| |
|
51 |
|
52 |
|
53 |
|
The Magnificent Ambersons |
|
ORSON WELLES
(51) |
 |
|
1942 | 88m | BW | USA |
Family Drama, Period Film |
|
Joseph Cotten, Dolores
Costello, Agnes Moorehead, Anne Baxter, Tim Holt, Ray Collins, Richard
Bennett, Erskine Sanford, J. Louis Johnson, Donald Dillaway |
|
"Hacked about by a
confused RKO, Welles' second film (from the novel by Booth Tarkington)
still looks a masterpiece, astounding for its almost magical re-creation
of a gentler age when cars were still a nightmare of the future and the
Ambersons felt safe in their mansion on the edge of town... With
immaculate period reconstruction, and virtuoso acting shot in long,
elegant takes, it remains the director's most moving film."
- Geoff Andrew, Time Out |
|
Selected by
Kevin MacDonald,
Neil LaBute, Tom Charity, Andrew Sarris,
Dennis Hopper. |
| 48 → 51 → 36 → 43 → 46
→ 51 → 51 |
|
Amazon
Filmsite
The Village Voice |
| |
|
|
|
|
|
La
Strada |
|
FEDERICO FELLINI
(52) |
 |
|
1954 | 115m | BW | Italy |
Melodrama, Romantic Drama |
|
Giulietta Masina, Anthony
Quinn, Richard Basehart, Aldo Silvani, Marcella Rovere, Livia Venturini,
Gustavo Giorgi, Kamadeva Yami, Mario Passante, Anna Primula |
|
"A low-key mood study
about a broken-down carnival strongman and his half-wit assistant
traveling through the bleak backwaters of post-war Italy wouldn’t, at
first glance, appear to have much going for it in the way of
international critical and commercial appeal. But from the moment of its
release in 1954, it was clear that La Strada had everything...
Like the characters’ realizations about themselves and the world, the
meaning of La Strada slips over you gradually, simply,
unforgettably."
- David Ehrenstein, The Criterion Collection, 1988 |
|
Selected by
Ken Russell,
Robin Buss,
Jan Nemec,
Albert Maysles, Bruce
Beresford. |
| 60 → 59 → 54 → 50 → 50
→ 52 → 52 |
|
Amazon
Strictly Film School
Roger Ebert (Chicago Sun-Times) |
| |
|
|
|
|
|
The
Seventh Seal |
|
INGMAR
BERGMAN (53) |
 |
| • Det
Sjunde inseglet (original title) |
|
1957
| 96m | BW | Sweden | Drama, Fantasy |
|
Max von Sydow, Gunnar
Bjornstrand, Bengt Ekerot, Nils Poppe, Bibi Andersson, Ake Fridell, Maud
Hansson, Gunnel Lindblom, Inga Gill, Inga Landgre |
|
"Ingmar
Bergman's dark masterpiece effortlessly sees off the
revisionists and the satirists; it is a radical work of art that reaches
back to scripture, to Cervantes and to Shakespeare to create a new
dramatic idiom of its own. It was released 50 years ago, but it's as
fresh as a glass of ice-cold water... Even after half a century, The
Seventh Seal is an untarnished gold-standard of artistic and moral
seriousness." -
Peter Bradshaw,
The Guardian, 2007 |
|
Selected by Barry Norman, Derek Malcolm,
John Boorman, Mark Kermode,
Paul Verhoeven. |
| 35 → 36 → 42 → 52 → 53
→ 53 → 53 |
|
Amazon
Roger Ebert’s Great Movies
The Criterion Collection |
| |
|
|
|
| |
|
| |
|
|
|
|
|
54↑ |
|
55 |
|
56 |
|
Modern
Times |
|
CHARLES
CHAPLIN (55) |
 |
|
1936
| 89m | BW | USA | Urban Comedy,
Satire |
|
Charles Chaplin, Paulette
Goddard, Henry Bergman, Stanley "Tiny" Sandford, Chester Conklin, Allan
Garcia, Hank Mann, Louis Natheaux, Stanley Blystone, Sammy Stein |
|
"Modern Times
remains Chaplin's
most sustained burlesque of authority: It's replete with strikes and
police riots, and one of the most celebrated gags has the Tramp
inadvertently leading a worker demonstration and being jailed—not for
the last time—as an agitator." -
J. Hoberman, The Village
Voice, 2003 |
|
Selected by
Andrew Sarris,
Jonathan Kaplan, Peter
Wollen, Alfredo Guevara, Amir Labaki. |
| 55 → 56 → 52 → 48 → 55
→ 55 → 54 |
|
Amazon
Filmsite
Roger Ebert (Chicago Sun-Times) |
| |
|
|
|
|
|
Intolerance |
|
D.W. GRIFFITH
(54) |
 |
| •
Intolerance: Love's Struggle Throughout the Ages (original
title) |
|
1916 | 178m | BW | USA |
Historical Epic, Melodrama |
|
Lillian Gish, Mae Marsh,
Robert Harron, Constance Talmadge, Miriam Cooper, Alfred Paget, Elmo
Lincoln, Walter Long, Bessie Love, Seena Owen |
|
"Intolerance
launched ideas about associative editing that have been essential to the
cinema ever since, from Soviet montage classics to recent American
experimental films. And in the use of crosscutting and action to
generate suspense, the film's climax hasn't been surpassed."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Werner Herzog, Armond White,
Leonardo Garcia-Tsao,
Sidney Lumet,
Roy
Andersson. |
| 44 → 46 → 49 → 51 → 54
→ 54 → 55 |
|
Amazon
Bright Lights Film Journal
Filmsite |
| |
|
|
|
|
|
Wild
Strawberries |
|
INGMAR
BERGMAN (56) |
 |
| •
Smultronstället (original title) |
|
1957
| 90m | BW | Sweden | Drama,
Psychological Drama |
|
Victor Sjostrom, Bibi
Andersson, Ingrid Thulin, Gunnar Bjornstrand, Naima Wifstrand, Bjorn
Bjelvenstam, Max von Sydow, Jullan Kindahl, Folke Sundquist, Gunnel
Brostrom |
|
"One
of Bergman's
warmest, and therefore finest films, this concerns an elderly academic -
grouchy, introverted, dried up emotionally - who makes a journey to
collect a university award, and en route relives his past by
means of dreams, imagination, and encounters with others. It's an
occasionally over-symbolic work (most notably in the opening nightmare
sequence), but it's filled with richly observed characters and a real
feeling for the joys of nature and youth. And
Sjöström
gives an astonishingly moving performance as the aged professor."
- Geoff Andrew, Time Out |
|
Selected by
Michael Moore, Philip Strick, Alexander Walker, Donald Richie, Ginette Vincendeau. |
| 54 → 54 → 53 → 57 → 56
→ 56 → 56 |
|
Amazon
Derek Malcolm’s Century of Films
The Criterion
Collection |
| |
|
|
|
| |
| |
|
|
| |
| |
|
57 |
|
58↑ |
|
59 |
|
North by Northwest |
|
ALFRED HITCHCOCK
(57) |
 |
|
1959 | 136m | Col | USA |
Thriller, Spy Film |
|
Cary Grant, Eva Marie
Saint, James Mason, Jessie Royce Landis, Leo G. Carroll, Martin Landau,
Philip Ober, Josephine Hutchinson, Adam Williams, Edward Platt |
|
"It may not have the
elegant visual motifs of Strangers on a Train or the
psychological depth of Vertigo, but North by Northwest
is the breeziest, most successful entertainment
Hitchcock
made after leaving England... It’s about the only
Hitchcock
picture that’s sexy without being salacious, thanks mainly to Ernest
Lehman’s barbed dialogue and the scalding rapport between Cary Grant and
Eva Marie Saint."
- Sam Adams, Philadelphia City Paper, 2000 |
|
Selected by
Pedro Almodóvar,
Walt Vian,
Susan Seidelman,
Camille Paglia, Wesley Strick. |
| 64 → 63 → 59 → 49 → 57
→ 57 → 57 |
|
Amazon
DVD Savant Review
Filmsite |
| |
|
|
|
|
|
Rio
Bravo |
|
HOWARD
HAWKS (59) |
 |
|
1959
| 141m | Col | USA | Western,
Traditional Western |
|
John Wayne, Dean Martin,
Angie Dickinson, Ricky Nelson, Walter Brennan, Ward Bond, Claude Akins,
John Russell, Bob Steele, Harry Carey Jr. |
|
"Arguably
Hawks' greatest film, a deceptively rambling chamber Western made in
response to the liberal homilies of High Noon...
Little of the film is shot outdoors, with a subsequent increase in
claustrophobic tension, while
Hawks peppers the generally relaxed and
easy narrativewith superb set pieces... Beautifully
acted, wonderfully observed, and scripted with enormous wit and
generosity, it's the sort of film, in David
Thomson's words, which reveals that 'men are more expressive rolling a
cigarette than saving the world."
- Geoff Andrew, Time Out |
|
Selected by Robin Wood,
Derek Malcolm,
Barbet Schroeder,
Quentin
Tarantino,
John Carpenter. |
| 67 → 67 → 58 → 63 → 58
→ 59 → 58 |
|
Amazon
Derek Malcolm’s Century of Films
Images Journal |
| |
|
|
|
|
|
The
Apartment |
|
BILLY
WILDER
(58) |
 |
|
1960
| 125m | BW | USA | Comedy Drama,
Workplace Comedy |
|
Jack Lemmon, Shirley
MacLaine, Fred MacMurray, Ray Walston, Jack Kruschen, Edie Adams, David
Lewis, Joan Shawlee, Hope Holiday, Johnny Seven |
|
"The
Apartment is one of
Billy Wilder's funniest, most
uncompromisingly bleak comedies, his second collaboration with Jack
Lemmon, who plays a variation on that recurrent
Wilder
character, the weak guy who becomes a pimp or a gigolo to advance his
career."
- Philip French, The Guardian, 2008 |
|
Selected by
Randa Haines, Mark Cousins,
Cameron
Crowe,
Jonathan Kaplan,
Jonathan Lynn. |
| 87 → 76 → 67 → 55 → 59
→ 58 → 59 |
| |
|
Amazon
Roger Ebert’s Great Movies
Filmsite |
| |
|
|
|
| |
|
| |
|
|
|
|
|
60 |
|
61↑ |
|
62↑ |
|
Au hasard Balthazar |
|
ROBERT BRESSON
(60) |
 |
| • Balthazar
(alternative title) |
|
1966 | 95m | BW | France |
Rural Drama, Animal Picture |
|
Anne Wiazemsky, Francois
Lafarge, Philippe Asselin, Natalie Joyaut, Walter Green, J-C Guilbert,
Pierre Klossowski, Francois Sullerot, M.C. Fremont, Jean Remignard |
|
"Godard’s
famous claim that Au hasard Balthazar is “the world
in an hour and a half” suggests how dense, how immense
Bresson's
brief, elliptical tale about the life and death of a donkey is. The
film’s steady accumulation of incident, characters, mystery, and social
detail, its implicative use of sound, offscreen space, and editing, have
the miraculous effect of turning the director’s vaunted austerity into
endless plenitude, which is perhaps the central paradox of
Bresson's
cinema." - James Quandt, The Criterion Collection, 2005 |
|
Selected by
Ramin Bahrani, Sukhdev Sandhu, Fred Camper,
Michael Haneke,
Amy Taubin. |
| 49 → 50 → 60 → 61 → 60
→ 60 → 60 |
|
Amazon
Masters of Cinema
Roger Ebert’s Great Movies
|
| |
|
|
|
|
|
The
Wizard of Oz |
|
VICTOR
FLEMING (66) |
 |
|
1939
| 101m | Col-BW | USA |
Children's/Family, Musical Fantasy |
|
Judy Garland, Ray Bolger,
Bert Lahr, Jack Haley, Billie Burke, Frank Morgan, Margaret Hamilton,
Charley Grapewin, Clara Blandick, Pat Walshe |
|
"The film is now part
of popular mythology, and the sectarian Judeo-Christian tradition has
been formidably challenged by the secular Judy-Christmas tradition. From
Elton John's Goodbye Yellow Brick Road to
John Boorman's
Zardoz, there's no escaping the film...
Yet somehow, for all the dollar-book Freud brought to bear on it, the
picture comes up fresh, innocent and enchanting whenever you see it. -
Philip French, The Guardian,
2006 |
|
Selected by
James Cameron,
John Waters,
Norman Jewison,
Sam Mendes, Michael Sragow. |
| 57 → 57 → 61 → 62 → 66
→ 66 → 61 |
|
Amazon
Boston Phoenix
Roger Ebert’s Great Movies |
| |
|
|
|
|
|
Pather
Panchali |
|
SATYAJIT
RAY (63) |
 |
|
1955
| 112m | BW | India | Rural Drama,
Family Drama |
|
Kanu Banerji, Karuna
Banerji, Uma Das Gupta, Subir Banerji, Chunibala Devi, Runki Banerji,
Reva Devi, Rama Gangopadhaya, Tulshi Chakraborty, Harimoran Nag |
|
"Inspired in part by
French director Jean
Renoir, who became
Ray's friend while making The River
in India, Pather Panchali (Song of the Little Road) is one
of the legendary debuts in the history of film -- deservedly so.
Exquisitely beautiful, and told with compassion and humor, it's the
story of Apu (Subir Banerjee) and his poor Brahmin family... Pather
Panchali is an unqualified masterpiece."
- Edward
Guthmann, San Francisco Chronicle, 1995 |
|
Selected by
Philip Kaufman, David Robinson,
Donald Richie, Philip French,
Laurence Kardish. |
| 42 → 42 → 57 → 59 → 64
→ 63 → 62 |
|
Amazon
Kamera
Roger Ebert’s Great Movies |
| |
|
|
|
| |
|
| |
|
|
|
|
|
63 |
|
64 |
|
65 |
|
Once Upon a Time in the West |
|
SERGIO
LEONE (61) |
 |
| • C'era una
volta il West (original title) |
|
1968
| 165m | Col | Italy-USA | Epic Western, Spaghetti Western |
|
Henry Fonda, Claudia
Cardinale, Jason Robards, Charles Bronson, Frank Wolff, Gabriele
Ferzetti, Keenan Wynn, Paolo Stoppa, Lionel Stander, Jack Elam |
|
"The Western is dead
- or so they tell us. Long live
Leone's timeless monument to the death
of the West itself, rivalled only by
Peckinpah's Pat Garrett and Billy
the Kid for the title of best ever made. We're talking favourite
films here, so only superlatives will do... Critical tools needed are
eyes and ears - this is Cinema."
- Paul
Taylor, Time Out |
|
Selected by Christopher Frayling,
Alex Gibney,
Joe
Dante,
Ramin Bahrani,
John Dahl. |
| 81 → 87 → 80 → 73 → 62
→ 61 → 63 |
|
Amazon
Slant Magazine
Pop Matters |
| |
|
|
|
|
|
Gone
with the Wind |
|
VICTOR
FLEMING
(64) |
 |
|
1939
| 222m | Col | USA | Epic, Romance |
|
Clark Gable, Vivien Leigh,
Leslie Howard, Hattie McDaniel, Olivia de Havilland, Thomas Mitchell,
Ona Munson, Ann Rutherford, Evelyn Keyes, Fred Crane |
|
"As an
example of filmmaking craft, it is still astonishing... The real auteur
was the producer, David O. Selznick, the
Steven
Spielberg of his day, who understood that the key to mass appeal was
the linking of melodrama with state-of-the-art production values."
- Roger Ebert, Chicago Sun-Times |
|
Selected by
Ken Russell,
Paul Morrissey,
Lewis Gilbert,
Ronald Neame,
Camille Paglia. |
| 88 → 88 → 62 → 60 → 61
→ 64 → 64 |
|
Amazon
Images Journal
San Francisco Examiner |
| |
|
|
|
|
|
The
Leopard |
|
LUCHINO
VISCONTI
(65) |
 |
| • Il
Gattopardo (original title) |
|
1963
| 205m | Col | Italy | Family Drama, Historical Epic |
|
Burt Lancaster, Alain
Delon, Claudia Cardinale, Rina Morelli, Paolo Stoppa, Serge Reggiani,
Romolo Valli, Leslie French, Ivo Garrani, Terence Hill |
|
"Novelist Giuseppe di
Lampedusa was a conservative, and filmmaker
Luchino Visconti
was a communist. But both men were aristocrats, and when
Visconti
adapted the posthumously published Il Gattopardo to the screen in
1963, he created one of the movies' richest portrayals of fading
aristocracy since Orson
Welles's The Magnificent Ambersons." -
Jonathan Rosenbaum,
Chicago Reader |
|
Selected by
James Gray,
Kevin MacDonald,
Martin Scorsese,
Alexander Walker, Ginette Vincendeau. |
| 91 → 85 → 71 → 66 → 65
→ 65 → 65 |
|
Amazon
Derek Malcolm’s Century of Films
Senses of Cinema |
| |
|
|
|
| |
|
| |
|
|
|
|
|
66 |
|
67 |
|
68↑ |
|
The
Conformist |
|
BERNARDO
BERTOLUCCI (62) |
 |
| • Il
Conformista (original title) |
|
1969
| 115m | Col | Italy-France-Germany | Psychological Drama, Political
Drama |
|
Jean-Louis Trintignant,
Stefania Sandrelli, Gastone Moschin, Dominique Sanda, Pierre Clementi,
Enzo Taroscio, Jose Quaglio, Milly, Giuseppe Addobbati, Yvonne Sanson |
|
"All at once, The
Conformist is a bludgeoning indictment of fascistic
follow-the-leader and an orgasm of coolness, ravishing compositions,
camera gymnastics, and atmospheric resonance—as if its decadent,
twilit–art deco–noir style is itself a refutation of dictatorial social
norms. The actors vogue; Vittorio Storaro's lens transforms every street
and room into a catalytic baroqueness; the clothes grip the characters
like iconic mantles—to a large degree, the film is an immaculate puppet
play about the tension between pleasure (stylistic, sexual, etc.) and
imposed duty."
- Michael Atkinson, The Village Voice, 2005 |
|
Selected by
Nick James,
Jonathan Demme,
Mark
L. Lester,
Scott McGehee,
Sydney Pollack. |
| 56 → 58 → 65 → 65 → 63
→ 62 → 66 |
|
Amazon
Washington Post
Slant Magazine |
| |
|
|
|
|
|
The
Mirror |
|
ANDREI
TARKOVSKY (67) |
 |
| • Zerkalo
(original title) |
|
1976
| 106m | Col | USSR | Avant-garde / Experimental, Essay Film |
|
Margarita Terekhova,
Filipp Yankovsky, Ignat Daniltsev, Anatoli Solonitsyn, Nikolai Grinko,
L. Correcer, Alla Demidova, Oleg Yankovsky, Innokenti Smoktunovsky, L.
Tarkovskaya |
|
"In Mirror
Tarkovsky opens up his world—arguably more successfully than in his
later films, which are less autobiographical but also more tightly bound
to an increasingly explicit and unsubtle religiosity— just as, in the
film, his son opens a book of Leonardo's paintings, inviting readings
that will differ from viewer to viewer, and indeed (given the film's
main themes) at different times in any viewer's life... Mirror is
an example of the many ways in which filmmakers and audiences together
can transform private dreams into shared visions."
- Patrick
Heenan, Film Reference |
|
Selected by
Peter Hames,
Michael Haneke, Andrey Plakhov,
Ann Hui, Donald Richie. |
| 61 → 60 → 63 → 69 → 68 → 67 → 67 |
|
Amazon
The Guardian
Strictly Film School |
| |
|
|
|
|
|
Greed |
|
ERICH
VON STROHEIM (69) |
 |
|
1924
| 140m | BW | USA | Drama, Psychological Drama |
|
Gibson Gowland, ZaSu
Pitts, Jean Hersholt, Chester Conklin, Sylvia Ashton, Oscar Gottell,
Otto Gottell, Frank Hayes, Tempe Pigott, Dale Fuller |
|
"Originally planned
to run around ten hours but hacked to just over two by Thalberg's MGM,
von Stroheim's
greatest film still survives as a true masterpiece of cinema. Even now
its relentlessly cynical portrait of physical and moral squalor retains
the ability to shock, while the
Von's obsessive attention to realist
detail - both in terms of the San Francisco and Death Valley locations,
and the minutely observed characters - is never prosaic."
- Geoff Andrew, Time Out |
|
Selected by
Aki Kaurismäki,
David Stratton, Gavin Lambert, Howard Feinstein, Alexei Balabanov. |
| 63 → 64 → 64 → 64 → 67
→ 69 → 68 |
|
Amazon
Derek Malcolm’s Century of Films
Chicago Reader |
| |
|
|
|
| |
| |
|
|
| |
| |
|
69 |
|
70 |
|
71 |
|
All
About Eve |
|
JOSEPH
L. MANKIEWICZ
(68) |
 |
| 1950
| 138m | BW | USA | Satire, Showbiz Drama |
|
Bette Davis, Anne Baxter,
George Sanders, Celeste Holm, Thelma Ritter, Marilyn Monroe, Gary
Merrill, Hugh Marlowe, Gregory Ratoff, Barbara Bates |
|
"In
1950, the movies recognised stardom as a pathological disorder. Exhibit
A was Sunset Blvd, exhibit B All About Eve. Set in the
Broadway jungle rather than among the ‘sun-burnt eager beavers’ of
Hollywood,
Joseph L Mankiewicz’s
film dissects the narcissism and hypocrisy of the spotlight as sharply
as Wilder’s,
but pays equal attention to the challenges of enacting womanhood." -
Ben Walters, Time Out, 2007 |
|
Selected by
Susan Seidelman,
Lewis Gilbert,
Robert Wise,
Camille Paglia, Diego Galan. |
| 72 → 74 → 83 → 72 → 70
→ 68 → 69 |
|
Amazon
Roger Ebert’s Great Movies
San Francisco Chronicle |
| |
|
|
|
|
|
Viridiana |
|
LUIS
BUÑUEL (70) |
 |
|
1961
| 90m | BW | Spain | Religious Comedy, Satire |
|
Silvia Pinal, Francisco
Rabal, Fernando Rey, Jose Calvo, Margarita Lozano, Jose Manuel Martin,
Victoria Zinny, Luis Heredia, Joaquin Roa, Teresa Rabal |
|
"After
13 years of establishing his post-surrealist voice in the penny arcade
of Mexican cinema,
Luis
Buñuel returned to Franco-ruled,
censorship-crazed Spain and made, characteristically, the most
incendiary feature of his mature career.
Buñuel enjoyed viewing Christianity as
a fat whore at which to throw rotten fruit, but Viridiana is also
a clawhammered critique of liberal aristos, responsible for constructing
a society that creates a beggar class and then "doing good" through fits
of unwelcome charity."
- Michael
Atkinson, The Village Voice, 2006 |
|
Selected by
Dennis Hopper,
Alexander Payne,
Ann Hui,
Jan Nemec,
Julio Medem. |
| 85 → 77 → 79 → 68 → 73
→ 70 → 70 |
|
Amazon
Derek Malcolm’s Century of Films
Slant Magazine |
| |
|
|
|
|
|
Metropolis |
|
FRITZ
LANG
(71) |
 |
|
1926
| 120m | BW | Germany | Science Fiction |
|
Alfred Abel, Gustav
Frohlich, Brigitte Helm, Rudolf Klein-Rogge, Fritz Rasp, Theodor Loos,
Erwin Biswanger, Heinrich George, Olaf Storm, Hans Leo Reich |
|
"The visual impact of
Metropolis remains by far its most powerful aspect. Mixing
European avant-garde techniques with Hollywood mass-cult extravagance,
Metropolis's staggering architectural scale and syncopated
near-musical choreography still seem surprisingly contemporary in an age
that has far from tired of seeing the future in harshly dystopic terms. " -
Ed Halter, The Village
Voice, 2007 |
|
Selected by
Ken Russell,
Vincent Ward,
Paul
Verhoeven, Nina Menkes, Angela
Baldassarre. |
| 71 → 65 → 69 → 70 → 69
→ 71 → 71 |
|
Amazon
The Village Voice (J. Hoberman)
Metacritic |
| |
|
|
|
| |
|
| |
|
|
|
|
|
72 |
|
73↑ |
|
74↑ |
|
The
Man Who Shot Liberty Valance |
|
JOHN
FORD (72) |
 |
| 1962
| 119m | BW | USA | Western, Revisionist Western |
|
James Stewart, John Wayne,
Vera Miles, Lee Marvin, Edmond O'Brien, Andy Devine, Woody Strode,
Jeanette Nolan, John Carradine, Ken Murray |
|
"A great film, rich
in thought and feeling, composed in rhythms that vary from the elegiac
to the spontaneous. This 1962 western flaunts its artificiality, both in
its use of studio interiors and in the casting of an aging James Stewart
as a young, idealistic lawyer who comes to the frontier. For some, the
stylization is a crippling flaw, but I find it sublime."
-
Dave Kehr, Chicago Reader |
|
Selected by A.O. Scott,
Jesus Franco,
Ramin Bahrani,
Charles Barr,
Denys Arcand. |
| 97 → 100 → 85 → 76 → 71
→ 72 → 72 |
|
Amazon
Images Journal
Reverse Shot |
| |
|
|
|
|
|
Jaws |
|
STEVEN SPIELBERG
(75) |
 |
|
1975 | 124m | Col | USA |
Thriller, Natural Horror |
|
Roy Scheider, Robert Shaw,
Richard Dreyfuss, Lorraine Gary, Murray Hamilton, Carl Gottlieb, Jeffrey
Kramer, Susan Backlinie, Jonathan Filley, Ted Grossman |
|
"It's a noisy, busy movie
that has less on its mind than any child on a beach might have. It has
been cleverly directed by
Steven Spielberg for maximum shock
impact and short-term suspense, and the special effects are so good that
even the mechanical sharks are as convincing as the people."
- Vincent Canby, New York Times |
|
Selected by
Bryan Singer,
Kevin Smith,
Bong Joon-ho,
Peter Jackson,
Robert Rodriguez. |
| 186 → 131 → 113 → 106 →
89 → 75 → 73 |
|
Amazon
Roger Ebert's Great Movies
Metacritic |
| |
|
|
|
|
|
The
Battle of Algiers |
|
GILLO PONTECORVO (79) |
 |
| • La
Battaglia di Algeri (original title) |
|
1965 | 123m | BW | Algeria-Italy | Docudrama, Political Drama |
|
Jean Martin, Yacef Saadi,
Brahim Haggiag, Samia Kerbash, Tommaso Neri, Michele Kerbash, Ugo
Paletti, Fusia El Kader, Franco Morici, Omar |
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"Even though The
Battle Of Algiers ranks among the great works of revolutionary
cinema, Pontecorvo
depicts insurgent warfare with a stark, evenhanded realism that feels
like history painted on the screen. In fact, many prints actually come
with the disclaimer that the film doesn't include a single frame of
documentary or newsreel footage. And that's not a boast: It really does
seem that real. "
- Scott Tobias, The A.V. Club, 2004 |
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Selected by
Julian Schnabel,
Edward Zwick,
Paul Greengrass,
Ken Loach,
Kevin MacDonald. |
| 134 → 107 → 104 → 95 →
91 → 79 → 74 |
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Amazon
Reverse Shot
Criterion Collection Essay |
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75↑ |
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• To 76-100 |
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Fanny and Alexander |
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INGMAR
BERGMAN (78) |
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| • Fanny och
Alexander (original title) |
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1982
| 189m | Col | Sweden | Childhood
Drama, Period Film |
|
Gunn Wallgren, Jarl Kulle,
Erland Josephson, Allan Edwall, Jan Malmsjo, Harriet Andersson, Bertil
Guve, Mats Bergman, Gunnar Bjornstrand, Kristina Adolphson |
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"Fanny and
Alexander,
Bergman's 1982 career summation and the kind of rich,
timeless, cautionless magnum opus we can only receive, like
benedictions, from artists who've paid their generation's dues of sweat,
risk, tears, and honesty. F&A views the oceanic heavings of a
close-knit theater family circa 1907 from the perspective of the
eponymous lad, from warm holiday memories through a medieval
stepchildhood and beyond." -
Michael
Atkinson, The Village Voice, 2004 |
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Selected by
Terry Jones,
Sam Mendes, Gilles Jacob,
Bruce
Beresford,
Richard
Linklater. |
| 62 → 62 → 66 → 74 → 75
→ 78 → 75 |
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Amazon
Deep Focus
Kamera |
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