| |
|
201 |
|
202 |
|
203↑ |
|
Unforgiven |
|
CLINT EASTWOOD
(200) |
 |
|
1992 | 127m | Col | USA |
Western, Revisionist Western |
|
Clint Eastwood, Gene
Hackman, Morgan Freeman, Richard Harris, Jaimz Woolvett, Saul Rubinek,
Frances Fisher, Anna Thomson, David Mucci, Anthony James |
|
"A
magnificent movie that transcends its familiar tale of a reformed gunman
forced by circumstance to resume his violent ways... While
Eastwood's
muscular direction shows he's fully aware of genre traditions, he and
writer David Webb Peoples have
created something fresh, profound, complex... Refuting conventional
cowboy heroics,
Eastwood presents an alternative myth whereby a man, goaded
by Furies to yield to a past that still haunts him, dispatches himself
to a living Hell. In this dark, timeless terrain, the film achieves a
magnificent intensity." -
Geoff Andrew, Time Out |
|
Selected by
John Dahl,
Shinozaki Makoto, Noel King, Agustin Diaz Yanes, Josh Becker. |
| 236 → 230 → 215 → 209 →
217 → 200 → 201 |
|
Amazon
Senses of Cinema
Rolling Stone |
|
|
|
Monsieur Verdoux |
|
CHARLES CHAPLIN (193) |
 |
|
1947 | 123m | BW | USA |
Black Comedy, Crime Comedy |
|
Charles Chaplin, Martha
Raye, Isobel Elsom, Mady Correll, Marilyn Nash, Irving Bacon, William
Frawley, Charles Evans, Allison Roddan, Robert Lewis |
|
"A film of serene
elegance and sharp teeth,
Charles Chaplin's 1947 masterpiece was
met with violent hostility on its first release, and contributed
strongly to his political exile in the 1950s. Chaplin steps out of the
tramp character, playing a soft-spoken French gentleman who supports his
lovely children and crippled wife by marrying rich widows and killing
them. The moral--?if war is the logical extension of diplomacy, then
murder is the logical extension of business?--has a Brechtian toughness
and wit, but the style is soft, seductive, elegiac." -
Dave Kehr, Chicago Reader |
|
Selected by
Gavin Lambert, Jean Douchet,
Mrinal Sen, Pascal Merigeau, Elliott Stein. |
| 160 → 172 → 176 → 170 →
182 → 193 → 202 |
|
Amazon
Chicago Reader (Dave Kehr)
Slant Magazine |
|
|
|
Peeping Tom |
|
MICHAEL POWELL (215) |
 |
|
1960 | 109m | BW | UK |
Thriller, Psychological Thriller |
|
Karlheinz Bohm, Anna
Massey, Maxine Audley, Moira Shearer, Esmond Knight, Michael Goodliffe,
Shirley Anne Field, Brenda Bruce, Bartlett Mullins, Martin Miller |
|
"Reviled and
fetishized, Michael
Powell's undeniable—if unsavory—classic was the original
first-person horror film. Released in Britain barely a month before
Psycho had its American premiere,
Powell's serial-killer saga is no less
perverse and perhaps even more disturbing... Peeping Tom exerts
an awful fascination, as well it might. This is the movie that puts the
sin in cinephilia." -
J. Hoberman, Village
Voice, 1999 |
|
Selected by
Tom
Milne, William Johnson,
Phillip Noyce, Chris Rodley, Keith
Uhlich. |
| 258 → 239 → 241 → 221 →
223 → 215 → 203 |
|
Amazon
Senses of Cinema
Roger Ebert's Great Movies |
|
| |
|
| |
|
|
|
|
|
204↑ |
|
205 |
|
206 |
|
L'Eclisse |
|
MICHELANGELO ANTONIONI
(210) |
 |
| • The
Eclipse (English title) |
|
1962 | 123m | BW |
France-Italy | Psychological Drama, Urban Drama |
|
Monica Vitti, Alain Delon,
Francisco Rabal, Lilla Brignone, Louis Seigner, Rosanna Rory, Mirella
Ricciardi, Cyrus Elias |
|
"Alternately an essay
and a prose poem about the contemporary world in which the "love story"
figures as one of many motifs, this is remarkable both for its
visual/atmospheric richness and its polyphonic and polyrhythmic mise en
scene. "
-
Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Gavin Smith, Tim Lucas, Andrey Plakhov, George Kuchar, Gilberto Perez. |
| 138 → 149 → 197 → 182 →
193 → 210 → 204 |
|
Amazon
Criterion Collection Essay
Film Reference |
|
|
|
Schindler's List |
|
STEVEN SPIELBERG (198) |
 |
|
1993 | 195m | Col-BW | USA | War Drama, Biography |
|
Liam Neeson, Ben Kingsley,
Ralph Fiennes, Caroline Goodall, Jonathan Sagalle, Embeth Davidtz,
Andrzej Seweryn, Norbert Weisser, Elina Lowensohn, Malgoscha Gebel |
|
"Schindler's List
brings a pre-eminent pop mastermind together with a story that demands
the deepest reserves of courage and passion. Rising brilliantly to the
challenge of this material and displaying an electrifying creative
intelligence, Mr.
Spielberg has made sure that neither he nor the Holocaust
will ever be thought of in the same way again. With every frame, he
demonstrates the power of the film maker to distill complex events into
fiercely indelible images."
- Janet Maslin, The New York Times |
|
Selected by Julian Fellowes, Joseph McBride, Michael Koresky,
James Berardinelli,
John Dahl. |
| 191 → 202 → 210 → 212 →
203 → 198 → 205 |
|
Amazon
The A.V. Club
Metacritic |
|
|
|
The
Shop Around the Corner |
|
ERNST LUBITSCH
(196) |
 |
|
1940 | 97m | BW | USA |
Workplace Comedy, Romantic Comedy |
|
James Stewart, Margaret
Sullavan, Frank Morgan, Joseph Schildkraut, Sara Haden, Felix Bressart,
William Tracy, Inez Courtney, Charles Halton, Charles Smith |
|
"It's a marvellously
delicate romantic comedy, finally very moving, with the twisted
intrigues among the staff also carrying narrative weight... Thoroughly
different from To Be or Not To Be but just as exhilarating, it's
one of the few films truly justifying
Lubitsch's reputation for a 'touch'."
- Geoff Andrew, Time Out |
|
Selected by Mark Cousins,
Peter Bogdanovich, John Powers,
Billy Wilder,
Juan
Jose Campanella. |
| 201 → 208 → 238 → 237 →
209 → 196 → 206 |
|
Amazon
Chicago Reader
DVD Savant |
|
| |
| |
|
|
| |
| |
|
|
|
|
|
207 |
|
208↑ |
|
209 |
|
Late Spring |
|
YASUJIRO OZU
(195) |
 |
| • Banshun
(original title) |
|
1949 | 108m | BW | Japan |
Drama, Family Drama |
|
Chishu Ryu, Setsuko Hara,
Yumeji Tsukioka, Hohi Aoki, Masao Mishima, Kuniko Miyake, Haruko
Sugimura, Yoshiko Tsubouchi, Jun Usami, Yoko Katsuragi |
|
"Late Spring is one
of the best two or three films
Ozu ever made, with Early Summer
deserving comparison. Both films use his distinctive later visual style,
which includes precise compositions for a camera that almost never
moves, a point of view often representing the eye-level of a person
sitting on a tatami mat, and punctuation through cutaways to unrelated
exteriors. He almost always used only one lens, a 50mm, which he said
was the closest to the human eye."
- Roger Ebert, Chicago Sun-Times, 2005 |
|
Selected by
Carl Franklin,
Peter von Bagh, Bill Rothman, Barbet
Schroeder,
Phil Solomon. |
| 167 → 151 → 166 → 190 →
195 → 195 → 207 |
|
Amazon
Strictly Film School
Criterion Collection Essay |
|
|
|
The Texas Chainsaw Massacre |
|
TOBE HOOPER
(220) |
 |
|
1974 | 83m | Col | USA |
Horror, Slasher Film |
|
Marilyn Burns, Allen
Danziger, Paul A. Partain, William Vail, Teri McMinn, Edwin Neal, Jim
Siedow, Gunnar Hansen, John Dugan, Robert Courtin |
|
"The sensationalist
brilliance of Tobe
Hooper's independently made, regional horror masterwork
begins with its eye-grabbing, unforgettable title. It takes guts to be
so blatant up-front. More guts, in fact, than are spilled in the
movie... The film is also remarkable for its technical proficiency,
especially by comparison with such inept precedents as
Herschell Gordon
Lewis's "gore" movies."
- Kim
Newman, Film Reference |
|
Selected by
Wes Craven, Dennis Dermody, Jeff Krulik,
Rob Zombie, Joe Bob Briggs. |
| 227 → 237 → 266 → 301 →
234 → 220 → 208 |
|
Amazon
Slant Magazine
Chicago Sun-Times (Roger Ebert) |
|
|
|
Rosemary's Baby |
|
ROMAN POLANSKI (208) |
 |
|
1968 | 136m | Col | USA |
Occult Horror, Psychological Thriller |
|
Mia Farrow, John
Cassavetes, Ruth Gordon, Sidney Blackmer, Maurice Evans, Ralph Bellamy,
Angela Dorian, Patsy Kelly, Elisha Cook Jr., Charles Grodin |
|
"Scary just isn't
the right word for
Roman Polanski's Rosemary's Baby. It's an unnerving,
artful, vaguely unpleasant picture that settles deep into your bones,
leaving you feeling just a little unclean, as if you've been made
uncomfortably privy to one woman's very intimate suffering."
- Stephanie Zacharek, Salon, 2001 |
|
Selected by
Renny Harlin,
Stuart Gordon,
Mark Borchardt, Wesley Strick,
Atom Egoyan. |
| 255 → 276 → 224 → 232 →
218 → 208 → 209 |
|
Amazon
Film Reference
The Village Voice |
|
| |
|
| |
|
|
|
|
|
210 |
|
211↑ |
|
212 |
|
Johnny Guitar |
|
NICHOLAS RAY
(209) |
 |
| 1954 | 110m | Col | USA | Western, Psychological Western |
|
Joan Crawford, Sterling
Hayden, Mercedes McCambridge, Scott Brady, Ward Bond, John Carradine,
Ernest Borgnine, Ben Cooper, Royal Dano, Frank Ferguson |
|
"A truly demented
Western, with vividly colourful settings and and an almost operatic
intensity of emotional and physical violence... It has been called
Freudian, feminist, operatic, high camp and plain bizarre. Best of all,
the film acts as a vigorous indictment of the McCarthy witch-hunts; as a
lynch mob rides after Crawford while McCambridge bullies witnesses into
false confessions."
- Kim Newman, Empire |
|
Selected by Yvonne Tasker, Chris Chang, Peter Howden,
Albert Serra,
Michael Henry Wilson. |
| 415 → 426 → 281 → 241 →
221 → 209 → 210 |
|
Amazon
Film Reference
Images Journal |
|
|
|
Sans soleil |
|
CHRIS MARKER
(216) |
 |
| • Sunless
(English title) |
|
1983 | 100m | Col | France
| Avant-garde/Experimental, Documentary |
|
Florence Delay, Arielle
Dombasle |
|
"Chris
Marker's masterpiece is one of the key nonfiction films of
our time--a personal philosophical essay that concentrates mainly on
contemporary Tokyo but also includes footage shot in Iceland,
Guinea-Bissau, and San Francisco (where the filmmaker tracks down all
the locations from
Hitchcock's Vertigo)."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Veronique Godard, David Rooney, Lodge Kerrigan, Xiaolu Guo, James
Crawford. |
| 313 → 300 → 213 → 233 →
201 → 216 → 211 |
|
Amazon
Henry Sheehan
Criterion Collection Essay |
|
|
|
The
River |
|
JEAN RENOIR
(199) |
 |
|
1951 | 99m | Col |
USA-India | Drama, Romantic Drama |
|
Patricia Walters, Radha,
Adrienne Corri, Nora Swinburne, Esmond Knight, Arthur Shields, Suprova
Mukerjee, Thomas E. Breen, Sahjan Singh, Richard Foster |
|
"Made on location in
Bengal, this was Renoir's
first movie after his wartime sojourn in Hollywood and his first in
colour (the exquisite photography is by his nephew, Claude)... It's a
beautifully observed rite-of-passage and culture-clash story of a
crippled American war veteran's impact on a British community in the
last days of the Raj." - Philip French, The Observer, 2006 |
|
Selected by
Wes Anderson, Carlos F.
Heredero, Amos Gitai, Alexandre Astruc, Kent Jones. |
| 509 → 522 → 246 → 219 →
197 → 199 → 212 |
|
Amazon
Roger Ebert's Great Movies
The Village Voice |
|
| |
|
| |
|
|
|
|
|
213↑ |
|
214 |
|
215↑ |
|
Snow White and the Seven Dwarfs |
|
DAVID HAND (224) |
 |
|
1937 | 83m | Col | USA | Fairy Tale, Animated Musical |
|
Adriana Caselotti, Harry
Stockwell, Lucille LaVerne, Moroni Olsen, Billy Gilbert, Pinto Colvig,
Otis Harlan, Scotty Mattraw, Roy Atwell, Stuart Buchanan |
|
"Walt Disney's first
full-length cartoon is as rich and fun as it was in post-Depression 1937
-- yes, 1937. And the seven dwarfs (Doc, Happy, Sneezy, Sleepy, Bashful,
Grumpy and Dopey) are every bit as charming as they "Hi-ho" to work at
the diamond mine."
- Desson
Howe, Washington Post, 1987 |
|
Selected by
Christopher Frayling,
Dusan Makavejev,
Jose Luis Borau, Susannah Frankel, Oscar Colulich. |
| 311 → 272 → 298 → 256 →
243 → 224 → 213 |
|
Amazon
Reverse Shot
Roger Ebert's Great Movies |
|
|
|
Ali: Fear Eats the Soul |
|
RAINER WERNER FASSBINDER
(212) |
 |
| • Angst
essen Seele auf (original title); Fear Eats the Soul (alternate
title) |
|
1974 | 94m | Col | Germany
| Melodrama, Psychological Drama |
|
Brigitte Mira, El Hedi ben
Salem, Barbara Valentin, Irm Hermann, Elma Karlowa, Anita Bucher, Gusti
Kreissl, Doris Mattes, R.W. Fassbinder, Karl Scheydt |
|
"Vital link between
Douglas Sirk's
All That Heaven Allows and
Todd Haynes's recent homage Far From
Heaven, Rainer
Werner Fassbinder's achingly tender, brutally wise 1974
masterpiece retained
Sirk's scenario of a scandalizing romance and rendered it
extra verboten."
- Dennis Lim, Village Voice, 2003 |
|
Selected by Stig Bjorkman, Jill Godmilow, Bruce
LaBruce, Park Kiyong, Lodge Kerrigan. |
| 196 → 199 → 214 → 186 →
200 → 212 → 214 |
|
Amazon
Bright Lights Film Journal
Criterion Collection Essay |
|
|
|
The
Crowd |
|
KING VIDOR (217) |
 |
|
1928 | 104m | BW | USA |
Drama, Urban Drama |
|
James Murray, Eleanor
Boardman, Bert Roach, Estelle Clark, Daniel G. Tomlinson, Dell
Henderson, Lucy Beaumont, Freddie Burke Frederick, Alice Mildred Puter,
Sidney Bracey |
|
"An American rarity, a big
studio art film. In this silent film
Vidor traces the sad life of a totally
ordinary citizen, dreaming big, living small, in a brilliant
expressionistic style. But his manner, which might have had a distancing
effect, never interferes with the heartbreaking emotions this powerful
film stirs."
- Richard Schickel, Time |
|
Selected by
Quim Casas,
Fred Zinnemann,
Andrew Chan, Walter
Salles, Ed Arentz. |
| 179 → 185 → 150 → 178 →
202 → 217 → 215 |
|
Amazon
Slant Magazine
San Francisco Chronicle |
|
| |
|
| |
|
|
|
|
|
216 |
|
217 |
|
218 |
|
The
Music Room |
|
SATYAJIT RAY (204) |
 |
| • Jalsaghar
(original title) |
|
1958 | 95m | BW | India |
Drama, Psychological Drama |
|
Chhabi Biswas, Gangapada
Basu, Pinaki Sengupta, Padma Devi, Tulsi Lahiri, Kali Sarkar, Waheed
Khan, Roshan Kumari, Sardar Akhtar, Tulshi Chakraborty |
|
"Ray's
fourth film, a wonderfully evocative anecdote about an elderly
aristocrat, slowly dying amid the crumbling splendours of the past, who
decides to defy the egalitarian age that is encroaching... Slow, rapt
and hypnotic, it is - given some appreciation of Indian music - a
remarkable experience. " -
Tom Milne, Time Out |
|
Selected by
Charles Tesson, Derek Malcolm, Gilles Jacob,
Mira Nair,
Amos Gitai. |
| 171 → 171 → 180 → 192 →
189 → 204 → 216 |
|
Amazon
Derek Malcolm's Century of Films
San Francisco Chronicle |
|
|
|
The
Umbrellas of Cherbourg |
|
JACQUES DEMY (214) |
 |
| • Les
Parapluies de Cherbourg
(original title) |
| 1964
| 91m | Col | France-Germany | Musical, Romance |
|
Catherine Deneuve, Nino
Castelnuovo, Anne Vernon, Ellen Farnen, Marc Michel, Mireille Perrey,
Jean Champion, Harald Wolff, Dorothee Blank, Pierre Caden |
|
"The
camera swoops, the music soars, everyone looks stunning, and nobody's
outfit ever clashes with the wallpaper. The plot also refuses to fall
into predictable patterns of tragedy and melodrama, giving us a final
act as memorable as all these elements combined. It should be seen on
the big screen, where it can best be appreciated."
-
Keith Phipps, A.V. Club, 2002 |
|
Selected by
Scott McGehee,
John Woo, William
Johnson, Marc Cerisuelo, Jasper Sharp. |
| 228 → 238 → 234 → 248 →
208 → 214 → 217 |
|
Amazon
Chicago Reader (Jonathan Rosenbaum)
The Village Voice |
|
|
|
Celine and Julie Go Boating |
|
JACQUES RIVETTE (205) |
 |
| • Céline et
Julie vont en bateau (original title) |
|
1974 | 192m | Col | France
| Surrealist Film, Avant-garde / Experimental |
|
Juliet Berto, Dominique
Labourier, Bulle Ogier, Marie-France Pisier, Barbet Schroeder, Nathalie
Asnar, Marie-Therese Saussure, Philippe Clevenot, Anne Zamire, Jean
Douchet |
|
"There’s
cinema, and then there’s Céline and Julie Go Boating.
Jacques Rivette's
free-form dissertation on the interzone between performance and
spectatorship is the ideal filmgoing experience, even as the “story”
transcends all long-standing rules of narrative engagement. It’s the
Ulysses of moving pictures: You can feel
Rivette
exploring the art form’s modes of expression and then erasing their
borders, one by one." -
David Fear, Time Out,
2008 |
|
Selected by
Ty Burr, Michael Atkinson,
Dennis Lim, Neil Hunter, Peter Hames. |
| 124 → 135 → 161 → 181 →
190 → 205 → 218 |
|
Amazon
Senses of Cinema
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
219 |
|
220 |
|
221 |
|
Throne of Blood |
|
AKIRA KUROSAWA
(206) |
 |
| •
Kumonosu-jou (original title) |
|
1957 | 108m | BW | Japan |
Drama, Samurai Film |
|
Toshiro Mifune, Isuzu
Yamada, Minoru Chiaki, Takashi Shimura, Akira Kubo, Hiroshi Tachikawa,
Takamaru Sasaki, Kokuten Kodo, Kichijiro Ueda, Eiko Miyoshi |
|
"It remains a
landmark of visual strength, permeated by a particularly Japanese
sensibility, and is possibly the finest Shakespearean adaptation ever
committed to the screen."
- Derek Malcolm, The Guardian, 1999 |
|
Selected by
Alex Cox,
Jonathan Glazer,
Peter Greenaway,
Andrzej Wajda, Yiwen Chen. |
| 193 → 219 → 187 → 227 →
196 → 206 → 219 |
|
Amazon
Criterion Collection Essay
Images Journal |
|
|
|
Close-Up |
|
ABBAS KIAROSTAMI
(218) |
 |
| • Nema-ye
Nazdik (original title) |
|
1989 | 93m | Col | Iran |
Docudrama, Courtroom Drama |
|
Hossain Sabzian, Mohsen
Makhmalbaf, Hossain Farazmand, Abolfazl Ahankhah, Mehrdad Ahankhah,
Monoochehr Ahankhah, Mahrokh Ahankhah, Nayer Mohseni Zonoozi, Ahmad Reza
Moayed Mohseni, Hooshang Shamaei |
|
"Werner
Herzog has called this the greatest of all documentaries
about filmmaking, and he may not be far off--if only because no other
film does more to interrogate certain aspects of the documentary form
itself. "
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Jean-Michel Frodon, Tony Rayns, Ed Lachman, Hamid Dabashi, M.K.
Raghavendra. |
| 153 → 157 → 172 → 191 →
219 → 218 → 220 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
|
|
Pandora's Box |
|
G.W. PABST
(213) |
 |
| • Die
Büchse der Pandora (original title) |
|
1928 | 110m | BW | Germany
| Drama, Melodrama |
|
Louise Brooks, Fritz
Kortner, Franz Lederer, Carl Goetz, Alice Roberts, Krafft Raschig,
Gustav Diessl, Daisy d'Ora, Michael von Newlinsky, Siegfried Arno |
|
"With his brilliant
staging and visual mastery of the rich, shadowy blacks and whites that
would later mark American film noir,
Pabst re-creates the rigid, mercenary
society around Lulu (Louise Brooks). Then he shows how her impish beauty
throws open its doors." - Michael Wilmington, Chicago Tribune, 2007 |
|
Selected by
Quentin Tarantino,
Yvonne Rainer,
Gavin Lambert, Derek
Jarman, Suzanne Liandrat-Guigues. |
| 189 → 198 → 209 → 189 →
199 → 213 → 221 |
|
Amazon
Derek Malcolm's Century of Films
Criterion Collection Essay |
|
| |
|
| |
|
|
|
|
|
222 |
|
223↑ |
|
224↑ |
|
Only Angels Have Wings |
|
HOWARD HAWKS (221) |
 |
|
1939 | 121m | BW | USA |
Romantic Adventure, Buddy Film |
|
Cary Grant, Jean Arthur,
Richard Barthelmess, Rita Hayworth, Thomas Mitchell, Sig Ruman, John
Carroll, Allyn Joslyn, Noah Beery Jr., Victor Kilian |
|
"The definitive
Howard Hawks picture. Graced with superlative flying sequences, but
dominated by crackling dialogue scenes in which characters trade loving
insults, the film boasts a glorious cast." - Michael Wilmington,
They Went Thataway, 1993 |
|
Selected by
Alexandre Astruc, Mika Kaurismäki,
John Carpenter, Doug Block,
Neil Hunter. |
| 272 → 262 → 245 → 218 →
226 → 221 → 222 |
|
Amazon
Slant Magazine
Combustible Celluloid |
|
|
|
Crimes and Misdemeanors |
|
WOODY ALLEN (234) |
 |
|
1989 | 104m | Col | USA |
Comedy Drama, Psychological Drama |
|
Caroline Aaron, Alan Alda,
Woody Allen, Claire Bloom, Mia Farrow, Joanna Gleason, Anjelica Huston,
Martin Landau, Jenny Nichols, Jerry Orbach |
|
"The principal characters
in Crimes and Misdemeanors,
Mr. Allen's most securely serious and
funny film to date, have a way of jumping headlong from the specific to
the general, trying to place themselves in some larger system of things.
So, too, does Mr. Allen,
and never before has he made the leap with more self-assurance than in
this adventurous dramatic comedy." -
Vincent Canby, The New
York Times, 1989 |
|
Selected by
Bryan Singer,
Michael Moore,
Peter Bradshaw, David Siegel,
John Dahl. |
| 188 → 203 → 226 → 272 →
244 → 234 → 223 |
|
Amazon
Roger Ebert's Great Movies
Reverse Shot |
|
|
|
Solaris |
|
ANDREI TARKOVSKY
(230) |
 |
| • Solyaris
(original title) |
| 1972
| 165m | Col-BW | USSR | Psychological Sci-Fi, Space Adventure |
|
Natalya Bondarchuk,
Donatas Banionis, Juri Jarvet, Vladislav Dvorzhetsky, Nikolai Grinko,
Anatoli Solonitsyn, Olga Barnet, Vitalik Kerdimun, Olga Kizilova,
Tatyana Malykh |
|
"Andrei
Tarkovsky's beautiful and astonishing 1972 masterpiece ...
Solaris is a dazzlingly imaginative work with awesome production
values and special effects that bear comparison to those of 2001: A
Space Odyssey."
- Kevin Thomas, Los Angeles Times, 2002 |
|
Selected by
Philip Strick, John
Boorman, Lalitha Gopalan, Jytte Jensen, M.K. Raghavendra. |
| 205 → 206 → 231 → 225 →
227 → 230 → 224 |
|
Amazon
Roger Ebert's Great Movies
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
225 |
|
226 |
|
227 |
|
Le Samouraï |
|
JEAN-PIERRE MELVILLE
(223) |
 |
|
1967 | 95m | Col | France | Crime Thriller, Post-Noir (Modern Noir) |
|
Alain Delon, Nathalie
Delon, Francois Perier, Caty Rosier, Jacques Leroy, Jean-Pierre Posier,
Catherine Jourdan, Michel Boisrond, Robert Favart, Roger Fradet |
|
"The procedural
spiral of fate and moral emptiness uncoils in magnificent, slow, almost
banal ways, evoking every film of its type while it silently declares
them inadequate to the task of exploring humanity. Le Samouraï
has, in effect, been remade a thousand times - every impassive,
hollowed-out, urban-man-of-violence movie made in the last 30 years owes
it a drink."
- Michael Atkinson, Village Voice, 2005 |
|
Selected by
Ginette Vincendeau, John Woo,
Nick Schager, Nigel Floyd, Agustin Diaz Yanes. |
| 302 → 337 → 268 → 240 →
229 → 223 → 225 |
|
Amazon
Senses of Cinema
Slant Magazine |
|
|
|
The
Spirit of the Beehive |
|
VICTOR ERICE (226) |
 |
| • El
Espíritu de la colmena (original title) |
|
1973 | 95m | Col | Spain |
Drama, Childhood Drama |
|
Fernando Fernan Gomez,
Teresa Gimpera, Ana Torrent, Isabel Telleria, Ketty de la Camara,
Estanis Gonzalez, Jose Villasante, Juan Francisco Margallo, Laly
Soldevila, Miguel Picazo |
|
"It is one of the
most beautiful and arresting films ever made in Spain, or anywhere in
the past 25 years or so... The film can be construed in many ways but
is, above all, an almost perfect summation of child hood imaginings." -
Derek Malcolm, The
Guardian, 1999 |
|
Selected by
John Sayles, Derek Malcolm,
Alejandro Amenábar,
Franc Roddam,
Jessica Winter. |
| 274 → 273 → 211 → 194 →
204 → 226 → 226 |
|
Amazon
Strictly Film School
Criterion Collection Essay |
|
|
|
Shoot the Piano Player |
|
FRANÇOIS TRUFFAUT
(219) |
 |
| • Tirez sur
le pianiste (original title); Shoot the Pianist (alternative
title) |
|
1960 | 92m | BW | France | Crime Drama, Post-Noir (Modern Noir) |
|
Charles Aznavour, Marie
Dubois, Nicole Berger, Michele Mercier, Albert Remy, Claude Mansard,
Daniel Boulanger, Richard Kanayan, Jacques Aslanian, Serge Davri |
|
"Truffaut
shot many different sorts of pictures, but he rarely matched this one
for casual magic. In bed with his prostitute neighbor (the memorable
Michele Mercier), Aznavour playfully pulls a sheet up over her breasts,
noting: "This is how it's done in the movies."
Truffaut's
key work of the French New Wave showed there's more than one way to do
it."
- Michael
Phillips, Chicago Tribune |
|
Selected by
Jonathan Demme,
Floyd Mutrux,
Monte Hellman,
Todd McCarthy, Doug Block. |
| 235 → 235 → 262 → 245 →
241 → 219 → 227 |
|
Amazon
Film Reference
Time Out |
|
| |
|
| |
|
|
|
|
|
228 |
|
229 |
|
230 |
|
Tabu |
|
F.W. MURNAU (227) |
 |
| • Tabu: A
Story of the South Seas (original title) |
|
1931 | 82m | BW | USA |
Romance, Docudrama |
|
Anne Chevalier, Matahi,
Hitu, Bill Bambridge, Jules, Ah Fong |
|
"Filmed entirely in the
South Seas in 1929 with a nonprofessional cast and gorgeous
cinematography by Floyd Crosby, this began as a collaboration with
documentarist Robert
Flaherty, who still shares credit for the story, though
clearly the German romanticism of
Murnau predominates... The exquisite
tragic ending is one of the pinnacles of silent cinema."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Fred Camper, Li Cheuk-To, Daniel Serceau, Alexandre Astruc, Eva Zaoralova. |
| 221 → 227 → 203 → 216 →
211 → 227 → 228 |
|
Amazon
Pop Matters
Time Out |
|
|
|
Written on the Wind |
|
DOUGLAS SIRK
(222) |
 |
|
1956 | 99m | Col | USA |
Melodrama, Family Drama |
|
Lauren Bacall, Robert
Stack, Dorothy Malone, Rock Hudson, Robert Keith, Grant Williams, Robert
J. Wilke, Edward Platt, Harry Shannon, John Larch |
|
"To
appreciate a film like Written on the Wind probably takes more
sophistication than to understand one of
Ingmar Bergman's
masterpieces, because
Bergman's themes are visible and underlined, while with
Sirk the
style conceals the message."
- Roger Ebert, Chicago Sun-Times, 1998 |
|
Selected by
Ty Burr, Scott McGehee, George Kuchar, David Rooney, Jack Stevenson. |
| 213 → 217 → 216 → 199 →
212 → 222 → 229 |
|
Amazon
Film Reference
Criterion Collection Essay |
|
|
|
L'Argent |
|
ROBERT BRESSON
(228) |
 |
| • Money
(English title) |
|
1983 | 90m | Col |
France-Switzerland | Drama, Crime Drama |
|
Christian Patey, Sylvie
Van den Elsen, Michel Briguet, Vincent Risterucci, Caroline Lang,
Beatrice Tabourin, Didier Baussy, Marc Ernest Fourneau, Bruno Lapeyre,
Francois-Marie Banier |
|
"Robert
Bresson's final film is a harrowing scour of ideological
cinema, based on a sermonic Tolstoy story about greed but turned by
Bresson
into a pantomime stations of the cross, so completely focused on
sensuous minutiae, moral interrogation, and the fastidious lasering away
of movie bullshit (like acting and action) that it comes as close as any
movie has to 15th-century Christian icons."
- Michael Atkinson, Village Voice, 2005 |
|
Selected by
Olivier Assayas,
M.K. Raghavendra, Neil Hunter, Shinozaki Makoto, Clara Law. |
| 210 → 212 → 222 → 201 →
210 → 228→ 230 |
|
Amazon
Strictly Film School
Senses of Cinema |
|
| |
|
| |
|
|
|
|
|
231 |
|
232↑ |
|
233 |
|
Mr.
Hulot's Holiday |
|
JACQUES TATI (229) |
 |
| • Les
Vacances de Monsieur Hulot (original title); Monsieur Hulot's
Holiday (alternative title) |
|
1953 | 86m | BW | France |
Comedy, Slapstick |
|
Jacques Tati, Nathalie
Pascaud, Michelle Rolla, Louis Perrault, Andre Dubois, Valentine Camax,
Suzy Willy, Lucien Fregis, Marguerite Gerard, Rene Lacourt |
|
"It is not a comedy of hilarity but a
comedy of memory, nostalgia, fondness and good cheer. There are some
real laughs in it, but Mr. Hulot's Holiday gives us something
rarer, an amused affection for human nature--so odd, so valuable, so
particular."
- Roger Ebert, Chicago
Sun-Times, 1996 |
|
Selected by
Richard Lester,
David Parkinson, Sally
Potter, Paul Cox,
Ingmar Bergman. |
| 217 → 209 → 219 → 242 →
232 → 229 → 231 |
|
Amazon
The A.V. Club
Images Journal |
|
|
|
Nanook of the North |
|
ROBERT FLAHERTY (239) |
 |
|
1922 | 79m | BW | USA |
Anthropology, Documentary |
|
Nanook, Nyla, Cunayou,
Allee, Allegoo |
|
"Though the film has
no conventional plot, it tells a coherent story through its
extraordinary images. It hints at that old cliché about the noble savage
being pushed towards a civilisation that will destroy him. But it does
so with a rare feeling for a timeless landscape and a way of life that
had remained unchanged for centuries. "
- Derek Malcolm, The Guardian, 2000 |
|
Selected by
D.A. Pennebaker, Gilles Jacob,
Aki Kaurismäki,
Jonas Mekas,
Laura Gabbert. |
| 199 → 189 → 194 → 210 →
239 → 239 → 232 |
|
Amazon
Roger Ebert's Great Movies
Criterion Collection Essay |
|
|
|
Cinema Paradiso |
|
GIUSEPPE TORNATORE
(231) |
 |
| • Nuovo
cinema Paradiso (original title) |
|
1988 | 123m | Col |
Italy-France | Melodrama, Coming-of-Age |
|
Philippe Noiret, Jacques
Perrin, Salvatore Cascio, Mario Leonardi, Agnese Nano, Leopoldo Trieste,
Nicola Di Pinto, Nino Terzo, Roberta Lena, Pupella Maggio |
|
"There are films as
lovely, but none lovelier than Cinema Paradiso, a folkloric
salute to the medium itself, flickering with yesterday's innocence and
lingering on the mind like bubbles in wine. Born of director
Giuseppe
Tornatore's childhood memories, this is a magic lantern in a
Sicilian boy's hand, its warm light shed on the riches of life in a
poor, stone-built land. It is, in a word, exquisite."
- Rita
Kempley, Washington Post, 1990 |
|
Selected by
Renny Harlin,
Roland Emmerich, Antoine Fuqua, Lewis Gilbert,
John Singleton. |
| 473 → 345 → 342 → 374 →
238 → 231 → 233 |
|
Amazon
Roger Ebert (Chicago Sun-Times)
Metacritic |
|
| |
|
|
|
|
|
|
|
|
234↑ |
|
235↑ |
|
236 |
|
La
Notte |
|
MICHELANGELO ANTONIONI (238) |
 |
| • The Night
(English title) |
|
1961 | 120m | BW |
Italy-France | Psychological Drama, Marriage Drama |
|
Jeanne Moreau, Marcello Mastroianni,
Monica Vitti, Bernhard Wicki, Rosy Mazzacurati, Paria
Puzi Luzi, Guido A. Marsan, Vittorio Bertolini, Vincenzo Corbella, Ugo
Fortunati |
|
"Whatever
one's occasional misgivings, this feature comes from what is widely
considered to be
Antonioni's richest period, and
evidence of his stunning mastery is available throughout."
- Jonathan Rosenbaum, Chicago Reader |
|
Selected by
Alexander Payne,
Stig Bjorkman, Eva Zaoralova, Atom
Egoyan,
Peter Greenaway. |
| 152 → 153 → 177 → 204 →
224 → 238 → 234 |
|
Amazon
Film Reference
Long Pauses |
|
|
|
The Last Picture Show |
|
PETER BOGDANOVICH (270) |
 |
|
1971 | 118m | BW | USA | Ensemble Film, Coming-of-Age |
|
Timothy Bottoms, Jeff
Bridges, Cybill Shepherd, Ben Johnson, Cloris Leachman, Ellen Burstyn,
Eileen Brennan, Clu Gulager, Sam Bottoms, Randy Quaid |
|
"Bogdanovich
may have proved a wayward disappointment, but along with
Targets this is a reminder that somewhere inside
him the man has talent... Superb performances all round add to the charm
of this fine, if now unfashionable film."
- Geoff Andrew, Time Out |
|
Selected by
Sofia Coppola, Lukas Moodysson, Doug Block, David Rooney, Guillermo Arriaga. |
| 399 → 327 → 329 → 264 →
283 → 270 → 235 |
|
Amazon
Jigsaw Lounge
Roger Ebert's Great Movies |
|
|
|
Alexander Nevsky |
|
SERGEI EISENSTEIN (232) |
 |
| • Aleksandr
Nevskiy (original title) |
|
1938 | 107m | BW | USSR |
Historical Film, Biography |
|
Nikolai Cherkasov, Nikolai
Okhlopkov, Andrei Abrikosov, Dmitri Orlov, Vasili Novikov, Nicolai Arsky,
Varvara Massalitinova, Vera Ivashova, Aleksandra Danilova, Vladimir
Yershov |
|
"Sergei
Eisenstein turns the story of the great Russian prince into
an abstract exercise in visual and aural counterpoint--it's more theory
than movie. But Edouard Tisse's superb photography and Prokofiev's
stirring score contribute to a rhythm that is well-nigh irresistible,
culminating in the famous battle on the ice." - Dave Kehr,
Chicago Reader |
|
Selected by
Charles Burnett,
Guy Hamilton,
Peter Cowie, George Sluizer,
Mary Harron. |
| 174 → 190 → 220 → 217 →
222 → 232 → 236 |
|
Amazon
Film Reference
Movie Reviews UK |
|
| |
|
| |
|
|
|
|
|
237↑ |
|
238 |
|
239↑ |
|
The Empire Strikes Back |
|
IRVIN KERSHNER (241) |
 |
| 1980 | 124m | Col | USA | Science Fiction, Space Adventure |
|
Mark Hamill, Harrison
Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, David Prowse,
Kenny (2) Baker, Alec Guinness, Peter Mayhew, Frank Oz |
|
"The Empire Strikes
Back is the best of three Star Wars films, and the most
thought-provoking. After the space opera cheerfulness of the original
film, this one plunges into darkness and even despair, and surrenders
more completely to the underlying mystery of the story. It is because of
the emotions stirred in Empire that the entire series takes on a
mythic quality that resonates back to the first and ahead to the third.
This is the heart." -
Roger Ebert, Chicago
Sun-Times, 1997 |
|
Selected by
John Singleton,
Trey Parker, Dane Cook, Kevin Feige, Louis
Leterrier. |
| 336 → 356 → 332 → 306 →
274 → 241 → 237 |
|
Amazon
San Francisco Chronicle
Metacritic |
|
|
|
Imitation of Life |
|
DOUGLAS SIRK (233) |
 |
|
1959 | 124m | Col | USA |
Melodrama, Family Drama |
|
Lana Turner, John Gavin,
Sandra Dee, Dan O'Herlihy, Susan Kohner, Juanita Moore, Robert Alda,
Mahalia Jackson, Karen Dicker, Terry Burnham |
|
"One of the most
intellectually demanding films ever made in Hollywood... By emphasizing
brilliant surfaces, bold colors, and the spatial complexities of 50s
moderne architecture, Sirk creates a world of illusion, entrapment, and
emotional desperation."
- Dave Kehr, Chicago Reader |
|
Selected by
Neil Hunter, Paul Julian Smith, Rob Nelson, Charles Rubinstein, Paul Burston. |
| 230 → 244 → 244 → 203 →
225 → 233 → 238 |
|
Amazon
Bright Lights Film Journal
Slant Magazine |
|
|
|
Meet Me in St. Louis |
|
VINCENTE MINNELLI (242) |
 |
|
1944 | 113m | Col | USA |
Musical, Family Drama |
|
Judy Garland, Margaret
O'Brien, Leon Ames, Mary Astor, Lucille Bremer, June Lockhart, Tom
Drake, Marjorie Main, Harry Davenport, Hank Daniels |
|
"As with many of the
finest Hollywood films, the richness of Meet Me in St. Louis
derives from the interaction of a number of sources and determinants,
some of them complex in themselves, producing a filmic text to which no
single, "coherent" reading can do justice." - Robin Wood, Film
Reference |
|
Selected by David Bordwell, Andy Medhurst,
Terence Davies,
Stephen Frears,
Paul Julian Smith. |
| 170 → 170 → 201 → 220 →
231 → 242 → 239 |
|
Amazon
The Observer
Pop Matters |
|
| |
|
| |
|
|
|
|
|
240 |
|
241 |
|
242 |
|
Orpheus |
|
JEAN COCTEAU (235) |
 |
| • Orphée
(original title) |
|
1950 | 95m | BW | France |
Fantasy, Romantic Fantasy |
|
Jean Marais, Maria Casares,
Francois Perier, Marie Dea, Juliette Greco, Edouard Dermithe, Henri
Cremieux, Pierre Bertin, Roger Blin, Jacques Varennes |
|
"I've seen Orphée at
regular intervals over half a century and, though it's no longer
obscure, it has lost none of its magic. This is because whatever
Cocteau did
as a novelist, playwright, artist and filmmaker was essentially the work
of a poet, and this is a poetic movie."
- Philip French, The Observer, 2004 |
|
Selected by
Gilbert Adair, Derek
Jarman, Anne Billson, Trevor Johnston, John Francis Lane. |
| 226 → 176 → 200 → 208 →
240 → 235 → 240 |
|
Amazon
Criterion Collection Essay (by Jean
Cocteau)
Film Reference |
|
|
|
To
Kill a Mockingbird |
|
ROBERT MULLIGAN (237) |
 |
|
1962 | 129m | BW | USA |
Courtroom Drama, Childhood Drama |
|
Gregory Peck, Mary Badham,
Philip Alford, John Megna, Frank Overton, Rosemary Murphy, Brock Peters,
Robert Duvall, Ruth White, Estelle Evans |
|
"Harper Lee's
child's-eye view of southern bigotry gains something in its translation
to the screen by
Robert Mulligan, who knows exactly where to place the camera
to catch a child's subjective experience. Mulligan even wrings a
respectable performance from Gregory Peck as the country lawyer who
defends a black man on a trumped-up murder charge."
- Dave
Kehr, Chicago Reader |
|
Selected by
Wes Craven,
Jonathan Kaplan,
Steven Zaillian,
Scott Rosenberg, Michaela Boland. |
| 253 → 249 → 236 → 252 →
235 → 237 → 241 |
|
Amazon
Reel Views
The Film Journal |
|
|
|
The
Birds |
|
ALFRED HITCHCOCK (236) |
 |
|
1963 | 120m | Col | USA |
Horror, Natural Horror |
|
Tippi Hedren, Rod Taylor,
Suzanne Pleshette, Jessica Tandy, Veronica Cartwright, Ruth McDevitt,
Ethel Griffies, Charles McGraw, Joe Mantell, Doodles Weaver |
|
"Alfred
Hitchcock's most abstract film, and perhaps his subtlest,
still yielding new meanings and inflections after a dozen or more
viewings. As emblems of sexual tension, divine retribution, meaningless
chaos, metaphysical inversion, and aching human guilt, his attacking
birds acquire a metaphorical complexity and slipperiness worthy of
Melville."
- Dave Kehr, Chicago Reader |
|
Selected by
Tom Hunsinger, Cedric Kahn, Tomislav Gavric,
Liliana Cavani, Christa Blumlinger. |
| 289 → 287 → 227 → 211 →
230 → 236 → 242 |
|
Amazon
Film Reference
Ozu's World Movie Reviews |
|
| |
| |
|
|
| |
| |
|
|
|
|
|
243↑ |
|
244↑ |
|
245 |
|
Sátántangó |
|
BÉLA TARR (248) |
 |
|
1994 | 450m | BW |
Hungary-Germany-Switzerland | Drama |
|
Mihaly Vig, Putyi Horvath,
Laszlo Lugossy, Eva Almassy Albert, Janos Derzsi, Iren Szajki, Alfred
Jarai, Miklos Szekely B., Erzsebet Gaal, Erika Bok |
|
"Most simply described,
Tarr's masterpiece—adapted from a much esteemed, if still untranslated,
novel by László Krasznahorkai—is a bleakly comic allegory of social
disintegration on the muddy puszta. Set on an entropic collective
farm during the last years of Hungarian Communism, it's a mordant,
characteristically Eastern European tale of hapless peasants and
charismatic swindlers."
- J.
Hoberman, Village Voice, 2006 |
|
Selected by
Gus Van Sant,
Apichatpong Weerasethakul, Ulrich Gregor,
R. Emmett Sweeney,
Peter Hames. |
| 356 → 338 → 303 → 343 →
245 → 248 → 243 |
|
Amazon
Village Voice (Ed Halter)
Time Out |
|
|
|
Fantasia |
|
BEN SHARPSTEEN
(249) |
 |
|
1940 | 120m | Col | USA | Animated Musical, Children's Fantasy |
|
Deems Taylor, Leopold
Stokowski, The Philadelphia Symphony Orchestra, Walt Disney, Julietta
Novis, James MacDonald, Paul J. Smith |
|
"Walt
Disney did not invent animation,
but he nurtured it into an art form that could hold its own against any
"realistic" movie, and when he gathered his artists to create
Fantasia he felt a restlessness, a desire to try something new." -
Roger Ebert, Chicago Sun-Times, 1990 |
|
Selected by
Ken Russell, Fredric R. Jameson, Fritz Gottler, Michael Koresky,
Steven Spielberg. |
| 284 → 292 → 255 → 279 →
264 → 249 → 244 |
|
Amazon
Washington Post
Reverse Shot |
|
|
|
Berlin Alexanderplatz |
|
RAINER WERNER FASSBINDER
(240) |
 |
|
1980 | 931m | Col |
Germany | Epic, Period Film |
|
Gunter Lamprecht,
Elisabeth Trissenaar, Karin Baal, Franz Buchrieser, Peter Kollek,
Brigitte Mira, Mechthild Grossmann, Barbara Valentin, Hans Zander, Yaak
Karsunke |
|
"Whether it belongs to the
history of television, cinema, literature or theater remains an open and
interesting question, but is also somewhat academic. Whatever it is,
Berlin Alexanderplatz is alive, and
Fassbinder, though he died in 1982, is
as vital and troubling a presence as ever."
- A.O. Scott, The New York Times, 2007 |
|
Selected by
Harold Becker,
Thomas Elsaesser, Dennis Lim, Susan Sontag, Patrick Duynslaegher. |
| 209 → 220 → 192 → 213 →
228 → 240 → 245 |
|
Amazon
Criterion Collection Essay
The A.V. Club |
|
| |
|
| |
|
|
|
|
|
246 |
|
247 |
|
248 |
|
A
Star is Born |
|
GEORGE CUKOR (245) |
 |
|
1954 | 154m | Col | USA |
Musical Drama, Marriage Drama |
|
Judy Garland, James Mason,
Jack Carson, Charles Bickford, Tommy Noonan, Lucy Marlow, Amanda Blake,
Irving Bacon, Hazel Shermet, James Brown |
|
"Brutally cut after
its first release and further disfigured by the insertion of the long,
tasteless production number Born in a Trunk,
George Cukor's
1954 film somehow survives--and even touches greatness at times... This
was Cukor's
first complete film in color and his first in 'Scope: both elements are
used with a bold assurance and perfect expressiveness."
- Dave
Kehr, Chicago Reader |
|
Selected by
Kevin Thomas, Gavin Lambert, Phillip Lopate, Linda Williams, Paul Julian
Smith. |
| 268 → 195 → 228 → 214 →
233 → 245 → 246 |
|
Amazon
Images Journal
Film Reference |
|
|
|
Diary of a Country Priest |
|
ROBERT BRESSON (246) |
 |
| • Journal
d'un curé de campagne (original title) |
|
1950 | 120m | BW | France | Psychological Drama, Religious Drama |
|
Claude Laydu,
Marie-Monique Arkell, Andre Guibert, Jean Riveyre, Nicole Maurey, Nicole
Ladmiral, Martine Lemaire, Antoine Balpetre, Jean Danet, Gaston Severin |
|
"This
spare, intense 1950 film, adapted from Georges Bernanos' novel, is
Robert Bresson
at his greatest and most difficult, building a profound sense of a
higher order through its relentless detailing of the cold, small facts
of everyday life. A masterpiece, beyond question." -
Dave Kehr, Chicago
Reader |
|
Selected by John Anderson,
Hal Hartley,
Kim Ji-Seok, Nick Wrigley, Andre S. Labarthe. |
| 194 → 200 → 208 → 235 →
242 → 246 → 247 |
|
Amazon
Senses of Cinema
Criterion Collection Essay |
|
|
|
The Passenger |
|
MICHELANGELO ANTONIONI (244) |
 |
| •
Professione: reporter (original title) |
| 1975
| 119m | Col | Italy | Road Movie, Psychological Drama |
|
Jack Nicholson, Maria
Schneider, Jenny Runacre, Ian Hendry, Steven Berkoff, Ambroise Bia, Jose
Maria Caffarel, James Campbell, Manfred Spies, Jean-Baptiste Tiemele |
|
"Released in 1975 to
mixed reviews and audience indifference, The Passenger now looks
to be one of the deepest, most rigorous, and most rewarding films of its
era... This may be the first existentialist star vehicle, and it is
mesmerizing... Slow as death and graceful as an angel, The Passenger
continues to haunt." - Ty Burr, The Boston Globe, 2005 |
|
Selected by John Powers, Helena Ylanen, Lloyd
Hughes, Raoul Peck,
Zeina Durra. |
| 247 → 250 → 232 → 243 →
248 → 244 → 248 |
|
Amazon
Derek Malcolm's Century of Films
Slant Magazine |
|
| |
|
| |
|
|
|
|
|
249 |
|
250↑ |
|
• To 251-300 |
|
Week-End |
|
JEAN-LUC GODARD (247) |
 |
| • Week End
(alternative spelling); Weekend (alternative spelling) |
|
1967 | 103m | Col |
France-Italy | Avant-garde/Experimental, Black Comedy |
|
Mireille Darc, Jean Yanne,
Jean-Pierre Kalfon, Jean-Pierre Leaud, Yves Beneyton, Juliet Berto, Anne
Wiazemsky, Valerie Lagrange, Paul Gegauff, Daniel Pommerulle |
|
"At the white-hot
cresting moment of his epochal first phase,
Jean-Luc Godard conjured this yowling,
hilarious black nightmare of capitalist Armageddon, abandoning the
fervent romance of his earlier films and plunging nose first into the
shit-pit of bourgeoisie greed. "
- Michael Atkinson, Village Voice, 2005 |
|
Selected by David Denby,
Mike Figgis,
Tom DiCillo, Michael Sicinski, Bruce LaBruce. |
| 184 → 188 → 199 → 229 →
236 → 247 → 249 |
|
Amazon
Slant Magazine
Film Reference |
|
|
|
Last Tango in Paris |
|
BERNARDO BERTOLUCCI (254) |
 |
| • Ultimo
tango a Parigi (original title) |
|
1973 | 129m | Col |
France-Italy | Psychological Drama, Erotic Drama |
|
Marlon Brando, Maria
Schneider, Maria Michi, Catherine Allegret, Marie-Helene Breillat,
Catherine Breillat, Jean-Pierre Leaud, Darling Legitimus, Catherine
Sola, Mauro Marchetti |
|
"What a bizarre film it
is, capable of delivering some shocks, certainly, but possessing not
power exactly, but a fascinating, unevolved clumsiness. Brando confronts
the audience like a bull behind the china shop counter, and his
extraordinary, old-fashioned charisma is what keeps you watching."
- Peter Bradshaw, The Guardian, 2007 |
|
Selected by
Charles Taylor, John
McNaughton,
William Friedkin,
Edgar Reitz,
Hector Babenco. |
| 203 → 207 → 217 → 222 →
250 → 254 → 250 |
|
Amazon
Derek Malcolm's Century of Films
Chicago Sun-Times (Roger Ebert) |
|
|
|
|
