shortylickens
No Lifer
- Jul 15, 2003
- 80,287
- 17,082
- 136
shortylickens
No Lifer
- Jul 15, 2003
- 80,287
- 17,082
- 136
In some ways. If you see the movies out of order you will probably like the first one you view, cuz it will be the most original. The other two will seem to have ripped off the first one you saw. Also the 3rd one has some very beautiful shots of Austria and Venice as well as the desert scenes, the first movie doesnt have all that.
SamQuint
Golden Member
- Dec 6, 2010
- 1,155
- 45
- 91
The first one has the jungles of South America, the mountains in Nepal, the desert of Egypt. Those are some great locations too.
In any case your right if you saw them in order the first is superior.
its strange to see this.. I always feel wrong picking the old standards.. we KNOW some movies are considers great.. why say those, pick the gems you never hear anybody talk about...
How the west Was Won- as good as the Good the bad and The Ugly Fonda as a bad guy.. and he is BAD in a great way.
Deep Rising- one of the BEST B- Movie action flicks nobody has heard of
Night Patrol- A so bad its good raunchy comedy from the early 80's, rude and bad in all the best ways.
DRIVE ANGRY- Nic cage in one of his "make a quick buck" movies.. but this movie while overall is pretty average.. there are moments of awesome that make it worth a view or two.. The Accountant may be one of the best characters in a movei ever.. the Fuel truck scene is just plain old fun (youtube it.. if you don't plan on watching the whole movie)..
maybe none are MT Rushmore.. but not "The Godfather" we have all seen that.. I don't need somebody telling me its great.. Should have been the Greatest movies nobody has ever seen. but just to keep with the thread
Clockwork Orange
Aliens
Watchmen (better ending then the comic)
Angels with Dirty Faces
How the west Was Won- as good as the Good the bad and The Ugly Fonda as a bad guy.. and he is BAD in a great way.
Deep Rising- one of the BEST B- Movie action flicks nobody has heard of
Night Patrol- A so bad its good raunchy comedy from the early 80's, rude and bad in all the best ways.
DRIVE ANGRY- Nic cage in one of his "make a quick buck" movies.. but this movie while overall is pretty average.. there are moments of awesome that make it worth a view or two.. The Accountant may be one of the best characters in a movei ever.. the Fuel truck scene is just plain old fun (youtube it.. if you don't plan on watching the whole movie)..
maybe none are MT Rushmore.. but not "The Godfather" we have all seen that.. I don't need somebody telling me its great.. Should have been the Greatest movies nobody has ever seen. but just to keep with the thread
Clockwork Orange
Aliens
Watchmen (better ending then the comic)
Angels with Dirty Faces
ImpulsE69
Lifer
- Jan 8, 2010
- 14,946
- 1,077
- 126
I love this movie.
Another of my favorites that no one ever talks about. The Negotiator, with Sam Jackson and Kevin Spacey. I can watch that movie repeatedly.
crunkzilla
Member
- Mar 30, 2012
- 72
- 0
- 61
Here are my top 5 movies:
5. Back to the Future: I feel this has one of the coolest ending ive seen i a movie. MArty Mcfly telling the Doc in his whiny voice theres not enough road to reach 88mph and Doc, sliding down the sheetmetal sunglasses, responding where they'll be going there wont be no roads. Then you see the Delorean hover off the ground and fly.
4. Star Wars Empire Strikes back: Makes the previous movie before it look like a super generic low budget movie. Better visuals, better lighsaber duels, music, and better acting. To this day I still remeber the scene near the beginning of the movie where it shows the Star Destroyer with a shadow going across it and all of a sudden you see it dwarfed by the Super Star Destroyer. Made me cheer for the empire.
3. Ben Hur: Made way before my time and only know about it because my dad watched it. Best part of the movie by far is the Chariot racing scene. If this movie was made today, this whole sequence would be some shitty CGI. As far as I can tell, Chuck Heston drove his own chariot. Stuntmen back then must have been made of steel.
2. Lord of the Ring Trilogy: One of the few movies out there that outshine the books. Awesome visuals and great acting. I cant see any actor in Holywood being able to play Gandalf other than Ian McKellen, although Patrick Stewart might come close.
1. Goodfellas/ Godfather part 2: Always have difficulty picking between the two because I love Mob movies. Goodfellas had some great casting and from start to finish I enjoyed. The best parts of Godfather II were the Robert Dinero flashback scenes of how Don Corleone came to power. its too bad those scenes were so short. If I had one wish to spare, it would have been for the Godfather III to have completly been about how Don Corleone rose to power. Hard to pick between the two, but I guess like parents of twins you just have to love them both equally.
5. Back to the Future: I feel this has one of the coolest ending ive seen i a movie. MArty Mcfly telling the Doc in his whiny voice theres not enough road to reach 88mph and Doc, sliding down the sheetmetal sunglasses, responding where they'll be going there wont be no roads. Then you see the Delorean hover off the ground and fly.
4. Star Wars Empire Strikes back: Makes the previous movie before it look like a super generic low budget movie. Better visuals, better lighsaber duels, music, and better acting. To this day I still remeber the scene near the beginning of the movie where it shows the Star Destroyer with a shadow going across it and all of a sudden you see it dwarfed by the Super Star Destroyer. Made me cheer for the empire.
3. Ben Hur: Made way before my time and only know about it because my dad watched it. Best part of the movie by far is the Chariot racing scene. If this movie was made today, this whole sequence would be some shitty CGI. As far as I can tell, Chuck Heston drove his own chariot. Stuntmen back then must have been made of steel.
2. Lord of the Ring Trilogy: One of the few movies out there that outshine the books. Awesome visuals and great acting. I cant see any actor in Holywood being able to play Gandalf other than Ian McKellen, although Patrick Stewart might come close.
1. Goodfellas/ Godfather part 2: Always have difficulty picking between the two because I love Mob movies. Goodfellas had some great casting and from start to finish I enjoyed. The best parts of Godfather II were the Robert Dinero flashback scenes of how Don Corleone came to power. its too bad those scenes were so short. If I had one wish to spare, it would have been for the Godfather III to have completly been about how Don Corleone rose to power. Hard to pick between the two, but I guess like parents of twins you just have to love them both equally.
Hmm 4 huh?
I agree with your #1. About the most perfect movie ever.
Seven
Band of Brothers count?
Dumb & Dumber to keep with comedy suggestion.
Matrix
I agree with your #1. About the most perfect movie ever.
Seven
Band of Brothers count?
Dumb & Dumber to keep with comedy suggestion.
Matrix
- Nov 30, 2005
- 50,231
- 118
- 116
Dr. Detroit
Diamond Member
- Sep 25, 2004
- 8,593
- 980
- 126
1) Apocalypse Now
2) American Graffiti
3) Full Metal Jacket
4) Alien
Honorable Mention:
Cool Hand Luke
2) American Graffiti
3) Full Metal Jacket
4) Alien
Honorable Mention:
Cool Hand Luke
SamQuint
Golden Member
- Dec 6, 2010
- 1,155
- 45
- 91
Glad I am not the only one that liked 2. 4 does not exist to me. I will never buy it or watch it again.
SphinxnihpS
Diamond Member
- Feb 17, 2005
- 8,368
- 25
- 91
Washington: M
The penultimate film noir. This movie was not so mush a revolution as Sergei Einstein's Battleship Potemkin, but it was the next logical evolutionary plateau for films in terms of shot selection, editing, montage, plot, lighting, and acting. M is the very first modern film, as it has more in common with the way movies are made today than how most movies were made at the time. M was so influential that even though you may not have seen it, you have seen every single shot, editing technique, and especially lighting technique used in M, in another movie made later. The basic plot and mechanics of how they unfold the story in M has been borrowed, homaged, and ripped off by almost everything that came afterward. Like Washington, M did not invent anything. Most of the shots and techniques employed by M were conceptualized and tried in European films, mainly German, but M did perfect all those same things, and like Washington was the spearhead of revolution perfected, M was the spearhead of ideals in film that will never be overshadowed. M is a very dark crime drama centered on the darkest of human appetites, the lust to violate and kill innocent children, but is doubly dark in giving the lead antagonist very real and sympathetic emotions; Peter Lorrie nearly going into an orgasmic fainting spell at the sight of the reflection of a child is quite disturbing and powerful. Mix in some unwavering comparisons between the government and organized crime, a harsh view of public hysteria, and a very hazy and gritty atmosphere, and you have the crime drama of the century. Not bad for 1931.
Jefferson: The Andalusian Dog (Un Chien Andalou)
Like Jefferson, many people have trouble with the shocking dichotomy of mind and soul that embodies the spirit of this film. On one hand we are presented with images that tickle something reptilian in all of us, while we are simultaneously assaulted by a stream of disconnection, time shifting, place shifting, and mood shifting that leaves one feeling that they have just awoken from a bad dream and are grasping at the memories of it like sand running through fingers. ...which is entirely the point. The Andalusian Dog is like a dream you don't want to have. It's a story of jealousy and murder as told through the sleeping mind's eye, and at the end you are left clutching at shadows of emotion. To say this film is revolutionary is an understatement despite the fact that there's nothing revolutionary about the making of the actual film save the conception. It's conception being that subconscious works on a different level than our organizing conscious mind and that film is a medium where this level of awareness can be reconstructed. In this it succeeds on many levels without the use of any special effects or fancy camera tricks. It success lies in bringing out that hollow icky primordial animal locked away in us to examine like a squirming slug left to dry on the sidewalk, leaving us just a little less sure of the things we see. Like Jefferson left us to decode his complex legacy of duty, the ideals of freedom, and the realities of governance, we are left to embrace this hidden reality of human duality knowing that knowledge is power and freedom, but that those things aren't always as simple and beneficial as we would hope for.
Roosevelt: Taxi Driver
For nearly two hours we are spoken to softly and then suddenly and violently beaten over the head with the proverbial big stick. Indeed for the majority of the film we hardly hear a screen-spoken word from our anti-hero protagonist, Travis Bickle, yet the whole time by narration, music, and increasingly dark scenes we are being herded ever more tightly into a slaughtering pen.
I could write a book about how great this movie is. I could probably write a book about how great Robert DiNero is in it, or about how great the cast is, or how one actor never showed up for his scene, so Scorsese himself had to sit in, and in the process created one of the most wonderfully hateful yet hilarious and empathetic scenes in movie history. But if I had to boil it down to one aspect, one nugget that makes this film more than all the others like it, it would have to be style; this film has a PhD in style. Everything about it is larger than life, either more beautiful, more colorful, more musical, more hip, darker, more desperate, and most shocking. Everything about the story and the way that it is told is a constant, steady, unrelenting buildup of guilt, frustration, hopelessness, anger, and finally rage. But even though you know it's coming, nothing prepares you for the hyper-realistic bloodbath ending, filmed in such a suffocatingly invasive manner. You feel like you are smashed in the stairwell and forced to watch it all occur as you gasp helplessly for air, and when it's over, you are left in awe of how relieved you are that this festering boil of building tension has now exploded.
Lincoln: Enter the Void
The first time I watched Enter the Void was after signing up for Netflix Instant. I didn't get to see it in theaters, and that may have turned out to be the best simple coincidence in all of my movie watching career. Had I seen this in theaters I may have walked out just as I turned it off after 15 minutes. "Garbage!" "Film school dropout grade Z pretentious science fair project, sophomoric pile of shit."
These were my very first thoughts upon trying out "something different" on this newfangled Hulu-thing. Fortunately, I hate to waste money. After watching all the science docs, and a few odd movies I always wanted to, but never got around to seeing, I went back to give it one more shot, and see if I couldn't at least finish this silly dope-school student project. Maybe there was more to it and I really do hate to waste money. Maybe I could get a little more before I let the free month run out.
Glad I did, because this movie is the freer of the slaves. This movies shows what can be achieved with all the modern equipment and techniques used correctly to convey the story rather than to simply wow the audience with the novelty of the technology itself. Computer-controlled multi-axis camera mounts, rails and dollies that stretched blocks, multi-layered exposures, CGI done by artists with an actual art background. These are things which other have done, and some done well, but mostly done for the sake of doing rather than adding anything to the narrative. This is everything Avatar wanted to achieve with special effects but failed miserably at.
French director Gaspar Noe, unleashes all of it on us in a dazzling and vivid exploration of life after death. He coaxes unrivaled performances out of a cast of nobodies that cover the full spectrum of human emotion, sometimes in a single scene, while weaving a tale of nearly infinite complexity together from the same scenes repeated over and over again but from slightly different perspectives. In the end, we are left to draw conclusions all our own and wonder what life is really all about.
There is really no more I can say about it without spoiling parts of it for someone, and I don't even want to tempt anyone with spoiler tags. Let me just say that for about 20 years, A Clockwork Orange has been my desert island movie. Though assailed by many a fine flick over the years, it has always remained a constant in its #1 slot for me, but after more than a few viewings of Enter the Void (and it will take more than one), I had to finally relegate it to the dungeon of #2.
So why these four movies if Clockwork is #2 why isn't that on the list? Well, I looked at this topic as less of, 'These are my favorites', but more these are the most important films. These are films that changed or will change the way films are done. Time will tell on Lincoln, but I envision a future where Mr. Noe is more widely acclaimed and appreciated for his most revolutionary techniques. As with Lincoln at the time, you will either love or hate this movie, and that's why it's there in his name.
The penultimate film noir. This movie was not so mush a revolution as Sergei Einstein's Battleship Potemkin, but it was the next logical evolutionary plateau for films in terms of shot selection, editing, montage, plot, lighting, and acting. M is the very first modern film, as it has more in common with the way movies are made today than how most movies were made at the time. M was so influential that even though you may not have seen it, you have seen every single shot, editing technique, and especially lighting technique used in M, in another movie made later. The basic plot and mechanics of how they unfold the story in M has been borrowed, homaged, and ripped off by almost everything that came afterward. Like Washington, M did not invent anything. Most of the shots and techniques employed by M were conceptualized and tried in European films, mainly German, but M did perfect all those same things, and like Washington was the spearhead of revolution perfected, M was the spearhead of ideals in film that will never be overshadowed. M is a very dark crime drama centered on the darkest of human appetites, the lust to violate and kill innocent children, but is doubly dark in giving the lead antagonist very real and sympathetic emotions; Peter Lorrie nearly going into an orgasmic fainting spell at the sight of the reflection of a child is quite disturbing and powerful. Mix in some unwavering comparisons between the government and organized crime, a harsh view of public hysteria, and a very hazy and gritty atmosphere, and you have the crime drama of the century. Not bad for 1931.
Jefferson: The Andalusian Dog (Un Chien Andalou)
Like Jefferson, many people have trouble with the shocking dichotomy of mind and soul that embodies the spirit of this film. On one hand we are presented with images that tickle something reptilian in all of us, while we are simultaneously assaulted by a stream of disconnection, time shifting, place shifting, and mood shifting that leaves one feeling that they have just awoken from a bad dream and are grasping at the memories of it like sand running through fingers. ...which is entirely the point. The Andalusian Dog is like a dream you don't want to have. It's a story of jealousy and murder as told through the sleeping mind's eye, and at the end you are left clutching at shadows of emotion. To say this film is revolutionary is an understatement despite the fact that there's nothing revolutionary about the making of the actual film save the conception. It's conception being that subconscious works on a different level than our organizing conscious mind and that film is a medium where this level of awareness can be reconstructed. In this it succeeds on many levels without the use of any special effects or fancy camera tricks. It success lies in bringing out that hollow icky primordial animal locked away in us to examine like a squirming slug left to dry on the sidewalk, leaving us just a little less sure of the things we see. Like Jefferson left us to decode his complex legacy of duty, the ideals of freedom, and the realities of governance, we are left to embrace this hidden reality of human duality knowing that knowledge is power and freedom, but that those things aren't always as simple and beneficial as we would hope for.
Roosevelt: Taxi Driver
For nearly two hours we are spoken to softly and then suddenly and violently beaten over the head with the proverbial big stick. Indeed for the majority of the film we hardly hear a screen-spoken word from our anti-hero protagonist, Travis Bickle, yet the whole time by narration, music, and increasingly dark scenes we are being herded ever more tightly into a slaughtering pen.
I could write a book about how great this movie is. I could probably write a book about how great Robert DiNero is in it, or about how great the cast is, or how one actor never showed up for his scene, so Scorsese himself had to sit in, and in the process created one of the most wonderfully hateful yet hilarious and empathetic scenes in movie history. But if I had to boil it down to one aspect, one nugget that makes this film more than all the others like it, it would have to be style; this film has a PhD in style. Everything about it is larger than life, either more beautiful, more colorful, more musical, more hip, darker, more desperate, and most shocking. Everything about the story and the way that it is told is a constant, steady, unrelenting buildup of guilt, frustration, hopelessness, anger, and finally rage. But even though you know it's coming, nothing prepares you for the hyper-realistic bloodbath ending, filmed in such a suffocatingly invasive manner. You feel like you are smashed in the stairwell and forced to watch it all occur as you gasp helplessly for air, and when it's over, you are left in awe of how relieved you are that this festering boil of building tension has now exploded.
Lincoln: Enter the Void
The first time I watched Enter the Void was after signing up for Netflix Instant. I didn't get to see it in theaters, and that may have turned out to be the best simple coincidence in all of my movie watching career. Had I seen this in theaters I may have walked out just as I turned it off after 15 minutes. "Garbage!" "Film school dropout grade Z pretentious science fair project, sophomoric pile of shit."
These were my very first thoughts upon trying out "something different" on this newfangled Hulu-thing. Fortunately, I hate to waste money. After watching all the science docs, and a few odd movies I always wanted to, but never got around to seeing, I went back to give it one more shot, and see if I couldn't at least finish this silly dope-school student project. Maybe there was more to it and I really do hate to waste money. Maybe I could get a little more before I let the free month run out.
Glad I did, because this movie is the freer of the slaves. This movies shows what can be achieved with all the modern equipment and techniques used correctly to convey the story rather than to simply wow the audience with the novelty of the technology itself. Computer-controlled multi-axis camera mounts, rails and dollies that stretched blocks, multi-layered exposures, CGI done by artists with an actual art background. These are things which other have done, and some done well, but mostly done for the sake of doing rather than adding anything to the narrative. This is everything Avatar wanted to achieve with special effects but failed miserably at.
French director Gaspar Noe, unleashes all of it on us in a dazzling and vivid exploration of life after death. He coaxes unrivaled performances out of a cast of nobodies that cover the full spectrum of human emotion, sometimes in a single scene, while weaving a tale of nearly infinite complexity together from the same scenes repeated over and over again but from slightly different perspectives. In the end, we are left to draw conclusions all our own and wonder what life is really all about.
There is really no more I can say about it without spoiling parts of it for someone, and I don't even want to tempt anyone with spoiler tags. Let me just say that for about 20 years, A Clockwork Orange has been my desert island movie. Though assailed by many a fine flick over the years, it has always remained a constant in its #1 slot for me, but after more than a few viewings of Enter the Void (and it will take more than one), I had to finally relegate it to the dungeon of #2.
So why these four movies if Clockwork is #2 why isn't that on the list? Well, I looked at this topic as less of, 'These are my favorites', but more these are the most important films. These are films that changed or will change the way films are done. Time will tell on Lincoln, but I envision a future where Mr. Noe is more widely acclaimed and appreciated for his most revolutionary techniques. As with Lincoln at the time, you will either love or hate this movie, and that's why it's there in his name.
Last edited:
- Nov 30, 2005
- 50,231
- 118
- 116
blankslate
Diamond Member
- Jun 16, 2008
- 8,797
- 572
- 126
chalmers
Platinum Member
- Mar 14, 2008
- 2,565
- 1
- 76
I couldn't understand most of what you said, but in the Goonies, Chunk shares a Baby Ruth with Sloth. I thought that was pretty cool.
Fight Club - add me to the list of people picking it
Rear Window - best movie ever about people sitting in an apt for two hours
Rushmore - can't really explain this one. i just love it.
Back to the Future - obviously
Honorable mentions: Aliens, Pulp Fiction, The Good, the Bad and the Ugly, Memento, Lock, Stock & Two Smoking Barrels, T2
Rear Window - best movie ever about people sitting in an apt for two hours
Rushmore - can't really explain this one. i just love it.
Back to the Future - obviously
Honorable mentions: Aliens, Pulp Fiction, The Good, the Bad and the Ugly, Memento, Lock, Stock & Two Smoking Barrels, T2
I am going to have to go a bit different here...
Chitty Chitty Bang Bang
The Gods Must be Crazy
Jaws
Empire Strikes Back
I think that identifies my movie choices in a nutshell, old school musicals (King and I, whatever), slapstick comedies, a good suspenseful action movie, and I can't not pick a movie I watched so many times.
Chitty Chitty Bang Bang
The Gods Must be Crazy
Jaws
Empire Strikes Back
I think that identifies my movie choices in a nutshell, old school musicals (King and I, whatever), slapstick comedies, a good suspenseful action movie, and I can't not pick a movie I watched so many times.
eplebnista
Lifer
- Dec 3, 2001
- 24,123
- 36
- 91
TRENDING THREADS
-
Discussion Zen 5 Speculation (EPYC Turin and Strix Point/Granite Ridge - Ryzen 9000)- Started by DisEnchantment
- Replies: 25K
-
Discussion Intel Meteor, Arrow, Lunar & Panther Lakes + WCL Discussion Threads
- Started by Tigerick
- Replies: 23K
-
Discussion Intel current and future Lakes & Rapids thread- Started by TheF34RChannel
- Replies: 23K
-
-
Facebook
Twitter