#92 Goodfellas
Martin Scorsese received plenty acclaim for this mob-fueled story of Henry Hill. He probably could’ve received more and may have been chasing it with similarly stylized subsequent films. I’m not going to apologize for thinking about gangsters when I hear the name Scorsese. This movie is beautifully entertaining in the way the characters color the screen with individual charisma. Ray Liotta made his career as Henry Hill, being a sympathetic case and yet not an entirely nice human being. Joe Pesci established a new level of sociopathic crazy, and Robert DeNiro glided through scenes, consuming the surrounding world. Lorraine Bracco also gives a preview of her mob chops that further get their opportunity to shine on The Sopranos. Speaking of Sopranos alum, Tony Lip (one of the main characters in Green Book) has a brief, albeit very stereotypical Italian, cameo.
Pesci and DeNiro together on screen feels like the go-to recipe for a mobster movie. Throw in Al Pacino…oh wait, Scorsese is already cooking with those ingredients for Netflix’s The Irishman. Overall, this movie just has the right feel. You end up rooting for criminals, and there’s just enough underlying tension to keep things interesting throughout without becoming tiring.
#91 Sophie’s Choice
After twenty minutes of watching, I thought I liked this movie better when it was The Great Gatsby. While there remained a parallel feeling throughout, Sophie’s Choice ended up being more. How? Don’t sleep on The Streep. Who is Meryl Streep? She’s certainly not the actress portraying the titular character on screen. No, she’s a body snatcher usurping someone else’s existence. I mean, come on, what actress ever stands a chance next to her? Meryl Streep is, appropriately, this movie. It’s Sophie’s choice, and Meryl makes sure you’re only paying attention to the character. Oh, Kevin Kline is also in the movie as an important plot propellant with mental health issues. The weird little museum director from Ghostbusters 2 also plays a large role which surprised me as I didn’t know him from anything else (I’m sure that’s a terrible oversight on my part).
#90 Swing Time
I’d never seen a Fred Astaire movie until this. I’m confident in stating he was a supremely talented individual able to create some visually stunning human movements on screen. Digital special effects weren’t available to help him out. Those individuals on screen seemingly had to over-perform to sell their craft. The performances accomplished in early movies can be remarkable. The characters in this movie, however, are pretty terrible people, and I stopped caring what they were trying to accomplish. Gambling, fickle affairs of the heart, and eventually a weak resolution bludgeoned me into indifference. I don’t know why Swing Time is at 90 or even in the top 100. I’m legitimately curious – what are this film’s redeeming qualities?
We’re seeing dead people next with The Sixth Sense.
HobbyScope 