Reversal of Fortune (1990)

I was told this was the best court/crime movie of all time. Ignoring that little of it is crime-centered or court-based, and nobody was likeable, it was actually good. It was told and shot well, but I spent a great deal wondering who I hated more. 

Apart from the fact that the woman deserved to die, he deserved what he got and the kids deserved nothing, it was very interesting - I just didn't care what the result was. I watched it from habit, to see the film complete, but even the final scene was a tacked on disappointment.

Spirited Away (2001)

The animation in this is excellent. Its unfortunate not everything else is. The story in this is very poor. The characters interactions are bizarre and multifaceted, changing at a whim. The introduction of new characters occurs when changing scenes and spurring new events. The flow is disjointed and the ending - oh, the ending - is extremely disappointing.

For example, where did she go? If it was real, couldn't she go back? For the longest time I was convinced she'd died and it made perfect sense, then it ultimately went and ruined itself by being a pointless exercise. What was learned from this?

Strangers on a Train (1951)

Although I'm not by nature a fan of the mystery genre, I found Strangers to be an intriguing experience. Excluding the fact that the films crux and ability to work would be completely erroneous (specifically, his method of killing) by today's standards, the film provides interesting pockets of suspense. 

The climactic scene will, without a doubt, have to go down as one of the most unexpected moments I've ever encountered while watching a film. It seems both so logical and so far fetched that its genius cannot be understated. The slight unhinged-ness of the killer is constantly creepy. Very well done.

This Is Spinal Tap (1984)

It is hard not to think of this as a mockumentary. If you can avoid that line of thinking, it is enjoyable. If the band is real in your mind, their tribulations are much more impactful than what they are on screen. 

Probably the least fortunate thing about the band is their music: it just isn't very good. It can be justified by saying simply the band isn't good, but that loses out on the parody front. It is hinged on the fact that everybody ignores them - their output would warrant tighter performances. 

The jokes which work, they work very well.

Schindler's List (1993)

It's in black and white. There, I said it. Just like every other reviewer does. 

As for the actual film, I thought it was pretty good. It seemed to be a little overly manipulative of its audiences emotion, but if you can accept that, then its good. Just accept that the film will tell you how to feel, not allow you to decide on the actions, then you can just go along with it. 

Few scenes go anywhere actually dark, while most scenes only hint at something crueller underneath while keeping away from it. In my opinion, that's a real shame.

Splendour in the Grass (1960)

Yet another film I watched specifically because I "must see it before I die," this was one of the most average of the painfully dull typical love-gone-awry stories that I've endured just because of this project. fortunately, i can't recall details of the film, just that I was thoroughly annoyed with it. 

There are several scenes where people are given the wrong advice. Rather than be independent, they choose to move like pawns, following the latest set of input advice given to them. Everything goes in all the wrong directions and people wonder why. I don't. It just stinks.

Reservoir Dogs (1992)

A heist film without the heist. A crime film with no set up and no pay off. No jewels are seen, we don't even see where the crime takes place. The film starts after the heist and via flashbacks, we see the outskirts of planning and a hint of an undercover sting operation. When the film begins, we know none of this and we take the characters word that they are honest. 

It's interestingly set up and works reasonably well, minus the few scenes which serve only the pop culture reference crowd, not the movie watching, story advancing type of viewer.

The Adventures of Robin Hood (1938)

Even though some of the scenes are extended and over indulgent, meanwhile other scenes seem disconnected from a central plot line, the bulk of the film is largely enjoyable. It moves across with a fairly quick pace and even manages a bit of character development throughout the piece - something a tad rare back then, in my mind. 

The film hones in on the character of Robin Hood, who, throughout the film maintains unwavering amounts of enthusiasm for whatever task is at hand. Its his positive attitude and immense likeability which turns what could have been a forgettable film into something great.

Who Framed Roger Rabbit? (1988)

This film holds a special place, not in my heart, but in my mind as one of the most brilliantly conceived and executed notions of all time. It also helps that this film, bar none, has probably the most alluring cartoon character of all time in the form of Jessica Rabbit. 

Writing this, it seems this might have spurred my interest in crime movies, as the hero is nothing but a hard boiled, down trodden, tough speaking flat foot and that the crime takes place in one city where keeping your wits about you is a prerequisite just for getting in.

The Philadelphia Story (1940)

As much as this film is claimed - by pretty much everyone - that this is a comedy (and a funny one at that) I found it very hard to crack even a smile through what is, essentially, an extremely tumultuous time in several peoples lives. 

The woman's emotional derobing in front of every person available is nothing short of harrowing and the constant attempts to bed her by every able bodied male is continuously perverse. I found the entire movie to be an extremely uncomfortable experience, not at all an enjoyable film in the sense that everyone wildly claims it to be.

Kill Bill: Vol. 1 (2003)

What do you do when a film looks like it will be too long? No, you don't edit it - you make it longer then slice it in two. Faced with how to keep people interested, you make the first half as action-packed and intense as possible. Unfortunately, those who watch the second half are disappointed because all the action is used up here. 

Then it becomes clear - this first film really has nothing to it. There are short amounts of story, but they only serve to pass the film between action scenes, which, for the most part are actually alright.

Koyaanisqatsi (1983)

Some films I never would have seen at all without this project. Some films I never would have thought to watch. Such as an abstract time-lapse world wide slice-of-life documentary which has no dialogue - not even narration. Such a film would have seemed like arty farty nonsense. Who'd've thought it would affect me so much? 

It's such a carefully paced, beautifully constructed film that it shattered what I thought an art house film is. In fact, it's pace is a lot faster and rhythmic than many action films.

Koyaanisqatsi is an absolutely amazing film that everybody should see.

Badlands (1973)

I like Badlands, but the strange thing is, I don't know why. The more I think about it, the story wasn't all that much chop, neither was the acting or... I don't know. The whole thing had an amateur feel to it. A rushed feel, almost. 

But something about it conveyed this sense of adventure. There's a spirit in there somewhere which leaps out to say hello, then coyly hides behind a bush. I don't know what I'm talking about. I don't remember much of the film. But I do remember inexpicably liking it, and that's all I've got to say.

Fantasia (1940)

If ever there is a film which works better in peoples memories than in front of their eye balls, its probably this one. Ask anyone if they've seen it. Ask them if they like it. Then ask, when was the last time they watched it?

If you answered "uhh..." to the last question you probably think Fantasia is hippos, flamingos and Mickey Mouse has something to do with a broom... and maybe a bucket. You remember the high points of this film and you should keep it that way. You remember it purely for those reasons as the rest is forgettable.

Russian Ark (2002)

The story of how I came across this is almost as bizarre as the story itself. At first a seemingly simple tale, it turns, rotates and ducks through passageways, art rooms, ball sequences, orchestras, in and out of snow and even more as it winds through Russian history.

The magnificent technical achievement of the film often, rather unfortunately, overshadows the film itself - one single, unedited shot. But what is often not noted is the story. For someone who knows little of my own history, this prompted many questions into not only Russian artistry, but what I've been missing of my own.

Mulholland Dr. (2001)

What can be said about this, really? Any attempt at describing it comes off as either elitism or boorishness. You can either claim to know everything in Mulholland Dr. or absolutely nothing. There is no middle ground. 

Personally, I fall into the ignorant category. I loved it, thought it was great, but even as someone in a phase of watching these type of films when I saw it - it went a little cuckoo. I meant, a lot. 

Disappearing into itself, it apparently holds all its own clues - if you can pay enough attention. Good luck, I wont be seeing you there.

City of God (2002)

Just before Christmas I noticed this on DVD. Lo and behold, I unwrapped it that year. What's even better than that, it turned out to be a really good film. 

It takes a low approach to everything. There are guns, drugs and violent gangs, but no intervening politicians. The action takes place in the streets, with people faced with the situation as it is - no warm up. Kids have guns, and give them to the littler kids, who then do drug runs for the pint sized mafioso. 

It is raw, confronting, etc. but more than that it is good, solid, entertainment.

The Lord of the Rings: The Fellowship of the Ring (2001)

It was a rare family treat to go and see a movie together. My parents were fans of the book (they at least read it at school) so we went to see this. My own personal opinion? I didn't like it. Just like that... I really didn't like it. 

The acting, sets, etc. were all fine. But something about it - and I'm not trying to be elite here - just didn't sit right. Maybe it was the lack of story in there. I know its a trilogy, so maybe the next two are better, but this put me off the whole thing.

A.I.: Artificial Intelligence (2001)

There are only a few shots in here which I consider to be what was intended. Most of the film, I think was rushed by the replacement team to get a release. As a result of this rushing, it hits many points of films that we've seen before. I would've like to see a fresh take on the technology. 

Putting what could've been aside, the film is equal parts interesting and bland. There are a few interesting nodes, but getting between them isn't as much, and usually takes a fairly pedestrian route. The underwater statue of liberty was pretty impressive, though.

The Pianist (2002)

It was this movie which allowed me to find the niche I needed to write my first full length screenplay. Wildly different and nowhere near as good as this, I'll always be indebted to it.

That piece of personal self-indulgence aside, the film is really well made and always interesting. The main characters passiveness faced with almost every horrible situation imaginable is enviable. His determination to keep on going no matter what obstacle he is facing, or has just faced, is motivational.

The film is well paced, well shot and even though I only saw it once, I thoroughly enjoyed it.

Memento (2000)

I can't help but feel this movie is overhyped. 

The backwards running storyline found fault with me, on a practical level. His brain is unable to recall anything more than a certain time ago. But some scenes are longer than others, making his memory last longer at some points. 

The scene everybody laughs at is "Why am I running (gunshot) oh! away!" but that provides the biggest fault. Surely during such a dramatic time, even if he doesn't remember who he was before the chase, his memory should work for the length of the chase itself. 

Other than that, its good.

Moulin Rouge (2001)

People said this was excellent and its the rebirth of the modern musical. When I saw it, I thought the opposite. Firstly, I didn't like the songs very much at all. And secondly, I couldn't follow a thing of what was going on - every second camera angle was a whip around so fast it blurred everything. 

In fact, the only thing I liked about the movie was completely inconsequential. The arial shots of town - as they came in closer to the key location, it became apparent the other streets were cardboard cut-outs. Not much, but I thought it was interesting.

Dancer in the Dark (2000)

I saw this for no other reason than it had Björk in it. If it didn't, I'd've only seen it as part of this project. The tragic thing about it was that I found non-key moments saddening. For example, filling up the cup with one finger inside to tell when its full. 

The really unfortunate part, is when she dies I didn't cry. It was sudden and realistic - unlike her life - but was not more sad than her ways around blindness and her ability to "see" past the illness. The song "I've Seen It All" was the most touching scene here.

Amelie (2001)

When this came out, there was a lot of word-of-mouth surrounding it. The phrase "Have you seen Amelie, yet?" became a daily phrase spoken by some and heard by most. Personally, it took me years to see it and perhaps the buzz-less atmosphere around it by now led me to think it wasn't all that superb. 

The most interesting thing were the snippets of life shown, particularly the quiet moments of enjoyment people had with things. This made me wonder what it is I enjoy privately. I came up with peeling the paper of a new tub of margarine.

Back to the Future (1985)

Possibly the only trilogy without a clearly distinct episode which is less than the others - Back to the Future holds up after so many years. It's the original where we meet all the characters who reappear throughout and it's very interesting for a number of reasons. Firstly, the special effects are great for the time and there's not many of them, but we feel sucked in to the sci-fi mind frame which the film presents. 

As they race against time to get things done, the film comes together never feeling overwhelming or like there's too much going on. It's fun.

Traffic (2000)

I don't know what prompted me to see this while extremely tired, but I did anyway. As a result I had trouble following the complexities of the plot. The overarching story, however, managed to keep rumbling along and the interest levels in that case were generally piqued. 

The relationship between Michael Douglas' character and his daughter was the most interesting point and managed to shine through the fog of sleepiness and provided much of what I remember. There is a key moment - a single shot - of two cars heading in opposite directions at the same time which I thought was incredibly clever.

Gladiator (2000)

This was said to be amazing when it came out. Years later, I watched it only as part of this project and I knew what to expect. The trailers focused largely on action, specifically one shot showing: rolling away from tigers. Little to no mention of story existed in peoples reaction to the film, and it became easy to see why. 

It tries to be epic, but fails.. in epic fashion. The story is pared down to incredible simplicities, making this a familial story, not one where cities are on the line. In short, it wasn't a dissapointment - I expected apathy.

The Sixth Sense (1999)

When this came out, every single person was absolutely amazed at the big reveal at the end. The massive, shocking, surprising end twist. Not a person didn't walk around saying how great it was. Now, I'm not one to rush out and see anything just because, so I waited for the chance to catch it. At one point, a puppet character on an Australian variety show popped up and said exactly what the big reveal was. So that's how I found out, before I saw it. 

Apart from finding out the end, the rest of the movie was pretty good.

Requiem for a Dream (2000)

At the same time as I realised this existed, I found Trainspotting. I felt it was slicker, more inviting, more accessible and a lot more interesting. 

Same as the other film, though, little remains with me. The number one thing I remember about it - the girl-on-girl double anal scene - is the first scene I saw of the film. That was in high school and the teacher showed the scene to the class. She reckoned something about the music... I forget what she said, but she probably should've played the soundtrack... unless she was sick.

Either way, good film, though.

Eyes Wide Shut (1999)

I know I've seen this. I did watch it all. Ever since I've been meaning to watch it again, and through all those years not much has stuck with me. The parts I remember were in a bar, a large amount of naked people, a creepy piano tune and some video cassettes sitting on a window ledge. 

I remember it was stunningly excellent, and that I was convinced once I'd seen it, I would be able to follow it the second time around. And try as I might, I haven't had the time to sit down and enjoy it sans distractions.

Meet The Parents (2000)

I have no idea why this was even marginally considered as possibly maybe even having a single hope in Hell of becoming a part of this project. It is not good. I didn't like it, it has no place being here and there is no reason why I must see it before I die.

Is it because Robert De Niro plays a non-psycho role? If so, that's not good enough. Even if it wasn't the only reason to see it, that's not enough. I get upset to think its in here, its not a well made movie by any stretch.

Being John Malkovich (1999)

Its movies like these which seem to make movie making simple. It centralises around a simple idea that has never been thought of before. That idea is then taken and wrapped in realistic absurdities and realistic dialogue. The characters all have their quirks as individuals and make their own mark in the course of the film. It is so skilfully done that it seems simple. Anything approaching it, however, comes off as a cheap knock-off of the same idea. 

My opinion of the film? It's brilliant, excellent, and all those other words reviewers use. But this time, I mean it.

The Matrix (1999)

I remember seeing this when it came out. A friend recommended it and we went to see it. Not long after, I took my brother and father to see it. It was the only film I've seen more than once at the cinema to this date. People say all sorts of things about the acting, but for what it is, its well enough done. The story is also the strongest of the series.

Not to mention for the time, the special effects were not only amazing, they were seamless. Even on a recent viewing, few seams showed.

Its a good movie.

Barry Lyndon (1975)

Barry Lyndon is perhaps the best film of all time. It's not the best movie, by far, but its the best film. The best of everything, condensed into each unbelievable frame after another. The locations, ornaments, decorations, music and blah blah all come together to make one gorgeous looking work of art.

Unfortunately, as engrossing as its story is, its not exactly compelling. It's not a kind of watch-it-with-friends movie you'd endure a marathon of. In fact, it really only gets going after the intermission (but the first section is still wonderful, don't get me wrong about that).

Ring (1998)

I came across this through the American remake. Somehow I managed to see four Ring films in a fairly short period of time - they blurred into one. That's a shame in one sense, because I'm uncertain whether I'm talking about the original or not. Conversely, its a shame for the films that they were so similar, I can't tell them apart.

Essentially, the story is unique and scary as heck. Even though the premise is far from realistic, the atmosphere and ensuing events are presented wholly in our reality. 

I always wondered what would happen if you burned the tape, though.

Fight Club (1999)

I once saw some woman on TV say how much she hated this because the violence was "pornographic". That upset me, because she totally missed the point of the film. Yes, there is a fair amount of violence, but its not about that - the fighting is a way to realise who you are: a mortal being here with others like you. When the men discover that, their jobs, furniture, etc. become meaningless and they rebel against it. 

The story told, is one of humanity and the struggle to be accepted one way or another. Even if it means fighting for it.

Three Kings (1999)

I'd heard good things about this movie. For example: "A bullet goes right through a guy and you get to see his guts bleeding - from the inside!" and who doesn't love a review like that? It took a while, but I eventually saw it... and liked it. 

Even though I'll probably never see it again, I did think it was fun. And that's the shortfall of it, it has an energy, a momentum which is kept up during the whole film. From start to finish, things take accidental twists and turns, which won't be exciting in re-runs and that's a shame.

The Thin Red Line (1998)

It came out the same year as another war movie, but I hadn't noticed this until fairly recently. That's a real shame, because in almost every way it surpasses the other, more accepted film. 

The only bit that lets this down is the few dialogue based scenes which drift off into meditation-land. That's fine during the battle scenes or in private moments, but the introspection doesn't work when there are two people beating out an idea together. 

The story is fine, it tentpoles between points and eventually leaves you with your own ideas, not something designed. That's fine with me.

Saving Private Ryan (1998)

A war movie. That's what this is. I'm not trying to reduce it, or take anything away from it. I'm just saying its not as epic and amazing as everyone makes it out to be. So the initial battle scene is huge - Would it be as important if it was the finale? 

Anyway, my opinion on the film is divided. On the one hand, I see a straight down the line war movie. It has nice enough characters and a nice enough story. But apart from that, it doesn't offer anything new. 

The final, tacked-on sentimentality, I could live without.

Run Lola Run (1998)

I'm not sure how exactly I came across this film, but it was before this project was anywhere near inception, and I remember it being a clever and interesting film.

Where others before it had shown parallel story lines, or even intersecting cuts of the same timeline, Lola shows the same time line in three different ways. How can your actions, however minute, affect the entire lives of others?

Depending on the route taken by her, and her footsteps on that path, she will alter her own, her boyfriends, and several incidental characters lives. All without becoming a pretentious art film.

Lock, Stock and Two Smoking Barrels (1998)

Although I enjoyed the follow-up to Lock, Stock more, this film is interesting to note for a few reasons. Where the directors next film stands as a slickly produced film that could've come from anywhere, this is wholly amateur stuff. 

The film stock is cheap, the actors are largely unknown and the locations are real. The film is made on a budget and tries hard to get away with a lot. Most of the time it is successful, managing to weave several stories into one with an incredible pay-off at the end.

Its smart, funny and well worth it.

Independence Day (1996)

You can say what you like about the director and his other works, but when it comes to the special effects here and what they were like ten-plus years ago, this was a major achievement. There are a few scenes which stick in my head, none more than the scenes we all remember, ie. The White House exploding among other worldwide catastrophes. 

Not forgetting the dog quickly jumping from car-to-car, into a doorway while a fireball races down the tunnel... that was good. 

Although its one I'll never see again, I'll always remember it for what it was.

Seven (1995)

"Buddy" cops attempt to solve a crime... when one has only one week left to retire. Couple that with the serial killer whose crimes are based on the seven deadly sins, and it seems this ticks every box in the been-there done-that form. 

Fortunately, its incredibly far from being a typical formulaic run-of-the-mill action packed shot's blazing typical cop thriller. This is dark material... and it never strays from being incredibly so. 

Put simply: If you want to be challenged, shocked and/or on the edge of your seat: this is the detective film for you.

Smoke (1994)

How can you make a movie with engrossing characters, with independent arcs and substantial development... without actually having a story? Try to tell anyone what Smoke is about, and you'll summarise the first scene - its about some people who frequent a cigar store. Its not about achieving something, getting somewhere or winning - its about people. And its absolutely amazing. 

Everything in the film feels the opposite of what a film should be. The characters are natural, the settings are real and the dialogue flows very comfortably and as it could in reality. To put it simply, this is just plain amazing.

Open Your Eyes (1997)

I became aware of this through the remake, which I became aware of through the soundtrack. It always bothered me that people had a real complex about which version was better. To me the argument always showed peoples foreign film elitism as I found that both films were nearly identical in content. 

I thought that the main difference between the films are how they look. This has a certain grainy, slightly amateur or underdeveloped quality to the film stock. Apart from that, the film was fine. The story, characters, etc. all intriguing... it just looked a tad bit grainy, that's all.

Trainspotting (1996)

Though I only count movies I've seen entirely - and I know I've seen this one - an exceptionally small amount stays with me. One such moment is: a moment after various characters have sex, then shows plenty of exposed male genitalia. At this point, my mother decides to return home and happily looks at what I'm watching. 

Other than that, I can only strain to remember fragments of film, disconnected remnants which make hardly any sense. A baby on a ceiling and a deep sea toilet dive. I know I've seen it all... I just don't know why I've forgotten so much.

Titanic (1997)

This is the highest grossing film of all time - not true. That's actually a pornographic film called Deep Throat. However, this takes it for commercial films. 

Unfortunately the gossip about revenue usually takes away from what matters - the film itself. And though the production actually found the Titanic, it still produced a pretty average film. Its a marvel of advertising, word of mouth and incredible publicity, though. 

Its just a darn shame the movie is so uneventful. Not to mention the only way to see it now is on television, diminishing the realistic scale of the effects by a huge quantity.

Lolita (1962)

Undoubtedly, the phrase "Lolita" is one which evokes a specific type of imagery in one's mind. Unfortunately, the film does little to encourage these adolescent thoughts. The film centers on a fairly unlikeable character who attempts to bed a younger girl. Throughout the film, its uncertain whether he does so and he spends much of the film in despair about it. To put it kindly, its not exactly compelling viewing..

Most of the sets, acting, music and camera angles practically punch you in the face, reminding you, you're watching a sixties movie and it will continue to "date" before your eyes.

Clueless (1995)

A few minor, random interests converged at one point which resulted in my watching Clueless. One was a brief interest in movies where someone might have sex. Another was a brief obsession with Radiohead. And finally a brief interest in Amy Heckerling. These all reached a head when, by coincidence, television ran Clueless. 

I'm not sure what I expected from this, but whatever I expected, the film didn't deliver. I felt cheated throughout the film and when it ended, I was nonplussed. I neither enjoyed it, nor hated it. It left me with nothing. This film, in my opinion, is nothing.

Zero Kelvin (1995)

No matter where you put people, they still have the urge to be human. So take three people, stick them out in a small shack in a barren, freezing, uninhabitable snow field and expect them only to focus on their work. The mood swings of the people eventually turned huge and sudden. Just as comfort sat over the cabin and everyone seemed to get along, one crack, one line of dialogue would shatter everything and send someone mentally overboard. At one point the film gets outside the cabin, but its no less claustrophobic. The best moment? The birthday. An excellent film.

Toy Story (1995)

Its an idea that everyone has had - toys coming to life and playing by themselves when you're not around. It seems like such a childish thing to think, so who would've thought a motion picture about exactly that would be such a hit. 

Firstly it taps into our inner child, our silly notions that we're the only ones who have that thought. Then when we see it, its a guilty pleasure. You are seeing what you used to think on the screen, and nobody else knows. 

Also, its plain funny. Its clever, and it really pushed CG boundaries at the time.

The Shawshank Redemption (1994)

Is there anyone who doesn't love this film to bits? It seems everywhere you go, if you mention this, it's like the Qur’ān, nobody can say a bad word about it, lest they feel the wrath, or worse - exclusion - from rabid fans. 

I'm not one of the people who rate this as the best film of all time. I don't hate it, but I'm not watching it all day, either. I thought the story and characters were interesting, but apart from that... it was just good. 

Am I the only one who wasn't moved by the opera-over-the-loudspeakers moment?

Pulp Fiction (1994)

I don't like Pulp Fiction. 

As pop culturally significant as this is, it just doesn't work for me. The inane discussions about minor trivialities are excruciating and provide no insight into the characters. The twisted plot is not an original device - its was preceded by many decades. I didn't find the story all to engaging (strip away the "discussions" and look behind the façade, and what's really left?). 

Apart from that... I suppose I can call it good. It was at least better than some of the others I've endured for this project. But, this is one I won't return to.

Natural Born Killers (1994)

What can be said about this which doesn't focus around how the film was shot? The story itself isn't all that exciting: its about spree killers. Typical mobster/gangster type stuff. But its all wrapped up in this pretty looking, over glossed, over hyped, super unrealistic nonsense. 

You can say what you want about how the film looks, whether it shows their warped, impulsive hard-to-control minds, but if you ignore that kind of stuff - if you look at the film itself, past what it looks like, down to what it is - it's a pretty run-of-the-mill film.

Babe (1995)

As much as I can try to avoid mentioning it, I was the target demographic for this film. It's a talking pig movie. I don't know how, but I ended up seeing it (probably when it first became a weekly rental) and as most kids do, liked it. 

As painful as it may be, I'll have to relocate this relic from my past and reassess a childhood memory under the strenuous rules of an adult. That might not be so hard, as the only part I remember is Babe's line: "Looks like fun" - but I've seen it all, so it counts.

The Lion King (1994)

As far as animation goes, there is quite clearly better made films out there. Even Disney has done better and earlier. But when it comes to blending animation with music and keeping those musical portions part of a whole cohesive story, there aren't many on par with this. 

The story seems kind of limited. Dad dies, son lives, gets revenge, becomes number one. It's been seen before, but the surrounding elements are what sets this apart. The animals are unique and based on their real life partners. The story keeps on moving, barely faltering and it always looks and sounds great.

Forrest Gump (1994)

There's lots to like about this movie. Likewise, there is plenty to dislike. For example, the post-war segment where he's kinda lost, then Jenny shows up and screws him over a few times. In fact, she's pretty much the least likeable thing about the movie. She uses him, in a big way. 

Then there's the running sequence. Probably one of my favourite scenes in moviedom. It's just so blandly optimistic. People put faith in what they don't understand. Gump doesn't understand anything, and continues to rise with the motions of his life. It's good stuff. Even if Jenny is intolerable.

Clerks (1994)

Far from being the original 'slacker' film, what it actually is, is interesting. It depicts slackers attempts at love and life, and was made by similar people on a small budget, and was a hit. It proved that anyone, if properly motivated, can get that break... while still being themselves. 

The noteworthy thing is the cultural references. Unlike another film the same year, this used lengthy dialogue on inane subjects to prove a point, or to build a solid defensive argument. They're not stupid they just base their ideas off base subjects. Through that, we can analyse our surrounds. That's good.

Three Colours: Blue (1993)

I intended to watch this trilogy in one go. By the end of this highly emotional, dark, intriguing film, I felt as if I'd been turned inside out. If all of them were like this, I wouldn't be able to walk after it was done. 

Both fortunately and unfortunately, they're not. This is clearly above the rest. It is, however, not to be messed with. If you give it time and you watch it - you'll be gutted by the end. 

The film never manipulates your emotions - you decide what to think. It's a human side of things in Blue. Truly original.

Three Colours: Red (1994)

This is a part of this project because, as the book says, it "casts the entire trilogy in a new light". The book skips White, so if this is included only to tie the trilogy, then it should be counted as one, rather than the (excellent) first, then the third, which is less so. 

The film, like the others, deals with a mostly superfluous topic. Exceptionally close below the surface of the story is the emotional core, which is carefully, constantly, hinted at, but never brought to light. Its this tease which allows us to decide on the actions as ourselves.

Groundhog Day (1993)

The first thing that comes to mind when the words Groundhog and Day are spoken together (or even Groundhog by itself) is how much my mother hates the song from the radio. The one which gets played over and over and over again. Personally, I neither like or dislike it. The rest of the film, pretty much I feel the same way. 

The few stand out moments are aligned with proportionate moments which aren't very good. On the whole, the film averages out on a mediocre level, bolstered mainly be sentimental value (and the at-the-time original plot device).

Jurassic Park (1993)

I've only seen this once. I admit that, straight up. It was when the movie first came out on rental video. I can recall only the moments which have been sent up in other media and MAD Magazine parodies. But now that I think about it, I don't want to see it again. Because it probably won't be any good. 

After all these years of generally accepting it was pretty neat, if I watch it now, I'll not be seeing it, only be seeing what I can write about it. I might not be kind to the fifteen year old film.

Bram Stoker's Dracula (1992)

Completely different to the stereotypical Dracula film, this relies heavily on seeing the events unfold as someone who would really be there. There are uncertainties, crossed realities, confused moments with horrific monsters and undead who-knows-what in there just because its mentally offputting to look at. 

And that's what this film does well, it really knocks you out of your seat in terms of "Oh, it's him, the bad guy... Let's stake him at the end" - it takes a stance of "What is really going on here?" 

The creepiest? Definitely feeding a baby to those horrific horny old witch crones.

Candyman (1992)

As a kid, you take other kids word as gospel. So when they go around talking about repeating "Candyman" into a mirror three times, it seems like something pretty scary. At some point, I happened to catch the movie and wasn't reasonably, but completely, freaked out by it. 

All those years ago, after just one late night screening, images of the film, such as a particular scene which takes place in a parking lot, are still burned into my mind. Its mood, more than anything, pervades the screen - it is not typical light hearted slasher fodder. This is tough and real.

The Breakfast Club (1985)

I first saw this film (aptly enough) in high school. It was one of those end-of-term days where the teachers let you amuse yourselves. One particular teacher left us with this movie. Unfortunately the bell rang before the film ended and it took a while before someone turned up with a copy. 

As far as the first sections go, it's great. The initial impression I got of the film was a spot-on representation of the feelings demonstrated even at my school. Unfortunately the film strays, wanders and loses touch with itself after a while and becomes quite silly.

The Silence of the Lambs (1991)

At first, I didn't know what all the fuss was about - it seemed to be a detective movie which happened to have someone named Hannible Lecter in it. So what? But there is a real sense of wanting to catch the criminal, not just because it's her job, but to shut Lecter up. He's a smug know-it-all who happens to be right about every thing, and he's completely terrifying. 

It's a moving film, meaning it barely stops or slows, but never leaves you exhausted. The pain of the girl in the well is captivating and it all comes together excellently.

Edward Scissorhands (1990)

I always felt sympathy for Edward. Probably because he doesn't talk much, and neither do I. He's a "fish out of water" in a place that he doesn't understand, but rather than complain he just goes along with everything. 

Unfortunately, things aren't that smooth in paradise, as the town bully - apparently the only one who can feel anger - takes a disliking to him. It's shot well and acted fine, but the best thing bar none about this film is the music. To use film review words, its haunting, evocative, you know, stuff like that. Except in this case, it actually is.

Dumbo (1941)

Dumbo was, I remember, the first film I ever made myself sit through. It wasn't that I wanted to see it, but that I knew I had seen it as a kid. I couldn't remember anything about it, so, as an older kid, I made myself sit through the whole thing. 

I still don't remember all that much about it, but I remember being extremely disappointed that it was so short. At some point, I remember Dumbo cried. If I remember correctly, I was unimpressed by the way the film tried so hard at this point to make me sad, too.

Naked Lunch (1991)

What can be said about Naked Lunch? 

Seriously, I'm asking. 

It's about the most warped thing you're ever likely to see on your television screen. 

I've always liked movies about writing. The same as with films about making music. This "follows" a writer through some sort of underground culture filled with bugs and drugs which he never fully understands - but is an integral part of. 

The most impressive part is all the different forms of creatures. All of them individually sculpted and shaped, with their own intent and purpose. They're creepily fantastic. The impressive film noir gloss helps, a lot, too.

Terminator 2: Judgement Day

I saw this before the first one and it took a long time to finally find the first. When I did, I was confused. This is a sleek, explosive action film, where the first is far from sleek. The Terminator, however, works much better in my mind as a hero.

Up against the still impressive "Liquinator", the film isn't a non-stop action film, but its stops are packed with story and are void of sappy emotion. It's an intelligent film, but appeals to the masses. It's an action flick with serious time-travel science behind it.

It's just, pretty much, excellent.

Total Recall (1990)

The best thing about Total Recall, is I was such a fan of Arnold Schwarzenegger in primary school, that my parents let me see all of his movies - including both versions of this. There is one part where a character drives a truck with a big rock drill on the front, I have clear memories of drawing that in my early school years. 

Apart from that, it's fantastic. People still have discussions about what is real and what isn't. It's got a great story and everyone involved was at the peak of their respective careers. Even the one-liners aren't awful.

Sex, Lies & Videotape (1989)

When I saw this... frankly I didn't know what to expect. Thinking back, I don't even know what made me watch it. So it seems strange that images from this still pop into memory focus once in a while. 

Basically it's about a love triangle which involves video cameras, a lot of tapes and people sitting on the floor crying while watching them. In fact, all I can remember is people sitting on floors. Maybe an odd argument here and there, but sitting down must've played a key. 

It's pretty tough going, a heavy sort of film, but it's impressive enough.

Roger & Me (1989)

Maybe it's the bit about not being American, but I don't like the stuff usually produced by Moore. His first caught me off guard. It's a lot better, in my mind, than his other stuff, because this focuses on people (other than him) and has a real heart to it. 

Personally, I thought the best scenes involved the woman who bred rabbits. Other scenes, like having his 'colour' read were pointless. It's a rambling documentary which shows real intent and filmmakers heart. It's what he wanted to show and went about doing it until he reached a seemingly impossible goal. Kinda.

Do The Right Thing (1989)

Whenever I think of this movie, one question runs through my mind - what is "the right thing?" - I ask and answer that question automatically. The answer, it is more difficult to put into words than the question. 

The right thing... is nothing specific. It's just what you think is right. Be it for you, or your community at large. Do what will make something right. It doesn't make much sense, it's not tangible, but its there. 

The energy in the film is clear and distinct, it takes you for the ride. But the one thing that's annoying is: Fight the Power.

Batman (1989)

I used to watch Batman all the time as a kid. Even though the sequel is in my mind many times greater, the original has a certain trailblazing quality to it. There is this underlying sense that Batman is being done darkly and it isn't like what we've come to expect. 

By today's standards, it's pretty straight forward. What's present here, however, is a villain called Joker. As far as the sequels up to now have gone, none have been as menacing, gripping and wholly presentful as this original enemy. 

It's not excellent, but its one of the better superhero flicks.

Rain Man (1988)

I didn't like this much, but a few scenes, I did. For example, the reference to Australia was nice (and is still true) and the scene where he explains how everything costs one hundred dollars. Other parts really aggravated me though, like all that constant whining about underwear.

The rest of the film was flat. It seemed too hard pressed to get into being a road movie. Even when it was a road movie, not much was spent on the road anyway. It was unbalanced, uneven and uncomfortable. All the actors were better in other things, and this is largely passable.

Fatal Attraction (1987)

The only thing I knew about this movie was the phrase "bunny boiler". Eventually I sat down to watch it by myself and realised - hey, it's not a straight cut thriller - it's a really deep, touching, gut wrenchingly horrifying look at a psychopath with the means and ability to do what she wants. 

It wasn't really fun at all. 

But what stinks up the joint is the ending, all along it's played as the most realistic movie possible. Then - dead, alive, dead, alive, hello! It goes into campy horror film mode for five minutes, destroying the credability of the whole thing.

Naked Gun (1988)

I used to watch this as a kid because it had the word "naked" in the title. It helped that it was very funny, and continues to be so. It's not something that can be seen over and over again - trust me - but it rewards re-visits.

I don't know how many times I've said "Did you see that?" when I've stopped and watched this after an extended hiatus. It's only down side is that its star became typecast. He played the bumbling know-nothing fool perfectly, and was later put into empty roles where he had to do the same thing.

A Fish Called Wanda (1988)

This isn't a bad movie. It's not absolutely ground breakingly shockingly amazing either, as some people claim it to be. It's just really a run of the mill picture with some funny moments in it. Mostly these moments are due to the derangedness of that deranged guy. The rest of the actors pretty much just stand and say their lines.

There is one thing I don't get, and its something that makes people everywhere laugh. I just don't understand how a person can be naked - completely naked - when people walk in... and it takes him that long to remember his de-robedness.

Full Metal Jacket (1987)

This is probably the best war film for a few reasons. Firstly, it's not just about boot camp, or completing some war-related goal. These characters we know nothing about are just there, they get squeezed out of training and are thrust into a situation they really know nothing about. When there, they do what they know how to do - which is mostly relax between brief, infrequent skirmishes. 

War isn't glamorised. Training is not one mission to get it complete. Finishing isn't a reward. It's a very complex film, but is presented so laconically it could be taken as something simpler.

Platoon (1986)

During a media class in high school, a teacher showed excerpts of Platoon - including the "outstretched arms/helicopter" moment. Years later, when I actually get to see Platoon, I know exactly what to expect. The scene is devoid of any intended emotion, entirely absorbed throughout the years of re-runs in my mind.

The rest of the film? All I remember is everything leading up to that moment felt exactly like that. I just waited for it to happen. Come to think of it, that teacher ruined the whole movie for me. Great, as if I didn't hate high school enough already.

Project A, Part II (1987)

If you're ever going to see Project A, Part II, then don't bother seeing Part I. Why? Because the very first minute of Part II recounts not only the climax of the first, but shows you every good stunt, also. 

Not only that, but this one pretty much follows the same story. Except it's got cooler stunts. On top of the stunts, there are also funnier jokes and more interesting tricks. Basically this is just the first one except better. Like when a developer releases a patch to fix flaws in a game, this makes everything lacking in Part I better.

Raising Arizona (1987)

I don't know what prompted me to see this, probably because it "looked funny" and indeed, I thought that it was. Until I realised that the rather thin story seems to exist only to move itself from one gigantic over-the-top slapstick moment to another.

From the car chases, to the exploding blue paint, to scraping knuckles on a rough ceiling during a fight in a small room, it's all independently funny, but for the most part, adds up to little in the scheme of things. The story itself is nice enough, but the two polar opposites never fully reconcile.

Top Gun (1986)

Most people only describe Top Gun as a movie that they've seen. They don't talk about the acting, or story, or direction. Just that they've seen it. If you're lucky, the person you're talking to might sing one of the songs. 

When I saw it, it seemed pretty average and predictable enough. It had general 80's style everything and seemed to be going nowhere new. Then, all of a sudden, Maverick's best buddy dies. He spirals into a wallow of sadness and his rival gets the top of the class. It's was completely unpredictable and totally amazed me. Bravo, Top Gun.

Down By Law (1986)

This one was a struggle. Many shots composed purely for visual impact all circulated around a non-existant story. Various scenes followed each other with no regard for what came before or after. 

Then: all the characters we saw so far, they all get arrested. They're thrown in the same cell and all of a sudden the story kicks in. And it's great. There are funny scenes and scenes of emotion. It all happens and the interesting thing is - we are never outside of the cell. The camera stays inside with the men, and we get to experience what they do.

Ferris Bueller's Day Off (1986)

When it comes to high school type movies, none have scope quite as broad as this one. From high speed Ferrari jumps, to marching band street parades, to sitting in a booth at the stock market, this goes beyond the typical love-struck teens-in-a-troublesome-time flick. 

To me, it seems strangely unbalanced. There are talking to the camera moments, but it ignores this to be a serious straight line film later on. It waivers between being a parody and being just funny. It can't decide, like I can't when I have to say if its good or not.

Aliens (1986)

I'm sure I'm the only one in the world that doesn't like Aliens. I've got nothing against the people who do like it, and I'll listen endlessly to people or interviews with the creative forces about why its good, but I just watch it and feel underwhelmed and unimpressed. 

I remember one interview where they bragged about having few aliens "but it wasn't noticable" - it was all I noticed. I thought the climactic robot suit battle was dull and the "underlying theme" of motherhood was completely beat-you-over-the-head not unnoticable. I just don't think it's all that good.

The Fly (1986)

If the debate over whether computerised special effects are better than hand-crafted "practical effects" needs a swift kick in the you-know-what and a hands-down unequivocable, undeniable answer - it's this film. It's essentially wall-to-wall with excellent practical effects which never, ever look unbelievable and never fail to elicit squirms of horror and uneasiness from the audience. 

The seemingly bland story of a guy turning into a fly is given a disgusting amount of texture here. If it wasn't for the emotional scenes (as a parent, they're über off-putting) I'd show this to everyone I could.

Blue Velvet (1986)

If there's one thing people say about Blue Velvet - mention it to anyone, breathe about it - and people will without a doubt use either the word "weird" or "strange". I'm one of the people who uses the second word, but only lightly. 

I was high school age on first and only viewing and it didn't seem weird at all. Viewed in context, it was pretty straight forward. I thought, rather dissapointedly, that it was just a straight crime story. Boy finds clue, leads to bigger clue, gets mixed up in it, etc. etc. Maybe I just need to see it again.

Kiss of the Spider Woman (1985)

When I was in a Film Noir phase, I was told that this was in the style. I managed to get a copy and forced myself to watch the whole thing. It seemed to be not particularly special and I promptly, completely forgot it. 

Looking at it now, through the fog of memory, it seems to be an interesting and layered film. I remember two cellmates, one of whom tells a very detailed story, in between prison life. As the story becomes more complex, so do the cellmates. It's different, a bit psychological and I might have to find it again.

Brazil (1985)

The director did the animations in the Monty Python television show, I saw this purely due to that connection. It took a bit, but I still became drawn into the strange and impossibly rule-bound society of the future. Looking back on it through the veils of time, it's amazing how well thought out it is. 

Few images stick in my mind from that first viewing - the woman's impossibly huge truck, the scenes where he's flying (and fighting a monster, if I remember rightly) and his ever present repairman. It's interesting, in a right-frame-of-mind only sort of way.

Ghostbusters (1984)

Essentially, what I remember the most about Ghostbusters is when the cartoon was on, liking that. Then the movie came on telly so naturally I wanted to watch it, but my mother said I couldn't because "something scary happens at the end" which had something to do with a fridge. Also, she insisted it wasn't for kids because Slimer wasn't a good guy. 

Even though the second film stays fresher in my mind than the first, it's still good enough. It is a shame that the second does such a great job of overshadowing it - I must give it a re-view.

A Nightmare on Elm Street (1984)

When I first saw this, it was part of a marathon. I thought, why not, and stayed up to see Nightmare one, two and three. Then I told my friend that I watched "all three" of these movies in a row - to which he replied that there were "seriously, like seven" of them. To which I was simply disappointed. 

If there is one image which sticks in my mind after all these years - and there is only one, another is from a sequel - it's a scene where a boy is sucked into his bed. It's creepy, relatable and very visually effective.

The Terminator (1984)

There is little I remember from the one and only time I saw the original Terminator. Mostly I remember trying to track down a copy as a child with no resources. After seeing the sequel, I tried hard to see the original. Either way, I did, and was actually surprised at how dark and gritty it was. 

Essentially this is quite an action packed sci-fi movie, not (essentially) an action based road movie. It's psychological in nature and does an excellent job of visioning a world in the future - all the while staying in present times. It's different, but interesting.

Little Caesar (1931)

Johnny Rico - R-I-C-O - is a violent mobster with a headstrong attitude. As are most of the anti-heros of the Film Noir period, one of my personal favourite types of film, ever. I saw this one during my Noir phase. 

Anyway, Little Caesar is one of those good Film Noirs where the bad guy is tough, just like everyone else in the film. The most memorable scenes are easily the ones where Rico is just being a tough guy, getting the job done. 

Of course, the ending is predictably "message," but that aside, its still a rollercoaster film from start through.

Return of the Jedi (1983)

If I remember correctly, this was a more direct sequel than any of the other films in the trilogy/etc. - if that's not true, shoot me. 

Either way, Jabba is going all out in this one, with Han in that big screaming face block thing and all sorts of characters doing all sorts of stuff. It's a pretty full on film. Not only does it cram in a lot of character junk and story of its own right, but it wraps up the trilogy neatly and concisely, tying up those pesky loose ends. 

And no, I can't not mention the Ewok's.

Poltergeist (1982)

A movie about a haunted house. To be honest, this one didn't sound very good. Though, it did have some interesting behind-the-camera people, so perhaps that's why its a part of this project. 

But, no. That's not the reason - this movie is good. Really good. 

The scares come, not as sudden shocks but as creepy stuff that just happens. There are quiet moments and there are grand scares of visually incredible proportions, but all comes down to: getting the bad guys out. Except you can't touch the bad guys or even know where - or what - they'll be like next.

The King of Comedy (1983)

When I read that people thought this movie was depressing, I was honestly - confuddled. I didn't find it depressing at all. Most of the time I felt the frustration that Rupert felt through the events of the film.

Although, perhaps their sentiments have grounding: the scenes featuring Rupert's "girlfriend" were excruciating, especially once she gets in that candle-lit room with the TV host. In fact, depressing might not be the right word. Maybe frightening, or even impotence-inducing. 

In all, it's not bad - it's acted and shot well. And the ending, seriously, has to be the greatest thing ever conceived.

The Evil Dead (1982)

One of the movies which convinces me, every time I watch it, that I can make a movie. Even if I don't try very hard, I could make one. It's easy, well, it at least looks that way.

Viewed now days as not-so-much a horror film, but a living, breathing example of what a person with a vision can do if they apply themselves. It's low budget, gritty, raw nature set the standards for a lot of things.

That's not to say its a bad movie - it's actually quite interesting. Just try to ignore all the mistakes you'll see.

Tootsie (1982)

I really wasn't expecting much from Tootsie. It seemed to be a cheap way to show a man in a dress. Couple that with a romantic comedy (which probably has 80's synth-pop music in it) and you've got yourself a dud. 

But what the film focuses on more than anything, is the characters faltering mental state. Getting close to the girl of his dreams as a woman has dire consequences on his ability to do the same as a man. As he gets closer, he finds more elaborate ways to perfect his womanness - to impress her. It's confused and amusing.

Fast Times at Ridgemont High (1981)

At some point in my film-watching life I went through a brief phase of watching movies just because it looked like someone might have sex in it. This is one of those. Quickly, I became absorbed into the world of Ridgemont, with its varied characters and (somewhat tangible) story. The character Spicoli became a hero, an idol of sorts, to the laconic attitudes which I could relate to. His dozy eyed glances at anyone seemed to indicate they weren't there, and he could bisect them with ease. The film succeeds in become less a sex comedy, more of a comedy.

E.T. the Extra-Terrestrial (1981)

As far as kids movies go, this one is pretty hard core. The somewhat simple story of an alien crash landing on Earth and wishing to go home is taken out of fantasy-land and is placed in real life (give or take). We have government involvement, near death experiences, a whole stack of "Run!" moments and it's all very dark, really - at least that's how I remember it. 

Some how it all got made out to be the world's most touching story, but I can't see how such an intense film could be heart warming at all. Heart pounding, maybe.

Das Boot (1981)

This is certainly a film which came out of nowhere. It took me completely by surprise - a war epic set almost exclusively inside a submarine? How could it possibly be gripping, or exciting, or even interesting? 

How wrong my thinking proved to be, when I began watching Das Boot and was sucked into life onboard this vessel. The performances are wholly believable and exciting. The captain - a stereotypical war movie captain - is given a heart and a mind and proves to hold the ship together. The whole movie is an exercise in tense situations, and succeeds in being extremely well done.

The Thing (1982)

Often mentioned as the ultimate monster movie - that phrase is half right only. It is the ultimate monster in a movie, but the movie itself isn't that great. What starts out to be an intense psychological, albeit gross, thriller, becomes a through way for one monster spectacle to another.

Granted, the monster effects are wonderful - still managing to be incredibly disturbing after all these years, and it did contain an actual moment which shocked. I won't say where, though, but I jumped. Either way, its still pretty intense and the monster is well worth the effort it'll take to find this.

Airplane! (1980)

Airplane! - or Flying High in Australia - is one of the originators of the slapstick genre. The particular blend of satire, parody and slapstick, combined with over-the-top seriousness was worked through here before it was perfected by the same team in Naked Gun. 

This is somewhat more difficult to find than its spiritual sequels. it does suffer from some laboured moments, but on the whole it is a unique experience - a never-before-seen deliberate send up of everything. The characters are almost entirely blown out stereotypes and down to the music, everything oozes comedy - with and without becoming silly.

Raiders of the Lost Ark (1981)

To be honest, I know I've seen this. I know I've seen all of this trilogy. It's just that they all blur into one film. It's the same action and just escaping some form of perilous danger which crops up in the films over and over again. It becomes tiring to think - "Will he make it out of this trap?" 

Some images are stuck though, like the boulder, but I wonder if I remember it from here or from the countless homages which permeate popular culture. All things considered, it's probably well done, but I'll have to give it another go.

Raging Bull (1980)

Singly one of the toughest, but equally most enjoyable films I've watched for this project, Raging Bull is a long hard event of a film. The rise and excruciatingly painful fall of a boxer is equally wonderous and pitifully shameful.

At one point in this film, there is what could be my favourite film shot of all time. Even though I've only seen it once, it goes for about a minute - maybe more. One singular shot which shows our hero preparing in his dressing room, out of it, down several corridors, up stairs and finally raising into the air. Simply amazing.

The Elephant Man (1980)

The story of the so-called "Elephant Man," a man who is unfortunately, but incredibly deformed, is actually a rather touching one. Before I saw the film, the line "I am not an animal" was the only thing I knew, though I became rather engrossed in his story by the end. 

Most surprising, more so than is wit, charm, or intellect, is that the line (mentioned above) is so well known outside the film that when it actually turns up - it packs quite a punch. Merrick's soulful yearning to be recognised just as a person is a humbling and challenging concept.

The Empire Strikes Back (1983)

Undoubtedly better than "Star Wars," the story, control and tone of the film are - no pun intended - worlds away from the original. Although its been as long ago that I've seen this as the first one, the idea of a half built Death Star is probably one of the nerd-coolest images in my mind. 

The film is darker than the original (much more than the "opening" chapters) and has, just a completeness about it that doesn't stack up when compared to the others. It might or might not be the best of the trilogy but its better than "Star Wars".

Grease (1978)

Grease: one of - if not the - first films I ever remember watching, not because it was on, but because I had the choice to watch it. Of course, many - if not all - the jokes went way above my head, I didn't care, because the music was good. 

Looking back on it, it was an incredibly sex-fueled film. Most of the character's actions and quickfire dialogue is peppered with innuendo or straight out sexual language. On the other hand, the music is the real heart of the film (few dud songs exist) and gives off an energy even to this day.

Mad Max (1979)

Most of the time, I try not to generalise about films. I find it really rather embarrassing when I admit to myself that I don't want to watch something Australian. So I got around to seeing Mad Max - and sat there with my jaw swinging open. 

Not only did every shot ooze planning and forethought, but the first few minutes must've had the budget of ten other films, with all the racing, flipping and exploding. It was set in somewhere I'd never seen before. Australia askew. 

I was surprised to feel emotion, to care for characters. Australia can do good things.

Life of Brian (1979)

Not as randomly stream of conscious as other Monty Python productions, this isn't exactly straightforward, either. It's structure follows that of one which was written long before they - or any other film - had gotten to it, but its how they move the plot from one point to another which draws the hilarity. 

The film touches, then jumps onto, ground which would otherwise be completely off limits. It also helps that there is - both gendered - full frontal nudity, at a point where the film seems to slacken off. Other small moments make this film more than, perhaps, what it should be.

Up In Smoke (1978)

Another example of hearing about a film before you see it, Up In Smoke seems to be the only thing for which its stars are known. It's unfortunate, but apt, that they remain most well remembered for this addmital of self realisation. 

The concept of the film is shown without fear, the boys are stupid, unlucky and on the wrong side of the law - before they smoke enough illicit material to smog out their car. The film moves along with a scene-by-scene pace and makes no sense in memory, but remains an extremely well structured stream of conscious exploration.

The Shining (1980)

This film has a certain charm in my mind, as its the first ever "date movie" I ever went on. Admittedly, it wasn't at an original screening, but at a much later screening in the mid 2000's. 

The winter caretaker at a lonely retreat carries many themes that many of us can relate to, the isolation, confusion, lack of a sense of time - especially through the eyes of a writer. The strangest thing about this strange tale, is that its probably the most well lit horror film of all time. Creepy shadows - a mainstay of the genre - are completely non existent.

The Jerk (1979)

The Jerk is an oddity in my mind. It's neither a good movie, or a bad one. It has no features or qualities which make it stick out more than any other film I've seen, nor does it scream to be forgotten - as most of the films I've seen often do. 

It's a bit of a slice of life. A hopeless nobody foists himself upon the big bad wide world, with varying results. It's his complete obliviousness to every single thing around him which makes the film enjoyable. 

The one line which shines in my mind: "Stay away from the cans!"

Star Wars (1977)

As much as I would like to say I don't like this movie, that statement would not be exactly true. It's what its become - a shining beacon for obsessive collectors and their array of associated merchandise - that has sullied this film in my mind. It's all become way too silly. 

It's probably not all that bad, as a whole, but the images I think when the film crops up are not space sequences, but are of clattering background noise, a mish mash of assorted odds and ends, all set behind every scene of this traditional point-to-point story formula fare.

Close Encounters of the Third Kind (1977)

Only three images from this film continue to stick with me. Obviously, the orchestral alien mothership, with its bleeps and blerps. Then, the sculpture made of mashed potatoes. Then, a strange one - a scene in a car where two people and see a whole bunch of cows are lying around. I think they talk about whether the cows are dead or 'just sleeping'. 

The rest of the film has evaporated out of my memory, however the tiny shreds remaining are typical seventies style acting, dialogue, etc. which were probably just a through way to get to the giant final set piece.

The Deer Hunter (1978)

Few films from this project have had an affect on me. Either the content is just too off-putting to be disturbed by, or I know so far in advance of the big amazing plot point, that its not a surprise, its just a matter of waiting.

However, being initially bored by this film to incredible degrees, I managed to get over that initial first hump of the dance scene (get past there and you're home free) and from then on, the film just keeps on coming.

By the end, I ended up crying - for real - and that's no easy feat.

Jaws (1975)

Well, I'm going to get this out of the way right now - this movie has the line "We're gonna need a bigger boat" in it. Yes, I could make jokes by changing the word "boat" to something else, but I don't care that much. 

I'm sure when Jaws came out it was scary, but it doesn't make sense... they get the shark in the end, so why be scared of the water when you're done watching it? Anyway, the best bit isn't on the ocean, its when they think they have Jaws, and cut another shark's stomach open. Impressive and convulsive.

Rocky (1976)

Rocky is a quiet look at a nobody, dreaming of stardom. He is the everyman. Someone who dreams big but has neither the ability to achieve his goals or the opportunity. As a result, he lives a pitiful life on the extreme outskirts of the society he wishes to enter.

The film has many small, awkward moments which highlight Rocky's inability to function both as a person and a boxer. As he rises, by chance, through the boxing world he gains footing in both situations, then hits a level of satisfied contentment.

Just as we all wish. He is the everyman.

Network (1976)

Network is one of those films which not many people talk about. Nobody brings it up in casual conversation, it rarely makes any lists, but for some reason it gets good word of mouth. There seems to be some underlying positive movement to plant the idea of seeing this film in peoples minds.

Unfortunately, the film isn't good. It's made out to be about a guy who goes psycho and is exploited for it. It's barely about that. Soon enough his craziness plateaus and the rest of the film - which is deathly dull - takes center stage, it's about relationships and is very, very uninteresting.

Taxi Driver (1976)

I don't know what prompted me to see Taxi Driver, but when I did, I immediately felt some sort of similarity between myself and Bickle. Specifically the reserved resentment which he voices so well in his thoughts. His own distaste of what's outside his mind, but he inexplicably urges toward becoming part of it.

There is a line which wasn't used in the film which I connected to most, but that's not the point, really. It's still a good film, and even if Bickle is such a depressing character, he's still got friends. Which is kind of a positive thing anyway.

The Rocky Horror Picture Show (1975)

Undoubtedly, at this point into the project, this is the number one film in terms of incredibly positive word of mouth. No matter who it came from, any person who brought this film up said nothing about it except how much fun it is. 

More than once, I attempted to watch this to see if they were right. It took me great personal endurance to force myself into watching the whole thing. 

I eventually realised that nobody said the film itself was good, but how much fun they have based around it. Everybody's positive comments focused on themselves, not the film.

Picnic at Hanging Rock (1975)

I haven't seen many films from Australia. Which is kind of surprising, when you think about it - but not so surprising when you look at it. Most Australian films aren't good. When I learned this movie was Australian - which I'd heard nothing but good things about, I was very surprised. As I was watching it, I became even more surprised. 

The film has an incredible tone, this constant hovering sense of foreboding which is left unresolved. Throughout this shroud permeates a story of some kind, very little of which actually takes place at the Rock. The related events are incredibly gripping.

Monty Python and the Holy Grail (1975)

Is this the most well known comedy film of all time? It's at least the most looked-up-to. Unfortunately, for every good, solid laugh, there's an uncomfortable scene. Think of the three headed man, or the killer rabbit. Laugh, and then think of the "bring out your dead" scene or the old lady who has "ni" said to her.

All in all, it's quite a funny movie, I won't deny anyone the ability to say that about it. But, it does work better as a series of remembered scenes, when you've seen it and filtered out all the buffer material.

Blazing Saddles (1974)

I remember seeing Blazing Saddles only once. That was when I decided that I'd probably already seen it, but couldn't remember much about it, so I owed it to see it again. I remember when I did watch it that time, I was thoroughly disappointed. 

The baked bean scene - the only one I could remember - just wasn't all that funny. Other so-called funny moments didn't strike me as funny either. The toll booth and the Jewish Indian were only funny if I told myself they were. "Look, that's funny - laugh now." 

A few choice lines don't save this from mediocrity.

Straw Dogs (1971)

This, undeniably, is one that I wouldn't have seen if not for this project. If I had seen it, I doubt I would've stuck with it. Not because of the violence or "that certain scene," its just that most of the film was boring. 

Actually, boring is a rude word in reviews and to be honest, each individual scene did have its moments, as did the characters. However, there was seemingly no impetus for anyone to be anywhere, except for your knowledge that someone scripted them into these situations. 

It's alright, but not in a watch-it-again sort of way.

Enter the Dragon (1973)

Like most films which are both the instigator and archetype for the genre, Enter the Dragon falls into the rare category of films which have become a sad parody of themselves. Even down to the story, the every plot point, or badly written character, we've seen it a hundred times since then. When watching the original, we're reminded of the parodies and can't help but laugh. 

That said, the combat for which Lee was known is quite impressive. The fight scenes are not quick-cut extravaganzas, but are slowed down allowing us to appreciate the nuances. The fights are quite impressive.

Mean Streets (1973)

Mean Streets is a film that I don't like. The story is all over the place. In fact, it doesn't have one at all. There are just characters going places, then to other places. I felt like I was being stepped on the whole time I was watching it, being forced to watch the thing, just because it was supposed to be good.

If the whole thing wasn't bad enough, the part which I had to struggle through was the first fight scene. Those repeated shots of De Niro's character kicking into the air off the pool table are laughably ridiculous.

Young Frankenstein (1974)

I don't really care that this was filmed on the same sets as the original Frankenstein movie. It doesn't interest me that it contains some of the same props. The number of homages make me yawn. In fact, now that I think about it, the whole thing makes me yawn.

The number of jokes which land smack-bang in the middle of a few minutes of silence are uncountable. The tension is raised and the atmosphere is set, but the jokes are embarrassingly out of place.

The uncomfortable factor does not come because its scary, but from it not being funny.

The French Connection (1971)

There hasn't been one review written about this which doesn't mention - even in passing - the car chase sequence. The one where the car drives under the elevated train track hoping to cut the train off at the next station. Everybody always mentions that sequence... that's why its the only thing I can remember about the movie. 

Apart from some scenes in a bar and one in an old building - I don't know what actually happened in either scene - I can't remember anything about the movie at all. Except, of course, that you should keep an eye out for that chase sequence.

A Clockwork Orange (1971)

There is so much to like about this movie, it is difficult to choose where abouts to start. So I'll go backwards, what I don't like is the sound. It's just not a good sounding movie - that dates it more than anything. Perhaps the way the film is presented is the most likeable part? The sets, actors and positioning of items is beyond a film of this era and can be related to today with relative ease. Maybe not that big goofy chair in the writers house

The characters changes through the different worlds he passes through are quite thought provoking.

Willy Wonka and the Chocolate Factory (1971)

One of the quirkiest and most off beat musicals I've seen is delivered through a child's eye perspective of what should sound good, look good even taste good. Everything we 'digest' throughout this film is given to us, filtered through one big refinery - what is it a kid would like?

From the miracle of finding enough to get candy, to the miracle of finding the ticket, to grandpa walking again, to the fantastical chocolate factory... it's a child's every fantasy and hope put to film and projected onto the screen.

Even the not-so-enjoyable parts are entertaining in some way.

Zabriske Point (1970)

Maybe I wasn't born into the right mindframe to get this movie. Maybe I wasn't born into the right time to get this movie. Maybe not being American never allowed me to appreciate the riot against oppressors mindset. Maybe I just don't get this film at all.

Whatever sense of rebelliousness is lost on me. The characters all seem to be completely directionless, whether its in jail, talking about rebelling, rebelling, talking more about rebelling or wandering around in the desert for way, way, incredibly way too long. It all seems directionless.

This type of thing is just not my scene.

Night of the Living Dead (1968)

The genre of Zombie movies can not be talked about, or for the most part, even thought of, without resorting to Night of the Living Dead (or one of its related films). For the most part - and its rather sad really - you can see all the portions which have been lifted into other parodies. The film ends up being a collection of what are now clichés which reduces the quality of impact the original film may have had.

If you choose to ignore your now learned knowledge, the film can pass as being frightening, even though its largely a character study.

Once Upon A Time In The West (1968)

As much as people praising this movie as the greatest Western ever made, I have to admit that most of it was lost on me. I have little or no idea who was who in the movie. I don't know which characters knew each other beforehand or what their current relationships are. People meet for the first time and suddenly have grudges spanning back ten years because some character did something to someone I don't know about. 

For the most part, I was lost between sparse dialogue, way-drawn-out scenes where people take five minutes to walk down a bar.

Easy Rider (1969)

The wide open plains - and attitudes - of Easy Rider are at times empowering, humbling and inspirational. Other times, the attitudes are in direct opposition to those. Both sides of the coin are shown and both have their faults, but the focus lays on acceptance of others' attitudes. 

If there's only one thing I don't understand, its why no waitress even approaches them in that cafe. If she doesn't want to serve them, that's fine, she can just ask them to leave. But won't they be there longer if she doesn't bother at all? 

It still made me want a motorbike, though.

M*A*S*H (1970)

I knew that this wouldn't be like the television show and that I should expect something less funny and more serious, and I was all up for that. The tone of the film was just fine with me. For a while... 

You see, the movie is actually really, really fantastic - only if you stop watching it half way through. What starts as a good hard look at a bunch of people in a place they don't want to be, suddenly turns completely silly at the half way mark. Everything including the football match and after is completely ignorable. Just silly, really.

Midnight Cowboy (1969)

Of all the films I've watched, so far Midnight Cowboy has had the most profound affect on me. It - non literally - summed up what I was feeling at the time. The characters' sense of shared necessity toward each other, even if it wasn't practical or at all exciting , they knew they would be alone if they didn't have the other. What's worse? Spending time with a loser like yourself, or spending time alone? 

Their isolation in the big city, their mutual friendship, their optimism through incredibly tough circumstances, it all resonates a harmony within me. I like this movie, a lot.

2001: A Space Odyssey (1968)

One of the most breadth encompassing films ever made, "Space Odyssey" reaches from the dawn of man to the present day (still our future) and on to some sort of super-future, an untold amount of time ahead of the "present."

The sets are the most striking portion of the film, constructed with technical craft years beyond the film. With the beautiful style of the film, it still is an impressive science fiction film.

Of all the space movies I've seen, this one - made before man landed on the moon - still has the most realistic representation of actually being in space

The Jungle Book (1967)

There is so much I love about this film, that its pointless to sum up at all. The story is simple, the characters all whole and the setting is fleshed out wonderfully. Each of the characters introductions is handled well and serves to progress the narrative - if not specifically to a conclusion - but to the next song and dance routine.

The level of energy which is kept up during the film is astounding. Even the quiet moments seem to zip by as we're whisked from location to location (its interesting how different green leaves can look) throughout this very fun film.

Cool Hand Luke (1947)

People make this out to be a buddy flick, where you and Cool Luke will end up being best friends forever. Unfortunately, it didn't work that way for me. I found myself constantly perplexed by the actions of the titular character. Often, they served no purpose, to either him or any body else. 

The most irritating thing, though, had to be the heart felt montage of smiles at the end of the film. Just in case you missed his jagged, warped sense of charm throughout the movie, you get a big serve of it right at the end. Happy, happy days.

Angels With Dirty Faces (1938)

Angels With Dirty Faces is another film I saw during my big Film Noir craze. Although I was categorically disappointed that it wasn't the "Angels With Filthy Souls" that I'd seen in Home Alone (and in its sequel "Angels With Filthier Souls"), the film itself surprised me as being a particularly touching Noir flick. 

Not focusing on the tough guy just being a tough guy, the film centralises around the main characters place in society and his moral ability to choose between right and wrong. It is this decision and how it effects others which drives the film to new grounds.

The Great Escape (1963)

Although any review of this movie could consist entirely of onomatopoeic renderings of the theme music, I'll resist the urge to do so. Instead I will attempt to focus on what I thought of it. 

In all honesty, as its hype suggests it to be the greatest War story ever told, it's really not all that. If you buy into all the "its got big names, so its good" then you will probably have a good time. Otherwise, the characters aren't too deep. The guy digging the tunnel is interesting, though. 

Most of the movie, honestly, didn't do much for me.

Dr. Strangelove or: How I Learned to Stopped Worrying and Love the Bomb (1964)

I'm going to cut straight to the chase here and say my favourite thing about this film isn't in the film at all. It's a book. A book I saw which was open and had several hand scribbled alternate test titles for the film. That's my favourite. 

As for the least favourite part of the film, I'd have to say the plane. The bomber, when its flying and you can see the ground beside it, or under it. I also don't like the part where Slim Pickens goes in fast-forward for a minute.

Over all, I think its great, though.

A Hard Days Night (1964)

As far as the film's potential goes, and other films like it, it seems that this one really achieves the pinnacle of what you can do with the rather simple story. The acting, if it could be called that, is pretty sharp and doesn't rely completely on "oh, look who it is" rather we get characters given to us that you would recognise on their own terms. 

Perhaps the most interesting portion of the film is at the end, when we finally see the band play - we see girls standing, shaking, bopping, all manner of nonsense for these simple pop songs.

The Birds (1963)

Is this this first film where the real shock comes from, not what happens on screen, but what doesn't happen at all? Neither on, nor off screen, does the most frightening part of this film ever take place.

Concerning a rather boring woman doing rather boring things, she moves to a new town where she seems to have some mystical attraction where birds attack her and her friends. These attacks escalate until the end, during a pause in their attacks, the characters escape - under the watchful eye of hundreds and thousands of silent birds.

What comes next, we will never know.