Movie #135- "Star Trek II: The Wrath of Khan" (1982)

I am not a Star Trek fan.  A statement such as that could be easily be misinterpreted.  Some could take that meaning I hate Star Trek.  Not the case; I just never really got into Star Trek.  I can't really explain the reasoning behind it other than Star Trek wasn't readily available during my formative years.
The original series was cancelled when I was five years old, so I have no recollection of it.  I remember my father occasionally watching the syndicated versions of the program on a Saturday afternoon, but it never really captured my attention.  "Star Trek: The Motion Picture" came out when I was in high school.  By then, my sci-fi interests were limited to Star Wars and the Doctor Who series, especially the Tom Baker years, which appeared Sunday nights on the local PBS station.  When "Star Trek: The Next Generation" arrived, I was into my twenties and didn't hang with any fans of the show.
My knowledge with the Star Trek universe could be termed casual at best.  I know the characters from the original series and beyond that, I know very little.  I saw "Star Trek IV: The Voyage Home" when it came out in theaters, along with a fan of the series, and "Star Trek: First Contact" during an evening of adult beverages.
In reading message board postings about this film, it appears to be one of the most liked and highly regarded of the series.  As an outsider, I get that.  "Star Trek II: The Wrath of Khan" seems to highlight the strengths, and a few of the weaknesses, of the series.  Khan is a great villain, a man not only pursuing power and domination but also having a personal vendetta as a driving force.  Using another character from the original show allows for the mythology of Star Trek to continue.  You wish more scenes occurred containing the standoff between Kirk and Khan.
However, you do have to content with the acting of William Shatner.  As a person, he fascinates me.  I was a fan of his interview program "Raw Nerve" and own a copy of his album "Has Been."  There's just something about his acting that I've never been able to take seriously.  Maybe the impersonations of his style over the years and the parodies of his yelling of "Khan!" play a factor.  Or possibility it is the rhythm of his line readings (the costumes in this film also don't help).  As someone late to the game, I guess this is just something accepted, even appreciated, by the fans.
Overall, I enjoyed "Star Trek II".  It isn't going to turn me into a rabid fan, but I may be more likely to watch another film from the series as part of this project.  Figuring out which one may be the tough part, although I'm familiar with the even/odd rule.

Rating: 7/10
Movies I've previously seen: 7
First time viewings: 128

October Update

The month of October really derailed this project and guaranteed I won't finish with the full 365 movies viewed.  Only 2 blog entries and maybe 25 movies watched, I feel even further behind.  It looks like I'll hit about 330 movies watched and will probably continue the blogging portion into 2014.  Still, watching over 300 new movies in a year isn't bad.  I'm surprised that I was able to commit to this project this far.

Movie #134- "Identity Thief" (2013)

The trailer for "Identity Thief" pretty much gives you all the information you need to know along with a fair portion of the laughs.  What this movie boils down to is that it's a take on the buddy comedy featuring two contrasting personalities, forced to travel across the country in a car because (surprise) air travel gets ruled out.  If the awkwardness of the situation doesn't provide enough humor or challenge for the characters, the stakes are mysteriously upped by adding another criminal element chasing our two heroes.  I really didn't think that urgency added anything to the film except inflate the running time.
You've seen this movie before, in several different variations.  Using technology, and the ability of identity theft, may be the lone difference in a fairly standard genre.  Melissa McCarthy is becoming the "go-to" for loud, brash, foul-mouthed female characters while Jason Bateman does his normal guy pushed to the limit routine.  The casting of these two actors doesn't come as a surprise, although both have done better work with these characters in other projects.    A few mild laughs occur, but there are several other superior examples of this particular comedy.

Rating: 5/10
Movies I've previously seen: 7
First time viewings: 127

Movie #133- "Repo Man" (1984)

In true disclosure, the rating listed below may not be an actual representation of "Repo Man" (not to be confused with the 2010 Jude Law film "Repo Men).  I have seen "Repo Man" multiple times as I would rate it as one of my all time favorites.  Not only is it a film that I enjoy immensely, it's also a film that played an integral part of my college years.  I honestly don't remember the first time I saw it, whether it was in the theater or on VHS (I remember seeing the trailer in theaters), but the story, visuals, and music had an impact.  Several of my friends were into the punk scene.  I listened to the music (the Dead Kennedys were my band of choice), hung out with them, but didn't fully commit to the lifestyle.  I originally hadn't planned on watching "Repo Man" as part of this project.  However, when the Criterion edition was released this year, I bought yet another copy of the film to view the new, restored digital transfer.  And yes, I continue to love this film.
First, you have the plot:  a crazy mash-up of aliens, punks, government conspiracy, television evangelists, generic food products, and of course, competing agencies that repossess automobiles.  Strange life philosophies and codes are shared.  Lines are tossed off that appear as quick visual jokes later.  Pop culture references make for quirky dialogue.  The punk lifestyle is displayed in a realistic, non-Hollywood fashion.  Weirdness just permeates the screen.
As to the acting, Emilio Estevez made "Repo Man" just before he hit it big with "The Breakfast Club" and became part of the "Brat Pack".  He's actually quite convincing as punk/repo man Otto, a bored suburban kid only interested in the now.  Harry Dean Stanton is the veteran, tricking Otto into his first job, then teaching him the rules and code of the repo man.  Also a special nod to Zander Schloss, bassist for the Circle Jerks, in the role Kevin, a guy who seems to be an outcast in a world of outcasts.  Since I mentioned that band, the soundtrack is filled with West Coast punk, including the Circle Jerks, Black Flag, and Fear along with the title tune from Iggy Pop and a great rendition of Jonathan Richman's "Pablo Picasso."
While Emilio Estevez may seem like a strange link in a world of punk, possibly the oddest credit goes to Executive Producer Michael Nesmith.  That would be former member of the Monkees Michael Nesmith, who was somewhat of a video pioneer in the early 1980s (he was also the EP on "Tapeheads", another hidden gem from the decade).
I probably could have written endlessly about "Repo Man" and the simple joy it brings to me every time I watch it.  A real slice of the 80s without the commercial BS.
  
 
Rating: 10/10
Movies I've previously seen: 7
First time viewings: 126

Movie #132- "Iron Man 3" (2013)

Sequels are usually a mixed bag.  The audience gets wrapped up in a character or group of characters and we wish their exploits would continue.  In comedy, it's a new misadventure.  In horror, the killer keeps killing.  In the world of action heroes, new villains to vanquish.  Hollywood gladly takes advantage of the situation, if the box office is willing, and gives us exactly what we crave.  I shouldn't say exactly because often these movies fail to live up to not only the first film, but also to our expectations.  I can think of just a few sequels that were equal to or better than the original.  It gets even tougher with the second sequel.  In some cases, it's an attempt to escape the sins committed with the first sequel.
I loved "Iron Man".  It would easily fit in the top five action hero movies I've seen in the last 20 years.  Robert Downey Jr.brought something fresh to the genre.  Whereas Batman was dark and dour (I loved "The Dark Knight" as well) and Spiderman was a little too sincere (didn't need a Spiderman reboot), Iron Man fit the current Facebook culture.  Tony Stark wanted the attention.  He was smarmy, brash, witty, and filled with braggadocio.  But he was also intelligent enough to back up his swagger.  Stark brought a sense of joy to "Iron Man".
Then came "Iron Man 2".  I wouldn't rate it a bad movie, however it was a giant step down.  Stark was still Stark, not only fighting the bad guys, but the government as well.  Unfortunately, Mickey Rourke's Ivan Vanko was underwritten and too much of the film seemed like a plug for the upcoming "The Avengers".  A simple case of sensory overload.
So that brings us to "Iron Man 3".  While I feel they tried to correct the errors of the previous film, there is still plenty of excess to wallow in.  The action scenes are bigger, more things explode, and at times, in the final action sequence, it's difficult to keep track what's going on.  The writers try to humanize Stark more by providing him some needed help from an unlikely source and Ben Kingsley is marvelous as the Mandarin, which leads to a nice twist.
"Iron Man 3" is a step up from the previous film, yet continues to fall short of "Iron Man."  In fact, I'd place this entry closer to "Iron Man 2" in terms of quality than the original.
  
Rating: 7/10
Movies I've previously seen: 6
First time viewings: 126

Movie #131- "The Adventures of Buckaroo Banzai Across the 8th Dimension" (1984)

"The Adventures of Buckaroo Banzai" turned out to be a box office failure in 1984, but that lack of success would later morph into cult status.  Watching this film, that piece of information doesn't really come as a surprise.  In fact, this is the first film that I've probably watched this year that seemed to be attempting just that... cult fame.  I vaguely remember it arriving in theaters (I want to say it had a fair promotional push), though it obviously didn't pique my curiosity enough as it made the "First time viewings" category.
My biggest issue with "The Adventures of Buckaroo Banzai" is that it's trying too hard... way too hard.  Peter Weller assumes the role of Banzai, a scientist, surgeon, musician, and probably sushi chef in his spare time.  The guy is brilliant, well-traveled, has a fan club along with a comic book, and easily woos a crowd with song.  There isn't anything the guy can't do, making him too perfect.  Banzai has a crew basically to add extra flare and give Banzai people to converse with because a film with just inner monologue would have been boring.
However, I don't want to totally take the film down as it offers some inventive ideas.  Naming all the aliens John, with a strange variety of last names, and have them mangle common English phrases is amusing.  Having John Lithgow as the crazy alien leading the attack is equally as inspired, although I wish he had more screen time.  In the end, with Banzai's perfection, there really isn't any tension leading to the final outcome.  The 80s production values could add or subtract points, depending on your viewpoint.
It is interesting to note the movie promotes a sequel during the closing credits.  Due to a poor box office and a studio bankruptcy, that didn't happen.  It would have been intriguing to see the direction of the story since the characters had been established.  Otherwise, a fair attempt at making a cult classic.

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 125

Movie #130- "True Grit" (1969)

It's an entertaining read on the message boards regarding the comparison of the "True Grit" movies.  Generally it seems that the one you see first will be the film you favor.  I saw the Coen brothers version first.  However, that was when it initially arrived in theaters in 2010, and my memory isn't what it used to be, which makes it difficult to offer a complete side-by-side analysis.  While I prefer the Coen rendition, largely on the strength of Jeff Bridges, I was surprised by how much I enjoyed the John Wayne film.
Both actors provide strong interpretations of the Rooster Cogburn character, although they take them in different directions.  Wayne's performance had a lighter, comedic touch, while Bridges' performance was more grizzled, rougher around the edges with a dialect that was occasionally hard to understand.  That turned some people off, although I felt it made Cogburn feel authentic given his background and drinking habits.  Still, Wayne maintains an imposing figure on the screen.
You can easily debate merits of the remainder of the cast, and this take on "True Grit" has great actors attached.  Robert Duvall, Dennis Hopper, and Strother Martin all appear.  Unfortunately, the weak link is provided by non-actor Glen Campbell as La Boeuf.  Campbell had just a few acting credits before this film, and he won't win over any converts in that aspect of his career.  I've seen worse examples of musicians trying to act, but don't consider that a ringing endorsement.
One contrast that will notice immediately is the tone of film in terms of cinematography.  This film is bright and colorful as opposed to the darker style the Coens employed.  Vast blue skies framing gorgeous mountain scenery again showcasing the difference in dramatic interpretation of the book.
It's interesting that both readings of Rooster Cogburn received Oscar nominations, but it was Wayne that walked off with the win.  I think the performance and the film have held up better than expected.   


Rating: 8/10
Movies I've previously seen: 6
First time viewings: 124

Movie #129- "The Wolf Man" (1941)

As this project rolls forward, I'm astonished at the number of early movies that I haven't seen.  Given that I once majored in cinema, I should have more of these classics under my belt (of course, due to a couple courses, I've seen my fair share of early Russian cinema).  I used to joke about not seeing many films made before 1970, which was a statement that had a large amount of truth to it.  One of the genres I've probably ignored the most is the horror film, especially the classic movie monsters.  It's been entertaining to look back on the creatures that Hollywood has tried to revive far too often.
One key element I've noticed is how varied each key monster is handled (I've got a few more films in the future).  The background stories, personas, and motivations differ with each character, giving some added depth so the monsters are not carbon copies of one another.  Dracula was cold, emotionless, undead.  He continued to feast on the living, with no mortality or conscience.  In contrast, "The Wolf Man" gave us a man placed in a situation that leads to a tragic conclusion.  Something terrible, and unbelievable, has inflected him, yet he doesn't have the ability to fight it.  He arrives home to mourn the loss of a brother and reconcile with his father, then becomes a monster that he can't control.  Lon Chaney brings humanity to the role of Larry Talbot, a sincere but conflicted man, not buying into the folklore until he becomes a part of it.
I also credit "The Wolf Man" for an excellent job in creating a creepy vibe.  Whereas "Dracula" relied on the castle, "The Wolf Man" has the haunting atmosphere of a forest.  Examples include the gypsy camp, featuring quality performances by Bela Lugosi and Maria Ouspenskaya, along with the swirling fog through the trees during the climatic chase scene.  The early horror films are fairly fast-paced, wasting little time to get to the conclusion as they generally seem to clock in at under 80 minutes.
Another iconic movie that Hollywood will forever try to remake.
 
Rating: 9/10
Movies I've previously seen: 6
First time viewings: 123

Movie #128- "Slacker" (1991)

Many have said that "Seinfeld" was a show about nothing.  Granted, in its later years, it did develop story lines and plots though originally, it was about such mundane aspects of life like waiting for a table at a restaurant or looking for your car in a parking garage.  If "Seinfeld" was the show about nothing, then "Slacker" is the movie about nothing.
Director Richard Linklater made a splash in the independent film world with the release of "Slacker."  It was probably a film that resonated more in towns with a "hipster" population, most likely college towns, but not necessarily (although I had heard about the film, I wasn't living in that kind of surrounding).  It is a film without a plot and a revolving cast of characters.  It's a day in the life of Austin, Texas.  The best way to describe it is thus; image you have a video camera and you simply start filming.  You meet a person (or more), have a conversation, then pass the camera along.  Repeat this process until you have a 90 minute movie.
The pure simplicity of "Slacker" is its beautiful quality.  The lo-fi feel and variety of characters is what gives the film charm.  "Slacker" careens from individual to individual, providing a brief glimpse into their personality.  Don't like a character?  Don't worry, because you'll cross paths with a new one soon enough.  Conspiracies, philosophies, new age thinking, and music become part of the conversation (along with Madonna's pap-smear).  Linklater used a similar approach with "Dazed and Confused", although the narrative was more controlled and the focus was on a main group of kids.
This obviously isn't a film for everyone given the structure.  That is what drew me into "Slacker" given I didn't know what ideas would be expressed and the direction the movie was going to take me.  I'm hoping to check out Linklater's "Before Sunrise" trilogy at some point.  A unique piece of work.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 122

Movie #127- "The Last Stand" (2013)

The best way to describe "The Last Stand" is by using a sports analogy.  It's the bottom of the ninth inning and your team is down a run.  A runner is on base, when the old, grizzled slugger saunters up to the plate.  He's been out of the game for a while and may be past his prime, yet on occasion, has been able to flash the magic of years ago.  The first pitch is driven deep down the line, home run distance, but foul.  The second pitch, a swing and a miss.  Finally, the third pitch freezes him, resulting in a called strike.  The at-bat ends in disappointment.  Thankfully, it's only the first out of the inning, so the game moves on.  Will the slugger bat again?  Maybe.  So goes Schwarzenegger's career.
A lot was made about Arnold's return to a starring role.  This appeared to be the perfect vehicle for him; the aging sheriff in a sleepy border town with big trouble heading his way in the form of the escaped leader of a drug cartel.  The town is basically deserted for a football game and his only back-up consists of an inexperienced staff and a crazed munitions collector.  This leads to a very loud, and violent conclusion.
"The Last Stand" could have been more fun than it is, but I'll place a majority of the blame on the script.  The initial set-up of the story gets you excited (big showdown in small town), yet "The Last Stand" fails in the execution.  I can overlook plot holes if the film can draw me into its world.  Here, there are too many gaps that keep you waiting.  The villain and his goal isn't that interesting, the build up to the conclusion drags too long, Johnny Knoxville is given an outrageous character that is barely used in the first half of the movie, and while Schwarnenegger gets to inject some humor in regards to his age, that is an opportunity that is sparingly explored.  Luis Guzman is dependable in the role of a deputy while I really wanted to see more of Harry Dean Stanton in an uncredited part.
Arnold appears to be up for the challenge of aging action hero.  Although he may not return to past glories, he could become a reliable box office draw again.  He just needs to find a script that better suits him.

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 121

Movie #126- "The Bank Dick" (1940)

You've got to hand it to W.C. Fields.  Where the Marx Brothers relied on their crazy antics and Charlie Chaplin had his Tramp character, Fields went the direction of alcoholic curmudgeon.  He could effortlessly trade sharp barbs with anyone his path, unless it was his wife, in which the comments were generally under his breath.  And if that sour aspect in his character made him an unlikely hero, he also displayed a strong dislike for children, usually a less than endearing quality.  Kids appeared to be the enemy and Fields wasn't afraid to unload his insults toward them.  One has to wonder if someone could repeat such a character in today's climate without some dark undertone or apologetic stance.  Yet Fields made it all work.
In "The Bank Dick", Fields plays the humorously named Egbert Souse (accent on the e), and while the title implies his role as a bank detective, that is only part of the plot.  He briefly dabbles as a movie director (purely on accident) and gets caught up in an embezzlement scheme (due to his own greed).  The situations provide Fields the opportunity to flex his ability at verbal sparing.  However, he was adept to slapstick too, as evidenced in playful bar scene involving his hat.  Modern slapstick just doesn't hold a candle to the early classics. 
Another common thread I've noticed about the early comedies is the love of a car chase.  As long as there have been automobiles and films, high speed thrills is part of the equation.  And "The Bank Dick" follows with a comedic car chase involving Souse, the police, and crooks.  The sheer timing and mayhem that goes into these elaborate sequences is quite impressive.
Fields was not just the star of this film, but also wrote the screenplay, using the name Mahatma Kane Jeeves (read it fast).  It's a shame that Fields would make only four more films following "The Bank Dick" as he died in 1946.  Fields was another early comedian who I knew for his style and manner, yet not his film work.  My love of early film comedy is continuing to grow due to films like this.


Rating: 8/10
Movies I've previously seen: 6
First time viewings: 120

Movie #125- "Death Race 2000" (1975)

Roger Corman has an astonishing legacy in the world of Hollywood.  Director of 50-plus titles, producer of over 400, Corman is known as the "King of B Movies".  His movies inexpensive and shot at a quick pace, yet it is rare for his films to not to turn a profit.  Corman has also been instrumental in the start of several careers.  Ron Howard, Martin Scorsese, Jack Nicholson, and Robert DeNiro are some of the names that Corman assisted, whether it be in the acting or directing arena. 
"Death Race 2000" centers around a government sponsored cross country race that has one twisted plot point... racers are given points for striking pedestrians.  Given the gruesome nature of the plot, the death scenes are actually handled very tongue-in-cheek, almost replicating a Benny Hill chase sequence.  Of course, there are factions that exist wanting to put an end to the race and one of the drivers may share in that very idea.
Some may shake their head at the plot and believe it's sadistic, "Death Race 2000"is an entertaining social commentary complete with cheesy production values.  Our love of violence still holds true (along with an early look at reality television) while the rebels trying to stop the race are making an attempt to restore America to a previous time (sound familiar).  "Death Race 2000" takes these ideas and gooses them with comic book styling as each racer is given a unique identity along with a vehicle that matches the personality.  The cars themselves are hilarious creations on a shoestring budget.
Sylvester Stallone is featured in his pre-Rocky days as one of the contestants, working hard on his monosyllabic delivery.  At the time, the bigger star was David Carradine, coming fresh off the television series "Kung Fu" and looking for an image change.  I think he succeeded.  Paul Bartel, who has appeared in several Corman films, gets behind the camera, directing with a manic glee.
However, as much I enjoyed the first half of "Death Race 2000", there was a problem of stretching the absurdity over a scant 80 minutes.  Best viewed on a late Saturday night or at the drive-in.

Rating: 6/10
Movies I've previously seen: 6
First time viewings: 119

Movie #124- "Bachelorette" (2012)

Comparisons have been drawn to "Bridesmaids", along with a dash of "The Hangover" thrown in.  While the trio of films focus on an impending wedding, "Bachelorette" takes a left turn into the darkness with the headlights turned off.  I probably laughed more at "Bridesmaids" and "The Hangover" and would give them higher marks, yet that's not to take away anything from this film.  Friendship seemed to be at the heart of "Bridesmaids" and "The Hangover" (more so with the former film) along with the generous supply of wacky antics.  "Bachelorette" is more interested in probing the dark side of the human condition.
Three women, friends in high school, are drawn back together for the wedding of a former classmate (Becky) that they used to ridicule.  It is not a joyous occasion for them, being they can't believe Becky is getting married ahead of them.  Their lives haven't exactly panned out.  One has a drug problem, one drifts from one relationship to another, and the third, while doing the "right things" in life, is a contentious planner with an unpleasant attitude.  The nuptials cause their life bitterness to surface, rising to the point that you wonder how they remained friends.  A wedding dress is ruined, an old boyfriend appears, and various forms of debauchery takes place.
"Bachelorette" carries its mean streak proudly with Kirsten Dunst as the controlling, bitch on wheels.  Isla Fisher along with Lizzy Caplan, Rebel Wilson, and Adam Scott add to a cringe-inducing evening.  I've worked my share of weddings in the past and  have seen many ceremonies that are happy on the outside, not so much inside.  "Bachelorette" cuts away some of the wedding sheen with vicious slashes.  Sure, the trio are obnoxious and unlikeable, but it gives them a chance to hopefully grow, although I doubt it.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 118

Movie #123- "The African Queen" (1951)

"The African Queen" relies basically on one thing; the chemistry between Humphrey Bogart and Katharine Hepburn.   Given the nature of the script, if that element fails, the entire film sinks with them.  "The African Queen" rests solely on their seasoned shoulders and thankfully, the two have chemistry in spades.
This concept of a traveling, mismatched couple wasn't a new idea.  The surroundings and danger may have been different, but at its core, it's about the relationship between Bogart's surly, unkempt sea captain and Hepburn's proper, uptight missionary.  You know the end result result before the two even set foot on the boat, but the dance leading to the romance is fun to watch unfold.  SPOILER ALERT:  Honestly, "The African Queen" really didn't need any other characters (granted, they did need an excuse to get them on the river) or the grand conclusion of the sinking of a Nazi ship to be a pleasurable experience (although I understand the need to give Bogart's captain some vindication and make him a hero). Just get Bogart and Hepburn on that boat, and let them spar for nearly two hours.
Director John Huston does an excellent job in providing two varied scopes of the trip.  First, he gives us the claustrophobic view of two people navigating down a wide river on a small boat.  But he also provides us with the majesty that is Africa, complete with exotic views of the wildlife.
This is the kind of "opposites attract" romance Hollywood consistently attempts, but rarely seems to get right.  Here, you get two veteran, accomplished actors showing how it's done with grace and ease.

Rating: 10/10
Movies I've previously seen: 6
First time viewings: 117

August Update

Okay, on the blogging side of the project, it wasn't a very successful month.  Just a few posts with most of them the last week of the month.  However, I did manage to keep the pace in terms of movie watching, with 31 movies in 31 days.  Didn't pick up any ground, but didn't lose any either.  Hit number 200 with a viewing of "2001: A Space Odyssey" and several music-related films hit the August list.  On to September, still about 25 movies behind.

Movie #122- "Go" (1999)

"Pulp Fiction" really changed the landscape of film.  It's cool dialogue, stylish violence, and non-linear story telling seemed to open a world of possibilities for young directors.  Many took notice, using that film as a springboard to try different things as how a story unfolds.  Unfortunately, others got trapped in the idea and were doomed into making copies without adding an original stamp.  For me, "Go!" fit snugly into the former, an exciting thrill ride that shares some of the Fiction DNA, yet pushing it different directions.
"Go!" was directed by Doug Liman, following in the success of "Swingers", a film that traveled at a lighter pace.  Liman was able to ensemble an incredible cast of young actors and familiar faces to realize his vision.  The plot follows several characters through one evening, with three separate stories.  The major players of each story intersect at a grocery store early in the evening, although all the characters do not necessarily cross paths (Ronna, a store cashier, is a common bond).  The stories take us on a drug run/techno rave, a trip to Vegas and an attempted drug bust, which happens to build off the first story before going off on a crazy tangent of it's own (then re-joining the first story a second time).
The list of known actors involved with the film is impressive and all provide energy to the saga.  Sarah Polley, Jay Mohr, Scott Wolfe, and Taye Diggs along with brief appearances by Jane Krakowski and Melissa McCarthy and Katie Holmes in quite possibly her least offensive film role (I've liked movies she's been in, just not her appearances).  Worthy of a special mention are Timothy Oliphant as Todd Gaines, a drug dealer who is tough and scary, yet with a seemingly sensible code and William Fichter as a cop with a secret that gave me one of the biggest laughs in the movie. 
The title of the film is really an apt description as "Go!" continually hurdles forward, barely taking any time for a breath.  I also felt that was part of it's undoing as it stumbles over it's own stylish attitude.  If it doesn't have a cult following, it should.

Rating: 6/10
Movies I've previously seen: 6
First time viewings: 116

Movie #121- "My Left Foot" (1989)

Is Daniel Day-Lewis the best actor currently working in film?  I would probably put him in the top five mainly as there are several of his performance I haven't seen.  In looking at his filmography, counting "My Left Foot", I have seen five of his film performances, three of which Day-Lewis won an Oscar.  Of the remaining two, he was nominated for one ("Gangs of New York") while receiving a nomination for a Golden Globe in the other ("Nine").  Hard to compile a list when you've only seen the best of his work.  However, he also doesn't churn out an endless string of films as he's only appeared in 9 films over the last 20 years.
What I've noticed is that Day-Lewis brings a dramatic intensity that is rarely seen with such consistency (again, I know a five film sample is small).  His talent provides the strength to elevate a movie.  I point to "There Will Be Blood" as an example.  While I found that film to be long and sometimes plodding, you still could not take your eyes away from what he poured into the screen.  His character of Daniel Plainview was larger than the movie itself, sweeping the viewer into his world.  His approach to Lincoln was similar, although in that case, he had a better supporting cast and a greater conflict.
Christy Brown may not dominate the screen in the same fashion, but that does not diminish the performance.  However, unlike "There Will Be Blood", "My Left Foot" provides a balance for Day-Lewis in the character of his mother, played with care by Brenda Fricker.  The film not only examines the difficulties Brown faced with cerebral palsy, it also focuses on the love of family, especially Brown's mother.  She's a woman who takes special care of her child, worrying about how he's treated by others while believing in his ability even when he is a less than pleasant person.
This is one of the few films I wish had been longer as it locks in at a tidy 103 minutes.  The relationship between Brown and his mother was tender and touching, yet I would have liked to have learned more about the rest of the family including his tough and stern father.  And while I shine accolades on Day-Lewis, Hugh O'Conor should also receive notice for his portrayal of the young Christy Brown.
A powerful movie that shows the triumph of the human spirit and some of the frailties that can befall us, disabled or not.

Rating: 9/10
Movies I've previously seen: 6
First time viewings: 115

Movie #120- "Texas Chainsaw" (2013)

Exhibit A as to why I'm not a big fan of the slasher genre.  The basic premise is take a group of people, put them in an eerie surrounding, then drop in a maniac with access to an unending supply of sharp implements and an inability to die.  With "Texas Chainsaw", the added bonus is that the producers have hitched their wagon to a known franchise.  Blood is splattered, bodies are mutilated, and yes, there are chainsaws.
SPOILER ALERTS AHEAD:  This story picks up after the conclusion of the original.  Vigilantes from the town head to the Sawyer residence, burning down the house, and they assume killing everyone inside.  Flash forward nearly forty years when a young woman discovers she is a descendant of the Sawyer family and goes to claim her inheritance with her "friends" along for the ride (need a body count after all).  This creates a strange time frame issue when it's revealed that she had escaped the earlier fire.  The lead looks to be in her mid-20s, yet the story would put her closer to 40 (or she has an incredible beauty regimen).  Naturally, mayhem ensues when Leatherface appears, and in a weird shift toward the end of the film, the antagonist becomes a sympathetic protagonist.  It becomes a bizarre family reunion.
One element that I caught on the message boards was the surprising lack of nudity, which I always thought was a slasher film staple.  "Texas Chainsaw" teases you with potential nudity, then ripping it away as though it's ashamed by the notion.
So, senseless, bloody violence... check.  Possibility of the sequel... check.  Nudity... nope.  Most of what you would expect from this sort of film.  Just nothing too inventive. 

Rating: 2/10
Movies I've previously seen: 6
First time viewings: 114

Movie #119- "Mud" (2012)

Matthew McConaughey is craving out a nice career as his choices seem to have improved over the last couple years.  We first met him in 1993 as the quotable Wooderson in "Dazed and Confused."  A surprising variety of film genres followed only to lead to a world of rom-com hell.  Something changed at start of the decade with McConaughey making a step in a different direction, appearing in films with again a varied scope.
"Mud" has been a film I've been recommending although it is for more than just McConaughey.  Here, he takes his slow, laid-back drawl, and adds a touch of menace with a dash of hopeless romantic (not in a rom-com way).  The film is set in Arkansas, on the Mississippi River, where two young boys find a boat wedged in a tree.  They claim the boat, only to find McConaughey (Mud) using it as a home.  Mud is on the run from the law as well as waiting for the woman he loves, played by Reese Witherspoon.  But this a combustible relationship, one in which bad thing happen when they get together.  In Mud's mind, they belong together, even though he is painfully aware of the trouble the relationship brings.
At the center of the film, is Tye Sheridan (Ellis) and Jacob Lofland (Neckbone), the boys who meet Mud and eventually strike a deal with him.  It's a coming of age movie with the boys learning a lesson of love and loyalty.  While the storyline may be different, I felt "Mud" shared some DNA with "Stand by Me."  This is a well-rounded cast, with strong performances by the mentioned male trio and Witherspoon, going against type, as a woman looking for love from anyone that would have her.
A pleasant experience for late summer viewing.


Rating: 8/10
Movies I've previously seen: 6
First time viewings: 113

Movie #118- "Chinatown" (1974)

I have waxed poetically in past entries on movies from the 1970s.  I realize that I've had the ability to cherry pick my selections for this project.  Yeah, I know the decade produced its share of clunkers ("Sgt. Pepper's Lonely Hearts Club Band" anyone), but I think if you pitted the best of the 1970s against the best of any decade, the 70s would generally win.  I hope this isn't a statement based on nostalgia since I hit my teen years during that decade (although technically, I was too young to see most of the movies listed).  There is just something about the film output from that era that has a special, gritty tone and feel.  
You also notice the performances.  When you look at the recent resumes of actors like Nicholson, DeNiro, Pacino, Hackman, Hoffman... it doesn't quite resonant in the same manner as it did during that decade.  I know DeNiro received an Oscar nod for "Silver Linings Playbook", but did that performance equal those from "The Godfather Pt. 2", "Taxi Driver", or "The Deer Hunter".  Don't get me wrong as they were still producing quality work beyond the 1970s.  It's just that that decade really packed a wallop in terms of the cinematic experience.
"Chinatown" is a complex thriller, one that challenges the viewer as you travel a twisty road.  What appears as a simple crime of passion, turns into government corruption and murder all leading to a whopper of an ending.  Nicholson's J.J. Gettis is a detective not afraid to be knocked around because he knows when that happens, he's on the right trail.  Faye Dunaway is marvelous as the femme fatale with a horrible secret while director Roman Polanski gives us a brilliant ode to the film noir genre, subverting it to give us a product that's even darker and seedier.  And another common trait from 70s films, the good guy may win the battle, but he doesn't necessarily win the war.
I was entirely drawn into the film and understand why it's hailed as a classic.  An amazing piece of work.

Rating: 10/10
Movies I've previously seen: 6
First time viewings: 112

Movie #117- "The Omen" (1976)

I guess my expectations for "The Omen" were a little different than what unfolded on screen.  As I've mentioned before, the horror genre isn't exactly a favorite, especially since the onset of the slasher film.  I don't find gore generally scary, but if it's done inventively or with a bit of style (tongue in cheek doesn't hurt), I can get on board.  I enjoy the occasional supernatural thriller, notably if the film messes with your mind.  I had those hopes for "The Omen", which unfortunately failed for me in that aspect.
"The Omen" seems to center around the prospect of a child that may be the Antichrist.  I remember the movie opening in the mid 70s and the creepiness surrounding the child known as Damien.  So I had some excitement to sit and watch this classic horror tale.  But I guess my disappointment came with the fact that Damien, the actual character, isn't really in enough of the movie.  The child (Harvey Stephens) has a very cold demeanor, and he's usually presented with an air of menace.  A perfect example is the tricycle scene, in which Damien hastily rumbles through the house, ready to knock his mother off a ladder, plunging to the floor.  The kid kind of freaks me out (as did the crazy nanny that protects Damien).
Once we become fearful of the dreaded Damien, "The Omen" takes us on a trip through Europe as Gregory Peck attempts to connect the dots between his "son" and the terrible events that have occurred.  And while the film tries to build tension, I found several of the revelations silly, including a scene involving a cemetery and pack of dogs.  There is also a beheading scene I recall being discussed which played better in my mind than what appears.  Some special effects lose their charm over time.
One funny note as I almost made a comment about Hollywood trying to remake this film, totally forgetting that it had been done in 2006.  Apparently that one didn't do well enough to warrant a sequel like the original.

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 111

Movie #116- "Bernie" (2011)

While I like the manic energy Jack Black possesses, especially with Tenacious D, I have a tendency to tire of him in his film roles.  He's had a few occasions where his style has worked to his advantage, but when the project relies too much on Black's energy, the film seemingly suffers.  Robin Williams had a similar issue early in his career when his frantic, ad-lib ability was used to try to connect the dots in a plot.
Black takes a different step, outside his comfort zone, in "Bernie".  I never thought I'd use the word understated when describing Jack Black and yet that fits perfectly here.  "Bernie" is based on the true story of Texas mortician, the title character, who befriends an older woman, then kills her and attempts to hide the crime.  The story may sound macabre with a bit of "Weekend at Bernie's", but it trends more toward a sweet nature.
Bernie is not shown as a deranged killer.  He is a man of the community, helping however he can with the local townspeople in a variety of situations.  Bernie is well regarded in his small Texas town, although some questions do occur when he starts "dating" Shirley MacLaine's Marjorie (there are also questions about his sexuality).  He has such a likeable personality, that even after the murder, most of the community sides with Bernie.
Overall, "Bernie" is a charming film that pokes fun at small town gossip, where everyone knows everybody's business.  Black had the chance to visit with the real Bernie and several residents that knew both Bernie and Marjorie appear in the film.  Matthew McConaughey uses his southern drawl and laid back demeanor as one of the few to be unsympathetic to Bernie.
Black is quite a revelation in "Bernie" and hopefully he's got a few more surprises up his sleeve.  I found myself enjoying this film more than I expected.

Rating: 8/10
Movies I've previously seen: 6
First time viewings: 110

Movie #115- "Swimming with Sharks" (1994)

Have you seen "Horrible Bosses"?  Kevin Spacey plays one of the title characters, a terrible individual who metaphorically dangles Jason Bateman's feet over the fire, making his work life a miserable experience.  While Spacey is evil as Dave Harkin in that role, he is just scratching the surface in comparison to Buddy Ackerman, the horrible boss he plays in "Swimming with Sharks".  Buddy is the kind of guy that would gleefully put Dave through hell before breakfast, then do it again during lunch because it amused him, even if it was briefly.
Enter into Buddy's world Guy, his latest assistant.  Guy has ambition.  Guy has a dream.  Unfortunately Guy also lacks backbone, providing Buddy the perfect target for his seething wrath.  "Swimming With Sharks" opens with Guy holding Buddy hostage and in flashbacks, we see how the events unfold, starting with Guy's first day on the job.
Not only is this a workplace comedy (a dark one at that), it also sharply skewers Hollywood along the way. Buddy is tolerated since he is successful, which breeds success to those who work for him.  The film has fun with the dog-eat-dog world that is the film industry, but it also questions the distance one would go in order to chase their dreams.  Guy begins as a mild-mannered individual with artistic integrity, yet is changed into a ball of rage, torturing his boss due to his foul treatment.
Frank Whaley is nicely cast as Guy, but "Swimming with Sharks" belongs to Spacey.  His yelling, screaming, insult spewing Buddy is the reason to watch, as the character holds your attention.  Even the softer moments don't make you empathize with the insanity that is Buddy.  And the ending is one of debate due to a twist and a shift in character.
Spacey is a joy to watch in "Swimming with Sharks", although you spent the whole movie hating him.
 
Rating: 8/10
Movies I've previously seen: 6
First time viewings: 109

July Update

I am really terrible at the whole blogging aspect of this project.  I kept the pace in movie watching for July, and currently stand at 187 movies in 212 days.  A few classics, several recent films, a couple oddball choices in the mix.  I need to really play catch up over the next couple months.  Maybe I should just stop doing chores around the house because that can really cut into your day.  Lawn mowing?  I'll just tell the neighbors I'm going for a more natural look.  We will see what transpires in August.

Movie #114- "Jack Reacher" (2012)

Remember the days when the name Tom Cruise on the marquee meant something?  Yes, the man continues to churn out movies, but the films aren't the events they used to be.  "Mission: Impossible- Ghost Protocol" made money, yet I never heard anyone mention seeing the film (in fairness, I thought it was quite good, though I didn't see it in a theater).  Public perception of Cruise may play a part and I do have to give him credit for attempting go outside his comfort zone with lesser roles in "Rock of Ages" and "Tropic Thunder".  "Jack Reacher" provides another example of a film just missing its mark.
I have limited commentary about "Jack Reacher".  The film is neither bad or good, it just floats around average and forgettable.  It's one of those slightly engaging films you catch on cable one night, start watching, then realize you've seen it about halfway through.
Fans of the Jack Reacher books quibbled about the notion that Cruise, a man of shall we say short stature, could play Reacher, a rather large, intimidating individual.   Cruise handles the fight scenes fair enough, although he's still not someone that strikes fear upon his opponents.  While Ethan Hunt worked because the character required some athleticism, Reacher is supposedly more brute force, something you don't see in Cruise. I have little to add about the plot except the villain is given a compelling back story, which isn't effectively used.  The real saving grace of the film is Robert Duvall, who doesn't appear until the second half.
Watch "Jack Reacher", be mildly entertained by "Jack Reacher", just don't raise the bar with "Jack Reacher."

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 108

Movie #113- "Jailhouse Rock" (1957)

Music has almost always played a role in the history of motion pictures going back to when pianists and live musicians would provide the musical score during the silent era.  When sound hit the screen with "The Jazz Singer", music helped blaze the trail as the audience could hear the musical numbers projected in front of them.  Al Jolson was a singer/entertainer, bringing his talents from Broadway onto the silver screen.  Throughout the history of movies, musicians have tried to navigate between the two worlds.  The appearances would vary in degrees, with some singers/musicians appearing as themselves while others would make an attempt at acting.  We still see it occur today, with a vast range of success.
Elvis Presley is easily one of the biggest names in rock history, and along his musical credits, he has multiple acting credits in his career.  Elvis' acting career is often dogged about the later movies in his repartee, but it's an area I can't comment because I have never seen a non-performance Elvis movie.  My father was a big Elvis fan, and I remember him taking my sister and I to an Elvis double feature in which both films were performance based (one may have been "Elvis on Tour").  I believe my sister fell asleep and we left before the second film finished.  So into more uncharted territory I wondered.
Elvis brings a dangerous charisma to the role of Vince.  His status as a bad boy, a threat to moral decency helped shape the character.  Elvis sneers at everyone, including those close to him.  Vince wants to be a singer/songwriter, but soon that isn't enough.  As he climbs the ladder success, he revels in a world of excess.  Vince gives the illusion of the man everyone adores while mistreating those in his inner circle.  Fame can create problems as the real Elvis would also discover. 
MOVIE ENDING SPOILER ALERT!  But then, we get toward to the end of the film.  Vince develops a vocal issue and may never sing again.  It's a tense moment as he approaches the piano, and surprise, his voice is back.  Instead of any real apologies to the people he's treated unfairly, the movie simply ends.  It's like a huge build up to his comeuppance, then nothing.
On a musical level, the film logically integrates the music into the story.  The "Jailhouse Rock" sequence is  deserving of it's classic status, and is really the only production number.  The other numbers are scattered about the film, during recording sessions, performances, etc. 
Elvis showed promise in this role, but once the connection between movies and soundtracks was made, the descent into cheese began.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 107

Movie #112- "42" (2013)

Jackie Robinson broke the color barrier in baseball.  In 1947, not only did he accomplish this feat, but he did so as a great player.  His skills had to shine on the ball field.  Mediocrity would have given naysayers ammunition.  Robinson provided the Brooklyn Dodgers a combination of speed and power.  While known primarily as a second baseman, Robinson played a variety of positions during his 10-year career.  First base... outfield... third base.  He averaged nearly 14 home runs, 20 stolen bases, and 74 runs batted in a season, finishing his career with a .311 batting average (as a fantasy baseball geek, I'd gladly take those numbers from a middle infielder).  Solid numbers considering his didn't begin his stint in Major League Baseball until the age of 28.
While "42" proclaims this as the Jackie Robinson story, this is really the story of Robinson's signing with the Dodgers and the subsequent personal struggles during his first season.  Dealing with racism from fans and teammates, Robinson demonstrated that he was a man not only of talent, but of character.  Chadwick Boseman gives a wonderful performance, combining the athleticism of Robinson along with the inner battles his faced in changing baseball.  Harrison Ford is Branch Rickey, the man responsible for signing Robinson.  He plays Rickey as a gruff old man, sometimes over the top, yet knowing this is the right move for baseball as a sport (of course, he knows of the financial rewards as well).
This is a heroic and noble story, with an old-time movie feel.  Ball fields glisten in the sunlight as team members play on carefully manicured diamonds.  The bright tone occasionally undercuts the nature of the story.  Somehow I feel that his entrance into professional baseball was more trying than what appears on the screen.  There were also a few points of dramatic license that really didn't add to the film.
Still, an inspiring story that belongs on the big screen, although it does contain a few weak moments.  "42" may not deliver a home run... maybe a triple.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 106

Movie #111- "8 1/2" (1963)

This film deserves a higher rating.  I'm positive that a second viewing would yield a higher score.  In fact, I have placed "8 1/2" on my list of movies that warrant a second viewing.  I didn't give this film an 8 for a sense of irony.  There appears to be so much occurring on the screen, that I feel I didn't fully comprehend the filmmakers vision.  This is the kind of work that prompts lengthy articles and papers along with a deep analysis.  "8 1/2" is a film that demands multiple viewings to peel away at the many layers.
The plot is simple to summarize.  Marcello Mastroianni plays a director, Guido, trying to relax while in search of his next project.  This attempt does not come easy as he is surrounded by former co-workers looking to become a part of his next film.  Add to the drama, the women of his life... wife, a mistress, actresses.  Fellini creates an autobiographical film, shining a light on the ups and downs of film making.  The narrative occasionally gets interrupted by flashbacks and fantastic fantasy sequences as Guido wrestles with a new idea.
"8 1/2" is a visual feast, a movie with plenty of style (I wish I had watched the Criterion edition).  The dialogue is in Italian, meaning the film is subtitled.  I don't have a problem with subtitles, but there are moments of the film when the dialogue flies by and your concentration focuses on the words rather than the visuals.  Several times during the film, I found myself going back to capture what I had missed.
I have heard of the beauty of a Fellini film, and unfortunately I had never experienced it until now.  Hopefully a second viewing will provide a greater understanding of the work.

Rating: 8/10
Movies I've previously seen: 6
First time viewings: 105

Movie #110- "Friends with Kids" (2011)

As you've probably noticed, there haven't been many romantic-comedies on the list.  I'm not entirely adverse to the genre, but they don't exactly provide me with inspiration as a film viewer.  When I watch one, I can usually put aside the absurd situation that ensues for a good cast and a well-written script.  "Friends with Kids" popped up as a Netflix suggestion, and the cast was truly a draw.  Another plus was its star/writer/director Jennifer Westfeldt. 
It's been a few years since I watched "Kissing Jessica Stein", which came out in 2001.  That was a film that Westfeldt wrote, starred in, and co-produced.  I don't have a lot of recollection of the actual movie other than I remember enjoying it. In this case, Westfeldt takes the romance/marriage/baby progression and throws it out of order, putting the baby first.  Unlike most rom-coms, the two characters in question (Adam Scott and Westfeldt) start as friends instead of opposite forces that somehow come together.  They are part of a larger circle of friends, consisting of two other couples.  Immediately you know where the relationship will finish, but Westfeldt is interested in looking how children can effect the dynamic of a couple.  Can romance continue once a child enters the picture?  Since it is a rom-com, you'll get the extreme ends of the spectrum. 
I found the cast of "Friends with Kids" solid, although my view may be tainted by my enjoyment of their previous work.  Scott and Chris O'Dowd are two comedic actors that I've taken notice of lately while I've liked Kirsten Wiig and Maya Rudolph since their Saturday Night Live days.  I also have to admire Jon Hamm for his continual ability to display his comedic chops (my wife always refers to his looks as a "cartoon pilot", which I believe was a "30 Rock" line).  And while I don't find Megan Fox as a good actress, I will give her credit for surrounding herself with funny people in a smaller movie. 
Overall, the script provides several funny moments along with a few emotional ones.  I feel the predictability of the finale hurts "Friends with Kids" in the end as I just saw the couple as simply friends.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 104

Movie #109- "Highlander" (1986)

"There can be only one."  That quote will occasionally be referenced at my place of work, and while I know the origin, I had actually never seen the movie.  I'm not one for this particular genre of fantasy film, but I can respect it when done well.  As I've reading message boards, "Highlander" has a devoted following.  I get the appeal of the concept, which is the huge plus for this movie.  However, part of the problem with "Highlander" is the idea eclipses the budget necessary for a film of this scope.
A group known as "Immortals" battle to the death, through the ages, leading the victors to a final battle known as the "Gathering".  Connor MacLeod is one of the last Immortals standing.  While the film is generally set in the future, we also flashback to Connor's early days in Scotland, the discovery as his powers, and the teacher, Sean Connery, that would help hone his skills.  We learn that an Immortal is destroyed by beheading.
Some of the battle scenes are impressively staged, especially the ones in Scotland.  The modern fight scenes lack some punch as they usually occur in darkened areas, apparently to hide wires that are occasionally visible.  Since it came out in 1986, it has a strong 80's vibe, ranging from the thumping, rock soundtrack, to sequences of dark rooms bathed in outside light.  Queen provides the music, but 80's Queen songs aren't as good as 70's Queen songs (although "Hammer to Fall" is one of my favorite later Queens tunes).
Christopher Lambert in the lead gives a somewhat stoic performance, spending much of the movie with a permanent scowl.  On the other hand, Sean Connery appears to be having the time of his life, chewing the scenery for a brief appearance.  Connery's role in "Highlander" may surprise some, but take a good look at his resume throughout his career.
Judging by the comments, "there can be only one" should have applied to the movie as fans have universally ripped the sequels.  I'm stopping at the original because I only need one.

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 103

Movie #108- "Manhattan" (1979)

Woody Allen has had an impressive career, spanning six decades of acting, writing, and directing.  You've seen his artistic growth over that period, from his early, sillier comedies, to the examination of relationships and neurosis, to some of his darker work, along with a few valleys.  Allen works outside the Hollywood system, basically puts out a movie every year, and actors love working for him.  "Manhattan" works as a bookend to "Annie Hall", with the search of love, relationships, and the perfect partner.
In "Manhattan", Allen plays Isaac, a television writer who by chance, runs into Mary (Diane Keaton) at a gathering.  The two have differing, intellectual viewpoints, which annoys and intrigues Isaac.  Mary also happens to be having an affair with his best friend Yale.  When the affair ceases, Mary and Isaac begin a relationship full of the witty banter one expects in a Woody Allen film (this is not a dig, as Allen writes very clever dialogue).
"Manhattan" is more than just a love story between people.  It's a love letter to a city.  Filmed in black and white, several significant locations in New York City are gorgeously captured, almost eliminating the grime from the big city.  It's a vibrant location, with several scenes filled with people going about their day, not to be bothered by the filming that is taking place.  The cinema photography of "Manhattan" is beautiful.
Yet you can't discuss "Manhattan" without the elephant in the room.  One of the sub-plots has Isaac dating Tracy, a 17 year old high school girl (Mariel Hemingway).  The situation is creepy enough, but given hindsight and Allen's personal life years after the movie, it ratchets that factor up a couple notches.  Not only is Isaac involved with statutory rape, none of his friends seem particularly fazed by the notion.  I don't know the message Allen is trying to send with this relationship, but it makes an uncomfortable viewing (it's also strange that many of the glowing reviews gloss over that part).
There are many truly funny points to "Manhattan" and it's a wonderful film to look at, however it loses a few points for the cringe inducing romance.

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 102

Movie #107- "Goldfinger" (1964)

Is this the greatest Bond movie ever and is Sean Connery the greatest Bond?  These two questions are always up for debate in the world of Bond although I'm leaning toward yes in both cases.  Regardless of your viewpoint, "Goldfinger" is where the standard elements of the Bond franchise really began to gel.
Going into this year, I wasn't too familiar with the Connery years as Bond.  I jumped into "Dr. No" (Movie #12) early in 2013, although I skipped over "From Russia With Love" to get to the third Bond outing.  It's fun, and at times difficult, watching the Bond formula come into focus, even though it pertains to both the good and bad.  I say difficult because the formula is so ingrained into your mind that it's tough to image that it was fresh when "Goldfinger" was released.
You're treated to the opening mission before the credits, the gadgetry, the most spectacular death of a Bond girl, and the intriguing sidekick.  All of these would be signature Bond.  On the flip side, you also have the weak retorts when Bond has vanquished an enemy, as well as the sophomoric female names.  One aspect that has changed is Bond's ascension into near superhero status.  You'll notice that in "Goldfinger", Bond would require the assistance of the U.S. Army in stopping the evil plot.  And as the series marched forward, that role would fall squarely on his shoulders.
I'll probably hit a few more of the Connery Bond films later in the year, but I don't imagine any of those outings topping this one.

Rating: 9/10
Movies I've previously seen: 6
First time viewings: 101

Movie #106- "All the President's Men" (1976)

I was only 10 years old the year Richard Nixon resigned from the presidency.  I wasn't quite old enough to understand the scandal that was Watergate.  Due to the media coverage (however, no 24 hour news networks), I can remember many of the names of those involved.  It's strange to recall Haldeman, Dean, Ehrlichman, and Liddy, as well as the two men that helped bring them down, Woodward and Bernstein.  I was aware of the names even though I wasn't aware of the complexity of the situation.
History supplies the viewer with the ending, still "All the President's Men" is a tightly wound thriller.  It's also a film that works on many different perspectives.  You see the historical and political view, as well as the changing face of journalism and the way we gather information.  Several phone conversations push the story forward, and it's somewhat quaint to watch one of the reporters digging through a pile of phone books to find the number of a potential source.
Still, this was a story that took time to shape.  From the beginning, there was doubt on whether Woodward and Bernstein had a story worth the time and effort.  The reporters continued to hammer away at insiders, not realizing where the road would lead.  Other news organizations paid little attention.  You make a comparison to how journalism works today, where speed trumps accuracy.  I would be curious to see how the early stages of this story would have been handled in today's media climate.  Would the time have been spent, or would early conclusions be drawn, then move on to the next issue?
I've read some posts about how this film is shown in schools, with several commenting on the slow pace.  I disagree.  The scandal didn't quickly unfold, and the movie shouldn't shortchange the work.  These are two men, working on a hunch, feeling the narrative may be of significance, then trying to follow it to the conclusion.  Redford and Hoffman are on even footing, matching each others performances.  It helps that they are surrounded by a strong supporting cast, especially Jason Robards as an editor holding out for someone to go "on the record".  A great movies reflecting an unfortunate part of American history.

Rating: 10/10
Movies I've previously seen: 6
First time viewings: 100

June Update

A little better with the blogging, although it seems that every month, I fall a couple movies behind schedule.  Through 181 days, I've watched 157 movies and posted about 105.  At my current pace, I'll finish the year at about 315.  Spent one weekend watching the entire Godfather trilogy, which is almost as long as the Lord of the Rings trilogy.  I'm also surprised at the ratio of new movies to previous viewings.  I've seen several top notch films this year, but several more are on my list.

Movie #105- "Broken City" (2013)

Rating: 5/10
Movies I've previously seen: 6
First time viewings: 99

The fact that "Broken City" stars two Oscar winners and one Oscar nominee (actually two, but Griffin Dunne's wasn't an acting category) may catch your attention.  However, this is really an unremarkable political thriller in which Crowe is the mayor, Zeta-Jones is his wife, and Wahlberg is the former cop hired to follow her.  Naturally, corruption ensues.
However (SPOILER ALERT), one plot device that gets used should be retired from film, and that would be the secretly recorded conversation, in which the bad guy reveals his entire scheme.  In this day of cell phones, the NSA scandal, etc., being recorded isn't that much of a surprise.  To the writer's credit, they try to add a twist by turning the tables on Wahlberg and play a game of who has the juiciest recording.  All in all, not a memorable entry.

Movie #104- "The Secret of NIMH" (1982)

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 98

In terms of animation, the last few generations don't realize the wealth of options they have had available.  Starting in the late 1980s, Disney had a resurgence in their animation department, then Pixar came along, raising the bar and providing plenty of high quality product.  I don't know if the success of "Who Framed Roger Rabbit?" was responsible back in 1988, but that film appeared to be a game changer, proving a viable market for top notch animation.
I say this, because when I was growing up in the 1970s, most of the animation took place on your television, usually on a Saturday morning.  The cartoons were generally churned out by Hanna-Barbera, and while they produced the classic Scooby-Doo, there were plenty of duds in the mix.  If you watch some of these older cartoons, you'll notice the limited animation due to a small budget.  Suffice to say, most of my animation memories come from television and not the big screen.  I don't recall any classic feature length animation from my youth (I'm sure there had to be some.  Oh, how the memory goes).  Don Bluth must have realized it as well.  He didn't like the way Disney was run in the late 1970s, so he set out to form his own company and this was his first full length feature.
"The Secret of NIMH" is a surprisingly dark film.  You immediately find out that the main character, Mrs. Brisby is recently widowed, with several children.  Her home is being threatened with a field being plowed, yet finds she is unable to move her family because of a sick child.  If that's not dark enough, SPOILER ALERT, animal testing is one of the plot points.  Scary rats and owls also populate the forest.
For its time, the animation has some depth to it as Bluth was trying to bring back some of the animation of old.  It may look strange to kids weaned on computer animation, but there is a lushness to the forest and farm scenes.  Unfortunately, an absent-minded crow is used for comic relief, and really throws off the tone of the film.  Granted, a few lighter touches would ease the dark nature, however the slapstick seems really out of place.  This film is based on a book, which I have not read, so I'm not aware if the character was added.
A lot of people appear to have a special place in their heart for "The Secret of NIMH".  Given the drought of animation during that period, I understand the reason. 

Movie #103- "Atlantic City" (1980)

With a movie named "Atlantic City", one would expect the story to center around high rollers and the glitz associated with casinos. This is not that story.  Rather, the focus is on a two-bit hustler and a dreamer dwelling in the seedier side of the city.
When we first meet Burt Lancaster as Lou, he is basically collecting pocket change from people for a lottery.  Once involved in organized crime, Lou wasn't one of the big fish, yet looks back on those days with a fondness and feeling that at one time, he had been important.  The building Lou resides in is in decay and the neighborhood around him is being torn down in the name of progress.  Susan Sarandon is his neighbor Sally.  She works at a fish restaurant with dreams of becoming a croupier in hopes of dealing cards in the casinos Monaco.  Sally's husband arrives into town with a package of stolen drugs, which sets up the relationship between Lou and Sally.
The drug storyline gives the illusion of a noisy chase film.  Instead, "Atlantic City" follows the relationships that exist between the characters as well as a city that is in transition.  Very little time is given to the casinos as the camera frames a couple individuals just trying to improve their station in life.  Sally dreams of a career that will whisk her away from her current situation, while Lou seeks a return to glory and respect that he never really had.  Complications occur because Sally's husband is with her sister and Lou is taking care of the widow of a former business associate.  Of course the drug dealers want their merchandise back, forcing one character to make a life changing decision.
"Atlantic City" is a small movie about small people getting thrust into a difficult position due to one person's mistake.  It's also a well-acted character study with Lancaster excelling in the type of role he would play toward the end of his career.

Rating: 8/10
Movies I've previously seen: 6
First time viewings: 97

Movie #102- "The Cabinet of Dr. Caligari" (1920)

Was this the first modern horror film?  And was this the first to use the twist ending that is so vogue in current film and television?  While those arguments may be made about "The Cabinet of Dr. Caligari", one cannot dispute the forward thinking aspect of the film.  Using German Expressionism, the set pieces are filled with lines, angles, shadows, and plenty of dark corners.  In some scenes, the settings are disproportionate to the actors on the screen.  It's a circus played out as a nightmare.
Over the years, the list of silent films I've seen is fairly short.  And I know one of the elements that can serve as a stumbling block is the acting.  Obviously the times required the actors to rely on facial expressions and exaggerated hand gestures.  Yet at several points of the movie, the expressions accentuate the madness circulating around the characters.  That's especially with the good doctor because it adds an extra layer of creepiness to the character.
I do question the quality of the print that I viewed as I've read the varying degrees that others have seen.  From my view, this film is so ahead of its time, the technology actually belies it.  The flickering images do add to the horror, but a crisper picture may have given a better showcase to the vastly imaginative sets.  While it's a classic, I can't begin to image what the filmmakers would have produced if they had a few more tricks at their disposal.

Rating: 9/10
Movies I've previously seen: 6
First time viewings: 96

Movie #101- "Promised Land" (2012)

Rating: 7/10
Movies I've previously seen: 6
First time viewings: 95

I've mentioned this movie to a few people, and it's usually returned by a blank stare.  I get a little more recognition when I refer to it as the "Matt Damon fracking movie."  You could easily substitute any company dealing in natural resources and arrive at a similar message.  Yet fracking still seems to be a mystery to many as we continue to learn more about the method.
Matt Damon and Frances McDormand work for a natural gas company.  Their job is not an easy one as they canvass a rural town trying to urge the residents to lease their property for the purpose of drilling.  Some are appalled by what fracking will do to the community while others eagerly sign with thoughts of dollar signs in their heads.  Complicating matters is John Krasinski as an environmentalist, warning the people of the dangers of fracking.  This helps drive a wedge into the town, leading to the final climax of a town meeting and a big speech (no real spoiler alert as all of these movies end with speechifying).
"Promised Land" goes beyond the good versus evil of corporations, delving into an internal moral battle.  Damon is a rising star with the company, yet questions the purpose of his trip.  Meanwhile, McDormand is resigned to her position because she has a family to provide for.
This is the third time Damon has received a writing credit for a film and every time, Gus Van Sant has been in the director's chair (Krasinski is also listed as a writer).  In watching one of the extras, the familiarity between writer/actor and director aided in the flow of the film.  While this is a sound piece of work, "Good Will Hunting" was a better collaboration for the pair.  Of course, the rating may vary depending on your view of fracking.

Movie #100- "Saving Private Ryan" (1998)

For the milestone numbers, I wanted to hit some of the big movies I've missed over the years.  Out of all the movies of the first one hundred, "Saving Private Ryan" has generated the most surprise.  Given ample opportunity to see this film, I just never set aside the time to watch it.
It's interesting to note the frequency Spielberg has used war, real and fictional, as either the main focus or even the backdrop of his films over the last 20 years.  That's just looking at his filmography as a director and not taking into account several projects he served as producer.  Spielberg must be intensely fascinated by war or is still trying to make up for the fiasco that was "1941" (I did catch part of "1941" on cable one night and it's a spectacle, not necessarily a good one).
Outside of the question about my take on the movie, I was asked to recount my favorite scene.  I hate to take the obvious choice, but the opening battle scene unfolds on such a grand scale, containing some many different emotions associated with war.  Spielberg carefully executes the violence and loss, but you also feel the sense of fear, bravery, uncertainty, and trust that accompanies the platoons as they go into battle.  Beyond the opening sequence and various other battle scenes, their are several stellar quiet moments, of men bonding and trying to make peace with the activity around them.  Hell, Spielberg even made Vin Diesel seem like an actor.
Truly one of the best movies in the last 15 years.

Rating: 10/10
Movies I've previously seen: 6
First time viewings: 94