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MY 100 FAVORITE FILMS: 51-60

9/13/2015

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60. To Be or Not to Be (1942) “What you are, I wouldn’t eat.”
"How dare you call me a ham!”
I first saw Carole Lombard in the film 20th Century, where I thought she was amazing both for her dramatic skills and comedic timing. Interested, I sought out the Ernst Lubitsch masterpiece To Be or Not to Be, where she is just brilliant. Playing alongside Jack Benny, the film glides along and still works perfectly some 70 years after its creation. There is also a distinctly modern, and hilarious, moment in that last plane sequence where ‘Hitler’ gives one last order to his loyal guard.

59. Groundhog Day (1993) A perfect blend of gentle comedy and philosophical investigation, this provided Bill Murray with one of his greatest parts, as a man stuck in time and space. One of those rare films that grows funnier, and deeper, the more times you see it.

58. Singin’ in the Rain (1952) I am not terribly fond of musicals, but who could argue with this one, Gene Kelly's greatest work. Inventive all the way through, then takes a sudden turn during the finale into jazz, accompanied by Cyd Charisse’s legs.

57. The Man Who Fell to Earth (1976) If there is a universe in which Nicholas Roeg and David Bowie didn’t make a movie together, then I prefer not to live in it. Stark, ultimately depressing, but hypnotic in the way Roeg’s best films tend to be. Bowie, perfectly cast, is mesmerizing.
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56. Do the Right Thing (1989) The weird thing about Spike Lee is how old-Hollywood he is. It’s a quality I like, but it is sometimes odd to see Lee taking on whatever the current issues are of the day and applying techniques learned from All That Heaven Allows to them. This film remains his masterpiece, although there are arguments to be made for Malcolm X and 25th Hour.

55. The Conversation (1974) So, yeah, Coppola made these two unknown films called The Godfather and The Godfather Part II – very obscure – and in between he made this brilliant slice of paranoid cinema. A perfect film for the Watergate era – which is our era too since it never ended – with one of Gene Hackman’s greatest performances as sound expert Harry Caul.

54. The Public Enemy (1931) It isn’t true that Martin Scorcese invented the gangster picture. Paul Muni and Howard Hawks did Scarface long before Al Pacino did, and Jimmy Cagney had this film, The Public Enemy, when talkies were still relatively fresh. Cagney shoves a grapefruit into a Mae Clarke’s face and then shoots a horse to death because it pissed him off. If you’ve never seen Cagney in a movie before, prepare to be obsessed.

53. Network (1976) This is the picture that successfully predicted what television would become, and why – it was also the picture that lost out to Rocky for the Oscar. As director Sidney Lumet said, “Boo.” Featuring one of the all-time great scripts from Paddy Chayefsky and played out by an ace cast with relish.

52. Breathless (1959) One of the most definable films of the French New Wave, this is dazzling from start to finish, as director Godard and writer Truffaut spit back the  pop American gangster films they loved into a soufflé of their own. Jean Seberg was one of the most gorgeous creatures ever to appear on Earth, and she was rewarded with sadness and tragedy –  the film makes it all seem like a terrible portent.

51. Sorcerer (1977) The film that did more to kill the Auteur decade of the 70’s probably more than any other, William Friedkin wasted millions and made none on this bizarre remake of Cluzot’s The Wages of Fear. Roy Scheider is perfect as the gangster seeking anonymity in Latin America, and together with the incredible tension and Tangerine Dream score, makes this journey an unforgettable one. One of the few remakes to be better than the original, in my opinion, and another film that gets better with repeat viewings.
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My 100 favorite films: 61-70

9/12/2015

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70. Alien (1979) If you’re going to make a movie about a monster in outer space, this is the way to do it. The effects hold up marvelously and the cast is one of the best ever assembled, featuring Yaphet Kotto, Tom Skerritt, Veronica Cartwright, Ian Holm, Harry Dean Stanton, John Hurt, and of course a young Sigourney Weaver.

69. Through a Glass, Darkly (1961) I love The Seventh Seal and Persona as much as anyone, but this is one of the two films that really stay with me from Bergman. A typically dark drama about a brother/sister/father relationship, this film deals with spiritual issues unseen in most films – especially the notion that if there is a God, it may not have any human connection to us whatsoever.

68. Last Year at Marienbad (1961) Being a fan of the literary work of Alain Robbe-Grillet, I am probably more inclined to be patient with this film’s depiction of spiritual emptiness in wide shots of corridors. The director, Alain Resnais (who also made the celebrated Hiroshima Mon Amour) didn’t entirely share the author’s vision, but the film does evoke Robbe-Grillet’s style very effectively. Surreal, beautifully shot, and dreamlike in execution.

67. Point Blank (1967) John Boorman wore his New Wave influences openly in the making of this crime picture, resulting in a weird, sometimes choppy but compelling revenge drama. Lee Marvin walks through the film knocking down doors and knocking over people on his single-minded quest, which ends only in ambiguity. And the weird was just getting started for Boorman, who has one of the more unique filmographies around.
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66. Cross of Iron (1977) A WWII picture with an unusual point of view: Sam Peckinpah’s distinctive style is applied to this drama about German soldiers on the Russian front. The film doesn’t deal with the war as such, but is down on the ground with the grunts, and what emerges is a macho battle between supersoldier Steiner (James Coburn) and his commander played by Maximilian Schell. For anyone needing an antidote to Saving Private Ryan, this is the one.

65. Brazil (1985) Terry Gilliam’s quasi-masterpiece is big, sprawling, not always on-point, but often brilliant and occasionally unforgettable. Gilliam has always been one of my favorite filmmakers because of his unique vision and indefatigable chutzpah. I may not love everything he makes, but – as with David Cronenberg – I always want to see his films.

64. Wild Strawberries (1957) Victor Sjostrom, as the elderly professor reflecting back on his life, gives a devastating performance; of all Bergman’s films, this one comes back to me most often. A meditation on God, life, the universe, and everything, but without the dreariness that description might suggest. Instead, this is a glorious film.
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63. Strozek (1977) Werner Herzog, the legend, has made so many great films and documentaries that he – like Kubrick and Antonioni – would dominate this list if I didn’t arbitrarily set a limit. A dazzling critique of modern capitalism, and featuring one of the greatest ending sequences of any film ever made.

62. Au Revoir Les Enfants (1987) Louis Malle’s coming-of-age story set in WWII left me bawling for an hour afterward. I understand that doesn’t sound like a recommendation, but it is.

61.
Red River (1948) Howard Hawks, my favorite American classic Hollywood director, cast John Wayne as the heavy in this brilliant Western. Montgomery Clift plays his prodigal “son,” and their conflict sets the table for this cowboy drama. The movie that caused John Ford to remark, “I didn’t know the sonofabitch could act,” about Wayne. Dazzling entertainment.
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MY 100 FAVORITE FILMS: 71-80

9/12/2015

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80. Jackie Brown (1997) Tarantino’s Pulp Fiction changed the rules for Hollywood pictures, but this is one is deeper and more textured, while retaining the flashy wit. Even better, the two central performances, by Pam Grier and Robert Forster, are powerfully moving.

79. They All Laughed (1981) A small masterpiece of seemingly incongruous parts, Peter Boganovich’s film has terrific, lived-in performances from a game cast, and a sense of lovely melancholy from first frame to last. Overpowered at the time of release by the shocking death of his then-girlfriend Dorothy Stratten, the film tanked at the box office. Loose, informal, and entertaining in an old-fashioned way, with Ben Gazzara, Colleen Camp, John Ritter, and Audrey Hepburn at their most likable.

78. Miller’s Crossing (1990) I’ve often thought this was the best script I’ve ever read. The film, somehow, isn’t as good as the script – never been able to put my finger on why. Still a great picture, however, with brilliant dialogue equal to the noir films that it consciously echoes. Incredible cast, photography, and ending.
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77. Rushmore (1997) "Yeah, well I wrote a hit play and directed it, so I'm not sweating it either." Put me in the camp of Wes Anderson admirers. This film steals scenes from The Graduate, but does them better, and – in my opinion – scores emotionally more than that film did. Hilarious and endlessly quotable. Also provided a renaissance and the beginning of a great third act to Bill Murray's career.

76. Hard Boiled (1992) Completely nonsensical, dazzlingly stylish, and stunningly violent, this exists on a level of pure sensation, but it works. Sure, The Killer is even more ridiculous and operatic, but I prefer this one. And Chow Yun-Fat owns the screen.

75. Before Sunrise (1996) Talky, like Roemer, but even more romantic – a meet cute that lasts all night and perfectly captures the fluttery moments when we’re not quite sure when to make our first move.

74. Cyrano de Bergerac (1950) In The Sun Also Rises, Hemingway observes that there are certain novels that it is dangerous to read too young, and one could say the same about Edmund Rostand’s play. This film squeezes every drop of the high romanticism of this story, and Jose Ferrer is – one might offer – larger than life. A dazzling film. The Gerard Depardieu version is grittier, but doesn’t match the theatrical elegance of this one.

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73. The Big Red One (1980) There are lots of Samuel Fuller pictures that could have made this list, including the great Shock Corridor, but this one always stays with me. Fuller put himself in the film – the cigar-chomping Robert Carradine in a scene-stealing role – and Lee Marvin lends his gravitas of having actually served in WWII. Uneven and episodic, but haunting and real.

72. Medium Cool (1969) A brilliant, fractured, film with a documentary quality, Medium Cool lacks a traditional narrative but contains an amazing slice of reality. Famously shot during the riots at the 1968 Democratic convention, this is as striking a historical document as it is a movie. An amazing film featuring a terrific Robert Forster in the lead, nearly thirty years before his "comeback" role in Jackie Brown.

71. The Ninth Configuration (1980) Hilariously profane, unrelentingly bizarre, and ultimately Catholic, William Peter Blatty’s picture is one of the most unique film experiences ever made. Stacy Keach is the best effing psychiatrist since Jung, and he is tasked with helping discern whether a group of loonies are faking or barking. Includes an unforgettable sequence on the Moon and an insane bar fight. Seriously, check this thing out.
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my 100 favorite films: 81-90

9/10/2015

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90. Ed Wood (1994) Tim Burton’s greatest film, in my opinion, from a terrific screenplay and a lot of love for the bad-movie genre. Depp is great, Martin Landau is incredible and the whole movie maintains its odd, quirky-in-a-good-way tone throughout.

 89. Youth of the Beast (1963) Seijun Suzuki made crazy, stylish pictures about gangsters in a kind of fantasy world. This one is probably my favorite because there are several places where you can see where Tarantino stole stuff from, and because of Jo Shushido’s terrific performance. Bright colors, edgy violence, and a couple of dry quips – it’s got an energy to it that’s infectious.

88. The China Syndrome (1979) During the Seventies, it seems like Hollywood was able to knock out adult dramas at will for a while; of course we all know what changed that. One of the most intense films I’ve ever seen; it will leave you thinking for some time after you see it. Also interesting in that there is no score, which adds to the realistic tone. (As William Goldman pointed out, Michael Douglas is a hell of a producer; check out his credits, which include this picture).

87. Solaris (1972) Decidedly not the insipid Steven Soderbergh remake, but Andrei Tarkovsky’s original; if you haven’t seen any Tarkovsky, it’s worth the effort to catch as many as you can. A slow, surreal, fascinating journey, culminating in a final shot that is justly famous. Dreamlike and thought-provoking.
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86. Topsy Turvy (1999) Another one of my favorite backstage pictures, this gets every detail about the experience of stageplays correct. A wide, expansive film, there are spectacular performances and beautiful sets and a fine wit throughout. My favorite of Mike Leigh’s films.

85. L’Avventura (1960) Michelangelo Antonioni is one of my favorite directors, and – like Kubrick – I had to limit myself or this list would have been chock full of both. A picture that likely most audiences would now find boring, I found mesmerizing – and shocking, to use Martin Scorcese’s description. And remember: Monica Vitti was not an established star when the picture released.

84. Blue Collar (1978) Paul Schrader’s finest hour (as writer and director), in my opinion, centers on three union guys (Richard Pryor, Harvey Keitel, and Yaphet Kotto) who try to commit a crime and find themselves in a much bigger mess than they ever intended. The drama hasn't aged a bit.

83. Fort Apache (1948) Henry Fonda plays a real sonofabitch in this one, and this is one of John Ford’s darkest films, an inversion of the typical Western hero that was sometimes celebrated in his work. Haunting, and strikingly modern in some ways, with an unusual turn from John Wayne and a great ending.
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82. Seven Days in May (1964) One of JFK’s favorite books. Kirk Douglas happened to be at a dinner party  in D.C. and told Kennedy he wanted to make a film out of the book. Kennedy proceeded to tell Douglas just how important he thought the story was; given the content, it’s easy to see what he meant. Unfortunately, he never got to see it.

81. Le Cercle Rouge (1970) Alain Delon, this time sporting a mustache, and the great Yves Montand, in a heist film directed by Jean-Pierre Melville. What more do you want?


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My 100 Favorite films: 91-100

9/7/2015

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I was looking at a few of the top 100 films lists that are available, from AFI and so on, and got interested in trying to figure out what my personal top 100 would look like. I was curious how mine would compare, as there are certainly films that I know going in will not the same. While understanding the historical importance of Birth of a Nation, The Wizard of Oz, and Gone With the Wind, for example, none of those will make my personal top 100. Because film is such a subjective medium, it shouldn't surprise anyone that their own list might differ from one obtained via consensus.

On the other hand, I do match up to some degree with these lists, because many films in the first part of the 20th century have endured because they are, legitimately, great.

So with all those caveats in mind, here is my top 100. Which is almost certainly wrong because I probably forgot something...

100. Nothing But a Man (1964) This was said to be Malcolm X's favorite film in the last year of his life, and that would be enough to recommend it on historical terms. However, this is also a fine slice of realistic drama that attempted, given the era, to make an honest film that dealt with black lives on the most human level possible.

99. Birdman (2014) I am a playwright, and have loved the theatre since I was in my first play, Pippin, about 7 or 8. Birdman understands backstage like few films ever have, and the scene in which Edward Norton runs lines with Michael Keaton is worth the price of admission by itself. A technical achievement, to be sure, but much more than that. Astonishing work.

98. The Princess Bride (1987) William Goldman's own favorite book contains a little bit of everything: fairy tales, swashbuckling, high fantasy, and Catskills humor. Quotable and memorable and beautifully done.

97. High Fidelity (2000) The go-to movie for record collector music nerd types. I am one of those guys, and this movie was made for me.

96. Year of the Dragon (1985) Yes, this movie has many problems. It could certainly not be made today with the script as written (by Oliver Stone). However, Mickey Rourke's peak as an actor was incredibly high, and of the four possibilities (along with Angel Heart, Rumble Fish, and Barfly) I choose this one. Michael Cimino just fails better than most directors succeed. And his Chinatown set fooled Stanley Kubrick.
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The Prisoner of Zenda (1937)
95. Inglorious Basterds (2013) A great film in about six scenes. And it introduced the world to Melanie Laurent.

94. Miracle Mile (1989) A sleeper of a film featuring a young Anthony Edwards, a young Mare Winningham (one of my favorite actresses of the period, especially in a little film called Threshold in which she co-starred with Jeff Goldblum), and seemingly every great character actor alive. It begins as a romantic comedy and ends with one of the bleakest endings ever for a Hollywood picture.

93. Withnail & I (1987) Celebrating the glory that is Richard E. Grant forevermore. Ponce!! (See the clip below.)

92. Laura (1944) The first of two Otto Preminger films on my list, this one features Dana Andrews playing a really nutty cop, with the immortal Gene Tierney as the woman he investigates. This movie is really much weirder than its reputation and still compelling. This same plot was re-used by Burt Reynolds in Sharky's Machine, which is itself a pretty good (and strange) film, albeit at the level of a good B-movie.

91. The Prizoner of Zenda (1937) The source material - Anthony Hope's novel - was much-adapted by Hollywood, but this one is still the best. It's Ronald Coleman versus Douglas Fairbanks Jr. (who smokes amazingly well in scene after scene) and in between is Madeleine Carroll. It's a boy's fantasy played out in life and still incredibly entertaining.

So that's my 91-100. The rest soon...
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