The Prestige's Prestigious films to immerse you

Yeah guys, Nil By Mouth will definitely stun you. Y'know, when you say that Casino may have a slight edge over Goodfellas, you forced me to think and compare the films more than I would have liked. I think Casino has the better flow but that Goodfellas is just way too funny and has more stand out scenes. Tough choice though.

So lets continue...


79: The Godfather (Francis Ford Coppola, 1972)



Now, i'm not as in love with this film as most people are, which is why it sits here at number 79, but this highly rated gangster film is very good indeed. In terms of technical aspects, it's great and boost rich cinematography. It's an emotionally resonant crime story in which acts of violence and immorality can be overlooked depending on how powerful a figure is.

Everybody mentions Brando's performance a Vito Corleone (and rightly so). However, I really think that Al Pacino's performance stands out the most in this first installment. His transformation from college boy to big time gangster is handled with patience and skill. To think he was close to losing the role to Robert Redford really worries me about Hollywood. He was too short, too average, too ethnic looking for the studio...but thank god Coppola sorted those big wigs out and made the film the way he wanted to.

Oh, and hooray for cotton buds..

78: Jaws (Steven Spielberg, 1975)



Despite the dodgy looking rubber shark, Jaws still has the power to shock, thrill and leave you exhausted. It was also one of the first of a wave of 'summer blockbuster' films shown.

In fact, that the shark is so dodgy looking may have actually helped the film. Rather than going all the way, Spielberg realises that the 'less you see, the more scary it is' formula really raises the bar on this film.

The characters are an interesting bunch, too, with Roy Schneider being the best of them. I love how at the end he gets all bad arse and says, 'smile you son of a biatch!' . Still one of my favourite quip before a death.

77. Mean Creek (Jacob Aaron Estes, 2004)



I watched this little underrated gem a few years back, and I immediately liked it. Yes, the similarities between this and Stand By Me were always going to be inevitable, but I can honestly say that this film is better than it's inspiration. Where Stand By Me featured a bunch of amicable leads that looked fresh faced and innocent, Mean Creeks offers a bunch of teenagers that are moody and almost unlikable. Just the way I like it. I'm a gloomy bastard, I know.

The film also has an eerie feel to it. I think it's the desaturated photography or the atmospheric location. Either way, it more than adds to the mood of this coming of age thriller. Definitely deserves it's place on my list.

76: The Imitation Of Life (Douglas Sirk, 1959)



Caught this film at a film studies screening. Our module concentrated on melodrama and I was charmed by this film the moment I had read the synopsis. From my understanding, this film was one of the first to explore the cultural divide between white and black people in America.

Despite the period, Sirk is clearly much more interested in the relationship between Annie and her lighter skinned daughter who passes for white than he is with his famous leading star. Issues of identity and race are handled sensitively, and I really just find the ending tragic. Great melodrama.


75. Brick (Rian Johnson, 2005)



It's got to be said, Joseph Levitt Gordon is one of my favourite actors right now. I never thought i'd say that about any actor who was on 3rd Rock From The Sun, but Gordon has come a long long long way from that generic comedy show.

One of Brick's interesting features is not it's noir plot transferred to a contemporary American high school, or the fact that it subverts the genre making it both post modern and retro at the same time, but it's inventive and slang heavy dialogue that i'm surprised isn't apart of pop culture literature right now.

It's worth noting that Johnson edited his fine debut on a Mac, and it doesn't even show. There are some lovely poetic scenes in this thriller. Joseph Levitt showed he is easily able to deliver first class leading man roles, too. I find myself looking forward to his every film, and he sort of remains me of Heath Ledger from a physical stand point.

74: - Ok i'm a tad bit tired right now so i'ma have to finish off the 4th lot tomorrow.

If you like Joseph Gordon Levitt, i recommend Mysterious Skin for a pretty strong performance.

Oh and it's Roy Scheider, not Schneider. Let's not be getting him confused with that **** weasel Rob Kinda feel obliged defending him since his death was completely overshadowed by Ledger.

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Great list so far
I love Nil By Mouth it is sad, and violent, isn't a movie I want to watch over and over

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I get what you mean about Scheider's death being overshadowed. I do think it's wrong for one death to gain more publicity over another, but it was always inevitable because Heath was still very young when he died and he was associated with The Dark Knight playing a role thats as iconic as Batman. Whereas Scheider was quite old and hadn't done anything significant lately. Either way, I wish his death was given more respect but what can you do.

Oh and yeah and I completely forgot about Mysterious Skin. You're right that was a very strong performance. Thanks for reminding me.

Some pretty nice choices so far: Jaws, Sin City, Scum, The Godfather, Deer Hunter, Casino Royale and Brokeback Mountain.

Well to be fair most off his best work was during the 70's. Holden outlines it very well Here, if you're interested. I imagine though you probably meant that he hadn't done anything significant lately. Yes? Because he certainly had some pretty memorable roles during the 70's.

Great job so far, keep them coming.

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I'll continue.

74. Gladiator (Ridley Scott, 2000)



Whatever you think of Ridley Scott, you can't dispute that the man has an eye for detail. And this film is astronomical in it's detailing of Rome. I really like this film for the sheer detail alone. It looks fantastic.

It sounds brilliant and Russell Crowe gave the performance of his life, but that Pheonix geezer stole the show. It was nice to see a villain that wasn't idolised or overly hammy but very nasty and spiteful. Great historical epic.

73. Star Wars: The Empire Strikes Back (Irvin Kershner, 1980)

The original Star Wars trilogy was everything you could want in a science fiction film and more. This installment is appropriately the highest rated of the series. It's just grand in terms of the scale of production design, story, effects. Theres just so much going on. So much ambition. But the bravest thing about this film is it's darker themes. It's very adult orientated. I still don't know how it got rated U over here?!?

But yeah, despite some dodgy plot problems, this is still the definitive Star Wars film. And the first to introduce us to the brilliant creation that is Yoda!

72. Adulthood (Noel Clarke, 2008)



This follow up to the slightly dodge Kidulthood is a rare example of a sequel being a LOT better than it's weak original. Made and released in an appropriate time where London's notorious knife crimes amongst youths have been escalating, Adulthood is a strong, urgent drama that will never get the attention it deserves.

Like the title suggests, it's a far more maturer piece of work than it's predecessor. Noel Clarke (pictured above as both star AND director) doesn't feel the need to rely heavily on MTV style editing. There's a bit of energetic camera work, but it's only done to serve the story and not show off.

For those that don't know, the film is set in West London and the events take place in 24 hours in which Sam, newly released from prison, has to deal with the repercussions of his violent actions in the last film. It's very well acted with a fine performance from Clarke himself. Hope to see more of him behind the camera. Essential British urban drama.

71: The Departed (Martin Scorsese, 2006)


Make no mistake - This is Dicaprio's film. How the guy manages to steal scenes from the likes of Jack Nicholson and Martin Sheen, I don't know. But he does and he does it in style.

As you all should know, this is an American version of Infernal Affairs. However, this film is more plot oriented, which is a good thing considering the type of film it is. The usual Scorsese signtures are all in there, but Dicaprio, I dare say, adds a star to the film with his first arrestingly adult role.

Every bit of emotion, every sense of tense, relief and panic is conveyed brilliantly. I have definitely changed my mind about him as an actor in the past two years. Oh and the dialogue is pretty sharp too.

70. The Last Seduction (John Dahl, 1994)



Saw this at a film studies screening. Linda Fiorentino delivers what's probably one of the sexiest, alluring and funniest female performances i've ever seen on screen. Her Bridget Gregory is a post modernist, post feminist femme fatale.

The film rests heavily on her and she's in almost every scene, but boy does Fiorentino deliver the goods. It's really hard to imagine anybody playing this role. The film itself is full of gleeful plotting in which Bridget's actions become more and more ruthless.
These sequences are a joy to watch and are helped with quick and snappy dialogue.

In fact, i'm thinking that i'm underrating this film by putting it in this position. I'm going to leave it hear for now, but after i've had a long think about it, I may move it up to a higher position.

Hmmm i quite liked Kidulthood, which was a surprise to me. Think gonna have to but Adulthood on the fastlane when it comes out
Have you seen Infernal Affairs btw?

Yeah mate, caught it about a month ago on some Sky channel. It's good but it wasn't really my cup of tea. It just less focus on plot than I thought there would be. Maybe I should give it another go, eh?

And yeah, get Adulthood. It makes it point more clear than Kidulthood did, which is why Clarke decided to do it in the first place.

Thanks pressed-one I have added a few to my must see list

"get on with it"

Hey, Pyro, you ever heard that one about the pot and the kettle?

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Oh yeah Though i've spent the last 5 days off my **** in a field, which i feel is a valid excuse.

Must apologise about the delay. I felt I had to completely rethink my next 70 films because i'm trying to make this list as definitive as possible. I've also been **** busy at work. We've got the Rock 'n Rolla premiere tomorrow and all kinds of shite.

Anyways, I shall get on with it right about..

NOW.

69. Collateral (Michael Mann, 2004)



Michael Mann's second best film really doesn't get the praise it so rightly deserves. A lot of that has to do with it's leading man, one of the most successful actors in Hollywood history. Despite all the Cruise bashing i've endured over the last few years, I have always found him to be a rather decent actor.

He's no Paddy Considine, sure. But the man is charismatic. In typical Mann fashion, Cruise is casted against type as the VILLAIN of the piece. And he makes a fine villain too imo. He's emotionless and violent hitman is one of the more memorable villains in a straight forward thriller in recent memory. Foxx is good, but I felt Cruise was overlooked because, well, he's Tom Cruise. And Mann's use of innovative Digital camcordering helps make the film grittier than the average studio flick.

68. Die Hard (John McTiernan, 1988)



Forget Die Hard 2: Dyer Harder or the atrocious 4th installment, THIS is the original action thriller. Bruce Willis made his name with this film. Much like Michael Keaton in Batman, Willis went from being known as a comedic actor to a take no prisoners tough guy with edgy wit and the perseverance of a great white shark.

And all of the references to westerns isn't a coincidence, either. John McClane is indeed a cowboy. A John Wayne for the new generatiion. The action was intense and the overall journey leaves people exhausted by the end. We feel for McClane because, despite being a cop, he's one of us. You relate to him, you feel the deep cut wounds on his feet when he's running bare footed on glass. And we love him for it. Watch it just to give out a big F U to Len Wiseman.


67. Layer Cake (Matthew Vaughn, 2004)



Matthew Vaughn is an interesting fella. Married to Claudia Schiffer, producer of the vastly overrated Lock Stock and Snatch. Well, since the release of this gem and Stardust , he can add 'pretty darn good' film director to that list. Vaughn shows his mate Guy Ritchie how it's done with superior camera work and fine storytelling techniques in this comedy thriller.

The completely plot orientated may take one or more swerves towards the end, but it's still a lot of fun. A pre Bond Daniel Craig gets to use his swagger to full effect as a nameless gangster for hire. You have to imagine that the producers of Bond had seen this film before they even considered Craig. The bursts of ultra violence mixed with humour are just some of the ingredients that gives the film flavour. A damn good debut.

Did that happen? I don't remember that. Not with Keaton anyway. I'm not arguing the point, I simply don't remember it happening. In my mind it went: was in some decent comedies, became Batman, acted a bit of a dick in some films, went back to doing comedies, only this time not as good.

And I'd say that Tom Cruise is, at least, an equal actor to Paddy Considine. He has screen presence too. I know that you didn't mention that, I just thought I'd throw it in.

I’m so so pleased to see both From London to Brighton and Nil By Mouth getting mentions (although think they could have rated a little higher). Big love to indie UK cinema.

Nil By Mouth is a truly superb film. It’s one of those films that you know from the start is going to be hard and gritty. Having said that it takes a little while for it to emerge as something more than just “another bleak British drama” but when it does you’re blown to pieces. This is largely (if not entirely down) to Kathy Burkes portrayal as the battered wife. The most overlooked portrayal of cinema history…

Also.. not sure what to make about the Brokeback Mountain comment. I guess it’s cute you liked the film but it’s undeniably about homosexuality and man on man love. Its like saying Malcolm X wasn’t about African-American history ????

On the surface it may appear to be about homosexuality. I mean the film does deal with two men who are in a gay relationship afterall. But i'm talking in non-superficial terms. I really think that the homosexual aspect of the film is used as a metaphor for man's need for, well, male company.

I feel that Ang Lee was attracted by such a subtext because otherwise the film is too simple and would have read like some sort of liberal gay right's campaign. But the film is not that pretentious.
Homosexuality is clearly a theme, but ya gotta look deeper. As my by Nolan would say, watch closely.

You're saying that the love between two men is more superficial than friendship?
Or maybe he was attracted by the tragic love story of two men ruined by society's prejudice and felt it was an important story to tell. Crazy I know.

Incidentally, do you see hetero love stories as stories about male-female friendships too?

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