Discussions Search    Reviews    Search Aid    Buzzzz    Google@Omgili    Q&A    Health Add to iGoogle   Bookmark and Share

  Advanced Search

Welcome to Omgili,
Omgili (Oh My God I Love It ;) is a search engine for discussions. With Omgili you can find answers and solutions, debates, discussions, personal experiences, opinions and more... To learn more about Omgili click here.

This is a complete preview of the discussion as it was indexed by Omgili crawlers. Use this preview if the original discussion is unavailable.
Click here to view the original discussion.
[http://forums.lowerdecks.com/index.php?...]
Click here to search for discussions with Omgili discussions search engine.

Waterloo's Ultimate Movie Ranking - The Observation Lounge

This is the last one I'll be doing for a while (read: years), so you have slightly less to complain about.

Otherwise, I think I worked out about fifteen weeks of sitting through this... 300.

The Avengers (1998) (new entry) Now this is a great way to start a list.

This one gets so little respect it’s not even a punch line.

That’s bad, right?

But ‘The Avengers’ is good.

Lead actors Ralph Fiennes, Uma Thurman, and Sean Connery hold the key to the appeal of the film, a straight send-up of spy conventions (never having seen the TV series, I could care less, although still appreciate, just how this thing was originally conceived), the opposite number of Austin Powers, who debuted a year earlier, and British culture.

Filled with memorable set pieces and anchored with charm and true affection, ‘The Avengers’ is escapism in the best sense.

Nothing’s at stake, just a bit of fun. 299.

Signs (2002) (new entry) M.

Night Shyamalan, supposedly already one film expired from his original sell-by date, starts unleashing the true potential of his gift to explore common stories in uncommon ways, using as his only gimmick the crop circles that are supposedly at the heart of his film.

Instead, it’s the alien invasion and one family’s efforts to live through it.

Mel Gibson and Joaquin Phoenix are at the head of the cast, but the young actors more than hold their weight, so that by the time Night has indulged in his delicious sense of destiny (the other overriding theme in his films), you’re still lingering on your affection for the family, and not worrying about the whole invasion thing anymore.

If the whole point is misdirection, then yeah, the guy’s guilty.

But if you let yourself be carried away, you’ll feel the magic at play. 298.

Reservoir Dogs (1993) (new entry) Quentin Tarrantino at the start of his career, in the film that’s still at the heart of the cult he built around him, a ditty about a bunch of bank robbers who are so elaborate in their scheming that the whole story unravels rather ironically around the discovery of a mole.

That’s my favorite part, anyway, the thing I best remember, poor Tim Roth bleeding all over himself.

Even the dialogue in this one, though as in any Tarrantino flick it’s there, I don’t remember so much, just the desperation, which is the underlying theme in all his films. 297.

All the Pretty Horses (2000) (new entry) Matt Damon and Henry Thomas are directed by Billy Bob Thornton in the first Hollywood adaptation of a Cormac McCarthy book in what is less a precursor to ‘No Country for Old Men’ as it is for ‘Brokeback Mountain,’ a tale of cowboy camaraderie in truly trying times, quiet as the day is long and piercing as heartbreak.

Penelope Cruz co-stars in one of her early Hollywood efforts, and it makes you wonder why it took so long for her to regain her reputation. 296.

Robin Hood: Men in Tights (1993) (177) Mel Brooks and Cary Elwes join unfairly underrated latter-day careers to send up the Sherwood legend in a farce that pulls no punches and mocks the Kevin Costner epic in every way possible, including dark-skinned sidekick (Achoo, played by Dave Chappelle in one of many early roles that still makes me scratch my head when it took so long and for him to launch his own series for people to realize he was funny) and an appearance by Richard the Lionhearted (Patrick Stewart!) at tale’s end. 295.

Mary Shelley’s Frankenstein (1994) (160) It still surprises me that it took so long for Hollywood to realize the original story was worth telling, too, but no surprise when I saw it that it took such talent as Kenneth Branagh and Robert De Niro to do it.

De Niro in particular, who can sometimes take his career for granted, knows a challenge when he sees one, and fully embraces the possibilities in taking on the Monster, is a highlight, as his character should be. 294.

Screwed (2000) (159) Speaking of Chappelle, here he is again, co-starring with Norm MacDonald, a singular talent I’ve followed from ‘Saturday Night Live’ to a pair of short-lived sitcoms, who has never gotten his due.

Here he plays a typically brash bumbler, and while not a classic by any means, ‘Screwed’ is all good fun and certainly worth spending the time with a few comedic gems. 293.

Master and Commander: The Far Side of the World (2003) (155) I confess to a number of things: one, I did not end up enjoying much the few books I did read in the Patrick O’Brian series this film is based on, and two, it has been a while since I watched it, so my memories are based mainly for my affections that drew me to the film in the first place, Russell Crowe and nautical adventures, the latter of which received a fair bit more attention with a certain Captain Jack Sparrow and the former of which has certainly made his way through a number of my other favorite films.

But I keep it on the list all the same, because I have a sneaking suspicion that another viewing would not radically alter my opinion, whatever it rests on now. 292.

Men in Black II (2002) (new entry) Being among the first DVDs I bought and also part of the tradition that was to follow a great number of later acquisitions I had not yet seen, this was a sequel to a film that had quickly become an all-time favorite, so there was a light riding on its reception.

There just wasn’t that much to worry about, as it turned out.

If I needed distractions, there were certainly plenty of them, from Patrick Warburton pulling a cameo in the beginning of the film to the worm aliens having an expanded role, but the chemistry between Tommy Lee Jones and Will Smith was still there, Laura Flynn Boyle made an excellent seductress of a foe, and the increasingly dependable Rosario Dawson was on hand to make everything else sizzle.

Plus, Michael Jackson.

Yeah, even the Gloved One was in it.

He didn’t know he was cashing in the last of his credibility, but even that’s worth it. 291.

Miami Vice (2006) (new entry) Jamie Foxx may have gotten most of the hype, coming off his Oscar win for ‘Ray,’ but Colin Farrell was the clear driving force of the film, unleashing yet another, grizzled, persona that all but makes the rest of the story moot as he makes his way through a romance that pretty much has something, I think, to do with the drug lord dilemma.

I can’t help it. You’ll see.

Farrell’s a favorite.

And he rarely does anything resembling wrong.

I have seen two of the films in this bunch: Robin Hood: Men in Tights and Mary Shelley’s Frankenstein.

The latter I thought was overwrought but the former I l-o-v-e. "We're men!

We're men in tights!

We roam around the forest looking for fights!"

290. Lady in the Water (2006) (new entry) A lot of the films that end up on my lists can be grouped within certain years, and most of the time, I really can’t help it.

It just turns out that way.

2006 was slightly different.

It was probably the peak time during my period working at a movie theater, and it was a pleasure knowing certain films were coming up, with their posters staring back at me for months.

Shyamalan was at it again.

The critics at this point had long made up their mind, and they had even convinced audiences to play along for the first time, but they were wrong again.

Centered perfectly around Paul Giamatti, whom I’d come to greatly admire right around this time, the rest of it is much the fable Night had promised. 289.

The Emperor’s New Groove (2000) (154) While drafting this expanded list, I was all set to include a few slightly more famous Disney animated features, because they had played crucial roles while I was growing up in my formative movie experience, but just couldn’t go through with it.

The films on this list are indicative of experiences I want to keep enjoying long into the future, not for nostalgia’s sake but because I can still appreciate their work now, which is not to say I think less of ‘Aladdin’ or ‘Beauty and the Beast’ now, but that I will more likely entertain myself with the characters of Patrick Warburton (he’s only now starting to get his due, but he’s been another long-term obsession of mine), David Spade, Eartha Kitt, and John Goodman, a product of the completely irreverent period that also produced ‘Hercules’ (which, sadly, I still know best from the terrific TV show that followed), when Disney stopped being earnest and started having fun, and none too soon, as it turned out. 288.

Philadelphia (1993) (147) Probably more than ‘Forrest Gump,’ which is paradoxically too iconic to have achieved it, this was the movie (I saw later, obviously) that turned me into a fan of Tom Hanks, and a believer that he is probably the greatest acting treasure we have today.

It almost doesn’t matter that Denzel Washington co-stars and is actually quite pivotal to the success of the film, because Hanks dominates it so fully. 287.

The Bingo Long-Traveling All-stars and Motor Kings (1976) (146) A who’s who of African American stars at the time headed by James Earl Jones and Billy Dee Williams as Negro League ball players bent on proving to white audiences and players they are every bit as adept at the game.

But more than the trappings, it’s really just a rollicking road trip and friendship fable. 286.

Much Ado About Nothing (1993) (144) Shakespeare brought to vibrant life as Kenneth Branagh and then-wife Emma Thompson lead another cast of all-stars, all of whom are very nice to have around, but you could rest the camera on Branagh and Thompson and still get the full effect. 285.

InterMission (2003) (130) Starting a sort of Colm Meaney trilogy here in the list, here’s one of those classic British Isles ensemble pieces, filled to the brim with mayhem.

Happens to have Colin Farrell in it.

Move along. 284. The Van (1997) (new entry) The conclusion of an actual Colm Meaney trilogy (‘The Commitments’ and ‘The Snapper’ round it out), this one’s an Irish family drama that sees Colm attempting to open his own vendor service, from a van.

Music from Eric Clapton! 283.

Mystery, Alaska (1999) (129) Last Colm for a while (swear, don’t know how he hasn’t actually caught on at large yet), but the real attraction here is Russell Crowe as the ring leader of a small-time hockey town which has the chance to play an NHL team, if only it can keep its act together long enough. 282.

X-Men (2000) (new entry) Here’s one of those entities I’ve been struggling to place on the list for a while.

The consensus seems to be ‘X2’ is better, and that ‘Last Stand’ is a lost cause, but I generally like them all.

To choose, I had to go with the best representation of the best character, indisputably Logan (Hugh Jackman).

The second best, Magneto, would make the runner-up the third one.

So ha! 281. U-Turn (1997) (new entry) So, now we reach the fruit of a recent labor, making my way through the entire Oliver Stone canon, made possible by a ridiculously cheap sale on a box set that included every one of his films to ‘Any Given Sunday.’ Strangely, even though Sean Penn is beloved by Hollywood and all that, my only prior experience with him had been ‘Dead Man Walking’ (which has been dropped from the list since after the first version, I think).

Along with a stellar performance from Jennifer Lopez (pre-’Selena,’ when everyone pretended she was born over night) and a darn funny one from Billy Bob Thornton, Penn works this one mercilessly as a doomed guy trying really hard to get his life back on track and realizing he landed in the one place that was going to make it impossible.

The end sequence is off the charts. This post has been edited by Waterloo: July 4, 2008, 05:48 PM

280. Young Guns (1988) (new entry) Another film that until recently had been a neglected piece of the social tapestry for me, I was pleasantly surprised to find a let’s-take-a-bunch-of-young-stars-and-stick-them-together piece that absolutely works.

Kiefer Sutherland is a standout of no surprise to anyone who eventually realized it watching ‘24.’ The second one, as an even bigger surprise, is exactly to par.

Consider it a co-winner of this spot on the list. 279.

The Virgin Suicides (2000) (new entry) I’ve also recently discovered that the hype around Sofia Coppola, generated mostly by ‘Lost in Translation’ but earned best in ‘Marie Antoinette’ and in this smaller drama about sisters headed by Kirsten Dunst who inspire equal parts lust among the local boys as the eponymous fates, is well-earned. 278.

Natural Born Killers (1994) (new entry) Finally saw this much-ballyhooed flick as part of the Oliver Stone marathon.

Robert Downey, Jr.

Undoubtedly steals the show in this one, which should have as no surprise to audiences who finally discovered him in ‘Iron Man.’ 277.

Salvador (1986) (new entry) Speaking of the Stone marathon again, here’s his first movie, released the same year as his acclaimed ‘Platoon’ but more memorable, featuring classic James Woods and a revelation of a performance from Jim Belushi, who just might have to be the next actor Hollywood ‘suddenly realizes has talent.’ 276.

Titanic (1997) (new entry) Figured it was about time I saw this one, oh about ten years after it somehow surprised everyone.

It’s a shame that after such a strong push out of the box everyone’s forgotten about it, because it’s probably worth everything that happened to it, at least, y’know, initially.

The most incredible thing about it is the palpable sense of innocence that flows through everything, led most obviously by Leonardo DiCaprio (which was his trademark, until as an adult he adopted world weariness just as naturally) but certainly reflected through his famous romance with Kate Winslet.

Hey, this stuff’s better than ‘Gone with the Wind.’ Let it surface again! 275.

Three Kings (1999) (new entry) A film I’d long had an interest in but had never seen all the way through, as usual my instincts were right on target and it was everything I thought it was.

Driven by George Clooney before everyone decided he was probably a safe bet at the movies, too, but aided by Mark Wahlberg and Ice Cube in a story that takes the least obvious but most piercing look at the first Gulf War, which is like the best argument George Bush didn’t use about why there had to be a second one. 274.

Thirteen Days (2000) (new entry) A fine argument as to the continuing vitality of Kevin Costner’s career (the public abandoned him just as he was getting started, really), as well as for Bruce Greenwood (president again in ‘National Treasure 2’!) and Stephen Culp (who, incredibly, even after recurring in, like, thirteen TV shows simultaneously a few years later, still hasn’t gotten anywhere near his due), in what amounts to a modern Shakespearean tragedy that, until two of these Kennedy boys end up shot, ends well enough.

Historical drama the likes of which are rarely seen.

‘Apollo 13’ is comparable. 273.

The Terminal (2004) (new entry) Tom Hanks again, managing to hit just below the radar with a character (yes, Hanks does an actual character) audiences post-‘Borat’ probably would have enjoyed better, with Steven Spielberg at the helm, no less.

Honestly, I just don’t get how some of these get overlooked. 272.

Beerfest (2006) (new entry) The boys of Broken Lizard (best known for ‘Super Troopers’) prove their modern comedy troupe supremacy in a send-up of competition flicks.

Das B t! 271. The Usual Suspects (1995) (138) This is one of those modern classics critics have been trying to derail for years, considering it perhaps too clever for its own good.

In a way, I’ve been having my own struggle with it, because on the one hand, I completely appreciate Kevin Spacey’s performance and his character’s inexplicably important role, I’ve had a hard time keeping track of whatever else is going on.

I’ll be watching it again soon.

Maybe it’ll flux upward next time.

I have seen one film each from these last two entries: X-Men and Thirteen Days.

I did this last time...and I see no reason not to do it again: 300.

The Avengers - Haven't seen it 299.

Signs - Solid movie - I really want to see it again with the new theory I read about the ending. 298.

Reservoir Dogs - I saw it, but I thought it was a bit overrated.

Didn't blow me away like I thought it would. 297.

All the Pretty Horses - Haven't seen it 296.

Robin Hood: Men In Tights - Love it, definitely classic. 295.

Mary Shelley’s Frankenstein - Never seen it.

Maybe I should. 294.

Screwed - Never seen it 293.

Master and Commander: The Far Side of the World - Haven't seen it.

I've always kinda wanted to, but I never have. 292.

Men in Black II - I'm sorry, I hated this movie.

All the funny lines, IMO, were in the trailer so I'd seen them all several times.

Very disappointing. 291.

Miami Vice - I also didn't really like this one.

I thought it dragged on at times, and it never really worked for me. Number seen of this segment - 5/10 Number seen of entire list - 5/10 Number of Quinn's classics in the list - 2 I'll catch up on the rest in a bit, I've posted a lot already This post has been edited by Quinn: July 8, 2008, 06:59 PM

It's funny what you said about MIIB, because that sort of thing doesn't normally bug me (all the funniest bits of Stranger Than Fiction were in its trailer, and I saw that a million times working at a theater, didn't affect the movie), but it did with Get Smart, which I walked away from knowing it was better than I was thinking while watching it.

270. L.A. Confidential (1997) (114) The movie that almost convinced Oscar speculators trumping ‘Titanic’ for Best Picture might be a good thing, it’s got a bang-up cast led by Russell Crowe, Spacey, and Guy Pearce that reads and looks like a million bucks, but when you’re thinking about it afterward, it leaves you wondering how much the picture holds up around them.

Another movie I would probably continue to monkey around with, depending on how recently I’ve seen it. 269.

Snakes on a Plane (2006) (new entry) It seems like it’s one of those you-had-to-be-there movies, and that’s exactly what it was at the time, too, and nobody realized it before predicting huge box office numbers for it.

Sure to continue its cult, anyway, probably the first movie influenced and perhaps improved by Internet hype (Samuel L.

Jackson’s most memorable line, for instance, filmed after shooting ended because its necessity had to be suggested, we’ll say).

Jackson is the main attraction, because this is really just an absolutely perfect vehicle for his often-underappreciated talent.

That and you had to be there… 268.

Sky Captain and the World of Tomorrow (2004) (new entry) One of those technically innovative films immediately dismissed as a novelty (another one or two, certainly ‘Sin City’ but maybe even ‘300’ and ‘Beowulf,’ appear later) but worth a second look, at the very least, because along with that novelty are performances that perfectly capture the nostalgic early twentieth century with its space age cowboys (Jude Law) and daring female reporters (Gwyneth Paltrow), plus Angelina Jolie thrown in for good measure.

If you can’t have fun watching this, you’re missing the point. 267.

Terminator 2: Judgment Day (1991) (new entry) Can’t really believe that I’ve never included this one, being the iconic clash of man and machine until ‘The Matrix’ appeared at the end of the decade.

Robert Patrick is the not-so-secret weapon of the movie, but the action doesn’t hurt, either. 266.

Gattaca (1997) (111) Ethan Hawke, Uma Thurman, and Jude Law make this movie a begrudging concession to my brother’s taste, which I was for a time trying really hard to rebel against.

(Hey, let’s be fair about that statement.

Let alone the rest of the family, there’s no way even he would happen to have enjoyed half the movies on this list.

Hmm, maybe that says something…) 265.

Rob Roy (1995) (new entry) After enjoying him in countless supporting roles, I figured I owed Liam Neeson a look at a starring vehicle, one of the historical epics that shot up during the 90s.

On the whole, it’s more focused than ‘Braveheart,’ more heroically stirring. 264.

South Park: Bigger, Longer, Uncut (1999) (109) When I finally got around to seeing it, I was taken about at how truly glorious it was, worth all of the hype that had been generated around it.

Then after some further thought, still brilliant, but not much more than an extended episode.

Still brilliant, though, really! 263.

Lethal Weapon 4 (1998) (99) A product of at that point a slightly expanded access to movie-going, I hadn’t at that point seen any of the other films in the series, but it didn’t matter.

Danny Glover, Mel Gibson, Jet Li, Chris Rock, and the rest, they just absolutely lit up the screen, in every way possible, like a banquet someone filmed being prepared and then devoured greedily.

Just pure movie magic. 262.

V for Vendetta (2006) (95) Hugo Weaving and Natalie Portman in a story about a revolutionary that manages to capture everything there is to know about such a figure.

So what if Alan Moore is embarrassed.

Let him be. 261. Spaceballs (1987) (94) I only recently saw ‘Alien,’ so that one bit finally made complete sense to me, but otherwise, Mel Brooks in his first underrated masterpiece, perhaps skewering a genre still too young for critics to appreciate, too narrow a subject.

It may also be a perfect product of its time, but it’s also timeless.

260. The Princess Bride (1987) (93) An indisputable modern classic, here’s Cary Elwes at his best, and surrounded by a pitch-perfect cast that includes Mandy Patinkin, Wallace Shawn, and Andre the Giant.

Another film that seems like it should age, but it doesn’t.

Probably, of all the films that have tried to claim the title, the modern ‘Wizard of Oz.’ 259.

Rosewood (1997) (90) Ving Rhames claiming a piece of the Man With No Name in an absorbing drama about the lingering extreme inequalities of racial segregation in early twentieth century America, and the people who end up caught in the middle, including John Voight and Don Cheadle. 258.

Monsters, Inc. (2001) (56) One of many Pixar gems (though contrary to popular opinion, they aren’t always), I know it best as a sort of mythic source of secret knowledge between me and my sister.

You should meet her version of Boo! 257.

The Adventures of Baron Munchausen (1989) (82) First discovered as a freshmen in college, I was thrilled when I eventually was able to obtain my own VHS copy of this terrific little fable about the power of storytelling, with a number of memorable performances, including Uma Thurman (tragically, literally a goddess for the only time), Eric Idle, and Robin Williams. 256.

It’s a Wonderful Life (1947) (70) A film so ingrained in the culture it’s easy to forget how good it is, Jimmy Stewart defines the miserable everyman who gets the chance to find out how much his life is really worth in a true modern fable. 255.

Higher Learning (1995) (63) Ice Cube again, surrounded in a terrific cast that takes another look at racial tensions, this time on a college campus. 254.

Grumpier Old Men (1995) (64) After the original Star Wars trilogy, there has been no film series more legendary than the late reunion between Jack Lemmon and Walter Mathieu in my family.

The first film is worth a look, but the chemistry really sticks the second time around.

Another film that embraces the need for a strong supporting cast, and certainly a great soundtrack. 253.

Harry Potter and the Prisoner of Azkaban (2004) (57) Later entries have secured themselves in higher positions, but I’ve been struggling with how to place the rest of the series as a result.

I really wanted to include Kenneth Branagh’s brilliant Gilderoy Lockheart from the second film, and certainly the first one to complete the cinematic story-to-date, but ended up compromising with this shockingly low ranking for the third one, which was the first sign of growing maturity both in the original book and the film adaptation.

I’ve a feeling that once this version of the series is complete, there’ll be a bigger and better Potter showing all around. 252.

Mission: Impossible II (2000) (new entry) Finally having seen the second act of this trilogy, I can say it’s worth the name in unreasonably surprising ways, taking the long way round to reach the same trademark thrills you’d expect from the franchise.

I expect in including all three films I was atoning for leaving out two other series I’ve enjoyed, the Jason Bourne and Lara Croft films, which offer their own unique, if more recently acquired thrills. 251.

The Fountain (2006) (new entry) High Jackman and Rachel Weisz anchor more literally than intended a film that had been destined until its actual release to become a cult classic.

Instead, its overreaching ambitions are salvaged by passionate performances from its lead stars. This post has been edited by Waterloo: July 15, 2008, 03:53 PM

Hey 'loo, nice list so far. Did 'El Labirinto del Fauno' (Pan's Labyrinth I think, is the English title) make the list? Barking dogs don't bite, they say, than mine must have a manufacturing fault. I live in my own little world.

But it's okay , they know me here...

Nope. 250. The Godfather Part II (1974) (new entry) I caved in, recently, from my earlier impression of this famous sequel, discovering that Al Pacino’s arc is memorable enough to cover whatever failing I may have perceived before about how much Robert Di Nero’s Vito origin doesn’t quite live up to expectations, or Marlon Brando’s version of the character.

Di Nero in fact covers his versions better than I’d thought, and the origin works better, too.

But the film still unequivocally belongs to Pacino, moreso than the first one. 249.

Primal Fear (1996) (new entry) What has sort of become Edward Norton’s legendary breakthrough performance was somewhat dulled for me after having experienced similar roles in later films, but only somewhat.

It’s surprising that this film isn’t better known, really, not only because of how extremely topical it would have become just a few years later, but because Norton is that brilliant in it. 248.

Mission: Impossible III (2006) (new entry) The thrills are back one more time as Tom Cruise, just before the backlash put a serious dent in his career, takes on Ethan Hunt and everything that comes with it again, including a supporting cast to rival the first film and a villain in Philip Seymour Hoffman to, at least in some scenes, eclipse it.

Nothing tops the incredible twists of the original, but the series became really good at providing a jolt of adrenaline. 247.

The Pink Panther (2006) (new entry) Steve Martin reinvents Inspector Clousseau and has the benefit of one of those great casts around him, but best of all, it’s another reminder that ‘Borat’ was not born in a vacuum (I’m sorry, by now I should mention that even if Borat doesn’t actually appear on this list, he would certainly make a most-memorable-movie-characters one).

Other actors created lunatic characters and scenes during the same period.

Just Clousseau trying to master saying he wants to buy a hamburger in preparation for going to America is a movie classic. 246.

The Island of Dr.

Moreau (1996) (new entry) This is the product of another recent mission, to conclusively describe Brando’s late period as a waste or a continued demonstration of his unparalleled greatness.

You can guess which way I leaned.

Also worth noting is Val Kilmer, as much a disciple of Brando as anyone could be, as well as David Thewlis, who despite the bigger names in the picture is actually the lead actor. 245.

Liberty Heights (1999) (new entry) A product of an entirely different marathon, part of a film series I attended during my freshmen year in college, which has a number of entries (with probably more to come in later revisions, once I track a few more down, some of the less English-centric entries such as, I think, ‘Earth,’ which only deals with the aftereffects of those pesky English, in India/Pakistan).

Anyway, a look at struggles within a Jewish family to fit in a Gentile neighborhood. 244.

The Godfather Part III (1990) (new entry) Ever the rebel-rouser, I knew destiny had called me to expose the truth behind this infamous piece of cinematic history, too (except for, like, one scene, Sofia Coppola is not actually terrible acting, despite what you heard), a late arrival in an epic series that concludes the Michael Corleone saga (c’mon, it was always his and we all knew it) as he tries to legitimize his business, to a decidedly tough crowd.

Elegiac in the best sense, and the completion of another modern Shakespearean tragedy.

Plus, you’ve got Joe Mantegna in a non-animated gangster role!

I mean, seriously! 243.

The Perfect Storm (2000) (new entry) I’d always known this was going to be one of my most memorable film experiences, but I guess I was waiting to see what else George Clooney had to offer, to see if it was a fluke, because although he’s undeniably the star, there’s an obvious scene stealer thrown in for good measure.

But yeah, good stuff. 242.

Million Dollar Baby (2004) (new entry) Clint Eastwood, Morgan Freeman, Hillary Swank, yeah, sort of became one of those instant legends, right?

Turns out, it’s one of those that’s earned the honor. 241.

Melinda and Melinda (2005) (new entry) Woody Allen is just one of those guys who’s been around so long and respected so long, he’s just never going to get the respect he deserves anymore.

That’s what I figured, anyway, as soon as I heard about this certain concept piece about a woman (Radha Mitchell, who pretty much pulls it off while avoiding ruining the good will I’d built up for her, even though she tried really hard to whenever she lit up in the film and started to doing theatrical exhalations) whose life, it’s posited, can be defined equally as a comedy and a tragedy.

Hey, Will Ferrell co-stars in the comedy, playing exactly the Woody Allen stand-in the critics hate so much (hey, who else is doing the Woody Allen character, anyway?), but with Will Ferrell definitely represented.

It works, darn it!

240. The Island (2005) (new entry) Ewan McGregor and Scarlett Johansson (looking better than she does in any other film, by the way) star in what is essentially an update of George Lucas’ ‘THX-1138,’ taken the next logical step, as a full-blown existential romp. 239.

Gangs of New York (2003) (new entry) Okay, so you’ve got Daniel Day-Lewis (essentially in the warm-up role for ‘There Will Be Blood’), Martin Scorsese, and Leo DiCaprio (in the getting-to-know-you phase of his lucrative collaboration with Marty), and this I was doubting?

Doubting because, even though I understood what I should be enjoying so much, I couldn’t get over what I had perceived as a ludicrously phony accent from Leo?

Okay, anyway, that finally aside, there’s some great supporting performances, too, Neeson, Diaz, yeah, but the evocative nature of this cultural history lesson is, ultimately, hard to deny. 238.

The English Patient (1996) (new entry) It had become the most famous movie of almost complete anonymity to me that I could possibly imagine.

Then I read the book in college and decided, yeah, the book’s pretty close to crap, how about that movie?

Took a while and a few labored attempts to get past my chronic napping habits, but Ralph Fiennes, his women, and even Sayid himself, Naveen Andrews, won me over, even that Caravaggio fellow, even though he didn’t come off as roguish as he did in the book (the best part of it).

A challenging, probing epic, quiet as its desert sands, but worth all that fame that had so addled me. 237.

Easy Rider (1969) (new entry) Wow.

Talk about a film that didn’t end up being anything I thought it was.

But probably the better for it!

Dennis Hopper and Peter Fonda express the countercultural revolution in all its inglorious complexity, with Jack Nicholson contributing a bizarre yet enlightened perspective that grounds some of the more impressionistic elements, such as the entire concluding sequence. 236.

Chopper (2000) (new entry) Eric Bana in his Australian breakthrough as a brutishly violent gangster whose real-life counterpart was still around for perhaps an even more unbelievable conversation on the DVD.

You probably wouldn’t even believe Bana is capable of this kind of performance, much less have previously believed he was really an Aussie, without experiencing this one. 235.

American Splendor (2003) (new entry) I’d been avoiding this one like the plague for a number of years, believing its critical hype to indicate a film that was probably not actually worth it, but then I rediscovered Paul Giamatti (supporting turns in a couple of Jim Carrey movies, ‘The Truman Show’ and ‘Man on the Moon’ apparently having been forgotten) and had to see it.

Turns out I loved it, even all that Harvey Pekar stuff. 234.

The Alamo (2003) (new entry) This was one of those movies I supported for the longest time without having seen it, probably because it was a subject I loved, and the troubled history behind its production had intrigued me.

So once again, pleasantly surprised to find a film behind the (self-generated) hype worth all the fuss, led by a cast, even if some of the actors weren’t first choices, that was certainly up to task, charged by Billy Bob Thornton, Dennis Quaid (his version of the distinctive “Remember the Alamo” battle cry is of particular note), and Jason Patric, who has quietly become such a devoted disciple of Daniel Day-Lewis that no one has really noticed him.

This would be a great place to start. 233.

Twelve Monkeys (1995) (new entry) While I’ve been a student of the Bruce Willis school for some years now, what finally brought me to this particular Terry Gilliam treat was Brad Pitt, who has snuck in the back door as one of our best actors, and his twitchy performance here is a prime example of how he did it. 232.

Letters from Iwo Jima (2006) (new entry) Clint Eastwood didn’t invent the trick of putting the spotlight on an unexpected face in the battlefield (‘Tora!

Tora! Tora!’ for example), but his unfaltering focus is probably novel, how sympathetic he is to the Japanese soldiers who found themselves in a bad spot.

Plus, it gave us another excuse to have Ken Watanabe in a major film! 231.

I Am Legend (2007) (new entry) Not the only 2007 film to make the list, only the first, and not even the newest entry.

Will Smith demonstrates once again that (despite some ‘missteps’ a few years back), he has an uncanny and virtually unparalleled sense of his own abilities (the dude never steps far away from his own iconic persona), plus a script with a perfect, even happy ending, despite tragedy that overwhelms his life in some of the most profound ways possible.

It’s one of those films that makes even a voluminous backlog of source material moot very quickly.

230. In Bruges (2008) (new entry) Yeah, see?

I told you. This one, um, may star that Colin Farrell chap, in a true bookend performance to another film released just a bit earlier that may or may not appear later in the list.

(Guess!) 229. Cloverfield (2008) (new entry) J.J.

Abrams unleashing his real cinematic potential that makes a complete mockery (in the best sense possible) of the whole ‘Blair Witch Project’ phenomenon, using the same gimmick but to optimum effect, believable and truly heartbreaking and life-affirming, and oh, there’s that monster dealy, too! 228.

Fred Claus (2007) (new entry) There’s, er, Paul Giamatti again, this time co-starring with Vince Vaughn in what is essentially a Christmas movie in the true, time-honored ‘Santa Clause’ sense, a product of its time that embraces its stars first and succeeds because of it. 227.

Beowulf (2007) (new entry) A project I deemed as the moral victory of my favorite film (certified as of this updated list;

Just wait and see!), co-starring Anthony Hopkins and Angelina Jolie (no!

I swear Hopkins is in it, too!), but with the burly, motion-capture enhanced (makes sense!) Ray Winstone firmly in charge of things as an ancient epic is recounted again with new resonance. 226.

Lucky You (2007) (new entry) You will note, for the record, that even though I consider this the most complete, accurate version of this list to date, much of it still has room for fairly arbitrary positioning, owing to its size.

Thus, we’re in the middle of a rather unmistakable dumping ground for 2007 releases.

Anyway, this film is another Eric Bana showcase, in which he plays poker, gets repeatedly humiliated by his father Robert Duvall, and courted by the unusually sufferable Drew Barrymore (check out ‘Music and Lyrics’ for another round of that!).

Delayed considerably before its release and heckled for perhaps a not entirely accurate portrayal of the game that is literally at stake, ‘Lucky You’ is better than you were led to believe, with, what do you say?

A fine supporting turn from Robert Downey, Jr.

And a scene revolving around a bet on a tour of the golf course that plays more satisfyingly than that sport should ever seem. 225.

The Number 23 (2007) (new entry) Jim Carrey as an obsessive compulsive driven mad (twice!) by the eponymous phenomenon you may not even believe in before or after being sucked into this mind-boggling, highly stylized mystery. 224.

The Other Boleyn Girl (2008) (new entry) Eric Bana again, this time brooding even more studiously, shrinking into the background as the petty jealousies and unmindful power plays between sisters Natalie Portman and Scarlett Johansson play right into the worst fantasies of Henry VIII.

Jim Sturgess, who stars in ‘Across the Universe’ (expect it later in the list?), has a supporting role, which coupled with ‘21’ presents a rather convincing case that he’s a star in the making. 223.

Shoot ’em Up (2007) (new entry) Paul Gia-something-or-other co-stars with Clive Owen, completely inverting his ‘Children of Men’ persona along with Monica Belucci in something that’s just a lot of fun, need nothing more.

Okay, maybe more carrots.

Going to see this ended up being my best birthday present last year. 222.

Kate & Leopold (2001) (new entry) Hugh Jackman, the lately underrated Meg Ryan, and the always underrated Liev Schreiber made a delightful modern fantasy romance (‘Enchanted’ didn’t learn anything!) just a few years ago.

One of the early attempts to cash in on Jackman’s newfound fame, took a route more akin to ‘Viva Laughlin’ (a really short-lived TV show he did, miscalculating only the manner in which his stars should sing, really) than ‘The Prestige,’ just not something audiences were expecting, or all that willing to embrace, to their loss. 221.

Saving Private Ryan (1998) (new entry) I’ve resisted putting this one on the list for a long time, and I sometimes can’t really figure out why.

Anyway, terrific cast (hey, Vin Diesel did drama and nobody snickered!), anchored by some guy named Hanks, who actually convinced Spielberg to downplay his part.

Probably what enabled ‘Shakespeare in Love' to sneak by it at the Oscars.

220. Saw II (2003) (new entry) Donnie Wahlberg, plain and simple, basically reprising his role from the criminally underrated ‘Boomtown’ TV series, elevated a surprisingly enjoyable horror series to its best entry. 219.

Scream (1996) (new entry) Speaking of horror, this was the first of a series that took the genre on its head, headlined by Neve Campbell, Courtney Cox, David Arquette, and Liev Schreiber, but with room for more, even as the movies continued and people just kept being killed. 218.

Julius Caesar (1953) (new entry) Exploring the Marlon Brando canon went both ways, so as to enable me to discover this gem, which only becomes notable, really, in the one scene Marlon’s asked to do anything significant, the famous funeral speech he delivers like it means something, putting to shame every other actor in the film.

Rarely will I choose a film to single out based on just one scene, but this one’s worth it. 217.

The Formula (1981) (new entry) I’ve been working up the courage to watch ‘Patton’ for years now, ever since I figured out it was probably worth watching after discovering how terrific George C.

Scott is in ‘Dr. Strangelove.’ This one’s another step in that direction, and for good measure, Marlon Brando eventually shows up at the end for a lengthy exchange with Scott that once again signifies what kind of figure Brando ultimately was, something that would crop up in much of his later work. 216.

The Man Who Shot Liberty Valance (1962) (new entry) John Wayne makes his only appearance on the list despite a childhood of my father trying to indoctrinate his favorite Hollywood legend into my own life.

In later years, I just didn’t try that hard to keep the tradition alive, and the rare foray didn’t help matters.

‘The Shootist’ is plodding.

‘Rooster Cogburn’ is notable to me only because a young Anthony Zerbe appears in it.

But ‘Liberty Valance’ is lightning in a bottle, drawing together the best parts of the Duke and Jimmy Stewart (pilgrim!) for a story that still resonates today. 215.

Peter Pan (2003) (new entry) The sheer novelty of this update brought on by the Harry Potter craze was casting Jason Isaacs both as Hook and George Darling, two patron figures of polarizing differences but of eerie similarities, at least in the impressionable minds of children. 214.

The Rundown (2003) (new entry) Dwayne “The Rock” Johnson’s early efforts at breaking into film weren’t exactly slam-dunk successes, but that doesn’t mean he was screwing up.

This one throws in a perfect blend of buddy film with the always dependable Seann William Scott (ka-kaw!

Ka-kaw!) along with Rosario Dawson and Christopher Walken, who becomes increasingly worth his weight in serious comedy gold as he ages, just in case Dwayne bores you.

He, uh, doesn’t, though. 213.

Red Dragon (2003) (new entry) I’ve seen most of ‘Silence of the Lambs.’ I’ve seen some of ‘Hannibal.’ I’ve even seen ‘Manhunter.’ But this is where I think everything works best, the acting trifecta of Anthony Hopkins, Edward Norton, and Ralph Fiennes, the character of Hannibal Lecter, even the story itself, despite what critics think.

Here the whole tragedy is elevated to its monster’s best, a worthy addition to the cultural canon that happens to also embrace Frankenstein and Mr.

Hyde. But, I haven’t read the book yet! 212.

Star Trek IV: The Voyage Home (1986) (new entry) As Harry Potter’s learning, once you pass a certain number of entries, it becomes harder for me to place individual entries on the list.

First time for this Star Trek, a popular blend of favorite characters and environmental messages that’s also the conclusion of a trilogy.

As for Spock, this would be a good selection if you could only pick one story to see Leonard Nimoy perform the role. 211.

Stick It (2006) (200) An entirely unexpected discovery for me, even now, a spunky gymnastics drama that should probably warrant greater attention than it’s gotten.

210. A.I. Artificial Intelligence (2001) (199) Steven Spielberg completing a Stanley Kubrick project.

It was said you could see the seams.

I can’t, and anyway, I don’t see the point.

Back when Haley Joel Osment was still fielding parts (growing up, and sticking with all three names couldn’t possibly have helped his maturing prospects), he got this one as a futuristic Pinocchio, a robot who wished he could become a real boy.

Along the way, Jude Law asserts his charm (audiences, any time you want to take notice, feel free!), Robin Williams becomes Dr.

Know, and aliens generally screw around with the poor animatic lad.

I forget if the ending’s happy, but it’s definitely a fairy tale as Spielberg and/or Kubrick would envision it. 209.

Out to Sea (1997) (198) Lemmon and Mathieu are at it again, but the best part is Brent Spiner in his only real notable role outside of Star Trek as someone who is, well, probably just a nasty version of Brent Spiner, all singing, all dancing, you know how it goes. 208.

Trading Places (1983) (197) Dan Ackroyd and Eddie Murphy play prince and pauper in an unsung 80s comedy classic.

I think some other people remember Jamie Lee Curtis in it. 207.

Once Upon a Time in Mexico (2003) (195) During the original period people starting thinking Jack Sparrow could revive Johnny Depp’s chances to do whatever kooky things he could think of, but before Tim Burton proved them wrong, Robert Rodriguez got a hold of him and completed his El Mariachi trilogy (coincidentally around the same time Antonio Banderas stopped seeming like a good bet for an ethnic hero).

Anyway, lots of bullets!

Lots of fun! 206.

From Dusk ‘til Dawn (1996) (193) Yeah!

So speaking of Robert, a few years earlier he was among the first to try and borrow shine off George Clooney, and used it to cast Quentin Tarrantino in a lead role, Salma Hayek as a buxom babe (in the last of the three films they would work on together to make it on this list, Robbie let her do a little more), and let loose a whole lot of vampires.

There may have been some tequila involved… 205.

Dude, Where’s My Car?

(2000) (191) Seann William Scott again, this time paired a little more conventionally with Ashton Kutcher in what should have become known as the greatest comedy pairing of the new millennium.

They haven’t worked together since.

Too much to live up to?

Na. Harold and Kumar just stole their thunder!

That, and maybe Scott and Kutcher recognized immediately that they were going to have to prove they could do more.

Look! Jennifer Garner’s in it! 204.

The Buddy Holly Story (1978) (190) Gary Busey makes him out to be more nerdy than he really needed to seem, the movie’s incredibly dated at this point, but darned if I still don’t like it, a fitting tribute everything considered to the pioneering genius of Buddy Holly as a rock and roll icon still waiting for his due to fully arrive.

I blame Busey! 203.

The Negotiator (1998) (189) Samuel L.

Jackson and Kevin Spacey star in a cop drama I happened to discover during that same freshmen year (hey, I started seeing a lot more movies around that time, and a lot of them have landed on this list, and that just happens to be).

More justifiable than the remotely similar Denzel Washington flick ‘John Q’ and with another terrific supporting cast, which, strictly for the record, happens to include Paul Giamatti. 202.

Zoolander (2001) (188) Ben Stiller in the brief moment before Will Ferrell eclipsed him but still flush with the success of ‘There’s Something About Mary,’ so he could do anything he wanted.

Just not, apparently, get away with it, or this film would be more famous.

Stiller gives Ferrell another of those movie-stealing supporting roles/cameos, thus adding to upstoppable momentum, but the movie is all his, a farce co-starring Owen Wilson set in the improbable world of male models, years before we would realize at least the female ones had some additional use…as stars of reality shows about…models.

Anyway, real wacky fun! 201.

Crouching Tiger, Hidden Dragon (2000) (186) For a good number of years I fought this movie, like I myself was on wires flying through the air, because, as I vigorously argued, there must have been, like, a million other movies just like it.

But the simple beauty of its artistry, plus Ziyi Zhang, eventually won the best of me.

I mean, they do a lot of these, but like this?

Maybe not

I have seen only a handful of the last 70 films listed: L.A.

Confidential Snakes on a Plane Terminator 2: Judgement Day South Park: Bigger, Longer, Uncut Spaceballs The Princess Bride Mission: Impossible II I Am Legend Star Trek IV: The Voyage Home Dude, Where's My Car? I am loathe to admit that I saw Mission: Impossible II thrice in theaters, but at the time it seemed like a good idea.

Snakes on a Plane was a great popcorn flick with no real substance, while what little I recall of Dude, Where's My Car?

Paints it in the same light as any other "teen" comedy: hilariously stupid. This post has been edited by cmdr_forst: August 6, 2008, 04:32 PM

200. A Shot in the Dark (1964) (192) It’s sometimes bizarre to remember how suave not only Clousseau started out, but the films around him, too, how Peter Sellers, instead of selling into the joke, sold it so well, but the evidence is there, like a, um, shot in the something or other. 199.

Annie Hall (1977) (185) Or that Woody Allen was once so unabashedly loved that he made a movie that beat out ‘Star Wars’ for Best Picture at the Academy Awards (‘Star Wars’ was up for Best Picture?!?).

But in the beginning, everyone was naïve enough to think they would forever find Woody charming.

Possibly they do still find ‘Annie Hall’ charming.

Or maybe just Diane Keaton.

With those gloves! 198.

Batman Forever (1995) (183) Okay, so Tommy Lee Jones completely blew it as Two-Face (you get ’em, Aaron Eckhart!), but Jim Carrey, carrying enough good faith at the time that he was allowed to mug through some superhero franchise movie and thus maybe ruin it for a good number of years, Val Kilmer, Chris O’Donnell, and Nicole Kidman deserve credit for successfully rebooting a heretofore gothic franchise into something that bled neon lights and pretty much making it work for two pictures (except for the problem with finding villains) (and except for the fact that only Chris would actually return).

Still, great fun. 197.

Sideways (2004) (new entry) Okay, so the film that cemented my, um, secret love affair with Paul Giamatti, plus the rest of the quartet, Thomas Haden Church (saved ‘Spider-Man 3’!), Sandra Oh (actually, salvaged her character in ‘Grey’s Anatomy’ for me), and Virginia Madsen (hey, she vamped good in ‘The Number 23’!), plus a really great, but not favorable, line about merlot, which I’ve got to choose when I repeat, because I love to repeat it… 196.

Amadeus (1984) (182) F.

Murray Abraham in his career performance as a forgotten rival of Mozart, a child to a comparatively conventional genius-in-his-own-mind.

Notable perhaps best because, other than rock star flicks, this is a film that’s interested in exploring the particular world of music, which among all the arts explored in the movies is so egregiously neglected.

I mean, people try dramatizing storytelling more often! 195.

Lethal Weapon (1987) (181) Unlike ensuing entries in the series, this one’s clearly centered on Mel Gibson, who portrays so harrowingly a man hanging from the edge of his life, and just crazy enough to crawl back over, given the chance.

Chance, meet Danny Glover. 194.

Conspiracy Theory (1997) (180) Truthfully, another victim of even this list has got to be Julia Roberts, whose Oscar-winning ‘Erin Brokavich’ is just one of many films I really would have loved to have included, if only there had been room(!).

But she gets to co-star here with Gibson and wily Patrick Stewart in the only role Hollywood has allowed him to completely subvert what audiences have come to expect from him.

Gibson, though, is once again clearly front and center, spinning his kooky wheels to full effect as a paranoid cabbie who ends up being right about something.

Doesn’t turn out to be much of a good thing, oddly enough. 193.

Topsy-Turvy (2000) (179) Another entry from that film series I mentioned, concerning Gilbert & Sullivan’s creation of ‘The Mikado,’ which came in handy when ‘CSI’ featured a tune from it, plus the bonus points of ‘Star Trek: Insurrection’ by one degree of separation thusly becoming slightly more relevant. 192.

Blazing Saddles (1974) (176) Mel Brooks in one of his genuine success stories (still no word on a Broadway adaptation, or at least, I think), a wicked send-up of Westerns during a period audiences were still fondly familiar with them but distant enough to laugh about it. 191.

Indiana Jones and the Last Crusade (1989) (175) Only with the recent release of the fourth installment of the series have I thought about feeling guilty over not being as obsessed with these films as many other people are.

Anyway, I’ve more or less seen all of them at this point, and as blasphemous as this sounds, I prefer ‘Last Crusade’ to even ‘Raiders of the Lost Ark,’ which is fine as a novelty and all (he says, prepared for the stoning!), but this one’s just more fun. (This section particularly warrants a note that there are no films from May onward released in theaters reflected in this list.)

190. Trainspotting (1996) (173) Ewan McGregor in his breakthrough film, which despite the legendary images associated with it (notably, something about Ewan and a toilet), I best remember as a radically unique coming of age story. 189.

Shrek(2001) (172) A rare modern animated movie not produced by Pixar that blasts its way into the imagination, with a quartet of perfect voice casting (Mike Myers, Eddie Murphy, Cameron Diaz, and John Lithgow) that only embellishes what’s still a life-affirming twist on convention whose conclusion you still find hard to see coming, even with two sequels under the belt.

The worth of this series has been increasingly downplayed, but you only need to remember what the first one did to recognize your continued affection isn’t being wasted. 188.

My Girl (1991) (171) Dan Ackroyd co-stars in a kind of role I cannot, curiously, find much evidence of him being asked to reprise elsewhere, which is a terrible shame, because it’s something of a revelation.

Plus, among the pair of young leads ahead of him is Macauley Culken, who proves with this little-seen gem how much even then he was worth more than just the slapstick of ‘Home Alone.’ Now it’s up to him to bring our attention back. 187.

Grosse Pointe Blank (1997) (170) Oh!

There’s Dan Ackroyd again!

This time he’s a hitman (I mean, seriously, another abnormal role that wasn’t exploited?), but he’s really playing second fiddle to John Cusack, who along with Mimi Driver attends one of the most unique high school reunions in film history, with one of the best soundtracks to accompany them. 186.

Dawn of the Dead (2004) (169) I’m still not that much of a zombie buff, but I can certainly appreciate when it’s done well, and with a great cast, led by Ving Rhames and Sarah Polly (before she got all interested in making her own darn films). 185.

16 Blocks (2006) (168) Bruce Willis and Mos Def riff on each other in a drama that helps make that entirely plausible, Bruce plays world-weary full-tilt and Mos as the unlikely agent of his redemption. 184.

Butch Cassidy and the Sundance Kid (1969) (167) A classic that completely lives up to its fame, with Paul Newman and Robert Redford blazing exciting new Hollywood trails at a time it was needed.

Plus, improbably, “Raindrops Keep Falling on My Head.” Discovering that as part of an AFI special is what finally got me to see it. 183.

Bad Boys (1995) (164) Will Smith in his first blockbuster, co-starring to perfect chemistry with Martin Lawrence in what is essentially another of those generic drug lord showdowns. 182.

Road Trip (2000) (162) Tom Green, whose reputation for crass behavior at one point put the ‘Jackass’ loonies to shame, steals the show from a surprising strong ensemble as a slightly mature and grossly ignorant college goon. 181.

The Majestic (2001) (161) Jim Carrey in his most blatant attempt to be completely serious, driven by Frank Darabont, who’s usually concerned with knocking Stephen King stories out of the park but instead here takes a trip down nostalgia lane, to analyze just how much such a trip costs. This post has been edited by Waterloo: August 13, 2008, 07:43 PM

180. The Godfather (1972) (85) My memory gets pretty bad about this one, because lately I’ve been concentrating on making out the worth of its sequels, but of what I remember, the key roles of Marlon Brando and Al Pacino certainly stand up, as does the original glimpse into mob politics, which has no real parallel in the later films. 179.

Shakespeare in Love (1998) (157) Joseph Fiennes got his moment in the sun and got to share it with Gwyneth Paltrow.

Better still is the minor role Ben Affleck puts in as a conceited actor, one of the early examples I would later need to draw on in reminding myself the dude ain’t annoying, he’s just sometimes mishandled. 178.

A Beautiful Mind (2001) (156) It should be painful to remember that I actually kept believing Ed Harris wasn’t just a figment of Russell Crowe’s imagination, long after it became clear he was, but it isn’t, because that means Ron Howard was succeeding.

Howard is a director who rarely gets the respect he’s earned many times over in recent years, so to watch something like this and try and keep that in mind can be a real hassle. 177.

Toy Story 2 (1999) (153) Rarely does a sequel come along that manages to recapture and actually build on the magic of the original, but this one did it, perhaps confirming the Pixar genius at the same time.

Tom Hanks and Tim Allen are such a perfect match, I’m still astounded no one has bothered to pair them in live action. 176.

The Score (2001) (152) Here’s that film Edward Norton did that basically mooched off his brilliant performance in ’Primal Fear,’ but it’s okay because he gets to share the screen with Marlon Brando (last big screen performance, just having fun) and Robert Di Nero, who gets to walk away with the film in an unexpected but entirely befitting final act. 175.

One Flew Over the Cuckoo’s Nest (1975) (150) Jack Nicholson used to have two big tent poles on my lists, this and ‘The Shining,’ but I’ve recently grown dissatisfied with the later because of its needless tampering with the original Stephen King story (rarely will I agree with the worthless axiom, but there are always exceptions), so he gets to make due with this one.

Not a terrible way to go, really. 174.

A Clockwork Orange (1972) (149) Malcolm McDowell in the role that eventually allowed him to become an elder fixture in film, a madcap Kubrick metaphor, I guess, for screwing up really bad in life but still having the good luck to have a fairly good perspective about it. 173.

A Streetcar Named Desire (1951) (148) Marlon Brando again, in what’s still his most iconic performance, despite other films that arguably became more famous, disturbed only by the ridiculous critical darling Vivien Leigh, who really didn’t need it demonstrated so clearly that she doesn’t hold a candle to real talent. 172.

The Hurricane (2000) (145) Denzel Washington in his most recent at this point completely idealistic role, a boxer smeared by racial inequality and eventually redeemed by a small group of saints including Liev Schreiber.

Rubin Carter might not still be memorable today if it weren’t for Bob Dylan, who made one of his best if not exactly most famous songs out of Carter’s plight.

If it weren’t for this film, I probably wouldn’t have gotten so earnest about Dylan himself, in fact, so a weird sort of convergence, really. 171.

What About Bob? (1991) (141) Bill Murray and Richard Dreyfuss as an unlikely but absolutely perfect comedic pairing.

Murray brings his psychoses along for an unwanted addition to the Dreyfuss clan’s vacation, hilarity ensues.

Baby steps!

170. Shattered Glass (2003) (140) There are a number of key performances in this film, but at its heart ‘Shattered Glass’ stands as argument and testament for Hayden Christenson, who would be increasingly derided as wooden for his participation in the second Star Wars trilogy, though he seems to have managed an ongoing career anyway.

This is why, folks, just for those who really needed convincing. 169.

Robin Hood: Prince of Thieves (1991) (139) More than any other film in my childhood, this one defined what an event film was, and to my mind is the reason Kevin Costner got big enough for critics to eventually deflate him.

It’s all here, from the questionable tactic of doing the icon with an American accent to reaching big all around for Costner, and genuinely succeeding as no other adaptation of classic Western heroes has since, realizing as its successors haven’t that you must reinvent the wheel you’re affirming, or you just won’t be able to truly succeed.

Unfortunately, a bit like ‘Titanic,’ it’s paid nearly every price imaginable in the years since.

Audiences will come around again. 168.

The Santa Clause (1994) (137) Tim Allen burst from the small screen to the big in one of the most perfect combinations ever stumbled upon, taking a rough guy like Allen and melding him with Christmas magic as no one since ‘Miracle on 42nd Street’ had dared imagine.

It’s no wonder that in the years since, even with two additional ‘Clause’ films, he’s never really been able to live up to it, at least to as wide an audience. 167.

Tigerland (2000) (136) An almost mythical breakthrough at this point, Joel Schumacher, who’d done those Batman films and thus ruined two reputations, went a completely different route and discovered Colin Farrell on it.

Maybe an almost generic war-is-heck film at its heart, ‘Tigerland’ is the first of the Farrell flicks to be so dominated by the actor it doesn’t matter the relative quality around him. 166.

Born on the Fourth of July (1989) (135) Tom Cruise and Oliver Stone explore the complexities Vietnam introduced into American life in a way only this combination could accomplish.

Perhaps the first Iraq War film, really, as I have come to know them, bent on one message but fully capable of expressing another.

‘Lions for Lambs’ is one such, ‘Syriana’ another. 165.

Batman (1989) (133) Michael Keaton and Jack Nicholson in another improbable but appropriate pairing (hey, Hollywood, try it again some time, especially now, after audiences have stomped the last of the laughs out of Keaton) as Tim Burton radically interprets the Dark Knight as basically a creep you could maybe root for (just check out the Kim Basinger elements, if you need proof, after she’s kidnapped…by Batman), the first modern superhero movie (the idealism of ‘Superman’ eventually collapsed that franchise under its own weight, whatever merits and milestones it originally came with). 164.

Hamlet (1991) (131) Mel Gibson again, this time purposefully cast against type as the melancholy Dane of Shakespeare, a performance so radical and appropriate audiences are probably still wondering if it was just a figment of their imagination.

Gibson displays such concentration and none of the showiness of even his biggest critical triumph, ‘Braveheart,’ that it’s a wonder he’s never tapped back into that vein.

Maybe now would be a great time? 163.

Apollo 13 (1995) (127) Tom Hanks!

Again! This time melting into an historical figure and a very real near-tragedy, with a fine cast around him (Ed Harris perhaps the first time I noticed him), plus a brief reunion with Gary Sinise, and a great score. 162.

Shaun of the Dead (2004) (124) Simon Pegg where he originally came from, a wicked satire of zombie movies just ahead of a semi-backlash that’s still sort of forming.

Anyway, Pegg is such a terrific British straight man, you’d be hard-pressed to wonder how he didn’t fall out of a time machine as the lost seventh Python.

Plus, you also get a good dose of Bill Nighy! 161.

The Blues Brothers (1980) (122) Can’t promise, really, but this may be the last Dan Ackroyd (no ‘Ghostbusters’ on this list, either, but that could eventually change), joined by original partner in crime John Belushi, some comedy, and a ton of great music. This post has been edited by Waterloo: Yesterday, 06:50 PM




Omgili Home About FAQ Plugins Usenet