your favorite movies (of all time)

If you liked Suspiria you should see "Shock Treatment." It is a musical starring Jessica Harper, who I believe is very talented at being good-looking. (This is me assuming people watch Suspiria for Jessica Harper, and not because they like Goblin or red paint factories.)

I like spaghetti style horror

I like musicals with hot B actresses.

It would be totally wrong to post about Newsies in this thread because it is genuinely not a good movie. But: I do really love it, you know? I saw it at the right age and gender. If my sister likes a movie a lot it's usually because "it had all the hotties," and that was the case for me watching Newsies at age 10. Plus I love that musicals tried to reanimate themselves in the form of a kid's "unions for orphans" propaganda. If anyone is going to be talking about a film treatment of William Randolph Hearst, it should be this one (just kidding (or am I?)).

by genre is the easiest way for me to pick a few i think

Noir/Crime

The Third Man- Welles is astonishingly charming and evil in this, everything else is very good too.
The Maltese Falcon - as I posted above, crackling dialogue & performances
Blade Runner- great in every way
Brick- obviously not canon, but personally loved every second of this
The Taking of Pelham 123- brilliant turns from Robert Shaw and Walter Matthau make this one
Asphalt Jungle- great early Huston heist flick

Comedy

Young Frankenstein- Brooks' most consistent work, I think. Wilder and Marty Feldman go nuts.
Bringing up Baby- I was forced to watch this a few months ago, amazing dialogue/performances.
Super Troopers- I think you got to be pretty smart to make dumb comedy this good.
Life of Brian- if you prefer Holy Grail you're challoping, or overthinking it.
Kung-Fu Hustle- a perfect movie, could fit into several genres and excels at all of em
Fantastic Mr Fox- if you like wes anderson, and you may not, this is great

Western

Unforgiven- a great cast with great roles
Rio Bravo- pretty much the anti-unforgiven, but it's a big world and there's room for them both
Sergio Leone's spaghetti westerns

Drama (? I guess)

City of God- not canon, again, but I love this
Glengarry Glen Ross- can't beat the script for frustrated-testosterone fuelled venom
Cat on a Hot Tin Roof- sexiest movie ever, maybe
Godfathers- yeah prob should go in under crime I guess
Rear Window- as good as film-making gets imo
Jaws- shark rubbish, everything else fantastic
No Country for Old Men- mentalist unstoppable force of nature cod-philosophises his way around coen country
Twelve Monkeys/Se7en- good double-bill of mid-90's gritty/quirky detective weirdness imo

Action/adventure

Die Hard- don't really need to ever see another action movie after this I guess
Kill Bill 2- could go under a couple of genres too I suppose. revenge martial arts writ large

too long already, and none of them exactly niche picks so i'll leave it at that

Rio Bravo <3 <3 <3

me posting on this thread would be kinda redundant amirite

had an 'argument' about blade runner tonight

apparently it's aspie shit

like, yeah, but not rly

n e wayz dmac u gotta see more films so u can get CITY OF GOD off yr list

i resolved not to strike any genuine pick ff my list just because of shame, it seemed against spirit of thread.
i have to see more movies, def. d/ling aguirre right now thanks to thread tbh

i did consider throwing joe dirt up there, fwiw- any who thinks tommy boy is superior is str8 off their chops imo

oh, musicals

singin in the rain
seven brides for seven brothers
south park the musical

city of god is p good iirc, but not 'all that'

it's no joe dirt

The Texas Chainsaw Massacre - the greatest horror movie (of all time)
The Thin Blue Line - a documentary so convincing (SPOILER), it got a dude pardoned from death row irl.
Knife in the Water - early Polanski, if you like this artwork for the Criterion ed., you will like the film.
Daisies - Czech New Wave precision feminism / A+ surrealistic madness
Martyrs - search ILX horror threads

once upon a time in the west (1968) - sergio leoni "spaghetti western", maybe the most epic epic i've ever seen - seconding this, mainly b/c I love the opening sequence so much.

Also seconding: Die Hard, Glengarry Glen Ross, Rear Window, M, Battle Royale, Blue Velvet, Grizzly Man, Crumb, Dawn of the Dead, The Good/Bad/Ugly, Alien & others..

Twin Peaks: Fire Walk with Me-- The first 30 minutes are endlessly fascinating to me. Incredibly powerful, one of a kind. Put it on bluray, and fix the audio in the pink room sequence please!
Lost Highway
Rocky IV--I like Stallone's style of directing-- it's ballsy and operatic. Rocky III is also really good (and more traditionally a "good film") but in all honestly I love the fuck out of this ridiculous movie.
The Thin Red Line (Malick)
Die Hard
The Texas Chainsaw Massacre
Crash (Cronenberg)
Grave of the Fireflies-- this is the most affecting film I've ever seen, but I have a difficult time bringing myself to ever watch it again. Deeply depressing.

Put it on bluray, and fix the audio in the pink room sequence please!

i don't really follow this stuff but this is happening afaik - bluray coming out in italy or something.

Bluray or no, at some point we will hopefully be able to see the HOURS of scrapped fwwm scenes.

Whenever I'm asked what my favourite films are, I always reply with three:

Dr Strangelove
Dazed and Confused
Do the Right Thing

and I was thinking about what connects them. They're all comedies (or nearly so - DTRT is lol funny but I'm not sure if it counts as a comedy) and they all take place in a compressed (for a film) timeframe; Dr strangelove over the course of a night, D&C over 12ish hours, and DTRT over 24 hours. And I guess it's those two things that intersect that makes me love these films.

Obviously the performances and directing and script and so on are top draw in all these films, but that's a reason to admire or like them, not love them. I love them because they present a reality that's almost too real and speaks truth almost too loudly. Truth is a complicated business, so to present all its many facets takes some doing. A comedy, by twisting the expected inside-out, can highlight absudity or underlying truths way more effectively than drama imo, and the compressed timeframe in these films makes the experience more vivid than it would otherwise be.

Saying that, whenever I list my favourite films and don't name Goodfellas, I do feel like I'm challopsing a little.

Some:

"The Thin Red Line:" Elliptical, inscrutable, but always beautiful and ultimately spiritual.

"A Canterbury Tale:" Oddball Powell/Pressburger, but I prefer it to some of the usual P/P suspects (I greatly prefer it to "Red Shoes")

"Starship Troopers:" Broad satire still too subtle for mainstream comprehension. Good double bill with "Robocop," and effects that have aged very well.

"Sunrise:" A beautiful, technical marvel.

"The Conversation:" What a "minor" movie looks like from a major dude on a roll.

"Out of Sight:" Easily one of the most enjoyable movies ever made.

Plus lots of the above, of course. Some movies are just so perfect - "Lawrence of Arabia," "Jaws," "Chinatown" - that it's almost impossible to watch them and not be awed into a stupor at their virtuosity.

Plague Dogs – Martin Rosen adapted the animated film of Watership Down – this is another Richard Adams adaptation. It's the story of two dogs who escape from a vivisection lab, and things basically get worse and worse for them after that. In some fit of sadism, Rosen got rid of the book's deus ex machina/happy ending. I named my last dog after one from this movie, which was kind of stupid: it means this already incredibly sad movie is even more emotional for me.

was watching starship troopers the last week, and you're right josh, the effects are amazingly for the time

aw, abbs- a sad movie about runaway dogs? i dont think i could watch that

it's almost impossible to watch them and not be awed into a stupor at their virtuosity.

Experienced this two nights ago, seeing Nashville (for the 37th time...) on a big screen. The guy that introduced it beforehand surveyed the audience on who was seeing it for the first time; a number of hands went up. I was jealous.

I remember seeing the box cover for Plague Dogs at blockbuster when I was a kid and thinking it looked scary.

"it's almost impossible to watch them and not be awed into a stupor at their virtuosity."

Experienced this two nights ago, seeing Nashville (for the 37th time...) on a big screen.

― clemenza, Sunday, November 7, 2010 9:02 AM (45 minutes ago) Bookmark

experienced this two nights ago, watching eyes wide shut on DVD. such a dumbass for not watching this years ago. buncha critics dumbasses for steering me wrong. final "daylight" resolution a bit too pat, but that's maybe 5 problem minutes out of 160. jaw-dropping movie.

Such a weird movie, "Eyes Wide Shut." Perfect example to me of how virtuosity does not always equal perfection, but its flaws are intriguing, to be sure. The vibe is almost like a domestic-minded "Parallax View" or something, surreal, uber-paranoid and more than a little ridiculous, but effective all the same.

truly dire thread, this one

i dunno, i've enjoyed all the sbanning

Such a weird movie, "Eyes Wide Shut." Perfect example to me of how virtuosity does not always equal perfection, but its flaws are intriguing, to be sure. The vibe is almost like a domestic-minded "Parallax View" or something, surreal, uber-paranoid and more than a little ridiculous, but effective all the same.

yeah, can see as how it's ridiculousness (and it is just that) might be problematic for some, but i love dreamlike, overheated absurdity, especially when delivered with a nightmarish twist: lynch, depalma, argento, etc. EWS definitely delivers on that score. suggests the imaginary intersection of after hours and the holy mountain, nighttime faux-manhattan as an occult chessboard upon which monstrous forces secretly play. polanski being another obvious reference point, at least in terms of exaggerated urban paranoia. genuinely loved it, including cruise, who's never been a favorite of mine.

its it's its...

I like Eyes Wide Shut. It goes a bit Count Floyd during the pagan ceremony, but I find all that stuff creepy anyway. I don't know that it has anything profound to say about sex or marriage or anything else, but it holds my attention the whole way, and it's often great to look at.

truly dire thread, this one

put up or shut up

srsly

i think the easiest way to do this is to separate it by genre and then pull of the IMDb top 200 movies of all time list

Action
The Lord of the Rings Part One - Epic Action Film
The Lord of the Rings Part Two - Epic Action Film, Really Sweet
The Lord of the Rings Part Three - Epic Action Film, WON AN OSCAR
Inception - Epic Action Movie, MINDBLOWER

Comedy
Wedding Crashers - Comedy, funny stuff
Airplane - Comedy, so good, have y'all seen this?

etc.

good list

forgot inception, fuuuuuck awesome movie have you seen it?

that's not putting up or shutting up
xxp

gentle art of onedownmanship

there's no art on this thread

I'm not sure that I understand your complaint.

fine, the davinci code, then

Some more:

Los Olvidados
Summer Hours
The Leopard

You forgot the genre and year, Alfred!

there's no art on this thread

ok, put some on it! jeeeeesus

Summer Hours is lovely.

Here's some art: 100 Great Avant-Garde Films

Adynata (Leslie Thornton 1983)
Aleph (Wallace Berman 1955-66?)
Alone. Life Wastes Andy Hardy (Martin Arnold 1998)
Amerikanos (Christos Dimas 1999)
Anémic Cinéma (Marcel Duchamp 1926)
L'Arrivée (Peter Tscherkassky 1997-1998)
Autumn Fire (Herman Weinberg 1930-33)
Ballet Mécanique (Fernand Léger and Dudley Murphy 1924)
Berlin Horse (Malcolm Le Grice 1970)
Blow Job (Andy Warhol 1963)
Boston Fire (Peter Hutton 1979)
La Cartomancienne (The Fortune Teller) (Jerome Hill 1932)
Un chant d'amour (Jean Genet 1950)
Un Chien Andalou (Luis Buñuel 1929)
Chronic (Jennifer Reeves 1997)
Chumlum (Ron Rice 1964)
La Cicatrice intérieure (Philippe Garrel 1972)
Clouds (Peter Gidal, 1969, 10m)
Cobra Mist (Emily Richardson, 2008, 6m)
The Color of Pomegranates (Sergei Paradjanov 1968)
Colour Flight (Len Lye 1937)
Combat de boxe (Charles Dekeukeleire 1929)
Cul en l'air (Pierre Yves Clouin 1998)
Cybelle (Donald Richie 1968)
Decodings (Michael Wallin 1988)
Dirty (Stephen Dwoskin, 1971, 11m)
Ecce Homo (Jerry Tartaglia 1989)
11 x 14 (James Benning)
A Family Finds Entertainment (Ryan Trecartin 2005)
Family Tyranny (Modelling and Molding) (Paul McCarthy and Mike
Kelley, 1987)
Film Ist (Gustav Deutsch (1998-2004)
Filmpiece for Sunshine (John Luther Schofill, Jr. 1966-1968)
Flaming Creatures (Jack Smith 1963)
The Flicker (Tony Conrad 1966)
Fly Away Homo (Andrew HIller 1998)
La Fórmula secreta (Rubén Gámez 1965)
From the Notebook of …(Robert Beavers 1971/1998)
Fuses (Carolee Schneemann 1967)
The Girl Chewing Gum (John Smith, 1976 12m)
Handsworth Songs (John Akomfrah, 1986, 61m)
The Hart of London (Jack Chambers 1969-1970)
Images d'Ostende (Henri Storck 1929)
It Wasn't Love (Sadie Benning 1992)
Jack’s Dream (Joseph Cornell c. 1930-1970)
Jeanne Dielman, 23 quai du Commerce, 1080 Bruxelles (Chantal Akerman 1975)
Klipperty Klopp (Andrew Kotting, 1984, 12m)
Kunst Life (Roger Jacoby 1975)
Kustom Kar Kommandos (Kenneth Anger 1965)
Light Rhythms (Francis Bruguière & Oswell Blakeston, 1931, 6m)
Lost Book Found (Jem Cohen 1996)
Luke (Bruce Conner 1967)
Meshes of the Afternoon (Maya Deren and Alexander Hamid 1943)
Mirrors Facing Mirrors (Adam Cooley 2010)
Motion Painting No. 1 (Oskar Fischinger 1947)
My Parents Read Dreams I’ve Had About Them (Neil Goldberg 1998)
Near the Big Chakra (Anne Severson 1971)
Nightcats (Stan Brakhage 1956)
Night Cries: A Rural Tragedy (Tracey Moffatt 1989)
(nostalgia) (Hollis Frampton 1971)
Notch (Diane Kitchen 2000)
Notes of an Early Fall (Saul Levine 1976-77)
1126 Dewey Avenue, Apt. 207 (John C. Hecker 1939)
Page of Madness (Teinosuke Kinugasa, 1926)
The Passing (Bill Viola 1991)
Pensao Globo (Matthias Müller 1997)
Peyote Queen (Storm De Hirsch 1965)
Pink Narcissus (James Bidgood 1971)
pornfilm (Stephanie Barber 1999)
A Portrait of Ga (Margaret Tait, 1952, 4m)
Pu Pu (Motoharu Jonouchi 1960)
Race d'Ep (Lionel Soukaz 1979)
Reflections of Evil (Damon Packard 2002)
La Région Centrale (Michael Snow 1967)
Reminiscences of a Journey to Lithuania (Jonas Mekas)
Report (Bruce Conner 1967)
Roof (Betsy Kalin 1998)
Schuss! (Nicolas Rey 2005)
She Puppet (Peggy Ahwesh 2001)
Side/Walk/Shuttle (Ernie Gehr 1991)
Sissy Boy Slap Party (Guy Maddin 1995)
6/64 Mama Und Papa (Kurt Kren 1964)
Sodom (Luther Price 1989)
Son nom de Venise dans Calcutta désert (Marguerite Duras 1976)
Sorrows (Gregory J. Markopoulos 1969)
Le souriante Madame Beudet (Germaine Dulac 1922)
"Sredni Vashtar" by Saki (David Bradley 1940-43)
Standard Gauge (Morgan Fisher 1984)
Stuffing (Animal Charm 1998)
Submit To Me Now (Richard Kern 1987)
Symphony for a Sinner (George Kuchar 1979)
Le Tempestaire (Jean Epstein 1947)
Thanatopsis (Ed Emshwiller 1963)
The End (Christopher Maclaine 1953)
This Is It (James Broughton 1971)
Thundercrack! (Curt McDowell 1975)
Tomatos Another Day (James Sibley Watson and Alec Wilder 1930/1933)
Unsere Afrikareise (Peter Kubelka 1966)
The Vyrotonin Decision (Matt McCormick 1999)
Wet One (Ian MacTilstra 2008)
Whitney: Mama’s Little Baby (Lawrence Elbert, 2000)
Wind Vane (Chris Welsby, 1972, 8m)

needs more 99 Tribulations

Oh, do you mean Tribulation 99?

there's no way sissy boy slap party can be as good as its title.

Judge for yourself:

https://www.youtube.com/watch?v=UMoMSX_W3N8