All Time Hit Movies of Hollywood - Crime, Thriller, Suspense, Action, Adventure, Romance

The Shootist - 1976

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 17:59:00 +0000

John Wayne's another classic .... This movie is an much watch ...

In his last movie, John Wayne plays J B Books, an ageing former gunfighter who arrives in Carson City. Books has in the past killed thirty men in gunfights and has become a legend of the West, but this hard-won status has brought him unwelcome attention from would-be gunslingers hoping to gain their own place in history as `the man who shot J B Books'. Early on, Books is told by his old friend Dr Hostetler that he is dying of terminal cancer, and the film chronicles the last week of his life, from 22nd to 29th January 1901, his search for a dignified death in accordance with his own code of honour.

The film is about both endings and new beginnings, so it is significant that the action takes place in the first month of a new century. January 1901 marked not only the beginning of a century, but also the end of an era, because it was the month in which Queen Victoria died; this event is referred to several times in the film. The days of the `Old West' were also coming to an end; under the influence of new inventions such as the motor car and the telephone (both of which appear in the film) it was becoming a quieter and less lawless place.

The time of year is significant in another way. A film which is about both the end of a man's life and the end of an era will inevitably be elegiac in tone, and the standard way of making it would be to film it in autumn, with plenty of shots of falling leaves and grey, misty skies. Don Siegel, however, takes an alternative approach, setting the film during a brief period of brilliant winter sunshine and mild weather known as a `false spring'. This not only provides some strikingly beautiful images, but also has a double symbolic meaning. For Books and for the Old West it is winter; but for the younger generation, spring is coming. One of the most touching features of the film is the relationship between Books and Gillom, the son of his landlady. Gillom idolises Books and treats him as a hero; Books, in the last days of his life, treats the young man as the son he never had and tries to teach him that there is a better way than that of the gun. The Old West may be passing into history, but there are indications that the New West, although it may be less picturesque, will be a better place in which to live. If winter comes, can spring be far behind?

The film itself also turned out to mark the end of an era in more ways than one. Although there is some doubt whether Wayne actually knew in 1976 that his cancer had returned, we now of course know that it was to be his last film and that he was to die about three years later, and this knowledge makes the film all the more poignant. It was also one of the last of the great Westerns. Although the genre had seemed in reasonable health in the early seventies, it was to suffer, for various reasons, a sharp decline in the second half of the decade and throughout the eighties. Perhaps the standard conventions of the genre had become so familiar that they seemed like clichés; perhaps the post-Vietnam generation had no time for films which often had as their themes honour, glory and courage. (It is notable that the patriotic war film underwent a similar decline at the same time). Certainly, the financial failure of `Heaven's Gate' made investors wary of backing westerns. Even Clint Eastwood, who had seemed to be the heir-apparent to Wayne's crown as King (or should that be Duke?) of the West, abandoned the genre for a time, although he was to return to it triumphantly with `Unforgiven' in the early nineties.

Wayne's great strength as an actor was his ability to convey the tough but honourable man of action. Both these qualities are present in `The Shootist', but he was able to add further qualities, pathos and as sense of a less honourable past. Although Books is hard-bitten and irascible, he is also fundamentally decent, resorting to force only in self-defence. He can show pity- early in the film he spares the life of a villain who tries to rob him at gunpoint, even though he has the man at his mercy. Nevertheless, we are always well aware that he did not gain his fearsome reputation by a scrupulous observance of the Ten Commandments; although this is not an overtly religious film, the story of his last days can be seen as the story of his search for atonement as well as for dignity. In his last film, Wayne achieves one of his greatest performances; it is remarkable that he was not even nominated for an Oscar.

The other performance that stands out is that of Ron Howard as Gillom. Howard, of course, is now best known as a director; if his acting career is remembered it is for his role that bland TV series `Happy Days'. Nevertheless, he was also capable of giving good contributions in films (`American Graffiti' is another example), and here he brings a touching youthful innocence to the part. There are also good contributions from James Stewart as the gentle, dignified doctor and from Lauren Bacall as Gillom's mother. (She has the unusual Christian name Bond, possibly symbolic of the close ties that grow between her and Books at the end of his life).

`The Shootist' is a marvellous film, sombre and elegiac, and yet at the same time with a message of hope. A fitting end to Wayne's career.

Stars: John Wayne, Lauren Bacall and Ron Howard
Director: Don Siegel
Writers: Glendon Swarthout, Miles Hood Swarthout

The Searchers - 1956

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 17:30:00 +0000

Even if you've never seen John Ford's THE SEARCHERS, you will have, undoubtedly, seen a film that owes it's 'style' to the film. DANCES WITH WOLVES, THE OUTLAW JOSIE WALES, UNFORGIVEN, JEREMIAH JOHNSON, and OPEN RANGE are just a few westerns that have 'borrowed' from it, but THE SEARCHERS' impact transcends the genre, itself; STAR WARS, THE English PATIENT, THE LAST SAMURAI, even THE LORD OF THE RINGS have elements that can be traced back to Ford's 1956 'intimate' epic. When you add the fact that THE SEARCHERS also contains John Wayne's greatest performance to the film's merits, it becomes easy to see why it is on the short list of the greatest motion pictures ever made.
The plot is deceptively simple; after a Comanche raiding party massacres a family, taking the youngest daughter prisoner, her uncle, Ethan Edwards (Wayne), and adopted brother, Martin Pawley (Jeffrey Hunter), begin a long quest to try and rescue her. Over the course of years, a rich tapestry of characters and events unfold, as the nature of the pair's motives are revealed, and bigoted, bitter Edwards emerges as a twisted man bent on killing the 'tainted' white girl. Only Pawley's love of his 'sister' and determination to protect her stands in his way, making the film's climax, and Wayne's portrayal of Edwards, an unforgettable experience.

With all of Ford's unique 'touches' clearly in evidence (the doorways 'framing' the film's opening and conclusion, with a cave opening serving the same function at the film's climax; the extensive use of Monument Valley; and the nearly lurid palette of color highlighting key moments) and his reliance on his 'stock' company of players (Wayne, Ward Bond, John Qualen, Olive Carey, Harry Carey, Jr, Hank Worden, and Ken Curtis), the film marks the emergence of the 'mature' Ford, no longer deifying the innocence of the era, but dealing with it in human terms, where 'white men' were as capable of savagery as Indians, frequently with less justification.

Featuring 18-year old Natalie Wood in one of her first 'adult' roles, the sparkling Vera Miles as Pawley's love interest, Wayne's son Patrick in comic relief, and the harmonies of the Sons of the Pioneers accenting Max Steiner's rich score, THE SEARCHERS is a timeless movie experience that becomes richer with each viewing.

Starrer: John Wayne, Jeffrey Hunter and Vera Miles
Director: John Ford
Writers: Frank S. Nugent , Alan Le May

True Grit - 1969

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 17:22:00 +0000

I have a kind of synchronistic relationship with this movie. I had dinner in a Chinese restaurant in Washington, DC, called "Chin's", and the next day sensed in the theater that the Chinese guy would be called "Chin." A bit later I bought a worn paperback copy of the novel in Mrs. Cohen's bookstore in South Windsor, Connecticut, not expecting much. The dialogue in the movie was stilted. I figured the novel was just some exercise in style. But that was wrong. The novel is even better than the movie. Charles Portis has got Arkansas of circa 1890 down pat. I looked up in the DARE all those expressions that didn't immediately click with me -- "blue john", "that's a big story," "barlow knife," "dogfall," "Christmas gift" -- and they all work. Portis hit every nail on the head, and not only with respect to lexicon. The novel as a whole is beautifully done. Not to denigrate the movie, though. Kim Darby and the other players are good. John Wayne is excellent as a character actor. His performance here ranks up there with his Captain Brittles in "She Wore a Yellow Ribbon." Why in God's name, after this, did he go back to his usual heroic roles in dismissable efforts like "The Train Robbers." Every word he utters here is "Rooster Cogburn," not "John Wayne," except for one exchange on horseback about Quantrell. Hoarse, drunk, smelly, weighty -- he embodies the part. The cinematography is without equal. Sharp, smooth. A viewer almost smells the junipers and pinon pines of the Colorado mountains and feels the nightly chill in the air and whiffs the campfire smoke. A marvelously done novel turned into as good a movie as possible. At one point, with nothing much being made of it, Kim Darby says of alcohol, "I would not put a thief in my mouth to steal my brains." Portis shouldn't get credit for that because it is a quote from Shakespeare.

Starrer: John Wayne, Kim Darby and Glen Campbell
Director: Henry Hathaway
Writers: Charles Portis , Marguerite Roberts

My Summer of Love - 2004

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 07:52:00 +0000

Two adolescent girls from very different background meet up in the North English countryside. They both come from dysfunctional families – one, Mona, is cared for by her born-again brother who is busy turning their inherited tavern into a place of 'worship'. She has a motorbike without an engine that she bought for a tenner from some gypsies. The other girl, Tamsin, has come home from (or been temporarily expelled from) her public school and has come home for the summer to the family mansion and frequently-absentee parents. Somehow they each seem to provide the emotional jigsaw piece that the other lacks, and a tender love affair develops between them.

My Summer of Love is a light-hearted mix of drama and comedy, and would probably stop at being pleasantly superficial were it not for the remarkable performances of the lead characters. Two relatively unknown actors have been coaxed by Director Paul Pavlikovsky to bring us performances that are so vibrant and unique that we remain glued to the screen throughout. At the film's world premiere at the Edinburgh International Film Festival, I asked Pavlikovsky and his leading ladies Natalie Press and Emily Blunt whether the screenplay was scripted or a combination of script and improvisation. They enthused about his 'mad' techniques and 'riffing' performances until 'little gems of dialogue' appeared and were worth keeping. Some dialogue is from their original script, but when I asked if that meant some was improvised he said that improvisation often results in clichés, which is the opposite of what they were trying to achieve. In the search for 'gems of dialogue' some of the scenes would be workshopped beforehand, but with a certain amount of leeway to see what worked when they were actually shot.

Starrer: Natalie Press, Emily Blunt and Paddy Considine
Director: Pawel Pawlikowski
Writers: Helen Cross (novel), Pawel Pawlikowski

The Tenant - 1976

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 07:39:00 +0000

Roman Polanski is considered as one of the most important directors of our time, as the mind behind classics such as "Rosemary's Baby" and "Chinatown". Probably what makes Polanski's cinema a very interesting one is the fact that while he is capable of creating commercially attractive films such as the afore mentioned masterpieces, he is also fond of making low-key movies that are of a more personal nature. "Le Locataire", or "The Tenant", is one of those movies; a horror/suspense story about paranoia and obsession that is among his best works and probably among the best horror movies ever done.

Polanski himself plays Telkovsky, a young man looking for an apartment in France. When he finally finds one, he discovers that it is empty because the previous tenant, Simone Choule, attempted to kill herself by jumping out of the window. After Simone dies of the injuries, Trelkovsky begins to become obsessed with her, to the point of believing that her death was caused by the rest of the tenants in the building.

While sharing the same claustrophobic feeling of his other "apartment-themed" films ("Repulsion & "Rosemary's Baby"); this film focuses on the bizarre conspiracy that may or may not be entirely in Trelkovsky's head, the catastrophic effects the paranoia has on his mind, and the bizarre obsession he has with the previous tenant.

Trelkovsky's descend into darkness is portrayed perfectly by Polanski. While at first his performance seems odd and wooden, slowly one finds out that Polanski acts that way because Trelkovsky is meant to be acted that way; as a simpleton with almost no life, who traps himself in this maddening sub-world that happens to be inhabited by a collection of bizarre people. The supporting actors really gave life to the people in the building creating memorable characters that are very important for the success of the film.

Also, the beautiful cinematography Polanski employs in the film helps to increase the feeling of isolation, and gives life to the beautiful building that serves as cage for Trelkovsky. The haunting images Polanski uses to convey the feeling of confusion and madness are of a supernatural beauty that makes them both frightening and attractive.

If a flaw is to be found in the film, is that it is definitely a bit slow at first. this may sound like a turn-off but in fact the slow pace of the beginning works perfectly as it mimics Trelkovsky's own boring life and how gradually he enters a different realm. Also, the convoluted storyline is definitely not an easy one to understand due to the many complex layers it has. However, more than a flaw, it is a joy to face a thought-provoking plot like this one.

While "The Tenant" may not be for everyone, those interested in psychological horror and surreal story lines will be pleased by the experience. "Le Locataire" is really one of Roman Polanksi's masterpieces.

Starrer - Roman Polanski, Isabelle Adjani and Melvyn Douglas
Writer & Director - Roman Polanski

Bitter Moon - 1992

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 07:33:00 +0000

Roman Polanski again explores the depths of the human psyche in Bitter Moon, a magnificent epic tale of obsessive lust and the oh-so-familiar winding course of a passionate romance gone sour.

Bitter Moon centers around a familiar Polanski theme, that we are capable of being both torturer and victim, and usually both simultaneously. For anyone who doubts the validity of much of the past century of French intellectual thought, from the likes of Andre Gide, Foucault, and others, see this movie. For anyone who has been in a painful twisted relationship, see this movie. You will understand it. Some of it might be hard to stomach but that is the nature of truly great filmmaking.

A beautifully crafted movie, almost lyrical at times, Bitter moon is set in contemporary Paris but is told in a series of long complex flashbacks superbly narrated by Oscar (a terrific Peter Coyote) to Nigel (Hugh Grant as the usual British prat), both passengers on a cruise ship to India. Nigel and his wife Fiona, played by Kirsten Scott-Thomas, are on a holiday to enliven a stable but stale marriage. The couples become embroiled through the lurid tale of Oscar and Mimi's (Emmanuelle Seigner) love affair. Emmanuelle, Polanski's real-life wife, is superb and her incredible performance takes her from sumptuous beauty to complete wreck, a performance that deserves far more praise than was received. The lack of attention to her performance in this movie is no doubt due to the notoriety in the puritanical American press of her husband.

As a whole, Bitter Moon may not be Polanski's best film but some periods of the movie represent his very best work. Throughout, limits are pushed to the brink of tastelessness but Polanski masterfully pulls back just in time. The direction is complex and highly sophisticated and the movie arouses a range of emotions from dread to empathy to disgust to hilarity. The story line is far too complicated to synopsize appropriately in this review. Bitter moon is a great film, one of this reviewer's top 10 for the 1990s.

Starrer - Hugh Grant, Kristin Scott Thomas and Emmanuelle Seigner, Peter Coyote
Director - Roman Polanski
Writer - Roman Polanski

Gladiator - 2000

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 05:51:00 +0000

The epic blockbuster returns with the 21st Century's answer to Cecil B DeMille, Ridley Scott and his dramatic tale of courage and revenge, GLADIATOR - "the general who became a slave, the slave who became a gladiator, the gladiator who defied an emperor".

Once a great roman General, and as good as adopted son of Marcus Aurelius Caesar (Harris), Maximus (Crowe) is forced into exile by Commodus (Phoenix), heir to the throne, after the death of Marcus. Saved from death by slavers, he is purchased for use as a gladiator by Proximo (Reed) and ends up in the arena of all arena's, the Colloseum, where he proves unbeatable under his guise as "The Spaniard".

And with a budget of over $100m, Scott certainly delivers the goods. GLADIATOR transcends the notion of 'blockbuster' that we have become accustomed to in the age of electronic and special effects wizardry and instead offers a good old fashioned action film along the lines of Spartacus and and Ben Hur. Not only are we drawn into an archetypal story that contains all the classic elements a filmgoer could dream of (love, loss, courage, despair, good triumphing over evil etc etc) - also on offer is a visual feast of cinematic painting after painting - a rich tapestry of images that are breathtaking and ultimately visually satisfying. From the plains of Germania, to the desert stronghold of Zuchobar, and finally to great Rome herself, John Mathiesion, the cinematographer is to be commended highly for his general inventiveness and ability to capture so much on film. The opening battle scene is superb as a cast of thousands erupt across the screen and provide an indication that we are about to see a film that pays incredible attention to detail throughout its entirety. In every way, Scott has created a world for us that scuttles films of similar epic undertakings (and budgets!) and sends them to their dooms at the bottom of the murky depths of film history where they belong.

The cast is generally very strong. Crowe proves himself very suitable to the task with a great emotional range and depth of character. His accent ocassionally bugged me (as did the mish mash of accents on offer - but that is I guess a legacy of 'internationally casted films'), but this aside, he was well and truly up to the task. Phoenix is also excellent as the disturbed Commodus, as is Nielson as Lucilla, the daughter of Marcus who "should have been a son" and finds herself torn between loyalty to her brother and doing what is 'right'. The old guard thesps of Harris, Reed and Jacobi (Grachus) are uniformly strong as supporting characters, and Spencer Treat Clark (Lucius) does a fine job as the young heir to the throne.

Add to this great cast excellent editing and post production work, and an intricate soundscape (including a magnificent Hans Zimmer score), and you have a film that, despite its length, was highly palatable and had me in there from beginning to end. A must see.

Starrer - Russell Crowe,Joaquin Phoenix and Connie Nielsen

Director - Ridley Scott

Writer - David Franzoni

Clockers - 1995

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 05:43:00 +0000

It is not an easy film. It is bleak and at times very off-putting. Actually, if you are a thinking, caring person, this is movie is overall heart-breaking.

But it is brilliant and, for the person who truly tries to understand it, a compelling, insightful look at the problems killing black America today. The only reason for the film's lack of recognition I can imagine is that its subject matter had been examined a number of times before. But the inescapable fact is that this one of the best examinations of the subject matter there has been on screen - on par with "Boyz N The Hood".

And it is FAR from uncreative. In fact, on one level, it is not a "hood" movie, but a whodunit. The mystery aspect of the plot is very interesting. But there are other, more important layers. It is the story of the confusion and crisis of a young man's life. Most importantly, it is a brutal look at drugs, guns, and life in the projects. It is a movie asking why so many young black men are dying in the streets.

The lead character Strike has a stomach problem. It might be an ulcer or something like that. I believe it is a metaphor. Just as heat represented racial tension in Lee's masterpiece "Do The Right Thing", Strike's sickness represents the illnesses plaguing the ghetto: drugs, guns, liquor.

Like DTRT, this film looks at community. The mothers, the cops, the young people, the kids, the men trying to make a living - there is eloquent commentary in "Clockers" on the situations of all. In Spike's movies, paying a little attention is rewarding. A good essay could be written on what I call the Spike Summarization technique. This is when Spike compresses a serious debate or concern in the black community into a few expressive moments of action or dialogue. There are better examples in other movies, but it manifests in "Clockers" a few times. A bunch of kids are sitting in front of Rodney's (Delroy Lindo) shop; one of the kids is rapping while the others pay attention. The two sides to the coin: we feel the artistry and skill of the moment, the continuation of a rich tradition of oral art; we're also struck by the cruelty and coldness in the kid's violent lyrics, and we think about where that comes from.

Stylistically, this movie is a huge success. The cinematography is amazing, and I wonder what must be wrong with my tastes when I'm floored by a film like this and find visually bland a more oft-praised classic. The projects become blinding panoramas, landscapes which add tons of meaning to the poignant ending (I won't reveal it here). The sound is great; many films of this nature use hip hop in the soundtrack to produce certain effects, but "Clockers" does it in a more methodical way which jars some people, but contributes to the film's meaning.

I could say more about the film, but I encourage you to just see it, along with the rest of Spike's oeuvre. He's not a perfect filmmaker, and some of his best films are marred by elements that don't work, but I feel his consistency in terms of delivering brilliance is not below most of the cinema's most celebrated auteurs.

Starrer: Harvey Keitel, John Turturro and Delroy Lindo

Director: Spike Lee

Writers: Richard Price , Richard Price

Character - 1997

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 05:31:00 +0000

Many people describe the movie as distant and cold. But that's exactly what the makers were aiming for to stay congruent with the 2 novels of Bordewijk where Karakter / Character is based upon. Bordewijk's style is often described as Nieuwe Zakelijkheid (best translation: New Objectivity, think Sinclair Lewis), a counter movement to the upcoming Expressionism in the 20s of the last century. Instead of the idealism of Expressionists more emphasis was put on reality, objectivity and facts in a sober and distant form with little room for frivolity, superficial beauty, sentimentality or explaining behavior. Not only does the style of the novels reflect this, the world the characters inhabit has the same characteristics. Viewed from this standpoint they made an amazing adaptation from a novel, correct in both style and content. But the movie defines more than an art movement, because the characters portrayed tell a lot about the Dutch in general, and this in a way also defines Dutch national identity.

The story itself is about perseverance. Jacob is the son of a relation without love. His parents never marry, the mother leaves soon after she finds out she is pregnant. His mother is stubborn, his father a man without compassion working as a bailiff. Both parents push their son in their own way, his mother almost drives him out of her home, his father lends him money thus starting a battle over the upper hand in their relationship. The father brings adversity to his son in the hope to make him stronger. In line with the style of the novel none of the characters ever experience love. In fact the whole movie contains not one passionate scene. The only character showing emotion (De Gankelaar, an excellent role played by Victor Löw) leaves the country. It has a Nietzschian philosophical angle with the debate of lightness and weight: Jacob's burdens give his life a meaning, but are the sacrifices worth it?

Location scouts did a wonderful job here, because Karakter recreates pre-war Rotterdam, a city almost totally flattened by the Nazis (There is a harrowing photo of the city after the bombardments with only the main church still standing). The production and art departments made the sets with their darkish colors fitting the form and content of the movie. The camera is used in a way to create some fluidity in the scenes: It almost never is static as with so many character dramas.

Fedja van Huêt as Jacob and Jan Decleir as Dreverhaven seem to understand what's going on here and act accordingly. Tamar van den Dop as Lorna is probably the greatest weakness in the movie, with a terrible diction and limited body movement she's miscast here.

Mike van Diem makes only one movie, wins an Oscar, and disappears almost from the earth. Although rumor has it he does some script doctoring in Hollywood, with his current production rate he will surpass even Malick. As for now, this is by far the best Dutch movie ever made.

Starrer: Pavlik Jansen op de Haar, Jan Decleir and Fedja van Huêt
Director: Mike van Diem
Writers: Ferdinand Bordewijk , Mike van Diem

The Green Mile - 1999

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 05:22:00 +0000

This movie is a real gem. It is hard to find fault with it. Hanks is excellent in a role that clearly calls for him to suppress his natural slant toward humor. He is Paul Edgecomb; Tom Hanks is nowhere to be found. Yet he gives Edgecomb just the right flavor. One cannot find a single weak cast member! Michael Jeter should have got an Oscar. Michael Clark Duncan put just the right shading on his huge character to make him vulnerable and sympathetic.

Flawlessly shot on perfect period sets, the whole production binds together to bring the extraordinary story into the realm of a believable and compelling study of human injustice and charity.

Starrer - Tom Hanks, Michael Duncan-Clarke
Director - Frank Darabont
Writer - Stephen King

Mackenna's Gold - 1969

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 05:09:00 +0000

The film opens with a narration by Victor Jory about an Apache legend: a hidden canyon, guarded by the Apache gods and rich with gold… As long as the Apaches kept the canyon a secret and never touched the gold, they would be strong and powerful…

Marshal Mackenna (Gregory Peck) wasted three years chasing that wild goose… He immediately knew the place and identified it as 'Shaking Rock' but insisted to the old Apache dying chief who was keeping the map that there is no gold around there: "The only dust I found was prairie dust!"

Before the chief dies, Mackenna destroys the map, confident it is a myth…

When the ludicrous Mexican bandit Colorado (Omar Sharif) appears on the scene with his gang, and discovers the useless burned map, he took Mackenna—his living map—to his hideout in a little box canyon and forced him to lead him to the legendary canyon…

Colorado's gang includes Hesh-Ke (Julie Newmar), an attractively jealous Apache woman who was once involved with Mackenna, Hachita (Ted Cassidy), a strong and deadly Apache warrior, and a captive girl called Inga (Camilla Sparv), daughter of a murdered judge who put a price on Colorado's head…

Along the way, the group is joined by 'good' citizens, dirty scheming ambitious men, a lot of bronco Apaches on the prowl, and the U.S. Cavalry after anybody and everybody… Probably after the gold too…

"Mackenna's Gold" remains a curious serial-like Western melodrama packed with stars and pretensions above its situation… The script completely wastes the fine cast… On a lower level, it is quite enjoyable… Julie Newmar is a delight, a natural beauty and a distinct "presence" that immediately captivates the audience… There are scenic location shots of the vastness of the desert, exciting action scenes, pretty spectacular scenes of danger.

Starrer - Gregory Peck, Omar Shariff
Director - J.Lee.Thompson
Writer - Heck Allen, Carl Foreman

Breaking Away - 1979

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 04:26:00 +0000

This film was a pleasant surprise. No sex, no violence, no special effects. Just an incredibly literate and humorous script (which won an Oscar for Steve Tesich) and fantastic performances by the four leads. This is a film for those who still believe that good cinema requires meaningful dialogue and acting that is achingly real in its sincerity. Don't get me wrong: sex and violence have a very real and justifiable place in film; but this movie would have suffered from such a gratuitous inclusion. Peter Yates, the director, has done a fantastic job of pacing the film, and the score, consisting mostly of Rossini overtures, and excerpts from Mendelssohn's "Italian" Symphony (#4 in A Major, Op. 90), is an inspired touch, adding precisely the right atmosphere.

Starrer - Dennis Quaid, Dennis Christopher, Daniel Stern
Director - Peter Yates
Writer - Steven Tesich

The Dark Knight - 2008

noreply@blogger.com (All Time Hit Movies of Hollywood) — Fri, 12 Aug 2011 02:44:00 +0000

This film is completely dedicated to Heath Ledger, no one else can portray the Joker but Heath Ledger, this film was unfortunately the last of Heath Ledger, it is said that Heath Ledger actually locked himself in an dirty hotel for almost over month to get into the mind set of the Joker, and post film he was still in the same mind frame which caused him his life.....(these maybe rumors I am just sharing what I heard)

Christopher Nolan's second bundle of joy "The Dark Knight" EXCEEDED all of my expectations!!! With the success of 2005's reboot of the Batman franchise, they took what was already established and expanded it, amped it up, and gave a deeper, darker and brooding story that is more gripping and the suspense is likely to catch you of guard several times throughout. Christian Bale delves more deeper into Batman, sworn to fight evil and injustice, though also quite reluctant and uncertain if his crusade can ever end and cleanse his inner turmoil from his fractured soul due to the murder of his beloved parents. But with the help of his trusted butler/ally Alfred (played superbly by Michael Cane) grounds him, gives him moral support, and keeps him in check. But the real star of the show is Heath Ledger as Batman's most deadly enemy, The Joker. I can HONESTLY tell you that: as good as Jack Nicholson was in Batman'89 he is CHILD'S PLAY compared to this Joker. He is sadistic, psychotic, and downright SCARIER and PSYCHOLOGICALLY disturbing than the previous incarnation of The Clown Prince of Crime and Ledger gives it his all to do him justice. Along with the original cast comes some fresh faces such as Aaron Eckhart, Maggie Gyllenhaal and more. I must say though I liked Katie Holmes, Gyllenhaal gives a much better performance and is a far cry from the "damsel-in-distress" stereotype (though there's a little of it, THANKFULLY) that's common in films. Bale and Gyllenhall have MUCH better chemistry this time around more so than Holmes. Even better, the fight sequences are vastly improved and feature more brutal and bone crushing combat than "Begins" in addition to new technology at Batman's disposal. Also worth mentioning is screenwriter Jonathan Nolan, who gives the film an added frosting to an already delicious cake. Simply put, The Dark Knight is totally more bad ass than "Begins." The action is great, and the plot is more deeper and engrossing. I applaud Christopher Nolan, Christian Bale, and especially Heath Ledger (who sadly passed away earlier this year) and all those aboard for believing in Mr. Nolan's talents for this second installment. Although some may feel a bit of melancholy over Ledger's death, but as a final note I will say this sincerely from my heart: Remember Heath Ledger and honor him in your minds and hearts not only for his performances, but as a human being and father to his daughter Matilda Ledger. May we issue him best wishes for his family and friends and his daughter for years to come. Remember . . . Honor him not only for this role and past roles, but as an incredible individual and talented actor. Rest in peace. Heath Ledger: 4/4/1979-1/22/2008.

Starrer - Heath Ledger, Christian Bale
Director - Christopher Nolan
Writer - Jonathan Nolan

The Dark Knight Rises - 2012

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 18:14:00 +0000

Not Yet Released - July 2012 scheduled

Nolan Brothers (Christopher and Jonathan) have contributed good movies in Hollywood, both brothers are celebrated, with tight screenplay, plot, casting, acting and direction.

We thank them for the movies they have given us.......we await this upcoming flick...

The Ten Commandments - 1965

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 17:52:00 +0000

Some movies are timeless classics and this one is one of the best movies Hollywood has ever produced ... Movies like this will rule the coming movie buff's ... so pleasure to watch the mighty Yul Brynner in this magnificent Epic.

I'm always willing to watch this, and I always enjoy it. Rather than admit that there is something wrong with my taste, then, I've come to the conclusion that it's actually rather good. It clearly has class, and spectacle. Perhaps it has other virtues as well.

Say what you will about De Mille's stagy style: it fits the Old Testament. Whereas "The Prince of Egypt" went soft and new-agey when it came to the crunch, De Mille never lets us forget the harsh world events are taking place in. With a powerful and capricious god glaring at everyone all the time, it's not surprising that people - even pagans - take to talking in speeches. (The speeches are in an attractive, flowery style that isn't biblical but has the same aesthetic standards as some biblical writing.) And the god really has some Old Testament flavour. Everyone is terrified of him, and for perfectly rational reasons would rather pretend that he doesn't exist. This gets tiresome after a while. You'd think that after watching the Red Sea part everyone would have been willing to admit that Moses courted SOME kind of supernatural influence. On the other hand, you'd be a mug to trust this influence too far.

Possibly the best thing about the movie is the way it manages to divide our sympathies without weakening them. Yes, we're on the side of the Israelites. But it's also hard not to be on the side of the Egyptians. The old Pharaoh is probably the most likeable character on display and the young Pharaoh, while he has his flaws, is a nice enough fellow done in by unfortunate circumstances. Moses gains our empathy early and keeps it even when his beard has turned to marble. Only the minor characters are villains - and they're fun, too.

Of course, I say all this knowing full well that the entire film is, at the same time, completely ridiculous. Well, what can I say. It's yet another instance of a general law. Simple sincerity can sometimes spin straw into gold.

Starrer - Yul Brynner, Charlton Heston

Director - Cecil B.DeMille

Writer - Dorothy Clark Wilson

The Silence of the Lambs - 1991

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 17:35:00 +0000

Hannibal the Cannibal, A rookie cadet, A experienced FBI Officer and a pervert serial killer, suspense is what is defined by the movie....

With Silence of the Lambs comes some much needed recognition for the horror genre. It is a first-rate production all around. It boasts a witty and suspenseful script based on the Thomas Harris novel, full of great lines. It has marvelous direction from Demme. Demme creates suspense very well throughout and uses some great directorial shots such as the twin frames of Clarice ringing a doorbell and the FBI men breaking into a home. The two lead actors won oscars for their performances...each deserved. Foster is very good in her role, but it is Anthony Hopkins that literally lights up the screen with his complex portrayal of a complex serial killer. Hopkins does the seemingly impossible. He frightens you with his outrageousness and yet illicts some pity/compassion(albeit not a lot) for his situation. He says his lines with reservedness when needed and brashness when needed. The rest of the cast is also quite good with Anthony Heald a standout as a unethical, petty doctor in charge of Hopkins. Of course the story of the other killer is very very chilling as well. A quality film in all aspects!

Starrer - Sir Anthony Hopkins, Jodie Foster
Director - Jonathan Demme
Writer - Thomas Harris

Se7en - 1995

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 17:24:00 +0000

The list is incomplete without this movie...

Se7en shows us a world which has been destroyed by its own sins, a wasteland in which values are minimal. The killer, having nothing but contempt for this world, sees it as his mission to expose the faults and show everyone what they have become. It is a fascinating twist that when the killers motives become clearer, Somerset with his greater understanding actually feels some degree of empathy with him. This is lost on Mills though, whose level of clarity never reaches the same point.

Starrer - Morgan Freeman, Brad Pitt
Director - David Fincher
Writer - Andrew Kevin Walker

Chinatown - 1975

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 16:59:00 +0000

Another cult classic by Roman Polanski....

I can't deny that this is a truly great film. Jack Nicholson really shines through in his role, and his acting in this film perfectly fits the character... his shark smile, his voice, his tone... all of it, perfect. I always thought, when watching films with Nicholson, that he'd make a great lead in a noir film, so when I found this film and discovered that it was indeed noir, I naturally saw it as soon as possible. I found the film to have a slightly slower pace than what I would have preferred or expected, but apart from that minor detail, it was flawless. The plot is great, and thoroughly interesting and involving. The pacing, while not fast all the time, is more than acceptable. There are sequences that are really intense and exciting. The acting is great... like I said earlier, Nicholson shines through and really takes this character and makes him his own. The characters are well-written and credible. The special effects are well-done and still hold up pretty well. The dialog is very well-written and memorable. There are quite a few quotable lines, as well. The cinematography is good, and even when the plot doesn't move a lot, Polanski keeps our interest through interesting angles and sequences. I liked that there was often something subtle going on in the background, while we're focusing on what's directly in front of us. While Polanski certainly doesn't possess the attention to detail that Kubrick does, he manages to put a good bit of detail into many of the shots, and there is fairly little left to coincidence or chance, much like Kubrick. The film has a few twists that are quite good, and they come as surprises... I don't think I really saw them coming, and I doubt anyone would be able to. Of course, some might not find the twists to be that impressive, but the story stands on it's own nicely as well. This is a great movie, which should be seen by just about anyone who can take it(it's more than just casually adult in nature, even though there's not that much violence or sex in it). I recommend this film to anyone who enjoys film noir, watching Jack Nicholson in perfect shape in a role that was tailor-made for him, a good mystery, Roman Polanski's direction and just a good movie with a more adult tone that many others.

Starrer - John Nicholson, Faye Dunaway

Director - Roman Polanski

Writer - Robert Towne

One Flew Over the Cuckoo's Nest - 1975

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 15:17:00 +0000

It's tough to really judge this movie. Is it Milos Forman's greatest directorial masterpiece or Jack Nicholson's best performance. Tough to say, but the marriage between both director and actor are quite phenomenal. From the first time we see Jack Nicholson to the sad, yet uplifting ending, one cannot escape the sheer power of the film. When a film is parodied as many times as this one has been, typically, greatness can be associated. Well, greatness was achieved, and let's hope this one never falls through the cracks.

Upon arrival at a mental institution, a brash rebel rallies the patients together to take on the oppressive Nurse Ratched, a woman more a dictator than a nurse.

Starrer - Jack Nicholson
Director - Milos Forman
Writer - Lawrrence Hoben

The Conspirator - 2010

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 11:49:00 +0000

The Conspirator - Great film locations and acting. James MacAvoy follows his outstanding performance in Last King of Scotland with a tour de force. Robin Wright plays her role just right. Kevin Kline's performance might be my favorite of his ever. Outstanding period feel with great on site shooting at homes in Savannah, GA. Got the impression that at least the film company made a serious effort to get the look right. The Q and A after the screen I attended really highlighted the efforts they put into the film to get it right. Noted historian James McPherson was a consultant strongly recommended film when it comes out on April 15th.

Mary Surratt is the lone female charged as a co-conspirator in the assassination trial of Abraham Lincoln. As the whole nation turns against her, she is forced to rely on her reluctant lawyer to uncover the truth and save her life.

Starrer - Robin Wright, James McAvoy and Tom Wilkinson
Director - Robert Redford
Writer - James D.Solomon

The Shawshank Redemption - 1994

noreply@blogger.com (All Time Hit Movies of Hollywood) — Thu, 11 Aug 2011 11:35:00 +0000

One of the best movie in the century. This movie has it all, a complete entertainer from start to end. Watch out this movie any time, very inspirational and great direction as well.

Andy Dufresne is a young and successful banker whose life changes drastically when he is convicted and sentenced to life imprisonment for the murder of his wife and her lover. Set in the 1940's, the film shows how Andy, with the help of his friend Red, the prison entrepreneur, turns out to be a most unconventional prisoner.

Starrer - Tim Robbins, Morgan Freeman
Director - Frank Darabont
Writer - Stephen King