This hokey mess is notable for two reasons: it's the very first movie in which the Steadicam was utilized (Brown operated it), and its every scene can put anyone to sleep in a matter of minutes. David Carradine was an invariably terrible actor, even when portraying a vapid folk singer, MAAAAAAN.

A good performance by Lawrence Olivier in the desperate twilight of his career can't help Dustin Hoffman's obnoxious overacting and a terminally moronic script. In a long line of awful movies about retired Nazis, this has to be the worst. Nonetheless, a few scenes are very smoothly shot...!

The movie that made Hollywood's favorite horse-toothed psychopath a star is actually very nicely shot and performed. Busey is excellent and almost unrecognizable as the short-lived pop star.

Here's another flagrant celebration of American artlessness and self-congratulation. It's great, if you can get past the fact that every one of its characters is totally unappealing, that nobody in the cast can act to save their lives and that the story is comprised exclusively of moronic contrivances. It's nicely shot, though.

There's no better use for hallucinogenic drugs and an isolation tank than temporary backward evolution.

De Palma's flawed, eye-popping remake of Antonioni's "Blow-Up" is short on substance, but terrific to look at!

A bunch of fresh-faced future movie stars defend their claim to a military academy in one of the most pretentious films of the '80s. George C. Scott always turns in a good performance. I don't know what else to type.

Something about an orphaned firecrotch and bald Albert Finney, both of whom frequently break into song. I don't really know what to type about movies that were shot on a planet that I'm not from.

Scorsese's oft-misunderstood black comedy concerning the exploits of NYC's most inspired loser isn't just hopelessly funny. Under the deft handling of DP Fred Schuler and editor Thelma Schoonmaker, this is about as expertly shot and cut as anything else Scorsese filmed. Here, Brown collaborated closely with fellow Steadicam and panaglide operator Ted Churchill for the fourth and last time.

This was marketed as a celebration of feminine and Jewish identity; in reality, it's just a celebration of Barbra Streisand, who helmed, produced, co-wrote, staged and starred in it. At least her ambition and boyish charm can't be denied, nor can her excellent choice in cameramen: Brown, fellow Steadicam enthusiast Toby Phillips and indestructible veteran John J. Campbell.

It could be argued that this is Allen's best film. It's certainly one of his nicest productions; the exterior Steadicam shots are flawlessly executed and capture all the energy of Michael Caine's lusty, clandestine impulses!

John Carpenter protégé Nick Castle wrote and directed this very sweet, very corny, very sad fantasy about teenage alienation and loss. A capable cast is complemented by some extremely refined photography.

I can think of no worse film to tackle a queer issue than this pandering, spineless, politically correct thing. Megahack Jonathan Demme is the luckiest man alive, to be permitted to work with legends like Brown and DP Tak Fujimoto.

Its weakest scenes epitomize Scorsese at his bloated worst; its strongest feature some of the best photography that I've seen in a Hollywood picture, masterfully guided by Brown and Steadicam mainstay Colin Anderson.