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Ace Ventura: Pet Detective (1994)
probably Carrey's best work
The biggest problem with Jim Carrey is, that he is basically a one-trick pony.
He simply lacks the versatility, gravitas and emotional depth of a Robin Williams, Eddie Murphy or Rowan Atkinson.
Hence it is also easy to call "Ace Ventura" his best role, as all of his other ones are at best variations of the same character.
What also makes it his best film is the fact that it is never as overblown as his later work, including the overrated "Dumb and Dumber", while also providing a tighter script and direction as well as a bit more risqué/gritty plot twist.
Especially the latter is welcome in today's increasingly suffocating and artistically stifling politically correct/woke climate.
Octopussy (1983)
Moore's best 007 outing
Rooger Moore's track record in the Bond franchise was rather hit-and-miss: for every decent (but by no means great!) flick a dud followed.
"Octopussy" is one of the hits, and I'm tempted to say his best effort as 007: all the best elements of his era (but also some of its worst) are at their peak here: the insane stunts, corny humour, amazonian girls and hammy villains. Yet the film is able to stir and cook all these ingredients into a surprisingly tasty and colorful stew. Also it manages to successfully take the series back to it's cold war/spy roots, adding a certain sense of realism and suspense in spite of the (mostly ridiculous) action scenes.
Jurassic Park III (2001)
Survival horror at its best
JR3 is survival horror in its purest, most essential and effective form. It wastes no time exposing the audience to bland, stereotypical characters or secondary plot points, but throws us right into the action.
And yet it is able to keep us interested with plenty of sharp irony and unexpected character development.
Take Dr. Grant for example: in the first film he was always deeply respectful at the park's creatures. In this one, his wild-eyed wonder has given way to a jaded and cynical outlook on a further co-existence with these monsters.
But the biggest success - just like in the first film - are the special effects, both CGI and practical. Joe Johnston and his skilled team have literally created a dinosaur world that blends seamlessly with our own, making you quickly forget about the clunky "Lost World" from 1997.
A Nightmare on Elm Street 3: Dream Warriors (1987)
Vastly overrated - suffers from "too many cooks" syndrome
While NOES 3 does offer some impressive special effects (but also some not-so-impressive ones), it still falls way short of the first two films.
It's biggest problem is probably the lack of character focus. While NOES 1 and 2 centered their plot around a single, well-developed (and well-acted!) lead character that showed us their gradual descent into paranoia, the third film simply throws a bunch of teen movie stereotypes at us that are already mentally - and physically - broken. And it makes you wonder why Freddy couldn't kill these weak souls long before.
Furthermore the script really flounders in the final act, being overstuffed with a completely unnecessary and goofy cameo by John Saxon and a laughable revelation on Freddy's origin, both of which kill any kind of momentum the film may have built up to that point.
I blame it on the army of screenwriters involved, who tried to work in as many ham-fisted ideas as possible.
The Rundown (2003)
Still The Rock's best movie
Hollywood released a ton of buddy action movies around Y2K and "The Rundown" is easily the best of the lot. What makes the film work is the unlikely chemistry between The Rock and Sean William Scott, as well as Peter Berg's stylish direction. Both actors seem totally unhinged, yet always natural despite their often cartoonish circumstances.
Add a psychedelic Chris Walken to the mix and you have comedic gold.
Memoirs of an Invisible Man (1992)
Carpenter's most underrated
"Memoirs" is a fairly original take on the H. G. Wells classic, presenting the titular character not as a mad genius but a victim of circumstance.
This in turn opens up the comic potential of the film which despite its fantastical premise treats each of the protagonist's predicaments in an utmost realistic way. It greatly enhances the audience's sympathy for Chase and makes us root for him all the way to the end.
The special effects are excellent and used much more cleverly than in potboilers like "X-Men" or "Hollow Man" - a testatment to Carpenter's skill as a seasond filmmaker.
This is also one of Chevy's better performances. Presumably he clashed with original director Reitman over the film's tone. Apparently Reitman preferred a more comedic approach. I'm glad that Chase prevailed.
Oh, and Sam Neill is excellent as the CIA bad guy.
Upgrade (2018)
derivate cult-movie wannabe with great lead performance
Plot-wise "Upgrade" really offers nothing new to the genre. But the film is still worth a watch only for Logan Marshall-Green.
Often dismissed as a "poor man's Tom Hardy", LMG actually has, what the former actor is completely lacking: a natural sense of humour and irony.
This is extremely helpful in the film's more ridiculous moments, especially the fight scenes, which are the only somewhat original and redeeming aspect of an otherwise derivative and predictable flick that mainly plunders from the Robocop movies, with some elements from Terminator 2 and Minority Report thrown in.
The Invisible Man (2020)
Sleeping With The Invisible Enemy
You have to hand it to Universal and their well-oiled marketing machine:
Despite already giving away most of the film's best scenes and the "big twist" in the trailers it still managed to rake in 20 times of its lean 7 million budget.
Another reason is Leigh Wannell and his increased directing skills - a far cry from the clunky "Saw".
Furthermore Elizabeth Moss was an interesting casting choice as well as having her run around with almost no make-up for most of the runtime.
Yet at it's core this is another hollow adaptation of the H. G. Wells classic:
The first act is a complete ripoff of the Julia Roberts yarn "Sleeping with the Enemy" - including the abusive husband's fancy seaside glass house.
What follows is a succession of horror/thriller tropes (e. G. the killer stupidly leaving behind numerous eyewitnesses), filled with lots of dramatic pauses (padding the film to an excruciating 120 minutes) and leading to a rather predictable twist and ending.
What also pissed me off is that Whannell almost completely removed the sci-fi elements of the source material, dumbing the whole thing down to a stalker thriller.
Columbo: A Friend in Deed (1974)
aka "The Killer-Cops" - top of the heap
Could this be the very best Columbo episode ever?
A lot of clues (*harhar*) lead to that assumption:
#1: the villains - afaik Columbo's only case where the murderer comes from within the bricks which makes his sleuthing even trickier
#2: indie style direction - Ben Gazzara films the potboiler plot with an intense indie style, full of sharp characterisations, close-ups and shaky-cam action.
#3: humour - again this might be Gazzara's contribution but this has some of the funniest Columbo moments ever.
#4: ahead of its time - I'm sure flicks like "The Departed" or "Training Day" took some clues from this one. Yeah, the basic plot is taken from Hitchcock but the switch of the milieu takes it into an entirely new direction.
#5: twist ending - by far the twistiest but also most satisfying ending in the entire Columbo universe.
For Your Eyes Only (1981)
Straightforward, but also full of clichés
After the overblown (but exciting) "Moonraker" the producers thought that a change of pace was needed for the franchise.
The result is a grounded but also very formulaic Bond. The set-pieces and plot are all too familiar, mostly taking bits from previous flicks like "From Russia with Love" or "On Her Majesty's Secret Service" - an obvious attempt to lure back older fans.
Another issue that would become increasingly problematic with each successive film: the drastic age difference between the lead actors. Moore was twice as old as Bouquet and Johnson, which made him look like a creep.
The biggest bummer however is the ultra-lame non-ending, definitely the worst, most anti-climactic showdown in the entire series.
Terminator 3: Rise of the Machines (2003)
Last classic Terminator movie
This is the last Terminator movie to follow the established formula devised by James Cameron, which means that this is basically a big chase action thriller with road movie elements.
The overall pace is relentless, making the few moments of respite and reflection that much more impactful and poignant.
T-X is easily one of the deadliest, destructive and formidable cyborgs in film history. The influence from Japanese manga/anime on the conception of her character (e.g. Armitage, Battle Angel Alita, Dragonball etc.) is obvious and Kristanna Loken plays her wonderfully.
Mostow's direction is fairly straightforward but perfectly frames the big action set pieces.
Arnold is in top shape - probably for the last the time in his career.
Many people have criticised T3 for breaking with the message of T2. I think they are among the few who prefer Cameron alternative "future" ending which was mercifully scrapped in favor of the more ambiguous original ending.
Columbo: Now You See Him (1976)
a bit too slick
"Now You See Him" aka "The Great Santini" is one of the more overrated Columbo episodes, probably due to the presence and charisma of Jack Cassidy.
But the plot and script are strictly average.
This is one of Columbo's easier cases and we know almost from the outset when and how he will catch the murderer.
Cassidy's illusionist is so vapid you can literally reach right through him. He is a walking ghost.
On the positive side the pacing and direction is tight and straight forward, mercifully ending the film after less than 80 minutes.
Columbo: Swan Song (1974)
Columbo at his best
This makes at least the top 10 of every Columbophile, and for good reason.
Firstly there is of course Johnny Cash, who is pretty much playing himself here. But oh boy, beneath the angelic voice there is an absolute monster lurking.
To have the villain not only be a murderer but a pedophile, too, must have taken some guts to show TV audiences in the early 1970s.
The plot he has hatched is also quite clever and it looks like he will get away with it...or will he?
Cash's ingenuity combined with his charisma give our lieutenant lots of headaches as well as some hilarious caustic trade-offs.
Columbo: Troubled Waters (1975)
Most overrated Columbo epsiode
Next to the episode with the murderous grandma this has to be the most overrated Columbo episode.
Turgid pacing, laughable plot, bad acting.
Vaughn's car salesman has to be the dumbest of all Columbo villains.
AVP: Alien vs. Predator (2004)
2nd best Predator movie
Finally a movie that provides some background to the alien hunter.
The action scenes are also quite suspenseful. It's actually compelling at times how the creatures try to outsmart each other.
This doesn't really rate as an Alien movie but as part of the Predator franchise it ranks right behind the 1987 original.
Léon (1994)
Epic action-melodrama that hits (almost) all the right notes
The most amazing thing about "Leon" is that, despite all of its shortcomings (some of them glaringly obvious), the film still manages to come out on top.
Yes, the film is derivative in places. (But then what did you expect of yet another hitman movie in 1994?)
Besson borrows heavily from his own "Nikita", Melville's "Le Samourai" and Cassavetes' "Gloria", especially in the first 30 minutes. But after that it quickly takes a shape all its own.
And yes, there are some huge holes in logic but "Leon" must be seen more as a modernist fairy-tale than a gritty thriller in order to makes sense.
"Leon" is foremost anchored by the four (yes, that's right!) lead performances by Reno, Portman, Aiello and Oldman, all brilliantly framed by Besson's stylized direction.
All four actors give highly emotional performances unlike anything you have ever seen before. And despite their characters having opposing agendas or being downright antagonist they all seem to be part of the same family. All of their (re-)actions make sense, if judged purely from an emotional POV.
This setup is actually strongly reminiscent of Sergio Leone's spagehtti westerns and it is obvious throughout the film that he was a big influence on Besson - from the close-up mughshots to the theme-heavy Morricone-esque score.
But Besson injects a modern style that is partly influenced by John McTiernan, James Cameron, John Woo and french "cinema du look", creating a hybrid that is totally original.
Die Hard with a Vengeance (1995)
Pop quiz, hot shot!
The most ambitious and convoluted entry of the series "With a Vengeance" ultimately cannot tie up all the loose ends it lays out in the beginning but the great acting, snappy dialogue and epic chases and set pieces like the Fed heist more than make up for this shortcoming.
Die Hard (1988)
Laughably overrated and dated
First off this movie is WAAAAY too long for its rather thin plot. The first act/exposition wastes way too much time to introduce its paperthin characters and is full of cheesy, vapid 80s smack talk.
Second, the acting is absolutely horrid across the board (Alan Rickman excepted). Willis and Bedelia are bland and listless, and have zero chemistry. Also why are American and British actors cast to play Germans? Their accents are hilarious. The only real German here is Andreas Wisniewski, who is completely wasted in a bit part; a far cry from his memorable turn in "Living Daylights" (a film that easily blows this one out of the water).
And finally the slew of plot holes and contrivances which require the hero not to be extremely smart but the villians to be extremely dumb.
The sequels are much better, including the maligned 5th entry.
Predator (1987)
Aging with grace, but still aging
Yes, "Predator" is still a classic. But within the realm of action movies this status is often short-lived. Yet this movie still holds up well, but not because of the action or horror elements which have aged quite a bit. It is the film's sci-fi heart, that still beats strong. The true essence of science-fiction is the eternal question of what makes us human. And "Predator" offers some more than adequate answers in that respect. The alien hunter is ultimately overcome by the protagonists abilitiy to forego natural prejudices of racism and sexism but also to think outside of the box, to act beyond reason and logic. This becomes all the more apparent in the final act.
Sinbad and the Eye of the Tiger (1977)
Best of the trilogy
Easily the best Sinbad movie ever, despite the clunky direction by Sam Wanamaker. Great atmosphere, creature effects (the emotive baboon is probably Harryhausen's best work) and gorgeous women moved along nicely by a tight script from Beverley Cross, who also penned Harryhausen's other greatest works, Jason and the Argonauts and Clash of the Titans.
On the acting front Patrick Wayne cuts an imposing yet charismatic Sinbad, while Margaret Whiting convinces as witchy Zenobia and Patrick Troughton chews the scenery as the mad (pseudo)-scientist guiding our hero to his destiny.
Leap of Faith (1992)
slight satire takes advantage of Martin's true talents
Finally a movie that seizes Martin's true talent: his stand-up act!
And what a bullseye his performance is: all the flailing and jerking of his career defining 70s stage work, caffeinated with a dose of early 90s grunge fatalism.
The message of the film is that televangelists are basically stand-up comedians.
However Martin's character has been described as a "con artist" instead. But a con-artist is someone who uses elaborate tricks to fool his rather enlightened victims.
Martin's "tricks" here however are merely circus tomfoolery. Appropriately he stages his shows in a circus tent.
It is this failure of distinction by the townspeople between the clown and the con-artist, where the satire of the film really hits its target.
Unfortunately the satire is a bit washed out by the fairy tale ending in which the protagonist must pay back for making a career on abusing the "Lord's" name, so that the town fools can have their "miracle".
Dead Men Don't Wear Plaid (1982)
redundant and gimmicky pastiche, amateurishly conceived
On paper the idea behind this film may sound interesting. That is if you can conceive a coherent one from all the cut and paste snippets.
"Dead Men" however utterly fails in that department. In fact, it doesn't even try. Reiner and Martin instead make up the story to make it fit with those snippets.
The result is a mess with plot and lead character that go absolutely nowhere.
Equally inept is the setup of the jokes which are delivered completely disconnected from the storyline, with Martin often randomly regurgitating some of his 70s stand-up routines.
Moreover the humour relies heavily on the so-called "running gag" which is climaxed in the showdown's word-heavy altercation, eventually turning the joke on the film itself. (the actors even collectively break the fourth wall as they have exhausted all the other targets for their mockery)
Planes, Trains & Automobiles (1987)
Hughes and Candy bring out the best in Martin
Steve Martin is one of the most overpaid actors working (he received 30 million $ for his mugging in the Razzie-nominated Pink Panther remake) but in PTA he gives what is likely his best performance to date (which even Martin himself admitted), thanks to a snappy, if occasionally redundant, script by John Hughes and a tour-de-force performance by John Candy who ably juggles scenes of broad slapstick with deep emotions. He is the perfect foil to Martin's straight man and at its best their chemistry invites comparison to iconic comedy duos like Lemmon/Matthau or Laurel and Hardy.
The movie's ending is probably a bit predictable but still perfect as it logically completes both lead character's development over the course of their odyssey.
Total Recall (1990)
Intelligent only if you are lobotomized
Make no mistake, behind its pseudo-intellectual facade this movie is just another mindless Arnold shoot'em up.
Almost from the beginning the outcome of the movie is literally SPELLED OUT by numerous characters at numerous occasions in often lengthy and loud speeches to make sure that nobody will miss the point.
If that is your idea of an intellectually stimulating film then "Billy Madison" or "Dude, where's my car?" are probably too.
Blade Runner 2049 (2017)
2/3 of a great film
Had this movie ended after 120 minutes and had the plot taken the route of the male child being the real one this could have been a certified classic for the ages because there's so much else the movie does even better than Scott's original:
- production design: Villeneuve's version of the future LA is even more immersive than Scott's but is also more reality- than comic book-based.
- soundtrack: Unlike many other people I believe that Zimmer and Wallfisch have done a brilliant job. They accentuated the moody synth effects of Vangelis score and cut out the cheesy saxophone.
- Joi: probably the most accurate vision of a futuristic "toy". This is what Amazon's Alexa will look like in 30 years! The love scene where she tries to synchronize with a Nexus-6 model to give K a more "real" taste of her is a piece of cinematic beauty.
- lead actor: I have long been critical of Ryan Gosling's actual talents but he is simply brilliant in these type of roles for these type of movies (see also "Drive"). This may be his best performance so far but will likely go unnoticed by the Academy due to the subject matter of the film.
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However everything is ruined by a contrived third act where we meet a senile, geriatric Ford who is somehow able to beat the crap out of Gosling but cannot leave an open car on his own and is also completely clueless about impact of the "miracle" he created, thereby completely flattening the "big plot twist".
Add to that cheesy villains out of the 007 textbook and a hamfistedly choreographed final battle and you have a messed up semi-classic.