100 Best Films Ever Made (2 Perspectives)

It's safe to say that I'm a "movie guy." Well, after a lifetime spent watching the silver screen (and the small screen), it was time to put together a retrospective. With the help of long-time buddy A. Trendy, we have each compiled what we feel to be are the 100 BEST FILMS EVER MADE. We attempted to be as objective as possible, and considered things like: lasting influence, cultural/aesthetic impact, overall creativity, and (of course) the "Big Four" - writing, acting, directing, and design. Below you will see our 2 lists running side-by-side. Let the record show that we only considered movies that WE HAVE ACTUALLY SEEN, so a few glaring omissions exist on each list. We also excluded documentaries and short films. So, without further ado, read on! Feel free to compare, analyze, disagree, and discuss.

B. Perry's 100 100.) Argo (2012) 99.) The Sting (1973) 98.) Eyes Without A Face (1960) 97.) The Aviator (2004) 96.) The Phantom of the Opera (1925) 95.) To Be or Not To Be (1942) 94.) The Man Who Shot Liberty Valence (1962) 93.) The Gold Rush (1925) 92.) North by Northwest (1959) 91.) Dog Day Afternoon (1975) 90.) The Shawshank Redemption (1994) 89.) Full Metal Jacket (1987) 88.) Invasion of the Body Snatchers (1957) 87.) Dr. Strangelove, or: How I Learned to Stop Worrying and Love The Bomb (1964) 86.) Whatever Happened to Baby Jane? (1962) 85.) The Man in the White Suit (1951) 84.) M (1931) 83.) Gone With the Wind (1939) 82.) 12 Monkeys (1995) 81.) The Hustler (1961) 80.) The French Connection (1971) 79.) Stagecoach (1939) 78.) Saving Private Ryan (1998) 77.) Audition (1999) 76.) Anatomy of a Murder (1959) 75.) Nosferatu: A Symphony of Horror (1922) 74.) Fantasia (1940) 73.) Reservoir Dogs (1992) 72.) Lost in Translation (2003) 71.) The Thin Red Line (1998) 70.) Butch Cassidy and the Sundance Kid (1969) 69.) The Insider (1999) 68.) The Exorcist (1973) 67.) The Third Man (1949) 66.) Close Encounters of the Third Kind (1977) 65.) Inception (2010) 64.) American Beauty (1999) 63.) The Deer Hunter (1978) 62.) The Usual Suspects (1998) 61.) Up (2009) 60.) The Shining (1980) 59.) The Cabinet of Dr. Caligari (1920) 58.) Paths of Glory (1957) 57.) Alien (1979) 56.) The Great Dictator (1940) 55.) The Lord of the Rings: The Return of the King (2003) 54.) Halloween (1978) 53.) The Goddess (1934) 52.) Spartacus (1960) 51.) Michael Clayton (2007) 50.) Don't Look Now (1973) 49.) Inglourious Basterds (2009) 48.) Seven Samurai (1954) 47.) Mr. Smith Goes to Washington (1939) 46.) Taxi Driver (1976) 45.) Safety Last! (1923) 44.) Unforgiven (1992) 43.) The Dark Knight (2008) 42.) The Graduate (1967) 41.) The Fly (1986) 40.) Children of Men (2006) 39.) Citizen Kane (1941) 38.) One Flew Over the Cuckoo's Nest (1975) 37.) The Departed (2006) 36.) Groundhog Day (1993) 35.) Sunset Boulevard (1950) 34.) The Battleship Potemkin (1925) 33.) The Conversation (1974) 32.) Pulp Fiction (1994) 31.) Sullivan's Travels (1941) 30.) Frankenstein (1931) 29.) On the Waterfront (1954) 28.) Metropolis (1927) 27.) Casablanca (1942) 26.) The Godfather Part II (1974) 25.) Sunrise: A Song of Two Humans (1927) 24.) King Kong (1933) 23.) Rosemary's Baby (1968) 22.) From Here to Eternity (1953) 21.) To Kill A Mockingbird (1962) 20.) Patton (1970) 19.) Psycho (1960) 18.) Rashomon (1950) 17.) Do the Right Thing (1989) 16.) His Girl Friday (1940) 15.) There Will Be Blood (2007) 14.) Rear Window (1954) 13.) The Silence of the Lambs (1991) 12.) The General (1926) 11.) 12 Angry Men (1957) 10.) Chinatown (1974) 9.) Jaws (1975) 8.) Singin' in the Rain (1952) 7.) Schindler's List (1993) 6.) City Lights (1931) 5.) Star Wars (1977) 4.) No Country for Old Men (2007) 3.) The Apartment (1960) 2.) The Godfather (1972) 1.) 2001: A Space Odyssey (1968)

A. Trendy's 100 100.) Princess Mononoke (1997) 99.) The Thing (1982) 98.) District 9 (2009) 97.) Aliens (1986) 96.) Se7en (1995) 95.) American Beauty (1999) 94.) Superman: The Movie (1978) 93.) The Evil Dead (1981) 92.) The Cabinet of Dr. Caligari (1920) 91.) The Matrix (1999) 90.) The Game (1997) 89.) The Shawshank Redemption (1994) 88.) The Prestige (2006) 87.) The Kid (1921) 86.) Jurassic Park (1993) 85.) Eternal Sunshine of the Spotless Mind (2004) 84.) The Day the Earth Stood Still (1951) 83.) Midnight Cowboy (1969) 82.) From Here to Eternity (1953) 81.) Apollo 13 (1995) 80.) Do the Right Thing (1989) 79.) To Kill a Mockingbird (1962) 78.) M (1931) 77.) E.T. The Extra-Terrestrial (1982) 76.) Chicago (2002) 75.) City of Lost Children (1995) 74.) La Belle et la Bete (1947) 73.) The Sixth Sense (1999) 72.) Fight Club (1999) 71.) Pan’s Labyrinth (2006) 70.) Reservoir Dogs (1992) 69.) Akira (1988) 68.) There Will Be Blood (2007) 67.) Drive (2011) 66.) Antichrist (2009) 65.) The French Connection (1971) 64.) Spartacus (1960) 63.) Dracula (1931) 62.) Wall-E (2008) 61.) Argo (2012) 60.) Trainspotting (1996) 59.) 12 Monkeys (1996) 58.) Fargo (1996) 57.) Hunger (2008) 56.) Paths of Glory (1957) 55.) Audition (1999) 54.) 12 Angry Men (1957) 53.) 8 ½ (1963) 52.) Spirited Away (2001) 51.) Dog Day Afternoon (1975) 50.) Patton (1970) 49.) Mulholland Dr. (2001) 48.) The Conversation (1974) 47.) The Graduate (1967) 46.) The Empire Strikes Back (1980) 45.) No Country for Old Men (2008) 44.) Rosemary’s Baby (1968) 43.) Inception (2010) 42.) The Departed (2006) 41.) The Lord of the Rings: The Return of the King (2003) 40.) The Dark Knight (2008) 39.) Gojira (1954) 38.) On the Waterfront (1954) 37.) Alien (1979) 36.) Lost In Translation (2003) 35.) The Bridge on the River Kwai (1957) 34.) The Artist (2011) 33.) The Phantom of the Opera (1925) 32.) Rashomon (1950) 31.) Shame (2011) 30.) Rocky (1976) 29.) Halloween (1978) 28.) Raging Bull (1980) 27.) Toy Story (1995) 26.) Raiders of the Lost Ark (1981) 25.) The Third Man (1950) 24.) Battleship Potemkin (1926) 23.) A Clockwork Orange (1971) 22.) Snow White and the Seven Dwarfs (1938) 21.) The Silence of the Lambs (1991) 20.) Children of Men (2007) 19.) The Godfather Part II (1974) 18.) Psycho (1960) 17.) Saving Private Ryan (1998) 16.) Taxi Driver (1976) 15.) Jaws (1975) 14.) Gone With the Wind (1940) 13.) The Wizard of Oz (1939) 12.) Pulp Fiction (1994) 11.) The Shining (1980) 10.) Blade Runner (1982) 9.) The Exorcist (1973) 8.) Seven Samurai (1956) 7.) Frankenstein (1931) 6.) Chinatown (1974) 5.) Metropolis (1927) 4.) Citizen Kane (1941) 3.) Star Wars (1977) 2.) The Godfather (1972) 1.) 2001: A Space Odyssey (1968)

The Top 15

Because I love to celebrate pointless milestones, I thought I better do something special for my 15th blog post. That special something? Simplicity. So, without further deliberation or explanation, here are my current top 15 favorite books, movies, and albums. Enjoy!

Books
15.) The Lords of Discipline by Pat Conroy (1980)  
14.) Batman: The Dark Knight Returns by Frank Miller (1986)
13.) Slaughterhouse-Five, or The Children's Crusade by Kurt Vonnegut (1969)
12.) The Norton Anthology of Theory and Criticism (2nd Edition) edited by Vincent B. Leitch, William E. Cain, Laurie A. Finke, Barbara E. Johnson, and John McGowan (2009)
11.) Lord of the Flies by William Golding (1954)
10.) Who's Afraid of Virginia Woolf? by Edward Albee (1962) 
9.) Watchmen by Alan Moore, Dave Gibbons, and John Higgins (1987)
8.) Ender's Game by Orson Scott Card (1985)
7.) To Kill A Mockingbird by Harper Lee (1960) 
6.) Of Mice and Men by John Steinbeck (1937)
5.) The Dark Tower III: The Waste Lands by Stephen King (1991)
4.) The Corrections by Jonathan Franzen (2001)
3.) The Devil in the White City by Erik Larson (2003)

2.) The Great Gatsby by F. Scott Fitzgerald (1925)
1.) The Complete Calvin and Hobbes by Bill Watterson (2012)

Movies
15.) The Godfather (1972) 
14.) This is Spinal Tap (1984)   13.) The Fugitive (1993) 
12.) Chinatown (1974)
11.) Jurassic Park (1993)
10.) Rear Window (1954)
9.) Hot Fuzz (2007)
8.) 12 Angry Men (1957)
7.) Inglourious Basterds (2009)
6.) Jaws (1975)
5.) The Big Lebowski (1998)
4.) Star Wars (Episode IV): A New Hope (1977)
3.) The Dark Knight (2008) 
2.) 2001: A Space Odyssey (1968)
1.) The Departed (2006)

Albums
15.) Kind of Blue - Miles Davis (1959)  
14.) Illinois - Sufjan Stevens (2005) 
13.) Rated R - Queens of the Stone Age (2000)  
12.) Deja Vu - Crosby, Stills, Nash & Young (1970)  
11.) Somewhere In the Between - Streetlight Manifesto (2007)
10.) Weezer (The Blue Album) - Weezer (1994)
9.) Crash - Dave Mathews Band (1996) 
8.) Elephant Eyelash - Why? (2005) 
7.) Where the Light Is: John Mayer Live in Los Angeles - John Mayer (2008)  
6.) Evil Empire - Rage Against the Machine (1996)
5.) Dave Grusin Presents GRP All-Star Big Band Live! - GRP All-Star Big Band (1993)
4.) ...In Shallow Seas We Sail - Emery (2009)
3.) Bill Evans Trio with Symphony Orchestra - Bill Evans Trio (1966)
2.) Abbey Road - The Beatles (1969)
1.) Stadium Arcadium - Red Hot Chili Peppers (2006)

Weezer's "Hurley" - 2 Reviews, 2 Opinions

(Hurley by Weezer [2010]. Yes, this is the actual album cover.)

Ever since the 9th grade, myself and several of my buddies have been fans of American rock band Weezer. We all seem to be in agreement that the group's first two albums, their self-titled album from 1994 (also known as The Blue Album) and 1996's Pinkerton, are the best. Our opinions greatly differ with the later stuff. The epitome of this division is on the 2010 album Hurley. A few of us really enjoy it, and others absolutely detest it. The following blog is an exchange I had with my buddy B. Gutierrez a while back, and I think it presents a nice point-counterpoint on the record. These analyses are track-by-track, so we both apologize for the length. Regardless: read, enjoy, listen, and take a stance!

B. Perry
1.) "Memories": It may not be catchy (and it's CERTAINLY not a desirable single), but it takes me back to Pinkerton - the grated vocals, the screeching guitar, even the calm instrumental break complete with mallet percussion and melodic bass. It's a quaint throwback musically and lyrically - a not-so-subtle intertwining of form and function. It's okay. 

2.) "Ruling Me": An amusing foray into pop-punk, this is Weezer doing its best Blink-182 impression. And you know what? It's pretty decent. This ridiculously radio-friendly tune showcases Rivers' ability to craft infectious melodies out of common chord structures and outdated musical genres. The bridge is a tad bizarre, but the build up back to the chorus wipes away the weirdness. Also - I adore the dance beat drumming and the Red-Hot-Chili-Peppers-ish harmonizing vocals. 

3.) "Trainwrecks": Dude, this may very well be my favorite track on the album. The in-the-pocket beat, the confident (maybe even powerful) vocals, the simplistic hook that highlights the instrumentation, even the strangely fitting guitar scream that happens again and again - it all adds up to a terrific, almost anthemic rock song. I really, really, REALLY like this one.

4.) "Unspoken": I think this song probably looked a lot better on paper than it actually sounds. Rivers is stretching to hit notes out of his natural range, and the results aren't always pretty. What I WILL say, is that I like the lyrics, I like the percussive acoustic guitar, I really like the backing vocals/counter-melody, and I think the final time through the chorus is immensely satisfying.

5.) "Where's My Sex?": Okay, okay - the lyrics are laughably goofy and the entire premise of the song is a joke. However, lyrics notwithstanding, the actual MUSIC is excellent. How can you not enjoy the guitars that sound heavy as lead? The thunderous percussion? The punching vocals that Rivers injects with a surprising amount of what my mom would call "attitude"? I even think the non sequitur bridge comes off with spunk and charisma. Most impressive are the haunting disco-esque backing vocals during the chorus, which make me think of strobe lights and drifting confetti. Goofiness aside, I dig this one.

6.) "Run Away": Yeah, I'm not a big fan of this track. The arrangement is a little lazy, the production is discomfited alongside the melody/instrumentation, and the vocals sound awkward and unpolished. Yet I appreciate the honesty in the lyrics, and I like the fact that it sounds DIFFERENT and NEW...very un-Weezer. This means that this odd experiment could lead the band to some new musical territory in the future. Potential, albeit very raw, abounds.

7.) "Hang On": THIS is the song that really makes me hopeful for Weezer's future. "Hang On" is a pop song of considerable maturation - the melody is comprised of a handful of catchy hooks that ranges from the lead melody, to the backing vocals, even to the plucky guitar. Subtle bass and percussion back up these hooks with stability and naturalism unrivaled elsewhere on the album. Rivers is back on his game, flexing his vocal chops with an impressive range and controlled vibrato. Unlike "Where's My Sex," the bridge resonates smoothly and organically, an ironic extension of the arrangement and main melody. This song is fantastic. 

8.) "Smart Girls": I very much enjoy this toe-tapping, head-nodding, smile-inducing sing-along. Once again I'm reminded of Pinkerton (because of the jagged chorus vocals and frenetic guitars), but thanks to the overall delivery, there's also a lot of Maladroit here. Even the lyrics make me think this is a great lost track from Raditude. It's an undeniably pleasurable tune, with an arrangement saturated in house music, contemporary pop, and 90s rock. Listen again, and taste the bubblegum frothiness of "Smart Girls."

9.) "Brave New World": While I see the admirable qualities of this track, I admit I don't like it all that much. The simplistic melody and "hard" arrangement (too much guitar chugging for my taste) ultimately fall flat. I desperately wish Pat (the drummer) would quit the dance beat and just play some standard rock stuff...maybe that would give the song a little more gravity. Nonetheless, I rather like the bridge, and I'm still enamored with the harmonizing vocals. Along with "Run Away," this track represents the album's creative low point.

10.) "Time Flies": Another delightful pairing of form and function, I admire how the lyrics muse about a well-lived life, and Rivers adjusts his voice thusly, singing with age and gravel in his throat. The arrangement is curious, but strangely appropriate. I especially like this song when stacked against "Memories" - two songs about life, one that lives in the past and laments the present, one that appreciates the present and considers the future. "Time Flies" is a contemplative, yet playful, conclusion to the record.

All in all, I very much appreciate and enjoy Hurley. It takes some musical cues from Weezer's past (especially Pinkerton, Maladroit, and Raditude), combines them with oodles of influences and some fresh musical ground, and creates a new, unique sound for the band. It's varied, a bit weird, but honest and inventive. In Hurley, Weezer had the guts and initiative to experiment and test out some new musical styles, and the final product is passionate, intriguing, and ultimately satisfying.

In fact, after listening to it again (for I listened to every track while writing this overly verbose review), I think I like it equally as much as Maladroit, which means it shares the bronze medal in my Weezer pantheon (after Blue and Pinkerton, of course). For Weezer, the "good 'ol days" are over, but thanks to this album, maybe a bit of former glory can someday be reclaimed.

 
B. Gutierrez

I've listened to this album twice already this morning, and my thoughts are incoming. I will say, while I don't find it as bad as I remember, I do still think it is bad. Quite.

First, let me get something off my chest that drives me absolutely bonkers about Hurley, that admittedly has nothing to do with the album's music quality. I absolutely hate everything on the surface (literally) of Hurley. It drives me crazy. The title. The album art. It sends me into a rage before I even turn on the album. Yes I realize I am pretty much exactly "judging a book by its cover," but c'mon! At best, it's paying respect to an unremarkable albeit lovable character from a recently ended major 00s TV series. At worst, it's just straight up a corporate tie-in to a freakin' clothes line. Spoilers: it's the latter. Brian even admitted so before he was told to take back his comment lest Weezer lose their oodles of cred they still totally have. Either way, it's completely unoriginal to the point where it offends me. And yes I know we're talking about the same band that has three self-titled albums. Where's my actually meaningful, sincere artistic homage on Pinkerton? Where's my admittedly kitschy yet well-intentioned Shakespeare quote in Make Believe? To me, this just exemplifies the laziness I feel emanating from this album and Weezer in general these days. I just can't wait til their October 2013 album "Phyllis Vance presented by Hammermill"!

But like I said, I can't directly fault the actual tracks for any of that. Overall, I'll say for the most part, you're right. Musically, I don't have a huge amount of problems with the album. Far and away, my hatred stems from the sub-standard lyrics strewn across Hurley from front to back. I've never expected Rivers to be Dylan or anything, and yes I know Weezer is supposed to be "fun" as I seem to recall you saying quite frequently, but I have my standards.

1.) "Memories"- I am completely, 100% torn on this song. Both the verse lyrics and the music remind me of "Everybody Get Dangerous," and you know my feelings on that subject all too well. I feel like the idea didn't go farther than "Let's write a 'sentimental' anthem about the good ol' days filled with half-baked nineties references and commentary on grown-up life!" Then, the chorus hits and I melt. I know it's simple, it's lazy, but I am completely a sucker for over-the-top anthematic 2 line choruses. So overall, for very weak reasons, I'll say this track is decent.

2.) "Ruling Me"- I don't know if it's me being 23 and somewhat jaded, or Rivers being 42(!) and married but I don't buy songs about romantic insecurities from Weezer anymore. Also, lyrically, the bridge is just bleh. Awful. I'll say that I pretty much agree 100% with what you say about this song musically. It's just not enough to keep me from gagging from the lyrics.

3.) "Trainwrecks"- "We don't update our blogs; we are Trainwrecks." Remind me if I ever meet Rivers to tell him that his insight into youth culture is timeless. But yes, if there weren't lines like this ("Crash a Diddy party in disguise") I could see myself getting behind this and "rocking out" if you will. And please, for the love of God, don't tell me it's "fun."

4.) "Unspoken"-You were pretty much spot-on for this one. 

5.) "Where's My Sex?"- We've beaten this one to death, I will concede to most of what you say about it musically, if you admit that lyrically it's not so much "goofy" as it is "bad." Also I'll add that I find the bridge just jarring jarring rather than enjoyably jarring. 

6.) "Run Away"- I know that Rivers' thing recently has been to collaborate with anyone he possibly can, but I think this is just an instance where it just flat didn't turn out. While I'm not the most avid Ryan Adams fan, (I'll cede to Nate's judgement here) It seems like this is just a case of two song writers that I enjoy quite a bit individually not meshing. I think this is pretty much the explanation for everything you felt, which I agree with wholeheartedly.

7.) "Hang On"- Like I said before, the lyrical subject of this song is getting a bit tiring at this point, but in this case the song overall makes up for it enough that I don't care. On my first play through today, this was the first song that I consciously thought "I like this." So I'll sincerely say it: This is a good Weezer song. On Hurley. Thank the lord.

8.) "Smart Girls"- The one thing I agree with you on is this song strongly reminds me of Raditude. I don't, however, hear any shred of Pinkerton calling to me in it. Like most of Raditude, it's fun to listen to, but completely forgettable right after.

9.) "Brave New World"- Maybe I just tapped my investment in this album completely after "Hang On," but this is where Hurley  just becomes a chore for me to listen to. Yeah, I don't know what else to say. This song just isn't good. Really uninspired through and through.
10.) "Time Flies"- This song intrigues me. In listening to this album, while I like "Hang On" better, this is the song where I caught myself singing along and nodding my head a little bit. Then of course Rivers ruined it for me. ("This stupid damn song will be in your head") I do enjoy the song, but I think the sound of it really interests me more than anything. I know Rivers recently has always been looking to find the next pop "thing" (sort of goes hand-in-hand with his collaboration bug I mentioned earlier). This song makes me think that either incidentally, or after listening to Mumford & Sons first album, Rivers wrote this as his contribution to what he saw as the coming "wave" of pop music. Listening to this a few years later, when Mumford and Sons is still super successful and I can't listen to a pop radio station for more than 10 minutes without hearing the Lumineers, it just really makes me wonder what Rivers following up on this would sound like. And if it would've netted them their first true radio hit since....."Beverly Hills"? 

Overall, I can't say I like Hurley much better now than I ever did. I will say it was worth another listen though. I would still place it squarely just above Make Believe at the bottom of my list. Unless we're counting Death to False Metal (as Rivers does. I'm telling you, man, just laziness). I feel like at the very least, I need to re-listen to Raditude and Make Believe though, as I get a sense that the bottom of my order may shuffle a little bit. I'll have to wait and see. Right now I don't really feel like listening to more Weezer. Which probably says more about Hurley than anything else.

100 Performances (3): 1940s

Moving on from the silent 20s and the lavish 30s, we now arrive at the gritty 40s. After a decade of film production centered on the extravagant, the verbose, the 1940s settled in with subtlety and nuance. Comedies became bleaker and more sardonic. Dramas often abandoned romance, opting instead for tragedy and turmoil. Film noir crept into the cultural consciousness like a fuzzy gray shadow, suffocating traditional Hollywood with overt violence and sensuality. From out of this new cinematic cityscape, complete with a haunting skyline and dirty alleys, came a slew of fantastic performances. These are the ten that I consider to be the very best. I hope you enjoy.

10.) Lon Chaney, Jr. as "Larry Talbot / The Wolf Man" in The Wolf Man (1941): Bringing seriousness and sympathy to a werewolf movie is no easy feat. Surely this was even more difficult in 1941, with classics like The Maltese Falcon and Citizen Kane popping up like spring dandelions. Yet, with the incredibly talented Lon Chaney, Jr. (son of the Phantom himself, Lon Chaney, Sr.) leading the way, this film stands up well against its cinematic peers. As both the daunted protagonist and the vicious antagonist, Chaney is splendid. No other horror movie of the decade can boast a performance so polished. 

9.) Lamberto Maggiorani as "Antonio Ricci" in Bicycle Thieves (1948): How could Lamberto Maggiorani, a non-professional actor (a factory worker, actually), without a single film credit to his name and without a minute of formal training, pull off such an amazing performance in the Italian classic Bicycle Thieves? His minimalist portrayal walks hand-in-hand with the writing and direction, keeping the film's artistic aspirations pointed and focused. This is a great movie, and Maggiorani is the one who keeps it constantly moving forward. 

8.) Celeste Holm as "Anne Dettrey" in Gentleman's Agreement (1947): This is a dense film, one that is thick with contemplation about the nature of humanity and the societies we create. In the midst of all this opaque drama, in which every character seems in constant distress, Celeste Holm provides a bright ray of stability. Her portrayal is beautifully multilayered, with a frothy layer of retro gumption on top and a placid pool of interpersonal understanding on bottom. This is an Oscar-winning performance (for Best Supporting Actress) that is incredibly impressive.    

7.) Jimmy Stewart as "Macaulay Connor" in The Philadelphia Story (1940): Watching this character is like watching a "Jimmy Stewart's Greatest Hits" compilation, in which he effectively explores many of the traits and personalities he would come to embody in his long career. Hopeless romantic? Check. Cynical opportunist? Check. Sarcastic optimist? Check. Embittered drunk? Check. Yes, this character changes a lot from beginning to end, and what's most impressive of all is that Stewart is 100% realistic with every change. Although he was nominated for an Academy Award a total of five times, this is the role that gave him his only win.  

6.) Barbara Stanwyck as "Jean Harrington" in The Lady Eve (1941): In a supremely goofy movie (which, dare I say, is silly almost to an unfunny fault) stacked tall with absurd performances and odd plot twists, somehow the great Barbara Stanwyck manages to captivate. She's funny, she's smart, she's bold, but most of all, she's entertaining. In general, I tend to dislike Henry Fonda (he always seems stiff, awkward), and in this movie he plays Stanwyck's love interest. The resulting contrast makes her seem more intriguing, more fascinating than perhaps she actually is. Regardless, it's a terrific performance in a not-so-terrific film. 

5.) Hume Cronyn as "Capt. Munsey" in Brute Force (1947): He may be soft spoken, he may be small in stature, but in the exhilarating film noir Brute Force, actor Hume Cronyn portrays an electric villain. Set in a maximum-security prison, Cronyn is the malicious "Capt. Munsey" - the head guard and chief of security. He is positively vile, with a realistic resonance at his core. Amongst a cast of actors who seem bent on chewing scenery, this villain is underplayed with authenticity and subtlety. He is marvelous. 

4.) Walter Huston as "Howard" in The Treasure of the Sierra Madre (1948): Unlike all the other performances on this list, Walter Huston's "Howard" is a perfect juxtaposition. He's a spark, a sprite, a nimble-tongued hummingbird, one who speaks rapidly, one who is carefree and jovial. But he's also dramatic, commanding, and wise - his face as deeply lined as a craggy goldmine, his words as faded and worn as an old paperback novel. This role won Huston the Oscar for Best Supporting Actor, and it shows. This is an interesting and versatile performance, one that keeps you in his corner all the way to the end. 

3.) Charlie Chaplin as "Jewish Barber/Adenoid Hynkel" in The Great Dictator (1940): Apart from 1931's City Lights, I think The Great Dictator is Chaplin's best film. It's a stirring comedy, one that is both deeply funny and incredibly brave. Here we see Chaplin in his most demanding role, portraying the movie's two leads - a humble Jewish barber and the absurd dictator of Tomainia. The latter is an astounding parody of Adolf Hitler, one that is keen and (somehow) funny. Yet in the end, when a case of mistaken identity befalls the plot, all humor is temporarily shelved in order for Chaplin to deliver a rousing monologue about the horrors of war. This is a riveting dramatic turn, and renders this performance one of Chaplin's absolute best. 

2.) Katharine Hepburn as "Tracy Lord" in The Philadelphia Story (1940): With a quickness and tenacity unrivaled by her contemporaries, Katharine Hepburn often portrayed characters with a sarcastic (and surprisingly flirtatious) charm. In the romantic classic The Philadelphia Story, she takes this basic mold and fills it in with humor, heart, and tenderness. While this movie is overflowing with terrific performances (notably Cary Grant, Ruth Hussey, and the previously-mentioned Jimmy Stewart), Hepburn is the one who steals the show. She's hilarious, she's heartbreaking, and she's unfailingly captivating.

1.) Orson Welles as "Charles Foster Kane" in Citizen Kane (1941): Reputed by many to be the greatest film ever made (I disagree, but it's certainly an excellent movie), Citizen Kane is a story of one man's insatiable appetite for power. This man is Charles Foster Kane, and the actor who brings him to life is none other than Orson Welles. There's a tangible magnetism, a fluttery electricity, to this performance. It somehow stands apart, is singular in the grand scheme of American cinema. From beginning to end, Welles wholly embodies Kane. This could partly be attributed to the writing and directing, of which Welles also did. Yet the synchronicity between reality and fiction, between the man and the character, is too harmonious for just that. Surely much more went into this performance. His voice and physicality are both natural, his manner totally realistic. Thanks to some lovely make-up effects and lighting choices, Welles plays the title character both as a twinkle-eyed twentysomething and a chilled, embittered old man. The resulting performance is that of a towering genius.         

Top 20 "Best Picture" Winners

Yeah, the Academy Awards are a double-edged sword. Usually the nominations are spot-on (usually, I say), and the winners are hit-or-miss. Sometimes the omissions are so glaring, the ceremony becomes hard to watch. Yet regardless of its faults, this annual celebration of cinema is pure pop culture, and I'd feel remiss in my duties if I didn't comment upon it. Of the 85 films that have won "Best Picture," I've seen 44 so far. Although this is only half, I nonetheless feel compelled to quickly jot down what I consider to be the "best" of what I've seen.

Presented hastily and in chronological order, here is the list of my personal top 20 "Best Picture" winners. As I continue to see more, I'll be sure to update! 

- 1927: Sunrise: A Song of Two Humans* 
- 1930: All Quiet on the Western Front
- 1939: Gone With the Wind
- 1943: Casablanca
- 1953: From Here to Eternity
- 1954: On the Waterfront
- 1960: The Apartment
- 1970: Patton  
- 1972: The Godfather
- 1974: The Godfather Part II
- 1975: One Flew Over the Cuckoo's Nest 
- 1978: The Deer Hunter
- 1982: Gandhi
- 1991: The Silence of the Lambs
- 1992: Unforgiven
- 1993: Schindler's List
- 1999: American Beauty
- 2006: The Departed
- 2007: No Country for Old Men
- 2012: Argo

*(For the first Academy Awards, the "Best Picture" category did not yet exist. Although this film did win the Academy Award for "Unique and Artistic Production," equal kudos went to the film Wings which won "Outstanding Picture." While the Academy now considers the latter to be the very first winner of "Best Picture," I can't help but disregard the prestige bestowed upon Sunrise.)

Top 10 Favorite Guitarists

I'm not a guitarist (well, not much of one, anyway), and I need to make that clear right from the get-go. I am, however, a musician, and a great lover of music. So: read this list with a grain of salt.

10.) Robert Randolph: Robert Randolph is one of the most lyrical, groovy, and enticing guitarists making music today. His steel guitar is pure electricity - lively and fluid. He doesn't quite sound like anyone (or anything) else. If you appreciate funk, then I urge you to give this music a try. [Notable songs: Nobody, Soul Refreshing, I Need More Love all by Robert Randolph & The Family Band]  

9.) Ace Frehley: Too many people are blinded by the gimmicky kitsch of KISS, and they fail to hear the striking lead guitarist hiding in plain sight. As a musician, Ace is unpolished, unrefined, and absolutely remarkable. His solos are sooty gemstones, and buried somewhere beneath all the electric squeals and bends, an unconventional musicianship glimmers. That Gibson Les Paul simmers with a burning rawness that is distinctly Space Ace. [Notable songs: Black Diamond (Alive!), Love Gun (Alive II), Hard Luck Woman all by KISS]         

8.) John Frusciante: Disregarding the fact that the Red Hot Chili Peppers are one of my all-time favorite bands, there's something powerful about John Frusciante's guitar playing. He's a curious meld of funk, rock, and folk - a combination that seems laughable if he couldn't pull it off. But he does pull it off. Consistently, too. Each song he records, whether with the Chili Peppers or otherwise, is a testament to his quirky musicianship. [Notable songs: Wet Sand, Hey both by Red Hot Chili Peppers, Anne] 

7.) Jose Feliciano: Jose's got soul. Lots of it. His songs are impassioned odysseys, each nimble flamenco scale drenched in pure, unadulterated spirit. The technical skill he displays is impressive enough on its own. The fact that he does it all without the use of his eyes is downright astonishing. He is best known by many as merely "That guy who wrote 'Feliz Navidad,'" but in truth he is much more than that. Feliciano is an artist of the highest order, a man who has mastered his instrument and has recorded terrific music for decades. [Notable songs: Affirmation, Light My Fire, California Dreamin']   

6.) John Mayer: It takes guts to play the blues. It takes even more to play them well. With guitar in hand, John Mayer has proven time and again that he has guts to spare. Yes, he's best known for pop music. But even soporific chart-toppers like "Say" and "Your Body is a Wonderland" can't erase his heart blazing live albums Where the Light Is and Try! These are the records I'm enamored with. Mayer is a cocktail of influences, notably Buddy Guy, Eric Clapton, and Stevie Ray Vaughan. Depending on tune and circumstance, you hear each of these guitar legends make impressions on his music. This juxtaposition of old and new is what I really admire about Mayer as a guitarist - he honors the past while exploring the future. He is positively postmodern. [Notable songs: Out of My Mind, Vultures, I Don't Need No Doctor all from Where the Light Is: John Mayer Live in Los Angeles]       

5.) Neil Schon: The rock & roll culture of the 1980s was defined by its flagrant egoism. Hair was bigger, amps were louder, and the music was (typically) stupider. Most guitar players followed suit. Taste was traded in for speed, delicacy for dexterity. Thankfully, Neil Schon was one of the few dissenters against this idiotic paradigm. Disregarding Schon's flair for musical melodrama (many solos still contain avalanches of scales and runs), he is nonetheless a tactful guitarist. His style is appropriate, given the trappings of the genre, and rings true within the context of his music. Journey was the first band that opened my eyes to pop rock, and Schon was the first guitarist to capture my heart. I'll always love that sound. [Notable songs: Any Way You Want It, Stone In Love, Winds of March all by Journey]    

4.) Jimmy Page: From composition to sound mixing to production techniques, Jimmy Page is a true musical mastermind. But we don't love him for all the technical innovations he pioneered. It's all about the music. With every song (heck, with every riff) Page sets the standard for rock guitarists for decades to come. His solos carry a certain weighted swiftness, as if his fingers were made of liquid metal. This births a totally unique listening experience - riffs and solos strike the middle ground between the dizzying finger-tapping melees of 80's guitar gods (like Eddie Van Halen), and the opaque acidic fuzz of 60's rockers (like Jimi Hendrix). The end result is nothing short of astounding. [Notable songs: Whole Lotta Love, Babe I'm Gonna Leave You, Stairway to Heaven all by Led Zeppelin]   

3.) Jerry Douglas: Although the Dobro is a style of resonator guitar, designed for everlasting tones and fluid sounds, it has never resonated more than at the impassioned fingertips of Jerry Douglas. There's a honey sweetness to every plucked string, a golden hum that shimmers like airy electricity before a thunderstorm. The best music in the world doesn't just entertain but enraptures, and Douglas does this and more. Resonator guitars lend themselves to the effervescent, to the haunting. With Jerry Douglas, Bluegrass has never been more beautiful. [Notable songs: A Tribute to Peador O'Donnel/Monkey Let the Hogs Out (live), The Boy Who Wouldn't Hoe Corn (live) both with Alison Krauss and Union Station]

2.) Tom Morello: Tom Morello is more of a mad scientist than a guitar player. Some of his solos giggle with jeering laughter, some buzz in wonky tonalities like a malfunctioning android, and a few even howl like banshees in bitter wind. Yet whether he's hammering out hard-edged metal/funk in Rage Against the Machine, riffing out contemporary pop-rock in Audioslave, or finding fragile lyricism as The Nightwatchman, Tom Morello is indeed a versatile musician. [Notable songs: Doesn't Remind Me by Audioslave, Wake Up by Rage Against the Machine, The Ghost of Tom Joad (live) by/with Bruce Springsteen] 

1.) Tommy Emmanuel: In terms of pure musicianship, there is no other guitar player on the planet that rivals Tommy Emmanuel. Upon first hearing him (or, even better, seeing him), it's easy to be swept away with his overwhelming technical skill. But stay invested - try to hear past the flamenco flourishes and classical cascades, and you'll become enamored with his passion, his soul, and his undying affection for music. Each song is a study in composition: melodies and counter-melodies race alongside each other like salmon in crystal waters, with verbose rhythms that glitter like wet rocks on the shore. And here's the kicker: he does it all at once! With Emmanuel, there is no "track recording" or layering that happens in a studio - through some kind of magic, he manages to produce all these varying sounds simultaneously, which is as esoteric as it is stunning. [Notable songs: Endless Road, The Hunt, Initiation] 

**...and a quick shout-out to my real-life guitar heroes: A-Train, Nate R., Sam, Billy, Kenny R., Zucks, and (of course) the Perry brothers. ** 

Top 5 Films of 2012

In my opinion, these are the 5 best films that 2012 had to offer. Keep in mind - I haven't seen every movie that came out this year, so consider this a layman's perspective.

(*Honorable Mentions - The Avengers, The Cabin in the Woods, Dredd, Frankenweenie, The Hunger Games, The Life of Pi, Looper, The Raid: Redemption, Silver Linings Playbook, 21 Jump Street) 
  

5.) Skyfall: Whether you love James Bond or hate him, whether you've seen all 23 movies or none at all, Skyfall is without question one of 2012's very best films. The plot is twisty, the performances are fascinating (particularly Javier Bardem's turn as the villain, and Berenice Marlohe as the obligatory Bond Girl), the dialogue sparkles, and the special effects are fantastic. Perhaps most captivating, though, is the film's cinematography. In the midst of heavy action, of which there is a lot, the film often pulls back, showcasing the sepia-toned streets of Istanbul, the drizzly skyline of London, or the vibrant glow of Shanghai. These beautifully framed shots render the film grand yet somehow intimate, like great action movies, Bond or not, always do. This is a terrific exercise in technical film making - a polished blockbuster made with just enough grit and finesse to make it spectacular.

4.) Lincoln: This is a surprising film. Of course I was expecting it to be good - it's great, in fact - but I hadn't a clue as to what the plot would be. There's so much potential when making a movie about Abraham Lincoln, especially with Spielberg at the helm and so many terrific actors and technicians keeping it afloat, the possibilities were practically endless. Secession? The Civil War? The assassination? While this incredible movie tackles all these topics (with a naturalism and grace that only veteran filmmakers seem capable of), the plot focuses almost exclusively on the creation and ratification of the 13th Amendment, which would outlaw slavery in the US. Consequently, the movie plays out like a taut political thriller.

And yet, it's a quiet movie. There are countless scenes of soft sunlight falling into dank offices, and the score by John Williams is characterized by a lilting piano etude, which drips atop the overcast setting like quiet rain. Sure there are great performances (Sally Field and Tommy Lee Jones steal the show), but none are overacted, none are verbose. This is a powerful film related with understated gravity. It's elegant and subtle. Like Lincoln, himself.  

3.) Django Unchained: Out of the bold mind of Quentin Tarantino, writer/director of such gems as Pulp Fiction and Inglourious Basterds, comes this delicious western about love, loss, and redemption in the pre-Civil War plantations of the American South. While the plot focuses on the horrors of slavery, of which Tarantino slathers onto the screen with a cinematic paintbrush soaked in blood, the tone is lively, with dialogue and action that is often laugh-out-loud funny. This discomfited pairing is the best part of the movie. From scene to scene, you don't know if you'll be chuckling or covering your eyes, which makes for a fascinating and unique viewing experience. The characters are riveting, particularly our 3 leads: determined Django (played with authoritative weight by Jamie Foxx), "noble" Dr. Schultz (as performed deftly by Chistoph Waltz), and despicable Calvin Candie (played viciously by Leonardo DiCaprio). Watching these 3 characters interact is my favorite part of the movie - each are portrayed with such dimension and depth that it's hard not to be astounded. However, there's much to be astounded by in Django Unchained. It's a delirious, wicked, and oddly playful film.   

  

2.) The Dark Knight Rises: To put it plainly and simply - this is a fantastic film. Not only is it "more than a superhero movie," it's more than "more than." It's a symphony of varying contexts, themes, and styles all blended harmoniously into one. This is the epitome of contemporary cinema - a film of excitement, tragedy, and wonder.   

In terms of plot, it simultaneously reflects and interrogates the culture that created it. We watch as Bruce Wayne/Batman (for there is no separation now - both characters are molded into one) squares off against a masked terrorist called "Bane" - a hulking behemoth whose lofty proletarian manifesto forces us to examine current social unrest. Whether Bane's actions suggest the flimsiness of interdependence or the hypocrisy of the upper class is entirely up to the viewer. Nonetheless, the story is a powerful brew, both spellbinding and introspective.    

Technically, it balances the contrasting counterweights of innovation and understatement. Director Christopher Nolan enjoys the reality of practical special effects. As a result, most of the movie's visuals were tediously engineered and executed without relying on computers to shoulder the load, and the results are breathtaking. Instead of digitally creating a giant crowd of warring cops and thugs, he employed thousands of extras to actually do battle in the streets - harkening back to the early decades of film, when epic productions like Intolerance and Gone With the Wind would have casts of hundreds. Big action scenes and set pieces feel real because they really are, which is a true feat.

Thematically, it's a post-modern treat. There is a classical arc, in which we see Bruce/Batman struggling to find his purpose (the underground prison is a terrific extension of his childhood trappings, both in physical design and symbolic inclination), but there is so much more. The movie is literally packed with themes, perhaps to the detriment of its storytelling. In fact, I've read several reviews that complain about the cluttered nature of the narrative, that the numerous themes detract from the potency of the film. I disagree. The movie's outward plot revolves around the horrors of chaos (pursued by Bane and other villains) and how its frenetic nature is torturous to the mind and spirit. How fascinating that all the competing themes mirror this idea! Trying to read through the competing morals and ideologies inherently forces you to make sense out of chaos, to establish order out of intellectual anarchy. In my opinion, this is the film's 2nd best attribute - this intertwining of form and function. 

...the 1st?

Well, it's just a great movie.

Fun action, terrific performances (notably from Christian Bale, Tom Hardy, and Michael Caine), a cool musical score, and intriguing story lines. It's the perfect conclusion to Nolan's Batman trilogy, and almost the best movie of 2012.

1.) Argo: If you're addicted to tense thrillers, ones wrought with nail-biting suspense and palpitation-inducing close calls, then Ben Affleck's historical docudrama Argo will be an overly-satisfying fix.  A movie about the Iran Hostage Crisis is bound to be exciting, but thanks to Affleck's artful directing, it feels positively urgent. The editing is seamless, and the gritty cinematography gives the film a true non-fictional quality, making it feel more like live news-feed than a big-budget blockbuster. Thanks to the realistic conflict and characters, this is a deeply unsettling movie. Thanks to the brazen creativity of one CIA agent, it's also a cathartic one.

Because catharsis is really what it's all about. After the smoke had cleared, after the film came to a halt and the credits began to roll, I was bolted to my seat. Throughout the course of the movie I had actually forgotten that this was all history - all the events predetermined, all the actors simply stand-ins for actual human beings. This is why Argo is the best film of the year. The power of the storytelling, the gravity of the situation, the focused conviction of everyone involved: all these things coalesce into a beautiful, compelling, stunning motion picture. Movies like this aren't made very often anymore. Cherish them.