The Small Back Room (1947)

A plodding, B&W, WWII psycho-thriller about a bitter man spiraling out of control that never reaches a point in which we care.

Fantastic Voyage (1966)

When a defecting Russian scientist is nearly assassinated, a secret branch of the military is called in to save him. The CMDF (Combined Miniature Deterrent Forces) send Dr. Duval (Arthur Kennedy), a top brain surgeon and his technical assistant (Raquel Welch) along with a host of others (Donald Pleasence of Halloween being one) to pilot the Proteus. The Proteus has exactly 60 minutes to navigate to the scientist’s brain, correct the injury and get-out—before the team returns to original size.

Sure it’s dated and {sometimes} nonsensical, but Fantastic Voyage is just that—fantastic. Fans of vintage sci-fi or super-hot Raquel Welch will enjoy the artistry of the human body mapped out here. The cursory blinking lights, knobs, and dials are present, but somehow the special effects of the voyage seem way better than those typical of the 60s. The body’s natural defenses—antibodies and white corpuscles become an enemy of the crew as they become entangles in the reticular fibers. Seeing the Proteus approach the heart value looks as true as what you’d see in a textbook—the value anyway. It’s obvious a lot of care was taken to represent key elements of the human body true to form.

Fantastic Voyage isn’t without some proselytizing, 60's era corn, and a predictable saboteur. But nothing keeps the film from being a fascinating time warp.  As I see it, this is one movie I’d love to see remade. Let Bruckheimer or Bay get a hold of it... just imagine. For now, enjoy the trip.

Where the Wild Things Are (2009)

Max (Max Records) is an isolated young boy who feels neglected by his single mother (Catherine Keener) and mistreated by his older sister. When it all finally blows up and Max gets his feelings hurt, he runs off and sails to where the wild things are. The wild things—large talking beasts include Carol (James Gandolfini), KW, Douglas (Chris Cooper), Judith (Catherine O’Hara), Ira (Forest Whitaker), Alexander (Paul Dano) and the Bull—crown him their king. Max’s reign includes fort building, rumpus proclamations, and dirt clods.

The story really begins when Max reaches where the wild things are. Each creature is reflective of a particular piece of Max’s character. I think, that on some level, little Max knows this—but to each viewer his own. No doubt Spike Jonze’s offering is a polarizing feature simply because of the undercurrent of existentialism.

The film is atmospheric, dark, and sometimes intense, but it’s true to form when dealing with sadness, loneliness, anger, and happiness. Little Max Records is an engaging boy that is equally annoying and empathic. You care for this boy by the end of the opening sequence, understand his lashing out, but at the same time want to condone it. Jonze and Records have nailed the child’s perspective and it is beautifully done. The beasts are equally fascinating and surprisingly come across as multi-faceted creatures that you, the viewer, ultimately care for.

As I see it, Where the Wild Things Are is a unique adaptation of the children’s classic. Jonze respects the source material, celebrates it and the emotional journey of childhood. It's a beautiful, gentle story that feels genuine.

Voyage to the Bottom of the Sea (1961)

The U.S.S. Seaview is a state of the art atomic submarine piloted by Admiral Harriman Nelson (Walter Pidgeon). Sent to destroy a ring of radioactive fire that will destroy the Earth if left alone, Adm Nelson and his team of experts including Comm. Lucius Emery (Peter Lorre), Dr. Susan Hiller (Joan Fontaine), Capt. Lee Crane (Robert Sterling), and Lts. Cathy Conners (Barbara Eden) and Danny Romano (Franklie Avalon) must battle giant squids, mine fields, saboteurs and a mutinous crew to save the world.

Voyage to the Bottom of the Sea is a grossly inaccurate scientific adventure that recalls a time before CG. The innards of the vast submarine are an array of blinking buttons, huge knobs, dials, and steering wheels that the cast convincingly sells. The film’s color palate is evident in the rainbow of ridiculously colored scuba suits. Frankie Avalon gets in a solid trumpet solo and viewers also get a great look at Barbara Eden.

As I see it, Voyage to the Bottom of the Sea is vintage sci-fi. Inaccurate hokum that entertains, strings and all!

A Nightmare on Elm Street (2010)

One, two, Freddy's coming for you...  You know the story and after seeing this re-imagining of Wes Craven’s classic, you will easily see why Freddy has stood the test of time.

Regardless of how you feel about the original, horror fans old and new will not be able to deny this 'new' Freddy. He is colder, more evil, and more soulless. You don’t root for Freddy here. You pray to God you don’t fall asleep. Therein lies the film’s success. Jackie Earle Haley as Freddy strikes the perfect chord—fear. The walk, the dialogue, the glove… he owns it all with brilliant results. Gone is the ‘juicy’ look. In its place is a scarred, vengeful disfigured face. Add to that a sexuality that was avoided in the original and you’ve got a full blown visceral fright-fest.

Elm St. hasn’t changed much. The new cast of sleep-deprived teens is solid. Director Samuel Bayer charges right into making a film that feels new, but fans will quickly spot old school homages. Classic scenes are reworked without feeling overwrought and despite some predictability, the scare is real. Blurring reality and fantasy seamlessly, the viewer is best served to stay awake as this time around it’s not so easy to tell.

The opening sequence feels rather art-house and sets the tone for waht is to come.  Bayer plays to a particular angle—what is Freddy was innocent?—thereby increasing the foreboding conclusions. The special effects gore is smart and nightmarishly bloody.

As I see it, A Nightmare on Elm Street is brilliantly executed with top-notch casting and solid dialogue. 2010 has left the ham behind and shown us a crueler, more sadistic Freddy that I, for one, hope to see more of.