Star Wars: The Empire Strikes Back (1980)

I was born in 1983, so most of my knowledge about “Star Wars” being something of a magical property at its time was because of my uncle who is a big fan of the series and recalls all the stories about watching the original film and “Empire Strikes Back” in theaters with audiences who managed to garner an amazing experience. These days there is no such thing as a genuinely thrilling experience at movie theaters anymore. “The Empire Strikes Back” is the height of the “Star Wars” trilogy, the movie that told audiences a genuine story and amped up its dramatic tension and suspense considerably by adding more depth to its heroes and even adding much more complexity to its villain Darth Vader by giving him a master to answer to who had large plans for the galaxy under his tyranny. “The Empire Strikes Back” is proof positive that without Lucas’ control, this series was destined to hit major high points that arguably faltered with “Return of the Jedi.”

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Grease (1978)

grease

Frankly I’m very annoyed at the latest promotions to push “Grease” as the original “High School Musical.” While it is true in a sense that this was a hit movie musical about high school students, “Grease” is a wonderful musical masterpiece with amazing dance and singing numbers, catchy tunes, and a story that’s pretty trite but otherwise simple enough to sit and enjoy for its lightweight emotional fodder while Disney’s high profile movie was just a fad for tweens between naps at grade school. “Grease” is one of the last of its kind, a musical that continues to be relevant and masterfully splices in its numbers in to its narrative with smooth precision to where it flows naturally within the scope of the characters and conveys their sadness and joy.

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Kick-Ass (2010)

One of the saving graces of “Kick Ass” is the casting of Chloe Moretz, a young girl who manages to completely and utterly steal the show from every single cast member here including Clark Duke, and she’s managed to spawn an unlikely legion of admirers who came to the movie to see a little girl mutilate everyone in her path. While “Kick Ass” never quite manages to muster up the sympathetic story it did in the comics, Matthew Vaughn completely wins over the crowd with Hit Girl aka Mindy, the most interesting character in the bunch who is given the most interesting conflict in the film as this character whose own life manages to play out like a typical hero origin. Little girl loses her mom after her dad is framed for a crime, she’s trained by him to become a killer, the dad dies and she avenges him in cruel and unusual ways. I assumed the girl would hit the big time after seeing her steal scenes from Joseph Gordon Levitt in “(500) Days of Summer” but here Matthew Vaughn shows that he takes the character very seriously and never dodges her sheer brutality in the face of schmoes who happen to come across her blade.

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Spiderbabe (2003)

SpiderBabeMisty Mundae aka Erin DeWright aka Erin Brown is an underrated performer. I’m a little hesitant to call her an actress, but she is a competent performer worthy of some acclaim if she ever manages to break free from the softcore porn/exploitation genre and approach an actual acting career. If you saw her in the “Masters of Horror” episode “Sick Girl,” she capable of vulnerable sympathetic solid acting. But that’s not to say I don’t love her in what she does. I’ve seen “Playmate of the Apes” where she’s in full on comedy mode leading the charge with a bunch of fake apes going to war, and I enjoyed her in “Lord of the G-Strings” where she engaged in mild girl on girl and petting with some brutally hot fantasy nymphs, so “Spiderbabe” was naturally a treat for me as Mundae explores her comedic talent and her ability to be both grating and charming at the same time.

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Tombstone (1993)

Tombstone-1I remember many years ago before Gene Siskel died where he and his co-host Roger Ebert were mulling the success of “Tombstone” and explained that originally “Tombstone” was not screened for critics. Usually when a movie is not screened early for critics it means the studios have no faith in their film. So what they did was not screen “Tombstone” while they screened “Wyatt Earp” pegging the latter for big success while the former they expected to come and go. The two films arrived in theaters in practically the same time. “Tombstone” became an instant Western classic while “Wyatt Earp” remained a not as widely accepted Western drama in spite of still being generally respected by movie critics around the world starring Oscar bait Kevin Costner. Let’s be honest here though, the reason why “Tombstone” is such a widely revered Western classic is because it’s a pretty stylized and embellished Western actioner.

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The Girl Can’t Help It (1956)

If you’re willing to deal with the pre-requisite fifties camp that comes along with this hyper energetic romance musical, then “The Girl Can’t Help It” is pretty much the lightning in the bottle that is the ethereal beauty of Jayne Mansfield. A classic story of the underdog pushed in to becoming a star, “The Girl Can’t Help It” is a wonky romance comedy that stars the immortal Mansfield as the innocent Jerri Jordan, a long leggy, busty, pouty, soft spoken gal seeking only happiness. Pushed in to becoming a star by her dictator soon to be husband Fats Murdock, he insists she become a big music star so he can have something to like about her. Aside from the fact she’s sweet, endearing, intelligent, can cook, is faithful, and insanely beautiful, he just wants to turn her in to a music star and live vicariously through her.

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The Heartbreak Kid (2007)

the_heartbreak_kidSo this is how far Ben Stiller has come in his years. He went from rather ingenious comedy in his old FOX show now starring in remakes of romance comedies that try to break free from the doldrums with over the top sex comedy, and utterly flat improv with his father who plays (surprise, surprise!) a wacky outspoken senior citizen. And trying to break from the conventions, he also pretty much dives head first in to them with endless montages set to forgettable pop rock, and there’s even a prat fall with a bad stunt double that the Farrelly brothers rely on when everything Stiller does fails to draw even the slightest of chuckles.

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