Pretend you have a ballot for the 2012 edition of Sight & Sound's top 10 movies of all time list

Y'know, I love 8 ½ but it's such a ramshackle construction I feel like it's not ever gonna be top 20 material.

Funny list - mostly critical canon with occasional jarring interjections from the members - Slumdog Millionaire?!

Also, Cinemwahahaha Paradlolso

think the list is fine and 'representative' but

11 ALI: FEAR EATS THE SOUL (Rainer Werner Fassbinder)

the eleventh best film of all time? get real.

think filmmakers who make tons of classics are discriminated against. vigo has it easy. wonder if an e-consensus will be built up for powell and pressburger.

the eleventh best film of all time? get real.

No -- it means that ten other films got more mentions.

think filmmakers who make tons of classics are discriminated against.

This. I wonder if it partly accounts for the rise and rise of Vertigo - critics settling on one Hitch they can all get behind but really voting for his body of work. As far as P&P are concerned, ILX seems to be mostly about Canterbury but ILX ain't the outside world, where I'm guessing Red Shoes is probably still the front-runner? You could make a case for at least 5 imo.

i think 'red shoes' will be 'the one', yup, but 'peeping tom' is a fave of academics and there are plenty of others.

"Peeping Tom" is sans Pressburger tho.

as we're all getting greedy here IS my next 10, again, excluding films I love but which clearly aren't classics

Pierrot Le Fou
Citizen Kane
Ugetsu Monogatari
F For Fake
North By Northwest
Bringing Up Baby
Spirited Away
The White Ribbon
Diary Of A Country Priest
The Phantom Of Liberty

should I watch Peeping Tom tonight y/n

Y

YES.

P&P support in S&S '02 was just all over the place!

oh okok cool gotcha

had it lying around for months - I'm really bad at watching movies on my own

(By the way, I'm not joining in with this listing malarky as I can't separate my favourites from 'objectively best ever'. If that is indeed what we're supposed to be doing.)

I never try and figure out whether something is "objectively best".

I'm basically writing up my favourites but vetting it for stuff I love for its greatness as film as well as its enjoyment, and stuff I'm simply thrilled by - only really Network, Oldboy and Being John Malkovitch have suffered such omission

(By the way, I'm not joining in with this listing malarky as I can't separate my favourites from 'objectively best ever'. If that is indeed what we're supposed to be doing.)

It's not. It's simply make a S&S ballot, whatever that means to you.

basically be really rockist :D

The most jarring for me in the Cinematheque Top 20 is Cinema Paradiso. I've never seen it, just assuming (unfairly, and it would seem incorrectly) that it was the kind of feel-good film I avoid, not all that different than The Majestic (which I also haven't seen...) or some American equivalent. The Fassbinder votes seemed odd too: I would have thought Berlin Alexanderplatz, The Merchant of the Four Seasons, Maria Braun, or 13 Moons.

11 ALI: FEAR EATS THE SOUL (Rainer Werner Fassbinder)

Is your hatred of Sirk so strong?

i remember liking 'ali' well enough (it's a decade since i saw it), possibly fassbinder's best (need to re-see 'the third generation' and a few others), but it categorically is not the eleventh best film of all time

Neither is The Godfather Part II, so they're even.

I don't think any of these movies are the eleventh best of all time

which is why my ballot would go, unmarked, into the shredder

Sorry you're all so butthurt over not getting 11 slots.

give them 11 next time, they'll be butthurt over not having 12. marginal extra butthurt, that's ilx

This from the guy who tried to sneak thru the Man With No Name movies as 1 vote.

they merge into one 4 me

the myriad problems with all-time 10 includes great filmmakers being loved for different works. Fassbinder's career is just one long film to me, and my fave Archers is I Know Where I'm Going!

The Third Man
The Red Shoes
The Philadelphia Story
Playtime
Bande a Part
Touch of Evil
Inland Empire
The Hour of the Wolf
Daughters of Darkness
Dementia

sliding off into the personal there at the end, can't be helped

what is it everyone finds so great about touch of evil when plainly opening shot aside that movie is set up entirely so that the last twenty minutes can be pretty much the best last twenty minutes in film but the rest isn't actually all that

is the payoff THAT good

twenty mins of ' the best in film ' and you're moaning?

Here's Ten, the first 2 are my very top - the rest are just anywhere and may not even get in on another day. on the other hand only four of five jumped out to me as definite. feel free to lol at my lack of knowledge of old black and white things.

Come and See
Distant Voices, Still Lives
Solaris
La Jetee
My Dinner with Andre
Women In Revolt
Safe
Code Unknown
Grey Gardens
Andrei Rublev

haha it's only a minor gripe but they might as well have called it Orson Welles Externalises His Innate Guilt While A Dude With A Recording Device Pursues Him Through A Junkyard And It Is Rad

think mine includes 'cleo de 5 a 7' and 'point blank'

^ good list (jed's)

i like touch of evil because it's so dissonant and jarring, because the pieces don't really fit together. it's lurid, exaggerated, poker-faced funny, strange, campy - some of my favorite qualities in storytelling.

ALSO, totally cheating, 20 more:

night of the hunter
once upon a time in the west
la vie de boheme (kaurismaki!)
valerie & her week of wonders
rashomon
aguirre: the wrath of god
trouble every day
breaking the waves
man with a movie camera
excalibur
last year at marienbad
the three crowns of the sailor (sometimes the best movie ever made)
my winnipeg
repo man
the royal tenebaums
the wayward cloud
lucifer rising
who's afraid of virginia woolf
in the mood for love
and....

cruelly slighting depalma: problem with winging this shit. throw in body double and that's probably the pool of films from which i should be selecting...

putting breaking the waves and man with a movie camera one after another is a sin!

touch of evil is consistently great, there's scarcely any fat in the re-edit(aptly)

http://www.chicagoreader.com/chicago/out-of-the-shadows/Content?oid=897261

i haven't seen the re-edit since it was in the cinemas -- basically coz i like having the music over the opening bit.

the only version I've seen is the re-edit! I probably need to see it again but it seemed to me an above-average thriller with some compelling characters that launched into brilliance towards the end

yeah it's certainly more than that, the camper review is worth reading

if channel 4 did a top 100 things of any description ever, but with good things rather than shit, 'hank quinlan' would be a shoe-in

had a little skim of the review and was all "oh. ok. oops" - the movie will certainly receive another sitting

oh yeah and hank quinlan is never less than great whenever he's onscreen - the bit where he strangles that dude is awesome as well, and his air of attempted insouciance is constantly gripping

are there still any people who haven't been given a film crit salary through corruption/nepotism/blackmail etc who believe welles never made a great film past the age of 26?

it's not as if touch of evil or chimes at midnight are somehow partial or esoteric works of genius, they're transparently great films

hahaha as intimated upthread I'm calling F For Fake as his truly great later movie, but then I am unusual

I only quibbled TOE because the ending did things to me that the rest of the movie didn't - it held me absolutely rapt where the rest had entertained and cajoled me - perhaps that still makes the whole a great, climactic movie

^ yeah, that's the way i see it. TOE's climax rivals that of the third man, and the opening shot is stupendous, but i agree that the material in the middle is quite digressive and even bizarre: campy, self-sabotaging, oddly formed. in the sense that the third man is a triumph from front to back, this makes TOE seem like something of a failure. it's not at all consistent. but if eccentric inconsistency can be seen as a valid formal aesthetic, then TOE succeeds brilliantly on its own terms.

i'd agree that F is for fake and citizen kane are more and better controlled, perhaps even "better movies" in some ultimate sense. but i prefer TOE for personal reasons. and i tend to shoot for the one-by-one thing...

also also: peter greenaway - the falls

Still prefer the pre-1998 version of TOE.

haha and you know - eccentric inconsistency is a MASSIVE draw for me in various art forms including film - so to view it as a smorgasbord of tones and opposing forces will quite probably elevate it for me

the opening shot IS stupendous, it's like the opening shot of Crank in some ways. ha but srsly it's like a computer game starting. ready, set, go! the bomb is aboard. the wheels are in motion.

TOE's climax is better than The Third Man's climax IMO but then I haven't seen TTM in yeeeeears

wtf ppl loving F is for Fake?

think mine includes 'cleo de 5 a 7' and 'point blank'

I could too, on a given day.