East of Eden

E:
This moobie was loosely based on the 1952 John Steinbeck novel of the same name. The only James Dean film released before his death, East of Eden is not only his best work but the piece that truly set the mold for his legacy. Dean plays Cal, the dark and brooding brother to Aron - the golden boy in their father's eye. A classic retelling of The Bible's Cain and Abel, watching Dean try to maintain a respectable relationship with his brother's girl, hopelessly try to win his father's approval and try to uncover the mysterious truth about their mother will keep you in your seat until the final tragic disaccord.
It was shot beautifully in Mendocino, CA filling in for WWI era Salinas and Monterey (to this day Mendocino looks virtually unchanged), and went on to win the Golden Globe for Best Picture. East of Eden was released in March of 1955, just 6 months before Dean's death. The following January he was given the first posthumous Best Actor Oscar nomination in award history. It was really his only shot. Unfortunately it went to Ernest Borgnine playing against type in Marty. A good performance to be sure, a far cry from Sgt. Fatso in From Here to Eternity, but do we remember it 50 years later? The answer is not really. But we sure remember James Dean on top of that train, behind that ice and and caught in that desperate struggle to find the good in himself, trying for nothing more than to be be loved.

The Bicycle Thief

E:
There's a certain element of honesty in foreign films that is often lacking in domestic cinema. The sheer fact that the word "cinema" isn't often paired with anything remotely American is evidence enough. This moobie is not simply honest, it's unafraid to be honest about the gray areas of morality that only cable television seems to thrive on these days.
It's a small story about an unemployed man in financially stricken times. Afforded an opportunity to take a small government job, he revels in the chance to once again provide for his family. On the first day, his bicycle - his sole means of transportation and a requirement for his employment - gets stolen. Angry, frustrated and determined to keep his job, he enlists the help of his young son to find it.
Make no mistake, this isn't a feel good moobie. It's post-war Italian cinema. And for anyone who wants to take moobie-watching seriously, it's essential viewing.

Kung Fu Panda

E:
I wasn't entirely excited to see this moobie, but I was pleasantly surprised. The intro alone was enough to get just about anyone interested - a great stylized animation dream sequence. The story is fairly formulaic, but the animation felt fresh and the camerawork very modern.
The majority of the voice work was fine. The standouts for me being Ian McShane of Deadwood fame (awesome bad guy voice) and James Hong. I don't know why, I just love that guy.
If your kids haven't already seen it I'm sure it would be a satisfying way for them to spend their afternoon.

Man On Wire

E:
This film chronicles Philippe Petit's successful highwire walk between the World Trade Center's twin towers and the life that leads up to the attempt.
I loved it! I see probably just a few more documentaries than the average person, but this is more like a regular moobie than the average documentary. It's very compelling to see old footage of Petit in training. It's interesting to see old photographs of the Frenchman and his cohorts. But more than anything, the narrated recreated scenes are absolutely riveting. It's amazing what these people got away with, there's no way it could be done in our modern age of fear. To see the final result - a man on a wire that far up in the sky - is nothing short of breathtaking.

In Bruges

E:
Maybe I'm not English enough. This film and I just didn't bond very well and I'm kinda shocked that it garnered a best screenplay nod. Sure the story unfolded with solid metered bits of information, but it was kinda boring. I wanted the moobie to end so I could send it back to Netflix.
I will admit that I kinda liked the ending, although it was a bit maudlin. And I liked the two main performances. Colin Farrell playing basically a brat and Brendan Gleeson as the father figure.
I can see why it made less than $8 million stateside.

Rosemary's Baby

E:
This was Roman Polanski's first American film. A lot of people rank it amongst the all time scariest. I disagree. It's from another era. I definitely found the moobie unsettling... a little goosebumpy even, but not truly scary. Mia Farrow was a good casting choice - apparently not a first choice but I think her meek facade helped the characterization. She plays Rosemary. She and her husband move into a new apartment next door to an odd older couple. Upon learning she's pregnant, some unusual events lead her to believe that the people around her (husband, old couple next door) are plotting something sinister.
This film is pivotal in the history of scary moobies. I can appreciate that this was an extremely different approach to horror than its cinematic predecessors. I mean really, The Blob? Creature from the Black Lagoon? Rosemary led the way for anything like The Shining to ever occur.
It's worth a view. If only to understand where psychological horror began.

G:
"There's an undertaste..." my favorite line.