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Alright folks it's that time, since it's been going around and my pals @LoganKenny1 and @MikeThornWrites have been doing it, I'm gonna be posting my Top 100 movies as of 1/3rd through 2019. Mute this thread if it annoys you, cuz there's gonna be a LOT in this one.
100. WENDIGO (Fessenden, 2001)
Easily the ultimate family drama masquerading as horror out there, mostly due to Fessenden's cold, creepy style and wildly experimental editing. The chilly atmosphere in this has yet to be matched by any snow-set horror film, before or since.
Easily the ultimate family drama masquerading as horror out there, mostly due to Fessenden's cold, creepy style and wildly experimental editing. The chilly atmosphere in this has yet to be matched by any snow-set horror film, before or since.
99. KOYAANISQATSI (Reggio, 1982)
Genuinely staggering, both for its impeccable mix of sound and image (Glass' score is one of the greats) and its apocalyptic vision of the cities swallowing up the earth. Only gets more powerful and upsetting as time goes on.
Genuinely staggering, both for its impeccable mix of sound and image (Glass' score is one of the greats) and its apocalyptic vision of the cities swallowing up the earth. Only gets more powerful and upsetting as time goes on.
98. CUT-THROATS NINE (Marchent, 1972)
The best of the sadly undercrowded horror western genre, Cut-Throats Nine takes the usual spaghetti western nihilism and misanthropy and covers it in buckets of blood, with one of the great mid-film tone shifts and a constant sense of dread.
The best of the sadly undercrowded horror western genre, Cut-Throats Nine takes the usual spaghetti western nihilism and misanthropy and covers it in buckets of blood, with one of the great mid-film tone shifts and a constant sense of dread.
97. TOKYO DRIFTER (Suzuki, 1966)
One of the finest mukokuseki akushon films from the genre's master, taking a generic yakuza revenge plot and turning into a hyper-colorful urban western operating entirely on coolness over logic. Sports some of the greatest abstract set design.
One of the finest mukokuseki akushon films from the genre's master, taking a generic yakuza revenge plot and turning into a hyper-colorful urban western operating entirely on coolness over logic. Sports some of the greatest abstract set design.
96. THE ABOMINABLE DR. PHIBES (Fuest, 1971)
Dr. Phibes might not be Price's best role, but this is certainly the best Price vehicle, giving him the chance to play a bizarre, gimmick-enthused killer offing a host of bufoonish doctors. The art-deco nightmare look is to die for.
Dr. Phibes might not be Price's best role, but this is certainly the best Price vehicle, giving him the chance to play a bizarre, gimmick-enthused killer offing a host of bufoonish doctors. The art-deco nightmare look is to die for.
95. ROLLING THUNDER (Flynn, 1977)
The quintessential 70s revenge movie, with a sun-bleached, nasty vibe and one of the nastiest views of post-Vietnam America I've ever seen. Major Charles Rane is my favorite Schrader creation, and William Devane is aces. "I'll just get my gear."
The quintessential 70s revenge movie, with a sun-bleached, nasty vibe and one of the nastiest views of post-Vietnam America I've ever seen. Major Charles Rane is my favorite Schrader creation, and William Devane is aces. "I'll just get my gear."
94. RESIDENT EVIL: RETRIBUTION (Anderson, 2012)
"None of this is real."
"It is to her."
"None of this is real."
"It is to her."
93. NOROI: THE CURSE (Shiraishi, 2005)
The best of the aughts found footage boom, Noroi is one of the few ghost stories to be actually scary, building dread for nearly two hours before exploding into a thoroughly chilling finale. The 16mm 'archival' footage is a genre peak.
The best of the aughts found footage boom, Noroi is one of the few ghost stories to be actually scary, building dread for nearly two hours before exploding into a thoroughly chilling finale. The 16mm 'archival' footage is a genre peak.
92. THE CABINET OF DR. CALIGARI (Wiene, 1920)
There's a reason why we still talk about it 99 years later.
There's a reason why we still talk about it 99 years later.
91. MOBILE SUIT GUNDAM: CHAR'S COUNTERATTACK (Tomino, 1988)
I'm usually allergic to space opera, but Gundam is an exception. This film, while not as good as some of the best shows, is still a breathtaking work, with crisp animation and an ending that always gets me misty-eyed.
I'm usually allergic to space opera, but Gundam is an exception. This film, while not as good as some of the best shows, is still a breathtaking work, with crisp animation and an ending that always gets me misty-eyed.
90. CRANK: HIGH VOLTAGE (Neveldine/Taylor, 2009)
Genuinely a formalist masterwork, there's no movie that looks or feels quite like this hyperreal information overload beatdown of the senses. The first time I saw it, I hated it. Now, I love it for all the same reasons.
Genuinely a formalist masterwork, there's no movie that looks or feels quite like this hyperreal information overload beatdown of the senses. The first time I saw it, I hated it. Now, I love it for all the same reasons.
89. THE HELLBENDERS (Corbucci, 1967)
Corbucci's most overtly gothic western, centered around the family dynamics of a band of post-Civil War confederate loyalists and unfolding in stormy graveyards and old saloons. Needs the Arrow treatment ASAP.
Corbucci's most overtly gothic western, centered around the family dynamics of a band of post-Civil War confederate loyalists and unfolding in stormy graveyards and old saloons. Needs the Arrow treatment ASAP.
88. ANGUISH (Luna, 1987)
Unquestionably the best movie about watching movies ever made. Not sure how it would hold up at home, but seeing it in a theater at 2 AM was one of the scariest, most memorable viewing experiences I've ever had.
Unquestionably the best movie about watching movies ever made. Not sure how it would hold up at home, but seeing it in a theater at 2 AM was one of the scariest, most memorable viewing experiences I've ever had.
87. GUINEA PIG: MERMAID IN A MANHOLE (Hino, 1988)
Genuinely creepy and sad in a way other Guinea Pigs aren't, and Hideshi Hino's best work on the parasitic relationship between artist and muse. It's a shame even horror heads refuse to give this a look - it's a genuine classic.
Genuinely creepy and sad in a way other Guinea Pigs aren't, and Hideshi Hino's best work on the parasitic relationship between artist and muse. It's a shame even horror heads refuse to give this a look - it's a genuine classic.
86. STREETS OF FIRE (Hill, 1984)
Like a Jim Steinman song brought to life, all tragic loners and doomed romance and the last look between lovers under the glow of neon and blasting pop music. Its look, unstuck in time between 1950 and 1980, is perfect.
Like a Jim Steinman song brought to life, all tragic loners and doomed romance and the last look between lovers under the glow of neon and blasting pop music. Its look, unstuck in time between 1950 and 1980, is perfect.
85. SAILOR MOON R (Ikuhara, 1995)
HE TRAVELED THE GALAXY TO FIND A FLOWER BEAUTIFUL ENOUGH FOR MAMORU
HE TRAVELED THE GALAXY TO FIND A FLOWER BEAUTIFUL ENOUGH FOR MAMORU
84. HARDWARE (Stanley, 1990)
One of the most personally inspiring movies I've ever seen, just a totally idiosyncratic cyberpunk horror jam with a real emphasis on the mood and texture of its post-apocalyptic vision. It also features the greatest killer robot ever put to film.
One of the most personally inspiring movies I've ever seen, just a totally idiosyncratic cyberpunk horror jam with a real emphasis on the mood and texture of its post-apocalyptic vision. It also features the greatest killer robot ever put to film.
83. HELLRAISER (Barker, 1987)
Can you believe Clive Barker made an incredibly gay, incredibly horny movie about S&M demons and somehow tricked mainstream horror audiences into eating it up
Can you believe Clive Barker made an incredibly gay, incredibly horny movie about S&M demons and somehow tricked mainstream horror audiences into eating it up
82. MACROSS +: MOVIE EDITION (Watanabe, 1995)
The OVA is better, but this movie stripped down to just the highlights is still pretty damn incredible, a pop poem fueled by searing neon and thumping music. The re-entry into earth is one of the great movie set pieces, full stop.
The OVA is better, but this movie stripped down to just the highlights is still pretty damn incredible, a pop poem fueled by searing neon and thumping music. The re-entry into earth is one of the great movie set pieces, full stop.
81. THE HOUSE BY THE CEMETERY (Fulci, 1981)
Fulci's scariest, saddest movie takes place in a state of constant purgatory, with the doomed family stuck in a world fueled by nightmare logic and misery. The finale gives me a panic attack - the highest complement I can give,
Fulci's scariest, saddest movie takes place in a state of constant purgatory, with the doomed family stuck in a world fueled by nightmare logic and misery. The finale gives me a panic attack - the highest complement I can give,
80. SORCERER (Friedkin, 1977)
If The House by the Cemetery gave me a panic attack, this IS a panic attack, taking an hour to build character and texture before spending the second half in just a constant state of anxiety, with some of the tensest scenes ever filmed. Horrifying.
If The House by the Cemetery gave me a panic attack, this IS a panic attack, taking an hour to build character and texture before spending the second half in just a constant state of anxiety, with some of the tensest scenes ever filmed. Horrifying.
79. PI (Aronofsky, 1998)
Another big personal touchstone, this is great low-budget filmmaking, combining cosmic horror, street cyberpunk, and kabbalah to create a one-of-a-kind sci-fi/horror freakout. Love the grainy, nightmarish look that comes with the 16mm reversal stock.
Another big personal touchstone, this is great low-budget filmmaking, combining cosmic horror, street cyberpunk, and kabbalah to create a one-of-a-kind sci-fi/horror freakout. Love the grainy, nightmarish look that comes with the 16mm reversal stock.
78. PRISON ON FIRE (Lam, 1987)
The best prison drama I've seen, anchored by Ringo Lam's careful eye and Chow Yun Fat's best-ever performance (which is saying something). Shows a lot of restraint for a Lam film, that is until a big climactic brawl, and the explosion is worth it.
The best prison drama I've seen, anchored by Ringo Lam's careful eye and Chow Yun Fat's best-ever performance (which is saying something). Shows a lot of restraint for a Lam film, that is until a big climactic brawl, and the explosion is worth it.
77. HAXAN: WITCHCRAFT THROUGH THE AGES (Christensen, 1922)
The images speak for themselves. Among the many excellent things Haxan has going for it, it's an untouched look for occult horror.
The images speak for themselves. Among the many excellent things Haxan has going for it, it's an untouched look for occult horror.
76. NOCTURAMA (Bonello, 2016)
One of the more recent watches to make this list, Bonello's portrait of uniquely 21st century terrorists has stuck with me ever since I saw it in January, and his fusion of Bresson, Clarke, Carpenter, and Romero is a hell of a directoral style.
One of the more recent watches to make this list, Bonello's portrait of uniquely 21st century terrorists has stuck with me ever since I saw it in January, and his fusion of Bresson, Clarke, Carpenter, and Romero is a hell of a directoral style.
75. BIJOU (Poole, 1972)
One of the most gorgeous things I've ever seen. Wordless, operating entirely on a narrative of emotions over logic. Wakefield Poole the GOAT
One of the most gorgeous things I've ever seen. Wordless, operating entirely on a narrative of emotions over logic. Wakefield Poole the GOAT
74. THE PROFESSIONALS (Brooks, 1966)
Burt Lancaster, Lee Marvin, Robert Ryan, and Woody Strode in a pseudo-spaghetti posse western with that elegant direction I love in Old Hollywood. Excellent Conrad Hall cinematography, and one of the sharpest adventure scripts out there.
Burt Lancaster, Lee Marvin, Robert Ryan, and Woody Strode in a pseudo-spaghetti posse western with that elegant direction I love in Old Hollywood. Excellent Conrad Hall cinematography, and one of the sharpest adventure scripts out there.
73. DE PROFUNDIS (Brose, 1997)
Heartbreaking. One of the most personally painful films I've ever seen. Impossible to really qualify or discuss, just it's out there and it's underseen and it's beautiful.
Heartbreaking. One of the most personally painful films I've ever seen. Impossible to really qualify or discuss, just it's out there and it's underseen and it's beautiful.
72. ICHI THE KILLER (Miike, 2001)
A lot of people get so caught up in how 'sick' this movie is that they lose that this is basically one of the best dark comedies ever made, with Miike's unhinged style in full force, and some of the most memorable makeup and costuming out there.
A lot of people get so caught up in how 'sick' this movie is that they lose that this is basically one of the best dark comedies ever made, with Miike's unhinged style in full force, and some of the most memorable makeup and costuming out there.
71. LOVE EXPOSURE (Sono, 2008)
The rare movie that has just about everything. Daunting, exhausting, but fulfilling. One of the great final shots.
The rare movie that has just about everything. Daunting, exhausting, but fulfilling. One of the great final shots.
70. TO LIVE AND DIE IN L.A. (Friedkin, 1985)
One of the best visions of L.A. put to film, and also one of the most damning cop movies ever made. Petersen plays a phenomenal crooked cop, and the big car chase in this is the best filmed car chase by leaps and bounds.
One of the best visions of L.A. put to film, and also one of the most damning cop movies ever made. Petersen plays a phenomenal crooked cop, and the big car chase in this is the best filmed car chase by leaps and bounds.
69. DUCK, YOU SUCKER (Leone, 1971)
Leone's most unfairly overlooked, also one of his best, putting the capstone on the Zapata western with a cynical ex-revolutionary regaining his zeal to fight injustice. Features arguably Morricone's best Leone collaboration.
Leone's most unfairly overlooked, also one of his best, putting the capstone on the Zapata western with a cynical ex-revolutionary regaining his zeal to fight injustice. Features arguably Morricone's best Leone collaboration.
68. HAPPY TOGETHER (Kar-Wai, 1997)
67. FAUST (Svankmajer, 1994)
Svankmajer's most formally audacious, combining a grab-bag of animation techniques and throwing them all together in a surreal retelling of Faust. The giant, human-sized marionettes in this are the stuff of nightmares.
Svankmajer's most formally audacious, combining a grab-bag of animation techniques and throwing them all together in a surreal retelling of Faust. The giant, human-sized marionettes in this are the stuff of nightmares.
66. DRAGGED ACROSS CONCRETE (Zahler, 2019)
The most recent film on the list, maybe the only modern exploitation film that actually FEELS like an exploitation film, nasty and ugly and genuinely hard to stomach. More of this, less self-aware winking genre homage please.
The most recent film on the list, maybe the only modern exploitation film that actually FEELS like an exploitation film, nasty and ugly and genuinely hard to stomach. More of this, less self-aware winking genre homage please.
65. LA HAINE (Kassovitz, 1995)
Every time I watch La Haine it gets better, and every time it gets harder to watch. Kassovitz's mastery of the medium is instantly apparent, but the tragedy of the film is even moreso. Feels unfortunately constantly relevant.
Every time I watch La Haine it gets better, and every time it gets harder to watch. Kassovitz's mastery of the medium is instantly apparent, but the tragedy of the film is even moreso. Feels unfortunately constantly relevant.
64. GHOST DOG: WAY OF THE SAMURAI (Jarmusch, 1999)
The best of the 90s indie hitman boom, mostly for its somewhat paradoxical empathy and love of life - nature, bugs, books, blue skies, small talk. Bonus points for one-upping its peers by wanting to be cool - just being cool.
The best of the 90s indie hitman boom, mostly for its somewhat paradoxical empathy and love of life - nature, bugs, books, blue skies, small talk. Bonus points for one-upping its peers by wanting to be cool - just being cool.
63. BEYOND THE BLACK RAINBOW (Cosmatos, 2010)
Easily the best thing to come out of the 80s revival, a colorful moodpiece that almost entirely foregoes narrative for the feel of stark labs and grainy closeups, hinting at horrors from beyond rather than indulging in them.
Easily the best thing to come out of the 80s revival, a colorful moodpiece that almost entirely foregoes narrative for the feel of stark labs and grainy closeups, hinting at horrors from beyond rather than indulging in them.
62. LET THE CORPSES TAN (Cattet/Forzani, 2017)
Similarly, this is easily the best thing to come out of the post-Tarantino exploitation revival, stripping away everything but the look and feel of eurosleaze of all stripes to create a masterpiece of sensory overload.
Similarly, this is easily the best thing to come out of the post-Tarantino exploitation revival, stripping away everything but the look and feel of eurosleaze of all stripes to create a masterpiece of sensory overload.
61. COMBAT SHOCK (Giovinazzo, 1986)
No budget, no limits. A nearly unparalleled masterpiece of feel-bad scuzz cinema, and a great example that some films would be worthless if made with polish. Uniquely upsetting, perfectly imperfect.
No budget, no limits. A nearly unparalleled masterpiece of feel-bad scuzz cinema, and a great example that some films would be worthless if made with polish. Uniquely upsetting, perfectly imperfect.
60. HUNTERS' SENSE OF TOUCH (Sato, 1995)
“Free up your desire. Go back to the real you.”
“Free up your desire. Go back to the real you.”
59. DJANGO, KILL! (Questi, 1967)
The ultimate acid western, with its somewhat generic spaghetti western 'town torn apart by greed' plot taken to a surreal, nightmarish height, with bullets made of solid gold, hazy edits, and leather-clad gay cowboys menacing the townspeople.
The ultimate acid western, with its somewhat generic spaghetti western 'town torn apart by greed' plot taken to a surreal, nightmarish height, with bullets made of solid gold, hazy edits, and leather-clad gay cowboys menacing the townspeople.
58. THE KILLER (Woo, 1989)
Woo's best is also his most heightened, operatic Hong Kong film, using Le Samourai as a base to make a totally unique action tragedy, complete with one of the great final shootouts in film history, and a theme song that never fails to make me cry.
Woo's best is also his most heightened, operatic Hong Kong film, using Le Samourai as a base to make a totally unique action tragedy, complete with one of the great final shootouts in film history, and a theme song that never fails to make me cry.
57. NIGHT OF THE HUNTER (Laughton, 1955)
What needs to be said?
What needs to be said?
56. GOOD TIME (Safdie, 2017)
A neon-drenched nightmare - as far as the interplay of image and sound goes, few modern films can touch this. Pattinson is, of course, phenomenal.
A neon-drenched nightmare - as far as the interplay of image and sound goes, few modern films can touch this. Pattinson is, of course, phenomenal.
55. DEEP RED (Argento, 1975)
One of the best works of genre as pure cinema out there, Deep Red is at its best in its many prolonged, wordless sections, allowing the dark imagery and shocking bursts of fetishized violence to do all the talking. Beautiful, genuinely terrifying.
One of the best works of genre as pure cinema out there, Deep Red is at its best in its many prolonged, wordless sections, allowing the dark imagery and shocking bursts of fetishized violence to do all the talking. Beautiful, genuinely terrifying.
54. FALCONHEAD II: THE MANEATERS (Zen, 1984)
One of the great moodpieces - all color and sex and texture, nothing else. Nothing else would be needed.
One of the great moodpieces - all color and sex and texture, nothing else. Nothing else would be needed.
53. HITCH-HIKE (Campanile, 1977)
The nastiest exploitation gets before crossing into immoral filmmaking, with career-best performances from Franco Nero and especially David Hess, who one-ups his Last House on the Left Performance into the scariest villain ever filmed. Scorching.
The nastiest exploitation gets before crossing into immoral filmmaking, with career-best performances from Franco Nero and especially David Hess, who one-ups his Last House on the Left Performance into the scariest villain ever filmed. Scorching.
52. MAN OF THE WEST (Mann, 1958)
Layered, mature, exciting - takes a very routine western plot and supercharges it with incredibly rounded characters, a great script, and Cooper at his finest. They really don't make mass entertainment like this any more.
Layered, mature, exciting - takes a very routine western plot and supercharges it with incredibly rounded characters, a great script, and Cooper at his finest. They really don't make mass entertainment like this any more.
51. RUBBER'S LOVER (Fukui, 1996)
Ero-guro cyberpunk nightmare with harsh, grainy 16mm B&W photography, bizarre analog tech, and a constricting industrial atmosphere. A movie tailor-made for me.
Ero-guro cyberpunk nightmare with harsh, grainy 16mm B&W photography, bizarre analog tech, and a constricting industrial atmosphere. A movie tailor-made for me.
50. A COLT IS MY PASSPORT (Nomura, 1967)
The best mukokuseki akushon film, taking every yakuza cliche in the book and then filming it like you've never seen filmed before. The final setpiece, a man vs horde shootout, is one of the most energetic and unique gunfights ever filmed.
The best mukokuseki akushon film, taking every yakuza cliche in the book and then filming it like you've never seen filmed before. The final setpiece, a man vs horde shootout, is one of the most energetic and unique gunfights ever filmed.
49. APOCALYPSE NOW (Coppola, 1979)
I still can't believe something this weird and alienating ever got canonized.
I still can't believe something this weird and alienating ever got canonized.
48. TWIN PEAKS: FIRE WALK WITH ME (Lynch, 1992)
"For a long time you wouldn't feel anything. And then you'd burst into fire. Forever... And the angels wouldn't help you. Because they've all gone away."
"For a long time you wouldn't feel anything. And then you'd burst into fire. Forever... And the angels wouldn't help you. Because they've all gone away."
47. STARSHIP TROOPERS (Verhoeven, 1997)
Fascinating documentary, very cool.
Fascinating documentary, very cool.
46. DEVILMAN: THE BIRTH (Iida, 1987)
When you think 80s anime, it's probably something like this - a gory, excessive, neon nightmare packed with screaming and nudity and lots and lots of blood. Put aside the meme'd dub, and you get the best work of action/horror waiting for you.
When you think 80s anime, it's probably something like this - a gory, excessive, neon nightmare packed with screaming and nudity and lots and lots of blood. Put aside the meme'd dub, and you get the best work of action/horror waiting for you.
45. PHANTOM OF THE PARADISE (De Palma, 1974)
lol Brian was wild for this one.
lol Brian was wild for this one.
44. CANNIBAL HOLOCAUST (Deodato, 1980)
A genuinely great work of scathing satire on mondo documentaries that has been unfortunately tainted by reputation and horror-bro worship. Make no mistake, this isn't just some vomitorium shocker, it's a great, difficult work of terror.
A genuinely great work of scathing satire on mondo documentaries that has been unfortunately tainted by reputation and horror-bro worship. Make no mistake, this isn't just some vomitorium shocker, it's a great, difficult work of terror.
43. ALICE (Svankmajer, 1988)
Absolutely not okay.
Absolutely not okay.
42. SPRING BREAKERS (Korine, 2012)
A perfect pop song in film form, catchy and intoxicating and absolutely wild. You can watch it forever - and each time I do, I love it a little bit more.
A perfect pop song in film form, catchy and intoxicating and absolutely wild. You can watch it forever - and each time I do, I love it a little bit more.
41. PRINCE OF DARKNESS (Carpenter, 1987)
Religious horror re-invented as an Ashton Smith-style eldrich nightmare, featuring SOV sequences that perfectly capture the terror and texture of tape. Carpenter's scariest, and for my money, his best.
Religious horror re-invented as an Ashton Smith-style eldrich nightmare, featuring SOV sequences that perfectly capture the terror and texture of tape. Carpenter's scariest, and for my money, his best.
40. THE SWIMMER (Perry, 1968)
Perfect melancholia, stripping the protagonist's defenses down one increasingly upsetting vignette after another. A favorite melodrama.
Perfect melancholia, stripping the protagonist's defenses down one increasingly upsetting vignette after another. A favorite melodrama.
39. PATLABOR: THE MOVIE (Oshii, 1989)
Mech noir. No matter the context, the Patlabor crew will always be one of my favorite ensembles. Admittedly, this is a bit higher up due to sentimental reasons than quality, but either way, it's still damn great.
Mech noir. No matter the context, the Patlabor crew will always be one of my favorite ensembles. Admittedly, this is a bit higher up due to sentimental reasons than quality, but either way, it's still damn great.
38. THE DRIVER (Hill, 1978)
Hill's terse style at its finest, with Ryan O'Neal, Isabelle Adjani, and ESPECIALLY Bruce Dern perfectly encapsulating his brand of loner. The screenplay is one of the best ever written - reading it is like great, violent poetry more than it is script.
Hill's terse style at its finest, with Ryan O'Neal, Isabelle Adjani, and ESPECIALLY Bruce Dern perfectly encapsulating his brand of loner. The screenplay is one of the best ever written - reading it is like great, violent poetry more than it is script.
37. KEOMA (Castellari, 1976)
The best of the twilight spaghettis, pushing the mythic nature of spaghetti westerns to their breaking point, with a visual style that suggests battles between godlike heroes more than dying gunslingers. It even has an equivalent of a Greek chorus!
The best of the twilight spaghettis, pushing the mythic nature of spaghetti westerns to their breaking point, with a visual style that suggests battles between godlike heroes more than dying gunslingers. It even has an equivalent of a Greek chorus!
36. JIGOKU (Nakagawa, 1960)
A tense, surreal psychodrama that becomes the most powerful, upsetting portrayal of Hell I've ever seen in any artform. Essential horror viewing.
A tense, surreal psychodrama that becomes the most powerful, upsetting portrayal of Hell I've ever seen in any artform. Essential horror viewing.
35. BEGOTTEN (Merhige, 1990)
The essential work of cosmic horror in film, stripping away all context, dialogue, or narrative to depict the birth of man from the sludge of gods. Viewing it in the fall was one of the huge turning points for how I engage with the medium.
The essential work of cosmic horror in film, stripping away all context, dialogue, or narrative to depict the birth of man from the sludge of gods. Viewing it in the fall was one of the huge turning points for how I engage with the medium.
34. PAT GARRETT & BILLY THE KID (Peckinpah, 1973)
Peckinpah's most romantic of his dark westerns, yet still distinctly of a piece with the likes of Ride the High Country and The Wild Bunch. One of the last great westerns.
Peckinpah's most romantic of his dark westerns, yet still distinctly of a piece with the likes of Ride the High Country and The Wild Bunch. One of the last great westerns.
33. A BITTERSWEET LIFE (Jee-woon, 2005)
The best of the Korean revenge thrillers, and just one of the best crime dramas out there. I don't know what kind of robot can make it to the end of this without having their heart break.
The best of the Korean revenge thrillers, and just one of the best crime dramas out there. I don't know what kind of robot can make it to the end of this without having their heart break.
32. PERFECT BLUE (Kon, 1997)
Few things are scarier.
Few things are scarier.
31. FALLEN ANGELS (Kar-Wai, 1995)
I'm not sure if I've ever seen a better romance film than this. Beautiful, strange, and dark. Doyle's cinematography is out of this world.
I'm not sure if I've ever seen a better romance film than this. Beautiful, strange, and dark. Doyle's cinematography is out of this world.
30. MIRACLE MILE (De Jarnatt, 1988)
The best, most upsetting portrait of apocalypse I've ever seen, and the fact that it can leave me feeling love humanity at the end despite it all is even greater feat. "I think it's the insects' turn."
The best, most upsetting portrait of apocalypse I've ever seen, and the fact that it can leave me feeling love humanity at the end despite it all is even greater feat. "I think it's the insects' turn."
29. QUERELLE (Fassbinder, 1982)
Big surprise, I'm a big fan of the Fassbinder adaptation of the Jean Genet novel about gay sailors and murder. Somehow a big inspiration for Cabin Boy?
Big surprise, I'm a big fan of the Fassbinder adaptation of the Jean Genet novel about gay sailors and murder. Somehow a big inspiration for Cabin Boy?
28. MIDORI (Harada, 1992)
A suitably grimy, nasty adaptation of the Maruo manga, with jerky lo-fi animation and a constant sense of unease. Feels like a cursed film in all the best/worst ways.
A suitably grimy, nasty adaptation of the Maruo manga, with jerky lo-fi animation and a constant sense of unease. Feels like a cursed film in all the best/worst ways.
27. SONATINE (Kitano, 1993)
Kitano's most wildly anti-Yakuza-Movie Yakuza Movie, mostly in the form of the world's most uncomfortable hangout imaginable. In usual Kitano fashion, the way it balances humanity and shocking violence is stunning.
Kitano's most wildly anti-Yakuza-Movie Yakuza Movie, mostly in the form of the world's most uncomfortable hangout imaginable. In usual Kitano fashion, the way it balances humanity and shocking violence is stunning.
26. CARLITO'S WAY (De Palma, 1993)
"Yeah, I had a dream Charlie. But now I'm awake, and I hate my dream.". My favorite De Palma.
"Yeah, I had a dream Charlie. But now I'm awake, and I hate my dream.". My favorite De Palma.
25. FIREWORKS (Anger, 1947)
Fun fact: if you were horny and gay and incredibly kinky in 1947 you had to make a whole movie instead of just writing anime fanfiction like a normal person.
Fun fact: if you were horny and gay and incredibly kinky in 1947 you had to make a whole movie instead of just writing anime fanfiction like a normal person.
24. GHOST IN THE SHELL 2: INNOCENCE (Oshii, 2004)
The best encapsulation of Oshii's particular sense of melancholy, pumping cyberpunk and noir cliche with his special brand of deep-seated loneliness and introspection. Genius blending of 2D and 3D animation for uncanny effect.
The best encapsulation of Oshii's particular sense of melancholy, pumping cyberpunk and noir cliche with his special brand of deep-seated loneliness and introspection. Genius blending of 2D and 3D animation for uncanny effect.
23. THE END OF EVANGELION (Anno, 1997)
Another one I mostly hold sentimental connection to, but more than that, it's just kinda that great of a film, with a wild experimental streak and the apocalyptic vision of Third Impact, which is one of the best sequences in any movie.
Another one I mostly hold sentimental connection to, but more than that, it's just kinda that great of a film, with a wild experimental streak and the apocalyptic vision of Third Impact, which is one of the best sequences in any movie.
22. DJANGO (Corbucci, 1966)
The MOST Spaghetti Western Spaghetti Western, pushing the genre's signature misanthropy, bloodshed, and mythic undertones to the extreme. Nero as the titular protagonist makes one of the great antiheroes, and the baroque visuals are just perfection.
The MOST Spaghetti Western Spaghetti Western, pushing the genre's signature misanthropy, bloodshed, and mythic undertones to the extreme. Nero as the titular protagonist makes one of the great antiheroes, and the baroque visuals are just perfection.
21. KISS ME DEADLY (Aldrich, 1955)
A lousy detective, a killer woman, guns, shadows, cars, murder, an atom bomb. Noir doesn't get any better, or stranger, than this.
A lousy detective, a killer woman, guns, shadows, cars, murder, an atom bomb. Noir doesn't get any better, or stranger, than this.
20. POINT BLANK (Boorman, 1967)
"What do you really want?"
"I really want my money."
The crime thriller shattered, abstracted, and rebuilt in Boorman's surreal, twisted vision. Suzuki would be proud.
"What do you really want?"
"I really want my money."
The crime thriller shattered, abstracted, and rebuilt in Boorman's surreal, twisted vision. Suzuki would be proud.
19. ONLY GOD FORGIVES (Refn, 2013)
Refn's glorious immolation of all the goodwill he got from Drive with this bizarre, oedipal anti-action crime nightmare is also very likely my favorite film of the decade, just singularly strange and offputting and excellent.
Refn's glorious immolation of all the goodwill he got from Drive with this bizarre, oedipal anti-action crime nightmare is also very likely my favorite film of the decade, just singularly strange and offputting and excellent.
18. BAD LIEUTENANT (Ferrara, 1992)
Ferrara is one of our great directors of actors, and Keitel's turn as The Lieutenant is one of our great lead performances. THAT scene with Keitel and the vision in the church shakes me every time.
Ferrara is one of our great directors of actors, and Keitel's turn as The Lieutenant is one of our great lead performances. THAT scene with Keitel and the vision in the church shakes me every time.
17. HEAT (Mann, 1995)
"I don't know how to do anything else."
"Neither do I."
"And I don't much want to."
"Neither do I."
"I don't know how to do anything else."
"Neither do I."
"And I don't much want to."
"Neither do I."
16. THE SWORD OF DOOM (Okamoto, 1966)
Nakadai is untouchable.
Nakadai is untouchable.
15. FOR A FEW DOLLARS MORE (Leone, 1965)
The best of the Dollars trilogy also has the least to do with Clint, instead using him as an audience surrogate for Lee Van Cleef's revenge plot. Leone's sense of theatrics is never better than the final duel here. That organ cue!
The best of the Dollars trilogy also has the least to do with Clint, instead using him as an audience surrogate for Lee Van Cleef's revenge plot. Leone's sense of theatrics is never better than the final duel here. That organ cue!
14. COLLATERAL (Mann, 2004)
Even Mann's most straightforward action movie is still mostly a weird, quasi-buddy drama with cosmic overtones and a finale where Tom Cruise, who has never been used better, plays an inhuman wraith. The coyote scene rules, actually.
Even Mann's most straightforward action movie is still mostly a weird, quasi-buddy drama with cosmic overtones and a finale where Tom Cruise, who has never been used better, plays an inhuman wraith. The coyote scene rules, actually.
13. THE GREAT SILENCE (Corbucci, 1968)
Takes the spaghetti western and turns it into a stark tragedy about the violent deaths of revolutionaries at the hands of unstoppable forces. It's Corbucci's most political, and his best. He dedicated it to Malcolm X, Che Guevara, and Jesus.
Takes the spaghetti western and turns it into a stark tragedy about the violent deaths of revolutionaries at the hands of unstoppable forces. It's Corbucci's most political, and his best. He dedicated it to Malcolm X, Che Guevara, and Jesus.
12. VIDEODROME (Cronenberg, 1983)
The best cerebral science fiction film ever made, and a movie that works both as simple goopy entertainment, and as a deeply upsetting prophecy of a world where reality and television are inseparable. The lead actor still plays the role, I guess.
The best cerebral science fiction film ever made, and a movie that works both as simple goopy entertainment, and as a deeply upsetting prophecy of a world where reality and television are inseparable. The lead actor still plays the role, I guess.
11. CRUISING (Friedkin, 1980)
Was my most-watched movie last year, might be again this year. A movie that really hurts every time I watch it, but I always find myself going back to it. In a further proof that the Razzies are a joke, Pacino got nominated for Worst Actor for this??
Was my most-watched movie last year, might be again this year. A movie that really hurts every time I watch it, but I always find myself going back to it. In a further proof that the Razzies are a joke, Pacino got nominated for Worst Actor for this??
10. AKIRA (Otomo, 1988)
Its beauty and power can't be overstated. Seeing this one on film was a bona-fide religious experience. Nothing compares.
Its beauty and power can't be overstated. Seeing this one on film was a bona-fide religious experience. Nothing compares.
9. MANHUNTER (Mann, 1986)
can you believe they still thought it was okay to make Hannibal Lector movies after this?
can you believe they still thought it was okay to make Hannibal Lector movies after this?
8. SCORPIO RISING (Anger, 1964)
Tennessee Williams called it the most exciting use of cinema he'd ever seen. It's really hard to argue with that. Blessed, blessed oblivion.
Tennessee Williams called it the most exciting use of cinema he'd ever seen. It's really hard to argue with that. Blessed, blessed oblivion.
7. HANA-BI (Kitano, 1997)
The apex of Kitano's style, perfectly balancing the coldness of his visuals with the warmth of his stories and characters, all backed by Hideo Yamamoto's best cinematography and Joe Hisaishi's best score. The best film of the 90s.
The apex of Kitano's style, perfectly balancing the coldness of his visuals with the warmth of his stories and characters, all backed by Hideo Yamamoto's best cinematography and Joe Hisaishi's best score. The best film of the 90s.
6. MIAMI VICE (Mann, 2006)
An experimental action/art piece where the perception of time and space is firmly anchored to the character's emotions, flashing forward and back on feeling rather than logic, allowing us to infer emotion through visuals rather than performance. Genius.
An experimental action/art piece where the perception of time and space is firmly anchored to the character's emotions, flashing forward and back on feeling rather than logic, allowing us to infer emotion through visuals rather than performance. Genius.
5. BRING ME THE HEAD OF ALFREDO GARCIA (Peckinpah, 1974)
A director painting his own self-loathing into a neo-western masterpiece, anchored by a brilliant Warren Oates performance roaring a perfectly manic script. "Don't you look at me with your goddamned fucking eyes."
A director painting his own self-loathing into a neo-western masterpiece, anchored by a brilliant Warren Oates performance roaring a perfectly manic script. "Don't you look at me with your goddamned fucking eyes."
4. ALL THAT JAZZ (Fosse, 1979)
Of a piece with Alfredo Garcia, in that it's a director re-assessing the worth of their own soul, but no film could ever present it like the flashy, brutal, painfully autobiographical All That Jazz. The final ten minutes are the best final ten ever.
Of a piece with Alfredo Garcia, in that it's a director re-assessing the worth of their own soul, but no film could ever present it like the flashy, brutal, painfully autobiographical All That Jazz. The final ten minutes are the best final ten ever.
3. ONCE UPON A TIME IN THE WEST (Leone, 1968)
When I think of everything film can be, I think of this. It is to me what 2001 or The Godfather is for many others, an example of film at its most epic, most of a piece with the great, grand works of music or painting. That duel!
When I think of everything film can be, I think of this. It is to me what 2001 or The Godfather is for many others, an example of film at its most epic, most of a piece with the great, grand works of music or painting. That duel!
2. TETSUO: THE IRON MAN (Tsukamoto, 1989)
If there's ever been a better argument for going out and making your own film to your own weird vision in your own way, I've never heard it.
If there's ever been a better argument for going out and making your own film to your own weird vision in your own way, I've never heard it.
1. THE WILD BUNCH (Peckinpah, 1969)
"If they move, kill 'em.". It doesn't get any better than this.
"If they move, kill 'em.". It doesn't get any better than this.
and that's the list! Honorable mentions include The Man Who Shot Liberty Valance (Ford), Thief (Mann), The Living End (Araki), Man on Fire (Scott), The Texas Chain Saw Massacre (Hooper), Speed Racer (Wachowskis), Difficulty Breathing (Pearce), and Strike (Eisenstein)
