Our Heroes Don’t Grow Up to Be Cowboys

On Clint Eastwood, his relationship with firearms, father/son relationships and masculinity

Sally Gerber (Laura Dern) describes Butch Haynes (Kevin Costner) as a criminal’s criminal. By that she means he’s a man’s man. Butch ended up in prison for minor offenses like stealing cars and taking what he wanted from department stores. He wasn’t a sociopath or a serial murderer, but a man of the past who didn’t fit into today’s worldview. Butch is a man who likes a good Ford truck, an RC Cola and a dirt road as far as the eyes can see. He’s a philosopher of a softer, encouraging masculinity and himself a tender-hearted individual who was dealt a bad hand due to an abusive step-father, a man that audiences assume he killed. Butch was never supposed to be the kind of person that deserved a manhunt from Texas State Police officers. He was a (mostly) justified outlaw who was too big for this world, and he was a surrogate father for Phillip Perry (T.J. Lowther). The lone son in a family of daughters in Clint Eastwood’s, A Perfect World.

Eastwood’s conception of fatherhood is an instrument of opposing forces colliding into one whole. Frequently he presents a wayward father-figure who has lost track of his child or that child has died, and then he finds his parental strength through a surrogate bond. In Million Dollar Baby (2004)for example, Frankie (Eastwood in one of his finest roles) has a damaged relationship with his daughter. He writes her constantly and goes to confession in militant fashion week in and week out to answer for some unexplained guilt he has with his daughter. Maggie (Hillary Swank) starts training at his gym and Frankie doesn’t appreciate a girl showing up to hit a heavy bag, especially one as old as Maggie who’s “ten years past her prime” in Frankie’s words. Frankie is a sexist who doesn’t take to training girls seriously until he sees just how spunky and hard-working Maggie happens to be, and Frankie sees something of himself in her. They eventually form a bond that becomes family. Frankie is the one who sits beside Maggie’s bedside when she gets injured, and he’s the one who reads her stories. He’s the one who says Maggie is “his darling, my blood”. This in contrast to how Maggie’s birth family only wants her for money. Eastwood’s rejection of family values by negating the possibilities of birth families while relishing in the potential love in found family complicates his standing as a conservative filmmaker, and gives his work a comunal, America at its best value, that runs like a current through his entire oeuvre.

Phillip Perry lives with his sisters and mother and has no father-figure to speak of in his household, and in the 1960s that was not something that was readily accepted by society. His mother is a Jehova’s Witness and we see Philip for the first time pining for a chance to go trick or treating, but it’s against his mother’s religion so he’s stuck in the house watching kids pelt his house with eggs and his childhood pass away. By a random act of chance Butch and his escaped convict partner Jerry (Keith Szarbajka) break into Philip’s house and kidnap the boy when they need a bargaining chip to keep themselves alive, but the impactful moment here is in Butch and Philip’s first moments together. Butch punches Jerry square in the nose leaving him bloodied when he tries to rape Philip’s mother (Jerry is not a criminal’s criminal. He is a psychopath) and he drops his gun. Philip walks up to the gun and Butch tells him to pick it up and point it at him. Philip complies and walks over to Butch keeping the gun focused on his soon to be surrogate father until Butch takes it from him gently picks the boy up. At this point in the story it’s entirely possible that Butch was simply using Philip as insurance and knew how to handle kids, but it reads as the first lesson and sweet gesture between the two souls.

In Eastwood’s filmography knowing how to use a gun and the consequences of that knowledge are addressed in the hands of fathers and their sons, whether they be surrogate or natural born. The most famous example of this is in Unforgiven(1992) where William Munny (Clint Eastwood) consoles “the Schofield Kid” (Jaimz Woolvett) after he kills a man for the first time. The Kid is struggling to grasp what he has just done. He’s in disbelief, chugging whiskey and holding back tears before Munny utters a few words on killing that resonate beyond Unforgivenand are applicable to many of Eastwood’s films. “It’s a hell of a thing, killing a man. You take away all he’s got…and all he’s ever gonna have”. The kid feels his words and lowers his head before saying “Well, I guess they had it coming” to which Munny replies “We all have it coming kid”. This exchange in Unforgiven weighs the importance of killing a person and the responsibility that comes with carrying a weapon. It’s implied here that Eastwood is asserting through his cinema that if you kill someone don’t expect to go unpunished or unobserved, that someone or something will come back to get you. If one is to look in contrast at one of his recent films American Sniper these ideas are brought to their most sickening through acts of war. There is one scene in that movie that paints the titular Chris Kyle (Bradly Cooper) as someone who has been taught to kill through his father and how that conditioned him to kill other human beings. At the beginning of that film Chris is seen staring down a long rifle waiting worriedly to see if a mother and child are going to engage in warfare. Chris doesn’t want to kill these people, but in doing his job he pulls the trigger when it is seen that they have an explosive, but what makes this scene important is the cut that happens directly afterward. When Chris pulls the trigger a child doesn’t fall dead, but instead a deer. His father congratulates him and the audience is sent back in time to Chris’ youth. The cut signifies something devastatingly tragic; that this behaviour is solicialized in white American boys,  and Chris has always been killing. His father taught him that this is what men do. Additionally, in cinematic terms that cut implies the conditioning that comes with brainwashing troops into killing anyone that they see as a threat, and in the cultural history of America that means foreigners, and more often than not people of colour. This cut is in direct opposition of what Munny was talking about in Unforgiven and instead of weighing life Chris’s father congratulates him for murdering an animal and sets in motion the actions of Chris Kyle. These two opposing “lessons” taught by fathers and father-figures in these two films paint a clear picture of what neglect and support look like through Conservative American ideas of masculinity as that pertains to weapons.

Butch Haynes is a little bit different than both of these men, but similarly justifies killing people if they threaten ones he loves. Chris Kyle can accept killing under the guise of protecting his country, William Munny kills when someone murders one of his close friends, and Butch Haynes kills when his loved ones are in danger (in this case his mother and Philip). In the films of Clint Eastwood, the second amendment is commandment, and gun violence is simply within the lifeblood of the image. It’s law, judge, jury and executioner for wild west that still realistically exists and offers virtue for white men with a reason. Eastwood, generally, takes an ambivalent stance in service of the narrative itself, and this same ambivalence, treating it as something that just is, rather than something to rally behind or condemn gives his films about men and gun violence a clear-headedness and honesty on what actually fuels the United States of America.

After taking Philip hostage Butch begins to bond with the child over their similar fatherless childhoods, but the other man in the vehicle, Jerry, is always an interjecting force that Butch can’t control. Jerry is a chaotic animal whose actions are unpredictable and driven by fucking and killing. He’s not a dynamic character, and when Butch finally kills him (a justified murder in this case) when he threatens Philip the film has the room to breathe in the surrogate father-son relationship of Butch and Philip.

Meanwhile, A Perfect Worldis navigating another plot of mentorship between Sally and her tough-nosed old fashioned law enforcement superior Red (played by director Clint Eastwood). Sally is a fresh-faced woman recently assigned to the job with some ideas that are uncommon in the mid 60s, and too radical for her male colleagues. She’s a criminal psychologist among old Cowboys who shoot first and ask questions later, and even worse, a woman in a man’s world. Sally conflicts with every last bit of their worldview, both in how she tackles her job, and through her place as a woman in a line of work with a hefty glass-ceiling. Sally continually is mistreated, second-guessed and harassed by her colleagues, but she’s tough as nails and has more in common with Red than either of them want to admit. She earns his begrudging respect by never backing down and his brutishness towards her is the tough love she needs to thrive in this job. When they discover Jerry’s dead body on their manhunt for Butch Sally vomits and Red cracks jokes suggesting to her “Gallows humour Sally, without it we’d all be losing our lunch”. She essentially has to become one of the boys and Red’s giving her a way she can adapt. Later, Sally impresses Red with her psychoanalysis of Butch and finds that maybe she has a thing or two up her sleeve that they haven’t considered and what she’s saying isn’t just mumbo-jumbo. Their interpersonal work relationship becomes a secondary key to the relationship Philip and Butch are experiencing by mirroring it and giving weight to Eastwood’s power at cultivating these relationships that work as family and love despite these people being from opposite sides of the track. It’s American idealism at its purest, and a liberal notion.

Eastwood’s laid back style and gentle rhythm’s benefit the budding relationship between Butch and Philip. There are many seemingly digressions that inform the love that is fostered between the two. In one instance Philip takes a Halloween costume from a local department store and Butch sees that Philip feels guilty. Butch tells Philip that if he wants something badly enough he can borrow it because there’s always an “exception to the rule”. Philip stares on with wide-eyes and a buoyant smile. Having that Halloween costume meant the world to him, but even more so, the act of taking him trick or treating gave Philip a memory that he’d never forget. When Butch hears that Philip can’t have as much fun as he’d like because of his mother’s religion he’s upset proclaiming that “You have a god damn red, white and blue right to eat cotton candy and ride rollercoasters”. Butch’s optimism and overcompensation of what a real father would look like mean that Philip is given an opportunity to explore a side of himself that he never had the chance to navigate with his mother or sisters. Butch doesn’t know how to be a father, but he knows what he would have liked to have as a kid and that’s good enough for Philip to fall in love with his criminal guardian. These scenes are peppered with moments of touch that breach the shell of hard masculinity that Eastwood is known for in the public eye. Philip and Butch hold hands frequently, even to the end.

Sally’s path to something resembling fatherly adoration from Red isn’t as easy as Butch and Philip’s, but they come to an understanding in a large exposition drops that ties Red and Butch together as well as making Sally feel like a partner on equal footing with the man she’s probing. Sally knows that Red and Butch have a history that goes back to Butch’s time in juvenile prison system so she brings it up to Red over coffee and a warm fire. The camera sits and lets these two simply talk, as it does with Butch and Philip, and finally the connection between these two relationships becomes concrete. It’s revealed that Red made sure Butch served an extended sentence to keep him out of touch with his abusive father. In Red’s exact words “He was a man who beat and hit on everything he came in contact with”, and this presents the psychology of why Butch is the way he is and why he clamors to treat Philip right. Red tried to make the right choice and be the type of good man that Butch didn’t have by making sure he was safe, but Butch ended up being a criminal anyway, and that is his regret. Sally besting Red by getting him to talk about this subject is her own little passing of the torch moment and the two of them remain sympatico throughout their time together in the remainder of the movie.

Butch has scars that he can’t hide and a temper just like his father. He runs from these feelings, but in his own sense of justification and his idea of misplaced revenge against his father he hurts other people. There are two moments in A Perfect World where Butch fails Philip, but the key one is an encounter with a poor family of farmers who let the two of them rest for the night. Things are fine and Butch is as charming as ever, dancing to some Cajun jazz with the eldest woman of the house and flipping the youngest child up and down much to his delight, but things turn sour when Butch sees the child’s father hit him in the side of the head to get him to obey. Butch shuts down, and it is great credit to Costner who is able to play these two facets of this man so brilliantly that make the following scene so hard to stomach. Butch ties the family up while they weep and pray for their lives. Butch was only going to kill the father who hurt the child, but the other two don’t know that and they’re horrified. Philip didn’t know either. The scene is drug out to an excruciating length, and Eastwood’s tendencies to let the camera rest in a moment make the scene genuinely horrific. The tension only breaks when Philip can’t stand it any longer. Having learned the lesson Butch taught him about how and why to use a gun when they first met he shoots Butch and runs away.

The failure of Butch as a father lies in his own upbringing. He was doomed to repeat the sins of his own father because the lessons we teach our children become imprinted and character traits of our parents are hard to deny. Butch escaped prison to find his father in Alaska, but he’d never have the chance to meet up with him again. As Butch bleeds out underneath a tall, strong sloping tree Philip holds him and they talk about everything like they always have leading up to this moment. Red and Sally finally catch up to Butch after Philip slows him down and with a siege of police officers they wait to see their next move. One special agent (Bradley Whitford) pulls out a sniper rifle and says that he has a shot whenever they’re ready, but Red moves down to confront the mistake he made years ago when he sent Butch away. Red, Butch and Philip walk to surrender. Butch knows Red from somewhere, but he can’t place it and Red doesn’t give himself, but Red understands that he didn’t fail Butch in the way he thought. Butch wasn’t as evil as he thought he might have been when he sees how Butch is treating Philip. They truly love each other despite Philip’s shortcomings, but it wasn’t meant to last. The sniper pulls his trigger before Butch can surrender and he’s gone. “You take away everything he’s got and everything he’s ever gonna have” comes into play in Butch’s final moments as his Alaskan post-card glistens with blood. To take away a man’s life is the ultimate sin in the cinema of Clint Eastwood, and it weighs men down and beats them down until they aren’t much more than a shell. For all the iconic imagery of Eastwood holding a gun throughout his career he has always been assured of the repercussions of these weapons existing and how easily they can destroy. In American Sniper a man gets swallowed whole by duty and war while taking lessons learned to him by his own father to their horrific apex, and in Unforgiven William Munney damns himself in a hail of gunfire in a quest for revenge, and the cost of these decisions ultimately fails both these men. Butch doesn’t make it either, and Philip is left alone, as are the children of Chris Kyle and William Munney. As justified as you feel you may be, if you live by the gun, you too, shall die. In his dying breath Butch offered an apology to Philip proclaiming in his own words “I ain’t the best man, but I ain’t the worst neither”. It is in those words lie the parentage of Eastwood’s wayward fathers and bastard sons. These men tried, and so did their fathers before them. It’s a cycle, repeating itself in a whirlpool of white American masculinity.

Top 10s

*IMDB World Premiere Dates*
Some of these lists are thin or incomplete

“The Irishman//I Heard You Paint Houses”

2019

  1. The Irishman//I Heard You Paint Houses (Martin Scorsese)
  2. Once Upon a Time…in Hollywood (Quentin Tarantino)
  3. Little Women (Greta Gerwig)
  4. Ash is Purest White (Jia Zhangke)
  5. Uncut Gems (The Safdie Brothers)
  6. Dark Waters (Todd Haynes)
  7. So Pretty (Jessicka Rovinelli)
  8. Three From Hell (Rob Zombie)
  9. Ad Astra (James Gray)
  10. Alita: Battle Angel (Robert Rodriguez)
“Support the Girls”

2018

  1. Support the Girls (Andrew Bujalski)
  2. Come Along With Me”- Adventure Time (Adam Muto)
  3. A Star is Born (Bradley Cooper)
  4. The Other Side of the Wind (Orson Welles)
  5. Liz and the Blue Bird (Naoko Yamada)
  6. Devilman Crybaby (Masaaki Yuasa)
  7. Beychella (Beyonce’)
  8. The Mule (Clint Eastwood)
  9. The Tale (Jennifer Fox)
  10. Leave No Trace (Debra Granik)
“Twin Peaks”

2017

  1. Twin Peaks (David Lynch)
  2. Milla (Valerie Massadian)
  3. Ladybird (Greta Gerwig)
  4. Strangely Ordinary, This Devotion (Dani Leventhal and Sheliah Wilson)
  5. Good Time (Josh and Benny Safdie)
  6. Personal Shopper (Olivier Assayas)
  7. In This Corner of the World (Sunao Katabuchi)
  8. Resident Evil: The Final Chapter (Paul W.S. Anderson)
  9. Phantom Thread (Paul Thomas Anderson)
  10. Hagazussa (Lukas Feigelfeld)
“Cameraperson”

2016

  1. Cameraperson (Kirsten Johnson)
  2. Certain Women (Kelly Reichardt)
  3. Elle (Paul Verhoeven)
  4. Lemonade (Beyonce)
  5. Moonlight (Barry Jenkins)
  6. O.J. Made in America (Ezra Edelman)
  7. Silence (Martin Scorsese)
  8. The Edge of Seventeen (Kelly Femon Craig)
  9. Sully (Clint Eastwood)
  10. Our Little Sister (Hirokazu Koreeda)
“No Home Movie”

2015

  1. No Home Movie (Chantal Akerman)
  2. Carol (Todd Haynes)
  3. Mad Max: Fury Road (George Miller)
  4. Magic Mike XXL (Gregory Jacobs)
  5. Mistress America (Noah Baumbach & Greta Gerwig)
  6. Blackhat (Michael Mann)
  7. 88:88 (Isiah Medina)
  8. Creed (Ryan Coogler)
  9. By the Sea (Angelina Jolie)
  10. In Jackson Heights (Frederick Wiseman)
“The Tale of Princess Kaguya”

2014

  1. The Tale of Princess Kaguya (Isao Takahata)
  2. Inherent Vice (Paul Thomas Anderson)
  3. Gone Girl (David Fincher)
  4. Pompeii (Paul W.S. Anderson)
  5. Don’t Go Breaking My Heart 2 (Johnnie To)
  6. Heaven Knows What (Ben Safdie and Joshua Safdie)
  7. Girlhood (Celine Sciamma)
  8. As the Gods Will (Takashi Miike)
  9. Lucy (Luc Besson)
  10. Beyond the Lights (Gina Prince-Bythewood)
“Under the Skin”

2013

  1. Under the Skin (Jonathan Glazer)
  2. Top of the Lake (Jane Campion)
  3. The Immigrant (James Gray)
  4. Bastards (Claire Denis)
  5. Blind Detective (Johnnie To)
  6. Drug War (Johnnie To)
  7. White Reindeer (Zach Clark)
  8. Inside Llewyn Davis (Coen Bros.)
  9. The Wind Rises (Hayao Miyazaki)
  10. The World’s End (Edgar Wright)
“Frances Ha”

2012

  1. Frances Ha (Noah Baumbach and Greta Gerwig)
  2. Romancing in Thin Air (Johnnie To)
  3. The Lords of Salem (Rob Zombie)
  4. Cosmopolis (David Cronenberg)
  5. Spring Breakers (Harmony Korine)
  6. Wolf Children (Mamoru Hosada)
  7. The Wolf of Wall Street (Martin Scorsese)
  8. Resident Evil: Retribution (Paul W.S. Anderson)
  9. The Unspeakable Act (Dan Sallitt)
  10. Ace Attorney (Takashi Miike)
“Margaret”

2011

  1.  Margaret (Kenneth Lonergan)
  2. The Girl with the Dragon Tattoo (David Fincher)
  3. K-On! The Movie (Naoko Yamada)
  4. Tomboy (Celine Sciamma)
  5. The Skin I Live In (Pedro Almodovar)
  6. Don’t Go Breaking My Heart (Johnnie To)
  7. A Separation (Asghar Farhadi)
  8. The Tree of Life (Terrence Malick)
  9. Weekend (Andrew Haigh)
  10. The Deep Blue Sea (Terrence Davies)
“Meek’s Cutoff”

2010

  1. Meek’s Cutoff (Kelly Reichardt)
  2. Somewhere (Sofia Coppola)
  3. Blue Valentine (Derek Cianfrance)
  4. Shutter Island (Martin Scorsese)
  5. Attenberg (Athina Rachel Tsangari)
  6. Winter’s Bone (Debra Granik)
  7. Unstoppable (Tony Scott)
  8. Resident Evil: Afterlife (Paul W.S. Anderson)
  9. Poetry (Lee Chang Dong)
  10. Uncle Boonme Who Can Recall His Past Lives (Joe)
“Halloween 2”

2009

  1. Halloween II: Director’s Cut (Rob Zombie)
  2. Bright Star (Jane Campione
  3. Inglourious Basterds (Quentin Tarantino)
  4. Alle Anderen (Maren Ade)
  5. Adventureland (Greg Mottola)
  6. The House of the Devil (Ti West)
  7. Whip It! (Drew Barrymoore)
  8. Two Lovers (James Gray)
  9. A Perfect Getaway (David Twohy)
  10. Drag Me to Hell (Sam Raimi)
“Rachel Getting Married”

2008

  1. Rachel Getting Married (Jonathan Demme)
  2. Wendy and Lucy (Kelly Reichardt)
  3. Sparrow (Johnnie To)
  4. 35 Rhums (Claire Denis)
  5. Martyrs (Pascal Laugier)
  6. Happy-Go-Lucky (Mike Leigh)
  7. The Headless Woman (Lucrecia Martel)
  8. Speed Racer (Lily and Lana Wachowski)
  9. My Blueberry Nights (Wong Kar-Wai)
  10. The Wrestler (Darren Aronofsky)
“4 Months, 3 Weeks and 2 Days”

2007

  1. 4 Months, 3 Weeks, and 2 Days (Cristian Mungiu)
  2. Waitress (Adrienne Shelly)
  3. Zodiac (David Fincher)
  4. Inside (Julien Maury, Alexandre Bustillo)
  5. Death Proof (Quentin Tarantino)
  6. No Country for Old Men (Joel and Ethan Coen)
  7. I’m Not There (Todd Haynes)
  8. Hot Fuzz (Edgar Wright)
  9. The Last Mistress (Catherine Breillat)
  10. Southland Tales (Richard Kelly)
“Inland Empire”

2006

  1. Inland Empire (David Lynch)
  2. Marie Antoinette (Sofia Coppola)
  3. The Lake House  (Alejandro Agresti)
  4. Syndromes and a Century (Joe)
  5. Triad Election (Johnnie To)
  6. Deja Vu (Tony Scott)
  7. A Prairie Home Companion (Robert Altman)
  8. Friends with Money (Nicole Holofcener)
  9. Silent Hill (Christophe Gans)
  10. El Doctor (Suzan Pitt)
“Linda, Linda, Linda”

2005

  1.  Linda Linda Linda (Nobuhiro Yamashita)
  2. Domino (Tony Scott)
  3. Election (Johnnie To)
  4. The Devil’s Rejects (Rob Zombie)
  5. Three Times (Hsiao-Hsien Hou)
  6. A History of Violence (David Cronenberg)
  7. Cigarette Burns (John Carpenter)
  8. Dave Chappelle’s Block Party (Michel Gondry)
  9. Fever Pitch (The Farrely Brothers)
  10. Brokeback Mountain (Ang Lee)
“Innocence”

2004

  1. Innocence (Lucille Hadzihalilovic)
  2. Before Sunset (Richard Linklater)
  3. Million Dollar Baby (Clint Eastwood)
  4. Mysterious Skin (Gregg Araki)
  5. Notre Musique (Jean-Luc Godard)
  6. Collateral (Michael Mann)
  7. Tomorrow We Move (Chantal Akerman)
  8. Kill Bill Vol. 2 (Quentin Tarantino)
  9. Mindgame (Masaki Yuasa)
  10. Birth (Jonathan Glazer)
“Lost in Translation

2003

  1. Lost in Translation (Sofia Coppola)
  2. The Story of Marie and Julien (Jacques Rivette)
  3. Kill Bill Vol. 1 (Quentin Tarantino)
  4. Running on Karma (Johnnie To)
  5. Dogville (Lars von Trier)
  6. Memories of Murder (Bong Joon-Ho)
  7. Elephant (Gus Van Sant)
  8. In the Cut (Jane Campion)
  9. Los Angeles Plays Itself (Thom Anderson)
  10. PTU (Johnnie To)
“Vendredi Soir”

2002

  1. Vendredi Soir (Claire Denis)
  2. Funny Haha (Andrew Bujalski)
  3. Morvern Callar (Lynne Ramsay)
  4. Rabbits (David Lynch)
  5. Deadly Outlaw: Rekka (Takashi Miike)
  6. Minority Report (Steven Spielberg)
  7. Lilya 4-Ever (Lukas Moodysoon)
  8. Punch Drunk Love (Paul Thomas Anderson)
  9. May (Lucky McKee)
  10. Blue (Hiroshi Ando)
“Mulholland Drive”

2001

  1. Mulholland Dr. (David Lynch)
  2. Fat Girl (Catherine Breillat)
  3. The Happiness of the Katakuris (Takashi Miike)
  4. Take Care of My Cat (Jeong Jae-eun)
  5. Millennium Actress (Satoshi Kon)
  6. Millennium Mambo (Hsiao-hsien Hou)
  7. Spirited Away (Hayao Miyazaki)
  8. Ghost World (Terry Zwigoff)
  9. Trouble Every Day (Claire Denis)
  10. Kandahar (Mohsen Makhmalbaf)
“In the Mood For Love”

2000

  1. In the Mood For Love (Kar-Wai Wong)
  2. Ginger Snaps (John Fawcett)
  3. The Day I Became a Woman (Marzieh Meshkini)
  4. DOA 2: Birds (Takashi Miike)
  5. Yi Yi (Edward Yang)
  6. Love and Basketball (Gina Price-Bythewood)
  7. La Captive (Chantal Akerman)
  8. Needing You (Johnnie To)
  9. Almost Famous (Cameron Crowe)
  10. Suzhou River (Le You)
“Eyes Wide Shut”

1999

  1. Eyes Wide Shut (Stanley Kubrick)
  2. Beau Travail (Claire Denis)
  3. The Straight Story (David Lynch)
  4. Adolescence of Utena (Kunihiko Ikuhara)
  5. Rosetta (The Dardennes)
  6. Audition (Takashi Miike)
  7. The Matrix (Lily and Lana Wachowski)
  8. The Mission (Johnnie To)
  9. Ghost Dog: The Way of the Samurai (Jim Jarmusch)
  10. I’ll Take You There (Adrienne Shelly)
“Fucking Amal”

1998

  1. Histoire(s) du Cinema (Jean-Luc Godard)
  2. Fucking Amal (Lukas Moodysson)
  3. The Big Lebowski (Joel and Ethan Coen)
  4. The Last Days of Disco (Whit Stillman)
  5. The Flowers of Shanghai (Hsiao-Hsien Hou)
  6. Bride of Chucky (Ronny Yu)
  7. Buffalo ’66 (Vincent Gallo)
  8. Sombre (Phillipe Grandieux)
  9. Small Soldiers  (Joe Dante)
  10. Mary Jane’s Not a Virgin Anymore (Sarah Jacobson)
“End of Evangelion”

1997

  1. The End of Evangelion (Hideaki Anno)
  2. Jackie Brown (Quentin Tarantino)
  3. Cure (Kiyoshi Kurosawa)
  4. Perfect Blue (Satoshi Kon)
  5. Starship Troopers (Paul Verhoeven)
  6. Career Girls (Mike Leigh)
  7. Boogie Nights (Paul Thomas Anderson)
  8. Romy and Michelle’s High School Reunion (David Mirkin)
  9. Rainy Dog (Takashi Miike)
  10. All Over Me (Alex Sichel)
“Crash”

1996

  1. Crash (David Cronenberg)
  2. Bound (Lana and Lily Wachowski)
  3. Breaking the Waves (Lars von Trier)
  4. Fargo (Joel and Ethan Coen)
  5. Fudoh: The New Generation (Takashi Miike)
  6. Paradise Lost: The Child Murders at Robin Hood Hills (Joe Berlinger & Bruce Sinofsky)
  7. Nenette et Boni (Claire Denis)
  8. Sudden Manhattan (Adrienne Shelly)
  9. Scream (Wes Craven)
  10. Small Deaths (Lynne Ramsay)
Clueless

1995

  1. Clueless (Amy Heckerling)
  2. The Bridges of Madison County (Clint Eastwood)
  3. Up, Down, Fragile (Jacques Rivette)
  4. Heat (Michael Mann)
  5. [SAFE] (Todd Haynes)
  6. Showgirls (Paul Verhoeven)
  7. Ghost in the Shell (Mamoru Ishii)
  8. Suit Yourself or Shoot Yourself!!! The Heist (Kiyoshi Kurosawa)
  9. Whisper of the Heart (Yoshifumi Kondo)
  10. The Blade (Hark Tsui)
Joan the Maiden

1994

  1. Jeanne la Pucelle (Jacques Rivette)
  2. Little Women (Gillian Armstrong)
  3. Portrait of a Young Girl in Brussels at the End of the 60s (Chantal Akerman)
  4. Hoop Dreams (Steve James)
  5. Chungking Express (Kar-Wai Wong)
  6. In the Mouth of Madness (John Carpenter)
  7. Speed (Jan De Bont)
  8. Legend of Drunken Master (Kar-Lau Leung)
  9. I Can’t Sleep (Claire Denis)
  10. Pulp Fiction (Quentin Tarantino)
Green Snake

1993

  1. Green Snake (Hark Tsui) 
  2. The Piano (Jane Campion)
  3. Blue (Derek Jarman)
  4. D’est (Chantal Akerman)
  5. A Perfect World (Clint Eastwood)
  6. Matinee (Joe Dante)
  7. Je Vous Salue Sarajevo (Jean-Luc Godard)
  8. Blackout” (David Lynch)
  9. The Age of Innocence (Martin Scorsese)
  10. The Wrong Trousers (Nick Park)
Twin Peaks: Fire Walk with Me

1992

  1. Twin Peaks: Fire Walk With Me (David Lynch)
  2. The Long Day Closes (Terrence Davies)
  3. Nitrate Kisses (Barbara Hammer)
  4. Malcolm X (Spike Lee)
  5. Unforgiven (Clint Eastwood)
  6. Death Becomes Her (Robert Zemeckis)
  7. Just Another Girl on the I.R.T. (Leslie Harris)
  8. Deep Cover (Bill Duke)
  9. Orlando (Sally Potter)
  10. Basic Instinct (Paul Verhoeven)
“The Silence of the Lambs”

1991

  1. The Silence of the Lambs (Jonathan Demme)
  2. A Brighter Summer Day (Edward Yang)
  3. The Rapture (Michael Tolkin)
  4. Point Break (Kathryn Bigelow)
  5. Beauty and the Beast (Gary Trousdale and Kirk Wise)
  6. Barton Fink (Joel and Ethan Coen)
  7. Flirting (John Duigan)
  8. Dogfight (Nancy Savoca)
  9. My Own Private Idaho (Gus Van Sant)
  10. Only Yesterday (Isao Takahata)
“Paris is Burning”

1990

  1. Paris is Burning (Jennie Livingston)
  2. Gremlins 2: The New Batch (Joe Dante)
  3. Wild at Heart (David Lynch)
  4. An Angel at my Table (Jane Campion)
  5. Blue Steel (Kathryn Bigelow)
  6. Privilege (Yvonne Rainer)
  7. Goodfellas (Martin Scorsese)
  8. No Fear, No Die (Claire Denis)
  9. Total Recall (Paul Verhoeven)
  10. To Sleep with Anger (Charles Burnett)
“Kiki’s Delivery Service”

1989

  1. Kiki’s Delivery Service (Hayao Miyazaki)
  2. Gang of Four (Jacques Rivette)
  3. Sweetie (Jane Campion)
  4. Do the Right Thing (Spike Lee)
  5. The Killer (John Woo)
  6. A Better Tomorrow III: Love and Death in Saigon (Hark Tsui)
  7. The Unbelievable Truth (Hal Hartley)
  8. Tetsuo: The Iron Man (Shinya Tsukamoto)
  9. For All Mankind (Al Reinert)
  10. Heathers (Michael Lehmann)
“My Neighbor Totoro”

1988

  1. My Neighbor Totoro (Hayao Miyazaki)
  2. School on Fire (Ringo Lam)
  3. Die Hard (John McTiernan)
  4. Grave of the Fireflies (Isao Takahata)
  5. Dead Ringers (David Cronenberg)
  6. Hairspray (John Waters)
  7. Chocolat (Claire Denis)
  8. The Last Temptation of Christ (Martin Scorsese)
  9. Akira (Katsuhio Otomo)
  10. The Accused (Jonathan Kaplan)
“Broadcast News”

1987

  1. Broadcast News (James L. Brooks)
  2. Sign O’ The Times (Prince)
  3. Prince of Darkness (John Carpenter)
  4. Superstar: The Karen Carpenter Story (Todd Haynes)
  5. RoboCop (Paul Verhoeven)
  6. City on Fire (Ringo Lam)
  7. Where Is My Friend’s Home? (Abbas Kiarostami)
  8. Two Friends (Jane Campion)
  9. King Lear (Jean-Luc Godard)
  10. Stagefright: Aquarius (Michele Soavi)
“Big Trouble in Little China”

1986

  1. Big Trouble in Little China (John Carpenter)
  2. The Terrorizers (Edward Yang)
  3. Hannah and Her Sisters (Woody Allen)
  4. The Green Ray (Eric Rohmer)
  5. Working Girls (Lizzie Borden)
  6. The Fly (David Cronenberg)
  7. Peking Opera Blues (Hark Tsui)
  8. The Texas Chain Saw Massacre II (Tobe Hooper)
  9. Manhunter (Michael Mann)
  10. His Motorbike, Her Island (Nobuhiko Obayashi)
“Angel’s Egg”

1985

  1. Angel’s Egg (Mamoru Oshii)
  2. Police Story (Jackie Chan)
  3. Tampopo (Juzo Itami)
  4. Ran (Akira Kurosawa)
  5. Insignificance (Nicolas Roeg)
  6. Taipei Story (Edward Yang)
  7. Day of the Dead (George A. Romero)
  8. Vagabond (Agnes Varda)
  9. Hail Mary (Jean-Luc Godard)
  10. Desperately Seeking Susan (Susan Siedelman)
“Starman”

1984

  1. Starman (John Carpenter) 
  2. Wheels on Meals (Sammo Hung)
  3. Purple Rain (Albert Magnoli)
  4. Stop Making Sense (Jonathan Demme)
  5. Blood Simple (Joel Coen)
  6. Nausicaa of the Valley of the Wind (Hayao Miyazaki)
  7. When the Tenth Month Comes (Dang Nhat Minh)
  8. The Terminator (James Cameron)
  9. Paris, Texas (Wim Wenders)
  10. Urusei Yatsura: Beautiful Dreamer (Mamoru Oshii)
“Silkwood”

1983

  1. Silkwood (Mike Nichols)
  2. One Day Pina Asked (Chantal Akerman)
  3. Videodrome (David Cronenberg)
  4. Christine (John Carpenter)
  5. Terms of Endearment (James L. Brooks)
  6. Sheer Madness (Margarethe Von Trotta)
  7. Three Crowns of the Sailor (Raoul Ruiz)
  8. Born in Flames (Lizzie Borden)
  9. Love Letters (Amy Holden Jones)
  10. Possibly in Michigan (Cecelia Condit)
“Toute Une Nuit”

1982

  1. Toute Une Nuit (Chantal Akerman)
  2. Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean (Robert Altman)
  3. The Thing (John Carpenter)
  4. Blade Runner (Ridley Scott)
  5. The Slumber Party Massacre (Amy Holden Jones)
  6. Fast Times at Ridgemont High (Amy Heckerling)
  7. Starstruck (Gillian Armstrong)
  8. White Dog (Samuel Fuller)
  9. Tenebrae (Dario Argento)
  10. Next of Kin (Tony Williams)
“Ms. 45”

1981

  1. Ms. 45 (Abel Ferrara)
  2. Possession (Andrzej Zulawski)
  3. They All Laughed (Peter Bogdanovich)
  4. Escape From New York (John Carpenter)
  5. The Evil Dead (Sam Raimi)
  6. Le Pont Du Nord (Jacques Rivette)
  7. WMEN (Esther Regelson)
  8. The Beyond (Lucio Fulci)
  9. Girl Pack (Lisa Baumgardner)
  10. Merry-Go-Round (Jacques Rivette)
“The Shining”

1980

  1. The Shining (Stanley Kubrick)
  2. Breathing” (Kate Bush)
  3.  Bad Timing (Nicolas Roeg)
  4. Raging Bull (Martin Scorsese)
  5. Melvin & Howard (Jonathan Demme)
  6. The Elephant Man (David Lynch)
  7. Inferno (Dario Argento)
  8. Cannibal Holocaust (Ruggero Deodato)
  9. City of the Livind Dead (Lucio Fulci)
  10. The Fog (John Carpenter)
“Stalker”

1979

  1. Stalker (Andrei Tarkovsky)
  2. Alien (Ridley Scott)
  3. My Brilliant Career (Gillian Armstrong)
  4. The Muppet Movie (Jim Henson)
  5. Asparagus (Suzan Pitt)
  6. Apocalypse Now (Francis Ford Coppola)
  7. The Castle of Cagliostro (Hayao Miyazaki)
  8. Life of Brian (Terry Jones)
  9. Nosferatu: Phantom Der Nacht (Werner Herzog)
  10. The Brood (David Cronenberg)
“The Meetings of Anna”

1978

  1. The Meetings of Anna (Chantal Akerman)
  2. The 36th Chamber of Shaolin (Lau-Kar Leung)
  3. Girlfriends (Claudia Weill)
  4. Coming Home (Hal Ashby)
  5. Halloween (John Carpenter)
  6. Alucarda (Juan Lopez Moctezuma)
  7. Empire of Passion (Nagisa Oshima)
  8. Invasion of the Body Snatchers (Philip Kaufman)
  9. Renaldo & Clara (Bob Dylan)
  10. An Unmarried Woman (Paul Mazursky)
“News From Home”

1977

  1. News From Home (Chantal Akerman)
  2. Suspiria (Dario Argento)
  3. Opening Night (John Cassavetes)
  4. Eraserhead (David Lynch)
  5. Killer of Sheep (Charles Burnett)
  6. Annie Hall (Woody Allen)
  7. 3 Women (Robert Altman)
  8. Hausu (Nobuhiko Obayashi)
  9. Martin (George A. Romero)
  10. Emmett Otter’s Jug-Band Christmas (Jim Henson)
“Taxi Driver”

1976

  1. Taxi Driver (Martin Scorsese)
  2. Noroit (Jacques Rivette)
  3. Carrie (Brian De Palma)
  4. A Real Young Girl (Catherine Breillat)
  5. Harlan County, U.S.A. (Barbara Kopple)
  6. Duelle (Jacques Rivette)
  7. Assault on Precinct 13 (John Carpenter
  8. Mikey and Nicky (Elaine May)
  9. The Outlaw Josey Wales (Clint Eastwood)
  10. Challenge of the Masters (Kar-Lau Leung)
“Jeanne Dielman”

1975

  1. Jeanne Dielman: 23 Quai du Commerce, 1080 Bruxelles (Chantal Akerman)
  2. Nashville (Robert Altman)
  3. Love and Death (Woody Allen)
  4. Black Moon (Louis Malle)
  5. Picnic at Hanging Rock (Peter Weir)
  6. The Rocky Horror Picture Show (Jim Sharman)
  7. Barry Lyndon (Stanley Kubrick)
  8. The Stepford Wives (Bryan Forbes)
  9. Katie Tippel (Paul Verhoeven)
  10. Graveyard of Honor (Kinji Fukusaku)
Celine and Julie Go Boating

1974

  1. Celine and Julie Go Boating (Jacques Rivette)
  2.  Je, Tu, Il, Elle (Chantal Akerman)
  3. The Texas Chain Saw Massacre (Tobe Hooper)
  4. A Woman Under the Influence (John Cassavetes)
  5. Dyketactics (Barbara Hammer)
  6. Black Christmas (Bob Clark)
  7. Female Trouble (John Waters)
  8. Ali: Fear Eats the Soul (Rainer Werner Fassbender)
  9. Edvard Munch (Peter Watkins)
  10. Film About a Woman Who… (Yvonne Rainer)
“Female Prisoner Scorpion: Beast Stable”

1973

  1. Female Prisoner Scorpion: Beast Stable (Shunya Ito)
  2. Lady Snowblood (Toshiya Fujita)
  3. F For Fake (Orson Welles)
  4. The Yakuza Papers, Vol 2.: Deadly Fight in Hiroshima (Kinji Fukasaku)
  5. Ziggy Stardust and the Spiders from Mars (D.A. Pennebaker)
  6. Don’t Look Now (Nicholas Roeg)
  7. Belladonna of Sadness (Eiichi Yamamoto)
  8. The Spirit of the Beehive (Victor Erice)
  9. Paper Moon (Peter Bogdanovich)
  10. Coffy (Jack Hill)
“Hotel Monterey”

1972

  1. Hotel Monterey (Chantal Akerman)
  2. The Bitter Tears of Petra Von Kant (Rainer Werner Fassbender)
  3. Pink Flamingos (John Waters)
  4. Female Prisoner Scorpion: Jailhouse 41 (Shunya Ito)
  5. Female Prisoner #701: Scorpion (Shunya Ito)
  6. Across 110th Street (Barry Shear)
  7. Cries and Whispers (Ingmar Bergman)
  8. La Chambre (Chantal Akerman)
  9. The Heartbreak Kid (Elaine May)
  10. The Discreet Charm of the Bourgouisie (Luis Bunuel)
“Klute”

1971

  1. Klute (Alan J. Pakula)
  2. The Last Picture Show (Peter Bogdanovich)
  3. A Touch of Zen (King Hu)
  4. Wake in Fright (Ted Kotcheff)
  5. Dirty Harry (Don Siegel)
  6. McCabe and Mrs. Miller (Robert Altman)
  7. Out 1 (Jacques Rivette)
  8. A New Leaf (Elaine May)
  9. Two Lane Blacktop (Monte Hellman)
  10. The Devils (Ken Russell)
“Wanda”

1970

  1. Wanda (Barbara Loden)
  2. Gimme Shelter (Charlotte Zwerin, Albert and David Maysles)
  3. Five Easy Pieces (Bob Rafelson)
  4. Claire’s Knee (Eric Rohmer)
  5. Valerie and Her Week of Wonders (Jaromil Jires)
  6.  The Fruit of the Paradise (Vera Chytilova)
  7. Witches Hammer (Otakar Vavra)
  8. Girly (Freddie Francis)
  9. The Bird with the Crystal Plumage (Dario Argento)
  10. Brewster McCloud (Robert Altman)
“Funeral Parade of Roses”

1969

  1. Funeral Parade of Roses (Toshio Matsumoto)
  2. They Shoot Horses, Don’t They? (Sydney Pollack)
  3. Diary of a Shinjuku Thief (Nagisa Oshima)
  4. L’amour Fou (Jacques Rivette)
  5. Procile (Pier Paolo Pasolini)
  6. Tenchu! (Hideo Gosha)
  7. Easy Rider (Dennis Hopper)
  8. Medium Cool (Haskell Wexler)
  9. Une Femme Douce (Robert Bresson)
  10. Pit Stop (Jack Hill)
“2001: A Space Odyssey”

1968

  1. 2001: A Space Odyssey (Stanley Kubrick)
  2. Rosemary’s Baby (Roman Polanski)
  3. Death by Hanging (Nagisa Oshima)
  4. High School (Frederick Wiseman)
  5. The Great Silence (Sergio Corbucci)
  6. Monterey Pop (D.A. Pennebaker)
  7. Night of the Living Dead (George A. Romero)
  8. The Immortal Story (Orson Welles)
  9. Dracula Has Risen from the Grave (Freddie Francis)
  10. The Golden Swallow (Chang Cheh)
“Week-end”

1967

  1. Week-End (Jean-Luc Godard)
  2. The Young Girls of Rochefort (Jacques Demy)
  3. Samurai Rebellion (Masaki Kobayashi)
  4. Japanese Summer: Double Suicide (Nagisa Oshima)
  5. Two For the Road (Stanley Donen)
  6. Playtime (Jacques Tati)
  7. Bonnie and Clyde (Arthur Penn)
  8. Titicut Follies (Frederick Wiseman)
  9. Branded to Kill (Seijun Suzuki)
  10. Don’t Look Back (D.A. Pennebaker)
“Breakaway”

1966

  1. Breakaway (Bruce Conner and Toni Basil)
  2. Daisies (Vera Chytilova)
  3. The Good, The Bad, and the Ugly (Sergio Leone)
  4. Persona (Ingmar Bergman)
  5. Black Girl (Ousmane Sembene)
  6. Tokyo Drifter (Seijun Suzuki)
  7. The Face of Another (Hiroshi Teshigahara)
  8. The Nun (Jacques Rivette)
  9. Come Drink With Me (King Hu)
  10. Django (Sergio Corbucci)
“Le Bonheur”

1965

  1.  Le Bonheur (Agnes Varda)
  2. Pierrot Le Fou (Jean-Luc Godard)
  3. Chimes at Midnight (Orson Welles)
  4. Faster, Pussycat! Kill! Kill! (Russ Meyer)
  5. For a Few Dollars More (Sergio Leone)
  6. A Charlie Brown Christmas (Bill Melendez)
  7. Repulsion (Roman Polanski)
  8. Loves of a Blonde (Milos Forman)
  9. Simon of the Desert (Luis Bunuel)
  10. Pleasures of the Flesh (Nagisa Oshima)
“Marnie”

1964

  1. Marnie (Alfred Hitchcock)
  2. Red Desert (Michealangelo Antonioni)
  3. The Umbrellas of Cherbourg (Jacques Demy)
  4. Charulata (Satyajit Ray)
  5. Kwaidan (Masaki Kobayashi)
  6. The Gospel According to St. Matthew (Pier Paolo Pasolini)
  7. Blood and Black Lace (Mario Bava)
  8. The Masque of the Red Death (Roger Corman)
  9. Onibaba (Kaneto Shindo)
  10. Mothra vs. Godzilla (Ishiro Honda)
“The Birds”

1963

  1. The Birds (Alfred Hitchcock)
  2. The Haunting (Robert Wise)
  3. The House is Black (Forugh Farrokhzad)
  4. Matango (Ishiro Honda)
  5. Charade (Stanley Donen)
  6. Mothlight (Stan Brakhage)
  7. 8 1/2 (Federico Fellini)
  8. Black Sabbath (Mario Bava)
  9. Suzanne’s Career (Eric Rohmer)
  10. I Fidanzati (Ermanno Olmi)
“Harakiri”

1962

  1. Harakiri (Masaki Kobayashi)
  2. Cleo from 5 to 7 (Agnes Varda)
  3. The Man who Shot Liberty Valance (John Ford)
  4. The Tale of Zatoichi (Kenji Misumi)
  5. Vivre sa Vie (Jean-Luc Godard)
  6. What Ever Happened to Baby Jane? (Robert Aldrich)
  7. Lawrence of Arabia (David Lean)
  8. The Exterminating Angel (Louis Bunuel)
  9. The Fabulous Baron Munchausen (Karel Zamen)
  10. La Jatee (Chris Marker)
“Something Wild”

1961

  1. Something Wild (Jack Garfein)
  2. Through a Glass Darkly (Ingmar Bergman)
  3. Cash on Demand (Quentin Lawrence)
  4. Paris Belongs to Us (Jacques Rivette)
  5. The Pit and the Pendulum (Roger Corman)
  6. Yojimbo (Akira Kurosawa)
  7. Last Year at Marienbad (Alain Resnais)
  8. The Innocents (Jack Clayton)
  9. Mothra (Ishiro Honda)
  10.  The Children’s Hour (William Wyler)
“Eyes Without a Face”

1960

  1. Eyes without a Face (Georges Franju)
  2. Psycho (Alfred Hitchcock)
  3. L’aaventura (Michelangelo Antonioni)
  4. The Virgin Spring (Ingmar Bergman)
  5. The Testament of Orpheus (Jean Cocteau)
  6. The Apartment (Billy Wilder)
  7. Peeping Tom (Michael Powell)
  8. Black Sunday (Mario Bava)
  9. Breathless (Jean-Luc Godard)
  10. The Brides of Dracula (Terrence Fisher)

1959

  1. Window Water Baby Moving (Stan Brakhage)
  2. Rio Bravo (Howard Hawks)
  3. Imitation of Life (Douglas Sirk)
  4. Sleeping Beauty (Clyde Geronimi)
  5. Anatomy of a Murder (Otto Preminger)
  6. North By Northwest (Alfred Hitchcock)
  7. Tokaido Yotsuya Kaidan (Nobuo Nakagawa)
  8. Good Morning (Yasujiro Ozu)
  9. The Hound of the Baskervilles (Terrence Fisher)
  10. Hiroshima Mon Amour (Alain Resnais)

1958

  1. Touch of Evil (Orson Welles)
  2. Vertigo (Alfred Hitchcock)
  3. Bell, Book and Candle (Richard Quine)
  4. Murder By Contract (Irving Lerner)
  5. The Ballad of Narayama (Keisuke Kinoshita)
  6. The Magician (Ingmar Bergman)
  7. Horror of Dracula (Terrence Fisher)
  8. The H-Man (Ishiro Honda)
  9. Mon Oncle (Jacques Tati)
  10. The Revenge of Frankenstein (Terence Fisher)

1957

  1. The Cranes are Flying (Mikhail Kalatozov)
  2. The Tarnished Angels (Douglas Sirk)
  3. Throne of Blood (Akira Kurosawa)
  4. Will Success Spoil Rock Hunter? (Frank Tashlin)
  5. What’s Opera Doc? (Chuck Jones)
  6. Sweet Smell of Success (Alexander MacKendrick)
  7. The Curse of Frankenstein (Terrence Fisher)
  8. Forty Guns (Samuel Fuller)
  9. A King in New York (Charlie Chaplin)
  10. 12 Angry Men (Sidney Lumet)

1956

  1. Written on the Wind (Douglas Sirk)
  2. The Searchers (John Ford)
  3. The Wrong Man (Alfred Hitchcock)
  4. The Red Balloon (Albert Lamorisse)
  5. The Girl Can’t Help It! (Frank Tashlin)
  6. Invasion of the Body Snatchers (Don Siegal)
  7. Bigger Than Life (Nicholas Ray)
  8. Nightfall (Jacques Tourneur)
  9. The Killing (Stanley Kubrick)
  10. Deduce, you Say (Chuck Jones)

1955

  1. The Night of the Hunter (Charles Laughton)
  2. All that Heaven Allows (Douglas Sirk)
  3. Lola Montes (Max Ophuls)
  4. Rebel Without a Cause (Nicholas Ray)
  5. Rififi (Jules Dassin)
  6. Diabolique (Henri-Georges Clozout)
  7. It’s Always Fair Weather (Stanley Donen)
  8. Artists and Models (Frank Tashlin)
  9. To Catch a Thief (Alfred Hitchcock)
  10. Mr. Arkadin (Orson Welles)

1954

  1. Gojira (Ishiro Honda)
  2. Rear Window (Alfred Hitchcock)
  3. Voyage to Italy (Roberto Rossellini)
  4. Seven Samurai (Akira Kurosawa)
  5. Sansho the Baliff (Kenji Mizoguchi)
  6. A Star is Born (George Cukor)
  7. Dial M For Murder (Alfred Hitchcock)
  8. On the Waterfront (Elia Kazan)
  9. Sabrina (Billy Wilder)
  10. Creature from the Black Lagoon (Jack Arnold)

1953

  1. Gentlemen Prefer Blondes (Howard Hawks)
  2. The Earrings of Madame De… (Max Ophuls)
  3. Tokyo Story (Yasujiro Ozu)
  4. Ugetsu (Kenji Mizoguchi)
  5. White Mane (Albert Lamorisse)
  6. The Tell-Tale Heart (Ted Parlamee)
  7. Duck Amuck (Chuck Jones)
  8. Roman Holiday (William Wyler)
  9. Give a Girl a Break (Stanley Donen)
  10. The Bigamist (Ida Lupino)

1952

  1. Singin’ in the Rain (Stanley Donen & Gene Kelly)
  2. Limelight (Charlie Chaplin)
  3. Le Plaisir (Max Ophuls)
  4. Othello (Orson Welles)
  5. Feed the Kitty (Chuck Jones)
  6. Way of Gaucho (Jacques Tourneur)
  7. Rabbit Seasoning (Chuck Jones)
  8. Beep-Beep (Chuck Jones)
  9. Bend of the River (Anthony Mann)
  10. Trick or Treat (Jack Hannah)

1951

  1. Hard, Fast & Beautiful (Ida Lupino)
  2. The Tales of Hoffmann (Powell and Pressburger)
  3. The Day the Earth Stood Still (Robert Wise)
  4. Anne of the Indies (Jacques Tourneur)
  5. Strangers on a Train (Alfred Hitchcock)
  6. The Thing From Another World (Christian Nyby and Howard Hawks)
  7. Ace in the Hole (Billy Wilder)
  8. Alice in Wonderland (Various)
  9. Mr. Hulot’s Holiday (Jacques Tati)
  10. A Streetcat Named Desire (Elia Kazan)

1950

  1. In a Lonely Place (Nicholas Ray)
  2. Orpheus (Jean Cocteau)
  3. All About Eve (Joseph L. Mankiewicz)
  4. Stars in my Crown (Jacques Tourneur)
  5. Sunset Blvd. (Billy Wilder)
  6. Gun Crazy (Joseph H. Lewis)
  7. Winchester ’73 (Anthony Mann)
  8. The Flame and the Arrow (Jacques Tourneur)
  9. The Asphalt Jungle (John Huston)
  10. Outrage (Ida Lupino)

1949

  1. Caught (Max Ophuls) 
  2. The Third Man (Carol Reed)
  3. Puce Moment (Kenneth Anger)
  4. Not Wanted (Ida Lupino)
  5. I Was a Male War Bride (Howard Hawks)
  6. On the Town (Stanley Donen)
  7. Jour de Fete (Jacques Tati)
  8. Fast and Furryous (Chuck Jones)
  9. She Wore a Yellow Ribbon (John Ford)
  10. The Quiet Duel (Akira Kurosawa)

1948

  1. The Red Shoes (Michael Powell and Emeric Pressburger)
  2. Red River (Howard Hawks)
  3. Letter from an Unknown Woman (Max Ophuls)
  4. Woman (Keisuke Kinoshita)
  5. Women of the Night (Kenji Mizoguchi)
  6. Drunken Angel (Akira Kurosawa)
  7. Macbeth (Orson Welles)
  8. Bicycle Thieves (Vittorio De Sica)
  9. Meditation on Violence (Maya Deren)
  10. The Storm Within (Jean Cocteau)

1947

  1. Black Narcissus (Michael Powell and Emeric Pressburger)
  2. Out of the Past (Jacques Tourneur)
  3. Monsieur Verdoux (Charlie Chaplin)
  4. Desire Me (Unconfirmed)
  5. The Lady From Shanghai (Orson Welles)
  6. Rabbit Transit (Friz Freleng)
  7. T-Men (Anthony Mann)
  8. One Wonderful Sunday (Akira Kurosawa)
  9. Dark Passage (Delmer Davies)
  10. Nightmare Alley (Edmund Goulding)

1946

  1. Notorious (Alfred Hitchcock)
  2. The Big Sleep (Howard Hawks)
  3. Canyon Passage (Jacques Tourneur)
  4. No Regrets For Our Youth (Akira Kurosawa)
  5. Beauty and the Beast (Jean Cocteau)
  6. It’s a Wonderful Life (Frank Capra)
  7. Baby Bottleneck//The Great Piggy Bank Robbery (Bob Clampett)
  8. The Woman I Loved (Keisuke Kinoshita)
  9. So Dark the Night (Joseph H. Lewis)
  10. The Harvey Girls (George Sidney)

1945

  1. Brief Encounter (David Lean)
  2. The Body Snatcher (Robert Wise)
  3. Detour (Edgar G. Ulmer)
  4. Leave Her to Heaven (John M. Stahl)
  5. My Name is Julia Ross (Joseph H. Lewis)
  6. Hare Tonic (Chuck Jones)
  7. Sanshiro Sugata, Part Two (Akira Kurosawa)
  8. Spellbound (Alfred Hitchcock)
  9. Isle of the Dead (Mark Robson)
  10. The Men Who Tread on the Tiger’s Tail (Akira Kurosawa)

1944

  1. The Curse of the Cat People (Robert Wise)
  2. At Land (Maya Deren)
  3. Meet Me in St. Louis (Vincent Minnelli)
  4. To Have and Have Not (Howard Hawks)
  5. A Canterbury Tale (Michael Powell and Emeric Pressburger)
  6. Laura (Otto Preminger)
  7. Gaslight (George Cukor)
  8. The Old Grey Hare (Bob Clampett)
  9. Lifeboat (Alfred Hitchcock)
  10. Witch’s Cradle (Maya Deren)

1943

  1. Meshes of the Afternoon (Maya Deren)
  2. The Life and Death of Colonel Blimp (Michael Powell and Emeric Pressburger)
  3. I Walked with a Zombie (Jacques Tourneur)
  4. Shadow of a Doubt (Alfred Hitchcock)
  5. The Seventh Victim (Mark Robson)
  6. Porky Pig’s Feat. (Frank Tashlin)
  7. Day of Wrath (Carl Th. Dreyer)
  8. Sanshiro Sugata (Akira Kurosawa)
  9. The Leopard Man (Jacques Tourneur)
  10. Who Killed Who (Tex Avery)

1942

  1. Cat People (Jacques Tourneur)
  2. Now, Voyager (Irving Rapper)
  3. The Magnificent Ambersons (Orson Welles)
  4. Bambi (Various)
  5. Casablanca (Michael Curtiz)
  6. I Married a Witch (Rene Clair)
  7. For Me and My Gal (Busby Berkley)
  8. In This Our Life (William Wyler)
  9. This Gun for Hire (Frank Tuttle)
  10. The Palm Beach Story (Preston Sturgess)

1941

  1. Citizen Kane (Orson Welles)
  2. The Maltese Falcon (John Huston)
  3. Tortoise Beats Hare (Tex Avery)
  4. Suspicion (Alfred Hitchcock)
  5. Wabbit Twouble (Bob Clampett)
  6. The Little Foxes (William Wyler)
  7. The Wolf-Man (George Waggner)
  8. The Lady Eve (Preston Sturgess)
  9. How Green Was My Valley (John Ford)
  10. Olive’s Sweepstake Ticket (Dave Fleischer)

1940

  1. Rebecca (Alfred Hitchcock)
  2. The Shop Around the Corner (Ernst Lubitsch)
  3. Dance, Girl, Dance (Dorothy Arzner)
  4. His Girl Friday (Howard Hawks)
  5. The Grapes of Wrath (John Ford)
  6. The Letter (William Wyler)
  7. The Great Dictator (Charlie Chaplin)
  8. The Philadelphia Story (George Cukor)
  9. Fantasia (Various)
  10. A Wild Hare (Tex Avery)

1939

  1. Only Angels Have Wings (Howard Hawks)
  2. The Wizard of Oz (Various)
  3. Young Mr. Lincoln (John Ford)
  4. Son of Frankenstein (Rowland V. Lee)
  5. Mr. Smith Goes to Washington (Frank Capra)
  6. Stagecoach (John Ford)
  7. The Rules of the Game (Jean Renoir)
  8. The Women (George Cukor)
  9. Gone With the Wind (Victor Fleming)
  10. Wuthering Heights (William Wyler)

1938

  1. Mickey’s Trailer (Ben Sharpsteen)
  2. Jezebel (William Wyler)
  3. A Date to Skate (Dave Fleischer)
  4. Wholly Smoke (Frank Tashlin)
  5. Vivacious Lady (George Stevens)
  6. The Lady Vanishes (Alfred Hitchcock)
  7. Plumbing is a Pipe (Dave Fleischer)
  8. Daffy-Duck & Egghead (Tex Avery)
  9. Brave Little Tailor (William Roberts)
  10. Bringing Up Baby (Howard Hawks)

1937

  1. Snow White and the Seven Dwarfs (David Hand)
  2. Dead End (William Wyler)
  3. Porky’s Duck Hunt (Tex Avery)
  4. Porky’s Romance (Frank Tashlin)
  5. The Case of the Stuttering Pig (Frank Tashlin)
  6. Paneless Window Washer (Dave Fleischer)
  7. Popeye the Sailor Meets Ali-Baba’s Forty Thieves (Dave Fleischer)
  8. Nothing Sacred (William A. Wellman)
  9. A Star is Born (William A. Wellman)
  10. N/A

1936

  1. A Day in the Country (Jean Renoir)
  2. Somewhere in Dreamland (Dave Fleischer)
  3. Modern Times (Charlie Chaplin)
  4. Popeye the Sailor Meets Sinbad the Sailor (Dave Fleischer)
  5. The Blow Out (Tex Avery)
  6. I Love to Singa (Tex Avery)
  7. Dracula’s Daughter (Lambert Hillyer)
  8. Osaka Elegy (Kenji Mizoguchi)
  9. Sisters of the Gion (Kenji Mizoguchi)
  10. The Petrified Forest (Archie Mayo)

1935

  1. The Bride of Frankenstein (James Whale)
  2. The Band Concert (Wilfred Jackson)
  3. King of the Mardi Gras (Dave Fleischer)
  4. The 39 Steps (Alfred Hitchcock)
  5. The Raven (Lew Landers)
  6. Top Hat (Mark Sandrich)
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1934

  1. The Scarlett Empress (Josef Von Sternberg)
  2. The Black Cat (Edgar G. Ulmer)
  3. Of Human Bondage (John Cromwell)
  4. The Gambling Lady (Archie Mayo)
  5. It Happened One Night (Frank Capra)
  6. The Goddess (Yonggang Wu)
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1933

  1. The Gold Diggers of 1933 (Mervyn Leroy)
  2. 42nd Street (Lloyd Bacon)
  3. Snow White (Dave Fleischer)
  4. Duck Soup (Leo McCarey)
  5. King Kong (Merian C. Cooper)
  6. The Invisible Man (James Whale)
  7. Betty Boop’s May Party (Dave Fleischer)
  8. Is My Palm Read? (Dave Fleischer)
  9. Baby Face (Alfred E. Green)
  10. The Old Man of the Mountain (Dave Fleischer)

1932

  1. Shanghai Express (Josef Von Sternberg)
  2. Trouble in Paradise (Ernst Lubitsch)
  3. Minnie the Moocher (Dave Fleischer)
  4. Vampyr (Carl Th. Dreyer)
  5. What Price Hollywood? (George Cukor)
  6. Betty Boop M.D. (Dave Fleischer)
  7. A Hunting We Will Go (Dave Fleischer)
  8. That Old Dark House (James Whale)
  9. Island of Lost Souls (Erle C. Kenton)
  10. Three on a Match (Mervyn LeRoy)

1931

  1. City Lights (Charlie Chaplin)
  2. Dishonored (Josef Von Sternberg)
  3. Madchen in Uniform (Leontine Sagan and Carl Froelich)
  4. M. (Fritz Lang)
  5. Frankenstein (James Whale)
  6. Bimbo’s Initiation (Dave Fleischer & Grim Natwick)
  7. Night Nurse (William A. Wellman)
  8. Dizzy Red Riding Hood (Dave Fleischer)
  9. The Miracle Woman (Frank Capra)
  10. Dracula (Tod Browning)

1930

  1. Blood of a Poet (Jean Cocteau)
  2. Morocco (Josef Von Sternberg)
  3. The Blue Angel (Josef Von Sternberg)
  4. Swing You Sinners! (Dave Fleischer)
  5. Ladies of Leisure (Frank Capra)
  6. Monte Carlo (Ernst Lubitsch)
  7. L’age Dor (Luis Bunuel)
  8. Dizzy Dishes (Dave Fleischer)
  9. Barnacle Bill (Dave Fleischer)
  10. The Divorcee (Robert Z. Leonard)

1929

  1. Man with a Movie Camera (Dziga Vertov)
  2. Un Chien Andalou (Luis Bunuel and Salvador Dahli)
  3. Blackmail (Alfred Hitchcock)
  4. Rain (Joris Ivens and Mannus Franken)
  5. Days of Youth (Yasujiro Ozu)
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1928

  1. The Passion of Joan of Arc (Carl Th. Dreyer)
  2. Koko’s Earth Control (Dave Fleischer)
  3. Steamboat Bill Jr. (Buster Keaton)
  4. The Fall of the House of Usher (Jean Epstein)
  5. Steamboat Willie (Ub Iwerks)
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1927

  1. Sunrise: A Song of Two Humans (F.W. Murnau)
  2. L’invitation au Voyage (Germaine Dulac)
  3. Metropolis (Fritz Lang)
  4. The Lodger (Alfred Hitchcock)
  5. The Cat and the Canary (Paul Leni)
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1926

  1. Faust (F.W. Murnau)
  2. The General (Buster Keaton)
  3. A Page of Madness (Teinosuke Kinugaza)
  4. The Adventures of Prince Achmed (Lottie Reineger, Karl Coch)
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1925

  1. Battleship Potempkin (Sergei Eisenstein)
  2. Strike! (Sergei Eisenstein)
  3. The Gold Rush (Charlie Chaplin)
  4. Seven Chances (Buster Keaton)
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1924

  1. Sherlock Jr. (Buster Keaton)
  2. Ballet Mecanique (Fernand Ledger, Dudley Murphey)
  3. N/A
  4. N/A
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1923

  1. Safety Last! (Fred C. Newmayer, Sam Taylor)
  2. A Woman of Paris (Charlie Chaplin)
  3. N/A
  4. N/A
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1922

  1. Nosferatu (F.W. Murnau)
  2. Haxan: Witchcraft Through the Ages (Benjamin Christensen)
  3. Bubbles (Dave Fleischer)
  4. Jumping Beans (Dave Fleischer)
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1921

  1. The Phantom Carriage (Victor Sjolstrom)
  2. The Kid (Charlie Chaplin)
  3. Invisible Ink (Dave Fleischer)
  4. Modeling (Dave Fleischer)
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

1920

  1. The Cabinet of Dr. Caligari (Robert Wiene)
  2. The Golem: How He Came Into the World (Paul Wegener)
  3. Leaves out of the Book of Satan (Carl Th. Dreyer)
  4. N/A
  5. N/A
  6. N/A
  7. N/A
  8. N/A
  9. N/A
  10. N/A

*There are other films I have seen before 1920, but compiling a list of those seems unreasonable at the moment. They may be added later. Feel free to recommend movies (especially for weaker lists!)

My Favourite Examples of Filmed Media of the Half Year: 2015

(this is a still from Jools Holland, not the 9:30 club, but you get the point)

Sleater-Kinney: Live at the 9:30 Club

The news of Sleater-Kinney’s resurrection surfaced sometime in early October. There were rumblings of an unmarked single containing a new song being featured in their box set “Start Together” that set my corner of the internet abuzz. When those reports were signaled as true it was a cherry on top of what was the best birthday I had experienced in my entire life. I was looking at a cake that for the first time had my real name, I had a ribbon pinned to my chest that said “Birthday Girl”, and there was a 5 second clip of a new Sleater-Kinney song on youtube. I couldn’t have been happier at the prospects of new music from a band that felt less like a trio of musicians and more a reflection of something that apparated out of my soul. I knew that I’d never get the chance to see them live so I held onto any and all clips that surfaced on youtube, but then NPR announced they’d be streaming an entire show. This was going to be the closest I come to seeing this band that I love so dearly. I turned the lights off, put my headphones on and turned the volume up to unhealthy levels and wept at the first notes of “Price Tag”. I wasn’t there, but it felt like I was and when Corin Tucker lifted her hand out into the audience during “Gimme Love” and sang with the ferocity that made me fall in love with her I reached out too.

Dean Ambrose becomes WWE World Heavyweight Champion….sorta

1…2…3…and I jumped what felt like 10 feet. I squeeled and repeated over and over again he did it! he did it! I was lost in the moment of my guy conquering the man who betrayed him and as a consolation prize he was becoming world champion. Only the moment was taken away seconds later to my eventual cries of “what just happened? why did they do this?”. Emotional Whiplash. Dean Ambrose pinned Seth Rollins in the middle of the ring clean, but before all this happened Seth pulled a referee in front of Ambrose as he hit a diving elbow. That referee was unconscious afterward so another ref came out to count the pinfall. When the unconscious ref awoke he threw the match out and ruled it a disqualification. Dean Ambrose had won, but it didn’t count. My emotions did though, and the teasing of that moment was downright cruel, but Ambrose decided to take the belt anyway, and I can’t blame him, because he did earn it in that specific moment. I rode the highs of Ambrose holding that belt for the next 2 weeks even though in the back of my mind I knew this was false. Dean Ambrose has been yanked and pulled around by WWE decision makers for the better part of 8 months now, and despite his organic ascent to becoming one of the most popular wrestlers in the company they refuse to give him much in the way of anything to celebrate. Even as I type this he has suddenly slid back into the middle of the card after a few weeks of flirting with the main event scene. It’s brutal being a Dean Ambrose fan, and even this moment which made me fall back in love with WWE isn’t exactly real. Dean Ambrose never became champion, but it felt like he did for about sixty seconds, and in that sixty seconds I felt a joy that can only be administered from professional wrestling. I’ve never leapt into the air at the close of a film. I did when I thought Dean Ambrose won.

Fury Road: Autuerism, Minimalism, Feminism

For all we’ve talked about the feminism or the bombastic over-saturated colour scheme we haven’t discussed Fury Road’s minimalism. This is a straight line. As soon as Furiosa heads east there are no divergences from that path. When she turns and goes outside of the course she has been set everything becomes a chase predestined towards forward momentum. We’re heading home, to the green place, away from oppression. The movie never wavers from this thesis of lunging forward as Furiosa and her gang of women (plus Max and one Warboy) push through the dust and the dirt and the rocks towards an area of peace, but as soon as they get there they realize there is no serenity to be found in running away. So they double back on that straight line they traveled at the beginning of the movie and attempt to make peace with where they’re from and create a heaven of their own, but they’re still moving forward. They’re just heading back. All the while Miller is riffing on the same action sequence that he introduced at the close of the first Mad Max, and through years of restructuring and building upon that forward momentum of a straight road stampede of engines he perfected his craft. It’s even more astounding he did this in Hollywood where branding has been centralized over auteurism in years of late.

Madness and Magic: The Abstract in Adventure Time

When Adventure Time announces an episode featuring The Magic Man it always graces the creators of the show reason to become abstract and imaginative in a way that other episodes do not offer. Magic Man is a creature of pure chaos whose only limitations are his desires at the moment. With his magical power he can transfix any given scenario into something horrific, and here we finally see his backstory as well as the next chapter in Ice King’s unraveling as Adventure Time’s most sympathetic character. Magic cannot exist without madness in the land of Ooo and when you give yourself over to that power you lose control of yourself. Magic Man’s hat, like Ice King’s crown, is the origin of his destruction. He is not an evil man, but one being controlled by external forces. When his hat is removed later in the episode by Betty who had been working as Magic Man’s assistant  she also becomes infected with magic, and she is now in the same boat as her former lover Simon (Ice King). If this all sounds convoluted it’s because it is impossible to explain the complexities of Adventure Time’s backstory as it goes far beyond the depth of most shows by consistently building upon narrative threads and characters, sometimes even seasons apart. What truly makes “You Forgot Your Floaties” a classic episode of the shows willingness to engage with the absurd. In a dream sequence Betty finds herself in a monochrome world of black and white (resembling a soulless Yellow Brick Road) before slowly being sucked into the mouth of a statue resembling Magic Man after she dons a mask of his deceased wife who is later revealed to be at the center of his need to meddle with magic. Monsters appear later, and they sift in and out of phases of dreamspace, meeting up with gods and rulers alike, until finally coming upon Ice King’s muted voice speaking in severe close-up (in an homage to Robert Altman’s 3 Women of all things) about the presence and core of magic. Betty takes that risk of madness to try to save Ice King when she steals magic man’s hat. She already suffers under the effects as her eyes glaze over and her sense of self drowns in power. This is all setting up a later confrontation between Betty and Simon where they will likely confront their past and their future, and a storyline that Adventure Time has been playing with since the beginning of the show may finally come to a close. ,

Bitch Better Have My Money: Taking Back the Anti-Hero

Mikki Kendall (follow her on twitter, @Karnythia) tweeted shortly after the video for “Bitch Better Have My Money” dropped that Black Women hardly ever occupy the space of anti-hero outside of the music video space, and she’s absolutely right. Only Pam Grier comes to mind when I think of the Black Woman Anti-Hero, but many more come to mind when asking the question of white women, and one would need to go no further than looking at last year’s Amy Dunne from David Fincher’s Gone Girl. It’s appropriate to bring up Gone Girl, because the image of a woman caked in triumphant blood bookends both this video and the height of Amy Dunne’s revenge. The image of a woman taking back what was hers by becoming violent can be a powerful image, and I think Rihanna’s extreme close-up is one of the best single images in all of cinema this year. Rihanna shows a clear understanding of the types of influences that are sprinkled throughout Bitch Better Have My Money like Nicholas Winding Ref’s penchant for neon coloured violence as seen in Only God Forgives, the seaside excess of something like Wolf of Wall Street or the Tarantino-esque still captures of characters like Mads Mikkelson’s “The Bitch” as seen here. Rihanna refashions all these cinematic tools into a point blank statement that is only strengthened by her song’s directness. It’s totally cinema of her power, and what happens when you get in her way. It’s anti-heroic, and it’s also exhilarating. God only knows what else Rihanna might have in mind when it comes to movies, but if this is any indication she has the talent to take the world by storm.

Other Movies, Television Shows, Music Vidoes, etc that will stick with me
Michael Mann’s “Blackhat”
Takashi Miike’s “As the God’s Will”
Sean Baker’s “Tangerine”
Peter Strickland’s “The Duke of Burgundy”
The Wachowski’s “Sense8″
Bjork’s “Stonemilker”
Grime’s “Realiti”
Mad Men: “The Milk and Honey Route”
Penny Dreadful: “Fresh Hell”
Better Call Saul: “Marco”
NXT: “Sasha Banks vs. Becky Lynch” 
NXT: “Hideo Itami’s Wrestlemania Experience”
Wrestling Isn’t Wrestling”

January 2014: Cinema

 It was admittedly a slower month at Château de Willow because of my new found obsession with wrestling (which is totally an art form itself) and my general burnout after trying to watch every critically acclaimed picture from the last year. I did however finally get to see two very good pictures from Elaine May. She came onto my radar last year after watching the powerhouse dark comedy A New Leaf, and she is one of those rare filmmakers who has a perfect resume. My boyfriend also introduced me to Godard’s King Lear which I found to be a brilliant picture that nearly destroys cinema in it’s 90 minute run time to rebirth it all over again. In return I introduced him to Godard’s Je Vous Salue, Sarajevo, so I think we both kicked the world’s ass at how cinephile relationships are supposed to work. It was a fun month, but honestly a little thin on older pictures. I’m hoping that February is a little more diverse.

Best of the Month
The Heartbreak Kid (Elaine May, 1971)
Ishtar (Elaine May, 1987)
Titicut Follies (Frederick Wiseman, 1967)
King Lear (Jean Luc Godard, 1987)
Come Drink With Me (King Hu, 1966)
This Gun For Hire (Frank Tuttle, 1942)
Inside Llewyn Davis (Joel and Ethan Coen, 2013)
The Wolf of Wall Street (Martin Scorsese, 2013)
3 Women (Robert Altman, 1977)
Beyond the Mat (Barry W. Baulstein, 1999)
Four Heads are Better than One (Georges Méliès, 1898)
The Butler (Lee Daniels, 2013)
The Past (Asghar Farhadi, 2013)

Best Rewatches
Je Vous Salue, Sarajevo (Jean Luc Godard, 1993)
Southland Tales (Richard Kelly, 2006)
The Tree of Life (Terrence Malick, 2011)
Frances Ha (Noah Baumbach, 2013)
Inglorious Basterds (Quentin Tarantino, 2009)
Batman Returns (Tim Burton, 1992)
Terminator 2: Judgment Day (James Cameron, 1991)

Computer Chess (Andrew Bujalski, 2013)

Worst
Admission (Paul Weitz, 2013)
This is 40 (Judd Apatow, 2012) [rewatch]