Eastwood Non-Westerns 1968-1990

 For my money, no one has a better or more complete career in the history of Hollywood since Charlie Chaplin than Clint Eastwood.

I know that is a debatable statement to say the least, but I’ll stand by it. I am open to contrary suggestions. But remember, I didn’t say Clint was the best actor. I didn’t say Clint was the best director. What I said and what I’ll defend is that over his career there isn’t another figure who has the combination of successes, both critical and financial and in sheer volume, in all phases as an Actor, Director and Producer and even a composer. There are a few that come real close IMO. Robert Redford makes a more than a compelling case behind and in front of the camera. Mel Brooks could be a fun argument. Mel Gibson, lunacy aside, has a strong resume for my criteria. But when you add everything up you still have Clint. And truth be told…. Clint is not my favorite actor or director by a long shot. But the body, the size and the success of the work are hard to deny.

Probably a year ago I had ranked all of Jimmy Stewart’s Westerns. I enjoyed the process so a few months ago I asked a question on Facebook about what I should do next. The winning suggestion was to revisit and rank all of Clint Eastwood’s Non-Westerns. By the way, Clint has a substantial film catalog and while planning I realized it was probably going to be too many films to work with. So, I made a not so arbitrary cutoff in 1990. I did this for 2 reasons. First, starting with Coogan’s Bluff in ‘68 through 1990’s the Rookie there were 25 films that hit my criteria. That seemed like a good round number. Secondly, and this can’t be overstated, there is a clear demarcation in Clint’s career starting in 1992 with the release of Unforgiven through last year’s Cry Macho. To put it plainly, he got better. At least his movies did, especially his non-westerns. To be fair his westerns have always been held in high esteem. It is hard to get better than The Outlaw Josey Wales in 1976. But his non-western films were much more inconsistent until 1993’s In the Line of Fire. He hit a creative groove with non-westerns after Unforgiven with Million Dollar Baby, Grand Torino, In the Line of Fire, Bridges of Madison County, A Perfect World etc that deserves to be looked at separately.

So…Here we go.

Clint Eastwood 1968 – 1990 Lead Feature Films, Non-Westerns…..Don’t hate me in the morning!! 

25. Coogan’s Bluff ’68 – Somewhere, someone decided Clint needed to make a hippie movie. This was his. He wasn’t the hippie, but he tried to have sex with as many hippies as he could. It is horrible. Just a mess of a film.

24. The Rookie ’90 – Ill-fated, buddy cop movie with Charlie Sheen. Enough said!

23. White Hunter Black Heart ’90 - Did you ever see the movie where John Wayne played Genghis Kahn…. Well, Clint Eastwood impersonating John Huston isn’t much better. Stay in your lane Clint!

22. Play Misty for Me ’71 – Clint’s directorial debut. It was a hit and a well-received psychological thriller. Unfortunately, it DOES NOT hold up over time. Sensibilities have just changed.

21. Pink Cadillac ’89 – Anytime you expect Clint to be the over the top, extravert it may not go well. A bail bondsman with a heart of gold who will dress up in disguises really feels like a last grasp at a once successful action formula.

20. The Eiger Sanction ’75- The movie is never sure if it is trying to be an American pseudo-James Bond spy film or a mountain climbing adventure. There is a good movie of either one in there but not both. Also having a inter-racial love interest seemed progressive until you realized her name was Jemimah……. even in 1975…. My goodness.

19. Honkytonk Man ’82 – I remember seeing this at the theater when I was 11. I liked it. None of the adults I knew were as enamored as I was. It has got its problems but I’m personally fond of the film.
Sadly, Eastwood’s son can’t act, and his dad can’t sing. Not a big deal but the movie just happens to be about a guy who can sing.….so…. I still find it to be one of Clint’s better acting performances.

18. Firefox ’82 – Two movies in One. A potentially, exceptional cold war espionage thriller ruined by a deplorably awful plane chase for the last 30 minutes.

17. City Heat ’84 – Two of the biggest stars of the 70’s and early 80’s were Clint and Burt Reynolds. This should have been a hit. IT WASN’T. Much of the reason may have been the marketing. I remember it being billed as a slapstick comedy. It had funny moments but was much more a period crime piece. Not nearly as slick or sophisticated as The Sting from a decade earlier but along those same lines. 

16. Sudden Impact ’83 – Dirty Harry Callahan was back after an 8-year hiatus. He hadn’t really learned anything since he left. How in God’s name can he always be shocked that there is a Constitution and a Bill of Rights and Police Procedure. I get that Harry’s appeal is how he’s willing to ignore those things to get the bad guy, but he acts surprised every time he gets in trouble. This is the 4th movie for God’s sake. When will he learn? This was a huge hit, but the film had most of the same problems as the earlier Dirty Harry films.

15. Tightrope ’84 -Psychological thriller from different source material. Not Clint’s typical flick. The parallels between Clint’s character and the serial killer he is chasing was deeper and a little out of character for Clint. He plays a much more vulnerable character and really ramps up the tension. I liked it much better than I did in 1984. I was expecting Dirty Harry.

14. Paint Your Wagon ’69 – This was the first time Clint sang on screen. Sadly…. very sadly it wouldn’t be the last. By all counts Clint is an accomplished musician. Unfortunately, he is a deplorably, awful singer. Regardless, his handsome, straight arrow next to a crusty, scene-chewing Lee Marvin proves to be pretty funny even if the premise is pretty outlandish. Not a movie to overthink. Just enjoy for what it is and the time it came out.

13. Every Which Way but Loose ’78 – It is hard to imagine but adjusted for inflation THIS is Clint Eastwood’s biggest hit and one of the top 250 grossing pictures of all time…WTH? On the surface it’s just horrible. The plot is non-existent and seems like Clint is trying for a Burt Reynolds level of silliness. The acting is bad. Sondra Locke sings and she may be a worse singer than Clint if that’s possible. Then the level of ridiculousness achieved by the nemesis biker gang, the Black Widows of Pacoima, can’t be overstated. ….BUT and this is important…Philo Beddoe and his strange, colorful family are terribly likable and watchable characters. Plot be damned. Not to mention that everyone loves Clyde the orangutan…and the monkey maketh the movie!

12. The Enforcer ’76 – Disgruntled Vietnam vets and drugged out hippies are terrorizing San Francisco but they didn’t count on Harry Callahan. This was the 3rd of 5 Dirty Harry movies. Killer opening and seriously the whole counter-culture gang of hippie bad guys works. All the Dirty Harry films have some head scratching moments but here the good outweighs the confusing.

11. Heartbreak Ridge ’86 – There is a lot to love about Heartbreak Ridge. Clint is superb as the aging Marine nearing retirement lamenting the mistakes of his life and fearing a future outside of the corp. Every nook and cranny on his face tells a story. He’s believable and sympathetic and really gives a great performance. But the festering boil of this film is the downright absurd way it portrays the Marine Corp unit Gunny Highway is taking over. The dialogue, the scenarios, the acting and the premises are laughably awful. I must fast forward through about 6 scenes and then I love it.

10. The Dead Pool ’89 – While not the most popular, Dead Pool is probably the Dirty Harry movie with the least warts. The story is much more coherent, and Harry’s popular antics at least advance the story as opposed to just popping up out of the blue. Future heavy weights Liam Neeson and Jim Carrey are in supporting roles and it was fun to revisit.

9. Dirty Harry ’71 – Tip of the hat and props to the original. With Dirty Harry, Clint now has another iconic film character that is the standard bearer for its genre and this one actually talks. Not too shabby.

8. Magnum Force ’73 – The second of the Callahan movies and the best story of the bunch. A rogue group of vigilante cops making life hard for Harry. Great early roles for David Soul, Robert Urich and Tim Matheson. None of them are Jim Carrey but not shabby.

7. The Gauntlet ’77 – It would be easy to think The Gauntlet was a Dirty Harry movie, but it isn’t. It looks like one. Sounds like one and probably smells like one but…. It isn’t. This is Clint’s 2nd of 6
films with Sondra Locke and their chemistry is very good. It turns into a bit of a travel/buddy movie with the most marvelously ridiculous final sequence someone could imagine. But…and this is important…. It works…. regardless of how ridiculous it is….it works.

6. Thunderbolt and Lightfoot ’74 – A really enjoyable buddy/heist movie with a painfully young Jeff Bridges and a nasty, mean, larger than life George Kennedy who plays a great foil for Clint's and Jeff’s lovable losers. It is a strangely, sweet film when all is said and done.

5. Any Which Way You Can ’80 – The only reason I put either of these in the top 10 is because as horrible as they are there is a certain charm and likeability for the characters. Also, they both made so much damn money it’s hard not to acknowledge them. This movie was strangely better than the original.
No, this is not a Godfather vs Godfather II situation. However, there is a slightly better plot and they made sure to use the orangutan every chance they got. He even has a love scene…but Fellini it ain’t.

4. Kelly’s Heroes ’70 – Released three years after The Dirty Dozen, Kelly’s Heroes has a similar feel but counter-culture was kicking a little harder. So instead of vile criminals banding together to kill Nazis, we get a bunch of goofy burnouts so sick and tired of the war they go on a mission behind enemy lines to steal Nazi treasure. So, nothing like DD and very similar at the same time. You also get Donald Sutherland and Telly Savalas as cross overs between the two. This was released the same year at M*A*S*H and Tora Tora Tora! Those are 3 very different looks at war to be sure. Terribly entertaining!! With a cast for the ages Clint, Don Rickles, Carol O’Connor, Gavin McCloud and Harry Dean Stanton join the aforementioned Hawkeye Peirce and Kojak!            

3. Escape from Alcatraz ’79 – Clint hasn’t made it a habit of playing real live characters. That’s probably not a bad idea especially if you’ve seen his impersonation of Walter Huston in White Heart Black Hunter. He’s not that kind of actor. But in Escape from Alcatraz, he’s playing someone nobody
knows so an imitation isn’t necessary. Whether or not the film is historically accurate is debatable because honestly, we don’t know exactly how it ended. However, as a piece of entertainment the film works. The script is tight, and the performances are earnest. You are rooting for the “bad guys” to make it and the suspense is real.

2. Where Eagles Dare ’68 – Clint had made a name for himself. The “Man with No Name” movies were huge hits. His star was on the rise, but he was still getting 2nd billing especially to Sir Richard Burton. When you think of Alistair MacLean films you think of action-packed, large-scale events. Where Eagles Dare is no different. British spies team with an American to break into a mountain-top, Nazi stronghold to save someone that will turn the tide of the war. The suspension of disbelief required of an audience in 1968 is no greater than that required in 2022 but it is different. Fight scenes, special effects and action sequences are just different. That doesn’t make the filmmaking worse or less sophisticated. Since Clint wasn’t the main star, it would be easy to drop this on in the list. This is Burton’s movie. Clint is handsome window dressing but that’s OK cause the film is still that good. Anyway, this would be one of the last times Clint Eastwood’s name wasn’t on top of the marquis.

1. Bronco Billy ’80 – In my experience you either love Bronco Billy or you hate Bronco Billy, and most people hate it. I get it. It’s not typical Eastwood fare. People came to the theater to see Dirty Harry or Josey Wales and instead they got a quirky, almost whimsical, love story. Instead of John Wayne or Clint Eastwood they got someone who actually believed all the John Wayne, Roy Rogers and dare I say Clint

Eastwood movies were real…..or at least their ideas and themes were real. Bronco Billy has its issues. The love story feels genuine and believable within the context of the film. However, its campy, over-the-top portrayal of Antoinette’s family is at the least distracting. But Bronco Billy is about truth and honor and working hard and obeying your parents and all the lessons Bronco learned from his heroes and now wants to teach the little buckaroos who come to his show. It’s about protecting your friends and being an example of righteousness and doing good. For Bronco it is not silly and it's not hokey. Bronco’s amazing level of naivete and optimism is such a contrast to the image Clint cultivated for years. That’s why it is one of Clint’s best performances of his entire career. And not for nothing, when it’s all said and done, you end up pulling for Bronco. Even though he’s frustrating and oblivious and painstakingly loyal despite the consequences you want him to be right. You want this optimism to actually be the truth and doggone it…..maybe it is. Such a sweet film.

I’m open for rigorous questioning!!

Unsolicited Movie Review - Oscars 2026 Edition

 

Here we are again. Oscar time is upon us. It is the most wonderful time of the year! At least for me. Every year's crop of Best Picture Nominees is a marvelous, mixed bag of styles and themes and genres. This year even a little more so.  Small independent character studies, a classical horror legend often overlooked for its depth and a new original horror praised for its complexity. There are two foreign language entries, super-fast racing cars, a grief-laden tale of a literary legend, multiple “conspiracy” theories run amok and often running into multiple revolutions. There are lumberjacks, secret spies, assassins, kidnappers, a modern underground railroad and vampires……don’t sleep on the vampire. That’s not even mentioning the aliens, the Santa Clauses, gangsters, the Klan, possibly the next Bond, wildfires, a bluegrass, the blues and a cold-war,  global Ping-Pong championship.

It was a full year!

It’s a different crop. While there are obviously some shared themes and commonalities of similar human emotions the styles of films really are drastically different…..which is awesome. But, it does make it hard to compare and contrast. I didn’t hate any of them.  Which isn’t as much fun because I don’t get to be as snarky.  Luckily, unlike some years, both of my favorite films are nominated for Best Picture. Not typically the case. There are always headscratchers and snubs. If I were going to put a blockbuster on the list, F1 would not have been my choice but it’s not a crime against nature.

These are the films we have. They vary in story, style, scope and theme. They are all worthy additions to the world of movies and some to the snootier world of cinema even if they are not your cup of tea!

These are listed in my order of rankings. Top to Bottom for the Best Picture Award.

This is NOT necessarily what I think is going to happen with the award. Do not use this list to make bets. You will lose your house. These are listed in the order that I would rank them if I had such a vote for Best Motion Picture. I would love to hear from you and know what you think.

 

SINNERS – This is my favorite experience in cinema. Going in blind, not knowing much about what I am about to see. Then, I’m completely immersed in a story where I don’t know where the story is going to take me or how it is going to get me there. A story that confounds and surprises my jaded expectations.  Sinners, surprised me in all the best ways. Not because it was unclear if it was a thriller or a horror film. Not because it had vampires mashing up Buzby Berkley style musical numbers with bluegrass music. Not because it had an extraordinary cast that seemed to lift right off the screen or that it was a fascinating visual experience.

It surprised me because the director, Ryan Coogler weaved all these elements seamlessly into a fascinating film that blends Jim Crow-era drama with American and African folklore, while pounding out themes of community, survival, family, ancestral trauma and sacrifice.

Sinners achieves the rare accomplishment of seeming familiar and absolutely surprising all at once. It won’t be for everyone but that doesn’t mean it doesn’t have a ridiculously wide appeal. Ryan Coogler doesn’t have anything to prove as a film maker. But films like Sinners are career defining and may hint to more to come. Let’s hope.

 

 

ONE BATTLE AFTER ANOTHER – There aren’t many years OBAA wouldn’t me nominated for Best Picture. Putting it second on my list took a lot of internal arguments. The scope and scale of the film is quite amazing. Paul Thomas Anderson has firmly established himself as an auteur. His writing is so engaging and allows the characters to endear themselves to an audience without the audience ever realizing they are being sucked in.

Desperate out of control Leo is hysterical and compelling. Teyana Taylor is electric. Sean Penn is so over the top it borders satire. Chase Infiniti is a rookie seasoned pro. Benicio Del Toro was effortlessly hysterical and stole every scene he was in.  PTA took all these insane performances, wrapped them in a series of gorgeous and sometimes disparate vignettes. He smothered them in a singular soundtrack and topped it off with one of the finest edited chase scenes ever and in the end told a tale that included revolution, secrecy, murder, conspiracy, friendship, desperation, civic duty and courage……..of a single Dad raising a teenage girl. 
Seriously, it is meticulous film making.

 

 

MARTY SUPREME – To call this movie frantic is an understatement. I’m getting anxious just reflecting on the film while writing this review. Of all the films this year this was my most pleasant surprise.  Because of the onslaught of marketing and self-promotion from Chalamet, my expectations were that this would prove to be a snooze-fest and they were just doing damage control. Completely to the contrary, the movie blew my doors off. There is no reason this film is as compelling as it is.  Listen to this pitch……

“Ok, so its post WWII and we are following an astoundingly annoying lout who is antagonistic, egotistical and manipulative. He works for his uncle selling shoes, but he is willing to lie, cajole and scam friends and strangers alike to keep his dream alive of becoming the greatest Ping Pong player on the planet”

Luckily the pitch worked. What we get is a detestable, yet compelling character completely focused on achieving his personal goal of greatness. It is his singular vision and dedication that is so endearing and counterbalances the vitriol he creates with his willingness to harm anyone is his path to get what he wants. As maddening and contemptible as he is, his effort and tenacity and sheer stubbornness force you to cheer for him.

The movie has its foot on the gas from the opening credits. It never lets up though a string of events that would cause anyone else to throw their hands up in defeat…but not Marty. Every struggle, every setback, every dangerous or desperate catastrophe that should end his struggle just acts as fuel for him to double down and take an even bigger chance that’s sure to fail.

It’s a ride. Chalamet was not over selling it…..however annoying he was…maybe he was just channeling Marty.

 

BUGONIA – One of us is crazy……is it me…….or is it you? Or is it us? Or, nevermind. It is everyone else.

I doubt there are 2 other actors over the last 10-12 years that have better resumes than Emma Stone and Jesse Plemmons. Or as he is called in our house, Meth Damon. Emma is the bigger star but Jesse, as her mentally fragile kidnapper, is the most convincing element it this film. His earnestness and authentic portrayal force the viewer to question what they know for sure may not actually be for sure what they know. But is the viewer’s indecision based on the kidnapper’s reasoning and facts or is he just so sympathetic and affable that you what him to be correct. Bugonia has the confidence to never let you know who is crazy. You are pretty sure it isn’t you but then again…..

Superbly acted, frustratingly crafted and specifically ambiguous for the discerning movie goer.  The beauty of the film is that it keeps you wondering up and to the last moment when it proves you wrong….probably.

 

HAMNET – Over the years I have watched famous actors who are closely associated with their works of Shakespeare discuss their love for his work. Their reverence at his ability to express such a wide array of emotion. Whatever condition one finds themselves and needs a way to express it can be found in the vast works to portray any emotion sufficiently. Art, at its best, at its very best, can aid human experience in processing, if not actually understanding, any range of human emotion. But what is that transformative process that allows the artist to go from grief to art?

It has often been said that writers write what they know. Hamnet is a beautiful, albeit devastating piece of filmmaking that portrays William Shakespeare channeling the grief from the death of his 11-year-old son into works of art. Stories and sonnets and poems of such beauty and depth and resonance that they have remained relevant for centuries. How else could stories have such powerful messages if not born of such powerful feelings to begin with? To transform or not to transform, that is the question?  (see what I did there).

Is that how Shakespeare transformed his grief? Who knows.  What I do know is the film’s exploration of that transformation results in a movie that’s an emotionally charged onslaught for the viewer. Hamnet is anchored by brutally honest portrayals from Paul Mescal as Bill Shakespeare and Emily Watson has his mother. But the drive and heart and fire of the film come from Jessie Buckley as Agnes. Her grief is beyond emotional and slips into palpable.

 

TRAIN DREAMS – Proof that a slow, methodical, quiet movie can be interesting and emotional. Couple that along with 3 superb performances and the fact that it may be one of the most beautifully shot films I have ever watched. What do we need in life to make us happy?  What are we willing to do in life to protect that happiness?  As we progress what is that progress worth? What can we live with? What can’t we live without? And how much loss is too much?

Based on Denis Johnson’s novella, Train Dreams asks all these questions, not necessarily answers them though, through the eyes of a simple woodsmen of the American west during the early 20^th Century.  Joel Edgerton continues a string quality work anchoring this film leaning into his character’s decency and humility. Felicity Jones and William H. Macy also give nomination worthy, if not realized, performances.

And let me say it again for unsubtle affect…..Train Dreams is one of the most beautifully shot films you will ever see.

 

 

THE SECRET AGENT – I love movies that show you a time or event of real drama and suspense that you never even knew existed. In 1977, Brazil was in the middle of a military dictatorship. The film follows the journey of Marcello. His real name is Armondo. He comes into the coastal town in a beat-up VW bug with no money and coasting into town on fumes. The opening scene deftly leaves the viewer unsettled at the most and full of questions at the very least. He’s desperate and alone but has a destination and purpose. His story unfolds acting as the vehicle to expose the truth of the violence and a tragedy suffered upon those who find themselves in conflict with a corrupt system. He and his family are one of countless trampled and discarded in the fog of such tragedy’s.  We learn the answers to all the questions we are asking ourselves in the opening scenes. Unfortunately, we rarely like the answers. We learn of bravery and character and principles. We also learn tragedy and greed and sacrifice. We also learn that most, if not practically all, of these stories fade and are so quickly and easily forgotten. Their impact, however important and vital are also fragile and quickly erased. There is importance remembering and documenting and reminding everyone of the truth.

 

 

FRANKENSTEIN – FYI! I’ve never been a particular fan of Frankenstein. The old Boris Karloff flick was cool when I saw it on a tv in 70s. But that was a far cry from the grander, more important tale that Mary Shelly wrote about Victor and his monster. Guillermo del Toro is as skilled and talented as any filmmaker. His vision and composition are inventive and singular. His movies are a feast for the eyes. More importantly you realize when you watch his films, how complete and clear a vision, he must have had all along. It doesn’t feel as if there are any accidents. Everything is in concert with the idea of telling the story and vision he began with. Frankenstein is no different. The story’s themes of the dangers of knowledge, revenge, isolation, responsibility are all on display. It is done beautifully and great acting and stunning visuals……and I didn’t really care. Probably because I just don’t dig Frakenstein.

 

F1 – There is nothing wrong with F1. This marks a continuing trend since they opened the Best Pic category to 10 films. There is usually one huge box office success that’s always popular but more that likely never would have made the cut if there had been only 5 nominees. It is action packed. The sound and editing and special effects are all riveting. You’ve got Brad Pitt and races and exotic locales.  Grab the popcorn. Besides its technical prowess, the story and emotional punch fell flat. This really isn’t the best use of Pitt’s earnestness. If you were looking for a Blockbuster, Avatar Fire and Ash or Superman would have been the better options.

SENTIMENTAL VALUE – There is art here. There is exceptional acting as two daughters navigate life after losing their mother. This is made more dramatic as they discover the new dynamics of the relationship with their famous and mostly estranged father. This film is a study in regret and missed opportunities and the consequences of our decisions. It is also terribly slow and plodding and not entirely unpretentious. Again, there is skill in its construction and execution, but I didn’t find it particularly entertaining.

 

USMR - Jimmy Stewart Westerns

 USMR - Jimmy Stewart Westerns

Unsolicited Movie Ranking - Jimmy Stewart Westerns Version

So a couple of weeks ago Shelli Hamer York came in as I was watching an old Jimmy Stewart western. Then, much to my bewilderment she asked me....."Did he do a lot of Westerns?"

DO WHAT? Uhhhhh, YEA!.

With films like Its A Wonderful Life, Anatomy of A Murder, Mr. Smith Goes To Washington and four different Hitchcock Classics to name a few, it is easy to overlook that Jimmy Stewart was one of the most successful Western stars in Hollywood. Outside of John Wayne, Jimmy's western catalog is as impressive as anyone's. Stewart was the leading box office draw of the 1950's and his westerns played a huge role in that success.

So, once I set my astonishment to Shelli's questions aside I did what anyone else would do. I made a list of all of Stewart's westerns and decided to re-watch and rank them all. Just like anyone!

Stewart starred in 17 westerns over his career. I'm ranking 13 looking at the 20 year period from 1950 to 1970. Excluded are Destry Rides Again (39) which was a huge hit but sort of stands by itself 11 years prior. I am also excluding How the West was Won (62) and Cheyenne Autumn (64) because he was part of huge cast and not central to the success. Also excluding the Shootist because that was Wayne's film...period. And before anybody asks, Shenandoah isn't a western...don't get me started.

A few observations.....I had seen all the films at least once except for Firecreek. How I missed a western starring Jimmy Stewart and Henry Fonda is beyond me but I had never even heard of it until now. It wasn't a big hit but still.....I should have known.  It had been as much as 30+ years since I had seen some of these. Certain impressions I had from years ago have definitely changed. Here are a few things that stuck out.

One, probably because I'm a father of a 19 year old daughter the number of instances in these films where Jimmy's love interest eventually ended up being an actress less than half his age was glaringly obvious. Stewart, by all accounts was a good guy and a gentlemen. But I have to admit when watching these films with matured eyes it adds a creepier aspect to a lot of films from this era....not that the same doesn't still go on.

Two, the films that relied heavily on a detailed depiction of interactions with Indian tribes invariably hurt the overall quality of the film. It just leaves such a believability gap. (Don't get me started on the ridiculous gun fights)  It is easy to knock how Hollywood portrayed Native Americans....which was blatantly racist. That alone shouldn't diminish the film when watching it in proper context. My problems come from just bad film making. The writing and acting and direction, even when really good film directors like Anthony Mann tried to depict Native American life and lives,  really stands out and hurts some of the films. It hurts them contextually and it hurts them as sheer entertainment.

Three, the number of actors who pop up in multiple films is pretty amazing. It was common with the studio system and directors to use actors they were comfortable with. Some practically play the same character with different names. Will Geer (Grandpa from the Waltons), John McIntire, Andy Devine, Arthur Kennedy, Harry Morgan (Col Sherman Potter), Millard Mithcell, Dan Duryea and Jack Elam were all staples. Not to mention future stars who made appearances like Rock Hudson, Shelley Winters, Tony Curtis, Audie Murphy, and Shirley Jones.

Finally, and this is important, there isn't a bad movie in the bunch. Some come off as a bit campy for today's viewers to be sure but watching them with context and era in mind it is an amazing body of work. Especially when you consider these are only 13 of the 17 westerns and constitute less that half the films Jimmy starred in between 1950-1970...SHUT UP!

13.    Broken Arrow ('50)  A classic Anthony Mann western based on a true story. If you want to talk authenticity issues....Jeff Chandler, born Ira Grossel to a Jewish family in Brooklyn, got nominated for an Oscar for his portrayal of Apache War Chief Cochise. To its credit, this was one of the first movies that showed Indians as something other than savages. Cochise was portrayed as a wise and thoughtful leader. That aside, all the interactions with the Indians are so clumsily filmed and written it just has a difficult time translating to a current audience.

12.    Firecreek ('68)  Not a bad movie at all. Even with two huge stars it feels a little like a TV movie. There was a lot to explore here that the script or director just never chose to exploit. Would have loved to see a director like Peckinpah shoot this. It wanted to be edgier but just never got there.

11.    Two Rode Together ('61)  Great cast. Stewart plays a scheming, opportunistic sheriff to a tee. Great chemistry with Richard Widmark. Like John Wayne's Searchers this movie is about finding and "rescuing" white captives of Comanche war raids. Definitely inspired by actual events it is still awkward to view the portrayals of the Native Americans especially with Chief Quanah Parker being played by German born Henry Brandon. The movie tries to show the complexity involved but again, maybe because of censor rules or just the melodramitic acting style, or should I say overacting, really dings what is otherwise a very enjoyable film. 

10.    The Naked Spur ('53)  Robert Ryan eats up his scenes and Janet Leigh takes her turn as the lady who is half the age of the men she is likely to show interest in role.

09.    The Rare Breed ('66)  This was actually the only film that I wasn't able to re-watch. But I have seen it 3 or 4 times  so I thought I was good. Stewart, Maureen O'hara and Brian Keith. It's a return to the gruff loner Stewart played so many times eventually making a connection and caring for something or someone besides himself.  

08.    Bandelero ('68)  When Jimmy isn't playing a gruff loner he's probably playing the cowboy with a heart of gold who is out to save his ne'er-do-well brother who is almost always on the wrong side of the law. Here the brother is Dean Martin and the love interest was Raquel Welch. All wrapped up with George Kennedy as a jealous, obsessed sheriff.

07.    The Cheyenne Social Club ('70)  A real buddy movie with two real buddies. Fonda and Stewart were roommates as young actors and they had a lifelong friendship. Their comfort and ease with each other is great in this western comedy. Light-hearted and charming.

06.    The Man From Laramie ('55)  Another great mysterious loner who gets wronged and gets even. A stranger in a strange land taking on a rich land baron and his crazy son. I knocked this down to 6 cause of some silly Indian stuff but it really is top notch.

05.    Bend of the River ('52)  I could easily shuffle 6 through 3. All four with solid stories. All four about grit and determination and fighting the odds. Along with Far Country this is the some of the most gorgeous cinematography of all the films. The other thing you will notice is some of the stars are actually pretty solid horsemen. Filming where they take some of the wagons in this movie really gives you a good idea to how difficult some of these drives and conditions were.  Arthur Kennedy is great in this film as he goes mad over making money....and Aunt Bea from Mayberry makes an appearance.

04.    Night Passage ('57)  Along with Winchester 73 this has one of the better scripts. Throw in Audie Murphy and Brandon DeWilde (the kid from Shane) and the railroads traveling through the Rockies you have a really special film.

03.    Far Country ('54)  One of the few films of the era set in Alaska. It was the 4th Anthony Mann western and they were were in their stride. Plus no goofy interactions with the natives. This movie's famous climax was set up all through the film starring Jimmy's horse Pie. Jimmy rode Pie in 17 films and often said he was the best costar he ever had. That's some pretty good company.  When Pie died he was buries on the Stewart family ranch.

02.    Winchester 73 ('50)  This was the one that showed people Jimmy could be a believable tough guy. It started the 20 year western run and it was a superb story and well written. The throughline with the rifle changing hands held the narrative. Rock Hudson as a 20 year old Indian chief and Tony Curtis as an Army grunt and Shelly Winters as the damsel.  

01.    Man Who Shot Liberty Valance ('62)  Often the greatest casts on paper don't make the greatest films. It is hard to imagine a better cast than Stewart, John Wayne and Lee Marvin. That's heavyweight. Directed by one of the masters John Ford. Funny that a film full of legends is remembered for the famous line. "When the story becomes legend...Print the legend." 

Unsolicited Movie Reviews - 2025 Oscar Edition

 

Here we go again. Oscar time is upon us. It is the most wonderful time of the year! At least for me. Every year's crop of Best Picture Nominees is a mixed bag, and this year is no different. Two major blockbusters that take place in imaginary worlds but one has more music. One slapstick comedy with hookers, gangsters, drug dealers and sex. A real bio pic about a poet and pseudo-bio pic about an architect. Next year they’ll make a gangster film about a plumber. There are Popes, witches, Cardinals, prisoners, drug kingpins, oligarchs and the strangest set of twins……ever.

 It’s a different crop. I didn’t hate any of them. If I’m honest my favorite film of the year wasn’t even nominated. If you get a chance check out Sing Sing. It was superb. But these are the films we have. They vary in story, style, scope and theme. They are all worthy additions to the world of cinema even if they are not your cup of tea!

These are listed in my order of rankings. Top to Bottom for the Best Picture Award.
This is NOT necessarily what I think is going to happen with the award. Do not use this list to make bets. You will lose your house. These are listed in the order that I would rank them if I had such a vote for Best Motion Picture. I would love to hear from you and know what you think. 

Conclave Conclave is a tense political thriller set against the backdrop of Vatican secrecy. It is exactly the grown-up dramas filled with gripping dialogue, amazing performances, stunning visuals and intriguing plots that are why many of us fell in love with cinema. It is the real deal. Such an amazing follow-up for Edgar Berger after his amazing All Quiet on the Western Front. His status as auteur is solidified. Raph Fiennes continues to be as steady and dependable actor/star as we have. Villian, hero, character actor you name it. Fiennes’ resume is elite. Have Stanley Tucci, John Lithgow and Isabella Rossellini as your “supporting” cast doesn’t hurt. In a landscape where cinema seems like Pop Country, Berger is playing that good jazz that is so entertaining that you don’t even realize how complicated it is.

Dune: Part Two When Part One came out I said it was the first time I felt the way I did when I saw Star Wars for the first time. There have been countless worlds imagined in faraway places with Sci-Fi dreams of flying saucers and grand story telling tropes of battling dynasties and messiah figure heroes.

But Denis Villeneuve’s Dune was the first one that felt complete to me. It felt fully throated and dare I say believable. This first came to the screen in 1984, by David Lynch no less, and it was awful. I know some people loved it back then but even with adjusted eyes for 1984 viewing…. it’s just bad. It was campy, synthetic and devoid of anything organic to relate to. Let’s face it. This nomination is for both Part One and Two. Much like Lord of the Rings Return of the King. They may just reward the entire work. Maybe they should because they both delivered mesmerizing visuals, emotional storytelling and a faithful adaptation of the script to a beloved source material.

The Substance Coralie Fargeat’s The Substance may have achieved the status of the “PERFECT DATE MOVIE”. Is ts a rom-com, or a period piece or a love story with a little action or violence that can pacify women and men alike?  NO! It is a body-image horror film that delves into themes of transformation and self-destruction. How does that make the perfect date movie? Well, it speaks to, especially women, about the unattainable levels of perfection that can destroy self-esteem and confidence turning their lives into a quest for society’s image of beauty. It has subtexts of the horrors women experience around self-loathing, body image, representation, feminism and agency. For men, it is at its core a Sci-Fi drama with violence and gory imagery. But most importantly for the guys, and this can’t be overstated, Demi Moore and Margaret Qualley spend a lot of time naked…..I mean a lot. See, perfect date movie! But in all seriousness, The Substance was the most surprising of all the films this year for me because I liked it much more than I was expecting. The film’s grotesque imagery may not be for everyone, but it offers a unique viewing for everyone because it will speak something different to everyone based on their own background. It has as point of view to be sure, but the really special quality of the script is the massive amount of subtext that the viewer can pull from their own life. And, in many cases, probably more than the authors could have even intended.
Demi is probably gonna get her Oscar and hats off to her, it will be well deserved. But, make no mistake, Margaret Qualley is superb as well and her career can be a long time if she chooses.

Wicked Listen, if you don’t like musicals…. I don’t know what to tell ya. You’ll probably hate this. If you do love Broadway musicals then you almost definitely have an opinion about Wicked and it’s most likely positive. It has worked its way into the pantheon of American Musical Theater. It is every bit an

Oklahoma, South Pacific, Les Miz or “fill in the blank”. It is a huge and popular show and that is what makes bringing it to the screen so perilous. It’s possible that absolutely nobody will be happy with the final product. Keeping it exactly the same as the show you risk ignoring the natural differences in medium from the stage to the screen. Make too many or the wrong adjustments and you risk the seething disdain and monumental hatred of 10 million drama kids of all ages!

So, I’m going to make this simple. Wicked (PART ONE) is great. It works on every level. The two stars are STARS in every way you need to be in musical theater. Are they both a little “diva-ish”? Sure. But they are also two obscenely, talented mega-stars that you need to carry a film like Wicked. If Elphaba and Ga-linda don’t work the movie don’t work. They are both exquisite. Especially when you consider that all the music was recorded live on set. Art, Costumes, Make-up, Sets, Special Effects….you name it the film hits all of its notes. I honestly can’t imagine a fan of the musical not liking the film. Will it win best picture? I doubt it but if it did it would be worthy. My guess is that the academy will wait till part 2.

Anora Sean Baker’s Anora is at the least a polarizing film. I have seen it billed as a modern-day Cinderella story. A more accurate analogy would be Cinderella’s drug induced, sex-ladened, pretty, damn hysterical fever dream.  The movie felt like it had two definitive halves. The first is dark and meandering as you learn of Anna’s (Anora) circumstances. The second part, and it turns on a dime, is a border line slapstick comedy, albeit dark comedy. It goes into overdrive until the it comes to its sad, poignant and probably inevitable stop.  While these things are fickle, Anora should be a star turn for Mikey Madison who has been doing quality work for the last 10 years. She is engaging and most importantly believable. Even in some amazingly unbelievable situations.

I’m Still Here To put it plainly, this is a wonderful film set in Rio De Janeiro circa 1970. It based on

the true story of Eunice Paiva and the arrest and disappearance of her husband Rubens at the hands of the Brazilian military regime. It is a subtle and sweet movie about love and resilience. It is a powerful reminder of the strength of family and sheer will need to survive.

The Brutalist I saw one article that touted Brady Corbet’s The Brutalist as “an ambitious architectural

drama”. Man, that’ll sell it. First the good/great about the movie. The acting. Brody is phenomenal but the so is Guy Pierce in a role that is quite different. Even for an actor who can’t really be typecast. The cinematography is its own character of the film. Its addition to the nuance and tone of all the scenes is
palpable. It’s a grand story both narratively and visually with hints and inspirations of Citizen Kane. The not so good…. it’s just too damn long. I’m perfectly fine with long films. I love them in fact. But for a three plus hour film the ending seemed rushed and rather un-satisfying by comparison the exquisite nature of the rest of the film. I’m glad I watched it, but I doubt I’ll ever watch it again.

A Complete Unknown James Mangold’s biopic of Bob Dylan, A Complete Unknown, offers an intimate yet enigmatic portrayal of the legendary musician.  That seems entirely appropriate for a figure who has been enigmatic and intimate for his entire career. Timothée Chalamet’s performance is beyond commendable. It is transformative as he performed all the music live and himself. It does add a realness and familiarity that is hard to describe. As with all biographies, there are some questionable dalliances with accuracy.  Many of these can be attributed to Bob himself who was heavily involved in the story working to continue those enigmatic tendencies he obviously thrives upon. It’s a solid film. It’s not the best biopic I’ve ever seen. Had it not been about Dylan and if Chalamet’s performance was less than stellar it would have never made the nomination.

Nickel Boys Based fictional novel that is based on actual events, Nickel Boys is a harrowing tale of
human injustice and the resilience and eventual consequences of surviving the injustice.  I’ve not read the book but if the movie captures half of the emotional weight effectively it would be a tough read. The movie’s somber tone may feel unrelenting and while you think you probably “know” where it’s going it keeps you unsure till the end. The use of perspective and point of view worked for me as a matter of storytelling. I can see how it may be off-putting for some people.  Man’s cruelty to man is always so devastatingly sad and unfortunately all to believable.

Emilia Pérez Emilia Pérez is a bold gender-bending film that mixes musical elements with crime drama. Ironically, the film comes across as not exactly knowing what it wants to be. There are two words (maybe three) in that sentence that will keep a lot of people from ever seeing the movie. Gender-bending and Musical. Both are pretty polarizing, lol. That’s unfortunate. While the characters in the movie seem to know exactly who they are, the film itself is more confused. Don’t get me wrong. It is a terribly engaging story with intrigue, tension, mystery and scope. I personally think the biggest problem with the film is the musical aspect. The musical numbers are fine, but they cause tonal shifts that distract from the narrative. That’s not to say musicals can’t be serious, they can. But here, the story is strong and works on its own. I wish the makers had trusted that and left the music….in the closet. (I’m Sorry).  Kudos for ambitions and experimentation, just missed the mark a little.