The Searchers (1956)

John Wayne plays a man on a mission, a former Confederate soldier named Ethan Edwards who's searching for kidnapped members of his own family. He's aware that time is of the essence, aware that his search might have to end in tragedy, but his determination nevertheless remains unwavering.
Separate from its overwhelming reputation, the beauty of the film is perhaps foremost in the (overused) Monument Valley landscape, but it goes much deeper than that and it's something that you might not be wholly aware of on first viewing. Enjoy it as a story the first time, but use repeated viewings to pick out the all-important details: the letter that plays with time, the reasons for the conflicting emotions that burn like a fire in Wayne's eyes, the way Dir. John Ford uses frames within the frame, etc, because below the surface is where the film's more complex considerations are to be found.

4 blanket trades out of 5

The Man Who Shot Liberty Valance (1962)

An ageing US senator has an 'old west' story to tell, one that he's been holding onto for decades, from before railroads connected the civilised parts of the country with the lawless parts. The majority of the film details it in flashback.
Stewart is an outsider lawyer who advocates non-violence. Wayne is a weathered cowboy who advocates gunfire if the situation calls for it. One is a talker, the other a doer. They nevertheless develop a strong respect for each other over time, but their differences remain.
The physical threat isn't as mean as he could've been, perhaps by way of avoiding overshadowing the emphasis placed on the relationships? I don't know. I do know that the comedy moments weakened the established tone a little too often for my liking. But the wrap up is excellent, and it's Wayne and Stewart in the same film! That makes it more than worth anyone's time.

3½ cactus roses out of 5

PSYCHO II [1983]

With Alfred Hitchcock's Psycho being one of my favorite movies of all time I was really leery about going into Richard Franklin's sequel, released some 23 years later.
Much to my surprise I found the film to be reasonably enjoyable, once you get past the fact that it's no Hitchcock masterpiece.  It lacks the precision and finesse of the original film but still manages to creep you out with it's subject matter and twisted ideals.  Anthony Perkins slips right back into his role with ease as Meg Tilly makes for great chemistry playing off of him.  There's a few too many silly coincidences and sadly Jerry Goldsmith's lush music is both distracting and heavily pales in comparison to Bernard Herrmann's classic string-only score.  In the end, it's a fine film to add to my collection and can breath a sigh of relief knowing it's doesn't sully the memories of the original film.

3 Hitchcock silhouettes out of 5

PSYCHO [1960]

This film is my favorite film of all time. Hitchcock is at the top of his game with Tony Perkins' performance portrayed to awkward perfection. The string only score from Bernard Herrmann is a one of a kind and has been copied but never topped since. Saul Bass' frantic titles design mixed with Herrmann's skiddish Psycho theme is pure gold that puts the viewer on edge from the very get go.
George Tomasini and Hitchcock's editing job (particularly the shower scene) is breathtaking. Segueing from motel to house is mixed flawlessly.
...and yes the house. Oh yes, the house. Just as iconic as the "screeching" violins bleeding all over the torn shower curtains.
In an era where the audience feared getting to know the killers all too well, like in The Collector, Peeping Tom & Twisted Nerve, Hitchcock's Psycho did it best.
If I could I'd give it a 6.

5 Cars In The Marsh out of 5