Vic Sage

I didn't care a bit about the historical inaccuracies of the film. My problem was with the cliche-riddled, paint-by-numbers storytelling. Biopics have tropes, and this film nailed all of them in groan-inducing ways. Someone mentioned ROCKETMAN; that's an example of an original and thrilling take on the genre.

I'd prefer him to Nido.

the internet witch hunt for the PWDVFJ (person who didn't vote for Jeter) is like that Netflix show, "dont' fuck with cats". God help the reporter who doesn't bow down at the pinstripe altar. The MFY fan angst over this is the only thing making it tolerable. Also, congrats to Larry Walker, Ted Simmons and Marvin Miller. I thought their inductions were all long overdue.

i wanted to see that! It was on Netflix, then it was gone.

Its kind of funny how the Mets were forced to undo their bad decision. Now lets see how badly they handle the upcoming manager search.

yes. there is an excellent youtube video from my guys at Fandom Entertainment/SJU about the release patterns of oscar nominees over the years, and it shows that, with the increased volume of films now eligible because of the streaming companies and the perception that a late release is for "prestige" pictures, that 75% of nominees now come from the last 1/4 of the year. charting with Dan: [YOUTUBE]https://www.youtube.com/watch?v=DB_wCWL8V-Mhttps://www.youtube.com/watch?v=DB_wCWL8V-M[/YOUTUBE]

i find it amusing that it got a nomination for editing, but whaddyagonndo?

REVISED: 3/10/20 My top 10 of 2019 JOJO RABBIT JOKER 1917 ONCE UPON A TIME…IN HOLLYWOOD PARASITE ROCKETMAN AVENGERS: END GAME THE FAREWELL FORD V FERRARI IRISHMAN honorable mentions: BEAUTIFUL DAY IN THE NEIGHBORHOOD DOLEMITE IS MY NAME I LOST MY BODY KNIVES OUT other 2019 films i've seen so far this year good: FROZEN II HOW TO TRAIN YOUR DRAGON III HUSTLERS JOHN WICK III KLAUS fair: ALITA: BATTLE ANGEL CAPTAIN MARVEL ECHO IN THE CANYON MOTHERLESS BROOKLYN POKEMON DETECTIVE PIKACHU SHAZAM! SPIDER-MAN: FAR FROM HOME STAR WARS: RISE OF SKYWALKER TOY STORY 4 VELVET BUZZSAW YESTERDAY poor: COLD PURSUIT DARK PHOENIX GLASS GODZILLA JUMANJI II LATE NIGHT MARRIAGE STORY MEN IN BLACK: INT'L TERMINATOR: DARK FATE DARK PHOENIX was the worst movie i've seen that was released this past year. But at least i watched the whole thing. MARRIAGE STORY i turned off with about 30 minutes to go. 2019 films I still want to see AD ASTRA BOOKSMART DEAD DON'T DIE FAST COLOR HIGHWAYMEN THE KING THE LIGHTHOUSE LITTLE WOMEN MAN WHO KILLED DON QUIXOTE MIDSOMMAR MISSING LINK 6 UNDERGROUND UNCUT GEMS US WEATHERING WITH YOU ZOMBIELAND DOUBLE TAP

Of the 9 best picture nominees, their nominations in the top 5 categories are: JOKER (4) MARRIAGE STORY (4) ONCE UPON A TIME IN HOLLYWOOD (4) 1917 (3) IRISHMAN (3) LITTLE WOMEN (3) PARASITE (3) JOJO RABBIT (2) FORD V FERRARI (1)

Best Picture: “Ford v Ferrari” “The Irishman” “Jojo Rabbit” “Joker” “Little Women” “Marriage Story” “1917” “Once Upon a Time in Hollywood” “Parasite” Director: Martin Scorsese, “The Irishman” Todd Phillips, “Joker” Sam Mendes, “1917” Quentin Tarantino, “Once Upon a Time in Hollywood” Bong Joon Ho, “Parasite” Lead Actor: Antonio Banderas “Pain and Glory” Leonardo DiCaprio “Once Upon a Time in Hollywood” Adam Driver “Marriage Story” Joaquin Phoenix “Joker” Jonathan Pryce “The Two Popes” Lead Actress: Cynthia Erivo “Harriet” Scarlett Johansson “Marriage Story” Saoirse Ronan “Little Women” Charlize Theron “Bombshell” Renee Zellweger “Judy” Adapted Screenplay: “The Irishman,” Steven Zaillian “Jojo Rabbit,” Taika Waititi “Joker,” Todd Phillips, Scott Silver “Just Mercy” Destin Daniel Cretton and Andrew Lanham “Little Women,” Greta Gerwig “The Two Popes,” Anthony McCarten Original Screenplay: “Knives Out,” Rian Johnson “Marriage Story,” Noah Baumbach “1917,” Sam Mendes and Krysty Wilson-Cairns “Once Upon a Time in Hollywood,” Quentin Tarantino “Parasite,” Bong Joon-ho, Jin Won Han Supporting Actor: Tom Hanks, “A Beautiful Day in the Neighborhood” Anthony Hopkins, “The Two Popes” Al Pacino, “The Irishman” Joe Pesci, “The Irishman” Brad Pitt, “Once Upon a Time in Hollywood” Supporting Actress: Kathy Bates, “Richard Jewell” Laura Dern, “Marriage Story” Scarlett Johannson, “Jojo Rabbit” Florence Pugh, “Little Women” Margot Robbie, “Bombshell” Cinematography: “The Irishman,” Rodrigo Prieto “Joker,” Lawrence Sher “The Lighthouse,” Jarin Blaschke “1917,” Roger Deakins “Once Upon a Time in Hollywood,” Robert Richardson Film Editing: “Ford v Ferrari,” Michael McCusker, Andrew Buckland “The Irishman,” Thelma Schoonmaker “Jojo Rabbit,” Tom Eagles “Joker,” Jeff Groth “Parasite,” Jinmo Yang Original Score: “Joker,” Hildur Guðnadóttir “Little Women,” Alexandre Desplat “Marriage Story,”Randy Newman “1917,” Thomas Newman “Star Wars: The Rise of Skywalker,” John Williams*“The King,” Nicholas Britell Original Song: “I Can't Let You Throw Yourself Away,” “Toy Story 4” “I'm Gonna Love Me Again,” “Rocketman” “I'm Standing With You,” “Breakthrough” “Into the Unknown,” “Frozen 2” “Stand Up,” “Harriet” Animated Feature: “How to Train Your Dragon: The Hidden World” Dean DeBlois “I Lost My Body” Jeremy Clapin “Klaus” Sergio Pablos “Missing Link” Chris Butler “Toy Story 4” Josh Cooley Best Foreign Language Film: “Corpus Christi,” Jan Komasa “Honeyland,” Tamara Kotevska, Ljubo Stefanov “Les Miserables,” Ladj Ly “Pain and Glory,” Pedro Almodovar “Parasite,” Bong Joon Ho Best Documentary Feature: “American Factory,” Julia Rieichert, Steven Bognar “The Cave,” Feras Fayyad “The Edge of Democracy,” Petra Costa “For Sama,” Waad Al-Kateab, Edward Watts “Honeyland,” Tamara Kotevska, Ljubo Stefanov Best Documentary Short Subject: “In the Absence” “Learning to Skateboard in a Warzone,” Carol Dysinger “Life Overtakes Me,” Kristine Samuelson, John Haptas “St. Louis Superman” “Walk Run Cha-Cha,” Laura Nix Best Live Action Short Film: “Brotherhood,” Meryam Joobeur “Nefta Football Club,” Yves Piat “The Neighbors' Window,” Marshall Curry “Saria,” Bryan Buckley “A Sister,” Delphine Girard Animated Short: “Dcera,” Daria Kashcheeva “Hair Love,” Matthew A. Cherry “Kitbull,” Rosana Sullivan “Memorable,” Bruno Collet “Sister,” Siqi Song Sound Editing: “Ford v Ferrari,” Don Sylvester “Joker,” Alan Robert Murray “1917,” Oliver Tarney, Rachel Tate “Once Upon a Time in Hollywood,” Wylie Stateman “Star Wars: The Rise of SkyWalker,” Matthew Wood, David Acord Sound Mixing: “Ad Astra” “Ford v Ferrari” “Joker” “1917” “Once Upon a Time in Hollywood” Production Design: “The Irishman,” Bob Shaw and Regina Graves “Jojo Rabbit,” Ra Vincent and Nora Sopkova “1917,” Dennis Gassner and Lee Sandales “Once Upon a Time in Hollywood,” Barbara Ling and Nancy Haigh “Parasite,” Lee Ha-Jun and Cho Won Woo, Han Ga Ram, and Cho Hee Costume Design: ”The Irishman,” Sandy Powell, Christopher Peterson “Jojo Rabbit,” Mayes C. Rubeo “Joker,” Mark Bridges “Little Women,” Jacqueline Durran “Once Upon a Time in Hollywood,” Arianne Phillips Visual Effects: “Avengers Endgame” “The Irishman” “1917” “The Lion King” “Star Wars: The Rise of Skywalker” Makeup and Hair: “Bombshell” “Joker” “Judy” “Maleficent: Mistress of Evil” “1917”

=smg58 post_id=29663 time=1579014258 user_id=62] I'm not sure winning Ottoneu once qualifies me...

Vic Sage wrote: I can't find my Hitchcock essay in the archives. oh well. another moment lost, like tears in rain. i found it! -------------------------------------------------------------------------------------------------------------------- - "Film your murders like love scenes, and film your love scenes like murders", Alfred Hitchcock. Sir Alfred Hitchcock, the proverbial master of suspense, is generally considered the greatest British director of all time. Hitch was a small, lonely, fat lad ("I was an uncommonly unattractive young man."), with an absent father and controlling mother, raised in strict catholic home. There is a story that, as a child, he was sent to the local constabulary, with a letter from his father. The policeman read the letter and immediately locked the boy up for ten minutes. After that, the sergeant let young Alfred go, explaining, "This is what happens to people who do bad things." He had a morbid fear of police from that day on. Obviously, such an upbringing would likely precipitate his later preoccupations, and so his neurotic obsessions with guilt, wrongful accusation, lost identity, voyeurism, and the linkage of sex and death formed the themes of his most iconic work. He started out as an engineering draftsman and designer, which is evident in the visual storytelling techniques he developed ("If it's a good movie, the sound could go off and the audience would still have a perfectly clear idea of what was going on.") He then got work in the fledgling silent film industry in the UK, with some stops and starts. His first hit was the silent thriller THE LODGER, loosely based on Jack the ripper. His subsequent successes (MAN WHO KNEW TOO MUCH, 39 STEPS and LADY VANISHES) would catch the attention of Hollywood, and the siren's song would soon call him across the pond. selection of UK films: * The Lodger (1927) - silent * Blackmail (1929) - silent & then released as UK's 1st talkie * The Man Who Knew too much (1934) - his 1st international hit (better than the subsequent remake) * 39 Steps (1935) - his first great film * The Lady Vanishes (1938) - another great early film, got the attention of Hollywood * Jamaica Inn (1939) - a flop, but didn't deter Selznick Selznick years Noted producer David O. Selznick brought Hitch to Hollywood to direct the gothic melodrama REBECCA, to much acclaim and success, but not without tension between the two titanic control freaks. Hitch went on to make a number of successful films during his "Selznick years", though some were for other studios to whom Selznick had loaned (i.e., sold) him out. SUSPICION, NOTORIOUS and SHADOW OF A DOUBT are the best thrillers of the period. FOREIGN CORRESPONDENT, SABOTEUR and LIFEBOAT are all solid WWII-themed works, but MR & MRS SMITH is a forgettable romantic comedy, SPELLBOUND is overwrought psychobabble and PARADINE CASE an overlong courtroom drama. Gregory Peck was not one of Hitch's better leading men, as his particular brand of square-jawed heroism lacked the moral ambiguity and sly humor of his more successful collaborations with Cary Grant and Jimmy Stewart. * Rebecca (1940) - Academy Award (Best Picture) for Selznick, not Hitch. ultimately, more a Selznick movie than a Hitchcock movie (one of the few Hitch was not involved with the script's development). It has not dated well. * Foreign Correspondent (1940) (AA nom/picture) - solid WWII anti-Nazi agitprop * Mr. & Mrs. Smith (1941) - minor screwball comedy with Carole Lombard * Suspicion (1941) - 1st work as a producer (AA nom/picture), and his first work with Cary Grant; solid, but a sellout ending * Saboteur (1942) - solid WWII era "wrong man" thriller, ending atop Statue of Liberty (action scenes on iconic monuments a continuing motif) * Shadow of a Doubt (1943) - Joseph Cotton great as psycho Uncle Charlie... terrific; Hitch's personal fave * Lifeboat (1944) (AA nom/director) - solid WWII drama; more theatrical than cinematic (the "single set" limitation is one he'd go back to) * Spellbound (1945) (AA nom/director, picture) - Gregory Peck, with 1st of hitch's great "cool blondes", Ingrid Bergman, and a Dali dream sequence. Doesn't hold up at all. Freudian subtext becomes text. silly, talky * Notorious (1946) - Grant and Bergman are a much better pairing, Rains makes a great Cuckolded villain * The Paradine Case (1947) - overlong courtroom flop, with Bergman & Peck Warners: After his contract with Selznick expired, Hitchcock produced his next 2, both flops. He experimented with extended cuts and technicolor in ROPE, loosely based on the Leopold & Loeb thrill killer case, with a miscast Jimmy Stewart as an academic. UNDER CAPRICORN was likely undone not only by its mediocrity but the worldwide scandal that Ingrid Bergman was in the middle of (as she was having an affair, and later a child, with director Roberto Rosellini). The films were released by Warner Bros, and they then produced many of his subsequent films of the period (most of which were not particularly successful). DIAL M was Hitch's first big widescreen effort, in which he used some 3D effects, though the film was not actually released in 3D version until the 1980s. It also featured the 1st work with his new "cool blonde", Grace Kelly. * Rope (1948) - interesting filmic experiment, but dramatically flawed * Under Capricorn (1949) - dull flop * Stage Fright (1950) - Dietrich, minor work * Strangers on a Train (1951) - the best of this WB period * I Confess (1953) - Monty Clift as priest; nothing special. Hitch was not a fan of "method actors". * Dial M for Murder (1954) -first widescreen film (3D in 1980s) and 1st with Grace Kelly; holds up pretty well. * The Wrong Man (1956) - true story, with Henry Fonda. Its documentary feel undermines dramatic impact. Paramount: - "Blondes make the best victims. They're like virgin snow that shows up the bloody footprints." Hitch did 5 films with Paramount, which were all given a theatrical re-release back in the 1980s, before being distributed in the newly burgeoning home video market. 2 of these were two of his very best films, REAR WINDOW and VERTIGO, both with Jimmy Stewart at his most sexually disturbing and obsessed, verging on sado-masochistic. * Rear Window (1954) (AA nom/director) - Stewart & Kelly; darkly funny, disturbing rumination on voyeurism * To Catch a Thief (1955) - Kelly and Grant in light romantic thriller; urbane sophisticated entertainment. Kelly went on to become Princess Grace after the film * The Trouble with Harry (1955) - black comedy about a dead body, with a cute young Shirley McLaine; silly, pointless * The Man Who Knew Too Much (1956) - Doris Day sings "Que Sera, Sera" -- a ridiculous remake * Vertigo (1958) - my favorite cool blonde, Kim Novak, totally fetishized by Stewart (and Hitch). One of the greatest films ever made * North by Northwest (1959) - Grant and E.M.Saint, "wrong man", black comedy, Freudian sexual hysteria, thrilling climax on national monument, the crop duster... its Hitch at his absolute best * Psycho (1960) (AA nom/director) - Hitch crossed the line from suspense to pure horror (depending on your definition), reinventing the genre and making a fortune for his efforts... he waived his salary to take 60% of net profits when he produced it as an indie (nobody wanted to touch the project), but eventually distributed by Paramount Universal: As host of his own long-running TV anthology series, Alfred Hitchcock Presents (1955-65), Hitch became an international celebrity bigger than any of his movies ("I was very pleased that television was now showing murder stories, because it's bringing murder back into its rightful setting - in the home"). During the late 50s, his artistic accomplishments as a filmmaker were finally being recognized in Europe by Truffaut and other french journalists-turned-filmmakers, and he became the darling of the new auteur theorists. But Hitch's health started to deteriorate in the 1960s, and his films for Universal in the mid 60s-70s mark his slow fade. * The Birds (1963) - Tippi Hedren was his next and last "cool blonde"; still memorable depiction of an avian uprising mysteriously connected to sexual desire. Arguably his last great film * Marnie (1964) - Hedren with Sean Connery in a psycho-sexual thriller that harkened back to SPELLBOUND in its Freudian obsessions; unsuccessful but some critical views put it in the pantheon of Hitch's best work. I disagree * Torn Curtain (1964) - an unsuccessful cold war thriller, this time with Julie Andrews (who was foisted upon him) and Paul Newman, who, as another "method actor", was a problem for Hitch. ("When an actor comes to me and wants to discuss his character, I say, "It's in the script"/ If he says, "But what's my motivation?", I say, "Your salary") * Topaz (1969) - another cold war thriller, this one had no stars and flopped * Frenzy (1972) - hitch went back to the UK, and became more explicit in his depiction of sex and death; some said it was a return to form, others bemoaned its excesses. But he always pushed the boundaries * Family Plot (1976) - this goofy black comedy was Hitch's final film and an inauspicious final note Never having won an Oscar as a director, Hitch was finally given a lifetime award in 1967 (his acceptance speech: "thank you.") In 1979, he was knighted (When asked by a member of the press why, at his advanced age, it took so long for the British government to grant him the title of Knight, he said: "I think it's just a matter of carelessness.") He died shortly thereafter. but his work lives on, not only in film archives, but in the careers of many filmmakers who came after him and were so influenced by his remarkable output. A dozen to see: 39 Steps (1935) Rebecca (1940) Shadow of a Doubt (1943) Notorious (1946) Strangers on a Train (1951) Dial M for Murder (1954) Rear Window (1954) Vertigo (1958) North by Northwest (1959) Psycho (1960) The Birds (1963) Frenzy (1972)

I saw Napoleon at Radio City Music Hall, with a live orchestra conducted by Carmine Coppola. It was glorious.

i didn't really consider foreign-language films, and if i did, i don't really think of MAN AND A WOMAN that way. Its racing is incidental, but i can definitely see the argument for it's inclusion. Maybe under the "big race" sub genre, despite the fact that its not about any particular race.

my ballot: Bonds Clemens Walker Jeter borderline: Ramirez Schilling Wagner Helton Kent Sosa Sheffield Their gloves keep them on the ballot: Rolen Jones Vizquel 1 more year, then goodbye: Pettite Giambi the rest are 1 and done: Bobby Abreu Paul Konerko Alfonso Soriano Raul Ibanez Adam Dunn Rafael Furcal Brian Roberts Eric Chavez Carlos Pena Chone Figgins Brad Penny Cliff Lee Josh Beckett Heath Bell Jose Valverde J.J. Putz

I can't find my Hitchcock essay in the archives. oh well. another moment lost, like tears in rain.

I've got to take another look at that. but its also a scene that's been referenced many times over the years, like the Odessa Steps sequence from POTEMPKIN

I was surprised that I enjoyed it as much as I did. I loved McKinnon. My son said the whole premise rested on the "questionable" presumption that those were transcendently great songs, rather than simply products of their time and place. I tried to smack him with my cane, but he avoided the blow.

Hitchcock? I got a filmography essay somewhere.

is it the first time you've seen FIDDLER?

it's Tevye. Its always been Tevye. The recent Broadway revival had a director restaging the show with a "framing device", with Tevye in modern dress becoming the Tevye in the story. He wore a red fleece to denote his "modernity".

With a 26-man roster now, they'll likely go with 13 pitchers, leaving 2 open slots in the pen, but that's not the math that matter$. BVW is not signing another FA reliever because he won't run the risk of paying the minimal salary cap tax they'd be exposed to. They already spent most of the $19m saved on Cespedes by signing 2 5th starters (instead of a 3rd starter and a solid reliever). ladies and gentlemen, your 2020 NY Mets pitching staff: DeGrom Syndegaard Stroman Matz* Porcello Diaz Lugo Wilson* Familia Gsellman Wacha _____ * _____

=LWFS post_id=28354 time=1576206059 user_id=84] What, no Baby Driver (2017)? Edgar Wright's vehicle vehicle may be more of a caper-gone-wrong-er, but still... practical driving stuntin' (to a fantastically curated soundtrack) is VERY much a featured co-star. The underrated CB-prank-gone-wrong slasher Joy Ride (2001) is worth a notice, too.

and because he's only guaranteed $3m.

Here's a car list from the archives: MAN AT THE WHEEL There is a man is at the wheel… he is driving fast, destination unknown. He may be chased, or in pursuit. He may have loved once, or been loved, and he may be fleeing justice, or seeking it, but now all the meaning in his life is defined by his skill and velocity. He is merely an object in space, and his only remaining relationship is with his machine. He is likely to meet his fate at gunpoint, or at a point of impact, or find himself at the vanishing point, where open blacktop meets the distant horizon. He is a burnt out shell of a man, a ronin, the existential anti-hero at the wheel, hurtling toward his fate… and these are the movies that define him: FAST & THE FURIOUS (1955) – this is the first AIP/Corman B-Movie… guy on the run, girl in danger, hijacked jaguar… time to race! THE WILD RIDE (1960) – quintessential AIP/Corman juvenile delinquency flick for the Beat generation, with Jack Nicholson making trouble, racing around and dying young. BONNIE & CLYDE (1967) – notorious lovers on the run in their vintage 30s cars, careening around to banjo music, until they're shot to death in their car. VANISHING POINT (1971) – This is the absolute epitome of the genre. 2-LANE BLACKTOP (1971) – Monty Hellman's philosophical road picture BADLANDS (1973) – Bonnie & Clyde's younger version, more interested in killing than stealing. DIRTY MARY CRAZY LARRY (1974) – Peter Fonda on the run in a Dodge Charger GONE IN 60 SECONDS (1974), (2000) (– also DEADLINE AUTO THEFT / THE JUNKMAN follow-ups) – stunt-driver HB Halicki wrote, produced, directed and starred in this no-budget chase film about car thieves. Halicki died in a car stunt making a sequel. These are probably unwatchable now, but the big budget remake with Nick Cage sucks, too. SUGARLAND EXPRESS (1974) – Spielberg's first feature, with Goldie Hawn on the run. RETURN TO MACON COUNTY (1975) – young Don Johnson and Nick Nolte in this sequel to MACON COUNTY LINE, about delinquents looking to drag race. TAXI DRIVER (1976) – He prowls the night, waiting for a rain to come and wash the scum from the streets… that is, until he realizes that HE is the rainstorm he's been waiting for. THE DRIVER (1978) – Walter Hill's take on the existential wheel man. BREATHLESS (1983) – while not quite as good as Godard's version (1960), they both celebrate the aimless criminal and his lover on the run THELMA & LOUISE (1991) – a distaff version of Bonnie & Clyde, they end up driving off a cliff rather than live lives as southern housewives. Can't say I blame them. HEAVEN'S BURNING (1997) – An Ozzie Bonnie & Clyde, with young Russell Crowe. AMERICAN PERFEKT (1997) – Robert Forster as a psycho-psychiatrist on the run with a body in the trunk. TRANSPORTER (2002), II (2005), III (2008) – Jason Statham as a merc who transports illicit packages in a cool BMW – no questions asked, of course. DEATH PROOF (2007) – Tarentino's psycho automotive serial killer meets his match in pack of deadly female stunt drivers. DRIVE (2011) – Ryan Gosling picks up the mantel of the wheelman not to be crossed, and knocks it out of the park Moonshiners: these southern gothic actioners are a subset of the genre; usually low-budget exploitation by AIP, but Robert Mitchum set the standard in THUNDER ROAD and the Dukes buried it. THUNDER ROAD (1958) WHITE LIGHTNING (1973) MOONRUNNERS (1975) DIXIE DYNAMITE (1976) BAD GEORGIA ROAD (1977) THUNDER & LIGHTNING (1977) DUKES OF HAZZARD (2005) Driver comedies: the comic approach to the man behind the wheel has basically taken the form of extended chase films, usually involving illegal races, or chases, or crashes on a ridiculous scale. IT'S A MAD, MAD, MAD, MAD WORLD (1963) – also RAT RACE (2001) FIREBALL 500 (1966) EAT MY DUST (1976) GUMBALL RALLY (1976) CANNONBALL (1976) GRAND THEFT AUTO (1977) SMOKEY & THE BANDIT (1977), II (1980), III (1983) BLUES BROTHERS (1980) CANNONBALL RUN (1981) Cross-genre driver movies: the existential driver pops up in horror and SF, most notably the MAD MAX movies. DEATH RACE 2000 (1975) – black comedy/SF became a cult classic MAD MAX (1979), II (1981), III (1985) – the ultimate in “burnt out shell of a man on the road” movies THE LAST CHASE (1981) – bad sci fi but on the nose, theme-wise. CARS (2006) – animated cars, but no drivers! SPEED RACER (2008) – the cartoon comes to life, but no anti-heroes. Horror Cars: some horror films feature the car or the driver as a supernatural force chasing the protagonist, which doesn't really fit the genre but what the hell: DUEL (1971) – Spielberg's first was a TV film but got a theatrical release. CARS THAT ATE PARIS (1974) – Peter Weir's Ozzie flick RACE WITH THE DEVIL (1975) – Satanists chase Peter Fonda CHRISTINE (1983) – Stephen King's killer car DRIVE ANGRY (2011) – another over-the-top Nick Cage on the run film, escaped from Hell and chased by Satanists. *The Trucker movie - sometimes the car is a big rig, and the driver is seeking justice, or a paycheck, or just survival. THEY DRIVE BY NIGHT (1940) WHITE LINE FEVER (1975) SORCERER (1977) – Friedkin's remake of WAGE OF FEAR (1953) CONVOY (1978) *Bikers - sometimes they drive 2 wheels, not 4. GIRL ON THE MOTORCYCLE (1968) EASY RIDER (1969) ELECTRA GLIDE IN BLUE (1973) GHOST RIDER (2010), II (2012) *And sometimes, it's a train. EMPEROR OF THE NORTH (1973) RUNAWAY TRAIN (1985) The Big Race: these aren't really anti-hero movies, featuring instead race car drivers driving legitimate races, but they do have some overlap. THE GREAT RACE (1965) - Blake Edwards "race around the world" comedy with Tony Curtis, and Curtis's similar followup, THOSE DARING YOUNG MEN IN THEIR JAUNTY JALOPIES (1969) GRAND PRIX (1966) – James Garner WINNING (1969) – Paul Newman LE MANS (1971) – Steve McQueen LAST AMERICAN HERO (1973) - Jeff Bridges, true story about a moonshiner who becomes a stock car champion. GREASED LIGHTNING (1977) – ditto, with Richard Pryor STROKER ACE (1983) - good ole boy Burt Reynolds, in his comic redneck NASCAR driver mode (as opposed to comic redneck outrunning-the-cops mode) DAYS OF THUNDER (1990) – Tom Cruise TALLADEGA NIGHTS (2006) – Will Ferrell Car chasers: some movies just feature a spectacular car chase or 2, but otherwise don't fit the genre. Worth mentioning are: THE GREAT ESCAPE (1963) – McQueen racing on a motorcycle, jumping barbed wire BULLITT (1968) – McQueen as a cop in hot pursuit on the hilly streets of SF THE ITALIAN JOB (1969) – Caper film with Michael Caine FRENCH CONNECTION (1971) – Friedkin's race under the L THE GETAWAY (1972) – McQueen and McGraw on the run SEVEN UPS (1973) – Cops in hot pursuit MCQ (1974) – The Duke in a cool car TO LIVE & DIE IN LA (1985) – Slick Michael Mann and his LA cops RONIN (1998) – caper film with DeNiro and getaway chase through Europe FAST & THE FURIOUS (2001), II, III, IV, V – this Vin Diesel series fetishizes car culture like none other. The only problem is it's about an undercover cop, not an existential anti-hero, so not within the genre. Lifetime achievement award: Steve McQueen – the Tao of Steve required maintaining a detached cool even astride a Harley vaulting barbed wire fences to evade Nazis, flying a car over the hills of San Francisco, racing at Le Mans, on the run with Ali McGraw, bounty hunting atop a train, shot flying a jet as Thomas Crowne, financing a documentary on bikers, and generally living his life at maximum RPM. Runner-up: Paul Newman. Special mention: Burt Reynolds. Nick Cage has desperately attempted to join their elite ranks, but Nick lacks the chops and his movies usually suck.