10 years younger... plastic surgery goes to hell
80. Brazil (1985, Terry Gilliam, UK)
In one of the finer versions of dystopian life on Earth, visionary surrealist Terry Gilliam presents to us images both strange, harrowing and disturbing, yet at times funny. Essentially an unofficial adaptation of George Orwell’s 1984, Gilliam realisation of this almost pre-Blade Runner cityscape is fantastic and the performances great. And in version original, it contains one of the most downbeat, surreal and completely fitting endings to a film.
79. Snow White and the Seven Dwarfs (1937, David Hand, US)
Modern day animation would be nothing without this brilliant masterpiece, the first official feature length animation and Disney’s debut film should be treasured for all. Truly standing the test of time, the recent Blu-Ray release shows no sign of age or deterioration and has aged beautifully. The animation is truly flawless but underneath that is a story which is for all ages, which is why it stands the test of time.
This one goes to 11
78. This Is Spinal Tap (1984, Rob Reiner, US)
The great mockumentary of our times by judge of the fact it could almost be real. In its running time of just under 90 minutes there is practically a laugh every 30 seconds and requires more than 1 viewing to fully appreciate the greatness of the jokes. Christopher Guest is outstanding as Spinal Tap’s lead guitarist, Nigel, being given the best gags and one liners. ‘How black can it be?’
77. Carrie (1976, Brian De Palma, US)
Of course the first and arguably finest of the Stephen King horror adaptations also produces the best film De Palma ever made. Finding both a perfect balance between the strange and the shocking, Sissy Spacek is of course very good at playing the feeble central role but it is Piper Laurie, as Carrie’s demented religious nutter mother, who completely steals the show. Iconic, blood soaked and terrific.
Kirk Douglas experiences the horrors of the trenches
76. Paths of Glory (1957, Stanley Kubrick, US/UK)
Many people accuse Kubrick of being a completely cold hearted filmmaker who has more concern for technicalities and artistry than genuine human emotion or character. There are two films which prove this theory wrong, and this is one of them. Set in WW1, Kirk Douglas comes under fire from his general when his troops are accused of cowardice. A remarkable piece of filmmaking.
75. Peeping Tom (1960, Michael Powell, UK)
The film which ended Michael Powell’s career is not exactly the imperfect ending to a filmmaking legend it was once thought to be. Retrospectively it is still deathly chilling and twisted but it remains utterly compelling, perhaps the most experimental of Powell’s films in terms of camera use and storytelling 50 years on it hasn’t dated very well, but there is still an edge and spikiness to it.
The defining shot of 70's cinema
74. Manhattan (1979, Woody Allen, US)
Allen’s dramedy, is a beautiful and lyrical poem to his most favourite city and home. Shot in beautiful black and white photography by expert cinematographer Gordon Willis, this sublime film about human relationships is Allen’s first film to find a genuine heart. Still containing his hilarious one liners, he also manages to juggle heartbreak with it too, a very good movie.
73. Some Like It Hot (1959, Billy Wilder, US)
Wilder’s masterpiece comedy features two of the great comedy film double act in Tony Curtis and Jack Lemmon, and of course famously starring 50′s beau Marilyn Monroe. Lemmon is one of the finest screen presences of all time, the underdog who is entirely loveable on every level. Perfectly matched by Curtis who plays the arrogant jerk that we love to hate, a movie to see before you die.
The exhaustion of mountain boating.
72. Fitzcarraldo (1982, Werner Herzog, Ger)
Herzog’s finest fictional work is also his most ambitious, most beautiful and most jaw dropping. Herzog bete-noir Klaus Kinski plays the titular Brian ‘Fitzcarraldo’ Fitzgerald, who decides to bring his love of opera to Peru by doing a performance on a boat. Done for real on location with a very large boat, the scenes of Fitzcarraldo’s crew hauling it over a mountain are some of the most stupefying in cinema.
71. The Wizard of Oz (1939, Victor Fleming, US)
Upon rewatch the seminal 30′s classic has inspired decades upon decades of filmmakers now, the only slip up being the forever irritating Munchkins, it still has a miasma of magic to it. It superbly juxtaposes the drab, sepia images of Kansas with the luscious, Technicolor beauty of Oz which transports the audience directly into both those worlds. The plot is also quick off the ground and we are in Oz in a matter of minutes.
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[...] #80 – 71 Greatest Films of All Time [...]