John Dule's 100 Favorite Films Thread

[True Federalist (진정한 연방 주의자)]

I don't disagree with most of your review, but I must disagree with the idea that the film "stays truer to the themes that Burgess wanted to convey". It's clear to me that the importance of self-redemption as opposed to externally imposed redemption is the major theme Burgess wanted to convey. The omission of the numerically significant 21st chapter changes the major theme to one of the importance of remaining unchanged by external factors. One can certainly argue that the book (and thereby the movie) is better without it, but not that it's truer to Burgess' intent.

[John Dule]

I don't disagree with most of your review, but I must disagree with the idea that the film "stays truer to the themes that Burgess wanted to convey". It's clear to me that the importance of self-redemption as opposed to externally imposed redemption is the major theme Burgess wanted to convey. The omission of the numerically significant 21st chapter changes the major theme to one of the importance of remaining unchanged by external factors. One can certainly argue that the book (and thereby the movie) is better without it, but not that it's truer to Burgess' intent.

Hmm, I'll admit it's been a long time since I read the book. How explicit is the conclusion that Alex changed from within? In my memory that final chapter felt very forced and tacked-on; perhaps that's just because there wasn't enough build-up to it though. Nevertheless, I take your point.

[True Federalist (진정한 연방 주의자)]

I don't disagree with most of your review, but I must disagree with the idea that the film "stays truer to the themes that Burgess wanted to convey". It's clear to me that the importance of self-redemption as opposed to externally imposed redemption is the major theme Burgess wanted to convey. The omission of the numerically significant 21st chapter changes the major theme to one of the importance of remaining unchanged by external factors. One can certainly argue that the book (and thereby the movie) is better without it, but not that it's truer to Burgess' intent.

Hmm, I'll admit it's been a long time since I read the book. How explicit is the conclusion that Alex changed from within? In my memory that final chapter felt very forced and tacked-on; perhaps that's just because there wasn't enough build-up to it though. Nevertheless, I take your point.

Yeah, it does come across as a forced addition to reach that conclusion, but it's basically that as an adult he finds the ultraviolence to be boring rather than intrinsically bad. Still, the chaplain character earlier in the book does help develop the theme.

[Progressive Pessimist]

Having read the book and being a big fan of the movie also I must agree with Dule almost entirely because the Nadsat gets in the way of the story in written form to me. In the film it makes more sense with a visual context.

[John Dule]

#8: The Big Lebowski



Many of the movies on this list will incorporate themes, morals, or characters who are compatible with my political views, and thus have a soft spot in my heart. And in some ways, The Big Lebowski has a lot of political themes-- it's got fascists, reactionaries, Nazis, pacifists, feminists, and nihilists-- heck, one might even argue that at its core, it's a story about friendship between a left-libertarian and a right-libertarian. Nevertheless, I don't think this is a movie that needs to be analyzed on this level. After all, The Big Lebowski's appeal is primarily in its detachment from the hustle and bustle of politics, business, and the stresses of modern life. Spending time with these characters is a much better relaxant than a hot bath. Hell, you don't even have to follow the plot in order to love this movie.

Why, then, do the Coens bother to emphasize the backdrop of the Gulf War at key points throughout the film? Strangely, I think that by dropping in this bit of context, the movie in fact becomes more timeless. The implication is that the Dude will continue to be the Dude, regardless of whatever the rest of the world is doing. This quality of permanence is an extremely daring artistic choice. You'll find very few stories where the main character is exactly the same at the end as he was at the beginning-- generally, the point of telling a story is to describe a change in a person. The Dude, however, is like a rock in the middle of a river. It is extremely hard to make a character like this work, so it's even more shocking when it works this well.

With most of the other movies on this list, I have quibbles with at least one brief scene, a throwaway line of dialogue, a minor casting choice, etc. But thinking about this now, I don't think there's a single moment of The Big Lebowski I would change. The movie is mesmerizing in its originality.


(This is as good a time as any to note that a number of movies that I love will not appear on this list because I have not seen them for a number of years, and therefore don't feel qualified to judge them anymore. Fargo is one of these movies.)

[John Dule]

#9: A Hard Day's Night



I've probably seen this movie more times than any other. I can remember watching it when I was six years old on my parents' old portable TV on Christmas Day, eating M&Ms on their bed. Between the 1960s cultural references and the thick Liverpudlian accents, I doubt I understood more than 50% of the dialogue (this is one English-language movie where I'd actually recommend subtitles). Nevertheless, at the time I found it goofy, funny, clever, and entertaining. Perhaps the manic slapstick ending appealed to me, or maybe it was just the casual, childlike innocence of the Beatles in the face of overwhelming fame. Whatever it was, this movie made me a Beatles fan for life.

A Hard Day's Night is an incredibly unique movie, even within the category of band films. Its half-fictional (but still true to life) narrative sets it apart from the genre's other vanity projects, and the cast of side characters are given just enough screen time to flesh them out and make them feel real. Of course, the movie is really about the Beatles, and it would not have worked nearly as well with a group of musicians who didn't possess their comedic chops. I've long thought that musical timing and comedic timing had elements in common, and this movie is proof positive that the two can go hand-in-hand. The Beatles have their own unique brand of deadpan, flippant youthful irreverence, and their timing and delivery of their lines is on par with that of experienced comedy actors. The music is also great, of course (though I would argue that 1965's Help! has better songs).

This, like my #10 pick, is not at all intended to be an objective nomination for one of the greatest films of all time. I have a lot of fond memories of this movie, and it's my dad's favorite film. But I do think that even non-Beatles fans can get a kick out of this movie's unique style and excellent comedic timing. The only person who I probably wouldn't recommend it to is BRTD.

[𝕭𝖆𝖕𝖙𝖎𝖘𝖙𝖆 𝕸𝖎𝖓𝖔𝖑𝖆]

The only person who I probably wouldn't recommend it to is BRTD.

HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

BRTD would prefer a film about Rites of Spring or something.

[I spent the winter writing songs about getting better]

The only person who I probably wouldn't recommend it to is BRTD.

HAHAHAHAHAHAHAHAHAHAHAHAHAHAHAHA

BRTD would prefer a film about Rites of Spring or something.

OH MY GOD YES

[John Dule]

#10: Doctor Zhivago



I went back and forth on what to put in this final slot in my top 10 for some time. There are a few films I would almost say I like more than this one, or that have fewer flaws I'd nitpick. But there is something about Doctor Zhivago that has captured my imagination-- and my deepest fears-- ever since I first saw it as a kid. This bittersweet, heartbreaking movie could aptly be classified as a horror film at some points, given the impact it had on my developing psyche.

There is a scene in Doctor Zhivago in which Yuri returns after his forced conscription as an army doctor, only to find that his home has been invaded by a horde of stony-faced Russian peasants. Without a hint of shame, gratitude, or apology, these Bolsheviks occupy Yuri's house under the new order of the Revolution-- their dead-eyed, self-righteous sense of entitlement is one of the most viscerally frightening things ever captured in the history of film. Their jealous indignation, their attempts to publicly shame the house's rightful occupants, the way they dirty and defile our hero's childhood home, all subconsciously make the audience feel as though we are the ones being violated. There is a vileness to it on a fundamental level. It was watching this scene, as a child, that I first learned that the mob is to be resisted. Capturing this level of primal fear, to me, vaults this film past the category of mere artistic achievement and into the realm of psychological study.

Yuri, the indomitable spirit, cuts through the chaos and madness of revolutionary Russia like a knife. Omar Sharif is exceptional, embodying the role of the happy poet/individualist warrior with sublime skill. The film's wholehearted focus on his life, and its treatment of the revolution as a mere backdrop, underscores its message without stating it outright. It is the most political film ever that makes no mention of politics.

I'll hopefully post more of these soon, as I won't have to agonize so much over which to choose. Anyway, I'm glad some of you are enjoying them.

[John Dule]

#11: Before Sunrise



I'll confess that I haven't seen Before Sunrise in many years, but despite that fact, scenes and elements of this movie remain burned into my mind. The seamless editing, the natural and fascinating way in which the dialogue progresses, and of course the heartfelt performances at its center all contribute to what is easily among the best romance films of all time. Ethan Hawke plays a hopeless idealist masquerading as a cynic, Julie Delpy plays a cynic pretending to be a romantic, and the tension-- and chemistry-- between their characters is electrifying.

Many have criticized Linklater's films (especially Boyhood) for their overly experimental techniques, gimmickry, and schmaltz. Those are fine criticisms. I, however, unabashedly love the Before trilogy, and I think this is far and away the best of the three. While Before Midnight does have a fantastic argument scene (that puts the one in Marriage Story to shame), this is the one that started it all, and its hopefulness, optimism, and sense of wonder are far more enjoyable to spend your time with than the cold reality of its sequels.

I've never considered myself a big fan of romance movies, but this is a standout piece from the genre that defies its genre trappings, crafting two realistic characters without resorting to stereotypes or tropes. As a side note, Before Sunrise is perhaps the best of many examples as to why MPAA ratings are an abomination. I think this is a great movie for young people to watch-- the fact that this received an R rating for "adult themes" while The Ring got a PG-13 speaks to the subjectivity and stupidity of the system.

[Enduro]

This is a pretty cool idea, I really love your insights on A Clockwork Orange.

[𝕭𝖆𝖕𝖙𝖎𝖘𝖙𝖆 𝕸𝖎𝖓𝖔𝖑𝖆]

By the way, weird thing I hadn't noticed it before, but I must give my compliments to John Dule for having an Italian film in 1st place.

[John Dule]

#12: 2001: A Space Odyssey



The first scene in outer space in 2001-- where the Blue Danube waltz plays over some of the most stunning special effects in cinematic history-- might be the most elegant sequence I've ever seen in a film. While Star Wars certainly took these techniques and ran with them, I have yet to see another film that portrays humanity's future in such an optimistic, emotionally enriching way. This movie is about human evolution through time, the challenges that we face, and how we rise to meet them. It is about man versus nature, man versus machine, and man versus God. It is about man's Nietzschean ascendance into the future that he has earned.

I understand that not all critics interpret 2001 as optimistic. Lord knows there's ample textual evidence to interpret this film as a sardonic comment on mankind's small place in the universe. In the end though, 2001's themes of change and growth, with each stage improving on the previous one, somewhat negate these interpretations. The monolith, in each of its stages, represents some challenge to the evolution of humans. In the prologue, it represents the skill of toolmaking; it later appears on the moon and finally Jupiter, as if setting successive goals for humanity to reach. In my mind, it's hard to see this progress as cynical-- certainly not on the level of Kubrick's other films (which will also appear on this list).

Themes aside, this film's use of music and special effects are virtually unparalleled in science fiction. For those elements alone, it deserves a top-tier slot on this list.

[John Dule]

#13: High and Low



I'm not sure if this is really my favorite Akira Kurosawa film, but it's one of his most politically charged works, which makes it especially interesting to write about on this forum. High and Low is a film that presents its characters with a multitude of philosophical tests and ethical obstacles. The main character, a wealthy shoe company executive, is preparing to seize a controlling share of his company in order to improve its business model. However, his plans are thrown into chaos when criminals kidnap his son, demanding ransom. After a brief period of panic, he realizes that the kidnappers have gotten the wrong child-- his son is safe, but his chauffer's son is in their clutches. He must now decide between his family's future and the life of a child he barely knows.

High and Low is generally considered the first police procedural drama, and it's best-known for that. However, I think its greatest accomplishment is the very realistic moral ambiguity of its characters. Gondo, the shoe exec, is never portrayed as an outright hero. He agonizes over the decision to pay the ransom, and though he ultimately concedes, it's clearly not easy for him. Additionally, the kidnappers are obviously loathsome, but when the mastermind reveals himself at the end, it's hard not to take pity on him. By reversing the archetypal roles of good and bad-- making the wealthy man the protagonist and the poor person the antagonist-- the film manages to explore multiple angles as to how both wealth and poverty can corrupt a person's soul.

(Edit: I also love how the film's title reflects both the high and low statuses of the protagonist and antagonist, as well as the search for the criminals, in which the police look "high and low" for the kidnappers. Clever stuff like that is emblematic of Kurosawa's films.)

[John Dule]

#14: The Grand Budapest Hotel



The first film on this list made in the 21st Century, and the last directed by Wes Anderson. No hate for Wes-- I think he makes exceptional movies-- but this masterpiece is head and shoulders above the rest, an achievement that will be remembered for generations in a way that his other films won't. In many ways, this movie feels like the culmination of his career, the moment all of his practice has been working towards. And it's very nearly perfect.

The Grand Budapest Hotel has everything. Tragedy, comedy, elaborate sets, imaginative visuals, a great cast, and a brilliant script. Obscured by several layers of flashbacks, it tells a melancholy story about an era that has long since passed. Beneath its slapstick veneer lurks a brutally honest, emotionally draining story that has haunted me since the day I first saw it. Anderson creates two impeccably crafted characters in Zero and Gustave, but perhaps the best part of the film is the backdrop to their adventure. The film takes place in a fictional Eastern European country rapidly deteriorating into war, and the jackbooted authoritarian thugs who intermittently insert themselves into the story are a potent reminder of the dangers outside of this fairy tale. It makes the entire effort of our heroes tragically inconsequential-- they can't possibly do anything as their world crumbles around them.

Ralph Feinnes is outstanding in this movie, and his character is concrete proof that protagonists need not be limited to conventional archetypes and tropes. His full embrace of refinement, sophistication, and elegance creates a fully unique individual who stands alone, fighting a pointless battle against time. I would also be remiss if I didn't mention the film's excellent soundtrack, which wholly deserved its win at the Oscars (something I rarely get to say). The way the music interacts with the comedic timing of each scene is wonderful, and it drives home just how much effort went into meticulously crafting every facet of the film. The movie was made in a fussy, tidy, impossibly tightly wound manner, which appropriately reflects the personality of its protagonist.

While this may not be the best film made so far this century, it's definitely my favorite. I could watch it virtually every day and I don't think it'd get old.

[Progressive Pessimist]

^Once again we are in agreement, John. 'The Grand Budapest Hotel' is my absolute favorite Wes Anderson movie (though I like or love all of his films.) and may be in my top five movies ever. I agree that I can watch it anytime. Hell, for awhile I actually did. When it first premiered on HBO, where I first saw it, I literally did watch it every time it was on and I had nothing else to watch after seeing it the first time and being blown away. However, it really dropped off in airing on cable after some time and I actually haven't seen it in years. It's ingrained in my memory though. I really should own it.

It also always makes me really hungry for pastries because of those weird cakes that Saorise Ronan's character makes throughout the movie. I imagine that she added to how much you enjoy the film, I know you have a fondness for her. And I agree, she's great in everything, even when she has an odd birthmark in the shape of Mexico on her face.

And yes, Ralph Fiennes is phenomenal. It's one of my favorite performances ever. He's f***ing hysterical while also being this enigmatic, incredibly charming figure that seems larger-than-life yet also has an air of seriousness to him. And that all comes through with how he and Zero interact throughout the movie. The ensemble cast as a whole is wonderful.

Alexandre Desplat's score is also phenomenal and the cinematography speaks for itself, as with most Wes Anderson movies.

Dammit! You made me want to go watch it right now!

[John Dule]

^Once again we are in agreement, John. 'The Grand Budapest Hotel' is my absolute favorite Wes Anderson movie (though I like or love all of his films.) and may be in my top five movies ever. I agree that I can watch it anytime. Hell, for awhile I actually did. When it first premiered on HBO, where I first saw it, I literally did watch it every time it was on and I had nothing else to watch after seeing it the first time and being blown away. However, it really dropped off in airing on cable after some time and I actually haven't seen it in years. It's ingrained in my memory though. I really should own it.

It also always makes me really hungry for pastries because of those weird cakes that Saorise Ronan's character makes throughout the movie. I imagine that she added to how much you enjoy the film, I know you have a fondness for her. And I agree, she's great in everything, even when she has an odd birthmark in the shape of Mexico on her face.

And yes, Ralph Fiennes is phenomenal. It's one of my favorite performances ever. He's f***ing hysterical while also being this enigmatic, incredibly charming figure that seems larger-than-life yet also has an air of seriousness to him. And that all comes through with how he and Zero interact throughout the movie. The ensemble cast as a whole is wonderful.

Alexandre Desplat's score is also phenomenal and the cinematography speaks for itself, as with most Wes Anderson movies.

Dammit! You made me want to go watch it right now!

I recall seeing complaints when the film first came out about how Ronan was underused. I sort of agree (though to be honest, I'd be happy if it was an hour longer), but I think by making her a side character, the movie manages to illustrate Zero's long-lasting pain over losing her. Because it's his story, it makes sense that he wouldn't want to discuss her too much. Also, another thing I neglected to mention: I love how Anderson didn't give a crap about having Irish, British, and American actors all working together, and he didn't make the slightest effort to mask their accents. Having Ed Norton pop in with his extremely flat accent every now and then just adds to the hilarity.

The music is absolutely wonderful; I've been learning it on piano recently and it's a ton of fun to play.

[Progressive Pessimist]

^Once again we are in agreement, John. 'The Grand Budapest Hotel' is my absolute favorite Wes Anderson movie (though I like or love all of his films.) and may be in my top five movies ever. I agree that I can watch it anytime. Hell, for awhile I actually did. When it first premiered on HBO, where I first saw it, I literally did watch it every time it was on and I had nothing else to watch after seeing it the first time and being blown away. However, it really dropped off in airing on cable after some time and I actually haven't seen it in years. It's ingrained in my memory though. I really should own it.

It also always makes me really hungry for pastries because of those weird cakes that Saorise Ronan's character makes throughout the movie. I imagine that she added to how much you enjoy the film, I know you have a fondness for her. And I agree, she's great in everything, even when she has an odd birthmark in the shape of Mexico on her face.

And yes, Ralph Fiennes is phenomenal. It's one of my favorite performances ever. He's f***ing hysterical while also being this enigmatic, incredibly charming figure that seems larger-than-life yet also has an air of seriousness to him. And that all comes through with how he and Zero interact throughout the movie. The ensemble cast as a whole is wonderful.

Alexandre Desplat's score is also phenomenal and the cinematography speaks for itself, as with most Wes Anderson movies.

Dammit! You made me want to go watch it right now!

I recall seeing complaints when the film first came out about how Ronan was underused. I sort of agree (though to be honest, I'd be happy if it was an hour longer), but I think by making her a side character, the movie manages to illustrate Zero's long-lasting pain over losing her. Because it's his story, it makes sense that he wouldn't want to discuss her too much. Also, another thing I neglected to mention: I love how Anderson didn't give a crap about having Irish, British, and American actors all working together, and he didn't make the slightest effort to mask their accents. Having Ed Norton pop in with his extremely flat accent every now and then just adds to the hilarity.

The music is absolutely wonderful; I've been learning it on piano recently and it's a ton of fun to play.

I enjoyed the variety of accents too. Usually I'm a stickler for accents in films but I can get past it in Wes Anderson films since his movies tend to exist in their own universes, especially this one involving a fictional country.

As for Ronan being underutilized, maybe in hindsight that's a valid criticism but at the time she wasn't quite the critical darling leading lady she is now. That probably started with 'Brooklyn' and continued on since then. Prior to that though she was in 'Atonement,' and nominated for an Oscar for it at a very young age, but then in schlock like 'Hanna,' 'The Host,' or 'The Lovely Bones.' Her career taking off and being featured in more consistent quality movies may actually have started with 'The Grand Budapest Hotel.'

[John Dule]

I enjoyed the variety of accents too. Usually I'm a stickler for accents in films but I can get past it in Wes Anderson films since his movies tend to exist in their own universes, especially this one involving a fictional country.

As for Ronan being underutilized, maybe in hindsight that's a valid criticism but at the time she wasn't quite the critical darling leading lady she is now. That probably started with 'Brooklyn' and continued on since then. Prior to that though she was in 'Atonement,' and nominated for an Oscar for it at a very young age, but then in schlock like 'Hanna,' 'The Host,' or 'The Lovely Bones.' Her career taking off and being featured in more consistent quality movies may actually have started with 'The Grand Budapest Hotel.'

Lol, thank you for reminding me that those movies exist. The Host is legitimately funny as an unintentional comedy; the action sequences have no suspense at all, and the rest of the film is just Saoirse Ronan talking to herself. Back in the mid-2010s I binged a ton of Young Adult movies just to laugh at them, and the genre is honestly an untapped goldmine of schlock.

The Lovely Bones is not in that category, though... I honestly felt dirty after watching that film.

[True Federalist (진정한 연방 주의자)]

The Lovely Bones is not in that category, though... I honestly felt dirty after watching that film.

I never saw the film, tho I did listen to it the novel it was adapted from on the radio. (It was one of the books done on the old Radio Reader program.)

[John Dule]

#15: Star Trek II: The Wrath of Khan



This is one of the instances on this list where I will not attempt to hide my bias: I love Star Trek. The Original Series is some of the best TV ever made (well, aside from a few episodes that I won't mention), and it expertly blends sci-fi concepts with explorations of philosophical and political issues. This list would not be complete without a nod to this spectacularly original franchise.

The Trek movies, sadly, are mostly not great. The Voyage Home is enjoyable as a kitschy adventure movie, but it ultimately feels like a drawn-out episode of the TV show. The Undiscovered Country is excellent; it doubles down on the political side of the series and mostly succeeds, even if it becomes a little blunt at times. The rest of the movies are in my opinion skippable-- except, of course, for Khan.

The Wrath of Khan is an expertly constructed adaptation of this series to the big screen. It continues a story started in the Original Series, but it is nevertheless easily accessible for those unfamiliar with the rest of the franchise. It balances two airtight plots-- one a straightforward tale of sci-fi revenge, the other a mellow meditation on the limits of human knowledge and ability. In the midst of this, William Shatner delivers a career-best performance as an older, less cocksure version of Captain Kirk. His final scene in this film is more emotionally cathartic than any Star Trek movie has any right to be.

It's possible that my inclusion of this film in my top fifteen is solely due to nostalgia and personal bias. However, I truly believe that this movie has something to offer everyone, even people who have never particularly gotten into this franchise or sci-fi in general. It is a brilliant piece of filmmaking, and should serve as a blueprint for anyone attempting to adapt TV on film in the future.

[FEMA Camp Administrator]

KHHHHHAAAAAAAAAAAAAAANN!

[Progressive Pessimist]

'The Wrath of Khan' is the only 'Star trek' film I have ever seen, and that's probably for the best.

[MarkD]

I quite agree that "Wrath of Khan" is the best Star Trek film ever made. In addition to the reasons you give for praising the movie, I'd add that one of the best things about that movie is Ricardo Montalban's acting performance was outstanding. I still remember, from 1982, film critics saying that Montalban's performance was one of the best.

[John Dule]

#16: Badlands



This weird, wonderful crime drama from Terrence Malick is one of the greatest movies ever made. Despite being his directorial debut, Malick nails a pitch-perfect tone and atmosphere in Badlands that will linger long after the movie has ended. It is absolutely enthralling-- dare I say it, a religious experience.

Every time I see this film, I think it's about something different. The last time I saw it was no exception. I've come to believe that this film is about a darkness that resides in all of us; the temptation to commit violence, the fetishization of charisma, and the willingness to follow along when being led by the wrong person. It is about a girl who-- despite being ostensibly "normal"-- finds herself crisscrossing the Great Plains with her boyfriend while he butchers his way through one obstacle after another. The passiveness of Sissy Spacek's character (which annoyed me during my first viewing) represents, I believe, the larger human tendency to stand idly by while injustice is being carried out. This film works both as a magnified character study and as a broader commentary on social and political relationships. That, to me, is perfection-- the ability to do two things at once, and to do them effortlessly.

I heartily recommend Badlands for anyone who wants to feel uncomfortable being a human.