Daniel M's Top 100 - 2014

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I'm fairly alone in this thought but I think The Master is junk.

Borat is ok, I definitely need to see the rest though.
Been two years since I saw it and I still think about the first processing scene. Two powerful performances. I can understand not responding to the disjointed narrative, although I did, but there is so much craft in The Master. Not your cup of tea? got it. Junk? I can't sign off on that.
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Love the write-ups, Daniel.

Personally, I didn't care for McCabe & Mrs. Miller, but I'm willing to give it another try. Walkabout is a very good movie with stunning photography. I've yet to watch Caché, even though I've had it saved on my DVR for over a year. It strikes me as a very difficult film, so I feel like I need to be in the proper mindset to watch it.

All my friends used to quote Borat like crazy back when it first came out. ("Very nice!") I laughed my ass off the first time I watched it, but the humor doesn't hold up for me on repeat viewings. However, I definitely agree with you that it's a landmark comedy. It's a film that defies typical conventions or easy definitions.

The Master is amazing. I'm surprised that so many people watch it and get nothing out of it. I think it's a film that is filled to the brim with meaning, yet just opaque enough that each viewer can walk away with a different analysis. It's meant to touch people in different ways-- you just have to surrender yourself to the experience, much like Phoenix's character when he's being "processed." It also features two of the finest performances in recent years. I'm still a bigger fan of There Will Be Blood and Boogie Nights, but all three are five-star films and each would make my own Top 100. PTA is the most exciting filmmaker working today.
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Master of My Domain
Great thread so far, it contains lots of diverse films and your writing makes me want to watch them. Also like the posting style, which is clean, sharp and to-the-point.

Big fan of Borat, many people think its a stupid and horrible movie, but that's the cleverness of it. Funny, outrageous, and the use of racism and offensive content for a satirical theme just the way I like it.



Love the write-ups, Daniel.

Personally, I didn't care for McCabe & Mrs. Miller, but I'm willing to give it another try. Walkabout is a very good movie with stunning photography. I've yet to watch Caché, even though I've had it saved on my DVR for over a year. It strikes me as a very difficult film, so I feel like I need to be in the proper mindset to watch it.
I'm not sure, a lot of people call Caché, and Haneke's other works (that I have not seen) difficult or frustrating, and whilst in ways they are, I don't think it's totally off putting. Caché manages to fascinatingly pull you in and grip you with its mystery, and there's a great eeriness about it that makes it work as an effective thriller/horror, I think it's a film that I would recommend to other average moviegoers wanting to try out something a little different, it's a fascinating murder mystery, but much more, so I definitely think you'd like it.



There's a lot I appreciate in McCabe &Mrs. Miller alongside The Matser, but emotionally and engagement wise neither did much for me. Both are
movies in my book. I love Borat and Cache.

Also great write ups,
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Miss Vicky's Loyal and Willing Slave
Gave you rep for your last batch of films just as a mark of admiration for the effort you put into writing about them, not the actual films!!! Just to make that clear

The majority of films on your list I've either not seen or I have seen and just don't particularly like. Sorry about that



40 - Before Sunrise
(Richard Linklater, 1995)



I have heard quite a few people criticise this film, its plot and how the dialogue seems unnatural and naive from the two central characters. But I, and I imagine everyone else who loves the film, find it to be quite the opposite. Its the random encounter and strange 'nothing to lose' attitude of the characters that drive the conversations that make the film so fascinating to watch, I could watch the pair roam around Vienna for hours and hours, you do not want the night to end.

I think watching this film within the last year, in my late teen years (which I am still in) means that I find that it resonates with me and my life in a way that a lot of successful 'coming of age' movies do. Movies like The Graduate and Waking Life (watched since compiling list) look at characters pondering their existence and what they should do next in their life, and I think the type of questions raised and the motives of the characters are similar to many experience of myself and many other people who are growing up. Surely everyone has had at least one random conversation with a stranger on a bus or a train, as I mentioned before you have nothing to lose, you probably won't see that person again, why not go ahead and talk to them? What is the worst that can happen?

Think of how many times you walk past people and think I wonder what is going on in their life, what if I went over there and striked up a conversation? This film explores the 'if', and what develops from there on feels real and beautiful. There are many fantastic moments throughout the film, but what I and others always seem to mention is the music booth scene, which really is magical.

39 - Rear Window
(Alfred Hitchcock, 1954)



One of the first Hitchcock films that I ever saw, I watched it on television with my brother and I was not that big into films, I thought it was really good, but the Hitchcock films I watched since then would always rank above it on my top films from the director. Fortunately, earlier this year I got the chance to finally rewatch it, and what more of a great opportunity to watch it at the cinema.

The master of suspense, its amazing how Hitchcock makes a film that is so simple but yet so complex, the way that the story is told all from one room allows us to take on the same role of James Stewart as we try to solve the mystery, indulging in our voyeuristic fantasies along the way. In Hitchcock's films he often seems to plant his own personal desires and obsessions into the characters he creates, James Stewart is fascinated by murder, the attractive girl opposite and other strange relationships of the people that live around him.

The plot unfolds like a usual Hitchock thriller, keeping you on the edge of the seat as to what will happen next. With all the ingredients perfected from a storytelling perspective its easy to see why many regard this as the perfect Hitchcock film. Grace Kelly's fantastic entrance was an extra pleasure to watch on the big screen too.

38 - Sherlock Jr.
(Buster Keaton, 1924)



The works of Buster Keaton, and silent cinema in general is an area that I still have a lot to watch and discover in, but watching this relatively short film feels like you are watching the magnum opus of a genre, if you like, a hugely entertaining mixture of stuntwork and visual tricks, its a one man show and a joy to behold, a piece of work I would recommend to anyone wanting to watching 'older films'.

Buster Keaton is like a magician, employing all sorts of techniques that remind of of the magic of cinema. In the film, his character falls in to a dream which is used as an excuse to explore the large possibilities of stuntwork and editing, there are so many breathtaking moments that leave you with a smile on your face, thinking "just how on earth did he manage that?"

What is interesting about the way the story is told that once Keaton's character leaves his dream, and jumps out of the movie screen, returning to reality, he returns to being his more timid human self, he looks back at the screen to draw inspiration for real life before kissing a girl that he loves. The film acts as a love letter to the cinema and those who watch movies to escape from reality, to indulge in fantasy and dream. Undoubtedly one of the greatest films of all time, it would be a cliché to say that it is too low on my list, as there are a number of titles I could say the same about for all sorts of different reasons.

37 - Inglourious Basterds
(Quentin Tarantino, 2009)



Going to copy and paste from this thread again.

My fourth Tarantino viewing was a much more recent film from the director, skipping past Death Proof and Kill Bill and heading straight Inglourious Basterds. At the time I thought it was another great, fun Tarantino film, but now when I sit down and reflect on his body of work as a whole I think it might just be his second best film created. I mentioned previously about how Tarantino makes opening scenes that grab your attention to the film immediately and make you want more immediately, and this is certainly the case for Inglourious Basterds. I could probably write a separate analytical essay on Quentin Tarantino’s diner scenes within films, but in Inglourious Basterds the opening takes place in a remote French countryside home and it might just be my favourite film opening, not only in a Tarantino film, but in any film. Somehow Tarantino manages to combine his modern ‘hip’ style with famous history, many people dislike the film because of its cartoonish, fun reimagining of the second World War, but I think its important to remember Tarantino never tries to take a moral stance at any point, this is a film, Tarantino knows this and knows how to make it as entertaining as possible for the viewers.

The opening scene of Inglourious Basterds sees the introduction of Christoph Waltz, an Austrian actor who is now known for two Best Supporting Actor wins in his only two Tarantino films. Tarantino has talked about how he thought the role he wrote of Hans Landa would prove impossible to play, how he had gone through countless actors who he was unhappy with, he needed someone to perfect the role, a brilliant actor who could confidently converse in both English and German, and then he discovered Christoph Waltz. He plays the role to perfection, Tarantino has created many memorable characters in his films, and that is part of my love for him as a director, Hans Landa is definitely one of the best. He is a sick and despicable human being, there is no doubt about that, when he his in the room you can feel his presence as he an uneasy atmosphere, he gives us some of the films best scenes, and some of the most uncomfortable as well, I am talking about not only the film’s opening but also his meeting with Shosanna in the German restaurant.

There is not much more I can say about Tarantino as a director with Inglourious Basterds that I have not already discussed with his previous films. There are a number of top performances in the film, two of the best modern actors around feature: Brad Pitt in a hilarious role and Michael Fassbender who despite limited screen time proves why he has become one of the most wanted new actors around, there is also some more delightful cameos such as Mike Myers (Austin Powers) and Rod Taylor (The Birds).

Tarantino’s own influences are also evident in parts, the interior of Shosanna’s cinema is beautiful, and there is a lot of talk and visual references to the world of cinema, particularly the German industry. The inside of the cinema, projectors and use of film remind us of Tarantino’s love for cinema, he is a man with a love for traditional film and dislike for new digital filming. One of the film’s most beautiful scenes reminds us why, with Shosanna preparing herself for the Fuhrer’s visit to her cinema to the tune of David Bowie’s Cat People, once again reminding us of the director’s fantastic ear for strangely appropriate songs. This scene is also a fantastic reminder of the valuable contribution Sally Menke made to the career of Quentin Tarantino. She collaborated with the director on every film from Reservoir Dogs to Inglourious Basterds before her tragic death in 2010. Many have accused Tarantino’s 2012 film Django Unchained of being too disjointed, with Menke’s absence largely noticed.

Then you have the use of Ennio Morricone’s music within the film, Tarantino often talks about his love for Spaghetti Westerns (Django Unchained is basically one massive homage to Spaghetti Westerns) and cites The Good, the Bad and the Ugly as one of his all time favourite films, Ennio Morricone is famous for his collaborations with Sergio Leone, and Tarantino is clearly a huge fan himself. When you are watching Tarantino films he feels relatable in the fact that just like you he is a massive fan of films, he has grown up loving films and has taken elements he has loved to make something great himself. ‘Rabbia E Tarantella’ plays as the end credits hit, and it is absolutely beautiful, just before we hear Brad Pitt’s character utter the words ‘I think this might just be my masterpiece’, when I first finished watching the film I felt like applauding what I had just seen, and in years to come I hope this is a film that is remembered as a modern day masterpiece, at the moment it still seems to divide viewers.

36 - Vertigo
(Alfred Hitchcock, 1958)



Another Hitchcock film, and another masterpiece. Behind Rear Window this was second on my list of Hitchcock films to rewatch, so I definitely need to get to it soon. Once again it explores Hitchcock's personal desires and obsessions, especially his use of woman, masculinity and identity.

The first half of the film is as confusing and suspenseful as any Hitchcock film made, just like Stewart's character, we do not know what is going on and where the mystery is going to lead us, when the dramatic point comes, I had no idea what to think, but what follows is a fascinating character study.

Everything about the film is beautiful, the camerawork that includes as fantastic 360 degree shot, the beautiful colours that bring alive the San Francisco landscape, a fantastic score as usual from Herrmann and the compelling performances in which we genuinely feel for Stewart's complex character.

I was going to type that Vertigo is a film that every film lover should watch, but I realised that would be not entirely correctly. Every film lover should simply watch as many Hitchcock films as they possibly can, there is so much to be admired and learn from watching them.



2022 Mofo Fantasy Football Champ
+ rep for Rear Window. That's a top 3 film for me. I love the setting to the film the most.

Vertigo is great too, though I would rank at least five Hitch films above it.

Sherlock Jr. is a pretty good one for me too. I haven't seen it since the third HOF however, so it's been quite some time.

I haven't seen the other two.



I liked Before Sunrise but that ending frustrated me.

I like Basterds, but it's lesser Tarantino for me.

Haven't seen Sherlock Jr. yet but the 2 Hitchcock's are great.



Due to my cynicism, I'm a bigger fan of Before Sunset and Before Midnight, where the characters are grounded more in reality instead of being hopelessly idealistic as they are in Before Sunrise, but I still adore all three films. Probably my favorite trilogy.

All movies are a form of voyeurism, but never is that more clear than in Rear Window. My second favorite Hitchcock.

Sherlock Jr. was my introduction to Keaton (who I'm still not as familiar with as I should be). The amazing stunt work, the physical comedy and the short run time make it the perfect film to introduce viewers to silent cinema.

Inglourious Basterds isn't a personal favorite, at least not as much as some of QT's other works, but it's an excellent movie.

I've only seen Vertigo once, which isn't enough, so I expect I'll love it more on a re-watch. I liked it a lot, but many critics cite it as the greatest film of all-time, which surprises me.



Lord High Filmquisitor
The last set of films was 100% gold. Before Sunrise is in my own top ten and both it and Inglourious Basterds are among the best written films I've ever seen. Hitchcock is, of course, amazing and Sherlock Jr. is one of the most interesting films I've ever seen.
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Thanks for all the kind comments, as usual, guys

I've only seen Vertigo once, which isn't enough, so I expect I'll love it more on a re-watch. I liked it a lot, but many critics cite it as the greatest film of all-time, which surprises me.
I thought it was great when I watched it, and it's one of those films that I have thought about a lot more since watching. I could say my placement is either over generous or under generous for different reasons. But there is definitely a mystical quality about it, and the fascinating combination of mystery and personal desires (sometimes unsettling) that makes me see it as Hitchcock's most personal piece and perhaps his magnum opus. Like you, I eagerly await my next viewing, perhaps I'll see at as a top ten film.