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1. Nashville (dir. Robert Altman; Paramount, 1975)
2. Magnolia (dir. P.T. Anderson; New Line, 1999)
3. Touch of Evil (dir. Orson Welles; Universal, 1958)
4. Citizen Kane (dir. Orson Welles; RKO, 1941)
5. Annie Hall (dir. Woody Allen; United Artists, 1977)
6. Sunset Boulevard (dir. Billy Wilder; Paramount, 1950)
7. Pulp Fiction (dir. Quentin Tarantino; Miramax, 1994)
8. Fantastic Mr. Fox (dir. Wes Anderson; 20th Century Fox/Indian Paintbrush, 2009)
9. The Godfather, Part II (dir. Francis Ford Coppola; Paramount, 1974)
10. Taxi Driver (dir. Martin Scorsese; Columbia, 1976)
11. Blade Runner (dir. Ridley Scott; Warner Bros., 1982)
12. Easy Rider (dir. Dennis Hopper; Columbia, 1969)
13. 8 � (dir. Federico Fellini; Embassy, 1963)
14. Raging Bull (dir. Martin Scorsese; United Artists, 1980)
15. The Royal Tenenbaums (dir. Wes Anderson; Touchstone, 2001)
16. Casablanca (dir. Michael Curtiz; Warner Bros., 1942)
17. A Clockwork Orange (dir. Stanley Kubrick; Warner Bros., 1971)
18. The Shawshank Redemption (dir. Frank Darabont; Warner Bros./Castle Rock, 1994)
19. Do the Right Thing (dir. Spike Lee; Universal, 1989)
20. Once Upon a Time in the West (dir. Sergio Leone; Paramount, 1968)
21. Little Miss Sunshine (dir. Jonathan Dayton/Valerie Faris; Fox Searchlight, 2006)
22. Blue Velvet (dir. David Lynch; DEG, 1986)
23. Vertigo (dir. Alfred Hitchcock; Paramount, 1958)
24. Shane (dir. George Stevens; Paramount, 1953)
25. North by Northwest (dir. Alfred Hitchcock; MGM, 1959)
26. 2001: A Space Odyssey (dir. Stanley Kubrick; MGM, 1968)
27. In Cold Blood (dir. Richard Brooks; Columbia, 1967)
28. Fear and Loathing in Las Vegas (dir. Terry Gilliam; Universal, 1998)
29. Raising Arizona (dir. Joel and Ethan Coen; 20th Century Fox, 1987)
30. Chinatown (dir. Roman Polanski; Paramount, 1974)
31. Network (dir. Sidney Lumet; United Artists, 1976)
32. The Shining (dir. Stanley Kubrick; Warner Bros., 1980)
33. The Wild Bunch (dir. Sam Peckinpah; Warner Bros., 1969)
34. Rushmore (dir. Wes Anderson; Touchstone, 1998)
35. Grizzly Man (dir. Werner Herzog; Discovery Films, 2005)
36. The Battle of Algiers (dir. Gillo Pontecorvo; Rizzoli, 1967)
37. Boogie Nights (dir. P.T. Anderson; New Line, 1997)
38. A Face in the Crowd (dir. Elia Kazan; Warner Bros., 1957)
39. Psycho (dir. Alfred Hitchcock; Paramount, 1960)
40. Dr. Strangelove, or How I Learned to Stop Worrying and Love the Bomb (dir. Stanley Kubrick; Columbia, 1964)
41. Gone with the Wind (dir. Victor Fleming/George Cukor; MGM/Selznick International, 1939)
42. Falling Down (dir. Joel Schumacher; Warner Bros., 1993)
43. Schindler�s List (dir. Steven Spielberg; Universal, 1993)
44. The French Connection (dir. William Friedkin; 20th Century Fox, 1971)
45. Star Wars Episode V: The Empire Strikes Back (dir. Irvin Kershner; 20th Century Fox/Lucasfilm, 1980)
46. Bonnie and Clyde (dir. Arthur Penn; Warner Bros., 1967)
47. Electra Glide in Blue (dir. James William Guercio; United Artists, 1973)
48. Cool Hand Luke (dir. Stuart Rosenberg; Warner Bros., 1967)
49. Adventureland (dir. Greg Mottola; Miramax, 2009)
50. Halloween (dir. John Carpenter; Compass Int., 1978)
51. Elephant (dir. Gus Van Sant; HBO/IFC, 2003)
52. Monty Python and the Holy Grail (dir. Terry Gilliam/Terry Jones; Cinema 5/Columbia, 1975)
53. Up in the Air (dir. Ivan Reitman; Paramount, 2009)
54. It�s a Wonderful Life (dir. Frank Capra; RKO, 1946)
55. The Naked Gun: From the Files of Police Squad! (dir. David Zucker; Paramount, 1988)
56. Natural Born Killers (dir. Oliver Stone; Warner Bros., 1994)
57. American Beauty (dir. Sam Mendes; DreamWorks, 1999)
58. Manhattan (dir. Woody Allen; United Artists, 1979)
59. Blazing Saddles (dir. Mel Brooks; Warner Bros., 1974)
60. Who Framed Roger Rabbit (dir. Robert Zemeckis; Touchstone, 1988)
61. My Own Private Idaho (dir. Gus Van Sant; New Line, 1991)
62. All Quiet on the Western Front (dir. Lewis Milestone; Universal, 1930)
63. Brazil (dir. Terry Gilliam; Universal, 1985)
64. Amadeus (dir. Milos Forman; Warner Bros., 1984)
65. Little Big Man (dir. Arthur Penn; Paramount, 1970)
66. L.A. Confidential (dir. Curtis Hanson; Warner Bros., 1997)
67. Million Dollar Baby (dir. Clint Eastwood; Warner Bros., 2004)
68. Dirty Harry (dir. Don Siegel; Warner Bros., 1971)
69. Gattaca (dir. Andrew Niccol; Columbia, 1997)
70. One Flew Over the Cuckoo�s Nest (dir. Milos Forman; United Artists, 1975)
71. Dead Poets Society (dir. Peter Weir; Touchstone, 1989)
72. 12 Angry Men (dir. Sidney Lumet; United Artists, 1957)
73. A Streetcar Named Desire (dir. Elia Kazan; Warner Bros., 1951)
74. The Silence of the Lambs (dir. Jonathan Demme; Orion, 1991)
75. Singin� in the Rain (dir. Gene Kelly/Stanley Donen; MGM, 1952)
76. The Sixth Sense (dir. M. Night Shyamalan; Touchstone, 1999)
77. A Christmas Story (dir. Bob Clark; MGM, 1983)
78. National Lampoon�s Vacation (dir. Harold Ramis; Warner Bros., 1983)
79. Full Metal Jacket (dir. Stanley Kubrick; Warner Bros., 1987)
80. Bamboozled (dir. Spike Lee; New Line, 2000)
81. Hot Fuzz (dir. Edgar Wright; Focus Features, 2007)
82. Zelig (dir. Woody Allen; Orion/Warner Bros., 1983)
83. To Kill a Mockingbird (dir. Robert Mulligan; Universal, 1962)
84. Dogtown and Z-Boys (dir. Stacy Peralta; Sony Pictures Classics, 2002)
85. The Manchurian Candidate (dir. John Frankenheimer; United Artists, 1962)
86. Talk to Her (dir. Pedro Almodovar; Sony Pictures Classics, 2002)
87. Fargo (dir. Joel and Ethan Coen; Polygram, 1996)
88. Roger and Me (dir. Michael Moore; Warner Bros., 1989)
89. Toy Story (dir. John Lasseter; Pixar/Walt Disney, 1995)
90. The Conversation (dir. Francis Ford Coppola; Paramount, 1974)
91. Bullitt (dir. Peter Yates; Warner Bros.-Seven Arts, 1968)
92. Die Hard (dir. John McTiernan; 20th Century Fox, 1988)
93. Alien (dir. Ridley Scott; 20th Century Fox, 1979)
94. The Truman Show (dir. Peter Weir; Paramount, 1998)
95. Star Wars Episode IV: A New Hope (dir. George Lucas; 20th Century Fox/Lucasfilm, 1977)
96. It Happened One Night (dir. Frank Capra; Columbia, 1934)
97. Some Like It Hot (dir. Billy Wilder; United Artists, 1959)
98. Changeling (dir. Clint Eastwood; Universal, 2008)
99. The Blues Brothers (dir. John Landis; Universal, 1980)
100. Almost Famous (dir. Cameron Crowe; DreamWorks/Paramount, 2000)
Ratings
Most Recently Rated
Reviews
Electra Glide in Blue (1973)
The Pessimistic Outlook of Individuality
Electra Glide in Blue, a 1973 film notable for being director James William Guercio's debut film, stars Robert Blake and Billy "Green" Bush as two cops who attempt to fulfill their own dreams: John (Blake) - a promotion; Zipper (Bush) - a bike. This film has recently gained critical praise, despite the original derision towards it and the dismal box office numbers for a film of this caliber. It's also notable for being the beginning of the short-lived acting careers of many Chicago members (all four of them play minor-role hippies).
For the plot: in a nutshell, John wants to get a promotion while Zipper wants the best bike in the world. John gets his promotion (to detective's driver), but with an added price: either conform to what detective Harve says or to write tickets on a motorcycle. John, seeing what Harve does for confessions and to solve murder cases quick, gives up his dream to find another one, leading to his own death. As for Zipper, he steals something viable towards the case and buys his dream bike out of his childlike naivete.
For the actual critique itself: the film has some of the most inspired cinematography I have ever seen. Using wide shots to show how isolated John, Zipper, and Harve are, it also uses zoom outs to show how the soul leaves the body, not caring about its former life. With that, it overshadows the hokey acting and the deliberately loose plot (patterned after "Easy Rider") - making Guercio seem like a master of the camera on his first try.
The sound quality varies on the copy I watched: at points, the film seems so crystal clear while at other points, Zipper sounds muffled (1970s muffle) whenever he speaks his innermost fears. Is that deliberate on the sound crew's behalf, knowing Guercio's production work with Chicago and Earth, Wind & Fire? As for other parts of the film, it worked good as a clash between the real and the fake, while being a tale against being a manchild.
Overall, I give the film an A- for trying so hard and working about 95% of the time. This film has to be seen - due to its obscurity, nobody gets why too much freedom can make somebody fake or make somebody real due to loneliness. Oh, and there's some good dry humor in here: Bob Zemko playing the man who doesn't know who Bob Zemko is; John displaying his skills as a conservative-really-liberal cop; and Zipper's obsession with comic books, especially "Pogo". It, to me, predicted the rise of Chicago's mediocrity (John is Guercio, Zipper is Chicago - as Zipper becomes dumber to get his dream, John matures astoundingly - and he's killed by Terry, who killed himself in 1978). Yeah, after some bad things, this film becomes quite symbolic of many things.
Ratatoing (2007)
Precisely!
Ratatoing is one of the year's best films. In fact, it's so good, it deserves an Oscar for Best Animated Feature, despite this being made in Japan.
To begin with, the voice acting is stunning and breath-taking. You can hear the natural awkwardness of the VAs in one scene, when Carol (played by Crow T. Robot) takes Tom Servo's order.
However, the main character in this story, Marcel Toing (voiced by Thereis N. Ospoon and Deepercutt Evan Welch at the same time), has a paranoia of meeting with the customers and having to give out the secret ingredients of what makes Ratatoing the Oscar-winner it is: Every Thursday, he, Carol, and some obese mouse named Greg Kinnear (voiced by Captain Amazing) steal foods from Gaia Online's real-life Brazilian restaurant, inhabited by none other than Leticia T.S. Augusto, some forum member from Rio de Janeiro.
However, after Ratatoing goes belly-up, the Scientologist restaurant isn't getting anywhere, so the male rats steal the food and get decapitated by Ian McKinley the bowl of gumbo shaped like a cat. Yes, that is THE Ian McKinley from Final Destination 3.
A week later, Carol and Marcel marry with Leticia being the priestess over at Carl's Jr. while the male mice's bodies and Greg Kinnear went on vacation to Valley Lodge, where Manos: The Hands of Fate took place.
No wonder why this deserves an Oscar. This was animated, written, and directed by Jason Friedberg and Aaron Seltzer. They're the best directors in the world.
Seriously, don't watch this movie. It's so vain, you probably might get a headache and think about iCarly instead.
That's what I'm gonna do!
Hot Fuzz (2007)
It's just too perfect on the first try
This film reminds you of the previous film that Simon Pegg, the new king of comedy since Mel Brooks and the ZAZ (Zucker Abrahams Zucker, the guys who made Airplane! and Hot Shots!) team, made, which was Shaun of the Dead. It also reminds you of films like Final Destination and Child's Play because it was so flippin' gory! However, what I can say about this film was that it was a perfect slapstick to watch. I loved every minute of it, especially the subtle black humor that happened at the time when both the mansion exploded and when Nick and Danny were watching action films and drinking alcohol. I loved the way they parodied everything by actually sticking to their guns and the real genres, rather than try to make a joke from every cliché that the world had seen in films like Meet the Spartans and Strange Wilderness. It, however, has some gory deaths, a lot of profanity, and some underage alcohol drinking, as in comedy. It is R for all of those, but I caught the film on Cinemax. Boy, it was funny and it succeeded at that goal.
I just don't know why people don't understand the British way of making spoofs. It's about as funny as an American spoof, like Blazing Saddles of Airplane!, but I guess it tries to be serious and it succeeds. I dare you to see this film if you get the chance, but if you are that fan of Meet the Spartans and absolutely hate any smart humor, this film is not for you. You have to understand. Some jokes do miss the target, but you'll get it the second go around.
Oh, and thank God this film made more than Meet the Spartans.
Shriek If You Know What I Did Last Friday the Thirteenth (2000)
Possibly Better Than Scary Movie (Even Erlewine agrees!)
Shriek If You Know What I Did Last Friday The 13th is more of a non-sensical comedy than a whole parody, but it contains so much parody elements. In fact, I can say it is better than Scary Movie, despite the ratings here. It's much more thought of and really goes into depth into the scenes, causing for a pretty good parody to be made.
The story is about some guy named Dawson, who arrives at a school where he meets 5 friends that originally bully him around, but soon become his buddies. They all get notes from this guy who knows what they did with Dawson last wherever-they-were and try to find him so they can kill him. However, he always knows....
Rating: 8/10 (there are flaws.)
Blazing Saddles (1974)
Absolutely One of the Greatest Mel Brooks Films Of All Time
Mel Brooks has outdone himself this time around. He has not only made fun of the Western and added a few traits at the time to it, he has also made fun of the blaxploitation genre that was thriving in the underground cinema in 1974. You see, this was not just something that Mel had pop into his head and start making immediately. He saw what politically correct can do, so he made this whilst combining blaxploitation and Western genres to make this parody.
Cleavon Little stars as Black Bart, a railroad worker destined to be hung because he hit his boss in the head with a shovel, is appointed mayor of Rock Ridge, which is to be destroyed, by greedy Attorney General Hedley "Hedy" Lamarr. At first, Bart is d by the town, made up of a bunch of Johnsons, but finds a friend and soon defeats Mongo, an enemy of the town who becomes their biggest ally. Bart finds out about Hedley's plan to destroy Rock Ridge, so he gets some friends of his and makes the town work together with them. They end up making a faux Rock Ridge with faux people and the enemies, which include Mexicans and Hell's Angels, get fooled. Somehow, the town attacks and they end up breaking the fourth wall to the extent that they fight at Warner Bros. Pictures and Hedley is shot at Grauman's Chinese Theater.
I give this move a 9/10, because it can drag on and doesn't have as much laughs as his later films, like "Spaceballs" or "High Anxiety".
Wild Hogs (2007)
It's good
Wild Hogs is a pretty good film if you like films like Blazing Saddles, City Slickers, and Spaceballs, but not if you like a good parody like Hot Shots, which is pretty good. Why do people dislike this? I thought it was a good film and we should parody the homos more, but why it was so reviled is because we have to be so politically correct! I give it a 10/10. Good original comedy for 4 aging bikers that have midlife crisises, but why John Travolta? He was good and he was the dramatic foil to the film, but can you get an older actor to play Del Fuegos' man's dad, like George Carlin? He'll do good and plus, he looks like a biker already. Yeah, I can't wait until this film actually makes it onto the IMDb Top 250 as one of the best films of all time. Yeah, I sure can't wait for that to come up.
Superbabies: Baby Geniuses 2 (2004)
Who let Bob Clark become into this?
This film is officially one of the worst in history, even though it's now at #11 on the Crap List on IMDb. It's 0 on a lot of the review aggregators on the Internet and that's basically what I believe. I saw this on HBO in 7th grade and laughed at some of the scenes, but as I got older, I was like, "Why in the hell did Bob Clark make this?" You wanna know why? He couldn't make another "Porky's" or "A Christmas Story" because for one thing, we love those films! He wants to go back to his She-Man days of the 1960s! Did he just pick up some retard's script and say, "That's an Oscar-winning film?" Probably. Mac and Me is better than this piece of crap and so is Leonard Part 6! Those are classics compared to this! Ishtar is better and should win all of the Oscars! Save us from this hell! Score: 0/10!