Why? My favorite comedy of all time (I had to include one!). This film has influenced probably every comedy since, it has an amazing cast, possibly the most clever and witty script of all time, and provides as many laugh out loud moments as you will find in any film ever made. INSANELY quotable, great cameos, great double entendres, just a fan fuckin tastic comedy experience.
Who? I wish I could say Kareem-Abdul Jabbar who has an epic cameo, but Leslie Nielson as Dr. Rumack makes you laugh with almost every single thing that comes out of his mouth.
Flaws? Perfect comedy, great writing, acting and oh em gee, a PLOT!
Rumack: Can you fly this plane, and land it?
Ted Striker: Surely you can’t be serious.
Rumack: I am serious… and don’t call me Shirley.
Rumack: Randy, are you all right?
Randy: Oh, Dr. Rumack, I’m scared. I’ve never been so scared. And besides, I’m 26 and I’m not married.
Rumack: We’re going to make it, you’ve got to believe that.
[a woman passenger comes in]
Mrs. Hammen: Dr. Rumack, do you have any idea when we’ll be landing?
Rumack: Pretty soon, how are you bearing up?
Mrs. Hammen: Well, to be honest, I’ve never been so scared. But at least I have a husband.
Rumack: You’d better tell the Captain we’ve got to land as soon as we can. This woman has to be gotten to a hospital.
Elaine Dickinson: A hospital? What is it?
Rumack: It’s a big building with patients, but that’s not important right now.
Why? One of the most original films ever made. Two storylines interact, one in chronological order, one out of order, as we journey along with Leonard Shelby who tries to figure out what the fuck is going on in with his life. Did I mention he has short-term memory loss and half of the film is shot backwards, meaning the audience is in the same boat as the protagonist, utterly clueless. Nolan might not have created this type of plot line but I’ve never seen it used to such perfection.
Who? Guy Pearce is the protagonist, and he’s on camera about 98% of the film so it pretty much leaves us with no choice but to choose him. However, he is amazingly real, completely believable, and very, very passionate. Watching him in this film
makes you wonder why he isn’t a big name.
Flaws? VERY confusing on your first viewing. Slight, ok, major plot holes, mainly the fact that a guy with short term memory loss can’t remember anything other then the fact he has short term memory loss.
Leonard Shelby: I have to believe in a world outside my own mind. I have to believe that my actions still have meaning, even if I can’t remember them. I have to believe that when my eyes are closed, the world’s still there. Do I believe the world’s still there? Is it still out there?… Yeah. We all need mirrors to remind ourselves who we are. I’m no different.
Why? Never before, and never again (at least until the 3D remake) has their been a film like “A Clockwork Orange.” If you’ve never seen it, there’s no way my words could possibly do it justice. The main characters passions include: Classical Music, Rape and what is referred to as “Ultra-Violence.” Plus, I love watching older films that envision the future.
Who? Malcolm McDowell plays the main character, Alex, who is possibly the most likable psychopath we’ve ever seen. His charisma carries the film, taking it places I’m not sure many people in the history of film would have been able to take it. An extremely riveting performance.
Flaws? For starters, the content of the film will probably alienate a great deal of people, although in 30 years this type of behavior has become a lot more prominent in film. Honestly, it’s just the kind of film that you either love or hate with a passion, not much middle ground.
Alex: Suddenly, I viddied what I had to do, and what I had wanted to do, and that was to do myself in; to snuff it, to blast off for ever out of this wicked, cruel world. One moment of pain perhaps and, then, sleep for ever, and ever and ever.
Why? The epitome of what a “court drama” should be, because it’s so much more. A story nearly everybody is familiar with, the book, and eventually the film, had a definite impact on race relations in this country, through the innocence of a child we learn a transcendent message about equality.
Who? Gregory Peck is a legend, and he plays the lawyer every actor should aspire to be, but Mary Badham as “Scout” turns in the most believable performance by a child of all time, she makes the film. Her presence and swagger defies comprehension, if you think I’m exaggerating, imagine this, she was nominated for the Best Supporting Actress Academy Award. She was 10 years old at the time!
Flaws? While it translates reasonably well, saying that this film is dated would be an understatement.
Atticus Finch: If you just learn a single trick, Scout, you’ll get along a lot better with all kinds of folks. You never really understand a person until you consider things from his point of view… Until you climb inside of his skin and walk around in it.
Atticus Finch: (closing statement) ….The witnesses for the State, with the exception of the sheriff of Maycomb County have presented themselves to you gentlemen, to this court in the cynical confidence that their testimony would not be doubted, confident that you gentlemen would go along with them on the assumption… the evil assumption that all Negroes lie, all Negroes are basically immoral beings, all Negro men are not to be trusted around our women. An assumption that one associates with minds of their caliber, and which is, in itself, gentlemen, a lie, which I do not need to point out to you. And so, a quiet, humble, respectable Negro, who has had the unmitigated TEMERITY to feel sorry for a white woman, has had to put his word against TWO white people’s! The defendant is not guilty – but somebody in this courtroom is. Now, gentlemen, in this country, our courts are the great levelers. In our courts, all men are created equal. I’m no idealist to believe firmly in the integrity of our courts and of our jury system – that’s no ideal to me. That is a living, working reality! Now I am confident that you gentlemen will review, without passion, the evidence that you have heard, come to a decision and restore this man to his family. In the name of GOD, do your duty. In the name of God, believe… Tom Robinson.
Why? Trust me, I love Pulp Fiction, but this is the quintessential Quentin. There may be films that have been made since that are similar, but when it was made, there was nothing like it. The perfect twist on a bank robbery, a film that somehow carries an intense amount of raw emotion, without ever actually showing the bank robbery. Brilliant, just brilliant.
Who? Possibly one of the best casts of all time. Harvy Keitel is a legend, Steve Buschemi in his breakout role; Mike Madsen is insane, insanely good. The late Chris Penn is amazing; Tim Roth is perfect, even the cop who gets tortured turns in a great performance. There are only about 10 people in this entire film and they all go above and beyond what you could ask for. Preposterously good casting.
Flaws? A little “Talky” if you don’t like that sort of thing, pretty irreverent and extremely raw scenes of torture. I LOVE all of these aspects in a film, but it turns off a lot of people. Like when you walk in a room.
Mr. Blonde: Listen kid, I’m not gonna bullshit you, all right? I don’t give a good fuck what you know, or don’t know, but I’m gonna torture you anyway, regardless. Not to get information. It’s amusing, to me, to torture a cop. You can say anything you want cause I’ve heard it all before. All you can do is pray for a quick death, which you ain’t gonna get.
Joe: So, you guys like to tell jokes, huh? Gigglin’ and laughin’ like a bunch of young broads sittin’ in a schoolyard. Well, let me tell a joke. Five guys, sittin’ in a bullpen, in San Quentin. All wondering how the fuck they got there. What should we have done, what didn’t we do, who’s fault is it, is it my fault, your fault, his fault, all that bullshit. Then one of them says, hey. Wait a minute. When we were planning this caper, all we did was sit around tellin’ fuckin’ jokes! Get the message? Boys, I don’t mean to holler at ya. When this caper’s over – and I’m sure it’ll be a successful one – we’ll get down to the Hawaiian Islands, hell, I’ll roll and laugh with all of ya. You’ll find me a different character down there. Right now, it’s a matter of business.
Nice Guy Eddie: Listen, Vic. Whatever you wanna do in the privacy of your own home, go do it. But don’t try to fuck me in my father’s office – I don’t think of you that way. I like you a lot man, but I don’t think of you that way.
Mr. Blonde: Eddie, if I was a butt cowboy, I wouldn’t even throw you to the posse.
Nice Guy Eddie: Of course not, you’d keep me for yourself, you sick bastard. Four years of fuckin’ punks up the ass you’d appreciate a piece of prime rib when you see one.
Why? Emotionally powerful, amazing pacing, fantastic acting, wonderful story. This is how all films should be made, wit h this type of quality and passion. If you don’t get inspired when Andy escapes from prison and celebrates in the rain then you might want to have your soul checked. Or your colon.
Who? With all due respect to a wonderfully cast Tim Robbins in his best role, it doesn’t get any better then a living legend in a legendary film. Morgan Freeman is a God.
Flaws? A couple minor plot holes, slight oversights, you need to suspend your belief a little, but it hardly diminishes the film, it just sets it back from the films previously mentioned.
1967 Parole Hearings Man: Ellis Boyd Redding, your files say you’ve served 40 years of a life sentence. Do you feel you’ve been rehabilitated?
Red: Rehabilitated? Well, now let me see. You know, I don’t have any idea what that means.
1967 Parole Hearings Man: Well, it means that you’re ready to rejoin society…
Red: I know what you think it means, sonny. To me it’s just a made up word. A politician’s word, so young fellas like yourself can wear a suit and a tie, and have a job. What do you really want to know? Am I sorry for what I did?
1967 Parole Hearings Man: Well, are you?
Red: There’s not a day goes by I don’t feel regret. Not because I’m in here, or because you think I should. I look back on the way I was then: a young, stupid kid who committed that terrible crime. I want to talk to him. I want to try and talk some sense to him, tell him the way things are. But I can’t. That kid’s long gone and this old man is all that’s left. I got to live with that. Rehabilitated? It’s just a bullshit word. So you go on and stamp your form, sonny, and stop wasting my time. Because to tell you the truth, I don’t give a shit.
Andy Dufresne: That’s the beauty of music. They can’t get that from you… Haven’t you ever felt that way about music?
Red: I played a mean harmonica as a younger man. Lost interest in it though. Didn’t make much sense in here.
Andy Dufresne: Here’s where it makes the most sense. You need it so you don’t forget.
Andy Dufresne: Forget that… there are places in this world that aren’t made out of stone. That there’s something inside… that they can’t get to, that they can’t touch. That’s yours.
Red: What’re you talking about?
Andy Dufresne: Hope.
Why? “The Godfather” of a new generation, gritty, dark, realistic, palpable dialogue, action every corner, extremely low amount of scenes that are not absolutely perfect. The evolution of Gangster films took an enormous step forward with this movie.
Who? Pesci. De Niro. Liotta. I don’t want to say these are the performances of their lives, because they’re all tremendous actors, but fuck.
Tommy DeVito: Sure, mom, I settle down with a nice girl every night, then I’m free the next morning.
Tommy DeVito: You mean, let me understand this cause, ya know maybe it’s me, I’m a little fucked up maybe, but I’m funny how, I mean funny like I’m a clown, I amuse you? I make you laugh, I’m here to fuckin’ amuse you? What do you mean funny, funny how? How am I funny?
Henry Hill: Just… you know, how you tell the story, what?
Tommy DeVito: No, no, I don’t know, you said it. How do I know? You said I’m funny. How the fuck am I funny, what the fuck is so funny about me? Tell me, tell me what’s funny!
Henry Hill: [long pause] Get the fuck out of here, Tommy!
Tommy DeVito: [everyone laughs] Ya motherfucker! I almost had him, I almost had him. Ya stuttering prick ya. Frankie, was he shaking? I wonder about you sometimes, Henry. You may fold under questioning.
Tommy DeVito: No more shines, Billy.
Billy Batts: What?
Tommy DeVito: I said, no more shines. Maybe you didn’t hear about it, you’ve been away a long time. They didn’t go up there and tell you. I don’t shine shoes anymore.
Billy Batts: Relax, will ya? Ya flip right out, what’s got into you? I’m breaking your balls a little bit, that’s all. I’m only kidding with ya…
Tommy DeVito: Sometimes you don’t sound like you’re kidding, you know, there’s a lotta people around…
Billy Batts: I’m only kidding with you, we’re having a party, I just came home and I haven’t seen you in a long time and I’m breaking your balls, and you’re getting fucking fresh. I’m sorry, I didn’t mean to offend you.
Tommy DeVito: I’m sorry too. It’s okay. No problem.
Billy Batts: Okay, salud.
Billy Batts: [takes a drink] Now go home and get your fuckin’ shinebox.
Why? The perfect example of “money isn’t everything.” A poverty stricken family sends their son to be educated in more prosperous conditions and he eventually grows into a rich and powerful media proprietor. He eventually dies secluded and alone, longing for the only thing that ever made him truly happy: his family.
Who? Writer, Director and Star Orson Welles bares his soul as Charles Foster Kane.
Flaws? At times the film is slow. Welles overshadows the other performers.
Charles Foster Kane: I always gagged on the silver spoon.
Charles Foster Kane: You’re right, I did lose a million dollars last year. I expect to lose a million dollars this year. I expect to lose a million dollars next year. You know, Mr. Thatcher, at the rate of a million dollars a year, I’ll have to close this place in… 60 years.
Female reporter: If you could’ve found out what Rosebud meant, I bet that would’ve explained everything.
Thompson: No, I don’t think so; no. Mr. Kane was a man who got everything he wanted and then lost it. Maybe Rosebud was something he couldn’t get, or something he lost. Anyway, it wouldn’t have explained anything… I don’t think any word can explain a man’s life. No, I guess Rosebud is just a… piece in a jigsaw puzzle… a missing piece.
Charles Foster Kane: You know, Mr. Bernstein, if I hadn’t been very rich, I might have been a really great man.
Thatcher: Don’t you think you are?
Charles Foster Kane: I think I did pretty well under the circumstances.
Thatcher: What would you like to have been?
Charles Foster Kane: Everything you hate.
Why? The most honest portrayal of subject matter ever filmed, this tale of slum gangs in Brazil could be a documentary. This story of a child persevering through the worst conditions imaginable scales through possibly every emotion you could ever feel.
Who? Alexandre Rodrigues is stellar as the lead character, but Leandro Firmino da Hora as the ultra violent psychopathic drug lord is the pinnacle of what a villain should be.
Flaws? It wouldn’t be the same without subtitles because it would mask the realism; unfortunately the American film audience is retarded.
Rocket: You need more than guts to be a good gangster, you need ideas.
Buscapé: It was like a message from God: “Honesty doesn’t pay, sucker.”
Carrot: Have you lost your mind? You are just a child!
Filé-com-Fritas: Listen man, I smoke, I snort… I’ve been begging on the street since I was just a baby. I’ve cleaned windshields at stop lights. I’ve polished shoes, I’ve robbed, I’ve killed… I ain’t no kid, no way. I’m a real man.
Why? Everything a film should be. Perfect story, casting, acting, emotion, action, dialogue, setting, atmosphere, score, wardrobe, etc..
Who? Marlon Brando plays the iconic role, but the movie is dominated by the subtle brilliance of Al Pacino as Michael Corleone. He could have stopped acting and would still be a legend.
Genco Abbandando: Vito, how do you like my little angel? Isn’t she beautiful?
Vito Corleone: She’s very beautiful. To you, she’s beautiful. For me, there’s only my wife and son.
Kay Corleone: Oh, Michael. Michael, you are blind. It wasn’t a miscarriage. It was an abortion. An abortion, Michael. Just like our marriage is an abortion. Something that’s unholy and evil. I didn’t want your son, Michael! I wouldn’t bring another one of you sons into this world! It was an abortion, Michael! It was a son Michael! A son! And I had it killed because this must all end!
[Michael’s eyes begin to bulge]
Kay Corleone: I know now that it’s over. I knew it then. There would be no way, Michael… no way you could ever forgive me not with this Sicilian thing that’s been going on for 2,000 years.
[Michael loses control. He slaps Kay across the face. She falls onto the couch]
Michael Corleone: Bitch! You won’t take my children!
Kay Corleone: I will.
Michael Corleone: You WON’T TAKE MY CHILDREN!
Kay Corleone: They’re my children too.
Michael Corleone: I don’t feel I have to wipe everybody out, Tom. Just my enemies.
Michael Corleone: There are many things my father taught me here in this room. He taught me: keep your friends close, but your enemies closer.
Michael: Get him a drink. Don’t be afraid, Carlo. Come on, you think I’d make my sister a widow? I’m Godfather to your son.
Kay Adams: Michael, you never told me you knew Johnny Fontane!
Michael: Sure, you want to meet him?
Kay Adams: Well, yeah! Sure.
Michael: My father helped him with his career.
Kay Adams: How did he do that?
Michael: …Let’s listen to the song.
Kay Adams: [after listening to Johnny for a while] Tell me, Michael. Please.
Michael: Well, when Johnny was first starting out, he was signed to a personal services contract with this big-band leader. And as his career got better and better, he wanted to get out of it. But the band leader wouldn’t let him. Now, Johnny is my father’s godson. So my father went to see this bandleader and offered him $10,000 to let Johnny go, but the bandleader said no. So the next day, my father went back, only this time with Luca Brasi. Within an hour, he had a signed release for a certified check of $1000.
Kay Adams: How did he do that?
Michael: My father made him an offer he couldn’t refuse.
Kay Adams: What was that?
Michael: Luca Brasi held a gun to his head, and my father assured him that either his brains or his signature would be on the contract.
Michael Corleone: Where does it say that you can’t kill a cop?
Tom Hagen: Come on, Mikey…
Michael Corleone: Tom, wait a minute. I’m talking about a cop that’s mixed up in drugs. I’m talking about a – a – a dishonest cop – a crooked cop who got mixed up in the rackets and got what was coming to him. That’s a terrific story. And we have newspaper people on the payroll, don’t we, Tom?
Michael Corleone: And they might like a story like that.
Tom Hagen: They might, they just might.
Michael Corleone: [to Sonny] It’s not personal, Sonny. It’s strictly business.
(My Favorite Quote From Any Film Ever)
Michael: My father is no different than any powerful man, any man with power, like a president or senator.
Kay Adams: Do you know how naive you sound, Michael? Presidents and senators don’t have men killed.
Michael: Oh. Who’s being naive, Kay?