Best of 2018

January 6, 2019

Just posted: the BEST OF 2018 film list!

This year’s post has my Top 5 movies of the year, plus the Next Best 14, plus MANY other recommendations in various categories for those of you who enjoy stepping outside of your movie watching comfort zone! Hopefully you can find something on the list that interests you.  Check it out:



CLUE (1985) revisited

October 12, 2018

 Greetings again from the darkness. All movie watchers have at least two categories of films: those they will watch any time of any day, even if they can only catch a few minutes; and those they can’t imagine ever watching again since the first time through was so painful/miserable/boring/unentertaining. Now you may have other sub-categories as well, but you likely have at least those two. For me, the first category (the good one) includes both GODFATHER movies, PULP FICTION, THE RIGHT STUFF, DOUBLE INDEMNITY, JAWS, THE PRINCESS BRIDE, REAR WINDOW, and well … there are actually far too many to list!  The second category is comprised of: THE BOUNTY HUNTER, PROBLEM CHILD, BORAT, TORCHLIGHT, DEATH BECOMES HER, CADDYSHACK 2, just about every Jerry Lewis movie without Dean Martin, and well … there are plenty more, but I’m getting a bit nauseous thinking about this.

The point is that for 33 years, CLUE has been on my ‘never-watch-again’ list. All these years later, I’m unable to provide any specifics about my initial viewing experience, other than it featured Martin Mull (never been a fan) and was entirely too silly and over-the-top for my ‘highly refined’ tastes (although I like “The Three Stooges” and Peter Sellers’ “Pink Panther movies)  A friend, whose movie judgment I trust, has been encouraging/goading me into giving CLUE another try … to the extreme that she recently gifted me the DVD, thereby removing inconvenience as an excuse for avoiding it any longer. Anyone familiar with my “revisited” blog entries will know that what follows won’t be a traditional movie review. Expect some scattershooting.

So here I sit, pondering the movie universe and the ramifications of my having very much enjoyed this second viewing of CLUE – laughing many times and making note of just how clever it is … even amidst the packaging of silliness and slapstick in which it comes wrapped. There are, as you might imagine, some odd things associated with the film. First of all, it’s based on a Parker Brothers (now Hasbro) board game. Would you be excited about a Checkers movie?  How about Yahtzee or Candyland? Doubtful. Next, few films have a writer/director like Jonathan Lynn. Mr. Lynn is Cambridge educated, has written best-selling books, is known for a popular British TV series, produced and directed many stage plays, is an accomplished actor – he even played Hitler on stage (in a comedy), and has directed other comedy films such as MY COUSIN VINNY (1992) and THE WHOLE NINE YARDS (2000) . In yet another odd twist, Mr. Lynn co-wrote the CLUE screenplay with John Landis, who of course, directed the comedy classics ANMAL HOUSE (1978) and THE BLUES BROTHERS (1980).

Set in a creepy New England mansion on a stormy 1954 evening – replete with on-cue thunder and lightning – the twice Oscar nominated composer John Morris (he co-wrote the BLAZING SADDLES theme with Mel Brooks) greets us with a tongue-in-cheek score seemingly sampled from every late night horror movie from the 1950’s. A group of splendidly dressed guests are arriving for a dinner party after each received a mysterious and provocative letter from the evening’s anonymous host. We soon learn that the letters’ connective tissue is that each of these folks are somehow associated with … GASP … the government!  Even in 1985, this was a sure-fire way to characterize people as villainous.

It doesn’t take long for the first murder to occur, and other dead bodies are soon to follow – each in mysterious ways – leaving much doubt, and no shortage of suspects, as to the identity of the culprit. In fact, no one is to be trusted (other than possibly those already murdered). The confined environment of the mansion adds to the suspense, confusion, and comedy of the proceedings – as does a stellar cast of actors who know how to be funny in a serious kind of way.

Tim Curry stars as Wadsworth, who we assume is the butler and the fast talker and walker who seems to be running the show for the unknown host. Mr. Curry, of course, is forever enshrined in midnight movie lore as Dr. Frank-N-Furter in THE ROCKY HORROR PICTURE SHOW (1975). Wadsworth is assisted in the evening’s affairs by Yvette, played with jiggly wonder by Colleen Camp in a French maid uniform barely able to contain her assets. Ms. Camp has been a hard working actress since the 1970’s, was a two-time Razzie nominee in the 90’s, and can also be seen in this year’s THE HOUSE WITH A CLOCK IN ITS WALLS. The guests include Mrs. Peacock, played by Eileen Brennan, best known as the sadistic Drill Instructor in PRIVATE BENJAMIN (1980) and the heart-of-gold waitress in THE LAST PICTURE SHOW (1971); the dressed in black Mrs. White, played by comedy giant and two-time Oscar nominee Madeline Kahn, so terrific in her memorable roles in BLAZING SADDLES and YOUNG FRANKENSTEIN; Mr. Plum, played by Christopher Lloyd, his shock of white hair highlighting the BACK TO THE FUTURE franchise; Mr. Green, played by Michael McKean who only the year before was David St Hubbins in THIS IS SPINAL TAP, has been recently seen as savant lawyer Chuck McGill on “Better Call Saul”, and is likely the only relative of a signer of the Declaration of Independence in the movie; Colonel Mustard, played by the aforementioned Martin Mull whose career covers stand-up comedy, songwriting, TV series, movies, pro football, and his love of art; Miss Scarlet, played Lesley Ann Warren, nominated the previous year for her role in VICTOR VICTORIA, the star of one of my favorite offbeat 80’s films CHOOSE ME, and whose ex-husband John Peters was executive producer on CLUE; and finally, Mr. Boddy played by Lee Ving, known best for his punk rock band Fear. There are also a few cameos worth noting: Howard Hesseman from “WKRP in Cincinnati” appears as The Chief; Jane Wiedlin, a founding member of the band The Go-Gos who had a mega-hit with “Vacation” has a brief appearance as The Singing Telegram Girl; and Bill Henderson appears as a cop – this after a jazz singing career that crossed paths with the likes of Dizzy Gillespie, Frank Sinatra, Quincy Jones and others. Sharp-eyed viewers might also recognize the stranded motorist as actor Jeffrey Kramer, seen in JAWS as the deputy putting out ‘Beach Closed’ signs.

Filmmakers Lynn and Landis drew inspiration not just from the board game, but also such films as Neil Simon’s MURDER BY DEATH (1976, with Eileen Brennan), Agatha Christie’s AND THEN THERE WERE NONE (1945) and MURDER ON THE ORIENT EXPRESS (1974), TEN LITTLE INDIANS (1965, based on Ms. Christie’s stage version), and William Castle’s classic horror film HOUSE ON HAUNTED HILL (1959). CLUE has a very theatrical look and feel, as something that would work equally well on stage as on screen. The strong presence of Tim Curry almost forces us to notice some similarities to THE ROCKY HORROR PICTURE SHOW, though CLUE offers no musical interludes – other than the exceptional use of the song “Life is But a Dream”.

As far as I know, CLUE was the first film to be distributed to theatres with three different endings (quite a feat for a murder mystery). With the initial release, you were likely to see a different ending than someone at a theatre across town. Fortunately, the Blu-Ray version provides all three – none more likely or reasonable than the other (that’s part of the gag). Fox recently announced a remake of CLUE starring Ryan Reynolds is in the works. Expect it to look much different than the 1985 version. Many of the jokes from the film wouldn’t be acceptable or tolerated in this current age of political correctness, yet Madeline Kahn, with her impeccable comedic delivery offers up the timeless line: “Life after death is as improbable as sex after marriage”. Yes, the film is campy and screwball and filled with slapstick. However, it may also be described as a crackling-dialogue-driven, whip-smart whodunit movie dressed up as an outrageous slapstick comedy … something I failed to recognize on my first viewing more than 30 years ago. Consider that mistake corrected.

watch the trailer:


OSCARS 2018 recap

March 5, 2018

 Given the confluence of high profile issues, expectations and predictions for this year’s Academy Awards ceremony ranged from “revolutionary” to “off the rails”. Racial and gender diversity, the history of sexual abuse, and a room that tilts heavily to the left on the political scale, had the stage set for an out-of-the-ordinary program – or at least one worthy of next day watercooler exchanges. Instead, we were treated to a mostly benign nearly four hours of celebrities on their best public behavior. While the expectations were likely responsible for the significant (19%) drop in viewership over last year, those of us who did watch were rewarded with the awkward transition that accompanies a tradition-based organization’s attempt to change with the times.

After all five Best Actress nominees skipped the Ryan Seacrest E! stop on the Red Carpet in protest of the recent allegations against him, a retro-newsreel style opening revealed host Jimmy Kimmel as the voice on the microphone behind the early jabs. In his second consecutive year as Oscar host, Mr. Kimmel then took the stage and shot through a monologue of jokes that covered: last year’s Best Picture gaffe, Fox News, Harvey Weinstein, young/old Timothy Chalamet vs. Christopher Plummer, Meryl Streep’s 21 nominations, and “a wonderful man” named Guillermo Del Toro. Kimmel kicked off the presentations by offering a brand new Jet Ski to the winner with the shortest acceptance speech, complete with Helen Mirren in the Carol Merrill role as fawning model.

There were very few (if any?) surprises among the coveted statuettes that were handed out, and maybe most noticeable was, other than host Kimmel, the only white male presenters to take the stage alone were previous Oscar winners Christopher Walken and Matthew McConaughey. The other three that I recall all co-presented: Armie Hammer with Gal Gadot, Mark Hamill with his Star Wars co-stars, and Warren Beatty in a do-over with Faye Dunaway. Instead the lineup of presenters was filled with women and people of color. The Academy always tries to honor its history, and since this year was the 90th anniversary, there were some stellar montages utilized, as well as appearances from previous Oscar winners Eva Marie Saint (who cracked “I’m older than the Academy”) and the always entertaining Rita Moreno (age 86).

Speaking of white males, two of my long-time favorite actors – Sam Rockwell (THREE BILLBOARDS OUTSIDE EBBING MISSOURI) and Gary Oldman (DARKEST HOUR) – both won their first Oscars after three decades of consistently fine work, and another hardworking screen vet, Allison Janney also won her first. In what may have been the most tightly-contested category, BLADE RUNNER 2049 bested the film I was quietly rooting for in Best Visual Effects, WAR FOR THE PLANET OF THE APES. Keala Settle owned the stage and the audience with a fantastic live performance of “This is Me” from THE GREATEST SHOWMAN, but neither her voice nor Sufjan Stevens’ choice in jacket, could overcome the catchy and melancholic “Remember Me” from COCO in the Best Song category.

History was made when Rachel Morrison (MUDBOUND) became the first female cinematographer nominated for an Oscar, but it was the great Roger Deakins who was rewarded for his excellent work on BLADE RUNNER 2049, his 14th nomination. Jordan Peele also made history as the first African-American winner for Best Original Screenplay for his influential GET OUT. Another first was Chile’s A FANTASTIC WOMAN winning for Best Foreign Language film, featuring trans actress Daniela Vega, who also introduced Sufjan Stevens’ live performance of “Mystery of Love” from CALL ME BY YOUR NAME.

A personal favorite, THE SILENT CHILD, won Best Narrative Short while Christopher Nolan’s WWII masterpiece DUNKIRK quietly won three Oscars (Sound Editing, Sound Mixing, Editing). More of the attention went to presenters like Ashley Judd, Annabella Sciorra and Salma Hayek (Weinstein victims); Chadwick Boseman (star of the box office dominant BLACK PANTHER); and the wicked comedy of Tiffany Haddish, Maya Rudolph, and Dave Chappelle. Most interesting of the bunch though was Kumail Nanjani (THE BIG SICK), who made his case as a potential replacement when Jimmy Kimmel decides to no longer host. Mr. Nanjani is funny, intelligent and engaging.

After three nominations for Best Director, 89 year old James Ivory won his first Oscar for his adapted screenplay of CALL ME BY YOUR NAME, while the very talented composer Alexandre Desplat won his second (nine nominations) for the score to THE SHAPE OF WATER. The director category was filled with auteurs of the  industry, and the only one over age 50, Guillermo Del Toro, emerged as the winner – a very popular choice. The insanely likeable film nerd Del Toro had a great night, as his creative amphibious tale also won Best Picture, and he even quoted screen legend James Cagney in his acceptance speech.

One of the most powerful montages was a tribute to cinematic soldiers, fighters for freedom, and war movies over the years. Presenting this segment was Vietnam veteran, and terrific and underrated actor Wes Studi, a Native American, who seemed to purposefully poke the privileged audience when he asked “who else?” served their country … a cause that often seems undervalued in that room.

The roster of other presenters included Nicole Kidman, Sandra Bullock, (Capital One spokesperson) Jennifer Garner, Margot Robbie, Emily Blunt, Jennifer Lawrence, Jodie Foster, and the duo of Jane Fonda and Helen Mirren (filling in for Casey Affleck who wisely backed out) to present the Best Actor award. Someone more cynical than I might notice some similar traits in this group of presenters, but we were told this was the year of diversity and empowerment. And on that note, it was Frances McDormand who found a way to unite a segment when she encouraged ALL nominated women to stand up and be noticed … it was a fun and well-deserved moment.

Falling in the “not fun” category was Kimmel’s road (across the street) trip to Mann’s Chinese Theatre to surprise an auditorium of movie watchers with snacks from formally dressed celebrities. Perhaps this was a memorable moment for that group of folks, but for billions of others, it simply added 15 minutes to the ceremony’s run time … and provided no laughs.

The main stage sets seemed exceedingly ornate and intricate this year, with one of the main sets being a take on BEAUTY AND THE BEAST, and another looking like an abundance of rare gems. Perhaps both, though beautiful, were a bit over-the-top given the tone of this year’s ceremony. Costume Designer Mark Bridges (PHANTOM THREAD) won the Jet Ski, and NBA legend Kobe Bryant is now an Oscar winner. It was a transition year and the ceremony showed that, though it came off with nary a glitch (nor an accountant on stage) this time. We will now see if the industry has self-policed to the point where the focus can return to the art.

Confession of a Movie Reviewer (January 2018)

January 25, 2018

 Over the years, I’ve been diligent in my efforts to keep my writing focused on the movies I watch, rather than the personalities and politics of the film industry. In a world that bombards us with daily (seemingly non-stop) irrational, illogical and downright inexplicable occurrences, I’ve attempted to maintain a sense of separation. I strive to consider each film as a self-contained work of art, irrespective of the collective noise and attention that might surround it.

It’s for this reason that I consistently turn down industry interview opportunities and press junkets.  It’s important to me that my viewing experience and analysis of a movie not be influenced by where the lead actor (or actress, or director, or writer) ranks on my personal scale of virtue … or even how tasty the pre-screening buffet and free drinks might be.

A movie should stand – or fall – on its own merits. Perhaps in these times, striving to assess a film as an unencumbered work of art is a near-impossible task. I could simply admit defeat and fall in formation with many who (often unwittingly) allow themselves to be influenced by outside (off-screen) factors. However, this would only rob myself of the one escape from reality I enjoy, and more significantly, would undermine the art form of cinema and what it contributes as societal commentary and pure entertainment.

This is my public confession of acceptance that no ‘bubble’ exists. Movies are made by good folks and bad – just like everything else in life. That’s not something that should be ignored in today’s environment of full disclosure and admirable and necessary movements toward a more civil industry.  However, a line of demarcation can be drawn. My movie reviews and comments will continue to focus on what we see on screen, even though the external noise sometimes deserves to be heard.  While I support the causes and movements towards industry improvements, I also believe that by periodically fighting through that noise, we can still find beauty and grace in the cinematic art form. And that’s a cause I also believe is important.



Best of 2017

January 3, 2018

Just posted: the BEST OF 2017 film list!

This year’s post has MANY recommendations for those of you willing to step outside of your movie watching comfort zone! Hopefully you can find something on the list that interests you.  Check it out:



December 7, 2017

Opening Night December 5, 2017

Winspear Opera House – Dallas, TX


 It’s pretty easy to tell if a stage production is “working”. For a tragedy, we hear sniffles emanating from the audience, and for a comedy we hear laughter. When it comes to the re-telling of a family Christmas classic, we watch to see if the kids are engaged. Near the end of this touring version of “Dr. Seuss’ How the Grinch Stole Christmas! The Musical”, most every kid in the theatre is yelling “Christmas” at the stage in a desperate attempt to feed the floundering Grinch the correct line. Of course, Philip Bryan as The Grinch knows exactly what he’s doing, and it’s a brilliant gesture to allow the kids in the audience to believe they are participating … just as we believe The Grinch’s heart has grown as he learns the true meaning of Christmas.

The Dr. Seuss book was first published in 1957, and the iconic animated TV short first aired in 1966. In 2000, director Ron Howard delivered his live-action feature film, and Broadway was home to a hit run in both 2006 and 2007. Since then, there have been numerous tours of the hit stage musical, and many kids and families have been entertained by seeing The Grinch, his dog Max and the Whoville residents brought to life on stage.

“Welcome, Christmas” and “You’re a Mean One, Mr. Grinch” are the two songs familiar from the TV show, and both were written by Albert Hague and Dr. Seuss. There are new elements to the story, and seven new songs with music by Mel Marvin and Timothy Mason (book and lyrics), including “Who Likes Christmas?”, “One of a Kind”, and “It’s the Thought that Counts”. All the songs contribute to the story-telling, but none are especially memorable on their own. There is a twist in approach, as we first meet Max the dog … a much older Max. He acts as our narrator recalling his days with The Grinch, as they are acted out around him. Bob Lauder stars as Old Max, and has a wonderful voice for narration and singing.

Little Cindy-Lou Who and the rest of the Whoville folks are decked out in a pink, red, and white color scheme compounding the chaotic feel created by the holiday season and by having Christmas stolen while they sleep. The Whoville songs are often difficult to understand, despite being performed energetically. The sets (designed by John Lee Beatty) remain true to the original Dr. Seuss book and the centerpiece Christmas tree is especially wonderful.

Of course, what everyone comes to see is The Grinch. His green costume (designed by Robert Morgan) with creepy long fingers is a sight to behold, and Mr. Bryan takes full advantage of the spotlight, both with his physicality and his wide-ranging voice. At various times he reminds of Michael Keaton in BEETLEJUICE (1988), Jim Carrey from the 2000 film, and even The Joker from THE DARK NIGHT (2008). The kids are especially attentive while The Grinch is on stage, as are the much older kids (known as adults) in the audience.

Any production of The Grinch is challenged to overcome the iconic voices of Boris Karloff and Thurl Ravenscroft from the TV version, as these men possessed two of the most recognizable and iconic voices in entertainment history. Director Matt August has been behind both Broadway productions and numerous national tours, and he certainly puts on an entertaining show – assisted here by the live orchestra conducted by Peter Nilson, and some contemporary touches including a laugh-inducing belch, and a hashtag for the milennials. It’s been 60 years since the book was published, and the mean old Grinch and his dog Max can still entertain us.


September 17, 2017

 Greetings again from the darkness. Despite my fascination and quasi-obsession with movies, the Science Fiction genre has never really appealed to me. Sure, there have been a few dozen exceptions over the years (and it depends how you categorize certain movies), but it’s the non-classics in the genre that just never seem to connect with my love of film. So when Steven Spielberg states that he doesn’t consider his beloved CLOSE ENCOUNTER OF THE THIRD KIND (CE3K) to be a “sci-fi” film, you won’t see me get offended, or even offer a contrary argument. Of course, the difference is that Mr. Spielberg makes his claim based on his belief of life “out there”, while I simply have no desire to defend the category label.

For its 40th anniversary, the film is making the rounds in selected theatres, and the big screen is a must for this gem. Released in the same year and just a few months after George Lucas’ groundbreaking STAR WARS, Spielberg’s follow-up to JAWS confirmed his status as a revolutionary filmmaker, and cemented 1977 as one of the finest movie years of all-time (including ANNIE HALL, SATURDAY NIGHT FEVER, A BRIDGE TOO FAR, JULIA). CE3K would become the first of 7 Best Director Oscar nominations for Spielberg (inexplicably only one win to date).

Spielberg is credited as the writer, though many contributors are “uncredited”: Hal Barwood (now known for video games), Jerry Belson (Emmy winner for “The Odd Couple” and his work with Tracey Ullman), and John Hill (QUIGLEY DOWN UNDER), and Matthew Robbins (CRIMSON PEAK). Paul Schrader and Walter Hill also contributed to the script, making this the veritable vegetable soup of screenplays. The film came at a time when Columbia Pictures was struggling, so in order to remain under budget, Spielberg had to make some compromises on the final version. In a highly unusual development in the movie industry, Spielberg was able to revise, re-edit, and add new scenes to a 1980 re-release of the film – realizing his original vision.

Richard Dreyfuss stars as Roy Neary, a blue collar family man from Muncie, Indiana. With an acting career spanning more than 50 years (many recognize his baby face in THE GRADUATE as he offers to call the cops), it was AMERICAN GRAFFITI that caused his career to take off, leading to JAWS in 1975, and his stellar 1977 with both CE3K and THE GOODBYE GIRL. He later overcame a severe drug habit to star in such crowd favorites as WHAT ABOUT BOB?, MR. HOLLAND’S OPUS and “Madoff”. His wife Ronnie in CE3K is played by Teri Garr, whose acting career also covers more than 50 years, including small roles in five different Elvis movies in the 1960’s and her best known roles in YOUNG FRANKENSTEIN and TOOTSIE (for which she received a Best Supporting Actress Oscar nomination). In recent years, she has had to turn her energy and attention to health issues.

Melinda Dillon stars as Jillian, mother to young Barry (Cary Guffey) who is abducted by the aliens. Ms. Dillon received her first (of two) Oscar nomination for her work in the film, and is still seen annually breaking a leg lamp in the holiday favorite A CHRISTMAS STORY, although she retired from acting ten years ago. Young Mr. Guffey is now 45 years old and hasn’t acted since 1985. Director Stanley Kubrick considered him for the role of Danny in THE SHINING, but ultimately decided on Danny Lloyd, another youngster who decided against remaining in showbiz.

 Francois Truffaut was an Oscar nominated director known for kicking off the French New Wave of Cinema with his all-time classics THE 400 BLOWS and JULES AND JIM, and it was quite surprising to see him cast in the role of UFO expert Claude Lecombe. It’s likely that cinephile Spielberg loved the idea of working with a peer whose work he so admired. Truffaut is a significant screen presence despite his challenges with the English language (which led to “dialogue cheat sheets” throughout filming). Bob Balaban, so familiar to “Seinfeld” fans, plays the translator, while Justin Dreyfuss (Richard’s real life nephew) is the noisy and obnoxious son during the hectic family scene. Roberts Blossom is the one in the film who admits to spotting Bigfoot, and is best known as Kevin’s neighbor in HOME ALONE and the braced-up car seller in CHRISTINE. He was also a well-respected poet before passing away in 2011. Other familiar faces include Lance Henrikson (ALIENS), George DiCenzo (BACK TO THE FUTURE), Carl Weathers (ROCKY), CY YOUNG (OK, more a name than a face), Bill Thurman (Coach Popper from THE LAST PICTURE SHOW), and gas mask salesman Gene Rader, who hails from Paris, Texas.

 Desert discoveries are a key here, and offer more insight into Spielberg’s attention to history. The “lost” plane is a tribute to real life Flight 19 which disappeared in 1945, and The Cotopaxi was a real cargo ship that sunk … both becoming part of Bermuda Triangle lore. Devil’s Tower in Wyoming is also significant here, and it’s Spielberg’s nod to John Ford’s frequent use of Monument Valley in his westerns. Spielberg has admitted to watching Ford’s THE SEARCHERS dozens of times while filming CE3K. Another tribute comes in the form of a wind-up monkey with cymbals. It was previously seen in REBEL WITHOUT A CAUSE, and can also be viewed as a precursor to the infamous clown in POLTERGEIST.

Spielberg acknowledges being inspired by President Nixon and the Watergate scandal. He wondered what else the government might be hiding from us. Remarkably, he gets his point across with a total absence of modern day cynicism. As opposed to what we usually see these days, the military isn’t trying to bomb the mothership and citizens aren’t retreating in a panic to bunkers. Instead, the military is working to keep the public safe (albeit through some sneaky strategy), the scientists are approaching communication through a protocol steeped in research and data gathering, and Dreyfuss and Dillon are trying to figure out why they were “chosen”. Spielberg delivers sweetness and warmth rather than a show of power and might. It’s such a pleasant viewing experience to watch people we like and to whom we can relate.

Some points of interest related to the film include a cameo from famed UFOologist J Allen Hynek, who is seen smoking a pipe as the abductees are released from the mothership. Mr. Hynek actually created the phrases Close Encounters of the First, Second, and Third Kinds. ABC news anchor Howard K Smith is seen since CBS would not grant permission for Walter Cronkite to appear. The film’s stunning visual effects come courtesy of Douglas Trumball, who also collaborated with Stanley Kubrick on 2001: A SPACE ODYSSEY. Of course, the Visual Effects Oscar that year went to STAR WARS, and that speaks to the contrast between the films. STAR WARS is clearly a special effects movie, while CE3K is much more of a character study … a study of human emotions.

 As for other Oscar categories, the film was nominated for 9 total, with the only win going to Cinematographer Vilmos Zsigmond, though it was also awarded a Special Achievement Oscar for Sound Effects Editing. Spielberg was nominated, but Woody Allen won Best Director for ANNIE HALL, and Richard Dreyfuss actually won the Best Actor Oscar that year for THE GOODBYE GIRL. The great John Williams was of course nominated for his iconic 5 note melody (following up his immortal JAWS theme), and he instead won the Oscar that year for … repeat after me … STAR WARS. A quirky note on the music – the “voice” of the mothership was a tuba, not an instrument that typically gets much publicity.

While Stanley Kubrick opted not to show aliens in 2001: A SPACE ODYSSEY, this film not only puts the aliens front and center, it reminds us to keep an open mind to those unfamiliar to us … a lesson that is still important today. The film was named to the National Film Registry in 2007, and seeing it on the big screen allows for the full impact of awe and wonderment. It’s rated PG and can be enjoyed by most ages. Spielberg only asks that you leave the cynicism at home.

watch the trailer: