You're a Big Boy Now (1966) Online

I wrote the novel upon which this film was based, I worked on the various scripts with Francis, and I was present throughout the filming in New York. An amazing experience. Coppola had been working for a year with MGM writing scripts for them (he had got this job as a result of winning a nationwide literary competition) and had scripted Is Paris Burning? and Patton Lust For Glory, both of which Gore Vidal was supposed to be writing but Coppola travelled to Paris to help get scripts out of him. He had also written the screenplay of This Property Is Condemned, based on a Tennessee Williams short story, and (apart from the magnificent helicopter shot which starts the film) thought very little of it.

For full details of the filming of this first real Coppola movie see my memoirs Dropping Names which is available from my website www.davidbenedictus.com Oh and by the way clips of Dementia 13 which Coppola filmed in a couple of weeks in Ireland (he mentioned to me some nudie films which he may or may not have directed but Dementia 13 is probably his first acknowledged work) are used several times throughout You're A Big Boy Now (I imagine he didn't have to pay copyright on them!) and they look powerful to me.

A sad memory is that Elizabeth Hartman who plays the sexy man-hater with great precision and style was to have a serious nervous breakdown after the end of her marriage and threw herself out of a window to her death. She was some actress and you may have seen her in The group and A Patch Of Blue (opposite Sydney Poitier)

What we have here is an early F.F.C. effort (he also wrote most of the screenplay).You can see the genius that is later to come.

Here's a confused, virginal young man, constantly picked on by his over-bearing parents, trying to find his way in the world of New York City. Bernard is his name and just watch what he does with initials he spots.

The gal that wants him he doesn't want, and the gal that he wants doesn't want him. Got it straight? No wonder this is turning into a "cult" film.

The acting is first rate in a lot of places. Geraldine Page is always great and Rip Torn can handle most roles. Julie Harris was "perfect" as Mrs. Thing (honest, that's her name). Speaking of names, the part played by Lisa Hartman is Barbara Darling, a would-be actress who dances in a go-go club at night.

Watching Bernard weave his way through conniving co-workers and the strange behavior of Miz Darling, is worth the price of admission.

I always wonder who writes these critiques for IMDB, and should I trust them? For that reason,I'd like you all to know that I am a male senior citizen, but this movie made me feel 18 again. You'll find yourself running into similar things that happened to you in your youthful pursuits.

You could do a lot worse taking a chance on a movie.

About 15 minutes into this quirky film I was ready to proclaim it a must see and to bill it as the best movie no one has seen or even heard about. After all it was Coppola's masters thesis for film school. It has Elizabeth Hartman successfully playing against type as a sexy (somewhat psycho) Greenwich Village ingénue. It has Peter Kastner, Rip Torn, Geraldine Page and Julie Harris playing characters more bizarre than anything in "Harold and Maude" (it reminds you a lot of that film and may have inspired it). It has Karen Black doing a toned down version of the Rayette Dipesto character she would play in "Five Easy Pieces". It has a lively sound track by the Lovin' Spoonful. It even has Coppola cutting in extensive gruesome footage from his first film "Dementia 13".

Unfortunately by the halfway point of "You're a Big Boy Now" it totally runs out of steam and you begin to understand that its obscurity is well-deserved. Coppola's script is the problem because the cast are generally excellent and you can tell they had a lot of fun making the film. Even minor cast members like Dolph Sweet do a good job and there are great little sequences like Kastner's after dark explorations of the New York City streets. But unlike "Herald and Maude", Coppola says nothing with this film; consequently it ends up as a classic case of the whole being considerably less than the sum of its parts.

I am not in love with Coppola as a director, but even those who are will acknowledge the incredible distance between his good stuff and the vast majority of his films. This is not his good stuff but is worth checking out if you like Hartman, Harris, and Page.

I found this to be an excellent, fun 60's movie and think it represented the 60's very well. I saw it back then when I was a preteen and the extremely talented and tragic actress Elizabeth Hartman (who looks totally different, in this, than she did in Patch of Blue) plus the song "Darling Be Home Soon" ( a beautiful, and haunting song) by the Lovin Spoonful made it unforgettable! I would love to see it again as I have forgotten a lot of it but those 2 things made a lasting impression! I agree with a previous poster that it was great that Elizabeth Hartman was given a chance to play a part other than plain looking women and this was definitely the total opposite of some other roles she had.

One of my VERY favorite movies, but then again I grew up on the Upper West Side of Manhattan in the 1960's and very much identified with the lead character, Bernard, when I saw the movie in 1966 at 13. Touching, funny, terrific Broadway cast and very well done especially considering the minuscule budget Coppola had to work with. I can imagine Mayor Lindsay's involvement, allowing Coppola to interrupt the Times Square "crawl" and to shoot in the NYC 42nd St. Library. Check out Coppola on "Inside the Actor's Studio" on Bravo talking about this film. He said he wanted to make a movie about the two best things in life; young love and hot pretzels!

One of the great weird movies of the 60's. Anybody who loves movies of the 60's, and has missed this, has a monstrous gap in their viewing pleasure. The views of NY from that time period bring back all kinds of memories to me. There are brief pictures of Steeplechase Park and Coney Island. The cast consists of so many interesting actors/actresses: the tragic Elizabeth Hartman, the well-named Rip Torn, Tony Bill, Karen Black, Julie Harris. The person who didn't like this movie, will I guess he/she is just not into this cult classic. This movie was on my very short list of movies-I-MUST-see, and I thank goodness for IFC for showing it.

One of the few times when the late Elizabeth Hartman gets to play as somebody other than a frail, mousy girl. Since her Oscar Nominated performance in "A Patch of Blue," Hollywood always seemed to want her to play vulnerable, handicapped women, or vulnerable women of some sort. This time, she plays a bitchy, egotistical, man-hating actress/go-go dancer, who wins the heart of a young library clerk, played by Peter Kastner. The kind of character, who could probably be the inspiration for a riot grrrl band.

Besides that, I'm a Native New Yorker, so I've got a natural attraction for movies filmed in New York City, and the rest of the tri-state area. Biff Rules!

A coming of age film centering on a young man's longings and fantasies for his dream girl whom he sees in the New York Public Library's main branch. This comedy-drama is so spotty it is often infuriating but still worth seeing. The lead, Peter Kastner, is forgettable, but his father played by Rip Torn, head of incunabula (see the movie and find out what it is!) at the library, is hilarious; the fight scene with Julie Harris is marvelous. The opening scenes show the behind the scenes goings on at the great library and even where all the books are stored, which the public can't see. Karen Black did a fine and affecting job as Kastner's girlfriend. On the negative side is the lovely Elizabeth Hartman coming off her big success in "A Patch of Blue" with Sidney Poitier. She is supposed to be the cool and detached object of longing - but is as vapid and empty as any character could be, and in part this has to be the fault of the direction of Coppola. This is a significant problem with the film. Hartman was very tragically an apparent suicide in 1987. The movie does have enough in it warrant a viewing.

I remember the day I bought the movie for $2 in Bennington, Vermont. I was in a bad mood that day. I read on the back of the VHS box how this was FFC's master's thesis at UCLA and thought that it could be a cool viewing. I watched it later that day and it changed my mood to great, and it became my favorite movie.

Some of the sequences and lines and maddeningly dizzy and dizzyingly mad. The names and objects and places Bernard gives to initials is wonderful. Barbara Darling dancing up in that cage in the underground club! The music (Darling Be Home Soon is a masterpiece)! The cinematography! The deliverance of sexy lines! (Hair?! You collect, hair!?"). Del Grado's poetic musings on life (funny where they got him ...). The views of 1966 New York City, pre-World Trade Center.

I've seen it about 50 times always trying to figure out the theme, and I still haven't come up with one, although, Bernard goes from a milk-spilling virgin to a maturing lad who finally opens his eyes to life and stops spilling milk.

That $2 VHS copy is gone. I wish I could find another copy, or, one on DVD.

It's the most dizzy, maddeningly wonderful sexy piece or cinema I've seen, or ever will experience.

So is there a way to find love with a woman like Amy Partlett with streaks of Barbara Darling that run through her veins? (And no, I don't collect hair, and stopped spilling milk years ago).

This film, sadly, has been lost in the forgetfulness of time. I happily found a copy of it on the Internet and just watched it, after waiting 47-years since my last viewing in 1966. It was a fresh and funny as that day I first saw it as a crazy, hormone-driven teen. As I watched it, I marveled on just how "ahead of its time" it actually was, and how many great films have stolen so many of its artistic riffs, so many of them redolent of the Swinging Sixties and all of the wild, drug-fueled looniness that characterized that brief period of time. I realized that without this seminal film, there probably wouldn't ever have been a "Graduate," or even a Dustin Hoffman. To see the great character actors who have gone on to spectacular careers in the many years since was especially thrilling to see, including Geraldine Page, Rip Torn, Tony Bill, Julie Harris (would there ever have been a "Thing" in The Men in Black without a "Miss Thing," curiously starring a much older Rip Torn?) and the always solid Karen Black in her first screen role. It's absolutely amazing how many of Coppola's early films have launched such stellar careers. But perhaps this wonderful film owes so much of its depth to the co-starring role portrayed by the luminous Elizabeth Hartman, who's twisted and soulful performance remains one for the ages. If you smoke pot or occasionally do "harder things" that have a propensity to expand the mind, this is suggested viewing in any case. This movie wonder is a perfectly hilarious, perfecting engaging, perfect little film. Catch it if you can.

P.S.— I nearly forgot to give Honorable Mention to the superbly crafted soundtrack by the iconic 60's pop group, The Lovin' Spoonful. Long before it was fashionable for rock groups to create music for film, the Spoonful did it, and did it more than justice... it was perfect. I just downloaded the song, "Amy's Tune" ("Lonely"), and am enjoying it as I write this review... ah, for the halcyon daze of my youth.

Such a great movie. Francis Ford Coppola's early comedy is nothing like his later, full-bodied epics, but it's certainly very entertaining. Peter Kastner is a 19-year old, essentially thrown out into the world by his bombastic father Rip Torn...all to the horror of his clinging mother Geraldine Page. Kastner gets a lot more than he bargained for from wacky landlady Julie Harris (as Miss Thing), extremely misinformed co-worker Tony Bill and insane actress Barbara Darling (an uncharacteristically sexy Elizabeth Hartman). The movie is hilarious with every single actor totally in tune with Coppola's acerbic take on life circa 1966. Karen Black plays the only sane character so you know this is a very different movie. There are great songs from John Sebastian including DARLING BE HOME SOON.

This movie is flawed,frustrating and...fun. What energy! What a supporting cast! What a cool score from the Lovin' Spoonful(not just "songs by")! But,yes,it is bizarre,especially for a mainstream film. It's bizarre in the way that "Harold & Maude" is bizarre. And if you think that H&M works,give this a chance.

I just emailed TCM to think about doing a 1968 retrospective,as they are doing for 1939. I'm not saying that the films of 1968 were more important that 1939,but'68 is the pivotal (post WWII)year for America. Movies,films,even TV was changing and in some ways we're still trying to figure out what happened. "Big Boy" was the coming of age movie that never got its due while hundreds of thousands of Babyboomers were indeed coming of age.

I first saw this movie in a British seaside flea-pit - on the strength of just the title - when I was 13. It enchanted me so much, I traveled back there every night for the rest of the week, just to see it again and again.

Despite being very much a "New York Movie", it's themes are universal and as a young lad of 13, I REALLY identified with the 19-year-old hero (Americans are less mature than we Europeans).

At that time, I only knew F.F.C. as the director of "Finian's Rainbow" (a VERY different project) and of course, he had yet to do "American Graffiti" (ANOTHER of my Top Ten).

I have this masterpiece on VHS and the soundtrack album (in mono) on vinyl and they STILL stand up today. I think people who dislike this movie are expecting another broad relationship comedy - but the comedy is very SUBTLE, obviously being lost on those who see it as just another "Young Man's Awakening" movie.

But that aside, this is a charming, VERY Sixties look at teen-angst from the viewpoint of a central character who has JUST LEFT the bonds of home (so many feature ones who are still STUCK there). And as one who would shortly leave an English small town for life in London, at the HEIGHT of the "swinging" era ('67-'72) this movie was LITERALLY a life-changing experience for me.

And few of my Top Ten movies can claim THAT.

You probably never heard of this film--there's a good reason why.

19 year old Barnard (Peter Kastner) is on his own in NYC and obsessed with girls. He's extremely attracted by a beautiful, but cruel, actress named Barbara Darling (Elizabeth Hartman) while sweet, nice Amy Bartlett (Karen Black--supposedly her film debut)likes him. Then there's his domineering parents (Rip Torn, Geraldine Page) and his holier than thou landlady named Miss Thing (Julie Harris!).

As you can tell this is not an ordinary coming of age tale. Great acting by everybody, but this film is very much a product of its time. It's very strange, very quirky and throws in psychedelic images, drugs, sex, horrible fashions and hairdos with fast inter cutting and voice overs--basically, a good example of 60s independent, extremely low-budget films. Looks nothing like a Coppola film.

I didn't really like it. With the exception of Amy, all the characters were annoying, the comedy was very cruel at times and the flashy camera-work really wore me down. A big bomb when it was released and how often do you hear Coppola gloating about this one?

Worth seeing just for the cast (Black is so young!) but don't except much. A must for 60s fans and Coppola completists.

Peter Kastner passed away at the age of 64, of a heart attack in Toronto, Ontario, where he had been living for a few years with second wife Jenny. He had been performing his original songs and playing the guitar and banjo in clubs. He is on You Tube, just type in his name. He will be sadly missed.

Besides his wife, he leaves behind a stepdaughter and 2 grandsons.

There is a Toronto Star obituary that contains a number of untruths about him, and which his wife has corrected in the Toronto Star online.

Mr. Kastner was a very creative person, and at one point was an English teacher & mentor to his students. He was the oldest of four siblings, who have all been creative in some way.

This is pretty much a lousy unfunny movie, but it's got Karen Allen and Rip Torn and Geraldine Page and is directed by Francis Coppola. The movie moves, and makes absolutely no sense. There is no way to relate to the totally geeky kid who stars in this flick. However, much of it was filmed outdoors in New York City in 1966, and for those of us who live here, the difference between then and now is stark, and makes the flick worth watching. For example, the kid roller skates to work, and one scene is quite extended and rolls through lots of familiar Manhattan streets. The most shocking scened is when he goes past Penn Station, which no longer exists. At the moment when the film was shot, the front facade of Penn Station was still standing, and behind it, Madison Square Garden was rising.

I froze that frame to stare at it. I couldn't believe that such a moment in architecture actually existed, leave alone be preserved on film. The scenes in Central Park are fascinating to compare the brown and yellow grass/dirt of yesteryear with the verdancy of today's park. The park was on a downward cycle at that time, later to be saved by the Central Park Conservancy.

It's wild and raucous and dopey, but it shows a great deal of creativity with settings and a camera that moves with or against the actors. It's skillful and fascinating and utterly meaningless, but it's history.

Despite being directed by Francis Ford Coppola, "You're a Big Boy Now" has pretty much been forgotten in the fifty years that have passed since it first played in theaters. After watching it, I think I have a grasp on a possible answer for why it's drifted into obscurity. I'm not saying it's a bad movie. The movie does capture the era quite well; those wanting to learn about styles and other period details will find the movie handy. Also, Coppola directs the movie with great energy throughout, from bizarre camera angles to offbeat performances.

But while the movie is directed with gusto, it doesn't manage to mask a big problem with the movie. The first half of the movie is really slow going with the story. Sure, the direction hides this thin story for a while, but eventually you realize that not much of substance is actually happening. Things do start moving after the halfway point or so, but it's kind of hard to get involved with what's happening because none of the characters are really all that sympathetic. Even the hero fails to arouse sympathy, because he is for the most part a real spineless wimp. The fact that all the performers give really broad performances doesn't help. In the end, the movie can only be recommended to people with real special interest in Hollywood filmmaking from this period, and even they might find it tough going at times.

The most famous movie to look at the younger generation's disillusionment with the American way of life is "The Graduate", but Francis Ford Coppola's "You're a Big Boy Now" also offers some insight. The young protagonist is a character very much like Ben Braddock: born into an affluent family that plans for him to be a big success. But this young man actively seeks out a new life, and he befriends a go-go dancer...but that's not all.

A lot of the humor is cutaway humor. In the end the movie isn't a masterpiece but has some funny stuff. It's sort of a cross between the zany comedies that dominated the '60s and a Woody Allen movie. One of the most interesting things is the soundtrack. The Lovin' Spoonful did the music, and it includes some songs - among them "Amy's Theme" - that I had heard but never knew whence they came.

I recommend the movie. It's a perceptive look at the youth culture, and also at mid-'60s New York. We even get shots of movie theaters running noted movies of the era! It's really a movie that you gotta love. I bet that when "The Godfather" debuted, people were shocked that it was directed by the same man who directed "You're a Big Boy Now".

And remember, wooden legs and aggressive chickens.

The movie's mainly a matter of taste. There's no real narrative or exchanges of dialog, while the characters are more humorous caricatures than real people. Still, the cinematography is dazzling, probably too much so since FFC appears obsessed with the spiraling effects. These, however, do lend the film a free-spirited sense of freedom that young Bernard (Kastner) is confused by, having been kept on a tight parental leash. So, the theme, as much as there is one, is very much a 60's one— how to break free of stifling convention. In Bernard's case, it's more like simply understanding what it is that's stifling him.

The biggest mystery to me is how FFC assembled such an outstanding Broadway cast—Harris, Paige, Torn—for a Master's Thesis. And who's inspired touch is that "attack chicken" that bedevils the girls, or the Neanderthal cop who's never off duty. Anyway, if you're not insisting on a conventional style and are willing to put up with some pretty self-indulgent passages, the movie may have genuine appeal, especially for those either nostalgic or curious about the free-wheeling 60's.

hard to rate: pretty good for a film school thesis? how about an 11; cinema to study as a precursor to several great films? maybe a 5 or 6; as a movie, just a movie, maybe 3; two big problems: story is loose, too often sophomoric, too much filler dialog of no help, never defines the main character, sometimes nerd, sometimes rube, adventurous and off to a new life, a wimp who reports to daddy; worse problem, the actor who plays him, kastner: no screen presence, often unpleasant, beady expression in closeups where he's supposed to be interested, thinking; in drawn out tours of Manhattan, watching him watch NYC, no reason to care; when the locations overwhelm the star of the movie you sense more trouble to come; it does; but, amazingly to me, he was nominate for bafta 'Most Promising Newcomer to Leading Film Roles' in '68, then went on to do mainly minor parts in minor TV series; somehow, film student Coppola got appearances from Geraldine Paige and Julie Harris, both at home with the camera, and a john Sebastian soundtrack; newcomer in small role that leaps out is Karen black, a natural; so settle on a 5- for the history of cinema, and glimpses like break to sepia and stills in a flashback become some of the great scenes in godfather 2

A pre Godfather film from Francis Ford Coppola, and one of his few comedies is an engaging film that exhibits an anarchic feel not unlike DiPalma's early films Greetings! and Hi! Mom! Talented Peter Kastner plays a nebulous young man who's moved away from home and now lives on his own in NYC. One of the highlights of the film is a surprisingly slinky Elizabeth Hartman as the sadistic Go-Go-dancer Kastenr gets entangled with; the film could use more of her. Vivid support is offered by Geraldine Page and Rip Torn are his parents, Julie Harris as his crazy landlady as well as a young Karen Black and Tony Bill. A scene from Coppola's B/W 1963 film Dementia 13 plays in the background at the multi-media club in the film. Too undisciplined for it's own good, You're a Big Boy Now is engaging and diverting and provides a look at New York City in the 60s. Page and Hartman co-starred again in Don Siegel's The Bequiled (71).

This movie was very boring and made really no kind of sense to me at all. It's about this ugly, gap-toothed, 19 year old guy who doesn't know much about girls and when he moves out on his own, he decides to see what girls are like. He walks around Times Square and ends up at a peep show. Elizabeth Hartman plays an actress who's also a go-go dancer in whom the ugly guy gets a crush on after watching her dance at a club one day. She decides to mess with his mind by inviting him to move in with her and gives him some what of a thrill that night(Don't worry nothing happens she just turns out the lights, kisses him and then dumps him the next day. I just knew she wouldn't go that far). She then begins to date the ugly guy's friend whom she eventually dumps as well. You can tell she's an insecure person who loves to mess with guy's minds and then dump them. At the end the ugly guy ends up getting together with this cross-eyed chick who's had a huge crush on him throughout the whole movie. Thank God Elizabeth Hartman is my favorite actress. Otherwise I would've stopped watching this movie about 20 mins after it started. It was a bore!!!

At its most beneficial now as a fun time watching Francis Ford Coppola be a kid his first time in the sandbox on the ground floor of New Hollywood, this adolescent wet dream---in that it's a great time but not terribly memorable---is a young example of the modern story of a young man's anxious initiation into the big world as well as of the imminent counterculture awareness, not owing to a concentration on drugs or long hair but the insertion of the up-and-coming music, the hottest dance fads, and crisp social attitudes. As with The Graduate, there is the sensation of driving for something new other than the conformist, disappointing world of the socially safe adults. By now, though, we've hopefully become tired of the increasingly low common denominator movies about the induction of horny young men into the mores of sex. But first of all, this light, quirky sophomore directorial effort---following his requisite Roger Corman warm-up debut---was the pioneer of the bunch.

In late 1966, Coppola was a wunderkind green out of UCLA, and at the same time his second film is of the most base, commercial genre, it reflects Coppola's more scholarly influences, incorporating self-reflexive formal strategies originally conceived of in the European New Waves, and thus, well received by critics and the public alike. This, I think, is at the hub of most "new waves" in this country's cinema. Tarantino and Rodriguez made debuts twenty-five years later by taking on marketable genre plot exercises by fueling them an inimitable mix of influences from their encyclopedic knowledge of cinema. Their favorite genres were of the raw, gritty grind house era that was to take advantage of the breaking of ground and opening of doors Coppola and his peers were revving up to do when he came onto the scene with You're a Big Boy Now.

This and The Graduate, the more mature film that would follow, concern young men and older women. They both spring much entertainment from the nebbishy youth's blunders, before the luckless boys quickly finish botching up and triumph over this chump called virginity. Nichols served Buck Henry's sharp, sophisticated, understated screenplay by creating the most refined comic atmosphere with brilliant cinematography. Coppola, rather, simply enjoys himself as director, and his film is awash with recycled sight gags, lively performances and a spirited soundtrack by the Lovin' Spoonful. I can't decide whether he's a kid in the sandbox his first time behind the camera or a bull in a china shop, as filmmakers are when they are passionately in love with the films they grew up with, the filmmaking process and film, period.

The bungling young man this time is Peter Kastner. He's ambushed consecutively by a cartoonishly emasculating string a caricatured female types: a don't-wear-shoes-after-Labor-Day-style mother, a jazzy landlady and a chops-busting brunet. Doubted by his father and deeply wounded by one of the sexy trifecta, in due course he's on speaking terms solely with the family dog, named Dog. Yeah. It's hit or miss. Coppola is often too self-conscious about being charming. His hero is too blameless and starry-eyed. The plot is too random. Mike Nichols was able to illustrate in The Graduate exactly how many promises this broad premise makes, and was also able to do that with such masterful restraint and technique. But hey, before Mike Nichols' masterpiece, how was anyone to see that? Meanwhile, we're entrusted with the query of how perfectly decent, attractive fellows like Big Boy and Benjamin manage to reach their mid-20s in such far-along phases of inexperience. Maybe they drone bemusing little maxims to themselves and keep busy with work and studies until they're assailed by the Mrs. Robinsons of the world. I can see how that was the prevailing male fantasy in media back then, and why shows and movies have continued to have a shade of underdog in their young male romantic leads in the ensuing generations, from these guys to the John Cusack, John Hughes and spring break movies, to Jason Biggs' penetrating breakthrough role, to the Judd Apatow comedies of today.

This is still another coming of age film, but it goes terribly awry.

Was this the only film that husband-wife Rip Torn and Geraldine Page ever worked in together? Nice to see that Page chose a comedy vehicle in her long career as a neurotic basket-case. Here, she is an over protective mother, who doesn't realize what her husband Torn is up to. I think this played real to their own personal lives.

What a difference a year makes. The year before Elizabeth Hartman was up for best actress as the blind girl victimized by her Oscar-winning mother Shelley Winters. This time around she is a go-go dancer who Pete Kastner, the very definition of a nerd, falls for; while at the same time,meeting his true-love- a girl from elementary school. Michael Dunn, so memorable in his supporting role nomination of "Ship of Fools," briefly appears here as the dwarf working in Hartman's nightclub. He is wasted here.

The film briefly shows urban bigotry with the nauseating writing in the subway station regarding a minority.

I saw it about 15-20 years ago and I really enjoyed it except for one thing, most of the characters smoked. If a movie like this was made today, it would draw a lot of fire from the American Cancer Society. To me, it was one of the smokiest movies I've ever seen.