0123movie complies with DMCA and is a proxy which links to the content available online. Clocking it at number 15 on our list of the 100 Greatest Comedies Ever Made, Billy Wilder’s classic gangster farce plays like Scarface on helium. Tony Curtis and Jack Lemmon make one of cinema’s most delightful double acts as a couple of musicians on the run from the Mob, but Marilyn Monroe steals the picture as the coquettish, breathy and entirely loveable Sugar.
Gossip columnists have mostly gone the way of, well, everything else in media. At one time, though, the most powerful of them could make careers and ruin lives. In Alexander Mackendrick’s singular noir, Tony Curtis is a low-level publicist in thrall to Burt Lancaster’s influential newspaperman, whose quid pro quos in exchange for coverage range from shady to downright illegal. Playing out in the corner booths and smoky back rooms of mid-century Times Square, it depicts showbiz rumour-peddling as every bit amoral and corrupt as politics or organised crime. But it’s still vicious, delicious fun, with some of the most delectable dialogue in all of movies.
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Showing some personal growth as well as filmmaking craft, John Ford makes some amends for his appearance in DW Griffith’s virulently racist The Birth of a Nation with this landmark western. It’s a story of hatred slowing giving way to compassion that strips away the toxic myths of the old frontier via the swaggering but broken-down figure of Ethan Edwards (John Wayne). Edwards is no white-hatted Shane type, but an embittered war veteran who hunts his own niece (Natalie Wood) with the intention of killing her for the crime of have been assimilated with the Comanche. watch movies for free of Edwards framed in that doorway is one of the most famous – and most mimicked – in cinema.
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Its tranquil strength later found an echo in Beyoncé’s Lemonade. Set in (eek!) 2019, Ridley Scott’s vision of a dystopian future is one of the most stylish sci-fi films of all time. With a noir-inspired aesthetic and a haunting synth score by Vangelis (a massive influence on Prince), Blade Runner is iconic not just for its era-defining look, but also for its deeper philosophical examination of what it means to be human. Many have tried to imitate the film’s uncanny vibe, but these rain-slicked streets and seedy vistas possess a singular menace.
Where the narrative is like a smashed jigsaw puzzle put back together out of order? With the guy from Look Who’s Talking as a slick-talking hitman? That can make money, win Oscars and spin off so many imitators it’s practically a genre unto itself? It just took an over-caffeinated ex-video store clerk with the right amount of chutzpah to make it happen. That’s what makes simultaneously it a film for postwar Italy and modern-day anywhere-at-all.
The ultimate cult film, Leone’s spaghetti Western is set in a civilizing America—though mostly shot in Rome and Spain—but the real location is an abstract frontier of old versus new, of larger-than-life heroes fading into memory. It’s a triumph of buried political commentary and purest epic cinema. Henry Fonda’s icy stare, composer Ennio Morricone’s twangy guitars of doom and the monumental Charles Bronson as the last gunfighter (“an ancient race…”) are just three reasons of a million to saddle up.
But anything by Cronenberg, say, whose filmography I’m partway through completing? I barely know I’m watching it, and this, it seems to me, counts as success. Watching a movie, when it becomes seeing a movie, doesn’t take effort, and that’s what so many of us get wrong. We think it’s asking too much of ourselves, of our lives and busy schedules, to commit to a film, and so we forget the rewards of completion, of getting to an actual end.
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Martin Scorsese’s vision of vigilantism is filled with an uncomfortable ambience, and Paul Schrader’s screenplay probes philosophical depths that are brought to vicious life by Robert De Niro’s unforgettable performance. But Ingmar Bergman’s great treatise on mortality isn’t just any film. Despite becoming somehow synonymous with “difficult art-house statement,” it’s not all weighty themes, plague-strewn landscapes and chess games with the Grim Reaper. As Max von Sydow’s medieval knight travels the land witnessing the apocalypse, loads of life-affirming moments lighten the load.