I'd like to give this a try. My goal, first and foremost, is to watch all of the dvds in my collection that I haven't seen yet. I usually watch as much of the supplemental material as possible, including commentary tracks when the movie really piques my interest.
List dated retroactive to 12/15/04.
Ratings are for movie (first) and dvd (second) on a four star scale.
12/15/04:
Mary Poppins: 40th Anniversary Edition 
/
1/2
Much has been made of the "augmented" audio track and rightly so. Still, for me, this movie is the (practically) perfect embodiment of the Disney ethos. The bonus features are worth the time as well.
12/16:
Manhattan /
1/2
12/18:
Blazing Saddles: 30th Anniversary: SE /
12/21:
Night & Day 1/2 /
1/2
12/23:
De-Lovely: SE 1/2 /
1/2
12/24:
The Stranger 1/2
12/25:
Singin' in The Rain: SE /
12/25-29:
The Simpsons: Season 5 /
1/2
(I'm including my tv on dvd viewings in this thread for the sake of convenience.)
12/29:
Y Tu Mama Tambien: Unrated Version /
12/30:
The Bachelor and the Bobby-Soxer /
12/31:
Mr. Blandings Builds His Dream House /
1/2/05:
D.O.A. / 1/2
Good noir. The print was taken from who-knows-where and has awful and considering the solemnity of the film, inappropriate, foley additions. I know there's a good version of this film around somewhere, and it might be worth seeking out.
1/3:
My Favorite Wife /
1/4:
Annie Hall /
1/2
1/4:
The Iron Giant 1/2 /
1/2
The attention to detail, both narrative and technical, is astounding. A movie that warrants repeated viewings. I watched this with the commentary and the branching documentary feature, both were excellent.
1/5:
Pi 1/2 /
1/2
1/6:
The Muppets Take Manhattan /
1/6:
Blue Velvet: SE 1/2 /
1/2
This was a first time viewing for me and I'm not sure what to make of it yet. It was, at turns (and sometimes simultaneously) enthralling and repulsive. The hour plus documentary, "Mysteries of Love," was enlightening, offering great insight into Lynch's warped creative processes. I'll refrain from rating this until the moldy ear nightmares stop. Ok, they've stopped.
1/7:
Spellbound (Documentary/2002)
1/2 /
1/2
Gripping film documenting the 1999 National Spelling Bee. The featured contestants run the geek gamut from nerdy pariahs to intensely driver over-achievers to insanely brilliant child prodigies. The anxieties and reactions of the parents in the crowd may be more compelling than the kids on stage.
1/9:
Diner /
1/2
No discernible plot and no significant action and yet, this movie works. Great ensemble cast (yes, even Steve Guttenberg) and near-continuous repartee, allowed me to overlook this film's narrative shortcomings.
1/9:
Animal Farm (Animated/1955)
1/2 / 1/2
Faithful adaptation of Orwell's precient novel. This was an awful bargain disc (Digiview) with myriad a/v problems, but considering the price-point ($1) it was worth it.
1/11:
One Flew Over the Cuckoo's Nest: SE /
1/2
May be Nicholson's most indelible character, and that's saying something. The supporting cast is terrific as well.
1/11:
Earth Girls Are Easy /
Campy 80s fun. The musical sequences were better than I remembered, the rest of the movie not nearly so.
1/11:
Hero (Zhang Yimou/2002)
1/2 /
1/2
A visually arresting film, with vivid (almost over-saturated) colors and balletic "fight" sequences. Works as both action and drama.
1/12:
Sixteen Candles /
1/2
I had a smile on my face throughout the entire movie and that's got to count for something. The experience was marred somewhat by the lack of a theatrical trailer (I'm I stickler for this) or a single extra.
1/12:
American Beauty /
If I were to start from the assumption that all films are perfect (or not imperfect) and then deduct points for all flaws great and small my ratings might look a bit different. Still, held up to this exacting criterion,
American Beauty would get a perfect rating from me. From the writing (scrupulous attention to detail) to the directing (how’s this for a debut effort?) to the inimitable score to the flawless performances (esp. Spacey and Bening), everything works and fits together seamlessly.
1/14:
Quills 1/2 /
1/2
1/15:
The Girl Next Door: Unrated 1/2
/ 1/2
A movie that demands a sequel; I think they left a few clichés out of this one. The "extras" may be even more puerile than the film. For devotees of moronic teen comedies only.
1/16:
Time Bandits: Divimax Ed. 1/2 /
A fun movie with some Python-esque flourishes. The documentary on Gilliam was informative.
1/17:
Josie and the Pussycats 1/2 /
1/2
This was much better than I expected. A relentless, if at times preachy, skewering of disposable pop culture. Parker Posey and Alan Cumming are excellent, as a megalomaniacal record exec. and diabolical manager-type respectively.
1/17:
Fargo: SE /
1/18:
Spider-Man /
1/18:
School of Rock /
1/2
As formulaic as this movie is, I found it irresistible.
1/20:
Spider-Man 2 1/2 /
This worked better than its very good predecessor for many reasons. The CG stuff is eminently believable, the villain is more complex, and the humor is a real boon. The exhaustive feature-length documentary sets a very high standard for future making-ofs.
1/20:
Ghost World 1/2 /
1/2
1/22:
Say Anything 1/2 /
1/2
Watching this movie with my girlfriend proved a fascinating anthropological experience. The disparate (at times starkly opposite) reactions we had to the same themes and scenes tells me that Cameron Crowe hit all the right notes with this quirky film.
1/24:
Requiem for a Dream: Director's Cut /
This is a good and important film, but very difficult to watch. While the movie's motif is hope, these hopes are repeatedly and thoroughly dashed. Also worth noting is the fine ensemble cast, highlighted by Ellen Burstyn's stark and humble portrayal of a widowed mother, slowly losing her grasp on reality.
1/25:
Novocaine 1/2 /
1/2
A fun homage to Hitchcock's "wrong man" films. Contains an interesting featurette (only ~9 minutes) on forensic dentistry.
1/25:
The Life and Times of Hank Greenberg 1/2 /
Outside of baseball circles, Greenberg is a dimly remembered, if not forgotten, figure. His impact on the Jewish community in the '30s and '40s, however, was more important than his stellar play. The film, while lacking the production values of a typical Ken Burns offering, was a real labor of love for its writer/director, and it shows. This is not only an engaging movie, but a significant historical document.
1/26:
Big Trouble In Little China /
I can understand the appeal, but it didn't work for me. The effects are very good, considering its age, but nothing in the way of plot or narrative to warrant a higher rating. Based on some positive info, I listened to the commentary, which I found incredibly self-indulgent and egotistical.
1/26:
The Last Waltz /
1/2
Not usually mentioned in the same breath as
Goodfellas or
Taxi Driver, but I think it is one of Scorsese's better films. The attention to detail is phenomenal, from the camera angles to the lighting to the lush sound. Moreover, one appreciates the magnitude of the event: a rare convocation of rock music's past, present, and future. The director's passion for his subject permeates every frame. The Robertson/Scorsese commentary track is excellent as well.
1/30:
Little Caesar /
1/2
A watershed, marking (in earnest) the start of the gangster craze at Warner Brothers. An iconic performance by Edward G. Robinson and a plethora of themes and images that have become a part of our filmic and cultural lexicons offset a rather shoddy script. An important film.
1/30:
The Public Enemy 1/2 /
1/2
I'd watch Jimmy Cagney opening his mail on screen. His faces and gestures are inimitably wonderful. The wink. The smirk. The quick, affectionate jab. The shoulder shrug, etc. Without saying a word, he conveys so much genuine emotion. When he
does open his mouth, his finely cadenced New York accent and sharp wit do nothing but increase me esteem for his acting abilities.
1/31:
The Petrified Forest /
1/2
An astute philosophical mediation masquerading as a gangster flick. In truth, it works on both levels, even if the vast majority of film time is consumed by discussion.
1/31:
Rocky /
1/2
This seemed a little dated to me, but it's impossible not get caught up in the story and pull for the underdog. The movie is very good and the ending is exceptional. The final decision is, appropriately, irrelevant. Marred by four progressively weaker sequels, but even rich people need to eat I suppose.
2/1:
The Breakfast Club 1/2 /
1/2
A film that's aged pretty well. The dialog may not seem as profound as it did when I was a teenager, but it's still a lot of fun to watch.
2/1:
Angels With Dirty Faces 1/2 /
1/2
2/4:
The Roaring Twenties /
1/2
My "sleeper" favorite from the Warner Gangsters Collection. Cagney plays the quintessential anti-hero in this film. He's a bad boy with a heart of gold. The narrative arc is brilliant here. On a personal level, we witness Eddie Bartlett's journey from humble origins to the pinnacle of success and back again. On a macro/historical level, it's the rise and fall of prohibition.
2/6:
Chariots of Fire: SE /
2/6:
White Heat /
1/2
Another brilliant turn by Cagney. One thing I found intriguing was the intensity of the homo-erotic and Freudian themes in this film. Either the censors were asleep at the switch or too dense to notice the subtext here.
2/8:
The Untouchables /
1/2
Every time I watch this movie, I hope against hope that someone will kill Kevin Costner's saccharine Eliot Ness.
2/8:
Raging Bull /
1/2
I am humbled. Scorsese and co. use every trick and technique in their rather extensive collection here. I don't think it a coincidence that two of the most beautiful films of the color era,
Raging Bull and
Manhattan were shot in black and white.
2/10:
C.H.U.D. 1/2 /
A craptastic good time. I think that was the actual advertising slogan.
2/10:
Funny Face /
What's it about? Doesn't matter. Audrey Hepburn is at her gamine best as a dowdy book store clerk turned high-fashion model. Fred Astaire is as elegant as ever. There are two amazing dance sequences in this film. Hepburn's avant-garde slithering in a Paris cafe is matched (and then some) by Astaire's utterly convincing toreador number. Throw in a few memorable songs and colors so garish they're gorgeous and you've got a masterpiece of the genre.
2/11:
Before Sunrise 1/2 /
I'm a sucker for a romance with even a modicum of intelligence and wit. This has got both traits in spades. Ethan Hawke play a real doofus, but the film succeeds in large part due to his awkwardness. It's a genuine and endearing oafishness. Julie Delpy is sophisticated and stunning, the perfect yin to his yo-yo.
2/13:
Glengarry Glen Ross 1/2 /
A testament to the power of Lemmon. In an amazing ensemble cast, Jack Lemmon's performance as a down-on-his-luck and desperate salesman stands out.
2/15:
All About Eve /
Bette Davis' Margo Channing is one of the most indelible characters in any film I've ever seen. So many memorable lines here, including several that I was familiar with before seeing this.
2/16:
Stand By Me /
2/17:
Strangers on a Train /
1/2
Robert Walker's Bruno Anthony is about the most loveable and charming sociopath imaginable. So many great scenes, so many perfectly composed shots in this Hitchcock masterpiece.
2/18:
Donnie Darko: Director's Cut 1/2 /
1/2
Sometimes less is more. Still a near-great movie, but I prefer the subtlety and equivocal nature of the original cut (which warrants an extra 1/2 star). The film's scientific and philosophical themes are often cryptic or specious, but its power to provoke discussion is undeniable.
Amended on 3/3: As someone on this board once cannily wrote, as cinephiles, we may spend more time thinking about film than watching it. To that end, the more I think about
Donnie Darko, the more I'm convinced that it is unique and wonderful. It's become a minor pop culture phenomenon. Not for its production values or the attractiveness of its cast, but because it speaks to people in a genuine way, without being patronizing or condescending. Art needn't be fully understood to be appreciated and admired (another point in the original's favor).
2/19:
Reservoir Dogs 1/2 /
1/2
For better or for worse, it all starts here. Not only is this Tarantino's first film, but it helped usher in the huge independent movement of the '90s. As an aside, this Mirimaxation (or Sundanceification) of cinema is engagingly explored in Peter Biskind's book
Down and Dirty Pictures.
2/22:
Pulp Fiction /
Tarantino delivers on the promise of
Reservoir Dogs with this one-of-a-kind film mosaic. Is it filled with the flotsam and jetsam of a life spent drowning in a sea of popular culture? Sure, but so what, most of us know how to swim. Like Rembrandt's
The Flayed Ox, there is a certain beauty in the grotesque. The blood washing back into the syringe. An immaculately dressed dead gangster in a tub. An adrenaline shot to the heart.
Tarantino's sense of humor is vastly underrated and I eagerly await his first full-fledged comedy.
2/22:
Roman Holiday 1/2 /
A silly love story, redeemed by its ending. The performances are top notch and the photography is sumptuous. Rome, like the eponymous city in Woody's Manhattan, is a major character in this film.
2/24:
Some Like It Hot: SE /
It's always been there and I've always been aware of it, but for some reason the sexual subtext really struck me this time. It seems like Billy Wilder set out to see how much he could get away with, all the while smirking at Prudus Americanus. In a modern retelling, the savvy jokes would be replaced by a shot of Candy's tits. Ironically, no one would notice or care.
2/25:
Se7en /
Really a very good film, but as in
Fight Club, David Fincher seems to precious for his own good. I like the premise and for the most part the execution, but something's missing here. I think it's character development. It seems the most finely-rendered character, Doe, is the one we know the least about. Paltrow's Tracy has a certain pathos, but not enough to make the story work as well as it could. Furthermore, Freeman's detective is engaging, but we never get a real sense of what's at the root of his loneliness. There's a wonderful deleted scene, where Detective Somerset goes house hunting and does something peculiar. I think it's inclusion would have made him a fuller, more sympathetic character. Check it out if you can.
2/26:
Shade /
1/2
Fans of card tricks will probably like this movie, especially the opening credits and the featurette. Not much else to sell in this silly, if well-made effort though. Solid amateur poker players will need to ignore the way the game is played and portrayed here.
2/27:
Wild Things 1/2 /
1/2
A t&a movie masquerading as a suspense thriller. I think Kevin Bacon and Matt Dillon are fine actors, but even they couldn't rescue this dreck. I must have had some money burning a hole in my pocket when I bought this, because even at $5.50, I grossly over-paid. One nice thing to write: the cinematography is excellent.
2/27:
The Italian Job (1969) 1/2 /
A smart and funny heist film that is quintessentially mod. Thirty-five years later it serves as a time capsule of sorts, allowing us entré into the world of British hipsterism. There is much else to recommend this, from the urbane Quincy Jones score to the fine acting performances of Michael Caine and Noel Coward to the amazing stunt work. Another thing to keep an eye out for is the fierce nationalistic pride. The Brits and Italians are engaged in a struggle that transcends brinksmanship. They hate each other. EU can put that in your pipe and smoke it.
2/28:
Heat: SE 1/2 /
A typically stylish Michael Mann effort. If you see it just for the performances of De Niro and Pacino, you won't be disappointed, but there's a whole lot more going on here. The supporting work is nuanced and excellent. Yes, even Val Kilmer. Too, the action sequences are both brutal and gorgeous. The film is long (just under three hours), but this gives Mann time to develop the aforementioned supporting performances while letting the two legends work their magic.
3/2:
Bambi /
It had been a long time since I'd seen this, so I wasn't sure what to expect. In short, it held up very well to the scrutiny of my more mature sensibilities. I believe this to be one of the most beautiful, finely rendered pieces of traditional animation. What's more, the themes (maternal love, a child coping with death, environmentalism) are rather progressive considering its age. An unqualified classic, regardless of genre. As for the presentation, kudos to Disney for their respectful and expansive treatment, befitting a film of this stature.
3/3:
Sunset Boulevard /
A pitch-perfect parody of Hollywood excess and vanity, that's too tragic to call a comedy. A great, great film. I'm really spoiling myself with my recent selections; how can I ever watch schlock again?
3/5:
Total Recall /
1/2
A paranoiac's delight, that succeeds in spite of Schwarzenegger's wooden approximation of acting. Grudgingly I'll admit that he does have a certain charm. Strangely enough, as governor of California, it's now his job to turn
off the oxygen.
3/6:
Back to the Future 1/2 /
This holds up remarkably well. It's a great popcorn flick, that doesn't strive to be anything more than it is. No intellectual pretensions, no moral judgment, just a hell of a lot of fun.
3/8:
The Silence of the Lambs /
A tour de force performance by Anthony Hopkins and Jodie Foster is only slightly less brilliant. This is a tense thriller that also works as feminist agitprop, if you chose to view it that way. (Insert closing cannibalism joke here.)
3/8:
Libeled Lady /
1/2
3/8:
To Be or Not to Be /
A very funny movie that gets extra credit for its handling of the scouge of Naziism.
3/10:
Hannah and Her Sisters /
1/2
Contains my second favorite line from an Allen film, namely: "If Jesus Christ came back today and saw what was being done in his name, he'd never stop throwing up." The fact that it is delivered with the stoic aplomb of Max von Sydow only adds to the humor. My favorite? Woody's retort to Albert Einstein at the outset of
Husbands and Wives. I'm not being cryptic, I just don't want to spoil it for anyone who hasn't seen it.
3/10:
Dinner at Eight 1/2 /
Is this really a comedy? A comedy of manners maybe, but a comedy comedy? I ask only because of its inclusion in the fabulous Warner Classic Comedy Collection. Admittedly, I was riveted and I did chuckle occasionally, but this film was really depressing. Jean Harlow offers a standout performance as boorish, but not unsophisticated, trophy wife.
3/13:
Monsters, Inc. 1/2 /
1/2
The animation prowess is a given with Pixar, but it's the wonderful premise and narrative that make this film work.
3/13:
Back to the Future: Part 2 /
The nature of the sequel is generally inimical to critical success. This is a very good film, arguably as good as its predecessor, but it suffers from its chronology. The idea isn't as fresh and expectations begin to seep in with a sequel. I instinctively expect
Back to the Future Redux. When I get this, I tend to decry its derivative nature, when I don't it's "why did they go and spoil a good thing." Not an inviting prospect. Of course there are some notable exceptions to sequel fatigue, but most of them suck. Moreover, people who use the word moreover aren't part of the target demographic for the average sequel.
3/14:
Stage Door /
Patrician snobbery of the semi-serious variety from Katharine Hepburn here.
3/15:
Bringing Up Baby /
It's all about the chemistry between Grant and Hepburn. I find Cary less convincing as a bumbling intellectual (also see
Monkey Business) than his usual urbane playboy, but he's still great in this role. Hepburn is utterly charming as the spoiled and machinating rich girl. Together, they are the essence of synergy. Also check out the engaging and comprehensive
Cary Grant: A Man Apart :star
1/2 on the second disc, which is precisely the sort of extra that puts Warner Bros. so far ahead of its competition.
3/16:
The Incredibles /
:star
Death, taxes, and a successful Pixar film every year or so. I believe that some time from now, we'll look back at this as a real watershed film. By deftly blending the emotional impact of live action with the elasticity of animation,
The Incredibles achieves a kind of balance that all films of this type should aspire to. The characters seem so real and resonant, while remaining unapologetically animated.
3/17:
The Royal Tenenbaums /
The apotheosis of the dysfunctional American family. There are several things at work here: unusual characters, rendered impeccably by a fine group of actors; an appropriately lavish musical backdrop; and a vibrant and unique visual style. Sure it's quirky and probably not for everyone, but I love it.
3/18:
The Philadelphia Story /
A paragon of romantic comedy. Cary Grant and Jimmy Stewart, in an Oscar-winning performance, are great. Katharine Hepburn is beyond great, she's impeccable. This was the film that turned things around for her commercially, obliterating the "box office poison" albatross around her career. Don't miss the autobiographical Hepburn documentary on disc 2.
3/20:
Brigadoon 1/2 /
1/2
Some good song and dance numbers, but not much else to recommend this. It was especially disappointing, considering the film's pedigree: successful Broadway hit, Vincente Minnelli direction, and Gene Kelly's acting/singing/dancing.
3/21:
West Side Story: SE /
I'd forget about the plot and why Juliet doesn't off herself in this adaptation, the story is irrelevant. Focus instead on the flawless choreography and the memorable songs. The lyrics are a riot; what's the funniest euphimism
you can think up for "fuck?"
3/23:
Bells Are Ringing /
Judy Holliday is a dynamo in this film and Dean Martin offers an impressive, understated performance. I wish he had made more films like this and
Rio Bravo.
3/24:
Finding Nemo /
The animation is impressive and the voice-work even more so, but the story is underwhelming by the (admittedly high) standards set by Pixar.
3/25:
Finian's Rainbow /
There's a fine film in here somewhere, but good luck finding it. The racial subtext, despite having its moments, seems tacked on, a relic of sixties didacticism. The commentary track was informative and honest. Coppola offers a mea culpa of sorts, admitting that he was still finding his voice as a director when he made this and repeatedly questioning himself for cutting-off Astaire's dancing feet.
Refreshing.
3/26:
Back to the Future: Part 3 /
The phenomenon had pretty much run its course by this time. A well made movie, but it just doesn't do it for me.
3/27:
The Band Wagon /
Outstanding song and dance numbers abound. My standout favorite from the Broadway to Hollywood collection.
3/28:
Butch Cassidy and the Sundance Kid 1/2 /
A quirky amalgam of a film. The narrative isn't seamless, or always coherent for that matter, but it works and is a lot of fun to watch. The bicycle scene is illustrative of this phenomenon. It presents a theme (the possible romantic link between Butch and Etta) that is introduced and then promptly dropped. Yet the digression is so enchanting, the juxtaposition of a modern song with a period film so beguiling, that its flaws are easy to overlook. The freeze frame that ends the film is, justifiably, an iconic bit of cinema. Maybe, just maybe...
3/30:
Easter Parade 1/2 /
Astaire's amazing "Drum Crazy" sequence is a paragon of choreography and synchronicity. The documentary
Judy Garland: By Myself 1/2 is typical of the extra effort that sets Warner apart from its competition. IMO, extras should either be fluff-free and incisive (enhancing my appreciation of the film) or absent altogether.
4/3:
Rio Bravo /
I'm a bit of a neophyte when it comes to Westerns, but this film seems a near-perfect American embodiment of an originally American form of expression.
4/3:
Call Northside 777 1/2 /
1/2
A noirish docu-drama that is most memorable for its stylish cinematography and Jimmy Stewart's fine performance.
4/4:
Panic in the Streets 1/2 /
1/2
In a similar vein as Kazan's
On the Waterfront. If you liked that film's gritty, intense realism, Panic is a pretty easy recommendation. From substance over style to...
The Thin Red Line /
(viewed on 4/5)
...poetic aspirations and prosaic accomplishments. This is an undeniably stylish, even beautiful, film. Style, however, muddles matters considerably. I found the story confusing, the myriad characters difficult to keep track of, and worst of all difficult to sympathize with. As a war film, it lacks the gravitas of its equally stylish near-contemporary
Saving Private Ryan. Maybe not a fair comparison, but it does show sparks of brilliance.
4/7:
Laura /
1/2
Several standout performances in this noir, including a young, dashing, and very talented Vincent Price. If you've ever wondered what the inimitable Clifton Webb looked like in a bath tub,
Laura is your movie.
4/8:
Snow White and the Seven Dwarfs /
The animation is not as refined as in the other early feature-length Disney films, but this was the first. Of enormous historical significance and an engaging film to boot.
4/9:
Rounders 1/2 /
1/2
I really liked John Dahl's
The Last Seduction and considering the cast and subject matter, this seemed like a safe bet. I was, however, a bit disappointed. Maybe because my expectations were so high. A good film, that could have been a much better.
4/10:
Primal Fear /
Edward Norton, Frances McDormand, and the under-rated John Mahoney offset the bombastic "performance" of Richard Gere. Similarly, the gorgeous cinematography of Michael Chapman offsets the hackneyed plot. The tracking shot that follws Gere's character out of the courtroom and then turns his world upside down at the end of the film is a marvel. High points for style and the aforementioned performances.
4/10:
Clue: The Movie /
The last great production based on a board game.
4/10:
A Christmas Story: SE 1/2 /
1/2
Taken in moderation, this is a charming film. The weakest of the Warner Bros. 2-disc sets, but the commentary with Bob Clark and Peter "Ralphie" Billingsley is a lot of fun.
4/12:
Young Sherlock Holmes 1/2 /
1/2
I
loved this movie as a kid and while time has dulled some of its luster for me, it was still rather enjoyable.
4/13:
Destination Tokyo /
If you can get past the suffocating jingoism, this is a much-better-than-average WWII film.
4/13:
Saturday Night Fever /
It's become a cliche, an often-parodied bit of cultural archelogy, but this is still a powerful and vibrant film. One of the complaints levied against it is that the story of Tony's life seems pedestrian, in contrast to the electric dance sequences, but that is precisely the point. Tony
is a pedestrian, save that one night a week when he lives life in the fast lane. In the disco, he's a god.
4/15:
Frankenstein
While the film deviates wildly from the novel (particularly in its portrayal of the creature as a clod) it is perfectly faithful to its core sentiment: a monster is thrust into a world that he doesn't understand and that doesn't understand him. Of course, we can substitute any outcast for the monster and this is why the message is so powerful and durable. The scene at the pond with the little girl is a perfect illustration of this dilema. Karloff emits just the right amount of pathos in his performace, he is sad without being pathetic. His gestures are so expressive and poignant, that while
The Bride of Frankenstein may be a slightly better film, I prefer Karloff here becuase he never speaks.
4/19:
Good Bye Lenin! 1/2 /
4/20:
The Outlaw Josie Wales 1/2 /
4/20:
Not Another Teen Movie /
1/2
If you're a fan of '80s teen movies, this often (unfairly) maligned pic is a must see. Underneath the gross-out humor is a loving homage to the genre.
4/23:
Army of Darkness /
1/2
4/25:
Baadasssss! 1/2 /
4/26:
Freaks /
1/2
Has lost some of its shock value, but there's still an undeniable beauty to this odd movie and the odd people who populate it.
4/26:
Lemony Snicket's A Series of Unfortunate Events /
1/2
Considering the cast and the premise, I was disappointed in this. Jim Carrey is his usual manic, demented, and brilliant self, but he was the only bright spot for me in this dark comedy, that's mostly dark and not particularly funny.
4/27:
Son of Frankenstein
Basil Rathbone is excellent in the titular role and the stark angularity of the sets lends this worthy sequel a distinctive look.
4/28:
Ghost of Frankenstein
Still entertaining, but the franchise had pretty much run its course by this point. Bela Lugosi is the standout, reprising his role as the doctor's assistant, Ygor.
4/29:
House of Frankenstein
4/29:
Young Frankenstein /
I have a newfound respect for Brooks' film after viewing the originals. I laughed just as hard and often as before, but this time I was overwhelmed by the fidelity to, and reverence for the source material.
4/29:
A Bucket of Blood
Roger Corman's "Ode on an Impaled Cat." Ostensibly, this is a campy horror film, but it also works as an inquiry into the nature (and nexus) of art and immortality. As for the disc, this is a very clean print from Digiview Productions.
4/30:
The Kid Stays in the Picture /
A fine documentary, that is both driven and hindered by Robert Evans' colossal ego.
4/30:
Love Story /
1/2
So dated, so maudlin, and yet, so charming.
5/2:
Captain Blood 1/2 /
1/2
5/3:
The Private Lives of Elizabeth and Essex /
1/2
5/3:
The Sea Hawk /
1/2
5/4:
The Name of the Rose /
5/5:
Dodge City /
1/2
5/6:
The Weather Underground 1/2 /
5/7:
The Brain That Wouldn't Die 1/2
5/7:
Meet Me in St. Louis /
5/8:
They Died With Their Boots On /
1/2
5/9:
The Adventures of Erroll Flynn
5/9:
Silverado /
5/11:
The Seventh Seal
5/12:
The Woman in Green
5/13:
Monty Python's The Meaning of Life 1/2
5/13:
The Empire Strikes Back
5/14:
My Favorite Brunette 1/2
5/16:
Vanilla Sky 1/2
5/17:
M
5/18:
The Fast and the Furious (1954)
1/2
5/18:
Fantasia
5/19:
Team America: World Police (UR) 1/2 /
5/20:
The Ox-Bow Incident
5/21:
The Thing From Another World
5/21:
South Park: Bigger, Longer and Uncut 1/2
5/22:
The Lady Vanishes
5/23:
My Darling Clementine /
5/23:
The Blob 1/2
5/24:
The Maltese Falcon
5/25:
Bad Day at Black Rock 1/2
5/25:
Notorious:
5/26:
Fury 1/2
5/26:
Wild Strawberries /
5/27:
The Life Aquatic with Steve Zissou 1/2
5/28:
Sullivan's Travels
5/29:
I am a Fugitive from a Chain Gang 1/2
5/30:
Grand Illusion
5/30:
Beauty and the Beast (Cocteau)
5/31:
The Americaniztion of Emily 1/2
6/1:
Autumn Sonata 1/2
6/1:
Twelve Monkeys: SE /
6/2:
Nights of Cabiria 1/2
6/2:
The Bicycle Thief 1/2
6/3:
Blackboard Jungle
6/3:
Peter Pan (1953)
6/5:
A Face in the Crowd
6/5:
Lord of the Flies
6/6:
The Apartment
6/6:
The Invisible Man
6/7:
The 400 Blows
6/7:
Advise and Consent 1/2
6/7:
Pete's Dragon 1/2
6/8:
The Invisible Man Returns
6/8:
The Invisible Woman 1/2
6/8:
A.I. Artificial Intelligence
6/9:
The Invisible Agent 1/2
6/9:
The Invisible Man's Revenge
6/10:
Gods and Monsters 1/2
6/11:
Poltergeist
6/11:
Dumbo
6/12:
Bonnie and Clyde 1/2
6/12:
Duel 1/2
6/13:
Pinocchio
6/14:
Design for Living 1/2
6/14:
High Noon
6/15:
Who Framed Roger Rabbit 1/2
6/15:
Harvey
6/16:
Beauty and the Beast (1991)
6/16:
The General Died at Dawn
6/17:
Nosferatu (Murnau)
6/17:
The Manchurian Candidate (2004)
1/2
6/18:
Breakfast at Tiffany's
6/18:
The Battleship Potemkin 1/2
6/19:
My Man Godfrey
6/19:
Pretty Baby 1/2
6/20:
Frenzy
6/20:
Beau Geste
6/21:
Häxan 1/2
6/22:
Witchcraft Through the Ages(1968)
6/22:
The Lives of a Bengal Lancer
6/23:
The Emperor's New Groove
6/23:
Serpico
6/24:
Saboteur 1/2
6/25:
Gentlemen Prefer Blondes 1/2
6/25:
The Man Who Knew Too Much (1956)
1/2
6/25:
The Aviator (2004)
6/26:
Peeping Tom 1/2
6/27:
Lilo and Stitch
6/28:
Stardust Memories
6/28:
The French Connection
6/30:
What's Eating Gilbert Grape 
