Top 10+ Music, Movies, and Visual Art of the Week (2023)

[AfterHours]

EXPLANATION: WHAT IS THIS LOG??? Go here: https://www.besteveralbums.com/phpBB2/v...094#571094

For my criteria page, go here: http://www.besteveralbums.com/phpBB2/vi...hp?t=15503

To visit my Main lists, go here:
Greatest Classical Music Works: https://www.besteveralbums.com/phpBB2/v...hp?t=15098
Greatest Albums (Rock & Jazz): https://www.besteveralbums.com/phpBB2/v...hp?t=15276
Greatest Films: https://www.besteveralbums.com/phpBB2/v...hp?t=15558
Greatest Paintings: https://www.besteveralbums.com/phpBB2/v...hp?t=15560
Greatest Works of Art: https://www.besteveralbums.com/phpBB2/v...hp?t=16117

Bold = Newly added
Bold + Italics = Was already listed but recently upgraded/downgraded

Top 10+ Music, Movies, and Visual Art of the Week(s): 3-13-2023 - 3-26-2023
Beverly Hills Cop - Martin Brest (1984)
Batman - Tim Burton (1989)
RRR - S. S. Rajamouli (2022)
Unforgiven - Clint Eastwood (1992)
Rollerball - Norman Jewison (1975)
Pinocchio - Ben Sharpsteen (Walt Disney) (1940)
The Adjustment Bureau - George Nolfi (2011)
Allied - Robert Zemeckis (2016)

Top 10+ Albums/Movies/Visual Art for the Week(s) - Rated 2.8/10 to 6.7/10
48 Hours - Walter Hill (1982)
Kung Fu Hustle - Stephen Chow (2004)
Bad Boys - Michael Bay (1995)
The Raid - Gareth Evans (2011) [aka, "The Raid: Redemption" in the US]
Flight of the Navigator - Randal Kleiser (1986)
Air Force One - Wolfgang Petersen (1997)
Sour - Olivia Rodrigo (2021)
The Wizard of Oz - Victor Fleming (1939)
Joe Versus the Volcano - John Patrick Shanley (1990)
Honey, I Shrunk the Kids - Joe Johnston (1989)
Live at the Apollo - James Brown (1962)
Valkyrie - Bryan Singer (2008)
Back to the Future II - Robert Zemeckis (1989)
The Sign - Ace of Base (1992) [aka, Happy Nation, US Version]
Crimson Tide - Tony Scott (1995)
Snake Eyes - Brian De Palma (1998)
Willow - Ron Howard (1988)
Collateral - Michael Mann (2004)
Back to the Future, Part III - Robert Zemeckis (1990)
Twister - Jan De Bont (1996)
Parachutes - Coldplay (2000)
Adventures in Baby Sitting - Chris Columbus (1987)
Timecop - Peter Hyams (1994)
Hot Fuss - The Killers (2007)
A Rush of Blood to the Head - Coldplay (2002)
Days of Thunder - Tony Scott (1990)
Predator 2 - Stephen Hopkins (1990)
Cliffhanger - Renny Harlin (1993)
Forever Your Girl - Paula Abdul (1988)
Room On Fire - The Strokes (2003)
Turner and Hooch - Roger Spottiswoode (1989)
The Rocketeer - Joe Johnston (1991)
Emotion - Carly Rae Jepsen (2016)
Cobra - George P. Cosmatos (1986)
Please Please Me - The Beatles (1963)

Top 10+ SONGS/TRACKS for the Week(s)

FAMILIAR ROCK/JAZZ ALBUMS - RE-RATED:
Sour - Olivia Rodrigo (2021) 5.8/10 to 6.0/10
Live at the Apollo - James Brown (1962) 4.8/10 to 5.8/10
Hot Fuss - The Killers (2007)[/b][/color] 5.1/10 to 5.2/10
A Rush of Blood to the Head - Coldplay (2002) 5.0/10 to 5.1/10

NEWLY LISTENED - ROCK/JAZZ ALBUMS - RATED:

FAMILIAR CLASSICAL WORKS - RE-RATED:

NEWLY LISTENED - CLASSICAL WORKS - RATED:

FAMILIAR CLASSICAL RECORDED PERFORMANCES - RE-RATED:

NEWLY LISTENED - CLASSICAL RECORDED PERFORMANCES - RATED:

FAMILIAR SONGS/TRACKS/MOVEMENTS - RE-RATED:

NEWLY LISTENED - SONGS/TRACKS/MOVEMENTS - RATED:

FAMILIAR FILMS - RE-RATED:
Beverly Hills Cop - Martin Brest (1984) 5.8/10 to 6.8/10; 6.8/10 to 6.9/10
Batman - Tim Burton (1989) 6.4/10 to 6.8/10; 6.8/10 to 6.9/10
Unforgiven - Clint Eastwood (1992) Not Rated to 6.8/10
Allied - Robert Zemeckis (2016) 6.7/10 to 6.8/10
The Adjustment Bureau - George Nolfi (2011) Not Rated to 6.8/10 (unofficially; could be 6.5-7.0) ... Tough film to rate confidently as it is a mix between Hollywood cliches, derivation and ingenuity but also some welcome restraint in regards spectacle (it keeps its "action" / "thrills" mostly in alignment and service to its "Romance" aims instead of taking the bait and becoming a full fledged action spectacle like most would have done). This "restraint" can be chalked up to a welcome resistance to mindless and empty stupidity and/or perhaps a lack of greater ambition that a larger project might have attempted (like Inception). It might be halfway between both of those. I am giving it a 6.8, but could be anywhere from around 6.5 to 7.0 (the 6.8 is basically a middle ground in between this that seems about right but isn't as sure as most of my ratings). This film has been a bit unjustly criticized I think in that people accuse it of lacking inspiration, which I find partially understandable in some ways, but a bit odd compared to so many action films or superhero films or thrillers that completely rehash plots and themes (but don't necessarily receive the same criticism or as much as they should). I suspect the criticism might be in part because people went into it expecting more of an action film fresh off of Inception (the year before), whereas this is as much a Romance film as it is "action-thriller". Damon's and Blunt's performances are actually quite effective and quite a bit more natural in their interactions than the average mainstream hollywood flick these days (especially Blunt who is outstanding). It's a pretty effective merging of romance and thriller (and sci-fi/fantasy) that isn't necessarily mind-blowing and not wholly original (echoes of Wings of Desire, Inception, The Matrix...), but does actually present interesting scenarios and a tension that is (at least, partially) it's own, Romance and Thriller in equal measure. It loses its way a bit in the ending (how easily Blunt's character is convinced to leave with him, years later after he abandoned her ... this is partially given credence to how much they want to be together and the pressing nature of the situation but still could've been more convincingly presented...). But the ending, while mildly disappointing, is not outright terrible in the context of the film's universe and themes. And overall the whole film has an earnestness that is kind of refreshing (also without ever going hog wild on the special effects and "action" beyond the fun space-twisting chases). The overall message of "true love conquering all" even in the face of pre-determined destiny, is obviously not original fundamentally, but the way it's shown and expressed in this film, and the philosophical/religious underpinning of the "Adjustment Bureau", their actions and scenarios, is kind of thrilling and fun with legitimate tension most of the way through. All the scenes with Damon trying to out-do his "destiny", with the Bureau aiming to throw him off (or back on track) are an interesting twist on both the Thriller and Romance film simultaneously. You obviously have to be willing to suspend your disbelief some and I think it's important to view the Adjustment Bureau's time and space-bending scenarios at least as much "metaphorically" as they are meant to be "realistic".
Darkman - Sam Raimi (1990) 6.5/10 to 6.4/10
Alien: Resurrection - Jean-Pierre Jeunet (1997) 6.5/10 to 6.4/10
The Wizard of Oz - Victor Fleming (1939) 7.0/10 to 6.4/10
Bad Boys - Michael Bay (1995) Not Rated to 6.4/10
The Dark Knight Rises - Christopher Nolan (2012) 6.3/10 to 6.4/10
Oblivion - Joseph Kosinski (2013) 6.4/10 to 6.3/10
Flight of the Navigator - Randal Kleiser (1986) 5.9/10 to 6.2/10
Air Force One - Wolfgang Petersen (1997) 5.1/10 to 6.0/10 ... It's probably even more derivative of Die Hard than Cliffhanger, but Petersen's direction and the script are more efficient and taut plus the tension is made more interesting and the stakes more compelling both because of the excellent performances of Ford (as The President!) and Oldman (as a Russian!) and because of the moral choices and added complexity of strategic decisions (including sacrifices) Ford has to make as President (plus those speaking/acting for him back in Washington). Beyond that it keeps afloat with ludicrous and amusing subtext because the film is, just beneath its "action film" surface, a feverish and naive political fantasy relentlessly driving home to us with how great America is at every step as "The Premier Force of Good in The World". Starting with Ford as its Presidential Hero, an ex-War Hero, The Ultimate Moral and "Honest Abe", never backs down from terrorists, admits his mistakes, family man, saving everyone before himself, fighting off all the bad guys -- just the way children's patriotic fantasies grow up viewing the President of the United States. And I don't mean that none of these things are possible, just that the earnestness of the film to drive them home constantly is naive and amusing and adds an amusing subtext and wallop to the proceedings (a wallop because it's all so counter-acted by The Supremely Evil Russian Villian played with aplomb by Oldman!). This is also enhanced by how almost everyone loves and respects the President so much. By how people -- not just secret service -- are more than willing to die for him (capped off by an air force jet pilot suicidally blocking a missile from hitting Air Force One!). It is further enhanced by epic celebrations in the War Room and all the wholesome, familial and friendly feelings that permeate the film whenever a win is had. Last but not least, the film's cinematography has a fantastical lighting to it that often renders scenes in an exaggerated dark and luminous light. This occurs in certain interiors of the plane and how other locations are shot too, but the rendering hits its peak during exterior shots to the plane in the night sky that look almost expressionist or surreal, adding to the sense of feverish fantasy. The action leads this way too, such as the President hanging off the ramp of the plane for dear life and even heroically hanging on in the face of a huge explosion. This reaches one of its peaks during a rescue scene where the President hangs onto a rope dragged by the rescue plane and survives to come home to his family! This reaches its peak with antagonist Oldman when Oldman beats him up and threatens him: there is a blackly comic, awesome subversiveness (Aldrich-ian), as they square off, in seeing the President get beat up, so disrespectfully spoken to and threatened with vicious delight by Oldman (especially after 90 minutes of Patriotic glory toting). The film is never profound and is obviously ridiculous and stupid, but Petersen (and the main actors) know this, revel in it, and its subtext and efficiency keep it revved up, entertaining and amusing (ludicrously so).
Joe Versus the Volcano - John Patrick Shanley (1990) 5.3/10 to 5.9/10
Honey, I Shrunk the Kids - Joe Johnston (1989) Not Rated to 5.8/10
Back to the Future II - Robert Zemeckis (1989) 6.0/10 to 5.8/10
Valkyrie - Bryan Singer (2008) 5.1/10 to 5.8/10
Finding Nemo - Andrew Stanton (2003) 5.5/10 to 5.7/10
Crimson Tide - Tony Scott (1995) 5.5/10 to 5.7/10
Snake Eyes - Brian De Palma (1998) Not Rated to 5.5/10; 5.5/10 to 5.6/10 ... Rightfully famous for its unbroken opening 13 minute shot, the film is impressive technically, employing DePalma's usual tricks in bravura fashion while developing into a variation on the "Rashomon effect" with the same story told from multiple perspectives as Cage tries to solve a crime scene during a title fight. The film is also supposed to be expressing the devastating effect upon Cage as his world comes crashing apart but has, at best, limited success here (perhaps in part due to the limited setting and De Palma only being able to stretch his visual vocabulary so far in order to express the wider variety of emotional states through a wider visualization that he could have used from more locales). Wild man Cage is always fun to behold but may also be miscast here (for the dramatic turn the film tries to take after he makes a key realization). Though you could also say he is miscast in every film he's ever been in as he has made a career out of that irony. Ultimately it's a bit empty (a prime example of style over substance) and has a disappointing, rather absurd ending.
Collateral - Michael Mann (2004) 5.0/10 to 5.3/10; 5.3/10 to 5.5/10... A lot of serious film fans, particularly those of Mann, feel this is up there with his best. And I'm not completely closed to the possibility, but I don't really see it. It certainly has a similar visual appeal that he would develop more with Miami Vice and that began (in perhaps its most nuanced, meticulous, poetic compositional form) with Heat, where the city scapes and industrial backdrops and modern-life interiors (of cold, pristine glass and metal and post-modern architecture and interior design), and subway stations (etc), often in "deep focused" HD "noir-lit" widescreen panoramas (or the city viewed through vast overhead shots, wide illustrative backgrounds, and so on), double as a bit of an existential entrapment, a loneliness and emptiness among the overwhelming panorama and industry of the city, emotional toil and contemplation in a looming industrial wasteland, the characters' inescapable dispositions and quandaries from modern life (and alike expressionism). But here, while at times just as striking as in his best films, Mann, just doesn't seem to quite put it all together (for some shots and sequences he does and others it is as if he didn't quite find the right shots or locales to add more meaning, poetry, etc). The story moves a bit too slow and the suspense wanes as the film progresses to where the mixed visual interest isn't enough to hold up the mediocre plot all the way (it works at times, and others it doesn't). And as it becomes increasingly unbelievable to understand Foxx's and Vincent's actions, the film loses a bit of steam, suspense and tonal command. Why doesn't Vincent just kill Foxx after he runs off with his briefcase and then just retrieve it from his dead body? Why not just get another cab or steal another car instead of dealing with Foxx for the rest of the night as soon as that happened making it clear that he is becoming increasingly destructive to his plans? It's somewhat odd that Foxx remains so important to him (excepting their connective, existential subtext that is alluded to; that they supply each other with internal questions and character traits the other needs in order to change their ways). So this is sort of sold by the thematic idea that Vincent, via his meeting Foxx, is slowly letting his armor down and slowly losing his nihilistic and ruthless edge. But it's only partially convincing, and despite Cruise delivering an excellent performance (the limitations more due to Mann's or the script's under-development). As well, Foxx's cab driver protagonist is subtly developed by Mann into needing to take on Vincent's characteristics in order to take charge, salvage the situation and come out of it alive (and more subtly, these characteristics are necessary to add in order to truly change his life, including taking the necessary risks, which feeds his later actions however unconvincingly). Conversely, it is subtly alluded to that, by the end, by the poetics and existential tone of the film, that Vincent may have realized, if too late, Foxx's side of the equation; that of really seeing and granting recognition to the other person, to caring about life, not being a nihilist, that there might be a meaning to it all after all. But on the other hand, it is still a bit hard to believe that Foxx would've taken several of the actions that he did: running away from Vincent with his briefcase, throwing it away while being chased by an assassin with a gun pointed at him ... later it is pretty hard to believe that he would risk death by violently crashing his car ("becoming" Vincent's nihilist), handcuff a cop to a pole, and then "become" something of a hitman himself by heading into the lawyer's office to take on Vincent, a trained killer, directly. As noted above, all these developments are partially sold and given some artistic value by the thematic development that Foxx is "becoming Vincent" (partially, to some degree; conversely, Vincent losing his edge and nihilism via Foxx) in order to escape Vincent and survive his predicament (and less developed but alluded to, to change his life), but they're still a bit too far fetched as rather extreme courses of action for such a character. Additionally, an odd plot hole is how and why Vincent would expect the lawyer to still be at her office at 2 am or whatever time it is by the time they get there? I suppose it's possible the info he had led him to this because of the case she was working on, and the connections he had through this, but still, somewhat far fetched to expect her to still be there outside of that possibility. These points would all be smaller if the film wasn't a mixed bag of pacing and tension so as to draw attention to such flaws. It just moves a bit too slow and the visualization a bit too under-developed to carry it. It also gets increasingly stereotypical as a thriller, as it progresses, as Foxx takes charge, and though it never completely loses its way and remains kind of intriguing, it still suffers a bit as a result.
Back to the Future, Part III - Robert Zemeckis (1990) 5.8/10 to 5.5/10
Twister - Jan De Bont (1996) 6.0/10 to 5.4/10 ... Obviously the main draw is the spectacle of the tornadoes throughout the film and these scenes are indeed impressive from a technical, special effects, visual, standpoint. There is a bit more to the film than this however. On one hand it is an extremely stereotypical Hollywood action-disaster film, with the stereo typical ex-couple on the verge of divorce, and the stereo typical new wife that is the polar opposite of the ex-wife. The ex-wife (Hunt) is the adventurous, down to earth, blue collar sort, while the new wife is the upper class, therapist sort that is her opposite. Paxton plays the husband/ex-husband between both and he is (obviously) incompatible with the new wife and this is telegraphed from the very beginning and we know exactly what is going to happen. Furthermore, the action-disaster sequences, while impressive, offer little in the way of real or lasting or deep suspense. That said, the impressiveness of the staging and spectacle and the subtexual themes underlying these sequences do keep it (barely) afloat beyond total mediocrity. Lifting from Hitchcock's The Birds, the tornado disaster sequences are metaphors for the resurfacing of the tension and rekindling of passion of the two exes past relationship, while they double (triple?) as an annihilation of the new couple's relationship. For example, in their first tornado sequence together (in the film) Paxton and Hunt save each other and hold onto each other at its peak (tension, passionate) intensity, while just after that a truck (from the same tornado) gets thrown by it nearly smashing and blockading the current fiance. In the second tornado sequence, it splits into two and this is when (more evidently, even if telegraphed from the beginning) Hunt and Paxton begin recognizing themselves (more openly) that they may want to rekindle their relationship. Simultaneously Paxton and his current fiance begin (more openly) coming apart (and soon she will hear Hunt and Paxton alluding to their re-found closeness for each other over the radio). A later tornado hits a small town during a drive in movie showing (of The Shining) and it is juxtaposed with Nicholson tearing through the wall to compare it metaphorically to a supernatural ghostly and demonic force. It is here that we also realize that Hunt's chasing of tornadoes and he crazy recklessness about death is, for her, a way to try to experience how her father died, to know him one last time, a father she hardly knew. And her wanting so desperately to send "Dorothy" (a photo-motion capturing system, named after the protagonist in the Wizard of Oz, that they are trying to get into the tornado to document its tendencies from the interior of the storm and produce technology to track and warn of tornadoes farther in advance than currently tech allows) is also a way to do that (to experience what her father experienced as he died in the tornado). It is probable that Paxton, for her, reflects on a subconscious level, a re-emergence of her father, as he is the only partner she has found that is truly willing to go into the eye of the storm with her (again, her last memory of her father). And of course, in the finale, they both get "Dorothy" to successfully capture this, and also together, experience the center of an F-5 tornado together, fully rekindling their marriage (naturally after Paxton's fiance has decided to break up with him as she sees sparks flying -- i.e. symbolically represented in the tornadoes as well -- that she simply can't compete with from her buttoned up unadventurous personality.

So it has some interesting subtext to move it beyond completely mindless action, but it certainly falls short of The Birds and Hitchcock's unique way with character, tension, psychology (The Bird attacks are metaphors of the anxieties that the blonde protagonist brings among the family and the sexual tension between the two lovers plus mother eyeing them. They also may represent a twisted catastrophe brought about by the director -- Hitchcock himself -- to upend his anxieties at each turn: Seeing Melanie -- his muse -- with another man; spying and conniving and over-controlling mothers; the community of the small town; the family unit, paranoias about romance and women, etc. ?It is also Hitchcock giving in to the inexplicable and perhaps "cosmic", feeling himself in a sort of "God complex", without a resolved ending that the main character solves or understands like he/she has done before in all his films). Twister is more a spectacle with a pretense of something deeper that is rather shallow and over-telegraphed lacking nuance and interesting characters in between the storm scenes, but is at least there, if only mildly compelling.
Dune - Denis Villenueve (2021) 5.8/10 to 5.4/10
Timecop - Peter Hyams (1994) 5.6/10 to 5.3/10
Predator 2 - Stephen Hopkins (1990) 5.4/10 to 5.1/10
Days of Thunder - Tony Scott (1990) 4.4/10 to 5.1/10
Cliffhanger - Renny Harlin (1993) 5.7/10 to 5.1/10 ... It opens with one of the greatest scenes of the 90s (no joke) with both intense suspense and drama worthy of the masters. Unfortunately it gradually (at first) then quickly devolves into a very stereotypical Stallone action flick, with only its visuals making it stand out above that plus the challenges of its environment (among mountain ranges, cliffs, ice walls...) adding some (limited) additional interest to various action scenes due to the predicament, camera work, perilous situations, and impressive stunts this pits the protagonists and antagonists into. But really it fast forwards itself into mostly "ho hum/whatever" territory as soon as the bad guys crash land, essentially becoming a very mediocre rip off of Die Hard in the mountains. It features Stallone's typically ridiculous one liners (along with some unintentional fun to be had with the usual macho heroic "sado masochism" that permeate his films from the sequels to Rocky and Rambo, and so on, where Stallone perseveres through an unrealistic and almost hilarious beating throughout the film). It also loses a bit of its thrill due to some huge absurdities, lack of realism, like how all the characters are under-dressed for the elements throughout the film, with no covering of their faces despite the climate they're in for two days (including at first, a violent storm) and no sign that this has affected them. This was probably done by the filmmakers so you could easily identify the heroes and bad guys throughout the movie but it also results in some loss of tension/suspense. Stallone, ridiculously, manages to survive much of the film in either a tank top or sweat shirt and only nears hypothermia early on but never after????? Near the end, he instantly recovers from a prolonged near drowning in ice water (after all he has already gone through, under-dressed, in freezing conditions) only to perform a monumental cliff hanging act in order to take out the final bad guy??? Most of the thrill of the film is gone after the first half hour or so, once the plot thins out and it simply becomes Stallone out-doing bad guys with violent kills, and basically an endless chase scene of cat and mouse, with Stallone turning the tables a bit on the antagonists. It's always impressively shot, and it's never completely terrible and there are still a few tense scenes of interest (like the finale, which may have informed Mission Impossible Fallout) -- but it's pretty much just very shallow action/thrills the rest of the way (there are almost no themes getting worked out within the action other than Stallone redeeming himself and he, his friend and his ex-girlfriend working together to resolve a conflict that happened as a result of something they experienced together near the beginning of the film. Other than that it's pretty much just a formulaic plot unraveling in predictable fashion though shot very well and with technically impressive -- if mostly empty -- stunts and effects).
Wonder Woman - Patty Jenkins (2017) 5.3/10 to 5.1/10
The Rocketeer - Joe Johnston (1991) 5.8/10 to 5.0/10

NEWLY WATCHED FILMS - RATED:
RRR - S. S. Rajamouli (2022) 6.9/10
Rollerball - Norman Jewison (1975) 6.8/10
Kung Fu Hustle - Stephen Chow (2004) 6.5/10 ... A totally bonkers comedy-satire on Kung Fu films by way of The Looney Tunes, The Matrix, Crouching Tiger Hidden Dragon, and so on... Everything about it is ridiculous as it fires at the viewer a rapid-fire parade of silliness in the vein of those references/influences and many more. It's all in good fun and not meant to be taken seriously, but it's also completely meaningless and pointless besides just being a wild, fun, relentless series of parodies on Kung Fu and all its tropes so has its limitations (of depth) due to being just that and nothing more (albeit quite entertaining at doing so). It's also probably a key reference point for Everything Everywhere All at Once come to think of it.
The Raid - Gareth Evans (2011) [aka, "The Raid: Redemption" in the US] 6.4/10 ... A very brutal action film (among the most violent ever made) that is pretty visceral, but loses steam in its final act and, how they eventually get back out is a bit anti-climactic and a letdown, not a great pay off for the tension and all the violent intensity leading up to it. The film's main flaw is that it is quite short on themes, character development and plot, and infact pretty much completely runs out of these by that final act, simply relying on long-standing formula (some predictable twists and serendipities that plague most mainstream action cinema). But on the other hand it has some of the most intense and brutal action ever filmed, very well choreographed and the martial arts stunt work with seemingly little in the way of special effects, is quite impressive. I strongly considered that it might be 6.8+ before the final act happened and I still may upgrade the rating at some point. It's hard to completely ignore how intense the film got at various points but at the same time there isn't much there beyond the brutal action and the film doesn't really have a ton to hold on to or to stay with you. I have doubt about its depth, and this crept in a bit while I was watching but especially after as soon as I was removed from the in your face, brutal action. So it's a tough film to rate with total confidence. I might need to see it again at some point to test how it holds up on a repeat viewing.
Cobra - George P. Cosmatos (1986) 4.2/10 ... Yikes, I was expecting this to at least be cheesy fun, but it is only vaguely so (Stallone's ridiculous dialogue and one-liners, and his ridiculous persona spending pretty much the entire movie with a match hanging out of his mouth...). The film actually has some well-shot "horror" scenes, inspired in part by Hitchcock/De Palma. And some of its overall visual aesthetic (in the nighttime scenes in the city) and the relentlessness of the killers probably owes something to Cameron's first Terminator, plus Mad Max, and is mildly effective, kind of tense and nightmarish at points. The issue with these scenes however, is that they completely lack thematic purpose and/or psychological interest or development (and so miss the point of applying the techniques of Hitchcock/De Palma). They have a suspense/tension to them because they are well shot and composed, but this also very brief, fleeting because they don't build into anything more or derive from anything interesting (the plot just keeps moving but the themes or underlying motivations are hardly addressed and only in the vaguest or superficial manner when they are). Infact the whole film lacks this. Its all contrived so Stallone can kill hundreds of bad guys and there is hardly any further point to it to compel you (except poorly developed themes that the film lacked the effort and conviction to really express). Stallone gives a tired, disinterested performance where he must've thought he was Steve McQueen (or something) and that he had the presence and charisma to pull off an understated intensity -- but instead is just boring (besides the occasional laugh about his dumb lines or persona). Apparently there is some murderous cult randomly killing people to create the "new world" (or some shit) and for much of the film they just randomly kill a bunch of people and then pointlessly chase Stallone, the hot model he is (of course) protecting, his partner and company the rest of the film, while he thinks he is Dirty Harry defying his superiors in a sleepy voice. The murderous cult goes completely undeveloped and unexplained (which could've been interesting). The film just randomly inserts some brief expressionist scenes of them chanting with weapons in a dark place some where, and from that your supposed to find them a compelling antagonist. Some of the action is decent. It ends with nods to Peckinpah (shootout in and around the motel), then George Miller's Mad Max (motorcycle chase sequence), and then probably a nod to Dirty Harry (industrial locale finale, killing the bad guy with ultra-violence while supposedly ignoring proper procedures) with eventually a pretty gruesome final death of the big bad psycho cult leader guy. Some of this as well as earlier "horror" scenes do have a pulse and hold some (very fleeting) interest, but at least as much of the film is a complete bore and waste of time. The "romantic" subplot is idiotic, impossible to believe or invest in especially with Stallone acting so dumb and bored the entire time (besides being a buff, tough guy called Cobra, how he generated interest from this high class model is not developed whatsoever). The "Dirty Harry" theme (the way Stallone treats his superiors and vice versa) is superficially expressed and barely registers (also not assisted at all by Stallone's poorly written dialogue, stilted and tired and bored delivery; he probably thought he was being "method" about it all but it is just boring, lacking the intensity of presence and enigmatic character interest of a McQueen or Eastwood or a Caine from Get Carter). The idiotic (and supposedly) "extreme right wing" assault on the morals and procedures of police in how they treat criminals is muddled in its message and very poorly developed throughout the film (again, taken from Dirty Harry, plus the Death Wish films). But hey at least they got a shot of a Ronald Reagan poster to prove to you that this was among the film's "profound subtexts" should you not be intelligent enough to catch it.

FAMILIAR PAINTINGS/VISUAL ART - RE-RATED:

NEWLY VIEWED PAINTINGS/VISUAL ART - RATED:

Not Rated to /10
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TOP 50 WORKS OF ART OF THE YEAR (2023)
In the Aeroplane Over the Sea - Neutral Milk Hotel (1998)
Nostalghia - Andrei Tarkovsky (1983)
Stalker - Andrei Tarkovsky (1979)
Zen Arcade - Husker Du (1984)
Persona - Ingmar Bergman (1966)
Down Colorful Hill - Red House Painters (1992)
Blow-Up - Michelangelo Antonioni (1966)
Werckmeister Harmonies - Bela Tarr (2000)
The Conversation - Francis Ford Coppola (1974)
Alien - Ridley Scott (1979)
Double Nickels on the Dime - Minutemen (1984)
Astral Weeks - Van Morrison (1968)
Violin Concertos Nos. 1-4, "The Four Seasons" - Antonio Vivaldi (1723)
The Days of Wine & Roses - Dream Syndicate (1982)
Memento - Christopher Nolan (2000)
The Big Heat - Stan Ridgway (1986)
Death Wish 3 - Michael Winner (1985)
Good - Morphine (1992)
The River - Bruce Springsteen (1980)
Nashville - Robert Altman (1975)
Repeater - Fugazi (1990)
Fire of Love - Gun Club (1981)
Three Colors: Red - Krzysztof Kieslowski (1994)
The Big Heat - Fritz Lang (1953)
Medici Chapel: The Sagrestia Nuova - Michelangelo Buonarroti (1555) [Sculpture and Architecture]
David - Michelangelo Buonarroti (1504) [Sculpture]
The Band - The Band (1969)
The Game - David Fincher (1997)
Point Blank - John Boorman (1967)
Leon: The Professional - Luc Besson (1994)
The Rules of the Game - Jean Renoir (1939)
Yerself is Steam - Mercury Rev (1991)
Geek the Girl - Lisa Germano (1994)
Images and Words - Dream Theater (1992)
Fresh Fruit For Rotting Vegetables - Dead Kennedy's (1980)
The Godfather - Francis Ford Coppola (1972)
Spiderland - Slint (1991)
Dolmen Music - Meredith Monk (1981)
Laurentian Library - Michelangelo Buonarroti (Begun 1525, completed posthumously, 1571; Tribune of Elci rotunda added by Pasquale Poccianti in 1841) [Architecture]
Doolittle - Pixies (1989)
Dummy - Portishead (1994)
Frigid Stars - Codeine (1990)
The Lion and the Cobra - Sinead O'Connor (1987)
Fallingwater - Frank Lloyd Wright (1939) [Architecture]
The Lobster - Yorgos Lanthimos (2015)
The Power of the Dog - Jane Campion (2021)
The Parallax View - Alan Pakula (1974)
Moses - Michelangelo Buonarroti (1515) [Sculpture]
Spleen & Ideal - Dead Can Dance (1985)
So Tonight That I Might See - Mazzy Star (1993)
_________________
Best Classical
Best Films
Best Paintings

[AfterHours]

Working on this, recommendations/discussion welcome...

Best Action/Adventure and (Action/Adventure) Thriller Films

IN-PROGRESS...

* = Arguable genre selection, may be removed upon revisit or if I tweak the genre qualifications a little bit.


9/10
<<<<<8.8>>>>>
*North By Northwest - Alfred Hitchcock (1959)

8.5/10
<<<<<8.4>>>>>
*Metropolis - Fritz Lang (1927) ["The Complete Metropolis", 147 minutes]

8/10
<<<<<8.2>>>>>
*Love Exposure - Sion Sono (2008)
The Wild Bunch - Sam Peckinpah (1969) [Director's Cut, 145 minutes]
<<<<<8.1>>>>>
*Apocalypse Now - Francis Ford Coppola (1979)
<<<<<8.0>>>>>
*Once Upon a Time in the West - Sergio Leone (1968)
<<<<<7.9>>>>>>
*Point Blank - John Boorman (1967)
The Seven Samurai - Akira Kurosawa (1954)
*Oldboy - Chan-wook Park (2003)
Bullet in the Head - John Woo (1990)
<<<<<7.8>>>>>
*Reservoir Dogs - Quentin Tarantino (1992)
Leon: The Professional - Luc Besson (1994) [Original Cut, 110 minutes; Extended Cut: 7.4/10]
Natural Born Killers - Oliver Stone (1994) [Director's Cut, 123 minutes]

7.5/10
<<<<<7.6>>>>>
Face/Off - John Woo (1997)
Hero - Zhang Yimou (2002)
*The Treasure of the Sierra Madre - John Huston (1948)
*Blade Runner - Ridley Scott (1982) [The Final Cut, 117 minutes]
*Bonnie & Clyde - Arthur Penn (1967)
*The Big Heat - Fritz Lang (1953)
*Bring Me the Head of Alfredo Garcia - Sam Peckinpah (1974)
<<<<<7.5>>>>>
Death Wish 3 - Michael Winner (1985)
King of New York - Abel Ferrara (1990)
<<<<<7.4>>>>>
*The Birds - Alfred Hitchcock (1963)
*Inglorious Basterds - Quentin Tarantino (2009)
*Frantic - Roman Polanski (1988)
The Getaway - Sam Peckinpah (1972)
*City of God - Fernando Meirelles (2002)
Dirty Harry - Don Siegel (1971)
*Salvador - Oliver Stone (1986)
Baby Driver - Edgar Wright (2017)
*The Game - David Fincher (1997)
The Killer - John Woo (1989)
Hard Boiled - John Woo (1992)
Mad Max 2: The Road Warrior - George Miller (1981)
*Ran - Akira Kurosawa (1985)
Scarface - Howard Hawks (1932)
Star Wars - George Lucas (1977)
*To Catch a Thief - Alfred Hitchcock (1955)
*The Good, the Bad and the Ugly - Sergio Leone (1966)
<<<<<7.3>>>>>
LA Confidential - Curtis Hanson (1998)
*Spirited Away - Hayao Miyazaki (2001)
Emperor of the North - Robert Aldrich (1973)
The Terminator - James Cameron (1984)
*Deliverance - John Boorman (1971)
*Uncut Gems - Josh and Benny Safdie (2019)
*Strange Days - Kathryn Bigelow (1995)
*Heat - Michael Mann (1995)
*The Searchers - John Ford (1956)
*Lock, Stock and Two Smoking Barrels - Guy Ritchie (1998)
Mad Max - George Miller (1979)
La Femme Nikita - Luc Besson (1990)
*Invasion of the Body Snatchers - Don Siegel (1956)
The General - Buster Keaton (1926)
*Aguirre, the Wrath of God - Werner Herzog (1972)
*Ghostbusters - Ivan Reitman (1984)
Brawl in Cell Block 99 - S. Craig Zahler (2017)

(Several entries below this point are missing and will be added once remembered or revisited. A number have already been included on additional sections below)

7/10
<<<7.2>>>
Mission: Impossible III - J. J. Abrams (2006)
Princess Mononoke - Hayao Miyazaki (1997)
The Hidden Fortress - Akira Kurosawa (1958) ***tentative rating/may need a revisit***
*The French Connection - William Friedkin (1971)
*The Parallax View - Alan Pakula (1974)
*Fight Club - David Fincher (1999)
*Back to the Future - Robert Zemeckis (1985)
*Scarface - Brian DePalma (1983)
*Butch Cassidy and the Sundance Kid - George Roy Hill (1969)
Mars Attacks! - Tim Burton (1996)
Assault on Precinct 13 - John Carpenter - John Carpenter (1976)
Hot Fuzz – Edgar Wright (2007)
Minority Report - Steven Spielberg (2002)
Exiled - Johnnie To (2006)
Total Recall - Paul Verhoeven (1990)
*Duel - Steven Spielberg (1971)
*Yojimbo - Akira Kurosawa (1961) ***tentative rating/may need a revisit***
Time Bandits – Terry Gilliam (1981)
*Stagecoach - John Ford (1939)
King Kong - Merian C. Cooper and Ernest B. Schoedsack (1933)
<<<7.1>>>
Scott Pilgrim vs. The World – Edgar Wright (2010)
Raiders of the Lost Ark - Steven Speilberg (1980)
The City of Lost Children - Jean-Pierre Jeunet and Marc Caro (1995)
The Fifth Element - Luc Besson (1996)
21 Jump Street - Phil Lord; Christopher Miller (2012)
*Falling Down - Joel Schumacher (1993)
*Children of Men - Alfonso Cuaron (2006)
A Better Tomorrow - John Woo (1986)
Star Wars Episode V: The Empire Strikes Back - Irvin Kershner (1980)
*Jaws - Steven Spielberg (1975)
*Monty Python and the Holy Grail - Terry Gilliam and Terry Jones (1975)
*Dark City - Alex Proyas (1998)
Escape From New York - John Carpenter (1981)
Run Lola Run - Tom Twyker (1998)
*O Brother, Where Art Thou? - Joel Coen (2000)
*Saving Private Ryan - Steven Spielberg (1998)
*The 39 Steps - Alfred Hitchcock (1935)
*Miller's Crossing - Joel Coen (1990)
*The African Queen - John Huston (1951)
*Wages of Fear - Henri-Georges Clouzot (1953)
*All Quiet on the Western Front - Lewis Milestone (1930)
*Battleship Potemkin - Sergei Eisenstein (1925)
<<<7.0>>>
*Blade Runner 2049 - Denis Villeneuve (2017)
The Dark Knight - Christopher Nolan (2008)
True Lies – James Cameron (1994)
Lawrence of Arabia - David Lean (1962) ***tentative rating/may need a revisit***
Robocop - Paul Verhoeven (1987)
Batman Returns - Tim Burton (1992)
*Hell in the Pacific - John Boorman (1968)
*The Great Race - Blake Edwards (1965) ***tentative rating/may need a revisit***
Wall-E - Andrew Stanton (2008)
Conspiracy Theory - Richard Donner (1997)
First Blood - Ted Kotcheff (1982)
*Training Day - Antoine Fuqua (2001)
The Matrix - Lana Wachowski; Lilly Wachowski (1999)
*Full Metal Jacket - Stanley Kubrick (1987)
Logan's Run - Michael Anderson (1976)
*Charley Varrick - Don Siegel (1973)
Enemy of the State - Tony Scott (1998)
Inside Out - Pete Docter (2015)
Platoon - Oliver Stone (1986)
Lethal Weapon - Richard Donner (1987)
Die Hard - John McTiernan (1988)
Goldfinger - Guy Hamilton (1964) ***tentative rating/may need a revisit***
*South Park: Bigger, Longer & Uncut - Trey Parker (1999)
*Night of the Living Dead - George Romero (1968)
*Kagemusha - Akira Kurosawa (1980)
*Soylent Green - Richard Fleischer (1973)
*Outbreak - Wolfgang Petersen (1995)
Predator - John McTiernan (1987)
In the Line of Fire - Wolfgang Petersen (1993)
*For a Few Dollars More - Sergio Leone (1965) ***tentative rating/may need a revisit***
Toy Story - John Lasseter (1995)
No Country For Old Men - Joel and Ethan Coen (2007)
*Akira - Katsuhiro Otomo (1988)
*The Untouchables - Brian De Palma (1987)
Das Boot - Wolfgang Peterson (1981)
Runaway Train - Andrei Konchalovsky (1985)
Cross of Iron - Sam Peckinpah (1977) ***tentative rating/may need a revisit***
*Ben Hur - William Wyler (1959) ***tentative rating/may need a revisit***
*To Live and Die in LA - William Friedkin (1985)
*Fantastic Voyage - Richard Fleischer (1966) ***tentative rating/may need a revisit***
*Forbidden Planet - Fred Wilcox (1956) ***tentative rating/may need a revisit***
*Saboteur - Alfred Hitchcock (1942) ***tentative rating/may need a revisit***
*Bullitt - Peter Yates (1968)
*Riders of Justice - Anders Thomas Jensen (2020)
<<<<<6.9>>>>>
*Death Wish - Michael Winner (1974)
*Get Carter - Mike Hodges (1971)
*Road to Perdition - Sam Mendes (2002)
Inception - Christopher Nolan (2010)
Planet of the Apes - Franklin J. Schaffner (1968)
Everything Everywhere All at Once - Dan Kwan and Daniel Scheinert (2022) ***tentative rating/may need a revisit***
*Shaun of the Dead - Edgar Wright (2004)
Terminator 2: Judgment Day - James Cameron (1992)
Alice - Jan Svankmajer (1988)
The Towering Inferno - John Guillermin (1974) ***tentative rating/may need a revisit***
Pirates of the Caribbean: Curse of the Black Pearl - Gore Verbinski (2003) ***tentative rating/may need a revisit***
Beverly Hills Cop - Martin Brest (1984)
Magnum Force - Ted Post (1973) ***tentative rating/may need a revisit***
*Ransom - Ron Howard (1996)
Batman - Tim Burton (1989)
*E.T. the Extra Terrestrial - Steven Spielberg (1982)
*Interstellar - Christopher Nolan (2014)
Toy Story 3 - Lee Unkrich (2010)
RRR - S. S. Rajamouli (2022)
*Cast Away - Robert Zemeckis (2000)
*28 Days Later - Danny Boyle (2002)
Mission: Impossible - Brian De Palma (1996)
Galaxy Quest - Dean Parisot (1999)
Star Wars Episode VI: Return of the Jedi - Richard Marquand (1983)
John Wick - Chad Stahelski (2014)
Mad Max: Fury Road - George Miller (2015)
*1917 - Sam Mendes (2019) ***tentative rating/may need a revisit***
*Foreign Correspondent - Alfred Hitchcock (1940) ***tentative rating/may need a revisit***
They Live - John Carpenter (1988)
Sin City - Robert Rodriguez and Frank Miller (2005)
*Gremlins - Joe Dante (1984)
From Russia With Love - Terrence Young (1963) ***tentative rating/may need a revisit***
<<<<<6.8>>>>>
The Crow - Alex Proyas (1994)
Dr. No - Terrence Young (1962) ***tentative rating/may need a revisit***
District 9 - Neill Blomkamp (2009)
The Adventures of Robin Hood - Michael Curtiz (1938) ***tentative rating/may need a revisit***
The Lord of the Rings: The Return of the King - Peter Jackson (2003) ***tentative rating/may need a revisit***
*Unforgiven - Clint Eastwood (1992)
*Rollerball - Norman Jewison (1975)
Dirty Dozen - Robert Aldrich (1967)
Romancing the Stone - Robert Zemeckis (1984)
Pinocchio - Ben Sharpsteen (Walt Disney) (1940)
The Adventures of Baron Manchausen - Terry Gilliam (1988)
Mad Max Beyond Thunderdome - George Miller (1985)
*The Karate Kid - John Avildsen (1984)
Toy Story 2 - John Lasseter (1999)
*Allied - Robert Zemeckis (2016)
*The Adjustment Bureau - George Nolfi (2011)
The Killer Elite - Sam Peckinpah (1975) ***tentative rating/may need a revisit***
Men in Black - Barry Sonnenfeld (1997)
Gravity - Alfonso Cuaron (2013)
*Fistful Of Dollars - Sergio Leone (1964) ***tentative rating/may need a revisit***
Enter the Dragon - Robert Clouse (1973)
*Godzilla - Ishiro Honda (1954) ***tentative rating/may need a revisit***
Police Story - Jackie Chan (1985)
The Matrix Reloaded - Lana and Lilly Wachowski (2003)
*Westworld - Michael Crichton (1973)
Excalibur - John Boorman (1981)
The Neverending Story - Wolfgang Petersen (1984)

6.5/10
<<<<<6.7>>>>>
*Rocky IV - Sylvester Stallone (1985)
Rush Hour - Brett Ratner (1998)
*Dead Presidents - Allen and Albert Hughes (1995)
*The Revenant - Alejandro Gonzalez Inarritu (2015) ***tentative rating/may need a revisit***
Logan - James Mangold (2017)
Mission: Impossible — Fallout - Christopher McQuarrie (2018)
Prometheus - Ridley Scott (2012)
Gladiator - Ridley Scott (2000)
<<<<<6.6>>>>>
Snowpiercer - Joon-ho Bong (2014)
Speed - Jan de Bont (1994) ***tentative rating/may need a revisit***
Death Proof - Quentin Tarantino (2007)
We Were Soldiers - Randall Wallace (2002) ***tentative rating/may need a revisit***
Pitch Black - David Twohy (2000) ***tentative rating/may need a revisit***
*Titanic - James Cameron (1997)
The Rock - Michael Bay (1996)
<<<<<6.5>>>>>
Death Wish 2 - Michael Winner (1982)
The Lord of the Rings: The Fellowship of the Ring - Peter Jackson (2001) ***tentative rating/may need a revisit***
The Fugitive - Andrew Davis (1993)
The Running Man - Paul Michael Glaser (1987)
48 Hours - Walter Hill (1982)
The Right Stuff - Phillip Kaufman (1983) ***tentative rating/may need a revisit***
Sudden Impact - Clint Eastwood (1983) ***tentative rating/may need a revisit***
Battle Royale - Kinji Fukasaku (2000) ***tentative rating/may need a revisit***
*The Killing - Stanley Kubrick (1956)
Robocop 2 - Ivan Kershner (1990)
*Miami Vice - Michael Mann (2006) ***tentative rating/may need a revisit***
*AI Artificial Intelligence - Steven Spielberg (2001)
Kung Fu Hustle - Stephen Chow (2004)
Avatar - James Cameron (2009)
<<<<<6.4>>>>>
Bad Boys - Michael Bay (1995)
The Raid - Gareth Evans (2011) [aka, "The Raid: Redemption" in the US]
Road House - Rowdy Harrington (1989)
Darkman - Sam Raimi (1990)
Alien: Resurrection - Jean-Pierre Jeunet (1997)
Star Wars: Episode III - Revenge of the Sith - George Lucas (2005) ***tentative rating/may need a revisit***
Patriot Games - Phillip Noyce (1992) ***tentative rating/may need a revisit***
Clear and Present Danger - Phillip Noyce (1994) ***tentative rating/may need a revisit***
*The Enforcer - James Fargo (1976) ***tentative rating/may need a revisit***
*The Wizard of Oz - Victor Fleming (1939)
Labyrinth - Jim Hensen (1986)
The Lion King - Roger Allers and Rob Minkoff (1994)
The Little Mermaid - Ron Clements and John Musker (1989)
Die Hard With a Vengence - John McTiernan (1995) ***tentative rating/may need a revisit***
Edge of Tomorrow - Doug Liman (2014)
The Thomas Crown Affair - John McTiernan (1999) [remake]
The Dark Knight Rises - Christopher Nolan (2012)
*Stakeout - John Badham (1987) ***tentative rating/may need a revisit***
<<<<<6.3>>>>>
Master and Commander: The Far Side of the World - Peter Weir (2003) ***tentative rating/may need a revisit***
Oblivion - Joseph Kosinski (2013)
*Enemy Mine - Wolfgang Petersen (1985)
*Crouching Tiger Hidden Dragon - Ang Lee (2000) ***tentative rating/may need a revisit***
The Bourne Ultimatum - Paul Greengrass (2007)
War of the Worlds - Steven Spielberg (2005)
Toy Story 4 - Josh Cooley (2019)
Backdraft - Ron Howard (1991)
*Jaws 2 - Jeannot Szwarc (1978)
*The Martian - Ridley Scott (2015)
Batman Forever - Joel Schumacher (1995)

6/10
<<<<<6.2>>>>>
Jurassic Park - Steven Spielberg (1993)
Spiderman 2 - Sam Raimi (2004)
Aladdin - Ron Clements and John Musker (1992)
Tron - Steven Lisberger (1982) ***tentative rating/may need a revisit***
The Bourne Supremacy - Paul Greengrass (2004)
*Flight of the Navigator - Randal Kleiser (1986)
*Spartacus - Stanley Kubrick (1960) ***tentative rating/may need a revisit***
Braveheart - Mel Gibson (1995) ***tentative rating/may need a revisit***
*Menace II Society - Allen and Albert Hughes (1993) ***tentative rating/may need a revisit***
Starship Troopers - Paul Verhoeven (1997) ***tentative rating/may need a revisit***
*The Man Who Would Be King - John Huston (1975) ***tentative rating/may need a revisit***
The Abyss - James Cameron (1989)
Last Action Hero - John McTiernan (1993) ***tentative rating/may need a revisit***
<<<<<6.1>>>>>
*The Batman - Matt Reeves (2022)
Hook - Steven Spielberg (1991) ***tentative rating/may need a revisit***
Deadpool - Tim Miller (2016)
The Bourne Identity - Doug Liman (2002)
Convoy - Sam Peckinpah (1978)
*The Simpsons Movie - David Silverman (2007)
*In Time - Andrew Nicchol (2011) ***tentative rating/may need a revisit***
Waterworld - Kevin Reynolds (1995)
*The Firm - Sydney Pollack (1993)
The Last Samurai - Edward Zwick (2003) ***tentative rating/may need a revisit***
Tropic Thunder - Ben Stiller (2008) ***tentative rating/may need a revisit***
Up - Pete Docter (2009)
Bill & Ted's Excellent Adventure - Stephen Herek (1989) ***tentative rating/may need a revisit***
X2 - Bryan Singer (2003) ***tentative rating/may need a revisit***
X-Men - Bryan Singer (2000) ***tentative rating/may need a revisit***
<<<<<6.0>>>>>
Air Force One - Wolfgang Petersen (1997)
Point Break - Kathryn Bigelow (1991) ***tentative rating/may need a revisit***
The Emerald Forest - John Boorman (1985)
Spiderman - Sam Raimi (2002)
*The Arrival - David Twohy (1996) ***tentative rating/may need a revisit***
*Shrek 2 - Andrew Adamson, Kelly Asbury and Conrad Vernon (2004)
Ronin - John Frankenheimer (1998) ***tentative rating/may need a revisit***
Spiderman 3 - Sam Raimi (2007)
*American Made - Doug Liman (2017) ***tentative rating/may need a revisit***
The Goonies - Richard Donner (1985) ***tentative rating/may need a revisit***
*Big Fish - Tim Burton (2003) ***tentative rating/may need a revisit***
Dick Tracy - Warren Beatty (1990)
From Dusk Til Dawn - Robert Rodriguez (1996) ***tentative rating/may need a revisit***
Desperado - Robert Rodriguez (1995) ***tentative rating/may need a revisit***
Armageddon - Michael Bay (1998) ***tentative rating/may need a revisit***
*Dune - David Lynch (1984) ***tentative rating/may need a revisit***
Speed Racer - Lana and Lilly Wachowski (2008)
Guardians of the Galaxy - James Gunn (2014) ***tentative rating/may need a revisit***
Hard Target - John Woo (1993) ***tentative rating/may need a revisit***
Goldeneye - Martin Campbell (1995) ***tentative rating/may need a revisit***
Superman - Richard Donner (1978) ***tentative rating/may need a revisit***
Apollo 13 - Ron Howard (1995) ***tentative rating/may need a revisit***
Commando - Mark Lester (1985)
Black Hawk Down - Ridley Scott (2001) ***tentative rating/may need a revisit***
Legend - Ridley Scott (1985) ***tentative rating/may need a revisit***
<<<<<5.9>>>>>
*Rob Roy - Michael Caton-Jones (1995) ***tentative rating/may need a revisit***
*Joe Versus the Volcano - John Patrick Shanley (1990)
Kindergarten Cop - Ivan Reitman (1990) ***tentative rating/may need a revisit***
Cowboys and Aliens - Jon Favreau (2011) ***tentative rating/may need a revisit***
The Lord of the Rings: The Two Towers - Peter Jackson (2002) ***tentative rating/may need a revisit***
Stargate - Roland Emmerich (1994) ***tentative rating/may need a revisit***
Indiana Jones and The Temple Of Doom - Steven Spielberg (1984)
*The Panic Room - David Fincher (2002) ***tentative rating/may need a revisit***
Casino Royale - Martin Campbell (2006)
Con Air - Simon West (1997) ***tentative rating/may need a revisit***
Last of the Mohicans - Michael Mann (1992)
*Moby Dick - John Huston (1956) ***tentative rating/may need a revisit***
I, Robot - Alex Proyas (2004) ***tentative rating/may need a revisit***
*I am Legend - Francis Lawrence (2007) ***tentative rating/may need a revisit***
<<<<<5.8>>>>>
The Princess Bride - Rob Reiner (1987) ***tentative rating/may need a revisit***
Men in Black II - Barry Sonnenfeld (2002) ***tentative rating/may need a revisit***
Lethal Weapon 2 - Richard Donner (1989) ***tentative rating/may need a revisit***
The Perfect Storm - Wolfgang Petersen (2000) ***tentative rating/may need a revisit***
Wild Wild West - Barry Sonnenfeld (1999) ***tentative rating/may need a revisit***
Blade 2 - Guillermo del Toro (2002) ***tentative rating/may need a revisit***
The Quick and the Dead - Sam Raimi (1995) ***tentative rating/may need a revisit***
Blade - Stephen Norrington (1998) ***tentative rating/may need a revisit***
*The Hunt For Red October - John McTiernan (1990) ***tentative rating/may need a revisit***
Star Trek - J.J. Abrams (2009) ***tentative rating/may need a revisit***
Flesh and Blood - Paul Verhoeven (1985)
*Honey, I Shrunk the Kids - Joe Johnston (1989)
Back to the Future, Part II - Robert Zemeckis (1989)
Judge Dredd - Danny Cannon (1995)
Mission: Impossible — Ghost Protocol - Brad Bird (2011)
Dredd - Pete Travis (2012) ***tentative rating/may need a revisit***
*Stand By Me - Rob Reiner (1986)
*Valkyrie - Bryan Singer (2008)

5.5/10
<<<<<5.7>>>>>
*V for Vendetta - James McTeague (2005)
Swiss Family Robinson - Ken Annakin (1960) ***tentative rating/may need a revisit***
Finding Nemo - Andrew Stanton (2003)
*Crimson Tide - Tony Scott (1995)
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe - Andrew Adamson (2005) ***tentative rating/may need a revisit***
Harry Potter and the Philosopher's Stone - Chris Columbus (2001) [aka, "Harry Potter and the Sorcerer's Stone"]
Alice in Wonderland - Tim Burton (2010) ***tentative rating/may need a revisit***
Die Hard 2 - Renny Harlin (1990) ***tentative rating/may need a revisit***
Tango & Cash - Andrei Konchalovsky (1989) ***tentative rating/may need a revisit***
<<<<<5.6>>>>>
*Snake Eyes - Brian De Palma (1998)
Willow - Ron Howard (1988)
A Knight's Tale - Brian Helgeland (2001) ***tentative rating/may need a revisit***
Bad Boys II - Michael Bay (2003) ***tentative rating/may need a revisit***
X-Men: The Last Stand - Brett Ratner (2006) ***tentative rating/may need a revisit***
Demolition Man - Marco Brambilla (1993) ***tentative rating/may need a revisit***
*Pee-wee's Big Adventure - Tim Burton (1985) ***tentative rating/may need a revisit***
*Journey to the Center of the Earth - Henry Levin (1959) ***tentative rating/may need a revisit***
<<<<<5.5>>>>>
Kill Bill, Vol. 1 - Quentin Tarantino (2003) ***tentative rating/may need a revisit***
*Six Days Seven Nights - Ivan Reitman (1998)
Sudden Death - Peter Hyams (1995) ***tentative rating/may need a revisit***
Point of No Return - John Badham (1993) [remake of Besson's La Femme Nikita] ***tentative rating/may need a revisit***
Collateral - Michael Mann (2004)
Back to the Future, Part III - Robert Zemeckis (1990)
*Seven Years in Tibet - Jean-Jacques Annaud (1997) ***tentative rating/may need a revisit***
Batman Begins - Christopher Nolan (2005)
*American Sniper - Clint Eastwood (2014)
<<<<<5.4>>>>>
Shrek - Andrew Adamson and Vicky Jenson (2001)
Big Trouble in Little China - John Carpenter (1986) ***tentative rating/may need a revisit***
*The Cannonball Run - Hal Needham (1981) ***tentative rating/may need a revisit***
Conan the Barbarian - John Milius (1982)
Kung Fu Panda - Mark Osborne and John Stevenson (2008) ***tentative rating/may need a revisit***
Ip Man - Wilson Yip (2008)
Jumanji - Joe Johnston (1995) ***tentative rating/may need a revisit***
Twister - Jan De Bont (1996)
*Gran Torino - Clint Eastwood (2008) (Note: To be removed from this genre list)
Dune - Denis Villenueve (2021)
*Deep Impact - Mimi Leder (1998) ***tentative rating/may need a revisit***
*Tremors - Ron Underwood (1990)
<<<<<5.3>>>>>
The Incredibles - Brad Bird (2004)
Lethal Weapon 3 - Richard Donner (1992) ***tentative rating/may need a revisit***
*Pirates - Roman Polański (1986) ***tentative rating/may need a revisit***
Knight and Day - James Mangold (2010)
*Adventures in Baby Sitting - Chris Columbus (1987)
Johnny Mnemonic - Robert Longo (1995) ***tentative rating/may need a revisit***
Timecop - Peter Hyams (1994)
Star Wars: Episode VII – The Force Awakens - J.J. Abrams (2015) ***tentative rating/may need a revisit***
Top Gun: Maverick - Joseph Kosinski (2022)
*Angels and Demons - Ron Howard (2009) ***tentative rating/may need a revisit***
*Cool World - Ralph Bakshi (1992)

5/10
<<<<<5.2>>>>>
The Mummy - Stephen Sommers (1999) ***tentative rating/may need a revisit***
*Dragnet - Tom Mankiewicz (1987) ***tentative rating/may need a revisit***
Another Stakeout - John Badham (1993) ***tentative rating/may need a revisit***
*Mr. & Mrs. Smith - Doug Liman (2005) ***tentative rating/may need a revisit***
World War Z - Marc Forster (2013) ***tentative rating/may need a revisit***
Under Siege - Andrew Davis (1992) ***tentative rating/may need a revisit***
Independence Day - Roland Emmerich (1996) ***tentative rating/may need a revisit***
Aliens - James Cameron (1986) [Original Theatrical Cut, 137 minutes; Extended "Special Edition" Cut, 154 min: 5.0/10]
Congo - Frank Marshall (1995) ***tentative rating/may need a revisit***
Robin Hood: Prince of Thieves - Kevin Reynolds (1991) ***tentative rating/may need a revisit***
Ice Age - Chris Wedge (2002) ***tentative rating/may need a revisit***
The Hunger Games - Gary Ross (2012)
<<<<<5.1>>>>>
Broken Arrow - John Woo (1996) ***tentative rating/may need a revisit***
300 - Zack Snyder (2006) ***tentative rating/may need a revisit***
Predator 2 - Stephen Hopkins (1990)
Days of Thunder - Tony Scott (1990)
Cliffhanger - Renny Harlin (1993)
The Mask of Zorro - Martin Campbell (1998) ***tentative rating/may need a revisit***
Elysium - Neill Blomkamp (2013) ***tentative rating/may need a revisit***
Wonder Woman - Patty Jenkins (2017)
Black Panther - Ryan Coogler (2018)
The Last Starfighter - Nick Castle (1984) ***tentative rating/may need a revisit***
*20,000 Leagues Under the Sea - Richard Fleischer (1954) ***tentative rating/may need a revisit***
<<<<<5.0>>>>>
The Lost World: Jurassic Park - Steven Spielberg (1997)
Indiana Jones and the Last Crusade - Steven Spielberg (1989)
Mission: Impossible — Rogue Nation - Christopher McQuarrie (2015)
Rambo: First Blood Part II - George P. Cosmatos (1985)
Life of Pi - Ang Lee (2012)
Ip Man 3 - Wilson Yip (2015)
Ip Man 2 - Wilson Yip (2010)
Star Wars: Episode VIII - The Last Jedi - Rian Johnson (2017) ***tentative rating/may need a revisit***
Guardians of the Galaxy, Vol. 2 - James Gunn (2017) ***tentative rating/may need a revisit***
Top Gun - Tony Scott (1986)
Kill Bill, Vol. 2 - Quentin Tarantino (2004) ***tentative rating/may need a revisit***
GI Jane - Ridley Scott (1997) ***tentative rating/may need a revisit***
Conan the Destroyer - Richard Fleischer (1984) ***tentative rating/may need a revisit***
*Far and Away - Ron Howard (1992) ***tentative rating/may need a revisit***
<<<<<4.9>>>>>
*Turner and Hooch - Roger Spottiswoode (1989) (Note: To be removed from this genre list)
The Rocketeer - Joe Johnston (1991)
Frozen - Chris Buck and Jennifer Lee (2009) ***tentative rating/may need a revisit***
*The Da Vinci Code - Ron Howard (2002) ***tentative rating/may need a revisit***
Jack Reacher - Christopher McQuarrie (2012) ***tentative rating/may need a revisit***
The Hunger Games: Catching Fire - Francis Lawrence (2013) ***tentative rating/may need a revisit***
Cyborg - Albert Pyun (1989) ***tentative rating/may need a revisit***
Red Dawn - John Milius (1984) ***tentative rating/may need a revisit***
Masters of the Universe - Gary Goddard (1987) ***tentative rating/may need a revisit***
King Kong - Peter Jackson (2005) [remake] ***tentative rating/may need a revisit***
Jupiter Ascending - Lana and Lilly Wachowski (2015)
<<<<<4.8>>>>>
The Land Before Time - Don Bluth (1988)
The Mask - Chuck Russell (1994)
Iron Man - Jon Favreau (2008)
Star Wars: Episode IX - The Rise of Skywalker - J.J. Abrams (2019) ***tentative rating/may need a revisit***
Above the Law - Andrew Davis (1988) ***tentative rating/may need a revisit***
2012 - Roland Emmerich (2009) ***tentative rating/may need a revisit***

4.5/10
<<<<<4.7>>>>>
Universal Soldier - Roland Emmerich (1992) ***tentative rating/may need a revisit***
Hard to Kill - Bruce Malmuth (1990) ***tentative rating/may need a revisit***
Jurassic World - Colin Trevorrow (2015) ***tentative rating/may need a revisit***
Superman Returns - Bryan Singer (2006) ***tentative rating/may need a revisit***
<<<<<4.6>>>>>
Star Wars: Episode 1 - The Phantom Menace - George Lucas (1999)
Rambo III - Peter MacDonald (1988)
Jack Reacher: Never Go Back - Edward Zwick (2016) ***tentative rating/may need a revisit***
<<<<<4.5>>>>>
*The Day After Tomorrow - Roland Emmerich (2004) ***tentative rating/may need a revisit***
Godzilla - Roland Emmerich (1998) ***tentative rating/may need a revisit***
Jurassic Park III - Joe Johnston (2001) ***tentative rating/may need a revisit***
K-9 - Rod Daniel (1989) ***tentative rating/may need a revisit***
Man of Steel - Zack Snyder (2013) ***tentative rating/may need a revisit***
<<<<<4.4>>>>>
Divergent - Neil Burger (2014) ***tentative rating/may need a revisit***
<<<<<4.3>>>>>
Star Wars: Episode II - Attack of the Clones - George Lucas (2002) ***tentative rating/may need a revisit***
Indiana Jones and the Kingdom of the Crystal Skull - Steven Spielberg (2008) ***tentative rating/may need a revisit***
Batman & Robin - Joel Schumacher (1997) ***tentative rating/may need a revisit***
The Mummy Returns - Stephen Sommers (2001) ***tentative rating/may need a revisit***
Pearl Harbor - Michael Bay (2001) ***tentative rating/may need a revisit***
*The Iron Giant - Brad Bird (1999)

4/10
<<<<<4.2/10>>>>>
Anaconda - Luis Llosa (1997) ***tentative rating/may need a revisit***
Terminator 3: Rise of the Machines - Jonathan Mostow (2003)
Double Impact - Sheldon Lettich (1991) ***tentative rating/may need a revisit***
Cobra - George P. Cosmatos (1986)
<<<<<4.1/10>>>>>
Mission: Impossible II - John Woo (2000)
Lionheart - Sheldon Lettich (1990) ***tentative rating/may need a revisit***
Kickboxer - David Worth (1989) ***tentative rating/may need a revisit***
<<<<<4.0/10>>>>>
Alice in Wonderland - Clyde Geronimi, Wilfred Jackson and Hamilton Luske (1951)
<<<<<3.9/10>>>>>
<<<<<3.8/10>>>>>
Robocop 3 - Fred Dekker (1993) ***tentative rating/may need a revisit***
*Super Mario Bros. - Rocky Morton and Annabel Jankel (1993) ***tentative rating/may need a revisit***
The Mummy - Alex Kurtzman (2017) ***tentative rating/may need a revisit***

3.5/10
<<<<<3.7>>>>>
On Deadly Ground - Steven Seagal (1994) ***tentative rating/may need a revisit***
<<<<<3.6>>>>>
Bloodsport - Newt Arnold (1988)

3/10
Gymkata - Robert Clouse (1985) ***tentative rating/may need a revisit***
<<<<<2.8>>>>>
Teenage Mutant Ninja Turtles - Steve Barron (1990)
Teenage Mutant Ninja Turtles II: The Secret of the Ooze - Michael Pressman (1991) ***tentative rating/may need a revisit***

2.5/10
<<<<<2.3>>>>>
*Dinosaurus! - Irvin S. Yeaworth Jr. (1960) ***tentative rating/may need a revisit***

2/10
*The Lost World - Irwin Allen (1960) ***tentative rating/may need a revisit***


Add...
Branded to Kill - Seijun Suzuki (1967)
Karate Kid 2, 3 ... Do they qualify??? (Not as much "martial arts action" as the first, which barely qualifies if it even does)
Fists of Fury
Drunken Master
Hitchcock thrillers that qualify
Jaws 3, 4?
Jet Li
Other Jackie Chan: Rumble in the Bronx...
Does Pulp Fiction maybe (barely) qualify? Goodfellas maybe? Mean Streets maybe?
Gattaca qualify?
Catch Me if You Can?
Other Harrison Ford ... Witness enough of an "action" thriller?
Shane? The Searchers? Stagecoach? Unforgiven? Tombstone?
Naked Gun and sequels?
Hot Shots 1 and Part Deux (satires on Rambo etc)
Airplane qualify as "action-disaster"?
Adventures of Robin Hood (Eroll Flynn)
Excalibur? (Boorman)
The Adjustment Bureau qualify?
Dirty Harry sequels: Magnum Force, Sudden Impact

To See / Recs...
Facetious: RRR (and other S.S. Rajamouli films) for the action list? I would also recommend the Bollywood classic Sholay, and a lesser known but extremely campy Pakistani action (/comedy?) International Guerillas (which you can find here: https://www.youtube.com/watch?v=KAQlYGeprhk)
Dead or Alive - Takashi Miike
The Raid and its sequel
Crank and its sequel
DommeDamian: How to Train Your Dragon
John Wick 2, 3, 4
A lot of (ugh) MCU movies
Where the Wild Things Are

[AfterHours]

^^^ Note: many of the films marked "tentative / may need a revisit" in red font are oftentimes ones I haven't seen in 10, 15-20 or even 25+ years since I was a kid/young teenager. Like all those idiotic Van Damme moves or Steven Seagal movies and lots of 80s/90s moronic action/martial arts films (especially those 5.7/10 and below that I haven't noted as revisited in my "Top 10+" log within the last year or sooner).

So take those marked (tentative) ratings as "rough estimates" to say the least (especially from around 1995 or earlier). Several of those are ratings based on memory of what the film is like qualitatively combined in an attempt to merge said memory with my current ratings standards. So obviously this would only be somewhat reliable and likely to have some holes in accuracy. So, while I am often "correct" by memory that they were at least 5.5/10 or below or whatever, it is also pretty common for me to be off a bit, like by 0.5 or 1.0 sometimes (ex: its a 4.5 instead of a 5 or 5.5). This is why some of these see fairly big jumps or drops when I revisit them (though usually still a low or mediocre rating).

I didn't start seriously thinking about cinema until about 1995-1996 and before that most of what I watched was mainstream trash plus various obvious classics (Spielberg, Lucas, Zemeckis, etc). But I didn't start really getting into films like Citizen Kane, 2001, Taxi Driver, Hitchcock's masterpieces, Kurosawa, Bergman, etc etc etc, until about 1996 (after discovering the Sight and Sound list). And gradually worked my way into a more serious "cineaste" (or whatever you want to call it) from there (including discovering Scaruffi around 2005, and using his lists to discover more films, plus build upon the other arts I list).

Also, FWIW, if you see a film on here that puzzles you that I would've actually chosen to see myself without having my "arm twisted" (like Hunger Games, Divergent, etc), just know that I have a daughter who begged me to take her to go see those when she was younger and this "forced" me to see a lot of silly films that, again, I am rating by a combo of memory and current standards and didn't really think to closely take care and note what I would rate them at the time. So more recent ones, that I didn't "grow up with" (like I did with Van Damme, Seagal, etc), are ones that my daugher "grew up with" and I saw them simply by taking her to see them. Many of the other dumb blockbuster action/disaster/superhero films (especially post-early-2000s as blockbusters got -- generally speaking -- stupider and stupider) were often those I saw on a date and/or with friends or family who wanted to see them and I (silently, noddingly) "took one for the team" so to speak and was just going to be mindlessly entertained and hang-out with friends or to appease a date or what-have-you Anyway, any of these sorts of films (most should be pretty obvious even without the marking) are pretty rough estimates, give or take 0.5 or so. If you watch or recently watched any of them and are relatively familiar with my ratings and think I am probably a bit off on one (or more) of them, please let me know and I might consider revisiting them faster than I would otherwise. Sometimes even films that seem stupid asf by memory are much better when they are seen later with a more evaluative/critical/analytical eye (and at least as often, are worse) because occasionally they have more subtext or depth or themes/ideas that make them interesting that is easily missed if not watched in a more critical/analytical light.
_________________
Best Classical
Best Films
Best Paintings

[TiggaTrigga]

Are you actually going to watch all the MCU movies? Come on now, you know it ain't worth it man, it ain't worth it...

But seriously that's dedication right there, I didn't even know there were 28 of those things.

[AfterHours]

[homelessking]

You described the "protagonist"'s journey through The Downward Spiral as "Christ-like", could you elaborate on that?

[AfterHours]

[Facetious]

Reiterating that you need to watch RRR and Sholay, plus here are some notable films that I didn't notice anywhere in your action list:
Kung Fu Hustle - Stephen Chow
Dead or Alive - Takashi Miike
The Raid and its sequel
Crank and its sequel

[AfterHours]

[Facetious]

Re: your comments on Baby Driver...