Vertigo (1958)

In 2012 Sight & Sound magazine named Alfred Hitchcock’s “Vertigo” as the greatest film ever made. I though, no, “Strangers on a Train” is better, even just for Hitchcock. Then I re-watched this detective tale again and just got fully sucked in. I was hit with instant amnesia as I watched Saint Jimmy Stewart as cop John “Scottie” Ferguson near fall to his death catching a suspect, quit the force in fear, and then fall, romantically so, for the likely mentally unstable and suicidal wife (Kim Novak) of a college pal (Tom Helmore). The case has Scottie following the woman through San Francisco out to an ancient forest and then a monastery. It ends badly. One hour to go. It’s gorgeously shot and paced, and carried by hits of failed rom-com for Scotttie, sexual tension, and the absolute best film score ever made, courtesy Bernard Herrmann. But what struck me this viewing: Watch the film, pause in awe, and then re-play it your mind from the viewpoint of Novak’s eyes, and witness every damn single scene explode in a new, thrilling light that swoons and slashes. This indeed is Hitchcock’s greatest film, the mind fuck supreme. Fall for it again. A+

Gravity (2013)

“Gravity” is exhilarating, the most damn entertaining, breathless film this year. The promos promise an outer space-set drama about two astronauts (Sandra Bullock and George Clooney) caught adrift in space after a freak debris incident, their shuttle destroyed and crew members dead. It is that and a survivalist-horror film drenched in the gut-punch notion that surviving in space means having to continue to face life’s cruelties on Earth. The lean plot is near required as director Alfonso Cuaron (“Children of Men”) plunges us into a 90-minute shocker that could break with too much filler. Among his sharpest onscreen moves: Simultaneously pitching “Gravity” as a near-wordless silent film of old, but shining new and large with spectacular, game-changing CGI, cinematography, and sound. He casts us adrift above the Earth, awed with wonder at our home and shocked by the absolute black void of space, and then miraculously takes us inside our hero’s space helmet with not a single edit. Bullock rips into her role -– raw, wounded, and shell-shocked –- deserves every award coming her way. As does Cuaron and co-writer/son Jonas who spin a perfect final scene uplifting in every sense of the word as it literally inverts the title. A+

Don’t Be Afraid of the Dark (2011)

A lonely, maladjusted, and overly imaginative young girl arrives at her new home: A rural estate with a foreboding castle-like design and elaborately creepy gardens. Problems compound, from a distracted parent to supernatural creatures that only feign friendliness, and no adult believes the girl because she is lonely, maladjusted, and overly imaginative. Guillermo del Toro’s “Pan’s Labyrinth”? Yes, and its weak-sister “Don’t Be Afraid of the Dark,” which boasts del Toro as co-writer. So many repetitions abound I wondered if this loose remake of a 1973 TV movie was an abandoned first stab at a “Pan’s” screenplay, farmed out to a new directing/writing team. Bailee Madison (“Just Go With It”) is the girl, and she’s a young queen with a reason to scream: The rat-like trolls here want her teeth, and soul. The moody atmosphere makes up for the déjà vu vibe, but the real wet blanket is our adult leads, a sleep-walking Guy Pearce as dad, and a stiff Katie Holmes as the girlfriend, each acting as if they’d rather be in “Pan’s Labyrinth.” C+