It’s not auteur cinema but a remarkable combination of elements: Harper Lee’s genius source material of course, Gregory Peck’s Oscar-winning lead performance (sadly at the cost of the slightly more deserving Peter O’Toole in Lawrence
Pixar’s first film- a smashing critical and box office success--- set the groundwork for this as the future vs. the hand-drawn work that dates back decades It was the first feature-length film to be entirely
Pakula. Pakula was on absolute fire from 1971 to 1976 with this unofficial paranoia trilogy and then we’re largely done—unlike Coppola, Scorsese, Spielberg and others American filmmakers that emerged during that incredibly fertile period in
A strong debut from Joe Talbot – It’s not Kogonads’s Columbus or Steve McQueen’s Hunger- this one runs out of steam (those first 5 minutes here are so impressive) but still- excited to see what
Part B-movie horror/thriller nightmare, part meditation on masculinity—part end of the 1960’s and an end of innocence. The dueling banjos and squealing like a pig scenes- well-crafted and justifiably iconic cinematic passages Vilmos Zsigmond as
It works almost alone without dialogue just focusing on the spectacular set pieces, the editing (Oscar win), John Williams score, and the set design (Oscar win)—silent cinema Irresistibly entertaining Love the opening graphic match with
Ayoade’s debut is splendid—so much cinematic energy packed into 97 minutesThe two lead characters- Oliver (Craig Roberts) and Jordana (Yasmin Paige) are represented by colors—red and blue respectively and it’s fascinating to watch this laid
A well-earned poignant tale—neorealism blended with a road-trip journey movie through 1990’s BrazilRich landscapes—sand and floral colors – large murals and small items like a lime green fan blade Starts with a sad montage of
The 13 hour work from Refn has it’s throwaway stretches and astonishingly beautiful stretches—it’s too striking to ignore, and too flawed to be anything but a simple recommendIt’s Refn’s 8th archiveable film—the first 4 are
Keaton. Keaton is the silent set-piece master of comedy (at least until Tati made Playtime). He’s ahead of Chaplin despite Chaplin having the better filmography as it grades out). The use of the locomotive (The
Haneke. Haneke’s strength for the purposes of this list are the 3 top 500 films (very few of those left at spot #72 here) with remarkable stylistic and narrative consistency in his oeuvre. Dominant during
Lumet. It’s an incredible filmography (17 archiveable films, 5 in their respective decade’s top 100, spanning 50 years) and there’s enough consistency in his work to consider him an auteur for sure. Still, he’s a
