Not all of these qualify - often the camera simply assumes the POV of a character who's looked at - but still:
http://www.youtube.com/watch?v=oYakwEUNZTk
I don't love everything Wes Anderson's done, but I'd be stupid to deny that he's got an original voice and a hell of an eye, both things still too rare in cinema. He deserves being on the list for Rushmore alone.
By you? Intolerance was just released on blu-ray in November and the reviews I read were full of admiration for the movie. Birth of a Nation is more controversial but plenty of people would argue that it has its merits. I haven't seen either so I don't have my opinion, but I've seen a handful of films from the 1920s and there are masterpieces in there (like Sunrise) that would stand up to anything made today.
It's a classic and very well-known horror story. I read it in school and if I remember correctly it was required reading.
http://en.wikipedia.org/wiki/Viy_(story)
I'm still surprised at the number because the movie looks like dead CGI bullshit that completely butchers the story and I assumed enough people would recognize that and avoid it. I wouldn't have been surprised if the OW had been, say, $10m, give or take a couple of million, but nearly twice that is ridiculous.
Loved seeing Bertolucci and Linklater. Both were in my top 30 I think.
Actually preparing to watch most of Trier's filmography this month. (Nymphomaniac Part I is released here on Feb 13, Part II on March 6). Antichrist is amazing and Melancholia is pretty good (it didn't really rock my world), I'm looking forward to seeing Element of Crime, Europa, Breaking the Waves, The Idiots, Dancer in the Dark and Dogville, and maybe something on top of that if I have time.
I just hope when I wake up there aren't a dozen pages of... what's the polite word I'm looking for... discussion about the subjectivity/objectivity of watching movies.
Il Gattopardo is great. I probably should've put Visconti at least at the bottom of my list, but quickly forgot about him since I haven't seen anything else from him.
Penn climbed up into Madonna's house when they were married, tied her to a chair and beat her up for nine hours, if I remember correctly, That was back in late 1980s. Penn was arrested but Madonna dropped th charges because she didn't want the media circus.
Added since October 13 (full list above on this page)
Sunrise: A Song of Two Humans - F.W. Murnau, 1927
Seppuku (Harakiri) - Masaki Kobayashi, 1962
Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb - Stanley Kubrick, 1964
Persona - Ingmar Bergman, 1966
Blowup - Michelangelo Antonioni, 1966
Wake in Fright - Ted Kotcheff, 1971
Fargo - Joel & Ethan Coen, 1996
Beau Travail - Claire Denis, 1999
1
Stanley Kubrick
2-3
Quentin Tarantino
Joel & Ethan Coen
4-10
Sergio Leone
Roman Polanski
Martin Scorsese
Terrence Malick
David Fincher
David Cronenberg
Steven Spielberg
11-20
David Lean
David Lynch
Billy Wilder
Peter Jackson
Ingmar Bergman
Peter Greenaway
Richard Linklater
Francis Ford Coppola
Michelangelo Antonioni
Paul Thomas Anderson
21-50
Jim Jarmusch
Michael Mann
Lynne Ramsay
Kathryn Bigelow
Patrice Leconte
Christopher Nolan
Wes Anderson
Emir Kusturica
Andrew Dominik
Alexander Payne
Lana & Andy Wachowski
Nicolas Winding Refn
Bob Fosse
Gaspar Noé
Brad Bird
Leos Carax
Edgar Wright
Alfonso Cuaron
Alfred Hitchcock
Claire Denis
Kira Muratova
William Friedkin
Béla Tarr
Tim Burton
Sam Raimi
Robert Zemeckis
Ulrich Seidl
Kar-Wai Wong
Spike Lee
Jean-Pierre Melville
51+
James Cameron
Todd Solondz
Jason Reitman
Terry Gilliam
Paul Greengrass
Dario Argento
Bernardo Bertolucci
F.W. Murnau
Ridley Scott
Woody Allen
Neil Jordan
Jean-Luc Godard
Akira Kurosawa
Masaki Kobayashi
Danny Boyle
Joe Carnahan
Park Chan-Wook
Andrew Stanton
Charlie Chaplin
Hayao Miyazaki
Sylvain Chomet
Lars von Trier
John Carpenter
Sergei Loban
Baz Luhrmann
Steven Soderbergh
Laurent Boutonnat
I had no idea it was such a pointed allegory when I watched it, and I wouldn't have if I hadn't read the FAQ on IMDb. Good thing it's a movie that works perfectly even when you only take it on a surface level.
The Cook, the Thief, His Wife & Her Lover:
Also Barton Fink which I just saw a week ago. Hotel Earle as Hell, John Goodman
and all that. Although it's clear the Coens didn't really set out to make a perfect allegory, and there are a lot of things buried in that film.
If Malick's next two films are less like his first four and more like To the Wonder (which I personally like a lot and admire even more), you can forget about them receiving any kind of Oscar consideration, aside from maybe cinematography. And even if he releases something acclaimed and at least somewhat Academy-friendly this time around, his films have never really been about their screenplays, and while there have been some standout performances in them, they've never been recognised, and I don't know why that would change now.
My big hopes are that the Academy finally notices Linklater as a director, and also that Tim Burton's second collaboration with the Ed Wood writers produces something close to that film's magic, and he finally gets himself a Best Director nom. And I most definitely hope that Amy Adams' performance is as good as we know it could be and she not only gets nominated, but wins for it.