[5] SPOILER REVIEW I really liked American Beauty when it was first released. Maybe I was wooed by its quirky introspection and aesthetic achievments. Or maybe it was screenwriter Alan Ball’s fresh new way of blending the real with the surreal. Or even the meditative lilt of Thomas Newman’s trend-setting score. But whatever the reason(s), watching the film ten years later, I realize — American …
[10] Director Paul Thomas Anderson (Boogie Nights, Magnolia) serves up a masterful study of two ambitious men — a turn-of-the-century oil prospector driven by capitalism and a young preacher eager to grow his flock. The two men come to conflict on occasion, with the prospector’s young son often caught in the middle. But as times of prosperity drift closer to the Great Depression, the prospector …
[9] Here we have a horror film so classy, it won the Oscar for Best Picture. Anthony Hopkins and Jodie Foster each deliver career-defining performances as Hannibal Lecter and Clarice Starling, the central characters in author Thomas Harris’ perverse contemporary retelling of Beauty and the Beast. The screenplay balances their provocative banter with a well-constructed mystery surrounding the identity and whereabouts of a serial killer …
[10] Straight biographies rarely make great film, but by filtering the subject through another man’s envy, director Milos Forman (One Flew Over the Cuckoo’s Nest) delivers one of the best bio-films I’ve ever seen. This isn’t a film about a composer and his music (how boring would that be?) — it’s a film about an insanely jealous contemporary named Salieri. Salieri, played brilliantly by F. …
[10] A suicidal TV news anchorman strikes a nerve with the public, prompting his network to bastardize their news hour with his crackpot proselytizing. Before long, the network embraces pure tabloid sensationalism — live assassinations and all. Network is now famous for being ahead of its time, foretelling the Jerry Springer and Honey Boo Boo phenomenons decades in advance. But there’s more to it than …
[9] The Godfather balances the private lives of its characters with their sensational ‘occupation’, and that’s why I like it more than other ‘tough-guy’ movies. If I didn’t care about the family members, no amount of horse beheadings or car explosions would be able to pick up the slack. Brando and Duvall command respect in their seemingly effortless performances, and Pacino provides all the empathy …
[10] Harper Lee’s Pulitzer Prize-winning novel is lovingly adapted to film by director Robert Mulligan, screenwriter Horton Foote, and producer Alan J. Pakula. Gregory Peck earned the Best Actor Oscar for his portrayal of Atticus Finch, a lawyer of uncompromising morals who puts the safety of his family on the line to defend Tom Robinson (Brock Peters), a black man accused of raping a white …
[8] A British colonel (Alec Guinness) leads his fellow POWs in constructing a bridge for their Japanese captors, unaware of the fact that allied forces, guided by a reluctant American (William Holden), have launched a covert mission to destroy it. David Lean’s film zips along remarkably well considering it’s nearly-three-hour running time. The film benefits from its exotic locale, Oscar-winning cinematography, and distinguished performances.
[9] Charm can take a movie a long, long way. With Katharine Hepburn and Humphrey Bogart in their only film together, The African Queen goes the distance. She’s Rosie, the prudish widow of a missionary, and he’s Charlie, the rough-around-the-edges steamboat captain. Director John Huston puts them in a small boat together and lets the sparks fly. We need only a simple plot to drive …
[10] The day before her second wedding, a priggish socialite (Katharine Hepburn) entangles with her ex-husband (Cary Grant) and a tabloid journalist (Jimmy Stewart), causing an identity crisis that threatens to derail the ceremony. Does she really want to marry a man who sees her as an infallible goddess? Or does she want someone who will let her put her hair down and love her …
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