7/14/2013

My Favorite Movies - Top 10 in Each Category




Recently friends and I were talking about movies, trying to name our favorite in each genre.  After a bit of posturing, we eventually admitted that few of our true "favorite" movies show up on the AFI Top 100 list.  Can understand why AFI loves movies like Citizen Kane, The Graduate, Midnight Cowboy and Dr. Strangelove - but, really, unless you're a film geek, are these really the movies you want to sit down and watch over and over again?  

The movies listed below, on the other hand, may not be artsy or intellectual, but they're all movies that I can watch (and have watched) again and again.

Adventure/Suspense.  Here are the movies that still keep me on the edge of my seat every time I watch them, even though I already know how they end.
  1. Apollo 13 (Tom Hanks,Bill Paxton, Kevin Bacon, Gary Sinese, et. al., 1995).  Beautifully scripted, acted, and directed ... and no matter how many times I see it, I still hold my breath every time the clock ticks past 4 minutes and the astronauts still haven't reestablished radio contact, because what if, this time, they don't make it?  
  2. Adventures of Robin Hood (Erol Flynn, 1938).  How I do love Errol Flynn's cocky grin!  Plus the movie contains one of the most thrilling swordfights ever filmed.  
  3. Armageddon (Bruce Willis, Ben Affleck, Liv Tyler, 1998).  My favorite disaster movie, thanks to the ensemble work of Bruce Willis's plucky but eccentric gang of deep-sea drillers.  (Love, love, LOVE you, Steve Buscemi!)
  4. Die Hard (Bruce Willis, Alan Rickman, 1988).  This past holiday season I asked my kids to pick a Christmas movie for the family to watch.  This is what they picked.  The "good vs. evil/any average American can whoop a terrorist" moral is as satisfying as it is simplistic.
  5. Gladiator (Russell Crowe, Joaquin Phoenix, 2000).  My husband loves it for the gore, my girlfriend loves it for Russell Crowe in a breastplate, but the reason I can't seem to flip past this movie no matter how many times it shows up on TV is the corny but timeless themes: beneath all the gore, the movie is all about honor, duty, sacrifice, and love.
  6. Hunt for Red October (Sean Connery, Alec Baldwin, 1990).  Fabulous edge-of-your-seat suspense from practically the first minute, and all those folks who insist on mocking Sean Connery for his Russian/Scottish accent are just haters.
  7. Jurrasic Park (Sam Neill, lots of dinosaurs, 1993).  The movie did the Michael Crichton novel more than justice.  You don't have to be a paleontologist to be enthralled by the concept (cloning dinosaurs from mosquitos trapped in amber - cool!), the message ("nature finds a way" - true!), or the awesome special effects (dinosuars - wow!). 
  8. Last of the Mohicans (Daniel Day Lewis, 1992).  There's so much to love here: the themes (more honor, duty, and love - see above), the gorgeous scenery, the swelling soundtrack, the thrilling battle scenes, the romantic subplot ... and Daniel Day Lewis in a loincloth doesn't hurt either.
  9. Lord of the Rings (all of them!) (Elijah Wood, Viggo Mortensen, et. al., 2001-2003).  Simply the best heroic tale/myth of all times, brilliantly envisioned by Peter Jackson.
  10. Raiders of the Lost Ark (Harrison Ford, Karen Allen, 1981).  I've seen this several dozen times but I still laugh every time Indy shoots the guy with the big sword in the bazaar, and I still watch through my fingers the part where the Nazis open the ark.
  11. The Mummy/The Mummy Returns (Brandon Fraser, Rachel Weisz, 1999).  A wonderful pastiche of the old mummy films, with a big dose of action-adventure silent movie thrown in.  Plus, I love the way Rachel Weisz gets to kick butt in the sequel.
  12. Wargames (Matthew Broderick, Ally Sheedy, 1983).  "Do you want to play a game?"  Not since Hal in 2001: A Space Odyssey has a computer-generated voice channeled such menace.  In addition to being a wonderful 1980s time capsule (legwarmers! modems! Cold War!), the movie's moral - "The only way to win is not to play" - works on so many levels and in so many contexts.  
Serious. Some of these are so hard to watch that I don't revisit them often. Then again, most of them I don't need to watch again: they seared themselves into my awareness the first time I saw them.
  1. 12 Angry Men (Henry Fonda, et. al., 1957).  So raw and real, feels like you're watching a play rather than a movie.  Takes some pretty amazing acting to sustain a movie that pretty much all takes place in one room, over the course of one day, but this ensemble cast delivers.
  2. A Beautiful Mind (Russell Crowe, 2001).  I work with kids with a variety of psychological disabilities, but never truly understood schizophrenia until I saw this movie.  The real-life triumph of mathematician John Nash over this horrific disorder never ceases to inspire compassion or astonishment.
  3. All the President's Men (Dustin Hoffman, Robert Redford, 1976). I am full of geeky love for this retelling of how two scruffy reporters - aided only by curiosity, persistance, and professional ethics - brought down an administration.
  4. Dangerous Liaisons (Glenn Close, John Malkovich, 1988).  Glenn Close and John Malkovich pretty much rip the paint off the scenery in this dark exploration of two evil geniuses trying to gain power over each other.  Wicked good.    
  5. Good Will Hunting (Matt Damon, Robin Williams, 1994).  This movie is just one brilliant scene after another.  Even though I've seen it over and over again, I still haven't figured out when to laugh and when to cry.
  6. Henry V (Kenneth Branagh, 1994).  With a screenplay written by Shakespeare, it's probably hard to go wrong!  But everything else about this movie is perfect too: the ensemble cast, the direction, the scenery/costuming, an amazing musical score, and Kenneth Branagh nails the St. Crispin's Day speech. 
  7. Shawshank Redemption (Tim Robbins, Morgan Freeman, 1994).  The most amazing movie ever made about the power of hope over cruelty and despair.
  8. Slumdog Millionaire (Dev Patel, Freida Pinto, 2001).  The second most amazing movie ever made about the power of hope over cruelty and despair ... but this time with dancing!
  9. To Kill a Mockingbird (Gregory Peck, Mary Badham, 1962).  As is the case of so many other movies on this list, much of the credit for the movie goes to the author who wrote the original novel.  But I can't imagine anyone who could have pulled off the role of Atticus Finch with the gravitas and nobility of Gregory Peck.  To this day, every time I watch the scene where he leaves the courtroom after the trial, I still stand up.
Mystery/Noir. I do love my men hard-bitten and my women bad!
  1. Big Easy (Dennis Quaid, Ellen Barkin, 1986).  Love the New Orleans location, love the zydeco music, love Dennis Quaid's roguish grin!
  2. Big Sleep (Humphrey Bogart, Lauren Bacall, 1946).  This noir classic has a plot that's almost incomprehensible, but who cares? It's the chemistry between Bogie and Bacall that makes the movie sizzle.
  3. Da Vinci Code (Tom Hanks, Audrey Tautou, 2006).  I know it's fashionable to disdain this movie: how our culture does resent films that receive more than their allotted 15 minutes of fame!  But I thought the filmmakers did a great job of adapting the book and I love the geeky history, no matter how inaccurate.
  4. D.O.A. (Dennis Quaid, Meg Ryan, 1988). A guy stumbles into a police station: "I want to report a murder." "Yeah? Who's been killed?" "Me." Best. Hook. Ever! The movie updates the typical genre staples - bad women, dasterdly chauffeurs, terrible secrets, doomed love, lots of shadow - without ever  lapsing into pastiche.
  5. Gaslight (Charles Boyer, Ingrid Bergman, 1944). Love the premise of the movie and the way that the suspense creeps up on you, until you're nearly as freaked out as the movie's heroine.  Plus Ingrid Bergman's complexion is somehow hypnotic - I just can't look away.
  6. L.A. Confidential (Guy Pearce, Russell Crowe, Kim Basinger, 1997).  The plot is deliciously noiry, the mid-century modern Hollywood sets are gorgeous, but what keeps me coming back is the complex characterizations. James Ellroy plays relentlessly with the theme of good and evil, forcing viewers to acknowledge the extent to which most of us possess the capacity for both.   
  7. Maltese Falcon (Humphrey Bogart, Mary Astor, 1941).  The ultimate noir masterpiece.  The source material gets much of the credit, but Bogie does a great job of bringing Sam Spade to life.
  8. Name of the Rose (Sean Connery, 1986).  Think "The Da Vinci Code" set in the middle ages, complete with spooky monastery, lots of creepy, repressed monks, and Sean Connery in a habit.  Definitely unnerving.
  9. Rear Window (Jimmy Stewart, Grace Kelly, 1954).  The plot is of course terrific, but it wouldn't be the same without the plucky Grace Kelly character.  You go, girl!
  10. Rebecca (Lawrence Olivier, Joan Fontaine, 1940).  In contrast to Grace Kelly in Rear Window, Joan Fontaine's character in this film is a bit of a drip ... but I'm willing to forgive this because the gradual ramping up of suspense is superbly done and Judith Anderson as Mrs. Danvers is one of the most chilling screen villainesses ever.
Sports. They all have pretty much the same plot (hint: the underdog wins), but it's such a good plot!
  1. Bull Durham (Kevin Costner, Tim Robbins, Susan Sarandan, 1988).  Witty, sexy, a little nostalgic, a lot funny - and that scene on the mound towards the end of the movie is one of the funniest scenes ever filmed. 
  2. Field of Dreams (Kevin Costner, James Earl Jones, 1989).  A movie that somehow combines baseball, nostalgia, and magic all into one perfect package.
  3. Hoosiers (Gene Hackman, 1986).  So many sports "underdog" sports movies to choose from, but I like this one for the redemption subplot and because it gets what high school basketball means to small Indiana towns without condescending.
  4. League of Their Own (Tom Hanks, Geena Davis).  A great ensemble cast delivers comedy, history, and some decent baseball, but I'm not sure this would be something I'd watch over and over again if it wasn't for how the script never wanders too far from how the war impacted all aspects of American life during those turbulent years.
  5. Major League (Charlie Sheen, Tom Berenger, 1989).  Sheer stupid fun. Apparently, I don't have a problem with that.
  6. The Natural (Robert Redford, 1984).  How can you resist a movie whose triple themes are hope, redemption, and love?  Plus, that final scene where the stadium lights begin exploding as Roy Hodges rounds the bases is - hands down - the most visually gorgeous, emotionally powerful sports moment ever recorded on film.
  7. Remember the Titans (Denzel Washington, Will Patton, 2000).  Yes, it gets a little preachy, but the "plucky underdog" subplot provides an anchor that even a conservative can love.  Terrific script, terrificly acted by the ensemble cast. 
  8. The Replacements (Keanu Reeves, Gene Hackman, 2000).  This movie is so corny, but the corny works for me.  Includes plenty of laughs (that scene in the locker room when everyone shares their fears; gangsta linebackers; those cheerleaders!) and the best inspirational speech ever (come on, say it with me): "Pain heals. Chicks dig scars. Glory is forever." 
  9. Seabiscuit (Tobey Maguire, Jeff Bridges, 2003).  "The horse is too small, the jockey too big, the trainer too old, and I'm too dumb to know the difference" ... making this the ultimate underdog sports movie. 
Romantic. Movies that never fail to make me swoon.
  1. Always (Richard Dreyfuss, Holly Hunter, 1989).  This tale of aerial firefighters placing their lives at risk captures a sort of WWI nostalgia and encases it in an unashamedly romantic 1950s Hollywood package.  Richard Dreyfuss gives his usual quirky performance, but John Goodman as his best friend and Holly Hunter as his best girl are brilliant.  You'll laugh, you'll cry ... often at the same time. 
  2. Casablanca (Humphrey Bogard, Ingrid Bergman, 1942).  What can I say?  There are about 100 reasons this movie is brilliant: Bogie's disillusionment, Bergman's dewy eyes in those ultra close-ups, that bar, that war, that dialog, that idealism, that song ... but what it comes down to, we all know, is that magnificent scene at the airport where Rick sacrifices his only chance of happiness for love and country.  Honestly to goodness, I'm starting to tear up right now, just thinking about it.
  3. Frenchman's Creek (Anthony Delon, Tara Fitzgerald, 1998).  Daphne du Maurier penned the original novel, which goes a long way to establishing the movie's romantic cred. Thankfully (wisely), the director hasn't attempted to "improve" upon the original.  The casting is great, the location shots lovely, and the sexual tension between the lovers ... I'm just saying, never has a man unscrewing an earring from a woman's ear been so incredibly sexy!  Plus the story has pirates; I probably could have just stopped there.
  4. Ghost and Mrs. Muir (Rex Harrison, Gene Tierney, 1947).  Another romance with a seafaring man!  Regrettably, this one is dead, but that doesn't prevent him from falling deeply in love with the plucky widow who moves into the house he has been haunting.  When it comes to creating obstacles to separate lovers, death makes a pretty formidable one, and yet the lovers find a way to live (okay, die) happily ever after. 
  5. Gone With the Wind (Clark Gable, Vivien Leigh, 1939).  Frankly, my dear, I don't give a damn if the relationship between Scarlett and Rhett is politically incorrect.   You can't tell me that Scarlett doesn't give as good as she gets, and I have never doubted for a moment that she would find a way to get Rhett back in the end.
  6. Much Ado About Nothing (Kenneth Branaugh, Emma Thompson, 1993).  Don't hold the fact that it's by Shakespeare discourage you - this production is as accessible as the plot, a tale of two witty, sparring "frienemies" who realize by the end of the movie that they are in love.  Think "When Harry Met Sally" but with more literary insults and much better costumes.
  7. Pride & Prejudice (Colin Firth, Jennifer Ehle, 1995).  Apparently I have a preference for adaptations of great romantic novels/plays, so perhaps inevitable that this should land on my top 10 list.  Keep your Laurence Olivier and Matthew Macfayden, newbies; real Jane Austen fans know that Colin Firth is the one and only, penultimate Mr. Darcy.
  8. Princess Bride (Cary Elwes, Robin Wright, 1987).  Romantic in the way only fairy tales can be, with fencing, fighting, torture, poison, true love, hate, revenge, giants, hunters, bad men, good men, beautifulest ladies, snakes, spiders, pain, death, brave men, cowardly men, strongest men, chases, escapes, lies, truths, passion, miracles, and love triumphant over all.  (Besides, men in masks are sexy.)
  9. Romancing the Stone (Michael Douglas, Kathleen Turner, 1984).  Mix romance + adventure + exotic foreign locales + a mousy woman discovering her inner strength and you get ... African Queen. No, wait, you get this joyously campy adaptation of every embarassing romance novel you ever hid within the pages of War and Peace so that no one know you were reading it.
  10. Sense & Sensibility (Emma Thompson, Hugh Grant, Alan Rickman, 1995).  I know, I know, yet another adaptation of a Jane Austen novel.  Usually Hugh Grant irks me, but his stammering delivery is perfect here and Alan Rickman is brilliant as the noble, long-suffering Colonel Brandon.  Now and then we all need a little reassurance that virtue gets its reward in the end.  
  11. Shakespeare in Love (Joseph Fiennes, Gwenyth Paltrow, 1998).  Though the screenplay isn't technically by Shakespeare, the story is pure Romeo & Juliet, except that no one dies at the end.
Musicals/Dance Movies. Some of these are sweet, some bittersweet; some suspenseful, some sultry, some tragic. And some are several of these at the same time, because music has the power to do that.
  1. Amadeus (F. Murray Abraham, Tom Hulce, 1984).  Not a musical in the "let's turn the barn into a stage and put on a show!" sense, but music pervades this psychological thriller about an obnoxious musical savant (Mozart) and the bitter, jealous rival who vows to destroy him.
  2. Bride & Prejudice (Aishwarya Rai Bachchan, Martin Henderson, Naveen Andrews, 2004).  Combine Jane Austen + Bollywood and you get a joyous celebration of love with dancing thrown in.  Plus, Naveen Andrews is one fine-looking man.
  3. Chicago (Catherine Zeta Jones, Renee Zelwegger, Richard Gere, 2002).  When I first laid eyes on the cast list, I admit I jumped to the conclusion that this would be a hot mess.  Instead, it's just HOT: bold, brazen, sparkly, sexy, and wholly splendid.
  4. Crosby/Hope road movies (all of them) (Bing Crosby, Bob Hope, Dorothy Lamour, 1940-1952).  I adore the silly puns, the even sillier plots, and the "frenemies" banter between Crosby and Hope, but what many people overlook is that each movie in the series was a self-conscious spoof of movie tropes of the day, which is what keeps me coming back for more.
  5. Hello, Dolly (Barbra Steisand, 1969).  Of all the Broadway song & dance extravaganzas ever to make the leap from stage to film, this is my favorite. Gorgeous costumes, gaudy production numbers, and a plot so thin, it won't distract anyone from appreciating either.  Hate the Barb if you will, but she's perfect in the roll of nosey matchmaker (no pun intended) and she can belt out a Jerry Herman tune like no one's business.  
  6. Strictly Ballroom (Paul Mercurio, Tara Morice, 1992).  A sweet, romantic story plopped down in the middle of an outrageously funny, campy movie about professional ballroom dancing; but there's nothing campy about the dancing, which is dazzling throughout. You'll never think about the paso doble in quite the same way ....
  7. West Side Story (Natalie Wood, Richard Beymer, Rita Moreno, 1961) Shakespeare meets Andrew Lloyd Webber meets Bob Fosse in this astounding collage of music, dance, love, and tragedy.  Enough raw emotion here to leave you drained for a week.
  8. White Christmas (Bing Crosby, Danny Kaye, 1954).  A Christmas staple capable of holding its own against any other movie musical of the era, with a plot that is about as close to "let's turn the barn into a stage and put on a show!" as you're likely to get.  A wholly delicious blend of humor, singing, dancing, and spectacle, with a sentimental ending that will have you reaching for another glass of eggnog. (Someone give Vera Ellen a glass while they're at it - that woman needs to eat something!)
Funny. Lots of movies are funny the first time you see them; these are the movies that make me laugh no matter how many times I watch them.
  1. Arsenic and Old Lace (Cary Grant, 1944).  'Zany' isn't often employed these days, but perfectly describes this comedy about two sweet old ladies who decide to start killing off their gentleman lodgers.  Cary Grant's performance is a marvel of pratfalls, double-takes, and comedic timing.
  2. Court Jester (Danny Kaye, 1955).  Hollywood produced plenty of "screwball comedies" in the 1950s, but this is one of my favorites.  The reason: Danny Kaye, who could teach a master's class on the art of physical comedy.  Plus the bit about the vessle with the pestle cracks me up.  
  3. Galaxy Quest (Tim Allen, Sigourney Weaver, Alan Rickman, 1999). Truly hilarious send-up of the sci-fi genre in general and Star Trek specifically. Often, parodies end up denegrating the genre they're mocking, but somehow this film manages to celebrate science fiction and sci-fi fans in all their cheesy, geeky glory. 
  4. Ghostbusters (Bill Murray, Dan Ackroyd, Sigourney Weaver, 1986).  Doesn't matter how many times I see this - the preposterous premise and the whole-hearted way in which the actors commit themselves to it is hugely entertaining. If you can't appreciate the humor of a city being razed by a monsterous marshmallow man, then you need to go out and find your funny, because you've obviously misplaced it.
  5. Groundhog Day (Bill Murray, Andie MacDowell, 1993).  You would think a movie about a man reliving the same day over and over again would get boring quick; instead, Bill Murray somehow transforms the premise into a showcase for his brand of witty, irreverent humor and sweet sentimentality, with a little slapstick thrown in for good measure. ("Don't drive angry; don't drive angry!")
  6. Importance of Being Earnest (Rupert Everett, Colin Firth, 1993). Lots of great film adaptations of this, but I think even Oscar Wilde would agree that Everett and Firth nail it.
  7. Jumpin' Jack Flash (Whoopie Goldberg, 1986).  This spy movie spoof is preposterous and yet winsome, as all the best comedies are; and Whoopie Goldberg is terrific as a short, black, dread-locked "everywoman" who inadvertantly gets caught up in international espionage.
  8. Miss Congeniality (Sandra Bullock, Michael Caine, 2000).  Another spoof, this time of beauty pagaents.  And yet, like Galaxy Quest, the movie ends up celebrating all that is good about the institution.  Plus, Michael Caine, channeling his inner gay beauty pagaent consultant, is a hoot in this.
  9. Radioland Murders (Mary Stuart Masterson, Brian Benben, 1994).  This movie pays homage to the screwball comedies of the 1950s and does itself proud: the dialog is so sharp, it could cut glass; the jokes come so fast, they practically generate a breeze; and people never stop bursting out of doors when they're not actually running into them.
  10. Soapdish (Sally Field, Kevin Kline, 1993).  One final spoof movie, this one targeting the soap opera industry, featuring a plot so deliberately, joyously, unapologetically preposterous that it tops the hokiest soap opera imaginable - and I've got a pretty active imagination.  I laughed so hard the first time I saw it, I had to keep rewinding scenes to figure out what I'd missed while I was chortling. (You like that ... chortling?  I don't need no stinkin' thesaurus!) 
Scary/Horror. Movies that made me afraid to go to sleep at night.
  1. Alien I (Sigourney Weaver, 1979).  A touchstone of the horror genre, and deservedly so.  You know you nearly lost your popcorn when that alien popped out of the guy's stomach, and the creature remains one of the best horror movie monsters of all time.
  2. The Shining (Jack Nicholson, Shelley Duvall, 1980).  No movie could ever fully capture the creepiness of the Stephen King original, but Jack Nicholson et. al. sure come close.  Shelly Duvall gets on my nerves, but then the little kid starts talking to his finger and pretty soon I'm checking all the locks on the windows, just in case.  
  3. Sixth Sense (Bruce Willis, Haley Joel Osmend, 1999).  Being in on the "twist ending" just makes me appreciate the set-up even more.  Brilliant cinematic trickery, and chilling too!
  4. Jaws (Roy Scheider, Richard Dreyfuss, 1975).  You'd think I'd get tired of this dated tale of a big shark, but there I sit, swearing I'll turn the channel "after that cool scene where ... " and then, suddenly, the credits are rolling and I've watched the whole thing yet again.
  5. Silence of the Lambs (Anthony Hopkins, Jodie Foster, 1991).  Anthony Hopkins' performance makes my skin crawl, for more than one reason.
Family/Holiday. Movies that never fail to warm my heart.
  1. Akeelah and the Bee (Keke Palmer, Lawrence Fishburn, 2006). This tale of a little girl chasing her dream is inspiring without lapsing into corny, with wonderful themes (believe in yourself, believe in the power of friendship/love) and a kick-ass ending set at the National Spelling Bee. Just proving that there need to be a lot more movies about spelling.
  2. Angels in the Outfield (Danny Glover, Christopher Lloys, 1994). This remake of an old Hollywood staple is unabashedly sentimental, but that's okay by me because it doesn't pretend to be anything else. Another sweet movie about never giving up hope.
  3. Big (Tom Hanks, Elizabeth Perkins, 1988). Apparently I have a weakness for nostalgia, because this is another movie (a la Toy Story) about the magic of childhood. Sentimental, of course, but - then again - that's why I keep going back for more.
  4. It's a Wonderful Life (Jimmy Stewart, Donna Reed, 1946). I know some folks are sick to death of this movie, but I still love the sweetness, the hopeful message ("a man is never poor who has friends"), and Lionel Barrymore's wonderfully wicked performance as Old Man Potter.
  5. Stand By Me (River Phoenix, et. al., 1986). My favorite coming-of-age movie. because everyone needs to have a favorite coming-of-age movie.
  6. The Majestic (Jim Carrey, 2001). I think critics were cold on this tale of a man restoring life to a small town and in the process discovering his own values, but I love it. An homage to American values - and if you don't know what those are, then you haven't been watching enough movies.
Animated/Childrens.  10 great reasons to be a kid. 
  1. Toy Story (all of them).  An amazingly authentic evocation of childhood that works on so many levels.
  2. Harry Potter (all of them) (Daniel Radcliffe, 2002-2012).  Another wonderful heroic tale/myth, and the fact that it's intended for a young audience doesn't dilute the effect in the least.  Kids need to learn about heroism, hope, and the power of love too. 
  3. Holes (Shia LaBoeuf, Sigourney Weaver, 2003).  I admit I was skeptical that they could turn this complex book into a satisfying movie, but the resulting product delivers rich drama + humor + a sensitive but realistic exploration of the cruelties of racism in one winningly quirky package.
  4. Treasure Island (Robert Newton, Bobby Driscoll, 1950). Not many Disney movies make my "all-time favorites" list, but this classic version of Treasure Island is an enduring favorite.  The movie is faithful to the Robert Louis Stevenson original, which in and of itself is enough to make it the best action-adventure movie ever.
  5. Shrek (all of them).  A bit more witty and sophisticated than the Toy Story movies, but shares many of the same charms.
  6. The Sword in the Stone.  Disney's become so obsessed with pushing princesses, one tends to forget the rest of their catalog, such as this old adaptation of the T.H. White novel of the same name.  Apparently when I was a girl, I was more interested in becoming a prince.
  7. Who Framed Roger Rabbit? (Bob Hoskins, Christopher Lloyd, 1988).   One of the first movies to seamlessly blend live-action and animation, but I love it for the faux noir plot, the oldie-but-goodie gags ("Shave and a haircut ... two bits!"), and the chance to wander down memory lane in the company of old animated friends.
  8. 101 Dalmations. My other favorite animated Disney classic - I'd like to say because of all the cute dogs, but the reason I really watch this is for Cruella DeVil.  Yeah, you know I'm right.

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