Essential 50* Motion Pictures (Detailed Rankings)

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Tags: 
  1. 10/10.
  2. Late Spring. Yasujiro Ozu. 1949.
  3. Faces. John Cassavetes. 1968.
  4. Stalker. Andrei Tarkovsky. 1979.
  5. 9.9/10.
  6. Last Chants For A Slow Dance. Jon Jost. 1977.
  7. Death in Venice. Luchino Visconti. 1971.
  8. Au Hasard, Balthazar. Robert Bresson. 1966.
  9. 9.8/10.
  10. Nostalghia. Andrei Tarkovsky. 1983.
  11. Diary Of A Country Priest. Robert Bresson. 1951.
  12. 9.7/10.
  13. Shadows Of Our Forgotten Ancestors. Sergei Parajanov. 1964.
  14. Love Streams. John Cassavetes. 1984.
  15. Breakaway. Bruce Conner (w/ Toni Basil). 1967.
  16. 9.6/10.
  17. A Woman Under The Influence. John Cassavetes. 1974.
  18. Sink Or Swim. Su Friedrich. 1990.
  19. The Passion of Joan Of Arc. Carl Dreyer. 1928.
  20. Cremaster 3/The Order. Matthew Barney. 2002.
  21. 9.5/10.
  22. The Bicycle Thieves. Vittorio De Sica. 1948.
  23. Ugetsu Monogatari (Tales Of Moonlight and Rain). Kenji Mizoguchi. 1953.
  24. The Sacrifice. Andrei Tarkovsky. 1986.
  25. The Story Of The Last Chrysanthemums. Kenji Mizoguchi. 1939.
  26. 9.4/10.
  27. City Lights. Charlie Chaplin. 1931.
  28. The Rules Of The Game. Jean Renoir. 1939.
  29. Killer Of Sheep. Charles Burnett. 1977.
  30. Dogville. Lars Von Trier. 2003.
  31. 9.3/10.
  32. It's A Wonderful Life. Frank Capra. 1946.
  33. Andrei Rublev. Andrei Tarkovsky. 1966.
  34. INLAND EMPIRE. David Lynch. 2006.
  35. 9.2/10.
  36. Limelight. Charlie Chaplin. 1952.
  37. Pickpocket. Robert Bresson. 1959.
  38. Play Time. Jacques Tati. 1967.
  39. The General. Buster Keaton. 1927.
  40. Dancer In The Dark. Lars Von Trier. 2000.
  41. Songs From The Second Floor. Roy Andersson. 2000.
  42. 9.1/10.
  43. Something Wild. Jack Garfein. 1960.
  44. La Jetee. Chris Marker. 1962.
  45. My Neighbor Totoro. Hayao Miyazaki. 1988.
  46. Honey. David Ball. 1999.
  47. Chelsea Girls. Paul Morrissey, Andy Warhol. 1966.
  48. Osaka Elegy. Kenji Mizoguchi. 1936.
  49. Gummo. Harmony Korine. 1997.
  50. 9/10.
  51. A Man Escaped (The Wind Bloweth Where It Listeth). Robert Bresson. 1956.
  52. . Federico Fellini. 1963.
  53. Captain Star. Steven Appleby, Frank Cottrell-Boyce, Pete Bishop. 1992.
  54. Amarcord. Federico Fellini. 1973.
  55. Close-Up. Abbas Kiarostami. 1990.
  56. Sans Soleil. Chris Marker. 1983.
  57. Abigail's Party. Mike Leigh. 1977.
  58. Fanny & Alexander (TV version). Ingmar Bergman. 1982.
  59. Reminiscences of a Journey to Lithuania. Jonas Mekas. 1972.
  60. The Leopard. Luchino Visconti. 1963.
  61. The White Rose. Bruce Conner. 1967.
  62. Metropolis (restored cut). Fritz Lang. 1927.
  63. A Colour Box/Kaleidoscope. Len Lye. 1935.
  64. Sansho The Bailiff. Kenji Mizoguchi. 1954.
  65. A MOVIE. Bruce Conner. 1958.
  66. Mothlight. Stan Brakhage. 1963.
  67. Russian Ark. Aleksandr Sokurov. 2002.
Author Comments: 

*50 or so...

I just felt like making a more detailed list.
I feel like there's absolutely no reason to make detailed percentile ranking for anything lower than this. With 0-5/10 it's just whole numbers, 5-7/10s it's split into haves, the 8/10s I go into quarters. And here into tenths... In case anyone was curious as to more detailed combining of all my movies lists?

Why is Late Spring the best Ozu to you? And why is Tokyo Story "only" an 8.7? For me it is his best, but I am interested to hear your opinion on Late Spring.

And what makes your 9.9's not 10s and your 10s precisely a 10?

It's somewhat difficult to say without sounding really wishywashy. While Tokyo Story is a great amazing and human film, and it is probably (along with Good Morning and Tokyo Twilight) Ozu's most polished technical achievement with use of space and with narrative ellipsis, Late Spring has a liveliness that it lacks. It has all of the great aspects of Tokyo Story in a slightly looser, less heavily formalized way. Something about it, too, just hits me like almost no other film. It's the greatest soap opera/melodrama/weepie ever made. Late Spring at once feels more intense and yet more gentle, stylistically, than Tokyo Story-- less systemized.

There's an almost otherworldly quality to perfection that the other films don't have, I suppose. It's just something in the air. They're works that just seem "touched" to my eye/brain/heart.

Sorry for sounding so odd. I didn't think this list through in an extremely concrete fashion.

Lots of great films here of course. I am curious though: does 10/10 mean "there is no possible way to improve the film at all", or is it more "graded on a curve" and because you consider it the "best film of all time" you start at the top with a 10 and then descend point by point from there?