When The French Connection burst onto screens in 1971, moviegoers were transfixed by its amazing car-chase sequence in New York City. To lovers of cops-and-robbers flicks, good guy/bad guy car chases are where it's at—and we've seen many, many over the years...
As a lifelong cinéaste, I have a great affinity for movies of many different kinds. But if forced to name my favorite genre, I’d choose cops-and-robbers, especially those that tell the story of ingenious, big-time heists. You know, caper films.
The twists and turns of well-planned bank jobs, jewel robberies or insurance frauds get my movie heart racing. So here’s my super 16 caper flicks, in alphabetical order...
There was a time when powerful, mature movie dramas of black-white racial conflict caused a stir throughout America. I’m not talking about the 1960s, when the modern Civil Rights Movement flowered, or the ’70s, when Blaxploitation films were running wild.
I’m talking about the post-World War...
Question: Which vocal artist—male or female—has the most movie title songs to his or her credit? Answer: The late, great Frankie Laine. And not only did he sings the most, but his evocative, storytelling songs were also the best and most memorable.
With a distinctive style derived from black singers, Laine was one of the most popular male vocalists of the 1950s. He recorded hit after hit during that decade. But it was his movie title songs that still live on...
During my days with the New York Daily News (1987-91), I wrote a number of Op-Ed pieces about the infamous Tawana Brawley rape case. Along with Al Sharpton, I believed her then, and I believe her now.
In 1989, when director Spike Lee’s explosive Do the Right Thing came out, my wife and I hurried to see it, unaware that a key scene involved Brawley. It took place when pizza parlor...
People like to talk about the demise of famous people happening in threes. And never was this tale more noticeable than during the period of mid-March to early April with the passing of film giants Richard Widmark, who was 93, Paul Scofield, 86, and Charlton Heston, 84.
Each of these actors was renowned for the realism they brought to unforgettable performances in so many memorable movies. All together, the legendary trio appeared in 234 big screen and television vehicles. Indeed, they were actors for the ages.
Widmark appeared in 75 films, beginning in 1947; Scofield (also a noted British stage actor) showed up in 33, beginning in 1955, and
“Return with us now to those thrilling days of yesteryear...” No, I’m not referring to the legendary “Lone Ranger” radio show of the 1940s and early ’50s, I’m talking about the twice-weekly “Batman” series on late-afternoon and primetime television in the late 1960s. It was high camp played to perfection—stunningly creative and outrageously funny.
The hilarious simplicity of TV’s Adam West (Batman), Burt Ward (Robin) and a gaggle of veteran supporting thespians, trumps the foreboding vision and craven villains in Hollywood’s big star “Batman” films of the last few decades.
I am an unabashed admirer of Spike Lee movies, especially Do the Right Thing (1989) and Malcolm X (1992). His achievements as a director are among the most notable of the last 20 years.
Thus, I took to heart Lee’s recent criticism of Clint Eastwood for failing to use black actors in Flags of Our Fathers and its companion piece, Letters from Iwo Jima (both 2006). In fact, some 900 blacks participated in this bloody World War II battle, including my late uncle, Lonnie Brake, a U.S. Marine from Milwaukee.
On the whole, though, Eastwood has an admirable record . . .