With the Christmas season upon us, we decided to take a slightly different approach this month with our recommendations. Rather than give you our picks for the movies to see this month (I’ll save you the time, see War Horse and Tintin), we decided to shock the world and suggest some of our favorite books about movies, titles that we think would be perfect stocking stuffers for the Film Nerd in your life. If you are interested in picking up any of the titles below, just click on the book cover to purchase the book on Amazon. Merry Christmas and happy reading, nerds!

 

Ben Stark’s Picks

Film Production Theory by Jean-Pierre Geuens

I can unequivocally say that this book changed my life. I randomly picked it up one year from the University of Alabama’s Gorgas Library before leaving town for Christmas break. Film Production Theory does not tell you how to make a film, does not dish on the personal lives of filmmakers, and does not give vicarious anecdotes for a young filmmaker to digest. To the contrary, this book is a hard-line intellectual look at exactly why we make films, and what it means to make films. Geuens examines most of the major stages in the making of a film, drawing from a well of philosophy, critical theory, and – most certainly – his own opinions. The biggest foot print this book left on my brain was its exhortation that the most unhealthy thing a filmmaker could do was to move to Hollywood. If someone is making the decision to be involved in any sort of movie-making, this is the first – possibly only – book they should read.

Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster by Warren Buckland

On the flip-side, here is a book that examines the films of one of the most powerful men in Hollywood. What makes this book special, however, is that it does not go into how personal details shaped the films of Spielberg, or what his process entails. Instead, author Buckland picks a handful of scenes from a few choice Spielberg films, and breaks down his directorial approach, from framing and pacing to blocking and lighting. By assuming Spielberg’s mastery of film grammar, Buckland points out the amazing subtextual and “poetic” statements that Spielberg’s style presents (or in some case, misses out on). This is one of the great apologetics books for the case of Spielberg-as-film-artist.
Hitchcock by Truffaut by Francois Truffaut

This might be the most widely accepted “great” film book. The Cahiers du cinema critic and eventual great filmmaker Francois Truffaut gets the chance to interview his hero, Alfred Hitchcock, and creates the essential Hitchcock commentary book. Like the aforementioned Spielberg book, this elevates and highlights Hitchcock’s intentionality as a grammatical film master. This, along with The Films of Akira Kurosawa by Donald Richie, was my wife’s present to me for our first Christmas together as a couple.

 

Craig Hamilton’s Picks

Seen That, Now What? by Andrea Shaw

This is the perfect book for those folks out there who know what they like, but need recommendations for other films. Seen That, Now What? categorizes and cross-references films in a unique, pre-internet sort of way. The book was published in 1996, so Seen That, Now What? is coming from a world where the many choices that video rental stores provided now became overwhelming. Without Wikipedia to click away into oblivion, the film-loving masses needed something to provide them with not only a starting point, but a legitimate pathway to other great films. This book is designed specifically to give the best recommendations. Let’s say Cleopatra (1963) left a bad taste in your mouth. Just look up Cleopatra in the index and it takes you to pages of suggestions from the 1960’s, like: Doctor Zhivago, Spartacus, Becket, A Man for All Seasons, The Lion In Winter, Exodus and The Cardinal. If Terms of Endearment left you wanting more 80’s drama, then a quick reference of that title provides the following suggestions: Ordinary People, On Golden Pond and Kramer vs. Kramer among many others.

American Movie Critics Edited by Phillip Lopate

This is a wonderful book that is about as dense as a brick, but is mainly meant to pick up and browse through over time. It’s a collection of film reviews and essays from many of the legendary film critics and historians beginning in the mid 1920’s during the transition to sound and coming all the way up to present day. It’s absolutely fascinating to observe the evolution of film and film criticism throughout history. Not only that, but it’s fun to see just how wrong a lot of the legendary critics were at times. Each entry has a short bio of the critic or context of the writing. Along with that is the actual review of a particular film or essay on a subject relating to film and the date that it was published. From essays on the emergence of the “Talkies” to how DVD’s are changing viewing habits, these essays cover tons of ground. From Carl Sandburg to A.O. Scott, this collection spans everything from D.W. Griffith to David Fincher and it’s an excellent book for any film critic’s library.

“Have You Seen…?” by David Thomson

In his follow up to Biographical Dictionary of Film, film critic and historian David Thomson answers his most asked question, “What Should I See?” in this book of one page reviews for 1,000 alphabetized films. Alphabetical order is a good option because the films aren’t grouped by genre or year. In the same opening you can read a review for Robert Altman’s screen translation of the great Raymond Chandler novel, The Long Goodbye and Peter Jackson’s masterpiece The Lord of the Rings Trilogy. Another opening contains the reviews of Michael Mann’s The Last of the Mohicans and The Last Picture Show, written by the great Larry McMurtry. Another great thing about this book is that it ranges from films from 1895 to 2007. It’s thick and full of great suggestions and it’s a lot of fun just to sit down and leaf through.

 

Ben Flanagan’s Picks

Making Movies by Sidney Lumet

The late great Sidney Lumet played a large role in molding my movie mind during freshman year at the University of New Orleans, where I read this book and watched several of his iconic films, including “Serpico,” “Dog Day Afternoon” and “Network.” Lumet pulls few punches in his retroactive accounts of time spent of nearly each set of every movie he’s ever made, dating back to his first masterpiece, “12 Angry Men.” In a nutshell, Lumet offers his best guess based purely on experience on, well, how to direct. That means talking to actors, picking the right lenses, composing shots, placing the lights, etc. It’s technical, and might make your head hurt from time to time, but Lumet’s honest portayal of the craft (which he insists it is) is truly fascinating. A MUST for future filmmakers.

Woody Allen on Woody Allen Edited by Stig Bjorkman

During high school, Woody Allen became a virtual part of the family, whether we watched his films or read his prose books on a daily basis. When I got my hands on Stig Bjorkman’s one-one-one Q&A book going movie by movie with the man himself, I didn’t need much else. I still have trouble putting this book down. Going back and forth from set anecdote to stylistic approach, Woody goes into frank detail about nearly all of his films up to around 2000 in a wonderful conversation worth revisiting as each year passes. There are tons of Woody Allen interview books out there, plenty of them good, but this is definitely the gold standard.

Steven Soderbergh: Interviews OR Getting Away With It Edited by Andrew Kaufman

Soderbergh became another Flanagan fixture in our high school and college days, mainly once again during freshman year in New Orleans, where I read this first book and attacked his filmography on DVD. I’d always heard of SEX, LIES & VIDEOTAPE but never saw it until I drove to a local rental store and finally saw what the fuss was about. While Soderbergh’s stunningly mechanical and sometimes silly approach to the craft is well-represented in the films he makes, it’s often even more enlightening just to hear his matter-of-fact attitude about what he does as an artist. Both in this book of interviews, which you’ll fly through in an afternoon, and his Q&A with British director Richard Lester, you get a terrific peek into the mind of one of our greatest contemporary filmmakers, who sadly has plans to retire soon.

Leonard Maltin’s 2012 Movie Guide by Leonard Maltin

Not as much a book about movies in the vein of these others, the Maltin guide is an annual purchase in our household, not because we rely on ol’ Leonard’s opinions on each film (the man hated BLADE RUNNER, for God’s sake). But as a reference tool, you’ll find fewer equals that aren’t your IMDB app. Sometimes you just want to thumb through a brick of a book and learn the bare bones details of a film: The title, the year, the director, the actors, the plot and a fair-enough take on it. The perfect coffee table book.

Down and Dirty Pictures by Peter Biskind

Peter Biskind’s often-electrifying account of the rise of independent film in the 1980s and 90s as well as that little studio that could, Miramax, and the Weinstein brothers took on Hollywood with their sleeves rolled up. After all, with weapons like a young and hungry Quentin Tarantino, you liked your chances. A sickeningly readable journey into the studio’s birth and evolution with first-hand, detailed accounts of the competitive landscape of development, production and marketing with brilliant stories from all involved in each aspect.

 

Graham Flanagan’s Picks

The Films of Steven Spielberg by Douglas Brode

This exceptional guide to the films of the world’s most famous movie director should be a staple of any Film Nerd’s bookshelf. Although it was last updated in 2000, it warrants a purchase (you can likely get it used for cheap) because of its insightful histories behind each of Spielberg’s films. Brode takes a chronological look at each work, examining how the projects came to fruition with behind the scenes accounts of some of the challenges and hurdles faced by each production. Brode also does an excellent job of analyzing the themes common to Spielberg’s movies. It also includes a healthy biographical section chronicling Spielberg’s early career in independent production and television. After reading this book, you will definitely walk away with a healthier understanding and appreciation for the Beard.

My Autobiography by Charlie Chaplin

Writer, director, producer and star: Many consider Charlie Chaplin to be the first true auteur. He uses this bulky tome to chronicle his entire journey; from growing up in abject poverty in England all the way to fleeing the country that made him rich because of his alleged political affiliations. It’s no surprise that one of history’s great artistic geniuses is so impressively competent as a writer of prose. He displays an uncanny memory of his childhood, the era in which he discovered his talent for the stage: a talent so strong and unique that it prevented him from facing very much professional adversity at all. Even as a young, untested rookie, Chaplin belonged in a class all his own, often upstaging his older colleagues. Fans will no doubt cherish the main portion of the book: the one that goes into distinct detail about his many years in Hollywood. Chaplin gives a fascinating perspective on his films, often supplying harshly critical assessments of his own work that will baffle the fans that truly believe the master can do no wrong. One of the great movie autobiographies ever written, “My Autobiography” is absolutely essential for film fans.

Memo from Darryl F. Zanuck Edited by Rudy Behlmer

I was all set to recommend George F. Custen’s breezy biography of Darryl F. Zanuck (and I still do), but I stumbled upon this collection of correspondence from the 20th Century Fox chief and I admit I’m totally fascinated and definitely plan on checking it out over the holidays (hopefully Santa is reading this). Zanuck began as a producer at Warner Brothers and quickly soared through the ranks by producing profitable adult-oriented classics like Little Caesar, 42nd Street and I Am a Fugitive From a Chain Gang. He left in 1933 to head the Fox Studio, which he renamed 20th Century Fox, and subsequently laid the foundation for the studio that exists today as the distributor of the two highest-grossing movies of all time (Avatar & Titanic) and one of the most popular franchises of all time (Star Wars). This collection of memos written by Zanuck himself will no doubt serve as movie-crack for Film Nerds.

Spielberg, Truffaut and Me by Bob Balaban

Sorry to keep banging the Spielberg drum, but I can’t make this list without including this invaluable peek into the daily routine of an actor working on a super-secret, highly-anticipated big studio tentpole circa 1977. Thanks to his ability to speak fluent French, Balaban landed the memorable role of Truffaut’s interpreter in what would become Spielberg sci-fi classic Close Encounters of the Third Kind. Thankfully for us, the actor kept a detailed account of the experience and shared it with the world. Balaban’s anecdotes about his time with Truffaut, as well as his observations of the French director’s rapport with Spielberg, make this one of the greatest accounts of moviemaking that you’re going to find on any reading list.

Roger Ebert’s Book of Film by Roger Ebert

Film Nerds need to clear off some space on their bookshelves for this hefty brick of a book (800 pages): Roger Ebert’s superb compilation of what he considers the best writing about film from the 20th century. We hear not only from Ebert’s fellow film writers like Pauline Kael and Libby Gelman-Waxner, but also from filmmakers themselves with contributions from luminaries like Buster Keaton and Quentin Tarantino. Everything in this book will remind you of why you love movies and will likely make you love them even more.

 

Matt Scalici’s Picks

Scorsese by Ebert by Roger Ebert

One of the great masters of American film is having an excellent year (critically, at least) but it’s great to go back and explore what has been a pretty wild journey of a career. Ebert’s book is a collection of both interviews he’s done with Scorsese over the years as well as reviews of all his films, dating all the way back to Scorsese’s senior project at NYU. This is a filmmaker that Ebert has clearly had a connection with from the very beginning and the book reveals as much about Ebert, one of the great critical voices we’ve ever had in American cinema, as it does about Scorsese.

 

The Annotated Godfather by Jenny M. Jones

For hardcore fans of Francis Ford Coppola’s gangster masterpiece, this book is a must-have but even for a casual movie fan it’s a great-looking and interesting coffee table book. Flip open to any page and you’ll find Coppola’s original screenplay surrounded by facts and tidbits about the screenwriting and production process as well as beautiful screen shots and set photos. It’s like having a DVD commentary specifically for the screenplay itself and it’s a fascinating and in-depth way to go deeper into one of the greatest films ever made.
BFI Classics: Back to the Future by Andrew Shail and Robin Stoate

The British Film Institute has an entire series of these small collections of essays on individual films ranging from artful classics to popular blockbusters. I just finished their book on Back to the Future and while some of the analysis is perhaps a bit of a stretch (exploring the Oedipal themes of the film) most of the topics touched on in the book are not only thoughtful and fascinating but also highly-researched and cited. This is as deep into the film as I imagine one could possibly go and yet they’re able to do it in a relatively short, easy afternoon read. Great afternoon reading material for the true hardcore Film Nerd.

It’s that time of year again, Halloween. More than most other holidays, Halloween is a movie-lover’s dream, or nightmare if you’re Cinematrimony co-host Francesca Scalici. Some of the other FilmNerds decided to bring you some last minute recommendations for your Halloween night movie marathon and while you’ll probably need to beg, borrow and steal to find them at this point, for future viewing purposes we’ve included Netflix links (just click the images). Enjoy!

Classic Horror (pre-1980)

Ben Flanagan’s Pick – The Texas Chainsaw Massacre (1974)

The first time I saw Tobe Hooper’s road movie bloodbath was in the far too intimate confines of the Ferguson Center theater at the University of Alabama. My brother Graham was running the movie series that fall and had dressed the theater lobby up with cobwebs, fake blood and other Halloween decorations, making for a terrific environment for the eager packed house there for a late night screening of the cult classic. Turns out, the intimate setting wasn’t so much as fun as it was horribly upsetting, yet deeply effective for this particular film. Following several of the genre rules it helped write, the film thrusts today’s seasoned viewer into what might seem like cliched moments, but it all feels perfectly new and disturbing, especially the “family dinner,” where I just wanted to leave. By the end, the screaming vixen might have escaped Leatherface’s wrath, but we sure haven”t.

Craig Hamilton’s Pick – The Texas Chainsaw Massacre (1974)

I grew up on Horror.  So by the time I got to college, I thought nothing could faze me.  Then I caught The Texas Chainsaw Massacre around Halloween of my freshman year at Alabama (2001) at the Ferguson theatre (I could venture a guess at who was running the show at that time) and was completely floored at what I was watching.  The tension building up during the opening minutes that lead up to the inevitable chaos had my heart beating out of my chest.  And, of course, that shockingly brutal and graceless first kill.  It’s perhaps one of the best ever.  I’ll never forget that steel door bursting open and slamming shut following that unforgiving hammer blow to the head and the dragging of the convulsing victim’s body into the hidden labyrinth of that hideous house.  That feeling of horror was back inside me and in full force.  My jaw was on the floor.

Matt Scalici’s Pick – Alien (1979)

I’ve been derided by my fellow nerds for calling this arguably my favorite horror film of all time but I stand by the pick. Firstly, it’s undeniably a monster movie in its most basic form. Our heroes creep around dark hallways trying and failing to avoid being eaten by a terrible beast. Simple enough. But there are deeper things going on here that explore societal horrors, things like corporate greed gone horribly awry, the paranoia created by ever-advancing technology. I believe Alien still holds up today when it comes to terrifying effects, even when you include the shockingly highly-lit birth scene. Not many horror movies can still effectively turn stomaches 30 years later.

Graham Flanagan Pick – Rosemary’s Baby (1968)

Polanski’s classic smash-hit about a woman who unwittingly becomes impregnated with the Son of Satan still exists as one of the creepiest, if not scariest, movies ever made. Polanski takes an absurd, almost laughable premise and stages it within a totally realistic environment. This is what makes the film work: the idea that something so frightening could happen in someone’s comfort zone.

 

Contemporary Horror (last five years)

Ben Flanagan’s Pick – Let the Right One In (2008) - Available via Netflix Instant

If you can’t already tell from one of his three stellar trailers for “Tinker Tailor Solider Spy,” few directors have a better grasp on tone than Tomas Alfredson, the Swedish auteur behind this beautifully haunting tale of youngish love and survival from 2008. Alfredson and cinematographer Hoyte Van Hoytema’s depicts a greater scope than the flat and quiet landscape might typically suggest. Alfredson never shoves any of the violent or scary moments in your face, often hiding them and earning every last second. The wintry, desolate atmosphere creates a thoughtful sense of dread and unpredictability, all rocking at a deliberate and steady pace few contemporary horror films have the discipline to match.

Craig Hamilton’s Pick – The Orphanage (El Orfanato) (2007)

I can appreciate a good scare, but when the film is particularly well made, then that’s quite an achievement.  The Orphanage is a beautifully made Spanish film set in an old orphanage where Laura, a woman who grew up there takes her family back to live.  The film has some extremely creepy scenes, including one great scene involving the Spanish version of Red Light, Green Light.  It’s a scene where you know what is going to happen, but the anticipation is where the fun’s at.

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Matt Scalici’s Pick – Paranormal Activity (2007) - Available via Netflix Instant

It’s been a rough decade for horror but in light of the recent (and hugely successful) release of the third installment in this franchise, I’d like to fully endorse the original film to any of you who haven’t seen it yet. Is it deeply and powerfully disturbing in a way that touches on something important in the human psyche? No. Will it make you curl into a ball of suspense in your chair and then jump and scream even though you knew something was coming? Yes, and really is there any more we should ask of a cheap horror film? This is the perfect Halloween night popcorn movie as are both of its sequels.

Graham Flanagan’s Pick – Catfish (2010)

Last year’s underrated indie “thriller” delivered some of the most brilliant movie marketing we’ve seen in years. Its ambiguous trailers portrayed the film as a Blair Witch or Paranormal Activity-esque ‘found-footage’ horror film. Those brave enough to see Catfish found out that the directors had indeed made a horror film: the first one about Facebook, that is.

 

Most Disgusting

Ben Flanagan’s Pick – The Fly (1986) – Available via Netflix Instant

David Cronenberg’s twisted sci-fi/horror black comedy mixes some Frankenstein with Dr. Jekyll while throwing in some seriously silly gore that still kinda grosses me out. If you’re a fan of bones not snapping on screen, you might avoid it. I remember many years ago when I saw “The Fly” on TV at about 6-years-old and nearly throwing up in my mouth during the climactic showdown between Geena Davis’ editor and Brundlefly, who pukes up this disgusting acid stuff that melts flesh and bone. Ick. For Cronenberg and gore purists, it’s a must, but for your average film fan, it’s a doozy. Jeff Goldblum’s delightfully wiry performance should win most people over.

Craig Hamilton’s Pick – The Last House on the Left (1972) – Available via Netflix Instant

Thanks to Joe Bob Briggs and his recommendations made on the weekly TNT variety show, MonsterVision, my little sister and I decided to rent the film when we were younger and it didn’t take long before we were scarred for life.  It’s not really a horror film.  It’s an exploitative and unnecessarily violent film; one made with hardly a budget and those are the scariest kind.  A girl is kidnapped, raped and murdered by a gang of convicts who end up staying at the house of the parents of the very girl they had just killed.  The Last House on the Left crescendos into a spraying of vengeful and horrific acts of violence by the victim’s parents once they realize who their visitors are.  This being a recommends piece, I suppose that I’m technically recommending it, but it’s not for everyone.  In fact, it’s hardly for anyone.

Matt Scalici’s Pick – Day of the Dead (1985)

As a whole, this movie is pretty talky and philosophical but I wanted to mention it here because it has perhaps the most disgusting and well-executed practical effects I’ve ever seen in a horror film. Late in the film, one of the key characters, who frankly has had it coming, gets rather horrifically drawn and quartered by a group of hungry zombies. We watch as his guts and appendages are torn off as he screams (simple enough, right?) but what’s truly shocking is when we see his still-screaming head ripped from the body. It’s a combination of great sound effects mixed with truly remarkable prosthetics and puppetry but while you’re watching it, all you can think is “they just ripped that dude’s head off!”

Graham Flanagan’s Pick – Evil Dead 2 (1987)

As if this film’s praises haven’t been sung enough since its cult-fueled video renaissance, I feel like I have something somewhat unique to add. I fear this movie’s title and its cover art might dissuade certain audiences (namely women) from giving it a fair chance, which would be a serious shame, since – despite numerous instances of absolutely revolting blood and guts – Sam Raimi’s low-budget masterpiece serves as one of the funniest (with emphasis on the word ‘fun’) entries in the history of the horror genre.

 

Worth Another Look

Ben Flanagan’s Pick – The Prestige (2006)

You might not find Christopher Nolan’s dueling magician opus in the horror section of Netflix, but fewer films in recent memory give me the creeps than when Andy Serkis shows Hugh Jackman where Tesla gets his power in an infinite field of giant light bulbs. Honestly, whenever Borden (Christian Bale) or Angiers (Jackman) reads the other’s journal, and the narration begins to address the reader, I catch myself looking over MY own shoulder. Nolan toys with an audience as well as anyone working today, perhaps no better than in “The Prestige,” a sophisticated sleight-of-hand that has you guessing at the onset when the opening shot fades in and Bale asks, “Are you watching closely?” The disjointed timeline, off-kilter handheld camerawork and eerie soundtrack make for as pleasant an unsettling feeling as you could possibly imagine.

Craig Hamilton’s Pick – The Shining (1980)

Having just finished the book I think it’s appropriate to recommend the film for another look.  Aside from the fact that it’s Kubrick and Nicholson, you should watch it because it has some of the most frightening images and scary scenes ever made.  The Shining is just a brilliant work of horror from a director who specialized in making unforgettable images.  A family occupies a closed down hotel during the winter season and the snow completely cuts them off from anyone for the entire winter.  With Kubrick, you get minimalism and it’s apparent in The Shining.  Not only the images, but the story too is minimal.  Nearly every shot is creepy and nearly every shot is slow.  It creeps along at a stalking pace, but the speed and tension both pick up to an incredible ending.

Matt Scalici’s Pick – Scream (1996) – Available via Netflix Instant

I admit I’m a little behind the curve when it comes to this franchise, which recently released a fourth installment earlier this year. I didn’t watch the Scream films growing up, as I had parents that cared for my mental well-being and kept me away from slasher films at a young age, except of course when they came on USA Network in a heavily-edited format. I marathoner the Scream movies recently with some friends and while I certainly think it must have had a stronger impact in 1996, when being “meta” was still a fresh idea, I still think the original holds up really well today. The plot is so aware of the audience watching and assumes they are as smart as the filmmakers when it comes to familiarity with conventions of the horror genre. That assumption gives even us jaded film nerds a chance to experience something that horror films rarely give us: genuinely surprising and clever plot twists.

Graham Flanagan’s Pick – Bram Stoker’s Dracula (1992)

One of the most underrated movies of the 90s (and perhaps the most underrated movie in Francis Ford Coppola’s vast filmography) Bram Stoker’s Dracula definitely deserves another look… both for its amazing technical merits and its all-star cast, led by… Keanu Reeves!

After a long summer of movie-watching, the FilmNerds crew has emerged from their air-conditioned screening bunkers to bring you an all-new edition of FilmNerds Recommends, our special feature where we do our sacred duty as film geeks by telling you which movies we think are worthy of your valuable home entertainment time. With footballs flying and leaves turning, the fall movie season is nearly upon us and the FilmNerds contributors are here to offer you their top picks for this fall.

 

Popcorn Flicks

Ben Stark’s Pick – Tintin: Secret of the Unicorn

After seeing the trailer for TINTIN: SECRET OF THE UNICORN in digital IMAX 3D yesterday, I have been swayed. I will brave the land of the dead eyes to gladly experience Spielberg’s first foray into motion capture filmmaking… the place former Spielberg collaborator Phil Tippet says is “where good directors go to die.” All that said, the visuals look amazing, and the source material is very strong. I doubt it will make any money in the States, but I think it’ll be a fun ride.

Corey Craft’s Pick – The Muppets

I’m throwing my lot in with THE MUPPETS, because I love THE MUPPETS (who doesn’t? no, seriously, which one of you contrarians is going to be the first person to pop up here and say “I don’t love THE MUPPETS”?). And as far as Muppet movies go, this looks pretty aces; mix a healthy amount of nostalgia and just glee to see Kermit and co. on the big screen again with a filmmaking team that has no only knowledge of but reverence for the Jim Henson workshop, add the characteristic irreverent humor, and I’m ready to go.

Ben Flanagan’s Pick – Mission: Impossible – Ghost Protocol

While some feel animation guru Brad Bird deserves a better live-action feature debut than the fourth installment in an already-established action franchise, my thought is if we’re stuck with it, then it’s better him in the spy adventure genre than someone else. Where M:I3′s narrative fell short, JJ Abrams did deliver some exciting set pieces. But here’s hoping Bird, who gave us one of the best action movies of the last decade with THE INCREDIBLES, can top that and more. Ignoring that Eminem song, the trailer promises plenty of spectacle, which in Bird’s hands, means good things.

Craig Hamilton’s Pick – The Girl With the Dragon Tattoo

As a book, THE GIRL WITH THE DRAGON TATTOO is as brilliant as it is violent and masochistic. The books, penned by the now deceased Stieg Larsson, are some of the best contemporary crime novels out there. All three books in the “Millennium Series” have been made into extremely successful and well-reviewed films in Sweden. It’s always thrilling to see an adaptation of a favorite book (throw Tinker Tailor Soldier Spy in there) and the fact that David Fincher is directing only excites me more. Rooney Mara stars as Lisbeth Salander and Daniel Craig as the investigative journalist. Prepare thyself for a thrill ride, though your appetite may not allow for popcorn consumption while watching.

Graham Flanagan’s Pick – War Horse

With WAR HORSE, Steven Spielberg steps back into the spotlight for the first time since 2007 in an attempt to redeem the tragic misstep otherwise known as INDIANA JONES & THE KINGDOM OF THE CRYSTAL PRAIRIE DOGS.WAR HORSE already entered the zeitgeist this year via a highly successful Broadway show that uses complex puppets to tell the tale of a boy’s quest to reunite with his loving equine companion amidst the horrors of World War I. For the movie’s initial trailer, Spielberg went light on the dialogue; instead relying on a combo of music and images from his main two collaborators: composer John Williams and DP Janusz Kaminski. Everything we see in those precious 2 minutes far surpasses the numerous nuclear failures that characterize Spielberg’s previous effort. If WAR HORSE doesn’t turn out to be a masterpiece, at this point we can all agree it’s at least a BIG step in the right direction.

Matt Scalici’s Pick – Paranormal Activity 3

First of all, everyone else took the good ones but that said, I am legitimately intrigued by where this plucky, low-budget horror franchise is going. Have there been some cheap haunted house gags? Yes. Are the thrills plentiful? Not really. But what these movies have done a great job of is building enormous tension that carries with you through even the least scary scenes of the film and created a mythology that not only lends itself to a prequel but almost requires it. I’m down for seeing how these guys wrap this creepy story up.

 

Awards Contenders

Ben Stark’s Pick – War Horse

While WAR HORSE seems like an obvious Oscar grab, I’m going to go ahead and throw my lot in with TINKER TAILOR SOLDIER SPY, which is already getting great buzz. Tomas Alfredson is an auteur to watch, Gary Oldman looks to be giving a career-defining performance, and the production design seen in the trailer looks like it hits the mark.

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Corey Craft’s Pick – The Descendants

In 2004, SIDEWAYS came out and dominated critical attention and acclaim for a large chunk of the Oscar season (only to have its thunder stolen by a late-breaking Eastwood surge and MILLION DOLLAR BABY). I don’t think anyone at that point thought anything other than, “This Alexander Payne keeps getting better and better. I can’t wait to see what’s next.” Well, here we are, seven years later — a gap that seems unbelievable — and I still can’t wait to see THE DESCENDANTS, despite a trailer that doesn’t do much for me. But early reviews out of Telluride are quite strong for this one. We’ll see, but the more Alexander Payne, the better, as far as I’m concerned.

Ben Flanagan’s Pick – Young Adult

YOUNG ADULT marks Jason Reitman’s fourth feature film and likely his third straight Oscar contender, which is loaded with some prestige. Once again collaborating with JUNO’s Oscar-winning screenwriter Diablo Cody, Reitman teams with Oscar-winner Charlize Theron, who plays a writer who returns to her home in small-town Minnesota to rekindle a romance with an ex-boyfriend who now has a wife and kids. Cody’s language always gives way for suspicion, given her last outing in the feature arena, JENNIFER’S BODY, straight up stunk. But in the capable hands of Reitman, who progresses as a storyteller with each of his films, I feel less suspicious.

Craig Hamilton’s Pick – The Ides of March

It’s hard to believe that at least a couple of acting nominations won’t stem from THE IDES OF MARCH. All one has to do is check out the cast list which includes: George Clooney, Ryan Gosling, Evan Rachel Wood, Marisa Tomei, Paul Giamatti and Phillip Seymour Hoffman. I know, I know, a stellar cast does not a Best Picture make, but the trailers and movie clips available online should provide further encouragement of the performances in this film. What’s more, George Clooney takes another stab at directing. When I think of Clooney as a director the first film that comes to mind is GOOD NIGHT, AND GOOD LUCK, one of the best films of 2005. If Clooney’s acting chops in THE IDES OF MARCH comes close to that film, then we’re in for something special.

Graham Flanagan’s Pick – The Artist

I’m seriously intrigued by the Cannes-sensation THE ARTIST, which picked up the Best Actor prize at the French fest for leading man Jean Dujardin. It chronicles the rise and fall of a silent film star as just as Talkies begin to change Hollywood forever. The main commercial challege facing THE ARTIST is the fact that it is indeed a silent film. To add insult to box office injury, director Michel Hazanavicius also shot the movie in black & white! However, its Cannes screenings generated overwhelmingly positive buzz, and it promises to lure fans of the Golden Age of Hollywood… hopefully more than were “lured” by THE GOOD GERMAN.

Matt Scalici’s Pick – Extremely Loud and Incredibly Close

Every movie Stephen Daldry has ever directed has earned him a Best Director nomination. All three. With Tom Hanks, Sandra Bullock and the backdrop of September 11th to work with, I don’t expect this time to be any different. It’s been a while since Hanks got an opportunity to deal with any truly dramatic material and expect Paramount to give Hanks and the film a huge push come Oscar season.

 

Sleeper Hits

Ben Stark’s Pick – Take Shelter

TAKE SHELTER, from Arkansas filmmaker Jeff Nichols, could be Michael Shannon’s big break-out lead performance after several fantastic supporting roles. The movie’s trailer hints at a kind of meteorologic-ally motivated psychological drama (again!?!?), and some elements might really hit home with those of us ruminating the spiritual implications of 2011′s bizarre weather onslaught.

Corey Craft’s Pick – We Need To Talk About Kevin

Speaking of untenably long waits between films, Lynne Ramsay’s last film, MORVERN CALLAR, came out in 2003 (I think)? So here we are eight years later awaiting the release of her latest, WE NEED TO TALK ABOUT KEVIN, an unnerving-looking drama about a mother dealing with a son she not only can’t relate to but who seems to be a “bad seed” in the classic sense. Ramsay’s visual style has been missed — say what you will about the plotting of her first few films, but she’s an true artist behind a camera, and the fact that a few out-of-context shots in a trailer managed to unsettle me speaks well for the upcoming WE NEED TO TALK ABOUT KEVIN.

Ben Flanagan’s Pick – Margaret

I stand among the few who stubbornly anticipated Kenneth Lonergan’s follow-up to his powerful 2000 drama YOU CAN COUNT ON ME. I first heard about MARGARET when it was in production circa 2005 and couldn’t find a release date until now thanks to editing disputes and lawsuits. Finally, we get Lonergan’s second feature film, starring Anna Paquin as a student who must cope in the aftermath of a fatal New York City bus accident. Not that Paquin’s my favorite actress, she’s at least joined by the likes of Matt Damon, Matthew Broderick, Allison Janney, Mark Ruffalo and Rosemarie DeWitt. I’m a little scared of how often this thing visited the chopping block, but I’m even more pleased to see Lonergan’s return to the game.

Craig Hamilton’s Pick – Moneyball

MONEYBALL isn’t among the handful of elite movie titles that come into conversation when discussing potential blockbusters or award winners, but this film has lots of potential. It is very gradually gaining buzz and once the reviews pour in from Toronto in a couple of weeks we might not consider this a sleeper anymore. Directed by Bennett Miller (Capote) and starring Brad Pitt and Jonah Hill, MONEYBALL is based on the true story of Billy Beanne, the general manager of the Oakland A’s, and his avant-garde approach to building a successful baseball team.

Graham Flanagan’s Pick – Martha Marcy May Marlene

Expect the unfortunately-titled Sundance hit MARTHA MARCY MAY MARLENE to cause at least a minor ruckus at big-city art house theaters. Sean Durkin – producer of Antonio Campos’ AFTERSCHOOL – makes his feature-directorial debut with this thriller about a young woman who breaks out of a cult.. seems like a mumblecore version of BIG LOVE. While the main attraction for most audiences will no doubt be the presence of Elizabeth Olsen a.k.a. the other Olsen sister… but for me it will definitely be the work of cinematographer Jody Lee Lipes whose hot streak continues after stellar work on last year’s indie-hit TINY FURNITURE. Take notice: we may be witnessing the emergence of the next Gordon Willis.

Matt Scalici’s Pick – Carnage

Yes, this one might look like one of those movies that’s such obvious Oscar bait that no one takes the bait but we’re looking at three Oscar-winning actors (plus one nominee) and an Oscar-winning director putting on a play for us in an enclosed space. The trailer is manic and looks like it could verge on silliness at times but the potential for great dialogue and better delivery is here with these four heavy-hitters on screen together.

 

Top Five Most Anticipated of the Fall

Benjamin Stark’s Picks

1. War Horse
2. Tinker Tailor Soldier Spy
3. Take Shelter
4. Tintin: Secret of the Unicorn
5. The Skin I Live In

Corey Craft’s Picks

1. Melancholia
2. Tinker Tailor Soldier Spy
3. The Descendants
4. We Need to Talk About Kevin
5. Martha Marcy May Marlene

Ben Flanagan’s Picks

1. War Horse
2. The Girl with the Dragon Tattoo
3. Tinker Tailor Soldier Spy
4. Martha Marcy May Marlene
5. Contagion

Craig Hamilton’s Picks

1. Tinker Tailor Soldier Spy
2. The Girl with the Dragon Tattoo
3. The Descendants
4. The Ides of March
5. Moneyball

Graham Flanagan’s Picks

1. Tower Heist
2. War Horse
3. The Artist
4. The Rum Diaries
5. Hugo

Matt Scalici’s Picks

1. War Horse
2. The Muppets
3. The Iron Lady
4. The Girl with the Dragon Tattoo
5. Martha Marcy May Marlene

The FilmNerds crew is back once again with FilmNerds Recommends, our monthly feature where we do our sacred duty as film geeks by telling you which movies we think are worthy of your valuable home entertainment time. March is truly a dry season when it comes to new releases in theaters with studios dumping off their least promising projects before the summer season gets rolling. This month, as we occasionally do, the FilmNerds crew has chosen four of the month’s big releases and given you alternative choices that offer a more satisfying variation on the same theme. Every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

 

Mythology-Based Action (Instead of Thor)

Ben Stark’s Pick – The Twelve Tasks of Asterix (1976)

I would love to recommend Disney’s HERCULES here, but I would be doing so for its musical numbers alone. The movie, overall, is not very strong. I will, however, recommend another animated features, this one guest-starring the Roman Pantheon: LES DOUZE TRAVAUX D’ASTERIX, or THE TWELVE TASKS OF ASTERIX. Probably the best of the Asterix films, this one is not an adaptation of any of the comic, but rather an original story.

Corey Craft’s Pick – Hellboy (2004)

I can’t think of an answer to this question, so I’ll just say HELLBOY. That had to do with mythology, right? Didn’t HELLBOY 2 have elves in it or something? There was that magic tree guy in that movie, too? A troll? I don’t know. Either way, Guillermo Del Toro’s monster-laden, Lovecraft-influenced, fantastical duo of superhero movies are great fun, visually stunning and just plain entertaining, with a delightful undercurrent of subversive horror weirdness just barely beneath the surface. It pains me that there’s no HELLBOY 3 in the immediate future.

Ben Flanagan’s Pick – Troy (2004)

Rarely would I ever recommend either Joel and Ethan Coen’s hilarious but overstuffed O BROTHER, WHERE ART THOU (2000) or Wolfgang Peterson’s just stuffed TROY (2004), but you won’t find anything better from the canon of mythology-inspired cinema. While O BROTHER has some exciting moments, it doesn’t qualify as an action movie, so we’ll go with Peterson’s LOOOOOOOOOOOOOOOOOSE “Iliad” adaptation starring Brad Pitt (abandoning Darren Aronofsky and THE FOUNTAIN for this) as the mighty jerkwad Achilles. Let’s ignore the gaudy sap and mercilessly dreadful dialogue (“IS THERE NO ONE ELSE?!”) and focus on the mostly thrilling swordfighting sequences, highlighted by the showdown between Pitt and Eric Bana, as the tragic Hector. It’s the best you’re gonna do.

Graham Flanagan’s Pick – First Knight (1995)

The legend of King Arthur and his Knights of the Roundtable spawned dozens of cinematic adaptations, and surely many more to come. One that falls under the radars of many cinephiles is the 1995 box-office underachiever FIRST KNIGHT. After building his career around classic “spoof” comedies like AIRPLANE! and THE NAKED GUN, director Jerry Zucker successfully transitioned to “serious” filmmaking with the blockbuster GHOST in 1990. His next film was FIRST KNIGHT and it failed to score both with critics and audiences. I, however, have a fond memory of seeing it during its initial release. It features a stellar cast and an epic scope, punctuated by romance, humor and excellent battle sequences. Hopefully via tv airings and Netflix, this 90s gem will finally get the respect it deserves.

Craig Hamilton’s Pick – Troy (2004)

I’ve never admired another man’s body like I admire Brad Pitt’s in Troy. In fact, I just recently removed the Troy poster from the inside of my closet door on my way out. This film is great if you’re looking for an action-packed, chariot-riding, sword-wielding experience full of violent and well-choreographed battle scenes. Unlike many of these types of films today, Troy isn’t saturated with special effects nor was it converted to a 3-D format during post-production. This gives it a more authentic feel. It’s got a great cast and a fairly strong script. As an added bonus, we get to see a rather sensitive Orlando Bloom humiliated on the battlefield. There’s also an underlying love story there for the ladies. Brad Pitt plays the unstoppable Achilles who pwns his way through giants and warriors with graceful ease and well-earned cockiness. He’s both a warrior and a ladies man. He is the called-upon savior of the Greeks and they fully realize that you don’t win unless Achilles fights for your side. Troy is based on Homer’s The Iliad and the cinematography, art direction and costume design are strong. Most importantly, it’s a lot of fun.

 

Female-Driven Comedy (Instead of Bridesmaids)

Ben Stark’s Pick – Waitress (2007)

WAITRESS is one of the most underrated comedies of recent years. The last film by Adrienne Shelley before her tragic death, this is the rare modern romantic comedy that doesn’t pander and isn’t annoying. Check it out for awesome performances by Keri Russell and Nathan Fillion.

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Corey Craft’s Pick – Broadcast News (1987)

WAITRESS is a damn good pick! And it’s depressing I can’t really think of many female-driven comedies to choose from — there are a couple well-regarded movies I don’t really like (like LEGALLY BLONDE), a few movies that were good enough but not memorable (like THE HOUSE BUNNY, starring Anna Faris), and movies that are just flat-out terrible (like pretty much anything Kate Hudson’s the lead in, up to and including this year’s SOMETHING BORROWED) — so let me reach way back and highlight a film by James L. Brooks, who at one point knew how to write for women (not so much in his film HOW DO YOU KNOW, from last year), and proved it by crafting Holly Hunter’s best role ever in BROADCAST NEWS.

Ben Flanagan’s Pick – Romy and Michele’s High School Reunion (1997)

Would hate to give to an alternative to Kristen Wiig’s own hilarious female-driven comedy, but rules is rules, so let’s roll with ROMY AND MICHELE’S HIGH SCHOOL REUNION (1997), starring Mira Sorvino and Lisa Kudrow. Another R-rated romp that could go toe-to-toe with any guy-oriented laffer in the 90s, this highly original and intelligent fairytale depicts a pair of dweeby BFFs who conjure up lie after lie about themselves in preparation for their titular high school reunion. Kudrow, at the peak of her “Friends” run, kills it with her ditzy sarcasm, while Oscar-winner Sorvino hangs every step of the way. Janeane Garofalo and Alan Cumming give silly supporting performances, too. But, still, see BRIDESMAIDS.

Graham Flanagan’s Pick – Tiny Furniture (2010) (currently not available on DVD)

America will soon become much more familiar with actress & auteur Lena Dunham when her Judd Apatow-produced HBO comedy GIRLS premieres at some point in the next year. She got this opportunity based on the deserved acclaim generated by her tour-de-force coming out party TINY FURNITURE, which stirred up big buzz on the indie scene in 2010. One of the best movies of that year, it also showcases Dunham as a fearless actress with talent that covers the entire dramatic spectrum.

Craig Hamilton’s Pick – Waitress (2007)

This time of year I usually save my movie-goings for the big summer blockbusters. The smaller scale films I save for Netflix so by the time Oscar season arrives I can blow all my cash on the films that I need to see. So, if you’re like me and need to fill the void that not going to see Bridesmaids has caused, then you might check out the delightful independent film, Waitress. It stars Keri Russell who plays a pregnant, pie-making waitress who deals with an abusive relationship. Waitress isn’t as full-blown a comedy as Bridesmaids. In fact, it is a funny and light-hearted film that easily gets dark when it needs to. Adrienne Shelly (now deceased) both acted in and directed this film. It also stars Nathan Fillion, Cheryl Hines and the great Andy Griffith. Waitress easily made my Top 10 of 2007 and I suggest that everyone see this film.

Matt Scalici’s Pick – Dick (1999)

It’s easy to dismiss what looks like a whacky comedy about two ditzes inadvertently becoming involved in the Watergate scandal but this Nixon-era comedy features two really nice comedic performances from Kirsten Dunst and Michelle Williams as well as a solid Nixon impression from Dan Hedaya. While it’s not absolutely necessary to be a political buff to enjoy this movie, there are enough clever references throughout the film to satisfy nerds like me while most of the laughs come simply from witty, well-written one-liners and fun situational comedy. Definitely a good time.

 

Underrated Classic Summer Blockbuster

Ben Stark’s Pick – The Phantom (1996)

Guys, please just take one second to slam some evil, okay? 1996′s THE PHANTOM is an underrated summer adventure that could not be a called a “blockbuster” by any stretch of the imagination, although it is structured like one. Despite a campy performance from Billy Zane and a slight mishandling of the Phantom mythology, the Ghost Who Walks’ only non-serialized film appearance is a fun ride. Fantastic production design, photography, and pacing make it well worth your time. If you need any more persuading, just check out the awesome score: http://tinyurl.com/3q4efws

Corey Craft’s Pick – Wanted (2008)

I’ve seen my fair share of underrated summer blockbusters in the past few years, but I’m going to pick a handful from the last couple years, all big, dumb action movies that beggar belief in the best way possible, Let’s just hop back to last summer — THE A-TEAM was as big and dumb and gleeful as I like my action movies to be, with a self-aware comic streak that worked, and a cast unafraid to mug and look like they’re having a good time. From 2008, the totally juvenile, incredibly dumb WANTED is nevertheless sold on the conviction of its cast (James McAvoy and Angelina Jolie are awesome) and some totally awesome set pieces. Neither are classics — THE A-TEAM is just barely even a good movie — but they’re good examples on how to make a big dumb summer blockbuster, which is to make them really, really big and have some intelligence behind how dumb they really are.

Ben Flanagan’s Pick – Die Hard with a Vengeance (1995)

DIE HARD WITH A VENGEANCE (1995) gives its classic franchise starter a legitimate run for its money, thanks to dynamite dialogue, superb action sequences and brilliant interplay between Bruce Willis and Samuel L. Jackson. A smash hit overseas (earning $366M worldwide; and $100M domestic), John McTiernan’s welcome return to John McClane gave me all I needed in a big summer action blockbuster (and sequel) with thrilling car chases, carefully executed profanity and a worthy villain, played by a charmingly sadistic Jeremy Irons. Best of all, this movie one of 1995′s funniest movies. Throw a little gasoline and raw intensity (McClane’s first assignment in Harlem) into the mix, and you’ve got a surefire winner.

Graham Flanagan’s Pick – Eraser (1996)

With ERASER, director of THE MASK Chuck Russell moved out of his apparent comfort zone to helm a wholly-entertaining, if somewhat straightforward, weapons-heavy action vehicle for Arnold Schwarzenegger. This might be the last solid Schwarzenegger actioner in existence. It is, excluding TERMINATOR 3, the last Schwarzenegger-driven film to gross more than $100M in the US.

Craig Hamilton Pick – E.T. (1982)

Anything typed in this paragraph will either have been said before or will be a vast understatement. That being said, E.T. is one of the greatest movies of all time. Released in June of 1982 and the fact that it cleared $350 million at the box office makes it one of the best and most successful blockbusters. As I said before, I can’t do this film justice, but I must recommend it. Very few films exist that create as splendid a giddiness as E.T. Films like this are the reason I am a film fan. It’s one of a kind because, having seen it is a child and as an adult, I saw the film from two different perspectives and I firmly believe that this was Spielberg’s intention all along. Spielberg is a genius for many reasons, but in my opinion, what he did with this film is awe-inspiring. To make a film that speaks to two completely different age groups and can mean so much to both is incredible. There’s not another film out there that is as technically innovative and emotionally touching at the same time. It’s thrilling and action-packed, but it’s one of the more emotional films out there.

Matt Scalici’s Pick – Mission: Impossible (1996)

I think a lot of this has to do with the age I was when I first saw Brian De Palma’s big screen adaptation of the classic 1960s spy series but this movie has always stuck out in my mind as the epitome of summer blockbuster action done right. Tom Cruise was at the height of his powers here as a believably bad-ass action star and while the plot gets almost absurdly labyrinthine but the twists and turns keep the stakes high in between spectacular action sequences. The fact that the break-in scene is still referenced constantly today is evidence of what an original and well-executed idea that scene is.

 

Franchise with the Best Sequels (Instead of Pirates of the Caribbean

Corey Craft’s Pick – James Bond

(I like PIRATES 2 & 3… but I’ll ignore the slight.) Yeah, if we’re going by long-running franchises, the James Bond franchise is the obvious answer here, if only by sheer number of sequels (there are a lot of terrible ones, but a lot of awesome ones too). I’ll also throw out the HARRY POTTER franchise. Look, there are a lot of remarkable things about this franchise — tight continuity, a central cast of children who all grew up portraying these characters as the characters got older — but it’s a sign of quality when the most tired and visually uninteresting films are the FIRST films. The series has actually gotten better with time, which is not something that many modern franchises can claim (with exception of the FAST AND THE FURIOUS franchise, I guess, but how could that not be the case).
Ben Stark’s Pick – James Bond

The JAMES BOND series is far from bulletproof. It must say something for the character, however, that I can still anticipate entries in the franchise after DIE ANOTHER DAY. The 007 approach works so well because each film is relatively free of continuity, allowing it to live or die by its own strength. Bad 007 movies flounder just like bad movies do, and great 007 movies can rise to the level of great films. It’s a fantastic template that has no logical reason to die out any time soon.

Ben Flanagan’s Pick – Star Wars

Dang, did I just waste DIE HARD on another category. Oh well. How I wish we could forget that CRYSTAL SKULL thing ever happened and rave on like a lunatic about a once-pure trilogy. I digress. Speaking of tarnishing legacy, and since the criteria involves sequels and not prequels, STAR WARS has to take the intergalactic cake, no? Most argue EMPIRE STRIKES BACK virtually owns the trilogy if we’re picking bests, but I was always and continue to be a RETURN OF THE JEDI man, myself. Either way, perhaps under the direction of saner gentlemen who knew the saga’s limitations, the sequels established a legacy that changed film and our definition of the Hollywood blockbuster forever, thankfully.

Graham Flanagan’s Pick – Toy Story

I don’t see any clearer choice than the TOY STORY franchise. The third installment ranked among juggernauts like INCEPTION, THE SOCIAL NETWORK and THE KING’S SPEECH as one of the most-acclaimed movies of 2010. Also, You’d be hard-pressed to find many people who don’t believe TOY STORY 2 improved upon it’s wonderful predecessor. With the TOY STORY franchise, John Lasseter and the Pixar staff achieved what few filmmakers have been able to create: a trilogy of masterpieces.

Craig Hamilton’s Pick – Harry Potter

To me, Harry Potter is more of an obsession than it is a hobby. I read Harry Potter like I should read my Bible. Therefore, any opportunity I get to talk about it I seize. Every installment of this franchise improves with the exception of the 4th, Goblet of Fire. Mike Newell focused on the action sequences and the “school house” feel of things and completely lost the story. Unlike most film fans out there, I don’t view Prisoner of Azkaban as the best. Cuaron took what Columbus very successfully jump-started the franchise off with and added a refined artistic element to it. David Yates, director of the last 4 films, has taken the franchise to a completely new level. Yates, whose first feature length film was Order of the Phoenix, has learned the ropes and found his own style as a director with each film. As a result, both Yates and Harry Potter have benefited from this relationship. Yates has been able to build on his own work, giving the series another level of consistency and familiarity towards the end. He takes artistic liberties without too severely butchering the story. This franchise also has the absolute best set design and art direction out there and the special effects are completely unique. There’s an elegance to these effects that aren’t flashy and, therefore, fit well into this world.

Matt Scalici’s Pick – Back to the Future

Some really strong recommendations in this category, so I’m not going with my first (or even second) choice here. Back to the Future is, to me, an example of a truly perfect movie that not only refuses to diminish upon further viewings, it actually gets better. While Parts II and III don’t hold the same emotional pull with me, they are the perfect examples of sequels that use the groundwork laid by their predecessors and build off of that. While the stakes aren’t quite as high, Marty and Doc’s adventures in Parts II and III not only build on plot points from the first film, they actively involve them and allow us to relive them again in a different context (see Part II’s visit to the Enchantment Under the Sea dance). It’s probably the most inventive sequel I can think of in that respect.

The FilmNerds crew is back once again with FilmNerds Recommends, our monthly feature where we do our sacred duty as film geeks by telling you which movies we think are worthy of your valuable home entertainment time. March is truly a dry season when it comes to new releases in theaters with studios dumping off their least promising projects before the summer season gets rolling. This month, as we occasionally do, the FilmNerds crew has chosen four of the month’s big releases and given you alternative choices that offer a more satisfying variation on the same theme. Every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

Instead of The Adjustment Bureau

Ben Stark’s Pick – Blade Runner (1982)

Honestly, this Philip K. Dick adaptation from Bourne Ultimatum writer George Nolfi looks pretty good to me. I’ll probably be waiting for its arrival at the local $1 theater, and in the mean time I’ll keep watching another PKD story, Blade Runner. It’s been a recent slow-going mission of mine to revisit each cut of the Ridley Scott classic on blu ray, and it’s been a pleasure so far.

Corey Craft’s Pick – A.I. Artificial Intelligence (2001)

Because I know no one else is going to even approach this one, I’ll be the in-house defender of Steven Spielberg’s wonderful A.I. Artificial Intelligence, one of the most thought-provoking, fantastical science fiction films of recent years. (Though it’s hard to believe that movie is a decade old this year… wow.) Working from a story by sci-fi writer Brian Aldiss that had enticed Stanley Kubrick in the later years of his life, Spielberg took over the film after Kubrick’s death and made a movie that artfully (yes, ARTFULLY) melds their two sensibilities in a robot’s fairy tale journey that examines the very question of what it means to be human. The ending, which has been misunderstood time and time again, caps the movie off with a stunning answer. But haters, as they always do, are going to hate.

Ben Flanagan’s Pick – Inception (2010)

I hate to make such an obvious and recent reference, but revisiting Christopher Nolan’s would continue to serve us all well, not necessarily because we must take more time to process Nolan’s universe and set of rules but because of the power and warmth of the narrative. The more I watch the film, the less I’m wrapped up in the technical mastery and instead am consumed by Nolan’s protagonist Dom Cobb (Leonardo DiCaprio in his best performance) and the sacrifices he makes to return to his children. He puts his family, colleagues and employers at great risk in a simple effort to make things right for himself, but more importantly, to ensure his son and daughter have at least one parent. Nolan never wants to overemphasize the technology or specifics of his modern world, instead insisting we simply roll with it and buy into Cobb’s emotional journey.

Graham Flanagan’s Pick – Gattaca (1997)

Gattaca is one of the most underrated “intelligent” sci-fi films to emerge in recent years. Written and directed by The Truman Show scribe Andrew Niccol, this October 1997 release under-performed at the box office, despite receiving a favorable 82% rating on RottenTomatoes.com. Blending elements of film noir with a heavy dose of dystopian cynicism, Gattaca presents a world in which people who haven’t been genetically engineered to perfection must battle discrimination on all fronts. Ethan Hawke plays an aspiring astronaut whose natural-birth prevents him from climbing the ladder at a space-exploration company. He pays a paralyzed man (Jude Law) who was genetically engineered for the rights to his identity so that he can pursue his dream. The fascinating plot never feels contrived, and Niccol creates a uniquely imaginative world in which it dreamily unfolds.

Matt Scalici’s Pick – Equilibrium (2002)

This isn’t quite the hidden gem it was a few years ago but at the time it was released, I was baffled at how little attention this very smart, very violent high-concept film received. The idea of a society medicated into apathy and controlled by a group of geometry-obsessed supercops seems like it would get a lot of traction these days among certain political communities but all that aside, it’s simply a thoughtful yet bad-ass sci-fi action movie with a strong lead performance from Oscar-winner Christian Bale.

Instead of Take Me Home Tonight

Ben Stark’s Pick – The Party (1968)

There’s no more obvious pick here than Blake Edwards’ The Party, starring Peter Sellers as a bumbling extra who accidentally gets invited to a swanky Hollywood shindig. As with the best of Edwards, much of the comedy comes out of background details, including a waiter who becomes progressively drunker throughout the night.

Corey Craft’s Pick – Boogie Nights (1997)

I never went to any parties, so as far as depictions of parties in film, your guess is probably a lot better than mine as to what constitutes a cool party movie. But for the sake of being contrary, let’s pick a really depressing answer and say Boogie Nights, which seems to have a lot of scenes at parties. And also scenes on pornographic film sets. But the sprawling cast of Paul Thomas Anderson’s Scorsese homage (that’s not a stretch to say at this point, is it?) has a whole lot of fun and parties hard until the seventies come crashing down, and when they come crashing down, they crash hard. And none of those parties seem very much fun, and you’re left with some dude standing in a corner throwing firecrackers into the air while you zone out to “Jesse’s Girl.” Yeah, that’s my favorite party movie.

Ben Flanagan’s Pick – Dazed and Confused (1993)

Tied with its predecessor American Graffiti as my favorite “one night out” movie, Richard Linklater’s high school comedy speaks to teenagers and college students alike who struggled with the thought of being stuck in their small hometown forever and maybe came to the conclusion that it might not be such a horrible thing if you’re surrounded by friends. Rarely do filmmakers actually “get” the high school experience, often opting to set up pathetically unrealistic party scenarios instead of a bunch of folks meeting up in the middle of nowhere to stand around a keg and hang out. While a psychotic homeowner has never stuck a pistol in my face prior to my slamming the accelerator and peeling out under a sea of gunfire, I feel like we’ve all more or less shared an experience like that. One of my favorite scripts from a filmmaker I feel actually matters to our generation.

Graham Flanagan’s Pick – Back to the Beach (1987)

With Summer rapidly approaching, I highly recommend taking the party to the greatest spot known to man: the beach – with 1987′s Back to the Beach. 1960s teen-icons Annette Funicello and Frankie Avalon star as fictionalized versions of themselves in this tongue-in-cheek homage to their American International Pictures-produced series of movies that included Beach Blanket Bingo and Muscle Beach Party. Filled with humorous contrasts between the idealized world of 60s beach parties and 1980s sensibilities, the film chronicles Frankie and Annette’s attempt to reclaim a Hawaiian beach from a gang of four-wheeler riding baddies, one of whom is dating their teenage daughter (Lori Laughlin). Again the material is as self-aware as it gets, resulting in a fun, often hilarious send-up of a forgotten era. Watch out for memorable cameos by Pee-Wee Herman, Dick Dale and O.J. Simpson.

Matt Scalici’s Pick – Valley Girl (1983)

I caught this highly underrated teen party movie as part of my ongoing Back to the Movies series here on FilmNerds (end of shameless promotion) and was shocked not only at how incredibly likable the young Nicholas Cage was in his first major movie role but also how sensitive and compassionate this movie turned out to be in the face of a major trend towards brainless sex comedies in the early ’80s. The various party scenes in Valley Girl are a great reflection of the painful and awkward experience of falling in love with someone you don’t know from across a room at a party.

Instead of The Lincoln Lawyer

Ben Stark’s Pick – Amistad (1997)

Although only its climax really takes place in court, Amistad still contains one of the most amazing courtroom speeches of all time. The setting caveat aside, Spielberg’s long melodrama is a mature and measured look at slavery and its horrors.

Corey Craft’s Pick – To Kill A Mockingbird (1962)

To Kill A Mockingbird is the answer here, because no courtroom scene in cinematic history compares to Atticus Finch’s impassioned monologue to save Tom Robinson, and Gregory Peck gives one of the most iconic performances ever. That movie probably inspired an entire generation to go into law.

Ben Flanagan’s Pick – A Time to Kill (1996)

I’ll take you back to the mid-90s, when Matthew McConaughey could act, or at least made better choices. Honestly, I’m hearing The Lincoln Lawyer actually isn’t half-bad, so maybe we get an extension of his excellent work as Jake Briggance in Joel Schumacher’s adaptation of the John Grisham’s powerful novel. Shouldering the burden of leading an ensemble of borderline southern accents, the Texas-born McConaughey comes across as genuine in this forward, slightly gritty mainstream courtroom drama. I gladly bought into the hammy performances and sweaty (Ashley Judd) atmosphere, but thanks to McConaughey’s gripping monologue in his closing argument, the story comes front and center.

Graham Flanagan’s Pick – The Verdict (1982)

You’ll experience one of Paul Newman’s greatest performances in Sidney Lumet’s The Verdict, which features a script by David Mamet. Newman stars as an alcoholic, small-time civil attorney who takes on a medical malpractice case from which he hopes to quickly profit with an out-of-court settlement. However, once he recognizes the severity of the injustice that has occurred, Newman’s character seizes the opportunity to change his ways and finally do the right thing. Sidney Lumet is no stranger to courtroom dramas; this, along with 12 Angry Men, serves as one of his finest entires in the genre. Newman gets strong support from Jack Warden, as well as James Mason who – along with Newman – received an Oscar nomination for his work here.

Matt Scalici’s Pick – The Caine Mutiny (1954)

While only the latter part of the film takes place in a courtroom, The Caine Mutiny features what many would call Humphrey Bogart’s most impressive performance as a naval captain that skirts the line between insanely demanding and just plain insane. The courtroom scenes are a really clever exploration of the precarious situation of declaring your boss insane without being insubordinate, something that anyone who’s ever had a bad boss has probably spent a lot of time thinking about…

Instead of Sucker Punch

Corey Craft’s Pick – Crank (2006) or Crank 2: High Voltage (2009)

The Crank movies. And if you have to ask why at this point, I don’t know what to say.

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Ben Stark’s Pick – The Transporter (2002)

Ignore Corey’s pick. Instead, check out Crank’s less methed-up cousins, The Transporter Trilogy. The first film really loses its moment about half-way through, the second is basically a Wile E. Coyote movie, and the third actually attains a level of balance. Take all the films together, divide them by three, and you have a really slick, enjoyably cartoonish modern action flick.

Ben Flanagan’s Pick – Kill Bill, Vol. 1 (2003)

The most exquisite junk food you’ll ever taste, Quentin Tarantino’s most thoroughly entertaining film pits a beautiful blond hell-bent on “retiring” the folks that tried to murder her and her unborn child. If you ever wonder whether a filmmaker is having any fun behind the scenes, look no further than the first half of Tarantino’s blood-spattered epic. It’s loud, colorful, disciplined and unspeakably reverent to the MANY films, television series and musicians that influenced it. But while it makes heavy references to things from the past, I’d wager it’s one of the more original films of the past 25 years. He may have borrowed bits and pieces from his favorite works, but this is 100 percent Tarantino to the letter. Every day, I think of a new favorite scene or chapter, and today it’s nearly every minute we get to spend with Sonny Chiba’s Hattori Hanzo.

Graham Flanagan’s Pick – RoboCop (1987)

While many might throw it in the science-fiction category, I have to go with another title from that fabled year of 1987: Paul Verhoven’s Robocop. Featuring cyborgs, big guns, hilarious villains, cocaine, hot 80s women, murderous robots and much more, it rarely gets more absurdly fun than this. All of the action is anchored by one of the great 1980s action scores by composer Basil Poledouris. While Verhoven triumphed numerous times in his subsequent career, Robocop still stands tall as his strongest effort and remains one of the classic examples – if not the classic example – of over-the-top 80s action movies.

Matt Scalici’s Pick – Charlie’s Angels: Full Throttle (2003)

Firstly, let me say that I’m definitely going to see Sucker Punch and expect it to be better than the movie I’m recommending here. Charlie’s Angels: Full Throttle is not a terribly good movie all in all but it has some spectacularly fun action sequences. Director McG doesn’t do a lot of things well but never let it be said that the guy can’t film explosions, women running from explosions, women riding motorcycles through explosions and all manner of other things involving women, explosions and slow-motion photography. See the other recommendations in this category first and if you still feel like you haven’t seen enough action, check out Charlie’s Angels: Full Throttle.

The FilmNerds crew is back once again with FilmNerds Recommends, our monthly feature where we do our sacred duty as film geeks by telling you which movies we think are worthy of your valuable home entertainment time. February is typically all about the Oscars for movie fans and while we at FilmNerds recommend you go see as many of the 2010 nominees as possible, we’d also like to offer you some recommendations that have either been honored by the Academy in the past or should have been honored and weren’t. Every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

Best Oscar-Winning Performance

Ben Stark’s Pick – Alec Guinness in The Bridge on the River Kwai (1957)

This one I feel like I can have a proud opinion on. Without a doubt, Alec Guinness’ performance in The Bridge on the River Kwai is one of the great cinematic performances. His interpretation of the evolution of resolve into obsession, and further into madness, is completely involving, and is only bolstered by the loose, cowardly William Holden performance it contrasts.

Graham Flanagan’s Pick – Daniel Day Lewis in There Will Be Blood (2007)

After looking at the entire list of winners in all four acting categories, I have to give it to Daniel Day Lewis in There Will Be Blood. Sports fans might refer to his turn as the ruthless oil baron Daniel Plainview as an “Instant Classic.” After putting on the same list as such legendary Oscar-winning performances as DeNiro in Raging Bull, Kathy Bates in Misery and Beatrice Straight in Network, Daniel Day Lewis’ masterful work here deserves to be placed in a class all its own.

Ben Flanagan’s Pick – Frances McDormand in Fargo (1996)

When I saw Fargo in New Orleans while in the sixth grade, I immediately found myself in it and Frances McDormand’s corner, and somehow (given the Academy’s knack for forgetfulness), she carried her momentum all the way to the Oscar stage (after a Golden Globe upset from Madonna for Evita). I wanted so much more for this movie, including a best picture and supporting actor win (and score nomination, dammit!), but if the screenplay and McDormand’s brilliant performance as Brainerd Police Chief Marge Gunderson would have to serve as its representation on Oscar night, that was fine.

Corey Craft’s Pick – Marlon Brando in On the Waterfront (1954)

Though I haven’t seen it recently, I thought it was almost a cliche that Marlon Brando’s performance in On the Waterfront was pretty much the apex of Academy Award winners by this point. It’s really wonderful, but then, that entire movie is terrific, and when you pack your film with ringers like Lee J. Cobb, Karl Malone, Rod Steiger and Eva Marie Saint, it’d be hard not to be kind of excellent. Brando rises above them all here, even though he might be better in A Streetcar Named Desire.

Matt Scalici’s Pick – Joe Pesci in Goodfellas (1990)

I decided to mine the supporting actor/actress categories for this pick and could have picked a dozen off either of those lists. I decided to go with a performance I highlighted in a recent Great Scenes post here on FilmNerds, the incredible Oscar-winning performance by Joe Pesci who absolutely owns every frame he’s in during Martin Scorsese’s Goodfellas. It’s an entertaining and well-written film but without Pesci, there’s no authenticity, no real threat of violence, no sense of chaos that makes Goodfellas the greatest depiction of mob life ever filmed. Pesci’s performance does more than just support this film, it’s the very foundation of the film’s greatness.

Snubs (Best Picture Nominee That Didn’t Win)

Ben Stark’s Pick – Munich (2005)

I know this is a popular Oscar year to beat up on, but the last time I had a horse in the Oscar race that didn’t win was in 2005, when Crash beat out Munich. Brokeback Mountain was the expected winner, and while it is a better movie than Crash, I’m still partial to the complex spy movie from The Beard.

Graham Flanagan’s Pick – Citizen Kane (1941)

While the VERY obvious choice occurred in 1998 and will no doubt be listed by one of the other nerds, I’m going to go back a few generations and pick Citizen Kane from 1941. It lost to John Ford’s How Green Was My Valley; however, Academy gave it the now-traditional consolation of the Best Screenplay Oscar. Perhaps the Academy thought they should let the first-time director Orson Welles put a few notches on his belt before honoring him with the highest filmmaking award in the industry. Sadly, he never matched Kane, but it lives on and continues to astonish on myriad levels.

Ben Flanagan’s Pick – Hannah and Her Sisters (1986)

Tempted to go the Fargo route again, but I’ll play the Woody Allen card instead. Even though his work was recognized with the highest honor for what’s widely considered his greatest achievement Annie Hall, Allen deserved it again in 1986 for Hannah and Her Sisters, which might be the previous winner’s equal on several counts. Maybe not as much in originality or innovation, but it’s hard to argue it isn’t the prolific filmmaker’s best work. With all due respect to Oliver Stone and Platoon, I just think Hannah is the better film in retrospect, as is the case with most Oscar results down the road.

Corey Craft’s Pick – Network (1976)

Network should have beaten Rocky. I love Rocky, but Network is an all-timer, one of the most prescient and cutting satires ever made. And okay, I’ll grant that was a tough year, but Network towers above them all with one of the best screenplays ever made, some tremendous performances (the film won three acting Oscars that year, after all!) and some iconic scenes. And I’ll go ahead and submit for consideration The Social Network for this list. Sigh.

Matt Scalici’s Pick – The Pianist (2002)

The 75th Academy Awards were a travesty in so many ways (Catherine Zeta-Jones beating Meryl effing Streep for example) but none more so than the Best Picture category which saw glitzy, glamorous Chicago beating Roman Polanski’s brilliant and beautiful masterpiece The Pianist. Thankfully, Polanski and Adrien Brody were both honored for their work at the Oscars but the film itself deserves recognition as the greatest artistic achievement of 2002. It’s a sad case of trendiness and clever campaigning winning out over timeless artistic brilliance but in the long run, I believe The Pianist will leave the more lasting impression.

Most Underrated Best Picture Winner

Ben Stark’s Pick – Gladiator (2000)

I’ll pick Gladiator. Mmm, those tomatoes sting. This is a fantastic movie from visual maestro Ridley Scott, a kind of Roman spaghetti western, featuring a tough-as-nails performance from Russell Crowe.

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Graham Flanagan’s Pick – The French Connection (1971)

When it comes to the history of Best Picture winners, one of the biggest head-scratchers for me was always The French Connection. As a kid, my general perception of a Best Picture winner was that it had to be an “important” movie that sort of taught us all something about humanity or something along those lines. The French Connection always stuck out to me as a sort of anomaly, since it really is – by definition – a gritty police procedural that doesn’t really try to say anything about humanity at all. It simply tells its story and tells it well. While I probably would have voted for Kubrick’s A Clockwork Orange that year, I still think that The French Connection is one of the sexiest Best Picture winners ever. It laid the foundation for other procedurals and genre pictures to get a chance to enter cinematic Valhalla: movies like Silence of the Lambs, Unforgiven and – to some extent – The Hurt Locker.

Ben Flanagan’s Pick – Kramer vs. Kramer (1979)

I’m as big on Apocalypse Now as anybody, but the Academy got it right with Kramer vs. Kramer in 1979. Part of an all-time great run of best picture winners focusing on character studies and human drama, Kramer might personify the most basic formula to make a great film. It never attempts to elude its audience, telling its simple story as straightforward as possible. Where it gets complex are the emotions it stirs up in us. Either we’ve been directly affected by divorce or someone close to us has. You can’t walk away from Robert Benton’s movie without feeling something tangible. When I watch a great film like The Pursuit of Happyness, I’m reminded films like Kramer are still being made and recognized. It’s not the monumental technical achievement Francis Coppola’s film is, but it got what it deserved.

Corey Craft’s Pick – The English Patient (1996)

Look, I love Fargo. I know you all love Fargo. It would have made a ridiculously deserving Best Picture winner, no question. But I think The English Patient is a wonderful little movie in its own right that had the misfortune of beating out a movie that’s just better-regarded among critics and so forth. It’s a great, sweeping adaptation of Michael Ondaatje’s previously-thought-to-be-unfilmable novel, and while it does strip away a lot of the little moments and subplots that make the novel great, it captures more than you’d expect. It introduced Anthony Minghella as the heir to David Lean; tragically, he didn’t fulfill that promise, making one more great film (The Talented Mr. Ripley), a muddled but ambitious one (Cold Mountain) and a tiny melodrama that didn’t get much of a release (Breaking and Entering) before his untimely death.

Matt Scalici’s Pick – Amadeus (1984)

So many of the Best Picture winners from the ’80s have fallen into obscurity but when I finally got around to seeing Amadeus a few years ago, I couldn’t believe I had gone so long without hearing much discussion about a film that good and that original. Amadeus gets easily pigeonholed as a biopic but that couldn’t be further from the truth. Not only is the main character someone other than Mozart, it’s actually Mozart’s arch enemy, the wonderfully devious Salieri played by F. Murray Abraham in an Oscar-winning performance.

Best Oscar-Winning Screenplay

Ben Stark’s Pick – Butch Cassidy& The Sundance Kid (1969)
William Goldman’s screenplay for Butch Cassidy & The Sundance Kid is only one of the many dynamite ingredients in this undisputed classic. The combination of modern, dry dialogue with period narrative tropes holds this post-modern Western above all its contemporaries. (Runners-Up: The Great McGinty, Citizen Kane, The Departed)

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Graham Flanagan’s Pick – Casablanca (1942)

Is there any question? Casablanca. Each action, each character and (ESPECIALLY) each line of dialogue all combine to create one thing: PERFECTION.

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Ben Flanagan’s Pick – All the President’s Men (1976)

Incredibly torn between All About Eve, Good Will Hunting, Pulp Fiction and Fargo, so I’ll go with William Goldman’s All the President’s Men, an adaptation of Bob Woodward and Carl Bernstein’s book chronicling their coverage of the Watergate scandal. So fast, so fresh and so relevant, this essentially laid the groundwork for what we might consider for this category later this month, Aaron Sorkin’s The Social Network. To take a story as huge as what brought down a U.S. president, still fresh in American minds, and translate it into a gripping political thriller is quite and achievement. It’s still the best movie about journalism, and it never ever gets old.

Corey Craft’s Pick – All About Eve (1950)

Graham’s right. Casablanca is the only choice here, and there’s no reason to say anything else, because if you’ve seen it you know why. Runner-up: All About Eve.

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Matt Scalici’s Pick – Annie Hall (1977)

This is one of those films that I watch almost in the same way that I read a book. Every line seems to be carefully crafted, loaded with such wit and insight and humor. Allen’s trademark combination of sarcasm, absurdism, nostalgia, melancholy, pessimism and light-heartedness all come together into an absolutely perfect cocktail of a screenplay here and while the debate can rage on about which Woody Allen film is truly the greatest, there’s a reason Annie Hall will always be the film Allen is most remembered for. It’s a perfect summation of his unique outlook on life and love.

Welcome to our first installment of FilmNerds Recommends for 2011, where the writers and contributors here at FilmNerds.com give you our top picks for the DVDs you should be watching this month. Every January, theaters around the country begin to fill with the major award contenders that debuted in December. Sadly though, Hollywood’s crop of new releases in January is typically less than award-worthy so in response, we dedicate our recommendations this month to offering you alternatives to four of Hollywood’s top new releases this month. As usual, every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

Season of the Witch

Ben Stark’s Pick – Kingdom of Heaven: Director’s Cut (2005)

Ridley Scott and William Monahan went and seemingly made the seminal Crusades film 15 years after a rumored Schwarzenegger/Verhoeven take on the topic. While the lead character of Balian could be played by an actor with more heft than Orland Bloom (perhaps Eric Bana should have gotten a call), the film’s performances are fantastic, as are the production design, cinematography, and score.

Corey Craft’s Pick – The Lord of the Rings trilogy (2001-2003)

Is this unfair? It’s certainly the obvious choice, isn’t it? Anyway, Peter Jackson’s epic trilogy provides the best modern example of the fantasy genre – by far. Epic in scope yet focused on its characters, Jackson gets all the little details right, paces each movie perfectly and sticks the landing with the unbelievable climax of The Return of the King.

Ben Flanagan’s Pick – Monty Python and the Holy Grail (1975)

One of the funniest damn movies ever made, made with the intention of being funny, unlike what I’m sure will garner a chuckle or two in this Nic Cage muck. Take your pick of one of the finest collections of comedy vignettes lined up for a nonstop mash of British madcap fare. Like most others, this was my first introduction to Monty Python, sometime in the late 1990s, and what I’d call an awakening as a fan of comedy right from the “Bring out your dead!” opening season. Favorite bit: either the Black Knight or the would-be witch burning.

Graham Flanagan’s Pick – Beowulf (2007)

Many critics ripped apart Robert Zemeckis’ second foray into the world of fully digital 3D motion-capture animation; they did so with a fury that would have made Grendel himself proud. I, however, relished the movie’s epic medieval action sequences. Indeed this exists as one of the few totally satisfactory cinematic 3D experiences I’ve had since the format took over the multiplexes.

Matt Scalici’s Pick – Brotherhood of the Wolf (2001)

One of the best little bizarre genre-twisting treats of the last decade, Christophe Gans’ (Silent Hill) period kung-fu supernatural thriller (yep) follows a scientist and his Native American companion as they hunt down a monstrous wolf-like beast that has been killing women in the French countryside. It also features some really fun supporting performances from the likes of Vincent Cassell and Monica Bellucci and some truly bad-ass CG-assisted action sequences. Throw in some bizarre references to the French Revolution and a Vatican conspiracy and you’ve got something for everyone!

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The Green Hornet

Ben Stark’s Pick – Kiss Kiss Bang Bang (2005)

A movie that, like The Big Lebowski before it, hinges on an amazing central character dynamic that pays off on repeat viewings. Witness dialogue so rapid-fire you might just have to find the script online to follow along. Written and directed by Lethal Weapon’s Shane Black, the movie is, again, kin to The Big Lebowski – a darkly comic look at L.A.’s underbelly, a take-off of Bradbury detective novels.

Corey Craft’s Pick -The Last Boy Scout (1991)

Gonna go to the Shane Black well with my pick too (since Stark chose what I came in here to say) and tout the Tony Scott-directed football-related action comedy, with Bruce Willis and Damon Wayans. Willis is a private eye investigating the murder of his friend; Wayans is a retired pro football player, and both get caught up in a web of intrigue (and comedy) involving sports gambling. The ending is over-the-top in the way that all good buddy-action movies tend to be, and Shane Black’s screenplay is as clever as always. I like this movie as least as much as Lethal Weapon. Possibly more.

Ben Flanagan’s Pick – The Blues Brothers (1980)

John Landis’ wild action comedy pairs John Belushi and Dan Aykroyd as the titular brothers, who are on a mission from God to raise money for their beloved Chicago orphanage. I saw an early point in my filmgoing life when I may have first uttered the words “Wow, that’s crazy!” while watching a movie. The car chases, man. The car chases in this movie rival any “legitimate” action movie, be it The French Connection, Bullitt, The Bourne Supremacy orRonin. Although I’m fairly optimistic for Michael Gondry and Seth Rogen’s take on a franchise with which I’m not especially familiar, Jake and Elwood get my vote here.

Graham Flanagan’s Pick – The Mask (1994)

How about another superhero comedy with no shortage of the color ‘green.’ Hard to believe this effects-heavy Jim Carrey vehicle is nearing its 20th anniversary. The groundbreaking digital work still holds up, and Carrey’s scenes as the titular hero feature some of his most inspired comedic work to date.

Matt Scalici’s Pick – Hot Fuzz (2007)

If we’re looking at buddy-cop action comedies, the first thing that comes to my mind is the film that both skewered the genre while simultaneously topping them all. Simon Pegg and Nick Frost have the brom-com (bromantic comedy?) thing down and never is their dynamic more fun and ridiculous than here when they play trigger-happy cops in a ho-hum village in the English countryside. The cliche action movie one-liners alone are worth the price of admission here.

No Strings Attached

Ben Stark’s Pick – The Miracle of Morgan Creek (1944)

Preston Sturges’ tragically little-seen screwball comedy quickly deflates the fun of the teenage sex romp, setting up a riotous story that was the subject of some controversy upon its release in 1944. I won’t spoil the movie’s plot, but do yourself a favor and check it out, if for no other reason than for Sturges stand-by William Demerest’s best performance.

Corey Craft’s Pick – Vicky Cristina Barcelona (2008)

Allen didn’t invent the sex comedy, but few have done it as well as he does, and his 2008 film Vicky Cristina Barcelona is his best sex comedy in a long time. Starring Scarlett Johannson and Rebecca Hall as two young Americans visiting Spain who are both ensnared by a charming artist (Javier Bardem). And the artist is still in love with his crazy ex-wife (Penelope Cruz, in the performance for which she won an Academy Award). Look, honestly you could sub in any Allen comedy here, but I love Vicky Cristina Barcelona as it shines above his output in the last decade — cracklingly written, beautifully shot and terrifically acted, with none of the “one-take-and-let’s-go-to-lunch”-seeming sloppiness that has plagued a lot of his comedic output lately.

Ben Flanagan’s Pick – Carnal Knowledge (1971)

More of a stinging and merciless drama with a few funny parts, this Mike Nichols masterpiece laid the groundwork for future films of its kind, including Nichols’ own companion piece Closer (2004). Although this one’s rated R for “adult themes,” as my family would say, when you’ve got Jack Nicholson ripping through a piercing Jules Feiffer script on sexual manipulation and unimportant friendships, you have a lot of fun. Pitch-perfect cast and beautiful photography heighten the real star of the show, the dialogue. You learn here there’s nothing casual at all about sex, especially when the people in this film with the demons they have are in the bed.

Graham Flanagan’s Pick – Mutual Appreciation (2005)

If director Ivan Reitman’s slick and expensive look at the world of contemporary relationships looks a little too much like a 2-hour shampoo commercial, check out what I consider to be the best example of the “Mumblecore” movement we’ve seen to date. Andrew Bujalski’s super-low budget romantic dramedy explores the complications that ensue when an aspiring rock star crashes at a Brooklyn couple’s apartment. I should also mention, however, an inspiring bit of casting in NO STRINGS ATTACHED: it features Mumblecore queen Greta Gerwig, most recently seen in “Greenberg.”

Matt Scalici’s Pick – When Harry Met Sally (1989)

Corey cut my legs out from under me by picking a Woody Allen film but I’ll go with the next best thing to Allen: Nora Ephron. At her best, Ephron is a tremendously funny and insightful screenwriter and her breakthrough screenplay directed by Rob Reiner not only takes on the issue of whether sex and friendship can co-exist (I’m guessing more intelligently than No Strings Attached) but looks at broader themes of love, companionship, loneliness and just how much better life is when you have someone to share it with.

The Mechanic

Ben Stark’s Pick – The 39 Steps (1935)

They don’t get much faster than this. Alfred Hitchcock’s break-neck thriller starts with a simple introduction, a quick murder, and never lets up its ridiculous pace once it gets going. You’ll find many of today’s action conventions right here for the picking, but the film works just fine on its own as a perfect “running man” chase film. My favorite of Hitchcock’s British works.

Corey Craft’s Pick – Crank (2006) and Crank 2: High Voltage (2009)

If I agree with typically contentious critic Armond White about anything, it’s our mutual respect for Neveldine/Taylor, the filmmakers responsible for these completely off-the-wall, wonderfully insane and borderline avant-garde masterpieces of mayhem. You want fact-paced action? These two films move like a rocket, are cut within an inch of their lives, and feature more insane stunts and nonsense than you’d typically see in a decade’s worth of these types of movies. Jason Statham, of course, is the link between the Crank movies andThe Mechanic, but his persona has never been used to such effect as it is here – his Chev Chelios is a take-no-prisoners, I-don’t-give-a-f*** agent of destruction, and it’s glorious

Ben Flanagan’s Pick – The Taking of Pelham One Two Three (1974)

Tony Scott made me forget about nothing after his trite remake of Joseph Sargent’s subway/kidnapping humdinger featuring some of the greatest character actors ever, including Martin Balsam and Tony Roberts playing behind the great Walter Matthau and Robert Shaw. Once violent crooks hijack a New York City subway train and deman $1 million (hey, it was a lot of dough back then), Matthau and other members of the NYC Transit Police get cracking on the case in what is an intense and often hilarious action flick set at a feverish pace. Incredible dialogue, 70s New York scenery and gritty action. A classic.

Graham Flanagan’s Pick – Assassins (1995)

While I haven’t had the pleasure of re-watching it since its initial theatrical release in 1995, I fondly recall Richard Donner’s action thriller as one of the best movie-going experiences I had that year. Sylvester Stallone stars as an aging elite hitman who starts getting some unwanted competition from the unstable Bain played by Antonio Banderas. First of all, any action movie with a villain named Bain has at least a little bit going for it. Of course, the movie’s “modern” technology will no doubt seem dated by today’s standards. However, fans of hitman-movies will no doubt appreciate the level of talent contributing behind the scenes, since it was scripted by an impressive combo of none other than Brian Hegeland and the Wachowski Brothers.

Matt Scalici’s Pick – The Italian Job (2003)

Yeah, it’s mainstream fluff but it’s also a great example of how fun and charming Jason Statham can be when he’s in a movie that’s not just intended for 14-year-olds with a jumbo-sized Mountain Dew. There’s some adequate action sequences sprinkled throughout but it’s mostly useful as an exercise in getting a bunch of cool and funny actors together and letting the chemistry do the work. Statham is a big part of that but you’ve also got Seth Green, Mos Def and a good slimy turn for Edward Norton as the villain.

Welcome to our special holiday edition of our FilmNerds Recommends series where the writers and contributors here at FilmNerds give you our top picks for the DVDs you should be watching this month. Every film fan is familiar with the traditional staple Christmas movies we find running all over basic cable this time of year but we here at FilmNerds believe there are more than a few holiday classics that don’t quite get the respect and attention they deserve. This month, we’ll be taking you through our top Christmas recommendations including a few that you may not have heard of before. As usual, every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

Christmas Classics (pre-1980)

Ben Stark’s Pick – It’s a Wonderful Life (1946)

I’ll take the obvious one here. It’s a Wonderful Life is not just essential viewing for the Christmas season, but also in life in general. It’s worth a view every year to remind us of how great and healthy the American version of the Christmas tradition is. It’s also nice to have our perspectives refreshed before starting a new year. If you’ve never seen it, it’s a darker and more terrifying movie than you can imagine.

Corey Craft’s Pick – Miracle on 34th Street (1959)

Though I haven’t seen it in a long time, the original Miracle on 34th Street is pretty much aces, isn’t it? Maureen O’Hara and child Natalie Wood, and Edmund Gwenn, perhaps the definitive performance of Santa Claus on screen?

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Ben Flanagan’s Pick – A Charlie Brown Christmas (1965)

Winner by a mile for me, though Frank Capra’s fable is the king of the feature length examples of this category. This is easily one of my earliest memories of enjoying a Christmas-themed movie, show or special. My parents would always insist I pay attention to Linus’ explanation of the true meaning of Christmas, and I was always glad I did. Plus, Vince Guaraldi’s legendary musical accompaniment continues to surge through my Christmas playlist.

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Graham Flanagan’s Pick – Dr. Seuss’ How the Grinch Stole Christmas (1966)

Since Stark stole the “Christmas Goose” with It’s a Wonderful Life, I’ve got to go my brother’s route and choose another Made-for-TV animated special that actually came out a year after the Peanuts special: Dr. Seuss’ How the Grinch Stole Christmas from 1966. With a combination of Chuck Jones’ brilliant animation and direction, Boris Karloff’s classic narration and Albert Hague’s unforgettable song and score, adaptations don’t get much more faithful and successful than this. It’s an immortal Christmas classic that should be required viewing every holiday season.

Matt Scalici’s Pick – White Christmas (1954)

While it’s not nearly as Christmasy as the films you see listed above, White Christmas obviously has enough seasonal connotations to qualify for our list but above all else, it’s just a purely fun piece of classic Hollywood entertainment. Bing Crosby and Danny Kaye are among the greatest all-around talents to ever share the silver screen and Rosemary Clooney is at her most charming. It may not feature any Christmas miracles but it’s a movie about friends, good times and great music, all of which fit in perfectly with the spirit of Christmas.

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Christmas Comedy

Ben Stark’s Pick – National Lampoon’s Christmas Vacation (1989)

Again, I’ll leave the first obvious pick (an unnamed Bob Clark classic) to someone else, so that leaves me the second obvious pick. National Lampoon’s Christmas Vacation isn’t just a hilarious Christmas stand-by, it’s also my personal favorite film in the Vacation series. “Can I refill your eggnog for you? Get you something to eat? Drive you out to the middle of nowhere, leave you for dead?”

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Corey Craft’s Pick – Bad Santa (2003)

Bad Santa, if only for the cursing. Terry Zwigoff’s misanthropic comedy (with a rewrite, I hear, by the brothers Coen) hits all the sour notes a sad person might want to hear during a season that’s all about good cheer and happiness and good will towards men and all that crap that miserable people hate to hear about. Plus it’s just straight-up funny; I can’t think of a better comedic performance by Billy Bob Thornton.

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Ben Flanagan’s Pick – The Ref (1994)

I’d normally count Die Hard because Bruce Willis gives a fantastic comedic performance, but the go-to here is Ted Demme’s blistering, profane, highly adult comedy The Ref, starring Denis Leary, Kevin Spacey and Judy Davis. Severe marital quarrels are at the core of this would-be friendly holiday experience, as Spacey and Davis play a pair of squabbling spouses who get kidnapped by Leary’s unlucky burglar. Leary certainly does his regular (as in the good 90s regular) schtick, but the film’s (black) heart is the dynamic between Spacey and Davis, who do their absolute best work here. Riddled with adult themes, I swear it’s HILARIOUS.

Graham Flanagan’s Pick – Home Alone (1990)

I’m going to resist Stark’s low-hanging fruit and go with another somewhat obvious pick: Home Alone. At the time, the 1990 blockbuster probably existed as a majority of 7-12 year-olds’ pick for ‘favorite film of all time,’ and it has only improved with age. John Hughes’ last great contribution to American cinema (forgive me, Beethoven fans) is primarily known for its slapstick-riddled third act… but the movie is held together by its supporting cast, anchored by Catherine O’Hara, as a mother so determined to get back to her stranded son that she’s willing to sit in the back of a rental truck with a group of ‘polka bums’ led by John Candy in one of the greatest cameos of all time.

Matt Scalici’s Pick - A Christmas Story (1983)

Pretty obvious pick here but in the process of writing my recent review for <shameless plug> Back to the Movies </shameless plug> I rediscovered just what a perfect comedy this movie truly is. Every segment of this episodic comedy is chock full of classic big laughs that still hold up today no matter how many times you’ve seen this movie and there’s just enough nostalgia factor to give us all that warm fuzzy Christmas twinge without coming off as too cheesy.

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Obscure Christmas Pick

Ben Stark’s Pick – Futurama: Bender’s Big Score (2007)

Had trouble with this one, but I’ll give a nod to Futurama: Bender’s Big Score. This, the show’s first full-length film, features an amazing musical number featuring the evil Robot Santa, Kwanzaabot, and the Chanukah Zombie, in which they force elves into arming our heroes for a space battle featuring numerous solid gold Death Stars.

Corey Craft’s Pick – The Muppet Christmas Carol (1992)

I don’t think this counts as obscure, really, but amongst adaptations of Charles Dickens’ “A Christmas Carol,” I probably enjoy The Muppet Christmas Carol the most, and I’m not sure that people think of it like they should when they think of Christmas comedies or Dickens adaptations. Come on, it’s the Muppets. I could watch a Muppet movie every day and I think that’d be just fine. (Editor’s Note: INCREDIBLY, Netflix does not carry The Muppet Christmas Carol. Click the image to link to Amazon to purchase the DVD. You should own it anyway.)

Ben Flanagan’s Pick – The Simpsons, “Simpsons Roasting On An Open Fire” (1989)

I’ll cheat and pick a television special, though it’s not feature length. Like many people, my first exposure to “The Simpsons” came when Fox broadcast “Simpsons Roasting on an Open Fire,” which was actually the first full-length episode to actually air. Not only did it introduce perhaps the greatest television show ever, but we got to know Homer Simpson rather intimately through his well-kept secret of financial problems he wouldn’t dare share with Marge, namely that he wasn’t getting the Christmas bonus they were banking on. For me, this episode nails the special meaning of Christmas, that material things take a back seat to a family and its newest addition, which is Santa’s Little Helper here (after Homer visits the dog track to raise some extra cash). “Ow, quit it…”

Graham Flanagan’s Pick – Eyes Wide Shut (1999)

Of course, you won’t find Stanley Kubrick’s underrated 1999 masterpiece Eyes Wide Shut on any Christmas movie marathons on the ABC Family Channel. However, it definitely contains plenty of Christmas spirit since almost every scene in the film features a Christmas tree (I might have missed one, so allow me to go back and watch EVERY SCENE one more time…); perhaps this is the director’s not-so-subtle way of reminding the audience that human beings are capable of some of the worst things imaginable, even against the backdrop of a season synonymous concept of humanity.

Matt Scalici’s Pick - The Christmas Toy  (1986)

Not to knock the almighty Pixar, but the idea of toys coming to life when their owners aren’t around was not quite an original idea. This Jim Henson made-for-TV special follows a group of toys who come to life when no one is looking and just like Woody the cowboy, our hero in this movie is a favorite toy insecure about being dropped for a newer model. One key element that Henson included was that unlike the Toy Story toys, the stakes are a little higher this time: if a toy gets caught out of his normal place, he becomes “frozen forever”. A little intense for the small kiddies but among Henson’s most underrated work.

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Movies Featuring Santa as a Character

Ben Stark’s Pick – The Polar Express (2004)

People often lament the creepiness of The Polar Express, one of my recent Christmas favorites. Possibly one of the creepiest parts of the film is the climactic introduction of Santa, who enters the square of the North Pole in the same way the WWF’s Undertaker is introduced to wrestling arenas. The elves here are terrifying cult members, which I think is a unique interpretation.

Corey Craft’s Pick – The Nightmare Before Christmas (1993)

Miracle on 34th Street could apply here, too, but I’m fond of the cranky portrayal of a besieged Santa in The Nightmare Before Christmas, which pits St. Nick against a skeleton interloper who longs to bring good cheer instead of spreading fear. But don’t take my word for it; The Nightmare Before Christmas is a classic.

Ben Flanagan’s Pick – The Santa Clause (1994)

The Santa Clause always found its way into the VCR this time of year when I’d spend the night at my grandmother’s house. Looking back, I watched that movie A LOT, and I can’t decide whether or not it was because it was the only Christmas movie available. Truth be told, I think it’s a swell holiday pick, featuring a nice comedic performance from Tim Allen, someone I can’t say I followed before or after seeing the movie. Best moments may be when Allen takes shots at Judge Reinhold, his ex-wife’s new sensitive, sweater-donning boyfriend.

Graham Flanagan’s Pick – Santa Clause: The Movie (1985)

Many consider the 1985 release Santa Clause: The Movie to be one of the most noteworthy Christmas flops of all time. While it was negatively received in the USA, the film apparently did big business at the worldwide box office.. and – according to the movie’s Wikipedia page – is considered a “classic” in the United Kingdom! Who knew? I actually saw this movie during its initial theatrical release in the 1980s.. however I must admit I don’t remember a single frame. I definitely plan on checking it out (on Bluray!) and making a definitive decision.

Matt Scalici’s Pick – Elf (2003)

Ed Asner’s grumpy, slightly put-upon version of Santa brings a lot of underrated comedy value to Jon Favreau’s modern Christmas classic (and I do think this one has major staying power). I particularly like Santa’s carefully worded explanations about Ray’s Pizza and “peep shows” to Buddy the Elf. This is clearly a well-traveled and world-weary Santa.

Welcome back to the second installment of our new FilmNerds Recommends series where the writers and contributors here at FilmNerds give you our top picks for the DVDs you should be watching this month. Last month, we gave  you our choices for the ultimate Halloween movie marathon but when considering our options for this month, the FilmNerds team found it a bit more difficult to come up with a theme that fit the month of November (Thanksgiving movies?). Ultimately, we decided the biggest film story happening this month is the release of the latest installment of one of the most successful movie franchises of all time, Harry Potter. In addition to giving you our picks on the best Harry Potter film to date, we’re also giving you our choices for the best installments of three other all-time great movie franchises. As usual, every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

Harry Potter

Matt Scalici’s Pick – Harry Potter and the Half-Blood Prince (2009)

This series has always struggled to balance between keeping true to the books and becoming its own entity and Half-Blood Prince really felt like the first time the franchise felt comfortable in its own skin as a true movie franchise. The character dynamics felt natural, the action sequences were fun and made sense on screen and the emotional payoff at the end was powerful, if a little cheesy.

Ben Stark’s Pick – Harry Potter and the Goblet of Fire (2005)

I’ll agree with the consensus that Half-Blood Prince is pretty amazing, and probably the best film in the series, but I also have to highlight the underrated Goblet of Fire, which features some great cinematography and a few amazing sequences.

Corey Craft’s Pick – Harry Potter and the Half-Blood Prince (2009)

So much for the law of diminishing returns. Somehow this series has improved over time, and last year’s installment, Harry Potter and the Half-Blood Prince, was the best one yet. I have high hopes for Deathly Hallows.

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Ben Flanagan’s Pick – Harry Potter and the Half-Blood Prince (2009)

For me, Half-Blood Prince, the sixth entry, finally nailed the formula they’d been seeking since they started. A crisp script, deft humor and a firm sense of visual style all lend themselves to a complete experience without the rushed choppiness of its predecessors, all weighed down with crummy exposition and fatty epilogues. Hopefully Yates can keep the pace.

Graham Flanagan’s Pick – Harry Potter and the Sorcerer’s Stone (2001)

Since I wasn’t born in the 90s, I’ve never really gravitated toward this franchise. I will say, however, that John Williams’ score introduced in the first film ranks among some of his finest work.. so I’ll have to go with the original.

Batman

Matt Scalici’s Pick - The Dark Knight (2008)

As much as it pains me to be one of those guys who says the latest is the greatest, I truly think upon watching every Batman film ever made, any logical modern viewer would conclude that The Dark Knight contains the best writing, the most exciting action, the most compelling storytelling and, least debatable of all, the best acting.

Ben Stark’s Pick – The Dark Knight (2008)

A little more than two years later, The Dark Knight continues to be a milestone in mainstream storytelling, with its high thematic aspirations and break-neck pace. For once, filmmakers got the episodic structure of a graphic novel right without relegating the film to constrictive panels.

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Corey Craft’s Pick – The Dark Knight (2008)

The Dark Knight, which is not only the obvious crown jewel of the Batman franchise, but the best superhero movie ever made. (Interesting cognitive dissonance double-feature: this and Batman and Robin.)

Ben Flanagan’s Pick – Batman Returns (1992)

OK, I’ll take Batman Returns for a few reasons. Growing up, I had several posters in my room, but nothing Dirk Diggler would have coveted. One included the incredible teaser poster for Tim Burton’s followup to his 1989 blockbuster (and best of the bunch, I still think). Before and after I saw the movie, I always loved that poster, a basic image of the Batman logo, only covered in frost and snow. I love the Christmas theme and Christopher Walken’s madcap performance as Max Shrek. But the McDonald’s souvenir cup campaign made the experience pretty special. Love the score, the Gotham design, the clowns, the penguins, Danny DeVito…it’s a lot of fun.

Graham Flanagan’s Pick – Batman (1989)

I’m sorry guys, but NONE of the subsquent entries in the franchise come close to the one that started it all: Tim Burton’s Batman from 1989. The incredible production design, Danny Elfman’s iconic score, and a superb cast led by Robert Wuhl make this one a true classic that I’m happy to sit down and watch whenever it happens to be on.

James Bond

Matt Scalici’s Pick - Goldfinger (1964)

While I probably get a stronger reaction watching Goldeneye or the recent Casino Royale, when I think Bond I think of Goldfinger. The outrageous villain, the music (especially the Shirley Bassey opening theme) and Connery’s constant cool in the face of danger. It’s absurd but in a nostalgic way.

Corey Craft’s Pick – Goldfinger (1964)

Goldfinger is one of the first and still the high point for me, though if you wanted to make a case for From Russia With Love or even the Lazenby-starring On Her Majesty’s Secret Service, you might be onto something.

Ben Stark’s Pick – On Her Majesty’s Secret Service (1969)

Way to commit, Corey. On Her Majesty’s Secret Service is not only a fantastic change of focus for the Bond character, and a great prototype for the “romantic” 007 film, but it’s also an expertly-directed thriller. Former editor Peter Hunt bends the conventions of the day and integrates New Wave ideas as if he was Hopper or Peckinpah.

Ben Flanagan’s Pick – Goldeneye (1995)

Favorites are Goldfinger, The Spy Who Loved Me, From Russia… and OHMSS, but I bequeath personal attachment to Goldeneye. While not the top of the pops, though it’s a damn good movie, it felt good to be a part of what seemed like a Bond rejuvenation. Plus, the now-legendary Nintendo-64 game certainly helped matters, enhancing the film experience for me as well. Too bad the franchise slipped into Halle Berry oblivion shortly after that.

Graham Flanagan’s Pick – On Her Majesty’s Secret Service (1969)

I’m also proud to call OHMSS my favorite entry in the Bond franchise. Along with some terrific action sequences (especially the ski chase), this movie’s script is what really makes it special. This is the first time a Bond film got personal.

Lord of the Rings

Matt Scalici’s Pick - The Fellowship of the Ring (2001)

I really view the trilogy as a singular work but I think broken into three parts, Fellowship has the best of everything in the series. Howard Shore’s fantastic score shines from the opening frames, the epic prologue pulls off an almost impossible task flawlessly and Sean Bean’s death scene still stands out to me as perhaps the most effectively acted scene in the trilogy.

Ben Stark’s Pick – The Two Towers (2002)

I think a person’s favorite Lord of the Rings movie says more about the person than the film. Lots of people cite the series’ finale as their favorite, despite nits I have to pick with it. My personal favorite in the trilogy is the middle chapter, The Two Towers. The story of Aragorn is my favorite part of the trilogy, and the most interesting developments in the “redemption of the man” storyline happen in this film. Let’s also not forget the introduction of Gollum, the battle at Helm’s Deep, and the Ents throwing down on Saruman’s digs.

Corey Craft’s Pick – The Fellowship of the Ring (2001)

These movies never really improved upon The Fellowship of the Ring – and I hasten to add, specifically, the theatrical cut, which unlike the other two films adds a lot of unnecessary stuff and slackens what was a perfectly-paced three-hour epic.

Ben Flanagan’s Pick – The Fellowship of the Ring (2001)

Fellowship is the best film, easily, and my personal favorite. The others definitely build upon that and make for a dynamite trilogy, but there was a laser focus with the first film. Peter Jackson poured his heart into it, and there’s little doubt that passion was at its thickest at the onset of production. Maybe he got stressed as filming went on or felt pressured to include (or leave out) aspects of Tolkein’s novels, but it never got better than when the team traveled into the Mines of Moria.

Graham Flanagan’s Pick – The Fellowship of the Ring (2001)

For me this is the easiest choice of all: Fellowship owns the rest of the trilogy. It sets the tone and pulls us into this magical world that captivated us for three years. While the next two films are no doubt entertaining, they often feel like a series of falling actions being staged simply to follow the sequence of events laid out in the books. The first film features the best of what this great trilogy has to offer… including my favorite scene of all: when Aragorn and Boromir speak of “the White City” of Gondor and how they long to return there. Sadly, the Gondor we actually get to see in the next two films doesn’t live up to what’s described so beautifully by the actors in this scene. I agree with Ben S. The one you pick as your favorite says a lot about who you are. And I think I just learned more about Stark than I hoped I ever would.

Happy Halloween, FilmNerds! Today we begin a new (hopefully) monthly feature called FilmNerds Recommends in which the FilmNerds contributors give you our recommendations for the perfect DVD rental for your special occasion. Obviously, this month we’re getting you geared up for Halloween with our recommendations for the perfect Halloween Night horror marathon. But we know not everyone has the same taste when it comes to horror films, so we’ve separated out our picks according to the speed of scary movies you like best. Best of all, every FilmNerds recommendation is currently available on Netflix so if you see a pick you like, simply click on the DVD cover art to link straight to the movie’s page on Netflix.

Gory Fun

Matt Scalici’s Pick – Day of the Dead (1985)

George Romero’s third film in his original zombie apocalypse trilogy takes the gore levels to staggering and impressive new heights while also including some compelling philosophical debate. There’s a shot of a man’s head being ripped off his body while the head continues screaming (I’m still not sure how they did it).

Ben Stark’s Pick – Sleepy Hollow (1999)

A tame pick, definitely, but I find Tim Burton and Andrew Kevin Walker’s take on the legend of Ichabod Crane to be essential October viewing. It’s got a few fun gory moments and creative beheadings, but the real treat here is the film’s atmosphere.

Corey Craft’s Pick – Dead Alive (1992)

Early-era Peter Jackson zombie movie that features gallons upon gallons of fake blood, zombie horror, and gross-out humor galore. Not for the faint-hearted, but also hilarious, in a way.

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Ben Flanagan’s Pick – The Fly (1986)

David Cronenberg’s black comedy will certainly gross you out if you’re not a fan of bones snapping on screen or acid-snot melting through flesh. Plus, Jeff Goldblum’s Brundlefly makeup will either haunt your sleep or make you cackle. A milestone for Goldblum!

Graham Flanagan’s Pick – Drag Me to Hell (2009)

Sam Raimi returned triumphantly to the genre that garnered him international acclaim (see the EVIL DEAD movies) with this excellent box office-underachiever. Where to begin? A mouth full of embalming fluid… a staple in the head… yeah I’ll stop there.

Classic Horror (pre-1980)

Matt Scalici’s Pick – Rosemary’s Baby (1968)

The first time you see Roman Polanski’s classic tale of demons and paranoia, you won’t believe it was made in the ’60s. Terrific performances and way ahead of its time in style and tone and feels every bit like a modern psychological horror film.

Ben Stark’s Pick – Frankenstein (1931)

James Whale’s original adaptation of Mary Shelley’s novel is still the king of biological horror films, perfectly boiling down the shocking idea of creating life out of dead tissue. Add to that the film’s iconic moments and the great Karloff performance, and you’ve got – in my opinion – the most resilient classic Universal horror movie.

Corey Craft’s Pick – Suspiria (1977)

Dario Argento’s horror classic set inside a dance studio run by – well, by something evil, to not spoil it – is a feverish nightmare of a horror picture, anchored by an appropriately terrified performance by Jessica Harper, some of the most demented murders depicted in film, and an awesome score by Italian rock band Goblin.

Ben Flanagan’s Pick – 2001: A Space Odyssey (1968)

Some of the scariest images, sounds and situations I’ve ever seen. End-all-be-all example of evil artificial intelligence via HAL 9000, who compromises his crew’s mission, putting his astronaut colleagues in the worst danger imaginable. The lip-reading sequence freaks me out, man.

Monster Movie

Matt Scalici’s Pick – Alien (1979)

Sci-fi horror at its finest, though it’s 10% sci-fi and 90% horror. This series may have descended into schlocky wackiness but in Ridley Scott’s original film, it’s a simple formula: woman trapped in dark cave with gooey, toothy monster. The alien’s “birth” scene is still among the best jaw-dropping horror scenes ever made.

Ben Stark’s Pick – Jurassic Park (1993)

When thinking of scenes in which humans are attacked by unreasoning non-humans, I don’t think there’s a more effective and masterful scene than the Tyrannosaurus attack in Spielberg’s dinosaur adventure. One of the film’s many merits is its ability to see its monsters as both miracles of life and dangerous antagonists.

Corey Craft’s Pick – Jaws (1975)

Jaws counts here, right? It’s a freakishly big shark in a place where it shouldn’t be — and unquestionably a horror classic, even if near the end it turns into more of an adventure film. Anyway, Jaws is great, but that’s self-evident by now.

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Ben Flanagan’s Pick – The Thing (1982)

If David Mamet wrote a horror movie…Director John Carpenter really cemented himself as a horror pioneer in the early 80s with this one only to fizzle out with questionable projects and inconsistency. Carpenter scores here with good gore, legitimate suspense and grade-A performances from all of its cast members, especially the mega-bearded Kurt Russell (and a rare Wilford Brimley with no mustache!).

Modern Classic (last 10 years)

Matt Scalici’s Pick – [REC] (2007)

American’s may know its sub-par studio remake Quaratine but rest assured, this Spanish found-footage thriller is among the most original, taut and gripping film experiences I’ve ever seen. If you want a good adrenaline rush, wait for the final 15 minutes.

Ben Stark’s Pick – Shaun of the Dead

Edgar Wright’s hilarious ode to classic zombie movies is sure to stand the test of time. Here you have great character arcs and heart combined with true scares and legitimate tension.

Corey Craft’s Pick- Session 9 (2001)

Brad Anderson’s low-budget horror film set in the abandoned Danvers State Mental Hospital, one of the scariest places in America, amps up the tension and the chills until one gut-punch of an ending. This movie is scary as hell.

Ben Flanagan’s Pick – Mulholland Drive (2001)

The always creepy David Lynch served up his best and creepiest movie in this California psycho-mystery where a chipper actress (Naomi Watts) arrives in Hollywood where she soon finds herself entangled in murder, intrigue, nightmares and confusion. I’m 25-years-old, and I still cover my eyes when they approach the dumpster behind the fast food place.

Graham Flanagan’s Pick – The Others (2001)

One of the most underrated thrillers of the 2000s,  Spanish director Alejandro Amenabar created the best Haunted House picture of the modern era. The mere thought of Nicole Kidman approaching what appears to be a decrepit old woman wearing her daughter’s clothes still gives me chills.