The Great Ziegfeld (1936)

The Great Ziegfeld (1936)

[5] This early Best Picture Oscar winner is a three-hour mix of song, dance, and narrative, much like Broadway Melody before it. I was expecting a real stinker, especially when the opening credits revealed "Fashion Parades by Adrian". But apart…
Sophie’s Choice (1982)

Sophie’s Choice (1982)

[8] Meryl Streep snared the best actress Oscar for her disarming performance as a Polish refugee forced by a Nazi soldier into one of the cruelest scenarios a mother could imagine -- choosing which of her two children will die.…
Gone with the Wind (1939)

Gone with the Wind (1939)

[7]

Hollywood’s most celebrated melodrama is still entertaining today. Vivien Leigh does a remarkable job playing one of the most volatile heroines in film history. Scarlet O’Hara begins Margaret Mitchell’s story damned spoiled, and I’m not sure she ever really learns her lesson, but Leigh renders a subtle transformation while always remaining true to character. My other favorites are Olivia de Havilland (sweet in everything she’s in), Hattie McDaniel (who deserved her Oscar), and Butterfly McQueen (for bringing a little comedy to the proceedings). I don’t get Leslie Howard as Ashley. For being the crux of the movie’s romantic triangle, I’d like to have known what was so darned special about him. Max Steiner’s music, especially the Tara theme, is among the most memorable ever composed for film.

The Prime of Miss Jean Brodie (1969)

The Prime of Miss Jean Brodie (1969)

[8]

Maggie Smith took home the Best Actress Oscar for her portrayal of Jean Brodie, a charismatic school teacher who dedicates herself to a class of impressionable young women. The film may sound like an all-girl precursor to Dead Poets Society, but it’s a far more nuanced and provocative take on the ‘inspirational teacher’ story. Brodie may begin as the hero of the story, but her tenacious influence and overly-romanticized world view end up having a devastating effect on some of her students. In her (subconscious?) attempt to live vicariously through her “girls,” she ends up creating a monster in her own image.

The Heiress (1949)

The Heiress (1949)

[7]

Based on the novel Washington Square by Henry James, The Heiress centers around Catherine (Olivia de Havilland), a shy, socially inept young woman who gets swept off her feet by a dashing young destitute (Montgomery Clift). When her father (Ralph Richardson) accuses the man of preying on his daughter’s inheritance, he threatens to cut her off. Putting all her faith in her first love, Catherine ends up brutally betrayed by both men — and begins to trade her naivete and timidity for spite and cruelty.

Black Swan (2010)

Black Swan (2010)

[8] SPOILER REVIEW: Natalie Portman is incredible in Black Swan, the story of a ballerina who must tap into her 'dark side' to play the Swan Queen in a New York City performance of Swan Lake. Portman's performance is a…
The Hours (2002)

The Hours (2002)

[9] The Hours is a fascinating exploration of three women living in different times and different places, each of them struggling to find their personal bliss against the pressures and expectations of marriage and motherhood. The film is a meditation…
Monster’s Ball (2001)

Monster’s Ball (2001)

[9]

A racist, alcoholic prison guard finds himself falling in love with an African-American woman who just happens to be the widow of a man he helped to execute in this film from Marc Forster (Stranger than Fiction, Finding Neverland). Halle Berry is stunning in her Oscar-winning performance, but so is the rest of the cast, including Billy Bob Thornton as the prison guard, Heath Ledger as his disenfranchised son, Sean Combs as Berry’s husband on death row, and Peter Boyle as Thornton’s monstrous father.

The Piano (1993)

The Piano (1993)

[10] Holly Hunter picked up an Academy Award for her performance as Ada, a rebellious mute who finds solace and a means of expression only with her beloved piano in Jane Campion's gorgeously crafted and erotically charged The Piano. Ada…
The Silence of the Lambs (1991)

The Silence of the Lambs (1991)

[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 named Buffalo Bill. Ted Levine gives a excellent, unnerving performances as Bill, a man who kidnaps hefty gals and keeps them in a pit. It’s from that vantage point you hear the film’s infamous (and now campy line): “It rubs the lotion on its skin or it gets the hose again.”