As an aside…my comments on the AFI’s top 100 movie list (a little late, but hey – better late than…yadda-yadda-yadda):


1. CITIZEN KANE (1941): Uh…Maybe I should see this again. I saw it a long time ago and was rather bored, as I recall. OK, it was filmed beautifully and the historical aspect (its ties to real people) is fascinating. And yeah, yeah, I know – you can totally see where other filmmakers took stuff done in this film and just ran with it, but…I mean, come on – all that fuss over a sled?

2. CASABLANCA (1942): Yep. Great flick. I actually appreciate it most for the funny stuff between the supporting characters, but the romance is awesome, as well. OK, except for that one kissing scene where Bogart looks like he’s doing a test for “The Wolfman Gobbles Paris” rather than about to kiss the lovely Ingrid Bergman. Right after she says, “Kiss me as if it were the last time.” Seriously, the false teeth are just about to fall out of his head and down her throat. Someone really should have demanded a retake. I find myself totally watching for that scene now and I warn everyone who happens to be in the room that it’s coming and then bringing that to everyone’s attention subsequently ruins that scene for them. My sister actually asked me once, “Why did you point that out to me?????”

3. THE GODFATHER (1972): No complaints, here. I’m ever so happy that this sits on the list ahead of Part II. In that eternal debate, I always come out for the original.

4. GONE WITH THE WIND (1939): I’m a sucker for this movie. You just have to know, going in, that you have to ignore the racism not only of the Civil War era but the 30’s, which is when this was filmed (oh yeah. I totally believe Big Sam would just love “diggin’ for the South!”). Once that is a given, you may feel free to have a great time. Plus, in my opinion, the racism is exaggerated. Yes, I know, it exists, so no snipey e-mails accusing me of being racist. All I’m saying is that one of the strongest characters, both morally and emotionally, in the movie is Hattie McDaniel’s Nanny character. Plus, Scarlett is saved from rapists by Big Jim, lest we forget. Anyway, I’ve never cried so much at a movie in my life as I did the first…well, say eight times I saw this flick. Vivien Leigh is awe-inspiringly lovely; all of the acting is great; it’s filmed beautifully; it makes me laugh and…well, Clark Gable in his prime. Need I say more?

5. LAWRENCE OF ARABIA (1962): I admit it here. I’ve never seen this movie. OK, OK, it’s on the list I’ll take when I next hit Hollywood Video. Frankly, though, since I now have like 700 cable channels, I rarely rent. Maybe they’ll show it on Turner Classic Movies or something.

6. THE WIZARD OF OZ (1939): Eh…Perhaps I just overdosed on this flick as a child. Perhaps I suffered emotional trauma because when we played the game Wizard of Oz as kids (you know, when you and all of your friends get together and act out characters from the movie. Huh? You never played this game? Wha????), I always had to be a flying monkey. Perhaps it’s because I rarely pay attention to the film anymore because every time it’s on I’m too busy trying to see the guy who “hung” himself in the background. Perhaps it’s because I now know that the only “munchkins” they could find were like freaks and circus performers who kept pinching Dorothy’s ass below frame. Whatever. I just don’t really care for this movie. It’s overrated.

7. THE GRADUATE (1967): Good flick. Number seven? Of all time? Uh…I don’t know about that. But it did act as a precursor to music videos and MTV. Um…perhaps it shouldn’t be on the list at all, if only for that reason. I love the ending, though. Aside from the fact that the church scene was filmed across the street from my high school, I love Dustin Hoffman and Katherine Ross just sitting in the back of the bus, like…OK, what now? You know, like they could have cut the movie short three minutes earlier and it would have had a pat, patented, typical Hollywood Happy Ending.

8. ON THE WATERFRONT (1954): Love, Love, LOVE this movie! Love the acting, love the script, love Marlon’s unbelievable body. Plus, I love stories about people standing up for what’s right, dammit, against all odds! Especially when there’s a patented Hollywood Happy Ending. Obviously, I would have this on the list way above The Wizard of Oz or The Graduate. I once heard Rod Steiger talking about the scene where he and Marlon are talking in the back of that cab (you know, that scene; the famous eat-up-the-scenery-acting scene). Anyway, it was all about the pit-falls of improv acting and the unanticipated rewards…

9. SCHINDLER'S LIST (1993): Great film and one I will never see again. It’s just too…much. I think it’s the way it’s filmed. It’s just too personal, too real; except that you’re now in the forties of course, because everything is in black and white and as we all know, everything was in black and white in the forties. OK, that’s harsh. The B&W fits here. Actually, though, I thought the little girl in the red dress was a bit over the top and frankly the image brought me out of the movie, which I don’t think was it’s intention. Ralph Feinnes just plays the best Nazi ever, though. This performance is one that every aspiring actor should be forced to study in an effort to teach them how not to overact. Subtlety, my friends, is king. Plus he somehow manages to give that character such depth, you don’t even see him as just this totally evil maniac…ok, I practically choked just writing that line cuz yeah – evil, evil, evil! But there’s more there, in Ralph’s portrayal. Oh yes, and Liam Neeson is surprisingly good. Ben Kingsley is also fabulous, but that’s no surprise. He usually is.

10. SINGIN' IN THE RAIN (1952): Wonderful! I love this movie. The best musicals are ones which would hold up even were the musical numbers were taken away. OK, yeah – duh! But hey, there aren’t that many of them. Think about it – how many can you count, off the top of your head? This film is one of them. The old-Hollywood storyline is great and the dialogue is snappy and funny. The Donald O’Connor dance routine to “Make ‘Em Laugh” is I think my favorite dance number of all time – it’s hilarious. Gene Kelly is to die for romantic and sweet and has just the cutest bee-hind ever. And if I told you how many times I have serenaded friends, family-members and coworkers to the tune of “Good mornin’, good mo-o-o-rnin! It’s great to stay up late…” you’d laugh at me.

11. IT'S A WONDERFUL LIFE (1946): Oh please…this is a given. Isn’t this flick required watching in High School or something? Well, if it’s not, it should be.

12. SUNSET BOULEVARD (1950): Should be in the top ten. FABULOUS film! Wonderfully shot and acted and the screenplay is to die for (well, it is if you’re a writer like me). Plus, if you haven’t seen it you must for the pure fact that so much of our societal commentary, jokes and observations are ripped directly out of this movie.

13. THE BRIDGE ON THE RIVER KWAI (1957): um…never seen it. I’m not much of a war-movie fan, with few exceptions, especially those made say prior to 1975. I therefore tend to avoid anything with the word “river” in it, especially when the word is followed by a Japanese-sounding name.

14. SOME LIKE IT HOT (1959): The funniest movie ever made, but not the one I quote the most. That award probably goes to The Odd Couple (“This is a ladle! You did not know that this is a ladle!”) Of course, much could be said about the cluelessness of the ratings board when it came to the homosexual undertones of parts of this flick, but it’s been said elsewhere so I won’t bother. By the way, Jack Lemmon is an acting God.

15. STAR WARS (1977): OK, I see why it’s here. The Empire Strikes Back is actually a better film, but this one did start it all. Plus it changed the way movies are made which may seem important to some (unless you’re like me and prefer the way they used to be made, but that’s perhaps topic for another forum). So, the dialogue is hoakey and the acting atrocious. The force is still with us.

16. ALL ABOUT EVE (1950): Again, should be in the top ten. I love the insider dirt on the theater business and the acting all around is just so awesome. I am not a huge Betty Davis fan. I mean, yeah she’s a great actress, but she’s just not one of my faves. Maybe I haven’t seen enough of her films. Anyway, she kills me in this movie. Is it me or did women characters not have so many flaws in the movies ca 1950 as she does? I just love her flaws in this role. They are legion and she flaunts them without guile and without guilt. She’s a freakin’ hurricane and someone I would love to have over for dinner.

17. THE AFRICAN QUEEN (1951): Great, cute film, but number seventeen? Hmm…the acting is great and Katherine Hepburn and Bogie are very cute together. This movie would never be made today. If it were, it would star Jennifer Lopez and Ben Afleck and they’d never let the actors look this dirty, wrinkled and icky.

18. PSYCHO (1960): EEK! Yes, it’s still scary. I still love the gimic that the main star is dead within a short hour. Anthony Perkins is still a creepazoid. It’s actually not my favorite Hitchcock movie, but it’s great.

19. CHINATOWN (1974): Now if this film didn’t kick The Stinkin’ Wizard of Oz outta the top ten, nothing will. I think a lot of these votes were made out of sympathy and sentimentality. Anyway, I love this movie. Great acting, the atmosphere is palpable; I love the “water-crisis” storyline. Plus, tell me you’ve never done the “she’s my daughter (slap), she’s my sister (slap)” joke in one form or another at least one time in your life.

20. ONE FLEW OVER THE CUCKOO'S NEST (1975): This movie makes me sick to my stomach. And I mean that in a good way. Jack Nicholson kicks serious booty in this flick. And the way it’s filmed makes you feel suffocated by the end. I have no idea how they did that, but it works. Is Louise Fletcher's Nurse Ratched not film-world’s worst-ever villain? *shudder*

21. THE GRAPES OF WRATH (1940): How depressing can one movie be? Almost as depressing as the book from whence it came, evidently. I love Henry Fonda, though, especially at this time in his career. He excels in this role.

22. 2001: A SPACE ODYSSEY (1968): Um…OK, I’m gonna get a lot of flack about this…but what is the big deal here? I must be missing something. I have spent hours debating the merits of this movie with my ex-boyfriend. Literally - hours. Of course, I guess any movie that can inspire that much debate must be worth something.

23. THE MALTESE FALCON (1941): It’s a good movie. And I happen to really enjoy the Film Noir ouvre. But number 23 of all time? Eh.

24. RAGING BULL (1980): Not my favorite Scorcese movie. Goodfellas would definitely be higher on my list than Raging Bull. But yeah, it’s very good and yeah, Robert DeNiro is wonderful in it. In fact, it’s very easy to forget that Deniro is in there, which is saying an awful lot. I mean, I love Deniro and he’s fabulous in pert-near everything he does, but you always know it’s Deniro. My only suggestion: close your eyes during the boxing scenes. I actually enjoy the odd boxing match and I‘ve never seen so much blood spewing from an athlete’s mouth.

25. E.T. THE EXTRA-TERRESTRIAL (1982): Geez. Did I mention that I think this list was motivated out of sheer sentimentality? I mean, yes, it’s a touching and well-made movie, but come on already. This is a list of the most important films ever made, isn’t it? Isn’t it??? Just peruse the list a little farther down and tell me this movie is more important than any number of these. NOT.

26. DR. STRANGELOVE (1964): Great flick. It’s a tad bit dated, but not so much as one would think. It makes a huge statement and one that, sadly, should be listened to even now.

27. BONNIE AND CLYDE (1967): I love the acting. I’m possibly even more interested in the supporting characters than B&C themselves. I also happen to love movies about crime figures so I may be a bit biased, but this storyline reels me in every time I watch it and I’ve probably seen it a dozen times (I know, I know, and I’ve never seen Lawrence of Arabia. I’ll slap my own knuckles for you, OK?). And it had something to say about the “glamour” of violence. I like it a lot.

28. APOCALYPSE NOW (1979): I’ve recently been watching the newer “Redux” version of this film on cable. I say “watching” because I’ve watched it three times. I first fell in love with this movie in college, when I was assigned to read “Heart of Darkness”, the novella that inspired the mood of this film. I don’t think I really understood just why I loved it back at the tender age of eighteen, though. To me now, this film tells many horrific stories about the horror of man and what he is capable of; how fragile our minds are and how easy it is for us all to slide down that slippery slope (or up river, as the case may be), given the correct set of circumstances. It’s frightening. Plus, don't miss the first ten minutes…Martin Sheen…nekkid…Hubba-Hubba.

29. MR. SMITH GOES TO WASHINGTON (1939): This film was so inspirational to me when I first saw it at about age 20. I still love it. James Stewart for President! OK, I may be a little late, but hey – who would notice that he’s dead? I mean, really, compared to all of those could-be, should-be-dead politicians on capital hill?

30. THE TREASURE OF THE SIERRA MADRE (1948): Good movie. I’m not quite sure why it’s number thirty on this list when The Ox Box Incident is not on the list at all. In my book, “Ox Bow” is a much more powerful film about gang-violence and vigilante-mentality. Hmm…maybe that’s not quite what this film aims for, but I had to talk about The Ox Bow Incident somewhere. I will say that I much prefer Bogie when he’s playing these down and out, dirty dudes; just guys trying to make an honest (or not-so-honest) buck. I don’t much care for him when he’s trying to be all romantic leading man. See the face-eating comments in movie #2.

31. ANNIE HALL (1977): Great movie. Is this really the only Woody Allen film on this list??? What’s that about? This movie makes me laugh so much. It makes me tear up so much. It makes me say “aw…” and steal numerous lines with which to entertain people during dinner. It’s really hard finding a guy, though, who has not heard the lines “what we’ve got on our hands is a dead shark” in one form or another. And that’s such a good thing to say at the end of a relationship. Why couldn’t I have come up with it first? Anyway, I actually prefer Manhattan which I kind of lump into the sub-section of Allen’s movies known around my house as the “70’s Relationship Film”. I only compare his films to others in their various sub-sections. I mean, come on – it would make no sense to compare, say Bullets Over Broadway (2nd Funny Faze) to Crimes and Misdemeanors (Films That Tried to Mean Something, which then has two smaller sub-sub-sections: Those That Worked and Those That Didn’t) would it?

32. THE GODFATHER PART II (1974): Good film. Good position on the list, in my book. “Fredo, you broke my heart.” ‘Nuff said.

33. HIGH NOON (1952): Wonderful, wonderful movie and should certainly be higher on the list. OK, I’m a sucker for westerns, but this is one of the best (if not the best) films of the genre. Wanna know what a good western is made up of? Watch this flick. Plus, it’s got the whole, “man standing up for what’s right, against all odds, dammit!” aspect again and you know how I love that.

34. TO KILL A MOCKINGBIRD (1962): Gregory Peck. *sigh* This is probably the best adaptation of a great book ever. OK, I really miss the “pass the damn ham” parts out of the book, but hey – this was the sixties. Studios were presumably a lot more strict about movie-length back then. But seriously, was Gregory Peck simply born to play this role? And the stuff with the kids chasing Boo Radley just rings so true...My family and I still quote lines from this movie on practically a weekly basis. “I don’t know when I’ve had a roast” by the way.

35. IT HAPPENED ONE NIGHT (1934): Again: Clark Gable in his prime. He really did well in comedies, I must say. And Claudette Colbert keeps up with him perfectly here. This is just simply one hilarious movie and it’s sweet, too.

36. MIDNIGHT COWBOY (1969): A good and touching movie. However, aside from inspiring millions of movie-goers for generations to say, on occasion, “I’m walkin’ here! I’m waukin’ here!” I really don’t see what the big deal is. And why has nobody written a funny sketch for Christopher Walken in which he states, of course: “I’m Walken, here! I’m Walken, here!” SNL writers take note.

37. THE BEST YEARS OF OUR LIVES (1946): I’ve never even heard of this movie. Does this make me a bad person?

38. DOUBLE INDEMNITY (1944): Good flick. Love that Barbara Stanwick.

39. DOCTOR ZHIVAGO (1965): Eeew…why oh why does everyone love this movie? Somebody please spell it out for me, because I was bored to tears.

40. NORTH BY NORTHWEST (1959): woo-hoo! Still not my favorite Hitchcock (don’t worry, you’ll be told, soon enough), but quite a fabulous flick. And the best use of a crop-duster ever.

41. WEST SIDE STORY (1961): 2nd best musical ever. But this one has better songs and dancing. I must say, though, that as much as I love Natalie Wood I really think she was miscast here.

42. REAR WINDOW (1954): OK, this is my favorite Hitchcock film. And any woman who sees this and does not want to be Grace Kelly when she grows up probably only feels that way cause she’d rather marry Grace Kelly when she grows up.

43. KING KONG (1933): Oh, good grief. Dare I mention again the sentimentality motive for voting?

44. THE BIRTH OF A NATION (1915): See number 43. And the racism aspect in this one is just too difficult to ignore. Especially since that’s pretty much the whole story of the movie. “A big ol’ ‘Yay’ for the KKK!”

45. A STREETCAR NAMED DESIRE (1951): You can’t much fault Tennessee Williams, or at least I can’t. Great acting; great, sweaty sets and cinematography. I hate to admit it, but I’d probably stay with Stanley, too. Especially as played by Marlon Brando.

46. A CLOCKWORK ORANGE (1971): This movie seriously offends me. Seriously. Offends. Me. So it’s about becoming desensitized to violence, right, so maybe that’s kind of the point. However, after my first try, I have subsequently been unable to stomach actually watching the movie all the way through again so if that’s the point I must have missed it in between covering my eyes and dry-heaving.

47. TAXI DRIVER (1976): Funny how one violent movie can leave me vomiting while another can actually leave me sighing in its beauty. Well, maybe beauty is an odd word choice, but I love this movie. And I end up feeling so sorry for Robert Deniro. Was I the only one who felt a strange kinship to this dude or was that the point? It’s scary to admit it, though, and I am all of a sudden very glad I don’t use my real name on the net.

48. JAWS (1975): I have used the toast “Here’s to swimmin’ with bow-legged women” so many times it’s becoming expected at family get-togethers. OK, hoakey shark, but did any of us care at the time? This movie left me and I’m sure many other people out there, with a serious shark-phobia that has lasted a lifetime. Plus, it’s hilarious.

49. SNOW WHITE AND THE SEVEN DWARFS (1937): Not the best of Disney’s animated flicks, but it was the first. Is anyone else very annoyed by Snow White’s voice though? I even hated it as a child. I had all of the Disney movie soundtracks on vinyl and I never even listened to this one.

50. BUTCH CASSIDY AND THE SUNDANCE KID (1969): Hee. Love this movie. As a child, I couldn’t figure out who more deserved my mad crush – Robert Redford or Paul Newman. I later settled on Paul Newman. I love this movie because, as a fan of Westerns, I can see just how different it is. Like the fact that Butch and Sundance run away from the posse. You never would have seen John Wayne run away from a posse now would ya? I also crack up every time I see that scene with Cloris Leachman as the hooker. Hee. I’m not a fan of Katherine Ross, though, and this movie could have done without her. As a side note, I’ve been to the little ghost town where they filmed the scenes at and around Etta’s house. It’s in a beautiful canyon in Southern Utah and the scenery alone is worth the little detour on your way to Zion Canyon. They have a really cool old graveyard there, too. Lots of Mormons killed by Indians. Go figger.

51. THE PHILADELPHIA STORY (1940): First of all, let me say that I do like this movie and quite a lot. I want to make that clear because this may not sound like the most glowing of reviews. Jimmy Stewart is always a sweetie and charming; Cary Grant is always sexy and charming; Katherine Hepburn is always a great and surprising actor and yes - rather charming. All three remain true to form here. It’s also an extremely funny film. However, what is up with this flakey chick? I mean, she loves one guy one minute, then makes out with Jimmy Stewart and might I say leads him on, then ends up with – oh, the guy she really loved all along! I see. And poor Jimmy Stewart’s girlfriend pretty much just settles for him (and he for her), since Katherine Hepburn has moved on (or moved back, anyway) to the man she really loved all along. Another part of the story appears to be saying that so long as Katherine’s mom doesn’t mind the fact that Katherine’s dad is a philandering, lying, sexist pig, it’s ok that he is one and Katherine is hard, cold and unfeeling for accusing him of being just that and being mad at him as a result. Oh, but aside from all of that it’s a good movie.

52. FROM HERE TO ETERNITY (1953): Believe it or not, I just saw this movie for the first time over the weekend. I like it. Frank Sinatra is surprisingly good in his Oscar-winning role. I was kind of surprised because, while the reasons I love the Chairman are legion, I didn’t think it took much actual talent to have the mob buy an Oscar for you…Montgomery Clift is great, as usual, in his supporting role as well and I now see why Burt Lancaster is viewed by some to be a sex god. Kind of a risqué movie for 1953 too, which earns it additional kudos in my book.

53. AMADEUS (1984): I loved this movie so very much when it came out. I love movies about artists and musicians anyway and being a fan of Mozart’s made this one especially interesting. Tom Hulce is great as the maestro himself and the Oscar won by supporting actor F. Murray Abraham was well-deserved. It’s brilliantly filmed, too, and the way the shots are backed by Mozart’s music is genius.

54. ALL QUIET ON THE WESTERN FRONT (1930): Never seen it. Actually don’t have any plans to do so (you know my feelings about war movies), but if it is showing on TNT over Memorial Weekend or something and there doesn’t happen to be any Trading Spaces repeats on, I may check it out.

55. THE SOUND OF MUSIC (1965): Yes, great movie. I saw it about ten times while it played at the movie theater in Glendora. Although that was way back in the dark ages, when some theaters still only had one screen, I think it must have been when the film was re-released because while I may be closer to forty than to twenty, I ain’t that old. I also used to dance around my bedroom to the soundtrack. I fell in love with Christopher Plummer then. Now I just give him kudos for attempting to sing these songs when, let’s face it, he’s no singer and he’s in a movie with Julie “the personification of ‘sings like a bird’” Andrews! That takes some balls, baby. The last half hour or so drags, in my opinion. I like the virginal Maria (Julie Andrews) better, when there was all of that romantic tension and lovely Austrian scenery. Once they get married, it’s all downhill. Plus the Nazis come to town and they’re never fun.

56. M*A*S*H (1970): I loved the t.v. show as a kid and couldn’t really understand the movie. Now I love the movie and the t.v. show...um...not so much. The “war is hell” stuff may be a bit heavy-handed but it’s otherwise hilarious. Elliot Gould and Donald Sutherland? Pure genius. Love them together. I love Donald Sutherland apart, too, but I don’t think I’ve ever seen Elliot Gould in another performance when I liked him. I don’t even like him as Monica’s dad on "Friends".

57. THE THIRD MAN (1949): I always love Joseph Cotton. Why don’t more people talk about Joseph Cotton? Of course, in this movie we have Orson Welles to outshine Mr. Cotton. After you watch this movie and get totally caught up in it, think back. Try to remember just how much of the movie Welles was actually in. It seems like he’s the star, but he’s hardly even in the thing. That’s how memorable he is, is my point. I was surprised how funny this movie is. I didn’t expect it to be so.

58. FANTASIA (1940): Great animation, great music. Not that I’d know from personal experience or anything, but evidently this is a great movie to watch while high on a probably illegal substance.

59. REBEL WITHOUT A CAUSE (1955): I love James Dean. I have loved James Dean since I was a kid. When I first saw this movie I was like 15 and of course it hit a raw and overexposed nerve (even though I watched it about thirty years after it was made). However, this is not James Dean’s best movie. This is not the best (or even the first) “teen angst” movie. I really have no idea why it’s on this list, except that it was James Dean’s first movie and yet it came out after his death. I hate to say it, but if he hadn’t taken that fateful trip up the interstate, this movie would now be seen as overwrought melodrama. Plus, sometimes (as much as I love her) I just want to smack Natalie Wood’s character.

60. RAIDERS OF THE LOST ARK (1981): Um…yeah, great movie. I remember seeing it for the first time and coming out of the theater with the muscles in my thighs hurting from sitting for 2 ½ with them clenched out of sheer tension. Harrison Ford has never been more charming and witty and I love that he’s a flawed hero and not even all that courageous some times (snakes). I dunno. I guess it’s OK that it’s on the list. I can’t think of anything wrong with the flick, precisely. It just seems to be a bit of fluff for the Top 100 Movies of All Time.

61. VERTIGO (1958): Great movie. James Stewart shows surprising depth in this flick.

62. TOOTSIE (1982): I just watched this movie again a few months ago. I had forgotten just how hilarious it is. I love Bill Murray and Teri Garr in their supporting roles, even more than I love Dustin Hoffman as Tootsie. Plus, that whole love-affair-gone-awry between Tootsie and Charles Durning’s character is so cute and touching. I hate the montage sequences accompanied by the sweettarts-soundtrack, but that’s really its only flaw in my humble opinion.

63. STAGECOACH (1939): Love this movie. I actually even love John Wayne in it and that’s a stretch for me. I’m not a big fan. He’s good in this and actually attractive which is really saying something for me. I love the stuff with the “good woman” and “bad woman”; I love the fact that the gentile, Southern gentleman as played by John Carradine seems to think it would be preferable for the “good woman” to be shot in the back of the head than possibly captured by Indians to suffer “a fate worse than death”; I love the fact that they show a stagecoach for what it was – cramped, uncomfortable, and a bumpy, dusty ride; I love the story of a man out for vengeance after the murder of his brother; I even love the stereotypically drunk Irish doctor.

64. CLOSE ENCOUNTERS OF THE THIRD KIND (1977): Another great film from Spielberg. Was his mom like on the voting committee for this thing, though? I would say that, if forced to choose between which one should be on this list, I would choose this one over “Raiders.” I just think that, in the great vast scheme of things, this one is probably more “important”, especially in the area of special affects. They’re both good movies, both well written with entertaining and solid performances. Frankly, though, neither should be on this list. They’re just good flicks.

65. THE SILENCE OF THE LAMBS (1991): Another very good movie that I don’t think is anything more than that. I mean, that’s saying something; don’t get me wrong. But I would think this list should be reserved for more meaningful titles – movies that have influenced not just our spending habits, but the art of film itself and the generations of filmmakers to come after they are made. This is just a good, spooky movie; well written and solidly acted…hey, where have I heard this before? My main complaint, though, is that I just don’t see what the big trauma was for Jodie Foster’s character. OK, her admittedly decent uncle had to slaughter some lambs. Yes, lambs are cute and nobody wants to see them die. But jeez, that kid on "Frontier House" had to actually watch as the chickens and pig he had actually raised were slaughtered for food! Jodie just showed up on the farm one day and decided to throw a hissy fit. She didn’t know these lambs, for Pete’s sake. And this was after her daddy had died. I mean, I would think she’d know by then what real life drama is about. Anyway, so the “big reveal” of this little secret just seemed kind of lame, after everything.

66. NETWORK (1976): Um…never seen it. Shame on me.

67. THE MANCHURIAN CANDIDATE (1962): Good movie. I love what it has to say more than how it is said, though. It’s kind of stilted and awkward, but it earns kudos for being daring and addressing issues that still deserve a look today. Plus Angela Landsbury kicks booty. In comparing Frankenheimer’s films, though, Seconds is better.

68. AN AMERICAN IN PARIS (1951): Yeah, it’s good. I don’t know that it’s this good, but…Gene Kelly…mmm…Oh, yeah - he's a great dancer and choreographer, too. This is not one of those musicals, though, that would be just as good without the music.

69. SHANE (1953): Oh, how could I forget about this one? OK, this is my favorite Western of all time. The debate still rages within my family, by the way – did Shane actually die at the end, or just ride away? We may never know for sure…but how kick-ass is a young Jack Palance? What a great bad guy. If you can e-mail me, giving me the correct number of people in my family who have “Shane” as one of their names, you’ll win…well, nothing, but you’ll sleep easier, knowing you have the answer.

70. THE FRENCH CONNECTION (1971): I think this is a good place on the list for this movie. I love Gene Hackman, first of all. Some think he goes over the top in this performance, but I happen to feel he just over just enough. It’s fitting. Included in this movie, of course, is the best chase scene ever (yes, better than "Bullit").

71. FORREST GUMP (1994): How do you spell overrated? Me? H-A-N-K-S. At least in this performance. Oh, I’m not saying he’s bad, but better than Morgan Freeman in Shawshank Redemption, also nominated the same year? Eh…no. Not to mention, this movie isn’t as good as Shawshank. But I should state what I liked about this movie: Gary Sinise.

72. BEN-HUR (1959): I watched this numerous times as a kid. Like every year they played it at Easter time or something. My sister and I would play some sort of freakish-nerd game wherein we adopted the characters of Judah (Ben Hur) and his pal Messala and we would do that arm-grabbing, “hand shake” thing that they do in the scene where Judah comes “home”. Then the two of them get in to that whole chariot-race thing and all of a sudden they’re enemies. Anyway, it’s a good movie. I don’t know that I’ll subject my kids to it every year for like ten years in a row, but hey – I have cable now. We only had like three channels while I was growing up. Options were limited.

73. WUTHERING HEIGHTS (1939): Aside from the fact that Lawrence Olivier is a babe and a half, this movie pretty much sucks, as did the novel on which it is based. I don’t like any of these people, I have no idea why they would like each other and frankly, I don’t care one bit.

74. THE GOLD RUSH (1925): Chaplin is a genius. I know that better minds than mine have said this, so you’ll agree with me. This is my favorite film of his…OK, maybe I’ve seen only three, but I did see the Robert Downey-acted Chaplin so I think I can speak from a position of knowledge. This movie is great; funny and sweet and touching. I guess originally he got the girl in the end, but I’ve only seen the reissue from the 40’s when Chaplin re-edited it and the Little Tramp walked off alone, as the Little Tramp was wont to do, poor thing.

75. DANCES WITH WOLVES (1990): Kevin Costner is not very annoying in this movie. That’s saying a lot because, aside from his performance in Silverado, he is a very annoying person to watch on film. This movie is so great, though, that even Kevin does not bother me. I find the supposed “accent” used to Mary McDonnough to be far from credible, but I don’t really watch this movie for it’s great acting. It is filmed in such a way as to make you fall in love with the land and you do. It is also filmed in such a way as to make you fall in love with the Sioux people and you do. The native characters are much more intriguing than the white folks (who are usually shown as horrid, villainous people, but hey – facts is facts). I really love the Director’s cut because it has many more scenes of just the Sioux people sitting around talking and doing what Sioux people did every day. How often do you get to see that in a movie? Would it be great to see a movie about native peoples not as seen though the eyes of a white man? Sure it would, so get out there and write one. In the mean time, this is a good place to start.

76. CITY LIGHTS (1931): Very cute, but it makes me cry. All of Chaplin’s films (well, the three I’ve seen) are so sad. He makes you laugh, but you cry for him at the same time.

77. AMERICAN GRAFFITI (1973): Good movie. I don’t know if the flick that inspired “Happy Days” should really be applauded in this manner, but it’s a good movie. Plus, evidently that George Lucas has an eye for up-and-coming talent, what?

78. ROCKY (1976): Please, please, puh-lease. It’s a good movie, but have you listened to the dialogue lately? Sly may have won a Best Screenplay Oscar, but 1976 must have been a slow year at the races. I do think it’s cool that Stallone was seriously down on his luck, fought the devil to get this movie made and it ended up being such a huge turn-around for him. Now that’s the American Dream, kids. But Rocky on the list of all-time great films? Seriously, folks.

79. THE DEER HUNTER (1978): It took me a few watches to actually like this movie. The first two times I watched it I was just a bit overwhelmed. Great acting, all around, and the story just breaks my heart, I tell you. It’s not my favorite of the whole “late-70’s-into-the-80s-Vietnam-guilt-era-flicks” genre, though. That would be Full Metal Jacket which oddly enough is not even on this list.

80. THE WILD BUNCH (1969): Fabulous. I love the slow-mo violence. It makes its point. Everyone in this movie looks so leathery. Times up, fellas.

81. MODERN TIMES (1936): This is not one of the Chaplin movies I’ve seen.

82. GIANT (1956): The first 2/3 of this movie are great. After James Dean wins all of his money and Rock Hudson gets old it loses some appeal. The next generation are just annoying little rich kids. Nice comments on racism at a time when I don’t presume many such comments were being made.

83. PLATOON (1986): No Full Metal Jacket and yet this is on the list? Actually, I loved it when I first saw it because I had never seen anything like it before. Plus, I was young and impressionable. The movie is scary, yes. The violence is just…well, scary. I’ve never fought in any battle, let alone in Viet Nam, but to me the battle scenes seemed frighteningly real. But all of the symbolism puke was ridiculous and overwrought and OK, we get it already and Willem Dafoe sinking to his knees ala a pot-smoking Christ was just silly. Plus, if I’m going to listen to a Sheen narrate a movie which is set in Viet Nam during the war but actually shot in the Philippines, I’d prefer Martin and Apocalypse Now.

84. FARGO (1996): Man, I love this movie. I love the Coens and can only think of one of their movies that I didn’t love (The Big Lebowski, to answer your question). Frances McDormand is simply the best. Simply being the key word, of course. Did anyone else pert-near bust a gut during that scene when her high school friend takes her to dinner and proceeds to make his move? William H. Macy is also terrific, as usual. How can a movie be so damn funny and make you want to vomit at the same time, though? Those darn Coens do have a unique way of filmig their violent scenes though, don't they?

85. DUCK SOUP (1933): The funniest of the Marx Brothers’ movies, in my opinion. How can anyone watch the stinkin’ Three Stooges when you can laugh much harder and more often at the Marx Bros.?

86. MUTINY ON THE BOUNTY (1935): More Clark Gable and this time he’s bare-chested for most of the film. What’s that about a mutiny? An island of natives? Some boat? Huh?

87. FRANKENSTEIN (1931): I was again going to write something snotty about sentimentality and voting, but stopped short because this really is a great movie. It made Boris Karloff and move make-up artists stars too, and where would we be without either?

88. EASY RIDER (1969): Are you kidding me? I guess it opened a new door in cinema and made way for a different kind of movie icon. Billy Jack may thank the makers of this movie, but I really don’t.

89. PATTON (1970): I’ve heard this is a very good movie. I wouldn’t know.

90. THE JAZZ SINGER (1927): I know that Neal Diamond is old, but this old? 1927? Of course, I’m kidding, but Neal’s is the only movie with this title I’ve seen, regrettably.

91. MY FAIR LADY (1964): I don’t think that any musical wherein the lead actress doesn’t even sing her own songs should qualify for a rating. Oh yeah, we already did West Side Story didn’t we? I suppose it wouldn’t be fair to ignore this one. It’s a good movie.

92. A PLACE IN THE SUN (1951): I like Montgomery Clift and it took years before I believed he was homosexual in real life. However, I do not like him in this movie. In fact, I don’t like anyone in this movie.

93. THE APARTMENT (1960): Love this flick. Did I mention before that Jack Lemmon is an acting god? Because he is. And Shirley MacLain is a charmer in this, too. It’s funny and touching.

94. GOODFELLAS (1990): Yay! One of my faves. Love this movie; it’s possibly my favorite Scorcese film. Ray Liotta is awesome. Lorraine Bracco is awesome. Robert Deniro is, as usual, awesome. Joe Pesci is just…scary. In an awesome way. And the moral of this story? Follow that strict code of honor, peeps, even amongst gangsters. Especially amongst gangsters.

95. PULP FICTION (1994): Love this movie. Love John Travolta in it. Love Samuel Jackson. I even love Bruce Willis. The funniest dialogue. I dig the out-of-sequence filming. And it is important in how it’s influenced a generation of filmmakers. Sure, Resevoir Dogs should have been just as influential, but this was seen by far more people.

96. THE SEARCHERS (1956): One of my favorites. John Wayne is almost up to the material, but I wonder what a real actor would have done with this part. Still, over all a great movie and I admire the harsh look (for that time anyway) at racism.

97. BRINGING UP BABY (1938): This is a very silly and funny movie. One of the best of all time? Eh. Why no Tracy/Hepburn movies instead of this one?

98. UNFORGIVEN (1992): Clint Eastwood’s best. A great movie. The violence is sometimes hard to stomach, but that is the point, after all. I consider it very courageous of Clint to have taken on this movie, basically debunking his own myth.

99. GUESS WHO'S COMING TO DINNER (1967): Dated, but Sidney Poitier is beautiful and Hepburn and Tracy are divine.

100. YANKEE DOODLE DANDY (1942): Never saw it. Sorry