You can just cross me off. I definitely don't have time until the summer.

Mine was like, the first or second of the thread.

I think that list is still pretty valid...anyone else who jumped in and asked to go during the middle of the thread went, as far as I know.

I think Makeshift should go, because a, i've been waiting since like, september and am incredibly interested in his list and b, it'll certainly help in the screenshot game to have a pool of films he loves to look over :O :o :O :o :O

YES.

I do want to go, but I still don't know if I'm ready.

You could wait forever to be ready, making sure that's you've seen everything you absolutely need to. kypade and I just want to see your top 100 from right now. We know it'll probably change the next day, but we're curious. Post it NOW!

You can push me way back too.

For the win.

I've been keeping my list up to date since I made it, and I've added like, 15+ films to it. And I change the order just about every time I look it over.

Yeah, seriously. My list has gone a pretty thorough overhaul since I posted it last summer.

Fine, I'll do it. Give me a couple of days to get organized though, k?

Yay!

My list would also be completley different, but I already went twice, so I'll hold for another year, lol

Anyone going?

maybe.

Sorry guys. I've been really swamped lately. If anyone can go right now, I'd say go for it. I will get to this someday.

If no one wants to/can't go, I might be able to. Any objections?

Any, any at all? I have 100-76 written up already.

Okie dokie.

I'll probably be presenting these 10 at a time from 100-51, then go to five at a time until the Top 20 or Top 25. After that, I'll figure something out.

Without further ado...

100. The Man with a Movie Camera (D. Vertov, 1929)


This experimental Soviet Union film really doesn’t seem like it should belong on a personal list, but the images of the film, from the visual poetry of the modern city weaving trolleys of the city to the crazy fast-paced edits at least 30 years ahead of its time, I found it to be a blast. I figure it also gives a good idea of what to expect from some of this list of a wannabe snob, and yet…


99. Star Trek: First Contact (J. Frakes, 1996)


…still getting those personal goodies that I can’t help but adore. This will probably be the only film (Or one of the very few) to not get a perfect grade, but as a life-long Trekker I felt it would be rude to leave the entire franchise off. Plus, it’s just so much fun to watch. Easily my favorite film from the series.


98. 12 Angry Men (S. Lumet, 1957)


Someone in the Everyone’s a Critic thread for this said that 12 Angry Men is a film that is not only impossible to hate, but also impossible to not love. I’m inclined to agree. Lumet somehow took an incredibly stagey play and transformed it into something truly cinematic, and moral without getting overly preachy. Quite excellent.


97. Maria Full of Grace (J. Marston, 2004)


A lot of the films that pop up on this list will be ones I’ve seen only once (How can I afford a second viewing when there’s so much I still haven’t seen?!), and this is one of them. Still, over three years after watching it the film hasn’t fully left me, least of all Catalina Sandino Moreno’s haunting, tragic performance. It’s quite a shame the rest of her career hasn’t lived up to it, but at least we’ll have this.


96. United 93 (P. Greengrass, 2006)


Another film I’ve seen only once, but it’s a hard one to work up the courage for a second viewing. What Greengrass achieved here, giving a painfully real yet still extraordinary portrait of what happened on 9/11, is something amazing. It’s a slow film, yet it never lost my attention. And the final 15 minutes are some of the most wrenching I’ve seen. Powerful.


95. High Noon (F. Zinnemann, 1952)


The western is a genre I am terribly underexposed to, but I found plenty to love in this genre classic, a film that unfortunately has received criticism as of late for being too preachy and out of date. I found its morals to be perfectly stated and still relevant today. And the intensity that runs through every scene building up to the final showdown is hard to beat.


94. Pleasantville (G. Ross, 1998)


Sure, it’s pretty preachy and a little obvious, but that still doesn’t deflect the power and entertainment I get from this social satire of ‘90s culture and ‘50s television. And even before it gets to the heavy stuff there’s some great humor built around the idea of living in such a universe. Also, the performances are pretty great, especially from Joan Allen, who somehow got robbed out of an Oscar nomination, quite a shame.


93. Zwartboek (Black Book) (P. Verhoeven, 2007)


A film that seriously caught me off guard when I Netflixed it earlier this year out of sheer curiosity. It borders on 2.5 hours, yet runs along more smoothly than I ever would’ve expected, throwing in plenty of thrills and some amazingly deep shades of grey in its moral standings. Also, Carice van Houton is in serious need of a breakout. She’s phenomenal.


92. The Big Lebowski (J. Coen, 1998)


On first viewing, I found this to be quite humorous is slightly bizarre, confusing and off-kilter. On second viewing I just found it to be hilarious. Well, not just hilarious. The confidence with which this film plays in its own universe is an enviable one, to the point that it’s not at all surprising that this has become one of the biggest cult hits in recents memory. Who wouldn’t want to at least visit this world? And the performances by Bridges and Goodman are two of the funniest and effortless I’ve ever seen.


91. Monsters, Inc. (P. Doctor, 2001)


I’ve always felt that this film gets snuffed out too often when people are discussing Pixar’s greatest achievements. If I had to blame anything, it would probably be Shrek which, as entertaining as it was, stole much of its buzz (And Oscar) when they opened within 6 months of each other in 2001. Still, it’s an fun and incredibly sweet tale, and I can’t wait to see what Doctor has for his follow-up next year in Up.

90. The Descent (N. Marshall, 2006)


I’ve never been that much into horror. I don’t dislike the genre, I just don’t feel the need to delve much into it, especially recent fare. The Descent is a lucky exception, and one I was able to catch on the big screen in all of its shadowy glory. It truly wrecks hell on your nerves, even before the creatures show up, and it has a surprisingly excellent ensemble to execute the story.


89. The Others (A. Amenábar, 2001)


Another welcome exception to the above rule, this is also probably the only suspense/horror I have/own in DVD form. Unfortunately discussion of it seems to have died since it opened as a surprise sleeper hits seven years ago, but it still holds plenty of power, thanks again to a strong ensemble and tight direction. In particular Kidman delivers her A-Game, in a performance I find superior to her Moulin Rouge! performance of the same year. I also feel this outdid The Sixth Sense in a certain other aspect that shall remain unmentioned to the unspoiled. And if you are unspoiled, check it out!


88. The Breakfast Club (J. Hughes, 1985)


Another area of film I remain undereducated in? ‘80s teen flicks. I should probably try getting around to it as my teens slowly make their way out, but I have at least seen this classic, a film that remains surprisingly honest despite being so rooted in ‘80s culture. But yeah, I guess I need to get around to Ferris Bueller’s Day Off then, eh?


87. Annie Hall (W. Allen, 1977)


It’s probably due to the Star Wars worship around here, but this never seems to get as much respect as it should. It remains one of the most unconventional Best Picture winners ever (Comedy, no sane chronological order, sex jokes up the wazoo), and one of the very best. Plenty of great individual comic moments (Chris Walken’s small role still cracks me up), framed around a fine romance with two great performances by Allen and Keaton.


86. Memento (C. Nolan, 2001)


Nolan is a slightly polarizing figure around here – some adore him, others hate his supposedly overrated ass – but I had found plenty of enjoyment from his efforts so far (Except maybe Following and Insomnia, the latter I have yet to see), especially from this one. He takes a concept that runs the risk of being over-gimmicky and makes it not only work but seem like the only right way to present such a story. And that ending (Beginning?) presents one beautiful moral pretzel.


85. The Shining (S. Kubrick, 1980)


Maybe it’s because I had seen “The Shinning” so many times before actually seeing the actual movie, but the power of The Shining wasn’t in the straight-forward scares, but the way it simply haunts you. There are plenty of scenes where so little happens other than Jack slowly losing his sanity give an excellent sense of dread, helping build up to the final 30 minutes of sheer terror. It’s a shame Kubrick never got the chance to do horror again, because this was something special.


84. The King of Kong: A Fistful of Quarters (S. Gordon, 2007)


The Documentary genre is yet another genre where I lack the preferred knowledge, but I figured I should include at least one on the list, since I have enjoyed so many. Though the high-ish ranking of this should show that I have developed a genuine love for the film, a sometimes odd and always fun portrait of a bizarre subculture where a battle between David and Goliath epically takes place. Hell, it makes the world almost appealing, which in itself is quite an accomplishment.


83. The Truman Show (P. Weir, 1998)


Of the two television satires from 1998, I would probably agree with the general consensus that Weir’s surprisingly prophetic look at reality TV to be the better film. Funny and moving with a nice, dark undertone running through it with a top notch leading performance by Carrey, it successfully sets up a universe that’s both ludicrous yet incredibly familiar.


82. Aguirre, the Wrath of God (W. Herzog, 1972)


As I am with so many directors (Not unlike my genre problem), I remain undereducated in the cinema of Herzog. However, the few trips I have taken there (The other two being Grizzly Man and Rescue Dawn, the movie-movie) I have quite enjoyed, and this is my favorite so far. Klaus Kiniski was flippin’ nuts, but it translates well to the screen.


81. Pride & Prejudice (J. Wright, 2005)


A film I seen parts of plenty of times thanks to my sister, this has grown on me over time. Not only is the language of Austen applied well, Wright is also willing to give it one hell of a cinematic voice, from the opening tracking shot to the many dances that opulate the film to the number of images that could be framed and put on a wall and called art. Plus, the score is one of my very favorites, a work of beauty.

80. Moolaade (O. Sembene, 2004)


A film I was actually limited from seeing twice for the longest time, before it finally became available on DVD earlier this year, though I still have yet to rewatch it. However, I strongly recommend everyone else to see this Dolce-approved African drama, a strong yet surprisingly human look at female circumcision and even broader issues of tradition and evolution of society. It should be seen and appreciated by anyone that has a chance.


79. His Girl Friday (H. Hawks, 1940)


The screwball comedy is a subgenre of film I have come to adore, this is one of my very favorites. With Cary Grant as a sexy, fiendish, scheming and oh so sexy ex-husband of the fierce Roseland Russell, it goes at a pace that gives people even today whiplash, and actually builds a fascinating and engrossing story around it. And did I mention that Grant makes this very straight man ogle the screen? Ooh la la.


78. Wings of Desire (W. Wenders, 1987)


One of my first stops on the road to film snobbery, I still consider this fantasy drama to be one of the most beautiful takes on the afterlife, with a strong, impressively lived-in performance by a pre-Downfall Bruno Ganz. Definitely a film I would love to catch up on again if I ever had the chance or time.


77. The New World (T. Malick, 2005)


Yes, I would consider myself a member of the Cult of The New World. I still need to catch Days of Heaven and The Thin Red Line, but between this and Badlands Malick seems to have one hell of an eye for nature and doomed love. The cinematography of almost unmatched in its beauty (Between this and Children of Men Emmanuel Lubezki is at least a Demigod among DOPs), and Kilcher delivers a beautifully innocent performance, one of my favorites form this decade.


76. Speed (J. de Bont, 1994)


I don’t really have any deep opinions on this, or great performances to praise (Hopper is fun, I guess), I just have to say this movie rocks ass. It takes a truly brilliant concept and executes it to a T, with some of the craziest, most preposterous and just plain fun action sequences I’ve ever seen. All in all, a great time.


75. Election (A. Payne, 1999)


One thing I frequently find myself hoping when it comes to the decisions of today’s stars, perhaps more than anything involving today’s stars, is that Reese Witherspoon with take the crazy risk of picking a role that matches the deplorable despicableness of easily her greatest character and performance yet, Tracy Flick. She makes Flick so, so annoying and preppy that you want to strangle her, yet she keeps you genuinely interested. It also helps that the film that surrounds this character is excellent in its own right, cruel, biting and absolutely hilarious.


74. Eyes Wide Shut (S. Kubrick, 1999)


Earlier this year I decided it was time to lose myself to the filmography of Stanley Kubrick, and while there’s something to love and be amazed by in all of his films, I was perhaps most surprised when I found this controversial and divisive sexual odyssey to be much more enjoyable and intriguing and haunting than his far more praised earlier efforts like Paths of Glory or A Clockwork Orange. Cruise’s macho persona is manipulated excellently, and Kidman gives possibly her finest performance. If you’ve been avoiding it, definitely try checking it out. It’s worth it.


73. Ghostbusters (I. Reitman, 1984)


Like a couple other films that’ll pop up on this list later, this was a film I enjoyed immensely when I was a young youngun, watching it on my dad’s BETA player until it broke when I was 6. It wasn’t until a second viewing about a year ago that I rediscovered its brilliance, showing that outdated special effects don’t matter when you have a screenplay that pops and crackles with complete ease, and great lead performances, especially from Murray in top form.


72. The Proposition (J. Hillcoat, 2006)


If I had to pick one performance from this decade that I considered the single great so far, I would probably go with the tour de force that is Ray Winstone in this ruthless Aussie Western. Playing a seemingly amoral sheriff in the wild outback, he makes a deal with an outlaw to turn in his crazed older brother in order to save the younger, more innocent brother. However, as the film progresses Winstone is faced with a town that cries for blood more and more, all while trying to keep his word, and Winstone does this without a trace of movie fakery and staying completely within the boundaries of what we would expect from this character. I hope to revisit this sometime soon, just to make sure he really is as amazing as I remember. The movie itself is pretty damn magnificent too.


71. Night of the Hunter (C. Laughton, 1955)


Look far and near, left and right and you probably won’t ever find a film quite like this. I was perplexed by it upon my first viewing a few years back, and a second viewing on the big screen earlier this year initially left me with similar feelings, but the more I thought about it, the more I came to love its mixture of fairy tale story execution, religious satire and B-Movie thrills. And Robert Mitchum is easily one of the greatest movie villains that we’re likely to find.

Great list as expected so far, PoJon

(except for United 93 )

Nice to see another big fan of Black Book here. Definitley one of last year's finest films.

70. East of Eden (E. Kazan, 1954)


Another classic film I had the honor of seeing on the big screen, it was also my first James Dean flick, and it wasn’t hard to see the appeal. Angsty without being too whiny and rebellious without getting annoying, Dean drives home the angst of being the black sheep of the family to his cruel dad, and its eventual consequences. The final 20 minutes are some of the harshest I’ve seen, and it’s helped by Dean. A fine, fine film.


69. Toy Story (J. Lasseter, 1995)


When my mom first bought this for my family over 10 years ago, I remember throwing a fit because it wasn’t a Thomas the Tank Engine video like I expected. I eventually got over it. Even after the many viewings it fails to lose its charm, and has even gained some as I grew older and wiser. It remains probably the finest home-grown achievement from Pixar (Or second, depending on who you credit for an upcoming listmaker).


68. Babe: Pig in the City (G. Miller, 1998)


While I never bought into the idea that this was far better than the original, I do consider myself of the opinion that believes this to be one of the most underrated and misunderstood gems of recent memory. Going darker and more bizarre than most children films dare to nowadays, Miller took a big gamble and won big in quality if not in profit. And the scene of all of the animals singing is so many kinds of adorable and weird, yes?

67. Roman Holiday (W. Wyler, 1953)


Audrey Hepburn is an actress I’ve always wanted to catch up on, mainly because her breakthrough Oscar-winning performance in this classic is one of the most effortlessly charming I’ve seen. So full of young ambition and interest in the world beyond her princess life, the film takes the idea of a modern-day fairy tale to a great lengths to make it work, going with one of the ballsiest endings to uphold its oh so real charm. And Hepburn, oh so lovely Hepburn…


66. Bringing Up Baby (H. Hawks, 1938)


It is rare that you will find a comedy that abandons all sense of sanity while remaining even somewhat realistically charming, but boy does this film pull it off. Pet leopards, dinosaurs bones, Cary Grant in an incredibly feminine robe…few films nowadays would be willing to go that far before trying to sap it up, but luckily Hawks barely goes there, keeping even the romantic scenes in the realm of loony-hood. They really don’t make them like this anymore.


65. The Third Man (C. Reed, 1949)


It is not often that I go into a classic as unspoiled as I did going into The Third Man, but boy am I happy I did, because the shock when it kicked this already good classic thriller into the great list of favorites for me. In addition to that brilliant, game-changing twist, the film has a crackling screenplay, exquisite Oscar-winning cinematography and an against-the-grain yet oddly fitting zither score.


64. Minority Report (S. Spielberg, 2002)


Okay, so the ending for this is probably one of the greatest disappointing of my cinephile career, but the already-high ranking is still quite a testament to how excellent the two hours that precede it are. The future seem at least mildly legitimate in some parts, the thrills are genuine, action sequences are crafted with a one-of-a-kind care (The scene with the eye scanners is possibly one of the best of Spielberg’s career), and the humor is enjoyably sick at times. Now if only Spielberg could get over his happy-ending complex...


63. Who Framed Roger Rabbit (R. Zemeckis, 1988)


It is rare that you find a film that is as good quality-wise as it is technically innovative, but Who Framed Roger Rabbit somehow achieves this, even surpassing its technical breakthroughs and remaining a classic in its own right many years later. Combining the world of film noir with the fictional world of cartoons, the movie is one of the most wonderfully purely entertaining movies I’ve ever seen.


62. Ratatouille (B. Bird, 2007)


The cult of Ratatouille has become a surprisingly deafening one around here, somehow even winning the 2007 award for Best Picture here, but it’s certainly not undeserved. It is a rare animated film that both defies its medium while rightfully staying rooted in it, because hey, who wants to see real rats running a kitchen? Its endless charm once again shows how Brad Bird is not just the best animator working today, but one of the best filmmakers, period.


61. L’Atalante (J. Vigo, 1934)


More than 70 years after its initial release this remains one of the most romantic films I’ve ever seen, and as a hopeless romantic that’s a very good thing. From its fine back and white cinematography to the colorful supporting roles (Especially Jean Daste in an oddly charming scene-stealing role), to the realistic portrayal of a young married couple off to a rough start, it’s just too easy to fall in love with this beauty of a film.

Dammit, I still need to see the Third Man too! I guess I'll just have to take that spoiler as cryptic without the rest of the details.

Yeah, The Third Man is really a good time. I thought it might've just been the shock of the twist that made the final act so awesome, but a second viewing proved otherwise. Great time overall.

That's it for today, hopefully I'll finish the bottom half tomorrow, maybe even go further if I have the time.

Mods: Could you also edit the thread title? Thanks in advance.

nice choice with Roman Holiday.

It is one of the few romantic films I Enjoy.