A Top 100 Films of All-Time

It is time once again for a Top 100 Films of All-Time list. As I’ve done for the last few years, the first ten spots on the list comprise a hypothetical Sight & Sound-style ballot. We had an on-going project related to this on The George Sanders Show, that will now be based at Seattle Screen Scene. This top ten is presented here in chronological order. The remaining 90 films were randomly selected from a consideration set of 867 films, which excluded films that made my Top Tens in 2012, 2013, 2014 and 2015.

1. Ruggles of Red Gap (Leo McCarey, 1935)

2. Hatari! (Howard Hawks, 1962)

3. News from Home (Chantal Akerman, 1977)

4. The Green Ray (Eric Rohmer, 1986)

5. Peking Opera Blues (Tsui Hark, 1986)

6. The Last of the Mohicans (Michael Mann, 1992)

7. Millennium Mambo (Hou Hsiao-hsien, 2001)

8. Running on Karma (Johnnie To & Wai Ka-fai, 2003)

9. Tropical Malady (Apichatpong Weerasethakul, 2004)

10. Linda Linda Linda (Nouhiro Yamashita, 2005)

11. The Last Movie (Dennis Hopper, 1971)

12. Murmur of the Hearts (Sylvia Chang, 2015)

13. Written on the Wind (Douglas Sirk, 1956)

14. Nomad (Patrick Tam, 1982)

15. Run of the Arrow (Samuel Fuller, 1957)

16. Top Hat (Mark Sandrich, 1935)

17. The Golem: How He Came Into the World (Paul Wegener & Carl Boese, 1920)

18. Mad Max: Fury Road (George Miller, 2015)

19. Wheels on Meals (Sammo Hung, 1984)

20. Taste of Cherry (Abbas Kiarostami, 1997)

21. The Limits of Control (Jim Jarmusch, 2009)

22. Choose Me (Alan Rudolph, 1984)

23. Crouching Tiger, Hidden Dragon (Ang Lee, 2000)

24. Rebel Without a Cause (Nicholas Ray, 1955)

25. The Heroic Ones (Chang Cheh, 1970)

26. What Time is it There? (Tsai Ming-liang, 2001)

27. The Man Who Would Be King (John Huston, 1975)

28. Hearts of the World (DW Griffith, 1918)

29. Romancing in Thin Air (Johnnie To, 2012)

30. There’s Always Tomorrow (Douglas Sirk, 1955)

31. World of Tomorrow (Don Hertzfeldt, 2015)

32. Written By (Wai Ka-fai, 2009)

33. Big Night (Campbell Scott & Stanley Tucci, 1996)

34. The Pan-American Exposition by Night (Edwin S. Porter, 1901)

35. Battles Without Honor and Humanity (Kinji Fukasaku, 1973)

36. Kiss Me Kate (George Sidney, 1953)

37. Sixty Six (Lewis Klahr, 2015)

38. Come Drink with Me (King Hu, 1966)

39. Ghost Dog: The Way of the Samurai (Jim Jarmusch, 1999)

40. City Girl (FW Murnau, 1930)

41. Fort Apache (John Ford, 1948)

42. Night Across the Street (Raoul Ruiz, 2012)

43. The Last Temptation of Christ (Martin Scorsese, 1988)

44. L’Avventura (Michelangelo Antonioni, 1960)

45. Don’t Look Now (Nicolas Roeg, 1973)

46. Big Trouble in Little China (John Carpenter, 1986)

47. Public Enemies (Michael Mann, 2009)

48. Police Story (Jackie Chan, 1985)

49. Friday Night (Claire Denis, 2002)

50. Hannah and Her Sisters (Woody Allen, 1986)

51. Exiled (Johnnie To, 2006)

52. Romance Joe (Lee Kwangkuk, 2011)

53. Russian Ark (Alexander Sokurov, 2002)

54. Yojimbo (Akira Kurosawa, 1961)

55. City on Fire (Ringo Lam, 1987)

56. Syndromes and a Century (Apichatpong Weerasethakul, 2006)

57. 24 City (Jia Zhangke, 2008)

58. Prospero’s Books (Peter Greenaway, 1991)

59. The Manchurian Candidate (John Frankenheimer, 1962)

60. The Sword of Doom (Kihachi Okamoto, 1966)

61. The Trap: What Happened to Our Dream of Freedom (Adam Curtis, 2007)

62. Shaolin Soccer (Stephen Chow, 2001)

63. The Missing Picture (Rithy Panh, 2013)

64. It’s Such a Beautiful Day (Don Hertzfeldt, 2012)

65. In Another Country (Hong Sangsoo, 2012)

66. Toute la mémoire du monde (Alain Resnais, 1956)

67. Kid Auto Races at Venice (Henry Lehrman, 1914)

68. Wife! Be Like a Rose! (Mike Naruse, 1935)

69. Culloden (Peter Watkins, 1964)

70. Henry Fool (Hal Hartley, 1997)

71. PTU (Johnnie To, 2003)

72. The East is Red (Ching Siu-tung & Raymond Lee, 1993)

73. Pom Poko (Isao Takahata, 1994)

74. Hapkido (Huang Feng, 1972)

75. Pickpocket (Robert Bresson, 1959)

76. Bringing Up Baby (Howard Hawks, 1938)

77. Dangerous Liaisons (Stephen Frears, 1988)

78. Chinese Odyssey 2002 (Jeffrey Lau, 2002)

79. This is Spinal Tap (Rob Reiner, 1984)

80. A Woman is a Woman (Jean-Luc Godard, 1961)

81. North by Northwest (Alfred Hitchcock, 1959)

82. Late Spring (Yasujiro Ozu, 1949)

83. Wee Willie Winkie (John Ford, 1937)

84. Rock ‘n’ Roll High School (Allan Arkush, 1979)

85. Yesterday Once More (Johnnie To, 2004)

86. The Maltese Falcon (John Huston, 1941)

87. Meek’s Cutoff (Kelly Reichhardt, 2010)

88. To Have and Have Not (Howard Hawks, 1944)

89. Blissfully Yours (Apichatpong Weerasethakul, 2002)

90. It’s the Great Pumpkin, Charlie Brown (Bill Melendez, 1966)

91. Jason and the Argonauts (Don Chaffey, 1963)

92. Prince of Darkness (John Carpenter, 1987)

93. Two Tars (James Parrott, 1928)

94. Stalker (Andrei Tarkovsky, 1979)

95. Hearts of Darkness: A Filmmaker’s Apocalypse (Eleanor Coppola, Fax Bahr & George Hickenlooper, 1991)

96. Stop Making Sense (Jonathan Demme, 1984)

97. Body Double (Brian De Palma, 1984)

98. Unfaithfully Yours (Preston Sturges, 1948)

99. The Day He Arrives (Hong Sangsoo, 2011)

100. Heroes of the East (Lau Kar-leung, 1978)

This Week in Rankings

Over the several week since the last update, I wrote about Johnnie To’s Three for Mubi, Edward Yang’s A Brighter Summer Day for Movie Mezzanine and Sion Sono’s Bicycle Sighs for InReview Online (link coming soon). Here at The End I counted down the Best Movies of 2016 (So Far) and at Seattle Screen Scene I wrote about a trio of under-the-radar new Chinese releases, Cold War 2, One Night Only and For a Few Bullets, and a pair of American movies: DePalma and Mike and Dave Need Wedding Dates. We also released the final episode of The Frances Farmer Show, on Three and Samuel Fuller’s Shock Corridor.

The are the movies I’ve watched and reattached over the last few weeks, and where they place on my year-by-year rankings.

Singin’ in the Rain (Stanley Donen & Gene Kelly) – 1, 1952
Shock Corridor (Samuel Fuller) – 10, 1963
Dragon Gate Inn (King Hu) – 3, 1967
A Touch of Zen (King Hu) – 1, 1971
Scarface (Brian DePalma) – 9, 1983

My Neighbor Totoro (Hayao Miyazaki) – 2, 1988
Bicycle Sighs (Sion Sono) – 42, 1990
A Brighter Summer Day (Edward Yang) – 2, 1991
Love in the Time of Twilight (Tsui Hark) – 10, 1995
Persuasion (Roger Michell) – 15, 1995

Young and Dangerous (Andrew Lau) – 53, 1996
Young and Dangerous 2 (Andrew Lau) – 59, 1996
Yi yi (Edward Yang) – 5, 2000
State and Main (David Mamet) – 17, 2000
Cold War (Longman Leung & Sunny Luk) – 52, 2012

Kaili Blues (Bi Gan) – 18, 2015
Sixty Six (Lewis Klahr) – 23, 2015
Three (Johnnie To) – 3, 2016
OJ: Made in America (Ezra Edelman) – 9, 2016

One Night Only (Matt Wu) – 10, 2016
Cold War 2 (Longman Leung & Sunny Luk) – 19, 2016
Mike and Dave Need Wedding Dates (Jake Szymanski) – 22, 2016
For a Few Bullets (Pan Anzi) – 23, 2016

The Best Movies of 2016 (So Far)

We are now halfway through the year and as has become an annual tradition here at The End, it’s time to look back at the best movies of the year so far. As I discussed in the 2013 halfway post, the consensus movie-dating system is nonsensical and posits New York as the center of the universe. Far more logical (and much easier to use) is a system reliant on imdb’s dating system, which locates a film in whatever year it first played for an audience. That’s what we use here for all Rankings & Awards as it’s the most fair to all eras and areas. (A dating system reliant on playing in a certain locality I think can be valuable for a publication that is geographically specific, like a local newspaper or website. We’ll be putting together a Seattle-specific lists for Seattle Screen Scene later this week, for example. But here at The End, we have a global reach.)

A by-product of the system is that a number of films that first go into wide-release in any given year actually had their premiere in the year before. A number of the films on many critics’ halfway-thorough lists include these films, films that find their proper home here on my 2015 list. And so here we have two lists: the Best Movies of 2016, following the strict imdb dating system, and the Best 2015 Movies of 2016, which includes those films from last year that you might find on a more chronologically-illogical list (and despite the title, also includes one film from 1991 and one from 2012, both of which only premiered in New York this year). I also have a third list, Best Unreleased Movies of 2015, of last year’s films that have yet to see a New York release and therefore don’t (yet) exist by the standards of most critics. And a fourth list, a halfway version of my annual Best Older Movies list, counting the top movies I saw for the first time this year that are more than a few years old.

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This Week in Rankings

Since the last update the Seattle International Film Festival has come and gone. My coverage included fifteen reviews, three podcasts and a trio of previews, all at Seattle Screen Scene. I posted the English language version of a short survey of Contemporary Chinese Cinema I wrote for the Estonian arts magazine SIRP and I listed 50 of the Best Chinese Language Films of the 21st Century. Jealous of the massive Hong Sangsoo retrospective going on in New York, I indexed all of my writing and podcasting on Hong and resurrected a lost podcast episode I helped record last year on Hong and Oki’s Movie. And, with the festival over, I finally was able to watch and review my much-anticipated English-subtitled DVD of Jiang Wen’s 2014 film Gone with the Bullets.

These are the movies I’ve watched or rewatched over the last few weeks, and where they place in my year-by-year rankings.

The General (Buster Keaton & Clyde Bruckman) – 1, 1926
The Big Road (Sun Yu) – 6, 1935
Merbabies (Vernon Stallings & Rudolf Ising) – 23, 1938
Heaven Can Wait (Ernst Lubitsch) – 4, 1943
A Scandal in Paris (Douglas Sirk) – 13, 1946

Singin’ in the Rain (Stanley Donen & Gene Kelly) – 1, 1952
Los tallos amargos (Fernando Ayala) – 22, 1956
Chimes at Midnight (Orson Welles) – 2, 1965
Dragon Gate Inn (King Hu) – 3, 1967
Distant Voices, Still Lives (Terence Davies) – 1, 1988

The Long Day Closes (Terence Davies) – 6, 1992
Cure (Kiyoshi Kurosawa) – 9, 1997
Pulse (Kiyoshi Kurosawa) – 12, 2001
Tokyo Sonata (Kiyoshi Kurosawa) – 6, 2008
575 Castro St. (Jenni Olson) – 18, 2009
Gone with the Bullets (Jiang Wen) – 26, 2014

Sunset Song (Terence Davies) – 11, 2015
Murmur of the Hearts (Sylvia Chang) – 24, 2015
De Palma (Noah Baumbach & Jake Paltrow) – 47, 2015
Concerto: A Beethoven Journey (Phil Grabsky) – 58, 2015
Thithi (Raam Reddy) – 63, 2015

Tag (Sion Sono) – 74, 2015
The Island Funeral (Pimpka Towira) – 83, 2015
Ten Years (Various) – 91, 2015
The 1000 Eyes of Dr. Maddin (Yves Montmayeur) – 99, 2015
The Final Master (Xu Haofeng) – 114, 2015

Love & Friendship (Whit Stillman) – 1, 2016
Three (Johnnie To) – 3, 2016
A Bride for Rip Van Winkle (Shunji Iwai) – 7, 2016
Trivisa (Jevons Au, Frank Hui & Vicky Wong) – 8, 2016
Creepy (Kiyoshi Kurosawa) – 9, 2016

My Beloved Bodyguard (Sammo Hung) – 10, 2016
Lo and Behold: Reveries of a Connected World (Werner Herzog) – 11, 2016
The Mobfathers (Herman Yau) – 14, 2016
The Seasons in Quincy (Tilda Swinton, et al) – 15, 2016
In a Valley of Violence (Ti West) – 20, 2016

SIFF 2016 Index

This is an Index of my coverage of the 2016 Seattle International Film Festival. All the writing was at Seattle Screen Scene.

Reviews:

Report #1: Sunset Song, Concerto: A Beethoven Journey, A Scandal in Paris, A Bride for Rip Van Winkle, Love & Friendship
Report #2: The Big Road, The Island Funeral, Heaven Can Wait, The Final Master, My Beloved Bodyguard
Report #3: The Bitter Stems, Thithi, Trivisa, The Mobfathers, Tag

Podcasts:

The Frances Farmer Show #6: SIFF 2016 Preview, The Long Day Closes and Tokyo Sonata
The Frances Farmer Show #7: SIFF 2016 Midpoint Report
The Frances Farmer Show #8: SIFF 2016 Wrap-Up

Previews:

Week One
Week Two
Week Three and Beyond

Jiang Wen’s Gone with the Bullets

So Jiang Wen made a Wong Jing movie. . .

I saw the Thai DVD, which is the first version I’ve seen that has English subtitles. The running time is 119 minutes. Wikipedia and IMDB give it a running time of 140 minutes, with a 120 minute international cut, while Screen Daily‘s review from the Berlin Film Festival says it’s 134 minutes. I have no idea what’s been removed for this international cut, but I doubt the added footage would make the movie any more or less coherent.

Jiang plays a conman in 1920s Shanghai. In an opening parody of the first scene of The Godfather, he agrees to help the youngest son of the local warlord general launder his money. To do so, he spends it all on an extravagant pageant to crown the Best Hooker in Shanghai, complete with musical numbers (“a song so new Mr. Gershwin won’t even write it for ten years!”), fireworks, live radio coverage around the world and Shu Qi offering to sleep with 30 rich men in 30 nights and give all her proceeds to the poor. Shortly thereafter, she proposes to Jiang (they are old friends and lovers), he tries to talk her out of it in a melange of artificial sets and dizzying cutting (every line gets its own shot, the effect of which, given the screwball pace of the exchanges, is something like watching a Baz Luhrmann movie on amphetamines), culminating in an opium dreams of a wild musical car trip. The morning after, Shu Qi is dead and Jiang spends the rest of the movie on the run, accused of her murder.

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The 50 Best Chinese Language Films of the 21st Century

When Film4 published a list of their “100 Must-See Films of the 21st Century” and only bothered to include two Chinese films (Yi yi and In the Mood for Love, of course), I countered with this list on letterboxd of 100 Must-See Chinese Language Films of the 21st Century. Almost two years have passed since then, and I’ve been wanting to update that list, since honestly I was kind of stretching the limits of what I’d recommend when I got into the nineties. Well, yesterday came The Playlist’s list of The 50 Best Foreign Language Films of the 21st Century. Five of the films on their list are Chinese Language (the same obvious Edward Yang and Wong Kar-wai picks, along with Hou Hsiao-hsien’s Millennium Mambo, Tsai Ming-liang’s What Time is It There? and Ang Lee’s Crouching Tiger, Hidden Dragon. That’s right: no Johnnie To.), and while they’re somewhat hampered by their self-imposed one-film-per-director rules, that, to me, is still an unacceptably low number for what has been and continues to be the most vibrant and fascinating film culture in the world. And today, Richard Brody’s response in the New Yorker, while an improvement in making room for Jia Zhangke and Wang Bing (and Korean director Hong Sangsoo), still has only seven Chinese titles.

So here are my 50 Best Chinese Language Films of the 21st Century. I’m limited in making this list by the movies I’ve seen, and there are still many, many Chinese films I haven’t watched yet. I’m also sticking with The Playlist’s rule and limiting myself to one film per director (in the case of collaborations, I’m counting them as separate directors: Johnnie To and Wai Ka-fai together is a different director from either Johnnie To or Wai Ka-fai individually. This is arbitrary of course). The movies are ranked in order of my current preference, with links to where I’ve written about or discussed them, along with, in some cases, no more than five other recommended films by the director.

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Hong Sangsoo

Reviews:

Oki’s Movie (2010) – May 9, 2013
In Another Country (2012) – Oct 5, 2012
Nobody’s Daughter Haewon (2013) – Sep 23, 2013
Hill of Freedom (2014) – Oct 3, 2014
Right Now, Wrong Then (2015) – Sep 30, 2015
Yourself and Yours (2016) – Mar 8, 2017

Podcasts:

Virgin Stripped Bare by Her Bachelors (2000) – June 30, 2014
Our Sunhi (2013) – Oct 17, 2013
Oki’s Movie (2010) – Jun 14, 2016

Capsules:

On the Occasion of Remembering the Turning Gate (2002) – May 9, 2013
Tale of Cinema (2005) – May 10, 2013
Like You Know It All (2009) – June 26, 2014
Hahaha (2010) – Oct 6, 2010
Yourself and Yours (2016) – Feb 27, 2017
On the Beach at Night Alone (2017) – Feb 24, 2017

List:

Hong Sangsoo Movies

Chinese Cinema Today

A couple months ago I was asked to write this brief overview of the state of contemporary Chinese language cinema for the Estonian arts magazine Sirp. You can read this essay in Estonian on their website, and here, with their kind permission, is the original English language version.

Long one of the most vibrant and diverse film cultures in the world, the landscape of Chinese-language film has shifted dramatically over the last few years. Beginning with the handover of Hong Kong to Mainland China in 1997, the previously separate industries in China, Taiwan and Hong Kong have become increasingly enmeshed, and with the rapid expansion of theatrical exhibition on the mainland and an economic boom that has opened up a massive potential audience, China is set to overtake the United States as the largest movie market in the world. Chinese companies have begun investing heavily in Hollywood productions, while American companies are seeking closer ties with their Chinese counterparts. A Chinese company (Wanda) now owns the largest chain of exhibitors in the US (AMC Theatres), as well as an American production company (in January of 2016 they purchased Legendary Entertainment, producers or co-producers of Jurassic World, Blackhat, Pacific Rim and Christopher Nolan’s Batman films, among other blockbusters). Warner Brothers recently launched a new production house in cooperation with Chinese company CMC to remake Warners properties like Miss Congeniality, and release original films from veteran Hong Kong filmmakers Peter Chan and Stephen Fung along with Jackie Chan and Brett Ratner. CMC also has a joint venture with Dreamworks Animation, Oriental Dreamworks, which released Kung Fu Panda 3 this past January. Complicating this vast influx of cash into film production is China’s oft-arcane system of censorship and import quotas, which limit the kinds of films that can be shown in the nation’s theatres, as well as a tradition of gaming the system, if not outright corruption, in box office accounting. In the past few weeks, widespread fraud in the reporting of the grosses of Donnie Yen’s Ip Man 3 was discovered, leading to punitive action against the film’s local distributor and participating exhibitors.

With this dynamic and rapidly developing film culture, trying to predict what Chinese-language cinema is going to be like in five or ten years is a fool’s game. Instead, by taking a snapshot look at a few examples from the past year, we can get a sense of where the culture is at right now. From The Mermaid’s astounding box office success, to Go Away Mr. Tumor’s unique disregard for generic expectations; from Jia Zhangke’s idiosyncratic move toward the mainstream of the international art house with Mountains May Depart, to Bi Gan’s microbudgeted, experimental and defiantly local debut Kaili Blues, Chinese cinema is one of the most financially lucrative and aesthetically innovative cinemas in the world.

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This Week in Rankings

With the Seattle International Film Festival just around the corner, I’ve been spending the last couple of weeks reading actual books (Joan Didion, John McPhee and James Agee) and watching baseball (and playing Out of the Park) rather than watching movies, trying to save up energy for the endless slog that is the world’s most exhausting film festival. But before that little break, I did write some stuff: I watched a bunch of Chinese language films from 1996 to compile an Underrated ’96 piece for Rupert Pupkin Speaks, including Johnnie To’s A Moment of Romance III. I wrote about Richard Linklater’s Everybody Wants Some!! and Alexander Sokurov’s Francofonia for Seattle Screen Scene, along with the Chinese thriller Chongqing Hot Pot. I also wrote about the state of Chinese cinema for the Estonian magazine Sirp. You can read it here in Estonian, I plan to publish the original English version in a few days.

Since the last update we’ve done four episodes of The Frances Farmer Show: Mysterious Object at Noon and Gates of the Night, Prospero’s Books and The Princess of France, Youth of the Beast and Sonatine, and A Brighter Summer Day, SPL 2 and Purple Rain.

These are the movies I’ve watched and rewatched over the last few weeks and where they place on my year-by-year rankings.

Gates of the Night (Marcel Carné) – 14, 1946
Dirty Gertie from Harlem USA (Spencer Williams) – 17, 1946
Youth of the Beast (Seijun Suzuki) – 15, 1963
Battles Without Honor and Humanity (Kinji Fukasaku) – 6, 1973
Deadly Fight in Hiroshima (Kinji Fukasaku) – 12, 1973

Proxy War (Kinji Fukasaku) – 21, 1973
Final Episode (Kinji Fukasaku) – 18, 1974
Police Tactics (Kinji Fukasaku) – 31, 1974
Purple Rain (Albert Magnoli) – 12, 1984
Under the Cherry Moon (Prince) – 30, 1986

Violent Cop (Takeshi Kitano) – 19, 1989
A Brighter Summer Day (Edward Yang) – 2, 1991
Prospero’s Books (Peter Greenaway) – 7, 1991
Sonatine (Takeshi Kitano) – 9, 1993

Mahjong (Edward Yang) – 2, 1996
Viva Erotica (Derek Yee & Law Chi-leung) – 8, 1996
Stage Door (Shu Kei) – 21, 1996
Beyond Hypothermia (Patrick Leung) – 22, 1996
Ebola Syndrome (Herman Yau) – 28, 1996

Big Bullet (Benny Chan) – 31, 1996
Black Mask (Daniel Lee) -41, 1996
A Moment of Romance III (Johnnie To) – 42, 1996
The Stunt Woman (Ann Hui) – 47, 1996
Dr. Wai in “The Scripture with No Words” (Ching Siu-tung) – 49, 1996

Shanghai Grand (Poon Man-kit) – 57, 1996
Twinkle Twinkle Lucky Star (Wong Jing) – 66, 1996
Yes, Madam 5 (Lau Shing) – 78, 1996
Mysterious Object at Noon (Apichatpong Weerasethakul) – 15, 2000
The Princess of France (Matías Piñeiro) – 40, 2014

Cemetery of Splendour (Apichatpong Weerasethakul) – 13, 2015
SPL 2: A Time for Consequences (Soi Cheang) – 14, 2015
The Force Awakens (JJ Abrams) – 20, 2015
Francofonia (Alexander Sokurov) – 72, 2015

Lemonade (Beyoncé Knowles & Jonas Åkerlund) – 1, 2016
Everybody Wants Some!! (Richard Linklater) – 2, 2016
Chongqing Hot Pot (Yang Qing) – 6, 2016
Confirmation (Rick Famuyiwa) – 10, 2016
Get a Job (Dylan Kidd) – 11, 2016

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The End of Cinema

The End of Cinema

A Top 100 Films of All-Time

This Week in Rankings

The Best Movies of 2016 (So Far)

This Week in Rankings

SIFF 2016 Index

Jiang Wen’s Gone with the Bullets

The 50 Best Chinese Language Films of the 21st Century

Hong Sangsoo

Chinese Cinema Today

This Week in Rankings