This is going to be hard.
Children of Men is my favorite adventure/disaster film, and whenever I need inspiration for film work, I watch the long scene through the building.
Dear Zachary is the most fetal-position and eyes-watering, saddest, well paced documentary I've ever watched. There are other docs that have better camera work or more gritty exposure and human moments, but the use of old photos and interviews to build a cohesive plot and keep the viewer watching is something every single TV channel needs to take notes from.
2001 Space Odyssey This is what movies are supposed to be. I love stepping into the world of 2001, the psychological tension, the human and ai interactions - I like the film work, the astounding special effects, the score, the thought provoking imagery - I love every facet of this slow burn film.
Dogma and Clerks Others have mentioned them, but I have to show props. I'm not a raging Kevin Smith fan, but his movies really do have the best dialogue that is only matched by Quintin. The argument between the angels in the parking garage is one of my favorite scenes, and some of the best acting either of those actors has ever done. *cough*
Seven Pounds and Happiness Philip Seymour Hoffman is one of my favorite actors, and he is delicious in these two (very very very different films please don't watch happiness) movies. While Seven Pounds is heart wrenching, but probably not for everyone, Happiness is absolutely a horribly disgusting film that is not for very many people at all, but in both films PSH acts better over the phone than most actors do in the room with other people.
Death Trap is an older film that one of my media studies professors prescribed when I was perplexed at how Christopher Reeves ever got the role for superman considering his awful acting abilities. This film has an amazing set with a play-like structure and blocking that is unlike many other movies. The plot twists and turns, while the camera dollies around the set in long uncompromising shots that seem masterful, but so discreet that the average viewer probably doesn't realize how long each shot really ends up being. Characters enter and leave a scene only to appear in another part of the room moments later without a single frame cut, yet the acting is astoundingly complete from every character (minus a rather bad character addition at the end, which is forgivable since her character only serves to move the plot along, and it's at the very end anyway.) If you like, or even don't like plays, this is a great movie for you. It's genuinely hilarious while being thought provoking, too.
The World According to Garp is one of my favorite films, but I'm not sure I could defend that very well. It's got pretty sub-par cinematography with a few highly notable exceptions that makes me wonder if the same person was running picture for every shot. I really appreciated this book as a kid, and this is one of the only films that, while not entirely accurate to the book, is almost better because it rehashes the story for a different medium, and succeeds very well. I also think this is proof that Robin Williams is better at acting straight than being a stand up comic in movies.
City of God Even though there are a few more cinematic moments in this film, the vast majority of it feels like a documentary, probably because most of it is happening across the world as we speak. This has to be one of the most universal difficult films for people to watch. I haven't met anyone who didn't like it. The cinematography is breath taking, and there are no mistakes save a single shot which I think was referential to some other film I haven't seen, when the camera pans down to see the gang members marching towards us and then holding up his gun to fire in the air like some typical villain in a movie. Otherwise, each shot and each idea compiles a living breathing world that provides perspective and investment in a world we don't hear a lot about.
Primer is what I watch when I'm trying to write a screenplay or need to film something I'm not very confident in. This film was made for next to nothing, and inspires me to think of valid plots and concepts that can still be done without special effects or a lot of work. The plot isn't as confusing as everyone seems to claim it is, they just don't explain it to you like every other time-traveling film does.
Wristcutters: A Love Story is the worst name for this film ever at all and kept me from seeing it for the longest time. It's a road trip movie, and the suicide angst isn't in the front seat at all. I always enjoy myself after watching this movie, but the title does not imply a "feel good" movie in the least.
There's so many more, and I'm surprised I didn't include older films, but lately I have been less impressed with the stories and pacing of older movies, and I have begun to enjoy those for building the library of techniques we use today.
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