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The Big List: A Year of Movies

Some of the High Hat gang were updating their 100-best-movies list; I haven’t touched mine since the pre-Netflix days, and I’ve seen more movies in the last five years than I did in the 35 years before that.  So I figured it was time I did the same.  Alas, I got to about 124 without even including any foreign films, so I thought a different approach was called for.

Instead, I put together 365 movies I loved in many different categories:  domestic features, foreign films, documentaries, experimental film, animation, shorts, made-for-TV movies, children’s and family films, cult movies, and so on.  That way, I didn’t have to limit myself to only 100, and you end up with a guide that lets you watch a great movie every day for a year.

Your corrections, complaints, and questioning of my sentience welcome.  Here, in order of release, is your year of movies:

  • L’Arrivée d’un Train en Gare de La Ciotat (Auguste & Louis Lumière, 1895, France)
  • A Trip to the Moon (Georges Méliès, 1902, France)
  • Dreams of the Rarebit Fiend (Winsor McCay, 1921, USA)
  • Nanook of the North (Robert J. Flaherty, 1922, USA)
  • The Battleship Potemkin (Sergei Eisenstein, 1925, Russia)
  • The Adventures of Prince Achmed (Lotte Reineger, 1926, Germany)
  • The Passion of Joan of Arc (Carl Theodor Dreyer, 1928, France)
  • Un Chien Andalou (Luis Buñuel, 1929, France)
  • The Blood of a Poet (Jean Cocteau, 1930, France)
  • M (Fritz Lang, 1931, Germany)
  • Freaks (Tod Browning, 1932, USA)
  • I am a Fugitive from a Chain Gang (Mervyn LeRoy, 1932, USA)
  • Zero for Conduct (Jean Vigo, 1933, France)
  • Duck Soup (Leo McCarey, 1933, USA)
  • Triumph of the Will (Leni Riefenstahl, 1935, Germany)
  • Bride of Frankenstein (James Whale, 1935, USA)
  • Partie de Campagne (Jean Renoir, 1936, France)
  • Snow White and the Seven Dwarfs (David Hand, 1937, USA)
  • Bringing Up Baby (Howard Hawks, 1938, USA)
  • Out of the Inkwell (Dave Fleischer, 1938, USA)
  • Stagecoach (John Ford, 1939, USA)
  • The Rules of the Game (Jean Renoir, 1939, France)
  • The Wizard of Oz (Victor Fleming, 1939, USA)
  • The Grapes of Wrath (John Ford, 1940, USA)
  • Pinocchio (Hamilton Luske & Ben Sharpsteen, 1940, USA)
  • Citizen Kane (Orson Welles, 1941, USA)
  • The Maltese Falcon (John Huston, 1941, USA)
  • Bambi (David Hand, 1942, USA)
  • Casablanca (Michael Curtiz, 1942, USA)
  • Shadow of a Doubt (Alfred Hitchcock, 1943, USA)
  • Road to Utopia (Hal Walker, 1943, USA)
  • Red Hot Riding Hood (Tex Avery, 1943, USA)
  • Meshes of the Afternoon (Maya Deren & Alexander Hammid, 1943, USA)
  • Double Indemnity (Billy Wilder, 1944, USA)
  • Why We Fight (Frank Capra, USA, 1945)
  • Rome, Open City (Roberto Rossellini, 1945, Italy)
  • Detour (Edgar G. Ulmer, 1945, USA)
  • Scarlet Street (Fritz Lang, 1945, USA)
  • The Big Sleep (Howard Hawks, 1946, USA)
  • Beauty and the Beast (Jean Cocteau, 1946, France)
  • It’s a Wonderful Life (Frank Capra, 1946, USA)
  • Fireworks (Kenneth Anger, 1947, USA)
  • The Treasure of the Sierra Madre (John Huston, 1948, USA)
  • La Terra Trema (Luchino Visconti, 1948, Italy)
  • Macbeth (Orson Welles, 1948, USA)
  • Act of Violence (Fred Zinnemann, 1948, USA)
  • The Third Man (Carol Reed, 1949, England)
  • White Heat (Raoul Walsh, 1949, USA)
  • Thieves’ Highway (Jules Dassin, 1949, USA)
  • Gun Crazy (Joseph H. Lewis, 1950, USA)
  • Night and the City (Jules Dassin, 1950, USA)
  • In a Lonely Place (Nicholas Ray, 1950, USA)
  • The Asphalt Jungle (John Huston, 1950, USA)
  • Sunset Blvd. (Billy Wilder, 1950, USA)
  • Rashomon (Akira Kurosawa, 1950, Japan)
  • The Thing from Another World (Howard Hawks, 1951, USA)
  • Singin’ in the Rain (Gene Kelly & Stanley Donen, 1952, USA)
  • High Noon (Fred Zinnemann, 1952, USA)
  • Duck Amuck (Chuck Jones, 1953, USA)
  • The Wages of Fear (Henri-Georges Clouzot, 1953, France)
  • The 5,000 Fingers of Dr. T (Roy Rowland, 1953, USA)
  • Tokyo Story (Yazujiro Ozu, 1953, Japan)
  • Seven Samurai (Akira Kurosawa, 1954, Japan)
  • Johnny Guitar (Nicholas Ray, 1954, USA)
  • La Strada (Federico Fellini, 1954, Italy)
  • 20,000 Leagues Under the Sea (Richard Fleischer, 1954, USA)
  • Diabolique (Henri-Georges Clouzot, 1955, France)
  • The Big Combo (Joseph H. Lewis, 1955, USA)
  • Rififi (Jules Dassin, 1955, France)
  • All That Heaven Allows (Douglas Sirk, 1955, USA)
  • Pather Panchali (Satyajit Ray, 1955, India)
  • Night and Fog (Alain Resnais, 1955, France)
  • The Night of the Hunter (Charles Laughton, 1955, USA)
  • Rebel without a Cause (Nicholas Ray, 1955, USA)
  • The Searchers (John Ford, 1956, USA)
  • The Silent World (Jacques Cousteau & Louis Malle, 1956, France)
  • The Killing (Stanley Kubrick, 1956, USA)
  • Bob le Flambeur (Jean-Pierre Melville, 1956, France)
  • Requiem for a Heavyweight (Ralph Nelson, 1956, USA)
  • The Red Balloon (Albert Lamorisse, 1956, France)
  • The Seventh Seal (Ingmar Bergman, 1957, Sweden)
  • Sweet Smell of Success (Alexander Mackendrick, 1957, USA)
  • Vertigo (Alfred Hitchcock, 1958, USA)
  • Touch of Evil (Orson Welles, 1958, USA)
  • Big Deal on Madonna Street (Mario Monicelli, 1958, Italy)
  • Les Cousins (Claude Chabrol, 1959, France)
  • Hiroshima Mon Amour (Alain Resnais, 1959, France)
  • Jazz on a Summer’s Day (Bert Stern, 1959, USA)
  • The World of Apu (Satyajit Ray, 1959, India)
  • Breathless (Jean-Luc Godard, 1960, France)
  • Peeping Tom (Michael Powell, 1960, England)
  • Psycho (Alfred Hitchcock, 1960, USA)
  • Blast of Silence (Allen Baron, 1961, USA)
  • Last Year at Marienbad (Alain Resnais, 1961, France)
  • West Side Story (Robert Wise & Jerome Robbins, 1961, USA)
  • Jules and Jim (Francois Truffaut, 1962, France)
  • La Jetée (Chris Marker, 1962, France)
  • An Occurrence at Owl Creek Bridge (Robert Enrico, 1962, France)
  • The Exterminating Angel (Luis Buñuel, 1962, Mexico)
  • Window Water Baby Moving (Stan Brakhage, 1962, USA)
  • The Manchurian Candidate (John Frankenheimer, 1962, USA)
  • (Federico Fellini, 1963, Italy)
  • The Leopard (Lucino Visconti, 1963, Italy)
  • Youth of the Beast (Seijun Suzuki, 1963, Japan)
  • From Russia with Love (Terence Young, 1963, England)
  • Point of Order (Emile de Antonio, 1964, USA)
  • Dr. Strangelove or:  How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964, USA)
  • Dog Star Man (Stan Brakhage, 1964, USA)
  • A Hard Day’s Night (Richard Lester, 1964, England)
  • Empire (Andy Warhol, 1964, USA)
  • Scorpio Rising (Kenneth Anger, 1964, USA)
  • Culloden (Peter Watkins, 1964, England)
  • Repulsion (Roman Polanski, 1965, England)
  • The War Game (Peter Watkins, 1965, England)
  • A Charlie Brown Christmas (Bill Melendez, 1965, USA)
  • Who’s Afraid of Virginia Woolf? (Mike Nichols, 1966, USA)
  • The Battle of Algiers (Gillo Pontecorvo, 1966, Italy)
  • Persona (Ingmar Bergman, 1966, Sweden)
  • The Big T.N.T. Show (Larry Peerce, 1966, USA)
  • The Good, the Bad and the Ugly (Sergio Leone, 1966, Italy)
  • How the Grinch Stole Christmas! (Chuck Jones & Ben Washam, 1966, USA)
  • Wavelength (Michael Snow, 1967, Canada)
  • Don’t Look Back (D.A. Pennebaker, 1967, USA)
  • Branded to Kill (Seijun Suzuki, 1967, Japan)
  • Bonnie and Clyde (Arthur Penn, 1967, USA)
  • Point Blank (John Boorman, 1967, USA)
  • Titicut Follies (Frederick Wiseman, 1967, USA)
  • Le Samouraï (Jean-Pierre Melville, 1967, France)
  • Week-end (Jean-Luc Godard, 1967, France)
  • The Producers (Mel Brooks, 1968, Mel Brooks)
  • Les Biches (Claude Chabrol, 1968, France)
  • 2001:  A Space Odyssey (Stanley Kubrick, 1968, USA)
  • Death By Hanging (Nagisa Oshima, 1968, Japan)
  • Yellow Submarine (George Dunning, 1968, England)
  • Night of the Living Dead (George Romero, 1968, USA)
  • Romeo and Juliet (Franco Zeffirelli, 1968, Italy)
  • The Rolling Stones Rock and Roll Circus (Michael Lindsay-Hogg, 1968, England)
  • if… (Lindsay Anderson, 1968, England)
  • Salesman (Albert Maysles, David Maysles & Charlotte Zwerin, 1969, USA)
  • The Wild Bunch (Sam Peckinpah, 1969, USA)
  • The Butcher (Claude Chabrol, 1970, France)
  • Woodstock (Michael Wadleigh, 1970, USA)
  • The Ossuary (Jan Svankmajer, 1970, Czechoslovakia)
  • Le Cercle Rouge (Jean-Pierre Melville, 1970, France)
  • The Conformist (Bernardo Bertolucci, 1970, Italy)
  • Le Voyou (Claude Lelouch, 1970, France)
  • Gimme Shelter (Albert & David Maysles, 1970, USA)
  • Le Petit Théâtre de Jean Renoir (Jean Renoir, 1970, France)
  • Punishment Park (Peter Watkins, 1971, USA)
  • Willy Wonka & the Chocolate Factory (Mel Stuart, 1971, USA)
  • Two-Lane Blacktop (Monte Hellman, 1971)
  • Duel (Steven Spielberg, 1971, USA)
  • The Act of Seeing with One’s Own Eyes (Stan Brakhage, 1971, USA)
  • The Godfather (Francis Ford Coppola, 1972, USA)
  • Roma (Federico Fellini, 1972, Italy)
  • The Ruling Class (Peter Medak, 1972, England)
  • The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972, France)
  • Aguirre, the Wrath of God (Werner Herzog, 1972, Germany)
  • Charlotte’s Web (Charles A. Nichols & Iwao Takamoto, 1973, USA)
  • Cocksucker Blues (Robert Frank, 1973, USA)
  • The Holy Mountain (Alejandro Jodorowsky, 1973, Spain)
  • Enter the Dragon (Robert Clouse, 1973, USA)
  • Mean Streets (Martin Scorsese, 1973, USA)
  • Badlands (Terrence Malick, 1973, USA)
  • The Exorcist (William Friedkin, 1973, USA)
  • The Autobiography of Miss Jane Pittman (John Korty, 1974, USA)
  • Blazing Saddles (Mel Brooks, 1974, USA)
  • Ali:  Fear Eats the Soul (Ranier Werner Fassbinder, 1974, Germany)
  • Monty Python and the Holy Grail (Terry Gilliam & Terry Jones, 1974, England)
  • The Conversation (Francis Ford Coppola, 1974, USA)
  • Hearts and Minds (Peter Davis, 1974, USA)
  • Chinatown (Roman Polanski, 1974, USA)
  • Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974, USA)
  • Lancelot du Lac (Robert Bresson, 1974, France)
  • Phantom of the Paradise (Brian De Palma, 1974, USA)
  • Young Frankenstein (Mel Brooks, 1974, USA)
  • The Godfather Part 2 (Francis Ford Coppola, 1974, USA)
  • Fox and His Friends (Ranier Werner Fassbinder, 1975, Germany)
  • Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975, Belgium)
  • Nashville (Robert Altman, 1975, USA)
  • Jaws (Steven Spielberg, 1975, USA)
  • F for Fake (Orson Welles, 1975, USA)
  • Grey Gardens (Albert & David Maysles, 1975, USA)
  • Taxi Driver (Martin Scorsese, 1976, USA)
  • The Killing of a Chinese Bookie (John Cassavetes, 1976, USA)
  • Allegro Non Troppo (Bruno Bozzetto, 1976, Italy)
  • Harlan County, USA (Barbara Kopple, 1976, Canada)
  • Heart of Glass (Werner Herzog, 1976, USA)
  • Killer of Sheep (Charles Burnett, 1977, USA)
  • Annie Hall (Woody Allen, 1977, USA)
  • The Truck (Marguerite Duras, 1977, France)
  • Eraserhead (David Lynch, 1977, USA)
  • A Grin without a Cat (Chris Marker, 1977, France)
  • The 36th Chamber of Shaolin (Liu Chia-Liang, 1978, Hong Kong)
  • Jubilee (Derek Jarman, 1978, England)
  • The Last Waltz (Martin Scorsese, 1978, USA)
  • Apocalypse Now (Francis Ford Coppola, 1979, USA)
  • Dawn of the Dead (George Romero, 1978, USA)
  • Days of Heaven (Terrence Malick, 1978, USA)
  • Richard Pryor:  Live in Concert (Jeff Margolis, 1979, USA)
  • Tale of Tales (Yuriy Norshteyn, 1979, Russia)
  • The Warriors (Walter Hill, 1979, USA)
  • Real Life (Albert Brooks, 1979, USA)
  • A Walk Through H:  The Reincarnation of an Ornithologist (Peter Greenaway, 1979, England)
  • The Tin Drum (Volker Schlöndorff, 1979, Germany)
  • Alien (Ridley Scott, 1979, USA)
  • The Ninth Configuration (William Peter Blatty, 1980, USA)
  • The Falls (Peter Greenaway, 1980, England)
  • The Shining (Stanley Kubrick, 1980, USA)
  • The Elephant Man (David Lynch, 1980, USA)
  • Berlin Alexanderplatz (Ranier Werner Fassbinder, 1980, Germany)
  • The Long Good Friday (John Mackenzie, 1980, England)
  • Raging Bull (Martin Scorsese, 1980, USA)
  • Pixote:  The Law of the Weakest (Hector Babenco, 1981, Brazil)
  • The Decline of Western Civilization (Penelope Spheeris, 1981, USA)
  • Time Bandits (Terry Gilliam, 1981, England)
  • The Road Warrior (George Miller, 1981, Australia)
  • Fitzcarraldo (Werner Herzog, 1982, Germany)
  • Conan the Barbarian (John Milius, 1982, USA)
  • The Atomic Café (Jayne Loader, Kevin Rafferty & Pierce Rafferty, 1982, USA)
  • Burden of Dreams (Les Blank, 1982, USA)
  • Blade Runner (Ridley Scott, 1982, USA)
  • Dimensions of Dialogue (Jan Svankmajer, 1982, Czechoslovakia)
  • Sans Soliel (Chris Marker, 1983, France)
  • Local Hero (Bill Forsyth, 1983, Scotland)
  • The King of Comedy (Martin Scorsese, 1983, USA)
  • Special Bulletin (Ed Zwick, 1983, USA)
  • Nacht und Träume (Samuel Beckett, 1983, England)
  • Urusei Yatsura 2:  Beautiful Dreamer (Mamoru Oshii, 1984, Japan)
  • Repo Man (Alex Cox, 1984, USA)
  • This is Spinal Tap (Rob Reiner, 1984, USA)
  • Stop Making Sense (Jonathan Demme, 1984, USA)
  • Stranger Than Paradise (Jim Jarmusch, 1984, USA)
  • A Girl’s Own Story (Jane Campion, 1984, New Zealand)
  • Secret Honor (Robert Altman, 1984, USA)
  • Threads (Mick Jackson, 1984, England)
  • Brazil (Terry Gilliam, 1985, England)
  • Ran (Akira Kurosawa, 1985, Japan)
  • The Big Snit (Richard Condie, 1985, Canada)
  • After Hours (Martin Scorsese, 1985, USA)
  • Mishima:  A Life in Four Chapters (Paul Schrader, 1985, USA)
  • Re-Animator (Stuart Gordon, 1985, USA)
  • Shoah (Claude Lantzmann, 1985, France)
  • My Beautiful Laundrette (Stephen Frears, 1985, England)
  • Tampopo (Juzo Itami, 1985, Japan)
  • Street of Crocodiles (Stephen & Timothy Quay, 1986, USA)
  • The Fly (David Cronenberg, 1986, USA)
  • Blue Velvet (David Lynch, 1986, USA)
  • Raising Arizona (Joel Coen, 1987, USA)
  • Withnail and I (Bruce Robinson, 1987, England)
  • Robocop (Paul Verhoeven, 1987, USA)
  • Superstar:  The Karen Carpenter Story (Todd Haynes, 1987, USA)
  • The Princess Bride (Rob Reiner, 1987, USA)
  • Story of Women (Claude Chabrol, 1988, France)
  • Grave of the Fireflies (Isao Takahata, 1988, Japan)
  • Who Framed Roger Rabbit (Robert Zemeckis, 1988, USA)
  • Akira (Katsuhiro Otomo, 1988, Japan)
  • The Thin Blue Line (Errol Morris, 1988, USA)
  • Eight Men Out (John Sayles, 1988, USA)
  • Drowning By Numbers (Peter Greenaway, 1988, England)
  • Traffik (Alastair Reid, 1989, England)
  • Do the Right Thing (Spike Lee, 1989, USA)
  • Tetsuo:  The Iron Man (Shinya Tsukamoto, 1989, Japan)
  • The Killer (John Woo, 1989, Hong Kong)
  • sex, lies and videotape (Steven Soderbergh, 1989, USA)
  • The Cook, the Thief, His Wife, and Her Lover (Peter Greenaway, 1989, England)
  • The Decalogue (Krzysztof Kieslowski, 1989, Poland)
  • Roger & Me (Michael Moore, 1989, USA)
  • GoodFellas (Martin Scorsese, 1990, USA)
  • The Civil War (Ken Burns, 1990, USA)
  • The Grifters (Stephen Frears, 1990, USA)
  • The Silence of the Lambs (Jonathan Demme, 1991, USA)
  • Barton Fink (Joel Coen, 1991, USA)
  • Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991, USA)
  • Hearts of Darkness:  A Filmmaker’s Apocalypse (Fax Bahr & George Hickenlooper, 1991, USA)
  • Brother’s Keeper (Joe Berlinger & Bruce Sinofsky, 1992, USA)
  • Man Bites Dog (Benoît Poelvoorde, André Bonzel & Rémy Belvaux, 1992, Belgium)
  • Glengarry Glen Ross (James Foley, 1992, USA)
  • Malcolm X (Spike Lee, 1992, USA)
  • Bad Lieutenant (Abel Ferrara, 1992, USA)
  • From the East (Chantal Akerman, 1993, Belgium)
  • And the Band Played On (Roger Spottiswoode, 1993, USA)
  • 32 Short Films About Glenn Gould (Francois Girard, 1993, USA)
  • The Nightmare Before Christmas (Henry Selick, 1993, USA)
  • The Wrong Trousers (Nick Park, 1993, England)
  • Pulp Fiction (Quentin Tarantino, 1994, USA)
  • Heavenly Creatures (Peter Jackson, 1994, New Zealand)
  • Hoop Dreams (Steve James, 1994, USA)
  • The Kingdom (Lars von Trier, 1994, Denmark)
  • Crumb (Terry Zwigoff, 1995, USA)
  • Dead Man (Jim Jarmusch, 1995, USA)
  • Safe (Todd Haynes, 1995, USA)
  • Babe (Chris Noonan, 1995, Australia)
  • Institute Benjamenta, or This Dream That One Calls Human Life (Stephen & Timothy Quay, 1995, USA)
  • Watch the K Foundation Burn a Million Quid (Gimpo, 1995, England)
  • La Cérémonie (Claude Chabrol, 1995, France)
  • Toy Story (John Lasseter, 1995, USA)
  • When We Were Kings (Leon Gast, 1996, USA)
  • Fargo (Joel Coen, 1996, USA)
  • The Bloody Child (Nina Menkes, 1996, USA)
  • Hype!  (Doug Pray, 1996, USA)
  • 4 Little Girls (Spike Lee, 1997, USA)
  • The Butcher Boy (Neil Jordan, 1997, Ireland)
  • Starship Troopers (Paul Verhoeven, 1997, USA)
  • The Big Lebowski (Joel Coen, 1998, USA)
  • Fear and Loathing in Las Vegas (Terry Gilliam, 1998, USA)
  • After Life (Hirokazu Koreeda, 1998, Japan)
  • The Thin Red Line (Terrence Malick, 1998, USA)
  • The Iron Giant (Brad Bird, 1999, USA)
  • Audition (Takashi Miike, 1999, Japan)
  • The Limey (Steven Soderbergh, 1999, USA)
  • Being John Malkovich (Spike Jonze, 1999, USA)
  • American Movie (Chris Smith, 1999, USA)
  • Amores Perros (Alejandro González Iñárritu, 2000, Mexico)
  • La Commune [Paris, 1871] (Peter Watkins, 2000, France)
  • Crouching Tiger, Hidden Dragon (Ang Lee, 2000, Taiwan)
  • Dark Days (Marc Singer, 2000, USA)
  • Memento (Christopher Nolan, 2000, USA)
  • In the Mood for Love (Wong Kar-Wai, 2000, Hong Kong)
  • Battle Royale (Kinji Fukasaku, 2000, Japan)
  • Mulholland Dr. (David Lynch, 2001, USA)
  • Gerry (Gus van Sant, 2002, USA)
  • Bloody Sunday (Paul Greengrass, 2002, England)
  • Femme Fatale (Brian De Palma, 2002, France)
  • City of God (Fernando Meirelles & Kátia Lund, 2002, Brazil)
  • Russian Ark (Alexander Sokurov, 2002, Russia)
  • 10 Minutes (Ahmed Imamovic, 2002, Bosnia)
  • Adaptation. (Spike Jonze, 2002, USA)
  • Dogville (Lars von Trier, 2003, Denmark)
  • The Fog of War (Errol Morris, 2003, USA)
  • Finding Nemo (Andrew Stanton & Lee Unkrich, 2003, USA)
  • The Triplets of Belleville (Sylvain Chomet, 2003, France)
  • Los Angeles Plays Itself (Thom Anderson, 2003, USA)
  • The Saddest Music in the World (Guy Maddin, 2003, Canada)
  • Lost in Translation (Sofia Coppola, 2003, USA)
  • Time of the Wolf (Michael Haneke, 2003, France)
  • Elephant (Gus van Sant, 2003, USA)
  • Angels in America (Mike Nichols, 2003, USA)
  • Oldboy (Chan-Wook Park, 2003, South Korea)
  • Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004, USA)
  • Tropical Malady (Apichatpong Weerasethakul, 2004, Thailand)
  • The Incredibles (Brad Bird, 2004, USA)
  • Howl’s Moving Castle (Hayao Mikazaki, 2004, Japan)
  • Brick (Rian Johnson, 2005, USA)
  • Grizzly Man (Werner Herzog, 2005, USA)
  • My Dad is 100 Years Old (Guy Maddin, 2005, USA)
  • 49 Up (Michael Apted, 2005, England)
  • The New World (Terrence Malick, 2005, USA)
  • The Road to Guantánamo (Michael Winterbottom, 2006, England)
  • A Scanner Darkly (Richard Linklater, 2006, USA)
  • Manufactured Landscapes (Jennifer Balchwai, 2006, Canada)
  • Zodiac (David Fincher, 2007, USA)
  • Persepolis (Marjane Satrapi & Vincent Paronnaud, 2007, France)
  • No Country for Old Men (Joel Coen, 2007, USA)
  • There Will Be Blood (Paul Thomas Anderson, 2007, USA)
  • Man on Wire (James Marsh, 2008, USA)
  • Sita Sings the Blues (Nina Paley, 2008, USA)
  • I’ve Loved You So Long (Philippe Claudel, 2008, France)
  • WALL-E (Andrew Stanton, 2008, USA)
  • The Headless Woman (Lucrecia Martel, 2008, Spain)
  • Trouble the Water (Tia Lessin & Carl Deal, 2008, USA)
  • Synecdoche, New York (Charlie Kaufman, 2008, USA)
  • Red Riding (Tony Grisoni, 2009, England)
  • Dogtooth (Yorgos Lanthimos, 2009, Greece)
  • Carlos (Olivier Assayas, 2010, France)

Mirrored from LEONARD PIERCE DOT COM.

Comments

( 14 SHOTS LICKED — LICK A SHOT )
eatsoylentgreen
Sep. 3rd, 2011 01:38 am (UTC)
this list is better than most, and made me say "fuck yeah" a couple of times. It is rather a boy list (Spaceship Troopers?) and a few movies that think they're cool (I almost expected Donnie Darko or America Beauty to rear its ugly head). But if I had to pick a random movie off a shelf, I'd like it to be that shelf!
ludickid
Sep. 3rd, 2011 03:24 am (UTC)
Please explain "boy list" and "movies that think they're cool". Cite examples. Show your work.
eatsoylentgreen
Sep. 3rd, 2011 07:26 am (UTC)
I can try of course.

And of course, any opinion is just an opinion. And I'm not sure if I like you enough to research statistics regarding gender preferences in movies, although that'd probably be interesting.

A boy list has guy movies, movies preferred by males, it's short of girl movies and movies that one sex doesn't prefer more than the other. They have explosions and simple characters and dumb dialogue ("girl movies" have dumb dialogue too).

I saw someone write: "Guy movies ... you know 'em when you see 'em. They're packed with sophomoric humor, cartoon violence, mean-spirited putdowns and gratuitous nudity..." and Maxim wrote Violence trumps sex, war beats peace... tend to be about soldiers, athletes, cops, and every kind of loner. They are unapologetically male, and often politically incorrect...guy movies do have a moral, and it's always straightforward: If you're a cop or a criminal, a team player or a lone wolf, all that matters is being brave and honorable, no matter the consequences.

and why "boy list" and not "man list?" I'd say a boy movie is simpler, less dark, more fun, has spaceships or cool nifty technology. Incredibles is a boy movie, though plenty of women like it, it's also a very likeable movie.

movies that think they're cool is going to be harder and require more thought
ludickid
Sep. 3rd, 2011 07:39 am (UTC)
I can see what you're getting at -- you're describing guy movies, dude movies. I know what those are. But what I don't understand is how you're describing this list in those terms.

I'll admit that this list probably skews male; it's fairly heteronormative, and I like stuff like film noir, which is I guess more of a 'male' than a 'female' genre. But the qualities you ascribe to guy movies are either absent or in short supply on my list. Which of these movies have sophomoric humor? Which have cartoon violence? Which have mean-spirited putdowns or gratuitous nudity? Few of them are about soldiers and almost none are about athletes. And they absolutely do not have straightforward morals -- I'd say that the majority of the narrative films are morally ambiguous, if anything.

And if you define 'boyish' as simpler, less dark, more fun, with more technology and gadgets, then the movies on my list doesn't fit those criteria either. There's very little sci-fi, very few 'gadget' movies, lots of complexity and darkness and not that much lightness and playfulness.

It's not that I don't understand your definition; it's that I don't see how you're applying it to this list.
eatsoylentgreen
Sep. 3rd, 2011 08:19 am (UTC)
I guess when I thought of sophomoric humor I was thinking of "middle school yuks", and movies like Conan, Robocop, Princess Bride, these have middle school yuks. Violence is pretty cartoony in these too.

I don't know as much about movies as you. Looking at your list made me realize that I pretty much watched movies from 1986 to 1996 and mostly gave up on them after the movie Independence Day, save Coen brothers (who really are without peer), foreign movies, and movies that are outside any genre like Man on Wire.
flying_blind
Sep. 3rd, 2011 03:20 am (UTC)
The list is too short. I grew up with double features, so I need another 365. I'm glad to see Thieves' Highway on the list, though. It deserves to be more widely known than it is.

If I made a list, there'd be a lot of overlap with yours, but I'd probably have more stuff from the 1930s through 1960s, and more comedy, musicals, and film noir, as well as some additional European and Japanese movies. I'd mention a few of the movies I'd include if I made a list, but there are so many that I'd probably end up actually making a list and LJ would refuse to post it as a comment because it would be too long.

Of the movies on your list that I've seen (which would be about two thirds of them,) there's only one that I'd definitely leave off of my list: Last Year at Marienbad. I've sat through it twice, and walked out on a third viewing because tedium is such a poor excuse for committing mass murder in a theater. Didn't have a gun with me anyway.

If you'd included L'Avventura on your list, there'd be two for me to leave off, and that one for pretty much the same reason. I have a strong suspicion that I'd leave off Conan the Barbarian as well, but I've never seen it.

Okay, I'll mention one movie I'd definitely include on my list: Marcel Camus' Black Orpheus. I laughed, I cried, I left the theater humming the songs. I love that movie.
ludickid
Sep. 3rd, 2011 03:28 am (UTC)
"Last Year" is a divisive one, that's for sure. What can I tell you? I have a weakness for Robbe-Grillet's brand of bullshit.

I haven't seen "Black Orpheus", or indeed anything by Camus.
flying_blind
Sep. 3rd, 2011 09:00 am (UTC)
I really wanted to like Marienbad. I even bought a paperback copy of Robbe-Grillet's screenplay, to see if it read better than it played. Not for me, alas.

I've never seen anything by Camus other than Orpheus. I know he spent his later career mostly in television, and only made about a dozen theatrical films. His reputation rests largely on this one movie, and the others are hard to find. Orpheus is the only Camus Netflix has.
dominika_kretek
Sep. 3rd, 2011 03:44 am (UTC)
Definitely a good list, especially before 1980, although I feel obliged to point out that only the hardest of core could watch all of Empire or Berlin Alexanderplatz in a day. Or probably The Decalogue.

I will try to resist quibbling, since this is a preference list and not a film literacy list, but the early part is so close to the latter than I have to note the omission of Metropolis and Pandora's Box. There aren't many silents that retain interest people today, but those two absolutely do. But maybe you just hated them!

Were the eighties really as bleak as that? If I were making a film literacy list, I would include Koyaanisqatsi, even though most people wouldn't like it. Man, people really were just watching Spielberg and Oliver Stone, weren't they?

I kind of want to do shout-outs for Lawrence of Arabia, Pasolini, and Tarkovsky. For later stuff, Jarman's Blue, Hal Hartley, Toto the Hero, Ma Vie en rose, Jeunet +/- Caro (probably Amelie), Makaveyev, Before Night Falls, George Washington, Monster, Romance & Cigarettes, I Am Love, Atom Egoyan, Waltz with Bashir, Winter's Bone, Brannagh's Hamlet, Wings of Desire, Female Perversions, Lilies, Roy Andersson...but time settles such questions, judging by the shortness of the consensus list from the 1920s.
ludickid
Sep. 3rd, 2011 04:12 am (UTC)
Silent film and pre-Code stuff is a gaping hole in my film knowledge -- it's not that I don't like the silent stuff, it's that I haven't seen a lot of it. "Metropolis" almost made it, though.

I am not a fan of Tarkovsky, Hartley, or "Waltz with Bashir". I haven't seen any Makaveyev or Andersson. "Winter's Bone" probably will end up on a future edition of this list; I'm up and down on "Lawrence of Arabia" and "Wings of Desire". There's a lot to like about them, but my problems with them are pretty major.
dominika_kretek
Sep. 3rd, 2011 04:47 am (UTC)
Well, if you don't like 'em, you just don't like 'em. My list wouldn't have Fellini, Godard, Svankmeyer, Nolan, or Jarmusch on them, for what it's worth. Or Pixar, ugh.

I go back and forth on Lawrence and Wings also. They have, as you say, serious problems. But they're movies of a particular moment, so maybe they go on an importance list rather than a preference list. But if I made a pure preference list it would be slanted toward frothy lesbian romances, and I wouldn't be able to defend it in public.

Anyway, I quite admire the breadth of your taste. Plus, all day I've been wondering what on earth Netflix was talking about when it said it was sending me "By Brakhage, an Anthology," and now you've reminded me, so thanks!
stavner
Sep. 3rd, 2011 11:47 pm (UTC)
Michael Barrier hates all the Pixar movies on your list except The Incredibles:

www.michaelbarrier.com

ortho_bob
Sep. 4th, 2011 12:59 am (UTC)

No Powell & Pressburger? As in A Matter of Life and Death, Colonel Blimp, Peeping Tom, etc? But a lot of movies I been to catch up on - having young kids tend to put a crimp in ones video watching, although I'm pretty up to date with Garfield movies.

ortho_bob
Sep. 4th, 2011 01:09 am (UTC)

Ah, you do have Peeping Tom. Must redirect nitpicking.... What, no Tokyo Gore Police? And so on.

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Leonard Pierce is a freelance writer wandering around Texas with no sleep or sense of direction. If you give him money he will write something for you. If you are nice to him he may come to your house and get drunk.

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