15k - Line's NEW Top 100 Films of All Time

[Line]

So Toy Story 3 was a disappointment.

 

[Rageking]

^no chance it would live up to the first anyway

 

[Line]

^no chance it would live up to the first anyway

The amount of positive feedback it's been receiving is borderline absurd. Some are calling it the best Toy Story, others the best thing Pixar has ever done. I thought it was lazy.

 

[tim290280]

I can't believe you sat through one Toy Story movie, let alone several!!!

I would say the same about the Shrek films, they are very lazy, completely cashing in the original's success.

 

[Line]

I can't believe you sat through one Toy Story movie, let alone several!!!

Seeing how I was 10 when the first one came out, I don't see what the surprise is. Frankly, I like the first two pictures, but thought the third one felt more like something from Dreamworks than Pixar and the supposed darkness of it more forced than fitting.

Anyway, update in a few.

 

[Line]

81. Berlin Alexanderplatz (Fassbinder, 1980)

Clocking in at almost 16 hours in length, Berlin Alexanderplatz is a thorough expose on one man's psyche -- specifically everyman Franz Biberkopf, a recently released convict who's struggle to ground himself becomes defined by the transient texture of pre-war German society. Epic hardly describes the lengths Fassbinder goes to in fleshing out his functionalist motif, showing, in great detail, not only the overt cultural concerns of a country straining against itself but also the latent, subconscious issues that so evolve our most elemental essences. In this, a dialogue emerges that showcases the back-and-forth dynamic of man and environment and how control is but an illusory defense mechanism employed only during our most fragile of states.

 

[tim290280]

^^ 16hrs

I thought sitting through a StarWars or Lord of the Rings marathon was tough. How did the director keep the audience involved, or was it down to the audience to persevere?

 

[Line]

^^ 16hrs

I thought sitting through a StarWars or Lord of the Rings marathon was tough. How did the director keep the audience involved, or was it down to the audience to persevere?

Most don't watch it all the way through, as it was shown in episode form on German television after its completion. A few other well known directors have done this - taking lengthy films and rolling them out periodically on TV - such as Ingmar Bergman with Scenes from a Marriage and Fanny and Alexander, Lars von Trier with his Riget series, and Kieślowski's with his Decalogue. Still, continuous viewings have been held for each of these works. I found myself watching a few hours of Alexanderplatz per day. Damn fine cinema that.

 

[Line]

80. Young Torless (Schlondorff, 1966)

Young Torless is, above all else and perhaps bravely so, a thorough examination of the human condition as explored through the progressive exploitation of social constraints and the observable effects of dehumanization that ensue from such amoral experimentation. That this was all done in the name of enlightenment, if you will, makes it all the more deliciously sinister; that the device was channeled through relative children makes it trying. And although implications have some vaguely political relevance, Schlondorff's aim, seemingly, is to expound on the ways we learn about humanity and, in accordance ourselves -- that only an equitable outlook on life can produce a stable, sustainable society.

 

[El Freako]

So yeah... about this list...

 

[Line]

Ha, I'll update it later today.

 

[Line]

79. Nashville (Altman, 1975)

An organic tapestry of archaic trends - defined by a mise en ab?me relation of social locations - and the encroaching effects of counterculture, Robert Altman's bicentennially set Nashville is largely an assay on tradition, one that details how products-of-a-time will eventually erode at the hands of an ever-progressing Zeitgeist. Told in typical Altman fashion, the work doesn't bounce from plot point to plot point but exists individual within its own realized realm -- exposition, in a traditional sense, is largely eschewed and the camera glides idyllic over the picture's aura: a stew of the city's heritage and musical customs laced with political intervention. In this, the film is more symphonic than it is narratively dependent; an amalgam of the arts that knows that parts cannot surpass their sum.

 

[Line]

78. The Sacrifice (Tarkovsky, 1986)

Though I no longer find myself aligned with the Russian master's moral compass, the works of Andrei Tarkovsky still resonate in the way he delicately reflects upon the conflicts of the psyche through contrasting images of nitid compositions and monochromatic dreamscapes. His camera is like an apparition: a silent, static observer to his protagonists' most personal struggles that, when put into kinesis, goes on to depict the complexities of life through tonally sober formalism. But this isn't to say that this work is inherently dreary or reads as an existential claptrap. Tarkovsky is able to approach his principles' most dire concerns with a humble sort of grace; even in a piece that features a central theme of keeping one's faith in the face of a science-spawned apocalypse, his hand still reads as passive, not assertive. Rather than posit his own beliefs as the picture's pulse, he instead uses the motif to make a polystylistic commentary on Ingmar Bergman and the way he explored fealty throughout his career, even going as far as setting the picture in Bergman's native Sweden and casting Erland Josephson - a frequent Bergman collaborator - in the lead role.

 

[Line]

Two updates forthcoming later today. This means I'll be 1/4 of the way through the list, at which point I'll post a breakdown by what decades, countries, and directors have been featured thus far.

 

[Storm]

Epic bumpage!

You seem to grow tired of your own top-100 lists once you reach 70-something, I bet your taste has changed once again as it did in 2008 but would you mind posting your former or your current list, or perhaps focus on presenting your current top 25 -- write-ups included -- with the promise of driving it to an end?
Personally I always find your writeups amusing. I find myself discovering not only new and interesting movies but also new words and new levels of nerdiness, which I truly appreciate.

Cheers!

 

[Pioneer]

I also enjoy reading you reviews and opinions on films, I really want to read what you have to say about the films towards the top of the list as well and second the opinion you should just do write ups for your top 25.