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This is the blog of Ian Rosales Casocot. Filipino writer. Sometime academic. Former backpacker. Twink bait. Hamster lover.

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Sunday, April 15, 2018

entry arrow6:08 PM | Online-Only Friends

It is inevitable in this day and age not to have an "online-only" friend -- people you consider very good friends, with whom you interact constantly online, but have never really met.

For this documentarian, meeting that kind of friend proved to be a disaster, and he gives us insight about what went wrong. It doesn't have to be a disaster all the time though. Dean Francis Alfar and I, for example, became blogger friends years and years ago, until he finally came to Dumaguete to visit me. We've been very good friends since then. It can happen. Would you be willing to meet with an "online-only" friend?

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[0] This is Where You Bite the Sandwich

Thursday, April 12, 2018

entry arrow10:32 PM | Cleaning Therapy

I’ve been spring-cleaning for three days now. The last part—culling and sorting—takes forever, especially sorting. Papers, documents, etc. It’s very therapeutic though, filing and putting things in their proper places, throwing things away, discovering old stuff. I found my grade school valedictorian “medal,” for example, and it was awesome.


[0] This is Where You Bite the Sandwich

entry arrow9:08 PM | Nico is Nothing But a Third-Rate, Trying Hard Douchebag

Watching Emmanuel Borlaza's Bituing Walang Ningning (1985) again, after so many years of this film being just memory, and I think the real villain is Christopher de Leon's Nico Escobar. A privileged music exec who doesn't seem to do any real work, he dates the most successful singer in the country, but wants Lavinia to give up [almost] everything to be his wife. Spurned by Lavinia who only wants to live to her best potential, Nico proceeds to groom some Eliza Dolittle character named Dorina to challenge Lavinia, like some petulant six-year-old Svengali with influence and money. And when Dorina in fact succeeds to become the fast-rising singing sensation in the country, Nico gives her the same ultimatum: give up everything and be my wife. The douchebag! Of course this being the 1980s, Dorina gives up everything for love. In the showdown concert that ends the movie, Dorina shares the same stage, and song, with Lavinia in some mid-80s version of female camaraderie. On stage, we behold the ex and the current -- both victims of Pinoy patriarchy which strongly determines the shape of female success. That this was once framed by Pinoy pop culture of old as a "romance" that celebrates "love triumphant over everything else" makes me cringe.

But that's me being a feminist. As a lover of 80s melodrama, I loved it.

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[0] This is Where You Bite the Sandwich

entry arrow2:00 PM | Going Through 1001 Films You Must Watch Before You Die


You must attribute this list to summer boredom or to the impending certainty of 2012, but I've listed down below the films checklisted by Steven Jay Schneider in his book 1001 Films You Must Watch Before You Die (2003), and I have decided to devote time in the foreseeable future to see the titles on this list ... before I die.

I like this list. And like any list, it necessarily leaves out personal favorites ("The Lion King" but no "Little Mermaid"?), and takes in too many things I suspect to be the result of editorial bias (there's too much Paul Verhoeven here than is necessary). But I like this list nonetheless, because it is generous with what it includes and becomes a virtual cineast feast. It includes celebrated short films and not just full-length features, and strange experimental films (it has Maya Deren and Alexander Hammid's "Meshes in the Afternoon"!), and strange independent films (it has Ken Jacob's "Blonde Cobra"!), and strange horror films (it has Dario Argento's "Suspiria"!), and strange documentaries (it has Terry Zwigoff's "Crumb"!), and avant-garde or risque films you don't think will make such a list (it has Kenneth Anger's very gay "Scorpio Rising"!), and films representative of major world cinemas (it even has Lino Brocka's "Manila sa mga Kuko ng Liwanag"!).

I must take note, however, I've been watching movies my whole life -- and studying them as well -- and so there are titles here that feel like I've seen them, but I'm not exactly so sure of the fact, simply because their legend has made them so familiar my memory now plays tricks on me. So then I've decided to check only those titles I'm really sure I've seen.

I've seen 526 out of 1001 so far culled from the 2003 edition.

So, how many films have you seen from this list?

☑ A Trip to the Moon (Georges Melies, 1902)
☑ The Great Train Robbery (Edwin S. Porter, 1903)
☑ The Birth of a Nation (D.W. Griffith, 1915)
☐ Les Vampires (Louis Feuillade, 1915)
☑ Intolerance (D.W. Griffith, 1916)
☑ The Cabinet of Dr. Caligari (Robert Wiene, 1919)
☐ Broken Blossoms (D.W. Griffith, 1919)
☐ Way Down East (D.W. Griffith, 1920)
☐ Within Our Gates (Oscar Micheaux, 1920)
☐ The Phantom Carriage (Victor Sjöström, 1921)
☐ Orphans of the Storm (D.W. Griffith, 1921)
☐ The Smiling Madame Beudet (Germaine Dulac, 1922)
☐ Dr. Mabuse, Parts 1 and 2 (Fritz Lang, 1922)
☑ Nanook of the North (Robert J. Flaherty, 1922)
☑ Nosferatu, A Symphony of Terror (F.W. Murnau, 1922)
☐ Häxan: Witchcraft Through the Ages (Benjamin Christensen, 1923)
☐ Foolish Wives (Erich von Stroheim, 1922)
☐ Our Hospitality (John G. Blystone, 1923)
☐ La Roue [The Wheel] (Abel Gance, 1923)
☐ The Thief of Bagdad (Raoul Walsh, 1924)
☑ Strike (Sergei M. Eisenstein, 1924)
☐ Greed (Erich von Stroheim, 1924)
☑ Sherlock, Jr. (Buster Keaton, 1924)
☐ The Last Laugh (F.W. Murnau, 1924)
☐ Seven Chances (Buster Keaton, 1925)
☐ The Phantom of the Opera (Rupert Julian, 1925)
☑ The Battleship Potemkin (Sergei M. Eisenstein, 1925)
☑ The Gold Rush (Charlie Chaplin, 1925)
☐ The Big Parade (King Vidor, 1925)
☑ Metropolis (Fritz Lang, 1927)
☐ Sunrise (F.W. Murnau, 1927)
☐ The General (Clyde Bruckman and Buster Keaton, 1927)
☐ The Unknown (Tod Browning, 1927)
☐ October (Grigori Aleksandrov and Sergei M. Eisenstein, 1927)
☑ The Jazz Singer (Alan Crosland, 1927)
☐ Napoleon (Abel Gance, 1927)
☐ The Kid Brother (Ted Wilde, 1927)
☐ The Crowd (King Vidor, 1928)
☐ The Docks of New York (Josef von Sternberg, 1928)
☑ Un Chien Andalou (Luis Buñuel, 1928)
☑ The Passion of Joan of Arc (Carl Theodor Dreyer, 1928)
☐ Steamboat Bill, Jr. (Charles Reisner, 1928)
☐ Potomok Chingis-Khana [Storm Over Asia] (Vsevolod Pudovkin, 1928)
☐ Blackmail (Alfred Hitchcock, 1929)
☑ The Man with the Movie Camera (Dziga Vertov, 1929)
☐ Pandora's Box (Georg Wilhelm Pabst, 1929)
☐ The Blue Angel (Josef von Sternberg, 1930)
☐ L'Age D'Or (Luis Buñuel, 1930)
☐ Earth (Aleksandr Dovzhenko, 1930)
☐ Little Caesar (Mervyn LeRoy, 1930)
☐ All Quiet on the Western Front (Lewis Milestone, 1930)
☐ À Nous la Liberté [Freedom For Us] (René Clair, 1931)
☐ Le Million (René Clair, 1931)
☐ Tabu (F.W. Murnau, 1931)
☐ Dracula (Tod Browning, 1931)
☑ Frankenstein (James Whale, 1931)
☑ City Lights (Charlie Chaplin, 1931)
☐ The Public Enemy (William A. Wellman, 1931)
☐ M (Fritz Lang, 1931)
☐ La Chienne [The Bitch] (Jean Renoir, 1931)
☐ Vampyr (Carl Theodor Dreyer, 1932)
☐ Love Me Tonight (Rouben Mamoulian, 1932)
☐ Boudu Saved From Drowning (Jean Renoir, 1932)
☐ I Am a Fugitive from a Chain Gang (Mervyn LeRoy, 1932)
☐ Trouble in Paradise (Ernst Lubitsch, 1932)
☐ Scarface: The Shame of a Nation (Howard Hawks and Richard Rosson, 1932)
☐ Shanghai Express (Josef von Sternberg, 1932)
☑ Freaks (Tod Browning, 1932)
☐ Me and My Gal (Raoul Walsh, 1932)
☐ Zero de Conduite (Jean Vigo, 1933)
☐ 42nd Street (Lloyd Bacon, 1933)
☐ Footlight Parade (Lloyd Bacon, 1933)
☐ Gold Diggers of 1933 (Mervyn LeRoy, 1933)
☑ She Done Him Wrong (Lowell Sherman, 1933)
☑ Duck Soup (Leo McCarey, 1933)
☑ Queen Christina (Rouben Mamoulian, 1933)
☐ Land Without Bread (Luis Buñuel, 1933)
☐ King Kong (Merian C. Cooper and Ernest B. Schoedsack, 1933)
☐ The Bitter Tea of General Yen (Frank Capra, 1933)
☐ Sons of the Desert (William A. Seiter, 1933)
☐ It's a Gift (Norman Z. McLeod, 1934)
☑ Triumph of the Will (Leni Riefenstahl, 1934)
☐ L'Atalante (Jean Vigo, 1934)
☐ The Black Cat (Edgar G. Ulmer, 1934)
☐ Judge Priest (John Ford, 1934)
☑ It Happened One Night (Frank Capra, 1934)
☐ The Thin Man (W.S. Van Dyke, 1934)
☐ Captain Blood (Michael Curtiz, 1935)
☐ Mutiny on the Bounty (Frank Lloyd, 1935)
☑ A Night at the Opera (Sam Wood, 1935)
☐ The 39 Steps (Alfred Hitchcock, 1935)
☑ Bride of Frankenstein (James Whale, 1935)
☐ Top Hat (Mark Sandrich, 1935)
☐ A Day in the Country (Jean Renoir, 1936)
☑ Modern Times (Charlie Chaplin, 1936)
☑ Swing Time (George Stevens, 1936)
☑ My Man Godfrey (Gregory La Cava, 1936)
☐ Mr. Deeds Goes to Town (Frank Capra, 1936)
☐ Camille (George Cukor, 1936)
☐ Sabotage (Alfred Hitchcock, 1936)
☐ Dodsworth (William Wyler, 1936)
☐ Things to Come (William Cameron Menzies, 1936)
☐ The Story of a Cheat (Sacha Guitry, 1936)
☐ Captains Courageous (Victor Fleming, 1937)
☐ Song at Midnight (Weibang Ma-Xu, 1937)
☐ Grand Illusion (Jean Renoir, 1937)
☑ Stella Dallas (King Vidor, 1937)
☑ The Life of Emile Zola (William Dieterle, 1937)
☑ Make Way for Tomorrow (Leo McCarey, 1937)
☑ Snow White and the Seven Dwarfs (William Cottrell and David Hand, 1937)
☑ The Awful Truth (Leo McCarey, 1937)
☐ Pepe le Moko (Julien Duvivier, 1937)
☑ Jezebel (William Wyler, 1938)
☐ The Adventures of Robin Hood (Michael Curtiz and William Keighley, 1938)
☐ Angels with Dirty Faces (Michael Curtiz, 1938)
☑ Olympia (Leni Riefenstahl, 1938)
☐ The Baker's Wife (Marcel Pagnol, 1938)
☑ Bringing Up Baby (Howard Hawks, 1938)
☐ Stagecoach (John Ford, 1939)
☐ The Story of the Late Chrysanthemums (Kenji Mizoguchi, 1939)
☐ Babes in Arms (Busby Berkeley, 1939)
☑ Mr. Smith Goes to Washington (Frank Capra, 1939)
☑ The Wizard of Oz (Victor Fleming, 1939)
☐ Destry Rides Again (George Marshall, 1939)
☐ Only Angels Have Wings (Howard Hawks, 1939)
☑ Gone With the Wind (Victor Fleming, 1939)
☐ Le Jour Se Lève [Daybreak] (Marcel Carné, 1939)
☐ Gunga Din (George Stevens, 1939)
☑ Ninotchka (Ernst Lubitsch, 1939)
☑ La Règle du Jeu [The Rules of the Game] (Jean Renoir, 1939)
☐ Wuthering Heights (William Wyler, 1939)
☑ His Girl Friday (Howard Hawks, 1940)
☑ Rebecca (Alfred Hitchcock, 1940)
☑ Fantasia (James Algar and Samuel Armstrong, 1940)
☑ The Philadelphia Story (George Cukor, 1940)
☐ The Grapes of Wrath (John Ford, 1940)
☐ Dance, Girl, Dance (Dorothy Arzner, 1940)
☑ Pinocchio (Norman Ferguson and T. Hee, 1940)
☐ The Mortal Storm (Frank Borzage, 1940)
☐ The Bank Dick (Edward F. Cline, 1940)
☑ Citizen Kane (Orson Welles, 1941)
☑ The Lady Eve (Preston Sturges, 1941)
☐ The Wolf Man (George Waggner, 1941)
☑ The Maltese Falcon (John Huston, 1941)
☐ Sergeant York (Howard Hawks, 1941)
☑ Dumbo (Samuel Armstrong and Norman Ferguson, 1941)
☐ High Sierra (Raoul Walsh, 1941)
☑ Sullivan's Travels (Preston Sturges, 1941)
☑ How Green Was My Valley (John Ford, 1941)
☑ The Palm Beach Story (Preston Sturges, 1942)
☑ Now, Voyager (Irving Rapper, 1942)
☑ Casablanca (Michael Curtiz, 1942)
☑ To Be or Not to Be (Ernst Lubitsch, 1942)
☑ Cat People (Jacques Tourneur, 1942)
☑ The Magnificent Ambersons (Orson Welles, 1942)
☐ Yankee Doodle Dandy (Michael Curtiz, 1942)
☑ Meshes of the Afternoon (Maya Deren and Alexander Hammid, 1943)
☐ Fires Were Started (Humphrey Jennings, 1943)
☐ The Man in Grey (Leslie Arliss, 1943)
☐ The Life and Death of Colonel Blimp (Michael Powell and Emeric Pressburger, 1943)
☑ I Walked With a Zombie (Jacques Tourneur, 1943)
☐ The Seventh Victim (Mark Robson, 1943)
☐ The Ox-Bow Incident (William A. Wellman, 1943)
☐ Shadow of a Doubt (Alfred Hitchcock, 1943)
☐ Ossessione (Luchino Visconti, 1943)
☑ Meet Me in St. Louis (Vincente Minnelli, 1944)
☐ To Have and Have Not (Howard Hawks, 1944)
☐ Laura (Otto Preminger, 1944)
☑ Gaslight (George Cukor, 1944)
☐ Henry V (Laurence Olivier, 1944)
☐ Ivan the Terrible, Parts One and Two (Sergei M. Eisenstein, 1944)
☑ Double Indemnity (Billy Wilder, 1944)
☐ Murder, My Sweet (Edward Dmytryk, 1944)
☐ The Battle of San Pietro (John Huston and Mark W. Clark, 1945)
☑ Spellbound (Alfred Hitchcock, 1945)
☑ Mildred Pierce (Michael Curtiz, 1945)
☐ Les Enfants du Paradis [The Children of Paradise] (Marcel Carné, 1945)
☐ Rome, Open City (Roberto Rossellini, 1945)
☑ The Lost Weekend (Billy Wilder, 1945)
☐ Detour (Edgar G. Ulmer, 1945)
☐ I Know Where I'm Going! (Michael Powell and Emeric Pressburger, 1945)
☑ The Best Years of Our Lives (William Wyler, 1946)
☑ Brief Encounter (David Lean, 1946)
☐ Paisan (Roberto Rossellini, 1946)
☐ The Postman Always Rings Twice (Tay Garnett, 1946)
☐ My Darling Clementine (John Ford, 1946)
☐ The Stranger (Orson Welles, 1946)
☐ Beauty and the Beast (Jean Cocteau, 1946)
☑ The Big Sleep (Howard Hawks, 1946)
☐ The Killers (Robert Siodmak, 1946)
☐ A Matter of Life and Death (Michael Powell and Emeric Pressburger, 1946)
☐ Great Expectations (David Lean, 1946)
☑ Notorious (Alfred Hitchcock, 1946)
☑ Black Narcissus (Michael Powell and Emeric Pressburger, 1946)
☑ It's a Wonderful Life (Frank Capra, 1946)
☑ Gilda (Charles Vidor, 1946)
☑ Monsieur Verdoux (Charles Chaplin, 1947)
☐ Out of the Past (Jacques Tourneur, 1947)
☑ The Ghost and Mrs. Muir (Joseph L. Mankiewicz, 1947)
☐ Odd Man Out (Carol Reed, 1947)
☑ The Bicycle Thief (Vittorio De Sica, 1948)
☐ Letter From an Unknown Woman (Max Ophüls, 1948)
☐ Secret Beyond the Door (Fritz Lang, 1948)
☐ Force of Evil (Abraham Polonsky, 1948)
☐ Spring in a Small Town (Fei Mu, 1948)
☑ Red River (Howard Hawks, 1948)
☑ Rope (Alfred Hitchcock, 1948)
☐ The Snake Pit (Anatole Litvak, 1948)
☐ The Lady from Shanghai (Orson Welles, 1948)
☐ The Paleface (Norman Z. McLeod, 1948)
☑ The Red Shoes (Michael Powell and Emeric Pressburger, 1948)
☐ The Treasure of the Sierra Madre (John Huston, 1948)
☐ Louisiana Story (Robert J. Flaherty, 1948)
☑ The Heiress (William Wyler, 1949)
☑ Kind Hearts and Coronets (Robert Hamer, 1949)
☐ Gun Crazy (Joseph H. Lewis, 1949)
☑ Adam's Rib (George Cukor, 1949)
☐ Whiskey Galore! (Alexander Mackendrick, 1949)
☐ White Heat (Raoul Walsh, 1949)
☐ The Reckless Moment (Max Ophüls, 1949)
☑ The Third Man (Carol Reed, 1949)
☑ On the Town (Stanley Donen and Gene Kelly, 1949)
☐ Orpheus (Jean Cocteau, 1949)
☐ The Asphalt Jungle (John Huston, 1950)
☑ Rashomon (Akira Kurosawa, 1950)
☐ Winchester '73 (Anthony Mann, 1950)
☐ Rio Grande (John Ford, 1950)
☑ All About Eve (Joseph L. Mankiewicz, 1950)
☑ Sunset Blvd. (Billy Wilder, 1950)
☐ Los Olvidados (Luis Buñuel, 1950)
☐ In a Lonely Place (Nicholas Ray, 1950)
☐ The Big Carnival [Ace in the Hole] (Billy Wilder, 1951)
☑ A Streetcar Named Desire (Elia Kazan, 1951)
☑ Strangers on a Train (Alfred Hitchcock, 1951)
☐ The Lavender Hill Mob (Charles Crichton, 1951)
☐ Pandora and the Flying Dutchman (Albert Lewin, 1951)
☑ The African Queen (John Huston, 1951)
☑ Diary of a Country Priest (Robert Bresson, 1951)
☑ An American in Paris (Vincente Minnelli, 1951)
☑ A Place in the Sun (George Stevens, 1951)
☐ The Day the Earth Stood Still (Robert Wise, 1951)
☐ The Quiet Man (John Ford, 1952)
☐ Jeux Interdits [Forbidden Games] (René Clément, 1952)
☐ Angel Face (Otto Preminger, 1952)
☑ Singin' in the Rain (Stanley Donen and Gene Kelly, 1952)
☑ Ikiru [To Live] (Akira Kurosawa, 1952)
☐ Europa '51 [The Greatest Love] (Roberto Rossellini, 1952)
☑ The Bad and the Beautiful (Vincente Minnelli, 1952)
☐ The Big Sky (Howard Hawks, 1952)
☑ High Noon (Fred Zinnemann, 1952)
☐ Umberto D (Vittorio De Sica, 1952)
☐ Le Carrosse D'Or [The Golden Coach] (Jean Renoir, 1952)
☐ The Bigamist (Ida Lupino, 1953)
☐ The Band Wagon (Vincente Minnelli, 1953)
☑ The Earrings of Madame De… (Max Ophüls, 1953)
☑  From Here to Eternity (Fred Zinnemann, 1953)
☑ Tokyo Story (Yasujirô Ozu, 1953)
☑ Roman Holiday (William Wyler, 1953)
☐ Le Salaire de la Peur [The Wages of Fear] (Henri-Georges Clouzot, 1953)
☐ The Naked Spur (Anthony Mann, 1953)
☐ Pickup on South Street (Samuel Fuller, 1953)
☑ Gentlemen Prefer Blondes (Howard Hawks, 1953)
☑ The Big Heat (Fritz Lang, 1953)
☑ Monsieur Hulot's Holiday (Jacques Tati, 1953)
☑ Voyage in Italy (Roberto Rossellini, 1953)
☐ Tales of Ugetsu (Kenji Mizoguchi, 1953)
☑ Shane (George Stevens, 1953)
☐ Beat the Devil (John Huston, 1953)
☑ Johnny Guitar (Nicholas Ray, 1954)
☑ On the Waterfront (Elia Kazan, 1954)
☐ Seven Brides for Seven Brothers (Stanley Donen, 1954)
☑ Les Diaboliques (Henri-Georges Clouzot, 1954)
☐ Animal Farm (Joy Batchelor and John Halas, 1954)
☑ Rear Window (Alfred Hitchcock, 1954)
☑ A Star Is Born (George Cukor, 1954)
☑ The Barefoot Contessa (Joseph L. Mankiewicz, 1954)
☐ La Strada (Federico Fellini, 1954)
☑ The Seven Samurai (Akira Kurosawa, 1954)
☐ Senso [The Wanton Countess] (Luchino Visconti, 1954)
☐ Silver Lode (Allan Dwan, 1954)
☑ Carmen Jones (Otto Preminger, 1954)
☐ Sansho the Bailiff (Kenji Mizoguchi, 1954)
☐ Salt of the Earth (Herbert J. Biberman, 1954)
☐ Artists and Models (Frank Tashlin, 1955)
☐ Guys and Dolls (Joseph L. Mankiewicz, 1955)
☑ Pather Panchali (Satyajit Ray, 1955)
☐ Bad Day at Black Rock (John Sturges, 1955)
☐ Les Maîtres Fous [The Mad Masters] (Jean Rouch, 1955)
☐ Giv'a 24 Eina Ona [Hill 24 Doesn’t Answer] (Thorold Dickinson, 1955)
☐ The Ladykillers (Alexander Mackendrick, 1955)
☐ Marty (Delbert Mann, 1955)
☐ Ordet (Carl Theodor Dreyer, 1955)
☐ Bob Le Flambeur [Bob the Gambler] (Jean-Pierre Melville, 1955)
☐ Kiss Me Deadly (Robert Aldrich, 1955)
☐ The Man from Laramie (Anthony Mann, 1955)
☑ Rebel Without a Cause (Nicholas Ray, 1955)
☐ The Phenix City Story (Phil Karlson, 1955)
☐ Smiles of a Summer Night (Ingmar Bergman, 1955)
☑ Night and Fog (Alain Resnais, 1955)
☑ The Night of the Hunter (Charles Laughton, 1955)
☐ The Sins of Lola Montes (Max Ophüls, 1955)
☐ Forbidden Planet (Fred M. Wilcox, 1956)
☐ The Burmese Harp (Kon Ichikawa, 1956)
☑ The Searchers (John Ford, 1956)
☐ A Man Escaped (Robert Bresson, 1956)
☑ Written on the Wind (Douglas Sirk, 1956)
☑ The Man Who Knew Too Much (Alfred Hitchcock, 1956)
☑ Giant (George Stevens, 1956)
☑ All That Heaven Allows (Douglas Sirk, 1956)
☑ Invasion of the Body Snatchers (Don Siegel, 1956)
☑ The Wrong Man (Alfred Hitchcock, 1956)
☐ Bigger Than Life (Nicholas Ray, 1956)
☑ High Society (Charles Walters, 1956)
☑ The Ten Commandments (Cecil B. DeMille, 1956)
☑ 12 Angry Men (Sidney Lumet, 1957)
☐ The Seventh Seal (Ingmar Bergman, 1957)
☑ An Affair to Remember (Leo McCarey, 1957)
☐ Wild Strawberries (Ingmar Bergman, 1957)
☑ Nights of Cabiria (Federico Fellini, 1957)
☑ Throne of Blood (Akira Kurosawa, 1957)
☐ The Incredible Shrinking Man (Jack Arnold, 1957)
☐ Aparajito [The Unvanquished] (Satyajit Ray, 1957)
☐ Gunfight at the O.K. Corral (John Sturges, 1957)
☑ The Bridge on the River Kwai (David Lean, 1957)
☐ Mother India (Mehboob Khan, 1957)
☐ The Cranes Are Flying (Mikhail Kalatozov, 1957)
☑ Paths of Glory (Stanley Kubrick, 1957)
☑ Sweet Smell of Success (Alexander Mackendrick, 1957)
☐ Man of the West (Anthony Mann, 1958)
☑ Touch of Evil (Orson Welles, 1958)
☐ Bab el Hadid [The Iron Gate/Cairo Station] (Youssef Chahine, 1958)
☑ Gigi (Vincente Minnelli, 1958)
☐ The Defiant Ones (Stanley Kramer, 1958)
☑ Vertigo (Alfred Hitchcock, 1958)
☐ Ashes and Diamonds (Andrzej Wajda, 1958)
☐ Horror of Dracula (Terence Fisher, 1958)
☑ Mon Oncle (Jacques Tati, 1958)
☐ The Music Room (Satyajit Ray, 1958)
☑ The 400 Blows (François Truffaut, 1959)
☑ North by Northwest (Alfred Hitchcock, 1959)
☑ Some Like It Hot (Billy Wilder, 1959)
☐ Anatomy of a Murder (Otto Preminger, 1959)
☐ Eyes Without a Face (Georges Franju, 1959)
☐ Ride Lonesome (Budd Boetticher, 1959)
☐ Black Orpheus (Marcel Camus, 1959)
☐ Shadows (John Cassavetes, 1959)
☑ The World of Apu (Satyajit Ray, 1959)
☐ Breathless (Jean-Luc Godard, 1959)
☑ Ben-Hur (William Wyler, 1959)
☐ Pickpocket (Robert Bresson, 1959)
☑ Hiroshima Mon Amour (Alain Resnais, 1959)
☐ Rio Bravo (Howard Hawks, 1959)
☐ The Hole (Frank Capra, 1959)
☑ Floating Weeds (Yasujirô Ozu, 1959)
☐ Rocco and His Brothers (Luchino Visconti, 1960)
☑ La Dolce Vita (Federico Fellini, 1960)
☐ Saturday Night and Sunday Morning (Karel Reisz, 1960)
☐ Shoot the Piano Player (François Truffaut, 1960)
☑ L'Avventura (Michelangelo Antonioni, 1960)
☐ The Young One (Luis Buñuel, 1960)
☐ Meghe Dhaka Tara [The Cloud-Capped Star] (Ritwik Ghatak, 1960)
☐ Hanyeo [The Housemaid] (Ki-young Kim, 1960)
☑ Psycho (Alfred Hitchcock, 1960)
☐ Revenge of the Vampire/Black Sunday (Mario Bava, 1960)
☑ Peeping Tom (Michael Powell, 1960)
☑ The Apartment (Billy Wilder, 1960)
☑ Spartacus (Stanley Kubrick, 1960)
☐ Splendor in the Grass (Elia Kazan, 1961)
☑ Last Year at Marienbad (Alain Resnais, 1961)
☑ La Jetee [The Pier] (Chris Marker, 1961)
☐ One-Eyed Jacks (Marlon Brando, 1961)
☐ Lola (Jacques Demy, 1961)
☑ Breakfast at Tiffany's (Blake Edwards, 1961)
☐ La Notte [The Night] (Michelangelo Antonioni, 1961)
☑ Jules et Jim (François Truffaut, 1961)
☐ Viridiana (Luis Buñuel, 1961)
☑ The Ladies Man (Jerry Lewis, 1961)
☐ Through a Glass Darkly (Ingmar Bergman, 1961)
☐ Chronique d'un Eté [Chronicle of a Summer] (Edgar Morin and Jean Rouch, 1961)
☐ The Hustler (Robert Rossen, 1961)
☑ West Side Story (Jerome Robbins and Robert Wise, 1961)
☐ Mondo Cane [A Dog's Life] (Paolo Cavara and Gualtiero Jacopetti, 1962)
☐ Cleo from 5 to 7 (Agnès Varda, 1962)
☐ Dog Star Man (Stan Brakhage, 1962)
☑ El Ángel Exterminador [The Exterminating Angel] (Luis Buñuel, 1962)
☐ An Autumn Afternoon (Yasujirô Ozu, 1962)
☐ L'eclisse [The Eclipse] (Michelangelo Antonioni, 1962)
☑ Lawrence of Arabia (David Lean, 1962)
☑ To Kill a Mockingbird (Robert Mulligan, 1962)
☑ The Manchurian Candidate (John Frankenheimer, 1962)
☑ Lolita (Stanley Kubrick, 1962)
☐ O Pagador de Promessas [Keeper of Promises] (Anselmo Duarte, 1962)
☐ The Man Who Shot Liberty Valance (John Ford, 1962)
☑ What Ever Happened to Baby Jane? (Robert Aldrich, 1962)
☐ Vivre sa Vie [My Life to Live] (Jean-Luc Godard, 1962)
☐ Heaven and Earth Magic (Harry Smith, 1962)
☑ The Birds (Alfred Hitchcock, 1963)
☑ The Nutty Professor (Jerry Lewis, 1963)
☐ Blonde Cobra (Ken Jacobs, 1963)
☐ The Cool World (Shirley Clarke, 1963)
☑ 8½ (Federico Fellini, 1963)
☐ Passenger (Andrzej Munk and Witold Lesiewicz, 1963)
☐ Contempt (Jean-Luc Godard, 1963)
☐ Hud (Martin Ritt, 1963)
☐ Winter Light (Ingmar Bergman, 1963)
☐ Flaming Creatures (Jack Smith, 1963)
☑ The Great Escape (John Sturges, 1963)
☐ Shock Corridor (Samuel Fuller, 1963)
☑ Il Gattopardo [The Leopard] (Luchino Visconti, 1963)
☐ Vidas Secas [Barren Lives] (Nelson Pereira dos Santos, 1963)
☐ Méditerranée (Jean-Daniel Pollet and Volker Schlöndorff, 1963)
☐ Khaneh Siah Ast [The House is Black] (Forugh Farrokhzad, 1963)
☑  The Haunting (Robert Wise, 1963)
☐ An Actor's Revenge/Revenge of a Kabuki Actor (Kon Ichikawa, 1963)
☐ The Servant (Joseph Losey, 1963)
☑ Goldfinger (Guy Hamilton, 1964)
☑ Scorpio Rising (Kenneth Anger, 1964)
☑ Les Parapluies de Cherbourg [The Umbrellas of Cherbourg] (Jacques Demy, 1964)
☑ Marnie (Alfred Hitchcock, 1964)
☑ My Fair Lady (George Cukor, 1964)
☑ Woman in the Dunes (Hiroshi Teshigahara, 1964)
☑ Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964)
☑ A Hard Day's Night (Richard Lester, 1964)
☐ Red Desert (Michelangelo Antonioni, 1964)
☐ Shadows of Forgotten Ancestors (Sergei Parajanov, 1964)
☐ The Masque of the Red Death (Roger Corman, 1964)
☐ Before the Revolution (Bernardo Bertolucci, 1964)
☐ Gertrud (Carl Theodor Dreyer, 1964)
☑ The Gospel According to St. Matthew (Pier Paolo Pasolini, 1964)
☐ Deus e O Diabo Na Terra Do Sol [Black God, White Devil] (Glauber Rocha, 1964)
☐ Onibaba [The Demon] (Kaneto Shindô, 1964)
☐ Vinyl (Andy Warhol, 1965)
☐ Obch o Na Korze [The Shop on Main Street] (Ján Kadár and Elmar Klos, 1965)
☑ Doctor Zhivago (David Lean, 1965)
☐ The War Game (Peter Watkins, 1965)
☐ Tokyo Olympiad (Kon Ichikawa, 1965)
☑ The Battle of Algiers (Gillo Pontecorvo, 1965)
☑ The Sound of Music (Robert Wise, 1965)
☐ Rękopis Znaleziony w Saragossie [The Saragossa Manuscript] (Wojciech Has, 1965)
☐ Alphaville (Jean-Luc Godard, 1965)
☐ Chimes at Midnight (Orson Welles, 1965)
☑ Repulsion (Roman Polanski, 1965)
☐ Giulietta Degli Spiriti [Juliet of the Spirits] (Federico Fellini, 1965)
☐ Pierrot le Fou [Pierrot Goes Wild] (Jean-Luc Godard, 1965)
☐ Faster, Pussy Cat! Kill! Kill! (Russ Meyer, 1965)
☐ Subarnarekha [The Golden River/The Golden Thread] (Ritwik Ghatak, 1965)
☐ De Man Die Zijn Haar Kort Liet Knippen [The Man Who Had His Hair Cut Short] (André Delvaux, 1965)
☐ Hold Me While I'm Naked (George Kuchar, 1966)
☑ Blowup (Michelangelo Antonioni, 1966)
☑ The Good, the Bad, and the Ugly (Sergio Leone, 1966)
☐ Sedmikrásky [Daisies] (Vera Chytilová, 1966)
☐ 大醉俠 [Come Drink With Me] (King Hu, 1966)
☐ Seconds (John Frankenheimer, 1966)
☑ Who's Afraid of Virginia Woolf? (Mike Nichols, 1966)
☑ Persona (Ingmar Bergman, 1966)
☐ Masculin Féminin (Jean-Luc Godard, 1966)
☐ Au Hasard Balthazar (Robert Bresson, 1966)
☑ In the Heat of the Night (Norman Jewison, 1967)
☐ Two or Three Things I Know About Her (Jean-Luc Godard, 1967)
☑ The Graduate (Mike Nichols, 1967)
☑ Playtime (Jacques Tati, 1967)
☐ Report (Bruce Conner, 1967)
☐ Hombre (Martin Ritt, 1967)
☑ Belle de Jour (Luis Buñuel, 1967)
☐ Les Demoiselles de Rochefort [The Young Girls of Rochefort] (Jacques Demy and Agnès Varda, 1967)
☐ Week End (Jean-Luc Godard, 1967)
☑ Le Samouraï (Jean-Pierre Melville, 1967)
☐ Cool Hand Luke (Stuart Rosenberg, 1967)
☐ Point Blank (John Boorman, 1967)
☑ Wavelength (Michael Snow, 1967)
☑ Bonnie and Clyde (Arthur Penn, 1967)
☐ Csillagosok, Katonák [The Red and the White] (Miklós Jancsó, 1967)
☐ Marketa Lazarova (Frantisek Vlácil, 1967)
☑ The Jungle Book (Wolfgang Reitherman, 1967)
☐ The Fireman's Ball (Milos Forman, 1967)
☐ Terra em Transe [Earth Entranced] (Glauber Rocha, 1967)
☐ Ostře Sledované Vlaky [Closely Watched Trains] (Jiri Menzel, 1967)
☐ Vij [Spirit of Evil] (Konstantin Yershov and Georgi Kropachyov, 1967)
☐ The Cow/Poor Cow (Ken Loach, 1968)
☐ Once Upon a Time in the West (Sergio Leone, 1968)
☑ Planet of the Apes (Franklin J. Schaffner, 1968)
☐ Faces (John Cassavetes, 1968)
☑ Rosemary's Baby (Roman Polanski, 1968)
☐ If… (Lindsay Anderson, 1968)
☐ Memorias del Subdesarrollo [Memories of Underdevelopment] (Tomás Gutiérrez Alea, 1968)
☑ The Producers (Mel Brooks, 1968)
☐ David Holzman's Diary (Jim McBride, 1968)
☐ Shame (Ingmar Bergman, 1968)
☑ 2001: A Space Odyssey (Stanley Kubrick, 1968)
☐ Hour of the Wolf (Ingmar Bergman, 1968)
☐ Targets (Peter Bogdanovich, 1968)
☑ Night of the Living Dead (George A. Romero, 1968)
☑ My Night at Maud's (Eric Rohmer, 1969)
☐ Lucia (Humberto Solás, 1969)
☐ A Touch of Zen (King Hu, 1969)
☑ Butch Cassidy and the Sundance Kid (George Roy Hill, 1969)
☑ Midnight Cowboy (John Schlesinger, 1969)
☐ Satyricon (Federico Fellini, 1969)
☐ Z (Costa-Gavras, 1969)
☐ The Conformist (Bernardo Bertolucci, 1969)
☑ Easy Rider (Dennis Hopper, 1969)
☐ High School (Frederick Wiseman, 1969)
☐ In the Year of the Pig (Emile de Antonio, 1969)
☑ The Wild Bunch (Sam Peckinpah, 1969)
☐ Andrei Rublev (Andrey Tarkovsky, 1969)
☐ Le Boucher [The Butcher] (Claude Chabrol, 1969)
☑ The Color of Pomegranates (Sergei Parajanov, 1969)
☐ Kes (Ken Loach, 1969)
☐ Tristana (Luis Buñuel, 1970)
☑ Five Easy Pieces (Bob Rafelson, 1970)
☐ El Topo (Alejandro Jodorowsky, 1970)
☑ Woodstock (Michael Wadleigh, 1970)
☐ Deep End (Jerzy Skolimowski, 1970)
☐ Strategia del Ragno [The Spider's Stratagem] (Bernardo Bertolucci, 1970)
☐ Little Big Man (Arthur Penn, 1970)
☐ Ucho [The Ear] (Karel Kachyna, 1970)
☐ Patton (Franklin J. Schaffner, 1970)
☑ M*A*S*H (Robert Altman, 1970)
☐ Performance (Donald Cammell and Nicolas Roeg, 1970)
☐ Gimme Shelter (Albert Maysles and David Maysles, 1970)
☐ Zabriskie Point (Michelangelo Antonioni, 1970)
☐ The Bird With the Crystal Plumage (Dario Argento, 1970)
☐ The Garden of the Finzi-Continis (Vittorio De Sica, 1970)
☐ Wanda (Barbara Loden, 1971)
☐ W.R.: Mysteries of the Organism (Dusan Makavejev, 1971)
☑ A Clockwork Orange (Stanley Kubrick, 1971)
☑ The Sorrow and the Pity (Marcel Ophüls, 1971)
☑ Willy Wonka and the Chocolate Factory (Mel Stuart, 1971)
☑ McCabe and Mrs. Miller (Robert Altman, 1971)
☐ Walkabout (Nicolas Roeg, 1971)
☑ Klute (Alan J. Pakula, 1971)
☑ Harold and Maude (Hal Ashby, 1971)
☐ Még Kér a Nép [Red Psalm] (Miklos Jancso, 1971)
☐ Get Carter (Mike Hodges, 1971)
☑ The French Connection (William Friedkin, 1971)
☐ Shaft (Gordon Parks, 1971)
☑ Dirty Harry (Don Siegel, 1971)
☑ Le Souffle au Cœur [Murmur of the Heart] (Louis Malle, 1971)
☐ Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971)
☑ The Last Picture Show (Peter Bogdanovich, 1971)
☐ Straw Dogs (Sam Peckinpah, 1971)
☐ Two-Lane Blacktop (Monte Hellman, 1971)
☑ The Heartbreak Kid (Elaine May, 1972)
☑ Aguirre, the Wrath of God (Werner Herzog, 1972)
☑ Cabaret (Bob Fosse, 1972)
☑ Last Tango in Paris (Bernardo Bertolucci, 1972)
☐ High Plains Drifter (Clint Eastwood, 1972)
☑ Sleuth (Joseph L. Mankiewicz, 1972)
☑ Deliverance (John Boorman, 1972)
☑ Solaris (Andrei Tarkovsky, 1972)
☑ The Godfather (Francis Ford Coppola, 1972)
☑ Cries and Whispers (Ingmar Bergman, 1972)
☐ Fat City (John Huston, 1972)
☑ Le Charme Discret de la Bourgeoisie [The Discreet Charm of the Bourgeoisie] (Luis Buñuel, 1972)
☐ Die Bitteren Tränen der Petra von Kant [The Bitter Tears of Petra Von Kant] (Rainer Werner Fassbinder, 1972)
☐ Frenzy (Alfred Hitchcock, 1972)
☑ Pink Flamingos (John Waters, 1972)
☐ Superfly (Gordon Parks Jr., 1972)
☑ The Sting (George Roy Hill, 1973)
☐ La Maman et la Putain [The Mother and the Whore] (Jean Eustache, 1973)
☐ Badlands (Terrence Malick, 1973)
☑ American Graffiti (George Lucas, 1973)
☐ Papillon (Franklin J. Schaffner, 1973)
☑ Enter the Dragon (Robert Clouse, 1973)
☑ Mean Streets (Martin Scorsese, 1973)
☐ The Long Goodbye (Robert Altman, 1973)
☑ The Wicker Man (Robin Hardy, 1973)
☑ La Nuit Américaine [Day for Night] (François Truffaut, 1973)
☑ Don't Look Now (Nicolas Roeg, 1973)
☑ Sleeper (Woody Allen, 1973)
☐ Serpico (Sidney Lumet, 1973)
☑ The Exorcist (William Friedkin, 1973)
☐ Turks Fruit [Turkish Delight] (Paul Verhoeven, 1973)
☐ El Espíritu de la Colmena [The Spirit of the Beehive] (Víctor Erice, 1973)
☑ La Planète Sauvage [Fantastic Planet] (René Laloux, 1973)
☑ Amarcord (Federico Fellini, 1973)
☐ The Harder They Come (Perry Henzell, 1973)
☐ Pat Garrett and Billy the Kid (Sam Peckinpah, 1973)
☐ Dersu Uzala (Akira Kurosawa, 1974)
☑ The Conversation (Francis Ford Coppola, 1974)
☑ The Texas Chainsaw Massacre (Tobe Hooper, 1974)
☑ Zerkalo [The Mirror] (Andrei Tarkovsky, 1974)
☑ A Woman Under the Influence (John Cassavetes, 1974)
☑ Young Frankenstein (Mel Brooks, 1974)
☑ Chinatown (Roman Polanski, 1974)
☐ Céline et Julie Vont en Bateau [Celine and Julie Go Boating] (Jacques Rivette, 1974)
☑ Blazing Saddles (Mel Brooks, 1974)
☑ The Godfather Part II (Francis Ford Coppola, 1974)
☐ Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
☐ Bring Me the Head of Alfredo Garcia (Sam Peckinpah, 1974)
☑ Dog Day Afternoon (Sidney Lumet, 1975)
☑ One Flew over the Cuckoo's Nest (Milos Forman, 1975)
☑ Jeanne Dielman, 23 Quai Du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)
☑ The Rocky Horror Picture Show (Jim Sharman, 1975)
☐ Deewaar [The Wall] (Yash Chopra, 1975)
☑ Monty Python and the Holy Grail (Terry Gilliam and Terry Jones, 1975)
☑ Barry Lyndon (Stanley Kubrick, 1975)
☐ Faustrecht der Freiheit [Fox and His Friends] (Rainer Werner Fassbinder, 1975)
☐ India Song (Marguerite Duras, 1975)
☑ Picnic at Hanging Rock (Peter Weir, 1975)
☑ Manila sa Mga Kuko ng Liwanag [Manila in the Claws of Brightness] (Lino Brocka, 1975)
☑ Salo, or the 120 Days of Sodom (Pier Paolo Pasolini, 1975)
☑ Nashville (Robert Altman, 1975)
☐ Cria! (Carlos Saura, 1975)
☐ O Thiassos [The Travelling Players] (Theodoros Angelopoulos, 1975)
☑ Jaws (Steven Spielberg, 1975)
☐ The Killing of a Chinese Bookie (John Cassavetes, 1976)
☑ Carrie (Brian De Palma, 1976)
☐ The Outlaw Josey Wales (Clint Eastwood, 1976)
☑ All the President's Men (Alan J. Pakula, 1976)
☑ Rocky (John G. Avildsen, 1976)
☑ Taxi Driver (Martin Scorsese, 1976)
☑ Network (Sidney Lumet, 1976)
☐ Voskhozhdeniye [The Ascent] (Larisa Shepitko, 1976)
☑ In the Realm of the Senses (Nagisa Ôshima, 1976)
☐ 1900 (Bernardo Bertolucci, 1976)
☐ The Man Who Fell to Earth (Nicolas Roeg, 1976)
☑ Star Wars (George Lucas, 1977)
☑ Close Encounters of the Third Kind (Steven Spielberg, 1977)
☐ The Last Wave (Peter Weir, 1977)
☑ Annie Hall (Woody Allen, 1977)
☐ Last Chants for a Slow Dance (Jon Jost, 1977)
☐ Stroszek (Werner Herzog, 1977)
☐ Człowiek z Marmuru [Man of Marble] (Andrzej Wajda, 1977)
☑ Saturday Night Fever (John Badham, 1977)
☑ Killer of Sheep (Charles Burnett, 1977)
☐ Eraserhead (David Lynch, 1977)
☐ Ceddo (Ousmane Sembene, 1977)
☐ Der Amerikanische Freund [The American Friend] (Wim Wenders, 1977)
☐ The Hills Have Eyes (Wes Craven, 1977)
☐ Soldaat van Oranje [Soldier of Orange] (Paul Verhoeven, 1977)
☑ Suspiria (Dario Argento, 1977)
☐ The Chant of Jimmie Blacksmith (Fred Schepisi, 1978)
☐ 五毒 [Five Deadly Venoms] (Cheh Chang, 1978)
☐ L'Albero Degli Zoccoli [The Tree of Wooden Clogs] (Ermanno Olmi, 1978)
☑ The Deer Hunter (Michael Cimino, 1978)
☑ Grease (Randal Kleiser, 1978)
☑ Days of Heaven (Terrence Malick, 1978)
☑ Dawn of the Dead (George A. Romero, 1978)
☐ Shaolin Master Killer/The 36th Chamber of Shaolin (Chia-Liang Liu, 1978)
☐ Up in Smoke (Lou Adler, 1978)
☑ Halloween (John Carpenter, 1978)
☐ The Marriage of Maria Braun (Rainer Werner Fassbinder, 1979)
☐ Real Life (Albert Brooks, 1979)
☐ My Brilliant Career (Gillian Armstrong, 1979)
☐ Stalker (Andrei Tarkovsky, 1979)
☑ Alien (Ridley Scott, 1979)
☐ Breaking Away (Peter Yates, 1979)
☐ Die Blechtrommel [The Tin Drum] (Volker Schlöndorff, 1979)
☑ All That Jazz (Bob Fosse, 1979)
☑ Being There (Hal Ashby, 1979)
☑ Kramer vs. Kramer (Robert Benton, 1979)
☑ Life of Brian (Terry Jones, 1979)
☑ Apocalypse Now (Francis Ford Coppola, 1979)
☑ The Jerk (Carl Reiner, 1979)
☐ The Muppet Movie (James Frawley, 1979)
☑ Manhattan (Woody Allen, 1979)
☑ Mad Max (George Miller, 1979)
☑ Nosferatu: Phantom of the Night (Werner Herzog, 1979)
☑ Ordinary People (Robert Redford, 1980)
☑ Atlantic City (Louis Malle, 1980)
☐ The Last Metro (François Truffaut, 1980)
☑ The Shining (Stanley Kubrick, 1980)
☑ Star Wars: Episode V - The Empire Strikes Back (Irvin Kershner, 1980)
☑ The Elephant Man (David Lynch, 1980)
☐ The Big Red One (Samuel Fuller, 1980)
☐ Loulou (Maurice Pialat, 1980)
☑ Airplane! (Jim Abrahams and David Zucker, 1980)
☑ Raging Bull (Martin Scorsese, 1980)
☑ Raiders of the Lost Ark (Steven Spielberg, 1981)
☐ Das Boot [The Boat] (Wolfgang Petersen, 1981)
☐ Gallipoli (Peter Weir, 1981)
☑ Chariots of Fire (Hugh Hudson, 1981)
☑ Body Heat (Lawrence Kasdan, 1981)
☑ Reds (Warren Beatty, 1981)
☑ An American Werewolf in London (John Landis, 1981)
☐ Tre Fratelli [Three Brothers] (Francesco Rosi, 1981)
☐ Człowiek z Zelaza [Man of Iron] (Andrzej Wajda, 1981)
☐ Trop Tôt, Trop Tard [Too Early, Too Late] (Daniele Huillet and Jean Marie Straub, 1981)
☑ Fast Times at Ridgemont High (Cameron Crowe, 1981)
☑ E.T.: The Extra-Terestrial (Steven Spielberg, 1982)
☑ The Thing (John Carpenter, 1982)
☑ Poltergeist (Tobe Hooper, 1982)
☑ Blade Runner (Ridley Scott, 1982)
☑ The Evil Dead (Sam Raimi, 1982)
☑ Tootsie (Sydney Pollack, 1982)
☐ Yol [The Way] (Serif Gören, 1982)
☐ Diner (Barry Levinson, 1982)
☑ Fitzcaraldo (Werner Herzog, 1982)
☑ Gandhi (Richard Attenborough, 1982)
☐ La Notte di San Lorenzo [The Night of the Shooting Stars] (Paolo Taviani and Vittorio Taviani, 1982)
☐ De Stilte Rond Christine M. [A Question of Silence] (Marleen Gorris, 1982)
☑ Fanny and Alexander (Ingmar Bergman, 1982)
☑ A Christmas Story (Bob Clark, 1983)
☐ El Norte (Gregory Nava, 1983)
☑ Videodrome (David Cronenberg, 1983)
☑ Star Wars: Episode VI - Return of the Jedi (Richard Marquand, 1983)
☑ The Big Chill (Lawrence Kasdan, 1983)
☐ Sans Soleil [Sunless] (Chris Marker, 1983)
☐ Le Dernier Combat [The Last Battle] (Luc Besson, 1983)
☐ L'Argent [Money] (Robert Bresson, 1983)
☐ Utu (Geoff Murphy, 1983)
☑ Terms of Endearment (James L. Brooks, 1983)
☐ De Vierde Man [The Fourth Man] (Paul Verhoeven, 1983)
☑ The King of Comedy (Martin Scorsese, 1983)
☑ The Right Stuff (Philip Kaufman, 1983)
☑ Koyaanisqatsi (Godfrey Reggio, 1983)
☑ Once Upon a Time in America (Sergio Leone, 1983)
☑ Scarface (Brian De Palma, 1983)
☐ The Ballad of Narayama (Shôhei Imamura, 1983)
☑ Amadeus (Milos Forman, 1984)
☑ The Terminator (James Cameron, 1984)
☑ Paris, Texas (Wim Wenders, 1984)
☑ A Nightmare on Elm Street (Wes Craven, 1984)
☑ This Is Spinal Tap (Rob Reiner, 1984)
☑ Beverly Hills Cop (Martin Brest, 1984)
☑ Ghostbusters (Ivan Reitman, 1984)
☑ A Passage to India (David Lean, 1984)
☐ Stranger Than Paradise (Jim Jarmusch, 1984)
☑ The Killing Fields (Roland Joffé, 1984)
☑ The Natural (Barry Levinson, 1984)
☑ The Breakfast Club (John Hughes, 1985)
☑ Ran (Akira Kurosawa, 1985)
☐ Come and See (Elem Klimov, 1985)
☐ La Historia Oficial [The Official Story] (Luis Puenzo, 1985)
☑ Out of Africa (Sydney Pollack, 1985)
☑ The Purple Rose of Cairo (Woody Allen, 1985)
☑ Back to the Future (Robert Zemeckis, 1985)
☐ 童年往事 [The Time to Live and the Time to Die] (Hsiao-hsien Hou, 1985)
☑ Brazil (Terry Gilliam, 1985)
☑ Kiss of the Spider Woman (Hector Babenco, 1985)
☐ The Quiet Earth (Geoff Murphy, 1985)
☑ Mishima: A Life in Four Chapters (Paul Schrader, 1985)
☑ Prizzi's Honor (John Huston, 1985)
☐ Sans Toit ni Loi [Vagabond] (Agnès Varda, 1985)
☑ Shoah (Claude Lanzmann, 1985)
☑ The Color Purple (Steven Spielberg, 1985)
☑ Manhunter (Michael Mann, 1986)
☑ Stand By Me (Rob Reiner, 1986)
☑ Blue Velvet (David Lynch, 1986)
☑ Hannah and Her Sisters (Woody Allen, 1986)
☐ She's Gotta Have It (Spike Lee, 1986)
☐ Le Déclin de L'Empire Américain [The Decline of the American Empire] (Denys Arcand, 1986)
☑ The Fly (David Cronenberg, 1986)
☑ Aliens (James Cameron, 1986)
☑ Ferris Bueller's Day Off (John Hughes, 1986)
☐ Down by Law (Jim Jarmusch, 1986)
☑ A Room with a View (James Ivory, 1986)
☑ Children of a Lesser God (Randa Haines, 1986)
☑ Platoon (Oliver Stone, 1986)
☑ Caravaggio (Derek Jarman, 1986)
☑ Tampopo (Jûzô Itami, 1986)
☐ 刀馬旦 [Peking Opera Blues] (Hark Tsui, 1986)
☑ Salvador (Oliver Stone, 1986)
☑ Top Gun (Tony Scott, 1986)
☐ Sherman's March (Ross McElwee, 1986)
☐ 盗马贼 [The Horse Thief] (Tian Zhuangzhuang, 1986)
☐ Yeelen [Brightness] (Souleymane Cissé, 1987)
☐ Der Himmel über Berlin [Wings of Desire] (Wim Wenders, 1987)
☐ Project A, Part II (Jackie Chan, 1987)
☑ Babettes Gæstebud [Babette's Feast] (Gabriel Axel, 1987)
☑ Raising Arizona (Joel Coen, 1987)
☑ Full Metal Jacket (Stanley Kubrick, 1987)
☑ Withnail and I (Bruce Robinson, 1987)
☑ Good Morning, Vietnam (Barry Levinson, 1987)
☑ Au Revoir Les Enfants [Goodbye, Children] (Louis Malle, 1987)
☑ Broadcast News (James L. Brooks, 1987)
☐ Housekeeping (Bill Forsyth, 1987)
☑ The Princess Bride (Rob Reiner, 1987)
☑ Moonstruck (Norman Jewison, 1987)
☑ The Untouchables (Brian De Palma, 1987)
☐ 红高粱 [Red Sorghum] (Yimou Zhang, 1987)
☑ The Dead (John Huston, 1987)
☑ Fatal Attraction (Adrian Lyne, 1987)
☐ 倩女幽魂 [A Chinese Ghost Story] (Siu-Tung Ching, 1987)
☑ Mujeres al Borde de un Ataque de Nervios [Women on the Verge of a Nervous Breakdown] (Pedro Almodóvar, 1988)
☑ Spoorloos [The Vanishing] (George Sluizer, 1988)
☑ Bull Durham (Ron Shelton, 1988)
☐ Ariel (Aki Kaurismäki, 1988)
☐ The Thin Blue Line (Errol Morris, 1988)
☑ Akira (Katsuhiro Ôtomo, 1988)
☑ Cinema Paradiso (Giuseppe Tornatore, 1988)
☐ Hotel Terminus: The Life and Times of Klaus Barbie (Marcel Ophüls, 1988)
☑ A Fish Called Wanda (Charles Crichton, 1988)
☑ The Naked Gun: From the Files of Police Squad! (David Zucker, 1988)
☑ Big (Penny Marshall, 1988)
☑ Dangerous Liaisons (Stephen Frears, 1988)
☑ Grave of the Fireflies (Isao Takahata, 1988)
☐ Topio Stin Omichli [Landscape in the Mist] (Theodoros Angelopoulos, 1988)
☑ Dekalog [The Decalogue] (Krzysztof Kieslowski, 1988)
☑ Die Hard (John McTiernan, 1988)
☐ Une Histoire de Vent [A Tale of the Wind] (Joris Ivens, 1988)
☑ Who Framed Roger Rabbit (Robert Zemeckis, 1988)
☑ Rain Man (Barry Levinson, 1988)
☐ Une Affaire de Femmes [The Story of Women] (Claude Chabrol, 1988)
☑ The Accidental Tourist (Lawrence Kasdan, 1988)
☑ Alice (Woody Allen, 1988)
☑ Batman (Tim Burton, 1989)
☑ When Harry Met Sally (Rob Reiner, 1989)
☑ Crimes and Misdemeanors (Woody Allen, 1989)
☐ The Cook, the Thief, His Wife and Her Lover (Peter Greenaway, 1989)
☑ Drugstore Cowboy (Gus Van Sant, 1989)
☑ My Left Foot (Jim Sheridan, 1989)
☑ 喋血雙雄 [The Killer] (John Woo, 1989)
☑ Do the Right Thing (Spike Lee, 1989)
☑ Roger & Me (Michael Moore, 1989)
☑ Glory (Edward Zwick, 1989)
☐ Astenicheskiy Sindrom [The Asthenic Syndrome] (Kira Muratova, 1989)
☑ sex, lies and videotape (Steven Soderbergh, 1989)
☑ Say Anything (Cameron Crowe, 1989)
☐ The Unbelievable Truth (Hal Hartley, 1989)
☐ 悲情城市 [A City of Sadness] (Hsiao-hsien Hou, 1989)
☐ S'en Fout la Mort [No Fear, No Die] (Claire Denis, 1990)
☑ Reversal of Fortune (Barbet Schroeder, 1990)
☑ Goodfellas (Martin Scorsese, 1990)
☐ Jacob's Ladder (Adrian Lyne, 1990)
☐ King of New York (Abel Ferrara, 1990)
☑ Dances with Wolves (Kevin Costner, 1990)
☑ Europa Europa (Agnieszka Holland, 1990)
☑ Pretty Woman (Garry Marshall, 1990)
☐ Archangel (Guy Maddin, 1990)
☐ Trust (Hal Hartley, 1990)
☐ Nema-ye Nazdik [Close-Up] (Abbas Kiarostami, 1990)
☑ Edward Scissorhands (Tim Burton, 1990)
☐ Henry: Portrait of a Serial Killer (John McNaughton, 1990)
☑ Total Recall (Paul Verhoeven, 1990)
☑ 黃飛鴻 [Once Upon a Time in China] (Hark Tsui, 1991)
☑ Boyz n the Hood (John Singleton, 1991)
☑ 大红灯笼高高挂 [Raise the Red Lantern] (Yimou Zhang, 1991)
☐ Delicatessen (Marc Caro and Jean-Pierre Jeunet, 1991)
☐ 牯嶺街少年殺人事件 [A Brighter Summer Day] (Edward Yang, 1991)
☐ Naked Lunch (David Cronenberg, 1991)
☐ La Belle Noiseuse [The Beautiful Troublemaker] (Jacques Rivette, 1991)
☑ The Rapture (Michael Tolkin, 1991)
☑ My Own Private Idaho (Gus Van Sant, 1991)
☑ Thelma & Louise (Ridley Scott, 1991)
☑ Terminator 2: Judgment Day (James Cameron, 1991)
☑ The Silence of the Lambs (Jonathan Demme, 1991)
☑ JFK (Oliver Stone, 1991)
☑ Slacker (Richard Linklater, 1991)
☐ Tongues Untied (Marlon T. Riggs, 1991)
☑ Hearts of Darkness: A Filmmaker's Apocalypse (Fax Bahr and George Hickenlooper, 1991)
☑ The Double Life of Veronique (Krzysztof Kieslowski, 1991)
☑ Strictly Ballroom (Baz Luhrmann, 1992)
☑ The Player (Robert Altman, 1992)
☑ Reservoir Dogs (Quentin Tarantino, 1992)
☐ Romper Stomper (Geoffrey Wright, 1992)
☑ Glengarry Glen Ross (James Foley, 1992)
☑ Unforgiven (Cint Eastwood, 1992)
☑ Bram Stoker's Dracula (Francis Ford Coppola, 1992)
☑ Candy Man (Bernard Rose, 1992)
☐ A Tale of Winter (Eric Rohmer, 1992)
☑ Aileen Wuornos: The Selling of a Serial Killer (Nick Broomfield, 1992)
☑ The Crying Game (Neil Jordan, 1992)
☐ C'est Arrivé Près de Chez Vous [Man Bites Dog] (Rémy Belvaux and André Bonzel, 1992)
☐ The Actress (Stanley Kwan, 1992)
☑ 霸王別姬 [Farewell My Concubine] (Chen Kaige, 1993)
☑ Thirty-Two Films about Glenn Gould (François Girard, 1993)
☑ Groundhog Day (Harold Ramis, 1993)
☑ Short Cuts (Robert Altman, 1993)
☑ Philadelphia (Jonathan Demme, 1993)
☑ Jurassic Park (Steven Spielberg, 1993)
☑ The Age of Innocence (Martin Scorsese, 1993)
☐ 戲夢人生 [The Puppetmaster] (Hsiao-hsien Hou, 1993)
☑ Schindler's List (Steven Spielberg, 1993)
☑ Three Colors: Blue (Krzysztof Kieslowski, 1993)
☑ The Piano (Jane Campion, 1993)
☐ 蓝风筝 [The Blue Kite] ( Zhuangzhuang Tian, 1993)
☑ 喜宴 [The Wedding Banquet] (Ang Lee, 1993)
☑ Three Colors: Red (Krzysztof Kieslowski, 1994)
☑ Hoop Dreams (Steve James, 1994)
☑ Forrest Gump (Robert Zemeckis, 1994)
☑ Clerks (Kevin Smith, 1994)
☑ Four Weddings and a Funeral (Mike Newell, 1994)
☑ The Lion King (Roger Allers and Rob Minkoff, 1994)
☐ Satantango [Satan's Tango] (Béla Tarr, 1994)
☑ Natural Born Killers (Oliver Stone, 1994)
☑ The Last Seduction (John Dahl, 1994)
☑ Pulp Fiction (Quentin Tarantino, 1994)
☑ The Shawshank Redemption (Frank Darabont, 1994)
☑ Les Roseaux Sauvages [Wild Reeds] (André Téchiné, 1994)
☑ 重庆森林 [Chungking Express] (Wong Kar Wai, 1994)
☑ Crumb (Terry Zwigoff, 1994)
☑ Heavenly Creatures (Peter Jackson, 1994)
☐ Zire Darakhatan Zeyton [Through the Olive Trees] (Abbas Kiarostami, 1994)
☐ Riget [The Kingdom] (Lars Von Trier, 1994)
☐ Caro Diario [Dear Diary] (Nanni Moretti, 1994)
☑ Casino (Martin Scorsese, 1995)
☐ Deseret (James Benning, 1995)
☑ Babe (Chris Noonan, 1995)
☑ Toy Story (John Lasseter, 1995)
☑ Strange Days (Kathryn Bigelow, 1995)
☑ Braveheart (Mel Gibson, 1995)
☑ Safe (Todd Haynes, 1995)
☑ Clueless (Amy Heckerling, 1995)
☑ Heat (Michael Mann, 1995)
☐ Zero Kelvin (Hans Petter Moland, 1995)
☑ Seven (David Fincher, 1995)
☑ Smoke (Wayne Wang, 1995)
☑ Badkonake Sefid [The White Balloon] (Jafar Panahi, 1995)
☐ Cyclo (Anh Hung Tran, 1995)
☐ Podzemlje [Underground] (Emir Kusturica, 1995)
☐ Dilwale Dulhania Le Jayenge [The Brave Heart Will Take the Bride] (Aditya Chopra, 1995)
☐ Dead Man (Jim Jarmusch, 1995)
☑ The Usual Suspects (Bryan Singer, 1995)
☑ The Pillow Book (Peter Greenaway, 1996)
☐ Trois Vies et Une Seule Mort [Three Lives and Only One Death] (Raoul Ruiz, 1996)
☑ Fargo (Joel Coen, 1996)
☑ Independence Day (Roland Emmerich, 1996)
☑ Secrets and Lies (Mike Leigh, 1996)
☐ Breaking the Waves (Lars Von Trier, 1996)
☑ The English Patient (Anthony Minghella, 1996)
☐ Gabbeh (Mohsen Makhmalbaf, 1996)
☐ Lone Star (John Sayles, 1996)
☑ Trainspotting (Danny Boyle, 1996)
☑ Scream (Wes Craven, 1996)
☑ Deconstructing Harry (Woody Allen, 1997)
☑ L.A. Confidential (Curtis Hanson, 1997)
☑ Happy Together (Wong Kar Wai, 1997)
☑ Princess Mononoke (Hayao Miyazaki, 1997)
☐ Fast, Cheap, and Out of Control (Errol Morris, 1997)
☐ The Butcher Boy (Neil Jordan, 1997)
☑ The Ice Storm (Ang Lee, 1997)
☑ Boogie Nights (Paul Thomas Anderson, 1997)
☑ Kundun (Martin Scorsese, 1997)
☑ The Sweet Hereafter (Atom Egoyan, 1997)
☐ Funny Games (Michael Haneke, 1997)
☐ Ta'm-e Gīlās [Taste of Cherry] (Abbas Kiarostami, 1997)
☑ Abre Los Ojos [Open Your Eyes] (Alejandro Amenábar, 1997)
☐ Mat i Syn [Mother and Son] (Aleksandr Sokurov, 1997)
☑ Titanic (James Cameron, 1997)
☐ Tetsuo [The Iron Man] (Shinya Tsukamoto, 1998)
☐ Festen [The Celebration] (Thomas Vinterberg, 1998)
☑ Saving Private Ryan (Steven Spielberg, 1998)
☐ Buffalo 66 (Vincent Gallo, 1998)
☑ Lock, Stock and Two Smoking Barrels (Guy Ritchie, 1998)
☐ Lola Rennt [Run Lola Run] (Tom Tykwer, 1998)
☑ Rushmore (Wes Anderson, 1998)
☑ Pi (Darren Aronofsky, 1998)
☑ Happiness (Todd Solondz, 1998)
☑ The Thin Red Line (Terrence Malick, 1998)
☐ Idioterne [The Idiots] (Lars Von Trier, 1998)
☐ Sombre (Philippe Grandrieux, 1998)
☑ Ringu [Ring] (Hideo Nakata, 1998)
☑ There's Something About Mary (Bobby Farrelly and Peter Farrelly, 1998)
☑ Magnolia (Paul Thomas Anderson, 1999)
☐ Beau Travail (Claire Denis, 1999)
☑ The Blair Witch Project (Daniel Myrick and Eduardo Sánchez, 1999)
☐ Gohatto [Taboo] (Nagisa Ôshima, 1999)
☐ Rosetta (Jean-Pierre Dardenne and Luc Dardenne, 1999)
☑ Todo Sobre Mi Madre [All About My Mother] (Pedro Almodóvar, 1999)
☑ Three Kings (David O. Russell, 1999)
☐ Bād Mā Rā Khāhad Bord [The Wind Will Carry Us] (Abbas Kiarostami, 1999)
☑ Ōdishon [Audition] (Takashi Miike, 1999)
☐ Le Temps Retrouvé [Time Regained] (Raoul Ruiz, 1999)
☑ Fight Club (David Fincher, 1999)
☑ Being John Malkovich (Spike Jonze, 1999)
☑ American Beauty (Sam Mendes, 1999)
☐ Juyuso Seubgyuksageun [Attack the Gas Station!] (Sang-Jin Kim, 1999)
☑ Eyes Wide Shut (Stanley Kubrick, 1999)
☑ The Sixth Sense (M. Night Shyamalan, 1999)
☑ The Matrix (Andy Wachowski and Lana Wachowski, 1999)
☐ Nueve Reinas [Nine Queens] (Fabián Bielinsky, 2000)
☐ La Captive [The Captive] (Chantal Akerman, 2000)
☑ In the Mood for Love (Wong Kar Wai, 2000)
☐ Ali Zaoua, Prince de la Rue [Ali Zaoua, Prince of the Streets] (Nabil Ayouch, 2000)
☑ Gladiator (Ridley Scott, 2000)
☐ Kippur (Amos Gitai, 2000)
☑ Yi Yi [A One and a Two] (Edward Yang, 2000)
☑ Requiem for a Dream (Darren Aronofsky, 2000)
☑ Amores Perros (Alejandro González Iñárritu, 2000)
☑ Meet the Parents (Jay Roach, 2000)
☐ Signs and Wonders (Jonathan Nossiter, 2000)
☑ Crouching Tiger, Hidden Dragon (Ang Lee, 2000)
☑ Traffic (Steven Soderbergh, 2000)
☐ The Gleaners and I (Agnès Varda, 2000)
☑ Memento (Christopher Nolan, 2000)
☑ Dancer in the Dark (Lars Von Trier, 2000)
☑ O Brother, Where Art Thou? (Joel Coen, 2000)
☑ Amelie (Jean-Pierre Jeunet, 2001)
☑ Ni Neibian Jidian [What Time Is It There?] (Tsai Ming-liang, 2001)
☑ Y Tu Mamá También [And Your Mother, Too] (Alfonso Cuarón, 2001)
☐ Kandahar (Mohsen Makhmalbaf, 2001)
☑ Spirited Away (Hayao Miyazaki, 2001)
☑ La Pianiste [The Piano Teacher] (Michael Haneke, 2001)
☑ La Stanza del Figlio [The Son's Room] (Nanni Moretti, 2001)
☑ Ničija Zemlja [No Man's Land] (Danis Tanovic, 2001)
☑ Moulin Rouge (Baz Luhrmann, 2001)
☑ Monsoon Wedding (Mira Nair, 2001)
☑ Fat Girl (Catherine Breillat, 2001)
☑ Mulholland Dr. (David Lynch, 2001)
☑ The Royal Tenenbaums (Wes Anderson, 2001)
☑ The Lord of the Rings: The Fellowship of the Ring (Peter Jackson, 2001)
☑ A.I.: Artificial Intelligence (Steven Spielberg, 2001)
☑ Gangs of New York (Martin Scorsese, 2002)
☑ The Pianist (Roman Polanski, 2002)
☑ Hable Con Ella [Talk to Her] (Pedro Almodóvar, 2002)
☑ Cidade de Deus [City of God] (Fernando Meirelles and Kátia Lund, 2002)
☑ Russkij Kovcheg [Russian Ark] (Alexandr Sokurov, 2002)
☑ Chicago (Rob Marshall, 2002)
☑ Les Invasions Barbares [The Barbarian Invasions] (Denys Arcand, 2003)
☑ Kill Bill: Vol. 1 (Quentin Tarantino, 2003)

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[5] This is Where You Bite the Sandwich

Saturday, April 07, 2018

entry arrow11:00 PM | BFI's 30 Best LGBT Films of All Time

Last February 2018, the British Film Institute invited over a hundred programmers, critics, and filmmakers to vote for the 30 greatest LGBT films of all time. This is their list [plus some runners-up]. I don't agree with many of them (Theorem? seriously?), the list smacks of cinephile snobbery (Funeral Parade of Roses? really?), and it's missing out some of my favorite ones (The Wedding Banquet, for one). But it's a good list (Portrait of Jason? oh yeah!), and gives anyone a good start to begin their own hunt for queer titles. I've seen 23 out of 30, so here's to completing this one...

☑  Carol (Todd Haynes, 2015)
☑  Weekend (Andrew Haigh, 2011)
☑  Happy Together (Wong Kar-wai, 1997)
☑  Brokeback Mountain (Ang Lee, 2005)
☑  Paris Is Burning (Jennie Livingston, 1990)
☑  Tropical Malady (Apichatpong Weerasethakul, 2004)
☑  My Beautiful Laundrette (Stephen Frears, 1985)
☑  All About My Mother (Pedro Almodóvar, 1999)
☐  Un Chant d’Amour (Jean Genet, 1950)
☑  My Own Private Idaho (Gus Van Sant, 1991)
☑  Tangerine (Sean S. Baker, 2015)
☐  The Bitter Tears of Petra von Kant (Rainer Werner Fassbinder, 1972)
☑  Blue is the Warmest Colour (Abdellatif Kechiche, 2013)
☐  Mädchen in Uniform (Leontine Sagan, 1931)
☐  Show Me Love (Lukas Moodysson, 1998)
☑  Orlando (Sally Potter, 1992)
☐  Victim (Basil Dearden, 1961)
☐  Je, Tu, Il, Elle (Chantal Akerman, 1974)
☑  Looking for Langston (Isaac Julien, 1989)
☐  Beau Travail (Claire Denis, 1999)
☑  Beautiful Thing (Hettie MacDonald, 1996)
☑  Stranger By the Lake (Alain Guiraudie, 2013)
☑  Theorem (Pier Paolo Pasolini, 1968)
☐  The Watermelon Woman (Cheryl Dunye, 1996)
☐  Pariah (Dee Rees, 2011)
☑  Mulholland Dr. (David Lynch, 2001)
☑  Portrait of Jason (Shirley Clarke, 1967)
☑  Dog Day Afternoon (Sidney Lumet, 1975)
☑  Death in Venice (Luchino Visconti, 1971)
☑  Pink Narcissus (James Bidgood, 1971)
☑  Sunday Bloody Sunday (John Schlesinger, 1971)
☐  Tomboy (Céline Sciamma, 2011)
☑  Funeral Parade of Roses (Toshio Matsumoto, 1969)

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[0] This is Where You Bite the Sandwich

Friday, April 06, 2018

entry arrow5:01 PM | All the 2017 Movies I've Seen, Ranked

The Best Fifty

1. Call Me By Your Name (Luca Guadagnino, United States and Italy)

The key to understanding Call Me By Your Name as an adaptation of Andre Aciman's lyrical novel is the film’s famous last shot: a prolonged take of Elio's crying face that lasts for more than three minutes. (As a cut, that's an eternity in film...) Here is an example of where the book's poetry gets its cinematic treatment: in its pregnant silences, in its knowing gestures, in the perfectly placed score, in the expressiveness of the actors' faces. All the torment and longing in the book is in that last shot: Elio and his heartbreak as the camera's sole focus, in the only grammar film knows: faces. [Ingmar Bergman once famously said that cinema is all about human faces.] That the camera lingers on his face as the music swells doesn't only acquaint us to Elio's enduring torment though. It also reminds us that life does go on, because there is his mother and Mafalda behind him setting the table for dinner, and then finally calling Elio by his name, to remind him and us that what shatters us doesn't necessarily annihilate us. I have been shattered myself, to pieces, but I am still here.

2. Lady Bird (Greta Gerwig, United States)

Greta Gerwig's film is a thoroughly enjoyable directorial debut from a filmmaker who has already given us a fascinating character study in Frances Ha, and pushes that even deeper in this new story about a forceful girl, her coming of age, and her brittle battles tinged with affection with her equally forceful mother. This should be another run-of-the-mill story about disaffected teenagers, but it is precisely observed, marvelously acted, and wonderfully paced, it easily is one of the best films of the year.

3. Faces Places (Agnes Varda and JR, France)

Can a documentary be this quirky, idiosyncratic, and endearing? Varda's latest, which she has collaborated on with the photographer and visual artist who goes by the name of JR, is categorically a documentary, but it rises above that label by also being a contemporary take on French New Wave sensibilities [that beginning...] with all its the narrative inventions. It is also a heartfelt examination of art and the artist, and what can art can do for communities.

4. Phantom Thread (Paul Thomas Anderson, United States)

5. Wonder (Stephen Chbosky, United States)

Stephen Chbosky's adaptation of the popular YA novel by RJ Palacio is a wonderful surprise, a tearjerker that earns its tears, dwelling with nuance on sentiment. I love it. Jacob Tremblay's performance as Auggie, a boy with a craniofacial disfigurement, is rich and allows us to see once again that his masterful turn in Room was not a fluke. But he is surrounded by a supporting cast that holds its own, the actors giving so much depth to characters that could have been cardboard forgettables if not done right. Julia Roberts slays as the mother, but Noah Jupe as Auggie's best friend almost steals the movie with such an open-faced and organically endearing performance. Roger Ebert once said that he is moved most by movies where characters are kind to each other. This is the embodiment of that, to use Auggie's teacher's word, "precept." There are no villains in this movie, only ordinary people trying to deal with challenges, trying to do their best, and trying to show what humanity they can in their everyday lives. Everyone should see this film. And bring boxes of Kleenex.

6. The Meyerowitz Stories: New and Selected (Noah Baumbach, United States)

7. The Breadwinner (Nora Twomey, Ireland, Canada, and Luxembourg)

8. Molly’s Game (Aaron Sorkin, United States)

9. Brad’s Status (Mike White, United States)

I love the cinema of anxiety of Ben Stiller. In films such as While We're Young, The Meyerowitz Stories, Greenberg, and The Secret Life of Walter Mitty, he's consistently good at portraying generational angst and embodying the subterfuges of doubts. He takes that persona up several notches in Mike White's Brad's Status, which is also very much the cousin of Ingrid Goes West in portraying the ugly psychology of social media envy. Stiller is Brad Sloan, a 40-something nonprofit consultant who, in accompanying his son on a tour of colleges in Boston, suddenly gets gripped by the feeling that he has become a failure -- especially in comparison to three college buddies who have since scaled the heights of fame, wealth, accomplishments, and influence. This could have been a film that plows through privileged, self-pitying drivel but White is deeper than that, and wiser to expectations. In the middle of the film, as Brad self-pityingly pontificates about the necessity of selling-out to an idealistic Millennial, he gets no pity; he gets told instead: "Trust me, you have enough." Which is the point of the movie really, and it is a lesson arrived at very beautifully and poignantly, and makes this film one of the surprising best of the year.

10. The Shape of Water (Guillermo del Toro, United States)

Guillermo del Toro's film is basically Splash meets E.T. meets 4 1/2 Weeks. It is charming, I like it, the performances in it are surefooted, and it has enough Del Toro sadism to make it more interesting and pushes it beyond the fairy tale that it is, but I just hope it won't be forgettable in the years to come.

11. In This Corner of the World (Sunao Katabuchi, Japan)

Sunao Katabuchi's film is an anime that reminds me of the power of Grave of the Fireflies, one of the most searing anti-war films there is. Like that film, it underlines the horrors of war with its intimate depiction of ordinary lives impacted by it. In this case we follow a girl from Hiroshima who then marries off to Kure, and we see her dealing with family, with love, with expectations, with marriage, and finally with war. The way it hopscotches through time, basically from the early 1930s to the mid-1940s, makes this an epic of the intimate sort, but we stay with it because Suru is such an interesting character, full of texture and surprises and dreams and doubts and kindness and resourcefulness and bursts of anger. That she provides commentary to her life with her uncanny talent to draw and paint adds another dimension to the film: art as a lens to make sense of outer chaos and inner turmoil. But what happens when even that is taken away from you?

12. Ang Larawan (Loy Arcenas, Philippines)

13. Marjorie Prime (Michael Almereyda, United States)

How to describe the immense pleasure of Michael Almereyda's film? It is a strange trip through words and mindsets, a chamber drama that stirs so much philosophical ferment. What is memory? Who are we? How must we be remembered? What is human? This should be unfilmmable material but Almereyda gets just how to frame Jordan Harrison's play to make it alive, immediate, intriguing. In the near future where AI has progressed definitely, an ailing woman in her 80s, played with saucy perfection by Lois Smith, chooses to have an interactive hologram of her husband in his prime as company, talking to it, making it more human by supplying it with memories she is having an increasingly difficult time grasping herself. That is only the premise. The film dives deeper, regaling us with conversations that probe philosophical depths, and gives us an experience I last had watching My Dinner With Andre and Before Sunset.

14. Newton (Amit V. Masurkar, India)

A dramedy about a naive but idealistic bureaucrat sent to the wilds of Central India to oversee the general election in a rebel-infested region -- is a wry take on the limits, both comic and tragic, of democratic ideals. I didn't know whether to laugh or cry. Sometimes the best way to make clear what ails society is to laugh at its problems.

15. Princess Cyd (Stephen Cone, United States)

The films of Stephen Cone are always so finely observed, so deeply human, so respectful of the differences that define us, and Princess Cyd is no different. Here he takes a slight detour from his usual subject matter -- the minutiae of the lives of suburban Christians -- but stays within his other big theme -- the sexual awakening of gay adolescence. Cyd is a teenage girl who comes to visit her aunt, a best-selling novelist, and their interaction becomes a rich dramatic showcase of the relationships between women, between generations, between the artist and her audience, and between the artist and the inspiration that fuels her craft. I could call this the sapphic version of Call Me By Your Name; both are triumphs of the cinematic examination of humanity, art, and desire.

16. mother! (Darren Aronofsky, United States)

Years ago, when I was a little kid, the children of the neighborhood would troop over to my house, knock on the door, and ask my mother if I could come out to play. She'd go to my bedroom where I'd be curled up with a good book, and she'd say, "Your friends are here." My heart would sink, and I'd dig deeper within the intimate comforts of my bed and tell her: "Tell them I'm not home." This is to say Darren Aronofsky's mind-fuck of a movie was made for me, and for all the agoraphobic, introverted people out there. It's an in-your-face, what-the-hell-is-going-on film that will be remembered in the years to come, the way the divisive enigmas of Repulsion, Last Year in Marienbad, and L'Avventura have been remembered. It's message: hell is other people. Don't watch it: it's probably not for you.

17. Ex Libris – The New York Public Library (Frederick Wiseman, United States)

The documentaries of Frederick Wiseman are films you develop a taste for. They are not for everyone. Their fly-on-the-while approach, constantly observing, endlessly unspooling without any hint of design or editorializing, can be taxing for those who are not familiar with his work. But for those who are, they are brilliant pieces of the documentary tradition, endlessly fascinating and intrinsically human. In his latest, he turns his cameras on the New York Public Library, observing its daily minutiae -- going through the stacks, going through the lecture rooms, going through the meeting rooms -- to finally tell us an immersive story of a cultural institution that is fascinating for how it lives out its existence, and how its very existence is a testament to American intellectual history.

18. BPM [Beats Per Minute] (Robin Campillo, France)

19. Loveless (Andrey Zvyagintsev, Russia)

Andrey Zvyagintsev's film is bleak and unforgiving, a contemporary Russian answer to L'Avventura minus its glamorous depiction of ennui and detachment. Like that Antonioni film, the drama springs from a mysterious disappearance and the subsequent search, but Zvyagintsev strips it all down to a savage, if cold, realism, giving us a parade of truly despicable monsters for main characters. But it is a riveting watch.

20. Lipstick Under My Burkha (Alankrita Shrivastava, India)

21. Thelma (Joaquin Trier, Norway)

Joachim Trier never disappoints, and in his latest, he dips into the supernatural and explores the webs of psychology, religious fundamentalism, and sexuality. Thelma has powers she is not aware of, and when she comes to the city to study in university, she unleashes it when she meets a girl she finds herself growing attracted to, disturbing her ultra-religious upbringing. Gorgeous cinematography, indelible performances.

22. Bad Genius (Nattawut Poonpiriya, Thailand)

23. Patay na si Hesus (Victor Villanueva, Philippines)

This road film, about a family taking a fraught-filled van journey from Cebu to Dumaguete to attend the funeral of the estranged father, is uproariously funny, but its drama also cuts deep. It will affirm your love for Filipino film, and it will make you believe Bisaya filmmaking has become a formidable force. The audience I saw it with tonight hooted and laughed -- and by God, there's nothing like the nuances of Cebuano to really relish every line-reading. You will thank the cinema gods you caught this gem of a film.

24. Joan Didion: The Center Will Not Hold (Griffin Dunne, United States)

Griffin Dunne's fascinating new documentary on the writer Joan Didion begins with her voice-over, reading from the preface of Slouching Towards Bethlehem (1968): "I went to San Francisco because I had not been able to work in some months, had been paralyzed by the conviction that writing was an irrelevant act, that the world as I had understood it no longer existed. If I was to work again at all, it would be necessary for me to come to terms with disorder." I felt this kind of paralysis early this year -- but I think most writers do. I'm glad for this film; it is a fascinating portrait of an important literary voice. Who has read "Goodbye to All That" and not been astounded by that sheer command of language?

25. Kedi (Ceyda Torun, Turkey)

26. Jane (Brett Morgen, United States)

27. Motherland (Ramona Diaz, Philippines and United States)

28. Beach Rats (Eliza Hittman, United States)

Eliza Hittman's film is gritty and sumptuous all at once. It's an indelible and honest portrait of an aimless teenager who finds the pressures of family tragedies and friendly delinquencies too much to bear, and so soon turns to anonymous sex with older men to fill a gaping void he can't even begin to define. This is not a film about being in the closet. It's a film about the death of affect, and it's tragedy that has its dark consequences.

29. Birdshot (Mikhail Red, Philippines)

30. God's Own Country (Francis Lee, United Kingdom)

31. Frantz (François Ozon, France)

32. The Florida Project (Sean Baker, United States)

I remember Roger Ebert once writing that one of the rare pleasures of the cinema is the camera just observing ordinary people doing what they are doing. Sean Baker's film is a film about two things: (1) meticulous world-building, and in this case the colorful maze of cheap motels surrounding Disney World in Orlando, Florida, and the close-knit community of low-wage earners who rent out rooms by the week; and (2) the long unfurling of days for a bunch of spirited children going about play both innocent and naughty. (Sometimes they play in the adjacent playground; sometimes they unwittingly burn abandoned buildings to the ground.) There is immense pleasure in us watching all these, and part of the charm is the film reminding us of our own carefree wanderings as children. But the story cannot be all aimless, and so it is grounded in the travails of a single and irresponsible mother, her sunshine of a daughter, and their testy but subtly affectionate relationship with the motel's gruff but kind-hearted manager, played winningly by Willem Dafoe. Their indelibly etched characters propel the final act's turn towards tragedy, which is only implied, but since we have seen these people in their most intimate circumstances, we feel for them.

33. In the Fade (Fatih Akin, Germany)

Fatih Akin is known for films following the travails of immigrants in his home country of Germany, understandable given his Turkish roots. In In the Fade, he tackles the repercussions of a brutal hate crime, and explores the theme via a young German mother [played with searing heartfeltness by Diana Kruger] losing both Kurdish husband and son to a neo-Nazi instigated bombing, and feeling everything else collapse around her when even justice is denied her. This film is a film about grief and loss, and the despair that descends when nothing else makes sense in the world.

34. Dunkirk (Christopher Nolan, United States)

35. Last Men in Aleppo (Firas Fayyad, Syria)

36. Mudbound (Dee Rees, United States)

37. 4 Days in France (Jérôme Reybaud, France)

What to make of Jérôme Reybaud's Jours de France? I can't quite define this film. It is this and that, but not quite, and ends up surprising us with such rare pleasure only to be found in poetry. And yet here's the premise: a young French man leaves his older lover, and Paris, to wander aimlessly the French countryside in an Alfa Romeo, guided only by Grindr, hookups via public toilet graffiti, and random encounters with people, a lot of them older women who embody not just quirky characters but also a philosophical type. They have sex or earnest conversations, always ended in an abrupt way, and then the movie becomes a chase of sorts. What to make of it? The only way to experience this film is to surrender to it and its fine idiosyncrasies, and by the end you get poetry so profound it is astonishing.

38. The Killing of a Sacred Deer (Yorgos Lanthimos, United States and Greece)

I love the films of Yorgos Lanthimos without exception. They are strange, inhabiting a world of such unique perspective, mostly of the comic sort that is a delicious mix of alienating, illusory, and gruesome. The Killing of a Sacred Deer is a worthy addition to his strange films, using the depths of Greek tragedy to explore a film about revenge and justice. A surgeon befriends a boy after accidentally killing his father on the operating table. The friendship becomes deep but also creepy and when the doctor finally tries to let go, the boy sets a curse on the doctor's family that will leave them paralyzed and sick until he chooses to kill one of them. "It's the only thing I can think of that's close to justice," the boy tells the bewildered wife, in a deadpan delivery that's both perfect and innocent and chilling.

39. The Post (Steven Spielberg, United States)

In the wake of SEC's revocation of Rappler's registration, I couldn't help but feel chills while watching Steven Spielberg's film. Could a film be more relevant now to our times? It is about the Washington Post's battle with the Nixon White House to print stories about the Pentagon Papers, which chronicled classified government lies about the Vietnam War. We need good journalism now more than ever, especially in the face of an undemocratic clampdown. To paraphrase a bit the film's thesis at the end, "The free press [must have protection] to fulfil its essential role in our democracy. The press must serve the governed, not the governors." Meryl Streep's Katherine Graham gives a rejoinder: "You know what my husband said about the news? He called it the first rough draft of history. We don't always get it right, we're not always perfect, but I think if we just keep on it -- that's the job."

40. The Farthest (Emer Reynolds, United States)

41. Get Me Roger Stone (Morgan Pehme, Dylan Bank, and Daniel DiMauro, United States)

42. Darkest Hour (Joe Wright, United Kingdom)

43. A Fantastic Woman [Una Mujer Fantástica] (Sebastián Lelio, Chile)

44. Detroit (Kathryn Bigelow, United States)

Kathryn Bigelow's film is a gimlet-eyed dramatization of racial brutalization, the Algiers Motel killings by cops of black young men at the height of the Detroit Riots in 1967. It was too tense for me, I couldn't bear watching it. But I did anyway, and I'm still reeling from the fact that fifty years hence nothing much has changed.

45. A Quiet Passion (Terence Davies, United States)

46. The Square (Ruben Östlund, Sweden)

47. The Wedding Plan (Rama Burshtein, Israel)

48. Strong Island (Yance Ford, United States)

49. Logan Lucky (Steven Soderbergh, United States)

50. Thor: Ragnarok (Taika Waititi, United States)

As a huge fan of Taika Waititi's What We Do in the Shadows (2014), I'm glad that he managed to carry over his unique sense of funny in Thor: Ragnarok (2017), and still able to come up with strong Marvel product. Was giggling all throughout the film. [My favorite bit is Matt Damon and Sam Neill in cameos as Asgardian thespians, with a giggling Anthony Hopkins clearly having fun.]

51. Blade Runner 2049 (Denis Villeneuve, United States)

I love the film -- and it does require immersion and multiple viewings to be completely appreciated. Brian Raferty opines: "The new Blade Runner is an immersive experience, the kind that requires you to put down your phone and get lost in a big, bewildering world for hours on end. That doesn't seem like a huge sacrifice in the binge-era, when people are capable of shotgunning an entire season of a TV show in a weekend, and certainly, smashes like Titanic and Avatar were just as lengthy. But those movies promised the spectacle of romance, and vice versa. Blade Runner 2049 offers something a little stranger and chillier, and in a year already ruled by fear, maybe that's too much to ask of audiences. That said, I hope more people catch up with 2049 before 2017 is over. We don't get big-studio movies this smart and audacious too often, and we should enjoy them now, lest they be relegated to the off-worlds forever." Yes to cinematic audacity! Same reason why I loved mother! -- for the sheer filmmaking chutzpah you don't often see today in a world of cookie cutter superhero movies.

The Best of the Rest

52. Logan (James Mangold, United States)

53. Hostiles (Scott Cooper, United States)

54. Garden Party (Florian Babikian, Théophile Dufresne, Victor Caire, Gabriel Grapperon, Vincent Bayoux, and Lucas Navarro, France)

55. Ingrid Goes West (Matt Spicer, United States)

56. Respeto (Treb Monteras II, Philippines)

57. Citizen Jane: Battle for the City (Matt Tyrnauer, United Kingdom)

58. A Ghost Story (David Lowery, United States)

59. Get Out (Jordan Peele, United States)

60. The Lost City of Z (James Gray, United States)

61. A Taxi Driver (Jang Hoon, South Korea)

62. The Greatest Showman (Michael Gracey, United States)

63. Paris 05:59: Théo and Hugo (Olivier Ducastel and Jacques Martineau, France)

64. Revolting Rhymes (Jakob Schuh and Jan Lachauer, United Kingdom)

65. All the Money in the World (Ridley Scott, United States)

66. The Disaster Artist (James Franco, United States)

67. The Lovers (Azazel Jacobs, United States)

Azazel Jacobs' small film is droll and delightful. And I love its use of a grand orchestral score to underline the dramatic turns in the lives of the characters we follow. A middle-aged couple, on the brink of a breakup and involved in passionate affairs with other people, find a spark in their relationship, throwing everything in their lives into merry tumult. It's domestic fun, jaded and hopeful at the same time.

68. On Body and Soul (Ildiko Enyedi, Hungary)

69. Lady Macbeth (William Oldroyd, United States)

70. Smaller and Smaller Circles (Raya Martin, Philippines)

71. 2 Cool 2 Be 4gotten (Petersen Vargas, Philippines)

72. Tom of Finland (Dome Karukoski, Finland)

I love the formal contradictions in Dome Karukosi's biopic of the artist and gay cultural icon: there is sexual restraint in the depictions of the life, and sexual abandon in the depiction of the art. For some reason, it works, and what we have is a breathing, organic story about a man trapped in the institutional homophobia of his time but seeking unshackling in his erotic art. My life, in other words.

73. Crooked House (Gilles Paquet-Brenner, United Kingdom)

74. The Beguiled (Sofia Coppola, United States)

75. The Big Sick (Michael Showalter, United States)

76. Battle of the Sexes (Jonathan Dayton and Valerie Faris, United States)

The events of Jonathan Dayton and Valerie Faris' meticulous dramatization of the Billie Jean King vs. Bobby Riggs tennis match for the ages, may have happened in 1973, but it is very much a statement of the current times: how women have to battle clowns to prove their worth is not just a gender in sports story, it is also a story of contemporary politics. Billie won, Hillary lost -- because apparently people prefer clowns for president. The film is tight and enjoyable, and it wears its politics on its sleeve. Good for the film.

77. Dream Boat (Tristan Ferland Milewski, Germany)

78. Já, Olga Hepnarová (Tomáš Weinreb and Petr Kazda, Czech Republic)

79. Ferdinand (Carlos Saldanha, United States)

80. Last Flag Flying (Richard Linklater, United States)

Richard Linklater's film is a surprise. I was prepared to ignore it; I wasn't interested in watching a film about three Vietnam veterans thrown together in an unexpected reunion to accompany the dead body of the son of one of them, who was recently killed under mysterious circumstances in Iraq. But I forget this was a Linklater film, and he has always made films of deeply human rhythms, and this film is characteristic of that. It is in turns funny and sad, and in equal measure. The scene inside the train with all three of them, plus a marine assigned to accompany them, is a beautiful and very funny sequence, showcasing the tight chemistry of Steve Carrell, Bryan Cranston, and Laurence Fishburne. Linklater has made better, greater films; this is a satisfying good one.

81. First They Killed My Father (Angelina Jolie, Cambodia and United States)

Angelina Jolie's film is remarkable for a Hollywood treatment of the Cambodian genocide. Unlike 1984's The Killing Fields, it is not framed as a white man's story. It is a searing tale and doesn't flinch from the gruesomeness and dread of its subject matter, and may be Jolie's best film.

82. Star Wars Episode VII: The Last Jedi (Rian Johnson, United States)

83. It (Andrés Muschietti, United States)

84. Columbus (Kogonada, United States)

85. Dawson City: Frozen Time (Bill Morrison, United States)

I love Bill Morrison's love letter to old movies. It looks like a well-made PowerPoint presentation, but it feels like an immersive time machine. The film, about the 1978 discovery of long-lost silent films in an abandoned swimming pool in an old gold rush town in the Klondike, glories in the preserved rushes of lost cinema but also uses them to tell the story of hardy men and a plucky town and their rise and fall in Arctic wilderness.

86. Wonder Woman (Patty Jenkins, United States)

87. Professor Marston and the Wonder Women (Angela Robinson, United States)

88. Film Stars Don't Die in Liverpool (Paul McGuigan, United States and United Kingdom)

89. Nocturama (Bertrand Bonello, France)

Bertrand Bonello's film is both bland and compelling. In its relentless and high-strung tracking shots of a bunch of disaffected young people in Paris planning to blow up key points of the city in the name of anarchy, it becomes an exercise of dread and strange negotiations for empathy. By the time the gang gathers together in a mall to watch the media coverage and to avoid police surveillance, it becomes too loose to be believable, so much so that the tragic end comes only as a relief from a story that was going nowhere. I watched the film three times in a row.

90. Roman Israel, Esq. (Dan Gilroy, United States)

91. Coco (Lee Unkrich and Adrian Molina, United States)

92. The Star (Timothy Reckart, United States)

93. Home Again (Hallie Meyers-Shyer, United States)

It got critical drubbing, but that's to be expected: Hallie Shyer-Meyer's directorial debut is (egad) a female domestic fantasy picture, a nasty nasty thing for male critics. I liked Home Again, it's light and silly like a minor James L. Brooks film with the sensibility of a Nancy Meyers film. (Meyers happen to be the director's mother.) It showcases Reese Witherspoon going back to the romantic comedy mode that made her a star, but surrounds her with three young men who fulfill every white girl's fantasy: one for sex, one for IT needs, one for babysitting (hahaha). But it's an enjoyable romp, and should be taken as that.

94. Personal Shopper (Olivier Assayas, France)

95. War for the Planet of the Apes (Matt Reeves, United States)

96. Baby Driver (Edgar Wright, United States)

97. Alien: Covenant (Ridley Scott, United States)

98. Okja (Bong Joon-ho, South Korea and United States)

99. The Other Side of Hope (Aki Kaurismaki, Finland)

It shouldn't work, the across-the-board awkwardness of Aki Kaurismaki's film -- the script, the acting, the pacing. Yet it does, all the awkward elements making up a genial, thoroughly enjoyable whole. Can comedy be made out of the Syrian refugee crisis? Apparently it's possible. A Syrian asylum seeker seeking a lost sister defies Finnish authority and finds an unlikely ally in a man who, upon the breakup of a marriage and sheer luck in gambling, finds himself owning a restaurant staffed by misfits. That description alone makes it sound like two movies, but Kaurismaki finds a way to reconcile both parts, and even give them both depth and high stakes.

100. Beauty and the Beast (Bill Condon, United States)

101. The Sense of an Ending (Ritesh Batra, United Kingdom)

102. Wonderstruck (Todd Haynes, United States)

Todd Haynes' film is a curious thing. It's not Haynes' best film, it's not closer to any one of his best films, but I like it. It's tender and surprising and has a funny way of bending time to tell a story of two deaf teens making their way into the big city in search of answers and personal revelations.

103. The Final Year (Greg Barker, United States)

The last 20 minutes of Greg Barker's The Final Year is the very soul of the documentary, which is part a story of world diplomacy at work and part a story of abject horror where the Unexpected monstrously comes true. The film has been, from the start, a chronicle of President Barack Obama's final year in office, and it follows various staffers and diplomats in his team as they try to put the last efforts at diplomacy and policy to ensure his legacy, and to ensure that America and the world is benefitted a template for further progress. Near the end of the film, all the characters we've followed so far are settling down for Election Night, all celebratory but also complacent in their self-assurances that they've done a good job so far -- only to see, as the deluge of news coverage comes in, all of their hard work slowly and surely coming apart: the expected winner, Hillary Clinton, loses the presidency to Donald Trump. There is a scene within those last 20 minutes where a top staffer tries to find the exact words to define his horror, and couldn't. He stammers and stammers, and his eyes betray his disappointment: all that hard work was for nothing. What lesson can we glean from The Final Year? That good work is not good enough, perhaps? That we cannot be complacent in the presence of enemies who will do almost anything to unravel all your good intentions, perhaps? This was a painful watch, if only because we're seeing all these with the benefit of hindsight. What brilliant people they are, and how naive.

They're Fine

104. Atomic Blonde (David Leitch, United States)

105. Stronger (David Gordon Green, United States)

I hate it when people say a film feels like an after-school special because that basically means we have eschewed intimate stories in cinema in favor of spectacle and bombast. Hence, too many superhero and Transformers movies. David Gordon Green's film, which follows the life of one survivor of the Boston Marathon bombing, comes close to such ghetto-izing but the story deserves big screen treatment, and it is saved for the most part by Jake Gyllenhaal's focused performance -- but my God, that eye-rolling first half. Still, it manages to lay bare its conceit: being declared heroic is not necessarily inspirational for the heroes themselves. It's all image, image can be toxic, but image is also necessary. Green manages to hurdle these complications, but I still wouldn't want Miranda Richardson for a mother.

106. Beatriz at Dinner (Miguel Arteta, United States)

107. Seven Sundays (Cathy Garcia-Molina, Philippines)

From Star Cinema's Cathy Garcia-Molina, perhaps because she knows what makes a Filipino moviegoer tick, my take on this film was more visceral, immediate, and emotional. By God, I tried hard to remain above it all, to disregard the conventional manipulations of this Star Cinema confection -- but I was truly a mess when the film was through with me. And I don't think I was alone in that regard: the theater I was in was filled with people suddenly made quiet with contemplation for their own familial misdeeds. (It's Ozu's Tokyo Story with more hope.) For who among us there in the darkened theater could not identify in ways with the travails of the Bonifacio family onscreen? Who among us do not delude ourselves constantly into thinking we're too busy to see an aging parent at least for the weekend? Who among us do not harbor resentments for being ignored, for being belittled, for being "used" by kin? I finished Seven Sundays emotionally adrift, but in a good way, sending me off on a contemplative mood that made me ask what else I can do to make up for all the "pagkukulang" I have for the family.

108. Félicité (Alain Gomis, Senegal)

109. Lovesong (Kim So Yong, United States)

110. The Ornithologist (João Pedro Rodrigues, Portugal)

111. Ten Meter Tower (Maximilien Van Aertryck and Axel Danielson, Sweden)

112. Arthur Miller: Writer (Rebecca Miller, United States)

113. Novitiate (Margaret Betts, United States)

114. Final Portrait (Stanley Tucci, United States)

115. Marshall (Reginald Hudlin, United States)

Reginald Hudlin's film is not about the legal genius of the titular character that we want but it is good enough. It's not strictly a biopic; it is a dramatization of a case he fought in the American South, where -- through a surrogate played by Josh Gad -- he defended a black man accused of raping and attempting to murder a white woman. Chadwick Boseman doesn't really display gravity as Thurgood Marshall, merely going through connect-the-dots paces plus some heavy-handed speech making, but he's not bad. The film is not bad, too; it's just forgettable.

116. The Lure (Agnieszka Smoczyńska, Poland)

What to make of Agnieszka Smoczynska's film? It has man-eating mermaids, Polish rock bands, and nightclubs. It is a horror musical that is also a love story, loosely based on the fairy tale of The Little Mermaid. It screams cult film, and perhaps one day it will become. I liked it, I found its deliriousness fascinating, but it feels a little too on the nose with its ladling of strangeness. There's nothing organic about its weirdness.

117. Victoria and Abdul (Stephen Frears, United Kingdom)

Stephen Frears' film, a chronicle of the controversial friendship between Queen Victoria and her Indian servant [later her mushi], is good entertainment that suffers from an inconsistency of tone -- first it is comic, and then it is melodramatic -- but I can see its future as supplement or fodder for classes on race, colonialism, and privilege. It made me laugh, it made me commiserate, but it is not memorable filmmaking.

118. The Party (Sally Potter, United Kingdom)

Sally Potter's film is a delightful skewering of liberal bourgeoisie mores dressed up as a dinner party among friends quickly gone to hell. These are my people.

119. It Comes at Night (Trey Edward Shults, United States)

120. The Autopsy of Jane Doe (André Øvredal, United States)

121. Dina (Antonio Santini and Dan Sickles, United States)

122. Icarus (Bryan Fogel, United States)

123. My Friend Dahmer (Marc Meyers, United States)

124. Breathe (Andy Serkis, United States)

There are three ways to make films about people with disability with a gung-ho spirit: be gritty like My Left Foot, be sentimental like Andy Serkis' Breathe, or be a bit of both like The Theory of Everything. The first and the last make critics fall all over themselves in admiration. The middle doesn't stand a chance: its sentimentality give it a target on its back, and will be dismissed as maudlin. I harbor strong suspicion over critics who always insist on irony, on grit, as if that's the only way to tell a story. I like sentimentality, especially if it's well-made. And Serkis' film about a British adventure who gets polio in the old days when the disease was an absolute death sentence, and who gets a new lease on life because of a plucky wife, hits all the sentimental highlights, but it is well-made, it's not saccharine, and its heart is in the right place.

125. Good Time (Ben and Josh Safdie, United States)

I'm getting really tired of these spawns of Quentin Tarantino by way of Guy Ritchie: quirky, stylized actioners with bad-ass but interesting macho anti-heroes. I hate most how critics, mostly male and white, salivate over them while usually being condescending to musicals and women's films. So I'll be condescending to Josh and Ben Safdie's film: I like Robert Pattinson in Twilight better. At least he's not trying too hard there. (He's not trying hard at all.)

126. Guardians of the Galaxy Vol. 2 (James Gunn, United States)

127. Abacus: Small Enough to Jail (Steve James, United States)

128. Graduation (Cristian Mungiu, Romania)

Cristian Mungiu's film tries hard to be the Romanian answer to the corkscrew tense dramas of Asghar Farhadi, with their moral subterfuges, screeching secrets, and domestic battlefields, and it works -- but not with the scintillating gravity of those Iranian films. Here, a doctor goes through hoops to ensure that his daughter gets a good score for an exam in order to get a Cambridge scholarship, and finds himself entangled in small-time corruption. It unfolds with requisite certainty, but I don't find myself getting draw in by the film.

129. The Lego Batman Movie (Chris McKay, United States)

130. Loving Vincent (Dorota Kobiela and Hugh Welchman, United Kingdom and Poland)

I was prepared to dislike Dorota Kobiela and Hugh Welchman's animated film -- made up entirely of oil paintings -- about the last days in the sad but artistically productive life of Vincent Van Gogh. It sounded too much like a gimmick, and I wasn't impressed with its animation, which looked like filtered rotoscoping. And true enough, the animation wasn't what drew me in; it was its unusual choice of narrative that did. It eschews biography and went instead for a detective story, as we follow a mailman named Armand Roulin (played winningly even in animation by Douglas Booth) as he finds himself tracing what happened in the days that led to the painter's death. Was it suicide? Or murder? And whatever the case was, what brought it on? Surprisingly the film makes us interested in finding out the answers, and that is its redeeming grace.

131. Kong: Skull Island (Jordan Vogt-Roberts, United States)

132. The Boss Baby (Tom McGrath, United States)

133. Rebel in the Rye (Danny Strong, United States)

134. Unexpectedly Yours (Cathy Garcia-Molina, Philippines)

Cathy Garcia-Molina, the doyenne of directing in Star Cinema's stable of talents, knows what makes us tick and what makes us giggle and scream as Filipino moviegoers, so much so that what she does in her films almost feel like templates now, all cinematic storytelling that has the beat of a worksman's efforts. No pretense to art here, just a well-produced commercial product that will sate an audience who has no intention to watch art either, demanding only to see beloved actors doing their thing, nostalgia part of the package. Sharon Cuneta is being Sharon Cuneta, the megastar. Robin Padilla is being Robin Padilla, the bad boy of Philippine cinema with the roguish heart of gold. This wasn't my cup of tea, but nonetheless I laughed and sniffed along with the rest of the crowd who saw it in the theatre with me, and I knew this was the kind of film mainstream moviegoers actually love, and that I have no right to feel above it all. Still I admire it for daring to put into the spotlight menopausal romance, sidelining the secondary romantic pairing of the story that catered to a younger crowd. Our older movie stars can teach these starlings a thing or two about star power, and endurance.

135. Permission (Brian Crano, United States)

136. 100 Tula Para Kay Stella (Jason Paul Laxamana, Philippines)

Of course it easily reminds one of (500) Days of Summer, from which it borrows many conceits -- although to detail them now could entail spoilage, so never mind that. But whereas Marc Webb's film was a romantic fantasy that limned lightness, Jason Paul Laxamana takes his film down surprising darker paths, finally subverting in crucial ways the romantic comedy mold it purports to embody. It's not a perfect film but I like it very much: every aesthetic choice Laxamana makes here seems inspired, from the spot-on casting [JC Santos and Bella Padilla bring charm and groundedness to their roles as stuttering poet and lost soul rocker] to happily imploding the cinematic myth of the manic pixie dream girl, from precise cinematographic and editing choices to giving a dexterous story that encompasses years and yet never losing the narrative line in the complicated unfolding. The poems are a little too Lang Leav for me, but that's a minor thing. We've seen Jason do wonders before in Babagwa and Mercury is Mine, but it is in this film where he comes to his full powers as director.

The Disappointments

137. American Made (Doug Liman, United States)

Doug Liman's film is not bad but it feels like one of those recent Tom Cruise starrers where you get to ask questions like, "Isn't he too old for these kinds of shit?" Also feels like Liman dipping into the trend of narco drama coupled with feisty period coloring, like Narcos meets American Hustle. Feels too much of a derivative to be truly interesting.

138. Secret Superstar (Advait Chandan, India)

This worldwide hit -- about a girl who dreams of singing superstardom but who has to contend with an abusive father -- has the subtlety of a train wreck. It could have sold its outlandish promises though if the lead had a small amount of appeal to her, but Zaira Wasim is charmless and the overwrought screenplay does not help either.

139. Downsizing (Alexander Payne, United States)

It always fascinates me that filmmakers (Steven Spielberg, Ang Lee, Ridley Scott, etc.) often turn to Matt Damon to try out their most outlandish stories that are a bit off their usual narratives -- and either succeed spectacularly [The Martian] or fail miserably [We Bought a Farm]. Alexander Payne turns to Damon to try out an idea in Downsizing: what if it becomes possible to shrink people in size in the name of the environment? It's fascinating stuff, and the build-up of the world of the story does not disappoint, but it soon loses its focus and you're not quite sure what point Payne is ultimately trying to get at: is it a moral fable about the refugee crisis, a diatribe against social inequality, a call for environmental awareness? what is Christopher Waltz doing here? what's the point of the last act? why waste Kristen Wiig? why isn't there a real film starring Neil Patrick Harris and Laura Dern as husband and wife?

140. Murder on the Orient Express (Kenneth Branagh, United States)

I get that it would be quite a challenge to adapt Agatha Christie's Murder on the Orient Express for contemporary audiences: the novel is iconic and its bizarre solution is quite well-known, and the 1974 Sidney Lumet film, while not perfect, is beloved and some would say cannot be topped for the sheer star power it unleashed by casting some of the greatest actors at that time. Kenneth Branagh tries anyway, and while his attack on the story is unique -- the 2017 film becomes the moral education of Branagh's Hercule Poirot -- and also while its cinematography is gorgeous, the new film feels rushed, feels like too much of its own thing, and feels like it needed a different director to get it right. Lumet set the stage for the moral decisions of the story's main characters by beginning the 1974 film with a tense shadowy prologue that recounts a grisly child murder, and that tone informs our understanding of the conundrum at the heart of the murder in Christie's tale. Branagh dispenses with that, opting to go for brief (if half-hearted) flashbacks scattered all over the film, and choosing instead to open it with a detecting yarn that would showcase the moral sense of order of Poirot, which informs the conceit and the finale of the movie. I'm fine with that, but the angle does not present an interesting build-up for the story, so no matter how much the rest of this great cast try to engage us into the minutiae of their lives and their lies, they couldn't get us to care.

141. Happy End (Michael Haneke, France)

142. Our Time Will Come (Ann Hui, Hong Kong)

143. The Glass Castle (Destin Daniel Cretton, United States)

144. I, Tonya (Craig Gillespie, United States)

Do you have a friend who wrongly believes himself to be a good comedian, who makes bad jokes that don't land, and who giggles after the punchline thinking he has given the best joke in the world? Craig Gillespie's fourth-wall busting comedy about the skating life and tribulations of figure skater Tonya Harding starring Margot Robbie is that kind of friend. It thinks it's so smart in its deployment of stylistic devices, and you can feel the film cracking itself up -- but it is unfunny, and is a guaranteed trip through the worst excesses of humanity with some of the most despicable characters on earth.

145. Wonder Wheel (Woody Allen, United States)

In a recent PBS documentary about the life and work of Woody Allen, we learn that the director has a peculiar way of writing a screenplay: he has what is literally a bucket where he puts in scraps of papers with random story ideas on them, accumulating over the years, and when he needs to write a new film, he dips into it and develops whatever it is he takes out of the bucket. I think he needs to get rid of that bucket, or retire. Because he has been rehashing ideas of late, to lesser returns, and in Wonder Wheel his dialogue, usually witty and cerebral, has become a repository of cliches and sounds tired, and no amount of star power -- Kate Winslet in this case -- can redeem it. Do we need another Woody Allen bimbo with a guileless heart? Do we need another run-in with the mob? What is Justin Timberlake doing here? Worse, what is David Krumholtz doing here? All he does is appear in a scene so perfunctory it deserves cutting. Not even Vittorio Storaro's hyper saturated cinematography could be of any help: it feels like a cop out, a distraction the movie needed to make us look away from how dead this story is.

146. I Love You, Daddy (Louis C.K., United States)

I see why people say Louis C.K.'s beleaguered film is inspired by Woody Allen's Manhattan, especially in its choice of black and white cinematography to capture the lives and whimsies of bourgeois New Yorkers, but it has none of that classic film's poetry and sense of grandness. What it does instead in that vein is to highlight the creepiness of its May-December romance, and in the light of the comedians recent troubles, you have got to ask: why was this film made? To its credit, it does ask questions we normally shy away from, so there's that.

147. Goodbye Christopher Robin (Simon Curtis, United Kingdom)

Simon Curtis' film, about the life of the writer A.A. Milne and the inspirations behind the Winnie-the-Pooh stories, is as odious as Margot Robbie's atrocious British accent. God, I hated this movie.

148. Siargao (Paul Soriano, Philippines)

149. Bar Boys (Kip Oebanda, Philippines)

It is Fame for law students, minus the sophomore and junior years, and it is excisions like this, among others, which make Kip Oebanda's Bar Boys a failure in structure. Contrary to how it is marketed, for example, there are only three "bar boys" instead of four, Kean Cipriano's character quickly being relegated to the wayside as the barkada who couldn't make the cut in the law school entrance exam. [Not a spoiler.] In a story that purports to be an examination of friendship braving the wild storms of law school, keeping him in the mix would have been vital to the storyline. Instead it makes other narrative choices that constantly fall flat while embracing the hoary subplots of bad teleseryes. Too bad, because the premise of following the lives of law students actually sounds interesting -- but the film only demonstrates a sophomoric effort that does try its best, but fails the cinematic bar nonetheless. That heart attack scene is contrived, overlong, and cruel. And that final scene in the Supreme Court? An embarrassment.

150. Three Billboards Outside Ebbing, Missouri (Martin McDonagh, United States)

I am still on the fence with regards the merits of Martin McDonagh's head-scratching effort of a film, beloved and hated by many in equal measure. First of all, it feels very much like several tragic characters in search of a story; but the search is muddled, and when one of them suddenly has no definitive arc, it gets the double whammy of an exit: cancer AND suicide. (Is that a spoiler?) I mention that specifically because it feels typical of the film's many overreaches. Even the acting feels that way, including Frances McDormand's. The film is about her feisty mother seeking justice for the rape and murder of her daughter, and she does that by taunting the local police for their alleged laziness via the inspired act of putting up the titular billboards accusing them of inaction. The town, and the police, overreacts to the mother's overreaction, leading to more instances of overreaction, including TWO acts of arson, but hey, there's a nice interlude involving, umm, suicide. There's another nice, but pointless, interlude involving, umm, dating little people, which comes out of the blue and is also just as quickly dismissed. There's also a monologue about pedophilia in the Catholic Church, so you may call the film by its real name: everything including the kitchen sink. In the final analysis, the film feels overall like a cinematic exercise of giving humanity and redemption to unlikable characters, and tries to accomplish that by making the third act about forming unlikely allies of the protagonist and the antagonist, both suddenly bent on accomplishing a final mission of the most dubious moral merits. Are we supposed to root for any of these people? Why is this film getting critical love?

The Worst

151. Pitch Perfect 3 (Trish Sie, United States)

Trish Sie took a beloved small film before all these sequels happened, Hollywoodized it to such grotesque bloatedness -- explosions! car chases! -- and thought we could still care for these acapella troopers. No go. This was cinematic sin, its every pitch dirty and unwanted. I abhor everyone involved.

152. Jumanji: Welcome to the Jungle (Jake Kasdan, United States)

153. Gandarrapido: The Revenger Squad (Joyce Bernal, Philippines)

154. Geostorm (Dean Devlin, United States)

Some movies stay with you. You leave the theater pondering perhaps, or your heart perhaps touched. Some are utter vexations to the spirit. Dean Devlin's Geostorm is the cinematic equivalent of a root canal gone awry. No, that's too kind. Geostorm is cow feces mixed with that hairball clogging your bathroom drainage, tossed together in a lovely salad, with pus dressing.

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