RE: Chambanzi's Favourite 100 Films (Full Version)

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matty_b -> RE: Chambanzi's Favourite 100 Films (18/9/2012 2:05:10 PM)

Yeah, it's really good.



chambanzi -> RE: Chambanzi's Favourite 100 Films (18/9/2012 10:59:30 PM)

34. The Night of the Hunter (1955)

Director: Charles Laughton

[image]http://2.bp.blogspot.com/_FNndI0BvPNA/TD4Qzbo0XTI/AAAAAAAABkg/EyhUHtpwVtw/s1600/sjff_01_img0347.jpg[/image]

Charles Laughton only ever directed this one film and he did not live to see its success. Similar to the BFI’s recently crowned best film of all time 'Vertigo', Night of the Hunter’s problem was that it was too ahead of its time. Over the course of several decades it has earned a firm place in the upper echelon of various ‘best film’ lists. If ‘Out of the Past’ is Mitchum’s infamous hero role then Night of the Hunter is its antithesis. This is Mitchum at his most sinister as the murderous villain Reverend Harry Powell who shares a prison cell with Ben Harper, a man who is to be executed for stealing money in a robbery that took two lives.
After Harper’s death Powell is released and his search begins when he finds Harper’s family and marries his widowed wife Willa. Despite gaining the love and trust of the wife, Harper’s son is not so easy to please and distrusts the reverend. Similar to Jem from ‘To Kill A Mockingbird’ the boy is very protective of his younger sister. However Jem and Scout were very endearing with excellent childhood performances. These kids are kind of annoying and that is really the only fault I have with this film. The young girl’s doll contains the money and once Powell’s scheme is made clear to all he murders Willa and sets off after the children.

Echoes of German expressionism invade the latter half of the film. One of the tensest scenes sees the children flee towards a riverboat, Powell’s voice is heard just before his menacing shadow appears and he chases them towards the boat. Managing to set the rope free the boat moves away just in time as Powell lets out a bloodcurdling scream.
Then we are privy to a psychedelic riverboat scene that makes Willy Wonka’s chocolate river ride look like 5 minutes on the teacups. The children take refuge in a barn and the young boy peers from the barn window as he hears Powell’s low singing voice “Leaning, Leaning.” This barn window shot is the most eerie shot I have ever seen on film. The fact we hear Powell before seeing him is creepy enough but that very shot brings me back to that feeling of childhood fear. And to think this was filmed in the fifties. An abstract masterpiece and Mitchum’s performance is one of cinema’s finest (easily in my top ten performances.) Essential viewing.

Best Scene: Most people would say the riverboat scene but I would have to say the dreamy view from the barn window as Mitchum comes into shot riding a horse. “Don’t he ever sleep.”



chambanzi -> RE: Chambanzi's Favourite 100 Films (7/10/2012 10:47:59 PM)

33. City of God (2002)

Director: Fernando Meirelles

[image]http://www.slantmagazine.com/images/film/cityofgod.jpg[/image]

Why remain in the City of God where God has forgotten you?

The reason why television produces the most memorable and relatable characters is because of the time each season is given for character development. In just over two hours Meirelles’ acclaimed crime drama introduces a wide array of the inhabitants of the Rio de Janeiro slum and these are characters you would be hard pressed to forget. The character depictions feel real and not forced.
Initially the film details the background of the slums, how the ‘Tender Trio’ earned other children’s admiration with their hold-ups. Shades of orange and gold depict the golden years of the slum. The new generation of outlaws seem more frightening, there is Lil Ze who dreams of notoriety and ruling the drug business. Throughout the course of the film we see every complex he possesses such as the fact he is unattractive to women and jealous of his friend Bene who has all the respect of a gangster yet is also popular amongst the bohemian, pot-smoking hippy kids. Every scene with Lil Ze is dangerously compelling. On the opposite side of the spectrum there is Rocket whose aim is to become a photographer. Rocket documents his entire life in the slums through his photographs from his gorgeous teenage crush to the various hoodlums and is a perfect tour guide through the wild city.

A notable comparison to this film is Milcho Manchevski’s ‘Before the Rain,’ most notably the idea of the circle of violence. After the Tender trio are diminished the young Lil Dice becomes the feared Lil Ze who is eventually topped by the little runts who run around causing havoc in the city. The older kids set the bad impression only to eventually be usurped by the younger kids and so on. Those lucky enough to reach adulthood still live with the preparation to die each and every day. Because the characters were born in the city, it does not trouble them in the way it would you or me. Here is a city in which you can neither run nor hide (as illustrated by the chicken from the opening sequence, said chicken is pretty much a metaphor for the entire film.)

The decision to chiefly use real slum kids as opposed to actors was a huge payoff and to be credited in regards to the film’s realism.
Rarely will a movie transport you into a world so effortlessly as this one, a truly captivating and original film. I always forget just how good this film is until a repeat viewing is due. Truly deserving of the praise.



matty_b -> RE: Chambanzi's Favourite 100 Films (8/10/2012 7:43:42 AM)

Brilliant film.



chambanzi -> RE: Chambanzi's Favourite 100 Films (18/10/2012 9:02:44 PM)

32. Blade Runner (1982)

Director: Ridley Scott

[image]http://www.elboomeran.com/upload/fotos/blogs_entradas/roy_med.jpg[/image]

Ridley Scott’s future L.A. is a mesh of neon lights, Atari advertisements and greasy noodle stands, all of which can be spotted through the thick, polluted air. A real Asian influence here but hardly surprising considering Asia is at the forefront of technology. Deckard is a Blade Runner who roams these streets delving into the bright lights and the dark corners where femme fatales and all sorts of crooked characters lurk.
Deckard’s job is to track down replicants (androids who are used for manual labour in off-world colonies) who have committed the illegal act of arriving on Earth. The punishment for this crime is death making Deckard a bounty hunter/extreme immigration officer.
There are four replicants to terminate, this film has inspired virtually every video game in existence and the four replicants are like four bosses on a game that Deckard must fight (fans of this film should play Deus Ex: Human Revolution, four bosses, a futuristic city and multiple other nods to the film.... any Deus Ex game in fact)
Watching this film now seems clichéd because it literally created the cliché, the characters look like they have jumped straight out of a video game, particularly Rutger Hauer’s Roy who is complete with dark clothing and albino white hair.

Roy is the film’s most interesting character and his completely eccentric yet terrifying chase of Deckard through an apartment building and up to the rooftop is one of my favourite scenes in cinema. The rain comes splashing down as the wounded Deckard scrapes and claws his way to safety from the manic Roy; the suspense heighted by the head-start Deckard receives. When there is no higher ground to take Roy delivers a short but sensationally sweet speech relating to the things he has seen in the off-world.
“All those moments will be lost in time… like …tears in rain. Time to die.”
A raindrop may fall making its impact but it is lost amongst the thousands of other raindrops. What is the life of one person? What do all they're memories and experiences really amount to?
Roy dies topless, the same way one comes into the world. The raindrops prevent us from knowing whether he is shedding a tear so it is left ambiguous whether replicants can in fact feel emotion (and Ford’s cringe sex scene doesn’t tell us much either.)
Officer Gaff (Edward James Olmos) is close second for the best character. He arrives and exits like a God watching upon the mortal men, all knowing and humble as he watches the chess pieces move. Gaff is the city itself seeing and hearing everything that goes on even when he is not visibly there. This idea is reinforced by the fact that it is he who leaves the clue for Deckard thus setting up that ultimate question.

Spoilers

The major debate for those who have seen the film is whether Deckard is a replicant; a discussion that need no longer exist because in the Director's Cut he clearly is (despite seeming physically weaker than the other replicants) whereas in the book he clearly is not. A more worthwhile theme to explore would be entertaining the idea of clones, would their feelings be close to that of humans? What would societies views be?
All we need now is to create clones within the next seven years and this film will be seen as premonition, prediction and prophecy. If not then it will still be seen as a stylish, atmospheric sci-fi noir and debatably the finest of the genre. The Director's cut ending with the voice over, dash into the elevator and ending credits music is the perfect end.



siegfried -> RE: Chambanzi's Favourite 100 Films (21/10/2012 5:15:36 AM)

So far your list is a rather fascinating mixture of some of my all-time favourite films together with a few which I simply cannot bear.
I'm sure that if the positions were reversed and you were commenting on my choices, the same would be true. No two people are ever going to agree 100%.
Your reviews are spot on, and have prompted me to revisit a few films which I haven't seen for some time.
Keep up the good work.



chambanzi -> RE: Chambanzi's Favourite 100 Films (21/10/2012 11:10:04 AM)

Thanks! [:D]

I have to admit the main purpose of this thread was to cure my boredom. Then I started working long hours (six days a week) so updates have become too slow but in the next week I aim to speed things up and have this finished long before Christmas.
However if I got you to revisit some films because of this list then it has definitely outdone its purpose.

The list is, as you said, definitely a mixture. The one thing you won't find mixed in is silent films simply because I have hardly watched any and they just aren't my thing.



siegfried -> RE: Chambanzi's Favourite 100 Films (21/10/2012 11:23:11 AM)


quote:

ORIGINAL: chambanzi

Thanks! [:D]

I have to admit the main purpose of this thread was to cure my boredom. Then I started working long hours (six days a week) so updates have become too slow but in the next week I aim to speed things up and have this finished long before Christmas.
However if I got you to revisit some films because of this list then it has definitely outdone its purpose.

The list is, as you said, definitely a mixture. The one thing you won't find mixed in is silent films simply because I have hardly watched any and they just aren't my thing.

That's a pity. Some of my all time favourites date from the silent era. The films of Fritz Lang, Murnau and Paul Leni, and the wonderful comedies of Buster Keaton and Harold Lloyd are well worth trying.



chambanzi -> RE: Chambanzi's Favourite 100 Films (30/10/2012 9:54:16 AM)

31. Apocalypse Now (1979)

Director: Francis Ford Coppola

[image]http://www.film.com/wp-content/uploads/2010/09/31770817-31770820-large.jpg[/image]

Apocalypse Now was my favourite film for three years and helped kick-start my love for cinema. The distant sound of chopper blades building to a climax before Jim Morrison’s vocals utter “This is the end” is as good an opening scene as you are likely to find as is the infamous ‘Flight of the Valkyries’ scene. Top that with the vibrant jungle greens, muddy rivers, red skies, billowing smoke and crackling fires. Then mix with some of the best performances of all time.

This film is one nasty trip down a murky river and the destination is the heart of the jungle, madness. Following the trail of the perfect soldier turned insane commander (Colonel Kurtz) is Willard (Sheen) and his men. Amongst them include the chilled out, youthful and sensitive surfer Lance, (Sam Bottoms) the tragically childish ‘Mr Clean’ (Laurence Fishburne), the talkative ‘Chef’ who uses humour (and acid) as his coping mechanism and last but not least the wise ‘Chief’ Albert Hall whose responsibility it is to steer the boat through this mad, shocking blur of war.
All of these performances are perfect and in complete balance with one another, it is haunting how the characters interact with one another whilst on and off the boat. There is always the underlying feeling that one might flip and kill the others but this situation never occurs which creates an uneasy atmosphere. Lance, Clean and Chef all communicate well with one another yet don’t communicate efficiently with Willard who is the only one with the knowledge of they’re location. Because of this Willard seems like their father, they are scared, unsure children following this man into a warzone they know nothing of therefore there is no real opening for friendship. Chief is less concerned with the boat politics; he is approachable to everyone therefore controls the boat in more ways than one.

Throughout the film the crew encounter various characters all of which are completely insane. One of the more memorable characters is Robert Duvall’s Colonel who tries to force Lance to surf for him despite the surrounding battle. There is humour to be found in this role and Willard mentions in the narration that the character is one you feel safe with who will leave the war with not a scratch on him. My favourite small appearance however is Dennis Hopper as the crazed, hippy photojournalist who is completely obsessed with Colonel Kurtz. In his small amount of screen time Hopper leaves a tremendous impression providing tips on how to act around Kurtz and the nature of the man, these speeches about Kurtz are more of a gateway into his own insanity. I always thought if the story was to be tweaked slightly then a great film could have been made with this character actually being Kurtz but in the mind-set that he is an outsider photographer researching a project.
Kurtz himself is the reason for the whole trip, the perfect soldier gone mad. This performance seems to evoke love or hate reactions. I don’t find the performance anywhere near as bad as some would have you believe but I don’t think it is as strong as that of Duvall, Hopper or Forrest. It is just a different stage/take on madness though, there is the quietly distant and withdrawn madness of Lance, the manic, energetic madness of the photographer and Brando’s seems like a mixture of the two. Willard is the sanest character yet he is the outsider on both the boat and in Kurtz’s cult.

Best scene- Impossible to pick but aside from the opening and chopper scene I do love the destruction of the bridge. This scene looks absolutely beautiful, a bright light boat ride into something very real (and to think Lance witnesses this first hand on acid.)



chambanzi -> RE: Chambanzi's Favourite 100 Films (31/10/2012 9:43:12 PM)

30. The Deer Hunter (1978)

Director: Michael Cimino

[image]http://3.bp.blogspot.com/_gUypL0ivpvk/TMWp0t7Jr3I/AAAAAAAAAZ0/vpljJ8hLlMA/s1600/The+Deer+Hunter.jpg[/image]

The Deer Hunter is either hailed as a masterpiece or criticised as one of the worst atrocities committed to celluloid. Personally I think it is the movie equivalent of the middle child, misunderstood.
Yes it may not be historically accurate but the purpose of the film is to show the lives of a bunch of steel workers. They go to work, they drink beer at the pub, they try and womanise and they occasionally hunt deer. Then the film takes a few of the guys from this bunch and throws them into the Vietnamese war.

Signs of looming trouble are evident early on in the form of a psychologically unstable soldier and a spilt drop of red wine. The film unsteadily builds to its violent climax, the infamous Russian roulette scene. Here we see the character Michael (DeNiro) at his very best as a man emotionally distraught and crushed but trying to motivate and preserve the dignity of his friends. The quiet, dark horse of the group becomes the leader and the one who pulls the others along through the horrors of war. Michael is an interesting contrast to the psychologically damaged and regressed Nick (Christopher Walken) who seemed to be the outgoing socialite during the former part of the film.

It is the way in which the characters are acted that makes the film unforgettable; the chemistry between DeNiro and Walken is indescribable. When there are two best friends sometimes they can both be engaged in conversation with other members of the group but there is something there that you can’t quite pick up on that shows you they are best friends. This is what DeNiro and Walken have. The friend Stan (Cazale) is one of the most interesting characters however. For what its worth I view Cazale as one of the greatest actors to ever grace the big screen and he portrays an insecure loser to perfection. This ‘loser’ character is universal. We see when he lashes out at a woman why he felt insecure enough to do that and like many insecure guys Stan feels the need to constantly berate the one guy in the group who is perhaps the kindest to him which is the character of Michael. Despite owning a gun and carrying it around like some fanciful cowboy, Stan clearly has a chip on his shoulder that he doesn’t have the bollocks to serve his country.

On top of these friendships there is also a romance story. Michael loves Nick’s girlfriend Linda (Streep). While Michael can fight the Vietnamese and prove his worth as a tough soldier he is weak when it comes to women. He doesn’t know how to properly speak with them and comes across as almost childish. Upon leaving the war without Nick, Michael becomes close with Linda. She latches onto Michael because she misses Nick. Finally Michael heads to Saigon to retrieve Nick. The end revelation is truly traumatising but cinematically and theatrically masterful. I have yet to see a film that portrays characters so true to real life people. The quiet loners are often the strongest, the insecure losers are often the meanest and those who appear to be blessed with confidence are often the ones who can slip from reality the easiest.

The Deer Hunter is an anti-war film but also as fine a study of male bravado and friendship as you are likely to find. Without DeNiro, Walken and Cazale this film would not have worked the way it did.
Whether Russian roulette was or wasn’t played during this time is irrelevant, the idea is simply one shot. One shot is all it takes to kill a deer, end a game of Russian roulette or damage a mind. Nick represents the many people who were unable to leave the war long after the battle had ended.




chambanzi -> RE: Chambanzi's Favourite 100 Films (9/11/2012 6:33:07 PM)

29. No Country for Old Men (2007)

Directors: Joel & Ethan Coen

“There are no clean getaways”

[image]http://www.jonathanrosenbaum.com/wp-content/uploads/2009/08/no-country-for-old-men.jpg[/image]

When Llewelyn Moss (Josh Brolin) discovers 2 million pounds at the scene of a drug related shootout in West Texas, Anton Chigurh (Javier Bardem) is dispatched to take care of him and retrieve the money. What ensues is a cat and mouse game where Llewelyn struggles to stay one step ahead of one of the most relentless movie villains since the ‘Terminator’.

‘No Country for Old Men’ shares similarities with Alfred Hitchcock’s ‘Psycho’ in that the money is a plot device that serves as bait for the viewer to get absorbed with, intensifying the baffled shock when both central protagonists are killed off unexpectedly. Crane is killed in the shower; Llewelyn Moss is killed off-screen to show how irrelevant the story of the money was. After the protagonist’s death ‘Psycho’ followed the story of Norman Bates, ‘No Country for Old Men’ doesn’t follow Chigurh but instead the focus is on Sheriff Ed Bell (Tommy Lee Jones) and his upcoming retirement.

A choice must be made by Bell to either follow through with the investigation by eventually facing Chigurh or stepping down and retiring.
Bell does not seem bitter, arrogant or angry. He is simply reflective. Earlier in his career he had big aspirations and a strong sense of justice. He felt that each criminal he caught and each case he solved would make a difference but as an older man came to the hard-hitting understanding and disappointing realisation that criminals will continue to be bred and old cases will give way to new cases, each criminal and case blending into one long cycle. Bell’s uncle Ellis is wheelchair bound yet has stopped thinking like a cop, he is not concerned with dwelling on whether the man responsible for his condition is alive or not but is instead focused upon getting by as best he can.

Spoilers

Bell’s eventual decision is to leave the case alone and retire with his life intact; it is after all, no country for old men and choosing to face Anton did no favours for Llewelyn. Upon the film’s release the ending succeeded in dividing audiences, we witness no final showdown but instead the Sheriff details two dreams he had to his wife. The dreams involve his late father and he takes note of the fact that he is older now than his father had ever been. With this ending The Coen’s did something the Sheriff didn’t, they took a huge risk. Rather than a Hollywood-manufactured ending we get a tailor made, Coen crafted, head scratching mindfuck that will have everyone thinking about the film long after the credits have rolled. Chigurh’s car crash, the dreams, the coin toss, the future of America, young vs old, recklessness, throwing in the towel. What does it all mean?

Well to elaborate on these questions the film definitely delves into the idea of nihilism. Nihilists believe that there is no real purpose to anything and no moral codes or decisions affect anything that happens. They don’t believe in things like karma per say. With this ending the good guy doesn’t win, the bad guy doesn’t die, the lovers don’t live happily every after, the seemingly central character isn't the final emphasis. Instead things simply happen and the characters remaining are left to deal with life.
The film doesn’t even play out with the seemingly unconventional (but overdone) idea of the villain getting a smooth, clean getaway (film's tagline anyone?) but instead the villain is injured driving past a traffic light. As smooth and powerful as the villain appears he is not invincible to bad circumstance/potential death either. However it is ironic that this bad fortune comes after Lleweyn’s wife dismisses the coin toss game (where Anton gives, not just those who oppose him, but anyone he comes across the chance to live or die as he plays the role of the prophet of fate) when she chooses the certainty of dying rather than playing Anton’s game. I believe that Chigurh’s coin toss in itself reinforces the idea of nihilism. The life choices of Anton’s (possible) victims don’t matter, all that matters is which way the coin lands and that determines they’re fate. The question is whether the car crash was karma related or something that simply happened to the villain with no meaning or purpose behind it (nihilism?)



chambanzi -> RE: Chambanzi's Favourite 100 Films (9/11/2012 9:08:19 PM)

28. Once Upon A Time in the West (1968)

Director: Sergio Leone

[image]http://1.bp.blogspot.com/_Fq6ijXp8RZg/S-WP_0yiMyI/AAAAAAAAAj0/xKaUNR_7kyg/s1600/Once-Upon-a-Time-in-the-West-1968.jpg[/image]

An epic ‘Once Upon a Time’ tale set against the backdrop of the West. The cinematography is mesmerising; tall coat wearing figures stand out against the sand, plains and towns like toys ready to do battle. In comparison to other Leone/Morricone collaborations such as The Dollars trilogy, this one stands out for abandoning the cartoon-ish formula and instead adopting a grander, subtler style. Here both artists use one another to create visual poetry; Leone feeds off Morricone’s soundtrack to inject suspense and feeling to otherwise relatively uneventful scenes. We fear the potential bloodbath not because of eventual violence but instead gradual build up. Each main character is equipped with their own musical piece, some intertwining when two characters come face to face. It’s like ‘Peter and the Rabbit’ but cool.

Henry Fonda excels as Frank; here is an actor who played countless heroes throughout his career yet in this film he was the one to don the black hat. And nobody ever wore it better.
Frank’s opponent is the beautiful Claudia Cardinale who stars as one of the central characters. A western film directed by Sergio Leone with a female as the protagonist is not what one would expect but this widow wears the trousers with a presence that outguns Charles Bronson’s direct stares. I do think the film would have improved tenfold with Clint instead of Bronson but what can one do?
Jason Robards provides additional support as Cheyenne, a character that doesn’t quite seem to fit into the story despite being enjoyable to watch.

Where to start? Well the opening scene is as good a place as any. Water drips on the brim of a hat, flies buzz around, a shot of the undercarriage of a train, guns are drawn, Harmonica leaves train, death stares, everyone falls. Welcome to the West. This is Leone’s love poem to the Western yet at the time Leone wanted to expand to another genre (something he would later do.)
This film is more brutal than the Dollars Trilogy but like ‘The Good, The Bad and the Ugly’ there is a political subtext involving Frank and the land. Okay so it’s not exactly ‘Chinatown’ but add any amount of context to such a dazzling mix of cinematography, operatic soundtrack, tragic characters and scope and it will be bound to be a masterpiece. For a film of its length there is a lot to return to, it sounds clichéd but ‘you will notice something new every time’ rings true. Every scene feels like it could be the best from the opening scene to the train scene, the auction and the final shootout.

The ending feels almost anti-climatic but in a good way after how dizzyingly intense the film is. The costume design, camerawork, editing, sound editing is grander than the story it is trying to tell but the story is theatrical. Like a Shakespeare play it blasts into such life that it feels like the last film you may ever watch.



Gimli The Dwarf -> RE: Chambanzi's Favourite 100 Films (10/11/2012 7:37:07 AM)

I Love Once Upon A Time In the West, Great choice.



MovieAddict247 -> RE: Chambanzi's Favourite 100 Films (10/11/2012 10:03:09 AM)

I agree with Gimli - great film.



chambanzi -> RE: Chambanzi's Favourite 100 Films (12/11/2012 4:43:04 PM)

27. The Treasure of the Sierra Madre (1948)

Director: John Huston

[image]http://uploads.neatorama.com/wp-content/uploads/2012/02/500cast.jpg[/image]

Two out on their luck losers join an old gold prospector in the hopes of finding a big score. Retrieving the gold is no problem but the mountain settings give the plot its sense of danger. There is nowhere to go but down and with Mexican bandits hot on they’re tail getting to town is a deadly challenge. The three must confront not only these obstacles but also greed and paranoia and it is this issue of morality that is the message of the film.
Howard (Walter Huston) the older man knows what is going to happen, he seems like a crazy old fool who has spent too long in the sun but he is also wise to the effects gold can have on a man. Curtin (Tim Holt) is the youngest man, he is ambitious and his focus is heavily set on the gold but he is also relatively self-aware to the dangers of greed. Dobbs (Humphrey Bogart) is paranoid to sleep lest one of the others steals the gold in the night and wants to kill virtually anyone who comes within a stone’s throw of the gold. Humphrey Bogart built up his career as a rough around the edges private detective, a romantic lead or the thug with a heart of gold. At the beginning of the film we know he is somewhat crooked but it is only until he catches sight of the gold that he fully transforms into the film’s main antagonist. When the characters are discussing what they will do with their share of the gold Dobbs mentions that he will order everything from the menu of a fancy café then make the waiter return it all if it ‘aint just right’ (and even if it is.) This contrasts the humble aims of the two other central characters, those being running a small store and owning a fruit orchard.

Spoilers

A film with a plot involving the best and worst traits of humanity still manages to be light- hearted thanks to the banter amongst the men of varying ages. Dobbs' comical reactions to the crazy Howard provide many of the films laughs but the final joke is the ending where the gold is blown away when it reaches the dusty ground. Howard’s reaction is to laugh at this one big joke. Money can bring about the worst in men; does it deserve such a level of importance? The laughter provided by the characters is an insight into what life is all about. As Oscar Wilde said “Life is too important to be taken seriously.”
The Treasure of Sierra Madre is pretty much the perfect film. I could not find anything to dislike, admittedly the ending bothered me on my first viewing until the great gasps of laughter from Howard led me into seeing the brilliance of the final scene. A film that can cause this shift of opinion in the final five minutes could only have been directed by a genius.



chambanzi -> RE: Chambanzi's Favourite 100 Films (12/11/2012 7:02:22 PM)

26. Jaws (1975)

Director: Steven Spielberg

[image]http://www.top10films.co.uk/img/jaws_brody-hooper.jpg[/image]

A film so wrapped under the conscious of audiences that it scares them out of the water. Even when I get in a swimming pool I can’t fight the thought of this shark entering and it leaves me on edge the whole time. In fact the reputation of the great white shark has been completely tarnished due to this film.
Even the name Jaws is terrifying, those huge razor sharp teeth attached to that white, ghastly, phantom face that preys deep beneath the water smelling you long before you see it. Jaws is a killing machine and since it is not human no emotions can be attached. It’s basically ‘Duel’ in the water with the tanker truck being replaced by another physically dominant predator. What makes Jaws scarier though is the fact that the water is where human’s are out of their element. Sure we can swim but not in the way a giant fish can. We can’t breathe underwater and in the middle of the sea are left completely powerless. The movie poster depicts a lone swimmer with the shark directly beneath, so near yet out of sight which is how the shark remains for most of the movie as we see things from the perspective of the shark itself. This was due to difficulties with Bruce, the mechanical shark but did nothing to hurt the film as that first person view underneath the water accompanied by John Williams’ haunting score leaves the appearance of the shark to be completely ambiguous. Witnessing events from the shark’s perspective also puts the audience in the uncomfortable situation of dramatic irony when we see where the victim will be in relation to the shark. The opening scene shows the shark closing in on a young woman who goes out to sea during the night. We witness the events from the shark’s perspective but then see her struggling above and below the water’s surface. However we don’t always know exactly when the shark will close in, an example of this is the beach scene during the day where the child is killed. Again we enter that first person view to tell us the shark is there yet it dodges past several swimmers confusing the audience as to who will be attacked, all the while the score becomes louder and faster as we dread the intense climax all the more (very psychological.) We see the shark approach the child’s leg then it cuts back to the view from the beach as a small fountain of blood bursts from above the child’s inflatable toy.
Seeing the Mother run onto the sand oblivious to what everyone else knows is one of cinema’s most uncomfortable scenes. What doesn’t help soothe the horror is that the child shares my name (Alex.)
Despite being gruesome one can’t help but admire the editing technique where you witness two sides of death. One is death from the eyes of the predator and the other is what the death looked like for an outsider. The fact that the film dismisses the view of death from the prey itself makes these scenes all the more impersonal and thus all the more terrifying.

Jaws even manages to raise some of the points, highlighted in other seventies classics such as ‘Chinatown’, referring to corrupt businessmen. The mayor knows there is a shark loose but doesn’t want to hurt tourism as it lines his own pocket. Fortunately the main protagonist is a sympathetic character, police chief Martin Brody (Roy Scheider) who takes his line of duty very seriously but is not just an officer of the law but an empathetic human being. Brody’s accomplices who assist in the hunt for the shark are Quint (Robert Shaw) a grizzled fisherman and Hooper (Richard Dreyfuss), a marine biologist. Hooper represents the modern, he is educated and informed but Quint represents a more traditional man. A man who has been there and seen that and knows everything from first hand experience and not through the textbooks. These three very different men share a bond so strong that it separates the film into two parts. One part is a horror film about a great white shark. The other part is a political study and a celebration of all that is American as well as a rejection of those that oppose the American spirit of fighting adversity. Jaws represents an invisible foe plotting against America (the third shark attack is on Independence Day.) The Mayor is a high paid, upper class figure committing a cover up and is representative of a number of possible political figures during the seventies. As likeable as Quint is, he is capturing a huge bounty from a struggling island town but is greeted instead with death. Brody is the working/middle-class all-American who defeats his adversary on they’re own soil (the shark in the water) despite it being enemy terrain (Brody is terrified of the water) and perhaps symbolises the American soldier who left the comfort of U.S soils for the treachery and climate of the Vietnamese jungle. Whilst the shark is the unseen enemy for the first part of the film, Brody eventually tackles the shark face on. This is the power of not revealing the shark until the end because its power is diminished once it is tackled face on, no longer a dreadful unseen monster but instead something real that can be killed.



Gimli The Dwarf -> RE: Chambanzi's Favourite 100 Films (13/11/2012 1:47:14 AM)

Two amazing films.



siegfried -> RE: Chambanzi's Favourite 100 Films (13/11/2012 2:23:10 AM)

The Treasure Of The Sierra Madre is a film that on first viewing I disliked. However, on returning to it several years later I was able to appreciate it as the masterpiece that so many rate it. Certainly one of Bogart's finest perfomances, and Walter Huston is superb.



chambanzi -> RE: Chambanzi's Favourite 100 Films (21/11/2012 10:21:20 PM)

25. Departures (2008)

Director: Yojiro Takita

[image]http://aparoo.files.wordpress.com/2011/10/departures.jpg[/image]

The title of this film conjures images of an airport setting and indeed it is a travel agency Daigo Kobayashi believes he is applying to when he reads the job description of ‘assisting departures’ in the paper.
A departure is actually the process of preparing the dead into the next life by helping them leave with dignity. This is achieved by helping the deceased look beautiful by dressing them in the very best clothes and applying make-up so the surviving family members can remember them in the best light.
The sound of a job where you prepare the dead sounds somewhat grim and morbid and this is the opinion Daigo’s wife Mika holds. As an audience we may share the same opinion if not for the fact we witness Daigo’s mentor Sasaki at work and eventually Daigo himself thus realising how respectful the process is and how much it pleases the families of those who pass away. The latter end of the film builds to a climax in which sceptical Mika eventually sees her husband at work when his long-lost father passes away and he is notified. Every time I watch this film I feel proud to watch Mika’s reaction and enjoy experiencing her realisation of Daigo’s talent.

Spoilers

Daigo’s father taught him that in old times people used stones to communicate how they were feeling; a smooth stone might mean happy or a rough stone worried. The final scene sees Daigo go to visit his father who has just died, however it is not vengeance he seeks and that is why the final scene is more satisfying than watching any epic battle where the protagonist uses violence to achieve a result. Instead it shows something pure, healthy and optimistic as Daigo prepares his father’s departure. Initially Daigo is unable to recognise his father but upon finding a stone clutched in his hand he is finally able to remember the face and a childhood flashback is revealed of father and son exchanging stones. The stone in his late father’s grasp is the very one Daigo gave him as a child. The other stone that had been handed to Daigo was rough, an evident indication his father would leave yet a beautiful gesture nonetheless, far more significant than mere talking. Talking is a very overrated concept because of people’s inability to tell the truth, insecurities are masked with lies such as when Daigo mentions he would hit his father if they were to cross paths again. On another note perhaps that is why the director had Daigo be a cellist; they say the cello is the instrument that produces the nearest sound to the human voice, therefore it functions just like the stone via exchanging a million words and feelings without the need to physically open one’s mouth. Another of the film’s most revered scenes of the film sees Daigo play the cello to Sasaki and his assistant perfectly conveying one of these very moments.

Conclusion

Departures is a very sensual film, the delicate and affectionate way lipstick is put on, the careful folding of material, the feel of a stone in your palm, soap and hot water against your body, the swift yet graceful movement of a bow against the strings of a cello, closeness to your lover’s skin, the subtle, tender flavours of food.
The gentle pampering of the dead is portrayed with such sensitivity and beauty that seeing this process repeatedly is soothing and therapeutic as opposed to repetitive and this is without a doubt the most calming film I have ever seen.
After watching this transcendent film you will feel fresh, as if you have just meditated. You will feel free and light. Many films today make an impact by delivering slabs of gore and over the top action. Departures is gentle and organic and is all the better for it. A perfect, original and uplifting masterpiece.




chambanzi -> RE: Chambanzi's Favourite 100 Films (30/11/2012 8:15:01 PM)

24. The Graduate (1967)

Director: Mike Nichols

[image]http://themurdockman.com/wp-content/uploads/2011/12/graduate-1-1.jpg[/image]

Benjamin Braddock (Dustin Hoffman) is a recent graduate at a crossroads in life and being fed all sorts of advice from his parents and they’re various friends. These are middle-upper class types with well to do jobs and stable suburban homes, they dish out advice that reflects more on they’re own personal dreams and ambitions than anything that serves as useful or practical to the party whom they are, quite superficially advising. One of these adults is Mr Robinson whose promiscuous wife invites an extremely uncomfortable Benjamin to her house when her husband is out and begins to open up to him until he utters that famous line “Mrs Robinson you’re trying to seduce me, aren’t you?”

We pity Braddock; he seems so nervous and unsure and is so timid and insecure that he appears dense. Mrs Robinson is a stone cold cougar but Benjamin still seems manipulated and coerced into the sexual intercourse. He does not want to upset Mr Robinson who he holds in high regard but is led easily astray at his vulnerable age. A problem presents itself when his father convinces him to take Mrs Robinson’s daughter Elaine on a date. In an attempt to make her despise him Benjamin treats her mean and takes her to a strip joint. After upsetting Elaine, Benjamin’s good nature shines through and he exclaims how he felt pressured taking her out on the date. The two get chatting and fall for one another and Benjamin then begins to resent Mrs Robinson and his sexual history with her.

Hoffman, a man who during the time of filming was early thirties manages to play a man in his early twenties exceptionally well. He plays a character that goes through three cycles, through naivety to rebellion to confused maturity. This film spoke to a generation and broke away from the restraints of previous films. The theme is a universally modern one that will never become irrelevant as long as teenagers remain lost, unsure and somewhere between dependence and independence. Many recent films have been inspired by The Graduate most notably ‘Garden State’ which contains numerous references but tried to modernise the themes somewhat by introducing a soundtrack by ‘The Shins’ and having the characters take Prozac and ecstasy. However films such as Garden State cannot have the same effect because many films since have focused on directionless teens but mainly because the youths of the 21st century have too much freedom. The young adults of the sixties were experimenting with testing the limits and now we have reached the pinnacle of that and the kids now mainly rule the roost (unfortunately.)

Braddock’s 1966 Alfa Romeo Spider represented this teenage freedom. The car is Benjamin’s getaway, it enables him to leave the suburbs and drive anywhere he wants. The Robinson’s are unable to stop Braddock seeing their daughter as he can visit her college. The car also represents a freedom in film making and the breaking of conventions. Stiff regulations are no longer placed, a woman’s ankle does not have to be hidden and in fact Mrs Robinson’s whole body can be revealed. A film’s narrative can now revolve around a teenager’s sex life and be accompanied with the vibrant, youthful vibe of 'Simon and Garfunkel' (some of the lyrics have aged but the songs themselves have not.) That opening sequence where Benjamin lands in Los Angeles accompanied to the ‘Sound of Silence’ is a personal favourite of mine and the significance of that same song being used for the final scene implies that Braddock ends up as directionless as he began. He escapes the parents with Elaine but where do they go now? The film ends with both Benjamin and Elaine looking unsure, the initial excitement of bailing the wedding replaced with anxious wonder.

From a technical standpoint The Graduate still holds up as a bold and cinematic work of art. Roger Ebert commented that he felt the film had not stood the test of time and cited that the film 'Easy Rider' had. Personally I could not disagree more with that statement if I tried....



matty_b -> RE: Chambanzi's Favourite 100 Films (30/11/2012 8:19:55 PM)

The Graduate is great. Love Hoffman and Bancroft in it.



chambanzi -> RE: Chambanzi's Favourite 100 Films (30/11/2012 11:36:48 PM)

Glad you like it! Hoffman is excellent in everything he is in. He is one of few actors you can really say that about. I haven't seen Bancroft in much else but she has to be the textbook example of the word MILF.

For my reviews now I'm going to stop bothering to write spoiler alerts. Most people who read the reviews have seen the films and for those who haven't the very fact it is on the list is me urging you to see it. I know a review can be to convince someone to see a film but the fact its in a top 100 already establishes that I love it. I'd also rather just talk about random shit relating to films I like and worrying about spoiler notices restricts that somewhat.



chambanzi -> RE: Chambanzi's Favourite 100 Films (30/11/2012 11:52:18 PM)

23. Seven Samurai (1954)

Director: Akira Kurosawa

[image]http://www.tasteofcinema.com/wp-content/uploads/2012/04/Seven-Samurai-007.jpg[/image]

Seven Samurai has been referred as a measuring stick in which all other action films are to be weighed up against. For a film of the fifties the scope of the locations and the choreography of the action is relatively unbelievable. As a child I would sit for hours drawing a piece of land then perhaps a castle or hut and draw a load of villains and heroes fighting it out with swords and would create a story for each of my warriors. Those drawings gave me a sense of satisfaction and enjoyment. Sketching those pictures as an adult would not provide me with the same feeling but watching Seven Samurai is the closest I can get to that experience.

In terms of heroes you have plenty to choose from (well seven.) There is the leader Kambei who is first seen rescuing a child in what is one of the film’s many incredible scenes. Kambei is wise and humble. Other notable heroes are Kyuzo who is a highly skilled swordsman and Kikuchiyo who is initially seen as the joke of the pack and a dithering idiot but his fighting spirit and bravery eventually lead him to becoming perhaps the best of the seven.
The least prominent samurai is Shichiroji; he is one of the final three survivors but doesn’t seem to do anything note-worthy. However he is not my least favourite, that award would go to Katsushiro who is one of the other survivors (the third being Kambei.)
Katsushiro does nothing awesome in the film and instead is involved in some pathetic love story that I couldn’t give a crap about.

The samurais fight for the rights of peasants who are being tormented by bandits. The plot seems relatively simple and for the majority of the film it is the cinematography and interesting characters that grip the viewer. Mainly it is the use of space though, how the fight scenes were choreographed and how the cameras were positioned to pick up battles from multiple viewpoints and positions is quite frankly stunning. I still can’t quite figure out how Kurosawa pulled off directing some of these scenes. This is not an old film where you think ‘wow that looks poor by today’s standards’ this is pure action with no CGI yet the battles look better than any CGI crap passing off as action.
However returning to the plot, it initially seems like a simple samurai versus bandit plot but the ending of the film confirms that the peasants forget the samurai’s once order has been restored and return they’re attention back to the crops. If more bandits caused chaos later on the farmers would go back to pleading for the samurais. However once there is calm the samurais are soon forgotten. They have significantly lost they’re numbers, men have died valiantly and all for nothing. Seven Samurai is an anti-war film. Nobody benefits anything. The majority of peasants may have survived but the bandits have made sure many of them have died. The bandits steal from the peasants but are killed by the samurai and the samurai lose lives with nothing but the slight respect of one generation of peasants. The flag erected by Kikuchiyo after Heihachi’s death is very significant as it marks each of the seven samurai. It is nothing but a humble memorial plaque but many soldiers now receive this small amount of recognition in reward for the insane amount of bravery they show.
Sadly enough I probably prove one of the movie’s points as I had to use the internet to remembers the names of the samurai therefore did not remember these valiant warrior’s without the use of modern technology. Tut such a pest.

So to conclude the film isn’t exactly the most in depth or philosophical film out there but for an action film to raise all the points Seven Samurai does while also being so technically brilliant has to count for a lot. Practically every incredible Western film out there has to tip its hat to Seven Samurai. Hell every gangster film too. Or any film with decent action that was made after this film. A certified masterpiece.



chambanzi -> RE: Chambanzi's Favourite 100 Films (5/12/2012 9:58:33 PM)

22. Drive (2011)

Director: Nicolas Winding Refn

[image]http://tengossip.com/wp-content/uploads/2011/09/ryan-gosling-drive-drive.jpg[/image]

When narrative, script, sound and cinematography are perfectly combined the end result is atmosphere and Drive is one of those films that will leave you with a feeling. It could start as a positive or negative impression or somewhere in between but something about the film niggles away at you. It could be the neon soaked Los Angeles; the accompanying electronic soundtrack or it could be Ryan Gosling’s laconic charm as the driver. Alternatively what you may recall could be something as simple as the driver’s attire whether it is his gloves or stuntman mask or perhaps the opening credits with the eighties styled pink writing against the neon blue backdrop.

The dazzling cinematography remains consistently neat and concise throughout. Every character and vehicle moves with a certain fluidity and order. The Driver pulls off stunts for the movies, fixes cars and operates as a getaway driver at night. His driving is not sloppy, it is relaxed and he dives between traffic with a graceful invisibility. He and the car he operates are one and the same as is the city he operates in.
The Driver is too iconic to seem completely like a real person, he feels more like a video game character that could only belong in the world created for him.
The secondary characters are just as interesting as the driver. None of them play to the stereotypes. The villain (Albert Brooks) is a good judge of character who will reluctantly kill out of necessity as opposed to being another generic, forgettable bad guy. The driver’s love interest Irene (Carey Mulligan) is a single Mother with a husband about to be released from a prison sentence, however the husband is not the stereotypical asshole you would come to expect. Rather than picking a fight with the Driver out of (stereotypical) jealousy he accepts him into the family home.
Christina Hendricks and Ron Perlman also provide additional support and Bryan Cranston is especially memorable as the likeable and down to earth Shannon.

In many films of the thriller genre the romantic scenes are the ones you dread. Drive is one of those rare exceptions because the romance is between two souls who seem to connect on an emotional level. When so many films focus solely on sex (no matter how hard they try to hide it) the romance in Drive is a breath of fresh air and does not take second place to the action scenes but goes hand in hand with them.
The sexual chemistry between the driver and Irene is inferred rather than any gooey, soppy, smooch stuff and the Driver handles this love affair with calm, as if he is performing a getaway. However our protagonist harbours a blinding propensity for violence and this escalates throughout the course of the movie. A loner with underlying aggression who drives cars for a living and who protects the vulnerable? Yes perhaps there is some truth in the statement that Drive is the ‘modern day Taxi Driver’ that it was branded as upon release, however I find such titles strip the film of its originality. Sure the two films share similarities but Drive isn’t Taxi Driver in the 21st century, it is an art-house film of its own variety.

[image]http://clothesonfilm.com/wp-content/uploads/2011/09/Drive_Ryan-Gosling-jacket-full-side_Image-credit-Film-District.jpg[/image]

Best song on the soundtrack: College feat Electric Youth- A Real Hero. Both instances of this song that were used in the film link two of the purest scenes.

Best drive: Is it the gripping opening getaway, the romantic drive he takes Irene and her son on, the pursuit or the final drive? Impossible to pick.



Gimli The Dwarf -> RE: Chambanzi's Favourite 100 Films (6/12/2012 10:15:10 AM)

Seven Samurai was the first Kurosawa film I saw. Good but not great I like Drive quite a bit. The Greaduate is superb.



garvielloken -> RE: Chambanzi's Favourite 100 Films (6/12/2012 3:46:10 PM)

Seven Samurai is amazing. I'd have it in my all time top 5.



chambanzi -> RE: Chambanzi's Favourite 100 Films (14/12/2012 10:18:02 PM)

21. The Jungle Book (1967)

Director: Wolfgang Reitherman

[image]http://1.bp.blogspot.com/_3RaT_8-tQ5c/RzTlV35fkCI/AAAAAAAACTk/W6V6kgjtL4k/s400/junglebook-05.JPG.jpg[/image]

Disney’s colourful adaptation of Rudyard Kipling’s jungle stories is a film that can be treasured by any generation. The voice acting is superb particularly Phil Harris as Baloo who makes the bear one of animation’s most loveable characters.
The dialogue is witty and the characters range from the caring panther Bagheera who shows tough love, military elephants, a cunning and sinister snake and a pack of vultures who have an uncanny resemblance to ‘The Beatles.’
But the true power of the film lies in the songs, particularly Baloo’s ‘The Bare Neccessities’ and King Louie’s ‘I Wan’na Be Like You.’ These songs excellently accentuate the strong personality traits of the characters who sing them.

The look of the jungle is unreal- it is eerie, mysterious, exciting, dangerous and beautiful all in equal measure. You can pick fruit or laze down a river with Baloo, watch from the treetops with Bagheera or escape the wrath of the merciless Bengal tiger Shere Khan. The jungle seems vast and you can also imagine a certain geography to it. I admire Disney for the way in which they can create such vibrant atmospheres through animation. Admittedly they have made a couple of duds and a lot of the older Disney’s seem samey (the Pixar films have a lot more depth) but the Jungle Book is different (as are a couple of others.)

Is The Jungle Book’s position on this list a result of childhood nostalgia? No, I do hold a lot of sentimentality for the film that was my favourite as a child but I believe it to be a wonderful film about friendship, making the right decisions and not sheltering children from dark themes. Friendships end, people move on and there is danger in this world but there are always new experiences to be had and we must be open to them.

The idea of the film is very simplistic but the characters resemble people you may meet in your life. Bagheera is the wise and noble father figure who acts as a quiet guardian. He appears strict and boring but has the best intentions and is the one you turn to in times of need. Baloo is like that fun friend everyone has, carefree and the life and soul of the party. Then we have the cowardly, deceitful snake Kaa who is both mesmerizingly terrifying yet cowering and pathetic. Shere Khan is the deadly beauty, the most colourful and striking of the animals with quietly concealed power and rage.

Controversy surrounds the film where many deem it to be ‘racist.’ Like any art form whether it be a painting, piece of poetry or literature, it is a product of its time. A 21st century view can brand the film as this and that but ultimately anything can be seen as racist or sexist if you put your mind to it and criticising the politics of an older film due to a modern mind-set is as ignorant as marking an older film down because the technology wasn’t as good back then. This winds me up as much as some feminist criticism where a film (usually an olden golden) will be called ‘sexist’ when the film merely conveys a patriarchal society because that is the world in which people lived in during the time the film was released. That does not make the film itself sexist. Labelling pieces of art as sexist/racist etc is just redundant and it is actually relatively close- minded (there are of course exceptions where a piece of art is obviously repulsive.)

Another criticism is that the film was not too loyal to the fiction; this was not a bad decision as instead the writers put faith into the characters and let the voice actors create some of the finest animated characters of all time. Disney films have a short running length and only use stories as a backdrop to making a movie with morals for children and adults alike. To take on all of Kipling’s work would have made the film clumsy and heavy-handed.
Instead Disney produced a film with heart and soul that inspired many of the great animators working today.



chambanzi -> RE: Chambanzi's Favourite 100 Films (14/12/2012 10:39:43 PM)

Okay next up is the final big twenty. In anticipation of the final load of films here is a recap of what has come thus far. Despite taking my time with this list it still contains my top one hundred films. The order is perhaps not quite right but it is so hard to order films against one another when they have nothing in common. Although I am still satisfied with the order for the most part.


21. The Jungle Book (1967, Wolfgang Reitherman)
22. Drive (2011, Nicolas Winding Refn)
23. Seven Samurai (1954, Akira Kurosawa)
24. The Graduate (1967, Mike Nichols)
25. Departures (2008, Yojiro Takita)
26. Jaws (1975, Steven Spielberg)
27. The Treasure of the Sierra Madre (1948, John Huston)
28. Once Upon A Time in the West (1968, Sergio Leone)
29. No Country For Old Men (2007, Joel & Ethan Coen)
30. The Deer Hunter (1978, Michael Cimino)

31. Apocalypse Now (1979, Francis Ford Coppola)
32. Blade Runner (1982, Ridley Scott)
33. City of God (2002, Fernando Meirelles)
34. The Night of the Hunter (1955, Charles Laughton)
35. Planet of the Apes (1968, Franklin J. Schaffner)
36. Blue Velvet (1986, David Lynch)
37. Alice Doesn’t Live Here Anymore (1974, Martin Scorsese)
38. Up (2009, Pete Docter)
39. Rio Bravo (1959, Howard Hawks)
40. Dark City (1998, Alex Proyas)

41. Ben- Hur (1959, William Wyler)
42. Duel (1971, Steven Spielberg)
43. Sideways (2004, Alexander Payne)
44. House of Flying Daggers (2004, Zhang Yimou)
45. Out of the Past (1947, Jacques Tourneur)
46. To Kill A Mockingbird (1962, Robert Mulligan)
47. Fight Club (1999, David Fincher)
48. Shoot the Pianist (1960, Francois Truffaut)
49. Bring Me The Head of Alfredo Garcia (1974, Sam Peckinpah)
50. Raging Bull (1980, Martin Scorsese)

51. The Party (1968, Blake Edwards)
52. The Truman Show (1998, Peter Weir)
53. Chinatown (1974, Roman Polanski)
54. Pickpocket (1959, Robert Bresson)
55. Tokyo Story (1953, Yasujiro Ozu)
56. The Purple Rose of Cairo (1985, Woody Allen)
57. The Terminator (1984, James Cameron)
58. Butch Cassidy and the Sundance Kid (1969, George Roy Hill)
59. Naked (1993, Mike Leigh)
60. Memories of Murder (2003, Bong Joon-ho)

61. L.A. Confidential (1997, Curtis Hanson)
62. Barry Lyndon (1975, Stanley Kubrick)
63. Goodfellas (1990, Martin Scorsese)
64. Sunset Boulevard (1950, Billy Wilder)
65. Fargo (1996, Joel & Ethan Coen)
66. A Man Escaped (1956, Robert Bresson)
67. Yojimbo (1961, Akira Kurosawa)
68. 3:10 to Yuma (2007, James Mangold)
69. Laputa: Castle in the Sky (1986, Hayao Miyazaki)
70. Rumble Fish (1983, Francis Ford Coppola)

71. Psycho (1960, Alfred Hitchcock)
72. For A Few Dollars More (1965, Sergio Leone)
73. Die Hard (1988, John McTiernan)
74. The Muppet Christmas Carol (1992, Brian Henson)
75. Annie Hall (1977, Woody Allen)
76. Some Like it Hot (1959, Billy Wilder)
77. Eastern Promises (2007, David Cronenberg)
78. Before the Rain (1994, Milcho Manchevski)
79. 12 Angry Men (1957, Sidney Lumet)
80. Paris, Texas (1984, Wim Wenders)

81. Toy Story (1995, John Lasseter)
82. The Man Who Shot Liberty Valance (1962, John Ford)
83. All Quiet on the Western Front (1930, Lewis Milestone)
84. Burn After Reading (2008, Joel & Ethan Coen)
85. Videodrome (1983, David Cronenberg)
86. Winchester '73 (1950, Anthony Mann)
87. Who Framed Roger Rabbit (1988, Robert Zemeckis)
88. The Grapes of Wrath (1940, John Ford)
89. Ace in the Hole (1951, Billy Wilder)
90. Ran (1985, Akira Kurosawa)

91. In Bruges (2008, Martin McDonagh)
92. Fist of Fury (1972, Lo Wei)
93. The African Queen (1951, John Huston)
94. Ratatouille (2007, Brad Bird, Jan Pinkava)
95. Being There (1979, Hal Ashby)
96. Nights Of Cabiria (1957, Federico Fellini)
97. Princess Mononoke (1997, Hayao Miyazaki)
98. The Browning Version (1951, Anthony Asquith)
99. The Outlaw Josey Wales (1976, Clint Eastwood)
100. Infernal Affairs (2002, Wai- keung Lau, Alan Mak)



Gimli The Dwarf -> RE: Chambanzi's Favourite 100 Films (14/12/2012 10:53:27 PM)

The Jungle Book's ace.



chambanzi -> RE: Chambanzi's Favourite 100 Films (14/2/2013 10:39:40 PM)

I have not given up on this thread. I spent three weeks in the Pacific and have recently returned. Now the time has come for the top twenty [8D]



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