Reply to Topic
20. Heathers (1989) --- Michael Lehmann
If you thought fresh new dialogue started in the early 90's with the likes of Quentin Tarantino and Kevin Smith, you should take a look here first. An obscene, offensive, hilarious script is at the heart of this 80's highschool flick, starting out with the routine geeks, jocks and popular girls, it soon decends into much darker comic territory. Winona Ryder and Christian Slater have never been better.
19. Lung fu fong wan (City on Fire) (1987) --- Ringo Lam
Ok, so pretty much everyone knows that this is the film Quentin Tarantino was supposed to have homaged/ripped off when he created Reservoir Dogs, but this film has so much substance it deserves to be moved out of Dogs shadow and evaluated on it's own for the masterpiece of Hong Kong action/drama that it is. For one, yes there are similar scenes in parts of the movies, but the major heist in City On Fire takes place at the very end of the movie, with much of the runtime spent concentrating on infiltrating the gang and on character relationships. The action scenes are spectacular, but at the same time this is no chop socky movie, this is serious drama, well acted and well directed. Chow Yun-Fat plays the cop whose alliegences are strained. Just a pity Ringo Lam never came close to matching this, instead opting to direct a bunch of the worse movies Jean-Claude Van Damme ever made, and thats saying something
18. Clerks (1994) --- Kevin Smith
I was first introduced to Smith via Mallrats and picked up this movie without actually realising the connection at first. Hilarious throughout, another zero budget early 90's gem, with Jason Mewes being a constant scene stealer. Although off putting to some viewers expecting the standard glossy Hollywood picture, I love the rough, grainy, unpolished look of the film. As digital technology progresses, films of this budget can now be shot in high definition colour, but I always felt the grainy black and white set these films apart as something special as the Indie movement grew, probably finishing with Darren Aronofsky's Pi in 1998. They sure don't make them like this anymore.
17. The French Connection (1971) --- William Friedkin
With The Exorcist banned here in England until 1999, this was the only Friedkin movie of note I knew of growing up, and while I was ultimately underwhelmed by the former, this movie always stuck in my memory. Loved the infamous subway train chase sequence, Gene Hackman really capturing the obsession and franticness of the character, added to Friedkin's shot composition recalling memories of Orson Welles Touch of Evil, this film stands out as one of the best cop movies ever made. And of course there's still that downbeat ambiguous ending, practically unheard of today in a major studio film, although it was slightly underminded by the inferior sequel.
16. Punch-Drunk Love (2002) --- Paul Thomas Anderson
Never been much of a romantic comedy fan, or an Adam Sandler fan for that matter, but Paul Thomas Anderson delivers such a different take on what you would normalily expect from a mixture of the those two, that you can't help but love it. Bringing with him some of the style that made Magnolia so unique, Anderson shifts this film out of the romantic comedy genre into something else entirely, the shot composition, music choices and especially the almost eerie silent opening all add to the wonder, even Sandler, who essentially plays his standard 'angry guy' role is different somehow. All these elements combine to great effect and, above all, it works.
15. Koroshi no rakuin (Branded to Kill) (1967) --- Seijun Suzuki
I was so lucky to have caught this film. Knowing nothing about Suzuki or his movies, I was flipping through channels late at night in the mid 90's, only to come across a show called Moviedrome presented by film critic Mark Cousins, which broadcast lesser know movies with a five minute introduction. I'd casually followed the show, so I hit record and went to bed. What could have easily been missed and never seen since quickly became one of my favourite movies of all time. A pop-art hitman movie, the film combines surrealism and humour in an odd mix as we follow Joe Shishido's 'Number 3 Killer' as he attempts a difficult hit and the subsequent fall-out when the job goes wrong, leading to him being stalked by the elusive and mysterious 'Number 1 Killer'. Anyone liking this should also check out one of Suzuki's other greats, Tokyo Drifter.
14. Ghost World (2001) --- Terry Zwigoff
Thora Birch and Scarlett Johansson have rarely been better as two somewhat outsiders in this late teen movie. Set just after high school ends for good, the film avoids the usual bland pitfalls and goes for a much funnier, and more mature, angle. Steve Buscemi is wonderful as the geeky guy who falls for Birch's Enid, stealing every scene he's in. Great soundtrack too.
13. Fear and Loathing in Las Vegas (1998) --- Terry Gilliam
I've been a fan of Gilliam since Twelve Monkeys, but I had hardly heard of Hunter S. Thompson until I watched this. And it's a good thing I did, Thompson instantly became my favourite author afterwards. Way too harshly critically judged at the time, this movie seemed to almost bypass cinema screens altogether, but while the film remained impenetrable to some, this is actually a pretty faithful adaptation from the novel, considering most of what happens is in the author's mind. Johnny Depp and Benicio Del Toro give standout performances, while Gilliam ramps up the weirdness and humour.
12. The Usual Suspects (1995) --- Bryan Singer
One of those movies that requires multiple viewings just to get a fix on all aspects of the plot, even now I'm seeing new and different angles from when I first watched it over ten years ago. A great little indie movie that wasn't afraid to dumb down, every piece of every scene is part of the larger puzzle, every part there for a reason. The cast was virtually unknown when this was released, but there are no weak links, everyone brings something new to the table, with Kevin Spacey's Verbal coming out on top (in more ways than one).
11. The Shining (1980) --- Stanley Kubrick
I have seen this movie a number of times, but surprisingly it was probably only about a couple of years ago that I realised just how powerful this actually is. Upon my first few viewings, I had allowed myself to be distracted by Nicholson's performance, finding more humour in it than terror, but as I analyzed the film more and began to imagine how I would react to his character and to the events that unfold as if I were there myself, I found it to be one of the most disturbing psychological horror films I'd ever seen. The famous 'Lloyd the Bartender' scene in particular always sends shivers down my spine, with Jack seemingly talking to himself alone in the bar, only to then stare straight into camera, "Hi, Lloyd. A little slow tonight isn't it?", then that laugh and the camera cuts to Lloyd and a full bar, "Yes, it is, Mr Torrance.". Kubrick's own most 'Kubrick-like' film, the other star here is the camera work, full of slow zooms and tracking shots, giving the film a sense of ongoing momentum and building up the apprehension with each passing second.
10. Blade Runner (1982) --- Ridley Scott
Took me a long time to fully appreciate this movie, not that I ever thought it was bad or poorly made, far from it, but there is just so much stuff here to take in that it kind of overwhelmed me. I grew up watching the 'Director's Cut', so I don't have the excuse of only seeing the inferior versions, but Ridley Scott creates what is probably the most comprehensive self contained world that it wasn't really until I was able to see the newly restored 'Final Cut' version recently on a large wide screen TV that I fell in love with it. Style does not edge out substance, however, as the film tackles serious issues like identity, corporate power, overpopulation and the limits of human scientific advances, all set against the fragmented cityscape. Credit too goes to Scott for his initial attempts to leave some questions unanswered and to keep what explaination there is to a minimum, an achievement only fully realised in the 'Director's Cut' and 'Final Cut' versions. One of the best examples of his determination is the short, ambiguous, almost dialogue free ending, a perfect fit for this film and one of the best in recent memory.
9. Reservoir Dogs (1992) --- Quentin Tarantino
There was something special that happened in the early 90's, films like this, Kevin Smith's Clerks, Richard Linklater's Slacker and Robert Rodriguez's El Mariachi, stylish movies that felt fresh and original compared to what had come before them, but were also able to accomplish this with little to no money. The look of the films played a big part in setting them apart too, the directors were not afraid to alter established styles of camera work or sometimes have grainy, less than perfect images. It was enough that the energy and momentum of the story would carry the audience through. All in all, Reservoir Dogs was the best and most enjoyable of the bunch. Tarantino managed to influence the way movies were made, introducing us to his witty memorable dialogue and infusing the whole thing with unstoppable energy and a perfect cast.
8. Magnolia (1999) --- Paul Thomas Anderson
Quite possibly the best dramatic dialogue I have ever heard in a movie. Every character, no matter how wild or sedate they may be, is presented as a real fully rounded person, with Anderson's script drawing you in and making you feel for each character's highs and lows, with Tom Cruise, William H. Macy and John C. Reilly giving particularly standout performances. Improving on the flair and originality he showed with his previous film Boogie Nights, Anderson goes into overdrive here, giving the proceedings an epic and operatic feel, but never forgetting the humour that is streaked through every story or allowing the situations to become too po-faced, ultimately culminating in the infamous 'Frog Rain' ending sequence. Aside from Anderson, the other star here is Aimee Mann's wonderful soundtrack, which plays throughout and is practically the only music heard in the entire film, perfectly tied to the stories and characters. I instantly became a fan of her's and anyone liking what they hear in this movie should also check out her follow up album, Bachelor No. 2, which is even better in my opinion.
7. Lost in Translation (2003) --- Sofia Coppola
I first saw this movie during my first holiday in Tokyo, which for me was the perfect time to see it. Even now I still consider that holiday to be one of the best I've ever had and I remember falling in love with this movie and the city. The cinema I saw it in was in the north of Tokyo and afterwards I took a long late night walk back to my hotel in the south, just taking in the city and running the film back in my mind. I have since lived in Tokyo for serveral months on and off, and I always take the DVD with me, with the city itself being one of the main stars and much of the exterior locations very familiar to anyone who knows Tokyo, I constantly find I recognize places as I travel around the neighbourhoods. Aside from this however, there is still much to enjoy, with career best performances from Scarlett Johansson and especially Bill Murray, the film has a strong witty sense of humour, while still maintaining a dramatic edge and genuine feeling of friendship and romance between the two leads. Anyone who is not moved by the ending must have a heart made of stone.
6. 2001: A Space Odyssey (1968) --- Stanley Kubrick
The film which all future science fiction movies should aspire to, period. Forget Star Wars, with it's rickety dialogue and dodgy acting, this is the true masterpiece of cinema. From the opening 'Dawn Of Man' sequence, to the discovery of the second monolith at the lunar base and then the life and death struggle aboard the Jupiter mission, Kubrick builds a truly epic story, escalating the sense of wonder and mystery until the ultimate trippy 'Star Gate' experience and beyond. I won't lie and pretend I worked it all out on my first viewing, I had to watch it several times before I felt I had a general overall understanding, but that is what makes this movie so great, there are no easy answers here, much of what is seen is left up to the viewer's imagination. Even now I still have a tough time wrapping my head around some aspects, but that's just the way the movie is and it does not, nor should not, apologise for it. If you like your films to be wrapped up neat and tidy, steer clear, if you want to be challenged, then this might just be for you.
5. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) --- Stanley Kubrick
From the opening sexual innuendo of the two planes refueling onwards, you know this movie could go anywhere, nothing is sacred or beyond the filmmakers satire here, a brave move given the time it was made in the midst of the Cold War. Uniquely, the film manages to be both humourous and frightening at the same time, given that the events depicted here could have technically happened, without Kubrick's genius touch this could have been a very different, and inferior, film. In probably his most famous role(s), Peter Sellers excells as the three core characters, infusing each with so radically different personalities that you could be forgiven for thinking that they are played by different actors, in fact I remember watching this as a little kid and not even realising Sellers as President Merkin Muffley, a name that still makes me laugh even now. A very very dark comedy about a forthcoming nuclear apocalypse, this is one of the funniest, and most relevant, films around today.
4. A Clockwork Orange (1971) --- Stanley Kubrick
Anyone who complains that Kubrick is too cold or remote just needs to take a look at this film, watch the passion behind the eyes and menace in Malcolm McDowell's face in the opening shot, it's anything but sterile. Sure him and his gang were vicious murdering thugs, but at least they committed their crimes with energy and enthusiasm. Living in England, I was unable to see the film until 2000, sadly just after Kubrick's death, he himself having withdrawn and banned the movie from being seen anywhere here since the early 70's. As you can probably imagine, me being the huge Kubrick fan I am and having seen all his other movies several times each, this caused a great deal of anxiety just waiting for any word that it might be released. I was 20 by the time I finally got to see it, but it was easily worth the wait. Quickly becoming my favourite of all Kubrick's movies, this film is perfect, from the casting and performances, to the tone and humour, script and direction.
3. The Godfather (1972) --- Francis Ford Coppola
Of all the movies I have seen, and there have been a lot, this has without doubt the best single scene in it. The build up to and the assassination of Sollozzo and Captain McCluskey in the restaurant just can't be beaten, handled with such subtly and care by Coppola and all the actors involved. Al Pacino's Michael returns from the bathroom, the earlier planted gun now retrieved and in his pocket, he sits back down at the table with the two other men, his eyes down, not daring to look at them, the sound of the passing tram ringing in his ears, the tension becomes unbearably intense, suddenly he stands and shoots, with just three shots the other men are dead, the table seems to explode as McCluskey's falling body overturns it, Michael begins to flee still holding the gun, only remembering to drop it at the last second...Wow. It doesn't get any better than that. Still superior to it's slightly drawn out sequel, this is Al Pacino's and, very nearly, Coppola's best movie, still epic in scale, but with a tight story that keeps you riveted throughout. Aside from Pacino's fine performance, the rest of the cast are also wonderful, especially Marlon Brando and James Caan, with those two notably abscent from the sequel, a followup could never be as classy a movie as you have here.
2. Apocalypse Now (1979) --- Francis Ford Coppola
A film so good it comes very close to being my favourite movie and if this where a 'Best Films Ever Made' top 100 list it would certainly take the top spot there as well. Initially I bunched this in with the slew of other Vietnam War movies that have been made over the past decades, but over repeated viewings I came to realise that this crazy, deep and at times down right surreal film actually was not really about the Vietnam War at all, rather it merely takes place during the conflict and provides the background to the plot, which is of course centred on Martin Sheen's character Captain Willard as he descends into his own darkness while on a mission to track down Marlon Brando's rogue Colonel Kurtz and "terminate... with extreme prejudice". Somewhat sidelined by the star power of Brando, for my money this is Sheen's movie, even though he was criminally overlooked at the Academy Awards and did not even receive a nomination, this is his performance of a lifetime, truly believable as the man left broken down and hollow by the horrors of war. Just watching him in the almost dialogue free opening in the Saigon hotel manages to be both electrifying and heartbreaking at the same time. All in all a film on the edge, accurately reflecting it's turbulent production and the craziness of the Vietnam War perfectly, this is bravado filmmaking at it's finest. Just a shame Coppola so completely lost his touch after this and never came close to making a film of this stature again.
If you thought fresh new dialogue started in the early 90's with the likes of Quentin Tarantino and Kevin Smith, you should take a look here first. An obscene, offensive, hilarious script is at the heart of this 80's highschool flick, starting out with the routine geeks, jocks and popular girls, it soon decends into much darker comic territory. Winona Ryder and Christian Slater have never been better.
19. Lung fu fong wan (City on Fire) (1987) --- Ringo Lam
Ok, so pretty much everyone knows that this is the film Quentin Tarantino was supposed to have homaged/ripped off when he created Reservoir Dogs, but this film has so much substance it deserves to be moved out of Dogs shadow and evaluated on it's own for the masterpiece of Hong Kong action/drama that it is. For one, yes there are similar scenes in parts of the movies, but the major heist in City On Fire takes place at the very end of the movie, with much of the runtime spent concentrating on infiltrating the gang and on character relationships. The action scenes are spectacular, but at the same time this is no chop socky movie, this is serious drama, well acted and well directed. Chow Yun-Fat plays the cop whose alliegences are strained. Just a pity Ringo Lam never came close to matching this, instead opting to direct a bunch of the worse movies Jean-Claude Van Damme ever made, and thats saying something
18. Clerks (1994) --- Kevin Smith
I was first introduced to Smith via Mallrats and picked up this movie without actually realising the connection at first. Hilarious throughout, another zero budget early 90's gem, with Jason Mewes being a constant scene stealer. Although off putting to some viewers expecting the standard glossy Hollywood picture, I love the rough, grainy, unpolished look of the film. As digital technology progresses, films of this budget can now be shot in high definition colour, but I always felt the grainy black and white set these films apart as something special as the Indie movement grew, probably finishing with Darren Aronofsky's Pi in 1998. They sure don't make them like this anymore.
17. The French Connection (1971) --- William Friedkin
With The Exorcist banned here in England until 1999, this was the only Friedkin movie of note I knew of growing up, and while I was ultimately underwhelmed by the former, this movie always stuck in my memory. Loved the infamous subway train chase sequence, Gene Hackman really capturing the obsession and franticness of the character, added to Friedkin's shot composition recalling memories of Orson Welles Touch of Evil, this film stands out as one of the best cop movies ever made. And of course there's still that downbeat ambiguous ending, practically unheard of today in a major studio film, although it was slightly underminded by the inferior sequel.
16. Punch-Drunk Love (2002) --- Paul Thomas Anderson
Never been much of a romantic comedy fan, or an Adam Sandler fan for that matter, but Paul Thomas Anderson delivers such a different take on what you would normalily expect from a mixture of the those two, that you can't help but love it. Bringing with him some of the style that made Magnolia so unique, Anderson shifts this film out of the romantic comedy genre into something else entirely, the shot composition, music choices and especially the almost eerie silent opening all add to the wonder, even Sandler, who essentially plays his standard 'angry guy' role is different somehow. All these elements combine to great effect and, above all, it works.
15. Koroshi no rakuin (Branded to Kill) (1967) --- Seijun Suzuki
I was so lucky to have caught this film. Knowing nothing about Suzuki or his movies, I was flipping through channels late at night in the mid 90's, only to come across a show called Moviedrome presented by film critic Mark Cousins, which broadcast lesser know movies with a five minute introduction. I'd casually followed the show, so I hit record and went to bed. What could have easily been missed and never seen since quickly became one of my favourite movies of all time. A pop-art hitman movie, the film combines surrealism and humour in an odd mix as we follow Joe Shishido's 'Number 3 Killer' as he attempts a difficult hit and the subsequent fall-out when the job goes wrong, leading to him being stalked by the elusive and mysterious 'Number 1 Killer'. Anyone liking this should also check out one of Suzuki's other greats, Tokyo Drifter.
14. Ghost World (2001) --- Terry Zwigoff
Thora Birch and Scarlett Johansson have rarely been better as two somewhat outsiders in this late teen movie. Set just after high school ends for good, the film avoids the usual bland pitfalls and goes for a much funnier, and more mature, angle. Steve Buscemi is wonderful as the geeky guy who falls for Birch's Enid, stealing every scene he's in. Great soundtrack too.
13. Fear and Loathing in Las Vegas (1998) --- Terry Gilliam
I've been a fan of Gilliam since Twelve Monkeys, but I had hardly heard of Hunter S. Thompson until I watched this. And it's a good thing I did, Thompson instantly became my favourite author afterwards. Way too harshly critically judged at the time, this movie seemed to almost bypass cinema screens altogether, but while the film remained impenetrable to some, this is actually a pretty faithful adaptation from the novel, considering most of what happens is in the author's mind. Johnny Depp and Benicio Del Toro give standout performances, while Gilliam ramps up the weirdness and humour.
12. The Usual Suspects (1995) --- Bryan Singer
One of those movies that requires multiple viewings just to get a fix on all aspects of the plot, even now I'm seeing new and different angles from when I first watched it over ten years ago. A great little indie movie that wasn't afraid to dumb down, every piece of every scene is part of the larger puzzle, every part there for a reason. The cast was virtually unknown when this was released, but there are no weak links, everyone brings something new to the table, with Kevin Spacey's Verbal coming out on top (in more ways than one).
11. The Shining (1980) --- Stanley Kubrick
I have seen this movie a number of times, but surprisingly it was probably only about a couple of years ago that I realised just how powerful this actually is. Upon my first few viewings, I had allowed myself to be distracted by Nicholson's performance, finding more humour in it than terror, but as I analyzed the film more and began to imagine how I would react to his character and to the events that unfold as if I were there myself, I found it to be one of the most disturbing psychological horror films I'd ever seen. The famous 'Lloyd the Bartender' scene in particular always sends shivers down my spine, with Jack seemingly talking to himself alone in the bar, only to then stare straight into camera, "Hi, Lloyd. A little slow tonight isn't it?", then that laugh and the camera cuts to Lloyd and a full bar, "Yes, it is, Mr Torrance.". Kubrick's own most 'Kubrick-like' film, the other star here is the camera work, full of slow zooms and tracking shots, giving the film a sense of ongoing momentum and building up the apprehension with each passing second.
10. Blade Runner (1982) --- Ridley Scott
Took me a long time to fully appreciate this movie, not that I ever thought it was bad or poorly made, far from it, but there is just so much stuff here to take in that it kind of overwhelmed me. I grew up watching the 'Director's Cut', so I don't have the excuse of only seeing the inferior versions, but Ridley Scott creates what is probably the most comprehensive self contained world that it wasn't really until I was able to see the newly restored 'Final Cut' version recently on a large wide screen TV that I fell in love with it. Style does not edge out substance, however, as the film tackles serious issues like identity, corporate power, overpopulation and the limits of human scientific advances, all set against the fragmented cityscape. Credit too goes to Scott for his initial attempts to leave some questions unanswered and to keep what explaination there is to a minimum, an achievement only fully realised in the 'Director's Cut' and 'Final Cut' versions. One of the best examples of his determination is the short, ambiguous, almost dialogue free ending, a perfect fit for this film and one of the best in recent memory.
9. Reservoir Dogs (1992) --- Quentin Tarantino
There was something special that happened in the early 90's, films like this, Kevin Smith's Clerks, Richard Linklater's Slacker and Robert Rodriguez's El Mariachi, stylish movies that felt fresh and original compared to what had come before them, but were also able to accomplish this with little to no money. The look of the films played a big part in setting them apart too, the directors were not afraid to alter established styles of camera work or sometimes have grainy, less than perfect images. It was enough that the energy and momentum of the story would carry the audience through. All in all, Reservoir Dogs was the best and most enjoyable of the bunch. Tarantino managed to influence the way movies were made, introducing us to his witty memorable dialogue and infusing the whole thing with unstoppable energy and a perfect cast.
8. Magnolia (1999) --- Paul Thomas Anderson
Quite possibly the best dramatic dialogue I have ever heard in a movie. Every character, no matter how wild or sedate they may be, is presented as a real fully rounded person, with Anderson's script drawing you in and making you feel for each character's highs and lows, with Tom Cruise, William H. Macy and John C. Reilly giving particularly standout performances. Improving on the flair and originality he showed with his previous film Boogie Nights, Anderson goes into overdrive here, giving the proceedings an epic and operatic feel, but never forgetting the humour that is streaked through every story or allowing the situations to become too po-faced, ultimately culminating in the infamous 'Frog Rain' ending sequence. Aside from Anderson, the other star here is Aimee Mann's wonderful soundtrack, which plays throughout and is practically the only music heard in the entire film, perfectly tied to the stories and characters. I instantly became a fan of her's and anyone liking what they hear in this movie should also check out her follow up album, Bachelor No. 2, which is even better in my opinion.
7. Lost in Translation (2003) --- Sofia Coppola
I first saw this movie during my first holiday in Tokyo, which for me was the perfect time to see it. Even now I still consider that holiday to be one of the best I've ever had and I remember falling in love with this movie and the city. The cinema I saw it in was in the north of Tokyo and afterwards I took a long late night walk back to my hotel in the south, just taking in the city and running the film back in my mind. I have since lived in Tokyo for serveral months on and off, and I always take the DVD with me, with the city itself being one of the main stars and much of the exterior locations very familiar to anyone who knows Tokyo, I constantly find I recognize places as I travel around the neighbourhoods. Aside from this however, there is still much to enjoy, with career best performances from Scarlett Johansson and especially Bill Murray, the film has a strong witty sense of humour, while still maintaining a dramatic edge and genuine feeling of friendship and romance between the two leads. Anyone who is not moved by the ending must have a heart made of stone.
6. 2001: A Space Odyssey (1968) --- Stanley Kubrick
The film which all future science fiction movies should aspire to, period. Forget Star Wars, with it's rickety dialogue and dodgy acting, this is the true masterpiece of cinema. From the opening 'Dawn Of Man' sequence, to the discovery of the second monolith at the lunar base and then the life and death struggle aboard the Jupiter mission, Kubrick builds a truly epic story, escalating the sense of wonder and mystery until the ultimate trippy 'Star Gate' experience and beyond. I won't lie and pretend I worked it all out on my first viewing, I had to watch it several times before I felt I had a general overall understanding, but that is what makes this movie so great, there are no easy answers here, much of what is seen is left up to the viewer's imagination. Even now I still have a tough time wrapping my head around some aspects, but that's just the way the movie is and it does not, nor should not, apologise for it. If you like your films to be wrapped up neat and tidy, steer clear, if you want to be challenged, then this might just be for you.
5. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) --- Stanley Kubrick
From the opening sexual innuendo of the two planes refueling onwards, you know this movie could go anywhere, nothing is sacred or beyond the filmmakers satire here, a brave move given the time it was made in the midst of the Cold War. Uniquely, the film manages to be both humourous and frightening at the same time, given that the events depicted here could have technically happened, without Kubrick's genius touch this could have been a very different, and inferior, film. In probably his most famous role(s), Peter Sellers excells as the three core characters, infusing each with so radically different personalities that you could be forgiven for thinking that they are played by different actors, in fact I remember watching this as a little kid and not even realising Sellers as President Merkin Muffley, a name that still makes me laugh even now. A very very dark comedy about a forthcoming nuclear apocalypse, this is one of the funniest, and most relevant, films around today.
4. A Clockwork Orange (1971) --- Stanley Kubrick
Anyone who complains that Kubrick is too cold or remote just needs to take a look at this film, watch the passion behind the eyes and menace in Malcolm McDowell's face in the opening shot, it's anything but sterile. Sure him and his gang were vicious murdering thugs, but at least they committed their crimes with energy and enthusiasm. Living in England, I was unable to see the film until 2000, sadly just after Kubrick's death, he himself having withdrawn and banned the movie from being seen anywhere here since the early 70's. As you can probably imagine, me being the huge Kubrick fan I am and having seen all his other movies several times each, this caused a great deal of anxiety just waiting for any word that it might be released. I was 20 by the time I finally got to see it, but it was easily worth the wait. Quickly becoming my favourite of all Kubrick's movies, this film is perfect, from the casting and performances, to the tone and humour, script and direction.
3. The Godfather (1972) --- Francis Ford Coppola
Of all the movies I have seen, and there have been a lot, this has without doubt the best single scene in it. The build up to and the assassination of Sollozzo and Captain McCluskey in the restaurant just can't be beaten, handled with such subtly and care by Coppola and all the actors involved. Al Pacino's Michael returns from the bathroom, the earlier planted gun now retrieved and in his pocket, he sits back down at the table with the two other men, his eyes down, not daring to look at them, the sound of the passing tram ringing in his ears, the tension becomes unbearably intense, suddenly he stands and shoots, with just three shots the other men are dead, the table seems to explode as McCluskey's falling body overturns it, Michael begins to flee still holding the gun, only remembering to drop it at the last second...Wow. It doesn't get any better than that. Still superior to it's slightly drawn out sequel, this is Al Pacino's and, very nearly, Coppola's best movie, still epic in scale, but with a tight story that keeps you riveted throughout. Aside from Pacino's fine performance, the rest of the cast are also wonderful, especially Marlon Brando and James Caan, with those two notably abscent from the sequel, a followup could never be as classy a movie as you have here.
2. Apocalypse Now (1979) --- Francis Ford Coppola
A film so good it comes very close to being my favourite movie and if this where a 'Best Films Ever Made' top 100 list it would certainly take the top spot there as well. Initially I bunched this in with the slew of other Vietnam War movies that have been made over the past decades, but over repeated viewings I came to realise that this crazy, deep and at times down right surreal film actually was not really about the Vietnam War at all, rather it merely takes place during the conflict and provides the background to the plot, which is of course centred on Martin Sheen's character Captain Willard as he descends into his own darkness while on a mission to track down Marlon Brando's rogue Colonel Kurtz and "terminate... with extreme prejudice". Somewhat sidelined by the star power of Brando, for my money this is Sheen's movie, even though he was criminally overlooked at the Academy Awards and did not even receive a nomination, this is his performance of a lifetime, truly believable as the man left broken down and hollow by the horrors of war. Just watching him in the almost dialogue free opening in the Saigon hotel manages to be both electrifying and heartbreaking at the same time. All in all a film on the edge, accurately reflecting it's turbulent production and the craziness of the Vietnam War perfectly, this is bravado filmmaking at it's finest. Just a shame Coppola so completely lost his touch after this and never came close to making a film of this stature again.
Last edited by Bastardo!; 06-23-08 at 04:36 PM.
... I added you to the 
