My Top 100 films..... for Right now!

[L .B . Jeffries]

As I was putting together my top 25 list for "MoFo Top 100 Movies, Part III". I realized and had a massive amount of films left over and instead of just scrapping the rest. I've decided to make a top 100. Seemed to make sense, at least at the time. I think such a list as this should be based purely on taste. Not what everybody else considers to be the best. An recommendations as I list my best films is always appreciated and of course debate, discussion, reflect, laugh at me, tell me I’m crazy, wrong, right, whatever is always welcome.

So Far
45. Richard Pryor: Live on the Sunset Strip (1982) Joe Layton
46. Fight Club (1999) David Fincher
47. City of God (2002) Fernando Meirelles and Kátia Lund
48. Master and Commander (2003) Peter Weir
49. Eyes Wide Shut (1999) Stanley Kubrick
50. Lethal Weapon (1987) Richard Donner
51. Laura (1944) Otto Preminger
52. The Searchers (1956) John Ford
53. Das Boot (1981) Wolfgang Petersen
54. Superman (1979) Richard Donner
55. The Big Sleep (1946) Howard Hawks
56. Platoon (1986) Oliver Stone
57. Wild Strawberries (1957) Ingmar Bergman
58. Dr. Strangelove (1964) Stanley Kubrick
59. The Good, The Bad and The Ugly (1966) Sergio Leone
60. Blow-Up (1966) Michelangelo Antonioni
61. Star Wars (1977) George Lucas
62. Heat (1995) Michael Mann
63. The Manchurian Candidate (1962) John Frankenheimer
64. GoodFellas (1990) Martin Scorsese
65. Apocalypse Now (1979) Francis Ford Coppola
66. The Thin Blue Line (1988) Errol Morris
67. Point Blank (1967) John Boorman
68. Miller's Crossing (1990) Joel Coen
69. Peter Jackson: Lord of the Rings: The Fellowship of the Ring (2001)
Peter Jackson: Lord of the Rings: The Two Towers (2002)
Peter Jackson: Lord of the Rings: The Return of the King (2003)
70. Rio Bravo (1959) Howard Hawks
71. Mulholland Drive (2001) David Lynch
72. The Silence of the Lambs (1991) Jonathan Demme
73. The Fisher King (1991) Terry Gilliam
74. Breaking In (1989) Bill Forsyth
75. The Bridge on the River Kwai (1957) David Lean
76. The Flight of the Phoenix (1965) Robert Aldrich
77. White Dog 1982 (Samuel Fuller)
78. Zodiac (2007) David Fincher
79. Bullitt (1968) Peter Yates
80. The Ghost and Mrs Muir (1947) Joseph L. Mankiewicz
81. The Ninth Configuration (1980) William Peter Blatty
82. Jackie Brown (1998) Quentin Tarantino
83. Rolling Thunder (1977) John Flynn
84. Bad Day at Black Rock [John Sturges] 1955
85. Taking of the Pelham One, Two, Three (1974) Joesph Sergent
86. Get Carter (1971) Mike Hodges
87. 101 Dalmatians (1961) Clyde Geronimi Hamilton Luske Wolfgang Reitherman
88. Raiders of the Lost Ark (1981) Steven Spielberg
89. The Big Easy (1986) Jim Mcbride
90. Profondo rosso aka Deep Red (1975) Dario Argento
91. King of New York (1990) Abel Ferrara
92. The Stunt Man (1980) Richard Rush
93. Nobody’s Fool (1995) Robert Benton
94. The Hill (1965) Sidney Lumet
95. Koyaanisqatsi (1983) Godfrey Reggio
96. Secrets and Lies (1996) Mike Leigh
97. Unbreakable (2000) M. Night Shyamalan
98. The Game (1997) David Fincher
99. Last Action Hero (1993) John McTiernan
100. Alive (1993) Frank Marshall



100. Alive (1993) Frank Marshall
http://movieodyssey.com/files/2009/07/alive.jpg
I've always been intrigue by "Man against Nature". Based on a true story Frank Marshall in his second film as a director waste little to no time thrusting you into the major meat of the story. A Plane full of rugby player and family members crashes on a mountain in the middle of the Andes with minimal rations and hope as their only chance of survival. What they think first is, will get pick up within the week. It becomes glaringly obvious that this won't be happening. To be saved they will have to save themselves. What transpires next is pure survival over nature and humanity. The Acting is riveting. The effects are impartial yet strong.

99. Last Action Hero (1993) John McTiernan
http://www.latenightwithjimmyfallon.com/actionhero.jpg
Okay.... I'm expecting to hear it from a lot of people on this one. I'm not going to get into the whole fact that it was universally panned by critics or the fact that it was a bomb at the box office (I saw it at the theatres). I'm an ACTION JUNKY plain and simple, there's no other way to put it. From that simple perspective as an action movie it has it all and then some. The humour is so perfect. The timing, just right. The constant flux and interactive jousting of having fun with you and itself makes it feel timeless. Mctiernan takes it even further by making fun his own films and other such popular action movies. It’s absurdly clever descriptively honest about itself. It wears its heart on it’s sleeve. Sometimes I wish that more people love it but, really does it matter or make a difference. naw.... it doesn’t nor should it.

98. The Game (1997) David Fincher
http://thisdistractedglobe.com/wp-content/uploads/2008/02/the-game-1997-michael-douglas-pic-1.jpg
This was for the longest time my favourite film. I’ll be forthright in that everything doesn’t quite and isn’t quite neatly wrapped up in it’s storyline continuity. This was my first David Fincher film¸ where I knew who he was. I was in the hands of a young interesting filmmaker that was going to take me to new places, new aspects, new techniques of celluloid dreams.


97. Unbreakable (2000) M. Night Shyamalan
http://www.scifiscoop.com/wp-content/uploads/2009/06/unbreakable_blu_ray.jpg
Call it wishful thinking that there are heroes, heroes that possess the ability to have power that aren’t so unimaginable to be real and for those people not to have knowledge of who they are. What seems like an everyday man with similar problems as you and me. no magical kryptonite just water as a weakness. A man with family troubles we all have them. Now that everybody is off of M. Night Shyamalan jock it seems like people have done a 180 and now have decided that his films are garbage. I think now his films can be true consider good or bad this one happens to be good.


96. Secrets and Lies (1996) Mike Leigh
http://auteurs_production.s3.amazonaws.com/stills/7349/Secrets___Lies.jpg
Mike Leigh Secrets and Lies reminded me a lot of Ozu`s films which is high praise the only considerable difference was the sheer amount of improvisation. The Camera was always firmly planted non intrusive keeping the actor secure and safe. An emotional high pitch is keep throughout even in the more subtle scenes the acting is amazing. profound reality.

95. Koyaanisqatsi (1983) Godfrey Reggio
http://wonderchroma.com/wp_prod/wp-content/uploads/2009/04/koyaanisqatsi.jpg
Visually poetic. The value of this films massage keeps on getting stronger and stronger everyday.

[TheUsualSuspect]

Rep for having the balls to put Last Action Hero on your top 100. I like it too, mainly because of it's tongue in cheek vibe to it.

My one problem is why the villain, who can go into any movie and bring out anyone, decides to bring out the one guy that the hero has already beaten. Just because he took away his son too? I don't buy it.

[L .B . Jeffries]

Rep for having the balls to put Last Action Hero on your top 100. I like it too, mainly because of it's tongue in cheek vibe to it.
My one problem is why the villain, who can go into any movie and bring out anyone, decides to bring out the one guy that the hero has already beaten. Just because he took away his son too? I don't buy it.

The Villian played charismatically by Charles Dance doesn't know anything yet about the real world therefore nothing about real movie bad guys (Alternate Universe). So, I think he goes for what he know best the movie Universe of Jack Slater which he knows to exist because he came from it. He simply went with what he knows and simultaneously have fun doing it. What better way to piss Jack Slater off by choosing the man who killed his son. By bringing Tom Noonan's Ripper character back the film comes full circle. The movie scenario that once occupied the first reel which was "just a movie" now is a "real life scenario" no extra takes it's do or die.

I'm just thinking about the car chase scene were AC/DC kicks in

check it out
http://www.youtube.com/watch?v=afzqnyxZxQM

[christine]

Hey LB, looking forward to seeing the rest of your 100 . You have some good ones so far, particularly like you having Secrets and Lies :)

[Powdered Water]

Great start. I love reading these.

[SoulInside]

Last Action Hero is on my list, too. Mind if i use your picture?
BTW - Nice start with these dark modern movies. :cool:

[L .B . Jeffries]

Last Action Hero is on my list, too. Mind if i use your picture?
BTW - Nice start with these dark modern movies. :cool:

Thanks. Of course you can use the pick, no problem. I'm just glad i'm not the only one out there that loves this film.

[Powdered Water]

Not my favorite Arnie flick, but definitely up there. I love that this looks like it will be a very personal list. That's how these lists should be. Can't wait to read the rest of it.

[L .B . Jeffries]

94. The Hill [Sidney Lumet] 1965
http://seanconneryonline.com/hill_cover.jpg
The cast is bloody fantastic just look at what you’ve got (Sean Connery, Ian Bannen, Alfred Lynch, Ossie Davis, Roy Kinnear, Jack Watson, Ian Hendry and Michael Redgrave). Tight, taunt, precision directing by Sidney Lumet with one of cinema’s best photographers Oswald Morris. The first shot is a long extending crane dolly shot that runs over the title sequence. Auspicious in it’s nature, the shot gives you a private look into the films central character the army prison and more importantly “The Hill”. Lumet having now had the experience of directing 12 Angry Men, Long Day’s Journey Into Night, The Pawnbroker and Fail Safe. All being very stage-like in there representation of filmmaking. All the films were populated with a small number of cast members and minimal set design. The Hill came next. I think it just might be his best of his earlier work. By staying with his roots, He was able to achieve such high control over the environment and staged scenes. With His background being television he choose a similar comfortable environment to make his earlier work which breed creativity and detailed texture.

93. Nobody’s Fool [Robert Benton] 1995
http://blogs.citypages.com/amadzine/NobodysFool1.jpg
Just when you thought Hollywood stop making films like these. Benton wrote and directed one of my favourite capraesque films. A huge ensemble cast with multi players involved. It’s a story about the coming of age. It just so happens the person coming of age is in his late 60’s. Set in a small town with eccentric characters and were of course everyone knows everybodies business.

92. The Stunt Man [Richard Rush] 1980
https://www.sandiegohistory.org/journal/2002-2/images/p97.jpghttp://ecx.images-amazon.com/images/I/512EXM3F2GL._SL500.jpg
Movie within a movie within a movie premise. I know, it sounds confusing and it could have been heavy handed but, it’s all very well handled by Rush who now looks to be a two hit wonder the other great film being Freebie and the Bean. The story is about the making of a film, the actors lives involved in filming the film, the actual footage of the film that’s being shot while simultaneously watch the actual finished film you are watching. Really it’s not as complicated as that sounds. It's complex but easy to follow. Truffaut made Day for Night Rush made The Stunt Man the material is more involving and the film is more larger in scope. I choose The Stunt Man.

[honeykid]

+ rep for The Hill. :up:

[L .B . Jeffries]

91. King of New York [Abel Ferrara] 1990
This movie has so many memorable moments so many memorable characters. You wanna be the bad guys. There cool. Dressed in black. Getting all the beautiful women, drugs, cash and guns. I can’t believe how young everybody is in this film Fishburne might have been the most seasoned vet next to Walken. For the most part Ferrara doesn’t tickle my fancy but he hit a home run with this one. The violence is so sudden and shocking this movie is ruthless. Brilliant stuff.

Rather than putting some picture up check this freakin amazing dialogue out.

Frank White: From now on, nothing goes down unless I'm involved. No blackjack no dope deals, no nothing. A nickel bag gets sold in the park, I want in. You guys got fat while everybody starved on the street. Now it's my turn.

Frank White: I've got a $250,000 contract on any cop involved with this case.
Roy Bishop: Do you really expect to get away with killing all these people?
Frank White: I never killed anybody who didn't deserve it.

Frank White: You think ambushing me in some nightclub's gonna stop what makes people take drugs? This country spends $100 billion a year on getting high, and it's not because of me. All that time I was wasting in jail, it just got worse. I'm not your problem. I'm just a businessman.

brilliant.......

90. Profondo rosso aka Deep Red [Dario Argento] 1975
http://www.iraqna1.com/vb/imgcache2/24622.gif
There’s such a fusion of bright colours and deep dark blacks. This film is manic. I still vividly remember my first viewing of this film and being blow away by its sheer jarring effect it had on my mind. The score in most likely any other film would have been off putting but here it elevates panic like as if something is crawling under your skin. It’s also many things such as the cat and mouse game played between the antagonist and protagonist, part horror for obvious reasons, whodunit film, neo noir, slasher film, and a sleuth of genres. I think what really pushes it over the edge for me in the end is the dreamlike quality that surrounds the film. It reminded me of that eerie feeling you get from being in fog.

[TheUsualSuspect]

The Villian played charismatically by Charles Dance doesn't know anything yet about the real world therefore nothing about real movie bad guys (Alternate Universe). So, I think he goes for what he know best the movie Universe of Jack Slater which he knows to exist because he came from it. He simply went with what he knows and simultaneously have fun doing it. What better way to piss Jack Slater off by choosing the man who killed his son. By bringing Tom Noonan's Ripper character back the film comes full circle. The movie scenario that once occupied the first reel which was "just a movie" now is a "real life scenario" no extra takes it's do or die.

I'm just thinking about the car chase scene were AC/DC kicks in

check it out
http://www.youtube.com/watch?v=afzqnyxZxQM

I don't know, he seemed to be able to grasp the difference pretty early on. Even so, why only one? Why not bring a whole army. Just a small gripe of mine, but I can see your logic.

What I would have liked to have happened is have Slater meet the kid actor who played his son. Or would that have been too dramatic for this fun popcorn flick?

[L .B . Jeffries]

I don't know, he seemed to be able to grasp the difference pretty early on. Even so, why only one? Why not bring a whole army. Just a smile gripe of mine, but I can see your logic.

What I would have liked to have happened is have Slater meet the kid actor who played his son. Or would that have been too dramatic for this fun popcorn flick?

Well, I think he had to adjust just like Slater had to adjust. For example when Slater replays the "car chicken scene" this time around he now pays for it for the first time by feeling real pain. Charles Dance doesn't know exactly what he can and can't get away with. Which is why he shoots an innocent man times it with his watch and yells out loud to the new york streets that he has just commited a murder. Nothing happens but people telling him to shut up from the apartments above.


Remember the card has a mind of it's own. It works when it wants to work. Slater's is on his tale. He needs a very good distraction again another good reason to bring back Tom Noonan's character also he probably was the first experiment Dance's character choose to bring out of a film. Knowing that it had work in a previous Slater movie trying another only seemed logical. I see were your coming from though. I just think he wanted someone else to do is dirty work for once instead of himself which he was always "that guy" in Slater movies. Never the guy calling the shots. You also need someone crazy enough to listen to Dance you can't bring just anyone out of a movie what makes you think that there going to do what he asks of them to do. They've got no reason to want to hurt Slater only Slater villians have a reason.

I never really thought of that storyline maybe it could have worked but at the same time I beileve that over the period of the film he gained a real son. yeah, plus it would have been too weird because he now knew and excepted that that wasn't his real kid even though it left him emotional scared. I mean as the movie progresses he excepts certain realities and he realizes his movie son never really died it was an actor make belief so to speak.

The Attachment he once felt to his movie son has now been replaced with an even strong bond that's been created with the kid. It's more important to Slater more real to Slater.

[L .B . Jeffries]

89. The Big Easy [Jim Mcbride] 1986
One of my favorite movie posters
http://www.movieforum.com/movies/posters/thrillercrime/images/thebigeasy.jpg
Of all the talented american directors to come from the late 60’s. I wish McBride's film career had been more successful and therefore able to make more films. What where left with is one of the most intriguing remakes ever put on film of Godard’s Breathless, An assertive autobiography of Jerry Lee Lewis in Great Balls of Fire and what might be the best neo noir ever made and defiantly one of the most creatively shot films to capture New Orleans. Ellen Barkin is red hot and Dennis Quaid plays around with Barkin beautifully. The love affair between the two stars has some of the most intensely hot creatively steamy scenes in film. The film has an incredible heartbeat.

88. Raiders of the Lost Ark [Steven Spielberg] 1981
To think this scene could have been different.
http://www.youtube.com/watch?v=TAoJrNbgUoI&feature=related
Adventure doesn’t get much better, does it. I could cheat and throw them all in as a whole series. On the strength of just part one and part three alone. I’m also a believer of the others not being too far behind. I like the free wheedling nature of it all. The beauty of surprise. The interaction between characters. The humor being so absurd. How can you honestly not like this film? say what you want about other Spielberg films but, not this one. "You dare not do that" Mola Ram.


87. 101 Dalmatians [Clyde Geronimi Hamilton Luske Wolfgang Reitherman] 1961
http://images.amazon.com/images/G/01/dvd/aplus/101dalmatians/101dalmatians2lg.jpg
From all the Disney classics this one has stayed closest to my heart. I’m amazed as to how well this movie plays as a kids movie and as an adult movie simultaneously. Eccentric in its design, Distrubing in its underlying story and joyfully assembled.

[L .B . Jeffries]

86. Get Carter [Mike Hodges]
http://listverse.files.wordpress.com/2008/05/cartergeweer.jpg
I can’t think of a better film that on first viewing I really didn’t enjoy and on second viewing I had completely fallen in love with. Revenge, drama, family bonds and Running naked in the streets with only a shotgun in hand. All types of good stuff. Michael Caine in one his most memorable British roles turns the screws on the people he believes to be involved with his brothers death.

85. Taking of the Pelham One, Two, Three [Joesph Sergent]
http://bopandbeyond.files.wordpress.com/2009/06/pelham123.jpg
A taunt thriller.With a sense of pace and accuracy. Tight filmmaking from Sergent. Matthau in his best lead role plays Lt. Zachary Garber of the New York City Transit Police. A subway train is hijacked by 4 bad guy who call themselves Mr. Blue, Green, Grey and Brown. Ultra-cool film that has supreme repeatability.

[honeykid]

Two excellent choices there, LBJ, and two of my favourite films, too.

[L .B . Jeffries]

Two excellent choices there, LBJ, and two of my favourite films, too.

Thanks. Have you seen the remake of Get Carter ? what a sorry state of affairs that film was. It's funny but I just now realized that both films are remakes of 70's films coming back to back. The new Pelham is much more better then what I accept was going to be nearly impossible to improve upon which it really didn't. Mr. Scott has creative style and the film exudes style. I also thought Washington was great.

[honeykid]

No, I've not seen either remake, LBJ. The first I avoided for the, IMO, excellent reason that Sly Stallone seemed to be very involved with its production, as well as starring in it. Those circumstances in combination with a remake of Get Carter just meant I had zero interest in seeing it.

Pelham was a remake that I was very interested in and quite looking forward to, until I saw that Travolta was cast as 'the villian'. I was still interested after that, but I wasn't looking forward to it nearly as much. I'll see it on dvd and, hopefully, really enjoy it. Unforunately, I don't think I'll be unable to not compare it to the original.

[L .B . Jeffries]

I don't blame you for your hesitation esp Get Carter, stay away!. I was going to mention Travolta being not as bad as he's been in recent years but he's barely passible. Still though I'd recommend it on the strength of Scott's direction and Washington's lead performance. There are a few attempts to add backstory that you'll either hate or find interesting.

[L .B . Jeffries]

84. Bad Day at Black Rock [John Sturges] 1955
http://farm1.static.flickr.com/170/429958894_2fa97e45e5.jpg
I love the way this film can not be contained to one genre. How you feel everything. That sense of being trapped as Spencer Tracy does. How the sun and heat make you feel hot and sweaty. it’s a detective story yet there are no detectives. It’s a murder mystery yet you don’t see or even know if there was a murder. How every character has a propose and how a character you never see only know by name carries the weight of the story.

83. Rolling Thunder [John Flynn] 1977
http://www.aintitcool.com/images2009/MondoRolling.jpg
Certainly Vengeance as a main theme has been captured in cinema since this film was made. I’m just not sure if it’s bin done any better then Flynn and Schrader. Violent, explosive and unforgiving. Sometimes an actor give’s a performance that’s head or heals his best and for some unknown reason is never able to top it or even come close to it. William Devane does it in Rolling Thunder.

[L .B . Jeffries]

82. Quentin Tarantino: Jackie Brown (1998)
http://www.elmoreleonard.com/images/uploads/jackiebrownposter.jpg
I pretty much like everything Tarantino has done. This being his best imo. The fluid story takes you through multiple characters with crystal-like precision . I find it a bit strange that what I consider to be his best is not based off of an original screenplay when almost everything else he’s done is. He brought back Pam Grier but just as important he brought back Robert Forster. Almost all of cinema’s love stories seem to revolve around young people or love through a timeline as you see them young and then old together. What Jackie Brown establishes is that love at any age is beautiful and timeless. You need people you can trust and depend upon. All the cast his excellent and it would just take way too long to go over everybody’s characrters


81. The Ninth Configuration [William Peter Blatty] 1980
http://www.moviegoods.com/Assets/product_images/1020/300320.1020.A.jpg
Off beat would be conservative when describing this film. It’s defiantly not for everybody and it has no specific genre to put itself in. It deals with faith in the human spirit and has mystical qualities. There are also moments of sheer terror and one of the most explosive scenes of violence in the history of cinema. To give anything away would not be right. I wish Stacey Keach has really caught on and done more stuff.

[honeykid]

Liking this list so far, LB. :)

As it's your favourite Tarantino film I think I already know the answer to this question, but I'll ask anyway. Didn't you feel that Jackie Brown went on too long? For me, this was the first time I thought that Taratino was being overly indulgent. I didn't think that the last 20-30 minutes were justified in terms of the narrative.

I will say that the more I've watched the film, the more I like it but I still feel the same way about it.

[L .B . Jeffries]

Liking this list so far, LB. :)
Didn't you feel that Jackie Brown went on too long? For me, this was the first time I thought that Taratino was being overly indulgent. I didn't think that the last 20-30 minutes were justified in terms of the narrative.

This may or may not be a good argument on my behalf per se. I believe Tarantino has these types of moments or rather scenes littered all over his cinema. In every film he's every made there’s moments that go on for way too long, it really is only a matter of how much your into the characters and not so much wanting the story to end. I can honestly say that I wanted the story to go on maybe see Pam Grier on some tropical island kick’ in back margaritas and Robert Forster waiting a year to then catch up with her on some beach and Hoping just maybe I’d get Jackie Brown part II but atlas this will have to stay within my imagination. This activity is also part of Tarantino's charm his ability to bring the story to a snails pace and keep you enthralled and intrigued.

[thewyse]

Props for 101 Dalmations

[christine]

This may or may not be a good argument on my behalf per se. I believe Tarantino has these types of moments or rather scenes littered all over his cinema. In every film he's every made there’s moments that go on for way too long, it really is only a matter of how much your into the characters and not so much wanting the story to end. I can honestly say that I wanted the story to go on maybe see Pam Grier on some tropical island kick’ in back margaritas and Robert Forster waiting a year to then catch up with her on some beach and Hoping just maybe I’d get Jackie Brown part II but atlas this will have to stay within my imagination. This activity is also part of Tarantino's charm his ability to bring the story to a snails pace and keep you enthralled and intrigued.

Agree with you!

[L .B . Jeffries]

80. The Ghost and Mrs Muir [Joseph L. Mankiewicz] 1947
http://www.hollywood-north.net/9ghostmuir.jpg
This love story, oddly enough is about a women falling in love with a ghost. You'd think it would end up being quite silly it's all rather done beautifully. A haunting film that enchants you.

79. Peter Yates: Bullitt 1968
http://static.desktopnexus.com/wallpapers/213314-bigthumbnail.jpg
I don’t consider it to be just another car chase film. McQueen’s portrayed of a loner cop living in a flat, eating TV dinners, wear turtle neck sweaters with a visible gun strap driving around the streets of San Fran in a Ford Mustang is the stuff of legends. I see a lot of imitations and homage’s. Yates later went on to make his best film in Breaking Away. There’s an easy argument to be made that McQueen has done far better film as well. Although Bullitt is the stand out for me. It breathes his personality and exudes his Cool Cat persona.

78. Zodiac [David Fincher] 2007
http://tf.org/images/covers/tf.org-Zodiac-free-2007.jpg
The attention to detail is astounding. I really expected something rather different but was completely blown away from what I got.

77. Samuel Fuller: White Dog 1982
http://godvsgodard.files.wordpress.com/2009/11/white-dog1.jpg
I haven’t seen everything of Fuller’s yet. though I have seen my share. This film will make you uncomfortable, angry and most important understanding. I only shall reveal the basic plot. Imagine a white dog that has been trained to be raciest. Simple, wait until you see it in the hands of master.

[Classicqueen13]

Very interesting list so far, L.B. I can't say I share your love of Bad Day at Black Rock, however. I look forward to seeing the rest of the list :yup:

[L .B . Jeffries]

76. The Flight of the Phoenix [Robert Aldrich] 1965
Like Alive Man versus Nature has always been an element of cinema that has intrigued me. The expanse of the desert the feudal expulsion of energy to do the most simplest of tasks. Stewart in what might be his most determined role is the airman that fly’s them into a sand storm. From there his responsibility for the men burdens him with a weight he become more and more uncomfortable with. He becomes weary of himself and is afraid to take any chances. Hope is all but lost when a German passenger suggests a crazy idea. "lets make a plane out of a the destroyed plane". I love the way the desert never looks the same always changing as if it was an evil chameleon entity.

75. The Bridge on the River Kwai [David Lean] 1957
One of my favourite epics. One unhealthy part of an epic is the lack of meat a character is able to create in the process of have so many other characters to show. Lean was a master of such filmmaking sometimes it only took a scenario, a look, a word, a action and bang! you were convinced you were involved hook line and sinker. I felt the building of the bridge and the men behind it. the process of it all was like watching the film being made before your eyes.

[nebbit]

Loving your list so far :love:

So nice to Secrets and Lies in there I :love: it, not matter how many times I watch it I still :bawling: in parts and :laugh: in others, good choice :yup:

[L .B . Jeffries]

74. Breaking In [Bill Forsyth]
http://cdn1.ioffer.com/img/item/901/982/26/breakingin.jpg
I love the subtlety. The natural humor between the two leads. The film’s feel. The beautifully composed vignettes that they put themselves into. I think of all that Burt Reynolds has done, he’s had his fair share of greats this is my favourite. I really wish Forsyth had made more films. He’s one of the greats. A bit Mallick/Kubrick-like in his private life.

73. The Fisher King [Terry Gilliam] 1991
http://images.gittigidiyor.com/1058/BALIKCI-KIRAL-THE-FISHER-KING__10580648_0.jpg
I recently re-watched Gilliam's drama-fantasy and I can say everything plays so darn well together. The timing, the charm, the imagination and that balance of reality and fantasy bursting out. There’s this slight off pitch it really shows in the repetitive feel that the film goes threw putting you into similar situations. Sometimes in that very same settings but always getting some absolutely new and exciting.

72. The Silence of the Lambs 1991 [Jonathan Demme]
http://collectingtokens.files.wordpress.com/2008/06/silence_of_the_lambs_ver2.jpg
Demme’s work with the medium has little discernable in it’s continuity from one project to the next. Weather you like him or not and weather you enjoyed this film or not His scope as a director can not be overlooked.

71. Mulholland Drive [David Lynch]2001
http://www.coverbrowser.com/image/soundtracks/657-1.jpg
Here’s my worry I haven’t watched this film since it’s initial release on DVD (4 viewings). It’s now been almost 10 years. The strength, I remember in the film. Comes in the maze like quality that the film exuded within you mind the complex weaving of narrative to produce a very organic film.

70. Rio Bravo [Howard Hawks] 1959
http://bighollywood.breitbart.com/files/2009/05/rio_bravo_song_540.jpg
Sometimes your in need of something some fun. Characters you can route for, bad guys you don’t have to be worried about in singularity only quantity. It has it’s fair share of absurd moments but here's the weird thing those maybe the most cherished moments. There’s a certain coolness to it all.

69. Peter Jackson: Lord of the Rings: The Fellowship of the Ring (2001)
Peter Jackson: Lord of the Rings: The Return of the King (2003)
Peter Jackson: Lord of the Rings: The Two Towers (2002)
http://www.poster.net/lord-of-the-rings/lord-of-the-rings-return-of-the-king-heroes-flames-4900867.jpg
One of my cheats (putting all three films as one film). I love being in the hand of Jackson adventure his ability to take you to another world. It’s what fantasy is all about right?. It’s stronger and better played out as whole. Each film in singular form has there moments or parts that don’t work as best wished for but, as a whole it somehow overcomes all this.

68. Miller's Crossing [Joel Coen] 1990
http://sites.google.com/site/faufilmclub/news/millerscrossingandeverythingelse/millers-crossing.jpg
Could this be the biggest film secret of 90’s, I think so. Bryne is impeccable as the loner, Finney is fantastic as the Irish mob boss Man ! I could just go on and on The rest of the cast is phenomenal. Imagine blindly opening up a puzzle and working on it, not knowing what you’ve got as you slowly start to piece things together it becomes more and more evident but only in spots every piece has to be laid out to get to that final and critical moment of clarity, the last piece.

[nebbit]

Nice choices again :yup: I love Millers Crossing :yup:

Never seen Breaking In :nope: so have added it to my must see list Thanks :yup:

[honeykid]

I love Miller's Crossing. Not my favourite Coen's film (The Big Lebowski) but I think it's their best.

[SoulInside]

Rep for Jackie Brown. And I´m curious about the White Dog right now.

[L .B . Jeffries]

67. John Boorman: Point Blank (1967)
http://static.guim.co.uk/sys-images/Film/Cinemas/Blocks/2009/1/5/1231165326082/Point-Blank-001.jpg
It has a perfect blend of unnatural and natural. Mystical boiling over to hard hitting. The Nature of one man’s determination and unquenchable thirst for revenge.


66. Errol Morris: The Thin Blue Line (1988)
If you’ve ever wondered what the power of film can truly do check this film out, not going to give anything away just watch it!


65. Francis Ford Coppola: Apocalypse Now (1979)
http://pigscantfly.files.wordpress.com/2008/07/apocalypse-now_01.jpg
The gravity of just thinking about what Coppola went threw to make this film is astonishing. Check out his version of a Irwin Allen war film. And be ready to be awe struck.


64. Martin Scorsese: GoodFellas (1990)
Still Can’t believe I waited so long to see Scorsese best film but, well worth it. The film goes through so many levels of drama. Soaking and Lathering it up until the film feels like it’s going to burst.


63. John Frankenheimer: The Manchurian Candidate
http://filmjournal.net/clydefro/files/2007/10/manchurian-kiss.jpg
I don’t know what else to say that hasn’t already been said about this classic masterpiece for Frankenheimer. Super Low key performance by many and ultra extravagant over the top performances by namely one set of parents (he's not my father). Sequences of such creativity you could sit and dissect over for hours.

[honeykid]

With the exception of Point Blank, which I've just never been able to get into, those are great picks, LBJ. Actually, Point Blank is probably a great pick too, I just don't see it. :o

Also, for those who like The Thin Blue Line, may I point the way to this film, Paradise Lost: The Child Murders At Robin Hood Hills.

http://www.imdb.com/title/tt0117293/

[FemIdeal]

I've just added a few of these to my Netflix queue. I agree, fantastic list!

[nebbit]

Nice :yup:

[L .B . Jeffries]

62. Heat (1995) Michael Mann
http://img265.imageshack.us/img265/3487/40813720x304.jpg
So distinctive in it’s vision. Mann makes his crime masterpiece.

61. Star Wars (1977) George Lucas
http://static.howstuffworks.com/gif/death-star-1.jpg
Okay, I could put them all in as a whole as I did with LOTR but I’ve decided to go with Number One and even though I’ll admit to liking Empire a hair more this was the original without One you wouldn’t have Two obviously. Also I believe while Star Wars works perfectly as a trilogy they also work perfectly by themselves.

60. Blow-Up (1966) Michelangelo Antonioni
http://img.dailymail.co.uk/i/pix/2007/07_03/027BlowUpcopy_468x474.jpg
Peering into the past of swinging 60’s London. With dashes of mystery, drama, surrealism, fashion and much more. Antonioni grasp of cinematic narrative is infectious.

59. The Good, The Bad and The Ugly (1966) Sergio Leone
http://www.empireonline.com/images/features/clint-eastwood/good-bad-ugly.jpg
Ultra cool and charismatic. Strangely humanistic. Somewhere Leone rarely went prior to this film is the waste of life and they absurdity of it all. Bigger, extremer, and character drive.

58. Dr. Strangelove (1964) Stanley Kubrick
http://creativegreenius.files.wordpress.com/2008/10/normal_dr_strangelove011.jpg
You’ve got to see this multiple times if not for it’s brilliance for the simple reason you lose half the jokes because your laughing over top of them.

57. Wild Strawberries (1957) Ingmar Bergman
http://oldschoolreviews.com/images/movies/wild_strawberries.jpg
I’ll admit, I found this rather hard to get threw the first time. Okay I’ll admit even more almost every Ingmar Bergman film I’ve found to be hard to getting threw the first time. There’s just so much to take in and he doesn’t wait up. The structure is complex and the characters even more. The pay off is this story could be your Dad’s or your Grandfathers or yours. Simply and rewarding.

56. Platoon (1986) Oliver Stone
http://images.family.channelvn.net/Images/Uploaded/Share/2009/03/20090301020146752/wallpaper_platoon_800.jpg
Every war is different, distinct and mad. You can relate to every character even the ones you hate maybe more. He shows you all these types of perspectives and how each person reacts different. How would you react.

[L .B . Jeffries]

55. The Big Sleep (1946) Howard Hawks
http://images2.fanpop.com/images/photos/5800000/The-Big-Sleep-Wallpaper-classic-movies-5867936-1024-768.jpg
I’ve precisely honed the narrative down to this, it's a maze. That’s right the narrative is a giant maze. Madding is this movie is in it‘s storyline elements, I find it all encompassing. In large part the maze or the not so nice word confusion comes from the re-shoot to make the leads more sexier and the fact that the screenwriter’s had to call up the author Raymond Chandler to ask who killed who and the author’s response was that he didn’t know and to come up with your own conclusion.

54. Superman (1979) Richard Donner
http://moviesmedia.ign.com/movies/image/article/749/749277/superman-20061205015107368.jpg
I’m still flabbergasted as to how literally great of a translation from comic book to film this movie is. The special effects weren’t really there everything had to be slight of hand and a use your own imagination approach and you know what! it works. Ever single frame, every ounce of energy, every drop of sweet that was poured into this film breaths light into the myth and pathos of what makes the Superman so charished and beloved.

53. Das Boot (1981) Wolfgang Petersen
http://nuleo.com/dasboot2.jpg
Up until watching this film, I would have never guessed I would have been so involved with the well fare of a war movie that tells the story from the German's WWII perspective. Not only did it accomplish this it made me desperate to witness their survival which mad the ending all the more unsettling and phenomenal.

[nebbit]

Some great choices Jeff :yup: quite a few of my favourites :yup:

[honeykid]

I watched Heat and Star Wars over the weekend. I think I've seen Heat 7 times now and I have the same problems with it now as I did when I first saw it, that being it's all style over substance and I hate Pacino's performance. I adore the way it's shot, the set pieces are great and that shootout scene is one of the greatest shootout scenes ever, IMO. The script's ok, though there's some laughable dialogue and the end doesn't work for me at all.

Still like it, but it wouldn't make my own 100.

[XxSCaRFaCExX]

There's an old "Taking of Pelham 123"? I didn't know about that..

Nice list!
HEAT rocks!

[The Prestige]

Really loving the list, Jeffries. Sorry I missed it before, I really do apologise for that. But yeah, I like your reasonings for liking certain films. Most I like, others I don't. Think that Apocalypse Now and Platoon are well overrated, the former more so than the latter. But loving your inclusion of Heat The Big Sleep and Star Wars, though I think the 2nd one is by far the better film. Its interesting list and definitely heartfelt, I can see that bro.

[L .B . Jeffries]

52. The Searchers (1956) John Ford
http://blogs.phillynews.com/inquirer/flickgrrl/searchers.jpg
I find it strange that certain films fall out of love with people or had a massive revival and then the next generation find themselves calling it overrated, flawed or plain terrible. John Ford The Searchers seems to have suffered such a fate. I guess I’m in the lower portion of my generation that found this film to be completely enthralling. Were the genre aspect is only a mere setting for a characters play. It’s darker then most anything Ford did and not as restrained.

51. Laura (1944) Otto Preminger
http://www.cinemaisdope.com/news/films/laura/laura_1944_B.jpg
There’s just so much to love about this noir. The sets, the mood, the actors, the central plot that evolves a man falling in love with a dead women. A small yet charming film that works on every level it chooses to encompasses.

50. Lethal Weapon (1987) Richard Donner
http://blog.redbox.com/.a/6a00e5510dc3dd8833012875671b71970c-800wi
To be honest this was a later choice in the completion of my list. It’s more of an important film to me rather than being the best in one particular way. Certainly just from a cop movie criteria there’s been better. In terms of Drama Narc is more profound and human, Comedy you could easily make an argument for 48 hours, Serious subject matter go with Colors possible. Lethal Weapon is able to enable a kaleidoscope of formulas that creates one giant thunderous Cop flick with touches of every spectrum from every cop film that has ever been made. Super Action.

49. Eyes Wide Shut (1999) Stanley Kubrick
http://thisdistractedglobe.com/wp-content/uploads/2007/01/EyesWideShut4.jpg
I remember the anticipation of this film I had recently become entranced by everything Kubrick and when I found out he was in the process of making a new film sometimes it was all I would think about. My expectation were in another universe and you know it lived up to everyone of them and then some.

48. Master and Commander (2003) Peter Weir
http://assets.huluim.com/shows/key_art_master_and_commander_the_far_side_of_the_world.jpg
Man against Man against Nature. This is a film for men. The production design is phenomenal, the look is striking, the adventure is uproarious, the tempo is heart pounding, the entertainment level is the equivalent of sailing on a high sea. Dangerous yet enthralling and all to enticing.

[nebbit]

Keep them coming :yup:

Not a big Fan of Eyes Wide Shut :nope: but maybe I should give it another go :yup:

[L .B . Jeffries]

47. City of God (2002) Fernando Meirelles and Kátia Lund
http://1979semifinalist.files.wordpress.com/2009/12/city_of_god.jpg
Such a hard film to watch. It was organic as if these lives were truly in a life and death struggle/balance . It’s not far from the truth, I think. Places like this do exist all over the world and to turn a blind eye to them is wrong. I thank the filmmakers for an honest gut wrenching reality check. Life is unflinching relentless in one world an endurence.

46. Fight Club (1999) David Fincher
http://www.babble.com/CS/blogs/famecrawler/2008/01/08-15/fight-club-brad-pit-tyler.jpg
I’m not sure what this film cost. I’m guessing it was in the region of 150 million it’s astonishing that Hollywood would ever finance what is basically an art film for this kind of molla. This could have been a complete box office failure. Timing is one thing to be sure but this film touch a nerve. I’m not sure if there will ever be anything quite like this again.

45. Richard Pryor: Live on the Sunset Strip (1982) Joe Layton
http://www.starz.com/titles/RichardPryorLiveOnTheSunsetStrip/PublishingImages/richard_pryor_live_on_the_sunset_strip_1982_685x385.jpg
One of the truest forms of entertainment that we as people can witness is one person, a mic, an absolute astonishing amount of feelings and emotions from laughter, joy, heart ache, sadness, and life itself. I now consider it to also be one of the most basic pure forms of cinema and for that it’s one the toughest and incredibly hardest to pull off. Richard Pryor bared his soul when he stood there. Humility and Humanity at it’s most open and un conceited. His ego was the size of a pea his heart was the size of the world.

[mark f]

Although I do like that last movie, I hope that Richard Pryor Live in Concert is coming eventually because it's just oh so much better... :cool:

[SoulInside]

City of God, Lethal Weapon, Fight Club, Master and Commander... Superb!

[L .B . Jeffries]

I watched Heat and Star Wars over the weekend. I think I've seen Heat 7 times now and I have the same problems with it now as I did when I first saw it, that being it's all style over substance and I hate Pacino's performance. I adore the way it's shot, the set pieces are great and that shootout scene is one of the greatest shootout scenes ever, IMO. The script's ok, though there's some laughable dialogue and the end doesn't work for me at all.

Still like it, but it wouldn't make my own 100.

What really strikes me with all of Mann's feature film work with the exception of The Keep which is a wonderful mess of a film. Is his single minded single vision. The way everything feels just as he wanted it to be. There's no wasted space, each frame is filled with perfect composition. each moment is expressively structured to give you a full expression of moods. The best way I can express my feelings for his films are that they look like a new shoe but have that great feeling of an old worn shoe. What about the ending didn't work for you, might I ask ?

[honeykid]

46. Fight Club (1999) David Fincher
I’m not sure what this film cost. I’m guessing it was in the region of 150 million it’s astonishing that Hollywood would ever finance what is basically an art film for this kind of molla.

Are you kidding? I know it was '99, but if Fight Club cost more than $70m-$80m I'd be stunned. Truly stunned.

[L .B . Jeffries]

Are you kidding? I know it was '99, but if Fight Club cost more than $70m-$80m I'd be stunned. Truly stunned.

It's funny cause as I was writting that I was going to say 100 million. Like I said I was guessing but, if you say so. either way 80 million was still a crazy amount of cash for it's time.

[mark f]

Fight Club did tank at the domestic box office; it only grossed $37 mil. IMDb claims it was budgeted at $63 mil but $17.5 mil of that was for Brad Pitt.

[L .B . Jeffries]

Fight Club did tank at the domestic box office; it only grossed $37 mil. IMDb claims it was budgeted at $63 mil.

**** this keeps on getting worse. Maybe my Recollections are playing games on me. Maybe as well I'm getting mixed up with it's poularity from theatre to DVD. At least I can say it looks better than most 150 million dollor movies made today. :)

[honeykid]

Fight Club is, most definately, a dvd classic. A dvd version of Scarface, if you will. As mark said, it did little on its theatrical release in the States though, unsurprisingly IMO, it did a lot better worldwide. That said, it still wasn't universally liked. Most reviews I remember reading reviews only gave it one or two stars.

Over here, if you liked the film, the thing to do was to get the US dvd release because of the extras that were included. The R2 version, at the time, had next to nothing. Actually, thinking about it, Fight Club (probably along with Starship Troopers, Se7en and, I seem to remember, Robocop) was one of the films that made ordering dvd's from abroad popular/normal.

[rauldc14]

I'm a huge fan of your list so far with the exception of Fight Club (but everyone loves that movie except me). Heat, Silence of the Lambs, and The Bridge on the River Kwai are probably my favorite of the bunch so far.

[honeykid]

... What about the ending didn't work for you, might I ask ?

Not sure I'm in the right mind to put over what I think succinctly, but I'll give it a whirl.

Firstly, I don't buy that Neil goes after Waingrove. Find another way to keep Neil from leaving so the cop can kill him or don't take the story to that point. The disciplined career criminal, who lives his life by the "don't have anything in your life you can't walk away from in 30 seconds..." mantra goes back, after changing his plan in case it's been discovered, to kill Waingrove? Even if you get to the point that his crew were the one thing he couldn't walk away from in 30 seconds (which I don't, btw) why not just leave and then have him bumped off later? He has the money and the connections to do this without any problem. It's just weak and, in my case, annoying.

Secondly, I don't like the final 'who's round the next corner' scene beside the runway. It doesn't work for me at all. It fails to build any tension (for me, anyway) partly because I have no idea where anyone is and partly because you know exactly how it's going to end the moment it starts.

Actually, thinking about how many things annoy me or I just don't like in this film, it's a wonder I like it as much as I do. Or even, at all.

[L .B . Jeffries]

Actually, thinking about how many things annoy me or I just don't like in this film, it's a wonder I like it as much as I do. Or even, at all.

Sometimes it's a style over substance thing, it seems like it is at least for you on this one. Though, I maybe wrong and I defiantly don't want to put worked into your mouth. I bought the Speacial Edition not too long ago and your write up of the ending gives me just one more good reason to go back and check out one of my favourite films.

[honeykid]

Sometimes it's a style over substance thing, it seems like it is at least for you on this one. Though, I maybe wrong and I defiantly don't want to put worked into your mouth. I bought the Speacial Edition not too long ago and your write up of the ending gives me just one more good reason to go back and check out one of my favourite films.

I think you're probably right, LBJ. I really do love the look and vibe of the film.

I liked LA Takedown, as well. In fact, considering all the things I don't like about Heat, were I to see that again, I may like it more. I don't remember the relationships being so 'fake' (for lack of a better word) in LA Takedown. That, and it doesn't have Pacino shouting at the top of his voice and chewing for all he's worth.

[L .B . Jeffries]

I think you're probably right, LBJ. I really do love the look and vibe of the film.

I liked LA Takedown, as well. In fact, considering all the things I don't like about Heat, were I to see that again, I may like it more. I don't remember the relationships being so 'fake' (for lack of a better word) in LA Takedown. That, and it doesn't have Pacino shouting at the top of his voice and chewing for all he's worth.

I'm going to see if I can get my hands on a copy of L.A. Takedown. I've only seen a few pictures and the diner scene plus shootout.

[honeykid]

I did have a copy on VHS, but I don't know if I've stil got it or not. For the record, I think that Mann disowned it.

[L .B . Jeffries]

44. The Hustler (1961) Robert Rossen
http://media.merchantcircle.com/4246871/hustler8_full.jpeg
Newman has had his fair share of brilliant performance and his command of this character feels like it could have only be played by him and no other. I first saw this film in the most worst of places you guessed it on a PLANE. I didn’t even have headphones yet, I was completely engrossed with what he was going threw. It might have been the first sound film I ever attempted to watched as a silent and you know what it worked. Though, I don’t expect or ask anyone to attempt it. The emotional tight rope with which Newman walks on is the equivalent of someone trying to tight rope from Earth to the Moon it’s impossible but Newman pulls it off. One of the most effecting performance I’ve ever witness put on film.


43. Michael Powell: A Matter of Life and Death (1946)
http://img216.imageshack.us/img216/8566/02agg4.jpg
Dream, Reality and the Life After have never been capture quite like P & P did way back in ‘46. If you asked me to describe this film in one word, it would be. COMPELLING.


42. The Shining (1980) Stanley Kubrick
http://www.best-horror-movies.com/images/The-shining-jack-in-maze.jpg
I keep telling myself to read the book and I own it but for some reason I haven‘t. The TV mini series was terrible even though it was more to King's liking. Lets get to the film. The more times I watch this film the lesser it is a horror film and the more it becomes a psychological drama. An existential film. There’s a lot to be questioned and each new viewing I get different answers maybe that’s why I like it so, it’s a bit like the maze in front of the hotel. You find yourself a new each time by exiting the maze differently but by the means of always entering the same way.

[L .B . Jeffries]

41. Manhunter (1986) Michael Mann
http://dvdmedia.ign.com/dvd/image/article/820/820726/manhunter-20070918000105966-000.jpg
Michael Mann makes another entry into my list which is also a new edition, I re-watched this a few weeks ago and was completely blown over by it’s design. I've mentioned this already in another thread. It’s as if Mann made a very conscious decision to make the film feel overly date as if he wanted it to be a peroid piece. Imagine yourself peering into a time capsule. Visually hypnotic. Stirringly haunting. A staggering Character piece of beautiful complexity. This is a serial killer movie were you don’t witness the killer actually murdering anyone till some hour and half into the film and were you don’t get any long/extanted moments with him till an hour in. Everything goes threw the eyes of are main character Will as he haunts down the psychopathic serial killer while trying not to become one in the process.
http://files.myopera.com/E.%20Driver/albums/34806/manhunter1.jpg
http://flickeringscreen.files.wordpress.com/2009/08/manhunter11.jpg
http://thisdistractedglobe.com/wp-content/uploads/2007/07/Manhunter%20pic%201.jpghttp://2.bp.blogspot.com/_mfMRTBDpgkM/SyfK98OlKYI/AAAAAAAAKGo/Ku9qv0DlwQU/s400/manhunter_l.jpg
http://farm2.static.flickr.com/1293/576150288_3638c25325.jpg

[Sinny McGuffins]

Would love to see the rest of your list, LB.