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Top 10 Criterions

by Steve--Zissou

Created 11/11/17

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It is straightforward from here.

  • If you can tell me that there is a more greater, more bleak yet powerful film out there, I'd like to hear it. Never in my dreams would I find a film that struck all the right cords with me. Brando is a revelation, Malden is the underdog actor and Cobb's Johnny Friendly is so menacing yet despicable. Words can't describe the power this film brings.

  • It is so damn cool that there is no other film that compares with this. It is intense, suspenseful, and just one of the best films ever created.

  • There has never been any films that have shocked me more than these two. It is impossible for me to choose which one is more profound, a story of a man on a run from his life or a story of a man on the search for life. Both are the most visceral offerings from cinema.

  • Fellini and Antonioni are like cake and ice cream respectively. Fellini embodies the cake, something that we all have a limit on before we get sick of it (see the man in Annie Hall), where as Antonioni is the Ice Cream, in which you consume so much until your mind freezes over. It is impossible to choose Fellini or Antonioni because each has had a profound mark on me, but these two showcase the greatness of 1960 in cinema.

  • It really needs no introduction. It is the 21st Century Citizen Kane, it is so profound, so moving that when Nico's The Fairest of the Seasons plays during the Epilogue you wanna break down. A two hour character study turns into a family reunion after an absence of thirty years. It is that good.

  • Do I have to elaborate on this at all? It is where modern filmmakers start their careers. The template for all to come.

  • There is one scene in this film that has always struck a cord with me, and that is when Thomas is in the studio blowing up the images. Never has there been a much more shocking, suspenseful scene then a man simply blowing up photographs. It is one of the best films ever, made even better by Jimmy Page and Herbie Hancock.

  • For a long period of time, I defended Rififi as being one of the greatest French films of all time. While I still weigh my words, The Wages of Fear on the first viewing hit me much harder, shacking me to my core, and creating an atmosphere that I never felt. It is the genesis to any film with a large budget, and should be the book of Genesis to the hacks who call themselves filmmakers.

  • Orson Welles's entrance to the sound of a zither. That alone is all I have to say.

  • It is hard to think about it, because it is a kitchen sink drama set to the lush score of Legrand, wrapped in a beautiful package by Demy containing Denueve in her breakout role. Yet with all the elements that create a very upbeat and maybe somewhat hopeful film, it is three thousand butcher knives slicing your heart then feeding it to the dogs. Cinema can never get anymore depressing.

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