#920. Caro Diario (1994)

Grade: B 

OK, wow.  It's been over a month since my last post.  At this rate, I'm not really sure how I'm going to watch all of these movies before I die.  Unless I plan on living to be 150.  Of course, by then, they'll probably be able to inject the movie directly into my brain.  Alright, on to lucky number 13... 

Remember those analogies on your verbal SATs?  A is to B as C is to D?  Well, here's one for you that may put this movie and its director into a little perspective.  Nanni Moretti is to Italy as Woody Allen is to America.  His movies are witty, the locations are as important to the plot as the characters, and not everyone "gets him."  And just as Woody Allen's films are not widely accepted in Europe, Moretti has yet to find his audience in America.  Also, Moretti might not like this analogy, because as far as I know, he never married his adopted daughter. 

Caro Diario is a semi-autobiographical film told in three episodes (or "sections") of an open diary.  The first section is called "On My Vespa" and it's all about Moretti riding around Italy on a Vespa, all the while giving you a running commentary on things such as the charming old districts, ugly housing projects, his love for Jennifer Beals (complete with a goofy fan encounter) and his disgust of the cult film Henry: Portrait of a Serial Killer... which, btw, is also on my list of movies to watch before I die.  If I had known, I would have made this a double-feature.  "On My Vespa" is brought to a close when Moretti makes a pilgrimage for the first time to the beachside town where Italian filmmaker Pier Paolo Pasolini was murdered. 

In "Islands," Moretti and his professor friend, Gerardo, tour the volcanic islands north of Sicily, looking rather unsuccessfully for a quiet place to work.  They're thrown into bizarre situations that, for some reason or another, require them to move to another island, whether it's noisy traffic, friends who are too obsessed with their children or just obnoxious islanders.  I did enjoy seeing Gerardo's downward spiral from being a snob who didn't even own a television set to being so obsessed with American television that he forces Moretti to ask a group of American tourists what's happening on The Bold and the Beautiful, since they see the episodes ahead of Italy. 

The final section of the movie, "Doctors," deals with Moretti's chronic itching and his search for an effective doctor.  Even though the subject matter is a little more serious in this section, he remains consistent with the sweet tone of the entire film.  It would have been easy for him to turn this into a heavy-handed docudrama about his ailment that no one could seem to diagnose.  Instead, he simply shows himself being subjected to one ineffective treatment after another -- ointments, massage, diet, herbs, electro-accupuncture -- before a spot on his lung is finally diagnosed as Hodgkin's lymphoma. 

The movie starts off a little slow, but once I got used to Moretti's quirkiness, I kind of enjoyed his company.  But, like any houseguest, after a couple of hours, you're ready for him to go home so you can watch The Real Housewives of New Jersey finale in peace. 

Why you should watch Caro Diario: if you're planning a trip to Rome and/or you've ever had to deal with ineffective doctors.

Why you should skip it: if you don't like Woody Allen, you probably are not going to like Nanni Moretti either.

Credits:

Italy / France (Banfilm, La Sept. Canal+, Rai Uno, Sacher) 100m Technicolor

Language: Italian / English / Mandarin
Director: Nanni Moretti
Producer: Nella Banfi, Angelo Barbagallo, Nanni Moretti
Screenplay: Nanni Moretti
Photography: Giuseppe Lanci
Music: Nicola Piovani, Keith Jarrett, Angelique Kidjo
Cast: Nanni Moretti, Giovana Bozzolo, Sebastiano Nardone, Antonio Petrocelli, Giulio Base, Italo Spinelli, Carlo Mazzacurati, Jennifer Beals, Alexandre Rockwell, Renato Carpentieri, Raffaella Lebboroni, Marco Paolini, Claudia Della Seta, Lorenzo Alessandri, Antonio Neiwiller

Cannes Film Festival: Nanni Moretti (director, Golden Palm nomination)

#851. Pretty Woman (1990)

Grade: ****
"It was so good, I almost peed my pants!" -- Vivian

You took the words right out of my mouth, Viv.  I remember a time when I couldn't stand the sight of Julia Roberts.  I don't even know what she did to offend me so.  Maybe I felt this movie was hyped into the ground and I thought it could never live up to my expectations, so why even bother seeing it.

Then I watched Romy and Michele's High School Reunion.  "You know, even though we've seen Pretty Woman, like, 36 times, I never get tired of making fun of it."  If Romy & Michele liked it, I had to see what all the fuss was about.

Perhaps it's because I waited almost 10 years to see it, but I had completely forgotten about all the hype.  I had forgotten that Julia Roberts was nominated for an Oscar alongside Meryl Streep, Anjelica Huston and Kathy Bates.  I, however, had not forgotten about the horrifically awesome soundtrack.  I think "The King of Wishful Thinking" was stuck in my head for a good two weeks.  Don't even get me started on that Roxette song.

I'm sure you all know the story by now: Richard Gere is the dapper, older gentleman, Julia Roberts is the hooker with the heart of gold, Jason Alexander is the a-hole bent on breaking the two up and Hector Elizondo is the kindly old fellow who teaches the trailer trash how to fit in on Rodeo Drive.  And let's not forget Laura San Giacomo (and her eyebrows) as the foul-mouthed best friend.

Yes, it's formulaic.  Yes, you know how it's going to end before it even begins.  But sometimes you just want to put in a movie and not have to think too hard about it.  This is the perfect movie for that.  There's so much to love here...and so much to make fun of, as Lisa Kudrow so eloquently pointed out to me.

Why you should watch Pretty Woman: it's a classic romantic-comedy with a great cast and a solid script that has stood the test of time.
Why you should skip it: you haven't forgiven this couple for Runaway Bride.

Did you know?: The scene where Edward snaps the necklace case down on Vivian's fingers was improvised by Gere, and Roberts's reaction was totally natural.  The filmmakers liked it so much, they decided to leave it in.

Molly Ringwald was originally offered the role of Vivian but turned it down.  And Al Pacino turned down the role of Edward.  Can we just stop for a minute and think about what this movie would have been like with these two?

Credits:
U.S. (Silver Screen, Touchstone) 119m Technicolor
Director: Garry Marshall
Producer: Arnon Milchan, Steven Reuther
Screenplay: J.F. Lawton
Music: James Newton Howard
Cast: Richard Gere, Julia Roberts, Ralph Bellamy, Jason Alexander, Laura San Giacomo, Hector Elizondo, Alex Hyde-White, Amy Yasbeck, Elinor Donahue, Judith Baldwin, Jason Randal, Bill Applebaum, Tracy Bjork, Gary Greene, Billy Gallo

Oscar nomination: Julia Roberts (actress)

Up Next: Caro Diario (1994)

#1106. The Dark Knight (2008)

Grade: *****
"I'm gonna make this pencil disappear.  Ta-daa!  It's gone!" -- The Joker

After getting a healthy dose of camp in Tim Burton's Batman, it was time to see director Christopher Nolan really put the "dark" in The Dark Knight.  Serving as a "sequel" to Nolan's Batman Begins (2005), we are spared the superhero origin story and are thrown right into the IMAX-lovin' action.

But this film is more than just a rock 'em, sock 'em superhero movie.  Nolan does a great job combining the comic book mythology into the real world.  Sure, there are the fantastical, endless supply of gadgets from Batman's utility belt.  But, at least in Nolan's world, it's explained that Batman is using Bruce Wayne's company, and CEO Lucius Fox (Morgan Freeman), to finance all of his wonderful toys, whereas in Burton's world, they all come from his belt.  And, sure, there's the Batpod along with death-defying stunts for the mindless action relief, but in this film, Batman squarely faces the problem that his character has always battled: How can a vigilante be ethically sound?

On one end of the character spectrum, there's Harvey Dent (Aaron Eckhart), representing the side of good and trying to restore order to Gotham City after the events of the first film.  And on the completely opposite side of the spectrum lies the Joker (Heath Ledger).  The Joker serves clearly as an agent of chaos.  He even says so.  His sole purpose in the movie is to throw a wrench into Dent's plans and help him along his inevitable path to becoming the villain Two-Face.  And right in the middle of these two is the Batman.  He operates outside of the law, like the Joker, but his ultimate goal is to achieve the peace that Dent so desperately wants.  Some critics have compared this movie with that of the Bush Administration's "War on Terror." Batman was willing to do "whatever it took" to bring in the Joker, including torture and ignoring the law. However, Batman is sidetracked by the Joker's random chaos, that he fails to see his true intentions -- setting Two-Face loose on the world.

Even though this movie is not at all about the Joker, Heath Ledger manages to steal the show, much like Jack Nicholson did in Tim Burton's version.  Nolan wisely omits the Joker's origin story, adding further to the mystery of this character.  Sure, we're given two completely different stories from the Joker himself, but, come on, they're probably both false.  I'll admit that I was a little worried that all the hype around Ledger's performance was going to ruin the movie for me, but I have to agree that his embodiment of this character was well worth the hype, along with his posthumous Oscar win.

There was minor backlash from crazed fanboys who were disappointed that the movie was primarily filmed in Chicago, because Batman belonged in "Gotham City" and not in the real world.  But, it has long been established that the "Gotham City" in the Batman comics was modeled after the Windy City, much like "Metropolis" was modeled after New York City.  So, I was not at all rattled by seeing Batman battle the Joker in the streets of Chicago.  Now, if principal photography had been in West Hollywood, that's a completely different story...

Did you know?: IMAX cameras were used for the first time in feature film history with this movie.  There are six action-heavy sequences, along with some high altitude shots, filmed on the IMAX ratio.  If you're watching the Blu-ray version, you'll notice that the ratio switches from widescreen to IMAX during these key scenes.

Why you should watch The Dark Knight: aside from Heath Ledger's haunting portrayal of the Joker, this is a very smart film rich in character, emotion and butt-kicking action!
Why you shouldn't watch: it might be too dark for you.


Credits:
U.S. (Warner Bros.) 152m Color
Director: Christopher Nolan
Producer: Christopher Nolan, Charles Roven, Emma Thomas
Screenplay: Christopher Nolan, Jonathan Nolan, David S. Goyer
Photography: Wally Pfister
Music: Hans Zimmer, James Newton Howard
Cast: Christian Bale, Michael Caine, Heath Ledger, Gary Oldman, Aaron Eckhart, Maggie Gyllenhaal, Morgan Freeman

Oscars: Heath Ledger (actor in a supporting role), Richard King (sound editing)
Oscar nominations: Nathan Crowley, Peter Lando (art direction), Wally Pfister (cinematography), Lee Smith (editing), John Caglione, Jr., Conor O'Sullivan (makeup), Lora Hirschberg, Gary Rizzo, Ed Novick (sound), Nick Davis, Chris Corbould, Timothy Webber, Paul J. Franklin (visual effects)

Up Next: Pretty Woman (1990)

#832. Batman (1989)

Grade: ****
"Can somebody tell me what kind of world we live in, where a man dressed up as a *bat* gets all of my press?  This town needs an enema." -- The Joker

OK, before I get into it, I have to tell you the spooky coincidence that happened today.  First of all, JC and I watched this a couple of weekends ago (we paired it with The Dark Knight for a Batman Double Feature).  I just got around to writing about it today.  So, I started reminiscing about seeing this movie on opening night back in '89.  So, I wanted to look up when this movie actually opened.  June 23.  Spooky, right?  Today is Tim Burton's Batman's 21st anniversary.

The smartest decision Tim Burton made in Batman (besides casting Jack Nicholson) was hiring production designer Anton Furst to create Gotham City.  The sets literally look like something right out of a comic book or 1930s film noir.  Gotham City was as much a character in the movie as Alfred or Commissioner Gordon.

The second smartest decision (besides casting Jack Nicholson) was hiring Danny Elfman to compose the soundtrack score.  It was instantly iconic and set the stage for just about every comic book movie that followed. 

I remember back in 1988 when it was announced that Mr. Mom was going to be my Batman, my first reaction was "he's not going to be MY Batman!"  I was a little upset.  Sure, I loved Michael Keaton as Beetlejuice, but this was freakin' Batman.  Had there been an Internet back then, I'm sure the fanboys would have broken it.  But as soon as we found out that Jack Nicholson would be putting on the clown make-up as the Joker, all was right with the world.

As a HUGE comic book nerd, I couldn't have been more excited about this movie.  I had the Danny Elfman score on something called a "compact disc."  Heck, I even had the Prince soundtrack of songs that were "inspired" by the movie.  (In retropsect, "Batdance" is an awful song and should only be played for the purpose of torture.)  I was there on opening night, in what had to have been the longest line that I had ever stood in for a movie.  I was hooked from the opening scene where Batman foils a couple of muggers and utters the now, simplistically iconic line, "I'm Batman."

Don't get me wrong, this movie has its flaws.  Jack Nicholson is fantastic as the Joker, but there are times when scenes are played out just a little too long.  Specifically, when he and his thugs invade the musuem.  My guess is that there was an agreement that at least one of Prince's songs had to be played in its entiriety.  So, the Joker and his gang deface valuable works of art to the tunes of "Partyman."  This is also the point of the movie when Vicki Vale (Kim Basinger) begins her non-stop screamfest.  Just do what I do.  Turn it into a drinking game.  Get your favorite drink and take a swig every time she screams, screeches or squawks.  You'll be so plastered by the end of the movie you won't even realize she's doing it anymore.

Another thing I realized after I first saw this movie, Michael Keaton wasn't such a bad casting decision after all.  He was at least better than Val Kilmer and/or George Clooney.  Keaton was able to turn Bruce Wayne into a troubled, brooding orphan with serious identity issues, which is exactly what the character should be.  It would have been easy for him to resign himself to playing second fiddle to Nicholson's Joker in his own movie, but he stood his ground and was the best, in my opinion, Batman in the original franchise.

This movie is a must-see, especially if you're a comic book nerd, like me.  Even if you're not, it's still a great action flick with lots of quotable lines ("Wait'll they get a load of me...") and outlandish visuals (choreographed mime attack, anyone?).  It's a great comic counterpart to The Dark Knight, which is great to watch as a double-feature.  Just do whatever you can to avoid Batman & Robin, one of the worst movies in American cinema history.

Did you know?: I wasn't the only angry comic book nerd.  50,000 protest letters were sent to Warner Bros. offices when it was announced that Michael Keaton was cast as Bruce Wayne/Batman.

Prince wasn't the first choice to write and perform songs for the movie.  Michael Jackson was originally approached, but he had to turn it down due to his concert commitments.


Credits:
U.S./G.B. (Polygram, Warner Bros.) 126m Technicolor
Director: Tim Burton
Producer: Peter Guber, Jon Peters
Screenplay: Sam Hamm, Warren Skaaren, Bob Kane
Photography: Roger Pratt
Music: Danny Elfman, Prince
Cast: Michael Keaton, Jack Nicholson, Kim Basinger, Robert Wuhl, Pat Hingle, Billy Dee Williams, Michael Gough, Jack Palance, Jerry Hall, Tracey Walter, Lee Wallace, William Hootkins, Richard Strange, Carl Chase, Mac McDonald


Oscar: Anton Furst, Peter Young (art direction)

Why you should watch Tim Burton's Batman: it set the standard for what a great comic book movie should be.
Why you should skip it: you can't deal with Kim Basinger's screeching.

Up Next: The Dark Knight (2008)

#988. The Sixth Sense (1999)

Grade: *****
"I see dead people." -- Cole Sear

I promise not to spoil the ending of this movie, but, come on, it's 11 years old.  There has to be a statute of limitations on spoiler alerts, right?

Without giving away the ending, this is a great film with a solid story, fantastic acting, and a surprise ending reminiscent of Hitchcock.  The concept here is that little Cole (Haley Joel Osment) sees ghosts, and they torment him night and day, to the point of physical abuse.  He eventually meets the award-winning child psychologist Malcolm Crowe (Bruce Willis), who tries to help him out.

Meanwhile, Cole's mom (Toni Collette) and Malcolm's wife Anna (Olivia Williams) are having problems of their own relating to the men in their lives.  Cole is obviously afraid to tell his mom that he's being physically abused by gh-gh-ghosts...  I mean, who wouldn't put their kid away for something like that?  The subplot with Malcolm and his wife also serves its purpose by movie's end.

Without question, this is Shyamalan's best movie, and based on the previews for The Last Airbender, it will remain his best movie at least for another year or two.  Don't get me wrong, I love Signs and even Unbreakable was better on repeat viewing, but I wish I had one of those Men In Black memory-erasing things so I could forget The Village and The Happening (or as JC calls it, The Crappening).  Favorite quote from that movie: "We've got to stay ahead of the wind!"  Um, ok, Marky Mark, how exactly do you run from the wind?

But, I digress.  Shyamalan obviously knew what he was doing with this story and these actors.  He got a great performance out of Willis, and, even though he over-enunciated everything, little Haley Joel Osment wasn't half as annoying as most child actors.  My favorite performance in the movie though was Oscar-nominated Toni Collette.  There's a scene at the end of the movie that has me in tears every time I see it.  EVERY time, people!  I'm getting misty just thinking about it now. 

This is one of those movies that really requires multiple viewings in order to appreciate how wonderful it truly is.  Not that it isn't fantastic upon first viewing, but there are subtle clues sprinkled throughout the movie like little breadcrumbs trying to help you get to that surprise twist.  Shyamalan also loves his symbolism.  Pay close attention to the color red.

This is on my list of must-own movies, so if you haven't seen it yet, let me know and I'll have you over for a screening.  And I promise not to give away the ending.

P.S. Dorothy had the power to go home all along, and Darth Vader is Luke Skywalker's father.

Did you know?: M. Night Shyamalan also wrote the screenplay for Stuart Little. I haven't seen it, but I'm wondering what the twist ending to that movie is.


Credits:
U.S. (Hollywood, Spyglass, Kennedy/Marshall) 107m Technicolor
Language: English / Spanish / Latin
Director: M. Night Shyamalan
Producer: Kathleen Kennedy, Frank Marshall, Barry Mendel
Screenplay: M. Night Shyamalan
Photography: Tak Fuijimoto
Music: James Newton Howard
Cast: Bruce Willis, Haley Joel Osment, Toni Collette, Olivia Williams, Trevor Morgan, Donnie Wahlberg, Peter Anthony Tambakis, Jeffrey Zubernis, Bruce Norris, Glenn Fitzgerald, Greg Wood, Mischa Barton, Angelica Torn, Lisa Summerour, Firdous Bamji

Oscar nominations: Frank Marshall, Kathleen Kennedy, Barry Mendel (best picture), M. Night Shyamalan (director), M. Night Shyamalan (screenplay), Haley Joel Osment (actor in a supporting role), Toni Collette (actress in a supporting role), Andrew Mondshein (editing)

Why you should watch The Sixth Sense:  it's one of the best ghost stories ever told and the acting is top-notch.
Why you shouldn't watch:  you saw The Happening and just can't find it in yourself to forgive M. Night.

Up Next: Batman (1989)

#443. A Hard Day's Night (1964)

Grade: ****
"It's been a hard day's night, and I've been working like a dog." -- The Beatles

I had to resist the urge to tune out the visuals and just sit back and enjoy one of the most awesome movie soundtracks of all time.  I'm glad I resisted that urge.  This has to be one of the funniest and most unique movies ever made.  Now, it's definitely not for every one, but if you're a fan of The Beatles, you should give it a watch (if you haven't already).  Shot before The Beatles had hit it big in America, the movie follows a day in the life of the Fab Four, as they travel to a TV appearance and an evening concert and experience various misadventures along the way.

Of course, there's very little substance to their adventures -- running from fans, attending parties, and losing Ringo (all with Paul's grandfather (Wilfrid Brambell) in tow).  There are moments that make their trip worthwhile.  Like when Paul's grandfather rushes to Ringo's aid when the boys are joking about the size of his nose, "He can't help having a hideous great hooter!  And his poor little head, trembling under the weight of it!" 

Oh, and there's the music.  With unforgettable classics like 'And I Love Her,' 'Tell Me Why,' 'If I Fell,' and the title track, I found myself singing along and probably driving my neighbors batty.  The great thing about this film is that it's not just a light comedy or a brainless concert movie, it's also a telling look into the music scene of the '60s and the outbreak of Beatlemania.  Those screaming girls and fainting groupies are often imitated, but here's where you can find the originals.  And, yes, this is the movie that inspired the opening sequence of Austin Powers: International Man of Mystery. 

Did you know?:  Phil Collins has a blink-and-you'll-miss-him cameo as one of the screaming teenagers at the concert.  Of course, that's what Phil's been telling everyone.  It could have been any 13-year-old kid. 

The word "Beatles" is never used in this movie.

This was the first movie ever put out on DVD.

Credits:
G.B. (Proscenium) 87m B&W
Director: Richard Lester
Producer: Walter Shenson
Screenplay: Alun Owen
Music: George Harrison, John Lennon, George Martin, Paul McCartney
Cast: John Lennon, Paul McCartney, George Harrison, Ringo Starr, Wilfrid Brambell, Norman Rossington, John Junkin, Victor Spinetti, Anna Quayle, Deryck Guyler, Richard Vernon, Edward Malin, Robin Ray, Lionel Blair, Alison Seebohm

Oscar Nominations: Alun Owen (screenplay), George Martin (music)

Why you should watch A Hard Day's Night: the fantastic soundtrack and dry, witty script.
Why you shouldn't watch: if you're not a Beatles fan.

Up Next: The Sixth Sense (1999)

#432. Goldfinger (1964)

Grade: ★★★★★

 "Auric Goldfinger.  Sounds like a French nail varnish." - James Bond.

Goldfinger has everything you could possible want in a Bond movie:  the maniacal arch villain, his ridiculously elaborate plot, the gorgeous temptress, her ridiculously suggestive name, the dangerous henchman, the gadgets, the cars, the ejector seat, Miss Moneypenny, a catchy theme song, and, of course, the martinis (shaken, not stirred).

Sean Connery is back in the third (and my favorite so far) installment of the nearly 50-year-old franchise.  This time he finds himself in Miami puzzling over the death of his latest conquest who has been killed by gold paint asphyxiation.  All fingers (pun intended) point to Auric Goldfinger (Gert Fröbe), whom Bond is assigned to shadow across Europe.  He'll have his work cut out for him, since he'll not only have to deal with Goldfinger and his wildly elaborate and convoluted plot, but he'll also have to take on his mute henchman Odd Job (Harold Sakata), whose bowler hat doubles as a deadly Frisbee.  Arguably the best scene in the movie is when Goldfinger has Bond exactly where he wants him: strapped to a table with a laser beam aimed at his groin.  Bond asks, 'Do you expect me to talk?' 'No, Mr. Bond,' Goldfinger famously replies.  'I expect you to die.'

In the original script, the scene had a spinning buzzsaw (as envisioned in the original novel) until it was decided that this was too passé.  And so, the laser beam made its very first appearance in a movie...ever.

Of course Bond escapes this predicament, only to be captured again by Goldfinger and his "personal pilot" with man-hands, Pussy Galore (Honor Blackman).  Once they make it back to his secret American lair, Goldfinger begins revealing his plan -- complete with scale models and a pre-PowerPoint presentation -- to a gathering of mob bosses immediately prior to gassing them all, which begs the question: Why bother explaining the plan to them?.  You know it's because he wanted to show off his model of Fort Knox.  And so, Operation Grandslam is put into motion.  Now all Bond has to do is take out Odd Job, capture Goldfinger, defuse an atomic bomb, get the girl (which won't be easy since Pussy likes the ladies), and save the world before the movie ends.  Piece of cake.

So, even though this wasn't the first Bond film, it is the one that set the standard for every one that followed.  It is essentially the movie that turned "Bond movies" into their own genre and is well-deserving of a 5 star-rating and its place on the list of 1001 Movies You Must See Before You Die.

Did you know?:  Gert Fröbe spoke very little English, so his voice was dubbed over by a different actor (Michael Collins).  And contrary to popular belief, Shirley Eaton, the actress who played Goldfinger's gold-painted victim, did not really die from paint-poisoning.  She went on to star in several other movies until she chose to retire in the late '60s.

Credits:
G.B. (Danjaq, Eon) 112m Technicolor
Director: Guy Hamilton
Producer: Albert R. Broccoli, Harry Saltzman
Screenplay: Richard Maibaum, Paul Dehn, from novel by Ian Fleming
Photography: Ted Moore
Music: John Barry, Monty Norman
Cast: Sean Connery, Honor Blackman, Gert Fröbe, Shirley Eaton, Tania Mallet, Harold Sakata, Bernard Lee, Martin Benson, Cec Linder, Austin Willis, Lois Maxwell, Bill Nagy, Michael Mellinger, Peter Cranwell, Nadja Regin
Oscar: Norman Wanstall (special sound effects)

Why you should watch Goldfinger: it's one of the best Bond movies ever made and it turned a fledgeling franchise into its own genre.
Why you shouldn't watch: Operation Grandslam might make you crave Denny's at 2 in the morning.

Up Next: A Hard Day's Night (1964)

#694. An American Werewolf in London (1981)

Grade: ★★★★

"I didn't mean to call you a meat loaf, Jack!" - David

I will always remember this as the first VHS tape my family ever rented after buying our first VCR.  Why will I remember that?  Because I was away at summer camp at the time!  That was the longest week of my life.

Even after all these years, I still never get tired of watching this movie.  Sure, the effects, although ground-breaking at the time, are now a bit creaky (thanks, Avatar).  But the story is classic boy-meets-wolf, wolf-bites-boy, boy-meets-girl, boy-goes-on-a-murderous-rampage-in-London-and-wakes-up-naked-in-a-zoo.  What could be bad about that?

David (David Naughton) and Jack (Griffin Dunne) are two American backpackers who venture onto the Yorkshire Moors despite the warnings of the suspicious regulars of the Slaughtered Lamb pub.  They soon find out why they were warned to stick to the roads as they're attacked by a hungry werewolf.  Jack becomes Wolf Chow, but David survives thanks to the intervention of the locals.  He wakes up in a London hospital under the care of attractive nurse Alex (Jenny Agutter).  Of course they fall in love, but things get awkward when he transforms into a werewolf and begins snacking on the locals.

There are so many great gruesome, blackly comic scenes in this movie: Jack coming back from the dead to warn David of his impending transformation, David's first transformation, the werewolf pursuit through an underground tube station and David meeting his decaying - and rather annoyed - victims inside a porno theater.  The movie boasts outstanding, and Oscar®-winning, special effects from Rick Baker, which prompted Michael Jackson to hire him and John Landis to work on his classic video epic Thriller.  Even the soundtrack pokes fun at the theme: Van Morrison's "Moondance," Creedence Clearwater Revival's "Bad Moon Rising" and two versions of "Blue Moon" (Bobby Vinton and the more moody interpretation by Sam Cooke).

All-in-all, this is a great horror-comedy that, even though the effects may seem a little cheesy now, stands the test of time.  If you haven't seen it before and you're not scared of Nazi werewolves or if you just feel like laughing at Frank Oz's awkward cameo and David Naughton running naked through the streets of London, wait until the next full moon and enjoy!

Did you know?:  The producers of the film wanted to cast Dan Aykroyd and John Belushi as the two male leads, but John Landis refused.  Instead, he cast David Naughton because he saw him in a Dr. Pepper commercial.  I'm a Pepper, too.

Credits:
U.S./G.B. (American Werewolf, Guber-Peters, Lycanthrope, PolyGram) 97m Technicolor
Director: John Landis
Producer: George Folsey, Jr.
Screenplay: John Landis
Music: Elmer Bernstein
Cast: David Naughton, Jenny Agutter, Griffin Dunne, Don McKillop, Paul Kember, John Woodvine, Joe Belcher, David Schofield, Brian Glover, Lila Kaye, Rik Mayall, Sean Baker, Paddy Ryan, Anne-Marie Davies, Frank Oz
Oscar: Rick Baker (make-up)

Why you should watch An American Werewolf In London: Influential in the comedy-horror genre and Michael Jackson videos.
Why you shouldn't watch: If you faint at the site of blood.

Up Next: Goldfinger (1964)

#911. Muriel's Wedding (1994)

Grade: ★★★★★

"But since I've met you and moved to Sydney, I haven't listened to one ABBA song.  That's because my life is as good as an ABBA song.  It's as good as 'Dancing Queen.'" - Muriel MARIEL

There are so many great lines in this movie ("You're terrible, Muriel"), but the one above best sums up the whole theme.  All Muriel Heslop (Toni Collette) ever wanted was to get married.  A high school dropout still living at home in Porpoise Spit, Australia with a verbally abusive (adulterous) father and a clueless mum, Muriel never seemed to fit in.  She hangs out with her high school "friends" even though they don't really like her.  The scene where they kick her out of the group is both hilarious and heartbreaking at the same time.

But a chance encounter with old friend Rhonda (Rachel Griffiths) begins Muriel's transformation.  There are a couple of melodramatic themes in the movie, but that's what makes this comedy unique and timeless.  Collette and Griffiths make a fantastic on-screen duo, especially in the talent show scene where they lip-sync (and win) ABBA's "Waterloo."  And what a coincidence that they happened to have exact replicas of ABBA costumes and choreography on a moment's notice.  The movie's so great that even silly things like that didn't even bother me.

Screenwriter/Director P.J. Hogan was originally refused by the band ABBA to use their songs in the movie.  But when he promised to fly to Europe to plead his case in person, permission was granted, provided the band receive a percentage of profits from the film's release.  The movie turned out to be such an international hit, that it inspired the very successful Broadway show Mamma Mia!

I could watch this movie again and again and never get tired of it.  If you haven't seen this, please add this to your Netflix queue immediately!  It's only available on DVD, but I'm praying that a Blu-ray™ release is coming up soon.  But, since I know that Miramax is this close to being put up on Craigslist by Disney, I'm not holding my breath. 

Did you know?: Toni Collette gained 40 pounds in 7 weeks for this role with the help of a dietician.  Meanwhile, I feel like I've gained 40 pounds in 7 weeks with the help of a 2 for 1 sale on Keebler Fudge Shoppe cookies.

Credits:
Australia/France (CiBy 2000, Film Victoria, House & Moorhouse) 106m Color
Director: P.J. Hogan
Producer: Lynda House, Jocelyn Moorhouse, Michael D. Aglion, Tony Mahood
Screenplay: P.J. Hogan
Music: Peter Best
Cast: Toni Collette, Rachel Griffiths, Sophie Lee, Rosalind Hammond, Belinda Jarrett, Pippa Grandison, Bill Hunter, Jeanie Drynan, Daniel Wyllie, Gabby Millgate, Gennie Nevinson, Matt Day, Chris Haywood, Daniel Lapaine
   

Up Next: An American Werewolf In London (1981)

#935. Toy Story (1995)

Grade: ★★★★★

"This is isn't flying.  This is falling with style."  -- Buzz Lightyear 

When I first started my list of 1001 Movies, I was all gung-ho to watch everything from the beginning of time.  Then I realized that I would be watching silent movies for at least a year before I even got to the "talkies."  I have nothing against silent films, but after watching The Birth of a Nation, I need to switch things up.  So, I will be watching all 1001 Movies in random order.

The first full-length movie from Pixar, and also the first full-length computer animated movie, Toy Story still holds up after 15 years.  This movie represents Walt Disney's original theory on how to make a great movie, have a great story and use great characters to tell it.  Pixar didn't rely on Broadway-style musical numbers to express their characters' feelings.  They used words, music and even facial expressions, which couldn't have been easy in fully computer-generated characters.

We all know the story, Woody is Andy's favorite toy, but when Andy gets a shiny new Buzz Lightyear action figure for his birthday, Woody's not necessarily at the top of the heap anymore.  When Woody tries to hide Buzz behind the bed, he accidentally knocks him out the window and into the yard of Sid, the boy that tortures toys!  It's now up to Woody to rescue Buzz, and along they way they both learn the meaning of true friendship.  Awww.

Multiple viewings do not diminish this movie at all.  There are so many in-jokes and subtlities that you might have missed the first time around.  For example, I never realized that the toolbox on top of the milk crate that Woody is trapped under is a Binford, the same type of tools used on Tim Allen's show Home Improvement. 

Recently released on Blu-ray™, and I should know since it was the last ad campaign I worked on, this is the perfect movie for the format.  The picture is gorgeous and it's packed with hours of bonus features that delve into the making of this classic.  A definite must-own.

Credits:

U.S. (Pixar Animation, Walt Disney) 81m Technicolor

Director: John Lasseter

Producer: Bonnie Arnold, Ralph Guggenheim

Screenplay: John Lasseter, Andrew Stanton, Peter Docter, Joe Ranft, Joss Whedon, Joel Cohen, Alec Sokolow

Music: Randy Newman

Cast (voices): Tom Hanks, Tim Allen, Don Rickles, Jim Varney, Wallace Shawn, John Ratzenberger, Annie Potts

Oscars: Special Achievement (John Lasseter)

Oscar Nominations: Best Original Screenplay, Best Music - Score, Best Music - Song ("You've Got A Friend In Me")

#3. The Birth of a Nation (1915)

I was NOT looking forward to watching this movie. A three-hour silent film about the Ku Klux Klan just did not appeal to me. I tried to appreciate it for its artistic merits - and when I say "artistic merits," I mean the technical achievements it made in filmmaking history. It was still pretty rough to get through.
The movie begins before the Civil War, explaining the introduction of slavery to America before the battles start. Two families are introduced, the northern Stonemans and the southern Camerons. I had a hard time keeping all the characters straight. I had to give them names like "moustache guy #1" and "crazy little sister." The story is told through these two families and often their servants, who epitomize the worst racial stereotypes. As the nation is torn apart by war, the slaves and their abolitionist supporters are portrayed as the destructive force behind it all.

The second half of the movie gets even more racist as we see the rise of the Ku Klux Klan, the picture's would-be heroes. (Oh, and I forgot to mention that there's a love story thrown into the mix here. Rolls eyes.) The film seems to be saying that only the Ku Klux Klan can maintain the unity of the nation. It's no wonder that even in 1915 the film was met with outrage, protested by the NAACP and insighted riots in several different cities. D.W. Griffith was later forced to answer criticisms with his next film, Intolerance, which I will be watching soon. But, the most disturbing thing about this movie is that it's based on historical facts.
I tried really hard to disconnect myself from the subject matter and watch this as a piece of film history. This was the first real "epic" film, proving that even in the silent era audiences were willing to sit through a three-hour drama. Griffith essentially created contemporary film language by introducing techniques such as dramatic close-ups, tracking shots, cross-cut editiing and even the first orchestral score. It's a shame that all these groundbreaking elements are attached to such a disturbing part of our nation's history.
I give this 2 out of 5 stars.


Credits:
U.S. 190m Silent B&W
Director: D.W. Griffith
Producer: D.W. Griffith
Screenplay: Frank E. Woods, D.W. Griffith, from the novel and play The Clansman by Thomas Dixon
Photography: G.W. Bitzer
Music: Joseph Carl Breil, D.W. Griffith
Cast: Lillian Gish, Mae Marsh, Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George Siegmann, Walter Long, Robert Harron, Wallace Reid, Joseph Henabery, Elmer Clifton, Josephine Crowell, Spottiswoode Aitken, George Beranger

#1. A Trip to the Moon (1902) & #2. The Great Train Robbery (1903)

Le Voyage Dans La Lune (A Trip To The Moon) (1902)

France 14m Silent B&W 
Director: Georges Méliés
Producer: Georges Méliés 
Screenplay: Georges Méliés, from the novel De la Terra á la Lune by Jules Verne

As if listening to 1001 albums wasn't enough, I've decided to spend my "free time" catching up on the 1001 Movies You Must See Before You Die. I doubt that I'll offer any new insight to these movies. I just thought it would be fun to give my two cents and compare notes with anyone else who has seen them. Piece of cake, right? We'll see...

I begin my journey with what is most likely the first ever science fiction movie, Georges Méliés' A Trip to the Moon. It starts with a group of scientists who vote to explore the moon. They are ceremoniously shot into space inside a missile-like spaceship and land in the eye of the moon, literally. The scientists encounter the hostile inhabitants of the moon, the Selenites, who take them to their King. They soon discover that their captors are easily dispersed with a simple touch of their umbrellas.

This is a great piece of film history, but I think kids today with their Avatars and Dark Knights would probably think the special effects aren't that special. But when you consider that this film was made over 100 years ago, it puts things into perspective.

I give it 4 out of 5 stars.

Oh, and for a great "re-make," check out the Smashing Pumpkins' video for "Tonight Tonight."

The Great Train Robbery (1903)

US 12m Silent B&W (hand-colored)

Director: Edwin S. Porter

Screenplay: Scott Marble, Edwin S. Porter

I wasn't so crazy about this one. It was only 12 minutes, but I caught myself checking the clock a few times. I don't dispute its place in cinema history, it just didn't hold my attention. But with its simple editing techniques and linear story, it became one of the first narrative movies ever made.

Four bandits force a telegraph operator to send a false message so that the train will make an unscheduled stop. The robbers board the train, blow up a safe and rob the passengers. It seems that they are getting away, but the telegraph operator from the beginning of the movie regains consciousness and sends for help.

Most historians argue that this was the first Western. Maybe they didn't know it was filmed in Delaware.

I give it 2 out of 5 stars.

NEXT: Birth of a Nation