THE HOLY MOUNTAIN (1973) fills the bounds of the narrative cinema form to bursting with weird allegory and poetic imagery. A profoundly magical adventure that gives more every viewing. George Harrison passed on this film because he would’ve had to have his asshole washed onscreen
ALIENS (1986) is for my money the best-constructed Hollywood fantasy movie ever. Everything about it is memorable, resonant, and an exciting expression of the theme “what if you met an alien”, which is one of the best themes for movies to have.
SUSPIRIA (1977) takes liberally from ROSEMARY’S BABY in the same way that banana flavouring takes liberally from actual bananas: replicating the basic form to end up with something far more enjoyable than the source material, but still recognisably bananas.
THE WICKER MAN (1973) oozes pagan mystery from every frame, often expertly cloaked in a campy Hammer-style silliness that lets the film sink deep into the realm of preoccupations horror cinema was made to explore.
GROUNDHOG DAY (1993) is one of the cleverest and most genuine comedies I can think of, the perfect vehicle for the Bill Murray stock-in-trade character to truly get existential about things.
ALL WATCHED OVER BY MACHINES OF LOVING GRACE (2011) is a kinetic, layered work of edit-suite art that weaves amazing stories about ghosts in the machines that run the world.
THE BOXER’S OMEN (1983) is one of the weirdest, most extreme films I have seen in the martial arts or horror genres. Reputedly a real sorcerer advised on getting the utterly batshit folk-magic sequences right.
LIQUID SKY (1982) doesn’t fuck around: it’s about art, identity, and aliens, and it goes wild places with all of those concepts
THE GOONIES (1985) is undoubtedly one of the more films-I-like-because-I-was-the-age-I-was movies I like, which is an unnecessary hyper-hyphenated way of saying “favourite movies”