SaFo Top 100

100. The Adventures of Prince Achmed (1926, Lotte Reiniger)







99. Goodfellas (1990, Martin Scorsese)



98. Full Metal Jacket (1987, Stanley Kubrick)



97. Last Holiday (1950, Henry Cass)







96. Stop Making Sense (1984, Jonathan Demme)







95. The Godfather (1972, Francis Ford Coppola)



94. Sunrise: A Song of Two Humans (1927, F.W. Murnau)







93. Rushmore (1998, Wes Anderson)





92. I Know Where I'm Going! (1945, Michael Powell & Emeric Pressburger)







91. A Letter to Three Wives (1949, Joseph L. Mankiewicz)

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This should be interesting.

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"Don't be so gloomy. After all it's not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love - they had 500 years of democracy and peace, and what did that produce? The cuckoo clock."

Wow, you have some real classics in there. Great start.

This is going to be a great list!

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If I had a dollar for every existential crisis I've ever had, does money really even matter?

Yeah, awesome start...

Where did you see all these weirdo movies?

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

Love the Goodfellas pick, and really really love the Sunrise: A Song of Two Humans pick. Glad that other people can appreciate what is my favorite silent film so far (though I haven't seen much). Looking forward to the rest of this list!

90. The Treasure of the Sierra Madre (1948, John Huston)







89. The Dark Knight (2008, Christopher Nolan)





88. Ferris Bueller's Day Off (1986, John Hughes)





87. Sunset Blvd. (1950, Billy Wilder)





86. Deliverance (1972, John Boorman)





85. Sullivan's Travels (1941, Preston Sturges)





84. Laura (1944, Otto Preminger)







83. Annie Hall (1977, Woody Allen)






82. Horse Feathers (1932, Norman Z. McLeod)







81. City Lights (1931, Charles Chaplin)

80. Being John Malkovich (1999, Spike Jonze)







79. You Can't Take It with You (1938, Frank Capra)





78. Metropolis (1927, Fritz Lang)







77. A Hard Day's Night (1964, Richard Lester)







76. Cyrano de Bergerac (1990, Jean-Paul Rappeneau)





75. Fahrenheit 451 (1966, François Truffaut)





74. Dead of Night (1945, Alberto Cavalcanti, Charles Crichton, Basil Dearden, & Robert Hamer)







73. Sherlock Jr. (1924, Buster Keaton)







72. The Hunchback of Notre Dame (1996, Gary Trousdale & Kirk Wise)







71. 2001: A Space Odyssey (1968, Stanley Kubrick)

Yeah for Ferris Bueller

Very nice Sarah! I'm liking your inclusion of A Hard Days Night (of course ) and Dead of Night a classic creepy film, I like that one too.

70. My Fair Lady (1964, George Cukor)





69. Alien (1979, Ridley Scott)







68. Rosemary's Baby (1968, Roman Polanski)







67. All About Eve (1950, Joseph L. Mankiewicz)







66. The Boys in the Band (1970, William Friedkin)







65. The Third Man (1949, Carol Reed)







64. Pinocchio (1940, Ben Sharpsteen & Hamilton Luske)







63. Little Big Man (1970, Arthur Penn)





62. Heaven Can Wait (1943, Ernst Lubitsch)





61. Berlin Alexanderplatz (1980, Rainer Werner Fassbinder)

Anyone want to place any bets on exactly how many of these titles are also on Mark's list?

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Iro's Top 100 Movies v3.0

Only if you stick to his first 100 because at this point, he's written up so many classic films, it's nearly impossible not to share several.

And by the way, comparing Top 100 to Top 100, it seems to be 54 in common. Whatever that tells you.

60. War and Peace (1967, Sergei Bondarchuk)







59. The Wanderers (1979, Philip Kaufman)







58. Modern Times (1936, Charles Chaplin)





57. Next Stop, Greenwich Village (1976, Paul Mazursky)





56. Se7en (1995, David Fincher)







55. Spirited Away (2001, Hayao Miyazaki)







54. Butch Cassidy and the Sundance Kid (1969, George Roy Hill)





53. Children of Men (2006, Alfonso Cuarón)







52. Who Framed Roger Rabbit (1988, Robert Zemeckis)







51. The Nightmare Before Christmas (1993, Henry Selick)

Wow, you have some real classics in there. Great start.

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50. The Wizard of Oz (1939, Victor Fleming)







49. Chinatown (1974, Roman Polanski)







48. Singin' in the Rain (1952, Stanley Donen & Gene Kelly)







47. Straw Dogs (1971, Sam Peckinpah)







46. Jesus of Montreal (1989, Denys Arcand)







45. Richard Pryor: Live in Concert (1979, Jeff Margolis)





44. Song of the South (1946, Harve Foster & Wilfred Jackson)







43. Fight Club (1999, David Fincher)







42. Indiana Jones and the Temple of Doom (1984, Steven Spielberg)







41. People Will Talk (1951, Joseph L. Mankiewicz)

I'm loving your list for the most part. It's hard to argue with a lot of the movies you've chosen. I especially like your nods to Fassbinder and Powell-Pressburger. And Children of Men is one of my favorites.

But can you explain your inclusion of Song of the South a bit? I only saw part of it, because for the most part, I found it to be pretty racist and extremely offensive. So was Birth of Nation, I guess, but that was innovative and quite significant to the progress of motion pictures. I have heard that Song of the South was a well-made movie, and I'm not discounting or even disagreeing with your selection. I'd just like to know if there was something about it in particular that compelled you to select it.

Was it the combination of live-action and animation, that classic song, or maybe the story? Again, I never saw the entire thing, do I need to give it another chance?

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"I want a film I watch to express either the joy of making cinema or the anguish of making cinema" -Francois Truffaut

Well, obviously, if it's in my top 50 I think you should give it another chance. I don't really understand the comments that a lot of people make about it being racist though. It takes place after the Civil War, and of course, around that time there still would have been racist people living in the South, though that's a pretty obvious statement... there will probably be some amount of racist people almost everywhere at any time... But that's beside the point and I'm rambling now. The point is that the movie doesn't really show this. Uncle Remus is one of the most awesome people ever, fictional or otherwise and he seems pretty damn free to me, able to do most anything he wants. Johnny's grandmother, who was no doubt running the plantation during slavery, even has a lot of respect for Uncle Remus. He's the person that the children in the movie want to spend all their time with because he's so much fun, understanding, such a great storyteller, and gives them more freedom (at least gives Johnny more freedom) than he gets under his mother's watch (and this may very well be because Uncle Remus values his freedom so much, being emancipated and all, though the film never says that Uncle Remus used to be a slave). He becomes almost a surrogate father for Johnny while he's away from his father. This all adds to the things I liked about the movie when I was a child- the animation, songs, and comedy. It also kind of started my obsession with Bobby Driscoll and his life story... I could probably go on for a while, but probably not make sense the entire time. But does that answer your question at all...?