Mini-Review: Dazed and Confused is the best of all the stoner movies, probably because it's more believable and down-to-earth. The 70's-style art direction is great, but the film transcends generations. It's the anti-teen movie, depicting the uneventful rather than life-changing drama, and that's something anyone can relate to no matter what decade you grew up in. It's no acting showcase, but the wide cast of characters is fun, and the movie is full of memorable lines. One of the best soundtracks ever, too.
Mini-Review: Wow, this really took me by surprise. One part buddy movie, one part road trip, another part coming-of-age. The whole film is a wonderful representation of the social unrest that marked the 70's, balanced with quaint humanism. Robert Towne's script is the highlight, with blistering dialogue that ranges from hilarious to strangely poignant. Nicholson's performance is great, but I was also quite taken with Randy Quaid, who projects incredible vulnerability and helplessness.
Mini-Review: People knock this for its perceived conservative mindset and racism, but I don't think it embraces these as much as it considers them. Ford, maybe a bit sloppily, avoids drawing a clear line between good and evil, and Wayne's ambiguous anti-hero is a legitimate and authentic aspect of this period in American history. Beautiful photography and epic landscapes set the mythical tone. Not without flaws - the dated acting and awkward comedic relief - but for me it's an engrossing and thoughtful film.
Mini-Review: An indictment of puritanical and imperialistic ideology, an insightful understanding of the German post-war condition, and a depiction of American G.I.s as less than saintly (not condemning, but realistic). I'm sure this ruffled some feathers, even more so that Billy Wilder had the audacity to treat it comically. The three leads, entangled in a love triangle simultaneously tense and funny, turn out to be more complex than is first let on. Marlene Dietrich in particular is outstanding.
Mini-Review: Standard character and plot devices cease to matter in Dreyer's triumph of mood and atmosphere. It has nightmarish texture, a hazy progression of macabre supernatural incidents. The reliance on intertitles and spare use of dialogue and sound effects betray the film's age, but its sinister overtones are still highly effective thanks to expressive photography and a foreboding score.
Mini-Review: A very intelligent comedy with almost tragic elements. The witty writing and great acting push the movie to the next level. Richard E. Grant is hilariously wasted throughout, while Paul McGann provides a sympathetic point of view. I also love Richard Griffith's farcical portrayal of the upper-class Uncle Monty. It's such a multifaceted movie that it at once comes off as comedy, tragedy, farce, and even stoner flick. Did you see the joint Ralph Brown twists up at the end?! Sweeet.