My Favorite Movies

So much has been written about this movie on Flixster and elsewhere, that there's really not a lot more to be said. And it is almost 10 years old, after all. But the beauty of The Big Lebowski is that the more you watch it, the more you appreciate its brilliance. That's probably why people are still talking about it after all these years. It never seems to get old. The plot itself is really not all that original, but it's what the Coens do with it that makes it so special. They may have written the funniest screenplay ever, and the casting is perfect. It's impossible to picture anyone else playing The Dude, Walter, Maude, Donny or Jesus, and they all deliver their outrageous lines as if they were born to speak them. And how about all those dream sequences and acid flashbacks? Who can forget the scene where The Dude is flying through the air with a goofy stoner grin on his face, when suddenly a bowling ball appears in his hand, causing him to drop like a stone. Or the scene where he's levitating down the bowling lane between the legs of the Viking women, or whatever the hell they're supposed to be. Brilliant! There are so many fantastic scenes and quotable lines, and all the characters have their own little idosyncrasies, especially The Dude. The Dude is a walking idiosyncrasy! Anyway, there's a hell of a lot to wrap your head around, and I haven't even mentioned the music, which is great, and perfectly suited to the movie. The Big Lebowski is truly one of a kind. Fargo may be a better film, but this one is really in a class by itself. Aren't you glad there wasn't a lot more to be said?

I think this one might have flown in under a lot of peoples' radar, so I'm going to attempt to rectify that situation RIGHT NOW. You know those blurbs that say, "finally, a thriller that really thrills"? Well, you can apply that comment to this film and then some. The set-up is that Jeffrey Taylor (Kurt Russell) and his wife Amy (Kathleen Quinlan) are driving cross-country to take up residence on the West Coast. The breakdown in the title occurs, and that's when the action kicks in. Director Jonathan Mostow (Terminator 3) cranks it up in fine style, and you'll be hanging on for dear life as Russell tries to track down his missing wife. He is so good as the regular guy caught in a life-and-death situation, that you'll be cheering him on and feeling his helplessness and controlled rage from start to finish. He just nails it! And the scene where he's hanging from the undercarriage of the 18-wheeler as it cruises down the interstate will leave you gasping for breath, as your heart takes up space in your throat. If he does his own stuntwork in that scene, and I think he's crazy enough to do just that, he deserves the title of Stuntman Mike, in spades. The supporting cast is all top-notch, especially J.T. Walsh, as the downright slimy leader of a gang of kidnappers preying on travellers out in the middle of nowhere. The final sequence is another showstopper, as Kurt attempts to get his wife out of a wrecked pick-up before it goes over a bridge, while at the same time fighting for his own life against the murderous kidnapper. Fantastic! Absolute first-rate entertainment. Outstanding story, screenplay and direction, all by Mostow, but it's the brilliant acting, especially by Russell, that hits you where you live, and makes you care.

This movie blew my mind when I first saw it back in '81, and it's just as mind-blowing today as it was then. Arguably the most original post-apocalyptic vision ever brought to the screen, this is a huge step forward from the original Mad Max film. In the role of Max, Mel Gibson creates one of the coolest anti-heroes of all time going up against one of the coolest villains of all time, Lord Humungus. Everything about this movie is just fantastic, especially the final sequence, which includes the wildest, most hair-raising chase scene in film history. For action fans, you just can't get much better than this.

I just love this movie. I've seen it numerous times and I never get tired of it. I'm not exactly sure why, but I suppose the chemistry between Bill Murray and Scarlett Johansson has a lot to do with it. It's also a really intelligent script, beautifully directed and shot, and it has a great soundtrack. It makes me sad, but it's a good kind of sad, if that makes any sense. I suppose I identify with Bill Murray's character, too. A film to cherish, and watch over and over again.

Bill Paxton makes a stunning debut as the director of this twisted tale about a father and his 2 sons, that includes murder (at least one), possible madness, and definite child abuse (with possible extenuating circumstances). I guess you'd call it a psychological thriller, but there are elements of horror, and the serial killer genre is turned upside down, leaving you wondering just what the hell is going on. Everything hinges on whether you believe the father (Paxton) has been visited by an angel from God, as he claims, or whether he's just gone off the deep end. There are definitely several scenes where what appear to be humans are dispatched by Dad using a double-bladed ax. But, if you're squeamish about that sort of thing, don't worry, as it's (mostly) left to the imagination. However, you'll have to be very strong to get through the section where the disbelieving son is locked in the cellar of the shed by his father until he sees the light. Paxton is superb as the father, and you definitely believe that he believes the divine nature of his new life's work. Matt O'Leary and Jeremy Sumpter are also excellent as the two young sons, and Matthew McConaughey is along for the ride as one of the boys, now a man, who tells the story to FBI agent Powers Boothe. After seeing the film, it may occur to you to ask a question about why McConaughey's character does a certain thing. But the answer is that if he didn't do that certain thing, the film could not exist in its current form. If you can accept that answer, as I did, this movie will haunt you.

I have to disagree with Jeff Shannon's review for Flixster, calling this a B movie. I think it's grade A all the way. From the ratings I've seen, most people either love this or they hate it, and I fall into the first category. In my opinion this is the best thing Shyamalan has done, better than The Sixth Sense and Unbreakable, and certainly better than Lady in the Water, which is just ludicrous. I haven't seen The Village, so I can't comment on that one. But Signs is just so expertly put together, beautifully written and directed, and wonderfully acted, that I can watch it again and again. I especially love Abigail Breslin's portrayal of Mel Gibson's young daughter, who has a strange aversion to tap water. I guess this took place before the bottled water craze, which turns out to be quite lucky in the end. I also love Joaquin Phoenix as Mel's younger brother. Swing away, Merrill!

A lean and mean little thriller directed by Steven Soderbergh and starring Terence Stamp as a British ex-con who travels to California to find out what happened to his daughter. Stamp gives a knockout performance, which is arguably his best work since 1984's The Hit. It's a shame he hasn't been given more quality roles over the years, because he is explosive in this one. Peter Fonda has fun with his role as an aging record producer who may have been involved, but is trying desperately to skate away from trouble. Lesley Ann Warren, Luis Guzman and Barry Newman are all perfect, but Nicky Katt almost steals the show as Stacy the Hitman. Not quite, though. It's Terence Stamp's movie, and it's a damn good one.

When I first saw this, I was so blown away that it was the only movie I wanted to watch for weeks. It's a rock musical that tells the story of Hansel/Hedwig, a young 'person' from East Berlin who marries an American soldier and moves to the United States. There, Hedwig meets and forms a songwriting partnership with a young man, who eventually leaves and uses their songs to rise to superstardom as Tommy Gnosis, while Hedwig is relegated to touring really small venues (mostly a restaurant chain called Bilgewater's) with his/her band The Angry Inch. Writer/director/star John Cameron Mitchell is simply sensational as Hedwig, and when you consider the fact that this was his directorial debut, it's even more amazing. It's funny, it's heartbreaking, the songs are fantastic, and the animation is really cool, too! Dismissing this as merely a 'gay' film would be like dismissing Lawrence of Arabia because it's about sand.

Even after seeing this, I'm not quite sure what to make of it. It's visually stunning, but also contains a lot of ugliness and violence. The fantasy sections are very well done and the creature effects are quite good. The entire cast is excellent, especially Ivana Baquero as the young girl, and Sergi Lopez as the cruel Capitan Vidal. I think repeated viewings may be required to get a complete understanding of everything that's going on. But I have to admit It's some kind of weird masterpiece.

Not likely the Coen Brothers will ever top this one. MacDormand and Buscemi are so good it's scary. And Macy is not far behind. A real gem.

May not be the best western ever made, but definitely the coolest. All the young guns are in top form, but McQueen steals the show in what may be his best performance ever. Only Bullitt comes close.

Foster and Hopkins light up the screen in this note-perfect adaption of the novel by Thomas Harris. Good creepy fun.

After seeing this stunning film, I feel compelled to state that Guillermo Arriaga(writer) and Alejandro Gonzalez Inarritu(director) are absolute masters of the cinematic art form. If you've seen 21 Grams, you're familiar with their work, but Babel is their crowning achievement to date. This is film-making of the highest caliber, and we can only hope that they will continue to make films as amazingly powerful as this one for many years to come. I don't see how it's possible that they could make a better one. Mere words are inadequate to describe the emotional impact it delivers. You need to experience it for yourself to understand. Absolutely devastating and brilliant.

The coolest cop flick ever made. All others pale in comparison.

Quite possibly the best western ever made. Duvall and Jones give the performances of their lives to bring the novel to life in all it's glory. Powerful and unforgettable!

The 'man with no name' trilogy reaches epic status in this Sergio Leone classic. Clint has never been better, and Leone's widescreen vision is something to behold. This brought the western genre back from the dead and set a new standard for the future.