Most Underrated/Underrecognized Films (in progress)

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  1. Zardoz - Boorman (1972)
  2. Dr. Akagi - Imamura (1998)
  3. Possession - Zulawski (1981) [Original Cut, 123 minutes]
  4. Lost Highway - Lynch (1997)
  5. Natural Born Killers - Stone (1994) [Director's Cut, 123 minutes]
  6. Europa - Von Trier (1991)
  7. Secret Ceremony - Losey (1968)
  8. The Pillow Book - Greenaway (1996)
  9. Marketa Lazarova - Viacil (1967)
  10. Funny Games - Haneke (1997)
  11. Hush...Hush Sweet Charlotte - Aldrich (1965)
  12. Black Cat, White Cat - Kusturica (1998)
  13. Strange Days - Bigelow (1995)
  14. Othello - Welles (1952)
  15. The Cook, The Thief, His Wife & Her Lover - Greenaway (1989)
  16. Mr. Arkadin - Welles (1955) [The Comprehensive Version, 105 minutes]
  17. Shock Corridor - Fuller (1963)
  18. Landscape in the Mist - Angelopoulos (1988)
  19. The Traveling Players - Angelopoulos (1975)
  20. Eternity and a Day - Angelopoulos (1998)
  21. Splendor in the Grass - Kazan (1961)
  22. The Lady from Shanghai - Welles (1948)
  23. Underground - Kusturica (1995)
  24. The Kingdom - Von Trier (1994)
  25. Twelve Monkeys - Gilliam (1995)

Yes yes yes Inland Empire and Sans Soleil.

Also everything by Jon Jost and Bruce Conner.

I dunno about Lost Highway though. Everyone I know is strangely fond of that film.
Interesting that Zardoz is on top. I don't think I can ever get into it because it was introduced to me by someone who I cannot stand-- and the way he related it to me just made it sound profoundly stupid (he's a dude who considers Pink Flamingos to be the single greatest work of art in the 20th century).

The major factor, more so than fans/general public, is critical consensus. Lost Highway is often rated as one of Lynch's worst films (when, imo, it's one of the greatest films of all time) and Zardoz (one of the most improbable masterpieces--it is a warped statement of several themes and emotions colliding and coalescing into one film) is often rated as a total piece of garbage (the film is very satirical as a comment on the state of man, yet very few reviews seem to realize this).

I'd probably give Possession the top billing, but I can't argue with a lot of your choices. I'd also suggest The Cloud Capped Star; Goto, Island of Love; The Hart of London; Abigail's Party; Hunger (Carlsen); and the Merry Widow, to name a few. Only one's I disagree with on your list are Zardoz, Lost Highway, and Dogma.

Also, Pink Flamingos >> Sargent's Gassed, Balanchine's Jewel's, Mizoguchi's Story of the Last..., Stravinsky's Symphony in C, etc, obviously

Possession could certainly be #1. Haven't seen any of the others you mention yet.

The main thing I love about Zardoz, Lost Highway, and Dogma is how subtle they are ( :

My vote goes to Heaven's Gate. It's universally recongized as a giant pile of shit, was trashed by critics and a box office failure. And although the film is too long and should have been edited down, it contains some of the more impressive film making I've ever seen. Cimino was a great director and some of the scenes are genuis to an epic degree. It wouldn't be out of place on a "greatest photographed films of all time" list.

I recently watched Lost Highway again and was impressed. It's not the experimental failure that I remember it being, but a worthy entry into Lynch's catalog and one his better films. Still, I'm confused as to why you praise the visuals above all. The nicest thing I could say is that they had a kind of Bressonian sparseness and hypnotic pace, but to be honest they looked more like how you'd film a television show. I thought the best part was the intensity of the performances. Bill Pullman was absolutely fantastic, as was Patricia Arquette who is good in everything. Anyways, the fact that you rate LH higher than Eraserhead, Blue Velvet & the Elephant Man just goes to show what an autistic hipster you are.

Also, unless you're a 14 year old girl whose first orgasm came at the behest of a Jean-Paul Belmondo poster, you should really consider taking Amelie off.

Haven't seen Heaven's Gate but you've intrigued me here.

I'm glad you increased your appreciation for Lost Highway. Overall, I rate it Lynch's 3rd best film (1) Inland Empire (2) Blue Velvet (3) Lost Highway (then Mulholland Dr and Eraserhead). In terms of visuals, I would also rate Eraserhead ahead of Lost Highway and first amongst Lynch's films. Eraserhead is on the "Best Visuals (Black & White)" list, while Lost Highway is on the "Color" one. Blue Velvet, as well as Inland Empire and Mulholland Drive could very well end up on the color one as well--not sure where at this point. There are several films I need to rewatch that would likely be on there (Holy Mountain, Star Wars, Empire Strikes Back, Clockwork Orange, Southland Tales, etc). Lost Highway's visuals... when they're stunning, they're stunning. The main portions of the film which garner it's entry onto my visuals list are: much of the opening 30-45 min, shot in dimly lit, dark red hues and haunting, disorienting close ups/angles, and the dreamy/nightmarish final 1/4th of the film. While the middle third is somewhat less compelling, few films set such a visually hypnotic, nigthmarish/otherworldly, erotic, haunting tone to a film. I agree on the performances.

Haven't seen Elephant Man yet.

I guess I'm 14 years old all over again (oh Jean!) because Amelie is totally secured a position on the visuals list. It's cinematography is beyond words (the most vibrant, magically beautiful film ever? You couldn't dream photography this amazing), as well as a perfect visualization of the state of its characters and themes.