| |
|
151 |
|
152↑ |
|
153↑ |
|
Chimes at Midnight |
|
ORSON WELLES (144) |
 |
| •
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,
Bruce Beresford, Neil Hunter, Brian
Gilbert, Tony Rayns. |
| 102 → 105 → 120 → 124 →
142 → 144 → 151 |
|
Amazon
Roger Ebert's Great Movies
Senses of Cinema |
|
|
|
The
Maltese Falcon |
|
JOHN HUSTON (162) |
 |
|
1941 | 100m | BW | USA |
Mystery, Film Noir |
|
Humphrey Bogart, Mary
Astor, Sydney Greenstreet, Gladys George, Peter Lorre, Barton MacLane,
Elisha Cook Jr., Lee Patrick, Ward Bond, Jerome Cowan |
|
"Huston's
first film displays the hallmarks that were to distinguish his later
work: the mocking attitude toward human greed; the cavalier insolence
with which plot details are treated almost as asides; the delight in
bizarre characterisations... Filmed almost entirely in interiors, it
presents a claustrophobic world animated by betrayal, perversion and
pain."
- Tom
Milne, Time Out |
|
Selected by
Charles Burnett,
Richard Schickel, Nasreem Munni Kabir, George Armitage, Robert Benayoun. |
| 159 → 158 → 173 → 161 →
169 → 162 → 152 |
|
Amazon
Roger Ebert's Great Movies
Film Reference |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
The
Exorcist |
|
WILLIAM FRIEDKIN (163) |
 |
|
1973 | 121m | Col | USA |
Horror, Occult Horror |
|
Ellen Burstyn, Max von
Sydow, Lee J. Cobb, Jason Miller, Jack MacGowran, Kitty Winn, Linda
Blair, Vasiliki Maliaros, Wallace Rooney, Titos Vandis |
|
"Friedkin's
real genius, it seems to me, was to juxtapose the scary rite of exorcism
with the barbaric medical technology of the lumbar puncture. Max von
Sydow and Ellen Burstyn give maturity and substance to this movie,
especially considering the teen-irony-fest the genre was to become."
- Peter Bradshaw, The Guardian, 2000 |
|
Selected by
Alex Proyas,
M. Night Shyamalan,
Mark Kermode, Geoffrey Wright, Danny Cannon. |
| 181 → 194 → 186 → 193 →
185 → 163 → 153 |
|
Amazon
Pop Matters
The A.V. Club |
|
| |
|
| |
|
|
|
|
|
154 |
|
155 |
|
156 |
|
A
Woman Under the Influence |
|
JOHN CASSAVETES (149) |
 |
|
1974 | 155m | Col | USA |
Marriage Drama, Psychological Drama |
|
Peter Falk, Gena Rowlands,
Katharine Cassavetes, Lady Rowlands, Fred Draper, O.G. Dunn, Elsie Arnes,
Vincent Barbi, Cliff Carnell, Nick Cassavetes |
|
"John Cassavetes's 1974 masterpiece, and one of the best films of its decade.
Cassavetes
stretches the limits of his narrative—it's the story of a married
couple, with the wife hedging into madness—to the point where it
obliterates the narrator: it's one of those extremely rare movies that
seem found rather than made, in which the internal dynamics of the drama
are completely allowed to dictate the shape and structure of the film...
It has an emotional rhythm unlike anything else I've
ever seen." - Dave Kehr, Chicago Reader |
|
Selected by
Tom
Charity, Michael
Haneke, Dennis Lim, Lodge Kerrigan, Neil Hunter. |
| 149 → 161 → 145 → 156 →
160 → 149 → 154 |
|
Amazon
Criterion Collection Essay
Reverse Shot |
|
|
|
La
Jetée |
|
CHRIS MARKER (142) |
 |
| • 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 |
|
"Composed almost entirely
of black-and-white still frames, voice-over and an elegiac score, La
Jetée propels its main character through time — from a ruined
postwar Paris back to his own days as a young boy in the City of
Lights... If this sounds vaguely familiar, it's because Terry Gilliam
essentially remade it as the full-length 12 Monkeys. Only one
scene in the film steps away from still photographs to show a brief
flicker of movement. The shot is so beautiful, the moment so unexpected,
that it's literally breathtaking."
- Gilbert Cruz, Time, 2010 |
|
Selected by Tim Lucas,
Mira Nair,
Glenn Myrent, Pier Marton, Anchalee Chaiworaporn. |
| 187 → 178 → 169 → 158 →
135 → 142 → 155 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
|
|
The
Quiet Man |
|
JOHN FORD
(148) |
 |
|
1952 | 129m | Col | USA |
Comedy Drama, Romance |
|
John Wayne, Maureen
O'Hara, Victor McLaglen, Barry Fitzgerald, Ward Bond, Mildred Natwick,
Arthur Shields, Jack MacGowran, Francis Ford, Eileen Crowe |
|
"John
Ford's 1952 Oscar winner is a tribute to an Ireland that
exists only in the imaginations of songwriters and poets like
Ford, a fairy
green place where people really do say "faith and begorrah." A wonderful
film, with a marvelous supporting cast headed by Barry Fitzgerald as
Wayne's pixieish helper."
- Don Druker, Chicago Reader |
|
Selected by
George A. Romero,
Stephen Frears,
Amos Gitai,
Albert Serra, Montxo Armendariz. |
| 251 → 263 → 188 → 160 →
174 → 148→ 156 |
|
Amazon
BBC
Combustible
Celluloid |
|
| |
| |
|
|
| |
| |
|
157 |
|
158↑ |
|
159↑ |
|
A
Man Escaped |
|
ROBERT BRESSON
(145) |
 |
| • 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. |
| 104 → 103 → 116 → 130 →
134 → 145 → 157 |
|
Amazon
Masters of Cinema
Strictly Film School |
|
|
|
Nights of Cabiria |
|
FEDERICO FELLINI
(167) |
 |
| • Le Notti
di Cabiria (original title) |
|
1957 | 110m | BW |
Italy-France | Melodrama, Tragi-comedy |
|
Giulietta Masina, Francois
Perier, Amedeo Nazzari, Aldo Silvani, Franca Marzi, Dorian Gray, Mario
Passante, Pina Gualandri, Polidor, Enio Girolami |
|
"In Nights of
Cabiria, Fellini
weighs the cost of both isolation and connection, but it's such a
graceful picture that his technique comes off as anything but ponderous
-- it's more like a graceful soft-shoe, a muted shuffle on a sandy
floor."
- Stephanie Zacharek, Salon Magazine |
|
Selected by
James Gray, Hubert Cornfield,
Susan Seidelman, Paul
Mazursky,
Ralph Bakshi. |
| 155 → 156 → 162 → 180 →
184 → 167 → 158 |
|
Amazon
Bright Lights Film Journal
Roger Ebert's Great Movies |
|
|
|
Rocco and His Brothers |
|
LUCHINO VISCONTI (160) |
 |
| • Rocco e i
suoi fratelli (original title) |
|
1960 | 180m | BW |
Italy-France | Family Drama, Urban Drama |
|
Alain Delon, Renato
Salvatori, Annie Girardot, Katina Paxinou, Roger Hanin, Paolo Stoppa,
Suzy Delair, Claudia Cardinale, Spiros Focas, Claudia Mori |
|
"Rocco and His Brothers,
Luchino Visconti's recently restored 1960 film about the
struggles of a poor southern Italian family to adjust to industrialized,
big-city life, may not be a masterpiece, but it is, nonetheless, a
watershed film -- turgid, overwrought, yet still profoundly affecting."
- Hal Hinson, Washington Post, 1992 |
|
Selected by
Arturo Ripstein,
Ramin Bahrani, Albert Maysles,
Gavin Lambert,
Daniil Dondurei. |
| 185 → 204 → 185 → 185 →
161 → 160 → 159 |
|
Amazon
Films de France
Bright Lights Film Journal |
|
| |
|
|
|
|
|
|
|
|
160 |
|
161 |
|
162 |
|
Red River |
|
HOWARD HAWKS
(159) |
 |
|
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 |
|
"Hawks'
leisurely adaptation of Borden Chase's story about the establishing of
the Chisholm Trail by Wayne and Clift's cattle train is a sheer delight
that works on many levels... Immaculately shot by Russell Harlan,
perfectly performed by a host of
Hawks regulars, and shot through with
dark comedy, it's probably the finest Western of the '40s."
- Geoff Andrew, Time Out |
|
Selected by
Wes Craven, Fred Camper,
D.A. Pennebaker, Andy Medhurst,
Jim McBride. |
| 130 → 127 → 137 → 139 →
150 → 159 → 160 |
|
Amazon
Senses of Cinema
Roger Ebert's Great Movies |
|
|
|
Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles |
|
CHANTAL AKERMAN
(157) |
 |
|
1975 | 201m | Col |
Belgium-France | Avant-garde/Experimental, Feminist Film |
|
Delphine Seyrig, Jan
Decorte, Henri Storck, Chantal Akerman, Jacques Doniol-Valcroze, Yves
Bical |
|
"Chantal
Akerman's greatest film is one of those lucid puzzlers that
may drive you up the wall but will keep you thinking for days or
weeks... Akerman
forges a major statement, not only in a feminist context but also in a
way that tells us something about the lives we all live."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by Amy Taubin,
John Greyson, Laura Mulvey,
Dennis Lim, Nina Menkes. |
| 131 → 145 → 142 → 141 →
152 → 157 → 161 |
|
Amazon
The New York Times (1983)
Slant Magazine |
|
|
|
The
Philadelphia Story |
|
GEORGE CUKOR (156) |
 |
|
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. |
| 164 → 168 → 153 → 142 →
145 → 156 → 162 |
|
Amazon
Derek Malcolm's Century of Films
Film Reference |
|
| |
|
| |
|
|
|
|
|
163↑ |
|
164 |
|
165↑ |
|
Freaks |
|
TOD BROWNING (164) |
 |
|
1932 | 64m | BW | USA |
Drama, Psychological Thriller |
|
Harry Earles, Olga
Baclanova, Wallace Ford, Leila Hyams, Henry Victor, Daisy Earles, Roscoe
Ates, Rose Dione, Daisy Hilton, Violet Hilton |
|
"Browning's
film succeeds in being, as one critic has put it, 'moving, harsh, poetic
and genuinely tender'. It was undoubtedly before its time and no one has
equalled it... Today, it looks like a damning antidote to the cult of physical
perfection and an extraordinary tribute to the community of so-called
freaks who made up its cast."
- Derek Malcolm,
The Guardian, 1999 |
|
Selected by
Werner Herzog, Carlos Garcia Brusco, Dan Georgakas,
Jean-Max Mejean, Ed Gonzalez. |
| 279 → 284 → 221 → 207 →
177 → 164 → 163 |
|
Amazon
Bright Lights Film Journal
Slant Magazine |
|
|
|
The
Conversation |
|
FRANCIS FORD COPPOLA
(151) |
 |
|
1974 | 113m | Col | USA |
Psychological Thriller, Paranoid Thriller |
|
Gene Hackman, John Cazale,
Cindy Williams, Allen Garfield, Frederic Forrest, Teri Garr, Robert
Duvall, Michael Higgins, Elizabeth MacRae, Harrison Ford |
|
"Between The
Godfather (1972) and The Godfather, Part II (1974),
Francis Ford Coppola
wrote and directed a small-scale thriller, The Conversation,
which, like
Hitchcock’s Rear Window, is an authentic American
classic of voyeurism and paranoia." - David Denby, The New Yorker,
2007 |
|
Selected by
Apichatpong Weerasethakul,
Atom
Egoyan,
Ted Bonnitt, Yvonne Tasker,
Gore Verbinski. |
| 192 → 180 → 183 → 177 →
166 → 151 → 164 |
|
Amazon
Senses of Cinema
Gerald Peary |
|
|
|
Un
Chien andalou |
|
LUIS BUÑUEL
(170) |
 |
| • An
Andalusian Dog (English title) |
|
1928 | 20m | BW | France |
Surrealist Film, Avant-garde/Experimental |
|
Pierre Batcheff, Simone
Marevil, Jaime Miravilles, Salvador Dali, Luis Bunuel, Robert Hommet,
Marval, Fano Messan, Jeanne Rucas |
|
"Neither the title (An
Andalusian Dog) nor anything else in the film was intended to make
sense. It remains the most famous short film ever made, and anyone
halfway interested in the cinema sees it sooner or later, usually
several times." -
Roger Ebert, Chicago Sun-Times, 2000 |
|
Selected by
Peter Tscherkassky,
Ian Christie, Lalitha Gopalan, Babak Payami,
Andrzej Wajda. |
| 198 → 193 → 152 → 167 →
167 → 170 → 165 |
|
Amazon
Senses of Cinema
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
166 |
|
167↑ |
|
168↑ |
|
Belle de jour |
|
LUIS BUÑUEL
(161) |
 |
|
1967 | 100m | Col |
France-Italy | Drama, Satire |
|
Catherine Deneuve, Jean
Sorel, Michel Piccoli, Genevieve Page, Pierre Clementi, Francisco Rabal,
Georges Marchal, Francoise Fabian, Maria Latour, Macha Meril |
|
"Never before has
Buñuel’s view
of the spectacle seemed so obliquely
Ophülsian in its shy gaze from behind
curtains, windows and even peepholes...
Buñuel was one of the few men of the
left not afflicted by Puritanism and bourgeois inhibitions about the sex
lives of the masses." - Andrew Sarris, The New York Observer,
2006 |
|
Selected by
Andrew Sarris,
Molly Haskell,
Philip Kaufman,
John Powers, Bryan
Forbes. |
| 144 → 159 → 126 → 140 →
151 → 161 → 166 |
|
Amazon
Strictly Film School
Slant Magazine |
|
|
|
The Good, the Bad and the Ugly |
|
SERGIO LEONE (171) |
 |
| • Il Buono,
il brutto, il cattivo, Il (original title) |
|
1966 | 161m | Col |
Italy-Spain | Spaghetti Western, Epic Western |
|
Clint Eastwood, Eli
Wallach, Lee Van Cleef, Aldo Giuffre, Luigi Pistilli, Rada Rassimov,
Enzo Petito, Claudio Scarchilli, John Bartha, Mario Brega |
|
"Leone's
magnificent style is all contrasts (huge panoramic shots alternating
with tight close-ups, very slow build-ups to lightning-fast action).
This perfectly matches a narrative that encompasses sadistic brutality,
wild humor and, yes, a tragic vision of war and its consequences."
- Richard Schickel, Time |
|
Selected by
Gore Verbinski,
Quentin Tarantino,
Errol Morris,
Richard Schickel,
Darren Aronofsky. |
| 182 → 173 → 189 → 187 →
165 → 171 → 167 |
|
Amazon
Roger Ebert's Great Movies
Chicago Tribune |
|
|
|
Do the Right Thing |
|
SPIKE LEE (176) |
 |
|
1989 | 120m | Col | USA |
Urban Drama, Ensemble Film |
|
Danny Aiello, Ossie Davis,
Ruby Dee, Richard Edson, Giancarlo Esposito, Spike Lee, Bill Nunn, John
Turturro, Paul Benjamin, John Savage |
|
"With the possible
exception of his cable miniseries When the Levees Broke, this
1989 feature is still Spike Lee's best work... Overall this is a
powerful and persuasive look at an ethnic community and what makes it
tick--funky, entertaining, packed with insight, and political in the
best, most responsible sense."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Kevin Smith, Pam Cook, David Parkinson, Asif Kapadia,
John Singleton. |
|
222 → 213 → 235 → 205 → 179 → 176
→ 168 |
|
Amazon
Chicago Sun-Times (Roger Ebert)
Reel Views |
|
| |
|
| |
|
|
|
|
|
169 |
|
170 |
|
171 |
|
Shoah |
|
CLAUDE LANZMANN (166) |
 |
|
1985 | 566m | Col | France
| History, Documentary |
|
Simon Srebnik, Michael
Podchlebnik, Motke Zaidl, Hanna Zaidl, Jan Piwonski, Itzhak Dugin,
Richard Glazer, Paula Biren, Pana Pietyra, Pan Filipowicz |
|
"Shoah is one
of the most remarkable films ever made - a terrible matter-of-fact
document that makes David Irving's anti-history fade into
insignificance. Strangely, the quieter Shoah gets, the more it
resonates. Once seen, never forgotten."
- Derek Malcolm, The Guardian, 2000 |
|
Selected by
Amy Taubin, Jean-Michel Frodon, Heddy Honigmann, Daniel Talbot, Nina Menkes. |
| 121 → 117 → 148 → 152 →
159 → 166 → 169 |
|
Amazon
Fred Camper
Chicago Sun-Times (Roger Ebert) |
|
|
|
Trouble in Paradise |
|
ERNST LUBITSCH (168) |
 |
| 1932
| 83m | BW | USA | Sophisticated Comedy, Romantic Comedy |
|
Herbert Marshall, Miriam
Hopkins, Kay Francis, Charlie Ruggles, Edward Everett Horton, C. Aubrey
Smith, Robert Greig, George Humbert, Rolfe Sedan, Luis Alberni |
|
"Trouble in
Paradise is the most fondly memorable—if rarely seen—Hollywood
screwball comedy. Its combination of suaveness, hilarity, and sexiness
has had a mighty influence. There would be no Bringing Up Baby,
no The Lady Eve, no Pat and Mike, without the delicious
trouble Ernst Lubitsch
and screenwriter Samson Raphaelson stirred up." -
Armond White, The Criterion
Collection, 2003 |
|
Selected by Todd McCarthy, James Naremore,
Richard Schickel, Pascal Merigeau, Jean-Loup Bourget. |
| 157 → 169 → 182 → 162 →
172 → 168 → 170 |
|
Amazon
San Francisco Chronicle
Images Journal |
|
|
|
Partie de campagne |
|
JEAN RENOIR (165) |
 |
| • A Day in
the Country (English title) |
|
1936 | 45m | BW | France |
Comedy Drama, Romance |
|
Sylvia Bataille, Georges
St. Saens, Jane Marken, Andre Gabriello, Jacques Brunius, Paul Temps,
Gabrielle Fontan, Jean Renoir, Marguerite Renoir, Pierre Lestringuez |
|
"It may be only a
featurette, but this masterly adaptation of a Maupassant story is rich
in both poetry and thematic content... The careful reconstruction of
period (around 1860) is enhanced by a typically touching generosity
towards the characters and an aching, poignant sense of love lost but
never forgotten. And, as always in
Renoir, the river is far, far more than
just a picturesque stretch of water. Witty and sensuous, it's pure
magic. "
- Geoff Andrew, Time Out |
|
Selected by
D.A.
Pennebaker, Denys Arcand,
Kevin MacDonald,
John Pym, Richard Armstrong. |
| 211 → 216 → 147 → 153 →
170 → 165 → 171 |
|
Amazon
Film Reference
The Film Journal |
|
| |
|
| |
|
|
|
|
|
172 |
|
173↑ |
|
174↑ |
|
Ivan the Terrible, Part Two |
|
SERGEI EISENSTEIN
(169) |
 |
| • Ivan
Groznyy II: Boyarsky zagovor (original title) |
|
1946 | 88m | BW | USSR |
Historical Film, Biography |
|
Nikolai Cherkasov,
Serafima Birman, Mikhail Nazvanov, Pavel Kadochnikov, Mikhail Zharov,
Amvrosi Buchma, Vsevolod Pudovkin, Mikhail Kuznetsov, Aleksandr Mgebrov,
Andrei Abrikosov |
|
"Thematically
fascinating both as submerged autobiography and as a daring portrait of
Stalin's paranoia... this is one of the most distinctive great films in
the history of cinema--freakishly mannerist, yet so vivid in its
obsessions and expressionist angularity that it virtually invents its
own genre."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Paul Verhoeven,
Alexandre Astruc, Ian Christie, Jean-Louis Leutrat, Jonathan Rosenbaum. |
| 128 → 130 → 140 → 150 →
157 → 169 → 172 |
|
Amazon
Criterion Collection Essay
Film Reference |
|
|
|
Cries and Whispers |
|
INGMAR BERGMAN (175) |
 |
| •
Viskningar och rop (original title) |
|
1972 | 106m | Col | Sweden
| Drama, Family Drama |
|
Harriet Andersson, Kari
Sylwan, Ingrid Thulin, Liv Ullmann, Anders Ek, Inga Gill, Erland
Josephson, Henning Moritzen, Georg Arlin, Lena Bergman |
|
"Dreamlike and surreal,
this movie impacts directly upon the soul, not the mind. Images and the
disquieting feelings they engender linger long after the movie's 90
minutes have elapsed. In order to understand why Cries and Whispers
is a great film, it must be experienced, not merely watched."
- James Berardinelli, Reel Views, 2002 |
|
Selected by
Michael
Winterbottom,
Terence Davies, Jonathan Glazer,
Fernando Martin Pena, Santosh Sivan. |
| 166 → 148 → 167 → 154 →
162 → 175 → 173 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
|
|
Raiders of the Lost Ark |
|
STEVEN SPIELBERG (182) |
 |
|
1981 | 115m | Col | USA |
Adventure, Action |
|
Harrison Ford, Karen
Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, Denholm Elliott,
Alfred Molina, Wolf Kahler, Anthony Higgins, Vic Tablian |
|
"Steven
Spielberg's
Raiders of the Lost Ark plays like an anthology of the best parts
from all the Saturday matinee serials ever made... The movie is just
plain fun. The Kasdan screenplay is a construction of one damn thing on
top of another." -
Roger Ebert,
Chicago-Sun Times, 2000 |
|
Selected by
M. Night Shyamalan,
Edgar Wright, Anurag Mehta,
John Singleton, Garth Jennings. |
| 225 → 247 → 233 → 179 →
188 → 182 → 174 |
|
Amazon
Film Reference
Reel Views |
|
| |
|
| |
|
|
|
|
|
175 |
|
176↑ |
|
177↑ |
|
Sweet Smell of Success |
|
ALEXANDER MACKENDRICK
(173) |
 |
|
1957 | 96m | BW | USA |
Drama, Media Satire |
|
Burt Lancaster, Tony
Curtis, Susan Harrison, Martin Milner, Sam Levene, Barbara Nichols,
Emile Meyer, Jeff Donnell, Joseph Leon, Edith Atwater |
|
"A
psychopathic gossip columnist (Burt Lancaster) rules Broadway with an
iron fist, destroying everyone who dares to cross him. These include a
small time press agent (Tony Curtis) and a sister (Susan Harrison) on
whom he casts an incestuous eye. The dialogue (by Ernest Lehman and
Clifford Odets) is etched in acid, and
Mackendrick's
direction perfectly captures the dark side of The Great White Way." -
Richard Schickel, Time,
2005 |
|
Selected by
F. Gary Gray,
Terence Davies,
Scott McGehee, Philip Kemp,
James Mangold. |
| 142 → 142 → 155 → 174 →
158 → 173 → 175 |
|
Amazon
Images Journal
Film Reference |
|
See Also:
250 Quintessential
Noir Films |
|
|
|
Night of the Living Dead |
|
GEORGE A. ROMERO (201) |
 |
|
1968 | 96m | BW | USA | Horror, Creature Film |
|
Judith O'Dea, Duane Jones,
Karl Hardman, Russell Streiner, Keith Wayne, Judith Ridley, Marilyn
Eastman, Kyra Schon, Bill Heinzman, Charles Craig |
|
"Night of the
Living Dead came out of nowhere, or to be more precise, Pittsburgh,
and turned into the most influential horror film since Psycho.
George Romero's
remarkably assured debut, made on a shoestring, about a group of people
barricaded inside a farmhouse while an army of flesh-eating zombies
roams the countryside, deflates all genre clichés." -
Elliott Stein, Village
Voice, 2003 |
|
Selected by
Mario Van Peebles,
Wes Craven, Jeff Krulik, Joe Bob Briggs, Alexandra Juhasz. |
| 303 → 285 → 270 → 260 →
214 → 201 → 176 |
|
Amazon
Slant Magazine
Roger Ebert (Chicago Sun-Times) |
|
|
|
Alien |
|
RIDLEY SCOTT
(186) |
 |
|
1979 | 117m | Col | USA |
Horror, Science Fiction |
|
Tom Skerritt, Sigourney
Weaver, Veronica Cartwright, Harry Dean Stanton, John Hurt, Yaphet Kotto,
Ian Holm, Bolaji Badejo, Helen Horton, Eddie Powell |
|
"It is a genuinely
frightening movie which makes splatterfests like The Texas Chainsaw
Massacre look juvenile... Ridley Scott puts together a white-knuckle
intergalactic ride of tension and fear, which is also an essay on the
hell of other people, the vulnerability of our bodies, and the idea of
space as a limitless new extension of human paranoia."
- Peter Bradshaw, The Guardian, 2003 |
|
Selected by
Alejandro Amenábar,
Tom Hunsinger, Louis Leterrier, David Michôd,
Jason Reitman. |
| 335 → 362 → 250 → 230 →
216 → 186 → 177 |
|
Amazon
Roger Ebert's Great Movies
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
178↑ |
|
179 |
|
180 |
|
The
Graduate |
|
MIKE NICHOLS (194) |
 |
|
1967 | 105m | Col | USA |
Coming-of-Age, Sex Comedy |
|
Anne Bancroft, Dustin
Hoffman, Katharine Ross, William Daniels, Murray Hamilton, Elizabeth
Wilson, Norman Fell, Buck Henry, Brian Avery, Walter Brooke |
|
"Dustin Hoffman gives the
inspired performance that launched his movie career, and director
Mike Nichols
shows a gift for social satire that has never glistened quite so
brightly since. Anne Bancroft and Katherine Ross head the marvelous
supporting cast. Simon & Garfunkel spice up the soundtrack with The
Sound of Silence and other hits."
- David Sterritt, Christian Science Monitor, 1997 |
|
Selected by
David O. Russell, Scott Rosenberg,
Juan Jose Campanella, Frank Coraci, Gary Sinyor. |
| 256 → 215 → 229 → 215 →
215 → 194 → 178 |
|
Amazon
Film Reference
Chicago Reader |
|
|
|
The
Deer Hunter |
|
MICHAEL CIMINO (172) |
 |
|
1978 | 183m | Col | USA |
Ensemble Film, War Drama |
|
Robert De Niro, John
Cazale, John Savage, Christopher Walken, Meryl Streep, George Dzundza,
Chuck Aspegren, Shirley Stoler, Rutanya Alda, Pierre Segui |
|
"What distinguishes
The Deer Hunter most is its many rich characters and the size of
its vision. This is a big film, dealing with big issues, made on a grand
scale. Much of it, including some casting decisions, suggest inspiration
by The Godfather."
- Gene Siskel, Chicago Tribune, 1979 |
|
Selected by Julio Medem, Milos Forman,
F.X. Feeney, Agustin Diaz Yanes, Ricardo Darin. |
| 273 → 257 → 225 → 200 →
205 → 172 → 179 |
|
Amazon
Chicago Sun-Times (Roger Ebert)
Time Out |
|
|
|
The
Wages of Fear |
|
HENRI-GEORGES CLOUZOT
(178) |
 |
| • Le
Salaire de la peur (original title) |
|
1952 | 105m | BW |
France-Italy | Thriller, Adventure Drama |
|
Yves Montand, Charles
Vanel, Peter Van Eyck, Vera Clouzot, Folco Lulli, Dario Moreno, William
Tubbs, Jo Dest, Antonio Centa, Louis de Lima |
|
"Here is a film that
stands alone as the purest exercise in cinematic tension ever carved
into celluloid, a work of art so viscerally nerve-racking that one fears
a misplaced whisper from the audience could cause the screen to explode." -
Dennis Lehane, The Criterion Collection |
|
Selected by
John Sayles,
Philip Kaufman,
Hubert Cornfield, Bong Joon-ho, Alex
Cox. |
| 200 → 191 → 205 → 206 →
206 → 178 → 180 |
|
Amazon
DVD Savant
Film Reference |
|
| |
|
| |
|
|
|
|
|
181 |
|
182 |
|
183↑ |
|
The
Travelling Players |
|
THEO ANGELOPOULOS (177) |
 |
| • O Thiasos
(original title) |
|
1975 | 230m | Col | Greece
| Drama, Political Drama |
|
Eva Kotamanidou, Aliki
Georgouli, Stratos Pahis, Maria Vassiliou, Petros Zarkadis, Kiriakos
Katrivanos, Yannis Firios, Nina Papazaphiropoulou, Alekos Boubis, Kosta
Stiliaris |
|
"Angelopoulos'
firm grasp of politics and theater—and how their tragedies are bound
throughout history—gives The Travelling Players enormous thematic
complexity and relevance, however difficult it is to understand at
times. But even the most clueless outsider can still soak in the
magisterial beauty of
Angelopoulos' images, which mournfully
depict corroded buildings and emptied streets while celebrating the
country's enduring natural beauty."
- Scott Tobias, The A.V. Club, 2002 |
|
Selected by
Michel Ciment, Fredric R. Jameson, Dan Georgakas, Dan Fainaru, Martin McLoone. |
| 169 → 179 → 174 → 155 →
171 → 177 → 181 |
|
Amazon
Derek Malcolm's Century of Films
Time Out |
|
|
|
The
Gospel According to St. Matthew |
|
PIER PAOLO PASOLINI (179) |
 |
| • Il
Vangelo secondo Matteo (original title) |
|
1964 | 135m | BW | France-Italy | Drama, Religious Drama |
|
Enrique Irazoqui,
Margherita Caruso, Susanna Pasolini, Marcello Morante, Mario Socrate,
Settimo Di Porto, Otello Sestili, Ferruccio Nuzzo, Giacomo Morante,
Alfonso Gatto |
|
"Pasolini's
is one of the most effective films on a religious theme I have ever
seen, perhaps because it was made by a nonbeliever who did not preach,
glorify, underline, sentimentalize or romanticize his famous story, but
tried his best to simply record it." - Roger Ebert, Chicago
Sun-Times, 2004 |
|
Selected by
Scott Hicks,
Jonathan Glazer, Veronique Godard,
Michael Radford, Rajko Grlic. |
| 139 → 138 → 157 → 159 →
181 → 179 → 182 |
|
Amazon
Derek Malcolm's Century of Films
The New York Times |
|
|
|
Blow-Up |
|
MICHELANGELO ANTONIONI (207) |
 |
| • Blowup
(alternative spelling); Blow Up (alternative title) |
|
1966 | 111m | Col |
Italy-UK | Mystery, Psychological Thriller |
|
David Hemmings, Vanessa
Redgrave, Peter Bowles, Sarah Miles, Jane Birkin, Gillian Hills, John
Castle, Julian Chagrin, Harry Hutchinson, Susan Broderick |
|
"This
is so ravishing to look at (the colors all seem newly minted) and
pleasurable to follow (the enigmas are usually more teasing than
worrying) that you're likely to excuse the metaphysical pretensions." - Jonathan
Rosenbaum, Chicago Reader |
|
Selected by
John Carpenter,
William Friedkin,
Trevor Steele Taylor, Pavel Branko, Raoul Coutard. |
| 233 → 229 → 206 → 197 →
192 → 207 → 183 |
|
Amazon
Senses of Cinema
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
184 |
|
185 |
|
186 |
|
Ivan the Terrible, Part One |
|
SERGEI EISENSTEIN
(174) |
 |
| • Ivan
Groznyy I (original title) |
|
1944 | 96m | BW | Russia |
Historical Film, Biography |
|
Nikolai Cherkasov,
Lyudmila Tselikovskaya, Serafima Birman, Mikhail Nazvanov, Mikhail
Zharov, Amvrosi Buchma, Mikhail Kuznetsov, Pavel Kadochnikov, Andrei
Abrikosov, Aleksandr Mgebrov |
|
"Thematically
fascinating both as submerged autobiography and as a daring portrait of
Stalin's paranoia... this is one of the most distinctive great films in
the history of cinema--freakishly mannerist, yet so vivid in its
obsessions and expressionist angularity that it virtually invents its
own genre."
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Hal Hartley, Ian Christie, Jean-Louis
Leutrat, Jonathan Rosenbaum,
Theo Angelopoulos. |
| 129 → 128 → 138 → 149 →
164 → 174 → 184 |
|
Amazon
Criterion Collection Essay
Film Reference |
|
|
|
La Belle et la bête |
|
JEAN COCTEAU
(181) |
 |
| • Beauty
and the Beast (English title) |
|
1946 | 95m | BW | France |
Fairy Tale, Romantic Fantasy |
|
Jean Marais, Josette Day,
Marcel Andre, Mila Parely, Nane Germon, Michel Auclair, Georges Auric,
Raoul Marco, Noel Blin, Jean Cocteau |
|
"I'm prepared to
entertain the argument that Beauty and the Beast is not
Cocteau's
most "important" film and that it does have some creaky moments. But it
is probably his most perfect, because it speaks to so wide an audience
with its intensity of vision and the emotions that it inspires in us."
- Derek Malcolm, The Guardian, 1999 |
|
Selected by
Ken Russell,
David Siegel, Tim Lucas, Shawn Levy,
Xavier Dolan. |
| 208 → 259 → 190 → 196 →
175 → 181 → 185 |
|
Amazon
Film Reference
Criterion Collection Essay |
|
|
|
The Great Dictator |
|
CHARLES CHAPLIN
(185) |
 |
|
1940 | 128m | BW | USA | Comedy, Anti-War Film |
|
Charles Chaplin, Paulette
Goddard, Jack Oakie, Reginald Gardiner, Henry Daniell, Maurice Moscovich,
Billy Gilbert, Emma Dunn, Grace Hayle, Carter DeHaven |
|
"Though the slapstick
may seem tired now. there are moments of greatness, notably
Charlie's
graceful globe-juggling routine and, for all its idealism, the final
speech during which any sense of the barber, the dictator or the little
tramp fades away, leaving only
Chaplin himself speaking directly from
the heart." -
David
Parkinson, Empire |
|
Selected by
Julio Medem,
Michel Gondry,
Jonathan Glazer, Santosh Sivan, Angela Baldassarre. |
| 277 → 280 → 252 → 234 →
198 → 185 → 186 |
|
Amazon
Roger Ebert's Great Movies
Reverse Shot |
|
| |
|
| |
|
|
|
|
|
187 |
|
188 |
|
189↑ |
|
The
Last Laugh |
|
F.W. MURNAU (183) |
 |
| • Der
Letzte Mann (original title) |
| 1924
| 77m | BW | Germany | Drama, Psychological Drama |
|
Emil Jannings, Maly
Delschaft, Max Hiller, Emilie Kurz, Hans Unterkircher, Olaf Storm,
Hermann Vallentin, Georg John, Emmy Wyda, Harald Madsen |
|
"The 1924 film in
which F.W. Murnau
freed his camera from its stationary tripod and took it on a flight of
imagination and expression that changed the way movies were made.
Cameras had tracked and panned before, but never to such a deliberate
and spectacular degree."
- Dave Kehr, Chicago Reader |
|
Selected by
Gilles Jacob,
Ingmar Bergman,
Sidney Gottlieb, Richard Brody, Laurence Kardish. |
| 216 → 187 → 184 → 173 →
178 → 183 → 187 |
|
Amazon
Senses of Cinema
Roger Ebert's Great Movies |
|
|
|
The Palm Beach Story |
|
PRESTON STURGES
(180) |
 |
|
1942 | 90m | BW | USA |
Screwball Comedy, Comedy of Manners |
|
Claudette Colbert, Joel
McCrea, Rudy Vallee, Mary Astor, Siegfried Arno, Robert Warwick, William
Demarest, Franklin Pangborn, Arthur Stuart Hull, Torben Meyer |
|
"Rudy Vallee turns in
his best performance as a gentle, puny millionaire named Hackensacker in
this brilliant, simultaneously tender and scalding 1942 screwball comedy
by Preston Sturges--one
of the real gems in
Sturges's hyperproductive period at Paramount."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Gus Van Sant, Tom Charity,
Kevin MacDonald,
Taylor Hackford,
James Mangold. |
| 165 → 175 → 164 → 168 →
168 → 180 → 188 |
|
Amazon
Ozu's World Movie Reviews
Time Out |
|
|
|
Performance |
|
NICOLAS ROEG & DONALD CAMMELL (191) |
 |
|
1970 | 105m | Col | UK |
Psychological Drama, Satire |
|
James Fox, Mick Jagger,
Anita Pallenberg, Michele Breton, Ann Sidney, Johnny Shannon, Anthony
Valentine, John Burdon, Stanley Meadows, Allan Cuthbertson |
|
"If
Michelangelo Antonioni
put one foot in the waters of late-'60s London with
Blow-up,
Nicolas Roeg and
Donald Cammell dove right into the deep end of the pool, emerging with
this rock & roll version of
Ingmar Bergman's
Persona...
Performance
is no simple wallow in the mutually decadent lifestyles of criminals and
musicians, but an honest attempt to understand the roles we play every
day." - Tom
Wiener, Allmovie |
|
Selected by
Todd Haynes,
Chris Chang, Trevor Steele Taylor, Noel King, Chuck Stephens. |
| 172 → 177 → 195 → 188 →
186 → 191 → 189 |
|
Amazon
BFI Screen Online
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
190 |
|
191 |
|
192 |
|
Vampyr |
|
CARL DREYER (188) |
 |
| • Vampyr -
Der Traum des Allan Grey (original title) |
|
1932 | 73m | BW |
France-Germany | Horror, Gothic Film |
|
Julian West, Henriette
Gerard, Jan Hieronimko, Maurice Schutz, Rena Mandel, Sybille Schmitz,
Albert Bras, N. Babanini, Jane Mora |
|
"With
the help of
Rudolph Maté's
luminous photography,
Dreyer creates a film of great beauty. Often the close-ups
are particularly haunting, but the main achievement is the correctness
of each shot, and their relationship to each other."
-
Chris Petit, Time Out |
|
Selected by
Elliott Stein,
Yomota Inuhiko, Linda
Williams, Jacques Aumont, Alexandre Astruc. |
| 212 → 186 → 193 → 183 →
183 → 188 → 190 |
|
Amazon
Film Reference
Chicago Reader |
|
|
|
The
Mother and the Whore |
|
JEAN EUSTACHE (184) |
 |
| • La Maman
et la putain (original title) |
|
1973 | 210m | BW | France
| Psychological Drama, Urban Drama |
|
Jean-Pierre Leaud,
Francoise Lebrun, Bernadette Lafont, Isabelle Weingarten, Jacques Renard,
Jean-Noel Picq, Pierre Cottrell, Bernard Eisenschitz, Jean Douchet, Jean
Eustache |
|
"The Mother and
the Whore has the energy and quick, almost surreptitious
illumination of the best improvised work. The low-contrast black and
white photography gives the film a cool, astringent look that cuts
nicely against the gathering force of the script." - Jay Cocks, Time,
1974 |
|
Selected by
Richard Linklater,
Mark Cousins, John
Waters, Quim Casas, Chris Chang. |
| 197 → 221 → 156 → 172 →
176 → 184 → 191 |
|
Amazon
Chicago Reader (Jonathan Rosenbaum)
Strictly Film School |
|
|
|
The
Discreet Charm of the Bourgeoisie |
|
LUIS BUÑUEL (189) |
 |
| • Le Charme
discret de la bourgeoisie (original title) |
|
1972 | 100m | Col | France
| Satire, Black Comedy |
|
Fernando Rey, Delphine
Seyrig, Stephane Audran, Bulle Ogier, Jean-Pierre Cassel, Paul Frankeur,
Julien Bertheau, Claude Pieplu, Michel Piccoli, Milena Vukotic |
|
"The
film's discreet charm is
Buñuel's finesse. The six principals always look
simultaneously pleased with themselves and completely confounded. With
each thwarted meal comes a look of astonishment as if letting the actors
know that something absurd was about to happen had slipped
Buñuel's mind.
If there's a granddaddy of breezy situationalism, it's probably
Buñuel." -
Wesley Morris, San Francisco Examiner, 2000 |
|
Selected by
Denys Arcand,
Karel Reisz,
Neil Hunter, Sophie Barthes,
Federico Fellini. |
| 111 → 120 → 151 → 163 →
173 → 189 → 192 |
|
Amazon
Roger Ebert's Great Movies
Criterion Collection Essay |
|
| |
| |
|
|
| |
|
|
193↑ |
|
194 |
|
195↑ |
|
Kind Hearts and Coronets |
|
ROBERT HAMER (225) |
 |
|
1949 | 104m | BW | UK | Black Comedy, Crime Comedy |
|
Dennis Price, Alec
Guinness, Joan Greenwood, Valerie Hobson, Audrey Fildes, Miles Malleson,
Clive Morton, Hugh Griffith, John Penrose, Cecil Ramage |
|
"Hamer's
direction is a thing of dry delicacy, but it's the script that makes it
the definitive Ealing Studio comedy. This is one of the few works of dramatic
literature, and the only film I know, whose epigrammatic wit and
wickedness bear comparison to Oscar Wilde's. In a word, perfection!" -
Richard Corliss, Time |
|
Selected by
Terry Jones, Peter Bradshaw,
Terence Davies,
James King, Whit Stillman. |
| 137 → 146 → 158 → 175 →
207 → 225 → 193 |
|
Amazon
Screen Online
Criterion Collection Essay |
|
|
|
Paths of Glory |
|
STANLEY KUBRICK
(192) |
 |
| 1957
| 86m | BW | USA | Anti-War Film, War Drama |
|
Kirk Douglas, Adolphe
Menjou, Ralph Meeker, George Macready, Wayne Morris, Timothy Carey,
Joseph Turkel, Richard Anderson, Peter Capell, Suzanne Christian |
|
"With Paths of
Glory, director Stanley Kubrick established himself not simply as
the leading commercial filmmaker of his generation, but a world-class
talent as well.... Unlike any other war film of its kind, Paths of
Glory divides its attention equally among officers and enlisted men,
constructing a complex picture of a war fought not only on open
battlefields, but in boardrooms as well... Paths of Glory remains
one of his most lucid, powerful achievements."
- David
Ehrenstein, The Criterion Collection, 1989 |
|
Selected by
Barry Norman, Fernando Martin Pena,
Fernando Leon de Aranoa,
Rod
Lurie,
Freddie Francis. |
| 195 → 166 → 181 → 195 →
191 → 192 → 194 |
|
Amazon
Roger Ebert's Great Movies
Salon |
|
|
|
The
Bridge on the River Kwai |
|
DAVID LEAN (202) |
 |
|
1957 | 161m | Col | UK |
POW Drama, War Drama |
|
William Holden, Alec
Guinness, Jack Hawkins, Sessue Hayakawa, James Donald, Andre Morell,
Geoffrey Horne, Peter Williams, John Boxer, Percy Herbert |
|
"The Bridge on the
River Kwai is an epic masterpiece that rests on the electric,
black-comic relationship between British POW Colonel Nicholson (Alec
Guinness) and Japanese commandant Colonel Saito (Sessue Hayakawa)."
- Michael
Sragow, Salon, 2001 |
|
Selected by
Herschell
Gordon Lewis,
Paul Mazursky,
Norman Jewison,
Billy Wilder,
Nicholas Meyer. |
| 176 → 182 → 204 → 231 →
220 → 202 → 195 |
|
Amazon
Screen Online
Roger Ebert's Great Movies |
|
| |
|
| |
|
|
|
|
|
196↑ |
|
197↑ |
|
198↑ |
|
It
Happened One Night |
|
FRANK CAPRA
(197) |
 |
|
1934 | 105m | BW | USA |
Romantic Comedy, Screwball Comedy |
|
Claudette Colbert, Clark
Gable, Walter Connolly, Roscoe Karns, Alan Hale, Ward Bond, Henry
Wadsworth, Claire McDowell, Arthur Hoyt, Blanche Frederici |
|
"It Happened One
Night was made in 1934, in the years before there was such a thing
as screwball romantic-comedy formula. It's among the first of its kind,
and it's one of the greatest. Audiences responded at the time (the
picture was a huge hit), and today It Happened One Night still
feels unbeatably fresh and shiveringly touching." -
Stephanie Zacharek , Salon, 2001 |
|
Selected by
Kevin Thomas, Andrew
Bergman, Gilberto Perez, Morgan Spurlock, Simon Relph. |
| 248 → 197 → 202 → 198 →
194 → 197 → 196 |
|
Amazon
Senses of Cinema
Film Reference |
|
|
|
In the Mood for Love |
|
WONG KAR-WAI (211) |
 |
| • Fa yeung
nin wa (original title) |
|
2000 | 97m | Col | Hong
Kong-France | Melodrama, Romantic Drama |
|
Maggie Cheung, Tony Leung,
Rebecca Pan, Lui Chun, Ping Lam Siu, Chin Chi-Ang, Chan Man-Lui, Koo
Kam-Wah, Ysu Hsien, Chow Po-Chun |
|
"Boldly
mannered yet surprisingly delicate, In the Mood for Love is a
wondrously perverse movie that not only evokes a lost moment in time but
circles around an unrepresentable subject...
Governed by laws as strict as the old Hollywood production code, it's
rhapsodically sublimated and ultimately sublime."
- J.
Hoberman, Village Voice, 2001 |
|
Selected by
Mira Nair, Ernest R. Dickerson, Jonathan Ross,
Paul McGuigan,
Havana Marking. |
| 518 → 382 → 317 → 344 →
246 → 211 → 197 |
|
Amazon
Senses of Cinema
Slant Magazine |
|
See Also:
The 21st Century's Most Acclaimed Films |
|
|
|
Bride of Frankenstein |
|
JAMES WHALE (203) |
 |
|
1935 | 75m | BW | US |
Monster Film, Sci-Fi Horror |
|
Boris Karloff, Colin
Clive, Valerie Hobson, Elsa Lanchester, Ernest Thesiger, Una O'Connor,
Dwight Frye, O.P. Heggie, Gavin Gordon, Douglas Walton |
|
"Some movies age;
others ripen. Seen today,
Whale's masterpiece is more surprising
than when it was made because today's audiences are more alert to its
buried hints of homosexuality, necrophilia and sacrilege. But you don't
have to deconstruct it to enjoy it; it's satirical, exciting, funny, and
an influential masterpiece of art direction." - Roger Ebert,
Chicago Sun-Times, 1999 |
|
Selected by
Guillermo del Toro,
Joe Dante,
Stuart Gordon,
David Rooney, Ed Lewis. |
| 202 → 196 → 230 → 223 →
213 → 203 → 198 |
|
Amazon
Bright Lights Film Journal
Film Reference |
|
| |
|
| |
|
|
|
|
|
199 |
|
200↑ |
|
• To 201-250 |
|
The
World of Apu |
|
SATYAJIT RAY (187) |
 |
| • Apur
Sansar (original title) |
|
1959 | 103m | BW | India |
Drama, Family Drama |
|
Soumitra Chatterjee,
Sharmila Tagore, Swapan Mukherji, S. Alke Chakravarty, Alok Chakravarty,
Dhiresh Majumdar, Sefalika Devi, Dhiren Ghosh, Balarani, Shanti
Bhattacherjee |
|
"In The World of
Apu, the third film in his Apu Trilogy, the late Indian film
maker Satyajit Ray
offers a rich, sympathetic portrait of his title character as an adult
-- struggling with artistic aspirations, stumbling into an arranged
marriage and finding his way as the grieving father of a young son."
- Edward Guthmann, San Francisco Chronicle, 1995 |
|
Selected by
Bill
Rothman, Daniel Talbot, Joseph Strick,
Mary Harron, Simon Louvish. |
| 162 → 164 → 178 → 165 →
180 → 187 → 199 |
|
Amazon
Roger Ebert's Great Movies
Strictly Film School |
|
|
|
Death in Venice |
|
LUCHINO VISCONTI (190) |
 |
| • Morte a
Venezia (original title) |
|
1971 | 130m | Col | Italy | Drama, Period Film |
|
Dirk Bogarde, Bjorn
Andresen, Silvana Mangano, Romolo Valli, Mark Burns, Nora Ricci, Marisa
Berenson, Carole Andre, Leslie French, Franco Fabrizi |
|
"Dirk Bogarde gave
the greatest performance of his career, in fact one of the greatest of
any screen performances, in
Visconti's magnificent 1971 version of
the Thomas Mann novella, played out in a series of long, often wordless
takes which are miraculously suffused with spiritual meaning." -
Peter Bradshaw, The Guardian, 2003 |
|
Selected by
Nikita Mikhalkov,
Henrik Uth Jensen, Alfredo Guevara, George Sluizer, Suzi Feay. |
| 214 → 226 → 207 → 184 →
187 → 190 → 200 |
|
Amazon
Chicago Sun-Times (Roger Ebert)
BBC |
|
|
|
|