More than a few critics hailed Spider-Man 2 as "the best superhero movie ever," and there's no compelling reason to argue--thanks to a bigger budget, better special effects,... read more

More than a few critics hailed Spider-Man 2 as "the best superhero movie ever," and there's no compelling reason to argue--thanks to a bigger budget, better special effects, and a dynamic, character-driven plot, it's a notch above Spider-Man in terms of emotional depth and rich comic-book sensibility. Ordinary People Oscar-winner Alvin Sargent received screenplay credit, and celebrated author and comic-book expert Michael Chabon worked on the story, but it's director Sam Raimi's affinity for the material that brings Spidey 2 to vivid life. When a fusion experiment goes terribly wrong, a brilliant physicist (Alfred Molina) is turned into Spidey's newest nemesis, the deranged, mechanically tentacled "Doctor Octopus," obsessed with completing his experiment and killing Spider-Man (Tobey Maguire) in the process. Even more compelling is Peter Parker's urgent dilemma: continue his burdensome, lonely life of crime-fighting as Spider-Man, or pursue love and happiness with Mary Jane Watson (Kirsten Dunst)? Molina's outstanding as a tragic villain controlled by his own invention, and the action sequences are nothing less than breathtaking, but the real success of Spider-Man 2 is its sense of priorities. With all of Hollywood's biggest and best toys at his disposal, Raimi and his writers stay true to the Marvel mythology, honoring Spider-Man creators Stan Lee and Steve Ditko, and setting the bar impressively high for the challenge of Spider-Man 3. --Jeff Shannon

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Taxi Driver is the definitive cinematic portrait of loneliness and alienation manifested as violence. It is as if director Martin Scorsese and screenwriter Paul Schrader had tapped into... read more

Taxi Driver is the definitive cinematic portrait of loneliness and alienation manifested as violence. It is as if director Martin Scorsese and screenwriter Paul Schrader had tapped into precisely the same source of psychological inspiration ("I just knew I had to make this film," Scorsese would later say), combined with a perfectly timed post-Watergate expression of personal, political, and societal anxiety. Robert De Niro, as the tortured, ex-Marine cab driver Travis Bickle, made movie history with his chilling performance as one of the most memorably intense and vividly realized characters ever committed to film. Bickle is a self-appointed vigilante who views his urban beat as an intolerable cesspool of blighted humanity. He plays guardian angel for a young prostitute (Jodie Foster), but not without violently devastating consequences. This masterpiece, which is not for all tastes, is sure to horrify some viewers, but few could deny the film's lasting power and importance. --Jeff Shannon (hide)

Nora Ephron wrote the brisk screenplay for this 1989 romantic comedy, director Rob Reiner made a nicely glossy New York story (very much in a Woody Allen vein)... read more

Nora Ephron wrote the brisk screenplay for this 1989 romantic comedy, director Rob Reiner made a nicely glossy New York story (very much in a Woody Allen vein) out of it, and Billy Crystal's unstoppable charm made it something really special. Crystal and Meg Ryan play longtime platonic friends who keep dancing around their deeper feelings for one another, and Bruno Kirby and Carrie Fisher are their respective pals who fall in love and get married. Ryan doesn't get a lot of funny material, but her performance is typically alive and intuitive, and she more than holds her own with Crystal's comic motor mouth and sweet sentimentality. Reiner is on comfortable ground, liberated from the burden of making serious statements in the lead-footed manner of subsequent features. --Tom Keogh (hide)

Movies don't come any bigger than Peter Jackson's King Kong, a three-hour remake of the 1933 classic that marries breathtaking visual prowess with a surprising emotional depth. Expanding... read more

Movies don't come any bigger than Peter Jackson's King Kong, a three-hour remake of the 1933 classic that marries breathtaking visual prowess with a surprising emotional depth. Expanding on the original story of the blonde beauty and the beast who falls for her, Jackson creates a movie spectacle that matches his Lord of the Rings films and even at times evokes their fantasy world while celebrating the glory of '30s Hollywood. Naomi Watts stars as Ann Darrow, a vaudeville actress down on her luck in Depression-era New York until manic filmmaker Carl Denham (a game but miscast Jack Black) entices her with a lead role. Dazzled by the genius of screenwriter Jack Driscoll (Adrien Brody), Ann boards the tramp steamer S.S. Venture, which she--and most of the wary crew--believes is headed for Singapore. Denham, however, is in search of the mythic Skull Island, hoping to capture its wonders on film and make a fortune. What he didn't count on were some scary natives who find that the comely Darrow looks like prime sacrifice material for a mysterious giant creature....

There's no point in rehashing the entire plot, as every movie aficionado is more than familiar with the trajectory of King Kong; the challenge facing Jackson, his screenwriters, and the phenomenal visual-effects team was to breathe new life into an old, familiar story. To that degree, they achieve what could be best called a qualified success. Though they've assembled a crackerjack supporting cast, including Thomas Kretschmann as the Venture's hard-bitten captain and young Jamie Bell as a plucky crewman, the first third of the movie is rather labored, with too much minute detail given over to sumptuous re-creations of '30s New York and the unexciting initial leg of the Venture's sea voyage. However, once the film finds its way to Skull Island (which bears more than a passing resemblance to LOTR's Mordor), Kong turns into a dazzling movie triumph, by turns terrifying and awe-inspiring. The choreography and execution of the action set pieces--including one involving Kong and a trio of Tyrannosaurus Rexes, as well as another that could be charitably described as a bug-phobic's nightmare--is nothing short of landmark filmmaking, and a certain Mr. Spielberg should watch his back, as Kong trumps most anything that has come before it.

Despite the visual challenges of King Kong, the movie's most difficult hurdle is the budding romance between Ann and her simian soulmate. Happily, this is where Jackson unqualifiedly triumphs, as this unorthodox love story is tenderly and humorously drawn, by turns sympathetic and wondrous. Watts, whose accessibility balances out her almost otherworldly loveliness, works wonders with mere glances, and Andy Serkis, who digitally embodies Kong here much as he did Gollum in the LOTR films, breathes vibrant life into the giant star of the film without ever overplaying any emotions. The final, tragic act of the film, set mostly atop the Empire State Building, is where Kong earns its place in movie history as a work that celebrates both the technical and emotional heights that film can reach. --Mark Englehart (hide)

Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian... read more

Annie Hall is one of the truest, most bittersweet romances on film. In it, Allen plays a thinly disguised version of himself: Alvy Singer, a successful--if neurotic--television comedian living in Manhattan. Annie (the wholesomely luminous Dianne Keaton) is a Midwestern transplant who dabbles in photography and sings in small clubs. When the two meet, the sparks are immediate--if repressed. Alone in her apartment for the first time, Alvy and Annie navigate a minefield of self-conscious "is-this-person-someone-I'd-want-to-get-involved-with?" conversation. As they speak, subtitles flash their unspoken thoughts: the likes of "I'm not smart enough for him" and "I sound like a jerk." Despite all their caution, they connect, and we're swept up in the flush of their new romance. Allen's antic sensibility shines here in a series of flashbacks to Alvy's childhood, growing up, quite literally, under a rumbling roller coaster. His boisterous Jewish family's dinner table shares a split screen with the WASP-y Hall's tight-lipped holiday table, one Alvy has joined for the first time. His position as outsider is uncontestable he looks down the table and sizes up Annie's "Grammy Hall" as "a classic Jew-hater."

The relationship arcs, as does Annie's growing desire for independence. It quickly becomes clear that the two are on separate tracks, as what was once endearing becomes annoying. Annie Hall embraces Allen's central themes--his love affair with New York (and hatred of Los Angeles), how impossible relationships are, and his fear of death. But their balance is just right, the chemistry between Allen's worry-wart Alvy and Keaton's gangly, loopy Annie is one of the screen's best pairings. It couldn't be more engaging. --Susan Benson (hide)

A perfect marriage of novel but incisive writing, acting, and direction, Big is the story of a 12-year-old boy who wishes he were older, and wakes up one... read more

A perfect marriage of novel but incisive writing, acting, and direction, Big is the story of a 12-year-old boy who wishes he were older, and wakes up one morning as a 30-year-old man (Tom Hanks). The script by Gary Ross (Dave) and Anne Spielberg finds some unexpected ways of attacking obvious issues of sex, work, and childhood friendships, and in all of these things the accent is on classy humor and great sensitivity. Hanks is remarkable in the lead, at times hilarious (reacting to caviar just as a 12-year-old would) and at others deeply tender. Penny Marshall became a first-rate filmmaker with this 1988 work. --Tom Keogh (hide)

William Friedkin's classic policier was propelled to box-office glory, and a fistful of Oscars, in 1972 by its pedal-to-the-metal filmmaking and fashionably cynical attitude toward law enforcement. Gene... read more

William Friedkin's classic policier was propelled to box-office glory, and a fistful of Oscars, in 1972 by its pedal-to-the-metal filmmaking and fashionably cynical attitude toward law enforcement. Gene Hackman's Popeye Doyle, a brutally pushy New York City narcotics detective, is a dauntless crime fighter and Vietnam-era "pig," a reckless vulgarian whose antics get innocent people killed. Loosely based upon an actual investigation that led to what was then the biggest heroin seizure in U.S. history, the picture traces the efforts of Doyle and his partner (Roy Scheider) to close the pipeline pumping Middle Eastern smack into the States through the French port of Marseilles. (The actual French Connection cops, Eddie Egan and Sonny Grosso, make cameo appearances.) It was widely recognized at the time that Friedkin had lifted a lot of his high-strung technique from the Costa-Gavras thrillers The Sleeping Car Murders and Z--he even imported one of Costa-Gavras's favorite thugs, Marcel Bozzuffi, to play the Euro-trash hit man plugged by Doyle in an elevated train station. There was an impressive official sequel in 1975, French Connection II, directed by John Frankenheimer, which took Popeye to the south of France and got him hooked on horse. A couple of semi-official spinoffs followed, The Seven-Ups, which elevated Scheider to the leading role, and Badge 373, with Robert Duvall stepping in as the pugnacious flatfoot. --David Chute (hide)

No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living... read more

No film better utilizes Audrey Hepburn's flighty charm and svelte beauty than this romantic adaptation of Truman Capote's novella. Hepburn's urban sophisticate Holly Golightly, an enchanting neurotic living off the gifts of gentlemen, is a bewitching figure in designer dresses and costume jewelry. George Peppard is her upstairs neighbor, a struggling writer and "kept" man financed by a steely older woman (Patricia Neal). His growing friendship with the lonely Holly soon turns to love and threatens the delicate balance of both of their compromised lives. Taking liberties with Capote's bittersweet story, director Blake Edwards and screenwriter George Axelrod turn New York into a city of lovers and create a poignant portrait of Holly, a frustrated romantic with a secret past and a hidden vulnerability. Composer Henry Mancini earned Oscars for the hit song "Moon River" and his tastefully romantic score. The only sour note in the whole film is Mickey Rooney's demeaning performance as the apartment's Japanese manager, an offensively overdone stereotype even in 1961. The rest of the film has weathered the decades well. Edwards's elegant yet light touch, Axelrod's generous screenplay, and Hepburn's mix of knowing experience and naiveté combine to create one of the great screen romances and a refined slice of high society bohemian chic. --Sean Axmaker (hide)

Gangs of New York may achieve greatness with the passage of time. Mixed reviews were inevitable for a production this grand (and this troubled behind the scenes), but... read more

Gangs of New York may achieve greatness with the passage of time. Mixed reviews were inevitable for a production this grand (and this troubled behind the scenes), but it's as distinguished as any of director Martin Scorsese's more celebrated New York stories. From its astonishing 1846 prologue to the city's infernal draft riots of 1863, the film aspires to erase the decorum of textbooks and chronicle 19th-century New York as a cauldron of street warfare. The hostility is embodied in a tale of primal vengeance between Irish American son Amsterdam Vallon (Leonardo DiCaprio) and his father's ruthless killer and "Nativist" gang leader Bill "the Butcher" Cutting (Daniel Day-Lewis, brutally inspired), so named for his lethal talent with knives. Vallon's vengeance is only marginally compelling; DiCaprio is arguably miscast, and Cameron Diaz (as Vallon's pickpocket lover) is adrift in a film with little use for women. Despite these weaknesses, Scorsese's mastery blossoms in his expert melding of personal and political trajectories; this is American history written in blood, unflinching, authentic, and utterly spectacular. --Jeff Shannon (hide)

Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if... read more

Generally acknowledged as a bona fide classic, this Francis Ford Coppola film is one of those rare experiences that feels perfectly right from beginning to end--almost as if everyone involved had been born to participate in it. Based on Mario Puzo's bestselling novel about a Mafia dynasty, Coppola's Godfather extracted and enhanced the most universal themes of immigrant experience in America: the plotting-out of hopes and dreams for one's successors, the raising of children to carry on the good work, etc. In the midst of generational strife during the Vietnam years, the film somehow struck a chord with a nation fascinated by the metamorphosis of a rebellious son (Al Pacino) into the keeper of his father's dream. Marlon Brando played against Puzo's own conception of patriarch Vito Corleone, and time has certainly proven the actor correct. The rest of the cast, particularly James Caan, John Cazale, and Robert Duvall as the rest of Vito's male brood--all coping with how to take the mantle of responsibility from their father--is seamless and wonderful. --Tom Keogh (hide)

A box-office smash, an Academy Award winner* and a fan favorite since it first flew into theatres in December 1978, Superman: The Movie assembles a cast and creative... read more

A box-office smash, an Academy Award winner* and a fan favorite since it first flew into theatres in December 1978, Superman: The Movie assembles a cast and creative contingent as only a big movie can. At its heart (just as in three sequels) is Christopher Reeve's intelligent, affectionate portrayal of a most human Man of Steel. Watching Superman again isn't just like being a kid again. It's better. The movie's legacy soared even higher when director Richard Donner revisited this beloved adventure 22 years later and integrated eight minutes into the film. Enjoy more footage of the Krypton Council, a glimpse of stars of prior Superman incarnations, more of Jor-El underscoring his son's purpose on Earth and an extended sequence inside Lex Luthor's gauntlet of doom. Reeve, Marlon Brando (Jor-El), Gene Hackman (Luthor) and Margot Kidder (Lois Lane) give indelible performances that fuel the film's aura of legend. Looks like a swell night for flying. Why not come along? (hide)

"Ladies and gentlemen, the motion picture you are about to see is called The Naked City." With a helicopter shot slowly closing in on Manhattan, producer Mark Hellinger's... read more

"Ladies and gentlemen, the motion picture you are about to see is called The Naked City." With a helicopter shot slowly closing in on Manhattan, producer Mark Hellinger's staccato narration introduces the film ("It was not photographed in a studio . . .") and continues throughout like a documentary commentator with a literary flair. It's a conceit that serves this police story nicely, giving the patina of realism to this deglamorized look at the work of the homicide squad. Barry Fitzgerald reigns over the film with his jovial good humor as a veteran detective investigating the murder of a high-living model. He has few clues and fewer suspects, until he cracks the story of big-talking Howard Duff and throws some light on his shady past. Jules Dassin, who had just come off the shadowy, expressionist Brute Force, peels away those flourishes to shoot in a straightforward style influenced by the Italian neo-realists and the contemporary American newsreels. The film is rich in supporting performances by soon-to-be-famous character actors--Arthur O'Connell, James Gregory, Paul Ford--but the city itself becomes the film's most vivid character. Shot entirely on location in New York City, the distinctive cityscape looms over practically every shot and injects the film with a defining sense of place (cinematographer William Daniels won an Oscar for his work). You can see the roots of The French Connection in the bustling city scenes and the exciting foot chase finale on an elevated walkway. --Sean Axmaker (hide)

The irresistible casting of John Cusack and Kate Beckinsale highlights this predictable romantic comedy, which combines the romantic yearning of An Affair to Remember and the New York... read more

The irresistible casting of John Cusack and Kate Beckinsale highlights this predictable romantic comedy, which combines the romantic yearning of An Affair to Remember and the New York charm of You've Got Mail. It all begins "a few years ago," when New Yorker Jonathan (Cusack) meets Brit beauty Sara (Beckinsale). They share a few perfect hours together before parting ways, leaving future encounters to her quirky obsession with fate. "A few years later," they're about to marry their respective fiancés (reluctantly, of course), and urgently hoping for destiny to bring them back together. Under the casual direction of Peter Chelsom (barely recovering from Town & Country), this starry-eyed romance offers no surprises, but it has a comforting familiarity, made warmer by the easy chemistry of the leads, with obligatory best-friend support by Molly Shannon and long-time Cusack pal Jeremy Piven. It's hokey, but die-hard romantics are sure to be forgiving. --Jeff Shannon (hide)