FilmMattic

Weekend       There were some formidable contenders to consider for "W." We've got Sam Peckinpah's Western The Wild Bunch , but I've already honored enough classic Westerns for one alphabet ( High Noon , Once Upon a Time in the West , and Unforgiven ). Who Framed Roger Rabbit is an entertaining, live-action/animation, fantasy-comedy spectacle from the special effects wizard Robert Zemeckis, but he's already captured a magical spot ( Back to the Future ). Judy Garland's performance in Victor Fleming's The Wizard of Oz will forever astound me; it's a true marvel of its time and a movie I cherished during my youth. But its enchantment doesn't quite send a chilly tingle up my spine the way it did when I was a kid, so I have to pass. Finally, the supremely talented Billy Wilder gets another crack at my Alphabet with Witness for the Prosecution, and just like Some Like It Hot, he was oh-so-close. Movies based on plays can be rather hit-or-miss; ho...

Vertigo       I'm one of Paul Newman's most ardent fans (his portrayal as Cool Hand Luke is simply jaw-dropping). His performance in The Verdict is nothing short of spellbinding. But Sidney Lumet's powerful and competent legal thriller does not earn my "V" spot (it was a close call). It's an unfortunate circumstance for the wonderful Lumet whom I greatly admire. I'd certainly place 12 Angry Men, his more riveting legal drama, in any numerical countdown, but there's just no numerals in the alphabet. Furthermore, Serpico and Dog Day Afternoon feature two of my favorite actor's (Al Pacino) best performances, but Kurosawa and John McClane got in Sonny's way. I haven't seen Valkyrie, so we can at least preemptively stave off any Tom Cruise bizarrely-jumping-for-joy-on-couches sightings. And Jean-Luc Godard is one of the most important and prodigious filmmakers in the history of cinema, but I must admit a modicum of shame for not seeing Vivre...

Pulp Fiction       I've referenced Quentin Tarantino so many times before that I feel like he's already been awarded his own Great Alphabet of films. His extraordinary breadth of influence—or more explicitly, those who have inspired him—permeates most of my broadest cinematic affections. I guess this is why, perhaps perfectly fitting, that I'm moving from a discussion of a Sergio Leone film (whom Tarantino adores for his staggering stylization) to, in my opinion, Tarantino's best film.