Exactly what it says on the tin – my top ten films.

 

Well, perhaps not quite exactly as these are my top ten non-‘genre’ films – that is, excluding ‘genre’ films such as fantasy or SF films, animated films, films adapted from comics, and horror films, all of which have their own top tens. I also rank comedy films in their own top ten.

 

That said, quite a few of my non-genre films have fantasy or SF elements, just not predominantly so to rank them within the genre – but I will have a special section in each entry to note fantasy or SF elements. Also, almost every film has comedic elements or at least the odd gag – after all, one could classify almost every narrative work by the comedy-tragedy dichotomy of classical Greek drama – so I will also have a special section for comedy in each entry.

 

And yes – I know animation is more a medium than its own genre, although animated films are predominantly fantasy or SF genre. The same goes for films adapted from comics, although that depends on the genre of comic.

 

And no – despite my feature image being the poster for Citizen Kane, “frequently cited as the greatest film ever made”, it is not in my top ten, although I suppose that fortuitously avoids spoiling any entry. While I have seen it, found it engaging enough, and acknowledge its innovative technical brilliance…sadly I tend towards the view of the film expressed by Peter Griffin in The Family Guy, albeit I wouldn’t go quite so far as he did. (In one of its signature cutaway gags, Peter has been banned from the video stores for taping over their movies. In the case of Citizen Kane, he tapes over it to say “It was his sled from when he was a kid. There, I just saved you two long, boobless hours”).

 

It could be worse. It could be Peter Griffin’s opinion of The Godfather – he didn’t care for it, as “it insists upon itself”.

 

Anyway, here are my Top 10 Films.

 

 

(10) DAVID LEITCH –

THE FALL GUY (2024)

 

My wildcard tenth place entry for 2024 goes to The Fall Guy. In something of a departure from my usual rule, it wasn’t the best or my favorite film from 2024 – that’s the next entry, although given that the next entry is more dark fantasy or horror, it might be counted as the best non-genre film from 2024. And what’s not to love about a movie filmed and set in Australia? (Sydney in case you were wondering).

 

It’s not high art by any means and goes off the rails in the third act, but I just like the films of director David Leitch and this entry replaced 2022’s Bullet Train as my former entry for him. Bullet Train was probably quirkier fun that The Fall Guy but the latter has a broader and more easy-going charm.

 

Leitch just makes fun popcorn-munching films with standout action set pieces, not surprisingly from his background as a stunt performer – including as stunt double for Brad Pitt (who starred as the protagonist in Bullet Train).

 

His (uncredited) directorial debut was a little film in 2014 called John Wick. He followed that up with Atomic Blonde and its gritty action scenes revolving around Charlize Theron as protagonist – which with Bullet Train and The Fall Guy would comprise my holy trinity of Leitch films to date.

 

Yes – I love John Wick but it’s not pure Leitch as he was co-director with the credited director Chad Stehelski. He also directed Deadpool 2 and Hobbs & Shaw but they’re not quite in the same league as the trinity.

 

As for The Fall Guy, what more do you need to know than it broke a Guiness World Record for the most cannon rolls in a car?

 

Okay, okay – perhaps a little more but it’s clearly Leitch directing “a love letter to stunts” in tribute to his former career, using practical stunts in highly choreographed action sequences and a nice nod to just what goes into bringing an action sequence to the screen. For the record – and I’m sure it’s part of the film’s joke – the film within the film looks as if it would be terrible and cheesily over the top.

 

Beyond that it’s an action-comedy film like its predecessor Bullet Train, but in its case loosely based on the 1980s TV series about stunt performers (so keep an eye out for those cameos from the series). Ryan Gosling is his usual charismatic self as the stuntman protagonist “working on his ex-girlfriend’s (Emily Blunt) directorial debut action film, only to find caught up in a conspiracy involving the film’s lead actor” – played by Bullet Train alumni (and future James Bond) Aaron Taylor-Johnson.

 

And it’s hoot, even if (or perhaps especially as) the plot veers into the usual absurdity of action films.

 

FANTASY & SF

 

I suppose you could count the film within the film – an SF film of alien war or invasion. However – few fantasy or SF elements in the film itself unless you count drug hallucinations or the suspension of disbelief from just how absurd the plot gets.

 

COMEDY

 

Definitely comedic elements – so much so that you could probably rank it as a comedy, but I feel the action looms larger, particularly in those exquisitely choreographed and crafted stunts.

 

 

RATING: 4 STARS****
X-TIER (WILD TIER)

 

 

 

(9) ROBERT EGGERS –

NOSFERATU (2024)

 

“He is coming”

Yes, I know that I should technically include it in one of my genre film top ten lists – specifically my Top 10 Horror Films (although I will certainly add it to my special mention for vampire horror films) – but I’m substituting it for my previous Eggers entry in this top ten, The Northman.

Although come to think of it, there’s something of a running theme for horror or at least dark fantasy elements in all four of the films Eggers has directed so far – The Northman had arguably the fewest such elements, but Nosferatu follows on from the atmospheric horror of his first film The Witch, aptly enough as Nosferatu has been a passion project Eggers has had bubbling since then and he intended it to be his second film.

If there’s one thing for which Eggers is known, it’s for making mythic worlds – films that utterly and viscerally immerse their audience into the world of their stories, characteristically with “their central elements of mythology and folklore”, down to the finest detail.

He did it with The Witch, he did it with The Northman, and he did it here in his Gothic horror passion project. Indeed, I’d argue that he did it best here – for one thing he has the dark fantasy elements to play with from vampire folklore and for another he improves upon the more ponderous pacing that is arguably a side effect of his world-immersion to make his best paced film yet.

If you know Dracula – particularly the book – you know the central plot of this film. Nosferatu is a remake of the 1922 German silent film of the same name (also remade by Werner Herzog as the 1979 German film Nosferatu the Vampire which is the version I saw). That film in turn was based on the book Dracula, transferred to Germany (instead of England) with the names of characters changed to avoid copyright, most notably the titular vampire renamed to Count Orlok.

Forget the more suave depictions of Dracula or indeed any vampire – Count Orlok as he appeared in the original film (and the 1979 remake) was a distinctively grotesque figure, albeit perhaps unintentionally comic at times.

However, forget that unintentionally comic appearance at times here – as played by Bill Skarsgard (upping the ante on his previous eldritch horror depiction of Pennywise), Orlok is still grotesque but also a towering and terrifying figure of apocalyptic plague, literal and metaphorical. And that’s not just by sight but also by sound – with his reverberating, sepulchral voice.

He’s also gloriously moustachioed, evoking the appearance of Dracula in the book – in turn drawn from the original Dracula, Vlad Tepes or Vlad the Impaler. You certainly get the impression of a literally larger than life Romanian nobleman, that has torn himself through centuries and swum through oceans of blood, both when alive and undead, by sheer size and force of will. And again that’s not just by sight but also by sound – with his accent and speaking what I have read to be a reconstructed form of the ancient Dacian language of pre-Roman Romania. That’s how far back the Orlok of Eggers’ film goes…

As usual, Eggers excels in the atmospheric and visual nature of his films – with the use of darkness so palpable here that it is virtually a character in its own right (and indeed usually is as part of Orlok). Much of the film has a dream-like quality, or rather a quality of nightmare – not coincidentally as Orlok has the power to invade the dreams or minds of his victims, being as much like a lich as he is a vampire.

That’s helped by the dark blue-tinted scenes at night resembling the black and white of the original film but also by the frequent firelit smoky scenes. Even in daylight, the scenes seemed to have a sepia tone.

The only drawback is the naked virgin on horseback – I would have liked to see much more of her, or even a whole film about her as naked virgin vampire hunter. Apparently she was played by a Czech model Katerina Bila – you’re welcome.

Although that also did prompt me to missing an appearance by Eggers alumni Anya Taylor-Joy – she (or her body double) always likes to get naked in his films. Don’t get me wrong – while I have thing for Taylor-Joy with those fey eyes of hers and it would have been interesting to see what she did with the central role of Ellen, Lily Rose-Depp succeeds in bringing an ethereal, otherworldly nature to the role.

 

FANTASY & SF

 

And how! The most dark fantasy elements of any of his films except for The Witch – and writ more large even than that film.

 

COMEDY

 

Eggers…isn’t big on comedic elements. So, no – or few and far between.

 

RATIRATING: 4 STARS****

B-TIER (HIGH TIER)

 

 

(8) DAVID LYNCH –

MULHOLLAND DRIVE (2001)

 

This entry is to commemorate director David Lynch – who at the time of this entry only recently passed away (15 January 2025). Previously, I had awarded him special mention, but you know what? I like him being here in my top ten, particularly in a place above director Robert Eggers – the films of the latter always prompt my mind to David Lynch. I wouldn’t call them Lynchian as such – in some ways they’re the reverse with their attention to historical detail while the time period of the setting in Lynch’s films is often amorphous – but there’s a vibe there, particularly when the films of Eggers get dream-like.

Which brings me to the definitive and often touted quality of David Lynch’s films – their surreal dream-like nature. “He is considered one of the most influential filmmakers of his time for his idiosyncratic audiovisual style (since semi-formally dubbed “Lynchian”), as well as arguably the most popular director regularly associated with surrealism…his works’ utilization of dream logic”.

He does have some more straightforward films in his oeuvre but for the most part I like his films – at least my favorite films – to dreams. There’s kind of a logic to them, albeit the aforementioned dream logic that hazily drifts you along when not being a complete mind screw – but the sort of beautifully classy neo-noir dreams you wish you had rather than those of the inferior direction of your subconscious. Your subconscious that is, mind you, not mine – my subconscious is Lynchian.

I haven’t seen all his films (yet) – I guess I’ll have to now – but I have seen my Lynchian holy trinity of Blue Velvet, Lost Highway, Mulholland Drive. Blue Velvet is perhaps the most comprehensible in narrative, Lost Highway the biggest mind screw of them, and Mulholland Drive is somewhere in between the previous two.

My interpretation of Mulholland Drive – not original to me but the one with which I agree (and which seems to be reasonably common) – is (SPOILERS – if one can spoil a Lynch film, as their meanings tend to remain elusive by design) that the first half of the film is the wish fulfilment fantasy of Naomi Watt’s character from the second half of the film (in a dying dream).

My favorite part of the film is actually the subplot of the film director “who just can’t seem to catch a break” – among other things, he encounters The Cowboy (a title that prompts the director’s incredulous exclamation), who may or may not be the usual extra-dimensional supernatural being that pops up in the films of Lynch.

 

FANTASY

 

As per TV Tropes, most of his films or television fall into the genre of magical realism in some way or another – which is to say that they often “go into the realm of pure fantasy” a la Twin Peaks or “somewhere in between”. Surreal fantasy – they’re dreams after all.

 

COMEDY

 

Oh yes – but usually black or dark comedy. Or meta-humor, like a joke layered in a dream.

 

RATING: 4 STARS****

B-TIER (HIGH TIER)

 

 

(7) JOHN WICK (2014 – PRESENT)

 

 “Yeah, I’m thinking I’m back”

 

You sure are, John Wick, you sure are. You too, Keanu.

 

The best action franchise of the twenty-first century. There – I said it. Also one of the best roaring rampages of revenge and one-man armies on screen. Also some of the best poster designs.

 

I also dig the whole assassin mystique and mythos it’s got going, with its intricate rituals and rules, implausible as it all is – the implausibility just makes it more mythic! The Continental, the High Table, and so on. Although I suspect real hitmen are a lot less glamorous and a lot more seedy.

 

“Neo-noir action thriller franchise…set in a shadowy world of assassins and criminals”. I can’t resist quoting TV Tropes that “the films can be best described as what happens when Neo is reimagined in the real world as the deadliest assassin alive”.

 

It has been hailed as reviving the flagging action genre, not least due to its “choreographed sequences and practical effects that were filmed in long takes” – none of that quick cut shaky-cam crap. Also lots of gunplay and headshots – not that John needs a gun to kill anyone. A book, a pencil, a horse – anything will do.

 

This entry represents the franchise as whole – four films deep and spinoffs as at 2024 – but if I have to choose one, it would have to be the 2014 original film for the franchise at its freshest, albeit Chapter Four comes close in the sequels.

 

 

FANTASY & SF

 

That assassin mystique and mythos borders on fantasy, while John Wick’s skill and survivability borders on supernatural ability (as do the action sequences in general).

 

COMEDY

 

Surprisingly for a film set in the underworld of assassins, it hits some black and dry comedic beats.

 

 

RATING: 4 STARS****

A-TIER (TOP TIER)

 

 

(6) JAMES BOND (1962 – PRESENT)

 

“Bond, James Bond”

A spy action film franchise that needs little more than its iconic protagonist’s own signature introduction.

Well, perhaps a little more introduction – James Bond codenamed 007 as British special agent of the 00 section of MI-6 (the 00 signifying licence to kill), created by Ian Fleming as protagonist of the books (and stories) that were the origin of the franchise.

There’s enough in the franchise not only for a top ten Bond films and special mentions (or alternatively a top ten worst Bond films) – twenty-seven films and counting as at 2024 – but also easily for a top ten elements or motifs of Bond mythos.

The Bond girls. The Bond villains – and their infamous flaws of monologuing (to Bond) or just not shooting Bond as opposed to convoluted death traps or schemes. (To borrow a quote from Family Guy – “Sure, you could kill me with your gun but are you willing to try something much more elaborate and unnecessary?”)

The Bond gadgets. The Bond cars. The Bond one-liners. The Bond action prologue – introduced with the Bond gun barrel sequence and concluding with the Bond title sequence (and song). The exotic Bond globetrotting. Shaken not stirred – Bond’s drinking habits and games of chance or skill. (I seem to recall that Fleming was also fond of sumptuous descriptions of Bond’s dining or food although that hasn’t been adapted as much into film).

The Bond secondary cast from MI-6 – M, Q and Moneypenny. Recurring Bond characters (or actors) in general. Bond’s allies – perhaps foremost among them his CIA contact Felix Leiter. For that matter, typically a climactic Bond action sequence with special forces allied to Bond assaulting the villain’s forces or lair – even IN SPACE!

Heck – you could just squeeze out enough James Bonds for a top ten James Bonds, with six actors having official portrayed the character and a seventh signed up. Yes – I know that leaves three short but in addition to counting Sean Connery at least twice (at least once more in addition to his original run for the unofficial Never Say Never and arguably also for Diamonds are Forever as yet another separate incarnation in the role), there’s also Barry Nelson and David Niven in different adaptations of Casino Royale.

At very least you could compile a top ten of his incredibly versatile proficiencies or skills, and for that matter his character traits or types. As per TV Tropes – “the Ace, the Charmer, the Deadpan Snarker, the Renaissance Man, the Man of Wealth and Taste, the One-Man Army, the Professional Killer, the Sociopathic Hero, the Alcoholic, the Orphan, and the man who can always find women but can never find love. Which of these traits are pushed to the forefront will depend on the tone of the movie in question.”

And that’s not to mention all the inspirations for and adaptations, imitations or parodies of the character, enough for their own top ten (and more) – in turn reflecting Bond himself “having become one of the most iconic and quintessential action heroes in fiction”, founding the “tuxedo and martini subgenre” while defining “most of modern spy fiction and much of the action genre”.

Dare I describe the Bond film franchise as the Roman Empire of film franchises, with its various rises and resurgences or declines and falls?

Playing with that, the first Sean Connery films would be the classical empire of the first and second centuries – at its archetypal height but not without its excesses.

George Lazenby (and Diamonds are Forever) might be likened to Rome in crisis after its classical zenith, although this is unfair not only to Lazenby’s performance but even more so his film On His Majesty’s Secret Service – which is a fine Bond film, with some of the finest elements of any Bond film. (Its Bond girl for one thing and its banging theme tune for another).

The early Roger Moore films would be the resurgent later empire after the crisis of the third century, before devolving into the campy later Roger Moore films in the decline and fall of that half of the franchise. Timothy Dalton and the early Pierce Brosnan films might be likened to the eastern empire, a little rough around the edges to start after the fall of the Moore franchise before their own resurgence – but collapsing with the later Brosnan films on a camp scale almost to the point of the later Moore films.

The Daniel Craig films would be the eastern empire bouncing back to its medieval heights, with a blunter and tougher protagonist (Bond the Bulgar Slayer, anyone?) before crumbling in turn.

Which brings me to the question of which Bond film to choose, if I have to choose one film above all others in this entry – it was a close call with Casino Royale, but I’d have to go with Goldfinger as the archetypal or definitive Bond film. Even if, much like Indiana Jones in the Raiders of the Lost Ark film, Bond doesn’t actually do anything in it to achieve the final result.

 

FANTASY & SF

 

No fantasy in Bond – other than the obvious lifestyle or wish fulfilment fantasy of its protagonist for Fleming and countless male fans since.

However, it does verge into SF territory in its technothriller edges – perhaps most notably in the Bond space adventures of You Only Live Twice and Moonraker

 

COMEDY

 

Do I need to mention those Bond one-liners again? Although the James Bond film franchise has always walked the line between its more serious dramatic elements and tendencies to camp humor bordering on self-parody – falling over that line in the later Moore and later Brosnan films.

 

RATING: 4 STARS****

A-TIER (TOP TIER)

 

 

(5) BRUCE LEE –

ENTER THE DRAGON (1973)

 

“Don’t think. Feel.”

The iconic martial arts action film by the iconic martial arts action film star.

And yes – the film may be somewhat cheesy at points, albeit not more so than other films in the 70s and which may also owe something to how much this film has blurred together with its superb parody A Fistful of Yen in the 1977 comedy sketch film Kentucky Fried Movie deep within my psyche. (The other thing deeply embedded in my psyche from that film is the sketch Catholic High School Girls in Trouble – “never has the beauty of the sexual act been so crassly exploited”).

But it is glorious, showcasing Bruce Lee – “the quintessential martial arts film star, particularly for action films set in contemporary times, a breakthrough star for Asian actors in Hollywood and widely considered one of the most influential martial artists of the 20th century”.

So deeply has it embedded itself in my psyche that it has fostered a love of martial arts action films ever since – which I then consciously or subconsciously compare to Enter the Dragon. And for that matter a love of martial arts film stars ever since, particularly east Asian martial arts film stars. Indeed, this entry is intended to be representative of martial arts action films (and film stars) in general.

As per TV Tropes, it is the martial arts action trope codifier – “since this movie, almost every other work of martial arts tournament fiction has borrowed from Enter The Dragon, particularly its usage of the main hero seeking revenge against the Big Bad in a fighting tournament in a faraway exotic location full of colorful villains and other supporting heroes with their own personal motives for entering”.

Of course, the whole concept of the martial arts tournament doesn’t hold up too well as a vanity project by a criminal organization – given the potential for exposing and jeopardizing the organization, at least to the very infiltration that is the plot of the film.

Nor for that matter does a criminal organization relying on training masses of minions in martial arts – another visually iconic element of martial arts films, moving and shouting in unison – instead of, you know, guns.

Finally, I have to give a chef’s kiss to yet another iconic element of martial arts films codified – the climactic showdown between protagonist and antagonist, strikingly displayed here in a mirrored maze.

 

FANTASY & SF

Not really here, but there’s always been a fine line between martial arts action films and fantasy in the mystical skill (or visions) of combatants – something which things like wuxia films and animated or anime series cross over. Not to mention the space Shaolin monks of Star Wars…

 

COMEDY

It has its comedic elements, albeit not as prominent as other martial arts action films – notably those of Jackie Chan (who had a minor role in Enter the Dragon). It certainly has its comedic elements after you’ve seen A Fistful of Yen – such that you’ll never watch it in quite the same straight-faced fashion again – and it has been repeatedly parodied elsewhere.

 

RATING: 4 STARS****

A-TIER (TOP TIER)

 

 

(4) CLINT EASTWOOD –

THE MAN WITH NO NAME & DIRTY HARRY (1961-1966 & 1971-1988)

 

Ask yourself a question: “do I feel lucky?” Well, do you, punk?

You had me at Clint Eastwood.

No, seriously – I could just stop there, with one of the foremost icons of screen masculinity.

As per TV Tropes in rating him the trope Rated M for Manly – “The 6’4, gravel-voiced, ultra-macho action star Clint Eastwood is one of the most enduring cultural icons of masculinity in the history of American cinema and beyond.”

Although my quip for his vocal delivery is one of whispered menace. The above description also omits his signature steely gaze or glare – the latter lending itself to TV Tropes coining the trope Clint squint. Not to mention a certain wiry quality to him, even grizzled, if not both.

However, it doesn’t stop there. There are his two most iconic characters, who also happen to be two of the most iconic characters in cinema – the Man with No Name from the so-called Dollars Trilogy or even The Man with No Name Trilogy, most famously the third film of the trilogy, and Dirty Harry.

Again as per TV Tropes, Eastwood is “most famous for portraying tough-as-nails gunslingers who speak very little, and make each word (and bullet) count. The two most famous roles of this kind are Dirty Harry, and the Man With No Name in Sergio Leone’s Dollar’s Trilogy.”

The Man with No Name came first – in the cinematic trilogy of Westerns directed by Sergio Leone, labelled as the subgenre of Spaghetti Westerns because they were produced by Italian film studios and Italian directors in the case of Leone. The trilogy itself consists of A Fistful of Dollars, For a Few Dollars More, and the best (as well as most famous) of them, The Good, the Bad and the Ugly.

Of course, the Man with No Name has a name in each film – Joe, Manco, and Blondie respectively – but they are nicknames given him by other characters. There is only a loose continuity, if any, between each film, such that it’s not clear that he’s even the same character. I prefer to think of each film as more within a mythology than a continuity – and the Man with No Name a different incarnation of a mythic character in each film.

And that mythic character – the lone gunman, with “his aloof nature, questionable motives, and his mysterious past”, not to mention his laconic persona.

“There are two kinds of people in this world – those with loaded guns and those who dig. You dig”.

Personally, I’d say that Eastwood played the type in almost all his Western roles – he was the Man with No Name even when his character was named, from Pale Rider through to Unforgiven. And I am here for each and every one of them.

But I am here for his Dirty Harry over and above his Man with No Name. In part, that is due to the eclipse of the Western as a film genre, although I would argue that most films are essentially Westerns in all but setting, as reflected by the Dirty Harry films themselves with its anti-hero gunslinger protagonist transferred from the Wild West to the urban landscape (which, being San Francisco is still in the geographic American West).

Or as TV Tropes labels the character type, the Cowboy Cop – “a blunt, cynical, “the buck stops here” kind of law enforcer who’s constantly at odds with his indifferent, incompetent, strictly-by-the-book superiors”.

And, I would argue, an instinct for justice as an essential character type – and one that is often at odds with (and usually played as superior to) the letter of the law.

Not to mention his most iconic character trait – well, apart from his Smith & Wesson Model 29 .44 magnum revolver (“We’re not just going to let you walk out of here.” “Who’s we, sucker?” “Smith, Wesson and me”) – his one-liners, “(like the Pre Ass Kicking One-Liner, Pre-Mortem One-Liner, or just the generic “I’m so badass”-One-Liner).” They’re so good I’m fond of adapting them to my work.

Hence TV Tropes attributes to Eastwood that “his Influence on the movie industry was such that without him (or his Dirty Harry library, to be more specific) the ‘80s would have seen about a mere fourth of the action movies it actually did see.”

Some of you may also recognize the “thematically similar'” influence of Eastwood in general and Dirty Harry in particular on someone who just happens to be my favorite comics character and protagonist of my favorite comic – Judge Dredd. Judge Dredd is essentially a futuristic Dirty Harry in a dystopian SF satire. The character was also directly modelled on Eastwood – something to which we see paid tribute in the name of Judge Dredd’s block from Eastwood’s character in the Western TV series, Rawhide – Rowdy Yates.

Which makes Dredd one of two characters from the 2000AD anthology comic modelled on Eastwood and his two iconic characters – with Strontium Dog’s Johnny Alpha as the Man with No Name to Dredd’s Dirty Harry.

So yes – if I had to choose, I would pick Dirty Harry over The Man with No Name. And if I had to choose which Dirty Harry, well the first one with that title obviously – not just for the title but also for the most compelling presentation of Dirty Harry having to break the rules to apprehend the antagonist serial killer Scorpio.

 

FANTASY & SF

Yeah – The Man with No Name and Dirty Harry are pretty solidly grounded outside fantasy or SF, although some of his Western incarnations of the type border on fantasy, particularly Pale Rider with its revenant protagonist.

 

COMEDY

Well there’s those one-liners, although I wouldn’t really describe them or the films as comedic, even if they have their dry and wry moments of black humor.

 

RATING: 4 STARS****

A-TIER (TOP TIER)

 

 

(3) QUENTIN TARANTINO –

KILL BILL (2003-2004)

 

“When I woke up, I went on what the movie advertisements referred to as a roaring rampage of revenge. I roared. I rampaged. And I got bloody satisfaction. I’ve killed a hell of a lot of people to get to this point, but I have only one more. The last one. The one I’m driving to right now. The only one left. And when I arrive at my destination… I am gonna KILL BILL”.

Quentin Tarantino – “his films are characterized by elements including recurring actors, non-linear storylines, stylized violence, black comedy, witty dialogue oft laced with pop culture references, trunk shots, close-ups on feet, especially women’s bare feet (don’t ask), and a volume of homages and shout-outs to other movies only attainable with an absurdly encyclopedic knowledge of film history”.

In fairness to the foot fetish thing, who wouldn’t cast themselves to drink off Salma Hayek’s feet?

Also a director whom I have to love for his dedication to a top ten in his own films, having famously declared his intention to retire after ten films, although we’re still awaiting that tenth film as of 2024.

As for which Tarantino film to choose for this entry, it was a close call – particularly with the film that brought him widespread acclaim, Pulp Fiction – but as my featured quote indicates, I have to go with Kill Bill.

“Kill Bill is the fourth (and fifth) film written and directed by Quentin Tarantino, taking all his favorite things at that point in his career – westerns, samurai movies, martial arts, pop-culture references, actions girls, and bare feet – and combining them into one hell of a revenge drama”.

Or as the female protagonist best known simply as the Bride (or Black Mamba as a former member of the Deadly Viper Assassination Squad) – although her name Beatrix Kiddo is dropped in the second film – played by Uma Thurman puts it in my featured quote, a roaring rampage of revenge. Indeed, one of the finest roaring rampages of revenge – and certainly top of my top ten roaring rampages of revenge.

Also it has one of my all-time favorite lines of cinema (note to self – compile a top ten lines of cinema) from legendary sword-maker Hattori Hanzo, played by Sonny Chiba, referring to the blade he made for the Bride – “If on your journey you should encounter God, God will be cut”.

(And how! From what we see her do with it, I’d say he was right about that).

It consists of two films although I tend to follow Tarantino in his own classification of it as one film, given that it was conceived by him as such although the studio split it in two for length. Although if I had to choose between them, I’d have to go with the first film or Volume 1 for the sheer glorious frenzied action of the Bride’s fight with O-Ren Ishii and the Crazy 88 Gang. (Although you’d think that at some point, maybe just one of those Yakuza gangsters would, you know, pull a gun on the Bride).

And of course Gogo Yubari, etched deep in my psyche ever since with her portrayal by Japanese actress Chiaki Kuriyama – who also starred in cult classic Battle Royale, one of Tarantino’s favorite films.

 

FANTASY & SF

Interestingly, Tarantino has said that his films fall into one of two cinematic universes – “one being the more realistically grounded of them…and the other being a meta-fictional narrative which Tarantino says represents the kind of films the characters in his main cinematic universe would watch”, arguably with more fantastic or at least cinematic rule of cool elements. Kill Bill falls in the latter.

 

COMEDY

That signature Tarantino black comedy.

 

RATING: 5 STARS*****

S-TIER (GOD TIER)

 

 

(2) COEN BROS –

THE BIG LEBOWSKI (1998)

 

The Dude abides.

Indeed, he abides in second place.  The Coen brothers – Joel and Ethan Coen – also abide as my favorite directors of film (albeit obviously not of my favorite film in top spot).

And yes – they have enough of a filmography for their own top ten films, but one that is impossible to categorize by genre or style apart from a blackly comedic and idiosyncratic quirky flair. “Their films span many genres and styles, which they frequently subvert or parody”.

While I enjoy all their films I’ve seen – even the weirder ones like Barton Fink and weaker ones like The Ladykillers – the holy trinity of their filmography for me would be The Big Lebowksi, O Brother Where Art Thou, and Intolerable Cruelty (although Fargo – film and television series – comes close).

And of these, the greatest is The Big Lebowksi – which despite a mixed reception and box office return at the time of its release – rose to cult classic status.

As TV Tropes describes, “it’s a bit hard to describe but let’s just call it a film noir parody”, albeit an affectionate one – particularly of Raymond Chandleresque noir detective stories set in L.A., with the title itself a nod to The Big Sleep.

Except of course for its Philip Marlowe protagonist, it’s slacker Jeff Lebowski – although he prefers to go by the Dude – played to perfection by Jeff Bridges. He’s not the titular Big Lebowksi however – and it’s the mix-up in identity between them that effectively gets the ball rolling on the plot. Well – that and also the Dude’s rug really tied the room together.

Again as per TV Tropes, “this being a Coen Brothers movie, though, the plot isn’t important. The driving force within the movie is the collection of various, bizarre, main and secondary (and tertiary!) characters, almost all of whom seem to come from completely different movies.”

Not least the film’s cowboy narrator, styled as The Stranger, played by Sam Elliott – giving us my featured quote, although the Dude himself takes a shine to it.

Oh – and of course, the Jesus.

But yeah well, you know, that’s just like, uh, your opinion, man.

 

FANTASY & SF

The filmography of the Coen brothers definitely dips into the fantasy genre with some of their more fantastic elements, although not enough that any of their films would be described as fantasy – particularly as those fantastic elements are more in the nature of dreams or trips, as in The Big Lebowksi

 

COMEDY

The kings of black comedy, dryly delivered.

The Big Lebowksi in particular could be outright classified as comedy.

 

RATING: 5 STARS*****

S-TIER (GOD TIER)

 

 

(1) APOCALYPSE NOW (1979)

 

“I love the smell of napalm in the morning…smells like victory.”

Yeah – this is the big one, the cinematic equivalent of Catch-22, lodged next to it deep within my psyche ever since seeing it (by happenstance at about the same time as reading Catch-22).

And not coincidentally, like Catch-22 also set in a war, except of course in the Vietnam war as opposed to the former’s Second World War, and similarly using the war as a backdrop for a story beyond the war itself – a satire of modern society in Catch-22 and an exploration of the human psyche on the edges of madness and beyond in Apocalypse Now.

While it is usually (and accurately) considered a war film, it is a psychological war film which could well have been set elsewhere – and indeed originally was, given that it is a very loose adaptation of Joseph Conrad’s novella Heart of Darkness from nineteenth century Africa to the Vietnam War. One might well quip that it was also a loose adaptation of the Vietnam War itself (to the American or human psyche).

Hence some of those who watch it expecting a more straightforward war or action film might be disappointed, particularly with its pacing – although I was entranced by it throughout when I first watched it, even in my adolescent days. Don’t get me wrong – it absolutely does have action scenes, indeed some of the most visually striking and iconic action scenes, hence my entrancement, but not quite in the pace or style of a contemporary action film blockbuster.

As per TV Tropes – “packed to the gills with now-iconic scenes and quotes, it is a common choice for not only the definitive anti-war movie but the definitive cinematic depiction of war not as battle, or even as purgatory but as an illogical fever dream”.

Illogical fever dream is overstating it – it has a coherent plot – but things definitely get wilder and trippier the further the protagonist and his squad go.

As for that protagonist and squad – again as per TV Tropes, “”special operations Captain Benjamin Willard (Martin Sheen) is sent to kill Walter E Kurtz (Marlon Brando), a Green Beret colonel who has gone mad and formed a personality cult in Cambodia”…Willard and his crew including George “Chief” Phillips (Albert Hall), Jay “Chef” Hicks (Frederic Forrest), Lance Johnson (Sam Bottoms) and Tryone “Mr Clean” Miller (a 14-year-old Laurence Fishburne) — go up a river and into the recesses of humanity.”

Directed by Francis Ford Coppola at the height of his career, it’s a miracle the film was even made, let alone be this good, given a trouble production that’s almost as legendarily epic as the film itself. On that point – and perhaps not surprisingly given that production history – the original cinematic edit is definitely the best. While the ‘redux’ director’s cut has points of interest, Coppola definitely got it right for its original cinematic release.

I’ll conclude with Roger Ebert’s thoughts when adding it to his list of great movies – ” “What’s great in the film, and what will make it live for many years and speak to many audiences, is what Coppola achieves on the levels Truffaut was discussing: the moments of agony and joy in making cinema. Some of those moments occur at the same time; remember again the helicopter assault and its unsettling juxtaposition of horror and exhilaration. Remember the weird beauty of the massed helicopters lifting above the trees in the long shot, and the insane power of Wagner’s music, played loudly during the attack, and you feel what Coppola was getting at: Those moments as common in life as art, when the whole huge grand mystery of the world, so terrible, so beautiful, seems to hang in the balance,,,Apocalypse Now is the best Vietnam film, one of the greatest of all films, because it pushes beyond the others, into the dark places of the soul. It is not about war so much as about how war reveals truths we would be happy never to discover.”

 

FANTASY & SF

It’s trippier moments border on some dark fantasy but no – it remains grounded in the mundane reality of our world. Or at least as mundane as the Vietnam War got.

Although it is tempting to conflate, as Kim Newman did in a short story, Coppola’s Apocalypse Now and Coppola’s Dracula film – with Harker as Willard and his crew of vampire hunters on a gunboat upriver into Transylvania…

 

COMEDY

It has its comedic elements – some of the blackest and driest in film perhaps but they are there, at least according to my sense of humor. Definitely not a comedy though.

 

RATING: 5 STARS*****

S-TIER (GOD TIER)

 

 

 

FILM: TOP 10 (TIER LIST)

 

S-TIER (GOD-TIER)

 

(1) APOCALYPSE NOW

(2) COEN BROS – THE BIG LEBOWSKI

(3) QUENTIN TARANTINO – KILL BILL

Like Tarantino, I regard the two volumes as one film but if I have to choose – Vol 1.

 

If Apocalypse Now is my Old Testament of film, The Big Lebowski and Kill Bill (or the Coen Brothers and Tarantino in general) are my New Testament.

 

A-TIER (TOP TIER)

 

(4) CLINT EASTWOOD – THE MAN WITH NO NAME & DIRTY HARRY

His two iconic roles – if I have to choose between them, I’ll go with Dirty Harry (and the first film). After all, he’s the model for Judge Dredd.

(5) BRUCE LEE – ENTER THE DRAGON

(6) JAMES BOND

As for which film – Goldfinger as the film that defines the franchise.

(7) JOHN WICK

Yes – all four films (and counting). As for which is the best among them, the fourth film comes close but the first film remains the definitive film for me.

 

B-TIER (HIGH TIER)

 

(8) DAVID LYNCH – MULHOLLAND DRIVE

(9) ROBERT EGGERS – NOSFERATU

 

X-TIER (WILD TIER)

 

(10) DAVID LEITCH – THE FALL GUY

 

My wildcard tenth place entry for 2024 goes to The Fall Guy. In something of a departure from my usual rule, it wasn’t the best or my favorite film from 2024 – that’s Robert Eggers’ Nosferatu, but as that is more dark fantasy or horror, The Fall Guy might be counted as the best non-genre film from 2024. And it replaces Bullet Train as my previous entry for David Leitch.

 

 

(8) DAVID LYNCH –

MULHOLLAND DRIVE (2001)

 

This entry is to commemorate director David Lynch – who at the time of this entry only recently passed away (15 January 2025). Previously, I had awarded him special mention, but you know what? I like him being here in my top ten, particularly in a place above director Robert Eggers – the films of the latter always prompt my mind to David Lynch. I wouldn’t call them Lynchian as such – in some ways they’re the reverse with their attention to historical detail while the time period of the setting in Lynch’s films is often amorphous – but there’s a vibe there, particularly when the films of Eggers get dream-like.

Which brings me to the definitive and often touted quality of David Lynch’s films – their surreal dream-like nature. “He is considered one of the most influential filmmakers of his time for his idiosyncratic audiovisual style (since semi-formally dubbed “Lynchian”), as well as arguably the most popular director regularly associated with surrealism…his works’ utilization of dream logic”.

He does have some more straightforward films in his oeuvre but for the most part I like his films – at least my favorite films – to dreams. There’s kind of a logic to them, albeit the aforementioned dream logic that hazily drifts you along when not being a complete mind screw – but the sort of beautifully classy neo-noir dreams you wish you had rather than those of the inferior direction of your subconscious. Your subconscious that is, mind you, not mine – my subconscious is Lynchian.

I haven’t seen all his films (yet) – I guess I’ll have to now – but I have seen my Lynchian holy trinity of Blue Velvet, Lost Highway, Mulholland Drive. Blue Velvet is perhaps the most comprehensible in narrative, Lost Highway the biggest mind screw of them, and Mulholland Drive is somewhere in between the previous two.

My interpretation of Mulholland Drive – not original to me but the one with which I agree (and which seems to be reasonably common) – is (SPOILERS – if one can spoil a Lynch film, as their meanings tend to remain elusive by design) that the first half of the film is the wish fulfilment fantasy of Naomi Watt’s character from the second half of the film (in a dying dream).

My favorite part of the film is actually the subplot of the film director “who just can’t seem to catch a break” – among other things, he encounters The Cowboy (a title that prompts the director’s incredulous exclamation), who may or may not be the usual extra-dimensional supernatural being that pops up in the films of Lynch.

 

FANTASY

 

As per TV Tropes, most of his films or television fall into the genre of magical realism in some way or another – which is to say that they often “go into the realm of pure fantasy” a la Twin Peaks or “somewhere in between”. Surreal fantasy – they’re dreams after all.

 

COMEDY

 

Oh yes – but usually black or dark comedy. Or meta-humor, like a joke layered in a dream.

 

RATING: 4 STARS****

B-TIER (HIGH TIER)