10 Great Filmmakers’ Top 10 Favorite Moviesbuzz | By Jason Bailey | July 31, 2013
It’s a big week for finding out the movies that your favorite moviemakers love. First, the fine folks at the BFI unearthed the only known list Stanley Kubrick ever made of his favorite films; it dates to 1963, so it was by no means definitive, but it’s still fascinating. Meanwhile, to help boost interest in his Kickstarter project, Spike Lee released his list of the 25 films he considers essential for young filmmakers. And on top of all that, the Criterion Collection put out its latest list of film fans’ favorite Criterion titles — this time from the notorious Roger Corman. Between Criterion’s lists and the BFI’s Sight & Sound polls, it’s not hard to find out what films are most prized by both the revered masters of films and the most exciting up and comers; check out some of their recommendations after the jump.
Stanley Kubrick
I Vitelloni (Fellini, 1953)
Wild Strawberries (Bergman, 1957)
Citizen Kane (Welles, 1941)
The Treasure of the Sierra Madre (Huston, 1948)
City Lights (Chaplin, 1931)
Henry V (Olivier, 1944)
La notte (Antonioni, 1961)
The Bank Dick (Fields, 1940)
Roxie Hart (Wellman, 1942)
Hell’s Angels (Hughes, 1930)
What’s most fun about this list may well be the final three entries: a roughhouse W.C. Fields comedy, a freewheeling Ginger Rogers picture, and Howard Hughes’ soapy war movie. In other words, Kubrick was far from the dour, “art for art’s sake” type that his followers tend to presume (and emulate), though you wouldn’t guess it from the shocked responses to the recent revelation that he all-out loved The Jerk, Modern Romance, and White Men Can’t Jump.
It’s a big week for finding out the movies that your favorite moviemakers love. First, the fine folks at the BFI unearthed the only known list Stanley Kubrick ever made of his favorite films; it dates to 1963, so it was by no means definitive, but it’s still fascinating. Meanwhile, to help boost interest in his Kickstarter project, Spike Lee released his list of the 25 films he considers essential for young filmmakers. And on top of all that, the Criterion Collection put out its latest list of film fans’ favorite Criterion titles — this time from the notorious Roger Corman. Between Criterion’s lists and the BFI’s Sight & Sound polls, it’s not hard to find out what films are most prized by both the revered masters of films and the most exciting up and comers; check out some of their recommendations after the jump.
Stanley Kubrick
I Vitelloni (Fellini, 1953)
Wild Strawberries (Bergman, 1957)
Citizen Kane (Welles, 1941)
The Treasure of the Sierra Madre (Huston, 1948)
City Lights (Chaplin, 1931)
Henry V (Olivier, 1944)
La notte (Antonioni, 1961)
The Bank Dick (Fields, 1940)
Roxie Hart (Wellman, 1942)
Hell’s Angels (Hughes, 1930)
What’s most fun about this list may well be the final three entries: a roughhouse W.C. Fields comedy, a freewheeling Ginger Rogers picture, and Howard Hughes’ soapy war movie. In other words, Kubrick was far from the dour, “art for art’s sake” type that his followers tend to presume (and emulate), though you wouldn’t guess it from the shocked responses to the recent revelation that he all-out loved The Jerk, Modern Romance, and White Men Can’t Jump.
Martin Scorsese
2001: A Space Odyssey (Kubrick, 1968)
8 ½ (Fellini, 1963)
Ashes and Diamonds (Wadja, 1958)
Citizen Kane (Welles, 1941)
The Leopard (Visconti, 1963)
Paisa (Rossellini, 1946)
The Red Shoes (Powell/Pressburger, 1948)
The River (Renoir, 1951)
Salvatore Giuliano (Rosi, 1962)
The Searchers (Ford, 1956)
Ugetsu Monogatari (Kenji, 1953)
Vertigo (Hitchcock, 1958)
Through years of film preservation efforts, documentaries, and spontaneously generated lists, Martin Scorsese has never hesitated to share recommendations from his encyclopedic knowledge of film history. When he had to narrow it down to only ten titles for the 2012 BFI Sight and Sound poll, he came up with a pretty efficient summary of his interests: a Kubrick, a Hitchcock, a Welles, a Western (The Searchers, the oft-acknowledged inspiration for Taxi Driver), a Powell/Pressburger, and lots of Italian cinema.
2001: A Space Odyssey (Kubrick, 1968)
8 ½ (Fellini, 1963)
Ashes and Diamonds (Wadja, 1958)
Citizen Kane (Welles, 1941)
The Leopard (Visconti, 1963)
Paisa (Rossellini, 1946)
The Red Shoes (Powell/Pressburger, 1948)
The River (Renoir, 1951)
Salvatore Giuliano (Rosi, 1962)
The Searchers (Ford, 1956)
Ugetsu Monogatari (Kenji, 1953)
Vertigo (Hitchcock, 1958)
Through years of film preservation efforts, documentaries, and spontaneously generated lists, Martin Scorsese has never hesitated to share recommendations from his encyclopedic knowledge of film history. When he had to narrow it down to only ten titles for the 2012 BFI Sight and Sound poll, he came up with a pretty efficient summary of his interests: a Kubrick, a Hitchcock, a Welles, a Western (The Searchers, the oft-acknowledged inspiration for Taxi Driver), a Powell/Pressburger, and lots of Italian cinema.
Woody Allen
The 400 Blows (Truffaut, 1959)
8 ½ (Fellini, 1963)
Amarcord (Fellini, 1972)
The Bicycle Thieves (de Sica, 1948)
Citizen Kane (Welles, 1941)
The Discreet Charm of the Bourgeoisie (Bunuel, 1972)
Grand Illusion (Renoir, 1937)
Paths of Glory (Kubrick, 1957)
Rashomon (Kurosawa, 1950)
The Seventh Seal (Bergman, 1957)
Unsurprisingly, the creator of some of his generation’s funniest films doesn’t include one outright comedy on his Sight and Sound list (though he’s often acknowledged his love for the movies of Bob Hope, the Marx Brothers, W.C. Fields, Charlie Chaplin, and Buster Keaton). That said, there aren’t too many surprises on this list: he name-drops Grand Illusion in Manhattan, sends up Seventh Seal in Love and Death, and pays rather explicit homage to 8 ½ in Stardust Memories.
The 400 Blows (Truffaut, 1959)
8 ½ (Fellini, 1963)
Amarcord (Fellini, 1972)
The Bicycle Thieves (de Sica, 1948)
Citizen Kane (Welles, 1941)
The Discreet Charm of the Bourgeoisie (Bunuel, 1972)
Grand Illusion (Renoir, 1937)
Paths of Glory (Kubrick, 1957)
Rashomon (Kurosawa, 1950)
The Seventh Seal (Bergman, 1957)
Unsurprisingly, the creator of some of his generation’s funniest films doesn’t include one outright comedy on his Sight and Sound list (though he’s often acknowledged his love for the movies of Bob Hope, the Marx Brothers, W.C. Fields, Charlie Chaplin, and Buster Keaton). That said, there aren’t too many surprises on this list: he name-drops Grand Illusion in Manhattan, sends up Seventh Seal in Love and Death, and pays rather explicit homage to 8 ½ in Stardust Memories.
Francis Ford Coppola
The Apartment (Wilder, 1960)
Ashes and Diamonds (Wajda, 1958)
The Bad Sleep Well (Kurosawa, 1960)
The Best Years of Our Lives (Wyler, 1946)
I Vitelloni (Fellini, 1953)
The King of Comedy (Scorsese, 1983)
Raging Bull (Scorsese, 1980)
Singin’ in the Rain (Donen/Kelley, 19510)
Sunrise (Murnau, 1927)
Yojimbo (Kurosawa, 1961)
When confined to ten movies, most directors tend to spread the praise a little bit, but not Coppola: he picks two films each by the great Kurosawa and his friend Scorsese. Those double-plays notwithstanding, there’s a wide range of styles and genres on display here, which speaks to the variety of both Coppola’s taste and his filmography; about the only film here with a direct line of influence to a Coppola picture is Singin’ in the Rain, which seems to have partially inspired his notorious flop musical One from the Heart.
The Apartment (Wilder, 1960)
Ashes and Diamonds (Wajda, 1958)
The Bad Sleep Well (Kurosawa, 1960)
The Best Years of Our Lives (Wyler, 1946)
I Vitelloni (Fellini, 1953)
The King of Comedy (Scorsese, 1983)
Raging Bull (Scorsese, 1980)
Singin’ in the Rain (Donen/Kelley, 19510)
Sunrise (Murnau, 1927)
Yojimbo (Kurosawa, 1961)
When confined to ten movies, most directors tend to spread the praise a little bit, but not Coppola: he picks two films each by the great Kurosawa and his friend Scorsese. Those double-plays notwithstanding, there’s a wide range of styles and genres on display here, which speaks to the variety of both Coppola’s taste and his filmography; about the only film here with a direct line of influence to a Coppola picture is Singin’ in the Rain, which seems to have partially inspired his notorious flop musical One from the Heart.
Quentin Tarantino
Apocalypse Now (Coppola, 1979)
The Bad News Bears (Ritchie, 1976)
Carrie (de Palma, 1976)
Dazed and Confused (Linklater, 1993)
The Good, The Bad, and the Ugly (Leone, 1966)
The Great Escape (Sturges, 1963)
His Girl Friday (Hawkes, 1939)
Jaws (Spielberg, 1975)
Pretty Maids All in a Row (Vadim, 1971)
Rolling Thunder (Flynn, 1977)
Sorcerer (Friedkin, 1977)
Taxi Driver (Scorsese, 1976)
Tarantino’s eclectic taste is well-known — hell, it’s part of his persona. On his 2012 Sight and Sound list, there are some no brainers: Inglourious Basterds was inspired by WWII men-on-a-mission flicks like The Great Escape, Pulp Fiction’s includes explicit instructions to replicate the overlapping dialogue style of His Girl Friday, and Tarantino apes Taxi Driver’s overhead shot surveying Travis Bickle’s carnage at the conclusion of Django Unchained’s similarly stylish bloodbath. But there’s a couple of puzzlers on here, too — most notably the rather skeezy high-school-teachers-sleeping-with-students murder mystery Pretty Maids (penned by, of all people, Star Trek creator Gene Rodenberry). Conspicuous in its absence is Rio Bravo, which Tarantino once said he shows to any girl he’s dating, “and she’d better fucking like it.”
Apocalypse Now (Coppola, 1979)
The Bad News Bears (Ritchie, 1976)
Carrie (de Palma, 1976)
Dazed and Confused (Linklater, 1993)
The Good, The Bad, and the Ugly (Leone, 1966)
The Great Escape (Sturges, 1963)
His Girl Friday (Hawkes, 1939)
Jaws (Spielberg, 1975)
Pretty Maids All in a Row (Vadim, 1971)
Rolling Thunder (Flynn, 1977)
Sorcerer (Friedkin, 1977)
Taxi Driver (Scorsese, 1976)
Tarantino’s eclectic taste is well-known — hell, it’s part of his persona. On his 2012 Sight and Sound list, there are some no brainers: Inglourious Basterds was inspired by WWII men-on-a-mission flicks like The Great Escape, Pulp Fiction’s includes explicit instructions to replicate the overlapping dialogue style of His Girl Friday, and Tarantino apes Taxi Driver’s overhead shot surveying Travis Bickle’s carnage at the conclusion of Django Unchained’s similarly stylish bloodbath. But there’s a couple of puzzlers on here, too — most notably the rather skeezy high-school-teachers-sleeping-with-students murder mystery Pretty Maids (penned by, of all people, Star Trek creator Gene Rodenberry). Conspicuous in its absence is Rio Bravo, which Tarantino once said he shows to any girl he’s dating, “and she’d better fucking like it.”
Edgar Wright
2001: A Space Odyssey (Kubrick, 1968)
An American Werewolf in London (Landis, 1981)
Carrie (de Palma, 1976)
Dames (Enright/Berkeley, 1934)
Don’t Look Now (Roeg, 1973)
Duck Soup (McCarey, 1933)
Psycho (Hitchcock, 1960)
Raising Arizona (Coen, 1987)
Taxi Driver (Scorsese, 1976)
The Wild Bunch (Peckinpah, 1969)
The director of Hot Fuzz, Shaun of the Dead, Scott Pilgrim vs. the World, and the forthcoming The World’s End shares Tarantino’s populist (and genre-infused) taste, and even two of the same titles. His least surprising inclusion: the horror/comedy An American Werewolf in London, a rather obvious influence on Shaun of the Dead. Most surprising: Dames, a 1930s musical comedy featuring musical numbers by Busby Berkeley. Who’da thunk?
2001: A Space Odyssey (Kubrick, 1968)
An American Werewolf in London (Landis, 1981)
Carrie (de Palma, 1976)
Dames (Enright/Berkeley, 1934)
Don’t Look Now (Roeg, 1973)
Duck Soup (McCarey, 1933)
Psycho (Hitchcock, 1960)
Raising Arizona (Coen, 1987)
Taxi Driver (Scorsese, 1976)
The Wild Bunch (Peckinpah, 1969)
The director of Hot Fuzz, Shaun of the Dead, Scott Pilgrim vs. the World, and the forthcoming The World’s End shares Tarantino’s populist (and genre-infused) taste, and even two of the same titles. His least surprising inclusion: the horror/comedy An American Werewolf in London, a rather obvious influence on Shaun of the Dead. Most surprising: Dames, a 1930s musical comedy featuring musical numbers by Busby Berkeley. Who’da thunk?
Guillermo del Toro
8 ½ (Fellini, 1963)
La Belle et la Bete (Cocteau, 1946)
Frankenstein (Whale, 1931)
Freaks (Browning, 1932)
Goodfellas (Scorsese, 1990)
Greed (von Stroheim, 1925)
Los Olvidados (Bunuel, 1950)
Modern Times (Chaplin, 1936)
Nosferatu (Murnau, 1922)
Shadow of a Doubt (Hitchcock, 1943)
Unsurprisingly, horror and sci-fi master del Toro has a few more genre efforts on his list than most: Hitchcock’s small-town thriller Shadow of a Doubt, Browning’s horrifying Freaks, and the monster classics Nosferatu and Frankenstein — though it’s a little surprising to see those films on there instead of Godzilla (considering how much time and energy he spent on Pacific Rim).
8 ½ (Fellini, 1963)
La Belle et la Bete (Cocteau, 1946)
Frankenstein (Whale, 1931)
Freaks (Browning, 1932)
Goodfellas (Scorsese, 1990)
Greed (von Stroheim, 1925)
Los Olvidados (Bunuel, 1950)
Modern Times (Chaplin, 1936)
Nosferatu (Murnau, 1922)
Shadow of a Doubt (Hitchcock, 1943)
Unsurprisingly, horror and sci-fi master del Toro has a few more genre efforts on his list than most: Hitchcock’s small-town thriller Shadow of a Doubt, Browning’s horrifying Freaks, and the monster classics Nosferatu and Frankenstein — though it’s a little surprising to see those films on there instead of Godzilla (considering how much time and energy he spent on Pacific Rim).
Lena Dunham
Fish Tank (Arnold, 2009)
Days of Heaven (Malick, 1978)
Broadcast News (Brooks, 1987)
Weekend (Haigh, 2011)
(tie) La Pointe Coure, Cleo from 5 to 7, Le bonheur, Vagabond (Varda)
(tie) The Marriage of Maria Braun, Ali: Fear Eats the Soul (Fassbinder)
Picnic at Hanging Rock (Weir, 1975)
(tie) Straw Dogs (Peckinpah, 1971), Dead Ringers (Cronenberg, 1988)
Through a Glass Darkly (Bergman, 1961)
The War Room (Hegedus/Pennebaker, 1993)
Our last three filmmakers didn’t participate in the Sight & Sound poll, so their picks are pulled from their Criterion lists — which confines them to that film’s collection, but that’s not a bad restriction to have. Even so, Girls creator/star Dunham still cheats and does three ties, inflating her list to 14 titles. Two of those ties are dictated by a shared director, but the reasoning for the Straw Dogs/Dead Ringers pairing is the best: “These are both movies I made out to in college and later felt had been inappropriate choices for setting a romantic mood. I will never forget watching one of two Jeremy Ironses finger his satanic gynecological equipment while a guy named Phil sort of touched my boob. Straw Dogs makes you feel really awkward about removing your leggings, so you just don’t.”
Fish Tank (Arnold, 2009)
Days of Heaven (Malick, 1978)
Broadcast News (Brooks, 1987)
Weekend (Haigh, 2011)
(tie) La Pointe Coure, Cleo from 5 to 7, Le bonheur, Vagabond (Varda)
(tie) The Marriage of Maria Braun, Ali: Fear Eats the Soul (Fassbinder)
Picnic at Hanging Rock (Weir, 1975)
(tie) Straw Dogs (Peckinpah, 1971), Dead Ringers (Cronenberg, 1988)
Through a Glass Darkly (Bergman, 1961)
The War Room (Hegedus/Pennebaker, 1993)
Our last three filmmakers didn’t participate in the Sight & Sound poll, so their picks are pulled from their Criterion lists — which confines them to that film’s collection, but that’s not a bad restriction to have. Even so, Girls creator/star Dunham still cheats and does three ties, inflating her list to 14 titles. Two of those ties are dictated by a shared director, but the reasoning for the Straw Dogs/Dead Ringers pairing is the best: “These are both movies I made out to in college and later felt had been inappropriate choices for setting a romantic mood. I will never forget watching one of two Jeremy Ironses finger his satanic gynecological equipment while a guy named Phil sort of touched my boob. Straw Dogs makes you feel really awkward about removing your leggings, so you just don’t.”
Rian Johnson
8 ½ (Fellini, 1963)
Brazil (Gilliam, 1985)
F for Fake (Welles, 1975)
Amarcord (Fellini, 1972)
Fanny and Alexander (Bergman, 1982)
M. Hulot’s Holiday (Tati, 1953)
Scenes from a Marriage (Bergman, 1973)
The Thin Man (Reed, 1949)
The Bad Sleep Well (Kurosawa, 1960)
Down by Law (Jarmusch, 1986)
The director of Looper and Brick has a Criterion list that’s heavy on Fellini and Bergman, but with a welcome nod to Jarmusch, Welles’ most underrated film, and this tidbit about the Collection’s epic three-disc treatment of Terry Gilliam’s dark (and troubled) masterpiece Brazil: “For our little group of starving filmmaker friends muddling through our twenties, this particular box set was sort of a holy grail. I’m barely exaggerating when I say that it was mythic — like Harry Smith’s Anthology in the West Village folk scene in the sixties. If somebody had the Criterion Brazil at their apartment, it would draw a crowd. A beautiful transfer, exhaustive supplements, and the ‘Love Conquers All’ cut is a holy terror of a revelation.”
8 ½ (Fellini, 1963)
Brazil (Gilliam, 1985)
F for Fake (Welles, 1975)
Amarcord (Fellini, 1972)
Fanny and Alexander (Bergman, 1982)
M. Hulot’s Holiday (Tati, 1953)
Scenes from a Marriage (Bergman, 1973)
The Thin Man (Reed, 1949)
The Bad Sleep Well (Kurosawa, 1960)
Down by Law (Jarmusch, 1986)
The director of Looper and Brick has a Criterion list that’s heavy on Fellini and Bergman, but with a welcome nod to Jarmusch, Welles’ most underrated film, and this tidbit about the Collection’s epic three-disc treatment of Terry Gilliam’s dark (and troubled) masterpiece Brazil: “For our little group of starving filmmaker friends muddling through our twenties, this particular box set was sort of a holy grail. I’m barely exaggerating when I say that it was mythic — like Harry Smith’s Anthology in the West Village folk scene in the sixties. If somebody had the Criterion Brazil at their apartment, it would draw a crowd. A beautiful transfer, exhaustive supplements, and the ‘Love Conquers All’ cut is a holy terror of a revelation.”
Christopher Nolan
The Hit (Frears, 1984)
Twelve Angry Men (Lumet, 1957)
The Thin Red Line (Malick, 1998)
The Testament of Dr. Mabuse (Lang, 1933)
Bad Timing (Roeg, 1980)
Merry Christmas Mr. Lawrence (Oshima, 1983)
For All Mankind (Reinert, 1989)
Koyaanisqatsi (Reggio, 1983)
Mr. Arkadin (Welles, 1955)
Greed (von Stroheim, 1925)
Dark Knight director Nolan, whose debut feature Following was recently added to the Criterion Collection, crafts a list that is (predictably enough) heavy on visual feasts and psychological intensity. And he bends the rules with his last entry, Greed, “von Stroheim’s lost work of absolute genius,” a film that is “not available on Criterion. Yet. Here’s hoping.”
The Hit (Frears, 1984)
Twelve Angry Men (Lumet, 1957)
The Thin Red Line (Malick, 1998)
The Testament of Dr. Mabuse (Lang, 1933)
Bad Timing (Roeg, 1980)
Merry Christmas Mr. Lawrence (Oshima, 1983)
For All Mankind (Reinert, 1989)
Koyaanisqatsi (Reggio, 1983)
Mr. Arkadin (Welles, 1955)
Greed (von Stroheim, 1925)
Dark Knight director Nolan, whose debut feature Following was recently added to the Criterion Collection, crafts a list that is (predictably enough) heavy on visual feasts and psychological intensity. And he bends the rules with his last entry, Greed, “von Stroheim’s lost work of absolute genius,” a film that is “not available on Criterion. Yet. Here’s hoping.”
Michael Mann
Producer | The Insider
A student of London's International Film School, Michael Mann began his career in the late 70s, writing for TV shows like Starsky and Hutch (1975). He directed his first film, the award-winning prison drama The Jericho Mile (1979), in 1979. He followed that in 1981 with his first theatrical release,...
Apocalypse Now (1979, Francis Ford Coppola) Battleship Potemkin (1925, Sergei Eisenstein) Citizen Kane (1941, Orson Welles) Avatar (2009, James Cameron) Dr. Strangelove (1964, Stanley Kubrick) Biutiful (2010, Alejandro Gonzalez Inarritu) My Darling Clementine (1946, John Ford) The Passion of Joan of Arc (1928, Carl theodor Dreyer) Raging Bull (1980, Martin Scorsese) The Wild Bunch (1969, Sam Peckinpah)
Producer | The Insider
A student of London's International Film School, Michael Mann began his career in the late 70s, writing for TV shows like Starsky and Hutch (1975). He directed his first film, the award-winning prison drama The Jericho Mile (1979), in 1979. He followed that in 1981 with his first theatrical release,...
Apocalypse Now (1979, Francis Ford Coppola) Battleship Potemkin (1925, Sergei Eisenstein) Citizen Kane (1941, Orson Welles) Avatar (2009, James Cameron) Dr. Strangelove (1964, Stanley Kubrick) Biutiful (2010, Alejandro Gonzalez Inarritu) My Darling Clementine (1946, John Ford) The Passion of Joan of Arc (1928, Carl theodor Dreyer) Raging Bull (1980, Martin Scorsese) The Wild Bunch (1969, Sam Peckinpah)
David Fincher
Director
David Fincher was born in 1962 in Denver, Colorado, and was raised in Marin County, California. When he was 18 years old he went to work for John Korty at Korty Films in Mill Valley. He subsequently worked at ILM (Industrial Light and Magic) from 1981-1983. Fincher left ILM to direct TV commercials...
Butch Cassidy and the Sundance Kid (1969, Ravencroft/Russek) Chinatown (1974, Polanski) Dr. Strangelove (1964, Kubrick) Godfather 2 (1974, Coppola) Taxi Driver (1976, Scorcese) Being There (1979, Ashby) All The Jazz (1979, Fosse) Alien (1979, Scott) Rear Window (1954, Hitchcock) Zelig (1983, Allen) Cabaret (1972, Fosse) Paper Moon (1973, Bogdanovich) Jaws (1975, Spielberg) Lawrence of Arabia (1962, Lean) All the President’s Men (1976, Pakula) 8 1/2 (1963, Fellini) Citizen Kane (1941, Welles) Days of Heaven (1978, Malick) Animal House (1978, Landis) Road Warrior (1982, Miller) Year of Living Dangerously (1982, Weir) American Graffiti (1973, Lucas) Terminator (1984, Cameron) Monty Python and the Holy Grail (1975, Gilliam/Jones) The Exorcist (1973, Friedkin) The Graduate (1966, Nichols)
Director
David Fincher was born in 1962 in Denver, Colorado, and was raised in Marin County, California. When he was 18 years old he went to work for John Korty at Korty Films in Mill Valley. He subsequently worked at ILM (Industrial Light and Magic) from 1981-1983. Fincher left ILM to direct TV commercials...
Butch Cassidy and the Sundance Kid (1969, Ravencroft/Russek) Chinatown (1974, Polanski) Dr. Strangelove (1964, Kubrick) Godfather 2 (1974, Coppola) Taxi Driver (1976, Scorcese) Being There (1979, Ashby) All The Jazz (1979, Fosse) Alien (1979, Scott) Rear Window (1954, Hitchcock) Zelig (1983, Allen) Cabaret (1972, Fosse) Paper Moon (1973, Bogdanovich) Jaws (1975, Spielberg) Lawrence of Arabia (1962, Lean) All the President’s Men (1976, Pakula) 8 1/2 (1963, Fellini) Citizen Kane (1941, Welles) Days of Heaven (1978, Malick) Animal House (1978, Landis) Road Warrior (1982, Miller) Year of Living Dangerously (1982, Weir) American Graffiti (1973, Lucas) Terminator (1984, Cameron) Monty Python and the Holy Grail (1975, Gilliam/Jones) The Exorcist (1973, Friedkin) The Graduate (1966, Nichols)
Six Directors Pick Their Favorite Films of the 21st-Century
Antoine Fuqua, Sofia Coppola, Paul Feig, Denis Villeneuve, Brett Ratner and Alex Gibney share their highly personal lists.
ImageBy Melena Ryzik
June 9, 2017After our chief film critics named their top 25 movies of the 21st century (so far), we asked some notable filmmakers for their favorite movies since 2000. In phone interviews and emails, they spoke about what touched them as fans or taught them as directors. Here are edited excerpts from their answers.
Antoine FuquaDirector, “Training Day,” “The Magnificent Seven”
I love all types of films: great character-driven pieces like “There Will Be Blood,” and entertainment like “Gravity” and “Avatar” that transported me to other places and filled me with wonderment — a reminder to us all to continue pushing our vision. “Fences” reminded me of my childhood growing up in Pittsburgh; “Munich” educated me while being entertaining and suspenseful in a way that only Steven Spielberg or Hitchcock could pull off. And like everyone else, I just like to grab my popcorn and sit back and enjoy what Hollywood is all about in movies like “Gladiator,” a throwback to the David Lean days of epic filmmaking.
Narrowing this list was a feat in itself — here we go!
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FENCES By PARAMOUNT PICTURES 2:33
Trailer: ‘Fences’
A preview of "Fences."Published OnDec. 15, 2016CreditImage by David Lee/Paramount Pictures1. ‘Fences’ (2016)
A feast of masterful acting. Denzel Washington did an incredible job of not only directing, but also having the laserlike focus and discipline to stay true and elevate to the big screen one of our most talented and celebrated playwrights. I believe August Wilson would be proud.
2. ‘Slumdog Millionaire’ (2008)
Took us into a world that I have never seen before and executed it in a visceral, gritty way. It was not only moving, but it was heartfelt, dangerous and entertaining.
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3. ‘Beasts of the Southern Wild’ (2012)
Imaginative and deeply moving, without all the tricks of Hollywood. A world undiscovered by some, in our own backyard.
4. ‘Zero Dark Thirty’ (2012)
An important portrayal of the events that led to the killing of bin Laden that sustained intensity and tension, even when it was only two people in the room talking. I thought Kathryn Bigelow did a masterful job, and Mark Boal’s script was smart, tight and moving.
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Subscribe to The Times5. ‘Avatar’ (2009)
6. ‘Munich’ (2005)
7. ‘There Will Be Blood’ (2007)
8. ‘The Pianist’ (2002)
Not only was Adrien Brody fantastic portraying Wladyslaw Szpilman, but Roman Polanski took us through this tragic journey elegantly and emotionally. And it’s a film that I have watched several times, and I always see something new in the frame.
9. ‘Eastern Promises’ (2007)
Viggo Mortensen was one of the coldest gangsters I’ve seen in a while, and his performance was as detailed, dangerous and scary as you could possibly get. It goes up there with some of my all-time favorite gangster films like Michael Mann’s “Heat” and Scorsese’s “Goodfellas.”
10. ‘Gladiator’ (2000)
Sofia CoppolaDirector, “Lost in Translation,” the forthcoming “The Beguiled”
I usually like more subtle movies but can enjoy all kinds. [For this list] I just thought about movies I liked from the last 15, 20 years. I find them inspiring, especially when it’s something you haven’t seen before, and not close to anything I’m doing.
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FORCE MAJEURE Magnolia Pictures 1:58
Trailer: ‘Force Majeure’
A preview of "Force Majeure."Published OnDec. 23, 2014CreditImage by Magnolia Pictures‘Force Majeure’ (2014)
Great acting — I loved the little moments, the details that said so much.
‘The White Ribbon’ (2009)
I love ‘White Ribbon’ for its [black-and-white] photography; it felt so real to the period [pre-World War I Germany].”
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‘The Savages’ (2007)
For the performances [by Laura Linney and Philip Seymour Hoffman], and the mix of humor and sorrow.
‘Head-On’ (2005)
‘Daddy’s Home’ (2015)
The only film my kids and I equally enjoy together! I love Will Ferrell, and this movie is sweet and fun to watch with cracking-up kids.
‘Under the Skin’ (2014)
[Scarlett Johansson] was so good in that — well cast, and it was so weird and innovative the way they shot it and incorporated real people. I thought that movie should have gotten more recognition.
‘The Incredibles’ (2004)
‘Together’ (2001)
I love “We Are the Best!” by that director [Lukas Moodysson] but “Together,” set in a ’70s Swedish commune, is so good.
‘Grizzly Man’ (2005)
‘Ida’ (2014)
‘Fish Tank’ (2010)
It feels so real, and [director Andrea Arnold] captures the awkwardness and feeling of the characters.
‘Ex Machina’ (2015)
Worth it just for Oscar Isaac’s dancing scene!
Paul FeigDirector, “Bridesmaids,” “Ghostbusters”
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I’m a very noncynical filmmaker. I like uplifting endings, I love romance, just feel-good movies. The best experience I ever have [is] when I forget I’m watching a movie. Or when as a filmmaker, I’m going, “How did they do that?”
My favorite films, in no particular order:
Video
00:00
1:10
NAPOLEON DYNAMITE Fox Searchlight Pictures 1:10
Trailer: ‘Napoleon Dynamite’
A preview of "Napoleon Dynamite."Published OnDec. 24, 2014CreditImage by Internet Video Archive‘Napoleon Dynamite’ (2004)
One of those movies I could watch over and over again, because it was just so out of left field. In comedy, we feel that we’ve seen it all and done it all, but then an original voice comes in and you go, damn.
‘Moulin Rouge’ (2001)
‘Sing Street’ (2016)
‘Deadpool’ (2016)
‘This Is the End’ (2013)
Every 10 or 15 years, comedy takes a big step forward, because somebody does something [risky], and to me that’s what that was. They pulled off all those elements that seemed like they couldn’t work — it was emotional and funny, and yet they had done this thing of playing themselves.
‘Amélie’ (2001)
[Audrey Tautou was] so unbelievably charming and fun to watch in that role, but then you combine that with that filmmaking style, it’s so literal and yet stylish. You fall in love with her immediately. My only complaint: In the last shot, when she’s on that scooter, I wish she was driving the scooter and the guy was behind her.
‘Love Actually’ (2003)
The most impossible thing in the world is to effectively juggle multiple story lines. I just study the movie — I still marvel at it, I still don’t know how [the director, Richard Curtis] did it.
‘A Single Man’ (2009)
‘Moon’ (2009)
A masterwork. And one of my favorite soundtracks ever.
‘Casino Royale’ (2006)
Another one I could just watch every day. Daniel Craig is my favorite Bond. That opening parkour scene, that’s still one of the greatest action sequences in a movie. And the scene in the airport with the tankard truck — there’s not just mayhem, there’s drama, you’re learning about the characters. If you’re getting pulled along in the story while you’re watching this kick-ass action, that to me is the thing.
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‘Mustang’ (2015)
[Deniz Gamze Erguven’s debut about five sisters in Turkey] completely blew me away. Obviously I love any movies about women finding their own way. It’s heartbreaking but so beautifully directed. When you make your first film, if it’s good, for the first time, the world is climbing into your head and seeing the world through your eyes.
Denis VilleneuveDirector, “Arrival,” the forthcoming “Blade Runner 2049”
Video
00:00
2:24
NO COUNTRY FOR OLD MEN Miramax 2:24
Trailer: ‘No Country for Old Men’
A preview of "No Country for Old Men."Published OnDec. 23, 2014CreditImage by Richard Foreman/Miramax FilmsWhich movie is the best one ... “There Will Be Blood” or “No Country for Old Men” (both from 2007)? Strange question. I’m driven by the impact these movies had on me then, and still today. Time is the ultimate judge.
There are specific shots that went directly through my skull, like a bullet spreading particles of my brain on my walls. Like the shot of Daniel Day-Lewis baptizing a baby with oil, making “There Will Be Blood” an instant new classic. I felt the same way watching the Coen brothers’ opus “No Country for Old Men.” The image of the policeman’s boots making dark marks on the floor as he is being strangled by the nightmarish killer, portrayed by Javier Bardem, has haunted me since then.
The deer being killed in slow motion by a car in “A Prophet” (2010) remains one of the most powerful cinematic shots of the last decade. But is it better than following Scarlett Johansson in a pool of darkness in “Under the Skin”(2014)? Apples and oranges. Lists are for grocery stores.
The madness in “Dogtooth” (2010) is the most refreshing thing I’ve seen in a long time. Yorgos Lanthimos may be one of the most exciting filmmakers working today. I’m still laughing at the crazy adults running to catch airplanes falling into their garden, because their father convinced them that they were fruit dropping from the sky.
I vividly remember Lars von Trier’s “Dogville” (2004). The idea of making a set without walls to show the cowardice of a community was genius.
ADVERTISEMENT
God, I love cinema. And I wish I could add more films I love … like “Children of Men” (2006), “Inception” (2010) or “Amores Perros” (2001).
When I started making movies at the end of the 20th century, the previous generation of filmmakers said cinema was dead. Well … long live cinema!
Brett RatnerDirector, “Rush Hour,” “Hercules”
These films are my personal favorites for various reasons. Many other films are worthy, but I thought I’d keep it to 10. I also wanted to include documentaries, one of my favorite genres.
Video
00:00
1:33
THE KID STAYS IN THE PICTURE USA Films 1:33
Trailer: ‘The Kid Stays in the Picture’
A preview of "The Kid Stays in the Picture."Published OnJan. 1, 2015CreditImage by Julian Wasser/USA Films1. ‘The Kid Stays in the Picture’ (2002)
One of the greatest documentaries ever made. At the time, it was groundbreaking for Brett Morgen and Nanette Burstein’s use of taking still photographs and bringing them to life. The film made me dream and was a story of survival of one of the greatest living producers.
2. ‘The Pianist’ (2002)
It will go down in history as one of the greatest Holocaust motion pictures ever made.
3. ‘The Hangover’ (2009)
A reflection of my love for Todd Phillips as a filmmaker. He is not only brilliant at comedy, but he also has a complete understanding of the audience.
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4. ‘Borat’ (2006)
One of the best comedies ever; not since I was a kid and saw Eddie Murphy creating unique characters had there been anything like this. Also groundbreaking in its format.
5. ‘The Social Network’ (2010)
A masterfully made film on all levels.
6. ‘Y Tu Mamá También’ (2002)
Reminded me of films that captured my youth such as “Risky Business,” “Fast Times at Ridgemont High” and “The Last American Virgin.” They captured what I was feeling about life after college, sexuality, friendship, love, my parents, and all the issues that a young man has to face. This film did that for [a new] generation.
7. ‘Sexy Beast’ (2001)
Gangster films are my favorite genre; this is one of the great modern-day gangster movies and Ben Kingsley’s character, one of the great villains. Jonathan Glazer’s filmmaking is unobtrusive and to the point. He created a film that is full of style and substance.
8. ‘Birth’ (2004)
Another brilliant film by Jonathan Glazer, extraordinary [for] not only the performances and tone but Harris Savides’s cinematography.
9. ‘Roman Polanski: Wanted and Desired’ (2008)
Marina Zenovich’s film is one of the great examples of why [documentaries] are so impactful. She tells a very complex story that leaves the moral opinion up to the viewer.
10. ‘Kill Bill: Vol. 1’ (2003)
There is no filmmaker like Quentin Tarantino, nor will there ever be.
Alex GibneyDirector, “Taxi to the Dark Side,” “Going Clear: Scientology and the Prison of Belief”
ADVERTISEMENT
I don’t like 10-best lists. How do you rank “Spirited Away” over “Eastern Promises”?
And I don’t even like proclaiming “great films.” I remember that my father spent most of his life wanting to be a “great man,” but became more interesting and important to me when he became a “good man,” sharp, curious and more interested in listening than making speeches.
My list comprises “good films” that stirred my heart in unexpected ways.
Many are documentaries. So far, in the 21st century, documentaries have often been more profound and form-bending than fiction. One day, at the Toronto film festival, when I saw both “The Gatekeepers” (2012) and “Stories We Tell” (2013), I thought I had been transported to cinematic Elysium.
Here’s a list of other remarkable films, chosen almost at random from my longer list of 30.
Video
00:00
0:58
CITY OF GOD Miramax Home Entertainment 0:58
Trailer: ‘City of God’
A preview of "City of God."Published OnFeb. 19, 2015CreditImage by Internet Video Archive‘City of God’ (2003)
Wow! The chicken and the knife!
‘Michael Clayton’ (2007)
Great take on corruption. My favorite scene is when [George Clooney] takes care of a client who is too arrogant to know how much trouble he is in. Want to understand the 2008 financial crisis? Watch this scene.
‘Pan’s Labyrinth’ (2006)
I’ve spent a lot of time thinking about torture. This film gets deep into the horror of it all and the imagination that’s needed to survive it.
‘No Country for Old Men’ (2007)
The ultimate post-9/11 film that has nothing to do with Al Qaeda or the politics of the Iraq war. It’s about a brutal force of terror that can’t be bargained with and can only be understood with the wisdom of a lawman philosopher.
ADVERTISEMENT
‘The Grand Budapest Hotel’ (2014)
Formally brilliant. And what a gas!
‘I Am Not Your Negro’ (2017)
Masterpiece.
A Triptych of Three Innovative Docs
“Nostalgia for the Light” (2011), those seeking answers in the past meet in the present. Who says narration can’t be poetry? “Waltz With Bashir”(2008) created a new genre — the animated documentary — to tell a story of haunting memories. “Iraq in Fragments” (2006) makes poetry out of the everyday lives of Iraqis.
‘Grizzly Man’ (2005)
My editors will tell you of my failed but relentless attempts to imitate Werner Herzog’s voice speaking about [Timothy] Treadwell seeing the “flicker of humanity” in the eyes of the bear [that ultimately kills him].
‘Heart of a Dog” (2015)
A film that makes up its own rules as it goes along.
‘The Big Short’ (2015)
It’s hard to make abstract economic concepts understandable and fun. This film is cinematic Frank Zappa or Captain Beefheart — free to go where it wants to go. And Christian Bale’s performance — ooh la la.
Antoine Fuqua, Sofia Coppola, Paul Feig, Denis Villeneuve, Brett Ratner and Alex Gibney share their highly personal lists.
ImageBy Melena Ryzik
June 9, 2017After our chief film critics named their top 25 movies of the 21st century (so far), we asked some notable filmmakers for their favorite movies since 2000. In phone interviews and emails, they spoke about what touched them as fans or taught them as directors. Here are edited excerpts from their answers.
Antoine FuquaDirector, “Training Day,” “The Magnificent Seven”
I love all types of films: great character-driven pieces like “There Will Be Blood,” and entertainment like “Gravity” and “Avatar” that transported me to other places and filled me with wonderment — a reminder to us all to continue pushing our vision. “Fences” reminded me of my childhood growing up in Pittsburgh; “Munich” educated me while being entertaining and suspenseful in a way that only Steven Spielberg or Hitchcock could pull off. And like everyone else, I just like to grab my popcorn and sit back and enjoy what Hollywood is all about in movies like “Gladiator,” a throwback to the David Lean days of epic filmmaking.
Narrowing this list was a feat in itself — here we go!
Video
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2:33
FENCES By PARAMOUNT PICTURES 2:33
Trailer: ‘Fences’
A preview of "Fences."Published OnDec. 15, 2016CreditImage by David Lee/Paramount Pictures1. ‘Fences’ (2016)
A feast of masterful acting. Denzel Washington did an incredible job of not only directing, but also having the laserlike focus and discipline to stay true and elevate to the big screen one of our most talented and celebrated playwrights. I believe August Wilson would be proud.
2. ‘Slumdog Millionaire’ (2008)
Took us into a world that I have never seen before and executed it in a visceral, gritty way. It was not only moving, but it was heartfelt, dangerous and entertaining.
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3. ‘Beasts of the Southern Wild’ (2012)
Imaginative and deeply moving, without all the tricks of Hollywood. A world undiscovered by some, in our own backyard.
4. ‘Zero Dark Thirty’ (2012)
An important portrayal of the events that led to the killing of bin Laden that sustained intensity and tension, even when it was only two people in the room talking. I thought Kathryn Bigelow did a masterful job, and Mark Boal’s script was smart, tight and moving.
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Subscribe to The Times5. ‘Avatar’ (2009)
6. ‘Munich’ (2005)
7. ‘There Will Be Blood’ (2007)
8. ‘The Pianist’ (2002)
Not only was Adrien Brody fantastic portraying Wladyslaw Szpilman, but Roman Polanski took us through this tragic journey elegantly and emotionally. And it’s a film that I have watched several times, and I always see something new in the frame.
9. ‘Eastern Promises’ (2007)
Viggo Mortensen was one of the coldest gangsters I’ve seen in a while, and his performance was as detailed, dangerous and scary as you could possibly get. It goes up there with some of my all-time favorite gangster films like Michael Mann’s “Heat” and Scorsese’s “Goodfellas.”
10. ‘Gladiator’ (2000)
Sofia CoppolaDirector, “Lost in Translation,” the forthcoming “The Beguiled”
I usually like more subtle movies but can enjoy all kinds. [For this list] I just thought about movies I liked from the last 15, 20 years. I find them inspiring, especially when it’s something you haven’t seen before, and not close to anything I’m doing.
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FORCE MAJEURE Magnolia Pictures 1:58
Trailer: ‘Force Majeure’
A preview of "Force Majeure."Published OnDec. 23, 2014CreditImage by Magnolia Pictures‘Force Majeure’ (2014)
Great acting — I loved the little moments, the details that said so much.
‘The White Ribbon’ (2009)
I love ‘White Ribbon’ for its [black-and-white] photography; it felt so real to the period [pre-World War I Germany].”
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‘The Savages’ (2007)
For the performances [by Laura Linney and Philip Seymour Hoffman], and the mix of humor and sorrow.
‘Head-On’ (2005)
‘Daddy’s Home’ (2015)
The only film my kids and I equally enjoy together! I love Will Ferrell, and this movie is sweet and fun to watch with cracking-up kids.
‘Under the Skin’ (2014)
[Scarlett Johansson] was so good in that — well cast, and it was so weird and innovative the way they shot it and incorporated real people. I thought that movie should have gotten more recognition.
‘The Incredibles’ (2004)
‘Together’ (2001)
I love “We Are the Best!” by that director [Lukas Moodysson] but “Together,” set in a ’70s Swedish commune, is so good.
‘Grizzly Man’ (2005)
‘Ida’ (2014)
‘Fish Tank’ (2010)
It feels so real, and [director Andrea Arnold] captures the awkwardness and feeling of the characters.
‘Ex Machina’ (2015)
Worth it just for Oscar Isaac’s dancing scene!
Paul FeigDirector, “Bridesmaids,” “Ghostbusters”
ADVERTISEMENT
I’m a very noncynical filmmaker. I like uplifting endings, I love romance, just feel-good movies. The best experience I ever have [is] when I forget I’m watching a movie. Or when as a filmmaker, I’m going, “How did they do that?”
My favorite films, in no particular order:
Video
00:00
1:10
NAPOLEON DYNAMITE Fox Searchlight Pictures 1:10
Trailer: ‘Napoleon Dynamite’
A preview of "Napoleon Dynamite."Published OnDec. 24, 2014CreditImage by Internet Video Archive‘Napoleon Dynamite’ (2004)
One of those movies I could watch over and over again, because it was just so out of left field. In comedy, we feel that we’ve seen it all and done it all, but then an original voice comes in and you go, damn.
‘Moulin Rouge’ (2001)
‘Sing Street’ (2016)
‘Deadpool’ (2016)
‘This Is the End’ (2013)
Every 10 or 15 years, comedy takes a big step forward, because somebody does something [risky], and to me that’s what that was. They pulled off all those elements that seemed like they couldn’t work — it was emotional and funny, and yet they had done this thing of playing themselves.
‘Amélie’ (2001)
[Audrey Tautou was] so unbelievably charming and fun to watch in that role, but then you combine that with that filmmaking style, it’s so literal and yet stylish. You fall in love with her immediately. My only complaint: In the last shot, when she’s on that scooter, I wish she was driving the scooter and the guy was behind her.
‘Love Actually’ (2003)
The most impossible thing in the world is to effectively juggle multiple story lines. I just study the movie — I still marvel at it, I still don’t know how [the director, Richard Curtis] did it.
‘A Single Man’ (2009)
‘Moon’ (2009)
A masterwork. And one of my favorite soundtracks ever.
‘Casino Royale’ (2006)
Another one I could just watch every day. Daniel Craig is my favorite Bond. That opening parkour scene, that’s still one of the greatest action sequences in a movie. And the scene in the airport with the tankard truck — there’s not just mayhem, there’s drama, you’re learning about the characters. If you’re getting pulled along in the story while you’re watching this kick-ass action, that to me is the thing.
ADVERTISEMENT
‘Mustang’ (2015)
[Deniz Gamze Erguven’s debut about five sisters in Turkey] completely blew me away. Obviously I love any movies about women finding their own way. It’s heartbreaking but so beautifully directed. When you make your first film, if it’s good, for the first time, the world is climbing into your head and seeing the world through your eyes.
Denis VilleneuveDirector, “Arrival,” the forthcoming “Blade Runner 2049”
Video
00:00
2:24
NO COUNTRY FOR OLD MEN Miramax 2:24
Trailer: ‘No Country for Old Men’
A preview of "No Country for Old Men."Published OnDec. 23, 2014CreditImage by Richard Foreman/Miramax FilmsWhich movie is the best one ... “There Will Be Blood” or “No Country for Old Men” (both from 2007)? Strange question. I’m driven by the impact these movies had on me then, and still today. Time is the ultimate judge.
There are specific shots that went directly through my skull, like a bullet spreading particles of my brain on my walls. Like the shot of Daniel Day-Lewis baptizing a baby with oil, making “There Will Be Blood” an instant new classic. I felt the same way watching the Coen brothers’ opus “No Country for Old Men.” The image of the policeman’s boots making dark marks on the floor as he is being strangled by the nightmarish killer, portrayed by Javier Bardem, has haunted me since then.
The deer being killed in slow motion by a car in “A Prophet” (2010) remains one of the most powerful cinematic shots of the last decade. But is it better than following Scarlett Johansson in a pool of darkness in “Under the Skin”(2014)? Apples and oranges. Lists are for grocery stores.
The madness in “Dogtooth” (2010) is the most refreshing thing I’ve seen in a long time. Yorgos Lanthimos may be one of the most exciting filmmakers working today. I’m still laughing at the crazy adults running to catch airplanes falling into their garden, because their father convinced them that they were fruit dropping from the sky.
I vividly remember Lars von Trier’s “Dogville” (2004). The idea of making a set without walls to show the cowardice of a community was genius.
ADVERTISEMENT
God, I love cinema. And I wish I could add more films I love … like “Children of Men” (2006), “Inception” (2010) or “Amores Perros” (2001).
When I started making movies at the end of the 20th century, the previous generation of filmmakers said cinema was dead. Well … long live cinema!
Brett RatnerDirector, “Rush Hour,” “Hercules”
These films are my personal favorites for various reasons. Many other films are worthy, but I thought I’d keep it to 10. I also wanted to include documentaries, one of my favorite genres.
Video
00:00
1:33
THE KID STAYS IN THE PICTURE USA Films 1:33
Trailer: ‘The Kid Stays in the Picture’
A preview of "The Kid Stays in the Picture."Published OnJan. 1, 2015CreditImage by Julian Wasser/USA Films1. ‘The Kid Stays in the Picture’ (2002)
One of the greatest documentaries ever made. At the time, it was groundbreaking for Brett Morgen and Nanette Burstein’s use of taking still photographs and bringing them to life. The film made me dream and was a story of survival of one of the greatest living producers.
2. ‘The Pianist’ (2002)
It will go down in history as one of the greatest Holocaust motion pictures ever made.
3. ‘The Hangover’ (2009)
A reflection of my love for Todd Phillips as a filmmaker. He is not only brilliant at comedy, but he also has a complete understanding of the audience.
ADVERTISEMENT
4. ‘Borat’ (2006)
One of the best comedies ever; not since I was a kid and saw Eddie Murphy creating unique characters had there been anything like this. Also groundbreaking in its format.
5. ‘The Social Network’ (2010)
A masterfully made film on all levels.
6. ‘Y Tu Mamá También’ (2002)
Reminded me of films that captured my youth such as “Risky Business,” “Fast Times at Ridgemont High” and “The Last American Virgin.” They captured what I was feeling about life after college, sexuality, friendship, love, my parents, and all the issues that a young man has to face. This film did that for [a new] generation.
7. ‘Sexy Beast’ (2001)
Gangster films are my favorite genre; this is one of the great modern-day gangster movies and Ben Kingsley’s character, one of the great villains. Jonathan Glazer’s filmmaking is unobtrusive and to the point. He created a film that is full of style and substance.
8. ‘Birth’ (2004)
Another brilliant film by Jonathan Glazer, extraordinary [for] not only the performances and tone but Harris Savides’s cinematography.
9. ‘Roman Polanski: Wanted and Desired’ (2008)
Marina Zenovich’s film is one of the great examples of why [documentaries] are so impactful. She tells a very complex story that leaves the moral opinion up to the viewer.
10. ‘Kill Bill: Vol. 1’ (2003)
There is no filmmaker like Quentin Tarantino, nor will there ever be.
Alex GibneyDirector, “Taxi to the Dark Side,” “Going Clear: Scientology and the Prison of Belief”
ADVERTISEMENT
I don’t like 10-best lists. How do you rank “Spirited Away” over “Eastern Promises”?
And I don’t even like proclaiming “great films.” I remember that my father spent most of his life wanting to be a “great man,” but became more interesting and important to me when he became a “good man,” sharp, curious and more interested in listening than making speeches.
My list comprises “good films” that stirred my heart in unexpected ways.
Many are documentaries. So far, in the 21st century, documentaries have often been more profound and form-bending than fiction. One day, at the Toronto film festival, when I saw both “The Gatekeepers” (2012) and “Stories We Tell” (2013), I thought I had been transported to cinematic Elysium.
Here’s a list of other remarkable films, chosen almost at random from my longer list of 30.
Video
00:00
0:58
CITY OF GOD Miramax Home Entertainment 0:58
Trailer: ‘City of God’
A preview of "City of God."Published OnFeb. 19, 2015CreditImage by Internet Video Archive‘City of God’ (2003)
Wow! The chicken and the knife!
‘Michael Clayton’ (2007)
Great take on corruption. My favorite scene is when [George Clooney] takes care of a client who is too arrogant to know how much trouble he is in. Want to understand the 2008 financial crisis? Watch this scene.
‘Pan’s Labyrinth’ (2006)
I’ve spent a lot of time thinking about torture. This film gets deep into the horror of it all and the imagination that’s needed to survive it.
‘No Country for Old Men’ (2007)
The ultimate post-9/11 film that has nothing to do with Al Qaeda or the politics of the Iraq war. It’s about a brutal force of terror that can’t be bargained with and can only be understood with the wisdom of a lawman philosopher.
ADVERTISEMENT
‘The Grand Budapest Hotel’ (2014)
Formally brilliant. And what a gas!
‘I Am Not Your Negro’ (2017)
Masterpiece.
A Triptych of Three Innovative Docs
“Nostalgia for the Light” (2011), those seeking answers in the past meet in the present. Who says narration can’t be poetry? “Waltz With Bashir”(2008) created a new genre — the animated documentary — to tell a story of haunting memories. “Iraq in Fragments” (2006) makes poetry out of the everyday lives of Iraqis.
‘Grizzly Man’ (2005)
My editors will tell you of my failed but relentless attempts to imitate Werner Herzog’s voice speaking about [Timothy] Treadwell seeing the “flicker of humanity” in the eyes of the bear [that ultimately kills him].
‘Heart of a Dog” (2015)
A film that makes up its own rules as it goes along.
‘The Big Short’ (2015)
It’s hard to make abstract economic concepts understandable and fun. This film is cinematic Frank Zappa or Captain Beefheart — free to go where it wants to go. And Christian Bale’s performance — ooh la la.