#100perfectfilms – The Complete List

When people ask me for my favourite film this is what I say

With a desire to reflect on positive things, and to see what the adventure revealed, I tried out a Twitter list (#100perfectfilms) of the hundred films that mean the most to me. Here are my collated findings. There’s no particular order, no hierarchy — the numbers were only so I could keep track — it’s kind of a stream of conscious of film addiction. And only begins to tell the whole story…

1. Double Indemnity

Billy Wilder’s sublime 1944 noir, twisting and scabrously cynical, set the seal on the whole noir game with Barbara Stanwyck the femme fatale by which all others must be mistrusted, and Fred MacMurray the perfect sap. 

2. John Carpenter’s The Thing

Showing some early diversity, and welcome chill, for me, this is John Carpenter’s tightest, most potent film, which comes coupled with the memory of bunking off a sweltering school sports day to see it on VHS.

3. Picnic At Hanging Rock 

An Australian masterpiece, Peter Weir’s dream-lit study of the inexplicable disappearance of a group of schoolgirls. Name a more haunting film, or one that less required a remake.

4. 12 Angry Men

Sidney Lumet’s coruscating one-room drama, with Henry Fonda holding out for reason. As the walls close in (literally - Lumet edged them inwards scene by scene), its dissection of male prejudice is surely more relevant than ever.

5. Ikiru

Kurosawa (he’ll crop up again), only without his mighty Samurai (but still with the rain). Clothed in melancholy and regal humour, this soft contemplation of death reveals the Emperor’s dedication to depicting human frailty.

6. Ratatouille 

A film that got better as I watched it. This remains my favourite Pixar, one that broke the mould while upholding the formula — Brad Bird’s joyful, rat-centric, Paris-set celebration of the artistic spirit.

7. The Long Good Friday 

One of the finest, if not the finest postwar London gangster movie. Bob Hoskins’ relish, Francis Monkman’s swaggering score, a final, lingering shot for the ages.

8. You Only Live Twice

Goldfinger is arguably the superior film, but this is the Bond that thrilled me more than any other (Blofeld! Japan! Little Nellie! Piranhas! The quintessential lair stowed in a volcano and raided by Ninjas!). Still does.

9. Winter’s Bone

Debra Granik’s terrifying blast of hillbilly noir, twisting through the Ozark methlands, introduced us to the full range of Jennifer Lawrence, and is still her best film. 

10. Mr. Smith Goes To Washington

My favourite Capra: a political satire still enchanted with the idea of the decency of the American everyman. God knows what Capra would do with the monkey cage of today’s US legislature, but I would be first in line to see.

11. It Happened One Night 

My other favourite Capra, wherein he, Claudette Colbert (runaway heiress with barbed tongue) and Clark Gable (smart alec reporter onto the big story) basically invent the romcom. Way sexier and screwballier than Sleepless In Seattle.

12. Rear Window

My favourite Hitch: the thinkers tend to the confounding twists of Vertigo, but this one is fixed in my head and heart (Truffaut thought it perfect too): Jimmy Stewart (immobile), Grace Kelly (divine), murder most local, set as theme, cinema as voyeurism.

13. The 39 Steps

My other favourite Hitch: the high watermark of his British phase, John Buchan with zip and wit and lacquered in dreamy black and white. The blueprint perfected: trains, chases, landmarks, the kinky delight in handcuffing his leads together.

14. North By Northwest

My other other favourite Hitch: The 39 Steps rebottled as lavish, trans-American romp to the surging violins of Hermann’s score. Cary Grant a monument of put-upon, mother-troubled masculinity, Hitch having a ball.

15. The Big Sleep

My favourite Hawks: Raymond Chandler’s poetic cynicism electrified by Bogart and Bacall, and the director’s nonchalant magnificence. A love story disguised as a murder mystery disguised as a dark fable of Los Angeles.

16. Rio Bravo

My other favourite Hawks. What is it about this Western? There’s nothing to it: four mismatched fools defend the sheriff’s office from villains set on liberating an incarcerated varmint. But what comraderie, what warmth, what honest-to-god storytelling.

17. Close Encounters Of The Third Kind

Let’s try a trio of Spielbergs. This was the first of his movies I saw at the flix — a sci-fi epic filled with equal parts starry wonder and suburban reality. A film not about aliens finally but humans.

18. Lincoln

The finest in later (post-Schindler) Spielberg, this is scintillating historical drama, performance flick (Day-Lewis towers), a hymn to democracy and, yes, a comedy. With its mad hair and verbal dexterity it even has a touch of the Coens about it.

19. Raiders Of The Lost Ark

A final Spielberg for now. The euphoria of this great trumpet blast of entertainment and heroic frailty has remained undimmed since I first saw it, jaw to the floor, aged 12.

20. Lawrence Of Arabia

The time has come to recognise David Lean’s great, complex, intimate desert epic, a film caught in a rapture of what might be contained in a camera.

21. Lady Eve

Preston Sturges, the god of wiseacres, unites Barbara Stanwyck, as cinema’s sassiest dame, and Henry Fonda, as cinema’s most adorable dope (it’s Double Indemnity inverted). Also includes cinema’s funniest horse. A film so uplifting and funny they should supply it free on the NHS.

22. The American President

God this feels like fantasy now. The Oval Office as a seat of decency and romance. Sorkin’s divine script gave us The West Wing, but Rob Reiner’s film is old school in magical ways. The phoning-for-a-date sequence alone is a comic marvel.

23. Summertime

Before all the grandeur, David Lean made two of the most elegant studies in romantic yearning there has ever been. This is the other one. With Kathryn Hepburn sublime as the lonely American traveller unable to resist love in a glowing Venice.

24. 2001: A Space Odyssey

I give you a film that partly inspired No.25 and made James Cameron literally puke in awed response when he first witnessed it. In fact, calling it a film somehow seems insufficient for Kubrick’s far-reaching odyssey.

25. Alien

A film I’ve written, spoken, and wittered on about probably way too much, but I am only beginning to discover Ridley Scott’s mystical, terrifying, primal and monstrously profound sci-fi great.

26. Miller’s Crossing

Pastiche or not, the Coens poetic take on gangster tropes thrills me, bedevils me, moves me with the strangeness of the human heart and makes me laugh like a blocked gutter. What a script, I mean *what* a script.

27. L.A. Confidential

Out of the big nowhere, Curtis Hanson’s take on James Ellory’s sun-soured 50s crime saga proved one of the great studio flicks of the 90s, with performance, art direction, ridiculously complicated plot and directorial pulse all measured to perfection.

28. Heat

Another LA masterpiece: Michael Mann’s intricate tapestry of life on both sides of the law. The texture is mesmerising, an electric fusion of plot, image, action, music, mood, philosophy and that shade of blue only he can find. And then there is De Niro and Pacino sitting across a table.

29. Blade Runner: Director’s Cut

A trilogy of LA noir closes with Ridley Scott’s peerless vision of a dystopian future I still find impossibly romantic. That cut into the great ‘Hades’ cityscape to the tingling glissando of Vangelis score is like entering a dream. Director’s Cut over the original, the rest is polishing.

30. The General 

Given a choice, and thankfully no one asks, I would take Keaton over Chaplin. He transcended slapstick for the sublime, like a living report on the folly of mankind. To wit: the endless physical genius of his famous trainbound Civil War romp.

31. Ivan The Terrible Part II

Sergei Eisenstein’s fantabulous, shadow-soaked glut of war mongering and state of the art scowling in the court of a 16th century Russian tsar (it was aimed at Stalin, but still relevant) is like arthouse from another planet.

32. Gremlins

I was going full arty, but then I flashbacked to seeing Ghostbusters and this mean-spirited, small-town critter-classic on the same (defining) afternoon. I love Ghostbusters, but Joe Dante’s lizard-skinned takedown of Capra completes me.

33. Goodfellas

I’m always left strung out by Scorsese — in a good way. His films are mercilessly alive. None more so than his nerve-janglingly thrilling mob-bio tumbling through the years to the hits and Joe Pesci a Molotov cocktail in a swish suit.

34. The Silence Of The Lambs

It’s not because of the Hannibal Lecter show (though the first serving of Hopkins’ serial-foodie is delicious). It’s because Jonathan Demme’s chilling tricks got inside my head and Jodie Foster ensured we knew what was at stake.

35. Speed

Pop quiz hotshot: what is still the highest of high concepts? Easy: a bomb on a bus ready to blow if it slows back below 50mph — in LA rush hour. Add Keanu doing Ted in a SWAT vest and Sandra Bullock’s instant charm and you get the action movie of the 90s.

36. Point Blank

While on a thriller jag, a 1967 revenge saga as bitter and exhilarating as a swill of bourbon. Lee Marvin incomparable as the double-crossed thief left for dead (feel free to watch a ghost story), director John Boorman summoning seminal cool.

37. JFK

Three plus hours of virtuoso Oliver Stone paranoia: thought-quick editing, grandstanding dialogue, Oswald, Ruby, Cuba, The Mafia, Lemmon, Matthau, with Kevin Costner’s inflamed nobility the eye of the storm: “Let justice be done or the heavens fall.”

38. Paris, Texas

So close to a first among equals. Wim Wenders’ spectral America of echoing deserts and radioactive nightscapes, Sam Shepard’s aching romanticism and Harry Dean Stanton’s monument to loneliness forever speak to me in unknown ways.

39. Dead Man

Jim Jarmusch movies glide where other films walk, lounge around while others huff and puff. They are as smooth and lovely as songs. None more so than his rambling, bluesy, death-stoked b&w ode to the Old West featuring Iggy Pop in a dress.

40. Mad Max: Fury Road

Nothing prepared me for the reforging of George Miller mech-mythos. It was like being heart-pumped with adrenaline. A shock awakening to the sheer, manic possibility of cinema, with a shorn Charlize Theron as the #MeToo gen’s warrior herald.

41. Seven Samurai

Because Kurosawa transcended action cinema even as he invented it. Because he made it rain and rain. And because of his gaggle of oh-so human heroes: Shimura, Inaba, Katō, Miyaguchi, Chiaki, Kimura and Toshiro Mifune like a cat on a hotplate.

42. The Wages Of Fear

Four desperate souls, chiefly Yves Montand, truck a payload of nitroglycerin through the South America barrens. A parable of exploitation and jolted machismo tense enough to make your teeth itch. And cinema’s scariest three-point turn.

43. An American Werewolf In London

A spate of genre hits begins with John Landis’ lycanthropic standard-bearer. Part comedy, more horror, with Rick Baker’s hairy transformations still more disturbing than any CGI latecomer and a sleazy London looking equally unwell.

44. Misery

Kathy Bates is forevermore nutball Annie Wilkes from King’s gothic pas de deux. Fired by pure performance, Rob Reiner probes the perils of celebrity, the sham of the artist and a sexual power shift that reduces James Caan to a blubbering wuss.

45. Ride The High Country

The great, elegiac Western that nailed Peckinpah’s magnificent obsessions: encroaching modernity, violence, the realisation, to quote another great visionary of the West, that this is no country for old men.

46. Once Upon A Time In The West

Watch the opening for the acute atmospherics, Morricone’s portentous twang, tension rising like a heartbeat from the desert floor, and Leone’s widescreen iconography of duster coats and scowls. Watch the rest because you can’t stop.

47. The Andromeda Strain

Controversially maybe, but my favourite big-brained Michael Crichton parable — alien germ threatens an outbreak of scientific hubris — is chilled 70s sci-fi realism delivered with Kubrick-sleek visuals and brimstone techno scaremongering.

48. Stalker

How was cinema’s most powerful vision of a post-Chernobyl Soviet landscape, warped beyond reason and explored with hypnotic lethargy, made before it even happened? Andrei Tarkovsky’s indefinable 1979 feast of sci-fi gloom grips like possession.

49. Terminator 2: Judgment Day

I give you the shock revelation that no one delivers sci-fi thrills with the same heft, wit, storytelling brio, moral core and soul-rocking excitement as James Cameron. QED: Arnie at his heavy metal finest.

50. The Big Lebowski

Halfway and a film, nay a work of art, that speaks deeply to my life with indubitable truths about class, religion, friendship, Creedence, US foreign policy and bowling. The Coens’ motley remix of Chandler is a bona fide American classic.

51. The Apartment

Time for another Wilder. A romcom, I suppose, but with a breath-catchingly cynical view of the rom and a razor-edge to the com. Wilder does corporate America as Orwellian snake-pit, Lemmon the sucker with a heart, MacLaine luminous sorrow.

52. Jaws

You know, this list often feels like stating the glaringly obvious. Case in point, like durrr (dum). Spielberg’s great breakthrough invests the crazy tenets of the monster movie with a profound cinematic instinct for human truths and never, ever lets go.

53. Back To The Future

The perfect 80s movie. When I say perfect I mean perfect. They should nail this ingenious, thrillingly precise blockbuster (or teen com) to the church door of Hollywood — stop fucking about *this* is how its done.

54. Metropolis 

A second silent and a sci-fi film of such unprecedented scale you are left equally in awe of the delirium that got it made. While conjuring up a sweeping Expressionist blueprint for dystopias to come, Fritz Lang invented the future of filmmaking.

55. The Lord Of The Rings: The Fellowship Of The Ring

The simplest reflection on Peter Jackson’s staggering achievement is that his film looked exactly like the book. Here on screen was what was in my head, only bigger. But it is the wit and warmth and human detail that made it art.

56. Touching The Void

Kevin Macdonald’s mountain-disaster doc is a thing of awe. Climber Joe Simpson’s Dantean choice to crawl, a calf bone jammed into a knee socket, *down* through a pitch black Andean crevasse redefines human endurance. I could only weep.

57. The Godfather Part II

I had a publisher who claimed that he couldn’t truly like someone if they didn’t like The Godfather. I totally get that, but doubly so for the sequel/prequel: the deepening mythology, dual time lines, De Niro, Strasberg, Pacino’s chilling kiss of death…

58. Airplane! 

For its nuance, its sublime performances, its commentary on the human condition… Or perhaps because this symphony of deadpan touches me in places films shouldn’t. The ne plus ultra of spoof. What better film to follow The Godfather Pt II than this.

59. Sullivan’s Travels

Genuinely for its nuance, its sublime performances and its commentary on the human condition (see No.58)… And the joy of Veronica Lake falling in a swimming pool. Preston Sturges’ finest caper. The film that gave us the Coen brothers.

60. Gregory’s Girl

Here is where I probably depart from the Sight & Sound poll. Nonetheless, this film spoke to my teen fumblings in love and life like a mountaintop sage and Clare Grogan made my heart sing. It is also a savage satire on Scottish goalkeeping.

61. Dr. Strangelove*

We think of Kubrick as coldly intellectual, but he could be a coldly intellectual wag. Here a scabrously funny prophet of doom predicting an American dementia that seems to have turned up, with Sellars tap-dancing between personae. (*etc.)

62. Groundhog Day

Could Bill Murray on repeat be Hollywood comedy’s great postwar moment? Harold Ramis’ screwball metaphysics are worth watching again and again for sheer narrative ingenuity, sly moral purpose, Ned Ryerson and Murray’s depthless sneer. Bing!

* A behind the scenes secret: I had this awfully clever idea of repeating Groundhog Day for the next ten entries. Not that it isn’t worth ten, but space was short and I’d yet to do Truffaut, Bergman, Bunuel, Tarantino or North Sea Hijack.

63. Bringing Up Baby

Hawks’ screwball cascade of love and mental disorder, wherein (a glorious) Katherine Hepburn’s scatterbrained heiress ensnares Cary Grant’s absentminded palaeontologist while chasing a runaway leopard. Pitch that.

64. Jerry Maguire

Cameron Crowe remains one of modern cinema’s old-fashioned lyricists. I have never known an entire cinema sigh in unison as they did in this soul-nourishing, “kwan”-blessed, prima-Cruise tumble into self-discovery.

65. The Empire Strikes Back

Hold the outcry, but it is only the original Star Wars trilogy that matters to me. The second deeper, darker, truer sojourn in Lucas’ galaxy pulls off the storytelling feat of being both unpredictable and inevitable. Plus Yoda.

66. The Third Man

Allow me to reduce Carol Reed’s elusive masterpiece to a single scene: Vienna’s damp cobbles, Robert Krasker’s dancing shadows, Joseph Cotten’s querulous calls, a mewling cat, a dagger of light and Orson Welles’ Mona Lisa smile. Cue: zither.

67. Barton Fink

The Rosetta Stone of the Coen enigma if only we could decipher its Hollywoodian riddles. By turns hilarious and horrific, clammy and beautiful, the truth behind this mad concatenation of genres forever eludes me, and I can’t ever get enough.

68. Aliens

It’s still unprecedented: Cameron expanded (multiplied?) Scott’s tech-noir universe by playing to his own strengths: full-throttle storytelling, characters defined in extremis and a hardwired tension that leaves you physically gasping for air.

69. Singin’ In The Rain

My favourite musical might be the most obvious, but it’s as dear to me as sunshine, with the unalloyed ecstasy of Gene Kelly dancing heavenward at the birth of sound (plotwise) If you need an argument for Hollywood, here you have it.

70. The Shining

If you prefer to wallow in darkness, a terror beloved of all but creator Stephen King. Kubrick’s cathedral of horror insinuates untold meanings, while Jack unfurls iconic madness. Double-bill with No. 67 for a true insight into the writer’s life.

71. Pulp Fiction

The press screening was like no other. It was as if they had hooked us to the mains: we weren’t just buzzing to the electric jive of Tarantino’s syncopated LA noir, shrieks of unbridled pleasure were let loose at the intoxicating surges of storytelling.

72. Schindler’s List

It’s worth recalling the sheer emotional savagery of Spielberg’s magnum opus. Cinema’s primo entertainer was unflinching in his highly personal and utterly compelling black & white (and red) journey into history’s great heart of darkness.

73. In The Name Of The Father 

To honour my love of Daniel Day-Lewis movies, I came close to the spate of There Will Be Blood, but this gut-punch of miscarried justice, a prison epic cum rite of passage cum courtroom drama cum political thriller, has DDL at his most blood-stirringly enraged.

74. Unforgiven

Eastwood picks at the stitches of his own myth for a towering disquisition on the wages of sin and his greatest Western. Hackman is effortless and the main man, hewn from the rock of ages, mesmeric as the retired killer drawn back to the flame.

75. The Last Of The Mohicans

A proto-Western enthralling from tip to moccasin toe. Michael Mann proving the old romantic, Day-Lewis doing method heroics and the French-Indian Wars delivered with imperious sweep. Quite phallic too, when you think about it.

76. The Searchers

I always admired John Ford’s formidable Western, but it took a third or fourth viewing before I was swallowed up in the perversity of Wayne’s antiheroic obsessions, the great riven soul of America and a portrayal of madness to rival The Shining.

77. Blue Velvet

For its serene yet sickly atmosphere. For its warped yet true heart. For MacLachlan’s callow perversity and Hopper’s tyrannical innocence. For Rossellini v Dern, Stockwell mouthing Orbison and a clockwork robin. For all these things and more, this is the Lynch I hold sacred.

78. Apocalypse Now

The ferment of its making, the titanic filmmaking ambition, the furnace blast of realism. Coppola relocates Conrad to the vestiges of ‘Nam heading upriver into delirium and Brando looming out of the shadows like an Easter Island statue.

79. Come And See

Seminal but untouchable, I know of no work of art like Soviet auteur Elem Klimov’s cataclysmic visions of the Nazi invasion of Belorussia. Seen through the eyes of a boy, already touched, it borders on fairy tale, war as something beyond reason.

80. The Bridge On The River Kwai

Why are so many of my chosen films variants on men and madness? Not least the cracking porcelain psyche of Guinness’ stiff-uppered POW Lt. Col. proudly building the enemy’s bridge in Lean’s darkly ironic and moving WW2 epic.

81. Wild Strawberries

If it hadn’t been for the small but fitting matter of death, Bergman would be 100 this year. With due deference to the frolicking human despair of the medievals, Seventh Seal and Virgin Spring, it is his lambent existential road movie I think of most.

82. Le Samouraï

I feel I have modelled my life around Jean-Pierre Melville’s quintessential, glacier-cool hitman classic: the solitude, the precision, Delon’s trench coat and measured frown, the betrayals, the chase through the warrens of Paris. Me to a tee.

83. Pickpocket

To partake in Robert Bresson’s Parisian variation on Crime & Punishment is to be drawn forever into its filmic state of serene poise, businesslike amorality, suppressed passion and the philharmonic precision of its light-fingered close-ups.

84. Tokyo Story

A simple yet infinitely complex depiction of family strife in 50s Japan, Ozu’s exquisitely restrained tale of a million sacrifices, (literal) home truths and unspoken feelings stays with you forevermore.

85. Citizen Kane

There is no escaping Welles’ great hymn to the possibility of film: its arcane structure, its deep focus, its monumental yet ironic vision, its snarling swipe at American idealism offering deeper, more personal truths with every return visit.

86. Breathless

Godard’s revolution in cool ignites the senses like the jolt of a double espresso. The heavenly, heedless, jump-cutting narrative daring; the glut of heady, romantic Parisian life; shrugging killer Belmondo smoking cigarettes like a doomed god.

87. The 400 Blows

If the last entry was wired on Hollywood glam, Godard’s New Wave BFF Truffaut gave us a swirl of bratish, streetwise, milk-filching cheek channelled directly from his loveless childhood. Cinema written indelibly in the inky vigour of life.

88. Ran

Let’s not quibble, the tumult and colour of Kurosawa’s elemental, battle-steeped rendering of King Lear, every inch of it drawn from the real (i.e. pre-CGI), is filmmaking prowess as unrivalled as the dawn. BTW: he was 75 at the time.

89. Le Jour Se Leve

Beside Mifune the most charismatic actor of all, Jean Gabin shone across French cinema like moonlight. Celebrated for his Renoirs, I lean to the guilt-cauldron of Marcel Carné’s cornered-killer drama.

90. The White Ribbon

Happy-go-lucky Michael Haneke’s masterful cartography of modern evil locates its true north in this outbreak of juvenile evil in a pre-WW1 German backwater. In this dark gen’s instinctual, spiteful games, he senses fascism taking root.

91. The Exterminating Angel

To Buñuel’s coruscating takedown of Franco’s Spain. A bourgeois dinner party where the guests, trapped in their own decadence, can never leave. Per the arch surrealist, the upper-crust brats will soon turn on one another like rats.

92. Bull Durham

Okay, a baseball movie. By which I mean a Kevin Costner baseball movie. By which, of course, I mean the ribald jazz of Crash Davis, Yoda of the infield and rusty hero of Ron Shelton’s joyous sporting saga with a hanging curveball of a script.

93. Amadeus

Because Miloš Forman tells Salieri’s story not Mozart’s — the tragedy of being good enough to know you’re not good enough. This grandiose waltz through the Cuckoo’s Nest of the 18C Austrian court is the human condition dolled up in outrageous wigs.

94. The Good, The Bad And The Ugly

As a last Western, The Wild Bunch was set, then I remembered Eastwood’s drawling amusement, Wallach’s manic improv in the gun shop, Van Cleef’s lowered brim, the wounded heart beneath the cool veneer, and Morricone’s Ecstasy of Gold began ringing inside my head.

95. Let The Right One In

A last horror, and with its wintry inertia, creepy lovers vibe, teen alienation, ethereal 80s Stockholm (a foundation stone for Nordic Noir) and fairy-tale venom, Tomas Alfredson brought forth the great modern vampire movie.

96. Jason And The Argonauts

One from the constituency of my childhood, where Ray Harryhausen’s marvels held sway (still do). There are Sinbads and Titans I loved, but the phalanx of skeletons v the jutting chins of the Argonauts is seared on my imagination.

97. The Life And Death Of Colonel Blimp

I couldn’t depart without calling upon Powell or Pressburger. Their vibrant portrait of a bumptious yet winning British officer through the furies of the early 20C more than lives up to its standing as Blighty’s Citizen Kane.

98. Excalibur

It might be a little potty (arguably a plus), but bursting with visceral combat, lively humour, earthy bouts of shagging, vaulting myth and gravid, arboreal landscapes, John Boorman’s splendid take on King Arthur never fails to stir the blood.

99. High Society 

One from the heart (and, yes, I know how good The Philadelphia Story is). For the songs, the madcap glamour and featherlight satire of money and love. For having Crosby and Sinatra conjoin their immortal tonsils and the sheer wonder of Grace Kelly. For the happiness it unfailingly brings.

100. All The President’s Men

Lastly, Alan J. Pakula’s unshakeable Watergate procedural for its cool, near-monochrome looks; unflinchingly talky script; Redford and Hoffman’s testy hacks sensing history moving beneath their fingers; and the hungry gleam in Robards’ eyes as mighty, sourpuss editor Ben Bradlee.

NB: There are so, so many films I didn’t get to. Films I adore. Films I depend on. Ye gods, what about The Right Stuff, Chinatown, Throne Of Blood, Guns Of Navarone, Days Of Heaven, Psycho, Temple Of Doom, Fallen Idol, Top Hat, The Thief of Baghdad, Carrie, The Untouchables, The Wild Bunch, A Serious Man, Taxi Driver, Treasure Of The Sierra Madre, Gravity, In The Mood For Love, Hard Boiled, The Truman Show, A Shot In The Dark, Night Of The Hunter, Anatomy Of A Murder, The Red Shoes… Truth is, 100 isn’t the end, merely a sensible point to drag myself away before I try your patience. 

Coming soon: #another100perfectfilms

Ian Nathan 24/7/2018