Last House on the Left

Wes Craven's first film was a crude but shocking horror opus that, like George A. Romero's Night of the Living Dead (1968), became a grind house hit largely because it went much further than terror films before it had been willing to go. Often compared to Ingmar Bergman's stark medieval rape drama The Virgin Spring (1960) (though one wonders whether this was influence or just coincidence), Last House on the Left follows a group of teenage girls heading into the city when they hook up with a gang of drug-addled ne'er-do-wells and are brutally murdered. The killers find their way to the home of one of their victim's parents, where both father and mother exact a horrible revenge. Like Tobe Hooper's The Texas Chainsaw Massacre two years later, Last House on the Left was an unrelievedly dark vision of contemporary horror that inspired many future films which copied its effects without achieving its visceral impact.

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The Black Cat

The first cinematic teaming of horror greats Boris Karloff and Bela Lugosi is a bizarre, haunting, and relentlessly eerie film that was surprisingly morbid and perverse for its time. Peter (David Manners) and Joan Allison (Julie Bishop) are honeymooning in Budapest when they meet mysterious scientist Dr. Vitus Verdegast (Lugosi) aboard a train. When the trio's bus from the train station gets into an accident, the young couple accompanies Verdegast to the castle of the spectral Hjalmar Poelzig (Karloff), an architect and the leader of a Satanic cult. Poelzig's treachery in World War I caused the deaths of thousands of his and Verdegast's countrymen, as well as Verdegast's own internment as a prisoner of war. While Verdegast was detained, Poelzig married first his wife, who later died, then his daughter. Now Verdegast has come back for retribution, and the honeymooners are trapped in the two men's horrifying battle of wits. Corpses preserved in glass cases, frightening Satanic rituals, and a climactic confrontation in which one of the characters is skinned alive add to the film's pervasive sense of evil and doom, along with the stark black-and-white photography by John Mescall that makes Poelzig's futuristic mountaintop mansion even more disturbing. Karloff and Lugosi are both excellent, with Lugosi doing a rare turn as a good guy, albeit one who has gone off the rails. Having little to do with the Edgar Allan Poe story of the same name, The Black Cat has grown in stature over the years and is now widely regarded as the masterpiece of director Edgar G. Ulmer and one of the finest horror films ever made.

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Nosferatu

F. W. Murnau's landmark vampire film Nosferatu isn't merely a variation on Bram Stoker's Dracula: it's a direct steal, so much so that Stoker's widow went to court, demanding in vain that the Murnau film be suppressed and destroyed. The character names have been changed to protect the guilty (in the original German prints, at least), but devotees of Stoker will have little trouble recognizing their Dracula counterparts. The film begins in the Carpathian mountains, where real estate agent Hutter (Gustav von Wagenheim) has arrived to close a sale with the reclusive Herr Orlok (Max Schreck). Despite the feverish warnings of the local peasants, Hutter insists upon completing his journey to Orlok's sinister castle. While enjoying his host's hospitality, Hutter accidently cuts his finger-whereupon Orlok tips his hand by staring intently at the bloody digit, licking his lips. Hutter catches on that Orlok is no ordinary mortal when he witnesses the vampiric nobleman loading himself into a coffin in preparation for his journey to Bremen. By the time the ship bearing Orlok arrives at its destination, the captain and crew have all been killed-and partially devoured. There follows a wave of mysterious deaths in Bremen, which the local authorities attribute to a plague of some sort. But Ellen, Hutter's wife, knows better. Armed with the knowledge that a vampire will perish upon exposure to the rays of the sun, Ellen offers herself to Orlok, deliberately keeping him "entertained" until sunrise. At the cost of her own life, Ellen ends Orlok's reign of terror once and for all. Rumors still persist that Max Schreck, the actor playing Nosferatu, was actually another, better-known performer in disguise. Whatever the case, Schreck's natural countenance was buried under one of the most repulsive facial makeups in cinema history-one that was copied to even greater effect by Klaus Kinski in Werner Herzog's 1979 remake - Nosferatu the Vampyre.

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A Nightmare on Elm Street

A decade of wisecracking sequels have not diminished the power of this striking horror film from the director of Scream. Teenagers in a small town are dropping like flies, apparently in the grip of mass hysteria causing their suicides. A cop's daughter (Heather Langenkamp) traces the cause to child molester Fred Krueger (Robert Englund), who was burned alive by angry parents many years before. Krueger has now come back in the dreams of his killers' children, claiming their lives as his revenge. The teenaged leads are sympathetic and intelligent, unlike the dumb victims presented in most films of the period, and they are ably backed up by veterans like John Saxon and Ronee Blakley. Director Wes Craven creates moments of real dread by examining the line between nightmares and reality, as well as the "sins of the parents" theme, and although the film is quite gory, it never resorts to cheap bloodletting for its effect. A unique and disturbing experience, this film is highly recommended for horror buffs.

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Shrek

In this fully computer-animated fantasy from the creators of Antz, we follow the travails of Shrek (Mike Myers), a green ogre who enjoys a life of solitude. Living in a far away swamp, he is suddenly invaded by a hoard of fairy tale characters, such as the Big Bad Wolf, the Three Little Pigs, and Three Blind Mice, all refugees of their homes who have been shunned by the evil Lord Farquaad (John Lithgow). They want to save their homes from ruin, and enlist the help of Shrek, who is in the same situation. Shrek decides to offer Lord Farquaad a deal; he will rescue the beautiful Princess Fiona (Cameron Diaz), who is intended to be Farquaad's bride. Accompanying Shrek on his adventure is the faithful but loquacious Donkey (Eddie Murphy), who has a penchant for crooning pop songs. The two must face various obstacles in order to locate the Princess, but they find their world challenged when she reveals a dark secret that will affect the group. Shrek is based on the children's book by William Steig, and features additional voice-work by Vincent Cassel, Cody Cameron, and Kathleen Freeman.

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The General

Buster Keaton plays Johnny Gray, a Southern railroad engineer who loves his train engine, The General, almost as much as he loves Annabelle Lee (Marion Mack). When the opening shots of the Civil War are fired at Fort Sumter, Johnny tries to enlist -- and he is deemed too useful as an engineer to be a soldier. All Johnny knows is that he's been rejected, and Annabelle, thinking him a coward, turns her back on him. When Northern spies steal the General (and, unwittingly, Annabelle), the story switches from drama and romance to adventure mixed with Keaton's trademark deadpan humor as he uses every means possible to catch up to the General, thwart the Yankees, and rescue his darling Annabelle -- for starters. As always, Keaton performs his own stunts, combining his prodigious dexterity, impeccable comic timing, and expressive body language to convey more emotion than the stars of any of the talkies that were soon to dominate cinema.

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Mr. Hulot's Holiday

Already familiar to many, especially following his acclaimed directorial debut Jour De Fete, Jacques Tati came into his own and reached new levels of popularity with 1953's Les Vacances De Monsieur Hulot. The first film to introduce his much-loved alter ego Monsieur Hulot, it sets the pattern for future appearances of the character, throwing the bumbling hero unwittingly into the middle of the action and letting the ensuing mishaps provoke humor ranging from gentle observations to fairly biting satire. The setting this time is a stuffy resort community fond of the peace and quiet that Hulot interrupts without fail. Nearly dialogue-free and driven more by episode than plot (like all of the Hulot films), standout set pieces include a disrupted funeral, an interrupted game of cards, and -- one of Tati's signature bits -- a game of tennis played with rules that can politely be called unconventional.

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Batman

Behind the black cowl, Gotham City superhero Batman is really millionaire philanthropist Bruce Wayne (Michael Keaton), who turned to crimefighting after his parents were brutally murdered before his eyes. The only person to share Wayne's secret is faithful butler Alfred (Michael Gough). The principal villain in Batman is The Joker (Jack Nicholson) who'd been mob torpedo Jack Napier before he was horribly disfigured in a vat of acid. The Joker's plan to destroy Batman and gain control of Gotham City is manifold. First he distributes a line of booby-trapped cosmetics, then he goes on a destruction spree in the Gotham Art Museum while the music of Prince blasts away in the background, and finally he orchestrates an all-out campaign to win the hearts and minds of the Gothamites, hoping to turn them against the Cowled One. Meanwhile, reporter Vicki Vale (Kim Basinger) becomes the love of Batman's life-which of course plays right into the Joker's hands. Photographed by Roger Pratt, designed by Anton Furst, and scored by Tim Burton's favorite composer Danny Elfman, Batman was a monstrous box-office hit, making $100 million in the first ten days of release--$82,800,000 in North America alone. Incidentally, Billy Dee Williams' comparatively small role as DA Harvey Dent was originally designed to set up the sequel, wherein Dent was to convert into master criminal Two-Face; but by the time the producers got around to that character in 1995's Batman Forever, Two-Face was played by Tommy Lee Jones.

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Speed

If you don't think Speed is the fastest-moving adventure film ever made, we challenge you to find a faster one. Keanu Reeves stars as an LA Bomb Squad specialist whose principal antagonist is elusive bomber-extortionist Dennis Hopper. Seeking vengeance after his latest ransom scheme is thwarted, Hopper presents a personal challenge to Reeves: A wired-for-destruction city bus, which will detonate if the speedometer drops below 50 MPH. Playing the reluctant civilian who is pressed into service as the bus' "substitute driver," leading lady Sandra Bullock became a major star in her own right. Once Speed gets to the meat of its story, the excitement never lets up--not even after the boobytrapped bus is out of the picture.

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Die Hard

It's Christmas time in L.A., and there's an employee party in progress on the 30th floor of the Nakatomi Corporation building. The revelry comes to a violent end when the partygoers are taken hostage by a group of terrorists headed by Hans Gruber (Alan Rickman), who plan to steal the 600 million dollars locked in Nakatomi's high-tech safe. In truth, Gruber and his henchmen are only pretending to be politically motivated to throw the authorities off track; also in truth, Gruber has no intention of allowing anyone to get out of the building alive. Meanwhile, New York cop John McClane (Bruce Willis) has come to L.A. to visit his estranged wife, Holly (Bonnie Bedelia), who happens to be one of the hostages. Disregarding the orders of the authorities surrounding the building, McClane, who fears nothing (except heights), takes on the villains, armed with one handgun and plenty of chutzpah. Until Die Hard came along, Bruce Willis was merely that wisecracking guy on Moonlighting. After the film's profits started rolling in, Willis found himself one of the highest-paid and most sought-after leading men in Hollywood.

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The Next Avengers: Heroes of Tomorrow

When a nefarious villain named Ultron emerges to threaten mankind, the next generation of superheroes leaps into action and prepares to make their famous parents proud. It's been decades since Ultron defeated the original Avengers, and these days even the few folks that had held out hope for the future are finally ready to admit defeat. But Tony Stark has a surprise up his sleeve in the form of four amazing teenagers who just might have the power to defeat Ultron once and for all. But will James (son of Captain America and Black Widow), Pym (son of Wasp and Giant Man), Torunn (daughter of Thor) and Azari (son of the Black Panther) truly be capable of defeating the villain who brought about the downfall of their powerful parents? As the battle gets underway and Hawkeye's sharp-shooting son leaps into the fray, the team realizes that they might stand a fighting chance if they can only track down the mission Hulk and encourage him to become a member of the team. Should they succeed in defeating Ultron, this group will forever be known as The Next Avengers.

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Transformers

The interstellar battle between the Autobots and Decepticons rains destruction down on planet Earth as director Michael Bay adapts Hasbro and Takara's popular Transformers franchise into a big-budget, live-action summer tentpole extravaganza in this ambitious sci-fi action feature starring Shia LaBeouf, Tyrese Gibson, Bernie Mac, John Turturro, Jon Voight, and, of course, Optimus Prime and Megatron. Long ago, on the planet of Cybertron, a massive, powerful alien race divided into two factions, the noble Autobots, and the devious Decepticons. They fought for the sole access to a talisman known as the Allspark, a cube with the capacity to grant infinite power, and eventually the Autobots smuggled it off the planet's surface, hiding it in an unknown location on Earth. Now, hundreds of years later, the Deceptacons have come looking for it, and if the Autobots don't find it first, the Earth will be enslaved or destroyed by the evil aliens' use of its massive power. The Autobots don't know where the cube was hidden, but the information may be stored in the most unlikely of sources, as a gangly young Earthling named Sam Witwicky (LaBeouf) who's just picked up his first car, has a strange connection to the Allspark's history, making him the unlikely ally of these enormous creatures, as they fight for humankind's survival and the chance to return home.

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Delicatessen

A post-apocalyptic future becomes the setting for pitch black humor in this visually intricate French comedy. The action takes place within a single apartment complex, which is owned by the same man that operates the downstairs butcher shop. It's a particularly popular place to live, thanks to the butcher's uncanny ability to find excellent cuts of meat despite the horrible living conditions outside. The newest building superintendent, a former circus clown, thinks he has found an ideal living situation. All that changes, however, when he discovers the true source of the butcher's meat, and that he may be the next main course. This dark tale is played out in a brilliantly designed, glorious surreal alternate world reminiscent of the works of director Terry Gilliam, who co-presented the film's American release. Like Gilliam, co-directors Jean-Pierre Jeunet and Marc Caro hail from an animation background, and have a fondness for extravagant visuals, absurdist plot twists, and a sense of humor that combines sharp satire with broad slapstick and gross-out imagery. This mixture may displease the weak of stomach, but those attuned to the film's sensibility will be delighted by the obvious technical virtuosity and wicked sense of humor.

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Safe

Todd Haynes presents a revisionist take on the paranoia thriller with this story of a Southern California housewife who suddenly falls victim to an inexplicable, apparently incurable illness. Carol White (Julianne Moore) lives with her husband and son in suburban comfort until she collapses one day, for no apparent reason. Her condition worsens in the weeks that follow, as she suffers from coughing fits, exhaustion, and spontaneous nose bleeds, triggered by sources as disparate as car exhaust, cologne, and the sun. Failing to find any medical explanation for her maladies, her doctor refers her to a psychiatrist, who suggests that her physical ailments are psychosomatic -- a theory echoed by her callous and increasingly frustrated husband. At her wits' end, Carol withdraws to an expensive New Age retreat for sufferers of "20th century disease," where the community's guru (Peter Friedman) champions a dubious regimen of diet, climate control, introspection, and self-love.

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Greed

Frank Norris' powerful Zola-esque novel McTeague was first filmed in 1915. While filmmaker Erich Von Stroheim would insist that he'd been enthralled by the book since it first came out in 1902, it is more likely that he didn't make the novel's acquaintance until seeing that 1915 film. Whatever the case, Von Stroheim vowed that, if he ever had enough Hollywood clout, he'd produce the "definitive" version of McTeague. After scoring an enormous financial hit with Foolish Wives, he had just that clout, and, in 1923, he began work on what he hoped would his masterpiece.

Stripped to its bare essentials, McTeague tells the story of a brutish, but basically good-natured, miner named McTeague (played by Gibson Gowland), who finds his true calling in life by taking over the practice of a traveling dentist. Setting up shop in San Francisco, McTeague falls in love with Trina (ZaSu Pitts), the daughter of German immigrants. It happens that Trina is the girlfriend of McTeague's best pal Marcus (Jean Hersholt), who is mildly resentful, but ultimately forgiving, when McTeague and Trina are married. Always seeking out an opportunity to better herself, Trina buys a lottery ticket. When the ticket pays off and she wins a fortune, the previously even-tempered Trina undergoes a complete personality change, metamorphosing into a grasping, greedy, miserly shrew, hoarding huge sums of money while her husband must get by on his meager earnings as a dentist. Trina's sudden windfall sparks a change in both McTeague and Marcus, as well; driven to distraction by his wife's avarice, McTeague turns into a violent beast, while Marcus boils with jealousy over losing the now-prosperous Trina to McTeague. Pushed too far, McTeague ultimately murders Trina and escapes to the desert with her money. Appointed a sheriff's deputy, the envious Marcus heads out to bring McTeague in, and the two men catch up with one another in the middle of Death Valley. Their water supply gone, their packhorse dead, McTeague and Marcus begin a fight to the death. McTeague manages to shoot and kill Marcus -- only to discover that Marcus has manacled himself to McTeague. Utterly defeated, he sits benumbed on the scorching rocks, awaiting madness and a horrible death.

Filming at actual locations (the murder scene was shot at a locale where a real murder had occurred, while the sweltering Death Valley sequence was, likewise, made there), Von Stroheim remained doggedly faithful to the Norris original, shooting every page word for word. The end result ran 40 reels, or roughly 10 hours of screen time. Then came the corporate intrigues. Von Stroheim, who had begun the film through the auspices of the old Goldwyn studios, now had to contend with the newly formed Metro-Goldwyn-Mayer regime. Production head Irving Thalberg argued logically that no audience would sit still for ten hours of unrelenting realism. Von Stroheim reluctantly responded by paring his film down to 20 reels, but it was still far too long and depressing for MGM's taste. The director's friend Rex Ingram weeded out two more reels, warning Von Stroheim that "If you cut out another inch, I'll never speak to you again." At this point, MGM, feeling that too much money had already been spent on the project, took McTeague away from Von Stroheim and ordered June Mathis to whittle the picture down to ten reels. It is this version, retitled Greed, that was released to the public in late 1924.

Far from the financial disaster that MGM always claimed it was (the film actually posted a small profit), Greed was still too overpowering for many observers. Critics and audiences were sharply divided, some hailing the film as a work of unbridled genius, others dismissing as "an epic of the sewer." Von Stroheim, angered that his baby had been "butchered," refused to ever see the ten-reel Greed. When viewed today, the film retains its raw dramatic power; the continuity gaps and clumsy transitional titles that once seemed so unforgivable are generally ignored by contemporary audiences. Still, Greed is not a happy, high-kickin' production. Though a rewarding experience, it remains very rough sledding for those accustomed to traditional, conservative entertainment.

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Earth

Earth (AKA Zemlya) is the third of Soviet director Alexander Dovzhenko's "Ukraine tetralogy" (Zvenigora (1928), Arsenal (1929), and Ivan (1932) are the other films in the series). The story tells of a group of farmers in a Ukrainian village, who unite to purchase a tractor. The leader of the peasants is later killed by a kulak, or landowner, who dislikes any form of united front that might pose a threat to his long-established authority. The events fade into memory, but the long-ranging effects of the peasant "revolt"--like the Earth itself--last forever.

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I Am a Fugitive From a Chain Gang

Warner Bros.' hard-hitting chain-gang movie was a faithful adaptation of the similarly titled autobiography of Robert Elliot Burns. Paul Muni plays World War I veteran James Allen, whose plans of becoming a master architect evaporate in the cold light of economic realities. Flat broke, Allen is forced to pawn his war medals, which have become a glut on the market. When Allen is innocently involved in a restaurant holdup, the police don't buy his story that the robber (Preston S. Foster) had forced him to clean out the cash register, and Allen is sentenced to ten years on a chain gang. The brutal scenes that follow make the later chain-gang movie Cool Hand Luke (1967) look like a picnic in the country. Unable to stand any more, Allen escapes and heads to Chicago. Using an alias, he builds a new life for himself and within five years is the respected president of a bridge-building firm. His landlady (Glenda Farrell), learning about his past, forces Allen to marry her. When he falls in love with another girl (Helen Vinson) and asks for a divorce, his wife turns him over to the authorities. The real-life Robert Elliot Burns was still a fugitive when he wrote his exposé of the chain-gang system; the publication of Burns' book led to the abolishment of that system and an erasure of Burns' sentence.

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Serpico

Adapted by Waldo Salt and Norman Wexler from Peter Maas's book, Sidney Lumet's drama portrays the real-life struggle of an honest New York City cop against a corrupt system. Neophyte officer Frank Serpico (Al Pacino) is determined not to let his job get in the way of his individuality. Despite his colleagues' leery reactions, he keeps one foot firmly planted in the counterculture, sporting a beard and love beads and living in bohemian Greenwich Village, while he performs his police duties with dispatch. Serpico's peers genuinely ostracize him, however, when he refuses to take bribes like everybody else. Appalled by the extent of police corruption, Serpico goes to his superiors, but when he discovers that they have ignored his charges, he takes the potentially fatal step of breaking the blue wall of silence and going public with his exposé. Serpico's revelations trigger an independent investigation by the Knapp Commission, but they also make him a marked man, permanently changing his life. Shot on location with a gritty emphasis on documentary-style realism, Serpico presents a city in decay both literally and morally, as everybody is in on the take, and the cops and criminals are almost interchangeable. Released in late 1973, after months of revelations of Presidential malfeasance in the breaking Watergate scandal, Serpico's true story of bureaucratic depravity touched a cultural nerve, and the film became a hit with both critics and audiences, particularly for Pacino's complex performance as the honest, long-haired whistleblower. One year after his star-making triumph in The Godfather, Pacino was nominated for an Oscar again, and lost again; Lumet and Pacino would reunite two years later for another true New York story, Dog Day Afternoon.

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Rocky

Rocky Balboa (Sylvester Stallone), a Philadelphia boxer, is but one step removed from total bum-hood. A once-promising pugilist, Rocky is now taking nickel-and-dime bouts and running strongarm errands for local loan sharks to survive. Even his supportive trainer, Mickey (Burgess Meredith), has given up on Rocky. All this changes thanks to Muhammad Ali-like super-boxer Apollo Creed (Carl Weathers). With the Bicentennial celebration coming up, Creed must find a "Cinderella" opponent for the big July 4th bout -- some unknown whom Creed can "glorify" for a few minutes before knocking him cold. Rocky Balboa was not the only Cinderella involved here: writer/director Sylvester Stallone, himself a virtual unknown, managed to sell his Rocky script (one of 35 that he'd written over the years) on the proviso that he be given the starring role. Since the film was to be made on a shoestring and marketed on a low-level basis, the risk factor to United Artists was small. For Stallone, this was a make-or-break opportunity -- just like Rocky's million-to-one shot with Apollo Creed. Costing under a million dollars, Rocky managed to register with audiences everywhere, earning back 60 times its cost. The film won several Academy Awards, including Best Picture.

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The Last Wave

Peter Weir follows up on his critically acclaimed masterpiece Picnic at Hanging Rock with this surrealist psychological drama. The film opens with a freak hailstorm in Australia's outback. Cut to David Burton (Richard Chamberlain), a well-to-do Sydney corporate lawyer plagued by visions of impending doom who is assigned to defend five accused of murdering a fellow Aborigine. The case itself proves to be mysterious -- no exact cause of death can be determined by the pathologist, and the accused remain strangely tight-lipped about the whole affair. As his visions grow increasingly weird and intense, Burton sees in his dream one of the five Aborigines, Chris (David Gulpili of Walkabout fame), who is drenched and clutching a sacred rock. Burton's interest in the case slides into complete obsession, and he comes to believe that not only was the murder related to an underground urban tribe of Aborigines but that Australia is about to be decimated by a massive, apocalyptic tidal wave.

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Raging Bull

Martin Scorsese's brutal character study incisively portrays the true rise and fall and redemption of middleweight boxer Jake La Motta, a violent man in and out of the ring who thrives on his ability (and desire) to take a beating. Opening with the spectacle of the over-the-hill La Motta (Robert De Niro) practicing his 1960s night-club act, the film flashes back to 1940s New York, when Jake's career is on the rise. Despite pressure from the local mobsters, Jake trusts his brother Joey (Joe Pesci) to help him make it to a title bout against Sugar Ray Robinson the honest way; the Mob, however, will not cave in. Jake gets the title bout, and blonde teenage second wife Vickie (Cathy Moriarity), but success does nothing to exorcise his demons, even as he channels his rage into boxing. Alienating Vickie and Joey, and disastrously gaining weight, Jake has destroyed his personal and professional lives by the 1950s. After he hits bottom, however, Jake emerges with a gleam of self-awareness, as he sits rehearsing Marlon Brando's On the Waterfront speech in his dressing room mirror: "I coulda been a contender, I coulda been somebody." Working with a script adapted by Mardik Martin and Paul Schrader from La Motta's memoirs, Scorsese and De Niro sought to make an uncompromising portrait of an unlikable man and his ruthless profession. Eschewing uplifting Rocky-like boxing movie conventions, their Jake is relentlessly cruel and self-destructive; the only peace he can make is with himself. Michael Chapman's stark black-and-white photography creates a documentary/tabloid realism; the production famously shut down so that De Niro could gain 50-plus pounds. Raging Bull opened in late 1980 to raves for its artistry and revulsion for its protagonist; despite eight Oscar nominations, it underperformed at the box office, as audiences increasingly turned away from "difficult" films in the late '70s and early '80s. The Academy concurred, passing over Scorsese's work for Best Director and Picture in favor of Robert Redford and Ordinary People, although De Niro won a much-deserved Oscar, as did the film's editor, Thelma Schoonmaker. Oscar or no Oscar, Raging Bull has often been cited as the best American film of the 1980s.

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Fanny & Alexander

Though he made allusions to his own life in all of his films, Fanny and Alexander was the first overtly autobiographical film by Ingmar Bergman. Taking his time throughout (188 minutes to be exact), Bergman recreates several episodes from his youth, using as conduits the fictional Ekdahl family. Alexander, the director's alter ego, is first seen at age 10 at a joyous and informal Christmas gathering of relatives and servants. Fanny is Alexander's sister; both suffer an emotional shakedown when their recently-widowed mother (Ewa Froling) marries a cold and distant minister. Stripped of their creature comforts and relaxed family atmosphere, Fanny and Alexander suddenly find their childhood unendurable. The kids' grandmother (Gunn Wallgren) "kidnaps" Fanny and Alexander for the purpose of showering them with the first kindness and affection that they've had since their father's death. This "purge" of the darker elements of Fanny and Alexander's existence is accomplished at the unintentional (but applaudable) cost of the hated stepfather's life. Ingmar Bergman insisted that Fanny and Alexander, originally a multipart television series pared down to feature-film length, represented his final film, though within a year after its release he was busy with several additional Swedish TV projects, and he returned to make one more theatrical release movie before his death - the 2003 Saraband. Oscars went to Fanny and Alexander for Best Foreign Film, Best Cinematography (Sven Nykvist), Best Costume Design and Best Art Direction/Set Decoration.

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The Decalogue

Krzysztof Kieslowski, the internationally renowned filmmaker best known for his Trois Couleurs trilogy (Blue, White, and Red), created perhaps his most ambitious porc with this ten-part series produced for Polish television in 1988 and 1989. Each of the ten segments, running between 53 and 58 minutes in length, takes place among the inhabitants of a Warsaw apartment complex, and focuses on a moral and ethical quandary inspired by the Ten Commandments, of which Kieslowski said, "For 6,000 years these rules have been unquestionably right, and yet we break them every day." After TV showings in Europe and many international film festivals and art-house screenings, The Decalogue was released on home video in the spring of 2000.

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Yi Yi

Master Taiwanese director Edward Yang spins this intricate and complex yarn about life's everyday crises. The film focuses on N.J. Jian (Wu Nien-Jen, a noted writer/director in his own right); his wife, Min-Min (Elaine Jin); and their two children, teenager Ting-Ting (Kelly Lee) and young Yang-Yang (Jonathan Chang). Their middle-class existence seems stable and secure until a series of incidents throws all of their lives out of kilter. The misfortunes start at the wedding of Min-Min's ne'er-do-well brother, Ah-Di (Chen Xisheng), when his jilted ex-girlfriend Yun-Yun (Tseng Hsin-yi) bursts into the proceedings and lambastes the bride. Upset by the ruckus and feeling unwell, Min-Min's mother goes home early only to suffer a stroke and slip into a coma. After the wedding, N.J. runs into his first love, Sherry (Ke Suyun), who is married to a rich American. This chance encounter shakes N.J. to his very foundations, forcing him to reevaluate his life. At the same time, N.J.'s computer company deliberates on whether or not to collaborate with a renowned Japanese games designer, Ota (Issey Ogata), sending N.J. to Japan to negotiate a contract. Confronted by her mother's coma, Min-Min also takes stock of her life and finds it lacking. On the brink of a nervous breakdown, she suddenly joins a religious retreat. In Japan, N.J. warms to his potential business partner Ota, spending long evenings discussing life and love in hip Tokyo jazz clubs. There, N.J. also meets up with Sherry; they relive old memories and flirt with infidelity. At the same, Ting-Ting, who quietly blames herself for her grandmother's coma, learns her first hard lessons about love, while Yang-Yang causes trouble at school and wrestles with the truths of the adult world. This film won the Golden Palm for Best Direction at the 2000 Cannes Film Festival and was an official selection for the 2000 Toronto Film Festival.

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Delirious

Shortly before the end of Eddie Murphy - Delirious the irrepressible Murphy points out the irony of his appearing before an SRO audience at Washington DC's Constitution Hall, the same establishment which refused to allow black opera star Marian Anderson to give a concert in 1939. Murphy may not be in the same style of performance as Anderson, but no one can deny that back in 1983 he galvanized an audience as few other comedians could. Occasionally there's a PG bit involving Eddie's family, but for the most part the humor is raunchy -- as evidenced by Murphy's routine about Ralph Kramden being "serviced" by Ed Norton.

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The Legend of the Lone Ranger

An orphan grows up to become an Old West legend as the story of the Lone Ranger comes to the big screen in this western saga featuring Christopher Lloyd and Jason Robards. Orphaned as a young boy, John Reid struck up a lifelong friendship with a loyal Indian boy named Tonto. Years later, Reid has become a lawyer and returned to the west in order to ensure that vicious murderers such as the Cavendish gang are brought to justice. Having previously murdered Reid's parents, the Cavendish gang proves that they still rule this lawless land when they launch an ambush that leaves the lawyer serious wounded and his Texas Ranger brother dead. Nursed back to health by his old friend Tonto, Reid dons a mask and sets out to pursue justice anonymously atop his faithful horse Silver. His timing couldn't be better, either, because the Cavendish gang is about to carry out their most ambitious misdeed to date by kidnapping President Ulysses S. Grant (Robards). Upon learning that the president has been abducted by the most violent gang in the Wild West, the Lone Ranger sets out to settle an old score while rescuing the man who will steer the fate of a nation.

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Chicago 10

The Kid Stays in the Picture director Brett Morgen turns his unique eye toward the infamous 1968 Democratic National Convention in this 2006 documentary. Using a star-studded voice cast along with a blend of archival footage and animation, Morgen tells the story of the eight demonstrators who were arrested and tried for conspiracy in the wake of the violent anti-war protests. Featuring the voices of Nick Nolte and Mark Ruffalo among others, Chicago 10 premiered at the 2007 Sundance Film Festival.

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The Duchess: The AMG Review

The delicious pageantry of the big-hair-and-big-dresses historical drama is a glorious and melodramatic tradition, perfected through years of refinement in the areas of wig-making and bold, sidelong glances. Unfortunately, the Duchess opts out of this tradition, and shoots for an absolutely sober level of realism – which doesn’t make it a bad movie, but doesn’t do it many favors either.

The title role is played by Keira Knightley, the go-to girl for the romantic leading lady in period movies (Pirates of the Caribbean, Pride & Prejudice, Atonement, Silk, the Edge of Love). Knightley’s screen presence evokes passion, romance, and cheek-bony ethereal beauty, and you can see why she ends up playing the lead in so many of these films, but there’s a distinction to the kind of period piece that seems to be her forte. After all, it’s one thing to play the naïve and soon to be heartbroken damsel in a sweeping tale of corsets and desire, and it’s another to play Elizabeth I or Catherine the Great.

Beetlejuice

Thanks to the carelessness of a cute little dog, newlyweds Geena Davis and Alec Baldwin are killed in a freak auto accident. Upon arriving in the outer offices of Heaven, the couple finds that, thanks to a century's worth of bureaucratic red tape, they're on a long celestial waiting list. Before they can earn their wings, Davis and Baldwin must occupy their old house as ghosts for the next fifty years. Alas, the house is now owned by insufferable yuppies Catherine O'Hara and Jeffrey Jones. Horrified at the prospect of sharing space with these obnoxious interlopers, Davis and Baldwin do their best to scare O'Hara and Jones away, but their house-haunting skills are pathetic at best. In desperation, the ghostly couple engage the services of a veteran scaremeister: a yellow-haired, snaggle-toothed, profane, flatulent "gonzo" spirit named Beetlejuice (Michael Keaton). The problem: Beetlejuice cannot be trusted-especially when he falls in love with O'Hara and Jones' gloomy, black-clad teenaged daughter Winona Ryder. Beetlejuice producer David Geffen, director Tim Burton, and composer Danny Elfman were also involved in an animated TV-series spin-off.

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Redbelt

Description by Jason Buchanan

Tim Allen and Chiwetel Ejiofor co-star in writer/director David Mamet's martial arts drama Redbelt. Ejiofor plays Mike Terry, a jujitsu master who co-runs a very modest martial arts studio in Los Angeles with his bossy wife, Sondra (Alice Braga). Mike demonstrates an unwavering commitment to his craft and draws a cadre of defiantly loyal pupils including Joe (Max Martini), an LAPD cop. All told, it appears that he has chosen a peaceful and conflict-free path in life. The dedicated martial artist's fate takes an unanticipated turn, however, one evening when a young woman named Laura (Emily Mortimer) bursts into the academy, reaches for a gun, and accidentally shatters the front window. One thing leads to another, and before long, Laura is regularly receiving martial arts lessons from Mike. As master begins to teach pupil and his martial arts philosophies emerge, his path also crisscrosses with that of a Hollywood movie star, Chet Frank (Tim Allen), when he saves the fellow from a beating at a local club and gets invited (along with Sondra) to Chet's house for dinner. Chet extends gestures of friendship, and Mike's guard breaks town; he speaks openly and candidly of a special martial arts method he employs that requires one of the participants to "assume a handicap." In time, the association with Chet leads to involvement in the motion-picture industry, and relations with a bevy of characters who aren't exactly what they seem -- including a pay-per-view fight mogul (Ricky Jay) and Chet's slimy and manipulative manager (Joe Mantegna).

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