A while ago, the movie websiteCinescene asked for opinions on "Hidden Treasures" -- "20 films you love that, in your opinion, don't seem to get enough attention from critics, filmgoers, or the world at large."



So instead of relaying the weekend's activities, here are my submissions. No time to add more links than what's already here, I'm afraid...



Ball of Fire (Howard Hawks, 1941)

I get the idea this is often overlooked when talking about Hawks. Stanwyck at her sexiest, and Gary Cooper, whom I usually find wooden, is at his most enjoyable.



Battle Royale (Kinji Fukusaku, 2000)

Truly hidden, at least in the US; the post-Columbine climate assured this hybrid of SURVIVOR and LORD OF THE FLIES did not get a distributor despite being less stomach-churning than, say, Takashi Miike's work. In a reaction to escalated juvenile violence and delinquency, once a year a classroom of students is shipped off to a deserted island military base. The kids are fitted with exploding neck-collars, given some provisions and one weapon, and are instructed to kill each other within three days. Last one standing gets to re-enter society. Excellent dark-comic action; worth digging around for.



Before Sunrise (Richard Linklater, 1995)

A straight description of this film is unlikely to attract the skeptical. Suffice to say it's one of the best, most believable, and most unconventional screen romances.





The Big Snit (Richard Condie)

The only short on my list. Without giving too much away: a couple plays Scrabble and gets into an argument, oblivious to the goings-on outside. By no means a technical masterpiece, it never fails to make me laugh A LOT, despite my tape almost being worn out.



Clueless (Amy Heckerling, 1995)

It's hard to argue that something this commercially successful was in any way "overlooked" or "hidden," but I think Clueless is overlooked as a literary adaptation. I thought it showed more affection for the source material than many movies in the "Classics Illustrated" genre (most notably the anemic by-the-numbers 1996 Emma), and I particularly enjoyed how Clueless managed to turn that genre on its ear. Not that it should be shown in schools or anything.





Dames (Ray Enright, 1934)

The fine FORTY-SECOND STREET gets all the attention when discussing Busby Berkeley, DAMES' story is just as thin, the songs are at least as memorable, the cast is largely the same, but DAMES has more elaborate musical numbers, especially the title song and the hallucinatory "I Only Have Eyes For You."



Delicatessen (Jeunet & Caro, 1991)

(Marc Caro & Jean-Pierre Jeunet, 1991)

I'd been down on French films most of my life, mainly because I hadn't yet discovered Clouzot, and I still haven't invested much time in Truffaut or Godard. I thought French cinema was mostly unfunny sex comedies. Jeunet et Caro helped me look beyond that stereotype. Personal impact aside, I think it's a damn funny, visually stunning bit of Gilliamesque sci-fi.



Donnie Darko (Richard Kelly, 2001)

Kelly's screenwriting/directorial debut was produced and abandoned last year, but at least got a loving DVD tratment that may help it find the audience it deserves. I look forward to more from Kelly, Jake Gyllenhaal, and talented-beyond-her-years Jena Malone.



Hairspray (John Waters, 1987)

Hardcore Waters fans may cry sellout, but I prefer this one because: Waters finally had a somewhat personal story to tell, and finally had the budget to hire actors who could hold their own with the divine Divine. Then there's the soundtrack. And the dopey dances. And dodge ball. And of course, the hair.



Heavenly Creatures (Peter Jackson, 1994)

Restrained compared to his earlier energetic grossouts, Jackson get riveting performances from two unknowns -- Melanie Lynskey and someone you may have heard of called Kate Winslet -- and creates a fantasy world that surely got him the LORD OF THE RINGS gig. A fascinating true crime film, and still the pinnacle of Jackson's career.



The Hidden (Jack Sholder, 1987)

A deadly parasitic alien craves violence, fast cars, and loud rock. What's not to love? As an alien FBI agent on the killer's trail, Kyle McLachlan previews Twin Peaks' Agent Cooper, who was surely not of this earth either.



Kiki's Delivery Service/Majo no Takkyuubin (Hayao Miyazaki, 1989)

To call Miyazaki the "Japanese Disney" I think does him a disservice. Disney was largely a marketer and appropriator, not a craftsman. Also, that title keeps him in the anime/kiddie fare ghetto, while he deserves a place among the greats of Japanese cinema. Disney bought the rights to Miyazaki's work with Studio Ghibli a few years back but has only released two so far. Perhaps they're afraid of being shown up. As witches turn 13, they traditionally leave home for one year to establish themselves. Kiki moves to a seaside town and, as flying is her main skill, tries to establish a courier service. What we're given transcends both the babes/blood/bullets standard of most anime, and formulaic American kids movies. A young girl grows into herself and finds a place in the world. There's no big bad villain, no forced romantic interest. And not a frame that isn't breathtakingly beautiful.



The Life and Times of Hank Greenberg (Aviva Kempner, 2001)

This is the only documentary I can think of that is truly uplifting. Most documentaries make you sad or angry. This is not a bad thing; when you get outraged hearing the verdict in PARADISE LOST, or watching a father buy drugs in HOOP DREAMS, you can't deny the film's power. Comedic documentaries, like AMERICAN MOVIE or ROGER AND ME, have an aftertaste of condescension. But a documentary that leaves you with a good, honest happiness is a rare bird indeed.



Local Hero (Bill Forsyth, 1983)

Much has been made of what I guess is a new wave of UK comedies since, oh, 4 WEDDINGS AND A FUNERAL, but few compare to this gentle comedy from a guy who hasn't been heard from in the States in too long.



The Palm Beach Story (Preston Sturges, 1942)

To me, this is near-perfect screwball. The Weenie King is one of the greatest characters in all of cinema.



Pennies From Heaven (Herbert Ross, 1981)

Audiences fueled by The Jerk and Saturday Night Live appearances weren't ready to see Steve Martin do anything other than comedy. Certainly not tragedy. Or a re-imagining (before that became a buzzword) of the Hollywood musical. Exquisite set design and musical numbers serve a bleak, bleak story. Like Dancer in the Dark 20 years later, you'll either love or hate this, but should see it all the same.



Searching for Bobby Fischer (Stephen Zaillian, 1993)

I submit this is one of the best sports movies ever made. Ah, you say, but it's about a boardgame! Chess is not athletic and therefore not a "sport." Perhaps, but as a film, that's to SFBF's benefit: since chess isn't athletic, the film doesn't suffer the pacing plight of most sports films that crash to a halt when the on-field action stops. The film does feature what makes sports movies great, though, and depicts it all better than most sports movies: Raw talent under development. Enigmatic mentors. Burnout. Pushy parents living vicariously through kids. Matches filled with palpable tension. Add a stellar cast, led by Max Pomeranc giving one of the best child performances since Mary Badham in to Kill A Mockingbird. A film that never gets old for me. And I don't enjoy playing chess at all.



Wing Chun (Yuen Woo-Ping, 1994)

Michelle Yeoh slaps around the bad guys, defeats the cotton belly, keeps the tofu safe, and proves, long before Crouching Tiger, that she deserves to be huge.



Will Success Spoil Rock Hunter? (Frank Tashlin, 1957)

The only reason to check AMC's listings any more is to catch this gem now and then. The always dependable Tony Randall tries to recruit Jayne Mansfield for a new ad campaign, she's trying to make her boyfriend jealous, and that's more than I want to give away about this clever satire of the 50s ad world that holds up surpisingly well.



Zero Effect (Jake Kasdan, 1998)

Another buried-in-winter sleeper. Long before Tony Shalhoub played "Monk" on USA, Bill Pullman was Daryl Zero, an obsessive-compulsive detective assisted by the put-upon Ben Stiller. Quirky without being precious, this did get some attention once it hit video, but not enough, IMO.