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Do you remember Walter Brennan? Sure you do. No? Well, you should. After all, he spent four decades as sidekick to some of the top stars in the business. If his face isn’t familiar, I’ll bet you’d recognize his voice. Like Cagney, Bogart, and Mr. Magoo, Brennan owned a voice that was unmistakable. It became fodder for comedians and impressionists, and I’m pretty sure one of your uncles took a crack at it, too.    Brennan was the go-to guy when a director needed a town drunk, a good-hearted hobo, a local priest, or a deputy (he was indeed a natural for Westerns). But to say he was merely adept at playing local yokels undermines his achievements in the business. Brennan won the first ever Best Supporting Actor Oscar in 1937, and by 1941 had won it twice more. His feat of winning three Academy Awards wasn’t matched by another actor until Jack Nicholson and Daniel Day-Lewis did it decades later (and Nicholson and Day-Lewis needed a lot more than four years to equal Brennan’s record). To date, Brennan is still the only actor to win three statuettes for Best Supporting Actor. 

 Life is full of weird coincidences: The first time Brad Pitt’s star power really hit me was in a film directed by...Robert Redford. The movie, of course, was Brad’s big breakthrough, 1992’s “A River Runs Through It”, in which Brad plays the more rebellious of two brothers growing up in 1920’s Montana. Watching it over twenty years ago, I vividly remember thinking that Redford was directing a younger version of himself. Think about it: they look alike, they talk alike, and a generation apart, each would be considered for the same kind of roles. Each in their younger days had the fair, clean-cut quality commonly referred to as “All-American”.

It seems Peter Lorre was born to be sinister. Though small in stature (just under 5'4"), his oversized, sleepy eyes seemed to pierce right into your soul. His soft, eerie voice, though imitated countless times by comedians, never failed to chill. Lorre sometimes belittled his own talent, describing himself as "a face maker." But what a face! Lorre's creepy presence was surprisingly flexible, allowing him to appear in everything from horror films, to comedies, to film noir.

As director Richard Linklater’s "Boyhood" accumulates critics’ raves and commandeers (deservedly) tons of media attention, it seems like some equal-opportunity cinematic praise is in order.  So, let’s review some of the best “girlhood” movies of recent times.    One of the great joys of watching a quintessential girlhood movie is getting to see a young unknown actress—like Michelle Rodriguez in "Girlfight," Jennifer Lawrence in "Winter’s Bone," or Quvenzhané Wallis in "Beasts of the Southern Wild"—strut her stuff in a way that announces, “I’m going to be a force to be reckoned with in Hollywood.”   

I’m taking this opportunity to speak directly to six gifted actors whose recent output on the big screen does not live up to their God-given (and Method-trained) abilities.  We can always learn from history, right? In that spirit, I’m suggesting some other players from yesteryear whose examples might provide some inspiration if these stars choose to break out of their respective ruts.   I fervently hope at least some of them do.   

In preparation for this, the anniversary of the Allied invasion of Normandy, I re-visited what I feel are the two finest cinematic representations of this pivotal confrontation in the Second World War. Both moving tributes to the heroic men who fought and died on the critical day that turned the tide in the Allies’ favor, these films are…(drumroll)... “The Longest Day” (1962) and “Saving Private Ryan” (1998).    

One thing I love about movies is their ability to make you feel emotions you don’t generally experience in day to day life, like pulse-pounding terror.

There are certain special movies that always stick with you. You know the kind I mean. Decades later, you can remember where, when, and with whom you first saw it. And as time passes, repeat viewings don't just bring a feeling of nostalgia, but laughter in all the same places (and perhaps some new ones), along with familiar emotions of the heart that somehow register even more strongly.  For me, "When Harry Met Sally" is such a movie.  Back in 1989, when we still had pay phones, this funny, wise, touching film perfectly suited my own stage in life. Though I was newly married, the prior decade of romantic longing and confusion was still fresh in my mind.

Comedy fans, rejoice! Today is Mel Brooks’s 88th Birthday - and this year also marks the 40th anniversary of two enduring Brooks classics: “Blazing Saddles” came out in February ‘74, while “Young Frankenstein” premiered in December.