Sight and Sound's Top Tens
08-03-12 | 09:38 AM
#51
Re: Sight and Sound's Top Tens
Here are some individual Top 10s that had some surprising recent, mainstream titles you don't normally see on these kinds of lists. These lists have more comedies on them which are almost always given the shaft on these kinds of lists. As the old guard starts to die off, I think the younger directors will start giving comedies their due.
IMO some of those lists are guilty of cronyism.
08-03-12 | 11:37 AM
#52
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Re: Sight and Sound's Top Tens
I can't watch Tokyo Story anymore. I cry like a little girl every time i do. I still think Barry Lyndon is better than 2001 and North by Northwest is better than Vertigo. In the Mood for Love should be in the top ten.
Last edited by Lemdog; 08-03-12 at 11:42 AM.
08-03-12 | 12:38 PM
#53
DVD Talk Legend
Re: Sight and Sound's Top Tens
Well if that's the truth, then some of those cronies are guilty of criticism.
Tokyo Story is magnificent but nothing in that movie feels like the powerful slam to the scrotilia like that final shot in An Autumn Afternoon. Christ. I feel weak just thinking about it. I wet 'em.
Tokyo Story is magnificent but nothing in that movie feels like the powerful slam to the scrotilia like that final shot in An Autumn Afternoon. Christ. I feel weak just thinking about it. I wet 'em.
08-03-12 | 10:55 PM
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08-05-12 | 02:25 PM
#56
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Re: Sight and Sound's Top Tens
I actually think some of that taking it for granted stems from the cussing and violence. A film has to be classy and not have so many fucks to be considered on a list of such prestige and whatnot is what i imagine to be the line of thinking.
08-05-12 | 06:02 PM
#57
Re: Sight and Sound's Top Tens
Travis takes Betsy to a porn film and you see an on screen gang bang.
Jodie Foster plays a 12 year old prostitute.
Blacks are not portrayed in a very positive light in this film.
DeNiro calls his black clients "spooks".
Scorsese says that his woman is fooling around with a "**********" and he is gonna stick a .44 Magnum in her pussy.
If you take away the "artsiness" of Scorsese's masterful direction (very Godardian) you would end up with a full fledged exploitation flick.
08-06-12 | 11:23 AM
#58
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Re: Sight and Sound's Top Tens
Come on! Every night he has to wipe the cum out of the back of the cab. That's classy. It's called "romance". Get a clue.
08-06-12 | 12:02 PM
#59
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Re: Sight and Sound's Top Tens
I don't think Taxi Driver is what one considers "classy"
Travis takes Betsy to a porn film and you see an on screen gang bang.
Jodie Foster plays a 12 year old prostitute.
Blacks are not portrayed in a very positive light in this film.
DeNiro calls his black clients "spooks".
Scorsese says that his woman is fooling around with a "**********" and he is gonna stick a .44 Magnum in her pussy.
If you take away the "artsiness" of Scorsese's masterful direction (very Godardian) you would end up with a full fledged exploitation flick.
Travis takes Betsy to a porn film and you see an on screen gang bang.
Jodie Foster plays a 12 year old prostitute.
Blacks are not portrayed in a very positive light in this film.
DeNiro calls his black clients "spooks".
Scorsese says that his woman is fooling around with a "**********" and he is gonna stick a .44 Magnum in her pussy.
If you take away the "artsiness" of Scorsese's masterful direction (very Godardian) you would end up with a full fledged exploitation flick.
08-06-12 | 01:23 PM
#60
Re: Sight and Sound's Top Tens
Antonioni's L'avventura just 2 years after it was made came in second place in the 1962 poll.
From what I see it the shortest time for a film to make it to the list.
1962 poll
1. "Citizen Kane" (Orson Welles, 1941)
2. "L'avventura" (Michelangelo Antonioni, 1960)
3. "La Règle du jeu" (Jean Renoir, 1939)
=4. "Greed" (Erich von Stroheim, 1924)
=4. "Ugetsu Monogatari" (Kenji Mizoguchi, 1953)
=6. "Battleship Potemkin" (Sergei Eisenstein, 1925)
=6. "Bicycle Thieves" (Vittorio De Sica, 1948)
=6. "Ivan the Terrible" (Sergei Eisenstein, 1944)
9. "La terra trema" (Luchino Visconti, 1948)
10. "L'Atalante" (Jean Vigo, 1934)
From what I see it the shortest time for a film to make it to the list.
1962 poll
1. "Citizen Kane" (Orson Welles, 1941)
2. "L'avventura" (Michelangelo Antonioni, 1960)
3. "La Règle du jeu" (Jean Renoir, 1939)
=4. "Greed" (Erich von Stroheim, 1924)
=4. "Ugetsu Monogatari" (Kenji Mizoguchi, 1953)
=6. "Battleship Potemkin" (Sergei Eisenstein, 1925)
=6. "Bicycle Thieves" (Vittorio De Sica, 1948)
=6. "Ivan the Terrible" (Sergei Eisenstein, 1944)
9. "La terra trema" (Luchino Visconti, 1948)
10. "L'Atalante" (Jean Vigo, 1934)
12-01-22 | 01:41 PM
#61
Re: Sight and Sound's Top Tens
For the first time in its 70-year history, an esteemed international poll of film experts has ranked a film directed by a woman as the greatest of all time.
“Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles,” written and directed by the Belgian auteur Chantal Akerman and released in 1975, topped a list of 100 films honored by the British magazine Sight and Sound’s “Greatest Films of All Time” critics’ poll, the publication announced Thursday. Conducted only once a decade, the poll is the largest of its kind and the results have been regarded as an authoritative canon since it was first conducted in 1952. This year, it surveyed more than 1,600 critics, scholars, distributors, curators, archivists and others.
The previous No. 1 on the list, Alfred Hitchcock’s “Vertigo” (1959), dropped to No. 2. Orson Welles’s “Citizen Kane” (1941), which had held the top spot for 50 years before that, is now No. 3.
“Streaming and digital communication have created opportunities to amplify voices and films that were less seen before,” said Mike Williams, the editor of Sight and Sound, which produces the list in partnership with the British Film Institute, the magazine’s publisher. “I think our list is becoming more reflective of the wider world of filmmaking, enjoyment, criticism and conversation.”
The number of participants is nearly double the 846 surveyed when the last poll was conducted, in 2012. Williams said that the inclusion of so many new voices probably helped elevate films and filmmakers from a broader range of backgrounds and perspectives.
In the 2012 poll, “Jeanne Dielman,” then tied at No. 36, was one of only two films directed by women, along with Claire Denis’s “Beau Travail” (1998), then tied at No. 78. (Regardless of ties, which occur often, only 100 films make the cut.) This year, 11 films directed by women are on the list, including “Beau Travail,” now ranking at No. 7, Agnès Varda’s “Cléo From 5 to 7” (1962) at No. 14 and Céline Sciamma’s “Portrait of a Lady on Fire” (2019) at No. 30.
For the first time, the poll also acknowledges the work of several Black directors. In 2012, the Senegalese filmmaker Djibril Diop Mambéty’s “Touki Bouki” (1973) was the sole Black-directed film in the Top 100, ranking at No. 93. This year, seven Black directors appear on the list, including Spike Lee, at No. 24 for “Do the Right Thing” (1989), Charles Burnett, tied at No. 43 for “Killer of Sheep” (1977), and Julie Dash, tied at No. 60 for “Daughters of the Dust” (1991).
In another first, the list also includes two animated films, both directed by the Studio Ghibli co-founder Hayao Miyazaki: “My Neighbor Totoro” (1988) is tied at No. 72 and “Spirited Away” (2001) is tied at 75. Four films in the Top 100 were released in the last decade, including “Portrait of a Lady on Fire,” Barry Jenkins’s “Moonlight” (2016), tied at No. 60, Bong Joon Ho’s “Parasite” (2019), tied at No. 90, and Jordan Peele’s “Get Out” (2017), tied at No. 95.
In 2012, no film released in the previous 10 years made the cut.
As is the case every decade, the new arrivals mean some notable demotions. This time, a handful of long-heralded landmarks, including David Lean’s “Lawrence of Arabia” (1962), Sam Peckinpah’s “The Wild Bunch” (1969) and Roman Polanski’s “Chinatown” (1974) dropped out.
“Momentum moves in both directions,” Williams said. “Certain directors perhaps are less in vogue now than they were in the past.”
To create the list, five Sight and Sound editors and associates asked respondents to select what they considered to be the 10 greatest films of all time, with the definition of “greatness” left to the respondent’s discretion. The lists were unranked — each of the 10 films received one vote. The editors then used software to rank all submitted films by the total number of votes.
Akerman’s triumph continues decades of growing recognition for the director, who died in 2015 at 65. “Jeanne Dielman,” the first of several of her films exploring the interior lives of women, meticulously tracks the daily routine of a middle-aged widow, slowly building to a dramatic climax. A second Akerman film, “News From Home” (1976), inspired by her move to New York City, also made the Sight and Sound list, tied at No. 52.
Speaking to The Times for Akerman’s obituary, Nicola Mazzanti, the director of the Royal Belgian Film Archive at the time, said “Jeanne Dielman” “created, overnight, a new way of making films, a new way of telling stories, a new way of telling time.
“There are filmmakers who are good, filmmakers who are great, filmmakers who are in film history,” he said. “And then there are a few filmmakers who change film history.”
Top 20 ‘Greatest Films of All Time’ Critics Poll
Here are the films (with their British release dates) at the top of Sight and Sound’s survey. The full list will be available on the BFI’s website
1. “Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles” (Chantal Akerman, 1975)
2. “Vertigo” (Alfred Hitchcock, 1958)
3. “Citizen Kane” (Orson Welles, 1941)
4. “Tokyo Story” (Yasujiro Ozu, 1953)
5. “In the Mood for Love” (Wong Kar-wai, 2001)
6. “2001: A Space Odyssey” (Stanley Kubrick, 1968)
7. “Beau Travail” (Claire Denis, 1998)
8. “Mulholland Drive” (David Lynch, 2001)
9. “Man With a Movie Camera” (Dziga Vertov, 1929)
10. “Singin’ in the Rain” (Stanley Donen and Gene Kelly, 1951)
11. “Sunrise: A Song of Two Humans” (F.W. Murnau, 1927)
12. “The Godfather” (Francis Ford Coppola, 1972)
13. “The Rules of the Game” (Jean Renoir, 1939)
14. “Cléo From 5 to 7” (Agnès Varda, 1962)
15. “The Searchers” (John Ford, 1956)
16. “Meshes of the Afternoon” (Maya Deren and Alexander Hammid, 1943)
17. “Close-Up” (Abbas Kiarostami, 1989)
18. “Persona” (Ingmar Bergman, 1966)
19. “Apocalypse Now” (Francis Ford Coppola, 1979)
20. “Seven Samurai” (Akira Kurosawa, 1954)
“Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles,” written and directed by the Belgian auteur Chantal Akerman and released in 1975, topped a list of 100 films honored by the British magazine Sight and Sound’s “Greatest Films of All Time” critics’ poll, the publication announced Thursday. Conducted only once a decade, the poll is the largest of its kind and the results have been regarded as an authoritative canon since it was first conducted in 1952. This year, it surveyed more than 1,600 critics, scholars, distributors, curators, archivists and others.
The previous No. 1 on the list, Alfred Hitchcock’s “Vertigo” (1959), dropped to No. 2. Orson Welles’s “Citizen Kane” (1941), which had held the top spot for 50 years before that, is now No. 3.
“Streaming and digital communication have created opportunities to amplify voices and films that were less seen before,” said Mike Williams, the editor of Sight and Sound, which produces the list in partnership with the British Film Institute, the magazine’s publisher. “I think our list is becoming more reflective of the wider world of filmmaking, enjoyment, criticism and conversation.”
The number of participants is nearly double the 846 surveyed when the last poll was conducted, in 2012. Williams said that the inclusion of so many new voices probably helped elevate films and filmmakers from a broader range of backgrounds and perspectives.
In the 2012 poll, “Jeanne Dielman,” then tied at No. 36, was one of only two films directed by women, along with Claire Denis’s “Beau Travail” (1998), then tied at No. 78. (Regardless of ties, which occur often, only 100 films make the cut.) This year, 11 films directed by women are on the list, including “Beau Travail,” now ranking at No. 7, Agnès Varda’s “Cléo From 5 to 7” (1962) at No. 14 and Céline Sciamma’s “Portrait of a Lady on Fire” (2019) at No. 30.
For the first time, the poll also acknowledges the work of several Black directors. In 2012, the Senegalese filmmaker Djibril Diop Mambéty’s “Touki Bouki” (1973) was the sole Black-directed film in the Top 100, ranking at No. 93. This year, seven Black directors appear on the list, including Spike Lee, at No. 24 for “Do the Right Thing” (1989), Charles Burnett, tied at No. 43 for “Killer of Sheep” (1977), and Julie Dash, tied at No. 60 for “Daughters of the Dust” (1991).
In another first, the list also includes two animated films, both directed by the Studio Ghibli co-founder Hayao Miyazaki: “My Neighbor Totoro” (1988) is tied at No. 72 and “Spirited Away” (2001) is tied at 75. Four films in the Top 100 were released in the last decade, including “Portrait of a Lady on Fire,” Barry Jenkins’s “Moonlight” (2016), tied at No. 60, Bong Joon Ho’s “Parasite” (2019), tied at No. 90, and Jordan Peele’s “Get Out” (2017), tied at No. 95.
In 2012, no film released in the previous 10 years made the cut.
As is the case every decade, the new arrivals mean some notable demotions. This time, a handful of long-heralded landmarks, including David Lean’s “Lawrence of Arabia” (1962), Sam Peckinpah’s “The Wild Bunch” (1969) and Roman Polanski’s “Chinatown” (1974) dropped out.
“Momentum moves in both directions,” Williams said. “Certain directors perhaps are less in vogue now than they were in the past.”
To create the list, five Sight and Sound editors and associates asked respondents to select what they considered to be the 10 greatest films of all time, with the definition of “greatness” left to the respondent’s discretion. The lists were unranked — each of the 10 films received one vote. The editors then used software to rank all submitted films by the total number of votes.
Akerman’s triumph continues decades of growing recognition for the director, who died in 2015 at 65. “Jeanne Dielman,” the first of several of her films exploring the interior lives of women, meticulously tracks the daily routine of a middle-aged widow, slowly building to a dramatic climax. A second Akerman film, “News From Home” (1976), inspired by her move to New York City, also made the Sight and Sound list, tied at No. 52.
Speaking to The Times for Akerman’s obituary, Nicola Mazzanti, the director of the Royal Belgian Film Archive at the time, said “Jeanne Dielman” “created, overnight, a new way of making films, a new way of telling stories, a new way of telling time.
“There are filmmakers who are good, filmmakers who are great, filmmakers who are in film history,” he said. “And then there are a few filmmakers who change film history.”
Top 20 ‘Greatest Films of All Time’ Critics Poll
Here are the films (with their British release dates) at the top of Sight and Sound’s survey. The full list will be available on the BFI’s website
1. “Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles” (Chantal Akerman, 1975)
2. “Vertigo” (Alfred Hitchcock, 1958)
3. “Citizen Kane” (Orson Welles, 1941)
4. “Tokyo Story” (Yasujiro Ozu, 1953)
5. “In the Mood for Love” (Wong Kar-wai, 2001)
6. “2001: A Space Odyssey” (Stanley Kubrick, 1968)
7. “Beau Travail” (Claire Denis, 1998)
8. “Mulholland Drive” (David Lynch, 2001)
9. “Man With a Movie Camera” (Dziga Vertov, 1929)
10. “Singin’ in the Rain” (Stanley Donen and Gene Kelly, 1951)
11. “Sunrise: A Song of Two Humans” (F.W. Murnau, 1927)
12. “The Godfather” (Francis Ford Coppola, 1972)
13. “The Rules of the Game” (Jean Renoir, 1939)
14. “Cléo From 5 to 7” (Agnès Varda, 1962)
15. “The Searchers” (John Ford, 1956)
16. “Meshes of the Afternoon” (Maya Deren and Alexander Hammid, 1943)
17. “Close-Up” (Abbas Kiarostami, 1989)
18. “Persona” (Ingmar Bergman, 1966)
19. “Apocalypse Now” (Francis Ford Coppola, 1979)
20. “Seven Samurai” (Akira Kurosawa, 1954)
12-01-22 | 01:46 PM
#62
Re: Sight and Sound's Top Tens
Director's list:
Directors’ Greatest Film of All Time
1 - 2001: A Space Odyssey (1968), Stanley Kubrick
2 - Citizen Kane (1941), Orson Welles
3 – The Godfather (1972), Francis Ford Coppola
4 - Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles (1975), Chantal Akerman; Tokyo Story (1953), Ozu Yasujiro
6 - Vertigo (1958), Alfred Hitchcock; 8½ (1963), Federico Fellini
8 - Mirror (1975), Andrei Tarkovsky
9 - In the Mood for Love (2000), Wong Kar Wai; Persona (1966), Ingmar Bergman; Close-Up (1990), Abbas Kiarostami
1 - 2001: A Space Odyssey (1968), Stanley Kubrick
2 - Citizen Kane (1941), Orson Welles
3 – The Godfather (1972), Francis Ford Coppola
4 - Jeanne Dielman, 23, Quai Du Commerce, 1080 Bruxelles (1975), Chantal Akerman; Tokyo Story (1953), Ozu Yasujiro
6 - Vertigo (1958), Alfred Hitchcock; 8½ (1963), Federico Fellini
8 - Mirror (1975), Andrei Tarkovsky
9 - In the Mood for Love (2000), Wong Kar Wai; Persona (1966), Ingmar Bergman; Close-Up (1990), Abbas Kiarostami
12-01-22 | 03:01 PM
#63
DVD Talk Hall of Fame
Re: Sight and Sound's Top Tens
I looked up Jeanne Dielman and since I don't suffer from insomnia I don't feel the need to ever watch it.
Vertigo and Citizen Kane have been numbers one a two for decades but then a film from 1975 suddenly becomes better than them? I wonder what happed since then to make it suddenly so great?
Vertigo and Citizen Kane have been numbers one a two for decades but then a film from 1975 suddenly becomes better than them? I wonder what happed since then to make it suddenly so great?
12-01-22 | 03:14 PM
#64
12-01-22 | 03:15 PM
#65
Political Exile
Re: Sight and Sound's Top Tens
Here the Criterion Channel link to the movies to easily add them to your watchlist
Criterion Channel: Sight & Sound’s Greatest Films of All Time
Criterion Channel: Sight & Sound’s Greatest Films of All Time
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12-01-22 | 04:35 PM
#66
DVD Talk Limited Edition
Re: Sight and Sound's Top Tens
It’s an interesting list this year. I have to admit I’d barely even heard of Jeanne Dielmann but I’ve just ordered the criterion as hell, I might love it. I discovered Tokyo Story and many other great movies from these lists and always fun to check out. Life’s too short to get outraged over anything on a list.
The poll seems to have taken a large leap forward this year rather than the more stagnant aura it once had – Kanetopped it from 1962 to 2002, for instance. I’m sure certain corners of the internet are howling that Hitchcock and Welles were pipped by a woman, but I’m totally cool with it. I adore Hitchcock and Welles and as fun as these lists are, nothing has changed about that for me today. But I do get to (eventually) check out Jeanne Dielman, and hey, I might discover a movie I totally love in the process.
The poll seems to have taken a large leap forward this year rather than the more stagnant aura it once had – Kanetopped it from 1962 to 2002, for instance. I’m sure certain corners of the internet are howling that Hitchcock and Welles were pipped by a woman, but I’m totally cool with it. I adore Hitchcock and Welles and as fun as these lists are, nothing has changed about that for me today. But I do get to (eventually) check out Jeanne Dielman, and hey, I might discover a movie I totally love in the process.
12-01-22 | 05:24 PM
#67
Re: Sight and Sound's Top Tens
I happened to watch Jeanne Dielman... last year, and it was a very interesting experience.
I sort of knew beforehand that it was going to a be a "minimal" kind of movie, but I didn't realize just how extreme until about twenty minutes in, when we got to the six minute (I rewound to time it) shot of her standing at the sink, back to the camera, washing the dishes. There is a bit of a story that progresses over the course of its three and a half hours, but for the most part you are just watching this woman in her apartment as she makes lunch, runs the occasional errand, and is interrupted by a gentleman caller.
Incredibly, the longer I watched, the more interesting the movie became. Not only did I watch the entire 3 and half hours in one sitting, but halfway through it, my roommate (who is not a viewer of artsy movies) came home from work, and after I briefly explained what kind of movie this was, she also became interested enough to watch it until the end.
I liken the experience to something like watching a fire crackling, or those videos of fish tanks. It was a very relaxing viewing experience, maybe a kind of cinematic meditation.
I'm grateful I got the chance to see it organically and have a natural reaction, without it having the label of "Greatest Film Of All Time".
I sort of knew beforehand that it was going to a be a "minimal" kind of movie, but I didn't realize just how extreme until about twenty minutes in, when we got to the six minute (I rewound to time it) shot of her standing at the sink, back to the camera, washing the dishes. There is a bit of a story that progresses over the course of its three and a half hours, but for the most part you are just watching this woman in her apartment as she makes lunch, runs the occasional errand, and is interrupted by a gentleman caller.
Incredibly, the longer I watched, the more interesting the movie became. Not only did I watch the entire 3 and half hours in one sitting, but halfway through it, my roommate (who is not a viewer of artsy movies) came home from work, and after I briefly explained what kind of movie this was, she also became interested enough to watch it until the end.
I liken the experience to something like watching a fire crackling, or those videos of fish tanks. It was a very relaxing viewing experience, maybe a kind of cinematic meditation.
I'm grateful I got the chance to see it organically and have a natural reaction, without it having the label of "Greatest Film Of All Time".
Last edited by Crocker Jarmen; 12-01-22 at 08:10 PM.
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12-02-22 | 09:10 AM
#69
Re: Sight and Sound's Top Tens
Jeanne Dielman feels like an insane choice for #1. That's not to say it's without merit or doesn't deserve inclusion on the list, but I have never heard anyone, anywhere, argue that it's the greatest film of all time. And in a big picture sense, I think the value of lists like these is how they can inspire someone to dig a little deeper into film history and watch something they might otherwise wouldn't have watched. This will undoubtedly raise the profile of Jeanne Dielman, which is great, but how many people will check it out because it's #1 and turn it off 20 minutes in and never look back? People think Citizen Kane is boring and stuffy? It's Michael Bay compared to Jeanne Dielman! That's not to suggest that voters should vote based on what they think has universal appeal, but I think there are negative side effects to something like Jeanne Dielman being recognized as the "greatest of all-time". These sorts of lists are inherently kind of silly, but if there is one that matters, it's the S&S list and I'm not sure something with as little mass recognition and appeal as Jeanne Dielman carrying the proverbial flag for film history and culture does anyone any favors. But that's probably just me being bitter that movies (outside of franchises) don't really matter to the mainstream anymore. I'd probably be naive to think some dumb list would have much of an affect on that.
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12-02-22 | 11:01 AM
#70
Administrator
Re: Sight and Sound's Top Tens
Jeanne Dielman feels like an insane choice for #1. That's not to say it's without merit or doesn't deserve inclusion on the list, but I have never heard anyone, anywhere, argue that it's the greatest film of all time. And in a big picture sense, I think the value of lists like these is how they can inspire someone to dig a little deeper into film history and watch something they might otherwise wouldn't have watched. This will undoubtedly raise the profile of Jeanne Dielman, which is great, but how many people will check it out because it's #1 and turn it off 20 minutes in and never look back? People think Citizen Kane is boring and stuffy? It's Michael Bay compared to Jeanne Dielman! That's not to suggest that voters should vote based on what they think has universal appeal, but I think there are negative side effects to something like Jeanne Dielman being recognized as the "greatest of all-time". These sorts of lists are inherently kind of silly, but if there is one that matters, it's the S&S list and I'm not sure something with as little mass recognition and appeal as Jeanne Dielman carrying the proverbial flag for film history and culture does anyone any favors. But that's probably just me being bitter that movies (outside of franchises) don't really matter to the mainstream anymore. I'd probably be naive to think some dumb list would have much of an affect on that.
12-03-22 | 01:31 PM
#71
DVD Talk Hall of Fame
Re: Sight and Sound's Top Tens
If you can't sleep Criterion put up a clip to promote the new number one film on the list.
12-03-22 | 02:16 PM
#72
DVD Talk Legend
Re: Sight and Sound's Top Tens
^^ I enjoyed that. Like watching a cooking show without all the annoying banter. ^^
Maybe someone should put together a half dozen episodes of Chopped with the sound deleted. It could make the next list in 2032.
Maybe someone should put together a half dozen episodes of Chopped with the sound deleted. It could make the next list in 2032.
12-03-22 | 08:41 PM
#73
DVD Talk Special Edition
Re: Sight and Sound's Top Tens
Some of these should be on the best films to cure insomnia or name drop at a party to sound like a humorless douche.
Any list without Blazing Saddles, Young Frankenstein, Airplane!, The Naked Gun, A Shot In the Dark, Monty Python & the Holy Grail, Life of Bryan can GTFO.
Also where the heck is Chinatown? I guess it's been cancelled.
Raging Bull gone? Unbelievable.
Jaws, Raiders of the Lost Ark too entertaining for that crowd?
Any list without Blazing Saddles, Young Frankenstein, Airplane!, The Naked Gun, A Shot In the Dark, Monty Python & the Holy Grail, Life of Bryan can GTFO.
Also where the heck is Chinatown? I guess it's been cancelled.
Raging Bull gone? Unbelievable.
Jaws, Raiders of the Lost Ark too entertaining for that crowd?
Last edited by philo; 12-03-22 at 09:01 PM.
12-03-22 | 09:09 PM
#74
DVD Talk Legend
Re: Sight and Sound's Top Tens
You really don't understand that when you ask a bunch of academics and critics to answer the question, "What is greatness in cinema?" that things like artistic merit, historical importance, and social significance are going to be the top considerations, and not a movie's entertainment value?
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12-03-22 | 10:26 PM
#75
DVD Talk Hall of Fame
Re: Sight and Sound's Top Tens
I should have filmed myself washing the dishes tonight, I might have won an Oscar.