50-Plus Years of Hollywood's Coolest Movie Cars

50-Plus Years of Hollywood's Coolest Movie Cars


We are searching data for your request:

Forums and discussions:
Manuals and reference books:
Data from registers:
Wait the end of the search in all databases.
Upon completion, a link will appear to access the found materials.

Which are the most famous film cars? Vehicles have always played a central role in Hollywood—whether for police chases, drag races, spy maneuvers or just cruising the strip. Here are 12 of the most iconic four-wheeled film stars.

1932 CUSTOMIZED FORD MODEL B DEUCE COUPE

American Graffiti (1973)

Arguably filmdom’s most famous hot rod. Graffiti director George Lucas ordered the deuce coupe hugely customized to evoke the street rods he remembered from his youth. As the centerpiece of a movie that celebrated early-’60s California street-cruising culture, it sported bad-boy features like a chopped top, motorcycle front fenders, elongated exhaust pipes and a (visible) small-block Chevy engine fronted by a sectioned radiator shell. In the film, the town’s top drag racer, Milner (dressed James Dean-tough with a cig pack rolled in his white t-shirt sleeve), drove the rod up and down the strip with an unexpected teenybopper in tow. Of course, the canary-yellow coupe triumphed during the film’s climactic drag race. For decades after the film’s release, it was owned by a Graffiti fan who has exhibited it regularly at car shows. Replicas abound.

1963 ASTON MARTIN DB5

Goldfinger (1964)

James Bond’s bespoke British grand tourer wasn’t just suave. It was also menacing, which likely had something to do with all that supercool spyware: pop-out machine guns and tire slashers, rotating license plates, and a smoke screen and oil-slick sprayer that (temporarily) foiled the baddies in hot pursuit.

Most memorable? Its fully functional passenger-side ejector seat, activated by a button hidden on the gear-shift knob—an audience favorite despite the fact that the villain flung from it barely cleared the top of the car. In 1964, Corgi made a toy die-cast model complete with machine guns, an ejector seat, and a little toy bad guy to launch from it.

Read More: 12 of the Most Iconic Cars in TV History

The DB5 went on to appear in Thunderball, Casino Royale and many other Bond films, becoming synonymous with 007. Of the two DB5s actually used in the film (two others were used for promotion), the one originally kitted out with all the gadgetry has disappeared, stolen from a Florida airplane hangar in 1997. The other, used in road scenes and later retrofitted with the spy goodies, sold at auction in 2010 for $4.6 million.

WATCH: Full Episodes of The Cars That Built the World online now.

1963 MODENA SPYDER

Ferris Bueller’s Day Off (1986)

Ohhhh yeahhhh. Remember the Ferrari that Ferris so blithely borrowed from his buddy’s dad’s garage to play hooky in the city? The one with his girlfriend Sloan riding shotgun and his depressive pal Cameron jammed in the back? It was actually a Faux-rrari, a lovingly designed replica built in California, based on the legendary Ferrari 250 GT and fitted with a powerful 1963 Ford V-8 engine.

Director John Hughes commissioned three to be made for the film in just four weeks, according to former Modena Design partner Neil Glassmoyer, who built the cars. One was the “hero” version. Another, a non-running chassis on wheels, was the one that (oops!) busted backward out of its glass garage. (That one was ultimately bought for use as ceiling decoration in a Planet Hollywood restaurant.) The one driven for stunts—remember the wild-eyed garage attendant scorching down the ramp?—sold at auction in 2015 for $246,100, after undergoing a 10-year restoration by Glassmoyer.

1963 VOLKSWAGEN BEETLE (‘Herbie’)

The Love Bug (1969)

Disney auditioned Toyotas, Volvos and a few British sports cars before casting 11 Volkswagen Beetles to play the role of “Herbie” in Disney’s first Love Bug movie. A Disney producer chose Herbie’s racing number, 53, as a tribute to popular Los Angeles Dodgers pitcher, Don Drysdale.

Read More: The Cars That Made America

Mischievous and loyal, Herbie pops wheelies, gets drunk on Irish coffee and does some romantic matchmaking for Jim, the down-on-his-luck racecar driver at the center of the story. The little Beetle punks the movie’s meanie, dribbling oil on his shoe and backfiring whipped cream all over him after a race. Occasionally moody, Herbie even considers hurling himself off the Golden Gate Bridge when the going gets tough.

Despite his humble econo-car origins, Herbie’s got surprising speed (at least one of the 11 was fitted with a Porsche 356 engine), enough to resurrect Jim’s career. One of the original Love Bugs sold at auction in 2015 for $126,500, a record price for a VW. Still, that’s modest compared to another car featured in the film, a 1956 Ferrari 250 GT Berlinetta “Tour de France” with a distinguished racing history. That one sold in 2012 for $6.7 million.

1966 FORD THUNDERBIRD

Thelma & Louise (1991)

With its female leads and less-than-happy ending, Thelma & Louise turned the buddy-trip-turned-outlaw-movie genre squarely on its head. For car lovers, the film had a third star: a turquoise 1966 Thunderbird convertible. Five were used for the film, but none received any customizing. One of the drop-tops sold at auction for $71,500 in 2008, complete with Brad Pitt’s signature on the back armrest and Geena Davis’s on the visor.

In addition to appearing in Thelma and Louise, the ’66 T-bird convertible has rolled its way to fame in several other films, including Francis Ford Coppola’s 1983 teen drama The Outsiders and David Lynch’s road movie Wild at Heart (1990).

1967 SHELBY MUSTANG GT500 FASTBACK (‘Eleanor II')

Gone in 60 Seconds (2000)

When it comes to leading cops on a chase, few scenes can match the climactic one in Nicolas Cage’s star vehicle Gone in 60 Seconds. Eleven cars were custom-made for the film, only three of which were driveable. One of those three, the “beauty car” Cage drove in that infamous chase (sporting a not-too-shabby 400 horsepower Ford V-B engine and its much copied “Go-Baby-Go” shifter knob), sold for $1.07 million at auction in 2013. A few years earlier, the other two fetched roughly $200,000 and $100,000 respectively. A cottage industry has emerged selling replicas.

1968 FORD MUSTANG 390 GT FASTBACK

Bullitt (1968)

Bullitt’s iconic car chase over the hills of San Francisco—a tire-squealing, exhaust-spewing, suspension-crunching affair if there ever was one—lasted 10 rollicking minutes on film. But it took four weeks to shoot in block-by-block chunks, reported stunt driver Loren Janes in a 2011 interview. He shared piloting duties with fellow stuntman Bud Ekins and star Steve McQueen, himself no slouch behind the wheel. To survive the constant airborne launches over the hills, the Highland green fastback was heavily customized with features like racecar shocks and overinflated tires, said Janes. Thirty years later, the chase remains one of moviedom’s most visceral, much of it shot from an over-the-driver’s-shoulder vantage point.

Read More: These Vintage Hot Wheels Toys Are Worth Thousands of Dollars

Ford has since made and marketed several limited-edition versions of the Bullitt Mustang. One of the movie’s originals disappeared shortly after filming, and McQueen was said to have avidly pursued it for his own collection. According to The Los Angeles Times, a pair of restorers claim to have found the car earlier this year in a junkyard in Mexico. It has since been authenticated by a Ford expert who confirmed not only that the VIN (or vehicle identification number) was real, but that the modifications to the car’s suspension match those detailed in film-related documents.

1970 DODGE CHARGER R/T

The Fast and the Furious (2001)

“I used to drag here back in high school.” Those words launched one of the film world’s most epic street races—between Paul Walker’s souped-up neon-orange Supra and Vin Diesel’s beastly black Charger, a capital-M muscle car with a sentimental back story and a flair for reincarnation after being wrecked. In the first film of this ongoing franchise, the main character Dominic Toretto (played by Diesel) tells his friend Brian (the late Walker) that he’ll never drive the Charger he and his dad built in their garage because it scares the bleep out of him. Yeah, right. When he takes it out on the street, with its blistering 900-horsepower engine, he pops a wheelie off the line and guns it for the train tracks. You know what’s coming, right?

1976 AMC PACER

Wayne’s World (1992)

The baby-blue Pacer, a.k.a. the “Mirthmobile,” will go down in movie history as the vehicle in which Wayne, Garth and their buddies sang—and collectively head-bobbed—along to Queen’s operatic rock anthem “Bohemian Rhapsody.” The famed “party-on” pair, played by SNL stars Mike Myers and Dana Carvey, also shared some stoner-worthy heart-to-hearts while lying atop the Pacer’s windshield. (Garth: “Did you ever find Bugs Bunny attractive when you put on a dress and played a girl bunny?”)

Read More: Giant Teapots and Other Quirky Gas Station Designs

Filmmakers used just one Mirthmobile, which was customized with exterior flame decals and a ceiling-mounted licorice dispenser to feed Garth’s candy habit. The car appeared in a 2015 episode of HISTORY Channel’s Pawn Stars, in which program star Rick Harrison agreed to purchase the car, in a derelict state, from a Florida collector for $9,500. The Pacer sold at auction the following year for $37,400.

1976 LOTUS ESPRIT

The Spy Who Loved Me (1977)

James Bond’s Aston Martin may have helped him defend Queen and country with an impressive collection of spy gear, but could it … swim? The 10th Bond film featured a funky disco soundtrack, a leggy Russian spy and a villain with mouthful of metal. And if that wasn’t enough, it showcased “Wet Nellie,” a futuristic, wedge-shaped Lotus best remembered for the shocking moment when it dove into the water, sprouted fins and retracted its wheels—essentially transforming into a submarine. (Reportedly, the bubbles it left in its wake were created with a cache of Alka-Seltzer tablets.) When it motored back up on the beach, it morphed back into a proper car.

The Lotus earned its spot in the 007 sports-car pantheon in a distinctly sneaky way: Lotus’s PR manager, on hearing of a new Bond film in the making, strategically parked the striking vehicle outside the office of franchise producer Albert “Cubby” Broccoli, hoping to catch his attention. Apparently, it worked.

1977 PONTIAC FIREBIRD TRANS AM

Smokey and the Bandit (1977)

Diverting police attention from a scheme to smuggle 400 cases of Coors beer across state lines can be tough on a car. The movie was essentially one long high-speed chase through the deep South, inflicting heavy damage on the four Trans Ams used during filming. The one deployed for the famous bridge-jump scene was kitted out with a booster rocket similar to one used by stunt motorcyclist Evel Knievel during his failed Snake River Canyon jump. Director Hal Needham, a longtime stunt driver, was behind the wheel.

Read More: The United States of Motoring

Smokey was the second-grossing movie of 1977, after Star Wars. After the movie debuted, starring Burt Reynolds and Sally Fields, sales of the Trans Am jumped by more than 50,000 units between 1977 and 1979. A car used in the film’s promotion sold in 2016 for $550,000.

Three of the prop cars are known to still exist. Tesla founder Elon Musk bought one in 2013 for $860,000, vowing to make it operational as a submarine. Another surfaced on eBay with a $1 million price tag after being featured on HISTORY Channel’s American Renovation. The only one that had been operational in the movie as a submarine languished for a decade in a Long Island storage locker until the rent-delinquent unit was sold blind to unsuspecting, but lucky, buyers for the grand sum of $100. They sent it to auction in London, where it fetched $968,600.

1982 DELOREAN DMC-12

Back to the Future (1986)

John DeLorean may have been one of the most visionary car engineers in Detroit history, but his vanity creation, the DMC-12 from DeLorean Motor Cars, was an expensive dud, produced for just a single year. Not that it matters. The futuristic ride, with its snub-nosed front, distinctive flip-up gull-wing doors and plutonium-fueled “flux capacitor” (that accidentally whisked Marty McFly back to 1955), remains one of the most memorable cars in movie history. One DeLorean used in the trilogy’s third film, Back to the Future 3, fetched $541,200 at auction in 2011.


50 of the Craziest Movie Sex Scenes Ever Filmed

Do you remember the first time you were sexually excited by an image on a screen? (We do!) It might've been a music video to a teen-pop bop, or a particularly mushy episode of Buffy. Most likely, it was a movie of the PG-13 persuasion, which you snuck a viewing of far from the eyes of your parents when you were nowhere near the age of 13. Looking back, those scenes were cute. Harmless. Nowhere near the sex scenes you've seen in movies since you branched out into the R-rated category and beyond.

Sex scenes are nearly as old as movies themselves. In fact, one of the first films to be screened for the public debuted in 1896 and was called The Kiss. It was quite steamy for its time, featuring a full-on brushing of the lips, which, let us tell you, really riled up the modest-minded folks of the late 19th century. But these days, a movie sex scene has to accomplish a lot more to be memorable&mdashespecially when we've been so impressed by the earth-shattering sex scenes appearing in television shows of late (see: Normal People and Insecure). It has to be downright crazy.

"Crazy" can be broadly interpreted in the realm of onscreen sex. There's the hot stuff that begs for repeated rewatchings. There are downright hilarious sexual interactions that involve comedic timing, musical numbers, awkward improv, and/or puppets. There are scenes from horror movies that make us recoil in disgust, and boundary-pushing scenes that inspire a trove of thought pieces. There's most of what Micky Rourke touched in the '80s. Here's a selection of 50 such movie sex scenes, from the classics to recent releases, each one seemingly crazier than the next.

Released: 2016

Directed by: Park Chan-wook

Actors: Kim Tae-ri and Kim Min-hee

Fun fact: To shoot the lesbian sex scene in a way that made his leads feel comfortable, Park gave the male crew members the day off, hired a female boom operator, and filmed the encounter with a remote controlled camera.

Released: 2017

Directed by: Luca Guadagnino

Actors: Timothée Chalamet and Armie Hammer

Fun fact: In the first and only rehearsal for this film, Guadagnino had his actors immediately act out the scene where they make out furiously. (This is also the film that launched a thousand peach memes.)

Released: 2001

Directed by: Marc Forster

Actors: Halle Berry and Billy Bob Thornton

Fun fact: Halle Berry became the first Black woman to win the Academy Award for Best Actress for this movie. Twenty years later, she remains the only Black woman to have won it.

Released: 1976

Directed by: Nagisa Ōshima

Actors: Eiko Matsuda and Tatsuya Fuji

Fun fact: This erotic film featured unsimulated (a.k.a. very real) sex scenes between its actors, and thus kicked up a lot of controversy in 1976.

Released: 2008

Directed by: Nicholas Stroller

Actors: Jason Segel, Mila Kunis, Kristen Bell, and Russell Brand

Fun fact: To promote the film, billboards were placed around big cities attacking the fictional Sarah Marshall. That bothered some real-life Sarah Marshalls.

Released: 2008

Directed by: Peter Berg

Actors: Will Smith and Hayley Marie Norman

Fun fact: Hancock, an alcoholic superhero stuck in the modern day with severe amnesia and sexual frustrations, is supposedly the Greek god Zeus, and his love interest/sister, played by Charlize Theron, is supposedly the Greek goddess Hera.

Released: 2019

Directed by: Ari Aster

Actors: Jack Reynor, Isabelle Grill, and a lot of extras

Fun fact: It took two grueling weeks to film this nudity-filled, crazy-yet-terrifying ritualistic sex scene.

Released: 2016

Directed by: Justin Kelly

Actors: Garrett Clayton, Christian Slater, Keegan Allen, and James Franco

Fun fact: This film was based on a real-life murder plot within the gay porn industry.

Released: 1987

Directed by: Alan Parker

Actors: Lisa Bonet and Mickey Rourke

Fun fact: A combination of rough sex, spurting blood, and Rourke's buttocks got this horror movie an X rating, before the scene was trimmed to appeal to the MPAA.

Released: 2015-2018

Directed by: Sam Taylor-Johnson James Foley

Actors: Dakota Johnson and Jamie Dornan

Fun fact: This soft-core take on BDSM pulled in over $1 billion at the box office across all three movies. The books they was based on were actually fan-fic for the Twilight tween series.

Released: 2015

Directed by: Bryan Buckley

Actors: Melissa Rauch and Sebastian Stan

Fun fact: Rauch used a body double for this movie's acrobatic sex scene, but Stan did not. That's flexibility.

Released: 2009

Directed by: James Cameron

Actors: Sam Worthington and Zoe Saldana

Fun fact: Cameron is planning to make four Avatar sequels. No word yet if any will feature CGI tail sex, though.

Released: 2018

Directed by: Boots Riley

Actors: Lakeith Stanfield and Armie Hammer

Fun fact: It wouldn't be a movie about soulless corporate ladder-climbing without coke-fueled orgies. Stanfield said he wanted to go nude, but his character's nudity was eventually cut from the script.

Released: 1983

Directed by: Terry Jones and Terry Gilliam

Actor: John Cleese

Fun fact: The Monty Python troupe wrote a rousing musical number called "Every Sperm Is Sacred," along with this live sex ed demonstration.

Released: 1993

Directed by: Doug McHenry

Actors: Jada Pinkett Smith and Allen Payne

Fun fact: The sex scenes in this movie had to be cut down to avoid an NC-17 rating.

Released: 1968

Directed by: Roger Vadim

Actors: Jane Fonda

Fun fact: The evil scientist Durand-Durand who puts Barbarella through the Excessive Machine was the inspiration behind the band Duran Duran's name.

Released: 2018

Directed by: Victor Levin

Actors: Winona Ryder and Keanu Reeves

Fun fact: The non-stop, high-velocity banter between Ryder and Reeves throughout Destination Wedding does not let up during this awkward sex scene.

Released: 2001

Directed by: Michael Haneke

Actors: Isabelle Huppert and Benoît Magimel

Fun fact: The Piano Teacher explores themes of sadomasochism and sexuality in a way that makes Fifty Shades look like Saturday morning cartoons.

Released: 2013

Directed by: Jonathan Glazer

Actors: Scarlett Johansson

Fun fact: Glazer hired people off the street, not actors, to portray the men who succumb to Johansson's alien allure and ultimately die in bizarre, mesmerizing ways.

Released: 1997

Directed by: Paul Thomas Anderson

Actors: Julianne Moore and Mark Wahlberg

Fun fact: Originally, Mark Wahlberg's prosthetic penis was 12 inches long, but because that looked ridiculous, it was shortened to seven inches.

Released: 2006

Directed by: Michael Caton-Jones

Actors: Sharon Stone

Fun Fact: Two scenes, one of them a threesome, had to be cut from this film for it to avoid an NC-17 rating. The orgy scene and this masturbation scene remained, making the sequel that much crazier than the already-crazy first Basic Instinct.

Released: 2013

Directed by: Joseph Gordon-Levitt

Actors: Joseph Gordon-Levitt

Fun Fact: JGL knew he wouldn't get a big Hollywood studio to make his porn addiction movie, so he did it on his own.

Released: 1975

Directed by: Jim Sharman

Actors: Susan Sarandon and Peter Hinwood

Fun fact: Sarandon refused to appear nude during this much-beloved, musical ensemble number.

Released: 2015

Directed by: Judd Apatow

Actors: Amy Schumer and John Cena

Fun Fact: Cena said this scene was written to be much more physical, but Schumer and Apatow let him ad lib, so it became something truly memorable.

Released: 2003

Directed by: Tommy Wiseau

Actors: Tommy Wiseau and Juliette Danielle

Fun Fact: Wiseau claimed, "I have to show my ass or this movie won't sell." Show his ass he did.

Released: 2016

Directed by: Greg Tiernan and Conrad Vernon

Actors: Seth Rogen, Kristen Wiig, and many more

Fun Fact: This was the first ever 3D CGI-animated film to get an R rating by the MPAA, for obvious reasons.

Released: 2018

Directed by: Sebastián Lelio

Actors: Rachel Weisz and Rachel McAdams

Fun fact: McAdams said the saliva used in this scene was actually lychee-flavored lube.

Released: 2002

Directed by: Steven Shainberg

Actors: Maggie Gyllenhaal and James Spader

Fun fact: This was one of few mainstream films to portray BDSM as sex positive, long before 50 Shades of Grey entered the scene.

Released: 2016

Directed by: Julia Ducournau

Actors: Garance Marillier and Rabah Nait Oufella

Fun fact: People allegedly fainted while watching this gory, French cannibalism movie. Consider yourself warned.

Released: 2010

Directed by: Darren Aronofsky

Actors: Mila Kunis and Natalie Portman

Fun Fact: This psychological thriller is one of just six horror films to ever be nominated for a Best Picture Oscar.

Released: 2017

Directed by: Malcolm D. Lee

Actor: Tiffany Haddish and a banana

Fun Fact: Though not an actual sex scene, this bonkers grapefruiting demonstration got the crew on Girls Trip to start sending Haddish love letters and jewelry for her performance.

Released: 2013

Directed by: Ridley Scott

Actors: Cameron Diaz and a 2013 Ferrari California HS

Fun fact: Angelia Jolie turned down the role of Malkina. Wonder why?

Released: 1986

Directed by: Adrian Lyne

Actors: Mickey Rourke and Kim Basinger

Fun fact: Basinger used a body double for all of her sex scenes.

Released: 2011

Directed by: Steve McQueen

Actors: Michael Fassbender and Amy Hargreaves

Fun fact: The Standard Hotel in Manhattan's Meatpacking District is notorious for couples having sex against the floor-to-ceiling windows, as one scene in this movie demonstrates.

Released: 1995

Directed by: Paul Verhoeven

Actors: Elizabeth Berkley and Kyle MacLachlan

Fun fact: Showgirls is the highest-grossing NC-17 movie of all time.

Released: 1973

Directed by: Nicholas Roeg

Actors: Donald Sutherland and Julie Christie

Fun fact: The scene still seems so natural and real that rumors abound that Sutherland and Christie weren't really acting.

Released: 2015

Directed by: Gaspar Noé

Actors: Aomi Muyock, Karl Glusman, and Klara Kristin

Fun fact: The unsimulated sex scenes were arguably more exciting during the film's 3D theatrical release.

Released: 2012

Directed by: Lee Daniels

Actors: Nicole Kidman and John Cusack

Fun fact: This is the movie in which Nicole Kidman peed on Zac Efron. And yet that's not the most shocking scene of the film.

Released: 2013

Directed by: Abdellatif Kechiche

Actors: Léa Seydoux and Adèle Exarchopoulos

Fun fact: One of the multiple sex scenes in this film took ten days to shoot, and sparked intense conversations about a director's responsibility to actors' well-being on set.

Released: 2001

Directed by: David Wain

Actors: Bradley Cooper and Michael Ian Black

Fun fact: This sex scene was all improv. Including the part where they keep their socks on.

Released: 2009

Directed by: Zack Snyder

Actors: Malin Akerman and Patrick Wilson

Fun fact: Snyder actually thought it would be a good idea to set a superhero sex scene to Leonard Cohen's "Hallelujah."

Released: 2014

Directed by: David Fincher

Actors: Rosamund Pike and Neil Patrick Harris

Fun fact: Pike practiced this murderous sex scene using a Dora the Explorer doll. She also requested that she and Harris spend two hours alone on set preparing.

Released: 1998

Directed by: John McNaughton

Actors: Denise Richards, Matt Dillon, and Neve Campbell

Fun fact: The crew found a dead body before filming a river scene. The police simply anchored the corpse to the shore out of site until filming was completed.

Released: 2001

Directed by: Alfonso Cuarón

Actors: Gael García Bernal, Diego Luna, and Ana López Mercado

Fun fact: Luna is not circumcised. That penis you see is pure prosthetic.

Released: 2004

Directed by: Trey Parker

Actors: Two puppets voiced by Trey Parker and Kristen Miller

Fun fact: After showing an initial version of the film to the Motion Picture Association of America, the board gave it an NC-17 rating for the sex scene. After at least nine edits, the film finally got bumped down to an R rating.

Released: 2007

Directed by: Michael Davis

Actors: Clive Owen and Monica Bellucci

Fun fact: This film had a body count of 151&mdashnine during this sex scene.

Released: 1983

Directed by: Paul Brickman

Actors: Tom Cruise and Rebecca De Mornay

Fun fact: This movie, in which Cruise wears Ray-Ban Wayfarers, boosted sales of the model by 50 percent.

Released: 2000

Directed by: Mary Harron

Actors: Cara Seymour, Guinevere Turner, and Christian Bale

Fun fact: Bale based his Patrick Bateman off Tom Cruise, as he called it "this very intense friendliness with nothing behind the eyes."

Released: 2010

Directed by: Jorma Taccone

Actors: Will Forte and Maya Rudolph

Fun fact: Rudolph was eight months pregnant while shooting her scenes.

Released: 1999

Directed by: Stanley Kubrick

Actors: Tom Cruise and a lot of naked people in scary masks

Fun fact: Many of the orgy guests were computer-generated figures that obscured the sex acts, allowing the film to get an R rating.


Art Linson (the producer of Fight Club) gives an amusing account of the unendingly humiliating business of a life spent trying to get movies made – there is a wince-inducing anecdote of trying to persuade Alec Baldwin to go back into his trailer and shave off the inappropriate straggly beard he had grown just before filming. Linson describes the process of sucking up to powerful people as “bog snorkelling” and “grabbing the knee pads”.

Veronica Lake, 1950. Photograph: Cine Text/Sportsphoto Ltd/Allstar

The fatale screen-goddess’s autobiography was written towards the end of her life, hitting back at her reputation for being difficult and recounting her professional partnerships with Joel McCrea and Alan Ladd – and with her legendary, lustrous hair, which she had to cut during the second world war to deter female factory workers from copying it.


2. Five Movies Starring DC Characters Have Tomatometers of 90% or higher

The number is low, but, things are looking up as three of the five movies with 90%-plus scores have been released since 2017. Wonder Woman (93%), The Lego Batman Movie (90%), and Teen Titans Go! To the Movies (91%) have made up for lost time. Also, it’s looking like Shazam! has a chance of joining the elite ranks if it can hold onto its 92% Certified Fresh Tomatometer score. We bet Superman: The Movie and The Dark Knight, both at 94%, aren’t feeling so lonely anymore.


The Top 30 TV Cars of All Time

Miami Vice or Magnum, P.I.? Dukes of Hazzard or Starsky & Hutch? Choose wisely.

While movies seem to overshadow the small screen, television endures through (hopefully) multiple seasons and episodes. The impressions we're left with are indelible, and they&rsquore passed down from parents to children as heirlooms. Though a few of the items on the list aren&rsquot technically cars, they are responsible for inspiring generations and many a film.

These are our favorites, in no particular order.

What better way to apologize to your daughter than an I&rsquom-sorry-all-your-childhood-stuff-got-ruined-by-the-garage-flood present? Monica&rsquos father gifts it to her in season seven, and Ross is understandably upset by it, I mean, he was a medical marvel after all. While not a member of one of the main six, this car does become a character in its own right&mdashalbeit for a short time as it&rsquos only featured in a few episodes.

This line of cars debuted in 1984, right after the successful run of the 911SC. The Carrera shared a lot of visual aspects with its predecessor, but had a few updates that set its apart. There was a larger 3.2-liter flat-six engine, and an improved timing chain tensioner, which had previously been an issue. The engine put out 200 horsepower and was able to hit zero to 60 mph in about 5.5 seconds. Depending on the color and condition, you can spend anywhere from $36,500 to $109,500 on Autotrader.

As Friends takes place in New York, the only other car on the show is Phoebe&rsquos grandmother&rsquos cab, but we all know Joey would never dress up in full Porsche regalia for that.

Yes, this was an actual TV show in 1965 and unsurprisingly lasted only one season. Let&rsquos take a moment to rehash the plot: Dave Crabtree discovers his mother has been reincarnated as a vintage car. She communicates through the car&rsquos radio speaker, and, of course, only talks to Dave. According to the show, the car was extremely rare, and several plots revolved around the attempts of a car collector trying to obtain Dave&rsquos mother. In fact, the Porter Motor Company made only three models in the U.S.: one a steam car in 1900, the second the Mercer Raceabout of 1911&ndash1914, and the other a luxury performance car in 1919 through 1922.

The TV car was built either by Norm Grabowski, who was also responsible for the Kookie T car in 77 Sunset Strip, or by George Barris, who was responsible for the TV Batmobile, the Munster Koach, and The Beverly Hillbillies&rsquo car. Reports vary on who actually built the Porter, but what doesn&rsquot is what makes up the car. The car combined a 1924 Model T touring body with a Chevy 283 V-8 engine and Powerglide automatic transmission, also taking parts from a Maxwell and a Hudson. The car was modified to become the fictitious 1928 Porter for the pilot. To soup it up for the pilot, a brass radiator with the Porter company script, a longer hood, and a rear-mounted fuel tank were added.

Hello Wisconsin! That &rsquo70s Show's pilot centers around dad Red Forman handing son Eric the keys to his Vista Cruiser&mdashevery teen&rsquos dream scenario. The Vista Cruiser, an undisputed star of the show, is used in the first seven seasons of the show&rsquos theme, as a setting for dialogue, and as the object of several storylines that revolve around it.

Manufactured and marketed by Oldsmobile over three generations from 1964 to 1977, Eric&rsquos model is the second generation, produced from 1968 to 1972. A 350-cubic-inch V-8 engine came standard, with 5,700-cc, 5.7 liters, and either a two- or three-speed automatic transmission. At the end of the series, Fez himself (Wilmer Valderrama) bought the Cruiser from Carsey-Werner for a cool $500.

We all know the infamous Bluths, and love to watch them fail more than succeed. When you can&rsquot afford a company jet anymore, why not try to maintain the luxurious experience by driving around Newport Beach in a stair car? Per Jason Bateman&rsquos Michael Bluth, the stair car basics are: &ldquoIn order to get this thing up to a minimum speed, you&rsquove got to jam on the gas pedal for about a minute, okay? But in order to slow this thing down, you&rsquove got to get almost immediately back on the brake pedal, &rsquocause you&rsquove got about two tons of stairs behind you.&rdquo

The stair car seems like a unique contraption, but it&rsquos really just a super-modified Ford F-350, a beast of a pickup truck. Apparently, the stair car is working on the side, as it made an appearance in 2016&rsquos Captain America: Civil War in the background of the massive airport battle scene. Anthony and Joe Russo directed both the film and multiple episodes of the TV show, back when it was actually airing. For the recent fifth season on Netflix, which was released May 29, 2018, the stairs went on an eight-city promotional tour. Just remember, you&rsquore gonna get some hop-ons.

In suburban Chicago, circa 1993, this spinoff of Perfect Strangers&mdashwho knew, right?!&mdashgave us some sitcom greatness, not including when Harriette was replaced for the last season. In true Urkel style, his car is just as outlandish as the dweeb himself. A microcar, the BMW Isetta is an Italian-designed vehicle powered by a single-cylinder, four-stroke engine paired with a manual four-speed transmission. With a max speed of 53 mph, the first 30 mph was reached in around half a minute, though Steve could still do his usual damage with the car, like when Carl teaches him how to drive. It featured a front-mounted door, with the steering wheel attached to it. Both the door and wheel swung outward to create easy access to the interior.

The Isetta model found a second life in 2016 as a recognizably updated car, courtesy of Switzerland&rsquos Micro Mobility Systems. Reportedly starting production at the end of 2018, the fully electric Microlino costs around $13,700, with a weight of 959 pounds, a maximum speed of 56 mph, a range of approximately 78 miles or 124 miles (with a 14.4 kWh battery), and the ability to be recharged in four hours at a conventional domestic power socket or in one hour with a Type 2 connector. I think the man himself would say, &ldquoDid I do that?&rdquo

It&rsquos not technically a car, but it was on television and is synonymous with one of the &rsquo70s most beloved sitcoms. Long before he jumped a literal shark, Arthur Fonzarelli had a 1947 Harley-Davidson Knucklehead, but a switch to the Triumph was made after the first season because it was lighter for Henry Winkler to hold up. He also traded in his windbreaker for a leather jacket, further cementing his status as the coolest kid. A little note about that leather jacket: Network executives were responsible for the initial choice of a windbreaker. They didn&rsquot want Fonzie looking like he was a punk or into criminal activities, which is obviously the only thing a leather jacket denotes. Garry Marshall convinced them that Fonzie was wearing the jacket for safety reasons while riding his motorcycle.

Though Fonzie is an avid lover of bikes, Winkler was terrified of them. Most of his scenes where he&rsquos seen riding were shot with the bike attached to a platform that was pulled by a truck. Bud Ekins, the stuntman who performed the famous motorcycle stunt in Steve McQueen&rsquos The Great Escape, built the Triumph for the show. One of the three motorcycles used by the Fonz on TV sold for $179,200 in 2018 through Julien&rsquos Auctions.

In 2017, after airing for 28 seasons, we were finally let in on a well-kept secret: the make and model of the Simpson&rsquos pink sedan. The car first appeared in the show&rsquos inaugural episode &ldquoSimpsons Roasting on an Open Fire,&rdquo though not in its iconic rosy hue. The car has a perpetually damaged left front fender, a bent-up radio aerial, and an 8-track radio. It definitely takes some inspiration from the era it debuted before the secret was revealed, fans believed the car was a Plymouth Reliant.

Hey, hey, they&rsquore the Monkees, and besides being pop-rock legends, they also had their own TV series in the late &rsquo60s appropriately named The Monkees. And they needed a ride, not just any ride, but something that would let everyone know they had arrived. Universal Studios contracted established customizer Dean Jeffries to provide a hero car for the show, who in turn talked to George Toteff, the head of Model Products Corporation&mdasha manufacturer of plastic scale model kits. Toteff spoke to Jim Wangers, who managed Pontiac&rsquos advertising account and ordered two basic 1966 GTO convertibles, each with a 389-cubic-inch V-8 and hydramatic automatic transmission.

The first car took only ten days to complete, the second just four. One was used for television, while the other was a promotional vehicle capable of wheel stands. Jeffries also made Black Beauty from The Green Hornet and the Moonbuggy from Diamonds Are Forever. He started out pinstriping Indy cars, most notably the Porsche 550 Spyder (&ldquoLittle Bastard&rdquo) that James Dean died in.

When the show ended, Jeffries had the right of first refusal to purchase the cars for $1,000. He passed them up and George Barris, the creative mind behind the TV Batmobile and the Munster Koach, snatched up the second car. George Barris sold it in 2008 at auction and came out $396,000 ahead. The other car accompanied the band on their world tour and somehow was left behind in Australia, before turning up in Puerto Rico.

A pop-culture icon in contest with Mr. T himself&mdashwho never actually said &ldquoI pity the fool&rdquo&mdashthe van sported a red stripe, rooftop spoiler, and black-and-red turbine mag wheels. The back of the van featured different equipment depending on the episode: a miniature printing press, an audio-surveillance recording device, Hannibal&rsquos disguises, and a gun storage locker. Early models had a red GMC logo on the front grille and on the rear left door. In the second season, they were blacked out, though GMC continued to supply the production with vans and receive credit in each episode&rsquos closing credits. The 2010 film of the same name used a customized 1997 Chevrolet G20.

Way before cycling to work was a thing, you could prehistorically pedal to the office. The Flintstones' car lacked many amenities that we&rsquove come to enjoy as of 2018&mdashpower steering, air conditioning, SiriusXM, and a floor&mdashbut they were the modern Stone Age family, so it must have been top of the line for the time, right? It took the family everywhere they needed in Bedrock, all while providing a killer workout.

Early this year, a Malaysian sultan was gifted a life-size replica of the car from his favorite cartoon with one major upgrade: an engine. In September, we were brought news of the world&rsquos first calorie-burning car, the FitCar PPV. Courtesy of a Saudi-based inventor and a Dutch engineering company, the car is based on a 2.0-liter Audi A4 Avant, its throttle replaced by a bicycle pedal mechanism.

Premiering the same year as another spooky family show (The Addams Family), the Munsters were just trying to live the American dream, albeit from monsters&rsquo perspectives. We had Herman as the Frankenstein-type, Lily as a vampire, Eddie as a half-vampire, half-werewolf, and Marilyn as the gorgeous young blond. George Barris was tasked with making the family&rsquos mode of transportation&mdashin 21 days&mdashand he didn&rsquot disappoint. The Koach was made from three Ford Model T bodies and totaled 18 feet in length. Some of the creepy Koach&rsquos features: four-speed manual transmission, power read end, 289 Ford Cobra engine from a 1966 Mustang GT, Jahns high-compression pistons, ten chrome-plated Stromberg carburetors, Isky cam, set of Bobby Barr racing headers, and a &ldquoblood red&rdquo velvet interior. The 133-inch frame was made by hand, as were the brass radiator and fenders. It took 500 hours to hand-form the rolled steel scrollwork. Total cost to build in 1964? $18,000.

James Garner starred as Jim Rockford, private eye with a not-so-inconspicuous gold car. The show used three cars every season: one as a hero car, one for action, and the last to be damaged. Each season garnered a new model of the Esprit, specifically the 1974 to 78 models because Rockford himself didn&rsquot like the change made to the 1979 version. After the first season, the show used Firebird Formula 400s dressed up as Esprits, replacing the hood and removing the rear spoiler on the &rsquo77 and &rsquo78 models. The cars had a high-performance motor and a Trans Am&rsquos suspension, giving off the air of affordability Rockford needed with the performance necessary for chase scenes. Garner needed the extra power to perform his famous turn-around maneuver, or a J-turn or moonshiner&rsquos turn. In his 2011 autobiography he wrote, &ldquoWhen you are going straight in reverse about 35 miles an hour, you come off the gas pedal, go hard left, and pull on the emergency brake. That locks the wheels and throws the front end around. Then you release everything, hit the gas, and off you go in the opposite direction.&rdquo

Co-created by Mel Brooks&mdashyes, Young Frankenstein and Blazing Saddles Mel Brooks&mdashGet Smart centers on Agent 86 Maxwell Smart and his female partner Agent 99. In the black-and-white pilot, Smart drives a 1961 Ferrari 250 GT PF Spider Cabriolet, but his usual ride was a red Sunbeam Tiger, for the most part. Even the Tiger had a stand-in for most of the episodes, a re-badged four-cylinder Sunbeam Alpine with Tiger written in script on the side. The Tiger didn&rsquot have enough room to house the James Bond&ndashesque machine gun, not to mention all the other secret agent modifications: rotating license plates, ramming bumperettes, smoke screen capability, ejection seats, radar tracking device, cigarette lighter grenade, and the ability to throw an oil slick out behind the car. For the third and fourth seasons of the show, 86 swapped out his Tiger for a blue VW Karmann Ghia.

Apparently Don Adams, who played Smart, was given the Tiger when the show went off the air as part of his contract. For the 2008 movie, director Peter Segal took his inspiration right from the source, but couldn&rsquot quite find a Tiger. They had to use a four-cylinder Sunbeam Alpine and decals from the manufacturer in England. A little more than 7,000 Tigers were built between 1964 and &rsquo67, making the car a commodity even before it debuted in the 1965 TV show. Dust off your shoe phone and tell all your friends.

Which grass do you think is greener? Manhattan or Hooterville? When Oliver Douglas purchased the Haney Place Farm from its owner, a tractor was part of the deal, joining in on the antics of farm life. The Hoyt-Clagwell was no farmhand, it either broke down, caught on fire, or fell apart any time Oliver tried to use it. With a mind of its own, it had anthropomorphic qualities, seeming to fall apart on purpose and supposedly talking to&mdashand being understood by&mdashOliver&rsquos flesh-and-bone farmhand Eb. Replacement parts were hard to come by, as the company dissolved years prior after Mr. Hoyt left the tractor business to make plastic fruit. After sponsors pressured CBS to have more urban-themed programs on its schedule, the show was canceled after six seasons in 1971 during what is known as the &ldquorural purge&rdquo of television.

Hello word, here&rsquos a song that we&rsquore singin&rsquo, c&rsquomon get happy! Inspired and loosely based on a real family named the Cowsills, a family pop music group famous in the late 1960s, the Partridge family was made up of five musical siblings and a widowed mother. They toured around the United States in a 1957 Chevrolet Series 6800 Superior, painted with Piet Mondria&mdashinspired patterns. While it rocketed the family to stardom, the bus saw no special treatment, finally resting its wheels in a Los Angeles junkyard in 1987. Nickelodeon featured a run of the show in its Nick at Nite lineup from 1993 to 1994, creating a new version of the bus for promotional purposes.

Jinkies! Zoinks! Ruh roh! Whichever one you prefer, they are all synonymous with a certain group of meddling kids and their Great Dane. The main transportation of Mystery Inc., this psychedelic van with flower-power swagger is owned by ringleader Fred Jones. The appearance lends itself to a 1960s-era panel van, but a make and model is never identified. Painted a medium blue with green and orange accents, each side of the van has a green panel with &ldquoThe Mystery Machine&rdquo spelled out in orange. The front of the van has a green spare tire carrier with an orange flower painted in the center. Two roof racks adorn the top and the hubcaps are perfectly matched to the rest of the van. At Universal Studios Florida, you can see Shaggy and Scooby-Doo driving around the park in the Mystery Machine.

Erik Estrada actually spent time with real officers and went through training at the California Highway Patrol Academy to see what it was like to be a patrol officer. In actuality, CHP officers do not ride in pairs, but for the premise of the show Ponch rode with Jon because he was on probation and Jon was mentoring him audiences got so used to seeing them like that that it stayed that way for the show&rsquos entire run. Two kinds of Kawasakis were used for the show and both types were used by the CHP: the Kawasaki Z1 or KZ900 and the KZ1000. The Z1 or KZ900 had a four-cylinder four-stroke engine with an electric start, five-speed transmission. With a top speed of 130 mph, the police-specific model included crash bars, a windshield, springer-type saddle, and a radio. The KZ1000 had an inline four-cylinder engine, five-speed transmission, and a top speed of 132 mph. The police model included 18-inch wheels and Dunlop run-flat tires, but the bike was phased out of police use due to a number of technical difficulties. Like a self-fulfilling prophecy, Estrada is now an officer of the law&mdashfirst as a full-time deputy sheriff in Virginia and now as a reserve police officer in Idaho.

Mach FIve was created, designed, and built by Speed Racer&rsquos father, featuring a set of seven mechanisms triggered by buttons labeled A to G on the steering wheel hub. Functions include: (A) Releases four jacks to boost the car up (B) Sprouts grip tires for traction on any type of terrain (C) Rotary saws protrude from the front of the car to remove any obstacles (D) Releases a deflector to seal the cockpit in bullet-proof, crash-proof, airtight, or watertight chamber depending on the environment (E) Special illumination to see farther and more clearly (F) Used underwater, the car turns amphibious with an oxygen-supplied cockpit and periscope to scan the surface and (G) Releases a homing robot bird from the front of the car. There&rsquos also an H button, which is located on the console and sends the homing robot to a preprogrammed location, usually Speed&rsquos house. For the 2008 film, a working Mach 5 was built and all driving scenes were filmed with the actors sitting in a race-car cockpit with all special effects computer-generated.

Tony Soprano is not someone who needs an introduction, and neither does his ride. For the first four seasons of the show, Tony drives a burgundy 1999 Chevrolet Suburban LT 4x4, which is replaced in season five by a black Cadillac Escalade ESV. He totals this in an accident and quickly alternates to a white Escalade that he uses until the end of the series. With a minimum bid of $5,000, it sold for almost $120,000 at auction in 2015. Signed on the driver&rsquos-side sun visor and an area near the glovebox by the man himself, the sale was made even more poignant by the death of James Gandolfini in 2013.

Dean Jeffries, the man responsible for the Monkeemobile, was also tasked with customizing the sedans for the 1966 Green Hornet series. Long before Seth Rogen and Jay Chou suited up, it was Van Williams and Bruce Lee playing vigilantes in Black Beauty. Within 30 days, Jeffries built two cars from 1966 Chrysler Imperials with 440-cubic-inch V-8s turning out 350 horsepower and 480 lb-ft of torque, running through a three-speed automatic transmission. In the show, the car was stored underneath Britt Reid&rsquos garage, exiting through a hidden rear door and entering the street from behind a billboard. Among the car&rsquos many features was the ability to fire explosive charges from tubes hidden behind retractable panels below the headlights, drop-down knock-out gas nozzle in the center of the front grille, and the capacity to launch a small flying AV surveillance device from the trunk lid. For the 2011 movie, Black Beauty was a year younger and was equipped with .30-caliber machine guns, 12 front and rear &ldquoFIM-92A Stinger&rdquo missiles, a flamethrower, retractable anti-riot spikes, and a 4.6mm ballistic-steel-reinforced exterior. Read more about it on our site here.

As 2062 speeds toward us at a lightning-fast pace, more and more of the technology the Jetsons used every day is being realized, including George&rsquos flying car. The design of the car was inspired by a 1954 Ford concept car, the FX-Atmos, which had an all-glass bubble canopy, jet-plane-like tail fins, and a dashboard radar screen. Massachusetts company Terrafugia is bringing the dream of a flying car to life, to transition from drive to fly without the hassle. You can reserve a Letter of Intent to Purchase the Transition Flying Car and &ldquobecome one of the early adopters of the Mobility Revolution&rdquo on their site. What else have we brought to life since the show debuted in 1962? Robot servants, talking alarm clocks, dog treadmills, pollution, flat-screen TVs, video chats, smartwatches, drones, Roombas, digital newspapers, 3D-printed food, space tourism, jetpacks, holograms, and smart shoes, just to name a few.

The first significant car in the series, the look-alike Ferrari 365 GTB/4 Daytona Spyder, was a prop that Sonny Crockett (Don Johnson) needed to infiltrate the high-roller world of drugs, prostitution, and other sordid happenings in Miami. The black car was basically a Chevy Corvette under the hood, with a souped-up, small-block Chevy V-8 and sleek, Ferrari-designed fiberglass body panels to stand up to the stunts and camera mounts over the two years it was used. The Ferrari people weren&rsquot too happy with all the attention the replicas were getting and decided to supply the production with two 1986 new Ferrari Testarossas, which the showrunners had their eyes on before Ferrari stepped in. They were presented as black originally, but didn&rsquot show up very well in nighttime scenes and were later painted white. Read all the details in full here.

If you saw this Charger driving down the street, you&rsquod know the Duke boys were behind the wheel. This orange, Confederate-flag-bearing, number &ldquo01&rdquo vehicle is in contention only with Daisy Duke&rsquos shorts for best Dukes of Hazzard inanimate prop. It&rsquos reported that somewhere between 255 and 325 cars were created and destroyed during the series. Replacing the police sedans was easy, but replacing the Charger was much more difficult because Dodge stopped making the model between 1978 and &rsquo82. The &ldquoDixie&rdquo horn on the car wasn&rsquot originally part of the car&rsquos design producers heard the horn on location in Atlanta and chased the driver down and convinced him to sell it, only to later realize it was a novelty item available for purchase in any auto parts store. The physical horn was only used on the first five episodes&mdashafter filming moved to the Warner Bros. lot, the horn was edited in during post-production. On November 11, 1978, the General Lee was launched by a stuntman off a makeshift dirt ramp and over a police car. That jump made TV history at 16 feet high and 82 feet long. An adorable factoid: Over half of the fan mail for the show during filming was addressed to General Lee, a star in its own right. Read about the car used in the 2005 movie here.

With a deadline of only three weeks, George Barris was behind this iconic crime-fighting car, purchasing the concept car base for $1. Holy guacamole, Batman! It&rsquos powered by a 390ci V-8 engine and a B&M Hydro three-speed transmission, though not originally, as the car&rsquos standard parts caused problems when filming began. Designed to appear sleek and batlike, the front end design has the hood scoop extending down into the frontal area to accentuate the nose. The right and left eyes extend into ears with dual 450-watt laser beams installed in amber reflective lens. The grille cavity is the mouth of the bat, featuring internal mounted rockets. The gadgets the car sports are numerous, including the Bat-deflector, the Bat-zooka, Bat-tering Ram, Bat-scope, Batphone, and a super-powered Bat-magnet.

The producers needed a car that was going to stand out in a crowd, and what way to stand out better than to sport bright red? Just ask Waldo. Like many Hollywood prop cars, the Striped Tomato was chosen through Ford&rsquos studio-TV car-loan program. Two red box-stock V-8-powered two-door Torinos were decked out with a white stripe and further modified for stunt purposes mag wheels, oversize tires, and air shocks were added. As the showed gained popularity, Ford decided to cash in and ordered a limited production of a similar car, costing $4,461 for the standard fare and $5,351 with all optional equipment. Read about the 2004 movie Gran Torino here.

Kookie, Kookie, lend me your car. The car that made hot-rod builder Norm Grabowski famous and kickstarted the T-bucket movement, he began working on it around 1952 when he purchased a 1931 Model A roadster and part of a 1922 Model T touring car. He started blending the two cars, shortening the touring body and adding a Model A pickup bed to the back, taking away the hood altogether, and cutting down a 1932 Ford grille shell. Its power came from a GMC 3-71 supercharged Cadillac 331-cubic-inch V-8 backed by a 1939 Ford toploader and a &rsquo41 Ford rear axle. After some press coverage, the car garnered some film and television credits, soon being repainted Dodge Royal Blue and pinstripes and flames were added. Originally named the &ldquoLightnin&rsquo Bug&rdquo by Grabowski, it served as the ride for Gerald Lloyd &ldquoKookie&rdquo Kookson III in the 1958 private-eye show 77 Sunset Strip. In May of this year, Kookie T sold for $440,000 at Mecum Auctions. Gee whiz!

Another George Barris creation hits the list. An updated version of the old jalopy, Max decided Jethro needed something with a little more style and speed. The complete body of the car was removed and the chassis was modified to accept a 1969 Olds 442 engine, automatic transmission, and rear axle. Once the bodywork was completed, a finish coat of Fire Red Metalflake paint was applied, with yellow racing stripes running along the rocker panel as accents. Four bucket seats and the oversize roll bars were hand built, and for a touch of style a brass horn was mounted aside the cowl just within the driver&rsquos reach. Not sure if this helped the Clampetts fit in in 90210, but it sure upped the ante. This show unfortunately didn't survive the "rural purge" either, being canceled after nine seasons.

Forget CGI, let&rsquos talk about the true live-action Avengers. Diana Rigg played Emma Peel, John Steed&rsquos partner and a role model for girls of every generation. She drove two Lotus Elans in the show, first a white 1964 model and then the powder blue 1966 version. The Elan was the first Lotus road car to utilize a steel backbone chassis with a fiberglass body, and had a 1,558-cc engine, four-wheel disc brakes, rack and pinion steering, and four-wheel independent suspension. Unfortunately, the Lotus doesn&rsquot make a comeback for the 1998 film&mdashUma Thurman as Emma Peel drives a E-type Jaguar in the movie that has a 5 percent rating on Rotten Tomatoes.

Tom Selleck gives us all something to aspire to: that mustache. Forget that he was a badass private investigator living in Hawaii and staying in a beachfront estate at the behest of the owner, but he also got to drive a slick red Ferrari. Three different model years of the GTS were driven on the show, 1978, 1980, and 1984. It&rsquos believed that there were about five cars of each year used, totaling 15. Provided by Ferrari North America, their fate was either for action shots or close-ups. A 1984 GTS from the show was sold by Bonhams in early 2017 for $181,500, certified to have been driven by Tom Selleck himself. Instead of playing Indiana Jones, Selleck gave us something better: eight seasons and 162 episodes to savor.


Golden Globes

She rises from the depths like the Venus of the San Fernando Valley—slicked hair glistening, water dripping from her smiling lipps, dark eyes glittering with libidinal mischief. Then—in a scene that will forever grant an otherwise incomprehensible erotic aura to the Cars—the new-wave chestnut "Moving in Stereo" kicks in as Phoebe Cates begins her slo-mo poolside strut. And boy, do they move in stereo, those pert, secondary sexual characteristics of teenage Phoebe Cates, as—in one breathtaking gesture—she frees her frisky buds from their front-fastening red bikini top to quiver in the balletic perfection of Judge Reinhold's furtive spank dream. The boob shot would soon become stock-in-trade of the Porky's epoch, but it would never be used to such weighty narrative effect. Here, hooters star in a compressed version of the male adolescent's tragic arc: from the soaring heights of erotic fantasia to the bleak depths of sexual humiliation, as the sleek naiad of Reinhold's imaginings actually walks in on him log-flogging to her image. The cable arts channel Bravo included this scene in its Sexiest Moments in Film—in which the model-pundit Roshumba Williams helpfully explained, "In the male world, boobs are huge."

Iɽ heard it was scary, so I went. It scared me, all right. Scarred me. Before, Iɽ believed outer space an antiseptic realm soundtracked by strauss. I quickly learned otherwise. Learned that space was cloyingly organic, infected and infectious, rapacious—and that to experience space was to experience not the infinite void but rather the claustrophobic horror of being caged with a sexual predator.

Indeed, Alien teemed, burst, with inner private parts that had no business seeing the light of day. Firstly: that loathsome leathery pod that grew translucent as John Hurt neared, revealing a jellied organ aquiver within. Moments later, thick black lips peeled back to expose—no doubt about it—a glistening, pulsating vagina. Then, in response to Hurt's whispered exclamation (". organic life!"), that wicked wobbling vagina-squid sprung forth and. raped his face! Clasped its insectoidal legs to his scalp, noosed his neck with its muscled tentacle, and pumped a fleshly funnel down the man's throat, through which it. planted its seed.

Such a filthy movie: exploding retractable jaws acidic body fluids a severed droid head whose mouth issued lewd taunts ("perfect organism!") along with a strange milky effluent a man who gave birth. That birth—is there a more violent, violating moment in filmdom? As Hurt bayed in pain, my dear, sweet, credulous brother, sitting beside me, began to whimper. Oh, no. Oh, no. Oh, no. When the spawn emerged from Hurt's chest, spraying gore and squealing triumphantly, he promptly pissed himself—then fled the theater.

Which means he missed the breasts.

They popped up near the end, after the last human standing—Sigourney Weaver's character, Ripley—had blown up the mother ship and escaped in the shuttle. Safe at last, she began to relax. Off came the clothes.

Now, Alien worked on the principle that what can't be seen is always more vivid than what can. (Glimpses of the creature were fleeting at best.) So it was that Ripley's breasts remained sheathed. Whereas the alien had its exoskeletal armor, Ripley had that skimpy white tank top, thin as cheesecloth, which only made her seem more human, more vulnerable. So palpably natural, those breasts, utterly unbuoyed and uninflated. They even seemed a bit forlorn—bewildered little patties blinking and withering in the harsh fluorescent light of the shuttle. The nipples, however, were another story theyɽ gone as hard as ski-pole tips. It was both the earthliest and the sexiest image of a woman I had ever seen, and by way of contrast it created the film's most disorienting moment.

Presented with Ripley's tumescent womanhood, I began to let my guard down, to psychologically uncurl myself and to physically sit up straight in my seat, as it were. The movie was just setting me up, of course the alien had stowed itself in the shuttle. As it came out of hiding, I got my first good look at its proboscis. Which was—gleamingly, drippingly, chitinously, blackly, hugely, undeniably—phallic. I took it as I was meant to take it, as a grotesque mockery of my own arousal. You don't get to have her—it does. Was I manufacturing sexual undertones? No. For as the beast nonchalantly began to stretch its limbs and slide its goo-slicked jaw in and out, in and out, what did Ripley say over and over? Lucky, lucky, lucky. That's right—the perfect organism was gonna get "lucky" with Ripley.

I was 12 years old then. Iɽ already learned to pair id with dread I knew well the horror of others banging on the bathroom door as I. took my time. Yet I had never had—and never again would have—the third-rail force of my own sexual desire so vividly and soul-scarringly converted into fear.

Now, twenty-six years later, I only wish Iɽ pissed and run like my brother. Iɽ be just a little less fucked-up if I had.—Andrew Corsello

The Moderns (1988)

To me, the oddest instutition in Hollywood is the body double. I can understand if an actress, for various reasons, doesn't want to do nudity. But then why let someone else do it for her? If everyone thinks those are your tits, then in some sense they are your tits. I guess a body double simply saves an actress the embarrassment of being ogled by the key grip and the best boy all day. But what the big deal is about showing tits I don't know, unless they aren't such great tits. Which is, of course, a perfectly valid reason for modesty.

There is one brilliant reason not to show them, and that is to increase the value of showing them eventually. Halle Berry was rumored to have demanded a six-figure deal for baring nipple in Swordfish, though she denies it. But she was well paid for this box-office-stimulating flash. (I would also deny being paid a premium for nipple exposure. In fact, I do deny it.) Timing is everything, however. Meg Ryan never showed ɾm, and then was counting on a surprise appearance of her mammies in In the Cut to uplift her sagging career. Alas, it was too little too late.

One of the best star breast moments in film was the brief but pleasant exposure of Linda Fiorentino's in The Moderns. As someone interested in the art world of the ✠s, I just hate pseudo-cool movies like Alan Rudolph's wimpy rendering of the modernist movement, but I loved Linda Fiorentino as the modernist muse and sylphlike sybarite. The one genuinely modern thing in this film is Fiorentino's body. Her breasts are revealed when the crass collector, played by John Lone, performs the obeisance of shaving her armpits, then again when she tub-wrestles with the painter, played by Keith Carradine. She's not exactly androgynous, but streamlined. A woman after Matisse, built for running, not milking. Artemis, not Aphrodite. All in all, a pleasant relief from the glandular excesses of Hollywood and a tribute to the erotic sensibilities of those of us who were happily weaned.—Glenn Oɻrien

Amarcord (1973)

Like so much transgression, it begins with cigarettes. Titta, Fellini's younger self—living in a tiny town in fascist-era Italy adolescent, hormones geysering, his days spent in delinquency, yearning, and self-abuse—goes to the tobacconist to buy himself "una nazionale," just one. It is closing time, and he slips in under the iron gate. The proprietress, locking up for the night, is moving large sacks across the floor, and he offers to help. "You couldn't manage," she dismisses him he is half her size, after all.

She is cartoonishly ample. In her pale blue cardigan, her bust is an unyielding shelf, jutting out in an improbable cantilever worthy of Frank Gehry. An undifferentiated wedge such as this could be known only as a bosom. Amarcord is above all a film of recollection (the title means "I remember" in Italian dialect). It makes sense that these jugs of memory would be outsize, hypertrophic ideals, although Maria Antonietta Beluzzi, the actress playing the part, is real enough.

Titta protests, saying he can lift eighty kilos, can even lift his father. "What do you weigh?" he asks. "I could lift you, too."

"Ah si?" she asks, bored. She takes off her apron, slams down the iron gate, and turns to him, sizing him up. Why not? she must be thinking. Everyone in town is looking for something to break up the monotony. "Vediamo," she dares him.

The transaction is hugely awkward and private. His arms barely make it around her fantastically broad, brown-tweed-clad ass. He lifts her three times in quick succession. He is almost undone by his efforts while her shrieks of laughter give way to a moaning, closed-eyed rapture. Her head brushes against the hanging lightbulb, and she doesn't care. Even when she is back on solid ground, her delirious floating fugue continues, still held aloft by the preconscious memory of weightlessness, nothing more than her birthright, being possessed of such a pair of balloons.

And what balloons they are! Overwhelmed, she unpacks her sweater, releasing only one.

"Drive me crazy, just a little," she tells him, pulling his mouth against the left nipple. He is a baby once again, the breast dwarfing his head. Its right twin manifests in a great, shuddering mitosis. He blows on it. "You have to suck, you idiot," she says, cajoling, still in the moment. She presses his face into the deep cleft between the watermelons. He cannot breathe.

It is over as suddenly as it began. She shoves him away roughly the cardigan is restuffed. Warm biology becomes angora-clad architecture once more. She is all business now, closing up shop, reminding him of his initial purpose: a Nazionale. She hands him one for free. "Un regalo [a present]," she says, with no trace of affection in her voice. Best not to dwell on the size of the tiny baton. He takes it and walks to the iron gate. Spent, he cannot budge it. She lifts it effortlessly and pushes him out into the night.

Wish fulfillment can make all men briefly stupid, and still we chase after the chance to make idiots of ourselves. At that age, instinct would probably desert us, too, and we would also blow when faced with the heaving udders of La Tabaccaia—so confusingly, simultaneously liquid and solid. From rigid cardigan to flesh and back to cardigan once more. In science such a thing is known as a non-Newtonian liquid. Cornstarch and water, for example, will dribble freely over an open palm, but clench your fist and it seizes up into a firm handful. Relax again and back it flows. Fellini has another word for something that can switch states so rapidly, providing ever changing and equal measures of give and resistance, opprobrium and succor: Mommy.—David Rakoff

The Day of the Jackal (1971)

There's a rather grand school of thought—peddled, in the main, by former film stars in their sixties and seventies—that "it's far sexier to see less than more!" Tell this to a few 11-year-old boys and they will brutally laugh, if not actually beat you down. By the age of 11, Iɽ had my mind blown by dozens of _Playboy_s, but I had yet to behold the miracle of a celluloid mammary. That would come in Fred Zinnemann's The Day of the Jackal. The film follows an enigmatic assassin (Edward Fox) trying to kill Charles de Gaulle there's an indiscreet cabinet official who natters away to his mistress (an agent of the assassins) about the progress of the Jackal manhunt.

While seeing the film, I was having as good a time as an 11-year-old ever has. Fox was ruthless and sophisticated he wore cool disguises and strangled unsavory people. He drove an Alfa Romeo and painted it between murders. He hid a rifle in a crutch. So my plate was full. I hadn't counted on a mammary-related Big Moment—but I got one. In the scene, it was night. The mistress-mole was slipping furtively out of bed to make a call. This was something Iɽ seen before, movie characters using telephones. But then the unthinkable happened: The sheet dropped. It was impossible, and it was glorious. We saw areola, we saw—was this happening?—nipple. Then we saw it again. This is what the Lumière brothers, also French, should have filmed with that very first camera of theirs instead of the fucking train rolling into the station. (What could those guys have been thinking? A train. Look at the train, 11-year-old boy! Here comes the train. Jesus.)

I am fairly certain that women shed their clothes before 1973, though I can only judge this from easy-to-doctor still photographs. In Jackal, I was suddenly viewing solid film evidence that females were willing and able to walk around, even slink around, without clothes. Billions of electrical impulses exploded across the synapses of my brain. From that moment alone, I might easily have been doomed to a life of seedy clubs, hookers, and a grim, spiraling sexual addiction. That breast, that redhead's breast—it was right there, available to the deeply spiritual part of me that could float out of my body, as a pure soul departs the flesh, then screw her.

Actually, there's a decent chance this film did pervert me. I mean, the mistress was working to assassinate a world leader—and she was the light of my life. Let's face it: We were all rooting for the assassins, especially the naked one. It was like spotting the Olsen twins in the Zapruder film: Nothing good could come of it. Still, I'm grateful that my first cinematic breast didn't belong to a murdered girl on a slab or something, because you never know where that's going to lead.

All that said, if I could have, I gladly would have leapt into The Day of the Jackal and given my all for the de Gaulle conspiracy. That's how powerful, how atomic, the moment was. Anything to cross that last tactile frontier. My chance to murder de Gaulle has passed (which is sad, really—unlike others, I learned from Edward Fox's mistakes). And for all I know, the nude redheads of my cinematic youth are now a brood of 67-year-old screeching hags living in Dallas—women Iɽ beg to keep a fierce grip on the sheets, for all our sakes. I probably wouldn't chase down their breasts right now. I wouldn't get grabby. These days, I can get a better assassin-tit fix off Milla Jovovich.—Marshall Sella

Carnal Knowledge (1971)

A moment—not a scene, really, but a scene-stealer—that i'll always remember is in Carnal Knowledge. Jack Nicholson, the lucky bastard, is on a date with Ann-Margret. Nicholson plays a certified public accountant who also happens to be a certified pussy bandit, and Ann-Margret is. Ann-Margret. On the date, they do not even have precious little to talk about. they have absolutely nothing to talk about. But Jack's thoughts are our thoughts his eyes are on the prize, just where ours are, too. As they wine and dine, he offers, just for the sake of some first-date gratuitous touching, to read Ann-Margret's palm.

A-M (I, like millions of others, had been deeply moved years before by her teenage titty-shaking work in Bye Bye Birdie) puts her arms together so that Jack can gain access to her hand. When she shifts, the Earth stops, because in doing so, she forms one of the most awe-inspiring, majestic, stupendous cleavages ever to bubble up on the silver screen. I will never forget it, because I was a teenager when I saw it. The movie had been out for a year already, and the theater was mostly empty. But when A-M formed that wonderful canyon ("Go ahead, jump in," it beckons, and the viewer is tempted, Sherlock Jr.-style, to make the attempt), a combination gasp-and-sigh rose in unison from every male in that theater, the sort of gasp you hear when O. J. Simpson or Robert Durst is acquitted, the sort of sigh you let out when a friend—but not you—wins $10 million in the lottery.

Carnal Knowledge, despite those few seconds, is not a cheery movie. If that were the only movie you ever saw that depicted the arc of a man's sexual life, you would think that we're all MCI and Enron. The depressing truths about love, marriage, and sex in the movie went way, way over my feverishly lusting, bedazzled, long-haired teenage head. It was only years later, when I saw the movie again, that I got it. But even then, the cleavage was still good.—Ted Heller

Valley of the Dolls (1967)

Some cinematic breasts are to be gazed at lustily, and some bespeak the heaving glory of incipient or recent birthing. And yet others are meant to evoke awe and pity. They're beautiful but doom-laden, like a high fever or Robert Kennedy.

None more so than Sharon Tate's in_ Valley of the Dolls_. Playing Jennifer, blond and big-eyed and hushed of voice, she attracts the eye of Tony, a singer whom she'll marry and be impregnated by, only to find out too late that he has an incurable disease. Jennifer resorts to appearing in nudies to foot Tony's sanitarium bill. She decides to abort. And then—as if this pileup of tragic incidents weren't already enough to guarantee the film a homosexual fan base—Jennifer learns that she has breast cancer.

In her final scene in the film, Jennifer lies in bed at the Bel Air Carlton. "How am I going to keep Tony in the sanitarium?" Jennifer laments to her friend Anne, who assures her that she'll find a job. Jennifer gasps, "Anne, honey, let's face it: All I know how to do is take off my clothes," exhibiting the only asset besides her devastating shape that this cruel and Hobbesian fictional world bestows on her—a knowledge of her limitations. Seconds later, alone in the room, Jennifer swallows a fatal fistful of "dolls" and lays her head on the pillow—but not before going to the mirror, removing her satin bed jacket, and gazing wistfully at her twin Three Mile Island-caliber powerhouses of doom—these natural wonders that had gotten her so far but undid her so pitilessly.

Such is the harsh justice of the Valley. Inasmuch as a film whose climactic scene revolves around the yanking off, and subsequent plunging into a toilet, of a wig can be said to have a message, the message relayed by Jennifer's story line is Rely on Your Breasts and You'll Regret It. (Real life, of course, supplied for Tate the ghoulish addendum, And Then Charles Manson's Followers Will Bludgeon You.) Jacqueline Susann's book, on which the movie is based, was rumored to have outsold the Bible when it was published in 1966, not because its lurid pageant of flop sweat and wig tape was such a thoroughly entertaining wallow in the glitter gulch but because it provided a much needed proto-feminist snapshot of the plight and peril of career women.

Indeed, the extent of Jennifer's victimhood is all the more upsetting when you compare her with almost any male movie character who's defined by a body part. The men always fare better—The Wizard of Oz's Scarecrow gets his brain big-nosed Cyrano de Bergerac dies knowing his inamorata loved him much crippled and compromised Christy Brown becomes a charmingly cantankerous painter and writer. No, to find an apt comparison for Jennifer, youɽ have to search the genres of science fiction and horror. She's no Cyrano. She's Breastzilla.—Henry Alford


4. Chevrolet Caprice

The Chevrolet Caprice is a favourite amongst movie makers, appearing in the likes of The Dukes of Hazzard, Se7en, Point Break, Scream 2, Species and Days of Thunder. According to IMDb, the 1991 model year Caprice used in Days of Thunder was not actually on sale when the film was released in June 1990, but the Chevrolet dealer received the car ahead of its launch in October.


Rob’s Car Movie Review: The Hollywood Knights (1980)

I may have been born and raised in Manhattan, in the heart of New York City, but after twenty-four years of living in Southern California, I can’t help but admit that I love LA! Out here in the City of Angels, we worship certain things: the sun, the surf, a good taco, and most of all, our movies and our cars. We especially love our films with cars in them, and if you go ahead and set that car movie in our town, you’ve got yourself the cinematic equivalent of an eight point earthquake for Tinseltown audiences! And so is it any wonder that The Hollywood Knights should be this month’s subject of Rob’s Car Movie Review?

The Hollywood Knights movie poster.

Released by Columbia Pictures in 1980, The Hollywood Knights was written and directed by Floyd Mutrux, who was fresh off helming American Hot Wax, and scribing Freebie and the Bean. Knights features a fairly impressive cast of soon-to-be notable thespians, including Michelle Pheiffer, Tony Danza, Fran Drescher, Robert Wuhl, Gary Graham and T.K. Carter.

Stars Michelle Pfeiffer and Tony Danza.

The film is a slapstick comedy that examines the wacky antics of the Hollywood Knights, a hot-rod car club, on Halloween night in 1965. Having learned that their favorite haunt, Tubby’s Drive-In, is set to be demolished to make way for (yet another) Beverly Hills office complex, the Knights decide on one last hurrah, to make sure the town forever rues their decision.

The milieu of most of the film, Tubb’ys Drive-In.

From this basic log line, the film intercuts between three storylines featuring Knights leader Newbomb Turk (Wuhl) and his co-offenders playing endless pranks on a pair of local beat cops and community leaders the somewhat syrupy romance between Knight mechanic Duke (Danza) and his actress wanna-be girlfriend (Pheiffer) and the aspirations and anxieties of conscript Jimmy (Graham) on the eve of his shipping out to Vietnam.

Sally (Fran Drescher) and Hollywood Knights cut-up, Newbomb Turk (Robert Wuhl).

To be honest, the dialogue and acting in the movie are nothing to write home about, and the film annoyingly looks as if every shot was made through a heavy diffusion filter, both surprising given the acting talents involved and the fact that the movie was lensed by William Fraker, of Rosemary’s Baby, Bullitt, Looking for Mr. Goodbar and Heaven Can Wait fame.

Vietnam conscript Jimmy Shine (Gary Graham).

But who cares about all of that when a film is as chock-full of great music and cars as this one is? The movie features legendary disc jockey, Dr. J, who spins seemingly most of the hits of the mid-1960s including tracks by The Beach Boys, Ray Charles, The Four Seasons, The Byrds, The Mamas and the Papas, The Supremes, Wilson Pickett, The Drifters, Sam the Sham and the Pharaohs, Frankie Lymon and the Teenagers, and Martha & the Vandellas.

The real star of the film, the 1957 Chevy 210, also known as Project X.

But the real stars and standouts of The Hollywood Knights are the cars, and boy, what an assemblage of period musclecars and hot-rods we have here! The standout vehicle in the film is Duke’s hot-rod, a canary yellow 1957 Chevy 210 post model. Originally the 1965 project car for Popular Hot Rodding Magazine, the 210, dubbed Project X, served as a test bed for many different engine combinations, drivetrain tweaks and suspension setups over the years.

Project X doing its thing in The Hollywood Knights.

At the time of the filming of The Hollywood Knights, the car featured a small block Chevy with a Dyers 6-71 supercharger, a 4-speed manual replete with a number 1 pool ball shifter knob, a 9-inch rearend with ladder bars and leaf springs, Cragar s/s wheels, and most famously: no hood.

King of the movie’s stoplight dragstrip – the 1966 Shelby Cobra 427.

Another great ride in the movie is a silver-blue 1966 Shelby Cobra 427, driven by a pair of nameless and dialogue-less Asian men who terrorize Van Nuys Boulevard throughout the flick, beating all comers at the stoplight drag strips.

Wheatly’s (Randy Gornel) 1965 Pontiac Le Mans GTO.

Newbomb’s brother’s black 1965 Chevy El Camino is a tough standout in the film, as is Wheatley’s (Randy Gornel) cherry red and cherry condition 1965 Pontiac Le Mans.

My favorite car in the movie – the 1961 Ford Galaxie Starliner.

Other cars of the veritable muscle menagerie in The Hollywood Knights include a 1923 Ford Model T hot-rod, a gorgeous 1961 Ford Galaxie Starliner (my favorite car in the film), a pair of Porsche 356 A Speedsters, and a smattering of 1965 Mustang ragtops and Fastbacks, rodded Ford and Chevy coupes, and even a modified 1963 Cadillac Sedan deVille.

The Hollywood Knights is no Lawrence of Arabia. It’s plot consists of not much more than a collection of cheesy sight gags, boob shots and silly vignettes the characterizations are often poor and for the most part we have seen this film before in the form of George Lucas’ vastly superior American Graffiti. But what the movie lacks in the cinematic department, it more than makes up for in terms of the soundtrack and the immense collection of primo horsepower throughout. As such, I give The Hollywood Knights six out of ten pistons.

About The Author: Rob Finkelman is a freelance writer for Street Muscle Magazine. He attended and graduated from New York University’s film school in 1992, and subsequently worked in the movie business for twenty years as a documentarian and screenwriter. Combining his two great passions in life – films and cars – and writing about them is a dream job for him. He will be bringing us a Car Movie Review each month, and he’s open to suggestions so list yours below.


The 100 Best Movies of All Time

An entirely subjective list of the greatest films in history that matter right now.

To completely take the wind out of all of our sails, coming up with a perfect list of the 100 greatest movies of all time is. well, it's impossible isn't it? To get cerebral about it, when lists like this come together, half the fun is going through and seeing where (or even if) your favorite made the list. Taking in how your tastes and experiences line up with whomever wrote this monstrosity. With film being such an expansive and subjective form of art, there is hardly a wrong answer to what is and isn't deserving of making a list like this.

But what's special about this, our list of 100 great films, is that it speaks to this moment&mdashthis group of Esquire editors. We went through the lists made in the past and we collectively agreed. it didn't represent who we are right now, in 2021, looking out our pandemic windows with our political anxiety and our TikTok pastas. So instead we changed it. Made it something reflective of us. When you peruse the pieces we write, the opinions we have, and the approaches we take, you can see the influence of the films on this list. Not to get too earnest, but pop culture has this way of permeating our senses and informing who we are as people. It's the beauty of good writing and acting and direction. It's easy to think, "A movie is just a movie!" but it isn't, is it? We wouldn't care what films are on this list if it were.

So bookmark this page and take the journey with us. Get spicy in the comments and tell us what we left off, but be careful! That might reveal as much about you as it does about us. In all seriousness, this list is meant to be a conversation: a celebration of the 100 films that we decided help define who we are as a publication and a staff and consumers of them talkie pictures that fill our nights. And hey, your opinion might just be a wake up call to us. Between 12 Angry Men and Parasite, we are willing to bet there's a good movie we missed in the in between.

Oh, and for you documentary heads? Chill out. We see you and your penchant for real stories, so we put the best of those documentary films in a separate list. So come. Let's go through the best 100 movies of all time.


The 30 Coolest Cars of the 1970s

The 1970s were all wings and wedges and jaw-dropping designs, the best of which stand the test of time today.

Some of the most radical designs in all of car history came from the 1970s. These are some of our favorites.

The XJS first hit production in 1975, sporting stunning looks and a magnificent V-12 engine. Questionable reliability caused heavy depreciation as the cars aged, meaning you can now pick one up for well under $10,000.

Porsche dominated Le Mans in the early 1970s with its 917 race car, spawning different variants like the 917/20 shown here. It was one of Porsche's most successful motorsport programs, and the cars remain icons to this day.

Though it might not be as exotic as some of the other cars on this list, the TR7 remains one of the great vehicles of the 1970s. It was stylish, lightweight and incredibly fun to drive. This convertible model is up for bidding right now on eBay.

Porsche built a bunch of 914s in the 1970s, but just a tiny fraction of them were equipped with flat-six engines. Taken from the 911T, the motor made this baby Porsche into a serious performer.

The original Vantage debuted in the early 1970s as a muscular coupe. It had a V-8 like a muscle car, and sounded wonderful. They're pretty hard to find these days, and when they do come up for sale, they're incredibly expensive.

The 928 was originally supposed to replace the 911 as Porsche's flagship vehicle. But the 911 was saved, and the two cars were sold side-by-side for awhile, until the 928 was eventually dropped. Here's an S4 model you can own right now.

The Montreal is one of the coolest-looking Alfas out there. It has a classic GT profile, and sports some incredibly cool headlight shrouds that drop down out of view when you flip the bulbs on.

The first Challenger made its debut in 1970, and it remains one of the coolest vintage muscle cars you can own. The new Challenger may make over 700 horsepower, but for some reason, we prefer this one. This one's painted in a lovely shade of purple, and it can be yours today.

The 2002 was around before the '70s, but its most desirable non-turbocharged trim, the "tii," didn't come around until 1971. It had a fuel-injected engine that made 130 horsepower, resulting in some serious performance for the time. This one is up for grabs on eBay right now.

Fiat's quirky mid-engine '70s sports car was designed by Bertone, and still looks great today. If you can find one that hasn't been rusted to bits, we'd say it's worth holding onto. Here's one for sale on eBay.

The RX-7 first hit dealerships in 1978, amassing a large following thanks to its lightweight body and wonderful rotary sound. This one has under 100,000 miles, and you can own it today.

The Celica takes a lot of its design from American muscle cars of the time, but really, it's just a fraction of the size. Still, the looks worked, and it drove great. This one is incredibly clean, and it's for sale on eBay.

It seems like the G-Wagen has been around since the beginning of time, but really, it got its start in the late 1970s. Of course, it hasn't changed much since then&mdashthis 2002 model is for sale right now.

Chevrolet introduced the second-gen Camaro in 1970, with wildly new looks. People loved it, and examples like this one are now extremely desirable. This one's been heavily modified, and you can buy it now.

The 1970s saw Porsche's first turbocharged 911, with widner fenders, a big wing, and a whole lot of power. It had a tendency to snap-oversteer mid-corner, earning the nickname "the Widowmaker." Here's one listed for sale for under $80,000.

Some people may not like the C3-generation Corvette, but really, what's not to like? Chevy offered some big-power engines, and the looks are top-notch. This one is painted in a lovely shade of green, and it's up for bidding right now on eBay.

Technically, the Datsun Z was first introduced in 1969. But it was sold until 1978, so we'd say it counts. Stylish looks and a wonderful straight-six engine are just some of the reasons why people love it. Here's one with some patina that you can own today.


Watch the video: Fallen 1998 Full Movie in English. Denzel Washington, John Goodman, Elias Koteas. Horror Movie