Tag Archives: Thriller

2025 Films, Brian Kirk, Emma Thompson, Judy Greer, Laurel Marsden, Marc Menchaca, Thriller

Dead of Winter-2025

January 20, 2026 scottmet99 Leave a comment

Dead of Winter-2025

Director Brian Kirk

Starring Emma Thompson, Judy Greer, Marc Menchaca

Scott’s Review #1,513

Reviewed January 20, 2026

Grade: A-

The brilliant Emma Thompson, known for Howard’s End (1992) and a bevy of other quality films, stars in and executive produces Dead of Winter (2025), a perfect movie to watch in January. If one is fortunate enough to watch on a blustery, cold, or snowy night, all the better for an ideal atmosphere.

The thriller is unpredictable and downright touching, largely thanks to Thompson, who leads the charge emotionally. To see the actor shoot, stab, and catfight her way to a beautifully shot ending is icing on the cake.

Plus, trading her sophisticated British accent in for a folksy midwestern drawl is quite pleasing.

The elements are a huge win and the main attraction of the film, other than Thompson and the eerie timeliness of the United States’ Minnesota, the setting of the film, being in the top U.S. news in late 2025/early 2026.

The stark, empty vastness of the cold land is made even more potent by the endless whiteness of the snow-covered, curving roads, the tundra of the lake, and the lake house, where most of the action takes place.

While the story can be argued to be implausible and the ending fragile, bordering on silly, requiring suspension of disbelief, Thompson’s performance more than makes up for any weak fragments.

Hit by a blizzard, a grief-stricken loner named Barb (Thompson) gets lost among backroads near a Minnesota lake and stops for help at a remote cabin in the woods where she discovers drops of blood and a startled middle-aged man (Marc Menchaca) who can’t get rid of her fast enough.

She then discovers a young woman (Laurel Marsden) kidnapped by a desperate couple intent on murder. Isolated and without cell service, Barb realizes she is the woman’s only hope of survival.

Director Brian Kirk carefully places tender flashbacks of a young Barb and her husband Kirk from smitten youngsters to tragic seniors battling Kirk’s failing health and the in-between trials and tribulations of the couple over the years.

These scenes not only create an emotional investment in the audience, but also fill in the blanks about why Barb would be possessed to go ice fishing in the middle of nowhere, all alone.

Sprinkling bits of humor that make Barb appear a kindly woman rather than an incompetent bafoon, she is a salt-of-the-earth type who opposes violence. Thompson was undoubtedly influenced by Frances McDormand’s sheriff character Marge Gunderson in 1996’s Fargo.

In fact, there are multiple Fargo comparisons to explore for fans of the Coen Brothers’ film, covering plot, atmosphere, and characters.

Judy Greer and Menchaca provide solid support as the mismatched couple with deadly intentions, whose motives become clearer as the plot unfolds. Greer’s character is pretty unlikable despite softening towards the end, but her actions are peculiar from a logistical perspective, and her acting is of high quality.

Menchaca has the more sympathetic role, and not only because the actor performs his nude scene in freezing temperatures.

The finale is set underwater, and it is a teary yet satisfying sendoff for Barb and Kirk, who make the hardest-hearted viewer believe in true love and a testament to commitment.

Likely superceding any expectations set by filmmakers, Thompson gives a bravura performance through facial expressions alone, telling much of the sentimental part of the story through her bright blue, emotion-filled eyes, pulling the audience in.

I didn’t expect to enjoy Dead of Winter (2025), a film given little notice, nearly as much as I did.

1990 Films, Frances Sternhagen, Horror, James Caan, Kathy Bates, Lauren Bacall, Richard Farnsworth, Rob Reiner, Stephen King, Thriller

Misery-1990

January 18, 2026 scottmet99 Leave a comment

Misery-1990

Director Rob Reiner

Starring Kathy Bates, James Caan

Scott’s Review #1,511

Reviewed January 18, 2026

Grade: A-

Kathy Bates and James Caan deliver exceptional performances in Misery (1990), a thriller/horror hybrid set in the snowy hills of remote Colorado over the course of a couple of winter months.

Caan plays famed novelist Paul Sheldon, who is held captive by Annie Wilkes (Bates), an obsessive and unpredictable fan. Bates won the Academy Award for Best Actress for her role.

Thanks to Rob Reiner’s superior direction, the film never lags and continuously keeps the tension boiling at a heart-racing pace. From an early sequence involving a terrible car accident to a slasher horror-worthy finale, Misery contains something for everyone.

The film is based on the enthralling 1987 Stephen King novel and a screenplay by Academy Award-winning writer William Goldman (All the President’s Men, 1976).

After completing his latest novel involving a beloved series character named Misery, Paul’s car careens off a snowy mountain road, leaving him stranded and unconscious. He is rescued by former nurse Annie, who claims to be his biggest fan.

Annie brings him to her remote cabin to recover, where her obsession takes a dark turn when she discovers that Sheldon is killing off Misery, her favorite character.

The success of Misery is due to the chemistry between Bates and Caan. While no romantic sparks exist, the taut scenes of captor and captee are enthralling as the audience nervously awaits what could happen next.

At first, thankfully rescued by Annie, Paul quickly realizes he may be better off dead. Seemingly shifting from kind to rage, Bates flawlessly reveals to the audience that something is not quite right with Annie.

As the actors play cat-and-mouse with their characters, each scene is potent as deeper levels of character texture are surfaced, especially with Annie. Why she is no longer a nurse is shocking.

They even share a tender scene dining over a lovely meal of meatloaf and red wine, though one character’s intentions are spoiled before too long.

Bits of dark humor surface mainly as Annie uses the words ‘cockadoodie’ and ‘poop’ and greedily munches on chips while watching her favorite game shows.

Keeping with the suspense, Reiner’s direction employs several jumps and starts as Annie suddenly appears out of the blue, fiendishly hovering over the injured Paul in his bed, with a look of rage or, in some cases, of unrequited love.

Comparisons to the television series Twin Peaks (1990-1991) and the films Fargo (1996) and What Ever Happened to Baby Jane? (1962) can be recognized.

Supporting characters, the capable Sheriff Buster (Richard Farnsworth) and the horny Deputy Virginia (Frances Sternhagen), are also a married couple, and the cold, snowy small town with peculiar characters like the folksy general store clerk comes to mind when thinking of the aforementioned 1990s efforts.

The claustrophobic bedroom setting where one bedridden sane character relies on an insane character for food and medicine recalls the 1960s cult classic well. When another character uncovers the charade and tries to save the victim, the audience lets out a brief sigh of relief before the rug is pulled out from under them.

Finally, with little to do as Paul’s book agent, it’s nonetheless a treat to see legendary screen actress Lauren Bacall appear in the film.

While many of Stephen King’s adaptations are mediocre or less, it’s nice to see Misery (1990) achieve its due. Alongside Stand By Me (1986), this makes two successful King adaptations by director Reiner.

Oscar Nominations: 1 win-Kathy Bates-Best Actress (won)

2023 Films, Carter Smith, Johnny Berchtold, Kyle Gallner, Liza Weil, Thriller

The Passenger-2023

January 10, 2026 scottmet99 Leave a comment

The Passenger-2023

Director Carter Smith

Starring Johnny Berchtold, Kyle Gallner

Scott’s Review #1,509

Reviewed January 10, 2026

Grade: A-

The Passenger (2023) is a powerfully disturbing film that examines one’s purpose in life, specifically through the three main characters and a deadly chain of events set over the course of one day in a small town in Louisiana.

But if looked at more closely, lesser characters are also worth noting, making the message relatable to any viewer who feels suffocated or unmotivated.

The story is thought-provoking and intelligently written, offering a sometimes bleak perspective of existence and why we are here. The choices we make often leave scars and a life filled with regret, or, in some cases, blossom into new beginnings.

While a bit depressing as a whole, the film is rich with terrific performances and spot-on detail to small-town life. An independent-style budget is a winning formula with many exterior scenes enhancing the film’s tone.

The climactic diner scene is compelling, and the film ultimately ends on a hopeful note with a significant character having a bright future while another does not.

Randy Bradley (Johnny Berchtold) is a mysterious young man with little to say, harboring a secret from his childhood. He works at a fast-food restaurant in a dismal town, where two irritating coworkers bully him.

Randy’s boss takes a shine to him and sees a potential promotion in his future, but also doesn’t even know his first name and assumes that his last name is his first.

During a particularly dull morning shift, Randy’s coworker, Benson (Kyle Gallner), goes on a berserk and violent rampage when he sticks up for Randy. The two young men spend the rest of the day cruising the streets of their small town, pondering life and Randy’s past mistakes.

Benson is intrigued by Randy and determined to help him face his past while wrestling with his own demons and fits of aggression, which only deepen the chaos.

The Passenger could have easily been a by-the-numbers thriller and a shoot ’em up good time, but it’s more cerebral than that. The character-driven writing doesn’t always satisfy, but it raises the film way above the ranks of a genre film.

The bloody killing spree at the burger joint is exceptionally tense and the film’s best scene. As Randy is humiliated, with a seething Benson silently mopping the floor in the background, it is nail-biting to know what will happen next.

The culminating bloodsplattering will impress auteur director Quentin Tarantino and is clearly patterned after his work. It’s always satisfying when villains get their due in a bloody and gory fashion. As the dead bodies are callously dragged off to the walk-in freezer, the audience will undoubtedly give a quick smirk.

The intrigue of Randy’s backstory slowly unfolds, so the audience comes to understand the character. A terrible event that occurred in second grade involving a teacher, Miss Beard (Liza Weil), resurfaces as the teacher is introduced to the canvas in the final chapter.

How Miss Beard has fared since the event is enjoyable.

What puzzles me about The Passenger is the motivations and inner demons of Benson, though I find the character fascinating, and Gallner deserves recognition for his performance.

Suffering from rage issues, his mother appears to be bedridden at their home during a mysterious David Lynch/Twin Peaks-inspired scene when she meets Randy and asks him for the telephone.

Is Benson her caretaker? What are her issues?

Later, Benson brutally attacks a principal who was once his third-grade teacher. The beating is so savage that the man later dies. Why?

Still, the film’s minimalist nature adds oodles of realism. Despite modern times, 1970s and 1980s automobiles are seen, including Benson’s large yellow Chrysler, which has seen better days. The car is seen so often that it becomes a character.

A local greasy spoon diner where the servers have worked for years is paired with tired-looking homes and grey skies. These elements create an atmosphere that offers a rawness far superior to that of a movie set.

Director Carter Smith brings the intensity with boiling emotions and simmering secrets that examine characters residing in a small town, probably repressed. His offering, The Passenger (2023), is a pleasant surprise with flawless performances by its leads, Gallner and Berchtold.

2025 Films, Andrew Garfield, Ayo Edebiri, Chloë Sevigny, Julia Roberts, Luca Guadagnino, Michael Stuhlbarg, Thriller

After the Hunt-2025

November 29, 2025 scottmet99 Leave a comment

After the Hunt-2025

Director Luca Guadagnino

Starring Julia Roberts, Ayo Edebiri, Andrew Garfield

Scott’s Review #1,504

Reviewed November 29, 2025

Grade: B+

After the Hunt (2025) is a thriller mired in questions and secrets, which, from the outset, director Luca Guadagnino successfully creates. An atmosphere of the Yale University elitist intelligentsia, enshrouded in internal chaos, just reeking to be let go.

Julia Roberts reemerges into the awards conversation with a startlingly raw and introspective performance as Alma, a professor harboring a secret past that is invaded by present circumstances.

Guadagnino, known for the brilliant LGBTQ+-themed Call Me by Your Name (2017), usually incorporates emotional complexity, eroticism, and lavish visuals into his work. This one is highly character-driven, embellishing the thoughts and desires of the leads.

For the viewer, After the Hunt remains compelling because we don’t know whom to believe, with allegiances teetering from character to character, including Alma herself.

Alma drinks too much, pops pills, and has a secret apartment away from her eccentric husband, Frederick, wonderfully played by Michael Stuhlbarg. Despite being a psychiatrist, he coddles Alma and serves as her househusband rather than an equal, causing him peculiar bouts of weird behavior.

Meanwhile, Alma is desperately seeking tenure at Yale.

At a boozy party at Alma’s house one night, amid societal and philosophical conversations, Maggie (Ayo Edebiri), one of her students, uncovers a secret about Alma while snooping in her bathroom.

Later, Maggie, who is black and gay, leaves the party with Hank, one of Alma’s handsome colleagues (Andrew Garfield).

The next morning, Alma finds herself at a personal and professional crossroads when Maggie, a star student, levels an accusation against Hank, claiming she was sexually assaulted.

As the onion is peeled back, it is discovered that Maggie plagiarized a paper and has wealthy parents who help the University maintain its financial status. She is also obsessed with Alma, even wearing the same shade of fingernail polish.

At the same time, Hank is a volatile hothead with a vicious temper. Does he have a romantic past with Alma?

Who should Alma believe, and what should the audience think? Are we supposed to side with Maggie because it’s politically correct to believe a young black female over a white male?

Maggie immediately put me off. Was that the intention? I wanted to like her, but just didn’t. This was even before it was known that she was privileged.

By contrast, I immediately did like Hank. His passion for philosophy and his yearning for debate about the younger generation being coddled resonated with me.

Guadagnino offers more than solely a compelling story in After the Hunt.

As a Connecticut resident, the exterior locales are powerful. Rich camera shots of the massive Yale campus, especially on snowy days, provide wonderful texture to the film. A small, cruddy yet cozy Indian diner, strangely empty, serves as a meeting point for two poignant scenes.

Besides the campus, New Haven, Connecticut, is not the ritzy Greenwich, Connecticut, by any means, and Guadagnino must have realized this by incorporating ugly waterside views and glimpses of factories.

A quiet, introspective director, many scenes of Alma staring into the distance, in thought or pondering life, play well with philosophical debate scenes between faculty and students.

While the film’s pacing is slow, it works for me. And throughout the question remains of what Alma’s secret is and whether Hank sexually assaulted Maggie, or is it all lies?

The film is also reminiscent of Fatal Attraction (1987) or Single White Female (1992). The key to the film may lie in Maggie’s obsession with Alma, which slowly unfolds.

In what may be Julia Roberts’ best film role to date, After the Hunt (2025) doesn’t hit a home run with a slightly ambiguous, unsatisfying ending, but with stellar performances from Roberts, Edebiri, Garfield, and Stuhlbarg, it’s enough to warrant a watch.

1976 Films, Brian De Palma, Cliff Robertson, Geneviève Bujold, John Lithgow, Thriller

Obsession-1976

November 25, 2025 scottmet99 Leave a comment

Obsession-1976

Director Brian De Palma

Starring Cliff Robertson, Geneviève Bujold, John Lithgow

Scott’s Review #1,503

Reviewed November 25, 2025

Grade: B+

Brian De Palma’s Obsession was made in 1976, the same year as his iconic horror film Carrie, which made him a household name. This kicked off a period of other great De Palma films, like Dressed to Kill (1980) and Blow Out (1981).

The marginally successful film gained respectability because the director acknowledged that Alfred Hitchcock’s 1958 masterpiece Vertigo heavily influenced Obsession, which undoubtedly drew many to sit up and take notice.

Since Vertigo is a film I am ‘obsessed’ with, I can easily see the blueprint that it is on many levels.

Film composer and Hitchcock stalwart Bernard Herrmann beautifully scores both movies, so the similarities are undeniable on both a musical and a plot level. I immediately recognized the orchestral and mysterious notes that fill Vertigo with intrigue and sophistication.

A case of doppelgangers and an obsession with a presumed-dead character or the ghost of someone from the past are common elements in both, as a tangled web is spun.

The heroic male character struggles with this obsession while spiraling out of control and making rash or poor decisions.

The story begins in 1959 and centers on a prominent New Orleans businessman, Michael Courtland (Cliff Robertson), who is riddled with guilt following the death of his wife, Elizabeth (Geneviève Bujold), and daughter during a kidnapping-rescue attempt gone wrong.

Fast forward to 1975, and Brian, while traveling to Florence, Italy, meets and falls in love with a young woman who is the exact look-alike of his long-dead wife. He must do anything to have her and imagines she actually is his wife.

While Obsession is a compelling film with an appropriate, suspenseful buildup and a startling twist during the final act, Vertigo’s influence also makes it a weakness for Obsession on its own merits.

Since I knew it was patterned after such greatness, I also found myself constantly comparing it. While Obsession is good, it’s also more of an opening act to Vertigo’s headliner status.

Some standard De Palma particulars are incorporated, which is what I waited for throughout, and some are not.

The slow-motion sequence appears at the conclusion of the film, in a long shot of an airport terminal, as one character runs to another. The fact that one character weilds a hidden gun makes the perilous situation even more daring.

The dreamlike quality is apparent, including a puzzling romance scene in which Michael imagines a marriage and a steamy bedroom sequence with Elizabeth. He also imagines the kidnapping events happening again.

Is this real or imagined?

The split screen, so potent in Sisters and Dressed to Kill, is abandoned altogether.

De Palma also treads lightly on the subject matter of incest that could have made Obsession daring and cutting edge, but instead is softened considerably. This irritated me slightly, since I assumed there would be pushback from studio executives.

Robertson and Bujold have adequate chemistry, and it’s a treat to see John Lithgow in what would be the first of several De Palma films.

Obsession (1976) is worth a watch for De Palma fans because, like Sisters (1973), it offers a glimpse of the greatness he was about to achieve with grander, more fleshed-out efforts.

Some early tools from the director’s arsenal are featured, making the watch enjoyable and a treat for anyone with a fondness for what air travel was like in the mid-1970s, well before terrorism and 9/11 changed the world forever.

2025 Films, Aidan Delbis, Alicia Silverstone, Comedy, Dark Comedy, Emma Stone, Jesse Plemons, Stavros Halkias, Thriller, Yorgos Lanthimos

Bugonia-2025

November 8, 2025 scottmet99 Leave a comment

Bugonia-2025

Director Yorgos Lanthimos

Starring Emma Stone, Jesse Plemons

Scott’s Review #1,499

Reviewed November 8, 2025

Grade: A

Going into the movie theater to see Bugonia (2025), I had the apt knowledge that off-center iconoclast Yorgos Lanthimos directed the film once again using his muse, superstar Emma Stone, in his latest project.

Responsible for the weird efforts like The Favourite (2018), Poor Things (2023), and a bizarre early effort, Dogtooth (2009), I knew I was in store for something off-kilter if not altogether unhinged.

My mouth salivated for something deranged, and I was not disappointed.

I hoped that no one in the theater was expecting something like La La Land (2016), also starring Stone. No disrespect intended, since I adore that film, but a story about a chirpy aspiring actress conquering Hollywood is hardly a Lanthimos storyline.

The creative Greek director hits a home run with Bugonia while subsequently convincing Stone to shave her head and take on a bald role.

Like several other recently released films, Lanthimos critiques modern society and the decisions made by this generation of human beings. He challenges the audience to ask if people have simply fucked up the Earth.

Should we start over from the dinosaur era and try to get things right?

By the time the credits rolled and a few nervous chuckles had enveloped the audience, I knew that not everyone had grasped this Lanthimos film.

Sigh.

Without spoiling the film, a late-inning surprise catapulted Bugonia from very good to exceptional, leaving me pondering the conclusion and its ramifications for days.

The idea is based on the 2003 South Korean film ‘Save the Green Planet!’ by Jang Joon-hwan. Bugonia follows two young men, led by a spectacular performance by Jesse Plemons, who kidnap a powerful CEO (Stone), suspecting that she is secretly an alien intent on destroying Earth.

Ludicrous as it sounds, the plot begins to unravel as Plemons and Stone play kidnapper and kidnappee against the backdrop of a dilapidated suburban house, each trying to outsmart the other using reasoning and conspiracy theories to argue their case.

It becomes a game of chess.

Stone’s Michelle Fuller, the CEO of a major pharmaceutical company, who has a secret connection to Plemons’s Teddy Gatz, now a beekeeper, initially assumes Teddy is dimwitted and an easy target to outmaneuver.

Along with Teddy’s cousin, Don (Aidan Delbis), an intellectually disabled young man, they accost and keep Michelle bound and tied in their basement, encouraging her to confess to being an alien and taking them back to her planet at the upcoming lunar eclipse.

The audience goes along for the ride, wondering if the characters are who they seem to be and exactly how the wacky plot will play out.

Will Michelle ultimately escape? Will the more sympathetic Don come to Michelle’s rescue?

The plot thickens when flashbacks reveal a connection between Teddy’s mother, Sandy (Alicia Silverstone), and Michelle.

Is Teddy seeking revenge, or does he believe Michelle is an alien? Or both?

Stone can’t do enough with her large green eyes, only enhanced by her bald head, which Teddy and Don shave. Her shock at both being shaved bald and accused of being an alien elicits comical moments from the actor.

Her timing is perfect as she emits corporate jargon meant to placate and manipulate Teddy. She assumes she can talk her way out of her crisis by putting on her CEO hat, which is intended to intimidate him.

The fun part is that we don’t know whether to root for Michelle or root for Teddy.

Stone and Plemons play off each other so well, keeping the dialogue juicy and crisp, and entirely engaging the audience.

Bugonia (2025) offers up twisted twists and turns set against delicious cinematography and a couple of blood-spurting dark comedy moments.

A cringy torture scene and a suggested childhood molestation only add to the bizarre puzzle that Lanthimos creates.

Fans of the director will celebrate and champion the film for its uniqueness and dizzying thrill rides. Hopefully, he will continue to inspire young filmmakers to create unconventional and thought-provoking offerings.

Oscar Nominations: Best Picture, Best Actress-Emma Stone, Best Adapted Screenplay, Best Original Score

2025 Films, Action, Alana Haim, Benicio del Toro, Chase Infiniti, Crime Thriller, Favorite Film of the Year, Kevin Tighe, Leonardo DiCaprio, Paul Thomas Anderson, Regina Hall, Sean Penn, Teyana Taylor, Thriller, Tony Goldwyn

One Battle After Another-2025

October 20, 2025 scottmet99 Leave a comment

One Battle After Another-2025

Director Paul Thomas Anderson

Starring Leonardo DiCaprio, Sean Penn, Chase Infiniti

Scott’s Review #1,497

Reviewed October 20, 2025

Grade: A

In my opinion, one of the modern great directors, Paul Thomas Anderson, has released One Battle After Another (2025), a film rich in thrills and relevance. Sought to be made for years, the film is inspired by the 1990 novel Vineland by Thomas Pynchon, with some of Anderson’s narratives peppered in.

Undoubtedly, Anderson was influenced by the current state of the United States regarding immigration issues and the tyranny withinICE (United States Immigration and Customs Enforcement)

While immigration is not a new hot-button issue, the inhumanity heaped onto ‘illegal immigrants’ and some US citizens is current as well as powerful.

Additionally, a frightening tone of racism and ‘white power’ is an underlying theme of the film, contrasting covert hatred by a group of white supremacists with the humanity of revolutionaries who attack the political system.

Therefore, the film has an overwhelming modern feel.

Otherwise, the breakneck twists, turns, and action make One Battle After Another the crown jewel of storytelling fun and an Anderson offering that could easily be added to his top 5 of all time.

Events follow an ex-revolutionary explosive device expert, “Ghetto” Pat Calhoun / “Rocketman” / Bob Ferguson (Leonardo DiCaprio), who is forced back into his former combative lifestyle when a corrupt military officer pursues him and his daughter.

With new identities, they had assumed they could live a peaceful life of tranquility, but they were in for a rude awakening.

Set in recent times, the film begins 15 years before events later in the story, yet maintains a clear link. This ensures the audience is invested in the characters, especially in the latter half, as we get to know them better.

While DiCaprio can never deliver a bad performance and firmly grips the lead role as the intelligent yet comically clumsy Bob, other actors shine, making One Battle After Another an ensemble piece dripping with award-worthy performances and hefty accolades.

DiCaprio improvises his way through the script, with stutters and stammering enveloping his character, endowing him with endearing qualities like forgetting a vital password or falling off a roof. Nonetheless, he has sentimental and introspective moments about his life and his teenage daughter, Willa Ferguson/Charlene Calhoun, played by Chase Infiniti.

Infiniti is tremendous in her breakout role as a mixed-race girl trying to lead an everyday life while paying for the crimes and mistakes of her parents.

Playing confident, yet scared and vulnerable, Infiniti is quite the find. Is she destined to follow in her parents’ footsteps?

Teyana Taylor is brutally talented as she plays Perfidia Beverly Hills, a tough as nails, take no prisoners, kick ass young woman known to tease and humiliate her prey strictly for laughs.

Regina Hall and Benicio del Toro bring their kind-hearted, supportive characters to life with emotional flair and some needed humor, especially from del Toro.

The standout, however, is Sean Penn. Giving a bravura performance as the hated and racist Colonel Steven J. Lockjaw, a military officer who pursues the French 75, he sneers and pouts, never playing the character over the top or for laughs.

He truly believes he comes from a superior race while bedding the women he despises.

A three-way highway car chase scene nearly rivals classic sequences in The French Connection (1971) and The Getaway (1972). As three separate drivers’ points of view are featured along a hilly highway with deadly results, the audience is treated to rear-view mirror and reaction shots.

I honestly did not know what would happen next and was delighted at the outcome.

Hopefully, as the years go by, One Battle After Another (2025) will be remembered for embracing different genres and delivering a powerhouse final product. With great acting, editing, storytelling, and action, the film has it all.

Add in a timely message, and you’ve got yourself a gem.

Oscar Nominations: Best Picture, Best Director-Paul Thomas Anderson, Best Actor-Leonardo DiCaprio, Best Supporting Actor-Benicio Del Toro, Sean Penn, Best Supporting Actress-Teyana Taylor, Best Adapted Screenplay, Best Casting, Best Cinematography, Best Film Editing, Best Original Score, Best Production Design, Best Sound

#1 Favorite Film, 1958 Films, Alfred Hitchcock, Barbara Bel Geddes, Favorite Film of the Year, James Stewart, Kim Novak, Thriller, Tom Helmore, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

Vertigo-1958

August 1, 2025 scottmet99 Leave a comment

Vertigo-1958

Director Alfred Hitchcock

Starring James Stewart, Kim Novak

Top 250 Films #1

Scott’s Review #151

Reviewed August 7, 2014

Grade: A

Over the years, Vertigo (1958) has quickly become one of my favorite Alfred Hitchcock films. With each repeated viewing, I learn, appreciate, or see something new.

It is an absolute masterpiece.

The primary appeal of Vertigo lies in its mystique and dream-like quality, which offer a beautiful cinematic experience. It is sometimes ominous, psychological, gloriously complex, and even confusing.

That is what makes it extraordinary.

Considering the time, the colorful opening visuals are dynamic, groundbreaking, and stunning.

The story involves a retired detective, Scottie, played by Hitchcock stalwart Jimmy Stewart. Scottie suffers from vertigo, which hinders his daily life.

After an incident in which a police officer is killed, and Scottie blames himself and his vertigo for causing the death, he whiles away the days brooding and keeping companionship with Midge, a college friend to whom he was once engaged.

One day, he is hired by another college friend to follow his wife, played tremendously by Kim Novak, who is acting strangely and periodically disappearing, obsessed with a painting of a woman from years past.

From this point, the plot twists and turns in a mysterious fashion, and a romantic, bizarre, and obsessive love story is intertwined.

Is Scottie in his right mind? Will his vertigo continue to haunt him? What is the secret to Madeleine and Judy? Is Midge as sweet as she appears?

The score to Vertigo is haunting and unforgettable, adding significantly to the film’s mood and ambiance.

Several location shots are featured in San Francisco, including the Golden Gate Bridge, steep streets, the Mission District, and the Redwood Forest.

As with all Hitchcock films, every set and detail is perfect, from paintbrushes, coffee mugs, curtains, and furniture to the gorgeous, bright red décor of the restaurant, which is heavily featured in the film.

How exquisite does Kim Novak look in the film??

Initially critically panned upon its release, it is now considered one of the greatest films. Its unique camera angles and slow, methodical pacing have influenced other films.

The film is not always an easy watch, as it is complex, to be fair, but like a fine wine, it improves with age.

Vertigo (1958) is a layered psychological thriller that gains more appreciation with each viewing.

Oscar Nominations: Best Sound, Best Art Direction

#7 Favorite Film, 2001 Films, Angelo Badalamenti, Ann Miller, Billy Ray Cyrus, Chad Everett, David Lynch, Favorite Film of the Year, Justin Theroux, Laura Harring, Lee Grant, Melissa George, Naomi Watts, Robert Forster, Thriller, Top 10 Films, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

Mulholland Dr.- 2001

August 1, 2025 scottmet99 Leave a comment

Mulholland Dr.- 2001

Director David Lynch

Starring Naomi Watts, Laura Harring, Justin Theroux

Top 250 Films #7

Scott’s Review #297

Reviewed December 12, 2015

Grade: A

Mulholland Dr. (2001) is my favorite David Lynch film and, as far as I am concerned, a pure masterpiece in experimental filmmaking.

Championed by many, yet hated by others for its non-linear and confusing storyline, trying to make sense of the mishmash of dreamlike plots is a waste of time and undoubtedly headache-inducing, as the film must be experienced and appreciated for its creativity.

My best analogy is that Mulholland Dr. is to film what Pink Floyd is to music – it must be savored and experienced. It is a film that invites interpretation and study.

The main story, if one is attempting to summarize in a paragraph, goes something like this:

Part 1- aspiring actress Betty Elms (played by then-unknown Naomi Watts) arrives in sunny Los Angeles as a perky, clean-cut girl. She stays in her aunt’s gorgeous suburban apartment while she is away filming a movie on location.

Betty meets an amnesiac woman, the gorgeous Rita (Laura Harring), who is hiding in the apartment. Before meeting Betty, we learn that Rita was involved in a car accident on Mulholland Dr. and is carrying a large sum of cash.

Still, she does not know who she is or even her name, making up the name “Rita” from a poster of Rita Hayworth she sees on the wall while showering.

Part 2: Betty (now named Diane) and Rita (now Camilla) are lovers, and Betty, no longer aspiring, has now become a neurotic, struggling actress with no work, and is involved in a love triangle with Camilla and another man, who are both great successes and pity Diane.

Diane and Camilla visit a club named Club Silencio, where a gorgeous singer brings them to tears with her singing, only to collapse and reveal herself as a phony. The host warns that everything is an illusion.

Intersecting vignettes seemingly unrelated to the central part of the story- a young director forced to cast a woman after threats from the mafia, a terrified man who sees a demented man behind the dumpster of a burger joint, and a detective searching for the clues to the car accident involving Rita- all come together to relate to the main story.

Mixed in with all of these stories are recurring odd characters- the seemingly sweet elderly couple that Betty meets on the airplane.

This strange cowboy appears every so often. Coco, the landlord, played by legendary film actress Ann Miller, in her last film, Coco, then doubles as a shrewish character in the alternate story, and finally, a mysterious blue key.

How do all these facets of story and character add up?

That is open to interpretation.

Some details support the theory that “Betty” is a figment of Diane’s imagination. She dreams of being fresh-faced and ready to take on L.A., and the woman that Betty and Rita find dead is likely Diane.

When the plot changes direction, the cowboy utters the line “Hey, pretty girl. Time to wake up.”, which seems to support this theory, though, as mentioned before, Mulholland Dr. is meant to be enjoyed, not stressed over if the puzzle does not always come together.

Mulholland Dr. (2001) is a masterpiece, pure and simple. An odd masterpiece with plots that can be discussed and dissected for ages…..and not understanding the film is not a bad thing.

Oscar Nominations: Best Director-David Lynch

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

#13 Favorite Film, 1974 Films, Francis Ford Coppola, Gene Hackman, Harrison Ford, John Cazale, Teri Garr, Thriller, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Conversation-1974

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The Conversation-1974

Director Frances Ford Coppola

Starring Gene Hackman

Top 250 Films #13

Scott’s Review #83

Reviewed July 1, 2014

Grade: A

The Conversation (1974) is one of my favorite films. It is a thinking man’s psychological thriller that is pure genius.

Had The Godfather (1972) not been the success that it was, this film would never have been made.

It is a very personal story crafted by Francis Ford Coppola.

The film stars Gene Hackman as Harry Caul, a surveillance expert who is a technical genius but a social misfit, a cynical man suspicious of everybody.

He is paranoid.

He is hired by a mysterious ‘Director’ to tap a young couple’s conversations and submit the recordings to the Director’s assistant, played by a very young Harrison Ford (his first film).

Harry is also obsessed with his privac,y chastising his landlord for sending flowers to his apartment. His latest assignment becomes an obsession for him as he begins a downward spiral of paranoia concerning a young couple he feels is in danger.

For the viewer and the character of Harry Caul, we feel we have everything figured out but do we? Is the couple in danger? Who are they?

Many aspects of the film are fuzzy and unclear which is the genius of it and makes the viewer think. The atmosphere is repetitive and tense. The endless sound loops and the surveillance in the park are highly effective.

The creepy hotel scene towards the climax of the film is my favorite in its bizarre nature.

Each time I view The Conversation (1974) I see something different or try to dissect it in a new way. That to me is film-making at its greatest.

Oscar Nominations: Best Picture, Best Original Screenplay, Best Sound

#15 Favorite Film, 1959 Films, Alfred Hitchcock, Cary Grant, Eva Marie Saint, Favorite Film of the Year, James Mason, Jessie Royce Landis, Leo G. Carroll, Martin Landau, Maura McGiveney, Thriller, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

North by Northwest-1959

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North by Northwest-1959

Director Alfred Hitchcock

Starring Cary Grant, Eva Marie Saint

Top 250 Films #15

Scott’s Review #90

Reviewed July 3, 2014

Grade: A

North by Northwest is a 1959 Alfred Hitchcock film, released during the director’s heyday (1950s and 1960s).

It is considered one of his most commercially successful films. It is mainstream fare that contains all the elements of a great Hitchcock film: adventure, intrigue, romance, and suspense.

Unlike in some of his other films, his characters are straightforward and not psychologically wounded, as in some of his others. This is not a slight but merely makes the film “for the masses.”

Charismatic Cary Grant plays the role of successful advertising executive Roger Thornhill. He works in bustling New York City, has a secretary, and is well respected in his circle.

While enjoying drinks at the club the evening before a planned trip to the theater, he becomes a victim of mistaken identity—thought to be George Kaplan- and is accosted by henchmen at a lavish Glen Cove, Long Island mansion.

After a botched attempt on his life, he is arrested and ultimately must race across the United States on the lam to find the real George Kaplan.

The incredible locales range from New York City to Long Island, Indiana, Chicago, and Mount Rushmore.

The film is exciting from start to finish, never letting up, and features a common theme of Hitchcock’s- an “everyman” falsely accused of a crime attempts to prove his innocence.

It differs from some Hitchcock films in that there is not as much psychological analysis of the characters, but rather a good, old-fashioned adventure story with many twists and turns.

In many ways, North by Northwest is a precursor to the enormously popular James Bond films, as Grant brought style, sexiness, and charisma to this sleek feature.

The set style and design look perfect. The lush Long Island estate set is flawless, with a grand staircase and a well-constructed library—not to mention the exterior shot of the enormous house.

The house in Mount Rushmore is sleek, quite trendy, and reeks of high sophistication. It is pretty grand and situated on an incline, featuring an airplane runway.

The chemistry between Grant and Eva Marie Saint is apparent and oozes from the screen from the moment they bump into each other on a train traveling from New York to Chicago. As they dine in the dining car, a flirtatious scene unfolds-the landscape whizzes by in the background, with the comforting train whistle and ambient noise working well.

Their relationship is established, and the characters are intrigued and slightly mistrustful of each other, which lends the scene an edge and complexity that works.

The film features a cutting-edge graphic design in the opening credits, similar to the design used in Vertigo during the same period. The green colors and the sophisticated advertising style of the graphics kick the film off in a creative, ultra-cool, modern way.

Interestingly, Martin Landau’s implied homosexuality in Leonard, henchman to the main villain, Phillip Vandamm, is precisely how Landau played the role. During Hitchcock’s time, homosexuality was strictly prohibited in film, but it was subtly portrayed.

Leonard’s fascination and jealousy towards Vandamm are intertwined with levels of flirtation and vengefulness.

Scene after scene of North by Northwest is filled with suspense—the crop duster scene is my favorite. Shot without music and on location in a dreary, clear, middle-of-nowhere field somewhere in Indiana, the scene is layered with suspense throughout.

Thornhill is scheduled to meet Kaplan at a designated spot. A lonely bus stop, random passing cars thought to be the intended, a deadly airplane, and an explosion all occur, creating a fraught scene.

New fans of Hitchcock should begin with this one—it is mainstream and one of his finest. It contains all the traditional Hitchcock elements, and all the pieces come together perfectly.

North by Northwest (1959) is a masterpiece.

Oscar Nominations: Best Story and Screenplay Written Directly for the Screen, Best Art Direction, Color, Best Film Editing

#19 Favorite Film, 1954 Films, Alfred Hitchcock, Favorite Film of the Year, Gig Young, Grace Kelly, James Stewart, Raymond Burr, Thelma Ritter, Thriller, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

Rear Window-1954

August 1, 2025 scottmet99 Leave a comment

Rear Window-1954

Director Alfred Hitchcock

Starring James Stewart, Grace Kelly

Top 250 Films #19

Scott’s Review #317

Reviewed January 2, 2016

Grade: A

I dearly love several Alfred Hitchcock films, and Rear Window (1954) is at the top of that list.

The film is a unique experience in that much of it is shot from the point of view of the main character, L.B. Jeffries, played with conviction by James Stewart, a fixture in several of Hitchcock’s great films.

Wheelchair-bound and confined to his Manhattan apartment, he has nothing more to do than spy on an entire apartment of neighbors across the street.

He witnesses a crime, and a cat-and-mouse game ensues.

What is great about this film is that the viewer gets to know the series of neighbors L.B. watches and glimpses into their lives, some of which are happy and some sad.

Rear Window is shot like a play. The chemistry between Stewart and Grace Kelly is nice, but secondary to the main story’s tremendous impact.

Rear Window (1954) can be watched repeatedly and enjoyed with each subsequent viewing.

Oscar Nominations: Best Director, Alfred Hitchcock, Best Screenplay, Best Sound Recording, Best Cinematography, Color

#20 Favorite Film, 1956 Films, Alan Mowbray, Alfred Hitchcock, Bernard Miles, Brenda de Banzie, Carolyn Jones, Doris Day, Favorite Film of the Year, James Stewart, Noel Willman, Thriller, Top 100 Films, Top 25 Films, Top 250 Films, Top 50 Films

The Man Who Knew Too Much-1956

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The Man Who Knew Too Much-1956

Director Alfred Hitchcock

Starring James Stewart, Doris Day

Top 250 Films #20

Scott’s Review #176

Reviewed September 26, 2014

Grade: A

The Man Who Knew Too Much is a classic 1956 Alfred Hitchcock film starring James Stewart and Doris Day. The two share tremendous chemistry.

They play a successful married couple: Ben and Jo McKenna, a Doctor and a well-known singer, who travel on a lovely trip to Morocco with their young son Hank.

They are a traditional American family that the viewer trusts and believes in on vacation abroad.

Suddenly, they are approached by a Frenchman named Louis Bernard, who appears somewhat too curious about Ben and his work.

Jo is immediately suspicious of the mysterious man.

This begins a series of events involving mistaken identity, an assassination attempt on England’s Prime Minister, and a trip to London to locate Hank, who criminals have kidnapped.

As with other Hitchcock films—think North by Northwest (1959)—the motivational plot is unclear and, one might argue, unnecessary. Why are the characters attempting to assassinate a political figure? Is there money to be gained? Is there power to be obtained?

These questions are never answered- the film is not about that, but rather about Ben and Jo’s predicaments. The villains —primarily an innocent-seeming English couple and a sneering, rat-like assassin —are one-dimensional characters. The motivations are not revealed.

A remake of the 1934 film with the same title, but far superior, the film is a suspenseful political thriller.

Some interesting comparisons to other Hitchcock films released around the same time that I continue to notice with each passing viewing-

North by Northwest– the ordinary man falling into international intrigue, and Vertigo– Jo is dressed in almost identical fashion to Madeleine/Judy- a classic, sophisticated grey suit with a pulled-up bun hairstyle; the musical scores are incredibly similar- identical in instances; Vertigo’s bell tower is reminiscent of Ambrose Chappel in The Man Who Knew Too Much. Stewart’s Ben climbs up the bell tower in The Man Who Knew Too Much, whereas in Vertigo is terrified of heights, let alone climbing.

These are fascinating tidbits to note for any fan of Hitchcock.

Doris Day’s performance, which is her most fabulous, impressed me. Known for her roles in lightweight romantic comedies and fluff, she proves to be a wonderfully emotional and dramatic character, quite effective in her own right.

The six-minute climactic final sequence, set at a musical concert at the Royal Albert Hall, is among the best in film history and uses no dialogue. This technique is jaw-dropping, as one realizes how much transpires within the six minutes, solely based on physical activity and facial expressions. The entire plot of the film reaches a searing crescendo—quite literally.

Day is strong in this sequence.

In his fourth turn in a Hitchcock film, James Stewart is charismatic, playing the everyman tangled in a web of deceit and espionage. He takes charge but identifies with the audience; he can be your friend or neighbor, and we trust his character because he is a successful doctor.

The now-legendary song from the film, “Que Sera, Sera (Whatever Will Be, Will Be),” is an integral part of the finale and remains with the audience in a bittersweet yet enduring way long after the curtain closes on the film.

The Man Who Knew Too Much (1956) is exciting, suspenseful, engaging, and fun- just what a Hitchcock film should be.

Oscar Nominations: 1 win-Best Song-” Que Sera, Sera (Whatever Will Be, Will Be)” (won)

#26 Favorite Film, 1948 Films, Alfred Hitchcock, Cedric Hardwicke, Farley Granger, Favorite Film of the Year, Hume Cronyn, James Stewart, John Dall, Thriller, Top 100 Films, Top 250 Films, Top 50 Films

Rope-1948

August 1, 2025 scottmet99 Leave a comment

Rope-1948

Director Alfred Hitchcock

Starring Farley Granger, John Dall, James Stewart

Top 250 Films #26

Scott’s Review #323

Reviewed January 5, 2016

Grade: A

Rope (1948) is one of my favorite Alfred Hitchcock films and a film that flies under the radar amongst his catalog of gems. Made in 1948, the movie, set as a play (and based on a 1929 play), uses one set only and appears to be one long take, making it an understated film.

The action takes place inside a luxurious Manhattan apartment with a stunning panoramic skyline. Intelligent with subtle nuances that in current viewings are not as subtle, the tiny (nine) cast is fantastic at eliciting a fine story that never seems dated.

Starring Hitchcock stalwart Jimmy Stewart, the film features Farley Granger (Strangers On A Train, 1951) and John Dall.

Granger and Dall portray Phillip and Brandon, two college students who strangle a fellow student as an experiment to create the perfect murder. Immediately after the murder, they host a dinner party for friends, including the father, aunt, and fiancée of the victim, all in attendance.

Stewart plays Brandon and Phillip’s prep school housemaster, Rupert Cadell, who is suspicious of the duo.

To further the thrill, the dead body is hidden inside a large antique wooden chest in the center of their living room, as their housekeeper unwittingly serves dinner atop the dead body.

The film is macabre, clever, and quite experimental.

The very first scene is of Phillip strangling the victim, David, with a piece of kitchen rope, which is an unusual way to start a film. Typically, there would be more buildup and then the climax of the murder, but Hitchcock is far too intelligent to follow the rulebook.

Ironically, Phillip is the weak and submissive one, despite having committed the crime. Brandon is dominant and keeps Phillip in check by coaxing him to be calm and in control.

The fact that many of the guests have a relationship with the deceased, munching on their dinner while wondering why David is not attending the party, is gleeful irony. Plenty of drinks are served, and as Phillip gets drunker and drunker, he becomes more unhinged.

The film reminds me of some aspects of Who’s Afraid of Virginia Woolf, also based on a play and primarily featuring one set – both dinner parties with alcoholic consumption, secrets, and accusations becoming more prevalent as the evening progresses.

The plot unfolds chillingly throughout one evening as Rupert slowly figures out that what he had previously taught Brandon and Phillip in an intellectual, hypothetical classroom discussion has been taken morbidly seriously by the two.

The homosexual context is hard to miss in this day and age, but remarkably, it was over the heads of the 1948 Production Code censors, who had no idea of what they were witnessing.

Phillip and Brandon are a gay couple who live together, and Hitchcock has admitted to this in later years. If watched closely, one will notice that in any shot where Brandon and Phillip are speaking to one another, their faces are dangerously close, so we can easily imagine them kissing.

This is purely intentional by Hitchcock.

Rope (1948) is a daring achievement in innovative filmmaking. It should be viewed by any aspiring filmmaker or anyone who enjoys robust and clever camera angles and stories, seeking an extraordinary adventure in a calm, subtle, and engaging narrative.

#28 Favorite Film, #7 Favorite Horror Films, 1972 Films, Alec McCowen, Alfred Hitchcock, Anna Massey, Barbara Leigh-Hunt, Barry Foster, Billie Whitelaw, Clive Swift, Horror, Jean Marsh, Jon Finch, Michael Bates, Thriller, Top 10 Horror Films, Top 100 Films, Top 20 Horror Films, Top 250 Films, Top 40 Horror Films, Top 50 Films, Vivien Merchant

Frenzy-1972

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Frenzy-1972

Director Alfred Hitchcock

Starring Jon Finch, Barry Foster, Anna Massey

Top 250 Films #28

Top 40 Horror Films #7

Scott’s Review #244

Reviewed May 17, 2015

Grade: A

Frenzy (1972) is a later-day Alfred Hitchcock film that returns the masterful director to his roots in London, England, his country of origin, and the place where his early films were made.

As with numerous other Hitchcock stories, the protagonist is falsely accused of murder and struggles mightily to prove his innocence before time runs out and he meets his doom.

The film is distinctly British, featuring an entirely British cast, and includes a humorous side story about the primary investigator’s wife. This terrible cook prepares exotic yet unappetizing meals for her husband.

This comic relief perfectly balances the heavy drama encompassing the main murder story, as Frenzy is one of Hitchcock’s most violent and graphic films.

Made in 1972, he was able to include much more explicit content. A neck-tie murderer, who also rapes his female victims, is on the loose in London.

In the opening sequence, we see a dead woman floating in the Thames River during broad daylight, nude, except for a neck-tie that she has been strangled with. A crowd of spectators races to see what all the fuss is about.

We then meet the central character of the film, down-on-his-luck bartender Richard Blaney, who is fired from his job as a bartender by his hateful boss.

Blaney has a loyal girlfriend in Babs, a barmaid at the same local watering hole. Babs is sexy, yet plain. He also has a successful ex-wife, Brenda, who runs a dating company. Blaney regularly sponges off Brenda for money and dinners. Also in the picture is successful fruit-market trader Bob Rusk, who is a friend of Blaney’s.

All four of these central characters play a significant role in the main plot.

As events begin to unfold, the film is not a whodunit as traditionally it could have been. Instead, the audience quickly learns who the murderer is and their motivations, which is an interesting twist in itself.

Despite this knowledge, the film is quite compelling as a classic Hitchcock horror-thriller.

It is interesting for Hitchcock fans to compare this film with many of his earlier works. Released in 1972, at a time in film history when such sensors were more lax, it is the first Hitchcock film to feature nudity.

It is also the film of Hitchcock’s that features the most brutal rape/murder scene of all, surpassing the shower scene from Psycho, in my opinion.

The victim’s ordeal is prolonged, as she begins praying, thinking she will only be raped, at first unaware that her attacker is also the neck-tie murderer, and her life is running short. This leads to a sad, gruesome outcome for her.

One of the most interesting murder scenes takes place off-camera and is an ingenious idea by Hitchcock. The neck-tie murderer lures a victim to his apartment complex under the guise of being a friend of hers.

They walk upstairs to his unit and go inside, all the while the camera remains outside the apartment, so the viewer only imagines the horrors unfolding inside.

The camera then slowly goes back down the stairs and out onto the street, and looks up at the murderer’s window. The fact that the victim is one of the main characters makes one’s imagination run wild about what is transpiring inside the apartment, and the viewer is filled with grief.

This is a brilliant choice by Hitchcock and so effective to the story.

Another great scene is the potato truck sequence.

As the neck-tie murderer has dumped his victim, like garbage, into a potato sack, he is panicked to realize that she has taken his pin from his jacket and presumably clenched it in her fist as a clue, despite her demise.

What will he do now?

The extended scene features the murderer inside the potato truck attempting to unclench his pin from her hand and escape the moving truck without being caught.

It is my favorite scene in Frenzy.

Frenzy (1972) is a return to triumph for Hitchcock, after the complex Topaz (1969) and Torn Curtain (1966), both underappreciated political thrillers made a few years earlier.

He returns to the horror genre like gangbusters, throwing in some good, sophisticated British humor for good measure.

What a treat this film is.

#32 Favorite Film, 1980 Films, Action, Buck Henry, Gena Rowlands, John Cassavetes, Thriller, Tom Noonan, Top 100 Films, Top 250 Films, Top 50 Films

Gloria-1980

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Gloria-1980

Director John Cassavetes

Starring Gena Rowlands

Top 250 Films #32

Scott’s Review #166

Reviewed September 9, 2014

Grade: A

Gloria (1980) is an action/thriller film that features the standard action-crime thriller elements, including shoot ‘em up, guns-blazing, clichéd fare, but contains an interesting and appealing leading character, a gritty atmosphere, and witty dialogue.

It is a significantly better film than most indistinguishable action films.

Directed and written by independent film master, John Cassavetes, who wanted to make a more conventional, mainstream film than was typical for him- think the very left of center, brilliant A Woman Under the Influence, also starring Gena Rowlands, and Gloria was the perfect film for him to create with Rowlands as the focal point.

Made in 1980, Gloria perfectly portrays New York City at the time.

New York City was gritty, dirty, rough, crime-infested, violent, and chaotic, and the film frequently travels throughout Manhattan, the Bronx, and New Jersey, with many scenes shot directly on the streets of New York.

Several other scenes are set in dingy apartments, hotels, seedy bars, and rundown streets, and are highly effective in portraying a gloomy atmosphere. The cinematography in the film is perfect.

The heart of the film lies with Rowlands (Cassavetes’s wife), who gives a mesmerizing performance as a former mob girlfriend who, by circumstance, must protect a young Hispanic boy from execution by the mob because of an informant’s book he clings to for dear life.

No other actress could have played this role of a tough-talking, brash New Yorker as well as Rowlands does. The boy’s father, played by Buck Henry, is a scared accountant with ties to a company fronted by the mob.

He fears his entire family will be murdered and hands his kid over to Gloria. Julie Carmen gives a brief but effective performance as Phil’s frazzled mother.

I wish Henry and Carmen had been given more screen time and fleshed-out characters because both had huge potential. The film belongs to Rowlands- she is no-nonsense, tough, and so convincing in the part.

I also enjoyed the casting of John Adames as the kid, Phil. His performance was inexplicably panned by many critics and I’m not sure why.

I also love the unique opening credits as intense folk/jazz music plays over watercolor portraits that turn into the skyline of New York City and the music has a melancholy and eeriness to it.

Amid the violence, there is a sweet bond that develops between Gloria and Phil that is not too sentimental or cheesy.

A great, compelling, late 1970s/early 1980s film that has some definite Godfather and Dirty Harry influence in texture and characters, especially with some of the mobster characters.

The appeal of the film is that it has a heart but never delves into schlock. Surprisingly rated only PG, it is gritty, but not lewd or harsh and seems dirtier than it is with barely any filthy language.

The chemistry and heartfelt connection between Gloria and Phil are darling without being too sappy or safe. Gloria is a fast-paced, action gem that is both appealing and tough.

Oscar Nominations: Best Actress-Gena Rowlands

#37 Favorite Film, 1943 Films, Alfred Hitchcock, Favorite Film of the Year, Henry Travers, Hume Cronyn, Joseph Cotten, Macdonald Carey, Patricia Collinge, Teresa Wright, Thriller, Top 100 Films, Top 250 Films, Top 50 Films

Shadow of a Doubt-1943

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Shadow of a Doubt-1943

Director Alfred Hitchcock

Starring Joseph Cotten, Teresa Wright

Top 250 Films #37

Scott’s Review #117

Reviewed July 17, 2014

Grade: A

Shadow of a Doubt (1943) is a black-and-white Alfred Hitchcock film set in a quaint California town, where a killer lurks. The town is idyllic and wonderful: People attend church on Sundays and meet at the drug store for ice cream sodas.

The film was shot on location in a small town in California, rather than on a soundstage, adding considerable authenticity.

The Newton family is at the center of the thriller, led by Charlie (Teresa Wright), a young woman who idolizes her recently visiting Uncle, also named Charlie (Joseph Cotton). They are very close- almost like father and daughter.

When Uncle Charlie is suspected of being the notorious Merry Widow Murderer, Charlie is conflicted. Could her Uncle be the murderer?

Shadow of a Doubt is one of Hitchcock’s more straightforward films, and the town itself is a huge plus. It’s quiet and family-oriented- what could go wrong? But evil pervades the city, and events slowly begin to turn dark.

A scene in which the family sits down for a quiet meal that turns into a conversation about death is famous and influential. The train sequence is nicely shot. There is also a fantastic side plot involving two friends playing an innocent game of “How would I murder you?”, unaware of the irony of the game itself.

The film is not as flashy or complex as other Hitchcock films, specifically Vertigo (1958), but that aspect works to its credit.

Hitchcock adored the idea of a small town with foreboding secrets, and this film is quite a gem.

Shadow of a Doubt (1943) is a good, old-fashioned thriller and a must-see for Hitchcock fans.

#43 Favorite Film, 1951 Films, Alfred Hitchcock, Farley Granger, Favorite Film of the Year, Film noir, Howard St. John, Kasey Rogers, Leo G. Carroll, Norma Varden, Pat Hitchcock, Robert Gist, Robert Walker, Ruth Roman, Thriller, Top 100 Films, Top 250 Films, Top 50 Films

Strangers on a Train-1951

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Strangers on a Train-1951

Director Alfred Hitchcock

Starring Farley Granger, Robert Walker

Top 250 Films #43

Scott’s Review #318

Reviewed January 2, 2016

Grade: A

A thrill-ride-per-minute film, Strangers on a Train is a classic suspense story filled with tension galore, a great Alfred Hitchcock film from 1951 that marked the onset of the “golden age of Hitchcock,” which lasted throughout the 1950s and 1960s.

A British version of the film exists somewhere, but I have yet to see it.

The American version is a brilliant, fast-paced experience featuring complex and interesting characters, including one of the greatest villains in screen history, and a riveting, heart-pounding plot.

Who can forget the essential ominous phrase “criss-cross”?

The film begins with a clever shot of two pairs of expensive shoes emerging from individual taxi cabs. Both are men, well-to-do and stylish. They board a train and sit across from each other, accidentally bumping their feet.

We are then introduced to the two main characters: tennis star Guy Haines (Farley Granger) and wealthy Bruno Anthony (Robert Walker). They engage in conversation, and immediately, we become aware that Bruno is assertive and Guy is more passive.

Ultimately, Bruno manipulates Guy into thinking they will exchange murders- Bruno will kill Guy’s unfaithful wife, Miriam, while Guy will murder Bruno’s hated father. While Bruno takes this dire “deal” seriously, Guy thinks Bruno is joking.

A psychological complexity of the film is the implied relationship between Guy and Bruno. Indeed, there are sexual overtones as flirtation and bonding immediately develop while they converse on the train.

They are complete opposites, which makes their relationship compelling—the devil and the angel, if you will. The mysterious, profound connection between these two men fascinates throughout the film.

Robert Walker makes Bruno a deliciously villainous character. He is devious, clever, manipulative, and even comical at times. His wickedness is mesmerizing, to the point that the audience roots for him.

Hitchcock wisely makes the victim, Miriam (wonderfully played by Laura Elliot), devious, adding to Bruno’s rooting value during her death scene. His character is troubled and almost rivals Norman Bates and Hannibal Lecter as a lovable, evil villain.

Later in the film, when Guy is playing tennis, he gazes into the stands to see the spectators turning left and right in tandem with the moving tennis ball, and the audience sees a staring straight ahead, immersed in the sea of swaying heads.

It is a highly effective, creepy scene.

The pairing of Guy and his girlfriend, Anne (a seemingly much older Ruth Roman, and interestingly, despised by Hitchcock), does not work. Could this be a result of the implied attraction between Bruno and Guy? Or is it a coincidence?

Roman’s casting was forced upon Hitchcock by the Warner Bros. studio.

Hitchcock reveals his “mommy complex,” a common theme in his films, as we learn that there is something off with Bruno’s mother, played by Marion Lorde, but the exact oddity is tricky to pin down.

She and Bruno comically joke about bombing the White House, which gives the scene a jarring, confusing edge. Is she he reason that Bruno is diabolical?

The theme of women’s glasses is used heavily in Strangers On A Train. Miriam, an eyeglass wearer, is strangled while we, the audience, witness the murder through her dropped glasses. The scene is gorgeous and cinematic in black and white and continues to be studied in film schools everywhere.

Later, Anne’s younger sister, Barbara (comically played by Hitchcock’s daughter, Pat Hitchcock), who also wears glasses, becomes an essential character as Bruno is mesmerized by her likeness to the deceased Miriam, and a mock strangulation game at a dinner party goes awry.

The concluding carnival scene is high-intensity and contains impressive special effects for 1951.

The spinning-out-of-control carousel, panicked riders, and cat-and-mouse chase scene leading to a deadly climax make for a fantastic end to the film.

Strangers On A Train (1951) is one of Hitchcock’s best classic thrill films.

#45 Favorite Film, 1964 Films, Alan Napier, Alfred Hitchcock, Bruce Dern, Diane Baker, Favorite Film of the Year, Kimberly Beck, Louise Latham, Martin Gabel, Melody Thomas Scott, Sean Connery, Thriller, Tippi Hedren, Top 100 Films, Top 250 Films, Top 50 Films

Marnie-1964

August 1, 2025 scottmet99 Leave a comment

Marnie-1964

Director Alfred Hitchcock

Starring Sean Connery, Tippi Hedren

Top 250 Films #45

Scott’s Review #180

Reviewed October 4, 2014

Grade: A

When evaluating Alfred Hitchcock’s many films, Marnie (1964) is one of the more complicated. In recent years, it has earned higher praise than it did at its release, similar to Vertigo (1958).

It features one of Hitchcock’s most complex psychological characters and is as much a character study as a psychological thriller.

Tippi Hedren stars as Marnie Edgar, a troubled young woman who travels from one financial company to another, using a false identity and her good looks to insinuate herself into a clerical job without references. Over time, she steals thousands from the companies by gaining their trust.

Eventually, she is caught by Mark Rutland, a handsome, wealthy widower and client of one of the firms, played by Sean Connery. Infatuated with Marnie, he strikes a deal with her: She will marry him, but he will not turn her over to the police.

Marnie gives most of her stolen money to her disabled mother, Bernice, in Baltimore, played by Louise Latham.

Why Bernice is crippled, avoids affection with Marnie, and why Marnie despises most men and is terrified of the color red make up the film’s mysterious nature. Diane Baker is compelling as Lil, the sister-in-law to Mark and somewhat nemesis of Marnie.

The film features three scenes I am enamored with each time I watch it. In one scene, Marnie hides and waits in the bathroom until all the employees have gone home for the night. She carefully steals money from her employer’s safe and prepares to make her escape. Suddenly, she notices an unaware cleaning woman with her back to Marnie, yet blocking the exit.

How will Marnie escape unnoticed? The surprise in this scene is excellent. Hitchcock plays the scene without music, which adds to the tension—brilliant.

In an emotional scene later in the film, Marnie’s horse, Forio, is injured, and a sobbing Marnie must choose between killing her beloved friend or letting him suffer until a veterinarian can be summoned.

It is a heart-wrenching scene.

The third scene takes place at a racetrack as Marnie and Mark are enjoying one of their first dates together. However, the date is ruined when a former employer of Marnie’s, who has been victimized, recognizes her and makes accusations.

Marnie turns from a sweet girl to an ice queen seamlessly.

A huge controversial aspect of the film is that, while not shown, it is heavily implied that Mark rapes Marnie on their honeymoon. The following day, Marnie attempts suicide but is rescued by Mark.

This scene was filmed carefully so viewers didn’t hate Mark. Perhaps saving Marnie the next morning lessens what he did the night before in the eyes of the audience? This is open to debate.

Hedren excels at portraying the complexities of Marnie’s character throughout the entire film and does an excellent job in a demanding role.

As excellent as Hedren is (and she is fantastic), I have difficulty accepting her as a poor, icy criminal, and this issue arises each time I watch the film.

Could this be a result of having identified Hedren as the sophisticated, glamorous socialite in The Birds made a year earlier so many times? This is quite possibly so.

The set of Marnie was reportedly fraught with tension during filming. This tension was mainly between Hedren and Hitchcock, who refused to speak with each other throughout the filming. This may have added to the tension, and Hedren appears anxious.

Could this be art imitating life? As the ending nears, Marnie and Mark align and form a team as they try to avoid the police altogether; Mark, more or less, becomes an accomplice.

The final reveal seems rushed. It takes place mostly in flashbacks and wraps up quickly. Marnie has blocked much of her childhood from her memory, which seems far-fetched.

Still, Marnie (1964) is a complex, psychological classic from Hitchcock’s heyday.

#48 Favorite Film, 1946 Films, Alfred Hitchcock, Cary Grant, Claude Rains, Favorite Film of the Year, Film noir, Ingrid Bergman, Thriller, Top 100 Films, Top 250 Films, Top 50 Films

Notorious-1946

August 1, 2025 scottmet99 Leave a comment

Notorious-1946

Director Alfred Hitchcock

Starring Cary Grant, Ingrid Bergman

Top 250 Films #48

Scott’s Review #265

Reviewed August 11, 2015

Grade: A

Notorious is a classic Alfred Hitchcock film from 1946, a period that preceded his golden age of brilliant works in the 1950s and 1960s, but it is a marvel all the same.

Perhaps not as wonderful as future works, but that is like comparing prime rib to filet mignon. Shot in black and white, the subject matter is familiar to Hitchcock fans- political espionage.

The film contains elements familiar with Hitchcock’s films- romance with suspenseful plot.

Starring two greats of the time (and Hitchcock stalwarts), Carey Grant and Ingrid Bergman, one is immediately enthralled by the chemistry between the characters they play- T.R. Devlin and Alicia Huberman. Devlin, a government agent, recruits Alicia, per his bosses, to spy on a Nazi sympathizer, Alex Sebastian (Claude Raines), who is affiliated with her father.

Her father, having been convicted and sentenced to prison, has committed suicide. Alicia’s allegiance is questioned as she takes drastic measures to prove her loyalty and complete the hated assignment.

The film is set between Miami and the gorgeous Rio De Janeiro, where much of the action is set at Alex’s mansion.

A blueprint for his later works, Hitchcock experiments with creative camera shots and angles- specifically the wide and high shot overlooking an enormous ballroom.

I also love the airplane scene- subtly, Hitchcock treats the audience to background views of Rio from the view of the airplane as Devlin and Alicia converse.

The plane is slowly descending for landing, which allows for a slow, gorgeous glimpse of the countryside and landscape in the background.

Subtleties like these that may go unnoticed make Hitchcock such a brilliant director.

The character of Alicia is worth a study. Well known for his lady issues, did Hitchcock hint at her being an oversexed, boozy, nymphomaniac?

I did not think the character was written sympathetically, though, to be fair, she is headstrong and loyal in the face of adversity.

She parties hard, drives at 65 miles per hour while intoxicated, and falls into bed with more than one man. It is also implied that she has a history of being promiscuous.

Made in 1946, this must have been controversial during that period. The sexual revolution was still decades away.

Notorious also features one of Hitchcock’s most sinister female characters: Madame Sebastian (Leopoldine Konstantin). The woman is evil personified, and her actions are reprehensible. She is arguably the mastermind behind all of the dirty deeds and a fan of slow, painful death by poisoning.

My favorite scene is, without a doubt, the wine cellar scene. To me, it epitomizes good, old-fashioned suspense and edge-of-your-seat entertainment.

A cat-and-mouse game involving a secret rendezvous, a smashed bottle, a key, champagne, and the grand reveal enraptures this scene, which goes on for quite some time and is the climax.

Perhaps Notorious is not quite as great a film as Vertigo (1958), Psycho (1960), or The Birds (1963), but it is a top-notch adventure/thriller that ought to be watched and respected.

Oscar Nominations: Best Supporting Actor- Claude Rains, Best Original Screenplay

#50 Favorite Film, 1973 Films, Crime Thriller, Elliott Gould, Favorite Film of the Year, Film noir, Henry Gibson, Robert Altman, Sterling Hayden, Thriller, Top 100 Films, Top 250 Films, Top 50 Films

The Long Goodbye-1973

August 1, 2025 scottmet99 Leave a comment

The Long Goodbye-1973

Director Robert Altman

Starring Elliott Gould

Top 250 Films #50

Scott’s Review #830

Reviewed November 14, 2018

Grade: A

Nearly a full-fledged character study of one man’s moral fiber, The Long Goodbye (1973) is an edgy piece of direction by the famous mastermind Robert Altman.

The setting of Los Angeles’ underbelly is both fabulous and practical, as is the dim lighting and excellent camera work prevalent throughout. The film is not cheery, but rather bleak, which suits me just fine, given the dreary locale.

Perhaps a more obscure Altman offering, but the film sizzles with zest and authenticity.

The film is based on a story written by Raymond Chandler in 1953.

Altman, however, opts to change the setting from 1950 to present times- 1970s Los Angeles and present a film noir experience involving deceit and shenanigans where all is not as it seems.

I think this is a wise move and I could not help but draw many comparisons (mainly the overall story) to Chinatown (1974), released the year after The Long Goodbye, but a film much better remembered.

Elliott Gould is wonderful as Phillip Marlowe, a struggling private investigator, and insomniac. He is asked by a friend, Terry Lennox, for a ride to the Mexico border one night and agrees to do the favor.

This leads to a mystery involving police, gangsters, and Eileen and Roger Wade after Phillip is questioned regarding his connection to Terry, who is accused of murdering his wife Sylvia.

The seedy side and complexities of several characters are revealed as the story unfolds and the plot gradually thickens.

My favorite aspects of The Long Goodbye are not necessarily the primary storytelling, though the writing is filled with tension.

As the film opens an extended sequence featuring a “conversation” between Phillip and his cat is both odd and humorous. The finicky feline refuses to eat anything other than one brand of cat food. As Phillip tries reasoning with the cat through talking and meowing, he is forced to venture out in the middle of the night to an all-night grocery store.

Altman, known to allow his actors free-reign for improvised dialogue, appears to allow Gould to experiment during this scene.

Phillip’s neighbors, a bundle of gorgeous twenty-something females, seem to do nothing except exercise on their balcony, get high, and request he buy them brownie mix for a “special occasion”.

As they stretch topless, usually in the background and almost out of camera range, they are a prime example of an interesting nuance of the film. The girls are mysterious but have nothing to do with the actual plot adding even more intrigue to the film.

In one of the most frightening scenes in cinematic history and one that could be straight from The Godfather (1972), crazed gangster, Marty Augustine (Mark Rydell), slices the beautiful face of his girlfriend to prove a point to Marlowe.

In a famous line, he utters, “That’s someone I love. You, I don’t even like.” The violent act is quick, unexpected, and fraught with insanity.

Finally, the film’s conclusion contains a good old-fashioned twist worthy of any good film noir. In the end, the big reveal makes sense and begs to raise the question “why did we trust this character?”

In addition to the viewer being satisfied, Marlowe also gets a deserved finale and proves that he cannot be messed with nor taken for a fool.

The Long Goodbye is undoubtedly the best film of Gould’s career. With a charismatic, wise-cracking persona, the chain-smoking cynic is deemed by most as a loser. He is an unhappy man and down on humanity but still wants to do what is right. He lives a depressed life with few friends and the company of only his cat.

While he is marginally entertained by his neighbors, he goes about his days only barely getting by emotionally. Gould is brilliant at relaying all these qualities within his performance.

The addition of the title theme song in numerous renditions is a major win for the film and something noticed more and more with each repeated viewing. The ill-fated gangster’s girlfriend hums along to the song playing on the radio at one point, and a jazz pianist plays a rendition in a smoky bar.

This is an ingenious approach by Altman and gives the film a greater sense of mystery and style.

There is no question among cinema lovers that Robert Altman is one of the best directors of all time.

In his lengthy catalog filled with rich and experimental films, The Long Goodbye (1973) is not the best-remembered nor the most recognizable.

I implore film fans, especially fans of plodding mystery and intrigue to check this great steak dinner of a film out.

#58 Favorite Film, 1972 Films, Action, Al Lettieri, Ali MacGraw, Ben Johnson, Crime Thriller, Richard Bright, Sally Struthers, Sam Peckinpah, Slim Pickens, Steve McQueen, Thriller, Top 100 Films, Top 250 Films

The Getaway-1972

August 1, 2025 scottmet99 Leave a comment

The Getaway-1972

Director Sam Peckinpah

Starring Steve McQueen, Ali MacGraw

Top 250 Films #58

Scott’s Review #439

Reviewed July 3, 2016

Grade: A-

The Getaway (1972) is a classic action film directed by Sam Peckinpah, known for films such as Straw Dogs and The Wild Bunch.

His films are known as “guy films” and are a rather violent experience. The Getaway is no exception, though it is not immensely brutal either. Still, there is more than one macabre scene and one dastardly villain.

For fans of Peckinpah, The Getaway is a must-see.

The film features Steve McQueen and Ali MacGraw, who are perfectly cast as lovers Doc and Carol McCoy. Inescapable was their chemistry, and art mirrored life: the two were embroiled in a torrid love affair during the shooting, and later they married.

We meet Doc in a Texas prison, where his parole has just been denied. Doc and Carol decide to make a deal with corrupt businessman Jack Benyon to ensure Doc’s release. One stipulation is for Doc to participate in a bank heist with two of Jack’s men (Rudy and Frank).

The heist goes off, but things go awry, and Doc and Carol head for El Paso with a large sum of money, being pursued by Rudy and a double-cross attempt by Jack.

Rudy kidnaps veterinarian Harold and his young wife Fran (Sally Struthers) to aid him with his injuries, taking them along as he pursues Doc and Carol.

Amid the already complicated plot, a con man attempts to steal Doc and Carol’s money.

Doc and Carol are clearly the heroes of the film and are meant to be rooted for, and the characters work very well together. Yes, they are criminals, but they are portrayed as lovely and as not hurting anyone who does not deserve it. Doc does spare Rudy’s life at one point, and I think this only reinforces Doc’s appeal as an antihero.

The love story is also a significant aspect of the filmmaking, making Doc and Carol likable. A few sweet, tender scenes of their romance are mixed in, adding a nice balance to the otherwise testosterone-fueled events.

The Getaway features spectacular editing, particularly at the beginning of the film, where we watch Doc in prison, going through his day-to-day rituals, which are seamlessly interwoven with other stories in the movie.

The musical score matches perfectly with the editing, adding a provocative element of intrigue. These components add the necessary elements to a film like this- edge-of-your-seat!

I love the Texas setting.

Characters are constantly traveling to get somewhere- either by train, by car, or on foot- so we see much of the Texas countryside, almost giving The Getaway a Western flavor.

It is certainly a hot, humid environment, though McQueen always wears a sophisticated suit, and MacGraw looks stylish and put together.

And from a prop perspective, I never tire of seeing those early 1970s sedans driving at high speeds.

Unfortunately, as with most of Peckinpah’s films, women are not portrayed in a positive light, though Carol is one of the strongest of his female characters. Yet, in one tough scene, she is smacked around by Doc after he realizes she slept with Jack to ensure his release from prison.

The most confusing and weak character is Fran. In a strange bit of writing, she inexplicably falls madly in love with her kidnapper, Rudy, even as he abuses and humiliates her, while her husband is around. This is odd and tough to watch, and not the best part of The Getaway.

Her character is not developed well, and it is head-shaking that she feels any passion for Rudy.

The heart of the film belongs to Doc and Carol as they are on the lam for much of the time, and this is a successful part of The Getaway- hence the title. Will they get caught? Will they escape?

The characters remind me of Bonnie and Clyde, so we wonder if Doc and Carol will meet the same fate, but of course, we like them, so we do not want that.

The Getaway is a fast-paced, down-home, red-blooded sort of action film. It is stylized, gritty, and sometimes violent. The chicken wing scene between Rudy, Fran, and Harold starts light and then turns ugly, adding to the film’s unpredictable nature.

A supreme offering by Peckinpah.

#61 Favorite Film, 1955 Films, Charles Laughton, Favorite Film of the Year, Lillian Gish, Peter Graves, Robert Mitchum, Shelley Winters, Thriller, Top 100 Films, Top 250 Films

The Night of the Hunter-1955

August 1, 2025 scottmet99 Leave a comment

The Night of the Hunter-1955

Director Charles Laughton

Starring Robert Mitchum, Shelley Winters

Top 250 Films #61

Scott’s Review #351

Reviewed January 9, 2016

Grade: A

The Night of the Hunter (1955) is a fairy tale for adults. Although it is categorized as a thriller, it certainly teeters on the edge of being a horror film. In addition to being well-written, it also contains breathtaking cinematography.

Made in the mid-1950s, it is shot in black and white and tells the tale of good versus evil in a small town. The film is a masterpiece and one of my all-time favorites.

The film is both creepy and intelligent, and director Charles Laughton is responsible for its considerable success. Although it was not a success upon release, it has only finally received its due admiration as the years pass.

The film is way ahead of its time.

It is based on the 1953 novel by Davis Grubb.

The time is the 1930s, and the setting is rural West Virginia along the Ohio River. Ben Harper, a local family man, robs a bank and hides the stolen money inside his daughter’s doll.

His son and daughter (John and Pearl) are central characters in the story. Caught, Ben is out of the picture, leaving his wife, Wilma (Winters), vulnerable and alone.

A serial killer, Reverend Harry Powell (Mitchum), a misogynist, is on the loose disguised as a preacher. In prison with Ben, he knows the money is hidden and is determined to find out where it is. He has designs on wooing Wilma.

When dire events occur, John and Pearl are left along the river to seek refuge with a kindly older woman, Rachel Cooper (Lillian Gish).

The film is majestic, haunting, and artistic. Each scene seemingly glows as the dark black-and-white colors mix gorgeously with tranquility despite the dark tone of the subject matter.

The Night of the Hunter also has a dream-like visual quality. In one pivotal scene, we see a dead body submerged at the bottom of the river. The scene is horrific, with bulging eyes and bloating beginning to set in, but it is also creatively beautiful.

The flowing hair of the victim and the posture are mesmerizing scenes that stick with you for some time.

Poetic and a sense of good versus evil, this is clearly laid out as Powell has two words imprinted on the knuckles of each hand: “L-O-V-E” and “H-A-T-E.” These words form the basis of the film, as both can be applied to the characters.

My favorite scene is when John and Pearl travel along the Ohio River, fleeing from their rival. The shapes of the trees mirrored by the flowing river are incredible, and I can watch this scene again.

A thriller, written intelligently well, with creativity for miles, is a recipe for pure delight. Director Laughton directed only this one film, encouraging creative collaboration and participation from his actors, which is evident in the resulting masterpiece.

The Night of the Hunter (1955) has had a profound influence on numerous directors.

#65 Favorite Film, 1986 Films, Angelo Badalamenti, Brad Dourif, David Lynch, Dean Stockwell, Dennis Hopper, Favorite Film of the Year, Hope Lange, Independent, Independent Thriller, Isabella Rossellini, Kyle MacLachlan, Laura Dern, Priscilla Pointer, Thriller, Top 100 Films, Top 250 Films

Blue Velvet-1986

August 1, 2025 scottmet99 Leave a comment

Blue Velvet-1986

Director David Lynch

Starring Kyle MacLachlan, Laura Dern

Top 250 Films #65

Scott’s Review #343

Reviewed January 9, 2016

Grade: A

Taken from a 1963 Bobby Vinton tune of the same name, Blue Velvet (1986) is an independent thriller noir film directed by the master of the weird and the unusual, David Lynch.

It is surreal in look and so mysterious- almost a pre-cursor to Lynch’s fantastic television series, Twin Peaks. I adore the film and find new facets to it with each passing viewing.

Though it’s not an easy or mainstream watch- the payoff can be big and you know you are watching a deep, layered, film.

The story can be tough to completely understand with only one show, but it goes something like this- Under the guise of a cheerful, suburban surface, evil is lurking somewhere. College student, Jeffrey (MacLachlan) discovers a severed human ear lying in an abandoned lot delivers it to police detective John Williams, and reconnects with the detective’s daughter, Sandy (Dern).

Sandy, being privy to secret information about the case, reveals that a mysterious woman, Dorothy Valens (Isabella Rossellini) resides in an apartment key to the case. Jeffrey and Sandy decide to investigate further and get themselves in over their heads as the mystery deepens.

The dreamlike quality of the film is very compelling and intriguing. Layers upon layers come to the forefront as the story unfolds and very few answers are ever provided- this adds to the mystery and is really the point of the film.

Many aspects are open to interpretation.

The relationship between Jeffrey and the much older Dorothy is fascinating, but what about his chemistry with the innocent Sandy? And who is the Yellowman? When the youngsters see Dorothy perform “Blue Velvet” at her nightclub, it is a great moment in the film.

The character of Frank Booth, played by Dennis Hopper, must be one of the strangest in film history as the man is maniacal and bizarre beyond measure. With his unusual sexual tastes- he enjoys inhaling gas, and sadomasochism, he is a unique character. He is also quite abusive to Dorothy.

The film is a throwback to classic film noir from the 1950s and a clear femme fatale in Dorothy is central to the film.

I find the film so compelling since its subject matter is secrets. Many secrets and dark corruption or various forms of left-of-center dealings reside in this small North Carolina town- it is the audience’s challenge to put all the pieces of this puzzle together.

Oscar Nominations: Best Director-David Lynch

Independent Spirit Award Nominations: 1 win-Best Feature, Best Director-David Lynch, Best Male Lead-Dennis Hopper, Best Female Lead-Isabella Rossellini (won), Laura Dern, Best Screenplay, Best Cinematography

#71 Favorite Film, 1971 Films, Action, Best Picture Oscar Winners, Crime Thriller, Fernando Rey, Gene Hackman, Marcel Bozzuffi, Roy Scheider, Thriller, Tony Lo Bianco, Top 100 Films, Top 250 Films, William Friedkin

The French Connection-1971

August 1, 2025 scottmet99 Leave a comment

The French Connection-1971

Director William Friedkin

Starring Gene Hackman, Fernando Rey, Roy Scheider

Top 250 Films #71

Scott’s Review #342

Reviewed January 9, 2016

Grade: A

The French Connection was the first R-rated film to win the Academy Award for Best Picture in 1971.

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

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

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

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

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

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

Throughout the film, the action is nonstop, traversing Manhattan and Brooklyn by subway and car as Popeye becomes increasingly obsessed with the case.

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

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

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

The settings are perfect.

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

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

The film’s conclusion and final scene are cynical and leave the audience perplexed and unsure of what has transpired.

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

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

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

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

Welcome to my blog!1,521 reviews posted so far! I'm Scott Segrell and I reside in Stamford, CT. My site features hundreds of film reviews I have written since I launched the site in 2014. I hope you enjoy reading my latest reviews or searching for your own favorites to see if we agree. Please see my featured films of the month, and don't forget to utilize the tags and category links.