Seconds (1966)

John Frankenheimer serves another perfect thriller with “Seconds” after “Manchurian Candidate” and “Train.” This is a “Twilight Zone”-like sci-fi-horror about that foolish notion we all wonder: What if I zagged left not right? Moved there not here? You get it. What if’s never end. This is the hell-pit answer. John Randolph is banker Arthur -– bored empty nester pissed at the capitalist lie he swallowed from birth –- who finds himself with a crazy proposition: He can fake his death and get a new identity in the form of Rock Hudson. Newly renamed, Antiochus joins a hippie commune. Sex. Freedom. Is liberalism as much a mirage as white-shirt conservatism? Beautifully played with a barrage of warped lenses – the cinematography is by James Wong Howe of “Sweet Smell of Success” fame -- this movie is a true deep shocker that left me breathless long after the credits. As a man with a new body and voice who cannot shake old gestures and hesitations, Randolph and Hudson pop brilliant, actors who could have shared a Best Actor Oscar. Frankenheimer is my favorite director and this is another hit in a series of paranoid-heavy movies that crack men’s psyches open, baring dark truths. A+

The Secret Life of Walter Mitty (2013)

Remember Ben Stiller who made “Reality Bites”? A sharp comedy/ drama that made you pay attention, and plan to immediately buy the soundtrack? He’s been gone for years, stuck in a loop of juvenile fare. Behold, a near miracle. Stiller takes the 1947 Danny Kaye hit “The Secret Life of Walter Mitty,” and turns it on its heads with a fully new spin about a day-dreaming man who became lost on his way to adulthood after the death of his father. Here, Walter cares for his mother, pays his bills, and works at “Life” magazine, but he’s watching life. Not living it. He hasn’t put himself first. Then the loss of a key photograph under his care sends Walter on a worldwide trip to find its creator, Sean Penn, in a very Sean Penn role. “Mitty” is epic in every sense of the word. Romantic, too. And vibrating with great music. As Walter’s daydreams give way to real adventure, the film soars, never grander than when our hero rides a skateboard. It may cross the line into obviousness (the “Life” motto pounces loud like scripture), but the Stiller has re-found his path. The cinematography astounds. Shirley MacLaine as the mom sparkles. B+

All is Lost (2013)

A perfect companion piece to the space-set “Gravity,” “All is Lost” also follows a lone person (Robert Redford as “Our Man,” no name) as he faces death on the vast Indian Ocean, his ultra-chic yacht sinking, every hope escaping his grasp, until suicide becomes not something to fear, but embrace. I don’t know why so many desperate lone survival tales are hitting the screen now -– think of “Life of Pi” or “Captain Phillips” -– but what a remarkable run. Here, Redford -– in a brilliantly paced, near wordless performance that wows with its refusal to go “big” –- awakens to the crash of his yacht against an adrift shipping container. His boat punctured and sinking, the man slowly and clumsily patches the gape. And just when hope is reachable, it crashes away as a violent storm hits, fresh water supplies disappear, and cargo ships –- ironically the man’s only salvation –- pass by like gods too busy to notice a believer. His technology and wits fleeting, Our Man must navigate the ocean by eye. J.C. Chandor’s (“Margin Call”) film is tense and methodical, stepping for every beat that “Gravity” rocketed past as he puts alongside Redford. Most deserved use of the “F” bomb ever. A