The 100 Greatest Films Of All Time(100-51)... According To Me And In Detail
Submitted by grandpa_chum on Wed, 11/30/2005 - 04:36
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100. The Wild Bunch
- Sam Peckinpah, 1969:
99. Belle De Jour
- Luis Bunuel, 1967:
98. Broken Flowers
- Jim Jarmusch, 2005:
97. Boogie Nights
- Paul Thomas Anderson, 1997:
96. Field Of Dreams
- Phil Robinson, 1989:
95. Blow Out
- Brian De Palma, 1981:
94. Duck Soup
- Leo McCarey, 1933:
93. Animal House
- John Landis, 1978:
92. Goodfellas
- Martin Scorsese, 1990:
91. Munich
- Steven Spielberg, 2005: This movie automatically gets my praise for the detail and brilliance in which the violence was crafted. It goes in the elite group along with Bring Me The Head Of Alfredo Garcia and Violent City as one of only three films that made me feel every gunshot, every death made me cringe. I loved it. I was skeptical this would be a film in which one side is portrayed as good and the other evil. I applaud Spielberg for making a film on such an emotional topic in which both sides are wrong or right, depending on how you look at it, but the same, equals nonetheless. Surprisingly it suggests that the Israeli's were just as much to blame for the killing and violence as the Palestinians. Even the Munich murders of the olympic team seemed to partly be a choice made by the Israeli's. Now I know nothing on the subject but what I saw on the screen, but it looked as if the Israeli government decided to attack instead of negotiate, and ultimately got what remained of the olympic team killed in the process. The brilliance of this film is in it's neutral message. At one point in the film(my favorite point) a group of assassins working for the Israelis and a group of assassins working for the Palestinians are forced to share a safehouse given to each of them by a nuetral informant(the Israelis were there first). Halfway through the night two of the men start to bicker over which radio station they will listen to during the night. After some chest pounding and machismo the men agree to listen to Al Green on a third station. Guess what the song is... Let's Stay Together.
90. Rear Window
- Alfred Hitchcock, 1954:
89. On The Waterfront
- Elia Kazan, 1954:
88. City Lights
- Charlie Chaplin, 1931:
87. Lawrence Of Arabia
- David Lean, 1962:
86. The Seventh Seal
- Igmar Bergman, 1957:
85. Game Of Death
- Bruce Lee, 1978: To start I only consider the half hour that bruce lee actually filmed before his death to be worth watching, which is all I'm referring to when I say Game Of Death(actually it's the only half hour I've seen from the film, but I hear the rest was pretty quickly thrown together with a double and archive footage). That half hour happens to be 4 or 5 fights between Lee and a specialist of different forms of attack. All on a different level of a building and leading up to the mother of all 'kung fu'(I call it that simply as a genre, I don't really know what I'm talking about) showdowns between Bruce Lee and Kareem Abdul-Jabar.
84. Casablanca
- Michael Curtiz, 1942:
83. Viridiana
- Luis Bunuel, 1961:
82. Creepshow
- George Romero, 1982:
81. High Noon
- Fred Zinneman, 1952:
80. Sydney(aka Hard Eight)
- Paul Thomas Anderson, 1996:
79. The Shawshank Redemption
- Frank Darabont, 1994:
78. Million Dollar Baby
- Clint Eastwood, 2004:
77. 2001: A Space Oddysey
- Stanley Kubrick, 1968:
76. The Wind And The Lion
- John Milius, 1975:
75. Do The Right Thing
- Spike Lee, 1989:
74. Jackie Brown
- Quentin Tarantino, 1997:
73. The Last House On The Left
- Wes Craven, 1972: At one time called each of the following... Sex Crime Of The Century; Night Of Vengeance; Krug And Company; Grim Company; with taglines like 'it rests on 13 acres of earth over the very center of hell!' and 'to keep from fainting repeat to yourself "it's only a movie", directed by Wes Craven, and starring, one of the best guys to play an insane baddy of all time, David Hess... A cult horror fan's dream movie? Yes, but it ends up more like their worst nightmare. I have to admit I didn't buy that a movie made in the 70's not called Dawn of the Dead would actually live up to it's reputation for being one of the goriest most horrible looking films of all time, but I must say this qualifies even now over 30 years later. It truly is the most horrifying, disgusting, vile film not dealing with zombies I have ever seen. The brilliant part of it is, there isn't that much blood and guts, it's simply that you can't believe what is happening might actually go through some sicko's mind, but at the same time it makes you believe that it really could have happened. It's a brilliant combination for a horror movie that was essentially shot with documentary techniques. According to the making of featurette most of the movie is being shown in one take with three cameras going and no real scene staging, and it makes for one hell of a good horror movie. Growing up in the film era of 5 scream movies and such crapfests as freddy vs jason I had just assumed Wes Craven was a hack with a following. Nightmare On Elm Street validated Craven for me, and now Last House On The Left has caused me to join in the following. Sadly nothing will make me see Red Eye until I can see it for 5 bucks or less... oh and I almost forgot to mention my love of everyday badass insulting dialogue... "How'd you like me to put my boot up your ass sideways?"... classic.
72. Simon Of The Desert
- Luis Bunuel, 1965: Coming soon
71. Manhattan
- Woody Allen, 1979: Coming Soon
70. Fargo
- The Coen Brothers, 1996: Coming Soon
69. North By Northwest
- Alfred Hitchcock, 1959: Coming Soon
68. The Pawnbroker
- Sidney Lumet, 1964: Coming Soon
67. Django
- Sergio Corbucci, 1966: Great spaghetti western masterpiece from the 'other sergio', who is a true master of the genre. In fact, he's probably the only other consistently masterful spaghetti western director other than Leone(and I'm sure, the 'other other sergio', Sollima will make it 3 once I see more of his westerns). The idea spawned from when Corbucci saw a comic book where the main character lugged a coffin around. A year later Corbucci was shooting a comic-book style western about a character who carries a coffin around with a large machine gun in it(not really a spoiler since the 'unleashing the fury' scene happens like 20 minutes into the film). The mis-en-scene in the cemetary for the final shootout is spectacular, and a sort of trademark for Corbucci but for some reason the first time I saw it I didn't realize it. The man shot a graveyard like no one else can. The theme song is very catchy, and the music overall I would say is superb if it weren't for the annoying 'mexican revolution theme' song, which is very very annoying, but that might only be because I've heard it in at least 3 other spaghetti's by this time. But other than that this is a very well made spaghetti western, and with my preference over the genre that puts it pretty high up there. Like I said before, if you get the chance, the DVD is fairly cheap and worth it simply for the 10 minute short film made in 2002, L'ultimo pistolero, so I can reccomend it no risk, because otherwise it would be a hard sell, because as universally well-thought of the real sergio(leone) is, Corbucci and Django specifically is a lot like an acquired taste. But I still maintain that Corbucci is the best action sequence director of all time. Oh yeah, no matter what if you ever watch this film, make sure it's the Italian dub with english subtitles, the english dub has sucky dialogue, so much so it causes plot problems, and some weirdo's voice substitutes for Nero's.
66. Young Frankenstein
- Mel Brooks, 1974: Mel Brooks' best, Gene Wilder's best, peter boyle, terri garr, a comedic homage to frankenstein, what's not to love. If I ever wasn't sure that gene wilder may very well have been the greatest comedic actor of all-time, then this movie capped it, he's pure comedic genius from beginning to end. I also love the serious attempt at directing a good frankenstein movie by mel brooks, even if it is a comedy. After seeing blazing saddles a few years ago I was optimistic about frankenstein(often considered his best), but then I saw spaceballs and became morbidly pessimistic about ever even seeing young frankenstein, but I'm so glad I did.
65. The Getaway
- Sam Peckinpah, 1972: Coming Soon
64. The Hitcher
- Robert Harmon, 1986: Second only to Duel in the category of thrillers that take place completely on the road, which I have grown to absolutely love. It's too bad there aren't more good ones. Joy Ride(2001) seems to be a very distant third as far as I can recall, so it's a really underdone(or poorly done) genre. Rutger Hauer is amazing in this film, he's the perfect villain for this movie. It's hard to imagine anyone else in that role, even though he was the third offered the part, behind Sam Elliot(wow what a different movie that would make it) and Terrance Stamp. The direction is great, the story is interesting enough, the acting is pretty good, the villain is PERFECT; he's just crazy enough, he shows up enough to be a real badass but doesn't really do too much to make him seem unrealistic to the point where you laugh at him. It's really all about the direction and the villain, rutger hauer, that makes a good on the road thriller, and this is one of the best. The ending also couldn't be better, which helps.
63. The Misfits
- John Huston, 1961:
- Roslyn(monroe): Well, what do you do with yourself?
- Gay(gable): Just live.
- Roslyn: How does anyone "just live"?
- Gay: Well, you start by going to sleep. You get up when you feel like it. You scratch yourself. You fry yourself some eggs. You see what kind of a day it is; throw stones at a can, whistle.
- Clark Gable's last role, Marilyn Monroe's last role... Clark Gable's best role? Marilyn Monroe's best role? It's very possible, at least in my opinion. Gable plays an aging modern day nevada cowboy who on occasion goes mustang running. Eli Wallach and Montgomery Clift round out an amazing cast and although the first hour and a half don't seem to be very directed by John Huston, he more than makes up for it with the finale. The thing that really seals the deal is that the first hour and a half doesn't need any action or spectacular direction because of Arthur Millers fine dialogue. Gable was so convincing as a cowboy he is now the image that pops into mind when I think of one. The movie seemed like it was going to end without much in the way of an ending, which I don't like. Then came the big finale, which was to say the least amazing and a perfect cap to all the questions you have about Langland's(gable) character(I mean character in the self-examining way), which I love. Whenever I thought this film was going down it popped right back up again with something to keep me firmly seated in front of it.
62. Death Rides A Horse
- Giulio Petroni, 1968: Coming Soon
61. Hell Is For Heroes
- Don Siegel, 1962: Steve McQueen is the f***ing man... Bob Newhart is hilarious, Don Siegel's direction is fantastic, Steve McQueen is rough and tough and as cool as ever, the featured weapon is a flame thrower, the war story is interesting enough but not too sappy or patriotic, the ending is perfect, and james coburn has a small role to boot, how can a war movie get much better, I don't know.
60. Carrie
- Brian De Palma, 1976: Coming Soon
59. Mannaja: A Man Called Blade
- Sergio Martino, 1977: This film is as well directed as Keoma, and has basically the same style. The film is just as surreal and the flashbacks are fantastic, the only thing this film doesn't have that Keoma does, is Franco Nero and Woody Strode, if it weren't for the downgrade in acting and the slightly less interesting, less focused plot, this would be right up there with Keoma. The biggest gripe I have with this wonderful film is that the plot is pretty touch and go, you never really know whats going on and the characters seem to just be reacting in the moment, no one has any real goals that follow from beginning to end, they just interact. Which normally wouldn't be a problem, but in a spaghetti western where a stranger with a past comes into town, you expect some sort of end to justify the means, and you get it, just not as focused and straight forward as you would expect. On the other hand this film perfectly illustrates the sadistic nihilism the genre has come to be famous for. Main characters die without notice or second thought, in fact a few times you have to think 'oh my god, was that the main baddy that other bad guy just shot in the head?'. In these films, and especially this one, even the important characters die without much notice and in the most un-hollywood way possibly, there are no speeches, no crying, it just happens and you barely notice it, and when you do notice it, it's only because they injected the death with style and slow motion and maybe a gimmick, which in my mind, is the best way to do important deaths... there are no death beds or parades here.
58. The Conformist
- Bernardo Bertolucci, 1970: coming sooon
57. The Discreet Charm Of The Bourgeoisie
- Luis Bunuel, 1972: coming sooon
56. Psycho
- Alfred Hitchcock, 1960: coming sooon
55. Duel
- Steven Spielberg, 1971: Spielbergs made for tv masterpiece(i'm gonna go out on a limb and say it's the only one of its kind) that was a superhit in europe. This movie really is fantastic and as much as I hate a lot of spielberg's later blockbusters, this really gave me a chance to realize how greatly talented spielberg is when his direction isn't overshadowed by flashy special effects, terrible dialogue and a "make a shitload of money" plot. This formula gives us probably the best on-the-road footage there is, i can't think of any better anyway. Dennis Weaver is great and spielberg does his damnedest to keep us interested in a straight forward one-dimensional plot for 90 minutes, and he succeeds with flying colors! If you have any inhibitions holding you back from seeing this movie, please forget about them, you won't regret it. Anyone who appreciates good ddirecting will love this movie.
54. Charley Varrick
- Don Siegel, 1973: coming sooon
53. Revolver
- Sergio Sollima, 1973: Coming Soon
52. Companeros
- Sergio Corbucci, 1970: It's incredibly hard to say anything bad about this film. It's also hard to say anything good about this film and still sound slightly intelligent. Basically what makes this film great is Corbucci, with direction that is so sporadic and brilliant at the same time it is hard to articulate. He has filmed 3 of the best action sequences ever shot ,or scored for that matter, and he has put them all in the same movie. The long river chase being the least of the three is absolutely brilliantly cut and scored by morricone, it quickly goes back and forth from men keeling over almost in synchronicity to Nero and his reoccuring early 1900's machine gun rampage. From their the chase scene goes into chase mode and is some of the best horse chasing, score pounding integration I've ever seen. The second, and best of the great action sequences(maybe the best of all time) is when the duo saves professor xantos from the firing squad. Again we get fast gunfire, intercut sporadically with men keeling over, this time it's almost balletic. Men go down in sequence, at the same time, thrown over their toppling horses, all perfectly set to music that accentuates such rhythmic action. Each man goes down differently, and each man going down sets up and at the same time compliments the next. It really is magnificent, and anyone who can appreciate a good action sequence will undoubtedly be in awe for several minutes, I find myself watching it over and over again each time I sit down to view the movie. The third is your standard 'trio taking down 30 men to get to the head honcho', but again it's done with such style and grace, and this time much more chaotically, that you almost forget these men are dying and not dancing, yet at the same time it feels like you are in the middle of something as chaotic as a war. To be able to capture both of those feelings into an action sequence is pure brilliance, and Corbucci, in that regard is ridiculously underappreciated.
51. Raging Bull
- Martin Scorsese, 1980: coming sooon
Author Comments:
New Reviews-
83. GAME OF DEATH
61. THE MISFITS
Well, I hate Duck Soup and could live without Lawrence of Arabia, but other than that, nice list.
Great to see Jackie Brown listed!
funny thing is I could live without lawrence of arabia, and I may never sit through the whole thing again... but there is just something about it and it's reputation that makes me want to acknowledge it's greatness... thats why it's so high up the list and will probably get knocked off eventuallly... the way this list has been going i'm sure there will be 14 more films I find worthy of the top 100 ahead of LOA eventually