You call him Dr. Jones! My Indy movie marathon memories

Harrison Ford as Indiana Jones

This past weekend -- because my fiancee was feeling under the weather and I thought my city might be getting hit with a hurricane, I did something I've been meaning to do for a long time -- I watched all four Indiana Jones movies in a row.

This is one of the most successful and beloved franchises in movie history, which despite its flaws (some uncomfortable portrayals of foreign cultures, for instance) is the gold standard in terms of smart and engaging escapist action.

Back in 1981, George Lucas and Steven Spielberg did a brilliant job updating the adventure serials they adored in their youth, and created one of the most iconic characters ever.

Indiana Jones also helped Harrison Ford escape the shadow and stigma of Star Wars, showing he had more range and star appeal than the industry initially thought he did.

Here are my thoughts on the four Indy films after having watched them again with fresh eyes.

Raiders of the Lost Ark (1981): The original Indiana Jones movie is pretty much a perfect film. It was nominated for Best Picture and it's easy to see why. It's popcorn cinema at its finest. A fast-paced film that is lively, accessible and charming. I think a case could be made for it as the best action movie ever (although Die Hard fans would beg to differ). The mixture of live stunts and the mystical elements of the arc of the covenant are irresistible. Like most people -- probably -- this is my favorite
Indiana Jones movie.

Indiana Jones and the Temple of Doom (1984): A much more relentless film than the original, which is not always a good thing. A darker, more gruesome entry that still has some incredible set pieces along the way. Its opening may be my favorite of the series and the moment where Indy cuts the drawbridge may its most badass. Still, it's story is lacking in comparison to the first and third entry, which makes it the weakest of the first three films -- but it's still a classic.

Indiana Jones and the Last Crusade (1989): In many ways this film is a return to the spirit of Raiders; the Nazis are the bad guys, the artifact he's chasing has biblical significance (this time the Holy Grail) and the emphasis is more on the Jones character than the pyrotechnics. The addition of Sean Connery as Jones' father was an inspired choice and although some of the FX hasn't held up quite so well, the finale provides the perfect capper to one of the best trilogies in movie history.

Indiana Jones and the Kingdom of the Crystal Skull (2008): And then there was this one. Now, here's the thing, I have always defended this movie. I liked it a lot when I first saw it in theaters and I have never considered it a total disaster on par with the Star Wars prequels.

In other words, I think it is a legit Indiana Jones film, just the worst one. I am not angry they made it nor do I think it was destined to be terrible. In fact, if you revisit it now I'd say it's hard to argue that the first 30 minutes or so aren't just good but great. Surehe CGI moles are little much but I liked the nuking of the fridge.

It's when the movie really kicks into its plot that it badly loses its way. If there was ever a movie where the title spells out what's wrong with it, it's this one. It's too long and suffers from too many cooks. I loved the idea of transplanting the Indy character to the 1950s, the movie has a great look to it and I think the Communists could have provided Jones with a formidable foe. But the movie can't decide what it's about, so it throws in a bunch of stuff -- red scare, FBI agents, Marian and Mutt, aliens, backstabbing former allies -- and a babbling old kook played by John Hurt.

I actually had no problem with Crystal Skull being ultimately an alien movie but the aliens looked horrible and were sort of pointless. I had no problem with Shia LaBeouf playing Indy's estranged son but he's so perfunctory to the plot that I never really cared about him or their relationship. I thought Cate Blanchett could have played a good villain but her performance is pitched almost as parody, so I never really found her to be a legitimate threat as I did with the bad guys in previous films.

And then there's Marian Ravenwood, played by fan favorite Karen Allen. I thought it was cool that they brought her back, she was always the toughest and most fleshed out female lead in the series. But then they made her this conventional, sort of frumpy mom whose only function is to nag Jones and ultimately marry him. Couldn't they have given her a more fascinating back story or reveal.

I liked this fight scene.

Basically, there were a lot of missed opportunities. At 65, Ford not only looked great but was still plausible as Indiana Jones. He gives the character a gravitas and world weariness here that is terrific. It would have been interesting to see a film where Indy grapples with the inevitability of having to hang up his signature hat due to the arrival of his son and perhaps an adventure that could prove the most costly of his career.

Instead the stakes in this movie feel too low -- literally one character is killed on camera by Indy -- and the giant set pieces (like the awful, extended truck race through a forest) mostly fall flat. But again, I enjoyed some parts of this film and I think had director Steven Spielberg had complete creative control over the project (as opposed to collaborating with the tone deaf George Lucas) this could have been a better movie.

Now, there's talk of rebooting this franchise again because, you know, nothing is sacred in Hollywood. I am pretty vehemently opposed to this idea. For one thing, I just don't want to see anyone else as Indiana Jones but Harrison Ford. I'm biased because he's one of my favorite actors, but I also just think there's no one else out there who can bring more to the role than he did. I am not interested in seeing a brooding, millennial version of the iconic archaeologist but clearly money rules everything around me so you can't stop the inevitable.

So in the meantime, I will cherish the original three and tolerate the fourth. They were sometimes criticized upon initial release as being sort of soulless theme park rides but I think they are better than the sum of their set pieces.

Yes, they are examples of visual filmmaking of the highest order (especially the first film, which director Steven Soderbergh once recut as a silent black and white film, only highlighting its effectiveness), but they are also tributes to inquisitive minds with a sense of daring adventure. In this age of cynicism where characters are always one step ahead and speaking in pithy one liners, I admire the earnestness of these films and their sense of wonder.

Indiana Jones and my struggle with the idea of a fifth film

There are some who have argued that the role of Indiana Jones can be transitive, in the same vein as James Bond, passed from actor to actor. I am not one of these people. For me, Harrison Ford is crucial to making that character and those films work. He has owned the part for nearly 40 years, on and off-screen.

Anything featuring the Indiana Jones character without him would feel like a knock-off. I have nothing against Chris Pratt, and some of other leading actors who get bandied about for the famous fedora an whip, but it would feel like a meaningless money grab to me to 'reboot' it.

Of course a case can be made, and a compelling one, that the last Indy movie -- the polarizing to say the least 2008 movie with an awful title -- Indiana Jones and the Kingdom of the Crystal Skull, was also about money. And it certainly made a lot of it. Even if many fans hated it, the movie was the highest grosser in a very profitable franchise.

Even many of that films detractors will agree that it wasn't Ford who failed us with Indy 4, it was producer George Lucas and director Steven Spielberg, who seemed unable to mesh their sensibilities of come up with an exciting, coherent story that justified a fourth movie's existence nearly 20 years after what felt like a climactic one.

The 1950s Cold War setting was an inspired choice I thought, but the film didn't fully capitalize on its period potential and its space alien finale is murky at best.

Still Cool as F

In the years since, a follow-up has been promised (thankfully, a rumored spin-off starring Jones' son Mutt, played by Shia LeBeouf, never came to pass) and then repeatedly delayed.

In his late 70s, Ford is suddenly viable again, and seems to almost exclusively appear in resurrections of his greatest franchises (only Stallone has been able to rival his output). And against the odds, the results have largely been good.

He gave Oscar-worthy, scene stealing performances (albeit in supporting roles) in both The Force Awakens and Blade Runner 2049, one of which became the biggest box office hit of all-time and the other a critically acclaimed modern cult classic.

There is a part of me that has longed for Ford and company to right the wrong of 2008's Indy with a better, more on brand entry that doesn't necessarily pass the torch but bring his story to a more satisfying conclusion. Sort of like how Stallone made the crowd-pleasing Rocky Balboa as a mea culpa for the godawful Rocky V.

But then the news came that Indy 5 was being delayed yet again -- to 2021! Ford will be 78 going on 79 years old by that time. Now, Ford has survived plane crashes and doors nearly crushing his leg and he keeps on kicking. He looks great and fit for his age, and I am sure he can still turn on the charm as the character, but there is no denying the physicality that this role requires.

How will a film with a 79-year-old Indiana Jones at its center function? Can it be entertaining? Clint Eastwood proved he could still carry movie at nearly 90 last year. Whether you liked The Mule or not (and I did), it was undeniably a hit, although it wasn't exactly an action movie either.

Perhaps a film that fully acknowledges Indy's advanced age and maybe even explores the vulnerability of growing old could be interesting territory for Spielberg to plumb. But what worries me is that he and Ford approach this material with a sort of fan service mentality (which really hampered Ready Player One) where they feel they must hit certain beats, have big set pieces and the go home. There hasn't been a real interest in developing the character of Indiana Jones since 1989's Last Crusade.

My hunch tells me this movie is probably never going to happen. Ford's age is simply going to catch up with him eventually (the tragic loss of his former Star Wars cast-mates Carrie Fisher and Peter Mayhew made that reality all too plain) and Spielberg's heart never has seen to be in it. As talented as Spielberg is, he's no Spring chicken either, and it's clear that when he is not emotionally invested in a movie, it suffers.

I think I don't want to see this movie made, but if it is made I want it to be with Ford and Spielberg (and a tighter, better script), and I'm worried it'll be Pratt and someone like Colin Trevorrow. Sigh.

If 'Indy 5' is indeed happening: 5 ways to make it good

Today I had the pleasure of watching the best (and what will probably always be the best) Indiana Jones movie ever made -- 1981's Raiders of the Lost Ark -- on the big screen.

The movie still works wonders and is a master class in visual filmmaking (director Steven Soderbergh once refashioned it as a black and white silent movie to demonstrate how well-constructed its narrative is).

Harrison Ford created a hero for the ages, so much so that I have virtually no interest in seeing anyone else play him, even though he is in his 70s now.

Steven Spielberg has expressed interest in returning to the series, which is promising news. And Disney, who now owns the rights to the franchise, seem bullish as well. Why wouldn't they be? Even with all its haters, the last Indiana Jones film was actually the biggest hit of the series to date.

Still, this project, if it really does get off the ground, will be met with a reasonable amount of skepticism and it's easy to see why. The series finds itself in very much the same predicament the Star Wars films did prior to The Force Awakens.

The last film -- 2008's Indiana Jones and the Kingdom of the Crystal Skull -- despite all its financial success, left a lot of fans unhappy and the feeling that persists now is that if you're going to do another one of these, it's going to have to redeem the series, to a certain extent.

Harrison Ford in Raiders of the Lost Ark

This has happened before.

Rocky Balboa and Creed more than made up for the crappy Rocky V. And we're all still basking in the glory of The Force Awakens, which managed to both wipe the slate clean of the stinky George Lucas prequels and generate excitement for new characters in follow-up chapters.

If Disney is as shrewd as I think they are, they will adopt a similar formula with Indy 5 -- keep Harrison Ford front and center but also let him gracefully bring his tenure to the character to a close.

There was some expectation that Kingdom of the Crystal Skull would do that. For better or worse they established Shia LaBeouf as Indy's greaser son Muff, and seemed to imply that he might be at the center of future films. But the character wasn't strong enough, LaBeouf trashed the movie -- and then went on one of the more extended career flameouts of recent Hollywood history -- and well, let's just say no one was interested in returning to that territory.

I was pleased to see that Spielberg wasn't interested in replacing Ford with someone younger. I get the appeal of Chris Pratt and Bradley Cooper, but they are no Harrison Ford. He is this character. Just like he is Han Solo. And The Force Awakens proved Ford still has plenty in the tank as an actor and as an action hero. He doesn't look silly in these films as older actors often do -- and I think if he had a script on the same par as The Force Awakens, he could do wonders, maybe even score a long deserved Oscar if they give this Indy adventure some gravitas, as they did in Raiders and later in Last Crusade.

Here is what I think they need to do:

1) Make sure George Lucas is not involved - I know it's popular to pile on George Lucas, and the thing is, I don't hate the guy. But, it's clear he has hit a creative wall. Most of the worst elements of Crystal Skull's plot and conception appear to be traceable back to him, and if his sour grapes reaction to The Force Awakens is any indication, he is stubbornly opposed to changing his ways or embracing a more exuberant style of filmmaking. The less he has to do with this installment the better.

2) Acknowledge Indy's age in a compelling way - The first misgiving anyone is going to have with this project is Ford's age. Even if it's rushed into production he will likely be 73 or 74 by the time it gets made. He is fit and looks phenomenal but it would be ludicrous not to make his age an aspect of the story and I don't mean in a corny "let's make jokes about how he's an old man" sort of way. His being older makes him more vulnerable, perhaps more reluctant to take the chances he once did. This would be an interesting new element of the Indiana Jones character to explore.

You call him Dr. Jones

3) Return to their roots - I, for one, had no problem with Spielberg and Lucas' decision to make Indy 4 more of a sci-fi B-movie as an homage to the 1950s. But the movie veered so wildly into supernatural CGI territory that it started to feel less and less like an Indy film as it progressed. Watching Raiders reminded me of how straightforward the storytelling was in the original trilogy and how much more they relied on practical effects and stunts. I know there are limitations, especially when your star is a senior citizen, but I think this is a series that is built on nostalgia for the past so they shouldn't shy away from it.

4) Give Indy something worthwhile to chase - The best Indiana Jones films have him pursuing an object of enormous consequence -- think the Holy Grail -- and we need that kind of epic so-called MacGuffin to feel more invested in story. Hopefully producers will dig deep and come up with something worth getting excited about. In fact, I wouldn't be opposed if Jones were lured out of retirement because say, the Arc of the Covenant has gone missing, and he is the only man capable or locating it. The first film and the most recent film suggested it was languishing in government storage,  but what if it was stolen and wound up in the wrong hands?

5) Let this be the final chapter - I don't think you necessarily need to kill off the character, but I think it would lend the new movie more significance if there was a clear sense that this would be his last adventure, at least in this iteration. It would again raise the stakes and make the action feel less inevitable and predictable. It would give Spielberg and company license to try something different, and God forbid, edgy. Without the pressure of setting up further sequels, the filmmakers can focus on what's most important -- making a strong, self-contained story which stands on its own.

All hail Harrison Ford! Plane accident puts his legacy in perspective

Harrison Ford as Indiana Jones

I feel like my generation all collectively gasped when we first heard the news that Harrison Ford was in a serious plane accident. Not only because he over 70 years old now, but also because he means something to us.

Now that we all know he's ok -- although he did sustain some significant injuries -- people on the Internet are having fun with the story, photoshopping images of stormtroopers on the golf course where he landed, stuff like that.

This all makes sense -- we live in an age where sarcasm is always rewarded over sentiment.

It also doesn't help that much of Ford's best work dates back twenty years at least, so there isn't the same reverence for him that there once was.

That said, had he died this week or been hurt irrevocably it would have been profoundly tragic, because Ford is one of the greatest leading men in Hollywood history, and he also happens to be on of my favorite actors of all time.

Much of the media coverage surrounding his incident has identified him as the star of both the Star Wars and Indiana Jones franchises. This is understandable, they remain some of the highest grossing films of all time (Ford once held the record as the biggest box office star ever), and they are the roles he will always be identified with, no matter how much it seems to annoy him.

Han Solo or Indiana Jones? It seems impossible to decide which is the cooler character. Ford has always been partial to Jones, the thinking man's action hero. And while I love that character and resent the notion of anyone else ever playing him, I think I might be more of Han Solo fan. I love his swagger and his bravado, particularly in A New Hope and The Empire Strikes Back. He seems to cede the badass spotlight to Luke Skywalker in Return of the Jedi, but he's still the man.

Of course, Ford has done some truly outstanding work in several films outside of the George Lucas-Steven Spielberg wheelhouse. For instance ...

The Conversation (1974) - Ford is essentially a shadowy villain here in a totally against-type role opposite Gene Hackman in Francis Ford Coppola's dark thriller about a surveillance expert who gets too close to one of his clients. Ford is a silky and sinister operator here and his work in this film and five years later in Coppola's Apocalypse Now, suggest that he could have been an interesting character actor too if he never became the huge movie star he did.

Blade Runner (1982) - In the early 1980s, Ford had perhaps the greatest run of A-list movie star turns of any actor ever. In 1980 he did The Empire Strikes Back, in '81 Raiders of the Lost Ark and following this sci-fi classic he would do Return of the Jedi in '83 and Temple of Doom in '84. This was the one film that flopped and yet now it may be remembered as one of his most critically acclaimed and influential films.

Witness (1985) - Ford received his first and so far only Academy Award nomination for this amazing movie which works as both a romance and as a thriller. Ford plays a tough Philadelphia cop forced to hide out in an Amish community to both evade corrupt colleagues and protect a young boy and his mother who know more than they should about a murder. Ford has never been better.

Working Girl (1988) - He showed he could earnestly play comedy here in a movie that is really Melanie Griffith's show, although he gets top billing. They have real chemistry and he brilliantly plays off of her and off of Sigourney Weaver as her obnoxious boss. Ford has dipped his toes in comedy since, most recently in a very amusing cameo in Anchorman 2. He's always showed a light touch, particularly in the Star Wars and Indiana Jones films -- or even on late night shows, but it'd be nice to see him exploit it more.

Presumed Innocent (1990) - Quite possibly the most overlooked masterpiece of Ford's golden age, this riveting legal thriller has him playing a less noble hero than usual and boasts a devastating twist ending that sticks with you long after the movie is over. The film's greatest shot just plays out on Ford's face as he listens to the big reveal. One of the things I really appreciate about Ford is he was always a grown up and with a few exceptions he made movies squarely aimed at more mature filmgoers, this one is perfect example of that.

The Fugitive (1993) - This film just may feature my favorite Ford performance of all time. I can't think of a more sympathetic hero figure. His Dr. Richard Kimble is smart, industrious and driven -- he's been falsely accused of brutally murdering his own wife and he leads the audience on a desperate search to find the real killer while staying one step ahead of the authorities, led by Tommy Lee Jones in an Oscar-winning performance. Ford shows he's not afraid to be truly vulnerable here, something that set him apart from his more generic action star peers.

Clear and Present Danger (1994) - Other actors have and will play Jack Ryan (and I actually think Alec Baldwin probably did it the best in The Hunt for Red October) but Harrison Ford was the most iconic and had the most success in the role. Only perhaps Tom Hanks and Denzel Washington are as good at playing trustworthy, endearing good guys that you can root for. His role as a CIA "boy scout" would be boring if he didn't bring so much grit and determination to the proceedings.

Air Force One (1997) - Sure it's campy ("Get off my plane") and a little dated, but Ford was still legitimately kicking butt at 55 years old and made a convincing president of the United States to boot. Before he made a few too many movies where his family was being threatened, he made this blockbuster and it's an undeniably entertaining thrill ride. And he has great scenes opposite Gary Oldman as the boiler plate sadistic villain.

What Lies Beneath (2000) - This silly but stylish horror film was probably the last major hit Ford has had not counting his return as Indiana Jones in 2008 and his terrific supporting turn in the 2013 Jackie Robinson biopic 42. He shocked audiences by playing a truly evil character and seems to really relish upending his all-American hero persona. Sadly, his work since has been largely disappointing and with his age starting to show his affinity for action has limited him.

Still, there is great hope for this year's The Force Awakens, which will reunite him with original Star Wars stars Mark Hamil and Carrie Fisher. And there is also word that he will play a part in a continuation of the Blade Runner saga. It hards to think that someday he'll be gone and thankfully, for now, he isn't.

1984 Flashback: My top 10 from 30 years ago

Bill Murray in Ghostbusters

1984 is one of my favorite years in pop cultural history. It was the year Martin Short and Billy Crystal blew up on SNL. It was the year of Michael Jackson's Thriller music video and quite possibly my favorite album of all time -- Prince's Purple Rain (more on that later). The Cosby Show debuted in 1984 and the greatest Super Bowl commercial of all time aired too.

The prestige movies of the year (with the notable exception of Amadeus) were largely forgettable and didn't really connect with audiences. It was the pop hits that have stood the test of time. Many of them were not critical hits when they debuted but were widely embraced as classics later.

These are movies that I watch all the time, can quote from with ease and have entered the public consciousness to an insane degree. Everyone knows Ghostbusters or Nightmare on Elm Street or The Terminator, even if they've never seen them. And that's quite a feat.

This is my latest top 10 list, following 2004 and 1994, and this was definitely the hardest because I liked more movies from this year than I did in the prior posts. For instance, the great Mickey Rourke drama The Pope of Greenwich Village just barely missed my top 10. And quite possibly my favorite Muppet movie, The Muppets Take Manhattan, didn't make the cut either.

I think with basically one outlier, all of my picks for 1984 have one thing in common -- they're really fun movies. The kind of movies you buy because you'll want to keep revisiting them.

The most underrated Indy movie

10) A Nightmare on Elm Street - Funny story about this movie. When I was a little kid just the image of Freddy Krueger in commercials terrified me and my older brother convinced me it was based on a true story that took place in our town. I never saw the movie until college and I walked away thinking it was one of the most original, influential horror films of all time. While the sequels devolved into self-parody -- the original still has great power and genuine scares.

9) The Natural - One of my all-time favorite sports movies with an iconic leading role for one of my favorite actors, Robert Redford. This romantic fable of a mysterious baseball hero is old fashioned fun if you buy into the fantasy of it all, which I do. This is the movie that makes all those mythic sports moments we dream of come to life.

8) This Is Spinal Tap - This largely improvised parody of rock n' roll excess is one of the great comedies of the decade and its meta-sly inventiveness is still apparent in modern comedies today. The verbal runs of Christopher Guest, Michael McKean and Harry Shearer are unforgettable. It works because the songs are awesome and hilarious. And like all great comedy it's played entirely straight. "This one goes to 11."

7) Indiana Jones and the Temple of Doom - Sometimes it's knocked as the weakest of the original Indiana Jones movies and I suppose it is, but not by a mile. Its opening rivals Raiders for excitement and it's darker more nasty tone actually holds up quite well. I still remember my big brother (again bullying me) pretending to take my heart out after we watched this film. Yes, Kate Capshaw is the weakest, most annoying female lead in the series. But the scene where Indiana Jones cuts that drawbridge is more than enough to get in my top 10. "You call him Dr. Jones!"

6) Beverly Hills Cop - Quite possibly the quintessential Eddie Murphy movie. This classic fish out of water comedy brilliantly utilized Murphy's unique set of skills -- his mimicry, ability to take on personas, his wiseass side and his inherent likability -- are all on display here. His Axel Foley is just the epitome of cool, almost always one step ahead of everyone. He would never be (and may never be) that badass again.

5) The Terminator - The original and still my favorite of the Arnold Schwarzenegger-as-killing-machine action spectaculars. The first film revolutionized both the sci-fi and thriller genres and helped make Schwarzenegger an A-List icon. It doesn't waste a second for sentimentality, it just plunges into this neo-noir world with something very real at stake. This is when James Cameron was just a hungry filmmaker trying to make his mark -- and boy, did her ever. He'd be back.

4) Repo Man - A loose, funny and inventive piece of punk rock cinema which is like one big middle finger to the whole Reagan aesthetic. Naturally one of the best takes on American culture would be made by a Brit. This movie is almost impossible to describe. It's ostensibly a comedy about a pair of mismatched repo men (Emilio Estevez and Harry Dean Stanton) and their cohorts but it's also got science fiction and social commentary. I love this film and it's become more and more of a favorite of mine over the years.

Prince in Purple Rain

3) Purple Rain - As I said earlier Purple Rain is probably my favorite album of all time and Prince is without a doubt my favorite singer, so naturally this has to be in my top three. I think this may be the best concert performance movie ever made (although the same year's Stop Making Sense, featuring the Talking Heads, is a close second). It's also a great film. Prince is an unusual but compelling leading man and Apollonia is one of the sexiest stars of the decade. Dark and brooding but also funky as hell, the movie perfectly captures a singular musical (and fashion) moment in time.

2) Paris, Texas - So this is my one serious film on the list. This glacial, bittersweet story features a stellar lead performance by the legendary Harry Dean Stanton (was this his year or what?). It's a moving portrait of a troubled man who disappeared years ago only to suddenly resurface and come into contact with his young son and estranged wife. Beautifully shot, staged and scored -- it's simply put one of my favorite movies of all time. It justly won the Palm D'Or at Cannes.

1) Ghostbusters - What can I say about this movie? It's perfection. An incredible premise, a dream cast and flawless execution. Even if some of the special effects seem dated now they still have a nostalgic charm. After several hits, this was the movie that rightfully made Bill Murray an icon. Alongside Harold Ramis, Dan Aykroyd, Rick Moranis, Ernie Hudson and Sigourney Weaver (who he had great chemistry with) he elevated what would have been a fun movie into something sublime. Murray's persona would evolve over time, but his bemused, sarcastic and lovable Peter Venkman was the version we'll always love most. One of the best comedies ever made and one of the best films of the decade.

Let the debate begin! Who ain't afraid of no female 'Ghostbusters'?

As I'm sure you've heard by now the tentative cast of an all-female version of the classic comedy Ghostbusters has been revealed by its director Paul Feig on Twitter.

Personally, I am pretty jazzed about the news, while my friend and "Too Fat for Skinny Jeans" blogger Brian Wezowicz is decidedly not.

I invited him to join me for a polite debate on the merits of this upcoming movie, which as of yet is untitled, doesn't have an official release date and hasn't even been shot yet -- but has still managed to spark a huge reaction all over social media.

We'll have to reconvene once this highly anticipated movie finally sees the light of day, but in the meantime please enjoy as we geek out in the extreme about this project...

Brian
Hey Adam, I'm sure you've seen the news that is currently breaking the internet (and my childhood) this week. The all-female Ghostbusters reboot has officially been cast. Kristen Wiig, Melissa McCarthy, Leslie Jones, and Kate McKinnon have reportedly been hired to fill the tan suits and proton packs made famous by Bill Murray, Dan Aykroyd, Harold Ramis, and Ernie Hudson. This news has caused a split between fans and non-fans alike. I know you're a huge Ghostbusters (especially Bill Murray) fan, so I want to see where you land on this news. I should point out that Ghostbusters is my favorite movie of all-time, and I'm on record voicing my displeasure. Before I go off on what I dislike about this, I'd love to get your take.

Adam
Ghostbusters definitely ranks among my favorite films of all time as well. I binge watched the cartoon, owned the toys and have attended both of its recent re-releases in theaters. I have cringed over the years when I heard about Dan Aykroyd's efforts to reunite the original cast for one more go-round. There didn't seem to be any need to improve upon perfection other than to fleece filmgoers who were understandably nostalgic about the first two films. When I first heard about Paul Feig's desire to reboot the franchise with women I originally thought it was unnecessary but still a more original and appealing idea than bringing the old cast out of mothballs or doing some kind of frat boy version (as was often rumored) starring the likes of Seth Rogen and Jonah Hill.

Kate McKinnon

Now that the all-female Ghostbusters is official, I find the concept growing on me. Something about Ghostbusters speaks to the kid in me and I feel like it's something that shouldn't just be the domain of certain actors or a certain generation. Bridesmaids was one of the best comedies of the last 10 years -- so I have a lot of faith in Feig. I really like the cast -- although I am hoping to see more range out of Leslie Jones than she shows on SNL. The cynic in me says this is arguably Sony's most profitable franchise after Spider-Man and Men In Black; they were going to make another one no matter what, and this is the freshest, most appealing new take I can think of.

Brian
I agree that it was inevitable. There's too much money left to milk out of this cow for Sony to shelve it for good. I think my biggest issue with this remake is that it's completely unnecessary. I consider the original Ghostbusters film to be a perfect movie. There isn't a wasted frame in it. The cast was incredible, the jokes were hilarious, and the special effects mostly hold up (which is rare for a movie that's 30 years old). The thing I loved most about it is that it's a self-contained story. I didn't feel a need for anything else after Winston yells "I love this town!", and the credits roll. I was completely satisfied. I think this is why I disliked the sequel for so long. It felt forced and didn't really add anything to the Ghostbusters canon. I've grown to appreciate it slightly over the years, but it's not a movie that I love revisiting. I know we've disagreed on its quality before, with you having a deeper appreciation for it.

That's the thing that chaps my ass so much about this remake. I don't need to see the Ghostbusters origin story another time. Unlike The Amazing Spider-Man (where we both felt it was a more satisfying origin story), I'm not staying awake at night hoping they finally get it right.

My hatred (that's probably too harsh a word for a movie that doesn't even have a script) for this film has nothing to do with the cast. In fact, I like everyone in the cast (although my love for Melissa McCarthy is quickly falling as she approaches the Adam Sandler zone). I really like that they didn't go the obvious route, instead casting two relative unknowns in the SNL duo. I think my biggest issue is that it's happening too soon. This isn't Peter Jackson remaking King Kong (which I loved). Enough time has passed for it to be worthy of a remake. This movie is strictly about one thing - cash. There's no other way to spin it other than Sony has a valuable property that it wants to take to the bank.

All this reboot/remake talk has me thinking. Do you think there should be a time limit to them? What should be the proper grace period before a film is allowed to be rebooted? I think 30 years is too short, especially if the original movie is still amazing. I think a movie should have at least a 50 year shelf life before Hollywood is allowed to restart from scratch. I could be convinced otherwise.

Adam
I don't know that I agree with you that it's too soon. It's been 25 years since the last Ghostbusters film (and yes I am an ardent defender of the inferior but still very fun Ghostbusters II). I think even the casual fan doesn't revisit these films as much as the two of us have. And I'm sad to say most of my co-workers who are just a few years younger than me confessed to either having never seen the original film or having only seen it once years ago. The first movie is perfect and it is timeless and I would have a problem with the new film if it completely denied its existence or made no nod to the original cast of characters -- in fact I'm hoping that this movie is more of a direct sequel which somehow incorporates the iconography of the original films. I feel like the film's pedigree alone makes it worth giving a chance. If the reviews are bad or if the trailer looks terrible I will be the first to skip it. But -- for instance -- there is virtually no film (save for the new Star Wars and Bond movie) I am more excited about than Mad Max: Fury Road -- I love the original movies, don't think there is much more needed to say in terms of the subject matter, but the reboot looks so good I can't resist it.

Melissa McCarthy

Yes, the cynical "money grab" nature of all so-called reboots turns me off. As I write this there are rumors that George Lucas is shopping the rights to Indiana Jones so that the series can be re-started with Chris Pine in the lead. I love Pine, think he has many Harrison Ford-esque qualities, but for me there is only one Indiana Jones and that is Harrison Ford. So I am clearly not a convert when it comes to this type of thing. However, I do think that Wiig, Jones and company might bring something fresh and funny to the ghostbusting concept, not just because they are women but because their comic sensibility is just a little different than the originals. It's not that one is better or worse, but they're unique enough that I think the material could be enlivened if not improved upon.

That said, they are already talking about rebooting Spider-Man and Batman again, clearly that's insane.

Brian
I hear your point that a younger generation doesn't hold this film up to the same light as the two of us (if they've even seen it at all!). I know that 25 years seems like an eternity to most people. Hell, 25 minutes is probably too long for today's generation.  But for me, I can't get past the idea that it's a reboot. I seem to remember reading somewhere that this movie will be an origin story and not a direct sequel. I think I would be more on board with a passing of the baton to a different crew of Busters, and if that's the case, then maybe my mind will be changed. For now, I am firmly in the "not gonna see it" camp.

I believe the new Mad Max is more of a continuation than a reboot if I'm not mistaken. That's a series that I've missed entirely. I just saw the first Mad Max movie a few weeks ago and absolutely loved it. I need to continue with the rest of them before the new movie comes out. I think Fury Road benefits in having the original director/creative force behind it.

I guess I'll have to wait to pass final judgement until I know what type of movie Ghostbusters 3.0 will be. I agree that they can add their own flavor to the series, and if it's more of a sequel that acknowledges the previous films then I'd be more inclined to see it. For the time being, and until I read otherwise, I've got my cranky pants on and they're not coming off.

But you did get me to let my guard down a little bit!

BTW, I can't wait to get into another exchange once the Indiana Jones news becomes official.

Adam
I'm glad you're keeping an open mind and to my earlier point, whether it's a reboot or a sequel, I think this is the best product we could have hoped for at this point and I'm all for seeing a big budget comedy being centered around women.

Leslie Jones

I'll also say that yes my hope is also that this will be more of a "pass the baton" project than a total "wipe the slate clean" enterprise. And while I'm not expecting it to surpass the 1984 and 1989 films in my esteem, I will follow what clues we get about the production and hopefully they'll come up with something appropriately reverent while totally original as well. Sadly, this won't be the first or the last franchise that gets reconfigured by Hollywood. The industry is deathly afraid of starting something new and they know that there is so much brand recognition with this series that it's almost a guaranteed moneymaker.

Generally, I am not in the business of boycotting movies on principle. That said, I never saw and will never see Johnny Depp's version of Willy Wonka almost specifically because its director, Tim Burton, took shots at the perfect Gene Wilder original. I don't expect Paul Feig thinks he's going to top the original film and hoping he's looking to make more of an homage.

But we'll see. Either way thanks for debating with me. And yes let's stay tuned to the news on Indy.

Flashback 1989 : My top 10 favorite movies from 30 years ago

It's remarkable to me that something that came out in theaters back in 1989 is 30 years old. This was a year very clear in my pop culture consciousness, so now I feel incredibly old. It's one of my favorite years for movies --it contains not one, but two of my all-time favorite films.

This is another one of those years where the highbrow films are less memorable for me (with a couple of exceptions) than the big blockbuster films that closed this decade.

And what a year blockbusters this was -- the summer of '89 in particular will go down in history as one of the most stacked seasons of all time. There were major sequels galore, some big franchise starters and a whole lot of wildly different options to choose from.

This was a hard year to whittle down. I liked quite a lot of this year's films a lot and some great ones like Sex, Lies & Videotape and Parenthood just missed the cut for me. But here are my personal favorites from 30 years ago:

10) Say Anything ... - Really the only Cameron Crowe movie that totally works for me and one of the best portraits of post high school, pre-college adolescence I've ever seen (only The Graduate is in it's class). John Cusack is irresistibly adorable as the meandering Lloyd Dobler who takes a chance on romance with the school overachiever (played believably by the equally adorable Ione Skye). Everyone remembers the famous boom box scene but there are plenty of other moving and hilarious bits. A really special little comedy.

9) Ghostbusters II - I know, I know this sequel can't hold a candle to the original and some purists outright hate it but it has a lot of sentimental meaning for me. I still remember seeing it in theaters and what a touchstone it was for me as a kid. And it doesn't feel like too big a departure from the original, even if it's bigger in terms of scale and FX. Murray, Ramis, Aykroyd and Hudson have still got it and it's got enough thrilling bits mixed with some solid laughs to be an amiable fun time at the movies.

8) Field of Dreams - This tearjerker fantasy always gets me. Kevin Costner is at the peak of his movie star powers here in this improbable hit about an eccentric Iowa farmer who brings legendary baseball players back to life via a baseball diamond he puts on his cornfield. It's hokey to be sure but also gorgeously photographed, filled with stellar acting (James Earl Jones' baseball monologue is achingly good) and it has a great message about being non conformist that runs as a theme throughout it, which I'll always appreciate.

7) Glory - One of the most powerful and vital war films I've ever seen manages to delicately steal focus from its nominal white leading character (Matthew Broderick playing the commander of the first regiment of 'negro' soldiers during the Civil War) to the black infantrymen, among them a stalwart Morgan Freeman, an off-the-charts charismatic Denzel Washington (who won the Oscar for this) and a heartbreaking Andre Braugher (who arguably has the most complex role as an educated black man trying to hold his own with the grunts). This deserved to be a hit and should have broke into the Best Picture race but alas room had to be made for ...cough... Driving Miss Daisy.

6) Indiana Jones & the Last Crusade - Probably the second best Indiana Jones films after the first, this rip-roaring adventure has a great MacGuffin (the Holy Grail) and some new emotional dimension thanks to the father-son relationship between Indy and his father (played by Sean Connery with immense charm) taking center stage. This probably should have been the last Indy adventure. It certainly feels like a fitting end with our hero riding off into the sunset. But unfortunately producers 'chose poorly.' Still, this film shows that there was a lot of life left under that brown fedora.

5) Back to the Future Part II - This is another divisive sequel for some people but I've always loved it. It presents a much darker vision than its predecessor and embraces its meta conceit by literally placing its hero Marty McFly (an affable as always Michael J. Fox) back in the original film that started it all. This is very ambitious narrative filmmaking from director Robert Zemeckis. He unfortunately finished the trilogy with the more traditional Western-set Part III, but if nothing elseI will always appreciate this film for introducing Biff as Trump into the world.

4) National Lampoon's Christmas Vacation - My favorite holiday movie and the last cinematic hurrah for Chevy Chase (although he briefly found his footing on TV's community about two decades later). It's so chock full of unforgettable one liners and moments from 'the blessing!' to 'shitter's full' to 'tap dancing with Danny fucking Kaye.' This movie gets how both brutal and beautiful spending the holidays with your family can be, and while its more hijinks than heart, what sincerity that's in it is quite gracefully handled.

3) Crimes and Misdemeanors - Although a case can be made for Annie Hall, Manhattan, Hannah and Her Sisters -- and several others -- this is my favorite Woody Allen film. It's a devastatingly bleak movie despite the fact that it's one half comedy. The other half is a stone cold serious look at the messy dissolution of an affair with a strong Martin Landau opposite Anjelica Huston. A more complicated film than it appears to be on the surface -- its about faith, fate and why bad things keep happening to good people. It's a shame Allen has so horribly tarnished his own legacy, this film would be elevated into the conversation of great 1980s films in a heartbeat.

2) Do the Right Thing - Spike Lee's crowning achievement just keeps getting better with age. It's a travesty it wasn't more widely seen (one white film critic literally warned that it would cause riots, it didn't) and was largely snubbed by the Academy Awards. It's a great looking, profoundly funny and then truly depressing portrait of the absurdity and very real tension of our ethnic and racial divide, all set over the course of a 24-hours from hell.  It's remarkable how talented Lee was at this point in his career that he could both evoke a benevolently bigoted old Italian pizzeria owner (Danny Aiello, in a wonderful performance) and a hot headed wannabe activist (Giancarlo Esposito) with total aplomb. One of the great films of this or any decade.

1) Batman - it's still my favorite superhero movie of all time and it may be the best Tim Burton marriage between his artistic vision and an existing property, the difference is that with this (rather than Alice in Wonderland or reportedly Dumbo) his heart was totally in this one. Jack Nicholson is at his scene stealing best as the Joker and Michael Keaton nails this portrait of Bruce Wayne/Batman -- he leans into the eccentricity and effectively conveys someone who enjoys being Batman (for Bale's version it was always a burden). A triumph of costume design, production design and score -- but also the best kind of major blockbuster, it's creative, thoughtful, funny and it has staying power.

PAST TOP 10 FAVORITE LISTS
1974 #1 movie - The Godfather Part II
1975 #1 movie - Nashville
1976 #1 movie - Taxi Driver
1977 #1 movie - Star Wars
1978 #1 movie - The Deer Hunter
1984 #1 movie - Ghostbusters
1985 #1 movie - Fletch
1986 #1 movie - Blue Velvet
1987 #1 movie - The Untouchables
1988 #1 movie - Coming to America
1994 #1 movie - Pulp Fiction
1995 #1 movie - Heat
1996:#1 movie - Fargo
1997 #1 movie - Boogie Nights
1998 #1 movie - The Big Lebowski
1999 #1 movie - Eyes Wide Shut
2004 #1 movie - Eternal Sunshine of the Spotless Mind
2005 #1 movie - A History of Violence
2006 #1 movie - Casino Royale
2007 #1 movie - There Will Be Blood
2008 #1 movie - The Wrestler
2009 #1 movie - Inglourious Basterds

From Cheech & Chong to 'Superman III': My guilty pleasure movies

Thomas Chong

Part of being a true movie fan, in this humble writer's opinion, is embracing work that seemingly most other people don't appreciate. The same is true of music too, I think. We all have those artists or "works of art" we enjoy that most people look down upon or outright hate.

There are more than a few films I will probably be forced to defend liking over the course of my life, and I'm fine with that. It'd be boring if my collection only contained the selections the American Film Institute declares classics every now and then.

The idea for this blog came to me while I was recently binge-watching Cheech and Chong movies.

They're all pretty plotless and silly -- but I love them. Their stoner humor is on point, instead of manufactured. They're politically incorrect as hell but also rambunctious and unpredictable, which I would argue all great comedies should be.

Their three strongest films -- Up in Smoke, Cheech & Chong's Next Movie, and Nice Dreams -- are both time capsules of the era in which they were released, but also hilarious viewing for a lazy afternoon.

Fun fact: The duo also pop up sporadically in one of my favorite, underrated Martin Scorsese films as well, the 1985 New York classic After Hours. But I digress...

Here are a few other guilty pleasures of mine:

Superman III - The first two Christopher Reeve Superman films are pretty unassailable in my mind and have yet to be topped by any future adaptation of the DC Comics icon. Most fans of the franchise (and even some of its stars) have argued that series took a nosedive with part III. They probably have a point. It's a goofy, tonally-jarring movie, where Richard Pryor gets almost as much screen time as Reeve -- but that's kind of why I like it. It's great camp. Reeve playing "bad Superman" as a horny drunk? Phenomenal. Pryor wearing an oversize cowboy hat and a general's outfit, while taking on comic personas. Hilarious. And the Superman fighting himself sequence still holds up!

Drunk Superman

Russ Meyer movies - The king of the nudie picture is far from a feminist icon but I'd be lying if I said I didn't love the raunchy, devil-may-care quality of his best films. Yes, they feature copious amounts of T&A, but they are also shockingly bizarre and violent, with the female characters usually physically dominating the men throughout. Meyer was a fascinating guy who made sneakily brilliant movies like his satire Beyond the Valley of the Dolls.

Indiana Jones and the Kingdom of the Crystal Skull - Even reading the title makes me wince a little, but that said, I am a sucker for seeing Harrison Ford as Indiana Jones. And despite this film's flaws, he's terrific in the much-maligned outing. Now, granted, I haven't watched it much since I first saw it in theaters, but this film is no way as atrocious as the Star Wars prequels it's often associated with. And while many fans were appalled by the sci-fi bent this film took, I personally enjoyed its attempt to be an homage to 1950s B-movies.

Bad movies - I've written about this before, but there's few things I adore more than an unintentionally horrible movie. It's probably not the best way to spend your time -- but there are few activities I enjoy more than sitting back and riffing on disasters like The Room and Miami Connection with friends. Not only does it make you appreciate the craftsmanship that goes into a good film but there's something so touching and tragic about someone aiming high and failing so miserably.

Rocky III and IV- I will contend that the original Rocky film, it's first sequel and 2007's Rocky Balboa are all actually excellent dramatic films about boxing. Part V is nearly unwatchable. But when it comes to pure adrenaline rush mixed with a healthy dose of absurdity -- the middle part of the saga has the goods. Part III is largely reasonable, although some pretty heavy camp creeps in. Rocky IV however goes all in with heavy-handed Cold War commentary I should have no patience for, but totally do.

Other much maligned sequels... - I am also a defender of several other sequels which have more than their fair share of detractors, such as Back to the Future Part III (I've never understood why people don't like this one), Ocean's Twelve (sure, it's a little smug, but it looks great) and Iron Man 2 (I loved seeing Robert Downey, Jr. face off with Mickey Rourke). There are probably a few others that just haven't immediately come to mind.

Hustle & Flow - This is one of those wildly entertaining movies that is morally reprehensible when you think about it for more than five seconds. Terrence Howard gives a genuinely terrific performance as a pimp we're somehow supposed to pity, who is trying to get a hip-hop career off the ground. I am pretty sure I can't support any of the notions this movie presents about relationships or the sex trade -- but it's got a great beat.

RIP Sean Connery: A flawed human being but a hero on-screen

I just woke up to the surprising news that legendary actor Sean Connery has died at age 90. Connery was one of these guys who seemed like he would live forever -- after all he was a credible action star deep into his late 60s. He's been unofficially retired from acting for nearly 20 years, and he'd been missed, and now that's he's gone I think we can safely say we won't see another star quite like him.

He was famously a bodybuilder first who won the role of James Bond in spite of a pronounced Scottish accent and a gruffer aesthetic than author Ian Fleming initially imagined (Roger Moore was actually closer to to character's original conception). And of course the rest is history. Despite a long, successful career -- Connery's name will always be synonymous with the superspy character he created, and with good reason.

For years, and in some circles to this day, it's been taken as article of faith that Connery was (and perhaps always would be) the best actor to play Bond. This has always felt a little unfair, since Connery's portrayal was the first most audiences saw and got accustomed to and the one to which every subsequent portrayal would be compared.

I've always believed to some extent your favorite Bond usually corresponds with the one you sort of grew up with and so for many modern fans of the 007 franchise, Daniel Craig is the best -- after all, he's been occupying the role for 14 years now (albeit with long breaks in between films) and Connery is at best a distant memory.

That being said, he was spectacular in the role. There had never been a leading man quite like him before. He was aggressively sexual and confident, physically imposing, and a perfect mixture of dark and light. He was also an unforgivably misogynist character, which sadly was a reflection of Connery's problematic real life persona where he had the audacity to defend domestic abuse ON CAMERA in an interview with Barbara Walters.

In the context of the times they were made though -- these films are still terrific -- From Russia with Love and Goldfinger in particular do and should rank at or near the top of any 007 movie rankings. And for better or worse, it will be the iconic role for which he is best remembered. That being said he gave so many other fantastic performances that I want to highlight since there will be a tendency to only talk about his Bond movies when assessing his long career. Here are a few others I would strongly recommend:

The Hunt for Red October - Connery is so good in this submarine thriller that you buy him as a Russian captain, even with his unmistakable accent. He is all cool gravitas here -- smart, capable and commanding -- and an excellent counterpoint to Alec Baldwin's portrayal of a nerdy, nervous Jack Ryan. I know people are fond of The Rock, but for my money this was his best late career leading man role.

Indiana Jones and the Last Crusade - Despite their actually close proximity in age (Connery was only 12 years older than Harrison Ford) he and Ford made a great father son-pair in this, the second best Indiana Jones movie (in my opinion). Connery showed off his formidable comic chops but also delivers pathos in the emotional finale. He would go on to become the oldest man to win Sexiest Man Alive that year but he's so charming in this it's easy to see why.

The Untouchables - Connery won his only acting Oscar for this tour de force gangster movie from Brian De Palma and boy did he deserve it. He explodes on screen as a bigoted, veteran beat cop who gets a second chance at glory when he is improbably recruited by Elliot Ness to take on Al Capone. Such a quotable, unforgettable performance and probably the one he'd be best remembered for if it wasn't for James Bond.

The Offence - A little known gem from director Sidney Lumet, who is best known for his New York-based crime films but also made his fair share of British genre pictures too. This is one of the best Connery acting performances -- in what is largely a claustrophobic film centered around a brutal interrogation, he plays a deeply disturbed and violent cop with a very dark secret. A shocking departure for Connery that really subverts his hero persona.

The Man Who Would Be King - This romp starts off as an exciting adventure yarn about two rowdy hustlers (played to perfection by Connery and Michael Caine) who stumble into a situation where a relatively primitive culture mistakes them for Gods. Putting the racial politics of the movie aside, it becomes a fascinating parable about the corruption of power, and Connery in particular really relishes the scenes where his character self indulges in delusions of grandeur.

Marnie - This may be my favorite Connery performance. At first he seems like the typical, lovable Cary Grant-esque male lead foil in a Hitchcock film but scratch the surface a little bit and you'll find that his character is quite deranged (and eventually sadistic). The film perfectly captures the lightness and brooding darkness in the Connery persona as a man who must possess the leading lady to satisfy his own diminished ego. It's a complex performance in a wildly underrated psychological thriller.

'Terminator 3: Rise of the Machines' (2003): Somehow, it works

Kristanna Loken and Arnold Schwarzenegger in T3

Sequels that come out long after their last installments are almost always a huge letdown.

It's very hard for them to feel fresh and the delay builds a level of audience anticipation that can almost never be satisfied with the results.

Was Indiana Jones and the Kingdom of the Crystal Skull really so horrible?

In my opinion, no. But after nearly 20 years of rumors and excitement surrounding a new Indiana Jones film it was definitely disappointing.

In 2003 a new Terminator movie should have sucked, but it didn't.

It still has some of the cornball qualities of Terminator 2 (I don't like seeing the Terminator show affection, it just feels wrong) but it's faster paced and brings back some of the dark, brooding elements of the first film, which I appreciate.

I had serious questions about how they resolved the timeline issue (T2 seemed to be a definitive conclusion) but I like how the film paints judgment day as inevitable -- the end of T2 simply delayed the rise of the machines.

The actors all acquit themselves adequately but this was all about Arnold Schwarzenegger going out like a boss.

He would become the governor of California like this and like any good politician he wanted to exit the movie business on a high note.

This was about burnishing his image as an action hero icon and he succeeded (the film would be his highest grossing movie ever domestically after T2).

The humor in his one doesn't feel as forced (albeit except for the 'talk to the hand' gag) and I like it's knowing nods to the first two.

In the first Terminator, Schwarzenegger dons sunglasses for the pragmatic purpose of covering up his disfigured eye, in the two sequels the shades are now just a stylish part of the character's look.

T3 lacks James Cameron's vision and skill but it is endlessly watchable and entertaining and I'm so impressed that such an expensive mainstream blockbuster would retain themes about technology going corrupt and causing the end of the world. Heavy stuff for a summer movie.

Rumor has it there are plans in the works for a fifth Terminator movie. Terminator: Salvation, if memory serves, had some nifty action sequences but you felt the loss of Schwarzenegger and Christian Bale made for a surprisingly bland John Connor.

Schwarzenegger is supposed to play some role in the new one which seems like too little too late at this point. The man is 66 years old and there really is no more story to tell with his character. So the calculation can only be that there's more money to be made but with diminishing returns I fear this series will become a mockery of what it once was.

But the truth is no one expected the first Terminator to be any good 30 years ago. It was a grim sci-fi movie starring an Austrian body builder whose name people couldn't pronounce yet. And look what happened.

Expectations terminated.

Rock Hudson and the most underrated actors/actresses

Rock Hudson

After re-watching the creepy and pretty compelling 1966 drama Seconds, I was struck by what a terrific actor Rock Hudson was. While the film has some flaws, his performance is fantastic.

Perhaps understandably, Hudson's closeted homosexuality and fatal AIDS diagnosis have largely overshadowed his wildly successful Hollywood career.

In fact, even when he was alive, Hudson was largely dismissed as a pretty boy romantic lead (he was something akin to the pre-Dallas Buyers Club Matthew McConaughey of the '50s and '60s.)

But in films like All That Heaven Allows and Giant he showed glimmers of real talent. And some modern critics have argued his off-screen secret life as a gay man gave his performances an ambiguous complexity. Thinking about his career made me think about who some of my favorite "underrated" actors are. Of course, that term can mean many things to many people. But nevertheless, here are a few names that come to mind:

Nick Nolte

Richard Gere: Gere has been unfairly pigeonholed because of his good looks and huge success in the so-called "chick flick" genre. But he's been doing great work for several decades. He's excelled at playing overconfident men who think they have everything and get the rug pulled out from under them. See: Days of Heaven, American Gigolo, The Hoax, Arbitrage, An Officer and a Gentleman.

Nick Nolte: Has a mugshot ever ruined a career? That seems to be the case with this terrific actor. His disheveled appearance following a 2002 arrest is now far more famous than his acting. He has an amazing gallery of damaged, grizzled men. See: 48 Hrs., Cape Fear, North Dallas Forty, The Thin Red Line.

Julianne Moore: Obviously she's beautiful, that's the first thing most people notice about her. But she also has a case to make for being one of the best actresses of the last 20 years. Her tremendous range has probably hurt her by Hollywood standards -- she's never had that one signature role. See: Short Cuts, Boogie Nights, Magnolia, Far From Heaven, Children of Men, The Big Lebowski.

Jeff Goldblum: A universally beloved actor who still never gets the respect he deserves (never nominated for an Oscar). The still handsome and charming nerdy girl's sex symbol can be seen doing some great understated work in the new Wes Anderson movie The Grand Budapest Hotel. And he was the best thing in many bloated sci-fi epics of the 1990s. See: Invasion of the Body Snatchers (1978), The Right Stuff, The Fly, Jurassic Park, The Life Aquatic with Steve Zissou.

Catherine Keener

Catherine Keener: In a perfect world this wonderful actress would be a movie star, but because she usually does smart but quiet supporting work she is often unnoticed. She has one of the most inviting smiles in movie history and she always plays characters with real wit and intelligence. See: Being John Malcovich, Where the Wild Things Are, The 40-Year-Old Virgin, Capote.

Harrison Ford: This guy will always be revered as a movie icon and if he never did anything besides play Indiana Jones and Han Solo he would be a legend. But his stellar work as actor has always been undervalued. He is one of the most sympathetic and emotionally available leading men. And in his few more ambiguous roles (like The Conversation) he's shown impressive new sides to his stoic persona. See: Blade Runner, Witness, The Fugitive, The original Indiana Jones and Star Wars trilogies.

Jeff Daniels: Because of his every-man name and face (and the fact that in his biggest hits he was almost always the second banana) Daniels is usually taken for granted as an actor. It wasn't really until HBO's The Newsroom (which admittedly, I never watched) that he started getting real praise for his brilliance.He isn't afraid to be unlikable, which I love. See: The Purple Rose of Cairo, The Squid and the Whale, Terms of Endearment, Dumb and Dumber, Something Wild.

Laura Dern: The unconventional muse of David Lynch and lovely daughter of Bruce Dern is a vibrant and compelling presence in every movie she is in -- even the ones that aren't so great. She is a real risk taker, willing to eschew her vanity to play any role to the hilt. See: Blue Velvet, Wild at Heart, Jurassic Park.

Robert Redford

Robert Redford: Here's another movie star who's ridiculously good looks have often gotten more attention than his incredible acting track record. He may be an icon but he also is a great physical and intellectual performer. See: Butch Cassidy and the Sundance Kid, The Candidate, The Sting, Three Days of the Condor. All the President's Men, The Natural, Sneakers, The Horse Whisperer.

Marissa Tomei: Her adorable performance in My Cousin Vinny won her an Oscar but Hollywood has always been more preoccupied with her beauty than her talent. Even though she's still a knockout she has really risen in critical esteem following that breakthrough part. See: The Paper, In the Bedroom, The Wrestler.