Table of Contents

Part IV (Top Ten)

010. Raiders of the Lost Ark (1981) Directed by Steven Spielberg
Starring Harrison Ford, Karen Allen, Paul Freeman, Ronald Lacey, John Rhys-Davies, and Denholm Elliot
[raidersofthelostark.jpg]

"The Saturday serial aspects of "Raiders of the Lost Ark" have been much commented on, and relished. But I haven't seen much discussion of the movie's other driving theme, Spielberg's feelings about the Nazis. "Impersonal," critic Pauline Kael called the film, and indeed it is primarily a technical exercise, with personalities so shallow they're like a dew that has settled on the characters. But Spielberg is not trying here for human insights and emotional complexity; he finds those in other films, but in "Raiders" he wants to do two things: make a great entertainment, and stick it to the Nazis." —Roger Ebert, on his list of the great movies.

Of all the films I've seen, none have been more fun to watch than Raiders of the Lost Ark. Star Wars comes close, but it's edged out by this, if only just barely. I chose this quote from Ebert, because I want to expand on it. Particularly, the part about the Nazis. Nazis could be the greatest film villains concievable. For one, they're real, or at least the version we think of did at one point. And second, the things they believe in are so unabashedly evil that they can be twisted into doing whatever insidious things that the filmmakers want. And we believe it because they're Nazis.

Harrison Ford was born to play parts like this. It is of my believe that he was put upon this Earth to do roles like Han Solo and Indiana Jones. Both of them are the perfect hero for a film like this. They are not complex because we don't need them to be and we really don't want them to be, either. Imagine a solemn and brooding Han Solo, drinking away his sorrows and failed dreams. Or maybe an Indiana Jones on the edge of suicide because he has a problem with death. Jones isn't burdened with such emotions because he is not a reflection of ourselves, but something that we want of ourselves. He is still given emotions and fears to keep him grounded and human, but on the whole, he's Spielberg's personified output for kicking Nazi ass.

Even after almost twenty five years, this film has not dated in the slightest. It has a great hero, exciting action, fantastic villians, it's often hilarious, Nazis — only Bruce Campbell could make this film absolute perfection. Raiders of the Lost Ark is what I consider a true feel-good movie. It doesn't have saccharine and sugar-coated insincere messages or Helen Hunt like what most people would think of in a feel-good movie. This is timeless pure fun and entertainment.

BONUS POINTS: The guy gets caught in an airplane propellor! YES!
"The Bible speaks of the Ark leveling mountains and laying waste in entire regions. An Army that carries the Ark before it... is invincible."

009. The Godfather, Part II (1974) Directed by Francis Ford Coppola
Starring Al Pacino, Robert Duvall, Diane Keaton, Robert De Niro, John Cazale, and Talia Shire
[godfatherpartii.jpg]

"A companion piece in the truest sense of the term, The Godfather Part II garnered as much adulation as its predecessor, if not more. Receiving twelve Academy Award nominations, and again winning Best Picture (and this time Best Director for Coppola as well), the second installment has been rightfully hailed as the best sequel of all time." —James Berardinelli, on his top 100 list.

I chose a quote from Berardinelli instead of Ebert on this one mainly for the fact that this is the one film on the top ten not on Ebert's great movies list and that Berardinelli is my next favorite film critic under Ebert. The first three words in this quote sum up why The Godfather, Part II is so well loved. It is not simply just a sequel or an afterthought. Nor is it crucial to the first film which stands completely on its own. This film truly is a companion piece. It is an extention of its predecessor. It is the next step in the history of the Corleone family.

Recently, there's been talk of a fourth Godfather film. It would not work for the same reason that a third Star Wars trilogy would not work. Much like the Star Wars saga is about Anakin Skywalker, the Godfather saga is about Michael Corleone (Al Pacino). I won't go into the first film right now, but this film both chronicles him at the height of his power and his father, a young Vito Corleone (Robert De Niro) in his rise to building the family. The film intercuts between the two stories and while there is much more time spent with Michael, there are definite parallels between the two yarns. But not only are there parallels within the film, but also between this film and the first, which both begin and end in a similar fashion.

The Godfather, Part II is often hailed as the greatest sequel of all time and in my limited experience, I am compelled to agree. The word sequel does have its negative connotations, however. It brings to mind something that's just an attempt to cash in on the success and popularity of the first. But that isn't what this film is. It's the next logical step in the history of a family and a man who destroys himself and everything around him.

BONUS POINTS: (See picture.)
"Fredo, you're nothing to me now. You're not a brother, you're not a friend. I don't want to know you or what you do. I don't want to see you at the hotels, I don't want you near my house. When you see our mother, I want to know a day in advance, so I won't be there. You understand?"

008. The Shawshank Redemption (1994) Directed by Frank Darabont
Starring Tim Robbins, Morgan Freeman, Bob Gunton, William Sadler, Clancy Brown, and Gil Bellows
[theshawshankredemption.jpg]

"It is a strange comment to make about a film set inside a prison, but "The Shawshank Redemption" creates a warm hold on our feelings because it makes us a member of a family. Many movies offer us vicarious experiences and quick, superficial emotions. "Shawshank" slows down and looks. It uses the narrator's calm, observant voice to include us in the story of men who have formed a community behind bars. It is deeper than most films; about continuity in a lifetime, based on friendship and hope." —Roger Ebert, on his list of great movies.

Is is even possible to dislike The Shawshank Redemption Even slightly? There has never been a single person who I have talked to about this film who hasn't loved it. Not just liked it, loved it. For whatever reason The Shawshank Redemption has a profound effect on people. Perhaps it is because it is one of the few films that has a truly positive message that delivers it without it feeling fake or it being something manipulative. It is a film about hope that gives people hope.

We are taken through the film through Red's (Morgan Freeman) point of view and the title actually refers to him, not to Andy Dufresne (Tim Robbins) as one might expect. Andy arrives at Shawshank and is the catalyst for the radical change inside the prison. But he also, in a way, Red's redeemer. Christ comparisons have been made, but Andy is a flawed man, guilty or innocent, however giving he is.

The final act of The Shawshank Redemption one of those unforgetable things that keep with you and make you smile no matter what mood you were in before you saw it. Happy Hollywood ending are too often derrided, but in this film it is the perfect ending to this tale of two friends.

BONUS POINTS: That guy who says "REELIN' 'EM IN!" at the very beginning. I crack up every time I see the look on his face.
"Get busy livin' or get busy dyin'. Damn right."

007. Raging Bull (1980) Directed by Martin Scorcese
Starring Robert De Niro, Cathy Moriarty, Joe Pesci, Frank Vincent, and Nicholas Colasanto
[ragingbull.jpg]

"'Raging Bull' is the most painful and heartrending portrait of jealousy in the cinema—an 'Othello' for our times. It's the best film I've seen about the low self-esteem, sexual inadequacy and fear that lead some men to abuse women. Boxing is the arena, not the subject. LaMotta was famous for refusing to be knocked down in the ring. There are scenes where he stands passively, his hands at his side, allowing himself to be hammered. We sense why he didn't go down. He hurt too much to allow the pain to stop." —Roger Ebert, on his list of great movies.

In the post golden era of Hollywood, films have used black and white photography for style or for pretense or whatever reason they have, but Martin Scorcese's Raging Bull might have used it for either of these reasons or maybe just because Scorcese didn't want to show that much blood in color, but there's something about the mood and tone of the film that the black and white fits perfectly. The violent boxing scenes seem that much more brutal as the black blood flow from the competitors. But Jake LaMotta's (Robert De Niro) violence is not limited to the ring — it permeates every aspect of his life and nearly all of his conflict resolution.

Raging Bull is a character study of a middleweight boxer who constantly destroys himself and his relationships with those around him. He suffers from extreme paranoia, rabid jealousy, and a bit of a Madonna-whore complex. He is played flawlessly by Rober De Niro in which is not only one of his best roles, but one of the very best performances in all of cinema. He as LaMotta approaches every situation as he fights in the ring; with sheer brute force, destroying whatever he touches. And after he leaves the ring for good and the spotlights fade, he drives away everyone who would love him.

This film could be described as the very antithesis of Rocky. It is not a story of triumph, but of of tragedy and pain. It is hard to paint Jake LaMotta as a sympathetic figure, but one wonders if he can help what he does and if he has any control over his sick jealousy and violent nature. Raging Bull does not love or hate its subject it leave his brutality to speak for itself.

BONUS POINTS: When the real Jake La Motta saw the movie, he said it made him realize for the first time what a terrible person he had been. That's power.
"I remember those cheers, they still ring in my ears and for years they remain in my thoughts. 'Cause one night I took of my robe and, what'd I do?, I forgot to where shorts. I recall every fall, every hook, every jab, the worst way a guy can get rid of his flab. As you know my life was a jab, Though I'd rather hear you cheer when I delve into Shakespeare "A horse, A horse. My kingdom for a horse" I haven't had a winner in six months. And though I'm no Olivier, If he fought Sugar Ray he would say it the thing ain't the ring, its the play. So give me a stage, Where this Bull here could rage, And though I could fight I'd much rather recite: That's Entertainment."

006. Ikiru (1952) Directed by Akira Kurosawa
Starring Takashi Shimura, Shinichi Himori, Haruo Tanaka, Minoru Chiaki, and Miki Odagiri
[ikiru.jpg]

"We who have followed Watanabe on his last journey are now brought forcibly back to the land of the living, to cynicism and gossip. Mentally, we urge the survivors to think differently, to arrive at our conclusions. And that is how Kurosawa achieves his final effect: He makes us not witnesses to Watanabe's decision, but evangelists for it. I think this is one of the few movies that might actually be able to inspire someone to lead their life a little differently." —Roger Ebert, on his list of great movies.

Out of all one hundred films that appear on this list, only one has made me a little kind of almost misty-eyed (but not really) and that film is Akira Kurosawa's Ikiru. Since most, if not all, people reading this have never seen this movie and probably never will, I'll try to convey its message and its beauty as best I can. Kurosawa is best known for his many samurai epics, but is not as well known for this film, his greatest achievement. It is a film about the value of life itself that's title, translated to English, literally means "To Live."

The film follows Kanji Watanabe (Takashi Shimura) a government beurocrat who has spent every day of the past thirty years of his life behind a desk, stamping papers, accomplishing nothing. He deals with public relations matters by sending the problems to other departments. Once he is diagnosed with stomach cancer and is told he has six months to live, he first decides to drink himself to death, but then he turns his life around and decides to do one thing in his entire life that really matters.

Ikiru could be described as secular humanistic, but I don't see that as the definitive answer for what Kurosawa is getting at. No matter what you believe, nothing good can come from going from day to day half alive in a never-ending routine. Kurosawa tells us to cherish being alive while we still can, for life is brief.

BONUS POINTS: That old love song from the teens.
"How tragic that man can never realize how beautiful life is until he is face to face with death."

005. Taxi Driver (1975) Directed by Martin Scorcese
Starring Robert De Niro, Cybill Shepherd, Peter Boyle, Jodie Foster, Harvey Keitel, and Leonard Harris
[taxidriver.jpg]

"The end sequence plays like music, not drama: It completes the story on an emotional, not a literal, level. We end not on carnage but on redemption, which is the goal of so many of Scorsese's characters. They despise themselves, they live in sin, they occupy mean streets, but they want to be forgiven and admired. Whether Travis gains that status in reality or only in his mind is not the point; throughout the film, his mental state has shaped his reality, and at last, in some way, it has brought him a kind of peace." —Roger Ebert, on his list of great movies.

Robert De Niro as Travis Bickle is the best performance I've ever seen in a motion picture. In the 1970's De Niro was a master of his craft and look at him now. To me and to many other movie fans, this is nothing short of tragedy. Bickle is a man who is trapped in a solitary shell of loneliness. He holds women on a pedestal, he won't touch them, he won't let them be touched, he ultimately drives them away, and then tries to save them from their so-called captors. He tries to connect with them, he tries to save himself, but in the end, the only one holding him back is himself.

Recently, the American Film Institute named Travis Bickle as one of the fifty greatest villains of cinema. This is further testament that the AFI is full of retarded old people. Bickle can not easily be placed into either category of hero or villian, but he does what he does with the best intentions — he is not evil or villainous, he is just does not know how to deal with what he hates or believes to be scum. He is too tragic a character to be a villain, but too full of hatred for the world around him to be a hero.

Taxi Driver ends rather ambiguously. It seems too perfect to fit with the rest of the film. Is it real or just Travis's fantasy? And does it matter? He is a man who set out to clear the streets of what he found disgusting and immoral and did just that. Maybe his mind created its own personal victory even if the world did not.

BONUS POINTS: That little handgun he has mounted on that rail. AWESOME.
"Listen, you fuckers, you screwheads. Here is a man who would not take it anymore. A man who stood up against the scum, the cunts, the dogs, the filth, the shit. Here is a man who stood up."

004. Amadeus (1984) Directed by Milos Forman
Starring F. Murray Abraham, Tom Hulce, Elizabeth Berridge, and Simon Callow
[amadeus.jpg]

"The film is told in flashback by Salieri at the end of his life, confined in a madhouse, confiding to a young priest. He thinks perhaps he killed Mozart. It is more likely Mozart killed himself, by some deadly cocktail of tuberculosis and cirrhosis, but Salieri seems to have killed Mozart's art, and for that he feels remorse. It is all there in Mozart's deathbed scene: The agony of the older rival who hates to lose, who would lie and betray, and yet cannot deny that the young man's music is sublime." —Roger Ebert, on his list of great movies.

I've seen Amadeus described as an atheist film. I feel that is a terribly inaccurate assesment of the film. Although composer Antonio Salieri (F. Murray Abraham) regects God, who he feels has cursed him even as Salieri constantly praises His name, I feel this film is rather religiously ambiguous. To me, this is a film about a man who is so overcome by jealousy, he can not see how good he truly has it. In fact, Salieri says it himself that until Mozart (Tom Hulce) arrives in Vienna, he was the most celebrated and most well-loved composer in the city. But the fact that Mozart makes such beautiful music, it seems effortlessly, that it drives Salieri mad with rage.

Though supposedly a Mozart biopic, Amadeus is really about Salieri and his jealousy and his quest to destroy Mozart, who he sees as God's tool to spite him. However, I don't want to paint this as a dark film. It isn't one by any means. In fact, it is often light, playful, and humorous. Jeffery Jones' perfomance as Emperor Joseph is brought to mind in a role which is really unexpectedly hilarious. But Abraham is the center of this film. He as Salieri deserved the Best Supporting Actor Oscar he won and it is a shame that he is not among the premiere character actors of today.

Amadeus is a glorious film of great characters and great music, the score is completely from Mozart's own work. But not only is the score great, the verbal descriptions of music in the film are among the most beautiful I've ever heard. All in all, a masterpiece whose appeals should not be beyond anyone and should be seen by everyone.

BONUS POINTS: The midgets in the vaudeville.
"From now on we are enemies, You and I. Because You choose for Your instrument a boastful, lustful, smutty, infantile boy and give me only the ability to recognize the incarnation. Because You are unjust, unfair, unkind I will block You, I swear it. I will hinder and harm Your creature on Earth as far as I am able. I will ruin Your incarnation."

003. The Godfather (1972) Directed by Francis Ford Coppola
Starring Marlon Brando, Al Pacino, James Caan, Richard Castellano, and Robert Duvall
[godfather.jpg]

"The Brando performance is justly famous and often imitated. We know all about his puffy cheeks, and his use of props like the kitten in the opening scene. Those are actor's devices. Brando uses them but does not depend on them: He embodies the character so convincingly that at the end, when he warns his son two or three times that 'the man who comes to you to set up a meeting—that's the traitor,' we are not thinking of acting at all. We are thinking that the Don is growing old and repeating himself, but we are also thinking that he is probably absolutely right." —Roger Ebert, on his list of great movies.

Of the two films that are often hailed as the greatest of all time, The Godfather is the one truly deserving of that title (or at least more deserving). The other film being Citizen Kane, which is not to say that it is not a great film — it is — and one of the best, too, but The Godfather does not secure its place by technical innovation, but by an amazing story coupled with amazing performances. This is a film that does not merely have a story. It is a saga, a chronicle of events in the history of a family. And that's where the movie places the most emphasis: on the importance of family. In the Italian culture, loyalty to family is one of the most important virtues and that is also one of the centerpieces of The Godfather.

So much is said of Marlon Brando's performance as Vito Corleone, and rightfully so. But the film's title does not so much refer to him as his son Michael (Al Pacino) and his transformation from a man not wanting to take part in the family crime business to the ruthless killer of his every enemy. The true brilliance of this film is that it gives the viewer a rather one-sided view of events. We are given enough information to sympathize with the Corleones, because it is all we see. Their darker side is only really shown through the Johnny Fontane band leader story told by Michael, who at the time disapproved of such actions.

Whenever I have a conversation about movies and the subject of The Godfather comes up and they admit they have seen The Godfather, the conversation ends right there. Not only is there no excuse for not seeing it, but if you haven't, your opinion on film as a whole is completely irrelevant. If you profess to a fan of movies of any sort, there is no excuse for not seeing this masterful, beautiful film. I consider it the defining film of American cinema.

BONUS POINTS: The shot where Jack Woltz, the Hollywood executive, wakes up next to the horse's head should be an "OWNED" image.
"What have I ever done to make you treat me so disrespectfully? If you'd come to me in friendship, then this scum that ruined your daughter would be suffering this very day. And if by chance an honest man like yourself should make enemies, then they would become my enemies. And then they would fear you."

002. Pulp Fiction (1994) Directed by Quentin Tarantino
Starring John Travolta, Samuel L. Jackson, Bruce Willis, Uma Thurman, and Ving Rhames
[pulpfiction.jpg]

"Watching many movies, I realize that all of the dialogue is entirely devoted to explaining or furthering the plot, and no joy is taken in the style of language and idiom for its own sake. There is not a single line in 'Pearl Harbor you would want to quote with anything but derision. Most conversations in most movies are deadly boring, which is why directors with no gift for dialogue depend so heavily on action and special effects. The characters in 'Pulp Fiction' are always talking, and always interesting, funny, scary or audacious. This movie would work as an audio book. Imagine having to listen to 'The Mummy Returns.'"'' —Roger Ebert, on his list of great movies.

A lot of is said of the rapid-fire snappy hip dialogue in Pulp Fiction and rightfully so. The way each character speaks is what defines them. You get a real sense of these are real people actually having conversations and not just furthering along the plot. While that isn't something terrible original in a film, it's just what they choose to talk about that makes it all so special. How often can you actually say that it's a pleasure listen to film characters talk about hamburgers and footmassages and other things that have absolutely nothing to do with what is going on around them.

Pulp Fiction is a story of redemption. It is three intertwining stories whose focus is three men all at points in their lives that an event occurs and radical change in the way they all live is needed. Whether they recognize this or keep their lives on their course is different for each one. The highlight of the three parts of the story is "The Bonnie Situation," the section that focuses on Jules Winfield (Samuel L. Jackson). Not only does Jackson deliver what might be the coolest performance in all of cinema and is it absolutely hilarious throughout, it ends with an emotionally powerful bang.

This is the kind of film that comes around once in a lifetime. Once it came, it changed everything. It's often been copied, but has never been matched and I doubt it will be. There's just something about it. It's both utterly unique and yet a huge ripoff at the same time. Pulp Fiction draws on many sources to become a one of a kind film. A few months ago, this was my favorite movie. Hell, it still is — just tied with number one, which I happen to prefer at the moment for whatever reason.

BONUS POINTS: Christopher Walken giving a weird speech.
"There's a passage I got memorized. Ezekiel 25:17. 'The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.' I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a cold-blooded thing to say to a motherfucker before you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin': it could mean you're the evil man. And I'm the righteous man. And Mr. 9mm here, he's the shepherd protecting my righteous ass in the valley of darkness. Or it could be you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ain't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin', Ringo. I'm tryin' real hard to be a shepherd."

001. Goodfellas (1990) Directed by Martin Scorcese
Starring Ray Liotta, Robert De Niro, Joe Pesci, Lorraine Bracco, and Paul Sorvino
[goodfellas.jpg]

"What Scorsese does above all else is share his enthusiasm for the material. The film has the headlong momentum of a storyteller who knows he has a good one to share. Scorsese's camera caresses these guys, pays attention to the shines on their shoes and the cut of their clothes. And when they're planning the famous Lufthansa robbery, he has them whispering together in a tight three-shot that has their heads leaning low and close with the thrill of their own audacity. You can see how much fun it is for them to steal." —Roger Ebert, on his list of great movies.

Here it is. This is my favorite film. Instead of just talking about the film, this time, I'll tell you all why Goodfellas is my favorite movie. First of all, I'm going to say right now that I'm a sucker for mob movies. There's just something fascinating about how much care is taken into all of it. These guys aren't mere thieves and murderers — this is their livelihood and they treat it that way. I guess why I prefer this over a film like, say The Godfather is basically because Goodfellas is just more entertaining. I love watching it. I love the voice-over montages explaining how a job went down or who's who or how the mafia's system works. I love getting Henry Hill's (Ray Liotta) insight into every aspect of the film. I love watching the culture so richly potrayed by this film. I love this movie.

Goodfellas is the saga of Henry Hill's life in the mob. From when he got started, working in a cabstand, to when it all came crashing down when he took the stand against men who were once his closest friends. Liotta is perfect to play Hill. He is at any point jovial and happy and the next insane with rage. Scorcese mainstays Joe Pesci and Robert De Niro are here, Pesci giving his usual manic (and this time hilarious performance), but De Niro is a bit laidback in this role as Jimmy Conway, but gives his usual fantastic performance.

I suspect a few people to say that Goodfellas is a good film, but not worthy of number one. I say for you to eat me. Goodfellas is an amazing film with a fantastic journey to take us on about how regular guys from the streets can have it all and then have it taken away just as quickly. Great performances and plenty of unforgettable moments make this an equally great and unforgettable film.

BONUS POINTS: The "how am I funny" scene.
"For us to live any other way was nuts. Uh, to us, those goody-good people who worked shitty jobs for bum paychecks and took the subway to work every day, and worried about their bills, were dead. I mean they were suckers. They had no balls. If we wanted something we just took it. If anyone complained twice they got hit so bad, believe me, they never complained again."

These are my top one hundred favorite movies. Thanks for all your kind words and support.

Now, I am out.

—Lucainan