My Favorite Movies

'I like to remember things my own way. Not necessarily the way they happened.'
Not only the words of the schizophrenic protagonist, Fred Madison (Bill Pullman), but the way in which all of David Lynch's works of cinematic brilliance are made. The hybrid of a thriller, art film and horror film, Lost Highway is definetley his most daring film to date.
An unusually demading, powerful movie about jealousy transformed into the depiction of a psychosis half way through, Lost Highway is, as Lynch intended it to be, a realization of a dream, or a nightmare. The film resembles Lynch's other works, such as Blue Velvet and in particular, Mulholland Drive, yet brings something new and original to the table. The trademark dark corridor, red curtain and fade in/fade out scene transitions are all included.
Everything he does it is intentional, every single frame is perfectly arranged with clues to the complex plot.
For any movie buff or aspiring director, this is the perfect example of how to develop interesting cinema without a meaningful answer to a narrative. The elliptic finale almost made sense, but not quite. It helps if you have viewed and understood Mulholland Drive beforehand.
Despite the confusing plot which is beyond common understanding, the mind blowing cinematography is something everyone can enjoy. It was intense, raw, disturbing and even achieved a Tarantino-esque quality at one point. The clever lighting and camera angles give Lost Highway a very frightening and haunting feel.
The acting is exquisite and Lynch selects a flawless cast for each role. Patricia Arquette plays the best role of her career yet and Robert Blake plays truly, one of the most chilling characters ever to grace the silver screen.
Those looking for a plot-heavy movie which explains itself will be disappointed. Those willing to look closer into such a thought-provoking nightmarish film will be left feeling very satisfied.
On a lighter note- You can learn a very important lesson from Lost Highway- be polite to other drivers on the road because you never know who the guy you just fingered turns out to be ;)

" Dear Leonard. To look life in the face, always, to look life in the face and to know it for what it is. At last to know it, to love it for what it is, and then, to put it away. Leonard, always the years between us, always the years. Always the love. Always the hours. "

An astonishing adaptation of the Pulitzer prize-winning novel, The Hours intertwines the lives of three women from different periods of time, all affected by depression; legendary writer Virginia Woolf is writing her now famous novel Mrs. Dalloway whilst recovering from mental illness in 1923 Richmond, typical 1950s suburban housewife Laura Brown reads the novel in 1951 L.A and finally we switch to the modern day Mrs Dalloway Clarissa Vaughn, a publisher living in 2001 New York.
There is a common thread among them that effaces any 'real' normalcy in their lives and ultimately forces each of them to make life-altering decisions. Themes revolving around feminism and sexual preference stir just below the surface. But it is the prevailing sadness of these women brought on by the confinements of a restrictive and often stifling society that is at the core of this film. Their yearning for something more or for that 'one perfect moment' in time places each of them in the painful position to question their own existence. The sequences in each of their lives are carefully interwoven throughout the movie, enhancing their parallel struggles. The emotional grip of the story is heightened by the mesmerizing and somewhat haunting Phillip Glass score.
The writing of the film is phenomenal as well. A perfect adaptation of what most would consider an unadaptable book, Hare captures the tone of Cunningham's novels expertly and shows a great deal of understanding in terms of the three women. Through the outstanding writing of the film, we begin to question or own lives and the way we live them.
The best aspect of this film however is the acting. Kidman gives her career best and is much deserving of her Best Actress Oscar. Audiences will not recognise her, nor should they. Streep has always been a rare and unique talent in Hollywood and The Hours showcases her emotional range even further. The stand-out performance, however, comes from Moore, her depiction of Laura Brown is filled with subtlety and nuance, leaving the viewer spellbound. There is also an exemplary supporting cast including Toni Collette, Allison Janney, Miranda Richardson, John C Reilly and Ed Harris.
Like all masterpieces, The Hours is not for everyone. It is neither fantasy nor escapism, yet what it lacks in pure entertainment it makes up for with introspection and a somewhat hopeful ending. It will certainly leave a lasting impression.

Russ Meyer's stupendously trashy, excessive and gloriously over-the-top horror-splatter-comedy-rock n roll-musical-soap opera extravaganza still stands tall and proud as one of the greatest and most bizarre satires on Hollywood decadence and debauchery to ever explode across the screen in a whirlpool of psychedelia.
Far superior to its predecessor, The Valley of the Dolls, this film is more of a tribute than a sequel. It merely plays on similar themes associated with fame and the downward spiral it can cause.
Meyer directs with his usual enjoyably overheated dynamic style, filling the frame with loud blinding Day-Glow cartoonish colours, voluptuous women, frenzied editing, a furious non-stop pace, broadly drawn caricatures, sumptuously stylized visuals (the use of super-impositions is absolutely breathtaking), and delightfully overblown acting by John LaZar in particular. This is enhanced by the soundtrack of 60s garage rock songs, the positively insane violent conclusion and the splendidly campy dialogue is priceless leaving no cliché unaccounted for in a highly quotable script by none other than film critic Roger Ebert who commendably forsakes taste and subtlety in favour of pure crude, raunchy and hilariously bawdy lowbrow humour. A true cult classic that's not to be missed by devout fans of delectably deviant, deranged and depraved oddball cinema.
Long live The Carrie Nations!

'I am Cuba. My sugar was carried away in ships but my tears were left behind.'

Communist country meets Communist country in this Cuban-Soviet collaboration offering an ultra-poetical heart-slicing look at Mother Cuba's agonizing outcry for her children; the Cuban people. Taking a tour through four vignettes illustrating the impact of the Cuban revolution, I Am Cuba could equally be interpreted as Communist propaganda or Socialist realism.
If the former is true then the film failed miserably, recieving phlegmatic disapprovals from audiences, long before it resurfaced in western countries in 1995 thanks to Martin Scorsese and Francis Ford Coppola.

Revolutionary both in content and vision, although its plot is often overlooked due to the propaganda aspect of the film, director Mikheil Kalatozishvilli mixes the distantly related lives of four people; a struggling Havana prositute and her submission to a wealthy man, a landless farmer, a young revolutionary on his path to glory and a poor man who turns to war to compensate for what was cruelly taken from him. Certainly, the Anti-American themes run deep but that accompanies the territory. Historical accuracy aside and this film would still be an utterly compelling look at the human reaction when faced with strife.

Few films achieve the camera freedom I Am Cuba does. Just as the viewer expects the camera to cut, it makes a majestic glide out of the window and hovers above a new vision. Cinematographer Sergei Urusevsky's camera is completely liberated favouring high contrast black and white long distance tracking shots above all else. It would be an understatement to say that the rhythm and choreography was anything short of perfection.
The rediscovery of I Am Cuba influenced the explosion of great films made during the '90s such as Goodfellas and Pulp Fiction. Whilst its makers have no intention to entertain you in the conventional sense, watching this underrated foreign masterpiece is not an experience of cinema, I Am Cuba simply IS cinema itself.

Where's the beauty in a plastic bag?
American Beauty is easily THE greatest modern masterpiece made. Never in the cinema of today has such an accomplished film been put on our screens.
American Beauty is deeply audacious, dark, tragic and ferociously comical. It is not about superheroes or absurdly satisfied people (who only ever exist in movies), but flawed, exhausted and shallow people- on the surface. But one must look closer like the tagline says and see that they are just victims masked by an often wrong and unjust society. Angela acts like a total superficial slut, yet, by the end she is nothing like what she makes herself out to be. Colonel Fitts tries to act like a hard man but we realise it's just a great facade. Civilization is but one long movie and members of this civilisation must act their parts if they want to belong. And that's why the heavily critised stereotypes are so vital to the message behind American Beauty. Every character is a section of each one of us; the Lester Burnham of change, the Carolyn of uncertainty and failure, Jane of rebellion, the defeated Barbra, the false image put across by Angela and the Colonel and the refusal to become that way by Ricky.
The acting is exquisite, a rare treat that every actor plays their role to perfection, although Annette Bening sparkles in particular.
Every frame is stunning, every dialogue is deep, thrilling and intriguing, every sentence and every word perfectly constructed and containing profound irony and intelligent humour. The plot is flawlessly built, revealing a true indiction of the sad situation of American culture.
LOOK CLOSER and you won't be disappointed.

My Own Private Idaho is a very important film, yet completley underrated. Gus Van Sant's films often have a strange aura about them, and this moving drama/road movie is no exception.
First of all, it depicts the ignored part of the USA we never get to see in mainstream cinema: Society's Outcasts. It is a brave and honest portrayal of the gritty realism of life on the streets in Portland, Oregon and every other modern city in America. What makes My Own Private Idaho so unique, is that it describes the two street hustlers in a non-judgemental, caring way- not gloryfying or preaching morals on their lifestyle and not trying to make a political statement.
It deals with some pretty heavy issues; prositution and drug abuse, but the main theme of the film is the search for love and belonging, which is conveyed in an interesting way. The protagonist, Mike, falls asleep at the most inappropriate of times, a condition caused by stress. And because the film is seen through his sleepy eyes, we are always uncertain of exactly where we are or what's going on.
The camera shots of long horizon-spanning roads and skylines, fast-motion clouds, surreal and symbolic shots of houses and fish leaping from the ocean provide the film with an odd, almost other-worldly charm.
River Phoenix, I felt, was what I thought really made My Own Private Idaho stand out among the rest. His raw, compassionate portrayal of Mike, will always be his greatest role.
Overall, it's a fascinating, touching and very sucessful blend of styles. No one should miss this.

City Of God is literally a faultless movie, it's simply perfect in every way. With breath-taking cinematography, Pulp Fiction style chapters, a masterclass in direction by Fernando Meirelles and a storyline described as the 'Brazilian Goodfellas', how could it be anything less?
It is the story of life in the slums of Rio De Janeiro, an area known as the Cidade Des Deus, the City of God. The viewer journeys through the experiences of the gang members from childhood to adulthood with their transformation from young hoodlums to local drugs barons, narrated by an aspiring photographer named Rocket.
Fernando Meirelles does a wonderfully hypnotic job of blending the old styles used in American gangster films , bringing them up to date- and improving them.
The violence in City of God, even the apocalyptic ending, is not as raw and bloody as many will expect. The brutality rests mostly, but not always, on choreography rather than in-your-face bloodshed. The result is violence but it is so often artistic that it looks beautiful.
One of the greatest films you'll ever see? No exaggeration. This is one of the only critically acclaimed films that has managed to live up to it's hype- and more. Certainly the best film to come out of South America that indicates the emergence of major new talent in filmmaking.
Watch City of God if you're into foreign films, if not- watch it and you will be. Hollywood doesn't even compare.

What makes Some Like It Hot so sucessful and enjoyable even nearly 50 years after it's release? The mix of a well written script packed full of hilarious one-liners, the legendary actors, a unique story for it's time and the combination of a screwball comedy, mob drama and campy romance with a little sugar on top (pun intended), certainly contribute to making this film one of the true classics in the history of film.
Drag Queens was a new relatively new concept to the 1950s American Film Industry. Two musicians gain new opportunities they don't have as men (marrying a millionare, accepting free trips and consolations etc), giving the message that femininity gains all?
Billy Wilder, who was a very straightforward director, had the perfect movie to go at exceptional speed. Timing is perfect as one joke after another hits the audience. There are very few movies about sex which include raunchy dialogue that never actually mention the word.
Marilyn Monroe, Tony Curtis and Jack Lemmon make an amazing cast, never losing their sparkle from beginning to end. The stories of Monroe's inability to remember her lines or appearing late on set are well known- but we never notice any difficulties whatsoever in the finished movie. People have criticised her for weight-gain, but she has a real woman's body instead of the anorexic girls with implants which consume today's cinema. Where Curtis is more controlled in the role of a drag queen, Lemmon is fabulously over the top and is what gives Some Like It Hot it's real comedy value, having the best lines in the film and his facial expressions alone evoke lots of laughter.
Dull moments are non-existant with quickly paced classical cutting, a wholesome variety of locations and a timeless screenplay. Light-hearted fun which can be enjoyed time and time again. Why would anyone want to miss it?

'Put on the watch. Light the cigarette. Fold back the silk and use the cigarette to burn a hole in the silk. Then put your eye up to the hole and look through, all the way through, until you find yourself falling through the hole and into the shifting patterns you see on the other side.'
...And we're returning to the dimension of the red curtain and the dark corridor, also known as the Lynchian universe, for his terrifying surreal epic; Inland Empire.
The three of hours of complex meta-plots, deja vu, people with rabbit heads, prostitutes, aerobics, mental breakdown, screwdrivers and "brutal fucking murder", shot entirely on a mid-range Sony DV camera, gives a completely new meaning to the phrase 'mindfuck movie'.

If you're a Lynch newbie, then imagine a series of intricately painted stained glass windows representing the plots, shattered into a thousand pieces and arranged on strips of celluloid and you might just have an idea about what to expect from his latest grandiose extravaganza in American Art House.

Stretching far beyond the limits of cinematic narrative, Inland Empire opens with a man and a woman in a hotel room; their faces are blurred out until the distressed woman is left silent sobbing watching a phantasmagoric sitcom starring three rabbit people where there is a ridiculously over the top yet sinister laugh track being played at the most nonsensical places.
As the story spirals downwards, upwards and then back again, we learn that the woman in the hotel room is actually a spirit trapped in a sort of limbo, plagued by the guilt after her husband discovered her affair and killed her whilst making, but never completing, a Polish film titled '4/7'. History has repeated itself as Laura Dern's character Nikki is starring in a remake of the "cursed" film; 'On High In Blue Tomorrows'. Her journey transends into something similar to the rabbits' sitcom as there are some very uplifting inappropriately placed moments i.e. 'The Locomotion' dance. But Lynch never fails to remind us of the dark odyssey pouring through each sequence and each sub-plot interlocking at the mind warping final act.

Dern gives a bold heroic performance that never stops being believable, even if the story is totally unreal to the rational mind. As Lynch's greatest star, she should knock out the competition at the next Academy Awards but it is almost inevitable that Inland Empire will be dismissed as nothing more than 'incoherent nonsense' and systematically ignored by mainstream audiences.

Whilst Mulholland Drive was his masterpiece, Eraserhead was his landmark, Lost Highway was his most chilling and Blue Velvet was his most sensual, Inland Empire is his most accomplished work, combining the highs of its predecessors, charging through a wondrous underground of head trips that really have to be seen to be imagined.

Based on the novel by J.T. LeRoy (or Laura Albert to be correct), The Heart Is Deceitful Above All Things is a compassionate and refreshingly different approach to telling the story of lost childhood. It deals with horrific events, told in chapters, without adding glamour or lust.
Asia Argento writes and directs a masterpiece that takes no sides; instead she boldly lays forth a landscape of love, abuse, and how one will do just about anything to feel needed and worthwhile, even if that means going back again and again to the hand that hurts you and abandons you. If you don't get this film, it is either simply not for you, or perhaps you have not read the addictive literary achievements of J.T. LeRoy. If the latter is true, go now to you local bookstore and buy any of his courageous works; they are gripping and full of raw, honest ferocity. In terms of adaptation, the film is sucessful in capturing the tone and mood of the short stories, although a couple of characters were missed out and the ending was altered on the DVD.
The performances were truly outstanding and are the biggest highlight of the whole film- by anyone's admission. Asia Argento played Sarah to perfection. However, it is the children who out-shine everyone. Jimmy Bennett, Cole and Dylan Sprouse depict an innocent child, jaded by his upbringing. Having only seen the Sprouse twins in Disney films, where their acting was somewhat wooden, it is a pleasant surprise to see they do have talent given the right material and director. Various cameos include Peter Fonda, Marilyn Manson, Winona Ryder and Lydia Lunch.
There are many difficult and harrowing scenes in the film as we follow a child on a path that would both physically and emotionally drain even the most hardened of adults.
It's depressing. So what? It's REAL and heartfelt, one thing all crappy Hollywood productions lack. There's the controvesy surrounding the novel and there may not be an actual J.T.LeRoy but no doubt there are hundreds of kids who have been let down by their pathetic excuses of parents and social services. Overall, The Heart Is Deceitful is one of the most genuine dramas ever to have been made.

"Fasten your seatbelts, it's going to be a bumpy night."
First off, Bette Davis was always an incredible actress, no matter what part she took and this was the perfect part for her although I do prefer her terrorising Joan Crawford in Baby Jane. Anne Baxter is tremendous - she manages to get across the both the innocence and the maliciousness of Eve well.
All About Eve has one of the best screenplays ever written, fabulous directing, and sensational acting, snappy dialouge and one liners with a great twist in the tale.
I knew I was going to like this before I even saw it but they really weren't lying when they said this is one of the Greatest Films Ever Made.

This is a flawless masterpiece by Jean-Pierre Jeunet. 'Amelie' is a comedy, an art movie, a love story, and a fantastic trip all rolled into one. It's hard to even describe the joy and wonder that is seen through the eyes of Amelie Poulain, as she embarks upon an adventure of do-gooding. You will be engrossed from the opening shot until the credits start to roll. The color composition of this movie was just beautiful. Audrey Tautou plays the part of the title character to perfection.
Amelie is most definetley a work of cinematic brilliance and one of my favourite films of all time. WATCH IT and then tell me it's not amazing!

American Psycho is a fiercely comical social satire, which makes great use of high praised art, vulgar fashion trends, lavish decoration and costly New York living- all to illustrate the materialism in 1980s America and the soulessness of a generation of yuppies.
We follow Patrick Bateman, played to perfection by Christian Bale and outshining the supporting cast, as an upper class Wall-Street worker by day- homocidal socipath by night. In terms of characterisation this film hits a new peak of professionalism, both as a screenplay and a performance.
From the very first frames of the opening credits, director Mary Harron creates uncomprimising tension as raspberry sauce decorates a dessert, splattering blood on the white of the plate. Immediately, the tone is set for what is to come. Bravely, she downplays the violence in comparison to the novel, more often suggesting it's prescence rather than illustrating it.
This is a modern masterpiece and a cinematic gem, although faintly flawed and somewhat lacking towards the finale. Now, excuse me, I have to return some videotapes.....

Secretary is a refreshing unique film that brings to the table a different and fascinating love story combined with brilliant acting and directing alike. The characterisation of Lee Holloway and the casting of Maggie Gyllenhaal was just perfect. Her transformation from timid, self-mutilating mouse to sensual, self-confident woman is amazingly poignant. Spader also gives a notable performance as a troubled lawyer who takes advantage of his Secretary.
Surprisingly, Secretary isn't too disturbing or too raunchy considering it's subject matter and therefore representing S&M relationships in a good light. It manages not to be portrayed as sleazy and instead, rather stylish. There is love, understanding, affection and above all dedication.
As well as the romance and drama there is also a lot of dark humour in here, a quirky and cleverly written script by Erin Cressida Wilson. Perhaps what is best of all, is the fact that the S&M replaces the self-harming in Lee's life so she ends up happy.
Definetley not your typical love story. Loses it's sparkle in places but overall, a one to watch.

Beautiful and poetic, there are elements of House of Flying Daggers which are truly astounding.
Zhang Yimou, once a cinematographer himself, has an exquisite eye for colour. And this film is textured almost to the point of gluttony. Breath-taking, but not overstated. You can feel each and every flower, blade of grass, and movement. The wildly sensuous visuals are what makes House of Flying Daggers so watchable. Every frame is like a work of art. And none are better than in the opening sequence. We find ourselves in a dance hall encircled by drums, as Mei plays a game of echoes with the Captain. He hits the drum repeatedly with a flicked nut, to be followed each time with Mei's robes pounding on the drum. The sound of each strike reverberates like thunder.
The combat scenes are inventively executed, to the point where the violence has an uneasy beauty. Filled with POV shots of flying daggers, although I felt the camera techniques were a little overused. However, the final showdown depicts the decidedly ungraceful fight to perfection. When Leo raises his sword to Jin, he means it. His anger is so extreme that it can only be represented by a drastic change in season. Autumn becomes Winter, showing that the relationship between the two men has converted from cool tolerance to icy, implacable fury.
As events reach their climax, the plotline gets untidy, revelation after revelation is thrown. It has a somewhat "it's over, no it isn't" feel too it. Zhang Ziyi's performance becomes comical when she keeps being resurrected. The last section of the film, in terms of story and dialogue, was what I thought will restrict House of Flying Daggers from ever reaching classic status.
Overall, this film is a benchmark for martial arts movies and one to watch if you like rich, thoughtful cinematography.

"Oh my God Almighty! Someone has sent me a bowel movement! "
Pink Flamingos really is the Queen of ALL trash movies. It's perfect in every vulgar and disgusting way. John Waters was way ahead of his time because even 34 years after it's release it still manages to shock audiences.
The most wonderful thing about Pink Flamingos is that it strives desperately to be in horrible taste, but has really gained a cult following world wide. It is so completely original that it needs a category all by itself,absolutely no other movies included! This film defies imagination and yet is one of the most imaginative ever put on the screen.
Divine certainly lives up to her name and dares to do what most actresses wouldn't dream of, god rest her soul. Mink Stole was also fabulous as Connie, Divine's rival for the filthest person alive.
I have never laughed so much during a movie, I could go on quoting Pink Flamingos forever because it truly is one of the funniest films I have ever seen.
I feel sorry for the people that have not seen this or any of Water's other movies. PURE GENIUS!

"Did... you really want me to rape you, Miss Tachibana? "
Amazing film, really over the top gore and violence, with very stylish effects. One of my favourite films ever, Ichi The Killer is a trip into a dark underworld of sadism, lustful violence and other avenues of human nature that most people would not willfully venture into. It makes killing for killing's sake appear beautiful. Visual stunning, although you probably have to be into Japanese/Korean cinema to truly enjoy this.

First there was Ripley.
Then came Sarah Connor.
But in 1991, a new breed of tough super-heroines would change the way women were viewed in mainstream Hollywood forever.
This time there are no aliens and no robots; the premise is very simple- two ordinary people are put into an extraordinary situation and their lives soon spiral into a whirlpool of dramatic escapades.
Iconic cinematography doesn't go amiss; the viewer will feel as if they are themselves journeying through the dusty US highways in a '66 Thunderbird with the wind in their hair, slowing drifting into a cloud spanning horizon. The tragic outcome of this modern masterpiece leaves the viewer uplifted with an incredible sense of freedom.
Often dismissed as 'just another chick flick', Thelma and Louise is certainly a film illustrating the hardships two women face and men are indeed depicted as ineffectual, but this film has much to offer in introspection about how humans react when faced with trouble.
Powered by the force of legendary director Ridley Scott, the undeniable talents of writer Callie Khouri and the decade defining performances of the lead actresses, Thelma and Louise, simply cannot be missed by anyone who appreciates superb cinema.