March revivals: second half

Mike here with what to catch for the rest of March. Small list, because of the small number of flicks. Have been enjoying some of the films at the Ziegfeld. I enjoyed West Side Story, but I expected to. What I didn't expect to catch was The Sound of Music. But I did, and enjoyed it. There's just some cheesiness that can't be overcome, but this was the first time I got to understand the cinematic scope of this picture. Additional kudos to Robert Wise. South Pacific may have better songs, Oklahoma may have a standout dance sequence, but Wise's camera and editing work, combined with Julie Andrews' iconic performance, is why Sound of Music is among the classics, and why the other Rodgers and Hammerstein movie musicals won't be.

I believe there was a Robert Wise retrospective done by the Forum a few years back. But for Wise's films from West Side Story through Star Trek The Motion Picture, I think the Walter Reade at Lincoln Center is the only revival house who can do them justice. That still doesn't make me want to run to see Star (Julie Andrews as Gertrude Lawrence?), but I don't see the Forum or any other screening room pulling them off well. And now when I talk to some about great film musicals, I can no longer leap from 1964 (My Fair Lady and A Hard Day's Night) to 1972 (Cabaret). I have to acknowledge Sound of Music in 65. I'm still not doing the same for "Oliver!". Not at this time anyway.

Anyway, back to the list. Here we go:



JAWS- Thurs Mar 27 at 8- at the Ziegfeld for 8 dollars- I mentioned this in the last post, so I won't repeat myself except in one respect. A reminder for those who haven't seen it that this is the last night. If you've never seen it, this is the time and place to go. Seeing this on TV isn't the same, people.


PLANET OF THE APES- Fri Mar 28, Sat Mar 29, and Tues Apr 1- Thurs Apr 3 at 2, 5 and 8- at the Ziegfeld for 8 dollars- A new 35mm print for the 40th anniversary. For those of you who lived and where consciously aware in New York at least through the mid 80s, have a memory of Ch. 7's The 4:30 Movie, with that theme and those graphics that were fun but a little dated by 1978. When they did Planet of the Apes week, I was there BA-BY! The first film chopped into 2 edited parts, followed by 3 of the sequels. Now I'm not asking you to see the sequels, and God knows I don't want to get near the Tim Burton remake. I'm just pushing the original. A hit in its day, that a surprising number of critics ripped apart back then. Many of them had to do mea culpas weeks and years after.

3 astronauts land in a strange place, filled with talking apes, and human slaves who are mute. 3 astronauts go down to one. The one being Charlton Heston, who, after going through many trials, begins to kick ass. Until the ending, the kind that makes M. Night seem like a weakling. There, the story told in a nutshell.

Basically, its an enjoyable action/sci-fi/drama with satirical moments. A number of screenwriters contributed to this adaptation to Pierre Boulle's novel, including Rod Serling and Michael Wilson, who previously adapted Boulle's The Bridge on the River Kwai. Wilson is credited with the tribunal scene that was a cross between the Scopes Monkey trial and a Communist witch hunt hearing, the kind that had Wilson blacklisted for years. Serling is credited with the ending, one that Boulle apparently preferred to his own.

With the most unique hero in film in Heston's Taylor. A man with no hope, no faith, and a complete asshole. And yet, he becomes more naive and more hopeful as the film goes on, while still being an asshole. And he still kicks ass. Not like in the second film, when he blows up the entire planet, but close.

Of course this doesn't work unless you buy the monkey makeup, which didn't work if the cast didn't take fellow cast mate Roddy McDowall's suggestion to add the occasional tic, blink and anything else they could think of, to not rely on just the mask to show character. 2 Oscar nominations, and a special Oscar for the makeup. Granted, this was a year when the ape makeup work for 2001 went completely ignored. I guess because the Academy believed everyone in the Dawn of Man sequences were really apes. Anyway, a fun time for all of us who catch it.


A BOY AND HIS DOG- Fri Mar 28 and Sat Mar 29 at Midnight- Landmark Sunshine Cinema- E. Houston bet. 1st and 2nd Ave.- Here's a fun, god awful piece of crap, midnight movie for you all. A 1975 cult flick set in the U.S., sometime after World War 4. Don Johnson, practically a baby back then, tries to survive in this world with his genius dog, who he either has a telepathic link with or talks to or I don't remember what crap they came up with. Then he meets a hot chick and then end up in some underground world where the old ways are maintained, and all the adults are wearing blush. Jason Robards plays the film in a dead drunk. Years afterward, when he was sober and was working with Johnson on a TV remake of The Long Hot Summer, he was surprised to learn he worked with Don before. And then stunned to see this film, where he looked like a cross between a geisha and the farmer from the American Gothic painting.


THE KILLING- Sun Mar 30 at 6 and Mon Mar 31 at 10:30- Film Forum- Part of a retrospective of the best films ever made and/or distributed by United Artists. Before Tarantino was making crime films that twisted the timeline back and forth, Stanley Kubrick made this film noir very early in his career. A film that made his reputation forever more. Kubrick adapted the novel "Clean Break", with additional dialogue from pulp author Jim Thompson. Sterling Hayden is the leader of a group robbing a race track. Of course, things go wrong, with a memorable ending. Among the standout performances, take note of Elisha Cook Jr. as Sap Incarnate, and Marie Windsor as his scheming wife.

United Artists had no faith in The Killing, and threw it out there as part of a B movie double feature. But critics took notice, and so did Kirk Douglas, who desperately needed a director for Paths of Glory. A classic of the genre. The Killing is playing as part of a double feature with Paths of Glory, and if you have time for both, go for it. You'll be in film buff nirvana. But I've done Paths of Glory fairly recently, so I'm not running to that one. But it's been about 8 years since I caught The Killing, and I'd like to catch this again. And don't worry, its only 84 minutes long.


That's it for now. I expect the next list to be somewhat heavy in the Forum's UA retrospective. Must know fast if Jaws is doable. Later all.

P.S.: Found two links on You Tube that might amuse that relate. You'll probably have to cut and paste the links in order to see them. First, the 4:30 movie theme and logo that introduced and ended each airing. If there was a way to have it be what played into anyone looking into my Facebook account, I'd love it:

http://youtube.com/watch?v=icI8D3lIMiQ&feature=related

Second, I stumbled on this one. The CBS Friday Night Movie, introducing Planet of the Apes in what would be it's last prime time airing back in 1976. Interesting introduction, gets one interested by concentrating mostly on one scene from the movie:

http://www.youtube.com/watch?v=eOnnGegq3vQ

March revivals: Ziegfeld update

Mike here with a need to update the list. The Ziegfeld finally came out with their classics screenings list and I'm a little disappointed. Only 2 weeks scheduled, and most of them a repeat from the last time they did this back in September/October of 2006. I heard rumors of digital screenings of some Bond films and a 40th anniversary screening of Planet of the Apes, but they haven't been scheduled at this time, if they're going to be scheduled at all. But since those of you looking at this probably didn't see it back then, it's new to you.

Also have to mention a correction on the price. They raised the price from 7.50 to 8 dollars. Not as cheap as it used to be, but still affordable compared to current lousy movies at full price. So here we go:

WEST SIDE STORY- Sat Mar 15 at 4:30, Sun Mar 16 and Wed Mar 19 at 8:15, and Thurs Mar 20 at 4:30 (Weekdays and weeknights tentative on the Ziegfeld's end)

GREASE SING-A-LONG- Fri Mar 14 at 8:15 and Sat Mar 15 at 2

THE SOUND OF MUSIC- Sat Mar 15 at 8, Sun Mar 16 at 1 and Tues Mar 18 and Thurs Mar 20(those last 2 dates tentative at the theater's end) at 8:15

Separate admission for each film I'm afraid. But if they get the sense that you're hear for the duration, they might let you pay for your seats without stepping outside, or at least let you leave your stuff while one of your party gets tickets for all. This happened with some friends a couple of years ago when the Indiana Jones films were all screened in one day. But don't go in thinking this will automatically happen; you're on own and so an I, so assume nothing and hope.

Now I already talked about Grease and Sound of Music on the previous listing, but West Side Story I'll bring up now that I know it will be there. Now if these dates for West Side are a little difficult, note that the Film Forum will screen this on Sat April 12. But note that the Forum will do one screening only, and their screen and sound system are not superior than the Ziegfeld's in any way (though the Forum seats are a little more comfortable).

Now as for West Side Story, it's on both AFI Top 100 lists, and in my personal Top 100. Number 2 on AFI's recent Best Movie Musical list. It is totally different seeing it on the big screen as opposed to TV. I can't describe it very well, you have to go to know what I mean. Sight and sound makes this more of an experience then just passive viewing like on tv.

Is it perfect? No. Some of the slang is just too dated, some of the actors had to be painted Latino (get a good look at George Chakiris and tell me I'm wrong), most of the teenagers are either over 21 or pushing 30, and some had to be dubbed. But mix Leonard Bernstein's music, Stephen Sondheim's songs, Jerome Robbins's choreography and Robert Wise's direction and you have a terrific film. Yes, Robbins is co-director, until his perfectionism resulted in re-shoots and extended shooting, causing the film to go over budget and behind schedule. He was fired 60 percent into shooting and Wise finished it.

Stunning use of New York locales and a terrific opening credit sequence and ending. 10 Oscars including Picture and Director. If you've never seen it on the big screen, go. And if you can only choose between Grease, West Side Story or Sound of Music, I say West Side with no hesitation.

And next is what they bill as Steven Spielberg week. I'll list all three. But I'm being dutiful in case one of you yells about what must be seen. But I'm only pushing one, the last one:

BACK TO THE FUTURE- Fri Mar 21 at 5, Sat Mar 22 at 2 and Wed Mar 26 at 8

E.T. THE EXTRA-TERRESTRIAL (2001 Edition)- Fri Mar 21 at 8, Sat Mar 22 at 5 and Tues Mar 25 at 8

JAWS- Sat March 23, Mon March 24 and Thurs March 27 at 8

Like I said, Jaws is the one I'm pushing the most on this list. Like West Side Story, on both AFI Top 100 lists. But this is higher up for me. More like in my personal Top 35 as opposed to just one of one hundred. Don't underestimate the quality of this Spielberg film on the big screen, and on the Ziegfeld's 70mm screen? Forget about it. It's not just another fish film, Ed. 3 Oscars including John Williams's memorable score, and a nomination for Best Picture (along with One Flew Over the Cuckoo's Nest, Barry Lyndon, Dog Day Afternoon and Nashville; not shabby.)


And I must correct myself on my top 10 from a couple of posts back. Specifically with I'm Not There and the possible helpfulness of having a sixth actor playing Dylan. Now I left out Heath Ledger on purpose, since I was trying not to write an epic tome. But I completely forget Ben Whishaw who was the sixth Dylan. Ok, Richard Gere was in the film, but for our purposes, Ben is. The funny thing is, despite an extreme lack of screen time, I liked Ben more than I did Richard, go figure. Anyway, correction made, and the Ziegfeld listing has been updated. Let me know. Later all.

March revivals: first half

Hi, Mike here with what to catch in the first half of March.

Sorry it's been a little while on this front. Not much to talk about with the Oscars. I lost my pool again, most women there couldn't wear the right bra for their dresses so their breasts point in different directions, Renee Zellweger looked weirder than usual, Jerry Seinfeld was unfunny AGAIN, Jon Stewart had a respectable monologue but was dull the rest of the evening, the show itself was dull in general, God help me if another Enchanted song is sung even if that hot midget Kristen can't-spell-her-last-name-but-it-starts-with-a-C sings it, and it was nice to see Marion Cotillard win but those comments she made a year ago where she said she believed the U.S. staged the destruction of the Twin Towers make me want to travel to Chicago to protest at her new film's exteriors locations. There, Oscar wrap-ups are done. And oh yeah, Marilyn, see more movies from 07. You can't have 300 in your top 10 and pretend it isn't an eyesore there.

If I manage to continue this blog for at least another 18 months, it will go on without mention of AMMI in Astoria. The talked about renovations and expansions will begin in full just after Easter. The screening room is already closed, and nothing will reopen until just after Labor Day 2009 at the absolute earliest. I didn't have a lot of time or desire to catch the last retrospective there, which were John Ford's films back when he was under contract at Fox. But had I paid more attention regarding it's closing, I would have made some time, even at the expense of an Oscar film or 2. Had some good group times there. Whether it was the chance to re-evaluate Citizen Ruth (Alexander Payne's first film), or feel what it was like to catch both The Texas Chainsaw Massacre and Singin' In The Rain on the big screen, it was good there. Now those two were not seen on the same day, but I did catch Pink Flamingos and Metropolis as a double feature there. Stranger than catching The Philadelphia Story and Yojimbo together there. A favorite time of mine was getting two guys who normally wouldn't catch long foreign films to join me in seeing Kagemusha. They actually didn't hate this Kurosawa film from 1980. Not one of their all-time favorites to be sure, but they gave it a chance and they didn't hate it. That made me feel good, as does this list. Here we go:



UNFAITHFULLY YOURS (1948)- Fri Mar 6 at 8:15-MOMA- W. 53rd and 5th Ave.- Part of the Rex Harrison retrospective. He would have been 100 this month. Sorry I have no time for The Ghost and Mrs. Muir at 6, but I have the time for this. The last of the standout Preston Sturges comedies. Harrison plays a conductor who thinks his wife is cheating on him. As he conducts his orchestra, his imagination on how to kill his wife and suspected lover plays out for us. Then he tries to actually pull it off, which is even funnier. Ignore the Dudley Moore remake, no matter how beautiful Nastassja Kinski is. Catch this, especially if you've never seen it before.

ALL THE KING'S MEN- Sat Mar 8 at 7- MOMA- A classic film that's probably been seen my fewer people than the other films labeled as classic. I bet you the only way any of you have seen this was by the 3-5 second clip shown on last month's Oscars. Never being on VHS, only recently put on DVD and the horrible Sean Penn remake hasn't helped. A rare film (before color was used on a regular basis) that showed how brutal politics can be. Depicting the rise and fall of a Huey Long-esque politician. He starts off trying to do well for others and get the corrupt incumbents out of power, only to end up worse than they ever were. Not the smoothest of films, but it works today with quality acting to match. 7 Oscar nominations, including Director and Screenplay for Robert Rossen. 3 Oscars for Picture, Actor Broderick Crawford and Supporting Actress Mercedes McCambridge. I really want to make time for this.


MOMMIE DEAREST for 6.50- Sat Mar 8 at 9:30- Chelsea Clearview Cinemas- A special screening of the cult classic from 1981. Adapted from the payback novel by Joan Crawford's adopted daughter, this is how Crawford will be thought as forever more. That doesn't make this a good film. But it also doesn't mean it's not fun to watch. I don't know if this was supposed to be serious or camp, and I'm not sure if everyone else involved knew what tone to take either. But back in Sept-Oct 1981, when the wire hanger scene came up, a pop culture moment was born. And Faye Dunaway's A list film career ended, while who thought it was a good idea to have Diana Scarwid start playing adult Christina Crawford at age 13?!?!? No wonder she went from an Oscar nominee to a Razzie award winner. If you want to enjoy yourself, catch this campy crappy fun film for only 6.50.


THE DEER HUNTER- Tues Mar 11 at 1:30 for 4 dollars- The Leonard Nimoy Thalia at Symphony Space- W. 95th and Broadway- Part of the Best of 1978 retrospective. I would have brought this up earlier, but I've already seen Pretty Baby, and I had no time for The Last Waltz. The first Vietnam War film that was accepted by the public, despite massive controversy. 9 nominations, including Meryl Streep for Supporting Actress. 5 Oscars, including Picture, Director Michael Cimino and Christopher Walken for Supporting Actor. Oh yeah, that De Niro guy was pretty good in this too. And for only 4 dollars.


MY FAIR LADY- Wed Mar 12 at 7- MOMA- Part of the Rex Harrison retrospective. Yes, there are some of you who see this on the list and just keep looking. And this is one of those films that are used as bad examples for what won Best Picture. Forest Gump instead of Pulp Fiction, Dances With Wolves instead of Goodfellas, and My Fair Lady instead of Dr. Strangelove. But as great as both Strangelove and Peter Sellers' performance is, it didn't have a chance in hell against one of the more looked forward to musicals in that era, plus Harrison's signature performance as Henry Higgins. Throw in Audrey Hepburn and the fact that this is a well made picture, just live with it film buffs.

Not the last great movie musical, but after both this and A Hard Day's Night from 1964, it was a long way away for greatness in this genre until Cabaret in 1972 (sorry Oliver! fans.) 12 Oscar nominations, 8 Oscars including Best Picture, Harrison, and Director George Cukor. On the original AFI Top 100 list, dropped from the second list in favor of Sophie's Choice. No, I don't get that either.


GREASE SING-A-LONG- Fri Mar 14 at 8:15 and Sat Mar 15 at 2 for 7.50- The Ziegfeld- W. 53rd and 6th- The Ziegfeld revivals are back. Here are the first 2 which have separate admissions, thus get separate admissions. Now I preferred bringing up the Travolta Newton-John classic here at the Ziegfeld as opposed to say, Symphony Space. But I'm not thrilled that the only way they'll screen it is as a sing along. But for those of you who enjoy singing, here's your chance. Wether its songs from the original Broadway musical, or original songs like the title track or the Oscar nominated "Hopelessly Devoted To You". Besides, someone who looks at this list from time to time, bet me back on the day that I wouldn't go and sing. I told him I would, though I hope I remembered to say that if he paid for my admission, I'll belt the shit out of some of those songs, especially if they're in my bass range. Now's the time for him or any of you to call my bluff.

THE SOUND OF MUSIC- Sat Mar 15 at 8, Sun Mar 16 at 1 and Tues Mar 18 and Thurs Mar 20(those last 2 dates tentative at the theater's end) at 8:15 for 7.50- The Ziegfeld- Then there's this film. Based on ticket sales, right up there with Gone With The Wind and Star Wars as one of the biggest films of all time. 10 Oscar nominations, including Julie Andrews in the role she'll be remembered for all eternity, and Cinematography. 5 Oscars, including Picture, Editing and Director Robert Wise. On both AFI Top 100 lists.

Now here's where it gets personal. Thanks to both NBC's twice a year screenings and the advent of home video, I estimate I had to see all or most of this film at least 30 times in the 1980s. I was too young to fight this most of the time, so an anger to this film grew. It didn't begin to go away until I actually did a high school production, playing Uncle Max. Seeing at least half the film only on 1 or 2 occasions since 1992 combined with doing the production gave me a respect for the material, though not necessarily a love. Seeing this in the Ziegfeld as it was intended, might do the trick. Or not, I may not do this film sober. Or at least progressively less sober as the film goes on. We'll see. But I know I won't do this film alone. Who will join me?

Aside from Jaws later in March, I don't know what else is on the Ziegfeld schedule. It will probably come out in the next day or two, but I couldn't wait. But I do know this. The Ziegfeld has a schedule for seven days for each film. The weekends are always open, but if they have can't draw many or any people during the week, it's easier to keep it closed. Now they might keep it open on a Wednesday or Thursday night. Or maybe not even then. That's the risk you take. So it's best to plan on a weekend time.

And now your choice of 1984 musicals being screened at midnight on the same weekend:


FOOTLOOSE- Fri Mar 14 and Sat Mar 15 at Midnight- IFC Film Center- Pure cheese. I remembering the music a lot more than the film. But enjoy the 80s songs and let the Velveeta flow, as Kevin Bacon rebels against preacher John Lithgow's rules against dancing and rock music. Bacon's dance double was terrific. Enjoy the supporting role appearances by future Oscar winner Dianne Weist, a young Chris Penn and a younger looking Sarah Jessica Parker. 2 Oscar nominations. Don't worry, it was for the songs; Kenny Loggins' title track, and "Let's Hear It For The Boy". But if you prefer great music, then you'll instead want to catch . . .


PURPLE RAIN- Fri Mar 14 and Sat Mar 15 at Midnight- Landmark Sunshine Cinema- While flipping through the Cinema Treasures website, looking for info about the Ziegfeld's upcoming revival series, I found an interesting post that pertains to this particular choice:

"Pauline Kael once said in the late 60's that the time then was ripe to create more musicals with the present (then) rock stars like Janis Joplin. That's what made the musicals of the 30s, 40s and 50s successful: they were populated with the top recording artists of the day (Doris Day, Rosemary Clooney, Crosby et. al.). That's what the studios could do: setup a musical with one or many of today's contemporary recording artists."

I think that fits in the case of Once, where you had recording artists doing their songs. And it certainly applies to Prince with this film. Can't imagine a good actor from that period pulling off these kind of songs, no matter who wrote them.

Not the greatest film ever made, and not what you call great acting by Prince. But with performances of songs like "When Doves Cry", "Let's Go Crazy" and the title track, the sleeper hit of the summer of 1984 literally rocks whenever the music comes up. Watch how Prince went from successful rock act to icon status. Granted, he would later throw it away with crap like "Under The Cherry Moon" and "Graffiti Bridge", change his name to a symbol with no real meaning, and basically become strange to the point of uninteresting. But watching and listening to him here, anything seemed possible back then. Prince did win an Oscar for music, in a category that no longer exists.



LAST NIGHT AT MARIENBAD- Wed Mar 12- Thurs Mar 27- Film Forum- FOR THE LOVE OF GOD DON'T GO! BECAUSE OF "audience demand", the Forum IS BRINGING BACK THIS ANNOYING PRETENIOUS PIECE OF CRAP BACK FOR MOST OF MARCH. SAVE YOURSELVES! DOOOONNN"T GOOOOOOO!

Everything else I'm up for, especially King's Men, anything from the 80s and anything at the Ziegfeld. Let me know, later.

Best of 07

Mike here with the best of 2007. Timely, this is not. But because of the Oscars aiding us in what's interesting if not the best, and because I'm not paid to do this, this is as fast as I can do it. I feel the quality is much improved from last year. For one thing, I don't have to put a film from over thirty years ago into this top 10, like I did last year with Army of Shadows. Being pretty good wasn't good enough; too much quality this year. Probably the highest quality of any year this decade.

And I had a difficult time putting a list together. Any film 5 through 10 here would have made major headway in the 06 list, but lucky to get noticed this year. With more independent films coming down the pipeline every year mixing with major studio product, it will only get more difficult to catch everything. Some films like Lust, Caution, The Kite Runner, It Started In The Evening, Superbad, and In The Valley of Elah were just impossible to get around to. But I feel good about this list. That said, 1 through 4 had been settled for me for over seven weeks now.

Note that I reserve the right to change my mind years down the line. I gave an example in the top 10 list of 06. Too lengthy to go into now, but suffice to say, I reserve the right, especially when dropping a film in favor of another. Or in the case of this list, changing the order of 1 and 2.

One runner-up of note out of TV. Something that despite it's length, would have been in my top 10 if it were a theatrical release: Ken Burns' The War from PBS. Impossible to capture all of it, but by focusing through people from 4 small American towns, and what they went through on the home front, in the European theater and in the Pacific. Perhaps not as great as Burns' The Civil War, but pretty close. Now on with the ten:

10) I'M NOT THERE- As much as the documentary Nanking effected me emotionally, I'm Not There got me interested in Bob Dylan, something I thought would never happen. Using the split personality idea, as well as the idea that no one knows anyone completely, this blows right by other music bio-pics. It kept me visually stimulated, even in some of it's rough patches, mostly with Richard Gere. If the stunt casting of Marcus Carl Franklin and Cate Blanchett doesn't cut it, the film is crushed. Blanchett's sequences appealed visually for me the most; 8 1/2 mixed with A Hard Day's Night.

I believe even more could have been explored, say with Christian Bale's 2 different time periods, or even a sixth Dylan after his religious stint. But it would still be leading to the same conclusion about identity and his music, so there's no need. Todd Haynes' best film.

9) LA VIE EN ROSE- The film is not problem free. When it comes to Edith Piaf's life, it seems to drop numerous loves, her bi-sexuality is so lightly hinted at it might go completely unnoticed, it seems at least one miscarriage is left out, the years in Nazi-occupied France don't exist, and oh yeah, we see that she had uh, whatchamacallit, A KID, at some point. But if the story was told in chronological order, then it would be as weak as those VH1 Behind The Music bio-pics, like Ray and Walk The Line.

By bouncing back and forth in time, Olivier Dahan's film sneaks up on you. The story being told in fragments that are not always linear, takes a little getting used to, but pays off for the viewer at the end.

None of this works without Piaf's songs, the excellent make-up department, and especially Marion Cotillard as Piaf. She nails the physicality to a T. Her lip synching and concert gesturing is excellent. She handles aging from 20 to 47. Though the last few years, thanks to alcoholism, some kind of rheumatism or arthritis, and morphine addiction, and cancer, Cotillard has to play Piaf more like a 65-70 year old than late forties. And the makeup is good, extreme closeups can be done and we don't see the seams. God, I hope this doesn't lose Best Makeup to Norbit.

8) RATATOUILLE- As close as I can come this year to representing comedy on this list. I was never not dazzled by the visuals. Just picking one is hard, but I'll settle for any Dracula connections with Peter O'Toole's Anton Ego's character. The vocal cast was terrific, but if you told me I would really like Janeane Garofalo again, I'd never have believed you. My new favorite Pixar. Nuff said.

7) THE NAMESAKE- Mira Nair's film was unjustly ignored at awards and most end of year critics time. That's what you get for outgrossing Diving Bell, every indie Parker Posey film from 07 and Before The Devil Knows You're Dead combined, and doing most of that business in March and April. I won't pound on the table and say it captures the feeling of the modern immigrant experience, but it feels authentic. The same goes for the feeling of family depicted; from being embarrassed and annoyed by your parents, to having a better understanding for them as adults. Kal Penn runs with the lead. He projects a strong leading man presence that hopefully leads to more than another Harold & Kumar flick. But the acting kudos go to Irfan Khan as the father, and Tabu as the mother. Both in what I believe is their first American film, having to depict 2-3 decades of time, and do it well.

6) THE DIVING BELL AND THE BUTTERFLY- All praise for director Julian Schnabel and screenwriter Ronald Harwood for making the unwatchable cinematically watchable. Starting off for the most part from the vantage point of Jean-Dominique Bauby's eye, and expanding from that only when his perspective and imagination expands. We feel for him, but never does the picture collapse into a pity party. Hard not to feel a little choked up over the flashback sequence between Bauby and his 92 year old father played by Max von Sydow, or over the scene where Bauby's loyal ex and mother of his kids, must translate the feelings of love and longing to his mistress who refuses to visit. Wonderful picture, and one I'd never see if it wasn't for the nominations.

5) THE ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD- A film that Warners Bros dumped as an autumn write-off, deserves better treatment. But as Westerns continue to be less in vogue, and the chance to see this on the big screen is already non-existent, I'm afraid history will go on and pretend this doesn't exist. Or it would have if this wasn't Casey Affleck's coming out party. Yes, more people saw Gone Baby Gone, but this is a showcase for the younger Affleck's full talents. Now if there's another Ocean's film, Scott Caan can be the lesser known guy with a famous relative. Kind of like The King of Comedy, where we see the sycophant pay for the crime of getting rid of his idol, and we see the regret as well. Sumptuous cinematography by Roger Deakins, and Brad Pitt's pretty good too. Despite it's length, it feels like a lot was left out; I can't imagine Mary-Louise Parker committing to what's turned out to be an extended cameo. Something tells me there's a director's cut waiting to come out. I hope you have the patience to give this a chance.

4) ZODIAC- $33,080,084. If a film studio wants to back a top director's idea of making a quality, 70s style suspense drama, this is all the money they can hope to make in the U.S. Apparently we have to thank the West Coast for making Michael Clayton slightly more popular. Anyway, if the fanatics who suck from the teat of Fight Club, don't support David Fincher's best film with similar feeling, then they're even more useless then I think they are. Also proof who to those who over inflate No Country For Old Men's qualities that you can have a downer ending and yet still make it a satisfying fit.

3) ONCE- The best musical of the year sure as hell isn't Hairspray, it's Once. The sleeper of last summer. A pleasant surprise. What seems like a working class variation of an Andy Hardy musical, soars when Glen Hansard and Marketa Irglova start singing the Oscar nominated Falling Slowly in the music store, and it never falls down to earth. If someone knows a better film of unrequited love in the past 17-25 years, tell me. This is what happens when you have performers who act fine but sing really well, as opposed to Sweeney Todd, where they had very good actors who can barely sing. And unlike No Country, this film pulled off it's ending.

2) THE LIVES OF OTHERS- Last year's Oscar winner for Best Foreign Language Film. It might have received a minor release elsewhere in 06, but I don't think it was in L.A., and it didn't open in NYC until last Feb., so I use this technicality to get it on the list. Well crafted, never very warm, never very cold. Just right. Sorry if this makes this flick seem like Goldilock's porridge. Director Florian Henckel von Donnersmarck gives us an Eastern Germany where the Communist secret police or Stasi managed by threat or blackmail to turn 1-3 percent of the population (who knows how many exactly) into unofficial spies of the friends and neighbors. Set against the backdrop of a popular playwright who has now been targeted, and the Stasi policeman sent to spy, but who undergoes a gradual change of heart. This isn't a textbook, it's a film that stays with you. Especially if you don't know the history, the film doesn't stray, doesn't preach and doesn't bore. It's found a decent audience for an art house film, but if you're reading this and you haven't seen this, then what the hell are you waiting for? Also, unlike No Country, this film pulled off it's ending.

This might be a film that enters my personal top 35 in about 5 years or so. But even that isn't enough to be number one for me this year. That goes to:

1) THERE WILL BE BLOOD- Some of you complain that the story doesn't hold. Well ok, Michael Clayton is better in telling stories with words. The Roger Deakins Cinematography from both No Country and Jesse James is somewhat superior. But for combination of script, sight and sound, Paul Thomas Anderson has them all beat this year, Oscar results be damned. I forgive him for annoying me with Magnolia. Ok, I'll give that film a fairer shake when I'm more relaxed, but anyway . . .

Starting with a beginning that's 2001-esque with no dialogue and only a little music and doesn't stop. And no, I find the ending satisfactory, which is why this film is number one for me, and No Country can't get into the top 10. That and I don't buy Josh Brolin's bit of going back with water, the fact that I've seen the unstoppable killer bit in both The Terminator and Westworld and oh yeah, the weak ending, but anyway . . .

A completion of its themes. I'm fine with the depiction of Big Oil being bigger and more important in America than family and religion (false prophet or otherwise), though not good for the individuals per se. A more engrossing American film than any other in quite a while. L.A. Confidential might be the last one? And oh yeah, that Daniel Day-Lewis guy? Looks like he has a future. And carries this film through rough patches like Marion Cotillard did for La Vie En Rose. Carries it enough to be number one for me. That's all for now. Later folks.

Feb. revivals: second half.

Mike here with what to catch for the second half of Feb. I had a bigger list planned. 17 films total. But with too many films to catch up to before the Oscars, I decided to pare it down to what I really want to catch. Anything with half a burning desire, I put up. So here we go:

THE PAWNBROKER- Sat Feb 16 at 7:45 and 10- Film Forum- Part of the Sidney Lumet retrospective. Rod Stieger plays the title role, a holocaust survivor, applying his trade in Harlem. Like Juliette Binoche in Blue, his character is suffering from loss and trauma, and despite (and perhaps abetted by) his profession, he wants no emotional contact whatsoever. But just like in Blue, life gives him no choice. Dark enough that despite critical praise, it didn't get the same love from that year as say, The Sound of Music or Dr. Zhivago. Stieger received his Oscar nomination, but most of the film's accolades came from overseas. Also notable for being Morgan Freeman's screen debut. Worth catching.

FAST TIMES AT RIDGEMONT HIGH- Sat Feb 16 and Sun Feb 17 at Midnight- IFC Film Center- Part of a series of 80s teen films getting the Midnight movie treatment. Here we get a sleeper hit from the summer of 1982. A film Universal had no confidence in, and seemed to try to just dump out there. Word of mouth, plus some key good reviews from Siskel and Ebert among others, turned the distribution scheme into a happy accident. Just as the film was dying out on the West Coast, it starts to play big in the East Coast. Sometimes, studio execs are so lucky . . . From Amy Heckerling, who would never direct a better film. So what is this film best remembered for? The realistic glimpse of high school life during a certain time from soon-to-be-very-well-known Cameron Crowe? The compilation of young acting talent, including Jennifer Jason Leigh, Forest Whitaker, Phoebe Cates, Eric Stolz, Judge Reinhold, Nicolas Cage, and Anthony Edwards? The shots of Cates rising from the pool, and Leigh lying on the couch? Or for the casting of Sean Penn? His ascent in the acting world, begins with his perf as the iconic partying surfer dude. His scenes with Ray Walston as Mr. Hand still hold up today. I'm guessing all who read this have seen this film. I'm guessing maybe one at best, actually saw this film on the big screen. Time to correct this.

12 ANGRY MEN and/or FAIL-SAFE- Mon Feb 18 at 5:25 (Angry), 7:15 (Failsafe) and 9:20 (Angry)- Film Forum- Part of the Sidney Lumet retrospective. A double feature, though I don't necessarily need to see both. First, 12 Angry Men. If you're reading this, then you know this courtroom drama, set during jury deliberations, so there's no need to go much further about the story. A fun potboiler of a film. The great acting isn't the amazing part to me; the fact that Lumet kept things cinematically interesting despite being confined to 1 or 2 small rooms.

3 Oscar nominations, including Best Picture, Director, and Screenplay Adaptation. But it was a flop in its day. Star/co-producer Henry Fonda was so disappointed, he would never produce another film again. But it's considered a classic today. On the second AFI Top 100 list.

Next is Fail-Safe. From the same year and studio as Dr. Strangelove, with the same brutally dark black Cold War atmosphere as well. But while Strangelove treated it's material as black comedy, Fail-Safe treated its material as dark suspense thriller. A thriller where our technology is stronger than our ability to fix it. A thousand to one electronic glitch causes a bomber group to go past its fail-safe marks, and proceed to bomb the Soviet Union. A nervous general tries to help the Soviets shoot them down, civilian expert Walter Matthau advises to let the planes hit their targets to force a showdown once and for all; and President Henry Fonda must talk to the emotional Russian premier (with the help of nervous translator Larry Hagman), and eventually must make an offer of atonement that's should make every New York viewer very uncomfortable.

Well acted and well crafted. Because of Strangelove, a flop in its day, despite great reviews. But I'm guessing most of you reading this aren't very familiar with this film, so it's time to play catch up.

MURDER ON THE ORIENT EXPRESS- Tues Feb 19 at 8:30- Film Forum- Part of the Sidney Lumet retrospective. A lighter, complete change of pace from the darker Lumet films shown in the retrospective. The best of all Agatha Christie adaptations as far as I'm concerned. Albert Finney's Hercule Poirot is called upon by Martin Balsam to solve the murder of Richard Widmark. Here's his list of suspects: Lauren Bacall, Anthony Perkins, Sena Connery, Ingrid Bergman, John Gielgud, Vanessa Redgrave, Michael York, Wendy Hiller, Jacqueline Bisset and Jean-Pierre Cassel (better known to art houses types recently for both The Diving Bell and The Butterfly and Army of Shadows). Fun film; the kind that is kind of hard to sit through after this, almost as though "this is the best, it's difficult to sit through weaker imitations". 6 Oscar nominations, including Finney for Best Actor, Screenplay Adaptation, and Geoffrey Unsworth's Cinematography. No Best Picture nomination. Paramount already had slots filled by Chinatown, The Conversation, and, oh yeah, Godfather Part 2. There wouldn't be a fourth film for the studio.

An Oscar did go to Bergman for Supporting Actress, mainly for one breakdown scene. Here's a quote from Lumet from the Forum website about this: “She [Ingrid Bergman] was so film-knowledgeable. She’d worked with such masters. So when she saw that I didn’t do a reverse shot of Albert Finney in their big scene together and there would be no cutaways, she gave me a kiss on the mouth. I almost left my wife! [laughs] I remember being pissed off that we got so many nominations and I didn’t get nominated.”The Lumet film I want to catch the most on this list. Let's do it people.

BLAZING SADDLES- Fri Feb 22 and Sat Feb 23 at Midnight- Landmark Sunshine Cinema- A midnight screening of Mel Brooks' comedy classic, that still works as incisive satire even today. Brooks told the story on Bob Costas' Later about how the Warner Bros. studio heads loved the film when they screened it the morning before it's big test screening. They told Mel how much they loved the flick, but they wanted a few changes. They then proceeded to give him a laundry list of what they wanted cut, of all which Mel just nodded his head and kept saying yes. "The bean farting scene, we want out, the sheriff is a niGONG, we want out, all n-word jokes, out, etc.". And after they were done giving notes and departed, Mel told his assistant "Fuck em. Send the film out as is.". Supposedly at the time, it was the most successful screening Warners ever had for a comedy. Oscar nominations for Madeline Kahn for Supporting Actress, Editing and Brooks' title song. If noting else, it would be better to spend 11 dollars to catch this then full price to catch Brooks' stage version of Young Frankenstein. Don't get me wrong, I was entertained. The cast was enjoyable (no Andrea Martin but I didn't miss her; the understudy was fine). But except for the Puttin' On The Ritz number, the stage version rarely rises above the film. The Producers, it is not. Even Spamalot at times rises above Monty Python and the Holy Grail a lot more than Young Frankenstein does. Anyway, let's catch this on this weekend if we can. Unless you prefer . . .

RISKY BUSINESS- Fri Feb 22 and Sat Feb 23 at Midnight- IFC Film Center- Part of a series of 80s comedies playing at midnight. If you rather do a midnight film that's a little more risque then Blazing Saddles, the film that made Tom Cruise a star also plays on this weekend. Wether you prefer Tom dancing around in his underwear, or you prefer Rebbeca De Mornay wearing none, the sleeper hit of the summer of 83 fits the bill. And a pretty good film to boot.

ONE FLEW OVER THE CUCKOO'S NEST- Sat Feb 23 at 4- MOMA- Part of the Milos Forman retrospective, and the only one I have any time to catch. The classic Nicholson film that won Jack an Oscar, as well as winning Best Picture. Personally, I prefer Jaws from that year, but that and Cuckoo's Nest leaves all other films from that year in the dust. Yes, even Barry Lyndon, though some years down the line, I may not feel that way. Jack plays McMurphy, who thinks he'll be free quicker if he gets transferred from jail to an institution and pretends he's crazy. Oops, doesn't work that way. Especially when going up against Nurse Ratched, who's right up there with Darth Vader, Gollum and Hannibal Lecter among great movie villians.

The rest of the story you're probably aware of, so no need to go further. Except for the fact that we should all thank God Kirk Douglas never got the chance to play McMurphy on screen. I don't even want think of that. I don't even want to think of Gary Sinise playing McMurphy. I saw him do that on Broadway; he was good for the most part, but there were sections where I thought "Gary's playing McMurphy as Beetlejuice." And compared to Jack playing McMurphy as a human being, forget it. It also helped that the screenplay is superior to the play (sorry, haven't read the book).

On both AFI Top 100 lists. 9 Oscar nominations, including Brad Dourif for Supporting Actor and Cinematography by Haskell Wexler and Bill Butler. 5 Oscars, which not only included Picture and Jack, but also Louise Fletcher for Actress, Forman for Director, and for the Screenplay. The first film to win those major categories since It Happened One Night. It wouldn't happen again until Silence of the Lambs. I'm sure most of us haven't seen Cuckoo's Nest in a while, and especially on the big screen. Here's our chance.

LONG DAY'S JOURNEY INTO NIGHT- Wed Feb 27 at 7:30- Film Forum- Part of the Sidney Lumet retrospective. There's no such thing as a happy Eugene O'Neill play, and this sure as hell isn't Rebbeca of Sunnybrook Farms. But a film cited as one of the best theater-to-screen adaptations ever, and as one of the best ensemble peices ever, that it is. Starring Katharine Hepburn, Ralph Richardson, Jason Robards and Dean Stockwell. Hepburn was Oscar nominated, and all three men shared the Best Actor award at Cannes, something I don't think has ever happened before or since. I don't think I need to sell this anymore.

PRINCE OF THE CITY- Thurs Feb 28 at 8:30- Film Forum- The last of the Sidney Lumet retrospective, and if the best wasn't saved for last, it's pretty close. A standout film that was too dark to be considered commercially appealing back in 1981. Considered to be Lumet's apology for Serpico. Terrific perf by Treat Williams. He plays a cop, tired of the corruption and what he has to do to keep his job. The scenes involving keeping a junkie informant from getting sick are difficult to watch, but tremendous as well. He turns informant and federal witness, but he can't count on the inner turmoil, or the damage he does to his cop friends, his only friends. These cop friends who try to do more to help him, then the feds who need his testimony, and need him to turn on his friends. Plenty of grey areas that the viewer must decide on their own. The names have been changed, including one Rudy Guliani as an arrogant young prosecutor. Co-starring Lindsay Crouse and Jerry Orbach.

Only recieved an Oscar nomination for Screenplay Adaptation. Not as fun as Raiders of the Lost Ark, not as Hollywood as On Golden Pond or Reds, not as British as Chariots of Fire, and even less successful then Atlantic City. Let's do this one.


Like I said, all of these I want to catch. If I HAD to narrow it down, like to go for Orient Express, Prince of the City, and the Midnight movies. Maybe even Cuckoo's Nest, and anything else would be a bonus. We'll see. Later all.

Feb revival: first half

Mike here with a new list of revivals to catch in Feb. Hopefully they're all better than Last Night At Marienbad. Wow, what a pretentious film. 10 minutes of fascinating visuals and music, 20 minutes of me fighting to stay awake, and 60 minutes wishing this was over. At least those annoying Egoiste perfume commercials of the early 90s ended after 30 seconds. Ugh. Anyway, I know some of these films listed are much better. So here we go:

DON'T LOOK BACK- Mon Feb 4-Thurs Feb 7 at 7:30 and 9:40- D.A. Pennebaker will appear in person at the 7:30 and 9:40 shows on Monday, February 4- Film Forum- A new 35mm print. The classic Dylan documentary from D.A. Pennebaker, covering his 1965 tour of England plays for one week only. This is the era covered by the Cate Blanchett section of I'm Not There, though Todd Haynes throws in some Hard Day's Night and some 8 1/2 references into the mix. Even if you're not familiar with Dylan, you're probably familiar with some aspects, like the video sequence where you hear the song, but you don't see Dylan moving his lips. Just dropping cue cards of particular words. Helped to shape the early form of MTV. Would really like to make an effort to catch this.

Director Pennebaker will appear at the 7:30 and 9:40 screenings on Monday Feb 4.

ROSEMARY'S BABY- Thurs Feb 7 at 7 and 9:30 for 6.50- Chelsea Clearview Cinema- W. 23rd St and 8th- The classic Roman Polanski horror film plays for a cheap price at a convenient location. Though more psychological at times than anything else, as well as one of those quintessential New York films. Whether it's scarier for Mia Farrow to have the Devil's baby in your womb, to marry an actor, or to have a haircut that doesn't work on your head like that pixie cut, is up to you to decide. Oscar nomination for Polanski's adaptation of Ira Levin's novel, an Oscar for ruth gordon as one of the witches. Pre film show by Hedda Lettuce.


LADY CHATTERLY- Thurs Feb 7 at 7:30- MOMA- I brought it up last time, and I throw it out there one more time. Check the last revival list for what I wrote, such as it is.


NETWORK- Fri Feb 8 and Sat Feb 9 at 4:30, 7 and 9:30, and Mon Feb 11 at 9:45- Film Forum- A new 35mm print and the start of the Forum's Sidney Lumet retrospective. One of the more influential films of 1976. Considered a bit outrageous when first released, but more prophetic as each year has passed. Tell me that cable news shows and the shows that spoof them don't resemble anything depicted in Network. If you have the balls to me I'm wrong . . .

10 Oscar nominations, including Picture, Director Sidney Lumet and Actor William Holden. 4 Oscars, for Supporting Actress, Actress for Faye Dunaway, Original Screenplay for Paddy Chayefsky and Actor for Peter Finch, the first posthumous winner in an acting category. Some feel Holden would have won if Finch had not died. But once you deliver something that hits the pop culture zeitgeist like the "I'm mad as hell" monologue, it's hard to overcome. Network became only the second film to win 3 of the 4 Oscar acting categories (Streetcar was first.)


LACOMBE, LUCIEN- Sat Feb 9 at Noon- IFC Film Center- Part of the Louis Malle retrospective. I tried to see this a few years back when a Malle retrospective was done at Lincoln Center, and when I did the list pre-blog. Timing messed up the chance and this was one of the few Malle films I was a little upset about missing. Here's a chance to correct that. Here's what I copied and pasted about 2 and a half years ago from the Walter Reade site:

A small town in the south-west of France, summer of 1944. Having failed to join the resistance, the 18 year old Lucien Lacombe, whose father is a prisoner in Germany and whose mother dates her employer, works for the German police. He then meets France Horn, the daughter of a rich jewish tailor and is introduced to the workings of the French Reisitance. Malle received praise for creating a realistic look of that world, without openly seeking any sympathy for the lead character, a potential collaborator.

Pierre Blaise became France's biggest male star after this performance. But after 2 more films, he died in a car accident, unable to capitalize much on his newfound fame. An Oscar nomination for Foreign Film.


MOSCOW DOES NOT BELIEVE IN TEARS- Sat Feb 9 at 8:15- The Walter Reade at Lincoln Center- Part of a retrospective of Russian film making. Was a big art house hit here in New York back in the early 80s, forgotten today. Curious to see it. For the rest, I'll have to copy and paste what Walter Reade's website wrote:

Winner of the Academy Award® for Best Foreign Language Film back in 1981, Moscow Does Not Believe in Tears is a sprawling, unabashedly sentimental but ultimately moving chronicle of three women—Katerina (Vera Alentova), Lyudmila (Irina Muravova) and Antonina (Raisa Ryazanova). In 1958, they emigrate from the country to work in the factories of the big city. A house sitting job for Katerina allows the women to throw a swank dinner party, at which they pretend to be college students. Eventually their ruse is discovered. Cut to the late ‘70s and the consequences of that night—their marriages and divorces, children, unrealized dreams and unkept promises. The glory of Moscow lay in its richly drawn and beautifully performed characters. These women are always treated as individuals, representing nothing beyond themselves, as all that has happened to them is ultimately traced back to the decisions they have made.


DERSU UZALA- Tues Feb 12 at 8:30- Walter Reade at Lincoln Center- Part of a retrospective of Russian film making. I'm even more curious to check this one out, because it's Kurosawa. After that, again, I'll cut and paste again from the Walter Reade website:

Over its long history, Mosfilm has often served as a temporary home for many foreign film artists. Perhaps none left such an extraordinary legacy as Akira Kurosawa, with his late masterpiece Dersu Uzala. Based on the memoirs of Vladimir Arseniev, the film is set in the expansive forests of Eastern Siberia at the turn of the century, where an aging frontiersman saves the life of a Soviet explorer, creating a life-long friendship. Yet, when the two reunite decades later, it is only too clear how much the world and the land have changed. Epic in form yet intimate in scope, Dersu Uzala is a beautiful and romantic hymn to nature and the human spirit. Winner of the 1976 Academy Award® for Best Foreign Language Film.


THE HILL and THE OFFENCE- Wed Feb 13 at 3:10 (Hill), 5:30 (Offence), 7:40 (Hill) and 10 (Offence)- Film Forum- Part of a Sidney Lumet retrospective. A double feature of Lumet films starring Sean Connery. Apparently there was a day when, if you cast Connery in a non-Bond film, audiences would go "No, I can't accept Sean in a non-Bond film. NEVER!". And they made sure ignore this serious, very British, film from very New York director Lumet. Don't think of this as anti-war, but as anti-stupidity in the military.

Connery plays one of 5 new prisoners in a British disciplinary prison camp, who may or may not be broken by the sadistic methods of one of their guards. Strong performances dot this black and white, almost clastrophobic film, including Ossie Davis, Harry Andrews and Michael Redgrave. Don't expect a jolly film, but expect a good one. The screenplay won at the Cannes Film Festival.

The Hill is double-featured with The Offence. NOT available on DVD here in the U.S., so this might be your only shot to catch this. More of a talking film, and just as ignored as The Hill. Connery plays a veteran police detective. Burned out after 20 years on the job, he's pushed over the edge when dealing with and interrogating a suspected rapist. Probably the most serious and dramatic performance ever by Connery. And probably even less known than The Hill.


WHAT'S UP DOC?- Thurs Feb 14 at 7 and 9:30 for 6.50- Chelsea Clearview Cinema- A cheap screening of a somewhat forgotten screwball comedy. The names Barbara Striesand and Ryan O'Neal may annoy the hell out of you, but they are a terrific couple in this 1972 film. Peter Bogdanovich's homage to the screwball comedies of the 30s and 40s fits right along with them. Most of you don't know this film, but this is a good time to start. Screenplay by Buck Henry, Robert Benton and David Newman. Great supporting cast includes Madeline Kahn, Austin Pendelton, Kenneth Mars, Michael Murphy, John Hillerman and Randy Quaid. Pre film show by Hedda Lettuce.

Films to catch up with for Oscar time and beyond

Mike here. Yeah, don't want to look and compare how I predicted the Oscars nominations compared to how they were actually announced. I'd rather not look back at the carnage. I'd prefer to focus on what to catch up with. Oscars are a guide, but not the be-all end-all of what to see. If that were the case, I'd wouldn't have seen what I thought were the 2 best films of 2006, The Heart of the Game and Army of Shadows. Besides, on my AdSense section on Google, I have something called Midwestern lesbians featuring reviews from Dr. Dyke. From a combination of blogs featuring say, Judy Garland, Bob Dylan, City Lights, War and Peace, Otto Preminger, Oscar nominations, Lady Chatterly and Labyrinth, they came up with Midwestern lesbians. You have to be kidding me.

Anyway, it's getting to be time to form a top 10 of 2007. Critics have done theirs, it's time for us. We know full well that some of "the best" will go unseen by us until these nominations tell us we should go. And even then, some titles will slip through the cracks and remain unseen until DVD or cable. So I'll do my best to serve as a guide of what to catch up with. I'll break it down into several categories, including major nominees in theaters, minor nominees in theaters, major nominees on or coming to DVD, and minor nominees on or coming to DVD, plus what to catch that wasn't nominated, but it wouldn't 2007 without them. I consider major nominees to be Picture, Director, the 4 Acting categories, the 2 Screenplay categories, Documentary and Animated Film. Quick reviews for some of the films I caught. Here we go:

Major ones in theaters:

Atonement, There Will Be Blood,

Juno (great perf. by Ellen Page and good perfs. by the entire cast as a whole. Thumbs up, despite the fact that every character is too goddamn clever for their own good. I like The Office's Rainn Wilson, but I hated his cameo with a passion.).

Michael Clayton (will be out on DVD on Feb 19),

No Country For Old Men, The Diving Bell And The Butterfly, Sweeney Todd, The Savages,

Charlie Wilson's War (good for Philip Seymour to get the nomination. He made Julia Roberts look like she was reciting lines. Entertaining, but to be blunt, it pussies out in the end. Knowing how the story ends, the makers claim to be subtle, and look like weaklings instead. Borderline thumbs up.),

Into The Wild, I'm Not There, Persepolis,

American Gangster (well done Ridley Scott film, almost operatic for a cops and robbers flick. Running out of time in theaters.),

Lars and The Real Girl (if you can still find it),

Beaufort (not for this year's list, but for next year. Nominated for Foreign Language film. According to the imdb plot line: "The story of a group of Israeli soldiers stationed in an outpost prior to the withdrawal of forces of 2000. Based on the novel by Ron Leshen. " Sounds like an Israeli Paths of Glory.)

Operation Homecoming: Writing The Wartime Experience (not for this year. Best Documentary nominee coming out in New York on Feb 9.)

The Counterfeiters (not for this year. Austria's nominee for Best Foreign Language film, comes out on Feb. 22.)

Minor ones in theaters: Enchanted, The Kite Runner,

The Golden Compass and August Rush (if you can find them.)

Major ones on DVD:

Away From Her (well done. The gentlest of storytelling, which at times packs the strongest of punches. Christie deserves all the accolades but the rest of the cast shouldn't be ignored. First time director Sarah Polley deserves her screenplay nomination.),

La Vie En Rose,

Eastern Promises (yes, it's playing in one theater still, but it's easier to see on DVD at this point. I'm pleasantly surprised that Viggo got some Oscar love. Good film overall, but you have to let some shit slide. If Naomi Watts' one-note character wasn't naive and/or stupid, we wouldn't have a film.),

In The Valley of Elah, Ratatouille,

Surf's Up (no I don't want to see the penguin surfing film. Good God, no.),

No End In Sight (the probable Best Documentary winner. Almost clinical and encyclopedic in its telling, but devastates nevertheless.),

Sicko (so the only way one can have affordable health care is to sneak into Cuba? Interesting . . . thumbs up.),

Elizabeth: The Golden Age and The Assassination of Jesse James . . . (Both on DVD on Feb 5),

Gone Baby Gone (on DVD on Feb 12)

Minor ones on DVD:

The Bourne Ultimatum, Once,

Norbit, Pirates of the Caribbean 3 (good luck making me sit thru those 2),

3:10 To Yuma (better than expected. But the audience I saw it with at Regal Union Square; the ones under 26 who kept saying "Why didn't Bale kill Crowe?" just didn't get the point of the film at all.),

Transformers (believe it or not, works better widescreen on TV than in the theater. The robot vs. robot action is much easier to follow, it's actually pretty funny at times, we will follow Shia LaBeouf anywhere the story takes us, and only takes itself seriously with both the fighting and the consequences of said fighting. Still, it's hard to love it after seeing Team America. Thumbs up.)

Across The Universe (if you can ignore such problems as Bono looking like Robin Williams from August Rush, the cheerleader lesbian number that starts well but then has the linebackers doing Fosse hands, the weak Mr. Kite number, the Vietnam scenes that look like they were shot outside the Beales home from Grey Gardens AND ESPECIALLY the limp ending, you still have an entertaining musical. Don't know which idiots decided to give director Julie Taymor 55 + million to shoot a cult classic in the making, but I liked it overall. Standouts include Joe Cocker, Evan Rachel Wood and especially Jim Sturges.)

Films one needed to catch up with from 07:

Zodiac, The Namesake, 300, Rescue Dawn, The Simpsons Movie, 28 Weeks Later, Lust Caution, Black Book, Lady Chatterly

The King of Kong (fun documentary on DVD, about a family man schlub-type, who runs into way too many obstacles in his pursuit of excellence in Donkey Kong. Bizarre world that makes you shake your head a lot. Thumbs way up.)

Knocked Up (second favorite comedy of the year. Much love to both Leslie Mann's work as the burned out perfectionist wife, and Kristen Wiig as the most passive aggressive co-worker ever.),

Hot Fuzz (funniest comedy of the year. Loves the action films it spoofs, as much as they love ripping into them.),

The Lives of Others (released in NYC last Feb, so it qualifies for a best of 07 list as far as I'm concerned. Won the Oscar for Foreign Language Film. If you haven't seen it, get up off your fat ass, put it on your Netflix, devote 2+ hours to it, and enjoy.),

Hairspray (pretty decent, at times good musical. Though it took the number where Travolta dances with Christopher Walken, one hour in, before I stopped thinking LOOK, it's John Travolta in hideous makeup and clothes. Also, too much jump cutting: its as though the director doesn't want us to think his cast can dance so he has to cover it up with editing, the Travolta-Walken scene not withstanding. Thumbs up anyway.),

The Kingdom (basically a CSI episode set in the Middle East, with a terrific 20-30 min. action sequence near the end. Strange that director Peter Berg copied a scene of an Arab policeman taking care of his elderly father, from his own Friday Night Lights, where the young quaterback takes care of his elderly mother. Almost shot for shot. Still, thumbs up.)

12:08 East of Bucharest ( kind of a Hungarian Christopher Guest-like comedy. On a Hungarian public access show, a Ted Baxter-esque host moderates what it was like when Communism ended and if there was a revolt or not. His two guest may or may not have been there; a professor who might not be sober, and an elderly man who seems to get easily distracted. Slow start but builds well. The taping, done in almost real time, is the payoff. Thumbs up.) .

I would list either Planet Terror or Death Proof, but unless it comes in the form of Grindhouse, complete with fake trailers, don't bother. It's not my fault that Harvey gave a ton of money to Tarantino and Rodriguez for something that would only appeal to a niche audience, THEN didn't have a clue how to promote it between the coasts. I enjoyed Grindhouse, but until it comes all together in what I would guess would be a 2 or 3 disc set, don't waste your money.

Also worth catching:

Killer of Sheep: It received the Army Of Shadows type of rediscovery this year, and is worth catching. You won't find it on my list, only because it already received a U.S. release back in 1977. Almost neo-realistic in its depiction of poor black families in L.A., struggling to get by in a post Watts riot environment. Fighting off the temptations of crime, but with no hope of rising above. Somewhat amateurish in terms of some of its performances, but with some stunning scenes as well. Now on DVD, rent it.

That's all for now. Later all.

Jan. revivals: second half

Mike here with what to catch for the second half of January. Smaller list than usual. Almost half of the films are French, but they're still worth catching. KIDDING! Here we go:















LAST YEAR AT MARIENBAD- Tues Jan 22, Wed Jan 23, Wed Jan 30 and Thurs Jan 31 at 6:30, 8:20 and 10:10- Film Forum- When I found out this was playing at the Forum back in early November, I wasn't looking forward to this. I was thinking about leaving it off altogether. Then, when I went to see the very good I'm Not There, I saw the trailer. Now I want to catch this real bad. Oscar nominated for Original Screenplay. In a new 35mm scope print. After that, I know nothing else about this picture. So I'm afraid I'll have to cut and paste from the Forum's website to explain this:

(1961) As ominous organ music resounds, the Scope camera tracks through the seemingly endless halls of a baroque grand hotel — alternately thronged with tuxedos and gowns or echoingly deserted — as Giorgio Albertazzi tries to persuade an initially disbelieving Delphine Seyrig (in gowns by Chanel — Coco herself!) that they’d met the year before, even as the sepulchral Sacha Pitoëff (her husband?) hovers about, continually beating all comers in a kind of pick-up-sticks game. Simple enough, right? But as Albertazzi continues to repeat “Last year. . . ” each encounter takes place in different locations, in different costumes, the alterations not just coming from scene to scene but from shot to shot — at one point Seyrig seemingly steps forward in a perfect match cut despite spanning completely different sets — with his remembrances becoming more and more detailed and personal, amid actually mounting suspense, until the question becomes not only did it happen, but was it seduction or. . . ? All this as their fellow guests alternate among relatively realistic crowd scenes, poses frozen in place as the principals walk past them, and a de Chirico-like composition amid the lavish grounds where the people cast extremely long shadows but the shrubbery casts none. Perhaps the ultimate puzzle film, with dizzying time shifts and flashbacks, real or imagined—or are they shifts into the subjunctive? Possible solutions have included the Orpheus-Eurydice myth; a visualization of the process of psychoanalysis; or the whole as a kind of stream-of consciousness of a single mind, encompassing truth, lies, and visualized what ifs. But the list could go on, and usually does, as vehement post-film discussions. Technically, however, it’s easy to agree that Marienbad is a tour de force, with Sacha Vierny’s lusciously velvet black and white photography of the incredibly lavish interior of — mainly — Nymphenburg castle in Bavaria; with the debuting Seyrig’s feathery peignoir probably an homage to Evelyn Brent in von Sternberg’s Underworld; and the horror film-worthy organ score by Seyrig’s brother Francis. With Oscar-nominated screenplay by nouveau roman titan Alain Robbe-Grillet, who now sits in the Académie Française. One of the most iconic and "referenced" art films of all time, Marienbad has been homaged in everything from Calvin Klein "Obsession" ads in the 80s, to Marc Jacobs' Fall 2007 collection, to British band Blur's music video "To the End." “I was not prepared for the voluptuous quality of Marienbad, its command of tone and mood, its hypnotic way of drawing us into its puzzle, its austere visual beauty.” – Roger Ebert. “The overall tone is poker-faced parody of lush Hollywood melodrama . . . Yet the film’s dreamlike cadences, frozen tableaux, and distilled surrealist poetry are too eerie, too terrifying even, to be shaken off as camp. For all its notoriety, this masterpiece among masterpieces has never really received its due.” – Jonathan Rosenbaum. “I can’t remember a film of more sustained visual delight. It is the Finnegans Wake of the movies.” – Dwight Macdonald.


LABYRINTH- Fri Jan 18 and Sun Jan 20 at Midnight- Landmark Sunshine Cinema- A flop back in the summer of 1986. A cult following today. Personally, I think the cult is bigger in say, L.A. and Chicago than here. It feels to me that; if there is more of a following in terms of mid80s Jim Henson work, then it would be more for Fraggle Rock then for this flick. When you hear those from 26-30 in NYC, who had HBO back then, talk lovingly about the show, or even Tina Fey, when she compared Paris Hilton's wig with a Fraggle, you might come to the same idea I did. That said, tell me if I'm wrong, but wasn't Labyrinth the only Jim Henson film to be re-released in a 2 disc DVD set to actually sell pretty well? Someone's rocking out to this.

While babysitting, Teenager Jennifer Connelly gets sick of her little brother, and wishes him taken away by some goblins. Why a mid 80s teen would pick goblins, who knows? But she gets her wish, as Goblin King David Bowie does exactly that. Jennifer goes off to David's Goblin castle to keep the rugrat from becoming a goblin. And of course, has to go through the title set of mazes to get there.

Executive produced by George Lucas, but hey, at least it's better than the other film he produced from that summer, Howard The Duck. Directed by Henson, who co-wrote the story. Monty Python's Terry Jones wrote an early version of the screenplay, with some kind of uncredited re-writing from Elaine May. Hell, I'll give this a shot. And because this falls on Martin Luther King weekend, Landmark Sunshine Cinema will also have a Sunday night Midnight screening, to go along with the Friday and Saturday night ones. If you don't have to work the next day, the Sunday nighter might be fun.


HIS GIRL FRIDAY and (But I'm not running to catch this one) THE WOMEN- Tues Jan 22 at 6 (His Girl) and 7:45 (Women)- Symphony Space- W. 95th and Bway- A double feature where I'd really like to catch the first film, and I don't care whether I see the second or not. His Girl Friday is the first of two female reporter versions of The Front Page, and the best film adaptation of this play. Newspaper editor Cary Grant tries to keep top reporter/ex-wife Rosalind Russell from quitting the paper and marrying perennial other guy Ralph Bellamy. She gets to finish her career on a high note, but actually finishing isn't that easy . . .

Director Howard Hawks keeps the film, and especially the dialogue, flying at a million miles a second, or it seems that way. Very few films have succeeded in pulling off such an evenly matched battle of the sexes for as long as they do here. Russell never had better chemistry with another male actor, as she did with Grant.

Double featured with another Russell film, George Cukor's The Women. Cukor got the job after being fired from Gone With The Wind. Whether it was because Clark Gable didn't want to work with a gay director, or didn't want to be directed by someone who had dirt on him, or any dozen of reasons from Hollywood Babylon, The Last Tycoon and God knows how many Golden Age of Hollywood dirt specials, Cukor was available and solidified his reputation as a successful woman's director here. Feels a bit too campy for me now, but not bad. Has its fun bitchy moments. Lines are drawn in a group of female friends, when one of their's husband has an affair, and the gossip spreads like wildfire. Hell of a cast, as MGM used every actress they had under contract, except for Myrna Loy and Greta Garbo. Ok, I guess Elizabeth Taylor, Judy Garland, and Lassie as well. Assuming they were under contract that is. The cast includes Russell, the cheated-on Norma Shearer, adulteress Joan Crawford, Pauline Goddard and Joan Fontaine.


LADY CHATTERLY- with an intro by Director Pascale Ferran- MOMA- Mon Jan 28 at 7- Technically a revival. A highly praised adaptation of D.H. Lawrence's story from 2006. For once, a version that wasn't turned into soft core porn, but treats its audience like adults. It came out in the U.S. this summer to critical praise, but against PG-type art house hits such as Waitress and Once, it had no chance. It seems like one of those films one should probably try to catch this when it comes to rounding out any potential top 10 lists for the year. Note this is the 3 hr version of the film, not the 3hr, 40 min version as it originally was on French TV. Director Pascale Ferran will introduce this particular screening at MOMA herself.


Let me know. Later all.