Top 10 Picks.

Alright, look, whether you agree or not, it doesn't matter! 😉 What I’m really dying to know is this: if you had to pick your top 10 movies, what would they be? And hey, don't feel pressured to rank them in a strict numerical order or anything!
I am genuinely curious about what's on your watchlist...

The Tenant – Roman Polanski
The Exorcist – William Friedkin
Evil Dead II – Sam Raimi
Scarface – Brian De Palma
Halloween – John Carpenter
Escape from New York – John Carpenter
Angel Heart – Alan Parker
Southern Comfort – Walter Hill
Alien – Ridley Scott
Bad Taste – Peter Jackson
The Usual Suspects – Bryan Singer

You can't fit everything into ten. If that bothers you, just cut one.👍

Kenneth Campbell2 said:The Tenant – Roman Polanski
The Exorcist – William Friedkin
Evil Dead II – Sam Raimi
Scarface – Brian De Palma
Halloween
Escape from New York – John Carpenter
Angel Heart
Southern Comfort – Walter Hill
Alien – Ridley Scott
Bad Taste – Peter Jackson
The Usual Suspects – Bryan Singer

Look, you can't fit everything into a top ten list; if it bothers you, just toss one out. 👍

So, you're a horror buff, huh? 😉
Man, check out Angel Heart! It’s been ages since I sat down with that one. Robert De Niro absolutely rules, and Mickey Rourke—back when he actually had a face!—is just incredible. 😉

Fear and Loathing in Las Vegas—now that we’re actually talking about it—it really does sit in its own lonely corner of cinema. It’s one of those rare instances where the madness on screen feels less like a stylistic choice and more like a direct transmission from a fever dream. You can almost feel the grit and the disorientation through the lens, which is no small feat given how much chaos is packed into the frame. It’s a visceral experience, honestly; it doesn't just show you the descent, it drags you right down into the gutter along with the characters.
The Shining. It’s one of those films that stays under your skin—not just because of the scares, but because of that pervasive, suffocating sense of isolation. Looking back at it now, you realize Kubrick wasn't just making a horror movie; he was crafting a descent into madness that feels almost clinical in its precision. There’s a certain coldness to the direction—a calculated, rhythmic dread—that makes the supernatural elements feel secondary to the psychological disintegration of the family itself. It’s brilliant, really, even if it leaves you feeling somewhat hollowed out by the time the credits roll.
There’s something about *A Clockwork Orange* that stays with you—not necessarily in a pleasant way, but it lingers like a bad habit. It’s one of those films that feels almost too sharp, too visceral, even decades after its release. Kubrick had this uncanny ability to present something utterly grotesque through a lens of absolute, polished perfection, and that juxtaposition is exactly what makes it so unsettling. You find yourself watching the violence unfold with this strange, detached fascination, which probably says more about the viewer than the film itself. It’s a cynical look at human nature and the terrifying idea of stripping away free will in the name of "social good," presented with a stylistic flair that borders on the obsessive. It doesn't hold your hand, and it certainly doesn't care if you're comfortable.
I find myself circling back to the Lord of the Rings—not because I’m looking for some grand epiphany, but more out of a weary sort of necessity. It’s one of those rare cinematic undertakings that actually manages to sustain its own weight without collapsing under the sheer scale of its ambition. Most modern epics feel like they were assembled in a boardroom by people who have never actually felt the grit of a real journey, but there is something undeniably visceral about this trilogy. It’s massive, yes, but it avoids that hollow, empty feeling you get with most big-budget spectacles these days. It feels lived-in. It feels heavy. There's a certain melancholy running through the whole thing that resonates with me—that sense of a world changing irrevocably, where even victory feels a little bit like a loss. It’s a lot to process, especially when you consider how much effort went into making something so sprawling feel so intimate.
I find myself returning to *The Nightmare Before Christmas* more often than I care to admit—perhaps as a way to stave off the creeping cynicism that seems to settle in my bones every time the seasons shift. It’s a peculiar little piece of cinema, isn't it? While most people treat it as a mere seasonal staple, there is something deeply melancholic buried beneath all those stop-motion flourishes. It captures that specific, restless feeling of being misunderstood—of having a passion that simply doesn't align with the expectations of the world around you. It’s a quiet sort of tragedy wrapped in bright colors and jagged edges, and honestly, I think that’s why it sticks with us.
There’s something about *Apocalypse Now* that just refuses to settle—it stays under your skin, doesn't it? It’s one of those rare, sprawling epics that feels less like a movie and more like a fever dream you can't quite wake up from. Coppola didn't just make a film; he captured a descent into madness that feels almost too visceral to watch sometimes. It’s heavy, it’s beautiful, and it’s deeply unsettling. I find myself coming back to it, even if it leaves me feeling a little hollowed out by the end. Just a masterclass in cinematic chaos, really.
It’s funny how we try to categorize everything—the good, the bad, and the ugly—as if life actually fits into such tidy little boxes. We spend so much energy sorting through the wreckage of our choices, trying to find some kind of moral equilibrium, but most days just feel like a messy blur of gray areas. It’s exhausting, really. You think you’ve finally sorted out the "good" parts, only to realize the "ugly" was sitting there the whole time, just waiting for the lights to dim. Honestly, I’m still working on figuring out which is which.
Leningrad Cowboys are heading to America.
High Noon. A classic, though I often find myself wondering if modern audiences could actually stomach that kind of tension—the slow, agonizing burn of a man waiting for his inevitable reckoning while the clock ticks down. It’s stripped back, lean, and utterly unforgiving. There's no flashy spectacle to hide behind, just the weight of duty clashing with pure, unadulterated fear. It makes you realize how much we rely on cheap thrills today to mask a lack of actual substance.
Steven Spielberg’s *Empire of the Sun*—it’s one of those films that stays with you, though perhaps not for the reasons most people expect. It isn't exactly a "feel-good" piece of cinema, despite its bright, sweeping visuals. Instead, it’s this deeply melancholic, almost feverish look at childhood innocence being systematically dismantled by the chaos of war. There is a certain weight to the storytelling here—a sense of beautiful, tragic inevitability. Watching young Christian Bale navigate the surreal landscape of an internment camp in China, you realize Spielberg was tapping into something far more visceral and less polished than his usual fare. It feels raw, almost uncomfortably so. It lacks that sanitized, Hollywood sheen we often see in wartime dramas; instead, it leans into the disorientation of a child trying to make sense of a collapsing world. It’s a hauntingly beautiful film, even if it leaves you feeling somewhat hollowed out by the end. Some might find the pacing a bit deliberate, but I’ve always felt that the slow burn is necessary to truly grasp the psychological toll of the setting. It’s a masterful, albeit heavy, piece of work.

The Deer Hunter...
The Godfather...
One Flew Over the Cuckoo's Nest...
The first outing in the Nightmare on Elm Street series... just one of those films that stays with you, even if you're trying your hardest to forget it...
Leaving Las Vegas...
The Shining...
Die Hard...
Evil Dead II...
Goodfellas...
The Thing...
...

Noah Watson4 said:So, you're a horror fan, then? 😉
Look, Angel Heart is a classic! It’s been ages since I sat down with that one. Robert De Niro absolutely rules, and Mickey Rourke—back when he actually had some grit—is just incredible. 😉

I prefer the good, old-school horror flicks. As for Angel Heart, it's fantastic; I actually have it ranked in my personal top 11.👍

The Deer Hunter

Then there's the list
(order doesn't matter)

Once upon a time in America
The Godfather 2 and 1
Matrix
American Graffiti
Full Metal Jacket
Blade Runner
Blue Velvet (1986)
Raging Bull
Betty Blue starring Beatrice Dalle—directed by Jean-Jacques Beineix, though I can't recall the French title offhand

François Truffaut's Jules et Jim.
Krzysztof Kieslowski's Veronique.
The Elephant Man - David Lynch
Songs from the Second Floor - Roy Andersson
Polanski's The Tenant is heavy stuff. Total descent into madness.
Ang Lee's Crouching Tiger, Hidden Dragon.
Andrei Rublev - Andrei Tarkovsky
The Tin Drum - Volker Schlöndorff.
Fanny and Alexander - Ingmar Bergman
Thomas Vinterberg's Festen. Heavy stuff.

Bernardo Bertolucci - "Alphaville"
Bertolucci - "Spider Strategy"
Lars von Trier & Loeth - "The Five Obstructions"
Gillo Pontecorvo - "Battle of Algiers"
Andrei Tarkovsky - "Stalker"
Theo Angelopoulos - "Ulysses"
W. K. Wai - "Chungking Express"
Wim Wenders - "Wings of Desire"
Noah - "Irreversible"
Maria - "Maria Full of Grace"

The current order. These are close to my heart, though they remain subject to change...
With the exception of a few selections that will never be subject to change 🙂

Oh, Wings of Desire!!! Absolutely phenomenal! 😉 I honestly had this nagging feeling that nobody had even seen it! Truly top-tier stuff!

Kukichiyo said:Most of my favorites fall into that classic era of Sergio Leone and Akira Kurosawa. Though, if I'm being totally honest, Seven Samurai is the absolute peak for me.

It’s got that heavy, unmistakable weight you find in stuff like Clint Eastwood's Unforgiven or Mystical River—films that are frankly too damn good to have been overlooked by the Academy for Best Picture.

Seven.
Fear and Loathing in Las Vegas
You know, I was just thinking about that cult classic *Once Were Warriors*. It’s one of those heavy-hitting films that really stays with you, long after the credits roll. It hits so hard because it doesn't pull any punches when it comes to raw, unfiltered human struggle.
...

Battle of Algiers is an absolute masterpiece! 😉 If you’re looking for something worth your time, I’d honestly just tell everyone to go watch *The Deer Hunter*! 😉

In my humble opinion, Seven still holds the crown as the absolute best film ever made about a serial killer! 😛

Ethan Howard45 said:Lars von Trier & The Five Obstructions

????????????????????

I seriously need to know how you even dug this up?!

p.s. it's von Trier, not Loeth
p.p.s. you ever seen "the perfect human" by von Trier?

amberharbor3 said:It’s Betty Blue, starring Beatrice Dalle and directed by Jean-Jacques Beineix. I can't quite recall what the original French title was...

It's Betty Blue: 37.2 le matin

It’s a little more than ten, but I don't think you'll mind...

- Amarcord ( Federico Fellini)
- 1900 ( Bernardo Bertolucci)
- Mediterraneo ( Gabriele Salvatores)
- Mulholland Drive ( David Lynch)
- Manhattan ( Woody Allen)
- La gloire de mon père / Le château de ma mère ( Robert)
- Jean de Florette / Manon of the Springs ( Claude Berri)
- Cinema Paradiso ( Giuseppe Tornatore)
- Koyaanisqatsi ( Godfrey Reggio)
- Down by Law ( Jim Jarmusch)
- Night on Earth ( Jim Jarmusch)
- Kolya ( Zdenek Sverak)
- Il Postino ( Marlon Brando)
- A Short Film About Killing ( Krzysztof Kieslowski)
- Betty Blue ( Jean-Jacques Beineix)
- Blade Runner
- Monty Python's Life of Brian
- The North American Spy
- Who Has Carried the Mail?

....if I can think of any others, I'll be back to let you know.😁

lonefox373 said:It’s a bit more than ten, but I don't think anyone will mind...

- Amarcord ( Federico Fellini )
- 1900 ( Bernardo Bertolucci )
- Mediterraneo ( Gabriele Salvatores )
- Mulholland Drive ( David Lynch )
- Manhattan ( Woody Allen )
- La gloria de mi padre / My Mother's Castle ( Robert )
- Jean de Florette / Manon of the Springs ( Claude Berri )
- Cinema Paradiso ( Giuseppe Tornatore )
- Koyaanisqatsi ( Godfrey Reggio )
- Down by Law ( Jim Jarmusch )
- Night on Earth ( Jim Jarmusch )
- Kolya ( Zdenek Sverak )
- Il Postino ( Marlon Brando )
- Short Film about Killing ( Krzysztof Kieslowski )
- Betty Blue ( Jean-Jacques Beineix )
- Blade Runner
- Monty Python's Life of Brian
- The Spy
- Who Sings Over There

....if I remember any others, I'll be sure to post them.😁

Now this is what I call a list! 😉 I see we are dealing with some seriously respectable art here!
But wait, something about your inclusion of Mulholland Drive really caught my eye!
Could you please, please walk me through it? I just couldn't wrap my head around how both of those women in the film are actually the exact same person(!) ? 😉

Noah Watson4 said:Brilliant... 😉 So they’re actually telling us both girls in the movie are just one person(!)? 😉

Just like in Fight Club.

Noah Watson4 said:Can someone please walk me through this? I honestly couldn't wrap my head around how both girls in the movie are actually the same person(!)? 😉

Wait, who's the same person??????

1.DIM, then you've got the others like: FORREST GUMP, BORN JULY 4TH, MAN ON THE MOON, A STORY FROM THE BRONX, PHILADELPHIA, BUTTERFLY...🙄

Noah Watson4 said:Can you please walk me through this? I honestly couldn't wrap my head around how both girls in the movie are actually the exact same person(!)? 😉

They aren't the same person.😉
Someone once pointed me toward this link— http://www.franksreelreviews.com/reviews/mdexplain.htm--
it’ll make way more sense than if some guy tries to explain it to you verbally...

lonefox373 said:It’s a bit more than ten, but I don’t think you’ll mind the extra...

- Citizen Kane ( Federico Fellini)
- 1900 ( Bernardo Bertolucci)
- Roman Holiday ( Gabriele Salvatores)
- Mulholland Drive ( David Lynch)
- Manhattan ( Woody Allen)
- My Father's Glory / My Mother's Castle ( Robert)
- Jean de Florette / Manon des Sources ( Claude Berri)
- Cinema Paradiso ( Giuseppe Tornatore)
- Koyaanisqatsi ( Godfrey Reggio)
- Down by Law ( Jim Jarmusch)
- Night on Earth ( Jim Jarmusch)
- Kolya ( Jan Svěrák)
- The Postman ( Michael Radford)
- A Short Film About Killing ( Krzysztof Kieślowski)
- Betty Blue ( Jean-Jacques Beineix)
- Blade Runner
- Monty Python's Life of Brian
- North American Spy
- Who Let the Dogs Out

....if any others come to mind, I shall certainly return to update this list.😁

A massive round of applause for Koyaanisqatsi! Wouldn't that be wonderful?
I might also suggest adding Die Hard
as well as I had momentarily forgotten Buñuel—particularly The Discreet Charm of the Bourgeoisie