Dir: Peter Berg, 2004 (9*)
Sometimes you don’t expect much from a film, and you get a lot. Friday Night is about high school football in west Texas, and how that’s ALL there really is in west Texas; the entire town lives and dies with the football team. This is a town that expects their team to play for the state championship, anything less is a catastrophe, and coaches get fired. Billy Bob Thornton is the coach, Derek Luke the quarterback, as we follow the entire season, game by game, along with all the turmoil and setbacks. This becomes a riveting sports movie, and is based on a true story by H.G. Bissinger, and is very well-directed by actor-turned-directer Peter Berg.

[Update: Berg just directed The Kingdom, in 2007, about terrorism against Americans in Saudi Arabia]

Dir: Ken Russell, 1970 (9*)

The best D.H. Lawrence novel on film, the best Ken Russell (Tommy, The Music Lovers, Savage Messiah) film, faithful to the novel. The story follows two sisters, Glenda Jackson in one of her two Best Actress Oscars, and Jennie Linden and their loves, friends Oliver Reed and Alan Bates, who becomes "the author’s spokesman", especially when talking of love and romance. The nude-wrestling scene with the men captured a lot of attention in its time, but that detracts from a film entirely about heterosexual couples trying to find the right mate. Look for Eleanor Bron in a juicy supporting part. Beautifully filmed, especially the scenes in the Alps.

Dir: Mike Nichols, 2004 (7*)
Complex and involved love story that features four people: Julia Roberts as a photographer, her lover Clive Owen, a new art friend and interest played by Jude Law, and his live-in girlfriend Natalie Portman. Relationships change, some get further apart, some get closer. Both Portman and Owen were nominated for supporting acting Oscars, both won Golden Globes. Portman was particularly impressive, in a non-stereotypical role for her as a stripper. No more "innocent gir/princess next door", at least not in this film, she’s again as fresh as when a 12 yr old in her first film, "The Professional".

Dir: Peter Bogdanovich, 1971, bw (9*)

Dir: Martin Ritt, 1963, bw (8*)
This was Larry McMurtry’s first book, called "Horseman, Pass By", which was a tribute to his grandad, last of the ‘old-style’ ranchers, who did things the right way. Oscar winner Melvyn Douglas plays the grandad in this, but the focus was shifted to the ne’er-do-well uncle Hud (just look at the poster!), played by Paul Newman, to capitalize on his box office. Patricia Neal also won an Oscar as the family’s jaded cook, as did Jame Wong Howe’s terrific black and white cinematography. Not as successful as the book but still any film of a McMurtry book is going to be very good. The nearby town of Anarene was later featured again in The Last Picture Show, a "town sequel", with none of the same characters reappearing. 7 nominations, 3 Oscars

Dir: Joel Coen, 1996 (9*)
Another of the best Coen Brothers films, this one is decidedly a crime drama, with some humor but serious nonetheless. The film starts with a "true story" prologue, which the brothers later said was bogus, but it sure seems like an almost-believable crime story, beginning with a highway accident that leads to the death of a state trooper, and Coen wife Frances McDormand (Oscar winner for best actress) is the local (and pregnant) sheriff, who seems to be the only real detective within the jurisdiction. The comedy comes from idiotic criminals, led by kidnapper Steve Buscemi, and involved with novices, car dealership owner William H. Macy (Oscar nominated). Full of Coen craziness and oddballs and idiots, on both sides of the law, this remains a tight, involving crime story from beginning to end, and the screenplay also won an Oscar. 2 Oscars

Dir: Tim Burton, 2003 (9*)
This is my favorite Tim Burton film – he finally seemed to make a fantasy with heart. This is about a man, Billy Crudup, who is fed up with his dad’s Albert Finney’s "tall tales", but realizes he may not live forever so he ought to get to know him before its too late. The stories were from years of being a traveling salesman in the South, so he begins to piece together the facts (and finding his real dad), some of which we see in flashbacks, with Ewan McGregor playing the young Finney character who strikes off on his own looking for his calling. Look for heavily made-up Helena Bonham-Carter, who inhabits a hilarious leaning house. Full of magic and parables, such as one town takes your shoes when you enter so you can't walk away, tossing them over a high wire above main street. Even the dvd menu is magically animated, with the tree you see going through all four seasons if you wait - best menu ever! Four Oscar nominations, including Picture and Director.

Dir: Luc Besson, 1990, France (9*)
This hard-hitting crime film, another winner from director Besson (The Big Blue, The Professional), tells the story of a ruthless killer addict, Nikita, who shoots a policeman during a drug store robbery to steal drugs. The French authorities give her an option: assume a new identity and train as an assassin for them, or face execution. What follows is a great spy/assassin story, more exciting than any James Bond film, and a classic of the genre. Anne Parillaud is terrific in her tranformation from criminal to reluctant assassin. Besson fave Jean Reno (The Professional) has a small but meaty part (!) as a cleaner. Not to be confused with the different tv show, which was a secret anti-terrorist organization and whose heroine wasn't a killer until they trained her.

Dir: Howard Hawks, 1946, bw (8*)
Gritty, atmospheric, classic film noir from Raymond Chandler’s book (who always excels with gangster dialogue), with Humphrey Bogart as detective Philip Marlowe, Lauren Bacall as the sophisticated heiress he gets involved with, who’s trying to get someone to save her sister from a crime boss. This was such a convoluted plot that even the screenwriters didn’t know who killed one victim! One of a kind, with pulp novel dialogue and gunshot victims scattered all around. William Faulkner wrote the adaptation!

Dir: Quentin Tarentino, 1995 (9*)

Dir: Joe Johnston, 2004 (9*)

This is a true story of the greatest long-distance horse racer of all time. By the film’s beginning, Frank Hopkins (Viggo Mortensen) had won over 500 races in North America without a loss, but of course his horse Hidalgo was the real winner. Arab shiek Omar Sharif hears of this legend, and convinces him to come to Arabia and participate in a 3000-mile desert race in which half the teams don’t survive. Though technically not a western, it looks like one, and does feature a horseman in the wilderness. One of the best horse racing stories ever filmed.

Dir: Ron Underwood, 1991 (8*)
Three bored urban friends, Billy Crystal, Daniel Stern, and Bruno Kirby, sign up for a "dude ranch" cattle drive vacation. The fun starts when they meet Curly, played by Oscar winner Jack Palance, in a satire of his outlaw gunfighter roles, like Shane; and he hates greenhorn tenderfoots on the trail. Josh Mostel and David Paymer are hilarious as take-offs on Ben & Jerry of ice cream fame, who get their kicks thinking of different flavors for dessert after certain foods. There are also the usual bad guys so you'll know it's a western. Helen Slater provides the romantic interest, see quote below. Hilarious dialogue in parts, down a star for a slow plot. One Oscar
Quote: That’s not ‘good night’ – that’s ‘I love your ass, I’d like to wear it for a hat’! (Kirby)

Dir: Penny Marshall, 1988 (9*)

Terrific blend of fantasy and romance, touching and humorous, Penny Marshall’s best as director. Tom Hanks is a "man" who was just a little boy until he visits a magic amusement park "Psychic Seer" machine, and wishes he was grown up, next morning he IS grown, be careful WHAT you wish for! Oscar-nominated Elizabeth Perkins is perfect as his grown up would-be girlfriend, who likes his childlike innocence (not knowing he’s still a child). John Heard is a jealous rival at the toy manufacturer where Hanks gets a job, where he shines as a new product tester and evaluator since the toys fit his age group, whose real best friend, still nine or so, comes to visit during the work days with hilarious results. Many say it was copied (by Vice Versa and others), but the female version of people who "swap bodies" (adults become children and vice-versa), Freaky Friday, had already been made in 1976 (and later remade with Jamie Lee Curtis). This remains the best of the genre, and should have won some Oscars, screenplay for one.

Dir: Michel Gondry, 2004 (9*)
Charles Kaufman (Oscar winner for screenplay) writes some terrific and unusual screenplays, Being John Malkovich was another. This inventive sf story asks the question, "what if we could erase just offensive portions of our memory?" Kate Winslet does just that, erasing boyfriends after breaking up with them, always getting bored within a few months (she also gets bored with her hairstyles). Jim Carrey is a new boyfriend she meets on a bus, and you wonder if he’ll be the next erasure, but the story keeps changing your expectations, which is Kaufman’s forte, one of the best new screenwriters. Along with The Truman Show, Carrey’s best performance. One Oscar

Dir: Alejandro González Iñárritu, 2006, Mexico (9*)

Dir: Elia Kazan, 1954, bw (9*)
Best Picture (AA, GG)

Dir: Sergei Eisenstein, Russia, 1925, silent, bw (8*)

Everyone who loves cinema should see at least one Potemkin film, this is his masterpiece. It tells the story of a battleship revolt that became a revolutionary movement in pre-Bolshevik czarist Russia. Terrific camerwork, epic recreation of a historical event, astounding movie-making for the time, he actually caused more deaths filming the "storming of the Odessa steps" sequence than the real event in 1917!

Dir: James Ivory, 1983 (9*)
Beautiful story by Ruth Prabwar Jvabvala, based on her novel, another Merchant/Ivory film (Room With a View, Passage to India). Julie Christie is a woman who inherit’s her deceased aunt’s diary, based on her life in India, and she decides to go to India and retrace her aunt’s footsteps. The story of the aunt is told in flashbacks: a young British wife, Greta Scacchi, bored with her military husband always being away on duty, is befriended by a local Indian prince, The Nawob, played by Scacchi’s real-life husband Shashi Kapoor, which is highly improper of course. Nicholas Grace (also in Brideshead Revisited) turns in a strong performance here as well. The two stories are deftly blended together, and we get romances decades apart and in two different Indias, separated by time, one colonial, one independent; this brilliantly tells a classical style romance through a modern perspective.

a.k.a. National Lampoon’s Animal House
Dir: John Landis, 1978 (8*)

This film had its moments, but was really pretty inconsistent overall. Noted for John Belushi’s extravagence ("food fight!") as Bluto, but the story really centers on freshman pledges Tom Hulce ("Pinto", which, in the screenplay, came b/c he had a speckled 'willie'!) and roomie Ken Dorfman (Stephen Furst) joining Belushi’s low-rent fraternity of animals (run by Tim Matheson), who are in so much trouble that Dean Wormer says of them "they’re on double-secret probation", and about to be booted from campus if there are any more infractions found, ie, underaged drinking or girls sleeping over. Look for Donald Sutherland as a professor who has an eye for Peter Riegert’s girlfriend Karen Allen, and a rival right-wing military fraternity specializing in sado-masochistic fun and games, as in spanking pledges, who respond with "please sir, can I have another?"
Quote: Can we dance with yo dates?

Dir: Terry Gilliam, 1995 (8*)
A murky, disturbing sf apocalypse film. Bruce Willis plays a criminal routinely "reawakened" in order to be sent back into the past by a state-operated time travel operation that is attempting to find the cause of a worldwide virus that nearly exterminated all of mankind. Willis is told to find a group of activists called "12 Monkeys", who turn out to be led by Brad Pitt, in a definitely psychotic and interesting role. Surprisingly captivating and a pretty danged good story, Gilliam’s most accessible and "normal" film, if any Gilliam film (Brazil, Fisher King, Time Bandits, Baron von Munchausen) can be called that.

Dir: Ridley Scott, 1982 (8*)

Dir: John Lassiter, 1995 (8*)
Terrific animation from Pixar, their first full-length movie done with computer animation. In this story, the toys of a boy come alive with the arrival of a new one, Buzz Lightyear, an astronaut voiced by comedian Tim Allen, while the "leader of the gang" of old toys, a cowboy named Woody, voiced by Tom Hanks, is not only jealous but confused. This is a wonderfully human story with terrific visuals and an enjoyable plot for all ages. The sequel, Toy Story 2, is almost as good.

Dir: Sydney Pollack, 1982 (8*)

Dir: Ted Demme, 1996 (9*)
Terrific small and heartwarming comedy of a high school reunion and "being guys", thanks to the screenplay and acting. Timothy Hutton returns home to find that his friends, notably Michael Rapaport, Matt Dillon, whose past heartthrob Mira Sorvino is now married to someone else (with 'surprise', more bucks), and haven’t really changed much. Hutton finds new next-door neighbor is a precocious 14-yr old beauty, engagingly played by Natalie Portman (probably her best work), who gradually befriends him, obviously attracted by his "older man" charms (he’s 27 at the time, and engaged "back in the big city"). Uma Thurman shows up to visit a cousin, and all the guys love her "one of the guys" persona. Rosie O’Donnell has a hilarious scene griping about men, always wanting a playmate-type woman, "who doesn’t exist". One of my favorite comedy romances.
Quote: Beautiful girls give us hope, that someday we might have a girlfriend like that. (Rapaport).

Dir: Zhang Yimou, China, 2000 (8*)

Zhang Yimou (Hero, To Live, House of Flying Daggers) scores big again with this Sundance award winner that covers a love story from beginning to end, lasting several decades. The story is told in flashback after a young man’s father dies and he goes home for the funeral, and his mother insists that since the father died in another village, his body must be carried home by friends and relatives, "or the spirit can’t find its way home". In the flashbacks, the mother is played by Ziyi Zhang (her first starring role) as she meets and loves a new schoolteacher in the village who came there from a city. This is a simple romance, and a beautiful blend of scenery with Chinese folk traditions. Zhang was stunning in her first film.

Dir: Antoine Fuqua, 1998 (7*)
One of the best Hong Kong style action films I've seen. Chow Yun-Fat plays a hit man, sent to a contract that involves a child, so he balks at the last minute and refuses to make the hit. His employers are angry, and send some other assassins in to make the hit and also Chow as well. Realizing what’s coming, he seeks out a top level documents forger, well played by Mira Sorvino, so he can escape, but the replacement killers arrive before they complete the paperwork, so Sorvino is swept into his dilemna as well as they escape together in a hail of gunfire. Don’t look for much here besides a "shoot em up", but as those go, this is definitely one of the best.

Dir: Istvan Szabo, Hungary, 1981 (9*)
Best Foreign Film (AA)

This disturbing film about an actor in Nazi Germany put Klaus Maria Brandauer on the map, with a great performance as a man who "sells his soul" in order to remain an actor, basically by doing plays that the Nazi establishment choose for him to perform in Berlin, the most popular being Mephisto in Faust’s play. The ultimate statement concerns whether one remains true to his career or true to his heart.
Quote: I’m just an actor, what do you want from me? (Brandauer)

Dir: Martin Scorsese, 2006 (9*)

Dir: Sydney Lumet, 1957, bw (8*)
This was Sydney Lumet’s (The Verdict, Absence of Malice) first film, and forever changed legal films. Very evidently based on a play, the entire film takes place in the jury room, yet the action is riveting, thanks to a great script and terrific cast. The jury is led by foreman Martin Balsam, and all but one think a murder defendant is guilty, primarily due to bigotry, as he’s from an urban slum. The lone holdout is Henry Fonda, who gradually makes his arguments to the others, based on reasonable doubt. His staunchest opponent is Lee J. Cobb, in one of his best appearances. Other jurors include E.G. Marshall, Norman Fell, Robert Webber, Jack Warden and some unknowns who are equally good. Somehow Lumet keeps this from becoming claustrophobic, as well as using the jury room to expose our weaknesses and prejudice as a society.

Dir: Jay Roach, 1997 (8*)
This is the first Austin Powers and it remains the best, but its attraction has dimmed in the sequels, and you'll either "get this" or not - perhaps you had to have watched some awful 60's films when they first came out. This one is a riotous sendup of Elvis musicals, bad films, James Bond (the Sean Connery ones, note the patch of glued on chest hair from a yak!), bad British dental work, and even Burt Bachrach, who appears spoofing himself, the way his songs intrude into films. Austin is of course Canadian Mike Myers (who grew up awhile in England), as a super agent chasing his arch-nemesis Doctor Evil (also Myers), and his cartel of international criminals, including Robert Wagner as Number Two (lots of those jokes abound). Mr. Bigglesworth is his cat, Michael York is "Major Exposition" (too funny!), giving Austin and the audience irrelevant plot details. When Dr. Evil cryogenically freezes himself, Powers volunteers as well, and we wait until a time in the future when "there are no ethics and everyone is controlled by major corporate interests: 1997", and they are both unfrozen to continue the chase and the film parodies. Elizabeth Hurley is the sex-kitten interest ("I'll bet you shag like a minx!"), Mrs. Kensington, as a parody of Diana Rigg's "Mrs. Emma Peel" ('m' appeal, get it?) in tv's The Avengers. Produced by Demi Moore, this made tons of green, and as long as you don't expect any intelligence, kinda fun.
Quote: It’s my scene, baby, and it freaks me out! (Austin, upon entering the "Electric Psychedelic Swinging Pussycat Lounge")
Quote2: I put the grrr in swinger, baby, yeah! (Austin)

Dir: Fred Zinnemann, 1952, bw (8*)
AFI Top 100
This seems a little standard by today’s measure of westerns, at the time it was landmark: it’s about a sheriff who arrests the brother of a notorious outlaw, who is now coming to get him on the noon train, with his gang; with the noon deadline, this is known as a "countdown plot". This would be standard but Oscar winner Gary Cooper plays the sheriff in perhaps his best part, as the last man of integrity in a town that won’t help him or stand up to the gang, and the production design and cinematography are outstanding. Katy Jurado is also terrific as Sheriff Kane's former lover. The only thing wrong with this film to me is that out of a town of fifty or more, certainly several men with rifles would have helped while hiding inside as the gang simply walks down main street. Also his wife is Grace Kelly, not exactly a frontier town without amenities type of woman, in any century! This was remade as the science fiction film Outland, with Sean Connery playing the sheriff on a mining colony. 4 Oscars

Dir: Ang Lee, 1994, China (8*)

Dir: Peter Weir, 1993 (9*)
This is my favorite film of Australian director Peter Weir, who always makes intelligent, thought-provoking films (Witness, Picnic at Hanging Rock, Truman Show), and this is no exeption. After walking away from a passenger jet crash unharmed, Jeff Bridges becomes fearless of death. Thus psychologically transformed, his wife Isabella Rossellini no longer interests him as much as fellow crash survivor Rosie Perez (her best acting, Oscar nomination for supporting), who blames herself for losing her baby in the crash. A strong parable of survival and immortality.

Dir: Zhang Yimou, 1994, China (9*)

Yet another Yimou (Hero, Road Home, House of Flying Daggers) classic, this one an epic, covering four decades in a family’s life, from just after WW2 until the late 80’s. Ge You as the husband won Best Actor at Cannes, and its hard to imagine that Gong Li as his wife did not win best actress, she has to have been one of the world's best actresses in the 90’s. Yimou tells a long story but maintains the interest, and includes several massive scenes, one during war (the Maoist Revolution), one at a steel foundry, both unforgettable and among the best in any epic. Films like this one got him selected to direct the 2008 Olympic opening and closing ceremonies, and they were even more mind-blowing.

Dir: Martin Scorsese, 1976 (9*)

Dir: Steven Spielberg, 1993 (10*)
Best Picture (AA, BAA, GG)

Dir: Tom Tykwer, 1999, Germany (9*)
An exciting, music video driven film, a crime film on adrenaline. Franka Potente’s boyfriend Manni (Moritz Bleibtreu) has just lost a huge sack of money from a drug deal, and she has 20 minutes to get the money to him to give to the boss or he’s history. The action starts very quickly, from his frantic phone call in the beginning and never lets up, there are more visual ideas here per minute than any film other film I've seen. Brilliant camerawork and editing, with some split screen shots that must be seen in widescreen.

The film is structured around a plot twist I won't reveal here but one that makes this film truly unique. Suffice to say that you will be entertained if you like creative cinema, and cinema as art. Daring and rewarding, a refreshing wind amid stale popcorn movies. And, yes, she sure could run!

Dir: Martin Ritt, 1979 (9*)

Dir: Sydney Lumet, 1976 (9*)
Best Picture (AA)

Dir: Robert Rossen, 1961, bw (8*)

Dir: Philip Boursos, 1983 (9*)
A beautiful, small western about the last known train robber in North America. Richard Farnsworth is perfect as Bill Miner, who does time for stagecoach robbing, and when released so much time has passed that the stagecoaches have been replace by train, so he starts robbing those. This is a small but excellent indie film, based on a true story, even has a good romance (Jackie Burroughs?), and put longtime character actor Farnsworth on the map.

a.k.a. Mad Max 2
Dir: George Miller, 1981, Australia (9*)

One of the best slam-bang car (and truck, and cycle) chase films ever, made Mel Gibson a star. Throw in post-apocalypse Australian desert controlled by marauding vagabond warriors called "The Humungous", and you have all the makings for mayhem. Into a gasoline-starved world drops Mad Max (from a very inferior first film), this time known at "The warrior Max, the road warrior". The film starts with action, and only lets up to set up the next big action sequence. The drama surrounds an oil refinery manned like a fortress, and of course the Humungous descend to get the gasoline. Max decides to help the oil refiners in exchange for a tank load of gasoline. This was actually a pretty good sf plot hidden in a lot of severe road rage and violence; kudos to the costume designer, the weapons people, the mechanics, and apparently three stuntmen killed; and Emil Minty as "The Feral Kid", who has a deadly steel boomerang and just grunts and squeaks; also Bruce Spence as "The Gyro Captain", who admires and befriends Max, and flies around in an ultralight.
Quote: Never saw a man beat the snake before, gotta be pretty quick to beat the snake! (Gyro Captain)

Dir: John Schlesinger, 1969 (9*)
Best Picture (AA, BAA)

Dir: Elia Kazan, 1951, bw (9*)
AFI and Time Mag Top 100
Not for all tastes, but a terrifically acted version of the Tennessee Williams Pulitzer-winning play about aberrant, abusive relationships. Marlon Brando is searing as Stanley Kowalski, ironically the only main actor to NOT win an Oscar in this. Janet Leigh as Blanche du Bois (Best Actress), moves in with sister Stella, Kowalski's wife played by Kim Hunter (Supp. Actress), and dates hopeful beau Karl Malden (Supp. Actor). One of Kazan’s best, along with A Face in the Crowd, and On the Waterfront. 4 Oscars
Quote: "They told me to take the streetcar named Desire, transfer to one called Cemetaries, go six blocks and get off at Elysian Fields."

Dir: Carol Ballard, 1983 (8*)

Autobiographical film of biologist Farley Mowat, based on his memoirs, and played by Charles Martin Smith (American Graffiti) in a rare dramatic part. Mowat studied caribou and wolves in the British Columbian tundra of Canada to see if wolves were wiping out the caribou, with surprising findings. Not packed with action, but there's one terrific scene of Mowat running naked with a caribou heard, and another where he and a male arctic wolf mark his territory. This is a gorgeous nature film, with beautiful cinematography by Hiro Narita, Oscar nominated sound.

Dir: Martin Brest, 1979 (8*)
Touching and unique comedy of three elderly gents, Art Carney, Lee Strasbourg, and George Burns, who decide they're so old, their best days in the past, so they have nothing to lose and decide to rob a bank together; at least they may leave their kids some untaxable cash. Wearing Groucho masks, they unexpectedly succeed, and the story and their problems begin. Brest has pulled off a touching statement on aging (Burns is especially affecting in his role) within a funny heist caper; a rare unknown gem.

Dir: Peter Bogdanovich, 1973, bw (8*)

Classic 30’s style screwball comedy, filmed in black and white by Bogdanovich. The casting coup was nine-yr old Tatum O’Neal as father Ryan O’Neal’s newly-orpaned "maybe" daughter, who go off on a con artist spree across Missouri, and she ended up being the youngest winner ever of a competetive Oscar, getting the Supporting Actress award, even though she was definitely a lead actress. Madeleine Kahn was also nominated for a true supporting role, as a "would be" matchup for dad, whose scene stealing "maid" was unknown actress P.J. Johnson. A fun story, told in classic style. "They don’t make em like this any more."

Dir: Warren Beatty, 1978 (9*)
A remake of the 40’s classic, Here Comes Mr. Jordan, Warren Beatty stars as a football player struck by a car while riding his bike, and an impatient angel (Buck Henry) grabs his soul before he’s really dead, causing havoc in heaven (James Mason, kind of a death accountant, is royally ticked). He’s allowed to come back but in another body, unfortunately it’s one that’s married to Dyan Cannon, who's trying to murder him with accomplice Charles Grodin, hilarious as usual. Jack Warner gives his best performance as Beatty’s coach. Very well written, totally enjoyable, they pulled it off: a classic remake of a classic!
Quote: You ought to be canonized! (Charles Grodin to Dyan Cannon)
Quote2: If he weren't about to be murdered, he would need years of psychotherapy. (Grodin)

Dir: Bob Fosse, 1972 (8*)
Best Picture (BAA, GG)
AFI Top 100

The musical that attempts to duplicate a German cabaret that producer Howard Prince saw in Berlin just after the war. He even says that the lead emcee was perfectly duplicated by Oscar-winner Joel Gray, who introduces various burlesque acts, including self-proclaimed "decadent American" Sally Bowles, played by Liza Minelli, another Oscar winner. The film is a good musical, but not much else, the attempted plotlines that sorta included Nazis and sorta avoided them detracted from the "divine decadence" onstage. Won 8 Oscars, but not Best Picture as The Godfather made the academy members a better offer! 10 nominations, 8 Oscars