It'll be interesting when I have to do mine.

Zingy, everything you do is interesting, so don't let anyone else tell you otherwise, and just have a blast with it. I sit back now and realize I was probably the worst one to kick this off, since no one has seen half the movies on my list, and the few who have probably have pretty similar tastes if they're watching those movies to begin with. But c'est la vie.

Okay, lets wrap this puppy up, #s 91-100:

Secrets and Lies (1996)
Miracle in Milan (1951/Italy)
A Few Good Men (1992)
12 Monkeys (1995)
The Celebration (1998/Denmark) Yet another one I will never watch again
To Die For (1995)
Clueless (1995)
Open City (1945/Italy)
Ghost (1990)
Roger & Me (1989)

and................


















La Dolce Vita (1960/Italy)


So sue me, its 101...LDV gets its own unique special spot nel mio cuore. 8)

Near misses, X2 (if X3 imporves on it, it will break top 100), Disney's Beauty and the Beast, Divorce Italian Style, and Yesterday, Today, and Tomorrow, and Octopussy.

Enjoy for the lovely night, and starting tomorrow Zingy or Torri is going to start posting thiers (you guys decide who wants to do it).

Ooh. So, do I get to post it now? Zingy's sleeping, so I'll ignore the bastard and call it first...

Unless you wanted us to COMPROMISE!

Nah, I'll let him go first. I have a feeling he'll do it quickly anyways!

Sure thing torri or zingy....take it away. :wink:

*Dolcevita's Top 101*


12 Monkeys (1995)
The Accidental Tourist (1988)
Adaptation (2002)
Alien (1979)
All the President's Men (1976)
Anatomy of a Murder (1959)
Annie Hall (1977)
L'Avventura (1960/Italy)
The Bad Seed (1956)
Batman Returns (1992)
Better off Dead (1985)
Black Cat, White Cat (1998/Serbo-Croatian)
Black Orpheus (1959/Brazil)
Bladerunner (Dir Cut/1982)
Blow-Up (1966/Italy/England)
Bonnie and Clyde (1967)
The Breakfast Club (1985)
The Bridges of Madison County (1995)
Cabaret (1972)
The Cabinet of Dr. Caligari (1920/Germany)
Cane Toads (1988/Australia)
Caravaggio (1986)
The Celebration (1998/Denmark)
Chicago (2002)
Children of a Lesser God (1986)
Chinatown (1974)
Christ Stopped at Eboli (1979/Italy)
Cleo from 5 to 7 (1961/France)
Clue (1985)
Clueless (1995)
Color Trilogy: Blue (1993/France)
Color Trilogy: Red (1994/France)
The Conversation (1974)
Dangerous Liaisons(1988)
Dead Again (1991)
Dead Man (1995)
Down by Law (1986)
The Double Life of Veronique (1991/France/Poland)
Fargo (1996)
A Few Good Men (1992)
Glory (1989)
Ghost (1990)
Goldfinger (1964)
The Good, the Bad, and the Ugly (1966/Italy)
Gosford Park (2001)
The Gospel According to St. Matthew (1964/Italy)
The Great Muppet Caper (1981)
Hands on a Hard Body (1997)
Hannah and Her Sisters (1986)
Harold and Maude (1971)
Hud (1963)
Indiana Jones and the Last Crusade (1989)
Jackie Brown (1997)
Jurassic Park (1993)
Kiss of the Spider Woman (1985)
L.A. Confidential (1997)
Lysistrata (1987?/Greece)
LOTR: Fellowship of the Ring (2001)
Madchen in Uniform (1931/Germany)
Miracle in Milan (1951/Italy)
Mississippi Burning (1988)
Monty Python and the Quest for the Holy Grail (1975)
Much Ado About Nothing (1993)
Murder on the Orient Express (1974)
My Cousin Vinny (1992)
My Twentieth Century (1989/Hungary)
Nashville (1975)
Network (1976)
The Nightmare before Christmas (1993)
The Nights of Cabiria (1957/Italy)
No Man's Land (2001/Bosnia-Herzegovina)
Nowhere in Africa (2001/Germany)
Open City (1945/Italy)
Photographing Fairies (1997)
Pirates of the Caribbean (2003)
Ran (1985/Japan)
Rear Window (1954)
The Red Balloon (1956/France)
Roger & Me (1989)
Rosencrantz and Guildenstern are Dead (1990)
The Royal Tenenbaums (2001)
Secrets and Lies (1996)
Seven Beauties (1976/Italy)
Shanghai Triad (1995/China)
Smoke (1995)
Smoke Signals (1998)
Spellbound (2002)
Spirited Away (2001/Japan)
Star Wars: The Empire Strikes Back (1980)
The Sting (1973)
Strictly Ballroom (1992/Australia)
The Sweet Hereafter (1997/Canada)
The Thin Blue Line (1988)
Three Days of the Condor (1975)
To Die For (1995)
To Live (1994/China)
The Triplettes of Belleville (2003/Canada/France)
The White Balloon (1995/Iran)
Women on the Verge of a Nervous Breakdown (1988/Spain)
Working Girl (1988)


...La Dolce Vita (1960/Italy) :wink:

Near Misses: X2,
Yesterday, Today, and Tomorrow
Divorce Italian Style
Octopussy
Beauty and the Beast (Animated)

Actually, I just completed my list. I'm going first!

These aren't in any order...you'll notice genre/actor patterns but give or take a couple films that I couldn't think of, this list does represent my top 100...

#1-10
American Beauty (1999, Sam Mendes)
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964, Stanley Kubrick)
The Godfather Part II (1974, Francis Ford Coppola)
The Fellowship of the Ring (2001, Peter Jackson)
Ferris Bueller's Day Off (1986, John Hughes)
Memento (2000, Christopher Nolan)
Taxi Driver (1976, Martin Scorsese)
This is Spinal Tap (1984, Rob Reiner)
2001: A Space Odyssey (1968, Stanley Kubrick)
The Usual Suspects (1995, Bryan Singer)

Man torri...you have alot of style over substance in your first couple there. Case-in-point:

Anything from the goddamn Godfather series, and Memento.

I loved memento when I first watched it, but the more I thought about it, the less interesting it actually was

I didn't even like Godfather the first time I saw it, didn't bother with the second one.

Usual suspects was overrated but was a decent movie in the end.

Spinal Tap was, of course, hilarious. But I liked the later collaborations sans Reiner even better.

Well, these aren't the films that have impacted me the most, they're simply films that I've somehow, enjoyed more than others. Now, I'm not saying I enjoyed Memento (it kinda makes your head hurt!) but the film itself is one of the better mysteries (if we can call it that, instead of a drama...) but Nolan's technique hadn't been used previously and I've always felt a need to recognize that .

Now, The Godfather Part II was, between the two, the one with more style, but it's also the one where Coppola wove two stories together without confusing his audience. I'm warning you...The Godfather IS on the next list, which I will post in a couple minutes...

Very, very good.


2001: A Space Odyssey (1968, Stanley Kubrick)


You.are.my.new.hero.

You know, it was that film that made me notice you for the first time at BOM.

I'm surprised you like it enough to have it in the top 101, but it's such a quircky and original film, I certainly won't protest its inclusion among the others.

#11-20
A Clockwork Orange (1971, Stanley Kubrick)
As Good As It Gets (1997, James L. Brooks)
Clueless (1995, Amy Heckerling)
Fargo (1996, The Coen Brothers)
The Godfather (1972, Francis Ford Coppola)
It Happened One Night (1934, Frank Capra)
One Flew Over The Cukoo's Nest (1975, Milos Forman)
Rain Man (1988, Barry Levinson)
The Rocky Horror Picture Show (1975, Jim Sharman)
Schindler's List (1993, Steven Spielberg)

Notes: I don't consider Rocky Horror an A+. However, you've gotta factor in the experience, rewatchability, and the impact of the story. So, you might see a couple movies on here from your list, dolce, that I gave A-'s, yet, are on this list while some that I gave A's to aren't. I don't consider Clueless an A. But, to me, it's the best chick flick. The actual grades that reflect THE FILM differ from the movies on the list and this isn't just because I created lists of ten that flowed well together. Spare me from my lack of ability to express myself at this time...pweaze? :-D

Yeah, i got a couple watchable films on mine too. let no one tell you Clueless isn't an awsome movie. it has thus far made two MOD top 100's so that should speak loads about it...you know...since we're the definitive voices on good taste.

NOOOOOOO. Not The Godfather. You've listed two of them in your first 20! What the hell did everyone see in these other than that they were well crafted mafioso movies?

Also, Torri, slow down on posting them. Take a day or two to give people time to respond to each batch. :wink:

@Boxie...heh. Triplettes huh?

torri, you bastard! We were supposed to compromise!

Oh well... :wink:

The Godfather Part II (1974, Francis Ford Coppola)
The Fellowship of the Ring (2001, Peter Jackson)
Ferris Bueller's Day Off (1986, John Hughes)
2001: A Space Odyssey (1968, Stanley Kubrick)
Clueless (1995, Amy Heckerling)
The Godfather (1972, Francis Ford Coppola)
The Rocky Horror Picture Show (1975, Jim Sharman)
Schindler's List (1933, Steven Spielberg)

Those are the only ones I've seen from your top 20.

I guess I'm going to be the one that takes a bit of heat for saying this, but Schindler's List wasn't that great. I cannot possibly argue it on any particular point as far as production value. It was excellenct on all accounts and was clearly part of a grande vision that actually manifested in the far more creative yet far more flawed documentaries he later assisted in producing, and Survivors of the Holocaust and The Last Days. I am not going to argue its being made, or Spielberg's clear dedication to the material and victims, but it wasn't all too creative about how this came or could come apart. In the end it was just a sob story (and I did cry my eyes out). I would have liked to have left the theater with something to think about, but I didn't. It was a well done movie that intended to illicit the same response from everyone that saw it, but not anything more.

A Clockwork Orange (1971, Stanley Kubrick) B
As Good As It Gets (1997, James L. Brooks) C+
Clueless (1995, Amy Heckerling) B
Fargo (1996, The Coen Brothers) A+
The Godfather (1972, Francis Ford Coppola) A
Rain Man (1988, Barry Levinson) A-
The Rocky Horror Picture Show- D . I walked out of the midnight screening of the movie a decade ago
Schindler's List (1993, Steven Spielberg) - A+

dolcevita,

How can you say it was intended to illicit the same response from everyone who saw it? Directors strive to get positive reactions (unless you want to argue for Showgirls ), that's a given. But can you honestly say that "Schindler's List" was meant to receive the standard response of appreciation? Don't you think Spielberg wanted something else - perhaps a rise in awareness over the Holocaust? Look at how the film is viewed now. It completely disproves the "same response" thing, other than it being generally well-liked (but then again, so is The Godfather. What about Clue?). Some view it as disturbing, others view it as a masterpiece, others take into account Schindler's actual character (there was a NYTimes article about some book that disproved common theories about what Oskar actually did and didn't do) and , and there's a scarce group that claims the film can be relished over and over again.

In one sentance, you stated that you admired (well...I'm assuming this, sue me) "Spielberg's clear dedication to the material and victims", yet, later, you mention it being "just a sob story". So, would Spielberg, given this material and when considering his interest, dedication, and history/race, just simply strive to make a sob story? Can you even compare Schindler's List to Finding Neverland, a film that pushed every button possible to garner every last tear out of its audience?

It might not be Max or The Grey Zone (both of which I haven't seen, but I'm assuming they're much more subtle films that leave viewers with something to "think about" heh). But, for a mainstream film meant to educate and convey scenes from the Holocaust/Hitler/Nazi Germany/etc as accurately as possible, I'd say it left a great deal that the audience could think over. In fact, wouldn't you argue that "Schindler's List" had an influence on Holocaust-related book sales, movies (definitely. I don't have stats for the books, but, there's been a biiig number of Holocaust related films since Schindler's List, including "Life is Beautiful"), and just study in general? If it caused such, then, it's almost impossible to argue that it didn't leave its audience something to think about.

Well, that's the problem with educating, etc. All of your discussions about how it is viewed by different people still fall under the same category. It can be a masterpiece and disturbing at the same time. As far as "educating people" thats where it fell short. It failed to explore "how" something like this could come about, and "in what way" such things as this come about, and instead just focused on the fact that it "did" and that it was "terrible." It gives little insight into the Vienmar in the 30's, the world situation, or the rise of new technologies, social context, or post-war fallout. It pretty much, is just another Holocaust Memorial, just like the ones you'll find in almost every city. I'm not saying it shouldn't have been made, and that it isn't miles better than, say, The Pianist. But it doesn't really bring anything new to the table. As far as education goes, almost everyone knows what went on in the concentration camps, and the few who don't believe it happened aren't the ones who watched this movie anyways.

I wish it had just gone into more exploratory directions of information games, communication, and cultural psychology if it was going to treat the subject not only of the concentration camps, but how they came about and how people let them come about. Instead it just hero-ized Schindler. This had strong biographical input into his life, as you said, but I don't think it particularly pushed forward the discourse around genocide in general, or the Holocaust in particular except for to let everyone who sees it say "Oh, how terrible. Those bad Germans, its a good thing we're better than that nowadays." It kind of let the past remain in the past not just in terms of broader ethnic cleansing atrocities, but also in terms of individuals who survived it and generational truama.

Still a good movie, just, as I said, not quite up to my demands of what I'd like to see as far as exploration now that we're already 50 years from the event. We can open it up a little now instead of handling it with kiddie gloves.

I kind of want to make a top 100. Heh. It might take me a while.

Ugh. I don't want to respond to all of it. As far as bringing something "new" to the table goes, well...if you're Jewish, you should already know the stories, especially considering it's one of the only things that a younger crowd can get into a discussion in asides from the Old Testament stories. The film had more to offer in the "technical" world of filmmaking than the ability to tell a story (but, I do think Spielberg does it beautifully. It's not a complex film, the story FEATURED in the movie is simple, and perhaps that's one of the flaws...). If anything (and let's ignore the hero-izing Schindler bit), the film taught some that there were people who were...caring. And, some people that risked their own lives for a better cause. And, yes, that isn't "new", but in the context of the film, I think it's much more notable and worthy than some sappy movies that can't convey the message naturally.

I think you'll like #21-30 (which I'm posting in a second, I've just got to get some dates). Perhaps you won't like the films, but at least 50% of 'em brought something new to the table, whether it had to do with filmmaking, storytelling, acting, artistic techniques, or intertwining genres...

#21-30
Adaptation (2002, Spike Jonze)
Back to the Future (1985, Robert Zemeckis)
Best in Show (2000, Christopher Guest)
Edward Scissorhands (1990, Tim Burton)
Life is Beautiful (1997, Roberto Benigni)
My Cousin Vinny (1992, Jonathan Lynn)
O' Brother, Where Art Thou? (2000, The Coen Brothers)
Pleasantville (1998, Gary Ross)
Pulp Fiction (1994, Quentin Tarantino)
Y Tu Mamá También (2001, Alfonso Cuarón)

#31-40
Blazing Saddles (1974, Mel Brooks)
Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
Fight Club (1999, David Fincher)
Gone With the Wind (1939, Victor Fleming)
Lost in Translation (2003, Sophia Coppola)
The Motorcycle Diaries (2004, Walter Salles)
Night of the Living Dead (1968, George Romero)
The Princess Bride (1987, Rob Reiner)
The Return of the King (2003, Peter Jackson)
The Silence of the Lambs (1991, Jonathan Demme)

these are all good to great...B or higher, probably...the rest l;ve either not seen (most of em ), or dont remember much,,,:oops:

Adaptation (2002)
The Breakfast Club (1985)
Clueless (1995)
Color Trilogy: Blue (1993/France)
The Conversation (1974)
Fargo (1996)
A Few Good Men (1992)
Goldfinger (1964)
Gosford Park (2001)
Indiana Jones and the Last Crusade (1989)
Jackie Brown (1997)
Jurassic Park (1993)
L.A. Confidential (1997)
LOTR: Fellowship of the Ring (2001)
Monty Python and the Quest for the Holy Grail (1975)
The Nightmare before Christmas (1993)
Pirates of the Caribbean (2003)
The Red Balloon (1956/France)
The Royal Tenenbaums (2001)
Star Wars: The Empire Strikes Back (1980)
The Sweet Hereafter (1997/Canada)
X2
Beauty and the Beast (Animated)[/quote]

American Beauty (1999, Sam Mendes)
The Fellowship of the Ring (2001, Peter Jackson)
Ferris Bueller's Day Off (1986, John Hughes)
Memento (2000, Christopher Nolan)
Taxi Driver (1976, Martin Scorsese)
This is Spinal Tap (1984, Rob Reiner)
2001: A Space Odyssey (1968, Stanley Kubrick)
The Usual Suspects (1995, Bryan Singer)
Clueless (1995, Amy Heckerling)
Fargo (1996, The Coen Brothers)
The Godfather (1972, Francis Ford Coppola)
Adaptation (2002, Spike Jonze)
Back to the Future (1985, Robert Zemeckis)
Best in Show (2000, Christopher Guest)
Edward Scissorhands (1990, Tim Burton)
Life is Beautiful (1997, Roberto Benigni)
O' Brother, Where Art Thou? (2000, The Coen Brothers)
Pulp Fiction (1994, Quentin Tarantino)
Blazing Saddles (1974, Mel Brooks)
Eternal Sunshine of the Spotless Mind (2004, Michel Gondry)
Fight Club (1999, David Fincher)
Lost in Translation (2003, Sophia Coppola)
The Motorcycle Diaries (2004, Walter Salles)
The Princess Bride (1987, Rob Reiner)
The Return of the King (2003, Peter Jackson)

again, all of these are good...most very good

Yes! I'm glad it makes your Top 10. Absolutely phenomenal.

You have my top film of all time right near to one of my bottom 10.

BTW, dolce I saw Network a couple nights ago just after seeing it on your list. It was one of the best I've ever seen. I wish I could say I rented it because you had it there, but it was on my netflicks list for some time. :wink: