The Top 100: Part Six (#75-71)

Part One|Part Two|Part Three|Part Four|Part Five (Last)|Part Seven (Next)|Part Eight|Part Nine|Part 10|Part 12|Part 13|Part 14|Part 16|Part 17|18|19|20

Part Five:

– Two Japanese Manga adapted to animation, and two of the most famous Japanese films ever made

– Daniel Day-Lewis’s first mention on the list.

– Eraserhead might be the most abstract film on the entire list…or is it?

– Alfred Hitchcock with three films in the first 30m

75.

The End of Evangelion (1997)

Director: Hideaki Anno (1st)

An ode to one of the greatest pieces of fiction ever produced, “The End of Evangelion” is the true end to the Evangelion saga and a explosive piece of stoytelling. In a truly magnificent finish to the Shinji, Asuka, and Rei storyline, the film carries to a devastatingly dark place. The *primordial soup of humanity,* if you know what I’m saying. My advice: watch all of Evangelion (it’s out on Netflix soon)

74.

Eraserhead (1977)

Director: David Lynch (2nd)

Lynch’s midnight release masterpiece. The most obscure representation of fatherhood or the daunting responsibilities of it, told in a hyper-visual sense. Or this film is about whatever you want. That’s the glory of Henry (Jack Nance) while he’s on vacation. Truly some of the the best abstract art ever produced on film.

In Heaven, everything is fine….In Heaven, everything is fine….:

73.

Strangers On A Train (1951)

Director: Alfred Hitchcock (3rd)

Robert Walker playing the devilishly sly Bruno Antony is utterly brilliant. He escalates every seemingly nothing interaction into something crucially important for survival sake. His behind the shadows character with Robert Burks running the lighting and camera creates this aura of danger around Bruno. One of the great villains. In my eyes, it qualifies as a Hitchock horror.

72.

In the Name of the Father (1993)

Director: Jim Sheridan (1st)

Daniel Day-Lewis is transcendent in his role as accused NRA terrorist Gerry Conlon. His passion and change over the course of the film is something special. The way in which the story is drastically dropped on its head and Conlon’s plea for freedom is a destructive force in the life of his family. The tragic end to Pete Postlethwaite as Gerry’s father and the brutal story of him in prison. This film is a true gut-punch. Daniel Day-Lewis’s BEST performance. He’s mind-blowing here.

71.

Akira (1988)

Director: Katsuhiro Otomo (1st)

The stunning visual telling and worldbuilding of a post-apocalyptic Neo-Tokyo, a world destroyed by Akira and rebirthed through Tetsuo. The hallucination images and dark undertone caught through the colors and tone are remarkable. The editing organically fit a large chunk of story seamlessly into a two-hour film. It’s a very memorable experience.

Part Three|Part Four|Part Five (Last)|Part Seven (Next)


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