Top 100 - 2009 Edition

As promised, here is my annual top 100 list, 2009 edition. There is a new number 1 as well as a few new additions that weren't on the 2008 edition. Comments, challenges and questions are welcome as always -

My list has different criteria than the AFI - I appreciate humor, originality, vision and a good old fashioned story. Acting, directing and cinematography also impact my decisions. In addition to the criteria listed above, this list also has some personal favorites that take me back to the awe and feeling of the cinematic magic that I felt when I first saw the film.

Without further ado - here it is from #1 - 100.

1. Dr. Strangelove
2. The Godfather
3. The Graduate
4. The Shawshank Redemption
5. Se7en
6. The Departed
7. Apocalypse Now
8. Patton
9. Aliens
10. A Clockwork Orange
11. It's a Wonderful Life
12. No Country for Old Men
13. American History X
14. One Flew Over the Cuckoo’s Nest
15. Citizen Kane
16. Casablanca
17. Saving Private Ryan
18. Brokeback Mountain
19. Braveheart
20. Taxi Driver
21. Forrest Gump
22. Schindler's List
23. Fargo
24. The Shining
25. Seven Samurai
26. The Exorcist
27. Pulp Fiction
28. Rear Window
29. The Sixth Sense
30. Scarface
31. Caddyshack
32. Raiders of the Lost Ark
33. Gladiator
34. Return of the Jedi
35. Annie Hall
36. The Apartment
37. Fast Times at Ridgemont High
38. Heat
39. Duck Soup
40. The Silence of the Lambs
41. Godfather 2
42. Cool Hand Luke
43. Rebel Without a Cause
44. Fight Club
45. LA Confidential
46. Dazed and Confused
47. Enter the Dragon
48. Raging Bull
49. American Beauty
50. Modern Times
51. Unforgiven
52. The Dark Knight
53. This is Spinal Tap
54. North by Northwest
55. 2001
56. M.A.S.H
57. Sin City
58. Tombstone
59. The Thing
60. Full Metal Jacket
61. Deer Hunter
62. Alien
63. Jaws
64. Rocky
65. Good Will Hunting
66. Mystic River
67. Glory
68. Bonnie and Clyde
69. The Fellowship Of The Ring
70. A History of Violence
71. Empire Strikes Back
72. To Kill A Mockingbird
73. Butch Cassidy and the Sundance Kid
74. Star Wars
75. The Big Lebowski
76. On the Waterfront
77. It Happened One Night
78. Vertigo
79. The French Connection
80. A Streetcar Named Desire
81. All Quiet on the Western Front
82. Boogie Nights
83. Training Day
84. American Graffiti
85. Dog Day Afternoon
86. High Noon
87. Psycho
88. Animal House
89. The Wall
90. Titanic
91. The Manchurian Candidate
92. E.T.
93. Primal Fear
94. Into the Wild
95. Return of the King
96. Platoon
97. Chinatown
98. Road to Perdition
99. A Christmas Story
100. The Matrix

Inglourious Basterds

The much anticipated new Tarantino film depicts a group of 8 Jewish soldiers going undercover in Nazi occupied France to disrupt the Third Reich and wreak as much havoc as possible. The Tarantino-esque intersecting storylines eliminates the monotony or potential stale plot development, and the segmented "chapter" format is once again used, proving to be his bread and butter.

It is uncharted territory for Tarantino, as the majority of the film is subtitled with the dialogue in either German or French. The feel however, is familiar. Long, drawn out scenes with clever if not innocuous dialogue that produces many uncomfortable laughs due to the building tension of the story and the almost absurd interactions. It is this that makes it a Tarantino film. People wouldn't discuss such things for minutes at a time, but there is a compelling aspect to it that can't be denied.

At an impressive 2 hours and 30 minutes, it is quite the tale. Tarantino adds to his mystique and reputation as writer and director, but there is much less innovative cinematic delivery as there is a fantasy parallel universe revenge story. It is a lingering theme, I mean, who hasn't fantasized about killing Nazis indiscriminately and without mercy? He has the clout to do just about anything he wants, and as writer and director, it is admirable that he has tackled such diverse subject matter, as well as actors.

The cast is mostly German, but has Brad Pitt, Mike Myers and Diane Kruger as the star power. I must admit, I am a huge Pitt fan, but he started this film out weakly. His character grew on me however, and by the end, I was on board and could see and appreciate what he had created. He was a hardcore Tennessee Lieutenant with battle scars and a country bumpkin drawl that overshadowed his true grit. Mike Myers had a small cameo and played a British General with a bit of sardonic flair. Kruger was in her element as a German movie star, but blended with the rest of the foreign cast mostly unremarkably.

The Americans were mostly unimpressive save a few well-timed lines, and some great background noise to the more compelling story. The credit goes to Tarantino however as any Jewish-looking black-haired actor would have shined in the American roles, and he chose a bunch of regular Joes, including his friend, director Eli Roth, who shouldn't quit his day job.

The real stars of the film in my eyes were two of the German stars; the evil Colonel Landa who gained the moniker "Jew Hunter" but had a personable element to his demeanor that was disarming and endearing. He is truly deserving of all of the acclaim he is receiving, and I wouldn't be surprised to see him end up with a Supporting Actor nomination at year's end. He somehow makes an SS officer into a likable yet feared man. Not physically imposing in any way, he psychologically assumes the aura of authority and conveys the passion for his job which is the attempted genocide of a race of people, yet can be somehow accepted by audiences. That is one of the most difficult roles possible, but he pulled it off brilliantly. The other standout in my humble opinion is Til Schweiger, who is recognizable in films such as Driven, Tomb Raider II, King Arthur, and a plethora of German films. He plays the Nazi traitor who joins the Basterds. It is a subtle role, but extremely effective. Not much dialogue, but the glares and body language is daunting in its efficacy.

In typical fashion, the film is broken into chapters that set up the big finale, and in this case, it does not disappoint. The tension builds throughout the whole movie, and how could it not? It is about the atrocities of WWII and focuses on the battle against the Nazis from inside occupied territory. Full of espionage, double crossing and secret identities, it is a great escape into a fantasy world, but instead of happy endings, it is a more realistic fantasy that still delivers a satisfying feeling at the end.

It is a classic story of good and evil, and in this case the evil is the ultimate 20th century villain which makes it almost too easy. Tarantino makes it very personal however, as he always does, and presents the uncomfortable subject in a unique and awe-inspiring way. The build up to the climax is a little slow, but as it nears, there is a real sense of tension and anticipation. He delivers it in a way that is not contrived or formulaic, but rather goes off on its own path and satisfies in the way that only a Tarantino movie can.

I can't say enough about how the credit belongs to the writer and director for composing what can only be called a successful symphony of cinema. Tarantino is a revolutionary who has carved a niche in the film industry and will never see an equal. He is different and unorthodox, but he is proud of that. He takes personal past obscure film experiences that have left an impression on him and modernizes them with a twist without disgracing or diminishing their impact. It is truly original and regardless of the content of the film, he has to be respected for his sheer confidence and visionary creations.

This is the resurgence of Quentin Tarantino after relative disappointments Kill Bill Vol. 1 and 2 and Death Proof of the wildly entertaining Grindhouse which in this critic's opinion was heavily weighted in Robert Rodriguez's favor. This is easily his best film since Pulp Fiction, and it puts him back on the map as the most innovative and anti-establishmentarian director in the game. I have always respected and looked forward to his work, but after this, I have a renewed sense of faith in his films and future potential. 8/10.

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Part Four - Jack Nicholson

Part IV - Jack Nicholson

The consummate actor's actor, Jack Nicholson has created memorable characters, sometimes out of nothing at all. He has played cops, colonels, criminals, jokers and an obsessive compulsive, anti-social curmudgeon who brings out the soft spot in anyone who sees him. Often imitated (Christian Slater) but never duplicated, he is the original cinematic bad boy. Devious grin from ear to ear, and the Devil's eyes he has a truly unique look. His smile is infectious and capable of disarming even the most guarded viewer. Okay, maybe I'm exaggerating a little, but everyone is captivated by Jack.

A career spanning 53 years and counting, he has aged gracefully, winning an Oscar in the 1970's, 1980's and 1990's. He should have won one in the 2000's, but that is another story for further down this article. Among the films not mentioned here are Easy Rider, Five Easy Pieces, The Last Detail, Terms of Endearment, Witches of Eastwick, Batman, A Few Good Men, and About Schmidt. To have 5 stellar performances on top of those is an achievement in itself. Let's take a closer look at the man who makes stargazing at Lakers games a sport in itself.

Chinatown (1974)

Having already established himself as a viable actors in such films as Easy Rider, Five Easy Pieces, the Last Detail and a slew of other television appearances and smaller films dating back to 1956, Jack took the lead role as Detective Jake Gittes in controversial director Roman Polanski's sleazy political drama.

Gittes is enlisted to investigate a simple case of suspected adultery, and what follows is a rabbit-hole of a conspiracy that ends with a shocking and unexpected climax. Darkly mysterious, Nicholson lends a swagger to a hip 30's era film that inspired the more recent LA Confidential, which is a great film in its own right.

Already having secured 3 Oscar nominations, he had a voice and an attitude that was completely original and compelling and would later break through genres and leave a lasting impression on the film industry forever. Not necessarily the handsome leading man that audiences were used to, he seduced us with his charm first and foremost, and his hair-trigger temper second. So emotional and explosive, he can take any part and animate it better than any other actor, with Al Pacino a close second.

One Flew Over the Cuckoo's Nest (1975)

My favorite performance of Nicholson's vast array of roles. Randle McMurphy is a clever social deviant who avoids hard time by pretending he is insane at his trial, and he is thrown in the loony bin. It is fitting, as the mid-1970's was a very pivotal time for psychotherapy and developments in both medication administration and behavioral modification.

As he stirs up his fellow inmates, we realize that they are not crazy at all, they are just mistreated and misunderstood. He is the only one who realizes this, and there is a strong bond between the eccentric characters that forms as he finds that a mental hospital is not quite the vacation that he thought it would be. The evil Nurse Ratched runs the ward with an iron fist and a silver tongue. One of the more subtly sinister characters in film, she complements Nicholson's happy-go-lucky McMurphy and their struggle between order and chaos is a great subplot filled with tension.

What makes Nicholson so great in this film is that he is thrust into an environment that is so contrary to everything his character believes and knows. He adapts beautifully and makes a selfless change at the end that is both tragic and beautiful. It is truly a wonderful performance that encapsulates Nicholson in his younger days.

Nicholson wins his first Oscar in his fifth nomination for Randle McMurphy, and the film picked up another 4 awards including picture, director, actress and writing. Definitely a must see, again and again.

The Shining (1980)

Perhaps Stephen King's best film adaptation to date, there is nothing particularly remarkable about the story - family moves to a haunted ski resort to work as caretakers, and the expanse of empty space and solitude drives Nicholson's Jack Torrance's sanity to slowly unravel. Who can forget him breaking through the bathroom door that his wife is hiding behind and shouting "Here's Johnny!" He plays crazy brilliantly, and that is the mark of an exceptional talent.

This film holds a creepy place within the genre. Not gruesome enough to be horror, and not unrealistic enough to be true fiction. It is a psychological character study among the three family members, with a little Steven King twist thrown in the mix. Nicholson is haunting and chilling. I only wish he had done more good horror films.

As Good as it Gets (1997)

This surprise hit by James Brooks sparks chemistry with Helen Hunt as Nicholson is the older and neurotic anti-social bigot who has a heart of gold. Despite decades of age difference, the two are exactly what each other needs at that time in their character's lives. Two lonely and struggling souls that emote their wildly opposite plights.

The moral of the story is two-fold - no man is an island, and no matter how despondent you are, it can get better. This film marks Nicholson's third Oscar win as an actor, which ties him with Walter Brennan for most ever by an actor. Brennan won three supporting actor Oscars and Nicholson two best actor and one supporting actor. Interesting bit of trivia - there is controversy surrounding Brennan's wins in 1937, 1939 and 1941 - actors voted for the award, and since he was a popular extra during the time with a good reputation, many speculate that he won the awards not because he deserved them, but because he had many friends.

I digress. Nicholson's Melvin Udall is given wonderful lines by Brooks, who wrote and directed and seems to be Nicholson's favorite director to work with as they have collaborated four times resulting in two Oscars for Jack. They are also currently working on a project that has an outstanding cast attached - due out 2010.

The Departed (2006)

If you were to tell me that Little Miss Sunshine's Alan Arkin would win Best Supporting Oscar in 2006 and Nicholson wouldn't even be nominated for his performance in The Departed, I would tell you to go fly a kite (had to use that one for the kids). Easily the best film of the decade (maybe not easily, but edges out No Country for Old Men, Brokeback Mountain and Gladiator), and Scorsese's crowning achievement, Nicholson was the anchor that added the kick that it needed to go from great to spectacular. Basically, it is a fast-paced and chilling drama about an undercover cop and undercover criminal trying to uncover each other before being discovered. Try saying that last sentence 5 times fast.

A remake of a 2002 Chinese film titled Infernal Affairs, the American version has more grit, and Nicholson's crime boss Frank Costello puts real fear and tension into the mix. In spite of DiCaprio, Damon, Sheen, Wahlberg, Winstone and Baldwin, Nicholson rose like the cream to punctuate the film's excellence.

There are multiple instances where he was clearly given the liberty to improvise his dialogue, and the words that came out, although not always remarkable, were memorable because of how he said them, and the passion that came out of the character. That is the mark of a great actor.

It looked like Jack was having fun the whole way, and there is a larger than life presence that seems to grow with each role he takes. Although slowing down with age, he is not fading out of the spotlight like so many, nor is he wavering in his commitment to giving great performances as he has for years. He should have been nominated, and won an Oscar for this particular role.

Jack Nicholson won 3 Oscars out of 12 nominations between 1970 and 2003. He has won 7 Golden Globes in 17 nominations from 1970 - 2006 including 1 lifetime achievement award.

District 9

Peter Jackson presents a film by Neill Blomkamp is the most brilliant way to get people to see a film by Neill Blomkamp possible.

Joking aside, the advertising campaign for this one was well done. A mysterious alien film that was shot under the radar in South Africa for a paltry 30 million with no star power doesn't sound like much. Throw in Peter Jackson, great special effects and a pseudo-political theme, and it becomes the sleeper action hit of the year.

Intentionally shrouded in secrecy, Blomkamp cast his friend, Sharlto Copely as an agent in a parallel present day South Africa where aliens have been residing for nearly 30 years. Copely is charged with relocating the nearly 2 million aliens from their dilapidated and dangerous slums into a more "cozy" and safe concentration camp. Sound familiar? The aliens are also incapable of leaving due to a broken piece on their mothership that just sort of hovers over their slums.

The cool thing about the film is the way that the aliens are presented. They are not the ferocious creatures that we have seen so many times, and although they do have the cliche advanced technology (which I suppose they would need to get to earth) there is a segment that is skipped by having them reside with us for nearly 30 years. There is a fearlessness on both sides, and the communication gaps are filled. It is almost as if they are an accepted part of society. And that is the intent.

Because of their differences, most evident to us by their appearance, they are segregated and relegated to an enclosed confinement, aptly named District 9. It is a slum that makes Mumbai look almost pleasant - they are creepy crustacean-looking creatures who scavenge through garbage and enjoy cat food, and are unaffectionately nicknamed "prawns" by the people of Johannesburg.

What happens during the relocation process sets off a chain of events that leads to the uncovering of a government conspiracy, and ultimately a bloody battle.

The story is set up in documentary style, with interviews of witnesses and scientists, and more than anything else, it is a clever way to quickly tell the back story without going into too much technical detail. There are additionally some interesting camera angles throughout - some reverse first-person shooter when the paramilitary group is closing in on the protagonist, and the film jumps back to documentary at the conclusion.

It has the feel of 2008's Cloverfield without the headache. In the manner that it is presented, there is a feeling that although entirely preposterous, it becomes believable. The alien technology provides us with some of the highlights of the film - explosions and bloody gore.

Copely had given Blomkamp his first job nearly 15 years ago, and he is receiving a huge favor in return now. I'm not sure about the connection between Jackson and Blomkamp, but they likely share an interest in the creation of this project.

Not for the squeamish, District 9 is ultra-violent and causes plenty of cringes with human explosions and nasty prawn alien sequences. I would highly recommend this for its originality alone. But the effects are pretty cool too. 9/10.

The Goods: Live Hard, Sell Hard

This is the funniest used car sales comedy ever. Period. This might not be saying much, but this all star cast is perfectly assembled to complement each other and the gut busting laughs come whizzing by at a mile a minute.

the story focuses on a used car lot in Temecula that is struggling. The owner, in dire financial straits decides to bring in a group of professional "mercenary" salesmen and woman led by Don "the Goods" Ready.

The car sales angle is the perfect backdrop for an endless barrage of jokes and more subtle humor, and the characters' personalities are almost farcical in their delivery. Reminiscent in some ways of Anchorman, it is from the same production group - the anti-Apatow (although he did have his hands in Anchorman) crew that in many ways surpasses his regular group's humor by dumbing it down and throwing everything at you at once from all sides. Adam McKay, and Will Ferrell are two of the masterminds behind this little bit of comic brilliance, and Jeremy Piven heads a cast that I could rave about for days.

This film marks the coming out performance for Kathryn Hahn who is the female salesperson whose witty banter with the salesmen and customers and attempted seduction of a 10 year old boy (it's not as bad as it sounds) is comedy gold. Equally great is James Brolin who takes a chance as the owner who has a hidden agenda that inspires at the very least a smile just about every time he is on screen. Then there is David Koechner. Working tirelessly since starting his career in TV and film in 1995, he's been in nearly 100 shows or films since then. His breakout role came in Anchorman, and as a staple of the McKay/Ferrell team now, his role as the slick finance specialist is exceptional.

I have to say I was pleasantly surprised overall with the quality of this film, but there was one thing that detracted from the non-stop laugh-fest. Jeremy Piven is a funny man. Although possibly arrogant and egotistical in real life, his Ari Gold character on Entourage is one for the ages, and his supporting roles have always been energetic and have added substance to the films he has appeared in. However, as the star of this movie, I found myself getting tired of him. He should stick to the supporting roles, he just isn't leading man material. You can't blame him for taking the payday, and he chose a great film to headline, but it just didn't seem right.

The writing was outstanding. Reminiscent of the Zucker or Farrelly movies of years past (whatever happened to the Farrelly brothers?) where the dialogue had layers of humor that just never stopped. There were some lines that were placed so intentionally that it is almost comic science at its best.

I would go as far as to say that this film rivals the Hangover for most fun so far this year. Of course, I have a soft spot for dirty humor. 8/10.

Part Three - Robert De Niro

Part III - Robert De Niro

Bobby D. is as recognizable a name in acting as any that there has ever been. The early muse of Martin Scorsese long before Leo DiCaprio was discovered, De Niro shared a New York upbringing in Manhattan just blocks from the famous director. Although never acquainted until 1972, they met at a party shortly before filming Mean Streets, recognizing each other from the old neighborhood, and the rest is history. Interesting fact: Scorsese wanted to cast De Niro in Nicholson's role in the Departed in 2006 (www.imdb.com). Imagine what that would have been like.

Known for his extensive body of work playing tough guys, cops and borderline psychotics, he established himself as a credible actor in the early 1970's with his versatility, unique manner of speaking and brilliantly natural sense of timing; both physically and verbally. He is recognized by virtually every critical publication and cinemaphile as one of the top 5 actors of all-time. Here are his 5 greatest performances.

Godfather II (1974)

De Niro played the young Vito Corleone character, originally played by Marlon Brando. For the role, he perfected his Sicilian accent and gave audiences their first glimpse of the star that he really was. His role in 1972's Mean Streets was well done, but was really more of a warm up for a career of superstardom.

De Niro's Corleone had glimpses of Brando's attitude and raspy voice, and the sequence of events leading to the rise of the Godfather was done in convincing fashion. He clearly articulates the transition from Italian refugee arriving at Ellis Island without a family or friend to a fearless street hustler who eventually heads a mob family.

His first collaboration with Al Pacino kept the two of them separated, as they played similarly aged father and son in flashback form. However, there is a distinguishable difference in their Italian styles, even at a relatively young age. Pacino relished his role as Michael Corleone, playing the cool emotionless prodigy. De Niro on the other hand is scrappy and exciting as the young Vito, delivering an uncertainty and tension despite knowing the outcome. He shows the world how to build an empire through action, and not just talk. It was truly a great coming of age film for him.

Taxi Driver (1976)

His second of 7 collaborations with Scorsese, the film garnered rave reviews from the onset and ended up with 4 Oscar nominations. Some defiled it for its ultra violence and ambiguous ending, while others respected the message that it delivered and the performances, including a startling introduction to a precocious 14 year old Jodie Foster. Audiences and critics were polarized, but whether they loved or hated it, they respected its artistic vision as it ushered in a new generation of psychologically riveting film.

De Niro uttered one of the phrases most commonly associated with his vast body of work, and it turns out that it was completely improvised (although possibly inspired by Bruce Springsteen). Staring in the mirror, fantasizing about a tough guy persona and simply asking "You talkin' to me?" De Niro transformed into the disturbed and jaded Vietnam vet, Travis Bickle and shows his method acting as he slowly loses his grip on his sanity. His performance inspired John Hinkley Jr. to attempt an assassination on Ronald Reagan, and there have been talks of a sequel as recently as 2005. The performance is like a train wreck - it is harrowing and frightening, but you just can't look away.

Deer Hunter (1978)

Understated epic that delves into the effects of the Vietnam war on 3 friends from a small town in Pennsylvania. De Niro is the glue that holds the friends together, and even saves them from certain death in Vietnam. This role is a bit of a departure from De Niro's typical performances - it shows more emotional range as opposed to physical and verbal, and puts him up against Meryl Streep, whom he has said is his favorite actress to work with.

The most memorable scene, with heart-stopping and breath-holding tension ended up winning Christopher Walken his lone Oscar; the three friends are together in a Vietnamese prison camp and are forced to play Russian Roulette against each other. It is one of the most intense scenes in film history, and De Niro was an integral part of it.

Although the film ends without much positive resolution, instead it conveys Michael Cimino's portrayal of how the war changes people, and ultimately alters life for everyone who lived through it. The parallels of the characters hunting deer in the remote woods near their homes, and going off to war together are stark and stirring. Deer Hunter marks the third Oscar nomination for De Niro in a five year span.

Raging Bull (1980)

De Niro's second Oscar win was playing real life boxer Jake LaMotta. He gained a staggering 60 pounds for the role, which at the time was the most an actor had ever gained for a film. Raging Bull is the apex of De Niro's distinguished career. Not so much that it has been downhill since then, but because the years 1974 - 1980 was a window in which he accomplished what few other actors ever have.

The film was shot in black and white to give a feeling of the times, and due to his attention to his craft, De Niro became Jake LaMotta in every way imaginable. He took a believable turn as a fit boxer, displaying the attitude and demeanor of a working class man in 1940's New York. The tragic downward spiral of lost fame mixed with a fighter's uncontrollable violent tendencies and paranoia tears his family apart and sabotages his attempts at ending a great career as a champ.

Capitalizing on the success of Rocky a few years prior, Raging Bull is a more introspective look at the sport. The familial interactions, and the disappointment shared by everyone involved when a fighter is experiencing his lows casts a dark shadow all around. It is De Niro however, who seems oblivious to the physical impact of his fights, and is consumed with his pride and his jealousy. It's perhaps the most critically acclaimed performance of his career, and deservedly so.

Cape Fear (1991)

One of the more frightening characters in film history, Max Cady is a convicted rapist, fresh out of prison and out for revenge against the family of the defense attorney who failed him. It's a cautionary tale for defense attorneys everywhere, and De Niro's Cady is both unpredictable and sadistic. The film itself is not so much well done, as it is yet another Scorsese collaboration, but it is intended more for the character study and the shock value of the fear he evokes. It is a remake of a 1962 original in which Robert Mitchum plays Max Cady. The newer version maintains many of the elements shown in the original story, but it is De Niro who blows it out of the water.

He received his sixth and final Oscar nomination for his work in Cape Fear, and solidified a stellar career, although he has been working since, most notably in 1995's Heat, and the Meet the Parents films (2000, 2004). Although he is now in his late 60's, he is still considered one of the most versatile and stalwart figures in the industry.

Robert De Niro achieved 2 Oscars in 6 nominations from 1975 - 1992. He also won 1 Golden Globe in 8 nominations between 1977 and 2001.

Part Two - Al Pacino

Part II - Al Pacino

Al has an impressive body of work, but is a little less flexible as an actor as evidenced by his choice of roles. In his 45 film roles, he has played a cop or a crook in almost all of them. Kudos to him for stretching into other genres over the past decade or so, although at nearly 70, he is not as convincing now as the tough guy cop or the enraged mobster. Having always had the look of a true Italian, and the distinctive voice that has only gotten more discernable with age, he was a natural for many of his early roles.

He struck gold in his 3rd film role being cast as Michael Corleone, and the rest is history. In fact, between the years of 1972 and 1975, he had perhaps the most brilliant 4 year run in all of cinematic history. Starring in the first 2 Godfather roles, Serpico, and Dog Day Afternoon. For my money, he peaked in the 1970's and has grown to a mainstream household name, but has made poor film choices that mostly fall into his stereotypical category. He has done 14 films since his last respectable outing in 1997 when he played Lucifer in the Devil's Advocate, but gained some critical acclaim and awards for his part in the HBO mini-series Angels in America.

Unfortunately, I am not confident that we will ever see the Al Pacino of the 70's, although there was a glimmer in 1995's Heat. His star is fading now, but he will forever be in the pantheon of greatest American actors of all time. Here is a look at his 5 finest roles .

Godfather (1972)

Pacino's breakout role as the prodigal son, Michael Corleone resulted in the first of many Oscar nominations for the Italian thespian. What distinguishes the performance in Godfather I from that of Godfather II is that in creating the original character, there is a much greater risk being taken that was clearly accepted by the audiences and the critics. Reprising a role that is beloved is not as much of a stretch or a challenge, and Pacino must have felt right at home being the Italian New Yorker growing up in the 40's. Interestingly, he beat out a slew of great actors for the part; Redford, Nicholson, Beatty, DeNiro, and Ryan O'Neil (www.imdb.com).

What is perhaps the defining moment of the film is when Michael decides to shed his war hero/college boy life and become a part of the "family". He walks into a restaurant bent on killing both a police captain and a rival mobster, and the tension is palpable. With the gun in his pocket, he sits down at the table and there is a moment - perhaps 15 seconds or less when there is a look of nervous anticipation in his eyes and a subtle lip quiver. It is one of the most intentionally prolonged and riveting scenes in the genre. That single scene truly defines his method acting ability to the fullest.

Serpico (1973)

Frank Serpico. An honest and ethical man living within a world of corruption and tyranny. Based on the true story of a whistleblower within the NYPD amidst one of the most rampant times of criminal conspiracy in American history, Serpico is a beacon of hope and good in a society that batters his resolve. As an undercover cop, busting criminals is difficult enough, but once he alienates his colleagues by not taking dirty money, there is a sense of futility as he doesn't know who he can trust.

Pacino sheds his clean good looks for this role as a long haired and bearded hippie who looks the part as an undercover cop (but in a good way). What makes the role convincing is the sense of loneliness and abandon that he is fighting. What clearly is morally and ethically right is both dangerous and even discouraged within his fraternity of lawmen. He faces his fate knowing well that each day might be his last, and does so with both a sense of purpose and fear. Serpico is a sad commentary on the reality of law enforcement.

Dog Day Afternoon (1975)

An everyman who is overwhelmed by the stress of life in New York devises a simple plan that ends tragically, far differently than anticipated. Pacino is the Yin to John Cazale's Yang. The two of them perfectly complement each other as the two bank robbers who are caught in a hostage standoff. Pacino is the brains and Cazale is the brawn. Pacino is the loud, boisterous one and Cazale is the silent, terrifying one.

Directed by Lumet, there is not a lot of action, the events are more a reflection of a long day with all options leading to an inevitable climax. The tension builds through dialogue and waiting. The sweltering heat almost absorbs the viewer in exhaustion. But through it all, Pacino is the focus of attention and concern.

What he manages to do without even trying is build a rallying cry of compassion. Somehow gaining the public's support with shouts of "Attica" there is a feeling of chaos and uncertainty that the police are forced to deal with. However, there is never any doubt who is in control.

This is also one of the first times that the idea of transgendered homosexuality is brought into a mainstream film. It is not exposed until about halfway through, but Pacino's motive for the bank robbery is for a sex change operation for his gay lover. Pacino somehow downplays this fact skillfully and doesn't succumb to stereotypes. He never deviates from his character, and his performance is truly a memorable one.

Scarface (1983)

One of my favorite performances, the iconic Tony Montana, Cuban refugee who builds an empire in Miami through ruthless hard work and a fearless attitude. "The World is Yours" is his mantra, and he goes after everything that he wants one way or another.

Although this is arguably Brian DePalma's greatest achievement, it was created during a time when film was in a sort of limbo - the 1980's produced very few films of value to society, which was an indicator of both taste and culture. Scarface, if watched now, 25 years later, displays the signs of the times, and is a very dated film. Pacino however, displays the energy and drive of a consummate professional. Even being cast against his ethnicity - an Italian playing a Cuban, he pulls off the accent and the attitude flawlessly.

More than anything, this is a fun movie where the unscrupulous bad guy gets everything he wants, and lives a life of murder, drugs, sex and excess. If you live by the sword, you die by the sword, and Montana gets his comeuppance in a final shootout worthy of Sam Peckinpaw fame. "Say hello to my little friend" is a line that everybody who knows film can appreciate. Al Pacino as Tony Montana is the fury and emotion let loose in as fun a character as has ever been seen on the silver screen. He is the American dream on steroids.

Scent of a Woman (1992)

Retired army Colonel Frank Slade shows his young friend and escort Charlie the finer things in life in this eye-opening expression of friendship and passion. Slade is blind, but clearly sees what is important in life and senses the ability to help Charlie grow into the man who he shows potential to become.

What makes this performance different from the rest is that this is one of Pacino's transition films from young leading man to older, wiser middle-aged man. He always had (and still does) a youthful look, but most of his roles have been cop, criminal or something active along those lines. Playing a blind man shows the more vulnerable and fragile side of Pacino, which he has not since shown, slipping back into his cop and criminal roles.

Earning his only Oscar for this performance, I had considered leaving it off this list in deference to the Devil's Advocate, which was a sharp and snarky indulgence in which he played the Devil in the form of a lawyer. However, because Scent of a Woman was something different, much less Pacino's typical fare, it belongs as one of his greatest performances. Playing a blind man (without sunglasses) is a separate feat in itself, but Pacino played it believably and without a hitch. The film itself was a little melodramatic, but there was snappy and meaningful dialogue which kept it afloat.

Between 1973 and 1993, Al has been nominated for 8 Oscars, winning 1. He has been also been nominated for a staggering 14 Golden Globes between 1973 and 2004, taking home 4 wins including 1 lifetime achievement award.

GI Joe: The Rise of Cobra

I have waited for over 20 years for this live action adaptation to come to the big screen. 20 years of wondering if it would ever happen, and more importantly - how it would look - the creative liberties, the commercial sellout, the need to appeal to kids as well as 30 somethings like myself. How could this film possible be made without the goofy and eccentric characters looking like they stepped out of a 1980's cartoon? The answer is finally in theatres, and I have to say, I was pleasantly surprised.

Fanboy excitement has been constantly battling my more rational side ever since I heard that this film was going to be a reality. I followed the rumors and news updates from day one and was expecting a mindless action film attempting to break box office records. After all, this is Steven Sommers directing, and he has done little more than special effects action vomit with the Mummy franchise and Van Helsing.

For those who don't know (and knowing is half the battle...) GI Joe is an elite global special forces group where agents have eccentric uniforms, specialties and quirky code names such as "Heavy Duty" and "Ripcord". They also have state of the art technology and a virtually limitless budget. It makes a great 4" tall toy, but some of the coolness is lost in translation to the screen. I never before realized how cheesy the whole concept is, and watching grown men try to act out these characters is kind of sad and shatters some of the innocence of my youth.

I feel about GI Joe even more affectionately than I did for Transformers. And that is why I am being generous with my criticisms. I could not have made a better film than this. It was over 2 hours of non-stop action, and there was minimal filler mixed in with outstanding visual effects and futuristic technological gadgets. It was entertaining as hell, and oh how I envy the 10 year olds who get to see this.

The plot is what you would expect from something like this: [SUSPEND BELIEF] Evil organization (with limitless budget) tries to strike fear into the citizens of the world through nano-biological attack (or something like that) and can only be stopped by this one particular unit of super soldiers. Let's be honest, people won't see this for the plot anyway. The plot is an excuse to blow things up and show off exceptional special effects.

Channing Tatum leads the international cast along with Marlon Wayans, Dennis Quaid, Sienna Miller and many others. The acting is what you expect - most of their work was probably done in front of a green screen anyway. The surprise for me was Joseph Gordon Levitt as Cobra Commander. When I read about the choice to cast him in the role, I was a little perplexed, but he pulls it off fine - even using the trademark voice modulation that fans of the cartoon will recognize and appreciate.

They did a good job with the story in the sense that they covered all of the necessary character development and back stories, but did so briefly - uncovering an incestuous web of brothers, sisters, husbands, wives, girlfriends, etc. It seems like each of the good guys has some hidden connection to at least one of the bad guys, but that's the way that the comics were written, so it works [SUSPEND BELIEF].

The film obviously leaves us with the setup for a sequel (or more) and honestly, there is a lot that they could do with the franchise with an almost endless line of characters and weapons and storylines. [SUSPEND BELIEF]

I can't slam the film too much, because Sommers presented it in a fresh, action-packed and ultimately respectable package. The effects were some of the best I've seen and clearly there was no expense spared. The preliminary budget was set at $170 million, but they could have easily exceeded that, and the number of scenes justified it.

My only real complaint is that the direction during action sequences was unusually jerky, and I do think seamlessly integrating effects so that there isn't that blur to mask inferior visual effects will be the next task of the industry. It will happen, but I understand that the technology is just not quite there yet so I can't knock them too much.

Like I said, I couldn't have done a better job, and I was taken back to a simpler time when it wasn't so difficult to suspend belief. There was an excitement to seeing some of my favorite characters (Snake Eyes and Storm Shadow) on the screen, and although acting, directing and story were all just mediocre, the action and pure summer blockbuster fun carried the film just enough for me. 7/10.

Part One - Tom Hanks

Part I - Tom Hanks

Tom established his credibility as more than just a funny guy when he took the role of Andrew Beckett, a lawyer who loses his job because he has AIDS in 1993's Philadelphia. Subsequent roles over the next 5 years as Forest Gump, Jim Lovell and Captain Miller earned him 2 Best Actor Oscars and the utmost respect of the acting community, propelling him to the top of the A-list of modern day thespians. Since 1998, he has participated in a wide array of roles, from voicing Pixar characters, to taking the lead in a Coen brothers comedy, to playing the interestingly coifed Dr. Langdon in Dan Brown's two mega hits - Davinci Code and Angels and Demons.

It is clear that Hanks has reached the point in his career where he is choosing roles not out of necessity or desire for recognition, but out of curiosity and fascination of how far he can push himself to become the chameleon necessary to be just believable enough to convince the audience that he actually is the foreigner indefinitely stuck at an airport, or Texas congressman Charlie Wilson. He is choosing roles for fun now. He has also teamed with his favorite directors; Ron Howard and Steven Spielberg in producing HBO mini-series' that go deeper into some of his favorite historical events - WWII and space exploration.

Although his executive producer resume is impressive as well, that is not why he is on this list. Here are the 5 most significant roles in his illustrious career:

Philadelphia (1993)

Andrew Beckett gave us 3 unique things in this film: The arrival of Tom Hanks in the upper echelon of acting, a glimpse at Denzel Washington's range which had been mostly limited to exceptional performances in period dramas, and a raised sense of awareness about AIDS. It marked the step from boy to man for him, from comedies such as Big and Bachelor Party to subject matter to be taken seriously, and this film really marked that transformation with an exclamation point. Had Hanks not chosen this film, and subsequently won a Best Actor Oscar, I doubt that he would have been given as much critical acclaim in his follow-up film - Forest Gump. He almost certainly would not have won his second Oscar in as many years.

Forrest Gump (1994)

Iconic and endearing, Forrest Gump was a hybrid film of epic proportions. Never before had a drama with subtle comedic undertones taken the silver screen so forcefully. It became the hit of the year, virtually sweeping the major awards as well. The film however, would not have been the same had it not been for Hanks' tender, naive and ultimately beloved portrayal of the simple Forrest Gump. His status at this point was bolstered by being the reigning Best Actor Oscar winner, but there was something magical about the film and the performance that touched nearly everyone who saw it.

Saving Private Ryan (1998)

The great thing about Tom's role in this film is that it was subtle and smooth. His performance blended in with the rest of the cast as they all let the story and the magic of Spielberg's camera deliver the essence of Normandy in one of the all-time great war films. This would be the one role where Hanks should have won awards, but didn't. This film also marked the end of an era and the beginning of another for Hanks. Every actor hits a point where they are no longer the young leading man, but rather the middle age man. Older, wiser, more vulnerable in a sense. A side of Hanks was uncovered in this film that he hadn't shown before. From this point he began taking a turn in his career and explored more eccentric roles. However, the star power that he possesses contributed to making Saving Private Ryan truly great, and there isn't another actor around who could have done what he did with the role of Captain John Miller.

Castaway (2000)

I had a hard time choosing between Apollo 13 and Castaway - my 5th and final addition to this particular list. I chose Castaway however due mostly to the physical transformation that Hanks underwent during the filming, going from a fat and happy FedEx executive to an emaciated and haggard man stranded on a deserted island. With the exception of the beginning and end, Hanks was the only actor in this movie, and it was brilliant. From conversing with inanimate objects to the despair and loneliness of his plight, he brought an emotional intensity that is truly rare and frankly, risky.

Road to Perdition (2002)

Perhaps my favorite of all of Hanks' roles, this underrated period drama by Sam Mendes displays the corruption and danger associated with organized crime in 1920's Chicago. Hanks plays Paul Newman's enforcer. The trusted quiet man who does the dirty work, and does it well. What we see from Hanks is something he had not played before - a man who has lost his moral compass despite truly caring for his friends and family. He is a yes man, and although an assassin and a killer, he still has that quality that makes you root for him, be it a pained look in his eyes, or the glint of a smile during conversation with his son. The film is full of quirky characters and brilliant cinematography, but it is Hanks as the tormented father who brings depth and real character to the role.

Between 1989 and 2001, Hanks has garnered 5 Oscar nominations including 2 wins. Between 1989 and 2008 he has been nominated for 7 Golden Globes, including 4 wins.

Greatest Actor of the last 50 Years

In an attempt to broaden my audience, as well as add a little flair to the monotony of film reviews, I have decided to create a four part commentary with objective analysis to determine who is the greatest actor of the past half century. There may be some dispute as to who my selections are, and I invite any and all opinions, comments and challenges.

I chose the past 50 years because quite honestly, film has changed dramatically since the 1960's. With the advent of visual effects and fickle audience expectations and taste, it is nearly impossible to compare a Bogart to a DiCaprio. That said, my choices of actors to compare is partially due to their critically acclaimed body of work, partially due to my own respect for their attention to their craft, and partially arbitrary. There are dozens of actors who one could say belong with the four I have selected; Denzel, Philip Seymour, Hoffman, Hackman, Redford, Newman, DiCaprio, the list goes on and on.

The decision is not based entirely on Oscars, although all of my choices for greatest actor have won at least one in their careers. The primary reason for this is that Oscar is sometimes wrong. Take 1999 - Shakespeare in Love? More deserving than Saving Private Ryan? 2006 - Crash is a better film than Brokeback Mountain, a History of Violence or Munich? What about Shawshank Redemption - arguably the best movie of the past 20 years. It received the nominations, but didn't win a single award. My point is that Oscars should not be the basis for evaluation. Body of work, choices of roles, and the lasting impressions that are left far after a viewer walks away from the theatre (or watches a DVD) are what make actors memorable and deserving of credit.

The evaluation will consist of analysis of the 5 most important roles for each actor. Some were benefited by a great director, a great story, a juicy character to portray or an outstanding supporting cast. However, these roles were all played with such energy and vigor that it is impossible to deny their skills.

The four part commentary will conclude with the 2009 edition of the top 100 films of all time as assembled by yours truly.

May the best Actor win...