The French Connection Review

For some films it comes easy, the ability to lay my thoughts out as soon as it ends. The words just come flowing out with passion and not always because I loved the film. Sometimes the easiest movies to write about are the ones I loathe, the experiences that push just the right buttons to make me vent. Where the challenge comes in for me are those very good to great experiences that don't quite elicit the over the moon enthusiasm but they also did pretty much nothing wrong either. Thus sums up my the 24 hours between when I finished my first ever viewing of The French Connection and now when I finally told myself, just start typing whatever comes to mind. So here we are.

I keep fighting how to put this contradiction I had with The French Connection into words exactly because it makes sense to me but others may think, what the hell is this guy talking about? See, I somehow found the film deserves recognition for being fast paced and exciting and yet it felt ponderous at times as well. How is this possible? That's the tricky part. See, for much of the run time I was totally invested in the story of Jimmy "Popeye" Doyle (Gene Hackman) and Russo (Roy Scheider) as they attempt to shut down the source of heroin finding its way into the U.S. from overseas, yet some of the cat and mouse the cops are always just a step behind the bad guys stuff felt redundant, as if I was watching a couple sequences on repeat hoping for a different result each time.

A part of me wants to credit these very moments I complain about because they did invoke a sense of realism to the picture, that not everything is high speed and adrenaline fueled and all about good guys getting the job done. Sometimes a good guy can be doing good work and still fall short, but I instead of appreciating this during the actual experience, I found myself waiting for The French Connection to kick it into high gear. The good news? It does so during a final act that is not only memorable, it is masterful, with iconic moments with Doyle behind the wheel chasing down a train speeding ahead right above him and the thrilling sensation hanging over ever frame that nothing predictable is going to happen as the final scenes wind down. I had no idea who would get caught, who would get away and who would make it out alive, and I got lost in the excitement. 

I knew before I ever hit play that the film took home the trophy for Best Picture, but I honestly had no idea what other areas were recognized. It didn't take long for me to think, I sure hope Hackman was in the mix for his incredible performance and sure enough he, too, walked away with the prize. His strange blend of being heroic and yet unhinged, a convincing turn as an obsessed cop willing to do anything to collar his man was special to witness. The music beautifully assists the uneasy feeling of watching "Popeye" Doyle because rather than be a series of conventional pieces that would seemingly "fit" a 70's crime thriller, Don Ellis puts together a really odd, uncomfortable score that haunts and and hints at the ominous possibilities moving forward. Even when I felt those moments of disappointment at the lack of forward movement with the investigation, the score built the tension and rattled my nerves.

Another Oscar winner here is director William Friedkin and to say it was well deserved recognition is an understatement. His craft is so meticulous and on point that it actually almost does him a disservice because by creating such a smooth and fluid experience, it almost feels too easy at times. It's the subtleties that won me over, like the way we as an audience tend to stick with one side or the other rather than frenetically shown both parties in the same sequence. As the cops stalk the streets attempting to be inconspicuous, we see the shady activity from the police perspective. The mouths move but we can't hear the words. The movements feel guilty but we aren't let into what is exact transpiring in the moment. We can only guess and make assumptions based on what we know, which is exactly what the police would really be doing as well when facing such circumstances. We are let into the world of these criminals and their drug operation but only behind closed doors, like we are a fly on the wall watching something unfold that we shouldn't be privy to.

The French Connection is a great film that completely changed the idea of what a cop movie is going forward, yet it didn't hit quite as hard as I hoped. Perhaps it boils down to far too elevated expectations, after years of hearing the title and the praise that accompanies it I expected a greatest of all time experience rather than just simply great. Either way, there is very little to criticize and a lot to love here.

4/5

12 Angry Men Review

Twelve men, one room, and the life of another hanging in the balance.

12 Angry Men is a triumph of a film released 58 years ago. Such a simple premise, watching a jury deliberation regarding a murder case, yet its power is unwavering, its performances superb. As the viewers of this Sidney Lumet masterpiece, we don't get to see any of the crime, as no flashbacks are shown to recreate what the men are discussing. We don't get to see any of the trial, because their words are plenty to provide us the details. What we get is a remarkably disciplined work that isn't really about the victim, the accused or the crime itself. 12 Angry Men is a character study about the different personalities inside that room, the prejudices they bring with them that can alter their perspective about the facts of a case, and the judicial system as a whole and the importance of reasonable doubt.

These men are merely faces and voices to each other, and to some the most important thing is getting the decision over with because their plans are awaiting after they are released from their duty. I have always been fascinated by the real world stories of crime and their aftermath, the trial, the evidence, the jury and analyzing the verdict they eventually reach. I have heard of real life trials in which a jury member will admit later that the fact that they just wanted to go home played a role in swaying their decision, and I was always amazed and disgusted by this thought. I know, it's easy for me to judge as I am enjoying the comforts that are afforded with not being in their shoes, but I would like to think I would be able to take a step back and look at the big picture. This is justice for a life lost. This is how the accused will spend every single day of the rest of their life, whether they will be permanently labeled as guilty or innocent. This is potentially bringing a sense of closure to those who lost someone they loved, or possibly providing the opportunity to continue their search for who really destroyed their world so they can see the right person be punished. 

It is a flawed system, the jury system, because man is fallible and the wrong decision can be reached, but it is also an important one as well. 12 men sitting around a table, and 11 of them are ready to vote a man to his death so they can go home, get some fresh air, perhaps catch a ball game. Only one voice was willing to speak out and bring up some doubts, a voice that could have easily caved and conformed to those around him to make everyone happy, but with that vote a man dies. Can something of that magnitude really be so simple?

5/5

Au Hasard Balthazar Review

It's one thing to create something masterful and compelling from material that feels designed to entertain an audience, and I don't begrudge any filmmaker from doing it. I love the feeling when I read a premise and I can literally feel the excitement building inside me with each word, and by the time I am done reading even just a brief synopsis I am ready to hand over my money for a ticket instantly even if the release date is still years away. 

It's just as fascinating to go backwards in time though, to explore cinema released decades before I was even born. These pictures were often times landmarks of the medium before I even took my first steps, and though I may be seeing the work through fresh eyes it still feels different, like I am under pressure and scrutiny to comprehend why the movies are so highly regarded and agree with the consensus. Instead of a feeling of wonder when considering what the future may hold, it's like I am invited into the past and the best I can ever hope for is to find the same magic so many others saw back then and continue to see today.

On paper, I didn't exactly find Au Hasard Balthazar interesting. The film follows the existence of a donkey, from the moment it enters the world until the final heartbreaking breaths of life it takes before death. If I were to recommend this movie to others based solely on that sentence, pretty much everyone would roll their eyes at me and disregard it and yet this is arguably the crowning achievement from the master filmmaker Robert Bresson and considered by many to be one of the greatest films of all time. 

After witnessing it myself, I wouldn't rank it as my favorite Bresson, nor would I consider it among the absolute best that cinema has to offer, but I also wouldn't argue against it either. Au Hasard Balthazar is a powerful film bursting with so much depth and nuance that I know for a fact I didn't even come close to understanding everything I saw. What I am certain of is that Bresson is drawing a clear parallel here between Balthazar, the donkey, and his first owner, a girl named Marie. Both are subjected to cruelty, passed along from person to person who harm them physically and emotionally despite being peaceful and gentle themselves. One sequence specifically goes directly from Balthazar's new owner literally taking food away from him in the midst of his meal to the very same man attempting to stop Marie from eating despite the fact that she is clearly quite hungry. 

Au Hasard Balthazar doesn't quite reach the glorious heights of the first Bresson I ever saw, the absolutely sublime example of minimalism executed to perfection known as A Man Escaped, but it comes close. Very, very close. 

4.5/5

Wake in Fright Review

That single bead of sweat.

It's easy to see it roll down the side of John Grant's face and chalk it up to being induced by the balmy weather occupying the Australian outback, but I know that kind of sweat. It's the kind that would be there even on the coldest of days. It's the kind that I would wipe away while watching money exchange hands due to some sort of gambling taking place in my vicinity. When I was younger, still a teenager with no appreciation of the value of the dollar, the thrill of a wager would get my heart racing, my blood boiling, and my teeth chattering in excitement. As crazy as it sounds, whether I won or lost was irrelevant. Just having the opportunity to put my money on the line made me feel alive.

I know that single bead of sweat rolling down John Grant's face. I could practically feel it on my own as he fights the temptation to join a raucous game, one involving piles and piles of cash betting on the simplicity of heads or tails, a battle he would inevitably lose in more ways than one. His original plan was to stay for only one night with a plane to catch the next morning, but when the dust settles, when the wildlife are riddled with bullets and the booze finally stops flowing, it's safe to say things didn't exactly go according to plan.  

Wake in Fright, directed by Ted Kotchef, is one of the key pieces of Australian cinema and rightfully so, although this is a movie that hardly goes down smooth. A disturbing look at how tortured and unsettled the human psyche can be, the tone is set during the opening shot of the film when the camera is high above a land that can only be described as stark, barren and desolate. We circle around a few times and admire the bright, vibrant hues of a setting that is disarmingly warm in color and yet something about it feels so cold and lifeless. By the time his journey comes to an end, the mental state of John Grant had me replaying those initial frames all over again. By the time the film literally ends, that very same shot feels like a warm and welcome breeze, a chance to relax after a frenetic cinematic fever dream.

4.5/5

Mad Max 2: The Road Warrior Review

It had been far, far too long, my life without a revisit of The Road Warrior. I recall being a teenager and thinking this was one of the coolest films I had ever seen. George Miller showed some restraint with the original Mad Max and he should have, as it was merely building the world and the circumstances of a society on the brink of madness. A sequel, now that is where he had the opportunity to kick it into high gear, to go balls to the walls with mania and ridiculousness in the best possible ways. Mad Max is certainly entertaining, but The Road Warrior ramps it up into something far more memorable and special. 

While on a supporting character level The Road Warrior is a massive improvement over the original, as Max Rockatansky has some intriguing allies on his side this time around and his adversaries are far more menacing, the real reason we buy into this dystopian depravity is Mel Gibson in the lead role. The progression of his character is fascinating, as we remember him as the married father who doesn't turn mad into tragedy strikes his family. When we reconvene with him here, those strings that held him together in the past have been cut and his life is that of a lone nomad, finding ways to stay alive by any means necessary.

I now recall why, despite seeing both roughly the same amount of time ago, I remembered so little of Mad Max and so much of The Road Warrior. How the hell could you forget a picture like this?  The action, the set pieces and the costume design are remarkable, all making you feel a little bit grimy and uneasy but in an awesome way, like you want to feel that dust on your skin and you want a splash of that blood on your shoes. What really takes this movie to a new level though are those characters, all of them across the board.

George Miller, if you can match or even just come close to the intensity and fun of The Road Warrior with Mad Max: Fury Road, which I will be seeing this upcoming weekend, I will be a very happy man.

4.5/5

Mad Max Review

If you have seen the trailer for the soon to be released film Mad Max: Fury Road, you have witnessed the onslaught of madness that has me as giddy as a school girl, and with that excitement came the desire to revisit the original trilogy. At first I was captivated by just how damn young Mel Gibson once was, which I know seems like a silly thing to say but for some reason my mind imagines he has always been William Wallace, face painted and a heart so brave. Well, I also think about the real life anger and racism, but I digress. 

It had been probably 15 years since the last time I saw the original Mad Max, so while I had some small familiar snapshots that popped up in my mind I really didn't recall much in terms of tone and pacing. With the imagery of the new film blasting through my brain, I was anticipating the mania, the terror, and the dystopian aesthetic, and while there is a bit of all of those things in Mad Max, it was a much more quiet and measured cinematic experience than I assumed it would be. 

Society is beginning to fall apart in the world originally built by director George Miller, but it isn't complete and utter chaos as of yet, just the start of it trending in that direction. Max Rockatansky is a police officer but he is also a peaceful, happy man, one with a wife and an infant son. When his family is threatened, Max starts to get a little unhinged. When tragedy occurs at the hands of a biker gang, Max transforms into something else entirely. He puts on his leather police gear, jumps into his bad ass car and begins his furious pursuit of revenge. Max has a thirst and the only thing that can quench it is the blood of those who took so much from him. Max is mad.

Mad Max is fast paced and incredibly entertaining, but the film falls short in two ways for me: one, the bad guy gang of motorcycle men just don't feel bad enough. Their actions are clearly deplorable but their on screen personas don't intimidate me the way I thought they would. There is no charisma from their characters, nothing to make them interesting beyond the fact that we know they are evil and we want them to die for it.

The other issue I have with Mad Max is that I actually find it to be too fast paced for me. For much of the film, the story moves at a sublime rhythm and I appreciated the quiet and meaningful moments that developed characters, but then when it was time for the revenge to be dished out cold, the justice delivered by Max felt as if it was moving in fast forward. I wanted to soak in his anger and I wanted to bask in his rage, but instead they cram all of the violence we would actually root for as an audience into about 15 minutes of screen time. It just moves so quickly I felt like I couldn't really enjoy it. 

Despite these qualms, I am a big fan of Mad Max and am excited to revisit The Road Warrior soon.

3.5/5

Jaws Review

The waves roll in, but not with any sort of ferocity. It's so quiet. It's so serene. Sometimes the world feels small but not while you are standing on a beach staring out into an empty and seemingly endless ocean. Sometimes the world feels scary but the evils of humanity, the dangers of accidental randomness are literally behind you here. Cars crash, fires burn and people kill, but the tide poses no threat. The sun goes down and the sand between your toes is moist and cool. The stars come out and the glow of the moon on the beautiful, blue rippling water is unforgettable. You have never felt safer in your life.

Just don't go in.

A simple online search tells us that the chances of being killed by a shark are 1 in 3,748,067. In the words of the handsome space cowboy Han Solo, never tell me the odds. Numbers exist in reality and they can be trusted because numbers represent truth without bias or fear or emotion. My mind doesn't care about numbers when lost in one of the greatest pieces of cinema ever, a work by Steven Spielberg that speaks louder and resonates deeper than any numbers could, no matter how honest they are. It's so illogical to be believe in fictional storytelling rather than let the truth guide us, but to be human is to defy logic. Based on numbers, it is absurd to be afraid of flying, yet so many tremble with dread as they board an airplane, literally praying that they will land safely at their destination. They have more faith in an unseen and unproven God than they do in odds.

The absolute brilliance of Jaws is that even knowing that 3,748,066 people will swim in an ocean and emerge from the water unscathed, the audience is terrified of being that unfortunate 1. The iconic piece of music by John Williams starts echoing through our minds and we aren't afraid of crashing cars or burning fires or the person that approaches us through the shadows of night. I experienced this masterpiece from the comfort of my couch and the closest drop in the massive ocean bucket is roughly a thousand miles away, yet I felt as if I could be the next victim. When Brody (Roy Scheider) looks out at the water and sees nothing, the water is no longer quiet. It's no longer serene. Knowing the great white is somewhere out there, lurking in the depths where the human eye cannot see is scary as hell. 

What are the odds I lose my life in a shark attack as I sit on my couch watching a film? Well, zero of course. It's impossible, yet such logical thinking doesn't comfort me in the least, not after watching Jaws. During a film like this, I don't want to hear any of the numbers. I want to get lost in the storytelling. Never tell me the odds.

5/5

The Innocents Review

There is something inherently haunting about horror filmed in black and white. It puts such a high importance on lighting to set an ominous and downright creepy tone, with a shadowy room or the flicker of a candle filling you with far more dread than any drop of blood ever could. The Innocents went from a movie that was totally off of my radar one minute to being a chilling and essential experience the next.

Until I decided to randomly look up various lists of the best horror films ever made, the name Jack Clayton was meaningless and I had never even heard of The Innocents. I'm thrilled to have been finally acquainted with both. This movie has such a classic ghost story feel to it, one that you can show to a bit of a younger audience and spook them out which is such a rare treat to find these days, especially for it being so great as well. You shouldn't have to settle on quality when you want to watch a horror film with a wider audience.

Whenever a new entry into the horror genre is about to be released, I notice the common reaction is to check the rating and if anything less than R is applied, extreme disappointment follows soon after. It isn't that I have anything against more mature content, but I don't relate quality with graphic intensity. A good film is a good film, whether it contains literally zero violence or piles of missing limbs and torture scenes. 

The Innocents isn't violent or sexually graphic, but it is scary.

It's really damn great too.

4.5/5

Red Desert Review

The smog fills the air, the opening frames of the film Red Desert introducing us to a setting that is far from aesthetically pleasing. Gloomy is a word that doesn't even do these landscapes and skyline justice. Director Michelangelo Antonioni brings us right into an ugly, colorless world where even the people match the ground they walk in, muted by tones of grey.

Suddenly a vibrancy enters the frame and it is impossible to not notice. Her red hair flares with intensity despite not really being all that bright because an image so stark explodes with even the slightest infusion of color. The contract between that red and the green coat she is wearing feels out of place in such a drab and polluted land. She walks side by side with a child and she approaches a man holding food. She appears desperate and hungry, perhaps an indication that the subject matter of Red Desert will revolve around the impoverished, except she offers to pay for the sandwich despite it being already half-eaten. Something isn't quite right here.

I discovered after watching this film that it was the first time Antonioni utilized color in a picture, and boy is utilized an appropriate word. The entire thing is stunning, as pastel colors that normally would seem inconsequential in a typical film pop here in a way that actually feels a bit uneasy. It is clear that this is intentional rather than accidental, that the backdrop of grey buildings and white smoke and a rolling fog only serve as a canvas in order to make the reds and blues grab out attention. Perhaps we are seeing the world the way Giuliana (Monica Vitti) sees it, as it is made clear early by her husband that ever since a recent auto accident, her mind has not been quite right. 

While the colors of various set pieces do draw our attention and speak quite loudly on their own, the fact that the lead actress Monica Vitti is strikingly beautiful doesn't do Antonioni a disservice either. For every reason imaginable it is impossible to look away from this strange yet wonderful film, a movie that looks to dazzle all of the audiences senses rather than merely entertain on a narrative level. The sizzle of a room painted entirely the same unsettling tone of red. The way Antonioni uses sound in various scenes like when inside the factory near the start of the film or as the characters occupy a tiny dwelling right next to a river with a ship docking right outside. The mesmerizing eyes of Giuliana throughout the entire experience. Red Desert is appealing and yet off-putting. It is both beautiful and ugly. It is sexy and surreal.

Some films end and whether I love them or loathe them, I move on quickly and don't really look back. Perhaps I will revisit them someday or perhaps I will never give it another thought. I could dive right back into Red Desert tomorrow. Despite being locked in from start to finish, I know I didn't truly see everything that Antonioni wanted to convey with this film. I am fascinated by both what I know and also how much more there must be to uncover.

I love all different types of movies, but my passion for cinema resides somewhere in the same realm that created a film like Red Desert. Much like consuming food, every day I enjoy what I eat and I am left satisfied, but every so often a meal can be so much more. Red Desert has flavors to it that danced across my taste buds in a way that I would not only remember for some time, I would want to go back to that restaurant every single day if I could. 

Red Desert is absolutely delicious.

5/5

City Lights Review

The fictionalized events of the Best Picture winning 2011 film The Artist were a reality faced by Charlie Chaplin when he began production on his timeless classic City Lights. The world of silent cinema was at a crossroads as the public began to embrace the magic of sound and Chaplin had to make a decision: move away from the style that made him one of the biggest stars of motion pictures or continue on, seemingly a step behind the progression of the medium. 

Chaplin continued on and released City Lights the way he had originally intended, and it is not only considered by many to be his finest personal achievement, it is one of the highest regarded pictures in history. Safe to say he made the right choice.

Chaplin portrays his iconic Tramp and he falls in love with a blind girl who dreams of being able to afford a medical procedure that may return her sight. The romance is touching and truly beautiful. The comedy is top notch as usual, as Chaplin always finds a way to make me laugh and fill me with joy, and the final sequence of the picture resonates so deeply it is impossible to forget. 

While Modern Times continues to be Chaplin's masterpiece, City Lights is just a slight notch beneath it. An amazing film that the world still flocked to see despite the world of cinema leaving that era behind, and what a treasure to know City Lights was close to never existing. Thank goodness it does.

4.5/5

Andrei Rublev Review

People always say "You can do anything you set your mind to", but is that really accurate? Could I have pursued a multitude of professions when I was growing up and determining a path for my education? Certainly. Could I have worked harder, maintained a stronger focus on my goals and been at the top of my class? Sure. It is amazing what a person can achieve when they know what they have to do to get to where they want to be.

Yet I still don't truly believe the word "anything" belongs in that first quote. Some people can work night and day and become great, but it takes more than that to be a genius of a craft. I was pretty good at basketball growing up, but no matter how hard I practiced, no matter how many shots I took, I was never going to be Michael Jordan. I also had a pretty strong knack for golf. At one point I was even the Captain of my high school team, but no matter how many rounds I played, I was never going to be Tiger Woods.

I bring this up because some films take me to a place that resides far beyond words like admiration or fondness or even love. Sometimes I will watch a work and my first reaction is one of jealousy because I think to myself, "Why couldn't I be capable of making something like this?". I was born in April, the year 1984 and by the time I took my first breathe I honestly believe it had already been decided: I was never going to be Andrei Tarkovsky. Only a few men in the history of cinema even play in the same league. Some people are just born with a gift that is hard to comprehend.

There is a level of brilliance on display during every minute of the epic picture Andrei Rublev that is difficult to even put into words, and there are a lot of minutes to analyze along the way. Clocking in at well over 3 hours in length, deciding to sit down and devote not only your time but also the mental energy it takes to devour such a movie can be daunting. Trust me though, it is worth it. 

Despite the fact that obviously we are not watching real footage from 600 years ago, Tarkovsky manages to create some authenticity with a sometimes crude and dated look to the film, but this isn't a flaw, it is actually quite stunning. Typically when I see a period piece taking place during a similar time, I can't help but see it as a Hollywood picture attempting to capture a realism that is impossible to create. Tarkovsky somehow transports us back to an era long before a camera could even be there to film. Everything seems to be lit naturally, something that is especially noticeable during sequences taking place indoors, when a face is shrouded in shadows only to be illuminated by the flicker of light from a candle. No matter how dull and dour and grey and cold the image appears to be on screen, it is consistently beautiful to look at.

The screenplay, written by Tarkovsky and his co-writer Andrei Konchalovsky, took more than two years to put together and the time and effort is not lost on me as I witnessed this epic masterpiece unfold. Every word feels perfect and they are all delivered by an expansive and flawlessly assembled cast of unknown actors. As an audience, we may not literally see all of the work that goes into the entire craft of a film but often times we can feel it. Modern day studios try to churn out films and their sequels year after year, and you can sometimes sense that they were rushed. The focus was on box office receipts rather than art. Andrei Rublev is the antithesis of this mentality. You can practically soak in the amount of passion that went into every single frame.

I was once asked why I would root for Tiger Woods at a time when he was winning practically every tournament he played in. "I love to watch greatness at its absolute best.", I responded. 

That's exactly how I felt as I experienced Andrei Rublev. 

5/5

The Circus Review

Here I go again, expressing more fascination and admiration for the life and career of the great Charlie Chaplin. I recently decided to take my first journey with him to The Circus, a setting that certainly could play to the comedic strengths of The Tramp and his brilliant handle of what was needed to make slapstick funny. It did just that, as all the usual laughs were present and accounted for and on a purely entertainment level, Chaplin did not disappoint yet again.

What is remarkable is what Chaplin went through off screen while The Circus was in production, proving that once the camera started rolling, he could flip the switch and transition from a painful existence to a charmed fiction with ease. All while this one film was being made, the man behind the character had to deal with the death of his mother, a bitter divorce from his second wife and the IRS coming after him for unpaid back taxes.

Despite all of this, The Circus is an absolute joy of a silent film which is something I say often about the work of Chaplin. The utilization of amazing set pieces and his ability to entertain so naturally work together in harmony throughout, and my love for Chaplin continues to grow.

4.5/5

The Kid Review

"A picture with a smile -- and perhaps, a tear."

The more I learn about the real Charlie Chaplin and just how complicated life was for the man behind the Tramp persona, the more I respect his work as an artist. His father, Charles Chaplin Sr., left the family when Charlie was merely a year of age. His mother, Hannah, had a complete mental breakdown only a handful of years later and Charlie was sent to live in the Hanwell School for Orphans and Destitute Children. 

Feeling abandoned at such a young age took its toll on Charlie, and thus his 1921 film The Kid is far more intimate and meaningful than it might seem on the surface. Sure, it resonates emotionally regardless because of the touching on screen relationship between The Tramp and the young child (played by Jackie Coogan), but think of what this role must have meant in a deep and profound way to Charlie. A story about rescuing and taking in an abandoned child, with a much happier resolution than what he experienced.

The story, though, is not without its fair share of heartache, on screen and also behind the scenes. The narrative of the film finds ways to tug at the strings of your heart, but the tears really fall when you discover that in real life Charlie lost his infant son only days before production began on the movie. Days before he was embracing a young Jackie Coogan on screen, holding him so tight you could tell he never wanted to let go, his actual son passed away. So while as expected The Kid is filled with all sorts of perfectly executed slapstick comedy, the type of material that made Chaplin a star, those dramatic scenes that expertly balance the laughs with the tears were not just the product of fictional storytelling. This wasn't just acting. 

The Kid is painfully autobiographical and as a result, it is timeless.

4.5/5

Decades of Cinema - 10 Best of the 1960's

Previous lists are the 1920's, 1930's, 1940's and the 1950's. Here we have my ten favorite films from the 1960's.

10. The Apartment

Thanks to the Katherine Heigl's and Gerard Butler's of the world, the words "romantic comedy" have gotten a bad name. Here's the thing though: a good film is a good film, regardless of genre, and there have been a lot of terrific rom com pictures over the years. The Apartment by Billy Wilder is one of the all time greats. 

9. Winter Light

I find it ironic that I am always drawn in by pictures filled with religious themes and those that frequently feature religious imagery because in reality such things have little to no meaning in my life. I may not go to church, well, ever, but I will certainly attend a sermon directed by Ingmar Bergman. Winter Light is a truly special film that follows the pastor of a church as he searches for answers from a silent God. 

8. Persona

Oh, that Ingmar Bergman guy? Was I just talking about him? Well how about that, here we are again with one of his masterful works, this time the psychological mind fuck known as Persona. When I saw this film, I had no idea what I was watching unfold, but I didn't care. I knew what I was seeing was brilliantly crafted and the definition of memorable.

7. Night of the Living Dead

The ultimate zombie film from none other than the master himself, George A. Romero. Night of the Living Dead has so much more going on than just the walking dead. It is easy to ignore these days and treat as inconsequential, but this is a horror film released in 1968 and the lead role was a black male who bossed around the white people. Think about that for a second. Think about how controversial it must have been to see at the time.

On a much simpler level, this is a brilliantly made classic and it's entertaining as hell.

"They're coming to get you, Barbara!"

6. Breathless

This film from Jean-Luc Godard can only be described in the most simplistic of terms, even though the picture itself is anything but: it's just so god damn cool. From the model himself in the vein of Bogart Michel to his hip and beautiful girlfriend Patricia, Breathless is one of the earliest and most influential movies from the French New Wave.

5. La Jetee

One of the finest films ever created and it clocks in at less than 30 minutes in length, La Jetee is short but utterly brilliant. Director Chris Marker takes us on a science fiction journey in an unconventional way by delivering a story not with a normal cinematic flow but as a slide show of images and a voice-over narration. La Jetee ended up being the work that influenced the creation of the movie 12 Monkeys, and while I love the Terry Gilliam picture, the original is the masterpiece for me.

4. Dr. Strangelove

The top four films from the 1960's will be a perfect representation of why I consider Stanley Kubrick to be quite possibly the greatest cinematic mind in history. While only two of the four films will be his, they represent just how much range he demonstrated as an auteur and here we have one of the all time most brilliant comedies ever made. Yet another example of Kubrick being extremely anti-war only instead of delivering these messages via Paths of Glory or Full Metal Jacket type narratives, he makes us laugh out loud early and often here.

3. Psycho

If you have been following my lists thus far, you have figured out by now that I am quite the fan of Hitchcock. Psycho is iconic and having the chance to see it on the big screen last year for the first time in my life was quite the experience. Also, is it just me or does Andrew Garfield look an awful lot like Anthony Perkins? Too bad they wasted a remake on Vince Vaughn.

2. Lawrence of Arabia

There was never another film like Lawrence of Arabia and there never will be again. It is a once in a lifetime miracle of cinema, a massive epic that, if it were made today, would demand a 300 million dollar budget and most of it would be wasted on special effects. Don't be fooled by the daunting length of this one and let that stop you from watching, Lawrence of Arabia is one of the smoothest and easiest films I have ever digested.

1. 2001: A Space Odyssey

A haunting monolith of cinema, 2001: A Space Odyssey is considered by many to be the greatest achievement in movie history and it is difficult for me to find a compelling reason to disagree. Stanley Kubrick does something mesmerizing and profound with the material by baffling us yet also inspiring his audience into believing that film can be an art form unlike any other. Personally, I think 2001 is a giant, amazing representation of the evolution of humanity, but hey, what the hell do I know?

The most important thing to remember when experiencing 2001 is to not get frustrated trying to analyze the details to death. That first time you see it, who cares what it is about? Just sit back, relax and enjoy the ride.

Next up, the 1970's. Oh boy the 1970's. I had to make some real tough choices and leave off some amazing films there. One that did make the cut is depicted above.

Decades of Cinema - 10 Best of the 1940's

After covering the 1920's (list found here) and the 1930's (here), it's time to move into a pretty iconic decade of cinema, the 1940's. These are my ten favorite achievements released during those ten years.

10. The Lost Weekend

Director Billy Wilder unleashed this Best Picture winning film on the world in 1945, telling the troubling story of a man losing his battle with alcoholism. It feels a bit over-the-top and melodramatic at times, but it is still an impeccably crafted work that certainly gets its point across, showing the damage that can be done by the disease.

9. The Treasure of Sierra Madre

A classic western adventure film, The Treasure of the Sierra Madre tells the story of three men on a search for gold in the Sierra Madre mountains. Thematically the film focuses on the way greed corrupts humanity, turning men once in cahoots against each other and having one of these characters be played by Humphrey Bogart only enhances the relevancy of this film nearly 70 years after its release.

8. The Third Man

A noir that thrives on its atmosphere, The Third Man is a film I would recommend even if it were watched with the volume muted and no subtitles. Just literally seeing the movie is a hell of an experience thanks to the cinematography alone, but when you add in the performances and that brilliant musical score? Dynamite cinema.

7. Bicycle Thieves

A man desperate to find work in Rome shortly after the conclusion of World War II receives an offer to hang advertising around the city, but owning a bicycle is a requirement for the position. After his wife Maria sells a valuable possession to a pawn shop in order to acquire one, things are looking up for this poverty stricken family until the bike is stolen on his very first day on the job.

A heartbreaking yet beautiful film, and certainly one of the greatest landmarks from the 1940's.

6. It's a Wonderful Life

I may be beginning my transformation into a bitter, old man, but I still absolutely cherish Christmas and what it represents. I think about the warmth and comfort of being indoors as winter rages on outside, a mug of coffee in my hand while watching films that perfectly suit the season. It's a Wonderful Life is without a doubt one of the greatest holiday cinematic achievements of all time, a staple for many every single year and it's easy to understand why. 

5. Citizen Kane

I'm sure for many having this one listed at only #5 of its decade is blasphemy, as Citizen Kane is widely regarded as perhaps the greatest film of all time. I may not hold it in that high of esteem but its still impossible not to admire the stunning craft of this work by Orson Welles. 

4. Rome, Open City

Released in 1945, Rome, Open City depicts the all too real events of what took place in a Nazi occupied Rome only a year earlier, so yeah, it's safe to say the power of this film was still hauntingly fresh. Seeing this one for the first time only a couple of years ago, I was blown away by the pain depicted in the movie so I can't even imagine how hard it would have been to see it having gone through the actual experiences personally. A tremendous achievement by Roberto Rossellini.

3. Shadow of a Doubt

One of two Hitchcock films to make the top three on this list, Shadow of a Doubt is a chilling movie about a charming man affectionately referred to as "Uncle Charlie" by the relatives he is staying with and the daughter of the family, also named Charlie, who sees something dark and sinister behind his facade. Brilliantly performed and having that exquisite Hitchcock touch to the whole experience, Shadow of a Doubt is a top notch film.

2. Casablanca

Hey, you guys ever heard of this one? I decided to get a little unpredictable and obscure with my number 2 selection, a little film that has flown under the radar for over 70 years called Casablanca. 

No, seriously though, this is considered a cinematic treasure for a well deserved reason. Bogart and Bergman are timeless and perfect in a frame together.

1. Rope

Decided to end the 1940's with a little bit of color. Prior to seeing Rope, I had heard it was a bit of a lesser Hitchcock when compared to his other, iconic releases, so imagine how I felt when I was floored by this absolute masterpiece. Best known for being experimental by taking place in real time and using editing trickery to appear to only use one single continuous shot throughout (which was a trick recently utilized by the Best Picture winning Birdman), I was drooling over the perfectly executed long takes and loving the sinister concept of a party going on literally around a dead body hidden right under their noses. Rope is, without a doubt, my favorite film from the 1940's.

Next up, the 1950's. Thanks for checking out my lists, would love to hear some of your favorites from these decades.