Lacking any particular sizzle, somehow Lawrence is interesting enough to build a four hour movie around.
American Film Institutes Ranking: #5/100 Awards: Nominated for ten winning Best Picture, Director, Score & Others. My Rating:
This movie is about one thing: T. E. Lawrence. If we take the movie’s portrayal as truth, this would have suited the egotist just fine.
The annals of history are filled with intriguing but unknown characters. This film brings to light one of the more interesting people of history that I had no idea even existed. Regardless of whether the portrayal is particularly accurate, the movie risks its entire livelihood on Lawrence being captivating forgoing any action scenes, romantic angles (I don’t know if I can recall a single woman in the entire film), or other characters.
Witty dialogue, a unique set up, and tension stick with you the entire way.
American Film Institutes Ranking: #42/100 Awards: Four Nominations for Director, Adapted Screenplay, Color, and Sound Mixing My Rating:
Some movies struggle to do one thing well, failing to even be a good example of the genre that they are intending to represent.
Rear Window does so many things well. The four main characters are immensely interesting with their banter and witty dialogue moving the film along. The set up is a man stuck at home due to a broken leg with no entertainment other than the lives of his neighbors — voyeurism at its best. Add the murder mystery and you get to see an exquisite example of the great Alfred Hitchcock at work.
While still a product of its time, Drieser’s novel is fantastically relevant today. At its core, it’s a commentary on class and the American Dream. The story follows a young Clyde Griffiths from a lowly, street-preaching family through several iterations of social status changes. What follows is an unsettling but cathartic reading; Clyde bears the sin of our own failures allowing us to live free of the American expectation.
As the hour count continued to rise, I continued to play to not lose out on time already invested.
Sydlexia’s Ranking: #40/100 Developer: Taito My Rating:
“Individuals commit the sunk cost fallacy when they continue a behavior or endeavor as a result of previously invested resources (time, money or effort)” (Arkes & Blumer, 1985).
You know, I like to think of myself as rational. Who doesn’t like to imagine themselves as an autonomous agent living out their free will initiatives? Unfortunately, Lufia and the Fortress of Doom dissolved any notion of me being in control of my faculties. This game is a hot piece of garbage, a big to-do list from hell, and it could only be my irrational, emotional processes that made me continue.
Bogart’s first big role. A new genre of film. Huston’s directorial debut. The Pairing of Peter Lorre and Sydney Greenstreet.
American Film Institute Ranking: #23/100 Academy Awards: Three nominations and no wins in Best Picture, Supporting Actor and Adapted Screenplay categories. My Rating:
I’m going to be rather worthless on reviewing this film on the merits of being a good movie. I read “The Maltese Falcon” and enjoyed it so much that I decided to watch the movie — immediately after I had finished reading the book. It was a shorter novel, too, meaning it was all very fresh in my mind after just a few days of reading.
The movie was immensely faithful to book and the casting absolutely perfect. I cannot recall how I imagined the characters pre-movie: Humphrey Bogart, Peter Lorre, and Sydney Greenstreet will be how I remember them going forward.
Why didn’t the movie end shortly after the chariot race!!!
American Film Institutes Ranking: #72/100 Awards: Nominated for 12 winning 11: Picture, Director, Actor, Supporting Actor, and on and on and on… My Rating:
As television started to take away potential movie goers, Hollywood decided that they had to do stuff that television couldn’t: epics. The 1950s and early 60s produced a slew of these films (Spartacus, Lawrence of Arabia, El Cid, The Ten Commandments) and the style was defined by length, scale, scope, and production.
Ben-Hur encapsulates all of this. The sets, scenes, and clothing all beautifully intricate and worthy of the epic genre. Unfortunately, the movie runs way too long. The apex of this film is the chariot race, a scene that even upon recalling gives me goose bumps, but then there is still another hour and half left afterward. As I watched the clock tick away, my rating began to slip — all the way from a perfect five to a solid three.
Not only is the movie stale, it cycles through several formats never deciding what kind of movie it wants to be.
American Film Institutes Ranking: #92 Academy Awards: Nominated for nine winning six, including Best Director and Screenplay My Rating:
I read about 300 pages of American Tragedy; it’s a behemoth of a book, clocking in at over 900 pages, and when I went to renew it someone had put a hold on it. I just rechecked it out, so I was shocked when I realized that a movie of a completely different name picks up at part 2 of the novel.
Even though I did not finish the book, this movie does it absolutely no justice — it wrings out all the juice leaving us an attempt at a love story. This film is simply dated, and while it might be a top 100 for cultural reasons, it exhibits little power today.