All 14 DCEU Movies, Ranked from Hot Garbage to Cinematic Superiority

 

Though DC beat Marvel to the punch in bringing iconic superheroes to the silver screen, the legendary comics company was late in constructing an interconnected cinematic universe that paralleled the books. But after finally getting started in 2013, the DCEU now spans 10 years and 14 films. Here they are, ranked from worst to best.  

14. Birds of Prey

Birds of Prey and the Fantabulous Emancipation of One Harley Quinn is an ill-advised attempt to transform Harley Quinn into Deadpool. Unfortunately, one of the things that the filmmakers failed to capture is Deadpool's ability to be funny. It also wasn't the best idea to produce a movie set in Gotham City without including its most well-known citizen: Batman. The Dark Knight's absence could've been offset by the appearance of the Joker -- especially given that Harley was initially conceived as his love interest and sidekick (and the fact that every movie featuring him has been a hit).

One of the many missed opportunities here is the fact that Harley's birth name wasn't retconned into something less ridiculous than "Harleen Quinzel". At the very least her surname could've been changed to something more -- human -- like Quinlan, Quincy or McQuinn. And her first name could've always been Harley; her parents could've simply been bikers.

Following the lowest opening weekend of any live-action DC film adaptation since Jonah Hex, Birds of Prey seems destined to go down in history as another in an increasingly long line of high-profile movie flops. But it's not all bad. The movie's one stand-out is the relatively unknown (to the general movie-going public) Black Canary. Though a BC solo film without at least an appearance by either Batman or the Joker may not be such a great idea. My advice to Harley Quinn fans is to ignore Birds of Prey altogether and to just rewatch Suicide Squad.

13. Shazam! 2

The writing was on the wall well before this debacle premiered. A $125 million production tag combined with marketing costs totaling $105 million was much too large a sum to overcome the global apathy that accompanies a sequel to a movie that also lost millions at the box office (and also apparently required $105 million to promote). It doesn't help that the film isn't actually any good and isn't very surprising that it lost $166 million. 

12. Wonder Woman 1984

This cinematic disaster, which more closely resembles an actual 1984 movie, Supergirl, than its critically-acclaimed predecessor, features ultra-bright colors, a nonsensical plot and the title character swinging from bolts of lightning as though they were jungle vines, as well as non-consentually using a man's body to have sex with her long-dead boyfriend. The difference in the two films may be explained by the fact that director/producer Zack Snyder was no longer around to develop the story or to offer a guiding hand, both of which he did on the first movie. 

11. Wonder Woman

The DCEU beat the competition in bringing a female headlining comic book film to the screen first in this origin story about the iconic Amazonian princess. However, the hypocrisy of 2017's biggest movie celebrated for its diversity was glaring. While the studio took advantage of every opportunity to tout its female director and mostly-female cast and crew, the filmmakers were apparently unaware that non-caucasian women crave representation on-screen as well.

Sure, there were a handful of dark-skinned women sprinkled throughout the film's opening scenes. A couple of them were even granted minimal spoken lines. But a Black character integral to Wonder Woman's development and holding a prominent place in Amazon society (Philippus) -- no less than a general -- was inscrutably replaced by a white one (Antiope). While Antiope has been Wonder Woman's aunt since 1987 in the comics, Philippus has been the Amazon's general (and later, queen) and WW's combat instructor for the same length of time. Wasn't there enough room in the movie for both characters? There certainly is in the comics.

10. Blue Beetle

9. Aquaman

Aquaman is the DCEU's first attempt at aping the MCU's more comedic tone (which it wildly overshoots). It's also the first DCEU film to gross over $1 billion at the box-office. However, this accomplishment is more proof of the effectiveness of an uncontested (by big-budget spectacle) mid-December release date than it is of the movie's quality. The best thing about this goofy, underwater remix of Black Panther is that it features a standout villain in Black Manta.

8. Shazam

The original Captain Marvel finally made his big-screen debut in this movie that had no business being in the same cinematic universe as Man of Steel.

Fourteen-year-old Billy Batson has searched for his mom since he was separated from her at a local carnival at just four-years-old and placed into the foster care system. Unfortunately for Billy, when he finally tracks his mother down she reveals that she intentionally abandoned him all those years ago and still wants nothing to do with him. As a consolation prize, he's granted olympian-level abilities by an ancient wizard. 

7. Black Adam

Considering his professional wrestling background and ring persona in said sport, Dwayne "the Rock" Johnson's first comic book movie centers around a character that he was seemingly born to play. Unfortunately, the film itself is more representative of a squandered opportunity than a 15-year labor of love. All of the ingredients for a great superpowered epic are overshadowed by a misguided effort to copy the MCU formula -- which results in an overabundance of cheese and comedic misfires.

Luckily, the cast is more than capable and the visuals never fail to impress. If only the tone wasn't so Superfriends-esque. If a sequel get the greenlight, perhaps a new director will be exactly what the doctor ordered.

6. The Flash

Barry "the Flash" Allen (two of them, acyually) is overshadowed by the Snyderverse Kryptonians and Kara Zor-El (the first good live-action Supergirl) in his first solo feature film that, in spite of some goofiness and shoddy visuals, still manages to rise above several other DC (not to mention, MCU) movie offerings. Nevertheless, The Flash's box-office failure is immensely satisfying if for no other reason than the fact that actor Ray Fisher was unceremoniously written out of it.

The film's also refreshingly self-aware of how grating the title character's personality has been/is. Unfortunately, the filmmakers seemed to lack a similar level of insight regarding the Burton-era Batman's age as it relates to his inexplicable physical prowess.

5. Suicide Squad

Though Suicide Squad is the only live-action Joker-related movie to not feature the homicidal jester as the primary villain, the film does break new ground where the human hyena is concerned: Suicide provides the only glimpse of the Joker's time at the notorious Arkham Asylum.

We also see how he met his maniacal girlfriend, Harley Quinn. While a resident of Arkham, the Joker seduces Quinn, a psychiatrist treating him for various mental disorders. After convincing her to free him, Joker recreates the same circumstances that gave him his green-tinted hair and bleached skin: he throws her into a giant vat of toxic chemicals.

But we first see Joker at the height of his power as the psychopathic, tattoo-covered head of a Gotham City crime ring, with Quinn not far from his side. However, a high-speed chase with the Batman leads to Joker's purple Lamborghini in the Gotham River and Harley knocked unconscious and arrested.

Following the death of the Kryptonian Superman, the U.S. government approves a program, Task Force X, whereby convicted criminals with combat skills are recruited for extremely dangerous black-ops missions against threats for which the military is ill-equipped to handle. Participation leads to sentence reductions but the task force's members are fitted with nanite bomb implants that can be detonated remotely should anyone get out of line. When Harley is coerced into joining the program, the Joker tortures a prison employee into revealing the location of the facility where the nanite explosives are manufactured. After he and his goons muscle their way into the building, Joker pressures Dr. Van Criss, the engineer who developed the devices, into disarming Harley's implant.

Later, the Joker and his enforcers commandeer the chopper intended to extract the task force and open fire on the government operatives escorting them at the rendezvous point. The mission commander, Col. Rick Flag, attempts to detonate Harley's implant but because it was deactivated, she boards the helicopter in order to flee. Unfortunately for her -- and everyone else onboard -- the chopper's shot down. Bemoaning the death of her green-haired would-be savior, Harley, who survives, rejoins her squad and continues the mission. During the subsequent battle against an immortal deity known as the Enchantress, the latter provides Harley with a vision of her deepest desire: an idyllic life as the Joker's wife and mother of his children.

Having completed their mission objectives, the task force members are reincarcerated at Belle Reve Special Security Barracks, with a decade shaved off of each of their respective sentences. And the Joker -- alive and well -- and his enforcers subsequently break into the prison and liberate Harley.

4. The Suicide Squad

Although we still haven't gotten what we really want, the Ayer Cut of Suicide Squad, the DCEU has rolled out an R-rated follow-up with lots more supervillains and a much higher body-count.

One of the standouts from the first movie, Harley Quinn, is mostly annoying and an example of a schtick growing thin this time around -- she actually has a fight scene in which she's surrounded by animated flowers and cartoon birds. And apparently, she somehow became a ninja master -- while in prison? Although she's given plenty of spotlight, a couple of new characters (and one semi-new character) steal the show right from under her. Despite her constant association with rodents, new squad member Cleo "Ratcatcher 2" Cazo is easily half of the heart of the film (it's not often that you come across a supervillain who's overflowing with love). The other half, Robert "Bloodsport" DuBois, is only semi-new because as a Black assassin with weird guns, expert marksmanship and an estranged young daughter, he's awfully similar to Suicide Squad's Floyd "Deadshot" Lawton.

Besides Harley, Amanda Waller, team leader Rick Flag and Digger "Captain Boomerang" Harkness all return for this sophomore impossible mission as well. And this one is easily WEIRDEST comic book movie that comes to mind, with a humanoid weasel and swarms of rats and starfish playing pivotal roles in the story. There's also a walking, talking great white -- Nanaue -- but his low intelligence relative to humans makes him closer to the antagonist in Jaws than Jabberjaw. But hey, there's plenty of bloody gore and graphic violence to go along with the wackiness. 

While not quite as good as its predecessor, The Suicide Squad is exponentially better than the unwatchable Birds of Prey and provides a reasonably-entertaining opportunity to check back in with both Task Force X and the DCEU. Hopefully, we'll get another Suicide Squad sequel in the future (featuring Bloodsport, Ratcatcher 2 and Deadshot).

3. The Snyder Cut

After three long years of campaigning, fans of the original DCEU (which includes Man of Steel, Batman v. Superman and Suicide Squad) and director Zack Snyder succeeding in convincing HBO Max management to fund the completion Snyder's version of Justice League to the tune of $70 million. Snyder was removed from the project when executives panicked following negative critical reviews for BvS and Suicide Squad (though both were hits with fans and brought in hefty profits) and replaced with Joss Whedon, who essentially made an entirely different film. Though Whedon's movie was intended to please critics, it disappointed moviegoers and consequently cost the studio an estimated $60 million in losses.

The product of Snyder's original vision was released on upstart streaming service HBO Max on March 18 and proved so popular that it reportedly crashed the servers. The Superman, the Batman, Cyborg, Aquaman, the Flash and Wonder Woman all face-off against Darkseid and his lieutenant Steppenwolf in this four-hour movie.

The history-making Snyder Cut was well worth the wait (if only we could get the Ayer Cut of Suicide Squad). My cut would eliminate the team's infiltration of S.T.A.R. labs, the Superman's resurrection, the rooftop meeting with Commissioner Gordon (the latter two of which were largely intact in Josstice League) and the Martian Manhunter CGI but that would still leave you with a three hour-epic. After daring to kill of the Superman in BvS, director Zack Snyder had the audacity to bump off Aquaman, Wonder Woman and Harley Quinn as well. And he did it well.

When it's all said and done, perhaps the greatest trick Snyder would have ever pulled would be to unveil this opus that increased fan-demand (not to mention pleasing the critics) with a monumental cliffhanger and leaving Warner Bros. to pick up the pieces without sequels to complete the story. But they deserve it.

2. Batman v. Superman: Ultimate Edition

Batman v. Superman is the very first film to take Superman seriously -- after he reveals himself to the world. Man of Steel is unmatched in presenting his origin, but BvS actually considers Superman's effect on society -- much like The Dark Knight examined the unintended consequences of Batman's actions on Gotham City. Director Zack Snyder was undoubtedly tempted by the notion of being the first to use the gimmicky title, but Batman's name shouldn't have even been included, much less come first (Dawn of Justice is even dumber).

BvS and Civil War basically tell the same story: A clever, but physically powerless guy manipulates two famous superheroes into fighting each other from behind the scenes. One of the heroes is a billionaire, genius, heir to a business empire who uses technology to fight crime and the other is abnormally strong and exceptionally strait-laced. Because the heroes have caused a tremendous amount of collateral damage, government oversight seems inevitable. 

The difference is that where Civil War talks about the destruction left in the wake of the heroes' battles accompanied by quick snippets of news footage, BvS shows the toll it has taken on human lives -- both physical and psychological. The grand-scale of aerial combat to save basically, everybody from Superman's perspective in Man of Steel is contrasted here with the ground-level terror of those same people who only see themselves as innocent victims and bystanders from Bruce Wayne's perspective. But no one is a bystander when the entire planet is in danger.

This film is wholly about Superman and his place in the world. The exploration of Superman as a savior and an uncontrollable, potential threat is brilliant. He's simultaneously feared and almost worshipped as a deity. The comparisons of certain people in the film to Judeo-Christian figures are magnificent. This is a superhero film with philosophy. There's even a nod to Nietzsche. In fact, The Superman would have been a much better title than what the filmmakers settled on (Dawn of Justice is so corny, I can't even say it without shaking my head). Who he is, what his intentions are, whether he can be trusted, how he should be used. These are all questions that plague the global community, of which Bruce Wayne is only one member. 

Even so, Batman was incredible. As much anxiety as there was surrounding Ben Affleck's casting, it's clear that Daredevil simply wasn't the superhero movie for him. Or anyone else. This one is. Christian Bale is still the best Bruce Wayne, but Affleck has surpassed Michael Keaton as the greatest Batman. I, for one, can't wait to see him put the mask on again.

BvS has been widely criticized for essentially being too serious (i.e., more serious than any given MCU movie) and humorless (i.e., lacking the non-stop silliness present in any given MCU movie). Is it weird that critics simultaneously adored the original Jason Bourne trilogy (exceedingly serious, without a joke in sight) and Mission: Impossible - Rogue Nation (wall-to-wall yucks bordering on stupid-as-shit)? Or is it hypocrisy? 

1. Man of Steel

Although Kal-El is an alien, an immensely powerful one, he has no interest in conquest. He's lived on Earth since he was a toddler and loves his adopted planet. But there are other members of his species who absolutely do not come in peace.

After Kryptonian General Zod hijacks global communications and issues an ultimatum to the people of Earth, the newly-christened Superman surrenders himself to the warmonger in exchange for his promise to end the hostilities. Zod's home planet, Krypton, however, was destroyed and he and his followers decide that Earth would make for a nice place to settle down -- once all of the pesky humans are gone. It's not that he has anything against humans, he just wants to terraform the planet and change the atmosphere to one more conducive to Kryptonians -- which would render it uninhabitable to the people who already live here. But since the Earth's atmosphere, gravity and sun grant superpowers to natives of Krypton -- why bother? Whatever. You just can't tell some people a damned thing.

Updated 9/23/23

"Kicks" Movie Review

My boy Roland put me onto this indie gem from 2016 about one of a boy's first loves: his sneakers. Before you get your first car all you have are your J's...or Air Maxes...or Forces, etc. You gotta get your stroll on before you can get your roll on. The story is pretty common. But probably not one you've ever seen in a movie.

After good kid Brandon finally gets his footwear game up by snagging a pair of his dream kicks -- throwback red and black J's, he gets jumped (and the whole thing gets uploaded to Youtube) and robbed for his sneakers. So what does he do? After walking home in his socks, he goes to get them shits back, of course. Despite being in way over his head, Brandon jumps through hoops to track down the goon who snatched his J's. He even makes the trip to his uncle's (who he barely knows) house in Oakland because being a street veteran from the thug-in-question's stomping grounds, he probably knows exactly who he is. After receiving a not-so-warm welcome from his newly-acquainted family, Brandon is introduced to a whole new world when he hangs out with his cousins.

Kicks takes place in California's Bay Area -- a region rarely featured in films. Most California movies are set in LA or San Francisco. Oakland-native and recent Oscar-winner Mahershala Ali is featured as Brandon's uncle. Biggie's son CJ also appears as one of Brandon's closest friends.





Originally Posted 5/8/17

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"Without Remorse" is the Killmonger Prequel We've All Been Wanting

 

Without Remorse is the Killmonger prequel that we've always wanted -- but without the MCU's goofy style of comedy. In Black Panther, disillusioned former Navy SEAL Erik "Killmonger" Stevens, portrayed by Michael B. Jordan, explains that he's taken lives "in America, Afghanistan, Iraq..." All of these casualties were spurred by the murder of a loved one (his father). Well, Remorse shows disillusioned former Navy SEAL, Senior Chief John Kelly, also portrayed by Jordan, take lives in America, Syria and Russia. And the vast majority of these homicides are prompted by the murder of two loved ones (his wife and unborn child).

After returning to the states following a mission in Aleppo, Syria, members of Kelly's SEAL team are bumped off one-by-one by Russian nationals. Kelly himself almost becomes one of the victims but he manages to take out most of the hit team that breaks into his house -- but not before his pregnant wife Pam is shot to death. And not without taking enemy fire himself. What follows is a man-with-a-vendetta story that intersects with plenty of political intrigue involving shady intelligence operatives and clandestine missions as Kelly goes rogue (Jason Bourne-style) and liberally uses his license to kill. 

Technically, Without Remorse belongs to the Tom Clancy collection of films and television shows adapted from his books (The Hunt for Red October, Patriot Games, Clear and Present Danger, The Sum of All Fears, Shadow Recruit, Jack Ryan); it just happens to be the best of the bunch. And it's refreshing to see one of these stories not revolve around CIA analyst and supposed desk jockey Jack Ryan. John Kelly was originally portrayed by Willem Dafoe in Clear and Present Danger and later Liev Schrieber in The Sum of All Fears. But Jordan has utterly relegated these earlier portrayals to the realm of obsolescence. 

It was only a matter time until star and producer Michael B. Jordan launched another franchise. Beginning with 2015's Creed, he's been on a five-movie winning streak of excellent cinematic output. Without Remorse is number six. And a must-see.

Originally Posted 4/29/21

"Foxy Brown" Review

 

by Daniel White

Pam Grier is the titular (heh heh) heroine in director/writer Jack Hill's Foxy Brown (1974). An iconic role for the cult film favorite, she (almost) singlehandedly carries this seventies blaxploitation classic.

I say almost because her supporting cast of players ain't too shabby either. Especially Antonio Fargas as her ne'er do well brother, Link, and Kathryn Loder as a sloe-eyed villainess. Fargas provides the humor and Loder the camp factor, each helping to elevate this revenge fantasy flick.

It's far from perfect, but loads of fun, and with our leading lady displaying plenty of skin, sass and kickass moves, impossible not to enjoy. Who needs a decent screenplay when you have Pam Grier pummeling foes and flashing boobies? Foxy is a force to be reckoned with. Whether rescuing Link from a pair of homicidal goons, battling a bevy of butch gals in a gay bar, or setting fire to a couple of racist rapists, Foxy gets the job done! Foxy is invincible, Foxy is indestructible, Foxy is forever!

It's a literally unbelievable, at times cartooonish free-for-all that never strives for realism but always achieves satisfaction. Satisfaction for Foxy as she takes down the bad guys (looking fierce in outfits designed by Ruthie West) and satisfaction for us, the moviegoer.

The main titles are jaw-dropping, in a good way! Choreographed by Anita Mann, with effects by IMAGIC INC., they're incredibly funky. With the groovy music of Willie Hutch playing and our Pam dancing, they set the appropriate tone for what is about to unfold.

1974 gave us the prestigious Chinatown, Alice Doesn't Live Here Anymore, and A Woman Under the Influence. Foxy Brown belongs alongside them as well. It may not be as polished and well-crafted as those three gems, but culturally, it's just as important. An American International Pictures release, co-starring one of Rob Zombie's favorite actors, Sid Haig, as a lecherous pilot whom Foxy takes for a ride, Foxy Brown is currently streaming on Tubi.

John's Early Review of "Judas and the Black Messiah"

 

by John Zenoni

Tonight I had a chance to screen the much raved about film, ‘Judas and the Black Messiah’ and it's a film that definitely leaves you thinking after watching it - about the tension during that time period (the film is based in the late 60’s), the uprising of the people, the conflicts and the injustice toward minorities. It's definitely a period piece that captures your attention and makes you compare many things captured in the film to what is happening in our world today.

The film is about Fred Hampton, the Chairman of the Illinois Black Panther Party, and how he is eventually betrayed by someone in his own party, FBI informant William O'Neal. There are so many great elements to this film - the action, the dialogue, the backdrops, the speech scenes, and more. All of the cast is outstanding, especially Daniel Kaluuya as Fred Hampton and LaKeith Stanfield as William O’Neal. Both of them give outstanding performances and they stay with you long after the film is over. They are so believable that you feel connected to them while watching the movie.

It should be noted that this is not an easy film to watch at times due to the content and the many acts of hatred, name calling and injustice against other fellow humans that is portrayed but it's an important film to watch. Also hard is the growing tension that you feel building up in the film and the hurt and betrayal experienced by many.

If I had to find any fault at all with the film, I would say that I would’ve liked to have seen more development of the back story of Fred Hampton as well as more interaction between him and O’Neal. But this is a minor thing to say the least.

I didn't know that Fred Hampton was so young when the events happened in his life and it definitely makes you angry to know that he was a target when he was so young.

This is a powerful film and I can see why it's getting the attention and raves it is. Well deserved indeed!

Originally Posted 2/6/21

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"California Split" Review

 

by Daniel White

The primary purpose of a filmmaker is to tell a story, and tell it well. Robert Altman is a master storyteller. California Split (1974) is brilliant, a boisterous, bittersweet, buddy flick that shoots the moon. It also plummets into melancholia and despair. It's a rollicking, rueful rollercoaster ride that explores the furtive, endless, at times violent, shadowy world of compulsive gambling. Supplied with a hepped-up, autobiographical screenplay by Joseph Walsh, Altman, playing the Pied Piper, compels the movie-goer to follow him on this feverish jag.

Like our two protagonists, we are sprinting, we are swimming, we are spit-balling through the air. We are crashing into mud puddles and we are always on the go. Self-reflection is discouraged. Better to keep somersaulting forward, existing only on adrenaline and discontent. Though technically not a road movie, California Split feels like one. An energized, chaotic trip into the upside down land of addiction.

Charlie (the jazzed-up Elliott Gould) meets Bill (George Segal) at a 24-hour poker fest in Los Angeles. Mistakenly believed to be in cahoots, they get beaten and robbed. It's one of those disastrous nights that many a male friendship is built on. The seasoned Charlie pairs up with the less experienced Bill. Literally (and figuratively), they are off to the races. Charlie has learned to ride the waves but Bill is soon drowning, caught in the riptide of addiction.

Hungry for the high gambling provides, their relationship escalates. They pal around with a pair of prostitutes but only have eyes for the next big score. Gould and Segal are riveting, riffing and ping-ponging off each other. Male bonding has never been so exhausting. Broke and desperate to end a losing streak, Bill pawns his valuables and leaves L A. With good time Charlie in tow, the two take off for Reno, where the final half hour unfolds. Once they arrive, the movie ratchets up the intensity. We're right there with them, sweating it out with this duo of dice-throwing, card-playing junkies. Altman, Walsh, Gould, and Segal suck us in, spin us around, and spit us out. Thank you, gents, for supplying a crazy, cinematic, hot rod ride to the edge.

Co-produced by Aaron Spelling, the film co-stars Ann Prentiss and the permanently-perplexed Gwen Welles. California Split is currently streaming on Tubi.

Spike Lee Goes Back to War with "Da 5 Bloods"

Da 5 Bloods, legendary writer/director Spike Lee's follow-up to his last feature, the Oscar-winning BlacKkKlansman, is just as relevant to real-life current events. 

Lee's second foray into the war genre, Bloods, is only the third major release in the last quarter-century to explore the Vietnam Conflict through the eyes of African-American soldiers. However, the story draws more inspiration from much older films (1948's The Treasure of the Sierra Madre and 1979's Apocalypse Now) than 1995's The Walking Dead and Dead Presidents.

After discovering a cache of gold bars, squad members Norman Holloway, Paul, Otis, Eddie and Melvin resolve to somehow get the treasure back to the U.S. for the express purpose of financing the Civil Rights Movement. However, when "Stormin' Norm" is killed-in-action, the group abandons the gold and the plan. But 40 years later, the surviving veterans return to Vietnam with a two missions: recover Norm's remains and the gold. Along the way, the men face their fractured relationships, fatherhood, their pasts and themselves. Paul, suffering from severe PTSD and racked with guilt over Norm's death, is an unlikely Trump-supporter at war with himself; Eddie, who made it big after the war, lost a fortune and is struggling to hide that fact; and Otis, reconnects with an old flame who never told him that she bore his daughter.

Like 1999's Three Kings before it, Bloods is superficially about a group of soldiers intent on absconding with gold discovered in enemy territory. But Lee's Vietnam story is really an examination of the Black man's place in the American military, both during and after war. And appropriately enough, the film casts an eye at yesterday and today.




Originally Posted 6/14/20

"The Long Goodbye" Review

 

by Daniel White

Kudos to director Robert Altman, screenwriter Leigh Bracket and leading man Elliott Gould. They have successfully reinvented, revitalized and restored Philip Marlowe. The Long Goodbye (1973) serves as the vehicle in which the new Marlowe is unveiled. It's a humdinger, a neo noir for the ages. Altman astutely rescues the famed private eye from embalmment with this enthralling flick. It's a juiced-up, yet languid, ride prone to frequent, frenzied accelerations.

You know you've been shot down the rabbit hole when the opening credits reveal that Johnny Mercer and John Williams collaborated on the title track. The song surfaces absurdly throughout the film, underscoring the fact that life is a cosmic farce. Skylark meets Star Wars in this topsy-turvy world and the result is pure fireworks.

Elliott Gould is fly as Marlowe - a laid back quipster who finds himself with a target on his back when he helps a friend out of a sticky domestic situation. Scrambling to make sense of his pal's sudden suicide, he doggedly goes looking for answers. Eventually, he discovers loyalty dissolves into disenchantment - and worse, danger.

I kept thinking the plot reminds me of another movie. But it wasn't until the finale that the lightbulb went off: scenarist Leigh Brackett has penned a subtle homage to The Third Man! I tip my fedora to her and Altman, especially for their tree-lined street sayonara. Yowza!

Comparison is inevitable to the two Robert Mitchum outings released in the same decade. Both his films are serviceable efforts but neither is very remarkable and the actor is too old for the part. Altman, Brackett and Gould have made their Marlowe invaluable to a modern day audience, something the Mitchum flicks were unable to accomplish.

A newfangled retelling that is respectful of its origins, The Long Goodbye embodies everything that is excellent in a crime drama crafted in the post-studio system era. Dare I say it rivals Chinatown for worthiness. There! I said it and I stand by it!

I would be remiss if I did not mention the imposing Sterling Hayden as alcoholic writer, Roger Wade. I have never been a big fan of the big man but he is incredibly effective here. Hayden, along with Mark Rydell as a sadistic gangster, skyrocket this film into noir Nirvana. Produced by Altman's company, Lion's Gate, and distributed by United Artists, with the legendary Vilmos Zsigmond handling the cinematography and Nina Van Pallandt as the obligatory femme fatale, The Long Goodbye is currently streaming on Tubi.

"Black Panther" is a Comic Book Movie That Actually Has Something to Say

Infinity War was the biggest money-maker of 2018. But unlike Infinity War, Black Panther wasn't just a movie -- it was an event. And a cultural touchstone. And a watershed moment for big-budget filmmaking. 

Black Panther, even more than The Dark Knight, elevates the comic book movie to a genre that's capable of actually saying something. The film's complex social commentary far exceeds any other installment in the wildly successful MCU while still managing to become the third highest-grossing movie of all time in North America and rack up $1.34 billion at the global box office.

T'Challa, who protects his people under the guise of the legendary Black Panther, finally returns home to the seemingly third-world African nation Wakanda as the heir apparent following the death of his father, King T'Chaka, in Civil War.

Meanwhile, T'Challa's American-born cousin, Erik Stevens, is on a collision course with the new monarch, steadily inching his way to his ancestral home with single-minded determination. After becoming a Navy SEAL and graduating from MIT, Stevens honed his skills as a warrior in Afghanistan and other hot spots around the globe, picking up the nickname "Killmonger" (a reference to his considerable body count) along the way. His military career also includes black-ops missions in which he helped to destabilize governments.

With assistance from black market arms dealer Ulysses Klaue (first seen in The Age of Ultron) and Tilda Johnson, Stevens uses his skills to steal (or liberate) two Wakanda artifacts from a London museum. One of the items, a weapon, is revealed to be made of vibranium - the same Wakandan material that comprises Black Panther's suit and Captain America's shield.

After murdering both of his accomplices, Stevens' makes his way to Wakanda, where he reveals his native name (N'Jadaka) and the fact that he's of royal blood (as the son of King T'Chaka's brother) and thereby eligible to challenge T'Challa's claim to the throne. Following his defeat of T'Chaka in ritual combat, N'Jadaka does indeed assume the Wakandan throne and announces his intention to distribute the country's advanced technology and weaponry (based mainly on vibranium) to the African diaspora across the globe so that the world's Black population can rise up against white regimes. T'Challa, beaten to within an inch of his life and presumed dead, and his loyal supporters initiate a Wakandan civil war in order to stop the new king from inciting an international race war.

The central conflict in Black Panther stems from the ideological differences between T'Chaka and Stevens. The former is a staunch isolationist who continues Wakanda's previous rulers' policy of disguising the advanced nation as a third-world country, in part so as not to share their priceless reserves of vibranium that not only powers Wakandan technology but also bestows enhanced abilities upon the Black Panther. Stevens, on the other hand, not only wants to reveal Wakanda's true nature, his lifelong dream has been to expand the kingdom into an empire that dominates the rest of the world as insurance against the subjugation of Black people. T'Challa also acts as a stand-in for Black Africans while Stevens represents African-Americans, whom he views as being abandoned, historically, by the former.

Fittingly for a story about Native Africans, the cast is almost entirely comprised of Black actors.

Black Panther marks the third collaboration (all critical and commercial smashes) between writer/director Ryan Coogler and co-star Michael B. Jordan, placing them among the ranks of legendary cinematic teams such as Martin Scorcese/Robert DeNiro, Spike Lee/Denzel Washington and Tim Burton/Johnny Depp. And with his scene-stealing turn in BP, Jordan proves that he's just as adept at portraying villains as he is heroes.

Originally Posted 12/21/18

"Kiss Tomorrow Goodbye" Review

 

by Daniel White

Jimmy Cagney's final film gangster (unless you count "Moe the Gimp" Snyder in the musical biopic Love Me or Leave Me) is Ralph Cotter in Kiss Tomorrow Goodbye (1950). It's just as well the celebrated actor removed the bullets from his gat and shelved it after this flick - he's a little too old to be playing hot headed thugs.

Directed by Gordon Douglas, the film opens in a courtroom where Cotter's cohorts are being tried. Their sociopath of a ringleader is suspiciously absent - the victim of a dissatisfied colleague as the flick will eventually reveal. The trial scenes (there are several of them throughout the movie) do nothing to enhance the story. In fact, except for an exciting prison camp break, staged several minutes into the movie, the tale is less than memorable. A verbose, under-charged crime drama that promises to be the equal of White Heat - and fails.

It's too bad, because Cagney and his supporting players are working overtime to energize this flabby film. But the script is just so-so and the action mostly yawn-producing. I kept waiting for his chatty Cotter to transform into the grippingly psychotic Cody Jarrett. But he just keeps yapping like a caffeine addled lap dog until someone mercifully puts a couple of slugs in him.

The self-destructive Barbara Payton has a few good moments as Cagney's mercurial gun moll, Holiday, but she's no Virginia Mayo. Ward Bond, Luther Adler and Steve Brodie also turn in solid work. But the windy, at times illogical screenplay (why aren't the authorities looking for Cotter after that sensational shootout at the penal farm?) defeats them.

I had high hopes for this film. Excellent production values, a roster of some of Hollywood's hyper-talented character actors and an energetic, legendary leading man. The ingredients are all here, but the end result was decidedly disappointing. With William Frawley as a sarcastic prison guard and Helena Carter (with an inexplicable British accent) as Cagney's thrill seeking OTHER love interest, Warner Brothers' Kiss Tomorrow Goodbye is available on YouTube.

An Early Review of "Justice League"

I would be done with DC movies if it weren't for the villains. Justice League is all about putting together a superhero team but Steppenwolf, the leader of an alien invasion, stole the show. His cameo in the Special Edition Blu-Ray of Batman v. Superman is barely the tip of the iceberg. It's hard to imagine that Darkseid -- his nephew and boss -- can top him. I'd love to see a Steppenwolf edition in which Batman, Cyborg, Aquaman, Flash and Wonder Woman only show up when they're fighting the big man.

It's obvious that the people over at Warner Bros. made the mistake of taking the advice of the critics and ordered up the least mature DC movie since 2011's Green Lantern. The result is something that's almost unwatchable during the scenes where only the good guys are onscreen. Suicide Squad was good (Will Smith killed it) and Man of Steel and Batman v. Superman were even better. But because critics thought they were too serious the studio execs ignored the combined $1.6 billion they brought in and switched up the formula. Thus, you have this bucket of dishwater.  

Spoiler Alert:

The ridiculousness is off the charts. They've got Batman and Superman cracking jokes...there's even a reference to The Penguin. Wtf. Wonder Woman helps the police to violate some dude's civil rights; and Flash is like an annoying version of C-3PO -- with a cheesier costume. On top of all that -- six people -- each with their own supporting cast, are crammed into one movie and competing for the spotlight; half of them never said two words onscreen before. The only team that successfully pulled off this many introductions at once is Wu-Tang. At this point, I'm not sure I'll even bother with the Flash and Aquaman solo movies -- or Wonder Woman 2. But of all the stupid shit that takes place in this flick, Superman's resurrection is probably the lamest. We all would've been better off had the writers stuck to the 1992 storyline from the comics. At the end of the day JL is closer to Batman Forever than The Dark Knight. But as dumb as it is, Justice League is still 100 times better than Thor: Ragnarok.

And like I said, the villains are the ones that make this thing worth watching. Steppenwolf outshines everyone but if you're gonna give JL a shot -- don't miss the Deathstroke cameo during the post-credits scene.

Originally Posted 11/16/17

"The Lady from Shanghai" Review

 

by Daniel White

"You need more than luck in Shanghai."

The gorgeous Rita Hayworth knowingly says that line in The Lady from Shanghai, an amazing slice of skullduggery, courtesy of Mr. Orson Welles. After recently sitting through the exquisite-looking yet stale tomfoolery of Pandora and the Flying Dutchman, what a pleasure it was to bask in this intentional piece of chicanery. One was a pretentious mess that aimed for the ethereal and missed. The other? An earthy AND poetic near-masterpiece that soars to the heavens.

Why the comparison between the two? Because both featured two of Hollywood's succulent sex goddesses from the Golden Age, Ava Gardner and Rita Hayworth. The difference? The screenplays, with Orson Welles (among others) penning an extraordinary piece of writing. It's a nutty, lyrical joyride that the gifted, no longer boy genius takes us on. Does any of it make sense? Absolutely not! Does it matter? Hardly.

Displaying a pronounced Irish brogue, Orson plays Michael O'Hara, a worldly yet gullible seaman who allows himself to be hoodwinked by the alluring Elsa Bannister (Hayworth). Drawn into the nasty, fetid world she inhabits with her husband, lawyer Arthur (Everett Sloane), and his twisted partner Grisby (an incredibly greasy turn by the great Glenn Anders), "Black Irish" Mike is soon in way over his head.

A phony accent for Welles, a counterfeit bleached blonde hairdo for Hayworth, whose trademark red locks have been removed (sending studio head Harry Cohn into paralytic spasms). The Lady from Shanghai is all about fakery, falseness. Lies, subterfuge, missteps and misconceptions. Both on the silver screen and off... Their marriage ending, the estranged couple make for a fascinating cinematic duo, with Welles revealing an ugly side to one of America's favorite pin-up gals. How brave (desperate?) Hayworth was, to allow her soon to be ex-husband to expose her in this graphic manner. Mortally wounded, slithering across the floor of the illusive fun house, pleading with the demoralized O'Hara not to leave her alone while she dies... It's a transformative, defining scene in film history. Rita Hayworth felt trapped in the glossy, hypersexual image that Cohn (and her adoring audience) ensnared her in. For one poignant, telling moment, Orson Welles freed her.

Directed by an uncredited Welles, The Lady from Shanghai is a Columbia Pictures production with the always dependable Jean Louis clothing our stunning star. The Lady from Shanghai is available on YouTube.

The Best War Movies of All Time

It doesn't matter whether it takes place in France, Germany, ancient Greece or a galaxy far, far away -- war is hell. War movies were my grandma's favorite film genre, so I saw plenty of them growing up. Unfortunately, most of the classics haven't held up so well over time. With that being said and with War for the Planet of the Apes and Dunkirk on the horizon, it seemed like a good time to explore the greatest movies that capture conflict on a grand scale.





10. The Civil War

9. Schindler's List

8. The Pianist

7. 300: Rise of an Empire

The long-awaited Rise of an Empire was seemingly willed into existence by popular demand following the runaway popularity of 300 (which, not insignificantly, received a standing ovation at it's premiere), which is arguably director Zack Snyder's best film. As everyone who's seen the first film is aware, 300 is a story of martyrdom and self-sacrifice as all but one of the good guys are killed by the end. New director Naom Murro and still-screenwriter Snyder solve the dilemma of crafting a sequel to a film about the slaughter of it's heroes by setting the story (loosely based on historical events) after, before and during the events of the first movie.Naturally, new characters are introduced, but many return from the original as well. While 300 focused on Spartan foot soldiers on land, Rise explores the naval battles waged by their fellow Greeks that took place at around the same time.

The action centers around the conflict between the Greek forces led by the Athenian general Themistocles and the Persian invaders, in part led by Artemisia I of Caria, who was a real naval commander under orders from King Xerxes I. The plan was for a Greek coalition led by Themistocles to repel the Persian invasion at sea at the Straits of Artemisium while a Greek infantry led by King Leonidas I of Sparta held them off at the pass of Thermopylae long enough for reinforcements to arrive. The movie depicts exaggerated and fictionalized versions (especially some over-the-top and absurd scenes involving the perennially nude Eva Green who adds to her unclothed filmography here) of the historical Battle of Marathon, the Battle of Artemisium and the Battle of Salamis in 490 and 480 BC.

Like it's predecessor, which is also based on a graphic novel (an unreleased one in the case of Rise) Rise of an Empire has an R-rating, which allows for more on-screen gore, sex and other relatively more mature content. Unlike the 300s, most comics-derived fare is rated for teens, and as a result unnecessarily talks down to nearly every segment of the audience, while simultaneously failing to overcome the inherent silliness of the subject matter (notable exceptions include the Dark Knight trilogy). Rise also retains the graphic novel-style visual aesthetic and surreal fantasy elements of the original. 

Considerable criticism has been aimed at Rise for not living up to the original. The fact is that it's not exactly the same story, but neither is it a forced follow-up patched together in rush by a dozen screenwriters. 300's premise is unique and inherently more compelling simply because everybody kicks the bucket. Since it's based on a true story that involves many of the same people and events, Rise is less a sequel than the second half of the same story. Plus, the element of surprise is gone the second time around. 300 didn't look like anything else out there. If there were no 300, Rise of an Empire would be revolutionary.

6. Edge of Tomorrow

I gotta confess...when I saw the commercial for this movie I figured I'd skip it. I figured it would just be Tom Cruise going through the motions in a dumb, big-budget, glossy attempt to keep up with all the superhero flicks. I was so wrong I ended up going to see it twice. Tom Cruise's third alien invasion movie (and the only one without an assist from Morgan Freeman) is also his best. Edge of Tomorrow surpasses both 2005's critically-embraced (but audience-panned) War of the Worlds and 2013's excellentOblivion. While Worlds mainly focused on the civilian flight from the aliens andOblivion concerned itself with the aftermath of the invasion, Edge is all about the military's role during the war against the invaders. This film also provides much more information about, and glimpses of, the off-worlders. 

The heavy and detailed emphasis on the military makes it perhaps the best futuristic war movie of all time (The Empire Strikes Back is set "long, long ago", FYI). The film contains an amusing nod to another memorable sci-fi movie featuring the military as well. I'm not gonna spoil it by telling you which one. There is a significant amount of attention paid to combat training which is not customary at all for sci-fi war films. In this aspect, Edge is rivaled only by Starship Troopers and Edge is a far superior movie. Make no mistake, it is indeed a war movie, complete with Marine culture, scuffed up, tangible-looking high-tech weaponry and it has what could be described as the futuristic version of the opening of Saving Private Ryan. The most distinctive pieces of equipment featured in the film are the various exoskeleton battle suits utilized by the infantry in combat. Incidentally, such suits may not be science fiction for long as real life prototypes for similar types of apparatuses have been recorded as producing such results as lifting more than 200 lbs for the person donning it and walking at least one mile on a full charge.

The performances far exceed expectations as both recognizable faces and otherwise among the cast all manage to wholly disappear into their respective roles. Cruise in particular eschews his usual cocky, sometimes selfless, hotshot onscreen persona in favor of the complete opposite in order to render the cowardly and selfish Major William Cage. Displaying far more talent than is expected in a sci-fi action flick, Cruise really does seem like he's scared shitless and desperate to save his own skin when everything goes to hell. This isn't just "Tom Cruise in a battle suit". He's doing some acting here.Edge of Tomorrow is adapted from a 2004 Japanese novel entitled, "All You Need is Kill", which itself was partly inspired by the author's experience playing video games.









5. The Battle of the Five Armies

The final Hobbit movie (and 2nd-highest grossing film of 2014 worldwide) boasts a refreshingly dark and mostly serious tone (there is one jarringly out-of-place and embarrassingly cheesy joke late in the film - not one person in the theater laughed), which is in stark contrast to most of the goings-on in the previous two installments of the trilogy. I only liked the scenes involving the dragon in the first two movies (which amounted to much less than half of the running time in both cases), so suffice it to say my appreciation of this film was something of a revelation. In scope, sincerity, excitement and maturity The Battle of the Five Armies is actually more on par with the decade-old The Lord of the Rings trilogy than the Hobbit trilogy to which it belongs.

The Five Armies picks up precisely where 2013's The Desolation of Smaug ended: with the dragon Smaug leaving the Lonely Mountain after decades of occupation in order to exact retribution for Bilbo and the Dwarves' attempt to reclaim the treasure that he strong-armed from Thorin Oakenshield's royal grandfather long ago.

Director and co-writer Peter Jackson has received criticism for ultimately deciding to film a trilogy instead of the two-part series that he originally envisioned, the argument being that author J.R.R. Tolkien only devoted a small part of the book to the titular battle -- which is not enough to warrant so much time onscreen. Those who take this position overlook the fact that film is a VISUAL medium, which lends itself to action sequences (such as battles) much more readily than do books. Reading about a fight pales in comparison to watching one. Which is not to say that Five Armies doesn't have it's quiet moments. Funny enough, the one piece of the Hobbit collection named after an involved battle features the most introspection. As great as the Rings trilogy is, Bilbo, Thorin and the others face much more dire consequences and higher stakes in Five Armies that Frodo and the members of this fellowship in those films.

Be sure to be on time at the theater. Not only does the Middle Earth saga go out with quite a bang, the final film begins with one as well.

4. Fury

Fury is the best of only four tank films to be produced in the 21st century (if you don't count Fast & Furious 6). Like Saving Private Ryan, the HBO miniseries Band of Brothers and Enemy at the Gates, Fury perfectly captures the grittiness of the second world war. While it lacks the soul of Ryan and Brothers, fortunately it also lacks the contrived, love triangle melodrama of Enemy (the movie's love story appears nowhere in the non-fiction book on which the movie is based).

The film follows an American tank crew in 1945 Germany making it's way to Berlin during the last days of WWII. The title is derived from the nickname given to the tank (a M4A3E8 Sherman model) by the five men who have spent most of the war inside it. The crew belongs to "Hell on Wheels", the nickname given to the U.S. Army's 2nd Armored Division. Not surprisingly, the film picks up on the male bonding amongst the squad but without forcing it or becoming sugary. The main thing that doesn't quite ring true here (besides some highly unlikely battle outcomes given the weaponry involved) is some preachy and hokey dialogue spouted by Brad Pitt's Staff Seargeant Don "Wardaddy" Collier about the meaning and effects of war. 

The 134-minute running time belies the film's limited scope, but the restrained reach is a valid choice as it matches the claustrophobic confines of the tank, which comprise much of the crew's world. Fury appropriately pulls no punches in it's representation of the violence and carnage wrought by the Nazis' ill-conceived attempt at world domination. There are also glimpses of Germans living with the reality of their homeland being invaded. Not every war film manages to convey the cliche', "war is hell", but writer/director David Ayer leaves no doubt - which is the very reason the speechifying should've been left out. The visuals and tone get the message across. Pitt, Jon Bernthal, Shia LaBeouf and Jason Isaacs bring to life various veteran soldiers assigned to the U.S. Army's 66th Armored Regiment and invest in them a refreshing credibility. The performances combined with the overall atmosphere and exacting detail to the uniforms, equipment, etc. create the awe-inspiring authenticity which is Fury's greatest strength. 









3. Rogue One

Star Wars is finally back. Not a remix of the first two films -- an original Star Wars story. Last year's The Force Awakens had a lot of style but not much substance. Let's be real, it was more hype than greatness. Rogue One is actually about something.

The movie is marketed as a "stand-alone Star Wars story". But that's not really true. In reality, Rogue is a prequel and is key to the events that follow. There's also a small acknowledgement of what came before. But fortunately, it's nothing like those pre-Empire movies. Rogue has more in common with The Empire Strikes Back than those things.

To be honest, it's more like Empire than any other Star Wars movie. Vader is in beast-mode, the good guys aren't angels, there's no teddy-bear army and the "heroes" take extremely heavy losses.

In fact, this movie makes up for the wack stuff in Return of the Jedi. For instance, you get a battle that alternates between land and space -- but without the Care Bears.

Rogue One makes me never wanna watch the prequel trilogy, The Force Awakens or even Return of the Jedi again. Yeah, I said it. I definitely don't give a shit what happens to Kylo Ren, Rey and Poe Dameron in the future. At this point all the Star Wars saga needs is the original, The Empire Strikes Back and Rogue One. There's your new trilogy right there. 

Darth Vader is back too. Not a lame, groupie grandkid trying hard to be live up to the family name and not George Lucas' rewritten version of history -- this time the actual, choke-the-shit-out-you-quick, murder-my-own-officers-without-breaking-a-sweat Darth Vader. Not once does he break outta character and yell, "Nooooo!" like he did inRevenge of the Sith and the Special Edition Return of the Jedi (Smh).

Luke Skywalker and Princess Leia aren't the only Rebels with a dad who works for the Empire. Rebel Alliance recruit Jyn Erso's father Galen is the engineer who designed the Death Star. But in keeping with Star Wars tradition, "There is still good in him..." Actually, Galen was pressured into working on the superweapon and he reasoned that if he oversaw the design as opposed to someone else he could sabotage it. He even calls his file containing the details on how to destroy the battlestation "Stardust" -- the nickname he gave his daughter as a little girl.

For her part, Jyn only joins the Rebel Alliance so that she can help the rebels rescue her father from his involuntary work on the project. They want to help him defect because his inside information would prove invaluable. Jyn just wants her dad back -- especially since she also loses her surrogate father, Saw Gerrera, who raised her after Galen was initially pressed into Imperial service.

If we're lucky and if Lucasfilm is smart, this is a sign of things to come and not a stand-alone great story.









2. The Empire Strikes Back

The sequel that's far superior to the groundbreaking, revolutionary, blockbuster original. The adventure story that dared to combine substance and integrity with incomparable style. The film that had the gall to let you hear one of it's heroes scream in agony. And to let another of it's heroes fail. And go toe-to-toe with evil and not only lose decisively but to run away. Where an ally reveals himself to be a traitor, but not for reasons as cliche' or superficial as the promise of riches. Where a puppet looked more realistic, had more personality and remains more beloved than any computer-generated character even 35 years later, including The Lord of the Rings' Gollum. Where not one, but two of the hero's mentors display dubious morals -- at best. This is also the film in which the villain takes center stage and gets revenge. It's also the film that visited the most locations in space (the ice planet, the swamp planet, the cloud city, the asteroid and Super Star Destroyer). It has textured, dirty, used, so real-looking-you-swear-you-could-reach-out-and-touch-them spacecraft. It has science (sort of) and sorcery, existentialism and non-cheesy romance. Empire contains the least drastic changes of the trilogy (George Lucas' so-called "improvements" to the films made 20 years after Star Wars' debut), though the Emperor's appearance was thankfully boosted to the caliber of the rest of the visuals. Empire proves that when a film is great, without qualification, it's alright to have a tragic ending. And if you decide to make a sequel, people will show up in droves because they don't just want to know, they want to see, what happens next.

Whether Lucas recognized his limitations or simply found that he was too busy as a newly-independent producer, passing the respective writing and directing reins over to Lawrence Kasdan and his old film school professor, Irvin Kershner, was his wisest decision since bringing his saga to the screen in the first place. Like The Winter Soldier 34 years later, Empire is completely different from its predecessor. The emphasis was re-focused onto character while doubling up on the visuals and excitement. Everything was honed to perfection.

Darth Vader was never better (the same holds true for Boba Fett). He no longer boasts or shouts angrily as he did in Star Wars. His short temper has been replaced by the imperturbable, matter-of-fact malice witnessed in one too-brief scene in Star Wars(where he calmly, telekinetically strangles one of his cohorts at a meeting). He's no longer a caricature with distinctive heavy breathing, he's a so-hardened-he's-irredeemable, barely human warrior who's seen it all and lost the capacity to be moved or impressed. He's the template for The Terminator's T-800 and No Country for Old Men's Anton Chigurh. He's so villainous that he murders his own officers for failing, severs his only son's hand and casually plots to overthrow and murder his mentor. This film reveals the true nature of the galaxy's power structure -- Vader allows the Emperor to sit on the imperial throne -- for now -- but he's really the one calling the shots (a la Dick Cheney or Tony Soprano when Uncle Junior was the New Jersey don). Even his helmet is shinier. This is the king of bad guys at his finest.

The "space opera" takes cues from no less than Shakespeare and Greek tragedy, with a touch of Hamlet and Oedipus Rex. Life was hard for Luke in Star Wars (he was an orphan who found the corpses of his murdered aunt and uncle, watched his mentor die and lost a childhood friend on a suicide mission), but things got worse a mere three years later and he does not make it out in one piece. While he overcame his self-doubts in Star Wars, even more of his personal flaws are revealed here and the villain's restraint and ulterior motives are the only reasons they don't become fatal. Both Yoda and Kenobi use Luke in order to satisfy their desire for revenge. They conceal from him the true nature of the suicide mission for which they are preparing him -- to unwittingly murder his own father. It's worth noting that both chose to live in hiding for decades instead of undertaking said mission themselves. How's that for complexity?

The distinctive score debuted in Star Wars is enhanced, most notably with the addition of the "Imperial March", which netted composer John Williams both a Golden Globe for best soundtrack and a Grammy.

Empire is one of the greatest films of any genre ever made and it's the Michael Jordan of adventure and fantasy films. It's much better than anyone could have ever expected or imagined it to be. Critics that likened Guardians of the Galaxy to Star Wars films could not have been referring to this one. They must have had Attack of the Clones in mind. The Empire Strikes Back is so good that it's not merely the best fantasy film. It should be referred to as the fantasy film.

1. Saving Private Ryan

Surprisingly inspired by true events, Saving Private Ryan is all about a mission to find the last surviving son of the Ryan family and send him home from the war alive and well. It is without a doubt the best military film of all time and legendary director Steven Spielberg's best work.

Over the protests of the surviving men under his command, Captain John H. Miller is tasked with the mission to rescue the last living Ryan brother (two of his brothers were KIA on the beach at Normandy and the third was killed by the Japanese in New Guinea) of an Iowa family from behind enemy lines before a German mortar round or bullet finds him first. Captain Miller receives the assignment after leading the remaining members of his squad from the 2nd Ranger Battalion of the 29th Infantry Division through the landing at Omaha Beach during the D-Day invasion, during which American casualties numbered over 2,000.

First, they must find Private James Francis Ryan, a paratrooper and member of the 101st Airborne Division, who may or may not still be alive and who could've landed almost anywhere in the French countryside.

Like I said, the movie is loosely based on a true story. During WWII, the Army sent Fritz Niland home early after his three brothers were reported KIA. Fortunately, reports of Fritz's brother Edward's death turned out to be unfounded. He made it back home to America as well after escaping a Japanese prison camp.   

Originally Posted 7/8/17

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