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.

Spartacus (1960)

This is one film where, undoubtedly, the idea of it excites people more than the actual film itself. Just thinking about a slave who works his way up to leader of a rabble, fighting against all odds is something that people just have a thing for. The ever versatile "I'm Spartacus!" line also helps. 

But, in actual fact, a lot of the scenes are boring. They're dull and go for just that tad longer than they need to. The film itself is a long and pretty uneventful affair which eventually just ends without really getting any point across. Really, very uninteresting.

Some Like It Hot (1959)

A slapstick, oddball, screwball - whatever - comedy which, very thankfully, relies on having interesting characters rather than simply being kooky for the sake of it. The story is so unbelievable its amazing it works for so long. Two men dress as women, head cross country in a female travelling band. 

Humour ensues, not just because of the situation, but their control and handling of it. They both fall in love with a woman and, as women themselves, can't pursue her. They do anyway, as matters complicate as the fake women dress as fake men to impress her further. It's mostly very funny.

North by Northwest (1959)

Easily one of the earliest films that I watched just because I'd heard its name around. Years before this project started, I caught North by Northwest on a night showing on television. If you thought the film was long before, try it with commercial breaks.

As a result, the film was choppy and fragmented, I had trouble keeping track of who was blackmailing who, who didn't exist and why someone went anywhere for any reason. By the climactic finale on the faces of Mount Rushmore, I had no idea who was a good guy or bad guy.

That's probably a shame.

Psycho (1960)

Having seen the shocking shower scene from Psycho many times, both in documentaries of film and in other media, it failed to have any impact at all when it turned up in the actual film. 

It bothered me that so many people had summed up the film by focusing on that one scene. Its a lot longer than that and has a lot of shocks and unsettling moments centring around the unhinged owner of the motel. 

In my opinion, the film is an intriguing one. One which focuses on character and atmosphere over violence. More people should see it like that.

Vertigo (1958)

I don't like Vertigo. I've got no problem with heights, but I do have problems with the film. Firstly the plot was largely driven by chance at first then a few conversations which coincidentally had just the right sort of outcome to suggest another, later, conversation. From these shaky, unstable grounds, the entire film was constructed.

It plodded along having not much to do with "vertigo" at all, and the ending on the church tower (whatever it was) struck me as being extremely unbelievable. How did she get such a surprise to step back that huge distance?

A solidly disappointing film.

Gunfight at the O.K. Corral (1957)

Easily one of the most accessible Westerns, the cast of characters is small and each of them is clearly distinct from one another. None of that ambiguous character nonsense. Even though we've seen Doc Holiday and Wyatt Earp before (and since), their treatments here are individually styled, so you always know what you're getting. 

The build up and eventual gathering at the O.K. Corral is not at all just a device to get them there, the story holds up as its own and the gunfight seems like the logical conclusion to the film. In all, its a very well done film. Very well done.

Paths of Glory (1957)

Though most people point to the film's post-climactic scene, the one with the woman singing, as the films high point, I'd like to disagree. The scenes in that fancy room, far from the trenches, are in my mind, some of the better scenes in the picture. 

The emotion comes from the characters, chosen at random from a group who were called cowards. These three representatives will be executed for the groups actions. It's their own turmoil as they await their sentence which is the gripping crux of the film and should be the focus of attention, not the final scene.

The Defiant Ones (1958)

This is one of those films where parodies, homages and references to the film are so abundant - without actually mentioning the film - that you forget there is an original that they are all talking about. 

Upon watching The Defiant Ones it is easy to think of it as an homage to itself, but it manages to avoid being "two people tied together" and becomes a successful film. With two main fleshed out characters we can relate to, the film moves along at a cracking pace. 

Maybe not as thought provoking as it once could have been, its still an enjoyable film.

The Seventh Seal (1957)

The Seventh Seal is a movie which I only watched because it became part of this project. Its title is one that I've seen around, so perhaps it would have become one to see due to word of mouth, but I don't think I would have stuck with it. 

The film, as I could see, was not a straight narrative. It dealt with the death of one man and his attempts to cheat death in chess and remain alive. The game returns frequently throughout the film between interacting with other people. They didn't seem to do anything, much like the film.

High Society (1956)

I hated this movie. It doesn't matter who was in it, it was just not very good. It was better than The Philadelphia Story (both from the same source) but that's not saying much. 

One of the things which annoyed me more than the story was the songs. Even "Who Wants To Be A Millionaire?" has a distinct sexual overtone. I mean, if they feel that way about each other, why all the fuss with the rest of the story? There's another song which boldly asks, frequently, "Mind if I make love to you?" 

Shameless and not at all funny.

Seven Brides for Seven Brothers (1954)

This is another film which I think I watched before this project started, based on the fact that I'd heard its name in so many places before, that it must be good. It largely follows the same predictable type of boy-eventually-gets-girl formula used so often at the time. 

The one scene which makes the film worth it is the barn raising scene. This scene has pretty much naught to do with the rest of the film, except for being an exciting plot device. On that level it works. The rest of the film is still pretty flat, though.

Bad Day at Black Rock (1955)

Bad Day at Black Rock is a small film about a small town. The town is an isolated community made up of a bunch of isolated nobodies. Into this town comes a stranger who seeks to uncover a secret about the town - one which the town refuses to give up. 

The intelligence of the character, his memory and his interactions with the townspeople, coupled with his old fashioned sleuthing abilities make for a compelling and well told story which doesn't dumb down, but stays smart enough to feel rewarding. 

Overall, the film is an interesting experience, even if some scenes drag.

Rebel Without A Cause (1958)

Am I the only person who doesn't like Rebel Without A Cause? I just don't understand why people think its great. The acting is fair... nothing truly exceptional. The story is fairly straightforward... its all pretty ordinary. Not overly good or bad to any measure.

One of the things I find distracting is the way the Jim character starts out - we see him drunk and stumbling around. That's fair enough. But it seems that he stays that way through the whole thing. Either he forgets booze wears off, or the character is mentally unstable. Either way, its just not that interesting.

A Streetcar Named Desire (1951)

One day I woke up with the words "A Streetcar Named Desire" in my head. So I walked to the video shop, had a look around and rented it that very day. That's pretty much the most interesting thing I can say about it. I had, and continue to have, no strong feelings about the film. 

At times I felt sympathetic towards most of the characters. Other times, I despised them. By the end, I didn't know what to feel and opted for nothing. To this day, I still share that feeling with the film. I am totally ambiguous to it.

The Day The Earth Stood Still (1951)

Is this the first "good" Science Fiction film? If it is, it certainly couldn't tell what was about to happen to its genre in the coming decade. Fantastical plots of monsters, giant ants and other nonsense would overshadow this films simple message, a visitor who only visits, just to hand over some advice. 

The quiet, almost meditative silence of the robot gives the film a face - a blank canvas - on which to pour the films message. Through the robot we have a character who passively watches events unfold and as such, we can become him and examine the message on our own terms.

The Asphalt Jungle (1950)

Although largely a Film Noir, I would most probably categorise it as a caper film, or a heist film as the crux of it centralises around the planning and execution of a crime. Other Noirs would follow the events following a crime, such as White Heat did. 

Either way, it is excellent. The focus is the heist, as mentioned, and the lengthy scene is operated in tense silence - as we are. So intent on hoping the heist go successfully, we dread the moment we know will happen, the next plot point will alter the crime detrimentally and bring down the men.

Winchester '73 (1950)

Without a doubt, I would never have even thought to watch this movie without the influence of this project. That's a shame, because it's a really good film. Its a typical Western without being smug, like other Westerns. What I mean is, most Westerns are so proud to be Westerns, they miss telling a good story.

The story here is about a rifle. A very fancy rifle, according to the movie. And it focuses on that rifle as it passes from hand-to-hand (often illegally) and eventually back to its owner. Its a focused film which continues to be interesting.

I Walked With a Zombie (1943)

When I attempted to write a zombie movie, I noticed this movie on a late night showing. Thinking it would be good reference material, I watched it the following day. Interestingly enough, the classic image of a shuffling, brain hungry monster was evaporated and in its place was a zombie - the literal definition - the walking dead.

A wife is dead and through Voodoo, is transformed into a zombie. As far from a typical shock film can get, this relied heavilly on mood and atmosphere to set the uneasy tone which was drenched with local island folklore. Thoroughly creepy, through and through.

Gaslight (1944)

The story behind this film is a complex, confusing mess which goes between how it once-was-a-play, now-is-a-film, film-got-banned, worse-film-got-more-attention, now-good-film-is-better and completely fogs up what you're looking at. 

What you really need to know is, its quite a good movie. The device of the gas light works really well - not only that, but it sticks in the time frame as something which can't be done with todays electric ways. Watching the light flicker as the woman gets madder is completely gripping. A very good movie.

Casablanca (1949)

Like many films of its era, this is one which is impossible to not know about before you watch it. Almost any other show has referenced it in some way or another, from Tiny Toon Adventures through to Red Dwarf. That's without counting the myriad of "best films..." polls which rank this high every time. 

So going into it, you kind of know what to expect. There are the piano scenes, there's the bit with the aeroplane in the background, it just seems like you're watching a parody show which only references itself. Aside from that, though, its still pretty good.

White Heat (1949)

The Film Noir craze of my youth found a brief idol in James Cagney, especially so in White Heat. The quick exchanges during the initial train robbery: "Why don't you give him my address, too?" through to probably one of my favourite film lines of all time: "You'd look good in a shower curtain" are all brilliant and the dialogue stays sharp.

Cody's deranged connection to his mother is disturbingly offputting, but strangely relatable (to a lesser degree) and his final - as is the films final - blaze of glory is an amazing conclusion to an explosive character over a tumultuous time.

The Red Shoes (1948)

The Red Shoes is probably one of the hardest films I've ever made my self sit through for this project. The story of a ballet says that a pair of shoes can make a person dance well, however, at the end, the woman who wears the shoes dies. The production company decides to do the ballet, complete with red shoes... and life imitates art. 

The film is long, dreary and wholly depressing. When I heard young girls saw the film as some sort of aspirational goal, I was shocked. Its a very hard film, but the actual ballet section is good.

Say Anything (1989)

Usually I really like "coming of age" films. This one didn't sit right. Maybe it was because everyone seemed old. The two main characters were at least 25. And what's with her dad? He's got to be hitting 60.

But that completely distracting and unignorable point aside, the story itself didn't have too much to it. As desperate as he wanted to be, he was always clear and eloquent, if ramblingly so, and he always was on-the-ball. There was no doubt he wouldn't get her - apart from her dad, there were no obstacles. Wear him down and you win.

Gone With The Wind (1939)

This is one of those films that so many people before you have seen, its embarrassing to admit that you haven't. It also rises out of conflict - reviewers say its brilliant while ordinary folk just say its long. Very long. 

I say its both. Some portions are excellent while others, just dull. Either way, the film works best when viewed not as a cohesive whole, but as several short films all connected and starring the same people. When viewed as such, its easy to move from one section to another and not get too bogged down by the films running time.

The Maltese Falcon (1941)

This is another film that I saw during my Film Noir craze. As much as it is critically acclaimed as being one of the best - not only Film Noirs, but - films of all time, I found it hard to follow. Perhaps coupled with youthful impatience and a backlog of other Film Noirs due back at the video store, I could have paid more attention, but sadly this one slipped by the way side. 

I did enjoy noting all the occurrences of stripes, both horizontal and vertical, particularly when positioned around the obviously doomed femme fatale. I still remember it being good.

Citizen Kane (1941)

After hearing this mentioned on everybody's list and seeing it referenced everywhere, I finally sat down to watch it. It is probably a good film. I know because I saw how well it was shot and mostly acted sharply throughout. 

However, at some point my mother walked in and said "So have they said what Rosebud is, yet?" - Yet? Yet?? I didn't know you found out at all! For everybody's mentioning of the mysterious Rosebud, it could have stayed a mystery at the end for all I knew... and I didn't know. 

And that's why I've never seen Citizen Kane again.

The Wizard of Oz (1939)

The Wizard of Oz is one of those films that everyone has seen. Every single person on the planet has seen it. It doesn't matter when or why or how, its just something that is in your brain. You know it. You've seen it. Nearly everyone who has seen it, loves it.

Frankly, I'm divided on it. Its not as orgasmic as some claim it to be, but it is very enjoyable. Right up to the part where they actually see the Wizard. From then on it kind of goes nowhere for a while, but up until there - its unstoppably fantastic.

Snow White and the Seven Dwarfs (1937)

Snow White is one of those films which is thought of as something different than what it is. The main focus of peoples perception is the dwarfs. Can you name all seven of them? If you can, does it make your life better?

Anyway, there is more to the film than just those seven accessories. As a whole, the piece can only stand up to repeated viewings (as an adult male) if you're aware of what the film means in the timeline of cinema. If you don't know - or care - the film just staggers and halters through several mostly independent scenes.

Gold Diggers of 1933 (1933)

I'd like to be clever and say the title and release year is the best thing about the movie, but there are some really good parts in this musical. Sadly the songs really aren't one of them. They sound nice individually, but don't connect the film as a whole. 

That's not to say the songs are bad, its just that the story is way, way better. The characters and their struggle in trying to get a musical going in depression-era times is extremely compelling. I just thought the large musical numbers - how can he afford that for $1000? - were just silly.

King Kong (1933)

King Kong is the monster movie spectacle that cannot be topped. Any other monster flick inevitably winds up compared to this one and fails the comparison. With its jerky stop motion monkey, dinosaur and whatever else, it packs a punch that keeps on punching. 

Anyway, its just plain excellent. If you've been party to the several remakes over the years, and have not seen the original, be prepared for a film which does live up to the hype. Its characters are big in spirit - no matter what their size - and the emotional notes are just as well hit as the "scares".

Truimph of the Will (1934)

All I know about this so called propaganda film is that it didn't make me want to join the Nazi party. I don't want to be a skinhead or anything like that. I just realised what an excellent speaker Hitler was. Although I didn't understand most of what was being said, the way he spoke so emphatically about it all was impressive. 

What you'd call set pieces elsewhere, were overwhelming in this documentary as the hundreds and thousands of people were real - standing there for one purpose. 

If I could change anything, it would be that too long "marching band" scene.

Freaks (1932)

Freaks is one of those unique films which not only presents us with a world we've never seen before, but that didn't make up the world. What is shown on screen is the now abstract Freak Show containing the misfits, malforms and oddities of society. This film looks behind the curtain at those actual characters. 

The freaks in the film are, obviously, an oddball lot. My personal favourite had to be the guy with no arms and no legs. Just a head on a torso. For me the most amazing and memorable scene is when he "single handedly" lights a cigarette.

Frankenstein (1931)

This film is one which, in my opinion, works much better as a film if you haven't actually seen it. The depictions of the film in other media condense the story to its essential elements: monster, table, lightning, mob. The actual story, however is much more not about the monster, rather about a wedding. The stuff about that wedding is boring. The monster is very interesting... but then again, he does have a tendency to wander... the scene with the girl at the lake was dull and drawn out, but ultimately necessary. The film, as a whole, is largely dull, though.

The Gold Rush (1925)

This classic Charlie Chaplin film will be remembered by me for a few reasons. Firstly there is the amazing "Dance of the bread rolls". There was the eating of the shoe. There were absolutely stunning special effects in the scenes where the cabin is teetering off a cliff. All outstanding. 

But what stands out for me the most is when I saw it, it was with a live rendition by the Ang Fang Quartet. These guys should do the score for all silent films. Wholly enjoyable and much better than the horrifically unsuitable music on the Chaplin short film box. Ugh.

Nosferatu (1922)

Often cited as one of the scariest Horror movies ever made - but aren't they all - this one can actually lay claim to being the original scare flick. In my opinion the few scenes with the Count were quite ominous and the acting was on par with films of the time, but it was the constant cutting back to the insane old man which drove me nuts. He single handedly ruined the film. Other than that, its certainly still suspenseful if you're willing to give it your time and let it build. Don't expect instant shocks, its a mood piece above all.

The Man With The Movie Camera (1929)

"The Man" of the title is only character in this blisteringly fast paced look at a Russian town. The camera takes us into the streets, homes, bedrooms, and lives of the workers and people of the time as they simply go about their business. 

The techniques in this film are amazing. As the actual film progresses, we are taken by the camera man into the editing room where he stacks what he has filmed so far into categories, then edits and re-assembles the scenes - as we watch him. 

But that's a summary, not a review. Let me just say: It's great.

Metropolis (1927)

Metropolis is one of those films that you just can't not keep hearing about. It's talked about in classic movie discussions, excellent movie discussions, science fiction movie discussions... Basically anyone who has written a word about movies wishes they made Metropolis. 

Essentially the story is about some workers... or something. The characters, interesting as they are, are merely a way to move from one amazingly giant set piece to another. The climactic end to the film is nothing short of spectacular, even by today's standards. 

The film moves at a decent pace, barely wallowing as many films of the time did.

The Jazz Singer (1927)

Yes, this was the first movie with sound. Get over it.

So, there is talking, but there is much more to this film than the parts which have dialogue. The relationship between the eponymous jazz singer and his father is much more engrossing than hearing people talk and there are scenes which, even today, are heartbreaking.

The role of a traditional father, loving mother and radical son are all played and shown due respect in their positions as they do so. The familial bonds and breakdowns in "modern" society is, and will continue to be, the strongest point of this film.

Battleship Potemkin (1925)

Although the scene on the steps of Odessa is the most frequently talked about, largely because there's no way to avoid it, its the little scenes which captivated me. Take for example the men who were basically told to shove it when they complained about eating rotten meat. Just as its the small moments on the steps that people like - ie. the pram, or the woman whose face is badly injured - its the small moments of the film that I enjoy the most. Although probably more impactful in its day, you can still feel a surge of emotion running through it.

Scarface (1983)

Quite simply, I don't see what the big deal about Scarface is. I can't see why people think it's so good. Personally I found it to be exceptionally long winded, with many scenes being of little or no use to the story. Those scenes happened to be overly long, as well. 

I found the experience of watching Scarface to be one of sheer will and determination on my part, in order to just watch it through. 

The character alienated everyone who cared about him by the end and he hated everything he had. Not an enviable role model, in my mind.