38. Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (1964)
Stanley Kubrick gets a lot of attention for films such as "2001", "The Shining" and "Eyes Wide Shut". While I'm not saying those are bad films, I am saying they all pale compared to the over-the-top insane juggernaut of a motion picture that is Dr. Strangelove. The absurdity of superpower posturing is never more focrefully - and hilariously - brought home. The inestimable Peter Sellers plays not one, not two, but three roles, to which I say: More! As the films escalates in suspense and parody through its 93 minutes, it only gets more and more and more nutty, culminating in what is quite likely the ultimate trigger-happy male's fantasy...which I won't give away for those who haven't seen this flick.
Why not rate this higher? It's a one-trick pony, to put it gently. The film suceeds because it know when to end, but it still could use a little more depth.
37. Schindler's List (1993)
Steven Spielberg gets a lot of attention for, well, everything he ever touches. But for "Schindler's List", he really deserves the accolades this time. The layered picture immediately drops the viewer in the panic of the moment in history that was Nazi Germany. The black-and-white graniness and the hand-held shots lend an immediacy and chaos that instantly compliments and enhances the storyline. I found myself gasping in horror at the senseless murders, the lack of human rights and the fight for every life that so many good people had to go through on a daily basis.
Why not rate this higher? Okay, it's a little long. In comparison to the book of the same title, it just doesn't hold up as well. Worst of all, Spielberg seems to be beating us over the head with an over-glorification of Schindler himself during the final 15 minutes of the film. Chill out, Stevie, I get the picture: Schindler did a great thing.
36. The Abyss (1989)
James Cameron gets a lot of attention for Titanic and the Terminator movies. But in between the chick-flick and the testosterone-driven action movies, there's one that stands above the others: The Abyss. I didn't expect much when I first sat down to watch this picture, and it more than made up for my low expectations. Great suspense, great story, great special effects. There are so many great scenes in this film, especially the scene depicting the ship's accidnetal fall into the (what else?) abyss and the drowning of Mary Elizabeth Mastrantonio's character. Oops, have I said too much? Guess I'' stop there.
Why not rate this higher? The dialogue in The Abyss? Like every Cameron picture it's very very very corny. It's about an 8 on the cringe-worthy scale, with 1 being "not cringe-worthy at all" and 10 being "The Phantom Menace".
Wednesday, July 25, 2007
Monday, July 16, 2007
My 39th - 41st Favorite Motion Pictures
41. Roots (1977)
Clocking in at 540 minutes puts an immediate strike against any motion picture, but this engaging story here kept me entralled from beginning to end. And here's the amazing thing: this is a made-for-TV movie. Almost as a law of the universe, made-for-TV is synonymous with crappy, but yet again Roots rises above. The camera work is unprecedented for television, and there's nary a second-rate actor in the whole (enormous) cast. I also appreciated the graphic depiction of the events, again a rarity for television.
Why not rate this higher? Well, maybe 540 minutes is a bit long. The series loses a little momentum once Kunta and Kizzy have left the scene. Oh - and Kizzy? Annoying.
40. One Flew Over the Cuckoo's Nest (1975)
I viewed this film becuase it had been the second film in history to win the 'top five' Oscars (Best Picture, Actor, Actress, Director and Screenplay). Normally, when I watch a film with such high expectations, it doesn't hold up - but this one did. Great acting, a great story, and just about the best ending of any motion picture. Ever.
Why not rate this higher? Oh, look, it's Jack Nicholson playing himself again. Man, I get so sick of that guy. Also, what happened in the 70s that caused cinematographers to forget what natural color was?
39. Notorious (1946)
Another classic Hitchcock, this one is filled with memorable scenes: The long kissing scene that skillfully subverts the production code of the time, the camera pan to the key in Bergman's hand, the wine bottles, and especially the suspenseful, slow walk down the stairs of the mansion as Raines' character looks on powerless. Even the very end, as Grant locks the car door - I smile in sheer delight at these skillfully crafted scenes. Laila Valente once said: "Notorious is one of the most romantic and sensual movies ever made. The continuous and rising tension between the two antagonists is almost tangible. Their desperate need of each other explodes in the ever-lasting kiss and the revelation of his love on Alicia's death bed. Cary Grant has never been so dark and vulnerable." Good call.
Clocking in at 540 minutes puts an immediate strike against any motion picture, but this engaging story here kept me entralled from beginning to end. And here's the amazing thing: this is a made-for-TV movie. Almost as a law of the universe, made-for-TV is synonymous with crappy, but yet again Roots rises above. The camera work is unprecedented for television, and there's nary a second-rate actor in the whole (enormous) cast. I also appreciated the graphic depiction of the events, again a rarity for television.
Why not rate this higher? Well, maybe 540 minutes is a bit long. The series loses a little momentum once Kunta and Kizzy have left the scene. Oh - and Kizzy? Annoying.
40. One Flew Over the Cuckoo's Nest (1975)
I viewed this film becuase it had been the second film in history to win the 'top five' Oscars (Best Picture, Actor, Actress, Director and Screenplay). Normally, when I watch a film with such high expectations, it doesn't hold up - but this one did. Great acting, a great story, and just about the best ending of any motion picture. Ever.
Why not rate this higher? Oh, look, it's Jack Nicholson playing himself again. Man, I get so sick of that guy. Also, what happened in the 70s that caused cinematographers to forget what natural color was?
39. Notorious (1946)
Another classic Hitchcock, this one is filled with memorable scenes: The long kissing scene that skillfully subverts the production code of the time, the camera pan to the key in Bergman's hand, the wine bottles, and especially the suspenseful, slow walk down the stairs of the mansion as Raines' character looks on powerless. Even the very end, as Grant locks the car door - I smile in sheer delight at these skillfully crafted scenes. Laila Valente once said: "Notorious is one of the most romantic and sensual movies ever made. The continuous and rising tension between the two antagonists is almost tangible. Their desperate need of each other explodes in the ever-lasting kiss and the revelation of his love on Alicia's death bed. Cary Grant has never been so dark and vulnerable." Good call.
Subscribe to:
Posts (Atom)