Aaron's 100 - 2019 Edition: No. 100 - No. 76

I love lists. I also realize that, when it comes to ranking films, lists can be somewhat silly. I mean, how can you rank a comedy as compared to a heavy drama? But hey, I can't help that my brain works this way. I actually keep a running list on my phone of my 100 favorite films, and the list is constantly changing. I decided that, rather than keep it to myself, I should share it with you. So, over the next few weeks, I'll be posting my 100 favorite films of all time. I started this last year, and you can find last year’s version by heading over to my Movie Journal. On this year’s edition, I’ll make a note of where each film showed up the previous year (HM stands for Honorable Mention and NR stands for Not Ranked).

They'll come in increments of 25, with this post featuring numbers 100-76. Keep in mind a few things: 1) these are my personal favorites, so I'm not saying these are the 100 objectively best films ever made and 2) I am not giving a blanket recommendation for every film on this list. You should certainly keep in mind age and content maturity when viewing some of these films (for more info on that, check out this post). Also, this series will only focus on feature films, so you won't see any documentaries. Finally, for any films that I have previously reviewed, there will be a button below each title for you to click through to the original review. My plan is to post this series every year to see how my rankings have changed. But enough intro, let's get to the list! Here are numbers 100-76...

100. Ex Machina - Alex Garland (2014) Alex Garland is surely one of my favorite directors working today, and all you have to do is scroll down a little farther for another film that shows why. His films are so cerebral, yet visually stunning at the same time. Ex Machina incorporates a profound investigation of what it means to be human through the story of a master coder (Domnhall Gleeson), a tech magnate (Oscar Isaac), and the world's first true artificial intelligence, named Ava (Alicia Vikander). I absolutely love the ending to this film, and the entire story left me thinking for a long time. I’ve now watched it multiple times, and it certainly holds up to repeat viewings. Both films of Garland’s fell a bit from last year’s ranking, but don’t take that as a knock against them. If you'd like to see more of my thoughts on Ex Machina you can head over to my capsule review of the film for Filmotomy's British cinema roundup. Last year’s ranking - #75

99. Cries and Whispers - Ingmar Bergman (1972) Here begins a run of films from my favorite director. Ingmar Bergman's 1972 film Cries and Whispers is a wonderful example of the power that quality set design and cinematography can have on a film's impact. Sven Nykvist (cinematographer) and Marik Vos-Lundh (art director) support Bergman's story and visual narrative with the juxtaposition of the striking red walls of this mansion and the pure white of the costumes. This is a story about pain and our attempts to deal with it. The acting performances are incredible, especially from Bergman regular Harriet Andersson. This is another film that grew on me after watching it a second time, as there is so much here to unpack. The closing scene ties the film's thematic elements together beautifully, and this is yet another example of Bergman's complete mastery of the art of filmmaking. I reviewed this film for Filmotomy, as part of their Bergman 100 retrospective. Last year’s ranking - #62

98. Wild Strawberries - Ingmar Bergman (1957) I've already mentioned my love for Bergman, and his career is simply astounding. Take the year 1957, for instance, when he created the all-time classic The Seventh Seal *and* Wild Strawberries, which shows up here at number 98 on my list. While Cries and Whispers slid a bit this year, this one mostly held its ranking. Again, we’re splitting hairs here when doing rankings like these, but I do feel that Wild Strawberries is one of Bergman’s more re-watchable films. Swedish legend Victor Sjostrom gives a fantastic performance as retired doctor Isak Borg, a man who is on a trip to receive an award for his lifetime achievement. Along the way, he meets people that make him consider his past in interesting ways. This is one of Bergman's most accessible films and one of his most moving. In a career spanning decades and containing multiple all-time classics, Wild Strawberries stands up as one of Bergman's best. Last year’s ranking - #94

97. The Umbrellas of Cherbourg - Jacques Demy (1964) This movie made a large jump in the rankings, and it has become one of my all-time favorite movie musicals. From the late French director, Jacques Demy, this enchanting film stars Catherine Deneuve and Nino Castelnuovo as star-crossed lovers. Its claim to fame is that every word in the film is sung (as opposed to the more common choice in musicals of having characters speak and then break into song). It was a major influence on later musicals (La La Land most of all), and its ending is so poignant and unique. The colors in this film are simply astounding, too. Once you get past the initial jolt of having all the words sung to you, you'll realize just how incredible of a film this is. Also, I guess March 10 is now The Umbrellas of Cherbourg day in my life. Last year’s ranking - HM #17

96. The Breakfast Club

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96. The Breakfast Club - John Hughes (1985) When you think of 80s movies, isn't this the first one to come to mind? The music, the iconic closing shot, the glorification of youth vs. adulthood - it has all become embedded in our cultural consciousness. When I watched this film for the first time, I was struck by the writing. John Hughes would either write, produce, or direct many of the most popular movies of this time frame, but this film seems to be the one that is most synonymous with his oeuvre. I love that this film lets teenagers talk, but then it does something even more transformational - it listens to them. It isn't so much that this film trashes adulthood, but that it pleads with adults not to overlook those younger than them. That's a powerful message, and this film communicates it beautifully. Last year’s ranking - #87

95. Winter Light - Ingmar Bergman (1963) I've had an interesting relationship with this film. The first time I watched it, I certainly did not appreciate it as much as I do now. After watching it again, its power overwhelmed me. In last year’s blurb, I said that this was “Bergman at his darkest.” Since then I’ve watched a few more Bergman films, and I don’t think I would say it is quite his darkest. While it is quite dark, Bergman still lets the light alluded to in the film’s title break through at key moments. He uses the story of a doubting minister to wrestle with his own conflicted feelings about faith and religion. But those moments of light breaking through have continued to sit with me in relation to this film, and that is why it moved up a bit in this year’s list. It is up to us to parse the relationship between light and dark. I also reviewed this film for Filmotomy, as part of their Ingmar Bergman series. Last year’s ranking - #100

94. Mrs. Doubtfire - Chris Columbus (1993) This film is incredibly nostalgic for me, as my family would routinely watch it when I was a kid. Robin Williams is one of my all-time favorites, and here he runs the full gamut of his incredible talent - from dizzyingly-fast zaniness to dramatic intensity. His skill for voices is on display from the very first scene. There's simply nobody else who could have played this part. There are multiple scenes where Williams finds the comedy in juxtaposition - that his character must be in multiple places at once but, obviously, cannot succeed. This is simply one of the great comedic performances, and it will always be a favorite of mine. "Hellooooooo!" Last year’s ranking - #80

93. Annihilation

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93. Annihilation - Alex Garland (2018) Let me start out by saying that I saw this movie twice...in the same theater...on the same day. It gripped me that much. I definitely think this is a film that demands to be seen in the theater - the visuals and themes are just so large and breathtaking. Natalie Portman gives a moving performance, and Oscar Isaac is (as always) fantastic in his supporting role. The closing to this film wrecked me emotionally. Part of that is the incredibly-moving score from Geoff Barrow and Ben Salisbury. Part of it is the performance by Portman. Part of it is the writing and direction by Garland (adapted from a novel by Jeff VanderMeer). To read my original review, simply click on the button in the image above. I also reviewed this film for Filmotomy, as part of their first half recap of 2018. Last year’s ranking - #71

92. The Dark Knight - Christopher Nolan (2008) While this movie fell 11 spots overall, it actually jumped quite a few films that were ahead of it last year. There’s a reason it remains in my Top 100 - it is clearly the best superhero film ever made (though Spider-Man: Into the Spider-Verse closed that gap considerably). I remember seeing The Dark Knight in the theater and the cultural tsunami that coincided with its release. It is simply undeniable that Heath Ledger's performance as The Joker is not only one of the best villains ever, but it's one of the best performances ever, bar none. I also enjoy seeing how Christopher Nolan pays homage to his influences, particularly a specific Michael Mann film that shows up later on in this list. It is a long film, but Nolan’s pacing keeps it from feeling that long. However, I can never fully forgive this film for containing one of the dumbest moments in any movie I can think of. Are there really that many nurses running around Gotham General with The Joker’s makeup that Harvey Dent needed to wait for him to take off the mask to know who it was? Last year’s ranking - #81

91. Annie Hall - Woody Allen (1977) It's hard to know exactly what to do with the films of Woody Allen. On the one hand, he's clearly one of the best writers the medium of film has ever seen. But the sexual assault allegations against him (of which he was acquitted in court, but his adoptive daughter continues to affirm) are impossible to overlook. That is especially true considering he had an affair with and ended up marrying his ex-wife's adopted daughter and so many of his films contain a storyline where he dates younger women. There was a time when I would have said Annie Hall was my favorite romantic comedy. While I can't change the feelings I had about the film upon first seeing it, I'm certainly conflicted about it now. It shows up here on my list because it fully displays Allen's talent for direction and writing. This is an incredible film, and it certainly represents the work of many people besides just Allen. However, Allen's films (including this one) are so tied to his own persona, and I wouldn't begrudge anyone who says they can no longer watch his films. My favorite film critic - Matthew Zoller Seitz - wrote a great piece about this difficult topic. I haven't revisited Allen’s films in some time, and I'm still processing how to navigate this going forward. Last year’s ranking - #68

90. Blade Runner 2049

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90. Blade Runner 2049 - Denis Villenueve (2017) We're in a stretch of my list that is dotted with visually-striking science fiction films. Few in recent memory have been as masterful as Blade Runner 2049 - the sequel to the 1982 cult classic. It's not often that a cinematographer deserves top billing for a film, but when you're talking about Roger Deakins I think it's warranted. This may be his career-best work, though that is an impossible choice to make. He won his (to this point) only Oscar for his work on this film, but he should probably have about seven by now. In any case, his futuristic stylings are simply breathtaking here. The score, too, by Hans Zimmer and Benjamin Wallfisch is absolutely incredible. Last year’s ranking - #70

89. 2001: A Space Odyssey - Stanley Kubrick (1968) When you're talking about visually-striking science fiction films, the conversation begins with this Kubrick classic. It changed filmmaking in ways that have been reverberating ever since. Nearly every science fiction film released after 2001: A Space Odyssey has been influenced by it in some fashion. It stands alone in the genre for its early use of special effects and its profound themes. You can certainly tell the difference between the effects used here and the CGI effects of modern films - but that's what is so amazing about this film. With tactics that would be deemed rudimentary by today's computer-enhanced standards, Kubrick, cinematographer Geoffrey Unsworth, and visual effects supervisor Douglas Trumbull were able to create jaw-dropping scenes like the famous Stargate sequence and some of the most memorable images in the history of cinema. I would love to see this film on the big screen someday. Last year’s ranking - #69

88. The Lord of the Rings: The Two Towers - Peter Jackson (2002) Here it is, the first of the LOTR trilogy to appear on my list - but certainly not the last. Surely arguments will continue for decades as to how to rank the films in this trilogy. The bottom line - each film is fantastic, and they all helped change the way visual effects would be used over the next decade of filmmaking. The Two Towers has one of the best sequences in the entire trilogy (Helm's Deep), and its opening scene is incredible. The sheer undertaking upon which Jackson and his team of creators embarked is utterly astounding. While I prefer the other two films in the trilogy, this remains one of my favorite films ever made. I will always have a soft spot for this trilogy. Last year’s ranking - #64

87. The Fighter - David O. Russell (2010) Here is one film that moved up the rankings quite a bit this year. This was an instant favorite of mine when it first came out. Then when I watched it again earlier this year, I was reminded of why I love it so much. This film contains some of the finest ensemble acting you'll see. Mark Wahlberg is great in the lead role of Micky Ward, but Christian Bale's performance as his half-brother Dick Eklund is the headliner. Amy Adams is also astounding as Micky's love interest, Charlene, and Melissa Leo won an Oscar for her portrayal of the family matriarch, Alice. This came during David O. Russell's string of Oscar successes, and it's my personal favorite of his films. It is gritty and heartwarming at the same time - just a wonderfully unique film. Last year’s ranking - HM #13

86. Citizen Kane - Orson Welles (1941) As was the case last year, my ranking here is by no means meant as a slight against this classic film. It is incredible, especially when you consider that this was the first film Welles ever made. It is visually interesting and thematically powerful. It contains some of the most famous images in film history. "Rosebud" is forever etched as one of the great movie plot lines. It's a classic, no doubt about it. This is another film that I've only seen one time, and I didn't resonate with it emotionally as much as the films ahead of it on my list. But it certainly would not surprise me if this film moves up my rankings in the future. Last year’s ranking - #66

vertigo-1958-003-kim-novak-beside-golden-gate-bridge.jpg — 85. Vertigo

85. Vertigo - Alfred Hitchcock (1958) I had the pleasure of seeing this film on the big screen, and it made me appreciate it far more than when I first saw it at home. Hitchcock's use of color is surreal, and it draws you into this story of obsession and intrigue. There are many great scenes in the film, but I am always astounded by the scene where Scottie (James Stewart) saves Madeleine (Kim Novak) from the water with the majestic Golden Gate Bridge in the background. Stewart and Novak are both incredible in this film. While it is almost impossible to pick which of Stewart's performances marks his career best, this might just be it. Finally, I cannot help but remark on the inimitable talents of two Hollywood legends - score composer Bernard Herrmann and costume designer Edith Head. Herrmann created some of the most indelible scores in film history, and the music here is haunting and beautiful at the same time, much like the film as a whole. The costumes that Head creates evoke different shades of each character, and they add to the film's entrancing use of color. Last year’s ranking - #63

84. Heat - Michael Mann (1995) All you need to know about this film to be intrigued is the fact that this was the first film where Al Pacino and Robert De Niro appeared on screen together. They are two of the greatest actors of all-time, and they are both incredible in this film. Even so, this film is far more than just a vehicle for these two actors. Its narrative is strikingly unique in the way it looks at law enforcement and criminals - especially the effects of their jobs on their relationships. I've already discussed how influential Michael Mann's film was on so many that came after it, especially The Dark Knight. Mann's direction here is so stylish and inventive. And the final scene is absolutely incredible, both visually and thematically. Last year’s ranking - #73

83. The Assassination of Jesse James by the Coward Robert Ford - Andrew Dominik (2007) Here’s another film that finds its way onto the list mainly due to the work of cinematographer Roger Deakins. His work on this film is astounding. In fact, I think this might be his personal best work. Yes, even better than Blade Runner 2049 and, yes, even better than his work on another film from 2007 which will appear later on the list. The film is also fascinating in its portrayal of Jesse James as someone who began the early threads of cultural fascination with sensational and criminal behavior. Last year’s ranking - NR

82. Widows - Steve McQueen (2018) Here is a film that has a lot going on but is somehow able to keep it all together. The film’s main storyline centers around widows who must pay off the debts their husbands owed to nefarious criminals. But this film uses that story to touch on themes of race, class, gender, politics, and the overall nature of good and evil. This is a powerful film, one that I did not think was given its due by critics. Last year’s ranking - NR

81. Rope - Alfred Hitchcock (1948) So many of Alfred Hitchcock’s movies involve following characters who are in pursuit of the perfect murder. This is another example, and I think it’s one of Hitch’s best. It’s also famous for being shot in such a way that the film seems to be one long take. That adds another level of stylistic flair to the film. I also love it because it puts Hitchcock together with Jimmy Stewart, who is one of my all-time favorite actors. Last year’s ranking - NR

80. Experiment in Terror

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80. Experiment in Terror - Blake Edwards (1962) We’ve had a run of films here that have made their first entry into the list. Here is another, and it is a film that I discovered while perusing the Criterion Channel. It was a wonderful surprise to me. I knew Blake Edwards as the director of Breakfast at Tiffany’s and the Pink Panther films, so a gritty noir film was a pleasant surprise. Lee Remick is great here, and the storyline is absolutely riveting. It seems to have been a daring film for its time, and it definitely holds up when viewed now. Last year’s ranking - NR

79. 8 1/2 - Federico Fellini (1963) One of the best films about filmmaking to ever grace the screen, this classic from Italian master Federico Fellini is intoxicating from beginning to end. Fellini had such a wonderful eye for visuals, and creates some legendary ones here (including the famous shot featured in the header image above this post). Legendary Italian actor Marcello Mastroianni gives a wonderful performance here as aging director Guido Anselmi. If you are a cinephile, this is a movie that must be on your list to watch. It has interesting things to say about the art of filmmaking itself, and it is one of the best examples of the type of art to which filmmaking can aspire. Last year’s ranking - #54

78. Red Beard - Akira Kurosawa (1965) We go from Fellini to Akira Kurosawa - another titanic director of cinema history. Given that it's a Kurosawa film, it goes without saying that Red Beard is visually interesting. There are many powerful shots, including the header image above from a scene with visuals that stuck in my head for days after watching the film. It is long, coming in at over three hours. But its profound storyline never lets it feel arduous. Here we watch as the young Dr. Noboru Yasumoto (Yuzo Kayama) comes to a local clinic to care for the sick there. As the film begins, he sees the patients as simply dirty and sickly. But as the film continues, he - along with we as the audience - begin to consider the humanity of everyone we see. I also reviewed this film for Filmotomy as part of their World Cinema Project. Last year’s ranking - #47

77. Wings of Desire - Wim Wenders (1987) What an emotional film this is. It won Wim Wenders the Best Director award at the 1987 Cannes Film Festival. It centers around angels who help people in and around Berlin. Wenders uses the camera to pull us into the film’s unique perspective. It is that perspective that supports the emotional impact of the film’s story. The acting is incredible across the board, as well. For more on this film, you can check out my review for Filmotomy’s leadup series to the 2019 Cannes Film Festival. Last year’s ranking - NR

76. Rashomon - Akira Kurosawa (1950) This jumped ahead of Red Beard as my favorite Kurosawa film - but just barely. He was a master of filmmaking, and here he toyed with narrative structure in a way that would be copied for years to come. This influenced the use of nonlinear stories, unreliable narrators, and competing narratives that have become commonplace in modern cinema. In fact, Kurosawa didn't only influence moviemaking with his revolutionary techniques in this film. In legal circles, there is a specific name given to the phenomenon of two eyewitnesses giving contradictory statements. Know what it's called? The "Rashomon effect." (For more information on this film's impact, I'll direct you to this wonderful article from Criterion.) Here, multiple characters tell the story of the same crime but in different ways. We are allowed to "see" the crime from each perspective and come to our own conclusions about the truth. Kurosawa is a legend, and this is one of his finest films. Last year’s ranking - #57

So, there you have it. We are well into the main list! Check back next week for numbers 75-51. For now, leave me a comment below or tweet at me to let me know what films you think I missed. Thanks, friends!