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Stephen Ringer

  1. 8½ (Federico Fellini, 1963)
  2. Grand Illusion (Jean Renoir, 1937)
  3. Vertigo (Alfred Hitchcock, 1958)
  4. The Shop on Main Street (Ján Kadár/Elmar Klos, 1965)
  5. The Leopard (Luchino Visconti, 1963)
  6. Teorema (Pier Paolo Pasolini, 1968)
  7. Faust (F.W. Murnau, 1926)
  8. La Dolce Vita (Federico Fellini, 1960)
  9. City Lights (Charlie Chaplin, 1931)
  10. Paris Qui Dort (René Clair, 1925)


Top 10 Directors:
  1. Federico Fellini
  2. Jean Renoir
  3. Orson Welles
  4. Charlie Chaplin
  5. F.W. Murnau
  6. Stanley Kubrick
  7. Ingmar Bergman
  8. Alfred Hitchcock
  9. Luchino Visconti
  10. Pier Paolo Pasolini


Stephen Ringer is a Film Major at Stanford University. He is also a filmmaker and theoretician. I shoot short films and often write about my own thoughts on the cinema. He plans to attend a graduate film program and hopes to one day consider some of these giants his mentors and friends (if they are not already in the romantic sense).

tally after this list / November 17, 2005


Michael Jacobsen

  1. The Wizard of Oz (Victor Fleming, 1939)
  2. Rashomon (Akira Kurosawa, 1950)
  3. Citizen Kane (Orson Welles, 1941)
  4. Raging Bull (Martin Scorsese, 1980)
  5. The Third Man (Carol Reed, 1949)
  6. Hannah and Her Sisters (Woody Allen, 1986)
  7. 8½ (Federico Fellini, 1963)
  8. Dr. Strangelove (Stanley Kubrick, 1964)
  9. Traffic (Steven Soderbergh, 2000)
  10. Midnight Run (Martin Brest, 1988)


Top 10 Directors:
  1. Akira Kurosawa
  2. Martin Scorsese
  3. Woody Allen
  4. Orson Welles
  5. Federico Fellini
  6. Ingmar Bergman
  7. Steven Spielberg
  8. Stanley Kubrick
  9. Steven Soderbergh
  10. Errol Morris


Michael Jacobsen is director of corporate communications at a Fortune 700 corporation. A native of Canton, Ohio, USA, Jacobsen received a Bachelor of Arts degree in radio and television from Kent State University and has completed post-graduate work at Boston College and the Tuck School of Business Administration at Dartmouth College.

tally after this list / November 16, 2005


Sean Smith

  1. Apocalypse Now (Francis Ford Coppola, 1979)
  2. 2001: A Space Odyssey (Stanley Kubrick, 1968)
  3. Gates of Heaven (Errol Morris, 1980)
  4. Au hasard Balthasar (Robert Bresson, 1966)
  5. American Beauty (Sam Mendes, 1999)
  6. Aguirre: The Wrath of God (Werner Herzog, 1972)
  7. Citizen Kane (Orson Welles, 1941)
  8. Raging Bull (Martin Scorsese, 1980)
  9. McCabe & Mrs. Miller (Robert Altman, 1971)
  10. Seven Samurai (Akira Kurosawa, 1954)


Top 10 Directors:
  1. Stanley Kubrick
  2. Werner Herzog
  3. Akira Kurosawa
  4. Federico Fellini
  5. Martin Scorsese
  6. Luis Buñuel
  7. Ingmar Bergman
  8. Robert Bresson
  9. Alfred Hitchcock
  10. Jean-Luc Godard


Sean Smith is a film studies major at Ohio State University.

tally after this list / November 16, 2005


Tim Cavanaugh

(in chronological order)

  • A Star Is Born (William Wellman, 1937)

    For an essentially vain and dishonest genre, the exposé of filmmaking's sordid underbelly has produced some great moments: Billy Wilder's Sunset Boulevard borrows the gilded strangeness of Evelyn Waugh's The Loved One; Jean-Luc Godard's Contempt features stylistic reversals and the Ginger/Mary Ann dynamic of Brigitte Bardot and Giorgia Moll; the Coen Brothers' Barton Fink devastatingly mocks the cult of the writer corrupted by Tinseltown. But the original Star Is Born beats all Hollywood-underbelly pictures by presenting itself as an upbeat story of achievement. As Janet Gaynor's starry-eyed starlet makes her way to the top of the box office, the journey is unironically linked to the westward expedition of her pioneer grandmother. The fact that her big chance arises from a hookup with a boozy, declining leading man played by Frederic March is presented without judgment: Business is business, and whatever lurks in Gaynor's mercenary heart is well hidden by her mousy exterior. The picture's soul and the best lines in Dorothy Parker's script belong to Lionel Stander's heartless studio flack, who understands that his only job is to keep the dream factory running on time. When Gaynor's rise and March's fall lead, inevitably, to a Technicolor tragedy off the Malibu beach, the pattern of celebrity romance is established for all time: Vicki Lester and Norman Maine, Jennifer Jones and Robert Walker, Kurt and Courtney--the celebrity couple is an essentially vampiric relationship from which only one can emerge. William Wellman's name is above the title, but this is pure David Selznick: all color, scale and literary gloss.

  • Angels With Dirty Faces (Michael Curtiz, 1938)

    This movie's premise, in which two streetwise pals follow radically divergent paths toward adulthood, has been rehashed many times, most recently in Clint Eastwood's lugubrious Mystic River. But Angels blends Catholic morality tale, determinist social realism, verismo melodrama, and gangster noir to create pure movie lightning. James Cagney's grownup gangster and Pat O'Brien's grownup priest battle for the souls of the Dead End Kids (still able to pass as teenagers in their second picture). While Cagney and supporting star Humphrey Bogart got the biggest bump from the picture, the real stroke of genius is the casting of charisma-free O'Brien as "Father Jerry," a move that makes virtue as repellant as vice is attractive. With a conventionally likeable movie priest of the Crosby-Tracy type, Angels' conflict would be an abstraction. Here, the viewer not only sees but shares the kids' preference for Gagney's Rocky. Michael Curtiz' other credits include Captain Blood, The Adventures of Robin Hood, Mildred Pierce, and something called Casablanca, but he failed to impress the auteur theorists and to this day is routinely dismissed as a studio hack. Let the Curtiz skeptics grapple with Angels, whose hard, shadowy visual style practically creates the "Warners look" and whose narrative pace makes any modern thriller seem glacial by comparison. Find your own meaning in the film's conclusion, which manages to be both indescribably corny and enduringly ambiguous.

  • The Bellboy (Jerry Lewis, 1960)

    After a shamefully protracted debate, the question of Jerry Lewis' genius is now settled beyond any reasonable doubt, and there is no better tribute to a great American artist than this series of vignettes in which a silent, nearly affectless Lewis bumbles his way through sight gags as surreal and brilliant as anything from the silent era. The internal struggle between Jerry the whimsical jerk and Jerry the overbearing showbiz monstrosity--milked to more famous effect in The Nutty Professor and The King of Comedy--is most striking in the dual role here: In addition to playing Stanley the bellboy, Lewis shows up in a cameo, playing an obnoxious asshole of a movie star named "Jerry Lewis." The Bellboy also boasts a technical milestone: In order to direct himself, Jerry invented and patented the "video assist," making it easier for countless non-geniuses to make their own movies.

  • Last Year At Marienbad (Alain Resnais, 1960)

    Every top-10 list should contain one unabashedly artsy-fartsy entry, and this stately, elliptical, exquisitely annoying objet d'art from Alains Resnais and Robbe-Grillet is the artsiest, fartsiest movie ever made. To see this ur-text of highbrow cinema is to understand how many dream sequences, unstable narratives, and Chanel No. 5 commercials are its epiphenomena. And every time James Bond works the baccarat table in his tux, he's channeling the coolly Lurch-like Sacha Pitoëff. It's a cheat on the literature of Robbe-Grillet, which is largely set in grimy provincial or colonial locations, but the people look damn well in their evening clothes. L'année dernière à Marienbad is even more revelatory now that most of its techniques have migrated from the art house to the multiplex.

  • What Ever Happened to Baby Jane (Robert Aldrich, 1962)

    Aldrich's followup Hush... Hush, Sweet Charlotte should probably rank even higher than Baby Jane. But no serious top-ten can lack either Joan Crawford or Bette Davis, two old broads who capped careers full of self-reinvention with horrific turns here. The film is scarily claustrophobic, viciously ironic (dig Davis' old-timey signature song: "I've written a letter to Daddy; his address is Heaven above"), and--there's no other way to put it--unbelievably catty. How Aldrich, a foursquare director of tough-guy pictures, got the inspiration for a masterpiece of diva-camp beyond the imagination of John Waters is an eternal mystery. Baby Jane launched what may have been the sixties' most fruitful genre, grande-dame guignol. Eventually, nearly every aging screen queen ended up playing a gargoyle version of herself in psychological horror films with titles like Die! Die! My Darling! and What's the Matter With Helen? Contemporary actresses who bellyache that there are no good roles for older women, take note: Crawford and Davis were only in their fifties when they played monstrous hags in this enduring classic. (When are we going to see Jessica Lange in a tight pantsuit doing a remake of Crawford's Neanderthal thriller Trog?) If you're a Victor Buono fan (and who isn't?), Baby Jane features the tubby schemer at his mincing, febrile, sweatiest.

  • Planet of the Apes (Franklin J. Schaffner, 1968)

    With the unofficial trilogy of this film, Soylent Green, and The Omega Man, Charlton Heston established himself as a liminal figure in the culture wars of the Vietnam era--the conservative hipster, square but stylish, opposed to the counterculture but too hip and conscientious not to share the hippies' contempt for the establishment. (More lastingly, in this film he introduced the hardbody at a time when the barrel-chested physique was still the leading-man norm.) No slogan of the sixties encompasses the spirit of general, fed-up rebellion quite like Heston's final "God damn you all to hell!" While the Apes series has worked its way into the popular consciousness in a thousand different ways, the original retains its strangeness thanks to the unfussy artiness of Franklin Schaffner's direction and an avant-garde score by the versatile, underappreciated Jerry Goldsmith. But the real heart of Planet of the Apes is Maurice Evans' Dr. Zaius. Stooped under the pressure of guarding gnostic wisdom and telling venerable lies, Zaius knows the apes' "sacred scrolls" are a crock, but like some crabbed ancestor (or descendant) of the neocons, he's willing to sacrifice anything and anybody to keep the public believing a pious fiction. To its credit, Planet of the Apes leaves open the possibility that he's right.

  • Beyond the Valley of the Dolls (Russ Meyer, 1970)

    In an industry where every other release promises that "you've never seen anything like it," Russ Meyer's first and last encounter with a major studio and a big budget is the real deal: Working from Roger Ebert's Shakespearian/Spillanean/Kafkaesque/McKuenesque script, Meyer crafted a movie unlike anything seen before or since--and particularly unlike the original Valley of the Dolls. The Jacqueline Susann adaptation to which this movie is proudly not a sequel teemed with pouty clotheshorses like Barbara Perkins and Sharon Tate, but don't look for that type here: The ladies of Beyond the Valley are a heterosexual man's notion of what's attractive in a woman. Was Meyer an idiosyncratic proto-feminist, a portly perv, neither, or both? This movie, featuring a plucky grrl-power theme, a moonlit lesbian subplot, and a practically phallic maneater played by the great Edy Williams, pursues that question to its logical inconclusion. Formally, the movie is as much an encyclopedia of cinematic styles and tropes as Citizen Kane, with a similar disregard for good taste or the niceties of the well made film. Punchline-cuts, psychedelic editing, beheadings, musical montages, out-of-control parties, a triple wedding, a paraplegic healed by "emotional shock" therapy, luscious deep-focus cinematography, dazzling crane shots, blindingly beautiful women, a solemn and authoritative voice-over that provides morals for the picture's many subplots--just a sample of the filmmaking academy that is Beyond the Valley of the Dolls. Meyer and Ebert's subsequent collaborations, Up! and Beneath the Valley of the Ultra-Vixens were free of studio pressures and thus feature even greater purple prose and vivid nudity, but Beyond the Valley brought all the elements together in a glossy, unsurpassable triumph.

  • Dawn of the Dead (George Romero, 1978)

    You could make a good top-ten list just out of zombie films, a genre where stuff you never expected to see in a movie is the rule rather than the exception. Lucio Fulci's Zombi 2, for example, boasts one of the greatest showstoppers in cinema: a high-production-value underwater sequence wherein a man-eating shark and a flesh-eating zombie devour chunks of each other while both pursue a beautiful woman wearing nothing but a g-string and diving gear. After establishing the remarkably durable rules of the genre in Night of the Living Dead, George Romero gave up straightforward horror in order to explore zombies as vehicles of meaning: In addition to its famous satires of conformity, consumerism, and mall culture, Dawn begins a long meditation on the idea that the undead are simply a new, and possibly better, stage of evolution. The relative plainness of Tom Savini's special makeup and gore effects, in which most of the zombies sport little more than blue paint and some styptic scarring, adds to the jarring effect. (Savini's finest hour would come with 1985's Day of the Dead.) The tagline is "When there's no more room in hell, the dead will walk the earth," but the religious sentiment is a red herring: Against its bonfire of worldly riches, Dawn posits only a spiritual vacuum and no supernatural meanings--a grimly hilarious Apocalypse for atheists. But it's the geographical constant of the zombie genre that really smashes an icon of American self-confidence: Whether the setting is a farmhouse, a pub, a voodoo church, or downtown Pittsburgh, the process is always one of de-civilization, with settlers in an isolated outpost bickering, weakening, and finally being overwhelmed. Thus the zombie film is the anti-western, revamped and reversed for a doubting age where the cavalry never arrives. And Dawn of the Dead, despite its epic action and (literally) pie-in-the-face comedy, paints a haunting picture of civil society in its last, panicked spasms.

  • The Road Warrior (George Miller, 1981)

    Widely known as Mad Max II, but a film this good shouldn't be considered a part 2 of anything. The Road Warrior features a dramatic dilemma: The ostensible heroes, embattled in their oil refinery, are a bunch of dull, pious drips, while the villains are a gang of stylin', dynamic, omnisexual outlaws who combine the most outlandish of biker and punk fashions. Thus, to align your sympathies properly, you must read the film as a metaphor for the Australian welfare state, in which the members of the wealth-creating economy must use any means necessary to defend their assets from the transfer-seeking hordes. It helps that Miller and producer Byron Kennedy managed to mount the most thrilling chase in movie history with nothing but some junkers, a stretch of the Outback, and a budget that wouldn't pay for the craft services on a Jerry Bruckheimer picture. What seemed at the time like an over-the-top throwaway--the butch-femme romance between Vernon Wells' Wez and his "Golden Youth"--now looks like a seed that has flowered in Mel Gibson's late career. After this picture, Gibson was expected to be the next Steve McQueen, and indeed he spent most of the eighties following the McQueen pattern of giving lousy performances in lousy pictures and getting rich doing it. But beginning in the mid-nineties, Gibson has unleashed his inner demons of homophobia and post-colonial resentment, with potent movies like Braveheart and The Passion of the Christ and an underrated performance in What Women Want. That evolution has been credited to the director/star's old-Catholic homecoming, but Gibson was really just returning to the generous wellspring of The Road Warrior.

  • Raising Arizona (Joel and Ethan Coen, 1987)

    The Coens have made more technically perfect films (Miller's Crossing, Intolerable Cruelty, and Fargo among them), and Barton Fink may be their highest artistic achievement. But with Raising Arizona they were still gripped by a mad, Sam Raimi-derived frenzy, and that energy shows in brilliant showcases for both the Steadicam and the "shaky cam," a howlingly obnoxious yet magnetic performance by the late Trey Wilson as "Nathan Arizona," and in a determination to run up and down the entire scale of movie moods. In its last 15 minutes, Raising Arizona shifts tone at least five or six times, going from mad post-Road Warrior action to slapstick comedy to maudlin family drama to wistful lament for American optimism to dry satire, all without missing a beat. Carter Burwell's storied soundtrack is both an evocation of the open prairie and a Chuck Jones-style parody of music that evokes the open prairie. Whether it was inside information or a lucky guess, a brief subplot revealed that the Southwest was the locus of swinger culture a decade before that became common knowledge. Like all Coen films, this one is uncannily cast, from lead roles down to non-speaking extras. Raising Arizona's ultimate contribution, though, is to delineate the American cult of the child and its results: Everybody in the film loves the toddler Nathan Jr., and they show it by subjecting him to almost constant threat of physical destruction and a level of frenetic attention that can only be considered psychological abuse. This being as close to a cartoon as any live-action film is likely to come, it's no spoiler to reveal that the kid ends up unscathed.

Tim Cavanaugh is the web editor of Reason Magazine. Formerly the editor of Suck.com, he has written for several score newspapers and magazines.

tally after this list / November 15, 2005


Michael Parent

  1. Dr. Strangelove or: How I learned to stop worrying and love the bomb (Stanley Kubrick, 1964)
  2. Taxi Driver (Martin Scorsese, 1976)
  3. Apocalypse Now (Francis Ford Coppola, 1979)
  4. Pulp Fiction (Quentin Tarantino, 1994)
  5. Blade Runner (Ridley Scott, 1982)
  6. La Dolce Vita (Federico Fellini, 1960)
  7. Modern Times (Charles Chaplin, 1936)
  8. The Seven Samurai (Akira Kurosawa, 1954)
  9. Once Upon A Time In The West (Sergio Leone, 1968)
  10. Mystic River (Clint Eastwood, 2003)


Top 10 Directors:
  1. Stanley Kubrick
  2. Charles Chaplin
  3. Akira Kurosawa
  4. Federico Fellini
  5. Alfred Hitchcock
  6. Francis Ford Coppola
  7. Martin Scorsese
  8. Michaelangelo Antonioni
  9. Orson Welles
  10. Francois Truffaut

See also Michael's revised list: Nov. 1, 2006

Michael Parent is from Quebec City, Canada. He studies XXth Century History at University Laval. He is planning on a major in Cinema to become a film historian.

tally after this list / November 15, 2005


Clark Stooksbury

  1. The Godfather (Francis Ford Coppola, 1972)
  2. The Apartment (Billy Wilder, 1960)
  3. Dinner at Eight (George Cukor, 1933)
  4. The Maltese Falcon (John Huston, 1941)
  5. Goodfellas (Martin Scorsese, 1990)
  6. The Manchurian Candidate (John Frankenheimer, 1962)
  7. The Four Feathers (Zoltan Korda, 1939)
  8. The Raging Bull (Martin Scorsese, 1980)
  9. Crimes and Misdemeanors (Woody Allen, 1989)
  10. Lolita (Stanley Kubrick, 1962)

Others receiving votes: Citizen Kane (Orson Welles, 1941), Lawrence of Arabia (David Lean, 1962), The Women (Cukor, 1939), American Beauty (Sam Mendes, 1999), How Green Was My Valley (John Ford, 1941), The Killers (Robert Siodmak, 1946), Shadow of a Doubt (Alfred Hitchcock, 1943), The Music Man (Morton DaCosta, 1962) The Big Parade (King Vidor, 1925), Double Indemnity (Wilder, 1944).

Clark Stooksbury has written for numerous publications including The American Conservative, Chronicles, Liberty and Metro Pulse.

tally after this list / November 14, 2005


Stephen Cone

  1. Days of Heaven (Terrence Malick, 1978)
  2. The Long Day Closes (Terence Davies, 1992)
  3. A Woman Under the Influence (John Cassavetes, 1974)
  4. Day of Wrath (Carl Th. Dreyer, 1943)
  5. Close Up (Abbas Kiarostami, 1989)
  6. L'Humanite (Bruno Dumont, 2000)
  7. Barry Lyndon (Stanley Kubrick, 1975)
  8. Rio Bravo (Howard Hawks, 1959)
  9. Winter Light (Ingmar Bergman, 1963)
  10. A.I. Artificial Intelligence (Steven Spielberg, 2001)

Any of the following could be in the Top Ten tomorrow: The Last Picture Show, Au Hasard Balthazar, The Passion of Joan of Arc, Beau Travail, Jules and Jim, The Sweet Hereafter, Mikey and Nicky, Taxi Driver, Topsy Turvy, Touch of Evil, Mulholland Drive, Cries and Whispers, The Enigma of Kaspar Hauser, Crash (Cronenberg), The Wind Will Carry Us, The Shop Around the Corner, Tokyo Story, The General, The Shining, Psycho, Le Mepris, and - a beautiful, sentimental, utterly non-guilty pleasure; the greatest film Capra never made and on some days the ONE film I'd take to a deserted island - Field of Dreams.

Top 10 Directors:

  1. John Cassavetes
  2. Carl Dreyer
  3. Abbas Kiarostami
  4. Mike Leigh
  5. Ingmar Bergman
  6. Stanley Kubrick
  7. Robert Bresson
  8. Claire Denis
  9. Terence Davies
  10. Atom Egoyan

Ditto: Buster Keaton, David Lynch, Yasujiro Ozu, Jean Renoir, Bruno Dumont, Arnaud Desplechin, and David Cronenberg.

Stephen Cone is a 25-year-old playwright, theatre director, filmmaker and receptionist living in Chicago, IL.

tally after this list / November 14, 2005


Thomas Caron

  1. Les Deux anglaises et le continent (François Truffaut, 1971)
  2. Vertigo (Alfred Hitchcock, 1958)
  3. 2046 (Wong Kar-wai, 2004)
  4. La Belle et la Bête (Jean Cocteau, 1946)
  5. Lolita (Stanley Kubrick, 1962)
  6. 1900 (Bernardo Bertolucci, 1976)
  7. Last Tango In Paris (Bernardo Bertolucci, 1972)
  8. Weekend (Jean-Luc Godard, 1967)
  9. The Searchers (John Ford, 1956)
  10. Winter Light (Ingmar Bergman, 1963)


Thomas Caron is the founder and manager of The Town Cow Theater Company, a free outdoor theater that performs each summer in the heart of historic Concord, Massachusetts.

tally after this list / November 14, 2005


John Lars Ericson

  1. The Thin Red Line (Terrence Malick, 1998)
  2. 2001: A Space Odyssey (Stanley Kubrick, 1968)
  3. The Story of the Late Chrysanthemums (Kenji Mizoguchi, 1939)
  4. The Rules of the Game (Jean Renoir, 1939)
  5. Contempt (Jean-Luc Godard, 1963)
  6. Sunrise (F.W. Murnau, 1927)
  7. Playtime (Jacques Tati, 1968)
  8. Vertigo (Alfred Hitchcock, 1958)
  9. Pickpocket (Robert Bresson, 1959)
  10. Killer of Sheep (Charles Burnett, 1978)


Top 10 Directors:
  1. Robert Bresson
  2. Orson Welles
  3. Stanley Kubrick
  4. F.W. Murnau
  5. Jacques Tati
  6. Kenji Mizoguchi
  7. Jean Renoir
  8. Alfred Hitchcock
  9. Michelangelo Antonioni
  10. Terrence Malick


John Lars Ericson is currently a film student at Grand Valley State University, amateur film theorist and aspiring auteur.

tally after this list / November 14, 2005


Chris Wisner

My Top 10 list reflects the ten films that I think hold the greatest influence over my pursuit to become a filmmaker and have forever changed the way I look at cinema. All ten inspired me to pick up a camera.

  1. 8½ (Federico Fellini, 1963)

    A film about the inability to make a film. What more inspiration is there? Brilliantly directed by Fellini and showcases all of his trademarks.

  2. Goodfellas (Martin Scorsese, 1990)

    The greatest American filmmaker and his crowning achievement. Scorsese has never been better.

  3. Citizen Kane (Orson Welles, 1941)

    Welles’ masterpiece will always be one of the greatest American films ever made and one of the greatest films I’ve ever seen.

  4. The Good, The Bad, and The Ugly (Sergio Leone, 1966)

    Leone and the myth of pure cinema. The structure of the film, especially the editing, continues to fascinate me to this day with repeat viewings. There is no better shoot-out than when the trio faces off against each other in the graveyard.

  5. Saving Private Ryan (Steven Spielberg, 1998)

    Spielberg will always have a place in my heart as I grew up with his films. Saving Private Ryan, along with his other masterpiece Schindler’s List, is Spielberg in his finest hour. I cannot think of a better looking war film.

  6. Red Beard (Akira Kurosawa, 1965)

    Definitely a unique choice considering Kurosawa’s numerous successes, something about Red Beard just knocked the wind out of me. It was Toshiro Mifune’s final performance under Kurosawa and easily his best. The film captures all of the common emotions and moods through Kurosawa’s films but instead of on the battlefield, they all take place in a medical clinic.

  7. Fanny and Alexander (Ingmar Bergman, 1982)

    For the longest time I considered Bergman’s The Seventh Seal to be my favorite but that was until witnessing Bergman’s intense study of family and relationships through the eyes of two young protagonists. The 5-hour TV version is the definitive one for me with images that still haunt me today.

  8. Chinatown (Roman Polanski, 1974)

    Polanski taking on noir and winding up making the best film of his career. Chinatown doesn’t hold back any punches and all the performances, especially Jack Nicholson and John Huston, are career defining achievements.

  9. The Rules of the Game (Jean Renoir, 1939)

    My introduction to Renoir and still one of the most beautiful films I’ve ever seen. Renoir’s mastery of the camera is unmatched. His use of focus and intricate camera movements will forever influence me and countless other filmmakers.

  10. Barry Lyndon (Stanley Kubrick, 1975)

    Easily Kubrick’s most underrated film; it is an incredible study of the rise and fall of one man driven by countless ambitions. Kubrick’s own ambitions lead him to use more advanced camera technology resulting in the beautiful candlelight scenes. It is also the best use of a zoom lens I have ever seen.

Top 10 Directors:
  1. Akira Kurosawa
  2. Martin Scorsese
  3. Orson Welles
  4. Federico Fellini
  5. Jean Renoir
  6. Ingmar Bergman
  7. Stanley Kubrick
  8. Steven Spielberg
  9. Michael Mann
  10. Roman Polanski

There are many more film directors who I consider great: John Huston, Jean-Pierre Melville, Wong Kar-Wai, Robert Bresson, Michelangelo Antonioni just to name a few, but these ten are the individuals I hold in highest regard.

Chris Wisner is a student at Indiana University pursuing a degree in Communication & Culture (read: film studies). He is an aspiring film director, having already made numerous short films, and is a film critic for the school's entertainment magazine, Weekend, part of the Indiana Daily Student.

tally after this list / November 13, 2005


Paul Bement

  1. Citizen Kane (Orson Welles, 1941)
  2. Ikiru (Akira Kurosawa, 1952)
  3. Apocalypse Now (Francis Ford Coppola, 1979)
  4. The Unbearable Lightness of Being (Philip Kaufman, 1988)
  5. Harold & Maude (Hal Ashby, 1971)
  6. The Last Emperor (Bernardo Bertolucci, 1987)
  7. Wages of Fear (Henri-Georges Clouzot, 1953)
  8. Double Indemnity (Billy Wilder, 1944)
  9. Metropolis (Fritz Lang, 1927)
  10. (Tie) Raging Bull (Martin Scorcese, 1980) and Bridge on the River Kwai (David Lean, 1957)


Top 10 Directors:
  1. Akira Kurosawa
  2. Stanley Kubrick
  3. Billy Wilder
  4. Francis Ford Coppola
  5. Mike Nichols
  6. Sidney Lumet
  7. Orson Welles
  8. Frank Capra
  9. Roman Polanski
  10. Martin Scorcese


Paul Bement is a stand-up comic and producer in Huntington Beach California. A Semi-finalist in O.C.’s Funniest Person competition (2005).

tally after this list / November 13, 2005


RV Branham

  1. McCabe & Mrs. Miller (Robert Altman, 1971)
  2. The Rules Of The Game (Jean Renoir, 1939)
  3. Weekend (Jean-Luc Godard, 1967)
  4. Kagemusha (Akira Kurosawa, 1980)
  5. Bringing Up Baby (Howard Hawks, 1938)
  6. The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972)
  7. Persona (Ingmar Bergman, 1966)
  8. All About My Mother (Pedro Almodóvar, 1999)
  9. Le Million (René Clair, 1931)
  10. Wings Of Desire (Wim Wenders, 1987)

Notes, apologias, justifications, also-rans: Someone once started a review of a Pynchon novel by saying that describing his work was like trying to nail down a glob of mercury. It is the same with trying to name the ten greatest films. Although the first five titles I listed have more or less hovered there, never slipping lower than #8. And as for #6, I hover between that & Viridiana -- though I do love most Buñuel. Same for Altman, except that if McCabe & Mrs. Miller is on cable TV, or even some network station...I'll watch it a few minutes, & at the first commercial break, just turn on my DVD player & slip a copy in. Another movie on the list that will stop any channel surf cold is Bringing Up Baby. (My father & uncle raised bobcat cubs --according to my grandmother & aunt, & there was a circus in town every year & I loved the lions & tigers & leopards.) But just when you think that all of cinema has all been done to buggery, all its tropes mined, & nothing left but slag & mercury leach contamination, along comes a laptop movie like Tarnation, or a geeky masterpiece of SOME sort like You & Me & Everyone We Know, or another bratty director trying to make heads or tails of Charlie Kaufman's rich & strange scripts. Or a Japanese horreur comedy musical, or any other parts of the Asian novelle vague. As to the other part of the project, naming great AUTEURS.... The greatest auteurs can be problematic because they hardly ever fulfill their promise, from Welles & Kubrick & Chris Marker to Spielberg & Todd Haynes & François Ozon & Truffaut & Lars Von Trier. I compile this list with apologies to the following & their classics & masterworks: Woody Allen (Love & Death), Paul Thomas Anderson (Magnolia), Wes Anderson (The Royal Tenenbaums), Theo Angelopoulus (Ulysses' Gaze), Michelangelo Antonioni (L'Ecclise), Hector Babenco (Pixote), Bruce Beresford (Don's Party), Bernardo Bertolucci (Last Tango In Paris), Donald Cammell & Nicolas Roeg (Performance), Jane Campion (The Piano), Charlie Chaplin (The Gold Rush), Jean Cocteau (Beauty & The Beast), David Cronenberg (Naked Lunch), Vittorio de Sica (Umberto D.), Jonathan Demme (Something Wild), Carl Dreyer (The Passion of Joan of Arc), Sergei Eisensteim (Potemkin), Atom Egoyan (The Adjuster), Rainer Werner Fassbinder (Fox & His Friends), Federico Fellini (La Strada), John Ford (Stagecoach), John Huston (The Dead), Alejandro González Iñárritu (Amores Perros), Peter Greenaway (Drowning By Numbers), Alfred Hitchock (The Lodger), Hou Hsiao-hsien (Millenium Mambo), Tran Hang-Hung (The Vertical Rays of the Sun), Juzo Itami (A Taxing Woman), Alexandro Jodorowsky (El Topo), Wong Kar-Wai (Chung King Express),Aki Kaurismaki (The Man Without A Past), Abbas Kiarostami (Taste of Cherry), Krzystztof Kieslowski (Decalog), Takishi Kitano (Fireworks), Emir Kustarica (Underground), Masaki Kobayashi (Kwaidan), Fritz Lang (M), Ang Lee (Crouching Tiger, Hidden Dragon), Sergeo Leone (Once Upon A Time In The West), Joseph Losey (Modesty Blaise), Louis Malle (Vanya on 42nd St.), Ernst Lubitsch (Heaven Can Wait), F.W. Murnau (Nosferatu), Sam Peckinpah (The Wild Bunch), Pier Paolo Passolini (Teorema), Arthur Penn (Bonnie & Clyde), Roman Polanksi (Chinatown), Bob Rafelson (The King of Marvin Gardens), Pen-ek Ratanaruang (Last Life in the Universe), Satyajit Ray (Apu Trilogy: Pather Panchali; Aparajito; World of Apu), Nicolas Roeg (The Man Who Fell To Earth), Roberto Rossellini (Rome: Open City), Alan Rudolph (Trouble In Mind), Walter Salles (Behind The Sun), Fred Schepisi (The Chant of Jimmy Blacksmith), Volker Schlondorff (The Tin Drum), Martin Scorsese (Alice Doesn't Live Here Any More), Steven Soderbergh (The Limey), Preston Sturges (Sullivan's Travels), Andrej Tarkovsky (The Sacrifice), Johnny To & Ching Siu Tung (The Heroic Trio), François Truffaut (The 400 Blows), Gus Van Sant (My Own Private Idaho), Agnes Varda (Cleo From 5 to 7), Robert Weine (The Cabinet of Dr. Caligari), John Waters (Cecil B. Demented), Orson Welles (Citizen Kane), Zhang Yimou (House of Flying Daggers) ....

RV Branham has written film reviews for Paperback Jukebox, Portland Metrozine, & currently writes film & DVD reviews for Gobshite Quarterly.... He is also editor of Gobshite Quarterly (online at www.gobshitequarterly.com), & his short fiction has been published in the US & the UK & Australia, & been translated into German, Spanish, Japanese, & Croatian. His plays (Matt & Geoff Go Flying, and Bad Teeth) have been performed in Los Angeles & in Portland Oregon .... He laments the decline of such fine cinematic genres as the lesbian vampire film & the Marxist real estate western.

tally after this list / November 13, 2005


Alex Lavin

  1. 2001: A Space Odyssey (Stanley Kubrick, 1968)
  2. Taxi Driver (Martin Scorsese, 1976)
  3. Blue Velvet (David Lynch, 1986)
  4. Andrei Rublev (Andrei Tarkovsky, 1969)
  5. The Phantom of Liberty (Luis Buñuel, 1974)
  6. The Red Desert (Michelangelo Antonioni, 1964)
  7. Au hasard Balthazar (Robert Bresson, 1966)
  8. Day of Wrath (Carl Th. Dreyer, 1943)
  9. The Decalogue (Krzysztof Kieslowski, 1993-94)
  10. In the Realm of the Senses (Nagisa Oshima, 1976)


Alex Lavin is a film enthusiast from Burlington, Vermont, USA.

tally after this list / November 13, 2005


James Como

(in no particular order)

  • The Empire Strikes Back (Irvin Kershner, 1980)
  • King Kong (Merian C. Cooper/Ernest B. Schoedsack, 1933)
  • Taxi Driver (Martin Scorsese, 1976)
  • The Exorcist (William Friedkin, 1973)
  • Goodfellas (Martin Scorsese, 1990)
  • Runaway Train (Andrei Konchalovsky, 1985)
  • Badlands (Terrence Malick, 1973)
  • Get Carter (Mike Hodges, 1971)
  • Raiders of the Lost Ark (Steven Spielberg, 1981)
  • The French Connection (William Friedkin, 1971)


"I am a 34-year-old movie buff and I lived in Peru when I was ten (approx. 1980) - at that time I saw the following movies on the big screen and my life was changed forever - Raiders of the Lost Ark - Airplane! - For Your Eyes Only - The Empire Strikes Back - The Blues Brothers. The damage was done - I have been a fanatic ever since. I am a fourth grade teacher in the South Bronx; my students are emotionally disturbed. My hobbies include scuba diving, reading, writing, traveling, mountain biking, music, and, of course, movies."

tally after this list / November 12, 2005


Paul Hen

  1. 2001: A Space Odyssey (Stanley Kubrick, 1968)
  2. Stranger Than Paradise (Jim Jarmusch, 1984)
  3. Contempt (Jean-Luc Godard, 1963)
  4. Branded To Kill (Seijun Suzuki, 1967)
  5. Andrei Rublev (Andrei Tarkovsky, 1969)
  6. The 400 Blows (Francois Truffaut, 1959)
  7. L'Eclisse (Michaelangelo Antonioni, 1962)
  8. Eyes Wide Shut (Stanley Kubrick, 1999)
  9. Days of Heaven (Terrence Malick, 1978)
  10. In The Mood For Love (Wong Kar-Wai, 2000)


Top 10 Directors:
  1. Stanley Kubrick
  2. Michaelangelo Antonioni
  3. Jim Jarmusch
  4. Andrei Tarkovsky
  5. Jean-Luc Godard
  6. Francis Ford Coppola
  7. Terrence Malick
  8. Seijun Suzuki
  9. Robert Altman
  10. Wong Kar-Wai


Paul Hen is the director of the Greater Nebraska Cinema Art Society and director of some experimental, documentary, and narrative shorts which have been shown in such festivals as the Festival dei Popoli documentary festival in Florence, which exhibited his recent short doc, "Dental Daze."

tally after this list / November 12, 2005


Ricardo Luis Alvarez

  1. Fargo (Joel & Ethan Coen, 1996)
  2. Superman (Richard Donner, 1978)
  3. Three Colors Trilogy (Krzysztof Kieslowski, 1993-94)
  4. A Clockwork Orange (Stanley Kubrick, 1971)
  5. Badlands (Terrence Malick, 1973)
  6. Apocalypse Now (Francis Ford Coppola, 1979)
  7. Magnolia (Paul Thomas Anderson, 1999)
  8. Peter Pan (Clyde Geronimi, Wilfred Jackson & Hamilton Luske, 1953)
  9. North By Northwest (Alfred Hitchcock, 1959)
  10. Pulp Fiction (Quentin Tarantino, 1994)


Top 10 Directors:
  1. Stanley Kubrick
  2. Brian de Palma
  3. Alfred Hitchcock
  4. Robert Altman
  5. Krzysztof Kieslowski
  6. Woody Allen
  7. Andrei Tarkovsky
  8. Terrence Malick
  9. Martin Scorsese
  10. Yasujiro Ozu


Ricardo Luis Alvarez is from Santo Domingo, Dominican Republic. He is the author of the IMAGES & SOUNDS site. and likes to make short films in his spare time.

tally after this list / November 12, 2005


Andrew Mixon

  1. 2001: A Space Odyssey (Stanley Kubrick, 1968)
  2. Taxi Driver (Martin Scorsese, 1976)
  3. Seven Samurai (Akira Kurosawa, 1954)
  4. Aguirre, the Wrath of God (Werner Herzog, 1972)
  5. The Bicycle Thief (Vittorio De Sica, 1948)
  6. Blade Runner (Ridley Scott, 1982)
  7. Apocalypse Now (Francis Ford Coppola, 1979)
  8. Blow-Up (Michelangelo Antonioni, 1966)
  9. Andrei Rublev (Andrei Tarkovsky, 1969)
  10. Singin' in the Rain (Stanley Donan/Gene Kelly, 1952)

This list is a bit of a mix of filmmakers A) whose films entertain me the most (Scorsese, Kurosawa, Hitchcock), B) whose styles, methods and attitudes I admire the most (Godard, Herzog), and/ or C) whose pure dedication to art I admire the most (Tarkovsky, Antonioni).

Alas, being relatively young I have not yet checked out a handful of important filmmakers- notably, I'd say, Bresson and Ozu, so maybe I'll update this list a year from now after I've gotten around to seeing some of their work. Top 10 Directors:

  1. Akira Kurosawa
  2. Martin Scorsese
  3. Jean-Luc Godard
  4. Andrei Tarkovsky
  5. Alfred Hitchcock
  6. Federico Fellini
  7. Stanley Kubrick
  8. Orson Welles
  9. Werner Herzog
  10. Michelangelo Antonioni


Andrew Mixon is a sixteen year old cinephile.

tally after this list / November 12, 2005


Vasja Kravanja

  1. The Grand Illusion (Jean Renoir, 1937)
  2. Sayat Nova (Sergei Parajanov, 1968)
  3. Ordet (Carl Th. Dreyer, 1955)
  4. The Passion of Joan of Arc (Carl Th. Dreyer, 1928)
  5. Ikiru (Akira Kurosawa, 1952)
  6. Tokyo Story (Yasujiro Ozu, 1953)
  7. Wild Strawberries (Ingmar Bergman, 1957)
  8. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1974)
  9. La Strada (Federico Fellini, 1954)
  10. Shadows of our Ancestors (Sergei Parajanov, 1964)


Top 10 Directors:
  1. Carl Th. Dreyer
  2. Sergei Parajanov
  3. Rainer Werner Fassbinder
  4. Yasujiro Ozu
  5. Ingmar Bergman
  6. Jean Renoir
  7. Henri-Georges Clouzot
  8. John Cassavetes
  9. Robert Bresson
  10. Masaki Kobayashi


Vasja Kravanja is a student of French and Philosophy from Slovenia. "I was born in 1984. My ambition is to become a faculty teacher of philosophy. I've never wished to be in the movie business or anything like that, but be that as it may, watching good movies is my favourite hobby."

tally after this list / November 12, 2005


Matt Severson

(in chronological order)

[Note: As a rule, I have only allowed 1 film per filmmaker]

  • Un Chien Andalou (Luis Bunuel, 1929)
  • The Rules of the Game (Jean Renoir, 1939)
  • Citizen Kane (Orson Welles, 1941)
  • Tokyo Story (Yasujiro Ozu, 1953)
  • Pather Panchali (Satyajit Ray, 1955)
  • A Man Escaped (Robert Bresson, 1956)
  • The 400 Blows (Francois Truffaut, 1959)
  • 8½ (Federico Fellini, 1963)
  • Persona (Ingmar Bergman, 1966)
  • 2001: A Space Odyssey (Stanley Kubrick, 1968)

Also, in order to create this list, I eliminated any animated films, documentaries, and experimental works. It is particularly painful to have no entries for Errol Morris, Stan Brakhage, Fredrick Wiseman and Jan Svankmajer.

Top 10 Directors:

  • Ingmar Bergman
  • Robert Bresson
  • Luis Bunuel
  • Carl Th. Dreyer
  • Alfred Hitchcock
  • Stanley Kubrick
  • Akira Kurosawa
  • Yasujiro Ozu
  • Jean Renoir
  • Orson Welles

SECOND TIER:
Stan Brakhage, John Cassavettes, Sergei Eisenstein, Rainer Werner Fassbinder, Jean-Luc Godard, D.W. Griffith, Kenji Mizoguchi, Satyajit Ray, Roberto Rossellini, Andrei Tarkovsky

THIRD TIER:
Michelangelo Antonioni, Charles Chaplin, Rainer Werner Fassbinder, Federico Fellini, John Ford, Hou Hsiao-Hsien, Fritz Lang, Ernst Lubitsch, F.W. Murnau, Alain Resnais, Francois Truffaut

Matt Severson's Top 110 Films

Matt Severson is a Photo Archivist at the Academy of Motion Picture Arts and Sciences.

tally after this list / November 11, 2005


Maxim Lebedev

The ten greatest films:

  1. Andrei Rublev (Andrei Tarkovsky, 1969)
  2. The Passion of Joan of Arc (Carl Th. Dreyer, 1928)
  3. Sunrise (F.W. Murnau, 1927)
  4. Tokyo Monogatari (Tokyo Story) (Yaujiro Ozu, 1953)
  5. The Life of Oharu (Kenji Mizoguchi, 1952)
    It's a toss between this, Ugetsu, and Sansho Dayu. Mizoguchi prefered this film though.
  6. Au hasard Balthazar (Robert Bresson, 1966)
    I prefer "Diary of a Country Priest", but this has more universal themes.
  7. The Rules of the Game (Jean Renoir, 1939)
  8. The Seven Samurai (Akira Kurosawa, 1954)
  9. 8½ (Federico Fellini, 1963)
  10. City Lights (Charlie Chaplin, 1931)
My favourite 10 films:
  1. Andrei Rublev (Andrei Tarkovsky, 1969)
  2. Ugetsu monogatari (Kenji Mizoguchi, 1953)
  3. Diary of a Country Priest (Robert Bresson, 1951)
  4. Zerkalo (Andrei Tarkovsky, 1975)
  5. Ordet (Carl Th. Dreyer, 1955)
  6. Au hasard Balthazar (Robert Bresson, 1966)
  7. Persona (Ingmar Bergman, 1966)
  8. Sansho Dayu (Kenji Mizoguchi, 1954)
  9. The Passion of Joan of Arc (Carl Th. Dreyer, 1928)
  10. Cries and Whispers (Ingmar Bergman, 1972)

Other great films not found on these lists needing mention: Winter Light (Bergman), Jules et Jim (Truffaut), The Spirit of the Beehive (Erice), Woman in the Dunes (Teshigahara), L'Atalante (Vigo), Mouchette (Bresson), Stalker (Tarkovsky), Harakiri (Kaboyashi). And some others...

Top 10 Directors:

  1. Robert Bresson
  2. Andrei Tarkovsky
  3. Yasujiro Ozu
  4. Kenji Mizoguchi
  5. Carl Th. Dreyer
  6. Charles Chaplin
  7. Orson Welles
  8. Jean Renoir
  9. Alfred Hitchcock
  10. Ingmar Bergman

"I am a film student and cinephile who has been collecting and viewing old international films for the last few years. I also run a film group at my college to help my fellow student see some rare gems of international cinema on a confortable couch with a nice large screen instead of a hard stiff desk and a small classroom TV, as the saying goes..."

tally after this list / November 11, 2005


Dog Breath

  1. Good Morning (Yasujiro Ozu, 1959)
  2. Walkabout (Nicolas Roeg, 1971)
  3. The Passion of Joan of Arc (Carl Th. Dreyer, 1928)
  4. The Lady Vanishes (Alfred Hitchcock, 1938)
  5. Tokyo Drifter (Seijun Suzuki, 1966)
  6. The Life and Death of Colonel Blimp (Michael Powell & Emeric Pressburger, 1943)
  7. The Great Dictator (Charles Chaplin, 1940)
  8. M*A*S*H (Robert Altman 1970)
  9. Triumph of the Will (Leni Reifenstahl, 1934)
  10. Tokyo Olympiad (Kon Ichikawa, 1965)


Top 10 Directors:
  1. Akira Kurosawa
  2. Sergio Leone
  3. Yasujiro Ozu
  4. Alfred Hitchcock
  5. Woody Allen
  6. Stanley Kubrick
  7. Ingmar Bergman
  8. Jean-Luc Godard
  9. Robert Altman
  10. Martin Scorsese


Dog Breath is an enigma.

tally after this list / November 11, 2005


Derek Power

  1. La Passion de Jeanne d'arc (Carl Th. Dreyer, 1928)
  2. Andrei Rublev (Andrei Tarkovsky, 1966)
  3. Au hasard Balthazar (Robert Bresson, 1951)
  4. The Shining (Stanley Kubrick, 1980)
  5. Le Mépris (Contempt) (Jean-Luc Godard, 1963)
  6. Seven Samurai (Akira Kurosawa, 1954)
  7. Slacker (Richard Linklater, 1991)
  8. Eternal Sunshine of the Spotless Mind (Michel Gondry, 2004)
  9. Punch-Drunk Love (P.T. Anderson, 2002)
  10. Donnie Darko (Richard Kelly, 2001)


Derek Power is a recent college graduate from the College of William and Mary and an aspiring filmmaker/composer/producer. He can be found on LiveJournal, Matchflick and CriterionForum.com under the moniker djproject. He can be found in the flesh at Herndon, VA

tally after this list / November 11, 2005


Jim Parsons

  1. L'Atalante (Jean Vigo, 1934)
  2. The Third Man (Carol Reed, 1949)
  3. M. Hulot's Holiday (Jacques Tati, 1953)
  4. Rushmore (Wes Anderson, 1998)
  5. Stolen Kisses (Francois Truffaut, 1968)
  6. Dr. Strangelove (Stanley Kubrick, 1964)
  7. Hannah and Her Sisters (Woody Allen, 1986)
  8. Andrei Rublev (Andrei Tarkovsky, 1969)
  9. The Night of the Hunter (Charles Laughton, 1955)
  10. Belle de Jour (Luis Buñuel, 1967)


Jim Parsons is a history major at Walsh University in Ohio.

tally after this list / November 11, 2005


Matthew Wilkinson

  1. Cries & Whispers (Ingmar Bergman, 1972)
  2. Lawrence of Arabia (David Lean, 1962)
  3. Magnolia (P.T. Anderson, 1999)
  4. Taxi Driver (Martin Scorsese, 1976)
  5. Godfather 1 & 2 (Francis Ford Coppola, 1972-74)
    they CAN NOT be seperated, nor can part 3 be included
  6. Close-Up (Abbas Kiarostami, 1990)
  7. Persona (Ingmar Bergman, 1966)
  8. Rear Window (Alfred Hitchcock, 1954)
  9. Il Posto (Ermanno Olmi, 1961)
  10. Ordinary People (Robert Redford, 1980)

It is ridiculously painful not to include something by Ozu, Tarkovsky, or Fellini. A few runners up: Breaking the Waves (von Trier), Badlands(Malick), Good Morning (Ozu), and Amarcord (Fellini).

Top 10 Directors:

  1. Ingmar Bergman
  2. Stanley Kubrick
  3. Andrei Tarkovsky
  4. Yasujiro Ozu
  5. Abbas Kiarostami
  6. Frederico Fellini
  7. Paul Thomas Anderson
  8. Robert Bresson
  9. Alfred Hitchcock
  10. Luis Buñuel

Yes, I did just place Paul Thomas Anderson over Bresson, Hitchcock, and Buñuel. I know, I know. I wish I could have put Von Trier and Cassavettes on the list, but ah well.

Matthew A. Wilkinson is a film-maker and musician living in Calgary, Canada.

tally after this list / November 11, 2005

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