Deconstructing Crash

2004's Crash won the Best Picture Oscar in 2005 amid a sudden barrage of buzz for its edgy racial issues and spiraling and intertwining storylines. It catapulted Paul Haggis into the stratosphere as Hollywood's new it writer, and following on the heels of 2004's Million Dollar Baby, he found himself the script writer of two consecutive Best Pictures. Not bad for a guy who started his career writing Richie Rich and Scooby Doo cartoons. His career continues, but his critical and box office reputation is in decline. His name is no longer synonymous with highly anticipated dramatic fodder, and I'm going to tell you why.

You may be wondering why I'm deconstructing a film that was made 8 years ago. I'm making a claim that Crash is the worst film ever to win the Best Picture Oscar. Two films were decidedly more deserving of the award in that particular year; Brokeback Mountain, and the vastly underrated Munich.

1998's Shakespeare in Love is a close contender, in a year when Saving Private Ryan was robbed. A bit further behind is 1996's The English Patient, who should have been backseat to Fargo, and going further back, I'm not judging because the relative quality deteriorates with time, and frankly I haven't seen enough of the films pre-1970 that hover in that "good, but not great" range.

Crash gave us Matt Dillon's most compelling role, and showed us a side of Sandra Bullock and Brendan Frasier that we hadn't seen before. It introduced us to the talented and under appreciated Michael Pena. It showed us a surprisingly strong performance by Chris "Ludacris" Bridges, and most importantly, it signaled the era of stars lowering their asking prices to appear in what they think is a surefire critical success. Don Cheadle, Terrence Howard, William Fichtner, a young Thandie Newton, Ryan Phillipe, Larenz Tate, and even cameos by Tony Danza and Keith David.

The setup was somewhat innovative at the time, abandoning the standard film template in favor of a more emotionally manipulative humanity-themed ensemble. The main characters trade screen time, ensuring that everyone has a completely different back story, but live in the same jaded and prejudiced world.

Matt Dillon is the bitter cop trying to get proper medical care for his ailing father. Don Cheadle is a detective trying to make sense of the concrete jungle. Ludacris is a thug pretending to be angry about racial stereotypes, while embodying exactly what he is angry about, and Bullock and Fraser are a wealthy political couple whose life is interrupted by a carjacking.

Each of the individual characters' struggles are over the top prejudice. Whatever the worst case scenario could be, happens and everyone's preconceptions are turned on their heads, leading some to a better place, and others to flounder in their existence, or in some cases, a tough life lesson. Where the film goes wrong is that the preconceptions are contrived and exactly what one would expect. Ironically, as original an idea as Crash is, it brings up the most unoriginal situations imaginable. A cop molests a woman and then saves her life. A racist woman is attacked by a black man. A Hispanic man with tattoos happens to be the nicest character in the film. A non-English speaking shop owner is taken advantage of. The list really goes on and on, and it's almost as if Paul Haggis rummaged through his personal collection of taboo racial issues and threw them all on a storyboard.

I didn't catch this the first time I saw the film, and neither did the critics apparently, but if you go back and watch it again, it appears wildly outdated and almost eye-rolling cliche. It's only been 8 years since the film came out, but the film industry has changed dramatically both technologically and what constitutes a great film. Sure, there are still bad movies made, and the intent is well and good, often motivated by financial gains if not a stepping stone to something better, but the fact is, a movie like Crash made today is not Oscar nominated.

Race relations has been done to death as a genre, and when contorted into such stereotypical scenarios, it is just plain gratuitous. We all know that there is a cultural divide that is uncomfortable, but that is what you get when you live in a "melting pot" such as the United States. In no other country in the world will you find such a mix of races, religions, ethnic groups, sexuality, and even nationalities. America is the cutting edge place for acceptance and integration no matter how you argue, because we are the third most populated country in the world, behind only China and India, and those are both very homogenous. Think about the ethnic breakdown of our citizens (and illegal aliens); White is still the dominant race, but that is a collection of origins from an entire continent (and Russia). If you go to Germany, the vast majority of the population is of German heritage. Black also is a collection from an entire continent. Next time someone says they are African-American, ask them which African country, and you'll probably get an incredibly diverse collection of answers. Likewise with Asian. Korean, Chinese, Japanese, Malaysian, Filipino, etc.

My point is that America in the 21st century has no need to beat around the race bush anymore. Back to Crash. Each of the character portrayals is flat and racially cynical, suggesting a norm in society when in fact I think it's the exaggerated view of the deteriorating stereotype.

I see film as one of the most opportunistic forms of art, which is beautiful and magical. It's the most accessible form of storytelling, and can be done in great detail or in a sweeping broad stroke. Thinking about the hundreds of thousands of films that have been filmed since Muybridge's Horse in Motion in 1878, stories are created and told, adapted and interpreted, remade and modified. It goes to figure that the audience scrutiny and expectation bar has to constantly be raised. Patronizing the public's perception in the way that Crash ultimately does (especially after another viewing) is nothing more than an attempt at emotional manipulation, which many other films do. The difference is that Crash isn't without a sort of transparent agenda.

Paul Haggis is a talented writer and director, but I hope he can restore the luster and magic that he once had, and come up with something new and as charged as Crash, but without the obvious overtones. Crash stands in my book as the worst selection of a Best Picture of all time.

Hit and Run

The surprise comedy hit of the summer, Hit and Run is a refreshing film which is fueled by my low expectations, but kept afloat by the witty dialogue, great supporting cast, and the fun car chases.

Dax Shepard wrote, directed, and starred in this light and manly romantic comedy, and he more than holds his own as Charlie Bronson, a getaway driver in the Witness Protection program. Kristen Bell is his girlfriend, Annie, who needs to go to Los Angeles for an interview of a lifetime. He decides her love is worth the risk, and off they go.

The story is simplistic, but it's the constant barrage of supporting characters who introduce themselves that makes the film move at a quick pace, and never lose steam. Tom Arnold plays the Witness Protection chaperone, and he's a bumbling ball of stress who can't handle his own gun much less supervision. Bronson treats him like a little brother, patiently taking care of him while completely disregarding his directions. David Koechner is a truck stop redneck with about three minutes of screen time, but does his best ham since The Goods. Michael Rosenbaum delivers strong comedy as Annie's ex-boyfriend, who is trying so hard to get her back, but is just such a wimp that nobody takes him seriously. Kristen Chenoweth probably has the best lines, as Annie's dirty-talking boss who sends her on her way to the LA interview. Jess Rowland plays an openly gay police officer and although the gay jokes are rattled off a bit too thick, he's very funny. Finally, Bradley Cooper makes what I would call an extended cameo as Bronson's former partner in crime. It's not what I would consider to be his typical character, but he owns it. Additional uncredited cameos by Jason Bateman and Greg Germann are timely and efficient as well.

The ensemble is amazing, and best of all, Dax Shepard shows he's no lightweight. He's been a regular on Parenthood for the past few years, and honestly is one of the more annoying characters. He really hasn't shown much potential beyond a smooth-talking goofball since he began working in Hollywood, but Hit and Run is a step up in his maturity. He creates characters and dialogue that stick and doesn't overdo any aspect of the film.

Kristen Bell shows a bit of her personality, but it seems that this is really a more natural role than anything else she's done. She looks like she's having fun riding shotgun, doing 90, kicking dust up everywhere as tires spin, Dukes of Hazzard style. She's a very funny (and hot) actress who is climbing in both notoriety and reputation. Don't be surprised if she makes some major comedic waves in the coming years, much like Mila Kunis.

There are a few jokes that go just far enough, but not excessively. The prison rape conversation and the geriatric orgy scenes gets things a little uncomfortable, but that can be overlooked. It isn't as dirty as I was expecting it to be aside from those two scenes, and I just feel that each scene was optimized by the characters in it.

The other side of the film is the action. Dax uses his love of cars to create some great chase scenes in some beautiful American cars with a lot of muscle. Dax admits that this film is his version of Smokey and the Bandit and really just wanted to make a fun movie with his friends (he's dating Bell and is best friends with Cooper). Well done, Dax.

If you're looking for something light and fun, look no further. This is a surefire hit, and was much better than I had expected. I look forward to the return of Tom Arnold! Okay, maybe that won't happen, but this movie is fun. 9/10.

Premium Rush

This summer's fast-paced, heart pounding, high-octane adrenaline ride is finally here, and it's horrible. Not just terrible, or bad, or even so-so, but an abysmal turd of a film.

The release date was pushed back for what are now obvious reasons, but they didn't fix any of the presumably identified problems. I don't even know where to start, so I'll give you a quick synopsis.

Joseph Gordon-Levitt is Wiley, the top gun, hot shot bike messenger in New York City, who went to Columbia Law School, and then decided to take a job that pays him, and I quote, "$80 on a good day" instead of taking the Bar. Let's assume that, being the best at his gig, everyday is a good day. $80 times 5 days per week is $400 a week. Not bad for someone living in rural Mississippi or Alabama, but NYC? $400 a week equates to $20,800 per year. Before taxes. Let's see. Someone fresh out of an Ivy League law school making $20,800 a year, living in NYC? Not sure I believe it.

That's not even the most unbelievable thing. He whizzes down the streets with a sense of entitlement, inconveniencing every car on the road, and most pedestrians going about their business. The fact that he isn't beaten up for causing so much havoc is beyond me. You cause me to get in a car accident trying to avoid killing a guy on a bike, and you'd better believe I'd be mad.

That's beside the point. Wiley is given a delivery task, and it turns out to be bigger than he bargains for. A corrupt NYPD detective spends the next hour and a half following him in comical style, getting duped at every turn, and a NYPD bicycle cop gets constantly bamboozled as well, chasing him for other reasons. Are you getting the picture yet? It's ridiculous.

What made this particular movie experience regrettable for me was that one of my favorite actors, Michael Shannon, plays the dirty cop. I'm not sure if it was the intent, but his lines are awful, his delivery is cringe-worthy, and his character has absolutely no animation. How could such a great actor perform so embarrassingly? I lost a whole lot of respect for him as an actor, and it will take an epic performance as next summer's Superman foe, Zod to put him back in my good graces.

The writing is what bring it to a whole new depth. David Koepp has written some decent films in his career: Jurassic Park, Carlito's Way, The Lost World, Mission: Impossible, Spiderman, War of the Worlds, etc. He has never done anything worth mentioning as a director however. My suspicion is that his tenure in Hollywood is the reason he's behind this film. His next two writing projects could put him back on track, Snow White and the Huntsman 2, and the reboot of Tom Clancy's Jack Ryan franchise, starring a great choice in Chris Pine.

Supporting Gordon-Levitt and Shannon are the eye candy; Dania Ramirez, and Jamie Chung. Let me be clear here. Both of these women are gorgeous, but Ramirez can't act her way out of a paper bag, and Chung is given the token Asian girl role a bit too much. She may be good at the "speak very little English" thing, but it's passe.

There are so many flaws with the story that it's almost unbearable. We almost walked out of the movie multiple times, and it's a good thing we didn't have to pay to get in. The film tries to be clever with flash backs and flash forwards, trying to impress the importance of the time, and the urgency of the package delivery. The unfortunate thing is, that nobody cares. There isn't enough emotion invested in any of these characters, or the terrible story to want anyone to get what they are looking for.

In the end, the bike messenger community comes together in an eye-rolling climax and I left the theatre feeling empty and scratching my head in a combination of confusion and dismay.

I think the bicycle genre is a dead end. I just don't think it has any teeth and will never capture the audience in the way that its futile attempt fantasized about. David Koepp laid a big fat egg on this one, and Joseph Gordon-Levitt and Michael Shannon will regret this for a long time. I just hope they got paid well. 4/10.

Worst Actress Oscar

Hollywood lost a great man the other day in Tony Scott. Since coming on the scene in 1986 with Top Gun, he had consistently directed entertaining films. Although he was never really recognized for his contributions critically, his films often led to box office success. He worked with Denzel Washington five times, making him the actor's closest and most trusted friend in the industry. He was a true champion of his genre. RIP, Tony.

Here is part two of the commentary on the worst Actors ever to win Oscars. Who is the worst actress ever to win the Best Actress Oscar? It's hands down Halle Berry from 2001's Monster's Ball. That film is amazing, despite how dark and depressing it truly is. The ensemble is well cast, and it tugs at every emotion possible from loss, to racism, to poverty, capital punishment, obesity, family dysfunction, and the list goes on and on. My contention is that you could put just about any black actress into that role, and she would have won the Best Actress Oscar. It was a relative weak year for that category, and proof is that Renee Zelweger was nominated for Bridget Jones' Diary.

She became the first African American woman to win a Best Actress Oscar, and speculation and conspiracies abound about how that particular race barrier had been a target by the academy, and they jumped at their first legitimate chance to break it. Well done, academy.

What earns her the distinction I'm bestowing upon her has nothing to do with race, or even her performance in Monster's Ball, which was commendable. No, my criticism of Halle Berry is the rest of her body of work.

Her personal troubles have been widely publicized, and it's safe to say that she's established a career based on her enduring beauty (she's still got it at 46 years old). She started doing films in 1991 with Spike Lee after a couple of years of forgettable television series'. Let's take a look at her poor choices.

I think it's safe to say that things started going downhill for Halle in 1994 when she agreed to take part in The Flintstones. Until that point, she was in films that catered to a mostly African-American audience. She worked with Spike Lee, Damon Wayans, Eddie Murphy, and Wesley Snipes. A good start to a young woman's career. I'm not sure what about The Flintstones made sense at that point, but I hope she had fun spending her paycheck. It's one of the worst films of the decade, and there were some pretty awful films in the 90's.

She then did a string of African-American movies, including the commendable made for TV Introducing Dorothy Dandridge, which earned her an Emmy and a Golden Globe for her portrayal of the late singer and racial pioneer.

Here's where she mixes things up a bit. She enters the action genre with a role in the original X-Men franchise, which displayed some of her worst acting to date. She did Swordfish, which was a vehicle for her to display her breasts, and for which she openly bragged about how much she was paid for her efforts. I think it was $500,000 per breast if I remember right.

Then she wanted to be a Bond Girl. This was a dark time for 007, and although I like Pierce Brosnan, he had some of the most awful Bond Girls of all time. The string of Teri Hatcher, Denise Richards, and Halle Berry were all terrible decisions. Just embarrassing.

Fast forward to 2004. Arguably the worst movie of that decade. Catwoman. Just three years after winning an Oscar in the midst of bad action films, she takes on this project that she has publicly regretted. It wasn't just a bad movie, it was a "have your friends over, make popcorn, and laugh your ass off" kind of movie. Ultimately and deservedly, it won the golden Razzie superfecta of Actress, Director, Picture, and Screenplay. Did I say it was a bad movie?

She redeemed herself ever so slightly about 5 years ago with two decent performances, and two good film choices in Things We Lost in the Fire, and Frankie and Alice. They were exactly what her career needed at the time and about the ceiling of what she's capable of. Then came Dark Tide. I had the misfortune of watching this film recently, and it might be one of the worst performances of THIS decade. Wow, three decades of bad movies. I'm not sure I can name many actors who have accomplished this feat.

She's got 3 projects coming up, including the intriguing Cloud Atlas by the Wachowskis' starring Tom Hanks in 4 different roles. Berry has 2 different roles. Should be very interesting at the least, and could bring her career out of the depths of shame.

Here's a little something to satiate your sense of humor. You will get it if you saw her emotional breakdown at the Oscars.

http://www.youtube.com/watch?v=U-7s_yeQuDg.

Here's a look at Berry as Catwoman in a little montage set to music.

http://www.youtube.com/watch?v=8P5l36B8qPw.

The Expendables 2

OK, so the movie starts and I'm sitting there and all of a sudden, I think to myself, "did someone just fart?" But it turns out, it was just the testosterone filling the theatre, blowing all of our hair back.

You can't put a film like the Expendables 2 in any normal film category, it's pretty much reserved for the military-grade Stallone and Schwarzenegger popcorn flicks, but this one takes their collective steroid stash, and injects it all at once and then blows everything up. and then dumps gratuitous violence and blood all over the screen. But it's done very tastefully.

A mind-blowing cast that would have grossed 10 billion dollars 20 years ago, we have Stallone, Schwarzenegger, Bruce Willis, Chuck freakin' Norris, Jean Claude Van Damme, and the other 2nd tier meatheads; Terry Crews, Randy Couture, Jason Statham, Jet Li, and Dolph Lundgren. Thrown in for good measure is Liam Hemsworth, aka Mr. Miley Cyrus, and Thor's little brother. It must suck to be Thor's little brother.

The cast combined has an estimated box office gross of somewhere in the 12-13 billion dollar range. Wait, WHAT? 4 billion for Ahnold, 4 billion for Sly, 3 billion for Bruno, 1.5 billion for the Muscles from Brussels, 1.5 billion for the Chinese Champion (I made that up) and half a billion for the Dean of Mean, Carlos Ray Norris. Jesus was able to walk on water, right? Well, Chuck Norris can swim through land. OK, that's the last one, I promise.

If I haven't made my point yet, this film is ridiculous. And loud. And... fun. I remember laughing way more than I expected during the first one, and this one is no different. It's not funny per se, it's just simply fun. The story doesn't make any sense, and that's OK. Stallone and his crew of "expendables" (ironic because they don't seem to actually die) drop in loudly and rudely on a Nepalese terrorist camp and make a daring rescue that would make James Braddock, John Rambo, John McClane, and John Matrix proud (look it up). The body count has to be in the hundreds. They then are blackmailed into doing a job, which they do. Then it ends. See, I told you it's ridiculous.

Terry Crews is great. He is given great one-liners, and intimidates me with his god-like trapezius muscles. He's the hulk from the old-spice commercials if you don't recognize the name. Van Damme also rejuvenates his career as the ruthless villain, who has absolute power over his henchmen and really just wants his money. Great stuff. Chuck Norris is given the juicy cameo role, complete with a little Ennio Morricone Good, Bad, Ugly theme music. You know the tune, the whistle before the showdown. Schwarzenegger and Willis showed up for the party, but were used sparingly in the film. They were in it for the fun and the paycheck, no doubt. Stallone just turned 66, and his body is incredible. Take a look at this still from the upcoming Bullet to the Head.

Have you ever? I mean, ever?

Anyway, the movie has far too many inside jokes about being back, yipeekiyaa, being too old for this stuff, being a lone wolf, Rambo, yada yada ya. But, for what it's worth, I'm truly glad that Stallone assembled these boys and brought a genre out of the nursing home. He is still fun to watch, and may have kicked a few careers in the butt.

The third one is already in talks, and if the current one performs at the box office, the studio will certainly green-light it. Mickey Rourke is rumored to be coming back, and the names of notable additions thrown around are Harrison Ford, Clint Eastwood, Sean Connery, and Nicolas Cage. Steven Segal is the lone missing name that I can think of, and he'll probably show up, presumably as a bad guy. You can't make this stuff up, folks. Sly Stallone has created a monsterpiece (that's right, monster and masterpiece).

I recently found out that the film was given a hard PG-13 instead of an R because of Chuck Norris. That's right, Chuck Norris isn't scared of the MPAA, the MPAA is scared of Chuck Norris. No joke. Also, Dolph Lundgren did in fact attend, and graduate from my alma mater, WSU with a degree in chemistry (thanks Joe). You know exactly what you're getting into with this one, check it out for sure if you're a 30-something guy and you still love and appreciate the 80's action flicks. 7/10.

Worst Actor Oscar

Who is the worst actor ever to win a Best Actor Oscar? It's obviously no other than Nicolas Cage.

There are plethora reasons why he is deserving of this title. Is it his eleven Razzie nominations? It's a wonder that he hasn't won one of those. Is it his awful hair and odd grin? How about his oh so horrible voice? Maybe it's a combination of those, but mostly it's his choice of film roles and the enduring stamina despite all of his obvious flaws. He is something of an enigma in Hollywood. An infection that just sticks around and nobody seems to mind. Anyway, he does have a long and commendable career. The only question is why.

He started out his acting career in the early 1980's, and mostly capitalized on his goofy looks and some decent comedy schtick. His breakout role was in the Coen Brothers' quirky Raising Arizona, but in my opinion, he didn't really show he could "act" until 1993's Red Rock West. A string of action films (The Rock, Con Air, Face/Off, Snake Eyes, Bringing Out the Dead, Gone in Sixty Seconds) capitalized on his award winning performance in Leaving Las Vegas, making him one of the most bankable actors in Hollywood.

However, over the course of his career, he seems to have a difficult time turning down work, and that's a warning sign. Take the five year span from 2006 - 2011. He started it off with The Wicker Man; arguably the worst film of all time. After that came Ghost Rider, Next, Bangkok Dangerous, Knowing, Bad Lieutenant: Port of Call - New Orleans, Sorcerer's Apprentice, Season of the Witch, Drive Angry, Trespass, and Seeking Justice. Keeping very busy, he did manage to make two decent films during that span: National Treasure 2, and Kick-Ass.

He currently has 9 films in various stages of production, and taking out Kick-Ass 2, and National Treasure 3, they all look terrible on paper. Way to go, Nic. He's either a cop, a criminal, or a wrongly-accused man seeking varying degrees of redemption. Awesome and original. He is trying his hand in self-deprecating comedy (although I don't think he could be deprecated any more) and as amusing as his projects look, he's a terrible choice for just about any role.

I liked The Rock, Con Air, and Face/Off. His acting deficiencies did ruin these films in many ways, and a Bruce Willis or a Mel Gibson, or even a Liam Neeson would have been better choices at that point. But those films made him marketable. Bringing Out the Dead was probably his best work in the late 1990's, as a strung-out paramedic in the madness of New York City in the middle of the night. He also redeemed himself with a great performance in Charlie Kaufman's Adaptation in 2002.

Attempts over the past decade to revive his career that just will not seem to die included the underrated Matchstick Men, the flat Lord of War, The abysmal Weatherman, and World Trade Center, which had real potential if not for... wait for it... Nicolas Cage.

I'd like to draw your attention to exhibit A. The Wicker Man.

http://www.youtube.com/watch?v=e6i2WRreARo.

Ladies and gentlemen of the jury, here is Exhibit B. Nicolas Cage "losing his shit". This is a smattering of Cage performances from over the years. There is quite a bit of strong language, beware.

http://www.youtube.com/watch?v=e6i2WRreARo.

He beat out previous winners Richard Dreyfus, Anthony Hopkins, and an up and coming Sean Penn in 1997 for his performance in Leaving Las Vegas, which was his second best role (Adaptation was just a little bit better). Playing an alcoholic trying to drink himself to death isn't really a stretch for him given his history, and there are dozens of actors who would have won the award with that rich of a role.

Here is his acceptance speech from the 1996 Academy Awards.

http://www.youtube.com/watch?v=6jXi-Z3M9Us.

Being the nephew of Francis Ford Coppola has its perks, don't you think? I'd love to hear if you think I'm wrong.

Top 100 of all time - # 1-5

What is there to say? We're at the final 5 films on my list. The best cinematic creations ever made, and to the cinephiles out there, these shouldn't come as any surprise. A film's greatness can be measured in so many ways, and rarely will you get the same impression given different situations, but that's the beauty of it. Watching a film (a good film) should be an experience beyond entertainment. It should be something that you can appreciate long after the credits role. I encourage all of you to take some time and watch some of the films on my list, especially if you haven't heard of them, or haven't seen them before. Carve out some time and make it an event. Let yourself get immersed into it, and let me know what you think.

Here we go. The 5 best films ever made.

#5 - One Flew Over the Cuckoo's Nest, 1975.

Jack Nicholson's finest performance in an actor's dream. Working in an asylum. The line between sane and insane is blurred in Milos Forman's beautiful adaptation of Ken Kesey's novel. Jack won his first Oscar as McMurphy, and the film went on to win all five major awards, and deservedly so, even in a year of decent competitors (Jaws, Nashville, Dog Day Afternoon). The film has fun at the expense of the patients' flaws, but it eventually endears the viewer to their strengths, and their plight. McMurpy will remain one of the most interesting protagonists in film, and his transformation over the course of two hours is poetic.

#4 - The Shawshank Redemption, 1994.

The Shawshank Redemption is a film that seems to get better with age. Frank Darabont adapted this story from a Stephen King short, and it's a great example of patience, justice, and, well, redemption. Tim Robbins' Andy Dufresne is my pick for the greatest American protagonist in film, even beating out Atticus Finch (blasphemy!). Everything about the film builds to such a satisfying climax, that it is hard not to walk away with a smile. Nominated for 7 Oscars, and snubbed completely, I think the Academy would look at things a little differently if they were given a do-over. This film is a must-see without a doubt.

#3 - The Godfather, 1972.

What is there to say about Francis Ford Coppola's masterpiece? Marlon Brando as the mob boss, and a young Al Pacino, James Caan, and Robert Duvall as his underlings? It's an outstanding film that is nearly flawless, and it brings to life the Italian Mafioso lifestyle in a multi-layered depiction. There is the dirty, violent, criminal side, but there's also the devoted and loyal family side. It's truly an epic if there ever was one. John Cazale is an interesting actor to me. He's Fredo, the weak younger brother, and his career as an actor is amazing. Of his 5 films, four of them appear on my list, and the fifth would be in the top 200. His career was cut short when he developed cancer during the filming of Deer Hunter and died shortly after. He was dating Meryl Streep at the time, who threatened to quit if Universal replaced him due to his weakness. Truly a marvelous career, despite its brevity. Anyway, back to The Godfather. Exceptional camerawork, delicately built suspense, and spectacular acting.

#2 - Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, 1964.

I waffled over which film was number two and which was number one for quite awhile, and Dr. Strangelove holds a place as my favorite for many reasons, but it's just a bit too quirky. The sharpest black comedy of all time is also the best Kubrick film. With subtle sardonicism and social commentary during a politically turbulent time, it is a breath of fresh air, uncensored and bold. Peter Sellers plays three ridiculously eccentric roles, and George C. Scott is one of my favorite characters in film as the paranoid war-mongering general. Shot in black and white, and sparing expenses where possible, it truly stands out as a beacon of originality. The fact that Stanley Kubrick only won 1 Oscar in his life, and it was for visual effects, is a crime. He should be receiving a posthumous lifetime achievement award any year now.

#1 - It's a Wonderful Life, 1946.

Frank Capra's Christmas classic is the only film that makes me cry every time I see it. Jimmy Stewart's George Bailey is such a lovable, selfless character, and the story is full of so much empathy, that you can't help but root for him. This film tops the list for sentimental reasons. I watch it every year around Christmas time, and just get a feeling of nostalgia and comfort from it.

That's it folks, the top 100 films of all time. I encourage you to check them out if you haven't seen some of them, and let me know what you think.

Top 100 of all time - # 6-10

Moving into the top 10, these films are outstanding in so many ways. The direction, acting, story originality (writing), lasting impressions, contributions to my own life as well as the film industry. Three films on this particular entry are personal favorites, ones that I have seen over and over again, memorizing scenes, lines, and images. Influential is the only word to describe them.

Here we go. Top 10.

#10 - Star Wars: Episode V - The Empire Strikes Back, 1980.

I may have only been 2 at the time of its release, but I vividly remember going to Cinerama with my mom and grandma and watching a marathon of all 3 Star Wars films in downtown Seattle after Return of the Jedi was released. Empire Strikes Back is such a dark turn in the Star Wars universe, with the ice planet of Hoth, Yoda's home planet of Dagobah, and the climactic showdown in Cloud City, it was the first film I had ever seen where the heroes didn't win. Luke is deformed and his world is shattered, and every child's favorite bad-ass of the 1980's, Han Solo is frozen in carbonite. It didn't leave a child in a happy place, but it was ultimately a necessary segment to complete the trilogy that shaped so much of the science fiction genre, and the magic of film. The second greatest sequel of all time.

#9 - Aliens, 1986.

This is the best James Cameron film ever made. I was maybe 9 or 10 when I first saw it, I had read the book and begged my parents for months to let me see it. There is just something about the idea of the alien that H.R. Giger brought to life, and that Dan O'Bannon and Ronald Shusett conceived that resonated so strongly with me. I've probably seen the film 50 times, and it never gets old. Not given quite as much credit as it should, it is a masterpiece that transports you to that desolate colony planet where the aliens lie in waiting, and the marines have no idea what's waiting for them. The 10 year old in me puts this as #1.

#8 - No Country for Old Men, 2007.

Sitting in the theatre on opening day, this Coen brothers film was one of the most anxious and anticipative I've ever been before viewing a film. I was not disappointed at all. Flawless execution of the Cormac McCarthy novel that won them numerous awards, deservedly. McCarthy's novel is second only to his gory epic, Blood Meridian in terms of sheer literary excellence. Blood Meridian has been kicked around Hollywood for years, but will likely never be adapted due to the extreme nature of the content, and the unlikelihood that it will be done justice. Anyhow, No Country was so meticulously done that there have been books written about the Coens' interpretations, and although shelved by many and forgotten for the time being, No Country for Old Men remains in my mind the best film of the 21st century.

#7 - Patton, 1970.

The epic WWII biopic of one of the most eccentric and effective military leaders in American history is stunning. Mostly due to the performance of George C. Scott, who owns every minute of his screen time. He captures the epitome of method acting, and oddly refused to accept his Oscar because he didn't believe in comparing acting performances, which is an interesting idea. Patton as a film is mostly in this position due to the performance of Scott. From the moment he steps on the stage at the beginning and delivers one of the most inspiring monologues in history, until he sadly acknowledges the end of WWII, there is no separation of the man from the actor. This is probably in my mind the single greatest performance in film history. Great film. Interestingly, Patton was written by Francis Ford Coppola, for which he earned his first Oscar.

#6 - Apocalypse Now, 1979.

Speaking of Francis Ford Coppola, Apocalypse Now, based on Joseph Conrad's Heart of Darkness, is an opus of epic proportions for the time. It was legendary in its range of production problems; From running over budget, to accidents on set, to Brando's peculiar behavior, it's an example of life imitating art in a war-time nightmare. What makes the film remarkable, besides its compelling story and its raw authenticity, is how soon after the Vietnam War ended that it was made. The novel has a different time, setting, and even theme, but it is translated beautifully to fully embrace the horror of Vietnam and the struggle to maintain humanity, however futile it is. Apocalypse Now is full of metaphor and allegory and gets darker and darker the farther down river the boat gets. Brando is amazing as the infamous Colonel Kurtz, and Martin Sheen is fantastic as Captain Willard, who finds himself being slowly swallowed up by the madness around him. Supporting cast members include a young Laurence Fishburne, Robert Duvall, Dennis Hopper, Harrison Ford, and Scott Glenn (among others). It's a truly moving cinematic experience. If you haven't seen it, get the director's cut and carve out some time to sit down and immerse yourself. It's worth it.

Only 5 films left to go...

The Bourne Legacy

Jeremy Renner takes over the lead for Matt Damon, and Tony Gilroy gives the franchise a shot as director. No stranger to adaptations, Gilroy was a writer on the first go-round of Bourne films, and after his massive success in his debut with Michael Clayton, and the forgettable Duplicity, Universal turned over the keys to their car to him. Unfortunately, he wasn't quite ready for the responsibility.

The story unfolds like most rogue spy stories. Renner plays Aaron Cross, an Outcome agent, who is very similar to Bourne's Treadstone project which attempted to genetically create a superspy. We all know what happened in Bourne's case, but Cross has a different problem. When the program is shut down due to Bourne's high profile shenanigans, his supply of medication is cut off, and he's put on the hit list.

Sounds pretty familiar, right? It's heavily recycled material, and maybe I was expecting too much after the cerebral thriller Michael Clayton, but this played out very much in the way that a poorly thought out action film might. No surprises, but also no real mystery, which is part of the fun of these movies. The linear progression of the story doesn't allow for very much supposition or prediction by the audience.

Renner is very charming taking over the lead, and seems very comfortable in the role. His recent rise to stardom is deserved, and although his look is a bit gruff and different, he's a great actor, and a great choice for an action star. Given the success of the film ($40 million opening weekend) and his recent string of hits and Oscar performances (The Hurt Locker, The Town, Avengers, Mission Impossible), he's going to be around for a long time. The upcoming Hansel and Gretel project will be a fun film, and he's on board for the next Mission Impossible, and I expect a spawning trilogy of Bourne films, although I wonder if they will keep the Bourne name in the title for recognition, or let Aaron Cross make his own mark on the Ludlum universe. The films will find an audience and make a profit, but it's a bit of a blemish on the franchise and Universal might be better off moving Renner into his own vehicle and driving forward.

Renner finds himself surrounded by an amazing cast of veteran actors: Scott Glen, Albert Finney, Stacey Keach, David Strathairn, and a glimpse of Joan Allen. The strongest performance however, was Ed Norton, who plays the man tasked with containing the outbreak of secrets and rogue agents. He finds himself coming back into the spotlight after falling off the radar through a string of bad role choices and rumors of on-set difficulties. This summer's Moonrise Kingdom, coupled with his performance in Legacy ensures that he's back, and ready to enter a new phase in his career as an older, wiser man approaching his mid-40's. He could be a strong actor for decades if he plays his cards right and chooses roles with a bit more discernment.

Rachel Weisz plays the requisite female lead and is not given much to work with. She's the doctor who performs physicals on the Outcome agents at a government contracted medical facility, and despite her ridiculous naivete, seems all-too willing to drop everything and go on the run after a traumatic event threatens her life.

Cliche action sequences do keep the audience engaged, and Renner is super cool if nothing else. The film does keep in line with the others in terms of tone, dialogue, and action. I will give Gilroy that. It just seems a bit stale. We've seen the shootings, chases, clever gadgetry, and unrealistic foresight by the protagonist before. The motorcycle chase scene is cool, and there is a tense shooting rampage scene that has a bit too much verisimilitude. Other than that, the movie doesn't really go anywhere.

Wow, I'm making it sound like a terrible movie, which it's really not. It's entertaining enough for a summer popcorn film, but Bourne movies are supposed to be a bit more intellectual and not mindless action. Renner and Norton are fun to watch, and I'm glad I chose this over Total Recall (will wait for Netflix). However, don't expect too much from this one. 6/10.

Top 100 of all time - #11-15

We're almost to the top 10 of all time. Some great films have graced this list thus far, but they are just getting better and better. These next five have 3 true classics, and two recent films that have made a lasting impact both on me, and on film. Without further ado.

#15 - The Departed, 2006.

I can't say enough about how great this film is. An all-star cast and fast-paced action behind a cat-and-mouse story. The third best film of the 21st century (so far) with Jack Nicholson's best performance since 1980, and that's saying a lot.

#14 - The Graduate, 1967.

This Dustin Hoffman classic to the tune of Simon and Garfunkel was the original "cougar" story. Mrs. Robinson is an iconic sex symbol for the ages. This film used to be a bit higher on my list, but after another recent viewing, it just didn't hold the same weight that it has in the past. It is still a truly remarkable work as a genre confused dark comedy/love story/tragedy. Mike Nichols' best work for certain, and it won him an Oscar for his effort.

#13 - Brokeback Mountain, 2005.

Robbed by Crash at the awards, Ang Lee got a much deserved Oscar, taking on a controversial love story that in my eyes is the purest and most beautiful tragedy ever put on film. Take that, Shakespeare. The passion between Heath Ledger and Jake Gyllenhaal shatters any homophobic pretense, and with the scenery and the setting, coupled with a moving score, this is the second best film of the 21st century. Near flawless in every way.

#12 - The Godfather, Part II, 1974.

Pacino and De Niro giving stunning performances about the Corleone crime family, the second film picks up right where the first left off, quality speaking. Francis Ford Coppola has created the finest two film saga ever with his works. Unfortunately, the third act outlived its welcome and put a smudge on cinematic history. Part two is a fine piece of work.

#11 - The Shining, 1980.

One of Nicholson's finer performances, it's one of the best scary movies ever made with equal parts claustrophobia and suspense. A family secluded in a summer resort during the off season, tasked with the role of caretakers, Stanley Kubrick brings to life Stephen King's vision as the father spirals into madness and his wife and son can only watch in horror. Frightening, but very entertaining.

Up next, the top 10...

Fall Movie Preview

Here's a little commentary on the upcoming films, both Oscar caliber, and those intended solely for entertainment. There are some seriously good ones slated for this season, even with the setbacks of Gangster Squad and The Great Gatsby. First, let's look at my picks for award-winning fare.

Lincoln.

This is my front-runner for Best Picture, Director, and Actor. It remains to be seen how well Spielberg has adapted Team of Rivals, but with a jaw-dropping cast, and Daniel Day-Lewis as the Great Emancipator, I'm eagerly awaiting its release. Slated for a November 9th opening, it has yet to give any hints beyond a couple of production stills. No preview is available yet, but I'm guessing it will come out within the next week or two unless there are post-production issues and the release date is in question.

Life of Pi.

I am just about finished with the book, and it is absolutely beautiful. Seeing the trailer, and knowing that Ang Lee is at the helm, it will be a masterpiece for sure. Already receiving buzz from the few festival crowds that have seen it, I'm guessing that there was great care taken in its adaptation. Best Picture and Director nominations for sure. Slated for a November 21 release.

The Master.

I'm a huge Paul Thomas Anderson fan, and this film will showcase Philip Seymour Hoffman in yet another strong role. The team swears that this isn't about L. Ron Hubbard, but let's allow audiences to decide. Set in the 1950's, there is a strange vibe to this film (not unlike all of Anderson's flicks), but given his history and attention to detail in his writing and direction, this will be worth seeing. Surprisingly, it's being released in September on the 14th. A bit early for awards, but I'll be there opening night.

Argo.

This is Ben Affleck's jump from surprisingly good director to A-list director. He's tackling an odd true story about a CIA team that attempts a hostage rescue under the guise of a film crew, but with a solid cast and a 1970's noir, this should be thrilling and splendid. Affleck gets a Best Director nomination for sure. Comes to theatres on October 12th.

Django Unchained.

Quentin Tarantino has a unique vision, and he always brings his A game as well as a growing list of A list actors clambering to work with him. Django is no different. Perhaps not serious in the way that the previous four films are, more of an action spaghetti Western, but look at Inglorious Basterds. The Academy is recognizing his contributions to the film community and Django will raise some eyebrows, as well as some money. Coming out on Christmas, this will be the highest grossing Tarantino film. Watch.

Other films on the horizon that might not win big awards, but will be worth watching:

End of Watch - will be an exciting cop drama in line with Training Day, but shot in some of the stylized first person perspective. Gritty action, expect lots of violence.

Trouble with the Curve - This could be a sleeper drama, much like Moneyball last year. America has a soft spot for baseball dramas, and this one has Clint Eastwood as an aging scout.

Killing Them Softly - Brad Pitt as a mob enforcer. Gandolfini, Richard Jenkins, and Liotta costar. Director Andrew Dominik has been around for a long time, but has only helmed 3 films in his career. The first two gained some critical attention.

The Sessions - John Hawkes is one of my current favorite actors. He gives so much depth and passion to his roles. He plays a man in an iron lung who hires Helen Hunt's character to help him lose his virginity. Interesting idea, and some potential great acting.

Flight - Denzel Washington and Robert Zemeckis team up for a Sully-like hero tale with a twist. This will be an emotionally charged thrill ride, and Denzel is one of the best around.

Skyfall - James Bond by Sam Mendes. What more is there to say? This might be the best Bond yet, and that's saying a lot.

Red Dawn - I know what you're thinking - remake of a bad 80's movie? You are correct. From the previews, it follows the story with a modification of North Koreans instead of Russians (makes sense), and takes place at the more appropriate West Coast instead of Colorado, which just doesn't make any sense at all - think Seattle invasion. Being a Washingtonian, I'm intrigued.

Hyde Park on the Hudson - This could be this year's King's Speech. Bill Murray plays FDR, and although the tone of this seems a bit more light than it could, which could hurt its chances come awards time, Bill Murray is an outstanding actor, and this could be a good history lesson.

The Hobbit: An Unexpected Journey - Not knowing yet where in the story the first installment leaves us hanging, Peter Jackson has proven time and time again that he has a direct line into the mind of J.R.R. Tolkien. This will be a continuation of the Lord of the Rings universe, and should be a bit lighter, but equally impressive.

Zero Dark Thirty - Kathryn Bigelow makes her return to the screen after her awards sweep in 2009 with The Hurt Locker. Keeping with her abrasive military genre stronghold, this film began production before the assassination of Bin Laden, but follows the Seal Team Six story with a blurry mishmash of fiction and redacted military transcripts. I'm a special forces buff, so I'm excited to see this one. Keep an eye on it as an awards dark horse as well.

Jack Reacher - Tom Cruise action film in late December. He's pulling out all the stops as he moves into his 50's, but he still has it, and will bring to life a character from the Lee Childs series of novels. This might be the next Bourne or Jack Ryan franchise.

I'll keep you all posted as these films come out. Lots to see this season!

Top 100 of all time - #16-20

Working quickly down the list, here are the next 5 films as we inch closer and closer to number 1. Of all time. Ever.




#20 - The Dark Knight, 2008.

Chris Nolan hit the mark with this one. With the mindblowing casting and performance of what will certainly go down as one of the eeriest form of life imitating art by a villain in cinema history, Heath Ledger owned 2008. Posthumously awarded the Best Supporting Actor Oscar, and rightly so, The Dark Knight did so much more than just showcase the greatest superhero bad guy ever; it changed the way that the Oscars are conducted. 2008 was the last year of 5 Best Picture candidates, and the whispers and behind-the-scenes chatter was that The Dark Knight was snubbed. There' simply no room for blockbuster action films when there are only 5 nominees, even if, in TDK's case, it is deserved. This film gave me one of those feelings that can truly only be felt upon first viewing in an IMAX theatre. Probably the most worthwhile admission price I've ever paid. Also, this film is the best sequel-in-a-trilogy of all time. Better than The Godfather, Alien, Terminator, or Star Wars (or Blade if you ask Jimmy N). And those 2nd films were all significantly better than the originals (except the Godfather).

#19 - Fargo, 1996.

When I was 18, I didn't truly appreciate the Coen Brothers and their unique film making style. In retrospect, Fargo was a work of genius. Frances McDormand and William H. Macy give performances of their respective careers and the story is dark, and not for everyone, but the Coen brothers have steadily proven to be among my favorites, and they are getting the critical acclaim that they deserve. I always look forward to their work. Their next directorial piece stars Justin Timberlake and Carey Mulligan, so I don't know exactly how I feel about that one yet. Fargo though, is a modern classic.

#18 - Citizen Kane, 1941.

Often synonymous with the top of the "best of all time" lists, I find Citizen Kane to be great, and absolutely superior for a film made in 1941, but I don't find it to have the same effect that 17 other films do. Orson Welles is a bit of an enigma in the film world, achieving massive success in his third film of an illustrious career with almost 120 acting roles, and over 40 written works and directorial credits. The kind of success he achieved in 1941 was the apex of his career that would last for almost 40 more years. Unfortunately, he was the voice of Unicron in Transformers the movie just before his death. What a way to go. Anyhow, Citizen Kane is prophetic in many ways about capitalism and corporate greed, and that one little word echoes long after you watch the film. "Rosebud..." The end is both a letdown and a punch in the gut. Oh, and the Best Picture winner that year? How Green Was My Valley. Oh how the academy regrets that.

#17 - Casablanca, 1942.

For some reason, I just can't separate Citizen Kane from Casablanca. There is something about the pair of films that ties them together. Maybe it's the whimsical magic of their stories or the legacy of their critical success. Either way, Casablanca used to be number 2 on the AFI list, but has fallen in subsequent publications. Containing many of the most quoted lines in cinema, and an unrequited love story involving exotic locales and Nazis. Great story. Definitely Bogart's best, no offense to the African Queen. Winner of the standard trifecta of Picture, Director, and Writer, it is a classic love story with only one making a stronger case in history (see #13).

#16 - American Beauty, 1999.

Kevin Spacey's Lester Burnham was as interesting a character as you could find during the years surrounding American Beauty, and Annette Benning as Lester's wife Carolyn was the perfect complement to their dysfunctional household. Sam Mendes is a rock star of a director, having really hit the mark in 4 of his 5 films to date, and he's going to bring James Bond to a new level in this November's Skyfall. American Beauty asked us to look closer, but what we found was a reflection of the typical American family and the problems that they hide away from plain view despite cheery outward appearances. Non-conformist conclusion, and some very uncomfortable themes, but effective and delicately executed.

Almost to the top 10 folks, can you guess what films remain? I'd love to hear your comments. You can anonymously (or not) post to the blog, or share your thoughts on my Facebook.

Top 100 of all time - #21-25

As we inch closer to the best film ever made, we will see some very familiar titles, and even 5 from the past few years. What do these recent films have in common? You might not appreciate them as much as I do.

Now, on with the final quartile.

#25 - Annie Hall, 1977.

I'm not normally a Woody Allen fan, but I can acknowledge that he has carved a niche as a film maker, and Annie Hall is his greatest achievement. He is an annoying character on screen, not unlike Larry David or George Costanza, but he creates good dialogue, and this film with Diane Keaton as his muse of the day, is a fantastic romantic comedy. Interestingly, Diane's nickname at the time was Annie, and her real last name is Hall, so go figure. The film won Best Picture, Director, Original Screenplay, and Actress. My challenge to you: Even if you don't like Woody Allen films, give Annie Hall a try.

#24 - Schindler's List, 1993.

Undoubtedly the most visceral look at the Nazi concentration camps during WWII that we've ever seen on film, Spielberg kicked his directorial resume into high gear on this one, ultimately winning him 2 of his 3 Oscars (Picture, Director). The other of course was Director for Saving Private Ryan. Schindler's List is a well-crafted and beautiful portrayal of one of the most tragic and incomprehensible events in human history.

#23 - Inception, 2010.

Okay, it may seem a little strange to you that Inception is at #23, ahead of so many other great films. Let's be honest; The King's Speech won Best Picture, but Inception was the best film of 2010. Additionally, it was something so clever and creative, that you really have to go back to the Matrix to find a better sci-fi story. Great acting and effects, Chris Nolan is my favorite action director right now (sorry Michael Bay), and makes me giddy thinking about the work he has yet to create in the future. He always entertains. That is the point. If you saw this film and wondered what the hell was going on in the opening scene, watch it again. Brilliant. A must see at least twice.

#22 - Butch Cassidy and the Sundance Kid, 1969.

Redford and Newman are the original Hollywood bromance. Their on-screen chemistry is incredible, and it's hard to tell who is the star and who is the sidekick as they rob trains and shoot em up coolly and calmly. You may say blasphemy, but I think this is a prime film for a remake. It could be done justice with the right stars and director.

#21 - To Kill a Mockingbird, 1962.

Gregory Peck as Atticus Finch has been declared the greatest film protagonist of all time by multiple sources, and I would agree with an asterisk. There may be two others, at numbers 4 and 5 on my list who could legitimately vie for that title. I read this book and watch the film every year with my 8th graders, and it is a powerful and resonant story of justice and injustice, the loss of innocence, and standing firm in one's morals and values, no matter what the consequences. Great conversation starters.

Top 100 of all time - #26-30

Moving into the top 30, we have a heavy influence of the 1970's and 1980's as well as one from the 1990's. We start to delve a bit out of the critically acclaimed and into more innovative mainstream fodder as well as some outstanding acting and direction.

#30 - Raiders of the Lost Ark, 1981.

Steven Spielberg, Lawrence Kasdan, and George Lucas unveiled one of the most iconic and recognizable name in film; Indiana Jones. Harrison Ford shone as the cocky adventure-seeking archaeologist, and we got a little taste of religious folklore mixed with Nazis and snakes. What more could you ask for? I probably watched this movie 50 times between the ages of 5 and 9, and I wanted nothing more than to be Indiana Jones, I even pranced around in my dad's fedora from time to time.

#29 - Scarface, 1983.

If Tony Montana taught us anything, it's that anyone can become a drug kingpin with a little dedication, and a lack of scruples. Written by Oliver Stone and directed by Brian De Palma, you can feel the pulse of the early 1980's in Miami with excess cocaine, bad music, and even worse fashion. Scarface has a few highly memorable scenes and some great actors who bask in the rich dialogue and opulent scenery.

#28 - Star Wars, 1977.

We've seen Return of the Jedi on the list, but the original episode that introduced us to the fascinating characters and the paradoxical "Long time ago in a galaxy far, far away" idea is better and this is why. There was no hype, expectation, or ego to prove that the characters are engaging. There was no audience expectation for box office success or need to tie a nice ribbon around the ending. No, Star Wars was raw and bold. George Lucas took a chance (and 20th Century Fox) on an $11 million dollar film that would go on to gross over $775 million. Not bad.

#27 - A Clockwork Orange, 1971.

A lot of people don't appreciate or enjoy Kubrick and his genius, but I do. Just like some people don't appreciate David Lynch or Federico Fellini (I don't). A Clockwork Orange is based on the novel by Anthony Burgess and ultimately glamorizes the dystopian future where sex and violence are law. Malcolm McDowell plays the antagonist, who has some oddly endearing qualities, but ultimately just scares the hell out of us. Kubrick leads my director list with 5 entries in the top 100, which is incredible considering he only directed 16 films in his 48 year career. I would put him right at the top of all time visionaries, and A Clockwork Orange is a disgusting masterpiece of anarchy. You get an uncomfortable feeling watching it, but that's the intent.

#26 - Braveheart, 1995.

The winner of 5 Oscars in 1996, say what you will about Mel Gibson, but this is an epic piece of storytelling, and although bloody and dirty, the themes run cleanly throughout. A man fearlessly leading his people against the tyranny of the crown. An inspiring ending and some action sequences that no doubt influenced Gladiator and Ridley Scott. Gibson has fallen hard from the A-list recently. Fast. But, Braveheart will always be a very impressive piece of work.

More to come...