Christopher Walken's five spookiest performances

Christopher Walken in At Close Range

Christopher Walken has been unfairly typecast as a "creepy" actor. This may be because the role that made him a movie star -- his Oscar winning role as a Vietnam vet who becomes a zombie-like professional Russian roulette player in The Deer Hunter -- cemented his status as a guy with a screw loose.

But aside from his unconventional looks and distinct, fun-to-imitate speaking style, he is actually a very charming and endearing character actor.

His villainous or spooky roles are some of his most iconic, but he has also been just as compelling in more sympathetic performances, like his Academy Award nominated turn in 2002's Catch Me If You Can.

The 71-year-old returned to the public's consciousness this month because of his eccentric performance as Captain Hook in NBC's live prime-time Peter Pan musical and I started thinking about his filmography again after watching his excellent performance as a particularly sadistic bad guy in the underrated 1986 drama At Close Range. Here's my top five:

As the iconic Frank White

Annie Hall (1977) - The first time most audiences saw Walken was in a brief, darkly funny cameo in Woody Allen's best picture winning masterpiece, Annie Hall. He plays Diane Keaton's morose brother Duane, who confides in Allen's character that he sometimes fantasizes about driving into oncoming traffic. His delivery of this scene, deadly serious and yet also hysterically funny, established Walken as one of the best deadpan psychos in movie history. Allen's reaction -- that he has to go because he's "due back on planet Earth," still makes me laugh as does the smash cut to his petrified face as he must ride along with Walken's character in a rainstorm.

The Deer Hunter (1978) - Most film buffs remember Walken's performance in the latter half of this epic Vietnam war film best, when his character Nick has given way to madness. But his character's arc may be this powerful film's most compelling. He starts out as a dreamer only to see his spirit crushed by the horrors of war. Walken won a best supporting actor award (appearing in back-to-back best picture winners to boot) and broke America's hearts. Spoiler alert: the scene where he dies in Robert De Niro's arms is a real heartbreaker, as is an earlier moment where he breaks down in tears while being interrogated at an army hospital.

The Dead Zone (1983) - Walken finally got to play an unabashed hero in this thrilling David Cronenberg adaptation of a Stephen King novel. Still, his role and the movie itself are chilling. He plays a man who gains the ability to visualize the likely death of any person he touches (following a near death accident of his own). Walken gives one of his best, most soulful performances in this creepy thriller, but he also has that unusual face and delivery, which keeps the entire story feeling off-kilter. An underrated masterpiece.

At Close Range (1986) - After The Deer Hunter, this acclaimed character study may be the movie most responsible for Walken's reputation for playing crazy characters. This powerful, shocking film portrays a real life hood (played by Walken) whose son (Sean Penn, in one of his best early performances) earnestly tries to join his father's gang and gets far more than he bargained for. Walken is supremely disturbing here, grinning like a cheshire cat one minute and snapping with cold, brutal, vindictive violence in the next. His scenes opposite Penn in this dark drama are an acting master class.

King of New York (1990) - Walken makes for the most unlikely icon of urban cool in this classic gangster epic which influenced a whole generation of hip-hop fans, including the late Notorious B.I.G. who famously compared himself to Walken's character Frank White in song. He is all chilly menace in this very-90s film, leading an all-black gang, including an against type Laurence Fishburne. After this role, Walken's performances largely fell into the realm of self parody, but this film was where his oddball persona reached its peak and his subsequent Saturday Night Live appearances proved that he was in on the joke.

I remember once reading that Walken literally takes every role he is offered because he considers every part to be a potential learning experience. I have no idea if that's actually true, but I love that he is the kind of actor where it could be true. Walken has appeared in countless films, most of which were beneath his talents, but every once in a while he strikes gold -- and when he does it's riveting fun.

I finally got 'Scrooged' (and I liked it)

Bill Murray in Scrooged

Although I am an enormous Bill Murray fan I had never warmed up to Scrooged.

The first time I saw it I downright disliked it. And when I recently compiled my list of the top 10 Murray movie performances, I never gave it serious consideration.

Murray has played jerks before but his character in Scrooged is his most aggressively obnoxious. I also thought the movie was a little too bombastic. It was more abrasive to me than funny.

But this weekend I decided to revisit the film, since it was streaming on Netflix, and because I found it hard to believe I could not appreciate a hit Murray movie made during his '80s prime.

I am happy to say that on second viewing, I loved Scrooged. I was able to enjoy its nastiness and its jarring tonal changes. It was a movie I studiously avoided as a child (I remember being petrified of the trailer back in 1988). And yet now I think it may just become a holiday staple for me.

Why the about face? I suppose I was in the mood for a more macabre Christmas movie, which Scrooged most certainly is. Even though it's directed by Richard Donner (Lethal Weapon, Superman: The Movie), it has all the hallmarks of a classic Tim Burton film. The musical score is provided by Burton regular Danny Elfman, the set design is classic horror comedy and the shot selection is also positively Burton-esque.

This scene would have terrified me as a child

The movie came out at an interesting time for Murray. After the blockbuster success of Ghostbusters, he was the biggest comedy star in movies save for Eddie Murphy. And yet he decided to relocate to France for essentially a four-year sabbatical after it was released. He made one small, very funny, cameo in the 1986 film Little Shop of Horrors. But other than that, Murray was AWOL at the height of his career as an A-lister.

Scrooged was his triumphant return to the big time, and the combination of Murray opposite ghosts in a reboot of a classic holiday story was the perfect recipe for a surefire hit. Still, Scrooged was not a success on the level of Ghostbusters, whose sequel he would star in the following year, and a lot of critics were far from kind to it. Despite it's warm and funny finale it's a deeply cynical movie and it gets its sarcastic heart from infamously cantankerous former SNL writer Michael O'Donaghue.

I guess also can appreciate its charms more now in light of the cheesy holiday movies that have come in its wake. Yeah, I'm looking at you Love, Actually. I don't go for these treacly romantic movies where people do improbably adorable things by the fire. I'd rather watch something with a little edge to it, maybe something that's even a little crass.

That Scrooged certainly is, with its very savage parodies of 1980s television and a Murray performance that is loose, wild and for better or worse very committed. If you're not a Murray fan, steer clear of this one. And if you'd rather hear about angels getting their wings this time of year this isn't the movie for you.

But as more of Bad Santa/Christmas Vacation kind of guy, it put me in a happy mood. It actually does a really nice job of modernizing the whole Ebenezer Scrooge tale, and for Murray fans, it's a more personal movie than you might think. His real life brothers play three roles in the film. And the rest of supporting cast, including the always underrated Alfre Woodard, help keep the movie from ever being maudlin.

Stay tuned, my definitive favorite holiday movies list is on its way.

'Big Wednesday' could actually be called 'White Privilege: The Movie'

It's a weird experience watching the 1978 film Big Wednesday -- a nostalgia soaked homage to white America's loss of innocence in the 1960s -- in the wake of what's going on in the real world right now.

It's not that the movie is terrible, it has its charms and some really glorious surfing footage (the film's writer-director, John Milius, is an aficionado of the sport), but the movie features a lot of content that really reminded my that we truly live in two Americas.

For instance, although the movie is set in the '60s, there isn't a single mention of civil rights and there is barely a single black person in it. The three leads are white, blonde, tanned jocular types who party and carouse all day without a care in the world.

In the first third of the film the three lads (played by '70s staples William Katt, Jan-Michael Vincent and pre-meltdowns Gary Busey) throw a raucous, no holds-barred beach party. This lily white affair features girls getting wrestled, a house being virtually torn apart and plenty of 'good-natured' fistfights.

When I watched this seemingly harmless scene, in the aftermath of the Eric Garner and Michael Brown grand jury decisions, I couldn't help but think to myself -- what if the characters on screen were black? Would this unbridled hedonism and mayhem be interpreted as fun or would it be deemed repellent and even scary.

In my estimation, the cops would have been called 15 minutes into the proceedings, where in this film white lawlessness is met with a "boys will be boys" shrug. Later in the film one of the main character's girlfriends reveals that she's pregnant with an almost whimsical smile. The news doesn't plunge anyone into a panic, as if it's presumed that child will almost certainly be provided for.

Katt, Vincent and Busey in Big Wednesday

Milius, who has made no bones about the fact that he is a reactionary conservative, no doubt enjoyed this kind of lifestyle and to this day right-wingers talk about our pristine untroubled past as something we ought to return to. But as an African-American, when I watch movies like this about characters who needn't be troubled by prejudice or classism, I think I am so glad I wasn't alive then.

Sure the Vietnam war and other factors darken our heroes trajectory but they never face a monolith on the level of institutional racism. But of course that was going on that time. And while these California surfer dudes were having the time of their lives crossing over the border into Mexico, black and brown people were being oppressed to a stunning degree.

In the movie's defense, it was made in 1978 -- a time that was arguably far less contentious than the one we currently live in. The top films that year were movies like Superman and Grease, so light entertainment was very much in keeping with the spirit of the times.

I guess I am just less interested in being amused these days. After Eric Garner and Michael Brown, I'm in the mood for movies that reflect that reality of life, the struggles and the tension of the everyday grind. Escapism can be great, but at the end of the day you escape the pain of living in a racially polarized society.

'SPECTRE': Why I'm beyond euphoric about the next Bond movie

Daniel Craig as Bond in Skyfall

As one of the biggest James Bond fans on the planet I would be remiss if I didn't weigh in on the exciting news about the next adventure in the 007 series.

Although we will sadly have to wait until next November to see the new film -- entitled Spectre (more on that in a minute) -- I am almost positive it's going to be great for a plethora of reasons.

First off, I should preface what I'm about to say by making it clear that Skyfall is probably my favorite Bond movie off all time. I'm saying probably because, let's face it, there're several excellent entries in the 40-year plus canon.

But for me, Skyfall brilliantly continued what Casino Royale started (which was derailed by the disappointing Quantum of Solace). Skyfall managed to revitalize this iconic character and almost redefine, while at the same time retaining, all the elements of the series we fans have grown to cherish.

We always took Q, M, the gadgets and the girls for granted, but the Daniel Craig era has given them a backstory and supplied a genuine pathos that wasn't even present during the widely hailed Sean Connery era.

I for one was incredibly relieved to see that the same writing team and director (Sam Mendes) from Skyfall are returning for Spectre. The ending of Skyfall beautifully set the stage for a direct sequel, with Ralph Fiennes taking over the reins as M and Naomie Harris entrenched as the new Moneypenny. And now that the principle cast has been revealed, I'm positively giddy.

Monica Belucci

With all due respect to the very lovely Lea Seydoux (of Blue Is the Warmest Color fame) the Bond girl I am bananas about is Monica Bellucci. She has long been one my biggest celebrity crushes of all time and it's actually rather galling that she hasn't made an appearance in this series before. She is almost a throwback to the days of Ursula Andress and Barbara Bach, without any of the uncomfortable sexism of the olden days. I have no idea what part she is playing or how big it will be. But I can't wait to see her.

The casting of Christoph Waltz is also note perfect. Although, like most Bond productions, the nature of the role the Oscar winner is playing is wrapped in mystery. But I think it's safe to say, considering his track record, he will probably be playing the film's villain.

After Javier Bardem's Oscar worthy turn as the bad guy in Skyfall, I can't think of a better actor to follow in his footsteps. I was also excited to see that David Bautista, who proved to be one of the highlights of Guardians of the Galaxy, is also going to be co-starring in Spectre.

Finally, let's talk title. I'm sure some folks are scratching their head over this one, but die hard Bond aficionados are very familiar with the moniker. SPECTRE, which stands for "Special Executive for Counter-Intelligence, Terrorism, Revenge and Extortion", was a shadow organization which served as the principle villain in a handful of the first Bond movies. The figurehead behind SPECTRE was Ernst Stavro Blofeld, one of, if not the best, 007 bad guy of all time.

It's still unconfirmed whether Blofeld will make an appearance in Spectre, some are even speculating that this will be the Waltz character, but it'll be exciting to see the usually bald-headed, cat stroking villain re-imagined for a new generation.

One of the best things, if not the best thing, about the Bond movies is how they both stick to tradition but also (when they're good) tap into the zeitgeist. With Mendes at the helm, Craig in the lead and the cast of Spectre in place, this action hero's legacy looks secure to me.

Why you're right to be psyched about the new 'Star Wars' teaser

John Boyega in 'The Force Awakens'

An endless amount has already been written about the first teaser trailer for next year's Star Wars sequel The Force Awakens -- and let me add my voice to the chorus.

Star Wars obsessives have now become black belts at spotting flaws in what was once the most beloved sci-fi series of all time.

This can get tiresome and self important, except when it comes to the prequels, where the complaints were largely right.

Save for a few moments towards the end of Revenge of the Sith, the last three Star Wars films were a worthless waste of talent, money and good will. Those films had to meet unreasonable expectations but they also could have easily been better. I've often fantasized that one day those movies would be remade by filmmakers with less self-hate than George Lucas, but in the short term all our hope must be placed in director J.J. Abrams.

The Force Awakens

I feel hopeful about that. Abrams did wonders with the Star Trek franchise, and while his two entries in that saga certainly have their detractors (mostly among purists), few could deny that he revitalized those characters and their mystique. Star Wars desperately needs a fresh take (lightsaber duels are now met with yawns instead of gasps).

And although the new trailer gives us very little plot, character or detail, it promises enough to get me to line up in 2015 for this guaranteed blockbuster.

Here are the first things that struck me. The sense of urgency. The prequels were practically glacial compared to the footage we see here, which doesn't include boring Galactic Senate maneuvers or stilted dialogue. The panic on John Boyega's face (the breakout star of the terrific sci-fi comedy Attack the Block) riveted me immediately. I also appreciated seeing a new unfamiliar face, although I can't wait to see Han and Chewie back in the Millennium Falcon again.

Speaking of which, the greatest ship in sci-fi history makes a breathtaking return in this teaser. The context is still unknown -- but who cares, to see that "hunk of junk" back in action brought goosebumps. The voiceover, which some speculate is provided by Swedish acting legend Max Von Sydow, is appropriately moody and ominous, as is the sword-like triple-bladed lightsaber.

Of course, the prequel trailers got me excited too, and each film ended up a disappointment. The difference here is that The Force Awakens, for better of worse, will be new. It's the first Star Wars film where the series' creator, Lucas, will truly be on the sidelines, and that's a good thing.

Lucas decided long ago that the Star Wars movies were his own personal play set. He decided the films should be aimed solely at children, although he wrote dialogue even kids could find laughable. He tinkered with his films endlessly to the point where they became a pristine CGI blank slate. The prequels produced no memorable, indelible moments or images -- and when they did achieve anything resembling greatness it was by reminding us of "the old Star Wars movies."

Abrams is an original filmmaker who also appreciates the tactile appeal of lived in, model-based sci-fi. There will be CGI in The Force Awakens, that's already apparent in the teaser. But he knows how to use it sparingly and make it serve the scene. This film won't look like it's all taking place in front of a green screen. The promise of a fresh take on this familiar material is enough to get me intrigued.

And the return of the original series characters: Han, Luke and Leia (although I am still angry they snubbed Lando), should be the icing on the cake.

'Whiplash' will restore your faith that this can be a great year for film

I've always regretted the fact that I didn't keep up with playing an instrument. I had aborted dalliances with the clarinet, saxophone and the trumpet. I probably could have been good but I hated practicing. My regret came washing back over me as I watched the dynamite new character study Whiplash.

If you can get past some of the utter ludicrousness of the movie -- it presents a college jazz competition as extremely high stakes, even violent combat -- you'll be wildly entertained. Even though the movie is not stacked with special effects, it's a real thrill ride, thanks largely in part to the naturalistic performance of Miles Teller in the lead role and the go-for-broke, surefire Oscar-worthy performance of J.K. Simmons.

Teller plays an earnest would-be drummer prodigy who is socially awkward and prone to make mistakes. Still, he has natural talent and drive, he just needs to harness it. Simmons, as his would-be teacher and mentor, shows up to help him do just that, albeit in a foul-mouthed, abusive and downright manipulative manner.

Their relationship takes turns that aren't exactly realistic, but are nevertheless utterly compelling. I've never seen Teller in a film before, but he has the makings of a major star. He is attractive in a totally unassuming way and he never seems to be acting. There is a moment where he begins to cry that feels very authentic, not a "movie star cry".  He also has a romantic subplot that doesn't play out as you suspect it to. He makes a great, sympathetic lead.

Still, make no mistake about it. It's Simmons' movie. He has been great for years in small supporting roles and here he finally has a part where he can bring his unique set of skills to the table. He's a phenomenal physical presence, his hangdog face stands in stark contrast to his imposing physique. He is capable of vicious, sadistic cruelty one minute and tender geniality the next. Simmons' work here elevates the movie to another level, and in a latter scene when his character describes his contempt for mediocrity I was right on board with him.

Miles Teller and J.K. Simmons in Whiplash

A good friend of mine recently told me she felt this year hasn't been a great one for movies, and I think she's right. I've seen two transcendent masterpieces: Boyhood and Birdman. A couple very good films: Foxcatcher and Gone Girl. And another bizarre movie whose genius has yet to be appreciated: Under the Skin. Whiplash probably falls somewhere in the middle of the pack for me but that's in no way a putdown. It's a fully-realized, smart film that is never predictable and thrilling to the very last shot.

It deserves to be seen on the big screen where it's jazzy and relentless score can best be felt, heard and appreciated. It's a testament to this movie's greatness that it actually made me want to go home and research Buddy Rich albums after it was over.

Whiplash is one of those rare movies that really captures the joy and excitement (and yes, pain) of putting on a live performance. I have no idea if Teller is a musician himself in real life but he sells the hell out of drumming in this film. And Simmons takes what could have been a caricature and creates a real, tangible person who you can both fear and respect.

It may not be the best year for films, but it has been a solid year for acting. Michael Keaton, Steve Carrell, Patricia Arquette, Mark Ruffalo, Scarlett Johansson and now J.K. Simmons have all turned in what could arguably be consider career-best performances. And that's something worth celebrating.

My take on early Oscar buzz: Let the campaign season begin!

Happy Thanksgiving. Although election season is behind us, a far more competitive campaign period is underway, that's right -- the road to Oscar. Although over a dozen contenders have still not even been released there are several movies generating a lot of buzz and even a handful of surefire nominees.

My two favorite films of the year, Birdman and Boyhood, seem like locks for nominations if not top honors but with no clear overwhelming favorite, this year's race could be wide open in several major categories. If you haven't already guessed, I am huge nerd about this stuff. I know it doesn't really matter in the greater scheme of things, but what the hell, I find it fun.

Best Picture: As has been the case for the last few years, the academy is still allowing up to 10 best picture nominees. It's all very complicated but depending on how many first place votes a movie gets we could wind up with only nine. I don't oppose the idea of a larger field -- the more quality movies that get recognition the better -- but usually it's still coming down to two or three movies come Oscar night and that is if there isn't a huge frontrunner.

This year it's hard to say what will be the film to beat. None of the most critically acclaimed films of the year has been a runaway commercial hit (which unfortunately matters a great deal in the race, with the rare exception of The Hurt Locker). My picks as of right now would be Boyhood and Birdman, but neither of these films is conventional enough for the win. I think Foxcatcher deserves a spot, but apparently it's somewhat divisive among the critics.

Some folks still see Interstellar making the cut, which surprises me. Even its fans must admit it's not Christopher Nolan's best work and yet there is a space for a commercial project here. Buzz is building for the Benedict Cumberbatch code-breaking thriller The Imitation Game and although it looks like another Beautiful Mind, the same goes for the Stephen Hawking biopic The Theory of Everything. The one wild card is the Martin Luther King film Selma, which could really shake up the race.

Best Actor: My personal pick, Michael Keaton in Birdman, is a lock for a nomination here. Steve Carrell looked like a sure thing for Foxcatcher but then some critics panned the movie. I still think he makes it because his performance is so transformational. Cumberbatch has been really buoyed by a growing fan base, I could see him joining this competitive field. If nothing else than because of the iconic nature of the MLK role, I think black British actor David Oyelowo has a shot for Selma. That leaves two spots. Eddie Redmayne will surely make the cut for his physical performance as Hawking, although I fear the movie will be unbearably sentimental. I wouldn't be furious if the final spot (which is very much up for grabs) went to Bill Murray for St. Vincent. I am a defender of this breakout indie hit. It's not the most original movie or the most profound, but Murray is really terrific in it and he deserves consideration.

Birdman

Best Actress: Another disappointing year for women's roles. The only real contender I've seen so far is Rosamund Pike for Gone Girl. As fun as she is in that movie, I don't expect her to seriously contend for the win. Most pundits are predicting a two-way race between the long overdue Julianne Moore (playing a woman experiencing the early stages of Alzheimer's in Still Alice) and Reese Witherspoon for her comeback role in Wild. I would say Moore has the advantage, having never won before and at least as far as the early reviews are concerned, giving the most deserving performance.

Best Supporting Actor: This could wind up being the most competitive category of the night. Edward Norton is a scene-stealing riot in Birdman and he's never won before. The same goes for Mark Ruffalo, who gives a moving and likable performance in Foxcatcher as the movie's most normal character. Everyone has been raving about J.K. Simmons scenery chewing performance in Whiplash. And then there's Ethan Hawke's endearing and epic performance in Boyhood. It's going to be really interesting to see how this race shapes up.

Best Supporting Actress: Speaking of Boyhood, I will freak if Patricia Arquette isn't nominated in this category. I just thought she, more than anyone else, was the heart of Boyhood. She was so real, it didn't feel like a performance. I sort of fell in love with her flawed but humane character. Emma Stone showed more chops than she has previously in Birdman. The rest of the category is still filling out, but rest assured, Meryl Streep will probably be there in some capacity.

Best Director: No matter what, Richard Linklater will be recognized for his historic achievement with Boyhood. Alejandro Gonzalez Inarritu is probably also a lock for trying his hand at comedy for the first time with the visually inventive Birdman. The rest of this category is still wide open. It'd be nice to see a woman in the mix -- Ava DuVernay for Selma. As much as I loved Gone Girl and think David Fincher has been snubbed repeatedly, I don't believe this is his year. I would say the same for Christopher Nolan. We might wind up with some unknowns, or an unheralded newcomer like J.C. Chandor (whose A Most Violent Year looks potentially great) could sneak in.

Nominations and the awards themselves are still months away, so get out to theaters and catch these quality films while you still can!