The Top 100: Part 15 (#30-26)

Part One (All)|Part 10|Part 11|Part 12|Part 13|Part 14 (Last)|Part 16 (Next)|Part 17|18|19|20


Yojimbo (1961)

Director: Akira Kurosawa (7th)

Toshiro Mifune. Tatsuya Nakadai. Facing off in the best pure western ever made. A duel for the ages, masterfully edited, acted, and shot. An almost perfect film.


Prisoners (2013)

Director: Dennis Villeneuve (1st)

Villeneuve’s “Prisoners” is a hauntingly dark film. The world curated is completely unforgiving, showing the twisted side of humanity and how backwards the world can turn in a hurry. Hugh Jackman and Jack Gyllenhaal deliver career best performances.


Eternal Sunshine Of The Spotless Mind (2004)

Director: Michael Gondry (1st)

Charlie Kaufman scripts are the eighth wonder of the world and none of his scripts are better than this uniquely structured and deeply personal depiction of a relationship. The concept and execution of the writing is so mind-blowingly good. The cast is great, but Jim Carey and Kate winslet really get lost in their characters. It’s heartbreak shown in a different sense and I love it.


Schindler’s List (1993)

Director: Steven Spielberg (1st)

The sheer terror of undermining the Nazi’s authority in Germany and carefully walking that line. In Spielberg’s masterpiece, he touches at the heart of the holocaust, a lone journey to sanctuary that serves as small semblance of warmth and humanity. The gorgeous yet real depiction of the holocaust, one led by two outstanding performances from Liam Neeson and Ben Kingsley make this a touching experience rather than utter devastation.


F For Fake (1973)

Director: Orson Welles (4th)

“F for Fake,” a film about fakery and fraud.

Told through the mouthpiece of one of the great forgers of our time, the indomitable Orson Welles, it’s a story that understands its own vision. A film that was not only trying to inform about the great elmyr, or the subtle yet deceptive Cliff Irving: the author of the elmyr book. F for Fake is a masterpiece of sight, sound, and a complete sham.

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