'Heaven's Gate' never had a chance in 1980, but now it does

Kris Kristofferson in Heaven's Gate

Michael Cimino's 1980 western epic Heaven's Gate has a horrible reputation.

It routinely appears on lists of the biggest flops of all time and it's often credited with bankrupting a studio (United Artists) and ending the era of auteur-driven cinema of the 1970s.

But, at the end of the day, is the movie actually good?

This question has only begun to be asked more often in recent years, where time and distance has been far kinder to this costly film.

In hindsight, despite being a visual feast and boasting a formidable cast, Heaven's Gate could probably never have been a big enough hit to recoup it's budget.

This is not because it's bad, in fact I think it's a masterpiece. It's because the movie is a bleak indictment of American culture, particularly our unique form of greed. It's an unabashedly revisionist, and politically leftist interpretation of the frontier which had the unfortunate distinction of hitting theaters the year the Reagan revolution took hold.

It's also a very long, uncompromising film with a somber tone and a very downbeat ending. That said, you can see that the estimated $40 million sunk into its production was put to good use, this is one of the most visually stunning films I've ever seen. The narrative is unconventional, and may turn off a lot of viewers -- it takes several detours from its strongest element, a story of eastern European settlers being executed by organized, rich landowners -- but it's rewarding if you hang with it.

Christopher Walken in Heaven's Gate

Not unlike Cimino's best picture winner The Deer Hunter, the film begins with protagonist at a point of innocence and joy. While that war film began with an extended wedding sequence, this one opens with an old fashioned Ivy League graduation. This sequence will try the patience of some viewers but if you give in to its semi-indulgent charms you'll find the entire enterprise very engrossing.

The film then jumps twenty years into the future, and we see that our hero, the soulful Kris Kristofferson, is now the one moneyed man standing in the way of a nefarious plan to disperse unwanted settlers in Wyoming with a "death list."

The villain in this scheme is played brilliantly by Sam Waterson. To see this actor so associated with nobility playing a capitalist of the worst kind is a master class in performing against type.

The sprawling story incorporates a love triangle between a French prostitute (played by Isabelle Huppert), Kristofferson's character, and a hired gun played by Christopher Walken. The Walken performance is one of his best, combining his infamous ability to terrify with a tender sensitivity that is often overlooked.

The movie's massive sets and action sequences had me an awe, and its elegiac and authentic score keeps things lively. There were no scenes that struck me as wrong-headed or embarrassing in all of its 219 minutes. What I saw was an ambitious film that is not for all tastes but far from a failure.

Thanks to underground buzz over the years and a gorgeous, state-of-the-art re-release thanks to the Criterion Collection, a whole new audience can enjoy this remarkable film without the griping over its cost. Heaven's Gate is a challenging, visionary work that tries to portray the West as it really was.

Even if you don't think that it succeeds in doing that, I think it's a noble effort.

All things being 'Equalizer': My top 10 favorite Denzel performances

Denzel Washington

This weekend I'll likely be going to see Denzel Washington's latest action potboiler The Equalizer, not because I think it'll be a great film (it probably won't be), but because aside from George Clooney, Denzel's probably my favorite movie star around.

I almost always go to see his work (yes, I even sat through 2 Guns) and although lately he's been doing a lot more junk for a paycheck (Safe House anyone?), he still occasionally takes a role that makes him stretch, and when he does, the results (Flight, for instance) can be riveting.

At 59, his former flawless matinee idol looks are fading. He's put on more than a few pounds too, but that hasn't stopped audiences from embracing him as an action star.

He is no longer Denzel Washington the accomplished actor. He is Denzel, the icon. And you know what? He's earned it.

Ever since his breakthrough, Oscar-winning performance in Glory, Denzel has been one of the most exciting and charismatic leading men of his generation, and miraculously he has become one of the most bankable stars in Hollywood as he has gotten older. Only Liam Neeson can claim a similar rise in stature. Even if he never gives another legendary performance on the level of Malcolm X or his role in Training Day, he will always be The Man.

So what are my favorite Denzel performances? I have never been a fan of his more sappy mainstream hits like Remember the Titans and John Q. He's terrific in them but they're so predictable it hurts. I'm also not a fan of some of his more low-IQ action films, sorry Man on Fire fans. I like my Denzel fierce and funny, with an edge and hopefully, some depth. But listen, I even liked The Pelican Brief, so nobody's perfect.

American Gangster

10) The Manchurian Candidate (2004) - This imperfect remake of the 1962 classic was an excellent showcase for a more frazzled, vulnerable Denzel. He plays the role of Bennett Marco (originally played by Frank Sinatra), an Iraq War veteran tormented by brainwashing he endured. His committed performance helps the absurd premise of this film feel more plausible.

9) Crimson Tide (1995) - Denzel is in peak movie star mode here. The role he plays, as a thoughtful, dove-ish executive officer of a submarine, was written and conceived for a white actor. Washington creates real fireworks opposite Gene Hackman, who plays the ship's stubborn captain. A thriller which is as much about character as it is driven by special effects, it was a big hit back in '95 but would probably be deemed too "talky" now.

8) Antwone Fisher (2002) - This heartbreaking biopic was Denzel's first directing effort and he knocks it right out of the park. He plays a supporting role here, as a father figure/therapist to the titular hero, a young man who is haunted by an incredibly abusive and tragic childhood. Washington makes an assured tearjerker and gives a very moving and grounded performance as the man who gets through to Fisher and persuades him that his life has value.

7) Flight (2012) - This drama about an alcohol and drug-addicted pilot who miraculously lands a malfunctioning plane was a real return-to-form for Washington. He scored a well-deserved Oscar nomination for a difficult role that was at times unflattering and unlikable. We've seen plenty of films about addiction but this one is easily one the best. This movie is yet another testament to audiences' willingness to follow Denzel on a journey, even if its a rocky road to the destination.

6) Inside Man (2006) - Spike Lee made a big comeback with this fun and inventive heist movie. Denzel and Lee have made from a great combo in the past, and their winning streak continued with this box office hit. Denzel has played plenty of cops but his character here is just enough of a wild card that you're never sure what he is going to say or do next. The clever plot keeps the twists coming and Denzel has a ball playing off wily veterans like Clive Owen and Jodie Foster.

5) The Hurricane (1999) - This retelling of the life of falsely accused boxer Rubin 'Hurricane' Carter seems to have plenty of detractors, but no one can dispute the power of Washington's performance in the title role. He believably ages (and boxes) in this film and conveys the strength and wisdom of an uncompromising man. Washington was robbed of the Academy Award that year, for a performance that elevated what would have been a cliched feel-good movie into something far greater.

4) Training Day (2001) - Denzel revitalized his career and finally won the best actor Oscar by playing his first outright villainous role. His performance as Alonzo Harris, an incredibly quotable corrupt cop, is the stuff of legend. Previously Denzel was boxed in as the "new Sidney Poitier" but once he started using his innate charm to be menacing the game changed. Instead of just going over-the-top, he makes Harris insidious. You want to trust him until you realize can't.

Glory

3) Glory (1989) - In his first Oscar winning role, Denzel is electrifying as the defiant former slave Tripp who joins the first ever black regiment to fight for the Union in the Civil War. The scene where he is whipped (on his already brutally scarred back) for going AWOL and a silent single tear rolls down his face, is simply one of the most remarkable pieces of acting I've ever seen. It's impossible not see this performance and think: that is a star.

2) American Gangster (2007) - Denzel's amazing performance in this crime epic about real-life Harlem drug kingpin Frank Lucas was so compelling Jay-Z decided to make a whole album about it. His performance is as smooth and silky as his Alonzo Harris was combustible. When Lucas executes a rival in broad daylight for showing him casual disrespect and then, unphased, goes back to his meal -- it's one of the most badass moments in cinema history. Another excellent entry that should have earned an Oscar nomination. This remains Denzel's most commercially successful film to date.

1) Malcolm X (1992) - When people talk about an actor becoming someone they play, this is exactly the kind of performance they have in mind. Director Spike Lee claims that Denzel would go on a tear improvising as the slain civil rights hero long after the cameras stopped rolling. When asked how, Washington would say he simply caught "the spirit." Although Denzel doesn't really resemble Malcolm X he beautifully captures his voice, mannerisms and mystique. This is one of my favorite performances of all time in one of the greatest biopics of all time. 'Nuff said.

In honor of Humphrey Bogart: Great character actor and movie star

Humphrey Bogart

Humphrey Bogart was and is a very unconventional movie star.

He was short and had bad teeth. He was interesting looking but in no way traditionally handsome. He had an irritable delivery that was in no way comforting or cathartic. And he always looked older than he actually was.

And yet he remains one of the most iconic Hollywood stars of all time, and his influence can still be felt today in some more recent generations of male actors.

What was it about Bogart that made his such a dynamic and fascinating film presence?

He was a character actor for decades, largely playing second bananas or foils for the likes of James Cagney (another unlikely leading man) in great movies like Angels With Dirty Faces.

He didn't become a star in his own right until he was already in his 40's and his career ended prematurely when he died at the young age of 57.

Bogart was one of the first movie stars to master the art of playing against type. So what if he was a craggy, sad-faced little guy, he could still be a romantic lead. Casablanca made him a matinee idol. Even though the role was initially offered to the likes of Ronald Reagan, today it's impossible to think of anyone but Bogart uttering "play it again, Sam" (even though he never actually does in the film).

In a Lonely Place

That part also cemented his anti-hero persona. Not only is his Rick character kind of a jerk, he doesn't get the girl in the end. That kind of thing would never happen to Cary Grant. Now that he was a bonafide A-lister, Bogart was not one to rest on his laurels. He continued to play cool iconoclasts in classics like To Have and Have Not, but he also delved into his own dark side with unforgettable performances in films like The Treasure of the Sierra Madre.

In that 1948 masterpiece, Bogart plays Fred C. Dobbs a man driven mad with paranoia when a prospecting mission leads to a potential fortune. Bogart wasn't afraid to be unlikable and show vulnerability on screen, traits we take for granted in film actors now, but it was downright radical in his day.

In the under-seen noir classic In a Lonely Place (1950) he plays what can only be described as a manic depressive character. He is a screenwriter who becomes the suspect in the murder of a young girl. Although he's innocent, he shows flashes of anger and madness, leading the other characters in the film and the audience watching to believe his character is truly capable of killing. This uncompromising, dark movie still has the power to shock today.

And in The Caine Mutiny (1954), Bogart gave one of his last great performances as the eccentric, and ultimately rather pathetic Captain Queeg, an old navy man who loses the confidence of his crew aboard a battleship because of unorthodox behavior. Bogart's final scenes, wilting under cross examination during a court martial, is acting of the highest order. His worn face and nervous delivery are heartbreaking.

My personal favorite movie star era is the 1970s, when Nicholson, Pacino, DeNiro and Hoffman were doing some of the best stuff. But all of those stars might not ever have been able to rise to the level they did had it not been for Bogart, who broke the mold of the macho, gorgeous He-Men who used to strut around our movie screens without a care in the world.

Don't get me wrong, there's room for that kind of hero too. But Bogart was the kind of star who was a more realistic reflection of his audience, which is probably why his films still hold up so well.

1964: My top 10 movies from 50 years ago (with caveats)

Dr. Strangelove

It was easy for me to commemorate films from 10, 20, 30, even 40 years ago but I wasn't sure that I could pull this one of. It's not that I haven't seen plenty of 1960s cinema, I have, but just not this particular year.

There were some very iconic movies released in 1964, and I'll get to some of those in a moment. That said, I still haven't seen some of the most beloved movies of '64, like My Fair Lady and the original Pink Panther. So like so many top 10 lists, this one is definitely subject to change/evolution.

Having recently watched and re-appraised the little-seen indie masterpiece Nothing But a Man, I realized I did have 10 favorites to focus on.

It was an usual era for mainstream film. Cinema was inching away from the stifling conservatism of the 1950s but Hollywood had not yet be upended by the so-called movie brats of the late '60s.

10) Seven Days in May - This talky Cold War thriller stars two of my all-time favorite classic Hollywood stars -- Burt Lancaster and Kirk Douglas. Lancaster was a great leading man who wasn't afraid to play against type as a villain, which is the role he fills here in a compelling look at what an attempt at a coup d'etat, right here in the United States, could look like.

9) Zorba the Greek - Anthony Quinn gives his most iconic performance in this quirky character study about an amiable vagabond who has an unquenchable zest for life, which rubs off on his stuffy British companion, played by Alan Bates. This episodic film is totally driven by Quinn's charisma with the help of a charming Greek-influenced score by Mikis Theodorakis.

8) A Hard Day's Night - Even if you're not a Beatles fan, and who isn't, you should be able to appreciate this movie musical, which captures the Fab Four at the peak of their adorableness. This incredibly fast paced, sugar rush of a movie is an innovative piece of editing but it also beautifully portrays what made The Beatles both irreverent and timeless. Each member of the band gets a moment to shine and the soundtrack is full of landmark songs.

7) Nothing But a Man - As I've written before, this small independent film gets the black experience of the 1960s better than most films of its era. Ivan Dixon and Abbey Lincoln give touching, understated performances as a blue collar couple trying to survive in the South with the shadow of white bigotry and intolerance hovering over them.

6) The Killers - This remake of a terrific 1946 noir film was originally intended to be the first ever big budget made-for-TV movie, but it was deemed too violent and wound up on the big screen. Lee Marvin has a ball in a star turn as a badass assassin and Ronald Reagan (in his last film role) is actually pitch perfect as the heavy. Despite some dated rear projection problems, this movie has plenty of style and the ending is dark and compelling.

5) The Naked Kiss - Director Sam Fuller's audacious parable about Communist paranoia is a wild B-movie delight. From the opening shot, of a beautiful woman removing her wig to reveal a bald head, you can tell this is not your typical 60s-era "women's picture". A hooker with a heart of gold tries to relocate to a small town so she can start a new life, but it turns out old fashioned Americana ain't all it's cracked up to be.

Goldfinger

4) Marnie - This complex Hitchcock film has been rediscovered in recent years as one of the legendary director's most underrated masterpieces. 'Tippi' Hedren plays a compulsive thief with a sordid past and Sean Connery plays the man who's looking to "tame" her. On first viewing, the movie may seem dated and just a little bit absurd, but the film has a lot of interesting things to say about memory and gender. And it's ending, which is supposed to look happy, is actually incredibly dark.

3) A Fistful of Dollars - The first of Sergio Leone-Clint Eastwood spaghetti westerns has all the elements of their celebrated collaborations. It's cynical and brooding, with plenty of blood and violence. This is a view of the West as an unforgiving, conniving place, where there are no real heroes. Eastwood announces himself as a major star, and even with opening credits, Leone establishes himself as a director with a signature style who has panache to spare.

2) Goldfinger - It may not be the best James Bond film (in my opinion, that's Skyfall) but it is certainly the most iconic. This film features one of the series' best villain, greatest henchman and a bevy of beautiful women to boot. Connery is at the peak of his appeal in this movie, mastering the character's brashness and savvy. This is the Bond film that turned the series into a global phenomenon and even 50 years later, it's easy to see why.

1) Dr. Strangelove - Stanley Kubrick's pitch-black dark comedy is routinely mentioned among the greatest films of all time and its satire of Cold War paranoia is definitely sublime. A dream cast featuring Peter Sellers (in multiple roles) and George C. Scott (showing real comedic chops) has a blast playing pompous men who hold the fate of humanity in their grasp. This movie is chock full of brilliant dialogue and has a distinct visual look that has inspired every doomsday-themed film since. The image of Slim Pickens riding on top of a nuke as he screams triumphantly is one of the most unforgettable moments in movie history,

'Nothing But a Man' is not your average 'black' movie

Fifty years ago a remarkable independent film called Nothing But a Man was released in only a few theaters. It didn't really do much business but it made a strong impression on those who saw it, including Malcolm X, who reportedly considered it his favorite film.

The movie stands out because at the time it was made the country was living through the peak of the Civil Rights Movement and yet the Hollywood movies of the era barely made an effort to reflect the real lives of African-Americans.

We were either non-existent, buffoons used for comic relief, or we were the subject of overwrought if albeit well-intentioned liberal screeds.

Nothing But a Man is a film very much in the same vein as Fruitvale Station. It's acting is subtle and realistic, the story is largely quiet and smaller scaled, and yet it has the same emotional heft of far more "epic" films.

The fact that it was written and directed by a white man is impressive considering how authentic the movie, looks sounds and feels.

The movie doesn't feature a flawless Sidney Poitier-like saint, instead we get the understated Ivan Dixon, who plays Duff Anderson, a blue collar man who is just a little too proud to endure the indignities his black peers absorb from white men. His stubborn insistence on being treated with respect costs him jobs and puts him in potential danger.

Nothing But a Man

The film also captures a romance between Duff and the shy but sensual Josie, played by singer Abbey Lincoln, a school teacher with stern, religious parents who don't approve of Duff on sight. Their relationship is sketched out beautifully in some sparse but evocative scenes set to, on occasion, a Motown beat.

The couple marry and seem happy but the threat of racial violence is omnipresent in their lives. They are based in the South and occasionally the specter of moving North is raised, although Duff implies that he's lived there before and that it's not much better for black folks.

The movie does an incredible job of dramatizing, without ever going over the top, the tension that blacks must have felt during the most basic interactions with some white people. A perceived attitude or shift in tone could bring a harsh condemnation or even the threat of violence.

In these brief scenes a compelling drama becomes sublime. You get a real sense of how impossible life was for an African-American at that time. And yet the movie doesn't become a solemn bore. It's bleak but ultimately full of humanity.

Nothing But a Man was re-released and reassessed in the early '90s by the art film crowd but has still yet to find a wide audience. I was actually surprised to see it didn't make Spike Lee's list of essential films, since his best work has a similar honesty and nuanced portrayal of black life.

Like so many lost classics it's ripe for rediscovery, not just as some sort of black history month curio, but as a vibrant example of what independent cinema does best.

Don't kill me! My top 10 favorite Alfred Hitchcock films

Like any film buff I love Alfred Hitchcock, and I appreciate his work more and more as I grow older and, hopefully, more sophisticated as a movie watcher.

His influence on modern movies is unmistakable, but he is too often relegated to being a mere master visual stylist and nothing more.

Of course, the shots and cinematography in his movies are iconic but I have grown to appreciate the psychological subtext of his films more than anything else. Some may find his movies dated or too melodramatic, but I think they were actually ahead of their time and offer a lot to modern audiences.

The overwhelming majority of his work was produced during a time where a rigid form of censorship, known as the production code, kept Hollywood films from being too edgy. And yet, time after time, Hitchcock infused his thrillers with sexual idiosyncrasies, gender politics and much more.

I would be lying if I said I've seen most of his movies, in fact there are several which some consider classics that I still haven't seen or probably need to revisit, so please don't kill me if your favorites did not make the cut. These are just my top 10 right now.

10) Notorious - A film powered by the charm of its gorgeous and charismatic leads: Cary Grant and Ingrid Bergman. Grant's role should be incredibly unlikable, he plays a spy who persuades a woman he's falling for to seduce the film's villain in order to score secrets, and then hates her for it. Yet Hitchcock pulls it off. Not a lot of big thrills here, just a sophisticated story told with terrific elegance and restraint.

9) Shadow of a Doubt - Just recently discovered this daring and creepy film. Joseph Cotton, who normally plays all-American good guys, is dynamite as the mysterious and dark "Uncle Charlie" who returns home to stay with his extended family but appears to be filled with secrets. This one goes to dark places you wouldn't expect for early Hitchcock, and he considered it his personal favorite.

8) Strangers on a Train - An indelible premise, a deranged man suggests to a stranger that they each kill the biggest antagonist in the other's life. The sane man thinks it's a joke, while the crazy one actually plans to go through with it. Some of the early Hitchcock trademarks are cemented here: oddball mom fixations, homo-eroticism and almost unbearable suspense.

7) Frenzy - There is much debate among Hitchcock fans about what was the director's last masterpiece. Purists claim Psycho, others say The Birds, and a growing chorus Marnie. Although I've yet to see his last film, Family Plot, I feel like I can safely say this surprisingly graphic film is a classic. Freed from constraints, Hitchcock pushes the envelope with sex and violence, but he never forgets to keep the scariest bits implied in this tightly-constructed mistaken identity thriller.

6) The Birds - Ostensibly a creature feature, this talky film is actually a complex rumination on women as hunter and prey. 'Tippi' Hedren was never a favorite of the critics, but I have come to view her as one of the very best "Hitchcock blondes". She was more modern and icy and so her performances don't date quite as much. And this genuinely creepy film gets more fascinating with each viewing.

5) Rear Window - One of the most crowd-pleasing Hitchcock hits, this movie has the perfect premise. Jimmy Stewart plays a photojournalist (who is inexplicably immune to the charms of Grace Kelly) with an injured leg. He can only seem to amuse himself by spying on his neighbors. The murder mystery that follows gives Hitchcock an ideal outlet for his theme of voyeurism, which will only deepen in his last pairing with Stewart. (See #1).

4) Psycho - Every modern horror film owes a debt to this psychological thriller, which features a legendary performance from Anthony Perkins as the seemingly sheepish Norman Bates. Groundbreaking for its brutality back in 1960, it still packs a punch all these years later. A master class in editing and a screenplay which has a lot of depth.

3) Marnie - This may be my one and only controversial choice, but after multiple recent viewings I have really fallen in love with this film. It's not a traditional Hitchcock suspense movie, which is probably why it turns off a lot of people. It's really a multi-layered character study of two very screwed up people: one who knows they are screwed up (the lead character played by Hedren) and another who doesn't have a clue (Sean Connery in what is essentially the villain role). A misunderstood work of genius.

2) North By Northwest - A precursor to the Bond films, this is one of Hitchcock's most enjoyable adventures, featuring Cary Grant at his most debonair and witty. It's another mistaken identity thriller but the scale is much bigger. So many astonishing set pieces in this one, with the standouts being the crop duster chasing after Grant and a perilous escape across the faces on Mount Rushmore. This was the first Hitchcock movie that sucked me in and blew me away.

1) Vertigo - But that was before I saw this film, which is undoubtedly Hitchcock's best and won of his most personal. The complicated narrative involves a retired police detective who gets lured into tailing a woman who appears to be haunted by a dead ancestor. Sounds ridiculous, and yet this dream-like film makes this conceit, as well as many others, compelling and moving. Jimmy Stewart gives his greatest, most compelling performance in this brilliant, haunting movie.

In defense of Mickey Rourke: One of my favorite actors of all time

Mickey Rourke in his heartthrob days

Mickey Rourke returned to the general public's consciousness back in 2008 with his remarkable, Oscar-nominated performance in the excellent character study The Wrestler.

At the time he liked to tell interviewers that he had been exiled from Hollywood but really he had just been relegated (with the exceptional exception of Sin City) to bit parts in small films or direct-to-DVD trash.

Still, his return was heralded by film buffs like myself, who cherished his breakthrough work in the early 1980s, when he was seen as potential heir to the Marlon Brando method-acting mantle.

Ironically, not unlike Brando, he has mostly squandered the goodwill he gained from his remarkable work on forgettable movies or films so poor they have not really gotten much of a release.

Although I am among the few who genuinely enjoyed his villainous turn opposite Robert Downey Jr. in Iron Man 2, he simply hasn't taken on a role of substance since The Wrestler. Because of his penchant for taking paycheck movies he's been reduced to a 30 Rock punchline and become a staple on bad plastic surgery websites. And yet, he is one of my favorite actors of all time, even if he's only starred in a half-a-dozen great films.

When he's on-point, like he was in The Wrestler, he is an incredibly unique, soulful, compelling performer. And I am still holding out hope that he has a couple more great performances that the right director could pull out of him.

He reached the pinnacle of his early career exactly 30 years ago, with the cult classic The Pope of Greenwich Village. After that he gave a few more stirring performances in good, but incredibly flawed films like Year of the Dragon, 9 1/2 Weeks and Angel Heart. His last great role might have been 1989's Johnny Handsome. But the '90s were totally a wash. Now he's back but he mostly sticks to the comic book genre. The Wrestler was compelling because he played a real human being -- and his best roles have been down to earth:

Modern Rourke

Body Heat (1981) - Rourke's breakthrough role consists of just two scenes, but he just leaps off the screen. He plays a reformed arsonist who has befriended his former attorney, played by William Hurt. Rourke has that mix of masculine and feminine that all the great method actors had. He may have limited screen time but when you leave the movie you think, who was that?

Diner (1982) - This film features Rourke at his most charismatic, accessible, and dare I say, sexy. He appears as part of an ensemble here (in a film featuring future stars Kevin Bacon and Ellen Barkin, to name a few). The comedy is all about male insecurity and immatury, following a group of guys as they come of age in 1959 Baltimore. Rourke plays the "cool guy" of the crew, who has a sensitive side.

Rumble Fish (1983) - His winning streak continued with one of Francis Ford Coppola's most artistic and underrated films, an adaptation of the S.E. Hinton young adult novel. The Outsiders is more famous, but I prefer this black and white expressionistic ode to alienated youth. Rourke again plays the idol of his peers in a moody performance that has echoes of both Brando and Dean.

The Pope of Greenwich Village (1984) - Rourke and Eric Roberts make an excellent pair in this terrific character piece that is reminiscent of Mean Streets in terms of its tone and plot. Roberts plays Paulie, a shiftless troublemaker who is always plotting a scheme and Rourke plays his smoother cousin Charlie, who foolishly keeps vouching for his cousin. The movie, like many of Rourke's early heralded work, bombed when it first came out, souring him on the business. The cynicism led him to turn to boxing over acting, which deprived his fans of some would-be great performances.

For instance, Rourke was originally offered Bruce Willis' role in Pulp Fiction, which would have fit him like a glove. And Tarantino, who is clearly a fan, also originally cast him as Stuntman Mike in Death Proof. Rourke is now over 60, although his age is often in dispute, and the window for him to give another landmark performance is probably closing. I hope he doesn't wind up a Hollywood footnote, an example of someone who had potential but never realized it.

He'll always be one of my favorite actors, even if he chooses to keep acting like a jackass in public.

Draw! It's my top 10 favorite westerns of all time (so far)

Once Upon a Time in the West

I've been on a real western kick lately. I suppose it's because, second to gangster movies, it might be my favorite film genre. I also find that they're escapist in the best way.

For a couple hours, sometimes three, I can venture into a world that I never would or could inhabit, that still strangely has resonance with the world I live in today.

Westerns have big themes -- honor, prejudice, pride, guilt, vengeance and fear. They are almost always gorgeous to look at and they do what cinema does best -- tell a story visually.

It's very hard for me to narrow down my favorites to a top 10 list -- especially since there are so many classic westerns I still need to see. So don't take this as gospel, this list will inevitably evolve. These are just a few of my the must-sees of the moment.

10) Rio Bravo (1959) - Howard Hawks helmed some terrific westerns -- Red River and his remake of this film, El Dorado, almost made my list, but this star-studded movie wins by a nose. Dean Martin plays a drunk seeking a shot at redemption, teen heartthrob Ricky Nelson is the upstart with quick hands, Angie Dickinson is the sexy love interest and John Wayne pretty much plays himself. Fun dialogue and performances make this "hang out" film a standout.

9) Django (1966) - Sergio Corbucci is the other great genius of the Italian spaghetti western (Sergio Leone being the other). This brutal classic, has inspired countless sequels and the Tarantino film that borrows its name. The typical "quiet stranger comes to town" story with some unusual, uniquely ballsy twists. He drags a casket behind him, what's inside I won't spoil but let's just say this one delivers.

8) Stagecoach (1939) - This John Ford masterpiece both established the modern western film and John Wayne's movie star persona, all while influencing a generation of filmmakers like Orson Welles. This swiftly paced ensemble piece thrusts "types" (like the town drunk and the hooker with a heart of gold) in a confined space together and reveals new depth to the characters as they are under duress. One of those movies that is iconic for almost all the right reasons.

Butch Cassidy & the Sundance Kid

7) Butch Cassidy & the Sundance Kid (1969) - Paul Newman and Robert Redford have unforgettable chemistry in this, their first on-screen pairing (The Sting followed in 1973). Newman is incredibly charming as the fast-talking schemer who is always getting the outlaw duo into more trouble. And this is the film that made Redford a star. In some ways, his Sundance kid is a selfish jerk -- but he's so cool and charismatic you hardly seem to care. The ending is a great, gallows humor joke.

6) The Searchers (1956) - John Wayne gives his darkest, most compelling performance as a brooding, hate-filled Civil War veteran on the hunt for a little girl who's ostensibly been kidnapped by American Indians. A fascinating look at the racist psyche as well as one of the most visually stunning westerns of its time.

5) The Wild Bunch (1969) - I am a huge Peckinpah fan, and he made several terrific westerns I love, like the moving Ride the High Country and the elegiac Pat Garrett & Billy the Kid, but so far, this ultra-violent character study is my favorite. William Holden leads a pack of unrepentant crooks with their own code of decency. The movie is infamous for its incredibly relentless final shootout, but it's a brilliant film from start to finish.

4) Unforgiven (1992) - Although I still wish Spike Lee's Malcolm X had been nominated, it's hard to quibble with Clint Eastwood's best picture win for this wonderful meditation on violence. This film marked Eastwood's maturation into a master filmmaker and boasts one of his greatest performances alongside Gene Hackman's Oscar winning turn as the complex bad guy Little Bill. Some of my favorite lines of dialogue ever are in this film.

3) The Good, the Bad & the Ugly (1967) - The last and best of the Sergio Leone-Clint Eastwood western collaborations is an incredible epic. Leone makes incredible use of close-ups in what Quentin Tarantino once described (in one of his typical fits of hyperbole) the best directed film of all time. Eastwood is at this laconic best, but it's Eli Wallach who steals the show as the playful and petulant Tucco. And who can forget the classic villainous turn from Lee Van Cleef? I haven't even mentioned the most iconic score in western history.

2) Django Unchained (2012) - While this may be an unpopular opinion, this is my favorite Tarantino film. A total blast from start to finish, this homage to spaghetti westerns also has some smart and subversive ideas about race and class just under its surface. My favorite film of 2012, this sprawling, bloody work of genius is powered by perfect performances, a crackerjack script and a real heart.

1) Once Upon a Time in the West (1968) - Often hailed as the greatest western ever made, this Sergio Leone is by far my favorite of the genre. It's one of my favorite films of all time and one of the most effortlessly cool cinematic experiences I've ever had. It's gorgeously shot, with one of the best Ennio Morricone scores. It also features Charles Bronson at his most badass alongside Henry Fonda in an against-type villain role. I won't spoil the resolution of the revenge-soaked masterpiece, but I will say it's one of the all-time great movie climaxes.

'Ghostbusters': 25 reasons why it remains a perfect film

Ghostbusters

Last night, for the second time in the last five years, I had the unique pleasure of watching one of my favorite films of all time, Ghostbusters, on the big screen.

The movie has been re-released to commemorate its box office topping run in the summer of 1984 thirty years ago and I can say without hesitation that it remains one of the greatest comedies ever made.

In fact, as I re-watched this film for what had to be the fortieth time, I kept thinking to myself: this is a perfect film. I wouldn't change a single frame, line or note in this movie. I adore it.

It's one of the most fun movies ever made -- anyone can enjoy it from any age or background. It's kind of like Michael Jackson's Thriller in that way. It's pop entertainment at it's best and there's a little something for everyone in it.

In a summer movie season that was hit or miss at best, it's jarring to see such an original and inventive movie again in theaters. I was heartened to see that this film, which is often on television and readily available on DVD and blu-ray, earned over a million dollars last weekend. Pay attention Hollywood, this is how it's done.

So many thoughts and memories came to me while reliving this modern classic. Here are just 25 of the reasons it's a flawless masterpiece.

1) Bill Murray - This film begins and ends with Bill Murray. He may have given more powerful performances in his career (like his soulful turns in Broken Flowers and Lost In Translation), but this was the movie that permanently cemented his "cool" persona. This movie singlehandedly made Murray an icon who young people today still worship as a comedy God. His performance here is so loose and winning, he just oozes one-liners and charm. He is totally in his element and has never been better.

2) Harold Ramis & Dan Aykroyd - But Murray's performance wouldn't work if it weren't for the selfless work of these two, who largely work as a tandem in the Ghostbusters movies. Despite some very funny bits and lines of their own, these two function as brilliant deadpan straight men for Murray's laconic hipster. Their earnestness really helps sell the patently absurd nature of the premise.

3) Sigourney Weaver - The most unsung hero of Ghostbusters is this brilliant, criminally underrated actress (despite decades of great performances she still doesn't have an Oscar!). Not only does she create wonderful, sexy chemistry with Bill Murray but she performs the hell out of an incredibly demanding and oddball role, without making a fool of herself. In under two hours she goes from playing a sophisticated urban woman to playing a possessed sexpot to becoming a dog. Incredible.

4) Rick Moranis - Only diehard fans of Ghostbusters know this, but Louis Tully was originally going to be played by the late, great John Candy. But that legendary comic actor wanted to play the role as an overbearing German. No disrespect to Candy, but Moranis' creation is perfection. Moranis delivers incredibly funny, detailed monologues all in single take without skipping a beat. Pay close attention to his work here -- it's a real acting feat, as well as uproariously funny.

Dan Aykroyd in Ghostbusters

5) Ernie Hudson - This solid character actor (and the lone African-American Ghostbuster, a role I played to some acclaim on the playground as a kid) does so much with his limited screen time. His part was originally conceived for Eddie Murphy, and who knows what he would have done with the role in his Beverly Hills Cop heyday, but Hudson knocked it out of the park. As the most grounded and straight-forward Ghostbuster he brings a great injection of wit and wisdom to the film's last act.

6) Love of New York City - Hudson delivers one of my favorite lines and moments in the movie, his triumphant "I love this town!" before the film's ending. Anyone who knows me knows I am a proud and passionate New Yorker.

I hope to live here forever and that exaltation is something I say and feel to my core. I literally have made my own shirt with that phrase and an image of Hudson covered in marshmallow. The film is filled with affection and attitude regarding NYC, and I love that about it.

7) The subtle class divide - The film also has some subtle commentary to make on the class issues that are always front and center in New York. While watching the movie last night I was struck by an epiphany -- that I want to write a book about the political undercurrents of the early films of SNL stars. Take a closer look at Caddyshack, Trading Places, Fletch, The Blues Brothers, Beverly Hills Cop, Animal House, I could go on -- and all of them have an either overt or thinly disguised slobs vs. snobs narrative. It's inherently political and populist.

8) The soundtrack - Everyone knows the iconic Ghostbusters theme song, and it is undeniably great and unforgettable. But the whole soundtrack is fantastic. I've owned it for years but watching it on the big screen really reminded me of how much I loved deep cuts like "Saving the Day". I literally listened to the whole thing on the way home from the movie.

9) That brilliant rise of the Ghostbusters montage - One of the most fun sequences of the movie is watching the syncopated images of the Ghostbusters as they shift from being unappreciated underdogs to the kings of New York. The magazine covers, shout-outs from Larry King and Casey Kasem -- it's just another testament to what makes this movie work.

10) The commercial - It's not easy to intentionally act badly, but Murray-Ramis-Aykroyd do this brilliantly with their incredibly stilted and awkward fake Ghostbusters commercial. A lazier comedy, then and now, would never bother with little details like this. But these details make the film's world tangible and more fully realized. I believe it's the details that make a comedy great (and worthy of repeat viewing) and the movie is full of little treats like these.

11) It's not afraid to be scary - Ok, so the film is far from terrifying but that doesn't mean it's lightweight either. Ramis and Aykroyd's incredibly dense script effectively creates a creepy villain and subplot with Gozer and his minions, which helps the movie's difficult cocktail of ghost story and comedy go down smooth. The "dog" creature effects may not look seamless at times, but they are still far more frightening than anything I've seen in CGI.

12) Slimer - Only a movie as fantastic as Ghostbusters could make a genuine icon out of a disgusting blog with no lines and just a couple short scenes. Inspired by the late, great John Belushi, this green, beer-guzzling creature is responsible for one of the most beloved moments of the film -- the sliming of Bill Murray. Also, 12.5 -- the scream Murray lets out when Slimer attacks him is a thing of comic beauty.

13) The romance - As I mentioned before, Weaver has note-perfect chemistry with Bill Murray. He's worked well with female partners since (most notably Andie McDowell in Groundhog Day and Scarlett Johansson in Lost In Translation) but he never seemed to connect with a co-star more than he did with Weaver. They seem to genuinely be falling for each other and it's a real shame they haven't teamed up since. It's a testament to them both that between all the jokes and special effects they manage to create a fizzy romance as well.

14) Special effects are used sparingly - Speaking of special effects, unlike every modern blockbuster, the makers of Ghostbusters wisely knew when to take their foot off the gas. Although the movie boasts (for its time) cutting-edge special effects, they serve the story -- the story doesn't serve them. We remember the jokes far more than the pyrotechnics, as it should be.

15) Marshmallow man - That said, the movie's special effects showpiece is a doozy. The reveal of the Stay-Puft Marshmallow Man is one of the most unbelievably amusing moments of any film ever. I'll never know what inspired Ramis and Aykroyd to come up with such an incredibly innovative idea but a whole generation of fans will forever be grateful. I currently have a Marshmallow Man-shaped piggy bank in my bedroom, just one of several examples of Ghostbusters swag in my life.

Rick Moranis and Sigourney Weaver in Ghostbusters

16) The pre-credit sequence - When the peerless Elmer Bernstein score starts to kick in over the Columbia Pictures logo I still get goosebumps. The film then launches into a brilliantly edited and spooky scene set in the New York Public Library without a single laugh in it (and none of the movie's stars). It's pretty audacious stuff for a mainstream summer comedy.

17) The Columbia scenes - I went to Columbia University for journalism school and one of my great pleasures was strolling around the same hallowed ground where Bill Murray delivers his charismatic "call it fate, call it karma," speech to Dan Aykroyd. And how can I forget the obnoxious Dean Yeager and Murray's flirtation with his student, the lovely Jennifer Runyon? She was a "genuine phenomena."

18) Crossing the streams - Comedies need rules because eventually those rules need to be broken for comedic purposes. For instance, Aykroyd warns Ramis not to look directly into the trap, so with perfect timing he immediately does. Ramis warns us that "crossing the streams" could bring about the end of the world, so naturally the film's rousing conclusion would require them to do that. And yet the payoff is in no way predictable.

19) The mayor's office - I have no idea how realistic this sequence is, in terms of portraying a NYC mayor handling a crisis in Gracie Mansion, but it's how I'd like to imagine it playing out. Bill Murray's "mass hysteria" line literally inspired the name of my long-running improv group and the inevitable rejection of the film's villain, Walter Peck, is glorious.

20) William Atherton a.k.a. Walter Peck - Speaking of Peck, we have to give William Atherton his due. He was a character actor who played people you just love to hate. In Ghostbusters, and later in the first two Die Hard films, Atherton took on the largely thankless role of playing the sniveling, snide foil for our heroes. But if he wasn't a formidable guy the stakes in those films wouldn't be as high.

21) It's not overtly kid-friendly - Kids love Ghostbusters, I actually thought it was a real profession as a child and told a caricature artist at Disney World to portray me as one. Yet the movie is very grown-up. Everyone smokes in it for example. There's also that scene, which I totally didn't get as a youngster, when Aykroyd gets seduced by a ghost.

22) The Ecto-1 - Only the DeLorean from the Back to the Future trilogy rivals the Ghostbusters' signature car. I still have a toy replica of this beautiful looking piece of machinery, which is, simply put, one of the coolest vehicles to ever appear in a major motion picture.

23) "So be good for goodness sake..." - What could have been a boring scene of exposition -- set in a prison cell, no less -- works beautifully because of the loose improvisational style of Murray and company which enlivens the scene and showcases the genuine affection these actors appear to have for each other.

24) The cheering crowds - I love the scenes of New Yorkers, of all different backgrounds (including rabbis and priest), who have gathered together to cheer for the Ghostbusters during the final showdown with Gozer. Bill Murray working the crowd is one of the most appealing bits of acting I've ever seen. It feels improvised and exhilarating.

25) The one-liners - "I collect spores, molds and fungus" "Tell him about the twinkie" "You will perish in flames!" "Back off man I'm a scientist" "Do you want this body? -- "Is that a trick question" ... I could really do this all day. So I'll stop here. See this movie again if you haven't seen it in a while. And if you've never seen it I feel very, very sorry for you. Comedy isn't pretty and it's very hard to get right, but this is a movie that does -- flawlessly.

So long summer movies! You came, you saw, you didn't conquer

Much has been made about the fact that this year's summer box office is the first since 1997 not to producer a runaway blockbuster.

No film released this year has broken the $300 million mark and a number of high-profile, expensive movies either bombed or under-performed.

The industry and film critics have all sorts of theories about why. The World Cup was an intense distraction. There was widespread sequel fatigue. The movies weren't very good.

Some of these or all of these explanations could be true.

I know that for me, as I get older, I feel less compelled to rush out to see the latest mainstream action extravaganza. Nowadays films face their biggest threat since television severely cut into their revenue. It's the DVR/streaming age we now live in. Quality films like Snowpiercer are being released directly to the public at an affordable price. And now, more often than not, film viewers are willing to "wait for Netflix" for some titles instead of paying to see them in a theater.

As the summer movie season comes to a close and Hollywood continues to scratch its head about what went wrong, here's my take on an interesting, if a little bit low-key, summer movie season.

Biggest disappointment: The Amazing Spider-Man 2
I really wanted to like this movie. I believe the first Andrew Garfield Spider-Man film was the best movie made to date about Marvel's iconic webslinger and I, like many comic book movie fans, was eagerly anticipating this second installment. But, despite a few winning scenes, this sequel was a mess -  too heavy on pyrotechnics, too many characters and not enough cohesion. Not even Garfield and Emma Stone's much-hyped chemistry could save this film.

Movie I wish I hadn't missed: The Edge of Tomorrow
This well-reviewed Tom Cruise thriller made money but not enough to be deemed a hit. Still, it has very vocal fans and seems to be emerging as something of a cult favorite. I chalk its failure up to bad marketing. From the title to the trailers (which made the film look no different than other minor Cruise spectacles like Oblivion), the movie didn't come off like a must-see. But multiple people whose opinions I respect have convinced me that this was one of the best movies of the summer. But now I will have to wait for Netflix to see if they were right. Honorable mention: X-Men: Days of Future Past.

Most overrated: 22 Jump Street
I had fun at this movie, don't get me wrong. It's an enjoyable time at the movies. It was also smug and overplayed its self-awareness to a fault. Repeatedly joking about the fact that you're cashing in and essentially remaking the first film can only take you so far. The best bits in this comedy (Jillian Bell) were largely spoiled by the trailer. The film also missed the opportunity to lampoon modern college in the way the original film nailed high school. Instead they retreated to cheap humor about the homoerotic implications of Channing Tatum and Jonah Hill's bromance. Honorable mention: Neighbors, for some of the very same reasons.

Best blockbuster: 
Dawn of the Planet of the Apes
Even though it's title is a mouthful and the human element of the story was lacking, there was no summer film that delivered on more levels than this latest installment in the rebooted (and reinvigorated) Planet of the Apes series. Andy Serkis continued to make Ceasar the most compelling CGI character ever created for a Hollywood movie and the action sequences were both scary and original. This film really took risks -- it's ape-only opening minutes for instance -- and they paid off. I'm excited to see where this series is going.

Biggest surprise: Boyhood
Although the fall promises to bring several critically acclaimed films (I am eagerly anticipating Birdman, Foxcatcher and Gone Girl), the best film of the year may very well  have come out this summer. Richard Linklater's epic, years-in-the-making coming-of-age film really blew me away. I never thought this beautiful movie could live up to all the hype, but it did. There isn't a false note in the whole movie, which unfolds without a traditional narrative and yet never loses an audience's interest. It's a tragedy that this movie isn't getting a wider release. Hopefully, Oscar won't forget it by the end of the year.

Movie I'm glad I missed: Maleficent
I was tempted to say the new Transformers film, but I checked out of that series after the first installment. What can I say? I am not a fantasy guy and I really can't understand the preoccupation with Angelina Jolie. For me, her "celebrity" has so outpaced whatever skills she has an actress and I simply can't separate her off-screen persona from her on-screen one. I had no interest, and never would, in watching her saunter around in a wicked witch costume. But apparently I'm in the minority here because the movie was an enormous hit. Honorable mention: Lucy.

Most charming summer movie: Guardians of the Galaxy
This crowd-pleaser was far from perfect -- it suffers from Marvel's insistence on setting up sequels and spin-offs and the final act gets overwhelmed by special effects -- but it was undeniably fun and likable. Chris Pratt and company brought a great deal of humor and some originality to the ubiquitous superhero genre and wound up delivering the most popular film of the summer season.

There are some who have earnestly argued that this was a great year for summer movies, not on par with a classic year like 1984, but nothing to sneeze at. I can't say that I agree. Even among the films that were profitable there were far too many unnecessary reboots (Godzilla, Teenage Mutant Ninja Turtles), unfunny-looking comedies (Sex Tape, Tammy) and sequels that came too late or shouldn't have come at all (sorry, Expendables).

If Hollywood wants to win audiences back they don't need to keep increasing their budgets. They need to instead focus on making better, more enticing films, the kind of movies people will want to go see opening weekend with an audience instead of waiting to see them in the comfort of their own homes. They can't point the finger elsewhere forever.