Wow 3 movies I've seen and liked! We're already ahead of pace.

85. Sweetie (1989) - This haunting independent film from New Zealand exists in the space separating two sisters: one introverted and desperate to lead a conventional suburban life, the other a volatile force of destructive nature (and indulged to a dangerous degree by their father, perhaps to atone for a past indiscretion). Through perfectly unusual performances and a rich tapestry of visual symbols, including a set of porcelain horses closely guarded by the quiet sister and later destroyed by the other, the film inspects the longstanding impact of abuse and mental illness.



84. Quadrophenia (1979) - The Who's iconic double album, the story of a troubled teenager's coming-of-age amidst the rise of mod culture in the early 1960s, is adapted for the screen, and the result is a film with grit, heart, spot-on period detail, and, of course, a roster of ace songs by one of the greatest bands ever, including "The Real Me," "5:15," and "Love, Reign o'er Me." Watch, too, for the Police's Sting, a magnetic presence in a small, but integral role.



83. Pride & Prejudice (2005) - In an auspicious feature directorial debut, Joe Wright crafts a note perfect adaptation of the beloved novel by Jane Austen, capturing both its sweeping romance and also its biting critique of social division and the customs of courtship in England during the Regency era. If Keira Knightley did not previously solidify her status one of the best and brightest acting talents of her generation, she did so here without a doubt as Elizabeth, one of 19th-century literature's most dynamic heroines.



82. Bram Stoker's Dracula (1992) - Both my favorite film directed by the eminent Francis Ford Coppola and my favorite cinematic interpretation of popular culture's most recognizable vampire, this ornate and seductive supernatural love story fascinated and frightened me as a child and has remained a consistent favorite. And though it does deviate from the source novel, including the introduction of a mystical romantic connection shared by Count Dracula and the heroine Mina, I admire the ways in which it stays faithful. The director, for example, finds clever ways to incorporate diary entries and letters into the staging of the film, a reflection of the novel's epistolary format.



81. 28 Days Later (2002) - My favorite zombie film, and I do consider the undead legions here to be zombies. They are simply the zombies the 21st century deserves: diseased, fast, and raging, but even then perhaps not as dangerous as the remaining human authority figures. Both as a post-apocalyptic suspense experience and as a touching story of an unconventional family forming amidst the potential end of humanity, this is a triumph, a fact reflected by its emergence as a surprise sleeper hit upon its modest stateside release many months after its premiere in England.

Ha! Crap. How embarrassing... I have no idea why I typed eagle.

28 Days Later is great, but I still prefer 28 Weeks. Coppola's Dracula is also great.


Boooo Joe Wright boooooo

I enjoy 28 Weeks Later a lot, but not as much as the first. It is Aliens to the first film's Alien in many ways, I believe. More action oriented and such.

I would love to see a third in the future, and I would lose my mind if Danny Boyle returned to the director's chair.

Hm. I find Quadrophenia very focused and moving. A perfect coming-of-age-angry story which smartly incorporates the Who songs. Tommy is more of a glorious shambles.

Since that who shall not be named doesn't want me to speak directly to him, all i'm gonna say is...

OFC. I've only seen 1 movies so far.

They certainly set up the third one. But even though the second has a lot of fans, it hasn't really developed a beloved cult status that a flop needs to get a sequel. So Danny coming back would probably be the only way 28 Months would happen.

80. High Fidelity (2000) - "What came first: the music or the misery?" I imagine anyone with a deep and abiding devotion to popular music, anyone who has tried to explain, say, why the Beatles or the Smiths are an important part of their lives, will relate to this whip smart and at times very poignant romantic comedy. Set in Chicago (instead of London, one of a few changes in what is by and large a faithful literary adaptation), the film focuses on a record-store owner as he explores his history of romantic failure in the aftermath of another long-term relationship's sad ending, investigating when and why various loves turned toxic and perhaps learning ways in which he can change and improve as a man.



79. Mad Max (1979) - This blunt-force action masterpiece, set in a sinister future Australia in which gasoline is scarce and sadistic gangs rule the roads, kick-started the continent's most iconic franchise, introduced the Australian New Wave movement to a much wider global audience, and moved its charming and intense lead, the youthful Mel Gibson, much closer to an A list he would soon conquer.



78. Metropolitan (1990) - Home from university, a self-proclaimed socialist student finds himself, in an unexpected twist, drawn into Manhattan's wealthy and often insular debutante society, attending balls with them and becoming ensnared in their various feuds and friendships. An, I admit, acquired taste, this unique comedy is set apart by its intricate, sophisticated dialogue, as well as its visual elegance, and it stands as one of the more idiosyncratic titles to emerge from the world of American independent film in the 1990s.



77. Orlando (1992) - The protagonist of Orlando: A Biography by Virginia Woolf is a sensitive and wealthy man who, halfway through the novel, transforms into a woman, experiencing life and society from the perspective of both genders. A perfect vehicle with which to consider the challenge of establishing oneself as an individual in a society which tends toward conformity, it is a concept of enormous fascination, and here it is the basis for a film of enormous beauty. Orlando also must be the role the androgynous, angular, and otherworldly Tilda Swinton was born to play.



76. Repulsion (1965) - One of the most frightening and claustrophobic films I have ever experienced. It is the story of a shy and troubled girl who is left alone in an apartment for a few days by her older sister and begins to spiral into a paranoid nightmare with sexual and violent overtones: arms protrude from the wall and reach toward her, a spectral male figure invades her bedroom at night, and so on and so forth as she loses her already loose grasp on sanity. A great deal is left ambiguous in the most tantalizing way, including the specific source of the main character's mental fracture and sexual anxiety, and the firsthand rendering of delusion and fear within a confined space has the power to haunt the viewer for a long time.

YAY for

Bram Stoker's Dracula
28 Days Later
High Fidelity
Mad Max

75. Naked (1993) - An eloquent and philosophical, but also cruel and unstable drifter steals a car and drives to London to visit an old flame, the beginning of a night which will spirit him through the city and into the spheres of many strange people, including a romantic, but isolated and shy security guard and a vain serial rapist. It is the human condition at an apocalyptic pitch as our toxic antihero rips ever onward through the night and his life toward what can only be an inferno. His conversation with the security guard, in which he tears to shreds the belief in destiny to which the man clings for hope, is a savage highlight.



74. Interiors (1978) - After the outsize charms of films such as Sleeper and Annie Hall, the first-blush response of audiences toward this grim and Bergman indebted drama, the story of estranged sisters and the self-destructive mother in whose shadow they exist, proved cool or even downright antagonistic. I, however, consider it a beautiful, if devastating film and one of the very best by prolific writer/director Woody Allen. The somber mood is pervasive and persuasive, and I admire a film so devoted to not flinching in the face of such heavy melancholia. The film is elevated in particular by Geraldine Page's haunting, theatrical performance as the doomed mother, a woman forever lost within a fog of gloom and doom.



73. Good Will Hunting (1997) - Here, a neat concept (a South Boston bred janitor always in trouble with the law who secretly harbors a genius mathematical mind) is turned into an authentic, heart-wrenching, and uplifting film concerned with youthful anxiety, male friendship, community loyalty, and the redemptive power of love. The third-act scene in which the title character's best and oldest friend demands he realize his incredible potential rather than lead the type of unspectacular local life awaiting the rest of them ("You don't owe it to yourself. You owe it to me.") always brings an earnest tear to my eye.



72. The Blair Witch Project (1999) - I realize this is and will forever be an ultimate example of a love-it-or-hate-it film. I fall firmly on the positive side, though, and consider it perhaps the single most frightening film ever. The grandfather of the found-footage craze, this no-budget film-festival sensation perfectly preys on any number of anxieties, including the fear of becoming lost in the forest and the basic fear of the unknown, and creates a vivid nightmare experience out of near thin air. And it receives a bonus point because it is set in my beloved home state.



71. Maurice (1987) - The venerable novelist E. M. Forster did not publish the novel Maurice during his lifetime out of fear of the thunderous controversy its story, charting a quietly gay man's often tortured journey through school and into adult life, could bring to his doorstep. It is a relief then readers around the globe were given the chance to experience the very personal masterpiece shortly after his death in 1970, and this film adaptation, crafted with characteristic restraint, style, and taste by the Merchant Ivory duo, is a faithful and worthy rendering anchored by a strong cast, including Hugh Grant in one of his earliest and finest roles, and gorgeous photography and production design.

Well David's list is certainly unique so far.

lol my psichiatry teacher told us we actually have to watch "Repulsion" by this tuesday.

70. Sunday Bloody Sunday (1971) - A unique and painful love triangle is the focal point of this drama: Bob is a beguiling, youthful artist dating two people. One of his lovers is a cynical divorced woman in her thirties, the other is a highly respected doctor who leads a subtle gay lifestyle. The complicated romantic scenario is, of course, the type of perfect storm destined to inspire longing and resentment, and it comes to a head when it becomes clear Bob is considering a move abroad, leaving them both behind. Chief among this elegant and tender film's many pleasures is Peter Finch's dignified and heartrending performance as the older doctor. And a fun detail: watch closely to spot none other than Daniel Day-Lewis as a teenager briefly portraying a scowling street vandal.



69. Three Colors: White (1993) - Very tempting to simply include the entire Three Colors trilogy because it is overall an essential cinematic experience, overflowing with refined images, indelible characters, and provocative thematic concerns. However, I can specify my favorite among the trio: the second film, White. On the French flag, this color represents "equality," and this anxious and grimly comic film turns on the misadventures of a Polish immigrant responding to extreme financial and legal troubles set in motion by an angry French wife filing for divorce.



68. Traffic (2000) - The narcotics trade, from the people who become wealthy distributing them to those on the street who abuse them, is exposed and indicted in this complex and stylized epic. The riveting characters include an honest Mexican policeman who rebels against the influence of powerful cartels and an American judge assigned to lead the nation's controversial war on drugs only to realize his beloved teenage daughter is a user herself.



67. Miller's Crossing (1990) - My favorite film by celebrated sibling directors Joel and Ethan Coen is this period gangster film, which, with grace and wit, blends brutal violence with a certain nostalgic melancholy to tell the story of a respected enforcer in an Irish American crime syndicate who finds both his loyalty and ability to survive tested as a rivalry with the Italian American mob intensifies. Overflowing with memorable dialogue and perfectly realized set pieces, and buoyed further by a wonderful original score, this is a crime film with a casual cool and intelligence to spare as it contemplates morality, mortality, and the paths people forge in life.



66. The Crying Game (1992) - Many films have explored the religious conflict which tore Northern Ireland asunder during the second half of the 20th century. One of the best and most intimate is this hypnotic suspense film which turns on a reluctant member of the Irish Republican Army who, with dangerous results, falls for the seductive nightclub singer upon whom he is ordered to spy. The film, a word-of-mouth sensation upon release, is known best for a major twist halfway through (one which inspires many conversations regarding whether viewers caught on beforehand), but the entire experience is a rewarding one as it ponders whether intense human bonds, and the inherent positivity of one man in search of redemption, can heal the wounds of war and bridge vast political and social divides. And let's face it, the Boy George single is epic.

Still only 1 match, but Riggs will be happy with 79.

The Maltese Falcon

I am. Overall I have seen very few movies from his list so far.

That's certainly the reaction he wanted.

I didn't find The Maltese Falcon a particularly exciting film noir. But when considering it one of the pioneer films in the genre, I could learn to appreciate it more.

I saw Naked and If... years ago. I found them having similar tone but could not quite understand them. I may have to revisit them sometime.

I love The Maltese Falcon. I remember watching that movie as a kid after midnight on TCM (Cartoon Network played from 6 AM to 9 PM, and then from 9 PM to 6 AM TCM would start) with my headphones on so I wouldn't wake up my parents. My father got up to go to the bathroom, saw me and said: "Son, please go to sleep." LOL.

Not particularly, but if people discover a few superb movies because of my list, then good.

I have seen all but 4 so far (Pauline at the beach, Christmas Tale, Sweetie and White), it's just that most of them are not anywhere near my top 100 or top 1000 for that matter.

65. Brazil (1985) - The subject of a protracted editorial fight, one of the definitive individualistic-director-versus-corporate-studio feuds of the modern era, Brazil is an absurd, electrifying, and epic blend of Brave New World and Modern Times, charting the series of clerical mishaps and otherwise unfortunate events which turn one man's commonplace, cubicle centric life upside down. Hilarious and disturbing in equal measure, the film's futuristic production design is still astonishing almost 30 years later.



64. All the President's Men (1976) - Though it is almost quaint compared to later political controversies, the Watergate scandal which began with a late-night caper at the Democratic party headquarters and ended with the resignation of President Richard Nixon captured the public's imagination, both intriguing and frightening them, and this anxious, detail oriented film focuses on the duo at the Washington Post who first uncovered and published the story, endangering themselves and their reputations in the name of delivering the truth to their readership. It is an enduring ode to journalistic courage and integrity.



63. Get Carter (1971) - One of Britain's definitive gangster pictures. The story of an organized-crime enforcer hoping to escape with his girlfriend to South America, but honor-bound first to investigate the curious death of his brother in his hometown, the film is hard to the core, involving, and builds to a perfectly grim conclusion.



62. The Long Good Friday (1979) - And another fantastic crime film from the other side of the Atlantic. This one investigates how an aging gangland figure responds to a changing of the guard as his generation, a generation forged in the 1960s, gives way to another with divergent interests and fierce new methods. The film features top-notch early performances by many of England's most recognizable actors.



61. Miami Vice (2006) - General audiences largely rejected this film when they realized it replaced the original television series' colorful eighties charm and style with a harsh, modern, and often sparse contemplation of law enforcement and identity, one concerned with technology and defined by a distinct 21st-century paranoia. Audiences, however, were dead wrong. A big-budget tent-pole release which also functions as a daring experiment in structure and style, the cinematic adaptation of Miami Vice moves swiftly with confidence and intelligence, never failing to electrify. And despite his slightly unfortunate hairdo and her limited knowledge of the English language, the on-screen romantic and sexual heat generated by Colin Farrell and Gong Li is blistering.

there is one choice here that is really, really excellent, and i doubt anyone else will choose it, because it seems to be less favoured than a lot of his other movies.