By Brett Blake I’ve watched over 300 movies (and counting) so far in 2021. Some were new releases, others were films I revisited, and most were films from prior years that I saw for the first time. That third group is the subject of this list, which is comprised of the ten best/favorite/most intriguing older movies that I saw for the first time this past year! It’s an eclectic collection, including the action, comedy, horror, adventure, and science fiction genres, and it also features a couple of fairly big “blind spots” for me that were finally filled-in. To be considered for inclusion, it had to be a film released in the United States any time prior to 2021. Having said that, there are two movies I briefly want to mention -- THE KID DETECTIVE and THE EMPTY MAN -- that technically meet that standard, but which didn’t really get any traction until 2021, effectively making them just a bit too on-the-edge to make the cut. That said, they are both very good films that people should check out! Consider them honorable mentions. With all that said, let’s take a look! In no particular order... RONIN (1998) Impressive, exciting filmmaking from director John Frankenheimer, whose style here is visceral and clever, but never overly flashy just to be flashy. The story is pretty classic “heist action thriller” stuff, with eclectic characters tossed into tense situations and forced to work together (or not!) in pursuit of a valuable MacGuffin. Casting is on point, with a great assortment of personalities bouncing off each other, which is always one of the big draws of this type of yarn. The big car chases in here are some of the very finest of their type, truly thrilling setpieces that would probably overwhelm any other movie that wasn’t as well-constructed, top to bottom, as this one is. It’s virtuoso stuff. There’s also great dialogue (courtesy of David Mamet) that perfectly walks the line between being memorable without being too cute for its own good. All in all, this is great action cinema. THE MAN WHO WOULD BE KING (1975) A lavish production, well-mounted by John Huston, marrying classic adventure formula with top-notch craft and technical execution. Oswald Morris’ photography vividly brings the landscapes and locales to life, Edith Head’s costumes are a convincing departure from her usual glamorous style, and Maurice Jarre’s score enhances the story’s sense of humor and its emotional backbone. But what is most surprising is the way in which the film ultimately functions as an ode to friendship. Sean Connery and Michael Caine are a flat-out incredible leading duo here; both turn in performances that are extremely entertaining, but also ones that are gradually revealed to have more depth than one might initially think. They’re a hoot together, but there are darker layers, particularly as we get deeper into the story. And more than anything else, it is these two who are the reason that this is a very, very good film. CROSSROADS (1986) Mixing coming-of-age and road trip tropes, a healthy serving of blues, and a dash of whimsy, CROSSROADS is a completely unexpected delight of a film. It weaves together several stands that you wouldn’t think should work together, and it does it extremely effectively. Ralph Macchio, as he did in THE KARATE KID, again plays a youth who has to learn from an elderly master, but it doesn’t feel like he just recycling that performance; he’s also decently convincing with a guitar. The real star here, though, is Joe Seneca, who contributes a performance so authentic and so compelling that he should have been Oscar-nominated for it. It’s a truly wonderful turn. Good music, good performances, and good, idiosyncratic writing all make for a thoroughly entertaining ride. Why has this movie fallen through the cracks over the decades? F/X (1986) A super fun, unique concept for a thriller, and one that is executed quite well. It’s -- at least partially -- a love letter to practical special effects, makeup, and stunts, made even more interesting viewing these days since so much of that work has shifted over into the digital realm. Bryan Brown’s a really solid leading man (is there a reason he didn’t have a bigger career as a lead?), and the entire supporting ensemble backing him is filled with entertaining turns (especially Brian Dennehy). The character writing is particularly good, giving almost all of the parts at least some amount of personality, and that adds a level of charm which elevates the vibe of the entire project. Good score from Bill Conti, too, which sounds quite unlike his other scores from this general period. MIDNIGHT RUN (1988) Comfortably in the pantheon of the best “buddy” movies of the 1980s. Robert De Niro and Charles Grodin, as a duo, are essentially perfection here, tackling roles that might have been caricatures in other hands, but are instead executed at an extremely high level by two gifted performers who understand nuance. They’re been handed some wonderful dialogue (ditto for everyone in the cast, really), and the arc of their relationship is one of the more satisfying things I’ve seen in any movie recently. There’s also a super fun supporting cast, including Yaphet Kotto, John Ashton, Dennis Farina, and Joe Pantoliano, all portraying efficiently-sketched and colorful characters; you hardly ever get an assortment of memorable players like this in movies anymore. Very catchy Danny Elfman score, too. This is a film that is just constantly entertaining all the way through. THE FINAL COUNTDOWN (1980) A great science fiction premise with an excellent central dilemma. There’s a great deal of enjoyment to be found in intelligent characters trying to work their way through an absolutely baffling situation. A good cast of veterans perform their parts with credibility, which makes the outlandishness of the plot’s main conceit believable enough to overcome potential audience resistance. Splendid aerial photography and some trippy effects courtesy of James Bond main title designer Maurice Binder round things out nicely. There’s also a terrific score courtesy of John Scott, at times evocative, mysterious, and even kind of haunting, and at others unabashedly heroic. This is very good genre entertainment. THE KISS OF THE VAMPIRE (1963) As expected with Hammer, this is more-than-competent gothic horror with no shortage of enjoyable atmosphere. Clifford Evans, so good in CURSE OF THE WEREWOLF, is also great here as a gruff, drunk professor who must rise to the occasion. Beyond that, the blood is oversaturated, the photography is good (from future 007 and RETURN OF THE JEDI cinematographer Alan Hume), and the vampire shenanigans do some different things with the concept than Hammer’s usual, Dracula-adjacent take on the subject; in this film, they’re depicted as being a cultish secret society, which is a nice change of pace, and they’re defeated via occult rites (rather than conventional anti-vampire means) in a memorable finale. This wouldn’t make it into the very top tier of Hammer’s horror output, but it’s right in that next level. LAURA (1944) Often referred to as a classic, and I now see that it’s totally justifiable! The storytelling here is just extremely engaging, handing out information and revelations in ways that continuously keep us on the hook; it’s really a wonderfully-constructed screenplay in that regard, and it also features consistently sharp dialogue. Gene Tierney, as the titular Laura, is strikingly beautiful, but beyond that, her performance is quite excellent; her turn here is calculated for maximum effect, making it very easy to understand why three very different men would be captivated by her. Laura is described at one point as having “authentic magnetism,” and that a very fitting phrase for Tierney’s performance. Dana Andrews, Clifton Webb, and Vincent Price get to play three distinctive, memorable personalities, and Webb, in particular, is a real delight, truly savoring the witty barbs given to his character in the writing. Otto Preminger’s direction is excellent throughout, using the camera in interesting ways to heighten the dramatic intent of each moment. HELL HOUSE LLC (2015) Yes, really! A quite above-average found footage yarn that offers several effectively creepy moments, as well as a solid hook. The movie spends time hinting at the lore and mystery it’s going to be playing around with, which nicely serves to build anticipation. A few of the performances sometimes betray the attempted “reality” of the format’s conceit, but for the most part, things are convincing enough to allow a viewer to buy in. And there are certainly a handful of beats that are genuinely unsettling, which is more than can be said for plenty of found footage horror films. 52 PICK-UP (1986) A mid-‘80s crime thriller from Cannon Films. Should be (possibly fun) sleazy junk, right? In actuality, this is a wonderful neo-noirish tale, with the old-school trio of director John Frankenheimer (with his second film on this list), writer Elmore Leonard, and star Roy Scheider elevating this thing way above what it otherwise might have been. Scheider’s terrific in this as a guy whose mistakes threaten to derail his life, but who won’t go down easily. Leonard obviously knows how to craft a compelling tale, so the plotting here is tight (the second half, where Scheider starts turning the tables, is highly entertaining), and Frankenheimer’s no-nonsense -- but assured -- direction is a perfect fit for the material. There is a bit of the Cannon sleaze, but in this case, it actually serves to enhance the seedy world of the crooks in this story. Toss in the fun supporting cast -- which includes the likes of Ann-Margret, John Glover (simultaneously funny and intimidating), Clarence Williams III, Kelly Preston, and Vanity -- and you’ve got something of a lost gem.
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