Grand Hotel (1932)
[6] The lives of tenants at a Berlin hotel interconnect over the course of one day in Grand Hotel, based on the novel by Vicki Baum and produced by the famed Irving Thalberg. With Greta Garbo, Joan Crawford, Jean Hersholt,…
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.
Mutiny on the Bounty (1935)
[8]
You know you’re in for a harrowing journey when the ship’s captain gives a dead man 300 lashes before the ship even leaves port. Charles Laughton steals the show here as the torturous Captain Bligh, a greedy monster who plays recklessly with the lives of his crew. Clark Gable is charismatic as Fletcher Christian, the man who leads the uprising against Bligh (and without his trademark mustache, since facial hair wasn’t permitted in the Royal Navy). Franchot Tone is very good as Roger Byam, a friend of Christian’s who ultimately sides with Bligh… a decision that nearly costs him his life. All three actors were Oscar-nominated for their roles, and the film won the award for Best Picture.
Wings (1927)
[8] Director William Wellman took a full year to shoot it and was nearly fired for his perfectionism, but the gamble paid off. Wings was a huge success at the box office and became the first ever Oscar-winning Best Picture.…
The Departed (2006)
[9] Martin Scorsese helms this dramatic thriller about an undercover cop (Leonardo DiCaprio) and a gang mole in the Boston police (Matt Damon) who race to uncover each other's identities while a powerful mobster (Jack Nicholson) manipulates them both to…
The Lord of the Rings (2001, 2002, 2003)
[10] Peter Jackson (Dead Alive, The Frighteners) embraces the Herculean task of bringing Tolkien's supreme fantasy to the silver screen, and hits a home run. The Fellowship of the Ring gets the trilogy off to a strong start, as Frodo…
Titanic (1997)
[9] By anchoring his screenplay in one of the most inherently compelling tragedies of the twentieth century and placing the the weight of the story on Kate Winslet's able shoulders, James Cameron concocts a recipe for the biggest money-making movie…
Dances With Wolves (1990)
[10]
Kevin Costner’s ambitious ode to the American frontier is grand, romantic storytelling at its best. And talk about an underdog. People were calling it ‘Kevin’s Gate’ months prior to release — and why shouldn’t they? A three-hour long western with most of its dialogue in Lakota Sioux? How could such a movie find an audience, much less sweep the Academy Awards?
Amadeus (1984)
[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. Murray Abraham, turns Mozart’s life and accomplishments into his own personal battle with God. Just watch Abraham pretend to be Mozart’s best friend, all while plotting to destroy him, and you quickly appreciate why the man won an Oscar for his performance.
Ordinary People (1980)
[10]
Robert Redford directs this adaptation of Judith Guest’s novel, about a family reeling from the accidental death of the eldest child. Unlike so many dramas, it’s what you don’t see and what isn’t said that makes Ordinary People such a gut-wrenching, powerfully moving film.
Timothy Hutton, Donald Sutherland, and Mary Tyler Moore give superb performances as family members struggling to reconnect with one another after the tragedy. Hutton won the Best Supporting Actor Oscar for his raw, riveting portrayal of young Conrad Jarrett. Moore plays his mother, an emotionally unavailable woman barricading herself from further distress by ignoring her family’s problems, even after Conrad tries to take his own life. Sutherland plays the father, the mediator between mother and son, desperately trying to hold his family together. Judd Hirsch appears as Conrad’s therapist, a savior shrink who forces Conrad to confront his guilt and fear.Â