Remembering Martin Landau

A Magical Career

By Chris Sabga

Martin Landau has always been one of my all-time favorite actors. His death at the age of 89 – on the same day as legendary horror director George A. Romero – was a 1-2 sucker punch.

But what a life Landau lived!

North By Northwest

After several television roles, Martin Landau's first appearance on the silver screen – as the menacing Leonard in Alfred Hitchcock's "North by Northwest" – was quite possibly the greatest film debut anyone could ask for.

He took a big risk in the way he portrayed Leonard in the 1959 film: "I chose to play [him] as a homosexual – very subtly," Landau admitted in an interview – a taboo no-no for that time period.

Landau became an instant star.

Spock You

For the next two decades, he crisscrossed between film and TV appearances. His most notable work on the small screen was in "Mission: Impossible" and "Space: 1999." He turned down the role of Spock in "Star Trek." That iconic character, of course, went to Leonard Nimoy instead. Ironically, Nimoy ended up essentially replacing Landau on "Mission: Impossible."

The Ups and Downs of a Great Career

Among Landau's many film roles during this period, he played opposite Sidney Poitier in the unnecessary, contradictory, overrated mess of a sequel "They Call Me Mister Tibbs!" The first film featuring the groundbreaking Virgil Tibbs character, "In the Heat of the Night," remains an essential classic. "They Call Me Mister Tibbs" doesn't come close to its predecessor's greatness, but Landau was good in it.

In 1982, Landau appeared along with Jack Palance and Donald Pleasence in "Alone in the Dark" (not to be confused with the much-maligned version directed by Uwe Ball and starring Christian Slater and Tara Reid). The horror thriller is about a pair of mental patients (Landau and Palance) who break out of a hospital in order to torment their psychiatrist (Pleasence). I have to admit: I've never seen it – but I've always wanted to. Unfortunately, the DVD has been out of print for years and there's seemingly no Blu-ray or digital release on the horizon. While it surely can't match the expectations I've built up for it in my mind, it still sounds like nutty fun. There is (or was) a low-quality version on YouTube, but I can't bring myself to watch it that way. Eventually, I will get my hands on this holy grail!

After decades in Hollywood, Landau's greatest fame would arguably occur in the 1990s and beyond.

Karloff Does Not Deserve to Smell My Shit!

Bela Lugosi never uttered those words about Boris Karloff, but Martin Landau famously did when he played Lugosi in 1994's "Ed Wood." Tim Burton and Johnny Depp – the director and star of "Ed Wood," respectively – are generally "mood" people for me. In other words, I have to be in the mood for them – and I'm usually not. Yet, "Ed Wood" remains one of my favorite films ever – and Martin Landau is the main reason why. As the long-suffering and loyal Lugosi, his incredible performance is undeniably the heart and soul of the film. Landau was richly recognized for his work in "Wood" by winning the Academy Award for Best Supporting Actor in what has to be one of the most competitive categories I've ever seen: Samuel L. Jackson for "Pulp Fiction" and Gary Sinise for "Forrest Gump" were also nominated the same year. (He also nominated before in the same category two years in a row – but didn't win – for 1988's "Tucker: The Man and His Dream" and 1989's "Crimes and Misdemeanors.")

Sal Bandini – Wanna Wrestle!!!

What in the living holy hell was the great Martin Landau doing in a professional wrestling vanity project like 2000's "Ready to Rumble"? I still don't know! He did work with wrestler George "The Animal" Steele a few years earlier in "Ed Wood," so perhaps that had something to do with it? But whatever Landau's reasons were, like the old pro he was, he made the most of it.

This is what I wrote about his appearance and performance at the time (for IGN.com):

"As awful as some of the material is, there is one bright spot – the character of Sal (Martin Landau). His hilarious performance as King's 105-year-old trainer saves the movie from complete disaster. It is a shame that he isn't used more often, but he definitely steals the scenes he's in. He must be a huge wrestling fan. Either that or he needs money desperately. How else can anyone explain why such a distinguished and celebrated actor would agree to partake in such a dud?"

I've warmed up to "Ready to Rumble" in the years since. No, it's still not a good movie – or anything close to resembling one. Woefully inaccurate and mind-numbing in its dumbness, it displays an astounding lack of respect for wrestling – which makes no sense to me, because what other audience was this intended to attract? But Martin Landau – good old Martin Landau – is an absolute treat to watch.

The Magic of the Movies

At best, 2001's "The Majestic" was stylish but wildly uneven. At worst, it was artificial and sappy. Despite that, it contains one of my favorite performances and speeches ever. Of course, both came courtesy of the wonderful Martin Landau.

"Any man, woman, child could buy their ticket, walk right in. Here they'd be, here we'd be. 'Yes sir, yes ma'am. Enjoy the show.' And in they'd come entering a palace, like in a dream, like in heaven. Maybe you had worries and problems out there, but once you came through those doors, they didn't matter anymore. And you know why? Chaplin, that's why. And Keaton and Lloyd. Garbo, Gable, and Lombard, and Jimmy Stewart and Jimmy Cagney. Fred and Ginger. They were gods. And they lived up there. That was Olympus. Would you remember if I told you how lucky we felt just to be here? To have the privilege of watching them. I mean, this television thing. Why would you want to stay at home and watch a little box? Because it's convenient? Because you don't have to get dressed up, because you could just sit there? I mean, how can you call that entertainment, alone in your living room? Where's the other people? Where's the audience? Where's the magic? I'll tell you, in a place like this, the magic is all around you. The trick is to see it."

It's such a beautiful mission statement and rallying cry for why we all love going to the movies so much. Despite the rude patrons, bright cell phones, and numerous other drawbacks, there's still nothing else quite like the theatrical experience.

When Martin Landau was up on that screen, it was magic.  

Remembering Anton Yelchin

Soulful and Versatile, Anton Yelchin Lit Up the Silver Screen

By Chris Sabga

This one is hard.

Hearts in Atlantis (2001)

I first saw Anton Yelchin as a child actor. He had a small part in the 2001 thriller "Along Came a Spider," but where I really took notice of him was in the Stephen King adaptation "Hearts in Atlantis" released that same year. It was a starring role for him opposite acting heavyweights Anthony Hopkins and Hope Davis. He was every bit as good as they were. Hopkins was spellbinding on the screen with his commanding presence and quiet intensity, but Anton Yelchin matched the master every step of the way with his own pure-eyed performance that conveyed a genuine innocence.

The word "tragic" is overused, but that's the only way to describe Anton Yelchin's death on Sunday at the too-young age of 27. The Los Angeles County Medical Examiner's Office told People.com that "Yelchin's body was found pinned between a car and a gate."

In a DVD extra for "Hearts in Atlantis," Hopkins raved about Yelchin's enormous acting talent and said he hoped his young co-star would stick with the craft. Yelchin did just that. He never stopped acting and became one of the rare few who transitioned seamlessly to adult roles.

A few weeks ago at the urging of a friend, I finally watched the flawed but fascinating "House of D" from 2004. Once again, Anton was paired up with elite actors – Robin Williams, Téa Leoni, and Frank Langella, among others – but it was his shining presence that gave "House" its heart and carried this messy, muddled, but ultimately memorable film.

Of all of Anton's performances as a child, he's probably best known for his memorable work as teenage kidnap victim Zack Mazursky in 2006's "Alpha Dog." I remember watching the trailer week after week. It seemed to run endlessly (the movie was delayed). I can still remember its voiceover narration describing "the rap version of the American Dream." Truth be told, I was so sick of hearing about "Alpha Dog" that I wanted nothing to do with it by the time it eventually came out. Of course, I eventually did see it. In a film filled with the most promising young actors of the day – including Emile Hirsch, Justin Timberlake, and Ben Foster – it was Anton's honest and chilling performance that everyone walked away remembering when the credits rolled at the end.

Star Trek (2009)

After excelling in teen roles such as "Alpha Dog" and "Charlie Bartlett" (with Robert Downey Jr.), Anton got his first big break when he was cast as the young Russian genius Chekov in the 2009 "Star Trek" reboot and its subsequent sequels. Even though Yelchin was born in Russia and probably could have easily emulated a more natural Russian accent, he chose instead to honor the role the way it was originally portrayed by Walter Koenig. "There are certain things that I took, from the fact that he replaced every V with a W which is weird," he explained in an interview with Rotten Tomatoes. "I thought it was important to bring that to the character."

Yelchin was also wonderful in "The Beaver" – a bizarre but oddly compelling drama about the ravages of depression – as the son of Mel Gibson's puppet-obsessed character. In contrast, he was so much fun to watch in the "Fright Night" remake. Those two examples (among many) perfectly demonstrate Yelchin's versatility. He has 65 credits listed on IMDb – an incredible number for someone who was still so young – and he was great in everything I've ever seen him in.

This one is hard.

Remembering Alan Rickman

No Awards Needed

By Chris Sabga

The news broke of Alan Rickman's death – from cancer at the age of 69 – around the same time the Oscar nominations were announced.

The ultimate irony in that: Alan Rickman has never been nominated for an Academy Award.

I just about gasped at that shocking tidbit. But Rickman's passing so thoroughly overshadowed the awards announcement that it's safe to say his incredible career more than transcended those empty accolades.

In a 2008 interview with IFC, Rickman expressed a British workingman's sensibility about the Oscar rat race: "Parts win prizes, not actors. You always know a part that’s got ‘prize winner’ written all over it, and it’s almost like anybody could say those lines and somebody will hand them a piece of metal."

Like most of you reading this, my first exposure to Rickman's immense talents was as the charismatically villainous Hans Gruber in 1988's "Die Hard." It was an incredible performance that elevated the entire film and helped launch Bruce Willis's career as a major movie star. "Die Hard" is now considered one of the greatest action extravaganzas of the already excessive and explosive 1980s, and Rickman's character is universally recognized as one of the best bad guys ever.

My next glimpse of Rickman probably came three years later – in 1991's "Robin Hood: Prince of Thieves." I despised the movie – I think I'm the only one – but Rickman was great in it. He always is.

Many years would pass before I would see Rickman again on-screen. I'll admit that I didn't particularly care for "Michael Collins," but Rickman was mesmerizing in it as Eamon de Valera, the real-life political figure who opposed the Irish resistance against the UK. Truthfully, I had no idea at the time that it was Rickman playing the part. He was such a chameleon as an actor that he completely disappeared into the role. It wasn't the only time I was fooled by one of his performances – even when I definitely should have known better.

The character he's perhaps most associated with is the complex and conflicted Severus Snape from the "Harry Potter" series. Yet, it took two or three movies before it finally clicked in my mind who was behind the sneering professor's raven hair. It was Rickman! Once again, the actor had vanished entirely in service of the character he was portraying.

I hate "Love Actually," and Rickman is actually to thank for that. He was such a downright cad that it spoiled my enjoyment of the movie and I remain upset on poor Emma Thompson's behalf to this day. That's how good he was as an actor.

His characters could be dark and dangerous, sneaky and shifty, but he was also an incredibly gifted comedic actor. His roles in "Dogma" and especially "Galaxy Quest" are proof of that. If you somehow haven't seen "Galaxy Quest," it's a fantastic satire on the "Star Trek" and sci-fi movies and culture – and Rickman was superb in it.

A legend of the screen and stage, was there anything Alan Rickman couldn't do?

Well, maybe get nominated for an Academy Award.

But that's a reflection of the broken Oscar system, not of Rickman's immeasurable gifts as an actor. He never needed "a piece of metal" to affirm his greatness. 

Matt's Movie Mortuary: A Welcome Nightmare – A Small Salute to Wes Craven

A Short Look Back at a Legend

By Matt Wintz

When I was asked to write about the recent passing of Wes Craven, I knew there were several things I could say. I could talk about his lasting impact and how he turned the horror genre on its ear twice with his movies "A Nightmare on Elm Street" and "Scream." I could talk about his controversial movie "The Last House on the Left," or the fact young actors such as Johnny Depp and Patricia Arquette had found breaks in some of his movies. The thing is, when it comes to the horror genre, Wes Craven should also be remembered for how he made horror cool to like. A genre that critics and moral crusaders hated, Wes Craven created movies whose murderous main characters crossed over into the mainstream and were loved.

Freddy Krueger transcended the small piece of the horror cinema corner he slashed for himself. Brought to life through the writing of Craven and acting of Robert Englund, Freddy found himself on MTV, having his own show entitled "Freddy's Nightmares," and became a pop icon. Without the genius of Wes Craven, he could have just been a "one-and-done" character, but Craven crafted him to be able to be something more. And Wes Craven would do that again with "Scream" in the 1990s, resurrecting the horror genre from horrible movies and into blockbusters again.

Personally, the movies of Craven I enjoy the most are sometimes overlooked for "A Nightmare on Elm Street" and "Scream." I have always loved the original "The Hills Have Eyes." The bleak reflection of two families pitted against each other: one of contemporary America and the other a cannibalistic clan forgotten from the nuclear age, showed a young director with an idea and a passion who set out into the desert to make a movie. That feeling resonated with me when I was making movies of my own. Craven was part of a horror generation of directors like Romero, Carpenter, and Hooper who didn't get dissuaded from not having a large studio behind them. Without the benefits of the technology filmmakers have now, they just ducked their shoulder and worked hard to make a movie. After hitting it big, Craven attempted to make another Freddy Krueger-esque killer in the film "Shocker." While the film never caught on like Craven hoped, it still remains a film when viewed with an open mind can be one with great potential and feeling of fun.

I never had the honor of meeting Mr. Craven, but I had the opportunity to meet people who worked on films with him and they always spoke highly of him. He was an amazing artist, a brilliant writer and director, and always came across as hopeful for the next generation of genre filmmakers. In a section of film where people who cut their teeth quickly try and distance themselves, Wes Craven stood like a sentry at the gate of horror, proud of the work he'd done and aware of the possibility the genre had. He was one of the champions the genre and he will be sorely missed.

And we'll always have Elm Street.

Remembering Robin Williams

Comedy or Drama, Silly or Serious, Was There Anything Robin Williams Couldn't Do?

By Chris Sabga

The world remains in shock. Robin Williams has died after apparently committing suicide. He was 63 years old. This particular celebrity death has hit harder than most – generating widespread feelings of sadness and confusion – as everyone is left wondering why someone so beloved and extraordinarily talented would want to kill himself.

The picture included here perfectly captures how most of the world saw him – funny and fun-loving, with a bright light in his eyes and always a mischievous twinkle – but the reality was far darker and much more complicated. He recently checked into a rehab facility and was also struggling with severe depression – a crippling double whammy. Williams admitted in a 2010 interview with The Guardian that he felt "alone and afraid."

The misguided among us will say "he had it all" or "took the coward's way out." Both statements are false and dishonest. The truth about depression: "It's a real illness that doesn't discriminate. No amount of money or fame can fix it. The funniest man on earth couldn't just think positive and be healed. Support those who are battling depression and other mental health issues. It takes lives!" (HighAnxieties.org via Facebook)

Indeed, it doesn't matter whether we're rich or poor, a world-renowned celebrity or an ordinary factory worker – the vice grip of depression can trap any one of us at any time. Winston Churchill perfectly referred to it as his "black dog."

We're several paragraphs in, and I've yet to mention the reason why we're all here and reading this in the first place: Robin Williams and his incredible performances over dozens of memorable movies.

Ask anyone, and they'll all have their favorites. Over the past 24 hours, I've heard so many classics rattled off feverishly: "What Dreams May Come," "The Fisher King," "Mrs. Doubtfire," "Popeye." Even "Death to Smoochy" has its fans.

To me, the all-time best Robin Williams performance came in 2002 with the deeply haunting "One Hour Photo." He completely disappeared into the role of lonely photo technician Sy Parrish. I said it then, and I'll say it again now: He should have won the Oscar for Best Actor that year. He wasn't even nominated!

"One Hour Photo" marked a dark, dramatic shift for the comedic icon.

Then again, Williams was never just a comedian.

The first Robin Williams movie I saw, as best as I can tell, was "Good Morning, Vietnam" in 1987. Williams played the inspirational Vietnam War DJ Adrian Cronauer and put his gift of gab to great use. His next major role – and probably the second time I saw Williams on-screen – was as English teacher John Keating in "Dead Poets Society." Once again, he was passionate and inspirational.

Both before and after, Robin Williams had an impressive body of work, but here are a few you might have overlooked:

Bicentennial Man: It's a long, strange movie – Williams plays a robot over the span of 200 years – but it tells a beautiful story about life, death, and what it truly means to experience both.

The Night Listener: A gay late night radio host receives calls on the air from an abused teenage boy...or does he? What's fact and what's fiction? This is inspired by events from the life of author Armistead Maupin, who wrote the book of the same name.

August Rush: Channeling the ghoulish Fagan from Oliver Twist, Williams is a nasty piece of work here, exploiting kids for his own financial purposes. Passionate about music, he discovers a young prodigy, whom he renames August Rush. This oddity of a film doesn't always work – the script is sometimes off-key, even if the music isn't – but I have a soft spot for it anyway.

RV: Is this great cinema or even top-notch entertainment? Hardly. But it's light and funny – and Williams and Jeff Daniels make a great comedy duo. Give this one a chance – it might surprise you.

The Final Cut: This movie almost completely falls apart at the end. The final sequence pretty much undermines everything that came before it. But this sci-fi thriller (also starring Jim Caviezel) is an absolute blast to watch until then.

And a TV role you may have missed entirely:

Law & Order: Special Victims Unit – "Authority" (Season 9, Episode 17): Williams dominates the small screen as the villainous anti-authority crusader Merritt Rook, who always seems one step ahead of the police. Even if you aren't a fan of the "Law & Order" franchise, this episode is well worth going out of your way to see for Williams.

I've undoubtedly left out many of his other overlooked roles. I've also neglected to mention the superb "Good Will Hunting," for which he won an Oscar. I didn't bring up "The Birdcage" either, or his small but fun role as a Catholic priest of the fire and brimstone variety in "The Big Wedding," or...

It would be impossible to cover everything he's ever done – that's what IMDB is for – but, man, what a career!

The legendary actor was also a huge fan of the "The Legend of Zelda." How cool is that? Not only did he appear in commercials for the revered gaming franchise, his daughter is even named after the character.

No less than President Obama himself had this to say about the life and career of Robin Williams:

"Robin Williams was an airman, a doctor, a genie, a nanny, a president, a professor, a bangarang Peter Pan, and everything in between. But he was one of a kind. He arrived in our lives as an alien – but he ended up touching every element of the human spirit. He made us laugh. He made us cry. He gave his immeasurable talent freely and generously to those who needed it most – from our troops stationed abroad to the marginalized on our own streets. The Obama family offers our condolences to Robin’s family, his friends, and everyone who found their voice and their verse thanks to Robin Williams."

As Obama so eloquently stated, Robin Williams made us laugh and he made us cry.

But he also made us think and made us feel.

His death may currently overshadow his life, but Robin Williams will ultimately be remembered as an actor who could do it all – and did!

Remembering Mickey Rooney

The Iconic Actor Gave Us Eight Decades of Entertainment

By Chris Sabga

Mickey Rooney had an extraordinary career in film and television that spanned a staggering 88 years – from 1926 to 2014. That kind of staying power is rare in any profession, but especially in Hollywood. To go through all of Rooney's highlights would be an impossibility – his body of work numbers in the hundreds.

The first time I saw Mickey Rooney, I loved him instantly. It was in a 1984 made-for-TV Christmas movie called "It Came Upon the Midnight Clear." He played a grandfather who died but came back from Heaven to share one last holiday with his grandson in New York City. It is still my favorite Christmas film of all time.

Four decades earlier, a teenage Mickey Rooney shared the screen with Spencer Tracey in 1938's "Boys Town." Tracey portrayed a priest who established a home for wayward kids – one of whom was Rooney. It's a classic. (The sequel – "Men of Boys Town" – is pretty good, too.)

One of his most famous roles came six years later, in 1944, when he and Elizabeth Taylor starred together in "National Velvet." To illustrate his staying power, he was still a star – or became one again – seventeen years after that when he appeared in 1961's "Breakfast at Tiffany's" with Audrey Hepburn. Of course, like every other actor, Rooney had his ups and downs – especially in those years – but he always worked steadily.

His bucktoothed Japanese character from "Tiffany's" is considered controversial by today's standards. The actor expressed regret in a 2008 interview with The Sacramento Bee: "It breaks my heart. Blake Edwards, who directed the picture, wanted me to do it because he was a comedy director. They hired me to do this overboard, and we had fun doing it." In the 1993 biopic, "Dragon: The Bruce Lee Story," the famed martial artist (played by Jason Scott Lee, no relation) becomes increasingly upset as he watches Rooney's caricatured portrayal. Rooney, to his credit, "wouldn't have done it" if he had known people would take offense.

His career continued on: "Reqium for a Heavyweight" (1962), "It's a Mad, Mad, Mad, Mad World" (1963), "The Black Stallion" (1979), and too many others to name – with roles both major and minor.

A true silver screen surprise and one I highly recommend: the little-seen 1999 film "The First of May" about a runaway boy and an old lady (Dan Byrd and the late Julie Harris, respectively) who escape together to join the circus. Rooney wasn't the star, but his gruff portrayal as a grizzled circus owner was a welcome presence. It's a beautiful, touching movie that's well worth seeking out.

I wasn't particularly fond of "Night at the Museum" – the 2006 Ben Stiller comedy – but Mickey Rooney (along with fellow screen veterans Dick Van Dyke and Bill Cobbs) absolutely stole the show. By then, Rooney was an old pro who could make the most of every moment, no matter how big or small – and he did just that in "Museum."

Mickey Rooney has truly done it all: holiday movies (the aforementioned "It Came Upon the Midnight Clear"), horror flicks ("Silent Night, Deadly Night 5: The Toy Maker"), family films ("The Muppets," "Pete's Dragon," "The Black Stallion"), TV appearances ("The Golden Girls" and "Full House"), and even voice-acting ("The Fox and the Hound"). And then, of course, there are the revered classics that made him a household name ("National Velvet," "Breakfast at Tiffany's," "Boys Town," and many more).

Multiple generations – including today's kids and teens – have been exposed to Rooney's incredible work. That was the magic of Mickey.

Remembering Philip Seymour Hoffman

An Amazing Actor

By Chris Sabga

Philip Seymour Hoffman's death on Sunday of an apparent heroin overdose left his colleagues and fans shocked and saddened. Unfortunately, there was also a quick rush to judgment – as is always the case with the internet. The fact that Hoffman was clean for 23 years before relapsing in 2012, according to TMZ, is nothing short of tragic. For those of you cynically wondering why a major Hollywood star would "need drugs," his previous usage pre-dates his first role: a Season 1 episode of "Law & Order" in 1991. It just goes to show that once addiction of any kind takes hold of a person, it never truly lets go.

Hoffman was described by CNN as an "actor's actor." No matter how big or small the role was, he always made it memorable. From "Scent of a Woman" to "Along Came Polly," everyone I talked to had an immediate opinion about their favorite Philip Seymour Hoffman performance.

Here are a few of mine:

25th Hour: In the hands of almost any other actor, this portrayal of a nerdy, naïve teacher who becomes almost unwillingly entangled with a female student would have come across as creepy and repulsive. But Hoffman is a rare breed. In a very difficult, tricky role, he was somehow able to infuse the degree of humanity necessary to generate sympathy for such a complicated, deeply-flawed character.

Charlie Wilson's War: The stark contrast between the timid Jacob Elinsky in "25th Hour" and the bombastic, ill-tempered, and foul-mouthed but highly entertaining Gust Avrakotos in "Charlie Wilson's War" is enough to demonstrate Hoffman's staggering level of talent. It was obvious that he was relishing every second on-screen.

Almost Famous: "You cannot make friends with the rock stars!" Hoffman (as real-life music journalist Lester Bangs) warned the young, impressionable, doe-eyed 15-year-old writer who came to him for advice. I'll keep that in mind when Clooney discovers this site. This is one of many examples of Hoffman making the most of very little screen-time.

Capote: He lost weight, altered his voice, and ultimately won the Oscar. It's easy to see why. As always, Hoffman completely transformed and immersed himself in the role of the controversial author and screenwriter who bragged about his 94-percent recall – his ability to memorize that much of every conversation.

The Ides of March: The uneven "Ides" features a dream cast, but it wasn't George Clooney, Ryan Gosling, Paul Giamatti, or Marisa Tomei who drew me to the theater – I bought a ticket because of Philip Seymour Hoffman. Specifically, his incredible scenes about loyalty and choice: "There's only one thing I value in this world, and that's loyalty. Without it, you are nothing." and "It doesn't matter what you thought. It matters what you did. It matters what you didn't do." Simple dialogue, yes, but incredibly effective and powerful coming from Hoffman. He was always able to shine, even when the movie – like this one – wasn't as good as he was.

There are so many others I could name. Too many! Everyone has their own favorites.

One example: "I have to tell you about this weird movie I saw!" I've heard that sentence more than a few times from friends eager to recommend something they have discovered. They're excited, anxious to tell me, because no one else could have possibly seen this! At this point, I already know exactly what they're going to say. Always, inevitably, they're talking about "Happiness" – a bizarre, unsettling film starring Hoffman, written and directed by Todd Solondz (perhaps best known for "Welcome to the Dollhouse"). I still haven't watched it myself, but I will – one day.

I've also shared many a laugh with friends over the physical resemblance or similar attitude between a Hoffman character and someone we know personally. Whether it was "Along Came Polly," "Charlie Wilson's War," or – gulp! – "Happiness," such comparisons were possible because his acting was so natural, realistic, and truthful.

Philip Seymour Hoffman was only 46 years of age when he died. He left behind an incredible cinematic legacy – and a long line of future roles that will now never be.  

Remembering Paul Walker

Beyond "The Fast and the Furious" Paul Walker Had a Rich Body of Work

By Chris Sabga

Paul Walker's untimely death on Saturday after a tragic car crash and explosion shocked everyone. He was only 40 years old.

Of course, he's best known for "The Fast and the Furious" series of films. I have to confess: I still haven't seen any of them. That's become something of a running joke among my circle of friends: Every time a new installment comes out, I have to decline an invitation to see it with them because I still have to catch up.

Despite that, Walker still managed to become one of my favorite actors. After all, he did so much more than just the "Fast" flicks. Here are five of my favorites – some you might have seen and others you may not be familiar with.

Eight Below: Anyone who dislikes this movie has a heart that's too hard and isn't someone I want to have anything to do with. Paul Walker plays a sled dog trainer who is forced to leave his canine babies behind in the unforgiving Antarctic cold but never gives up on their rescue. The bond between Walker and the animals is completely believable and heartfelt.

Noel: Christmas movies either work or they don't. "Noel" works. Surrounded by a stellar cast that includes Susan Sarandon, Penelope Cruz. Alan Arkin, and Chazz Palminteri, Walker is one of the highlights.

Running Scared: "Running Scared" is beloved among Paul Walker fans for good reason: it's a fun, stylish action film that never fails to entertain. But it also delves into some dark, serious territory, which makes it more memorable than most in this genre.

Into the Blue: This is just pure escapism – an absolute blast to watch. Jessica Alba looks incredible in a bikini, Paul Walker probably has the same effect, and Scott Caan and Josh Brolin come along for the ride. What's not to like?

Vehicle 19: People expecting the wild car chases found in the "Fast" franchise might have been disappointed, but this tense thriller was one of the biggest surprises of the year for me. Walker is superb at conveying a desperate mixture of anger and panic. (Full review)

Those and the "Fast" films only scratch the surface. Walker left behind a full body of work. "Joy Ride" and "The Skulls" are also much loved by his fans. I plan to eventually see his other 2013 films, "Hours" and "The Pawn Shop Chronicles," as well as slightly older ones like "Takers."

His final film appears to be the upcoming "Brick Mansions," which is scheduled for release in 2014. Assuming the cast list on IMDB is in the correct order, the other lead actors will be Robert Maillet (former WWE wrestler Kurrgan) and RZA. I'm excited!

No matter the role, Paul Walker always came across as completely genuine. That was his biggest strength as an actor.

This great article on EW.com recounts Walker's efforts as a marine biologist, racecar driver, sportsman, father, and humanitarian. He was involved in a relief effort for Typhoon Haiyan the day he died.

Remembering Roger Ebert

The Legendary Pulitzer Prize-Winning Film Critic Dies at 70 (1942-2013)

By Chris Sabga

"So on this day of reflection I say again, thank you for going on this journey with me. I'll see you at the movies." – Roger Ebert's final written words, posted on April 2, 2013, just two days before his death

__

I was only a little boy when I found Roger Ebert. Like most of you reading this, I discovered him through "Siskel & Ebert." They praised the movies they liked by raising "Two Thumbs Up" and dismissed the ones they didn't with "Two Thumbs Down." Even better was when they disagreed and their thumbs went in opposing directions.

I was instantly fascinated.

They were so intelligent and entertaining about my favorite topic in the whole world. They took it seriously. The show seemed like manna from Heaven to me and I watched it religiously.

In addition to their lively debates, "Siskel & Ebert" also featured short clips of the movies they were reviewing. That was a big deal in the '80s. Remember, there was no internet or YouTube back then.

One of my favorite moments on the show was when Roger started yelling at Gene for always insulting his weight (I believe the movie they were reviewing was "Heavyweights"). I was instantly taken aback because it was so raw and real – unlike most of what was shown on television then and now. There were many such moments throughout the history of the program.

Somewhere into the early-'90s, my mother came back from a thrift shop with a gift for me: the 1989 edition of "Roger Ebert's Movie Home Companion." The book was several years old by then, but that didn't matter. I was completely blown away. At the time, I had no idea that he even wrote reviews, or so many and so well. As much as I loved Ebert as a TV personality, his writing was on another level entirely.

My favorite Roger Ebert quote is: "It's not what a movie is about, it's how it is about it." That philosophy enabled me to enjoy films about gay cowboys ("Brokeback Mountain"), male ballet dancers ("Billy Elliot"), and various other subjects that I would've otherwise had little interest in. A good movie is a good movie; it doesn't matter what it's about, just how it's about it.

"Siskel & Ebert," and later Ebert's writing, showed me that there was more to the movies than just the flashy blockbusters everyone already knew about. They encouraged moviegoers to seek out those under-the-radar hidden gems just beneath the surface – yes, the silver screen surprises. In that way, this site owes an enormous debt to both Roger Ebert and Gene Siskel.

The first example of many, for me, was hearing about "Before Sunrise" on "Siskel & Ebert" and later reading about it one of Roger's books. The premise is simple but tantalizing: two young people meet on a train and spend the evening together in Vienna. It was years before I could get my hands on it. When I finally did, on DVD, I wasn't disappointed. There was – and remains – nothing else quite like it (except for the wonderful sequels).

In addition to spotlighting movies, Ebert also championed his own critical influences – such as the sharp, biting wit of Pauline Kael, whose work and legacy live on as a result.

Of course, Ebert wasn't always right. In one controversial instance, he famous decried that video games could never be art. The truth is, just like the movies, most of them aren't but a few of them are.

I didn't agree with his reviews 100% of the time either – of course not – but you always knew where he stood. He had a soft spot for sci-fi (for example, he liked "Minority Report" somewhat more than I did) and movies about African-American issues (except for Tyler Perry). He was very open when it came to his own views on religion, race, and politics; they influenced his feelings about a film, and he admitted it. He never pretentiously pretended to be speaking on behalf of some "universal" voice; he brought only his likes and dislikes to everything he covered, and that's the way it should be. 

He could brilliantly dissect a movie. One of my favorite reviews of his was of the 2003 John Travolta film "Basic." I walked out of the theater on cloud nine. I loved it. Roger Ebert had the opposite reaction. In his review, he very precisely laid out what he felt didn't work about the movie. Even though we were diametrically opposed in our opinions, I understood exactly where he was coming from. It was great, logical writing.

Ebert was also way ahead of the curve about the 2009 Nicolas Cage movie "Knowing." It has a 33% "Rotten" score on RottenTomatoes.com – and a four-star review by Roger Ebert. He was right. It's not a perfect film, but it is pretty damn fantastic. I think history will validate his opinion.

He also had great taste in food. He loved Steak 'n Shake. "If I were to take President Obama and his family to dinner and the choice were up to me," he wrote, "it would be Steak 'n Shake – and they would be delighted."

His passion was such that he even wrote a cookbook – "The Pot and How to Use It: The Mystery and Romance of the Rice Cooker" – long after cancer had eroded his jaw and he was no longer able to speak or eat normal food.

Indeed, he wrote about much more than just movies in his final few years. His two pieces on loneliness – "All the lonely people" and "A meeting of solitudes" – are absolutely spellbinding.

I could throw around words like "tragic" to describe the medical issues Roger Ebert endured, but I'm not sure he would have approved of anyone's sympathy. He always wrote about his illness in such a straightforward, matter-of-fact way. Whether or not he would have agreed, his attitude and approach were admirable.

His health had been waning for over a decade, but his death still came as a sudden shock to most of his readers. Only two days before he died, he wrote about his plans for the future. He was going to take "a leave of presence" but that didn't mean he was going away. He still planned to write select reviews, and he was even working on launching a new website, Ebert Digital.

The last two reviews Roger Ebert posted while he was still alive were "The Host" and "From Up on Poppy Hill," both on March 27th. They each received two-and-a-half stars, which would ordinarily be a "Thumbs Down." His actual final review – yet to be published – was for Terence Malick's "To the Wonder." According to RogerEbert.com editor Jim Emerson, it was given three-and-a-half stars – thankfully a "Thumbs Up."

The world of film has lost its greatest advocate, and I've lost a major part of my childhood and life.

The balcony is closed.

R.I.P., Mr. Ebert.

Remembering Conrad Bain

TV's "Mr. Drummond" Dies at Age 89 (1923-2013)

By Chris Sabga

Obituaries won't be a regular feature of Silver Screen Surprises, but I couldn't resist writing about my all-time favorite TV dad. If you had a housekeeper and her dying wish was for you to take care of her kids, would you? Me neither. But Mr. Drummond did!

Indeed, Conrad Bain is best known for playing Philip Drummond from 1978 to 1986 on "Diff'rent Strokes." Most actors feel resentful when one film or TV show of theirs overshadows everything else they've ever done, but Bain seemed to have a good attitude about it. He even reprised the role of Mr. Drummond in a 1996 episode of "The Fresh Prince of Bel-Air."

The concept of "Diff'rent Strokes" – a rich white millionaire takes in two orphaned black kids – was groundbreaking. To be sure, it was probably an implausible scenario for the 1970s – but the best films and TV shows have always presented the world we should live in, not the one we actually do. In any other actor's hands, this concept might have been doomed to failure. Bain, however, infused Mr. Drummond with just the right mixture of class, warmth, and love.

Conrad Bain was also masterful at expressing righteous indignation, of which there was plenty to go around in retaliation to the startled reactions Mr. Drummond's unorthodox family received back in the late-'70s and early-'80s.

The best example of this occurs very early on, in only the third episode of the show, "Mother's Last Visit." There, Mr. Drummond's mother (played with unrestrained bigotry by Irene Tedrow) cannot help but recoil at the sight of her son's two new children – his two new black children. By the end of the episode, Drummond puts the old racist biddy in her place and defends his newfound family's honor.

Unfortunately, no article about "Diff'rent Strokes" can avoid mentioning the real-life problems its younger cast members suffered during and after the show's run. Okay, consider it mentioned.

While most of Bain's work was in live theater and television (most notably, he played Dr. Arthur Harmon for six seasons on "Maude"), he also co-starred alongside Meryl Streep, Shirley MacLaine, and Dennis Quaid in the 1990 film "Postcards from the Edge."

Bain's daughter Jennifer told TMZ that her father was "a lot like Mr. Drummond, but much more interesting." His TV son, Todd Bridges (who played Willis), considered him a "father figure" and said in an interview that they were "looking forward to celebrating his 90th birthday next month."

IMDB.com: Conrad Bain's full body of television and film work