(BP)

I think people underestimate what a big deal it was to have an expensive production with Hackman and Brando legitimize comic book movies at the time. The only contemporaries of Superman were the low-budget Marvel TV movies, and this was almost 40 years before winning an Oscar was actually a gateway to getting your own superhero franchise.

Malcolm X is such a huge achievement from a filmmaking and performance perspective because it's very difficult to create a character arc that doesn't feel labored or contrived in any movie, let alone in a bio about someone that went through multiple ideological changes as Malcolm. It's long, but there isn't a single wasted moment in the entire film.

This is awesome. I've gone on a journey from having an inferiority complex about my list to feeling like a legitimate movie snob.

It's funny that Throne of Blood and Scarface are right next to each other since

I'm anxiously waiting to see where Guardians of the Galaxy places : )

It reinforces my belief in a, "Jason Mantzoukas should be in everything," policy so I'm in.

Screw it, just have Will Arnett replace Affleck.

Whoa, that depiction of Kidman is not flattering. Dear Zachary would make my docs list, and certainly a top five most devastating viewing experience.

Holy shit I didn't even see that before, but it's not shopped.

It was Mr. Nanny, but yeah, that guy just threw away a dog into a lake.

I often think about how great Tombstone could have been without the studio/Cosmatos upheaval. As it is it's pretty remarkable. Persona is challenging now; I can't imagine what it was like for audiences in 66. It didn't make my list, but several movies that did absolutely wouldn't have been made without it preceding them.

Okay, Little Giants has proven there is no way to predict where this list is going and I'm excited.

John Wick 2 is all about playing in the world created in the first one, and it's fun. I don't know if I liked it quite as much as its predecessor, but two things it has going for it are

Shawn's gear until he switched to girdle-chaps was awful. His tights never fit him. The body of his matches was just chops and pulling them up.

Schrader made a class conscious 70s drama with Richard Pryor, Harvey Keitel, and Yaphet Kotto, and I've never heard of it?! I'll have to see Burmese Harp and Fireworks too.

Rippa being the high vote for Austin Powers is awesome. I think Synecdoche, NY is Kaufman's best work. It was really low radar even after this ringing endorsement from Ebert. "Synecdoche, New York" is the best film of the decade. It intends no less than to evoke the strategies we use to live our lives. After beginning my first viewing in confusion, I began to glimpse its purpose and by the end was eager to see it again, then once again, and I am not finished. Charlie Kaufman understands how I live my life, and I suppose his own, and I suspect most of us. Faced with the bewildering demands of time, space, emotion, morality, lust, greed, hope, dreams, dreads and faiths, we build compartments in our minds. It is a way of seeming sane.

I'd probably put South Park BLU on a top 20 musicals list. It's actually a pretty loving tribute to them. I also find it funny that part of the charm at the time was Trey and Matt not having to deal with television censors, and now they could probably get everything in the movie on TV with no trouble.

These posters rule. Also, I've always thought that Batman trailer was really weird. It's more like a sizzle reel.

I had a system that sort of failed me; Arsenic and Old Lace didn't feel like it belonged on a top 100, and I couldn't imagine putting Bringing Up Baby, Girl Friday, etc. before it, so they all got the axe. Same thing with Dark Knight not making my list, so no comic book movies at all. It wasn't a good system.

I think Requiem touches a raw nerve that most movies about addiction don't because there's something universal there about using drugs as a tool to nurture self-delusion. Everyone has a story they tell themselves to get through each day, and as the story becomes more incongruous from reality the characters slip further away. It's not just escape; even the desperate work of scoring is preferable to confronting themselves.

Sorry should I keep it out of the other thread?

I'm a huge unrepentant JFK fan even though most of Stone's other work has aged poorly and he's a shell of himself now. It's a master class in the feature film as persuasive essay. The specifics mean much less than the notion that something extraordinary happened in Dallas. I'd also argue its influence has been far reaching, especially among fringe partisan pseudo-docs (for better or probably worse.)

(Vince standing over a furiously typing Sami) "Yeah pal, you tell em' you're not buried. He's gonna...he's gonna...he's gonna tweet!"

Vince would just buy the Globetrotters and try to blow everyone's mind by parity booking them against the Generals.