| |
|
76 |
|
77 |
|
78 |
|
Nashville |
|
ROBERT
ALTMAN (76) |
 |
|
1975
| 159m | Col | USA | Media Satire, Musical Drama |
|
Ned Beatty, Karen Black,
Ronee Blakley, Keith Carradine, Geraldine Chaplin, Shelley Duvall, Allen
Garfield, Henry Gibson, Scott Glenn, Jeff Goldblum |
|
"A wonderful
mosaic which yields up greater riches with successive viewings, not
least in the underrated songs, the superlative performances, and the
open-mindedness of
Altman's approach to direction. Immensely,
exhilaratingly enjoyable."
- Tom Milne, Time Out |
|
Selected by
Molly Haskell, Armond White,
Karel
Reisz, David Stratton, Irene Bignardi. |
| 58 → 61 → 68 → 67 → 74
→ 76 → 76 |
|
Amazon
The Observer
Reel Views |
| |
|
|
|
|
|
Amarcord |
|
FEDERICO FELLINI
(74) |
 |
|
1973
| 127m | Col | Italy | Comedy Drama, Ensemble Film |
|
Pupella Maggio, Magali
Noel, Armando Brancia, Ciccio Ingrassia, Nando Orfei, Luigi Rossi, Bruno
Zanin, Gianflippo Carcano, Josiane Tanzilli, Maria Antonietta Beluzzi |
|
"Pitched somewhere
between genuine childhood reminiscence and an outlandish, Arabian
Nights-style collection of tales,
Federico Fellini's 1973 Amarcord
captures the great Italian director at the peak of his cinematic powers.
Although it's undoubtedly not as "important" or as self-serious a
picture as 8½ or La Dolce Vita or La Strada,
Amarcord - the word may signify "I remember" in the Romagnese
dialect of Fellini's
youth, although some experts regard it as an invention - is a massively
enjoyable entertainment infused with more than a little wry wisdom,
pathos and mystery." - Andrew O'Hehir, Salon, 2008 |
|
Selected by
Ari Folman,
Michael Winterbottom,
Roy Andersson,
Roger Michell, Milos Forman. |
| 108 → 97 → 92 → 82 → 76
→ 74 → 77 |
|
Amazon
Roger Ebert's Great Movies
The Criterion Collection |
| |
|
|
|
|
|
To Be or Not to Be |
|
ERNST LUBITSCH (73) |
 |
|
1942
| 99m | BW | USA | Satire, Showbiz Comedy |
|
Jack Benny, Carole
Lombard, Robert Stack, Felix Bressart, Lionel Atwill, Stanley Ridges,
Sig Ruman, Tom Dugan, Charles Halton, Peter Caldwell |
|
"Ernst
Lubitsch directed this 1942 film from his own story about a
troupe of Polish actors stranded in the Nazi-occupied Warsaw of World
War II. It could be his finest achievement, and it's certainly one of
the most profound, emotionally complex comedies ever made, covering a
range of tones from satire to slapstick to shocking black humor."
-
Dave Kehr, Chicago Reader |
|
Selected by
Joe Dante, Charles Tesson, Edgar Reitz,
Harry Shearer, Mika Kaurismäki. |
| 148 → 150 → 94 → 71 →
72 → 73 → 78 |
|
Amazon
Slant Magazine
Salon |
| |
|
|
|
| |
|
| |
|
|
|
|
|
79↑ |
|
80 |
|
81 |
|
Barry Lyndon |
|
STANLEY KUBRICK
(84) |
 |
|
1975
| 183m | Col | UK | Drama, Period Film |
|
Ryan O'Neal, Marisa
Berenson, Patrick Magee, Hardy Kruger, Steven Berkoff, Gay Hamilton,
Marie Kean, Leonard Rossiter, Godfrey Quigley, Arthur O'Sullivan |
|
"An object of
widespread derision when released in 1975—anyone remember the Mad
magazine parody, "Borey Lyndon"?—
Stanley Kubrick's magisterial Thackeray
adaptation now stands as one of his greatest and most savagely ironic
films, not to mention one of the few period pieces on celluloid so
transporting that it seems to predate the invention of cameras."
- Jim Ridley, The Village Voice, 2007 |
|
Selected by
Richard
Kelly, Nick James,
Jonathan Kaplan, Michel Ciment,
Ken Mogg. |
| 78 → 79 → 90 → 92 → 84
→ 84 → 79 |
|
Amazon
Time
Roger Ebert (Chicago Sun-Times) |
| |
|
|
|
|
|
A
Clockwork Orange |
|
STANLEY KUBRICK
(77) |
 |
|
1971
| 137m | Col | USA | Psychological Sci-Fi, Satire |
|
Malcolm McDowell, Patrick
Magee, Michael Bates, Warren Clarke, John Clive, Adrienne Corri, Carl
Duering, Paul Farrell, Clive Francis, Michael Gover |
|
"It seems to me that
by describing horror with such elegance and beauty,
Kubrick
has created a very disorienting but human comedy, not warm and lovable,
but a terrible sum- up of where the world is at... Because it refuses to
use the emotions conventionally, demanding instead that we keep a
constant, intellectual grip on things, it's a most unusual--and
disorienting--movie experience. "
- Vincent
Canby, The New York Times, 1972 |
|
Selected by
Harold Becker,
Michael Moore,
Mike Judge,
Taylor Hackford,
John Dahl. |
| 82 → 93 → 93 → 93 → 90
→ 77 → 80 |
|
Amazon
Metacritic
Roger Ebert |
| |
|
|
|
|
|
Notorious |
|
ALFRED
HITCHCOCK
(80) |
 |
|
1946
| 101m | BW | USA | Thriller, Romantic Mystery |
|
Cary Grant, Ingrid
Bergman, Claude Rains, Louis Calhern, Leopoldine Konstantin, Reinhold
Schunzel, Moroni Olsen, Ivan Triesault, Alexis Minotis, Wally Brown |
|
"One
of Hitchcock's finest films of the '40s. Suspense there is, but what
really distinguishes the film is the way its smooth, polished surface
illuminates a sickening tangle of self-sacrifice, exploitation,
suspicion, and emotional dependence."
- Geoff Andrew, Time Out |
|
Selected by
Robert Rodriguez, Molly Haskell, Gavin Lambert,
Kim Newman,
Mike Newell. |
| 76 → 86 → 75 → 75 → 77
→ 80 → 81 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
See Also:
250 Quintessential
Noir Films |
| |
|
|
|
| |
| |
|
|
| |
| |
|
82 |
|
83 |
|
84 |
|
Stagecoach |
|
JOHN FORD (81) |
 |
|
1939
| 96m | BW | USA | Western, Traditional Western |
|
John Wayne, Claire Trevor,
Thomas Mitchell, John Carradine, Andy Devine, George Bancroft, Louise
Platt, Donald Meek, Berton Churchill, Tim Holt |
|
"Impossible to
overstate the influence of
Ford's magnificent film, generally considered to be the first
modern Western. Shot in the Monument Valley which
Ford was later to make his own, it also
initiated Wayne's extraordinarily fertile partnership with the director,
and established in embryo much of the mythology explored and developed
in Ford's
subsequent Westerns." -
Nigel Floyd, Time Out |
|
Selected by
Arturo Ripstein, Philip French,
Bernardo
Bertolucci, David Robinson, Joseph Strick. |
| 94 → 99 → 101 → 83 → 83
→ 81 → 82 |
|
Amazon
Images Journal
Filmsite |
| |
|
|
|
|
|
Ikiru |
|
AKIRA
KUROSAWA
(83) |
 |
| • To Live
(English title); Living (alternative title) |
|
1952
| 143m | BW | Japan | Drama, Psychological Drama |
|
Takashi Shimura, Nobuo
Kaneko, Kyoko Seki, Shinuchi Himori, Haruo Tanaka, Minoru Chiaki, Miki
Odagiri, Kamatari Fujiwara, Makoto Kobori, Kumeko Urabe |
|
"An intensely
moving film... elegiac and sometimes quirkishly funny in the manner of
Kurosawa's elective model,
John Ford. Takashi Shimura is superb in the
central role, and not the least of
Kurosawa's achievements is his
triumphant avoidance of happy ending uplift." - Tony Rayns, Time
Out |
|
Selected by
Gilles Jacob,
Alan Rudolph, Gerald Peary, Carlos Garcia Brusco,
Dan Georgakas. |
| 79 → 73 → 77 → 81 → 79
→ 83 → 83 |
|
Amazon
Strictly Film School
Senses of Cinema |
| |
|
|
|
|
|
Sansho
the Bailiff |
|
KENJI
MIZOGUCHI (82) |
 |
| • Sanshō
dayū (original title) |
|
1954
| 125m | BW | Japan | Drama, Period Film |
|
Kinuyo Tanaka, Yoshiaki
Hanayagi, Kyoko Kagawa, Eitaro Shindo, Akitake Kono, Masao Shimizu, Ken
Mitsuda, Kazukimi Okuni, Yoko Kosono, Noriko Tachibana |
|
"Mizoguchi
gives this pathetic tale a quality somewhere between the fatalism of a
medieval romance and the catharsis of classical tragedy... The images,
the subtle music... combine to create a world which irresistibly captures
and enfolds the spectator"
- David Robinson, The Times, 1976 |
|
Selected by Philip Kemp, David Bordwell, Robin
Wood,
Bernardo
Bertolucci, Peter Hames. |
| 77 → 89 → 78 → 88 → 87
→ 82 → 84 |
|
Amazon
Cinepad
Strictly Film School |
| |
|
|
|
| |
|
|
|
|
|
|
|
|
85↑ |
|
86 |
|
87↑ |
|
Aguirre:
The Wrath of God |
|
WERNER
HERZOG
(89) |
 |
| • Aguirre,
der Zorn Gottes (original title); Aguirre, Wrath of God
(alternate title) |
|
1972
| 94m | Col | Germany | Historical Film, Adventure Drama |
|
Klaus Kinski, Cecelia
Rivera, Ruy Guerra, Del Negro, Helena Rojo, Peter Berling, Alejandro
Repulles, Danny Ades, Armando Polanha, Edward Roland |
|
"Ingeniously
combines Herzog's gift for deep irony, his strong social awareness, and
his worthy ambition to fashion a whole new visual perspective on the
world around us via mystical, evocative, yet oddly direct imagery. It is
a brilliant cinematic achievement." - David Sterritt, Christian
Science Monitor |
|
Selected by
Ramin Bahrani, Ty Burr,
Roger Ebert, Nigel Andrews, Graham Fuller. |
| 86 → 78 → 84 → 91 → 85
→ 89 → 85 |
|
Amazon
Senses of Cinema
Strictly Film School |
| |
|
|
|
|
|
Pierrot
le fou |
|
JEAN-LUC
GODARD (86) |
 |
| • Crazy
Pete (English title) |
|
1965
| 110m | Col | France-Italy | Road Movie, Romantic Drama |
|
Jean-Paul Belmondo, Anna
Karina, Dirk Sanders, Raymond Devus, Graziella Galvani, Samuel Fuller,
Laszlo Szabo, Jean-Pierre Leaud, Roger Dutoit, Hans Meyer |
|
"The self-destructive
romanticism, the artistic self-consciousness, the frenetically unhinged
form, the blend of emotional extravagance and cool self-mocking, the
vanished boundaries between irony and sincerity and between symbol and
reality, the overt cinematic breakdown and breakup, were all of their
moment. Pierrot le fou was the last of
Godard’s
first films, the herald of even more radical rejections and
reconstructions to come—for
Godard and for the world around him."
- Richard Brody, The Criterion Collection, 2008 |
|
Selected by
Jesus Franco, Julian Graffy, Tom Gunning, Dennis Lim,
Walt Vian. |
| 75 → 81 → 76 → 84 → 92
→ 86 → 86 |
|
Amazon
Pop Matters
Roger Ebert (Chicago Sun-Times) |
| |
|
|
|
|
|
Annie Hall |
|
WOODY ALLEN (96) |
 |
|
1977 | 94m | Col | USA |
Romantic Comedy, Comedy of Manners |
|
Woody Allen, Diane Keaton,
Tony Roberts, Carol Kane, Paul Simon, Shelley Duvall, Janet Margolin,
Colleen Dewhurst, Christopher Walken, Donald Symington |
|
"Annie Hall, a
comedy about urban love and incompatibility that finally establishes
Woody as one
of our most audacious filmmakers, as well as the only American filmmaker
who is able to work seriously in the comic mode without being the least
bit ponderous." - Vincent Canby, The New York Times, 1977 |
|
Selected by
Edward Zwick,
Antony Burns, Digvijay Singh,
Monte Hellman,
Zeina Durra. |
| 146 → 129 → 133 → 116 →
105 → 96 → 87 |
|
Amazon
Film Reference
Chicago Sun-Times (Roger Ebert) |
| |
|
|
|
| |
|
| |
|
|
|
|
|
88 |
|
89↑ |
|
90↑ |
|
Madame de... |
|
MAX OPHÜLS (85) |
 |
| • The
Earrings of Madame de... (USA title) |
|
1953
| 105m | BW | France-Italy | Period Film, Romantic Drama |
|
Danielle Darrieux, Charles
Boyer, Vittorio De Sica, Mireille Perrey, Jean Debucourt, Lia de Lea,
Jean Galland, Serge Lecointe, Hubert Noel, Leon Walther |
|
"Certainly
one of the crowning achievements in film.
Ophüls' gliding camera follows
Danielle Darrieux, Charles Boyer, and
Vittorio De Sica through a circle
of flirtation, passion, and disappointment, a tour that embraces both
sophisticated comedy and high tragedy."
- Dave Kehr, Chicago Reader |
|
Selected by Andrew
Sarris, Carrie Rickey, Molly Haskell,
Jim McBride, Gavin Lambert. |
| 65 → 68 → 73 → 78 → 78
→ 85 → 88 |
|
Amazon
Roger Ebert’s Great Movies
Senses of Cinema |
| |
|
|
|
|
|
Double Indemnity |
|
BILLY WILDER
(98) |
 |
|
1944
| 106m | BW | USA | Film Noir, Crime Thriller |
|
Barbara Stanwyck, Fred
MacMurray, Edward G. Robinson, Porter Hall, Jean Heather, Tom Powers,
Fortunio Bonanova, Richard Gaines, John Philliber, Bess Flowers |
|
"However dark
the plotting, the dialogue (by
Wilder and
Raymond Chandler) remains bright as a penny and hard as nails. One of
the few screen adaptations that actually improves on its source (a James
M. Cain novel), this is the Ur-film noir—broody, nasty, funny and
utterly compelling."
- Richard Schickel, Time |
|
Selected by
Joel Schumacher,
Yvonne Rainer, Ginette Vincendeau,
John Baldessari, John Dahl. |
| 101 → 108 → 91 → 94 →
97 → 98 → 89 |
|
Amazon
Derek Malcolm's Century of Films
Images Journal |
|
See Also:
250 Quintessential
Noir Films |
| |
|
|
|
|
|
Playtime |
|
JACQUES
TATI
(92) |
 |
|
1967
| 108m | Col | France | Satire, Urban Comedy |
|
Jacques Tati, Barbara
Dennek, Jacqueline Lecomte, Valerie Camille, France Rumilly, France
Delahelle, Laure Paillette, Colette Proust, Erika Dentzler, Yvette
Ducreux |
|
"The most
visually inventive film of the 60s is also one of the funniest. For this
remarkable 1967 comedy about man and his modern world,
Jacques Tati
attempted nothing less than a complete reworking of the conventional
notions of montage and, amazingly, he succeeded." - Dave Kehr,
Chicago Reader |
|
Selected by
David Ehrenstein,
Peter Tscherkassky, Gilbert Adair, James Quandt, David Bordwell. |
| 74 → 71 → 72 → 87 → 88
→ 92 → 90 |
|
Amazon
The Guardian
The A.V. Club
|
| |
|
|
|
| |
|
| |
|
|
|
|
|
91 |
|
92 |
|
93 |
|
On
the Waterfront |
|
ELIA
KAZAN
(90) |
 |
|
1954
| 108m | BW | USA | Message Movie, Urban Drama |
|
Marlon Brando, Eva Marie
Saint, Karl Malden, Lee J. Cobb, Rod Steiger, Leif Erickson, Martin
Balsam, Pat Henning, James Westerfield, Tony Galento |
|
"Superb
performances (none more so than Brando as Terry Malloy, the ex-boxer
unwittingly entangled in corrupt union politics), a memorably colourful
script by Budd Schulberg, and a sure control of atmosphere make this
account of Brando's struggles against gangster Cobb's hold over the New
York longshoremen's union powerful stuff."
- Geoff Andrew, Time Out |
|
Selected by
F. Gary Gray,
Spike Lee,
Nicholas Meyer,
George A. Romero,
Paul Morrissey. |
| 93 → 80 → 98 → 104 → 94
→ 90 → 91 |
|
Amazon
The Village Voice
Metacritic |
| |
|
|
|
|
|
Voyage in Italy |
|
ROBERTO
ROSSELLINI (87) |
 |
| • Viaggio
in Italia (original title); Journey to Italy (alternative title) |
|
1953
| 97m | BW | Italy | Marriage Drama, Psychological Drama |
|
Ingrid Bergman, George
Sanders, Maria Mauban, Leslie Daniels, Natalia Ray, Anna Proclemer,
Jackie Frost, Paul Muller, Anthony La Penna, Anthony La Penna |
|
"Some films have to
be seen to be believed: the secret of this most beautiful and magical of
films is 'nothing happens'. From the slight tale of a bored English
couple holidaying in Italy,
Rossellini builds a magnificently
passionate story of cruelty and cynicism swirling into a renewal of
love."
- Don Macpherson, Time Out |
|
Selected by
Richard Brody, Stig Bjorkman, Laura Mulvey, Ian Christie, Georgia Brown. |
| 70 → 75 → 81 → 86 → 86
→ 87 → 92 |
|
Amazon
Strictly Film School
The Film Journal |
| |
|
|
|
|
|
Pickpocket |
|
ROBERT BRESSON
(88) |
 |
|
1959 | 75m | BW | France |
Crime Drama, Psychological Drama |
|
Martin LaSalle, Marika
Green, Pierre Leymarie, Jean Pelegri, Dolly Scal, Kassagi, Pierre Etaix,
Cesar Gattegno, Sophie Saint-Just, Dominique Zardi |
|
"Robert
Bresson made this short electrifying
study in 1959; it's one of his greatest and purest films, full of hushed
transgression and sudden grace...
Paul Schrader
has recycled great chunks of it in his scripts for Taxi Driver,
American Gigolo, and Raging Bull, but the original retains
its awesome, austere power."
- Dave Kehr, Chicago Reader |
|
Selected by Jean-Louis Leutrat,
Richard Linklater,
Theo Angelopoulos,
Jim McBride,
Mika Kaurismäki. |
| 69 → 70 → 70 → 80 → 81
→ 88 → 93 |
|
Amazon
Strictly Film School
Senses of Cinema |
| |
|
|
|
| |
| |
|
|
| |
| |
|
94 |
|
95 |
|
96 |
|
Letter from an Unknown
Woman |
|
MAX OPHÜLS (91) |
 |
|
1948 | 90m | BW |
Period Film, Romantic Drama |
|
Joan Fontaine, Louis
Jourdan, Mady Christians, Marcel Journet, Art Smith, John Good, Leo B.
Pessin, Carol Yorke, Howard Freeman, Erskine Sanford |
|
"Letter from an
Unknown Woman is an inexhaustibly rich film, one that has drawn
myriad film-lovers to try to unravel its themes, patterns, suggestions,
and ironies. But no amount of close analysis can ever extinguish the
rich, tearing emotion that this masterpiece elicits." - Adrian
Martin, "1001 Movies You Must See Before You Die" |
|
Selected by
Hideo Nakata,
Philip Kemp, Adrian Martin, Bill Rothman, David Stratton. |
| 99 → 95 → 74 → 77 → 82
→ 91 → 94 |
|
Amazon
Senses of Cinema
Film Reference
|
| |
|
|
|
|
|
Bringing Up Baby |
|
HOWARD HAWKS
(94) |
 |
|
1938
| 102m | BWl | USA | Screwball Comedy, Romantic Comedy |
|
Cary Grant, Katharine
Hepburn, Charlie Ruggles, May Robson, Barry Fitzgerald, Walter Catlett,
Fritz Feld, Leona Roberts, George Irving, Virginia Walker |
|
"One of the finest
screwball comedies ever, with Grant - a dry, nervous, conventional
palaeontologist - meeting up with madcap socialite Hepburn and
undergoing the destruction of his career, marriage, sanity and sexual
identity... Fast, furious and very, very funny."
- Geoff Andrew, Time Out |
|
Selected by
Doug Liman, Ty Burr, Barry Norman,
Jonathan Kaplan, Javier Coma. |
| 117 → 106 → 88 → 79 →
80 → 94 → 95 |
|
Amazon
Film Reference
Filmsite |
| |
|
|
|
|
|
My Darling Clementine |
|
JOHN
FORD (95) |
 |
|
1946
| 97m | BW | USA | Western, Traditional Western |
|
Henry Fonda, Victor
Mature, Linda Darnell, Walter Brennan, Tim Holt, Cathy Downs, Ward Bond,
Alan Mowbray, John Ireland, Roy Roberts |
|
"A sustained
and complex work of the imagination... It's qualities derive from Mr.
Ford's affection for the portrait he is drawing - the portrait of the
Old West. It is a mixed portrait, half-truth, half folklore, but fact or
fancy, it is the West as Americans still feel it in their bones."
- Richard Griffith, New Movies |
|
Selected by
Bruce Beresford, Peter Cowie,
Michael Mann,
Gilberto
Perez, Noel King. |
| 80 → 92 → 86 → 85 → 95 → 95 → 96 |
|
Amazon
Roger Ebert's Great Movies
Images Journal |
| |
|
|
|
| |
|
| |
|
|
|
|
|
97↑ |
|
98 |
|
99 |
|
The
Man with a Movie Camera |
|
DZIGA
VERTOV
(102) |
 |
| • Chelovek
s kino-apparatom (original title) |
|
1929
| 80m | BW | USSR | Avant-garde/Experimental, Documentary |
|
Mikhail Kaufman |
|
"Vertov's
exhilarating and often hilarious exploration of the relations between
cinema, actuality and history opened up all the issues Godard, the
avant-gardes, and political film-makers have been wrestling with ever
since. A truly radical and liberating work."
- Peter Watts, Time Out |
|
Selected by
Amy Taubin, Peter
Tscherkassky, Laura Mulvey, Robert Sklar,
Barbara
Hammer. |
| 84 → 82 → 95 → 97 → 101
→ 102 → 97 |
|
Amazon
The Onion A.V. Club
Images Journal |
| |
|
|
|
|
|
Rome, Open City |
|
ROBERTO ROSSELLINI (97) |
 |
| • Roma,
cittą aperta (original title); Open City (alternative title) |
| 1945
| 105m | BW | Italy | War Drama, Resistance Film |
|
Anna Magnani, Aldo Fabrizi,
Marcello Pagliero, Vito Annichiarico, Nando Bruno, Harry Feist, Giovanna
Galletti, Francesco Grandjacquet, Maria Michi, Eduardo Passarelli |
|
"Open City is
unquestionably one of the strongest dramatic films yet made about the
recent war. And the fact that it was hurriedly put together by a group
of artists soon after the liberation of Rome is significant of its
fervor and doubtless integrity." -
Bosley Crowther, The New
York Times, 1946 |
|
Selected by
Aki Kaurismäki,
Jim Jarmusch,
David Parkinson, Howard Feinstein,
Jose Luis Alcaine. |
| 141 → 143 → 132 → 98 →
98 → 97 → 98 |
|
Amazon
Cinema-Scope
All Movie Guide |
| |
|
|
|
|
|
GoodFellas |
|
MARTIN SCORSESE
(93) |
 |
|
1990 | 146m | Col | USA |
Gangster Film, Crime Drama |
|
Robert De Niro, Ray Liotta,
Joe Pesci, Lorraine Bracco, Paul Sorvino, Frank Sivero, Gina
Mastrogiacomo, Frank Vincent, Chuck Low, Tony Darrow |
|
"Scorsese
seems to have gone for broke. But GoodFellas, which he
co-scripted with Nicholas Pileggi, is not just a feature-length random
killing spree. It's an unleashing of his talents. There's a gutsy
passion there, as well as a horrifying, unblinking view of humanity.
Artistically at least,
Scorsesehas managed to make crime pay." -
Desson Howe, The Washington Post, 1990 |
|
Selected by
Peter Jackson,
Kevin MacDonald,
Richard Linklater,
Floyd Mutrux,
Susan Seidelman. |
| 95 → 112 → 115 → 99 →
96 → 93 → 99 |
|
Amazon
Bright Lights Film Journal
Metacritic |
| |
|
|
|
| |
|
| |
|
|
|
|
|
100 |
|
• To 101-150 |
|
|
Star Wars |
|
GEORGE LUCAS (100) |
 |
| • Star
Wars: Episode IV - A New Hope (alternative title) |
|
1977 | 121m | Col | USA | Science Fiction, Space Adventure |
|
Mark Hamill, Harrison
Ford, Carrie Fisher, Peter Cushing, Alec Guinness, Peter Mayhew, David
Prowse, Anthony Daniels, Kenny Baker, Phil Brown |
|
"Forget the
phenomenon—it changed forever the way movies are marketed. Forget the
endlessly hyped sequels... Remember the innocence (and technological
inventiveness) of the film, the fun of the dialogue, the astonishment of
the creatures we encountered, the propulsive dash of the editing."
- Richard Schickel, Time |
|
Selected by
John Lasseter,
Roger Corman,
M. Night Shyamalan,
Anurag Mehta, Scott Rosenberg. |
| 118 → 104 → 110 → 110 →
104 → 100 → 100 |
|
Amazon
The Guardian (1977)
Roger Ebert's Great Movies |
| |
|
|
|
|
|
|