TIME magazine claims to know the Top 100 Films of All Time; Millions snicker at results...

this is a movie?

dis donc !

However, I totally disagree with all the post-2000 stuff, pretty much. First of all, it's way too early to make pronouncements like that. Second, excepting LotR (yeah, definitely should not count as a single entry - Christ, the extended editions are as long as the entire SW series), I don't think any of them have even a decent chance of having staying power.

Hooray!

90+ American movies (in the real list, around 60)
Gone with the Wind in the top 10 (it wasn't there at all)

So, given my low expectations, I'm OK with this list.

If Time and Sight & Sound can count the Godfathers as one movie then LOTR should be one as well (but I say neither should).

YES! Even if The Decalogue is a miniseries it deserves all the respect in the world! And as for the former -- BEST MOVIE EVER.

City of God (hmmm, okay)
Finding Nemo (What? Why not Shrek? The Incredibles? TOY STORY? Seems arbitrary.)
Kandahar (does anyone even remember this?)
Lord of the Rings (inevitable, I suppose)
Talk to Her (yay)

I def. think that's one of his better films, but you'd have to be insane to pick that over Annie Hall.

It's a much better list than could have been expected. You guys are probably right about the really recent stuff. NB: Ulysses' Gaze is an unredeemable gas bag of a movie with an embarrassing performance by Harvey Keitel. Well, maybe the shot of Lenin's head floating down the river redeems it a little bit.

And I'm missing L'Atalante.

Could somebody maybe tally up which films on this list Time Warner has some ownership over?

Charade? Silliness. How it's been remembered this long is beyond me.

City of God? Giant 'Meh'sterbation fest. Might as well have put Menace II Society on the list.

City of God really is poo.

Charade is up there? Ridiculous. And I have never seen Dodsworth, I guess now is the time.

Ken L, Fargo was the Coens' most Oscar-nominated film.
Maybe, but I've never meet anybody in real life who picked that as their favorite Coen Brothers who wasn't a grandmother or about to be one. They've picked every one but that one.

Gosh, I hope so. But I really think it's one of those films that was canonized almost immediately and now people just automatically put it on lists like this. I mean, wasn't it like #7 or something ridiculous on that AFI list?

I'm a 28 year old male.

nobody else think luc besson's leon shd be on there?

Miller's Crossing is the best Coen Bros film and is amazing and yet shouldn't be on this list.

Paths of Glory is better than Barry Lyndon. 2001 isn't particularly great. Full Metal Jacket is fun but isn't even my favorite Matthew Modine movie from the 80s.

Schindler's List and AI are both complete and utter crap.

Do these dudes really think Finding Nemo is a better movie than Jules et Jim, The Passion of Joan of Arc, High & Low, Rashomon, La Dolce Vita, Mean Streets, The Conversation, Shock Corridor, etc., etc., etc.?

The 39 Steps
A Face In the Crowd
Apocalypse Now
Ashes and Diamonds
Audition
Back to the Future
Before the Rain
Below
Bend of the River
The Big Sleep
Black Christmas
Body Double
The Boxer
Bring Me the Head of Alfredo Garcia
Bringing Out the Dead
Bullitt
Carlito's Way
Casino
Chungking Express
Come and See
Contempt
Dawn of the Dead
Deep Red
Drunken Master II
Eyes Wide Shut
Fallen Angels
Fireworks
The Fog of War
Get Carter
God of Cookery
The Good, The Bad, and The Ugly
The Good Thief
Goodfellas
The Great Escape
Happiness of the Katakuris
Heat
The Hidden
I Walked With A Zombie
Infernal Affairs
Irma Vep
Jaws
JFK
Joint Security Area
The Killer
Kiss Me Deadly
La Dolce Vita
Lancelot du Lac
Land Without Bread
The Last Detail
Le Doulos
Light Sleeper
Lilya-4-Ever
The Long Goodbye
The Lord of the Rings
Lost Highway
The Man Who Shot Liberty Valance
Meet the Feebles
The Million Dollar Hotel
The Mission (2000)
New Jack City
The Night of the Hunter
Night and the City
O Brother Where Art Thou?
Oktober
Once Upon a Time In China
Once Upon a Time In the West
One, Two, Three
Our Hospitality
Out of the Past
Paris Blues
Pat Garrett and Billy the Kid
Pierrot le Fou
Prince of the City
Repo Man
The Right Stuff
The Roaring Twenties
The Rules of the Game
Rushmore
The Searchers
The Seven Samurai
Sexy Beast
Shadow of a Doubt
Shaun of the Dead
Sherlock Jr.
Soldier of Orange
Stalker
Starship Troopers
Sweet Smell of Success
Taxi Driver
Terror Firmer
The Thing
The Third Man
Time Out
To Live and Die In L.A.
Too Many Ways To Be Number One
Vivre Sa Vie
Waco: The Rules of Engagement
The Wages of Fear
White Heat
The Wild Bunch
Young Frankenstein

I've forgotten some, surely. And there are so many films I have yet to see.

Remy? Outside. Now.

and no joe dirt???

this is the only really brave choice. 'charade' is laughable. did they even pick 'NNW'?

I haven't seen Sisters, Carrie or The Fury. And I quite like Blow Out (poss top 1000, I admit) and Femme Fatale (had it around 20th-best of 2002). But I think non-riffing originals deserve more credit.

It's interesting how the flamboyant use of violence gets DePalma, Peckinpah, Tarantino, the Coens and even Hitchcock all the heat around auteur discussions. When did anyone heatedly argue the merits of Ozu, Renoir, Leo McCarey and Robert Benton?

Hi, Mom! (De Palma, 1970)
The Fury (De Palma, 1978)
Femme Fatale (De Palma, 2002)

Rear Window (Hitchcock, 1954)
The Birds (Hitchcock, 1963)
Marnie (Hitchcock, 1964)

I don't know about Benton (who I don't ever hear auteurists give any credit at all) or Renoir (who I've rarely heard arguments against ever), but I've seen some anti-middle class-ism directed towards Ozu and McCarey from time to time. Totally off base, naturally, but still there. Besides, Ozu's films have been plundered for their queer subtext by Ehrenstein and Mike Grost, so there's that.

and yeah, fuck a audrey hepburn.

Wow, that's new to me. Any citations? I have one Ehrenstein book, Open Secret; Grost I don't know.

I seem to recall Richard Schickel is a big homophobe, btw, which could explain why Bride of Frankenstein is the queerest film on the list (leaving the problematic LOTR aside)...

I saw Hi, Mom! recently and it's damned interesting, but nothing else matches that wild Black Power theatre scene.

Also, just for whatever, my review of Hi, Mom!: http://www.slantmagazine.com/film/film_review.asp?ID=1119

I also just noticed TIME has four westerns: two Leones (which one really should choose between), one each from Ford and Eastwood. I mean, shit.

The Good, the Bad and the Ugly was Italian-financed.

"Western" is a crucial genre in the development of narrative film, and the Ford and Eastwood picks are kneejerk ones I'm not crazy about. I'm sure if you count up the romantic comedies you'll find more than 4.

also: "Olympia, Parts 1 and 2 (1938)"

total mindblock here, but isn't that riefenstahl?

It was either Sarris or the Sight & Sound poll of 1982.

I think The Searchers got a big boost from Schrader talking it up as an inspiration for Taxi Driver. There's too much Jeffrey Hunter in it(tho he's gorgeous) for me too rate that highly. I bet Stagecoach was the fave for decades, I prefer Clementine and Valance myself.

Riefenstahl indeed.

(i think TGTBATU was a UA production??)

No, Renoir is just about the only major major director they took the path less chosen with Crime of M. Lange. Don't know why when Rules of the Game is probably the most unassailable of the perpetually listed S&S films.

(x-post)

UA distributed "ugly" a year after its Italian premiere (same as the preceding two).

http://imdb.com/title/tt0060196/companycredits

xpost

I think these sorts of lists are almost like a propping-up of the canon, out of fear that it will slip and eventually include some films that, "dammit, just don't deserve to be there!"

Actually it's quite a horrid shame, but everyone really should have heard of Guru Dutt worldwide by now, since he's been sinfully overlooked, esp in the West, by those who never even dig deeper than Ray when it comes to Indian filmmaking. In fact, I'd really champion any list that does NOT list Ray at all, since he's simply become a poster darling boy for [extremely lazy] Western critics to champion [who'd like to write off the rest of the subcontinent's output w/ the B word for the last 5 decades], whereas regard for him in India is even more obtuse than Japan's for Kurosawa (particularly since he stubbornly continued to make films in Bengali rather than Hindi). Dutt, on the other hand reached a vast audience with his more populist works that were similarly influenced by American and Italian filmmaking like Ray's, but with his own individualized, hyper-emotional expressionistic style that no one's been able to touch. Moreover, this extreme but still refined emotionalism, and his embrace of the populist musical idiom, really make his films feel more "Indian" than art-boy Ray's neo-realist aspirations.

These films' appearance may not add up to an "agenda," but is certainly the work of R Corliss, who "discovered" Bollywo.. AHEM Indian Filmmaking last year and wrote extensively about it in his online columns: somtimes striking notes of fetishism but always with a respectful and humble tone as a "novice," and one struggling to learn about a cinema that many of his colleagues and predecessors had written off with a few sentences many years ago (and yeah: Chadha and Nair do _not_ count as "Indian Filmmaking" as compared to those who are part of the Indian Film industry and, well, residents of the country). For all this, Corliss' championing should be celebrated ...despite my suspicions that the most ppl who read those columns and emailed him back were other Indians. FWIW, Pyaasa is flawless and one of my very fave films, but as far as Dutt's own work goes, it is still behind his ghost-directed masterpiece Sahib Bibi aur Ghulam which is hands down considered by many (inc. me) to be the finest work of subcontinental filmmaking, bar none. Dutt's entire oeuvre is small anyway as he had to interrupt his career and live up to his emo-poetic ideals of The Tortured Artist (as demonstrated in Pyaasa ...in which he also stars! I'd like to see Ray acting in any of his films; Dutt was *ing in all of his)....and forsake the world to kill himself. As in Pyaasa, -> the world wins, the artist loses, but in eality the world lost a lot when it lost Dutt, who sadly didn't make more than a dozen or so pictures.

If he wasn't listed, then I'd have been glad to see any of the other full-realized auteurs represented like Asif, Amrohi, Roy or Raj Kapoor, but while I can live with the choice of the newer Ratnam (ikeeping in their efforts to be unpredictable...such as, say, no Rashomon but Ikiru,,) the selection of Nayakan is a bit of willful obscurantism: again, they could have picked any of his _hits_ Roja, Bombay or Dil Se but if this gets anyone curious about his style, then I guess it's okay. Sort of. It just doesn't really belong on this list, over something like Awaara, which probably does.

Small surprise: the inclusion of both ,Camille, AND Ninotchka!

breakfast at tiffany's is miles better than quite a few films on that list (raging bull, barry lyndon, ET, and - hell, i'll say it - lord of the rings). it'd make my top 100 easily.

and no Fassbinder? not even The Marriage of Maria Braun?

**Berlin Alexanderplatz.**

Ooops. As someone mentioned upthread, it's a made for TV miniseries and it's also the best-ever made for TV miniseries. Franz Biberkopf!

No French Connection? Just watched it again recently and it really holds up, still exciting even if you know what's coming.

Yeah, it gets better with each viewing, too.

"Barry Lyndon" is the right Kubrick choice.

I've not looked at the list in depth.

The blessedly omitted Breakfast at Tiffany's has some fine things in it -- Mancini's music, Audrey, and Buddy Ebsen -- but it totally massacres Capote's book about a gay guy and a call girl, and then that stupid wet cat... The whole Peppard-Neal plot is a snooze.

What's the deal with BABY FACE, for God's sake? I haven't seen the latest restored version, but it's a cute pre-Code comedy where Babs Stanwyck sleeps her way up the corporate ladder; nothing more.