If I Should Die Before I Wake (Carlos Hugo Christensen, 1952)

Néstor Zavarce and Maria A. Troncoso in If I Should Die Before I Wake

Cast: Néstor Zavarce, Bianca del Prado, Floren Delbene, Homero Carpena, Enrique de Pedro, Virginia Romay, Marisa Nuñez, Maria A. Troncoso, Marta Quintela. Screenplay: Alejandro Casona, based on a story by Cornell Woolrich. Cinematography: Pablo Tabernero. Production design: Gori Muñoz. Film editing: José Gallego. Music: Julián Bautista. 

This handsomely filmed adaptation of a story by Cornell Woolrich about a boy who attempts to catch a serial killer preying on little girls at his school somewhat gratuitously casts the story as a fable. It generates suspense but sometimes stretches plausibility. 

Jamón, Jamón (Bigas Luna, 1992)

Penélope Cruz and Javier Bardem in Jamón, Jamón

Cast: Penélope Cruz, Javier Bardem, Jodi Mollà, Stefania Sandrelli, Anna Galiena, Juan Diego, Tomás Penco. Screenplay: Cuca Canals, Bigas Luna. Cinematography: José Luis Alcaine. Production design: Gloria Martí-Palanqués, Pep Oliver. Film editing: Teresa Font. Music: Nicola Piovani. 

With its copulative roundelay, nude bullfighting, and death by ham, Bigas Luna's satiric black comedy Jamón, Jamón confused and offended some of its early viewers, who may have forgotten that Spain is the country that produced Goya and Dalí. 

Raising Victor Vargas (Peter Sollett, 2002)

Krystal Rodriguez, Silvestre Rasuk, and Victor Rasuk in Raising Victor Vargas

Cast: Victor Rasuk, Judy Marte, Altagracia Guzman, Silvestre Rasuk, Krystal Rodriguez, Donna Maldonado, Kevin Rivera, Melonie Diaz, Matthew Roberts, Alexander Garcia, John Ramos, Theresa Martinez, Wilfree Vasquez. Screenplay: Peter Sollett, Eva Vives. Cinematography: Tim Orr. Production design: Judy Becker. Film editing: Myron Kerstein. Music: Roy Nathanson. 

Teenage Victor (Victor Rasuk) is being raised by his Dominican grandmother (Altagracia Guzman) in a New York City apartment with his half-siblings, Vicki (Krystal Rodriguez) and Nino (Silvestre Rasuk). The sins of Victor's absent father are visited on him frequently by his grandmother, who blames him for corrupting his brother and sister. For example, when Nino is caught masturbating, her immediate response is to scapegoat Victor, and she hauls him down to social services, demanding that they take him off her hands. She's stymied in the effort, of course, but from then on his task is to try to get back in her good graces. That's complicated, however, by his pursuit of the prettiest girl in the neighborhood, Judy (Judy Marte), and his awkward attempts to figure out what it means to be a man. Though it maybe lacks some of the neo-realistic grit its setting needs, Raising Victor Vargas is a likable coming-of-age story with a capable cast of unknown performers.  

Demon Pond (Masahiro Shinoda, 1979)

Tamasaburo Bando in Demon Pond

Cast: Tamasaburo Bando, Go Kato, Tsutomo Yamazaki, Hisashi Igawa, Fujio Tokita, Hatsuo Yamaya, Dai Kanai, Koji Nanbara, Toru Abe, Yatsuko Tan'ami, Shigeru Yazaki, Jun Hanamura. Screenplay: Tsutomu Tamara, Haruhiko Mimura, based on a play by Kyoka Izumi. Cinematography: Masao Kosugi, Noritaka Sakamotu. Art direction: Setsu Asakura, Kiyoshi Awazu, Yutaka Yokoyama. Music: Isao Tomita. 

Masahiro Shinoda's fusion of cinema and kabuki, Demon Pond, affords us the opportunity to witness the art of Tamasaburo Bando, the famous onnagata, a male actor specializing in female roles, who appeared primarily on stage. He takes two roles: Yuri, the wife of Akira Hagiwara (Go Kato), and the dragon princess Shirayuki, who dwells under enchantment in the pond of the film's title. If she's ever released from the spell, the pond will inundate the village below. Akira and Yuki have taken it on themselves to remind the princess of the spell that binds her by ringing a bell three times a day. Unfortunately, the arrival of a traveler (Tsutomo Yamazaki) from the outside world who is an old friend of Akira sets in motion a series of events that end in calamity. It's a splendidly acted, well-told fable, enhanced by an eerie electronic score by Isao Tomita that includes themes from Debussy and Mussorgsky, and concluding with a cataclysm of special effects.   

All Shall Be Well (Ray Yeung, 2024)

Lin-Lin Li and Petra Au in All Shall Be Well

Cast: Petra Au, Lin-Lin Li, Tai-Bo, Siu Yin Hui, Chung-Hang Leung, Fish Liew, Yung Ting Rachel Leung, Chai-Ming Lai, Cheng Cheuck Lam, Kiana Ng Ki Yan, Lai-Ha Li, Gia Yuk-Wah Yu, Luna Shaw. Screenplay: Ray Yeung. Cinematography: Ming-Kai Leung. Production design: Albert Poon. Film editing: Lai Kwun Tung. Music: Veronica Lee. 

Love doesn't really conquer all. Angie Wan (Petra Au) learns of its impotence in the face of the law when her wife, Pat Wu (Lin-Lin Li), dies. That's because the law doesn't recognize Pat as her wife, even though Pat's family accepted their relationship and referred to them as Aunty Pat and Aunty Angie. Still grief-stricken, Angie very reluctantly gives in to the family's decision concerning Pat's remains: Pressured by a religious adviser, the family wants them placed in a columbarium, even though Angie knows of Pat's wish to have her ashes scattered at sea. But the family's wishes concerning the apartment she shared with Pat for many years become far more crucial. Because Angie's name is not on the contract, she has no legal right to stay there. Angie and Pat became wealthy in business, whereas Pat's brother, Shing Wu (Tai-Bo), has failed to prosper. In overcrowded Hong Kong, the apartment is highly valuable. Writer-director Ray Yeung makes Angie's plight especially poignant by choosing not to turn it into a melodrama. The Wu family aren't portrayed as heartless monsters or villainous bigots, and the only real lesson to be drawn from the film is that Pat lacked foresight in failing to make a will that established Angie's right to the property. Yeung's low-key approach to the material is admirable, as is Petra Au's quietly revealing performance as Angie. 

A Complete Unknown (James Mangold, 2024)

Timothée Chalamet in A Complete Unknown

Cast: Timothée Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Dan Vogler, Eriko Hatsune, Scoot McNairy, Boyd Holbrook, Will Harrison, Norbert Leo Butz, David Alan Basche. Screenplay: James Mangold, Jay Cocks, based on a book by Elijah Wald. Cinematography: Phedon Papamichael. Production design: François Audouy. Film editing: Andrew Buckland, Scott Morris. 

Timothée Chalamet's fine, inward portrayal of Bob Dylan in A Complete Unknown put me in mind of T.S. Eliot's proclamation that poetry "is not the expression of personality, but an escape from personality." Eliot went on to add, "only those who have personality and emotions know what it is to want to escape from those things." Chalamet's Dylan is so elusive that others who encounter him are able to find what they want in him. The dying Woody Guthrie (Scott McNairy) finds in him a kind of afterlife or reincarnation. Pete Seeger (Edward Norton) sees Dylan as the future of his kind of modern folk music. Joan Baez (Monica Barbaro) learns from him that her music needs more bite and bitterness. Elle Fanning's Sylvie Russo (based on Suze Rotolo) discovers an opportunity to nurture, to find a direction in life for a lost lamb. Johnny Cash (Boyd Holbrook) embraces him as a fellow outlaw, someone to "track mud on the carpet." The music business types, of course, see a halo of dollar bills around him. And the film ends with the folkies at Newport denouncing him as Judas. It's to Chalamet's credit that he can play the role so that Dylan looks like a mirror image, a mentor, a companion, a project, or a traitor at any turn. Still, A Complete Unknown is such a conventional biopic that it has to be compared unfavorably to Todd Haynes's more unconventional approach to Dylan, I'm Not There (2007), which employed six very different actors to suggest his multifaceted nature. For in the end, it's the music that matters, not the man. 

Four Frightened People (Cecil B. DeMille, 1934)

Cast: Claudette Colbert, Herbert Marshall, Mary Boland, William Gargan, Leo Carillo, Nella Walker, Ethel Griffies, Tetsu Komai, Chris-Pin Martin, Joe De La Cruz. Screenplay: Bartlett Cormack, Lenore J. Coffee, based on a novel by E. Arnot Robertson. Cinematography: Karl Struss. Art direction: Roland Anderson. Film editing: Anne Bauchens. Music: Karl Hajos, John Leipold, Milan Roder, Heinz Roemheld. 

Four Frightened People is a film that keeps running off in various directions: Sometimes it's an adventure thriller, sometimes a romantic drama, and sometimes it's a comedy of manners. It's as if Gilligan's Island suddenly turned in mid-season into a grim struggle for survival, and then went goofy all over again. A movie so muddled needs the help of strong casting, but instead it has four actors who look like they needed the work and this was the best they could find. As the nominal romantic leads, Claudette Colbert and Herbert Marshall have no chemistry, even after she stops being a mousy schoolteacher and starts slinking around in leopard-skin outfits, Mary Ann metamorphosed into Ginger. Marshall's chief rival for her attention, a macho adventurer played by William Gargan, is just a bullying grouch. And Mary Boland is there for comic relief as a feather-brained dowager clutching her lapdog to her breast, a shtick that gets so tiresome we need relief from the relief. It's the kind of movie that raises only one question: What the hell were they thinking when they made it? 

Anora (Sean Baker, 2024)

Cast: Mikey Madison, Mark Eydelshteyn, Yura Borisov, Karren Karagulian, Vache Tovmasyan, Aleksei Serebryakov, Darya Ekamasova, Luna Sofia Miranda, Lindsey Normington. Screenplay: Sean Baker. Cinematography: Drew Daniels. Production design: Stephen Phelps. Film editing: Sean Baker. Music: Joseph Capalbo. 

Of the record-setting four Oscars producer-director-writer-editor Sean Baker won for Anora, the one for editing may be the most significant. Though they get little notice from moviegoers, film editors are the ones who shape a movie's pace and mood and tone, and often the ones who accomplish the director's vision, which is why so many great directors choose to work with the same editor on every film, as Steven Spielberg does with Michael Kahn or Martin Scorsese with Thelma Schoonmaker. If they can, directors often edit themselves, as Joel and Ethan Coen do under the nom de moviola Roderick Jaynes. Anora is the kind of movie that needs the right editor. It's a comedy with elements of slapstick and screwball and a soupçon of rom-com thrown in, but it has dark edges. Too much violence or wackiness or mush or realism and it could go sour. It's also a movie with the right texture, achieved by elements that don't need to be there, like the Coney Island candy shop that plays only a passing role in the plot but adds a sweet little offbeat flavor to the film. To appreciate the way Baker plays with tone in both directing and editing, watch the character of Igor (Yura Borisov), who seems at first to be just another thug, hired muscle to bring Mikey Madison's Anora into line. But Baker manages to insert Igor into the frame just often enough and subtly enough to build him into a character with an essential role at the film's end. If Anora isn't a great movie -- there's nothing of moral or intellectual importance about it -- it does the right thing often enough to qualify it as an exemplary one.

Nobody's Hero (Alain Guiraudie, 2022)

Jean-Charles Clichet in Nobody's Hero

Cast: Jean-Charles Clichet, Noémie Lvovsky, Ilies Kadri, Michel Masiero, Doria Tillier, Renaud Rutten, Philippe Fretun, Farida Rahouadj, Miveck Packa, Yves-Robert Viala, Patrick Ligardes. Screenplay: Alain Guiraudie, Laurent Lunetta. Cinematography: Hélène Louvart. 

Nobody's Hero has no credited production designer or film editor, which suggests that it all somehow came together on the streets of the French city of Clermont-Ferrand and in the head of writer-director Alain Guiraudie. And considering the almost random and accidental events and eccentric, impulsive characters that make up its narrative, that could be true. It's one of those movies in which no one does or is precisely what you expect. Suffice it to say that it's a slightly darkish comedy about a  middle-aged man who picks up a prostitute, takes her to a seedy hotel run by an elderly man and a teenage girl, discovers that she's married to a jealous man, and somehow gets himself and the others, as well as the tenants of the apartment house where he lives, involved in an international terrorist incident that may not be international or terrorist after all. All the actors in this head-spinning but amusing movie play it as if it makes sense, which is the only way to do this sort of thing. Whether you think this sort of thing is worth doing is another matter entirely.

Wicked (Jon M. Chu, 2024)

Cast: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Jeff Goldblum, Michelle Yeoh, Ethan Slater, Marissa Bode, Peter Dinklage (voice), Andy Nyman, Courtney Mae-Briggs, Bowen Yang. Screenplay: Winnie Holman, Dana Fox, based on the musical play by Winnie Holzman and Stephen Schwartz and the novel by Gregory Maguire. Cinematography: Alice Brooks. Production design: Nathan Crowley. Film editing: Myron Kerstein. Music: John Powell, Stephen Schwartz. 

I admit that I didn't much care for Wicked. The few things I did like about it, such as Jonathan Bailey's impish Fiyero, were overwhelmed by frantic choreography, ugly (and naturally Oscar-winning) sets, and noisy special effects. It's a movie for children of all ages, but especially hyperactive ones. 

Peppermint Candy (Lee Chang-dong, 1999)

Sul Kyung-gu in Peppermint Candy

Cast: Sul Kyung-gu, Moon So-ri, Kim Yeo-jin, Park Soo-young, Park Sung-yeon. Screenplay: Lee Chang-dong. Cinematography: Hyung Koo Kim. Art direction: Park Il-hyun. Film editing: Hyun Kim. Music: Jaejin Lee. 

What could have been a gimmick in the hands of a lesser writer-director than Lee Chang-dong becomes  revelatory in Peppermint Candy: Life can only be understood through hindsight. The film begins with the moments leading up to the suicide of Yongho (Sul Kyung-gu) after he shows up at the reunion picnic of a group of factory workers. Behaving erratically, he first disturbs the group and then climbs to a railway trestle where he stands in front of an oncoming train. The film then flashes back to scenes from Yongho's life, each one earlier than the one that has gone before: first three days earlier, then in succession, five years before, 12 years before, 15 years before, 19 years before, and finally 20 years before -- the only sequence that takes place at the site of his suicide. The accumulation of details, laced through with various leitmotifs such as the candy that gives the film its title, presents a portrait of a man brutalized by experience, and in particular by the experience of living through two decades of South Korea's troubled history. It's a study in remorse and guilt and compulsive misbehavior that succeeds because of Lee's storytelling skill and Sul's lacerating performance.  

Trap (M. Night Shyamalan, 2024)

Cast: Josh Harnett, Ariel Donoghue, Saleka Shyamalan, Alison Pill, Hayley Mills, Jonathan Langdon, Mark Bacolcol, Marnie McPhail, Kid Cudi, Russ, Marcia Bennett, Vanessa Smythe. Screenplay: M. Night Shyamalan. Cinematography: Sayombhu Mukdeeprom. Production design: Debbie DeVilla. Film editing: Noemi Katharina Preiswerk. Music: Herdis Stefánsdóttir. 

Viewing the manhunt for a killer from the killer's point of view is a good premise for a thriller, one that was done classically by Fritz Lang in M (1931). And M. Night Shyamalan gets off on the right foot by casting the attractive, underrated, and underused actor Josh Hartnett in the lead. He plays Cooper, the psychopath next door, a capable and loving family man whom no one would suspect of being a serial killer called The Butcher. He is just being a good dad when he takes his 12-year-old daughter, Riley (Ariel Donoghue), to a concert by her favorite pop star, Lady Raven (Saleka Shyamalan), only to find out that the arena is under tight surveillance by the police and the FBI under the supervision of a profiler (Hayley Mills, in the most improbable bit of casting in this or any other year). Will he be able to outwit his pursuers? Do we really want him to? Unfortunately, Shyamalan botches things in working out the plot, in large part by making the concert, of which we see much more than necessary, a crashing bore. The writer-director's daughter, Saleka, wrote and performed her own rather lackluster songs, one of the instances that justify the phrase "nepo baby." She's also not up to the acting demands of the role when she's off-stage. Worst of all, the film ends with a scene that leaves room for a sequel. I'm surely not the first one to suggest that it be called Claptrap?   

Le Jour Se Lève (Marcel Carné, 1939)

Cast: Jean Gabin, Jules Berry, Arletty, Jacqueline Laurent, Mady Berry, René Génin, Arthur Devère, René Bergeron, Bernard Blier, Marcel Pérès, Germaine Lix, Gabrielle Fontan, Jacques Baumer. Screenplay: Jacques Viot, Jacques Prévert. Cinematography: Philippe Agostini, André Bac, Albert Viguier, Curt Courant. Production design: Alexandre Trauner. Film editing: René Le Hénauff. Music: Maurice Jaubert. 

Daybreak, the Anglicized title of Marcel Carné's Le Jour Se Lève, recalls another great attempt at poetic cinema, F.W. Murnau's late silent Sunrise (1927). But where Murnau strove for a kind of allegorical poetry, to the extent of labeling his characters The Man, The Wife, and The Woman From the City, Carné's poetry is rooted in actuality. Jean Gabin plays François, a factory worker who falls in love with Françoise (Jacqueline Laurent), who works in a flower shop. He follows her one night to a music hall, where she watches an act by the animal trainer Valentin (Jules Berry). At the bar, he strikes up a conversation with Clara (Arletty), who was Valentin's stage assistant but has just broken up with him. When he discovers that Françoise is infatuated with Valentin, François lets himself be drawn into a relationship with Clara. Eventually this quartet of relationships will turn fatal. But Carné and his screenwriters Jacques Viot and Jacques Prévert choose to tell the story in flashbacks: The film begins with François shooting Valentin and then holing up in his apartment as the police lay siege to it, trying to arrest him. The film superbly mixes suspense, as we wait for the outcome of François's standoff with the police, with romance, as we learn of the affairs with Françoise and Clara that brought him to this point. It's often cited as a precursor of film noir for its mixture of passion and violence. Gabin is the quintessential world weary protagonist, Berry the embodiment of corruption, and Arletty the woman who's seen it all too often.  

Smile (Parker Finn, 2022)

Cast: Sosie Bacon, Kyle Gallner, Jessie T. Usher, Robin Weigert, Kal Penn, Rob Morgan, Gillian Zinser, Judy Reyes, Jack Sochet, Nick Arapoglu, Perry Strong, Matthew Lamb, Dora Kiss. Screenplay: Parker Finn. Cinematography: Charlie Saroff. Production design: Lester Cohen. Film editing: Elliot Greenberg. Music: Cristobal Tapia de Veer. 

The rictus that spreads across the faces of those who are about to kill or be killed is probably the scariest thing about Smile, a routine horror movie that has not much going for it other than some committed performances, particularly by Sosie Bacon as the psychiatrist being driven mad by a supernatural being. Horror movie fans accepted it despite a phony premise and some deep inconsistencies in the plotting, so it spawned the inevitable Smile 2, from the same writer-director, Parker Finn, in 2024. You know who you are and whether you want to watch it. 

All We Imagine as Light (Payal Kapadia, 2024)

Kani Kusruti and Divya Prabha in All We Imagine as Light

Cast: Kani Kusruti, Divya Prabha, Chhaya Kadam, Hridhu Haroon, Azees Nedumangad, Anand Sami. Screenplay: Payal Kapadia, Himanshu Prajapati, Robin Joy, Naseem Azad. Cinematography: Ranabir Das. Production design: Piyusha Chalke, Shamim Khan, Yashasvi Sabharwal. Film editing: Clément Pinteaux. Music: Topshe. 

In a film at once delicate and gritty, Payal Kapadia paints a picture of urban loneliness in the lives of three women. Prabha (Kani Kusruti), a nurse in a Mumbai hospital, hasn't seen or heard from her husband for a year since he left to work in Germany. Anu (Divya Prabha), her younger roommate and fellow nurse, is under pressure from her family to accept an arranged marriage like Prabha's, but she's in love with a young Muslim, Shiaz (Hridhu Haroon). Their friend Parvaty (Chhaya Kadam), a cook at the hospital, is being evicted from the apartment she shared with her late husband by the construction company that wants to tear it down. When they leave the teeming city to help Parvaty move to the village where she once lived, each of them begins to confront their emotional isolation. Kapaia's film deservedly won the Grand Prix at Cannes, but it failed to attract Oscar nominations, in part because it was produced by an international consortium of companies and the Indian film industry failed to submit it for the awards. 

Big Eden (Thomas Bezucha, 2000)

Cast: Arye Gross, Eric Schweig, Tim DeKay, Louise Fletcher, George Coe, Nan Martin, O'Neal Compton, Corinne Bohrer. Screenplay: Thomas Bezuch. Cinematography: Rob Sweeney. Production design: Stephanie Carroll. Film editing: Andrew London. Music: Joseph Conlan.

Big Eden is a queer romantic fantasy, or maybe daydream. You make it big in the city and return to the small town where you grew up in the closet, and you discover that everyone not only tolerates your queerness but is happy to facilitate it. And you find that your handsome best friend, on whom you had a crush, has returned too, and is now willing to make a go of it with you. But you turn him down because you realize that he's still straight. (Yeah, right.) And then, when you're about to return to the big city, you discover that an even better-looking man has been carrying the torch for you all these years but was too shy to make a move. Happy ending. This utter nonsense might have worked as a movie if writer-director Thomas Bezucha had found the right tone for it, but he meanders between moodiness and quirkiness, and is unable to come up with dialogue that strikes the right note and even sometimes to make sense. Moreover, he has miscast the central role with the otherwise capable character actor Arye Gross, who has none of the charisma that would make us believe that either the old friend (Tim DeKay) or the secret admirer (Eric Schweig) are pining for his affections. And what's a romance without sex and passion, which never show up on screen except in a couple of tepid kisses? The only thing Big Eden succeeds at is demonstrating that queer people can make romantic movies that are as improbable as the ones straight people make. 

Only the River Flows (Wei Shujun, 2023)

Zhu Yilong in Only the River Flows

Cast: Zhu Yilong, Chloe Maayan, Hou Tianlai, Tong Linkai, Kang Chunlei, Wang Jianyu, Zishi Moxi, Liu Baisha, Yang Cao, Zhou Qingyung. Screenplay: Kang Chunlei, Wei Shujun, based on a novel by Yu Hua. Cinematography: Zhiyuan Chengma. Art direction: Zhang Menglun. Film editing: Matthieu Laclau. 

Moody, absorbing, and sometimes enigmatic film about a detective (Zhu Yilong) haunted by a series of murders in a town in rural China. Wei Shujun's direction and Zhiyuan Chengma's cinematography make the most of the gloomy, oppressive setting. 

The Gorge (Scott Derrickson, 2025)

Miles Teller and Anya Taylor-Joy in The Gorge

Cast: Miles Teller, Anya Taylor-Joy, Sigourney Weaver, Sope Dirisu, William Houston. Screenplay: Zach Dean. Cinematography: Dan Laustsen. Production design: Rick Heinrichs. Film editing: Frédéric Thoroval. Music: Trent Reznor, Atticus Ross. 

The Gorge is a horror/sci-fi thriller so formulaic that although it has a screenplay credited to Zach Dean, it could have been scripted by AI. The heroes are a couple of loners played by Miles Teller and Anya Taylor-Joy, who predictably fall in love after being on the opposite sides of the titular chasm that separates them. The villain is the military-biotech industrial complex, personified by Sigourney Weaver, who seems to be making a late career out of movies about supersoldiers. None of it makes much sense, but if you want a movie that just chugs along filling time, you could do worse. 

Amadeus (Milos Forman, 1984)

Cast: F. Murray Abraham, Tom Hulce, Elizabeth Berridge, Roy Dotrice, Simon Callow, Christine Ebersole, Jeffrey Jones, Charles Kay, Kenneth McMillan, Richard Frank, Cynthia Nixon. Screenplay: Peter Shaffer, based on his play. Cinematography: Miroslav Ondricek. Production design: Patrizia von Brandenstein. Film editing: Michael Chandler, T.M. Christopher, Nena Danevic. Music: Wolfgang Amadeus Mozart; music editor: Mark Adler. 

Of all human phenomena, genius may be the most puzzling. What combination of heredity and environment produced a Shakespeare, a Leonardo, a Newton, a Mozart? For the Antonio Salieri of Peter Shaffer's play and the screenplay he based on it, the only answer has to be God. And his jealousy of Mozart leads him to a rejection of God and an attempt to destroy God's creation, whom he sees as a giggling, smutty-minded clown unworthy of the musical talent God has lavished on him. Amadeus is not a biopic; Shaffer called it a "fantasia" based on the lives and careers of Mozart and Salieri, and he plays fast and loose with the details of both. That has disturbed many who know the facts, but the sumptuous entertainment of the movie almost justifies the distortions and prevarications of the story it tells. That it's filled with Mozart's music is certainly most in its favor, and the performances of F. Murray Abraham as Salieri and Tom Hulce as Mozart add to it. Sometimes a beautiful lie is more satisfying than the truth. 

Planet of the Apes (Tim Burton, 2001)

Cast: Mark Wahlberg, Helen Bonham Carter, Tim Roth, Michael Clarke Duncan, Paul Giamatti, Estella Warren, Cary-Hiroyuki Tagawa, David Warner, Kris Kristofferson. Screenplay: William Broyles Jr., Lawrnece Konner, Mark Rosenthal, based on a novel by Pierre Boulle. Cinematography: Philippe Rousselot. Production design: Rick Heinrichs. Film editing: Chris Lebenzon. Music: Danny Elfman. 

I almost stopped watching Tim Burton's remake of Franklin J. Schaffner's 1968 classic Planet of the Apes when one character called another "the Homo sapien." Can we all get it into our heads that the taxonomic phrase "Homo sapiens" is singular? (If there were a plural it would be something like "Homines sapientes" -- Latinists may correct me if I'm wrong.) But pet peeves aside, I found Burton's version entertaining enough, with its sly references to the original film: One of the apes reverses a line spoken by Charlton Heston in the first film, saying "Get your stinking hands off me, you damn dirty human!" And Heston himself has an unbilled cameo as the dying father of Thade (Tim Roth), in which he reprises in a different context his line, "Damn them! Damn them all to hell!" The apes in the remake are more simian, with better ape-like behavior and movements. And the satiric edge feels sharper in an era in which government-sanctioned discrimination seems to be on the rise. But the narrative is a bit of a mess, especially the fudged-up ending, which could never have the impact of the revelation at the end of the 1968 film. It got a Razzie as the worst remake of the year and probably deserved it, but it's not unwatchable, thanks to some good performances, especially by Helena Bonham Carter, Michael Clarke Duncan, and Paul Giamatti, who never let the makeup do the acting for them.