Flashdance - 1983

Flashdance Poster
24 in. x 36 in.

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That Oscar-winning title song buzzes in your ears long after the movie has stopped. The attraction here is youthful spirit and a pulsating score, because the weak story is merely a conduit for the song-and-dance numbers.

The plot is every young woman's daydream come true. Jennifer Beals holds down a macho job as a welder by day, but performs erotic dance numbers in a club at night. It's not a strip club, so her morality remains intact. She dates her wealthy boss (Michael Nouri) and practices hard for the day she can audition for the upscale, local dance school, even though she has no formal training.

It is malarkey, of course, unless you view this as total romantic fantasy. It works because you are carried along by the sheer force of the energetic, boisterous, MTV-style imagery by director Adrian Lyne. Beals is a plus as the stubborn, pouty, somewhat eccentric young woman made all the more interesting for her driving ambition. In the end, she is aided by her Prince Charming, who arrives bearing favors. Mind you, this is not the same as a rescue, as Beals is one rather tough damsel who does just fine on her own.

Twin Peaks: Fire Walk With Me - 1992

Twin Peaks: Fire Walk With Me, 1992 Giclee Print
9 in. x 12 in.

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Twin Peaks: Fire Walk With Me, 1992 Giclee Print
9 in. x 12 in.

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The Rocky Horror Picture Show - 1975

Rocky Horror Picture Show Poster
24 in. x 36 in.

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If a musical sci-fi satire about an alien transvestite named Frank-n-Furter, who is building the perfect man while playing sexual games with his virginal visitors, sounds like an intriguing premise for a movie, then you're in for a treat. Not only is The Rocky Horror Picture all this and more, but it stars the surprising cast of Susan Sarandon and Barry Bostwick (as the demure Janet and uptight Brad, who get lost in a storm and find themselves stranded at Frank-n-Furter's mansion), Meat Loaf (as the rebel Eddie), Charles Gray (as our criminologist and narrator), and, of course, the inimitable Tim Curry as our "sweet transvestite from Transsexual, Transylvania."

Upon its release in 1975, the film was an astounding flop. But a few devotees persuaded a New York theater to show it at midnight, and thus was born one of the ultimate cult films of all time. The songs are addictive (just try getting "The Time Warp" or "Toucha Toucha Touch Me" out of your head), the raunchiness amusing, and the plot line utterly ridiculous--in other words, this film is simply tremendous good fun. The downfall, however, is that much of the amusement is found in the audience participation that is obviously missing from a video version (viewers in theaters shout lines at the screen and use props--such as holding up newspapers and shooting water guns during the storm, and throwing rice during a wedding scene). Watched alone as a straight movie, Rocky Horror loses a tremendous amount of its charm. Yet, for those who wish to perfect their lip-synching techniques for movie theater performances or for those who want to gather a crowd around the TV at home for some good, old-fashioned, rowdy fun, this film can't be beat.

Trainspotting - 1996

Trainspotting Poster
24 in. x 36 in.

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Is the rhetorical question asked by Renton (Ewan McGregor) early on in the movie. That sums up the complete hold that heroin exerts on the lives of main characters of the movie and the horrendous consequences of this addiction.

I have heard that Trainspotting has been criticized as glorifing drugs. People making this comment must be out of their minds. I have never seen such a powerful indictment of heroin and its effects and I ever had any inclination to try the stuff then a single viewing of the movie cured me forever.

Most movies that I watch leave no lasting impression on me but many of the scenes in Trainspotting will stay with me for a very long time. There are moments that make you laugh out loud (Spud's job interview for example) and others that are some of the most powerful and disturbing film images that I have ever seen.

Danny Boyle and co. have do a marvellous job of making a film about real people and real lives while making it compelling viewing at the same time. The soundtrack is excellent just to round off the experience.

GoodFellas - 1990

Good Fellas Poster
24 in. x 36 in.

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GoodFellas (1990) is director Martin Scorsese's stylistic masterpiece - a follow-up film to his own Mean Streets (1973), released in the year of Francis Ford Coppola's third installment of his gangster epic - The Godfather, Part III (1990). It is a nitty-gritty, unflinching treatment of a true mobster story about three violent "wiseguys" [Mafia slang for 'gangsters'], enhanced by the Italian-American director's own experience of his upbringing in Little Italy.

The film's factual, semi-documentary account was adapted from both Nicholas Pileggi's and Martin Scorsese's screenplay - based upon Pileggi's 1985 non-fictional book Wiseguy: Life in a Mafia Family. Film posters were subtitled: "Three Decades of Life in the Mafia." The real-life story concerned a low-level, marginalized gangster (or 'foot-soldier') of mixed ethnic roots (half-Irish, half-Sicilian) - Henry Hill, who ultimately broke the gangster's code of 'never ratting on your friends', and turned informant for the FBI and entered the Federal Witness Protection Program to save his life by disappearing from view.

The fast-moving, energizing, episodic story, with plentiful profanity (the F-word is repeatedly spoken by Joe Pesci's character), forceful editorial cuts and visuals, shifting points of view, and characters speaking directly to the camera, is told with voice-over narrative commentary by Henry Hill (Ray Liotta). It includes about thirty years in his life, from his teen years as a Brooklyn Irish neighborhood kid to maturity as an adult gangster, covering the years from the 1950s to the drug-saturated 1970s when married to wife Karen (Lorraine Bracco). The additional voice-over of his wife's point-of-view provides even further insight into the all-encompassing culture and lure of life within the 'family.' Freeze frames sprinkled through the film accentuate the indelible, impressionable moments in Henry's experiences.

Alien - 1981

Alien Framed Art Print
16 in. x 22 in.

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A grisly, futuristic, suspenseful, atmospheric, memorable and popular science fiction/horror film about the intergalactic journey of a claustrophobic, commercial space cargo freighter, the Nostromo. With terrific sets designed by surreal artist H. R. Giger. The crew includes warrant officer heroine Ripley (Weaver in her starring debut role), Kane (Hurt), Dallas (Skerritt), Ash (Holm), and others, who are awakened from hyper-sleep to investigate a distress signal on a mysteriously bleak, dead planet with a crashed alien spacecraft. In its interior, a lifeform with tentacles clings to Kane's helmet/face, incubates inside his host body, and ultimately bursts from his gut. The hideous, indestructible, carnivorous creature grows in size and hides within the hyper-tech spacecraft, menacing and picking off one crew member after another until self-reliant, resourceful Ripley outsmarts the primal, lethal monster in the explosive conclusion. Followed by three sequels, including James Cameron's Aliens (1986), Alien3 (1992), and Alien Resurrection (1997). Academy Award Nominations: 2, including Best Art Direction/Set Decoration. Academy Awards: 1, Best Visual Effects.