The Godfather (1972)

If you have ever been struck by a line, knowing you’ve heard it somewhere before, its debut was probably in The Godfather. There are so many iconic moments in this film it’s practically become the outline for every mob movie since 1972. Also – 1972? This movie is decades ahead of its time. From an analytical point of view, with the contrasting dark/light shots and the happy music accompanying not-so-happy scenes, it is genius, but it’s also hypnotically entertaining. It may be long (with a running time of 175 minutes), but it’s one of those rare films that you don’t mind giving a significant part of your day. You become completely invested, almost addicted, to the Corleone family and their fondness for illicit activities.

Sherlock Jr. (1924)

Since I can’t quite accept that the BBC’s “Sherlock” is over for the time being, I thought I’d channel my obsession into my first Sherlock love: Buster Keaton. I can’t lie and say I’m a silent film aficionado, but I adore Keaton’s 1924 classic Sherlock Jr.

Sherlock Jr. tells the story of a man who works as a film projectionist, but longs to be a detective. He finally gets the chance to put his detective skills to work when he is framed for stealing a watch from his love interest’s father.

A Christmas Carol (1951)

Humbug!

If nothing else, this film is a winner simply because of the casual, frequent use of this word.

“Merry Christ–”

“Humbug!”

“Happy New Ye– ”

“HUMBUG!”

A Christmas Carol is the film adaptation of Charles Dickens’ classic novel. It tells the story of Ebenezer Scrooge (Alastair Sim), a heartless, grumpy old man who hates Christmas and everyone who celebrates it. Scrooge is visited by the ghost of his long-dead legal partner, Jacob Marley (Michael Horden), who warns him that Scrooge’s negative actions in life are setting him up for a Hell so bad, Dante’s circles look like a vacation in Aruba. His only chance for salvation is to accompany three spirits on a soul-searching adventure through the Christmases of his past, present, and future.

The Parent Trap (1961)

The original PARENT TRAP is a favorite movie from my childhood. It’s clean, humorous fun that anyone can enjoy. It’s a sad realization that I have to be clear about which movie I’m talking about: the original or remake in 1998, but I guess it could be worse. The remake, though not my favorite of the two, is pretty good in it’s own right and I have to give them bonus points for bringing Joanna Barnes back to appear in the remake as Vicky, the new fiance’s mother. I’m fairly certain I was the only person in my family who recognized her. I was so in shock at her cameo that I don’t really remember the next five minutes. Though this review is on the original, I will also make reference to the new one and where it fell short. Sorry for the comparisons, but all of you that love that new one have to be told the truth.

A family film from Walt Disney starring Hayley Mills, Hayley Mills, Maureen O’Hara, Brian Keith, and Joanna Barnes. No, that was not a typo. It was very much on purpose naming Haley Mills twice. Don’t get too excited, I’ll explain for those who’ve never seen the film.

The Odd Couple (1968)

Walter Matthau and Jack Lemmon have entertained us for generations. You may be partial to their movies from the 60s or you may have grown up seeing them as grumpy old men in the 90s. Either way, they’ve made so many people laugh for years just by being friends and playing opposites.

THE ODD COUPLE is one of their classic onscreen partnerships. Written for the stage and adapted to screen by Neil Simon, it’s one of those clever comedies that isn’t always apparent on the surface. It’s found more in the dialogue than in pratfalls and pies in the face. You have to pay attention to every word and delivery to appreciate the irony in some of the exchanges.

Gaslight (1944)

Gaslighting is a legitimate psychological term to explain when someone is being tricked into believing they are going crazy.  This term was coined because of the stage play and two movies made thereafter. The fact that there is a psychological term coined from this story should make you want to see it that much more.

Ingrid Bergman stars alongside Charles Boyer, Joseph Cotton, and Angela Lansbury at 17 years old. Every night at the same time, Ingrid sees the gas lights dim but she seems to be the only one that notices. She mentions it a few times and each time her husband and their house staff don’t seem to notice. After that, she thinks it must be in her mind and stops bringing it up. This goes for the other strange things that start happening that no one seems to notice but her. It’s creepy because the transition from lucidity to lunacy is so subtle and believable; it makes you wonder if it’s ever happened to you. “I swear I saw something out of the corner of my eye.” “Did you hear that? It seems to be coming from over there.” But no one else sees it. No one else hears it. After watching this movie, you’ll think twice about second guessing yourself.