Reviews

57. THE GAME (thriller/action, 1997) On the day of his birthday millionaire businessman Nicholas (Michael Douglas) is visited by his brother Conrad (Sean Penn) with a gift. The gift involves Nick signing up for a mysterious company which offers a 'game', which in turn offers participants a series of surprises that 'provides whatever is lacking' in their mundane life. Though a rather pessimistic and somber character Nick accepts in hopes of escaping the machinations of a solitary lifestyle. When the surprises the game offers become seriously deadly Nick wants out. But this particular game doesn't seem to offer any escape.

Critique: Nerve-wracking, high-wire act of a movie directed with guile precision by David Fincher. So far all of Finchers' features have been critically as well as financially good, unusual for someone whose concentrated on subversive material. Michael Douglas is good in the role of another heartless business-type in the 'Gordon Gekko' mold. He gives this character just the slight of hand & vulnerability panic that takes him into 'Twilight Zone' territory. It's also good to see Sean Penn in a less character driven role.

Film is made in such a way that every detail and action has an equal surprising reaction. The chaotic yet sequential events reach a climax of implausibility, yet they suck you in with its pervasive appeal. When the credits roll and you know its truly over it is strangely satisfying yet disappointing.

QUOTES: Conrad: 'What do you get for the man who has everything?'

54. THE ARRIVAL ('sci-fi', 1996) Obsessed with finding alien life, radio astronomer Zane (Charlie Sheen) scans the universe for any trace. Suddenly a signal is picked up. He takes the evidence to project leader Giordan (Ron Silver). Without reason Giordan dismisses the signal as a hoax and immediately closes the project. But Zanes' suspicions lead him to Mexico, origin of the mysterious signal.

Critique: Once in awhile the 'sci-fi' (like the 'horror') genre produces a film that to some extent redeems it of some of the saddest excuses in its long and curtailed history. 'The Arrival' is one of those films as well as one of the smartest.

Writer-Director David Twohy is better known for penning some nifty action flicks (e.g. 'The Fugitive'). But this departure seems to fit him like a glove. The result is an intriguing blend of high-brow concepts with good ol'-'sci-fi' intrigue reminiscent of 1950s flicks. It has the feel of some of the classics like 'Invasion of the Body Snatchers', and 'Invaders from Mars'.

Charlie Sheen is credible enough as the hectic hero, as is Ron Silver in another villainous role. But as in most futuristic fantasies the visual and makeup effect is the real draw card here. After years of churning out creatures of all shapes and sizes they still surprise with some unique creations.

The story is well-paced with every situation and special effect complementing the action (watch for the funky rotating-vacuum-ball). Lets' hope David Twohy sticks to this genre for awhile longer.

QUOTES: Giordan: 'If you can't tend to your own planet none of you deserve to live here.'

55. DARKMAN (action, 1990) Dr. Westlake (Liam Neeson) and his partner are on the verge of creating synthetic skin. But they're unable to decipher why the new skin breaks up under light, yet retain its form in the dark. Suddenly a group of would-be thiefs kill his partner and destroy his lab. He miraculously survives and is brought back to life by a radical medical procedure. Tortured by bouts of physical and psychological pain, he reconstructs his old lab and is able to use his new found technology to find the men who destroyed his life.

Critique: Ferocious cartoon/action film of what may well have been a lame attempt to integrate the two considering its many writers. Creator Sam Raimi finally showed the promise of his infamous 'Evil Dead' series combining the sometimes convoluted plot (the product of no less than 6 writers) and the anarchic, splatter mix of fantasy, horror and intrigue.

Like Ash from his Evil Dead series, Raimi creates another original character in the Darkman. Both characters share strong personalities who are taken on a roller-coaster ride of madness and mayhem, psychosis and rebirth. They resurface as God-like comic book heroes for the ages. And what a wonderful and unique creation the Darkman is. Inhabiting his own unique, colorful universe. He fits snugly with other archetypal stalwarts of the field like the Punisher, Daredevil, and Spawn.

Under tons of makeup Liam Neeson is still able to elicit a dramatic performance, breathing life into his role with genuine pathos. The character wears his emotions literally ON his skin. Larry Drake is also memorable as the cigar cutting baddie. The operatic, grandiose score by Danny Elfman keeps things bumping along.

This is Sam Raimis' most subversive work to date. The films' success spawned a slew of merchandise and inferior sequels.

QUOTES: Dr. Westlake: 'I am everyone and no one. Everywhere and no where. Call me, Darkman!'

17.1 NIGHT LIFE (horror/comedy, 1989) Archie (Scott Grimes) works with his domineering uncle Flanders at the local mortuary. Though he hates the job, he needs the money to go to college. At school Archie is constantly bullied by the local 'jocks'. In one of their many pranks they get him fired. If that wasn't enough his only love interest is leaving town. But Flanders offers him a second chance when he asks his help with some new corpses. Archies' assignment is made all the more difficult when they unexpectedly come to life.

Critique: Horror comedy mixes youth exploitation plot with good dozes of zombie fun. In fact, the whole film seems geared at a 'Revenge of the Nerds'-type audience; as Archie gets repeatedly bullied, has failed romantic exploits and so on. The difference being that our hero turns out to be more resilient, tougher and smarter than your usual self-pitying film geek.

Film has good special effects, spooky atmosphere, action and humor. Above all it's a fairly surprising showcase from an otherwise unknown, capable cast. Particularly appealing is Scott Grimes' Archie. A cross between Michael J. Foxs' 'Marty McFly' from the 'Back to the Future' trilogy, and Macauley Caulkins' 'Home Alone' kid. He is funny, charismatic and exhumes a surprising leading man-type appeal. A fun but otherwise gory film.

56. THE SURE THING (comedy/romance, 1984) Just graduated from High School 18-yearold Walter (John Cusack) is excited at the prospect of attending a prestigious NY College so he can check out the babes on campus. But he's disappointed to find them more frigid than the cold climate. He sets his sights on preppy Alison (Daphne Zuniga). But bourgeois Alison is just not interested. Depressed, Walter accepts an invitation from his buddy to join him in California, where he sets him up with a 'sure thing'. Hitching a ride across America, he accidentally gets stuck with Alison.

Critique: Unabashedly witty, funny 80s teen romp from actor turned director Rob Reiner. With the likable John Cusack in the lead role the films' flimsy, savvy attitude reminded me of Crowes' 'Say Anything' (1989). In fact these 2 movies would perfectly serve as a double feature with the 'Sure Thing' serving as prequel to 'Say Anything'. Cusacks' characters in both are oddly similar and their story could well be a progression of character development. Both films share similar snobbish, 'preppy' female leads. Daphne Zuniga is both cute and conceited (whatever happened to her movie career?).

Among the many hilarious and touching scenes involve: Walter courting Alison in a swimming hall; Walter's day dreams with his 'sure thing'; his friend giving him advice on pickup lines; Walter and Alison seeking refuge from the rain in a roofless old shack.

This was probably the genesis to Reiners' own smash hit years later 'When Harry Met Sally'.

QUOTES: 'Trucker': 'A sure thing? A sure thing no questions asked, no strings attached?! A sure thing?! My whole life I've never had a sure thing.'

51. SOUTHERN COMFORT (action, 1981) Deep in the Louisiana swamps a platoon of National Guardsmen are on a training mission. When 1 of their trigger-happy group fires and accidentally kills a local 'Cajun', they spark off a savage retaliation. One by one the inexperienced guardsmen are killed off. The few left are not only fleeing for their lives but find themselves progressively lost in the not so friendly swamplands.

Critique: In the same way that 'Deliverance' (1978) showed us city-folk that going for a country trek could be hazardous to your health, this film screams it 2-fold. Not only do the swamps and alien surroundings paralyze us, but the locals prove to be the worst. Even when you do make it out to one of the dirty, dingy 'towns' the tension doesn't let up. The locals prove more unnerving than the menacing swampland.

It's interesting to note that National Guardsmen are used here instead of an Army platoon. Maybe the filmmakers were cautious in denigrating actual soldiers as weak and cowardly.

Film brings together a stellar 'cult classic' cast headed by Keith Carradine, Powers Boothe, Fred Ward and in a minor role Brion James (one of my all-time favorites) as a trapper with a conscious.

This is my favorite Walter Hill film so far, with a superb score by regular 'compadre' Ry Cooder. Andrew Laszlos' cinematography is aptly 'lush-green'.

53. LITTLE BIG MAN (western, 1970) From his Hospital bedside 121-year old Jack Crabb (Dustin Hoffman) recounts his exploits to a reporter: Captured by Cheyenne Indians at the age of 10 he's integrated into their 'alien' society and made the son of Indian 'Old Lodge Skies' (Chief Dan George). Proving his courage despite his short stature he's given the name of 'Little Big Man'. During the Indian Wars Jack is returned to white society. There he works as a shopkeeper, gunfighter, and finally used as an Indian Scout. The latter landing him under the command of General Custer (Richard Mulligan), who's putting together an army to fight the Indians at Little Big Horn.

Critique: Extremely enjoyable, epic western directed by Arthur Penn. Praised for its depiction of Native Americans, it has biting satirical (and political) touches, saddled with farcical historical accounts of the Indian Wars. The once controversial aspects were meant to represent the ideologies of the time, but it has not lost any of its grit.

What I like the most is its unique interpretation of Indians. Never in the long cycles of American westerns were Indians presented as almost alien, coming across as a mythical people whose ignorance of political maneuvers and technology proved their downfall. A very bitter and sad farewell swansong to what war and genocide has taken away.

Atypical cast delivers strong passages but you won't forget the 2-standout roles of General Custer as portrayed by the maniacal Richard Mulligan and 'Old Lodge Skies' played by the philosophical Chief Dan George.

QUOTES: Old Lodge Skies: "There is an endless supply of white men. But there has always been a limited number of 'human beings'. We won today, we won't win tomorrow."

57. PATHS OF GLORY (war/classic, 1957) France 1916: During WW1 Col. Dax (Kirk Douglas) is ordered by General Meraud (George McReady) to advance the enemy and take an important 'ant hill'. The Generals' orders prove suicidal as most of the advancing soldiers are cut down. An inevitable retreat ensues as the attack flounders. Seeing this as an act of insubordination by Col. Dax and his company, he orders the execution of soldiers from each failed unit. But Col. Dax is determined to defend his brave men.

Critique: Along with the legendary 'All Quiet on the Western Front' this is considered the most ardent and condemning of anti-war films. Both take place in the mud-laden maze of trench warfare and deal with themes of ineptitude and ignorance from military leaders. Whereas 'Western Front' deals more with the subject of lost youth, 'Paths' delves deeper into the political aspects & moral issues associated with tactics and military thinking.

Director Stanley Kubrick loved showing us how Topsy-turvy authoritarian figures can be, especially at wartime. He would take the subject into the absurd with 'Dr. Strangelove' and completely destroy social fabric and push violence in the cinema with 'A Clockwork Orange'.

Every Hollywood house initially turned down 'Paths' until Kirk Douglas lent his considerable talents and influence and stepped in as not only the main protagonist but as co-producer. The result proved Kubricks' breakthrough film. Its symbolic and rebellious spirit still remain as important and ethical today as ever.

QUOTES: Gen. Meraud: 'The men died wonderfully. There's always that chance that one of them will do something that will leave everyone with a bad taste. This time you couldn't ask for none better.'

52. DRAGON: The Bruce Lee story (action, 1993) A re-telling of the life of legendary martial-arts star Bruce Lee (Jason Scott Lee). From his brief childhood days in Hong Kong, to his days as a dishwasher, martial-arts teacher and eventual cinema superstar in Hollywood.

Critique: The life and death of Bruce Lee has inspired many a film and documentaries since his death. Most of these accounts center around Lee's 'mysterious' death from a 'brain edema', never developing anything really new of interest, just speculations. Incredibly it took over 20 years for a film to finally put to rest the many theories and innuendo.

"Dragon" is by far the best of the legendary Lee story, not only for omitting the many death scenarios but also for giving us the closest account of the man. Apart from these welcome omissions, the film wouldn't have worked without Jason Scott Lee in the role. He gives a spirited, charismatic performance that captures the zest for life that Lee possessed. It's a long way from one of his first 'extra' roles as an Asian immigrant in the rather forgetful "Born in East L.A." (1988). Scott Lee is totally appealing here, taking on such a legendary figure and making us believe that Lee is truly up there once again on the screen.

The film's major theme of the "demon curse" Lee's family inherited, had a frighteningly real resonance when, after the movie premiered, Lee's eldest son Brandon (for whom the film is dedicated) was accidentally killed on the set of "The Crow". This would prove to be his breakout film, just the same way Lee's last film, "Enter the Dragon", made him a world wide superstar. This gives the film an added prophetic note that puts it in a category all its own.

Based on wife Linda Lee Cadwell's book, "Bruce Lee: the man only I knew", directed with skillful restraint by Rob Cohen (who also co-scripted). Randy Edelman created the unforgettable musical score (you'll be humming the tune long after you hear it).

QUOTES: Linda: "All these years later people still wonder about the way he died. I prefer to remember the way he lived."

18. TREMORS (SCI-fiction, 1990) Welcome to Perfection, Nevada. Population: a couple. Opportunities: none. That's why handymen Val (Kevin Bacon) and Earl (Fred Ward) have always planned to leave town. And this time they mean it. Suddenly a series of bizarre killings prevent them from leaving. With the help of a seismology student, they discover giant-worm like creatures living under the desert sand. Now their goal is to leave town in one piece.

Critique: Lighthearted horror, sci-fi, comedy 'mish-mash' has an interesting premise, oddball characters, and wonderfully ferocious action. As our embattled heroes struggle to survive against the relentless creatures, the battle of wits that ensues becomes inventive and exciting.

The film shares strange similarities with Spielberg's legendary 'Jaws'. As the suspense and body count mount, the threatening desert sand (water) becomes an infinite playground for the bloodthirsty worms (sharks), as they use scare tactics against their unbeknown victims (swimmers). Not knowing where they will strike next, people tiptoe their way across town trying not to alert the creatures. It all makes for 'TREMEndous' fun.

49. PAPERHOUSE (thriller/horror, 1988) Sick in bed with a fever 11-year old Anna (Charlotte Burke) has only her drawings to keep her company. Her health progressively worsens as a series of mysterious 'black outs' grip her. In each of these episodes she dreams of a house in a desolate field, with only a sickly-invalid boy named Marc (Elliot Spiers) inhabiting it. When a dark, unknown danger threatens her idyllic "paperhouse", the life of Marc is put in jeopardy. Her life is also in danger as these dreams mirror her own state of health.

Critique: Haunting first debut feature from British director Bernard Rose. Taken from a fable ("Marianne Dreams") by Catherine Storr, it leaves plenty of other 'original' fantasy works in its wake. Whenever a story deals with dreams and nightmares it is hard to give it the mixture of fable and reality to make it work in film form. Director Rose successfully captures the children fantasy world aspect along with a darkness that seeks to usurp them.

Feverishly scored by Phillip Glass, Rose knows how to use music wisely with expertly timed 'jump out of your seat' moments. Most thrillers are very sloppy in this all-important aspect of scaring the audience into not knowing what the next scene will bring. I also like the way he captures suspense and never lets it go or falter sluggishly into the next sequence of events. Also, his mastery of placing objects within the frame (as in his P.O.V.shots) gives the cinematography an added dimension it would otherwise seem to lack. Only in Europe will you find such ominous looking places as the ones presented here: the lonely house, the fields, coastal towns, watchtower etc.

Rose would follow this film with "Candyman" (1992), a true 'thinking person's' horror gem and bona fide cult horror favorite.

50. HEATHERS (comedy, 1989) High school wannabe-Veronica (Winona Ryder) just wants to be accepted. That's why she hangs out with Westerburg High's glamorously elite 'Heathers', a group of 3 prepped-up fashion minded teens. The sort of gals every school has but everybody hates. Sick of always following their lead she desperately seeks her own individuality. She meets the not-so-normal J.D.(Christian Slater) the kind of kid who spends most of his days in the principal's office. His ideas on getting rid of the 'Heathers' problem, while effective, turn out to be a little bit deadly.

Critique: The tag line for this film is: 'a killer comedy'. A better one would've been: 'don't try this at school kids!'. Black (bordering on the insane) comedy was supposed to be a serious statement against youth suicide. It's anybody's guess how it turned out the way it did. A sort of 'slapstick-death comedy' similar in tune to the 'horror/comedies'. It shares the same wickedly absurd touches of the surreal, funny and weird.

Critics responded positively to this one, admiring its many one-liners and sharp social commentary. I like it most for Christian Slater's star-making role as J.D. A Jack Nicholson/Bruce Dern/Dennis Hopper inspired crossbreed of characters that instantly made him into a bona fide presence. He would follow this with the equally enjoyable (Generation X) cult "Pump Up the Volume" (1990). 'Heathers' is the true sleeper film, creating its own unique style that will remain through celluloid ages.

QUOTES: Veronica: "Dear Diary, my teen angst bulls#!t has a body count."

14. DEAD BANG (action, 1989) Det. Beck (Don Johnson) is an LA cop whose life is falling to pieces. His wife has just left and his hitting the bottle again. Assigned to a cop killing that seems routine, Beck sees his chance at redemption by immersing himself in the case. The murder has ties to a ruthless and tightly controlled Neo-Nazi sect. He starts a cross-country chase that inevitably leads him to rural America. With the help of an FBI agent, Beck is intent on exposing a network of ruthless criminals.

Critique: "An exercise in futility", that's how one critic summed up Don Johnson's acting. With a squeaky voice, boyish looks, and sparse acting (plus an endless array of 'cool' wardrobes), he became something of a cult favorite playing Det. Stubbs in the hit TV-show Miami Vice (1984-89). Since the end of that show, his movie career has been a total loss. . .well, almost.

At least he can look back proudly on his work in John Frankenheimer's 'Dead Bang': A slick, old style, slam-bang action film. Taking his Stubbs character to new heights (or lows for that matter) he plays the consummate 'burn-out cop'. He has been given a solid script to work from, professional direction by old-hand Frankenheimer, and a good supporting cast including John Forsythe as his FBI partner.

Supposedly based on the real life experiences of LA Det. Jerry Beck, this is Johnson's only film where he proved to be more than "an exercise in futility".

QUOTE: "I got a splitting' headache, I'm seeing double and. . .s#!t! I think I'm gonna throw up again."

33. BRIMSTONE AND TREACLE (thriller-drama, 1982) Martin (Sting) befriends middle-aged bookkeeper Tom (Denholm Elliott). Martin cons his way into his house by passing himself as friend to his daughter. Daughter Patricia has been left a mute and bedridden for 3 years after a mysterious car accident. Though Tom is suspicious of Martin's exact motives, his wife is beguiled by Martin's charm. But what they don't know is that Martin is sexually abusing their defenseless and disabled daughter.

Critique: Part fairy tale, part religious parable, this creepy, atmospheric film is highlighted by a wickedly perverse turn by Sting (lead singer of rock group 'The Police'). What makes his character such a bizarre figure is that his motives are unknown, his appetites unresolved.

I think Martin is just a thief, passing himself as anyone's friend just to have a place to stay. A sort of pickpocket. He's also a sexual deviant who doesn't mind how he gets it, either from an invalid or an old woman. The film portrays him as an avenging angel-type, brought into this deeply secular home as a purger of sins.

Interesting direction by Richard Loncraine (is this his film debut?) who works from a play adapted by Dennis Potter, whose own sexually dubious works are to be questioned.

'The Police', along with 'The Go-Gos' provided the 'hip' soundtrack.

15. THE MECHANIC (action, 1972) Arthur Bishop (Charles Bronson) is the mechanic, a hit man hired by the Organization as an assassin. Bishop's contact to the Organization is Harry, a long time confidant of his late father. Bishop is meticulous in his work. He is without feelings or remorse, the consummate professional. Bishop's next target is Harry. He carries the job through without hesitation. Harry's son Steve (Jan-Michael Vincent) lives the life of a dilettante playboy. He suspects Bishop's involvement in his father's death, and tries to find out what his ties to the Organization truly are.

Critique: As far as spy and espionage films go 'The Mechanic' is one of the best. Not only for those Charles Bronson aficionados (like myself), but for lovers of well-made action films. Michael Winner's clever direction adds a sparkle to the genre. He sets up interesting insights into an assassin's mode of work.

A cut above Death Wish (1974- Bronson's best known film), in both content and script, Bronson's performance is the epitome of cool. He's perfect at playing a character that has been totally detached from the outside world, and a man trapped in a world he can only have created. In the same way that Steve McQueen used his laconic presence to great effect, Winner makes full use of Bronson's craggy features.

QUOTE: Bishop: "Murder is killing without a license. Everybody kills."

5. BRAINDEAD (horror-comedy, 1991) An African 'sumatran rat-monkey' arrives at the local zoo. Whilst spying on her dotting son Lionel & sweetheart Paquita, oldhand Vera is bitten. Due to the infectious bite she becomes a zombie. Not wanting to kill her, Lionel hides her in the basement. He goes to great lengths in trying to keep her a secret from everyone else. Nevertheless, Vera escapes unleashing the infectious zombie plague. Lionel and Paquita are the only ones left to fight a growing army of the "braindead".

Critique: 'Night of the Living Dead' meets 'Laurel and Hardy' in this hilarious spoof of the splatter movies. Director Peter Jackson's messy gem is a no-holds barred experiment in special FX, seen through a wickedly unique eye.

Though the film borrows heavily from others (including 'Psycho', Romero's Living Dead trilogy, the 'Evil Dead' series, and even 'Indiana Jones'), Jackson has created something so insidious that it immediately attained cult-status, and its easy to see why.

It has cajoling dialog ("So, you've found your dad's old stag movies eh!?..Is that the one with the donkey and the chambermaid?"), great special effects worthy of Hollywood big shots, ham actors at their snappy best (my favorite is Lionel's uncle), and unique musical score(like the ones in silent films).

This excruciatingly crude movie leaves you totally and hopelessly 'Braindead'!!

QUOTES: Paquita: "I kick ass for the Lord!"

48. BARRY LYNDON. adventure-drama, 1975: Ambitious but naive, Barry (RyanO'Neil) is determined to gain a higher place in 17th-century European society. However, his hot-tempered manner gets him into trouble early in life when a loveless romance ends in tragedy. Forced to flee his home, he enlists in the British army. Deserting, he finds success with a shrewd cardsharper that takes him under his wing. At last, having dispelled the notions of love and mastering the disguise of a 'gentleman', he courts the Countess of Lyndon (Marisa Berenson). They marry and he inherits her vast wealth, along with great troubles.

Critique: Stanley Kubrik's overlong, ambitious epic stopped a run of critical and commercial hits (that started with 'The Killing'(1956). Kubrik's forte has always rested on his thematic storytelling and eccentric camera-work. Though intricately plotted and lavishly produced, the film suffers from these same excesses.

The first 'part' of the film is a complete bore, without any of Kubrik's wit and imagination. However, it is considerably lifted when the lovely Marisa Berenson appears as the Countess of Lyndon. Her courting scene is one of the most hypnotic, expertly filmed sequences in cinema history.

The rest of the performances are adequate at best, and Kubrik's vision is still wonderful to watch. The music (as in every Kubrik film) is beautifully resonant. The film's slow pace and artistic excesses by Kubrick, makes it not for all tastes.

QUOTES: Narrator: "The doctors were called. But what does a doctor avail in the contest with the grim, Invincible enemy."

13. A MONTH IN THE COUNTRY (drama, 1987) Birkin, a young WW1 veteran, arrives in the sleepy town of Oxgodby assigned to paint the church. He suffers from nightmares since being shell-shocked. Birkin meets the beautiful Alice (Natasha Richardson), the wife of the local pastor. Though they're immediately attracted to each other, they know they can't be together. But his love for Alice proves a happy respite from his war ravanged life.

Critique: To doze off in a sleepy afternoon watching 'A Month in the Country' feels almost like being there. This beautifully shot, nostalgic look at youth's lost moments, conjures up deeply felt emotions. The town of Oxgodby seems to exist between reality and fantasy. Slowly slumbering away in its own ambiance, unaware of the world around it. Where dreamers go, and weary travelers stumble on their way.

Pat O'Connor's doughty direction may get a bit tedious at times, but it has to be taken in the context of the film's setting (1920s England). Though some scenes do lag in pace, this does not take anything away from the film's dreamy (dark) undertones which are its strong points.

Character conflict is its weakest, however, since most of the characters react passively to the town's underhand prejudice. The best enduring quality is Birkin's lost-love relationship with both the town and Alice.

QUOTE: "God? What God? There is no God?"

25. TO LIVE AND DIE IN LA (action, 1985) Federal agent Chance (William L. Peterson) is on the trail of criminal Masters (Willem DaFoe) His mission to catch him becomes personal when Masters kills his partner. He learns of Master's attempts to sell counterfeit money. With unrelenting pursuit, and disregard for his own code of rules and laws he goes after him. But criminal Masters proves to be more than his equal.

Critique: Director William Friedkin mixes aspects of his Oscar-winning 'The French Connection' with a touch of 1980s art-deco-'Miami Vice'-flash. Bringing a new depth into the 'cops and robbers' movie myth. The griminess and realism that was shown in his earlier films proved to be popular at the time. But coming into the 1980s the formula was becoming a little stale.

The film concentrates more on the fine line between cops and robbers. Proving that they're not that different and thus could have interchangeable roles. Plus, the added violence, sex (of the kinky-punk type), and the art house feel was brought in. Also watch out for the highly praised chase scene on a freeway going the wrong way. Cool score by 'Wang Chung'.

28. HENRY: portrait of a serial killer (horror-thriller, 1992) Henry (Michael Rooker) lives with his ex-prison buddy Otis & teen sister Becky. Henry and Becky strike up a relationship. Meanwhile, he and Otis strike up their own love for killing, setting out on a murder spree. But Otis begins to lose control of all reality, as his perverse sexual urges extend to his own sister. When Henry finds out things take a turn for the worst.

Critique: This graphic, low-budget venture was made in 1986 but due to distribution and rating problems was released 6 years later. The story is based on the confessions of serial killer Henry Lucas (who allegedly confessed to more than 500 murders). Since the story eschews from any reference to real life events, it is very loosely told. Writer-Director John McNaughton focuses more on the characters and their motivations for killing.

The only thing we know of Henry is that like most serial killers, he had an abusive childhood. Besides this we don't really get to understand his motives for killing. As is the case with most low-budget films, the cheap footage and authentic low-budget production help it. McNaughton shows flair by the use of hand-held cameras (particularly in the disturbing 'family slaughter' scene) and realistic use of cinematography (invoking a visionary paranoia and suspense). The ending further distances us from the nature of evil.

QUOTES: Pawnbroker: "Of course it's black and white. What do you expect for 50 bucks? FV@*in' 3-D for God's sake?"

27. NIGHTHAWKS (action, 1981) Europe's most feared international terrorist Wulfgar (Rutger Hauer) has marked NY City as his next target. Two tough undercover cops, DaSilva (Sylvester Stallone) and partner Fox (Billy Dee Williams), are assigned to a special task force sent to terminate Wulfgar. They're frustrated, however, as their quarry proves more cunning and smart than the usual lowlifes they're used to catching. A climactic cat and mouse chase ensues leaving Fox wounded and Wulfgar holding hostages. DeSilva manages to diffuse the situation but Wulfgar again escapes. DeSilva, now alone, goes after the desperate terrorist who's on the run.

Critique: Unusually gritty Stallone action vehicle didn't prove successful or widely distributed. Nevertheless, it featured his best starring role and it's a shame most fans haven't been able to pick up on it. Sporting a 'Serpico'-like beard, Stallone cuts down on the gung-ho poses that 'Rambo' and 'Rocky' fans have come to get bored of. Though not a total dud, DeSilva is still a rogue cop who predictably goes over his superiors.

The film's international background (which includes scenes shot in Europe and use of subtitles) give it class and an international feel. It's funny to see how NY cops interact with foreign 'agents' and international politics. The teaming of Williams and Stallone proves surprisingly effective, counter-pointing suaveness and toughness.

Also outstanding is Rutger Hauer's wicked terrorist Wulfgar (his debut American role). He shows the evil mindedness that would dominate his later screen persona. Smart ending too.

QUOTES: Wulfgar: "We're not that different (DeSilva). I don't enjoy killing, but it's my job. Someone has to do it."

46. PARENTS (comedy, 1988) Ever since their move to a new town 10-year old Michael has been feeling strange. Maybe its because his new house seems so big and spooky. Or maybe its because his parents have started serving him a new recipe they call "leftovers". Whatever the case he has grown very suspicions of anything and everyone. His growing anxieties instill in him a wicked outlook towards life that gets him in trouble at school. Things turn for the worst when they investigate Michael's private home life.

Critique: Strange little film is the blackest of comedies. The story is told from Michael's P.O.V so everything looks abstract and weird. Attention to detail of setting (50s Americana), production design and costumes is very rewarding. Bob Balaban's craftily directed 'Pax Americana' scenes seem aesthetic and distant. The film has strong thematic qualities with David Lynch's own subversive 'Twin Peaks' society of evil lurking underneath a wholesome facade. Lynch's own regular composer, Angelo Bandalamenti, provides the music.

It also benefits from the stylistic brushes of cinematographer-turned-director Barry Sonenfeld. The use of sweeping, low-angle shots (illustrating this child's nightmare world) and use of hand-held are wonderful. The subversive overtones of the film make it not for all tastes.

QUOTE: Michael: "Well, what were they before they were leftovers?"

Dad: "Leftovers to be."

35. TESTAMENT (drama, 1983) While her husband is away Carol (Jane Alexander) is left with her 3 children. Then, suddenly, a nuclear war breaks out leaving her small town cut off from the main cities. The nuclear fallout that ensues starts killing the townspeople. Now Carol has to endure watching friends and neighbors succumb to radiation. This is made harder when her own children are affected and slowly begin to die away.

Critique: This is probably the bleakest, most depressing post-nuclear war film you're likely to see. But don't let that dissuade you. What makes the film so good is its authenticity, it pulls no punches. If there is a nuclear war chances are that the few survivors will probably end up this way.

The film's theme is in the effects it has in this small,tight knit community and how people try to co-exist in such tragic situations. The memories of loved ones dying will slowly seem to fade away and the 'goodness' that they project is tragically wasted. Though the subject is very somber, it is nonetheless handled in a way that is sympathetic and makes the viewer think about such politically charged issues.

Financed and produced by American Playhouse (a subsidiary of American Public Service TV), and directed by Lynn Littman, it's based on a short story ('The Last Testament') by Carol Amen.

7. The Shining (horror, 1980): Jack (Jack Nicholson) is a writer trying to get away from the city to start a book. He finds the time as caretaker of the Overlook Hotel, high up in the mountains. He takes his wife and son Danny along. The owners tell him of a supposed haunting that has befallen the place, brought on by an act of violence decades ago. Jack brushes the story aside. But just days after, his son Danny falls mysteriously ill. As each day passes Jack also experiences mood swings and bad dreams. He's becoming mad.

Critique: 'The Shining' is, simply put, a walking psychotic dream with lots of space, tension, noise, and spookiness. With this film director Stanley Kubrick was at his most technically assured. The themes deal with an unknown fear or intruder. Images and sounds that are seen and heard but just out of reach. Their source? Their meaning? It's all just a ghost story told by a masterful filmmaker. Nostalgia looms high and wide across the spacious hotel, which in turn seems to control each inhabitant.

In '2001'(Kubrik's best known film) there's a scene towards the end where astronaut David Bowman goes through a series of light shows (as he enters the aliens' domain). He suddenly 'lands' in a 16th-century style bedroom. The room looks so quiet and 'shining' that you can even sense it. This is what 'The Shining' reminds me of, a longer version of that film's final, and hauntingly puzzling scene.

Quote: Jack: "Here's Johnny!!"

44. THE DUELLISTS (drama, 1977) The time is France, 1800. During the Napoleonic Wars Lt. Feraud (Harvey Keitel) wounds a man after a duel. His superior dispatches Lt. D'Hubert (Keith Carradine) with a message that he's to be brought under house arrest, since the wounded man is cousin to a Major. Feraud takes offense at D'Hubert's "insult", and seeks his satisfaction in a duel. Feraud is furthered angered when he loses and wants a rematch. Disrupted by war, their own attrition spans 15 years becoming increasingly more personal and savage. The two are destined to meet in a final duel.

Critique: Ridley Scott's impressive directorial debut deals with the themes of honor, obsession and violence. However, more importantly, is the message that wars (be it personal or political) are ultimately futile and without merit. As the 2 'duel' they forget who is the aggressor and victim, the voice of reason or right. Battle lines and tactics are forsaken for the ultimate personal satisfaction, death.

Scott's direction is very good throughout; keeping us interested in the characters' resolution. The film's highlight involves the duels, which are meticulously staged and choreographed. Taking place in open, closed, wet, dry spaces, Scott has skill in creating a tense setting.

Production design is also superb. Street scenes and every day life are realistically captured. The excellent cast headed by Harvey Keitel is a standout as the 'bully', counterpointing Carradine's honorable constraint.

Based on Joseph Conrad's "The Duelists", the film won many awards including 'Best Debut Film' at the 1977 Cannes film festival. More importantly it launched the career of one of the most prominent filmmakers in cinema.

QUOTE: D'Hubert: "You have kept me at your beg and call for 15 years. I shall never do what you demand of me. I shall simply declare you dead."