Thoughts » Foster on Film

The Best Films of Audrey Hepburn

Oct 142017

October 14, 2017

audreyhepburn An elfin beauty that arose at the close of the golden age of Hollywood, Hepburn had aspects of both royalty and innocence. Her fame came from romantic comedies, where those qualities, and her nearly supernatural charisma could shine. Those attributes were muted in dramas, which made it harder for her to rise over the material, and much of her dramatic material left much to be desired: A Nun’s Story is poorly written and A Children’s Hour misses the point of the play. Then there is the romantic drama Green Mansions, which I do recommend as a film to watch while muttering “What the Hell.” (Really, it’s nuts.)

I have two honorable mentions, The Lavender Hill Mob (1951) and Laughter in Paradise (1951). both of which would have made the list but her parts are so brief in both. The Lavender Hill Mob is one of the great British comedies and is an absolutely must see film. And I’ll add a semi-honorable mention for Wait Until Dark, a very ’70s house invasion thriller which left me cold but has a following among those who was like their horror depressing and non-supernatural.

Now for the best:

8 – My Fair Lady (1964) – Hepburn is lovely. Rex Harrison is fun. And the music is wonderful. It suffers from dubbing (there’s no question that Marni Nixon is a better singer, but dubbing sapped the emotion from the numbers) and the same flaw as the Broadway musical–the tacked on and in every way wrong “happy ending” that differed from the original play.

7 – Love in the Afternoon (1957) – A bit silly, but it’s directed by Billy Wilder so it’s worth a look. It’s thought of as his homage to Ernst Lubitsch (like much of Lubitsch’s work, it’s light and fluffy, set in France, involves adultery, and includes Maurice Chevalier; it also stars Gary Cooper who was the lead in one of Lubitsch’s best, Bluebeard’s Eighth Wife, which Wilder wrote). Hepburn is lovely and the story is fun, but it is weakened by the questionable casting of Chevalier (he’s an acquired taste) and the terrible casting of Cooper; he was not too old, as some say, but rather unable to pull off the entrancing playboy role. Cary Grant, who was about the same age and turned down the part, could have managed it easily.

6 – Charade (1963) – Hepburn as a window of a murdered man mixed up in a very Hitchockian mystery. There’s plenty of romance, humor, thievery, and killing. Co-stars Cary Grant, and James Coburn. [Also on the Walter Matthau list]

5 – Roman Holiday (1953) – Probably my most controversial placement as many people would place it higher, but while I like the film, and absolutely love her breakout performance, it is a bit too sedate. Still, a very good film.

4 – How to Steal a Million (1966) – Hepburn must enlist burglar Peter O’Toole to steal a statue she owns to keep her forger father from being revealed, except O’Toole isn’t actually a crook. The dialog is sparkling and O’Toole has nearly enough charisma to keep up with Hepburn.

3 – Robin and Marian (1976) – This brilliant, tragic, and sometimes funny film tells the end of the Robin Hood legend. It is about loss and mortality, and of never being able to live up to legends, and more than anything else, it is about age. Co-stars Sean Connery and Nicol Williamson. (My review)

2 – Sabrina (1954) – Sabrina (Hepburn), the chauffeur’s daughter, has a crush on David (William Holden), the playboy of the house. When time abroad turns her into a suitable target for his shallow affections, older brother Linus (Humphrey Bogart) sees trouble and tries to break things up. Hepburn is an obvious choice for a romantic comedy, but Bogart? But it works. [Also on the Humphrey Bogart List] [Also on the Great Directors List for Billy Wilder]

1 – Breakfast at Tiffany’s (1961) – If it wasn’t going to be Roman Holiday on top, than it had to be this. Hepburn is radiant as a complicated, troubled, lovable party girl who seems to control everyone and everything, while really trying to make herself into something she can bear. The term “bittersweet” has never been more appropriate. If you want to dig into the human soul, and still enjoy the experience, this is the film. It isn’t helped by an obnoxious racist portrayal by Mickey Rooney of the Japanese neighbor. (My Review)

Actor Best Lists, Lists, Thoughts

The Best Films of Fred Astaire

Oct 132017

October 13, 2017

Astaire Fred Astaire is the king of cinematic dance. No one is even close. I’ve loved watching him dance all my life, though the movies he danced in didn’t always live up to his talents. But his finest are the cream of film musicals. Astaire is best known for his paring with Ginger Rogers. They made ten films together and changed the nature of dance on film. The top Astaire/Rogers films sparkled on three fronts: musical numbers, comedy, and a fantastical world. All three were very important to depression era audiences. Great dancing was always present in any Astaire film, but the comedy could be uneven. Strangely, it was neither of those, but the world building that split off the early films. In those, the two danced not in our world, but in an art deco paradise, beautiful and immaculate far beyond the dreams of reality. The lesser of the ten, such as The Story of Vernon and Irene Castle (1939) and The Barkleys of Broadway (1949) still had a Hollywood version of reality, but it wasn’t the marble dream of Top Hat and Shall We Dance.

Outside of the paring, Astaire had numerous great film dances, but few of the total films worked (and a few were horrible, such as the miserable Finian’s Rainbow–shocking not only because Astaire couldn’t save it, but because the Broadway show is quite good with several excellent songs). In later life he had a few non-dancing roles—some worked; some didn’t.

Honorable mentions go to The Towering Inferno (1974) for being exactly what one would hope it would be, The Band Wagon (1953), which fails as a film but succeeds as a series of fantastic dance numbers, and the magnificent “Let’s Face the Music and Dance” that ends the weak Follow the Fleet.

Starting at #8:

8 – Flying Down to Rio (1933) – The first pairing of Astaire and Rogers, though not as the leads. It was intended as a vehicle for breathtaking Mexican actress Dolores del Rio and she’s good, but the pair steal the film. Beyond the music, there’s the exquisite and totally unreal world. Brazil never looked like this but I wish it did. This is a pre-code film; jokes about rounded heels (look it up) and what South American women have that’s better below the equator would have been censored a few years later. Likewise the transparent tops of the female wing-walkers.

7 – Silk Stockings (1957) – An unnecessary musical remake of Ninotchka, with a weak Cole Porter score (of note: a weak Cold Porter score is better than most composer’s best score). Cyd Charisse is wonderful in the dances and the sidekicks are all amusing.

6 – Swing Time (1936) – The 6th Astaire/Rogers film, it has some of the best dance numbers, but with a weaker script than their earlier films. The humor fails and the world is not as magical, none of which matters when Astaire sings “The Way You Look Tonight.”

5 – On the Beach (1959) – A fable of the best in humanity after the results of the worst, this post-apocalyptic anti-nuke story is moving and engrossing. Gregory Peck is the star with Astaire taking on a non-dancing role as a doctor and race car driver as the world dies. (Full Review)

4 – Shall We Dance (1937) – Another Astaire/Rogers, with another assist from the always good Edward Everett Horton and Eric Blore. I find this to be the funniest Astaire film with Astaire playing a jazz dancer whose made it in ballet so must put on a persona of an arrogant Russian. The songs are solid, with “They Can’t Take That Away from Me” the standout.

3 – Holiday Inn (1942) – Astaire gets to play the bad guy, messing up Bing Crosby’s love life. This is a perfect holiday movie for pretty much every holiday as it has songs for New Years, Valentine’s Day, Easter, the 4th of July, and Washington’s Birthday, though the black face Lincoln’s Birthday number might be a hard sell. It also includes the song “White Christmas” and it was from this film’s re-recorded sound track that it became a hit. (Full Review) [Also on the Bing Crosby list]

2 – The Gay Divorcee (1934) – The 2nd Astaire/Rogers film, and the first with them as leads, this one has Rogers attempting to get a divorce from her absent husband and mistaking Astaire as the gigolo she planned to use for cause. Horton and Blore appear again.

1 – Top Hat (1935) – The 4th Astaire/Rogers picture and they’d perfected the routine. The jokes are solid and the fantasy world of shining marble is wondrous and where I want to live (much less depression era audiences). And of course the dance numbers are fantastic. Rogers falls for a very forward Astaire until she incorrectly deduces that he’s the husband of her good friend. Horton, Blore, and Helen Broderick add to the comedy.

Actor Best Lists, Lists, Thoughts

The Best Films of Katharine Hepburn

Oct 122017

October 12, 2017

Katharine-Hepburn Katharine Hepburn is known as one of the great actress of the golden age as well as a feminist icon. And she earned those reputations by many fantastic, meaningful, and politically relevant films. Unfortunately she made as many horrible and backward ones. Well, that happens, but for this list of her best, I’ll be avoiding the many dripping melodramas, sexist films, and her portrayal of a brave Chinese woman.

Which, for an actress who could excel in drama, leaves me with a lot more comedies. I first saw her in a comedy, so that’s fitting. She worked frequently with Cary Grant, with whom she had marvelous chemistry, and even more frequently with her off-screen love (their semi-secret affair lasted nearly thirty years), Spencer Tracy. They made nine films together.

An honorable mention to Guess Who’s Coming to Dinner, a movie that is far more important than it is good.

Her 8 best, starting with #8:

8 – Pat and Mike (1952) – The second Hepburn/Tracy film, it tries to wave a feminist flag, but in 2017, it feels like it does the opposite. Still, it has some funny moments. The first of four films directed by George Cukor on this list. [Also on the Spencer Tracy list]

7 – Adam’s Rib (1949) – Another Hepburn/Tracy film, this one setting them as competing lawyers. The best bits come from a young Judy Holliday as the defendant who shoots her unfaithful husband. The second Cukor film here. [Also on the Spencer Tracy list]

6 – Bringing Up Baby (1938) – THE iconic screwball comedy sees the nearly sociopathic Hepburn tricking the drab Cary Grant into helping her retrieve her leopard.

5 – Desk Set (1957) – A romantic comedy with middle-aged characters for a change. It’s Hepburn and Tracy again. This time she’s a genius and he’s an eccentric tech guru. It’s a Christmas movie and delightful. [Also on the Spencer Tracy list]

4 – Holiday (1938) – Often overlooked, this Hepburn/Grant romantic comedy has always been a favorite of mine. It is more serious than most of her screwball work or her Tracy romcoms. Grant plays a vunderkin who’s set to marry the good sister of a high society family, but he wants more than money which doesn’t go over well with the family, except for black sheep Hepburn. The third Cukor film on this list; the last is at #1. (Full Review) [Also on the Cary Grant list]

3 – The Lion in Winter (1968) – A wonderful adaptation of a play about the yearly meeting of the fascinating family of Henry II. In addition to Hepburn, it stars Peter O’Toole, Anthony Hopkins (as Richard the Lion Heart), Nigel Terry (as John), and Timothy Dalton (as Philip of France). Every line is wonderful.

2 – The African Queen (1951) – I’ve already mentioned this one on my best Humphrey Bogart film list. What’s more to be said at this point? It is brilliant and moving. [Also on the Humphrey Bogart list]

1 – The Philadelphia Story (1940) – Yes, I’m topping her two great dramas with a comedy. This is the essential romcom, and was the perfect vehicle for its three leads, Hepburn, Jimmy Stewart, and Cary Grant. None of them ever had a role that more completely played to their strengths. This is as witty as film gets. [Also on the Cary Grant list and the James Stewart list]

Actor Best Lists, Lists, Thoughts

The Best Films of Jack Lemmon

Oct 112017

October 11, 2017

Jacklemon I made a list for Walter Matthau the other day so it seemed wrong not to do the same for his frequent partner, Jack Lemmon. Lemmon’s filmography is even stronger, with quite a few good films not making this list (and also Airport ’77!).

Lemmon was known as a comic, but he was equally good as a dramatic actor, with standout performances in The China Syndrome, Glengarry Glen Ross, and Days of Wine and Roses–Lemmon’s own favorite performance. The last led to many films working with director Blake Edwards. He was also frequently cast by Billy Wilder.

Lemmon shot to fame quickly with a pair of 1954 Judy Holliday comedies, It Should Happen to You and Phffft. While I enjoy both in parts, Lemmon’s characters are surprisingly unlikeable in both, though I suspect that in the case of the first film, that is an effect of time; the character is sexist in a way I bet would have been overlooked by many at the time.

On to the best:

8 – How to Murder Your Wife (1968) – Probably not on most Lemmon lists but I find it charming. It’s a bit of an old-style “war between the sexes” comedy, but has aged better. Virna Lisi, who is always referred to as an Italian goddess, is stunning in her first American picture.

7 – The Odd Couple (1965) – THE Lemmon/Matthau film and THE Neil Simon play. Funny. A little sad. Not much like the TV show. [Also on the Walter Matthau list]

6 – The Front Page (1974) – Another Lemmon/Matthau picture and a good version of the play, though I prefer His Girl Friday. [Also on the Walter Matthau list]

5 – Bell Book and Candle (1958) – This should be on everyone’s Halloween viewing list, or Christmas. Jimmy Stewart is a bit gray for his starring role in a supernatural romantic comedy, but Kim Novak is breathtaking as a powerful, sexy witch and Ernie Kovacs, Else Lanchester, and of course, Jack Lemmon are all marvelous.

4 – The Great Race (1965) – After a couple of deeper entries we get one that is all fluff. Lemmon steals the film as the mustache-twirling villain, Professor Fate. This is a great Saturday afternoon family picture.

3 – The China Syndrome (1979) – A film that’s often stuck as “being of its time,” but it shouldn’t be. Lemmon’s tragic performance is perhaps his very best.

2 – Mister Roberts (1955) – One of the great war pictures, it is always tricky to label this a comedy or a drama or a tragedy. It is brilliant any which way, with great performances by Jimmy Cagney, William Powell, and Henry Fonda in the lead, but Lemmon owns the picture (the Academy of Motion Picture Arts and Sciences agreed) and is the source of much of the humor.

1 – Some Like It Hot (1959) – Often cited as the greatest comedy of all time, it is certainly a contender. If you haven’t’ seen it, go see it now. It’s a buddy, drag, romantic comedy with gangsters staring Lemmon, Tony Curtis, George Raft, and Marilyn Monroe. What’s not to love?

Actor Best Lists, Lists, Thoughts

The Best Films of Walter Matthau

Oct 112017

October 11, 2017

Walter_Matthau I watched the wonderful Hopscotch last night, which made me think of all the great Walter Matthau films and how likely it is that some of my friends haven’t seen them. Matthau’s film career started with him stuck in villain roles. For the gruff actor, that seems the natural fit, but it wasn’t. He was adequate in those roles, but didn’t stand out.

Things change when Neil Simon cast him in the stage version of his play, The Odd Couple. That led to a role in the film version and his second collaboration with Jack Lemmon (they would work together ten times counting a cameo). Thereafter, Matthau was primarily a comic actor.

First an honorable mention to Goodbye Charlie (1964) – A very ’60s fantasy comedy starring Tony Curtis and Debbie Reynolds that is approaching a guilty pleasure for me. I can’t say that it is good, but I like it.

Here is my top eight must see Walter Matthau film list.

8 – The Odd Couple (1968) – A solid Neil Simon play. The chemistry between Matthau and Lemmon is something to see. [Also on the Jack Lemmon list]

7 – Cactus Flower (1969) – With Ingrid Bergman and Goldie Hawn, it’s another very ’60s comedy, based on a play.

6 – The Front Page (1974) – The first version of it I’d seen on stage or screen, it was my favorite for a long time and still is the go-to if you want a faithful version. Now I prefer the gender swap of His Girl Friday. [Also on the Jack Lemmon list]

5 – Hopscotch (1980) – Funny, smart spy comedy as retiring spy Matthau leads more obnoxious modern spies in circles.

4 – Charade (1963) – The most Hitchcock movie that Hitchcock didn’t make. Audrey Hepburn stars being cuter than humans should be allowed, with Cary Grant as a mysterious man who may not be what he seems.

3 – I.Q. (1994) – One of the top modern romantic comedies with Matthau as Albert Einstein, the uncle of one of the leads and a bit of a cupid. The main story follows Meg Ryan and Tim Robbins, but Matthau gets many of the best gags.

2 – A Face in the Crowd (1956) – The only drama on this list, and a powerful one. Matthau is excellent, but the film belongs to Andy Griffith as a media demagogue. The theme is far to relevant today.

1 – A New Leaf (1971) – One of the great gems of cinema, no one’s made anything like it. Matthau is a nasty, selfish, man-child who finds his wealth vanishing because he’d decided to live on more than he had, so now needs to find easy, quick money. And the only way for a man “with nothing who looks everything” to get money is from a foolish woman–played by Elaine May.

Actor Best Lists, Lists, Thoughts

The Best Films of Humphrey Bogart

Oct 112017

October 11, 2017

Humphrey_Bogart_1940 After a lackluster film day, I decided it was time to go to the best of the best. Bogart is the undisputed king of motion pictures. He is the greatest movie star of all time. Yes, he is a somewhat limited actor, and when he stretched, things could get weird (his effeminate, bunny-petting vampire in The Return of Doctor X is a thing to behold). And he was nothing special as the cowardly villain in his early pics. But once he found his place, no one could touch him. And within the limits he kept to after that, he could do what no one else could. He was a master of emotion and power.

It’s easy to claim he is the best. He is simply in more of the greatest works of the screen than anyone. And not just a little more. No one is close. He is in masterpiece after masterpiece. It is downright freaky how many fantastic films he was in. Any of his top 12 would be a career highlight for anyone else. And he just keeps it up. There are fantastic films that don’t make my top list (High Sierra, Across the Pacific, Passage to Marseille) that would make a top list for any other film actor, but Bogart has too many great films.

I was doing lists of 8 before, but I just can’t cut Bogart to less than 12. These are absolute must see films. They are must own films. These are the films that you work to see on a big screen but love no matter how you see them. These are why I love cinema.

12 – Key Largo (1948) – Again with Lauren Bacall and director John Huston. As good as Bogart is, it is Edward G. Robinson, in one of his two best performances, and Claire Trevor who really nail this one. Both, in different ways, are so sad here. [Also on the Edward G. Robinson list] [Also on the Great Directors List for John Huston]

11 – The Petrified Forest (1936) – The film that kicked things off. Star Leslie Howard wouldn’t do the film unless they cast Bogart and Bogart is chilling.

10 – Sabrina (1954) – One of Bogart’s few comedies, and his only romantic comedy. Audrey Hepburn is delightful. [Also on the Audrey Hepburn list] [Also on the Great Directors List for Billy Wilder]

9 – The Caine Mutiny (1954) – An incredible performance. It had been a while since Bogart had played the villain, and then to turn that around and make what appeared as a vile character sympathetic was brilliant. Fred MacMurray was at his best.

8 – Sahara (1943) – It’s a wartime propaganda film, and the absolute best of its kind. It’s my favorite war pic with Bogart in control of a tank, with a crew of mixed nationals facing a German army.

7 – We’re No Angels (1955) – Bogart’s last great performance, and the most obscure film on my list. It is a Christmas comedy and absolutely lovely. (Review here) [Also on the Great Directors List for Michael Curtiz]

6 – To Have and Have Not (1944) – “You just put your lips together and blow.” Bogart fell in love with his young costar, Lauren Bacall, and so did I. [Also on the Great Directors List for Howard Hawks]

5 – The African Queen (1951) – John Huston and Bogart could do no wrong. Bogart’s only Academy Award and well deserved. Basically a two person show with him and Katherine Hepburn. [Also on the Katherine Hepburn list] [Also on the Great Directors List for John Huston]

4 – The Treasure of the Sierra Madre (1948) – Huston was the director again in a stunning movie. Brilliant from start to finish. This is where the “stinkin’ badges” line comes from. [Also on the Great Directors List for John Huston]

3 – The Big Sleep (1946) – This is my go-to film. I may have seen it more than any other. It is a joy, yet it still qualifies as Film Noir. It’s funny, violent, twisted, nasty, and a great time. (Full Critique) [Also on the Great Directors List for Howard Hawks]

2 – The Maltese Falcon (1941) – A film that changed history. Great actors giving great performances with a great script and great themes. Damn! The camera work is the best I’ve ever seen, and it ranks about 7th on the list of why this movie is wonderful. (Full Critique) [Also on the Great Directors List for John Huston]

1 – Casablanca (1942) – It had to be. It is a true masterpiece in every way. It is startlingly good. Books have been written about why it is such a great film, so I’ll just leave it here at the top where it belongs. [Also on the Great Directors List for Michael Curtiz]

Actor Best Lists, Lists, Thoughts

The Best Films of Charlton Heston

Oct 112017

October 11, 2017

charltonheston This one is by request.

Now Charlton Heston is not your typical actor. It isn’t that he is bad, but rather that he is limited, and works best where a very stylized performance is called for. If you are running a tent revival meeting, he is your man. Sometimes, an actor needs to speak to the heavens and announce how the universe is rather than have a nice chat. This works beautifully in The Ten Commandments, whereas in The Agony and the Ecstasy, I would have preferred a human performance. Not that Heston was incapable of playing real emotion—just watch some of the quieter moments from Soylent Green—but larger than life was his norm. So he could come off as either bold and powerful, or silly, depending on the film and direction. His Andrew Jackson (he played him twice, which is fitting…sadly) in The Buccaneer is an excellent case of the latter. I tend to snicker while watching. And the less said about The Savage the better. Most of his attempts at westerns or war films fail because he plays it too broadly.

So, he’s best when his big personality fits (and the film isn’t too condescending), which means fantasy epics are his thing. He’s a natural for Shakespeare, except his Shakespeare films just weren’t very good (Hamlet is decent, but I’ll leave that as an honorable mention for his cameo).

As for some of his better known films that aren’t on my list, I have a whole piece written up on why Touch of Evil is, and should be, missing, and I’ll just say that the third act of Ben-Hur knocks it out and leave it at that. Then there’s the Academy Award-winning The Greatest Show On Earth, which is on every list of the most unworthy Oscar-winners. The Greatest Story Ever Told is a snooze, but it isn’t his fault. He’s fine in The Three/Four Musketeers, but those are middle-tier swashbucklers. And since I’m not stooping to Airport 1975 or Earthquake, for Heston, I’m dropping my top 8 to a top 6:

6 – In the Mouth of Madness (1994) – A nicely constructed bit of faux-Lovecraft from John Carpenter. Heston has little to do with the quality of the film one way or the other. Sam Neill, on the other hand, is excellent.

5 – The Omega Man (1971) – It’s a film of its time, and something of an attempt by establishment Hollywood to understand those hippy kids and their new ways. Yeah, its condescending, but way less than the hippies-in-space episode of Star Trek. It’s amazing how well a story about vampires works when you remove the vampires. The cult scenes have particular power, and even more so in the 1970s.

4 – The Ten Commandments (1956) – And now we’re in the big leagues. The most Heston of Heston roles, he is loud, inhuman, and pretty much perfect. The film has no sense of subtlety and is all the better for it. You want religion and fantasy crashing down around you? Here it is. [Also on both the Vincent Price List and the Edward G. Robinson list]

3 – True Lies (1994) – Again, Heston is more of an after thought. This is James Cameron’s show, wielding another blunt instrument, Arnold Schwarzenegger, with about as much skill as can be done. And Jamie Lee Curtis managed just fine. This is great action/adventure. Not too smart, but not too dumb. Funny and exciting.

2 – Planet of the Apes (1968) – Few films have so entered pop culture, and it’s a bit of a shame as people know the ending (that marvelous ending that screamed out for an actor like Heston), but forget the rest of the film. It’s really a great work. Heston makes Taylor an ass, but one that we can sympathize with, which totally fits with the times. He’s the last establishment man, so yeah, the metaphors are wonderful.

1 – Soylent Green (1973) – Another film where the ending has eclipsed the rest of the movie, which in this case, is just wrong. There’s so much good in Soylent Green, and so much that is better than the ending. The relationship between Heston’s Thorn and Edward G. Robinson’s Sol is the heart of the film, and gives us both actors’ finest performances. This is one of the great science fiction films that doesn’t get the credit it deserves. [Also on the Edward G. Robinson list]

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Actor Best Lists, Lists, Thoughts

The Best Films of Bob Hope

Oct 112017

October 11, 2017

bobhope Sure, I’m still doing these–and one I was working on required some re-watching, so I went with Hope for today. Bob Hope was such a dominant comedian when I was a kid that is is bizarre to see how he is slipping from public consciousness. He also wan’t a very good comic when I was young, but he had been, years earlier. In the ’40s he was one of the best, producing a string of hysterical films. He’d been a stage and radio comic first, and that background was always with him. His routine was always verbal, and quick. His weak spot was one shared by many of the other comics and teams–he was repetitive. He always played more or less the same guy and did more or less the same jokes. They generally worked, but it makes a Hope marathon a bad idea. But then he had reason to keep doing the same thing–it worked, at least for a time. His better films tended to fall into three groupings: the Road pictures with Bing Crosby and Dorothy Lamour; the “My Favorite” pictures where he was mistaken for a spy or PI and got mixed up in espionage; his period costume comedies, which usually had people again mistaking him for someone important.

I’ve been doing 8 films per actor, but I’m enlarging that with Hope because otherwise this would be close to just listing the Road pictures. Additionally, most of the non-Road pictures on this list are very close in quality (and in the jokes and characters…), so much so that they are good, but interchangeable.

Honorable mentions go to The Cat and the Canary (1939) and The Ghost Breakers (1940), both of which have some brilliant horror stuff (the zombie scenes in The Ghost Breakers are must-sees for horror fans) but are brought down by other elements.

So, here with go with #12

12 – Road to Rio (1947) – The 5th Road picture and 6th in quality, Rio is good, but pales next to earlier ones. The songs are forgettable and stop the film and the jokes are old, but the boys have a few laughs still in them. [Also on the Bing Crosby list]

11 – My Favorite Spy (1951) – Winning out over My Favorite Blonde on the sex appeal Hedy Lamarr. If she isn’t your type, then best to choose one of the other similar films.

10 – The Paleface (1948) – Hope in Western garb. He’s a dentist who’s mistaken for a gunman. Jane Russel handles the plot, trying to discover who is selling guns to the Indians. (Yup, it’s racist, but hey, it’s a lot less racist than The Ghost Breakers…)

9 – The Princess and the Pirate (1944) – Hope in Pirate garb. This one is lavish and in bright color with great character actors surrounding Hope.

8 – My Favorite Brunette (1947) – Hope teams with his Road picture co-star Dorothy Lamour in a Noir spoof that has him battling Peter Lorre and Lon Chaney Jr.

7 – Monsieur Beaucaire (1946) – Hope in French revolution garb. This one takes its swashing and buckling more seriously by adding a young male lead to carry the action.

6 – Road to Bali (1952) – The 6th of 7 Road pictures (only the much later Hong Kong doesn’t make this list), Bali is a return to form as Hope and Crosby go to the South Seas, and toss off a non-stop string of one-liners while breaking the 4th wall. It’s wacky and fun. [Also on the Bing Crosby list]

5 – Road to Zanzibar (1941) – The 2nd Road picture has Hope, Crosby, and Lamour spoofing (or just inhabiting) a jungle picture. It is one of the less wild outings, with the 4th wall unbroken. [Also on the Bing Crosby list]

4 – Road to Utopia (1945) – The Road pictures were at full steam here as our three are in Alaska during the gold rush, but all that matters are jokes. [Also on the Bing Crosby list]

3 – Road to Singapore (1940) – The first Road picture and things are a bit different, with Hope and Crosby playing characters and sticking with the plot. Dorthy Lamour is an Island fantasy, which was her gig at the time. It’s the only Road picture where you might care about something other than if the jokes are funny. [Also on the Bing Crosby list]

2 – The Lemon Drop Kid (1951) – Based on a Damon Runyon story, this one is different for Hope in that story and character trump actor. Yes, Hope is still playing a variation on his typical character, but he keep it within the lines. The humor comes from the good natured street criminals of New York dealing with sweet old ladies as they try and do a good thing. It introduced the song Silver Bells, making it a Xmas classic.

1 – Road to Morocco (1942) – Ah, where to start. Many people claim this is the funniest movie of all times and I wouldn’t argue that. It is absurd, with no concern about the rules of filmmaking. Hope and Crosby talk to the audience, they refer to the last film and their contracts, and its all brilliant. Even the songs are good for a change. [Also on the Bing Crosby list]

Actor Best Lists, Lists, Thoughts

Best/Most Important SF Films of the ’50s

Sep 152017

September 15, 2017

I was asked by a friend (yes, a real one, not just a Facebook one) what the Best ‘50s—early ‘60s science fiction films were. I asked if we were talking “best” or “most important” and he said “Why not both?” As I’ve just finished a panel at Dragon Con on the subject, and making that distinction, it is a pair of easy lists for me.

Explaining what makes each of the best, “the best” would take complete reviews, so I’ll link my previous reviews to the titles for the ones I’ve reviewed, and for the rest, you’ll just have to believe me (and you should). For most important, I’ll give the briefest of reasons. And these are sorted by date.

The BEST ‘50s—early ‘60s SF films

The Day the Earth Stood Still (1951)
The Man in the White Suit (1951)
The War of the Worlds (1953)
Creature From the Black Lagoon (1954)
Gojira (1954)
Invasion of the Body Snatchers (1956)
On the Beach (1959)
The Time Machine (1960)
Village of the Damned (1960)
The Day of the Triffids (1962)

The MOST IMPORTANT ‘50s—early ‘60s SF films

Destination Moon (1950) — Restarted American studio SF after the failure of Just Imagine (1930).
The Day the Earth Stood Still (1951) — Cultural milestone. The liberal statement to counter the far more prevalent conservative SF statement.
The Thing from Another World (1951) — The right-wing statement, but one with good dialog. It gutted an important short story, but it did bring an important story to the screen.
The Beast from 20.000 Fathoms (1953) — The first atomic monster film. The mother of the many Western ones to follow as well as the entire Daikaiju sub-genre. And another step in Ray Harryhausen’s career.
The War of the Worlds (1953) — Cultural milestone that brought money, spectacle, and color to film SF.
Creature from the Black Lagoon (1954) — The last of the Universal monsters.
Forbidden Planet (1956) — Ended the age of cheap B&W SF and ushered in a time of smarter, literate SF film.
Invasion of the Body Snatchers (1956) — Combo anti-Soviet rant and examination of isolationism; it was incredibly effective at both. Has been copied many times.
On the Beach (1959) — Brought post-apocalyptic films to the masses. Made it clear that SF is best not as adventure, but as political or philosophical message-holders.
The Day of the Triffids (1962) — The precursor to the modern zombie film.

Lists, Thoughts

Christopher Nolan sucks.

Jun 242017

June 24, 2017

I’ve given him a pass up till now. There was a lot of good in his Dark Knight trilogy and Memento was genius. So, I didn’t cast him into the halls of Michael Bay after the amazingly imagination-free Inception (how do you get that little out of the concept? And Eugie rolled her eyes and sighed audibly on that dumbass top spinning ending) or the mindbogglingly stupid Interstellar that pretends it is clever. (Can we all get over Interstellar now? If your ending is a straightforward statement that love is the literal answer, then make The Fifth Element).

Yeah, Nolan’s movies are highly sexist and he’s got an eye for diversity that places him comfortably in 1954, but still, I let him off the hook. I blamed his protégé for for the garbage pile that is the DCEU (or was pre-Wonder Woman). But Zack Snyder simply learned his lessons well from his master. Sure, he took it to a new level, but that’s just a change in degree, not of kind. Dialog which is a collection of speeches, not actual human conversation? Nolan did it first. Using the wrong color pallet and incorrect shooting style and art design for the material? Again, Nolan did it first; Snyder just perfected it. Sacrificing story and sense for a “cool” moment? That’s all Snyder does, but yeah, Nolan was there first. And yeah, all those white dudes being super white dudes while the entire purpose of the one or two women who exist is to fall down, that’s pure Nolan. As for anyone being non-white… Move along.

Damn, I’ve been unfair to Snyder. He is horrible, but he’s just passing on what he was taught.

It was The Prestige, that I’ve finally watched, that broke the illusion that Nolan isn’t a hack. It’s an odd film that gets a strange amount of praise while also being on every list of worst twists ever. And yeah, its twist(s) is up there with “it was all the trees” and “the village is now.” But it isn’t the stupid (oh God, so very stupid) twists, but Nolan’s lack of ability—no, that’s wrong; it is lack of interest with character that pulls that film down. He just doesn’t give a damn if a character is any kind of human as long as he can point toward whatever “clever” idea Nolan wants to show off. Thus we have a Batman who is angry, but otherwise stable and speaks with cancer voice. Thus we have Matthew McConaughey giving endless speeches while yelling “Murph” around 50 times. Thus we have Brand (Anne Hathaway) crying in a corner because she’s a girl and that’s what girls do. And thus we have Angier and Borden, who are vague outlines of humans, who show no signs of human behavior, who again make speeches, and exist to point toward twists.

Snyder, gave us a dull Lois is falls down a lot and a single black man with no personality. He gave us a grim Superman who’s entire existence is being an unhappy Jesus image. Snyder was just following.

So yeah, just because Nolan has some films (some cinematically flawed films) that aren’t bad isn’t enough reason to let him off. He is what’s wrong with film at the moment. His stench lingers.

Thoughts

My Best and Worst of Tom Cruise

Jun 072017

June 7, 2017

tom-cruise-mummy In “honor” of Tom Cruise staring in The Mummy, I came up with my favorite, and least favorite, films of Cruise. You see, Tom Cruise is not a good actor. That’s not something to debate. He’s horrendous. Now that alone isn’t a problem. You just need to be clever enough to choose films that fit the limited things you can do well. Arnold is also a bad actor, but he showed quite a knack (for awhile) for choosing roles that played to his strengths. Cruise has not done so well, apparently because he wants to ACT, which is odd as he also sometimes sleeps though his pictures. But that very fake intensity is the norm.

Now I can, and usually do, ignore Cruise. But with The Mummy he’s entering into my area, and his other forays into FSF&H (figure it out) have left some scars. And I love the old Universal Monsters. Its probably my favorite franchise. And I’d like to see those characters come back—not that I can figure what the hell the good people at Universal are planning (they are gothic monsters! Try a nice, intimate picture sans the world destroying CGI onslaught). But whatever they are trying to do, it shouldn’t involve Cruise. Which has made me think of him.

Now, Cruise has made a large batch of ho-hum films (Oblivion, Jack Reacher). These aren’t bad, but why watch them? I believe I asked myself that in the middle of watching Jack Reacher. And he’s made a few that seemed so stupid that I’ve never forced myself to endure (Lions for Lambs, Top Gun), so this can’t be an all encompassing list. But I’ve seen a lot. So this list will only include Cruise films I either liked, or disliked. Ones that don’t deserve that much attention I’m skipping.

A dishonorable mention to The Color of Money, which is bad, but not at the bottom of his many bad films, but needs to be mentioned as an unneeded sequel to a classic film. And another dishonorable mention for The Last Samurai. Why? Think about it.

The Good–Working Up to the Best:

Mission Impossible – It was hard for me to get past them ripping apart a very good TV show to make a less good film, but oh well, it’s a different medium, so I did get over it. And taken on it’s own, the first MI film is dim, but fun.

Confusion looks natural on him

Edge of Tomorrow – A light weight sci-fi (not “science fiction,” “sci-fi”) actioner that’s low on brains but has some good jokes and reasonable fights. Emily Blunt helps.

Mission: Impossible – Rogue Nation – Not as enjoyable as Ghost Protocol, or as meaty, but for an empty popcorn movie, it works. Nice to keep Simon Pegg around.

Legend – Cruise is terrible in this and it is only partly his fault. He is miscast in a part incorrectly written. As a whole, I can’t defend Legend. But there’s lots of like about this marvelous mess of a film: Lili’s dance; everything about Tim Curry. Choose the directors cut. Second choice is the European cut. Skip the American theatrical cut.

Mission: Impossible – Ghost Protocol – The best of the MI films. Strange to get better with the 4th. It was exciting and took itself a little less seriously, which is essential for Cruise who almost always takes himself way too seriously. It’s not going to show up on any “best all time film” lists, but as the equivalent of a roller coaster, I like it.

Huh. This works. Who knew?

Knight and Day – Cruise has never been much of an actor, but he has charisma. In this film, he decided to use it. Drama is beyond him; why doesn’t he try comedy more? When he relaxes and dials back the ACTING, he’s charming. He gets to do all the stunts he seems to love while making fun of his normal work. And he and Cameron Diaz have chemistry to burn. Knight and Day is a fun spyromidy and Eugie and I watched it surprisingly often.

Interview With a Vampire – Cruise with charisma. Again, Cruise allows his natural charm to surface, but this time with a dark undercurrent and he’s quite good. Normally when I like a Tom Cruise movie, it is in spite of him, but this time it is actually because of him.

The Bad–Working Our Way to the Worst:

Loosing It – An 80s sex comedy with Tom Cruise and Shelley Long. What could go wrong?

Taps – I remember hating it. I can’t remember anything else about it, nor am I willing to rediscover why I hated it.

The definition of smarmy

The Outsiders – Group of young actors get together and act hard—really hard. They ACT right at you. You can smell the acting.

Mission Impossible III – “Hey, these MI movies are fun. Let’s stop that. We can make one that’s no fun at all.”

Vanilla Sky – “How about if we take a questionable, but interesting foreign film and dumb it down for Americans. And lets make sure the audience has no reason to care for the jackass lead character. Yeah.”

Cocktail – My god they made a movie out of this. And my god was it stupid. Why did I watch this one? It should have been at the top of my list to skip. But I saw it, with hyper (and at the same time smarmy) Cruise flipping bottles because it was really, really important.

All The Right Moves – Less a movie and more a collection of everything wrong about ‘80s cinema. “Hey! High school football is serious!”

Eyes Wide Shut – How can you make the nudity of such beautiful people so dull? I should want to see Nicole Kidman naked. The once great Kubrick was deeply out of touch, but even if he still had some of his old talent (he didn’t), making a film where the entire point is to frustrate the audience is a bad idea. On the other hand, Cruise’s attempt to act frustrated by pounding his fist into his open palm is really funny.

Tom, confused about his hand

Minority Report – Cruise and Spielberg join together again to abuse science fiction. What the hell were they thinking and why do they hate science fiction? The logic doesn’t work (internal consistency would be nice). The characters don’t work (unlikable and unrealistic). Nothing worked. I hate it when a SF film pretends to be smart but is this deeply stupid.

War of the Worlds – Even now, H.G. Wells is planning to return from the grave to kill everyone involved with mutilating his work. I don’t know why Spielberg and Cruise hate Wells so much but that hatred is palpable. Wells will have the last laugh. He’s coming! Yeah, yeah, it’s 9/11 fears demonstrated via Wells’s work. Isn’t that clever? No, it’s not. It’s annoying. The film does contain more blank gazing upward than any other film ever made. So…it has that. Can you like this film and also like science fiction? No. No you can not.

And now Cruise will take on a franchise that includes Frankenstein, The Bride, The Invisible Man, The Wolf Man, and Dracula. Some of my favorite characters and their ’40s versions were some of my favorite films. This can’t end well.

Lists, Thoughts

Ranking The Best Superhero Films

Jun 062017

June 6, 2017

We live in a wonderful age for superhero fans. When I was in college, none of the films in my top 10 existed, and only one of my top 20. I would only have been able to come up with two superhero films that were actually good. Now it is a snap to come up with twenty capes and cowls movies that are excellent and a good number of others that are at least worth your time. Much of this is due to the MCU which so far includes twenty films, all of them good. But it isn’t alone. The X-Men and DC claim a few spots. The golden age of Superhero films is now, and while I expect most of my sub-genre “Best of” lists to be static, this one will probably change a good deal in the next few years.
Starting at 18:

#18: Wonder Woman

Wonder Woman has too many dramatic speeches, too much slow motion/pauses, a few FX issues that take you out of the picture, and numerous other problems, and it doesn’t matter. I didn’t love the move. But I loved Wonder Woman.

And that’s what matters. I don’t know if Gal Gadot is a good actress, but she is a charismatic one, and she was born for this part. DC Comics-based films haven’t had her like since Christopher Reeve in Superman. She is perfect, and the role is written exactly right. Diana is friendly and good in the purest sense of the word. But she’s also cool—we’re talking Tony Stark level of cool. She’s innocent, but smart. She’s strong while also being very feminine. She’s sensitive but knows when a smirk is the proper response. She isn’t broken. She doesn’t have weird issues. She is a hero and one you’d want to meet. With a franchise film, what matters most is character, and they nailed it.

(Full Review)

#17: Captain America: The First Avenger

True blue but puny Steve Rogers undergoes an experimental procedure to transform him into a super soldier. His mission: Defeat the Nazi’s science wing, and it’s leader, The Red Skull.

This wasn’t the first attempt to bring Captain America to the big screen. And he’s been a fixture of animation for years. Problem is, he’s always been dull. So very dull. Until now. As before, they played him straight, with no apologies for his red, white, and blue, wholesome white bread nature, and succeeded where there’d been so much failure. Chris Evan’s put real heart into what could have been a stereotype, and the script released him into an old fashioned war picture (well, an old fashioned war picture that had laser weapons and a guy with a skull for a head). I cared about Steve Rogers. I cared about Peggy Carter and Bucky Barnes, and even Howard Stark. Can’t ask for more than that.

#16: Iron Man

When I first heard of the casting of Robert Downey Jr. for Tony Stark, I thought they were nuts. I couldn’t imagine it. Now I can’t imagine anyone else. I read the comics and see Downey Jr. He was given a great script with a truly well written and complicated character, and he was surrounded by exciting action, state of the art effects, and skilled co-stars, but this is RDJ’s film. Without him, the MCU would have been another franchise. With him, it became THE franchise.

The first film of the MCU has lost nothing and works nearly as well on repeat viewing as it did that first time in 2008. It shattered the whining, self-serious mold that had become the norm in superhero films, without falling into camp. It created a new mold that will eventually wear out its welcome, but not until we get ten or twenty more films like it.

#15: X2: X-Men United

Brian Singer revived superhero films with 2000’s X-Men and he did everything a little better in the sequel. The metaphor is still strong, and again, it is about character. Hugh Jackman as Wolverine and Ian McKellen as Magneto are again the heart of the picture but everybody is comfortable in their roles. The theme (the X-Men are always about theme first) has just the right amount of twisting, with good and evil mixed up. And the FX set pieces are a step above anything done before. The Nightcrawler attack is one of the best action moments ever filmed.

After only two truly successful superhero films before 2000, the first X-Men film repaired the genre, laying down what could be done. X2 solidified the superhero’s place in modern cinema.

#14: Superman

Sure, Superman has its flaws: The plot is a mess; the Krypton scenes are silly and the Smallville segment is plodding; Lex Luther’s scheme is ludicrous; it is both overly saccharine and overly camp. And none of that matters.

Superman was the first A-picture superhero film. It was (and is) beautiful. The SFX are excellent, yet never dominate. But those don’t matter either. It has three elements that trump everything.

First, there is a quirky Lois Lane personified by Margot Kidder.
Second, the heroic, uplifting score by John Williams that sells the epic nature of the film.
Third, and most importantly, there is Christopher Reeve. He is Superman. Blending strength with sensitivity, he charmed a generation.

The elements alone are not enough, or I’d be speaking of the great quality of Superman III. It is how you use them, and Richard Donner knew how. Superman pulls you in—at least it pulled me in—to its wondrous world. There may be problems, but those are for later. While watching, there’s nothing but a man who can fly.
(Full Review)

#13: Guardians of the Galaxy

Guardians is old fashioned space opera. It wouldn’t even count as a superhero film if it wasn’t in the same universe at the other movies. Like The Incredible Hulk, it isn’t too deep, and the plot is bare bones, but the characters are a kick and the action’s top notch. The villain, unfortunately is not, sharing the bottom slot of MCU bad guys with Malekith. Ronan is one dimensional as much as he has any personality at all. He’s angry and wants to kill stuff. That’s about it.
Forget all that: Guardians makes the best use of music of any film in the last decade. Come and Get Your Love somehow is perfect for kicking small alien critters. Really, it is.

#12: Hellboy II: The Golden Army

The second Hellboy film feels much like the first, but avoids the problem of so many sequels; it is neither a copy nor simply “louder.” The big shift is in mythology. Hellboy was Lovecraftian. Hellboy II is high fantasy immersed in faerie lore. Director Guillermo del Toro demonstrated his knack for the faerie world and its bizarre, beautiful, and dangerous creatures in Pan’s Labyrinth. Here, he takes it far further, introducing us to tooth fairies that will devour your bones, raven-masked guards, the angel of death with eyes upon her wings, and the denizens of the Troll Market. They are the stuff of nightmares, but the coolest nightmares, the ones that call to you.

Hellboy II: The Golden Army is funny, action-packed, well-made on every level, complex, and incredibly inventive.

#11: Avengers: Age of Ultron

Joss Whedon does it again, brilliantly crafting an extravaganza that’s really a character piece. No one can work with ensembles like he can, making each line count, slipping levels of meaning into every interaction so that it feels like all of the characters have had complete and compelling arcs, even though most only have a few minutes of screen time.

Sure, this second Avengers outing doesn’t rival the first, but then that’s a high bar. The action is a bit much (quite a bit—I’d have exchanged fifteen minutes of crowd saving and building breaking for a couple more group discussions) and a few of the characters are slipping into their clichés (Captain America, Iron Man, Thor, I’m looking at you). No problem. There’s lots of heart, lots of wit, and fabulous new characters to take up the slack. Scarlet Witch, Quicksilver, and Vision are exactly what the franchise needed, and I’d be content with an entirely new Avengers team as long as several of these new characters are a part of it. And Ultron, with his daddy-issues, is one of the best MCU villains.

#10: Deadpool

It broke every rule of superhero filmmaking, shredded the genre, and it all works. With a fraction of the budget of other action films, Deadpool delivers laughs and violence. Sure, the snark is fun, but what makes it all work is heart. Deadpool is by far the most romantic X-Men film, and probably the most romantic superhero film. He’s not trying to save the world (we’ve seen that enough); he just wants to get back to his girl. Everything matters because that matters.

The lesson to be learned is that superhero films don’t have to be whiny. They can be fun, and still matter. Unfortunately, the lesson Hollywood seems to have taken is that people like gore. Oh well.

#9: X-Men: First Class

The franchise looked dead after Last Stand, but First Class got it back on its feet. This prequel did the unthinkable: found a superior Professor X and Magneto than Stewart and McKellen. James McAvoy and Michael Fassbender are superb and their characters are compelling. Plus, Keven Bacon is a surprisingly good villain.

The metaphor has never been presented better, but where First Class really sings is in its tone, which perfectly balances action, tragedy, and humor.

#8: Hellboy

Hellboy is the best of Ghostbusters layered on the best of Men in Black added to the best of the X-Men, all swirled about the best of Lovecraft, decked out in a world that’s what a steampunk Tim Burton would design on his best day. It is a celebration of all things pulp and geeky and it is non-stop fun.

Perlman was the perfect choice for the immature red devil with a soft heart. He’s as good with the gentle moments as he is with the quips, and there are a lot of quips. I could praise each actor in turn as everyone is excellent, but besides Perlman, the compliments need to go to director Guillermo del Toro (Blade II, Pan’s Labyrinth). This was his dream project and it shows. Everything is meticulously done, creating the most beautiful comic book movie I’ve seen. Just gazing at the set dressing of the library is entertainment enough. This is a frenetic, funny, awe-inspiring, action extravaganza filled with blue, empathic fish-men, multi-eyed demon dogs, Nazi, zombie assassins, and gods and it’s wonderful.
(Full review)

#7: The Incredibles

If you like your superheros with a more family feel, The Incredibles has you covered. I’ve often heard it described as the best Fantastic 4 movie, and there is a good deal of truth in that. It is both funny and exciting from beginning to end, with multiple phrases that have entered every fan’s language (“No capes!” “Where – is – my – super – suit?” “You got me monologuing!” “And when everyone’s super…no one will be”).

PIXAR is the king of modern animation and The Incredibles is their best work. The trick is that so much animation is aimed at children where this film is aimed at families–there’s something for everyone.

#6: Guardians of the Galaxy Vol. 2

Guardians 2 is the first MCU film that’s a comedy, yet we don’t lose the characters in the humor. Every character gets his time to shine. This is done by not wasting a moment. Every joke also reveals something about the character. Every fight has an emotional core. Every action serves two, three, or more purposes. A violent and exciting fight between Gamora and Nebula is about the nature of sisterhood, while being a call back to Alfred Hitchcock, and also a frame for over-the-top humor, and a way to expand Gamora while completely changing our perspective on Nebula. Now that’s how you jam ten stories into a two hour movie.

Baby Groot is as cute as they come, the new characters all work, and there are dozens of repeatable lines. Guardians of the Galaxy Vol. 2 is a joyful film.
(Full review here)

#5: Batman

Batman is a gothic wonderland. It is a triumph of art design; on that basis alone, it is one of the best superhero films ever made. Other attempts at Gotham have either been tacky (Schumacher) or dull (Nolan). This is beautiful and twisted.

Beyond the look and feel of the film, so much is done right. There’s Danny Elfman’s stirring score. There’s the rapid pace and action, but with the focus always on character. There’s the humor. There’s a fabulously loony Joker.

And then there Michael Keaton, who nails the two sides of the character, Bruce Wayne and Batman. His Batman is dangerous and frightening in a fundamental way. There’s something unhinged about him. Bruce Wayne is even better. This is the only Wayne I can believe would choose to become Batman. I could believe him choosing to wear a mask made of human skin and carry a chainsaw too. As an actor, Keaton has a talent of being an every man, but at the same time, he can embody insanity and ruthless dedication. That is Batman.
(Full Review)

#4: Captain America: The Winter Soldier

Where Captain America: The First Avenger felt like a 1950s war movie, The Winter Solder feels like a 1970s spy thriller, just with a lot more exploding flying ships. While some MCU films have aimed low and avoided heavier thematic elements, the second solo outing for Captain America goes for broke, and wins. The story is complex, but makes sense and is easy to follow. Steve Rogers goes through substantial changes, and lets us examine the meanings of freedom, safety, and tyranny, though him, and how these three things overlap in uncomfortable ways. The movie does all that while delivering an almost excessive amount of action and slipping into buddy movie mode from time to time. It also introduces a new hero in Falcon, as well as two of the better villains.

I didn’t think Marvel could pull off one good Captain America movie. Two was a shock. It seems, with good writing, clear directing, and the right star, an old fashioned hero can work in his own time, and in our times, commenting on both.

#3: Thor: Ragnarok

Thor: Ragnarok is the brightest, fastest paced entry in the MCU. It’s one of the best, and for pure joy, it is the best. It squeezes as much emotion—and as much action and humor and meaning and plot and sheer fun—as possible into two hours.

After “comedy” the word I’d use to describe this film is “METAL.” And I don’t mean hair METAL or even Metallica METAL. I’m talking Dethklok METAL. This is the most METAL movie ever made. Ground zero is Led Zeppelin’s Immigrant Song—the phrase “Hammer of the Gods” is used literally. Ragnarok then adds the imagery from a metal-head’s dreams. This is gods and monsters and trolls and devils. Shot after shot could be pulled for an ‘80s album cover. This is head-banging, devil-horn signaling METAL. That means that this is epic in a beautifully over-the-top fashion and isn’t embarrassed about it. The battles aren’t introspective narratives; they are heroic poems of mystic legends. The genius of Ragnarok is its ability to weave the self-deprecating comedy with a larger than life, legendary saga. (Full Review)

#2: The Mark of Zorro

Yes, Zorro is a superhero, and no, that doesn’t let in every adventure hero. He has skills beyond human capabilities, he wears a costume complete with a mask, he has a secret identity, and he fights for goodness. If Batman is a superhero, then so is Zorro.

The Mark of Zorro is just pure fun. Humor is responsible for much of that, but at least as import is pacing. It is hard to think of any film with better pacing. There is not a slow moment. Humor flows into chases which flow into romance which flows back to humor then on to sword-fights. No time to get up for popcorn.

The cast is universally excellent, with Basil Rathbone creating another of his fine villains, and Tyrone Power in the best role of his career. (Full Critique)

#1: The Avengers

Was there any doubt what film would end up on top? The Avengers is a near perfect action film. Whedon directs his over-sized ensemble cast as if he’s directing a symphony: a complicated flow yet with everything in its place. It seems like it is all about the action, and there is a lot, but it isn’t. It’s all about the characters. Everyone has their moment to shine.

The re-casting of Bruce Banner with Mark Ruffalo was spot on, giving us a thoughtful but troubled scientist. Better still was the crafting of The Hulk. I’d never cared much for the character, and my wife was even more disdainful—and we were won over. Though no one stood out as much as Tom Hiddleston’s Loki. After The Avengers, he is arguably the most popular character in the MSU, vying with Tony Stark for the title. He’s dangerous, but also funny and sympathetic.

With such care given to the dialog, to character development, and to emotional depth, it is surprising how Whedon is happy to go full-on fanboy and give us some of the greatest “wow, cool!” moments ever. Several of these involve The Hulk, who seems unable to avoid punching Asgardians. I’ve never heard so much cheering in a theater.

Lists, Thoughts

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