"83"

In theatre they call it “breaking the fourth wall” - that “wall” being the one we sit behind as popcorn-chewing observers. When used sparingly, this technique can be hilarious (or really creepy).

I can vividly recall the first moment I saw Meryl Streep on-screen. The film was “The Deer Hunter” (1978). Her part was relatively small — she played the stateside love interest of two men shipped off to Vietnam — but I was immediately struck by her presence. 

Over the course of movie history, there have been the great actresses, women who light up the screen with charisma and character, like Bette Davis, Katharine Hepburn, and Meryl Streep. There have also been women whose special gifts had more to do with the sexual allure they projected. Hey fellas, you must have noticed them, right? Brace yourselves then- here are our picks for the top twenty female cinematic sex symbols of all time. (Drum roll). 

Katharine Hepburn, whose birthday falls today, remains the only actor or actress to be awarded four Oscars. Yes, Meryl has long since surpassed her on nominations, but Kate still leads on wins. Few people now realize that by the end of 1938, after just six years in Hollywood, pundits were saying Kate was all washed up. In 1939, the year many point to as Hollywood’s finest, Kate didn’t have a single movie credit.  True, she got her first break early enough, as talking pictures in the early ‘30s were always searching for young, attractive Broadway-bred comers who could actually speak. Kate made an auspicious debut in 1932’s “A Bill Of Divorcement," opposite the aging, alcoholic John Barrymore (who played her father).

“Noah,” starring Russell Crowe and a Pentateuchal God punishing the wicked with about 45 minutes of world-destroying CGI, opens today. While you could go blow money on this floating mess of animalia, we recommend you skip it, and watch a better Biblical movie – “The 10 Commandments” (1956), directed by the King of Spectacle Films, Cecil B. DeMille.  “Commandments” retells the Biblical tale of Moses, from his float down a river, to becoming a prince of Egypt, to his successful career as a prophet. It’s a film worthy of the record-breaking $13.5M budget it eventually received. It was to be DeMille’s magnum opus, and he treated it as such. When studio bean-counters complained about spiraling costs, DeMille asked if he should stop filming and make “The Five Commandments” instead.

The best movies are a breed apart – exceedingly rare, and born of compelling human stories well told. A superb drama has the power to change how we see the world, while a first-rate comedy can provide sublime entertainment that nourishes both brain and spirit. Today, too many exceptional films are hiding in plain sight, obscured by big commercial titles that may divert us in the moment, but offer little lasting impact, insight or enjoyment.

Michael Caine has been a lot of things to a lot of people. To the ladies of “Alfie” (1966), he’s the conflicted bad boy they’ve both dreamed of and dreaded, the working-class womanizer who broke all the rules (including kicking down the 4th wall to talk directly to the audience). He’s a British super agent in “The Ipcress File” (1965), and the scientists he saves are glad to have a “thinking man’s James Bond” on the scene. He’s been an alcoholic English professor (1983’s “Educating Rita”) and a stout British soldier standing up to wave after wave of Zulu warriors (1964’s “Zulu”). He’s one of the most universally beloved actors of his generation, a charismatic talent that steals nearly every scene he’s in. 

Produced by the great Robert Duvall, “Crazy Heart” tells the story of hard-drinking former country star Bad Blake (Jeff Bridges), who refuses to acknowledge that his career as a crooner is kaput. Things are looking bleak for Blake, but a tentative relationship with reporter Jean Craddock (Maggie Gyllenhaal) and a chance to open for country mega-star Tommy Sweet (Colin Farrell) signal that Blake’s fortunes may be turning. Can Blake overcome his addictions and reignite his country career? As successful and effective as "Crazy Heart" was, it bears some striking parallels to Duvall’s own “Tender Mercies” from 1983. Let’s see: both feature a drunk, washed-up country singer. Both meet women who inspire them to put the toilet seat down. And they both struggle to figure out whether one can actually live inside a bottle of whiskey. Yep, pretty darn close. Luckily, as they say, "Close is only good in horseshoes and hand grenades... and movies about alcoholic country singers."