MovieChat Forums > 8½ (1963) Discussion > what are your top ten favourite films?

what are your top ten favourite films?


just interested, what would you say are your top ten favourite films of all time?

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1. X-Men
2. The Fast and the Furious
3. The Matrix Reloaded
4. The Matrix Revolutions
5. Road Trip
6. Saw
7. The Matrix
8. Mallrats
9. Saw II
10. Waiting...

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my favourite movies:

Apocalypse Now
2001 A Space Odissey
Bladerunner
Pi
eXistenZ
Braindead
Alien
Interview With The Vampire
Crna macka, beli macor (Black Cat White Cat)
Suspiria

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The Lord Of The Rings
E.T.
Monty Python And The Holy Grail
Duck Soup
It's A Wonderful Life
Rear Window
The Gold Rush
Signs
Spider-Man 2
North By Northwest

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[deleted]

1. Metropolis (1927; Germany)
2. The Matrix (1999)
3. Citizen Kane (1941)
4. The Godfather I & II (1972 & 1974)
5. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964)
6. Apocalypse Now (1979)
7. Suna No Onna "Woman in the Dunes" (1964; Japan)
8. Ladri di biciclette "The Bicycle Thieves" (1948; Italy)
9. Taxi Driver (1976)
10. Buono, il brutto, il cattivo, Il "The Good, the Bad and the Ugly" (1966; Italy)

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Pennies from Heaven
Don't Look Now
The Marriage of Maria Braun
The Lonliness of the Long Distance Runner
Rebel Without A Cause
A Woman Under the Influence
Dog Day Afternoon
Cabaret
The Bicycle Theif
Petulia

that was difficult. i'll have to resist the urge to come back and edit this later. and i didn't include 8 1/2 because i figure that's a given on this board.

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01. Rosemary's Baby (1968)
02. Breaking the Waves (1996)
03. Faces (1968)
04. The Trial (Le Procès, 1962)
05. Un condamné à mort s'est échappé ou Le vent souffle où il veut (A Man Escaped, 1956)
06. A Clockwork Orange (1971)
07. The Return (Vozvrashcheniye, 2003)
08. The Tin Drum (Die Blechtrommel, 1979)
09. Persona (1966)
10. Daybreak (Le jour se lève, 1939)

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10)The Passion of Joan of Arc (1928-Carl Theodor Dreyer)
9)Tokyo Story (1953-Yasujiro Ozu)
8)Singin In The Rain (1952-Gene Kelly & Stanly Donen)
7)The Third Man (1949-Carol Reed)
6)Rear Window (1954-Alfred Hitchcock)
5)8 1/2 (1963-Federico Fellini)
4)La Regle Du Jeu (The Rules of The Game-Jean Renoir-1939)
3)Zerkalo(Mirror-Andrei Tarkovksy-1974)
2)The Godfather and The Godfather Part II(1972 & 1974-Francis Ford Coppola)
1)Taxi Driver(1976-Martin Scorsese)

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Apfigur , your list is so great and there is a movie in there that i want to see so much but i cant find it ; Daybreak(1939-Marcel Carne)

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I saw it once, on a VHS copy at school with Swedish subtitles.
I think I read somewhere that it is possible that Criterion will release Daybreak someday. Let's hope!

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1. Apocalypse Now (Coppola)
2. Mulholland Dr. (Lynch)
3. 2001: ASO (Kubrick)
4. Persona (Bergman)
5. 8 1/2 (Fellini)
6. Cries and Whispers (Bergman)
7. Stalker (Tarkovsky)
8. Dogville (von Trier)
9. Mirror (Tarkovsky)
10. The Trial (Welles)

11. Winter Light (Bergman)
12. Goodfellas (Scorsese)
13. Vertigo (Hitchcock)
14. Seventh Seal (Bergman)
15. The Shining (Kubrick)
16. Pulp Fiction (Tarantino)
17. Lord of the Rings trilogy (Jackson)
18. Saving Private Ryan (Spielberg)
19. The Godfather trilogy (Coppola)
20. Eyes Wide Shut (Kubrick)

This was hard. All the above get 10/10 from me. I'm going to keep adding to this list and build up my favorite 100 films list (I'm at work and I've got time to burn, and yes, I'm a film geek).

21. The Good, the Bad and the Ugly (Leone)
22. Alien (Scott)
23. Fanny and Alexander (Bergman).
24. Psycho (Hitchcock)
25. Andrei Rublyov (Tarkovsky)
26. Rear Window (Hitchcock)
27. Blow-up (Antonioni)
28. Dr. Strangelove (Kubrick)
29. Sunset Boulevard (Wilder)
30. Solaris (Tarkovsky)
31. L'Eclisse (Antonioni)
32. Casino (Scorsese)
33. Europa (von Trier)
34. Lost Highway (Lynch)
35. Fight Club (Fincher)
36. A Clockwork Orange (Kubrick)
37. Aguirre, The Wrath of God (Herzog)
38. Citizen Kane (Welles)
39. Breaking the Waves (von Trier)
40. LA Confidential (Hanson)
41. Casablanca (Curtiz)
42. Seven (Fincher)
43. The Aviator (Scorsese)
44. The Straight Story (Lynch)
45. Gladiator (Scott)
46. Scarface (De Palma)
47. Breathless (Godard)
48. Sympathy for Mr. Vengeance (Park)
49. Braveheart (Gibson)
50. Full Metal Jacket (Kubrick)
51. Oldboy (Park)
52. Cidade de Deus (Meirelles)
53. Knife in the Water (Polanski)
54. The Departed (Scorsese)
55. 2046 (Wong)
56. Modern Times (Chaplin)
57. Once upon a time in the West (Leone)
58. Through a Glass Darkly (Bergman)
59. Chinatown (Polanski)
60. Taxi Driver (Scorsese)
61. The Silence (Bergman)
62. The Return (Zvyagintsev)
63. Twin Peaks: FWWM (Lynch)
64. Unforgiven (Eastwood)
65. Hour of the Wolf (Bergman)
66. RAN (Kurosawa)
67. Reservoir Dogs (Tarantino)
68. The Proposition (Hillcoat)
69. The Piano (Campion)
70. Platoon (Stone)
71. The Pianist (Polanski)
72. Crouching Tiger, Hidden Dragon (Lee)
73. Wild Strawberries (Bergman)
74. Raging Bull (Scorsese)
75. Jackie Brown (Tarantino)
76. Trainspotting (Boyle)
77. Sleepy Hollow (Burton)
78. Saraband (Bergman)
79. Blue Velvet (Lynch)
80. Carlito's Way (De Palma)
81. Dracula (Coppola)
82. Heat (Mann)
83. Irréversible (Noé)
84. Manderlay (von Trier)
85. Million Dollar Baby (Eastwood)
86. Once Upon a Time in America (Leone)
87. The Mission (Joffé)
88. Ivan's Childhood (Tarkovsky)
89. One Flew Over the Cuckoo's Nest (Forman)
90. 3 Women (Altman)
91. Barry Lyndon (Kubrick)
92. The Matrix trilogy (Wachowskis)
93. Sin City (Rodriguez)
94. Nostalghia (Tarkovsky)
95. Munich (Spielberg)
96. Blood Simple (Coens)
97. Schindler's List (Spielberg)
98. Caché (Haneke)
99. Amarcord (Fellini)
100. Blade Runner (Scott)

Ok, I guess I'm pretty eclectic, I enjoy both entertainment movies and serious cinema. And clearly Ingmar Bergman is my favorite filmmaker ever.


Last film watched:
Andrei Rublyov by Andrei Tarkovsky - 9/10

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1. Star Wars
2. 2001 A Sapce Odssey
3. Schindler's List
4. Jurassic Park
5. Taxi Driver
6. Raging Bull
7. Anchorman: the Legend of Ron Burgundy
8. Life Is Beautiful
9. A Clockwork Orange
10. Platoon

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[deleted]

Can't help but indulge in unnecessary narcissism. I'll keep it to ten:

1. Stranger Than Paradise (Jarmusch)
2. Eraserhead (Lynch)
3. Raging Bull (Scorsese)
4. 8 1/2 (Fellini)
5. Pather Panchali (Ray)
6. Taxi Driver (Scorsese)
7. La Dolce Vita (Fellini)
8. Spirit of the Beehive (Erice)
9. Week End (Godard)
10. Satantango (Tarr)

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[deleted]

Nice to see someone giving a shout out to Fellini's most underrated masterpiece, Juliet of the Spirits!

BEST FILMS OF 2007:
1)No Country For Old Men
2)Zodiac
3)American Gangster
4)Eastern Promises

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[deleted]

In no order :

La Maman et la putain (Eustache)
Vertigo (Hitchcock)
2001 (Kubrick)
Nostalghia (Tarkovsky)
8 1/2 (Fellini)
Ran (Kurosawa)
The Godfather : Part II (Coppola)
Taxi Driver (Scorsese)
Cries and whispers (Bergman)
Time of the Gypsies (Kusturica)

"I don't have time for a drink with you. Have you got a phone number ?"
The Mother and the Whore

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[deleted]

Thank you very much, worov. You have very good taste too. I have not seen The Loved one. But I do love The Rules of the Game. It's the kind of films I could watch over and over. I could have put it in my list, but it's a Top 10, we can't put everything in it, eh ? I also love Almodóvar, Vigo, Rohmer. I was surprised to see West Side Story on your list. It is indeed a very good film, with great dancers, a wonderful music (which I listen very often), good story (inspired by Shakespeare), with good writing ("I got 20-20 hearing", "His mother told him never to answer back to a cop"). But I wouldn't say that the cinematic style is great.

But you have eclectic tastes too : you are able to enjoy Kubrick, Fellini, Disney and West Side Story. I have not seen a Disney film in years. I think the last one I saw was Snow White and the Seven Dwarfs and that was at least ten years ago.

"I don't have time for a drink with you. Have you got a phone number ?"
The Mother and the Whore

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[deleted]

1. 8 ½ (Federico Fellini, 1963)
2. Little Big Man (Arthur Penn, 1970)
3. La Montana Sagrada (Alejandro Jodorowsky, 1973)
4. Andrei Rublev (Andrei Tarkovsky, 1967)
5. Shichinin No Samurai (Akira Kurosawa, 1954)
6. Un Chien Andalou (Luis Bunuel & Salvador Dali, 1928)
7. Blow-Up (Michelangelo Antonioni, 1966)
8. Le Regle De Jeu (Jean Renoir, 1939)
9. Alexis Zorbas (Michael Cacoyannis, 1964)
10. M (Fritz Lang, 1931)

teach me to dance....will you?

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[deleted]

1. 2001: A Space Odyssey
2. Eraserhead
3. The Holy Mountain (Jodorowsky)
4. 8 1/2
5. Taxi Driver
6. Memento
7. Barry Lyndon
8. Citizen Kane
9. Amelie
10. La Dolce Vita

Baring in mind im only 17 and still learning, so its pretty cliched :/

"Life is funny, but not ha ha funny"

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[deleted]

Ah come on pretty tough on Spielberg and Lucas aren't we. Lets not forget how epic Star Wars:ANH and Schindlers list was.

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"If ain't on the page, it ain't on the stage..."

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[deleted]

Yeah I can see that. 81/2 is a lot more of a deeper film that only gets better with multiple viewings as well as other Fellini, and most of De sica and Bergman flicks. Its just I love amazing dialogue and "most" of the foreign films normally excel in terms of directing, meaning and sometimes story but normally get flanked when it comes to deeper hard hitting dialogue. (A lot of times which this can be a cause of sloppy translation.)

"Well, Jack Warner may have been celebrated for calling writers "Schmucks with Underwoods," but 20 years earlier, Irving Thalberg … said, "The most important person in the motion picture process is the writer, and we must do everything in our power to prevent them from ever realizing it."
-Steven de Souza

As for Star Wars originality well it was a mix of so many things that I believe the combination itself caused for an original formula even defining a new definition for villain (dark lord- http://en.wikipedia.org/wiki/Villian). Sure it was a popcorn flick but it was one of the greatest popcorn flicks of all time.

"Star wars put the butter back into the popcorn"
-Steven Spielberg

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"If it's not on the page, it's not on the stage..."

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[deleted]

"normally get flanked when it comes to deeper hard hitting dialogue."
"I'm interested in some examples of this sort of dialogue."

Deeper possibly not much deeper but hard hitting definitely. Its the Raymond Chandler style of "bullit dialogue" that moves back and forth rather quickly with fierce sarcasm. It's the type of dialogue that just makes you have this long smirk on your face on behalf of its sheer wit. This form of dialogue can normally be found consistently in movies of the film noir genre however films like Casablanca and other films based on plays carry a taste of it as well. For example take this from Double Indemnity the script written by Billy Wilder and Raymond Chandler adapted from the novel by James M. Cain.
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Phyllis: Mr. Neff, why don't you drop by tomorrow evening about eight-thirty. He'll be in then.
Walter Neff: Who?
Phyllis: My husband. You were anxious to talk to him weren't you?
Walter Neff: Yeah, I was, but I'm sort of getting over the idea, if you know what I mean.
Phyllis: There's a speed limit in this state, Mr. Neff. Forty-five miles an hour.
Walter Neff: How fast was I going, officer?
Phyllis: I'd say around ninety.
Walter Neff: Suppose you get down off your motorcycle and give me a ticket.
Phyllis: Suppose I let you off with a warning this time.
Walter Neff: Suppose it doesn't take.
Phyllis: Suppose I have to whack you over the knuckles.
Walter Neff: Suppose I bust out crying and put my head on your shoulder.
Phyllis: Suppose you try putting it on my husband's shoulder.
Walter Neff: That tears it.
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As for Star Wars I find it to be one of the most influential films of all time especially in terms of space opera fantasy. I do however blame it for how hideous film has become today but then again I shouldn't blame Star Wars for that but rather the industry. I love Fellini though he is one top notch director, I like him a lot better then Bergman really and De Sica as well.
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An old Hollywood saying goes...
"If it's not on the page, it's not on the stage."

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[deleted]

Well actually I can find similarities with Kubrick and Fellini mostly with the entire unified focus both directors have in creating a cold atmosphere. Specifically comparing the style of "Nights of Cabria" a film that seems like it will have the traditional happily ever after when however she loses her love, her purse and slips into a march which is suppose to make everything all right. No it doesn't. What it does is give you that dark question of what events is she going to have to endure next like so what if he can walk now the worlds getting bombed kind of feeling of Kubrick reshaping it into his own. Anyway I love Kubrick even though none of his films made my top 10 for my American list I definitely have him showing his head in the top 20.

Personally my favorite Kubrick film was Dr. Strangelove. I loved Space Odyssey's ability to function as a warping experience defining the life consuming factor of space travel however I felt his need to place around 30 minutes or so of throwing the film into water was a little difficult to digest without the fast forward button. None the less it was brilliant in its own matter just I rather prefer artistic shots like the first 15 minutes in There Will Be Blood then the 30 minute long hue tinted landscape shots of 2001s space travel. Despite that Hal was unforgettable.

As for the rest of Kubricks films well I have to give a great hand of applause to the perfecting of the insanity in The Shinning. However I saw it as a form of inspirational stretch from Psycho and Diabolique in a way when it came to music style and even some scenes just a rather more modernized way of doing it. Paths of Glory brilliant army film probably in my top 5 for army films. The Killing wasn't to bad decent use of camara. Clockwork Orange was one great adaptation. Full Metal Jacket defined what the meaning of a great General was. Overall yeah I loved Kubrick, he spent a lot of time between films and he really knew how to perfect them.

My favorite directors are Billy Wilder, Alfred Hitchcock and Fellini. I just find there work either jaw-dropping or so brilliant and short that you can watch them another time even if you just finished watching it again 5 minutes ago.

"A good opening and a good ending make for a good film provide they come close together." ~ Federico Fellini

"A movie should be as long as one can hold their bladder" ~ Alfred Hitchcock

Both guys mean the same thing, its just ones more blunt than the other. Sometimes the necessity to define a image to become more complicated can really be summed up in just a few words or word for example bladder. lol
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An old Hollywood saying goes...
"If it's not on the page, it's not on the stage."

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[deleted]

"And the Stargate sequence is by no means as "free form" as some believe. It's a very coherent narrative on its own. One simply needs to wrap their mind around it."

Not exactly "free form" no but it was very close to the term. The use of color and color order on planet tints as relevance to color code numbers and its resemblance towards moods and music was genius. However as well crafted as I believe the scene was it was also over exaggerated. Its the type of over exaggerated approaches you feel in art sometimes which does not limit the piece by any means but allows it to fully expand itself. However when you have such limiting scenery it doesn't really expand itself but rather show you the same masterpiece over and over again essentially making you bored with the piece even before the viewing is over. I just feel had he made that scene 10-15 minutes shorter it could have had the same effect yet also be something that would be far easier to revisit as a true work of art at a latter date. Instead Stanley's necessity to setting himself far... far apart from the rest when he could have just settled with far which I felt would have worked a lot better and allowed me to place a 10/10 on this piece rather then a high 9/10.

(The next time I view it I will see if it had that same lasting effect it had on me for so long. I think I will probably hit it for a 10/10 just because I do remember the ways it impacted me on a artistic level.)
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An old Hollywood saying goes...
"If it's not on the page, it's not on the stage."

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[deleted]

"He argued that Kubrick's challenge was to come up with a cinematic equivalent of the inconceivable psychological shock and dislocation that would accompany an encounter with a highly advanced alien species. He did it remarkably well, I think."

Either that or just the entire travesty of the life consuming aspects of time travel(in words, wasting more time of your life then originally intended). I am not sure if Kubrick's focus was even to create a psychological shock of a new species experience rather then to create the psychological horror of time travel itself. That's just what I believe.

Anyway I saw it as fluid scene movement really it's just like I said before you only need to look at a painting so long or watch a exercise routine enough to figure out what it does and what it all means. A few minutes after that sure just to keep the image alive but 10-15 or even 5 minutes shaved off could have done wonders in itself. I just feel had he done something like that he could have had something comparable in terms of depth to 81/2.

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An old Hollywood saying goes...
"If it's not on the page, it's not on the stage."

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[deleted]

Time travel might be a bit off but I never saw it as a shock equivalent to contact with an alien species but rather just the psychological effect of space travel. Contact with the alien technology helped the out come acting as the reason behind his escape but I believe that wasn't the major factor troubling him psychologically. Once he had escaped contact with the monolith he didn't realize how life consuming space travel was until he was well underway.(Not Time travel but space travel which I ment to say). Something of a trapped in a canister form of feeling enough to create a claustrophobic effect of horror that I got when I was watching Space Odyssey which I felt was a fairly good experience but not perfect.

It's the reason why everyone has different points of views when it comes to film. Some people might think Casablanca needed fixes when I believed it was perfect when others would believe 2001 was perfect when I felt it could have used fixes. It's really the problem you get when you talk about art one likes one piece another likes something else. Something like 2001 would be difficult for me to watch 100 times since I felt it could have used a bit of a touch up when something like Casablanca I could easily watch 100 times over just due to its sheer ability to create entertainment.

I however can understand your choice entirely on being protective of Space Odyssey if I saw it 100 times I would probably love it to despite the fact I saw flaws in it from the start. I also noticed you placed Fantasia, West Side Story and Juliet of the Spirits as some of your top picks all really amazing films. I wouldn't argue with Fantasia or Juliet of the spirits. You just can't beat Mickey mouse to "The Sorcerer's Apprentice" by Paul Dukas, you could just feel the presence of Walt's dream being visualized on screen. Asides from that however as much as I loved West Side Story didn't you like Singin in the rain better? Aside from the moody experience West Side Story opened up I just feel that Singin' in the rain was a better musical I was just wondering what you thought about that.
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An old Hollywood saying goes...
"If it's not on the page, it's not on the stage."

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[deleted]

I see your view entirely and I just happened to rewatch 2001 and I had to give it a 10/10 not because I believed the contact with the alien species at the end but because the one scene I felt was far to long was actually shorter then I last pictured it. I remember seeing it as a 30 minute scene when it was actually only a 10 minute scene. That being said cutting out 10-15 minutes would really murder it thus I feel that much time is just the perfect amount to give that effect of seclusion and claustrophobia for the viewer.

As for the hotel room well heres my opinion. I didn't see it as a hotel room at but rather a different set for the space shuttle. Allow me to elaborate.

If you were ever confined in a small space over a long period of time you would realize that the space you have is actually a lot more then what it originally started as. It shows a growing adaptability to the point that you begin to even live with that space as if it were normal.

The occasional shock/head turn movements resembled the insanity of claustrophobia after being left in a cage for so long unexposed to humanity.

The color of the spacecraft in comparison to the walls of the hotel (when shown side by side with the scene) explained that they are both the same thing.

In end the spacecraft becomes the hotel room. It is where he would live, sleep, eat and die.

Then in the end to cut to a scene back in space which may seem like a fluent switch since the entire film was based around space even though the switch of a completely white hotel room to a completely black universe may call for an abrupt switch.

My opinion is that it was a fluent switch not because the entire film was based in space and then the hotel room but because we never left space in the first place.

Anyway here it is -2001:Space Odyssey 10/10*

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An old Hollywood saying goes...
"If it's not on the page, it's not on the stage."

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[deleted]