The BEST Films

UPDATE: One of the greatest films ever made...easily. 2001: A Space Odyssey is the ultimate film of hypothesis and the ultimate example of how meaning can be so much more impacting through imagery, rather than words.

Open your mind to individual interpretation, because this film can be seen in many different lights.

---------------------------------

A groundbreaking film on all accounts, 2001: A Space Odyssey is an audio and visual delight as we delve into the unknown. 2001 is a film that gives insight into our past, our future, our bodies, and our minds, and through this there are many questions asked about our ourselves, our existence, and our future. Stanley Kubrick proves with this that he is one of the greatest directors to grace the screen and this is achieved through his sheer brilliance in creating extraordinary feats of visual flair and ideas. While the story for 2001 may be faded at points, we are still given a clear and thorough examination of a very possible future (though far beyond the year of 2001). This is a film that utilizes symbolism and musical composition perfectly in what makes for an experience much more than simple cinema - instead we are treated to moving art in the three stages that this film takes us on with each camera shot holding it's own meaning and artistic impression. This is also a film that conveys the human notion of curiosity and the ramifications, both good and bad, that this aspect of our nature can bring (evident in both HAL and the apes). Essentially, 2001 is a film that is open to interpretation, it's conclusion is as compelling as it is controversial, and through this the film holds more meaning (as confusing as this meaning may become). If you want an example of visual cinema at it's finest, look no further than 2001.

Absolutely astounding, this is arguably Coppola's greatest achievement as director and this is brought about through a war journey with much authenticity. Each facet of this film was handled with great care, cinematography is top notch, dialogue is rich, music and editing are well done, and the acting is sublime. Sheen gives a performance that highlights a man with mixed feelings towards his future which is conveyed to the audience through a variety of traits in the persona, Brando gives a good performance as the insane antagonist, the support cast is brilliant, and in my opinion Robert Duvall was underused - he was a true highlight. The only problem with this film is that in many parts it is very over-winded, whether that acts as a metaphor for the longevity of this journey or whether it was because I watched the Redux version. With that being said though this is a true must see film with direction at it's absolute peak.

The classic family film and still one of the best. Lookout for a remake but don't expect it at all to top this.
-----------------------------------
UPDATE: I severely underestimated this film. The Wizard of Oz is not only a good film, it is an exceptionally great film. This is the ultimate example of a cinematic classic as it's themes remain as strong as ever in a tightknit story that brings forth the true connotations of charm and wit. The screenplay is sharp, and we are given an insight into our dreams and nightmares, our surreal fantasies and harsh realities, and through a near flawless execution in a richly expensive production, The Wizard of Oz is one of the true greats of all time. The main reason for the film's greatness lay not in it's smart writing, nor it's direction or gallivanting performances, but rather for it's universal appeal where it is able to morph past it's childhood status and into a timeless movie to be enjoyed by all.

Quite simply, a masterpiece. Giant is a triumphant film that spans decades in it's storytelling to convey many different aspects of life. This is a film that gives an insight into family and the expectations of those close to us, of solitude and longing for a place, and of racial tolerance in a changing society. The performances of those in this film are breathtaking, Hudson and Dean are electrifying in their leads as they play each side to the messages given to us. Hudson gives his character the inflections of a head strong man but is able to convert that into a change as the film progresses, and James Dean, as usual, plays his character perfectly in all regards (in every scene that Dean is in he steals the show). George Steven has a lot of ground to cover with this epic and he does it with style, giving the film a rythm that abstains from the possible pitfalls the film could have suffered. The only qualm I have with this film is that James Dean was underused, the story was begging for more of his character; but, without that we are instead treated to a more in depth look at the family of this Texas ranch. Giant is an asonishing film that succeeds on all accounts and is highly recommendable.

Way ahead of it's time, Citizen Kane is a film that is, by default these days, heralded as the single greatest film of all time, and it's easy to see why this status is constantly pressured upon it. However, after a first viewing, I am very skeptical as to whether it truly deserves this acclaim, because from a personal viewpoint - it does not. Citizen Kane is a film to truly marvel at - it's strikes the true definition of perfection in almost every single facet of it's making to make for one of the most rounded and smoothest films ever created. It's main cause for it's ongoing claims comes through it's stunning and almost futuristic cinematography, where every single shot is handled with perfectionism and utmost care to delve into not only the characters and the scene, but to make for the epitome of cinematic artistry with techniques that many directors even today find hard to employ. I speak mainly of the wide scope, fish-eyed lense, and revolutionary deep focus that has made this a staple for film classes. Some may say the plot becomes faded and dull, but this is where the sheer genius of the screenplay comes into light, where we dig our way into an insight of people, power, and politics - all personified in the character of Charles Kane, who lives the American dream of the rags to riches story as he follows his path to become a newspaper tycoon, a megalomaniac that strives for control. This character would have been a very difficult role for most actors to play, but the debuting Orsen Welles give this character the nuanced inflictions of a man that is struggling to come to terms with his beliefs towards the world, it's people, and his place in it (evident in the eternal word - "Rosebud"). To continue in the lines of Welles debut, comes the fact that this is his first time as director and star of a motion picture, and also the debut of all others involved, as they make the transition from stage to screen. However, the main factor to why this film will dissapoint comes in it's tedious narrative and numbingly slow pacing, which seems to be a trademark of Welles. However, once again, the encapsulating script, electrifying performances, and eminent cinematography and score make this a film that simply must be seen by every living person with a degree of patience.
............the more I think about this film, the greater it becomes. Extra viewings could lament it's place as the all time greatest and best film, but for now it remains as something to simply marvel and wonder at for it's technical brilliance.

A spectacle set in scunge, Once Upon A Time in the West is a poet's tale that gives as much insight into the backdrops and times of the old west as the characters occupying them. The film is dirty, the film is cold, and the film is slow, but with the encompassing mastery of it's many departments, this is a film that is made for art and enjoyment.

Through the sweeping score by Morricone, the picturesque cinematography capturing a painter's view of a gritty ordeal, or the engrossing and detailed screenplay lavished out like a straight retelling, this a film that easily captures the artistic attention of the audience while also managing to bring a stream of smiles. A strange fashion is adorned through the pacing of the picture, however, where the film seems to take constant, purposeful pit-falls in it's rythm. Each scene seems deliberately set up to rise at a slow pace, coaxing the audience on in anticipation until reaching a climactic peak, where after the tone drops once more as a refreshed scene takes the fore. Many a time this tends to work where it truly shouldn't. But with gratitude towards the artistic inflection and overall tone of the piece, the alternations of the tone work like the bumpy ride of a stagecoach - the trip takes a while, but the scenery is beautiful enough to lay away the slow waits.

Yet, what truly sets Once Upon A Time in the West apart from it's many predecessors and successors comes through the notion that nothing is ever truly defined in the film. With plenty of dialogue nulled scenes, the audience is left to ponder over these character's, their ambitions, and the true driving force of the story. However, the characters lay as only a scattering of pebbles in contrast to the vast desert stretching before us. The film gives vivid insight and a sense of hearkening traditionalism in conveying the rugged, dry landscapes and atmosphere of this time. There are no "good guys" in the west, even our harmonica strumming lead actor is given a gritty ambivalence. There will be times where the motives and decisions of these men will be continuously questioned, but it is this realism that makes this film that further bit special.

Out of a fiery and swift career, Leone proves himself to be at his peak in terms of fulfilling a film's aesthetics. The cinematography streams and weaves, levering itself between the pensiveness and contemplation of the extreme close-up, where we almost feel absorbed into the notions being felt by these men of vengeance; or allowing the complete consumption of the expanse surrounding these ordeals through distanced, yet wonderfully framed and placed shots.

With the look of a painting and the force of a well oiled machine, Once Upon A Time in the West is cinema at one of it's rarest, highest rises. If ever there was a hard edged, dry opera with the kind of poetry told with few words, this film would be it.

UPDATE:

Seminal filmmaking here. Four and a half stars does not justify the sheer brutality and brilliance of this piece. Top billing.

-----------------------------

A brilliant achievement in filmmaking from every person involved. Scorcese's best, and a near career high for DeNiro, Raging Bull is a testosterone induced affair in one of the most captivating and real character studies ever made. If you want an example of a true director's film, than this is one to keep a wide eye out for. Every scene, with every frame, is picture perfect in it's execution and the transitioning through some extraordinary editing makes this film seem so much more than a simple boxing film. But, in essence, it truly is much more than the sport, as we are, instead, taken along the arduous and hard journey of Jake LaMotta. Do we care for the character? No. Are we forced to dislike him? Yes; and this is brought about through DeNiro's Oscar winning performance, which (in my mind) is just a little bit shy of his role in 'Taxi Driver'. Raging Bull is a film that never holds back anything in it's swift punches; the boxing scenes are choreographed in a stunning fashion, the supporting cast backs up a fiery LaMotta, and Scorcese, ah Scorcese, the Oscar statue should have been yours back in 1980 with this film, which is one of the greatest directorial achievements of all time.

RE-REVIEW: The more time that you spend with the Corleone family, the more you grow accustomed to their awkward charm. My first viewing left me with a film that was good, but felt muddled. The second viewing, however, expanded greatly on the film and my interpretations of it. The Godfather, truly is, a fantastic achievement in movie making.

All of the facets of this film have been handled delicately with outstanding performances, great character emotion and development, picturesque settings, and a wondrous Italian score all collating to make for the atmosphere of the clandestine mob family.

In retrospect, this film would have to go down as one of, if not the single, greatest ensemble casting ever put to film. James Caan gives the fire and womanising traits to his character, Robert Duvall keeps collected in his business role, John Cazale gives Fredo a sense of warranted cluelessness, Al Pacino gives us the definition of a change in character as he turns into a smouldering and soulless leader, while Marlon Brando rightfully steals the show with his (now often mimicked) interpretation of a man of supreme power in the "mafia", but the characters traits extend to give us insight into a surprisingly gentle and understanding persona.

An awe-inspiring film that picks itself up onto stronger feet with each viewing. Hence it's timelessness and ranking among so many film lovers. On a side note, this film now shares the spot with 'The Wizard of Oz' for the highest rank gainers on my Favourites List.

Captivating, haunting, and emotionally atmospheric, Vertigo is a resonating force leaving its audience awe struck by its ferocious executions of emotion through its vibrant, yet grimly dark characters. Elegiac yet brisk in its output, the study of character and the interpretations of film and its impact on the human mindset force a change in audience perception and a change in filmic tradition.

Hitchcock's forceful parable of the human condition lies at its core through his characters who, in many regards, symbolize the power and danger of obsession, love, loss, and the inability for forward progression. The narrative has a steady incline (and final stroke at its conclusion) to push forth the ideal of a past experience best forgotten holding a strange allure to relive itself if one is unable to move forward and treat the past as the past. Vertigo laments itself as a harrowing outlook on lives and schemes crashing into one another with the dangers of obsession and its nature to drive ourselves into misconstrued paths. But while it gives this ideal to us as a whole, it also tends to broadcast the various points of obsession - obsessions of love, of pedantic perfection, of the unearthing of truths.

Stewart returns at Hitchcock's side in this thriller as the embodiment of this obsession and the catalyst of this dangerous pursuit for what he believes to be love. His heroism is often questioned throughout the film where a blurry line is formed between the deeds of his job and sometimes seemingly antagonistic ways. Yet, throughout this progression into his melancholic and manic behaviour, there is still a sheer likability to the character. Due to a true to tone performance from Stewart, the audience feels for his character even through his tirades of trying to abolish his unrequited love and turn it into a truth. However, the real show stopper of the picture comes through the motivator of this obsession - the woman that is wanted but should never be pursued. Kim Novak gives her role a widely under analysed spectrum in both behavioural and voice projections. Her beauty lights the screen, while her personality sets a sizzle.

Cinematographically, the colour scheme of the film tends to contradict the nature of shots, yet never actually hinders it. The choice of colours for the film imbues a deep vibrancy, and brings a distinction between attraction and repulsion. Novak's clothes remain stale and cold, a symbol of a danger that should not be pursued, while bright colours wanderously aim to steal the attention, but to no avail. Yet the shot structure proves the theory of framing rather then panning. Meticulous still frames are implored for the viewer's perusal, to once more force the gaze of the film's colouring and to study our characters in a more delicate manner. Hitchcock never tries to dazzle through camera ingenuity, but instead opts for placement to be the forte' of his shots, with an outcome just as impressive in this art form as anything created.

However, while the camera work instills a purposeful coldness, this does not mean that the film is without the flair for invention. Through the combined efforts of Bernard Herrman's hypnotic, mysterious sound composition and the invention of shots to reflect our leads 'Vertigo', the audience gets sucked into a trance-like state with the film, much again to reflect the conditions of our wandering lead. The hypnosis of the film is achieved through the visuals and the music, and takes the notion of cinema that extra step further as we engulf ourselves in this film and this narrative.

A deep philosophical study embedded inside of an intrinsic narrative, Rashomon shows itself as a rumination on lies, deception, and the commonplace they hold in our deteriorating society. While Rashomon holds heavy subject matter and shines a relatively harsh light on humanity, it holds a form of levity through its bumpy score to its near whimsical characters, which manages to an act as a brilliant overlay highlighting man's ignorance of the meaning of truth. To lie is to step into immorality - yet it remains an ideal sorely lost to the larger community.

Kurosawa's film of a looping story being retold is a fascinating and wide depiction of a very simple premise. The film is something to treasure as a piece of cinema that seems to grow with time.

Mistrust, disloyalty, and the search for answers entangle their way into one of the most finely tuned screenplays delivered to the screen. The Third Man is an intricate mystery that beckons a thorough reading by it's audience through it's weaving narrative that sends the viewer through the same tests as our leading citizen detective. The usage of shadows and lighting in the imagery for the film is amazing, and coupled with the skewed framing and quick cuts of locals expressions, the film tends to make it's own visual claim. Yet, as deep as the film goes into it's exploration of morality and mistrust, there is still a strange levity to the film; making it almost amusing at points. This is mainly achieved through the jaunty, Viennese strumming of the sounds score, which feels almost out of place in a film that houses such a brutal story with such cunning characters. However, the push towards atmospheric capturing may explain this seeming downpoint. Add Orson Welles as one of the more enigmatic villains to come before us, and The Third Man proves to be a film of depth that will entertain and intrigue.

A science fiction masterpiece created by Ridley Scott here and worthy of it's accolade for being known as one of the greatest science-fiction films of all time. There is a startling look at the future in this film interpretation of possible proceedings with much of what is in the society of this film slowly coming into fruition of the society of today. Harrison Ford was in his glory days when he did this film and it shows, he is great, but the real star of the piece is Rutger Hauer; who's bone-chilling replicant character has the paradoxic nature of being able to connect with the audience. The tagline for these replicants is 'more human than human' and much of the film delves into this aspect and makes it believable, and with the help of quality performances by all involved this aspect beomes realised. A real winner for this film is it's cinematography and subtle inclusions of symbolism, such as bonsai trees to signify man's hold on nature, which encompasses everything in the film and truly shows the audience that Scott was on the top of his game when creating this film. This is a near perfect film, the only gripe I have in the production is that it contains a slightly jumbled pacing (but, looking inside the piece this may actually convey the dispatched people of this society and the depression that looms overhead). Thoroughly recommended.

A film of breathtaking visual splendour, Aguirre: The Wrath of God is a film that stays finely in tune with the beauty of it's natural scenery while giving a vivid and real insight into the truths of madness and the thirst for power.

...more soon.

Forget about this just being a good Christmas movie, this is a good movie in any regards. It's a Wonderful Life is undoubtedly one of the most uplifting and inspirational movies of all time and this is achieved through the classic formula of characterization, change, and connection. James Stewart gives a riveting performance as George Bailey in a role that showcases the whirlwind of emotion present in Stewart's acting range; from the anger of jealousy, the sorrow and depression from loss, and the happiness and joy found in life's most simplest of occurrences. This is a very smartly contrived and executed film and Capra did a stunning job of crafting this film for it's time, by utilizing beautiful shots and getting the most of the performances; it should also be noted that this film is done so well that it still firmly stands the test of time. The only gripe I have with this movie is that in several sections there seems to be a bad job of sound editing and to some people this film may meander for too long. However, in the grand scheme of filmmaking, this is a firm star that will remain to be cherished for decades to come. This is not only an enjoyable affair, this is an affair that will teach you of how optimism in life can always bring fruitful rewards, not matter how bad the circumstance.

Quite simply - a masterpiece. The Shawshank Redemption is a film of rawness, showcasing raw brutality, raw remorse, and raw emotion that reaches inside and strikes a chord through every member of the audience. This is a film that holds contradictions in itself where it holds a formula so alien, yet so familiar, and yet manages to transcend film and make this a true visual and emotional experience. The prison walls act not only as a barrier from the inmates escaping to us, but also us escaping to them, and this is a theme that hits very soundly throughout the picture where hope is a lost ingredient in the minds of men who become institutionalised by their surroundings. The metaphors of this film reverberate through each scene where simple lines of dialogue taken for colloquial language mean much more than first impressions imply and through this an added layer of depth is conveyed through this picture. The acting and interaction of this piece are sublime, they truly are, and it is this that gives the film the added sense on integrity, of something that draws you into the ongoing preceedings. With a plot that encompasses a true insight into those we see as bad, who in contrast to the guards, the protectors, are actually good, and combining it with mind contorting lessons of morality and hope, we are given a film that truly must be seen to be believed.

A masterwork from Lang that acts as a pioneering leap in cinema style and genre, where techniques are pushed and boundaries are extended, and acts as a pathological study in criminality and rights. The aesthetics of the film brim with Lang's flair for atmospheric tension and the usage of plot definition through imagery that results in a piece that works wonderfully in the director's personal transition from silent films to talkies.

What makes the film so interesting is its barren soundscape, where a complete absence of non-diegetic scoring becomes apparent from the opening credits, to the closing scenes. In moments of tension or in moments of ease and quiet story progression - the film remains silent, leaving Langs wondrous camera to speak its words to the viewer. This puts a focus on our main killer's calling trademark - a whistle that proves to be the only form of music in the entire picture; adding to Langs want for cinematic atmosphere and realism.

Furthermore, M never makes full use of itself to define its story depths or lay a concrete conclusion. Yet, this gives the narrative it's own sense of ambiguity and thought. The pathology is the basis for the story's implications, and Lang makes full means of this through his abrupt conclusion and teetering story lines.

Lorre's performance is great enough to almost have an audience sympathise with his sick character, while Langs ability for the encapsulation of a frightful atmosphere will keep audiences hooked through unconventional terms. The atmosphere, the mood, and the dark tension are the basis and thorough delivery of M, which packages itself as a brilliantly crafted example of cinema.

Chaplin's comedic flair comes into conjunction with his cinematic prowess to produce a picture of audacity and hilarity where the entertainers qualities are proven both in front and behind the camera. The film lays the framework of a cityscape undergoing major societal changes and our leads magnify this quality through their hardships. Chaplin's bumbling, clumsy character of uncertainty almost acts as a reflection of these uncertain times; an incompetent man in an incompetent world. This is a time where work was thin, depression was looming, and the family unit was constricted.

But the film also tends to audaciously poke the film industry at the same time. Modern Times courageously sticks true to Chaplin's abstinence from sound and utilizes many scenes, most notable the quick flicker of a sound radio in a police station, to prove Chaplin's will to deliver his entertainment how it has been proven to be done best. The visual comedy of the actor has never been more precise and well thought out, and the visual eye of the director in Chaplin has taken a tight gaze at a time of depression but with the sparkle of light that seemed to be lacking in the historical context.

Where the film tends to truly excel, however, comes through its ability to never wane in its rythm and to never falter in its jesting deliverance. Where many silent films, in comparison to the progressions of cinema, tend to prove slow, Modern Times instead entertains at a constant stream. The framing is still and rarely pivots, allowing the on screen antics and chemistry to take hold and give focus to these surroundings.

In many ways, the title 'Modern Times' refers to many things. It could allude to the industrial changes and the work shortage of this depression, or it could reflect the director's sly provocations of a modernising film industry. Regardless of the film's underlying intentions, it remains a piece of cinema that highlights the comedic genre and proves as an example of humour that is untarnished, constantly reinvigorating, and simply timeless.

With a raw authenticity and a striking establishment of a forgotten icon, Lenny is a film that holds true to it's source and the tonal qualities that were pressed and needed to be presented. Bob Fosse, with a short directorial career, has crafted a gem of a film that has become sadly misplaced in the years, but his work here outshines even the very monoliths of 1974 that had beat this film into submission.

Structurally, Lenny is a very rare piece. The film tends to hold an undergarment of a docudrama, through it's usage of direct interviews and lack of musical composition. For most projects, this aspect could have drearily downgraded the film by severely stilting the pacing. Here though, it tends to accompany the soft yet unyielding nature of the visual qualities. At the same time, the film tends to overlay those fabrics with the facade of being a biographical picture that aims to strike with the same maneuvers as it's leading man, a comedian who seemingly ushered in a new age of public acceptance towards the "obscene" and the fight against censorship.

Lenny is a film that holds many truisms to it as we listen with an understanding of the comedian's stance on his material. The public of this era sees only provocative obscenities, but the audiences of the later years are able to see the reality in what Lenny Bruce is saying. His harsh comments speak with an integrity and truth that identifies the flaws in the defenses of prejudice's and social acceptances. And through Hoffman's brilliant performance, we are able to see layers to a man who was destined to reach his self-destruction along his followed path; a man who morphed his life with the morphing of his material and critiquing of society and it's people.

Through a fine screenplay, Lenny is a film that brings a high volume of laughs, but allows itself to be balanced with a care for the progression of these character's. Hoffman gives inflictions of a true character of ambivalence from the audience. There are many points to question the man's morals, yet his stance is ever so powerful that a strange fade comes into focus between his life and his comedy. We laugh at his jokes, but the personal qualities behind the microphone provoke questions. Valerie Perrine gives the performance of her career as the wife of confusion and need. The real star, however, is director Bob Fosse, who has focused his attention on select film departments to get the most out of this film.

A rare feat for the film is that it succeeds in portraying the look, feel, and details of a 1950's America, slowly coming to terms with a generational gap that will shake the societal evolution like never before. The film is picturesque in it's tone - it is serious, but holds an overbearing cynicism and wry smirk that it shares with it's laughter hound. But the cinematography is able to take a further leap through the execution of some astonishing editing, where a vast amount of shots are compiled to add that final layer of visual complexity to an already meaningful film.

Tragic and moving, Lenny is a picture that will stay with you for quite a while. Have the patience to stick with it, and the rewards will be reaped. The only downpoint is that at times the film tends to bring some subtle contradictions to the table. Otherwise, this is perfect filmmaking.

One of the all time greats

A reflective film that mirrors its own medium, Breathless is a film that seems to enjoy shooting down the merits of cinema while at the same time praising them, in this expressive and inventive art piece from Godard. Michel is the embodiment of living the life of a movie-star, "living dangerous until death", as he uses his Bogart impersonations; this twisted, absorbed persona drained from cinema, to live life as he sees it - through a screen.

But forget Godard's wonderful techniques and imagery, just watching Jean Seberg is enough to keep a smile throughout this film.

The greatest film of the greatest trilogy and what I consider to be the best Science-Fiction film of all time. This is Star Wars at it's peak and there isn't much more to say to validate this film's position. The Empire Strikes Back takes everything that was so great about it's predecesser and evolves it to make for a much more brooding atmosphere. The characters have grown, the story is evolving, and for once we witness a film where the bad guys actually win. I don't need to write why this is so good, because everyone has seen this and realises this near flawless material, material that is accessible to everyone of every age. This is a film that takes age old elements and infuses them into futuristic surroundings. A true great.

Innovative, stimulating, and highly intrinsic, Fritz Lang's Metropolis is one of the most visually inspired creations to enter cinema and proves to have acted as a benefactor in cinema's progression. While it's social implications are steadily becoming more identifiable through it's generalised ideals, it nevertheless manages to stimulate us through it's tight knit framework of the city life in an evolving community.

Noted as being one of the greatest comedies ever to grace the silver screen. Does it live up to that hype? For the most part, yes, otherwise though this is just a very fine film from a masterful director. Kubrick seems to shine with every one of his films, in all of the respective genre's, and his inclusion of Dr. Strangelove into the comedy genre adds to the man's solid repertoire in a near masterpiece. This is a film that derives itself on quick wit and satirical analysis of very serious subject matter, the Cold War and Nuclear arms, but with a brilliant script and fantastic characters- Dr. Strangelove manages to win over the audiences with it's sheer quirkiness with it's humour. "Nuclear warhead: handle with care", "I'm capable of being just as sorry as you are", and of course "Gentleman, you can't fight in here, this is a the war room", are some examples of the gems that Kubrick had infused in this sharp screenplay. However, this is a comedy that forces the viewer to watch, listen, and concentrate as their are many subtleties in the film's making, and, for the humour to take full effect - the viewer should have some knowledge of this era in history. The only other fault with the film is it's length, it could easily have done with an extra 15 minutes. Peter Sellers and George C. Scott shine in their roles and truly steal every one of their scenes; Sellers also masterfully handles his three very contrasting roles with a sense of stark difference in each. Dr. Strangelove may not be the best comedy ever made, but it is certainly up there with them.

A near perfectly made film with timeless and picturesque tonal qualties; The Graduate is a supreme example of film that showcases just how broad an audience demographic can become.

In many ways, this is a very deceptive film in what it is saying. It may look to be an entertaining, albeit stylistic, romp to be enjoyed. But, thanks to a deep screenplay by Calder Willingham and Buck Henry and even deeper cinematography by Robert Surtees, we are given insight into a portion of life that every single person faces - the faded years. Benjamin Braddock is the embodiment of the confusion and isolation of people of this age. Are we considered adolescent still? Or are we adults? Really, we're in between, and this is showcased through the (what many people will look at as being pointless) scene where Braddock is forced into a reclusive state in his pool while his 21st birthday turns into a joke at his direction.

Then along comes Mrs. Robinson, played to the point of being the inventor of the seducing woman cliche' by the wonderful Anne Bancroft, who gives Braddock the opportunity to walk past that gate and enter the adult dominion. Her offer - sex. But the screenplay continues down it's devious path with it's subliminal humour as we inexorably move through Braddock's following adult encounters - love; the force to wash away his confusion and tedious stage in life.

Dustin Hoffman made a huge impact in the circle with his portrayal of this complex, yet hollow, character in a performance that proves as a fine example of one of actings most difficult aspects - reacting to others performances. The reaction of Braddock are priceless throughout this piece about the coming of age.

Mention should also be made to the Simon and Garfunkle songs which not only help with the film's tonal qualities, but also give stark insight into the film's proceedings through some meaningful lyrics.

Director Mike Nichols has crafted a near masterpiece of a film that has the only single downpoint of leaving the audience wanting more of this hectic life displayed to us. The Graduate is a film that gives meaning through words, imagery, music, and even silence, and coupled with it's audience potential it is a film to be remembered for a very, very long time to come.

Tender immorality. Days of Heaven lavishes its exterior with beauty to oppose the deviance of its plot and the ethics of its characters to make for a picture laden with the splendor of serenity and the insight of needs, wants, and love. The film caters as a moving film through imagery as it captures an environment and a setting and is able to progress with minimal dialogue.

...more soon.

A classic film for all the right reasons. Casablanca is a film that combines fantastic acting, sombre yet escalating tone, soaring musical composition, snappy dialogue, and timeless characters. There is not doubt that this a film great and it's known nature to people of many different groups of society and age clarifies this. What makes Casablanca so good is that it is a simply enjoyable film that is impossible not to like, but it doesn't stop there. This is a film that gives insight into issues of today and issues that plagued the world of this film's inception; we are given a look at war and it's ramifications on people of this time, we are shown a conquering of love, and we are shown a look at corrupt gambling and money making. Is this the greatest love story ever told? No, but the film should be looked at as being much more than that as we witness true acts of selflessness and courage. And of course, this is the film that has spawned countless famous quotes. A fantastic film that has to be seen.

Wow...what a mesmerising film this is. Jack Nicholsen gives the performance of a lifetime in a near flawless film that proves as being worthy of 'The Big 5' at the Academy Awards. One Flew Over the Cuckoo's Nest is a film that looks at the mental conditions of people and juxtaposes the right frame of mind in contrast to the 'craziness' of these patients that run riot in the film. The screenplay is brilliant, the film may look fairly shallow and appear to be a simple liekable affair from the outset, but as you look deeper you see much more in this tale of solitude. We are given a clear understanding of how oppression and power can dull sensitivity and personality, witnessed in Nicholsen's brilliant portrayal of the main protagonist that is 'wrongly accused'. There are so many points where this film could have failed and become dull, but the sharp direction and aesthetical acting keeps pushing this movie in the right direction. As mentioned, the screenplay is brilliant and the tone of the film combines with the script to push the film into a rythm that mimics the spiral into madness evident in these characters. Then, of course, the film gives us one of the most ironic and heartfelt tragedies put to screen. A nice addition that Milos Forman implemented also is the absense of conventional film music. This acts as a resounding metaphor of the lost nature of these patients and makes the conclusion so much more powerful. To put it simply, One Flew Over the Cuckoos Nest is one of the closest films that you will find to being a masterpiece.

The formation of a friendship through a warm greeting, Nights of Cabiria transcends the structure of a character study to welcome forth an embodiment of life and the introduction to a lovable figure. Where Nights of Cabiria truly finds its strength is through its title character, an everyday woman with the attitude and aspiration for much more, who sucks the audience into her life - we care for her and are constantly on the look out for harm. We question the people she meets and warn her of venturing into predicaments. The film goes much further in creating an embodiment of raw reality, but the understanding of this fiery woman delves deeper than Fellini's pen or camera - the clincher comes through Masina's performance. She is temperamental, involving, and breathes a truly special quality into the face of an already ambitious woman. There are questions to be arisen through the films solidity on its thematics of life, but its ambiguity and sheer power overcome this small aspect.

RE-REVIEW: A second viewing has made this film's greatness be known to me. A word of warning for every person wanting to see this picture - have a fresh understanding of the first film and it's characters, because The Godfather Part II is a VERY easy film to become lost in otherwise.

The script for this film is contrasting and immensely deep at the same time. The pacing of the scenes involving a young Vito Corleone (played in a fashion by Robert DeNiro that would make Brando proud) are slow and involving as we watch the character's rise to power. However, the switch to the current day, with a very different Michael Corleone, proves to be an affair that requires concentration and patience. In many ways, it is an assessment of the audience and their willingness to participate in a film that endears to be much more than the bloodshed entertainment that so many seem to love these films for.

In his scenes, Al Pacino is smouldering, cold, and barren, yet he remains an intensity that makes you loathe and love his character and performance at the same time. The nuances and silence of his character make it to be a performance to rival that of Marlon Brando's role in the previous film.

The Godfather Part II is a film is truly defined if you have had some spent time with the family already. The film can be enjoyed on it's own, but the understanding it taken to new levels with the predecessor taken into account. Is this the greatest sequel of all time? No. But, it is easy to why it is revered as such and it is easy to see why it has received such accolades in recent years.

The film that is home to the famous "I coulda been somebody speech" showcases what has to be considered one the best films made and one Brando's greatest roles. One the Waterfront give