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That elusive hide-and-seek cow is at it again
Having read a few comments (and partially feeling guilty for my own, after reading Mark's post!), I had to reflect more on what, exactly, it was about RotK that placed it lower than the other two parts for me. At least in my memory. I think Daniel M hit it commenting, "The kind of deus ex machina with the Army of the Dead always annoyed me a bit too."

That is really the only negative memory I have of it. When this film released, I was crazy deep into obsessing over 3d modeling, animation, and digital effects, so my view of cinema at that time was heavily biased. Apart from the ex machina feel of the Army of the Dead, I remember being very disappointed in the way those effects were handled. Not that it looked bad, just that I felt that perhaps budget was blown by that point and they could only afford a scripted ghostly mass "wash" over the land rather than marching on foot. It felt too simple relative to every other effect presented to that point within this trilogy.

I haven't read the books since 9th grade. Maybe that's how it was written? Do any of you remember how the book portrayed this army?

Yeah, I admit that's a terribly superficial judgment on the movie. Admitting that, I still struggle moving past it as those scenes deeply gutted me at the time. So much so that I still pull back when I watch it now. I believe I burned through all three back around August and that was still touch and go. But I'm trying hard to find any other fault with it. Yeah, maybe Gandalf's comment on the slow bed scene near the end, but whatever. I can probably let that go. I mean the trilogy was massive. One needed a moment to just decompress. My view may be entirely different had the Army of the Dead simply looked different in how they entered the battle.

(sorry, mark!)
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It looks like all three Lord of the Rings films will be ahead of any Ingmar Bergman. I get that this is what people have voted for (hey democracy), but that's just depressing.



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The reason we don't do things that way is that your suggestions are ridiculous.
That's a bit harsh. I agree with the diagnosis but not the solution. Different series have different circumstances. The LOTR series should be treated as 1 entry because it really is one discrete story. T1 and T2 are different, as is the Star Wars series. Frankly, I'm not sure there is another example that requires the same treatment, or if there is, my still non-caffeinated brain can't think of it.



We've gone on holiday by mistake
There's only been 2 times I've been majorly butthurt about a film character as an adult.

One was Luke Skywalker in TLJ and the other was Gandalf getting whooped by the Witch King in the extended ROTK.
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I wouldn't want only one per franchise per list.

And count me in the camp considering ROTK as my favorite, although Fellowship is a very close second. It didn't make my list.

Psycho gets better and better with each viewing and is my third favorite Hitchcock film currently. I had it at number 13 so it was the third and last Hitchcock from my list!



It looks like all three Lord of the Rings films will be ahead of any Ingmar Bergman. I get that this is what people have voted for (hey democracy), but that's just depressing.
If it makes you feel any better, I feel your pain.



The Return of the King....I didn't watch it, I don't want to watch it. I was bored by the 1st one which I've seen twice now and The Two Towers put me to sleep. I never read the Lord of the Rings novel and like the Star Wars or MCU universes, I just don't care about them.



Psycho was on my list. It’s Psycho waddya want from me?

I love the LOTR and glad to see when they make this list even though they didn’t make mine.



Psycho...Finally another film from my ballot! Yeah I'm rather proud of this review I wrote for Psycho, I hope someone will read it.


Psycho (Hitchcock, 1960)


Psycho...the guts of the movie

Fans of Hitch's 1960 horror cult classic have watched Psycho so many times that they know by heart every scene, every word of dialogue and each nervous glance by Norman Bates. Hitch is the master, so what else can be said?

A lot! Psycho is the result of many talented people who came together to tell one of the screen's most vivid horror stories.

Psycho
starts not with Hitchcock but with a real life, grisly murderer

Ed Gein, who in 1957 was arrested for the murders of two women. In his home, police found artifacts made from his victims body parts. Most disturbing was clothing made of human skin. Psychiatrists came to the conclusion that the psychotic murderer was trying to make a woman suit to wear, so that he could become his dead mother! His mother had dominated him in life...and also in death. Obviously he inspired more than one classic horror film classic.

Living just miles away from the murder was a novelist working on a suspense thriller murder book. Robert Block published his novel
Psycho in 1959. Also in 1959 Hitch was nearing completion on North by Northwest and was looking around for his next project. Reading the book Psycho on a flight over to England, Hitch then decides that this would be his next movie.



Hitch Goes Roger Corman style: Hitch notices that a certain movie producer is churning out low budget, low quality horror films and making lots of money at it. The fans love them, though the critics don't.

Paramount studio has Hitch under contract for one more movie but they were nervous about making a big budget film from such a controversial book. This forces Hitch to use his own production company Shamley Productions...which then gave Hitch the opportunity to make one of those Roger Corman type movies, with a small budget and lots of grisly bang for the buck.

Joseph Stefano...most people don't know that name but they should. He's the screen writer who created Norman Bates and wrote the screenplay for Psycho. Some of the film's legendary status rightly belongs to him.

Stefano was a new kid on the block and Hitch disliked working with new writers, so Stefano knew he had to sell Hitch on his story treatment. He did that by solving one of the stories main problems: how to keep the audience feeling empathy after Marion Crane is killed off in the first quarter of the film.

The original Normal Bates in the novel and in an earlier screenplay had been a middle aged, balding, quiet man who was a homicidal murder. Hardly the kind of character the audience would warm up to...but they needed to do just that, as Marion is out of the picture right at the start...So out of that need is born a young, quirky and even likable Norman Bates, who exist thanks to Joseph Stefano.


Hitchcock: "I don't care about the subject matter; I don't care about the acting; but I do care about the pieces of film and the photography and the sound track and all of the technical ingredients that made the audience scream.."

Hitch's style, Hitch is known as a technical director who creates his movies in his head even before he starts shooting. Hitch works from storyboards and plots out each camera shot, leaving nothing to chance. The camera angle, the distances to the actors, the lighting, the lens focal length and camera movement is all done according to Hitch's master plan.

One thing Hitch is not known for is micro managing the film. He takes a hands off approach to both the script and the acting. Relying instead on choosing talented people who can do their job well.

Screenwriter Joseph Stefano tells the story that: one day in Hitch's office he asked Hitch about one of the story character's motivation for doing what they do. Hitch replied in his usual calm and cool manner, 'Joseph, that is for you to decide.'



Janet Leigh
also said in an interview, that Hitch wouldn't give her specific acting directions. Which is something other actors have said about him as well. Instead he left it up to her to interpret the script as she seen fit. But he was strict about one thing! Janet had to stay within the camera frame and not improvise by moving out of the frame. The camera dictated the scene, not the other way around.

"The Hitchcock touch has four hands, and two of them are Alma’s."

Charles Chaplin, Los Angeles Times

Alma Hitchcock, Hitch's wife and partner in the movie making business. Alma had a big influence on Hitch's film including Psycho. She would let Hitch know if his next movie idea was a good one. If Alma liked it, it got made. She read and approved of Stefano's script and the next day Hitch tells Stefano that Alma liked the script.

Alma was also in on casting and approved of the actors selected. Hitch always listened to her. In some ways Alma is the chairman of the board. She even sat in on editing. Much of Hitch's touch is Alma's.



Anthony Perkins, when Stefano was writing his updated script of Psycho he had in mind this young stage actor as Norman Bates. At the start of production Hitch tells Stefano that Anthony Perkins is going to play Bates. Stefano couldn't believe the coincidence.

If Anthony Perkins hadn't been cast as the twisted but likable Norman Bates, I wouldn't be writing this review. He's that important to the movie. Perkins performance is the soul of Psycho! His improvisations of a nervous stuttering young man, under the thumb of his mother, is the stuff of movie legends. Reportedly Perkins engrossed himself so deep in the role he had a hard time shaking the specter of Bates after filming was over.

Janet Leigh, Hitch decided the role of Marion called for star power. No doubt he was familiar with her work from Orson Welles' Touch of Evil (1958), in which Janet Leigh played a woman held captive in a hotel room, while wearing not much more than her lingerie. Poor Janet, needed to stay away from motels!

Her role is brief as she's killed off towards the start of the film, but her part is pivotal. We get to see her at work at a bank, as she takes a wad of money from a rich and leering Texan. This is also when we see Hitch's daughter Pat Hitchcock, who provides some lighter moments that helps to take us off guard so that when the infamous shower scene takes place it has maximum effect.

Other Actors
...It's easy to focus on Anthony Perkins and Janet Leigh but there were other actors who helped shape the movie. Vera Miles plays Lila Crane, the sister of Marion who goes looking for her. Vera was slated to star in Vertigo but had to drop out due to a pregnancy. Vera has a small but pivotal role and adds depth to the film. I can't say the same for the actor who played Marion's boyfriend John Gavin...who comes across more like a Hollywood leading man than an actual character. However what Gavin lacks, Martin Balsam makes up for in his role as an investigator who's come looking for Marion and the $40,000 in cash she has stolen.

Bernard Herrmann
...his name might not ring a bell but his music score for Psycho sure does...rheee! rheee! rheee! We all know that music from the shower scene that screeches terror at us. Herrmann made a bold decision and scored the movie only with string instruments. He explained he wanted a stark black & white sound to match the starkness of the movie. The screeching violins give an effect of fingernails being raked across a chalk board...very effective!



The other big factor
, that made Psycho an instant hit was it's highly creative and unusual ad campaign. Hitch insisted that all the theaters showing Psycho would agree to not allowing anyone to be seated once the movie had started. This was a very big deal...it was on the posters at the theater and in the newspaper ads. In some cases people even stood in a special queue line with prepaid tickets, just to make sure the policy was adhered to. The public were also told not to reveal the ending. This much sensationalized hype, generated even more interest in Psycho.

Does Psycho deserve all the praise that's been heaped on it over the years?...Well we're still watching it...and still being amazed by it!




Hopefully, all three LotR movies won't make this list. I like the trilogy a good bit, but I've always felt like it receives too much praise. As for Return of the King, I remember it being the most poorly paced film of the trilogy as I got the sense they squeezed in a handful of unnecessary scenes to get its runtime over 3 hours. I'd have to rewatch the film though to better recall these scenes as it's been some time since I've done it, except I haven't felt motivated to do so in a while.

As for Psycho though, yeah, it's great. I don't quite like it as much as many people do in the "favorite or one of my three or five favorite horror movies of all time" sense, but it may grow on me some more if I watch it again. And this isn't to say I have any issues with it per se. I just haven't connected with it the same way I've connected with my other favorites of the genre (The Texas Chainsaw Massacre, The Evil Dead, The Phantom Carriage). However, there's a lot to like about it. The way it shifts audience expectations around (even though a lot of the film was spoiled for me) is among the very best which film has to offer, the two main death scenes in the film are brilliant horror moments, Anthony Perkins gives a creepy performance for the ages, and it might just have the best score to any horror movie ever (with the exception of Suspiria, maybe).
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30. Star Wars: The Empire Strikes Back - no surprise. there still a lot more of dis gud but nevermind films even before my bet can shows up.


29. Se7en - so far still the best Fincher. been a while that I might be need to revisit. maybe sometimes.


28. The Lord of the Rings: The Return of the King - way too high..


27. Psycho - e.. I thought this already popped out in the list, lol.
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We've gone on holiday by mistake
Having read a few comments (and partially feeling guilty for my own, after reading Mark's post!), I had to reflect more on what, exactly, it was about RotK that placed it lower than the other two parts for me. At least in my memory. I think Daniel M hit it commenting, "The kind of deus ex machina with the Army of the Dead always annoyed me a bit too."

That is really the only negative memory I have of it. When this film released, I was crazy deep into obsessing over 3d modeling, animation, and digital effects, so my view of cinema at that time was heavily biased. Apart from the ex machina feel of the Army of the Dead, I remember being very disappointed in the way those effects were handled. Not that it looked bad, just that I felt that perhaps budget was blown by that point and they could only afford a scripted ghostly mass "wash" over the land rather than marching on foot. It felt too simple relative to every other effect presented to that point within this trilogy.

I haven't read the books since 9th grade. Maybe that's how it was written? Do any of you remember how the book portrayed this army?

Yeah, I admit that's a terribly superficial judgment on the movie. Admitting that, I still struggle moving past it as those scenes deeply gutted me at the time. So much so that I still pull back when I watch it now. I believe I burned through all three back around August and that was still touch and go. But I'm trying hard to find any other fault with it. Yeah, maybe Gandalf's comment on the slow bed scene near the end, but whatever. I can probably let that go. I mean the trilogy was massive. One needed a moment to just decompress. My view may be entirely different had the Army of the Dead simply looked different in how they entered the battle.

(sorry, mark!)
The book has Aragorn use the army of the dead to attack the fleet at a different town/city. Then he uses that fleet to surprise the enemy from the side with men from said town/City.
So Saurons army is caught between Gondor, who's gates are never breached save for the witch King for his face off with gandalf, and Rohan from the other side. So it's a real battle, not just an unwinnable position till the ghosts unfairly sweep everything up.



So, this was a little tricksy

...
So, in other words, I got it right but for completely the wrong reasons.

Anywho...

I was one of those that put Return of the King in my top 3, at #3.

For me, it's a perfect ending to a perfect story, put on screen in a way I can't imagine being any better. I have such a strong emotional connection with these movies I would in a perfect world have put all three on my ballot, but with such limited space I put ROTK in, as my favourite (by a whisker) of the trilogy, to represent the whole thing. Well done to the 8 other crazy MoFos that helped it land this high (and with Fellowship still to come!)



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The reason we don't do things that way is that your suggestions are ridiculous.
why not explain why you disagree with what I said instead of being a harsh about it, I'm not looking for any problems here just making a suggestion and see what others think about it.
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Seriously, I don't think that limiting franchises would be good. I mean, if a film is good, it's good, period. It doesn't matter if it's an original or a sequel, prequel, remake, reboot... and if 10 or 20 people agree, then who's to say it isn't?
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Yeah, it's like the first two Godfathers. Both are widely considered to be among the greatest films ever made, so I don't see the point of only allowing you to pick one of them for a list like this, for example.



Seriously, I don't think that limiting franchises would be good. I mean, if a film is good, it's good, period. It doesn't matter if it's an original or a sequel, prequel, remake, reboot... and if 10 or 20 people agree, then who's to say it isn't?
Now as I thought of it, what if someone has T1 and T2 on their lists and it would suck to have one of their ballots not count because the list only limits one movie from each franchise.



why not explain why you disagree with what I said instead of being a harsh about it, I'm not looking for any problems here just making a suggestion and see what others think about it.
MovieFan, I'm fine with you making a suggestion. I don't agree with your suggestion, but I support your right to have your ideas and you suggested it with good intentions. So no worries.



Please post suggestions in the Suggestions for future countdowns thread if you want them to be noticed or discussed!
Thanks for letting me know