Straw Dogs
 

STRAW DOGS ***½

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Four themes drove me to the realization of this film: man ignorant of the violence in himself; the intellectual fleeing society and its responsibilities; the man who becomes violent when he realizes that his woman has been raped and that he must defend that which belongs to him; sexual relations in a couple, the wife being, at that level, definitely unsatisfied. – Sam Peckinpah

David and Amy Sumner (Dustin Hoffman and Susan George) move from America to an idyllic English country home in order for David to work in peace on his mathematics. At least, that is what the excuse is. It seems apparent later on that David is really actually avoiding the draft. Whatever the case may be, life doesn’t get any more peaceful, it gets worse.

In the English town where they now live, there is an undercurrent of a breeding violence. From early on in the film, it is easy to see that there is hostility aimed towards David and Amy. A handful of men hired on to repair the roof of the Sumner’s garage take every opportunity they can get to equally emasculate David and to leer lasciviously at Amy. There is a tension in the air from the beginning that can be cut with a knife whenever the Sumner’s and these men are near each other. David is apparently weak and these men are rugged and strong. Amy is a luscious beauty that all the men want, and mean to someday have. Watching the film, you can tell that something big is going to happen, and it’s hard to sit and wait for it. When the time finally arrives, when the men make their move, it happens in such a brutal, yet equally confusing way, that you can tell that this isn’t another simple revenge movie.

Sam Peckinpah made a film that burrows deep into the psychology of victims and victimizers. Amy, as a victim, doesn’t behave in a way that the audience would normally expect. Instead she acts the opposite, making the audience rethink how much of a victim she is, or whether all victims are alike. Perhaps there are those that do everything they can to avoid confrontation, where there are others that actually seek out their abusers and ask for what they get. And equally disturbing is the fact that some victimizers aren’t the conventional types we all think of. In Straw Dogs one of the victimizers cares for the victim, but doesn’t at the same time, making us sympathize with a person that normally we would see hanged.

Then there is the supposed hero of the story which is David. David runs from societal responsibilities making him a coward. He also looks to the ground when confronted with the possibility with violence, but abuses a cat in the next scene. A weakling taking out his problems on a weaker thing. Only when his back is thrust to the wall does he act out to defend himself, and even then it is only when absolute extremity dictates. David isn’t really a nice guy, he’s not terrible, but still. Heroes in traditional movies are almost angelic in their goodness, unless they have a flaw that, before the movies end, is rectified. Straw Dogs doesn’t let itself do that to its hero. He’s human after all, with weakness, frailty, and violence within.

Straw Dogs is a movie ripe with controversy. It forces us to question all stereotypes of victims, abusers, heroes, and bad guys. It forces us to look at the animal within all of us, especially males. It forces us admit that there is some of Davis and Amy in all of us.

Dammit, Brian! :mad: How am I going to get a chance to watch all the old classics on my "must-see" list when I have to keep adding these indie and foreign films to my "must-see" list?! :p

Great review of Monster. My wife and I watched this last night. Throw aside all the talk about the "transformation" of Theron's looks because her performance alone is incredible! (Rhetorical question coming up): How many films can you name that can go from start to finish without a male character helping to drive the story? Dern's character isn't really needed, and the rest of the male cast are simply props! Theron carries this film as well as anyone has ever carried a film, and she does it as if it's second nature.

Great review LordyLord. :D I was only thinking about this movie the other day, I found it quite powerful when i saw it years ago, i may have another look at it after reading your review, thanks for making my list of 'must see', growing like marks, may have to take time off work to fit them all in. :yup:

Nice review. I've been wanting to see this one for a long time now, but haven't yet had the chance.

Being a Dustin Hoffman that I am, this has to be one of his films I have not seen. :( . I will have to definitely pick it up and see it. Thanks for the review! :up:

Mark: Yes, I noticed that as well and can't, off the top of my head, come up with other films that have been that way either. Theron's career is going to go up a notch. Let's just hope she doesn't fall back into her familiar supporting the guy roles.

Everybody else: Thanks for the nice comments. Straw Dogs should be on everybody's must see list, as well as Little Big Man, Marathon Man, The Graduate, and Midnight Cowboy. Hoffman is one of the greatest American actors who has ever lived and makes most of his movies must see's, but Peckinpah with Hoffman makes Straw Dogs an absolute treasure.

City of God
 

CITY OF GOD ****

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One of the worst slums in the world is in Rio de Janeiro, it is called The City of God. It is here where the movie shows us a history of three generations of gangsters as they are raised in this completely unlawful and absolutely dangerous urban dwelling. The story centers around two young men; Rocket (Alexandre Rodrigues), who abhors violence and dreams of being a photographer, and L'il Ze (Firmino da Hora), a cold blooded killer who only dreams of power. Both of these young men follow different paths but share a common similarity, they are both trapped in the city.

The film is narrated by Rocket, who, at the beginning of the film, finds himself trapped between a large pack of gangsters with automatic weapons, and the equally corrupt police. As he tells it, “Fight and you’ll never survive, run and you’ll never escape.” We’re taken back to his youth, in his attempt to explain how he got to this point, to the 1960’s where he is still an adolescent and his older brother is part of local gang. The City of God is a new development at that time, the streets are dirt, the playground is dirt, and all the shanties everyone lives in are caked in dirt. There is very little electricity available and no plumbing for anyone. Just a few miles away is the mecca of tourism; downtown Rio, but it might as well be on another continent for all the good it will do the dwellers of this slum.

During the next two hours of the film, it is shown how one generation loses power to the next through a succession of violence and betrayal. L’il Ze and Rocket belong to the second generation which will encompass the 70’s, and generate more loss of life than the previous generation thought possible, or even desired to commit. I don’t want to speak any more about the plot, because one of the main strengths of the film is the discovery of who is who and what they’re existence will mean to all the people in the city. We watch as the dirt streets turn to cement, and then the cement into rubble, and all the while the blood pours onto whatever is available.

The film has been criticized of excessive usage of gratuitous violence, but a story like this, in order to have any impact, has got to be able to show it the way it was. This is a true story, the people portrayed in it have lived and died, and in order to appreciate the magnitude of the horror that this part of the world lives in, we need to see the brutality. The Director (Fernando Meirelles) does an amazing job at giving it to us straight. The bloodshed is only excessive because it was in real life. There aren’t any karate kicks, or taking 10 bullets and still fighting, or anything of that nature you see in more stylized violent movies. In City of God one bullet does the trick more often than not, and there’s no beauty in the killing. It is shocking, real, and truly sad.

What I liked best about City of God is how real it all seemed. The people who starred in this did an amazing job making it really appear as if it were a documentary. It does a good job at showing the hopelessness in an environment that is completely unforgiving and doesn’t give a quarter to the children either. Perhaps the most powerful performance was da Hora’s L’il Ze. I have never seen a character so completely ruthless in my life. Even as a young child in the 60’s, he had an unrelenting bloodlust (see picture above). It is his part that really propels the movie into the four star range. I found that I could't really identify with the character’s in this film except in an animalistic way. With some of them being good, only to be turned bad. All because of a bullet.

Strangers in Good Company (1990) is a great one. Such a beautiful little movie.

My top 100! Click on the title to see the trailer.
 

1. Amelie (Le Fabuleux destin d'Amélie Poulain)
2001. Director: Jean-Pierre Jeunet. Starring: Audrey Tautou.
“This movie makes me smile so much that my cheeks hurt after viewing it. Tautou is adorable, charming, and sweeter than sugar. I love this film.”

2. City of God (Cidade de Deus)
2002. Directors: Kátia Lund and Fernando Meirelles. Starring: Alexandre Rodrigues and Leandro Firmino da Hora.
“I can’t believe how realistic this film is. It’s like watching a documentary. The acting is top-notch and its style is superb.”

3. Cool Hand Luke
1967. Director: Stuart Rosenberg. Starring: Paul Newman and George Kennedy.
“Paul Newman is one of the most likable actors who has ever lived. In this film, he is the underdog who never stops fighting and he plays the part perfectly.”

4. The Blair Witch Project
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1999. Directors: Daniel Myrick and Eduardo Sanchez. Starring: Heather Donahue, Joshua Leonard, and Michael, Williams.
“This is the only movie that genuinely creeped me out. There is no other film like this and I believe it will go down in history as being a one of a kind forever.”

5. The Wizard of Oz
1939. Director: Victor Fleming. Starring: Judy Garland, Frank Morgan, Ray Bolger, Jack Haley, Bert Lahr, Margaret Hamilton, and Billie Burke.
“There is no other film that can still instill in me the wonderment of childhood like this one can.”

6. Raiders of the Lost Ark
1981. Director: Steven Spielberg. Starring: Harrison Ford and Karen Allen.
“The greatest swashbuckling adventure movie of all time, forever giving me the opinion that Steven Speilberg deserves to be called one of the greatest director’s of our time.”

7. The Godfather
1972. Director: Francis Ford Coppola. Starring: Al Pacino, Marlon Brando, Robert Duvall, Diane Keaton, James Caan, and Sofia Coppola.
“The Godfather of all gangster flicks. Easily on of the greatest films of all time.”

8. Metropolis
1927. Director: Fritz Lang. Starring: Alfred Abel, Gustav Frohlich, Brigitte Helm, Rudolf Klein-Rogge, Fritz Rasp, Theodor Loos, Heinrich George.
“This movie breaks my heart, because there is over an hours worth of footage that is lost forever. It’s astonishing the vision that Lang had back in the day.”

9. Papillon
1973. Director: Franklin J. Schaffner. Starring: Steve McQueen and Dustin Hoffman.
“McQueen and Hoffman give performances that resonate with despair and pain. My favorite McQueen movie of them all.”

10. How Green Was My Valley
1941. Director: John Ford. Starring: Walter Pidgeon, Maureen O'Hara, Donald Crisp, Anna Lee, and Roddy McDowall.
“This movie has a sad beauty to it that I have never seen anywhere else. It is also Roddy McDowall’s first movie.”

11. Blade Runner
1982. Director: Ridley Scott. Starring: Harrison Ford, Sean Young, Rutger Hauer, and Darryl Hannah.
“One of the deepest sci-fi flicks ever made. It also broke the Han Solo type-cast that might have ruined Harrison Ford. Splendid visuals that can easily go head to head with the best of the CGI used today,”

12. Yojimbo
1961. Director: Akira Kurosawa. Starring: Toshiro Mifune, Eijiro Tono, Kamatari Fujiwara, and Takashi Shimura.
“If you like Fistfull of Dollars and Last Man Standing, then this movie will show you where the ideas of those films came from. Not only that, but it will prove that this one is the masterpiece of the three.”

13. A Fish Called Wanda
1988. Directors: Charles Crichton and John Cleese. Starring: John Cleese, Jamie Lee Curtis, Kevin Kline, and Michael Palin.
“Kevin Kline is a comedic God! This is one of the best comedies ever made.”

14. Ben-Hur
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1959. Director: William Wyler. Starring: Charlton Heston, Jack Hawkins, Stephen Boyd, Haya Harareet, and Hugh Griffith.
“A sweeping epic that still takes my breath away, even though I’ve seen it over a dozen times.”

15. Unforgiven
1992. Director: Clint Eastwood. Starring: Clint Eastwood, Morgan Freeman, Gene Hackman, and Richard Harris.
“This is easily the best western ever made. That says a lot since I’m such a big fan of Leone.”

16. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
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1964. Director: Stanley Kubrick. Starring: Peter Sellers, George C. Scott, Sterling Hayden, Keenan Wynn, and Slim Pickens.
“Sellers and Scott give virtuoso performances in this Kubrick classic that is just as prevalent today as it was the day it was released.”

17. Goodfellas
1990. Director: Martin Scorsese. Starring: Robert DeNiro, Joe Pesci, Ray Liotta, Paul Sorvino, and Lorraine Bracco.
“Joe Pesci steals the show in this Scorsese classic.”

18. Singin' in the Rain
1952. Director: Stanley Donen. Starring: Gene Kelly, Donald O'Conner, and Debbie Reynolds.
“I saw this for the first time when I was just a child and it mesmerized me. I’ll always be in love with Debbie Reynolds.”

19. Amadeus
1984. Director: Milos Forman. Starring: Tom Hulce, F. Murray Abraham, and Jeffrey Jones.
“A powerfully sad and equally comedic portrayal by Hulce and Abraham deserved the Oscar.”

20. Schindler's List
1993. Director: Steven Spielberg. Starring: Liam Neeson, Ben Kingsley, and Ralph Fiennes.
“After finishing this on tape for the first time, I rewound it, and watched again. Powerful and compelling.”

21. Glory
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1989. Director: Edward Zwick. Starring: Matthew Broderick, Denzel Washington, Cary Elwes, Morgan Freeman, and Andre Braugher.
“This movie is, in my opinion, Broderick’s best movie. It makes me feel a fierce pride for all five of the central characters.”

22. Once Upon A Time In The West (C'era una volta il West)
1968. Director: Sergio Leone. Starring: Charles Bronson, Henry Fonda, Jason Robards, and Gabriele Ferzetti.
“I love Fonda playing the villainous Frank. I also love how all four of the main character’s have their own theme music when they’re on the screen. Truly a one of a kind western.”

23. Raising Arizona
1987. Directors: Joel & Ethan Coen. Starring: Nicolas Cage, Holly HunterJohn Goodman, and William Forsythe.
“This is the first Coen movie I had ever seen. It will always remain one of my favorite comedies of all time.”

24. Dancer in the Dark
2000. Director: Lars von Trier. Starring: Björk, Catherine Deneuve, David Morse, and Peter Stormare.
“Tragic, frustrating, sad, depressing, and absolutely wonderful. Too bad for us that Björk promised to never act again in a movie.”

25. JFK
1991. Director: Oliver Stone. Starring: Kevin Costner, Tommy Lee Jones, Joe Pesci, Kevin Bacon, Laurie Metcalf, and Gary Oldman.
“This is my favorite Stone movie. Chock full of amazing actors and an intense story line that never rests.”

26. The Bridge on the River Kwai
1957. Director: David Lean. Starring: Alec Guinness, William Holden, Jack Hawkins, and Sessue Hayakawa.
“One of the best examples of generating the emotion of futility in an audience. One of Guinness’ best movies, and ranks as my 2nd favorite Lean movie.”

27. Brazil
1985. Director: Terry Gilliam. Starring: Johathan Pryce, Kim Greist, Robert De Niro, Katherine Helmond, Ian Holm, Bob Hoskins, and Michael Palin.
“Not many movies can capture the imagination as this one can. One of a kind.”

28. Forrest Gump
1994. Director: Robert Zemeckis. Starring: Tom Hanks, Gary Sinise, Sally Field, and Robin Wright.
“One of my favorite feel good movies ever. It also made me a Hanks fan for life.”

29. Mulholland Drive
2001. Director: David Lynch. Starring: Naomi Watts, Laura Herring, and Justin Theroux.
“This movie made my head explode upon first viewing in many different ways. Confusion, fear, repulsion, and anxiety. Lynch’s finest work.”

30. Chicago
2002. Director: Rob Marshall. Starring: Renee Zellweger, Catherine Zeta-Jones, Richard Gere, Queen Latifah, and John C. Reilly.
“I had an overwhelming desire to tap my feet while watching this. It also had some of the best music of any musical from this generation.”

31. The Lord of the Rings: The Return of the King
2003. Director: Peter Jackson. Starring: Elijah Wood, Sean Astin, Viggo Mortensen, Ian Holm, Orlando Bloom, Billy Boyd, Dominic Monaghan, John Rhys-Davies, Cate Blanchett, Miranda Otto, Bernard Hill, Liv Tyler, David Wenham, Hugo Weaving, and Andy Serkis.
“I don’t really need to say anything, do I?”

32. The Lion King
1994. Directors: Roger Allers and Rob Minkoff. Starring: Matthew Broderick, Jeremy Irons, Nathan Lane, Ernie Sabella, James Earl Jones, and Jonathan Taylor Thomas.
“The most powerful and entertaining Disney movie ever made.”

33. Shane
1953. Director: George Stevens. Starring: Alan Ladd, Van Heflin, Jean Arthur, Brandon De Wilde, Jack Palance, and Ben Johnson.
“A very quiet intensity in this film, also arguably Ladd’s best performance of his career.”

34. Duck Soup
1933. Director: Leo McCarey. Starring: Groucho, Chico, Harpo, and Zeppo Marx.
“The Marx Brothers are still unparalleled when it comes to mixing sharp wit with physical comedy. No other comedy troupe has ever been so successful.”

35. Alien
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1979. Director: Ridley Scott. Starring: Sigourney Weaver, Tom Skerritt, Veronica Cartwright, Harry Dean Stanton, John Hurt, Ian Holm, Yaphet Kotto, Bolaji Badejo, and Helen Horton.
“I was a little kid when I saw this in the theater, there are still claw marks on the arms of the seat I used.”

36. The Killing Fields
1984. Director: Roland Joffre. Starring: Sam Waterston, Haing S. Ngro, and John Malkovich.
“A humbling view of hardship. More humbling because a man who lived through it also starred in it. I’m still furious at the punk who murdered him.”

37. Cinema Paradiso (Nuovo cinema Paradiso)
1989. Director: Guiseppe Tornatore. Starring: Antonella Attili, Enzo Cannavale, Isa Danieli, Leo Gullotta, Marco Leonardi, and Pupella Maggio.
“Two versions exist. The original a lovely story of a boy who befriends a fatherly figure and the Director’s cut which makes it a bittersweet love story. Both versions are wonderful.”

38. The Godfather: Part II
1974. Director: Francis Ford Coppola. Starring: Al Pacino, Robert DeNiro, Diane Keaton, John Cazale, Robert Duvall, and Talia Shire.
“Arguably the best sequel ever made, just as powerful as its predecessor.”

39. Lawrence of Arabia
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1962. Director: David Lean. Starring: Peter O'Toole, Omar Sharif, Alec Guinness, Anthony Quinn, Jack Hawkins, and Jose Ferrer.
“The greatest epic ever made. Visuals’ so stunning in their simplicity and a musical score that is breathtaking. O’Toole and Sharif give powerhouse performances that will live on in memory forever.”

40. The Great Escape
1963. Director: John Sturges. Starring: Steve McQueen, James Garner, James Coburn, Richard Attenborough, James Donald, Charles Bronson, and Donald Pleasence.
“The greatest escape movie ever made with an ensemble that is a dream. McQueen gives his most memorable performance as The Cooler King.”

41. Braveheart
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1995. Director: Mel Gibson. Starring: Mel Gibson, Sophie Marceau, Catherine McCormack, and Patrick McGoohan.
“Gibson made one of the greatest epic stories of a nations quest for freedom ever filmed. McGoohan also rates as one of the most evil villains ever devised for the big screen.”

42. Midnight Cowboy
1969. Director: John Schlesinger. Starring: Dustin Hoffman and Jon Voight.
“The first ‘X’ rated film to ever be nominated in any category in Oscar history. It also proves Hoffman is one of the greatest actors of his, or any, generation.”

43. 2001: A Space Odyssey
1968. Director: Stanley Kubrick. Starring: Keir Dullea, Gary Lockwood, William Sylvester, Daniel Richter, and Leonard Rossiter.
“When I was a kid and watched this, it made me become a dreamer. From then on, I knew that mankind was capable of anything.”

44. The Empire Strikes Back
1980. Director: Irvin Kershner. Starring: Mark Hamill, Carrie Fisher, Harrison Ford, James Earl Jones, Alec Guinness, and Billy Dee Williams.
“The most epic of any of the Star Wars movies, and has, perhaps, the most memorable score of any movie ever made.”

45. Triplets of Belleville (Les Triplettes de Belleville)
2003. Director: Sylvain Chomet. Starring: Michèle Caucheteux, Jean-Claude Donda, Michel Robin, and Monica Viegas.
“A brand new and completely original animated movie that still lingers in my mind today. It should join the annuals of one of a kind filmmaking.”

46. Monty Python and the Holy Grail
1975. Director: Terry Gilliam and Terry Jones. Starring: Terry Gilliam, Eric Idle, Michael Palin, John Cleese, Terry Jones, and Graham Chapman.
“Proves that Monty Python was absolutely one of a kind. No one will ever be able to accomplish such creative humor like they did.”

47. One Flew Over the Cuckoo's Nest
1975. Director: Milos Forman. Starring: Jack Nicholson and Louise Fletcher.
“Nicholson provides another of his long succession of pitch-perfect performances. Its ending is one of the most poignant of all time”

48. An Officer and a Gentleman
1982. Director: Taylor Hackford. Starring: Richard Gere, Debra Winger, Lou Gossett, Jr., and David Keith.
“The first love story that I ever loved. Where is Winger nowadays anyway? She was one of my favorites.”

49. Touch of Evil
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1958. Director: Orson Welles. Starring: Charlton Heston, Janet Leigh, Orson Welles, and Marlene Dietrich.
“Orson Welles gives his greatest performance ever, catapulting this movie into my top 100.”

50. Moulin Rouge!
2001. Director: Baz Luhrmann. Starring: Nicole Kidman, Ewan McGregor, John Leguizamo, Jim Broadbent, and Richard Roxburgh.
“A visual smorgasbord unlike any other. A real classic.”

51. The Odd Couple
1968. Director: Gene Saks. Starring: Jack Lemmon and Walter Matthau.
“Has some of the most memorable quotes of any comedy I have ever seen. I also adore Lemmon and Matthau, that makes it easy for me to choose this one.”

52. A Clockwork Orange
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1971. Director: Stanley Kubrick. Starring: Malcolm McDowell, Patrick Magee, Michael Bates, Warren Clarke, and John Clive.
“McDowell delivers the most original dialect of any movie I’ve ever seen.”

53. Donnie Darko
2002. Director: Richard Kelly. Starring: Jake Gyllenhaal, Jena Malone, Katherine Ross, Mary McDonnell, Holmes Osbourne, Drew Berrymore, Noah Wyle, Maggie Gyllenhall, Patrick Swayze, James Duval, Arthur Taxier, Beth Grant, and Daveigh Chase.
“Not really a four star movie, but it hit me right between the eyes. Smart, moody, and with a score that crawls into your head, this movie is one of my favorites.”

54. The Professional (Léon)
1994. Director: Luc Besson. Starring: Jean Reno, Natalie Portman, Gary Oldman, Danny Aiello.
“Portman took my heart and still hasn’t given it back. Oldman takes over Hoffman’s role as best movie villain with this movie.”

55. Jaws
1975. Director: Steven Speilberg. Starring: Roy Scheider, Robert Shaw, Richard Dreyfuss.
“The first summer blockbuster blew my mind when I saw it opening day with my Aunt. I’ll never forget all the gasps and screams in the theater.”

56. The Bicycle Thief (Ladri di biciclette)
1948. Director: Vittorio De Sica. Starring: Lamberto Maggiori, Enzo Staiola, Lianella Carella.
“A documentary style film that shows us that our lives really aren’t all that bad. The message will stick with you forever…if you let it.”

57. Bringing Out the Dead
1999. Director: Martin Scorsese. Starring: Nicolas Cage, John Goodman, Marc Anthony, Patricia Arquette, Tom Sizemore, and Ving Rhames.
“Another Scorsese tour de force that resonates with style and artistic vision. Mix that with perfect performances by its stars and you have a new classic.”

58. The Royal Tenenbaums
2001. Director: Wes Anderson. Starring: Gene Hackman, Anjelica Huston, Gwyneth Paltrow, Owen Wilson, Luke Wilson, Ben Stiller, Bill Murray, and Danny Glover.
“A great and quirky cast with a wonderful and quirky story. Music that is unforgetable and perfectly used.”

59. The Silence of the Lambs
1991. Director: Jonathan Demme. Starring: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine, Diane Baker, and Brooke Smith.
“The first thriller to win the Oscar for best picture and also made legends out of Foster and Hopkins.”

60. The General
1927. Director: Buster Keaton. Starring: Buster Keaton.
“Buster Keaton proved that, regardless of Chaplin, he was one of a kind.”

61. The Outsiders
1983. Director: Francis Ford Coppola. Starring: C. Thomas Howell, Matt Dillon, Ralph Macchio, Patrick Swayze, Rob Lowe, Emilio Estevez, Tom Cruise, Leif Garrett, and Diane Lane.
“This film has so many budding stars with absolutely no ego in the way. I love it because of Dillon’s performance most of all.”

62. Pulp Fiction
1994. Director: Quentin Tarantino. Starring: John Travolta, Samuel L. Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Amanda Plummer, Ving Rhames, Bruce Willis, Eric Stoltz, and Rosanna Arquette.
“A first in movie history. It made superstars out of virtually everyone involved.”

63. The Thing
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1982. Director: John Carpenter. Starring: Kurt Russell, Wilford Brimley, T.K. Carter, David Clennon, Keith David, Richard Masur, Donald Moffat, and Richard A. Dysart.
“Never before this had I felt such suspense. It probably helped that I was stoned out of my gourd.”

64. The Crying Game
1992. Director: Neil Jordan. Starring: Stephen Rea, Miranda Richardson, Jaye Davidson, and Forest Whitaker.
“Whitaker, Rea, and Richardson make up an ensemble that still blows my mind, with their collective talent to this day.”

65. Close Encounters of the Third Kind
1977. Director: Steven Spielberg. Starring: Richard Dreyfuss, Francois Truffaut, Teri Garr, Melinda Dillon, and Bob Balaban.
“A classic example of a great sci-fi, and also one of the first that made ‘them’ good guys.”

66. The Ten Commandments
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1956. Director: Cecil B. Demille. Starring: Charlton Heston, Yul Brynner, Anne Baxter, Edward G. Robinson, Yvonne De Carlo, Debra Paget, John Derek, Sir Cedric Hardwicke, Nina Foch.
“An Easter tradition that I still try to never miss. The greatest biblical story ever put to film.”

67. Dead End
1937. Director: William Wyler. Starring: Joel McCrea, Sylvia Sidney, and Humphrey Bogart.
“My favorite Bogart role, and McCrea has a charisma that many actors today can only dream about.”

68. The Good, the Bad and the Ugly (Il Buono, il brutto, il cattivo)
1967. Director: Sergio Leone. Starring: Clint Eastwood, Eli Wallach, Lee Van Cleef.
“A wonderful film of greed, revenge, and despair. Eastwood was the coolest man alive back in the day of this films popularity.”

69. Star Wars
1977. Director: George Lucas. Starring: Alec Guinness, Carrie Fisher, Harrison Ford, James Earl Jones, Mark Hamill, and Peter Cushing.
“My first true cinematic experience where I fell in love with a movie. Eight years old, opening day, hundreds in line waiting. I’ll always consider it one of my fondest memories.”

70. Sling Blade
1996. Director: Billy Bob Thornton. Starring: Billy Bob Thornton, Dwight Yoakam, Natalie Canerday, Lucas Black, John Ritter, J.T. Walsh, and Robert Duvall.
“Thornton is a truly gifted performer in all aspects. This film is quiet and powerful and will always be among my favorites.”

71. Journey to the Center of the Earth
1959. Director: Henry Levin. Starring: Pat Boone, James Mason, Arlene Dahl, Diane Baker, Thayer David, Peter Ronson, Robert Adler, Alan Napier.
“My first favorite movie. Totally dated compared to films today, but it will always have a spot in my heart.”

72. Days of Wine and Roses
1962. Director: Blake Edwards. Starring: Jack Lemmon and Lee Remick.
“The best of all addiction movies, only barely edging out Requiem for a Dream and Clean and Sober.”

73. The Princess Bride
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1987. Director: Rob Reiner. Starring: Cary Elwes, Mandy Patinkin, Christopher Guest, Wallace Shawn, Chris Sarandon, Robin Wright Penn, Peter Falk, Fred Savage, and Andre the Giant.
“A one of a kind fantasy mixed with comedy that will forever have memorable quotes.”

74. Being John Malkovich
1999. Director: Spike Jonze. Starring: John Cusack, Cameron Diaz, Catherine Keener, John Malkovich, and orson Bean.
“Another one of a kind film that propelled Kaufman as a premier screenwriter.”

75. Ed Wood
1994. Director: Tim Burton. Starring: Johnny Depp, Martin Landau, Sarah Jessica Parker, Patricia Arquette, Jeffrey Jones, G.D. Spradlin, Vincent D'Onofrio, and Bill Murray.
“My favorite Depp movie as well as my favorite Burton movie. It doesn’t hurt that I’ve always been fond of Landau, and this film was the one that generated the recognition that he’s always deserved.”

76. Monty Python's Life of Brian
1979. Director: Terry Jones. Starring: Graham Chapman, John Cleese, Terry Gilliam, Eric Idle, Terry Jones, Michael Palin.
“My favorite Python film. Every time I watch it I mourn a little for Chapman.”

77. Saving Private Ryan
1998. Director: Steven Spielberg. Starring: Tom Hanks, Edward Burns, Matt Damon, Tom Sizemore, Ted Danson, Dennis Farina, Barry Pepper, Jeremy Davies, Vin Diesel, Giovanni Ribisi, Paul Giamatti, Dylan Bruno, Leland Orser, and Adam Goldberg.
“The greatest opening sequence of any war film in history. Also so many heart wrenching losses, no other war film has made me relate so well with so many characters.”

78. In The Name of the Father
1993. Director: Jim Sheridan. Starring: Daniel Day-Lewis, Emma Thompson, and Pete Postlethwaite.
“A perfect film for a son. It made me cry.”

79. Gosford Park
2001. Director: Robert Altman. Starring: Kristin Scott Thomas, Stephen Fry, Emily Watson, Ryan Phillippe, Maggie Smith, Jeremy Northam, Alan Bates, Helen Mirren, Richard E. Grant, Tom Hollander, and Michael Gambon.
“The first Altman film I have seen since I made it past thirty years old. It has made me want to revisit all of his works, because when I was younger, I didn’t appreciate them enough. Now I feel he’s a movie God!”

80. Rear Window
1954. Director: Alfred Hitchcock. Starring: James Stewart, Grace Kelly, Thelma Ritter, Wendell Corey, and Raymond Burr.
“The first Hitchcock movie I had ever seen. I have loved every film he has ever made because of it.”

81. Taxi Driver
1976. Director: Martin Scorsese. Starring: Robert DeNiro, Jodie Foster, Cybill Shepherd, Peter Boyle, Harvey Keitel, and Albert Brooks.
“De Niro proves in this film that he is a Titan in the movie industry. One of the most compelling anti-heroes of all modern film.”

82. Raging Bull
1980. Director: Martin Scorsese. Starring: Robert DeNiro, Cathy Moriarty, and Joe Pesci.
“Another De Niro powerhouse performance. He seemed so real he was terrifying. Thank God he wasn’t my brother,”

83. Young Frankenstein
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1974. Director: Mel Brooks. Starring: Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Cloris Leachman, and Teri Garr.
“The greatest of all Brooks films. So many funny moments that my side hurts even though I’ve seen it a dozen times.”

84. McCabe & Mrs. Miller
1971. Director: Robert Altman. Starring Warren Beatty and Julie Christie.
“My favorite Beatty film and Christie is a wonder. It also has one of the most realistic looks of any film supposed to be portraying the old west. A miserable atmosphere and a tragic story.”

85. Blow Out
1981. Director: Brian De Palma. Starring: John Travolta, Nancy Allen, John Lithgow, and Dennis Franz.
“De Palma’s best work to date as far as I’m concerned. Travolta proved back then that he was a star, too bad he made so many poor choices though.”

86. Chinatown
1974. Director: Roman Polanski. Starring: Jack Nicholson, Faye Dunaway, John Hillerman, Perry Lopez, Burt Young, John Huston, Darrell Zwerling, and Diane Ladd.
“Arguably the greatest script ever written and perhaps the best noir ever made. Nicholson and Young deliver ultra-powerful performances.”

87. North by Northwest
1959. Director: Alfred Hitchcock. Starring: Cary Grant, Eva Marie Saint, and James Mason.
“After seeing all of Hitchcock’s films, this one stands out as his greatest and fastest paced. Legendary filmmaking.”

88. Pink Floyd The Wall
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1982. Director: Alan Parker. Starring: Bob Geldof, Bob Hoskins, and Christine Hargreaves.
“The greatest album to film ever told. Music that haunts, stories that repulse, and artistry that overwhelms.”

89. Rocky
1976. Director: John G. Avildsen. Starring: Sylvester Stallone, Talia Shire, Burt Young, Burgess Meredith, and Carl Weathers.
“My favorite underdog film of all. Great respect for Stallone’s vision and acting ability. Maybe if he hadn’t gone for the easy buck so often, he’d be more of a legend.”

90. Caddyshack
1980. Director: Harold Ramis. Starring: Michael O'Keefe, Chevy Chase, Rodney Dangerfield, Bill Murray, and Ted Knight.
“One of the funniest movies I’ve ever seen. Comedy delivered perfectly by all concerned. A true comedy classic.”

91. The Gold Rush
1925. Director: Charles Chaplin. Starring: Charles Chaplin, Mack Swain, Tom Murray, Henry Bergman, Malcolm Waite, and Georgia Hale.
“Chaplin’s personal favorite of all his films, and my favorite as well. Chaplin will always be my favorite of his generation and genre.”

92. Breaking the Waves
1996. Director: Lars von Trier. Starring: Emily Watson, Stellan Skarsgård, Katrin Cartlidge, and Adrian Rawlins.
"A brutal yet uplifting story. Movies rarely make me sob, but this one did."

93. L.A. Confidential
1997. Director: Curtis Hanson. Starring: Kevin Spacey, Russell Crowe, Guy Pearce, James Cromwell, David Strathairn, Kim Basinger, and Danny DeVito.
“My favorite noir made in my generation. Awesome performances by all the leading cast, a script that was exceptional, and a look that made it perfection.”

94. Aguirre: The Wrath of God (Aguirre, der Zorn Gottes)
1973. Director: Werner Herzog. Starring: Klaus Kinski.
“A story of madness like none other. Herzog and Kinski made a difficult that will always be in a class of its own.”

95. To Live (Huozhe)
1994. Director: Zhang Yimou. Starring: Ge You and Gong Li.
“My favorite of all Chinese movies that I’ve seen. Epic in scale and truly, deeply, sad. Yet, there is a hope in that sadness that is uplifting.”

96. Gandhi
1982. Director: Richard Attenborough. Starring: Ben Kingsley, Candice Bergen, Edward Fox, John Gielgud, John Mills, Martin Sheen.
“Kingsley establishes himself as one of the best actors of his generation in a movie that doesn’t beleaguer us with cheap sentimentality.”

97. Bonnie and Clyde
1967. Director: Arthur Penn. Starring: Warren Beaty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons
“Ultra violent, sweetly loving, and oddly sentimental. The best renegade gangster flick ever made.”

98. The Untouchables
1987. Director: Brian De Palma. Starring: Kevin Costner, Sean Connery, Charles Martin Smith, Andy Garcia, and Robert De Niro.
“Not the greatest flick, but it has always stuck with me because of its unique style and sound.”

99. Dogville
2003. Director: Lars von Trier. Starring: Nicole Kidman, Paul Bettany, Ben Gazzara, Philip Baker Hall, Lauren Bacall, Blair Brown, Harriet Andersson, Patricia Clarkson, Jeremy Davies, Chloë Sevigny, James Caan, and John Hurt.
“A new favorite to my list. It’s there because I love originality. After seeing this movie, I’m sure you will agree that there is no other film quite like this one. Top-notch narration, directing, and acting all around, and it made me a Trier fan.”

100. Excalibur
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1981. Director: John Boorman. Starring: Nicol Williamson, Nigel Terry, Helen Mirren, Cherie Lunghi, Nicholas Clay, Liam Neeson, and Patrick Stewart.
“Another film that is best appreciated if seen when it was current. As far as I’m concerned, no other movie about Arthur will ever compare.”

I found that making a thorough top 100 list is extremely difficult. There are movies that I’ve included in my list that I already wish I hadn’t. I’m wondering why I put The Breakfast Club in the list but excluded Elizabeth, which is one of my favorites. But I’ve decided to leave it because, well, quite frankly, I’m tired of working on it. Plus, at the time The Breakfast Club came out, I was a big fan of it. It meant a lot more to me then that it does now. I’m an older person now and find that the things that Bender, Andy, and the rest of the gang were going through are far removed from me today. Same with Journey to the Center of the Earth, it’s really not all that good by today’s standards. But when I was a young child, it amazed me. Because of that, I must include it. Many years I cherished that film.

Another problem with making a list like this is that there are certain actors and directors that have made such an impressive body of work, that by just using a few of them, I could have nearly filled up the list. For example; if I chose to use only Robert Altman, Martin Scorsese, Stanley Kubrick, Akira Kurosawa, Robert De Niro, Al Pacino, Jack Nicholson, and Dustin Hoffman, I could have filled up over eighty on my list. I had to work hard to exclude much of their work in order to include other works that meant something to me. I hated excluding some favorites like Little Big Man, The Graduate, Path’s of Glory, Barry Lyndon, Dog Day Afternoon, Serpico, Glengarry Glen Ross, The Mission, Midnight Run, etc. (I could go on forever). It makes me uncertain even more whether leaving Donnie Darko and The Breakfast Club on my list was such a good idea. But if I kept thinking that way, I would never finish the list at all. In the end, I have to have as much acceptance with my own list as I have to have for some one else’s. I guess I’m happy with my list, but I think if I had the energy, it would have been more complete if I made a top 250 list.

Slay

I think you did a wonderful job, and all those trailers, fantastic. :cool:

Thank's Nibbles. Um, off goes The Breakfast Club and on goes Breaking the Waves At #92. :D

Fantastic, Slay! It's a very personal list and I love the fact that it mixes old with new, blockbusters with indies, dark with light and deep existetialism with pure entertainment. Several of my own favourites as well as some that I don't like very much are on it. The list of a true movielover! :yup:

Thank you Piddy. Tell me, which ones don't you like all that much? I saw somewhere that you mentioned that you were very frustrated with Dancer in the Dark (I was too), but what else on the list did you not like? I'm interested in discussion. :)

Awesome list, and I love many of the films and agree with the comments on a lot of them. Our tastes in film appear similar :yup:

_S

Thank you. I feel like it isn't complete, there are so many favorites. :)

Simply awesome Slay. I just have one question. If Bridge on the River Kwai is your 2nd favorite David Lean movie, then which is your favorite and why wasn't it higher on the list?

I know what you mean, people ask me all the time, "what is your favourite movie" I usually say this one, no that one, no this one, it is hard choice. :dizzy:

The movies are not in order, hat would be too mind numbing. #39 is my fovorite Lean movie. The stars next to ten titles are my top ten. :)

HA! Love the new avatar...Grant Morrison story if I am not mistaken. That is the best rendition of The Joker ever!

Oh, is that what that is? Bummer, I thought his name was scary guy johnny. Oh well, thanks anyway.

Damn Sedai, always ruining my happy.

Aaaahhh, I see. Cool.

Nice job as always Bri. I like the mix of films you have. I know you spent alot of time getting this together. Well done....except.....



....where's You've Got Mail? ;D :modest:

Great list, Brian. And great presentation of such a list.

I love lists! I've seen 78 of your 100! You mentioned how difficult it is narrowing it down to a top 100, and how you should have made a top 250, but I think even then you'd have a difficult time. When it comes down to it, there are a lot of films out there that we really enjoy.

You also mentioned a few of your favorites that you left off your list because specific actors and directors would have filled the list. I'd be interested to know if you considered any of the following films and left them off for particular reasons, or if they would make your top 250 (not all the films below would be in my list of 100, but they're notables):

Dances With Wolves

Fight Club

The Terminator

The Matrix

Fast Times at Ridgemont High

Psycho

The Exorcist

Reservoir Dogs

Crumb

City Slickers

Halloween

Parenthood

Valley Girl

Pee Wee's Big Adventure

Animal House

Sixteen Candles

Blazing Saddles

Ferris Bueller's Day Off

The Sound of Music

Die Hard

The Deer Hunter

Toy Story

Toy Story II

Monster's, Inc.

Butch Cassidy and the Sundance Kid

The Planet of the Apes

Westworld

The Treasure of the Sierra Madre

Red River

Who's Afraid of Virginia Wolf?

It's a Wonderful Life

A Christmas Story

The Shining

Deliverance

The Warriors

The Seven Samurai

Shawshank Redemption

Rebel Without a Cause

Apocolapse Now

American Graffiti

Invasion of the Body Snatchers

High Noon

Cape Fear

Spartacus

The Longest Day

Platoon

The Pianist

Night of the Living Dead

I think I'll get back to this one after the Cinema Taste Test has been settled. ;)

Bummer? I meant it as a compliment lol! Damn me for ruining happy time again, damn me!!! Seriously, Grant Morrison is an amazing writer and the book that drawing is from, Arkham Asylum, is one of my favorites. It's hard to classify it as a comic really. A few folks have had to put it down midway through, as it is quite graphic and disturbing. McKean does the art and it's some of his best work. This is one I would recommend even to folks who generally don't like the medium. I still like your avatar regardless :yup:
I REALLY like your reviews.

_S

Oh LordyLord NO!, I don't like your new avatar, it doesn't go with my vision of you, or is there something I am missing about you?, no way!, you are really too {sexy} sweet for your avatar :D ;)

Brian, I got your private message about you losing your reply, but I'm hoping that didn't discourage you from trying again. I'd still like to know your opinion of those films I listed in relation to your top 100 (or even a hypothetical top 250).

Thank you Annie. It’s really nice that I can depend on you to acknowledge my efforts. Who loves ya’, babe?

Sedai, thanks man. I’m going to look up that graphic novel to read. I have yet to read one.

Nibbles, deal with it woman. I’m evil, evil, evil… ;D

Mark, sorry about the delay. Sometimes when I lose work due to an error, I never regain the desire to do it over again. I appreciate your taking time to converse about my list, and I’d hate to be rude by not answering, besides I kinda like you, you big lug.

Dances With Wolves
“Yes. I like this movie quite a bit, but I have always felt Goodfellas was robbed of its rightful Oscar in 1990. It doesn’t belong on my top 100 list, but there’s room for it on my top 250.”

Fight Club
“No. Cool movie, no doubt about it. But one of the greatest of all time? No.”

The Terminator
“No. If I were to make a top 100 sci-fi list, then this movie would be in the top 50, but it has no place in a greatest movie in general list.”

The Matrix
“No. I like the original in the trilogy, actually, it’s the only one of the trilogy I do like. But it’s not even close to belonging in my top 250…or 500.”

Fast Times at Ridgemont High
“No. I like this flick all right. It came out when I was a teen, but I was never enamored of it.”

Psycho
“Yes. I wanted to put it on my top 100 list, but then I also wanted to add about ten Hitchcock flicks to the list as well. I chose Rear Window because it was the first Hitchcock film I ever saw, and chose North by Northwest because I feel it was his crowning achievement.”

The Exorcist
“Yes. This flick is a classic and would easily make it into my top 250.”

Reservoir Dogs
“No. Cool movie, but not great.”

Crumb
“Yes. It is certainly a one of a kind film that could easily make it on my top 250, mainly because of its originality.”

City Slickers
“No. I want to say yes because I really enjoy this film, but it really isn’t in the same league as others on my list.”

Halloween
“Yes. I loathe slasher movies, that’s why I never comment in the Jason threads, but this movie is different. It was more of a suspense film that really grabbed you. Jaws on land kind of thing. ”

Parenthood
“No. I like this movie all right, but it is hardly great.”

Valley Girl
“No. I’ve never been a huge fan of this movie.”

Pee Wee's Big Adventure
“No. I love Pee-Wee, don’t get me wrong, but if I’m going to add a comedy centered around an idiot, I’d rather choose the much superior The Jerk.”

Animal House
“Yes. I suppose more out of obligation than anything. I recognize its popularity, but I’ve never been a big fan.”

Sixteen Candles
“No. I think John Hughes is probably the most accomplished director in the teen movie genre, but Ferris and The Club make the list way before this one.”

Blazing Saddles
“Yes. I wanted to add this movie to my top 100, but used Young Frankenstein instead.”

Ferris Bueller's Day Off
“Yes. See above.”

The Sound of Music
“Yes. This really belongs on the top 100 list, but I remembered it was for my personal favorites, and since it isn’t a favorite of mine, I didn’t bother.”

Die Hard
“No. If I made a top 100 action list then it would be there.”

The Deer Hunter
“Yes. I wanted to add this to my top 100, but I already had a number of De Niro flicks and didn’t want him to dominate too much.”

Toy Story
“No. Not really a great film.”

Toy Story II
“ No. Not really a great film.”

Monster's, Inc.
“ No. Not really a great film.”

Butch Cassidy and the Sundance Kid
“Yes. I love this flick, I should’ve had it on my top 100 list.”

The Planet of the Apes
“No. Sci-fi 100, yes.”

Westworld
“No. Sci-fi list, yes.”

The Treasure of the Sierra Madre
“Yes. Awesome Bogart film that I really love.”

Red River
“The best Hawkes film out there, it should’ve been on the top 100.”

Who's Afraid of Virginia Wolf?
“Yes. One scary chick and the role of her life. Legendary,”

It's a Wonderful Life
“Yes. Out of obligation, but I’m really sick of this movie and that makes it hard to want to add it. If I had made the list a few years ago before this movie became a chore to watch, then it would’ve been on my top 100.”

A Christmas Story
“Yes. I was going to add this to the top 100 but I forgot it.”

The Shining
“No. I loved Kubrick, I live Jack, I hate Duvall. She ruins this film completely for me. She only belonged in Popeye.”

Deliverance
“Yes. Easily. Probably 101.”

The Warriors
“No. Great cult classic that deserves to be on a cult classic list, but it is not a great film.”

The Seven Samurai
“Yes. I wanted to put about 6 Kurosawa films on my top 100, that’s the trouble with a small list with so many great directors.”

Shawshank Redemption
“Yes. Not on my 100, but easily on my 250.”

Rebel Without a Cause
“Yes. I’m surprised that I didn’t add it to my 100 list. I forgot.”

Apocolapse Now
“Yes. I would’ve added it to my 100 list, but I didn’t want Coppola to dominate.”

American Graffiti
“Yes. Dammit! I wanted to add it to my 100, I love, love, love this flick.”

Invasion of the Body Snatchers
“Yes. This sci-fi is one of the greatest ever made. Easy.”

High Noon
“Yes. A great film.”

Cape Fear
“No. I was never caught up with this film like most people were. Top 500? Sure.”

Spartacus
“Yes. I like Lawrence, Ben-Hur, and Zhivago, way better though. Dammit again! I forgot to add Zhivago!”

The Longest Day
“Yes. This, Battle of the Bulge, and Paths of Glory would all make it”

Platoon
“Yes. Easily.”

The Pianist
“Yes. Probably around 240 or so.”

Night of the Living Dead
“Yes. This is in my top ten horror films of all time.”

Ok, But I will not believe you are , evil, evil, evil, http://pages.prodigy.net/rogerlori1/emoticons/nono5.gif http://pages.prodigy.net/indianahawk...wpage04/18.gif

You are very welcome sweetness.... :kiss:


.
Cinemo Paradiso
I finally watched this yesterday. I loved both versions, but I wish I had re-read your review before I watched them. By the way....I probably wouldn't have thought to pick it up if I didn't remember you had reviewed it. So, Thank you. :)

I saw the director's cut first. I loved it, but wish a few things had been cut out of it. I loved the first and third part. It's the second past....the deflowering scenes and row of little boys jerking off that were pretty frivoulous and took away from the charm of the movie at that point (but not from the whole movie). My daughter watched part of it with me, but when certain scenes popped up I was annoyed because I had to stop and/or fast forward. I wanted her to appreciate this kind of heart warming movie...and it still could have been/and was sweet and emotional without certain scenes. I abosolutely loved the relationship between Salvadore as a boy and Alfredo. The impish boy had such an engaging, impish, sweet soul and the old man who pretended to be crusty at times for him, but really had a soft spot in his heart for him....and grew to be his father figure. Very Touching stuff. I also loved the ending of the director's cut....very touching and more emotional than the edited version. Both my daughter and I were bawling like babies at the end.

I kinda of wish there was another version...a combo of the edited version...and the directors cut. :p

I loved it though....this movie was very endearing and heart warming. :bawling:
Bri...thanks for reviewing it and recommending Cinemo Paradiso.

Ahhh, a vengeful omission ;)

One of the greatest of all time? No. But this is a personal favorite list, isn't it?

Again, you mean no place in YOUR general list.

Did the sequels cause this film to lose part of its luster for you? Or had you never been a huge fan of it?

Hey, Bri, it's your list. I say put however many Hitchcock, DeNiro, or whatever films you want. ;)

Again, it's your "Favorites" list. If you saw my top 100, you'd laugh your ass off at some of the cheesy, shallow films that would be listed.

Why not both? I know the answer, but the point I keep making is this: why try to give fair representation? If you like two films that are similar, or several from the same director, why shouldn't they be included?

Here's a perfect example of what I'm talking about. It appears by this statement that you picked some films that you thought "deserved" to be on the list, but in this case you realized it wasn't really one of your favorites.

Then what's one more if it's one of your favorites?

Ahhh...one of my top three westerns all time. :cool:

I know you're tired of working and re-working your list, but does this mean you might be making some changes (someday?) ;)

I'm talking about the Gregory Peck/Robert Mitchum version. Is this the one you're referring to here?

Ditto http://pages.prodigy.net/indianahawk...wpage37/19.gif

Ah. I’m glad you liked it Babe. Did your daughter say, “Oooh! Gross! Those kids are spanking the monkey mommy!”? ;D Alright, bad joke. Thank you for the compliment, and I agree, both versions are wonderful.


No, not really. I didn’t convey my meaning well. I liked it, but thought Goodfellas deserved the Oscar more. That isn’t why it isn’t one of my top 100 movies though.


Yes, it’s my personal list, and I don’t like Fight Club enough to make it one of my top 100 films. I’m not even sure if it would belong on my top 250.


I like The Terminator, but it really isn’t one of my all time favorites.


Yes, I think they did. When the original came out, I was blown away. I went to see it three times actually. I might be treating the original unfairly, but I really don’t see it as being one of my top 100 movies. Not when there are sci-fi’s like Blade Runner, Dark City, and The Empire Strikes Back out there.


Yeah, but then my list wouldn’t encompass all my favorites from all the different genres. I tried to have animation, drama, sci-fi, musical, western, noir, war, and comedy make up the list. I could easily have filled it with just a handful of directors.


I agree, there are cheesy films that I like quite a bit, but they aren’t my favorites. I really liked City Slickers and thought of adding it to my list, but there are so many more comedies that I like more, so I left it off.


Like I said to a couple of other questions, I wanted to make sure that there was not a disproportionate amount of movies from a particular genre on my list, so I left it off.


I didn’t pick any movie that wasn’t a personal favorite of mine. Notice that Citizen Cain isn’t included on my list. It’s arguably the best film ever made, but I didn’t really love it, same with Gone With the Wind, not a favorite. I never meant that I put films on my list because of their notoriety and not my actual love for them.


Because I have so many favorites. I had to pick among my De Niro favorites, and this one isn’t in the top three.


It’s on my top ten list for westerns as well.


Hell, memory changes the list constantly.


No it wasn’t actually. I liked the original better than the Scorsese version, but not enough to be one of my favorites. The Scorsese version did have De Niro though.

Great review for a great film.

This is truly one of my favourite films.

Thanks for the review and recommendation, Brian. I watched this tonight. Although depressing, a wonderful film. :up:

Great! I'm glad that at least one person here saw this movie. It is a sad movie, but so are a lot of good movies.

Hey, I have seen it, i saw it at the theater, It was a very moving story and well acted. http://pages.prodigy.net/indianahawk...wpage07/12.gif

Great! I'm glad that at least two people have seen this movie. ;)

Actually, I can think of a couple of other people that have probably seen it, but they haven't mentioned it.

Nice new avi LordyLord. http://pages.prodigy.net/indianahawk...wpage15/15.gif

Band of Brothers
 

Band of Brothers ****

The year is 1942 and the U.S. Army has decided to start training a newer type of combat unit; The Airborne Infantry. Episode 1 takes us through basic training and an introduction to the many men that we will come to know within the series. What I liked initially with this episode is the use of David Schwimmer as the tough Drill instructor. After tiring of his ceaseless nasal whining in Friends, we see that he is indeed capable of playing more manly roles. Hurrah for him. Unfortunately, he is a better instructor than he is a combat leader. By the end of the episode the men graduate and head to England. There they will finish their training, and eventually be dropped into Normandy.



The day is June 6th, 1944, D-Day. The allies drop the 101st Airborne’s Easy Company into Axis controlled France. Unfortunately, due to the severe anti-aircraft and severe weather, most of them are dropped sporadically across the countryside. Many die in the aircraft, either being hit by shrapnel, or by being incinerated in an exploding aircraft. The special effects used in this series is phenomenal. It makes movies such as Windtalkers look small and petty (I actually hated that movie) and ridiculous in comparison. The story follows Lt. White as he tries to find the rest of his company, and more importantly, the Captain who is supposed to lead them into battle. Unable to find the latter, he is thrust into the role of acting C.O. We find that he will be one of the most revered leaders that the European campaign had ever seen.



What I really liked about this series is how each episode is seen from a different soldier’s perspective. This one in particular is very successful at showing the overwhelming fear that a soldier feels in a combative situation. Pvt. Blithe is the central figure in this episode. He is a man who has built a wall around himself. A wall built of terror. We learn that after he lands at Normandy, Blithe does nothing to find his Company, or do much of anything at all. He lies down, shuts down, and sleeps until he is found. When he is found and regrouped with the rest of the company, they get orders to capture the town of Carentan, France. We follow the ordeal of Blithe not being able to fire his weapon, actually unable to do anything but hide in his foxhole. When he eventually gathers the strength to stand and fight, it is because he accepts the fact that he might not make it out alive, so he had better fight. There is a better chance of surviving if you face your enemy than there is by keeping your eyes closed. Near the end of the film, he has changed.



This is the story of the unsuccessful, and little known, operation Market-Garden. It was the allied attempt to enter Germany through Holland and end the war by Christmas, 1944. Easy Company enters a town in Holland where they are welcomed with open arms as liberators from German occupation. It’s also the story of Sgt. "BULL" Randleman. When Easy enters a nearby town, they find the German’s waiting for them and vastly superior in number. There is no other alternative but to beat a hasty retreat. However Bull is left behind. He has to hide in a barn overnight while a small group of his friends try to go back and rescue him. At one point, Bull is almost discovered, and only avoids capture by having a hand to hand fight with a German soldier. It is very successful at showing the chaos and sloppiness of real life or death fighting. There is no fancy kick, or nearby prop to save his life. Only his determination, and luck of the draw of being a rather large man. Very realistic.



This story is once again centered on Capt. White. Easy Company is sent to the Ardennes Forest to help hold the line against a massive gathering of German Soldiers. There the men find an enemy gun placement and have need to destroy it. Capt. Winters leads the attack and in the process, kills a German soldier who is only a boy. He is forever haunted by this and sees the boy over and over again when he goes to Paris, where he is sent on a much needed leave. This episode is centered more on the reprocussions of killing and what a man deals with when he has no other choice but to commit this act.



The German Army at Bastogne, Belgium surrounds the 101st Airborne. It’s the Battle of the Bulge shown from a perspective different from the most famous, being Patton’s. It’s always been hyped that Patton actually rescued these men, but they have always said they didn’t need any rescuing. And in this documentation, I tend to agree. This is also a medic’s tale. That’s whom this perspective centers with. Soldier after soldier is torn apart with only two medics to help them, and one of them can’t even find a pair of scissors to cut field dressings with. We watch the medic barely hold onto his sanity as he mends the men and watches many men die. He is easily one of the best characters in this entire series.



The men are in the middle of the woods in sub-zero temperatures. They have little water, and even less food. Only the highest brass has winter clothing and even they are freezing. It is a time of waiting and hiding in foxholes. They have little or no supplies, but keep plugging along. There has never before been a film able to show what real horror artillery is. Hour after hour the men are bombarded by mortar shells, and lose a great number within their ranks because of it. This is the story of a lieutenant who finally reaches the end of his rope, when he watches a mortar tear two of his best friends to shreds. While the lieutenant reaches his breaking point and is crippled by it, the men in question can bear it. It is a terribly sad episode.



Colin Hanks makes an appearance in this episode, as a newly graduated West Point Officer. I liked it because he managed to be respected in short order. Easy Company is on one side of the river within a shelled town, while the Germans are on the other side in their own-shelled town. The brass at the top decides they want some prisoners, so a 15-man patrol is sent to get them. It is a ridiculous order given by men away from the action, and when the men are successful, they get orders to do it all over again. It is pointless and made me angry, yet, it was also proof that some of the brass isn’t blind. When Major Winters tells them to get a good nights rest instead, and creates a false document saying the men were unsuccessful with the second mission.


Easy Company finds one of the first concentration camps during their push to Germany. It is profoundly powerful in its depiction of the overwhelming despair of the prisoners, the soldiers, and the German civilians who either didn’t know that this was happening just 10 miles away from town, or chose to ignore it. Not even Schindler’s List was able to capture what it must have been like as well as this series did during this particular episode. I think the most poignant part of this episode is when a translator has to inform all of the newly liberated Jews that they have to stay in the camp for awhile yet. It really is for their own good, beacuse when a person is at the point of starvation that these poor suffering souls are, any form of overeating can rupture their stomachs. They needed to be closely monitored in order for them to survive their rehabilitation. Powerful, powerful, powerful. And painful.



The way a soldier got to go home during WWII was either to be wounded in a way that he could not return, or to have been involved in enough engagements to earn 85 points. Some engagements were worth more than others, while getting wounded gave you the most. This is the end of the European Campaign. Hitler is dead and Easy Company has captured Hitler’s home: The Eagle’s Nest, which is situated high up in the Alps. Now these men who have fought hard, have nothing to do. Some of them have fought since Normandy, but are yet a handful of points away from being sent home. The frustration they must have felt could only have been extreme. Especially when they find that they are to go to the Pacific.

From The Earth To The Moon
 

Tom Hanks had an idea. He wanted to bring to light the entirety of the Mercury, Gemini and Apollo space programs in a venue that would resemble a documentary in essence, but still be shown in a movie like style. What he got was a chance to produce a 12 hour long mini-series for HBO that encompasses the lunar space program from its fledgling beginnings to its ultimate and inevitable conclusion. From The Earth To The Moon is an ultimate and intimate look at what it took to get a human being on the moon.



On April 12th, 1961, Russia launches Yuri Gagarin into space, making him the first human being to reach the stars. Not only does this stun the American Space Program, but it prompts President Kennedy to swear that America can, and will, land a man on the moon before the decade wears out. By May 5th, 1961, the Mercury Program launches Alan B. Shepard, Jr. into space for 15 minutes, but already, America is falling further behind.

Instead of focusing primarily on the astronauts, this episode mainly deals with NASA’s top officials trying to meet the Presidents expectations by breaking down the scenario step by step, and figuring out in what order their planning needs to take. NASA Administrator James Webb (Dan Laurie, The Wonder Years), and Flight Director Chris Kraft (Stephen Root, Office Space) have a lot to figure out and little time to do it.

I liked this segment because it showed the immensity, and the damn near improbability, of what NASA had to undertake. When Kennedy made his promise to the nation, there were no plans in place to send a man to the moon, and all of a sudden, it had to be done in less than ten years. I could feel a lot of pity for the brass involved who had accomplish this incredibly daunting task.



On January 27th, 1967, during a routine “plugs-out” test in their space capsule, Astronauts Gus Grissom (Mark Rolston, The Shawshank Redemption), Ed White (Chris Isaak, Little Buddha), and Roger Chaffee (Ben Marley, Jaws 2) are killed when faulty wiring sparks a fire within their capsule and turns it into an inferno from which they cannot escape. They are the first crew of the first Apollo mission and the disaster sets back NASA terribly. If that were not enough, a Senate Committee wants a scapegoat to hang the disaster on.

What is so good about this particular episode is that it focuses on Harrison Storms (George Rebhorn, Meet the Parents), VP of North American, which is the manufacturer of the capsule, and Joe Shea, Apollo Program Manager (Kevin Pollak, The Whole Nine Yards), who oversaw the training of the astronauts. Theirs is a relationship that jumps between friendship and blame, and back again. Not because either of these men are really at fault in any way, but because both are in terrible pain over the loss of the pilots.

What makes matters worse for everyone involved, is the fact that Sen. Walter Mondale (John Slattery, Mona Lisa Smile) wants to use this tragedy as a reason to pull the plug on the entire Apollo project. Mondale isn’t a traditional villain, but a man that sees the project as a waste of American resources that could be helping impoverished Americans, and other revenues that he deems important to Americans as a whole.

This episode shows all sides of the issue from every perspective possible, of this tragic occurrence. And what it was like to try and make sense of a senseless tragedy.



It’s been 19 months and 6 unmanned flights after the Apollo 1 tragedy, and now it’s the time for Apollo 7 to bring a much needed respite for NASA and to re-enthuse a nation that is still wounded from the loss of the three celebrated pilots. Astronauts Wally Schirra (Mark Harmon, Chasing Liberty), Don Eisele (John Mese, Night of the Scarecrow), and Walt Cunningham (Fredric Lane, Men in Black) are set to be the first men in space to accomplish the first American spacewalk. The Russians have already accomplished this task and America is desperate to catch up. But first the Apollo has to get up there in one piece.

What makes this episode unique is that it is filmed in the most documentary like style out of all the parts. Frank Burns (Peter Horton, Children of the Corn) is a documenter who follows around not only the pilots, but Hanger Chief Guenter Wendt (Max Wright, ALF), and many other people whose jobs it is to make sure that the blast off is successful.

It shows the relationships between the most celebrated people in NASA, and the people nobody has ever heard of, but are no less important. Also, it is easy to appreciate just how nerve racking this mission in particular was to everybody involved. One mistake could mean the entire collapsing of the lunar project and all the hopes of man making it to the moon.



The year was 1968. Martin Luther King, Jr. and Senator Robert F. Kennedy were assassinated. There were major riots at the Chicago Democratic Convention, Spain was in civil war, riots plagued Europe almost in its entirety, and the Vietnam War was kicking into high gear with its first reports of massive casualties. It was also the year that Astronauts Frank Borman (David Andrews, Terminator 3), Jim Lovell (Timothy Daly, Against the Ropes), and William Anders (Robert John Burke, Thinner) set out to be the first astronauts to orbit the moon. It is the year of Apollo 8.

This episode proves what kinds of risks everyone at NASA was ready to take to accomplish their mission of landing on the moon before President Kennedy’s deadline. Russia was right on America’s tail at this point, and in order to make it there first, the crew of Apollo 8 had to leave Earth’s orbit with only a single engine in place to bring them back home. If, for some reason, that engine didn’t fire while in the moon’s orbit, they would circle the moon forever, ending the lunar project.

The astronauts didn’t even think about not going, and it made me wonder why they were so readily able to make such a risky sacrifice. Once they made it there, however, it was evident by the looks on their faces when seeing Earth for the first time from the moon. What makes this segment so sweet is the absolute child-like wonderment that falls onto the faces of the pilots, and really shows us why man wants to go to the moon.



NASA could figure out how to get man into orbit around the moon, but somehow, they had to figure out how to land him on the surface. Starting with Tom Dolan (Alan Ruck, Ferris Bueller's Day Off), a lower echelon engineer, the idea was born.

Episode 5 is all about the lunar excursion module’s (LEM, or affectionately nicknamed Spider), conception. From that single engineer whose idea was scoffed at, to John Houbolt (Reed Birney, Uptown Girls) finding the diagram in the trash and deciding to jump hurdles to get it noticed, to the brass that finally saw its potential, and finally to the company who won the contract to make it work.

For nine long years and tens of thousands of tests, it is shown how an idea becomes a reality. Engineer Tom Kelly (Matt Craven, Dragonfly), who heads the project, narrates this episode, describing what it took to get “Spider” off the ground, and the incredible amount of stress and sacrifice for all of those who worked on it. Engineer Bob Carbee (Grant Shaud, Murphy Brown) helps him every step of the way to make their dreams a reality, and to help assure that they meet the deadline for Apollo 9’s launch date. Apollo 9 needed Spider ready on time in order to test whether Spider can be successfully docked to the main module, and Apollo 10 was the mission to see if Spider could actually fly in the moons orbit. If both those missions were successful, then Apollo 11 could land a man onto the surface of the moon.



President Kennedy’s dream is about to be realized; Apollo 11, with its crew of Neil Armstrong (Tony Golwyn, Ghost), Edward “Buzz” Aldrin, Jr. (Bryan Cranston, Malcome in the Middle), and Michael Collins (Cary Elwes, Glory) are ready to land on the moon.

This episode centers around two things, first is the landing with Armstrong’s famous, “One small step for man, one giant leap for mankind”, and secondly, the relationship between Aldrin and Armstrong. They are friends, but Aldrin wishes to be the first to step on the surface even though Donald 'Deke' Slayton (Nick Searcy, Runaway Jury), NASA’s flight director has already decided on Armstrong.

What I liked most about this segment is Aldrin. I never knew what a religious man he was and what he did on the surface. Instead of focusing on the possible dissention between the two men, it showed how well Aldrin accepted his orders and made do with what he was given. After landing on the surface, Aldrin takes communion, and tells Armstrong how important his friendship is to him. It’s a powerful moment and really made this part in history personal.



Apollo 12 will never be known as well as Apollo 11, but there is still an absorbing story that goes along with it. Astronauts Al Bean (Dave Foley, The Kids in the Hall), Pete Conrad (Paul McCrane, ER), and Dick Gordon (Tom Verica, Murder by Numbers) set off to be the second group to land on the surface of the moon.

This is easily my favorite of all the episodes. The story is narrated by Al Bean and is told in a humorous light throughout. It is a lighthearted tale of the foibles that plagued them on the surface. Like Bean aiming the first color camera towards the sun even though he was warned not to and making it where the entire mission had no television up-link, and not being able to find the timer for their camera that they sneaked onboard. It proves that behind every successful mission, there must be a crew that is close-knit and professional, and able to laugh and have fun at the same time.

Dave Foley plays the best part in the entire series hands down, with his wide eyed exuberance and self-effacing mannerism when talking about his role in the crew. Also, this is the most engaging crew out of all of them, because out of the entire history of NASA crews, these are the only men that still remain to be best friends to this day, giving them a quality that most others seemed lacking.



During the near catastrophic occurrence of the well-known Apollo 13 mission, the press back at home was undergoing a tragic transformation itself. Instead of the professional journalism that had been prevalent in times past, sensationalistic reporting was starting to take over. This is its story.

Emmett Seaborn (Lane Smith, My Cousin Vinny) is a reporter who has been the voice for NASA since the beginning of its space program. He has used integrity and professionalism throughout his stint as journalist for the program, and finds that during the Apollo 13 mission, that he is getting the shoulder by a new vice-president at his station. The new brass and their favorite reporter Brett Hutchins (Jay Mohr, Pay it Forward), don’t want to hear about the technicalities that go along with the story about how the crew may get back home, but would rather have in your face reporting about the crew’s families, and on the spot reactions from them.

It is a depressing story, given what we know about tabloid journalism which is so widespread throughout the world today. We know that the valued Seaborn stands no chance, even though he fights, because that is the way the world was changing. It’s a very bitter pill to have to take.



Grounded since 1963 with an inner-ear disorder, experimental surgery has finally cleared America’s first Astronaut to command an Apollo mission. Yet, by now Alan Shepard (Ted Levine, The Silence of the Lambs) is 47 years old, and has to prove, once again, that he is made of the right stuff to be in command of Apollo 14.

This is a story of an underdog. Shepard has to start all over again after being the premier pilot for NASA. Not only does he have to prove himself to flight surgeons, NASA brass, and his own crew, but he has to prove it to himself that he can do the job at hand.

This is a little known story about the space program. Alan Shepard is known in history as the first pilot to break the sound barrier and the first American to leave Earth’s orbit. But he did walk on the moon. It’s a truly inspirational story that leaves you feeling good.



Apollo 15 is the first mission where geology comes into play. The crew that is to land on the moon this time has specific requirements to meet. They are to look for specific rocks and to know what to look for. Unfortunately they are engineers and pilots, not geologists.

This is my second favorite episode out of the series. It focuses on what the bigger picture was concerning our objective to reach the surface of the moon. Scientists wanted to know whether the moon was a stray asteroid that got caught up in the Earth’s gravitational pull, or if it was part of the Earth at one time, and broke off while the Earth was still forming. This story is from the scientist’s perspective.

Astronauts David Scott (Brett Cullen, The Replacements), James Irwin (Gareth Williams, The Cell), and Alan Worden (Michael Raynor, TripFall), sit all day in a classroom trying to stay awake while a dry professor speaks the Latin words for each rock in the history of science. Until Dr. Lee Silver (David Clennon, The Thing) comes along with a new style of teaching; field trips. Taking the men out into the brush, showing them how to see the story of geology as it is laid out before them, and helping them realize the vision of what the universe may consist of, and how it may have developed, finally gets through to them.

When the crew lands on the surface of the moon, they are pseudo-geologists, and see the bigger picture of what is there before them. And instead of thinking that making it to the moon was the greatest thing in their lives, they think that finding a piece of the moons mantle is the most satisfying accomplishment in their career. It is a beautiful episode.



The wives of the astronauts had their own tales to tell. From the expectations of their keeping family strife free from the pilots, keeping the public image squeaky clean, to keeping the home running smoothly. This is their story.

This story is told individually during a fashion show where the wives are put on display. As each one of them comes down the runway, a segment of the story branches off to show what each one of them had to deal with. It centers on the Gemini 9, who were the second set of astronauts to join NASA. Out of all nine couples, only two remain married today.

It is a rather sad tale that these women share. Susan Borman (Rita Wilson, The Story of Us) becomes an alcoholic due to lonliness, whereas Betty Grissom (Ruth Reid, Night Flier) becomes despondent when her husband dies during the Apollo 1 tragedy. It really shows all the different types of problems these sometimes-unfortunate women had to deal with.

My favorite segment of this particular story centers on Astronaut James Lovell’s (Timothy Daly, Wings) wife, Marilyn (Elizabeth Perkins, He Said, She Said). However unfortunate the other women are in their lives, this is a story of perseverance and true acknowledgement by her pilot husband. When he finds out, after he comes home from a long stint away, that all of his children have had their tonsils out, he gets angry that his wife never told him. When Marilyn informs him of what it has been like as a wife of an astronaut, how she had to decide what he should know and all her other duties, he sees just what she has done for him. In a heartfelt moment, he gives her due. It was a beautiful moment.



Apollo 17 was to be the last of all the Apollo missions. Congress has cut all funding for the lunar program due to an overall lack of interest by Americans, and to keep funding the Vietnam War. Astronauts Gene Cernan (Daniel Hugh Kelly, The Good Son) and Harrison Schmitt (Tom Amandes, The Long Kiss Goodnight) are to be the last humans to ever walk on the moon.

In this episode two stories are told. The first part is the story of George Melies (Tchéky Karyo, The Patriot) and his cameraman Jean-Luc Despont (Tom Hanks, Forrest Gump) who had the vision of going to the moon. Melies made the film in 1902 called Le Voyage Dans La Lune, it’s the film where the rocket shoots the ship to the moon and hits it in the eye. It is told to show the beginning of dreams and the second story is told to show the end of them.

This is a rather poetic story because with Apollo 17, the first true scientist is on the moon. Just when NASA is getting good at sending man to the moon, they have to stop to fund a war. It’s so depressing that mankind hasn’t been to the moon for over three decades, though we have the knowledge and technology.

“George Melies took millions to the moon with his moving picture. It was a vision that would shape our destiny.”

I finally got to watch this today, I loved it also, a bit depressing at first, but i soon got into the characters, thanks for the review and recommendation. :cool:

I'm glad you enjoyed it Nibbles...now go out and rent the DVDs I just reviewed! You'll be thanking me again. :)

My problem is that they take so long to come out here, and i live in a small coastal town, :rolleyes: but I have put them on my list of must see :D

Yeah, yeah, sure. They both came out in the 90s. :suspicious: ;)

Ok, Ok, not keen on war stuff or moon stuff. I had to go to a few video shops to get "Italian for Beginners" one guy told me that they don't keep educational videos and I should go to the local library, they may have it, so you can see what I am dealing with. :rolleyes:

hehe, I understand.

Looks like most people feel that way. Rather a waste of time writing these reviews.

Nonsense masked wonder. It's just that you knock them off at such a trot that we have to gallop to keep up and comment ;). You know you're appreciated you classy-film plugging lug you ;)

(as for watching all of them - they're on the list man! My latest excuses for not making enough headway with it is....i don't get home til 7.30 these days, and i'm too tired to go to the only decent video store in the area....And you keep adding to it :))

Oh! I didn't quite say what I meant. :confused:

Wait! What I mean is that I didn't mean what I meant to say. :confused:

*URGH* I mean...I wasn't looking for pity by making it sound that I'm not appreciated, I meant that my last two reviews are not what a lot of people are interested in, that's all. But thhanks for your kindness Mr. Frodo. I know I can always count on you. :)

I hope that people will take me up on my next review, because it is one of the greatest movies of all time...

All Quiet on the Western Front
 

All Quiet On The Western Front ****

A Universal-International Presentation

Released: 1930

Director: Lewis Milestone

Starring: Lew Ayres, Louis Wolheim, Slim Summerville, William Blakewell, John Wray, and Arnold Lucy

Novel by: Erich Maria Remarque

Adaptation by: Maxwell Anderson

Screenplay by: George Abbot


16 year old Paul Bäumer (Lewis Ayres) sits in his class hating that another beautiful day will be wasted listening to his professor drone on and on about this or that or the other thing, but this particular day starts out differently. Today, Professor Kantorek (Arnold Lucy) will change not only his life, but the lives of his friends, by preaching to him and his fellow classmates about the glories and honor of fighting and dying for the Fatherland. The year is 1914 and Germany boasts that it can and will fight a quick war, crushing its enemies, but it needs all of its valiant, young, German men to fight in order to do it. The professor, who is old, naïve, and never been in a war, believes it, and makes his students believe it as well. In a near spasmodic rush of adrenaline and emotion, he quickly whips the boys up into a fervor and they joyously follow him in a rush of excitement to the recruiters office.

They’re not the only ones that are caught up in this seemingly glorious enterprise. Postman Himmelstoss (John Wray) is also excited to enlist. With his experience in the postal service, the Army offers him a non-commissioned rank and promises him seniority and authority. Himmelstoss brags to every customer who greets him for their mail that he will soon be fighting for the Fatherland, and that there is nothing so noble as giving oneself for his country. This begins the epic telling of idealism falling away towards disillusionment when facing the realities of war while having to kiss death every moment of every day for the entirety of it.

Bäumer and his friends are quickly relegated to a camp for training, there they find their old friend and postman Himmelstoss. They quickly find that Himmelstoss is not the congenial man they once new, but a hardened drill instructor, who is ready to whip these boys into shape, or kill them trying. From a once near lifelong companionship, they soon find that there is no such thing as friendship when it concerns rank, and they are brutally trained for the rigors of war. Even then the fighting seems so far into the future, the young men only concern themselves with getting even with Himmelstoss, who seems to endlessly humiliate them. Too soon they find that there are a great deal of other things for them to have to worry about for, before they are even aware of it, training is over. It’s time to go to the front.

Fortunately for Bäumer, once at the front he meets Katczinsky (Louis Wolheim) and Tjaden (Slim Summerville), two battle hardened veterans who teach him the ins and outs of survival at the front. Yet, even though meeting them is of great benefit, the horrors of warfare are not daunted at all. During WWI, fighting consisted primarily of trench warfare. Men would dig 6’ to 8’ deep trenches that could stretch on for miles, and within these trenches, small bunkers would be made with standard wood struts and supports. That’s not a whole lot of protection from week long bombardments from enemy artillery. It is this that teaches the young men what the professor would have claimed as honor and glory, but what they quickly understand as terror and panic. This is only one of their many lessons they will learn before either the war is over, or they die.

This is a movie that lends a poeticism to warfare, yet does not glorify it. It punches you in the nose with its apparent message; war is hell. Many scenes haunt the viewer because it is told in a way so that one can see himself in the position of the recruit. For example, when Bäumer scores his first kill, it is behind enemy lines in a crater from his own army’s artillery. He jumps in to avoid being shot, only to be followed in by a French infantryman. When the two see each other, a quick fight ensues, with Bäumer being the victor with a decisive thrust with his bayonet. Unfortunately for him, he is stuck behind the lines and cannot make a hasty retreat. To make matters worse, his adversary does not die immediately, or easily, but lingers on with groans and whimpering. This changes Bäumer because he cannot just simply relish that he survived, but he has time to sit and ponder the ramifications of what he just did over a period of days. While the enemy dies, Bäumer begins to understand that the man is no different from him, and shame and remorse begin to tear through him. By the time he makes it back to Katczinsky, he is mentally exhausted, and completely disenfranchised to the glories of battle.

Another excellent example comes after Bäumer is wounded in battle, recovers, and then is sent home for a short leave. Bäumer comes home to see his Mother, who still sees him as a child and tries to make him promise to get a job well out of the way of the fighting, and his Father, who is ridiculously inept to understand what his son has gone through and begs him to wear his uniform everywhere so he can parade him to his envious neighbors. But the best scene in the movie is when Bäumer goes back to the school where his professor first enticed him to enlist. As he walks through the door, he hears the professor doing the same thing to his current class. By this time, Bäumer has been fighting in the war for three years, and has no illusions, grand or otherwise, about what war is like. The professor asks him to speak to the kids in the class telling them that this is a man to look up to, that he is a hero with an understanding of the nobility of fighting for the Fatherland. But when Bäumer turns to speak, he says, “We live in the trenches and we fight. We try not to be killed. Sometimes we are. That’s all.” When the students begin to boo him for behaving as a coward, he shouts to them, “You still think it's beautiful to die for your country. The first bombardment taught us better. When it comes to dying for country, it's better not to die at all!” He knows deep in his gut, however, that they will still enlist.

All Quiet On The Western Front is popularly known as the definitive anti-war film, but it is much, much more than that. Not only does it deal with the horrors of combat, but it breaks down what rigorous daily dealings with death, whether it be by one’s own hand or the witnessing thereof, can, and ultimately will do, to ones psyche. It’s told by a soldier. An infantry man. He’s not any different than any other soldier that has ever fought in any war, because he believes in what he is doing, even though he may not truly understand why. When the veil is drawn and the suffering begins, the belief will often crumble away and change into a longing for peace and understanding, which had been lacking all the time before. Tragic and poetic is the life of all soldiers, though even if they somehow live through the fighting, in the end, there is only death…and butterfly’s.

Knew the name and the fame. Now i want to see the worked-thru pain that you've evoked here.

(and on a flippant note - dammit, you've got to stop doing this! My list is such a blissed-out bloated beast i'm worried its been having a love-trist with one of the MoFo-Movie-tab-feasts ;). I'm seeing this one with my mates this weekend at the very least :). - Nice pagesetting btw. I've gotta start faffing with that stuff. You could compile all these reviews into a killer film mag by now, sure enough ;))

(alright, my rhymes are getting stretched. Time i was off to bed. Ah cool, bed goes to my head and the rhymes decline. [Ahhh, i couldn't resist ;])

Thanks for replying Golgot!

This is an amazing film and hope that after you see it that you return here to let me know what your thoughts are about it.

Brian,

Your reviews are looking rather "spiffy." I like the look with the images included throughout the review. Are you sure you don't want to join me in writing reviews for Movie Reviews 4 Fun? The way you're pumping these reviews out, what's one more every two weeks? and you'd have a couple of others guaranteed to have watched the same film within a two week period. :D (Birdman of Alcatraz by next weekend, if you're interested) ;D

Sure, I'll write some for ya' if you'd like. I'd have to write reviews for movies that you choose, or would I just need to choose older classics myself?

The next ten films are already chosen. One film every two weeks, which will take us to the end of June before we pick our next ten films. If you become a "regular," you'd get to help make the next list of ten.

Like I said before, the current film is Birdman of Alcatraz by next weekend. For sure, there will be two others writing reviews for this film (counting me), but possibly four (I've had two others express interest, but we'll see what happens).

I'd love to have your participation. Click on the link in my signature that will take you to the "Film List 31 to 40" page. From there, you can navigate to the home page and other pages if you want to look around more or read some of the other participants' reviews.

Let me know if you have questions about submitting them to me for me to post.

Sure, I just started working again, so I'm at the mercy of the library for my movie viewing. They have thousands of movies, but I have to place them on hold. I doubt that I could get a copy of Birdman for your next deadline, but I just placed holds on the movies following it on the list. Count me in, bro. Sounds fun, and thank you for asking.

Great! :cool:

Looking forward to it!

No, No, I like them, :yup: see you at reveiws 4 fun :D

I just meant the two HBO mini-series. Thanks though. :)

I watched this yesterday, I saw the R rated version, I actually quite liked the little bit of real porn :randy: "get back the the movie" It's not a movie that i want to watch over and over, only because i found it quite sad, It could be the horror version of "The Secretary" It was wonderfully acted, the setting bleak and cold, I would hate for this movie to have been made in Hollywood, as i feel Erika's character could end up looking like some ethereal, botoxed nymphet, instead of the mad woman Huppert's was, is. :)

It's good to hear that you too liked this film, Nebs. It is a great film. :yup:

Hey Bri', please write a review on The Passion of the Christ. I would love to read it ! :)

You talked me into it. :)

The Passion of the Christ
 

The Passion of the Christ ****

Cast: James Caviezel, Monica Bellucci, Maia Morgenstern, Mattia Sbragia, Hristo Shopov, Luca Lionello, Hristo Jivkov, Claudia Gerini, Francesco De Vito, and Rosalinda Celentano.

Director: Mel Gibson.

Writer(s): Benedict Fitzgerald and Mel Gibson.

Country: USA

Language: Aramaic/Hebrew/Latin

Length: 126 minutes.

MPAA Rating: Rated R for sequences of graphic violence.

Released: 2004




I was raised in a very religious home. As far back as I can remember, my childhood consisted of church on Sunday mornings, Sunday evenings, Wednesday evenings, as well as Thursday evenings. My Mother, God rest her soul, was an extremely devout Assembly’s of God Christian, almost to the point of being a zealot. Her Brother, my Uncle, was an Evangelist, so was his wife. My elder Brother joined the flock as a Minister, so I also learned from him, whether I wanted to or not. I have been a believer, a non-believer, a back-slider, a denier, and an Agnostic throughout my life. Now, I have no idea what I believe, or what I don’t believe, or what my faith may consist of, or not consist of, though I do have a feeling that faith is almost instinctual (at least with me) with most people nowadays. Though a person may deny the existence of God, there is still a small kernel, more often than not, deep down inside, that believes. No matter what kind of belief you may have, or non-belief, for that matter, The Passion of the Christ is a film that will probably leave an emotional impact on you, and may even possibly lead to a deeper introspection of everything you have ever know before. If that was Mel Gibson’s motive, then he was probably successful.

The Passion of the Christ begins with Jesus’ (James Caviezel) arrest at Gethsemane. It is there where he is filled with fear and worry about what is to befall him, and what the future may hold. It is also there, where Lucifer (Rosalinda Celentano) tries to tempt Jesus to abandon his God and to take the easier path, which can only lead him to damnation. While this is happening, Judas (Luca Lionello) is selling Christ to Caiphas (Mattia Sbragia), the Pharisee leader of the Sanhedrin, for 30 pieces of silver. Judas, who’s motives are never truly known, informs on Jesus’ whereabouts and assures that he will kiss the man known as Jesus of Nazareth, so the soldier’s will know who to arrest. When the soldier’s of the Sanhedrin (The Bible notes that it is actually Roman soldier’s, not Jewish) accost Jesus and ask his name, it is Judas who provides the proof by giving a kiss that equals death upon Jesus. Jesus says onto Judas, “Judas, betrayest thou the Son of man with a kiss?” Thus, the beginning of the end befalls them both.

During the next hundred minutes, or so, we are to be witnesses of the extreme brutality that Christ suffered during the last twelve hours of his life. It is a brutality so severe, that many critics are calling Mel Gibson a sadist, with a perverse taste for the macabre. I don’t personally see him as such. I see Mr. Gibson as a man whose faith tells him to tell a story that can, and most likely will, reach people in a way that will cause pause for reflection and introspection about their beliefs, or simply their lives. I suppose for a devote Christian, if one soul can be saved with the making of this film, then the millions of dollars spent on it, well, are well spent. Regardless of what Gibson’s motives were for making this film, what resulted was a contemporary masterpiece.

I’d like to take a moment to address the issues that many critics and viewers are sharing about the overall message this film delivers. I have read that some Christians are unhappy because The Passion of the Christ totally bypasses the true meaning of Christianity; love. I really don’t understand this viewpoint at all. Gibson didn’t want to make another movie about Christ where he delivers his message from the Temple on the Mount, resurrects Lazarus, or heals the leper. Gibson wanted to make a film that would give us an insight of the supreme sacrifice Jesus made for all of us. I cannot, for the life of me, see how that isn’t a message of love. Just because a person feels uncomfortable seeing what he went through, the extremely horrendous truth of it, doesn’t mean that the message is wrong, or not there at all. Quite the contrary, what greater example of God’s love could be shown to us? He gave his own Son to save the lot of us. That God would, and did, let his son take the sins of our kind onto himself, and that Jesus bore this burden without regret or resentment, is a testament for both of their capacities for love. It’s completely ludicrous to me that somebody could claim that this film has lost its purpose, and ultimately strayed from its intent and idealism.

Another, well, actually, the largest, controversy in regards to this film, is whether or not it is anti-Semitic. Throughout the film it depicts many of the Jews hating Jesus and calling for his crucifixion. Well, I hate to break this to you all, but that happened. It also shows Pontius Pilate as being regrettable for being forced to comply with the Pharisee’s demands. Again, that’s what is documented, too bad if you don’t like it. It’s also true that Claudia, Pilate’s wife, was a believer in Christ, and begged Pontius to spare Jesus’ life…are we starting to see a trend here? Gibson didn’t lean one way or another at all, he stayed within the Testament, and provided us with a graphic illustration of what happened. It can’t be helped that there are ignorant people out there that want to lump an entire race together and accuse them of being Christ killers (I, personally, am not that ignorant). The only way to give idiot’s like that any merit is to acknowledge their claims by being defensive of them. To not afford them with any form of denial is to rob them of the strength for their argument. Claiming the Jews were at fault for killing Jesus is ridiculous. It wasn’t the Jews, it was the Sanhedrin of Jerusalem. They were threatened by Jesus, that is to say, the leaders who had control of the populace were threatened by him. They knew that if Jesus were to establish to strong a hold over the population, they were, basically, out of a job. That’s a human for you. It could have easily been any type of religious entity that could have felt that threat and acted on it. It just so happens that it all happened in a Jewish land. They were men in power, not an entire faith. Those men were the ones who instigated it. Not the Jews. Another viewpoint about that that I like, is what Roger Ebert said on the subject, “Jesus was made man and came to Earth in order to suffer and die in reparation for our sins. No race, no man, no priest, no governor, no executioner killed Jesus; he died by God's will to fulfill his purpose, and with our sins we all killed him”. That’s an opinion that I really believe in, because it makes perfect sense, and is a completely logical conclusion if you are a true believer of God’s doctrine.

I’d like to get back to the movie at this point, instead of focusing on all of the religious faction’s arguments why this movie should not be respected. But there is one thing I feel obligated to say before I continue; do not take any young children to see this. The torture that Jesus goes through is much too realistic for young eyes. There are scenes where flesh is torn from Jesus’ body by cat-o’-nine-tails (a whip made up of knotted tails with bits of metal or glass attached) that is up close and personal, scenes where he is punched in the face in such a realistic manner, I heard people in the audience gasp and moan, scenes where Jesus is shown with his flesh torn so much that he appears to me more ripped flesh than whole, and scenes where Satan is involved that could easily terrify small children. Please think twice before taking anyone under the age of thirteen.

There were so many different scenes that broke my heart that I lost count. It began with Peter (Francesco De Vito). According to the Gospel of Mathew, Jesus says unto Peter, “Assuredly, I say to you that this night, before the rooster crows, you will deny Me three times." Peter, of course, doesn’t believe him all together. He says to Jesus that he would follow him anywhere, even unto death, but when Jesus is arrested and brought to the Sanhedrin temple to face judgment, people in the crowd recognize Peter as one of Jesus’ disciples. When they grab on to him and begin to denounce him, he swears that he is not Peter, for fear of death, and that he has never seen Jesus before in his life. There is a moment, after peter has denounced Jesus three times, that Jesus looks Peter in the eye from across the chamber, and the memory of what Jesus said floods back into Peter’s memory. The look on Peter’s face can break the Ice Queen’s heart, especially when he runs from the room and is confronted by John, Mary, and Magdalene. It is there where he falls to the floor on his knees in front of Mary and confesses his weaknesses, and it is also where my heart breaks for the first time. There are many more scenes like that, so I won’t waste your time by listing them. But, needless to say, even the most stalwart person will have a hard time not being moved by the endless heartbreaks portrayed in this movie.

I must say that James Caviezel is the perfect choice for the role of Jesus. He is a beautiful man who is easy to love, and it is because of this, I’m sure, that he was chosen for the role. Computer enhancement was used to color his eyes brown (they are naturally pale blue), and he spent some time tanning, to make sure that he could pass for a Jewish man. I’ve read a couple of reviews that bashed the film for using a whit man for the role of Jesus. I can see the validity for that argument to a certain extent, but the truth is, James Caviezel is a beautiful man. It is easier for the audience to feel compassion for a man that resembles the stereotypical rendition of Christ, and is also so handsome and charismatic, that it is hard not to love him. Caviezel is so wonderful in the role, that it may be, for some, what they picture in their dreams and prayers when they picture Jesus. I’m equally impressed with the way Caviezel learned Hebrew and Aramaic for the role. He spoke it with pitch perfect tone and inflection. That must have been extraordinarily difficult, so I only have a deeper respect for him as an actor. Actually, all of the actors did an extraordinary job. I truly, and literally, hated the Roman soldiers that were in charge of the scourging and crucifixion of Jesus. They played the hateful soldier’s so perfectly, that most of the audience was sickened by them. The acting all around was superb (I was especially impressed with Rosalinda Celentano’s portrayal of Satan; wicked and eerie, to say the least).

Upon viewing this film, I could only see a small handful of liberties used by Gibson in the interpretation of the Biblical text. One was who actually arrested Jesus, another was the destruction to the temple during the earthquake after Jesus dies. In the Bible, the temple head is separated from the common room with a huge curtain, and the curtain is rent asunder during the earthquake. In the movie, however, it shows the cement steps and platform being broken in two. It is certainly more dramatic that way, and really doesn’t take away from the overall message; that the Christ was really the Son of God, and that his death caused the destruction. According to Abenader (Fabio Sartor), the Sanhedrin attorney, Jesus claimed that he could tear asunder the temple, and rebuild it in 3 days. It took decades for them to build the temple, which is why he used this as another blasphemous utterance by Jesus, because he believed there was no way to build the Temple in only three days. Little did he know that Jesus was talking about himself; being his death and resurrection, and not the actual Sanhedrin temple itself.

Another point about the film I’d like to address is the pitch perfect score by John Debney. Not only is it beautiful and haunting, but it never takes away from the film itself. There are so many movies (Spielberg’s for example) where the massive score detracts from the film itself. It can sometimes become a nuisance, but not here. The score plays well with the film in a way that it isn’t obtrusive or distracting in any way. It is as perfect as the film itself. Caleb Deschanel’s cinematography is also a wonder to behold. At times it is so close that you can almost smell the sweat and blood, and at other times, just the perfect distance away from the action where you can get the true feel of all the different personalities involved. It is truly a beautiful film to look at, regardless of its brutality. I find it hard to find a complaint to lodge against either of these men. I am in awe.

My total analysis of The Passion of the Christ is this: It is a beautiful film about a beautiful person, during his beautiful sacrifice for an ugly people. We should look at this film with an open eye and be humbled, because above all, it is a message of love, given to us by a loving man, with love in his heart, and all we have to do is accept it.

By now your reviews have become impressing in themselves, regardless of content, Brian. Great review as always. :yup:

I wish I could see this film today so I could come back and comment on it. There are a few things in your review that makes me extra interested. ;)

I haven't seen it yet but I'm pretty sure about one thing though. Judging by the stills I have seen from the film it is absolutely unbelievable that this film is rated R. The occasions where I think the NC17 is really justified are easily counted, but this kind of realistic and brutal violence clearly calls for it. Once again the MPAA have proved their total lack of understanding for cinema. :rolleyes:

I completely agree. :yup:

Wow...Bri...that was an outstanding review. You can tell you really put your heart into it by the warmth of your phrasing. Warmth...that's what I feel when I read your reviews. :)

I can't wait to see this movie.

I missed this when it came on TV here in the UK and have only recently started to watch it. I've seen the first 6 episodes, and I have to say this is without a doubt the best TV series around. Truly Exceptional work, I love the feel it has, like each one has its own unique style and each are unique, such a great idea to have different directors for each.

I truly can't wait to see the remaining episodes. Great Review again :D

Wonderful review for The Passion Slay… thank you…

I just found the time to read it, and I have to say, that is without a doubt the bes treview for it I have read, brilliant review, keep it up :)

Its a shame that I, living in the UK, have to wait a while to see this, as I am eager to see this film, though I have absolutely no religious background or belief myself, I feel this is a experience that I must be a part of.

Thank you for the review.

Absoltutely great Passion of the Christ review Brian. I read it and was moved.
I copied the review for my family to read, and they just loved it. My mother seriously suggested you should a professional movie reviewer. You have a great talent....stick with it. ;)

Thanks everybody for your nice comments. I had to literally stop myself and edit things out of it, because it was getting rather lengthy. It was damn near a thesis. I really loved this movie.

LordSlaytan, your reviews are incredible!

You should be getting paid!

Wow! Thank you Loner, I really appreciate that. Thanks a lot. Have you seen it yet?

Brian,

I normally shy away from reviews of films I haven't seen because I don't wan't the film to be spoiled for me, but since I pretty much know the storyline of The Passion of the Christ, I've been reading a lot about it over the last few days. Of all the reviews and comments I've read about the film, yours is the only one that clearly expresses two very important things: 1) this is a film telling a story from an historical source, and 2) no matter the spiritual background of the viewer, the film deserves to be recognized for its artist value.

The effort you put into this review is staggering (or maybe it wasn't an effort at all because it seems to come naturally for you). Wonderful, wonderful review! I can't wait for the day when I can say I knew you when you were writing reviews for free!

very good review LordSlayton it was excellant in fact so excellant i made a word for it, it's called Slaysiouslyilliant.

Forgive me for the pun-but you really nailed it.

Thanks Mark, your words mean a lot to me. I respect you, and your talent as a critic, a great deal. So, when you say wonderful things like that, I feel very good about what I am doing. I see myself as a descent amateur critic, not great, but okay. When I get some nice feedback like what you and my other friends have given me, I just want to keep striving to make better reviews. I just need to take a couple of English comp classes. :)

Thank you as well, Glittergirly, you're a sweetie. You made me :blush:

I haven't seen it yet.

But back to you, seriously you should write reviews for the newspapers.

You're in the Portland Oregon area?

I found this review in the Oregonian http://www.oregonlive.com/movies/ore...0631227780.xml, I liked his article, but didn't think it was as good as yours.

Look at this totally lame review by Jami Bernard http://www.nydailynews.com/front/sto...p-146309c.html, she gets paid to write like this?

There has got to be someone in your area that can recognize your talent.

Thanks again Loner, but I really don't have the ability to write professionally, but it's nice to hear. As far as that second review, it just irritates me to no end. I read it the other day and couldn’t believe somebody, a professional someone, could be so bloody blind. How can showing the Sanhedrin accurately, according to Biblical text, be anti-Semitic? It’s in the Bible that the Priests ordered a torn Pilate to crucify Christ. It’s documented that Pilate only did it under fear of death. His wife believed that Jesus was the Son of God! And finally, this movie wasn’t about Jesus’ message, it was about his death. I’m sick of critics not understanding that.

You know… 99.9% of the time I agree with you… but this is one of the rare occasions when I am going to disagree… you have the right stuff M'Lord...

agreed

http://pages.prodigy.net/hauxfan/Signs/Group_4/29.gif

I've recently been invited to post reviews for Mark's Movie Reviews 4 Fun movie site. So, from now on, I will be posting links every two weeks for reviews of mine that are submitted there. I encourage all of you movie lovers who enjoy pre-1970 films to go check out his site, where you can not only join in on discussions about the current movie up for review, but browse through other excellent reviews already written by Mark and his friends, like; The Magnificent Seven, Paths of Glory, The Lavender Hill Mob, and many, many more.

This weeks movie is 1962's Birdman of Alcatraz which is directed by John Frankenheimer and stars the incredible Burt Lancaster. Here is the link to it. Enjoy!

Brian

I liked your review of the "Birdman of Alcatraz" and thanks for the history lesson ;) http://pages.prodigy.net/indianahawk...wpage15/15.gif

hey man very nice reviews, i like your presentation of the films.Especially for passion of the christ

Great review for Birdman of Alcatraz Slay... :) Thanks for the all the history... I think I'll do a re-watch on this one when I can...

Just got to reading your Birdman of Alcatraz review. Great review Bri', just as always.

Same here.....I enjoyed it very much so. :D

well i must agree with e veryone here..your review was excellent..

this has always been one of my favorites and burt lancaster was excellent as robert stroud...i just might pick it up after not having seen it for a long long time..

thanks again for your excellent review

Wow! Thanks all of you guys! :gushing:

REP POINTS FOR ALL!!!!!

YEE-HAW!!!!

I finally had a chance to sit down and read your Birdman of Alcatraz review. Very nicely done. I really liked the history lesson along with your review. And, I also liked the way you summed up your views in the last paragraph. Very well done indeed. :)

Crazy review, I feel like maybe I don't even need to see the movie it was so thorough. Nah, that's a bad idea, I'll see it ;)

And Annie, if what you mean by last paragraph is the "Tweet, Tweet" drawing......



:rotfl:

LordyLord have you seen THE GATHERING STORM With Albert Finney and Vanessa Redgrave, I just watched it, I would like to know what you thought of it, I really enjoyed it. :yup:

Thank's dear. :kiss:


Thanks, I think. ;)

I felt compelled to learn more about the man after seeing the movie, but you're right, it was a total spoiler.



Sorry cutie, I haven't seen it, but I'll order it right away. K?

Ooo, you'll like it. It's about Winston Churchill, and it's quite good. :yup:

I watched this the other day, it is a very powerful and sad movie. What struck me was the numbness these boys had to killing and death. The only thing lacking was the absence of parents or Adults to give any of these children love or guidance. It did feel like a documentary and very real. thanks for great review LordyLord. :D

Great Passion of the Christ review! You can tell right away that you put your heart into each and every review you've written. I've read all of your other film reviews and I'm simply impressed. I have to agree with the people that say you should get into the movie business. You'd make a good film critic!

Striving to make better reviews? Open your eyes... I don't see why you should strive to make better reviews. The reviews you make right now are simply astonishing. I enjoy reading them and everyone else does.

Slay, keep up the good work! :up:

I'm a fan of Cate Blanchett, I saw her in a film called Heaven with Italian subtitle, where she was accused of terrorist activities. She put a bomb in this man garbage bin; intending to kill him only. H

owever the bomb was taken by the cleaning lady and went off in the elevator killing the clean lady and a child with her father. Cate played a women whose husband commeited sucide du to the fact that he became involved with this man who she wanted to kill but did not kill; since the bomb was taken. Of course it deals with the many corruption of drugs and mafia within Italian police and politicians. I don't want to ruin it for you but she does get the bad guy. One young Italian (carabeneri) police fell in love (he played in the Fast and Furious, this actor) with her and helped her escape together they became wanted by police. She is an amazing actress..I'm going to pick up this film Elizabeth.

I have been away from this thread for awhile (unfortunately), and I was wondering....
Brian, where is your review on The City of God? Nebbit said it was great and I wanted to read it. It is going to be released at my theater soon, and I am anxious to see it. :cool:

I’m glad you liked it Nibbles. It is an astonishing piece of work that accomplishes in transporting the viewer into a world unknown so effectively, that when it is over, you feel like you had witnessed the carnage first hand. It has won numerous awards but failed to win a single Oscar, despite being nominated for four of them. Perhaps if it wasn’t for The Return of the King winning all 11 of its awards due to previous snubbing, it might have won. Oh well, people who are movie lovers will always support the film.


Thank you, I appreciate what you’ve said. When I say that I’m not good enough for professional consideration, I’m not looking for people to boost my self confidence or anything remotely like that. I’m just looking at things realistically. The critic’s whom I like and admire are much better at what they do compared to anything I can put out. I don’t feel bad about that because I have places like this where certain people enjoy what I write and give me the aspirations to try harder with every review I make. It’s very fulfilling to get this kind of attention that yourself and others in the forum deem to bestow upon me. That is more than enough for me to keep me writing.


I agree; Cate Blanchett is an amazing actress. I remember seeing the previews for the film you mentioned, but I have not seen it yet. I’ll look for it since I am a great admirer of her work. I’ll take her over Liv Tyler any day.


It’s after my Straw Dogs review on page 5. I’m sure that when you see the film, you will be blown away by it. It is truly a one of a kind.

I've missed two chances to see City of God on the big screen, which is a shame, but, its an amazing film.

I haven't met anybody who hasn't liked it yet. Though, I don't really know any puritans; I'm sure they'd hate it.