Ace in the Hole - MatthewHunt

maestro form in his pre-epic phase, condensing the original novel into a graceful, shadowy
British classic. Guy Green's Oscar-winning cinematography subtly translates Dickens' gothic
touches, and John Mills and Alec Guinness forge a touching friendship against the
encroaching dark.
The Great Rock'n'Roll Swindle
(Julien Temple, 1980)
Hailed by Variety magazine as "the Citizen Kane of rock pictures," this incendiary affair charts
the implosion of the Sex Pistols (in particular) and pop culture (in general). Original director
Russ Meyer bailed out due to "creative differences" and was replaced by Temple, whose
smart, cynical handling strikes the right note.
Greed
(Erich Von Stroheim, 1924)
Most of us probably know Erich Von Stroheim best as Gloria Swanson's Teutonic-looking and
very sinister butler in Sunset Boulevard, but he was also responsible for this silent-era folie de
grandeur, adapted from Frank Norris' novel McTeague, about a brutish dentist. The stories of
Von Stroheim's battles with producer Irving Thalberg are as famous as the film itself; much of
the footage was destroyed but hints of the director's genius still survive.
Gregory's Girl
(Bill Forsyth, 1981)
The consummate innocent teen romance story, as seen through the unflinchingly optimistic
eyes of an easy going 16-year-old boy in love with life, love and Dorothy, the girl who usurps
his place on the football field. Charmingly told, with a total lack of guile to sully its sweetness.
Grey Gardens
(Ellen Hovde, Albert Maysles, David Maysles, Muffie Meyer, 1975)
An extraordinary portrait of mother and daughter Big and Little Edie, cousins of Jackie O and
former society women, who are living out their (last) days in a decaying mansion infested with
wild animals, dressing eccentrically and eating foie gras (or is it dog food?) straight from the
can. The directorial approach is restrained - would the Maysles dare impose their vision on
these impressive ladies? - but Big and Little Edie are more than capable of telling their story
on their own.
The Grifters
(Stephen Frears, 1990)
Jim Thompson's pulp novel is given classy Hollywood treatment, with mother-and-son con
artists Anjelica Huston and John Cusack putting in superlative performances. Along comes
Annette Bening to really mess things up. Frears, to his credit, avoids the noir cliches and puts
the drama centre stage.
Grizzly Man
(Werner Herzog, 2005)
It's a scandal that Herzog's film, at the forefront of the documentary revival, didn't receive an
Oscar nomination. The footage of Alaskan bears is remarkable enough, but it is unhinged
naturalist Timothy Treadwell who is the real focus - and his borderline-deranged desire to be
at one with the wilderness. Frequently unbelievable viewing - this is a different breed of nature
film.
Grosse Pointe Blank
(George Armitage, 1997)
Few films dealing with hired killers ever show them having much of a personal life other than
sitting alone in hotel rooms, assembling sniper rifles. This one places assassin John Cusack
at his high school reunion. The excellent character work by the cast - including Minnie Driver
and Alan Arkin - keep this from being a one-note comedy.