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Monthly Archives: September 2014

My Student Tomato-Meter: 2014 Edition

Longtime readers of this blog know that every year around this time I post an updated “student tomato-meter” showing the aggregated results of the ratings — on a scale from one-to-10 — that my students have given to every movie I’ve shown in my film studies classes. I’ve now taught 58 classes and shown a total of 237 unique movies over the past five-and-a-half years. Incredibly, I recently realized that I’ve shown at least one movie that was originally released during every single calendar year from 1920 through the present (boo-yah!). Below is a list of all the films I have screened to date, presented in chronological order by release date, along with the average ratings given by my students. Below that I’ve also included a list of the top 10 highest rated films. Enjoy!

tomato

The list in chronological order:

The Golem (Wegener/Boese, Germany, 1920) – 6.0
The Cabinet of Dr. Caligari (Wiene, Germany, 1920) – 6.5
The Phantom Carriage (Sjostrom, Sweden, 1921) – 7.3
Nosferatu (Murnau, Germany, 1922) – 6.5
Our Hospitality (Keaton, USA, 1923) – 8.3
Waxworks (Leni, Germany, 1924) – 5.1
The Hands of Orlac (Wiene, Germany, 1924) – 6.2
Sherlock Jr. (Keaton, USA, 1924) – 7.9
Battleship Potemkin (Eisenstein, Soviet Union, 1925) – 5.1
The Last Laugh (Murnau, Germany, 1925) – 7.3
The Gold Rush (Chaplin, USA, 1925) – 8.0
The Navigator (Keaton, 1925) – 8.1
Seven Chances (Keaton, USA, 1925) – 8.2
The Freshman (Newmeyer/Taylor, USA, 1925) – 8.3
Faust (Murnau, Germany, 1926) – 7.0
The General (Keaton, USA, 1926) – 8.5
The End of St. Petersburg (Pudovkin, Soviet Union, 1927) – 5.0
Metropolis (Lang, Germany, 1927) – 6.6
Sunrise (Murnau, USA, 1927) – 7.0
Lonesome (Fejos, USA, 1928) – 6.7
The Passion of Joan of Arc (Dreyer, France, 1928) – 7.3
Man with the Movie Camera (Vertov, Soviet Union, 1929) – 6.0
A Cottage on Dartmoor (Asquith, UK, 1929) – 8.3
Earth (Dovzhenko, Soviet Union, 1930) – 3.6
City Girl (Murnau, USA, 1930) – 6.5
L’age D’or (Bunuel, France, 1930) – 6.6
M (Lang, Germany, 1931) – 8.1
City Lights (Chaplin, USA, 1931) – 8.4
Vampyr (Dreyer, Denmark/Germany, 1932) – 6.9
Duck Soup (McCarey, USA, 1933) – 6.8
L’atalante (Vigo, France, 1934) – 6.7
Top Hat (Sandrich, USA, 1935) – 8.6
My Man Godfrey (La Cava, USA, 1936) – 8.5
Grand Illusion (Renoir, France, 1937) – 7.0
The Awful Truth (McCarey, USA, 1937) – 8.5
Only Angels Have Wings (Hawks, USA, 1937) – 9.4
Alexander Nevsky (Eisenstein, Soviet Union, 1938) – 5.0
Bringing Up Baby (Hawks, USA, 1938) – 8.3
The Rules of the Game (Renoir, France, 1939) – 7.1
Stagecoach (Ford, USA, 1939) – 7.7
The Roaring Twenties (Walsh, USA, 1939) – 8.4
The Shop Around the Corner (Lubitsch, USA, 1940) – 7.4
How Green Was My Valley (Ford, USA, 1941) – 6.8
The Lady Eve (Sturges, USA, 1941) – 8.3
Citizen Kane (Welles, USA, 1941) – 8.3
Cat People (Tourneur, USA, 1942) – 5.0
The Palm Beach Story (Sturges, USA, 1942) – 7.5
Casablanca (Curtiz, USA, 1942) – 7.6
Ossessione (Visconti, Italy, 1943) – 5.2
The More the Merrier (Stevens, USA, 1943) – 8.5
To Have and Have Not (Hawks, USA, 1944) – 7.5
The Miracle of Morgan’s Creek (Sturges, USA, 1944) – 8.0
Double Indemnity (Wilder, USA, 1944) – 8.1
Detour (Ulmer, USA, 1945) – 7.2
Rome, Open City (Rossellini, Italy, 1945) – 7.2
Brief Encounter (Lean, England, 1945) – 8.3
The Big Sleep (Hawks, USA, 1946) – 6.0
My Darling Clementine (Ford, USA, 1946) – 7.3
The Best Years of Our Lives (Wyler, USA, 1946) – 8.4
Pursued (Walsh, USA, 1947) – 7.1
Out of the Past (Tourneur, USA, 1947) – 7.6
Body and Soul (Rossen, USA, 1947) – 7.6
The Lady from Shanghai (Welles, USA, 1947) – 7.9
Dead Reckoning (Cromwell, USA, 1947) – 8.2
Germany Year Zero (Rossellini, Italy/Germany, 1948) – 7.4
Fort Apache (Ford, USA, 1948) – 7.5
Bicycle Thieves (de Sica, Italy 1948) – 8.0
The Red Shoes (Powell/Pressburger, UK, 1948) – 8.3
Letter from an Unknown Woman (Ophuls, USA, 1948) – 8.8
The Third Man (Reed, UK, 1949) – 8.0
White Heat (Walsh, USA, 1949) – 8.3
A Letter to Three Wives (Mankiewicz, USA, 1949) – 8.4
Devil’s Doorway (Mann, USA, 1950) – 7.3
Los Olvidados (Bunuel, Mexico, 1950) – 7.5
The African Queen (Huston, 1951) – 8.3
Umberto D. (De Sica, Italy, 1952) – 6.8
Singin’ in the Rain (Donen/Kelly, USA, 1952) – 8.8
Ugetsu (Mizoguchi, Japan, 1953) – 6.7
Tokyo Story (Ozu, Japan, 1953) – 6.7
The Naked Spur (Mann, USA, 1953) – 7.0
Strangers on a Train (Strangers on a Train, USA, 1953) – 7.8
The Band Wagon (Minnelli, USA, 1953) – 8.0
Mr. Hulot’s Holiday (Tati, France, 1953) – 8.1
Pickup on South Street (Fuller, USA, 1953) – 8.2
Gentlemen Prefer Blondes (Hawks, USA, 1953) – 8.3
Sansho the Bailiff (Mizoguchi, Japan, 1954) – 7.0
Seven Samurai (Kurosawa, Japan, 1954) – 8.3
Rear Window (Hitchcock, USA, 1954) – 8.9
All That Heaven Allows (Sirk, USA, 1955) – 8.1
Pather Panchali (Ray, India, 1955) – 6.4
Aparajito (Ray, India, 1956) – 6.6
Bigger Than Life (N. Ray, USA, 1956) – 6.8
The Searchers (John Ford, USA, 1956) – 7.4
A Man Escaped (Bresson, France, 1956) – 8.0
An Affair to Remember (McCarey, USA, 1957) – 8.7
Touch of Evil (Welles, USA, 1958) – 7.7
Some Came Running (Minnelli, USA, 1958) – 7.7
Vertigo (Hitchcock, USA, 1958) – 8.9
Hiroshima Mon Amour (Resnais, France, 1959) – 6.8
Pickpocket (Bresson, France, 1959) – 7.3
Rio Bravo (Hawks, USA, 1959) – 8.0
North By Northwest (Hitchcock, USA, 1959) – 8.6
The 400 Blows (Truffaut, France, 1959) – 8.8
Some Like It Hot (Wilder, USA, 1959) – 9.2
L’avventura (Antonioni, Italy, 1960) – 7.4
Breathless (Godard, France, 1960) – 7.8
Les Bonnes Femmes (Chabrol, France, 1960) – 8.0
Psycho (Hitchcock, USA, 1960) – 8.8
Viridiana (Bunuel, Spain, 1961) – 5.8
Last Year at Marienbad (Resnais, France, 1961) – 6.8
Le Doulos (Melville, France, 1962) – 7.1
Vivre sa Vie (Godard, France, 1962) – 7.2
Cleo from 5 to 7 (Varda, France, 1962) – 7.4
The Man Who Shot Liberty Valance (Ford, USA, 1962) – 8.3
8 1/2 (Fellini, Italy, 1963) – 6.5
Black Sabbath (Bava, Italy, 1963) – 7.1
Contempt (Godard, France, 1963) – 8.3
Shock Corridor (Fuller, USA, 1963) – 8.4
Onibaba (Shindo, Japan, 1964) – 8.0
The Umbrellas of Cherbourg (Demy, France, 1964) – 8.2
Alphaville (Godard, France, 1965) – 6.0
Pierrot le Fou (Godard, France, 1965) – 8.3
The Pornographers (Imamura, Japan, 1966) – 6.9
Point Blank (Boorman, USA, 1966) – 7.0
The Good, the Bad and the Ugly (Leone, Italy, 1966) – 8.8
David Holzman’s Diary (McBride, USA, 1967) – 6.9
Le Samourai (Melville, France, 1967) – 8.0
Play Time (Tati, France, 1967) – 8.2
2001: A Space Odyssey (Kubrick, USA, 1968) – 7.6
My Night at Maud’s (Rohmer, France, 1969) – 7.8
The Wild Bunch (Peckinpah, USA, 1969) – 8.1
Le Boucher (Chabrol, France, 1970) – 7.5
Minnie and Moskowitz (Cassavetes, USA, 1971) – 5.2
McCabe and Mrs. Miller (Altman, USA, 1971) – 7.0
Two-Lane Blacktop (Hellman, USA, 1971) – 7.7
A New Leaf (May, USA, 1971) – 8.0
Solaris (Tarkovsky, Russia, 1972) – 6.9
Love in the Afternoon (Rohmer, France, 1972) – 8.6
Ali: Fear Eats the Soul (Fassbinder, Germany, 1973) – 7.1
The Mother and the Whore (Eustache, France, 1973) – 7.4
Badlands (Malick, 1973) – 7.6
The Long Goodbye (Altman, USA, 1973) – 7.8
Young Frankenstein (Brooks, USA, 1974) – 7.6
Black Christmas (Clark, Canada, 1974) – 8.2
Chinatown (Polanski, USA, 1974) – 8.2
Blazing Saddles (Brooks, USA, 1974) – 8.4
Night Moves (Penn, USA, 1975) – 8.1
The Irony of Fate: Or Enjoy Your Bath! (Ryazanov, Russia, 1975) – 8.5
Mikey and Nicky (May, USA, 1976) – 6.4
Taxi Driver (Scorsese, USA, 1976) – 8.8
One Way Boogie Woogie (Benning, USA, 1977) – 3.4
Annie Hall (Allen, USA, 1977) – 6.6
Days of Heaven (Malick, USA, 1978) – 7.3
Killer of Sheep (Burnett, USA, 1979) – 7.8
Popeye (Altman, USA, 1980) – 5.2
Raging Bull (Scorsese, USA, 1980) – 8.3
The Road Warrior (Miller, Australia, 1981) – 7.4
Rock in Reykjavik (Fridriksson, Iceland, 1982) – 6.3
The Slumber Party Massacre (Jones, USA, 1982) – 6.8
Blade Runner (Scott, USA, 1982) – 7.6
The Thing (Carpenter, USA, 1982) – 8.3
Sans Soleil (Marker, France, 1983) – 6.2
Stranger Than Paradise (Jarmusch, USA, 1984) – 6.2
After Hours (Scorsese, USA, 1985) – 6.7
Bad Blood (Carax, France, 1986) – 7.1
The Dead (Huston, USA/UK, 1987) – 7.8
The Thin Blue Line (Morris, USA, 1988) – 7.8
A Short Film About Love (Kieslowski, Poland, 1988) – 8.4
Drugstore Cowboy (Van Sant, USA, 1989) – 8.2
Goodfellas (Scorsese, USA, 1990) – 9.2
Close-Up (Kiarostami, Iran, 1991) – 7.6
The Lovers on the Bridge (Carax, France, 1991) – 8.0
The Player (Altman, USA, 1992) – 8.1
Unforgiven (Eastwood, USA, 1992) – 8.6
Deep Cover (Duke, USA, 1992) – 8.9
The Bride With White Hair (Yu, Hong Kong, 1993) – 5.1
Naked (Leigh, UK, 1993) – 6.3
Groundhog Day (Ramis, USA, 1993) – 8.1
Dazed and Confused (Linklater, USA, 1993) – 8.2
Menace II Society (Hughes/Hughes, USA, 1993) – 8.2
The Piano (Campion, New Zealand, 1993) – 8.6
Ed Wood (Burton, USA, 1994) – 6.8
Chungking Express (Wong, Hong Kong, 1994) – 7.9
Dead Man (Jarmsuch, USA, 1995) – 8.1
A Moment of Innocence (Makhmalbaf, Iran, 1996) – 5.8
The Mirror (Panahi, Iran, 1997) – 5.1
The Taste of Cherry (Kiarostami, Iran, 1997) – 7.2
L.A. Confidential (Hanson, USA, 1997) – 9.0
The Bird People in China (Miike, Japan, 1998) – 6.6
Beau Travail (Denis, France/Djibouti, 1999) – 5.4
Nowhere to Hide (Lee, S. Korea, 1999) – 7.5
Audition (Miike, Japan, 1999) – 7.6
Ravenous (Bird, UK/USA, 1999) – 8.0
Needing You (To/Wai, Hong Kong, 2000) – 7.1
In the Mood for Love (Wong, Hong Kong, 2000) – 7.4
The Day I Became a Woman (Meshkini, Iran, 2000) – 7.5
Failan (Song, S. Korea, 2000) – 8.0
Dancer in the Dark (Von Trier, Denmark/Sweden, 2000) – 8.1
Yi Yi (Yang, Taiwan, 2000) – 8.4
JSA: Joint Security Area (Park, S. Korea, 2000) – 8.4
Avalon (Oshii, Japan/Poland, 2001) 7 .8
Mulholland Drive (Lynch, USA, 2001) – 8.3
The Devil’s Backbone (Del Toro, Spain/Mexico, 2001) – 8.6
Far From Heaven (Haynes, USA, 2002) – 7.6
Infernal Affairs (Lau/Mak, Hong Kong, 2002) – 7.8
The Tracker (De Heer, Australia, 2002) – 7.9
Save the Green Planet (Jang, S. Korea, 2003) – 7.0
Oldboy (Park, S. Korea, 2003) – 8.6
Memories of Murder (Bong, S. Korea, 2003) – 8.8
Dumplings (Chan, Hong Kong, 2004) – 6.4
The Island of Black Mor (Laguionie, France, 2004) – 8.1
Moolade (Sembene, Senegal, 2004) – 8.2
3-Iron (Kim, S. Korea, 2004) – 8.8
Before Sunset (Linklater, USA/France, 2004) – 9.1
The Proposition (Hillcoat, Australia, 2005) – 8.1
Grizzly Man (Herzog, USA, 2005) – 8.1
A History of Violence (Cronenberg, Canada/USA, 2005) – 9.1
A Scanner Darkly (Linklater, USA, 2006) – 8.0
Offside (Panahi, Iran, 2006) – 8.1
Once (Carney, UK, 2006) – 8.8
The Host (Bong, S. Korea, 2006) 8.9
Zodiac (Fincher, USA, 2007) – 9.1
The Headless Woman (Martel, Argentina, 2008) – 6.1
Me and Orson Welles (Linklater, USA, 2008) – 7.9
The House of the Devil (West, USA, 2009) – 8.1
The Hunter (Pitts, Iran, 2010) – 6.8
The Social Network (Fincher, USA, 2010) – 8.5
Sleeping Sickness (Kohler, Germany, 2011) – 6.6
Drive (Refn, USA, 2011) – 8.1
Holy Motors (Carax, France, 2012) – 8.6
Spring Breakers (Korine, USA, 2012) – 9.4
Only Lovers Left Alive (Jarmusch, USA, 2013) – 6.3
Jimmy P. (Desplechin, France/USA, 2013) – 7.7
Before Midnight (Linklater, USA, 2013) – 7.8
Nymphomaniac (Von Trier, Denmark/Germany, 2013) – 9.2
The Grand Budapest Hotel (Anderson, USA, 2014) – 8.9
Boyhood (Linklater, USA, 2014) – 9.8

A countdown of the top 10 highest ranked films:

10. L.A. Confidential (Hanson, USA, 1997) – 9.0
9. Zodiac (Fincher, USA, 2007) – 9.1
8. Before Sunset (Linklater, USA/France, 2004) – 9.1
7. A History of Violence (Cronenberg, Canada/USA, 2005) – 9.1
6. Nymphomaniac (Von Trier, Denmark/Germany, 2013) – 9.2
5. Goodfellas (Scorsese, USA, 1990) – 9.2
4. Some Like It Hot (Wilder, USA, 1959) – 9.2
3. Only Angels Have Wings (Hawks, USA, 1937) – 9.4
2. Spring Breakers (Korine, USA, 2012) – 9.4
1. Boyhood (Linklater, USA, 2014) – 9.8

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The Last Ten Movies I Saw

1. Land Ho! (Katz/Stephens)
2. Modern Times (Chaplin)
3. Our Hospitality (Keaton)
4. Advanced Style (Plioplyte)
5. The Piano (Campion)
6. His Girl Friday (Hawks)
7. While the City Sleeps (Lang)
8. Norte, the End of History (Diaz)
9. Sherlock Jr. (Keaton)
10. Faust (Murnau)


Odds and Ends: Norte, The End of History and Manakamana

Norte, The End of History (Lav Diaz, Philippines, 2013) – Gene Siskel Film Center / Rating: 9.7

Norte

Chicago movie buffs should make it a point to see Lav Diaz’s monumental Norte, the End of History, which will have its local premiere this Saturday, September 6, as part of the Gene Siskel Film Center’s ambitious Filipino Cinema series (and then screen only once more, on Saturday, September 27). This 4-hour-plus transposition of Fyodor Dostoevsky’s Crime and Punishment to the contemporary Philippines is easily one of the most important film events of the year. Diaz, a profoundly modern filmmaker, reminds us why Dostoevsky’s 19th-century novel will always be sadly relevant — because pretentious and confused young men will always come up with half-baked philosophical theories to justify their supposed moral superiority. Diaz’s real masterstroke, however, is to essentially split Dostoevsky’s protagonist into three separate characters: Fabian (Sid Lucero) is the chief Raskolnikov figure, a law-school dropout who commits the horrific and senseless double murder of a loan shark and her daughter; Joaquin (Archie Alemania), a family man and laborer, is falsely accused of the crime and sentenced to a lengthy prison term; Eliza (Angeli Bayani), Joaquin’s wife, must consequently roam the countryside and look for odds jobs in order to provide for her and Joaquin’s young children. By having Dostoevsky’s themes of crime, punishment and redemption correspond to three characters instead of one, Diaz retains the Russian author’s trademark first-person psychological intensity while also offering a panoramic view of society that more closely resembles that of Count Tolstoy. Please don’t let the extensive running time scare you: like Edward Yang’s A Brighter Summer Day, another favorite work of art that Norte resembles, not a minute of screen time here is wasted.

The complete schedule for the Filipino Cinema: New Directions/New Auteurs series can be found here.

Manakamana (Stephanie Spray/Pacho Velez, USA/Nepal, 2013) – On Demand / Rating: 8.1

Mailmaster

Let’s face it: the vast majority of what pass for feature documentaries these days are merely works of video journalism. In these “talking heads”-studded extravaganzas, which are increasingly clogging up precious space in America’s arthouse theaters, content is everything. The best that can be said about their cinematography and sound design is that they are “functional.” I happen to like some such movies but I also know damn well that I am likely to get the same thing out of watching them on an iPhone that I will get out of watching them on a 40-foot cinema screen. That’s why it brings me great pleasure to say that I recently caught up to Stephanie Spray and Pacho Velez’s Manakamana, a non-fiction film full of remarkable sights and sounds that proves again, if further proof is needed, that Harvard’s Sensory Ethnography Lab is almost single-handedly rescuing the documentary form by producing non-fiction films of real aesthetic value. As in the SEL’s mesmerizing 2012 fishing-boat doc cum horror movie Leviathan, the focus here is more experiential (and experimental) than informational. The premise is that the camera stays inside of a 5×5-foot cable car as it makes 11 journeys, carrying visitors to and from the sacred “Manakamana temple,” through the remote Himalayan mountains in Nepal. Each of the 11 journeys was captured in a single 10-minute take on 16mm film and all of the edits between shots have been cleverly disguised by cover of darkness (a la Hitchcock’s Rope). The result is that viewers get to casually hang out with a wide swath of humanity — cell-phone-wielding teenagers, chatty elderly women, jamming musicians, sacrificial goats and even a couple of American tourists — and are asked to simply observe them against the background of an ever-changing jungle landscape. A fascinating, immersive experience.

Manakamana is now available for rental or purchase on various digital platforms, including iTunes.


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