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For me, SECONDS is THE most underrated film. When I first saw it about 10 years ago, I was left speechless (that very last shot!). And the Jerry Goldsmith score? Goosebumps! I've never seen another film that looks or feels like this one, in addition to everything else it is unique. Overall, a real masterpiece.

Footnote: In 2015, the United States Library of Congress selected the film for preservation in the National Film Registry, finding it "culturally, historically, or aesthetically significant".

HELLRAISER and HELLRAISER 2 are among my favorite movies of all time. I even have a DEMON TO SOME ANGEL TO OTHER TATTOO! Because I loved the first 2 so much, I never wanted to see the ones that came later because I didn't want to be disappointed. I watched INFERNO last night. I gotta say that, while it's different from the others, I thought it was FANTASTIC! It really upset me in the best scary way possible. Yes, I knew that Joseph was "the one" but it was so dark and so well acted I thought that it really chilled me! WHO KNEW?!

There are moments of great power in this film. It starts out very strong, and without giving the story entirely away brings you in. The feel is very much like Italian post-war neo-realism which was unexpected upon viewing.

The performances are great. Erickson is very sympathetic as a tortured soul, and Angeli is fantastic as the young but strong Italian war bride. I would say that the first part set in Italy is the stronger part of the film but while I was a little frustrated with aspects of the story set in America, overall it is a film I will remember for some time. Patricia Collinge and the rest of the supporting cast all do a great job.

This is a quiet film but that tells a powerful story in a way that few American films do. I do recommend it.

Pee-Wee is something of a genius. This is a simple story but it's very well done and it's gentle wackiness made me very happy. All I can say is that I needed some distracting fun entertainment and the movie totally fit the bill. There's something about Pee-Wee that just automatically brings a smile to my face and that's not an easy feat in today's world. Thanks to Netflix for making this entertaining film that's good for the whole family, including an overgrown kid like me!

Of all events that had the greatest impact on changing my view of the cultural world, this film had the greatest impact. Relatively square throughout my high school and college years, I came upon this film around 25 and immediately thought and wondered who these people were! Who made films like this?! Who were these actors? I was fascinated to learn that a whole subset of cultural creators existed that I knew nothing about, and so my journey into John Waters, Andy Warhol, Russ Meyer and many more began and has never ended - all thanks to seeing this amazing film for the first time. True story, folks.

What can I say? Joan Crawford gets all made up and looks perfectly laughable as the "neighbor-woman" in this silly movie, has about 5 minutes screen time, and poof! I'm a big fan of Straight Jacket and Berserk and while I know they're definitely B movies, they're fun from start to finish. This one is just boring and silly and not up to the usually fun standards of William Castle. Still, if you can find it free online, have a look - it's fun to see what a "bad bad" movie looks like sometimes and there is humor in it, although it's all for the wrong reasons, making it a little funny after all.

This episode from the series Black Mirror just creeps me out and upsets me on so many levels. It touches, I suppose, on many of the fears that affect me most, those being isolation, non-existence, having an active mind but a non-functioning body (like a coma where you can't move one bit so everyone thinks you're dead but in fact you hear everything), and picking someone up at a party or bar that you don't know, only to find out that it was a very bad idea. Oh, and how love can change to hate and the horrors that come with letting your love grow to the point where, if it ever was betrayed, it could drive you mad beyond reason. This is a high-def link and surprisingly they all seem to be on you-tube. The atmosphere you watch them in affects a great deal the impact they would have. Must be in the evening/night and must be with the lights dimmed low. That's not precisely because the night is scarier than the daytime but because dark moods and fears thrive better and are more susceptible to causing fear at night/in the dark. I'm not joking though ladies and gentlemen, this is serious stuff.

Of all the movies, television shows, books and theater pieces I've seen in my 50+ years, this episode of Six Feet Under (my choice for greatest show of all time) affected me in a most profound way. I don't think I've ever cried as sadly for any other entertainment piece as I did at the very beginning of this episode. A young man is dying from pancreatic cancer. Another young man (Nate) promises to visit this dynamic, difficult and lonely dying patient each day for the remainder of his life. Nate walks in and finds the young man in distress. A brief exchange takes place, heart wrenching for it's genuine and honest feeling. The young man begins to gasp and cries out in fear and pain. Nate cradles him and tells him not to be afraid. The dying man says "there is no light"...."I'm afraid". The viewer (myself) broke down in sobs that lasted longer than the scene itself. Such honest writing and brilliant direction and acting make for riveting television. It's not easy to watch and yet I can't stop watching once I start. It's exhausting because it's emotional. It's everything great entertainment should be and almost never is. Six Feet Under is genius.

I recently saw The Ritz for the first time after hesitating for years. As a gay man who came out about 10 years after this film's release, I am well aware that the depiction of homosexuals in films from this period and before was never anything other than mocking or sinister or criminal. This movie tries hard to be funny. Jack Weston is, of course, a great comedian. Jerry Stiller as an Italian gangster tries but fails. Rita Moreno as a cabaret singer at the club is funny to some but foolish to me. While not "offensive" to gays, per se, it's very patronizing which is nearly as bad. This is because it's a product of it's time. The idea, for instance, that Moreno would work at this club and continually refer to the men as "maricon" and mean it isn't very funny to me. 2 of the 4 stars go directly to Treat Williams and his toweled body. He's stunning to look at and has his funny moments. Still, it's all "much ado about absolutely nothing" and it just goes on way too long. If it were a skit in a comedy revue lasting, say, 15 or 20 minutes then I might be on-board but at the end of the day this film lost me and it's jokes just don't stand the test of time.

I'm going to keep it straight to the point. I know Von Triers from "Dancer In The Dark", a film that I liked but found nearly unbearable to watch and only saw once and never want to see again. I recognize the talent, however, and braced myself for another helping. Little did I know what I was really in for. The bottom line is that these films depict a world inhabited by people that are desperately and hopelessly doomed. I've never seen such nihilistic portrayals in my life. I'm all for "realism" in films but I don't want to be thrown into the "real lives" of these people....no, no a thousand times no! Their world is so bleak and hopeless and devoid of any affection or warmth or light that it simply looses any sense to it. The lives of these people have not an iota of the elements that make living worthwhile so once that's realized, after about a minute, it becomes pure torture. I pride myself on my level of tolerance for the fetishes and idiosyncrasies that people have but sheer brutality is something that I know exists but care not to be thrown into in brutal graphic detail. These are the most bleak and depressing films ever made to my knowledge. I simply don't see the point and I found volume 2 even worse.

I'm going to keep it straight to the point. Just when I thought, after vol. 1 that it couldn't get worse, along comes the nadir of blackness and utter hopelessness. I know Von Triers from "Dancer In The Dark", a film that I liked but found nearly unbearable to watch and only saw once and never want to see again. I recognize the talent, however, and braced myself for another helping. Little did I know what I was really in for. The bottom line is that these films depict a world inhabited by people that are desperately and hopelessly doomed. I've never seen such nihilistic portrayals in my life. I'm all for "realism" in films but I don't want to be thrown into the "real lives" of these people....no, no a thousand times no! Their world is so bleak and hopeless and devoid of any affection or warmth or light that it simply looses any sense to it. The lives of these people have not an iota of the elements that make living worthwhile so once that's realized, after about a minute, it becomes pure torture. I pride myself on my level of tolerance for the fetishes and idiosyncrasies that people have but sheer brutality is something that I know exists but care not to be thrown into in brutal graphic detail. These are the most bleak and depressing films ever made to my knowledge.

I knew it! I knew, as I started enjoying the film, that by the end I was going to be disappointed and in this regard my notion was fulfilled. The movie starts out really strong. In fact, it really turned me on at first and coming from a dedicated gay man I think that's a pretty big compliment. The acting, in fact, is great. The problem lies with the subject matter. As this world is one that I know a little something about, I understand the complexities involved in these relationships and knew that, ultimately, it was going to end with their breaking up. There were moments along the way that excited me, I confess. Christian's courting of Anna is exciting. His deflowering of her once he finds out she's a virgin is exciting. Her initial entry into his sexual world is exciting. He shows her tenderness and seems earnestly desirous of having a relationship with her. The problem, of course, is that they have different needs. It's unacceptable to judge one versus the other as "right and wrong". If nothing else he's fully up front with her about his desires. Problem is that she has no real inclination to explore them except for the fact that she's falling in love with him and does so to get to know him which is counter intuitive to what he's looking for. The more you hold him the less you can have him. She's young and inexperienced and the more she gets to know him the more of him she wants but she wants him HER way and not the way he's able to give her. So ultimately the movie is a downer but there are good moments along the way. Considering it's a mainstream movie they do a decent job but really how can this sort of subject matter be expected to translate to a mainstream Hollywood film? That's really the problem with the film version - they're constrained by their R rating. Anyway, I'm glad I actually watched it, it wasn't a waste of time but it did leave me frustrated by the ending.

It's been a long time since I've seen a film that really isn't all that good but that I nevertheless enjoy quite a lot. STAGE FRIGHT has a plot that is really rather silly. From the start, it's all quite implausible and yet entertaining. At first I found Jane Wyman terribly miscast as an American with two British parents living and working in London of all places. By the end of the film, I was able to buy into her role and found that she came through it pretty well. Dietrich, always rather problematic in my view, was nevertheless fascinating to watch in a role that reminded me of her character in Witness For The Prosecution. Todd was always a stiff actor and still he did a pretty good job in the role of the psychotic. Wilding was predictably strong and Alistair Sim really steals the show - he's great to watch. The ending was bizarre and still I decided that I rather liked all the nonsense - it's a very dated story that's a lot of fun in the most basic sort of way.

Dom Deluise was a very underrated actor if ever there was one. This is a touching and yet very funny and smart comedy, written and directed by Anne Bancroft. It's a small film with a great deal of heart. It revolves around the character that Deluise plays, Fatso, who's trying to lose weight. When he meets his sweetheart, played by Candice Azaria with warmth and humor, he has the motivation he needs to finally lose his weight. The location settings are also great to see, filmed in Greenwich Village during the early 80's. It's funny from start (the funeral of Cousin Salvatore)through to the end - a great little film that I heartily recommend.

First the good news: George is a GREAT "James Bond". He embodies all the masculinity and swagger without obnoxious overtones that make his version of Bond, possibly, the best of all who have played him. His age is much more appropriate to the character than either Connery or Moore to be sure. He looks GREAT wearing a tuxedo as well as a ski suit. He also did a great job as the erudite English scholar sent to investigate Blofeld's pedigree. Diana Rigg is also very good in her role as "Mrs. Bond". The problem with the film is really in the script. After establishing the beginnings of a rapport between Bond and his girl, he leaves her for half the film while he travels to Switzerland in search of Blofeld. A series of adventures ensue that, in typical Bond fashion, provide a lot of chasing but are based on many improbable scenarios. One must also ask how or why James Bond would marry the scion of a crime syndicate. On many levels the film is entertaining and it's an admirable entry into the genre but it drags a bit too long in the center and finishes very abruptly. It started out with my thinking I would love it and I ended up only liking it. I do wish that George had played Bond longer, however - he's great on the screen for sure.

I'm not sure any other film depicts the excesses of the 80s quite like this one does. EVERYTHING, it seems, was thrown at this film in an attempt to make it bigger and bolder and better than what came before. As any sensible moviegoer knows, the moment one attempts to make a good movie by doing it that way the worse the result will be. The only redeeming feature of this film is the kitschy time-capsule quality it offers the viewer and even that doesn't sustain it for long. The plot is thin as a cup of tea, Roger tries to pull it off but he's given nothing to work with, it's just a silly mess. I laughed out loud at the scene where the Renault runs with it's rear end missing - IF ONLY Renault cars were that reliable! I've always been a Roger Moore fan. His "Bond" is the debonnaire gentleman and he's charming to watch. In this outing he was turned not into an action character but a cartoon one and it's disappointing. Lastly the direction is abominable. Watch the scene midway through at a gas station when the camera pans from left to right and ends up focused on the Rolls. It's literally out of focus during the panning - the words on the gas station are literally blurred and illegible. One big unhappy mess.

I love Diamonds Are Forever. It's the best sort of time-capsule and thoroughly entertaining. I've always been a fan of the more understated Bond films, meaning I tend towards the earlier ones with fewer extraneous explosions and more locations. Here we are taken to Amsterdam and especially Las Vegas. I love the scenes shot in the casino! The era of wood paneling is long gone but I love revisiting! Can anyone imagine a performer like "Shady Tree" today? One of my favorite puns is in the name of "Plenty O'Toole" - it's a riot! The direction is really spot-on as well. The scenes in the crematorium are amazing and eerie. The plot IS a bit off balance but that doesn't distract from the fun. The ending, as with most Bond films, if predictable but at least it doesn't linger too long. Jill St. John is a bit wooden at times but in the end just manages to pull it off and is very nice to look at. Sean is in fine form throughout. The score (aside from the title song with neither I nor Harry Saltzman liked) is very good. One of the most entertaining films you'll ever see and in the end it's about being well entertained.

I'm not going to try to out-clever what's already been said about Mommie Dearest. I'm going to simply state the reasons why it's such a great film. At the top of the attributes is the name Faye Dunaway. As Andy Warhol said after watching this film, "if that's not acting what is?!" She IS Joan. They are officially one-in-the-same. The soul of Joan entered Faye's body on the day that the makeup was first applied to Faye's face. All the acting, in fact, is spot-on. Then we have the script. There are so many quotable moments to this film that one might as well just read the entire script - it's a non-stop quotable feast. The sets are gorgeous and I still claim that "the most beautiful house in Brentwood" set is one the greatest ever. Who can forget those crushed blue velvet sofas and that white bar? The STAIRCASE! The tree in the living room, accomplice in covering up so much "dirt"! How about the costumes? The gowns are spectacular. I could go on and on and on. In the DVD commentary Frank Yablans indicates that the director Frank Perry could have pulled Joan back a bit during the "bring me the axe" scene. I ask the simple question: WHY PULL HER BACK?! At the end of the day film is meant to entertain. That means many different things to many different people. In my case, this film entertains in spades and that is enough to merit a high rating in my book. You don't like Mommie Dearest? You're most likely a very sour person!

I was reluctant to see this film for a long time. The reason for that reluctance was the lack of desire in reliving what I considered to be the period in which our country was governed by the least able man in the history of this republic. Starting with the stolen election of 2001 (in which his brother was a willing accomplice), the 8 years of "Dubya's" presidency were lackluster at best and criminal at worst. Having said all this, I bit the bullet and finally watched the film and my reaction shocked me. I even ended up liking (just a little bit) poor Dubya. As was once said in a MadTv skit which played a mock debate between Bush and Kerry, Kerry says "I know why America loves you, it's like loving a retarded baby" and that's the truth! There are moments that utterly hysterically funny in this film and yet don't come across as mocking or degrading. I dislike Texas "swagger" (or "walking" as they call it in the film) and yet Stone portrays it all in a very palatable way. The acting is excellent, the dialogue is well written, and it all moves along at a good pace and plays out very well on the screen. The relationships within the family are fascinating to watch (Ellen Burstyn is fantastic as the very caustic Barbara) - so what I expected to watch with one eye closed I've now seen a few times and kept both eyes fully open during the entire film. Strange indeed.

All the fine acting and "A picture" production values that Warner's had at the time this film was made can't save it from it's ponderous dialogue and message. It IS entertaining to a point but there are moments that are just excruciating. "That is good" is said about 100 times. "That is bad" another 100 times. It plays like a theater piece (from which it was based) and one can really feel like one is being clobbered over the head with the message of this film which is admirable (anti-Fascism) but handled with zero delicacy. The whole thing just seems very dated. Bette gives a fine performance as does Lucile Watson but Paul Lukas is like a block of wood and those kids are, well, as subtle as biting down on a jalapeno. My favorite moment I think is the car ride with Lucile and her friend who go out to shopping. "Messy candy, that's what I'll buy, my grandchildren would like messy candy!"

I'm going to get right into it - this film is the GOLD STANDARD when it comes to creepy/freaky/scary movies, period. It is the best of it's kind and even after having seen it many times there are still scenes that I have to look away from (meat hooks anyone?). The way it's shot and the dialogue and the actors all come together to create a memorable movie experience. It's the most fun possible why having the hell scared out of you and not through tricks and gore but sheer terror (with a bit of the blackest humor thrown in too). Remakes don't come close. The fact is that it's precisely because of the limited budget that the film has the effect that it does. It's near impossible to duplicate this - when there's too much money thrown at a film it's going to show even whey people try to make it look "rough". The original is the real deal, folks, a genuine masterpiece.

I love KEEPING UP WITH THE STEINS. It SO reminds me of my own family and what it was like when I had my Bar-Mitzvah, not that mine was as elaborate but the FAMILY dysfunction was told with sensitivity and humor and is very authentic for many Jewish families. I do think that the film has it's "niche" and that it's relatively weak box office was due to it being "too Jewish". Still, that's not my problem. The performances were terrific. It's very funny and yet it makes me tear up at the end too when the father and son have their heart-to-heart. I can't think of another film that covers this subject matter as well as this film does. Highly recommended.

The film is beautifully acted and the casting is spot-on. Vivien Leigh is perfect in this role, neither sickly sweet or icy cold. Beatty is great to look at and plays the gigolo without any histrionics. The Contessa is great and earned a well deserved Oscar nomination. The story is relevant even today (although unfortunately nowadays these things happen with far less elegance and finesse. What holds it back from a higher rating is that the character development between Mrs. Stone and Paolo should have gotten more focus and development. No real explanation is given for how the relationship developed as quickly and strongly as it did. Of course that aspect plays into the cool nature of the film in general which many might find correct for this material but I would have liked a bit more development between the 2 principles. Perhaps neither was able to express much in the way of "emotion" and that is surely part of the point, and the finale when Mrs. Stone throws the keys to the gigolo on the street because, realizing that love is elusive, physical needs can still be met and that provides a great ending to the film, very unsentimental and leaves one with a shiver.

I enjoyed the film and recommend it but don't expect anything warm and fuzzy here because that is not in the cards, folks.

I first learned about this film reading "Andy Warhol's Diary" (he loved it). What makes it more interesting for me is that I've lived in Alphabet City for the last 13 years so it's fascinating to realize that the locale where "Rita" is kept hostage is ONE BLOCK from my doorman building! The film has the raw feel that is classic Paul Morrissey. It's entirely entertaining and one particular standout is Rodney Harvey. (Jose)....what a gorgeous boy who I came to learn od'd at the age of 30.

To conclude, this is a gritty and very entertaining film and well worth checking out. Not Morrissey's best but I enjoyed it a lot.

The film is a great look back at a time in New York club life that I participated in and that, alas, no longer exists. Mario Diaz, the subject of the film, brought a remarkably optimistic energy into NYC club life. As a native New Yorker, I can say that we are many things but NYC tends to be more pessimistic than optimistic especially in the gay world and ESPECIALLY during the dark days of Giuliani. Mario brought a great vibe to everything he did. Never bitchy, always professional and the center of great times, he knew how to make the mix work. The film is a heartfelt look back at some of those days. It gives some insight into his personal life that was also very touching (but never corny). For anyone that cares to see a film made with lots of love by those that clearly admire what Mario has done, the film is a very worthwhile experience. I saw the film at it's NYC premiere and am waiting for the DVD release.