My Favorite Movies

This is it. Everyone's favorite film, the best of the best. Yet for all its universal appeal the family really is a personal favorite. You can pull just about anything you want from this movie; being so packed with juicy themes, incidents, characters, performances and dialogue. Though at the end of the day there are two key concepts at its core; making one's way in America and how to be a man. I could go on and on but you know what, why don't you just go and watch it again. It's not as good as you remember...its better.

Truly every day is a holiday with Mary. There is not once ounce of hate or bile in a single frame of this film. So good and genuine. Julie Andrews is practically perfect in every way. Dick van Dyke always make me smile and David Tomlinson makes me a little sad. Terrific songs, gorgeous matte painting and the greatest dancing penguins ever (well, jury's still out on Happy Feet). I pity the poor soul who doesn't have a place in their heart for Mary Poppins.

Reds, as its recent DVD advertising will tell you, is as releavant today as the time in which it is set (and for when it was originally released for that matter). While ostensibly about Jack Reed's involvement in the communist revolution the film covers personal liberties versus national security, workers rights, race and gender equality, fidelity, intellectualism and on and on and on. A hyper-literate script, an epic scope and heart-breaking performances from Keaton and Beatty, Reds covers it aesthetic bases nicely. It's truly remarkable "gimmick" is how Beatty weaves first person accounts of Jack Reed into the narrative but it never comes off as a documentary spin on the proceedings. Instead it hieghtens the viewers awareness of how little (or alternatively how much) personal perception has to do with reality.

Every frame is perfection. The composition, the angles, the performances, my god the music. This movie is perfection. Its the ultimate reward for western fans with abundant references to other films in the genre in every scene. This movie also makes pretty remarkable use of flashbacks. A true masterpiece from a true master and there was at least one more to come from Leone.

Once again perfect movie alchemy from the time when the Freed unit could do no wrong. Top down a perfect film. With its once in a lifetime quality performances from Kelly, O'Connor, Reynolds and Hagen. Donen and Kelly are able to take the screen musical in a direction that hasn't really been surpassed to this day (arguably Moulin Rouge did it but was unable to start a trend). Comden and Green's perfectly formed screenplay is amazing to watch on your own but try watching it in a crowd of people who've never seen it before and the sheer giddiness is palpable.

One brilliant haunting image after another. From beginning to end this flick will fill your head with moments you'll never forget. Klaus Kiniski "anchors" this film with a performance that toes the line between genius and madness (with the broader tendency to lean towards madness).

A non-stop celebration of music, color, song,dance and above all thing love. Makes my heart soar.

Love (both gay and straight), religion, ethical practice and the very foundation of human interaction are just a few of the topics that are deftly explored in this, the greatest of the Universal monster films. James Whale was truly a genius and Karloff gives a performance so good you can understand why he was always type cast in horror, he put humanity int the monster. Also I sure hope you enjoy hearing the phrase "Doctor Pretorius" over and over again cause that's what you get to hear in this.

The ultimate movie about the heaven and hell that is making movies. Light, color, dreams and visions, handling personalities and relationships and a number of.ther elements of the creative process are tackled. Fellini also shoows the experience of being a child, parent, lover and on and on and on . There's only really one for all these disseperate elements to end up but there's no way you'll see it coming. Fellini's absolute masterpiece that rewards a lifetime of re-watching. If this seems bably and incherent its only because the very thought of this film fills the mind with boundless creative enthusiasm.

It took almost 80 years for another cinematic sword fight to top the one in this film (I'm thinking of House of Blue Leaves in Kill Bill-disagree? post me a message if you can think of a sword fight that tops either of these). Historical accuracy be damned, just look at how gorgeous everything is in this film. Oh how I miss technicolor.

Quite simply the perfect Star Wars movie. Everything the series really could be. Fun for all ages with genuine human emotion, pathos and no filler. Plus Lando and Yoda.

Work that audience Hitch, you work it so good.

Girls Gone Wild. Except with nuns. And they don't really get wild in a conventional sense. But damnit, they get pretty wild. A movie about sexual awakening in the most remote of places (both geographically and internally). Nothing can prepare you for the most amazing technicolor work you've ever seen, credit DP Jack Cardiff. The Archers help too.

Terry Gilliam has remarked that Brazil is not a movie about the future, but a film fixed in the now. Unfortunately that grows more and more true each day as civil liberties are ripped away from us as we blissfully turn the other way. Despite it all though this film has a happy ending. The most depressing happy ending ever captured on film, but I insist it can be argued as happy.

A warts and all look at relationships. Kaufman's whirlwind script blends perfectly with Gondry's bizzare visuals. I remember the exact moment I realized this film was mind numbingly brilliant when it started to rain in the kitchen. Kate Winslet was denied an Oscar as the Clementine who was nearly lost and gone forever. Also I'd take Jim Carrey doing a hundred flicks like this over dreck like Fun with Dick and Jane any day of the week.

A PERFECT movie. Do you hear me? PERFECT. Not one false beat. Every line a gem. Every character unforgettable. This movie is instant bliss and to the surprise of no one was made even greater when I finally got to see it on a big screen with a sold out crowd.

Bunuel's lush and surreal world is full of still relevant social commentary and satire. The film plays out like a dream half remembered. A film that deserves to be experienced by all discerning film fans.

A modern classic that despite its frequently being ripped off still retains its greatness. Consider the expositionless scene where the queen is intrduced and marvel at Cameron's absolute mastery of the genre.

The definition of an instant classic. Endearing, honest, frequently hilarious and quotable movie.

Tied with Pulp Fiction as the most quotable film of the 1990's. A noir homage with the most outsized characters ever brought to the screen. Any one of whom could easily go and star in their own movie. Endlessly rewatchable and at the abslute top of this mounatin of greatness is a man...I won't say he's a hero exactly. He's simply the Dude. And rest assured, the Dude abides.

A modern masterpiece.

You got excellent zombie movie into my quirky Britcom! You got quirky Britcom into my excellent zombie movie! No but seriously, people who don't like this movie need to be placed into a cannon and shot to Kansas.

Though oft imitated (even by Allen himself) the innovation and dynamism of this, the ultimate romantic comedy can never be matched. Allen deftly plays with styles, conventions, comedy types in a blistering look at how one relationship doesn't quite work. Deserves every ounce of love and adulation that gets heaped on it.

May well be the ultimate film noir. The lush black and white, the expert use of shadow, the too cool narration and Jane Greer as one of the best femme fatales ever. But even if the film had none of that it would still rule completely cause of a young but still fully formed Robert Mitchum.

I love this movie, whole-heartedly, but Frank loves it even more. A strong contender for the best romantic-comedy ever. It certainly puts the bulk of the genre to shame.

Tarantino's best film. Yeah that's right. If QT WAS the hyperkenetic idiot savant his detractors characterize him as, he would NEVER have been able to make a film this mature and knowing until maybe the end of his career. Instead its his third motion picture. Also has the best performances AND soundtrack of any of his films.

Look at the tagline for God's sake. "It's Terrific", what more need be said.

This movie makes me drunk on cinema. The script, the performances, the composition and especially the beautiful orchestral score of George Gershwin and the breathtaking DP work of Gordon Willis. This movie is BLISS.

The perfect action movie. Keaton continues to dazzle nearly a century later. Best watched in a theatre with a large group of people (the more skeptical of silent film, the better).

Maybe THE definining film for my currently impotent and confused generation. Norton and Pitt punch a giant hole through the screen.

Fun, gonzo horror begins here.

I remember my dad showing me this movie when I was 10 or 11 and was imediately struck by how huge the whole thing was. Tiny Patton behind that frame consuming American flag, who gradually becomes larger in the scene (though his physical size never changes). The intermittent trumpet blasts of Jerry Herman's score that would seem to better much a any ancient Carthaginian general (the kind Patton thinks he is) then an American one. But what made me instantly fall head over heels in love with the film is the scene where Patton is inspecting a barracks and the Germans send out a luftwaffe plane to attack the base. Patton isn't scared or shocked or whatever other concievable reaction a normal person might have. Oh no, not our George. He is PISSED. Not only that but Scott gives Patton a sort of indignant fury which causes him to run out into the middle of the street, take out his standard issue pistol and right in the line of fire of the plane, shoot at it, all the while yelling obscenities. After a scene like that you'd watch the character for the rest of your life, so the next several hours seem like a joyous cakewalk. Director Schaffner and screenwriter Coppola have plenty of other tricks up their sleeves for the remaining 3 plus hours of film.

Flawless comedy writing, directing and acting. Mmmmm "Jello on springs." Also arguably the greatest exit line ever in film.

Behold the Hawksian community of competent working professionals doing what they do best. Marvel at the wordless, amazing opening sequence and enjoy all the way to the films rollicking final showdown where old Stumpy returns...with dynamite. YA-HOOO!

A gloriously insane homage to 80's comedies (particularly films like meatballs). This film has become a sort of totem film for one the cliques I run in (that would be the Jewish summer camp friends). Its remarkable to look at this movie and see how much success the cast has fund in the ensuing years (especially Paul Rudd who is a complete and total bastard here, but you can't help but laugh cause he's SO funny). Also fans who only know Chris Meloni from his work on Law and Order: SVU will never look at him the same way as he completely steals the film (and remember there are some masterful comic performances here) as Gene, the insane Vietnam vet chef. I saw him here first and am subsequently shocked whenever I see him do drama.

What is it about this film that is so magical to me. The beautiful measured blocking and composition? The genius dialogue? The hopeless romanticism? Or maybe just the tag team genius of Schwartzman and Murray.

Sam Fuller made his films fast, cheap and tight. In addition to containing the most heart-breakingly amazing work of Thelma Ritter's career South Street explores the world of pick-pocketing in a way that's infinitely more fun than the dour Pickpocket.

Is there a better metaphor for sexual fulfillment than putting together a dinosaur skeleton and seeking your last necessary bone. In a word: no, which is why the bookends of this film make me blissfully happy. So does the middle quite frankly, which contains the building blocks for all great screwball comedy and modern farce. Grant is spectacular (the inspiration for Chris Reeves Clark Kent persona) and Hepburn is a real shining treasure (though at first she can be grating). Best summed up with the following exchange: "Now it isn't that I don't like you, Susan, because, after all, in moments of quiet, I'm strangely drawn toward you, but - well, there haven't been any quiet moments." HA!

A perfectly structured comedy machine. I defy you to find me someone who falls through a table better than Zero Mostel. One of the best hetero-man-love stories ever put on screen. Its unfortuante that Mel Brooks resorted so frequently to parody and didn't try more (comparably) straightforward comedy like this.

This is THE zombie film. Romero takes a sledgehammer to consumer (and more specifically mall) culture. He also makes some intriguing comments on race and gender too. But its not all social commentary. There's plentyy of the red stuff on display as the movie features one unforgettable death after another.

Quite simply the last great conventionally animated Disney film. All the segments are gorgeous and lots of fun but my personal favorite is the Al Hirschfield-esque interpretation of Rhapsody in Blue. Perfect.

Orson Welles wouldn't dream of making a conventional documentary, he's probably not even capable of doing so. Instead this "filmic essay on scams, forgeries and illusions is filled to the brim with the auteur's personality. A total mind-screw.

Leone's most fun. For all its length, breathe and scope, "Ugly" is just a pure good time. Consistently quotable, perfectly assembled, staged and crafted. As the titular three revolve around each other Leone makes a number of points about the nature of loyalty, revenge, betrayl, greed and brotherhood, but damn if it isn't cool and fun as hell.

Yet another example of why Phillip Kaufman is a genius. From its first ingenious sequence which underlines the films themes of love, sex, imprisonment and inhibition, it becomes clear this is not a typical historical costume drama.

Critics be damned but there is a soul and beating heart behind what has been called a series of encounters and fight piled on with impressive special effects.

Like most of Powell and Pressburger's films this is a graceful, thoughtful and completely gorgeous film to watch. The sort of film that doesn't just suggest a second viewing but absolutely requires it. It is a dedicated filmmaker that creates an opening scene that is funny the first time and heart-breaking the second.

The Coen's extraordinarily literary script that plumbs the depth of some of the earliest film noir scenarios. One brilliant sequence after another as Gabe Byrne, Albert Finney and Joe Polito dance around each other in an increasingly visceral flourish of deceptions and double crosses. Makes me proud to be a film fan.

Soooooo pretty. This is one of those movies that you don't watch often but when you do (and really, please do it on the largest possible screen you can find) it reminds you of just how truly magical films can be. This film has so much great stuff going on it would really be superfluous to touch on what makes it so great. If you've never seen it really, pick a day where you won't be interrupted with your big, big, big screen and watch it.

Give it ten years and people will come around to this blatant masterpiece. Its just frustrating at how few people get it now. The first problem may be that people are looking at this film as a straight linear narrative. While this works, it is but a myriad of ways of interpreting this piece. The various plot threads can run parallel to each other, perpendicular, circularly, really anything. You can examine this as a treatise on acceptance, mortaiity, the cyclical nature of history, sex and procreation, genetics and asto-physics and on and on and on. Aronofsky does so much with such a small budget and short running time its astonishing. Anchoring this enterprise is a heretofore unseen tenderness and depth provided by Hugh Jackman and the sublimely beautiful Rachel Weisz.

As funny and as salient in its points now as it was at the time of its original release. My personal favorite Kubrick film. You can find plenty of moments of the detachment Kubrick has been criticized/lionized about but also a very sharp and humorous love of these odd-ball characters. I continue to vascilate between who gives the better performance here Sellers or Scott. Each subsequent viewing changes my opinion.

My original distaste for this film probably stems from it hitting a little close to home when I originally saw it. Since then I've grown to love it unconditionally. To date the best film that Christopher Guest has been responsible for.

Mitchum may be playing a demented servant of the lord, but you can't convince me he outright rules the Earth in one of the greatest performances ever. No smash hit upon its release its grown in critical recognition ever since (though its a shame Laughton's directorial career never took off). This is a beautifully realized children's tale that's got plenty for adults. Its sort of a storybook slasher flick. And a prime early example of a sort of American Appalachian Gothic. People can hem and haw about Hannibal Lecter all they like but nothing beats Reverend Powell for aboslute most lovably badass villain.

In light of the video game this deceptively simple low budget action flick is finally getting the attention it deserves. A simple premise masks an ingenious action spectacle. Endlessly quotable and endlessly fun. CAN YOU DIG IT?

One of my favorite endings ever. EVER! Total blissgasm every time I watch it. It is said that Hitchcock sent Wilder a telegram after seeing the film congratulating him on making one of the finest movies he'd ever seen. A piece of trivia the hardly seems surprising at all.

Classic. One timeless, perfectly shot scene after another (even the stuff with the squaw is necessary for levity's sake). Easily one of my all time favorite endings because its been truly earned/deserved.

A character in this film literally dies of fright. You may too. It really remarkable to think how much Clouzot can do with such minimal settings.

Shane Black does superior work as screenwriter and director. He is further aided by exceptional performances by his three leads. A must see for those fans of twisty original screen-writing.

Excuse me-sniff-I have something in my eye. Give me a-sniff-minute.

I suppose on some level familiarity has breed contempt for the flick. But I figure if I go a few years without seeing it I'll fall back in love. I am indebted to this film if for no other reason that Tarantino's love of film is so infectious and made me want to learn about who he was cribbing from.

Faith in America gets restored in a lovely two hour package.

The ultimate existential heist flick. This film puts you firmly in the world of these nervous, conflicted men. This film also has the distinction of having one of the strangest and most disturbing nightmare sequences I've ever seen. Ick, try going to bed after THAT.

My favorite black and white Hitchcock film. Its smart, sophisticated and incredibly sexy. It also gets ripped off way too much.

Funnier than Singin' in the Rain and has a secret weapon in the form of Jack Buchanan, a one-man entertainment machine. Brilliantly choreographed by Michael Kidd, especially when Astaire and Charisse perform "Dancing in the Dark."

A balls to the wall action take on the coming-of-age story. Two parallel children attempt to grow-up in each others company but in the end only one can advance as a human being.

A genuine nail-biting thriller. I don't mind miserablism when its this exciting.

If you're going to attempt to adapt King Lear this should be your template. Kurosawa uses the camera almost for painting instead of filming. Incredibly powerful, masterful film making.

A torturous love story with plenty of body horror. Goldblum gives an amazing perfrmance that serves as a metaphor for the first generation that had to deal with fatal STDs.

The best of the werewolf films. The transformation scenes are genre defining, the high watermark for such an effect that all others are judged on. But there's much more to the film then just the change up. The film brilliantly captures the atmosphere of being an outsider in London in the 80's, the alternatively terrifying- then hilarious- dream sequences. Of course, one would be hard pressed to forget the oh so clever choices for the film's score.

Here's why sometimes you get the best results when you late the inmates run the asylum. "And remember, while you're out there risking your life and limb through shot and shell, we'll be in be in here thinking what a sucker you are. "

The Departed's great-great grandfather. The ultimate fun gangster film. There is simply no other living actor who can do what Cagney did.

Behold the razor sharp wit and unflappable technique of Preston Sturges. While many favor Sullivan's Travels for sheer structural strength (and a touch less sapiness) nothing beats Eve. Stanwyck has never matched herself (at least comedically) here and it makes you wonder why Fonda didn't do more comedies. Plus its always great to see Sturges stock players; William Demarest, Eric Blore, Eugene Pallette and the crooked but never common Charles Coburn.

If Sam Peckinpah buried the western with the Wild Bunch, then Eastwood dug it up and performed an autopsy on it. A glorious script that is equal parts thoughtfully contemplative and badass. I like to imagine that Eastwood's character is a combination of Josie Wales and Blondie retired to a kinder gentler life. But if this movie is abut one thing its that we can't change our most base natures. Hackman gives arguably his greatest performance as a terrible bastard of a man now trying to do right but then in comes Eastwood drenched from the rain and the camera catches his eye. He is hate and vengeance incarnate. Brrrr chilling.

The thing I absolutely love about Kill Bill the most is not the violence, or the style, or the design, or the structure, or the editing, or the cinematography (though I love all these things) but it is in fact the music. Tarantino invokes whole emotional worlds and moods with his tracks.

A movie that stands up very well to repeat viewings and something I'm very much looking forward to showing my kids. Linklater is capable of perfectly lovely mainstream work and I have no problem counting this one in his "one for me" column as it seems awful personal.

Its a powerful movie that can make that bar thick with good feelings when someone drunkenly starts singing "Show me the way to go home." A billion little things to love. The racking focus on the beach. Bad hat Harry. That Kintner boy. The mayor's incredible jacket and tie. The barrel coming back. Oh and debating whether Quint's original intended introduction is better than the one used in the film. We'll never see one like this again, though god knows many have tried.

The other defining comedy of the modern age. Planted firmly in a world with no connection to reality, Ferell allows his costars to garner as many laughs as he himself does.

A classy, creepy ghost story that is genuinely ABOUT children but decidedly not FOR children. Guillermo Del Toro adds all sorts of resonance and emotional beats not commonly found in the genre.

Anything goes comedy at its finest. The comedy is so big it LITERALLY breaks out of itself.

I don't know if there is such a thing as a perfect comedy but this comes pretty close. When a movie is made up of nothing but favorite moments you know you've got something special.

Like Pulp Fiction I think this film is a little damaged from over-use, but that doesn't change the fact that its a supremely enjoyable, cooler than cool crime flick with five unforgettable performances.

A supremely well realized adaptation of a supposedly unadaptable novel. Kaufman realizes a world of love and passion (and the the spaces between the two). Kaufman is aided by a knockout group of international collaborators including DP Sven Nykvist and screenwriter Jean Claude Carriere. All three of his leads also deliver deeply resonant, impassioned performances by Daniel Day Lewis, Juliette Binoche and Lena Olin (sporting the sexiest bowler hat in film history).

Few movies bring me as much pure joy as this one. We're talking about three of the world's greatest movie-stars of ALL TIME acting out a charming, literate story of when the idle rich start acting naughty. The Philadelphia Story is pure good times.

Rian Johnson hits a grand slam on his first at bat. One to watch. If the script had been the only good thing aboout this film I'd still give it five stars, but its also acted, shot, edited and scored beautifully.

Should've never worked but this script is solid as a rock. The structure is immaculate as Marty's adventures in the past and the repercussions of his time there are presented with crystal clarity. Robert Zemeckis makes a genuinely worthwhile audience and critical friendly blockbuster. Oh if only more of them worked this well.

Behold: The studio system CAN work.

Some may prefer To Have and Have Not or The Big Sleep as the ultimate Bogart noir, but they're wrong. Those movies don't have as clear a plot nor a script that is constructed this well. PLUS Peter Lorre and Sydney Greenstreet.

I dearly love virtually all Pixar films with one notable exception coughCarscough, but this is the one that has the deepest emotional resonance by far. Stanton really makes you believe in the relationships and emotional lives of the characters and its really remarkable to see. Still get chocked up at the final big Dory scene.

The connective tissue between wacky Woody, romantic Woody and cerebral Woody. Plenty for fans of Eisenstein, Bergman and Gance.

Truly unlike anything else. Ashby's film is small in its scope but enormous in feeling. Marvelous performances by Court and Gordon coupled with a subtle but powerful script (much less is made of Gordon's tattoo than would be in a more "Hollywood" film). A great love story, period.

Cutting organized religion off at the knee, the Pythons break through all sorts of taboos and hypocrisy to be found in Western culture and get in a really good musical number in the end. Silly but genius.

So good you almost forget about the anti-semitism. Really. A text book, uniformly excellent sci-fi/actioner, with arguably one of the greatest chase sequences of all times. Plus the genius that is Bruce Spence as the gyro captain has recently had a resurgence in a number of modern sci-fi/fantasy films.

Connery and Caine are both gloriously looney. They may have both given better performances but I'd be hard pressed to point out a film where either man is clearly having so much FUN. Huston really knew how to let loose in his later years as a filmmaker.

I can understand someone not liking this film but I sort of pity them for it, as this is a deftly visual exploration of what on the surface is not an inherently cinematic topic. Oh and Mark Wahlberg deserved an Oscar for his work in this film. I'm not kidding.

It was funny when i was in first grade and its even funnier now about 15 years later. Never to be duplicated its every type of comedy (puns, satire, slapstick, absurdism, awkward character moments, sight gags and more) shmushed into a blender. Its a madhouse to be sure and it looks cheap but I'd never want to leave.

Not just the greatest Star Trek movie but a great movie. Anyone who sees this film and thinks Kirk isn't the best captain is nuts.

Intelligent fun; in most movies, especially studio product, you'd think the two descriptors would never meet. But that's not the case here. What more can be said of the golden partnership of Newman and Redford that hasn't already been said. A great any time movie.

A big delicious piece of chocolate for horror/comedy fans. A real labor of love from a total maniac.

Structurally perfect, endearing characters, sequences that would put most live-action directors to shame and some of the finest gags ever constructed since Lubitsch died. The Incredibles is quite simply modern narrative perfection. The pinnacle of mainstream AND family entertainment. Revisiting this film after familiarizing yourself with the supremely entertaining story, one must really sit back in awe at the PERFORMANCES of these characters (and I don't just mean vocally).

Its a powerful horror film that can completely creep out its viewer with scenes that take place in BROAD DAYLIGHT. Oh and with MUSICAL NUMBERS GOING ON. But Wicker Man does it several times. Hardy's almost documentary like camera work slowly reveals an increasingly askew world of pagans and damn if the ending won't stay with you for weeks. Get ready to learn the true meaning of sacrifice. Also, please ignore the remake.

Its pioneering fx work still holds up to this day. Arnold has never been better (as an expressionless robot-natch) but its the pumped up and crazy Linda Hamilton that gives the film its apocalyptc heart. Sure Cameron hasn't made a movie in years but when they're as good as this one its almost enough to hold you over.

Oh ho ho what a comedy. Like the best comedies every time you return to this film its like seeing old friends. Endlessly quotable and no dooubt resulted in some much humbled rockers. The line that absolutely kills me every time "None. None more black."

Simply perfect. It takes a mighty good movie to make a young and listless Andrew Sarris get into film and this is the one that did it. Wilder, while known for consistently powerhouse scripts and dialogue also shoots a beautiful movie here.

A classic example of formal shot aesthetics. Stagecoach serves not only as a fine academic example but as a rousing template western. A young John Wayne ensures legendary status after years of working in obscurity.

Its odd to think that this is the film that gave Walken his reputation to dip towards the strange. In retrospect Walken has never shown himself to be more vulnerable, more human, than he is in this film. Ostensibly a Stephen King horror film. Cronenberg turns it into a tragic romance couched in an unusually prescient horror story about a good old boy, war mongering president.

Watching Fitzcarraldo is to experience every pull of this insane seemingly insurmountable effort of the natives. One gets sucked further into Kinski's twisted psyche, only looking forward and allowing his vision to get blurry in every other direction. A beautiful and hunting tale of art and obsession, the type of thesis that Herzog does best.

Scorsese doesn't return, he never went away, he's always made wonderfully bold decisions and strident movement in his films. However, he is not often paired with such well scripted and unfussy material. A marvelous ensemble cast surrounds his dueling leads who both ditch their pretty boy reps and dig deep for some authentic grit. Schoonmaker's editing perfectly sets-up the similarities between cops and criminals. This is one of those all things to all people clever blockbusters. They're rare (seemed to be a lot in the 70's though) but when they come they're sublime.

While not the best film this year it is probably my personal favorite. One part vibrant musical plus one part liberal agenda forwarding story of outsider-ism and environmental protection. That's two sumptuous flavors in one delightful concoction. That the film is directed by the Road Warrior's George Miller ensures that its action sequences are top notch. The musical sequences are fun, inspired mash-ups taken from a bevy of pop-classics. This film immeadiately pulled me in and I was deeply invested in these beautiful rendered characters. Also Hugh Jackman is able to project incredible machismo through a mere penguin body. I could go on at length but nothing compares to seeing it yourself.

Brad Bird nicely prefaces his work on The Incredibles with this equally heartfelt animated masterpiece. Delightful period detail in a film anyone can enjoy.

A marvelous showcase of styles from the tag-team of directors. Giamatti shows off a remarkably deep-felt performance that finally helped elevate him to semi-stardom.

One of Kubrick's many masterpieces. He pulls King's work out of the middle brow and into a darker, deeper, more intellectual corner then King has ever dared to go. This may explain the author's distaste for the film. Nevertheless the Shining is an engrossing spine tingling film that effects the viewer as viscerally the tenth time as it did on the first. Oh and this film is probably the only horror film that can boast reaction shots more frightening then what the actors are reacting towards.

Not just a great super-hero film, but a great film period. Nolan pulls a strong adult character piece out of pop-mythology. Top notch acting ensemble too. Cheers all around but highest marks go to Michael Caine as Alfred whose first major scene in the movie completely won me over.

In a year filled with X-Men, Superman, Pirates and Snakes...on a Plane I was pleasantly surprised to see that hitting the rest button on the James Bond franchise yielded the best Bond film ever and certainly the best pure action blockbuster of the year. The tone succeeds in three critical areas: first is its sterling leading man (whom I never for a minute doubted) Daniel Craig. His rough hewn attitude and piercing eyes make him the most human Bond yet. Next is the fim's tone, never for a minute letting us forget that this is Bond's first real mission and h's still prone to mistakes. He won't match every move his enemy makes with a perfect counter-move, hell he won't always win at cards but the man sure as hell knows how to improvise with gusto. Lastly is its original and exciting action sequences including a spectacular Parkour chase scene, a grueling and yet at the same time amusing torture sequence and lastly a chase in a collapsing building. I defy you not to get shivers at the film's last line. Give me more Bond!

The time where men were men. Though watching it again recently it seems like we only get to know about half of the dozen.

A beautifully constructed Odyssey like romp through DP Roger Deakins almost painted South. The score, the performances (man I wish Clooney played Clark Gable more often), the pomade. O Brother is a joy every time you return to it. EW placing this in their worst of the year is a black mark on the magazine they are still working off for me.

How good a director is Peter Weir? He makes a little girls walking away from you the scariest thing you've ever seen in your life. The film throws out about a billion questions and answers almost nary a one. That still doesn't make it any less hypnotic and unforgettable.

From its sublime performances, boisterous cinematography (courtesy of Tak Fujimoto) and razor sharp script, Demme takes all these elements and is able to elevate the material from its pulpy airport thriller origins. The much ballyhooed about Hopkins and Foster interactions continue to be a joy (despite its frequent over-parodying) but the real screw-turner is Clarice hunting Buffalo Bill in the dark.

One of the great comedies of the 00's. Rewards those who re-watch it (which you most certainly can't say about...Napoleon Dynamite). All the gents in this movie are nothing short of hilarious but the absolute best of the best are Kevin Heffernan's immortal Farva and a surprisingly funny Brian Cox who drops genius one-liners from his first moment in the film.

A horror remake (one of the few along with The Fly and Invasion of the Body Snatchers) where the 80's counterpart outdoes the original. SEE: The unforgettable effects work of Rob Bottin. SEE: The angriest blood sample ever! SEE: The most hopeless ending ever (at least upon its release). SEE: Wilford Brimley dealing with something much worse then diabetes.

Damn right its a musical. An extremely vibrant and energetic one at that. The best comedy car chase in film and a bazooka toting Carrie Fisher make this one a winner. Oh and many, many director cameos.

People throw a lot of love 42nd Streets way but to my mind this is truly Berkley's masterpiece. Not only are its musical numbers catchier and even more ambitious but its cast is top to bottom giving better performances (probably just to keep up with James Cagney). This film's dialogue is as snappy as you could possibly hope for too.

Astounding. Neither narrative, nor mockumentary, nor dream, nor cartoon, its all these things. Its memory. So rich and raw and moving and whenever you think it getting too pretentious they throw in an ass-shot or a fart. Beautiful, unforgettable and not quite like anything I've ever seen.