frankyt
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Post by frankyt on Jan 28, 2022 16:13:40 GMT -5
Without fear and loathing there is no jack Sparrow.
Least not depps version.
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Doomsday
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Post by Doomsday on Jan 28, 2022 16:32:05 GMT -5
Evil Dead 2 took my last spot.
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thebtskink
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It puts the lotion on its skin or else it gets the hose again.
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Post by thebtskink on Jan 28, 2022 16:34:41 GMT -5
Woody Allen for me
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PhantomKnight
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Post by PhantomKnight on Jan 28, 2022 16:38:52 GMT -5
Without fear and loathing there is no jack Sparrow. Least not depps version. Doesn't make the movie any more tolerable. |
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Dracula
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Post by Dracula on Jan 28, 2022 16:41:16 GMT -5
I put Man on the Moon last... pretty sure I know whose vote managed to get that thing raised six slots.
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PhantomKnight
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Post by PhantomKnight on Jan 28, 2022 16:54:07 GMT -5
I put Man on the Moon last... pretty sure I know whose vote managed to get that thing raised six slots.  |
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frankyt
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Post by frankyt on Jan 28, 2022 16:59:57 GMT -5
Airplane for me.
Inexplicably forgot a number 92 tho... But hey votes are in!
Fuck a 92.
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PG Cooper
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Post by PG Cooper on Jan 28, 2022 18:26:08 GMT -5
Was I the highest vote for Fear and Loathing in Las Vegas? I only had it at 29, but I still see its placement at 85 as a war between PhantomKnight and I. Franky had it at 24. I had it at 98, phantomknight at 100 Damn Franky, after all our fights about The Fifth Element and The Age of Innocence.  |
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frankyt
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Post by frankyt on Jan 28, 2022 18:54:03 GMT -5
Franky had it at 24. I had it at 98, phantomknight at 100 Damn Franky, after all our fights about The Fifth Element and The Age of Innocence. May we always come together watching people take and react (good and bad) to various psychedelics. |
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PhantomKnight
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Post by PhantomKnight on Jan 28, 2022 18:59:07 GMT -5
60. The Elephant Man
A Victorian surgeon rescues a heavily disfigured man who is mistreated while scraping a living as a side-show freak. Behind his monstrous façade, there is revealed a person of kindness, intelligence and sophistication.
CS! Voice: I had a pretty poor attitude about The Elephant Man the first time I saw it, but rewatching the film, I'm really not sure why. The Elephant Man is not only amazing, but it's also wholly unique. On paper, the film follows a standard formula for an "inspiring true story" about a man with a disability/deformity who faces all manner of cruelty and judgement but eventually receives genuine human kindness. There are hundreds of movies like this, but they aren't directed by David Lynch. One of cinema's great surrealists tackled overtly sentimental material...and he plays it largely straight. Don't get me wrong, Lynch did not sacrifice his style, but he approaches John Merrick's story with a great deal of sincerity. The Elephant Man is an incredibly emotionally resonant movie, and one which feels genuine. Crucial to this is the subtlety of the performances, with both John Hurt and Anthony Hopkins almost underplaying the moment. There's a brilliant scene where Treves slowly walks over to hug John and the smallness of both Hopkins and Hurt's work (as well as Lynch's restraint) is just devastating. - PG Cooper
59. The Truman Show
An insurance salesman discovers his whole life is actually a reality TV show. CS! Voice: God, I love this movie. LOVE it! It really never gets dull or tired. And now, in the age where we've become so obsessed with reality T.V., it feels so much more relevant and smart...even more so than it did before. Jim Carrey gives one of his best performances ever and the screenplay is just so, so brilliant. Another thing is that before now, I'd see some people label this as science fiction, which caught me off-guard because I personally had always considered it satire. Well, I can see now how it can qualify as science fiction, and it's something that just adds to my overall love of this film. There's so much to unpack with this movie. On its surface, there's obviously the whole prescient satire of reality television and the obsession over it, but when you look past that and dig deeper, you'll also find themes about paranoia/the justification of it as well as the idea of God vs. Man. It's no coincidence that at the end, when asked who he is, the first words out of Christof's mouth are, "I'm the Creator..." Especially considering the context of that scene. The film is also subtly a fascinating science fiction story when you consider the idea behind how Truman got to be who he is in the first place. On top of that, Jim Carrey's performance is phenomenal.
The Truman Show is a movie that fires on all cylinders and I love the hell out of it. - PhantomKnight
58. E.T. The Extra-Terrestrial
A troubled child summons the courage to help a friendly alien escape Earth and return to his home world.
CS! Voice: A magical film to grow up with and have as part of your childhood film experience, and now as well watching it again as an adult. The warmth, the humor, the captivation, over-time it's transcended being "a movie" to find a permanent place in pop culture and a film frequently cited as being among people's favorites. It's always a tad strange writing about a movie that basically everybody on the planet has watched so I'm going to make this brief, but it's great and special and all kinds of other things. If you've somehow managed to never see it, take it in. - John
57. Groundhog Day
A self-centered Pittsburgh weatherman finds himself inexplicably trapped in a small town as he lives the same day over and over again. CS! Voice: Groundhog Day is a dark, philosophical fantasy/sci-fi rom-com, and it truly transcends the genre. It’s one of my top 10 favorite movies of all time. It has the greatest premise of a comedy ever and has an impossibly tight script that manages to take advantage of this story all the way through, and then some. Bill Murray plays the perfectly-tuned cynical bastard who goes on a character arc greater than those in most epics. When his journey through ever-repeating days goes by, he goes through the Kübler-Ross “five stages of grief.” When he’s not following this model, instead of “bargaining,” he has a period of elation and growing omniscience. This also proves to be the source of most of the movie’s humor and fun. (I suppose you could say his failed attempts to win Rita over are a form of bargaining.) But after he bores himself with the first things anyone would pleasure themselves with when one has infinite power, sex and money, his search for love with Rita turns out to be unachievable. The cheap tricks that worked on the local woman, Nancy, don’t fool her, and after he blows it by saying “I love you,” thus begins his fall into the fourth stage of grief: depression. He tries to recreate the “perfect date” he once shared with her, only to lose perspective and the ability for spontaneity and strikes out for what we would have to assume was weeks or more. (Audio commentary for this DVD reveals that originally, Phil was trapped in Groundhog Day for 10,000 years. Think about that.) … This movie would stand as a brilliant piece of fantasy without the comedy, but with that added bonus of hilarity peppered throughout this amazing script, to me, it is a masterpiece. - Jibbs
56. Who Framed Roger Rabbit
A toon-hating detective is a cartoon rabbit's only hope to prove his innocence when he is accused of murder. CS! Voice: Quite possibly Robert Zemeckis's best movie. It's not just that the film is a special effects masterpiece that still really holds up (although yeah, there's definitely that), it's also a great little story. The central mystery is really engaging, the world building hits a good blend of detail without over-explaining itself, and the racism allegory and the film's center is pretty well thought out. That the toons are at once second-class citizens yet also valued as entertainment commodities is a particularly nice touch. I also appreciate how subtle the levels of allegory are. Not that you need a degree in cinema studies to pick up on what's going on, but the film isn't aggressively self-aware of its metaphors. It is a background detail that informs and enriches the story.
The cast here is really great too. Bob Hoskins is wonderful as the curmudgeon private eye with a dark past and his arc, though predictable, is so big that it's really fun to see his transformation. Kathleen Turner also brings just the right vocal quality to Jessica Rabbit and Christopher Lloyd is so perfect as Judge Doom. That the character's design is fucking terrifying also helps. Then of course there's Roger himself. Honestly, I could sort of take or leave Roger, but the ensemble is the real meat of the movie. I guess if I were to nitpick I wish the film had more stylized lighting given its clear noir influences, but this might have been a necessary compromise in blending animation and live-action. But otherwise, Who Framed Roger Rabbit is a hard movie to argue with. It's fun, smart, technically amazing, and the finale is a lovely mix of genuine danger and musical comedy. What's not to love? - PG Cooper
55. Akira
A secret military project endangers Neo-Tokyo when it turns a biker gang member into a rampaging psychic psychopath who can only be stopped by a teenager, his gang of biker friends and a group of psychics.
CS! Voice: I’ve long been wary about revisiting Akira. I’ve heard person after person tell me the storytelling in it is actually pretty flawed because it was adapted from such a long manga and it had been years since I first saw it and was worried it wouldn’t hold up. These fears were unfounded: the movie’s still awesome. I’ll grant you, I can see a couple of places where it seems like it’s been shortened somewhat awkwardly but for the most part I think the story is perfectly easy to follow if you’re willing to put just a little bit of effort into it. What’s more, this movie is just so damn cool. It’s vision of the future was really vivid and probably couldn’t have been done in live action back in ’88 and the film’s influence on popular culture in general is clear and it also clearly played a very important role in introducing anime to a wider audience. - Dracula
54. Platoon
Chris Taylor, a neophyte recruit in Vietnam, finds himself caught in a battle of wills between two sergeants, one good and the other evil. A shrewd examination of the brutality of war and the duality of man in conflict. CS! Voice: While falling just short, in my opinion, of true war genre classics like Saving Private Ryan, Apocalypse Now and Full Metal Jacket, Platoon is nonetheless a legitimately excellent achievement on Oliver Stone's part. The incorporation of standard war movie aspects in the first fifteen to twenty minutes honestly felt more arbitrary than anything else, but from the first gritty attack scene and on, this film adopts a pace and intensity that makes it very riveting. All of the various environments, types of character interactions and the fighting itself have this blunt rawness to them that lends the movie its feeling of authenticity, and that's both not surprising and appropriate, seeing as how Stone drew from his own personal experiences in the Vietnam War while writing the script. I really enjoyed the representation of two kinds of experienced soldiers in the characters played by Tom Berenger and Willem Dafoe, especially since most of the film's most interesting dramatic aspects involve the two of them and their philosophies concerning war. Charlie Sheen turns in a rock-solid performance as well, and there's enough humanity present in him to counterbalance all the brutality we bear witness to throughout. But something I find most interesting about Platoon, though, is that in spite of the presence of thoughts and ideas concerning the nature of war, there's still a straightforward quality to everything meant to capture what it was really like in Vietnam, and from what I can tell, Oliver Stone sure as hell succeeded with that. I may not have personally found it as emotionally resonant as the earlier films I mentioned, but there's no denying the effectiveness of this movie. - PhantomKnight
53. Casino
A tale of greed, deception, money, power, and murder occur between two best friends: a mafia enforcer and a casino executive compete against each other over a gambling empire, and over a fast-living and fast-loving socialite.
CS! Voice: An enthralling and intoxicating look at how the mafia ran Las Vegas which morphs into a poignant character study of a controlling person who comes to realize he can't control everything. Casino has somewhat been lost in Goodfellas' shadow over the years, and while that isn't totally unwarranted, the film is best understood as an expansion of Goodfellas rather than a repetition of it. The gangsters here are certainly working at a bigger scale, and consequently the film becomes more vastly overwhelming, something which is aided by the near-constant bombardment of popular music. Perhaps most crucially though, the elevation in the mob hierarchy leads to a story where the protagonist is punished far less severely for his crimes, setting the stage for The Wolf of Wall Street. - PG Cooper
52. Princess Mononoke
On a journey to find the cure for a Tatarigami's curse, Ashitaka finds himself in the middle of a war between the forest gods and Tatara, a mining colony. In this quest he also meets San, the Mononoke Hime. CS! Voice: What a wonderful film. This is simply one of the best animated films I have ever seen. It's wildly imaginative and it feels like it has deep mythology behind it. I remember Roger Ebert calling this the animated Star Wars, and I see why. Great characters, a weird but interesting story, and just a movie I love to watch. - IanTheCool
51. Braveheart
Scottish warrior William Wallace leads his countrymen in a rebellion to free his homeland from the tyranny of King Edward I of England.
CS! Voice: After 20 years, Braveheart is still a great movie. It's a film that reinvigorated the historical epic and helped pave the way for Gladiator and Kingdom of Heaven before being snuffed out by much lesser movies. It's beautiful to watch, has an amazing score, and offers battle sequences that to this day, after 20 years of similar movies, have yet to be matched.
Detractors of the movie harp on the fact that it's historically inaccurate and that it's a Mel Gibson movie. Both are pretty weak arguments for taking swipes at it since Mel Gibson, all else aside, is a great filmmaker. Also, almost every historical piece is inaccurate to some degree including Braveheart but it would be unfair to judge a Hollywood movie solely based on its adherence to accuracy.
The events in the film take place over a series of years in several different locations. The battles are filmed in open plains using hundreds of extras and practical effects that weren't CGI'd or digitized. This is a film with scope. It's a film that actually looks real, a rarity by 2015 standards. It makes me cringe as to how this movie would have been made differently had it been produced today. Even with the other historical films that came after, this might be the only one that really captures the essence of an 'epic.' Also adding to the flavor is James Horner's tremendous score. Memorable, fully orchestrated film scores seem to be going by the wayside but Braveheart is adorned with one of the best in recent memory. Even 20 years on Braveheart remains one of my favs. - Doomsday
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PhantomKnight
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Post by PhantomKnight on Jan 30, 2022 13:02:28 GMT -5
50. The Fly
A brilliant but eccentric scientist begins to transform into a giant man/fly hybrid after one of his experiments goes horribly wrong.
CS! Voice: A graphic creature-feature and tale of body horror begets a tragedy of lovers facing death. As crucial as Chris Wallace's amazing make-up and effects work are, the real heart of the movie are the performances from Jeff Goldblum and Geena Davis. Both build compelling characters and David Cronenberg spends a lot of time developing his leads, and consequently, the horror hits so much harder. Really, in spite of the make-up effects, there aren't that many horror set-pieces here until the film's final act, but Cronenberg and the actors invest so much into these characters the terror is palpable and profound. Howard Shore's score elevates everything to the realm of high tragedy.
I love this movie so much. It's a laser focused horror story with amazing characters and unshakeable imagery. And that ending's a motherfucker. - PG Cooper
49. Once Upon a Time in America
A former Prohibition-era Jewish gangster returns to the Lower East Side of Manhattan 35 years later, where he must once again confront the ghosts and regrets of his old life.
CS! Voice: Sergio Leone's last film was also one of his best, with this epic life story of two best friends who work together as gangsters. Whether it is a real life story, or simply Noodles' drug-induced dreams is never resolved, but this and the film's non-chronological order add to its effectiveness. The usual brilliant camera-work of Leone's films, and the wonderful musical score by Ennio Morricone are a wonderful accompaniment to the strong violence and character's emotions. The story takes you through all the emotions, but ultimately leaves you feeling emotionally content by the end of the film. The acting of not just De Niro and James Woods, but the entire cast, is superb and at no point does the story-line become overlong or boring. At roughly four hours it takes some commitment, but believe me it is well worth it. This is one of the best-ever gangster films, a true masterpiece from one of the world's greatest directors, and was a perfect sign off for Leone. - John
48. Blood Simple
The owner of a seedy small-town Texas bar discovers that one of his employees is having an affair with his wife. A chaotic chain of misunderstandings, lies and mischief ensues after he devises a plot to have them murdered.
CS! Voice: I definitely underrated this movie on a first watch, Blood Simple rules. I love how the Coens manage to weave this noir story that is both incredibly simple and yet all kinds of convoluted. The film so clearly articulates the ways in which these half-hearted characters are out of their depth in their schemes and end up creating a maze of crossed motives, mistakes, and double-crosses that create a chaotic chain of domino events which explode in bizarre ways. Watching these four characters dig themselves into deeper trouble is riveting. And a big part of that is simply the craft, The Coens directing with supreme confidence and tonal control which is wildly impressive, especially for a debut feature. There is a pitch-black undercurrent of humour that runs through the movie but it never manifests in laughter. It's just pitch-black. To that end, the movie looks great with a lot of ominous dread in the camera movements, while Carter Burwell's score is just perfect. - PG Cooper
47. Brazil
A bureaucrat in a dystopic society becomes an enemy of the state as he pursues the woman of his dreams.
CS! Voice: You either get Brazil or you don’t. Even Roger Ebert’s review calls it average, but he says if he watched it some more that he’d probably start to understand it. It’s “1984” meets Monty Python, and that’s just for starters. Terry Gilliam is at his very best and manages to look deep into the mind of a repressed man while also using British humor to be completely silly. But it’s not exactly “1984.” In Brazil, Lowry isn’t just fighting Big Brother, but technology itself. Gilliam images a future where technology runs our lives, but he seems to be the first to get it right, as we all know technology works as much as it doesn’t. Even in his dreams, Lowry must fight a samurai who is decorated head to toe with microchips, wires, and transistors. In the end, Gilliam even had the balls to have our hero lose.
One of my favorite scenes of all time involves Lowry and Lyme fighting over opposite sides of the same desk through a wall dividing their cubicles. - Jibbs
46. Rushmore
A teenager at Rushmore Academy falls for a much older teacher and befriends a middle-aged industrialist. Later, he finds out that his love interest and his friend are having an affair, which prompts him to begin a vendetta.
CS! Voice: My partner got me this Criterion on Valentine's Day because she rules and I'm glad she did because I love it even more on a rewatch. Eight years between viewings has apparently been kind to Rushmore. Perhaps it's because I "get" The Graduate a lot more than I did then or because I've actually seen Harold and Maude, but I have a much firmer grasp on what Anderson is going for here. More than that though, I just really clicked with the movie. The jokes landed better, the stylistic flourishes felt more precise, the needle-drops more poignant. And then of course, there's Max Fisher. Being more distant from my own teenage years makes it all the more clear just how critical Anderson is of his young hero. There's definitely affection too, but the character is clearly meant to think he's a lot smarter, deeper, and more charming than he really is. I definitely understood that on first viewing, but it's a different experience seeing the movie with more perspective. For all Max's quirks, his cluelessness and inability to really read people is almost painfully relatable. - PG Cooper
45. Das Boot
The claustrophobic world of a WWII German U-boat; boredom, filth and sheer terror.
CS! Voice: It's no easy feat to sell a movie to audiences where they're asked to be sympathetic to the crew of a World War II German submarine. It's also not an easy task when almost the entire film is set in said submarine. Oh yeah, it's also in German (at least it should be if you're watching it correctly). But Wolfgang Petersen's Das Boot uses all those elements to its great advantage and gives us a tense, often dramatic and other times nail-biting look at disillusioned sailors whose questions about why they're doing what they do sit alongside their sense of duty. It's even more impactful when you consider that most people in a U-boat especially toward the end of the war were in their late teens or early twenties. Oftentimes a captain such as the one portrayed by Jurgen Prochnow was hardly over thirty. Youths in battle and innocence lost have often been central themes in war films before but the claustrophobia of being in a hollow underwater shell shoulder to shoulder with other men like you is on full display. The smelly sheets, the moldy food, the dread and excitement of having an unsuspecting target in your sights and the horror of possibly suffocating in your soon to be underwater tomb bring a sense of realism that isn't often found even in modern war movies. There are easy ways to watch the movie, watching it in English instead of German with subtitles, watching shorter cuts, but the harder the route you choose the better. Not only is this a great submarine movie, not only is it one of the greatest war movies ever filmed, it's a great human drama that sits with you long after you finish watching it. - Doomsday
44. The Three Colors Trilogy
Red: A model discovers a retired judge is keen on invading people's privacy.
White: After his wife divorces him, a Polish immigrant plots to get even with her.
Blue: A woman struggles to find a way to live her life after the death of her husband and child.
CS! Voices:
Blue certainly starts things off on a high note. The film opens on a car accident which kills a middle-aged composer and his young daughter, leaving only Julie (Juliette Binoche) behind. From there, we see Julie try to move on from her old life, moving from her opulent home to a small apartment in the city and severing all ties from her old life. Watching Julie cut herself off from the world while processing grief, I kept thinking of Thatcher's infamous quote about how there is no society, only individuals. That view of the world is brought to life here in the most alienating way, with a pervasive loneliness which is accentuated beautifully by the blue color scheme. Other people just feel like a distant island, even Julie herself is a bit of a cypher from time to time, guarding herself at all times. In spite of this, there's a real emotional honesty to Julie, who carries herself with conviction and resolve, yet also clearly doesn't know the best way to deal with her grief. It certainly helps that Juliette Binoche is next level great here. - PG Cooper
That all said, this movie (White) still has a lot going for it, namely Julie Delpy, who is incredibly sexy and alluring here, to the point that you do sort of understand why this guy would be so fixated on her despite the shit she puts him through. I really loved her performance. I also think the movie looks quite good. It's not as beautiful as Blue, which had a more striking titular colour to work with, but the visual style still feels honed and well implemented. - PG Cooper
This (Red) was an easy movie to sink into. The character of Valentine is easy to sympathize and connect with, especially through the dog scene early on. This film is like a zephyr which picks you up and carries you with it. The direction is both understated and overstated at the same time.
Considering the title of the movie is Red, red is a prominent hue in the colour-scheme of the film. You would think this would become obnoxious, but it's actually quite charming and feels woven into the very fabric of the story itself. - IanTheCool
43. Batman
The Dark Knight of Gotham City begins his war on crime with his first major enemy being Jack Napier, a criminal who becomes the clownishly homicidal Joker.
CS! Voice: Even in a time where we are endlessly bombarded by massively marketed and cookie cutter superhero films, it's hard to think of one that claims a place in film history quite like Batman. It shaped how people looked at comic books, how people viewed properties which were once considered childish and corny, and how filmmakers and actors approached them. It would be a decade before the superhero era would really kicked into high gear but Batman demonstrated that the characters on the pages of comic books didn't just belong to the kids. They could be enjoyed by anyone with an eagerness to escape into their imagination. - Doomsday
42. RoboCop
In a dystopic and crime-ridden Detroit, a terminally wounded cop returns to the force as a powerful cyborg haunted by submerged memories.
CS! Voice: I like all of Paul Verhoeven's satirical sci-fi action movies, but RoboCop remains my favourite. I think the key to the film's success is the way it merges social satire with a sincere and empathetic story of a man fighting to retain his humanity. Certainly, Verhoeven's portrait of unrestrained capitalism and corporate greed still rings true, particularly the ways in which the increased privatization of services ultimately undermine society. But the basic character arc is also quite rewarding, in large part because Verhoeven's emphasis is on visuals and music to tell the story rather than dialogue. Crucial too is Peter Weller, who manages to imbibe RoboCop with a great degree of personality and nuanced emotion despite obvious limitations. - PG Cooper
41. Saving Private Ryan
Following the Normandy Landings, a group of U.S. soldiers go behind enemy lines to retrieve a paratrooper whose brothers have been killed in action.
CS! Voice: Saving Private Ryan is full of love, honor and respect for American soldiers and Steven Spielberg finds the perfect balancing act between expressing that in harsh and honest ways while also infusing the story with his own sensibilities. There seems to have been a bit of a backlash to it in the sense that the rest of the movie isn’t as good as the first twenty-five minutes, but that’s frankly a bunch of bullshit to me. The whole film highlights the horrors and gray areas of war while still managing to honor those who fight it, and the effectiveness of such a combination is something that only a storyteller as skilled as Steven Spielberg could have pulled off. - PhantomKnight
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PG Cooper
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Post by PG Cooper on Jan 30, 2022 13:12:12 GMT -5
To think how high Ryan would have ranked if it weren't for me.
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PhantomKnight
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Post by PhantomKnight on Jan 30, 2022 13:16:24 GMT -5
To think how high Ryan would have ranked if it weren't for me. Yes. You son of a bitch.
But hey, at least it still kicked Fear and Loathing's ass.  |
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Post by PG Cooper on Jan 30, 2022 13:21:30 GMT -5
To think how high Ryan would have ranked if it weren't for me. Yes. You son of a bitch. But hey, at least it still kicked Fear and Loathing's ass. I'm frankly just happy Fear and Loathing made it at all. Pretty sure it's downright hated by many here. |
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PhantomKnight
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Post by PhantomKnight on Jan 30, 2022 13:22:41 GMT -5
Yes. You son of a bitch. But hey, at least it still kicked Fear and Loathing's ass.  I'm frankly just happy Fear and Loathing made it at all. Pretty sure it's downright hated by many here. Then I'm in good company. |
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Dracula
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Post by Dracula on Jan 30, 2022 13:29:27 GMT -5
Going to guess that Toy Story was the movie I hurt most with my ranking.
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thebtskink
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Post by thebtskink on Jan 30, 2022 13:52:23 GMT -5
White was my favorite of the three colors. The dude was hilarious.
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PhantomKnight
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Post by PhantomKnight on Jan 30, 2022 13:57:44 GMT -5
White was my favorite of the three colors. The dude was hilarious. That's interesting, cause White generally seems to be the the least-liked among the three. |
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PhantomKnight
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Post by PhantomKnight on Jan 30, 2022 15:05:45 GMT -5
Going to guess that Toy Story was the movie I hurt most with my ranking. I can confirm that you indeed were the one who had it ranked the lowest. |
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thebtskink
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Post by thebtskink on Jan 30, 2022 17:04:37 GMT -5
My vote bumped Once Upon a Time in America up 13 spots. Doomsday bumped Das Boot up 11 spots. Dracula bumped Three Colors up 11 spots. SnoBorderZero kept Batman down 12 spots. PG Cooper kept Saving Private Ryan down 15 spots |
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thebtskink
CS! Silver
Join Date: Jul 2000
It puts the lotion on its skin or else it gets the hose again.
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Post by thebtskink on Jan 30, 2022 17:06:17 GMT -5
White was my favorite of the three colors. The dude was hilarious. That's interesting, cause White generally seems to be the the least-liked among the three. Blue is a snore, and I didn't like Red once the old guy got to court. I also hate the idea of Julie Delpy and the dude from White being on the ferry together. |
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Neverending
CS! Platinum
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Post by Neverending on Jan 30, 2022 17:13:50 GMT -5
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PhantomKnight
CS! Gold
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Post by PhantomKnight on Jan 30, 2022 17:23:54 GMT -5
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PhantomKnight
CS! Gold
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Post by PhantomKnight on Jan 30, 2022 17:37:39 GMT -5
40. Being John Malkovich
A puppeteer discovers a portal that leads literally into the head of movie star John Malkovich.
CS! Voice: So wonderfully weird and creative, with flashes of what would soon come with Eternal Sunshine of the Spotless Mind. This movie explores issues of identity and mortality in really engaging ways, and I also like how unapologetic it is in making the central character sometimes...well, not all that good. Fascinating movie. - PhantomKnight
39. Die Hard
An NYPD officer tries to save his wife and several others taken hostage by German terrorists during a Christmas party at the Nakatomi Plaza in Los Angeles.
CS! Voice: It doesn't get much better than this. Great action, great humor and dialogue, great hero and villain. But what brings this movie to the status it now has is this odd undertone of satire in the movie. If you're a good guy in an action movie and you're not the hero, the chances are you're bad at your job or you're going to die (or both). But Die Hard takes that one step further and brings the FBI's incompetence to a new level. Furthermore, there's the douchebag Ellis getting into trouble in the building and the reporter Richard Thornburg making trouble on the outside. In the end, McClane doesn't just have to fight criminals, but the incompetence of human stupidity. - Jibbs
38. Fanny & Alexander
Two young Swedish children in the 1900s experience the many comedies and tragedies of their lively and affectionate theatrical family, the Ekdahls.
CS! Voice: The film embodies a number of the themes that were prevalent throughout Bergman’s career, particularly conflicted spirituality, but I’m not going to go to deep into the film’s thematic tapestry (firstly because that would take multiple viewings and secondly because I’m a bit too lazy). Instead I’ll simply address it as a great story well told, a level that the film holds up on perfectly, much as it does in the best of Bergman’s work. I was fascinated by this family and the predicament it finds itself in once it was in the clutches of that horrible Bishop. Special mention should be made of this Bishop, played by Jan Malmsjö, who is perhaps one of the greatest villains of film history. It’s well known that Bergman’s father was not unlike this character, lending a dimension of the autobiography to the whole proceedings. On the other end of the spectrum is a character named Gustav Adolf Ekdahl played by Jarl Kulle, who is a clownish middle aged man who seemed grating in his early appearances but who became incredibly fascinating to watch. I particularly enjoyed a scene where these two characters meet and negotiate, leading to a hilarious monologue by Kulle. - Dracula
37. Full Metal Jacket
A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue.
CS! Voice: In any event, I love Full Metal Jacket. Much of Kubrick's career is defined by dark comedy and in this regard his Vietnam epic is second only to Strangelove. While that film laughed in the face of the bleakest violence and insane logic of military systems, Full Metal Jacket oscillates harshly between comedy and horror frequently within the same scene. Sergeant Hartman's vulgar insults are so creatively written and delivered with such oomph by Ermey that you can't help but laugh, until the consequences of violence come crashing down. This is most pronounced on Parris Island. It's funny to watch Hartman cut his men down to size with just a sharp tongue...at least until it isn't funny at all. The gradual deterioration of Leonard's mental well-being is some of the most disturbing material I've ever seen, culminating in an act of violence that is both deeply frightening whilst also being the inevitable end result of a war machine which turns men into killing machines. That the film gets us to laugh elsewhere makes it all that much worse. We feel complicit, not unlike Joker plugging his own ears after participating in Leonard's blanket party. - PG Cooper
36. Boogie Nights
Back when sex was safe, pleasure was a business and business was booming, an idealistic porn producer aspires to elevate his craft to an art when he discovers a hot young talent.
CS! Voice: The all-star cast all does stellar work, Mark Wahlberg and Burt Reynolds especially. And the strength of the acting just goes to show how great of a director Anderson can be, as he can get tremendous performances out of actors who we normally think wouldn't be this good. But Boogie Nights also hammers home the fact that Anderson can create incredibly sympathetic and human characters out of people who either populate areas that are less-than-commendable or just happen to be involved in industries or jobs that aren't exactly parts of high-standing society. I genuinely came to care about all these characters, even though they're engaged in one of the dirtiest businesses possible.
Also on display in Boogie Nights is the sheer power of Anderson's filmmaking. Between the abundance of awesome tracking shots and his ability to effortlessly cut between four and five different events going on at the same time, Anderson never misses a beat, and the film EARNS every minute of its long running time. But Anderson isn't just making a movie about the passion of skin flick producers -- he's making a movie about the passion and integrity of any determined director in general.
35. The Thin Red Line
Adaptation of James Jones' autobiographical 1962 novel, focusing on the conflict at Guadalcanal during the second World War.
CS! Voice: I'm so happy that I came around on Malick. This was my first rewatch since high school and something of a magical experience. So much of Malick's style is defined by an audio-visual poetry that can be hard to really describe through words, so I will keep this brief. All I want to say is that The Thin Red Line is one of the most beautiful and affecting movies I've ever seen, an honest attempt to grapple with mortality on a canvas that is both vast and epic but also intimate and personal. An early scene sees Private Witt wondering if he'll be able to meet death with the same calm his mother did, and without getting too deep into spoilers, I don't think the film really answers this question. That tension goes unresolved because, of course it does. How would any of us know how we'll face death until the time actually comes?
That the film is set amidst the pacific front of World War II heightens this probing of mortality, with death punctuating so many scenes and lingering as an ever-prescient possibility. In some ways, the serene tranquility Malick captures within nature tempers that violence, but in some ways that does the opposite. The opening minutes of the film in particular are so serene, so peaceful, so thriving in life and beauty, that it becomes all the more shattering when war ships cruise into frame, or one human being is torn apart by gunfire and explosions. And yet, as Malick's camera frequently reminds us, life does go on. There is a hope, if indefinable, at the heart of this movie, as there is throughout Malick's work. - PG Cooper
34. Eyes Wide Shut
A Manhattan doctor embarks on a bizarre, night-long odyssey after his wife's admission of unfulfilled longing.
CS! Voice: Stanley Kubrick’s final misunderstood masterpiece. Many people seem to have a problem with this because they look at it like a conventional narrative. More so than any other Kubrick film, this can’t be watched like a conventional movie. This is a very dreamlike, highly symbolic film about the struggles of monogamy. The highlight is the extended orgy scene, one of the most brilliant sequences in Kubrick’s career. There’s something very creepy yet compelling about the notion of accidently stumbling across something as profoundly weird (yet plausible) as that. Also there’s more suspense at the end of that sequence than there is in most horror films. There are some legitimate complaints, mainly that Tom Cruise is not great here, but for the most part I think this is a great film worthy of ending Kubrick’s great career. - Dracula
33. This Is Spinal Tap
Spinal Tap, one of England's loudest bands, is chronicled by film director Marty DiBergi on what proves to be a fateful tour.
CS! Voice: Martin DiBergi's documentary (I guess I should say "rockumentary") does a great job of capturing the sights, sounds and smells of rock and roll as it follows the career of the band Spinal Tap on their tour around the world and elsewhere.
Here we get to know David St. Hubbins, the fire; Nigel Tufnel, the ice; and Derek Smalls, the warm water, as they go about their daily rock and roll business. And not only is it a great document, it's also really funny. It's so funny, it's like, how much more funny could it be? And the answer is none; none more funny. Be sure to check it out. - IanTheCool
32. The Terminator
A human soldier is sent from 2029 to 1984 to stop an almost indestructible cyborg killing machine, sent from the same year, which has been programmed to execute a young woman whose unborn son is the key to humanity's future salvation.
CS! Voice: In the future, computers take over and destroy mankind. So many science-fiction tales have predicted this that I'm sure it'll become true someday. In the meantime, all we can do is hope that we'll have a savior. And that's the story that The Terminator decided to tell. It's about a cyborg from 2029 being sent to 1984 to kill the mother of the man who'll rescue the human species before she even gets pregnant. And sent to protect her is a soldier who had a crush on her based on an old photograph he was given. The Terminator is, of course, the breakout movie for mega director, James Cameron, and for good reasons. It's a masterpiece action-thriller from beginning till end. The keyword being "thriller." Unlike the sequels, which relied heavily on action sequences, this is very much a horror story and Cameron focuses more on suspense than thrills. Some may prefer the sequels, but I think the original is still the best because this genre works best for this type of story. - Neverending
31. The Thing
A research team in Antarctica is hunted by a shape-shifting alien that assumes the appearance of its victims.
CS! Voice: Watching Shout Factory's excellent Blu-Ray really stresses just how beautiful The Thing is. That greater level of visual fidelity is about all I needed to push The Thing into the "all-time favourites" category. The film is a lean, tense exploration of paranoia and isolation built around an ingenious sci-fi/horror premise and with an awesome ensemble cast anchored by Kurt Russell. And if nothing else, The Thing offers some of the most deliciously gruesome body horror effects in film history, with creature designs that are as sickening as they are beautifully creative. This is John Carpenter's masterpiece. - PG Cooper
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frankyt
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Post by frankyt on Jan 30, 2022 18:51:43 GMT -5
I suspect I carried boogie nights to that spot.
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