The Revenant (2015)
Birdman or (The Unexpected Virtue of Ignorance) (2014)
Gigi (1958)
Cavalcade (1933)
Gravity (2013)
[6]
Gravity is so harrowing, I’m tempted to call it crisis porn. The movie stars Sandra Bullock and George Clooney as astronauts stranded in orbit over Earth after debris destroys their spacecraft. Director Alfonso Cuarón (Children of Men, A Little Princess) warns us from the get-go with some on-screen text that life in space is impossible, and then proceeds to throw everything you can imagine at Bullock and Clooney’s characters. They’ve got dwindling oxygen supplies, they’ve got the debris looping back around at them every ninety minutes, their spacesuits are running out of propulsion, and their connection to Huston has gone dark. There are the threats of burning alive, freezing to death, drowning, and slipping into coma. They see other members of their crew frozen solid, flesh exposed to the vacuum of space — one guy with a tidy hole clean through his head.
Tom Jones (1963)
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.
American Beauty (1999)
[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 Beauty ain’t all that. It’s kinda whack.