TOUCH OF EVIL

Continuing on the theme of classic Film Noir, here is a film which, for its time, pushed the boundaries of the Noir style to places that only Orson Welles would think of. Its setting is exotic and its characters break from the typical Noir formula, but "Touch of Evil" deserves a place among the most technically audacious, and effectively dazzling films not only within its own genre, but in all of film.

When "Touch of Evil" was brought to the screen by the legendary Orson Welles in 1958, cinema was nearing the end of the classical Film Noir period. While subject matter in popular film began to become more eclectic and color films became the norm, hard-boiled Film Noir of the 1940s and 1950s took a back seat. However, if one wishes to call "Touch of Evil" the "last classical Film Noir", then the style did not go quietly. Known for its daring camera work and telling angles, classical Noir was always visually far removed from the films of classic Hollywood. In "Touch of Evil", Welles and cinematographer Russell Metty achieve a lively, fluid, and unparalleled visual experience.

Welles' equally innovative "Citizen Kane" is often cited as a picture which played a great part in the inception of Film Noir. Therefore, it is fitting that, as a director, Welles mastered Noir itself, nearly 20 years after "Citizen Kane". "Touch of Evil" builds on the low and high angle shots of "Citizen Kane", used to establish power or to change a character's perceived stature. In scenes like the introduction of Welles' own police captain Hank Quinlan, a low angle is used to establish a position of dominance and a foreboding persona. Additionally, shadows are used extensively in the film to compliment the dark motives in the story, and swift, choppy editing brilliantly portrays paranoia and unrest in Janet Leigh's Susan Vargas. But, undoubtedly, the picture's most visually striking moments come in the long, tracking, unbroken shots which make their way through crowded streets and into and out of buildings. Upon my first viewing, the opening scene of the film, which tracks a doomed vehicle and the newlywed protagonists through a busy downtown area for over three minutes, quickly emerged as one of the most technically impressive things I have ever seen on a screen. In this moment, the camera feels alive, and the audience is made aware that seeing this film may actually be paramount to digesting this story. In "Touch of Evil" Orson Welles reminds viewers that he is something of a cinematic mastermind, and the first five to ten minutes alone are enough to convince us.

However, for all of its marvelous visual display, there is certainly room for gripes with this film. The casting of Charlton Heston in the role of Mexican Police Officer Mike Vargas is a well noted eyebrow-raiser in the history of film. As one of the picture's central characters, his acting is satisfactory, and we understand the need for star power in major studio films. But at certain moments, viewers may feel like justifying his presence in the role takes a great deal of suspending disbelief. The plot at the center of "Touch of Evil", involving Janet Leigh as a distressed, helpless newlywed and corrupt, border-town police work by Orson Welles' Hank Quinlan, can be a bit of a maze. Elements involving a crime syndicate, kidnappings, and dirty law enforcement become tangled in a way that leaves certain questions unanswered. However, the aforementioned artistic excellence of the film makes up for any weaknesses or dry moments in the story.

Famously, several of Welles' films which are now considered to be classics were not overwhelming financial or critical successes during the 20th century. While the theatrical, studio edited version of "Touch of Evil" was somewhat different from Welles' original vision, the film certainly falls into this list. Perhaps the reason for this is that Welles was simply too many years ahead of the cinematic world around him. Nonetheless, he is rightfully looked upon today as one of the giants of film history, and the artful breakthroughs of "Touch of Evil" are a key reason why.

RATING: 7.9/10

DOUBLE INDEMNITY

Billy Wilder's 1944 classic, "Double Indemnity", is considered by many to be the quintessence Film Noir. With its low-lit city setting and circularly structured narrative, it makes use of stylistic elements which are characteristic of the movement. I myself would have to think long and hard to decide between this film and "The Third Man" to decide which is truly the ultimate example of Noir, but nonetheless "Double Indemnity" gives viewers plenty of insight into why this style of filmmaking is one of the most beloved and replicated in the history of cinema.

To observe what is perhaps the strongest example of Noir style in the film, one needs only to look deeply into the picture's two major characters and the roles that they play in the conspiracy at hand. Fred MacMurray's Walter Neff is an archetypal Film Noir protagonist. From the moment viewers are introduced to him, he is conflicted, stressed, and clearly ill-equipped to handle whatever circumstances the film is yet to reveal to its audience. As Neff works through his detailed, outright confession in the form of an office memo to his employer Barton Keyes, the motives for his involvement in the elaborate murder of the wealthy Mr. Diethrichson are unveiled.  His statement, "I killed him for money, and a woman, and I didn't get the money and I didn't get the woman", reveals what is true of many male protagonists in Film Noir; the shallow temptations of greed and lust have led him to a complete moral crumbling. Neff is a prime example of the way many men of 1930s, 1940s, and 1950s were shown in films like these as easily manipulated and dishonestly motivated.

Equally important, in her last lines of dialogue, Phyllis Dietrichson divulges the reality of her character to Walter Neff, telling him, "No, I never loved you, Walter, not you or anybody else. I'm rotten to the heart. I used you just as you said. That's all you ever meant to me." Just as Neff is a prime example of men in Film Noir, Phyllis embodies the genre's classic "femme fatale" role. As beautiful as she is deceitful, it is her allure that leads to all of the sexual tensions and eventual irredeemable actions committed by the characters. Like many films of the 1940s and 1950s, she seems to warn viewers of an untrustworthy nature of beautiful women like her.

Even the supporting figures in the film are essentially stock characters which are often seen in Noir films. Barton Keyes is the familiar high-ranking, straight talking, cigar smoking businessman, and Lola Dietrichson is a young, naïve, out-of-element beauty. While we often see characters like these in older crime and mystery films, and truthfully none of the performances in "Double Indemnity" rank among history's greatest acting jobs, the way that these characters are presented seems to transport the audience to the old world for the 30's and 40's for the duration of the film.

While there are many beliefs about what spurred the Film Noir movement, such as the tensions of the Post-War world and increasing European influence in American culture during the time, "Double Indemnity" is more a study of character than anything else. Walter Neff and Phyllis Dietrichson are equally pathetic and equally subjugated by their respective temptations. Neither of the film's main characters is a hero, and as I see it, they are both bored, trapped individuals who turn to elaborate crime to spice up their daily lives. They treat the murder case as a sort of game, which often shrouds the fact that its a brutal, violent, psychopathic deed that they take part in. We are not meant to feel sorry for either of them.

Of course, being a seminal piece of Film Noir, the movie is riddled with smoky, low lit rooms, foreboding city jazz, and weighty, symbolic camera angles. Billy Wilder succeeds in combining these elements of undeniable filmmaking charm with a story nearly as fascinating as its visuals. It is a testament to the daring beauty of Film Noir and its pioneers that "Double Indemnity" remains a universally admired masterpiece.

RATING: 8.1/10

WIND RIVER

"Hell or High Water" was one of my absolute favorite films of 2016. The previous year's "Sicario" was a nearly universal success with critics as well as audiences. When stacked alongside 2017's "Wind River", these films make one thing absolutely certain: Taylor Sheridan is a quickly rising star in the film industry's new crop of talent. Primarily a writer prior to his most recent work, Sheridan seems to posses a flair for grit and action, but also a willingness and ability to make important social statements. With "Wind River", his feature film directing debut, Sheridan delivers a film which builds on the style and strengths of his previous works, while bringing complex, story-driving, heartfelt characters.

"Wind River" focuses on a part of American society which many people seem to forget about today. The Wind River Indian Reservation is shown to be a barren, troubled, somewhat hopeless part of the country. Locals throughout the film are quick to remind us that things like luck, help, and sympathy are hard to come by in the cold, bothered lands. Consequently, when Jane Banner, a naive and stubborn FBI agent, is called upon to investigate a rape and murder, she is largely ignorant to the customs and conventions of the reservation's native people. Jane relies on the assistance of Corey Lambert, a seasoned tracker for fish and wildlife services, who has strong ties and familiarity with the reservation's community, as well as personal motivations in solving the gruesome case. The film's leads are played beautifully by Elizabeth Olsen and Jeremy Renner. Olsen is effective as a strong-willed, confident character, but also delivers in vital situations of emotional release. Jane is often unprepared for the depth of the situations that she finds herself in, and Olsen allows for potent cathartic moments. Renner's character is rugged and hardened, qualities which we often see in the actor's roles. However, as the film progresses and details of Corey's past are revealed, this becomes one of the most emotional  performances that we have ever seen from Renner. And it is one of his best.

Sheridan directs the film to posses an atmosphere which greatly assists the story. Wide shots of vast snowy landscape enhance the important idea that when individuals are alone in the Wind River reservation, they are very, very alone. The often disturbing subject matter of the film is aided by an equally haunting setting, and a stringy, evocative score composed by Nick Cave and Warren Ellis. I appreciated the strategy which Sheridan employs to backtrack and show viewers exactly what happened on the night of the film's core tragic event, rather than reveal the happening entirely through the characters' investigation. This is a brutal scene which may be difficult to watch, but it emphasizes the weight of the surrounding circumstances. To further laud the job done here by Sheridan, it is refreshing to see a story which allows for such natural, sincere chemistry between two characters, without rounding it into an unnecessary romantic relationship. "Wind River" is ultimately an overwhelmingly impressive debut as being both a writer and director.

Upon the close of the film, we are provided with some staggering information involving the mistreatment of women in the American Indian community. Sheridan goes about making a societal stand in the way that filmmakers should. He gives us a very entertaining film, which has action, emotion, and likable characters, while also delivering a relevant message. In a similar manner to "Hell or High Water", "Wind River" presents vital social commentary which is valuable, yet understated and not too obviously flashed in the faces of its viewers. The film enthralls, entertains, and educates, doing all three beautifully.

RATING: 8.2/10

DUNKIRK

Christopher Nolan possesses a rare ability. He is consistently able to craft films which are sophisticated, profound, and frequently artful, while satisfying the needs of big Hollywood studios by producing lucrative blockbusters. But box office aside, I've found several of Nolan's films, namely "Inception", "Interstellar, and "The Dark Knight" to be massively impressive. While many movie purists argue that films of his tend to be overrated, and there is certainly grounds for those arguments, Nolan's deep involvement in every aspect of the moviemaking process is commendable. That said, I certainly shared the excitement of the film community about his latest output, "Dunkirk". Amidst the high amount of attention that each of his films is destined to receive, Nolan delivers with this gripping, unconventional story of war.

The historical events of the evacuation at Dunkirk, in which the British and French armies of World War II suffered massive casualties and hoped for miracles to assist their fleeing German attacks, do not lend themselves to a traditional war picture. From a practical, strategic standpoint, Dunkirk brought an overwhelming defeat for the British. This is not a war story which justifies the presence of the traditional hero in a film, or scenes of military officials conducting masterful plans. Instead of taking the traditional 'one side against the other' approach, Nolan crafts a characteristically circular, interweaving plot. He divides the narrative into three deeply personal perspectives of the story, including soldiers stranded on the beach, pilots confronting Germans in the air, and English citizens courageously leaving their homes to rescue soldiers. Each storyline creates its own sense of peril. With the beach soldiers, we often feel as if we are in the water fighting to stay afloat and gasping for air alongside them. In the air, a lack of fuel and support leaves pilots seconds away from plummeting into the ocean. The English civilians at sea, while heroically answering the call for assistance, are never safe in the unfamiliar environment of war. The sum of these parts makes "Dunkirk" often appear to be more a disaster film than a war film. It has a tangible presence of fear, achieved without explicitly telling viewers what to be afraid of. Just consider the fact that the audience never actually gets a solid look at a German soldier during the 127 runtime. The danger is in the atmosphere.

As he's done in the past, Nolan employs an ensemble cast which allows each division of the story to flaunt an array of acting talent. Familiar, established figures such as Tom Hardy, Mark Rylance, Kenneth Branagh, and Cillian Murphy are joined by relative newcomers like Fionn Whitehead, Barry Keoghan and Harry Styles. The group of actors successfully brings to life a lean, conservative script from Nolan. Dialogue is sparse throughout "Dunkirk", putting emphasis on the technical aspects and spectacle of the movie. And spectacle is where the film does not hold back. Nolan uses "props" such as genuine airplanes and warships and practical effects as much as possible. From a visual standpoint, "Dunkirk" is at a level of authenticity and grandeur that few war movies reach. I must also mention that this film struck me with sound in a way that few do. When overboard soldiers are fighting for their next breath, drowned out tones submerge us with them, and the roaring of spitfire fighter planes helps us to hear the chaos surrounding the characters. Nolan and frequent collaborator Hans Zimmer chose to include an omnipresent ticking which mixes in with an effectively ominous score to add suspense throughout the picture. As a comprehensive experience, "Dunkirk" is singularly stimulating.

The movie industry's fascination with the Second World War continues, and "Dunkirk" is a unique, worthy installment to the long list of acclaimed war films, as well as to Christopher Nolan's impressive track record. Though countless war movies have captured audiences over the years, the events at Dunkirk seem to have been underrepresented in film. Above all, this picture is important in that it shows the vital heroism of the community which makes the evacuation of Dunkirk such a heavy story in history. Though a tragic defeat from a military perspective, the evacuation represents a victory for our faith in the Everyman.

RATING: 8/10

TRAINSPOTTING

Danny Boyle's "Trainspotting" achieves an effect similar to one seen in Scorsese films like "The Wolf of Wall Street" and "Goodfellas". Through playful banter and humorous, raucous moments between friends, it has the ability to distract viewers from the truly tragic, often despicable lives of its characters. It's a film which is likely loved by a heroin junkie just as much as by your average, clean-cut, seasoned movie fan. With the release of a long-awaited sequel this year, it's easy to recognize the "classic" status that this movie has achieved since 1996.

"Trainspotting" is, at it simplest, a film about drug addicts. The drug use in the film is prevalent and graphic, and it often leads its characters into turbulent situations. There's no doubt that the films funny moments can be genuinely uproarious, such as the "worst toilet in Scotland" sequence. However, when taken as a whole, the movie does nothing to glorify the use of heroin, or the lifestyle of the characters. The foremost of those characters is Mark Renton, who's feeble attempts to overcome is drug habits are consistently thwarted by his friends and his city. While the film displays a sort of ensemble of troubled characters, Renton provides most of the film's perspective and commentary regarding the Edinburgh drug scene. Ewan McGregor is effective in what is widely considered his signature role. Before he was Obi-Wan Kenobi, this was the role with which he was most closely associated with, and amongst many moviegoers, this is still seen as his crowning work. Renton is a clearly troubled character, but he often seems somehow slightly better held together than some of his mates do, and from the very beginning of the film, he warns his audience not to choose to live the way he does.

It's ultimately quite a dark life that we observe the film's characters living. For every brief moment of comedic levity, there is an impending scene of helplessness and tragedy. Observing the group of main characters, I wonder if they are truly friends, or just individuals with whom they feel forced to share their disastrous reality. The film's outlandish nature has turned its characters into cult favorites, particularly the United Kingdom, but truthfully there is a desperate sense to Renton and his friends that make "Trainspotting" an effectively anti-drug film. Thankfully, I have never suffered from any sort of addiction, but sequences like Renton's vividly chaotic withdrawal scene while locked in his bedroom are exactly what I imagine such an addiction to be like. There is no question that the film is honest, and it's that honesty which should clearly lead viewers to want to "choose life" over a drug fueled existence. In his final monologue, following a shameless betrayal of his so called "friends", Renton himself admits "I'm a bad person". While he is not past the point of redemption, the film makes it clear that Renton is no model character.

This movie is one which leaves its audience unsure how to feel. It's an up and down experience; likely not dissimilar in that regard to a heroin habit. We laugh, we are disgusted and disturbed, and often totally drained while observing Renton's struggles. Its dark comedic elements weave through its occasionally depressing character study to produce an irresistible blend of the provocative and the purely entertaining.

RATING: 8/10

ROOM

The story of "Room" becomes increasingly unsettling the more one thinks about the fact that things like this have actually happened to people. On its broadest scale, the film is a story of juvenile kidnap, rape, and endless abuse; subjects which could easily yield a nightmare of a film. Miraculously however, the affecting performances and touching relationship at the heart of "Room" overshadow the elements of brutality and deliver a film which is moving and often heartwarming.

Brie Larson plays the role of Joy (or Ma, depending on who you ask), a young woman who was captured during her teens and, for years, has been held captive. Jack, the son born to Joy several years into her agony as a sexual slave, is raised knowing nothing of life outside the confines of the small shed inhabited by the characters. To Jack, what lies beyond the walls of the small room shared by he and his mother is known as "outer space", and things like animals and regular fixtures of comfort in our daily lives only exist in the fantastical world of television. Though what she and her son face are nothing short of horrific, Joy places Jack at the center of her existence, and does an honorable job of maintaining hope and providing her son with the closest thing to a normal life that she can manage.

The effectiveness of Larson's lead performance is no secret, as it earned her plenty of high profile awards and critical praise. She succeeds in bringing the subtle suffering and reflective depth that is pivotal to her tortured character. Amongst her most powerful moments in the film are the sudden cathartic episodes which her character experiences when her son is not around. As the collected façade falls, Joy allows herself to display the anguish which we expect from someone in her situation, and Larson delivers in these moments. The role of Jack also turned young Jacob Tremblay into the darling of the 2016 movie awards season. Any time a film as intense as this one relies so heavily on the skill of a child actor, moviegoers and filmmakers alike do not know what to expect, but Tremblay's combination of cheerful naivety and subdued emotion acts as a light of innocence at the heart of the film.

This movie does something very well which is impetrative to great films: it makes you care deeply about its characters. The scene in which Jack attempts his escape from the back of his captors pickup truck brought me stronger feelings of suspense than any horror film or thriller which I have seen recently. This is achieved by building a deep connection between the young boy and the audience as we have see the struggle involved in his childhood, recognize his opportunity to be free, and ask ourselves what will happen if he fails. Jack and Joy's escape from their confinement is the riveting turning point of the film, but this moment and the events that follow it would not matter nearly as much if viewers had not witnessed the meticulously displayed struggle at the opening of the film. Even as the characters attempt to assimilate with the largely unfamiliar outside world, they often rely on each other to maintain healthy spirits. It's the everyday moments shown between the protagonists which are the most poignant and memorable.

The fictional story of "Room", based on a novel by author and screenwriter Emma Donoghue, is almost eerily prophetic of the Ariel Castro kidnapping case of 2013. These events saw the discovery and escape of three young women, one with a child born in captivity, who were held in very similar circumstances to that of Joy. As I stated earlier, approaching this film with the knowledge that sickening things like these really happen in our world brings a powerful emotional rise out of viewers. But for all the cruelty which surrounds the story of Jack and Joy, this is, above all, an inspiring story about the power of love, the strength of companionship, and the importance of mothers. "Room" is one of the best movies of the decade so far, and it possesses the power to stimulate emotions as strongly as a film can.

RATING:  8.6/10

BLADE RUNNER

With the growing hype around the upcoming sequel to this Ridley Scott cult classic, I recently felt the itch for a viewing, and review, of the original "Blade Runner". Regarded by many as one of the great Sci-Fi films of all time, the movie set trends which have been imitated constantly since its release in 1982. A largely bleak view of an American future, the film explores the nature, and often hypocrisy, of how we view humanity. Specifically, I will focus on the conclusive "Final Cut" version of the film, which critics, many fans, and Scott himself often tout as the definitive rendering. Any further commentary on the lame original voice-over would be beating a dead replicant.

Harrison Ford stars Rick Deckard, a Blade Runner (some sort of cross between a detective and an assassin) in 2019 Los Angeles. The character reluctantly agrees to track down and eradicate a group of roguish replicants, who have been bioengineered by a major corporation to essentially act as slaves and perform any undesirable task that humans wish. Deckard's search for the missing replicants proves to become increasingly perilous, as his adversaries develop emotions, skills, and intelligence which is beyond what they were programmed for. It is only because of an extremely human deed performed by one of his non-human enemies that Deckard makes it out of his mission alive.

I see Deckard as easily the most complex of any of Harrison Ford's classic film heroes. In fact, the term "hero" seems rather unfitting in itself. The character is a heavy-drinking, unsympathetic loner who seems to avoid contact with others whenever he can. Not to mention the uncomfortable love scenes in the film, which have aged as nothing less than blatant sexual assault. Of course, anyone who is even a casual fan of the film is aware of the ongoing debate over whether or not Deckard himself is a replicant, implanted with memories of a valiant past as a Blade Runner. Ridley Scott has hinted toward this idea in the past, while Ford has contended that Deckard is a necessary human presence in the story. Personally, I find the story to have much more meaning if Deckard is in fact a human. With this notion, his final encounter with Roy Batty (Rutger Hauer), essentially the leader of the hunted replicants, reveals the true underlying theme of the movie: the replicants truly are "more human than human". When Batty saves Deckard from falling off the rooftop and delivers his classic monologue about the meaningful memories which he has made, he exhibits qualities which the humans of "Blade Runner"'s future seem to have left in the past. Now, trailers and images of the upcoming "Blade Runner 2049" have surfaced, and it is clear that Ford will be reprising his character. Barring some potential loop in the science of the first film, its safe to assume that Deckard did not have the limited lifespan of most of the replicants. Nonetheless, "Blade Runner" is a film without a true hero versus villain dynamic. Batty is the character who we are led to see as evil and threatening, but at the conclusion, we sympathize with him more than anyone.

One thing is certain; the future depicted in "Blade Runner" is a fascinating one. Things that have become Sci-Fi staples, such as the enormous digital advertisements and flying cars, were made possible by special effects which were groundbreaking at the time. But to me, the most interesting aspects of Ridley Scott's 2019 Los Angeles go much deeper. The film shows a culture in the city which has experienced great influence from foreign cultures, specifically from Asia. In many ways, this projection has come true in the West coast cities of today. The setting of the film also includes many effective dystopian urban elements, such as the dark, smoky atmosphere and overly industrialized and overpopulated living spaces. For evidence of this setting's influence on its genre, look no further than the city planet of Coruscant in George Lucas' "Star Wars" prequels. What makes the city so effective in this case is the style with which Scott approached his filming. The shadowy streets, neon signs, and constant rainfall sends an essence of classic film noir through this foreboding scientific story.

As an example of unprecedented, influential style in filmmaking, "Blade Runner" may be as important as movies get. The film simply feels far different from anything that came before it. It's undoubtedly one of the most unique movies of all time. However, I must admit that I don't personally love it as much as many other movie fans do. This is possibly because I was not around to experience the "wow" factor of seeing it in the early 1980's, and we are so flooded with Sci-Fi in movies today. But, it's influence and originality are indisputable, and with the amount of material it gives for theories and analysis, I can fully appreciate its cult classic status.

RATING: 7.5/10
 

ETERNAL SUNSHINE OF THE SPOTLESS MIND

What we have here is one of those movies which, while seemingly lauded by everyone else, just does not do it for me, at all. I suspect every moviegoer has experienced films which don't strike the same personal chord that they do with the rest of the cinema world. It certainly has a few things going for it in my book, which I'll mention, but for the most part this Oscar winner comes off as nauseatingly mawkish and glum.

Charlie Kaufman, who brings a great deal of melodrama to most of his films, delivers a screenplay detailing the story of two former lovers who, upon a rocky ending to their relationship of the past, had each other scientifically removed from their memories. This Sci-Fi aspect of the narrative is interesting, but it would have been better used in a film which wasn't trying so hard to leave audiences feeling so damn sappy and wishy-washy. One of the components of the movie that fans and critics praise is the writing. Trust me, I posses entirely capable capacities for romantic and emotional intelligence, but the relationship at the center of this film is in many ways pathetic and gets caught up in a plot which is entirely overcomplicated. In scattered attempts to delve into the memories of the characters, viewers are easily lost. Some of Kaufman's efforts, like "Being John Malkovich", which intelligently balances humor and sentiment, I've thoroughly enjoyed. "Eternal Sunshine" on the other hand just needs to get over itself.

In some of his more lighthearted roles, I guess I don't mind Jim Carrey. "The Truman Show" is an example of the kind of film which has the right amount of oddball humor and clever storyline to magnify his comedic talent at the center of a very good film. In a film like this one however, Carrey is out of his element. Maybe it's because I'm so used to seeing him making strange faces and prompting cheap laughs, but in a deep and dramatically complex role such as this one I feel that he doesn't connect. The bond between Carrey and Kate Winslet, which is truly the focus of the entire story, feels forced, unlikely, and unnatural. I will add however, that Winslet's performance is without a doubt the brightest spot in the film. Perhaps the strength of her eccentric turn is what makes Carrey come off so bland.  

Many fans of this film, surprising as it is to think that there are many, would likely say that I am simply missing the point. But I do get the point. I do understand what the movie is trying to spoon feed me. The themes of failed, forgotten love and loneliness are effective and poignant in movies that make you care. "Eternal Sunshine" fails to make me care. By the time the tedious story makes its way to the pay off, I was too tired of Jim Carrey's sickly, miserable mood to maintain interest in the relations between the characters.

"Eternal Sunshine of the Spotless Mind" is disorganized and histrionic. It quickly becomes tired and dull, and is one of the most painfully obvious attempts at emotion that movies have ever given us. I enjoy the Winslet performance, and the idea of exploring memory is often interesting, but both would have been better put to use in a film which avoids all of the repellent pathos. I know I am in the minority here, but this holds a spot among the most overrated movies of all time. The most maudlin moments of the picture are simply headache inducing. If someone were to offer to erase this from my memory of movie experiences, I don't think I would object.

RATING: 4/10

RECAP: TRIBECA FILM FESTIVAL'S "GODFATHER" REUNION

This past Saturday, I had the pleasure of attending the 2017 Tribeca Film Festival's closing event; a 45th anniversary screening and discussion of "The Godfather" and "The Godfather: Part II". Aside from the entirely unique experience of viewing two of the greatest films of all time, back to back, at the famed Radio City Music Hall, it was also a once in a lifetime treat to hear directly from Francis Ford Coppola as well as core members of the cast, including Al Pacino, Robert Duvall, James Caan, Diane Keaton, Talia Shire, and Robert De Niro. According to these Hollywood legends, this was the first time since the early seventies that they had all come together to discuss the Mafia masterpieces, and frankly as the cast and crew becomes continuously further removed from their young, fiery, Mafioso selves, I'm glad to say I saw this once in a lifetime event.

Of course, the first two installments of the "Godfather" saga are two of my favorite films. After every time I've watched them, I find myself playing over scenes and running through the best lines of the flawless screenplay in my head for days. Each having runtimes around the three hour mark, one may expect that a back to back viewing would be a bit too much underground crime for one day, but a testament to the brilliance of these films lies in the fact that throughout the event, I recall putting zero thought to the amount of time I had been sitting in the theater. The story of the Corleone family is so dazzlingly woven through the family bonds, development, and depth of the characters, that a viewer forgets that the world around them isn't the dark, corrupt, smoky world of post-war New York. I must say that the consecutive screening of the films had the effect of opening my eyes more than ever before to the true darkness of Michael Corleone's deterioration from unassuming outsider to kingpin verging on the psychopathic. Also, taking in these films alongside such a large crowd yielded results I can't say I anticipated. The expected cheers and applause were present following the films best scenes and upon the first appearances of the main characters, but it was certainly something of a surprise to hear praise and acclaim toward things like Michael, quite literally, shutting his wife out of his life. Fans will unswervingly be fans.

De Niro has stated that getting Francis Ford Coppola to agree to the reunion was a struggle at first, but the legendary director was eventually able to be convinced. I guess he just couldn't refuse the offer. During the discussion panel which followed the films, Coppola's anecdotes and recollections of the filmmaking process dominated conversation. It is truly amazing to think that, early in production, Paramount came within an inch of firing him, and vehemently opposed the participation of two actors named Marlon Brando and Al Pacino. We're lucky that they reconsidered. Without Coppola, Brando, and Pacino, there is no "Godfather". I was interested to hear whether or not the cast had seen the films recently themselves, and with Diane Keaton's mentioning that, not long ago, she had her own viewing, "On a f***ing computer!", it's clear to see that the people behind the movies have the same appreciation for them that fans do. James Caan, as entertaining in his own right as his character, Sonny, provided some stories of the best behind-the-scenes laughs, such as Marlon Brando's placing of weights in his hospital bed to make it difficult for the cast to carry the injured Don up the stairs. As a fan, its amusing to imagine the famed Vito Corleone chuckling and doing things like mooning cast members between takes. One inclusion in the discussion which I found fascinating was that Talia Shire proposed the idea that Kay Adams should have an abortion to avoid bringing another Corleone child into the world. This scene between Michael and his wife is one of the most emotional in the entire saga (I'll avoid the word trilogy, as not even a mention of the tabooed third film came from the panel), and Shire's generating of this idea shows the vital role that each of these people had in the success of the films. With the exception of late stars such as Brando and John Cazale, the true core of the "Godfather" family was present, and I am thrilled to have been able to experience it.

Having the chance to view two of the greatest films of all time and hear reflections from its key figures was endlessly enjoyable. It immediately made me wonder what others of my favorite films with ensemble casts an event like this could be held for ("Goodfellas" perhaps? "Pulp Fiction"? "The Lord of the Rings", years from now?). Without question the event made me all the more excited for more film festival gatherings like it in the future. These stories and discussions about "The Godfather" add a new, entertaining perspective to watching the films, and the stars behind the characters are as timeless as the characters themselves.

MONSTER

Several days ago, I reviewed a film which contains one of the best performances by a male actor ever. So, it's only fitting that my follow up details a turn by an actress which garners the same kind of praise. "Monster", which candidly tells the story of the infamous prostitute turned serial killer Aileen Wuornos, sees Charlize Theron make one of the most convincing transformations we've ever seen.

As "Monster" opens, we are soon introduced to the instability and deterioration of its main character. Wuornos' life has driven her within an inch of suicide, and the film effectively shows her to be a lonely, damaged, out of touch individual. Where "Monster" quickly differs from most other serial killer stories, is in the emotional and even sympathetic tones which it achieves. As the protagonist develops a naïve, unlikely relationship with an 18-year-old girl, viewers get a sense of helplessness surrounding the characters. Wuornos wants nothing more than to provide for herself and the young Selby, and to give them what they see as a normal life. Her methods are less than honorable, and the film does not make excuses for the robberies and seven murders that she commits, but the passion which is evident in the picture's central performance crafts the story to a point where it pains viewers to see the overall decay of the character. Her obviously delusional outlook on her life and her "work" make her a tragic character more than just an evil one.

If one went into watching this film without seeing any billing, they likely would not recognize Charlize Theron as the lead. However, the brilliance of her performance goes beyond the stunning physical transformation. The actress' mannerisms and intense vocal delivery brilliantly make viewers  uneasy. There isn't a scene in the film in which the character seems level headed. Where Theron is most successful is in the troubling volatility she brings to Wuornos. Her ability to swing from pathetically vulnerable to disturbingly brutal within seconds beautifully establishes the psychopathic nature of the character. The decision to cast Theron in this role was likely one which caused some head scratches at the time, but it has proven to be one of the best casting choices in cinema history. It's a bold, courageous and ultimately virtuosic display of acting.

Something about serial killers attracts a considerable amount of interest and fascination from society. Strangely, we are often eager to get inside the heads of those who experience insanity. People in Hollywood, as well as fans of movies and television are often mesmerized by madness, but, again, this film separates itself in its ability to cause viewers to feel for such a violent character, rather than simply hate her. The movie and its lead performance are endlessly thought-provoking, and if I've seen works by actresses which are better than this one, they can undoubtedly be counted on one hand.

RATING: 7.8/10

THERE WILL BE BLOOD

Rarely is a film graced with a performance in which an actor inhabits an enthralling character to the point where everything going on around that character becomes subsidiary. These performances and these characters become so compelling and polarizing, they leave their audience internally analyzing them long after the viewing experience. In Paul Thomas Anderson's historical epic, "There Will Be Blood", Daniel Day-Lewis gives one of those performances, and oilman Daniel Plainview is one of those characters. In all of movie history, few films can attribute as much of their greatness to the work of one actor.

Plainview's story begins as one of ambition and aspiration, as the film opens to his humble beginnings as a coal miner in the late nineteenth century. However, the man's relentless drive and passion soon turn to the oil business, which quickly turns his ambition into obsession, and his aspiration into avarice. His faith, moral fortitude, and sanity are tested as he attempts to bring his "family business" to the top of the early California oil industry.

The film provides probably as dark a commentary on the danger of greed as a film could. Throughout the early parts of the story, the audience is perhaps unsure about how they should feel about Plainview. His fixation is concerning, but at first his drive seems admirable. As his business endeavors expand and the line between life and work is erased, he is revealed to be a truly tragic figure, and a full-fledged villain. The film turns the idea of wealth correlating with happiness on its head. It's at the end of the story, when Plainview appears the most financially sound, that he is entirely mentally unhinged. Along with greed, religion also takes a central role in the conflicts of Plainview's story. Not because the character is a faithful man, but because of the pestering role which the Christian leadership presiding over his oil sites plays in his business. He represents a character who is so out of touch with a morally upstanding existence that he seems to fear religion and how it might make him conscious of his wrongdoings. Above all, this film is a study of a deeply flawed and intricate character.

Paul Thomas Anderson uses barren, almost dead settings, restrained writing, and an ominous score from Jonny Greenwood to create the film's menacing tone. These, along with impressive practical sets and an impassioned supporting effort from Paul Dano, are all important factors in this films effectiveness. But, as I stated earlier, "There Will Be Blood" is Daniel Day-Lewis' film. His turn as Daniel Plainview is the masterwork of his career. Plain and simple, this is one of the greatest performances in the history of cinema. In every moment which sees Day-Lewis occupy the screen (essentially every scene of the nearly three hour picture), he provides a subtly menacing demeanor, a chilling vocal cadence, and a palpable presence of reserved madness. This is one of those roles which is impossible to imagine any other actor playing. Day-Lewis, a famed "method actor", embodies Plainview's preoccupation with perfection in his work. It's not hard to imagine Day-Lewis having an obsession for his acting which is equal to Plainview's obsession for riches.

"There Will Be Blood" is one of the best films to come out since the turn of the millennium, and perhaps the best work to date by one of the greatest actors of all time is a huge reason why. It is an ambitious modern epic, which weaves its way through issues of faith, business, family, greed, and rectitude. The finished product; one of the most ferocious, engaging, and brilliant films I have ever seen.

RATING: 9.5/10

PAN'S LABYRINTH

I must admit my ill-advised hesitation to dive into the world of foreign language films more often. With some films, I find the requirement to read subtitles to be distracting from the visual experience. With "Pan's Labyrinth" however,  the experience is so stunning and compelling, it's nearly impossible to resist being drawn into the mysterious world created by writer and director Guillermo del Toro. Detailing a young girl named Ofelia, caught between the sadistic nature of 1940's Spain and a number of captivating yet treacherous fantastical adventures, the film combines the wondrous touch of a children's fairytale with the intensity and grit of a war story.

One of many impressive things about "Pan's Labyrinth" is that it is a modern and entirely original fantasy story. Most films within the genre today are heavily based on stories from decades, even centuries, ago. In fact, this is a movie so unlike others that it may not be fair to say that the picture fits well into an existing genre at all. As the story begins, we are introduced to seemingly familiar wartime themes, as Ofelia and her pregnant mother struggle to stay out of dodge while living under the oppressive watch of a fascist military officer. The commander in charge of the outpost at which Ofelia resides is so convincingly evil, as he tortures prisoners and shoots whomever he wishes with little to no reason, that the audience wishes to escape to the fantasy side of the character's life as badly as she does. Her fairy-tale experiences begin as she wanders into a wooded labyrinth and encounters a faun who tells her of her ability to achieve immortal royalty if she completes a series of considerably perilous tasks. But, "fairy-tale" is a partially dishonest term to use when discussing this movie. At times it possesses an enchanting quality, but "Pan's Labyrinth" is not for the kids. On all sides, it is a mature, violent, and often startling story.

The films central performance is provided excellently by young Spanish actress Ivana Baquero. For a childhood role, her screen time is immense and her part is demanding. Ofelia, along with Mercedes, a housekeeper who acts as the films other rebellious hero, creates a strong virtuous presence. When these characters are contrasted with the blatant cruelty of the Spanish military forces shown, they create a clear line between good and evil in the human world. The brutality of one world which the main character lives in shows the need for the other. In her supernatural encounters, Ofelia is faced with danger and uncertainty, but the opportunity to be free of human persecution leads her deeper into the unknown. Depicting the early days of 20th century Spanish autocracy, "Pan's Labyrinth" covers historical elements which are actually underrepresented in film. Among other central themes, the movie provides commentary on the madness often spawned by war.

Technically and visually, the movie is exceptional. To create the various creatures which the protagonist encounters, the filmmakers relied largely on prosthetics and practical effects, and these are some of the best we've ever seen. This unsettling, nonhuman realism combines with del Toro's fluid directing style, bosky settings, and gloomy cinematography to create an often haunting atmosphere.

This is a fantasy film, and it's entirely presented in a foreign language. Both of these vital aspects are ones which may turn some viewers away, mistakenly as that may be. "Pan's Labyrinth" is one of the boldest, most effectively unique movies of recent years. It's atypical, but confidently so, and succeeds in being an endearing yet sincere fantasy picture. 

RATING: 7.8/10

THE GOOD, THE BAD AND THE UGLY

"The Good, the Bad and the Ugly" defines an entire genre in a way that few films do. Those who make the mistake of thinking that the contemporarily cliché "spaghetti western" types cannot be elegantly crafted, truly artful films either haven't seen, or cannot appreciate this 1966 classic. But, for good reason, this films impact and place in the history of movies transcends the "Western" label. Yes, it is a Western, but it's also an Epic, an ambitious adventure, and a sprawling tale which has provided us with some of the most iconic characters, images, and sounds in the history of cinema.

Clint Eastwood, as Blondie, plays a gun-slinging, word sparing cowboy, tied in a tense partnership with Tuco, a desperate and reckless bandit portrayed by Eli Wallach. The two, constantly falling in and out of each other's favor, must collaborate in their hunt for a fortune of gold which has been buried in a distant cemetery. Eastwood and Wallach each deliver a performance which is essential to not only the film, but the Western genre as a whole. Their characters contrast each other perfectly, one is discreet and cautious, the other is rash and unmannerly. Challenging the two for the elusive stash of riches is the imposing Angel Eyes (Lee Van Cleef), who appears to be the collected, formidable, perfect opposition to the other characters. While each figure represents a sort of archetype within the Western genre, writer and director Sergio Leone makes one theme clear: greed has the power to fuel, motivate and override everything that we see these characters go through.

Leone is undoubtedly a stand-alone, pioneering figure in filmmaking. "The Good, the Bad and the Ugly" is largely defined by many of the distinctive, idiosyncratic decisions of its director. The wide shots of barren desert, up-close views of characters' grizzled stares, and unusually lengthy fixations on certain important moments, such as Tuco's feverish run through the prized cemetary, were largely unprecedented, and would feel peculiar in many other films. In this picture, these moments are endlessly fun. Take, for example, the films classic climactic showdown, in which the main characters stand in a circle, gazing at one another, ready to shoot the next man down at any sign of a dash for the treasure. Each man's life lies in the hands of the others. While its a long and unconventionally shot moment, it is perhaps one of the most effectively suspenseful scenes in movie history. The unpredictable jumbling of camera shots between each of the characters, combined with the legendary score of Ennio Morricone, combine for a truly edge-of-your-seat experience. It is a brilliant moment in filmmaking.

On the topic of score, this film's is one which cannot be simply glanced over. Rightfully and consistently ranked as one of the best ever, Morricone provides a composition which almost acts as a character itself. Even for those who have never seen "The Good, the Bad and the Ugly", the opening notes of the film's theme evoke images of cowboys, shootouts, and old-fashioned American revolvers. Like many aspects of this film, the score has become wholly representative of the Western genre.

For glaring evidence of the influence of "The Good, the Bad and the Ugly" and Sergio Leone, look no further than Quentin Tarantino's 2012 hit, "Django Unchained". A film lauded by critics and viewers alike, "Django" is one of my absolute favorites; it represents modern mastery of the largely dated "spaghetti western' subgenre. However, it is simply impossible to watch it without thinking that if it weren't for "The Good, the Bad, and the Ugly", there would certainly be no "Django Unchained". A film like this one makes it seem as if Sergio Leone was born to shake up the world of movies, and go against the norm in a way which revolutionized a beloved genre. Estimates hold that well over 1000 movies have been made about the old American West, and this film stands out, with all its brilliant unconventionalities, as one of the absolute best.

RATING 8.5/10

SCHINDLER'S LIST

"Schindler's List" is one of those films which is almost universally agreed upon as being great. It stole the show at the 1994 Academy Awards, and is considered one of the most impressive achievements of an all time great director. Certainly a bold undertaking, I can understand why viewers and critics commend its scale and honesty, but I myself am part of a rare set which calls this film overrated. And grossly overrated it is. I agree that it is a good movie, but by no stretch would I call it the unprecedented, transcendent cinematic experience that everyone else seems to. Before this article is disregarded as an act of modern cultural blasphemy, I have a legitimate case to make, and it goes beyond the 195 minute runtime aspect.

Oskar Schindler's story is undoubtedly one worth telling. The German businessman employs Jewish workers to work in his factory at the start of the second World War and the Holocaust. As Jewish extermination becomes more prevalent, Schindler recognizes that through designating Jews as important workers for the German war effort, he is able to save hundreds of innocent lives. At the center of the film, Liam Neeson is as charismatic as he is imposing. His shining performance is the highlight of his career as he shows Schindler to be a greatly conflicted, but ultimately goodhearted man. For me however, "Schindler's List"'s greatest strength comes in the form of Ralph Fiennes' performance as the despicable, loathsome Nazi commandant, Amon Goeth. It's hard to think of a character in film history deserving of more hatred than this one. I would call Fiennes' turn a "bright spot" in this film, but perhaps it is better to say it's the films strongest dark spot, as his embodiment of sinful atrocity is painfully compelling. This pair of actors represent what I believe to be the films best aspects, while other factors are not nearly as masterful.

I must say that I surely recognize the greatness of Steven Spielberg. Few directors in modern Hollywood, or possibly ever in Hollywood, can match his prolific originality and overall success rate in filmmaking. "E.T.", "Jaws", and "Bridge of Spies" are all favorites of mine, but other iconic efforts of his do not seem to strike the same chord with me. With regards to "Schindler's List", I am not going to attempt to tell Steven Spielberg how to make movies, but for a movie to be nearly three and a half hours long, it must be air-tight the whole way through; keeping the audience engaged and excited and not wasting a minute. Unfortunately, this film does not do that. It becomes redundant in its attempted poignancy, and while it does the job of delineating the tragedy that was the Holocaust, it could have been equally effective with many aspects pared down, cut short, and left out.

But, as I said, the flaws of "Schindler's List" go beyond its length, as there are other films as long as this one which I love. To be frank, at times I see this film as an attempt from Spielberg to be taken more seriously than he had been in recent years. In the 1980's and early 1990's, Spielberg's recent successes included "E.T.", "Hook", and the beloved "Indiana Jones" saga. Additionally, "Jurassic Park" was in production and not far from its release. These are adventure films, which are, for the most part, lighthearted, happy-ending, and aimed at enrapturing family audiences with movie magic. "Schindler's List" represents a clear departure from films like these, and while many of its emotional elements are effective, I find that others miss the mark. In particular, the scene depicting the young girl wandering in her red jacket against the black and white scenery is an unnecessary, oversimplified way to tell already aware audiences, "Look, sad things are going on here". In fact, the use of black and white in general, while often commended as an insightful move by a film genius, seems rather simple and obvious to me. Another scene loved by many is the emotional breakdown of Oskar Schindler at the conclusion of the story. While Neeson's acting in this scene is excellent, I find the inclusion of this moment to be forced and out of character. For the vast majority of the film, Schindler is shown to be an astute, constantly collected businessman. Leading up to this moment, the character's flashes of deep sympathy and genuine, humane concern are infrequent, and the film has become static and numb to the point where it is difficult to connect with the scene. Its one of many which I find to doesn't hit the emotional pitch that it intends to.

Curmudgeonly as this review may sound, I have not lost sight of the fact that, yes, "Schindler's List" is a good movie. I commend Spielberg for taking on subject matter like this, and I commend the films actors for bringing to life such imposing and polarizing characters. Nonetheless, I stand by my unpopular opinion that it is not a near perfect production. It would have benefitted from limiting its repetitive, occasionally feeble attempts at depth. Perhaps the Holocaust is a subject so grim that it's really impossible to do justice on the screen. Spielberg's take is simplified and, while occasionally powerful, fails to hit on all the emotions it seeks. It's a film you must see once, but, while I cannot imagine why you would want to, never have to see again.

RATING: 7/10

FIVE UNDERRATED MOVIES THAT EVERYONE SHOULD SEE

We all love our share of blockbusters- the movies that gross hundreds of millions and receive all the press and praise. A lot of big-budget films are truly great and tell deep, meaningful stories in their quests for financial bonanzas, while others are heartless and hollow. Without a doubt, these big-name films are the ones which the movie community likes to buzz about the most. But what about the unappreciated gems? What about the unheralded classics? Clearly there is no rule which says box office success and popularity guarantee quality. The following lists details five personal favorites which have been overshadowed, forgotten or misunderstood. They may not appear on many viewers lists of favorites, but these movies are deserving of a much larger audience than they may have received.

In Bruges (2008)

"In Bruges" is not what it looks to be on the surface. Though it may seem so, it does not fit comfortably into the category of fast talking British action-comedies. The banter between the film's two hitmen in hiding is droll and clever, and their relationship is often very amusing. However, the story of Ray, who is guilt-ridden and broken down by some unintended consequences of his profession, becomes increasingly dark and emotional as the plot progresses. In the best performance of his career, Colin Farrell is effectively complex at the center of this movie, while Brendan Gleeson and Ralph Fiennes round out a cast which makes for flawed and zany characters. Its unpredictability and impulsive turns are its strengths, so discussing its plot too much would be doing a disservice to future viewers, but you can be sure that "In Bruges" will garner reactions as unusual and surprising as its story is.

A River Runs Through It (1992)

Some of my greatest childhood memories revolve around fishing with my father and my brother, so perhaps my love for this movie is simply on a personal level, but "A River Runs Through It" remains one of the most heartfelt, beautifully crafted films I have ever seen. The story is one of two vastly contrasting brothers who are raised in rural Montana by a stern minister. A single quote can explain much of the basic principles of the film: "In Montana, there's three things were never late for: church, work, and fishing". As the brothers grow, they develop very different courses and outlooks for their lives. While fishing is at the center of many of the movie's events, its more a story of family, brotherhood, and father-son relationships than anything else. A musing story, a beautiful score, dazzling scenery, and three brilliant unsung performances (including one of Brad Pitt's absolute best) come together to form a charming picture. It will resonate with any family man, fisherman, or film-lover.


The Iron Giant (1999)

Its likely that "The Iron Giant" seems to have gone relatively unnoticed upon its release because it came out at a time when Disney, and Pixar in particular, had unquestionable dominance over the animation world. But ignoring this film in favor of its more popular contemporaries is a vital mistake. A film about a young boy's unlikely friendship with an extra-terrestrial metal behemoth, "The Iron Giant" contains enough adult humor and little boy "wow" factor to be as exciting to me today as it was when I was 6. For an adventure movie geared towards family viewing, it contains subject matter which is actually quite mature. It's exciting and wholehearted while maintaining a humorous edge. While I am usually not in favor of big-money remakes, I must say that this seems like a film that would translate into a jaw-dropping live action revival.

Swingers (1996)

What I appreciate most about "Swingers" is that it doesn't rely on the crass, in-your-face jokes that many modern comedies do. Instead, it brings bright writing and enjoyable characters to its spot-on depiction of the awkwardness that is, at times, inescapable in certain social scenes. The movie is ironic but honest, not to mention any film-lover cannot help but appreciate the subtle references to classic films, such as the "Goodfellas" inspired tracking shot on the way into the bar. Its greatest entertainment factor is, in my opinion, Vince Vaughn's funniest performance to date as the charismatic and loyal pal, Trent. "Swingers" is not a masterpiece; its not hard to tell that it was a low-budget production from some industry newcomers, but Jon Favreau's script manages to be intelligently goofy yet unusually touching. It's a film which greatly exceeds what viewers likely expect from it.

Road to Perdition (2002)

Many people saw this film when it came out and it was received fairly well, so it may not seem like a choice for an "underrated" list. But personally, I cannot seem to grasp why the movie isn't consistently ranked with the best mob films of modern times. "Road to Perdition" is a beautiful film. It is a mobster picture which, better than most, ties in complications of family (biological family, that is) and morality. Detailing crime life from the eyes of a child, "Road to Perdition" establishes authentic, haunting, and deeply conflicted characters. With a cast featuring names such as Tom Hanks, Paul Newman, and a deeply disturbing Jude Law, you really do not need me to tell you that it's well acted. Director Sam Mendes creates a palpable atmosphere which is cold and subtly threatening. At its heart is a complicated father-son relationship, leading us to an eventually gut-wrenching conclusion. I find everything about this film, from the story, to the acting, to the music, to be profoundly captivating. It is not underrated because people don't like it, but because people don't like it enough.

TOP 8 VOCAL PERFORMANCES IN ANIMATED MOVIES

It takes a great deal of talent to deliver an on-screen performance which creates a memorable and complete character. Under-appriciated however, is the skill it takes for an actor to make a lasting mark on a film without even being seen. Voice acting is a vital element in any animated film, and the casting and performances of actors are as important in animated productions as they are in any live action film. The artists and technology of animation studios show us characters, but voices are what bring them to life and broadcast their personalities. The following are my personal favorite examples of the voices behind some classic animated tales.

8. Eddie Murphy as Donkey- "Shrek"
While its reputation may have been damaged by the unnecessary and ultimately tasteless sequels which followed it, the original "Shrek" of 2001 remains a classic for anyone who grew up with it. Eddie Murphy's hilarious delivery of the dopey but harmless Donkey is a big reason why. It helps that the dialogue written for the smiling sidekick is so fittingly Eddie Murphy, but the actor's fast-talking and lighthearted performance make it very clear who is behind the voice of the movie's funniest character. His lines sound so excitable and cheerful that he leaves viewers with grins as wide as his character's.

                                          7. Kevin Spacey as Hopper- "A Bug's Life"
The 1990's saw Kevin Spacey play some iconic bad guys. "Se7en"'s John Doe and Verbal Kint/Keyser Soze of "The Usual Suspects" clearly come to mind first, but Hopper, the tyrannical grasshopper of Disney's "A Bug's Life", is no slouch at villainy. Obviously this performance is not nearly as dark and deep as his others, but Spacey's dry and subtly furious intonation make for a cold, cruel antagonist to the ant community. Spacey masters the balance of calm sarcasm and sporadic rage which make Hopper so intimidating.

6. Peter Sallis as Wallace- "Wallace and Gromit" films
Peter Sallis provides a quintessentially British voice behind "Wallace and Gromit"'s cheese loving hero. He brings energy and unconventionality to the delightful and comical character. Wallace's unique voice is so distinct and fitting to his character, and Sallis' performances across the short and feature films of the franchise are all the more impressive due to the fact that the other chief character never utters a word.

                                          5. Tom Hanks as Woody- "Toy Story" films
Much of what Tom Hanks has done in his career is iconic. But, undoubtedly, Sheriff Woody is one of his best. Woody is "Toy Story"'s true central character, and as the leader of Andy's band of toys, Tom Hanks displays range which make the character loud and controlling, but also loyal and sentimental. Woody has become one of Disney Pixar's most recognizable characters, and Hanks' consistent presence gives the character a surprisingly complex personality. Today, I must say I hear a bit of Woody every time I hear Tom Hanks speak.

4. Ellen DeGeneres as Dory- "Finding Nemo" and "Finding Dory"
For the role of Dory, the forgetful and loveable companion in "Finding Nemo", one of the best casting decisions of animation history was made. DeGeneres provides the scatterbrained and cheery dialogue that create a heartily beloved character. Although a supporting character, Ellen steals the spotlight in "Finding Nemo" to a degree which warranted a sequel film of her own. Her vocalization is ideal for the darling innocence of Dory.

3. Brad Bird as Edna Mode- "The Incredibles"
"No capes!" Though not a major character, Edna Mode is without a doubt the funniest character of one of Pixar's best films. Just as comical is the fact that the movie's writer and director, Brad Bird, voices the tiny, eccentric supersuit designing woman. The dialogue and the lively, unusual articulation created for Edna is unforgettable, and riotously funny.

2. Jeremy Irons as Scar- "The Lion King"
I'm aware of the overwhelming Disney representation on this list, but when it comes to animated films, isn't that how it should be? Scar may be one of the best examples of how a good English accent can make a film baddie that much more devious. The award-winning Jeremy Irons brings a smooth yet devious tone for the power-hungry lion. His vocal presence permeates the film and brings precise wickedness to one of Disney's most successful films. As villains in family movies go, Scar is incredibly dark and dreadful, thanks to Jeremy Irons' subdued inflection.

                                           1. Robin Williams as Genie- "Aladdin"
Isn't it obvious? Robin Williams revolutionized voice-over with his boisterous exclamations and improvised lines in "Aladdin". He is flamboyant, comical and spirited; he breaks the fourth wall and appeals to audiences of adults and children alike. The actor's style is unprecedented in this film, probably because no one else did comedy quite like Williams. We've never had a comedian like Robin Williams, before or since is career, and his rapid, larger-than-life delivery in "Aladdin" deservedly tops many moviegoers' lists of vocal performances in animated film.