50. The Third Man (1949, Carol Reed, UK)
Among film noir there several shots that define that particular genre, but the superb reveal of Orson Welles towards the close of Carol Reed’s quiet thriller is unmatched. Beautifully photographed on location in Vienna, Robert Krasker’s Oscar winning cinematography shrouds the streets in glorious black shadows. The chase in the sewers ranks as one of the most beautiful moments in history.
Hackman's down and out P.I. investigates.
49. The Conversation (1974, Francis Ford Coppola, US)
Coppola’s wonderfully relevant 70′s paranoid thriller is a prime example of perfect post-Watergate cinema. Gene Hackman, in a surprisingly subdued role, is a surveillance expert who records couples who believe to be cheating on each other. In a way it recalls Hitchcock’s masterpiece Rear Window, however despite the expanded setting this is much more claustrophobic and stripped down.
48. The Treasure of the Sierra Madre (1948, John Huston, US)
For the time this is a dark take on America, Bogart, the typical Hollywood hero, plays a troubled antagonist blinded by greed in order to get his dirty hands on a stash of gold hidden in Mexico. It’s a pitiful performance, one that goes madly against his persona. Justly given numerous Academy Awards, shamefully missing out on Best Picture.
Put 'em up!
47. Pulp Fiction (1994, Quentin Tarantino, US)
Reservoir Dogs took our breath away in 92, critics wondered how Tarantino could follow that level of success. But he did to greater success. Pulp Fiction is nothing less than a work of extreme confidence in both the filmmaker and audience, a huge independent hit that gave us a beautiful narrative complexity, crossing over characters and shifting time frames wonderfully. Great performances and dialogue make 150 mins fly by.
46. The Player (1992, Robert Altman, US)
Altman at his most acerbic, subversive and satirical. Easily the most intelligent film made about the structure of modern Hollywood, its moral bankruptcy and genuine lack of love. It’s symbolism isn’t exactly discreet, the set up is a production executive Griffin Mill (played with slimy charm by Tim Robbins) who kills a screenwriter. You don’t get less discreet than that, but it’s fascinating to watch. Even just to spot the outrageous amount of A-list cameos.
The face off, Man vs. Rubber Shark
45. Jaws (1975, Steven Spielberg, US)
Now held responsible as the film which gave birth to the summer blockbuster, an excuse mainly used in order for critics to blame Spielberg for the now turgid summer movies of the Michael Bay variety. But then blockbusters were intelligently put together, Jaws most of all. The pinnacle of how to match pace and tension, with some terrific performances, particularly Robert Shaw.
44. Raiders of the Lost Ark (1981, Steven Spielberg, US)
Spielberg’s admitted version of James Bond as mediated by the comic serials of the 1930′s, ironically betters all the Bond films ever made. An witty and very funny script allows the exaggerated fantasy universe to work beautifully, Harrison Ford is a wonderful screen presence and his dry and withdrawn performance is a joy ot behold. Just simply damned fine B-movie entertainment.
Spacey's dream in red
43. American Beauty (1999, Sam Mendes, US)
Since its release over 10 years ago, unnecessary backlash has attacked Mendes masterpiece which is every bit his movie as it is writer Alan Ball. In fact if there is one voice running through the film it is that of Ball, whose observations of suburban, American life remain unmatched in Hollywood films. Kevin Spacey as the unfulfilled Lester Burnham is one of the great screen performances of all time.
42. The Wages of Fear (1953, Henri-Georges Clouzot, Fr)
This genius piece of high tension mania from the legendary French filmmaker is often cited as the defining film of the action genre. Across 147 minutes, Clouzot treats us to some fantastic set pieces which have crossed into stuff of legend and remained some of the most exciting put on screen.
That person you can't stand at the party.
41. Crimes and Misdemeanors (1989, Woody Allen, US)
Allen’s best film is not a light hearted comedy, despite some inspired one liners. This is much more of a solemn affair, it has a truly dark centre, unusual for Allen but he deal with it brilliantly. A very smart script and Allen’s assured direction allow him to take some fantastic performances from a stellar group of character actors. Despite Landau winning gold for Ed Wood, here his performance is more nuanced and more impressive.
[...] #50 – 41 Greatest Films of All Time [...]