1 1. Magnolia
– Absolutely wonderful; great grasp on tone, outstanding cast and performances,
and overall a complex and inventive story. The world the director creates is
real and apparently simple but also amazingly detailed. But what else can we
expect from Paul Thomas Anderson?
2. The Red Shoes – Took Martin Scorsese’s word for it, and was not disappointed; rivals (and possibly tops) “Black Swan” as showing both the glamorous and dangerous sides of ballet. Also, loved the way the colors popped and interacted with the overall mise-en-scene.
3. Beasts Of No Nation –I admired this film tremendously in that it was not afraid to take risks, not just in the story and performances but in the cinematography and editing. The end product is a raw, disturbing, and emotionally brutal piece of art. The aspect of this film being difficult to watch is countered and balanced by its utterly engrossing and expertly crafted nature.
4. Only Lovers Left Alive –Fell in love with everything about this film; Tom Hiddleson and Tilda Swinton have remarkable chemistry and give two of the best performances I’ve seen in a long time. The tone and diegesis are stupendously crafted as well; this is how vampire films should be done. Will fit cinephiles like a well-made leather jacket.
5. There Will Be Blood –Another grand slam for Paul Thomas Anderson. Daniel Day Lewis gives an incredible performance yet again (gee, what a surprise), and the cinematography is superb; every single shot feels like a moving painting. The score is strong and appears to counter the raw nature of the film itself while also amplifying its emotional fragility (and brutality as well). If you watch this movie for the cinematography or Daniel Day Lewis alone, and completely ignore the story, you’d still probably love it. But yes, the story is outstanding as well.
6. Beasts of the Southern Wild –Flexible in its ability to balance imagination with hardships of reality, this film is very much a modern fairytale that will appeal to many. The strength of the film lies in the diegesis, score, and the surprisingly mature performance by our young main actress, Quvenzhané Wallis. The story is able to be engrossing without getting overly complicated; simply put, it appears to exist in a tiny magical box, held up by a strong support system that comes out through the story and complexity of the characters.
7. Nymphomaniac Parts I and II –I still have mixed feelings about this movie. On the one hand, I view it as brilliant in many ways, from the cinematography to the direction to the editing to the performances. It provides a raw and emotionally disturbing look at sex addiction, while also finding ways to have the audience connect with the vulnerability of the main character. But metaphorically, it can come off as self-serving, almost satirical in many parts, and could be seen as just five hours of Lars Von Trier jacking off while screaming “fuck you” to the audience. Either way, I suppose I’d recommend it, even if it did have a pretty shitty ending.
8. The Social Network –If I had to comment on the strongest aspect of this film, it would be a hard tie between the performances, writing, and editing. Sure, at the most fundamental level this film is little more than a bunch of conversations tied together into a two hour flick, but the genius packed into that time is evident in its tone, cast, and screenplay. Challenging without coming off as pretentious, this has a classic Fincher feel and is unquestionably a triumph of modern filmmaking.
9. Swim Little Fish Swim –Hidden indie gem on Netflix. Characters, performances, and editing are all on point, and all make an effort to be different without pushing it too far. It’s very much a cute little movie, and makes for a pleasant time.
10. Punch Drunk Love –I don’t really have much to say about this one because quite honestly I don’t even remember watching it. I vaguely remember the storyline, so I don’t think I ended up being that invested. But from what I do recall, at least the cinematography was good. This was the only Paul Thomas Anderson film on the list I did not fall in love with.
11. Cries Of The Unborn –Do NOT watch this movie. Absolutely, positively horrible. It was nothing more than two hours of separate groups of people in two locations talking…and talking…and TALKING about abortion. Antagonists were confusing, as were the supposed protagonist and supporting cast. Exposure and lighting was weird, not sure what camera they filmed it on but it looked abnormal and horrifically distracting. Skip it.
12. Y Tu Mama Tambien –This film is a marvel in how it balances the apparent simplicity of the characters and their world with the complexity of their developing relationships and troubles. Often, a relationship in a film between an older woman and a younger man (men, in this case), is focused on as being taboo or even humorous. However, this film decides to approach it with maturity and hyperrealism, emotionally investing the audience so that we ourselves internalize the pain of the main characters. The performances are all pulled off with precision, and the chemistry is what truly makes the film thrive.
13. Russian Ark –This film succeeds in many ways, but the cinematography is definitely the biggest attraction here. It takes a lot of guts to decide that the film will be one continuous take from beginning to end, and it certainly pays off. The cinematography is an absolute marvel, as is the linear and also nonlinear storyline and presentation. Watch this for the massive scale of the production alone and you will be insanely impressed.
14. Two-Lane Blacktop –I did enjoy this movie to a point. I thought that the pacing and story was interesting, but for some reason did not find myself as emotionally invested in the characters as I should have been. To put it short, I wasn’t bored but I also didn’t enjoy it as much as I probably could have. Overall, I’d say my feelings would be “lukewarm”.
15. THX 1138 –This film demonstrates that a compelling story can be told with minimal elements as long as it is presented by a director with solid ambition. Here, George Lucas possesses such ambition; his sci-fi dystopian drama is simplistic yet complex, cold but very human. The cinematographer obviously had the challenge of finding an interesting sequence of visuals in a crowd of bald heads, silver machinery, and white jump suits, and still it pays off wonderfully. Unsettling yet also surprisingly familiar, it’s certainly an intriguing piece of work.
16. Memento –Christopher Nolan was demonstrating his artistic mastery far before he joined the Batman canon, and this film proves it. Much like “Following”, it crafts a small world for its audience, inviting and also trapping them in its exclusivity. The main character is unsure of his world, as are we, yet at the same time we become all too familiar with it. The story is a web in itself, and we are increasingly wrapped up like a fly in a cocoon as the film progresses. Excellently crafted.
17. Finding Dory –Pleasant, smart, and beautifully animated, as can be expected from any Pixar film worth its salt these days. The story, however, could’ve stood to have a little more complexity than it did, though the new characters held up the story pretty well and even seemed at times to be the jewel in the crown. Not as good as the first film, but still receives an “A” in the Pixar canon.
18. Kubo and The Two Strings –THIS is what the best animated films are: creative, complex, funny, and brave enough to be scary and dark. Everything about this film was superb, from the stop-motion to the characters to the voice acting to the effects to the mythology and story. Certainly one of the best films I’ve seen in months. Please watch.
19. The Master –Again, another masterpiece from Paul Thomas Anderson. Great casting, impeccable performances, outstanding cinematography, and Oscar-worthy writing. Phillip Seymour Hoffman and Joaquin Phoenix have an unbelievable chemistry that appears to drive the entire film in itself; Anderson is remarkable in how he constructs his world, which at the same time becomes your own. Don’t really know what else to say about this movie other than to go see it.
20. Reservoir Dogs –Hallmark of both classic Tarantino and independent filmmaking. Far less flashy than Pulp Fiction, but has enough wit and brutality to carry its own weight. Again, Tarantino proves how a skilled filmmaker can deliver a lot with just several simple elements and expert writing, acting, and editing. Watch and rewatch.
21. We Need To Talk About Kevin –If I had to pick my favorite film of the summer, this would be a contender for the top spot. Everything about this film is so on point that it’s insane; the cinematography, the acting, the directing, the story, the pacing, the editing…it’s all there, and culminates in a disturbing and intriguing work of art. Even if you are uncomfortable with watching films about sociopaths, watch this film. If you have to watch any film on this list, watch this one. It’s a remarkable piece of independent film and through its own nature showcases the unbridled talent of the female director in a classically male-dominated profession.
22. Zootopia –Fun, creative, intelligent animated film. Wonderful example of taking a simple concept (anthropomorphic animals, in this case) and thinking of every possible creative outlet to work with when building the diegesis. Characters were largely original and that was refreshing to see, as was the story.
23. 16 Candles –This film is a shining example of why we love 80’s movies…and possibly a little more than we’d care to admit. Don’t get me wrong, the film isn’t bad, it’s just not amazing. Sure, the nostalgia is entertaining, as are the characters and the one-liners they pull from time to time, but at its core it’s really not a whole lot beyond the average coming-of-age high school movie. Aesthetically, it’s pleasing, but if it weren’t for the nostalgia I don’t think it’d be anything that special.
24. The Truman Show –If “The Hunger Games” had a lot less despair and a little more heart, it would be this movie. For such an unsettling concept, it surprisingly came off as very endearing, which is not only the work of Jim Carrey but also of the supporting cast members.
25. Zoolander 2 –It’s as ridiculous as the first film, but just a little less funny. Yes, the annoying nature of the characters and diegesis is what worked for the first movie, and there are times when it works for this film, but for the most part, it can get tiresome. It will entertain “Zoolander” fans, though non-initiates in terms of the fanbase will most likely be unimpressed.
26. White God –This film was interesting, to say the least. The cinematography was different, especially the final shot of the film, and the dynamic between the father and daughter made for some carefully-crafted tension. However, I feel that balancing this with the plot of the dogs going mad could’ve been constructed slightly better. Overall I wasn’t bored, but I also wasn’t that engrossed. It’s worth watching, though you may not care enough to watch it a second or third time.
27. The Kids Are Alright –Now, compared to some of the other films on this list, I’d say this one played it safe with the writing; didn’t take a whole lot of risks, but still turned out to be worthy of the emotional investment of the audience. The actors have good chemistry and all have a good grip on their characters, which was refreshing to see. It’s a smart film, and I’d say it deserves most of the merit it’s received.
28. Last Day on Earth –Utterly horrible; one of the most pretentious, boring films I’ve ever seen. Tried to come off as philosophical but ended up being a metaphor for the director jacking off while sobbing about the futility of art. Don’t know how someone as accomplished as Willem Dafoe got roped into this, because dear god was it bad. Pseudo-intellectual bullshit at its finest. Don’t waste your time.
29. Pride and Prejudice and Zombies –Read the title. Read it again. What do you think of when you hear that? Exactly. This movie was dumb with a capital D. Waste of a good costume designer and talented actors. Who even thinks of stupid shit like this?
30. Ghostbusters –Yes, this movie was far from amazing. Writing was weak, characters were a little thin, though still interesting. But I appreciated it for the fact that it had female cast members with good chemistry, and still had the restraint to not exploit them for sex jokes or fat jokes. That’s a thumbs-up in my book.
31. The Green Inferno –Yet another xenophobic piece of shit from the Michael Bay of horror films, director Eli Roth. This movie failed to scare or disgust me, unless you count the fact that I was disgusted in how things like sexism and racism were being exploited for pure shock value. This movie caters to the lowest demographic of so-called “entertainment” and is utterly forgettable.
32. Star Trek: Into Darkness –Eh. To put it short, it’s very much a popcorn flick. The conflict is simple, the characters and performances are adequate, and the effects are well done. I wouldn’t really say that anything was necessarily dragging the film down, just that it could’ve stood to maybe have a little more meat on it; I did find myself yearning for a little more complexity than was presented here. But then again, the simplicity isn’t really much to complain about. For what it’s worth, it promises a basic hero story and delivers, albeit without exceeding anyone’s expectations.
33. Ghost World –Ah, so much nostalgia makes me miss the 90’s. But seriously, this film is everything most romantic comedies and coming-of-age dramas dream of presenting; unconventional drama, a memorable and quirky flavor to the mise-en-scene, and smart characters. Did I mention the massive dose of 90’s feminism that shines in this film? Heartfelt yet mature, this flick will transport anyone back to the days of combat boots, butterfly clips, and the golden age of Nickelodeon. Much, much love for this gem.
34. Moscow On The Hudson –Pleasant, endearing piece of art. Was surprising to see Robin Williams in such a dramatic role, but he pulls it off with an impeccable grasp of the character. The diegesis was richly detailed and engrossing, which was reflected through the cinematography and unique supporting characters. A must-watch if you are a New Yorker, or have faced the struggle of adjusting to a new environment.
35. Frankenstein –A classic; can’t go wrong with Boris Karloff. Performances are well done, pacing is able to pick up and drop off when it needs to, which is also reflected by the film’s presentation of just the right amount of tension in its proper spots. The spirit of German Expressionism runs strongly in the veins of this picture.
36. Marie Antoinette –Nice cinematography, production design, and performances. However, the tone was a bit confusing. I think that Sophia Coppola had a far better grip on tone with “The Virgin Suicides”. However, Kirsten Dunst gives an adequate performance as the main character, and the film ends on a note that is not entirely disappointing or unsatisfying.
37. Jaws 2 – Decent, but overall bland. Characters are mostly forgettable, performances passable at best. Nothing really stands out, as I expected going into it.
38. Ben-Hur –One of the great Hollywood epics, and it shows. Knows when and how to balance the varying degrees of brutalism, humanity, anger, and compassion. Any other film like this one would probably appear dated by now, but this film holds its own; the sheer amount of extras, massive sets, costumes, and effects is an impressive feat in itself. Any classical Hollywood fan will definitely need to see this masterpiece.
2. The Red Shoes – Took Martin Scorsese’s word for it, and was not disappointed; rivals (and possibly tops) “Black Swan” as showing both the glamorous and dangerous sides of ballet. Also, loved the way the colors popped and interacted with the overall mise-en-scene.
3. Beasts Of No Nation –I admired this film tremendously in that it was not afraid to take risks, not just in the story and performances but in the cinematography and editing. The end product is a raw, disturbing, and emotionally brutal piece of art. The aspect of this film being difficult to watch is countered and balanced by its utterly engrossing and expertly crafted nature.
4. Only Lovers Left Alive –Fell in love with everything about this film; Tom Hiddleson and Tilda Swinton have remarkable chemistry and give two of the best performances I’ve seen in a long time. The tone and diegesis are stupendously crafted as well; this is how vampire films should be done. Will fit cinephiles like a well-made leather jacket.
5. There Will Be Blood –Another grand slam for Paul Thomas Anderson. Daniel Day Lewis gives an incredible performance yet again (gee, what a surprise), and the cinematography is superb; every single shot feels like a moving painting. The score is strong and appears to counter the raw nature of the film itself while also amplifying its emotional fragility (and brutality as well). If you watch this movie for the cinematography or Daniel Day Lewis alone, and completely ignore the story, you’d still probably love it. But yes, the story is outstanding as well.
6. Beasts of the Southern Wild –Flexible in its ability to balance imagination with hardships of reality, this film is very much a modern fairytale that will appeal to many. The strength of the film lies in the diegesis, score, and the surprisingly mature performance by our young main actress, Quvenzhané Wallis. The story is able to be engrossing without getting overly complicated; simply put, it appears to exist in a tiny magical box, held up by a strong support system that comes out through the story and complexity of the characters.
7. Nymphomaniac Parts I and II –I still have mixed feelings about this movie. On the one hand, I view it as brilliant in many ways, from the cinematography to the direction to the editing to the performances. It provides a raw and emotionally disturbing look at sex addiction, while also finding ways to have the audience connect with the vulnerability of the main character. But metaphorically, it can come off as self-serving, almost satirical in many parts, and could be seen as just five hours of Lars Von Trier jacking off while screaming “fuck you” to the audience. Either way, I suppose I’d recommend it, even if it did have a pretty shitty ending.
8. The Social Network –If I had to comment on the strongest aspect of this film, it would be a hard tie between the performances, writing, and editing. Sure, at the most fundamental level this film is little more than a bunch of conversations tied together into a two hour flick, but the genius packed into that time is evident in its tone, cast, and screenplay. Challenging without coming off as pretentious, this has a classic Fincher feel and is unquestionably a triumph of modern filmmaking.
9. Swim Little Fish Swim –Hidden indie gem on Netflix. Characters, performances, and editing are all on point, and all make an effort to be different without pushing it too far. It’s very much a cute little movie, and makes for a pleasant time.
10. Punch Drunk Love –I don’t really have much to say about this one because quite honestly I don’t even remember watching it. I vaguely remember the storyline, so I don’t think I ended up being that invested. But from what I do recall, at least the cinematography was good. This was the only Paul Thomas Anderson film on the list I did not fall in love with.
11. Cries Of The Unborn –Do NOT watch this movie. Absolutely, positively horrible. It was nothing more than two hours of separate groups of people in two locations talking…and talking…and TALKING about abortion. Antagonists were confusing, as were the supposed protagonist and supporting cast. Exposure and lighting was weird, not sure what camera they filmed it on but it looked abnormal and horrifically distracting. Skip it.
12. Y Tu Mama Tambien –This film is a marvel in how it balances the apparent simplicity of the characters and their world with the complexity of their developing relationships and troubles. Often, a relationship in a film between an older woman and a younger man (men, in this case), is focused on as being taboo or even humorous. However, this film decides to approach it with maturity and hyperrealism, emotionally investing the audience so that we ourselves internalize the pain of the main characters. The performances are all pulled off with precision, and the chemistry is what truly makes the film thrive.
13. Russian Ark –This film succeeds in many ways, but the cinematography is definitely the biggest attraction here. It takes a lot of guts to decide that the film will be one continuous take from beginning to end, and it certainly pays off. The cinematography is an absolute marvel, as is the linear and also nonlinear storyline and presentation. Watch this for the massive scale of the production alone and you will be insanely impressed.
14. Two-Lane Blacktop –I did enjoy this movie to a point. I thought that the pacing and story was interesting, but for some reason did not find myself as emotionally invested in the characters as I should have been. To put it short, I wasn’t bored but I also didn’t enjoy it as much as I probably could have. Overall, I’d say my feelings would be “lukewarm”.
15. THX 1138 –This film demonstrates that a compelling story can be told with minimal elements as long as it is presented by a director with solid ambition. Here, George Lucas possesses such ambition; his sci-fi dystopian drama is simplistic yet complex, cold but very human. The cinematographer obviously had the challenge of finding an interesting sequence of visuals in a crowd of bald heads, silver machinery, and white jump suits, and still it pays off wonderfully. Unsettling yet also surprisingly familiar, it’s certainly an intriguing piece of work.
16. Memento –Christopher Nolan was demonstrating his artistic mastery far before he joined the Batman canon, and this film proves it. Much like “Following”, it crafts a small world for its audience, inviting and also trapping them in its exclusivity. The main character is unsure of his world, as are we, yet at the same time we become all too familiar with it. The story is a web in itself, and we are increasingly wrapped up like a fly in a cocoon as the film progresses. Excellently crafted.
17. Finding Dory –Pleasant, smart, and beautifully animated, as can be expected from any Pixar film worth its salt these days. The story, however, could’ve stood to have a little more complexity than it did, though the new characters held up the story pretty well and even seemed at times to be the jewel in the crown. Not as good as the first film, but still receives an “A” in the Pixar canon.
18. Kubo and The Two Strings –THIS is what the best animated films are: creative, complex, funny, and brave enough to be scary and dark. Everything about this film was superb, from the stop-motion to the characters to the voice acting to the effects to the mythology and story. Certainly one of the best films I’ve seen in months. Please watch.
19. The Master –Again, another masterpiece from Paul Thomas Anderson. Great casting, impeccable performances, outstanding cinematography, and Oscar-worthy writing. Phillip Seymour Hoffman and Joaquin Phoenix have an unbelievable chemistry that appears to drive the entire film in itself; Anderson is remarkable in how he constructs his world, which at the same time becomes your own. Don’t really know what else to say about this movie other than to go see it.
20. Reservoir Dogs –Hallmark of both classic Tarantino and independent filmmaking. Far less flashy than Pulp Fiction, but has enough wit and brutality to carry its own weight. Again, Tarantino proves how a skilled filmmaker can deliver a lot with just several simple elements and expert writing, acting, and editing. Watch and rewatch.
21. We Need To Talk About Kevin –If I had to pick my favorite film of the summer, this would be a contender for the top spot. Everything about this film is so on point that it’s insane; the cinematography, the acting, the directing, the story, the pacing, the editing…it’s all there, and culminates in a disturbing and intriguing work of art. Even if you are uncomfortable with watching films about sociopaths, watch this film. If you have to watch any film on this list, watch this one. It’s a remarkable piece of independent film and through its own nature showcases the unbridled talent of the female director in a classically male-dominated profession.
22. Zootopia –Fun, creative, intelligent animated film. Wonderful example of taking a simple concept (anthropomorphic animals, in this case) and thinking of every possible creative outlet to work with when building the diegesis. Characters were largely original and that was refreshing to see, as was the story.
23. 16 Candles –This film is a shining example of why we love 80’s movies…and possibly a little more than we’d care to admit. Don’t get me wrong, the film isn’t bad, it’s just not amazing. Sure, the nostalgia is entertaining, as are the characters and the one-liners they pull from time to time, but at its core it’s really not a whole lot beyond the average coming-of-age high school movie. Aesthetically, it’s pleasing, but if it weren’t for the nostalgia I don’t think it’d be anything that special.
24. The Truman Show –If “The Hunger Games” had a lot less despair and a little more heart, it would be this movie. For such an unsettling concept, it surprisingly came off as very endearing, which is not only the work of Jim Carrey but also of the supporting cast members.
25. Zoolander 2 –It’s as ridiculous as the first film, but just a little less funny. Yes, the annoying nature of the characters and diegesis is what worked for the first movie, and there are times when it works for this film, but for the most part, it can get tiresome. It will entertain “Zoolander” fans, though non-initiates in terms of the fanbase will most likely be unimpressed.
26. White God –This film was interesting, to say the least. The cinematography was different, especially the final shot of the film, and the dynamic between the father and daughter made for some carefully-crafted tension. However, I feel that balancing this with the plot of the dogs going mad could’ve been constructed slightly better. Overall I wasn’t bored, but I also wasn’t that engrossed. It’s worth watching, though you may not care enough to watch it a second or third time.
27. The Kids Are Alright –Now, compared to some of the other films on this list, I’d say this one played it safe with the writing; didn’t take a whole lot of risks, but still turned out to be worthy of the emotional investment of the audience. The actors have good chemistry and all have a good grip on their characters, which was refreshing to see. It’s a smart film, and I’d say it deserves most of the merit it’s received.
28. Last Day on Earth –Utterly horrible; one of the most pretentious, boring films I’ve ever seen. Tried to come off as philosophical but ended up being a metaphor for the director jacking off while sobbing about the futility of art. Don’t know how someone as accomplished as Willem Dafoe got roped into this, because dear god was it bad. Pseudo-intellectual bullshit at its finest. Don’t waste your time.
29. Pride and Prejudice and Zombies –Read the title. Read it again. What do you think of when you hear that? Exactly. This movie was dumb with a capital D. Waste of a good costume designer and talented actors. Who even thinks of stupid shit like this?
30. Ghostbusters –Yes, this movie was far from amazing. Writing was weak, characters were a little thin, though still interesting. But I appreciated it for the fact that it had female cast members with good chemistry, and still had the restraint to not exploit them for sex jokes or fat jokes. That’s a thumbs-up in my book.
31. The Green Inferno –Yet another xenophobic piece of shit from the Michael Bay of horror films, director Eli Roth. This movie failed to scare or disgust me, unless you count the fact that I was disgusted in how things like sexism and racism were being exploited for pure shock value. This movie caters to the lowest demographic of so-called “entertainment” and is utterly forgettable.
32. Star Trek: Into Darkness –Eh. To put it short, it’s very much a popcorn flick. The conflict is simple, the characters and performances are adequate, and the effects are well done. I wouldn’t really say that anything was necessarily dragging the film down, just that it could’ve stood to maybe have a little more meat on it; I did find myself yearning for a little more complexity than was presented here. But then again, the simplicity isn’t really much to complain about. For what it’s worth, it promises a basic hero story and delivers, albeit without exceeding anyone’s expectations.
33. Ghost World –Ah, so much nostalgia makes me miss the 90’s. But seriously, this film is everything most romantic comedies and coming-of-age dramas dream of presenting; unconventional drama, a memorable and quirky flavor to the mise-en-scene, and smart characters. Did I mention the massive dose of 90’s feminism that shines in this film? Heartfelt yet mature, this flick will transport anyone back to the days of combat boots, butterfly clips, and the golden age of Nickelodeon. Much, much love for this gem.
34. Moscow On The Hudson –Pleasant, endearing piece of art. Was surprising to see Robin Williams in such a dramatic role, but he pulls it off with an impeccable grasp of the character. The diegesis was richly detailed and engrossing, which was reflected through the cinematography and unique supporting characters. A must-watch if you are a New Yorker, or have faced the struggle of adjusting to a new environment.
35. Frankenstein –A classic; can’t go wrong with Boris Karloff. Performances are well done, pacing is able to pick up and drop off when it needs to, which is also reflected by the film’s presentation of just the right amount of tension in its proper spots. The spirit of German Expressionism runs strongly in the veins of this picture.
36. Marie Antoinette –Nice cinematography, production design, and performances. However, the tone was a bit confusing. I think that Sophia Coppola had a far better grip on tone with “The Virgin Suicides”. However, Kirsten Dunst gives an adequate performance as the main character, and the film ends on a note that is not entirely disappointing or unsatisfying.
37. Jaws 2 – Decent, but overall bland. Characters are mostly forgettable, performances passable at best. Nothing really stands out, as I expected going into it.
38. Ben-Hur –One of the great Hollywood epics, and it shows. Knows when and how to balance the varying degrees of brutalism, humanity, anger, and compassion. Any other film like this one would probably appear dated by now, but this film holds its own; the sheer amount of extras, massive sets, costumes, and effects is an impressive feat in itself. Any classical Hollywood fan will definitely need to see this masterpiece.
