Mike’s Top Ten of 1976
1976 is a year that a lot of people gravitate to because it’s got some of the most memorable films of the 70s in it. The Best Picture list of this year includes All the President’s Men, Network, Rocky and Taxi Driver. That alone means it’s gonna have a lot of eyeballs on it. And then there’s some other really iconic films from this year too. You could pinpoint a lot of really pivotal moments for film that all happened in this year. John Wayne’s last film, the last great western before the genre died out, and, oh yeah… those four films previously mentioned.
The other great thing about this year, as is the case with most 70s years, is that there are so many great films below the top ten that are just great, most of which are true hidden gems that are largely forgotten nowadays.
Also take a look out for one of my absolute favorite comedies of all time. (more…)
Mike’s Top Ten of 1975
If 1973 isn’t the strongest year of the decade, then 1975 for sure is. This top ten list, though. Holy shit. When the weakest one in the bunch is something that you disagree with because it’s not your cup of tea, that’s a strong year. You can’t argue with the cultural impact or strength of any of these films. Kubrick, Lumet, Spielberg, Gilliam, Altman, Forman, Pollack, Russell. That’s just 8 of the top 10. That’s nuts.
I will admit, it’s somewhat top heavy a year, as the lower films aren’t as strong as the ones in some other years. But still, when you have a top ten as strong as this one, you don’t need much else. (more…)
Mike’s Top Ten of 1974
What I love most about 1974 is that the top ten (and the top ten most people would have for this year, which is even more impressive) has two films on it from two different directors! 40% of the top ten list is two directors. Well, if we’re getting specific… that’s four of my top five for this year. Which is nuts.
But also, this top ten list is great. There’s one movie that absolutely no one has ever heard of that I hold dear for a variety of reasons that will translate to almost no one else, but everything else is just amazing stuff.
And I will repeat what I’ve said in other years from this decade… there’s a lot of cool stuff below the line. Some really cool movies you might not know at first glance that you’ll really enjoy if you give them a shot. (more…)
Mike’s Top Ten of 1973
1973 has a good case for it to be considered the strongest year of the 70s. Nine out of my top ten are straight up all-time classics. Inarguable classics. And then 11-20 are all just incredible movies, with some great gems sprinkled throughout the rest of the list.
The 70s are in full swing here, and I think ‘iconic’ is the way a lot of these are. One of the most iconic characters of all time, iconic horror movies, iconic uses of music, iconic performances by famous actors.
There’s nothing more to add. These movies are great, and you should watch them. (more…)
Mike’s Top Ten of 1972
1972 always stands out to people because one of the consensus greatest films of all time came out this year. But outside of that, man… are there some great movies here.
What I like best about this year is that you come for The Godfather, and stay for all of the great gems that are all throughout this year. There are like four movies in my top ten that are straight up forgotten gems, and then a few more that are vastly underappreciated.
Not to spoil the fun, but… The Ruling Class, What’s Up Doc, Sleuth and The Hot Rock. Those are your gems. Don’t miss those. (more…)
Mike’s Top Ten of 1971
1971. There’s a year. This is where the proper 70s begin. This is where all the below the line stuff is just awesome, and it’s all weird 70s stuff, and not just ‘old school Hollywood’ stuff. Not that old school Hollywood stuff is bad, but it doesn’t fit what this decade is all about.
This year in particular though… it’s got some bangers. Look at that top ten list. One hidden gem, one weird movie that I love, but the rest are all straight classics (or at the very least part of famous franchises). The top ten is so strong. But, what’s even cooler is that there are such great films all the way down the line. You don’t just stop at the top ten in a year like this. You’re gonna find great stuff all the way through.
Pay attention, kids. The 70s are a decade you don’t wanna just skim through. (more…)
Mike’s Top Ten of 1970
1970 as a year never excited me. I’m not sure why. I think it’s part of the changeover from Old Hollywood to New Hollywood. I have the same feelings about 1968 and 1969. The old stuff sticks out like a sore thumb, while the really great new stuff has endured so well that it almost feels timeless. So there’s nothing there that particularly defines the year.
Of course, here, several truly iconic films came out. One saved a studio, one launched the career of one of the most celebrated auteurs of all time, the other launched one of the greatest actors of all time. And then there’s a film that captured a moment that defined a generation. 1970 as a year has some great parts to it. Though the sum of the parts doesn’t quite add up for me.
Still though, some cool stuff here. (more…)
Mike’s Top Ten of 1969
Every time I get to 1969, I feel myself getting more pessimistic. If 1967 is when New Hollywood broke through, and 1968 is Hollywood dumping all the old shit to make room for the new shit, then I feel like 1969 is New Hollywood getting its footing and being like 80/20 in favor of the new shit, with all the old shit really sticking out.
Take a look at the Best Picture crop for this year: Midnight Cowboy, Butch Cassidy and the Sundance Kid, Z… and Anne of the Thousand Days and Hello, Dolly! ‘Anne’ at least is part of that historical drama trend and kind of makes sense, but Hello, Dolly! sticks out like a sore thumb.
There’s such revolutionary stuff that came out this year. There are great, experimental films by radical new filmmakers, most of whom would become established names over the next decade. Most of it is the stuff you know. The ones I really want to talk about are the ones you don’t know. That’s my favorite part of this year. (more…)
Mike’s Top Ten of 1968
I always think of 1968 as the year where Hollywood dumped out all the old reserves before they could start anew, but that’s not really what it is. You look at the movies that came out — a lot of classics are in this year. Though admittedly, a lot of the below-the-line stuff are ‘old’ Hollywood kind of films.
Five of the most famous movies ever made came out this year. And I can say for sure two or three of my favorite 100 movies of all time are on this list. It’s a way better year than I usually consider it to be. Though I will say — a lot of the lower-tiered stuff is weaker this year than it is most others. Mostly it’s an oddball assortment of weird stuff I like because it’s totally unlike most other stuff. (more…)
Mike’s Top Ten of 1967
There’s a whole lot to say about 1967. For starters, can you believe this is the first year so far that every single top ten film is in color? Get used to it, because there’s only like ten more black-and-white films total in the top ten for the next 35 years.
Other than that — I’ve been hinting to it for about six years now, but this is the year when the dam burst and the studio system as we knew it came to an end. Gone were the highly controlled, artificial, sound stage, cookie-cutter movies and in were the gritty, realistic films that dealt with subject matter never before seen, frankly discussing politics and race and sex and using violence and language and all these experimental techniques. This year changed cinema forever.
It’s also, I feel, one of those years where just about everyone has most of the same top films. At least half this list is gonna be uniform among everyone because these are some of the best films ever made and everyone loves them.
The other thing of note is that it’s really not as deep a year as the others, I think because of the amount of change going on at the time, as Hollywood was moving to smaller, more independent type material and away from the big budget stuff. So you’re left without a lot of those middle class gems that most of the other years are full of. (more…)
Mike’s Top Ten of 1966
1966, symbolically, feels like that moment when all the water pulls away from the shore just before the tidal wave comes crashing down. It’s a matter of time before the industry changes completely and the old way is totally gone. And you can see it in the films. Whenever there’s a movie shot on studio sound stages in one of the old-school genres, it just feels passé. That doesn’t mean they’re not good, it just means that they feel outdated.
There’s definitely a move to a less rigid style of filmmaking, and way more location filming. One of the top ten films mixes scenes set on sound stages with scenes in an actual football stadium, and it’s just jarring. You can see the two different eras side by side. But that’s really what the year is about for me. The calm before the storm. Other than that, it’s a decent year, but doesn’t feel overly special overall. There are a couple of all-time films, but as a whole it’s pretty mix and match.
Another thing worth mentioning is that this is the year where the MPAA ratings system was created. Rather than getting a seal of approval, films were rated like they are now so people had an idea of what age rage they were intended for. (more…)
Mike’s Top Ten of 1965
Another contender for strongest year of the 60s. The top ten isn’t as classic-heavy as ’62, but what it lacks in those it makes up for in straight up gems that not enough people know about. This year is so full of amazing movies that are on that level of “Oh my god, how did I not know this existed before?” Those are my bread and butter.
The thing you really notice in a year like this is that the films are starting to (and you’ll notice a parallel to the current day here) exist in one of two forms: huge scale blockbusters or small independent movies. There’s no real middle class here. Either they’re these realistic, gritty little movies with great performances and (for the time) experimental (or should I say, less rigid) filmmaking, or they’re huge (and at times, bloated) epic-scale movies in ultra widescreen designed to get asses in the seats because TV is taking people away.
Pay attention to the non-top ten entries this year. They’re stronger than most. (more…)
Mike’s Top Ten of 1964
1964 is the year where the true schism occurs. The films seem to be clearly demarcated on either side of a line: either they’re representative of the last gasp of studio system filmmaking (evidenced by a generally bloated nature and a staid feel) vs. the new, vibrant filmmaking coming up that would be the calling card of the 70s independent movement. Trust me, you can tell the difference.
My favorite thing about 1964 is that there are two films in the top ten list that are just completely unknown. One is a film that was hated at the time and completely dismissed. The other is just a forgotten film that’s really engrossing and has some relevance to today.
Otherwise, the rest of the top ten is full of classics that are all just magical in their own way. Plus, it’s a really deep year. I can go thirty deep in this year for great movies. That doesn’t happen often. (more…)
Mike’s Top Ten of 1963
A lot changed this year. This was the year John F. Kennedy was assassinated, and you definitely saw a shift in the types of films that came out after that event occurred. Plus, this was the year — I guess it’s because of Cleopatra — where it became clear the foundation of the studio system was really on its way out. This feels like the year that demarcates ‘business as usual, but with some more nuanced and realistic subject matter’ with ‘last gasp of the old ways before everything changes’.
There’s a lot of good stuff under the line this year. A lot of cool little gems worth checking out. As for the top — most of the top ten is incredible. A couple of really beloved films generally considered some of the best ever made. And there’s a handful of great films that aren’t as well seen as you’d think. It’s not as overall strong as some of the other years, but it for sure makes its mark.
If there’s one thing I’d like to stress about this year, it’s that you should really go see films #5 and #6 if you haven’t yet. (more…)
Mike’s Top Ten of 1962
My favorite year of the 60s. This is the year where legitimately the top ten is amongst the greatest films ever made, and the year where I can go 25 deep for great films. I don’t know how other people look at these lists, if they look at the top ten and ignore everything else. But here, you want to look through the top 20 and see them all, because this year is wonderful.
The great thing about 1962 is that you can go down the list, and pretty much one of the greatest (insert genre here) films was released. One of the greatest epics, one of the greatest westerns (two, for my money), one of the greatest courtroom films, one of the greatest prison fils, one of the greatest thrillers, one of the greatest spy films (which spawned the most successful spy franchise of all time), one of the greatest biopics, one of the greatest war films, and one of the greatest cult films of all time.
Top to bottom, this is hard year to beat. (more…)
Mike’s Top Ten of 1961
This is one of the strongest years at the top of the 60s. This is like when a famous band that’s been around a long time plays a concert and then starts playing the major hits one after another. It’s just banger after banger.
The year as a whole isn’t as strong as some of the other 60s years. You don’t go ten deep of classics. But still, there’s cool shit here. The 60s isn’t so much about the major stuff — since we can all pretty much agree on that — it’s about the gems that are below the surface that no one remembers anymore. They’re not as numerous as they were in the 50s, so they’re more pronounced. And because they’re not as much a product of the studio system as they were (since the studio system at this point is decaying and will be gone before the end of the decade), they’re all really interesting, subject wise.
But really, the best part of 1961 is getting to talk about the top tier films. Because man, are those all-timers. (more…)
Mike’s Top Ten of 1960
I love 1960. I look at my favorite films of this year, and they make me smile. Not just because one of my five favorite films of all time came out this year, but also because legitimately half this top ten list (minimum) is widely considered among the absolute greatest films ever made. Personally, I think that distinction goes about seven or eight deep for this one. Plus, there’s a lot of cool under-the-radar stuff this year as well.
As far as the year goes, I think the major note is that you’re starting to see things turn. You don’t see the standard “studio” movie anymore. You look at most movies from the 50s, and they just feel like studio system movies. The movies are getting longer, they’re starting to feel less artificial and the subject matter is starting to broaden.
You also start to see way more foreign films permeating the lists, as this is part of the golden era of foreign cinema. Certain countries had movements before now, but in the 60s, you’re gonna see a lot of countries producing masterpieces left and right.
1960 is a good year. (more…)
Mike’s Top Ten of 1959
This is a cool year. There’s a lot of amazing stuff on this top ten. Just about every film in the top ten can be describes as being a “classic” in its respective genre. And the other one… well, we’ll get to the other one. It’s amazing.
The French New Wave began this year, and it marks a major upturn (which had been coming over the past couple years) of European cinema. International film industries had been growing since the war, but the 60s were the time when the films greatly started making their way over to America in a big way.
Otherwise, you look at this year — Billy Wilder, William Wyler, George Stevens, Otto Preminger, Douglas Sirk, Howard Hawks — it’s one of those years with all the auteurs making some of the absolute most classic films.
Pound for pound, this is legitimately one of the best years of the decade. (more…)
Mike’s Top Ten of 1958
1958’s just a cool year. There’s nothing hugely specific that will define the year, but there are important things to talk about in terms of films. The noir genre basically ended this year, for example. Also, a film is now generally considered one of the actual two or three greatest films ever made was released. And there’s just a lot of cool shit about vikings, too.
What I like about this list is that it’s all over the map. Classic foreign film, suspense, campy horror, epic western, musical, classy drama, classic race film, ensemble, classic noir, and vikings.
Can you guys tell I’m really excited about the vikings? (more…)
Mike’s Top Ten of 1957
The single best year of the 50s. My personal favorite is 1953, for sentimental reasons, but in terms of having the absolute strongest films, 1957 is your year. You’ll see what I mean below.
This top ten list goes 8 deep. The first 8 films on this list are generally considered among the greatest films ever made. And then the other two are just some great hidden gems that I love that generally aren’t very widely known among film buffs.
Really what makes me happy about this year is my #1 film, which is one of my twenty favorite films of all time. The rest is just icing on the cake.
Pay attention to this year in particular. It’s so deep that there are a larger number of true hidden gems out there for people to see and enjoy. (more…)
Mike’s Top Ten of 1956
What we need to talk about for 1956 is the biggest thing in popular culture — rock ‘n’ roll. Music changed forever in the 50s, and this feels like the signature year to bring it up. Elvis’s first movie — Love Me Tender — came out this year, and there was a proliferation of films with rock ‘n’ roll stars in them performing their hits. This goes back to what I brought up in a previous year — teenagers were now the target audience. So they put all their favorite stars in the films. It’s actually a great time capsule, watching those films. You actually get to see these stars perform their hits.
The other thing — at least for me — about 1956 is the amount of straight up hidden gems that are in it. Sure, the big films are represented, as they should be. But my top ten has at least two films that most people haven’t heard of and another film that most people haven’t seen. And there’s also amazing stuff below that as well.
This is one of those years where just about every single movie going down to tier two is something I really enjoy. (more…)
Mike’s Top Ten of 1955
Well, I guess there’s really only one thing to discuss for 1955 — James Dean.
Not necessarily Dean himself, though he did have an amazing, brief career, with three all-time classics as his only features in which he starred. We need to talk about both what he represents — method acting, the teen culture of the 50s — and also how it relates to the big cultural film of the year: Rebel Without a Cause.
The 50s started to represent a societal disconnect between adults and teenagers. This was the first time the term generational gap became a thing. Here you have adults that were raised on wholesomeness and here are these teens that are listening to rock ‘n’ roll, smoking cigarettes and all this other stuff. The disconnect between parents and children would be a major theme of the next few years. You can’t discuss 1955 without James Dean and the generational gap being front and center.
Outside of that, there are some real classics we’re gonna talk about here. There are heavy hitters all over the board, across every genre. (more…)
Mike’s Top Ten of 1954
1954 is notable for having three of the absolute greatest films ever made in it. Straight up, when people rank the best of the best — these movies will show up within the first 150.
Now’s also a good time to talk about the big elephant in the room as it relates to the 50s — television. The rise of television, coupled with studios having to give up ownership of their theaters meant they were increasingly nervous about the future of their product. (That’s right, this has been going on for years.) So they started making these gimmicks to get people into the theater. First, it was CinemaScope. And Cinerama. And all the different variants. Then it was 3D. There are a bunch of movies that were originally released in 3D spread around the 50s.
The other thing they did was find things TV couldn’t offer, like exotic locations. There was an increasing trend in the 50s of “runaway production,” which was essentially going off and shooting films entirely in other countries. The big one in this era was Italy. A lot of movies were shot on location in Italy in the 50s. (more…)
Mike’s Top Ten of 1953
My favorite year of the 50s. 1953 has such amazing movies that are so near and dear to my heart. It just makes me happy to think about it. I wouldn’t necessarily say it’s the strongest year of the 50s, though I think it does make a solid case for itself as such. There are some all-time great films in this year.
What I love about this top ten list in particular is how it’s full of great directors. The top ten has films from Billy Wilder, William Wyler, Sam Fuller, George Stevens, Vincente Minnelli, Fred Zinnemann and Howard Hawks. Not only that, but they’re all classic films of theirs. These are films that are among people’s favorite films of all time. And on top of that, there are two films on here that are such gems and films that I love so much that it makes me happy just to think that they’re here.
I really love 1953. (more…)
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