| |
|
101
|
|
102
|
|
103
|
|
The
Man with a Movie Camera |
|
DZIGA
VERTOV
(97) |
 |
| • 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, Laura Mulvey, Robert Sklar,
Susan Sontag, Barbara
Hammer. |
|
82 → 95 → 97 → 101 |
|
Amazon
The Onion A.V. Club
Images Journal |
|
|
|
L'Âge d'or |
|
LUIS BUÑUEL
(90) |
 |
| • The
Golden Age (English title) |
|
1930
| 63m | BW | France | Avant-garde/Experimental, Surrealist Film |
|
Gaston Modot, Lya Lys, Max
Ernst, Pierre Prevert, Caridad de Laberdesque, Lionel Salem, Madame
Noizet, Jose Artigas, Jacques Brunius, Paul Eluard |
|
"Luis Buñuel's first
and most radical feature was banned for decades, and it continues to
pack a jolt... Funny, blasphemous, sexy, strange, subtle, and evocative
in its use of sound, it's also thoroughly Buñuelian, though without the
bittersweet sense of resigned acceptance that characterizes some of his
later works."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Dusan
Makavajev, Peter Wollen,
Aki Kaurismäki,
Mrinal Sen, David
Robinson. |
|
72 → 89 → 90 → 102 |
|
Amazon
The Village Voice
Slant Magazine |
|
|
|
Nosferatu |
|
F.W.
MURNAU (105) |
 |
| • Nosferatu,
eine Symphonie des Grauens (original title) |
|
1922
| 84m | BW | Germany | Horror, Gothic Film |
|
Max Schreck, Alexander
Granach, Gustav von Wangenheim, Greta Schroeder, G.H. Schnell, Ruth
Landshoff, John Gottowt, Gustav Botz, Max Nemetz, Wolfgang Heinz |
|
"A masterpiece of the
German silent cinema and easily the most effective version of Dracula
on record. F.W. Murnau's
1922 film follows the Stoker novel fairly closely, although he neglected
to purchase the screen rights--hence, the title change. But the key
elements are all Murnau's
own: the eerie intrusions of expressionist style on natural settings,
the strong sexual subtext, and the daring use of fast-motion and
negative photography."
- Dave Kehr, Chicago Reader |
|
Selected by
Werner Herzog, Andrey Plakhov, Philip Kemp,
Theo
Angelopoulos, Gilberto Perez. |
|
84 → 99 → 105 →
103 |
|
Amazon
Senses of Cinema
Roger Ebert's Great Movies |
|
| |
|
| |
|
|
|
|
|
104
|
|
105
|
|
106
|
|
Star Wars |
|
GEORGE LUCAS (110) |
 |
| • 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. |
|
104 → 110 → 110 →
104 |
|
Amazon
The Guardian (1977)
Roger Ebert's Great Movies |
|
|
|
Annie Hall |
|
WOODY ALLEN (116) |
 |
|
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, Rian Johnson, Digvijay Singh,
Jean-Max Mejean,
Jan-Olov Andersson. |
|
129 → 133 → 116 →
105 |
|
Amazon
Film Reference
Chicago Sun-Times (Roger Ebert) |
|
|
|
His
Girl Friday |
|
HOWARD
HAWKS
(102) |
 |
|
1940
| 92m | BW | USA | Screwball Comedy, Media Satire |
|
Cary Grant, Rosalind
Russell, Ralph Bellamy, Gene Lockhart, Helen Mack, Porter Hall, Roscoe
Karns, John Qualen, Ernest Truex, Billy Gilbert |
|
"Hawks's
great insight--taking the Hecht-MacArthur Front Page and making
the Hildy Johnson character a woman--has been justly celebrated; it
deepens the comedy in remarkable ways. Cary Grant's performance is truly
virtuoso--stunning technique applied to the most challenging material."
- Dave Kehr, Chicago Reader |
|
Selected by
David Bordwell, Pauline Kael, Geoff Andrew,
Quentin
Tarantino,
Mary Harron. |
|
90 → 96 → 102 →
106 |
|
Amazon
Filmsite
Film Reference |
|
| |
|
| |
|
|
|
|
|
107
|
|
108
|
|
109
|
|
Hiroshima mon amour |
|
ALAIN RESNAIS (96) |
 |
| •
Hiroshima, mon amour (alternative title); Hiroshima, My Love
(English title) |
|
1959 | 91m | BW |
France-Japan | Psychological Drama, Romantic Drama |
|
Emmanuelle Riva, Eiji
Okada, Bernard Fresson, Stella Dassas, Pierre Barbaud |
|
"It’s difficult to
quantify the breadth of Hiroshima’s impact. It remains one of the
most influential films in the short history of the medium, first of all
because it liberated moviemakers from linear construction."
- Kent Jones, The Criterion Collection |
|
Selected by
Jan Nemec, Eva
Zaoralova, Jill Godmilow, Glenn Myrent, Russell Campbell. |
|
109 → 103 → 96 →
107 |
|
Amazon
Strictly Film School
Pop Matters |
|
|
|
Napoléon |
|
ABEL GANCE (101) |
 |
|
1927 | 235m | BW | France
| Epic, Historical Film |
|
Albert Dieudonne, Gina
Manes, Annabella, Vladimir Roudenko, Edmond Van Daele, Alexander
Koubitzky, Antonin Artaud, Abel Gance, Nicolas Koline, Pierre Batcheff |
|
"Despite its
simplistic view of Napoleon himself, the film is completely vindicated
by Gance's raving enthusiasm for his medium. All of the brilliant
experiments with film language remain potent, from the montages of
flash-frames to the bombastic poetry of the triptych finale; even the
gags are still funny."
- Tony Rayns, Time Out |
|
Selected by
Christopher Frayling, David Robinson, Lewis
Gilbert,
Ronald Neame, Tom Luddy. |
|
116 → 112 → 101 →
108 |
|
Amazon
Senses of Cinema
Films de France |
|
|
|
The
Lady Eve |
|
PRESTON STURGES (114) |
 |
|
1941 | 94m | BW | USA |
Romantic Comedy, Sophisticated Comedy |
|
Barbara Stanwyck, Henry
Fonda, Charles Coburn, Eugene Pallette, William Demarest, Eric Blore,
Melville Cooper, Martha O'Driscoll, Janet Beecher, Robert Greig |
|
"A
movie like The Lady Eve is so hard to make that you can't make it
at all unless you find a way to make it seem effortless.
Preston Sturges does a
kind of breathless balancing act here, involving romance, deception and
physical comedy."
- Roger Ebert, Chicago Sun-Times |
|
Selected by
Edward Zwick, Pauline Kael, Karel Reisz,
Richard Leacock,
Jim McBride. |
|
118 → 127 → 114 →
109 |
|
Amazon
Criterion Collection Essay
Senses of Cinema |
|
| |
|
|
|
|
|
|
|
|
110
|
|
111
|
|
112
|
|
King Kong |
|
MERIAN C. COOPER & ERNEST B. SCHOEDSACK (115) |
 |
|
1933 | 103m | BW | USA |
Adventure, Monster Film |
|
Fay Wray, Bruce Cabot,
Robert Armstrong, Frank Reicher, Noble Johnson, James Flavin, Sam Hardy,
Steve Clemente, Victor Wong, Paul Porcasi |
|
"If this glorious pile of
horror-fantasy hokum has lost none of its power to move, excite and
sadden, it is in no small measure due to the remarkable technical
achievements of Willis O'Brien's animation work, and the superbly
matched score of Max Steiner." - Wally Hammond, Time Out |
|
Selected by
Peter Jackson,
Alex Cox,
Stuart Gordon, Peter Keough, Elliott Stein. |
|
96 → 106 → 115 →
110 |
|
Amazon
Senses of Cinema
Filmsite |
|
|
|
Gertrud |
|
CARL DREYER
(108) |
 |
|
1964
| 116m | BW | Denmark |
Psychological Drama, Marriage Drama |
|
Nina Pens Rode, Bendt
Rothe, Ebbe Rode, Baard Owe, Axel Strobye, Karl Gustav Ahlefeldt, Vera
Gebuhr, Lars Knutzon, Anna Malberg, Edouard Mielche |
|
"Dreyer's
last film was adapted from a 1919 play by Hjalmar Söderberg, but it
remains one of the most purely cinematic discourses of the 1960s... The
fact that it's only half-articulated makes it all the more shattering." -
Tony Rayns, Time Out |
|
Selected by
Gilbert Adair, Jonathan Rosenbaum, Bill Rothman, Phillip Lopate, Tag
Gallagher. |
|
101 → 97 → 108 →
111 |
|
Amazon
Film Reference
Slant Magazine |
|
|
|
Stalker |
|
ANDREI TARKOVSKY (125) |
 |
|
1979 | 160m | Col-BW |
Russia | Science Fiction, Psychological Sci-Fi |
|
Aleksandr Kajdanovsky,
Anatoli Solonitsyn, Nikolai Grinko, Alisa Frejndlikh, Natasha Abramova,
Ye. Kostin, R. Rendi, F. Yurma |
|
"Against the
fractured density of Mirror, Stalker sets a form of
absolute linear simplicity... As always,
Tarkovsky
conjures images like you've never seen before; and as a journey to the
heart of darkness, it's a good deal more persuasive than
Coppola's."
- Chris Peachment, Time Out |
|
Selected by
Alex Proyas,
Michael Haneke,
Dina Iordanova,
Joel Schumacher,
Alexei Balabanov. |
|
119 → 117 → 125 →
112 |
|
Amazon
The Guardian
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
113
|
|
114
|
|
115
|
|
Los
Olvidados |
|
LUIS BUÑUEL
(109) |
 |
| • The Young
and the Damned (English title) |
|
1950 | 88m | BW | Mexico |
Drama, Juvenile Delinquency Film |
|
Alfonso Mejia, Roberto
Cobo, Stella Inda, Miguel Inclan, Alma Delia Fuentes, Jesus Navarro,
Francisco Jambrina, Hector Portillo, Salvador Quiros, Victor Manuel
Mendoza |
|
"This low-budget
account of Mexico City street kids, inspired by actual cases as well as
Buñuel's
impressions of his new country, is a masterpiece of social surrealism
and the founding work of third-world barrio horror." - J.
Hoberman, Village Voice, 2005 |
|
Selected by
Guillermo del Toro,
Paul Verhoeven,
Richard Linklater,
Robert Sklar, Leonardo Garcia Tsao. |
|
113 → 109 → 109 →
113 |
|
Amazon
Senses of Cinema
Film Reference |
|
|
|
Manhattan |
|
WOODY ALLEN
(113) |
 |
|
1979 | 96m | BW | USA |
Comedy Drama, Romantic Comedy |
|
Woody Allen, Diane Keaton,
Michael Murphy, Mariel Hemingway, Meryl Streep, Anne Byrne, Karen
Ludwig, Michael O'Donoghue, Victor Truro, Tisa Farrow |
|
"I
had forgotten what perfect pitch
Woody Allen
brought to ''Manhattan''--how its tone and timing slip so gracefully
between comedy and romance... Seeing it again I realize it's more
subtle, more complex, and not about love, but loss."
- Roger Ebert, Chicago Sun-Times, 2001 |
|
Selected by Greg Mottola, Sophie Barthes,
José Luis Garci,
Patrice Leconte,
Mark Borchardt. |
|
152 → 114 → 113 →
114 |
|
Amazon
Seattle Weekly (J. Hoberman)
metacritic |
|
|
|
Sherlock Jr. |
|
BUSTER
KEATON (100) |
 |
| • Sherlock
Junior (alternate spelling) |
| 1924
| 45m | BW | USA | Comedy, Fantasy |
|
Buster Keaton, Kathryn
McGuire, Joe Keaton, Erwin Connelly, Ward Crane, Jane Connelly, George
Davis, Doris Deane, Ruth Holly, Kewpie Morgan |
|
"The impeccable
comedian directs himself in an impeccable silent comedy... Is this, as
some critics have argued, an example of primitive American surrealism?
Sure. But let's not get fancy about it. It is more significantly, a
great example of American minimalism. The whole thing is only 45 minutes
long, not a second of which is wasted. In an age when most comedies are
all windup and no punch, this is the most treasurable of virtues "
- Richard Schickel, Time, 2005 |
|
Selected by
Carrie Rickey,
Terry Jones, Jean-Louis Leutrat,
James Mangold,
Georgia Brown. |
|
69 → 82 → 100 →
115 |
|
Amazon
Film Reference
All-Movie Guide |
|
| |
|
| |
|
|
|
|
|
116
|
|
117
|
|
118
|
|
Ran |
|
AKIRA KUROSAWA (121) |
 |
|
1985 | 161m | Col |
France-Japan | Historical Epic, Samurai Film |
|
Tatsuya Nakadai, Akira
Terao, Jinpachi Nezu, Daisuke Ryu, Mieko Harada, Yoshiko Miyazaki,
Takashi Nomura, Hisashi Igawa, Peter, Masayuki Yui |
|
"Ran
is slightly marred by some too obvious straining toward masterpiece
status, yet it's a stunning achievement in epic cinema. Working on a
large scale seems to bring out the best in
Kurosawa's essentially formal
talents." - Dave Kehr, Chicago Reader |
|
Selected by
James Gray,
Sidney Lumet,
Masahiro Shinoda,
Clara Law, Digvijay Singh. |
|
125 → 130 → 121 →
116 |
|
Amazon
Images Journal
Criterion Collection Essay |
|
|
|
The
Exterminating Angel |
|
LUIS BUÑUEL (120) |
 |
| • El Ángel
exterminador (original title) |
|
1962 | 95m | BW | Mexico |
Comedy Drama, Satire |
|
Silvia Pinal, Enrique
Rambal, Lucy Gallardo, Claudio Brook, Tito Junco, Bertha Moss,
Jacqueline Andere, Jose Baviera, Augusto Benedico, Luis Beristain |
|
"A group of high-society
friends are invited to a mansion for dinner and inexplicably find
themselves unable to leave in
Luis Buñuel’s daring masterpiece The
Exterminating Angel (El ángel exterminador). Made just one
year after his international sensation Viridiana, this film,
full of eerie, comic absurdity, furthers
Buñuel’s wicked takedown of the rituals
and dependencies of the frivolous upper classes."
- The
Criterion Collection |
|
Selected by
Michael Haneke,
Alex Cox,
Mary Harron,
Rajko Grlic,
Terry Gilliam. |
|
139 → 124 → 120 →
117 |
|
Amazon
Roger Ebert's Great Movies
Strictly Film School |
|
|
|
Paisan |
|
ROBERTO ROSSELLINI
(133) |
 |
| • Paisà
(original title) |
|
1946 | 120m | BW | Italy |
Drama, War Drama |
|
Maria Michi, Gar Moore,
Carmela Sazio, Robert Van Loon, Benjamin Emmanuel, Harold Wagner, Dotts
Johnson, Harriet Medin, William Tubbs, Dale Edmonds |
|
"Roberto
Rossellini's six-part film about the liberation of Italy was
released in 1946... The episodes all seem to have an anecdotal
triteness... but each acquires a wholly unexpected naturalness and depth
of feeling from
Rossellini's refusal to hype the anecdotes with conventional
dramatic rhetoric."
- Dave Kehr, Chicago Reader |
|
Selected by
Irene Bignardi, Robert
Sklar, Amos Gitai, Klaus Eder, Joan Mellen. |
|
141 → 139 → 133 →
118 |
|
Amazon
The New York Times (Bosley Crowther)
Film Reference |
|
| |
|
| |
|
|
|
|
|
119
|
|
120
|
|
121
|
|
Broken Blossoms |
|
D.W. GRIFFITH
(112) |
 |
| • Broken
Blossoms or The Yellow Man and the Girl (alternative title) |
|
1919
| 95m | BW | USA | Melodrama, Romantic Drama |
|
Lillian Gish, Richard
Barthelmess, Donald Crisp, Arthur Howard, Edward Peil Sr., George Andre
Beranger, Norman Selby, Ernest Butterworth, Fred Hamer, Wilbur Higby |
|
"Griffith
in 1919 was the unchallenged king of serious American movies (only
C.B. DeMille rivaled him in fame), and "Broken
Blossoms" was seen as brave and controversial. What remains today is
the artistry of the production, the ethereal quality of Lillian Gish,
the broad appeal of the melodrama, and the atmosphere of the elaborate
sets." - Roger Ebert, Chicago Sun-Times |
|
Selected by
Jim Jarmusch,
Aki Kaurismäki,
Richard Brody, Peter Keough, Carlos Garcia Brusco. |
|
126 → 100 → 112 →
119 |
|
Amazon
Film Reference
Slant Magazine |
|
|
|
The
Treasure of the Sierre Madre |
|
JOHN HUSTON (111) |
 |
|
1948 | 124m | BW | USA | Drama, Adventure Drama |
|
Humphrey Bogart, Walter
Huston, Tim Holt, Bruce Bennett, Barton MacLane, Alfonso Bedoya, John
Huston, Arturo Soto Rangel, Manuel Donde, Jose Torvay |
|
"John
Huston produced a number of great
films, but this tale of greed, fear, and murder in Mexico is undoubtedly
his finest, a towering masterpiece with Humphrey Bogart simply wonderful
as the inimitable Fred C. Dobbs." - Baseline
|
|
Selected by
Sam Raimi, Rian Johnson,
Dennis Hopper,
John Sayles,
Harold Becker. |
|
102 → 107 → 111 →
120 |
|
Amazon
Roger Ebert’s Great Movies
Filmsite |
|
|
|
Out
of the Past |
|
JACQUES TOURNEUR (117) |
 |
| • Build My
Gallows High (UK title) |
|
1947 | 97m | BW | USA |
Crime, Film Noir |
|
Robert Mitchum, Jane
Greer, Kirk Douglas, Rhonda Fleming, Richard Webb, Steve Brodie,
Virginia Huston, Paul Valentine, Dickie Moore, Ken Niles |
|
"Out of the Past,
adapted by Geoffrey Homes (a pseudonym for the left-wing writer Daniel
Mainwaring) from his 1946 pulp novel Build My Gallows High, under
which title it was released in Britain, is Jacques Tourneur's noir
classic. The script is dense, subtly shaped, and bristles with stylised,
often witty hard-boiled dialogue and voice-over narration... The superb
photography is by Nicholas Musuraca, an RKO stalwart specialising in
noir."
- Philip
French, The Observer, 2007 |
|
Selected by Alex Gibney, Nick James, John Baldessari, David Rooney, Martin McLoone. |
|
155 → 125 → 117 →
121 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
See Also:
250 Quintessential
Noir Films |
|
| |
|
| |
|
|
|
|
|
122
|
|
123
|
|
124
|
|
E.T.
The Extra-Terrestrial |
|
STEVEN SPIELBERG (135) |
 |
|
1982 | 115m | Col | USA |
Science Fiction, Children's Fantasy |
|
Dee Wallace, Henry Thomas,
Peter Coyote, Robert MacNaughton, Drew Barrymore, K.C. Martel, Sean
Frye, Tom Howell, Erika Eleniak, David O'Dell |
|
"E.T. is about
the wonders beyond our gaze, but it also digs deep into the realities of
childhood pain as a framework for its fantasy.
Spielberg's
first real masterpiece, it deserved all the hearts it won - and wins
still."
- Michael Wilmington, Chicago Tribune, 2002 |
|
Selected by
Apichatpong Weerasethakul,
Ronald Neame,
Richard Lester,
Roger Michell,
Alejandro Amenábar. |
|
144 → 136 → 135 →
122 |
|
Amazon
Time's All-Time 100 Movies
Film Reference |
|
|
|
Umberto D. |
|
VITTORIO DE SICA (129) |
 |
| 1952
| 89m | BW | Italy | Drama, Urban Drama |
|
Carlo Battisti, Maria Pia
Casilio, Lina Gennari, Alberto Albani Barbieri, Memmo Carotenuto, Elena
Rea, Ileana Simova, Lamberto Maggiorani |
|
"One of Italian
Neorealism’s last and deepest sighs... Cesare Zavattini, the writer who
defined Neorealism as much as its directors did, never wrote more simply
and directly and De
Sica realizes his work with perfect clarity."
- Richard Schickel, Time |
|
Selected by
Bryan Forbes,
Tim Lucas,
James Mangold,
Michael Sragow, Nina Menkes. |
|
122 → 131 → 129 →
123 |
|
Amazon
Strictly Film School
Criterion Collection Essay |
|
|
|
McCabe & Mrs. Miller |
|
ROBERT ALTMAN
(169) |
 |
|
1971 | 121m | Col | USA |
Drama, Revisionist Western |
|
Warren Beatty, Julie
Christie, Rene Auberjonois, John Schuck, Keith Carradine, Hugh Millais,
Shelley Duvall, Michael Murphy, William Devane, Bert Remsen |
|
"Like all things that
are beautiful and unalterably sad, McCabe & Mrs. Miller, by its
final scene -- the hired guns tracking McCabe through a quiet,
persistent blizzard -- achieves a deep sense of peace."
- Charles Taylor, Salon Magazine, 1997 |
|
Selected by A.O. Scott,
Tim Robbins,
Alan Rudolph,
Gore Verbinski,
Joan Mellen. |
|
124 → 168 → 169 →
124 |
|
Amazon
Slant Magazine
Chicago Sun-Times (Roger Ebert) |
|
| |
|
| |
|
|
|
|
|
125
|
|
126
|
|
127
|
|
Vivre sa vie |
|
JEAN-LUC GODARD (119) |
 |
| • My Life
to Live (English title); Vivre sa vie: Film en douze tableaux
(original title) |
|
1963 | 85m | BW | France | Psychological Drama, Urban Drama |
|
Anna Karina, Saddy Rebbot,
Andre S. Labarthe, Guylaine Schlumberger, Brice Parain, Peter Kassovitz,
Gerard Hoffman, Monique Messine, Paul Pavel, Dimitri Dineff |
|
"Only
Godard
could have made this film and at the time it seemed like a masterpiece.
It remains so now, telling us more, sometimes by the simple device of
telling us less, than any other film about what the French used to call
'the life'." -
Derek Malcolm, The Guardian, 2002 |
|
Selected by Yvette Biro,
Ann Hui, Peter Wollen, Georgia Brown,
Harun
Farocki. |
|
115 → 108 → 119 →
125 |
|
Amazon
Senses of Cinema
Film Reference |
|
|
|
Ashes and Diamonds |
|
ANDRZEJ WAJDA (118) |
 |
| • Popiól i
diament (original title) |
|
1958 | 96m | BW | Poland |
Political Drama, War Drama |
|
Zbigniew Cybulski, Ewa
Krzyzewska, Adam Pawlikowski, Waclaw Zastrzezynski, Bogumil Kobiela, Jan
Ciecierski, Stanislaw Milski, Zbigniew Skowronski, Barbara Krafftowna,
Irena Orzecka |
|
"The last of
Wajda's
unplanned trilogy about the legacy of World War II on his generation,
following A Generation (1954) and Kanal (1956), Ashes
and Diamonds is also the most flamboyant, and features the iconic
figure of Zbigniew Cybulski, frequently cited as the 'Polish James
Dean', who died in an accident in 1967."
-
David Thompson,
Time Out |
|
Selected by
István Szabó,
Dusan Makavejev,
Roy Andersson, Yevgeny Yevtushenko, Pawil Pawlikowski. |
|
121 → 135 → 118 →
126 |
|
Amazon
Criterion Collection Essay
Derek Malcolm's Century of Films |
|
|
|
Mean Streets |
|
MARTIN SCORSESE
(146) |
 |
|
1973 | 110m | Col | USA |
Urban Drama, Crime Drama |
|
Harvey Keitel, Robert De
Niro, David Proval, Amy Robinson, Richard Romanus, Cesare Danova, Robert
Carradine, David Carradine, Victor Argo, George Memmoli |
|
"Martin
Scorsese's Mean Streets isn't so much a gangster movie
as a perceptive, sympathetic, finally tragic story about how it is to
grow up in a gangster environment. Its characters (like
Scorsese
himself) have grown up in New York's Little Italy, and they understand
everything about that small slice of human society except how to survive
in it."
- Roger Ebert, Chicago Sun-Times, 1973 |
|
Selected by
Kathryn Bigelow, Owen Gleiberman, John Woo,
Antonia Bird,
Jana Bokova. |
|
132 → 149 → 146 →
127 |
|
Amazon
Film Reference
Los Angeles Times |
|
| |
|
|
|
|
|
|
|
|
128
|
|
129
|
|
130
|
|
Sullivan's Travels |
|
PRESTON STURGES
(171) |
 |
|
1941 | 91m | BW | USA |
Comedy, Satire |
|
Joel McCrea, Veronica
Lake, Robert Warwick, William Demarest, Franklin Pangborn, Porter Hall,
Robert Greig, Eric Blore, Byron Foulger, Maggie Hayes |
|
"The sweetest, most
generous-hearted satire of the Hollywood film industry the town has ever
produced, Sullivan’s Travels was the fourth of the eight
films Preston Sturges
made during his astonishingly prolific streak between 1940 and 1944." -
Todd McCarthy, Criterion Collection |
|
Selected by A.O. Scott,
John Lasseter,
Todd Phillips, Daniel Talbot, Edna Fainaru. |
|
163 → 165 → 171 →
128 |
|
Amazon
Senses of Cinema
Film Reference |
|
|
|
The
Grapes of Wrath |
|
JOHN FORD (127) |
 |
|
1940 | 129m | BW | USA |
Rural Drama, Americana |
|
Henry Fonda, Jane Darwell,
John Carradine, Charley Grapewin, Dorris Bowdon, Russell Simpson, John
Qualen, O.Z. Whitehead, Eddie Quillan, Zeffie Tilbury |
|
"Ford,
Nichols, Fonda and the supporting cast translated Steinbeck's novel to
the screen with proper fidelity, the distortions far outweighed by the
spectacular rightness of Fonda's casting and the remarkable
cinematography of Gregg Toland... The Grapes of Wrath abounds
with examples of Ford's
skill in visual language."
- John Baxter, Film Reference |
|
Selected by
Dennis Hopper,
Roger Corman,
Guy Hamilton, Harold
Becker,
Sidney Lumet. |
|
134 → 119 → 127 →
129 |
|
Amazon
Roger Ebert's Great Movies
DVD Savant Review |
|
|
|
Pulp Fiction |
|
QUENTIN TARANTINO (151) |
 |
|
1994 | 154m | Col | USA | Crime Comedy, Ensemble Film |
|
John Travolta, Samuel L.
Jackson, Uma Thurman, Harvey Keitel, Tim Roth, Bruce Willis, Rosanna
Arquette, Amanda Plummer, Eric Stoltz, Steve Buscemi |
|
"A
spectacularly entertaining piece of pop culture, Pulp Fiction is
the American Graffiti of violent crime pictures... On any number
of important levels, Pulp Fiction is a startling, massive
success."
- Todd McCarthy, Variety, 1994 |
|
Selected by
Alexei Balabanov,
Susan Seidelman,
Klaus Lemke, Anurag Mehta, Hulya Ucansu. |
|
147 → 175 → 151 →
130 |
|
Amazon
Roger Ebert's Great Movies
San Francisco Chronicle |
|
| |
|
|
|
|
|
|
|
|
131
|
|
132
|
|
133
|
|
Dekalog |
|
KRSZYSTOF KIESLOWSKI (132) |
 |
| •
Decalogue, The (USA title) |
|
1988 | 550m | Col | Poland
| Drama, Psychological Drama |
|
Miroslaw Baka, Henryk
Baranowski, Artur Barcis, Aleksander Bardini, Maja Barelkowska, Adrianna
Biedrzynska, Henryk Bista, Ewa Blaszczyk, Bozena Dykiel, Janusz Gajos |
|
"The Dekalog was the last film that
Krzysztof
Kieslowski would set entirely in his
native Poland and, less flashy in its metaphysics than his subsequent
French co-pros, it remains his masterpiece—a sardonic riff on the
foundation laws that govern the Judeo-Christian cosmos." - J.
Hoberman, Village Voice |
|
Selected by David Denby, Derek Malcolm, Roger
Ebert, Dennis Lim, Mira
Nair. |
|
94 → 111 → 132 →
131 |
|
Amazon
Strictly Film School
The Onion A.V. Club |
|
|
|
The
Red Shoes |
|
MICHAEL POWELL & EMERIC PRESSBURGER
(128) |
 |
|
1948 | 133m | Col | UK |
Romantic Drama, Musical Drama |
|
Anton Walbrook, Moira
Shearer, Marius Goring, Leonide Massine, Robert Helpmann, Albert
Basserman, Esmond Knight, Ludmilla Tcherina, Frederick Ashton, Jean
Short |
|
"The most popular
movie ever made about the ballet and one of the most enigmatic movies
about anything... The film is voluptuous in its beauty and passionate in
its storytelling. You don't watch it, you bathe in it."
- Roger Ebert, Chicago Sun-Times, 2005 |
|
Selected by
Ken Russell,
David Ehrenstein,
Martin Scorsese,
Sam Mendes, Mika
Kaurismäki. |
|
140 → 118 → 128 →
132 |
|
Amazon
Screen Online
Criterion Collection Essay (Ian Christie) |
|
|
|
The
Birth of a Nation |
|
D.W. GRIFFITH (123) |
 |
| • The
Clansman (première title) |
|
1915 | 187m | BW | USA |
Epic, Historical Film |
|
Lillian Gish, Mae Marsh,
Henry B. Walthall, Miriam Cooper, Mary Alden, Ralph Lewis, George
Siegmann, Walter Long, Robert Harron, Raoul Walsh |
|
"The Birth of a
Nation holds the watcher as in a vice because it shows such
ingenuity in integrating a very intimate story within the framework of
so large an historical canvass. However much you object to its actual
interpretation of history, you have to admit this."
- Derek
Malcolm, The Guardian |
|
Selected by
John Boorman,
Terry Gilliam,
Lawrence Kardish,
Linda Williams, Matt Zoller Seitz. |
|
111 → 128 → 123 →
133 |
|
Amazon
Roger Ebert's Great Movies
Variety (1915) |
|
| |
|
| |
|
|
|
|
|
134
|
|
135
|
|
136
|
|
A
Man Escaped |
|
ROBERT BRESSON
(130) |
 |
| • Un
Condamné à mort s'est échappé ou Le vent souffle où il veut
(original title) |
|
1956 | 102m | BW | France
| Drama, Prison Film |
|
Francois Leterrrier,
Charles LeClainche, Maurice Beerblock, Roland Monod, Jacques Ertaud,
Roger Treherne, Jean-Paul Delhumeau, Jean-Philippe Delamarre, Cesar
Gattegno, Jacques Oerlemans |
|
"Based on a French
lieutenant's account of his 1942 escape from a Gestapo fortress in Lyon,
this stately yet uncommonly gripping 1956 feature is my choice as the
greatest achievement of
Robert Bresson, one of the cinema's
foremost artists."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by David Ehrenstein, Fernando Martin Pena, Jan Nemec,
Olivier Assayas,
Georgia Brown. |
|
103 → 116 → 130 →
134 |
|
Amazon
Masters of Cinema
Strictly Film School |
|
|
|
La
Jetée |
|
CHRIS MARKER (158) |
 |
| • The Pier
(English title); The Jetty (alternative title) |
|
1962 | 29m | BW | France |
Science Fiction, Avant-garde/Experimental |
|
Helene Chatelain, Davos
Hanich, Jacques Ledoux, Jean Negroni, Andre Heinrich, Jacques Branchu,
Pierre Joffroy, Etienne Becker, Ligia Branice, William Klein |
|
"One of the best of
all SF films is this haunting, apocalyptic 27-minute French short by the
great Chris Marker
about a man sent into the future--a story that is told almost
exclusively in still frames."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Tim Lucas, Dennis Lim, Mira Nair,
Glenn Myrent, Pier Marton. |
|
178 → 169 → 158 →
135 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
|
|
Earth |
|
ALEXANDER DOVZHENKO (134) |
 |
| • Zemlya
(original title) |
|
1930 | 90m | BW | Russia |
Drama, Rural Drama |
|
Semyon Svashenko, Stepan
Shkurat, Nikolai Nademsky, Yuliya Solntseva, Yelena Maksimova, I. Franko,
Pyotr Masokha, V. Mikhajlov, Pavel Petrik, P. Umanets |
|
"The astonishingly
beautiful Earth is unlike anything else in movies. Drafted to
make a film on rural collectivization,
Dovzhenko produced a myth presenting
the creation of the kolkhoz as a natural phenomenon, part of a cosmic
cycle of birth and death."
- J. Hoberman, Village Voice, 2002 |
|
Selected by
Dusan Makavejev,
Karel Reisz,
Gilles Jacob, Donald Richie, Gilberto Perez. |
|
110 → 121 → 134 →
136 |
|
Amazon
Senses of Cinema
Film Reference |
|
| |
|
| |
|
|
|
|
|
137
|
|
138
|
|
139
|
|
The
Shining |
|
STANLEY KUBRICK
(148) |
 |
|
1980 | 142m | Col | USA |
Horror, Haunted House Film |
|
Jack Nicholson, Shelley
Duvall, Danny Lloyd, Scatman Crothers, Barry Nelson, Philip Stone,
Joseph Turkel, Anne Jackson, David Baxt, Lia Beldam |
|
"Kubrick,
akin to his trippy treatment of the sci-fi genre, was elevating horror
to a different plane, removing its camp wiggeries and bogeymen to
infuriate and bedazzle with sinewy suggestion and sumptuous,
awe-inspiring technique. Technically, there is no better film in the
genre.... Ostensibly a haunted
house story, it manages to traverse a complex world of incipient
madness, spectral murder and supernatural visions... and also makes you
jump." - Ian Nathan, Empire |
|
Selected by
Lee Unkrich,
Jonathan Romney, Kim Newman, Lizzie Francke, Fred Durst. |
|
201 → 141 → 148 →
137 |
|
Amazon
Slant Magazine
Roger Ebert's Great Movies |
|
|
|
A
Matter of Life and Death |
|
MICHAEL POWELL & EMERIC PRESSBURGER
(126) |
 |
| • Stairway
to Heaven (alternative title) |
| 1946
| 104m | Col | UK | Romantic Fantasy, Heaven-Can-Wait Fantasies |
|
David Niven, Kim Hunter,
Roger Livesey, Robert Coote, Marius Goring, Raymond Massey, Abraham
Sofaer, Kathleen Byron, Richard Attenborough, Bonar Colleano |
|
"Of
all the films
Powell and Pressburger made together, A Matter of Life and
Death was Powell's
favorite. Playful and profound, witty and carefully crafted, it distills
the greatest of
Powell's artistic gifts and celebrates, with an occasional
self-conscious wink, the possibilities of film.
"
-
Edward Guthmann, San
Francisco Chronicle, 1995 |
|
Selected by David Siegel, Scott McGehee, Ian
Christie,
Graham Fuller, Simon
Louvish. |
|
181 → 134 → 126 →
138 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
|
|
Close Encounters of the Third Kind |
|
STEVEN SPIELBERG
(226) |
 |
|
1977 | 135m | Col | USA |
Science Fiction, Adventure Drama |
|
Richard Dreyfuss, Francois
Truffaut, Teri Garr, Melinda Dillon, Bob Balaban, Warren Kemmerling,
Cary Guffey, J. Patrick McNamara, Roberts Blossom, Philip Dodds |
|
"Mr.
Spielberg is at his best as a movie craftsman, someone who
seems to know by instinct (and after millions of hours of
movie-watching) how best to put together any two pieces of film for
maximum effect... Close Encounters is most stunning when it is
dealing in visual and aural sensations that might be described as being
in the seventies Disco Style."
- Vincent
Canby, The New York Times |
|
Selected by Richard Kelly, Joe Wright,
Roland Emmerich,
Andrew Stanton,
Bryan Singer. |
|
225 → 218 → 226 →
139 |
|
Amazon
Reel Views
Film Reference |
|
| |
|
| |
|
|
|
|
|
140
|
|
141
|
|
142
|
|
The Life and Death of Colonel Blimp |
|
MICHAEL POWELL & EMERIC PRESSBURGER
(147) |
 |
|
1943 | 163m | Col | UK | Romantic Drama, Period Film |
|
Roger Livesey, Anton
Walbrook, Deborah Kerr, Roland Culver, James McKechnie, John Laurie,
Ursula Jeans, David Hutcheson, Albert Lieven, Arthur Wontner |
|
"With its imaginative
and flamboyant use of Technicolor and its rich period detail in sets,
costumes and manners, its outstanding performances and the strong
emotional impact of the story, The Life and
Death of Colonel Blimp is a masterpiece in the
full sense of the word. A film that enriches, enlightens and ennobles,
and does this with intelligence, wit, style, compassion and beauty."
-
Ronald Haver, The
Criterion Collection, 2002 |
|
Selected by
Errol Morris,
Kevin MacDonald,
Mike Hodges,
Jim McBride,
Helena Ylanen. |
|
192 → 160 → 147 →
140 |
|
Amazon
Screen Online
Roger Ebert's Great Movies |
|
|
|
The
Best Years of Our Lives |
|
WILLIAM WYLER
(122) |
 |
|
1946 | 172m | BW | USA |
Drama, Family Drama |
|
Fredric March, Myrna Loy,
Dana Andrews, Teresa Wright, Virginia Mayo, Harold Russell, Hoagy
Carmichael, Cathy O'Donnell, Gladys George, Roman Bohnen |
|
"I'd call
this the best American movie about returning soldiers I've ever
seen--the most moving and the most deeply felt. It bears witness to its
times and contemporaries like few other Hollywood features."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Jan Nemec,
Sidney Lumet,
Cameron Crowe,
Scott McGehee,
Billy Wilder. |
|
114 → 122 → 122 →
141 |
|
Amazon
Film Reference
Reel Views |
|
|
|
Chimes at Midnight |
|
ORSON WELLES (124) |
 |
| •
Campanadas a medianoche (Spanish title); Falstaff (alternative
title) |
|
1966 | 115m | BW |
Spain-Switzerland | Drama, Tragi-comedy |
|
Orson Welles, Keith
Baxter, John Gielgud, Jeanne Moreau, Margaret Rutherford, Marina Vlady,
Walter Chiari, Norman Rodway, Alan Webb, Fernando Rey |
|
"Infused with a
politically acute nostalgia for Merrie England, this elegiac tragi-comedy
comes over as uncompromisingly modern entertainment, from its playful
ruptures of traditional film grammar to its characterisation of Falstaff
as hero at the crossroads of history... Welles waddles through the
foreground with an eye on his own problems of patronage, while behind
the camera he conjures a dark masterpiece, shot through with slapstick
and sorrow. Magic. " -
Paul Taylor, Time Out |
|
Selected by
Todd
McCarthy, Tony Rayns,
Bruce Beresford, Neil Hunter, Brian
Gilbert. |
|
105 → 120 → 124 →
142 |
|
Amazon
Roger Ebert's Great Movies
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
143
|
|
144
|
|
145
|
|
Don't Look Now |
|
NICOLAS ROEG
(136) |
 |
|
1973 | 110m | Col | UK |
Psychological Thriller, Supernatural Thriller |
|
Donald Sutherland, Julie
Christie, Hilary Mason, Clelia Matania, Massimo Serato, Renato Scarpa,
Giorgio Trestini, Leopoldo Trieste, David Tree, Ann Rye |
|
"Nicolas
Roeg's 1973 film remains one
of the great horror masterpieces, working not with fright, which is
easy, but with dread, grief and apprehension. Few films so successfully
put us inside the mind of a man who is trying to reason his way free
from mounting terror."
- Roger
Ebert, Chicago Sun-Times, 2002 |
|
Selected by
Edgar Wright, Marc
Forster, Iain
Softley, Mark Kermode, Scott Hicks. |
|
174 → 163 → 136 →
143 |
|
Amazon
Screen Online
San Francisco Chronicle |
|
|
|
Bonnie and Clyde |
|
ARTHUR PENN
(137) |
 |
|
1967 | 111m | Col | USA |
Gangster Film, Crime Drama |
|
Warren Beatty, Faye
Dunaway, Michael J. Pollard, Gene Hackman, Estelle Parsons, Denver Pyle,
Dub Taylor, Gene Wilder, Evans Evans, James Stiver |
|
"Bonnie and Clyde
is a milestone in the history of American movies, a work of truth and
brilliance. It is also pitilessly cruel, filled with sympathy,
nauseating, funny, heartbreaking, and astonishingly beautiful. If it
does not seem that those words should be strung together, perhaps that
is because movies do not very often reflect the full range of human
life." - Roger Ebert, Chicago Sun-Times, 1967 |
|
Selected by
Mike Figgis,
Jeff Krulik,
Michael Dwyer, Helena Ylanen, Wesley Strick. |
|
136 → 146 → 137 →
144 |
|
Amazon
Film Reference
Bright Lights Film Journal |
|
|
|
The
Philadelphia Story |
|
GEORGE CUKOR (142) |
 |
|
1940 | 112m | BW | USA |
Screwball Comedy, Romantic Comedy |
|
Katharine Hepburn, Cary
Grant, James Stewart, Ruth Hussey, John Howard, Roland Young, Virginia
Weidler, Henry Daniell, John Halliday, Mary Nash |
|
"Philip Barry's witty
comedy of manners about a spoiled rich girl (Katharine Hepburn) who
longs for some genuine romance... It checks in a little below
Cukor's 1938
Grant-Hepburn-Barry outing, Holiday, a more tender and less
cluttered variation on the same theme, but second best in this league is
still something special."
- Dave Kehr, Chicago Reader |
|
Selected by
Bill Rothman, Owen Gleiberman, Tom Hunsinger,
Michael Caton-Jones,
Camille Paglia. |
|
168 → 153 → 142 →
145 |
|
Amazon
Derek Malcolm's Century of Films
Film Reference |
|
| |
|
| |
|
|
|
|
|
146
|
|
147
|
|
148
|
|
Black Narcissus |
|
MICHAEL POWELL & EMERIC PRESSBURGER (138) |
 |
|
1946 | 99m | Col | UK |
Melodrama, Religious Drama |
|
Deborah Kerr, Sabu, David
Farrar, Flora Robson, Jean Simmons, Kathleen Byron, Jenny Laird, Esmond
Knight, Judith Furse, May Hallatt |
|
"Run, don't walk to see
this 1946 classic from
Michael Powell and Emeric Pressburger...
The co-directors created from Rumer Godden's novel an extraordinary
melodrama of repressed love and Forsterian Englishness - or rather
Irishness - coming unglued in the vertiginous landscape of South Asia."
- Peter
Bradshaw, The Guardian, 2005 |
|
Selected by
Nick James, Philip Strick, Peter Bradshaw,
James Mangold,
Andrew Worsdale. |
|
123 → 123 → 138 →
146 |
|
Amazon
Screen Online
Criterion Collection Essay |
|
|
|
Brief Encounter |
|
DAVID LEAN (145) |
 |
|
1945 | 85m | BW | UK |
Drama, Romance |
|
Celia Johnson, Trevor
Howard, Stanley Holloway, Cyril Raymond, Joyce Carey, Valentine Dyall,
Everley Gregg, Margaret Barton, Dennis Harkin, Marjorie Mars |
|
"No matter how often
the film is mocked and parodied, most notably by
Mike Nichols
and Elaine May,
or sneered at by Pauline Kael ("There is not a breath of air in it") it
remains extraordinarily moving. "
-
Derek Malcolm,
The Guardian, 1999 |
|
Selected by
Joe Wright, Andy Medhurst, Ronald
Neame,
Andrew Bergman, Joseph Strick. |
|
137 → 143 → 145 →
147 |
|
Amazon
Images Journal
Criterion Collection Essay |
|
|
|
Once Upon a Time in America |
|
SERGIO LEONE (143) |
 |
|
1984 | 227m | Col | USA |
Crime, Gangster Film |
|
Robert De Niro, James
Woods, Elizabeth McGovern, Treat Williams, Tuesday Weld, Burt Young, Joe
Pesci, Danny Aiello, William Forsythe, James Hayden |
|
"While
Leone's
vision still has a magnificent sweep, the film finally subsides to an
emotional core that is sombre, even elegiac, and which centres on a man
who is bent and broken by time, and finally left with nothing but an
impotent sadness."
- Chris
Peachment, Time Out |
|
Selected by
Adrian Martin, Sydney
Pollack, Tony Rayns,
Mike Figgis, Marc Cerisuelo. |
|
167 → 154 → 143 →
148 |
|
Amazon
Film Reference
Chicago Sun-Times (Roger Ebert) |
|
| |
|
| |
|
|
|
|
|
149
|
|
150
|
|
|
|
One
Flew Over the Cuckoo's Nest |
|
MILOS FORMAN (131) |
 |
|
1975 | 133m | Col | USA |
Comedy Drama, Psychological Drama |
|
Jack Nicholson, Louise
Fletcher, William Redfield, Brad Dourif, Will Sampson, Sydney Lassick,
Christopher Lloyd, Danny De Vito, Scatman Crothers, Michael Berryman |
|
"Although the picture
has not aged as well as some of its contemporaries, its themes remain
germane, the story has lost none of its punch, and the performances
retain their freshness. Viewed 30 years after its release, One Flew
Over the Cuckoo's Nest remains a very good motion picture, although
one that perhaps just misses the pinnacle of greatness where its
reputation suggests it resides."
- James Berardinelli, Reel Views, 2006 |
|
Selected by
Alan Parker,
Pawil Pawlikowski,
M. Night Shyamalan,
Daniil Dondurei,
Yevgeny Yevtushenko. |
|
160 → 144 → 131 →
149 |
|
Amazon
Roger Ebert's Great Movies
metacritic |
|
|
|
Red River |
|
HOWARD HAWKS
(139) |
 |
|
1948 | 133m | BW | USA |
Western, Epic Western |
|
John Wayne, Montgomery
Clift, Walter Brennan, Joanne Dru, Coleen Gray, John Ireland, Noah Beery
Jr., Paul Fix, Harry Carey Jr., Harry Carey |
|
"This opus is on the way
towards being one of the best cow-boy pictures ever made. And even
despite a big let-down, which fortunately comes near the end, it stands
sixteen hands above the level of routine horse opera these days."
- Bosley
Crowther, The New York Times, 1948 |
|
Selected by
Wes Craven, Fred Camper,
D.A. Pennebaker, Andy Medhurst,
Jim McBride. |
|
127 → 137 → 139 →
150 |
|
Amazon
Senses of Cinema
Roger Ebert's Great Movies |
|
|
• To 151-200
 |
|
|