I love the first two Batfilms, can enjoy Forever in spite of the downsides and studio meddling, enjoy the '66 film as it is the series super-episode. MOTP is the best onscreen interpretation despite the runtime and audience constrictions. If anything I find the Burton entries only grow stronger over time. Especially '89, as I’ve always felt Returns was the best thing he ever did. Admittedly I finally stopped finding Vicki annoying after realizing that Basinger was a very last minute replacement, was far better than her awful performance in NEVER SAY NEVER AGAIN, and also that I had grown used to the movie on the umpteenth viewing.
For some reason I quote these frequently without realizing it, and more and more people have no idea what I’m saying. Heck, I can’t even quote DIE HARD anymore. What is wrong with people? A samurai exhibit was being prepared at a museum, and I snuck up behind some people to simply say: “It’s Japanese…I know because I bought it in Japan…Bruce Wayne.” Blank stares. Of course it probably didn’t help that upon entering I found myself muttering “Gentlemen let’s broaden our minds…Laurence!”
Also the novelizations for the Batfilms are pretty good if you find them. You get the deleted bit from '89 with the horse chase to city central and drugged cops etc. Many slight alterations are restored, with Forever being a completely different and superior experience. And you all know how I gush over the added bits in the Begins novelization.
Hound of the Baskervilles '59
This is what I always start my Halloween viewings with. I don’t know exactly why, but I start late in the month and go into November. Possibly because I enjoy still viewing horrors when people are already going on about family/Thanksgiving etc.
Tight, taut and form the true classic period of the little UK studio that could. Greater emphasis on the “horror” aspects of the story but all in all something from a bygone age. Cushing is still arguably my favorite Holmes, Lee is in the hero role for one of the few times in his career, Watson is well represented, and there is the classic pairing of Jack Asher photography and Terrence Fisher direction.
One of the agonizingly few truly good Holmes films.