Most of the action is set inside the stifling hot bank and directly outside on the street and gradually the supporting characters come into play- the hostages, Sonny’s mother, wife, and lover all make contact with Sonny in some way or another and his motivations become clearer to the audience.

Dog Day Afternoon is a somewhat message movie that is anti-establishment, in this case, anti-police and questioning of the government and the financial establishment, (Lumet also directed Network, challenging establishment).

This is evidenced when after a standoff with police, the crowd sides with Sonny as he chants Attica! Attica!, which is a direct reference to a recent prison riot.

Sonny speaks for the working class- the poor, struggling, underpaid workers who cannot afford to feed or adequately take care of their families.

The heat and humidity compare perfectly to the pressure felt by most middle-class people that still resonates today and leaves the viewer contemplating his or her life.

Sonny relates to the bank tellers who do not make much money. Besides, Sonny is sympathetic to the audience in another way. Leon, recently hospitalized at Bellevue Hospital, is emotionally dependent on Sonny. He would be lost without him.

They share a lengthy and heartfelt phone conversation that is the heart of the film- gay romance had not been explored this way by 1975 in cinema, and the romance was neither shoved down the audience’s throat nor was it looked past entirely.

Their relationship is tender and deep, yet still somewhat ambiguous.

Would they stay together? What would become of Sonny’s wife and two children? Would he leave them for Leon in a world that was not ready to accept two homosexual men together? Is that the reason for Leon’s desire for a sex change operation?

Chris Sarandon, in too small a part, is wonderful as the gay lover, struggling with a sexual identity crisis. Al Pacino gives, per usual, a brilliant portrayal as he takes on a complex character who is far from one-dimensional.

Perhaps not a masterpiece, Dog Day Afternoon, is a very good film, but neither is it strictly a gay-themed movie nor an action/thriller- it’s more complex than that.

Ironically, Sonny is portrayed as the hero of the film as it is not a standard good police versus bad bank robber type of film- quite the contrary. It is much, much more than that.

Oscar Nominations: 1 win-Best Picture, Best Director-Sidney Lumet, Best Actor-Al Pacino, Best Supporting Actor-Chris Sarandon, Best Original Screenplay (won), Best Film Editing

#204 Favorite Film, 1964 Films, Anthony Eisley, Constance Towers, Drama, Film noir, Michael Dante, Samuel Fuller, Top 250 Films, Virginia Grey

The Naked Kiss-1964

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The Naked Kiss-1964

Director Samuel Fuller

Starring Constance Towers, Michael Dante

Top 250 Films #204

Scott’s Review #1,346

Reviewed February 25, 2023

Grade: A

A pure treat for me is seeing a film, especially a classic film, that exudes creativity and a left-of-center approach. In the 1960s, cinema films started to break away from the tried-and-true and safe, telling sinister stories of macabre and unusual human behavior.

Samuel Fuller bravely created The Naked Kiss (1964), a film that goes beyond well-meaning but straightforward offerings. Dusting off the film noir genre, it is riddled with perfections like the tarnished glitter of small-town Americana and the secrets beneath the surface.

It also dares to delve into the lustful and perverse depths of abnormal human psychology, a feat few films achieved in the old days.

The film is a B-movie with black-and-white filmmaking, enhancing its power and lurid nature.

Eager to start a new life, a prostitute named Kelly (Constance Towers) arrives in a small town but finds the sunny veneer and the residents’ cheery, wholesome dispositions to be a sham.

Kelly meets the handsome town sheriff, Griff (Anthony Eisley), and her eventual fiancé, Grant (Michael Dante), but ultimately, both men have something to hide.

Hard to believe, but we do anyway, is the haughty incorporation of a secret small-town brothel with one gorgeous prostitute after another. It is led by the evil madame Candy, portrayed by Virginia Grey.

Constance Towers easily carries the film as Kelly. Towers did not make many films, but later became well-known in theater circles before becoming a legendary villainess on the ABC daytime drama General Hospital.

Kelly is sultry yet highly learned and intelligent. She is not afraid to use her smarts to get ahead. She calculates and wisely pursues opportunities to stay on the straight and narrow while using a man or two to get what she wants and needs.

Despite this, she is kind and revels in caring for children of all colors and backgrounds. She also watches out for her fellow nurses. One of them, Buff, nearly stumbles into a life of prostitution if not for Kelly daringly describing what her new glamorous life would ultimately become.

Thanks to Towers, Kelly relays every possible emotion to the audience, from comedy to love, horror, and controlled manipulation.

I don’t think I’ve seen any other projects by director, writer, and producer Fuller, but I want to. Perhaps only a coincidence since the films were made in the same year, but comparisons to Alfred Hitchcock’s Marnie (1964) are noticed.

Kelly briskly combs her blonde hair while looking into a mirror and smirking, reminiscent of Marnie doing more or less the same in Hitchcock’s classic. Both characters are tall and leggy blondes with a secret or two to hide and damaged psyches to preserve.

They also each arrive in a new town, presumably to start over. Boldly carrying a suitcase and wearing a bright grey business suit, they proudly walk down a suburban street with possibilities ahead.

The Naked Kiss is a very progressive and feminist film.

During the first scene, Fuller shows what few directors ever would- a female character with a shaved head. Kelly has been humiliated for the last time and takes her owed $75 from her pimp. Kelly’s honest personality is revealed in this scene since she could have quickly taken $900 from him and fled.

The cagey and spiteful underbelly of suburban life is exposed. A  pointed critique of small-town hypocrisy and the exploitation of women is nearly at every turn.

Another comparison to the masterpiece The Night of the Hunter (1955) is worth mentioning since the use of child characters in haunting form appears in both films.

The theme of pedophilia is powerful and sickening, but portrayed with a warped sense of a fairy tale.

Finally, the cinematic use of harsh, glowing white light makes many characters appear angelic, which works tremendously well.

Because of Fuller’s direction and Towers’s great acting, Kelly’s character is portrayed well. As a result, we get a character study to savor and a strong female character to root for. Both aggressively champion their respective areas of expertise.

The Naked Kiss (1964) challenges the rules of early 1960s filmmaking and storytelling. It is a brave journey through humankind’s dark natures, breaking every rule as it progresses.

#205 Favorite Film, 1955 Films, Burl Ives, Drama, Elia Kazan, Epic, James Dean, Jo Van Fleet, John Steinbeck, Julie Harris, Lois Smith, Period Drama, Raymond Massey, Richard Davalos, Top 250 Films

East of Eden-1955

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East of Eden-1955

Director Elia Kazan 

Starring James Dean, Julie Harris, Jo Van Fleet

Top 250 Films #205

Scott’s Review #1,092

Reviewed December 17, 2020

Grade: A

James Dean wasn’t with us for very long, tragically dying at the tender age of twenty-four, but he made three films: Rebel Without a Cause (1955), Giant (1956), and East of Eden (1955), all-powerful showcases and unique.

Dean gives a brilliant, humanistic, and sometimes tragic performance.

East of Eden, his first film, is the only one he got to preview. I hope he liked it because it will live forever as a gem.

Based on the John Steinbeck novel of the same name, the story is also a biblical retelling of Cain and Abel, brothers who clash and spar. Director Elia Kazan, famous for supporting and using Method actors in his films, gave a tremendous performance as Dean, which was key to the film’s empathetic nature.

The key to East of Eden is that it reflects on several characters, who are both good and bad, possessing qualities of both, detailing their struggles.

Nobody is completely good or completely bad. The story analyzes good versus evil and the multitude of layers between both extremes, making the experience juicy, truthful, and brilliant.

Set in 1917, during World War I, two sunny coastal California towns are the backdrop for the action. Cal Trask (Dean) perceives his father, farmer Adam (Raymond Massey), as favoring Cal’s brother, Aron (Richard Davalos). This leads to much resentment, jealousy, and conflict. Aron is the apple of Adam’s eye, and we wonder why.

Furthering the drama is Cal’s love for Aron’s girlfriend, Abra (Julie Harris), who doesn’t rebuff any advances. Cal and Aron’s mother, Kate (Jo Van Fleet), who they think is dead, is alive and well and running a brothel in a nearby town. Assuming a different name, she harbors secrets.

Before you get the impression this is some cheesy soap opera, East of Eden, like the novel, is heavily character-driven and nuanced with development. It ultimately draws the audience in and envelops everyone in its simmering qualities.

East of Eden is packed with powerful scenes after powerful scenes, and in more than one, the allegiances and rooting values shift from character to character.

Some of the best moments are when Cal self-destructs after his father refuses his birthday gift, or when Cal cruelly reveals the true nature of their mother’s profession to the innocent and unsuspecting Aron.

Finally, Cal and Abra’s kiss atop a Ferris wheel is filled with smoldering desire and deadly consequences.

The acting was tremendous across the board. Much of the credit must go to Kazan for pulling fabulous performances out of the players, a talent only a Method acting director can achieve.

While the cast is exceptional, the film belongs to Dean, who provides enough emotion and vulnerability to sustain his character’s topsy-turvy, tortured existence. Knowing that the actor died soon after filming gives the film an eerie and sentimental feel.

This is comparable to a more modern-day example when Heath Ledger died after giving a brilliant performance in The Dark Knight (2008).

This is hardly a war film or a guy’s film, as the ladies also get to shine with rich characters. Julie Harris and Jo Van Fleet portray flawed characters in juicy roles rife with meaty scenes filled with conflict.

As with most of Steinbeck’s works, specifically The Grapes of Wrath, the landscape is a character, and East of Eden is no exception. With dusty roads and mountainous backgrounds, events ooze with atmosphere and beauty.

The lush northern coastal California landscape portrays a grandiose magnificence that counterbalances the conflict its inhabitants are experiencing.

The central note to take away from East of Eden (1955) is that we are complex creatures with a mixture of good and evil. We sometimes want to do the right thing, but in doing so, we hurt those we love. The main characters suffer from pain, regret, good intentions, poor decisions, and loss.

The rich dialogue, adaptation, acting, and cinematography make the film near perfection.

Oscar Nominations: 1 win-Best Director-Elia Kazan, Best Actor-James Dean, Best Supporting Actress-Jo Van Fleet (won), Best Screenplay

#206 Favorite Film, 1945 Films, Alfred Hitchcock, Favorite Film of the Year, Gregory Peck, Ingrid Bergman, Leo G. Carroll, Michael Chekhov, Thriller, Top 250 Films

Spellbound-1945

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Spellbound-1945

Director Alfred Hitchcock

Starring Ingrid Bergman, Gregory Peck

Top 250 Films #206

Scott’s Review #1,015

Reviewed April 24, 2020

Grade: A-

One of Alfred Hitchcock’s early American films, after his voyage from his home base in London to the United States soil, proved profitable and critically acclaimed.

Spellbound (1945) followed Rebecca’s box office and awards success (1940).

Probably the most spoofed of all the Hitchcock works in the 1977 Mel Brooks parody High Anxiety, Spellbound provides a psychological storyboard that uses enough vehicles like amnesia, hypnosis, and danger to impress any daytime soap opera writer.

Not in the director’s top arsenal or remembered well, but a stellar effort.

Youthful Doctor Anthony Edwardes (Gregory Peck) arrives one day at the sprawling Green Manors Mental Asylum as the new director.

After falling for each other immediately, the beautiful Doctor Constance Petersen (Ingrid Bergman) discovers that Edwardes is not who he claims he is. Instead, he is a paranoid amnesiac impostor, more reminiscent of a patient. This gives new meaning to the phrase “the inmates are running the asylum.”

Constance becomes obsessed with answering the following questions: What happened to the real Dr. Edwardes? If Edwardes has been kidnapped or murdered, who is responsible? Who is the gorgeous man she has just fallen head over heels for?

The intelligent psychoanalyst must practice what she preaches by becoming a sleuth and figuring out what is happening. The action occurs in bustling New York City and snowy Rochester, New York.

I love the progressive nature of the story.

To have a leading female character with a lofty professional status is admirable, given the year 1945, when female roles were beginning to evolve.

While most of the roles that Hollywood heavyweight Bette Davis portrayed in the 1930s and 1940s were vital and substantial, this was the exception and not the norm.

Bergman, quite beautiful, does not need to play sex kitten to make her character sexy. She does well with that by wearing glasses and a lab coat, using her character’s intelligence to her advantage.

In 1945, Alfred Hitchcock was still considered a “new” director by most and was only beginning to make his mark on audiences unfamiliar with his work. His cunning and masterful use of lighting and shadows to produce suspense is evident in Spellbound.

The faces of Constance and Anthony glow with a combination of warmth and suspicion, and both are wonderful at eliciting emotion through subdued facial expressions. While Peck is slightly wooden, it does add a dimension to his uncertain character.

With Hitchcock, the atmosphere is everything. The treats are magnificent, like shots of the old Penn Station and Grand Central Station, monumental parts of everyday New York City life. They provide a glimpse of bustling commuter life in the 1940s before most of us were born.

Undoubtedly, many extras and non-actors were used to enrich the scenes and offer what regular people looked like in those days.

As Constance and Anthony team up to determine what secrets lie beneath his subconscious, they board a train for the seclusion of upstate New York, where more secrets are revealed. A heavy dose of psychoanalysis and hypnotism allay the film’s best scene.

Anthony sinks into a dreamlike world where he sees strange objects fraught with symbolism: a man with no face, scissors, playing cards, eyes, and curtains. What do they all mean? Fans will have fun piecing together the clues to solve the mystery.

The works of Salvador Dali, a famous surrealist artist known for bizarre and striking images, are displayed during the dream sequence. Though limited, they envelop the scene with fright and mystique and are a perfect addition to the odd sequence.

Shot in black and white, the final scene adds a blood-red image as a character turns a revolver on themselves and commits suicide. When Anthony drinks a glass of milk, the camera is inside the bottom of the glass, creating a hallucinogenic effect.

While Peck does his best with a peculiar character, Anthony is not as interesting as Constance, Doctor Alex Brulov (Michael Chekhov), or Doctor Murchison (Leo G. Carroll). I would have loved more scenes or a backstory for Brulov, as it would have allowed me to get to know him better.

Anthony has some light annoyances, such as when he inexplicably passes out whenever events become too much for him.

Spellbound (1945) is the perfect accompaniment for a snowy winter night, with its warm and cozy look, soothing atmosphere, and musical score.

Perfect to watch in tandem with High Anxiety (1977) for a double punch of suspense and appreciation for the film, with the humor and satire it furnishes. While not the best of Hitchcock films, it stands proudly on its merits.

Oscar Nominations: 1 win-Best Motion Picture, Best Director-Alfred Hitchcock, Best Supporting Actor-Michael Chekhov, Best Scoring of a Dramatic or Comedy Picture (won), Best Cinematography, Black-and-White, Best Special Effects

#207 Favorite Films, #29 Favorite Horror Film, 1982 Films, Favorite Film of the Year, Horror, Jason Voorhees, Slasher, Steve Miner, Top 250 Films, Top 40 Horror Films

Friday the 13th: Part III: 1982

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Friday the 13th: Part III: 1982

Director Steve Miner

Starring Dana Kimmell, Paul Kratka

Top 250 Films #207

Top 40 Horror Films #29

Scott’s Review #743

Reviewed April 17, 2018

Grade: A-

By 1982 the Friday the 13th installments were becoming an almost annual event, which would continue until the late 1980s.

Still popular and fresh at the time (the novelty would soon wear thin), Part III has the distinction of being released in 3-D, a highly novel concept and just perfect for a slasher film, including sharp weapons to shove at the camera at every turn.

Directed once again by Steve Miner, who also directed Part II,  the film charters familiar territory that will certainly please fans of the genre.

The horror gem still feels fresh to me decades after its original release.

The plot originally was intended to copy 1981’s successful Halloween II and capitalize on the return of one central character, Ginny (Amy Steel), and continue her night of terror as she is whisked away to a local hospital following her ordeal at Camp Crystal Lake.

While this plot seems laden with good, gruesome “kill” possibilities (think syringes, scalpels, and other neat medical objects), unfortunately, this was not to be after Steel balked at a return appearance.

Directly following the bloody events the night before, a new batch of teenagers- oblivious to the recent killings- except for tortured Chris (Dana Kimmell), who once was attacked by the crazed killer, travel to Camp Crystal Lake for a weekend of fun and partying.

As Chris teeters between imagining sounds and shadows, traumatized by her past, Jason lurks nearby waiting to pounce on unsuspecting victims. In this installment, Chris is most certainly the “final girl”, a fact that is obvious with the immediate backstory.

The other characters fall in line with traditional slasher stereotypes- the lovelorn couple, the prankster, and a stoner couple. Also, a rival biker gang is thrown in for added drama as they vow revenge on the group following an incident at a convenience store.

A few main differences between Part III and Parts I and II follow:  Part III incorporates fewer “point of view” camera shots from Jason’s perspective, and more from the viewpoint of the victims.

The result is neither better nor worse- just different.

This is the first installment in which Jason dons his trademark hockey mask giving the film a slicker feel, and more identity, than Part II did, where Jason mostly wore a burlap sack.

Cleverly, Jason steals the hockey mask from one of his victims.

Finally, as evidenced by the soundtrack, Part III adds a disco/techno beat to the famous “chi chi chi” sounds, giving the music a distinct 1980s feel that the two preceding installments do not have- those feel more like 1970s films.

Memorable slayings include a knife shoved through a victim’s chest while resting on a hammock, electrocution via a basement fuse box,  and death via a shooting spear gun.

The main draw to the kills and thus the film itself is the clever use of 3-D technology, which makes the audience feel like the center of the action.

What a treat to see the implements used in the killings coming right at me!

Credit must be given to the added diversity Friday the 13th: Part III incorporates. For the first time (a glorified black extra in Part II does not count) minority characters are featured.

Bikers Fox (Hispanic) and Ali (Black) as well as pretty Vera Sanchez are included giving the film more of an inclusive feel- though each of these characters is killed off.

Enjoyable also is the inclusion of a quick recap of Part II, similar to what Part II did with the original so that the climax of the preceding film gives the viewer a good glimpse of how the action left off.

The screenwriters add a few comical characters, admittedly offed rather quickly into the mix.

I would have loved to have seen a bit more junk food-eating Harold and his nagging wife Edna, for example, before they meet their maker.

Hardly high art, Friday the 13th: Part III (1982) is mostly remembered for some cool, innovative technology, a tiny bit of camp that does not overwhelm the straight-forward horror flavor, and for still seeming fresh before the franchise got old, stale, and tired.

Part III, along with I and II, make for a wonderful trio in one of horror’s finest franchises.

#208 Favorite Film, 1983 Films, Children, Christmas, Melinda Dillon, Peter Billingsley, Top 250 Films

A Christmas Story-1983

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A Christmas Story-1983

Director Bob Clark

Starring Peter Billingsley, Darren McGavin, Melinda Dillon

Top 250 Films #208

Scott’s Review #968

Reviewed December 16, 2019

Grade: B+

A festive holiday film sure to be watched during late December, A Christmas Story (1983) is a wholesome family treat with heart and a good slice of Americana. A clever gimmick of an adult narrating the story of his childhood holiday experience feels both fresh and nostalgic.

Some hairstyles, looks, and camera styles feel more like the 1980s than the 1940s and the subject matter of a gun becomes questionable with the passing years, but the film enchants and warms the soul with famous cult classic moments mixed in making the film memorable.

The central character is Ralphie Parker (played as a child by Peter Billingsley and voiced as an adult by Jean Shepard). Nine-years-old and clad in distinguished eye-glasses, he anticipates the approaching Christmas holiday with both excitement and trepidation.

He longs for his dream gift, a Red Ryder Carbine-Action 200-shot Range Model air rifle, which every adult he meets hazards “You’ll shoot your eye out.” Determined, he schemes to find a way to make his dreams come true and his parents to buy that gun, while avoiding the neighborhood bully.

The film has mass appeal in the casting department with each principal actor adding value, and the story just feels warm. With the lesser talent, the results may have been over-the-top, forced, or too melodramatic.

Accolades are especially deserved by Billingsley, who carries the film with his sincerity and giant blue eyes.

He is a natural and fantastic actor, especially during the more emotional scenes. Ralphie’s mother, father, and teacher are wonderful in their respective parts adding the right level of earnestness and pizzazz in support roles.

A Christmas Story gets props for avoiding any silly romantic story-line commonplace in “feel good” films of similar ilk. The plot is clearly defined and the antics of Ralphie make the film fun, but not too sentimental or corny.

Cringe-worthy is the thought of a little neighborhood girl that Ralphie might want to impress. The little boy’s somewhat infatuation with his teacher is innocent and whimsical and not to be taken too seriously.

The incorporation of now-legendary props and story points adds texture and comfort to the viewing experience, especially the lamp in the shape of a woman’s leg and a high-heeled shoe.

The garish prize Ralphie’s father wins after entering a contest becomes his pride and joy making his wife and the neighbors cringe. Assuming the piece is lavish art mistaking the word “fragile” for a fancy Italian word, the scene is humorous.

The final scene of the family being reduced to eating Christmas dinner in a Chinese restaurant after their turkey is ruined still provides a smile.

As the years pass the scene teeters on racist and has been changed during stage productions to avoid controversy. The Asian characters possess too many cliched stereotypes for my taste, but the intent is innocent and wraps the film nicely.

Peculiar and noticeable with each viewing experience, is the glaring locale of Hammond, Indiana when the film is shot in and around Cleveland, Ohio. The famous Higbee’s Department Store in downtown Cleveland is pivotal to the story and world-renowned, so the Indiana locale is perplexing and out of place.

Many may not realize the Cleveland surroundings, but eagle-eyed viewers will take notice. The exteriors look nothing like Indiana.

Known for having aired since 1997 on television stations TNT or TBS in a marathon titled “24 Hours of A Christmas Story”, the event has consisted of twelve consecutive airings of the film on both Christmas Eve and Christmas Day each year.

This has resulted in its being deemed one of the best Christmas movies ever made and exposed new generations to the work.

I’m not convinced it is “the best”, but nothing feels cozier on a cold holiday night snuggled by the fire than this cult classic. 

#209 Favorite Film, 1947 Films, British, David Farrar, Deborah Kerr, Drama, Emeric Pressburger, Favorite Film of the Year, Jean Simmons, Michael Powell, Top 250 Films

Black Narcissus-1947

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Black Narcissus-1947

Director Michael Powell, Emeric Pressburger

Starring Deborah Kerr

Top 250 Films #209

Scott’s Review #688

Reviewed October 5, 2017

Grade: A

A British film made in 1947 that is way ahead of its time, Black Narcissus is a brilliant foray into the mysterious entity of nuns and the bitterness, both from humanity and from the elements, that a group of nuns must face as they attempt to establish a new school atop the hills of the Himalayas.

The film’s look is as fantastic as its story, with incredible cinematography and a foreboding, eerie quality.

Black Narcissus is one of the great treasures of classic cinema.

Based on the 1939 novel by Rumer Godden, Black Narcissus tells the story of revolving jealousy, rage, lust, and tension amid a convent of nuns living in isolation.

Deborah Kerr, fantastic in the lead role of Clodagh, Sister Superior and leader of the group, faces the temptations and anger of men while dealing with an unbalanced nun, Sister Ruth, played terrifically by Kathleen Byron.

The cinematography and the art direction must be praised as the lavish sets are just that- sets. However, the average viewer will be whisked away on a magical experience where it seems the sets are real locales, high atop the Himalayan mountains.

Scenes depict howling wind, mist, and fog in a believable manner. All sets are built and structured, and Black Narcissus was filmed entirely on a set. This tidbit is unbelievable, given the realism, especially since the film was made in 1947.

The lighting in the film is unique, precisely the vibrant colors of the pink flowers and, later, the close-ups of Sister Ruth. A fantastic example of this is her descent into madness during the final act, as her face, maniacal yet lovely, is heavily featured. Her face appears bright and hypnotic.

The main event, though, is the tales the film tells, which are pretty edgy for the year the film was made. Religion is always risky, and the treatment of the nuns as real human beings with actual emotions, even lustful ones, is brazen.

Specifically, Clodagh (Kerr) is a fascinating study as the character teeters on a romance with the charismatic, handsome, local British agent, Mr. Dean (David Farrar), while attempting to forget a failed romance during her youth in Ireland.

Meanwhile, Sister Ruth spirals out of control, leading to a dire climax involving an enormous church bell atop the restored structure.

A slight misstep the film makes is mainly casting white actors with heavy makeup in the Indian roles instead of actors with authentic ethnicity.

This detail is glaring because the makeup used is not overly convincing, and the casting of the gorgeous Jean Simmons as Kanchi, a lower-class dancing girl whom the Prince becomes infatuated with in a subplot, is incredibly guilty.

Still, this pales in comparison to the fantastic story and look of the film.

Black Narcissus is a classic film that contains a bit of everything—drama, thrills, intrigue, gorgeous sets, lavish design, and even a bit of forbidden passion—and brilliantly executes all aspects of the film.

A film admired by critics and directors throughout the ages and explicitly championed by Martin Scorsese, it has the unique quality of getting better with each viewing.

Oscar Nominations: 2 wins-Best Art Direction-Set Direction, Color (won), Best Cinematography, Color (won)

#210 Favorite Film, 1968 Films, Beryl Reid, British, Coral Browne, Drama, LGBTQ+ Drama, LGBTQ+ Films, Robert Aldrich, Susannah York, Top 250 Films

The Killing of Sister George-1968

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The Killing of Sister George-1968

Director Robert Aldrich

Starring Beryl Reid, Susannah York

Top 250 Films #210

Scott’s Review #228

220px-Original_movie_poster_for_the_film_The_Killing_of_Sister_George

Reviewed March 13, 2015

Grade: A-

The Killing of Sister George is a British film drama, adapted from a 1964 stage production that was a risky subject matter to tackle for the times- lesbianism- in the late 1960s.

Directed by Robert Aldrich, well known for Whatever Happened to Baby Jane, The Killing of Sister George is a similarly dark tale of loneliness, desperation, and an actress who falls from former grace and success into despair, confusion, and anguish.

It also has some witty, crackling, comedic moments to avoid being a true downer.

Sister George is a successful, well-regarded actress on a popular soap opera named Applehurst. Her character is the wholesome presence in a town fraught with manipulation and drama. She is the moral focal point of the show.

In real life, however, George (interestingly called by her character’s name), is troubled.

She is bitter, angry, and a person with alcoholism, and she frequently berates and even abuses her partner, Childie, played by Susannah York. A third central character in the film is TV Producer Mercy Croft, who is powerful and confused about her sexuality.

When the soap opera powers-that-be decide to kill off the beloved Sister George, the real George’s life begins to spiral out of control.

As enjoyable a film as it is and certainly featuring the competent talents of Beryl Reid in the title role, I cannot help but ponder and fantasize how wonderful the casting of Bette Davis- reportedly considered for the role and inexplicably not cast- would have been.

Davis, famous for playing grizzled, mean, unsympathetic characters, would have knocked this role out of the park, and, sadly, she did not have the chance.

At its core, the film is a sad character study of one woman’s pain and anguish at being discarded. Presumably unable to be hired anywhere else, her soap opera character is her life.

She loves Childie but is not entirely fulfilled by her, either, and the vibrant, polished Mercy threatens that relationship.

This is an interesting triangle as George does not always treat Childie well, but loves her all the same. Childie is a simple character, childlike, and needs a strong mate to counter-balance the way she is- someone to take care of her.

Without a job or prospects, this would be difficult for George. Does Childie love George or want a meal ticket?

The film is understandably rated X for content, presumably for a very explicit sex scene between Mercy and Childie, and when a drunken George molests two nuns in the back seat of a London taxi cab.

These scenes are both cutting-edge and admirable in their risk-taking.

The scene set at the real-life London lesbian club (the Gateway Club) and featuring mostly real-life lesbians is excellent. It provides a real-life glimpse into the gay/lesbian world and lifestyle during the period.

A brave, groundbreaking, risk-taking film with bravura direction from Aldrich, The Killing of Sister George (1968) is a forgotten gem that needs to be rediscovered by film fans everywhere and is an early journey into gay and lesbian cinema.

#211 Favorite Film, 1997 Films, Bill Pullman, David Lynch, Gary Busey, Giovanni Ribisi, Marilyn Manson, Mink Stole, Patricia Arquette, Richard Pryor, Robert Blake, Thriller, Top 250 Films, Trent Reznor

Lost Highway-1997

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Lost Highway-1997

Director David Lynch

Starring Bill Pullman, Patricia Arquette

Top 250 Films #211

Scott’s Review #868

Reviewed February 17, 2019

Grade: A-

David Lynch, forever known for his odd and mind-boggling productions, released what might be his most bizarre offering, Lost Highway (1997).

Dreamlike and downright hallucinogenic, the film is impossible to dissect and is open to endless interpretation. Characters morph into younger or different versions of themselves or even into different characters entirely making the film best served as an experience not to be over-analyzed.

The most enjoyment comes from the fabulous atmospheric elements.

Lost Highway is set in Los Angeles as we meet saxophonist Fred Madison (Bill Pullman), a nightclub employee who resides with his glamorous wife Renee (Patricia Arquette) somewhere in the Hollywood hills.

The couple begins receiving envelopes containing VHS tapes of footage of their house followed by more invasive tapes of them being filmed while sleeping in their bedroom.

Spooked, they enlist the help of a pair of incompetent detectives.

The events begin to grow more complex with the introduction of a menacing mystery man (Robert Blake) and sequences involving a dismembered Renee, and Fred’s subsequent incarceration for her murder.

Fred suddenly morphs into a young auto mechanic named Pete Dayton (Balthazar Getty), who is released into his parent’s care while being followed by the two detectives.

Pete embarks on an affair with Alice Wakefield, a mirror image of Renee, who is the mistress of powerful Mr. Eddy (Robert Loggia). Pete and Alice plan to escape together leaving their troubled lives behind.

Any attempt to make more sense of the story than outlined above is fruitless as a torrent of questions could be raised. The obvious ones are why does Fred turn into Pete (looking completely different) and why does Renee turn into Alice (looking similar)?

What do random scenes of a burning desert cabin mean? What does the bizarre and hazy lesbian sequence with Marilyn Manson have to do with anything?

Discerning the logic and attempting to unravel the mystery will lead to frustration.

The best advice is to escape into the film and allow it to manifest in the viewer’s mind. The terms “dreamlike” and “hallucinating” are often used to describe films but are perfect adjectives to fit Lost Highway.

The stories do run parallel, so the challenge is not being able to follow each of them, but rather how they connect. The stories also merge circularly with a rhythmic effect and a satisfying ambiance that lured me immeasurably.

My favorite characters are Alice and Pete and this is in large part because of the actors who portray them. Not appearing until the second half Getty and Arquette infuse passion and energy into the roles.

I immediately rooted for them as a couple as their tender and smoldering chemistry was immediately felt. Arquette blazes as a sexy temptress and Getty as the handsome and earnest man submitting to her prowess.

Eagle-eyed viewers may notice comparisons to Russ Meyer’s devilish sexploitation film Supervixens (1975).

The most notable are the dual character representations, the auto mechanic occupation, the locales (more than a few Los Angeles roads seem identical), and various sequences featuring a weightlifter, a gas station drive-up, or other eerily similar scenes.

Whether or not there is a direct correlation between the films is unknown but fun to observe.

The musical score and soundtrack are high points adding both mystique and aggression with the hard rock songs featured. Marilyn Manson’s “I Put a Spell on You”, Rammstein’s “Heirate Mich”, and The Smashing Pumpkins “Eye” are used in important scenes.

The soundtrack release was a huge success on modern rock radio achieving Gold record sales status.

At the time of Lost Highway’s release, the film was not well regarded by critics and dismissed as not making much sense. In the decades following the film has garnered more acclaim and as with a fine wine has aged well. The beautiful cinematic tone, creative design, and images have become more revered over time.

For a perplexing and cerebral experience look no further than Lost Highway (1997), a delicious companion piece to the Lynch masterpiece, Mulholland Drive (2001).

#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

759322

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

#214 Favorite Film, #30 Favorite Horror Film, 1981 Films, Adrienne King, Amy Steel, Betsy Palmer, Horror, Jason Voorhees, Slasher, Steve Miner, Top 250 Films, Top 40 Horror Films

Friday the 13th: Part II: 1981

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Friday the 13th: Part II: 1981

Director Steve Miner

Starring Amy Steel, John Furey

Top 250 Films #214

Top 40 Horror Films #30

Scott’s Review #742

Reviewed April 15, 2018

Grade: A-

Hot on the heels of the surprising success of the low-budget slasher film, Friday the 13th, a sequel to the 1980 film was immediately ordered.

The film was released merely a year later and is nearly as good as its predecessor, but not quite to the level of that horror masterpiece.

Part II (1981) is a well above-average sequel with a fun style all its while wisely keeping facets that made the franchise adored by horror fans everywhere.

Gushing fans must have been chomping at the bit for a follow-up film with an opening sequence that is quite lengthy.

The heroine of the first Friday, Alice Hardy (Adrienne King), takes center stage, eliciting a clever twist that must have shocked fans as she is offed less than fifteen minutes into the film- think the sequence with Drew Barrymore in 1996’s Scream for comparison.

Regardless of the reasons King would not be the star of the film (money demands or a rumored stalker), the fact of the matter is this improves the overall film adding an immediate surprise.

After this compelling opening number, things become much more familiar and predictable as the viewer is enshrined in the antics of young and horny camp counselors rushing to sunny Camp Crystal Lake (or in this installment, a neighboring camp) to set up for the impending arrival of kids.

The young adults are all beautiful, fresh-faced, and ready to be sliced to ribbons or dismembered in some fashion as the case may be.

As any horror aficionado knows, this is a major part of the appeal of slasher films, and Friday the 13th: Part II follows a familiar formula.

Paul (John Furey) and Ginny (Amy Steel) are the lead counselors- a bit more adult and responsible than the others, thus they ignore the authority’s warnings not to re-open the camp since it has only been five years since the original massacres.

As the day turns into evening, Paul teases the group with the story of the legend of Jason and how he survived his drowning only to live in the woods fending for himself and avenging the death of his mother.

Little do they know that the legend is real and Jason is lurking among the trees ready to off the group individually.

Besides Paul and Ginny, the supporting characters include sexy Terry, known to wear skimpy attire, sly Scott, who has designs on Terry, wheelchair-bound Mark, sweet and innocent, Vickie, jokester Ted, and, finally, madly in love, Jeff and Sandra, who are curious about the history of Camp Crystal Lake.

Delightfully, the character of Crazy Ralph (Walt Gorney), the comic relief of the original film, makes a heralded return to warn the youths of impending doom and gloom.

Friday the 13th: Part II mixes pranks and flirtations among many of the characters, but the audience knows full well what’s in store for each of them- save for the honorable “final girl”.

With Ginny receiving this title the others meet their fates in bloody style with interesting kills such as a throat slit by a machete while in a rope trap, a duo impaled with a spear as they engage in sex, and bludgeoning with a kitchen knife.

The final twenty minutes are quite engaging as Ginny must flee from the camp while enduring repeated obstacles preventing her safety such as a run through the woods, tripping and falling, and a failed barricade in a cabin.

A wonderful touch within this sequence is the return of Betsy Palmer (Mrs. Voorhees) in a cameo appearance as Jason sees a vision of his mother. This move successfully creates a tie-in to the original that works quite nicely as coupled with the opening sequence.

The final “jump out of your seat” moment is highly effective as Jason thought to be bested, leaps through a window for one final attack.

Interesting to note is what appear to be identical camera angles through much of the film, as the camera uses the point of view of the killer numerous times to elicit scares, and the viewer serves as the killer- reminiscent of the first film.

Additionally, camera shots of the peaceful, sunny camp and lake during the daytime are used, in contrast to the violence occurring at night.  Even the approaching car the counselor drives (a truck) is shot the same way as we see them arriving at the camp in full anticipation of a fun time.

Friday the 13th: Part II (1981) is a fun follow-up to one of the most celebrated horror films of the slasher genre and is a perfect counterpart to the original.

A viewing tip is to watch both films in sequence on perhaps a late-night horror extravaganza.

Subsequently followed by a slew of not-so-great sequels as the franchise became dated by the late 1980s, Part 2 serves as an excellent follow-up to the original using a similar style that will please fans.

#215 Favorite Film, 1971 Films, Dustin Hoffman, Sam Peckinpah, Thriller, Top 250 Films

Straw Dogs-1971

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Straw Dogs-1971

Director Sam Peckinpah

Starring Dustin Hoffman, Susan George

Top 250 Films #215

Scott’s Review #733

Reviewed March 19, 2018

Grade: A

Straw Dogs (1971) is famed director Sam Peckinpah’s most startling and most controversial film.  Hardly an easy watch, it will conjure up both disturbing and uneasy reactions, but it is a work of art, teetering on the edge of being an all-out art film.

Viewers will cringe during intense scenes, but will also marvel at the film’s mastery of this classic, bringing on a whirlwind roller coaster ride as story elements spiral out of control to a frenetic and powerful climax.

Intellectual American mathematician, David Sumner (Dustin Hoffman), moves with his sexy British wife, Amy (Susan George), to a Cornish countryside- the town in which she grew up where they proceed to encounter problems, both within their marriage, and external factors, as an angry mob of blue-collar workmen, threaten their home life.

When non-violent David is pushed to the limit, questions of morality are brought to light, as Amy faces her demons and bouts with brutality and victimization.

The film, made in 1971, pushes the envelope significantly in its display of violence.

Several years earlier, 1967’s Bonnie and Clyde, and Peckinpah’s own The Wild Bunch (1969), really were the films that got the ball rolling. Still, Straw Dogs continues the trend of the brutal violence that overtook American cinema in those days.

While watching the film for the second time, I was struck hard by the feeling that I was watching something important.

Amy’s rape scene is the most brutal scene of all to watch for the sheer way in which it can be interpreted. Later, when Amy replays the scene in her mind, the audience is forced to endure the experience over again.

Not content to only include the rape scene, Peckinpah wants the viewer to dissect the scene- the fact that Amy is assaulted by not one, but two men, and reacts differently to each of them, is the key here.

The scene is complex in that Venner, the first assailant, is hunky and presumed to be a former beau, and she eventually relents to his advances, but does she enjoy the act? When Scutt enters the picture, however, things turn from tender and ambiguous to violent and dirty.

Undoubtedly, an influence on director Quentin Tarantino is the final sequence of the film- a scene fraught with tension, violence, and grit.

Now trapped in their house amid a mob of angry, drunk men, hell-bent on revenge, David and Amy must both bond with each other and match antics with the men.

I experienced visions of 2015’s The Hateful Eight through the claustrophobic, cabin-like setting, and the quick edits that Peckinpah successfully uses throughout the entire film.

A sad scene, and at least a portion of the reason for the townsfolk’s rage, is a scene reminiscent of Frankenstein when a hulking and mentally challenged man accidentally harms a young girl. Not knowing his strength and meaning to protect the girl instead of killing her, the menfolk of the town respond in a nightmarish and witch-hunt manner.

Suddenly, David becomes the defender and protector of this man.

David’s change in character is interesting, and the great Hoffman adds layer upon layer of complexity to the role. At first, a peaceful man, due to circumstances, he soon becomes the assailant, creating traps and weapons, intent on maiming his prey.

Hardly a violent man, this change of character is evidenced as we earlier see David nurse a wounded bird.

In addition to Hoffman’s traditionally outstanding acting performance, Susan George succeeds in providing the perfect mixture of bitchiness, spoiled brat tantrums, and, later, guilt-ridden angst and fear.

The villains are perfectly cast and believable as bored, simple-minded, and horny, small-town boys just itching for trouble.

Lush is the gorgeous United Kingdom countryside featured in Straw Dogs, as frequent exterior scenes are shot, revealing lavish and plush mountainous areas- the sweeping beauty of the landscape counterbalancing the brutality shown in other sections of the film.

Mixing super quick editing with a dark, compelling screenplay, with underlying themes of questioning one’s manhood, Straw Dogs is a provocative and edgy tale of violence and revenge in a small town, that gives new meaning to the fear of “home invasion” and feeling vulnerable.

Thanks to a great cast and lots of other facets, Straw Dogs (1971) is a timeless (and brutal) treasure.

Oscar Nominations: Best Original Dramatic Score

#216 Favorite Film, 2011 Films, Ben Falcone, Chris O'Dowd, Comedy, Favorite Film of the Year, Jill Clayburgh, Jon Hamm, Judd Apatow, Kristen Wiig, Maya Rudolph, Melissa McCarthy, Paul Feig, Rebel Wilson, Romantic Comedy, Rose Byrne, Terry Crews, Tim Heidecker, Top 250 Films

Bridesmaids-2011

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Bridesmaids-2011

Director Paul Feig

Starring Kristen Wiig, Maya Rudolph

Top 250 Films #216

Scott’s Review #784

Reviewed July 6, 2018

Grade: A

Despite the raunchy romantic comedy genre not being my favorite, and despite not being such a fan of Judd Apatow (famed producer of several of these types of films), Bridesmaids (2011) is easily the best of its kind.

Influential in a multitude of female empowerment-themed comedies that followed, this one is witty, genuine, and funny because of its star, Kristen Wiig, who also co-wrote the film.

It is one of the best comedies (if not the best) of the decade.

Apatow is known mainly for producing comedy films that mix in the standard potty humor for cheap laughs. He is responsible for This Is 40 (2012) and Trainwreck (2015), both of which I found moderately funny, but they are also needlessly gross-out and tired.

My point is that minus the talents of Wiig (both in front of and behind the camera), Bridesmaids would likely have been mediocre like these films. Instead, Bridesmaids is a wonderful, uproarious experience with a star who captures a moment.

My one gnawing gripe is that a woman shouldn’t direct a film about women.

Annie (Wiig) has been asked to serve as the maid of honor at her best friend, Lillian’s (Maya Rudolph), upcoming wedding. Rather than being thrilled, Annie is depressed due to an ongoing string of bad luck.

Her bakery business fails, she loses her unfulfilling job at a jewelry store, she is dating a jerk (Jon Hamm), and her car is about to die. She has difficult roommates and is on the verge of having to move back in with her mother at age thirty-five.

The story hilariously follows Annie’s rivalry with Helen (Rose Byrne), Lillian’s soon-to-be husband’s boss’s controlling wife. Helen is intent on taking over the handling of the wedding events, much to Annie’s chagrin.

The ladies compete to one-up each other throughout the film- Rose is the perfect princess for Annie’s grit and cynicism.

Annie struggles through her issues, unhappy with the state of her love life, when she meets police officer, Rhodes (Chris O’Dowd), and they begin a tender friendship. However, their attraction is put to the test because of Annie’s shenanigans.

Annie must then fly to Las Vegas with the other bridesmaids despite being terrified of flying.

Despite the story being nothing not seen dozens of times before in romantic comedy history (the setups), the film is a laugh-out-loud riot. In addition to Wiig, Rudolph, and Byrne, the remaining cast of ladies all have tremendous chemistry with each other.

Special kudos go to Melissa McCarthy in her fearless role of Megan, a tomboy misfit who somehow is part of the wedding party. With her “tell it like it is” attitude, the actress sinks her teeth into this fabulous role without taking it too far across the line into ridiculousness.

In rip-roaring fashion, multiple scenes are permanently etched in my mind.

After Annie suggests a Brazilian steak restaurant for lunch, followed by a fitting at a chic dress shop, the girls suffer from food poisoning. This results in torrents of diarrhea scenes and one unlucky character being reduced to going to the bathroom in the middle of the street.

The scene, while super raunchy, is hilarious and fraught with perfect comic timing.

Not to be outdone, the airplane scene is equally tremendous; however, the scene belongs to Wiig rather than the entire ensemble. Being forced to fly coach while everyone else is treated to first-class, Annie unwisely accepts a pill from Helen to calm her during the flight.

Instead, Annie becomes belligerent and wild when she mixes the sedative with alcohol.

As good as the supporting cast is, Wiig owns the film through and through. Every scene she is in and each line she utters is perfectly timed. The fact that Wiig did some improvisation (the scene in the jewelry store) is evident and only adds to the genuine feel of the film.

Subsequently, to Wiig’s credit, she has been careful to choose more complicated roles to avoid the risk of being typecast. And a sequel was wisely never made- this would have ruined the appeal.

Bridesmaids (2011) is an authentic story rich with hilarity and crisp dialogue. The film is enhanced in that it’s a female-centered film written by women (though the direction and producers, too, would have been better).

Because of the tremendous cast led by Wiig, the film is blazing with humor and led a firestorm of similar “girl power” films (mostly bad) well into the decade.

Oscar Nominations: Best Supporting Actress-Melissa McCarthy, Best Original Screenplay

#217 Favorite Film, #31 Favorite Horror Film, 1978 Films, Brooke Adams, Don Siegel, Donald Sutherland, Horror, Jeff Goldblum, Kevin McCarthy, Leonard Nimoy, Philip Kaufman, Robert Duvall, Science Fiction, Top 250 Films, Top 40 Horror Films, Veronica Cartwright

Invasion of the Body Snatchers-1978

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Invasion of the Body Snatchers-1978

Director Philip Kaufman

Starring Donald Sutherland, Brooke Adams, Veronica Cartwright

Top 250 Films #217

Top 40 Horror Films #31

Scott’s Review #1,434

Reviewed July 22, 2024

Grade: A-

Even though this film is a remake and remakes are usually not as good as the original, I am partial to the 1978 version of Invasion of the Body Snatchers versus the 1956 release.

This might even be one of the best remakes ever.

The 1950s version has a campy science fiction element popular in the decade, featuring frightening, otherworldly elements like The Day the Earth Stood Still (1951) or Invaders from Mars (1953), which were meant to promote the idea of invaders taking over the Earth.

This was enough to scare the bejesus out of middle America, USA, and their white picket fence-encased neighborhoods.

The 1970s version leaves behind any camp in favor of a straight-ahead sci-fi/horror hybrid. A glamorous and artistic approach oozes from the 1970s and various exterior sequences of San Francisco that make it superior to the original.

It’s a more polished and mainstream-ready product that works better for this film.

By far the best scene is the final scene between a perfectly cast Donald Sutherland and Veronica Cartwright, which left chills going up and down my spine.

I won’t spoil the fun, but suffice it to say that the actor’s facial expressions make the scene exceptional, mixed with the creepy sound effects.

Director Philip Kaufman also toys with his audience when he teeters ambiguously between his leading ladies. Is Cartright the ‘final girl’ or is it Brooke Adams? In parallel to Hitchcock’s Psycho (1960), the lead may not be who you assume it to be.

Matthew Bennell (Donald Sutherland) is a health inspector who assumes that when his friend and colleague Elizabeth (Brooke Adams) complains of her husband’s strange mood, it’s a cheating husband or an exaggerated concern.

He begins to worry, however, as more people report similar observations about their loved one’s strange behavior.

His concern is confirmed when writer Jack Bellicec (Jeff Goldblum) and his wife (Veronica Cartwright) discover a mutated corpse creating a city-wide epidemic where humans are replaced by alien doubles void of humanity or emotion.

The casting is first-rate, especially because Sutherland is front and center. The actor does wonders with his bulging blue eyes and a spacey demeanor. This works well in a film where we wonder whether his character is ‘one of them’.

He’s also a good actor and easily carries the film along with Adams and Cartright.

Kaufman peppers the film with eerie atmospheric elements like the mysterious parasitic alien race scurrying to harvest before their planet dies, and small seed pods amid hallucinogenic pink flowers.

The success is mainly because the audience is left uncertain about whether to hate the aliens or feel sorry for them. Since they are ambiguous, this leaves confusion and, therefore, a sense of empathy.

Speaking of the exterior sequences, a great one occurs on the streets of San Francisco when a hysterical man warns Elizabeth and Matthew of danger as a mob pursues him. He is then killed in a hit-and-run, surrounded by emotionless onlookers.

Eagle-eyed viewers will spot Kevin McCarthy, the leading man in the 1950s film, and director Don Siegel.

When this scene plays, it is eerie and cements the fact that the small group of friends must stick together against a mob of clones.

Wisely, Kaufman assures that the story does not play for laughs or appear over the top or silly. The gritty camera angles, superior makeup crew, and wonderfully practical sound effects confirm that he is making a film to be remembered.

Taking what the 1950s version created but only scratched the surface of the potential during a cinematically safe decade, the 1978 Invasion of the Body Snatchers has muscle and compels from start to finish.

Years later, it still holds up wonderfully well among similar stylistic and popular horror films like Jaws (1975), Carrie (1976), Dawn of the Dead (1978), and Halloween (1978).

On a larger level, it also confirms the 1970s as the greatest decade for horror films.

#218 Favorite Film, #32 Favorite Horror Film, 1972 Films, David Hess, Horror, Independent, Independent Horror, Steve Miner, Top 250 Films, Top 40 Horror Films, Wes Craven

The Last House on the Left-1972

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The Last House on the Left-1972

Director Wes Craven

Starring Sandra Cassel, Richard Towers, Eleanor Shaw

Top 250 Films #218

Top 40 Horror Films #32

Scott’s Review #1,387

Reviewed August 6, 2023

Grade: A

Heavily influenced by Ingmar Bergman’s 1960 masterpiece The Virgin Spring, The Last House on the Left (1972) is essentially the same story.

The time is modern and the locale is switched from Sweden to New York and the religious exploration is not there. But, rest assured, both films are brutal and not for the faint of heart.

It’s not violence for violence’s sake though and a powerful revenge tale surfaces amid unique camera styles and settings.

Wes Craven, who put the horror genre back on the map decades later in 1996 with Scream writes and directs the independent and raw The Last House on the Left.

He was accused of going too far in the film and exploiting pain and suffering, mostly by victimizing female characters, but the truth is the situation can and has occurred in real-life.

The film brings powerful realism to the terrifying actions of horrible people and if that’s too much for some they shouldn’t watch this film.

But, lovers of experimental cinema should.

Craven’s genius is mixing sunny, cheery sequences, poppy music, and comic relief with uncomfortable scenes of rape and torture so well that the audience’s reaction is guttural and rage infused. The dark scenes occur on a sunny afternoon in the woods with upbeat music on what would otherwise be a pleasant day.

Many horror sequences add darkness, thunderstorms, or other special effects to set the proper mood but Craven goes way left of center.

Perky teenagers Mari (Sandra Cassel) and Phyllis (Lucy Grantham) head into New York City for a concert where they look for some marijuana. They stumble upon a foursome (three men and one woman) of escaped convicts who force them to endure a night of rape and torture.

The following day the gang kills the girls in the woods, not realizing they’re near Mari’s house. When they pose as salesmen and are taken in by Mari’s mother (Eleanor Shaw) and father (Richard Towers), the parents quickly figure out their identities and plot revenge.

A side story involves two incompetent police officers who unsuccessfully try to pursue the escaped convicts.

I immediately was made aware of the very low-budget filmmaking with muted, grainy visuals. The cinematography is what makes The Last House on the Left work so well. With high caliber, glossy texture it would seem too polished.

The acting isn’t brilliant and the overall look and feel is reminiscent of a John Waters film. Again, this only enhances the bare bones, late-night viewing experience.

There are warnings galore. The pain and suffering endured by Mari and Phyllis are hard to watch and I felt their degradation in my bones. I won’t go into gory details but it isn’t fun.

However, there is some satisfaction to be had. When Mari’s parents cleverly set traps inside their house for the murderers to fall into there are cheer out loud moments of celebration for the audience.

One murderer even gets his penis bitten off.

Suspension of disbelief must be given to justify how this chain of events could occur. What are the chances the convicts would happen to bring the girls to Mari’s house in the middle of nowhere?

Wouldn’t the parents be in shock or having a meltdown over the realization of Mari’s death? Somehow they find the wherewithal to construct a stagey revenge plot on the fly.

The dumb cops will do no favors for police officers looking for some respect.

Still, the utter depravity and brutality of The Last House on the Left (1972) make it one of the most genuine feeling horror films of all time. Add the fact that the situation could happen and the result is a frightening one.

#219 Favorite Film, 1946 Films, Christmas, Donna Reed, Drama, Frank Capra, Gloria Grahame, Henry Travers, James Stewart, Lionel Barrymore, Thomas Mitchell, Top 250 Films

It’s a Wonderful Life-1946

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It’s a Wonderful Life-1946

Director Frank Capra

Starring James Stewart, Donna Reed

Top 250 Films #219

Scott’s Review #863

Reviewed February 5, 2019

Grade: A-

A popular holiday tradition in many households eager to cozy up in front of the fire with an enduring and entertaining classic, It’s a Wonderful Life (1946) serves an essential purpose. It is the ultimate annual festivity passed down through generations.

While not one of my standards, I recognize the influence and the endearment the film offers and cannot fault its power to bring people together with its humanistic and sweet message.

James Stewart is perfectly cast as the wholesome and likable George Bailey. He strives to help all those in his small community who need help, often at the expense of his own well-being.

Depressed by the failure of his bank on Christmas Eve in 1945, in the snowy locale of Bedford Falls, New York, George is visited by a guardian angel named Clarence (Henry Travers), who teaches him what life will be like if he chooses the dire path of ending his own life.

Along with Stewart, Donna Reed as the wife, Mary Hatch Bailey, is cast exceptionally well and is the perfect counterpart to George.

Together, the actors immerse themselves in their roles, holding their heads high as the leaders of the sleepy little town they reside in, and set an example for the other townspeople with their kindness and thoughtfulness.

A sound “king and queen of the prom,” the duo radiates and elicits tears from audience members living vicariously through the couple.

A perfect companion piece to A Christmas Carol, perhaps the version from 1951, for similar periods, both spirited and teaching life lessons, is recommended.

Both are thematically similar in the visitation by a heavenly spirit and offering glimpses into the past, present, and future; the comparisons are endless, to say nothing of the Christmastime elements both possess.

Arguably, It’s a Wonderful Life is the most uplifting, both in good and bad ways. The lesson constantly voiced is that if one is good to others, one will be rewarded or at least have peace of mind.

This is not a bad lesson, which is the main reason for the film’s lasting appeal. Bad luck and financial hardship will inevitably affect everyone, but kindness is forever enduring.

It’s also worth mentioning the timing of the creation and release of It’s a Wonderful Life. As the United States, to say nothing of many European nations, struggled to pick up the pieces after the devastation of World War II, the picture was opportune to immerse itself in the lives of many people who needed a strong and uplifting message.

No wonder the film was popular when it was first released as the feel-good film of 1946.

The black-and-white cinematography does wonders to portray the film’s magical atmosphere. The high points are the cold and snowy bridge scenes.

Controversial years later was the colorization, and some would say the ruination, a decision that was met with anger by star Stewart, who went as far as testifying in court to voice his displeasure.

At the risk of being raked across the coals and deemed a “Scrooge”, portions of It’s a Wonderful Life are saccharin and manufactured in the utmost goodness, sometimes too good.

Admittedly, the characters of George, Mary, and their children come across as somewhat trite at times, as they seem to radiate only benevolent characteristics, never engaging in improper or impure actions. In a fantasy film, the overly humanistic approach can sometimes be a tad silly.

The same can be said for the angel, Clarence.

Nonetheless, films such as It’s a Wonderful Life (1946) serve their purpose in cinema history.

With a robust and heart-warming message, the positive vibes cannot be denied, and the warmth and emotion the film possesses radiate even the coldest hearts and the harshest of critics, willing to accept and be enraptured by the film’s staying power.

Oscar Nominations: Best Motion Picture, Best Director-Frank Capra, Best Actor-James Stewart, Best Sound Recording, Best Film Editing

#220 Favorite Film, #33 Favorite Horror Film, 2006 Films, Eli Roth, Gore, Horror, Jay Hernandez, Quentin Tarantino, Top 250 Films, Top 40 Horror Films

Hostel-2006

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Hostel-2006

Director Eli Roth

Starring Jay Hernandez, Derek Richardson

Top 250 Films #220

Top 40 Horror Films #33

Scott’s Review #951

Reviewed October 24, 2019

Grade: A-

During the early 2000’s the traditional horror genre catapulted into a sub-genre commonly referred to as “torture porn” led by the Saw franchise, debuting in 2004.

Hostel (2006) takes note and creates a terrifying production that holds up arguably the best in the bunch.

With Quentin Tarantino serving as producer and Eli Roth (Cabin Fever-2002) as the writer and director chair, one knows something memorable is in store.

The film is hardly everyone’s cup of tea but a delight for horror fanatics.

American college students Paxton (Jay Hernandez) and Josh (Derek Richardson) travel across Europe seeking adventure and dalliances. They are advised to visit Slovakia, where they are told the women are beautiful, picking up a new Icelandic acquaintance, Oli, along the way.

They encounter a strange Dutch businessman, a pack of rebellious street kids, two Asian girls, and two gorgeous European women, Natalya and Svetlana, as they travel.

When Oli disappears, and Paxton and Josh are drugged by the girls, events turn gruesome as the young men find themselves in a horrific remote dungeon facility where tourists are accosted and sold to willing buyers who brutalize and experiment on the victims.

Paxton must figure out a way to escape his peril and try to save any of the others before it is too late.

Hostel portrays the loneliness and insecurity of traveling abroad successfully as confusion and disorientation are commonalities that anyone who has traveled to a foreign country can relate to. The country of Slovakia (as an aside the film was shot in the Czech Republic) looks eerie and desolate with a quiet and cold tone.

As the group is preyed upon by a mysterious organization that tortures and kills kidnapped tourists, the thought and realism this conjures up adds to the fright.

In a unique measure, Roth turns the traditional gender stereotypes upside down. Based on an unbalanced scale females are killed much more often in horror films than males are. A refreshing point is the three principles are males, not females and we wonder which ones will “get theirs” and how.

Similarities thereby abound with Halloween (1978) when the trio were females and audiences watched their daytime adventures while salivating at the thought of the antics that would transpire when darkness finally falls.

Hostel kicks into high gear during the final thirty minutes once the blood-letting begins to take place. The dark and dingy dungeon is laden with corpses, severed limbs, and blood.

A melancholy scene occurs when one character, alive yet pretending to be dead, is affixed in a position where he must stare into the dead eyes of his friend. In another scene, one character must cut off the dangling eyeball of another so that they can escape the dungeon.

The scenes have equal power in different ways.

A slight irritant to Hostel is the prevalence of homophobia throughout the film. When the guys get into a scuffle with a long-haired bar patron and use a homophobic slur or a scene in which Paxton states “that’s so gay” as a negative seems unnecessary.

Is this to make the main characters less sympathetic or for the viewer to hope that they suffer a horrible fate? Or is Roth just known for homophobia?

In 2006 the LGBT community was becoming prominent in the film, so the inclusion is off-putting and out of line.

Hostel (2006) remains a superlative horror film that is a shock-fest and is still one of the best of its decade. The gruesome scenes still resonate well and watching the film more than a decade later it feels as fresh as when released with only the homophobic slurs needing to be removed.

Influence by Tarantino is always a fine element and his stamp is all over the film.

Followed by two sub-par sequels that tread the same blueprint of European travels gone deadly.

#221 Favorite Film, 2010 Films, Barbara Hershey, Darren Aronofsky, Favorite Film of the Year, Mila Kunis, Natalie Portman, Sebastian Stan, Thriller, Top 250 Films, Vincent Cassel, Winona Ryder

Black Swan-2010

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Black Swan-2010

Director Darren Aronofsky

Starring Natalie Portman, Winona Ryder, Barbara Hershey

Top 250 Films #221

Scott’s Review #735

Reviewed March 22, 2018

Grade: A

Darren Aronofsky, the director famous for the psychological and bizarre, most notably 2000’s Requiem for a Dream, 20008’s The Wrestler, and 2017’s mother!, can easily add 2010’s Black Swan to this category as he weaves an unsettling tale involving the world of ballet centered around the Tchaikovsky work Swan Lake.

The film is dark, eerie, perverse, and utterly mind-blowing in its creativity- in short, Black Swan is a masterpiece.

The film reaped several Academy Award nominations, including a win for Natalie Portman as Best Actress.

In the competitive New York City ballet company, art director, Thomas Leroy (Vincent Cassel), is preparing to open the season with the compelling and complex, Swan Lake.

Deemed “too old”, star ballerina Beth McIntyre (Winona Ryder) is forced into retirement, much to her chagrin, allowing others to audition for the coveted lead role.

Aspiring talent, Nina Sayers (Portman) gives a flawless audition as the White Swan but lacks the depth to succeed as the Black Swan. Despite this point, Nina wins the role and slowly becomes psychotic as she begins to embody the Black Swan in her quest for perfection.

Center stage, Portman embodies her character with mystique as we never know if she is living her dual role or if someone is messing with her.

As strange events begin to occur, Nina is insecure and on edge throughout- as she desperately wants to give testament to White Swan/Black Swan she does not feel confident in the skin of Black Swan and she eventually teeters toward the edge of insanity.

Deserving the Oscar statuette she won, Portman delivers the best role of her career.

Black Swan would not have been the success that it was without the talents of the three most prominent supporting characters- Cassel, Mila Kunis (at the time unknown), as Lily/Black Swan, and legendary talent Barbara Hershey as Nina’s the supportive yet haggard mother, Erica.

Just as Nina grows both suspicious of and distrustful of each of these character’s motivations, so does the audience.

Is Lily a trusted friend? What does Nina know of her? Is Cassel’s Thomas manipulating Nina for a great performance or does he have sexual designs on her?

Is Erica a loyal confidante, a jealous bitch, vengeful about her stalled career?

The final scene of the film is a masterpiece in itself and perfectly wraps up the film in a perplexing, grotesque style. As the big night finally arrives and doubt is cast on whether or not Nina will perform successfully, the entire scene is a riveting, climactic experience.

One will never forget the final shot of Nina, gushing with blood, and a grimace caked in stage makeup, as she professes a perfect performance to her musical director and castmates.

With this scene, we are left wondering whether she will ever recover from this performance.

The fabulous musical score is haunting and effective and each piece is perfectly placed within the appropriate scene. The heavy use of violins gives the soundtrack a frightening, almost horrific screeching quality, and the Chemical Brothers’ electronic songs, importantly used during Nina and Lily’s wild night out clubbing, are tremendously effective.

The 1948 masterpiece The Red Shoes, directed by the controversial Michael Powell, must have been an influence on Aronofsky.

Both contain similar subject matters of ballet and dancing on the edge of sanity, I can hardly think of two better films to serve as companion pieces, watched in tandem, than these two timeless greats.

Darren Aronofsky, along with a perfectly cast company with stellar, bombastic actors, and a classical music score by the great Tchaikovsky, with electronic elements mixed in, delivers a piece that works in spades.

2010’s chilling Black Swan is a modern-day classic that will be discussed as much as it is remembered as an incredibly important film.

Oscar Nominations: 1 win-Best Picture, Best Director-Darren Aronofsky, Best Actress-Natalie Portman (won), Best Cinematography, Best Film Editing

Independent Spirit Award Nominations: 4 wins-Best Feature (won), Best Director-Darren Aronofsky (won), Best Female Lead-Natalie Portman (won), Best Cinematography (won)

#222 Favorite Film, #34 Favorite Horror Film, 2004 Films, Cary Elwes, Danny Glover, Gore, Horror, James Wan, Ken Leung, Kevin Greutert, Michael Emerson, Shawnee Smith, Tobin Bell, Top 250 Films, Top 40 Horror Films

Saw-2004

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Saw-2004

Director James Wan

Starring Cary Elwes, Leigh Whannell

Top 250 Films #222

Top 40 Horror Films #34

Scott’s Review #1,285

Reviewed August 4, 2022

Grade: A

One of the many reasons that I love the horror genre so much is how it changes and develops over time. Many classic horror films are influential to more modern ones and that’s all well and good.

But then sometimes a new idea or style comes along that throws everything topsy turvy and influences other films for years to come.

Saw (2004) is one of those films. It smacked everyone who thought they knew horror films upside the head with a relentless and pulsating gore-fest.

I was fortunate enough to see the film when it premiered and boy was it the ‘water cooler’ film of its day. The clever writing and intricate plot and set pieces were unheard of in a world of maniac-wielding knife setups and redundant endings.

It invented the grisly ‘torture porn’ moniker that became popular with films like Hostel (2005) and many more that would come after it.

The Saw franchise ultimately produced perhaps one too many sequels that left it feeling stale and exhausted, but what an influence the original Saw had, and continues to have.

I still remember the hold the film had over me and how much it resonated in nastiness, butchery, and enough creative killings to last a lifetime.

Needless to say, it’s not for the squeamish or faint of heart, and watching Saw now knowing the surprise twist doesn’t pack quite the same punch that it did in 2004, but I’ll never forget how I felt when first watching this film.

The twist ending is unforgettable.

Events get off to a kick-ass start when two men awake in peril. Photographer Adam Stanheight (Leigh Whannell) and oncologist Lawrence Gordon (Cary Elwes) who do not know one another, regain consciousness while chained to pipes at either end of a filthy bathroom.

As the confused men realize they’ve been trapped by a sadistic serial killer nicknamed “Jigsaw” and must complete his perverse puzzle to live, flashbacks unravel the mystery of other character connections.

Meanwhile, Dr. Gordon’s wife (Monica Potter) and young daughter (Makenzie Vega) are forced to watch his torture via closed-circuit video.

A massive clue to the puzzle that Saw presents is lying right there in the bathroom but of course, the unwitting audience knows none of this. The fun of the film is to sit back and let the filmmakers slowly unpeel the onion and reveal the who’s who of the backstory.

And let the blood drip.

Unlike legacy films like Halloween (1978) and Friday the 13th (1980) or even later efforts like Scream (1996) that brought thousands of rabid horror fans back to movie theaters, nobody is being chased with a knife in Saw.

It’s much more cerebral than that.

Who can ever forget the sound of Jigsaw’s grave voice pouring out of a tape recorder stating “I want to play a game” in a robotic tone? It is still as ominous a sound as one could imagine, and the big reveal still comes as a genuine shock.

Most of the characters have secrets to reveal and most of those secrets are dirty.

Director James Wan and writer Leigh Whannell who also stars in Saw, brilliantly craft a web of deceit amongst their players. The characters who suffer the most have committed a hateful act of deception or schemed their way to benefit based on someone else’s ruin.

In perfect form, all the victims almost deserve their fates like being caught in a shotgun trap, shot in the chest, or being forced to ‘saw’ off their foot to escape death.

The final reveal is downright freaky and will make the audience quickly rewind the events of the film in their heads. The character thought to be the main killer, and wonderfully played by creepy actor Michael Emerson (star of television’s Lost) is merely a pawn of someone more sinister.

Saw (2004) savagely hacked its way into viewers’ heads with a sophisticated, plot-driven experience with a film style enhanced by an independent look.

It’s had its day but it must never be forgotten for the influence left behind.

#223 Favorite Film, 2007 Films, Anthony Edwards, Brian Cox, Chloë Sevigny, Clea DuVall, Crime Thriller, David Fincher, Dermot Mulroney, Jake Gyllenhaal, John Carroll Lynch, June Diane Raphael, Mark Ruffalo, Philip Baker Hall, Robert Downey Jr., Thriller, Top 250 Films

Zodiac-2007

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Zodiac-2007

Director David Fincher

Starring Jake Gyllenhaal, Mark Ruffalo, Robert Downey Jr. 

Top 250 Films #223

Scott’s Review #1,134

Reviewed April 16, 2021

Grade: A

Zodiac (2007) is an excellent film in its own right. The attention to detail circa the 1960s and 1970s is spot on and adds to the flavor of the entire experience. The locale of San Francisco is moody and lurking with the antics of the self-professed Zodiac Killer.

With excellent acting, the sum of its parts adds up to a wonderful film experience.

The film is incredibly well-paced, character-driven, and layered in rich texture. What more can be asked of a cinematic production? It simply has it all and will engage any viewer craving mystery and intrigue.

David Fincher, as the director’s chair, creates a world unto itself with carefully crafted sets, artistic nuances, and of course a superb story. A lesson learned is that sometimes evil exists and cannot be caught despite best efforts and the ramifications are endless.

Painfully, the characters in Zodiac slowly realize this.

Zodiac is based on the best-selling non-fiction book by Robert Graysmith, a pivotal character in the film. The novel is very similar to James Elroy’s 1987 novel The Black Dahlia, another unsolved case set in California.

The film tells the story of the manhunt for the Zodiac Killer, a serial killer who terrorized the foggy San Francisco Bay Area during the late 1960s and early 1970s.

Investigators (Mark Ruffalo, Anthony Edwards) and reporters (Jake Gyllenhaal, Robert Downey Jr.) become obsessed with learning the killer’s identity and bringing him to justice.

Meanwhile, Zodiac claims victim after victim and taunts the authorities with endless and specifically graphic letters, bloodstained clothing, and cryptic messages shrouded in menacing phone calls.

The case remains one of the United States’ most infamous unsolved crimes.

Much of the acclaim must go to the three actors cast in the central roles and Gyllenhaal is top of his game in the leading role. As cartoonist Robert Graysmith he is the main hero and the person who spearheads the investigation, prompting disbelievers to listen to him.

Gyllenhaal is sensitive, sympathetic, and obsessed and at first, perceived to be a laughing stock, but audiences will immediately get behind the man and this is thanks to Gyllenhaal’s powerful acting.

The character-driven approach continues as Mark Ruffalo gives a wonderful portrayal of Inspector David Toschi. The tough-as-nails and no-nonsense approach led Toschi into obsession and fudging evidence.

Finally, Robert Downey Jr. provides energetic gusto as Paul Avery, a journalist who turns to drugs and alcohol because of the intensity and emotional investment in the case.

Plenty of red herrings make the film fun and the prime suspect of Arthur Leigh Allen, played by character actor John Carroll Lynch may or may not be the assailant.

It’s breathtaking watching all the twists and turns in this ferociously complex film.

Zodiac is based on real events and reportedly is extremely historically accurate. Fincher and others spent eighteen months conducting their investigation and research into the Zodiac murders.

So, authenticity is everywhere in this film.

Watching a film beginning in 1969 and ending in 1983 is a joy for someone who grew up in that era. Fincher drizzles the film with timely automobiles, clothes, and other sets so it appears to be walking into a time capsule.

I’m sure this only will add to the viewer’s enjoyment.

For fans of films based on the Zodiac Killers, the 1971 film Dirty Harry, starring Clint Eastwood delivers an exceptional experience based on the real-life case.

But Fincher’s Zodiac is just as good.

Despite the behemoth running time- two hours and thirty-seven minutes, Zodiac (2007) is an edge-of-your-seat thriller. The pulsating yet prowling pace is worth several viewings to appreciate the juiciness of all of the elements David Fincher offers.

A hefty round of applause is deserved.

#224 Favorite Film, 1982 Films, Children, Dee Wallace, Drew Barrymore, Fantasy, Science Fiction, Steven Spielberg, Top 250 Films

E.T. The Extra-Terrestrial-1982

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E.T. The Extra-Terrestrial-1982

Director Steven Spielberg

Starring Henry Thomas, Dee Wallace

Top 250 Films #224

Scott’s Review #756

Reviewed May 10, 2018

Grade: A

E.T. The Extra-Terrestrial (1982) is a wonderful, magical film that will succeed in melting the hearts of anyone with even a tad of cynicism. The film is otherworldly (quite literally) and contains a message of acceptance and appreciation of other beings.

Mixing many humorous moments with tender drama and tears, the film becomes part of a fantasy, science-fiction, and humanistic story. The film still feels fresh and relevant today with a bevy of forever-remembered scenes and references- a wonderful story of friendship.

The audience is immediately introduced to a pack of alien botanists, arriving in a California forest from their faraway planet to study plants one night. When government agents interrupt the peaceful moment, the “extraterrestrials” are forced to depart leaving one creature behind.

When ten-year-old Elliott (Henry Thomas) discovers and begins to communicate with what will come to be known as “E.T.”, the duo forge a wonderful, lasting friendship as they attempt to return E.T. to his homeland.

E.T. The Extra-Terrestrial is crowd-pleasing in every way offering a bit of everything for all of its lucky viewers.

Director Steven Spielberg reportedly made this film as a result of his desire to share a childhood imaginary friend with the world so the charm shines through in this very personal story.

The film contains an overall innocence that is pure benevolence- E.T. teaches Elliott as much as Elliott teaches E.T.

Who can ever forget the pair’s initial interaction as the use of Reese’s Pieces candy became a huge cultural phenomenon? The lovely quote “E.T. phone home!” is still as poignant and teary-eyed as it was in 1982.

Enjoyable and recognizable is E.T. himself becoming a cult figure. Odd-looking, wide-eyed, and yet of a lovable nature, even cute, the filmmakers were careful not to make him too frightening.

Using real actors and distorted voices E.T. became famous, appearing on lunch boxes, tee-shirts, notebooks, and binders throughout the early 1980s.

The film, released in the “modern age” of 1982, provides a genuine portrayal of suburban life at that time.

From the sunny sub-division style neighborhood that Elliott and his family live in, the absent father figure (so common in many 1980s films), the single-mom/divorced parents phenomenon takes hold and makes families like this commonplace.

If made in 1960 Elliott would have had two happy parents and a white picket fence.

Dee Wallace as Elliott’s mother Mary, received several mom roles throughout the decade, portraying them with a wholesome middle-America quality.

Henry Thomas, like Elliott, is crucial to the success of E.T. The Extra-Terrestrial and sadly the actor never did much beyond this great film. While tough to create chemistry with a creature from outer space, the young actor does just that as we see the two as connected friends.

The duo especially shines during the emotional “death” scene and the farewell scene finale.

The other supporting characters rounding out Elliott’s family are well cast and appropriate at relaying what a typical suburban family looks like.

Michael (Robert MacNaughton) is slightly surly yet protective as the older brother and Gertie, played by a very young Drew Barrymore (soon to experience superstardom throughout the 1980s and 1990s) is cute, bubbly, and teeters on stealing the show as the precocious five-year-old.

At its core what makes E.T., The Extra-Terrestrial so appealing is its heart- a sympathetic creature’s desire to return home and be with his loved ones is the main focus.

Only slightly reversed is a comparison to the 1939 masterpiece The Wizard of Oz. As Dorothy yearns to return to her home amid an exotic, unknown, and sometimes scary world, the same can be said for E.T. and this makes both films similar and equally appealing.

Rich with elegance, intelligence, and creativity, Spielberg creates a tale that is both primed for mass consumption and rife for mainstream appeal. Rather than weave a contrived or cliched story, he spins a magical and long-lasting, good story that will appeal to the kid in all of us.

E.T. The Extra-Terrestrial (1982) reaped many Oscar nominations but lost out on the big prize to the epic Gandhi that year.

Oscar Nominations: 4 wins-Best Picture, Best Director-Steven Spielberg, Best Screenplay Written Directly for the Screen, Best Original Score (won), Best Sound Effects Editing (won), Best Sound (won), Best Cinematography, Best Film Editing, Best Visual Effects (won)

#225 Favorite Film, 1977 Films, Camp, Comedy, Dark Comedy, Edith Massey, Independent, Independent Comedy, John Waters, Mink Stole, Top 250 Films

Desperate Living-1977

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Desperate Living-1977

Director John Waters

Starring Mink Stole, Liz Renay

Top 250 Films #225

Scott’s Review #534

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Reviewed December 4, 2016

Grade: B

Desperate Living (1977) will not be everyone’s cup of tea. It is a raunchy, late-night comedy, similar to other John Waters-directed cult classics.

This one, however, suffers from the absence of Waters staple, Divine, who did not appear due to scheduling conflicts.

For this glaring omission, Desperate Living is not the greatest of the Waters films, but it is a fun experience all the same.

The film has choruses of political satire, specifically fascism, and overthrowing the government.

Mink Stole (Peggy Gravel) takes on the lead role as a crazed, mentally unhinged, neurotic woman on the lam with her maid, Grizelda, after they accidentally cause the death of Peggy’s husband.

Peggy has been in and out of mental hospitals and is clearly off her rocker as she yells at neighbors about communism.

After an encounter with a lewd police officer, the duo is banished to Mortville, a town filled with outcasts and social deviants. They align with others in the town to overthrow the tyrannical Queen Carlotta, played by Waters fixture Edith Massey.

Carlotta plots to spread rabies throughout the community and is at war with her daughter, Princess Coo Coo.

The issue with Desperate Living is the absence of Divine, originally set to play Mole McHenry, a self-loathing female wrestler, determined to receive a sex change operation.

One imagines the Divine in this important role, which was played by Susan Lowe, a capable star, but no Divine. With Divine in the part, the hilarious possibilities are endless.

Mink Stole carries the movie well, but traditionally being a supporting player in Waters’s films, is not quite the star the film needs to be a true success.

This is not to say that the film is a dud- it is entertaining and will please most Waters fans. It contains gross-out moments and vulgarity from the very first scene- as the opening credits roll, we see a roasted rat, daintily displayed on good china, on an eloquent dinner table, presumably to be served.

Later, Carlotta meets her fate by being roasted, pig style, on a spit with an apple in her mouth. Another character is executed by being shot in the anus. The offensive moments never end!

There also exists a quite controversial scene that I am surprised made the final cut. Peggy, already in a frazzled state due to a neighbor boy accidentally shooting out her bedroom window, is shocked to find another boy playing “doctor” with a little girl in her downstairs basement.

Both children are completely naked, leaving not much to the imagination. This scene is tough to watch as one wonders what the child actors thought of all of this.

I have never viewed another scene quite like this in film.

Otherwise, Desperate Living is filled with cartoon-like characters, lots of sexually deviant leather men, grizzled men with facial hair, and other odd-looking characters, making up the community of Mortville.

Water’s set creations for the exterior scenes of the town are great using mainly cardboard and rubbish he found throughout Baltimore where the film was shot, the sets show a bleak yet colorful underworld.

Desperate Living (1977) is a raunchy good time with over-the-top acting, trash-filled moments, and laugh-out-loud fun.

The lack of any Divine makes it not the first offering to watch from the Waters collection. Pink Flamingos (1972) and Female Trouble (1974) would take that honor.