Baumer's ridiculous, uninformed, stupid list of MY BEST 105 FILMS EVER , FULL LIST PG 42

[Kalo]

E.T. is alright. don't quite get the hype. However, it has been a while since I watched it. nice write up though. 

[baumer]

1) Battleship Potemkin (1925)

Sergei Eisenstein

 

Many movies have great cinematography. These movies will have a handful of excellent shots. If that is great cinematography, great would be an insult to this movie's cinematography. Instead of a few excellent shots, every single shot is excellent, every moment wows you. It is relentless; it doesn't give you time to marvel, it makes you marvel more. Considering it is at the core of cinema history, almost everything is, if not a first, the first well developed example of a certain bit of film. The opening scenes are subject to an unfortunate disadvantage of early film: while it has one of the first uses of swinging objects to make an ominous feel, the camera rolled too slowly, and the objects swung too fast. The scene where the execution is imminent takes full advantage of the battleship's guns. Almost all shots are taken from right next to the cannons, thus showing this grim scene from a tool of destruction, establishing the mood perfectly. 

The Odessa steps sequence is perhaps the most influential scene involving the portrayal of military brutality in film. It has the higher ground of the oppressors, allowing them to fire at a downwards angle, showing the helplessness of the victims. It has the emphasis on young children, which has been used quite effectively in Schindler's List. Most importantly, it shows them firing in a unified, systematic fashion, which portrays them as unfeeling killing machines, with no pity or hesitance. 

Finally, the approach of the battleship to the enemies is the best early example of suspense in film. With the constant use of few shots, it makes the wait seem longer and longer. The guns pointing strait at us make us truly realize the unspeakable power they are about to discharge. And the use of the "all for one" narration is an incredibly effective way of showing us the kind of suicide mission they are on. Nothing but stunning.

Edited March 6, 2015 by baumer

[Claire of Themyscira]

Baumer, your stanning for ESB and Halloween is a turn on, tbh.

 

[James]

1) Battleship Potemkin (1925)

Sergei Eisenstein

 

Many movies have great cinematography. These movies will have a handful of excellent shots. If that is great cinematography, great would be an insult to this movie's cinematography. Instead of a few excellent shots, every single shot is excellent, every moment wows you. It is relentless; it doesn't give you time to marvel, it makes you marvel more. Considering it is at the core of cinema history, almost everything is, if not a first, the first well developed example of a certain bit of film. The opening scenes are subject to an unfortunate disadvantage of early film: while it has one of the first uses of swinging objects to make an ominous feel, the camera rolled too slowly, and the objects swung too fast. The scene where the execution is imminent takes full advantage of the battleship's guns. Almost all shots are taken from right next to the cannons, thus showing this grim scene from a tool of destruction, establishing the mood perfectly. 

The Odessa steps sequence is perhaps the most influential scene involving the portrayal of military brutality in film. It has the higher ground of the oppressors, allowing them to fire at a downwards angle, showing the helplessness of the victims. It has the emphasis on young children, which has been used quite effectively in Schindler's List. Most importantly, it shows them firing in a unified, systematic fashion, which portrays them as unfeeling killing machines, with no pity or hesitance. 

Finally, the approach of the battleship to the enemies is the best early example of suspense in film. With the constant use of few shots, it makes the wait seem longer and longer. The guns pointing strait at us make us truly realize the unspeakable power they are about to discharge. And the use of the "all for one" narration is an incredibly effective way of showing us the kind of suicide mission they are on. Nothing but stunning.

I've never even heard of this.

[Kalo]

Pretty sure it's fake.. well not the movie.. but odd choice as it is a quite well reviewed film... but whatever.   

[Avatree]

Well, I wasn't expecting that, baumer. Great choice for best film ever.

 

I've never even heard of this.

Never heard of Battleship Potemkin?!?! How?

edit: Oh, it's james. I'm a little less surprised now...

Edited March 6, 2015 by treeroy

[Dementeleus]

I've never even heard of this.

 

Oh James...

[Fancyarcher]

I'm shocked and yet utterly delighted by how high E.T. is on your list. Amazing film, that I can't get enough of it.

[Fancyarcher]

I've never even heard of this.

 

Can't say I'm surprised.

Edited March 6, 2015 by Fancyarcher

[baumer]

1) JAWS (1975)

Steven Spielberg

 

No secret of course.  JAWS is by far and away the best film of all time, imo.  I'm not going to write a review or tell you what I think, I've done that so many times already.  Instead, here's a random review from someone else.  Their passion for the film mirrors mine.

 

 

'Jaws' is the original summer blockbuster, setting the standard by which all others are measured. It's the Michael Jordan of cinema: there will never be another 'Jaws,' simply because the film so profoundly changed the way movies are made and marketed.

Based on Peter Benchley's bestselling novel, 'Jaws' centers around the fictional North Atlantic resort island of Amity, which finds itself terrorized by an enormous great white shark. Our hero is Martin Brody, a New York cop who took the job as Chief of the Amity PD to get his family out of the city and then finds himself in the midst of an unprecedented crisis none of his prior experience has prepared him for. The remains of young Christine Watkins are found on the beach, the apparent victim of a shark attack(Chrissie Watkins' death scene at the opening of the movie is one of the most legendary in the history of film). Chief Brody wants to close the beaches, but is refused permission by Mayor Larry Vaughn (Murray Hamilton) and the Amity selectmen, all of whom fear that news of a shark attack off of Amity will threaten the summer tourist trade, on which the town depends for its very survival. The Mayor and his lackies persuade Chief Brody that such incidents are always isolated, and, inexperienced in such matters, he grudgingly agrees to keep quiet.

Consequently, the shark kills again (and again), and Chief Brody eventually finds himself dealing both with his own moral guilt for agreeing to hush up the first shark attack and with an enormous human and social catastrophe which appears to be his sole responsibility. Help comes first in the form of Matt Hooper (Richard Dreyfuss, in the role that propelled him to stardom), an icthyologist and oceanographer dispatched to Amity to lend his expertise. Together, Hooper and Brody struggle in vain against both the shark and Mayor Vaughan, who is certain that keeping the beaches open for the sake of the town's economy (and his own real-estate business) is worth the gamble.

Finally, Brody and Hooper charter an expedition with the enigmatic, vaguely malevolent Quint (Robert Shaw), Amity's most feared and respected shark hunter, to find and kill the shark and save the town from financial disaster. What ensues is an epic, archetypal man vs. beast quest that would make Herman Melville and Joseph Campbell proud. Our shark, it turns out, is way above average size, terrifically swift and powerful, and uncannily smart, to boot. Hooper, the scientist, is awestruck at having encountered the Bigfoot of the sea; Quint, the crafty fisherman with a serious chip on his shoulder against sharks, realizes he has met the ultimate test of his skills; Brody, who swims poorly and is afraid of water, must overcome abject fear and disorientation just to maintain his composure. 

Robert Shaw's Quint is one of the greatest anti-heroes the movies have ever seen. He is funny and frightening all at once, and the famous soliloquy in which he recalls the tragic sinking of the USS Indianapolis--where, over the course of a week waiting for rescue, at least 90 US Navy personnel died from shark attack wounds--is one of the most chilling and unforgettable performances ever committed to film. 

'Jaws' is the movie that made Steven Spielberg's career, and it's among his finest. It's easy to forget because of his enormously successful blockbusters that Spielberg is a phenomenally skillful and artful director. His timing is superb, he mixes horror with comedy to brilliant effect, he gets great performances out of his actors, and his love for special effects has never overwhelmed his understanding of the importance of story and character. 

That said, the most brilliant aspect of 'Jaws' was a serendipitous accident.

 

The special effects team had yet to fully troubleshoot 'Bruce,' the mechanical shark, by the time filming was to begin. Under tight budget restraints and enormous studio pressure, Spielberg had no choice but to press on while his crew labored vainly to make the shark work in the cold and corrosive north Atlantic seawater. To compensate for the absence of the non-functional fake shark, Spielberg used shots from the shark's point of view and John Williams' famous two-note theme to create the illusion of the shark's presence in the early scenes. Fortunately the crew was ultimately able to get Bruce into operational status in time to film the big showdown, and some of the scenes are filled in with live-shark footage filmed by Australian underwater video pioneers Ron and Valerie Taylor. Consequently, the audience's fear is magnified by the fact that, for the majority of the film, they cannot see the shark, creating suspense towards the climax of the confrontation between man and beast on Quint's fishing boat.

'Jaws' succeeds on every level. It is terrifying without being grotesque, and spectacular without being unbelievable (if the shark looks a little fake, remember that, at the time 'Jaws' was released, 'Space Invaders' was on the cutting edge of computer graphics design and there was no such thing as 'Shark Week on the Discovery Channel'). Roy Scheider's Brody is a quintessential everyman, an average guy beset by fear and guilt who finds himself in extraordinary circumstances and rises to the occasion. Dreyfuss' Hooper is brash and brave enough not to come off as nerdy or self-righteous, and his friendship with Brody becomes the backbone of the movie (Spielberg and screenwriter Carl Gottlieb wisely deviated from the novel in regards to the character of Hooper, who was originally Brody's nemesis). Robert Shaw's Quint is a modern-day Captain Ahab, a worthy foe for the malevolent shark. The suspense is potent and the action thrilling, but the humor, emotion, and character development make this movie much more than a summer blockbuster.

 

 

Trivia:  Several decades later, Lee Fierro, who plays Mrs. Kintner, walked into a seafood restaurant and noticed that the menu had an "Alex Kintner Sandwich". She commented that she had played his mother so many years ago. The owner of the restaurant ran out to meet her - none other than Jeffrey Voorhees, who had played her son. They hadn't seen each other since the original movie shoot.

 

According to writer Carl Gottlieb, the line "You're gonna need a bigger boat" was not scripted but improvised by Roy Scheider.

 

Composer John Williams conducted the orchestra during the 1976 Academy Awards, so when it was announced that he won the Oscar for Best Score, he had to run up to the podium to accept his Oscar and then run back to continue conducting the orchestra.

 

With the schedule expanding from 52 to 155 days, Steven Spielberg had to juggle Universal's impossible deadlines, an unfinished script, chaotic conditions off Martha's Vineyard and a belligerent Robert Shaw. On the last day of shooting, Spielberg wore his most expensive clothes to deter a dunking from the mutinous crew. As soon as the shot was captured, he jumped in a speedboat and sped shoreward yelling, "I shall not return."

 

The scene where the head pops out from under the boat was not originally scripted. Director Steven Spielberg says he "got greedy" after he saw the preview audience's reaction to the scene where the shark jumps out behind Brody's head and wanted "one more scare."

[Avatree]

Pretty sure it's fake.. well not the movie.. but odd choice as it is a quite well reviewed film... but whatever.   

Why would it be a fake choice? Many people say it's one of the best films ever made. (And baumer clearly explains why )

[James]

For real people, that's 1925. That's B.T. (before Tele).  Everything that defines cinema today was non-existent back then so it is not even a movie.

[Ethan Hunt]

Why would it be a fake choice? Many people say it's one of the best films ever made. (And baumer clearly explains why )

Look again

[James]

1) JAWS (1975)

Steven Spielberg

 

No secret of course.  JAWS is by far and away the best film of all time, imo.  I'm not going to write a review or tell you what I think, I've done that so many times already.  Instead, here's a random review from someone else.  They're passion for the film mirrors mine.

 

 

'Jaws' is the original summer blockbuster, setting the standard by which all others are measured. It's the Michael Jordan of cinema: there will never be another 'Jaws,' simply because the film so profoundly changed the way movies are made and marketed.

Based on Peter Benchley's bestselling novel, 'Jaws' centers around the fictional North Atlantic resort island of Amity, which finds itself terrorized by an enormous great white shark. Our hero is Martin Brody, a New York cop who took the job as Chief of the Amity PD to get his family out of the city and then finds himself in the midst of an unprecedented crisis none of his prior experience has prepared him for. The remains of young Christine Watkins are found on the beach, the apparent victim of a shark attack(Chrissie Watkins' death scene at the opening of the movie is one of the most legendary in the history of film). Chief Brody wants to close the beaches, but is refused permission by Mayor Larry Vaughn (Murray Hamilton) and the Amity selectmen, all of whom fear that news of a shark attack off of Amity will threaten the summer tourist trade, on which the town depends for its very survival. The Mayor and his lackies persuade Chief Brody that such incidents are always isolated, and, inexperienced in such matters, he grudgingly agrees to keep quiet.

Consequently, the shark kills again (and again), and Chief Brody eventually finds himself dealing both with his own moral guilt for agreeing to hush up the first shark attack and with an enormous human and social catastrophe which appears to be his sole responsibility. Help comes first in the form of Matt Hooper (Richard Dreyfuss, in the role that propelled him to stardom), an icthyologist and oceanographer dispatched to Amity to lend his expertise. Together, Hooper and Brody struggle in vain against both the shark and Mayor Vaughan, who is certain that keeping the beaches open for the sake of the town's economy (and his own real-estate business) is worth the gamble.

Finally, Brody and Hooper charter an expedition with the enigmatic, vaguely malevolent Quint (Robert Shaw), Amity's most feared and respected shark hunter, to find and kill the shark and save the town from financial disaster. What ensues is an epic, archetypal man vs. beast quest that would make Herman Melville and Joseph Campbell proud. Our shark, it turns out, is way above average size, terrifically swift and powerful, and uncannily smart, to boot. Hooper, the scientist, is awestruck at having encountered the Bigfoot of the sea; Quint, the crafty fisherman with a serious chip on his shoulder against sharks, realizes he has met the ultimate test of his skills; Brody, who swims poorly and is afraid of water, must overcome abject fear and disorientation just to maintain his composure. 

Robert Shaw's Quint is one of the greatest anti-heroes the movies have ever seen. He is funny and frightening all at once, and the famous soliloquy in which he recalls the tragic sinking of the USS Indianapolis--where, over the course of a week waiting for rescue, at least 90 US Navy personnel died from shark attack wounds--is one of the most chilling and unforgettable performances ever committed to film. 

'Jaws' is the movie that made Steven Spielberg's career, and it's among his finest. It's easy to forget because of his enormously successful blockbusters that Spielberg is a phenomenally skillful and artful director. His timing is superb, he mixes horror with comedy to brilliant effect, he gets great performances out of his actors, and his love for special effects has never overwhelmed his understanding of the importance of story and character. 

That said, the most brilliant aspect of 'Jaws' was a serendipitous accident.

 

The special effects team had yet to fully troubleshoot 'Bruce,' the mechanical shark, by the time filming was to begin. Under tight budget restraints and enormous studio pressure, Spielberg had no choice but to press on while his crew labored vainly to make the shark work in the cold and corrosive north Atlantic seawater. To compensate for the absence of the non-functional fake shark, Spielberg used shots from the shark's point of view and John Williams' famous two-note theme to create the illusion of the shark's presence in the early scenes. Fortunately the crew was ultimately able to get Bruce into operational status in time to film the big showdown, and some of the scenes are filled in with live-shark footage filmed by Australian underwater video pioneers Ron and Valerie Taylor. Consequently, the audience's fear is magnified by the fact that, for the majority of the film, they cannot see the shark, creating suspense towards the climax of the confrontation between man and beast on Quint's fishing boat.

'Jaws' succeeds on every level. It is terrifying without being grotesque, and spectacular without being unbelievable (if the shark looks a little fake, remember that, at the time 'Jaws' was released, 'Space Invaders' was on the cutting edge of computer graphics design and there was no such thing as 'Shark Week on the Discovery Channel'). Roy Scheider's Brody is a quintessential everyman, an average guy beset by fear and guilt who finds himself in extraordinary circumstances and rises to the occasion. Dreyfuss' Hooper is brash and brave enough not to come off as nerdy or self-righteous, and his friendship with Brody becomes the backbone of the movie (Spielberg and screenwriter Carl Gottlieb wisely deviated from the novel in regards to the character of Hooper, who was originally Brody's nemesis). Robert Shaw's Quint is a modern-day Captain Ahab, a worthy foe for the malevolent shark. The suspense is potent and the action thrilling, but the humor, emotion, and character development make this movie much more than a summer blockbuster.

 

 

Trivia:  Several decades later, Lee Fierro, who plays Mrs. Kintner, walked into a seafood restaurant and noticed that the menu had an "Alex Kintner Sandwich". She commented that she had played his mother so many years ago. The owner of the restaurant ran out to meet her - none other than Jeffrey Voorhees, who had played her son. They hadn't seen each other since the original movie shoot.

 

According to writer Carl Gottlieb, the line "You're gonna need a bigger boat" was not scripted but improvised by Roy Scheider.

 

Composer John Williams conducted the orchestra during the 1976 Academy Awards, so when it was announced that he won the Oscar for Best Score, he had to run up to the podium to accept his Oscar and then run back to continue conducting the orchestra.

 

With the schedule expanding from 52 to 155 days, Steven Spielberg had to juggle Universal's impossible deadlines, an unfinished script, chaotic conditions off Martha's Vineyard and a belligerent Robert Shaw. On the last day of shooting, Spielberg wore his most expensive clothes to deter a dunking from the mutinous crew. As soon as the shot was captured, he jumped in a speedboat and sped shoreward yelling, "I shall not return."

 

The scene where the head pops out from under the boat was not originally scripted. Director Steven Spielberg says he "got greedy" after he saw the preview audience's reaction to the scene where the shark jumps out behind Brody's head and wanted "one more scare."

This is better. Haven't seen it but it's better. The shark looks so fake though.

[Avatree]

For real people, that's 1925. That's B.T. (before Tele).  Everything that defines cinema today was non-existent back then so it is not even a movie.

1925 is before Tele? In his dreams.

[Avatree]

Look again

Yeah, I can see that now. My post is still true though; it's an exceptionally well respected film and would make #1 on many people's lists. I don't think baumer was doing that as a joke - is it a shared #1 spot?

[RobinHood26]

GREAT LIST!

 

We share the same top 2 horror films! My #1 is Halloween and my #2 is Texas Chainsaw. Plus Jaws is my #3, Raiders is my #4 and Empire is my #2. ET & Aliens makes my top 25 aswell. Bravo baumer, fun times. 

[Dementeleus]

 Everything that defines cinema today was non-existent back then so it is not even a movie.

 

That not-movie basically invented all the editing concepts that make your movies exist.

[Kalo]

Why would it be a fake choice? Many people say it's one of the best films ever made. (And baumer clearly explains why )

because he basically told everyone it was jaws .. as you can see above... but seriously baumer was  Battleship Potemkin part of a two for one thingy? or did you just put it for kicks?

[4815162342]

This is better. Haven't seen it but it's better. The shark looks so fake though.

That's what makes the movie so great. It knows the shark is iffy so it hides it for 3/4 of the film which helps ramp up the tension insanely.