A highly subjective list of films I return to again and again. A few mild spoilers ahead.

15. Rear Window (1954)
Directed by Alfred Hitchcock. Starring James Stewart, Grace Kelly
“We’ve become a race of Peeping Toms.” — Stella
The first Hitchcock film I fell in love with is still my favorite. The apartment courtyard perspective from Jimmy Stewart’s rear window is brilliant. Grace Kelly is at the height of her perfection, and humor and tension is blended perfectly in a script that has enough of a jolt to offer a satisfying end, and closing with Jimmy in a worse situation than when the film started with two broken legs is Hitchcock’s playful irony personified.

14. Once Upon a Time in Hollywood (2019)
Directed by Quentin Tarantino. Starring Leonardo DiCaprio, Brad Pitt, Margot Robbie
“Don’t cry in front of the Mexicans.” — Cliff Booth
Full disclosure, after the first viewing, I really wasn’t a huge fan of it. It is now without question my favorite Tarantino film, and the most restrained of his work. Save for the Bruce Lee Cliff Booth backlot fight scene, QT is determined to get 1969 Los Angeles and its era of filmmaking over with the audience, not himself. The 93 KHJ Boss Radio playing throughout as Cliff’s muscle car races around Tinseltown creates the perfect atmospheric hang out film. The Rolling Stones “Out of Time” is ominously perfect as we approach the inevitable demise of Sharon Tate, only to have Tarantino swerving us with a fairy tale ending, where his restraint pays off as he uses the finale to unleash a torrent of his signature stylized violence, creating the perfect unexpected ending to the film.
Questions about Roman Polanski’s involvement, the potential of this being a Hollywood sacrifice or ritual, in particular since she was pregnant, Polanski having released Rosemary’s Baby the year before… All of that we’ll discuss some other time.
But for now, this holds the distinction of being both a favorite all time film as well as a highly rewatchable mood movie that can be thrown on anytime.

13. Casino (1995)
Directed by Martin Scorsese. Starring Robert De Niro, Sharon Stone, Joe Pesci
“I fucked up, Frankie. I fucked up good this time. I should have never started with this fucking broad.” — Nicky Santoro
Sharon Stone’s psychotic-bitch performance is so spot on you feel sorry for any of the men she has dated. There is no way aspects of that aren’t genuinely her. She should have won the Oscar for it, but flashing her pubic hair crossing and uncrossing her legs in Basic Instinct a few years prior ruffled some serious feathers at that Academy of Motion Pictures Arts and Sciences.
It features the same music-infused, documentary-style filmmaking that made Goodfellas great, but the edge is darker, the fall is longer, and the 70s Vegas nostalgia hits like a degenerate gambler on 17. Pesci’s performance is his best in my opinion, even when the violence is look-away from the screen for a moment level intense.

12. The Game (1997)
Directed by David Fincher. Starring Michael Douglas, Sean Penn, Deborah Kara Unger
“Discovering the object of the game is the object of the game.” — Daniel Schorr
You’re into The Game from nearly the beginning — a lunch with brother Conrad Van Orton (Sean Penn), a cryptic invitation, and it just builds and builds from there. Douglas plays the escalation perfectly. Underneath the thriller mechanics it’s a genuinely Gnostic-coded film: illusory reality, elite depravity, the false death and rebirth. Consumer Recreation Services, CRS, the perpetrators of The Game, give a not so subtle nod to the three-letter agencies that control our own reality and experience. Using psy-ops and trauma to move us across the board as they see fit.
It works out two things about modern life that most movies won’t touch — the false reality we’re handed as normal, and the hidden hands behind the curtain, pulling strings sometimes just for the sport of it. The Game is an initiation. It’s a natural companion piece to Eyes Wide Shut in that sense. As well as a counterpart to The Truman Show, all released in the back half of the 90’s. There’s also an iconic representation of San Francisco, one I grew up a couple hours away from that I feel no longer really exists in the same capacity — wealth, status, one of the most geographically blessed and architecturally stunning cities on earth, a world apart from what it’s become. The bones remain, but the soul is gone. The Game is a window into a not-so-distant past, and the revelation of a not so hidden ruling class.

11. 1917 (2019)
Directed by Sam Mendes. Starring George MacKay, Dean-Charles Chapman, Mark Strong
“It’s easier not to go back at all.” — Lance Corporal Schofield
A film that should have won best picture, but was too masculine, too white, and too authentic to do so in the modern era.
The moment that makes this film an all-time favorite for me is Schofield finally breaking over the top and sprinting horizontally through the charging line, trying to reach the commanding officer before the second wave of the doomed attack goes off. It’s one of the most moving, most earned scenes I’ve ever watched, and it never diminishes — every viewing hits the same way. Roger Deakins shot nearly the entire film on a single 40mm lens — one unchanging eye, so the camera could slide from a wide trench shot into a close-up without ever breaking the illusion of one continuous take. The large-format digital camera he used is what gives the trenches and the breach their scale and depth, putting you in the mud alongside Schofield the whole way.
It’s beautiful, it moves fast, and like a great roller coaster, you’ll be ready to get in line to take the ride again once it’s finished.

10. In A Lonely Place (1950)
Directed by Nicholas Ray. Starring Humphrey Bogart, Gloria Grahame
“I was born when she kissed me. I died when she left me. I lived a few weeks while she loved me.” — Dixon Steele
My grandfather passed away when I was two years old. In some ways, from the things I have heard about him, Humphrey Bogart reminds me of him. A cigar smoking, daily drinking, wry humored man with a sharp intellect driving things under the surface. That connection is one of the reasons I love Bogie as an actor.
It may not be Bogart’s best performance, but the script doesn’t require that. There’s much talk of a “male-loneliness epidemic”, Dixon Steele was living his own self imposed isolation long ago, and doing it with style. Gloria Grahame is stunning, and the story of her real life struggles with building a lasting marriage peek through into her character here. It’s an easy watch, and a great window into a rightfully romanticized era.

9. Escape from Alcatraz (1979)
Directed by Don Siegel. Starring Clint Eastwood, Patrick McGoohan
“No one has ever escaped from Alcatraz. And no one ever will!” — Warden
Alcatraz and the San Francisco Bay filtered through seventies American cinema grit, and a cagey Clint Eastwood leading the way — yes, I’m most definitely in.
I love the story, on screen and off. I’m a believer they did actually make it to Brazil, as History Channel’s special “Alcatraz: Search for the Truth” alluded to. It aired October 12, 2015, and that’s the special where the Widner family — the Anglin brothers’ nephews — brought forward the 1975 Brazil photo and the Christmas cards. The film version of the real-life prison escape delivers on all fronts.
No need to overthink this one, it’s a fantastic watch or rewatch.

8. The Revenant (2015)
Directed by Alejandro González Iñárritu. Starring Leonardo DiCaprio, Tom Hardy
“I ain’t afraid to die anymore. I’d done it already.” — Hugh Glass
The Revenant is home to the greatest Native American attack sequence on film, the greatest grizzly bear attack scene on film, and some of the most breathtaking nature cinematography in cinema history. The film is paced perfectly with an incredible score by Ryuichi Sakamoto, and an “I will die for this mother fuggin’ Oscar” performance from Leonardo. One of my all time favorite in-theater experiences. I think I’ve just talked myself into watching it again this week.

7. Leaving Las Vegas (1995)
Directed by Mike Figgis. Starring Nicolas Cage, Elisabeth Shue
“You can never, never ask me to stop drinking.” — Ben Sanderson
What happens if you stare into the abyss, and decide to jump in? This film is not for everyone, it’s dark, it’s depressing, but it’s undeniably real. Nic Cage took home his lone Oscar for his portrayal of Ben Sanderson, a Hollywood screenwriting cast off on a suicidal alcoholic mission to drink himself to death in Sin City. Ben makes the company of working girl Sera (Shue) and they embark on a romance of despair. The music, the cinematography, the performances, the cringe of a drunk hitting rock bottom and smiling through it— it will have you rethinking all the times you had one too many and made a fool of yourself in front of friends and family, and thanking God for abstinence and moderation.

6. Chinatown (1974)
Directed by Roman Polanski. Starring Jack Nicholson, Faye Dunaway, John Huston
“Forget it, Jake. It’s Chinatown.” — Walsh
They call it the best screenplay of all time, and it may very well be that, but stopping there is selling the film far too short. A beautiful noir shot in full color, that by the way looks stunning on 4K (the images almost look 3D they are so rich in detail), the story of a hard-nose private dick who starts pulling a thread on a case and ends up with a whole ball of yarn in his lap he lacks the power to do anything with. Faye Dunaway’s dark secret reveal is an all-timer cinema surprise, and the final scene puts a perfect final touch on the message of the film. A Polanski number masterpiece released just five years after the loss of his pregnant wife Sharon Tate.

5. Taxi Driver (1976)
Directed by Martin Scorsese. Starring Robert De Niro, Jodie Foster
“Someday a real rain will come and wash all this scum off the streets.” — Travis Bickle
1970’s New York City, Martin Scorsese, Robert De Niro, Bernard Herrmann’s score, and a vicious script from Paul Schrader. Driving the streets of New York at night with the jazz score carrying you along is mesmerizing, yet the next chaotic incident is always out there, usually waiting around the next turn. One of the first films to hit me in my formative years with a, “this is my favorite movie of all time, this is it.” feeling.
A broken man in a broken world trying to do right in a broken way.

4. Barry Lyndon (1975)
Directed by Stanley Kubrick. Starring Ryan O’Neal, Marisa Berenson
“It was in the reign of George III that the aforesaid personages lived and quarrelled; good or bad, handsome or ugly, rich or poor, they are all equal now.” — Closing narration
I saw this movie for the first time only in the past year. Stanley Kubrick’s misunderstood masterpiece. It stuck with me for weeks after the first viewing, the utter beauty of the film, the palette, the grand set design and period perfect costumes all served as accents on the message that struck me flat— do we live our lives, or merely survive them? Hopping from one opportunity to the next, as fate twists its way around us over the years, as we become different versions of ourselves, as actors in a play we didn’t write, as a means of self-preservation, and the dire consequences that living such a life can bring about when ambition reigns without conscience.
Perhaps the most gorgeous film ever shot, each frame presenting itself as a living painting of the era, a driving score that Kubrick reorchestrated himself that marches us along like a funeral procession, beat by beat, ever closer to our inescapable fate.
Watch this immediately if you haven’t already, and dispel any expectations you have of what a Kubrick film is before you do so.

3. The Godfather Part II (1974)
Directed by Francis Ford Coppola. Starring Al Pacino, Robert De Niro, Robert Duvall
“I don’t feel I have to wipe everybody out, Tom. Just my enemies.” — Michael Corleone
I’m in the camp who prefer the second act of The Godfather to the first, but that is in no way intended as a slight at the original. Part II builds upon the foundation of the family. We split time between Robert De Niro as a newly arrived Don Corleone in the early 20th century, and Michael Corleone in a post Don world, evolving into what he went away to World War 2 to avoid becoming; his father. This is my Star Wars, the true ascent into power, and all its dark corridors that ensnare you along the way.
This is family.

2. No Country for Old Men (2007)
Directed by Ethan Coen, Joel Coen. Starring Tommy Lee Jones, Javier Bardem, Josh Brolin
“You never know what worse luck your bad luck has saved you from.” — Ellis
This is as close as it gets for me to a perfect film. On the surface we have a three man chase, scene by scene, one following another, with a ticking clock to see if Llewellyn Moss can get away with the money before Anton Chigurh can track him down, and Sheriff Ed Tom Bell bringing up the rear, assessing the damage in the wake of the storm. It’s perfectly cast, perfectly shot, perfectly paced, and perfectly ended.
It holds true to the Cormac McCarthy novel for much of the film, and uses much of the same dialogue. The script for the film is one that I find highly quotable, even though I’ve been told, “it’s not that kind of movie.” But how can you not love lines like “supposedly ky-yotes won’t eat a Mexican.” and “I know something better. I know where it’s going to be, it will be brought to me and placed at my feet.” and “It’s the tide. It’s the dismal tide. It’s not the one thing.”
The film is not what many expect, and that sours a lot of first viewings. Its pacing, style and abrupt violence can be off-putting for some, but are part of the recipe that makes it a film that has stayed with me for nearly twenty years.
Every answer you seek about the film’s plot was most likely presented in a frame that went unnoticed upon first, second or even a tenth viewing. From Chigurh walking outside and checking his boots, a green light before a car crash, or the loose screws next to the vent, the Coens put together an absolute masterpiece with subtle clues embedded the whole way through.

1. The Passion of the Christ (2004)
Directed by Mel Gibson. Starring Jim Caviezel, Maia Morgenstern
“See, Mother, I make all things new.” — Jesus Christ
The most important film ever made. The art of cinema has never put the greatest story ever told on film as well as Mel Gibson did so with The Passion of the Christ.
Against the industry itself that sought to suppress it, this film was made with craft, care and respect for its source material— the gospels themselves, in such a way that led to a finished product that is truly transcendent.
This is an annual Good Friday viewing for me. A film that I think of, without exaggeration, daily.
Caviezel’s personal account of his experience in making this film is also mandatory viewing.
Gibson’s decisions were flawless; casting, script, costume, imagery, pacing. When to show things, how long to show them, etc. The list of correct choices he made in succession to put this together is hard to quantify. The clearest and cleanest explanation I have for it is that he was being driven by a force far greater than himself. I’m sure he would agree.



