Favorite older film discoveries in 2018



Now that we are reaching the end of 2018, it’s that time of year I share my annual older film discoveries! Of the twenty films included here, seven are comedies while thrillers (3) are also well-represented. In terms of the age of the films, the 1980s reigns supreme with seven titles, followed by the 70s (4).

I’ll be looking to explore film noir in 2019 as there are plenty of classics to watch and my noir watchlist is becoming way too long! I jumped the gun and saw Kiss Me Deadly (1955) in December (see mini-review below).
Anyway, let’s get to it!





A Matter of Life and Death (1946) (Powell & Pressburger)
*1001 Movies You Must See Before You Die*
I watched various scenes but not the entire film until 2018. I’m happy I finally did. The sets and visual side look fantastic (the record’s area in heaven, the stairway, inside the eye, the court room), and the story has charm. Very few women would allow you to kiss her after just 1 minute! But it’s a fantasy so I just ran with it. They don’t make movies like this anymore.









The Lavender Hill Mob (1951) (Charles Crichton)
*1001 Movies You Must See Before You Die*
Better than I expected. Very entertaining UK classic with unpredictable developments. Not really a comedy as advertised but very good storytelling in the vein of a thriller which kept me glued to the screen until the end. It’s not a spoiler to say I kind of wanted the criminals to succeed.










Sorcerer (1977) (William Friedkin)

I was confused by the opening 15 minutes, but once Roy Scheider is introduced the movie takes off. The last 2/3 is an edge of your set thriller, and on a technical level there’s some impressive cinematography and stunt work. I have no idea how the bridge scenes were filmed but it looks incredible. The cast consisted of anti-heroes, which may have been a reasons it failed at the box office. A misleading title and put out the same time as Stars Wars didn’t do Sorcerer any favors. The electronic score by Tangerine Dream is used sparingly, and adds suspense and danger.
The 1953 version The Wages of Fear (which I also loved) provides fuller characterization in the South American village, while the 1977 film is more intense and thrilling during the dangerous mountain journey.
Friedkin said in an interview he made the film partly to show ”the exploitation of the Latin American countries by big American corporations like United Crude and the oil companies that were exploiting the workers, when safety conditions meant nothing”




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