THE DANMAN CAN

When it was first released I likely would have given  Eternal Sunshine Of The Spotless Mind (2004) a perfect score. For some reason I want to believe that I've seen the film many times but I think it's only been four or five viewings. I know I saw it in the theater, on DVD (probably at least twice) because I owned it, and then I have two logged watches—on Blu-ray (which I also previously owned) and now on 4K UHD. It feels like so many more. I guess my fragmented and unreliable memory is appropriate, given the nature of this existential sci-fi rom-com, but I also think it's down to the film being an indelible work of art. The last time I watched ES was 10 years ago and already then the cracks had begun to show, much like the ice of the frozen lake in a pivotal scene (and immortalized on the theatrical poster). But in a way that doesn't hurt the film because the characters are messy, confused, complex—basically, human beings. The performances hold up,  Charlie Kaufman &

Douglas Sirk 's All That Heaven Allows (1955) is a story about always following your heart and not letting the bastards grind you down (even if those bastards are your friends and family). Via gorgeous Technicolor and moving performances, ATHA  is a powerful and passionate tale of class struggle, love affairs vs. love, individuality vs. conformity, and a prime example of Hollywood melodrama. As the music swells over the final scene so do the tears.

Lady Street Fighter (1981) is a truly surreal film, but I don't think that was intentional on the part of the filmmakers (except for maybe that "orgy" scene). I don't recall a single fight happening on a street and there isn't all that much fighting in this film to begin with. Atrocious acting, lame action, a terrible script, haphazard editing, lots of awkwardness—I couldn't tell you what in the world was going on most of the time. But I loved the catchy electronic theme song which clearly ripped off  Ennio Morricone 's from  The Good, The Bad And The Ugly   (1966) ( review ) and I honestly haven't laughed that much in a long time. A bizarre and very bad film but also a must watch for connoisseurs of weird cinema.

I had forgotten how much of the story and design elements of Mario Bava ’s Planet Of The Vampires  (1965) bear resemblance to  Dan O’Bannon 's screenplay for Ridley Scott ’s 1979 Alien  ( review ) — an alien planet, a distress call, giant ancient beings, a ship in need of repair. POTV  hasn't aged quite as well as I remembered from previous viewings. The costumes and lighting are well executed, there's a nice sense of dread throughout, and Bava made the most of the production design and special effects on what was clearly a very limited budget. But there is definitely a cheap quality to the film, the pacing is a bit of a slog, and the acting is pretty unremarkable. That said, it's a fun, influential flick that scratches the itch if you're in the mood for pulpy, horror-tinged science fiction. Mario Bava Feature Films Ranked

Just as its story tells the tale of an almost perfect heist, Stanley Kubrick 's The Killing (1956) is an almost perfect noir. It's that dang hammy voice-over, which in some ways works but which I've never been too keen on. Some of the performances also feel a bit forced—though the cast is top notch, particularly Sterling Hayden with that unmistakable voice and Elisha Cook Jr. , who could play a sap like no one else. Rapid fire dialogue was provided courtesy of the bleakest of bleak crime writers,  Jim Thompson . On that note, The Killing   moves  due to the brisk pace, shotgun editing, and sub 90-minute runtime. I love the way the camera glides through walls, and how the films plays with time and events (which was hugely influential for many filmmakers in years to come). The ending is ludicrous but darkly hilarious and pitch perfect in this, Kubrick’s first masterpiece. Stanley Kubrick Feature Films Ranked Film Noir Feature Films Ranked Top 20 Directors

David Lean 's Summertime (1955) represents a certain bygone melodramatic movie romance and fully embraces the cliches that go along with that genre, though there is a melancholic quality to the film that falls short of fairy tale. It can come off a bit hammy and its gender politics are certainly dated by today's standards. But there is an undeniable charm, lushness, and amusing sense of humor to this story of a Venetian holiday affair, which makes it easy to get swept up in the world of its characters. Summertime  features one of Katharine Hepburn 's best performances—the way she conveys awkwardness, loneliness, and heartbreak is universal.  David Lean Feature Films Ranked

A super slowburn neo-noir crime caper with major aesthetic where not a lot seems to happen, but so much happens. In other words, a  Jean-Pierre Melville  film. Le Cercle Rouge (1970) features a who's who of French actors playing a very specific brand of macho man, including  Alain Delon at his most detached cool this side of  Le  Samouraï   (1967) ( review ). The heist sequence is up there with the greats like  Rififi  (1955) ( review ),  Grand Slam   (1967) ( review ), and  The Thomas Crown Affair   (1968) ( review ). If you're in the right mood, LCR  hits the spot. Jean-Pierre Melville Feature Films Ranked

Tenebre  (aka Tenebrae ) (1982) holds the distinction of being both one of my top 10 Dario Argento films and top 10 gialli. It really amplifies the trademarks of the giallo—what with its almost hilariously convoluted plot mechanics and character motivations (which outdo even Agatha Christie in so far as leaving the viewer unable to guess the full extent of who killed who and why) and with its spectacularly gory deaths. Horror tropes (reveals of killers, unreliable memory, false endings) are played with here as well, along with not-so-subtle commentary on frequent criticisms aimed at Argento himself in regard to predilections and fascinations present in his work. The film has a certain sense of humor, despite the horrific nature of the killings. It also has a ridiculously catchy theme  by three core members of Goblin — Claudio Simonetti , Fabio Pignatelli , and Massimo Morante . The cold, bright look of Tenebre  stands in stark contrast to the vivid colors of  Suspiria  (1977) ( revie

1970's   Queens Of Evil  is a dreamy, psychedelic, gothic adult fairy tale about a young hippie ( Ray Lovelock ) who takes a detour on his motorcycle to a chic lakeside house in the forest and is seduced by three alluring and strange sisters (who have an affinity for huge portraits of themselves). For a film with that description, made during this time period, you'd expect a heaping of nudity, but there is surprisingly almost none. Evelyn Stewart and Silvia Monti —who were both in a few gialli around the same time—play the two older sisters, and  Haydée Politoff  plays the youngest (though she was in fact older than lead Lovelock in this film, 23 to his 19!). QOE  is mostly a slow burn with a few shocking moments, and some thoughts on politics that don't add up to much, but overall it's a strong, moody film with a cool vibe and eye-catching fashion and design.

Michael Powell and Emeric Pressburger 's  The Tales Of Hoffmann  (1951), much like their earlier  The Red Shoes  (1948) ( review ), features incredible production design, costumes, cinematography, and special effects. There's less dancing and a whole lot more singing in this adaptation of  Jacques Offenbach 's  1881 opera , which blends theatre with cinema. A few minutes in I had to turn on the subtitles because I couldn't make out a lot of the words being sung. I'd recommend the same for first-time viewers.  The biggest gripe I have with this collection of tales is that the characters that surround the titular one are all much more interesting ( Robert Helpmann in particular is fantastic in all three tales). I also found the final segment to be the least engaging and the most straightforward (though it did take it up a notch toward its climax). I much prefer the weirder and darker aspects of the first two stories. Mostly I found myself craving more of the lovely

Angel Heart (1987) is a steamy, dreamy supernatural neo-noir with a languid pace and wonderful mood that builds to an unfortunately jarring and sloppy climax. Despite that, there is an undeniable appeal to the film—with its horror leanings, its sumptuous cinematography, its sparse and oddly dissonant piano score by Trevor Jones , and two superb performances from Mickey Rourke and Robert De Niro . William Hjortsberg  wrote the novel upon which AH  is based, which is interesting because the film reminds me of director Alan Parker 's ( Birdy  (1984), review ) contemporary Ridley Scott , and one of Hjortsberg's only screenwriting credits is Scott's  Legend   (1985) ( theatrical cut review , director's cut review ). AH 's style is also reminiscent of Ridley's brother Tony’s excellent 1983 film  The Hunger  ( review ). Recommended for fans of  Jacob's Ladder   (1990) ( review ),  The Silence Of The Lambs   (1991) ( review ), and Se7en   (1995).

Miami Connection (1987) is a perfect example of how earnestness and commitment  have the power to win me over, despite the quality level of a film. I've seen MC four times now and it never fails to be fun. Recommended for fans of  Ninja III: The Domination  (1984) ( review ),  New York Ninja  (2021) ( review ), and  Revenge Of The Ninja   (1983) ( review ).