Lists by TarquinMcLusky
Taken From Steven Jay Schneider's series of books 2012 Edition.
From-A Trip to the Moon (1902)
They Shoot Pictures Don't They?'s 250 most critically acclaimed Films of the 21st Century
The extreme peculiarity of Hitchcock’s art (if his films do not seem very odd it is only because they are so familiar) can be partly accounted for by the way in which these aesthetic influences from high art and revolutionary socialism were pressed into the service of British middle-class popular entertainment. Combined with Hitchcock’s all-pervasive scepticism (‘‘Everything’s perverted in a different way, isn’t it?’’), this process resulted in an art that at once endorsed (superficially) and undermined (profoundly) the value system of the culture within which it was produced, be that culture British or American.
"If we have dwelt at some length on Orson Welles it is because the date of his appearance in the filmic firmament (1941) marks more or less the beginning of a new period and also because his case is the most spectacular and, by virtue of his very excesses, the most significant. Yet Citizen Kane is part of a general movement, of a vast stirring of the geological bed of cinema, confirming that everywhere up to a point there had been a revolution in the language of the screen." - André Bazin, What is Cinema? Volume 1
"Looking back on this [Kubrick's] remarkable filmography, it is clear that it has the distinctly architectonic quality of any great philosophical system: it says something about everything. All the facets of human nature are revealed in their wide-ranging diversity: high and low culture, love and sex, history, war, crime, madness, space travel, social conditioning, and technology. Yet, as internally diverse as Kubrick’s filmography is, taken as a whole, it is also quite coherent. It takes all the differentiated sides of reality and unifies them into one rich, complex philosophical vision that happens to be very close to existentialism." - Jerold J. Abrams, The Philosophy of Stanley Kubrick
"Like Dickens, Fellini was attracted to the theatrical. Both men mined their childhood experiences; both craved an audience. A hallmark of creativity in narrative fiction is the freedom to embroider the past, constructing a scenario which may have little to do with fact so long as it makes a good story. Fellini was blatant in mining his past, so if incidents which are presented as autobiography do not ring true, the audience is entitled to feel cheated. Events need to cohere in a convincing narrative which holds the interest of the audience as much as the creator. Fellini’s diversions verge on self-obsession." - Philip Gillett, Movie Greats: A Critical Study of Classic Cinema
"It would be hard to imagine the modern American cinema without Kurosawa’s palpable influence, whether in the action staging of Sam Peckinpah, Walter Hill, and Martin Scorsese or the distinctive editing patterns that so clearly set off the films of Francis Ford Coppola, George Lucas, and Steven Spielberg. And this is no less true of his influence on internationally acclaimed directors ranging from Italy’s Western auteur, Sergio Leone, to Hong Kong’s master of balletic violence, John Woo. The strategic use of slow motion, the transformation of Sergei Eisenstein’s handling of crowd scenes, the use of jump cuts on movement, the intermixing of long takes and montage, have all entered the lexicon of the modern action cinema." - David Desser, Schirmer Encyclopedia of Film
This list is a compilation of worldwide critical opinion, using published polls and top lists, carried out by the They Shoot Pictures, Don't They? As of 2012.
This list is a compilation of worldwide critical opinion, using published polls and top lists, carried out by the They Shoot Pictures, Don't They? As of 2012.
Every decade, Sight & Sound asks an international group of film professionals to vote for their greatest film of all time. Critics are asked to provide a top ten list. Since 1992 world's finest directors are invited to participate in a separate poll. The individual results are eclectic; in the 2012 poll, 806 different films received at least one mention from one voter. Even the top-of-the-list consensus has its limits. In 2012, both the critics and the directors selected Stanley Kubrick films in their top ten; however, the critics chose 2001: A Space Odyssey, while the directors preferred Dr. Strangelove. The Sight & Sound accolade has come to be regarded as the most important of the "greatest ever film" polls.
The combined votes of 846 critics and 359 directors, contains all films with at least three votes. Films are in descending order by number of votes.
The New York Film Festival has been a major film festival since it began in 1963 in New York. The films are selected by the Film Society of Lincoln Center. It is a non-competitive festival
Il Leone d’Oro (THe Golden Lion) is the highest prize given to a film at the Venice Film Festival. The prize was introduced in 1949 by the organizing committee and is now regarded as one of the film industry's most distinguished prizes.
All Seven men who have played secret agent James Bond 007.
The Toronto International Film Festival (TIFF) is a publicly attended film festival held each September in Toronto, Ontario. The festival begins the Thursday night after Labour Day (the first Monday in September in Canada), lasting for eleven days. Founded in 1976, the TIFF is now one of the most prestigious film festivals in the world. In 1998, Variety magazine acknowledged that "the Festival is second only to Cannes in terms of high-profile pics, stars and market activity."
Given that the festival lacks a jury and is non-competitive, regular awards handed out at other festivals for categories such as "Best Actress" or "Best Film" do not exist at the Toronto International Film Festival. The major prize, the People's Choice Award, is given to a feature-length film with the highest ratings as voted by the festival-going populace. The following list shows past winners:
"Truffaut remained true to the Cahiers legacy by inserting into each film references to his favorite periods of film history and his admired directors (Lubitsch, Hitchcock, Renoir). Jules and Jim, set in the early days of cinema, provided an occasion to incorporate silent footage and to employ old -fashioned irises. Truffaut sought not to destroy traditional cinema but to renew it. In the Cahiers spirit he aimed to enrich commercial filmmaking by balancing personal expression with a concern for his audience: "I have to feel I am producing a piece of entertainment." - Kristin Thompson & David Bordwell, Film History: An Introduction
"Godard 's work poses fundamental questions about narrative. While his first films, such as Breathless and A Woman Is a Woman, have fairly straightforward plots, he gradually moved toward a more fragmentary, collage structure. A story is still apparent, but it is deflected into unpredictable paths. Godard juxtaposes staged scenes with documentary material (advertisements, comic strips, crowds passing in the street), often with little connection to the narrative. Far more than his New Wave contemporaries, Godard mixes conventions drawn from popular culture, such as detective novels or Hollywood movies, with references to philosophy or avant-garde art. The inconsistencies, digressions, and disunities of Godard's work make most New Wave films seem quite traditional by comparison." - Kristin Thompson & David Bordwell, Film History: An Introduction
"Scorsese’s work evidences a remarkable thematic consistency. His collaborations with the screenwriter Paul Schrader on Mean Streets, Taxi Driver (1976), Raging Bull (1980), and Bringing Out the Dead (1999) only hint at this consistency. Whether he is directing a period adaptation of Edith Wharton’s 1920 novel The Age of Innocence (1993), creating a Tibetan epic based on the early years of the Dalai Lama in Kundun (1997), or returning, as he so often has, to the formulas of the crime film in GoodFellas (1990), Cape Fear (1991), or Casino (1995), Scorsese is fascinated by the story of the hero in revolt against a stifling culture whose norms he or she has internalized to a dangerous extent." - Thomas Leitch, Schirmer Encyclopedia of Film
"What, then, is this place that is the human condition? What does this moral landscape look and feel like, what are its most basic features and laws? Bergman’s “reduction” reveals our lives as moral and spiritual beings to be constituted by six fundamental kinds of experience and their interrelationships. These occur throughout Bergman’s films in many variations and combinations. Sometimes all are present, sometimes only a few. They are the seminal moments of judgment, abandonment, passion, turning, shame, and vision. Together they delineate the kind of journey life is and the kind of road it must travel. They are the “plot points” through which all of Bergman’s stories develop, and they provide the framework for understanding Bergman’s films and his achievement as artist and “filmic metaphysician.” - Jesse Kalin, The Films of Ingmar Bergman
"As Britain’s most famous producing-directing team, Powell and Pressburger divided critical opinion between those who demanded social realism within cinema and those who supported an auteurist vision. With the rise of auteur theory in journals such as the UK-based Movie, the work of Powell and Pressburger received a more positive critical reevaluation. At the box office, the duo’s fantastical, mystical tales enjoyed great success… In 1943 they established their own production company called the Archers, for which they made a succession of popular and significant films." - Scott Henderson, Schirmer Encyclopedia of Film
"Although known for their caustic wit, Wilder’s films fluctuate between two polarities—the utterly romantic and the utterly cynical. The best of his work—Avanti (1972), The Apartment (1960), Sunset Boulevard (1949)—blends the two. At the extremes, however, we have the romantic The Private Life of Sherlock Holmes (1969) and the cynical Ace in the Hole (1951) and Kiss Me Stupid (1964). But all of Wilder’s films share the director’s idea that the very existence of his characters is at stake." - Ken Dancyger, The Director's Idea: The Path to Great Directing
"Andrei Tarkovsky remains the most esteemed Soviet filmmaker of the post-World War II era despite having a relatively small body of work. An uncompromising artist and visionary who refused to bend either to Soviet governmental authorities or to commercial considerations, he completed only seven features and one short. His films were years in the making and often faced distribution delays or limited release. Each answered to his personal vision and gave form to the central concern of his own life, the difficulty of sustaining a sensitive, artistic temperament in a harsh world." - Vance Kepley Jr., Schirmer Encyclopedia of Film
"Given the stability of the Coens’ core personnel – their works have been written, photographed, scored, produced, and directed by a total of five technicians, and they have returned repeatedly to cast such favorite actors as John Goodman, Steve Buscemi, John Turturro, and Joel Coen’s wife, Frances McDormand – it is no wonder that their films have been so distinctive." - Thomas Leitch, Crime Films (Genres in American Cinema)
"Lynch uses the cinema to express non-rational energy in tangible form (visually and aurally). This energy is familiar to us all, but has been repressed in us by language, rationality, and education. This is one reason why Lynch's films seem to be nonsensical, but nonetheless evoke powerful feelings. It is easy to make nonsensical films that don't evoke any feelings at all, because they don't engage with the non-rational energy that Lynch evokes." - Thomas Elsaesser & Warren Buckland, Studying Contemporary American Film: A Guide to Movie Analysis
"One of the key figures in the debates around the fate of cinephilia is Quentin Tarantino (b. 1963), who famously had his formative education as a video store clerk. His own filmmaking is very much indebted to the Blaxploitation genre of American cinema, which by revisiting, he has helped to redeem from the dustbin of history. Is this videophilia? Or is it the cinephilia of the collector, whose obsessive and passionate movie watching is yet another foray into the politics of good taste?" - Schirmer Encyclopedia of Film
Studio Ghibli, Inc. (株式会社スタジオジブリ Kabushiki-gaisha Sutajio Jiburi?) is a Japanese animation film studio based in Koganei, Tokyo, Japan. The studio is best known for its anime feature films. Studio Ghibli began in June 1985 after the success of Nausicaä of the Valley of the Wind with funding by Tokuma Shoten. The company's logo features the character Totoro (a large forest spirit) from Miyazaki's film My Neighbor Totoro. At one time the studio was based in Kichijōji, Musashino, Tokyo.
Covering the Balkan and Baltic States as well as Poland, Czech, Hungary and Former Soviet States.
Benelux is a union of states in Europe comprising three neighbouring countries, Belgium, the Netherlands, and Luxembourg. The Union's name is formed from the beginning of each country's name.
Korean cinema encompasses the motion picture industries of North and South Korea. As with all aspects of Korean life during the past century, the film industry has often been at the mercy of political events, from the late Joseon dynasty to the Korean War to domestic governmental interference. While both countries have relatively robust film industries today, only South Korean films have achieved wide international acclaim. North Korean films tend to portray their communist or revolutionary themes.
The Asian subcontinent is a southerly region of the Continent, mostly situated on the Indian Plate and projecting southward into the Indian Ocean. Definitions of the extent of the Asian subcontinent differ but it usually includes the core lands of India, Pakistan, Bangladesh, Sri Lanka, Nepal and sometimes streching to South-East Asian Countries such as Burma, Thailand and Laos.
A complete list of every movie Ebert gave a perfect four-star rating, from his book of the same name.
"From time-to-time, I receive e-mail requests about where to find the Top 100, so I thought this was as good a time as any to create a special page devoted to the list, which I originally generated in late 2001 and posted over 100 weeks during 2002 and 2003. It hasn't changed much since it originated. In the span between 2004-2008, five titles have fallen out of the Top 100, replaced by either new movies or films I subsequently re-watched and decided merited inclusion. Now, it's time for two more changes. Entering the Top 100 in position #31 is Michael Apted's The Up Series, which somehow managed to escape my attention in 2002. If I remember correctly, that's because I had not seen the first three or four installments at the time. The box set came out on DVD in 2005 and I was able to correct the oversight. It deserves a place - and a fairly high one - on the list. Also being added is 2008's #1 movie, The Dark Knight, entering the list at #85. With two entering, two must fall out. They are When Harry Met Sally and The Big Sleep." James Berardinelli
Every decade, Sight & Sound asks an international group of film professionals to vote for their greatest film of all time. Critics are asked to provide a top ten list. Since 1992 world's finest directors are invited to participate in a separate poll. The individual results are eclectic; in the 2012 poll, 806 different films received at least one mention from one voter. Even the top-of-the-list consensus has its limits. In 2012, both the critics and the directors selected Stanley Kubrick films in their top ten; however, the critics chose 2001: A Space Odyssey, while the directors preferred Dr. Strangelove. The Sight & Sound accolade has come to be regarded as the most important of the "greatest ever film" polls
"After Charlie Chaplin, Woody Allen is the most significant comedy auteur in American film history. For more than thirty years Allen, like Chaplin, has written, directed, and starred in groundbreaking comedies at the rate of nearly a film a year since his first movie, What’s New, Pussycat? (1965). Allen also has demonstrated a gift for literary humor, and his writing for The New Yorker magazine resulted in three well-received books: Getting Even (1971), Without Feathers (1975), and Side Effects (1980)." - Wes D. Gehring, Schirmer Encyclopedia of Film
The Palme d'Or (The Golden Palm) is the highest prize awarded at the Cannes Film Festival and is presented to the director of the best feature film of the official competition. It was introduced in 1955 by the organising committee. From 1939 to 1954, the highest prize was the Grand Prix du Festival International du Film. From 1964 to 1974, it was replaced once again, by the Grand Prix du Festival.
The Golden Bear is the highest prize awarded for the best film at the Berlin International Film Festival. First awarded in 1951 the bear is the heraldic animal of Berlin, featured on both the coat of arms and flag of Berlin.
A Golden Raspberry Award, or Razzie for short, is an award presented in recognition of the worst in film. Founded by American copywriter and publicist John J. B. Wilson in 1981, the annual Razzie Awards ceremony in Los Angeles precedes the corresponding Academy Awards ceremony by one day. The term raspberry in the name is used in its irreverent sense, as in "blowing a raspberry"
The BFI London Film Festival (also known as just the London Film Festival) is the UK's largest public film event, screening more than 300 features, documentaries and shorts from almost 50 countries. The festival is run every year in the second half of October under the umbrella of the British Film Institute.
Awarded for the most original and innovative first feature at the London Film Festival. The Sutherland Trophy is named after the BFI’s patron and boasts recipients as noteworthy as Bertolucci, Fassbinder, Godard and Antonioni. Since 2009 the LFF has given a 'Best Film' award as the most prestigious trophy at the Festival.
The Sundance Film Festival, is an American film festival that takes place annually in Utah. It is one of the largest independent film festivals in the United States. Held in January in Park City, Salt Lake City, and Ogden, as well as at the Sundance Resort, the festival is a showcase for new work from American and international independent filmmakers. The festival comprises competitive sections for American and international dramatic and documentary films, both feature-length films and short films, and a group of out-of-competition sections, including NEXT, New Frontier, Spotlight, and Park City At Midnight.
The European Film Awards are presented annually by the European Film Academy to recognize excellence in European cinematic achievements. The awards are given in over ten categories of which the most important is the Film of the Year.
Golden Viking is awarded by 'The Yorkshire Cinema Critics Circle' group that judge a varity of films. In the annual event, the Circle distributes its awards for best film performances during the year, the most prestigious of which is the Golden Viking. Sometimes referred to as the Michael Turner Prize the Golden Viking is the main award at the Doncaster, Sheffield and South Yorkshire Robin Hood International Film Festival, first given in the Town Hall of Doncaster, South Yorkshire in 1921.