There are so many movies I've loved that the entire list would be
nearly book-length. It's tough to pick just a few, but I'll give
it a try.
Before I start any kind of numbered list, I have to include one film
that ... well, it'd be unfair to call it (them, really) my favorite film(s),
as they float in the stratosphere above anything like a numerical favorites
list. It isn't fair to list it with others. While I'll still refer to #1
on the list below as my favorite, this has a special place and must be mentioned first:
The Lord of the Rings: The Fellowship of the Ring, The Two Towers, The Return of the King
The actual list below is more or less in order, and some of them may change depending
on my mood. I'll try to provide quotes and commentary for all of them eventually;
in the meantime, here's da list:
(New Zealand/U.S.A., 2001, 2002, 2003) Directed by Peter Jackson
"We hatess them ... we hates them forever!!
Peter Jackson's achievement, along with all the actors, artists and technicians who worked on these films,
is one of the greatest in the history of world cinema. There have been whole books written on this and
days worth of extra features on the extended edition DVDs, so I'll just shut up now and recommend that
you learn more about the films from those sources. Thank you, Peter.
- Local Hero
(Scotland, 1983) Directed by Bill Forsyth
"You're my eyes and ears out there, McIntyre ... I want reports!"
My absolute favorite film of all time. Peter Riegert plays a Texas
oil man who's sent to a stunningly picturesque Scottish fishing town
to gingerly negotiate with the locals to buy the whole town, so that
his company can raze it to build an enormous oil refinery. Meanwhile,
the townsfolk with whom he's supposed to be so delicately negotiating
are quietly holding out so that they can become as rich as humanly
possible. Then, after a few days, he slowly begins to fall in love
with the place ...
This film, while being warm and hilarious, is also one of the most subtle films I've ever seen.
The humor of some of the scenes can slip by if you're not paying attention; in fact, the first
several times I saw it, I picked up more and of its subtleties with each subsequent viewing.
If you've ever loved a place and longed for it after you've left it, you'll be bawling at the end,
just as I always do. Fortunately, it's a happy bawling.
Gorgeous cinematography by Chris Menges, hilariously subtle humor,
great performances from Riegert, Burt Lancaster (one of my favorites),
Denis Hunt, Peter Capaldi and Jenny Seagrove. And I always cry at the
Here's a terrific article about some of the locations
where the film was shot, plus a biography of the writer-director, Bill Forsyth. Other
honorable mentions by this director: Comfort and Joy, Gregory's Girl
By the way ... I have had 42-year-old Scots whisky, and the number for that phone box is 44 3466 210.
(U.S., 1977) Directed by Woody Allen
"'Chapter One. He adored New York City. He idolized it all out of
proportion ...' no, uh, make that ... 'he romanticized it all out of
proportion ... 'He was as tough and romantic as the city he loved. Behind his black-rimmed
glasses was the coiled sexual power of a jungle cat.' I love this. 'New York was his town ...
and it always would be.'"
This is a film that could make a boy like me, who's never been to New
York, fall in love with the place. Funny, bittersweet, sad, pulsing
to the great tunes of George Gershwin and shot in stunningly gorgeous
widescreen black-and-white by Gordon Willis. And I almost always cry at the
I think this is Woody Allen's greatest film, despite the fact that "Annie Hall"
won more accolades from Hollywood. It's far more sophisticated, more bittersweet,
still bitingly funny, but more of a ride for your emotions. A masterpiece.
Second runners-up: Hannah and Her Sisters and Annie
- 2001: A Space Odyssey
(Britain, 1968) Directed by Stanley Kubrick
"Just what do you think you're doing, Dave?"
Mere words fail to describe this film. You've heard of it. See it if
you haven't, and prepare to have your mind blown. As one commentator said,
"it is a film that sort of encompasses art as a whole rather than just
utilizing the cinema. It is a movie, it is a painting, it is a
philosophy book, and finally a musical symphony. What a triumph."
Do NOT watch it on video, or you'll miss 2/3 of the images ... see it
on the big screen. (One allowable exception:
Criterion Edition laserdisc release, which is in letterbox format and
was personally approved by Kubrick.
But see it on the big screen first.) Despite all the advances in modern film
technology and effects, motion control, computer-generated images, etc. ...
Douglas Trumbull and the people who brought Arthur C. Clarke and Stanley Kubrick's
vision to the screen set a standard of visual effects that's still hard to beat,
in my humble opinion.
I tried to create a visual experience, one that bypasses verbalized
pigeonholing and directly penetrates the subconscious with an emotional
and philosophical content...I intended the film to be an intensely
subjective experience that reaches the viewer at an inner level of
consciousness, just as music does. You're free to speculate as you
wish about the philosophical and allegorical meaning of the film.
Other honorable mentions by this director: Dr. Strangelove, A
Clockwork Orange, Barry Lyndon and Full Metal
Jacket. In memory of Stanley Kubrick, 1928-1999.
-- Stanley Kubrick, 1968
- The Godfather, Parts I and II
(U.S., 1972-1974) Directed by Francis Ford Coppola
"It's not personal, Sonny ... it's strictly business."
Coppola and Mario Puzo's saga of the Corleone Family is one of the best
American films ever made, I think. And these films mesh together so
well, I tend to think of them as one. The baptism/assassination sequence
in the first one is stunning and chilling. And "Part II" is perhaps the
only sequel ever to equal or even surpass the original. "I know it was
you, Fredo. You broke my heart. You broke my heart!" Brrrrr.
Second runner-up: The Conversation, which is under-known and
- Blade Runner
(U.S., 1981) Directed by Ridley Scott
"I've seen things you people wouldn't believe. Attack ships on fire off
the shoulder of Orion. I watched C-beams glitter in the dark near the
Tannhauser gate. All those moments will be lost... like tears in rain."
Really great science fiction. Thoughtful, literate
script based on Philip K. Dick's novel,
great atmospheric direction by Ridley Scott, and a beautifully designed future
world of cultural mishmash, high-tech and urban squalor. Rutger Hauer's great in
this; too bad he ended up doing B-films. And I refer here to the Director's Cut, of course.
This film is rare in the annals of sf cinema, because it's intelligent and thought-provoking, and not
just a bunch of spaceships flying around. It all starts with a great script --
read the film's script,
written by Hampton Fancher and David Peoples.
- La Jetée (The Jetty)
(France, 1962) Directed by Chris Marker
"Ceci l'histoire d'un homme marqué par une image d'enfance..."
One of the most amazing, brilliant, poetic and emotionally powerful films ever made.
It's in black and white, it's in French, it's only 30 minutes long, and except for
one briefly moving image, is told entirely in still images. After the destruction
of Paris in World War III, a man obsessed by an image from his childhood is sent
by the rulers of the survivors as an emissary to the past, in search of food and medicine,
precisely because this image seems to be the only thing keeping the journey through time
from failing. There, he falls in love ... but what will become of it?
This film was the loose basis for the film "12 Monkeys", which did have its own merits
but wasn't 1/100th the film this is.
- Days of Heaven
(U.S., 1979) Directed by Terrence Malick
"Me and my bruddah ... it just used to be me and my bruddah ..."
The most beautifully photographed film I've ever seen, shot by the great
Cuban cinematographer Nestor Almendros, sensitively directed by the
vastly underrated director Malick. You must see this on
the big screen.
- Closely Watched Trains (Ostre Sledovane Vlaky)
(Czechoslovakia, 1966) Directed by Jiri Menzel
- Big Night
(USA, 1996) Directed by Campbell Scott and Stanley Tucci.
An absolutely beautiful, marvelous movie, the best film of 1996
that got completely screwed by the Academy ... phooey on them!
This warm and funny character study of the relationship between two brothers from Italy, fiercely
dedicated to fine cuisine but struggling to keep their restaurant afloat, is also a celebration
of the joys of cooking and eating, and much much more. It also has one of the most extraordinary
endings of any film I've ever seen. See it. Invite people over for dinner first, and make
(U.S., 1982) Directed by Blake Edwards
Norma: "I think the right woman could reform you." Toddy: "I think the right woman could reform you!
Norma: "Oh, I just love Frenchmen!" Toddy: "Hehee, so do I!"
I adore this movie. Everything about it is wonderful -- the writing, the acting,
the humor, the songs. Robert Preston performs what's perhaps his best role ever,
and Julie Andrews is fabulous as a down-and-out singer in Paris in the Twenties,
who becomes the toast of Europe as "Victor", a woman pretending to be a man pretending
to be a woman. See it!
(U.S., 2007) Directed by Brad Bird
"If you are what you eat, then I only want to eat the good stuff."
This is the first film to be added to this list in nine years. It is, in a word, perfect.
It's the essence of "cinematic" -- beautifully "photographed" (it's entirely computer-animated),
amazing fluid, sailing, flying camera movement, wonderful storytelling, endearing characters and acting, and
it's all about the love of food and finding the artist within yourself, being true to yourself and your
abilities and passions. I absolutely adored this film and hope to see it again and again.
- Being There
(U.S., 1981) Directed by Hal Ashby
"I like to watch, Eve."
Hal Ashby's last film, Peter Sellers' last major performance, Jerzy
Kosinski's novel and script, and pure brilliance in the story of a
sheltered, simple-minded gardner unleashed upon the world of
Washington, who embrace him as a visionary. Touching, wildly satirical and
(Britain, 1969) Directed by Stanley Donen
Peter Cook as the Devil (AKA "George Spiggott"), and Dudley Moore as the
poor sap who's sold his soul in exchange for seven wishes. Quite
possibly the funniest movie ever made. At the first shot of the scene of
Dudley's final wish, I was laughing so hard I was afraid I'd stop breathing.
- Aguirre, the Wrath of God (Aguirre, der Zorn Gottes)
(Germany, 1973) Directed by Werner Herzog
- Breaking Away
(U.S., 1978) Directed by Peter Yates
"That's ini food. I want some American food, goddammit, I want
- The Wicker Man
(Britain, 1973) Directed by Robin Hardy
"Come, Sergeant Howie ... it's time for you to keep your appointment
with The Wicker Man."
Brrrrr. Amazing, utterly original, very eerie and atmospheric movie with
a stunner of an ending. The film is the tale of a straight-laced, Puritan
policeman who goes to a remote Hebridean island to investigate the alleged
disappearance of a young girl, and finds that the inhabitants are all
practitioners of a pre-Christian paganism ... and are up to something. It
was involved in various litigation, and was cut to pieces in its various
releases. There's an excellent web site about the
film's different versions. Nobody I know seems to like this movie but
me. Bah. See it anyway, it's terrific. And it's the best performance of
Christoper Lee's entire career
- Paris, Texas
(U.S., 1984) Directed by Wim Wenders
"I knew these people. These two people. They were in love with each other. The girl was very young, about 17 or
18, I guess. And the guy was quite a bit older. He was kind of raggedy and wild. And she was very beautiful, you
know. And together they turned everything into a kind of adventure. And she liked that..."
Great writing and acting, a great Ry Cooder score, and one of the most
memorable scenes of any film I've seen -- the nearly ten-minute monologue
from Harry Dean Stanton, all one shot, near the end of the film.
- Touch of Evil
(U.S., 1959) Directed by Orson Welles
Everyone talks about "Citizen Kane", but this is my favorite Welles movie.
You'll almost believe Charlton Heston as a Mexican cop, too.
- Fiddler on the Roof
(U.S., 1971) Directed by Norman Jewison
One of my favorite musicals, a marvelous play, great characters, acting
and storytelling. Plus, the rabbi of Anatevka provided a morsel of wisdom
that I've adopted into my life, as my way of dealing with people I don't
like: "Rabbi, do you have a prayer for the Tsar?" "A prayer for the
Tsar? Oh dear ... (*thinking*) ... May God bless and keep the Tsar ...
faaaaar away from *us*."
(U.S., 1987) Directed by John Sayles
As much of a Sayles fan as I am, I came to this film fairly late. Better
late than never. It's a marvelous portrayal of the coal mine wars in
West Virginia in the early part of the 20th Century, set to great local mountain
music by the likes of Hazel Dickens. In addition to the fine writing, directing
and general acting, Will Oldham (currently of the alt.country.whatever band
Palace) gives a tour de force performance as the boy preacher.
- The Gold Rush and Modern Times
(U.S., 1925 and 1936) Directed by Charles Chaplin
Charlie Chaplin is one of my favorite directors, and it's hard to pick only one
of his films for my list ... in fact, it's hard to pick only two. Forced into
the "pick two" corner, though, I'd go for these two. "The Gold Rush" is still one
of the funniest films I've ever seen. "Modern Times" I've seen time and time
again -- it's hilarious, touching, and has biting social commentary that appeals to
me as well. I still wanna learn that song he sings at the end.
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