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This list is the best explanation I can provide.
It's an equal opportunity list, holding no genre, budget, country, or artist above any other for the sake of public of professional preference (where dramas generally reign supreme). In fact, an effort has been made to keep things well-blended.
Welcome to my little slice of nirvana.
Note: Films in a series, like Lord of the Rings of The Matrix, are judged as one film, unless otherwise stated.
Basically, I just watched about 2200 films over the last four years or so. Do the math. I know. It's ridiculous. Anyway, when I passed the 2500-films-seen mark I made a top 500. Now that I'm approaching 4000-films-seen, I'm drafting a top 1000.
Ranks change all the time as I re-evaluate my all time favourites, and, again, as my appreciation matures and becomes more all-encompassing toward film as an art form. Still, I have a hard time parting with certain, perhaps more embarrassing titles, that represent a part of how I grew up on movies, and how deeply I love movies. For instance, Big Trouble in Little China isn't high art. I know it isn't. But it succeeds as a film in so many ways unique to it as a cultural artifact, and, let's face it, it's damn quotable.
Anyway, I hope you don't judge me too hard if you're a snob--like I'm becoming--or that you don't take me too seriously if you're not. Enjoy!
Ps. I'm an equal-genre-opportunist. I think great family/horror/romance/sci-fi/comedy/surrealist/period/drama/crime/fantasy/marital arts/mystery and every other little subgenre and genre-blend deserves equal representation. I'll probably do individual lists later.
There Will Be Brawl (2009)
The Epitome of the Concept
What's amazing about this labour of love is that once one has witnessed the epic scope of its production and its running time one cannot imagine the concept executed any other way. Sure, it tantalizes to dream of a silver screen adaptation, but it would be like trying to film The Divine Comedy. In other words, the ratio of insiders to outsiders, people who would get the references to people that would be left cold, is too crazily imbalanced for international acceptance or appeal.
That said, every level of this production is in a groove all its own.
The performances, ranging from the shiver-inducingly awesome to the knee-slappingly horrendous, are all exactly where they need to be. One even wonders if some of the stinker performances aren't on purpose, a tongue-in-cheek send-up of the gritty reboot genre.
The technical aspects often far exceed expectations, even if they are somewhat lacking to the modern movie-going eye. But remember: all gamers have dreamed of the day that a halfway decent, dramatic, heart-wrenching Mario story would be told. So it's fitting that such a feat was pulled off by fans of the source material, depending on what scant resources are available to such a project. In this era of CGI and throw-away eye-poppery, every second of the way you'll be asking, "How did they do that?" A rare sensation indeed.
As I said before, the story is a parody of the gritty reboot, with Luigi (fittingly, the star of the show) stumbling through the dark intrigue that cloaks the film, and its Super Smash Bros. cast, playing the wasted gumshoe clawing back against the shadowy tide that has allowed the once great kingdom to fall into the grip of the four dons (Dedede, Ganondorf, Mewtwo, and Bowser).
If you're a fan of the Nintendo-verse, or a Smash Bros. gamer, you really owe it to yourself to immerse in Zach Grafton's triumphant, totemic accomplishment. At three hours, you'll find yourself not drawn to your console of choice, but to the next episode, as one brilliant cliff-hanger after another entices you inexorably on.