Hill makes amazing use of the city’s grime and graffiti, and the various gangs have different, strange themes, such as wearing baseball uniforms, roller skates, or face make-up. So with every other gang in the City, plus the cops, out to get them, our Warriors (played by James Remar, Michael Beck, and others) must make it back to their home turf alive. The Warriors, the gang from Coney Island, gets the blame. All of the gangs in New York City assemble for a big meeting, led by “war chief” Cyrus, but he’s shot and killed by the nasty Luther (David Patrick Kelly). The Warriors (1979) is arguably his masterpiece. Hugely under-appreciated, Walter Hill is one of the greatest directors of “B”-level action movies today, frequently telling stories about characters in unfamiliar territory. The Warriors (Amazon Prime & Netflix) ★★★★★ The screenplay earned an Oscar nomination. A soundtrack album of 1950s pop hits was released, and the title song by Ben E. Kiefer Sutherland plays a sadistic older bully, John Cusack appears in a flashback, and Richard Dreyfuss narrates (and appears as the grown-up Gordie). It’s a snapshot of boys just about to leave childhood behind but still uncertain as to just what adulthood entails. Of course, it’s less about the body than about the journey, with its exciting (the train), bittersweet (the disapproving dads), beautiful (the deer), scary (Chopper), and funny (the pie-eating contest) events, as well as the memorable discussions (Pez). When word comes of a dead body deep in the woods, four 12-year-old friends, Gordie (Wil Wheaton), Chris (River Phoenix), Teddy (Corey Feldman), and Vern (Jerry O’Connell), hit the trail to find it. Evans and Raynold Gideon and director Rob Reiner crafted one of the greatest coming-of-age movies of all time. Netflix offers the 124-minute cut, which, in its own way, is even more enjoyable (and less dark) than the full-length 174-minute director’s cut.īrilliantly adapting Stephen King’s novella The Body, writers Bruce A. Ennio Morricone provided the gorgeous musical score. Hailing from Italy, the movie is still one of the all-time highest-grossing foreign-language films in the United States, and it won the Oscar for Best Foreign Language Film. But nothing hits quite like the movie’s masterstroke: the discovery of all the excised kissing scenes, stolen by the priest for the “betterment” of his flock, edited together in one passionate reel. So many scenes will stick with you forever, such as Salvatore racing back and forth between two cinemas on his bicycle, carrying the shared reels of a single film print. A film director, Salvatore Di Vita, flashes back to his childhood spent at the title movie theater, his friendship with the old projectionist there, and his first love with a local girl. Giuseppe Tornatore’s beautiful Cinema Paradiso (1988) plays the heartstrings a bit heavily, but it’s nearly impossible to resist, especially if you love movies with all your heart.
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