My Top 100, or 100 Movies That Rock - Continued...

[D_Davis]

The Master List

1. Once Upon a Time in the West - Dir. Sergio Leone
2. The Boxer From Shantung (1972) - Dir. Chang Cheh (with Pao Hsueh-li handling continuity)
3. The Blade - Dir. Tsui Hark
4. Mind Game (2004) - Dir. Masaaki Yuasa
5. Dead Alive (Braindead) (1992) - Dir. Peter Jackson
6. Oldboy (2003) - Dir. Chan-wook Park
7. Pulp Fiction (1994) - Dir. Quentin Tarantino
7.5 Hero (2002) - Dir. Zhang Yimou
8. Mulholland Dr. - Dir. David Lynch
9. 36th Chamber of Shaolin (1978) - Dir. Lau Kar Leung
10. Nausicaa (1984) - Dir. Hayao Miyazaki
11. The Thing (1982 ) - Dir. John Carpenter
12. The Killer - Dir. John Woo
13. The Big Lebowski (1998) - The Coen Brothers
14. Scream (1996) - Dir. Wes Craven
15. A Touch of Zen (1969) - Dir: King Hu
16. Raiders of the Lost Ark (1981) - Dir. Steven Spielberg
17. Heroes of the East (1979) - Dir. Lau "Pops" Kar-Leung
18. Saving Private Ryan (1998) - Dir. Steven Spielberg
19. Once Upon a Time in China (1991) - Dir. Tsui Hark
20. Return of the One-Armed Swordsman (1969) - Dir: Chang Cheh
21. Funky Forest: First Contact - Dir. Katsuhito Ishii and Hajime Ishimine
22. Peking Opera Blues (1986) - Dir: Tsui Hark
23. Disciples of the 36th Chamber (1985) - Dir: Lau Kar Leung
24. Aliens (1986) - Dir: James Cameron
25. Die Hard (1988) - Dir: John McTiernan
26. Pink Floyd: Live in Pompeii (1972) - Dir: Adrien Maben
27. Evil Dead 2 (1987) - Dir. Sam Raimi
28. American Movie (1999) - Dir: Chris Smith
29. Genghis Blues (1999) - Dir: Roko Belic
30. Young Frankenstein (1974) - Dir: Mel Brooks
31. Galaxy Express 999 (1979) - Dir: Rintaro
32. The Bride With White Hair (1993) - Dir. Ronny Yu

**Above: On the New Match Cut**
**Below: From the Old Match Cut**

(if you want to read reviews for these, go here: http://genrebusters.com/film/review_top100.htm)

33. Bill Cosby: Himself (1983) - Dir. Bill Cosby
34. Death Trance (2005) - Dir: Yuji Shimomura
35. Project A (1984) - Dir. Jackie Chan
36. Ultimate Versus (2000/2006) - Dir. Ryuhei Kitamura
37. Out of Sight (1998) - Dir. Steven Soderbergh
38. Akira (1988) - Dir: Katsuhiro Otomo
39. The Matrix Reloaded (2003) - Dir: The Wachowski Siblings
40. Holy Flame of the Martial World (1983) - Dir. Lu Chin-ku
41. We're Going to Eat You (1980) - Dir: Tsui Hark
42. Samurai Fiction (1998) - Dir: Hiroyuki Nakano
43. Pi (1998) - Dir. Darren Aronofsky
44. Descent (2005) - Dir: Neil Marshall
45. Super Dimensional Fortress Macross:
Do You Remember Love? - Dir: Shoji Kawamori & Noboru Ishiguro
46. T. Rex: Born to Boogie (1972) - Dir. Ringo Starr
47. A Chinese Ghost Story (1987) - Dir. Ching Siu Ting
48. The Magic Blade - Dir. Chu Yuan
49. Ping Pong (2002) - Dir: Fumihiko Sori
50. Misery (1990) - Dir: Rob Reiner
51. The Wild Parrots of Telegraph Hill (2003) - Dir: Judy Irving
52. The Haunting - Dir: Robert Wise
53. Martial Arts of Shaolin (1985) - Dir: Lau Kar Leung
54. Re-Animator (1985) - Dir: Stuart Gordon
55. Exiled (2006) - Dir: Johnnie To
56. Waiting For Guffman (1996) - Dir: Christopher Guest
57. First Blood (1979) - Dir. Ted Kotcheff
58. The Odd Couple (1979) - Dir. Lau Kar Wing
59. Shaolin Intuders (1983) - Dir. Tong Gaai
60. The Blade of Fury (1993) - Dir. Sammo Hung
61. Smile/Beautiful Dreamer (2004) - Dir. David Leaf
62. The Young Poisoner's Handbook (1996) - Dir. Benjamin Ross
63. Pee-wee's Big Adventure (1985) - Dir. Tim Burton
64. Return of the Living Dead (1985) - Dir. Dan O'Bannon
65. Signs (2002) - Dir. M. Night Shyamalan
66. The Castle of Cagliostro (1979) - Dir. Hayao Miyazaki
67. Big Trouble in Little China (1986) - Dir. John Carpenter
68. Angel's Egg (1985) - Dir. Mamoru Oshii
69. Crouching Tiger, Hidden Dragon (2000) - Dir. Ang Lee
70. A Nightmare on Elm Street (1984) - Dir: Wes Craven
71. Robocop (1987) - Dir: Paul Veorhoven
72. The Sword (1980) - Dir: Patrick Tam
73. Night of the Living Dead (1968) - Dir. George A. Romero
74. Whispers of the Heart (1995) - Dir: Yoshifumi Kondo
75. The Adventures of Mark Twain (1984) - Dir: Will Vinton
76. Godzilla Vs. Mothra: Battle for the Earth - Dir: Takao Okawara
77. The Master (1980) - Dir: Lu Chin-ku
78. The Road Warrior (1981) - Dir: George Miller
79. An American Werewolf in London (1981) - Dir: John Landis
80. For a Few Dollars More (1965) – Dir. Sergio Leone
81. Zu: Warriors of the Magic Mountain (1983) - Dir: Tsui Hark
82. Mr. Vampire (1985) - Dir. Ricky Lau
83. Kung Fu Hustle (2004) - Dir: Stephen Chow
84. Conan the Barbarian - Dir: John Milius
85. The Place Promised in Our Early Days (2004) - Dir: Makoto Shinkai
86. Biozombie (1989) - Dir: Wilson Yip
87. Jacob's Ladder (1990) - Dir: Adrian Lyne
88. Iron Giant (1999) - Dir: Brad Bird
89. Fearless Freaks (2004) - Dir: Bradley Beesley
90. The Mission (1999) - Dir. Johnnie To
91. Shaolin Temple (1976) - Dir: Chang Cheh
92. Poltergeist (1982) – Dir: Tober Hooper (and, by most accounts, Steven Spielberg)
93. The Prodigal Son (1982) - Dir: Sammo Hung
94. Desperado (1995) - Dir: Robert Rodriguez
95. SLiTHER (2006) - Dir: James Gunn
96. Project A-Ko (1986) - Dir: Katsuhiko Nishijima
97. The Tai Chi Master (1993) - Dir: Yuen Woo Ping
98. Boxer's Omen (1983) - Dir: Kuei Chih-Hung
99. The Lady Hermit (1971) - Dir: Hoh Mung-wa
100. Armageddon (1998) - Dir: Michael Bay

I hesitate to call this list of 100 hundred films a “Top 100.” I do not consider myself a cinematic authority, nor do I think my cinematic vocabulary is vast enough to declare anything “the best.” There are a ton of films missing from my lexicon, many of which I doubt I will ever have the time to see. However, I do feel confident in what I know, and what I know is this: genre cinema. And so, I am putting together this list, a list of 100 movies that totally rock, “100 movies that kick ass” if you will.

I think an important quality for a genre film to possess is re-watchability. I tend to enjoy movies that can be rewatched over and over again. I think most of the films on this list are highly rewatchable. If I were to close my eyes and pick one of these films at random there is a good chance that I would enjoy watching it on any given day, and in any given mood.

I am also into the craftsmanship of film making. This is one reason why I like Hong Kong cinema so much, and the martial arts genre specifically - I simply enjoy the way the Hongkies make movies. Many of these films tell the 'same story,' and feature the 'same characters,' but each is executed differently. Many of these films rely on the physical prowess of the actors, and on the ability of the action director to choreograph and stage entertaining action sequences. I admire movies that look good, movies that put their money on the screen - whether that's $5000 or $200 million, I want to see it.

Entertainment value is also very important to me. Yes, I am one of those heathens who enjoys being entertained more than anything. I think a film can be both thought provoking and highly entertaining, I do not use the words “popcorn film” in a derogatory manner, nor do I think the genre ghettos are bad places to dwell. This is not to say that I don't like films that challenge my world view, or films that ask me to think, because I do, but when films like this are also entertaining, well then, now we're talking.

Compared to a lot of the 'top' lists around the Internet, my list will probably contain a lot of what some might consider more mainstream, populist entertainment. It will also contain a lot films some film buffs consider trash. It contains a whole heck of a lot of kung fu, action, horror, and genre cinema. However, it also contains many films that are important milestones in my own cinematic journey, films that I think are as good or better than any ever made. It contains films that have helped to shape who I am today, and films that continue to mold me into who I might be tomorrow. It contains films I laughed at, and with, films that have scared me, or made me cry, and films that remind me exactly why I spend so much of my free time and money watching, buying, renting, and writing about them.

I am going to try to do two entries per week on average - I don't want this list taking longer than a year to finish, because by that time, it will most likely need to be updated. Oh well...let's get on with it!

[Sycophant]

All well and good. But what will we ever do without six pages of discussion on Armageddon and why Mr. Davis is nuts for allowing it spot #100.

[D_Davis]

I know - that was such an epic way to kick off that thread. Perhaps I could log it all on Genrebusters?

[jenniferofthejungle]

I know - that was such an epic way to kick off that thread. Perhaps I could log it all on Genrebusters?

You should.


I haven't seen Bill Cosby: Himself in quite a while, but I do remember laughing a lot. I so wanted cake for breakfast after seeing this.

[Ezee E]

Who will finish first? D, or the Non-Admins?

[D_Davis]

Who will finish first? D, or the Non-Admins?

I'm kind of in a rut right now. The next 10 films I need to rewatch and completely write reviews for. However, most of the rest is already done, so those will go fast.

[dreamdead]

Who will finish first? D, or the Non-Admins?

Currently, I'd wager D, though one never knows when a burst of inspiration/time will convince Wats to post on a more regular basis.

Anywho. Looking forward to the continued awesomeness of Asian films I've never heard of... Don't fail me, D.:mad:

[D_Davis]

Don't fail me, D.:mad:

You are my inspiration, I shall not fail you.

[monolith94]

I first saw that Bill Cosby film on a band trip, I believe going to or from Toronto. Twas great!

[D_Davis]

I first saw that Bill Cosby film on a band trip, I believe going to or from Toronto. Twas great!

It's strange how vividly I remember seeing it for the first time. I even remember the pillow I was laying on at my grandma's house. It's one of those films that's just etched into my mind, like Star Wars or something. Only, I think it holds up better.

[Qrazy]

Ready for 32 now.

[D_Davis]

Ready for 32 now.

It should be up tonight.

[D_Davis]

32. The Bride With White Hair (1993) - Dir. Ronny Yu


http://www.genrebusters.com/images/bww2.jpg


Asian film directors are able to create worlds, situations, characters and action traditionally limited only to animation. One of the greatest examples of this phenomena is Ronny Yu's The Bride With White Hair, starring the late Leslie Cheung and the incredibly gorgeous and talented Brigitte Lin Ching Hsia. Like the classic Romeo & Juliet, The Bride With White Hair is a tale detailing the doomed relationship of two lovers from warring political factions. The film is made of visual and poetic dualities; it is both a beautiful, touching and poetic romance, and a tragic, violent, and gruesome action film, often at the same time. Ronny Yu, Peter Pau, the cinematographer, and David Wu, the editor, craft a world that is visually dark, yet alluring, violent, yet peaceful, and so full of visual imagery that it can easily cause vast sensory overload. From the opening scene of a swordsman protecting a flower whose power might restore his lost love's humanity, to the climatic bloodshed of action, every moment of this film is worthy of framing and displaying.

http://www.genrebusters.com/images/bww4.jpg

Leslie Cheung plays, Zhuo Yi-Hang, a Wu Tang student who is fed up with the traditions and "pleasantries" of his martial discipline. He doesn't want to be involved in the day-to-day politics of the jiang hu, and lives, instead, for romantic adventure. Brigitte Lin plays, Lian Nichang, a top assassin of an evil cult hell-bent on the total destruction of the various martial schools. Leung and Lin have a link in their past, and are drawn closer to one another while also manipulated byu the political corruption of their warring schools. Zhou, a romantic at heart, wants nothing more than the love of Lian, however, the more realistic Lian knows that this love cannot be. She ultimately becomes so full of rage and hatred, stemming from and directed towards her brain-washing cult, that she becomes the spirit of lost love incarnate, the Bride With White Hair, a hateful, beastly woman destroying all who stand in her way, including the only person who ever loved her, Zhou Yi-Hang.

http://www.genrebusters.com/images/bww5.jpg

After seeing Tsui Hark’s Once Upon a Time in China for the first time, I needed more, and I will be forever grateful to the video store clerk for suggesting this film to me. I could not have asked for a better follow up to Tsui's mind-blowing epic. Upon repeated viewings, The Bride still stands up, and I am often surprised at just how effective it is. There is a magical quality at work in the film, a magic that Ronny Yu never quite found in any of his other Hong Kong productions, and a magic lacking from many other films of the era. The film seems to exist completely in its own world ,and we the audience are some how privy to view this world through the eyes of the director.

http://www.genrebusters.com/images/bww6.jpg

Ronny Yu has generously opened up the window to his imagination and has allowed us a glimpse of the greatness within. The Bride With White Hair is a superior genre film, and a film that transcends genre conventions and boundaries. It contains moments of hard-hitting action, a musical interlude, sadness, depravity, violence, and elements of horror all wrapped around a narrative of passionate romance. It is a film that would be perfectly at home on the DVD shelf of an avid kung fu junkie or an admirer of art house cinema. This is one of those rare films that really does get everything right, and a film that Ronny Yu should be eternally proud of.

[megladon8]

I LOVE THIS MOVIE!!

And I have you to thank for it, D!

[D_Davis]

I LOVE THIS MOVIE!!


So do I!

:lol:

[Sycophant]

That is one hard-rocking movie. I need to watch it again. And I think I'm actually going to with this one.

[D_Davis]

That is one hard-rocking movie. I need to watch it again. And I think I'm actually going to with this one.

The main problem with this film, and meg can confer, is that the DVD pretty much sucks. This film really needs to be remastered, and re-released on a good DVD. The old one is okay, and it does have an English commentary by Yu, but the picture is not as good as it should be.

[Sycophant]

The main problem with this film, and meg can confer, is that the DVD pretty much sucks. This film really needs to be remastered, and re-released on a good DVD. The old one is okay, and it does have an English commentary by Yu, but the picture is not as good as it should be.I have a Hong Kong disc. I don't remember really having any problems with the picture, but I think it was a Deltamac release; it couldn't have been that good.

[D_Davis]

I have a Hong Kong disc. I don't remember really having any problems with the picture, but I think it was a Deltamac release; it couldn't have been that good.

It's not terrible, but it still hasn't been fully remastered. This is a film that could really use the IVL/Celestial treatment.

[jenniferofthejungle]

:D Excellent write-up to a movie I love.

Braden bought it for me last year and I just love it. It's crying out for a proper release, dammit.

[Sven]

Well, I like your list, but I think this is the film that I hate the most on it. Yes, even more than Armageddon. In my estimation, it was horridly choreographed, pieced together, and shot. Did not like it at all.

[D_Davis]

Well, I like your list, but I think this is the film that I hate the most on it. Yes, even more than Armageddon. In my estimation, it was horridly choreographed, pieced together, and shot. Did not like it at all.

http://genrebusters.com/images/point1.jpg

I can understand not liking it, but horridly shot? The film is freaking beautiful man!

[Sven]

I can understand not liking it, but horridly shot? The film is freaking beautiful man!

I don't know... that slanty, hyper-colored twirling stuff really bothers me.

[Rowland]

The Bride With White Hair 2 is pretty lame though, unfortunately. Its ending in particular is a complete tragedy in how it retroactively fucks with the first movie. That said, I was inexplicably attracted to one of the women in the movie, an underling villain character played by an actress who hasn't been in anything notable that I'm aware of.

[D_Davis]

The Bride With White Hair 2 is pretty lame though, unfortunately. Its ending in particular is a complete tragedy in how it retroactively fucks with the first movie. That said, I was inexplicably attracted to one of the women in the movie, an underling villain character played by an actress who hasn't been in anything notable that I'm aware of.

Yes - the sequel is terrible, in every regard. I am not sure of the woman you are talking about.

[D_Davis]

31. Galaxy Express 999 (1979) - Dir: Rintaro

http://www.genrebusters.com/images/ge999.jpg

Rintaro's cinematic adaptation of Leiji Matsumoto's seminal manga creation is a classic of the medium. It is a grand space opera, sometimes called the “Japanese Star Wars,” featuring high adventure, endearing characters, mysterious worlds, and an epic narrative. Set against the backdrop of what is known as the “Leijiverse,” GE999 is overflowing with the original creator's masterful eye for detail and world-building. Leiji Matsumoto is one of the great-grandfathers of Japanese animation. He, along with Osamu Tezuka, did more to shape the future of the medium than any other Japanese artist/writer. I think it is safe to say that Japanese pop-culture as we know it today would be vastly different had Matsumoto failed to leave his mark.

http://www.genrebusters.com/images/ge9992.jpg

Galaxy Express 999 tells a condensed version of the same story told in the television and comic book series of the same name. This kind of abridged retelling of manga and television stories is a popular way for many Japanese anime directors to develop their films, and rightly so. Because so many of these serialized adventures span hundreds of hours and thousands of pages of narrative, it becomes nearly impossible to tell the story in a single movie, or even a trilogy. Sometimes it is clear that a film's narrative has been abridged, and many of these films play out more like a “best of” version of the original source; they are often times made more for the old fans than for new audiences.

http://www.genrebusters.com/images/ge9993.jpg

However, Galaxy Express 999 does not suffer from this problem, all thanks to the wonderful eye of the famous one-named director, Rintaro. Rintaro was one of the founding members of Madhouse, and he has been at the forefront of the Japanese animation industry since the mid-70s. Rintaro deftly directs GE999, and even though it is an abridged version of the original epic tale the film works as its own stand alone entity. The story that Rintaro choses to focus on has a concrete beginning, middle, and end, and even works totally out of context to the larger picture. What's more, GE999 flows with a kind of fluidity rarely seen. Every scene and plot-point effortlessly transitions into the next, creating a film full of emotion and wonder.

GE999 tells the story of Tetsuro, a young homeless orphan trying to get by in a future society rigidly controlled by a harsh class system. Tetsuro is orphaned after his mother is gunned down by a ruthless and heartless Machine-man. The Machine-men, men and women who have traded their bodies of flesh for ones of metal, are the ultimate rulers of the universe, and through iron-fisted power they keep their human underlings at bay. Tetsuro wants to avenge his mother, and the only for him to do so is take the Galaxy Express 999, a marvelous space-faring train, to the end of the line, to the planet Andromeda where he can get a machine-body powerful enough to kill his mother's assassin. Along the way, he meets a beautiful woman named Maetel who helps him on his journey. Maetel, however, is full of secrets, and becomes a kind of spiritual guide for the young hero.

http://www.genrebusters.com/images/ge9994.jpg

Along the way to Andromeda, the GE999 makes numerous stops on distant planets. On each planet the train stations at, Tetsuro encounters strange and different people, and even stranger situations. On one of the planets he meets an old woman who trusts him with a red cloak, an old hat, and a very powerful gun. These items once belonged to a famous space-traveler named, Tochiro. Tochiro was the engineer of the galaxy's most famous ship - the Arcadia - the space-pirate ship captained by the most famous intergalactic pirate of all time, Captain Harlock. All of Leiji Matsumoto's creations share a common thread, and he has built a multi-verse that puts anything created by Marvel and DC to shame. So, even though GE999 is an abridged retelling of the original saga, Rintaro and Matsumoto treat it as yet another important cog in the overarching, grand, and epic narrative.

Even though the animation may seem somewhat dated by today's standards, the film is simply overflowing with charm and charisma, and it has become a comfort-film for me. GE999 is a film I can turn on at almost any time and enjoy immensely. It has a strong power of nostalgia attached to it, and effortlessly draws my inner-child into its world of space-operatic adventure. In many ways it is akin to The Castle of Cagliostro in its uncanny ability to overcome its technical limitations. The characters are memorable, their conflicts are exciting and filled with mystery, and the entire thing is swimming in passionate craftsmanship.

[soitgoes...]

I feel like I'm über-white reading this thread (and it's old school counterpart). Cool list though. Completely different from most any list I've read, which makes it very readable/enjoyable.

[lovejuice]

31. Galaxy Express 999 (1979) - Dir: Rintaro

http://www.genrebusters.com/images/ge999.jpg


fucking A!!!!!

to be honest, i am not that familiar with the movie/anime, but i am a big fan of the manga. wonderful stuff. among the most poetical space adventures.

[D_Davis]

I feel like I'm über-white reading this thread (and it's old school counterpart). Cool list though. Completely different from most any list I've read, which makes it very readable/enjoyable.

I'm pretty dang white as well...

But thanks! ;)

[D_Davis]

fucking A!!!!!

to be honest, i am not that familiar with the movie/anime, but i am a big fan of the manga. wonderful stuff. among the most poetical space adventures.

"Poetic" is a perfect word to describe Matsumoto's creations.

Have you ever seen Cockpit? It's an anthology film consisting of three short films about WWII. It is really good.

[Philosophe_rouge]

That film scarred me as a child. My dad rented it when I was like 8 years old... I might have to rewatch it sometime.

[D_Davis]

That film scarred me as a child. My dad rented it when I was like 8 years old... I might have to rewatch it sometime.

It scared you? What about it, do you remember?

[Philosophe_rouge]

It scared you? What about it, do you remember?

I remember the scenes where the mother is chased down, although faintly. Also when they are at the frozen lake, and I think the woman is talking about her trading her body and her original form was under the ice or something similar...

[D_Davis]

I remember the scenes where the mother is chased down, although faintly. Also when they are at the frozen lake, and I think the woman is talking about her trading her body and her original form was under the ice or something similar...

Yeah - these two moments are quite haunting. The scene where the mother is murdered is quite powerful, and strangely beautiful. The violence is offset by the snow and tranquil surroundings, it really is a great scene.

[Qrazy]

Yeah - these two moments are quite haunting. The scene where the mother is murdered is quite powerful, and strangely beautiful. The violence is offset by the snow and tranquil surroundings, it really is a great scene.

Damn you Count Mecha! Damn you!!!

[D_Davis]

Damn you Count Mecha! Damn you!!!

Count Mecha :lol:

I also forgot to mention, in the video game thread as part of my Top 25 video games of all time, I have listed a game called Freedom Fighter, which is a LD-based game based upon this film. This game was my introduction to the Leijiverse.

[lovejuice]

"Poetic" is a perfect word to describe Matsumoto's creations.

Have you ever seen Cockpit? It's an anthology film consisting of three short films about WWII. It is really good.

no. is it by rintaro?

actually i have a question. since you're well-versed in sci-fi, which book come closest to the poetic of galaxy express? if it features a maetel-like cool-beauty who get naked from time to time -- at least she does in manga -- that's only a bonus.

[D_Davis]

no. is it by rintaro?

actually i have a question. since you're well-versed in sci-fi, which book come closest to the poetic of galaxy express? if it features a maetel-like cool-beauty who get naked from time to time -- at least she does in manga -- that's only a bonus.

I don't think Cockpit is directed by Rintaro, but I do think the animation is done by Madhouse. I want to say that each of the short films had a different director, but I am not sure.

Maetal is hot - she takes lots of showers and baths in the manga. :lol:

As far as books that have a similar poetic feel...hmmm...I don't know. I don't read a lot of space-opera. Most of my sci-fi reading is better classified as speculative-fiction. I will be reading some more space opera in the coming months as I go through the Hugo Award winning books/authors. I can suggest a fantasy though that is quite poetic - The Elric Saga, by Michael Moorcock. It is quite good, very dark, and extremely poetic.

[Kurosawa Fan]

Going by the sci-fi authors I've heard mentioned (Philip Dick, Michael Moorcock), I can only assume that relentless classroom bullying leads to writing science-fiction.

[D_Davis]

Going by the sci-fi authors I've heard mentioned (Philip Dick, Michael Moorcock), I can only assume that relentless classroom bullying leads to writing science-fiction.

Right. How do you think I felt in high school...

Anytime a super hot chick asked me who my favorite science fiction authors were, I had so say Dick and Moorcock.

It was far more embarrassing than having to explain to them how my 12th level Elven Ranger was killed by a group of drunk kobolds.

[Kurosawa Fan]

Anytime a super hot chick asked me who my favorite science fiction authors were, I had so say Dick and Moorcock.

It was far more embarrassing than having to explain to them how my 12th level Elven Ranger was killed by a group of drunk kobolds.

Boy, that's pretty even if you ask me.

[D_Davis]

30. Young Frankenstein (1974) - Dir: Mel Brooks

http://www.genrebusters.com/images/yf1.jpg

Young Frankenstein is a brilliant film because it works on a variety of levels. What could have been just another spoof, ala Airplane!, or perhaps even, to a lesser extent, Blazing Saddles, ends up being a film that contains elements of parody, comedy, satire, drama, and a ton of heart. While often cited as one of the funniest films ever made, I feel this classification does a disservice to the film as a whole. Yes, some parts are damn funny, outrageous, uproarious, and a whole slew of other descriptors critics often sling at great comedies. However, Young Frankenstein transcends the comedy genre in a way that elevates the film far above its yuk-yuk genre roots. Put simply, it is a film that I think is perfect, and expertly executes each facet of the filmmaking process.

http://www.genrebusters.com/images/yf2.jpg

I think that good comedies live or die by their actors. The key to a great comedy is solid, passionate actors with a panache for spot-on comic timing. This film's cast is legendary, turning in performances on par with any other movie I have seen and far better than many. Leading this cast of AAA performers is none other than Gene Wilder, as Dr. Frederick Frankenstein, the distant relative to the famous doctor of yore. Wilder's portrayal of the troubled doctor, trying desperately to shirk the notorious fame of his ancestor, is unhinged, inspired, and down right brilliant. Wilder is like a tightly wound spring coiled around an ill-conceived time bomb liable to blow at any second. The energy he harnesses here is infectious, and his manic ways ooze from the screen. I have often wondered just how close to a heart attack or brain aneurysm Wilder came to while filming Young Frankenstein. His bombast and passion actually make fill me with a sense of empathetic exhaustion.

Rounding out the cast, with equally stellar performances, is Terry Garr as Inga, the tart love interest, Marty Feldman as the affable Igor, pronounced Eye-gore, Madeline Kahn as Elizabeth, Frankenstein's indelible fiance, Peter Boyle as the monster, in a career defining performance, and Cloris Leachman as Frau Blucher, her with her Ovaltine and all. Normally I don't like to spend a great deal of time in my reviews talking about the cast, but with Young Frankenstein the actors are always the first thing my mind is drawn to when the film flashes in my mind. I cannot think of another film that contains such a strong cast. Every single actor in this film gives the performance of a life time, and the passion for the material, their characters, and the situations shines through with every spoken line, pratfall, and guffaw inducing moment.

http://www.genrebusters.com/images/yf3.jpg

The script with which the actors had to work with is a remarkable example of screenwriting. Written by Mel Brooks and Gene Wilder, the screenplay is full of witty one-liners and phrases that twist and spin the English language into a deluge of comedy genius. However, these funny lines are not just throw away little nuggets of comedy, but, instead, each line fully belongs to the character speaking it; these are not funny utterances. Often times, in lesser comedies, it doesn't really matter which character speaks the line because the characters become nothing more than a vehicle for the delivery of the joke. In Young Frankenstein, though, the lines feel as if they are truly birthed from the characters' psyches. A line taken from Igor and given to Inga, would not only fall flat, but it just wouldn't make an ounce of sense in regards to the film's characterizations. Brooks' and Wilder's script is something to be studied, it is a monumental achievement for the genre.

Finally, Young Frankenstein is a visual joy. Mel Brooks does not treat this film as a throwaway minor genre exercise. Choosing to shoot in black and white was a minor stroke of brilliance, as the film is swimming in the aesthetics of the great classic Universal Horror films. Stark shadows offset by bold lighting, moments of soft-focus romance, and the tension building capabilities of the noir-like milieu invoke the memories of horror fans who've cut their teeth on the classics. However, a striking juxtaposition occurs when the classic visual sensibility comes face to face with the zany style of the narrative, the absurd characterizations, and the wild situations to create a collision of style and substance. Young Frankenstein is a cinematic marriage made in heaven, and one that will surely continue to grow in popularity for decades, if not more.

[Philosophe_rouge]

Easily my favourite Brooks film, I find a lot of his work can be repetitive and stretched out too long but this one is pitch perfect. I completely agree with you on the visual front, it's a great looking film and it only helps to cement the comedy and to make it worth watching again and again.

[D_Davis]

Easily my favourite Brooks film, I find a lot of his work can be repetitive and stretched out too long but this one is pitch perfect.

I agree. I wish that most of his films were shorter. It's like each one could afford to have 15 minutes or so cut, and be better for it.

[Philosophe_rouge]

I agree. I wish that most of his films were shorter. It's like each one could afford to have 15 minutes or so cut, and be better for it.
Didn't Brooks used to work on a television show? I don't personally remember, but my parents insist his best work was on it, he was forced to work in half an hour intervals and couldn't by circomstance repeat himself or stretch a joke too long.

[D_Davis]

Didn't Brooks used to work on a television show? I don't personally remember, but my parents insist his best work was on it, he was forced to work in half an hour intervals and couldn't by circomstance repeat himself or stretch a joke too long.

Get Smart - and it was pretty good. I haven't seen the episodes in years though.

[Philosophe_rouge]

Get Smart - and it was pretty good. I haven't seen the episodes in years though.
Ah yes, it's all coming back to me! It's one of my mom's favourite shows, it's pretty hard to find unfortunately without ordering it unfortunately.

[Sycophant]

Nice. Young Frankenstein (along with The Producers) is one of the only Mel Brooks films I'll describe as good, even great.

[Qrazy]

Ah yes, it's all coming back to me! It's one of my mom's favourite shows, it's pretty hard to find unfortunately without ordering it unfortunately.

Glad to see you liked Spring, Summer and L'atalante... the first is very good but the latter is just masterful. I love the scene where Juliette first goes into Jules quarters. The set decoration, cinematography and staging in that scene sums up Jules entire character perfectly. The things a person comes to possess over the course of a life speak volumes about that individual.

[Philosophe_rouge]

Glad to see you liked Spring, Summer and L'atalante... the first is very good but the latter is just masterful. I love the scene where Juliette first goes into Jules quarters. The set decoration, cinematography and staging in that scene sums up Jules entire character perfectly. The things a person comes to possess over the course of a life speak volumes about that individual.
Yea, L'Atalante was very unexpectedly beautiful (although I don't know why I wasn't expecting greatness as it has a great critical reputation). That scene is my favourite of the film as well, so much attention was catered to creating a character through environment, and really the whole film works in that same vein. Even being on a barge contributes thematically to who the characters are (or were), a new way of life, a journey, etc.

[D_Davis]

29. Genghis Blues (1999) - Dir: Roko Belic

http://www.genrebusters.com/images/genghis1.jpg

Music has always been an important part of my life. From a very early age I was exposed to the music of Bob Dylan and U2, and grew up with an appreciation for music of all kinds. Throughout my life I have dabbled in the recording arts and I continue to play a variety of instruments today. One of my favorite things about music is being exposed to new and exciting sounds and genres. I love hearing new things, new kinds of sounds, and exploring how various instruments when accompanied by the human voice can create unique sonic landscapes.

http://www.genrebusters.com/images/genghis2.jpg

One of the most unique sounds I've ever heard comes from Tuva, a small isolated country on the southern border of Russia. Tuvan “throat singing” is, perhaps, one of the strangest, otherworldly sounds to be birthed on this planet, and is made by the ability of these singers to “sing” more than one note at the same time. People trained in this style of singing can harmonize with themselves, and it sounds unlike anything else I have ever heard.

Genghis Blues is a wonderful documentary that explores this style of music through a multi-national juxtaposition of music and culture. It tells the story of a blind blues musician called Paul Pena. Pena, who died in 2005, was a popular staple in the blues and rock scene in the 1970s, perhaps most popular for writing Jet Airliner, made famous by the Steve Miller Band. One fateful evening, while scanning through the various stations of his shortwave radio, as explorers of sound are prone to do, Pena stumbles upon a strange and haunting sound - Tuvan throat singing. Like a mythical Siren's call, the strange harmonies and haunting compositions beckon him onto a path of self discovery.

http://www.genrebusters.com/images/genghis3.jpg

By first learning Russian, through brail, Pena teaches himself Tuvan so that he can sing in the native language. He then teaches himself to throat sing, and eventually meets a Tuvan national singer brought to San Francisco by a small group called The Friends of Tuva. This organization decides to fund an expedition to Tuva, and sends Paul, along with a ragtag group of musicians and filmmakers, to the small Asian country in time for Paul to compete in a Tuvan throat singing competition held every few years. The documentary chronicles this extraordinary journey, and it is simply one of the most inspirational things I have ever seen.

If I were to review films based on their emotion impact alone, this would easily be in my top five. There is an overabundance of incredible achievements in the film, and one moment in particular is one of the greatest things I have ever seen. In preparation for the competition, Paul teaches himself a very popular Tuvan folk song, and perfects it. However, ten minutes before the concert, he learns that the song he has chosen can only be sung by a Tuvan king. Heartbroken and devastated, Pena almost loses it. On the verge of a total mental breakdown he reaches deep inside of himself and pulls off an extraordinary artistic achievement. He decides to wing it. With his Dobro guitar in hand, and without a proper song to sing, in a moment of spiritual spontaneity, he actually plays, for the very first time ever, the Tuvan blues. While playing the blues on his guitar, Pena starts to sing in Tuvan and unleashes a song in a style that has never been heard before. Not knowing what to make of this, the Tuvan crowd goes absolutely wild, and relishes in this historical and touching moment.

http://www.genrebusters.com/images/genghis4.jpg

I don't know how many times the genesis of a style of music is captured on film, but I cannot imagine it being more powerful than it is here. I mean, just imagine hearing and seeing a style of music performed for the very fist time. The experience captured here is truly a remarkable one, and it brings tears to my eyes every time I watch the film. The act of creating art is the most spiritual thing human beings can achieve. I believe that art is a direct window into the soul, and by creating art we tap into the power and passion of our very beings. That Paul Pena's creation is captured on film is truly a blessing, for it allows us to see and revisit the spiritual conception of a style of music that before this point had never been performed. The CD, also entitled Genghis Blues, is available for purchase, and I highly recommend it to anyone interested in good music.

[lovejuice]

interesting, this is actually the second time i've heard of this country, tuva. the first is from richard feynman's last memoir, tuva or bust!, about the legendary physicist's journey to a place most of his friends do not even know exists. fyi, tuva has a capitol city called "Kyzyl"!

[D_Davis]

interesting, this is actually the second time i've heard of this country, tuva. the first is from richard feynman's last memoir, tuva or bust!, about the legendary physicist's journey to a place most of his friends do not even know exists. fyi, tuva has a capitol city called "Kyzyl"!

Yeah - my friend just told me about this. Very cool.

You really should check out this doc. It is amazing, and the soundtrack is as well. I've been listening to it a lot recently. It really is the Tuvan Blues.

[lovejuice]

You really should check out this doc. It is amazing, and the soundtrack is as well. I've been listening to it a lot recently. It really is the Tuvan Blues.

you pique my curiosity, d.

[Qrazy]

Yeah - my friend just told me about this. Very cool.

You really should check out this doc. It is amazing, and the soundtrack is as well. I've been listening to it a lot recently. It really is the Tuvan Blues.

You might want to check out Gypsy Caravan. It's made by the same small production company that made Genghis Blues I believe, or at least they're linked together in some way. I worked there two years ago as an intern, had some minor input on the editing of the film (Caravan).

[D_Davis]

You might want to check out Gypsy Caravan. It's made by the same small production company that made Genghis Blues I believe, or at least they're linked together in some way. I worked there two years ago as an intern, had some minor input on the editing of the film (Caravan).

Cool - I'll check it out.

[D_Davis]

Back-to-back documentaries...

28. American Movie (1999) - Dir: Chris Smith

http://www.genrebusters.com/images/american3.jpg

"It's okay, it's alright...there's something to LIVE for, Jesus told me so."
-Uncle Bill

American Movie is a documentary film about two friends in Wisconsin trying desperately to make their life long dreams come true. Mark Borchardt and Mike Schank want nothing more in life but to obtain the “American Dream”. For them this dream is to make movies. From the time that these two friends could hold a camera, they were making short films, composing music for them, and learning the ends-and-outs of editing and shooting films. But, despite all of their hard work and practice, Mike and Mark never seem to get their personal or professional lives in order, and are fighting a constant uphill battle just to maintain the will to go on.

http://www.genrebusters.com/images/american2.jpg

American Movie is one of the most inspirational movies I have ever seen, because it shows that, sometimes, good intentions just aren’t enough – its subject is honest. It shows the strong duality in our adult lives of dreams versus reality. In one hand we have our child hood dreams, and these dreams are often the things that make us truly happy, fulfill us both spiritually and physically, and give us the will and ability to face each day with passion. But, in the other hand we are faced with the reality that maybe our dreams won’t come true, or we feel that we lack the drive, ambition and means to obtain what really makes us happy. Mike and Mark are faced with these two separate ideas and the filmmakers show us both the hardships and the triumphs that come when one follows his or her dreams.

Mark Borchart’s dream is a film that he wrote and wishes to direct called North Western. This film is his opus, his Citizen Kane if you will. This film is what he feels he was put on Earth to accomplish. In order to make North Western though, Mark must first complete a short film called Coven (which he comically and constantly calls Coven, rhyming with flow-vin) and sell 3000 copies on video to get the money in order to fund his dream. Nothing ever seems to work out for him. No one except for his friend Mike, his mom, and a few others have any confidence in his film making abilities. He is faced with huge financial debts, troubled family relationships, the burden and joy of his 3 children and estranged girlfriend, and his love for his best friend Mike, who used drugs and alcohol very heavily in his early adulthood and late teens. Mark’s life would probably make a very interesting and dramatic film itself.

Mike Schank, Mark’s best friend, must be one the most drug-wasted people on the planet. Although he has been sober now for a few years, one might never tell. Mike’s relationship with Mark is a very important one, and without each other they probably wouldn’t be making films or might not even be alive today. Through this friendship we see that people are always stronger when they have someone to confide in, and someone to help out through the hard times. Although Mike may have killed about 90% of his brain cells, he still maintains an optimistic and jovial outlook on life – it seems like nothing can ever get him down.

http://www.genrebusters.com/images/american1.jpg

Through hard work, perseverance and friendship, Mike, Mark and the film crew finally finish Coven and as of a couple of months after the documentary, 3000 copies of the video were sold. This small triumph does not really lead toward much in the lives of the two wannabe filmmakers. To this day, Mark’s dream film North Western is still unfinished, and I doubt it ever will be. I do not however see this a sad ending to such a comically bummer of a film. It is just true to life – sometimes our dreams do not come true. It is true to my life and true to many people’s lives. What American Movie shows is that we can move on and continue to live happy lives even if our dreams don’t necessarily come true. Sometimes our dreams change, sometimes we change and grow apart from our dreams. We should not measure our lives by what we accomplish, but rather we should measure our lives by the happiness and joy we bring to others and the serenity we live in. I recommend American Movie to all dreamers who feel like failures, and to all who strive to fulfill their dreams. Not only is it a wonderfully made documentary, but it is also an insightful testimony of reality.

[Spinal]

Knew it was coming, but still glad to see it. Good film.

[Russ]

Awesome!

[Ezee E]

nice addition.

[D_Davis]

Awesome!

Thought you'd get a kick.

[D_Davis]

(no screen caps - I can't find my DVD :( )

27. Evil Dead 2 (1987) - Dir. Sam Raimi

http://www.eccentric-cinema.com/images/movie_pix_a-i/evil_dead2-01.jpg

Evil Dead 2 is a landmark genre film. It expertly combines horror, gore, and comedy into a beast that is wholly its own, all while raising the aesthetic bar for low-budget genre films. It helped to make the director Sam Raimi and star Bruce Campbell into household names, and launched an entire army of imitators, and bred a legion of fans. Evil Dead 2 also successfully crossed genre-lines and was accepted by horror fans, critics, and the neophyte alike. Chances are, unless you have been locked in a cellar and chained to a wall, you have heard of the film, seen it, or know someone who has.

So, let’s pretend for a moment you have been chained to a wall in a locked cellar, only to have been recently released: just what in the hell is Evil Dead 2? Well, it is a sort of remake/sequel to, yup you guessed it, the first Evil Dead. It’s about this guy named Ash who, along with his girlfriend, decides to take a nice uneventful romantic vacation to an old run down cabin in the woods that is possessed by Satan himself. Upon arriving at their romantic hideaway, Ash discovers the most evil book ever written – The Necronomicon: a book written in blood, and bound in the flesh of tortured humans. After an incantation is played on an audiotape, the spirits of the damned, deadites, are released to torment the living, especially the ever-tormentable Ash.

Evil Dead 2 is a very brave film. For almost half of its running time, Ash is the only human character in the narrative. Bruce Campbell was no veteran actor when this was made, so his ability to command attention and drive the narrative so expertly warrants great accolades. With this said though, I must admit that I am no member of the Cult of Campbell. I think he played a great Ash, and made a good Elvis impersonator, but the man has been in some truly horrible productions and I do not pretend to like them just because of mister Campbell. However, props must be given where props are due, and Ash is one kick ass character. No other actor I can think of has taken as much abuse as Campbell did for this film, all while having a gooey-good time. It is no wonder why Bruce Campbell and his counterpart Ash have become iconic players in genre cinema.

Speaking of iconic, director Sam Raimi also established himself as an auteur with Evil Dead 2. Although he began crafting his signature camera work with Evil Dead, it is in part 2 that we really see him shine. All I have to do is mention the “Evil Dead cam” and everyone who has seen the film, or other films where it has been used, knows what I am talking about. The low to the ground tracking shot with the camera moving quickly over the terrain, through doors, down stairs, around corners and through walls was made famous in this film, all thanks to the visionary directing of Mr. Raimi. Much like how Stanley Kubrick made the tracking steady-cam shots in the Shining popular, so too did Raimi define his own aesthetic style with Evil Dead 2, a style that he still uses today, and a style that is still copied today.

If copying is the greatest form of flattery, then Evil Dead 2 must be one of the most loved genre films ever made. Like other landmark genre films such as 36th Chamber of Shaolin, Once Upon a Time in China, Die Hard, Pulp Fiction and The Matrix, Evil Dead 2 set the standards for its own genre, and added to the cinematic canon. So many genre filmmakers, from Rodriguez to Carpenter (a great influence in his own right), from Roth to Tarantino, and from Kitamura to Miike, have cited Evil Dead 2 as a great influence that has helped to shape the very landscape of exciting, independent filmmaking. By upping the ante in terms of blood and gore to near preposterous amounts, and by creating a simple but effective narrative that is fun, scary and entertaining, Raimi and co. set the cinematic world on fire. Evil Dead 2, like all great films, is infinitely rewatchable, and is always a joy to see. It continues to get better with age and continues to attract new fans, all while being a continual influence to filmmakers both young and old. Simply put, Evil Dead 2 rocks, and rocks hard.

[Spinal]

Not in my top 100, but probably would be in my top 150. Love this film.

[Boner M]

In my top 100 too! Rarely has a film found such a blissful pitch between a disparate bunch of genres. A thing of a beauty, that film.

[megladon8]

I LOVE Evil Dead II.

This and the first one are constantly competing in my mind for the throne of "best of the trilogy".

[Philosophe_rouge]

I still haven't seen any of the Evil Dead films. Shame on me!

[Sycophant]

Oh, man. I'm a bad person. Of the trilogy, I've only seen Army of Darkness.

[D_Davis]

Oh, man. I'm a bad person. Of the trilogy, I've only seen Army of Darkness.

This is my least favorite of the three. I actually don't care for it at all. I recently rewatched it and was kind of bored by it.

[megladon8]

I still haven't seen any of the Evil Dead films. Shame on me!


Oh, man. I'm a bad person. Of the trilogy, I've only seen Army of Darkness.


You are both Satan's minions, aren't you?

:P

[Sycophant]

This is my least favorite of the three. I actually don't care for it at all. I recently rewatched it and was kind of bored by it.Well, that bodes well for the others, 'cause I think it rocks!

[Duncan]

I've seen the first one and the last one, but skipped this one. I've been told it's the one I'd like the most.

[Bosco B Thug]

27. Evil Dead 2 (1987) - Dir. Sam Raimi I'm glad to have finally seen another one on your list! You and your artsy-fartsy foreign films. :P Evil Dead 2's great, btw!

[Qrazy]

I've seen the first one and the last one, but skipped this one. I've been told it's the one I'd like the most.

It's by far the best balance of what works in One and Three.

[Raiders]

This is my least favorite of the three. I actually don't care for it at all. I recently rewatched it and was kind of bored by it.

Indeed. There is a point where unbounded inanity and energy become listless and dull.

[D_Davis]

I'm glad to have finally seen another one on your list! You and your artsy-fartsy foreign films. :P Evil Dead 2's great, btw!

Yeah - I have really pretentious tastes.

:lol:

[D_Davis]

Indeed. There is a point where unbounded inanity and energy become listless and dull.

Totally. It lacks the tight, cohesive drive of the first 2 films. I think Army suffers more from the filmmakers giving into the cult of Campbell. While Campbell is featured more intensely in ED2, that film is still has its own identity, where as with Army, the entire thing feels like fanservice to Campbell's fans, and not much more.

[Sven]

Heh. That's probably the first and last time I will ever hear Evil Dead 2 referred to as "tight" and "cohesive". :lol:

I'm not saying it's not (it's definitely moreso than Army of Darkness). But still...

[Kurosawa Fan]

This is my least favorite of the three. I actually don't care for it at all. I recently rewatched it and was kind of bored by it.

I used to love it in high school, but I just rewatched it a few days ago (most of it anyway) and found most of it fairly annoying. I was hoping it was just the mood I was in, but perhaps not.

[D_Davis]

Heh. That's probably the first and last time I will ever hear Evil Dead 2 referred to as "tight" and "cohesive". :lol:

I'm not saying it's not (it's definitely moreso than Army of Darkness). But still...

Well, it is a very simple film, largely taking place in one setting, and reduces the narrative down to its barest of essentials. That is, it is a film that makes the most out of its limited scope and budget. Army tries for a more "epic" adventure feel, and I think it wanders too far off into different territories, and loses the drive and immediacy that makes the second film so successful.

[D_Davis]

26. Pink Floyd: Live in Pompeii (1972) - Dir: Adrien Maben

http://www.genrebusters.com/images/pf1.jpg

If you were to see me on the street, approach me, and ask me what the single greatest filmed musical performance in the history of rock 'n roll is, I would say, without a moment's hesitation, “Pink Floyd: Live in Pompeii.” That this performance is captured on film for us to revisit, time and time again, is truly a blessing of great magnitude. What sets this apart from any other filmed performance I have seen is, well, everything. Yes, everything: the sound quality, the skill of the performers, the place in which it is performed, the songs chosen, the atmosphere, and the mood generated by it all is something of a cosmic miracle.

http://www.genrebusters.com/images/pf2.jpg

Adrien Maben, the film's director, struck cinematic gold with this “concert” film. I put the word “concert” in quotes because it really isn't a concert, that is, the performance was filmed without an audience. After the huge and epic production of the Woodstock Festival, the concert film as a genre had grown stale and tired. They began to rely on a formula: show the band, show the crowd's reaction, show the band, show the crowd's reaction, and on and on into infinity. The only audience present for the Floyd's Pompeii concert was the film and audio crew, and the only time they are shown is when they happen to be working in the shots, filming or recording the band. What a strange thing it is to see and hear a band performing live on film without an audience in attendance.

http://www.genrebusters.com/images/pf3.jpg

The Pink Floyd were always a band that did their own thing and blazed new musical trails, all while embracing commercial success. They were a popular rock band who wanted their music and shows to be the sole focus, and would often perform shrouded in a kaleidescope of lights, drawing the attention away from them as individuals. They were not the stars of their shows, the music was - it was all about the experience. While conceiving of the idea for this live performance, Maben struggled to find a setting that would properly capture the band's sound and mystique. It would be boring to simply film such a unique band on a normal stage, in a mundane manner, and so while on vacation with his wife in Pompeii, he decided that the Colosseum would perfectly compliment what the Floyd was all about. Pompeii is a place filled with the memories of death, a place teeming with emotion, and a place bursting with energy like some strange and mystic cosmic relic. In other words, it was the perfect place for the Floyd's brand of epic space-rock.

http://www.genrebusters.com/images/pf4.jpg

Birthed from dissonant sounds mimicking otherworldly places, the performance begins quietly with Echoes Part 1. As the epic song builds in a sonic swirl, the camera slowly descends from an elevated level down to the earthen stage of the Colosseum's dirt floor. Surrounded by partially dilapidated stone walls, the unusual venue generates beautiful natural acoustics, and creates an almost frighteningly intimate vehicle for the band's enormous sound. As the day wanes and turns to evening, the band continues on through a set which includes Set The Controls for the Heart of the Sun, Careful With That Axe Eugene, One of These Days I'm Going to Cut You Into Little Pieces, and A Saucerful of Secrets, before concluding with the epic finale, Echoes Part 2. Maben's coverage of the band is wonderful, and each performer - David Gilmour, Roger Waters, Nick Mason, and Richard Wright - is given the time to shine, and the time to let their passion for the music be recognized. Off stage, the Floyd were like the prototypical goofy English boys in a rock band, but on stage they would go through an intense transformation: they would metamorphoses into serious beings possessed by the very sonicness of their music.


http://www.genrebusters.com/images/pf5.jpg

The audio for the performance was recorded like a studio album. A large mixing board and a 24-track recording deck were hauled into the Colosseum, and allowed for optimal sound fidelity. While no over dubs were ever used, the Floyd were vehemently against the use of prerecorded back-tracks, parts of the performances were actually recorded live in a studio in Paris while the band was working on Dark Side of the Moon. As well-known perfectionists, the Floyd wanted to tighten up some of the tracks and so they did, by calling in the same crew along with the film's director. During these recording sessions, Maben also filmed short interviews with the band, and captured some wonderfully candid moments. One such moment features Nick Mason ordering a slice of square apple pie without the crust - don't ask, but it is quite funny. These are some of the most intimate moments of the Floyd ever filmed, and they offer up a wonderful look into the ongoings of a band at the apex of their creativity.


http://www.genrebusters.com/images/pf6.jpg

If you've never taken the plunge into the Pink Floyd's early 1970's period, this would be a perfect launching point. The music they made during this period still sounds like it is from the future, and is still a great influence on any number of modern post-rock or space-rock bands. The songs featured on this performance are among the greatest rock songs ever recorded, and they are representative of a band that defied categorization for much of their career. Adrien Maben's film expertly captures this important moment in pop-culture history, and I will be forever grateful for this document of a great musical talent. However, I do offer up one word of warning: if you rent the newly remastered DVD, do not, I repeat, DO NOT watch the new and extended director's cut. The less said about this travesty the better. Just click on over to the special features menu and watch the original theatrical version, and pretend the other version doesn't exist.

[Sycophant]

I've never really listened to Pink Floyd very much, but they popped this in the DVD player one night while we were closing at Hollywood Video. The bits I caught blew my mind. I should watch this.

[Sven]

I'd love to see this movie, but I disagree with your suggestion that Woodstock was a banal concert film. That, to me, is the watermark of concert films. Its capturing of musical form, atmosphere, its effect on an era, is second to none in my book.

[D_Davis]

I'd love to see this movie, but I disagree with your suggestion that Woodstock was a banal concert film. That, to me, is the watermark of concert films. Its capturing of musical form, atmosphere, its effect on an era, is second to none in my book.

I didn't say it was banal, but instead the film set the tone for dozens of subsequent concert films. They are the banal ones, Woodstock was the first, and will always be a great testament to the music and culture of the time.

[D_Davis]

I've never really listened to Pink Floyd very much, but they popped this in the DVD player one night while we were closing at Hollywood Video. The bits I caught blew my mind. I should watch this.

Watch it as big and as loud as you can.

[Sven]

I didn't say it was banal, but instead the film set the tone for dozens of subsequent concert films. They are the banal ones, Woodstock was the first, and will always be a great testament to the music and culture of the time.

Ah, I see. I would argue that the Monterey Pop film was probably more influential on the format of the state of the majority of concert films.

Have you seen Stop Making Sense?

[D_Davis]

Have you seen Stop Making Sense?

Yes - I like it quite a bit. It has some great musical moments, and is shot rather well. I also like the Talking Heads quite a bit, so this helps. One of my main problems with Woodstock isn't even really a problem with the film itself, but more of a personal preference - I just don't care for many of the bands.

[Sven]

One of my main problems with Woodstock isn't even really a problem with the film itself, but more of a personal preference - I just don't care for many of the bands.

That's understandable, but I was enraptured throughout. Every set was filmed from a unique vantage point, so every performance seemed fresh and everyone seemed "on"--even when their music was sounding mediocre, watching them perform straight on was a joy and inspiration. It's a testament to performance, at the very least. My least favorite moment is, sadly, the Crosby Stills and Nash set. I love love love them as musicians, but their sound was really poor for some reason. Luckily, some of their studio songs are used to underscore the set-up sequences at the beginning of the film (its use of Wooden Ships is particularly awesome).

[balmakboor]

I've been meaning to see Live at Pompeii again for a long time. I saw it and Zabriskie Point in a crowded pot smoke filled theater late at night in 1980. I just remember being very tripped out by the whole experience. I was 18 at the time.

[D_Davis]

I've been meaning to see Live at Pompeii again for a long time. I saw it and Zabriskie Point in a crowded pot smoke filled theater late at night in 1980. I just remember being very tripped out by the whole experience. I was 18 at the time.

That's awesome. I've got the ultimate cliche: the first time I saw this was also the first time I ever took acid. I had just turned 17 or 18, can't remember. It was amazing.

[Qrazy]

Davis have you seen My Name is Nobody? Ten to one you'd love it.

[D_Davis]

Davis have you seen My Name is Nobody? Ten to one you'd love it.

The Italian western?

[Qrazy]

Yea.

[ledfloyd]

great pick. one of the best "concert" films ever.

[D_Davis]

Yea.

I don't think I have - it's one that I've been meaning to rent for years though. I'll check it out.

[Sycophant]

Mr. Davis! Can you recommend me a hopping vampire flick stat? It needs to be something that's readily available on HK DVD, as I need to fill out a YesAsia order today.

Or if anyone has any category III exploitation flicks to recommend, I'm interested (Sex & Zen is so hard to get a hold of).

[D_Davis]

Mr. Davis! Can you recommend me a hopping vampire flick stat? It needs to be something that's readily available on HK DVD, as I need to fill out a YesAsia order today.

Or if anyone has any category III exploitation flicks to recommend, I'm interested (Sex & Zen is so hard to get a hold of).

For cat III, check out The Eternal Evil of Asia, it's a hoot. Sex and Zen is also really good.

Have you seen Mr. Vampire of Spooky Encounters yet? If not, check these out.

[Sycophant]

For cat III, check out The Eternal Evil of Asia, it's a hoot. Sex and Zen is also really good.

Have you seen Mr. Vampire of Spooky Encounters yet? If not, check these out.Thanks! I'm ordering Mr. Vampire (the one with Ricky Hui, right?) and I'll save Eternal Evil for later.

[D_Davis]

Thanks! I'm ordering Mr. Vampire (the one with Ricky Hui, right?)

That's the one.

[Sycophant]

I just watched Versus again last night (still not Ultimate, I'm afraid) with some friends and I'm pleased to say it still ROCKS.

[D_Davis]

I just watched Versus again last night (still not Ultimate, I'm afraid) with some friends and I'm pleased to say it still ROCKS.

It's such a fun flick. It is especially fun to watch with people who may not be use to this kind of thing.

[Qrazy]

Next entry.

[D_Davis]

Next entry.

I know. I've just been so busy lately. I can't even remember the last time I sat down and watched a full length film at home. The final 25 will go pretty quick though, as the vast majority of the review have already been written. I am just stuck on the next two films, I need to watch them again before writing. Hopefully, tomorrow.

[D_Davis]

Here it is, the Top 25 is finally here. Thanks for waiting and reading!

This review took me forever to write. There are just so many things I would like to say about this film, and as many different ways to approach the review. Rather than just go for the "this film KICKS F'N ASS!" approach, which would totally be appropriate, I went in another direction, and in trying to keep my reviews under 1000 words now, there are still a ton of details I didn't reflect on. Oh well...

25. Die Hard (1988) - Dir: John McTiernan

http://www.genrebusters.com/images/diehard1.jpg

One of the most famous and talked about scenes in Die Hard is when John McClane is pinned down by Hans Gruber and a couple of gun-toting thugs, and the only way for him to escape is to run, barefooted, over a floor littered with shards of broken glass. Gruber, who has just had a curious encounter with McClane, knows that the hero is barefooted, and so he orders his men to shoot out all of the glass walls separating the rooms and cubicles surrounding McClane. The reason that McClane is shoe-less stems from a seemingly innocuous conversation he had with a fellow air-traveler during the opening minutes of the film. Unaccustomed to flying, McClane takes the advice of a more experienced traveler, and when he reaches his final destination, the Nakatomi Plaza where his wife works, he removes his shoes and “makes fists with his toes” on the carpet. Much too his surprise, the little trick works and helps to calm his nerves, however, it also sets up a long running series of gags and predicaments he must overcome, while also serving as a reminder of the hero's vulnerability.

http://www.genrebusters.com/images/diehard2.jpg

John McTiernan's action masterpiece is full of such actions and set-ups: moments that are built upon consequence and tightly plotted events. I am not going to claim that everything in the film is result of logically executed action and reaction, there will always be someone to point out some small and overlooked detail, but enough of the pieces perfectly fit to make this a superior example of genre filmmaking. McTiernan directs the film with an uncanny eye for detail, and he leads us through the tensely-paced plot like a world-class tour guide. The sights and sounds we are shown almost always come back into play. McTiernan shows us the proverbial shotgun, and you better believe the shotgun gets used.

http://www.genrebusters.com/images/diehard3.jpg

Die Hard benefits most from its amazing set and the ways in which it is used. All too often, the settings of many western action films can feel inconsequential, or interchangeable, and they are often left largely unused in any kind of meaningful and creative way. Such is not the case here. Die Hard's main attraction is the Nakatomi Plaza (a fiction setting made more prominent by its real-world presence), and McTiernen deftly wraps the film's action around the set creating a symbiotic relationship between the two. Like Dante traversing the various levels of Hell, McClane moves from floor to floor in the belly of his own towering inferno. From the lusciously furnished main floor, up through the bowels of the unfinished construction zone, onto the roof, and finally back down, only to be born again from an artificial natural-oasis in the midst of one of mankind's most striking, and phallic, marks on our planet.

http://www.genrebusters.com/images/diehard4.jpg

With McTiernan as the guide through this dark tower, the characters become our eye-pieces and through their vision the story unfolds. Through the creative use of POV, we are always aware of the surroundings, the exits, the traps, and the obstacles over which McClane must traverse. We know where he must go and we know where the bad guys think he is because we are shown. During McClane's first close-encounter with the baddies, in a sequence of shots, were are shown his hiding place from his POV, a place of possible escape, and the same setting from the bad guy's POV. Through the use of triangulation, McTiernen sets up the geometry and space of the setting, thus allowing the audience to follow the action in a logical manner.

http://www.genrebusters.com/images/diehard5.jpg

Again, this is just one example of a perfectly executed moment, and Die Hard is teeming with such moments. There is nary an artificial moment in the film. Practically everything we are shown fits within the surroundings, gets used in a meaningful way, and benefits the film's concisely plotted narrative. Die Hard is a film built upon carefully calculated moments of believable actions and reactions, all of which work within the confines of the film's milieu. Yes, often times the action is outlandish and over the top, but we are never asked to completely surrender to fantasy, nor is the well-being of its hero ever taken for granted. Die Hard moves fast, and with a purpose, and is simply one of the all time classics of the action genre. It is incredibly well made, highly entertaining, and rewarding across multiple levels.

[Bosco B Thug]

Die Hard's pretty expansive and elaborate in its set pieces and the ordeal it presents, when you could've imagined it being much less ambitious. In that way, it's like the Kairo of action movies. Haha, pulled that comparison out of my ass, but great choice!!!

[D_Davis]

It is an ambitious action film that does crumble under it's own weight. It could have been crushed by the lofty set pieces, but under McTiernen's direction it remains concise and tightly driven.

[megladon8]

One of the greatest action films of all time.

Great to see it made the list, D.

[Ezee E]

Where do you pull all the screenshots D?

[megladon8]

Where do you pull all the screenshots D?


Screencaps from the DVDs, I think.

[Ezee E]

Screencaps from the DVDs, I think.
He owns all those? Cooooool.

[D_Davis]

He owns all those? Cooooool.

Yeah. I own a few DVDs.

[D_Davis]

(sorry, no screencaps for this one. I am feeling lazy right now.)

24. Aliens (1986) - Dir: James Cameron

This may fall under the “confessions” category, I don't know, but anyhow, here it goes: up until a few years ago, I was not a big fan of Aliens. For many years, my favorite film of the saga was David Fincher's much maligned third entry in the series. To this day I still love that film's atmosphere, and I also think it possesses an incredibly gripping visual style. But let's get back to the film at hand, James Cameron's Aliens. So yeah, I didn't really care for it. I thought it was far too long, kind of dull, and it just didn't engage me in any kind of meaningful way.

I had seen three cuts of the film: the television cut with the added sentry gun segment, the original theatrical cut, and some bootleg cut that contained even more, unfinished footage. I always thought that a good movie was hidden within these three versions, if only, somehow, Cameron could join them together to form some kind of Voltron-esque super Aliens. Well, a few years ago this exact thing happened, and once I saw Cameron's director's cut of the film I was totally won over.

Now this may sound strange to some of you because in my first paragraph I complained that I once thought the original version was too long. So, how could I possibly like a version that is even longer? It's quite simple, the stuff they added back in helped to flesh out the characters, the universe, and the narrative, and it gave me more reasons to care about what was going on. More specifically, the additional footage of Ripley learning that her daughter had died added an extremely powerful motive for the character. Before this short and powerful sequence was included, I never really imagined Ripley as the motherly, caring type, and so her seemingly strong connection with the little scamp, Newt, always felt forced to me. Why this scene was initially cut will forever be a mystery to me, because it is one of the main things that won me over to the film.

There are other moments in the directors cut that also add a bit of depth to the characters. The short exchange between Ripley and Hicks is another important one. This incredibly short scene does wonders to add a bit of immediacy and delicacy to the characters and their awkwardly budding relationship. It also adds yet another powerful sting to the opening of the third film. Again I must question the decision to leave this out of the previous official versions. And yet another incredible addition is the sequence in which we see the initial discovery made by the colonists, more specifically Newt's parents. This is yet another example that added to my emotional connection with one of the characters. Where as before, Newt was just some little orphan in a terrible predicament, this additional sequence gave me more reasons to care about what had happened to her.

The problem I initially had with the length all but vanished when Cameron added in these moments, moments that made the film more meaningful and engaging. Before these brief but important scenes were included, I had problems anchoring any kind of emotional attachment to the characters, and so the long narrative seemed to drag. If anything, I think this proves the incredible power of editing, and how small and simple changes can drastically alter one's appreciation for a film. I cannot imagine Aliens without these additional scenes, scenes that, while quite simple and short, add so much gravitas to the final film.

So, once I was given reasons to care about the central characters, the rest of the film enveloped me like it never had before. It suddenly became this intense, emotional ride that I couldn't get enough of. Now, I consider the film's length a boon. I love the slowly building tension and impending doom that hangs over the film, creating an atmosphere thick with survival horror. The claustrophobic way in which it is shot adds an element of environmental terror, and the use of the set is masterful. The colony feels real, it feels like a place I can actually visit, touch, smell, and hear. Aliens possesses an organic quality bubbling and boiling away with vibrant and tangible detail. I am almost ashamed that it took me so long to “get” this film, and believe me, I got many a queer look whenever I revealed my general distaste for it. I guess it's just one of those things, and sometimes, the things that take us longer to appreciate end up being the things that we appreciate most.

[megladon8]

Great entry for a great movie, D.

I've always been a fan of Alien 3 as well - I may even say I like it second best of the series, behind the first.

I love Aliens, but I just find it all a little too big and action-y to really compare to the first and third, because they were so much more about close quarters and atmosphere than action scenes which were admittedly kick-ass.

Plus, Alien 3 is actually the first one I saw, so I'll always have a little nostalgia about that one.

[Ezee E]

I should neg rep you for no Aliens caps. But I love it, so it'll balance out.

[D_Davis]

Let's get back to some freaking kung fu!

23. Disciples of the 36th Chamber (1985) - Dir: Lau Kar Leung

http://www.genrebusters.com/images/d361.jpg

Disciples of the 36th Chamber literally begins with a punch to the gut, and the film continues to assault the senses at each and every turn. The film, in a word, is grand: the production values soar, the action is sophisticated and expertly choreographed, the humor - while broad at times - works within the narrative, and the story itself is simple yet moving. For Lau Kar Leung's last Shaw Brothers outing, he executed what might be considered a "best of" approach, as Disciples features everything that made his previous films so outstanding, polished to near perfection. We get the human drama from Executioners of Shaolin and Challenge of the Masters, the pageantry from Martial Arts of Shaolin and The Martial Club, the humor from Return to the 36th Chamber and Mad Monkey Kung Fu, and the jaw-dropping action from Heroes of the East and 8 Diagram Pole Fighter. This film only proves and solidifies Lau's standing as the premier force behind martial arts cinema.

http://www.genrebusters.com/images/d364.jpg

In the film, Gordon Liu once again dons the robes of the monk San Te, and Hsaio Ho plays legendary shaolin rebel, Fong Sai Yuk – a dual force to be reckoned with for sure. The narrative begins with the hotheaded and angst-filled Fong Sai Yuk causing a ruckus in his school, and being a total punk at home - a true rabble-rouser full of disrespect and misplaced anger. Fong Sai Yuk takes his shenanigans one step too far when he insults and challenges an evil Manchurian governor, and finds himself being hunted by the Manchu-oppressors. Fong Sai Yuk's mother begs the shaolin temple's monks to take him in as a layman, and under the mentoring eye of the monk San Te, Fong Sai Yuk begins his apprenticeship.

http://www.genrebusters.com/images/d362.jpg

In the original 36th Chamber, Lau Kar Leung defined what would come to be known as the "training sequence," and a good portion of that film was devoted to the training of the young San Te. In Disciples, less of the running time is devoted to the training of Fong Sai Yuk, but it works well within the narrative. Because Fong is already such a rockin' martial artist (his mother trained him at an early age), he constantly blows through the training exercises and mocks the other trainees and monks.

However, San Te notices Fong’s poor attitude and portentousness, and is present at every turn to beat some humility and level-headedness into the young rebel. Every time Fong thinks he can outsmart or outmatch San Te, he learns that he can't - the hard, painful and embarrassing way. During one such training sequence, Fong talks a ton of smack about his own tea-bench fighting skills, and San Te calls him out – oh yeah, it’s on. This particular sequence features prop-assisted choreography that even Jackie Chan would be proud of (or perhaps jealous of), as San Te and Fong lock hand and foot, as they deftly spin around, on, over and under the twisting and twirling tea-benches.

http://www.genrebusters.com/images/d363.jpg

Disciples is not filled to the brim with action per se, but it is never boring. There really are only a few actual fights peppered throughout, but everything is handled with such aplomb that it really is a joy to behold – the film is a testament to the expertise of its makers. Structurally, the film resembles 8 Diagram Pole Fighter, in that the entire narrative is presented as a build up for one final and epic confrontation - only here the action is even more jaw dropping, as if that is even possible. Never ones to take the easy way out, Lau Kar Leung's and Gordon Liu's work in the final showdown is something of a true marvel, and Hsaio Ho's physical skill here is the definition of the word awesome.

For the last 12 or so minutes, all hell breaks lose as monks and apprentices are jumping, diving, fighting, dodging and making fools of the Manchurian officials and their warlords. San Te busts out his super-custom three-section staff and lays some serious hurt down on those sad sap Manchus. Every inch of the screen is used to optimal effect, as fists and legs and bodies fly from the foreground to the background, and tumble from rooftops to the floor. The action during this sequence feels immediate and chaotic and the tension is as palpable as the rebel’s purpose.

http://www.genrebusters.com/images/d365.jpg

It really is amazing to think of Lau Kar Leung’s career, and the work he did under the Shaw Brothers banner. It is safe to assume that the mark he left on genre cinema is second to no other filmmaker, Eastern or Western. I will rest easy when Lau’s name is mentioned casually along side other great directors like Leone, Scorsese, Kubrick, and Spielberg, but until then, his name must be praised by those of us who get it. Lau Kar Leung’s films are as hard hitting and spectacular today as they were over 20 years ago, and will continue to be an inspirational beacon of light for filmmakers and fans to come. The Disciples of the 36th Chamber is a perfect film to top off a perfect era of one of the all time great filmmakers.

[Stay Puft]

It really is amazing to think of Lau Kar Leung’s career, and the work he did under the Shaw Brothers banner. It is safe to assume that the mark he left on genre cinema is second to no other filmmaker, Eastern or Western. I will rest easy when Lau’s name is mentioned casually along side other great directors like Leone, Scorsese, Kubrick, and Spielberg, but until then, his name must be praised by those of us who get it. Lau Kar Leung’s films are as hard hitting and spectacular today as they were over 20 years ago, and will continue to be an inspirational beacon of light for filmmakers and fans to come. The Disciples of the 36th Chamber is a perfect film to top off a perfect era of one of the all time great filmmakers.

:pritch:

Great review! I love this movie! Lau Kar Leung is one of my favorite action directors, maybe the best. But we've been there before.

Calling this one a "best of" is a good approach. In many ways I think it is his definitive Shaw Brothers film. Perhaps I hold the original 36th Chamber in higher regard for its impact (also personally - it was my introduction to Lau), but his work as a director doesn't get much more skilled and sophisticated than we see here.

And Hsaio Ho is just crazy good.

[D_Davis]

:pritch:

Perhaps I hold the original 36th Chamber in higher regard for its impact (also personally - it was my introduction to Lau)


As you'll see, so do I! ;)


Calling this one a "best of" is a good approach. In many ways I think it is his definitive Shaw Brothers film. Totally. It was one of the last of the original Shaw Brothers films (maybe the last before they shut their doors in lieu of television), and so I can see it as being a definitive experience. It does encapsulate almost everything their kung fu films were so well known for.

[lovejuice]

how's this one compared to Shaolin Intuders (1983)? if it's anywhere close, i'll blind buy it!

[D_Davis]

how's this one compared to Shaolin Intuders (1983)? if it's anywhere close, i'll blind buy it!

It's quite a bit different. This one is far more grounded in "reality" at least when compared to Shaolin Intruders. While SI has more, and more outlandish, action, I do think that Disciples is the "better" film. It is more character driven as well. It really is a remarkable film, but if you get it, don't expect the craziness of SI.

If you're looking for something along the lines of SI, I suggest Holy Flame of the Martial World, which was also on this list.

[lovejuice]

It's quite a bit different. This one is far more grounded in "reality" at least when compared to Shaolin Intruders. While SI has more, and more outlandish, action, I do think that Disciples is the "better" film. It is more character driven as well. It really is a remarkable film, but if you get it, don't expect the craziness of SI.

If you're looking for something along the lines of SI, I suggest Holy Flame of the Martial World, which was also on this list.

how's about death trance compared to SI?

HFotMW looks wicked. will see if i can lay my hand on that.

[D_Davis]

how's about death trance compared to SI?

HFotMW looks wicked. will see if i can lay my hand on that.

Upon careful reflection, I think that I rated Death Trance too high. I still think it belongs on this list, but it probably should have been in the lower 50. I think it is a great film, but I do think that SI is actually more fun. Again, the two films are different. I would suggest a rental with DT, I can't commit to recommending a blind purchase on this one.

[lovejuice]

Upon careful reflection, I think that I rated Death Trance too high. I still think it belongs on this list, but it probably should have been in the lower 50. I think it is a great film, but I do think that SI is actually more fun. Again, the two films are different. I would suggest a rental with DT, I can't commit to recommending a blind purchase on this one.

b...but it ninjas, samurais, tongfas that have guns in the handles, guns that have swords in the handles, a sword that is actually a crazy-assed double barreled shot gun, a sword with an organic pulsing hilt, crazy-mohawk-wearing punk rock killers who ride motorcycles, a dang creepy little girl, a giant coffin that might destroy the world, a one-winged angel-demon of death, magical doors that appear out of nowhere, spider-vampire men, zombified black-cloaked monster-men, two evil swordswomen twins of death, and so on and so on... :P

thank for the recommendation though.

[D_Davis]

b...but it ninjas, samurais, tongfas that have guns in the handles, guns that have swords in the handles, a sword that is actually a crazy-assed double barreled shot gun, a sword with an organic pulsing hilt, crazy-mohawk-wearing punk rock killers who ride motorcycles, a dang creepy little girl, a giant coffin that might destroy the world, a one-winged angel-demon of death, magical doors that appear out of nowhere, spider-vampire men, zombified black-cloaked monster-men, two evil swordswomen twins of death, and so on and so on... :P

thank for the recommendation though.


Oh, it's awesome, don't get me wrong, and bacon can testify to this fact. However, I think it is only so awesome to a very specific audience, and, who knows, you may be part of this elite group!

[Sycophant]

Oh, it's awesome, don't get me wrong, and bacon can testify to this fact. However, I think it is only so awesome to a very specific audience, and, who knows, you may be part of this elite group!

I hope you enjoy it, love/juice. Please note that enjoying Versus does not necessarily qualify you for enjoying this film. :|

[D_Davis]

I hope you enjoy it, love/juice. Please note that enjoying Versus does not necessarily qualify you for enjoying this film. :|

:D

[balmakboor]

Kind of off topic, but oh well. My library has the book Planet Hong Kong by Bordwell. Is it a good read on the subject of Hong Kong genre cinema? For now I picked up The Cinema of Loneliness.

[D_Davis]

Kind of off topic, but oh well. My library has the book Planet Hong Kong by Bordwell. Is it a good read on the subject of Hong Kong genre cinema? For now I picked up The Cinema of Loneliness.

As far as the theory and aesthetics of HK cinema go, Planet Hong Kong is among the very best, if not the best. Bordwell is a treasure trove of information, the man is a genius on the subject.

I would also highly recommend:

Hong Kong Cinema by Stephen Teo - a good companion to Bordwell's book
Hong Kong Action Cinema by Bey Logan - a great overview of more genre related things.
Kung Fu Cult Masters by Leon Hunt - a collection of scholarly essays on a variety of topics

[D_Davis]

22. Peking Opera Blues (1986) - Dir: Tsui Hark

http://www.genrebusters.com/images/screencaps/pob1.jpg

Many of Tsui Hark’s best films portray a group of reluctant heroes caught in the crossfire of an ongoing conflict between two opposing sides. These heroes usually find themselves grossly outnumbered, outgunned, and are thrust about like ping-pong balls caught and abused in the match of a lifetime. Peking Opera Blues, one of Tsui’s best films, and a seminal example of world-class genre-film making, is no exception. Tsui Hark assembles his ragtag group of reluctant heroes and proceeds to abuse them, punch them, shoot them, and confound them all while having a fun, memorable, and exciting experience.

Peking Opera Blues is pure cinema; it exists in a world with logic and physics all of its own, removed far enough from our reality to make it fantastic. While watching POB, one gets the feeling that the characters existed before the film started, and will continue to live on well after the final credits. It opens up like a cinematic window and allows the audience to peer into another world for a short period of time. Tsui Hark, Ching Siu Tung, the crew, and the cast all perform in miraculous order, crafting a nearly perfect example of fine genre-cinema.

POB is one of Tsui’s most controlled and levelheaded productions. Here he works uncharacteristically slow, not in his usual scatter-shot way, and keeps the energy tightly reined in only allowing short outbursts of his usual madness. However, when these outbursts do occur, they pack a ferocious punch because of the amount of time spent developing the characters and their conflicts. By allowing the narrative to be driven by the characters’ actions and reactions, POB does not rely on as much visceral eye-candy and craziness often associated with the director’s other action films.

http://www.genrebusters.com/images/screencaps/pob2.jpg

The production style of POB is quite simple, yet extremely elegant. The film unfolds like a classic stage play, or in this case, a Peking Opera production. It even begins with q close-up of Peking Opera actors going through their exaggerated motions, almost to drive home the point that we are only watching a movie. The sparse sets are used with perfection, and posses an economic level of simplicity – they suggest reality more than they emulate it. The colors used throughout the film strengthen the atmosphere and tone, while the lighting creates a surreal almost live-action comic book feel.

Like the majority of this Tsui's output, POB possesses a surreal and almost storybook-like quality. Certain scenes are shot in various degrees of soft-focus, while strange unnatural lighting is used to create an otherworldly atmosphere in others. This storybook-like setting makes it easier to suspend our disbelief and buy into the film’s logic and physics. What the filmmakers have done is create a living, breathing, believable, alternate reality that works because of the commitment to the overall production.

http://www.genrebusters.com/images/screencaps/pob3.jpg

Ching Siu Tung, the action director, also dials his usual frantically paced action choreography down a few notches. While he could have easily made this a highflying magical adventure (he and Tsui practically created the entire new school “wire-fu” genre), he grounds the action with an anchor of semi-realism; rather than having the gun set on full auto, the action in POB is shot in small, controlled bursts. That’s not to say the film lacks highflying kung fu and gun-play action, because it doesn’t, but it is more “realistic,” at least when compared to Ching’s and Tsui’s other films.

http://www.genrebusters.com/images/screencaps/pob4.jpg

Peking Opera Blues is a film that I envy those watching it for the first time. The film is mesmerizing, and captures the imagination like few others can. Everything comes together for this one: the action choreography, the narrative, the characters, the acting, and the direction all work as one to create a true a wonderful experience. Peking Opera Blues is a rare bird in the film industry: a nearly flawless, practically perfect example of the medium. It is a film to be admired, and like a cherished memory, it lingers in the mind long after it is over.

[Stay Puft]

I love Peking Opera Blues. I saw it for the first time earlier this year and was blown away. The element that left the biggest impression is the way gender roles operate throughout the narrative. POB is a smart piece of feminism. It is not egocentric or vindictive - nor does it swap roles (the most obvious and worthless expression of pop-feminism). It is a film wherein traditional roles are necessarily reproduced, and it shows how this affects both genders. The ending is astonishing: Masculinity self-cannibalizes, turning inward and destroying its own center. And yet there is hardly a ripple...

[Sycophant]

Oh, man. I really need to watch Peking Opera Blues again. It was one of the earlier Hong Kong films I saw and while I remember loving just about every minute of it, I realize while reading this write-up that I can't remember a damned thing about it, except that Bridgette Lin was gorgeous. I have an old (Deltamac?) DVD that displays the poorly-translated subtitles all too briefly. Is there a better edition out there these days?

[D_Davis]

Oh, man. I really need to watch Peking Opera Blues again. It was one of the earlier Hong Kong films I saw and while I remember loving just about every minute of it, I realize while reading this write-up that I can't remember a damned thing about it, except that Bridgette Lin was gorgeous. I have an old (Deltamac?) DVD that displays the poorly-translated subtitles all too briefly. Is there a better edition out there these days?

Why yes, there is. Just last year, either Joy Sales or Fortune Star (can't remember who) released a remastered version. I have not seen it yet, but I hear it is very nice. I have an old bootleg of the OOP Deltamac DVD.

[D_Davis]

I love Peking Opera Blues. I saw it for the first time earlier this year and was blown away. The element that left the biggest impression is the way gender roles operate throughout the narrative. POB is a smart piece of feminism. It is not egocentric or vindictive - nor does it swap roles (the most obvious and worthless expression of pop-feminism). It is a film wherein traditional roles are necessarily reproduced, and it shows how this affects both genders. The ending is astonishing: Masculinity self-cannibalizes, turning inward and destroying its own center. And yet there is hardly a ripple...

Tsui is a surprisingly strong director of feminist-charged narratives. Many of his films totally buck the trends of feminine and masculine roles, even in a country that is known for strong female action heroes.

[Qrazy]

Is the kind of smokey (maybe not the best descriptor) quality of the imagery in Peking Opera Blues and A Chinese Ghost Story intentional or an issue with transfers?

[D_Davis]

Is the kind of smokey (maybe not the best descriptor) quality of the imagery in Peking Opera Blues and A Chinese Ghost Story intentional or an issue with transfers?

I'm not quite sure I follow, however, when I compare the new remastered versions of the DVDs to the old videos I've seen, the image looks much better, and more clear. However, film preservation techniques and practices in Hong Kong are shoddy at best. If it wasn't for companies like IVL/Celestial, for instance, many of the Shaw Brothers films would have probably ended up all but unwatchable. Some film historians say that unless HK does more to preserve the original negatives thousands of films could end up lost for good. It really is quite sad. I've seen great films from the 1990s that are supposedly "remastered" that look worse than throw away genre films made in the US in the 1970s.

But then again, they also employed many techniques to give their films an otherworldly quality, such as strange lighting and lots of smoke or fog, so who knows?

They also smoke a lot there, so maybe the crew was burning through Marlboros on the set.

[D_Davis]

This is a last minute addition and substitution, but this film simply has to be included on this list. After a rewatch a couple of weeks ago, I realize that it should probably be ranked even higher.

21. Funky Forest: First Contact - Dir. Katsuhito Ishii and Hajime Ishimine


http://www.genrebusters.com/images/funky1.jpg

Like Mind Game, Funky Forest: First Contact is a film that makes me feel happy to be alive; it makes me thankful that I can see and hear. Funky Forrest is first and foremost a celebration of audio and video, an explosion of sight and sound, and a mix-tape from the minds of an insanely creative deejay and emcee super-duo from another galaxy who have come to Earth to teach us how to vanquish our modern cynicism and embrace life with enthusiasm.

http://www.genrebusters.com/images/funky2.jpg

Funky Forest, directed by Katsuhito Ishii and Hajime Ishimine, is comprised of dozens of short vignettes. The sketches range in time from around 15-minutes to mere seconds long, and, at 2.5 hours in length, there is always something new and exciting erupting from this mix-tape-like film. One of my favorite things about listening to a new mix-tape is found in the first listen: the anticipation of what to expect next. For even if the current song is a great one, there is a chance that the next song will be even better. I also dig trying to figure out the thought process behind what songs were chosen, and the order they were put in. While it may seem to be random in nature, I believe that there are reasons why, if even on a subconscious level, a mixologist does things the way he or she does, and I enjoy discovering the thread of commonality that runs through the entire project.

http://www.genrebusters.com/images/funky3.jpg

Funky Forest exhibits all of these qualities - and more. One of the first sketches features the “Unpopular With Women Brothers,” a group made up of two Japanese dudes and a young chubby white kid. One of the brothers longs to be a performance artist, while the other one, Guitar Brother, wants nothing more than the ability to woo women with his singer/songwriter skills. Their chubby anglo-brother is more than happy eating Snickers. The film soon switches channels to the daft storytelling abilities of the “Babbling Hot Spring Vixens,” three young girls who try to impress each other with their wacky stories. The brothers and the vixens soon share a common narrative thread when the performance-artist brother invites the three girls to a singles picnic.

http://www.genrebusters.com/images/funky4.jpg

The film also features the futuristic, stand-up, comedy-stylings of the wig-wearing “Mole Brothers,” the crazy high-school high-jinks of “Home Room!!!!!!!!”, and a couple of anime artists making an animated feature that is directed by Pero, a dog whose thoughts are transcribed by an old dude with a giant head. Oh yeah, and don't let me forget the organic, fleshy, musical instruments, the blood-sucking, slimy, puss-balls that live in the pants of a guy with giant nipples, and the female naval-powered anal-wormhole that may be a portal to the Piko-Rico Alien planet.

http://www.genrebusters.com/images/funky5.jpg

Did I mention this movie is strange? As strange it might sound though, it is even more bizarre to witness, and as bizarre as it might be, it is almost always a pure joy to behold. For while on the surface it may seem like nothing more than an esoteric collection of jumbled thoughts (some better than others), or the creative farting of a couple of commercial directors with no time for narrative, there are common themes running throughout, and I do believe there is a rhyme and a reason for everything that is seen or heard. The key thread holding most of the film together is the exploration of the marriage between sight and sound, a trait I admire in many Japanese films, and nowhere is this more evident than in my two favorite sketches.

http://www.genrebusters.com/images/funky6.jpg

Early in the film, we are introduced to Notti and Takefumi, a young, super hip, kind-of-dating couple. They are both dreamers, and both are into music. Takefumi is an amateur deejay; his shrine to audio consists of thousands of records and a deejay booth with a girl's pelvis painted on its surface. The main volume knob for his hi-fi is in a secret compartment hidden in the girl's crotch, a compartment he bows to before opening and changing the volume. This simple gesture symbolizes the importance of music in this young man's life: his love for music is synonymous with his reverence for the female anatomy.

http://www.genrebusters.com/images/funky7.jpg

After a poorly mixed transition between two songs, Takefumi takes a moment to tell Notti of a strange dream he had. In his dream, Takefumi finds himself on a beach, and on the beach is a car with a pair of giant speakers connected to it. Inside the car is a furry-pants wearing punk-rock kid, deejaying on a couple of old tape decks. Dressed up in a pseudo-dominatrix outift, Notti is sitting on a strange spiked-chair perched upon a small hill. Notti tells Takefumi to dance for her, and through a series of hilariously choreographed dance numbers, Takefumi escapes his inhibitions and brings laughter and good cheer to Notti.

http://www.genrebusters.com/images/funky8.jpg

Later in the film, Notti tells Takefumi of her dream. In a mysterious forest there is a young girl covered in white fur and wearing a white wig; she is playing a violin. Hidden around her are three girls, one dressed in green, one in red, and one in blue, each with a color-coordinated pair of headphones on. The three girls are called The Volumes, and they are a group of outer space musicians who have come to Earth to manipulate the music of the violinist. By plugging knob-covered machinery into the ground, the trees, and the whole of nature itself, The Volumes and the violinist play a concert of experimental sounds, analog melodies, bubbling computer burps, and hard-hitting techno. The entire performance is caught on tape by a young boy, and it is also enjoyed by a Buddhist monk passing through the forest.

http://www.genrebusters.com/images/funky9.jpg

Takegumi and Notti each dream about the power of music, and of how such power can shape both the physical and spiritual worlds. Through crazy costumes, dance, rhythm, and melody, the common threads in Funky Forest are found. I know this is a lot more plot-rehash than usual, but I just had to try to convey to you an example of the sights and sounds to be discovered in Funky Forest. But herein lies the irony of my actions: I simply cannot explain how this film made me feel, not in words, and not in pictures. Funky Forest is a film that celebrates the heart and soul, and it is a frustrating endeavor to try to capture this celebration in a simple review or critique.

http://www.genrebusters.com/images/funky10.jpg

Perhaps little Hachiko says it best in the first fully “realized” sketch. After daydreaming of being a super-powered being in another dimension, Hachiko comes to, and finds herself sitting at a desk in her room. Set before her are stacks of opened books, pencils, and loads of paper. She says disparagingly to herself, “I wish homework wasn't part of life,” and as simple as that statement is, it made me think. Why is homework a part of life? Who declared homework a part of life, and why in the hell did anyone ever listen to such nonsense? It must have been thought of during a time in our history that people were more stupid, because I simply cannot fathom anyone ever thinking that homework would be a good idea. Maybe things would be better if people had more fun, and let their hearts and souls be pulled along by the power of art and music. Perhaps a dose of Funky Forest: First Contact is exactly what the world needs now - more than anything.

[Sycophant]

Uso, uso-so! Uso, uso-so!

You're right, this film does deserve to be higher, but I don't usually take placement too literally. This film is phenomenal and I can't wait till more people have a chance to see it.

[D_Davis]

Uso, uso-so! Uso, uso-so!

You're right, this film does deserve to be higher, but I don't usually take placement too literally. This film is phenomenal and I can't wait till more people have a chance to see it.

The final sequence, in the forest, is one of the greatest things I've ever seen. It is mindblowingly awesome, moving, and powerful.

[Qrazy]

I was mixed on the film, posted some thoughts in Film Discussion thread a while back but I do love me some Unpopular with Women Brothers lol.

[D_Davis]

I was mixed on the film, posted some thoughts in Film Discussion thread a while back but I do love me some Unpopular with Women Brothers lol.

I can totally see how some people might be mixed on this film - it is definitely not for everyone. As a musician and admirer of music, FF totally speaks to me on a spiritual level that few films do. It elevates my soul.

[D_Davis]

This will be the last update for a week or so. Heading down to Cali for Christmas.

20. Return of the One-Armed Swordsman (1969) - Dir: Chang Cheh

http://www.genrebusters.com/film/hkflix/return_one.jpg

Return of the One Armed Swordsman tells the continuing story of Feng Geng (Jimmy Wang Yu), and how he is pulled out of seclusion back into the Jiang Hu, or the underground world of martial arts if you will. After enacting his revenge in the first film (getting back at the people who robbed him of his arm), Feng leaves the life of chivalry and martial arts behind and sojourns to the country with his new wife Hsiao Ma. Together they live their lives as simple farmers and have little contact with the outside world. Since forsaking the way of the swordsman, Feng has hung his broken-bladed sword on a mantle: it's presence and that of his missing arm serve as reminders of his previous life. But all too soon, Feng Geng is reluctantly called back into action, as the 8 Demon Swordsmen threaten the other martial clans across the land. With some gentle and, eventually, coarse prodding from a group of young masters and his wife, Feng once again wields his broken blade and sheds ample amounts of enemy blood

Memorable Characters

Feng Geng - With this role, Jimmy Wang Yu turned in what I consider to be one of the single best performances in the genre. His portrayal of Feng Geng in all his complexities is in all actuality a study of male impotence and the examination of what it takes to be a true hero. In the jiang hu, a swordsman with a broken blade and a missing arm is barely a man at all. Yu’s stern determination, passion, compassion, and inner turmoil are all masterfully shown through his earnest face and gestures, and his soft-spoken demeanor caries weight while his charisma demands attention: truly a performance and a character of a lifetime.

http://www.genrebusters.com/images/screencaps/ros1.jpg

Black and White Swordsmen - Although these two characters are only on screen for a few moments, they are a sight to behold. Dressed in contrasting outfits, one an albino the other in black, they are the first to try and pull Feng back into the fray. They ultimately fail, and are dispatched by their own swords when Feng finally picks up his own blade and deflects them back at each other.

Spinning Wheels and his henchmen - My favorite of the 8 Demons. These guys all have iron shields adorned with blades around the parameters that are attached to long chains. When they spin and throw these blades, often hacking limbs off in the process, the sound they make is otherworldly. Like some deep throated, gargling UFO, these bladed circles of death are a sight to behold.

Memorable Fights

The fighting in this movie is not as technical as it is in many of Cheng Cheh’s other films. It is not necessarily even kung fu, as this film has more in common with the Japanese chambara genre than it does with a typical Hong Kong kung fu picture. This is a wuxia pian, and an early one at that. However, whatever the fights may lack in technical prowess, they more than make up for it with bloodshed, abundance, and chaotic energy.

http://www.genrebusters.com/images/screencaps/ros2.jpg

Perhaps the most intricately staged fight sequence is when Feng Geng and the young masters, take on Hell’s Buddha, one of the 8 Demon Swordsmen, and his band of thugs. Hell’s Buddha specializes in ninja-like abilities, as he and his cohorts zip and fly around a bamboo thicket, hiding and vanishing and bursting out of the ground with blades swinging. This sequence is fast and furious, and the editing is top notch. Although some primitive wire work is used, as well as some not so special effects, through the power of editing and the skill of those involved, the bamboo thicket quickly and beautifully becomes a collection of lost limbs, and small geysers of blood.

Entertainment Value - Lasting Impressions

Return of the One-Armed Swordsman should be considered a top-tier film, genre or otherwise. Why this film isn’t talked about with the same enthusiasm or respect as the films of Kurosawa, Leone, Peckinpah, Scorsese or other great genre filmmakers is a mystery to me. Sure, it is made on a smaller scale than the film's of these other masters, but such were the times at the Shaw Brothers' studios. RotOAS is classic cinema, period. The film is mature, undertakes a complex character study, and has beautiful cinematography, a wonderful score, and breathtaking action. The writing is multifaceted in that it competently touches upon elements that make it entertaining as well as showcasing the emotional depth of a multitude of characters.

http://www.genrebusters.com/images/screencaps/ros4.jpg

Not only does RotOAS have intact all of the elements of “great cinema”, but it also manages to be highly adventures in its narrative while offering pure entertainment. I often feel that many film critics and self proclaimed Internet film buffs are afraid to attach such accolades to genre cinema. To them I ask this question: what more does a film need to be considered important or a great work of art? So far as I can tell, RotOAS possess these elements, and more. I would argue that well made genre films are often the most artistic of films because they not only contain the elements that make films great art, but they also do something else - they entertain and have the ability to engage a wider audience.

http://www.genrebusters.com/images/screencaps/ros5.jpg

Well made genre films require the filmmakers to be ultra-creative. After all, they are not working within an established reality, but instead, the filmmakers must create an entire world with logic and rules and physics of its own. The only limiting factor of great genre cinema is the limits of the imagination of its creators. Chang Cheh’s name should be mentioned with the rest when anyone talks about the important filmmakers. Hopefully as we champions of genre-cinema preach and inform the uninitiated, Chang and filmmakers like him will get the credit they really deserve and films like Return of the One-Armed Swordsman will be discussed along side other films deserving of the “great cinema” title.

[Sycophant]

Chang Cheh, character study, this...

http://www.genrebusters.com/images/screencaps/ros1.jpg

I'm seeing this movie.

[D_Davis]

19. Once Upon a Time in China (1991) - Dir. Tsui Hark

http://www.genrebusters.com/images/china1.jpg

While I have enjoyed, and loved, many films throughout my life, there is one film that stands out because of the doors it opened for my cinematic journey. This film opened my eyes to a whole new way of looking at genre cinema, and led me to discover countless other films, directors, actors and filmmakers. It also opened my eyes to seeing, and appreciating, an entire country's cinematic output in a way I had never done before. This film is Tsui Hark's landmark martial arts epic, Once Upon a Time in China.

Being a child of the '80s, I grew up loving karate and ninjas. I've said it before, but it deserves repeating, the '80s were in fact the “just add ninja,” era, and ninjas were about the coolest things ever. G.I. Joe had two awesome ninjas (and we all loved G.I. Joe), and the home video retailers always had a plethora of cheaply made ninja movies ready to be consumed by our VCRs and mimicked on the playgrounds at school. I was also quite fond of Black Belt Theatre, my weekly escape into the kung fu genre that wowed me and entertained me for many years. I would watch, and wanted to watch, anything that had anything to do with ninjas and the martial arts – that's just the way it was, it was meant to be.

After the 1980s and the death of Black Belt Theatre, kung fu cinema, and ninja-cinema, kind of fell off of my radar. These, of course, were the dark days of home cinema – great foreign genre cinema was almost impossible to come by on VHS. That is until around 1993, when a young Blockbuster clerk pointed me in the direction of a local Asian-video retailer called 5-Star Video, and I discovered Once Upon a Time, Jet Li and Tsui Hark. Upon my first viewing, I had no idea what to expect, and I thought the film might offer up the same kind of cheesy revenge-narratives and hokey dubbing found in the kung fu films I devoured as a youngling. Well, I couldn't have been more wrong. My mind was fully blown – glowing from my television was a film that not only contained some of the best and most outrageous action I had ever seen (I'll never forget my first experience seeing Jet Li move), but the narrative on display was far more complex and involving than any other martial arts film I had seen up until this point.

Once Upon a Time is awash in political intrigue and civil unrest, and depicts Hong Kong during a time of great change and turmoil. It is a story of a great Chinese hero, Wong Fei Hong (Jet Li), and how this hero led the people of Hong Kong to stand up against the imperialistic western invasion of the British colonizers. The story told in this film opened my eyes to the true abilities of Hong Kong filmmakers. I mean, I knew they could make some highly entertaining martial arts films, but I just never expected to see a film offer up such a moving and epic narrative. This wasn't because I didn't think Hong Kong filmmakers were capable of making “real” movies, it was just because I never even knew to look past the caliber of films shown on Black Belt Theatre. For this I am most grateful, this film opened my eyes to a whole new way of looking at world-cinema, and also opened the doors that have led to a lifelong passion for Asian filmmakers.

From the moment the film was over, I knew I had to see more: I wanted more Tsui Hark, and more Jet Li, and, not to mention, more of this wicked wire-assisted action. From here my cinematic endeavors gravitated towards the films of Ching Siu Tung, Jackie Chan, Jing Wong, and Yeun Woo Ping, and films such as Butterfly and Sword, The Flying Daggers, New Dragon Gate Inn, and A Chinese Ghost Story. It was like discovering a whole new section at the video store – a section that happened to contain some of the greatest, most beautiful, most action packed, and amazing films I had ever seen. I truly felt alive, and like I had discovered some great cinematic secret-treasure. I became a young man on a mission, a mission to unearth as many of these films as possible – I dug through the dark and dusty shelves of video stores clearly on the wrong side of the tracks, and worked hard to gain the trust of the retail clerks who wanted nothing to do with a gweilo such as myself.

But alas, it was all worth it. All of the strange looks, and mispronounced titles and names, and all of the driving around looking for the next best flick – it was all for my passion. The seed for this passion may have, in fact, been planted with the help of Stormshadow, Snake Eyes, American Ninja, and Black Belt Theatre, but it was Tsui Hark and Jet Li who really fostered and nourished my love for Asian cinema. And because of this fact, I will always hold Once Upon a Time up in the highest regard. This film is my mythological herald, calling me on my journey to seek out, discover, and understand all of the great films from Hong Kong, China, Korea and Japan. Thank you Tsui Hark, and thank you Jet Li – thank you for Once Upon a Time in China.

[D_Davis]

Alright, let's get back on track and finish the list! Onward Christian soldiers!

Taking a break from the Hong Kong and Japanese movies...


18. Saving Private Ryan (1998) - Dir: Steven Spielberg

http://clioseye.sfasu.edu/NEWCLIO/Current%20Article%20Graphics/Saving%20Private%20Ryan/SavingPrivateRyan.jpg

I watch Saving Private Ryan once a year. It is the only film that I do this with on a regularly scheduled basis. I watch it on either Veteran's Day, or Memorial Day. I don't watch it for any kind of rah! rah! America-rules, patriotic reasons. I watch it because I find it to be a powerful and moving experience of an important time in the world's history. I am also deeply affected by the personal story told within its narrative. The very first time I saw this film was one of the most powerful viewing experiences I've ever had. I was living is Pasadena, CA, at the time, and I went to this old theatre, by myself, on one of my days off. Sitting across the aisle from me was a man who was obviously a WWII Vet. He could have been any WWII Vet, and he immediately reminded me of my grandpa. About 35-minutes into the film, the man started balling, and he continued to cry, unashamed, for the majority of the picture. This devastated me. And now, when I think that the last of this Great Generation are dying, and taking with them the memories of the hell they went through, it reminds me that our link to such an important era is rapidly vanishing.

What I like most about Spielberg's film, is how he takes an epic expansive historical event, and whittles it down into a very personal story. By focusing on Captain Miller and Private Ryan, Spielberg gives a face and a soul to the inhuman tragedy of war. Through a select number of eyes the film's vision is filtered, and through these eyes I am able to extrapolate the effects of the war on the everyman, or the everysoldier. Some may argue that the tactic is manipulative, and that Spielberg uses these characters, their story, the music, and the situations, to create empty, reactionary emotions. I would argue that the emotions elicited by this film are very real, and are full of substance, and the Spielberg is a master of manipulation, but he does so for the right reasons. War is itself a manipulative tactic; the old and headstrong send the young and brave to die for their worldly causes, and Spielberg captures this element masterfully.

Enough cannot be said about the violence found in this film. It has become an icon of wince-educing, gut-wrenching cinema; it is a harrowing experience through and through. All who have seen the film know the shots: blown off arms, severed legs, ruptured entrails, blood-red beaches. Through violence, Spielberg paints a picture of war unlike any I have ever seen. He makes it sickening, disgusting, and tiresome. I don't know if it is realistic. I've never been in a war, and I hope I never have to fight in one. However, even if some of the “action” is over-stylized, or depicted through a hyper-realized filter, the message rings true. War is not something to cheer, and when it's all said and done, and the bodies are counted, piled, buried, burned, or bagged, no one is the winner.

There isn't really a lot for me to say about this. I feel that the lines have already been drawn, the arguments have already been made for, or against the film. I sometimes approach my reviews as a champion of genre cinema, longing to introduce someone to a film they may not ever think that they would like, or add a bit of insight into a film that has been unjustifiably marginalized. I cannot do this with Saving Private Ryan. I think that everything that can be said about the film has already been said. I find each facet to be well made; the directing, the acting, the writing, the music, and the cinematography are all handled with great skill. Most importantly, for me, the film is an intensely emotional experience, and I simply get an abundance of satisfaction from every viewing, and for these reasons it is on this list.

[lovejuice]

19. Once Upon a Time in China (1991) - Dir. Tsui Hark

http://www.genrebusters.com/images/china1.jpg


shall we say? it's too low on this list. you're very hard to guess, D. :)

[D_Davis]

shall we say? it's too low on this list. you're very hard to guess, D. :)

It is not my favorite Tsui film though...

He's got one in the top 5.

[lovejuice]

It is not my favorite Tsui film though...

He's got one in the top 5.

aahh...dangling possibility.

btw. i watched the holy flame, and i don't think it like it that much. definitely not as much as shaolin intruders. kinda similar to the current discussion in FDT. shaolin intruders is freddy vs. jason, while holy flame is jason x.

[D_Davis]

17. Heroes of the East (1979) - Dir. Lau "Pops" Kar-Leung

http://www.genrebusters.com/film/hkflix/heroes.jpg

Okay Kung Fu fans, listen up! The film I am writing about here, the film you will see, the film you must see, is quite simply a pinnacle of martial arts cinema. It is an absolute blast from start to finish, and wowed me at almost every turn. I have seen my share of rocking Kung Fu cinema, and with roughly over 300 titles in my collection, I thought I had seen it all. However, there was one film my collection – no, my life – was missing, and until Celestial released the newly remastered DVD, I didn’t even know how empty and vapid my collection really was. Without a doubt, Heroes of the East, to use the old Internet euphemism, will own you.

http://www.genrebusters.com/images/hoe1.jpg

Directed by Lau Kar-Leung, and starring Gordon Liu (you can’t go wrong with these two) Heroes of the East makes marital unrest and domestic violence look damn cool. The premise is both simple and eloquent, the build up is masterfully executed, and the pacing is nearly flawless. Once the action starts, at about the 25-minute mark, it escalates into an almost non-stop gauntlet of hand-to-hand and weapon-to-weapon combat of unequaled proportions, mixing in karate, ninjitsu and jujitsu along the way.

http://www.genrebusters.com/images/hoe2.jpg

In the film, Gordon Liu plays Ho To, a Chinese kung ku master who marries Kung Zi, played by Yuka Mizuno, a Japanese martial arts master. As all of you die-hard kung fu fans know, a Chinese master and a Japanese master can hardly be in the same country as each other, let alone in the same house. What starts off as an innocent verbal game of “My country’s martial arts are better than yours,” quickly turns into a no-holds-barred confrontation between Chinese kung fu and Japanese karate. The first half of the film showcases the two lovers in strife, as they face off time and time again pitting each other’s different styles and weapon techniques in all out marital mayhem; in a word it is brilliant.

http://www.genrebusters.com/images/hoe3.jpg

The second act kicks off when Kung Zi leaves Ho To and returns to Japan. Once there, she rekindles a flirtatious relationship with an ex-boyfriend, Takeno, played by Yasuaki Kurata, who just so happens to be the country’s number one ninjitsu expert, and a leader of a gang of ruthless Japanese martial arts masters. Ho To, desperate to get his estranged wife back to China, sends her an official notice of challenge to see once and for all who’s martial skill is best. Takeno intercepts the notice and he, along with his gang of martial artists, travel to China to show the Chinese what’s what and who’s who.

http://www.genrebusters.com/images/hoe4.jpg

This set-up lends itself to some of the best action ever captured on film, and without a doubt some of the best choreography ever showcased, thanks in no small part to Lau Kar-Leung, Gordon Liu, and the fine group of actors and stuntmen assembled. The fighting here not only showcases the talent behind the camera, the director and crew capture the pugilism with masterful technique, but it also proves just how skillful a performer and martial artist Gordon Liu really is. Whether the combatants are fighting with open-handed teachniques, like karate, kung fu or jujitsu, or hacking away with swords, tongfas, and halberds, ever movement of action is executed and filmed with perfection.

Another remarkable aspect of the film is that no one dies. Although the film is packed to the gills with action, it is not necessarily violent, nor is it gratuitous in its bloodshed. As a director, Lau Kar Leung has always been more concerned with martial chivalry and respect than ample amounts of bloodletting. The 36th Chamber of Shaolin and Executioners From Shaolin both utilize this moral approach to the martial arts film, but in Heroes of the East it becomes a driving force behind the narrative. As Liu defeats each of his Japanese rivalries, he learns to respect their form and technique, and, in turn, they also learn to appreciate the power and skill of Chinese kung fu. The final scene of the film is actually quite moving, as the two rival cultures learn to not only appreciate and respect each other, but they are also bestowed with a real sense of camaraderie and friendship.

http://www.genrebusters.com/images/hoe5.jpg

Heroes of the East is the quintessential kung fu film; it is brilliant in every way possible. The action is breathless, the acting is engaging, the narrative perfectly sets up the situations, and it is perfectly paced. Everything about this film screams first rate kung fu classic, and we truly are blessed to have Celestial around now to remaster these lost gems and present them in their original uncut, Chinese language dialogue. The only problem with the film is that after having seen it, almost everything else is slightly less enjoyable.

[Stay Puft]

You forgot the best part: Japanese Crab Style Kung Fu. That fight is one of the coolest things I've seen.

[D_Davis]

You forgot the best part: Japanese Crab Style Kung Fu. That fight is one of the coolest things I've seen.

There is so much goodness in this film, it is nigh impossible to remember it all!

Crab style is awesome.

[Rowland]

It is not my favorite Tsui film though...

He's got one in the top 5.Wow, it's that high?! Day-um.

[D_Davis]

Wow, it's that high?! Day-um.

Yep. Very high, and very, very good.

[megladon8]

...was Lau Kar-Leung's nickname actually "pops"?

[D_Davis]

...was Lau Kar-Leung's nickname actually "pops"?


Yep. He was known as "Pops" around the Shaw Brothers studios because he was like everyone's martial arts father/teacher.

[MacGuffin]

Funky Forest looks cool; too bad I can't see it.

[Sycophant]

Funky Forest looks cool; too bad I can't see it.
It's coming to region 1 DVD later this year.

[Yum-Yum]

Funky Forest: First Contact


Call me crazy, but I need to see this film. It looks so wonderfully wacked-out.

[D_Davis]

Call me crazy, but I need to see this film. It looks so wonderfully wacked-out.

You're not crazy. It's one of the best films I've ever seen.

[D_Davis]

It's coming to region 1 DVD later this year.

Cool. Who's putting it out? I haven't read anything about this.

[Sycophant]

Cool. Who's putting it out? I haven't read anything about this.Technically, it hasn't been announced on DVD, but Viz has acquired rights (=http://www.varietyasiaonline.com/component/option,com_myblog/show,4419) to it. It's announced a theatrical run (WANT WANT WANT) but since Viz does their theatrical released so limited, most of us won't have a chance to see it there. Surely, though, a few months later it'll be on DVD.

And, yeah, Yum-Yum. It's one of the best ever. You'd be crazy to not want to watch it.

[D_Davis]

16. Raiders of the Lost Ark (1981) - Dir. Steven Spielberg

http://www.filmschoolrejects.com/pics/raiders_poster.jpg

Raiders of the Lost Ark is one of the most perfectly paced action films ever made. Present day genre filmmakers should be studying this film to learn exactly how to plot, pace, and execute their action films. Like a masterclass piece of classical music in which every note is written and played with a mathematical and soulful precision, every part of Raiders is perfectly orchestrated and executed. This film marks the high point of Spielberg's and Lucas's careers, and will forever remain a bellwether of grand, pulpy adventure.

In what surely ranks as one of the most famous opening segments of all time, Spielberg and Lucas unleash an incredible character in a fantastic and exotic locale, and then they let this character interact with the environment while the tension builds and the action unfolds. Geography, and the use of space and time, is something that is of the utmost importance to action cinema, but unfortunately these aspects are often left to chance, at best, or totally forgotten. Not so with Raiders. The opening action sequence works because all of the action relies upon the geography of the set. We see things through Indy's eyes, and then these things come into play. Everything is shown - the set up - and then everything gets used to great effect - the payoff.

Another great thing about this film is that it is not non-stop action. For every adrenalin-pumping feat of daring-do, there are moments of dramatic character interaction, mystery, conspiracy, and discovery. Spielberg and Lucas do an amazing job of mining the best elements of yesteryear's literary pulp-adventures. We get the globe trotting scholar-cum-adventurer (brains and brawns) on a quest teeming with romance, religious superstition, the supernatural, Nazis, booby-traps, and ancient civilizations. I know the comparison is cliche, but for Raiders it is apt beyond all else; this film truly is a roller coaster ride. A damn well-built one at that. This is the “Colossus,” the "Giant Dipper," of Hollywood action cinema. A timeless classic of its genre.

Props must also be given to Harrison Ford. Who would have thought that he would be able to top his cool-factor as the galactic-smuggler, Han Solo? Well, with Dr. Jones he does, and he has a damn good time doing it. I don't know of any trivia surrounding Ford's casting, but I cannot imagine this part being written for, or played by, anyone else. It is as if he is tapping into the very essence of the character's mythology, and is channeling the spirit of this fictional hero. While watching Ford on screen, I immediately forget that I am watching him, or Han Solo, and all I can see is Indiana Jones. This is one of my favorite performances of all time, and rightly so. Indiana Jones is an incredible character, in a fantastic adventure, wrapped up in a film that is simply remarkable.

[dreamdead]

There are times when I really wish I owned the trilogy, as I'd watch this one fairly regularly. Few films were as fun as growing up watching this one two or three times a year.

Still has the greatest duel of all time (sword vs. pistol).

[D_Davis]

There are times when I really wish I owned the trilogy, as I'd watch this one fairly regularly. Few films were as fun as growing up watching this one two or three times a year.

Still has the greatest duel of all time (sword vs. pistol).

Yeah. I do own the trilogy, but Raiders is the only one that gets watched on any kind of regular basis.

It has so many classic moments, it's really hard to pick out only certain ones to write about.

Raiders captures the natural essence of action cinema, it's just great.

[origami_mustache]

Funky Forest looks cool; too bad I can't see it.

I have three cinema obscura invites if anyone is interested

[D_Davis]

I have three cinema obscura invites if anyone is interested

I am! :)

[origami_mustache]

I am! :)

pm me email

hotmail accounts don't work

[D_Davis]

Alright, the Top 15! Woo-hoo!

15. A Touch of Zen (1969) - Dir: King Hu

http://www.genrebusters.com/images/zen1.jpg

King Hu's A Touch of Zen is an iconic classic for many reasons. First, the film was a huge influence on many Hong Kong genre filmmakers, and helped usher in the new wave. As Stephen Teo writes in his book on the film, King Hu, a Taiwan native, was the youngest director of the “old guard,” and thus he acted as a gateway between the old school and new wave movements. Filmmakers like Anna Hui, Patrick Tam, Wong Kar Wai, Ang Lee, and John Woo have all cited Hu's landmark film as an inspiration.

http://www.genrebusters.com/images/zen2.jpg

However, the director to be most influenced by Hu is none other than Tsui Hark, who learned his style of montage from the classic director. Tsui would, years later, try to repay his inspiration by having Hu direct the Tsui/Ching Siu Tung co-production, The Swordsman. Unfortunately, things went sour on the set and Hu left, reportedly in anger, and died a short time later. He is still credited as a director though.

http://www.genrebusters.com/images/zen3.jpg

Secondly, A Touch of Zen was the first Chinese language film to be screened in competition at the Cannes Film Festival (1975). This was surprising for two reasons. First, it was a genre film, and secondly, it actually took home a special award for technical achievement. While this may sound like a “sympathy” award, in fact, it opened many a western critic's eyes to the power of Hong Kong and Chinese cinema. This landmark event ushered in a new dawn of appreciation for HK films, and many critics and fans began to seriously look at the work of Chang Cheh, Sun Cheung, King Hu, and others. More than anything, I think A Touch of Zen winning an award, and with it the respect from “important” western film critics, was a moral victory for a country and industry that had been turning out high-quality cinema for decades. Not that they needed worldwide validation, but it definitely didn't hurt.

http://www.genrebusters.com/images/zen4.jpg

Finally, A Touch of Zen is a classic simply because of the film it is, the story it tells, and the world King Hu crafts. At three-hours in length, A Touch of Zen is the most epic of all serious martial arts cinema (I am not counting the fabled nine-hour version of Robert Tai's Ninja The Final Duel. For those of you familiar with Tai's work, I am sure the reasons are obvious). While the film is epic in running time, the story it tells is a very personal one, one of deep spirituality. The narrative is also far more complex and introspective than many “kung fu” films being made at the time. This is not said to disparage other kung fu films, but Hu's film does stand apart from the rest of the genre.

http://www.genrebusters.com/images/zen5.jpg

While Buddhism and Eastern philosophy are important to many similar films, in A Touch of Zen these aspects are crucial to the narrative and to the characterizations. The narrative follows a scholar, and an outsider to the martial underworld, or the jiang hu, as he is pulled into a conflict between a small group of righteous bandits, the corrupt government officials sent to kill them, and a sect of all powerful Buddhist monks trying to rid their land of violence. Because of the film's length, each of these major characters is given ample time to grow, learn, and evolve, as each is drawn deeper into a previously unknown and foreign way of life.

While it is a martial arts film, A Touch of Zen is not packed with action. On the commentary track for Crouching Tiger, Hidden Dragon, Ang Lee and the film's producer joke about how Lee made a kung fu film that took almost 20-minutes for the first action sequence to appear. Well in Hu's film, it takes 56-minutes. The build up to the action is expertly crafted, and the carefully plotted narrative does wonders to build tension and lend weight to the inevitable conflict that ensues.

http://www.genrebusters.com/images/zen6.jpg

King Hu's ability to film action was second to none, and his use of montage to suggest the mystical qualities of the wuxia-warriors represented an entirely new way of capturing the action on film. Rather than show a series of uninterrupted exchanges, Hu's technique lent a more languid and poetic tone to the action. In terms of how the action was choreographed and filmed, one might consider this film the “Matrix” of its time, in that it became a landmark for its genre in terms of style and technique.

I cannot fail to mention King Hu's unique ability to capture scenery and create a tangible sense of geography. Had he not been a genre filmmaker, I wouldn't find it hard to imagine Hu being a nature photographer on par with Ansel Adams or anyone working for National Geographic. There are more than a few sequences in A Touch of Zen that could be mistaken for nature films, or perhaps a travelogue of the Taiwanese country side complete with authentic, antiquated dwellings. Hu does this to establish location and geography, and to set the stage for the drama that is to unfold.

http://www.genrebusters.com/images/zen7.jpg

There are two main outdoor locations where the film's action takes place, and Hu does a wonderful job of presenting these “stages.” One of the locations is a barren and rocky wasteland that separates the Buddhist temple from the rest of civilization, and the other location is a dense and luscious bamboo forest. This bamboo forest setting, and the action that transpires there, was inspirational to a number of films including House of Flying Daggers and Crouching Tiger, Hidden Dragon.

There really is no way to go wrong with this film; it works on a variety of levels. It works as an epic drama, an exciting action film, an example of world-class cinematography, and on a narrative level. It is entertaining, engaging, and thought provoking, as well as being a landmark genre film for a genre already populated by a multitude of well made and expertly crafted films.

[dreamdead]

Nice choice. After contemplating it more, I think I like this film much more than when I first watched it. Specifically, the near total darkness of the screen during that first hour disoriented me and had me searching for something to hold onto narrative-wise, but the thematic context that you've identified in discussions allows it to resonate more (the whole darkness into enlightenment shift). That last hour is something to behold here, and the framing of the shots are frequently magnificent, especially during the climax.

I don't know if I'll ever watch it again, but that last hour is quite special...

[Li Lili]

This is a last minute addition and substitution, but this film simply has to be included on this list. After a rewatch a couple of weeks ago, I realize that it should probably be ranked even higher.

21. Funky Forest: First Contact - Dir. Katsuhito Ishii and Hajime Ishimine

I've got this film for months and still haven't got round to watch...

Alright, the Top 15! Woo-hoo!

15. A Touch of Zen (1969) - Dir: King Hu
I've seen several films by him. Raining in the Mountain and A Touch of Zen are his best indeed. But I liked the other ones I saw (Sons of Good Earth, Dragon Inn, Come Drink with Me, The Fate of Lee Khan, Legend of the Mountain). I like his films because they are a bit different from the most films of this genre, and some rather philosophical, the connection and analogies with the 5 elements, cardinal points and such....

[D_Davis]

I've seen several films by him. Raining in the Mountain and A Touch of Zen are his best indeed. But I liked the other ones I saw (Sons of Good Earth, Dragon Inn, Come Drink with Me, The Fate of Lee Khan, Legend of the Mountain). I like his films because they are a bit different from the most films of this genre, and some rather philosophical, the connection and analogies with the 5 elements, cardinal points and such....

After ToZ, my favorite is The Valiant Ones. Kung Hu was definitely working on a different level than most of his contemporaries. Chang Cheh's early films were on this level as well.

[Li Lili]

After ToZ, my favorite is The Valiant Ones. Kung Hu was definitely working on a different level than most of his contemporaries. Chang Cheh's early films were on this level as well.
I haven't seen The Valiant Ones. I think I prefer King Hu than Chang Cheh, but they are so different, saying that, to me, Chang Cheh's early 70s/end of 60s films are better.

[megladon8]

http://www.genrebusters.com/images/zen4.jpg


...isn't that "Bette" from Kung Pow!??

[D_Davis]

I haven't seen The Valiant Ones. I think I prefer King Hu than Chang Cheh, but they are so different, saying that, to me, Chang Cheh's early 70s/end of 60s films are better.

Chang Cheh has some amazing films. One of them is in my top 3, and I think it is the best martial arts ever made. I think his output during the late '60s and early '70 is unmatched in terms of technical execution and artistic merit.

Of course, he probably learned a bit from King Hu's early films - namely Come Drink With Me and Dragon Inn.

[Li Lili]

Chang Cheh has some amazing films. One of them is in my top 3, and I think it is the best martial arts ever made.
ah, I'm waiting to see which one it is...
My favourite : Have Sword Will Travel, The Assassin, The New One-armed Swordsman. But I don't watch so many swordplay films anymore. It was surprising to see The Singing Thief (saw a few years ago), which wasn't a martial art film at all, but a musical, romantic comedy rather kitsch, but I liked it. I liked HK musical of the 60s, haven't seen many though.

I think his output during the late '60s and early '70 is unmatched in terms of technical execution and artistic merit.
I agree with you!

Of course, he probably learned a bit from King Hu's early films - namely Come Drink With Me and Dragon Inn.
It's interesting to compare Golden Swallow and Come and Drink with Me, especially both are performed by Cheng Pei-Pei.

[D_Davis]

ah, I'm waiting to see which one it is...
My favourite : Have Sword Will Travel, The Assassin, The New One-armed Swordsman. But I don't watch so many swordplay films anymore.

It's interesting to compare Golden Swallow and Come and Drink with Me, especially both are performed by Cheng Pei-Pei.

I don't love too many wuxia pians, I greatly prefer the kung fu pian. Have Sword, Will Travel is awesome, especially the last 20 minutes or so. I am also not a big fan of David Chiang, especially in action roles, the dude was never a convincing stage fighter, but in this film he is awesome. The Assassin is also pretty awesome - I love the pose Wang Yu strikes in between sword thrusts, it's like he is being crucified. New One-Armed Swordsman is okay, but I prefer Return of... It made this list.

My favorite Cheng Pei-Pei role is in The Lady Hermit, which is also on this list. She is amazing in it, and the film is incredible.

[D_Davis]

14. Scream(1996) - Dir. Wes Craven

http://eur.i1.yimg.com/eur.yimg.com/ng/mo/uno/20061026/12/1869064573.jpg

Scream is a film that is often unjustifiably vilified for the poorly-made and inept imitators it spawned. In 1996 when it was released, the horror genre was all but financially and creatively dead. Some may argue that the genre deserved to remain dead, but this is missing the point of Scream's influence. For many years before Scream, studios were not-so-cleverly disguising their horror films as “thrillers,” in order to attract an older, more distinguished audience (Se7en, Silence of the Lambs, both are horror films in all but genre-name). What was once the genre for dating teenagers and gorehounds became the genre for moms and dads living on the edge and branching out into more dangerous cinematic territories, and respectable cinephiles who wouldn't be caught dead seeing a “horror” film. Call a “horror” film a “thriller,” and suddenly Oscar and a more respectable audience takes note.

Scream reintroduced film goers to the world of gruesome horror, and it opened up the financial floodgates for the studios to start cranking out one horror flick after another. It also made people realize that a horror film could be well written and well made, while still celebrating the conventions of the genre. I would even argue that Scream's success lead to the surge of Japanese and Asian horror, or at the very least it played a large part in that foreign market becoming a viable one around the globe.

Scream's influence is not unwarranted. It is, quite simply, a remarkable film. It is a situational horror film bolstered by a well-written script, memorable characters, taught direction, and genuine terror. The script's greatest strength lies not in its self-referential quips. Genre films by nature are self-referential because they build upon pre-established tropes and themes, and Scream was far from the first horror film to acknowledge its genre-roots. However, it is the best because of how the film is written, and through the characterizations the self-referential knowledge rings true. It makes sense that these kids would know about certain things, especially stuff about the kinds of movies they grew up watching. It is easy to imagine these characters hanging out in video stores stocking up on a bunch of horror flicks for a weekend get-together. The self-referential humor and dialog is not just forced in for a series of clever wink-wink moments, but it is, instead, a natural byproduct of the characters the film is about.

Also of note is the narrative's reliance on cell phones. While Scream was most certainly not the first film to feature this now ubiquitous device, it was the first film I remember seeing that relied on the technology in such a way. The killer in the film utilized to great effect his ability to make phone calls from anywhere, and without this hook the story would not be nearly as good. A log of recently made cell phone calls is also used as a device to create a red herring out of a character's father. I might argue that this is the film that launched the cell phone generation in popular cinema. It is almost impossible now to see a film set in the present day that doesn't feature these devices used in some kind of way. Cell phones are everywhere now, and Scream used this budding technology to craft a handful of gripping sequences and situations.

Scream also added a post-modern twist to the killer's motive - he did it for kicks, just for fun. Williamson and Craven craft a meta-narrative in which the killer's motive mirrors their own desires to see new life injected into a dying genre. They need these characters to kill in order to save the horror genre, while the character needs to kill simply because he can, building on the sense of entitlement so often found in this generation. Who needs a motive anymore? Just do it! While this is a cynical and perhaps reductionist examination of today's youth culture, it is not without some truth. As families and communities continue to splinter, we find ourselves more alone, more isolated, and more apt to look out for number one - ourselves. We are told to do what makes us feel good. Scream examines this aspect in an interesting manner, and in many ways it is a clever examination of our modern society.

Most of all though, Scream is simply a great horror film. It is tense for one thing, really tense. I love how the antagonist can get hurt. He's constantly being kicked and punched and thwarted, and it appears as if he is actually trying, hard, to dispatch of his victims. It also contains one of the greatest opening one-two punches I've ever seen. The entire opening segment with Drew Berrymore is comprised of one brilliant moment after another. And her ultimate fate is one of the more gruesome things I've ever seen. Sometimes I wish that Scream was a financial failure, and that it didn't rejuvenate the horror genre and spawn dozens of wannabes and two lackluster sequels. I think if it had remained a more obscure entry into the pantheon of horror, and we had not become oversaturated with played out spoofs/homages, that it would be more highly respected by more film fans. However, I simply cannot get enough of this film. I love it from start to finish, and am thankful for its glorious existence.

[Grouchy]

I don't know of any trivia surrounding Ford's casting, but I cannot imagine this part being written for, or played by, anyone else.
The part was written with Tom Selleck in mind. I can't imagine how that would've worked out either.

[eternity]

Scream served both as a revival to the genre and a parody of all that came before it. It's fantastic.

[Spinal]

The opening sequence is really quite good. I vividly remember seeing it for the first time in the theater and how tense it felt.

[D_Davis]

The opening sequence is really quite good. I vividly remember seeing it for the first time in the theater and how tense it felt.

I rewatched the opening last night, and even with knowing what happens it is still tense and surprisingly gruesome. This and Raiders may have my favorite openings of all time.

[D_Davis]

Okay, so sorry for the delay. This list will be completed by this coming Sunday - guaranteed.

I've been stymied by a few of the reviews left to write, but I am just not going to worry about them.

So, are you all ready for the epic conclusion?

13. The Big Lebowski (1998) - The Coen Brothers

http://www2.bc.edu/%7Eyanno/Big%20Lebowski.jpg

My first experience with the Coen Brothers was in the early '90s with Barton Fink. On a whim, my girlfriend and I rented it - I've been an admirer ever since. Fargo was my first theatrical Coen-experience, soon followed by The Big Lebowski. Ah yes, The Big Lebowski. It is strange, but this film has become a sort of icon for guys my age. I don't know when it happened, or really why, but the popularity of this film seemed to enter the zeitgeist of web-culture, and riding on the crest of a meme, The Dude entered the hearts and minds of the mainstream film culture and serious film fans alike.

When I first watched it, I didn't care for it, much. It was no Fargo, that was for sure. I remember leaving the theatre just slightly bemused. But then a strange thing happened upon its arrival on video. I ended buying a used copy, along with a used copy of Miller's Crossing, and the next time I watched it something had clicked. It was a strange experience, but I totally fell in love with the film. For me, this is one of those films that is better when you know what's coming next. The anticipation of the Dude's blunders, missteps, adventures, quips and quirks greatly enhanced my enjoyment of it.

I had also gotten into Raymond Chandler, Elmore Leonard and other hardboiled detective fiction in between my first and second viewings, and I think this also helped me appreciate it more. At its core, TBL is a modern film noir, its a hardboiled detective story with the suave hardboiled dick replaced by a pot-smoking, bowling (but he is never actually seen rolling a ball) carefree, relic of the 1960s. The film also perfectly captures the romantic feelings of Southern California. There is a great deal of attention paid to place and time, and I think the film, as outlandish as it is, is a wonderful snapshot of America at the time, or at least the America found in the city of dreams.

The film also possesses a mythical quality to it. In this regards, it reminds me of a Leone film. It almost has a feeling of magical realism. The two dream sequences are expertly executed and add a fantastical element to the Dude's quest. The opening narration by Sam Elliot possesses a mythical quality, and when his character appears before the Dude like some modern sage, I felt a strong sense that there was something divine about his presence.

The Big Lebowski is simply a film that I can turn to at almost any time, in bits and pieces, or as a whole, and enjoy myself in the process. It is well written, well shot, and well acted. It is funny, endlessly quotable (much to the chagrin of many I'm sure), and entertaining. It also has a fantastic soundtrack that perfectly captures the personality of the film's main character - it's his mix tap, the soundtrack to the Dude's life. The Coens totally nailed it with this film, and I think it is perfect in every way.

[Sycophant]

What a great film to come back on! It is a little strange how iconic this film has become, because there are few films that I've been able to watch with so many of my friends so many times as this one. It's the Coens at the top of their game. The dialogue in this movie is just a dream to listen to, with its repeated motifs (the way the Dude adopts everything everyone else says is great).

And seriously, who the fuck are the Knutzens?

[D_Davis]

What a great film to come back on! It is a little strange how iconic this film has become, because there are few films that I've been able to watch with so many of my friends so many times as this one. It's the Coens at the top of their game. The dialogue in this movie is just a dream to listen to, with its repeated motifs (the way the Dude adopts everything everyone else says is great).

And seriously, who the fuck are the Knutzens?

I agree.

It's a true cult film, in that it became a cult sensation without trying to, and without being intentionally campy or cultish.

It's also the only screenplay I read once a year. Actually, there are only two things I read once a year:

The Lebowski screenplay, and Alan Lightman's book, Einstein's Dreams.

[Velocipedist]

Lebowski owns. Barton Fink was my first Coen too; I adore it to this day.

[D_Davis]

I'm going to go ahead and post the next one...get this out of the way...

12. The Killer (1989) - Dir. John Woo

http://www.loveandbullets.com/Pictures/killerc/criterionk.jpg

I've pretty much said all I care to say about this before, and if you want to know why I love it so much, check out our podcast:

http://genrebusters.com/podcast/episode4.mp3

The Killer segment is during the last 30-40 minutes.

[Sycophant]

I think I'll have to check out that podcast later, D, because I can never hear enough praise for Woo's heroic bloodshed flicks. On a recent marathon rewatch of three of his major classics, this film and Hard-Boiled both worked better for me than they had in the past. The only thing that keeps me from slobbering all over The Killer as OMGasterpiece is a bizarre aversion I have to motorboat sequences, but I wouldn't hesitate to call it great.

[Spinal]

13. The Big Lebowski (1998) - The Coen Brothers

When I first watched it, I didn't care for it, much. It was no Fargo, that was for sure. I remember leaving the theatre just slightly bemused.

I wasn't crazy about it when I first saw it either. Seemed like a trifle in comparison to Fargo. I've come to appreciate it more since then, but I admit that I'm still a bit bewildered by its lofty cult status.

[D_Davis]

There is something inherently cheesy about motorboat scenes, isn't there?

While I also love Hardboiled, I don't think it is as tightly paced or as atmospheric as The Killer.

[Rowland]

I didn't like The Big Lebowski much either, but it seems that everyone who loves it did so upon repeat viewings. I'll see it again someday.

[Sycophant]

While I also love Hardboiled, I don't think it is as tightly paced or as atmospheric as The Killer.
Agreed. The Killer is a better film and very nearly a miracle in its simplicity. Would I be wrong in saying it's the film newbies should watch to determine if they would ever be able to love Woo's films?

[D_Davis]

I wasn't crazy about it when I first saw it either. Seemed like a trifle in comparison to Fargo. I've come to appreciate it more since then, but I admit that I'm still a bit bewildered by its lofty cult status.

After I first saw it, I thought it was just a slight diversion from Fargo, like a neat little side project. It took home video for me to really appreciate it, and watching it with a group of like minded film buffs is what really did it for me.

It is an interesting phenomenon, to be sure. I would love to see a documentary about this film's impact on popular culture.

When I lived in So Cal, we used to go bowling at the bowling alley featured in the film. I recently learned that it was torn down and replaced with a school. That is really crappy.

[D_Davis]

I didn't like The Big Lebowski much either, but it seems that everyone who loves it did so upon repeat viewings. I'll see it again someday.

It's kind of like Curb Your Enthusiasm in this regard. I find it funnier and more engaging when I know what is coming next. It allows me to examine how the thing is constructed. I also think that the jokes and situations are funnier when they are anticipated.

[Sycophant]

I didn't like The Big Lebowski much either, but it seems that everyone who loves it did so upon repeat viewings. I'll see it again someday.
It's funny how similar the story is for so many. I enjoyed it on my first viewing, but that was about the extent of it. The second viewing was like some kind of wonderful fever dream. On subsequent viewings, it's a damn near euphoric experience, with each one revealing something new and exciting about it.

[D_Davis]

Agreed. The Killer is a better film and very nearly a miracle in its simplicity. Would I be wrong in saying it's the film newbies should watch to determine if they would ever be able to love Woo's films?

No, you would not be wrong. It isn't as cheesy as ABT, or as depressing as A Bullet in the Head, and it is more tightly paced than Hardboiled.

[D_Davis]

It's funny how similar the story is for so many. I enjoyed it on my first viewing, but that was about the extent of it. The second viewing was like some kind of wonderful fever dream. On subsequent viewings, it's a damn near euphoric experience, with each one revealing something new and exciting about it.

Totally true. There is just so much to this film. The Coens packed in so much nuance, and just crafted a wonderful film. The performances are also simply amazing.

For me, it is a totally captivating experience from beginning to end.

[Velocipedist]

I didn't like The Big Lebowski much either, but it seems that everyone who loves it did so upon repeat viewings. I'll see it again someday.

I liked it from the first viewing. Okay, liked, not loved, but still...

[Sycophant]

While he's got a lot of insight into the Coens' films in this new piecep (http://www.newyorker.com/arts/critics/atlarge/2008/02/25/080225crat_atlarge_denby), I can't say that I agree with David Denby's central argument. However, I really like what he has to say about Lebowski.

[lovejuice]

Agreed. The Killer is a better film and very nearly a miracle in its simplicity. Would I be wrong in saying it's the film newbies should watch to determine if they would ever be able to love Woo's films?


No, you would not be wrong. It isn't as cheesy as ABT, or as depressing as A Bullet in the Head, and it is more tightly paced than Hardboiled.

i always regard ABT as my favorite woo's, while my feeling for the killer, HB, and BitH go up and down. as of now, the killer is actually my least favorite though. a revisit might soon change that.

anyone ever checked out the original Once a Thief. it's actually quite fun as well.

[D_Davis]

While he's got a lot of insight into the Coens' films in this new piecep (http://www.newyorker.com/arts/critics/atlarge/2008/02/25/080225crat_atlarge_denby), I can't say that I agree with David Denby's central argument. However, I really like what he has to say about Lebowski.

Looks like an interesting essay. I'm printing it to read later.

[D_Davis]

i always regard ABT as my favorite woo's, while my feeling for the killer, HB, and BitH go up and down. as of now, the killer is actually my least favorite though. a revisit might soon change that.

anyone ever checked out the original Once a Thief. it's actually quite fun as well.

While I wouldn't argue about ABT being your favorite, would you not agree that it might be seen as overly cheesy to a new viewer and to the outsider? As far as first time viewings go, I think The Killer is the best introduction to Woo's brand of heroic bloodshed.

I've seen the original Once a Thief, and it is okay. Pretty fun, and the surge of comedic action at the end is nice.

[Sycophant]

anyone ever checked out the original Once a Thief. it's actually quite fun as well.
I've been meaning to for a while. Or any of his earlier comedies, though I don't really hear much anyone talking about them.

[lovejuice]

would you not agree that it might be seen as overly cheesy to a new viewer and to the outsider? As far as first time viewings go, I think The Killer is the best introduction to Woo's brand of heroic bloodshed.

perhaps i have seen ABT when i was far too young to discern what was and was not cheesy. the concept is moralistically over-the-top, but woo and actors do a pretty good job selling it. woo creates a universe which justifies all those cheesiness. also i think, it has something to do with culture. for a manga-familiar, ABT is just another tale of moral, manliness, and fire arm.



I've been meaning to for a while. Or any of his earlier comedies, though I don't really hear much anyone talking about them.

which surprise me. i think OaT is quite good, and it's the only woo's aside from ABT that has leslie chan. always a plus.

[D_Davis]

perhaps i have seen ABT when i was far too young to discern what was and was not cheesy. the concept is moralistically over-the-top, but woo and actors do a pretty good job selling it. woo creates a universe which justifies all those cheesiness. also i think, it has something to do with culture. for a manga-familiar, ABT is just another tale of moral, manliness, and fire arm.


I agree that ABT is a good film, but I also agree with those who say it is overly cheesy. I can appreciate it for what it is, and for being a product of its country and its time though.

[lovejuice]

I agree that ABT is a good film, but I also agree with those who say it is overly cheesy. I can appreciate it for what it is, and for being a product of its country and its time though.

indeed. as i'm getting older, i think HB's moral is more realistic, or as realistic as woo can get.

about the killer, the last time i watched it, four years ago, i really felt like it had some pacing issue. and as much as i know that the love-interest/female-character is not supposed to be the center of the story, i can shake that feeling woo doesn't handle her very well.

to these days, face/off, i think, is where woo's best female characters are.

[D_Davis]

11. The Thing (1982 ) - Dir. John Carpenter

http://www.genrebusters.com/images/thing1.jpg

Four things I like about The Thing:

1. The screenplay and narrative

A great film needs a great screenplay, and the screenplay for The Thing is remarkable. Had this film not been a genre piece, I believe the screenplay would be considered one of the greatest ever written by film buffs and scholarly types alike. As it stands, it still is one of the greatest ever written, and the narrative contained within just so happens to be a great work of genre fiction. The plot builds in tension with deliberate slowness, and the isolation and sense of dread are palpable. The monster-reveals and plot points hit perfectly each and every time. The Thing is an exercise in impeccable timing.

http://www.genrebusters.com/images/thing7.jpg

Bill Lancaster wrote the screenplay, and I find this anomalous to say the least. Up until writing The Thing, Lancaster's claim to fame was the writer for the Bad New Bears films and television series, and that's it! How he composed and executed an A-class genre script such as this one is a bit baffling, but the work he did is exemplary. The dialog sounds natural, and the characters are more than three-dimensional, they feel reel. Lancaster's master class script showcases a group of guys who are more than friends, and more than comrades - they are like brothers, and their complex relationship enjoys the positive and negative aspects of such a bond.

2. The cast

Robert Altman always gets praise for his ensemble casts, and the cast in The Thing is just as good as any I've seen. Because they were given such a strong script to work with, the actors (all men, no woman in this one, except for a female computer voice) deliver some of the best performances of their careers. Each of the main characters acts, and reacts to the outlandish situations thrown at them naturally. Although the narrative incorporates totally fantastic ideas, it does not require much suspension of disbelief because of the amazing performances.

http://www.genrebusters.com/images/thing2.jpg

The three standout performances are given by Kurt Russell (MacReady), Keith David (Childs) and Wilford Brimley (Blair), and their characters are surrounded by a plethora of awesome supporting characters, such as: Windows, Fuchs, Clark and Nauls to name a few. With such a large cast of characters, one might think it would be easy to lose track of certain players, or that the majority of the characters are nothing but cannon fodder, ready to be lead to the slaughter. Such is not the case, and as each meets his eventual demise, it affects the other characters and the audience.

3. The direction and photography

John Carpenter (director) and Dean Cundey (director of photography) are a match made in heaven. Having worked together on Halloween, Escape From New York and The Fog before hand, the two craftsmen worked in symbiotic-like fashion on The Thing. They drew on their extensive professional relationship, and each of their strengths helped to bolter the other. The way Carpenter directs the large ensemble cast is masterful, and the photography of the snow-covered landscape and confined halls of the outpost builds the necessary tension and atmosphere. Carpenter and Cundey never once lose sight of a character or his motivations, and as the paranoia level builds, and the tension threatens to violently erupt, they hold on tight to the reigns to keep everything in order, controlling the game like master strategists.

http://www.genrebusters.com/images/thing3.jpg

4. The effects and creature design

When I think of the term "special effects," The Thing is the first movie that pops into my head. No matter how many times I have seen the film, I will never forget the first, and how the artistic design engaged me like no other. From the transforming dog-like beast, to the melted fleshy and twisted remains of alien leftovers, from the head with the spider-like legs, to the stomach-mouth, and from the hideous Blair monster, to the epic final conflict, every f/x shot in the film is full of weight and gravitas. Because the film was made before the extensive use of CGI and digital sets, the effects used on the film feel real, as the cast and crew can physically manipulate them.

http://www.genrebusters.com/images/thing4.jpg

In addition to the creature effects, the set design and matt paintings used on the film are incredible. The detail of the science lab outpost is extraordinary. Each room and hall is littered with details, and the lighting makes the sets come to life. There are papers scattered about, notes taped to walls, scientific instruments set on tables, food stocked in the kitchen, and the storage shelves full of knickknacks. The set feels lived in, and not that it was made and used for only a short period of time.

One more thing about The Thing

Yes, John Carpenter's The Thing is truly a landmark film, and an A-class example of craftsmanship. It is also a product of its time. Coming off of the glorious films of the 1970s, a time when a director with a vision was given the time, money and freedom to execute his vision, The Thing was made with the utmost attention paid to each and every detail. In the documentary on the DVD, Carpenter says that this production schedule on the film was the longest he had ever been given, and this allotted time shows in the completed project. Nothing feels forced, and no corners were cut. The Thing is as close to a perfect genre film as any before it or after it. And even today, 24 years later, the film continues to impress and is still a measure of greatness.

http://www.genrebusters.com/images/thing6.jpg

[megladon8]

Wicked choice, D. One of the greatest sci-fi/horror films ever.

I agree with everything you say in your review.

The blood-test scene is still one of the greatest examples of heart-stopping tension in a movie, ever.

I fully endorse this entry.

[Qrazy]

Scream is a piece of crap.
The Big Lebowski is funny.
The Killer is explosive.
The Thing is simply awesome.

[D_Davis]

Alright, we're in the top 10...

10. Nausicaa (1984) - Dir. Hayao Miyazaki

http://www.genrebusters.com/images/nas1.jpg

Some films are able to instantly teleport you back in time to that magical moment when you first saw them, no matter how many repeat viewings. Films like Star Wars, Raiders of the Lost Arc, Once Upon a Time in the West and Jaws, among others, all have this power. Whether it is due to a visual or audio cue, these films have the significant ability to conjure up large doses of nostalgia and admiration.

Nausicaa of the Valley of Wind is also such a film. From the very first moment, I am immediately filled with feelings of reverence and appreciation for the fine cinematic experience underway. I believe without doubt, that Nausicaa is Hayao Miyazaki’s crowning achievement, and the film is in fact a landmark for the medium.

http://www.genrebusters.com/images/nas2.jpg

Clocking in at just under two-hours, the film is truly epic in scope and execution. It is here, on his second feature film, that Miyazaki would zero in on the strong female archetypes and environmental themes that would become the prevalent tropes in most of his life’s work. The narrative details the journey of the eponymous hero, and her rise from a simple princess in a quaint mountain village to worldwide savior.

Because of her empathetic ways with the harsh natural conditions that plague her world, Nausicaa is able to unite two warring kingdoms and teach the people how to be at one with their natural surroundings. Through conflicts with giant bug-kings, warring military factions, gargantuan organic war machines, and conniving ne’er-do-wells, the small and peaceful Valley of the Wind is slapped in the face with mechanical progress and a loss of their innocent way of life. It is only through Nausicaa that the world at war with itself is able to live to see another day.

http://www.genrebusters.com/images/nas3.jpg

The narrative, written by the director, is a classic example of the hero’s journey. One can literally check off each individual step as Nausicaa traverses the course of her adventure. Because Miyazaki chooses to work with such classic narrative styles, his films are easily some of the most accessible to those outside of Japan. Nausicaa is so infused with the conventions of the mono-myth, that even without subtitles the narrative is still engaging and interesting.

One could say that the art style used here is iconic Miyazaki, maybe even to a fault. Although the actual movement and fluidity of his animated features improves from film to film, his character designs often look identical, especially his lead female characters – one might argue that many are in fact drawn from the same model! If this is the case, then Nausicaa’s animated lineage can be directly traced to Lady Clarisse, the lead female and love interest from his first film The Castle of Cagliostro.

While they may share similar facial features, and many of his female characters do, what differentiates them from one another is their personalities. Where Lady Clarisse was the typical damsel in distress, needing to be rescued at every turn, Nausicaa is a take-charge hero ready to tackle everything thrown at her no matter the personal sacrifice.

http://www.genrebusters.com/images/nas4.jpg

Another iconic feature debuting here is the wonderful score written by Joe Hisaishi. Hisaishi’s score for Nausicaa is one of my favorites. The main theme encapsulates the film's beautiful and mysterious world, and sets the tone for the epic narrative. Through careful attention to detail, Miyazaki and Hisaishi craft an audio-video marriage that is totally engaging and memorable at each and every turn.

http://www.genrebusters.com/images/nas5.jpg

Although Miyazaki and studio Ghibli would go on to craft more technically advance animated features, Nausicaa remains a personal favorite of mine. It is often said that fans of his work typically site their first experience as their favorite, and I don't disagree. Everything about this film touches me on a level reserved only for the most breathtaking of films. Animated or not, Nausicaa of the Valley of Wind is, and will remain, a truly moving experience that I will revisit for years to come.

[dreamdead]

Haven't commented on the most recent updates, but count me as another follower of the joy of Lebowski. Like you mention, this is one of those few films where knowing the narrative does not infringe on the central humor of the story. It's the rhythm of the punchlines, the circuitous way in which they're built up, that grants the film its strength. And the play on noir and detective fiction simultaneously celebrates it and takes the piss out of it. Just delightful.

I find that Woo's films achieve a sort of campiness in their melodramatic bloodshed. At times that gives the films a levity that offsets the bloodshed; at other times I resist the overkill and just reject the film wholesale. Thankfully, The Killer is the one film of his where I feel this infringement the least.

The Thing rocks. In every way. That is all that needs to be said.

And kudos for Nausicaa. It's probably my favorite of Miyazaki's, simply because it establishes the template with which he would continue to work in thereafter. Great finale that rivals any conventional action film in its crescendos, and characters and music that engage you in the most basic level.

[D_Davis]

I've made a huge mistake.

Somewhere along the way, a film that should have been in the top 15 got deleted from my least and replaced with something else!

Dammit.

I'm going to have a tie...

[Scar]

The Thing is a classic. Period.

[Sycophant]

The Thing is a thing of beauty. When I think of the film, I think of both how awesome the effects were and how awesome Keith David was.

Nausicaa is another thing of beauty. When I think of the film, I think of the first time I watched it and had no idea what was going on. Or how Hideaki Anno animated the climactic scene. Or how it's really a great film.

[Qrazy]

The Thing is a thing of beauty. When I think of the film, I think of both how awesome the effects are and how awesome Keith David is.


Fixed.

[Sycophant]

Fixed.
Probably the only time on Match Cut a "fixed" response actually modified the post to more closely resemble the original poster's intentions. Word.

[Qrazy]

Probably the only time on Match Cut a "fixed" response actually modified the post to more closely resemble the original poster's intentions. Word.

:lol:

[lovejuice]

i think i'll pull a loner here and say as much as i like nausicaa, i can't help but feel mononoke is a much improved version of it. likewise, as much as i like mononoke, my feeling is always accompanied by the little voice which keeps shouting miyazaki freaking remade his own work! :frustrated:

am i the only one who think mononoke is a remake of nausicaa?

[rocus]

The greatest accomplishment of The Thing is that they created a movie where you literally feel anything could happen. In the midst of all of the amazing tranformations (head into freaky spider-walking-thing) and hideous monsters never once do you think, "Now that's just absurd". Just an absolute blast to watch.

[Qrazy]

i think i'll pull a loner here and say as much as i like nausicaa, i can't help but feel mononoke is a much improved version of it. likewise, as much as i like mononoke, my feeling is always accompanied by the little voice which keeps shouting miyazaki freaking remade his own work! :frustrated:

am i the only one who think mononoke is a remake of nausicaa?

Yes.

But I agree with you that Mononoke is much better. And even if it is a remake, which it isn't, what's wrong with that? Hitchcock did it. Ozu did it. Lots of others have as well.

[Qrazy]

The greatest accomplishment of The Thing is that they created a movie where you literally feel anything could happen. In the midst of all of the amazing tranformations (head into freaky spider-walking-thing) and hideous monsters never once do you think, "Now that's just absurd". Just an absolute blast to watch.

I watched it with some friends and they were upset because the end felt 'unresolved'. I then proceeded to weep for humanity.

[megladon8]

I watched it with some friends and they were upset because the end felt 'unresolved'. I then proceeded to weep for humanity.


So...the entire point of the ending was lost on them?


I have to say that even the ending effect of the giant worm-like creature is still awesome, and it's often said to be the most poorly aged effect in the movie.

[Qrazy]

So...the entire point of the ending was lost on them?


Pretty much. I'd have to say the weakest part of the movie for me is the genre trope cheesy computer simulation of the virus. World takeover... ETA 3 months. Dun dun dun.

[megladon8]

Pretty much. I'd have to say the weakest part of the movie for me is the genre trope cheesy computer simulation of the virus. World takeover... ETA 3 months. Dun dun dun.


Eh, I thought it was done effectively enough.

I understand your point - it wasn't really required since the tension of this group of men dealing with this alien being was enough.

Sort of like if one of the women in The Descent brought a laptop along with a simulation of how quickly the creatures would take over the world if they got to the surface.

It's unnecessary, but I thought it was done well enough in The Thing.

And Ennio Morricone's score is amazing.

[Qrazy]

Eh, I thought it was done effectively enough.

I understand your point - it wasn't really required since the tension of this group of men dealing with this alien being was enough.


No, beyond that no one's going to have a built in computer program that could possibly simulate that. And if he programmed it himself he wouldn't have taken the time to program it to make it so blatantly obvious to himself and the audience.

He should have looked in a microscope and seen what it was capable of (show this to audience, no shitty computer old school program) gone crazy and then said how it could destroy the world later. It would have been a better reveal all around.

[lovejuice]

No, beyond that no one's going to have a built in computer program that could possibly simulate that. And if he programmed it himself he wouldn't have taken the time to program it to make it so blatantly obvious to himself and the audience.


from a scientific pov, you are absolutely right. although i think you dig too much into this. :);)

[Qrazy]

from a scientific pov, you are absolutely right. although i think you dig too much into this. :);)

I know hehe but that one part just annoys me more than any other inconsistency for some reason.

[lovejuice]

I know hehe but that one part just annoys me more than any other inconsistency for some reason.

indeed. we are stuck here about to be killed by a monstrosity. allow me to write 200 or 300 lines of fortran to show you how the world at large is screwed.

[megladon8]

I guess I just never really knew enough about computers/programming to put that much thought into it.

It makes sense the way you describe it, but I'm sure at the time the movie was made - when computer technology was still pretty new and not understood by most - this wasn't a big issue.

But I'm just making excuses to defend a wicked movie :)

[D_Davis]

i think i'll pull a loner here and say as much as i like nausicaa, i can't help but feel mononoke is a much improved version of it. likewise, as much as i like mononoke, my feeling is always accompanied by the little voice which keeps shouting miyazaki freaking remade his own work! :frustrated:

am i the only one who think mononoke is a remake of nausicaa?

I see what you are saying, but I still think that Nausicaa is his best. The reason is because it is more of Nausicaa's personal story. The adventure is hers because she makes it hers. In Mononoke, Ashitaka is forced into the adventure, and then things more a less unfold around him. I prefer Nausicaa's execution in this regard, and I think it is a stronger example of the mono-myth, while I also think it's environmental concerns are handled with more nuance.

[D_Davis]

The greatest accomplishment of The Thing is that they created a movie where you literally feel anything could happen. In the midst of all of the amazing tranformations (head into freaky spider-walking-thing) and hideous monsters never once do you think, "Now that's just absurd". Just an absolute blast to watch.

Nicely said, and I totally agree.

[D_Davis]

9. 36th Chamber of Shaolin (1978) - Dir. Lau Kar Leung

http://www.genrebusters.com/images/screencaps/361.jpg

Some films are so often emulated it becomes easy to lose sight of the original's impact. Yes, some films are copied, and then some films are copied - and then there is Lau Kar Leung's The 36th Chamber of Shaolin. Because of the copious amounts of kung fu films that came out after, and riffed off of this timeless classic, The 36th Chamber of Shaolin could be one of the most emulated and influential genre films of all time. The 36th Chamber of Shaolin not only made the Shaolin Temple cool, but it also popularized the bald-headed badassness of the legendary Shaolin monks. It also single handedly redefined what would be known as the "training sequence" by making it the focal point of the entire film.

Chances are, any kung fu film made after this groundbreaking title somehow or another owes at least a small debt to Lau Kar Leung's masterpiece. And this is no exaggeration. Sure, Cheng Cheh made the legend of the Shaolin Temple popular with his own series of films before hand (many were choreographed by Lau Kar Leung), and there were earlier films that featured training sequences and actors pantomiming kung fu. However, what separates The 36th Chamber from the rest is the authenticity of the kung fu, and the pure perfection of the production. Everything about this film screams cinematic masterpiece: from the acting, to the narrative, to the music, and to the choreography.

http://www.genrebusters.com/images/screencaps/362.jpg

Memorable Characters

Gordon Liu is the one and only true star of this picture, and his character, San Te, is perhaps one of the most career-defining roles of cinematic history. For the role, Liu shaved his head to portray the young monk in-training. This happened in 1978 – now, in 2008, twenty-eight years later, Liu still has a shaved head. He has appeared as a bald headed, monk-type character for the vast majority of his acting career, and if there were ever a rare portrayal of a character with hair he would don a wig.

Gordon Liu personified the prototypical Shaolin Monk like no other actor ever had or has since. What is most remarkable about his portrayal is the journey his character undertakes from untrained laymen to full blown Shaolin-master status. This is perhaps the greatest on screen evolution ever filmed, as we witness San Te going from a non-skilled, but determined novice, to a take-no-prisoners badass kung fu master. All the while, Liu maintains a genuine sense of earnestness and unwavering aspiration to become the best pupil at the temple. If there was ever an example of a charismatic screen presence, Gordon Liu’s San Te is it.

Memorable Fights

The best fight sequences in the film happen between San Ta and the chief Shaolin Justice played by one of my favorite Shaw Brothers bit-players, Lee Hoi San. His character represents the ultimate test for San Te’s kung fu knowledge – he is the last test before San Te becomes a Shaolin master. The two combatants square off no less than three times, and each fight escalates into a frenzy of kicks and punches, while a flurry of butterfly knives carve the air with flashes of clashing steel against my favorite kung fu weapon: the jointed-staff.

http://www.genrebusters.com/images/screencaps/363.jpg

In a legendary sequence, we get to see the jointed staff crafted for the first time. While San Te is practicing his stances against a copse of bamboo, he inadvertently breaks them and notices how they hold together. He picks up the broken piece of bamboo, and uses it like a three-sectioned nunchuck. It is here that he develops the technique to overtake the Justice’s twirling and deadly butterfly knives. Every time I see the proverbial light bulb blink over Liu’s head, as he internally develops his new weapon and style, I feel the warmth of child-like glee bubble up inside.

Memorable Set Pieces

Without a doubt it would be impossible to talk about this film without mentioning the great training sequences that take up about half of the total running time. Each new trial, or chamber (hence the title), tests a specific part of the body, or skill needed in order to learn the proper kung fu technique. A “fu” is to be an expert at something, so theoretically a chef might possess cooking fu, a barber hair-cutting fu, and so on. The 35 chambers presented in the Shaolin temple each test a different fu.

http://www.genrebusters.com/images/screencaps/364.jpg

With each consecutive chamber, the trials become more and more challenging, while each one tested a more specific fu. One might wonder what each chamber had to do with an actual kung fu stance, but here in lies the greatest lesson – patience. The novice monks had to pass each chamber one through thirty-five and then apply everything they learned to pass the final test and demonstrate their kung fu.

So if there are thrity-five chambers, why is the film called The 36th Chamber? San Te created The 36th Chamber after he became a Shaolin master. This chamber does not test a specific ability but it represents Shaolin’s ability to teach kung fu to non-monks. When the Manchurians took over China, they outlawed all practice of kung fu to stifle any kind of violent uprising from the oppressed peoples. The Shaolin Temple was actually an underground kung fu school disguised as a religious monastery. In order to learn kung fu, the novice had to devote his entire life to the temple and vowed never to become involved in worldly affairs. San Te thought that Shaolin kung fu should be taught throughout China, so that the people could stand up against the oppressive Manchurians.

Lasting Impressions

http://www.genrebusters.com/images/screencaps/366.jpg

The 36th Chamber of Shaolin is truly a masterpiece of the genre, and it is also a great starting point for the uninitiated. Want to get your snobby stuck up film buff friends into old school Kung Fu films? Well, if they won’t do it after viewing this, than it’s probably a lost cause (and I would wonder why you would be friends with such people in the first place). Lau Kar Leung has made many great films, and many of these also starred Gordon Liu. The two had a chemistry both on and off screen that most filmmakers can only dream of. They were both master craftsmen, expertly trained in kung fu, and what’s more, they both were teeming with energy and passion – energy and passion that is showcased in this film.

The 36th Chamber has charm and charisma like no other. There are a few films that I envy those who are watching for the first time, and The 36th Chamber is one such film. There is no greater cinematic feeling than seeing the underdog rise from nothing to something and take his or her just rewards. And, there is no such story greater than the one told here. It is impossible to go wrong with The 36th Chamber of Shaolin: to see the career defining moments of both a director and an actor happen simultaneously is truly a wonderful thing.

[Kurosawa Fan]

Hell yeah.

[D_Davis]

8. Mulholland Dr. - Dir. David Lynch

http://www.movieposter.com/posters/archive/main/29/A70-14802

Writing about David Lynch films is always intimidating for me. I've only ever properly reviewed one of his films, Inland Empire, and I've started, but scrapped, multiple reviews for many of his other films. I just never know where to start, where to end, and how to get there. I don't know how to properly convey the way his films make me feel. More so than just about any other director, Lynch's films conjure deep rooted emotional responses from within me. They make me feel something primal, something meaningful. After watching a great Lynch film, I actually feel as if I have witnessed something truly artistic.

Mulholland Dr. is such a film, and I think it is Lynch's best. This film perfectly captures the milieu of the dreamworld, and the atmosphere of Los Angeles, the city of dreams. I lived in L.A. for a while, and I didn't really care for it. Things didn't go well for me there. I was homeless for a bit, rang up a great deal of debt, and just kind of lost track of myself. However, when I look back at my time there, and the feelings that the city evokes, I can't help but feel elated. Los Angeles possesses a unique romantic quality, one that draws people to its streets, and one that absorbs those who are not prepared to play the game or pay its price.

Through a wonderful and artistic marriage of audio and video, David Lynch totally captures the soul of this city, and illustrates the power it has through the scenarios and situations he puts his characters through. Passionate auditions, lost identities, crumbling dreams, schmoozing dinner-parties, closed-door industry meetings, chance encounters with bizarre characters, the theatre of the absurd, and a gripping, supernatural allure, each piece effectively translates the essence of the experience for the audience. The film is episodic in nature, and yet through carefully balanced thematic qualities, the entire thing congeals into a single, powerful experience.

Lynch's films always employ great sound design and evocative music, and with his audio muse, Angelo Badalamenti, in tow, the two craft a haunting and beautiful auditory world. Badalamenti's score for Mulholland Dr. is one of his best, second only to his work on The Straight Story. Music is used in all of its capacity here. Sometimes it is bombastic and over powering, symbolizing the caustic and frightening emotions of lost souls traversing through the unknown, and at other times it softly lingers, slightly boiling away under the surface to create a sense of wonder and mystery. Lynch uses music to signify changing themes and shifting dimensions, and Badalamenti's work here perfectly reflects this.

Mulholland Dr. is a film that rewards numerous viewings, and I also think it is Lynch's most rewatchable film. It possesses everything that I like about his films, and each facet is expertly executed. It contains the absurd humor found in Twin Peaks, the otherworldly quality of Eraserhead, and the examination of humanity's dark side found in Blue Velvet. It's is haunting, mysterious, passionate, and alluring. I can't imagine ever growing tired of this film, and I look forward to entering its world whenever I can.

[D_Davis]

Hell yeah.


Every time I rewatch 36th Chamber, I am surprised at how good it really is.

[D_Davis]

Here is the film that was inadvertently omitted.

7.5. Hero (2002) - Dir. Zhang Yimou

http://www.sharpened.net/images/reviews/Hero_Jet_Li.jpg

I was in Chinatown in San Francisco the first weekend Hero was released on VCD and DVD. Four friends and I walked into the VCD shop, and there, on the wall, was a giant television showing what looked like the most beautiful thing any of us had ever seen. It was a scene of autumn beauty, with two women fighting while leaves fell to the ground and swirled around them. All five of us stood in silent awe, before finally walking up to the counter and purchasing the film. I'll never forget this day - it was just one of those amazing experiences. Seeing moving images of Hero for the first time was like having a veil lifted from my eyes. This is what visual poetry looks like.

Some things I like about Hero:

1. Ching Siu Tung's choreography.

"Tony" Ching Siu Tung played a monumental role in the development of new school Hong Kong action cinema. His work with Tsui Hark reshaped the martial arts genre. With his amazing use of wires and montage, he is able to make non-martial artists look good, and real martial artists look even better. I consider Hero to represent the pinnacle of new school action choreography.

Ching expertly captures the spiritual essence of martial combat. Most of the fights in the film don't actually happen - they only occur in the minds of the characters and in the tale being told within the film. Here, Ching is dealing with myth and hearsay, and he crafts the action to represent this. The two stand out moments are when Nameless fights Sky in the Go house, and when Nameless fights Broken Sword on top of the lake. Both of these fights take place in the characters' minds, and they are expertly shot, framed, and choreographed. The movements are fluid, and everything about them is beautiful and languid.

2. Zhang Yimou perfectly captures the essence of the jiang hu.

The jiang hu is the martial underworld. It represents the milieu of the martial artist. It is an underground world that exists parallel to our own, one inhabited by master swordsmen, thieves, knights, pugilists, and martial artists. Being a part of the jiang hu is to turn your back on everything else, even most of your humanity. You exist as a phantom, only coming in contact with other phantoms. It is a lonely existence, full of sorrow, and longing. I think Hero captures this essence better than any other film, except for one (hint, hint).

3. Tony Leung and Maggie Cheung as Broken Sword and Flying Snow.

Two of my favorite actors in two of my favorite roles. I love the tragic sub-plot with these two characters. Their passion and love for each other and for their martial duty is expertly portrayed. Their relationship is one of the most heartfelt and passionate I have ever seen. I love the forlorn look in Leung's face, and the melancholy aura of Cheung's performance. These are seasoned actors turning in amazing performances.

There are some rumors that Leung did not actually perform his vocal parts for this role, and I don't know if this is true. It wouldn't surprise me though, as this kind of thing happens often in HK cinema. These actors work so much that they sometimes do not have time to go back into the sound studios and dub their own voices. However, even if this is true, you can tell Leung's performance is amazing just based on his body language.

4. Daoming Cheng as the King of Qin

This is one of my top 5 favorite performances of all time. I have never seen Daoming in anything else, and part of me doesn't want to. I just can't believe how awesome he is in this film. Even though he practically sits for the entire film, he possess and exudes more charisma than just about every actor in any role I've encounters. His body language is subtle and powerful, and his facial expressions are full of emotion. His voice resonates with power, and everything he does commands attention.

5. Tan Dun's music.

This is one of my ten favorite scores. I love every moment of the music crafted for this film. The themes are memorable and moving, and they perfectly capture and bolster the tone of the visual experience. Hero represents one of those rare and perfect moments when sight and sound become gloriously married. I cannot imagine this film with any better music, and when I listen to the soundtrack I can only think of the moments from the film. The instrumentation and production of the music are also wonderful. Everything fits perfectly within the stereo field, and every moment works to make the film a better overall experience.

I know there is a lot of backlash against this film on line. When I first started participating in discussion forums, I was shocked to find that there are people who really hate this movie. Everyone I've ever shown it to has totally fallen in love with it, and all of my friends, including my wife, think it is amazing. I find this film so awesome, so moving, so powerful, and so well made, that I have a hard time imagining people actually disliking it. But, I know they exist, and I've come to terms with it. I think Hero is a masterpiece of modern cinema, and represents new school martial arts choreography better than any other film. I am eternally grateful that it exists.

[megladon8]

The last two entries are awesome.

Mulholland Dr. is my favorite Lynch film. Every viewing is better than the last, as I not only answer previous questions I had, but generate new ones.

It's fascinating.

[Kurosawa Fan]

Here is the film that was inadvertently omitted.


It should've stayed omitted.

[D_Davis]

It should've stayed omitted.

I expect dozens of similar responses from Match Cut users.

[Sycophant]

I haven't seen this since it came out theatrically. But I loved it when I saw it. One of my friends provided the analysis that the film is about peer pressure.

The action sequences in this film are truly stunning.

[Spinal]

Love both of the last two films.

[Raiders]

I expect dozens of similar responses from Match Cut users.

Boo. You've taken the fun out of my response, then.

[megladon8]

Over the years since it's release, one of the most common criticisms I've read of Hero is that it's shallow and has no emotional weight.

I never understood this, because I found it a deeply emotional film.

[D_Davis]

Over the years since it's release, one of the most common criticisms I've read of Hero is that it's shallow and has no emotional weight.

I never understood this, because I found it a deeply emotional film.

I've heard this too. I've heard people describe it is vapid and shallow, and I just don't get it.

I find it to be an emotionally moving film.

[D_Davis]

Love both of the last two films.

OMG! Me too!

:pritch:

[Spinal]

OMG! Me too!

:pritch:

No, I will not pritch with you.

[D_Davis]

No, I will not pritch with you.

:cry:

[balmakboor]

I've really been meaning to give Zhang Yimou's martial arts forays another chance. I initially found them a wrong turn by one of my favorite directors. I need to watch A Touch of Zen first though which I got for my birthday last month and haven't spun yet. I feel I should also watch some stuff like Once Upon a Time in China. My first impression of Hero was a rather boring movie full of pretty pictures. I think I just need to see enough films that inspired it before giving it another shot.

My experience with martial arts cinema has been up and down so far, but damn if The 36th Chamber of Shoalin isn't a masterpiece. I think I'm more taken by preparation for fighting than the actual fighting itself.

Oh D, do me a favor and fix the title of Raiders of the Lost Arc to be Ark. I keep thinking there's some great mathematical adventure story I've missed. :)

[D_Davis]

My experience with martial arts cinema has been up and down so far, but damn if The 36th Chamber of Shoalin isn't a masterpiece. I think I'm more taken by preparation for fighting than the actual fighting itself.

Oh D, do me a favor and fix the title of Raiders of the Lost Arc to be Ark. I keep thinking there's some great mathematical adventure story I've missed. :)


I would say that A Touch of Zen and The 36th Chamber are just good movies, period, regardless of genre. I think they have broad appeal just because they are both so well made.


By the way, it's Raiders of the Lost Arc Welder.

:|

[dreamdead]

36th Chamber was awesome. So happy I finally had a chance to watch it, since I was afraid that it would never come off of long wait from Netflix. Those training sequences are magical.

The MC support of MD is a wonderful thing.

Hero... I need to view it again since I haven't viewed it all the way through since '03, but that cast is fanfuckingtastic.

[D_Davis]

7. Pulp Fiction (1994) - Dir. Quentin Tarantino

http://artfiles.art.com/images/-/Pulp-Fiction-Poster-C12345529.jpeg

Many of the films in my top 10 are here because they made me look at cinema differently, in addition to simply being great films that I admire. They represent landmark steps in my own cinematic journey. Moments and films that allowed me to see more fully the artistic merits of the art form. Pulp Fiction is such a film. This may be the first film that made me really pay attention to directing and writing. I will not claim that it is the best directed or written film I've seen, not even close, however, Tarantino's film made me pay closer attention to these kinds of details. It changed the way I watched movies.

When I think of Pulp Fiction, I often focus on the dialog. It is after all one of the most quotable films of modern times, and it has been copied and parodied far too often. It is easy to think of Tarantino as just a writer of witty dialog filled with cursing and hip quips. And this is partially true - he does write in such a way. However, he does so to strengthen the archetypes of his characters and to more fully flesh out his universe. I know that, to some, his writing seems superfluous and trite, but I get a charge out of the rhythm and cadence of his dialog. When I hear Jules and Vincent talking during the opening moments of Pulp Fiction, I feel as though I am witnessing something pretty dang incredible.

I do feel, though, that some people focus to intensely on his writing, and forget the fact that he is also a good director with a fantastic eye for shot selection and stage direction. Sometimes even I forget, and I wrongly imagine Pulp Fiction as a static film full of talking heads - and it is not. Tarantino does a wonderful job of directing the shots, and he sets things up with the visual panache of a more mature filmmaker. I am always surprised at just how mature the film looks. This was only his second film, but it possesses the visual allure of a film from a much older and more experienced filmmaker. The Jack Rabbit Slims sequence is expertly shot, and through subtle use of steadycam and traditional shot selection, Tarantino builds a world that feels real and tangible.

Notice that I haven't used the word “original” once in this short write up. I think this is a word often nefariously thrust upon the director, and so his detractors often point out the various other films he has riffed on, paid homage to, or flat out stolen from. I don't think this is a problem. Tarantino is from one of the first generations who grew up with the ability to watch films at any time, thanks to cable television and the VCR. He also grew up during the genesis of hip hop and deejay culture. Like a deejay who studied music and the nuance of mixology, Tarantino studied film and the mythological power of certain symbols and archetypes. To me, he is like a multimedia deejay who mixes, cuts, scratches, samples, and loops all of the things he has studied into something that is uniquely his. Pulp Fiction is built from a variety of sources, but each one has been filtered through the director's head and used to tell a signature story.

Pulp Fiction made me aware of new things to look for while watching films. It made me appreciate the art of filmmaking more. It is also just a damn good, well made, and entertaining film. It's funny as hell (The Bonnie Situation), populated with interesting characters (Marcellus Wallace, Vincent, and Jules), features some absurd and memorable moments (The Gimp, and the hypodermic needle), and is simply a blast to listen to and see. I think this film has it all. It is an example of the artistic merits of the medium while it is also highly entertaining.

[Velocipedist]

http://pic.aebn.net/Stream/Movie/Boxcovers/a83466_160w.jpg

[D_Davis]

http://pic.aebn.net/Stream/Movie/Boxcovers/a83466_160w.jpg

It was a tough choice, but I had to go with the original.

[Melville]

It was a tough choice, but I had to go with the original.
:lol:

Pulp Fiction remains the only Tarantino film that I like, partly because Tarantino's signature dialogue seems more zippy and less drawn out than in his later films. I definitely agree that the shot composition, editing, and music are what make the film work, rather than just the dialogue that people focus on.

Also, The Big Lebowski is awesome.