10 Best Movies You (Probably) Haven't Seen

These are the the artist's artists, of movies. Great without great box office success. Some were ahead of their time, others were not marketed well, also let's face, it the average American has bad taste, and would rather watch Independence Day or The Fast and the Furious 2 (the first one had a lot of campy humor). Last year’s summer blockbusters were 85% remakes and most of those were sequels of remakes! Where is the creativity? Anyway I am going off on a tangent and angry tangent at that…sorry. These are just movies that we discovered after some digging and thought the other people might like them too… if only they knew.

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1. The Conversation (1974)- Written and directed by Francis Ford Coppola Staring: Gene Hackman , John Cazale, Cindy Williams , Teri Garr , and Harrison Ford

Made between The Godfather parts one and two, Francis Ford Coppola created this extremely well-plotted and personal thriller about the extremely impersonal niche profession of surveillance. Despite the popularity of the Godfather, The Conversation was not a box office success.

The Conversation is a dichotomy on one hand it evokes Rear Window, by following the story from the point of view of the observer, who attempts to piece together the facts from fragments of out-of-context information his spying has gleaned. On the other hand, The Conversation is Rear Window's emotional opposite. Jimmy Stewart played a man who was gregarious and well liked (not to mention being sexed up by Grace Kelly,) Hackman's Caul is an unromantic, unsociable, odd ball who, perhaps in direct response to his profession, is manically obsessed with his own privacy. Unwilling to open up to his girlfriend, his co-workers, or even the priest at his confessional; Harry struggles with is ambivalence. In the end, it's up to Caul alone to try and solve the mystery, even as he grapples with whether or not he really wants to.
A low-key psychological thriller that doesn't rely upon explosions, gunfights, or even terribly large-scale conspiracies, it is quite and slow moving but in a cathartic way rather then boring pointless way. The Conversation is about our worries and hang-ups, and how they dictate our beliefs and our behavior, even against rational truths. Above all, it's about the nature of privacy, both of others and our own, and the potential thinking about it too much has to drive you insane!

2. The Ruling Class (1976)- Written by: Peter Barnes Directed by: Peter Medak Staring: Peter O'Toole Alastair Sim, Arthur Lowe, and Harry Andrews

Why we love it: It stars Peter O’Toole as Jack Gurney, a titled member of the British aristocracy who believes that he is Jesus Christ. It also has a great supporting, Alistair Sim is pleasure to watch as a befuddled Anglican bishop, Arthur Lowe is hysterical as the disgruntled, drunken family butler, and Coral Browne is divine as Lady Claire Gurney, the bitter love starved wife of Sir Charles Gurney. Besides its brilliant cast, this subversive black comedy is just plain weird, in a wonderful way. Peter O’Toole certainly made some unconventional choices after Lawrence of Arabia (Fox Trot, The Rainbow Thief, Rouge Male, Man Friday, The Wings of Fame…this list goes on). O’Toole could have had his pick of mainstream roles, after the critical and box office success of LOA, he instead chose parts that he found interesting, that showcased his diverse abilities as classically trained stage actor.

He is in top form as Jack Arnold Alexander Tancred Gurney - 14th Earl of Gurney. When his father, the 13th Earl of Gurney, dies suddenly, Jack inherits the family fortune. The only problem, Jack is a schizophrenic with a Messiah complex, much to the dismay of the Earl’s haughty elitist family. Their only solution, cure or have him committed. He gets "cured" alright, and transforms from a harmless eccentric to an acceptable psychopath. The Ruling Class is a biting satire that exposes the ridiculous hypocritical underbelly of British high society.

The pace does drag at times, but use those few drawn out scenes to got to the bathroom or get a snack, the film is really worth it.

Some other cool tidbits about the Ruling Class; O'Toole did the movie for free. It was banned in England. Alister Sim cast himself in the role as the Bishop,. He called up his friend Peter O'Toole and told him, out of the blue; of course he'd help him by taking the part [of the Bishop].

Lady Gurney: How do you know you're God?
Jack Gurney, 14th Earl of Gurney: Simple. When I pray to Him, I find I am talking to myself.

3. Repo Man (1984)-Written by and directed by: Alex Cox Starring:
Harry Dean Stanton, Emilio Estevez, Tracey Walter, and Olivia Barash

Why we love it: It stars Harry Dean Stanton before he was senile and Emilio Estevez, before we knew he was really a Sheen. A black comedy about car repossession, that parodies Regan era America in the 1980’s. It has a super cool soundtrack (with songs by Iggy Pop, Black Flag (before Henry Rollins became a pussy), and the Circle Jerks) and is filled with memorable quotes (“Cause I don't want no commies in my car...or Christians either!!”- Bud). Nothing is sacred; Cox shows the ironic absurdity in suburban life, televangelism, nuclear fear, UFO conspiracies, commercialism, self help cults, punk rockers ...

“It happens sometimes. People just explode . . . natural causes.”- Agnt. Rogerz

4. Three Women (1977)- Written and directed by Robert Altman Staring: Shelley Duvall, Sissy Spacek, and Janice Rule

Robert Altman has tackled so many varying genres, what unifies his films is his distinct, rambling style. He creates a sense of participation which sometimes leads to an uncomfortable voyeuristic quality. Idle consumers of entertainment, with underdeveloped cerebration skills, will surely abhor Altman, for he not only resists categorization, but usually apparent meaning and coherence, as well. However, his films are among the few that I can rewatch repeatedly. In the case of, Three Women, even if no one can agree on the film's true essence, its ability to stimulate discussion is one of its finer qualities. The film, is based on a dream, Altman had. Altman often works with only an outline of a script, he likes his actors to, within his parameters, improvise the dialogue. Unlike most filmmakers, he likes rambling conversations, overlapping, and background noise, to be heard. In this way, Three Women, like nearly all of Altman's major films, never feels theatrical or false, even if the contents seem inspired by a world decidedly not our own. Adding to Three Women’s ethereal dreamlike quality is the beautiful cinematography, often tranquil, defusing the unsettling human interactions. Shelley Duvall's Millie and Sissy Spacek’s Pinky are hauntingly beautiful and at the same time spooky and hideous. I couldn’t imagine any other actresses making characters so empathic and engrossing. They represent society in the 20th century, people who really don't have anything to say and no real sense of their own character, yet there is so much free time they need fill the air with mindless gab, because then they don't have to hear themselves think things, question, and fear. Everyone wants to be liked, to fit in, some people are better at it then others. In the case of Pinky and Millie they exude awkwardness, personify it, drowned in it. Yet there is something graceful in the way they do it, nothing is quite right in their world anyway. The mysterious character Willie, a pregnant woman, (played by Janis Rule) has a word weary shell that makes her seem unapproachable. She speaks little and spends her time painting swimming pools with bizarre, gorgeous, reptilian images. Willie's husband, Edgar, is a cartoonish lout and the only man to play an important role in all three women’s lives. Edgar is a middle aged, homely, uncouth, chauvinistic, creep. There nothing charming about him yet he is central to all three women’s lives

As events transpire late in the film it seems to allude to a murder, but then again, we can't quite be sure. Rife with symbolisms and meaning just below the surface, Three Women leaves you free to interpret the dream as you see fit

5. Nobody Loves Me (1994)- Written by and directed by: Doris Dörrie, Starring: Maria Schrader and Pierre Sanoussi-Bliss
A German romantic comedy that follows a 30-year old single woman, Fanny Fink, as she unsuccessfully searches for love. "Nobody Loves Me" is a whimsical and uplifting tale. In the same vein as Amelie, (Jean-Pierre Jeunet must have liked Nobody loves me, as well). Both have this comical fairytale feel, while still maintaining a poignant realism. The move ends with the Piaf classic Non, je ne regrette rien, and I tell you even the most cynical of souls, will want to run out and save the world, even if only for 5 minutes.

6. Twentieth Century (1934)- Written by: Ben Hecht

Directed by: Howard Hawks, Starring: John Barrymore and Carole Lombard

Why we love it: Credited as the first screwball comedy, to those in the know, Twentieth Century, has it all, quick pacing, witty humor, over the top drama, and Jon Barrymore. Barrymore’s Oscar Jaffe, an egomaniacal Broadway impresario, who turns a shop girl into a starlet, and a perhaps a bigger egomaniac then him. Barrymore delivers such grandiloquent gestures he edges towards self-parody while still infusing his character with pathos. Lombard is a perfect counterpart as she seamlessly transforms from guileless “gutter snipe” to saucy diva. Overshadowed by the more commercially successful, It happened one night, which came out the same year. Twentieth Century was too cynical and subversive for mainstream 1930’s America.

"Owen, take this creature who came to me as an office boy as Max Mendlebaum and who is now Max Jacobs for some mysterious reason and throw him into the street."- Oscar Jaffe

"Who cares about your respect? I'm too big to be respected. The men I've known have understood that."- Lily Garland

7. Exotica (1994)-Written and directed by: Atom Egoyan, Starring: David Hemblen, Mia Kirshner, Calvin Green, and Elias Koteas

Why we love it: Atom Egoyan had (after The Sweet Hereafter he want down hill quickly) a special way of creating such beautifully poignant collages, about the most depressing of events, so they become almost calming and meditative. His pictures sidle along in the tranquillized, deadpan manner that he created with his unique back and forth through time, weaving a quiet mystery and a menagerie of characters.

8. Once Upon a Time in the West (1968)- Written by: Dario Argento and
Bernardo Bertolucci Directed by: Sergio Leone Starring:
Henry Fonda, Claudia Cardinale,
Jason Robards , Charles Bronson

Why we love it: The quintessential western story about greed, revenge, and loss, play second fiddle to the stylistically gorgeous cinematography, the perfectly cast characters, and the haunting and moody soundtrack by Ennio Morricone. The sparse dialogue and resonant leitmotivs, which relate to the main characters (each with their own unique theme music, I would love my own theme music), makes the movie feel more like an operatic music video. Plus, it gets better after every viewing.

“How can you trust a man who wears both a belt and suspenders? The man can't even trust his own pants.” –Frank (Played by Henry Fonda)

9. Brother’s Keeper (1992)- Directed by: Joe Berlinger and Bruce Sinofsky

A documentry about the alleged 1990 murder of William Ward by his brother Delbert Ward (both brothers were in their sixties) in the small rural village of Munnsville, New York.

Why we loved it: The documentary is poignant and surprisingly hopeful. The brothers are likable characters; unlike any I had seen before. Brother’s Keeper is also a rare window into a lifestyle most Americans didn’t know still existed.


10. Rope (1948), Written by: Hume Cronyn Directed by: Alfred Hitchcock Starring: James Stewart, John Dall, and Farley Granger

One rich, bored, nutcase; one submissive, spineless, friend of said nutcase; one dead guy in a trunk, and a party full of unknowing friends and family of the victim, sounds like a good time to me. Based on the famous real-life Leopold-and-Loeb murder case.

Why we love it: Rope is a significant movie in many ways, it was the first of many Stewart/Hitchcock collaborations, it was the first film Hitchcock shot in color, and the first he independently produced; after he broke away from his long-standing relationship with producer David O’ Selznick. Rope, is also notable for its long continuous shots, ten long takes, each running approximately ten minutes long, which was the length of one reel of film at that time. This was meant to give Rope a real time, stage feel. Excellent performances by, Steward, Dall, and , Granger.