Two great films here, Hitch. But you already knew that. I'm quite surprised that Psycho didn't crack the top 10.
I'm as surprised as you are. I'm seeing this time around just how difficult making a top ten can be - I'm forced to leave off certain films that I really do think should be on there for the sake of variety and because there are simply too many movies I love just as much as any other film
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"Puns are the highest form of literature." -Alfred Hitchcock
Yeah, I'm not gonna bother replying to you, Guap, because I don't want to hijack HF's thread and I know you probably won't listen anyway. You're way too preoccupied with making clever (superficial) connections rather than simply trying to have honest discussions about cinema, which is what we're interested in. There should be no connection between box office, critical acclaim, and subjective experience, no matter how much you try to correlate them. End of story.
Great couple of sets there, Hitch. I like the first two Godfather films and love Psycho.
As for predictions, I'm noticing a conspicuous lack of PTA except for Boogie Nights, which I was under the impression wasn't your favourite of his. I'd be very happy to see one of his films crack your top 10.
As for predictions, I'm noticing a conspicuous lack of PTA except for Boogie Nights, which I was under the impression wasn't your favourite of his. I'd be very happy to see one of his films crack your top 10.
#10: Last Year at Marienbad Directed by Alain Resnais ___________________________________________
This is, in my opinion, the ultimate in cinematic mindf*ckery. For people like myself who like movies that lend themselves to complex and dramatic narrative interpretations, Last Year at Marienbad is a film one can really sink their teeth into. And on a technical level, it's positively astonishing; through eerie tracking shots that glide through the chateau (which would go on to greatly influence The Shining) and evocative use of a chilling baroque soundtrack, Resnais demonstrates a control of mood and atmosphere that is virtually unparalleled in any other film I've seen. So although Resnais' direction alone would be enough to make a case for Marienbad as a great film, it is this very sense of unreality that adds new and puzzling layers to the movie.
I don't pretend to think there is any one correct interpretation to exactly what the hell is going on in this film, which is at once a mockery of European art cinema conventions of the time and perhaps the most exquisite example of them. The central question remains: did X meet A the previous year, or did he not? I don't think the answer is so important after all; for as much fun as it is to speculate, the point of Last Year at Marienbad is not the solving of a puzzle but rather that our memories are not always as accurate as we think, that truth is never as simple as we would like it to be, and that love can take us down paths that are every bit as strange and unfamiliar as this film.
BONUS: If you're still not convinced to watch this great masterpiece, this trailer should get you interested:
#9: Magnolia Directed by Paul Thomas Anderson ___________________________________________
My favorite film made in my lifetime, Paul Thomas Anderson himself has stated that "Magnolia is, for better or worse, the best movie I'll ever make." And for as big a fan of him I am, I'm inclined to agree; I have a hard time imagining any film he makes in the future matching the immensity and ambition of this epic. It's the rare movie that has made me feel the whole spectrum of human emotions within its three hours; I laughed, I cried, and I was thoroughly engrossed the whole time through.
At the most basic level, Magnolia appeals to my love for films with large, sprawling casts and interconnected storylines. To say that it's just about how "everything is connected" would be too easy; other movies made prior to it have already said that and there's much more depth to PTA's masterpiece, anyways. Magnolia is quite simply one of the most emotionally moving films I've ever seen, and more than anything, it's about broken and lost souls. Every character here is looking for peace and solace in some way, expanding on Anderson's common theme of generational conflict to become a powerful look at how the past hangs over all of us like a gathering storm cloud ready to rain frogs.
Spot on with your thoughts on Magnolia, HF. I think its new position on my Top 10 (after a recent rewatch) speaks for itself regarding my thoughts. I have a fairly substantial write-up for it in limbo at the moment, I'll post it up if I ever get 'round to finishing it.
Magnolia is a great movie, but I don't love it as much as you, although that's no insult to it Last Year at Marienbad I have not seen, although I want to.
I think it was you who suggested Marienbad to me; I got around to watching it the other day and I absolutely loved it. Whilst it's not my favourite Resnais film (that is still Hiroshima mon amour), it would definitely be in my top 50.
Yeah, I'm not gonna bother replying to you, Guap, because I don't want to hijack HF's thread and I know you probably won't listen anyway. You're way too preoccupied with making clever (superficial) connections rather than simply trying to have honest discussions about cinema, which is what we're interested in. There should be no connection between box office, critical acclaim, and subjective experience, no matter how much you try to correlate them. End of story.
I have already said all I needed to say on that subject. Why to you waste your and my time by posting such nonsense? If you don't like what I posted you don't have to actually answer. If you are not interested in my opinion why address me?
This is so futile, all this bickering because of a simple post where I described my expectations about a movie based on my own set of parameters for looking out for stuff to watch, don't agree? Fine! But you have to reason to act in this way.
He's in school right now, I believe grade 12. Probably swamped with assignments.
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Here, if you have a milkshake, and I have a milkshake, and I have a straw. There it is, that's a straw, you see? You watching?. And my straw reaches acroooooooss the room, and starts to drink your milkshake... I... drink... your... milkshake!
-Daniel, There Will Be Blood
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I like the first two Godfather films and love Psycho.
