Hitchcock's greatest effort. The camera work and use of lighting are done to a tee. Having the perspective of the protagonist helps the film build suspense by never leaving the room L.B. Jeffries is in. I know that when Thorwald notices Jeffries spying on him through his window I feel paralyzed wishing I could leave the room, but can't. Awesome on-screen chemistry with Stewart and the ever beautiful Grace Kelly. 10/10
This one totally caught me by surprise because everyone acclaims Lumet's other work (Dog Day Afternoon, Network, The Verdict, Before The Devil Knows You Dead), but this one, 'The Hill', stands with 12 Angry Men. This cast along with 12 Angry Men's, are the best ensemble performances in film I've ever seen. No one hands in a weak act. Sean Connery plays a memorable role as does Ian Bannen, Harry Andrews, and Ian Hendry. Just remember "Even the screws are doin' time." 10/10
John Sayles' masterpiece and the one film I maybe able to hold up as my all-time favorite. Sayles is an incredibly underrated director. Matewan presents itself in ways a nearly flawless film should; the cinematography shining beautifully the entire way through. The film almost bursts at the seams from all the content; fighting for what you believe in, fighting for the people you love and for the lifestyle you've always known. There is so much hidden in the subtexts too with high-caliber acting from the entire ensemble. Who would have thought that perhaps some of the best performances would come from a bunch of people that (for the most part) no one has ever heard about? As I digress I leave this mention of 'Matewan' only recommending it more to anyone who hasn't seen it. 10/10
Probably my favorite best picture winner. Billy Wilder is really in top form here, and Lemmon's portrayal of C.C. Baxter is one of my favorite male performances of all-time. Shirley MacLaine is absolutely adorable, and Fred MacMurray plays ugly so well. 10/10
A lonely soul wandering a French town in the fog. Where to go? What to do next? His plan is to leave town until he gets caught up with gangsters, a dog, and maybe love. This film is the definition of film-noir, with gritty black-and-white camera-work and strong lead acting optimizing the experience of this French classic. 10/10
Even if we wish Stewart made more movies with Hitchcock they ended their partnership together on one incredibly strong, personal note. 10/10
My all-time favorite comedy. Steve Martin and John Candy were never better. Once the duo unites on screen the laughs cease to stop. John Hughes' got everything right with this. The writing is phenomenal even if the ending was predictable. All I know is my heart smiled and sank watching Candy's character unravel on screen. 10/10
Two-lonely, average souls. Overwhelming New York City. Two days. Circa 1945.
There is a romance never before seen in "The Clock", mainly due to the unprecedented chemistry between Judy Garland and Robert Walker. A love story unravels while another one strikes you through the camera. Beautiful Judy, all in silver, finally shows her beauty in full bloom as an adult while also not singing a note.
The plot is very simple. Almost too simple--two individuals who literally stumble over each other in New York's Pennsylvania Station, spend some time together, and fall helplessly in love. Almost seems too far-fetched, eh? But it's not. Minnelli does a remarkable job conducting the two leads, with timeless scenes at Central Park, the Italian restaurant, and the milk truck. Everything seems so right--the way that Garland and Walker make conversation, suddenly want to know more about each other, and have a grand old time together while meeting new people in the process. 10/10
Tony Curtis is in top form here, but remains out shined and outperformed by the terrifying J.J. Hunsecker played by Burt Lancaster. Again, another great score and some wonderful cinematography. 10/10
Pretty much the most flawless film I've ever seen. Leone has done something incredible with this by practically reinventing the Western genre. The art direction is superb along with beautiful photography, cinematography and unforgettable acting. Charles Bronson, Jason Robards, and Henry Fonda are three incredibly badass dudes who completely embody the characters they play. And the beautiful Claudia Cardinale charms the screen every second she is on it. OUATITW will forever be a film I return to down the road. 10/10
Ooooo evil Charles Boyer! A stunning Ingrid Bergman. An observant Joseph Cotten. Three ingredients that make a wonderful psychological thriller that you could swear Hitchcock made himself. 10/10
Kubrick's absolute best. 10/10
The Most daring ending ever, right next to Sayles' Limbo. 10/10
Harry Dean Stanton hands in one helluva act. Possibly my favorite male performance of all time. Wim Wenders poignant vision of a man lost for who he is and what he desires is striking and beautiful. This film is an experience and one that takes you for a ride with no destination in sight. The steaming, vibrant spectrum of colors hypnotize the viewer throughout the entire film and aid the already remarkable cinematography. 10/10
I love this film, and it's probably the wackiest one in my Top 50. Brazil is Gilliam's masterpiece. I love every performance the cast puts forth, especially Jonathon Pryce and Michael Palin (who is incredibly terrifying!). The score here is one of my all-time favorites. It's absolutely bizarre through and through, and it kinda makes you wonder how Gilliam came up with it all in the first place... 10/10
Vanessa Martinez was the greatest untapped talent to only be used in one remarkable film. Glad it was Sayles' who used it. Limbo is nothing but poetry in the Alaskan wilderness. A fantastic ending that will leave your heart pounding. 10/10
My second favorite from Hitch. One crazy-suspenseful ride all the way to the end. I found myself rooting for Ray Milland and his devilish ways, in an attempt to pull off the perfect crime. Grace Kelly does another wonderful job as the cheating wife who looks to save her own life from a brilliantly devised revenge. 9.5/10
Michael Mann's direction and Trevor Jones' score is something to remember. This film has stuck with me since my childhood because of the near flawless joining of music to picture. Daniel Day Lewis and company perform well and bring James Fennimore Cooper's novel to life. The final 25 minutes is one of the greatest finales in cinema. 9.5/10
William Petersen's Will Graham is comparable to Harrison Ford's Richard Deckart in Blade Runner. Am I a killer (am I a replicant)? Go too deep into one's perspective and you may not come back. Brilliant psychological thriller. Mann's best. Reason #1 Petersen should have made more movies. 10/10
James Stewart IS Elwood P. Dowd. His monologue in the alley is nothing but legendary as we watch Stewart's graceful charisma take full swing in what must be one of the most beautiful, well-written segments in film. 10/10
Reason #2 Petersen should have made more movies. 9.5/10
Even if this isn't how the music industry really is, it makes for one fantastic tour de force from two male leads. 10/10
Easily Treat Williams at his best, and one of the finest debuts for an actor yet. Which makes me wonder why Williams never got bigger roles in his career. Sidney Lumet directs another helluva film telling the real-life story of a cop who helped the FBI bring down police corruption in the 70's. Prince of The City is storytelling at its finest. 10/10
One scene says it all. Yeah, you know which one I'm talking about. 10/10
This film is always changing places with 'The Hill." Like I said, I can never decide which one is better. Henry Fonda as Juror #8 is one of the most memorable characters in cinema history. 9.5/10
The reality of murder, and the people who commit it. 9.5/10