Completed Novels
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The Boy in Mitchell Bay
2020 An original upper MG contemporary coming-of-age dramedy mystery Ian is a shy, introverted 11-year-old boy obsessed with model ships and comic books. He almost always makes bad decisions (according to his mother). After he accidentally sets fire to the forest behind his house, he is sent to his grandparents' house for the summer. In Mitchell Bay, he bonds with other misfit children - drawn together by the torment of the town bully, and their determination to solve a 50-year-old mystery of an unknown boy who drowned in the bay. |
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Magic Rabbit
2018 An adaptation of my screenplay 'Why Won't You Die Miss Tutley?' A hybrid upper YA/A contemporary socio-political satirical farce. What could a gay teen, his histrionic conservative mother, his incompetent, abusive high school teacher, and a fluffy white rabbit possibly have in common? Everything. Social conservative zealot Martha Molder is running for public office, but she sees her progressive husband Jack and her gay son Max as liabilities. She attempts to push Max onto the girl next door, and when she believes Jack is having an affair with his octogenarian secretary, she hires two ex-cons to eliminate the scandal. The husband and wife duo are really terrorists intent on robbing the bank where Jack is the manager. Jack is actually having an affair with Max’s teacher, Miss Tutley, the town’s unhinged black widow who Max and his fellow students plot to get rid of because of her ongoing abuse and incompetence. The madness culminates at a party celebrating Tutley’s apparent demise, where Max’s pet rabbit Mr. Fluffy Puffy saves the day. |
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Lost Together
2017 An adaptation of my screenplay. An upper YA coming-of-age thriller. A grief-stricken teen’s perfect life disintegrates when he descends into his childhood bully’s life of chaos – a decision that ends in tragedy. Will Thomas appears to have a perfect life. He has a beautiful girlfriend, a loving family, a wide circle of friends, and multiple sports scholarship offers to university. He is respected and admired by everyone. But underneath all the success and adoration is a tortured young soul. When his father dies in a suspicious car accident, and his childhood bully (Shane, a troubled indigenous teen) is released from prison, the façade of his happy life crumbles. Consumed by grief, tormented by his sexuality, and tortured by a prior suicide attempt, Will spirals into Shane’s life of drugs, chaos and family violence. The two boys turn to each other to cope with their dysfunctional families – a decision that ends in tragedy. |
Completed Screenplays
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The Simpsons
2016 TV Comedy Spec Teleplay Episode: 'I Doodly, Doodly, Doodly, Doodly, Do' When Ned Flanders meets a woman at a town ABBA karaoke competition, The Simpsons think she's just like Ned - too much like him. *written for the Nickelodeon Fellowship |
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Bob's Burgers
2016 TV Comedy Spec Teleplay Episode: 'Manic Mailman Monday' When Mike the mailman disappears, the Belcher's investigation leads them to the ledge of Gayle's apartment. *written for the Nickelodeon Fellowship |
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The Seventh Saint
2013 Short Drama Screenplay A terminally ill woman and her suicidal grandson make a pact. |
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Stanley
2013 Feature Horror/Thriller Screenplay A bullied teen exacts revenge on his tormentors. *Official Selection 2015 Oaxaca Film Festival (Global Script Challenge) *Future YA novel adaptation |
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The Fan
2012 Feature Comedy Screenplay A shy, celebrity-obsessed teen endures bullies at school, her overbearing mother and the reality that her movie star idol is really a self-absorbed ego maniac. |
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Final Decree
2011 Feature Sci-Fi/Thriller Screenplay A fascist U.S. government in the late 21st Century attempts to orchestrate a futuristic holocaust. |
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Postal: A Mailman's Last Day
2010 Feature Comedy Screenplay A mailman endures his dysfunctional family, his wacky customers and his corrupt union until he finally cracks on his last day of work. *future novel adaptation |
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My Mother Wants to Meet Anne Murray
2010 Feature Comedy Screenplay A road trip comedy in the vein of 'Little Miss Sunshine' involving a contest winner who wins the chance to meet her favourite singer. |
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Why Won't You Die Miss Tutley?
2010 Feature Comedy Screenplay A social/political/satirical farce based on the religious right's hyper-conservatism in the U.S. *Completed YA novel adaptation as 'Magic Rabbit' |
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Lost Together
2008 Feature Drama Screenplay A straight-A student and his tormented childhood bully become allies to help each other cope with the dysfunction in their lives. *Completed YA novel adaptation *Official Selection 2016 Oaxaca Film Festival (Global Script Challenge) -Best Thriller/Crime -Best Original Concept -Best Overall Script *Quarter finalist 2008 Slamdance |
Favourite Films of All-Time
This is a list of my all-time favourite films - not necessarily a list of the best ever made. Instead of providing a synopsis of each of the films, I've written a brief explanation of why the film is on this list. I've also listed them in alphabetical order so I don't have to decide a numerical top 10 or top 50 - though the top 5 can be seen in the gallery above.
2001: A Space Odyssey
The more films I watch by Stanley Kubrick, the further he is pushed into the upper echelon of my list of favourite directors. Films directed by him are some of the most cerebral, intellectually-challenging films to watch. He is deliberate. The pacing is at times infuriatingly slow. Sometimes, there appears to be no purpose to a scene but to satisfy his own artistry. What is happening on the screen is not necessarily what you think he is trying to convey. For people with no attention span, I say go see the latest teen slasher or smash 'em up. For others who want to be totally engrossed in a thoughtful, visually stunning film, I encourage them to see a Kubrick film. The meaning of any of the elements that he incorporates into his films are up for interpretation - and that is how it should be. Seeing a film should not be a black or white experience. Kubrick's films mean many different things to many people. That is the ultimate goal for any filmmaker. 2001 is one of these masterpieces. The iconic music, the matter-of-factly sinister HAL 9000 (voiced by Canadian actor Douglas Rain), the incredible visuals and the use of silence and sound in place of dialogue make this film not only Kubrick's best, but one of the all-time best.
All About Eve
A brilliant screenplay led to superb ensemble acting performances. Anne Baxter is great as the innocent (or so we think) star-struck ingenue. No one chews a scene like Bette Davis. It probably would have won Oscars for Davis and Baxter if Baxter had been in the Supporting Actress category instead of Best Actress with Davis. The writing is crisp and witty. This is no run-of-the-mill drama. It's intelligent and a classic Hollywood-type film that is a pleasure to watch.
All the President’s Men
This film had a no-fail story but it took a writer as special as William Goldman to make it happen. This film could have easily gotten bogged down in political detail, but the writing flowed so naturally that the film chugs along at a crisp pace. Goldman deservedly won the Oscar for Best Screenplay.
Apocalypse Now
The Redux version of 2001 is excellent. The additional scenes, though making the original film long for some, fit well and really make this film an epic. Marlon Brando is brilliantly odd. I've always liked Frederic Forrest's acting and here he doesn't disappoint. The war scenes combined with digital sound are stunning.
Being There
Peter Sellers is so subtle here that he stands out like a raving naked man in the middle of the street. I am of the school of 'less is more' and you'll find that I admire and prefer acting performances like these against over-the-top performances. There is so much more to a slight turn of the head, a widening of the eyes or a twitch of the fingers. The tightly coiled, hidden emotion is more powerful than full blown rage. That type of acting, though effective and attractive to today's audiences, is easy. Truly talented actors are those that use the power of subtly. Peter Sellers' performance was one of these.
The Birds
This was Hitchcock's last great film. Following closely on the heels of Psycho, Hitchcock keeps the terror level high and it works. I had reservations about Tippi Hedren as the lead, but in the end she does an adequate job. Hitchcock's constant desire to find the next great leading lady is one of his very few flaws. Focussing on the talent to be had instead of trying to find the next big star would have provided him with more and better performances from his leading actors and actresses. Here, his storytelling is superior as usual and the special effects are outstanding. The pet shop and rowboat scenes are borderline agonizingly long for some people, but in the end they are far superior to what can be seen in other lesser-revered films. Suspense, thy master is Hitchcock.
Bowling for Columbine
Michael Moore uses pathos, humour and emotion to point out the foibles in society. This film is his crowning achievement. The animated history of violence in America was spot on. It is annoying when critics of his work dissect every frame of his film, looking for something to pick at. They think he's being serious. Their problem is they don't understand satire, taking ridiculous situations and blowing them way out of proportion to show how ridiculous they are. The critics are the ones who end up looking ridiculous.
Boy’s Don’t Cry
For a film containing such controversial subject matter to become such a mainstream success shows that society is no longer willing to turn a blind eye to matters that not long ago were looked upon as bizarre. Hillary Swank had the guts to take on this important role and she convincingly pulled it off. The rural feel of the film is perfect.
Carrie
I first saw this as a late night film on TV and I was mezmerised. There are so many good things about this film that it is wrong to classify it as a horror film. One of my favourite actresses of all-time, Sissy Spacek, was amazing. Piper Laurie was equally terrific - they had superb chemistry. Great iconic lines - "they're all gonna laugh at you", "plug it up!", etc. Nice split screen effect. Miss Collins (Betty Buckley) being cut in half by a window made my stomach hurt. If it has to be classified as a horror film, it's one of, if not, the best.
Casablanca
I avoided this film for many years thinking it was just another overly sentimental, syrupy romance. Though that is a major key to the plot (which, in my opinion, borders on cookie-cutter) the element that stands out for me is the dialogue. Excellent. It pops. I'm not talking about the iconic lines but the way it comes at you - line after line. I wish I could write dialogue like that. Bogart kind of grows on you after a few viewings; Bergman is okay; but Claude Rains steals the show. What a great performance. In the end, a good film - great?... okay.
The Cassandra Crossing
Not a lot of people know about this. It is certainly no classic - the music is bizarre, the acting is suspect, the editing is choppy and Michael Douglas doing a handstand in Y-fronts is scary. This film is certainly a guilty pleasure. Very European feel to this film. However, I became attached to the film when I saw it on TV as an afternoon matinee when I was young. Great story - a suspected plague-infested train is sent to its doom over an incomplete train trestle to prevent the spread of the disease, or so we think. I think this would be great as a remake - keep the plot and get rid of everything else.
Citizen Kane
Hands down, the best film ever made. I first saw this on TV as a little boy. There have been few films that have come close since then to matching this achievement. Orson Welles was decades ahead of his time. The camera angles, the incredible lighting, the fades, the close-ups, the acting, the music, the seamless telling of a life's tale - all superior. I have seen this film countless times and I still sit there and shake my head at its brilliance.
Clockwise
John Cleese is at his tightly wound best. He is matched by a great supporting cast - some with a lot to say, others who say very little. When all of them embark on a road trip, it's British farce and wit at its best.
A Clockwork Orange
Stanley Kubrick's 1960s and early 1970s work was brilliant. This was some of the best film-making ever made. After A Clockwork Orange, he only made 4 films over the next 30 years. The time between those films also became longer and longer as he tinkered with them in post-production in search of perfection. This was unfortunate, as his greatness could have been accentuated by many more of his films. A Clockwork Orange was his last brilliant film. Familiar Kubrick futuristic cubism mixed with a great soundtrack is only part of this success story. Kubrick challenges many of society's dark issues - violence, rape and psychotherapy. In doing so, he challenges the audience to deal with these issues. It is a testament to his courage to take on these issues in a major studio release. Those who took offense at this film and those who claim to have committed acts similar to those in the film are the people who Kubrick was making this film about - byproducts of a failed society. Malcom McDowell's Alex is a perfect picture of a man so tuned in to what he does that he has a complete lack of empathy - a disease now rampant in the 21st century.
The Color Purple
The sheer beauty of this film is remarkable. The colours are so vibrant, the rural setting so crisp, you can almost smell the tall grass, feel the wind and the heat. Great cinematography. I can remember the utter shock when this film came up empty at the Oscars. It's still a shock. This is an epic film. There are many, many films out there detailing a person's life over many years. When it is done with such care, concern and grace, it's a pleasure to watch.
The Deer Hunter
Watching this film, I now know why Michael Cimino's next film, Heaven's Gate, was such a colossal disaster. If the Russian wedding scene was removed, this would be a wonderfully flowing film. However, I was reduced to sitting there sighing, wondering out loud when it was going to end. That is never good. I put this film on this list, not because it's one of my favourites, but as an example of how one gratuitously long scene can ruin what could have been one of the most important, iconic films ever made.
Dr. Strangelove
Peter Sellers is a comic genius. I know a lot of people think his work as Inpector Clouseau was his greatest, but it is lesser known works like this that show his true talent. His mannerisms, many of which were unscripted, are hilarious. George C. Scott is wonderfully out of character - he's funny in a giddy sort of way. Slim Pickens riding the bomb is one of those once-in-a-lifetime moments.
Driving Miss Daisy
I know a lot of people may think of this film as overly syrupy and sentimental, however, it has so many things going for it, that it's a can't miss classic. Both Jessica Tandy and Morgan Freeman are perfect, and this is Dan Aykroyd's finest performance. The cinematography is gorgeous. The music, including the instantly recognizable theme music, is a perfect fit. The screenplay, based upon the winning play, has a great pace. This is a perfectly shot film.
Election
I became a fan of Alexander Payne's writing after I saw this hilarious film. His twisted sense of humour that exposes and exaggerates people's faults is dead on. The primal jungle screams that Tracy Flick hears in her head when something doesn't go her way is roll-on-the-floor brilliant. Reese Witherspoon is wonderful as the do-anything-to-get-ahead Tracy. It was great to see Matthew Broderick again and it was this film that set his career going again. Comedies are hit or miss. This was a bull's-eye.
The Exorcist
This is one of the most intelligent screenplays ever written. Screenwriter/novelist/producer William Peter Blatty has created a perfect adaptation of his book. Director William Friedkin crafts a close-to-perfect film. The editing is so crisp and even that the film is perfectly seamless. In fact, the editing is so perfect that it takes the place of music in the film. There is such a lack of music in this film that it's absence heightens the chill factor. The only real place where you hear it is when Ellen Burstyn's character is walking down the street and the Tubular Bells theme accompanies her. Brilliant. I know a lot of people watch this only because of the horror factor, but this film is so much more than a terror film. The deep personal anguish of all the characters in the film is felt, and when a director and writer cause this to happen, you have a very special film.
A Fish Called Wanda
This film was a risk having John Cleese play the straight man, unlike his other over-the-top bizarre characters. Fortunately he assembled a brilliant co-cast of oddballs to play off of him. It worked with flying colours. Kevin Kline is crazily superb as Otto. All the actors had great material to work with, as the screenplay was a can't miss piece of work.
The Godfather Part I
This screenplay was so well written that to the casual observer watching the film, they would think that the events that transpired actually happened. This film flows wonderfully. Sure Marlon Brando and Al Pacino give great performances, the music is great, the cinematography is fantastic - but the heart of this film's success is the screenplay. One of the best screenplays ever written.
The Godfather Part II
One would think that with the many changes of time and place within the film, from Vito's life to Michael's life, the film would lag. It doesn't. By going back and forth between the two, Coppola leaves you wanting more - what a brilliant tactic. Also one of the best screenplays ever written. Robert DeNiro and Al Pacino are equally fantastic. When iconic moments from your film are parodied to death for decades, you know that you have created something lastingly special. What a one-two punch, Parts I and II. Definitely in the top 5 of best films ever made.
The Hidden
This B-movie, sleeper film that probably not a lot of people have heard of is a solid sci-fi action thriller. I think I saw this on late night a few years after its release in 1987 and I was rivited by the story. Michael Nouri and Kyle MacLachlan are the perfect duo. Their chemistry together is what makes this film entirely watchable. The ending (which I won't mention) is a superb comment on humanity and selflessness. Despite the cringingly awful theme song at the end, this film is not only a guilty pleasure but a pleasant surprise. Unfortunately, a totally preposterous sequel was made and it sounds so awful that I refuse to watch it for fear of ruining this fine film.
The Hours
Screenwriter David Hare has crafted a complicated through story of three women joined by despair. It's a wonderful piece of work. I know this because every time I see it, I forget the twist at the end. You get lost in the three stories. You know they're joined but they're told so well individually that when that moment hits you at the end, you go 'oh yeah'. Nicole Kidman is unrecognizably wonderful. Julianne Moore's character is so lost in despair and her tale is told so well that you're drawn in by her great performance.
The Incredibles
From the start right to the end, you're rooting for all of the Incredibles. When an animated film aimed primarily at young people draws an even bigger adult audience, something special has happened. Brad Bird's witty, intelligent, sardonic writing clearly comes from his early days with The Simpsons. It's used to great effect here. Anything that comes out of E's mouth you know has orgins from Bird's Simpsons days. His characterization of Violet is spot on. E is laugh out loud funny. One of the best animated films ever made.
The Insider
Before Gladiator and A Beautiful Mind, Russell Crowe gave a knock-out performance as a tobacco industry whistleblower. His mannerisms, the way he walked, his speaking voice were just fascinating to watch. Al Pacino is solid, as is Christopher Plummer. This was really an actor's film.
In the Bedroom
Superb film from 2001. When a terrific screenplay, a solid directorial performance and class A acting from all actors combine, you have a truly special film. This was an independent sleeper hit that, by word of mouth, gathered steam through the awards season. Both Tom Wilkinson and Sissy Spacek are brilliant. I've said this many times before and I'll say this many times again: Sissy Spacek deserved to win the Oscar for Best Actress. Was she robbed? No. (See The Manchurian Candidate, below) I've seen Halle Berry's performance in Monster's Ball. Was she good? Of course. I preferred Spacek's performance (for the reasons I outlined in Being There, above). To see her not win, after she had won every other acting award, justifying her outwardly quiet, inwardly raging performance, was like watching a tire quickly deflate. I haven't yet gotten over that. She is so good...
It’s a Wonderful Life
This really is a great film, even if it is overplayed every Christmas, it's still great fun to watch. Why? The message of living every day to its fullest, seems simple, maybe even cliche. This simple idea morphed into a great story. Fantasy and flashback never worked so well together. Jimmy Stewart's trademark 'aww shucks' character is shaken up here, especially when he goes off the deep end, and he does a great job of it. Lionel Barrymore gives a performance so wringingly evil, he makes Hannibal Lecter look good.
JFK
This film was a conspiracy theorist's dream. It becomes impossible not to be drawn into the film's long and complicated ending. This is not only because of the heightened drama of the event itself, but of Oliver Stone's way of telling the story. I'm not a huge fan of Kevin Costner, but I think he did a great job in this film. Great compositions. Oliver Stone's painstaking re-enactments of grand events and even of the minutest details deserve to be applauded. Even his ability to open up this controversial event and ask Americans to think and rethink deserves to be applauded. My take on the events that happened in Dallas: how could a man who was only allegedly shot in the head from behind have his head whiplash back if he wasn't also shot from in front? It is physiologically impossible. Oh well...
Lawrence of Arabia
Superior in all aspects of film. It's hard to believe that this was Peter O'Toole's first big role. Reading up on the real T.E. Lawrence, O'Toole captured Lawrence's eccentricities, haughtiness and personal turmoil perfectly. It's a great performance worthy of an Oscar. O'Toole really carries this film. The other roles seem secondary. Beyond O'Toole's performance, the music and the landscape take center stage. Despite the unwieldy length of the film, it really clips along at a nice pace because the story re-enacts real life events. Stories like this are great fun to watch because they are familiar and made accessible. This epic film is often overlooked when compared to modern film probably because it comes from a different era of film making. It's still a watchable and enthralling film.
Logan's Run
Again, no great classic, but it's such a fun film to watch, much like The Cassandra Crossing, another 70s campy cult classic. Both films even have the same feel. Great story, great plot - actually, a can't-miss story which is why this film is so beloved as a sci-fi classic. I'm surprised that a remake has failed to make it out of the screenplay stage for what seems like decades now. I don't really know what the problem is - the hard part (writing the screenplay) should be the easiest. What can you screw up with this story? A trained monkey could re-write the screenplay and it would come out looking great. Oh well...
Mask
I saw this when it first came out and it still holds a special place in my mind. Cher is great as is Eric Stoltz. Both should have gotten Oscar nods. But I must comment on the Seger-Springsteen controversy. For me, the film will always be more special because I saw it with the Seger music. When I saw the director's cut, the re-insertion of the Springsteen music didn't make the film any better. Maybe it's an American thing. I just don't see what's so special about Bruce Springsteen. Sorry.
The Manchurian Candidate (1962)
The best political thriller ever made. I'm still quite puzzled why this perfect film was remade over 40 years later. Why would you want to remake perfection? You can't, it's impossible. It's like remaking Psycho... oh wait, that was done too. Again, just like In The Bedroom, when superb writing, directing and acting collide, you have a cinematic supernova. Kudos to all the actors but there was one actor who stood out - Angela Lansbury. She's one of the finest actresses ever in any medium. Even in her earlier works in the 1940s and 50s, she's amazing. In 1948's State of the Union, she completely upstages the great Katherine Hepburn. Here, you sit there watching her performance as the seethingly evil Mrs. Iselin and you're just floored - I mean, mouth agape, awe kind of floored. Wow. It is easily one of the best acting performances ever recorded on film. When I first saw this film years ago and found out she did NOT win the Oscar for Best Supporting Actress, I was almost as floored by that, as by her incredible performance. Angela Lansbury was robbed. Sorry Patty Duke, but I'm hoping that one day soon you will return that trophy to its rightful owner.
Minority Report
Screenwriters Scott Frank and Jon Cohen really ran with the short story that this film is based upon. What a wonderful achievement. This is in every sense of the word, an event. Steven Spielberg really keeps this film chugging along at a terrific pace. Pace is so difficult to master in screenwriting, and thus in film. Here, it's an example of how it should be done. The blue, sepia-like look of the film is perfectly placed in this futuristic society. I've always liked Max Von Sydow's work, and here, he turns in a memorable performance. Sci-fi as it should be done.
Misery
Kathy Bates is this film. Without her outstanding performance, this film would not be what it is. Of course, the story is the main backbone of this film, the original idea by Stephen King and the screenplay by the great William Goldman - a giant among screenwriters. It seems that whatever he has touched has turned to gold. He not only creates a forward moving, thoughtful script, but one filled with humour and realistic circumstance. I especially admire the performances of Frances Sternhagen and Richard Farnsworth. A can't miss home run by all involved.
Murder by Decree
A suspense thriller at its finest. The best Sherlock Holmes film ever made. Christopher Plummer and James Mason have amazing chemistry as Holmes and Dr. Watson. They subtly feed off of each other with wit and mutual respect. Plummer justly won Best Actor at the Canadian Film Awards (predecessor of the Genie Awards). The production design is perfect - you can feel and smell the grit, the mist, the chilling London fog. Screenwriter John Hopkins crafts a perfect screenplay. Someday when I have some leverage, I'd like to adapt this screenplay into a modern tale set 150 years from the date this story is set. Someday...
Network
This classic written by Paddy Chayefsky, is as true today as it was in the mid-70s and will be true for generations to come. Chayefsky touches on what is both enthralling and disgusting about TV news. The same can be said about reality TV overkill in the 21st Century. Though the film has a definite 70s feel and look, it is still a very watchable and engaging film almost 35 years later. One of the more fascinating elements of this film is the screen time given to actress Beatrice Straight. She has one scene that lasts mere minutes and ends up with a Supporting Actress Oscar. Peter Finch has the great honour of saying one of the most iconic lines in film history, "I'm as mad as hell, and I'm not going to take this anymore." His newscaster gone 'round the bend is a superb performance. The TV leeches profiting from his stardom are completely believable.
North By Northwest
If this would have been the first Hitchcock film I ever saw, I would have been bowled over. But, having seen a majority of his work previously, it was nice just to sit back and enjoy the master at work. As usual, Hitchcock gives you all the elements that make up any good Hitchcock film: humour, suspense, class, romance, thrills. The more Hitchcock films I see, the more difficult it becomes for me to arrange them in any sort of best-of order. You can't get any better than this film for a true understanding of what a Hitchcock film is. It is the blueprint for any action thriller that came after it. Apart from the outstanding crop dusting scene and the Mount Rushmore sequence, is the single shot of Cary Grant exiting the United Nations building. It's a high shot looking directly down on the courtyard. It's so unique, atypical and abstract that it's brilliant. For me, it was the highlight of the film. This one brief shot shows what a brilliant filmmaker Hitchcock was.
Notorious
I came to this Hitchcock film later and after seeing it once, I have to put it in the top 5 Hitchcock films of all time. Cary Grant is superb (as he always is in all of his Hitchcock films). Ingrid Bergman is equally fine. Her character undergoes a torturous roller coaster of emotions and she handles them all with ease. Claude Rains once again delivers a top performance. The nuanced and understated nature of his character would be tough for any actor, but he is perfect. Visually, the film is an early indication of Hitchcock's brilliance at capturing small things (in this instance the key) and making them the focal point of the film. A great and overlooked film.
One Hour Photo
This underrated thriller contains Robin Williams' finest performance. After a series of Disneyesque family-oriented roles, this one was a relief to watch, showing his range and a 360 degree turn in character. His character Sy is creepy and terrifying, yet you feel an enormous amount of sympathy for him, thanks to Williams. The sterile set design is perfect, but it's Williams who is the real centerpiece.
The Others
Just like Murder By Decree, the production design on this film is stunning. The fog, the early morning rural mist, the dew, the shadows, the darkness, the chilly atmosphere of a stone country house - you can feel it all. First rate storytelling. When you know the twist at the end of the film, all of the acting and the actions that came before it is wonderful to watch.
The Pianist
What a masterpiece. This is Roman Polanski's crowning achievement. Beautifully photographed and directed. The telling of an individual's tale who is subjected to impossible conditions in a tragic time of the world's history is wonderfully told. Adrien Brody delivers a superb understated performance throughout the entire film. There is no need for outbursts of melodrama. He takes the drama of the situation and works with it.
Platoon
Another fine film about Vietnam. This film, Apocalypse Now and The Deer Hunter are all satisfying in their attempts to show the psychological collapse of men under incredible circumstances. Platoon shows this with a bit more realism and is told in a less abstract way. This doesn't diminish its impact one ounce. Its tell-it-like-it-is style is perhaps even more terrifying.
Psycho (1960)
It bothers me that I have to put 1960 in brackets - as if the unfortunate remake could even come close to the original (see The Manchurian Candidate (1962)). When a hands-down classic is re-made, the two films are always compared - and they shouldn't be. The original is such a fine piece of cinematic glory that any attempt to attach it to a remake should not be taken seriously. Anthony Perkins is note-perfect here. His finger twitching, his stuttering only adds to his character. His and Janet Leigh's conversation in the motel parlour is fascinating to listen to and watch. Bernard Herrman's score and the screeching violins - amazing. On the Collector's Edition DVD, the 90 minute documentary is excellent; and Hitchcock's own hosting of the theatrical trailer is hilarious. I can't say enough good things about Hitchcock films. Psycho, Suspicion and Vertigo are my top three, though as I make my way through his catalogue, that may change. Hitchcock's perfect pacing, camera angles and use of lighting and shadows to create tension are the reasons he is at the top of his craft. He knows a great story when he sees one and uses his many talents to show them off.
Raging Bull
Robert DeNiro once again delivers an amazing performance and solidifies his claim to one of the greatest film actors ever. This was the film that Martin Scorsese should have won the Oscar for Best Director. As it stands, it took 25 years for him to finally win it - and watching him get nominated and lose in those 25 years was painful to watch. This is a film as art at its finest. Black and white really shows this film off. De Niro and Joe Pesci have great chemistry and if you can get past Pesci's appearances in the Lethal Weapon films, he's really great in this film.
Rear Window
Hitchcock is one of the very few filmmakers who successfully can film an entire movie within the confines of a single stage and make it look huge and wide open. He is so good at this that you forget that the action is taking place only in this one location. Soon, the film is over and you realize that there have been no breaks of location or great time lapses. This is the genius of Hitchcock. Move the story along, capture the audience with a great story and no one will pay attention to the fact that the film has not moved out of the apartment courtyard. Brilliant. Grace Kelly was a great actress and I'm sure Hitchcock's heart sank when she went off to Monaco - she would have been an asset to him in his later films as the leading lady. Thelma Ritter puts in another fine performance. She's one of the great character actresses. The music score by Franz Waxman is hot and steamy - perfect for the hot, humid city summer. Another fine addition to the Top 5 films of Alfred Hitchcock.
Rebecca
This gothic Hitchcock thriller has all the elements that would cement Hitchcock legacy: fine casting, outstanding camera angles, a strong story and a mood that fits whatever style the film is in. Although the leading cast is good (especially Joan Fontaine), it is Hitchcock's supporting players that really give his films the weight and substance that they need to become thoroughably enjoyable. Judith Anderson as Mrs. Danvers is so unbelieveably creepy evil that for her not to die at the end of the film would be a tragedy in itself. I consider this film a precursor to Hitchcock's next film, the equally great Suspicion, which also stars Fontaine - this time a more fully rounded and intense character.
Rebel Without A Cause
I'll agree with many fans and critics of this film and say that this was James Dean's film to carry from beginning to end. Without him in the title role, I can't see this film retaining the acclaim that it has received over the past 50 years. He's also one hell of an actor. As with many actors who play tortured souls, it is often ironic that the actor himself is a tortured soul. The gut-wrenching emotion that comes out of such a person really solidifies the ultimate performance captured on film. It is both sad and satisfying to see Dean contort his mind while he wrestles with who he is and what he wants or doesn't want people to see of his life. The blurring of Dean the person and Dean the actor is quite fascinating to watch. It's as if the audience is watching both a part of Dean's real life and of his character play out on the screen, not knowing which is which most of the time. His line "You're tearing me apart!" is quite telling. This, East of Eden and Giant show an actor of great promise, already great.
The Rose
Bette Midler is electrifying. It's really hard to believe that this was her film debut. She owns this film from start to finish. It's actually quite mesmerizing to watch. Frederic Forrest is great as the limo driver who gets caught up in the Rose's self-destructing ways. Alan Bates, as her obsessive maniacal manager, is superb. Sad and heart breaking, this film is an emotional train wreck thanks to this career performance from Midler.
Schindler’s List
When a film is so deeply personal to you and you want to do the story justice, it is often hard to remove yourself from the personal emotion of the moment. Steven Spielberg has deftly put his personal touch on this film while remaining rooted in the art of film making. That is so hard to do. For that reason, this film is a masterpiece. The Holocaust was one of the most evil, gut wrenching events in history, and the source of so much high emotion. Tapping into that emotion makes for incredible drama and the potential for fine cinema - both are achieved.
The Shawshank Redemption
This film looks really good. Cinematography is excellent. I found the Tim Robbins character hard to like. Maybe it was because of the low-key performance. Bob Gunton as the warden does a wonderful job. I wanted this film to end much sooner than it did. The Disney-esque Hollywood ending with Robbins and Freeman embracing on the beach was a bit too much. I would have ended it with Freeman getting out of Shawshank and walking down the road, musing to himself in voice-over in one of King's excellent monologue lines. Oh well.
The Silence of the Lambs
I'll forgive Jonathan Demme for remaking The Manchurian Candidate, only because he made this film. This film is too good to just be labeled a horror film - which it isn't. Cannibalism is such a vile act that watching a character that actually does it is like slowing down to look at a car accident - you don't want to look, but you can't help yourself. Anthony Hopkins' Hannibal is such an iconic character that he'll always be remembered for this role - how could he not? He was brilliant, as was Jodie Foster. It is so satisfying to see actors at the very top of their game. Beyond the disturbing subject matter, this film was an actor's film. The dynamic between Hopkins, Foster and Scott Glenn is fascinating to watch.
Star Trek II, IV, VI
The myth about the even numbered Star Trek films being the best of the franchise is a fact. II is the very best, and IV and VI tie for second best. Ricardo Montalban's Khan in II, and Christopher Plummer's Chang in VI are wonderful performances and both should have received an Oscar nomination. Though II is infinitely more serious, the wit and jest found in the screenplays of both IV and VI is refreshing. VI, in fact, is the best screenplay of them all. The mystery, the wit, the good vs. evil scenario and the conspiracy are all used to great effect. The result is a fitting end to the franchise.
Sunset Boulevard
The Carol Burnett send up of this film was so hilarious that it was hard to take seriously. However, the co-written Billy Wilder script saves this film from becoming a campy cult hit. Gloria Swanson is perfect as the aging faded star and a young William Holden is almost unrecognizable as the struggling writer. Their characters' need for one another, in a bizarre sort of way, cements this film's centerpiece. It's a fascinating character study.
Suspicion
Among all of Alfred Hitchcock's films, this is my favourite. It may not be his best, but it's my favourite. Again, I first saw this as a Saturday matinee when I was young. I was enthralled then and still am today. A good dollop of Hitchcock's patented dark humour, eerie subtext, and fantastic performances from Joan Fontaine as the wife who suspects her new husband is out to kill her, and Cary Grant as her husband, the charming, sly playboy. The twist ending is perfect and unexpected. I suspect if this film were to be remade today it would ruined by blood and gore. That is what makes this film so superior - it doesn't need tricks like that. It relies on suspense, mystery and a good story. From 1940 (when this film was made) through to the early 1960s (Psycho and The Birds), Hitchcock's films were simply amazing. They cemented his reputation as an incredible filmmaker. The scary thing is, Suspicion was good, but his films that followed kept getting better. On the DVD extras of North By Northwest, several commentators speak of the uneasiness between Grant and Fontaine, and of the way the script wasn't finished as shooting continued and that these two elements took away from the film. I disagree. I don't find any mean uneasiness between the two stars. If anything, Fontaine's suspicion of Grant's character is right on the money. If there was any outward influence on either of their performances, it certainly worked. And of the 'unresolved' happy ending, I think the car scene was an example of high suspense. It worked. I also think that killing the heroine and having the star be a killer was not the right way to go - for the time in which the film was made. That's just way too dark and morbid and doesn't give an audience a satisfied conclusion to two characters that they ended up liking. Played by a less likeable actor than Grant, the original ending would work - especially in today's environment. Still, this film is one of Hitchcock's best and my favourite.
Talk to Her
This is easily one of my favourite films ever. There is something so powerfully quiet about this film that you find yourself watching it and not realizing that time is actually passing. Many would consider this an art house film, and it is, if you treat it as such. Otherwise, it is simply fascinating. Almodovar is such a talent for creating more with less, and because I am from the less is more school of film making, I admire him for his efforts. This film commands your attention because of the flashbacks that tie the four main characters together. Moving, beautiful, intense, complex, fascinating. Wow.
Taxi Driver
There are three things that casual observers of film will instantly associate with this film: Travis Bickle's iconic line, "Are you talkin' to me?"; his Mohawk haircut near the end of the film; and the first appearance of critical note of a very young Jodie Foster. All of these recognizable elements are key. Bickle's loneliness and frustration at the lack of progress are summed up in that line. The haircut is instantly in your face, a bit scary, rebellious and speaks to his violent thoughts. Foster turns in a note-perfect performance as the young prostitute, a sign of greater things to come from this talented actress. Harvey Keitel is almost unrecognizable as her slimy pimp. Martin Scorsese again makes you smell the city he films. His New York in the 1970s is what you would think of should you want to describe the city to anyone wanting to know what it felt, smelled and looked like in 1976. It's real. Looking back, it's unfathomable that Scorsese did not win the Oscar for either Taxi Driver or Raging Bull. It's one of life's mysteries.
Three Days of the Condor
I've always liked the work of Sydney Pollack, both as a director and as an actor. His directing always had a sense of realism, truth and logic. His acting has always been understated and natural. He's had bigger films, but I tend to lean toward this wonderful suspense thriller. The opening sequence with the bombing of the CIA office and subsequent run by the sole survivor played by Robert Redford, is perfect - so well timed and paced. This underrated film deserves a larger audience.
Traffic
Multi-layered connected stories in films are always tricky. Going back and forth from story to story can really bog down a film. When they're written perfectly (Traffic, Babel, Syriana), the outcome is fine cinema. Director Steven Soderbergh delivers a career film. Guiding a difficult, superb screenplay, wonderful camera work and an ensemble cast of actors giving everything, you couldn't ask for a better result. The four stories are also filmed in different shades of colour - a risky but extraordinary venture.
The Trip to Bountiful
This film about an elderly woman's final trip to her birthplace is sad, uplifting, funny, heartbreaking and satisfying. Geraldine Page is wonderful in her final film appearance, a performance that justly won her the Oscar for Best Actress. Simplistic in its telling, textured in raw emotion, this film is an absolute joy to watch.
Unforgiven
This was the touchstone that started Clint Eastwood's streak of critically acclaimed directed films. Watching this, you forget about his earlier career in spaghetti westerns and later in violent crime dramas. Is this the same Eastwood? Yes, and what a stunning achievement. This film looks classy, the screenplay is superb and all the actors are perfectly in character. But perhaps it is Eastwood himself that turned around his own fortunes with the critics - gone is the crusty, tough as nails exterior. Here, he allows himself to be laughed at and to feel emotion - human qualities that were missing from his earlier roles.
Vertigo
I know that many consider this to be Hitchcock's greatest film, but for that to happen for me, the casting needed to be spot on. I like James Stewart, but he was woefully miscast here. He was too old for the part of the detective and thus I didn't buy his relationship with Kim Novak's characters. That said, this film is masterfully shot, photographed and directed. The sequence where Stewart follows Novak for the first time with no dialogue for what seems like 20 minutes is superb. The camera angles, the close up forward zooms and reverse tracking shots are so perfect and original that they're iconic. It's a great story that Hitchcock has to work with and he shows off San Francisco wonderfully. I'm a huge Hitchcock fan and even with Stewart's miscast, this is one of his greatest.
What Ever Happened to Baby Jane
The mother of all campy cult hits (its co-contender being Mommie Dearest), this comeback film for both Bette Davis and Joan Crawford is so creepily outlandish that it's good. Davis scene steals all over the place, is so over-the-top and made up so gruesomely that you're not horrified, but enthralled by her performance. Crawford is perfectly out of character as the sweet, innocent, meek sister. The cat and mouse game they play over the course of the film is an exercise in bizarre entertainment. Knowing the off-camera animosity between the two only heightens the drama. After Davis presents a dead rat on a platter to Crawford then laughs hysterically, you know she's enjoying herself. This film is a guilty pleasure. Yes, Davis is over the top, but she's so damn good at it.
The Wizard of Oz
My favourite film from my childhood. The world of make believe and reality meld and it's a fine fit. Just like Citizen Kane, this film is so filled with iconic images, scenes and dialogue that its place in movie history is secure. Margaret Hamilton's Wicked Witch of the West is so relentlessly evil that she gets my vote for most evil witch in film history. Her cackling laugh and the guttural way she speaks are note perfect. Bert Lahr's Cowardly Lion is hilarious. The colours are rich and defined. The music is infectious and instantly memorable. The film moves along at a nice pace, mostly because some of the events in the original book are eliminated. When a film of this magnitude is still remembered, watched and revered 70 years later, that speaks volumes about its quality and place in history as one of the top films of all time.
The more films I watch by Stanley Kubrick, the further he is pushed into the upper echelon of my list of favourite directors. Films directed by him are some of the most cerebral, intellectually-challenging films to watch. He is deliberate. The pacing is at times infuriatingly slow. Sometimes, there appears to be no purpose to a scene but to satisfy his own artistry. What is happening on the screen is not necessarily what you think he is trying to convey. For people with no attention span, I say go see the latest teen slasher or smash 'em up. For others who want to be totally engrossed in a thoughtful, visually stunning film, I encourage them to see a Kubrick film. The meaning of any of the elements that he incorporates into his films are up for interpretation - and that is how it should be. Seeing a film should not be a black or white experience. Kubrick's films mean many different things to many people. That is the ultimate goal for any filmmaker. 2001 is one of these masterpieces. The iconic music, the matter-of-factly sinister HAL 9000 (voiced by Canadian actor Douglas Rain), the incredible visuals and the use of silence and sound in place of dialogue make this film not only Kubrick's best, but one of the all-time best.
All About Eve
A brilliant screenplay led to superb ensemble acting performances. Anne Baxter is great as the innocent (or so we think) star-struck ingenue. No one chews a scene like Bette Davis. It probably would have won Oscars for Davis and Baxter if Baxter had been in the Supporting Actress category instead of Best Actress with Davis. The writing is crisp and witty. This is no run-of-the-mill drama. It's intelligent and a classic Hollywood-type film that is a pleasure to watch.
All the President’s Men
This film had a no-fail story but it took a writer as special as William Goldman to make it happen. This film could have easily gotten bogged down in political detail, but the writing flowed so naturally that the film chugs along at a crisp pace. Goldman deservedly won the Oscar for Best Screenplay.
Apocalypse Now
The Redux version of 2001 is excellent. The additional scenes, though making the original film long for some, fit well and really make this film an epic. Marlon Brando is brilliantly odd. I've always liked Frederic Forrest's acting and here he doesn't disappoint. The war scenes combined with digital sound are stunning.
Being There
Peter Sellers is so subtle here that he stands out like a raving naked man in the middle of the street. I am of the school of 'less is more' and you'll find that I admire and prefer acting performances like these against over-the-top performances. There is so much more to a slight turn of the head, a widening of the eyes or a twitch of the fingers. The tightly coiled, hidden emotion is more powerful than full blown rage. That type of acting, though effective and attractive to today's audiences, is easy. Truly talented actors are those that use the power of subtly. Peter Sellers' performance was one of these.
The Birds
This was Hitchcock's last great film. Following closely on the heels of Psycho, Hitchcock keeps the terror level high and it works. I had reservations about Tippi Hedren as the lead, but in the end she does an adequate job. Hitchcock's constant desire to find the next great leading lady is one of his very few flaws. Focussing on the talent to be had instead of trying to find the next big star would have provided him with more and better performances from his leading actors and actresses. Here, his storytelling is superior as usual and the special effects are outstanding. The pet shop and rowboat scenes are borderline agonizingly long for some people, but in the end they are far superior to what can be seen in other lesser-revered films. Suspense, thy master is Hitchcock.
Bowling for Columbine
Michael Moore uses pathos, humour and emotion to point out the foibles in society. This film is his crowning achievement. The animated history of violence in America was spot on. It is annoying when critics of his work dissect every frame of his film, looking for something to pick at. They think he's being serious. Their problem is they don't understand satire, taking ridiculous situations and blowing them way out of proportion to show how ridiculous they are. The critics are the ones who end up looking ridiculous.
Boy’s Don’t Cry
For a film containing such controversial subject matter to become such a mainstream success shows that society is no longer willing to turn a blind eye to matters that not long ago were looked upon as bizarre. Hillary Swank had the guts to take on this important role and she convincingly pulled it off. The rural feel of the film is perfect.
Carrie
I first saw this as a late night film on TV and I was mezmerised. There are so many good things about this film that it is wrong to classify it as a horror film. One of my favourite actresses of all-time, Sissy Spacek, was amazing. Piper Laurie was equally terrific - they had superb chemistry. Great iconic lines - "they're all gonna laugh at you", "plug it up!", etc. Nice split screen effect. Miss Collins (Betty Buckley) being cut in half by a window made my stomach hurt. If it has to be classified as a horror film, it's one of, if not, the best.
Casablanca
I avoided this film for many years thinking it was just another overly sentimental, syrupy romance. Though that is a major key to the plot (which, in my opinion, borders on cookie-cutter) the element that stands out for me is the dialogue. Excellent. It pops. I'm not talking about the iconic lines but the way it comes at you - line after line. I wish I could write dialogue like that. Bogart kind of grows on you after a few viewings; Bergman is okay; but Claude Rains steals the show. What a great performance. In the end, a good film - great?... okay.
The Cassandra Crossing
Not a lot of people know about this. It is certainly no classic - the music is bizarre, the acting is suspect, the editing is choppy and Michael Douglas doing a handstand in Y-fronts is scary. This film is certainly a guilty pleasure. Very European feel to this film. However, I became attached to the film when I saw it on TV as an afternoon matinee when I was young. Great story - a suspected plague-infested train is sent to its doom over an incomplete train trestle to prevent the spread of the disease, or so we think. I think this would be great as a remake - keep the plot and get rid of everything else.
Citizen Kane
Hands down, the best film ever made. I first saw this on TV as a little boy. There have been few films that have come close since then to matching this achievement. Orson Welles was decades ahead of his time. The camera angles, the incredible lighting, the fades, the close-ups, the acting, the music, the seamless telling of a life's tale - all superior. I have seen this film countless times and I still sit there and shake my head at its brilliance.
Clockwise
John Cleese is at his tightly wound best. He is matched by a great supporting cast - some with a lot to say, others who say very little. When all of them embark on a road trip, it's British farce and wit at its best.
A Clockwork Orange
Stanley Kubrick's 1960s and early 1970s work was brilliant. This was some of the best film-making ever made. After A Clockwork Orange, he only made 4 films over the next 30 years. The time between those films also became longer and longer as he tinkered with them in post-production in search of perfection. This was unfortunate, as his greatness could have been accentuated by many more of his films. A Clockwork Orange was his last brilliant film. Familiar Kubrick futuristic cubism mixed with a great soundtrack is only part of this success story. Kubrick challenges many of society's dark issues - violence, rape and psychotherapy. In doing so, he challenges the audience to deal with these issues. It is a testament to his courage to take on these issues in a major studio release. Those who took offense at this film and those who claim to have committed acts similar to those in the film are the people who Kubrick was making this film about - byproducts of a failed society. Malcom McDowell's Alex is a perfect picture of a man so tuned in to what he does that he has a complete lack of empathy - a disease now rampant in the 21st century.
The Color Purple
The sheer beauty of this film is remarkable. The colours are so vibrant, the rural setting so crisp, you can almost smell the tall grass, feel the wind and the heat. Great cinematography. I can remember the utter shock when this film came up empty at the Oscars. It's still a shock. This is an epic film. There are many, many films out there detailing a person's life over many years. When it is done with such care, concern and grace, it's a pleasure to watch.
The Deer Hunter
Watching this film, I now know why Michael Cimino's next film, Heaven's Gate, was such a colossal disaster. If the Russian wedding scene was removed, this would be a wonderfully flowing film. However, I was reduced to sitting there sighing, wondering out loud when it was going to end. That is never good. I put this film on this list, not because it's one of my favourites, but as an example of how one gratuitously long scene can ruin what could have been one of the most important, iconic films ever made.
Dr. Strangelove
Peter Sellers is a comic genius. I know a lot of people think his work as Inpector Clouseau was his greatest, but it is lesser known works like this that show his true talent. His mannerisms, many of which were unscripted, are hilarious. George C. Scott is wonderfully out of character - he's funny in a giddy sort of way. Slim Pickens riding the bomb is one of those once-in-a-lifetime moments.
Driving Miss Daisy
I know a lot of people may think of this film as overly syrupy and sentimental, however, it has so many things going for it, that it's a can't miss classic. Both Jessica Tandy and Morgan Freeman are perfect, and this is Dan Aykroyd's finest performance. The cinematography is gorgeous. The music, including the instantly recognizable theme music, is a perfect fit. The screenplay, based upon the winning play, has a great pace. This is a perfectly shot film.
Election
I became a fan of Alexander Payne's writing after I saw this hilarious film. His twisted sense of humour that exposes and exaggerates people's faults is dead on. The primal jungle screams that Tracy Flick hears in her head when something doesn't go her way is roll-on-the-floor brilliant. Reese Witherspoon is wonderful as the do-anything-to-get-ahead Tracy. It was great to see Matthew Broderick again and it was this film that set his career going again. Comedies are hit or miss. This was a bull's-eye.
The Exorcist
This is one of the most intelligent screenplays ever written. Screenwriter/novelist/producer William Peter Blatty has created a perfect adaptation of his book. Director William Friedkin crafts a close-to-perfect film. The editing is so crisp and even that the film is perfectly seamless. In fact, the editing is so perfect that it takes the place of music in the film. There is such a lack of music in this film that it's absence heightens the chill factor. The only real place where you hear it is when Ellen Burstyn's character is walking down the street and the Tubular Bells theme accompanies her. Brilliant. I know a lot of people watch this only because of the horror factor, but this film is so much more than a terror film. The deep personal anguish of all the characters in the film is felt, and when a director and writer cause this to happen, you have a very special film.
A Fish Called Wanda
This film was a risk having John Cleese play the straight man, unlike his other over-the-top bizarre characters. Fortunately he assembled a brilliant co-cast of oddballs to play off of him. It worked with flying colours. Kevin Kline is crazily superb as Otto. All the actors had great material to work with, as the screenplay was a can't miss piece of work.
The Godfather Part I
This screenplay was so well written that to the casual observer watching the film, they would think that the events that transpired actually happened. This film flows wonderfully. Sure Marlon Brando and Al Pacino give great performances, the music is great, the cinematography is fantastic - but the heart of this film's success is the screenplay. One of the best screenplays ever written.
The Godfather Part II
One would think that with the many changes of time and place within the film, from Vito's life to Michael's life, the film would lag. It doesn't. By going back and forth between the two, Coppola leaves you wanting more - what a brilliant tactic. Also one of the best screenplays ever written. Robert DeNiro and Al Pacino are equally fantastic. When iconic moments from your film are parodied to death for decades, you know that you have created something lastingly special. What a one-two punch, Parts I and II. Definitely in the top 5 of best films ever made.
The Hidden
This B-movie, sleeper film that probably not a lot of people have heard of is a solid sci-fi action thriller. I think I saw this on late night a few years after its release in 1987 and I was rivited by the story. Michael Nouri and Kyle MacLachlan are the perfect duo. Their chemistry together is what makes this film entirely watchable. The ending (which I won't mention) is a superb comment on humanity and selflessness. Despite the cringingly awful theme song at the end, this film is not only a guilty pleasure but a pleasant surprise. Unfortunately, a totally preposterous sequel was made and it sounds so awful that I refuse to watch it for fear of ruining this fine film.
The Hours
Screenwriter David Hare has crafted a complicated through story of three women joined by despair. It's a wonderful piece of work. I know this because every time I see it, I forget the twist at the end. You get lost in the three stories. You know they're joined but they're told so well individually that when that moment hits you at the end, you go 'oh yeah'. Nicole Kidman is unrecognizably wonderful. Julianne Moore's character is so lost in despair and her tale is told so well that you're drawn in by her great performance.
The Incredibles
From the start right to the end, you're rooting for all of the Incredibles. When an animated film aimed primarily at young people draws an even bigger adult audience, something special has happened. Brad Bird's witty, intelligent, sardonic writing clearly comes from his early days with The Simpsons. It's used to great effect here. Anything that comes out of E's mouth you know has orgins from Bird's Simpsons days. His characterization of Violet is spot on. E is laugh out loud funny. One of the best animated films ever made.
The Insider
Before Gladiator and A Beautiful Mind, Russell Crowe gave a knock-out performance as a tobacco industry whistleblower. His mannerisms, the way he walked, his speaking voice were just fascinating to watch. Al Pacino is solid, as is Christopher Plummer. This was really an actor's film.
In the Bedroom
Superb film from 2001. When a terrific screenplay, a solid directorial performance and class A acting from all actors combine, you have a truly special film. This was an independent sleeper hit that, by word of mouth, gathered steam through the awards season. Both Tom Wilkinson and Sissy Spacek are brilliant. I've said this many times before and I'll say this many times again: Sissy Spacek deserved to win the Oscar for Best Actress. Was she robbed? No. (See The Manchurian Candidate, below) I've seen Halle Berry's performance in Monster's Ball. Was she good? Of course. I preferred Spacek's performance (for the reasons I outlined in Being There, above). To see her not win, after she had won every other acting award, justifying her outwardly quiet, inwardly raging performance, was like watching a tire quickly deflate. I haven't yet gotten over that. She is so good...
It’s a Wonderful Life
This really is a great film, even if it is overplayed every Christmas, it's still great fun to watch. Why? The message of living every day to its fullest, seems simple, maybe even cliche. This simple idea morphed into a great story. Fantasy and flashback never worked so well together. Jimmy Stewart's trademark 'aww shucks' character is shaken up here, especially when he goes off the deep end, and he does a great job of it. Lionel Barrymore gives a performance so wringingly evil, he makes Hannibal Lecter look good.
JFK
This film was a conspiracy theorist's dream. It becomes impossible not to be drawn into the film's long and complicated ending. This is not only because of the heightened drama of the event itself, but of Oliver Stone's way of telling the story. I'm not a huge fan of Kevin Costner, but I think he did a great job in this film. Great compositions. Oliver Stone's painstaking re-enactments of grand events and even of the minutest details deserve to be applauded. Even his ability to open up this controversial event and ask Americans to think and rethink deserves to be applauded. My take on the events that happened in Dallas: how could a man who was only allegedly shot in the head from behind have his head whiplash back if he wasn't also shot from in front? It is physiologically impossible. Oh well...
Lawrence of Arabia
Superior in all aspects of film. It's hard to believe that this was Peter O'Toole's first big role. Reading up on the real T.E. Lawrence, O'Toole captured Lawrence's eccentricities, haughtiness and personal turmoil perfectly. It's a great performance worthy of an Oscar. O'Toole really carries this film. The other roles seem secondary. Beyond O'Toole's performance, the music and the landscape take center stage. Despite the unwieldy length of the film, it really clips along at a nice pace because the story re-enacts real life events. Stories like this are great fun to watch because they are familiar and made accessible. This epic film is often overlooked when compared to modern film probably because it comes from a different era of film making. It's still a watchable and enthralling film.
Logan's Run
Again, no great classic, but it's such a fun film to watch, much like The Cassandra Crossing, another 70s campy cult classic. Both films even have the same feel. Great story, great plot - actually, a can't-miss story which is why this film is so beloved as a sci-fi classic. I'm surprised that a remake has failed to make it out of the screenplay stage for what seems like decades now. I don't really know what the problem is - the hard part (writing the screenplay) should be the easiest. What can you screw up with this story? A trained monkey could re-write the screenplay and it would come out looking great. Oh well...
Mask
I saw this when it first came out and it still holds a special place in my mind. Cher is great as is Eric Stoltz. Both should have gotten Oscar nods. But I must comment on the Seger-Springsteen controversy. For me, the film will always be more special because I saw it with the Seger music. When I saw the director's cut, the re-insertion of the Springsteen music didn't make the film any better. Maybe it's an American thing. I just don't see what's so special about Bruce Springsteen. Sorry.
The Manchurian Candidate (1962)
The best political thriller ever made. I'm still quite puzzled why this perfect film was remade over 40 years later. Why would you want to remake perfection? You can't, it's impossible. It's like remaking Psycho... oh wait, that was done too. Again, just like In The Bedroom, when superb writing, directing and acting collide, you have a cinematic supernova. Kudos to all the actors but there was one actor who stood out - Angela Lansbury. She's one of the finest actresses ever in any medium. Even in her earlier works in the 1940s and 50s, she's amazing. In 1948's State of the Union, she completely upstages the great Katherine Hepburn. Here, you sit there watching her performance as the seethingly evil Mrs. Iselin and you're just floored - I mean, mouth agape, awe kind of floored. Wow. It is easily one of the best acting performances ever recorded on film. When I first saw this film years ago and found out she did NOT win the Oscar for Best Supporting Actress, I was almost as floored by that, as by her incredible performance. Angela Lansbury was robbed. Sorry Patty Duke, but I'm hoping that one day soon you will return that trophy to its rightful owner.
Minority Report
Screenwriters Scott Frank and Jon Cohen really ran with the short story that this film is based upon. What a wonderful achievement. This is in every sense of the word, an event. Steven Spielberg really keeps this film chugging along at a terrific pace. Pace is so difficult to master in screenwriting, and thus in film. Here, it's an example of how it should be done. The blue, sepia-like look of the film is perfectly placed in this futuristic society. I've always liked Max Von Sydow's work, and here, he turns in a memorable performance. Sci-fi as it should be done.
Misery
Kathy Bates is this film. Without her outstanding performance, this film would not be what it is. Of course, the story is the main backbone of this film, the original idea by Stephen King and the screenplay by the great William Goldman - a giant among screenwriters. It seems that whatever he has touched has turned to gold. He not only creates a forward moving, thoughtful script, but one filled with humour and realistic circumstance. I especially admire the performances of Frances Sternhagen and Richard Farnsworth. A can't miss home run by all involved.
Murder by Decree
A suspense thriller at its finest. The best Sherlock Holmes film ever made. Christopher Plummer and James Mason have amazing chemistry as Holmes and Dr. Watson. They subtly feed off of each other with wit and mutual respect. Plummer justly won Best Actor at the Canadian Film Awards (predecessor of the Genie Awards). The production design is perfect - you can feel and smell the grit, the mist, the chilling London fog. Screenwriter John Hopkins crafts a perfect screenplay. Someday when I have some leverage, I'd like to adapt this screenplay into a modern tale set 150 years from the date this story is set. Someday...
Network
This classic written by Paddy Chayefsky, is as true today as it was in the mid-70s and will be true for generations to come. Chayefsky touches on what is both enthralling and disgusting about TV news. The same can be said about reality TV overkill in the 21st Century. Though the film has a definite 70s feel and look, it is still a very watchable and engaging film almost 35 years later. One of the more fascinating elements of this film is the screen time given to actress Beatrice Straight. She has one scene that lasts mere minutes and ends up with a Supporting Actress Oscar. Peter Finch has the great honour of saying one of the most iconic lines in film history, "I'm as mad as hell, and I'm not going to take this anymore." His newscaster gone 'round the bend is a superb performance. The TV leeches profiting from his stardom are completely believable.
North By Northwest
If this would have been the first Hitchcock film I ever saw, I would have been bowled over. But, having seen a majority of his work previously, it was nice just to sit back and enjoy the master at work. As usual, Hitchcock gives you all the elements that make up any good Hitchcock film: humour, suspense, class, romance, thrills. The more Hitchcock films I see, the more difficult it becomes for me to arrange them in any sort of best-of order. You can't get any better than this film for a true understanding of what a Hitchcock film is. It is the blueprint for any action thriller that came after it. Apart from the outstanding crop dusting scene and the Mount Rushmore sequence, is the single shot of Cary Grant exiting the United Nations building. It's a high shot looking directly down on the courtyard. It's so unique, atypical and abstract that it's brilliant. For me, it was the highlight of the film. This one brief shot shows what a brilliant filmmaker Hitchcock was.
Notorious
I came to this Hitchcock film later and after seeing it once, I have to put it in the top 5 Hitchcock films of all time. Cary Grant is superb (as he always is in all of his Hitchcock films). Ingrid Bergman is equally fine. Her character undergoes a torturous roller coaster of emotions and she handles them all with ease. Claude Rains once again delivers a top performance. The nuanced and understated nature of his character would be tough for any actor, but he is perfect. Visually, the film is an early indication of Hitchcock's brilliance at capturing small things (in this instance the key) and making them the focal point of the film. A great and overlooked film.
One Hour Photo
This underrated thriller contains Robin Williams' finest performance. After a series of Disneyesque family-oriented roles, this one was a relief to watch, showing his range and a 360 degree turn in character. His character Sy is creepy and terrifying, yet you feel an enormous amount of sympathy for him, thanks to Williams. The sterile set design is perfect, but it's Williams who is the real centerpiece.
The Others
Just like Murder By Decree, the production design on this film is stunning. The fog, the early morning rural mist, the dew, the shadows, the darkness, the chilly atmosphere of a stone country house - you can feel it all. First rate storytelling. When you know the twist at the end of the film, all of the acting and the actions that came before it is wonderful to watch.
The Pianist
What a masterpiece. This is Roman Polanski's crowning achievement. Beautifully photographed and directed. The telling of an individual's tale who is subjected to impossible conditions in a tragic time of the world's history is wonderfully told. Adrien Brody delivers a superb understated performance throughout the entire film. There is no need for outbursts of melodrama. He takes the drama of the situation and works with it.
Platoon
Another fine film about Vietnam. This film, Apocalypse Now and The Deer Hunter are all satisfying in their attempts to show the psychological collapse of men under incredible circumstances. Platoon shows this with a bit more realism and is told in a less abstract way. This doesn't diminish its impact one ounce. Its tell-it-like-it-is style is perhaps even more terrifying.
Psycho (1960)
It bothers me that I have to put 1960 in brackets - as if the unfortunate remake could even come close to the original (see The Manchurian Candidate (1962)). When a hands-down classic is re-made, the two films are always compared - and they shouldn't be. The original is such a fine piece of cinematic glory that any attempt to attach it to a remake should not be taken seriously. Anthony Perkins is note-perfect here. His finger twitching, his stuttering only adds to his character. His and Janet Leigh's conversation in the motel parlour is fascinating to listen to and watch. Bernard Herrman's score and the screeching violins - amazing. On the Collector's Edition DVD, the 90 minute documentary is excellent; and Hitchcock's own hosting of the theatrical trailer is hilarious. I can't say enough good things about Hitchcock films. Psycho, Suspicion and Vertigo are my top three, though as I make my way through his catalogue, that may change. Hitchcock's perfect pacing, camera angles and use of lighting and shadows to create tension are the reasons he is at the top of his craft. He knows a great story when he sees one and uses his many talents to show them off.
Raging Bull
Robert DeNiro once again delivers an amazing performance and solidifies his claim to one of the greatest film actors ever. This was the film that Martin Scorsese should have won the Oscar for Best Director. As it stands, it took 25 years for him to finally win it - and watching him get nominated and lose in those 25 years was painful to watch. This is a film as art at its finest. Black and white really shows this film off. De Niro and Joe Pesci have great chemistry and if you can get past Pesci's appearances in the Lethal Weapon films, he's really great in this film.
Rear Window
Hitchcock is one of the very few filmmakers who successfully can film an entire movie within the confines of a single stage and make it look huge and wide open. He is so good at this that you forget that the action is taking place only in this one location. Soon, the film is over and you realize that there have been no breaks of location or great time lapses. This is the genius of Hitchcock. Move the story along, capture the audience with a great story and no one will pay attention to the fact that the film has not moved out of the apartment courtyard. Brilliant. Grace Kelly was a great actress and I'm sure Hitchcock's heart sank when she went off to Monaco - she would have been an asset to him in his later films as the leading lady. Thelma Ritter puts in another fine performance. She's one of the great character actresses. The music score by Franz Waxman is hot and steamy - perfect for the hot, humid city summer. Another fine addition to the Top 5 films of Alfred Hitchcock.
Rebecca
This gothic Hitchcock thriller has all the elements that would cement Hitchcock legacy: fine casting, outstanding camera angles, a strong story and a mood that fits whatever style the film is in. Although the leading cast is good (especially Joan Fontaine), it is Hitchcock's supporting players that really give his films the weight and substance that they need to become thoroughably enjoyable. Judith Anderson as Mrs. Danvers is so unbelieveably creepy evil that for her not to die at the end of the film would be a tragedy in itself. I consider this film a precursor to Hitchcock's next film, the equally great Suspicion, which also stars Fontaine - this time a more fully rounded and intense character.
Rebel Without A Cause
I'll agree with many fans and critics of this film and say that this was James Dean's film to carry from beginning to end. Without him in the title role, I can't see this film retaining the acclaim that it has received over the past 50 years. He's also one hell of an actor. As with many actors who play tortured souls, it is often ironic that the actor himself is a tortured soul. The gut-wrenching emotion that comes out of such a person really solidifies the ultimate performance captured on film. It is both sad and satisfying to see Dean contort his mind while he wrestles with who he is and what he wants or doesn't want people to see of his life. The blurring of Dean the person and Dean the actor is quite fascinating to watch. It's as if the audience is watching both a part of Dean's real life and of his character play out on the screen, not knowing which is which most of the time. His line "You're tearing me apart!" is quite telling. This, East of Eden and Giant show an actor of great promise, already great.
The Rose
Bette Midler is electrifying. It's really hard to believe that this was her film debut. She owns this film from start to finish. It's actually quite mesmerizing to watch. Frederic Forrest is great as the limo driver who gets caught up in the Rose's self-destructing ways. Alan Bates, as her obsessive maniacal manager, is superb. Sad and heart breaking, this film is an emotional train wreck thanks to this career performance from Midler.
Schindler’s List
When a film is so deeply personal to you and you want to do the story justice, it is often hard to remove yourself from the personal emotion of the moment. Steven Spielberg has deftly put his personal touch on this film while remaining rooted in the art of film making. That is so hard to do. For that reason, this film is a masterpiece. The Holocaust was one of the most evil, gut wrenching events in history, and the source of so much high emotion. Tapping into that emotion makes for incredible drama and the potential for fine cinema - both are achieved.
The Shawshank Redemption
This film looks really good. Cinematography is excellent. I found the Tim Robbins character hard to like. Maybe it was because of the low-key performance. Bob Gunton as the warden does a wonderful job. I wanted this film to end much sooner than it did. The Disney-esque Hollywood ending with Robbins and Freeman embracing on the beach was a bit too much. I would have ended it with Freeman getting out of Shawshank and walking down the road, musing to himself in voice-over in one of King's excellent monologue lines. Oh well.
The Silence of the Lambs
I'll forgive Jonathan Demme for remaking The Manchurian Candidate, only because he made this film. This film is too good to just be labeled a horror film - which it isn't. Cannibalism is such a vile act that watching a character that actually does it is like slowing down to look at a car accident - you don't want to look, but you can't help yourself. Anthony Hopkins' Hannibal is such an iconic character that he'll always be remembered for this role - how could he not? He was brilliant, as was Jodie Foster. It is so satisfying to see actors at the very top of their game. Beyond the disturbing subject matter, this film was an actor's film. The dynamic between Hopkins, Foster and Scott Glenn is fascinating to watch.
Star Trek II, IV, VI
The myth about the even numbered Star Trek films being the best of the franchise is a fact. II is the very best, and IV and VI tie for second best. Ricardo Montalban's Khan in II, and Christopher Plummer's Chang in VI are wonderful performances and both should have received an Oscar nomination. Though II is infinitely more serious, the wit and jest found in the screenplays of both IV and VI is refreshing. VI, in fact, is the best screenplay of them all. The mystery, the wit, the good vs. evil scenario and the conspiracy are all used to great effect. The result is a fitting end to the franchise.
Sunset Boulevard
The Carol Burnett send up of this film was so hilarious that it was hard to take seriously. However, the co-written Billy Wilder script saves this film from becoming a campy cult hit. Gloria Swanson is perfect as the aging faded star and a young William Holden is almost unrecognizable as the struggling writer. Their characters' need for one another, in a bizarre sort of way, cements this film's centerpiece. It's a fascinating character study.
Suspicion
Among all of Alfred Hitchcock's films, this is my favourite. It may not be his best, but it's my favourite. Again, I first saw this as a Saturday matinee when I was young. I was enthralled then and still am today. A good dollop of Hitchcock's patented dark humour, eerie subtext, and fantastic performances from Joan Fontaine as the wife who suspects her new husband is out to kill her, and Cary Grant as her husband, the charming, sly playboy. The twist ending is perfect and unexpected. I suspect if this film were to be remade today it would ruined by blood and gore. That is what makes this film so superior - it doesn't need tricks like that. It relies on suspense, mystery and a good story. From 1940 (when this film was made) through to the early 1960s (Psycho and The Birds), Hitchcock's films were simply amazing. They cemented his reputation as an incredible filmmaker. The scary thing is, Suspicion was good, but his films that followed kept getting better. On the DVD extras of North By Northwest, several commentators speak of the uneasiness between Grant and Fontaine, and of the way the script wasn't finished as shooting continued and that these two elements took away from the film. I disagree. I don't find any mean uneasiness between the two stars. If anything, Fontaine's suspicion of Grant's character is right on the money. If there was any outward influence on either of their performances, it certainly worked. And of the 'unresolved' happy ending, I think the car scene was an example of high suspense. It worked. I also think that killing the heroine and having the star be a killer was not the right way to go - for the time in which the film was made. That's just way too dark and morbid and doesn't give an audience a satisfied conclusion to two characters that they ended up liking. Played by a less likeable actor than Grant, the original ending would work - especially in today's environment. Still, this film is one of Hitchcock's best and my favourite.
Talk to Her
This is easily one of my favourite films ever. There is something so powerfully quiet about this film that you find yourself watching it and not realizing that time is actually passing. Many would consider this an art house film, and it is, if you treat it as such. Otherwise, it is simply fascinating. Almodovar is such a talent for creating more with less, and because I am from the less is more school of film making, I admire him for his efforts. This film commands your attention because of the flashbacks that tie the four main characters together. Moving, beautiful, intense, complex, fascinating. Wow.
Taxi Driver
There are three things that casual observers of film will instantly associate with this film: Travis Bickle's iconic line, "Are you talkin' to me?"; his Mohawk haircut near the end of the film; and the first appearance of critical note of a very young Jodie Foster. All of these recognizable elements are key. Bickle's loneliness and frustration at the lack of progress are summed up in that line. The haircut is instantly in your face, a bit scary, rebellious and speaks to his violent thoughts. Foster turns in a note-perfect performance as the young prostitute, a sign of greater things to come from this talented actress. Harvey Keitel is almost unrecognizable as her slimy pimp. Martin Scorsese again makes you smell the city he films. His New York in the 1970s is what you would think of should you want to describe the city to anyone wanting to know what it felt, smelled and looked like in 1976. It's real. Looking back, it's unfathomable that Scorsese did not win the Oscar for either Taxi Driver or Raging Bull. It's one of life's mysteries.
Three Days of the Condor
I've always liked the work of Sydney Pollack, both as a director and as an actor. His directing always had a sense of realism, truth and logic. His acting has always been understated and natural. He's had bigger films, but I tend to lean toward this wonderful suspense thriller. The opening sequence with the bombing of the CIA office and subsequent run by the sole survivor played by Robert Redford, is perfect - so well timed and paced. This underrated film deserves a larger audience.
Traffic
Multi-layered connected stories in films are always tricky. Going back and forth from story to story can really bog down a film. When they're written perfectly (Traffic, Babel, Syriana), the outcome is fine cinema. Director Steven Soderbergh delivers a career film. Guiding a difficult, superb screenplay, wonderful camera work and an ensemble cast of actors giving everything, you couldn't ask for a better result. The four stories are also filmed in different shades of colour - a risky but extraordinary venture.
The Trip to Bountiful
This film about an elderly woman's final trip to her birthplace is sad, uplifting, funny, heartbreaking and satisfying. Geraldine Page is wonderful in her final film appearance, a performance that justly won her the Oscar for Best Actress. Simplistic in its telling, textured in raw emotion, this film is an absolute joy to watch.
Unforgiven
This was the touchstone that started Clint Eastwood's streak of critically acclaimed directed films. Watching this, you forget about his earlier career in spaghetti westerns and later in violent crime dramas. Is this the same Eastwood? Yes, and what a stunning achievement. This film looks classy, the screenplay is superb and all the actors are perfectly in character. But perhaps it is Eastwood himself that turned around his own fortunes with the critics - gone is the crusty, tough as nails exterior. Here, he allows himself to be laughed at and to feel emotion - human qualities that were missing from his earlier roles.
Vertigo
I know that many consider this to be Hitchcock's greatest film, but for that to happen for me, the casting needed to be spot on. I like James Stewart, but he was woefully miscast here. He was too old for the part of the detective and thus I didn't buy his relationship with Kim Novak's characters. That said, this film is masterfully shot, photographed and directed. The sequence where Stewart follows Novak for the first time with no dialogue for what seems like 20 minutes is superb. The camera angles, the close up forward zooms and reverse tracking shots are so perfect and original that they're iconic. It's a great story that Hitchcock has to work with and he shows off San Francisco wonderfully. I'm a huge Hitchcock fan and even with Stewart's miscast, this is one of his greatest.
What Ever Happened to Baby Jane
The mother of all campy cult hits (its co-contender being Mommie Dearest), this comeback film for both Bette Davis and Joan Crawford is so creepily outlandish that it's good. Davis scene steals all over the place, is so over-the-top and made up so gruesomely that you're not horrified, but enthralled by her performance. Crawford is perfectly out of character as the sweet, innocent, meek sister. The cat and mouse game they play over the course of the film is an exercise in bizarre entertainment. Knowing the off-camera animosity between the two only heightens the drama. After Davis presents a dead rat on a platter to Crawford then laughs hysterically, you know she's enjoying herself. This film is a guilty pleasure. Yes, Davis is over the top, but she's so damn good at it.
The Wizard of Oz
My favourite film from my childhood. The world of make believe and reality meld and it's a fine fit. Just like Citizen Kane, this film is so filled with iconic images, scenes and dialogue that its place in movie history is secure. Margaret Hamilton's Wicked Witch of the West is so relentlessly evil that she gets my vote for most evil witch in film history. Her cackling laugh and the guttural way she speaks are note perfect. Bert Lahr's Cowardly Lion is hilarious. The colours are rich and defined. The music is infectious and instantly memorable. The film moves along at a nice pace, mostly because some of the events in the original book are eliminated. When a film of this magnitude is still remembered, watched and revered 70 years later, that speaks volumes about its quality and place in history as one of the top films of all time.