The Top 100: Part Eight (#65-61)

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

Part Eight:

– A few cult classics (Donnie Darko, Magnolia) made the list as well as an actual cult (Salo)

– Kurosawa’s third film and second color film on the top 100

– Two of my favorite ensembles ever in part eight (Magnolia, Spotlight)

– Spotlight is the first best picture winner on the top 100

65.

Donnie Darko (2001)

Director: Richard Kelly (1st)

The destructive story about “Donnie Darko” and his imaginary friend Frank. 28 days, six hours, 42 minutes, and 12 seconds until the world ends, and along the way Jake Gyllenhaal dives deep into this disturbed character as he goes to unfathomable places. Patrick Swayze’s role is an all-time great character and his swift end is brilliant. Jake Gyllenhaal will always be Donnie Darko.

64.

Magnolia (1999)

Director: Paul Thomas Anderson (2nd)

One of the most audacious narratives ever made – six separate but interconnected storylines, all dealing with the inability to love or the contrast to that. It’s a balancing act of love and desire, life and death, all captured through these six dymiatrically opposed characters that all eventually reach the same narrative stopping point that is visually stunning and completely unexpected. It might be the most extraordinary end to a film in history. However, the cast is the strength of this film. Tom Cruise has never been better, and his hyper-masculine but broken role was perfect for him. Julianne Moore, Phillip Baker Hall, John C. Reilly, Philip Seymour Hoffman all at their emotional peak.

63.

Saló, Or the 120 Days of Sodom (1975)

Director: Pier Paolo Pasolini (1st)

Let me just get this out of the way now: YES, I’m a masochistic

Moving on, Salo is the most disturbing film ever distributed, a visceral hell scape, a seemingly neverending nightmare that continues to build upon itself. It’s a sensationalized, narrative form of torture porn, but with political implications. Pasolini’s vision for the film was beyond disturbing. It’s maddening what happens. For clarity: a group of Italian fascist kidnap a group of young girls and boys to unleash all their hidden perversions and fetishes on. Pasolini ends the film in a blind rage, showing the true depths of human hatred, greed, and the evil within. It’s leaves quite an impact.

62.

Spotlight (2016)

Director: Tom McCarthy (1st)

The best film about the power of journalism, led by one of my all-time favorite ensembles. “Spotlight” deals with a heavy subject matter of deep, systemic child abuse by the Catholic Church and the desperate coverup. Each actor completely buys into their character and the importance of their work is felt. The film is directed to feel the entire town of Boston pushing down on the Boston Globe. A fantastic script with Ruffalo, McAdams, Keaton and Liv Schreiber in a smaller role deliver a surprisingly emotion punch . Great film!

61.

Ran (1985)

Director: Akira Kurosawa (3rd)

In another flawless Shakespeare adaptation from Kurosawa, “Ran” is a hauntingly tragic tale of disobedience among brother. Tatsuya Nakadai (Lord Hidetora) is an increasingly great figure in the long line of Kurosawa pictures in his filmography. His performance as Hidetora is phenomenal. A once prominent and proud figure in Japan quickly falls to the depths of feudal Japan, as his sons that he appointed to power tear themselves up during his downfall. Another example of Kurosawa’s flair for color and composition, some of the most vivid pictures in film history.

Part Seven (Last)| Part Nine (Next)


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s