My 101 favorite horror movies rated. They cover the gamut from slasher to psychological to supernatural to existential to body horror to gothic and Grand Guignol melodrama. And horror-comedy of the Peter Jackson-Edgar Wright variety.
From Korngold and Steiner to Herrmann to Greenwood, Levi, and Britell, here are my 90 all-time favorite original movie scores.
Hal Mohr** is the only person to have won a competitive Academy Award without being nominated for it. Mohr was allowed to keep his Oscar and won a second.
“85 Queer Films Made Under the Hays Code (1934 to 1968):” From “The Bride of Frankenstein” to “All About Eve” to “Reflections in a Golden Eye”
The death of the Hays Code and the rise of the New Hollywood saw an explosion of Queer Cinema from Portrait of Jason Jason to Taxi zum Klo.
Irving Berlin tops the list with twenty-one songs, followed by Harry Warren with twenty and Harold Arlen and Jimmy Van Heusen with eighteen apiece.
Seven films in which every shot, every camera move, every editing sequence is perfect. Four of the seven movies star either Cary Grant or Jimmy Stewart.
Eleanor and Frank Perry’s last movie together was their best, a wonderful adaptation of Sue Kaufman’s “Diary of a Mad Housewife”.
They were the darlings of the art house circuit. Their work in a language other than English is some of the greatest ever captured on film. But Hollywood…
Joni dazzles in the best of her three live albums. It helps that the show is built around “Hejira”. Of the 19 tracks, 4 are from this album.
Rated: the Dan’s seven classic albums released between 1972 and 1980. Rated: Donald’s “The Nightfly” as continuum with “Aja” and “Gaucho”.
Irving Berlin tops the list with 21 songs, followed by Johnny Mercer with 19, Sammy Cahn with 16, Ira Gershwin with 14, and Johnny Burke with 10.
“NYFCC Award for Best Supporting Actress”: In the fifty-six years since 1969 fourteen of their choices have failed to land. a nomination. That’s 25%.
After a while, though, you begin to feel beaten down by the sheer refinement of it all. The perfectly framed, perfectly edited tableaux. The exquisite, sparingly used music score. The subtle, to the point of being abstruse, performances of the stars
The story unfolds, in real time, almost entirely within the confines of Sardi’s bar in New York, where Hart spends the evening grappling with his fading relevance, alcoholism, homosexuality and mental health struggles.
Our heroine suffers through the most hideous body sculpting indignities, heaped on her by the effete and sadistic proto-plastic surgeon, Dr. Esthetique.
Director Michael Pearce moves with visceral precision and Julianne Moore shows us, yet again, what a magnificent actress she can be.
Although Charles Laughton made only one and, therefore, final film, based on this film alone, he is of the Great Directors.
Number One: Before the Devil Knows You’re Dead (Sidney Lumet: 2007). Number Five: Family Plot (Alfred Hitchcock: 1976).
As for Judy Davis she gives what is probably her most outstanding performance, which means it’s one of the greatest performances ever captured on film.
The directors are extremely cine-literate. However, their references never seemed forced and I basked in their cinematic vision.
Meise directs what must be some of the most beautiful and heartfelt scenes ever captured on film between two men in love.
Hume Cronyn and John Randolph are our happy and well-adjusted gay couple. Yes, they fight and bicker all the time. However, they are clearly madly in love with each other.
In “Jeanne Dielman”, a feminist masterpiece, the everyday details of a caring mother contrast with her life as a prostitute.
In “Kind Hearts and Coronets”: Alec Guinness has fun playing all eight (or nine) of the unfortunate D’Ascoynes, including Lady Agatha D’Ascoyne. The photograph shows Dennis Price with Joan Greenwood who plays that little minx Sibella.