My Favorite Movies

Let me tell you what kind of movie The Big Lebowski is. It's the kind of movie that's main plot revolves around a stoner trying to replace a soiled rug. It's the kind of movie where a bowler pulls a gun on an opponent for not admitting that he stepped over the foul line. It's the kind of movie where the narrator loses his train of thought. Subtle gags involve things like someone writing a check for 69 cents.
It is one of the most quotable movies I've seen, and nearly every line is funny. even all the unfunny lines are funny, all thanks to one of the best words in the english language.........fuck!
its a film, that somehow manages to get funnier, and more enjoyable the more you watch it. I love it. My all time favorite.!!!

"This whole world is wild at heart and crazy on top"
From its shocking opening to its brilliant Elvis-fuelled climax, Wild at Heart never puts a foot wrong. Outside of Twin Peaks and Frank from Blue Velvet, Lynch has yet to create a more wonderful, rounded, set of characters that will get under your skin and stay with you forever. It's impossible to imagine anyone other than Nicolas Cage as Sailor Ripley, the coolest - if not smartest - man on Earth or Laura Dern, as the most perfect woman in the world, fun, sexy, and very out there. Or even Diane Ladd's performance as the evil posessive mother (great idea of giving her the wicked witch of the west imagery)

the story and humor is subtle and perfectly makes fun of the whole Cold War situation in the '60's. With some subtle dialogue Kubrick perfectly makes fun of a very serious and relevant topic. I mean, the story of this movie isn't that unlikely and could have actually of happened. As a matter of fact, it could still happen today. It's frightening but thanks to Kubrick's directing the movie never really becomes serious and remains fun, hilarious and entertaining from beginning till end. It is the only movie that makes you laugh about the end of the world.
A movie that will never feel outdated or too 'old fashioned' to watch. In 50 years from now, this movie will be just as good and hilarious, as it is now. Peter seller's performance........or should i say performance's, are priceless, and will remain as the one of the best things to be captured on film.

There were many excellent things about this movie but the most pivotal of all was the flawless direction brought on by Toshiya Fujita. I mean this movie was like ahead of its time or something. Or maybe thats just the way movies were made in the seventies and it raised to such cool levels in a natural way. But this film has all these visual gags and tricks that could have only been spawned from that glorious era known as the 70s. Many scenes show that this director took special care in making this movie special, like those scenes with Lady Snowblood walking in the snow with her dress filled with the blood of her victim.
The plot was almost entirely copied for Kill Bill. But I find the plot in this one slightly more interesting. The music was extremely good and quite moving. Two of the songs were actually used in Kill Bill. The effects are the traditional over the top ones you would expect. Lots of severed limbs and gushing blood. If you like Zatoichi, Lone wolf and cub or Sex and fury, like me, you'll love this.

Quite simply, one of the finest films to have ever been made! The film has many funny moments. Not laugh-out-loud funny, but chuckle-ironically-to-yourself funny. Like when the woman terrorist tells Faye Dunawaye "Don't f*ck with my distribution rights!" Or when Robert Duvall responds to the idea of having someone killed by saying "OK, let's think about this for a second."
The dialogue is on another level. "Network" is one of the greatest screenwriting achievments in film history. Of course, what else would you expect from something written by Paddy Chayefsky? "Network" seems to have all of its characters saying the exact right thing at the exact right time. Without actors to carry the dialogue, though, it falls flat. Luckily for the film (and for us), "Network" has on its roster some of the strongest acting presences at the time of it being made. William Holden gives his last truly great performance as an aging TV producer who sees the dangerous shift around him and (eventually) decides not to go with it. Faye Dunawaye in what might be her greatest role as Diana Christensen, the seemingly confident career woman who is coming apart at the seams. Beatrice Straight won an oscar for her 5 1/2 minute part as Holden's betrayed but forgiving wife. Robert Duvall continued his streak of great films in the 70's as Frank Hackett, the TV station's cold-as-ice hachet (get it?) man. And Peter Finch won an oscar posthumously for his role as Howard Beale. The fact that De Niro deserved the oscar for "Taxi Driver" isn't a factor when you are watching "Network", one of the most powerful of all films. Few movies give you something new every time you watch them, but this film gave me so much more on my second viewing than on my first that it seemed unreal. That's what i really love about this film.
To sum it up, it's a masterpiece. And will continue to be more relevant to modern society than when it was first released in the 70's. SEE IT NOW!

While there are a lot of slashers out there that need gory murders every two minutes and seem to have, well, nothing when it comes to plot, the vastly underrated director of this film, Bob Clark, decided to take his time with development instead and gives us good old fashioned suspense and a strong atmosphere to rely on that oozes with an unrelenting creepiness. Within the horror genre, I think less is more and since most of the sinister elements of this film are kept under wraps and we're left with numerous questions, without answering any of 'em, so we can build fear from our own imaginations. We're never fully sure who this psycho is or what he's really after. We don't even know what he looks like. We're only given minor glimpses, one of which is his creepy bulging eye. We're just left knowing that he's there somewhere, watching and waiting. Since we're given very little visuals of the killer, Bob Clark turns much of the focus on sound, which is sadly an element seldom used to it's advantage in horror films. The phone ringing itself is somehow chilling enough, let alone the killer's voice on the other end, spewing out all kinds of disturbing gibberish and obscenities through what sounds like multiple personalities. From his calls, to his wild madman screams to his heavy footsteps running down the stairs, I was left in utter fear of this man, all because of good sound use. I was just as scared by this, than the strings used in 'Psycho'.
By the last half, just when we think we know who or even where the killer is, we find ourselves surprised with a heart-pounding finale, ending the night wanting to sleep with the lights on. In my opinion, Black Christmas not only remains the best slasher film to date, but also one of the scariest horror films ever made. For some reason, this movie continually gets overlooked and was eventually pushed under the rug to make way for John Carpenter's Halloween some years later, which unfairly took all the credit for being the slasher film that started it all, even though it basically felt like a carbon copy and was in fact originally meant as a sequel to Black Christmas, according to Bob Clark. Halloween is obviously a great film and deserves the praise it gets, but don't allow it to overshadow this classic. For any true slasher fan, this is a must see.

For some reason, Lifeboat has remained a relatively obscure and overlooked Hitchcock film. True, the pace is nothing like a North By Northwest or Rear Window, but the level of drama provided is as high and more realistic as any of Hitchcock's other films, early or late. The scene where the mother wakes up in Tallulah's fur coat and asks where her little Johnny is was one of the most gut wrenching scenes I've ever seen in a movie, and I've seen plenty of movies. The movie, while cleverly developing its own nine characters, also raises questions aimed at the viewer, questioning how each one of us would react in those certain situations and circumstances. Personally, Thogu the movie isnt a Hitchcock" trademark, i still consider this his best work.

heartbreaking yet inspiring film. subtle, yet so powerful.
The most horrific thing about this movie is the fact that, in 20s era China, something like this could conceivably happen. The way Zhang Yimou gradually unwinds the story, with sumptuous colors and the incredibly believable acting of Gong Li and the rest of the cast, is beautiful and has a depth that most Hollywood movies lack.

From Blood Simple to Fargo, the Coen Brothers have made us laugh, freaked us out, had us smirk, and make us wonder. The message with this movie is simple: Just don't get anyone to do your dirty work. It always ends up exploding in your face. Blood Simple presents a quiet explosion of gut-wrenching fright with more plot twists than your standard hitchcock film. There are a lot of corpses walking around and this is no supernatural tale. It is kind of like a classy Texas chainsaw massacre, with guns taking the place of the saws and "It's the same old song" by the Four Tops replacing the buzz (once you watch it, you'll get what i mean). The blood is all over and the characters are certainly classless, but the film is such a monument to film noir and murder mystery, it is a classic.
This is low-budget fare, but even if the Coens had more money, it would've been preferable to shoot it this way. Fargo was not exactly a big studio bonanza itself and that, along with Blood Simple, are their two finest films. Some familiar Coen symbols are here. The running highway under headlights on a car with a (dead or alive) body in the back; the dry local humor of the film's location (deep in Texas, Arizona in Raising Arizona, North Dakota in Fargo); and a unique sense of evil in the heartland much like a Hitchcock film. There are movies that involve you and others that bore you. Blood Simple has you cringing, talking to the screen, and realizing that your life is fine compared to the morally corrupt folks in this hair-raising thriller.

my favie martial arts movie ever!!!!!!

Dead Man is a unique piece of film. Lead by a score written by Neil Young (Brilliant!), Dead Man is continually satisfying and powerful; and you get the impression that every scene has been fully thought through, and is perfectly realised as it's creator (Jarmusch) intended. Dead Man captivates it's viewer from the moment it starts until the moment it ends, and as it descends into full blown trippy weirdness, you can do nothing but stare in admiration of this strange gem of cult cinema. The plot is thin on the ground and it largely lacks meaning, but it doesn't matter because Dead Man is a purely aesthetic experience. For this film, Jarmusch has put together perhaps one of the best cast's ever!; Crispin Glover, Robert Mitchum, Billy Bob Thornton, Lance Henriksen, Gabriel Byrne, John Hurt, Alfred Molina and even Iggy Pop (but no Tom Waits..:(...) feature and it's great to see so many faces in the same movie. The cast is, of course, lead by a man who is perhaps today's best actor; Johnny Depp. Depp's name on a credit list speaks for itself, and I don't need to tell you that his performance is great; nor do I need to point out the effortless cool that this movie exudes, largely thanks to his presence.
A must see. The average movie goer will defintely find this slow and tiring, but will reward the patient.

equally as good as the 1st one. i love how the whole style and genre has changed. the fight scene in the caravan (or trailer) would have to be one of the best fights i have ever seen in a movie!!!
Micheal madsen, and darryl hannah are flippin awesome bad ass villans, david carradine was surprisingly good. i never really like him in kung-fu, thought it was quite lame. and loved the soundtrack. i dont think ive ever loved a closing credits as much of this one, it was really good, great how tarantino acknowledged everyone in both of the films. and i truly did love how they played shivaree in the background to the 2nd closing credits..........its such a shame it wasnt played somewhere during the film, coz its such a cool song

Uma Thurman turns in the performance of her life as "The Bride" (Though her real name is *BEEP*) Like all of Tarantino's flicks, "Kill Bill: V-1" is told in a somewhat non-linear fashion with flashbacks thrown in here and there (one told brilliantly using anime). Through its 110 minute running time, Tarantino manages to pack more homages and references to everything from 70's chops flicks to Japanese samurai films to Italian horror movies to blaxploitation and it all works (and it all seems fresh).
Kill Bill conveys many of the usual Tarantino traits, such as unique and clever style and witty dialogue. Aside from the obvious, the quality of the soundtrack might suprise you. The rapper and hip-hop producer The Rza did an amazing job with the Kill Bill soundtrack. In some scenes The Rza slowly transforms erratic sounds into well orchestrated and rythmic music. At other times he captures the intensity of the situation and gets you amped up for what is about to follow. In a few scenes he completely side-swipes you with a suprisingly out of place tune, given the situation. The music is always in perfect sync with the action. All in all, The Rza did a spectacular job. Yet i also have to give credit for the rest of the soundtrack, adding Charlie Feathers and The 5,6,7,8's was pure genius!!!!
Overall, I cannot recommend Kill Bill Vol. 1 enough. There shouldn't be any reason not to like this film. In every way it's perfect!!

Hysterical spoof on Tolsty, the Russian Revolution and Russian literature, and of course references of woody allen's all time fav movie director, ingmar bergman.
Woody Allen is just incredibly fantastic.
I must say that this film is incredibly well thought, acted, and directed....Diane Keaton is the best shes ever been in my opinion and Woody...man you gotta love him!
one of my comedy classics, that i'll never get sick of watching.

looooooooooooooooved it soooooooooo much!!!!!!! better than sympathy for mr vengeance...but not as good as old boy.

Would probaly have to be one of the most original films i have ever seen. Corporate power, double crossing, hentai anime, and interactive torture websites get all blended together to make this awesome film. i really love the mix of cultures, and films that blend different languages together, it was so cool. Connie Nielson and Chloe Sevigny were brilliant with the french. But i think i was more impressed with Chloe Sevigny's performance, she was flippin great......plus im not sure if ive seen anything more cool than chloe playing video-games........ whilst butt naked on a bed, (haha). This film really does shock and surprise.......with a rather disturbing ending. with some great twists too!

Note to self; never get into the animated porn business

i cry laughing everytime!!!

truly, a perfect film. it does everything so well, to the writing, the effects, the make-up, the acting, the character development....everything.
yet, for a horror/thriller, it maintains an emotion story, between jeff golblums and geena davis's characters, that what i love so much about this film, it blends so much into it, and turns out to be a top film. with some really great moments, mostly being sick and disgusting. especially the scene where geena davis gives birth to that......to that um, well, i have no idea what the hell it was

I have been a Wes Anderson fan for some time but more so i am a Bill Murray fan through and through... From the start Life Aquatic oozes class, it is a film that honestly can claim to be unique. The style of filming W.A adopts has always drawn me it is wonderfully understated and the flowing camera movement and superb score draws you in...as well as one of the best soundtracks ever. i mean c'mon, just how many films do you see David Bowie songs being sung in portugese???
The characters are fantastic, Willem Dafoe had my sides splitting (which frankly came as a shock) and Murray, well Murray was Murray... A career of highs and lows is certainly at this point in time rocketing out the atmosphere (bar Garfield)... The film travels at is own pace and although some may say slow, i say leisurely, nothing is rushed you find yourself immersed in the world in front of you and W.A's comedic style makes real heart felt emotions able to be reflected in an insane comedic setting without being in your face...
Wes Anderson is a dead-set genius

this classic should be one of everyones favs

love this so much. definitely one of chaplins finest. will have ya laughin throughout. really cleverly made to, everything works perfectly.

never ever will i get sick of this movie! a classic!

On a basic level, it's a tale of contrasts. That of a naive, young Japanese man (Rikiya Kurokawa) and a blind Australian girl, Deidre (Rose Byrne). The movie tells of their journey through the Australian outback after the Japanese man travels to Australia in search of the car of his dreams, a classic French Citroen, or, 'The Goddess', have one guess what year its from.. Of course it's much deeper than that. The trip is not a vacation, but a journey of release particularly for the young woman who has been tormented for most of her short life by the horrible memories of her mother and grandfather. Unbeknownst to the young man he has been taken on a ride that will open his eyes to a world he never knew existed. In return, Deidre, encounters many things she has never experienced before from a man, compassion, honesty and true love.
There is one brilliant scene i'll never forget where he teaches her to dance in a lonely bar in the middle of nowhere. To see the joy in the face of someone who has, in her unfortunate life, rarely experienced such feelings is truly uplifting. I had to watch that scene more than once. It's no doubt the coolest dance scene since Pulp Fiction. In the end, Deidre, finds the peace she is looking for. Perhaps not in the way she thought she might, but she does. And that's something she so much deserves.
And performance wise, this film is perfect. Kurokawa does a brilliant job, but this is Rose Byrne's film here. This is by far THE performance of her career, which is weird to say considering it was one of her first films, and this is way before she even got started in any hollywood projects. Plus she won Best Actress at the Venice film festival for this, considering in the recent past that same award was given to Helen Mirren, Julianne Moore, and Imelda Staunton, you know it has to be good.