Movie Discussion

[Fuuma]

I can practically smell the odor of cheese and wine and see the black/white horizontal stripes and beret floating in front of my face as I read Fuuma's list..

Ze problem wif zou Americans iz that zou have no understanding of higher culture, humf.

[denimdestroyedmylife]

La Jetée 10char

i see your la jetee and raise you a sans soleil

[Fuuma]

i see your la jetee and raise you a sans soleil

Marker is an amazing filmaker, I love his cinematic essays.

[seraphim]

irreversible

the range and depth of emotion and physical reaction this film evoked in me was astounding.

the concept of the way the fiolm is shot is reminiscent of memento and the editing is second to none. and the soundtrack is literally out of this world

but the graphic physical violence depicted on screen, i have never seen before and frankly never want to see again.

forget about hollywood cartoon violence-lite.

this hurts to watch

all this and i couldnt finish it yesterday

will try again tonight

so watch it ASAP

<repost from the forign film thread.>

I've heard of this film from friends, I've never seen it and never will. It's made pretty much everyone I know who's seen it cry. Gives me the shivers thinking about it.

[Fuuma]

Fuuma's top 100: 50s

D.O.A./USA/Maté/1950: A man stumbles into a police station to report a murder; his own. If that’s not enough to pique your interest then I wonder what would work. Don’t read additional reviews, this one is enough and leaves you in the dark on crucial plot points

-Rashomon/Japan/Kurosawa/1950: Well known for its use of contradicting flashbacks. The long take where the woodsman is walking through the forest is the perfect example of music, camerawork and previous narrative drive coming together in a magical moment (even though it’s just a dude walking through the woods)

-Tokyo story/Japan/Ozu/1953: Very cliché choice but this is so moving and affecting I had to include it

-Touchez pas au grisbi/France/Becker/1954: Another great heist/crime flick with Jean Gabin. The title can be translated as “Don’t touch the loot!â€

-Seven samurai, the/Japan/Kurosawa/1954: Kurosawa shows such a mastery of movement; the quintessential “action†film

-Diabolique/Diaboliques, les/France/Clouzot/1955: Another gripping Clouzot thriller, it has lost none of its punch. Hitchcock was so taken with it he asked the authors (Boileau/Narcejac) of the original story to write something for him which resulted in Vertigo.

-Rififi/Rififi chez les hommes, du/France/Dassin/1955: Classic long heist sequence, uninterrupted by music or speech, which would inspire countless directors (and real life criminals) in years to come

-Bob le flambeur/France/Melville/1955: Great morality tale about gangster honour, luck and getting older. The street sequences are exquisite and definitely inspired the new wave directors who started shooting on location, with natural light and portable cameras.

-Night and fog/Nuit et brouillard/France/Resnais/1955: 30 Min documentary about the Holocaust (among the first ones made), might be less graphic than some but the quality of the direction and narration makes it all the more affecting. The shots of a gas chamber ceiling, its solid concrete surface profoundly scratched by a thousand frantic fingernails, will haunt you for days

-A man escaped/Un condamné à mort s'est échappé/France/Bresson/1956: Bresson’s minimalist, almost ascetic vision of cinema shines through in this tale of quiet perseverance.

-Paths of Glory/USA/Kubrick/1957: This, and all quiet on the western front, are my favourite (anti) war movies. Oh and it’s the only Kubrick film on the list.

Vertigo/USA/Hitchcock/1958: The most personal of Hitchcock’s movies, the tale of a man who obsessively tries to transform a woman into something else (a physical projection of his own fantasies) to the point of obliterating her own identity. Everything is twisted and spiralling in this film, from staircases and roads to the heroine’s hairdo.

[Fuuma]

-Breathless/À bout de souffle/France/Godard/1960: Frantic, fun, irreverential, innovative. It’s a monument but without any of the pomposity associated with that concept.

-Avventura, l'/Italy/Antonioni/1960: This could be called sex and architecture, the attention given to bodies, shapes and forms is amazing. So modern in its aesthetic and mindset, pretty much everything else looks dated when compared to it. “-Godard: The drama is no longer psychological, but plastic.-Antonioni: It's the same thing†(okay this conversation was about Red Desert but still…)

-Dolce vita, la/Italy/Fellini/1960: So stylish

-Last year at Marienbad/L’année dernière à Marienbad/France/Resnais/1961: Based on a scenario by Alain Robbe-Grillet, one of the main figures of the “nouveau roman†literary movement. Not so much a film that unfolds in a logical way as one made to evoke concepts and memories. A great discussion starter, you can talk about its meaning for hours after a viewing

-Leopard, the/Italy/Visconti/1963: The last days of the aristocratic era presented by a communist prince (I’m talking about Visconti here), who, by virtue of his dual nature, conveys the right mix of hope and melancholy

-Band of outsiders/Bande à part/France/Godard/1964: Godard successfully re-arranges the polar for his own device

-Woman in the dunes/Japan/Teshigahara/1964: The most tactile film I’ve ever seen and a powerful existentialist allegory.

-Battle of Algiers, theAlgeria/Pontecorvo/1965: At times you feel like you’re watching a documentary. I attended a screening where a couple of the actors where present (some of them are now important members of the Algerian government) and they were basically playing themselves, blurring the line between reality and fiction. This is essential viewing in these times of terrorism hysteria

-Blow-up/Italy/Antonioni/1966: Swinging London meet Antonioni’s take on reality and bourgeois existential ennui. Asks a lot of interesting questions about art, representation and truth.

-Persona/Sweden/Bergman/1966: If you’re interested in the nature of identity and individuality see this.

-Belle de jour/France/Bunuel/1967: Threads the murkier depths of human sexuality

Samourai, le/France/Melville/1967: Delon is the height of laconic cool in this. Melville’s hieratic characters, reminiscent of the style of Bresson, seem to be unable or unwilling to escape the highly codified destinies the filmmaker has in store for them

-Stolen kisses/Baisés volés/France/Truffaut/1968: Breezy and fun without being inconsequential. Every man can recognize at least part of himself in eternal adolescent Antoine Doinel

-Once upon a time in the west/Italy/Leone/1968: The western to end all westerns, so epic it hasn’t been topped yet.

Unfaithful one, the/Femme infidèle, la/France/Chabrol/1969: Had to pick a Chabrol, any number of his movies could have been included. Chabrol is the master of thrillers illustrating the “bourgeois malaiseâ€

Z/France/Costa-Gavras/1969: Major entry in the political film genre

My night at Maud's/Ma nuit chez Maud/France/Rohmer/1969: Be warned that Rohmer’s movies are ultra talkative and unabashedly intellectual (that’s a good thing, right?) but the ethical dilemmas he poses are always fascinating

[Fuuma]

Fuuma's top 100 movies: 70s (is someone still reading this thread??)

• Get carter/UK/Hodges/1971: Hard hitting hard-boiled action/thriller with Michael Caine who displays serious acting chops

• Aguirre, the wrath of god/Germany/Herzog/1972: Herzog characters are always on the brink of madness as they vainly grasp at something beyond the reach of Man.

• Money Money Money/Aventure c'est l'aventure, L'/France/Lelouch/1972: Very funny film about a bunch of gangsters who take advantage of the 70s political instability to further their monetary interests. Watch out for the Stalin Ferrari jokes.

• Godfather, the /USA/Coppola/1972: Everybody has seen this…

• Magnificent one, the/Magnifique, le/France/DeBroca/1973: The ancestor of all those whacked out spy comedies (see Austin powers). This is a personal favourite but be warned that I like Belmondo in anything, even when he’s over-acting like crazy

• Mother and the whore, the/Maman et la putain, la/France/Eustache/1973: Eustache truly is a child of the new wave and this film about post may 68 relationships is as good as any of the major entries in the new wave canon

• Mad adventures of rabbi Jacob, the/Aventures de rabbi Jacob, les/France/Oury/1973: “Salomon, but you’re a jew!!??” says the main character to his driver, DeFunes is hilarious and this film is a good showcase for his physical brand of humour. Pretty low brow but always hilarious

• Day for night/Nuit américaine, la/France/Truffaut/1973: Truffaut’s love of cinema shines through in this film. I love how all the characters are so enthusiastic about the decidedly mediocre movie they’re making.

• Long goodbye, the/USA/Altman/1973: A classic noir novel meets 70s Californian indolence

• Enter the dragon/USA/Clouse/1973: That’s some kickass kung fu, Bruce Lee can only play Bruce Lee but he does it with so much charisma it doesn’t matter

• Going places/Valseuses, les/France/Blier/1974 : The original (French) title is slang for testicles and this road movie about masculinity, youth and all around male anarchistic behaviour spares no one along it’s joyous course. Blier would later make one about the more feminine side of men with “Tenue de soirée”.

• Chinatown/USA/Polanski/1974: Another 70s take on noir, one of Nicholson’s great roles

• Graveyard of honor/Japan/Fukasaku/1975: Filmed in a gritty, documentary style, this movie presents a character consumed by an inextinguishable lust for (self) destruction. Like many of Fukasaku’s movies the focus is on post WWII Japanese life among the many individuals destabilized by that period.

• Taxi driver/USA/Scorsese/1976: Shots of the city at night are impressive. This movie makes you think about what we, as viewers, are really asking for when we want the main character to give us the “pay off”.

• Annie Hall/USA/Allen/1977: The quintessential Allen movie, it’s hard not to love Annie Hall

[designersheep]

^ I'm reading 'em

Zerkalo (Mirror) by Andrei Tarkovsky

The most personal film by one of the greatest film-maker of all time, Andrei Tarkovsky.

Click the title for imdb link.

Click HERE for DVD Beaver review.

Click HERE for Amazon UK purchase.

BUY NOW WATCH NOW!

[Fuuma]

Fuuma's top 100 Movies: 80s

• Choice of arms/Choix des armes, le/France/Corneau/1981: Classic post ww2 French gangster (Montand) meets the new breed of 80s disenfranchised small time street thug (Depardieu). Corneau manages to make a film that doesn’t crash under the weight of it’s duality; as much a confrontation between two genres of filmmaking/characters as it is a compelling drama with well developed protagonists

• Under suspicion/Garde à vue/France/Miller/1981: Intimist drama where a tough, working class cop (Ventura) faces a cultured, disenchanted bourgeois suspect (Serrault)

• Clean slate/Coup de torchon/France/Tavernier/1981: An American noir novel (Pop. 1280 by Jim Thompson) transposed to the French African colonies (trading southern racism for French colonialism) and masterfully directed by Tavernier. Violence and evil was never this banal and friendly

• Knock on wood/Chèvre, la/France/Veber/1981: Hilarious buddy film where Depardieu plays straight man to funnyman Richard’s pathetically unlucky looser.

• Blade runner/USA/Scott/1982: Thought provoking, visually impressive and aiming at making us think about the actual world we live in, this is sci-fi at its best.

• To our loves/À nos amours/France/Pialat/1983: Pialat’s cinematic style is a mixture of documentary realism tampered by a painter’s eye. This is now available on DVD (criterion) and the extras really give an insight into his filmmaking process

• Sans soleil/France/Marker/1983: A cinematic essay (how rare is this?!) on time, space and the cultural landscape. Marker is truly an innovative filmmaker, I’d be hard pressed to compare him to anyone else

• Paris, Texas/Germany/Wenders/1984: A haunting road movie, set in America, made by a German.

• Betty blue/37,2 le matin/France/Beinex/1986: Great adaptation of an amazing book.

• Last emperor, the/Italy/Bertolucci/1987: Saw this when it came out in 87 (when I was a kid) and have been in awe of the movie ever since. A sprawling epic

• Akira/Japan/Otomo/1988: An absolute classic of the cyberpunk AND animation genres.

• Killer, the/HK Woo/1989: Bullet ballet and melodramatic heroism at it’s best, this movie owes a lot to Le Samouraï (see 60s on my list).

• Kiki’s delivery service/Japan/Miyazaki/1989: Had to have one Miyazaki in there, perfect if you have kids, perfect if you don’t. This one is truly endearing and covers all the classic Miyazaki themes: flight, coming of age, love, magic/the mystical world, old European architecture. You have to marvel at the way the characters move, perfectly evoking human mannerisms

• Crimes and misdemeanors/USA/Allen/1989: This one asks very serious questions about guilt and the consequences of your actions, all wrapped up in Allen’s usual brand of self-deprecating humour

[Ryan]

+1 on goonies

anyone else ever notice that sometimes on TV Gleaming the Cube is retitled a brothers revenge or some ish?

what about RAD?

and

Transformers The Movie

[ordo]

Fuuma's top 100 Movies: 80s

• Kiki’s delivery service/Japan/Miyazaki/1989: Had to have one Miyazaki in there, perfect if you have kids, perfect if you don’t. This one is truly endearing and covers all the classic Miyazaki themes: flight, coming of age, love, magic/the mystical world, old European architecture. You have to marvel at the way the characters move, perfectly evoking human mannerisms

I agree - this is one of my favourite Miyazaki movies. They all really need to be seen - true treasures.

For another Studio Ghibli (though not Miyazaki) movie, check out Grave Of The Fireflies - it is heart rending. Apparently Akiyuki Nosaka lost his little sister during the war to malnutrition and blamed himself for her death. He wrote Hotaru no haka (A Grave of Fireflies) in 1967 to come to terms with it (thx IMDB). Powerful stuff.

[airfrogusmc]

Fuuma's top 100 movies: 70s (is someone still reading this thread??)

• Get carter/UK/Hodges/1971: Hard hitting hard-boiled action/thriller with Michael Caine who displays serious acting chops

• Aguirre, the wrath of god/Germany/Herzog/1972: Herzog characters are always on the brink of madness as they vainly grasp at something beyond the reach of Man.

• Money Money Money/Aventure c'est l'aventure, L'/France/Lelouch/1972: Very funny film about a bunch of gangsters who take advantage of the 70s political instability to further their monetary interests. Watch out for the Stalin Ferrari jokes.

• Godfather, the /USA/Coppola/1972: Everybody has seen this…

• Magnificent one, the/Magnifique, le/France/DeBroca/1973: The ancestor of all those whacked out spy comedies (see Austin powers). This is a personal favourite but be warned that I like Belmondo in anything, even when he’s over-acting like crazy

• Mother and the whore, the/Maman et la putain, la/France/Eustache/1973: Eustache truly is a child of the new wave and this film about post may 68 relationships is as good as any of the major entries in the new wave canon

• Mad adventures of rabbi Jacob, the/Aventures de rabbi Jacob, les/France/Oury/1973: “Salomon, but you’re a jew!!??†says the main character to his driver, DeFunes is hilarious and this film is a good showcase for his physical brand of humour. Pretty low brow but always hilarious

• Day for night/Nuit américaine, la/France/Truffaut/1973: Truffaut’s love of cinema shines through in this film. I love how all the characters are so enthusiastic about the decidedly mediocre movie they’re making.

• Long goodbye, the/USA/Altman/1973: A classic noir novel meets 70s Californian indolence

• Enter the dragon/USA/Clouse/1973: That’s some kickass kung fu, Bruce Lee can only play Bruce Lee but he does it with so much charisma it doesn’t matter

• Going places/Valseuses, les/France/Blier/1974 : The original (French) title is slang for testicles and this road movie about masculinity, youth and all around male anarchistic behaviour spares no one along it’s joyous course. Blier would later make one about the more feminine side of men with “Tenue de soiréeâ€.

• Chinatown/USA/Polanski/1974: Another 70s take on noir, one of Nicholson’s great roles

• Graveyard of honor/Japan/Fukasaku/1975: Filmed in a gritty, documentary style, this movie presents a character consumed by an inextinguishable lust for (self) destruction. Like many of Fukasaku’s movies the focus is on post WWII Japanese life among the many individuals destabilized by that period.

• Taxi driver/USA/Scorsese/1976: Shots of the city at night are impressive. This movie makes you think about what we, as viewers, are really asking for when we want the main character to give us the “pay offâ€.

• Annie Hall/USA/Allen/1977: The quintessential Allen movie, it’s hard not to love Annie Hall

No Apocalypes Now or Mean Streets instead of Taxi Driver?

[airfrogusmc]

-Breathless/À bout de souffle/France/Godard/1960: Frantic, fun, irreverential, innovative. It’s a monument but without any of the pomposity associated with that concept.

-Avventura, l'/Italy/Antonioni/1960: This could be called sex and architecture, the attention given to bodies, shapes and forms is amazing. So modern in its aesthetic and mindset, pretty much everything else looks dated when compared to it. “-Godard: The drama is no longer psychological, but plastic.-Antonioni: It's the same thing†(okay this conversation was about Red Desert but still…)

-Dolce vita, la/Italy/Fellini/1960: So stylish

-Last year at Marienbad/L’année dernière à Marienbad/France/Resnais/1961: Based on a scenario by Alain Robbe-Grillet, one of the main figures of the “nouveau roman†literary movement. Not so much a film that unfolds in a logical way as one made to evoke concepts and memories. A great discussion starter, you can talk about its meaning for hours after a viewing

-Leopard, the/Italy/Visconti/1963: The last days of the aristocratic era presented by a communist prince (I’m talking about Visconti here), who, by virtue of his dual nature, conveys the right mix of hope and melancholy

-Band of outsiders/Bande à part/France/Godard/1964: Godard successfully re-arranges the polar for his own device

-Woman in the dunes/Japan/Teshigahara/1964: The most tactile film I’ve ever seen and a powerful existentialist allegory.

-Battle of Algiers, theAlgeria/Pontecorvo/1965: At times you feel like you’re watching a documentary. I attended a screening where a couple of the actors where present (some of them are now important members of the Algerian government) and they were basically playing themselves, blurring the line between reality and fiction. This is essential viewing in these times of terrorism hysteria

-Blow-up/Italy/Antonioni/1966: Swinging London meet Antonioni’s take on reality and bourgeois existential ennui. Asks a lot of interesting questions about art, representation and truth.

-Persona/Sweden/Bergman/1966: If you’re interested in the nature of identity and individuality see this.

-Belle de jour/France/Bunuel/1967: Threads the murkier depths of human sexuality

Samourai, le/France/Melville/1967: Delon is the height of laconic cool in this. Melville’s hieratic characters, reminiscent of the style of Bresson, seem to be unable or unwilling to escape the highly codified destinies the filmmaker has in store for them

-Stolen kisses/Baisés volés/France/Truffaut/1968: Breezy and fun without being inconsequential. Every man can recognize at least part of himself in eternal adolescent Antoine Doinel

-Once upon a time in the west/Italy/Leone/1968: The western to end all westerns, so epic it hasn’t been topped yet.

Unfaithful one, the/Femme infidèle, la/France/Chabrol/1969: Had to pick a Chabrol, any number of his movies could have been included. Chabrol is the master of thrillers illustrating the “bourgeois malaiseâ€

Z/France/Costa-Gavras/1969: Major entry in the political film genre

My night at Maud's/Ma nuit chez Maud/France/Rohmer/1969: Be warned that Rohmer’s movies are ultra talkative and unabashedly intellectual (that’s a good thing, right?) but the ethical dilemmas he poses are always fascinating

The Wild Bunch (Peckinpah) Otherwise some good picks

[airfrogusmc]

Fuuma's top 100: 50s

D.O.A./USA/Maté/1950: A man stumbles into a police station to report a murder; his own. If that’s not enough to pique your interest then I wonder what would work. Don’t read additional reviews, this one is enough and leaves you in the dark on crucial plot points

-Rashomon/Japan/Kurosawa/1950: Well known for its use of contradicting flashbacks. The long take where the woodsman is walking through the forest is the perfect example of music, camerawork and previous narrative drive coming together in a magical moment (even though it’s just a dude walking through the woods)

-Tokyo story/Japan/Ozu/1953: Very cliché choice but this is so moving and affecting I had to include it

-Touchez pas au grisbi/France/Becker/1954: Another great heist/crime flick with Jean Gabin. The title can be translated as “Don’t touch the loot!â€

-Seven samurai, the/Japan/Kurosawa/1954: Kurosawa shows such a mastery of movement; the quintessential “action†film

-Diabolique/Diaboliques, les/France/Clouzot/1955: Another gripping Clouzot thriller, it has lost none of its punch. Hitchcock was so taken with it he asked the authors (Boileau/Narcejac) of the original story to write something for him which resulted in Vertigo.

-Rififi/Rififi chez les hommes, du/France/Dassin/1955: Classic long heist sequence, uninterrupted by music or speech, which would inspire countless directors (and real life criminals) in years to come

-Bob le flambeur/France/Melville/1955: Great morality tale about gangster honour, luck and getting older. The street sequences are exquisite and definitely inspired the new wave directors who started shooting on location, with natural light and portable cameras.

-Night and fog/Nuit et brouillard/France/Resnais/1955: 30 Min documentary about the Holocaust (among the first ones made), might be less graphic than some but the quality of the direction and narration makes it all the more affecting. The shots of a gas chamber ceiling, its solid concrete surface profoundly scratched by a thousand frantic fingernails, will haunt you for days

-A man escaped/Un condamné à mort s'est échappé/France/Bresson/1956: Bresson’s minimalist, almost ascetic vision of cinema shines through in this tale of quiet perseverance.

-Paths of Glory/USA/Kubrick/1957: This, and all quiet on the western front, are my favourite (anti) war movies. Oh and it’s the only Kubrick film on the list.

Vertigo/USA/Hitchcock/1958: The most personal of Hitchcock’s movies, the tale of a man who obsessively tries to transform a woman into something else (a physical projection of his own fantasies) to the point of obliterating her own identity. Everything is twisted and spiralling in this film, from staircases and roads to the heroine’s hairdo.

Les Quatre cents coups Truffaut

[Rodeo]

The Outsiders

[Rodeo]

Gangster NO.1

[MilSpex]

You Got Served.

[Fuuma]

To answer airfromgusmc when you only list your 100 fav movies and at most 2 by the same director there are some great movies being left out....

For exemple while I do Iove Les 400 coups I still prefer the second opus (actually the third) Baisers volés, hence the lack of 400 coups on my list.

[airfrogusmc]

To answer airfromgusmc when you only list your 100 fav movies and at most 2 by the same director there are some great movies being left out....

For exemple while I do Iove Les 400 coups I still prefer the second opus (actually the third) Baisers volés, hence the lack of 400 coups on my list.

Yeah I know its tough to only be able to pick 100 favorites. I can see you're allot like me in that you see a good number of films. Great list by the way. I personally like Apocalpse over the the Godfather 1 and II because it was such a personal film for Coppola. All three are just great American film making. There are some on your list I am now going to search out and see. THANKS

[Fuuma]

Yeah I know its tough to only be able to pick 100 favorites. I can see you're allot like me in that you see a good number of films. Great list by the way. I personally like Apocalpse over the the Godfather 1 and II because it was such a personal film for Coppola. All three are just great American film making. There are some on your list I am now going to search out and see. THANKS

The conversation is also an excellent movie by Coppola. Great use of sound.

[Fuuma]

Fuuma's top 100 movies: 90s

• Man bites dog/C'est arrivé près de chez-vous/Belgium/Belvaux/Ponzel/Poelvoorde/1992: A black comedy about the rapidly blurring relationship between observer and subject in contemporary media, in this case illustrated by watching a fake documentary crew as they follow, and gradually get more involved with, a psychopathic thief

• Hard Boiled/HK/Woo/1992: The most impressive pure action movie I’ve ever seen, the final showdown in the hospital is masterful

• Farewell my concubine/Chine/Kaige/1993: A magnificent walk through China’s chaotic 20th century transformation and probably Leslie Cheung’s greatest performance

• Three colors: Blue/Trois couleurs: Bleu/France/Kieslowski/1993: Binoche shows great skill in approaching this difficult role, the tints and images are gorgeous and this re-interpretation of the three colors of the French flag (blue=liberty) take on a whole different meaning. Liberty is used here in the sense of severing all points of contact with pain and social interaction, following the death of a loved one.

• Exotica/Canada/Egoyan/1994: A movie about a strip club that is neither vulgar nor about sexuality/money, but concerns remembrance, guilt and parenthood, no really, I swear!

• Three colors: Red/Trois couleurs : Rouge/France/Kieslowski/1994: the final chapter of the colour trilogy, Kieslowski’s fascination with chance encounters is masterfully illustrated during the great ending.

• Chungking express/HK/Wong/1994: The lives of 20-something aimless characters intersect amid a thoroughly modern urbanity in these two intermingled love stories. Wong-Kar-Wai uses saturated colours and freeze frame to elevate these glimpses into instantaneity into moments to be remembered.

• Hate/Haine, la/France/Kassovitz/1995: A great film about racism, this one has a B&W documentary feel and some natural acting that makes it a pleasure to watch

• Maborosi/Japon/Kore-eda/1995: A meditation on loss. The character arc of the main character, told in images and through mostly silent acting, is what makes this a work of tremendous impact

• Ridicule/France/Leconte/1996: a western, set in 18 century France, where duels aren’t fought with guns but words (I’m paraphrasing something Ebert said about the movie)

• Made in Hong Kong/HK/Chan/1997: Chan movies are mainly concerned with the relationship between Hong Kong and the mainland and what it entails in term of identity. There’s also a half-naked, skinny Chinese dude who prances around with a gun tucked in his underwear in case you’re into that

• Hana-bi/Japon/Kitano/1997: A contemplative and poetic film punctuated by disturbing explosions of violence

• Cure/Japon/Kurosawa (Kiyoshi)/1997: Kurosawa has made a name for himself crafting existentialist horror films that owe as much to Sartre as to traditional b-movie fare.

• Mission, the/HK/To/1999: IMHO the 90s were Hong Kong’s cinematic decade and this movie, courtesy of the very innovative Milky Way’s studio head Johnnie To, ends those years with a bang; a quirky, offbeat, character driven gangster movie that goes everywhere but where you most expect it.

[kobezzz]

blow

Fear and loathing in Las Vegas

kill bill 1/2

pulp fiction

[fsdf]

I'm still a youth, I hope, but what the hell:

American Beauty

A Clockwork Orange

One Flew Over the Cuckoo's Nest

Requiem for a Dream

Romy & Michele's Highschool Reunion

Pulp Fiction

American History X

Star Wars (original trilogy)

Dawn of the Dead (original)

The Exorcist

Aliens

To Kill a Mockingbird

The Little Mermaid

Full Metal Jacket

Moonstruck

Se7en

Goodfellas

The Usual Suspects

etc, etc, etc

[youngluc]

not sure if this was mentioned yet, but i just saw 'the ballad of jack and rose' and really enjoyed it. definitely kinda weird, but good.

[bangbangbang]

wth. Here's a few, paired:

Harold & Maude

Quadrophenia

Ikiru

Ran

Videodrome

Naked Lunch

Chungking Express

Fallen Angels

Spirited Away

Jinroh

[jf30]

Donnie Darko

[sybaritical]

What about Bladerunner?

[poopie boy]

has anyone seen la haine? i've been meaning to see this but haven't bought myself my new tv yet so i haven't..

is it as good as it gets credit for?

[wEstSidE]

it's damn good. seen it at least twice and i wouldn't mind seeing it again.

THE GREATEST MOVIE EVER MADE IS FREDDY GOT FINGERED.

WATCH IT. LOVE IT.

if you don't like freddy got fingered then you have no culture.

[Fuuma]

has anyone seen la haine? i've been meaning to see this but haven't bought myself my new tv yet so i haven't..

is it as good as it gets credit for?

See my last post (fav movies of the 90s...there's la haine in there) So yeah, i really like that movie.