My Favorite Movies
I bow my head before most of this magical films.
| pier007's Rating | My Rating | |
|---|---|---|
| 1 |
Vertigo (1958, PG)
James Stewart, in the darkest, most profound and sad performance of his career, falls in love with the alluring, distant, unattainable and mesmerizing Kim Novak. |
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| 2 |
Ladri di Biciclette (The Bicycle Thief) (Bicycle Thieves) (1949, Unrated)
The peak of italian neoralism. an incomparable masterpiece which explores the avatar of a poor family in the post war escenario. tears invaded my face the first time I saw it. and to this day still amazes me, how bitter, shocking and yet touching and beautiful this film is. one of the most powerful endings in cinema history, |
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| 3 |
Paths of Glory (1957, Unrated) |
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| 4 |
Rear Window (1954, PG) |
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| 5 |
The Third Man (1949, Unrated) |
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| 6 |
Rashômon (Rashomon) (In the Woods) (1951, Unrated) |
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| 7 |
Citizen Kane (1941, PG) |
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| 8 |
Modern Times (1936, Unrated) |
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| 9 |
Chinatown (1974, R) |
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| 10 |
Rosemary's Baby (1968, R) |
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| 11 |
Sunset Boulevard (Sunset Blvd.) (1950, Unrated)
Billy Wilder was unstoppable creating the sassiest and most acid masterpieces as this cruel noirish hollywood satire. William Holden and Erich Von Stroheim are always a privilege to watch, but the elderly and mentally unstable femme fatale Gloria Swanson always causes chills run down my spine. One of my unquestionable favorites. |
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| 12 |
Das Cabinet des Dr. Caligari. (The Cabinet of Dr. Caligari) (1920, Unrated) |
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| 13 |
City Lights (1931, Unrated) |
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| 14 |
Casablanca (1943, Unrated) |
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| 15 |
Los Olvidados (The Young and the Damned) (1952, Unrated) |
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| 16 |
Psycho (1960, R) |
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| 17 |
Lawrence of Arabia (1962, PG) |
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| 18 |
Battleship Potemkin (1925, Unrated) |
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| 19 |
Metropolis (1927, Unrated) |
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| 20 |
The Seventh Seal (, Unrated) |
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| 21 |
It's a Wonderful Life (1946, Unrated) |
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| 22 |
La Strada (The Road) (1954, PG) |
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| 23 |
Taxi Driver (1976, R) |
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| 24 |
The Maltese Falcon (1941, Unrated) |
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| 25 |
2001: A Space Odyssey (1968, G) |
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| 26 |
Nosferatu, eine Symphonie des Grauens (Nosferatu, a Symphony of Horror) (Nosferatu the Vampire) (1922, Unrated) |
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| 27 |
Once Upon a Time in the West (C'era una volta il West) (1968, PG-13)
The birth of a nation. as seen through the eyes of Sergio Leone, in his greatest opera of the west. |
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| 28 |
The 39 Steps (1935, PG) |
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| 29 |
On the Waterfront (1954, Unrated) |
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| 30 |
Eraserhead (1977, Unrated) |
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| 31 |
The Elephant Man (1980, PG) |
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| 32 |
The Treasure of the Sierra Madre (1948, Unrated) |
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| 33 |
The Asphalt Jungle (1950, Unrated) |
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| 34 |
Les Quatre Cents Coups (The 400 Blows) (1959, Unrated) |
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| 35 |
The Good, the Bad and the Ugly (Il Buono, il Brutto, il Cattivo.) (1966, R) |
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| 36 |
North by Northwest (1959, Unrated) |
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| 37 |
A Clockwork Orange (1971, R) |
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| 38 |
8 1/2 (1963, Unrated) |
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| 39 |
Fitzcarraldo (1982, PG) |
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| 40 |
Viridiana (1961, R) |
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| 41 |
To Kill A Mockingbird (1962, Unrated) |
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| 42 |
Repulsion (1965, Unrated) |
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| 43 |
El (This Strange Passion) (Torments) (1953, Unrated) |
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| 44 |
Out of the Past (1947, Unrated)
Mesmerizing build up of romance and tension by the snappy and captivating pen of Daniel Mainwaring (as Geoffrey Homes) and Jacques Tourneur's keen eye. They draw a vigorous and pulsating tale of a man with a tormented past that encloses emotional and business related attachments, murder and betrayal. |
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| 45 |
Spartacus (1960, PG-13) |
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| 46 |
The Grapes of Wrath (1940, Unrated)
Some years before the eruption of the Italian neorealism, at the other side of the atlantic, John Ford, the poet of cinema, adapted John Steinbeck's celebrated novel, which dealt with the drought and poverty in america, and a family of Oklahoma farmers, struggling to remain together despite all the adversities they have to face on their way to california, their promise land. |
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| 47 |
Cinema Paradiso (Nuovo Cinema Paradiso) (1988, R)
To live inside a fable, where we can play with time, places and sentiments, a perfect sphere of existence that can only be reached in dreams is a pleasant thought we all cinephiles love to have. As mere mortals, or the infants we still are, we have two ways to conquer that fantasy world, we can either sleep, or we can enter and sit in a dark room, operate a machine and enjoy the ride while we are awake. |
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| 48 |
GoodFellas (1990, R) |
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| 49 |
The Conversation (1974, PG)
San francisco, California. where some of the greatest thrillers in film history have taken place, is the location of one of the most haunting and painstaking character studies in the genre. Gene Hackman is simply brilliant in his personification of a surveillance expert sunk by guilt, who gradually succumbs to the insidious and intricate scheme he is struggling to find out. Profoundly insightful and conspicuous. |
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| 50 |
Double Indemnity (1944, Unrated) |
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| 51 |
Laura (1944, Unrated)
Gene Tierney is Laura, an angel immortalized in a portrait, who enthralled the soul of three men, and my humble self as well. David Raksin's beautiful and haunting score and the utmost exactness of skill, both in screenplay and direction take this film up high as an enchanting love story and as a dark and complex mystery. Now I know why Otto Preminger, allegedly, destroyed all of the original director Rouben Mamoulian's footage. Another pinnacle of noir, and an obvious precursor, along with Luis Buñuel's Él, of my favorite film, Vertigo. |
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| 52 |
Du Rififi Chez les Hommes (Rififi) (1956, Unrated)
Expatriate filmmaker Jules Dassin pulls off a paris style noir masterpiece. Starring a great world-weary french Bogey Jean Servais. full of all my beloved noir keys, darkness, gloomy atmospheres, losers without a dime but with everything at stake, a well planned but ultimately gone wrong heist and the unavoidable disastrous destiny knocking on everybody's door. suspenseful, deep and utterly compelling. |
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| 53 |
The Killing (1956, Unrated)
Stanley Kubrick plunges once again into noir, and reaches, with an almost millimetrical precision as co-writer and director, an essential heist film, led by the always brilliant Sterling Hayden and soaked in feelings of tragedy and powerlessness against fate. |
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| 54 |
The Wild Bunch (1969, R) |
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| 55 |
The Godfather (1972, R) |
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| 56 |
The Godfather, Part II (1974, R) |
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| 57 |
The Godfather, Part III (1990, R) |
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| 58 |
One Flew over the Cuckoo's Nest (1975, R) |
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| 59 |
Edward Scissorhands (1990, PG-13) |
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| 60 |
Seven (Se7en) (1995, R)
Darius Khondji's moody cinematography is the most outstanding factor of one of the best thrillers of the 90s. Andrew Kevin Walker's screenplay is superb, just as the two leads Morgan Freeman and Brad Pitt. Suspense goes uphill with every passing minute, and ends up in a powerful and mind-blowing moment. David Fincher's masterwork. |
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| 61 |
Frankenstein (1931, Unrated) |
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| 62 |
Stagecoach (1939, Unrated) |
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| 63 |
Carlito's Way (1993, R) |
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| 64 |
Touch of Evil (1958, PG-13)
According to some scholars, the last work of the film-noir golden age. Orson Welles takes Whit Masterson's simple story of murder and corruption on the mexican-american border and improves it, making it a feast for the eyes, starting with a lenghty travelling shot. Russel Metty's striking photography and Henry Mancini's snappy score are major points, as well as the acting department, led by none other than Welles, as the crooked cop, funny appearences by Dennis Weaver and Akim Tamiroff and Charlton Heston as a mexican, which might be odd, but he did a very good job. A cinematic tour de force. |
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| 65 |
Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped) (1957, Unrated)
A minimalist work of powerful and dramatic precision. Bresson tells the story of a prison break without any contrivance nor decoration, with naturalism and painstaking attention to the sound, the enviroment, and the main character's thoughts. the suspense is nail-biting, and the subject matter is profound. cinema in its purest form. |
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| 66 |
A Streetcar Named Desire (1951, PG) |
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| 67 |
Cet Obscur Objet du Désir (That Obscure Object of Desire) (1977, R) |
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| 68 |
Singin' in the Rain (1952, G)
A truly remarkable achievement that deserves the label of the greatest musical of all time. The gathering of all the musical numbers results in a coherent and fluid masterpiece corroborated by a |
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| 69 |
Brazil (1985, R) |
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| 70 |
The Hustler (1961, Unrated)
The irrational stubbornness of Eddie Felson takes him to a downward spiral from where he will dream with a second chance to accomplish his only goal in life, but to do that he will shake hands with the devil in a -soul for glory- exchange. |
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| 71 |
Ed Wood (1994, R) |
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| 72 |
Marty (1955, Unrated)
A triumph of the heart and spirit over social standards. |
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| 73 |
In Cold Blood (1967, R)
Truman Capote's haunting literary classic gets a masterful transfer to the screen. |
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| 74 |
Midnight Cowboy (1969, R) |
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| 75 |
Once Upon a Time in America (1984, R) |
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| 76 |
Kumonosu Jô (Throne of Blood) (Macbeth) (1957, Unrated) |
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| 77 |
The Searchers (1956, Unrated) |
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| 78 |
Shadow of a Doubt (1943, PG) |
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| 79 |
Unforgiven (1992, R) |
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| 80 |
For a Few Dollars More (Per Qualche Dollaro in Più) (1965, R) |
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| 81 |
Reservoir Dogs (1992, R) |
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| 82 |
The Man Who Would Be King (1975, PG)
Another everlasting glimpse of John Huston's adventurous and relentless soul. |
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| 83 |
Cul-de-Sac (1966, Unrated) |
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| 84 |
The Deer Hunter (1978, R) |
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| 85 |
JFK (1991, R) |
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| 86 |
Planet of the Apes (1968, PG) |
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| 87 |
Rope (1948, PG) |
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| 88 |
Manhattan (1979, R) |
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| 89 |
Faust (1926, Unrated) |
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| 90 |
Get Carter (1971, R)
Sordid and mean spirited pulp with a classic score, and probably the british gangster film par excellence. Michael Caine, in a brutal but cool performance, plays the avenger Jack Carter, a London racketeer who goes to the foggy Newcastle trying to get the people who killed his brother. Seriously nihilistic, bleak and vividly detailed. |
|
| 91 |
House of Games (1987, R)
Lindsay Crouse is an eminent psychologist who is desperate for adventure. One day she'll meet Joe Mantegna's character, a swindler that will provide her a few tricks to reach a little excitement in her life. There will be, of course, a few bumps on their way. |
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| 92 |
Dr. Strangelove Or How I Learned to Stop Worrying and Love the Bomb (1964, PG)
Caustic, twisted and outrageously funny nuclear war satire with immeasurably brilliant writing and stupendous performances by George C. Scott, Sterling Hayden, Slim Pickens and the unmatched Peter Sellers, all playing maniacal officers going through the most absurd and lovable situations. Hilarious and frightening masterpiece about human irrationality, sexual undertones and mutual annihilation. |
|
| 93 |
Some Like It Hot (1959, Unrated) |
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| 94 |
Strangers on a Train (1951, PG) |
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| 95 |
Peeping Tom (1960, Unrated)
A superb Hithcockian/freudian thriller with a bizarre plot (outrageous for its time, banned and detroyed by critics) about a young filmmaker's obsession for capture women's reaction when they're facing death. In a few words, the "snuff films" myth was introduced to us in this underrated suspense masterpiece. |
|
| 96 |
M (1931, Unrated) |
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| 97 |
Rebecca (1940, Unrated) |
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| 98 |
The Phantom of the Opera (1925, Unrated)
This is arguably universal pictures' first of their classic, long life horror series. A sumptuous gothic mega production, starred by the beautiful Mary Philbin and Lon Chaney, the man of the thousand faces, in his most famous role. Not only adapts Gaston Leroux immortal tale, but also includes a scene of a ball, very reminiscent of Edgar Allan Poe's The masque of the red death. The only regret is that Carl Laemmle, head of universal studios, changed the original ending of the source material for a more 'spectacular' one. When director Rupert Julian refused to do so, he was fired. |
|
| 99 |
Straw Dogs (1971, R)
Bloody Sam webs an unnerving and near perfect psychological thriller. A film that deals with the rites of manhood, the qualities and attributes conventionally thought to be appropriate to a man, especially physical strength or guts, which David Sumner (impressive Dustin Hoffman) doesn't have of course, until the end, when he'll have to face his offenders and start a blooshed in order to preserve his life, wife and possessions. |
|
| 100 |
La Dolce Vita (1960, Unrated) |
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| 101 |
Raging Bull (1980, R) |
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| 102 |
Le Procès (The Trial) (1962, Unrated)
Two geniuses, Kafka and Welles, give birth to the ultimate "individual vs. state" paranoid fantasy. A nightmarish and mesmerizing trip to the confines of human mind, in its desperate fight beyond hope, against the terrible and insatiable monster of totalitarianism. I, as a law student, feel disgusted and yet fascinated by the bureaucratic chaos, so stylishly displayed by the baroque Orson Welles, and marvelously portrayed by Anthony Perkins. One of the highest points of cinema-literature marriage. |
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| 103 |
Dead Poets Society (1989, PG) |
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| 104 |
Cape Fear (1962, Unrated) |
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| 105 |
The Kid (1921, Unrated) |
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| 106 |
Point Blank (1967, Unrated)
Just when everyone thought good old noir was under the ground, John Boorman resurrected it in style, mixing it with a little psychedelia and avant-garde techniques, adding sex appeal of blond babes Angie Dickinson and Sharon Acker, and last but not least, placing the tough guy Lee Marvin in the deadly assignment of getting the money he was double-crossed for. Topnotch example of innovative, hypnotic and thrilling filmmaking. |
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| 107 |
Dirty Harry (1971, R)
Rough, exciting and suspenseful thriller starring Clint Eastwood, in the role that made him a star, as police inspector Harry Callahan, one of the coolest and most iconic anti heroes in motion picture history. Superb narrating pulse by Don Siegel, vibrant editing and jazzy score by Lalo Schifrin, which is also Eastwood's favorite music genre. Andy Robinson is also very good as the psychopathic Scorpio killer, loosely based on the notorious Zodiac case. |
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| 108 |
The Bridge on the River Kwai (1957, PG) |
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| 109 |
Judgment at Nuremberg (1961, Unrated) |
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| 110 |
Trainspotting (1996, R) |
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| 111 |
Notorious (1946, Unrated) |
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| 112 |
Leaving Las Vegas (1995, R) |
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| 113 |
Diabolique (Les Diaboliques) (1955, Unrated) |
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| 114 |
The Innocents (1961, Unrated) |
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| 115 |
The Spirit of the Beehive (El Espíritu de la colmena) (1973, Unrated) |
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| 116 |
Rebel Without a Cause (1955, PG-13) |
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| 117 |
Smultronstället (Wild Strawberries) (1957, Unrated) |
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| 118 |
Who's Afraid of Virginia Woolf? (1966, Unrated) |
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| 119 |
The Pianist (2002, R) |
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| 120 |
Frenzy (1972, R) |
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| 121 |
The Thief of Bagdad (1924, Unrated) |
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| 122 |
Ikiru (Doomed) (Living) (To Live) (1956, PG) |
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| 123 |
It Happened One Night (1934, Unrated) |
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| 124 |
Tirez sur le pianiste (Shoot the Piano Player) (1960, Unrated) |
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| 125 |
Wild At Heart (1990, R) |
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| 126 |
Dial M for Murder (1954, PG) |
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| 127 |
Sleuth (1972, PG) |
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| 128 |
Nazarín (1958, Unrated) |
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| 129 |
The Shining (1980, R)
Without any doubt, a horror masterpiece. Every silence, feeling, and presence is loaded with chilling and mesmerizing power. Nicholson drives the film through the edge, as well as Kubrick's "sense and sensibility" for space and lighting. operatic, barroque and remarkable style. A must see for any horror-Kubrick afficionado. |
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| 130 |
The Graduate (1967, PG) |
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| 131 |
Pulp Fiction (1994, R) |
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| 132 |
I Confess (1952, Unrated) |
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| 133 |
To Have and Have Not (1944, Unrated) |
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| 134 |
The Last Temptation of Christ (1988, R) |
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| 135 |
The Tenant (1976, R) |
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| 136 |
The Fly (1986, R) |
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| 137 |
Videodrome (1983, R) |
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| 138 |
The Incredible Shrinking Man (1957, Unrated)
so I finally got to see it again, after so many years when I was just a little kid, the power of this fantastic movie is even stronger than what I remember. |
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| 139 |
Invasion of the Body Snatchers (1956, PG) |
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| 140 |
Night of the Living Dead (1968, Unrated) |
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| 141 |
High Noon (1952, Unrated) |
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| 142 |
L.A. Confidential (1997, R) |
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| 143 |
Duel (1972, PG) |
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| 144 |
Red River (1948, Unrated) |
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| 145 |
The Shawshank Redemption (1994, R) |
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| 146 |
Brief Encounter (1945, Unrated)
Trevor Howard and Celia Johnson elicit candor and passion without the need of words, and yet Noel Coward's screenplay is very rich and arouses a huge deal of emotion. All that in the master hand of David Lean signifies a tender and intense romance, a battle inside a woman's heart, captured with the utmost capacity by all those genius and sensitive minds involved in it. |
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| 147 |
The Great Escape (1963, Unrated) |
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| 148 |
Amadeus (1984, R) |
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| 149 |
Persona (1966, Unrated) |
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| 150 |
La Stanza del Figlio (The Son's Room) (2002, R) |
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| 151 |
Back to the Future (1985, PG) |
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| 152 |
Before Sunrise (1995, R) |
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| 153 |
Before Sunset (2004, R)
A nostalgic and heartfelt stroll with these now mature lovers. amazing script, chemistry and setting. It may sound like blasphemy but I think this little marvel can be compared with some of the most romantic and tender gems like Brief encounter or Casablanca. more sad and bitter than the first one, It closed a chapter I'll never forget. |
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| 154 |
The Lady from Shanghai (1948, Unrated) |
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| 155 |
Gilda (1946, PG) |
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| 156 |
From Here to Eternity (1953, Unrated) |
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| 157 |
All Quiet on the Western Front (1930, Unrated) |
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| 158 |
I Vitelloni (1953, Unrated) |
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| 159 |
Die Blechtrommel (The Tin Drum) (1979, R) |
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| 160 |
Wuthering Heights (1939, G) |
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| 161 |
Memento (2000, R) |
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| 162 |
After Hours (1985, R) |
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| 163 |
The Exorcist (1973, R) |
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| 164 |
Nóz w Wodzie (Knife in the Water) (1962, Unrated) |
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| 165 |
Anatomy of a Murder (1959, R)
One of the finest courtroom dramas ever, and definitely the best exposure of the affairs in and out the courtrooms; as well as the trickeries, rapid-fire delivering and fast-talking that any efficient (not righteous) criminal lawyer should have, unbiased, detached from any inner conviction or moral standpoint. |
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| 166 |
Forrest Gump (1994, PG-13) |
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| 167 |
The Children of Heaven (Bacheha-Ye aseman) (1999, PG) |
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| 168 |
Freaks (1932, Unrated) |
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| 169 |
The Straight Story (1999, G) |
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| 170 |
Angels with Dirty Faces (1938, Unrated) |
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| 171 |
Campanadas a medianoche (Chimes at Midnight) (Falstaff) (1965, Unrated) |
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| 172 |
King Kong (1933, Unrated) |
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| 173 |
The Gold Rush (1925, Unrated) |
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| 174 |
The Great Dictator (1940, G) |
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| 175 |
The Seven Samurai (Shichinin no Samurai) (1954, Unrated) |
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| 176 |
American Beauty (1999, R) |
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| 177 |
Lord of the Flies (1963, Unrated)
The closest adaptation of William Golding's literary masterpiece. |
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| 178 |
Butch Cassidy and the Sundance Kid (1969, PG)
There are many ways to follow when recapitulating the virtues of this postmodern marvel of the western genre. beginning with the loose and affable nature or tone of the story by screenwriter William Goldman and director George Roy Hill; Conrad Hall's impressive photographic work; Burt Bacharach's mellow musical interludes; and above all, the likeable, legendary partnership Paul Newman-Robert Redford, both comfortably playing the notorious outlaws who shared the same woman and destiny. Their charm, chemistry and tongue-in-cheek attitude can't be ignored, especially in the memorable final scene. |
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| 179 |
Spoorloos (The Vanishing) (1988, Unrated)
Anguishing psychological thriller with a very believable display of a contained sociopath and his modus operandi. |
|
| 180 |
The Devils (1971, R) |
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| 181 |
Mulholland Drive (2001, R) |
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| 182 |
Häxan: Witchcraft Through the Ages (The Witches) (Haxan) (1929, Unrated) |
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| 183 |
The French Connection (1971, R) |
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| 184 |
The Untouchables (1987, R)
David Mamet's screenplay is far from the facts, but his cunning dialogues, along with De Palma's solid narration, both emerge in a thrilling, fun, larger than life clash between good and evil, adorned by an anachronistic but superb score by Il maestro Morricone. |
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| 185 |
Day for Night (La Nuit américaine) (, PG) |
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| 186 |
Monsieur Verdoux (1947, Unrated)
The greatest comedian of all time finally leaves behind 'The Tramp' the character that made him famous, and here plays a serial killer, a very affable and charming one, though. |
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| 187 |
Dog Day Afternoon (1975, R)
A 'simple' bank situation turns into a media circus, thanks to the incompetence of two amateur robbers, wonderfully played by Al Pacino and John Cazale. |
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| 188 |
The Last Emperor (1987, PG-13) |
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| 189 |
Baisers Volés (Stolen Kisses) (1968, R)
Truffaut homages Henri Langlois, Laurel and Hardy. Hitchcock and Balzac, and brings back his alter ego, Antoine Doinel. Now at the doors of adulthood, he was kicked out from the army, and struggles to find a job, first as a night porter, shoe seller, tv repairing engineer and even as a private eye for a detective agency. But don't get confused, this is a pleasant, charming comedy, where all the sorrow and rebelliousness of his childhood is gone for good, and now his only concern is to win the heart of the girl he likes. |
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| 190 |
The Grifters (1990, R) |
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| 191 |
Life Is Beautiful (La Vita è bella) (1998, PG-13)
Rich and candid fable, clearly separated in two parts, the first is a delightful romantic comedy in Italy's best tradition, the other is a tender morality tale, both work perfectly, and never cease to amaze and arouse emotions. The best, most surprising work of this modern day Chaplin named Roberto Benigni. |
|
| 192 |
Dracula (1931, Unrated)
One of the best free adaptations of Bram Stoker's novel, and arguably, the film that started universal pictures' famous and significant monster series. Bela Lugosi renders the mythical Transylvanian vampire Count Dracula with unnerving distinction, making his incarnation the best known for any human being. |
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| 193 |
The Killing Fields (1984, R)
Two passionate and courageous journalists of different nationalities become witnesses of the horrors of war in southeast asia, one of them is a native who will have to hang on to his life while the nightmare remains. |
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| 194 |
Gunga Din (1939, Unrated)
Rudyard Kipling's poem is translated to the screen by the pulsatile direction of George Stevens. |
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| 195 |
Easy Rider (1969, R) |
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| 196 |
Husbands (1970, PG-13) |
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| 197 |
Superman (1978, PG)
The greatest cinematic transition of a comic book ever done. Richard Donner's vigorous narrative pulse, Christopher Reeve's perfect incarnation and John Williams' majestic score made this movie an instant everlasting classic. Margot Kidder, Gene Hackman and the legendary Marlon Brando are some of the other additions to a perfect equation. An epic and exhilarating tale about the themes we the mere mortals constantly love to revive. The one and only superhero movie. |
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| 198 |
Monkey Business (1931, Unrated) |
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| 199 |
Indagine su un Cittadino al di Sopra di Ogni Sospetto (Investigation of a Citizen Above Suspicion) (1970, R)
Gian Maria Volonté persuasively personifies a suave, spitefully malevolent kind of hitchcockian sociopath. A surreal and strong meditation about how some human beings can be corrupted by power. A fundamental allegory to understand the Italian sociopolitical situation of that time, and possibly to draw parallels with any present so-called democratic system of government. |
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| 200 |
Birdy (1984, R) |
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| 201 |
Being There (1979, PG)
A magical and bittersweet comedy with a superb Peter Sellers, in the most mature and concise role of his career, even if he's portraying a childish man who's suddenly deified by an empty, artificial society. A supremely sincere and pleasantly understated film that engages all us in careful thought, about how absurd, pointless and obtuse our lives can be, and how the most unexpected person in the whole world can make us be aware of it. everlasting fable, parallel to the fisher king. |
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| 202 |
Raising Arizona (1987, PG-13) |
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| 203 |
The English Patient (1996, R) |
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| 204 |
The Breakfast Club (1985, R) |
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| 205 |
Dances With Wolves (1990, PG-13) |
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| 206 |
Patton (1970, PG)
George C. Scott was born to play the irascible and implacable american general George S. Patton in this eye-catching war film that depicts with grandiosity the allied assaults in europe and north africa, and the general's courageousness, straightforwardness, his somewhat questionable treatment over his troops, and his peculiar but firm beliefs about the reincarnation of his soul. This eccentric character is one of the best representatives of the madness and nonsensicality of war. |
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| 207 |
Fight Club (1999, R) |
|
| 208 |
Bande à part (Band of Outsiders) (1964, Unrated) |
|
| 209 |
Dawn of the Dead (1979, R) |
|
| 210 |
Casino (1995, R) |
|
| 211 |
Phantom of the Paradise (1974, PG)
Wonderful nostalgic cheesy musical, parodic and vibrating blend of concepts and myths from literature, film and rock n' roll that transcends thanks to Brian DePalma's trademark bizarre and striking mise en scène. Jessica Harper is an adorable doll, William Finley and Paul Williams are also stupendous, the first as the affable phantom, and the latter as a Phil Spector kind of mephistophelean record producer. |
|
| 212 |
A History of Violence (2005, R) |
|
| 213 |
The Dirty Dozen (1967, Unrated) |
|
| 214 |
The Time Machine (1960, G)
The ultimate H.G Wells dystopian fantasy gets a faithful treatment by George Pal. The first half of the film is fascinating, especifically the long dissertation about time travel and the beginning of the journey through the 20th century. Although the rest is not near as great as the start, is pretty fun, plus Yvette Mimieux is a feast for the eyes. Rod Taylor does a pretty good job in the lead. Cool, classic, lovable sci-fi. |
|
| 215 |
Il Gattopardo (The Leopard) (1963, PG) |
|
| 216 |
Kiss Me Deadly (1955, Unrated) |
|
| 217 |
The Killers (1946, Unrated) |
|
| 218 |
Papillon (1973, R) |
|
| 219 |
In the Name of the Father (1993, R) |
|
| 220 |
The Invisible Man (1933, Unrated)
Fantastic narration by James Whale from the equally great story by visionary writer H.G Wells. Veteran universal pictures craftsman John P. Fulton's visual effects are amazing, even for today's standards. Delightful parable about the corruption of power. The always outstanding Claude Rains incarnates (well, almost entirely with his voice) the scientist who uses his remarkable power to damage society. |
|
| 221 |
The Bride of Frankenstein (1935, Unrated)
Although more funny than scary, this has to be one of the best sequels ever done. James Whale's narration is lyrical and stylish, the settings evoke gothic mystique and Boris Karloff perfectly embodies the tall walking corpse, who embarks on a murderous rampage after the events of the first film, only to find at the end that even he has a heart. excellent horror/black comedy universal classic. |
|
| 222 |
The Mummy (1999, PG-13) |
|
| 223 |
Profumo di Donna (Scent of a Woman) (That Female Scent) (1974, Unrated) |
|
| 224 |
Eternal Sunshine Of The Spotless Mind (2004, R) |
|
| 225 |
Night of the Demon (1957) (, Unrated) |
|
| 226 |
Come and See (Idi i smotri) (1985, Unrated) |
|
| 227 |
Blow Out (1981, R)
A mixture between Coppola's The conversation and Antonioni's Blow up, Brian De Palma weaves a compelling thriller, with a surprisingly good performance by a young John Travolta. Pino Donaggio's score and De Palma's stylish camera work really make the film a worthy experience. devastating ending, shocking and full of dark humour. |
|
| 228 |
Touchez Pas au Grisbi (Hands Off the Loot) (1954, Unrated)
There are more worries in the life of a gangster besides money. There's love, loyalty, friendship, and the most implacable killer of all: time itself, the way it undermines and vanishes every human being no matter how strong or resolute he/she used to be. |
|
| 229 |
The Gods Must Be Crazy (1980, PG) |
|
| 230 |
Bonnie and Clyde (1967, R) |
|
| 231 |
Das Boot (The Boat) (1981, R) |
|
| 232 |
Children of Men (2006, R) |
|
| 233 |
Paris, Texas (1984, R) |
|
| 234 |
Barry Lyndon (1975, PG) |
|
| 235 |
To Catch a Thief (1955, Unrated) |
|
| 236 |
1984 (Nineteen Eighty-Four) (1984, R) |
|
| 237 |
Big Trouble in Little China (1986, PG-13) |
|
| 238 |
Aguirre, der Zorn Gottes (Aguirre, the Wrath of God) (1972, Unrated) |
|
| 239 |
Pi (1998, R) |
|
| 240 |
Frantic (1988, R) |
|
| 241 |
La Haine (Hate) (1996, R) |
|
| 242 |
Triumph des Willens (Triumph Of The Will) (1935, Unrated) |
|
| 243 |
The Thief of Bagdad (1940, Unrated) |
|
| 244 |
Nine Queens (Nueve reinas) (2002, R) |
|
| 245 |
E.T. - The Extra-Terrestrial (1982, PG) |
|
| 246 |
Village of the Damned (1960, R) |
|
| 247 |
Holiday (1938, Unrated) |
|
| 248 |
Stray Dog (1949, Unrated)
Intense japanese post-war drama heavily inspired by the crudeness of american film-noir and, on a smaller degree, by the italian neorealism. Takashi Shimura and Toshiro Mifune are great as the veteran detective and his companion, respectively. There are some excellent moments of suspense, like the baseball game and the train station climax. |
|
| 249 |
The Wrong Man (1957, Unrated) |
|
| 250 |
El Día de la bestia (The Day of the Beast) (1999, R) |
|
| 251 |
La Comunidad (Common Wealth) (2000, R) |
|
| 252 |
La Peau douce (The Soft Skin) (1964, Unrated) |
|
| 253 |
Detour (1945, Unrated) |
|
| 254 |
Empire of the Sun (1987, PG) |
|
| 255 |
Being John Malkovich (1999, R) |
|
| 256 |
Limelight (1952, G) |
|
| 257 |
Le Samouraï (The Godson) (1967, PG) |
|
| 258 |
Monty Python and the Holy Grail (1975, PG) |
|
| 259 |
The Big Sleep (1946, Unrated)
Once again, at the orders of the great Howard Hawks, Bogie and Bacall throw off sparks whenever they share a scene in this brilliant adaptation of Raymond Chandler's classic novel. |
|
| 260 |
Angel Heart (1987, R) |
|
| 261 |
Au Revoir Les Enfants (1987, PG) |
|
| 262 |
The Sting (1973, PG) |
|
| 263 |
Ben-Hur (1959, G) |
|
| 264 |
Thesis (Tesis) (1996, R) |
|
| 265 |
The Big Lebowski (1998, R) |
|
| 266 |
Le Charme Discret de la Bourgeoisie (The Discreet Charm Of The Bourgeoisie) (1972, PG) |
|
| 267 |
Lost Highway (1997, R) |
|
| 268 |
Carrie (1976, R) |
|
| 269 |
Three Colors: Blue (Trois couleurs: Bleu) (1993, R) |
|
| 270 |
Belle de jour (, R) |
|
| 271 |
Fiddler on the Roof (1971, G) |
|
| 272 |
Delicatessen (1991, R) |
|
| 273 |
The Haunting (1963, Unrated) |
|
| 274 |
Alien (1979, R) |
|
| 275 |
Amarcord (1974, R) |
|
| 276 |
Ultimo Tango a Parigi (Last Tango in Paris) (1972, NC-17) |
|
| 277 |
The Thing (1982, R) |
|
| 278 |
It's a Mad, Mad, Mad, Mad World (1963, G) |
|
| 279 |
Deep Red (Profondo rosso) (The Hatchet Murders) (1975, R) |
|
| 280 |
Z (1969, PG) |
|
| 281 |
My Left Foot (1989, R) |
|
| 282 |
The Dreamers (2004, NC-17) |
|
| 283 |
El Aura (The Aura) (2006, Unrated) |
|
| 284 |
The Tragedy of Macbeth (Macbeth) (1971, R) |
|
| 285 |
The Trouble With Harry (1955, PG) |
|
| 286 |
La leggenda del pianista sull'oceano (The Legend of 1900) (1998, R) |
|
| 287 |
Zodiac (2007, R) |
|
| 288 |
Dead Ringers (1988, R)
Twins Elliot and Beverly Mantle are two sides of the same coin, one over confident and suave, and the other shy and sensitive. they are both brilliant in the field they chose, gynecology. But they can't function properly if a third party gets in their way. |
|
| 289 |
Doctor Zhivago (1965, PG-13) |
|
| 290 |
Eyes Without a Face (, Unrated) |
|
| 291 |
All the President's Men (1976, R) |
|
| 292 |
Hour of the Wolf (Vargtimmen) (1968, Unrated)
Max Von Sydow is a painter, attacked by demons he created out of existential guilt. Liv Ullman plays his faithful spouse. |
|
| 293 |
Il Decameron (The Decameron) (1971, Unrated) |
|
| 294 |
The Boys from Brazil (1978, R) |
|
| 295 |
L' Enfant Sauvage (The Wild Child) (1970, G) |
|
| 296 |
Der Name der Rose (The Name of the Rose) (1986, R) |
|
| 297 |
The Texas Chainsaw Massacre (1974, R) |
|
| 298 |
Deliverance (1972, R) |
|
| 299 |
Aliens (1986, R) |
|
| 300 |
American Graffiti (1973, PG) |
|
| 301 |
Scarface (1983, R) |
|
| 302 |
Monty Python's The Meaning of Life (1983, R) |
|
| 303 |
The Lady Vanishes (1938, Unrated) |
|
| 304 |
Breathless (À bout de souffle) (By a Tether) (1961, Unrated) |
|
| 305 |
Time Bandits (1981, PG) |
|
| 306 |
The Public Enemy (1931, Unrated) |
|
| 307 |
The Masque of the Red Death (1964, R) |
|
| 308 |
The Omen (1976, R) |
|
| 309 |
Blade Runner (1982, R) |
|
| 310 |
The Changeling (1980, R) |
|
| 311 |
The Collector (The Butterfly Collector) (1965, Unrated) |
|
| 312 |
The Man Who Knew Too Much (1956, PG) |
|
| 313 |
Cidade de Deus, (City of God) (2003, R) |
|
| 314 |
Dawn of the Dead (, R) |
|
| 315 |
Apocalypse Now (1979, R)
I may not like Brando's character and his long-winded, pseudo intellectual bullshit. But I love the rest of this harrowing and dazing war epic, starring an excellent, tired and stupefied Martin Sheen. |
|
| 316 |
White Dog (1982, PG) |
|
| 317 |
Zelig (1983, PG) |
|
| 318 |
Eyes Wide Shut (1999, R) |
|
| 319 |
The Thin Red Line (1999, R) |
|
| 320 |
The Criminal Life of Archibaldo de la Cruz (Ensayo de un crimen)(Rehearsal for a Crime) (1955, Unrated) |
|
| 321 |
The Usual Suspects (1995, R) |
|
| 322 |
The Birds (1963, PG-13) |
|
| 323 |
Sisters (1973, R) |
|
| 324 |
Stalag 17 (1953, Unrated) |
|
| 325 |
Scarface (1932, PG) |
|
| 326 |
Le Trou (The Hole) (The Nightwatch) (1964, Unrated)
Five men propose themselves to start one of the most demanding and yearning tasks for any person in their condition: a flawless prison break. |
|
| 327 |
Fear and Loathing in Las Vegas (1998, R) |
|
| 328 |
The Loneliness of the Long Distance Runner (1962, Unrated)
Colin Smith is a rebel with a cause, the furious voice and spirit of the proletariat, the people who have to suffer for the privileged and get nothing in exchange but a terrible burden. |
|
| 329 |
Little Caesar (1930, G)
Due to the time it was made, the film has a smack of a silent feature, it may be histrionic and overdramatized, but that doesn't keep it from being fascinating, not only for its controversial subject matter, or Mervyn Le Roy's direction but especially for Edward G. Robinson's powerful screen persona. |
|
| 330 |
The Wicker Man (1973, R) |
|
| 331 |
Halloween (1978, R) |
|
| 332 |
Carnival of Souls (1962, Unrated) |
|
| 333 |
Lolita (1962, Unrated)
It wasn't proper to give Peter Sellers' Quilty such protagonism. despite that flaw, Nabokov's screenplay (though drastically changed) and Kubrick's direction are correct, some passages are quite lighthearted in contrast to the serious subject matter. Shelly Winters is a lot of fun; Sue Lyon shines as Lolita; and James Mason, well, there wasn't a gesture or word that could escape from that magnificent performer. |
|
| 334 |
Full Metal Jacket (1987, R) |
|
| 335 |
Monty Python's Life of Brian (1979, R) |
|
| 336 |
Uccellacci e uccellini (Hawks and Sparrows) (1966, Unrated) |
|
| 337 |
The Ox-Bow Incident (1943, Unrated) |
|
| 338 |
La Battaglia di Algeri (The Battle of Algiers) (1967, Unrated) |
|
| 339 |
The Professionals (1966, PG-13) |
|
| 340 |
Hamlet (1948, Unrated) |
|
| 341 |
Marnie (1964, PG)
If the story was at the same league of the master's direction it would be another flawless masterpiece in his body of work. |
|
| 342 |
Gun Crazy (1950, Unrated) |
|
| 343 |
Minnie and Moskowitz (1971, PG)
Cassavetes shows the sweetness inside daily life, in the ordinary, ugly, lonely and crazy world we humans inhabit in disdain; a place where we all hope to find the person who'll take the heavy burden but also the unique privilege of our company. |
|
| 344 |
Beauty and The Beast (La Belle et la bête) (1946, Unrated) |
|
| 345 |
The Great Silence (Il Grande silenzio) (1968, Unrated) |
|
| 346 |
The Big Heat (1953, PG) |
|
| 347 |
The Ladykillers (1955, Unrated)
Alec Guinness is a witty criminal brain with a creepy grin. He masterminds a caper with his not so bright colleagues using an old lady's house as front. |
|
| 348 |
The Man Who Shot Liberty Valance (1962, Unrated) |
|
| 349 |
La Guerre du Feu (Quest for Fire) (The War of Fire) (1981, R) |
|
| 350 |
The Swimmer (1968, PG)
A magnetic parable that pulverizes the american dream. |
|
| 351 |
Under the Volcano (1984, R) |
|
| 352 |
White Heat (1949, Unrated) |
|
| 353 |
A Fistful of Dynamite (Duck, You Sucker) (Giù la testa) (1972, R)
Seems futile to compare this to the other westerns made by Sergio Leone. It doesn't reach the levels of drama, lyricism and intensity of his previous work, nor the raw epic excitement of the "dollars trilogy" however it isn't exempt of his engaging and rich storytelling and it sure is the most politically conscious film he ever made. |
|
| 354 |
Il conformista (The Conformist) (1970, R) |
|
| 355 |
Il Vangelo Secondo Matteo (The Gospel According to St. Matthew) (1964, Unrated)
The controversial Pier Paolo Pasolini retells the life of Jesus Christ in a much more honest way than many of the "socially accepted" filmmakers who tried to do the same. Told in neorrealist key, without embellishment nor grandiloquence, and that's where the beauty and the greatness of the film comes, from its natural feel and simplicity. |
|
| 356 |
A Fistful of Dollars (Per un Pugno di Dollari) (1964, R) |
|
| 357 |
Memories of Underdevelopment (Memorias del subdesarrollo) (1973, Unrated)Inspired by French nouvelle vague and Italian neorealism, Gutierrez Alea tells a picaresque and penetrating character study of a Cuban bourgeois trying to find his identity among the people living in the recently established socialist regime of Fidel Castro. A look on the underdeveloped Latin America that is deep down inside quite bitter, corrosive and deprived of hope. |
|
| 358 |
Mad Max 2 (The Road Warrior) (1981, R)
A real blast of a sequel, less violent but a lot more spectacular. |
|
| 359 |
Heavenly Creatures (1994, R) |
|
| 360 |
Professione: reporter (The Passenger) (1975, PG-13) |
|
| 361 |
La Grande Guerra (The Great War) (1959, Unrated)
A roman and a milanese rascals are enrolled against their will, to serve for their country in the first world war. After playing tricks on each other, a tight bond of friendship based on survival will unite them. |
|
| 362 |
Onibaba (1965, Unrated) |
|
| 363 |
A Matter of Life and Death (Stairway to Heaven) (1946, PG) |
|
| 364 |
They Shoot Horses, Don't They? (1969, R)
It is not only a story about poor people struggling to win an anguishing dance contest in the eve of the 1930s great depression; It is a cruel but honest allegory that mirrors the state apparatus and the thinly disguised form of slavery imposed to all its citizens. The damned, who are blinded by empty promises and guided to a cliff when they can not benefit the big evil machinery. |
|
| 365 |
Paper Moon (1973, PG) |
|
| 366 |
Le Feu follet (A Time to Live and a Time to Die) (The Fire Within) (1966, Unrated) |
|
| 367 |
Network (1976, R)
The cruel and caustic story of Howard Beale, a newscaster who had a breakdown due to the loss of his family, the booze, and all the fallacies he regurgitated to millions of automatous viewers. |
|
| 368 |
Badlands (1973, PG) |
|
| 369 |
Arsenic and Old Lace (1944, Unrated) |
|
| 370 |
Seconds (1966, R)
Hallucinatory and craftily directed thriller. Seemingly inspired by Orson Welles' method, and particularly his take on Kafka's The Trial, using the camera as a tool for enhancing the central character's tormented mental realm; a closer look into the excruciating nightmare he's in, an alternate reality plagued by baroque, dark and bizarre visions. |
|
| 371 |
Stroszek (1977, Unrated) |
|
| 372 |
The Bad and the Beautiful (1953, Unrated) |
|
| 373 |
Oliver Twist (1951, Unrated) |
|
| 374 |
The Last Detail (1973, R)
Hilarious but also touching story about the bond created among three sailors, in their series of mishaps, and attempts to properly bid farewell the younger and inexperienced one in the group, who is about to serve time in prison and knows the other two only because they were commissioned to escort him. |
|
| 375 |
What Ever Happened to Baby Jane? (1962, Unrated) |
|
| 376 |
Duck Soup (1933, Unrated) |
|
| 377 |
Lenny (1974, R)
Biopic of the notorious comedian Lenny Bruce, a man who wasn't afraid of using a coarse vocabulary to raise conciousness over a hypocritical society, and who was sentenced to silence in the most unfair ways. |
|
| 378 |
Catch-22 (1970, R)
In the sandy landscapes of the mediterranean sea coast, a madhouse is located. A place that, in order to take democracy to that dark region of the earth; has artillery, airplanes and willing superiors; but is a little short of sacrificial lambs. |
|
| 379 |
Bringing Up Baby (1938, Unrated) |
|
| 380 |
The Night of the Iguana (1964, Unrated)One thing that fascinates me about John Huston's body of work is the way he sympathizes with his characters, usually men drowned by sorrow and guilt whose dreams blew up on their faces and now only long for self destruction as the only way out. |
|
| 381 |
The Narrow Margin (1952, Unrated) |
|
| 382 |
Mr. Deeds Goes to Town (1936, Unrated) |
|
| 383 |
If.... (1968, Unrated) |
|
| 384 |
Alfie (1966, PG) |
|
| 385 |
Targets (1968, R)
One of the most impressive and yet overlooked debuts. From Roger Corman's pupil Peter Bogdanovich, pulling off the job with the same guerrilla filmmaking techniques of his master, a very tight budget and shooting schedule. |
|
| 386 |
The Adventures of Robin Hood (1938, PG) |
|
| 387 |
El Verdugo (Not on Your Life) (1963, Unrated) |
|
| 388 |
Cool Hand Luke (1967, Unrated) |
|
| 389 |
Requiem for a Heavyweight (1962, Unrated) |
|
| 390 |
A Hard Day's Night (1964, G) |
|
| 391 |
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