Author: John Charet

John Charet’s Top 100 Favorite Horror Films of All-Time

by John Charet

-Introduction-

Last year around this time of year, I posted a blog entry regarding my Top 10 Favorite Horror Films of All-Time. As all of my dear readers are probably aware, I posted this year’s entry one week before Halloween (click here). As for Halloween 2024, I have posted a big treat, which comes in the form of my Top 100 Favorite Horror Films of All-Time. Now all of the films listed are not my only favorite horror films (I have an unlimited number), but this is a perfect start. I have decided to start with number 100 and work my way down to 01.

-The Opening Celebration-

First off, below are a few delightful links to check out 🙂

Click here to watch the complete 1983 music video of late iconic singer Michael Jackson’s (a.k.a. The King of Pop) song Thriller

Click here to listen to a shortened version of the song

Have any of you dear readers out there heard of The Merkins? Check out their youtube channel here. They do horror parodies of songs and one of their running acts is The Slashstreet Boys (a spoof of The Backstreet Boys) 🙂 The band consists of Leatherface, Michael Myers, Jason Voorhees, Freddy Kruegger and Ghostface 🙂 Below are three of my personal favorite parodies of theirs 🙂

Click here to view their spoof of I Want It That Way entitled I’ll Kill You That Way

Click here to view their spoof of Larger than Life entitled Die By My Knife

Click here to view their spoof of Rock Your Body Right entitled Slashing Bodies

-A Few Words Before Reading-

Please be kind to the film at number 07 on this list because that one means a lot to me. Any comment expressing negativity towards number 07 will be deleted. So once again, please be polite 🙂

Now, without further ado, I present to you all:

-John Charet’t Top 100 Favorite Horror Films of All-Time-
(#100-01)

100.) The Lighthouse (2019) (Dir: Robert Eggers)
99.) Frankenstein (1931) (Dir: James Whale)
98.) The Spiral Staircase (1946) (Dir: Robert Siodmak)
97.) What Ever Happened to Baby Jane? (1962) (Dir: Robert Aldrich)
96.) Kwaidan (1964) (Dir: Masaki Kobayashi)
95.) The Exorcist (1973) (Dir: William Friedkin)
94.) The Changeling (1980) (Dir: Peter Medak)
93.) Bram Stoker’s Dracula (1992) (Dir: Francis Ford Coppola)
92.) The Orphanage (2007) (Dir: J.A. Bayona)
91.) Under the Shadow (2016) (Dir: Babak Anvari)
90.) The Invisible Man (1933) (Dir: James Whale)
89.) The Body Snatcher (1945) (Dir: Robert Wise)
88.) Kuroneko (1968) (Dir: Kaneto Shindo)
87.) Rosemary’s Baby (1968) (Dir: Roman Polanski)
86.) The Texas Chain Saw Massacre (1974) (Dir: Tobe Hooper)
85.) God Told Me To (1976) (Dir: Larry Cohen)
84.) The Entity (1982) (Dir: Sidney J. Furie)
83.) Jacob’s Ladder (1990) (Dir: Adrian Lyne)
82.) Halloween II (2009) (Dir: Rob Zombie)
81.) Annihilation (2018) (Dir: Alex Garland)
80.) The Texas Chainsaw Massacre 2 (1986) (Dir: Tobe Hooper)
79.) Twixt (2011) (Dir: Francis Ford Coppola)
78.) Bluebeard (1944) (Dir: Edgar G. Ulmer)
77.) Horror of Dracula (1958) (Dir: Terence Fisher)
76.) Island of Lost Souls (1932) (Dir: Erle C. Kenton)
75.) Onibaba (1964) (Dir: Kaneto Shindo)
74.) Night of the Living Dead (1968) (Dir: George A. Romero)
73.) Halloween (1978) (Dir: John Carpenter)
72.) Dead Alive (1992) (Dir: Peter Jackson)
71.) The Descent (2005) (Dir: Neil Marshall)
70.) The Lords of Salem (2012) (Dir: Rob Zombie)
69.) Dr. Jekyll and Mr. Hyde (1931) (Dir: Rouben Mamoulian)
68.) The Leopard Man (1943) (Dir: Jacques Tourneur)
67.) Frankenstein Must Be Destroyed (1969) (Dir: Terence Fisher)
66.) Blood and Black Lace (1964) (Dir: Mario Bava)
65.) The Tenant (1976) (Dir: Roman Polanski)
64.) Inferno (1980) (Dir: Dario Argento)
63.) Henry: Portrait of a Serial Killer (1986) (Dir: John McNaughton)
62.) Cemetery Man (1994) (Dir: Michele Soavi)
61.) Shaun of the Dead (2004) (Dir: Edgar Wright)
60.) The Phantom Carriage (1921) (Dir: Victor Sjostrom)
59.) Cat People (1942) (Dir: Jacques Tourneur)
58.) Psycho (1960) (Dir: Alfred Hitchcock)
57.) Kill, Baby… Kill! (1966) (Dir: Mario Bava)
56.) Suspiria (1977) (Dir: Dario Argento)
55.) Possession (1981) (Dir: Andrzej Zuwalski)
54.) The Fly (1986) (Dir: David Cronenberg)
53.) Cronos (1992) (Dir: Guillermo del Toro)
52.) Let the Right One In (2008) (Dir: Tomas Alfredson)
51.) The Babadook (2014) (Dir: Jennifer Kent)
50.) Nope (2022) (Dir: Jordan Peele)
49.) Haxan (1922) (Dir: Benjamin Christensen)
48.) The Old Dark House (1932) (Dir: James Whale)
47.) I Walked with a Zombie (1943) (Dir: Jacques Tourneur)
46.) The Birds (1963) (Dir: Alfred Hitchcock)
45.) Dawn of the Dead (1978) (Dir: George A. Romero)
44.) Evil Dead II (1987) (Dir: Sam Raimi)
43.) Cure (1997) (Dir: Kiyoshi Kurosawa)
42.) Martyrs (2008) (Dir: Pascal Laughier)
41.) The Haunting of Hill House (2018) (Dir: Mike Flanagan)
(Miniseries)
(Streaming/Television)
40.) Pearl (2022) (Dir: Ti West)
39.) The Fall of the House of Usher (1928) (Dir: Jean Epstein)
38.) Freaks (1932) (Dir: Tod Browning)
37.) Dead of Night (1945) (Dir: Alberto Cavalcanti, Charles Crichton, Basil Dearden and Robert Hamer)
(Anthology Film)
36.) The Innocents (1961) (Dir: Jack Clayton)
35.) The Wicker Man (1973) (Dir: Robin Hardy)
34.) Dead Ringers (1988) (Dir: David Cronenberg)
33.) Ringu (1998) (Dir: Hideo Nakata)
32.) Rec (2007) (Dir: Jaume Balaguero and Paco Plaza)
31.) Under the Skin (2013) (Dir: Jonathan Glazer)
30.) The Cabinet of Dr. Caligari (1920) (Dir: Robert Wiene)
29.) Bride of Frankenstein (1935) (Dir: James Whale)
28.) The Uninvited (1944) (Dir: Lewis Allen)
27.) Night of the Demon (1957) (Dir: Jacques Tourneur)
26.) The Haunting (1963) (Dir: Robert Wise)
25.) Eraserhead (1977) (Dir: David Lynch)
24.) The Thing (1982) (Dir: John Carpenter)
23.) Audition (1999) (Dir: Takashi Miike)
22.) Inside (2007) (Dir: Julien Maury and Alexandre Bustillo)
21.) Mother! (2017) (Dir: Darren Aronofsky)
20.) Un Chien Andalou (1929) (Dir: Luis Bunuel)
(Short Cinema)
19.) The Black Cat (1934) (Dir: Edgar G. Ulmer)
18.) Isle of the Dead (1945) (Dir: Mark Robson)
17.) Peeping Tom (1960) (Dir: Michael Powell)
16.) Hour of the Wolf (1968) (Dir: Ingmar Bergman)
15.) Let’s Scare Jessica to Death (1971) (Dir: John Hancock)
14.) Videodrome (1983) (Dir: David Cronenberg)
13.) The Kingdom Trilogy (1994/1997/2022) (Dir: Lars Von Trier)
(Danish Television)
12.) Pulse (2001) (Dir: Kiyoshi Kurosawa)
11.) Climax (2018) (Dir: Gaspar Noe)
10.) Vampyr (1932) (Dir: Carl Theodor Dreyer)
09.) The Shining (1980) (Dir: Stanley Kubrick)
08.) Nosferatu (1922) (Dir: F.W. Murnau)
07.) Twin Peaks: Fire Walk with Me (1992) (Dir: David Lynch)
06.) The Devil’s Backbone (2001) (Dir: Guillermo del Toro)
05.) Midsommar (2019) (Dir: Ari Aster)
04.) The Seventh Victim (1943) (Dir: Mark Robson)
03.) Diabolique (1955) (Dir: Henri-Georges Clouzot)
02.) Eyes Without a Face (1960) (Dir: Georges Franju)
01.) Don’t Look Now (1973) (Dir: Nicolas Roeg)

P.S. I just added two links from this year’s blog entry regarding my Top 10 Favorite Horror Films of All-Time – a Kim Newman commentary link on number 3 and a documentary link on number 4. Click here 🙂

Anyway, I hope all of you enjoyed reading my Top 100 Favorite Horror Films of All-Time list and last, but not least:

Have a Happy Halloween
. .
U

John Charet’s Official Top 10 Favorite Horror Films of All-Time

by John Charet

Note: Next Thursday, which is October 31st (Halloween), I will be posting a blog entry regarding my Top 100 Favorite Horror Films of All Time, so this is not the only Halloween post I will be doing this year 🙂

This blog entry is dedicated to what I consider to be an official version of my Top 10 Favorite Horror Films of All-Time. Aside from some different choices (see numbers 4,5 and 6) this year, every film on here from last years remains intact. I know I have said it before, but it bears repeating – all lists (including my own) are subjective. Nevertheless, please be kind to number 7 on this list because that one means a lot to me, so once again please be polite 🙂 Also, any comment expressing negativity at number 7 will be deleted. Now, without further ado, I present to you all:

-My Top 10 Favorite Horror Films of All-Time-
(#10-01)

10.) Vampyr (1932)
Dir: Carl Theodor Dreyer
Country: Germany/France
Color: Black and White
Danish director Carl Theodor Dreyer’s only horror film was dismissed by critics as one of his lesser works during it’s initial theatrical release in 1932. Fast-forwarding ninety-two years later in 2024, many critics now consider Vampyr to be (in the words of former Village Voice film critic J. Hoberman) Dreyer’s most radical film. Given everything that came before and after it in Dreyer’s oeuvre, Hoberman’s view can not be stated any better. Intentionally emphasizing atmosphere and imagery over plot, when it comes to horror films produced after the advent of sound, Vampyr stands out as quite possibly the only one to truly resemble that of a nightmare.

Since I could not find a youtube video link to an official theatrical trailer, click here to view a 90th anniversary trailer

Click here to view a youtube video link of British film critic Mark Kermode’s commentary on it as one of his BFI Player picks

Click here to watch the film on youtube

09.) The Shining (1980)
Dir: Stanley Kubrick
Country: United States/United Kingdom
Color: Color
Author Stephen King may have been greatly disappointed over director Stanley Kubrick’s adaptation of his 1977 bestselling novel, but this has not prevented The Shining from eventually becoming (and deservedly so) a quintessential example of cinematic horror. Along with other Kubrick films, The Shining has only improved with time. Not unlike Carl Theodor Dreyer’s Vampyr, The Shining remains the only horror film within Kubrick’s oeuvre. Similar to the former, The Shining resembles the work of an idiosyncratic filmmaker. Here, we get now iconic scares ranging from the elevator of blood sequence to images of hacked up twins to the image of it’s lead actor Jack Nicholson exclaiming (through ad-libbing) Here’s Johnny!. As in all (or most) of Kubrick’s films since 1957’s Paths of Glory, The Shining has been open to all sorts of interpretations and neither one would be wrong.

Click here to view the film’s original theatrical trailer

08.) Nosferatu (1922)
Dir: F.W. Murnau
Country: Germany
Color: Black and White
German director F.W. Murnau’s unauthorized silent adaptation of author Bram Stoker’s 1897 novel Dracula also happens to be my personal favorite version of the source material. Whereas other versions romanticized the aforementioned title character, Nosferatu depicts the vampire (named Count Orlok in this film) as a truly hideous monster in every single way imaginable. All of his mannerisms are expressed perfectly by it’s lead actor Max Schreck. As a masterpiece of both German Expressionism and cinematic horror, Nosferatu is driven less by scares and more by it’s eerie atmosphere.

Since I can’t find an official theatrical trailer for it, click here to view this youtube video link of it’s 100 Anniversary trailer

Click here to watch the film on youtube

07.) Twin Peaks: Fire Walk with Me (1992)
Dir: David Lynch
Country: United States/France
Color: Color
Critically savaged upon it’s initial theatrical release back in 1992, Twin Peaks: Fire Walk with Me has since been reassessed as not only a misunderstood masterpiece, but also as one of director David Lynch’s major masterworks. As for myself, I will go one step further by citing Twin Peaks: Fire Walk with Me as the number one greatest American horror film of the 1990’s. A prequel to both the original series (1990-91) and 2017’s The Return, Twin Peaks: Fire Walk with Me centers on the sad last days of Laura Palmer – acted with gusto by the immensely beautiful and talented Sheryl Lee. Aided by composer Angelo Badalamenti’s haunting music score, the result is every bit as surreal and nightmarish as it is ultimately tragic. British film critic/novelist Kim Newman once stated that the film’s many moments of horror demonstrate just how tidy, conventional and domesticated the generic horror movie of the 1980’s and 1990’s has become. I could not have stated it any better.

Click here to view the film’s original theatrical trailer

Click here to listen to the soundtrack

Click here to watch author Scott Ryan’s introduction to the film at Chicago’s Music Box Theatre from last year

Click here, here, here, here and here to watch a Q&A with actress Sheryl Lee and actor Dana Ashbrook from a 2021 showing of Twin Peaks: Fire Walk with Me at Chicago’s Music Box Theatre

06.) The Devil’s Backbone (2001)
Dir: Guillermo del Toro
Country: Spain/Mexico
Color: Color
Along with the equally inventive Under the Shadow, The Devil’s Backbone is an inspired combination of the supernatural and the allegorical. When it comes to 21st century cinematic horror, both films serve as personal favorites of mine. As one may have deduced from this list, The Devil’s Backbone ranks very high for me. Set during the final year of the Spanish Civil War, The Devil’s Backbone is on the one hand, a subtly tragic ghost story and on the other, a quietly frightening antifascist historical drama. Now I love every single film of Mexican filmmaker Guillermo del Toro and the highly personal The Devil’s Backbone (my second favorite of his after Pan’s Labyrinth) is arguably the most insightful out of all the truly great horror films produced since the dawn of 2000.

Click here to view the film’s original theatrical trailer

Click here to view British film critic Mark Kermode’s commentary on it as one of his BFI Player picks

Click here to read Kermode’s Criterion essay for it

05.) Midsommar (2019)
Dir: Ari Aster
Country: United States/Sweden
Color: Color
Whereas Ari Aster’s directorial debut Hereditary resembled the work of a master filmmaker, it was his follow-up film Midsommar that officially cemented him as such. As a horror film, Midsommar’s masterstroke lies not so much in it’s atmosphere as in how it uses it. Like The Wicker Man before it, Midsommar’s unique emphasis on daylight is what makes the film all the more disturbing. In fact, everything about Midsommar still sends shivers down my spine. As it did during it’s initial theatrical release five years ago in 2019, Midsommar still hits close to home (metaphorically and otherwise) in more ways than one.

Click here to view the film’s original teaser trailer

Click here to view the film’s original theatrical trailer

04.) The Seventh Victim (1943)
Dir: Mark Robson
Country: United States
Color: Black and White
Out of the nine unique official (or unofficial) horror films produced by Val Lewton at RKO Pictures during the 1940’s, director Mark Robson’s The Seventh Victim stands out as my personal favorite of the group. Every single trademark that shapes a Lewton production reaches it’s peak here. While The Seventh Victim is similarly downbeat as Lewton’s other horror films, neither of them ended on such an explicitly bleak note as this one does. The film’s black-and-white color palette coincides perfectly not only with it’s urban setting, but also in it’s thematic elements relating to depression and satanism among other things. Mature subject matter like homoeroticism is even touched upon here in an intelligent and sensitive manner. In addition, The Seventh Victim features a quietly chilling shower sequence that predates Alfred Hitchcock’s Psycho by seventeen years.

Click here to view the film’s original theatrical trailer

Click here to view TCM’s Eddie Mueller’s Noir Alley intro to the film from 2020

Click here to view TCM’s Eddie Mueller’s Noir Alley outro to the film from that same episode

Click here to view a Vimeo link to the 2007 documentary entitled Val Lewton: The Man in the Shadows

03.) Diabolique (1955)
Dir: Henri-Georges Clouzot
Country: France
Color: Black and White
Though Alfred Hitchcock is often credited for redefining cinematic horror with Psycho in 1960, with all due respect to the Master of Suspense, the aforementioned genre was actually redefined five years earlier in 1955 by French director Henri-Georges Clouzot with Diabolique. Coincidentally, not too long after the publication of Diabolique’s 1952 source material She Who Was No More, which was written by Pierre Boileau and Thomas Narcejac, Hitchcock set out to option the rights to it. He changed course upon learning that Clouzot had obtained them serveral hours earlier, which enabled him to adapt it as Diabolique. As the film’s plot unfolds, Clouzot wastes no time in elevating the tension to completely unbearable heights and effortlessly keeps it going throughout. Culminating in one of the scariest twist endings ever conceived, Diabolique is a horror thriller that will ultimately make one’s heart stop.

Click here to view the film’s original theatrical trailer

Click here to view Alex Cox’s Moviedrome intro to the film

Spoiler Alert: If you have not seen the film, I strongly advise you not to click on the link below
Click here to view British film critic/novelist Kim Newman’s analysis of Diabolique

02.) Eyes Without a Face (1960)
Dir: Georges Franju
Country: France/Italy
Color: Black and White
If French poet Jean Cocteau had directed a 1930’s Universal horror film, the result would have undoubtedly been Eyes Without a Face. While it may not possess the delightfully eccentric humor that shaped The Invisible Man and Bride of Frankenstein among others, Eyes Without a Face does offer something every bit as inspired. Disturbing and poetic in equal measure, Eyes Without a Face is as much a horror film as it is a fairy tale. Dismissed by critics as one of his lesser films during it’s initial theatrical release in 1960, Eyes Without a Face has since been reassessed (and deservedly so) as not only French director Georges Franju’s most famous and influential film, but also his greatest one.

Click here to view what may or may not be the film’s French trailer

Click here to view British film critic Mark Kermode’s commentary on it as one of his BFI Player picks

Click here to view Kermode’s Kermode Uncut commentary on it

Click here to view Mark Kermode’s Cult Film Corner commentary on it

01.) Don’t Look Now (1973)
Dir: Nicolas Roeg
Country: United Kingdom/Italy
Color: Color
Now often hailed as one of the most influential horror films ever made, Don’t Look Now also happens to be my number one favorite horror film of all-time. Reportedly cited by it’s British director Nicolas Roeg as his exercise in film grammar, Don’t Look Now also stands out as quite possibly the most beautiful marriage between form and content. Accompanied by composer Pino Donaggio’s emotionally powerful music score, Roeg’s trademark unconventional editing style and it’s fittingly bleak, yet strangely lovely atmosphere, Don’t Look Now explores a tragedy’s impact on a married couple through the power of visual storytelling. Along with an explicit controversial sex scene between it’s two lead actors (Julie Christie and Donald Sutherland), Don’t Look Now is noted for featuring (like Diabolique before it) the scariest ending ever conceived in the history of cinematic horror.

Click here to view the film’s original theatrical trailer

Click here to view the film’s 2019 4K Restoration trailer

Click here to view British film critic Mark Kermode’s 2008 Culture Show interview with director Nicolas Roeg

Click here to view Kermode’s review of the 2019 4K Restoration of the film

Click here to view Irish documentarian Mark Cousins 2001 Scene By Scene interview with actor Donald Sutherland on the film

Click here to view Mark Cousins Moviedrome intro to the film

Click here to view Danish-Norwegian filmmaker Joachim Trier commentary on the film

Click here to listen to the soundtrack

Let me conclude this blog entry with two questions for my dear readers below

What are your top 10 favorite horror films of all-time?

What video links in my blog entry interested you the most?

My Big-Screen 70 mm Experience: Vertigo (1958) at the Music Box Theatre in Chicago, Illinois

by John Charet

A polite reminder before reading this blog entry of mine 🙂 I will not tolerate any insults or negativity towards any of the films or people I mention in this post. Any negative comments will be deleted, so I am politely asking you all to please be kind 🙂

-Sunday, September 15, 2024 – 2 pm-

On an absolutely gorgeous sunny afternoon on that aforementioned day and time above, I was absolutely filled with joy as I got to watch my number one favorite film of all-time on a big-screen in 70 mm. The film in question was director Alfred Hitchcock’s 1958 American classic Vertigo. I saw a 2:30 pm showing at the historic Music Box Theatre in Chicago, Illinois. Before I get started with my thoughts, I would love to share a few awesome pictures that I posted below 🙂

This is my ticket for the 09/15/2024 2:30 pm showing for Vertigo in 70 mm 🙂

This is a picture of the original poster for Vertigo designed by the iconic Saul Bass 🙂 Of course it did not include that smudge on the left side 🙂

Behold – The Music Box Theatre in all of it’s glory 🙂

Below are two pictures of me standing in front of the Music Box Theatre – which picture do you all prefer? 🙂

I am full of happiness at getting to see Vertigo on a big-screen in 70 mm 🙂

Still full of happiness 🙂

Now this poster for Vertigo was from a February 15-28th 2013 showing on a big-screen in 70 mm, but I had to take a picture of it nonetheless 🙂

-My Experience Watching Vertigo (1958) on a Big-Screen in 70 mm-

First things first, Vertigo (or at least in my view) looks amazing on either a television (for me, an HDTV) or a big theater screen. Here, I will talk about my experience watching Robert A. Harris and James C. Katz’s 1996 restoration of the film that resulted in the 70 mm print that we have all watched ever since.

From iconic designer Saul Bass’s characteristically expressive title sequence to the denouement, Vertigo proved to be every bit as spectacular on a big theater screen in 70 mm as it has on my HDTV at home. Imagine the size of how the film is presented on a latter and then times it’s height and width by 10, 15, 20 or beyond and you get an experience resembling a pure spectacle (i.e. Lawrence of Arabia).

As just one of many people watching Vertigo that day in a huge theater room on a big-screen (If this was not a sold out showing, it certainly came very close), my viewing experience was not only every bit as involving there as it was at home, but in some ways, five times more so.

Each viewing of Vertigo involves me on not only an intellectual level, but a visual one as well. No surprise given that the 1996 restoration resulted in a 70 mm print of the film. When viewed on a big theater screen, the visual experience becomes even more exhilarating. Every exterior and interior makes one feel like a tourist visiting a landmark. While the same vibe can be felt when viewed at home, on a big theater screen, it comes off as more explicit. Same sentiments apply to the dolly zoom shots and the famed dream sequence.

Final word of note on this subject, like all truly great films, Vertigo offers something I did not notice on the previous viewing. In this case, it comes from the film’s use of lighting. The scene in question takes place in Big Basin Redwoods State Park. As John “Scottie” Ferguson (James Stewart) and Madeline Elster (Kim Novak) are walking, the lighting on Madeline’s white coat makes her look like a ghostly figure, which is fitting considering that her character thinks that she is possessed by a dead woman.

-On the Side-

After watching my number one favorite film of all-time, I looked at all the awesome posters on the walls in the lobby and below is a picture of one of many favorites 🙂

This poster was for a David Lynch Retrospective that was held from April 7-14 back in 2022.

-Click here to watch an incredible trailer for it.

I actually think this is one of the most beautiful homages to a fictional film and television character, which in this case is actress Sheryl Lee’s Laura Palmer from Twin Peaks. As one can see from the picture, it is a dollar donation jar. As my dear readers might have guessed, I am a huge fan of the films of director David Lynch, everything Twin Peaks related and Sheryl Lee. This picture was taken on July 21 of this year when I saw director Akira Kurosawa’s Seven Samurai in a 4K Restoration on the big-screen.

I also wanted a picture of me holding the aforementioned donation jar and I got my chance. As one can notice, I am very happy in this photo. To this day, along with Nicolas Roeg’s Don’t Look Now, David Lynch’s Twin Peaks: Fire Walk with Me ranks for myself as one of the most emotionally powerful horror films ever made. As the beautiful and tragic Laura Palmer in the latter, Sheryl Lee gave a performance for the ages. Palmer’s descent into madness in that film always moves me to tears. As viewers, we want to reach into the screen to rescue Laura and then console her. Any director who can incite those feelings into us (in this case, Lynch) is doing something right.

This photo was taken today, but this Film Calendar is from the Summer of 2018 as one can deduce from the picture. In October of that same year, I saw director John Carpenter’s 1982 masterpiece The Thing in 70 mm.

Once Again, this photo was today, but this CINEPOCALYPSE calendar was from the Summer of 2018. I saw director Stephen Hopkins tightly-paced Chicago set 1993 Neo-noir action thriller Judgment Night there. I took a picture with Hopkins that has unfortunately been lost to time due to the fact taken on my old IPhone 😦 I do not know If it is just me, but director Alex Cox’s 1984 Sci-fi/Neo-noir/comedy Repo Man would be perfect for that. I do not know If CINEPOCALYPSE is still annually there though.

Back in August of this year (in this case 2024), the Music Box Theatre got a spectacular renovation that included drink holders – I noticed this when I saw Vertigo in 70 mm two Sundays ago 🙂 Click here to read more about it.

-Click here to watch this clever trailer (or lack thereof) for it 🙂

I picked up one of these Film Schedules back in July when I saw Seven Samurai there. I also saw the classic 1959 spy thriller North by Northwest (also directed by Hitchcock) in 70 mm back on August 11 of this year. That last title was part of their Summer of 70 mm series.

-Click here to watch the trailer for it.

I picked up one of these Film Schedules when I saw Vertigo in 70 mm two Sundays ago.

-In Closing-

All in all, I want to thank Chicago’s Music Box Theatre for the wonderful time I had watching my number one favorite film of all-time (in this case Vertigo) on a big-screen in 70 mm. All of you keep up the great work as always 🙂

-If any of my dear readers are interested in more info, click here to watch an 11-minute video celebrating the 90th anniversary of the Music Box Theatre from the Summer of 2019.

-Further Reading-

Click here to read my 2022 blog entry regarding My Top 10 Favorite Films of All-Time

Click here to read my 2023 blog entry regarding My Top 10 Favorite Horror Films of All-Time

Click here to read my 2023 blog entry regarding My 100 Favorite Films (1-100)

Click here to read my 2024 blog entry entitled Vertigo (1958) – A Ten-Part Personal Essay Written By Me

Click here to read my 2024 blog entry wishing actress Sheryl Lee a Happy 57th Birthday

-Questions for My Dear Readers-

1.) Name one of your favorite films that you have watched on a big theater screen? (70 mm or otherwise)

2.) Describe the excitement in your own words what it was like watching it on a big theater screen. What was it like?

3.) What theater/theatre did you see it at?

4.) As a follow-up to question #3, was there anything in the theater/theatre lobby that interested you (i.e. poster or otherwise)?

Blog-a-thon: Your 65/70 mm Experience – September 26-30th, 2024

by John Charet

Question – how many of you dear readers of mine are familiar with 70 mm Film gauge?
Give up? I will try to explain this motion picture format as simply as I can. Think of standard 35 mm film. Now times that number by two. In this case, our answer comes to 70 mm. The negative is basically 3.5 times as large as 35 mm film (read here). Admittedly, on camera, the format is 65 mm, but when it comes to projection, it is printed on 70 mm film (read here). As for Digital cinema, that is a different topic for another time. But If any of you want to talk about that sometime, feel free to leave me a comment 🙂

What is this blog-a-thon all about?
To any blogger who would like to participate in this, I would like you to write a blog entry about a great film you saw in 65/70 mm. The film can be old or new. If you would like, you can also write about the theater/theatre you saw it at (i.e. a historic landmark among other examples).

For Participants
If any of my fellow bloggers would like to participate, please leave a reply in the comment section and I will add you to the participant list. Also, the deadline for participation is Tuesday, October 1st. That is right, I will add you on the last day of the blog-a-thon as a participant 🙂

R.I.P. Alain Delon (1935-2024)

by John Charet

Along with Gena Rowlands, the cinephile community lost another giant this past month on August 18. In this case, it is Alain Delon – one of the most iconic French actors of all-time. He was 88 years-old and the cause of death was B-cell lymphoma. On the screen, Delon oozed coolness and sexiness in equal measures. Various actors, artists, directors and musicians among others have cited Delon as an influence on their work. As usual, I could go on, but I want to finish this blog entry by citing some of my favorite films with Delon (all * * * * out of * * * *).

  1. Purple Noon (1960) (Dir: Rene Clement) Click here and here to watch two various trailers
  2. Rocco and His Brothers (1960) (Dir: Luchino Visconti) Click here and here to watch two various trailers
  3. L’Eclisse (1962) (Dir: Michelangelo Antonioni) Click here to watch a various trailer for it
  4. The Leopard (1963) (Dir: Luchino Visconti) Click here and here to watch two trailers
  5. Any Number Can Win (1963) (Dir: Henri Verneuil) I could not find an English subtitled trailer for it
  6. Le Samourai (1967) (Dir: Jean-Pierre Melville) Click here to watch a 4K Restoration trailer for it
  7. La Piscine (1969) (Dir: Jacques Deray) Click here and here to view two different 4K Restoration trailers for it
  8. The Sicilian Clan (1969) (Dir: Henri Verneuil) Click here to watch a trailer for it
  9. Le Cercle Rouge (1970) (Dir: Jean-Pierre Melville) Click here to watch a 4K Restoration trailer for it
  10. Un flic (1972) (Dir: Jean-Pierre Melville) Click here to watch a trailer for it
  11. Tony Arzenta (1973) (Dir: Duccio Tessari) Click here to watch a trailer for it
  12. Mr. Klein (1976) (Dir: Joseph Losey) Click here to watch a 4K Restoration trailer for it
  13. Nouvelle Vague (1990) (Dir: Jean-Luc Godard) I could not find a trailer for that one

I would like to end this blog entry with a question for my dear readers below

What is your favorite Alain Delon film?

R.I.P. Gena Rowlands (1930-2024)

by John Charet

Last Wednesday, one of the most extraordinary actresses to have ever lived passed away at the age of 94. The actress was Gena Rowlands. The cause of death was complications of Alzheimer’s disease (read here and here). According to her son Nick Cassavetes (read here), Rowlands had been living with Alzheimer’s for the past five years. And yes, Nick is the son of the late great actor/director/writer John Cassavetes. Rowlands had been married to John from 1954 until his death in 1989. To commemorate her career, I will list my favorite films of hers where she serves as a standout below (all * * * * out of * * * *).

  1. Faces (1968) (Dir: John Cassavetes) Click here to view the film’s original theatrical trailer
  2. Minnie and Moskowitz (1971) (Dir: John Cassavetes) Click here to view the film’s original theatrical trailer
  3. A Woman Under the Influence (1974) (Dir: John Cassavetes) Click here to view the film’s original theatrical trailer
  4. Opening Night (1977) (Dir: John Cassavetes) Click here to view the film’s original theatrical trailer
  5. Gloria (1980) (Dir: John Cassavetes) Click here to view the film’s original theatrical trailer
  6. Love Streams (1984) (Dir: John Cassavetes) Click here to view the film’s original theatrical trailer
  7. The Notebook (2004) (Dir: Nick Cassavetes) Click here to view the film’s original theatrical trailer

I would like to end this blog entry with a question for my dear readers below

What is your favorite Gena Rowlands film?

What I Have Been Up To

by John Charet

Hello all of my dear readers, you are all probably wondering where I have been since early June? Well I just wanted to take a break from blogging for a while for some much deserved relaxation 🙂 I will try to blog some more before Labor Day, but I will undoubtedly be back blogging regularly after that aforementioned holiday 🙂

Happy 98th Birthday Marilyn Monroe

by John Charet

This blog entry was originally posted last year on June 1, 2023 to celebrate Classical Hollywood era icon Marilyn Monroe’s then 97th birthday – or what would have been her then 97th birthday. Almost everything written here for her 98th birthday remains the same.

A polite reminder before reading this blog entry of mine 🙂 I will not tolerate any insults or negativity towards my subject of this post. This blog entry is strictly for dyed-in-the-wool Marilyn Monroe fans like myself or fans in general. So once again, please be kind 🙂

This Happy Birthday blog entry is dedicated to Classical Hollywood era icon Marilyn Monroe, who would have been 98 years-old today on June 1. In other words, I would like to wish a very Happy Birthday to Marilyn Monroe. Considering that her tragic life has been dwelled upon endlessly, misunderstood by men and women alike (well-intentioned or otherwise), not to mention exploited, I am dedicating this entry solely to Marilyn Monroe’s achievements onscreen. For myself, Marilyn Monroe is truly the embodiment of a goddess. In other words, Monroe is an iconic sex symbol, who succeeds brilliantly at both comedy and drama. When it came to the former, Marilyn Monroe took the stereotypical dumb blonde (a term I hate) persona of her characters and deconstructed it. For example, click here to see what I mean. To put it in other words, it is us viewers, who come off as the bumbling idiots for thinking that she was one 🙂 I could link to many others, but for me, no other comedy of Monroe’s demonstrates her deconstruction of the aforementioned trope given to her more perfectly than in Gentlemen Prefer Blondes. As for the latter, Monroe displayed her dramatic chops masterfully in quite a few films. Once again, I could ramble on and on, but If I had to single out my number one favorite in terms of drama, it would be her performance as Cherie in Bus Stop. Check out Monroe’s bus conversation scene by clicking here and her rendition of That Old Black Magic by clicking here. Speaking of which, my number one favorite Monroe rendition also happens to be her most iconic – Diamonds Are a Girl’s Best Friend. The number features Monroe wearing a shocking pink dress (designed by William Travilla) singing about her love of diamonds surrounded by adoring men dressed in suits and bow ties (and much more). Click here to watch the link – the number begins at the 0:50 mark. Cover versions post-1953 range from Lena Horne to Megan Thee Stallion (read here). In addition, entertainers ranging from singer Madonna to actress Margot Robbie (read here) have not only paid homage to Gentlemen Prefer Blondes aforementioned musical number, but also wore pink dresses similar to the one Monroe was dressed in while performing it.

Before I share with you dear readers all of my favorite Marilyn Monroe films, I would like to show you all some links below.

Here is a link to an appreciation of Gentlemen Prefer Blondes by one of my many favorite female writers, which in this case is the Chicago-based film aficionado Caroline Siede

Here is a youtube video link to another iconic number from the film entitled Two Little Girls from Little Rock

My UK readers may have seen the above musical number parodied by British comediennes Dawn French and Jennifer Saunders on the long running sketch comedy series French and Saunders – click here

Here is a youtube video link to legendary French actress Catherine Deneuve and her late older sister Francoise Dorleac performing the song Chanson d’un jour d’ete (Summer Day Song) in Jacques Demy’s 1967 musical masterpiece The Young Girls of Rochefort. In the film, the two actresses play twins. The musical number and the dresses worn by the two leading ladies are subtly similar (If not completely) to how Two Little Girls from Little Rock was performed. Click here to view the dubbed in English version.

Here is a youtube video link to musician Madonna’s 1985 Material Girl music video, which references the Diamonds Are a Girl’s Best Friend musical number

Here is a youtube video link to musician Kylie Minogue’s homage to the Diamonds Are a Girl’s Best Friend musical number from the 1999 Grand Opening of Fox Studios in Australia

Here is a youtube video link to actress Nicole Kidman’s version of Diamonds Are a Girl’s Best Friend in the 2001 musical romance Moulin Rouge

The 2010’s American television series Glee also paid homage to Diamonds Are a Girl’s Best Friend (and briefly Material Girl) in an episode. Click here to watch

American comedienne Rachel Bloom loosely parodied the visual style of Diamonds Are a Girl’s Best Friend (only replace anything colored red and pink with blue) in an episode of the satirical 2010’s CW television program Crazy Ex-Girlfriend – click here and here to see it

Here is a youtube video link to American broadcast journalist Edward R. Murrow’s 1955 Person to Person interview with Marilyn Monroe

Here is a youtube video link to American television personality Dave Garroway’s 1955 audio interview with Marilyn Monroe

Here is a youtube video link to a brief 1960 audio interview with Marilyn Monroe. I do not know who is conducting it though

Also, for more Marilyn Monroe fandom, click on these two youtube channel links here and here. The first channel is titled Marilyn Monroe Video Archives and the second is called The Marilyn Monroe Channel

One more thing, I do not know If any of my readers subscribe to the Criterion Channel streaming service, but If any of you do, last year in June of 2023, the streaming service featured most of Marilyn Monroe’s films – click here to view the trailer

Click here to view a youtube video link of actor Ryan Gosling singing the Oscar nominated song from 2023’s Barbie entitled I’m Just Ken from the Academy Awards back in March of 2024. The style of the performance is sort of similar to Marilyn Monroe’s Diamonds Are a Girl’s Best Friend number in Gentlemen Prefer Blondes

Now without further ado, below is a list of my favorite Marilyn Monroe films 🙂 All of them I gave * * * * (out of * * * *) stars to

  1. Ladies of the Chorus (1948) (Dir: Phil Karlson) There is no original theatrical trailer to the film, but one could watch the film on youtube
  2. The Asphalt Jungle (1950) (Dir: John Huston) Click here to view the film’s original theatrical trailer
  3. All About Eve (1950) (Dir: Joseph L. Mankiewicz) Click here to view the film’s original theatrical trailer
  4. Clash by Night (1952) (Dir: Fritz Lang) Click here to view the film’s original theatrical trailer
  5. Don’t Bother to Knock (1952) (Dir: Roy Ward Baker) Click here to view the film’s original theatrical trailer
  6. Monkey Business (1952) (Dir: Howard Hawks) Click here to view the film’s original theatrical trailer
  7. O. Henry’s Full House (1952) (Dir: Harry Koster)
    (Segment: The Cop and the Anthem) Click here to view the film’s original theatrical trailer
  8. Niagara (1953) (Dir: Henry Hathaway) Click here to view a colorized version of the film’s original theatrical trailer
  9. Gentlemen Prefer Blondes (1953) (Dir: Howard Hawks) Click here to view the film’s original theatrical trailer
  10. How to Marry a Millionaire (1953) (Dir: Jean Negulesco) Click here to view the film’s original theatrical trailer
  11. River of No Return (1954) (Dir: Otto Preminger) Click here to view the film’s original theatrical trailer
  12. There’s No Business Like Show Business (1954) (Dir: Walter Lang) Click here to view the film’s original theatrical trailer
  13. The Seven Year Itch (1955) (Dir: Billy Wilder) Click here to view the film’s original theatrical trailer
  14. Bus Stop (1956) (Dir: Joshua Logan) Click here to view the film’s original theatrical trailer
  15. The Prince and the Showgirl (1957) (Dir: Laurence Olivier) Click here to view the film’s original theatrical trailer
  16. Some Like It Hot (1959) (Dir: Billy Wilder) Click here to view the film’s original theatrical trailer
  17. Let’s Make Love (1960) (Dir: George Cukor) Click here to view the film’s original theatrical trailer
  18. The Misfits (1961) (Dir: John Huston) Click here to view the film’s original theatrical trailer

Let me conclude this blog entry with three questions below for all of my dear readers

What were your favorite article links in this blog entry?

What are your favorite video links in this blog entry? Which ones did you all find the most fascinating?

Besides Some Like It Hot, what are your other favorite Marilyn Monroe films?

My Favorite Bernardo Bertolucci Films (2024 Edition)

by John Charet

I have not seen 2012’s Me and You yet because it is not available on Blu-Ray/DVD here in the United States nor can I watch it online.

* * * * (Out of * * * *)

  1. The Conformist (1970)
  2. Besieged (1998)
  3. Tragedy of a Ridiculous Man (1981)
  4. The Dreamers (2003)
  5. The Spider’s Stratagem (1970)
    (Italian Television)
  6. Before the Revolution (1964)
  7. Last Tango in Paris (1972)
  8. La Luna (1979)
  9. 1900 (1976)
  10. Stealing Beauty (1996)
  11. The Last Emperor (1987)
  12. The Sheltering Sky (1990)
  13. Partner (1968)
  14. Little Buddha (1993)
  15. The Grim Reaper (1962)
  16. Ten Minutes Older: The Cello (2002)
    Segment: Histoire d’eaux
  17. Il canale (1966)
    (Documentary)
    (Short)
  18. Love and Anger (1969)
    Segment: Agonia

My Favorite Busby Berkeley Films (2024 Edition)

by John Charet

* * * * (Out of * * * *)

  1. Gold Diggers of 1933 (1933)
    (co-directed with Mervyn LeRoy)
    (Musical numbers only)
  2. The Gang’s All Here (1943)
  3. Footlight Parade (1933)
    (co-directed with Lloyd Bacon)
    (Musical numbers only)
  4. 42nd Street (1933)
    (co-directed with Lloyd Bacon)
    (Musical numbers only)
  5. For Me and My Gal (1942)
  6. Hollywood Hotel (1937)
  7. Dames (1934)
    (co-directed with Ray Enright)
    (Musical numbers only)
  8. Gold Diggers of 1935 (1935)
  9. Romance on the High Seas (1948)
    (co-directed with Michael Curtiz)
    (Choreographer only)
  10. Gold Diggers of 1937 (1937)
    (co-directed with Lloyd Bacon)
    (Musical numbers only)
  11. She Had to Say Yes (1933)
    (co-directed with George Amy)
  12. Ziegfeld Girl (1941)
    (co-directed with Robert Z. Leonard)
    (Musical numbers only)
  13. They Made Me a Criminal (1939)
  14. Lady Be Good (1941)
    (co-directed with Norman Z. McLeod)
    (Musical numbers only)
  15. Bright Lights (1935)

* * * 1/2 (Out of * * * *)

  1. Strike Up The Band (1940)
  2. Babes in Arms (1939)
  3. Babes on Broadway (1941)