I guess, within the past month of self-quarantining, we have all burned up streaming services like we never have before.

And though most folks go to Netflix, Hulu, Amazon, or whatever else, for original programming--which is great; I do too--I've been enjoying finding a lot of old favorites.

During this pandemic, it seems like I've been gravitating toward video "comfort food"--old movies and TV shows that I know I will like.

Hey, something new that I end up loving is great, but personal classics never get old and are ALWAYS welcome.

Within the last couple of weeks, I've been getting into action, suspense, crime dramas or any combination of the three.

I keep going back to 1983's WarGames, about a night that would've panicked America if America had known that a precocious high school student, who can break into his school's computer and manipulate grades, almost started World War III by hacking into the nation's top defense system.

I can't get enough of 1994's The Shawshank Redemption and how the great friendship between wrongly-convicted Andy Dufresne and Red Redding can share the story's center stage with the excitement and mystery of a complex jailbreak, 20 years in the making.

I don't know how many times I've seen The Fugitive from 1993. It's the story of another wrongly accused man. This time he doesn't MAKE it to prison but, instead, becomes another type of prisoner--the capture target of a dogged U.S. Marshal and his band of merry agents. Never stops. I mean, this thing NEVER stops.

Despite all the many Steven Spielberg films (to say the least) that have MUCH higher profiles, 2002's Minority Report is my favorite. An expert combination of razor sharp science fiction prognostication (the film features a pretty decent guess of what social media would be, among other astute examples) and twisty crime thriller, it's also my favorite Tom Cruise movie. The blind navigation through a shopping mall and the importance of an umbrella make for one of the best movie scenes ever.

Similarly, my favorite Stephen King adaptation isn't one of this biggest big screen hits. But, The Dead Zone is the best one (comes in by a hair ahead of Shawshank on my list). A high school English teacher is thrust into a coma after a car accident and comes out of it five years later with a powerful ability of second sight. His visions escalate toward an intense finale that could have been badly telegraphed in lesser hands. Clever throughout and very creepy and unsettling without ever completely rising to the level of the horror genre, which hardly matters. Also, it's Christopher Walken's career-best work.

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