ILX All-Time Film and Morbsies Poll: RESULTS Thread for ILX's Favorite Movies, Films, Cinema, Flicks & Moving Pictures

I hedged on the number of Hitchcocks I voted for, but this was a no-question proposition. His best.

(My other one didn't remotely place.)

This film absolutely exemplifies my early 20s with my oldest friend, a budding cinephile, who'd invite me to his flat so we could, y'know, thrill in the possibilities of film. This one was particularly thrilling and remained so when I watched it again later. I don't doubt it'd repeat the dose now

can relate, those are the kinds of experiences that informed my views on films

I hedged on the number of Hitchcocks I voted for, but this was a no-question proposition. His best.

― Milm & Foovies (Eric H.

otm. imago too

This and Notorious are forever neck and neck.

Lol I guess Eric's other one wasn't Frenzy?

I never knew he did a movie of Juno and the Paycock. I'm quite loosely attached to this O'Casey play from doing some work on the sets for a production of it at Bradford Playhouse once.

Far too much Hitchcock.

For those counting, Hitchcock and Altman are tied with 4 each.

was trying to remember

I'd rather have more Hitchcock than Altman tbh

I'm trying to forget xp

My votes went to shadow of a doubt and the one that's still to come

Shadow of a Doubt was pretty good

https://cansesclasseled.files.wordpress.com/2021/11/21-twin-peaks-fire-walk-with-me.jpg

21. TWIN PEAKS: FIRE WALK WITH ME (David Lynch, 1992, USA) [1,012.6 points; 10 votes]
S&S: 613 | TSPDT: 897 | BOXD: DNP

MORBS SEZ: "This was somewhere between OK and pretty good. Sheryl Lee just had nothing but good things to say about her collaboration w/ Lynch. Ray Wise bothered me here and in the dries as an inadvertently (?) comic incarnation of evil. and BOB looks like a roadie. Not to unduly separate him from filmmakers I have a greater (Hitchcock, Lang) and lesser (De Palma) regard for, but DL is kind of a fucked-up misogynist … (c. 2012) I think we've seen just the right amount of TP there needs to be … (c. 2017) well little did i know."

so classic
― morris garage (Jody Beth Rosen), Sunday, August 28, 2005 1:04 AM

it's not that good
― “How you like that, Mr. Hitler!” (Shakey Mo Collier), Wednesday, January 18, 2012 5:13 PM

kinda funny that two of the biggest Cannes disasters ever (FWWM and Brown Bunny) are in my top 10 all-time.
― Matt Armstrong, Wednesday, January 18, 2012 5:20 PM

The first half hour is fun but rather pointless cept for Keefer blinking blankly at the waitress ("You wanna hear the specials? We have none"). And Bowie in a Magnum P.I. shirt.
― The Edge of Gloryhole (Alfred, Lord Sotosyn), Monday, August 1, 2011 5:16 PM

The first 30 minutes is probably my favorite 30 minute sequence of any film.
― Matt Armstrong, Wednesday, January 18, 2012 5:45 PM

The whole scene where Laura's mother is drugged and sees the horse and the record is skipping and the Leland looks in the mirror...UNbelievable.
― adam. (nordicskilla), Tuesday, August 31, 2004 3:38 PM

just rewatched FWWM for the first time in ages. i remember being disappointed with the movie initially because i felt it trying to explain away some of the show's mysteriousness. or something. for instance: oh i see. they're all complete coke heads! but, rewatching it, i noticed something about the coke. there's the scene near the end. laura is doing giant rails of coke and the camera pulls back and she's in bed. doing rails to go to bed! doesn't make sense. but it's the night where she sees her dad rather than bob "having her." meanwhile, her mom, who has just been gently forced by leland to drink something it's safe to assume is drugged, is having restless sleep and visions of a white horse or whatever. it's safe to assume that leland has been drugging his wife and laura for years ("he's been having me since i was 12" laura told her therapist). by doing the rails of coke, laura was able to counteract the drugs and see her dad. it's this kind of explaining-away of things that i initially didn't like about the film, but i've made peace with that i think, because ultimitely it still doesn't even begin to explain the other dimmension death cult or whatever it is. i've just written way too much about this. again. sheesh.
― andrew m. (andrewmorgan), Sunday, August 28, 2005 12:51 PM

"i'm as blank as a fart."
― amateur!!!st (amateurist), Wednesday, September 15, 2004 9:12 PM

I am as blank as a fart.
― cºzen (Cozen), Friday, October 8, 2004 7:23 AM

It's interesting to see which directors it IS a problem having too many masterpieces when it comes to canonization compared with directors where it most definitely is NOT a problem.

My first Lynch film way back in '93 when a friend kept pressing his VHS copy. I still compare other Lynch to my experience with this.

This is excellent. Kinda shocking it's so high though xp

My bet's on Mulholland Drive for #1 at this point.

100. ROSEMARY'S BABY (Roman Polanski, Roman 1968, USA) [620 points; 10 votes]
99. LA JETÉE (Chris Marker, Chris 1962, France) [623.33 points; 9 votes; 1 first-place vote; Morbs silver]
98. MY NEIGHBOUR TOTORO (Miyazaki Hayao, 1988, Japan) [623.9 points; 10 votes]
97. SEVEN SAMURAI (Kurosawa Akira, 1954, Japan) [624.67 points; 9 votes]
96. MESHES OF THE AFTERNOON (Maya Deren & Alexander Hammid, 1943, USA) [625.71 points; 7 votes]
95. SHOWGIRLS (Paul Verhoeven, 1995, USA) [628 points; 4 votes]
94. ONCE UPON A TIME IN ANATOLIA (Nuri Bilge Ceylan, 2011, Turkey) [636 points; 6 votes]
93. ERASERHEAD (David Lynch, 1977, USA) [636.9 points; 10 votes]
92. THE GODFATHER (Francis Ford Coppola, 1972, USA) [643.4 points; 10 votes]
91. LAST YEAR AT MARIENBAD (Alain Resnais, 1961, France) [645.82 points; 11 votes]

90. MANDY (Panos Cosmatos, 2018, USA) [646.5 points; 8 votes]
89. THIS IS SPINAL TAP (Rob Reiner, 1984, USA) [650.91 points; 11 votes]
88. JOHNNY GUITAR (Nicholas Ray, 1954, USA) [651 points; 6 votes]
87. THE SPIRIT OF THE BEEHIVE (Victor Erice, 1973, Spain) [652 points; 8 votes]
86. A BRIGHTER SUMMER DAY (Edward Yang, 1991, Taiwan) [655.5 points; 6 votes; 1 first-place vote]
85. THE LADY EVE (Preson Sturges, 1941, USA) [656.4 points; 10 votes; Morbs silver]
84. CELINE AND JULIE GO BOATING (Jacques Rivette, 1974, France) [658.57 points; 7 votes]
83. THE KING OF COMEDY (Martin Scorsese, 1983, USA) [659.82 points; 11 votes; Morbs gold]
82. WILD STRAWBERRIES (Ingmar Bergman, 1957, Sweden) [661.5 points; 6 votes]
81. IT'S A WONDERFUL LIFE (Frank Capra, 1946, USA) [661.63 points; 8 votes]

80. CALIFORNIA SPLIT (Robert Altman, 1974, USA) [663 points; 6 votes]
79. UNDER THE SKIN (Jonathan Glazer, 2014, UK) [665 points; 12 votes]
78. THE WICKER MAN (Robin Hardy, 1973, UK) [668.5 points; 8 votes]
77. THE GOOD, THE BAD AND THE UGLY (Sergio Leone, 1966, Italy) [670 points; 12 votes; Morbs silver]
76. DAISIES (Vera Chytilová, 1966, Czechoslovakia) [674.29 points; 7 votes; 1 first-place vote]
75. THE MAN WHO SHOT LIBERTY VALANCE (John Ford, 1962, USA) [683.63 points; 8 votes; Morbs gold]
74. DAYS OF HEAVEN (Terrence Malick, 1978, USA) [683.63 points; 8 votes; 1 first-place vote]
73. BEING JOHN MALKOVICH (Spike Jonze, 1999, USA) [700.6 points; 10 votes]
72. PIERROT LE FOU (Jean-Luc Godard, 1965, France) [705 points; 6 votes]
71. MIRROR (Andrei Tarkovsky, 1975, USSR) [708.38 points; 8 votes; Morbs gold]

70. M (Fritz Lang, 1931, Germany) [708.67 points; 9 votes]
69. THE LIFE AND DEATH OF COLONEL BLIMP (Michael Powell & Emeric Pressburger, 1943, UK) [715.71 points; 7 votes]
68. CRUMB (Terry Zwigoff, 1994, USA) [716.63 points; 8 votes]
67. PULP FICTION (Quentin Tarantino, 1994, USA) [717.5 points; 10 votes; 1 first-place vote]
66. TOUCH OF EVIL (Orson Welles, 1958, USA) [719.33 points; 9 votes; 1 first-place vote]
65. 3 WOMEN (Robert Altman, 1977, USA) [725.3 points; 10 votes]
64. BACK TO THE FUTURE (Robert Zemeckis, 1985, USA) [728.55 points; 11 votes]
63. ALI: FEAR EATS THE SOUL (Rainer Werner Fassbinder, 1974, West Germany) [729.2 points; 10 votes; Morbs silver]
62. THE MALTESE FALCON (John Huston, 1941, USA) [733.1 points; 10 votes; Morbs silver]
61. AU HASARD BALTHAZAR (Robert Bresson, 1966, France) [734.91 points; 11 votes]

60. SUNRISE: A SONG OF TWO HUMANS (F.W. Murnau, 1927, USA) [752.6 points; 10 votes; 1 first-place vote]
59. SYNECDOCHE, NEW YORK (Charlie Kaufman, 2008, USA) [768.67 points; 9 votes]
58. GROUNDHOG DAY (Harold Ramis, 1993, USA) [772.46 points; 13 votes]
57. IMITATION OF LIFE (Douglas Sirk, 1959, USA) [774 points; 6 votes]
56. THE 400 BLOWS (François Truffaut, 1959, France) [779.33 points; 9 votes]
55. THE GRADUATE (Mike Nichols, 1967, USA) [783.33 points; 9 votes]
54. JURASSIC PARK (Steven Spielberg, 1993, USA) [786 points; 9 votes]
53. THE TEXAS CHAIN SAW MASSACRE (Tobe Hooper, 1974, USA) [788.13 points; 8 votes]
52. NOTORIOUS (Alfred Hitchcock, 1946, USA) [793.63 points; 8 votes]
51. PSYCHO (Alfred Hitchcock, 1960, USA) [793.75 points; 12 votes; Morbs silver]

50. PERSONA (Ingmar Bergman, 1966, Sweden) [805.69 points; 13 votes; 1 first-place vote]
49. MAD MAX: FURY ROAD (George Miller, 2015, Australia) [808.73 points; 11 votes]
48. POSSESSION (Andrzej Żuławski, 1981, France-West Germany) [810 points; 9 votes; 1 first-place vote]
47. FARGO (Joel & Ethan Coen, 1996, USA) [811.1 points; 10 votes]
46. SPIRITED AWAY (Miyazaki Hayao, 2001, Japan) [811.27 points; 11 votes]
45. THE THING (John Carpenter, 1982, USA) [815 points; 10 votes]
44. BLUE VELVET (David Lynch, 1986, USA) [822 points; 15 votes]
43. SANS SOLEIL (Chris Marker, 1983, France) [825.25 points; 8 votes]
42. STOP MAKING SENSE (Jonathan Demme, 1984, USA) [826.7 points; 10 votes; Morbs silver]
41. A SERIOUS MAN (Joel & Ethan Coen, 2009, USA) [830.4 points; 15 votes]

40. THE PASSION OF JOAN OF ARC (Carl Theodor Dreyer, 1928, Denmark) [833.36 points; 14 votes; Morbs silver]
39. LATE SPRING (Ozu Yasujirō, 1949, Japan) [835.45 points; 11 votes]
38. SINGIN' IN THE RAIN (Stanley Donen & Gene Kelly, 1952, USA) [841.82 points; 11 points]
37. CONTEMPT (Jean-Luc Godard, 1963, France) [845.71 points; 7 votes]
36. PLAYTIME (Jacques Tati, 1967, France) [853.27 points; 11 votes; 1 first-place vote; Morbs silver]
35. McCABE & MRS. MILLER (Robert Altman, 1971, USA) [855.6 points; 15 votes]
34. THE LONG GOODBYE (Robert Altman, 1973, USA) [865.38 points; 16 votes; Morbs silver]
33. THE EMPIRE STRIKES BACK (Irvin Kershner, 1980, USA) [872.2 points; 10 votes]
32. CHINATOWN (Roman Polanski, 1974, USA) [873.43 points; 14 votes; Morbs silver]
31. DUCK SOUP (Leo McCarey, 1933, USA) [874.64 points; 14 votes; Morbs silver]

30. BARRY LYNDON (Stanley Kubrick, 1975, UK) [883.23 points; 13 votes; Morbs silver]
29. THE GREEN RAY (Eric Rohmer, 1986, France) [900.88 points; 8 votes; Morbs silver]
28. DOG DAY AFTERNOON (Sidney Lumet, 1975, USA) [901.25 points; 12 votes]
27. JEANNE DIELMAN, 23 QUAI DU COMMERCE, 1080 BRUXELLES (Chantal Akerman, 1975, Belgium) [906 points; 9 votes]
26. NORTH BY NORTHWEST (Alfred Hitchcock, 1959, USA) [920.79 points; 14 votes; 1 first-place vote; Morbs silver]
25. SUNSET BLVD. (Billy Wilder, 1950, USA) [942.5 points; 12 votes; 1 first-place vote]
24. IN THE MOOD FOR LOVE (Wong Kar-wai, 2000, Hong Kong) [952.55 points; 11 votes]
23. ALIEN (Ridley Scott, 1979, USA) [983.75 points; 12 votes]
22. REAR WINDOW (Alfred Hitchcock, 1954, USA) [1,003.2 points; 15 votes; 1 first-place vote]
21. TWIN PEAKS: FIRE WALK WITH ME (David Lynch, 1992, USA) [1,012.6 points; 10 votes]

I love Frenzy too, for the conversations between the chief inspector and his wife and Jon Finch's exemplary deployment of the word "bastard", even if the bad guy reminds me of Mike Baldwin

Xxps

Still haven't seen this

If Don Luis misses out entirely you're all cancelled btw

I pretty much had FWWM memorized by the time I was 15.

great end to today's entries. FWWM is a film that will keep rising in estimation

See, I've already gone places.

I just want to stay where I am.

44 into 20 does not go: 2001: A Space Odyssey
8½
Aguirre
Andrei Rublev
Annie Hall
Apocalypse Now
L’Atalante
L’Avventura
Badlands
Battleship Potemkin
The Big Sleep
Blade Runner
Bonnie & Clyde
Breathless
Casablanca
Children of Men
Citizen Kane
Die Hard
Do The Right Thing
Double Indemnity
Dr Strangelove
Duck Amuck
Goodfellas
The Good The Bad & The Ugly
The Manchurian Candidate
Man with a Movie Camera
Le Mépris
Mulholland Dr.
Nashville
Night of the Hunter
No Country for Old Men
Ordet
Phantom Thread
Raiders of the Lost Ark
Rashomon
La Règle du jeu
The Searchers
The Shining
Stalker
Taxi Driver
The Third Man
Tokyo Story
Walkabout
Vertigo

xps

yeah Frenzy is a good one and maybe a bit troubling on places but I think I've watched more times than Vertigo.

"what is a blank fart" is the big question here. I can't remember what I think of this but would happily re-watch it.

It's interesting to see which directors it IS a problem having too many masterpieces when it comes to canonization compared with directors where it most definitely is NOT a problem.

― Milm & Foovies (Eric H.), Tuesday, 2 November 2021 bookmarkflaglink

No directors should have this many films in the top 100.

XPS Le mepris aka Contempt already placed.

As did The Good, the Bad & the Ugly

Jaws is also a lock (no pun intended).

Oh, and There Will Be Blood is the PTA I thought for sure would pop up, but in the top 20?

Omissions, so many delicious omissions!

If Once Upon a Time in the West is #101 or something I'll feel really dumb for having forgotten to vote for it.

Oops, my apologies x2

(hah, the last tweak I made to that list was taking out There Will Be Blood and putting Phantom Thread in!)

voted for Once Upon a Time in the West, but don't think it was anywhere near the top 100

TBPH, there's a bunch of those on Andrew's list that just aren't happening because they're great in a 'vegetables are good for you' way this poll ain't about, simply over-canonized, or there's Cancellation afoot.

^this

it would feel like hard work watching Jaws these days. I'd probably rather watch some *mediocre* Spielberg like Bridge of Spies these days rather than that one.

Lack of Michael Mann definitely separates this place from Film Twitter.

That's interesting, because everyone on that list (except maybe Potemkin?) I could see someone being starry-eyed over. And Annie Hall won the romcom poll in 2014, after Dylan Farrow came forward.

tbh it's completely impossible to predict - we are all Fernando Rey reaching for the ham of hope

Would think there'd be at least one more Powell & Pressburger, come on.

it would feel like hard work watching Jaws these days. I'd probably rather watch some *mediocre* Spielberg like Bridge of Spies these days rather than that one.

― calzino, Tuesday, 2 November 2021 bookmarkflaglink

It'll be fucking ET

xxxp not sure what list you're talking about, but I still love Annie Hall

Rear Window was long my fave Hitch. But Psycho recently replaced it if only for the greatest ending in cinema history. But Rear Window, which itself has a genius final shot, contains the scariest single shot in cinema history - Burr looking up at US when he sees the ring on Kelly's finger. AAAHHHHHHH!!!!!!!!

Recently showed the first two Alien flicks to the mister. Pungent stuff, both films about equal in my eyes. Eager to revisit Alien Resurrection which I suspect will give off some serious maudit energy.

Saw Twin Peaks: Fire Walk with Me recently too. Silly movie, i.e., Greil Marcus digs it.

didn’t have time to post about Sunset Blvd earlier but I love it, it is so weird and extravagantly and humorously overwrought, and it flashes between being a horror story and a love story

tbh it's completely impossible to predict - we are all Fernando Rey reaching for the ham of hope

Sure of course, but I like the ratcheting up of "some of these will be going home with nothing!"

But Rear Window, which itself has a genius final shot, contains the scariest single shot in cinema history - Burr looking up at US when he sees the ring on Kelly's finger. AAAHHHHHHH!!!!!!!!

One million percent. Sucks all air out of the room every single time, but only in context.

Wow, I voted for 4 Lynches but not the (presumably) second-highest Lynch placement. FWWM is great, I didn't consider voting for it because it's too hard to separate it out from the entire Twin Peaks franchise. His darkest and most brutal movie, for sure, but also a great sad performance by Sheryl Lee.

Of course I know which movies get in and which don't, but I don't know if I'd go about pruning down Andrew's list if I didn't.

maybe take out Die Hard, but that's it