#243 Crimes and Misdemeanors (1989)

****

Director: Woody Allen

Cast: Woody Allen, Claire Bloom, Stephanie Roth, Mia Farrow, Jerry Orbach, Bill Bernstein, Martin Landau, Greg Edelman, Alan Alda, Anjelica Huston, Jenny Nichols, Joanna Gleason

Another example of Woody Allen's best work, Crimes and Misdemeanors is witty, adult, dark, philosophical, stark, and sumptuous. It follows two leads down two very different struggles, both happening simultaneously in Manhattan (where else?). Martain Landau plays an inspiring (and Oscar-nominated) role as Judah Rosenthal, a successful, married, and highly respected eye surgeon who is fed up with living a double life. When his mistress of two years, Dolores (Huston), threatens to expose their relationship to his wife (as well as reveal some shady embezzling Judah has done), Judah realizes he must take a drastic move to end his extra-curricular affair once and for all. Lost on what to do or where to turn, he goes to his brother Jack (Orbach), who convinces Judah to take Dolores out. "My people will take care of it. You won't be a part of it."

Meanwhile, somewhere else on the island, Woody Allen is living as Cliff Stern, a documentary film-maker with a not-so-successful track record in his career and a crumbling marriage. Forced to take a job to be his ridiculous brother-in-law's (Alda) biographer, he meets Halley (Farrow). The two grow as friends until Cliff finds himself madly in love with her, to a point that his paranoia over his brother-in-law's lame advances on Halley almost drive him mad.

The film celebrates Allen's familiar existentialist tone... and convinces us that only New Yorker's really know how to fuck up relationships properly. Alan Alda shines as a pretentious dope, and Woody's neurosis wiggles and trills off the screen until you feel like you yourself may walk away from this movie bumbling and wringing your hands together. In a Dovstoyevskian conclusion, the film examines the nature of the human conscience, the theme of religious guilt brought on by tradition, and the hopelessness of having hope.

Another Woody Allen classic that I'd happily recommend onto a friend.

#242 The Producers (1968)

****

Director: Mel Brooks

Cast: Zero Mostel, Gene Wilder, Dick Shawn, Kenneth Mars, Lee Meredith, Christopher Hewett, Andréas Voutsinas, Estelle Winwood, Renée Taylor, David Patch

When a Broadway producer, Max Bialystock (Mostel), sinks so low as to sexually entertain over-the-hill ladies for checks to fund his projects, he finds himself ripe and ready for a new scheme. Enter Leo Bloom (Wilder), a timid, anxious, OCD accountant who in the process of examining Bialystock's books accidently blurts out that with a little clever book-keeping, it is possible to make more money with a flop than a success.

After some clever convincing, Bialystock convinces Bloom to give up his stuffy, lonely life and go in 50/50 with him on producing the biggest Broadway flop in history: Springtime for Hitler. The two seem to do everything perfectly: hire the worst writer with the worst script, the worst director, and even the worst cast. They find, however, sometimes a bunch of wrongs do make a right...

This film was actually hysterically funny on all accounts-- with no shortage of lude and slapstick humor. Gene Wilder's character's neurosis was a star-player in getting laughs, and each actor's commitment to the ridiculousness of their role was refreshing. I love this film, and I have high doubts that its 2005 remake can even hold a candle.

#241 City Lights (1931)

****

Director:Charles Chaplin

Cast: Charles Chaplin, Virginia Cherrill, Florence Lee

#238 The Awful Truth (1937)

***

Director: Leo McCarey

Cast: Cary Grant, Irene Dunne, Ralph Bellamy, Alexander D'Arcy, Cecil Cunningham, Molly Lamont, Esther Dale

A silly little comedic romance– again, wholly carried by the dynamic Cary Grant and his opposing leading lady's (whomever she may be at the time) charisma and likability as a couple. In the story, two sweethearts' jealousy and suspicions lead to a quickly-arrived-upon divorce. The real drama, however, is involved in the time leading up to the finalization of their arrangement: as the two begin dating others, bumping into one another at inopportune moments, and parade through a variety of uncomfortable, chuckle-worthy situations. The inevitable, however, does arrive... and on the night that their divorce is going to become official to boot. The two find themselves under very expected circumstances alone at a secluded cabin. Dot dot dot...

The charm of this film, again, is purely the dynamism that exists between the two lead actors. The script carries legend of being extremely improvised, and it shows. The laughs are in the subtleties, the timing, the facial expressions... some of the brilliant things about films (and real life) that can never be translated into writing. The role of dancing, songs, games, drinks, and even simple introductions all play a key role in bringing these two bickering lovebirds away from one another and simultaneously right back into each others' arms.

Although I often wonder how so many Cary Grant movies made the 1001 list since they are all so simplistic, silly, and sweet, but then I find myself enjoying each one as much as the last.

#236 Gold Diggers of 1933 (1933)

***

Director: Mervyn Leroy

Cast: Warren William, Joan Blondell, Aline MacMahon, Ruby Keeler, Dick Powell, Guy Kibbee, Ned Sparks, Ginger Rogers

An imaginative, comedic, and even politically-pointed musical comes in the form of Gold Diggers of 1933. The film is essentially the story of a few young showgirls who are struggling to keep food on the table by any means–stealing milk from the neighbor, begging for jobs, and even canoodling with wealthy men. When one of the girls, Polly Parker (Keeler), falls for the musician across the alley, Brad (Powell), the women are surprised to find he is not only talented and kind, but he also happens to conveniently be from an extremely wealthy Boston family (only in Hollywood, I swear!). Providing music for the girls' latest musical (and even volunteering to be a stand-in when the leading man hurts his back), Brad is able to formally court and become engaged to Polly. When Brad's family finds out about his relationship and on-stage escapades, his brother chooses to intervene.

However, when the brother mistakes Polly's roommate Carol for Polly, he offends the wrong person when he calls showgirls cheap and vulgar. To seek her revenge, Carol enlists their friend Trixie to continue to dupe the brother (and the family lawyer) into falling for their false affections and also into buying them tons of lavish gifts. With Brad and Polly in on the joke, they even trick the brother into thinking he has drunkenly made love with Carol, and to "pay her off," he writes a check for 10k. It's only when Carol's true identity is revealed that we find that these two characters have real affection for one another.

The film includes four extraordinary stage productions, all coordinated by Busby Berkeley. Highlights include a sparkling rendition of "We're in the Money," light-up violins playing "Shadow Waltz," and the sparked-with-politics "Remember My Forgotten Man." Forgotten Man demonstrates the difficulties for the men and women during the depression, taking into account the veteran's of WWI whose owed-admiration was already being tossed aside.

The film is short, funny, and takes drastic plot twists. The musical numbers are quite segregated from the film, though brilliantly directed and performed, and interesting as well for their strong hard-hitting political statements. A light, easy watch.

#233 Diner (1982)

****

Director: Barry Levinson

Cast: Steve Guttenberg, Daniel Stern, Mickey Rourke, Kevin Bacon, Tim Daly, Ellen Barkin, Paul Reiser, Kathryn Dowling, Michael Tucker, Jessica James

A bunch of college-age buddies gather together at the Fells Point Diner to shoot the shit until sunrise in the winter of 1959. Walking into the scene, you know they are the regulars: hollering at the waitress and looking as comfy in the booth as they might in their own beds. The group of six chums, despite their individual trials (an upcoming marriage, a pregnant friend with benefits, a gambling problem, a marriage going stale), the camaraderie between the guys remains the solid baseline of the film's plot.

Supposedly a semi-autobiographical account of director and writer Levinson's own experiences, the film's mini-plots are almost entirely irrelevant. The mood of the film is truly its core: nostalgia and the nerves that accompany a coming-of-age period. Supposedly, all of the scenes shot in the diner were saved for last after the cast had had time to get to know one another on a comfortable level– a clever move by Levinson to bring genuinity to the scenes. It's more fair to call the film a series of comedic vignettes as opposed to a full-on narrative, which only heightens the nostalgic sensation. Their memories become ours.

Although I am by no means a horny man with 6 best friends in 1959, I am nevertheless a post-college girl with a fond diner history of my own. The film is merely a popcorn, feel-good comedy, but with the heart that most of these 80s era movies also inexplicably pack. Safe for repeated viewing, and in fact, I even encourage it.

#226 Steamboat Bill Jr. (1928)

****

Director: Charles Reisner, Buster Keaton

Cast: Buster Keaton, Tom McGuire, Ernest Torrence, Tom Lewis, Marion Byron

William Canfield Jr. (Keaton) has just arrived home from his school in Boston to visit his estranged father whom hasn't seen him since he was a baby. His father, of course, is William Canfield Sr. (Torrence), but is perhaps more commonly known by the name Steamboat Bill. As owner of the town's old and trusty steamboat, Stonewall Jackson, Bill Sr. is facing hard times as John James King (McGuire) has just announced his new "palace on the water" steamboat called The King.

Steamboat Bill is devastated when he finally meets his son– terribly disappointed that his tweedy, silly, and also in love with King's daughter, Kitty (Byron). Bill Sr. tries to make Willie into a real man, but Willie is more interested in showing his affections to Kitty. When Steamboat Bill gets put in jail, Willie begins a haphazard rescue mission. Things get even more crazy when a cyclone blows through the town, destroying everything and putting everyone, and particularly our hero, in peril.

The film is adorable and even has its moments of laugh-out-loud hilarity. Buster Keaton is an acrobat and part of the magnificence of this film is fantastic physical humor. His expressions, tumbles, and tricks absolutely steal the movie away! Memorable scenes include trying on hats with his father (poking fun at Buster Keaton's real-life fashion), an umbrella mishap with the police chief, and fighting the cyclone winds. Many of the stunts were extremely dangerous and somewhat unplanned, including having entire full-weight walls fall inches away from Keaton.

Definitely take the time to watch this short comedy classic. Even non-appreciators of silent film I think will be presently surprised by the physical splendor of Keaton. Really excited to see another film from his repertoire!

#219 Modern Times (1936)

*****

Director: Charles Chaplin

Cast: Charles Chaplin, Paulette Godard, Henry Bergman, Tiny Sandford, Chester Conklin, Hank Mann, Stanley Blystone, Al Ernest Garcia, Richard Alexander

Modern Times was simultaneously Charlie Chaplin's last silent film and first non-silent film. While most other directors were making audio-filled talkies, this masterpiece remains (for the majority) a silent picture. Only in rare moments are voices heard, though the film is bursting with sound effects, music, and even a glimmer of Chaplin's own voice in a musical number toward the end.

The film pokes fun at the burst of the industrial revolution: the assembly line, the depression, the fear of communism, and the gadgets that seemed to be replacing the humans that created them. Chaplin plays a factory worker at the Electro Steel Company. On the assembly line, he performs the simple, hurried task of tightening about a billion bolts, until some unfortunate, haphazard circumstances lead him to have a nervous breakdown. These opening skits were the best part of the entire film, and my dad and I were laughing out loud consistently throughout the first half hour.

After Chaplin's character's hospitalization, the film takes more a chaotic turn. In and out of jail, running about, general hysteria-- only to be followed by a love interest in the form of a homeless orphan girl. We watch as Chaplin and the girl try to establish a home for themselves to share, taking on various jobs and working through the hard times.

Whether you take Chaplin's meditations on industry seriously or not, this film really stood out to me for so many reasons. Unlike some others on the list that seem to fade in and out of my memory during this project, the physical comedy and coordinated talent of Chaplin is undeniably remarkable. Whether or not the story is concrete or the other characters are interesting-- it all seems to matter-not in the presence of such an intense and fantastic comedic performer and director.

#216 The Lady Eve (1941)

***

Director: Preston Sturges

Cast: Barbara Stanwyck, Henry Fonda, Charles Coburn, Eugene Pallette, William Demarest, Eric Blore, Melville Cooper, Janet Beecher

Jean Harrington (Stanwyck) is a traveling card-playing con-artist, and she has chosen a new target: Charles Pike (Fonda), scientist and beer fortune heir, returning from study in the Amazon. When the two cross paths on a luxury ocean liner, what begins as a play for Charles' money soon turns into an unexpected romance. As was destined, Charles finds out Jean's true identity and former intentions, and the two split. It's the unexpected, zany circumstances of their reunion that bring laughs and ridiculous comedic drama.

Fonda and Stanwyck are both charming and funny, and the plot is completely silly and good-natured. I find it easy to group in with other romantic comedies of the era, though (like so many of the others) this one stands out on its own for its own set of reasons. Fonda is awkward, silly, and delightful. Stanwyck is saucy, scrumptious, and classic. A fun film for popcorn and a weekend night in.

#207 Cheech and Chong's Up In Smoke (1978)

**

Director: Lou Adler, Tommy Chong

Cast: Cheech Marin, Tommy Chong, Strother Martin, Edie Adams, Harold Fong, Richard Novo, Jane Moder, Pam Bille, Arthur Roberts, Marian Beeler

While this film boasts careful screen composition and widescreen set-up, I still found it hard to believe those were the real reasons Up In Smoke found its way onto the 1001 list. Although I'd seen pieces of this movie on Comedy Central off-and-on for pretty much my entire life, I'd never had the interest or the patience to sit down and watch it from beginning to end. And why should I? Unless you grew up in the 70s or indulge in the stoner-culture, the film isn't speaking to you.

Now don't get me wrong, I'm not saying you can't enjoy the film, but I AM saying it will leave you feeling a bit like you've walked into a club of which you aren't a member. Although I could appreciate the sheer nutty, adlib humor, I found many of the gags to be brushing past me in "well that would've been funny if..." manner.

The film is the story of Pedro (Cheech) and Man (Chong), two burn-outs who haphazardly find themselves as compadres. Pedro is a struggling Mexican-American who finds just enough money to trick out his station wagon with blue fur, and Man is a hippie stoner who lives with what we can only assume are his wealthy parents. When the two come together, pandemonium ensues–only problem is, the two are too high to notice. Caught in major drug busts, police chases, and battle-of-the-band contests, the two friends never seem to catch on to anything, and quite literally blaze their way through every harrowing situation they come across.

While I can't lie and say this is one of my favorite films, I can understand how it has become a phenom of our culture. For that, at the very least, Cheech and Chong get my respect–just not my laughs.

#199 The Palm Beach Story (1942)

***

Director: Preston Sturges

Cast: Claudette Colbert, Joel McCrea, Mary Astor, Rudy Vallee, William Demarest, Robert Warwick, Sig Arno, Robert Dudley, Franklin Pangborn

Gerry Jeffers (Colbert) is a loving housewife of a new variety–determined to help her architect husband (McCrea) succeed, she divorces him and tries to find a new husband to finance his projects. Her husband, Tom, is of course driven practically mad with jealousy and misunderstanding at his wife's intentions. When Gerry takes off to West Palm Beach with one of the richest men in the world, John D. Hackensacker III (Vallee), Tom follows her there to win her back.

With a plot so ludicrous, it is easy to suspend disbelief and enjoy the sheer silliness of a film like this. You can't get mad at Claudette Colbert, no matter how goofy her acting is, and the costuming of this film unto itself is a masterpiece. Just in tow with other screwball comedies of the 1930s, this witty feel-gooder will keep you smiling. And just when you think it's impossible for all to come out of this happily, Sturges surprises you with an even more ridiculous happy ending than you could imagine. Pleasant to the end.

#194 Duck Soup (1933)

*****

Director: Leo McCarey

Cast: Groucho Marx, Harpo Marx, Chico Marx, Zeppo Marx, Margaret Dumont, Raquel Torres, Louis Calhern

One of the Marx brothers most famous films, but certainly not their most successful at the time of its release, Duck Soup is a plotless, confusing hour of silliness-- brilliant! Groucho plays Rufus T. Firefly, the new leader of Freedonia-- a country financially supported soley by his sometimes love-interest, Mrs. Teasdale. However, the leader of Sylvania (played by Calhern), wants to win Mrs. Teasdale affections and eventually goes to war with Freedonia for well, no particular reason.

The truth of the matter is, the plot of this movie is completely pointless and incidental. Though often called one of the greatest political and war satires ever, I mostly just see a brand of comedy that is unparalleled. After this film tanked in box offices, the brothers left Paramount and began making movies with MGM that were more musical and certainly more structured.

If nothing else demonstrates the randomness of Duck Soup, then perhaps Groucho Marx's explanation of the title will: "Take two turkeys, one goose, four cabbages, but no duck, and mix them together. After one taste, you'll duck soup the rest of your life."

I came into this movie expecting something silent and extremely unapproachable, and I was so SO pleasantly surprised. Not only is this film easy to watch, but it is also so goofy that it is impossible not to love it. The Marx Brothers' camera-aware one-liners are sometimes poorly delivered, and the screen presences are extremely unorganized/unplanned-- making the film feel like a bad stage-show, and absolutely amazing for that reason. In all of the places where we expect modern cinema to do the opposite, the Marx Brothers get away with just about everything. SO love this film, and I am adding it to my list of "must watch again"s.

#191 Gentlemen Prefer Blondes (1953)

***

Director: Howard Hawks

Cast: Jane Russell, Marilyn Monroe, Charles Coburn, Elliot Reed, Tommy Noonan, Carol Channing

An exceptionally comedic, light-hearted musical performance from both Russell and Monroe, playing two showgirl friends on their way to Paris. Lorelei Lee (Monroe) is engaged to be married, and unbeknownst to her and her friend Dorothy (Russell), she is being followed by a private investigator hired by her fiance's father. He wants to make sure she isn't marrying his son for just his money, and well, she just might be. "But is that so wrong?"

The musical numbers are sparkly and are meant to razzle-dazzle you. Monroe is over-the-top and purrs out her lines with unbridled sexuality. Though nothing to take too seriously, the film is a must-see for its most unusual brand of comedy and sex appeal. Russell is absolutely tranny-tastic as Dorothy-- LOVE IT!

#188 M. Hulot's Holiday (1953)

**

Director: Jacques Tati

Cast: Jacques Tati, Nathalie Pascaud, Michele Rolla, Valentine Carmax, Louis Perrault, Andre Dubois Lucien Fregis, Rayond Carl, Suzy Willy

M. Hulot's Holiday is a feel-good, screwball comedic glance at vacation. Hulot heads to spend his holiday at a seaside resort, wreaking accidental and good-natured havoc all over the town and his fellow vacationers. The scene, the people, the music-- all a very gentle, too-true satire on the concept of going on holiday.

The film is virtually silent, as Hulot's slapstick comedy is nearly all physical/situational. The character is charming and innocent, and the plotless jokes roll on for nearly 1.5 hours. While humorous and gentle-- I have to be honest and say I did find myself drifting off in thought at some points aka... getting quite bored. Although the movie was adorable, and I might even be brave enough to say that I think I now see where the character Mr. Bean was stolen from... I just can't say that I found the movie to be anything too memorable. Definitely a movie suited for a lazy afternoon-- casual, light-hearted viewing.

#186 Manhattan (1979)

****

Director: Woody Allen

Cast: Woody Allen, Diane Keaton, Meryl Streep, Michael Murphy, Mariel Hemingway, Anne Byrne Hoffman, Karen Ludwig, Michael O'Donoghue, Tisa Farrow

Two years after Annie Hall, Allen and Keaton are together again on-screen in Manhattan. With the same witty, neurotic voice-overs, Allen presents a new complicated love-polygon featuring a new cast of intellectual New Yorkers. This time, Allen is Isaac-- and Isaac is dating Tracy (Hemingway), a 17-year-old girl who is helping him forget about his now-lesbian ex-wife (Streep) (who just so happens to be writing a rather embarrassing tell-all about their former marriage). Isaac's best friend, Yale (Murphy) is cheating on his wife with Mary (Keaton)-- a self-conscious but chatty Philadelphian. Isaac and Mary eventually come together out of mutual feelings of rejection to experience their own complicated version of a relationship.

I've come to decide that Woody Allen flicks are a flavor of icecream. You either like it, you hate it, or you're altogether lactose-intolerant. Personally, I find this particular flavor to be delicious, and a safe go-to pleasurable move-going experience. While Annie Hall has particular sentimental value to me as it was my first memorable Woody Allen film-- Manhattan had the same undeniably classic feel. And let's face it-- Allen and Keaton were made to be together on film!

When I think of these Allen films (as a whole), I tend to think of them as one comedic, pleasant popcorn experience. They allow me to both laugh and commiserate, and I appreciate that in a simplistic (but not dismissable) way. I don't always need grandiose gestures from a film to find it irreplaceable and/or memorable. For me, Manhattan is neatly tucked into the greater, undulating love-folder that is Woody Allen.

#182 The Purple Rose of Cairo (1985)

***

Director: Woody Allen

Cast: Mia Farrow, Jeff Daniels, Danny Aiello, Irving Metzman, Stephanie Farrow

Cecilia is a young woman living in Depression-era America, struggling to work a waitress job to support herself and her abusive, cheating, and jobless husband. She is alone, and the only thing that gets her by are her frequent, indulgent trips to the cinema where she fantasizes about a carefree and romantic life. After seeing one particular picture, The Purple Rose of Cairo, a number of times-- the romantic hero of the film jumps off the screen and steals her away, leaving the other characters confused and moviegoers wanting their money back.

Cecilia enjoys her romance with Tom (Daniels) until her the actor that PLAYS Tom (also Daniels) comes to trick Tom back onto the big screen. A love triangle is created, and Cecilia finds herself suddenly the princess instead of the poor housewife.

This film is a comedic departure from Allen's usual New Yorkers-having-marital-problems theme, and it explores the relationship that many of us (myself included) have with Hollywood pictures. The movie still contains the great one-liners that Allen is known for, and the fun level of make-believe provides a wonderful escape--quite literally the one the film is based around.

While at first, my inclination was to back away from the cheesiness of the romance and somewhat over-the-top acting... I soon realized that it was done purposefully and with comedic intention. The carefree trip that this movie takes us on is one in which we are able to nod at our own inclinations at living vicariously through the movies that we adore.

Delightful and unexpected!

#181 The Big Chill (1983)

***

Director: Lawrence Kasdan

Cast: Tom Berenger, Kevin Kline, Glenn Close, Jeff Goldblum, William Hurt, Meg Tilly, JoBeth Williams

Seven U of M college grads of the 60s are re-united again under one roof when one of their former buddies unexpectedly commits suicide. Harold, Sarah, Michael, Karen, Meg, Nick, and Sam have all reached their mid-life crises-- divorced, bored in marriage, drugs, adultery, lonely, childless-- you name it, one of them is dealing with it.

They haven't seen each other in years, but it's obvious they have some unfinished business with one another: arguments to resolve, sexual tension to extinguish, truths to be told. Without a flashback and with minimum sentimental reminiscing, this film manages to express the ache of nostalgia in a simplistic way.

At times it is humorous and other times tragic (but isn't that how nostalgia itself works as well?), the film brings to life some interesting ideas about what to do once you realize you've left your youthful happiness in the dust.

This is something that I, personally, have been dealing with already only having graduated from college a few months ago. I have to imagine how one day much later, after I've married my own corporate suit and produced babies, it would hurt very much to suddenly be walloped on the head with a reminder of my more carefree past.

It was a nice, albeit pointedly 80s film-- some parts dragged, some characters' stories seemed a bit... much. But I appreciate it nonetheless, and that includes its 60s soundtrack.

#180 Bonnie and Clyde (1967)

***

Director: Arthur Penn

Cast: Warren Beatty, Faye Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Denver Pyle, Dub Taylor, Gene Wilder

Some day they'll go down together.

They'll bury them side-by-side.

To few it'll be grief,

to the law a relief,

but it's death for Bonnie and Clyde.

-Bonnie Parker, 1933

Bonnie Parker (Dunaway) and Clyde Barrow (Beatty) were real-life American depression-era outlaws who became criminal celebrities during the 'public enemy' craze between 1931 and 1934. This film adaptation of their story is comedic, sultry, fashionable, and action-packed, and it stands today as a true classic in the genre of American outlaw films.

This young unmarried couple leads a gang of criminals around the country, robbing banks, grocery stores, gas stations, and stealing cars all along the way. While they manage to stay free, this doomed couple is aware that their luck is bound to run out soon. They suffer from being sensationalized in the media, and consequently, pinned with many crimes they didn't commit. However, they were responsible for numerous murders... so don't feel too bad for them.

This film is often referred to as a slapstick comedy, but I didn't see that so much. Much more notably it was a film about sex and violence, as this was one of the first films to be made after a significant "loosening" of the censorship rules. Estelle Parsons won an Oscar for her performance as Buck Barrow's (Clyde's brother) wife, and this film also was Gene Wilder's first on-screen appearance. I actually have to admit that I would've probably given this movie another star if it weren't for Parsons' performance-- I found it almost intolerably annoying. Of course, that IS the point of her character, but it was excessive and ruined some key scenes of the film for me. Dunaway is a gorgeous Bonnie, and her costuming was truly outlaw-French chic. Beatty as Clyde sometimes is almost a toonce too... hunky... to be believable, but I still think this is an amazing classic.

It stands as a clear predecessor to an entire genre of great crime films, especially The Godfather which would follow in 1972.

Yes please.

#179 Broadcast News (1987)

**

Director: James L. Brooks

Cast: Holly Hunter, Albert Brooks, William Hurt, Robert Prosky, Lois Chiles, Joan Cusack, Jack Nicholson, Peter Hackes

Holly Hunter plays Jane Craig, a network news producer who throws her whole life into her job--a woman whose neurosis is her greatest and worst asset. The two men in her life are two news anchors-- one is her best friend, Aaron (Brooks), who is both experienced and talented. The other is a handsome, showy newcomer, Tom (Hurt), who both infuriates and romantically intrigues Jane.

The three of them mixed together in one workplace equals a hectic, high-stress environment, and Jane struggles to deal with the pressure of juggling the two relationships. On one hand, her relationship with Tom frees her from the stressful, highly ethical and tightly-wound life she has created for herself, but on the other hand, he also represents everything she has hated and fought against. Jane cares about honesty, accuracy, and relevance with the news above all else (even her social life), and Tom believes to get farther in the business, you just gotta dress it up a bit.

Where those two clash, conversely, Jane and Aaron meet on level ground--both are dedicated to the same causes and have shared a long working relationship with one another. Aaron being in love Jane complicates the love triangle, and as he warns her against Tom-- is he doing it because he's looking out for her, or is he doing it because he's jealous?

The love triangle was a bit typical, the events were a bit predictable, and the high-stress workplace seemed overdone and fake. I thought Holly Hunter's character felt way over the top-- Ok, Ok, we get it. She's good at her job. She's neurotic. I don't necessarily think the error was entirely in the acting either. It seems like every intense moment was over-written and over-emphasized. It's not that I don't appreciate movies that present things very plain and simple when the characters' personalities call for that method of showcasing emotion, but I think to create realism within complicated relationships, the subtleties of the characters are extremely important. The characters of this particular film were too busy flailing and nagging for me notice anything else about them.

The film is, however, a comedy. And perhaps what I'm finding as redundant is supposed to be comedic... c'est la vie. I just found myself consistently more irritated than humored.

Why two stars then? I give it two stars because it wasn't a total abomination. For me, two stars usually translates to: "It had its moments."

In the end, it was an easy-to-watch popcorn 80s film that some people would really enjoy. Just not my particular cup o' tea.

#176 Thelma & Louise (1991)

****

Director: Ridley Scott

Cast: Susan Sarandon, Geena Davis, Harvey Keitel, Michael Madsen, Brad Pitt, Chris McDonald

What some might casually write-off as a feminist-feel-gooder actually has a lot more guts than just that. Thelma and Louise are two completely ordinary Arkansas women, both a bit doomed by their discontent with their own lives. Thelma (Davis) is a housewife who tolerates her rug salesman husband's tantrums, and Louise pours coffee at a roadside diner for a living. Both agree to head off for the weekend and 'let their hair down.' Thelma even opts to tell her husband in a note--too terrified to speak with him about it.

Like typical chicks, they loosen up after a couple of roadside bar margaritas, and Thelma succumbs to lusty temptation by a handsome cowboy who asks her to dance. This takes a horrific turn, however, when he attempts to rape her in the parking lot later that same evening. Louise comes to save the day, and the two end up being to blame for a violent outburst that ends the man's life.

Thus begins the convertible scenes against a desert sunset, country music on the radio, hair blowing in the wind... and that's fine. As viewers, we expect it, and we even want it for these women. This film has all the great traditions of a roadie film, but it packs a few surprise punches as well. Chick flicks take something like this down a road of haphazard goofy scenes, but this film takes those opportunities to have fun.. but with real heart. As the two dig themselves further and further into the hole-- now Wanted in three states-- they seem to be doing something not just for themselves but for all down-trodden, hopeless women.

Personally, I thought it was brilliant. I am the first to stick my nose up at bad romantic and/or feminist comedies-- well, at least modern day ones. I found this movie to be gutsy and strong, while still showcasing realistic 'oh shit' moments and mistakes. It has something that previously in cinema really was only shown through male characters, and for that reason it felt fresh and exciting. Not to mention, I love when films get you rooting for the bad guy... err... girls!

Upon reading some reviews of the film from the time of its initial release, I found Roger Ebert's critique of the ending to be exceptionally interesting and spot-on. I quote:

I would have rated the movie at four stars, instead of three and a half, except for one shot, the last shot before the titles begin. This is the catharsis shot, the payoff, the moment when Thelma and Louise arrive at the truth that their whole journey has been pointed toward, and Scott and his editor, Thom Noble, botch it. It's a freeze frame that fades to white, which is fine, except it does so with unseemly haste, followed immediately by a vulgar carnival of distractions: flashbacks to the jolly faces of the two women, the roll of the end credits, an upbeat country song.

I agree with his critique in citing this as a bit gutless for a movie with so much piss and vinegar. The film was given a brilliant pay-off, but in the editing execution, they chickened out. Indeed, a damn shame.

Still a great movie in my book though. A smart, but easy feel-good for BOTH men and women.