"Borat" from 2006, directed by Larry Charles and written by Sacha Baron Cohen, Anthony Hines, Peter Baynham, and Dan Mazer, crashes into American culture with the reckless enthusiasm of a man who has no idea he’s creating a global incident. The film follows Borat Sagdiyev, a Kazakh journalist invented and embodied with volcanic commitment by Cohen, as he treks through the United States to make a documentary and, in his own deranged way, better understand American life. What unfolds is a mockumentary that blends scripted structure with real encounters, capturing people who think they’re talking to an eccentric foreign reporter and not a satirist detonating their assumptions in real time. Charles shoots it with a loose, documentary-style rhythm that keeps every moment slightly unstable, like the camera itself is bracing for impact. Cohen’s performance is fearless and shameless, pushing his character into situations that expose both human warmth and the uglier reflexes people hide behind politeness. The film’s power comes from that collision, with prominent supporting cast members including Ken Davitian as Azamat Bagatov, Luenell, and Pamela Anderson in a cameo, helping to anchor the chaos while heightening the unpredictability of the encounters. The score by Erran Baron Cohen mixes kitschy Eastern European melodies with dramatic cues, enhancing Borat’s absurdity while subtly guiding the audience through moments of tension, cringe, and hilarity. It owes a little to classic hidden-camera comedy but weaponizes the form into something sharper and far more confrontational. Even when the humor sinks into juvenile absurdity, it’s deployed with such chaotic purpose that it still reveals something uncomfortable underneath the joke. Nearly twenty years later, it remains a brutally funny time capsule of mid-2000's America, a satire that works because it’s willing to stumble, offend, disarm, and prod until the mask slips. The result is a comedy that feels simultaneously raw, audacious, and unforgettable, which is exactly why it still hits as hard as it does. Not for all tastes for sure, but a one of a kind, filled with open mouthed laughter from start to finish.

It's sad and ironic to be kicked off of the "Internet Archive" after less than three months, for trying to honor and share art, most of which I FOUND AND DOWNLOADED from the Internet Archive. But things are changing. And for the worse. Many of the things I've shared on this channel from the Archive, are being mass deleted as I write this, whole accounts with thousands of files, are being banned and banished. My account was created to honor media, not bow to corporate thieves and hacks and scum. Enough with this nonsense.

I shall return...

"Journey to the Center of the Earth" from 2008, directed by Eric Brevig (Men in Black), written by Michael D. Weiss, Jennifer Flackett, and Mark Levin, is a bright and spirited family adventure that lifts a classic tale into modern fantasy with real on-screen enthusiasm. The story follows scientist Trevor Anderson, his teenage nephew Sean, and their Icelandic guide Hannah as they descend into a hidden world beneath the planet while searching for clues left behind by Trevor’s missing brother. Brendan Fraser anchors the film with warm charm, and the supporting cast steps in with real presence. Josh Hutcherson brings grounded spark as Sean, Anita Briem gives Hannah a capable and courageous edge along with striking non-CGI, natural beauty, and Jean Michel Pare, Jane Wheeler, and Seth Meyers add small but memorable touches that fill out the world around them. Cinematographer David Sandefur turns the underground realm into a real glowing, colorful landscape filled with shimmering caverns and sweeping vistas that feel built to spark wonder. Andrew Lockington’s energetic score also nicely matches that spirit with bold, rising themes that carry the journey forward. Filming in Iceland and Canada brings rugged texture and a sense of physical reality that helps the fantasy environments feel surprisingly believable. Compared to the classic 1959 version, this modern take bursts with color, energy, and a sense of playful imagination, making the adventure feel fresh and alive. This is a very entertaining movie throughout, and it's underrated for sure. All the characters click, and while a lot of it can at times resemble an eye-candy-filled video game, the movie doesn't present itself or apologize for being anything much deeper than that. On that level, it actually succeeds very well. It’s a thrilling, heartwarming ride that celebrates the joy of discovery and adventure, family and friendship, all the while reminding viewers why this story has captivated generations.

"Paul" from 2011, directed by Greg Mottola and written by Simon Pegg and Nick Frost, is a road trip sci fi comedy that somehow manages to be simultaneously nerdy, irreverent, and surprisingly heartfelt. Writers and comedians Simon Pegg and Nick Frost play comic book geeks Graeme and Clive, who travel across the United States to attend a sci fi convention, only to encounter Paul, a foul mouthed alien voiced by Seth Rogen. The film leans heavily on the chemistry between Pegg and Frost, who carry the movie with their timing and camaraderie, while Rogen gives Paul a perfect mix of sarcasm, charm, and alien absurdity. Mottola keeps the pace brisk, balancing car chases, government agents, and pop culture gags without letting the jokes take over the whole movie. The humor is a mix of broad slapstick and sharp references for sci fi fans, sometimes crude, sometimes surprisingly tender, especially when the story touches on friendship, belief, and the search for a place in the universe. The supporting cast includes Jason Bateman as a government agent and Kristen Wiig as a sheltered believer who joins the trip, and there are many familiar faces including Bill Hader, Joe Lo Truglio, John Carroll Lynch, Jeffrey Tambor, Jane Lynch, and Blythe Danner. There is even a small voice cameo by Steven Spielberg in a Paul warehouse flashback scene. The soundtrack leans into classic Americana, genre nods, and upbeat road trip energy, while the cinematography by Lawrence Sher keeps everything grounded in a warm southwestern glow that fits the travelogue style. Visually, the film never tries to overreach, relying on practical effects and CGI for Paul that look solid without drawing attention away from the characters. One of the nicest things about this movie is that it never pretends to be profound or take itself too seriously. On that note and others, it succeeds as a clever and affectionate homage to nerd culture and alien encounter stories, offering laughs and a few surprisingly sweet moments in the middle of the chaos. It is a movie that fans of Pegg and Frost will enjoy completely, and casual viewers can appreciate its humor and easygoing charm even if they do not catch every reference. Fans of Seth Rogen’s voice work will have fun here too, though his whole approach is always a matter of taste. Overall, the film lands as a fun and chaotic road trip with an extraterrestrial twist, funny and surprisingly believable in its small character beats, all while quietly reminding you of the value of friendship, a sense of adventure, an open road, and above all, an open mind.

"Love Actually" from 2003, written and directed by Richard Curtis, is a sprawling romantic comedy that juggles more storylines than a tangled set of Christmas lights and still keeps them shining. The film dives into the messy and beautiful ways love shows up in everyday life, moving through unrequited crushes, secret admirers, marital strain, and holiday reunions with an easy charm. Curtis uses London as a living backdrop, letting familiar streets, shops, and neighborhoods create a sense of warmth and realism, while the cinematography by Michael Coulter captures the city with soft lighting and a cozy holiday glow. The ensemble cast includes Hugh Grant, Emma Thompson, Alan Rickman, Bill Nighy, Colin Firth, Keira Knightley, Chiwetel Ejiofor, Laura Linney, Liam Neeson, and Andrew Lincoln, each bringing depth and personality to their stories. The interwoven plots do not always land perfectly, but the humor, tenderness, and absurdity often strike with surprising force. The music, composed by Craig Armstrong, mixes pop standards with orchestral cues that lift the emotion without overwhelming it, shaping the energy of several key moments. Its real strength is Curtis’s ability to show love as chaotic, unpredictable, and often inconvenient, yet still essential to living honestly. Some stories linger while others feel rushed, but all together they form a lively and unique kaleidoscope of connection that is funny, awkward, sweet, and sometimes heartbreaking. Overall, this is a standout in the genre, creating a festive and chaotic celebration of the ways hearts join and collide, and as usual all while we're busy making other plans.

"Tower Heist" from 2011, directed by Brett Ratner and written by Ted Griffin and Jeff Nathanson, is a lively and surprisingly sharp caper comedy that blends a blue collar sense of rebellion with glossy, big studio energy. The story follows a group of underpaid workers in a luxury Manhattan high rise who discover that the billionaire living in the penthouse has stolen their pension money, which leads them to hatch a desperate and elaborate plan to steal it back. Ben Stiller grounds the film with a tightly wound sincerity that gives the plot some emotional depth, while Eddie Murphy brings a jolt of chaotic charm in a return to the fast talking troublemaker role that made him iconic. The supporting cast is impressive, including Casey Affleck, Gabourey Sidibe, Matthew Broderick, Michael Pena, Alan Alda, and Tea Leoni, and they carry the comedy with a mix of anxious frustration and exuberant energy that makes the ensemble feel lively and engaging. Ratner keeps the pace brisk and light, and the movie uses New York locations quite well. The exterior of the high rise condo is represented by Trump International Hotel and Tower at 1 Central Park West in Manhattan. The original idea for the film, in fact, involved a story about Donald Trump himself, which helps explain the choice of building, though the final film features a fictional billionaire. Interior scenes, including the penthouse, lobby, and heist environments, were largely shot on soundstages and enhanced with visual effects. The heist sequences have an energetic and rollicking rush that keeps things moving nicely, even when the logic gets a little wobbly. The famous tower window scene climax is both silly and surprisingly tense, showing how much the cast helps sell the chaotic mayhem. While the movie never pushes the genre in any groundbreaking direction and often goes for the punchline quickly, it has a breezy confidence that makes it thoroughly entertaining from start to finish. This fun and fast paced romp works best though because it understands the basic fantasy of sticking it to a corrupt and heartless wealthy man is a common one, and it consistently delivers that feeling with enough humor and momentum to keep viewers fully invested. Yet another caper film, but the cast is fantastic and the staging and execution really scores.

"Planes, Trains and Automobiles" from 1987, written and directed by John Hughes, is a wonderfully balanced comedy that mixes heart, humor, and holiday chaos with surprising emotional depth and charm. The story follows Neal Page, played with tightly wound perfection by Steve Martin, as he struggles to get home to Chicago for Thanksgiving. Del Griffith, played with warm, lovable, and delightfully goofy energy by John Candy, is a talkative and quirky shower curtain ring salesman whose presence turns Neal’s journey into a series of hilarious disasters, misunderstandings, and unexpected moments of new friendship. The supporting cast includes Laila Robins as Neal’s patient and understanding wife Susan, and Edie McClurg as the cheerful but flustered car rental agent. Memorable appearances from Kevin Bacon, Dylan Baker, and Michael McKean add rich texture and impeccable comic timing throughout. Filmed across vibrant real locations in New York, St. Louis, rural Illinois, and snowy Midwestern highways, the movie captures the weary authenticity of holiday travel. There are so many great things about this film, but one has to be the music. Ira Newborn’s playful score, dominated by the bright, quirky tones of popular 1980's electronic keyboards, perfectly complements the chaotic energy of Neal and Del’s misadventures, making the music as memorable and distinctive as the comedy itself. Just one of many things making this film super special is that while everything seems to flow quite naturally, many key moments in the film were actually improvised, giving it a spontaneous, lived-in charm. The legendary motel bed gag was played out in real time by Martin and Candy, with their reactions and movements largely unscripted. Candy also improvised much of Del’s nonstop chatter with Martin just reacting naturally. The hilarious interactions between Steve and Edie at the car rental counter were ad-libbed to heighten the humor, creating one of the film’s most unforgettable sequences. Hughes’s original cut actually ran nearly four hours, allowing plenty of room for such moments to breathe. This is a treasure of one great scene after another, with humor that is broad but touches on easily identifiable and simple human themes. It's also a very relatable depiction of chaotic holiday travel, long before smart phones and Wi-Fi, and a deservedly beloved Thanksgiving classic. Decades later, it still does its magic brilliantly, no matter how many times you've taken the ride. Undeniably another John Hughes masterpiece.

This 2000 television miniseries is an ambitious science fiction epic adaptation that brings author Frank Herbert's famous novel to life with impressive detail and a strong ensemble cast. William Hurt and Alec Newman anchor the story, while the production balances political intrigue, mysticism, and ecological themes. The miniseries was originally split into three parts, each about an hour and a half long:

Part 1 – introduces the desert world of Arrakis and the central characters

Part 2 – follows political upheaval and conflict among rival factions

Part 3 – details the transformation and rise of the main character Paul Atreides

The visuals in this generally evoke grandeur, although not on the scale of the 2021 & 2024 movies, with great production design and photography, and the layered plot, performances, music and effects make it compelling for both fans and newcomers. For fans especially however, because there is a dense amount of material here. This was generally well received and considered much more faithful to the book than David Lynch's bizarre 1984 more surreal, oftentimes confusing version. All three parts of the miniseries are presented here as a single movie, officially known as the "International Cut" which includes additional material and deleted scenes, providing the most thorough way to experience the entire narrative. This does an overall admirable job compared to the other versions and it's an absolute must for Dune devotees across the universe.

You listen to him. The man's enlarged my mind. He's a poet warrior in the classic sense. I mean sometimes he'll... uh... well, you'll say "hello" to him, right? And he'll just walk right by you. He won't even notice you. And suddenly he'll grab you, and he'll throw you in a corner, and he'll say, "Do you know that 'if' is the middle word in life? If you can keep your head when all about you are losing theirs and blaming it on you, if you can trust yourself when all men doubt you"... I mean I'm... no, I can't... I'm a little man, I'm a little man, he's... he's a great man! "I should have been a pair of ragged claws scuttling across floors of silent seas."

"City Slickers" from 1991, directed by Ron Underwood, written by Lowell Ganz and Babaloo Mandel, is a hilarious and heartwarming comedy-adventure that throws three stressed New Yorkers into the unpredictable chaos of cattle driving out west with uproarious results. Billy Crystal leads as Mitch Robbins, effortlessly balancing neurotic humor with genuine heart, our everyman, on a midlife crisis quest for meaning. Daniel Stern and Bruno Kirby shine as his friends, providing perfectly timed comic foil and charmingly bumbling energy as they stumble through the rugged and often treacherous outdoors. Jack Palance is unforgettable as Curly Washburn, the grizzled and larger-than-life cowboy whose gruff exterior hides surprising warmth, a performance that won him a well-deserved Academy Award. Patricia Wettig brings grace and charm as Mitch’s wife, and Supergirl herself, goddess Helen Slater contributes a delightful, witty presence that enriches the story’s ensemble, and one lucky guy’s whole life. Underwood’s direction is precise yet playful, allowing physical comedy, clever sight gags, and tender emotional beats to coexist naturally, and there's no denying the chemistry of the cast. The cattle driving is real and one of the best things about this is watching the actors actually interact with the animals. Some improvisation was encouraged, adding a few extra laughs and spontaneous touches during filming. Dean Semler’s cinematography captures the sweeping grandeur of the American West nicely, emphasizing both the freedom of the open plains and the humorous contrasts with city life. This was shot on location in New Mexico, lending authenticity to its rugged landscapes, and the cast reportedly bonded so well during filming that much of the humor feels effortlessly organic. Marc Shaiman’s lively and playful score also perfectly underscores both the comedic mishaps and sweeping Western landscapes, adding a little something extra to every scene. This is full of memorable moments but one of the best is when hero dad Mitch tells his son's entire awestruck classroom the real facts of life. Filled with laugh-out-loud mishaps, touching moments, and charming character interactions, this fanciful fantasy playtime for adults was a big hit with critics and filmgoers alike and it's easy to see why. It blends belly laughs with genuine warmth, a touch of romance, clever storytelling, and a sense of adventure that has helped it endure as a classic comedy. A great movie and proof that life doesn't necessarily end as you get older, as long as you keep your sense of humor and stay hot on the trail of your one true thing.

"The Three Stooges Meet Hercules" from 1962 was directed by Edward Bernds, with a screenplay by Bernds and Elwood Ullman, from a story by Norman Maurer. Shot in 1961 and released the next year, the film became the most successful of the Stooges’ features, helped by their renewed television fame and the lingering popularity of sword and sandal adventures. The trio of Moe Howard, Larry Fine, and Joe DeRita fall into royal intrigue, gladiatorial chaos, and the usual flurry of eye pokes (don’t try this at home, kids) and pratfalls after accidentally activating a scientist’s time machine and traveling back to ancient Greece. There, they must navigate battles, palace schemes, and the comic perils of mythological mayhem, while Quinn Redeker and gorgeous Vicki Trickett serve as their modern companions and Samson Burke gives Hercules real physical weight thanks to his background as a competitive bodybuilder. Emil Sitka (who appeared in many Stooges shorts) adds a familiar link to their classic era, grounding the feature in the troupe’s long history. Moe and Larry still deliver sharp timing even as DeRita’s gentler style reflects the softer tone of the team’s later years, when honestly they were just too old to perform the stunts they did long before. DeRita was one of a few Stooge third wheels to keep the act going, although there never was a great replacement for legends Curly and Shemp Howard. This fun ride, like the rest of the Stooge movies, is light, cheerful, and proudly silly, but it also captures one of many late career high points for the boys. They would unfortunately only make a few features in their long career, but this is still surely one of the better ones.

"Wild Hogs" from 2007, directed by Walt Becker and written by Brad Copeland, is a lively middle-aged men’s road-trip comedy full of broad characters, witty gags, and a seasoned cast that delivers every scene with charm and confidence. The story follows four lovable suburban friends who suddenly realize they’re stuck in the monotony of middle age and set off on a hilarious, heartfelt motorcycle adventure to reclaim a sense of freedom and fun. Tim Allen, John Travolta, and Martin Lawrence form a dynamic trio, with Allen as the affable everyman trying to feel relevant again, Travolta bringing restless showboat energy, and Lawrence mixing anxious family man frustration with humor and sincerity. William H. Macy shines in his own right, as the fourth oddball wheel in this little group, carrying the film’s sweetest moments as a shy tech guy who finally discovers confidence and joy once he climbs onto a bike. Lovely Marisa Tomei brings a warm, grounded presence and inspiration as Maggie, the Madrid cafe owner who grows close to Macy. The movie uses real New Mexico locations for its long open road shots, giving the film bright, expansive visuals that perfectly complement its lighthearted and adventurous tone. Jonathan Brown’s cinematography captures the sunlit highways and small towns beautifully. Rolfe Kent’s playful score keeps the comedy moving with energy and heart as well. The cast clicks effortlessly, the comedy centered firmly on their lively interactions, and the tone is refreshingly straightforward. Ray Liotta shows up with growling enthusiasm as the leader of the rough Del Fuegos bike gang. And Peter Fonda, an unexpected and delightful source of inspiration, appears in a late cameo as a playful wink to Easy Rider, and his presence essentially blesses the movie’s whimsical take on biker mythology. This little adventure remains predictably amusing but consistently entertaining throughout. And watching four old friends, played by the star power assembled here, rediscovering excitement, freedom, and camaraderie at a later age, is the heart of its appeal. Critics weren’t too kind to this, but audiences seemed to have the much better take on all of this silliness, and this deservedly ended up a solid hit at the box office. The bottom line is, this movie works, and works surprisingly well, because it understands that sometimes in life, people stuck in a rut have to just roll the dice, take a chance, and see where the road ahead takes them. Oftentimes, as this enjoyable trip shows, with a little courage and motivation, that can be a place they've actually been meaning to visit all their lives.

"Taxi Driver" from 1976, directed by Martin Scorsese and written by Paul Schrader, plunges you into the searing depths of loneliness, madness, and obsession, in some of the nastiest areas of 70's Manhattan. It follows and is narrated by Travis Bickle, a mild-mannered but disturbed Vietnam War veteran turned New York taxi driver, who spends his nights navigating the city’s grime and becomes increasingly alienated from society. Haunted by the decay and insanity around him, he fixates on rescuing the underage prostitute Iris, played with fearless intensity by young star Jodie Foster. Robert DeNiro delivers a tour-de-force performance as Travis, balancing simmering rage, fragile humanity, and magnetic menace. Cybill Shepherd is compelling as the beautiful and unreachable Betsy, presidential campaign worker and the focus of his infatuation, and Harvey Keitel makes a striking impression as the manipulative pimp of Iris and others. Albert Brooks, Peter Boyle, and Diahnne Abbott turn in fine performances as well. Scorsese himself appears in a brief but standout cameo scene that is quite beyond memorable, and a lot of the dialogue in that, like a lot of this film itself, was improvised. Michael Chapman’s photography captures locations from neon-soaked, steam-filled Times Square to the claustrophobic interior of Travis’s taxi memorably. Amazingly, Scorsese actually displays the taxicab itself in many sequences as a character in its own right. Serving a similar role is the unforgettable music soundtrack. Master of film music Bernard Herrmann’s evocative score, his final work, elevates every scene to extraordinary effect. Scorsese’s meticulous production design, from the taxi’s features to the cluttered streets and authentic extras, creates a world that is disturbingly real yet hypnotically cinematic. Part documentary, part nightmare, every element, from the precise editing to the taut tension and psychological depth, and the very believable interactions between a variety of characters, works in perfect harmony. This is an extraordinary, chilling, and profoundly affecting film that remains a landmark of American cinema and also shares striking thematic echoes with the 2019 film Joker, exploring the descent of a marginalized man into irrationality and violence. Everyone involved here would go on to have highly successful careers, but this was where things took off for most. Just a real gut punch of a movie, with a subtle political message, and an extended ending sequence which is the stuff that cinematic dreams are made of. An amazing work, and simply one of the best and most influential films ever made.

"Garden State" from 2004, written and directed by Zach Braff, is an affectionate and charming indie coming of age story colored by quiet sadness, gentle humor, and the restless confusion of a young man waking up after years of emotional sleep. Braff also stars as our reluctant hero Andrew Largeman, a washed out actor who returns home after his mother’s death. He navigates awkward reunions, unexpected detours, and encounters that slowly and unexpectedly begin to pull him back into life. Natalie Portman plays Sam, a spirited, captivating and beautiful presence who brings warmth and spontaneity that transforms Andrew’s world. Peter Sarsgaard plays Mark, a sly and subtly worn down friend whose dry charm keeps Andrew grounded. Ian Holm portrays Andrew’s emotionally rigid father, offering a stern but oddly tender presence. Jean Smart, Method Man, and Denis O’Hare appear in smaller but memorable roles that enrich Andrew’s environment with texture and humor. In a movie filled with magical moments, one of the most memorable comes when Andrew listens to Sam’s music recommendation on headphones as the song plays and the camera lingers on her smiling. The scene captures a quiet intimacy and emotional spark that feels entirely real. The film effectively shows numbness giving way to feeling and healing beginning the moment someone steps back into the world they avoided for too long. Braff guides the story with a soft and wandering rhythm that mirrors Andrew’s internal fog while maintaining a steady undercurrent of sincerity. The production leans heavily on its now iconic early 2000's soundtrack, which Braff hand-picked from bands he loved but could license on a small budget, letting music shape the emotional tone. Cinematography by Lawrence Sher uses muted colors and calm framing to give the movie a measured, unhurried, and visually appealing pull. The film’s delicate honesty often rises above its carefully curated quirks. Even the borrowed locations and friends appearing as extras add a scrappy warmth that complements the handmade mood. By the end it becomes a tender and imperfect snapshot of millennial uncertainty, as Andrew and Sam’s tentative romance blooms and hints at the possibility of new beginnings, as he also realizes that by comparison to his mostly slack friends, he isn’t carrying nearly the weight he imagined. This movie does a great job at what it sets out to do, and wonderfully captures what it feels like to be young, lost, and suddenly ready to feel something real and uplifting again, and stands as a testament to Braff’s assured vision as an auteur filmmaker. Amazingly simple, but surprisingly insightful every step along the way.

"I Want to Live!" from 1958, directed by Robert Wise (The Day the Earth Stood Still, West Side Story, The Sound of Music) and written by John Fenton Murray and Nelson Gidding, tells the true story of Barbara Graham, a woman whose troubled life leads to a shocking death sentence. The film is an intense, emotionally vivid portrait of a woman trapped in the machinery of justice. Susan Hayward delivers a commanding performance as Graham, balancing vulnerability with fiery determination, a role that earned her the Academy Award for Best Actress. Wise captures the claustrophobia of prison life and the harsh glare of society’s judgment, while Milton R. Krasner’s bold, shadow-heavy cinematography heightens suspense and unease. The screenplay, grounded in true events, embraces the moral ambiguities of Graham’s life, blending empathy and critique to reveal uncomfortable truths about crime, punishment, and media sensationalism. The supporting cast, including Ray Walston, Simon Oakland, Frank Silvera, Virginia Gregg, and Joan Copeland, adds nuance without diminishing Hayward’s presence, while Miklós Rózsa’s dramatic score amplifies the film’s relentless tension. This powerhouse film noir is both a penetrating character study and a larger social commentary, a striking example of 1950’s American cinema confronting real-world injustices with intelligence, style, and uncompromising humanity. It stands out as a rare female-centered noir, combining the emotional focus of a women’s picture with the stark realism and moral complexity of true crime cinema. Its unflinching depiction of tragedy and injustice continues to resonate many decades later. This groundbreaking gem draws you in deeply and doesn’t let go, presenting with historical accuracy one woman’s unique life and struggle to survive. Susan Hayward is incredible, and though it’s a tough watch at times, it’s definitely another masterpiece from Robert Wise, unforgettable and profoundly moving.

"A Charlie Brown Thanksgiving" from 1973, directed by Bill Melendez and written by Charles M. Schulz, is a warm, humorous animated special that celebrates friendship, gratitude, and the chaos of holiday planning. The story follows Charlie Brown as he tries to host a Thanksgiving feast for his friends, dealing with mishaps involving food, decorations, and Peppermint Patty’s unexpected arrival. The Peanuts gang’s signature animation style, Vince Guaraldi’s lively jazz score, and Schulz’s gentle, ironic humor make the special both funny and heartfelt. It remains a beloved holiday classic that perfectly captures the imperfect but meaningful spirit of Thanksgiving.

Todd Barbee as Charlie Brown
Diana W. Williams as Sally Brown
Robin Kohn as Lucy Van Pelt
Michael Mandy as Linus Van Pelt
Greg Felton as Peppermint Patty
Kevin Brando as Marcie
Bill Melendez as Snoopy (vocal effects)
Bill Melendez as Woodstock (vocal effects)

"It's the Great Pumpkin, Charlie Brown" from 1966, directed by Bill Melendez and written by Charles M. Schulz, is a charming, autumnal animated special that captures the innocence and anxieties of childhood. The story follows Linus as he waits faithfully for the mythical Great Pumpkin on Halloween night, while Charlie Brown navigates trick-or-treating mishaps and Lucy dispenses her usual cranky wisdom. The Peanuts gang’s simple yet expressive animation, Vince Guaraldi’s iconic jazzy score, and Schulz’s gentle humor combine to create a timeless reflection on hope, disappointment, and the bittersweet joys of childhood. The special remains a seasonal classic that continues to delight viewers of all ages.

Peter Robbins as Charlie Brown
Christopher Shea as Linus Van Pelt
Samantha Newark as Lucy Van Pelt
Ann Altieri as Sally Brown
Doris Grau as the Teacher
Blake Edward Johnson as Schroeder
David Carey as Pigpen
Tina Fowler as Patty
Danny Hischak as Shermy
Bill Melendez as Snoopy (vocal effects)

"Kingdom of Heaven" from 2005, directed by Ridley Scott (Alien, Blade Runner), written by William Monahan, in its richly expanded director's cut, is a majestic and deeply moral epic that weaves together war, faith, and human dignity with rare sophistication and elegance. Orlando Bloom's Balian of Ibelin remains the emotional center, a blacksmith turned reluctant knight, earnest yet resilient, whose journey resonates with courage and quiet heroism. Scott's direction combines sweeping battle sequences with intimate character moments, using the deserts and fortified cities of Morocco and Spain, including the famous Ouarzazate region known as the Hollywood of the desert, to breathtaking cinematic effect. John Mathieson's cinematography bathes Jerusalem and its surroundings in golden, heartfelt light, capturing both the grandeur and humanity of the setting. The supporting cast, including Edward Norton, Eva Green, Jeremy Irons, Liam Neeson, and Marton Csokas, carry their roles with weight and nuance, adding depth and complexity to every interaction. Harry Gregson-Williams' score underscores the spiritual and political conflict with subtlety and emotional resonance. The director's cut restores over 45 minutes of footage, enhancing political and moral complexity and key character arcs, while several of the battle scenes involved thousands of extras, heightening the immersive scope. By the film's end, the story leaves a lasting impression, not just with the scale of the battles, but with the courage of Balian, the wisdom of Baldwin, and the possibility of a more compassionate world. This version is one of Scott's most satisfying and luminous period dramas, powerful, reflective, and deeply human. It is a rare epic that balances spectacle with profound moral insight. A must-watch for fans of historical storytelling.

"The Hitchhiker’s Guide to the Galaxy" from 2005, directed by Garth Jennings, written by Douglas Adams and Karey Kirkpatrick, is a whimsically inventive leap through space that brings the iconic 1979 novel to life with manic energy. When Earth is unexpectedly destroyed to make way for a hyperspace bypass, Arthur Dent is swept into an interstellar adventure with the eccentric alien Ford Prefect. Together they encounter the unpredictable Zaphod Beeblebrox, the perpetually depressed robot Marvin, and the clever and dazzling Trillian, navigating improbable events and cosmic bureaucracy across the galaxy. Martin Freeman is a pitch-perfect Arthur Dent, the bewildered everyman thrust into upheaval, while Mos Def’s Ford Prefect keeps the comedy grounded and Zooey Deschanel serves as serious eye candy. Bill Nighy steals every scene as the ad-libbing, over-the-top Zaphod Beeblebrox, and Alan Rickman lends the deadpan, robotic voice of Marvin the Paranoid Android, giving the character an unforgettable, hilariously gloomy personality. The Guide itself is voiced by Stephen Fry, capturing the wit and tone of Adams’ original radio and audiobook performances. For fans of visual adaptations, despite some critics’ quibbles, this film and the 1981 BBC TV series remain comparably effective. The series stays remarkably true to Adams’ material with a lively, imaginative touch in its low-budget effects, while this movie extravaganza brings the story to life with striking modern imagery and a star-studded cast. The production combines retro-futuristic design with the Heart of Gold’s improbability drive, with cinematography by Igor Jadue-Lillo capturing the vivid worlds and sequences, and music by Joby Talbot enhancing the film’s whimsical, cosmic energy, incorporating the classic “Journey of the Sorcerer” theme from the radio series. Earth scenes shot in London and the Isle of Man add tangible realism, and sequences including Milliways were drawn directly from Adams’ unfinished notes, making the adaptation feel both authentic and unpredictably charming. Jennings’ direction keeps the pacing brisk, and the humor strikes a perfect balance of wit and warmth. Inventive, energetic, and endlessly rewatchable, this adaptation proves that Adams’ universe can thrive on screen while preserving his wit, heart, and signature unpredictability. A lot of die-hard fans were overly critical of this, but the only real problem with this cosmic, escapist fun is that we never got a sequel. Don’t panic...

"Hannah and Her Sisters" from 1986, is one of Woody Allen's best movies, a perfectly balanced mix of humor, heartbreak, and human complexity. Over two years, it follows the intertwined lives, loves, and struggles of three sisters in New York, capturing their joys, doubts, and complicated relationships with nuance and heart. Allen directs and writes with ease, weaving their stories and those around them into a narrative that feels alive and real. Mia Farrow grounds the movie with quiet strength as Hannah, Barbara Hershey and Dianne Wiest deliver layered, deeply human performances as Lee and Holly, and Michael Caine brings charm and subtle humor to his role as Elliot. The fine supporting cast includes Maureen O'Sullivan, John Turturro, Max von Sydow, Lloyd Nolan, Julie Kavner and Carrie Fisher, all of whom enrich the world of the film with memorable, nuanced turns. Allen himself is thoughtful and restrained, letting the characters shine. The dialogue is sharp and witty without ever feeling forced. Carlo Di Palma’s cinematography bathes New York in intimate light, and the score, featuring George Gershwin, Rodgers & Hart, Bach, and Cole Porter, adds character and emotional depth. Filmed across iconic Manhattan locations such as the Metropolitan Opera House, Pomander Walk, and Columbia University, the city feels alive and part of the story, which was growing to become a familiar theme in Woody Allen flicks. The movie’s hopeful tone treats characters with patience and kindness even while exploring jealousy, longing, and doubt. Improvisation has always been part of Allen’s group and this was no exception, with Michael Caine adding several improvised lines that became essential to his character. Allen reportedly wrote the script in just a few weeks, inspired by real-life conversations and relationships, which gives the movie its natural, authentic rhythm. This was nominated for several Academy Awards, and in fact, Allen's exceptional script was especially honored. It’s a real pleasure to watch throughout and a keen, very accessible reflection on human foibles and human nature, with twists and turns along the way. It’s a finely crafted, perfectly performed movie that has stood the test of time and remains an absolute delight to watch.

"Memento" from 2000, directed by Christopher Nolan, written by Christopher Nolan and Jonathan Nolan, is a mind-twisting neo-noir that plays its story backward and still manages to make your head spin forward. Leonard Shelby, a man with short-term memory loss, is trying to solve his wife’s murder using Polaroids, tattoos, and fragmented clues that he can barely remember. Guy Pearce is haunting as Leonard, bringing both quiet menace and broken vulnerability to a man who can’t trust his own mind. Nolan’s choice to unravel the story in reverse turns a basic revenge tale into something hypnotic and cruelly ironic. The story loops and reframes itself so that every moment keeps anyone watching as disoriented as Leonard himself. The film’s stripped-down visuals and jittery editing mirror Leonard’s confusion, while David Julyan’s eerie score hums underneath like an unsteady pulse. Carrie-Anne Moss and Joe Pantoliano are perfect foils, both circling Leonard with motives that seem kind until they aren’t. For all its clever structure, the movie never feels like a gimmick. It’s about how memory defines morality, how lies can feel merciful, and how self-deception can become survival. This movie feels like the moment before Nolan became Nolan, before all the spectacle swallowed the intimacy in critic's views. His later films reach for cosmic questions and massive scales, but this one stays trapped inside a single damaged mind, and that actually makes this one of his best films. It is one of those rare films that makes you immediately want to watch it again, not to understand it, but to confirm that you really saw what you think you saw. Or you could fast forward through it a few times or watch it in reverse. A quarter of a century later it still feels sharp, original, and genuinely unsettling. Nolan’s impressive debut announced a filmmaker obsessed with time, truth, and manipulation, and this small-scale thriller set the tone for most everything much bigger that came after.

Part Two (Episodes (4-6)

The Hitchhiker’s Guide to the Galaxy from 1981, produced by the BBC and adapted by Douglas Adams from his radio series and books, is a six episode brilliantly absurd and darkly witty journey through space that still charms decades later. The story follows the unlucky Arthur Dent (Simon Jones) as he is whisked off Earth just before its destruction, traveling the galaxy with the eccentric Ford Prefect (David Dixon), the gloomy robot Marvin (voice by Stephen Moore, costume by David Learner), and the chaotic, two-headed Zaphod Beeblebrox (Mark Wing-Davey). Adams’ clever wordplay and sharp satire shine throughout, and the low-budget production adds a quirky, surreal charm that enhances the humor rather than detracts from it. Minimal sets and inventive camera work bring strange aliens, improbable spaceships, and cosmic oddities vividly to life, while committed performances make the absurdity feel effortless. Even with its 1980's limitations, the series conveys grand ideas about life, the universe, and bureaucracy in a delightfully unpredictable way. While the 2005 movie is better known, this seldom-seen series is intimate, playful, and full of imagination, and is absolutely worth a watch

Part One (Episodes 1-3)

The Hitchhiker’s Guide to the Galaxy from 1981, produced by the BBC and adapted by Douglas Adams from his radio series and books, is a six episode brilliantly absurd and darkly witty journey through space that still charms decades later. The story follows the unlucky Arthur Dent (Simon Jones) as he is whisked off Earth just before its destruction, traveling the galaxy with the eccentric Ford Prefect (David Dixon), the gloomy robot Marvin (voice by Stephen Moore, costume by David Learner), and the chaotic, two-headed Zaphod Beeblebrox (Mark Wing-Davey). Adams’ clever wordplay and sharp satire shine throughout, and the low-budget production adds a quirky, surreal charm that enhances the humor rather than detracts from it. Minimal sets and inventive camera work bring strange aliens, improbable spaceships, and cosmic oddities vividly to life, while committed performances make the absurdity feel effortless. Even with its 1980's limitations, the series conveys grand ideas about life, the universe, and bureaucracy in a delightfully unpredictable way. While the 2005 movie is better known, this seldom-seen series is intimate, playful, and full of imagination, and is absolutely worth a watch.

"Anna Karenina" from 1997, directed by Bernard Rose, written by Bernard Rose, is a visually stunning but uneven take on Tolstoy’s classic, bringing the tragic tale of love, society, and scandal to life with a strong European sensibility. The story follows Anna Karenina, a married aristocrat who embarks on a passionate affair with the dashing Count Vronsky, confronting the rigid social codes of 19th-century Russia and the personal costs of defying them. Sophie Marceau inhabits Anna with graceful intensity, balancing vulnerability and defiance, while Sean Bean gives a steady, understated performance as the conflicted Vronsky. The film’s lavish costumes and atmospheric settings immerse viewers in Russian aristocratic life, though some sequences feel stage-bound, reflecting its theatrical roots. Bernard Rose’s direction emphasizes psychological nuance, highlighting the suffocating social codes and the characters’ inner turmoil. Musically, the film draws on Tchaikovsky, Rachmaninoff, and Prokofiev, lending emotional depth to the drama. Cinematographer Witold Sobociński captures both intimacy and grandeur with care, emphasizing Anna’s isolation and the consequences of forbidden passion. While purists might quibble over narrative condensation, the film’s strengths lie in its central performances, visual elegance, and emotional sincerity. The film is gorgeous and absorbing, but what makes it so compelling is that even though it is set in a distant time, the extreme double standards and rigid patriarchal rules that crush Anna are presented so vividly that they still feel painfully relevant today.

"Reservoir Dogs" from 1992, written and directed by Quentin Tarantino in his first screenplay and feature directing effort, is a taut, electrifying crime thriller that redefined independent filmmaking. The story follows a crew of color-coded criminals whose supposedly foolproof diamond heist collapses into a bloody, tension-charged nightmare of suspicion and betrayal. The crew includes the pragmatic Mr. White (Harvey Keitel) and the nervous, resourceful Mr. Orange (Tim Roth), the sadistic and unpredictable Mr. Blonde (Michael Madsen), and the cautious and meticulous Mr. Pink (Steve Buscemi). Tarantino also appears as the enigmatic Mr. Brown, a habit he would duplicate in many of his future films, and proves to be a pretty decent actor. Lawrence Tierney dominates as the grizzled mob boss Joe Cabot, Chris Penn as his volatile son Nice Guy Eddie, and Edward Bunker brings raw authenticity from his real-life criminal past. Filmed almost entirely inside a Los Angeles warehouse on a shoestring $1.2 million budget, cinematographer Andrzej Sekula crafts a gritty, sun-bleached look that contrasts sharply with Tarantino's razor-sharp dialogue and bursts of stylized violence. The retro soundtrack, anchored by hits like "Little Green Bag" by George Baker Selection and "Stuck in the Middle with You" by Stealers Wheel, injects darkly comic irony, amplifying the carnage and establishing Tarantino's now-iconic pairing of pop music with brutality. Notably, Tarantino initially planned to play Mr. Pink, but Harvey Keitel's involvement lent credibility to the project and helped attract the investors who provided the actual funding. Compared with later works such as Pulp Fiction and Inglourious Basterds, the film feels leaner, tighter, and more claustrophobic because of its single heist focus and confined warehouse setting. But its energy, wit, and audacity hit like a gunshot or the sting of a cut-off ear. The mostly linear structure and minimal time shifts actually make it sharper, more immediate, and intensely focused, showcasing Tarantino's emerging mastery of tension, dialogue, and cinematic style. Tarantino's style and the brutal violence may not be for everyone, yet this is a genuinely thrilling debut for a rising young talent in Hollywood, easily launching his career into the stratosphere. Effective, intriguing, and compelling from start to finish.

"Bullets Over Broadway" from 1994, directed and co-written by Woody Allen with Douglas McGrath, is a darkly comic look at Broadway in the 1920s, where ambition and organized crime thrive against the backdrop of Prohibition. Playwright David Shayne, played by John Cusack, struggles to stage his latest comedy about love and mistaken identities while contending with the interference of gangster Cheech, portrayed by Chazz Palminteri. Olive’s girlfriend, played by Jennifer Tilly, proves to be a remarkably skilled actress and becomes a pivotal force in shaping the production. Dianne Wiest brings unforgettable charisma as the eccentric critic Helen Sinclair, a performance that earned her an Academy Award, while Mary-Louise Parker infuses warmth and sincerity into her role as the stage assistant Ellen. Michael Lerner, Julie Kavner, Rob Reiner, Tracy Ullman, and Jack Warden contribute lively and memorable supporting performances, adding depth and comic richness to the ensemble. Filmed on location in New York City (where else?), Carlo Di Palma’s cinematography beautifully captures both the gritty streets and the opulent interiors of the era, including speakeasies and other subtle touches that reflect the times nicely, while Dick Hyman’s energetic jazz score enhances the period atmosphere. Santo Loquasto’s production design is a standout and carefully reconstructs the bustling world behind the scenes, and Jeffrey Kurland’s stylish costumes reflect the decadence and flair of the Roaring Twenties. Palminteri delivers captivating energy as a mobster, and Wiest draws on old vaudeville performers to shape her larger-than-life character. Everything comes together in a story that is sharply funny, visually engaging, and thoroughly entertaining. Even without Allen appearing on screen, his signature wit, meticulous period detail, and affectionate satire are evident, making the film appealing even to viewers who are not usually fans of his work. In fact, his absence may work very favorably here, allowing the ensemble cast and the period spectacle to shine even more. Whatever the case, this is entertaining and fun, and one of the Woodman's better efforts, on or off screen.

"Master of the World" from 1961 is one of the most imaginative and compelling science fiction adventures of its era, thrilling with spectacle, intelligence, and daring. Directed by William Witney and written by Richard Matheson from two Jules Verne novels, it blends high adventure with moral and philosophical stakes. Vincent Price mesmerizes as Captain Robur, a brilliant and obsessive inventor who commands the Albatross, a massive airship armed with bombs and advanced weaponry. Convinced that world peace can only be achieved through force, he enforces his vision with violent displays of power, threatening destruction and placing nations and captives alike in immediate peril. Charles Bronson is steady and heroic as government agent John Strock, while Mary Webster brings intelligence and courage as Dorothy Prudent, navigating danger alongside her fiancé Philip Evans (David Frankham), whose bravery is tested against extraordinary threats. Henry Hull adds further depth and weight to the ensemble. Cinematographer Gil Warrenton bathes each frame in luminous color, and Wah Chang and Gene Warren’s special effects bring the Albatross vividly to life, with innovative rear projection and miniatures creating convincing aerial sequences that were remarkable for the era. Les Baxter’s majestic score heightens the drama, and production at Republic Studios, with additional location work in California’s Alabama Hills, demonstrates craft, ambition, and ingenuity. By merging Verne’s visionary adventure with Matheson’s thoughtful writing, the film balances thrilling action, philosophical tension, and imaginative spectacle. Though quaint compared with Star Wars and modern CGI blockbusters, it remains entertaining for all ages, both young and young at heart. More than six decades later, it continues to offer important lessons about the exercise of power, the ethical use of technology, and the lasting consequences of pursuing peace through force, all while remaining pure, thrilling fun.

"The Shape of Things to Come" from 1979, is so bad it's good, Canadian sci-fi slop that looks like it was filmed inside a washing machine in Super 8 with Christmas lights, but it is worth watching for one reason, Carol Lynley. Forget the rest. The film is a chaotic mess full of clunky robots, plastic sets, and dialogue that sounds translated from Martian, yet lovely Lynley glides through it all like she belongs in a better universe. Her outfits are late seventies sci-fi chic, soft fabrics and silver tones with clean futuristic lines that seem designed to glow around her. Some outfits are thankfully form-fitting, highlighting her curves while maintaining an almost angelic presence amid the chaos. She is radiant and completely unbothered by the nonsense around her. She gives this whole cheap insult to filmmaking from north of the border a grace it does not deserve. The screen hadn't glowed like this since our first glimpses of Leia a couple of years earlier. Whenever Lynley appears, the tin foil spaceships, rubbery costumes, and old IBM computers almost seem charming because she makes you believe something beautiful can exist in the middle of such a cheap cash grab rip-off. She does not need speeches or laser battles or blinking lights to steal the show, she just appears and suddenly the movie feels alive and bearable. This movie actually has some other notable names, but this is moronic and it has nothing to do with HG Wells. It's cosmic garbage, proving that schlock can be produced in other places besides Hollywood. Carol Lynley turns it into the most glamorous trash in the galaxy though, and yes, there is other nonsense in the movie, but mostly it's about her, the Goddess, second in angelic feminine beauty of the era only to Phoebe Cates. But that would be another story. One better than this one. And let’s be honest, this lowbrow Star Wars rip-off’s title is obviously a wink and a nod to Carol Lynley’s shape. We get it. Battlestar Lynley all ahead, aye captain.

"Soup to Nuts" (1930) is a lively landmark comedy that introduced audiences to Moe Howard, Larry Fine, and Shemp Howard, the trio who would soon evolve into The Three Stooges, with Curly Howard replacing Shemp in 1932. After Curly’s health declined and he passed away in 1952, Shemp returned, completing a full-circle moment in their history. As their first feature-length appearance, the film captures the trio’s early comic chemistry while highlighting the influence of Ted Healy, who plays the frustrated owner of a struggling costume shop. The story is simple but effective, following escalating mishaps, chaotic schemes, and zany disguises that provide an ideal canvas for physical comedy, inventive pratfalls, and quick-witted antics that foreshadow the routines the Stooges would later perfect. While the pacing occasionally feels uneven and Healy’s presence sometimes dominates, Moe, Larry, and Shemp shine in moments of perfectly timed chaos, revealing the roots of their signature style. The film also offers a fascinating historical perspective, existing at the tail end of vaudeville just a year after sound revolutionized Hollywood in 1929, blending stage-style comedy with early sound techniques in a way that preserves the energy and spontaneity of live performance. Energetic and uneven yet thoroughly entertaining, it provides a vivid glimpse at the birth of one of comedy’s most enduring acts and the development of timing, chemistry, and routines that would define the Stooges for decades. Essential for true fans and film historians alike, it remains remarkable cinema from nearly a century ago and a fully realized look at the beginnings of modern "talkie" comedy.

"The Three Stooges in Orbit" from 1962 is a science fiction comedy extravaganza directed by Edward Bernds with a screenplay by Elwood Ullman and a story by producer Norman Maurer. The film follows Moe, Larry, and Curly-Joe as they team up with eccentric inventor Professor Danforth, played by Emil Sitka, to test his multi-purpose flying vehicle, only to stumble into a plot by bumbling Martian spies. The Stooges’ antics and mistaken heroics drive a series of ridiculous gags and space-age mishaps. It stars Moe Howard, Larry Fine, and Joe DeRita as Curly-Joe, with supporting performances by Carol Christensen as Professor Danforth’s daughter Carol, Edson Stroll as Captain Tom Andrews, and other longtime Stooge regulars such as Christine McIntyre, bringing familiar faces and comedic timing to the feature. Filmed primarily on Los Angeles soundstages and backlots, the movie uses low-budget sci-fi props, stock footage, miniature models, and simple optical effects to depict the flying vehicles and Martian spacecraft, adding to its playful, whimsical tone. Mischa Bakaleinikoff’s musical score emphasizes the Stooges’ antics with lively cues that accentuate pratfalls, chases, and over-the-top situations while adding excitement to the low-budget sci-fi sequences. By this stage, the Stooges’ physical comedy was gentler, but their timing and chemistry remain intact, giving the film nostalgic charm. This movie was part of the Stooges’ revival in the early 1960's, spurred by the airing of their classic shorts on television, which introduced them to new audiences of children and rekindled interest among longtime fans. Light, entertaining, and full of exaggerated gags, it blends Cold War space fascination with classic humor, offering a quirky showcase of the team’s enduring appeal. Though the boys were well past their prime, their charm, timing, and willingness to embrace silliness make the film thoroughly enjoyable. For fans of the Stooges, it is essential viewing that captures the spirit of the team even in their later years.

We do not know or fully comprehend what exists in the reaches past our world. Should we be so quick to dismiss the voices of those who say they’ve been… beyond the veil?

A man tormented by recurring memories of alien abduction checks himself into a psychiatric institute that specializes in treating similar trauma victims. The patients are subjected to experimental memory retrieval therapy designed to separate delusion from reality. As the treatments progress it becomes clear that the institute itself may be infiltrated by the very beings it seeks to understand forcing everyone to question what is real and what lies beyond the veil.

It is said that madmen and fools are the children of God and yet we seek to confine these children to the outer reaches of society, shut away and ignored. Is it possible that what we dismiss as their mad ravings may, in fact, be… the wisdom of prophets?

The search for truth is a noble venture. But what happens when that search becomes so obsessive that we no longer find truth but instead… create it?

A determined reporter intercepts a strange message on her cell phone that seems to come from an unknown and possibly extraterrestrial source. Her investigation draws her into a deadly web of secrets involving advanced communication technology and a mysterious man connected to the signal. As she digs deeper she uncovers a chilling truth about who or what is really calling and the cost of listening too closely.

Nothing happens by chance. Life has a design all its own. For one person’s sacrifice can be another’s… salvation.

"Hollywood Ending" from 2002 is a sharp, self-aware comedy that showcases Woody Allen’s mastery of satire, romance, and the absurdities of Hollywood. Written and directed by Allen, it follows Val Waxman (Allen), a once-celebrated filmmaker whose career has stalled and who struggles to regain his creative footing. After undergoing experimental eye surgery, he discovers he cannot see properly, setting off a cascade of wild and laugh-out-loud disasters as he attempts to direct a major Hollywood production while juggling personal pressures, rivalries, and the eccentric personalities that populate the studio system. The cast is exceptional, with Allen delivering his signature nervous energy, Tea Leoni luminous and empathetic as Ellie, the devoted assistant and love interest, and strong supporting turns from Patricia Clarkson, Debra Messing, Treat Williams, and a delightfully self-parodying Jeff Daniels, all of whom add richness, charm, and impeccable comic timing that keeps the story moving briskly. Filmed across sun-drenched Los Angeles streets, studio lots, and elaborate soundstages, Zhao Fei’s cinematography captures both the glamour and absurdity of the film industry with precision, vivid color, and playful framing that mirrors the chaotic story. The production design is meticulously realized, from cluttered writer’s offices to lavish movie sets, creating a world that feels both authentic and exaggerated in perfectly comedic measure. Allen peppers the film with witty inside jokes, sly commentary on Hollywood culture, and self-referential nods to his earlier works, including Celebrity, The Purple Rose of Cairo, and the satirical Hollywood portrait Stardust Memories, giving the film layers that reward attentive viewers. Dick Hyman’s score subtly underscores the comedic rhythm, blending classic jazz influences with contemporary touches that elevate the film’s tone. Compared to other Allen films, it feels lighter and more playful than his typically high-strung, and at times overwrought, Manhattan-centered works. It retains his incisive observational wit, precise dialogue, and affection for deeply flawed, human characters. A warm, affectionate ode to filmmaking itself, it stands as one of Allen’s most memorable later-period comedies. This is certainly a must for Allen enthusiasts, but its clever characters, witty dialogue, and humorously wacky storyline make it highly enjoyable for even casual viewers who might not usually seek out his films. Another winner from the Woodman.

"Apocalypto" from 2006, directed and co-written by Mel Gibson with Farhad Safinia, is a breathtaking and harrowing historical epic set during the decline of the Maya civilization, told entirely in the Yucatec Maya language. The story follows Jaguar Paw, played by Rudy Youngblood, a young forest tribesman whose peaceful life is destroyed when raiders led by the fearsome Zero Wolf, portrayed by Raoul Trujillo, and his ruthless second-in-command Middle Eye, played by Gerardo Taracena, attack his village. Captured and taken to a grand Mayan city for ritual sacrifice, Jaguar Paw escapes and is hunted into the dense jungle. He begins a desperate fight for survival to rescue his pregnant wife, Dalia Hernandez, and their young son trapped in a pit as a torrential storm approaches. Filmed on location in the lush jungles of Veracruz and Catemaco, Mexico, the film is a masterclass in immersive realism. It features extraordinary handheld cinematography by Dean Semler, who captures both the haunting beauty and brutal savagery of the natural world. The intense and atmospheric score by James Horner combines ancient tribal percussion and haunting vocals. It creates an unrelenting sense of danger and awe. The film employed indigenous actors and authentic handmade costumes. Historically inspired sets give its world a sense of authenticity rarely seen in modern cinema. Though surrounded by controversy over Mel Gibson’s personal reputation and debates over historical accuracy, it earned wide praise for its technical brilliance, energy, and primal storytelling. It also received Academy Award nominations for cinematography, sound editing, and makeup. Today, it remains a compelling testament to Gibson’s fearless direction and to cinema’s power to transport audiences into a lost and terrifyingly vivid world. The filmmaking is extremely effective, but it is also wildly gruesome and gory in spots, as was Gibson's earlier triumph Braveheart, so weak stomachs should prepare to be disturbed. Yet it is bold and supremely confident storytelling. There is really no other movie quite like this. It is an unflinchingly raw look at a long-lost world of both savagery and even love, and remains one of the most daring and visually memorable adventure films of the 21st century.

"Phantasm" from 1979, written, directed, shot, and edited by Don Coscarelli, is a surreal, low-budget horror classic that fuses science fiction, fantasy, and dream logic into a uniquely unsettling nightmare. Set and filmed primarily around Chatsworth, California, this effective scare fest follows Mike (A. Michael Baldwin), a teenage boy haunted by bizarre visions after witnessing strange goings-on at the local Morningside Cemetery. There, a sinister, otherworldly mortician known as The Tall Man (Angus Scrimm) steals corpses to transform them into dwarf-like slaves from another dimension. With the help of his older brother Jody (Bill Thornbury) and their ice-cream-truck-driving friend Reggie (Reggie Bannister), Mike uncovers the horrifying truth behind the Tall Man’s funeral home facade. Coscarelli, working on a shoestring budget of $300,000, achieved remarkable atmosphere through inventive in-camera special effects, eerie dreamlike sequences, and the unforgettable chrome flying sphere, which he devised with practical effects artist Willard Green using gyroscopes and clever editing. The film’s haunting cinematography, handled by Coscarelli himself, gives it a hallucinatory texture, and Fred Myrow and Malcolm Seagrave’s moody electronic score deepens its frightening tone. Despite modest initial box-office expectations, this became an undeniable cult phenomenon, praised for its originality, surreal imagery, and the commanding presence of Scrimm. It’s worth noting that the now-iconic silver ball was almost cut from the script due to budget limits. The mausoleum interiors were actually filmed in a custom-built set inside a warehouse, and Coscarelli, only 23 years old, independently produced the film that would spawn four sequels. Truly unique and imaginative, it proves that a high-quality, memorable movie can be created with creativity, vision, and determination, even on a limited budget. Its blend of originality, suspense, and eerie atmosphere continues to inspire filmmakers and entertain audiences decades later. Even for those who don’t usually watch horror, its inventive storytelling, unforgettable visuals, and sheer imagination make it impossible not to be drawn in. Shockingly entertaining and unforgettable.

"Spook Louder" (1943) is pure Three Stooges chaos from start to finish. Moe, Larry, and Curly bumble through a spooky mansion, facing a mad scientist, ghostly tricks, and a mischievous gorilla (of course) with hilarious results. Curly steals every scene with his over‑the‑top expressions and impeccable slapstick timing, while the jokes keep coming nonstop. The “spooky” elements are more playful than frightening, adding fun tension without slowing the comedy. It’s a fast, entertaining short that perfectly captures the Stooges at the height of their comic powers. And always remember, look out for spies, especially Jap spies!

"Snow White and the Three Stooges" from 1961, directed by Walter Lang and written by Noel Langley and Elwood Ullman, is a lavish Technicolor fantasy that pairs the famed slapstick trio (or the latest version) with the classic fairy tale. The familiar story follows Snow White, played by Carol Heiss, a princess fleeing her jealous stepmother Patricia Medina, who finds refuge with the bumbling Three Stooges, Moe Howard, Larry Fine, and "Curly Joe" DeRita. They also, of course, help her to reclaim her kingdom and find true love with Prince Charming, played by Edson Stroll. The capable supporting cast includes Guy Rolfe, Buddy Baer, and Edgar Barrier. Leon Shamroy’s rich cinematography and 20th Century-Fox Film Corporation’s elaborate sets give the film a polished, storybook look. Unlike most of their career, in which their shorts were black and white and made for Columbia Pictures, this was a rare feature-length production in glorious color. The musical score and songs by Harry Harris and Earl Brent, including “Someday My Prince Will Come,” “She’s My Love,” and “You and I,” add charm, and the special effects using smoke, mirrors, and transformation tricks reflect early 1960s studio magic. Shot mostly on the big soundstages and backlots, the production was unusually expensive at about $3.5 million, making it one of the most ambitious Stooge films ever made. Olympic skater Carol Heiss made her acting debut here with her singing dubbed by Norma Zimmer. This film closed Walter Lang’s career with a curious blend of fairy-tale sincerity and restrained Stooge humor, although at this age, the "boys" didn't slap, bonk, and bash as much as yesteryear. This film is a must for fans and actually a fun, whimsical experience for all ages, and it’s a shame they never had the chance to make more feature films in their prime. Regardless, when all is said and done, this entertaining blast from the past is still, and will always be, far superior to Disney’s recent weird-weird horror remake.

“Dopey Dicks” (1950) The Stooges, working as janitors, are mistaken for detectives and tasked with rescuing a distressed woman. Their bumbling investigation leads them to a creepy mansion where a mad scientist is building robot men. Chaos, slapstick, and Stooge-style mischief follow at every turn. Nonstop laughs ensue as the Stooges fumble their way through danger and disaster. Colorized then zapped with digital enhancements, as God intended...

“Malice in the Palace” (1949) The Stooges land a job at a grand Middle Eastern palace, hoping for easy work and good pay. As usual, their clumsiness turns a lavish banquet into complete chaos, with flying food, mistaken identities, and pratfalls everywhere. Hilarity escalates when they unwittingly tangle with palace guards and guests. Classic Stooge slapstick ensures nonstop laughs from start to finish. Colorized then zapped with digital enhancements, as God intended...

"Crimes of Passion" from 1984, directed by legend Ken Russell and written by Barry Sandler, is a provocative and feverish thriller that explores the clash between repression and desire in 1980’s America. The story follows fashion designer Joanna Crane, played deliciously by Kathleen Turner, who secretly leads a double life as “China Blue,” a streetwise sex worker drawn into dangerous entanglements with a tormented preacher, portrayed menacingly by Anthony Perkins, and a lonely electronics salesman, played by John Laughlin. Annie Potts and Bruce Davison provide strong support in a strange world of neon, obsession, and moral decay, joined by Richard Bradford, Kathleen Miller, and Gerrit Graham. Filmed largely in Los Angeles, the movie features striking cinematography by Dick Bush, whose rich lighting and saturated colors heighten its erotic and dreamlike atmosphere. Produced independently by New World Pictures, it stirred controversy and underwent multiple cuts to avoid an X rating. Turner accepted the daring role after the success of “Body Heat,” while Perkins delivered one of his most haunting late-career performances, balancing peculiar with irony, and sadness. The film is a vivid example of 1980’s LA color film noir, a growing sub-genre in itself, using glossy surfaces, garish lights, and saturated colors to reveal a city corroded by lust and hypocrisy. Compared with Russell’s other works like "Tommy," "The Devils" and "Altered States," it is smaller in scale but equally audacious. It distills his fascination with sex, faith, and madness into a contemporary urban fable and stands as one of his most visually striking and emotionally charged achievements. This is definitely not for all tastes, but it remains a daring and distinctive work that has earned a semi–cult following, especially among devoted Ken Russell enthusiasts.

"David and Lisa" from 1962, directed by Frank Perry and produced by his wife Eleanor Perry, who also adapted the screenplay from Theodore Isaac Rubin’s novel Jordi, is a hauntingly intimate, low-budget but quite effective psychological drama that explores adolescent mental illness with rare sensitivity and restraint. The film follows David Clemens (Keir Dullea), a highly intelligent but emotionally repressed young man tormented by an obsessive fear of human touch and death, who is sent to a private psychiatric school where he meets Lisa Brandt (Janet Margolin), a fellow patient with a split personality, one shy and childlike, the other poetic and free. Their tentative friendship and mutual understanding become a form of emotional therapy that transcends conventional treatment, offering moments of painful beauty and hope. A landmark of early 1960's independent cinema, the film earned critical acclaim, multiple Oscar nominations, and helped open American films to more nuanced depictions of mental health and human vulnerability. Dullea and Margolin give remarkably subtle but splendid performances, their obvious chemistry conveying complex emotions with quiet authenticity, while Howard Da Silva brings authoritative presence as Dr. Swinford, grounding the story in the realism of the institution. Perry’s restrained direction (Oscar nominated for best director), and Eleanor Perry’s insightful screenplay allow the characters’ inner worlds to resonate fully. Made on a modest budget of around $153,000, the production used real psychiatric facilities to enhance its realism, and it launched Keir Dullea’s career, setting the stage for his iconic role in 2001: A Space Odyssey a few years later. Its enduring power lies in the tender humanity, the compassionate portrayal of young minds in turmoil, and the quiet, unforgettable performances that make it a work worth revisiting. Even decades later, it remains a moving and thought-provoking study of love, healing, and the complexity of the human heart, and mind.

"A Scanner Darkly" from 2006, directed and written by Richard Linklater from Philip K. Dick’s 1977 novel, is a hypnotic and unsettling fusion of science fiction and psychological drama that explores surveillance, addiction, and identity. The film follows undercover narcotics agent Bob Arctor (Keanu Reeves), whose investigation into the dangerous drug Substance D spirals into confusion and self-destruction as he becomes both the observer and the observed. Featuring strong performances from Robert Downey Jr., Woody Harrelson, Winona Ryder, and Rory Cochrane, the cast captures the anxious, fragmented rhythms of lives unraveling under pressure. Linklater’s use of rotoscope animation, which digitally traces live-action footage to create a jittery, hallucinatory texture, perfectly mirrors Arctor’s dissolving sense of reality, while the sunlit neighborhoods of Austin, Texas, lend the film an eerie familiarity. The minimalist electronic score by Graham Reynolds enhances the mood of quiet paranoia and melancholy. A deeply personal project for Linklater and a truly faithful interpretation of Dick’s visionary work, which has not always been the case, the film concludes with a dedication to the author’s real friends who died from drug abuse, a poignant reminder that its surreal images are grounded in painful human experience. What makes this film truly unique is its ability to merge emotional authenticity with experimental animation in a way few science fiction films ever attempt. It is not a spectacle of technology but a meditation on how technology erodes the human mind. Unlike the polished futurism of Blade Runner, the wild adventure of Total Recall, or the high-concept thrill of Minority Report, three other adaptations of the brilliant author’s works, this film lingers in the present, showing a future that feels somehow real and intimate. The production took more than a year and a half to complete because every frame had to be animated by hand, and that painstaking effort shows in how strange and mesmerizing it all looks. At times the film can be bewildering, disturbing, and more than a bit disorienting, with unsettling scenes and bleak situations that blur reality and illusion. But as an unblinking look at the dangers of powerful mind-altering substances, that should be expected, and much of this was written into both the book and the film intentionally. This is certainly not for all tastes, but it remains one of the most innovative and artistically daring sci-fi achievements of its time, a haunting, thought-provoking work that rewards patient and reflective contemplation. Chilling, immersive, and impossible to forget.

"Along Came Polly" from 2004, directed and written by John Hamburg (known for Meet the Parents and Zoolander), is a breezy romantic comedy about risk, romance, and personal growth. The story follows Reuben Feffer (Ben Stiller), a cautious risk analyst whose orderly life is upended when his new wife betrays him on their honeymoon, only for him to meet Polly Prince (Jennifer Aniston), a carefree and spontaneous acquaintance from his past who teaches him to embrace uncertainty. Supporting players include Philip Seymour Hoffman as Reuben’s hilariously egocentric best friend, Debra Messing, Alec Baldwin, and Bryan Brown, each adding vivid comic touches. Shot largely in New York City with some tropical opening scenes in St. Barts, the film features a playful, jazzy score by Theodore Shapiro that complements its light tone. Despite mixed reviews upon release, it remains a warm, funny character piece elevated by Aniston’s charm and Stiller’s impeccable timing. The key to success in this particular genre is almost always the amount of chemistry between the couple being portrayed, and the actors portraying them. One of the film’s greatest strengths is the undeniable chemistry between the two leads. Their contrasting personalities create a lively and engaging dynamic that drives the humor and heart of the story, making their relationship feel authentic and enjoyable to watch. It helped that they were both veteran comic actors, bringing brilliant timing and infectious humor to every scene. Their experience and playful improvisations on set let them bounce off each other effortlessly, making the film delightfully charming, real life funny, and full of irresistible energy. This underrated gem scores with easygoing humor, lively chemistry, and an affectionate message about stepping outside one’s comfort zone, now and then. You never know what, or who might come along.

In Heavenly Daze (1948), the Three Stooges, Moe, Larry, and Shemp, find themselves in the afterlife after a mishap on Earth. Shemp is sent back to perform good deeds for his former pals in order to earn his wings and a place in heaven. Disguised as a mortal, he tries to guide Moe and Larry away from trouble and help them make an honest living. His efforts lead to a string of misunderstandings, slapstick chaos, and ghostly gags. The short blends comedy and fantasy, offering a clever twist on the Stooges’ usual earthbound antics. Colorized and digitally enhanced as God intended.

In Sing a Song of Six Pants (1947), the Three Stooges, Moe, Larry, and Shemp, run a struggling tailor shop called Pip Boys. Their business is about to be repossessed when they learn that a wanted bank robber, Terry Hargan, is hiding nearby with stolen money. By accident, Hargan leaves his trousers at their shop for mending, not realizing the loot is hidden inside. The Stooges discover the cash and scramble to catch the crook and collect the reward, while dodging both him and the police. The film is filled with slapstick chaos, quick jokes, and classic Stooges humor. Colorized and digitally enhanced as God intended.

"Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb" from 1964, directed, co-written, and produced by Stanley Kubrick, remains one of cinema’s most audacious and incisive satires, skewering the absurdities of Cold War paranoia with razor-sharp precision and black humor. Released at a time when the threat of nuclear war felt disturbingly real, barely a year after the Cuban Missile Crisis, following the assassination of President Kennedy, and during an election year shadowed by fear and uncertainty, the film captured the world’s jittery unease with eerie accuracy and outrageous humor. Where Sidney Lumet’s Fail Safe, released the same year, treated accidental nuclear catastrophe with grim seriousness, Kubrick found in the same premise a kind of cosmic joke, transforming doomsday into absurdist farce. Shot in stark black and white by cinematographer Gilbert Taylor, the film exposes the lunacy of military logic and political hubris with deadpan brilliance. Peter Sellers delivers a tour de force in three unforgettable roles: the befuddled British officer Mandrake, the ineffectual U.S. President Muffley, and the titular ex-Nazi scientist Strangelove, each representing a different strain of bureaucratic madness. George C. Scott’s manic General Buck Turgidson and Sterling Hayden’s deranged General Ripper embody Kubrick’s critique of masculine bravado and ideological fanaticism. Slim Pickens is also unforgettable as Major T.J. “King” Kong, bringing cowboyish charm and darkly comic energy that perfectly complements the film’s satirical tone. Ken Adam’s iconic War Room set is striking, and the screenplay co-written by Terry Southern is filled with quotable dialogue and memorable scenes throughout. The true genius of this masterpiece is that it is an antiwar film disguised as a comedy, a rare commodity at that time. It would go on to influence many other anti-war comedies soon thereafter, because the Vietnam War was about to get really unfunny. This marked a major turning point in Stanley Kubrick’s career, establishing him not just as a skilled craftsman but as a bold and original auteur. Having already directed acclaimed films like Paths of Glory (another anti-war marvel) and Spartacus, Kubrick used Dr. Strangelove to forge his own distinct voice, blending satire, precision, and philosophical irony in a way that would define his later films. This movie is historic in its own right, not only for being hysterically funny in ways so subtle that one almost needs to rewatch it again and again. Fortunately, it is so sharp and on target that watching this classic never grows tiresome. Both a time capsule of its era and a timeless warning about human folly, this amazing movie endures as one of the greatest political comedies ever made and perhaps the only one to make the end of the world seem both inevitable and absurdly funny. Not to be missed.

"Take the Money and Run" from 1969, directed, co-written, and starring Woody Allen in his first full-length feature, is a riotous mockumentary chronicling the hapless criminal exploits of one Virgil Starkwell, a bumbling bank robber whose plans invariably end in unexpected and unwelcome complications. Our sad and hilarious tale follows Virgil from a troubled childhood through a series of inept heists and prison stints, blending Allen's signature neurotic humor with satirical social commentary. Alongside Allen, the cast includes Louise Lasser and Janet Margolin in delicious supporting roles, with an ensemble featuring Allen’s frequent collaborators like Jan Merlin and Lonny Chapman. The film’s quirky, jazz-infused score was composed by Marvin Hamlisch, complementing the fast-paced, slapstick tone which would mark many future Allen projects. This was shot on location in San Francisco and New York City, towns which would appear again in coming films. Allen’s meticulous improvisation techniques, often allowing actors to react naturally to his comedic timing, and the film’s faux-interview segments were a pioneering early use of the mockumentary format. This was shot on a modest budget, but it became a critical and commercial success, cementing Allen’s transition from television writer and stand-up performer to auteur filmmaker. It's quite easy to see from this very first effort, that a bright future was ahead for the Woodman, and so many of the marvelous ideas and quips here would serve as blueprints for many characters and stories to come from a master filmmaker.

"Planet Earth" is a 1974 made-for-TV movie created and written by Gene Roddenberry (Star Trek), and directed by Marc Daniels, and is an intriguing blend of science fiction adventure and social allegory, serving as a follow-up to Roddenberry’s earlier 1973 pilot "Genesis II." Starring John Saxon as Dylan Hunt, a 20th-century man revived in a dystopian future, the film envisions a divided world of matriarchal societies, mutants, and struggling civilizations trying to rebuild. While hampered by its television budget and some dated dialogue, this effort stands out for its imaginative world-building, progressive ideas, and unmistakable Roddenberry touch, an earnest but uneven attempt to fuse Star Trek-style optimism with pulp fantasy energy. Like with the previous pilot, this was not picked up as a series. Roddenberry would try one more time with "Strange New World" in 1975, which would also fail. However, a few short years later, planet Earth IRL would see the release of "Star Trek: The Motion Picture," and the rest is history. With John Saxon as Dylan Hunt, Janet Margolin as Harper-Smythe, Ted Cassidy as Isiah, Christopher Cary as Baylok, Diana Muldaur as Marg, Sally Kemp as Treece, Johana De Winter as Villar, Corinne Camacho as Bronta, and of course Majel Barrett (Gene's wife), as Yuloff. Barrett appeared in numerous original Star Trek series episodes, in the spinoffs, and was the recognizable Trek computer voice for decades. Muldaur would also appear in both the original Star Trek and The Next Generation as well. This whole project is generally regarded as interesting but flawed. Aficionados of Roddenberry and 1970's TV often appreciate its ambitious world, imaginative sets, and the morally complex concept of Dylan Hunt exploring a future society. But the truth is, like with Roddenberry's other Sci-Fi TV pilots, this wasn't made into a weekly series primarily because of the high production costs. The post-apocalyptic sets, futuristic technology, and special effects required for weekly episodes would have been too expensive for ABC at the time, especially given the uncertain audience for sci-fi shows then. Marc Daniels also directed 15 episodes of Star Trek in the 60's. This is a real curiosity indeed, but an essential must for all true Roddenberry fans.