Change Your Image
Upload An Image
Crop And Save
Watching ordinary people live extraordinary moments one frame at a time.
Alfred Hitchcock once said, "Drama is life with the dull bits cut out."
See My IMDb Live Polls Here Below: ⬇
⚫ Polls 1 - 10
⚫ Polls 11 - 20
⚫ Polls 21 - 30
⚫ Polls 31 - 40
⚫ Polls 41 - 50
⚫ Polls 51 - 60
⚫ Polls 61 - 70
⚫ Polls 71 - 80
⚫ Polls 81 - 90
⚫ Polls 91 - 100
⚫ Polls 101 - 110
⚫ Polls 111 - 120
⚫ Polls 121 - 130
⚫ Polls 131 - 140
Some Statistics on My IMDb Live Polls Below: ⬇
⚫ Total Number of Live Polls: 132 (as of Nov 11, 2017)
⚫ Total Number of Votes: 251,000 (as of Nov 11, 2017)
⚫ Polls Featured at IMDb Home Page: 14
⚫ Polls Featured at IMDb Facebook Page: 4
⚫ Number of Polls with 1,000+ Votes: 51
⚫ Number of Polls with 5,000+ Votes: 14
⚫ Number of Polls with 10,000+ Votes: 7
⚫ My Poll Making Began in: July 17, 2016
⚫ Achieved Poll Maker Badge: Dec 29, 2016
Some Fun Facts on My IMDb Live Polls Below: ⬇
12/29/2016: 5th fastest poll author to reach 100,000 poll votes.
04/27/2017: 7th poll author to have 10 homepage polls.
06/30/2017: 1st poll author to have 2 live polls on 2 consecutive days.
07/13/2017: 12th poll author to have 100 live polls published.
08/10/2017: 17th poll author to reach 200,000 cumulative poll votes.
11/11/2017: 11th poll author to reach 250,000 cumulative poll votes.
See My Other Personal Lists Here Below: ⬇
⚫ Favorite Actors of the Hollywood Golden Age
⚫ Favorite Film of Each Year I've Been Alive
⚫ Favorite Directors of All Time
⚫ Favorite Film of Each Genre
⚫ Favorite Film of Each Decade
⚫ TV Series I've Seen Entirely
Which of these films told in real time did you enjoy the most?
(Please note: While not 100% of the movie may be shot in real time (barring perhaps an intro or ending), the majority is.)
After voting, you may discuss the poll here.
In AFI's Top 10 Gangster Films, which notorious hoodlum portrayed in a gangster film would be your favorite?
[Please note: I have tried to pick the character that showed the most power/control in each film. Therefore, in a movie like Goodfellas with so many great gangsters, I chose Jimmy Conway as he was the 'main' man.]
After voting, you may discuss the poll here.
Updated Weekly. November 15, 2017.
Most frequent directors:
Billy Wilder - 10 films Woody Allen - 9 films Steven Spielberg - 8 films Alfred Hitchcock - 8 films Martin Scorsese - 8 films Christopher Nolan - 6 films Charles Chaplin - 6 films Stanley Kubrick - 6 films Quentin Tarantino - 5 films Frank Capra - 3 films Ingmar Bergman - 3 films Sidney Lumet - 3 films Francis Ford Coppola - 3 films David Fincher - 3 films Joel & Ethan Coen - 3 films
The Artist The Revenant Casino Royale
Which is your favorite of the two?
After voting, you may discuss the poll here.
After voting, you may discuss the poll here.
After voting, you may discuss the poll here.
Which girl do you call when you're in need of some crime-fighting help?
After voting, you may discuss the poll here.
A film that 'fires' on all cylinders. And it just gets better with age.
Think about the best heist films, or mere scenes, that you've ever seen and look no further than this film as one of the chief inspirations for them. Heat (1995), the legendary crime-thriller film directed and written by Michael Mann (Collateral, The Insider), is a tour- de-force of direction, acting and creating an atmosphere of sheer anticipation. Perhaps most surprising is its zero Oscar nominations easily could there have been nods for Best Picture, Lead/Supporting Actor/Actress, Director and Screenplay.
Since I have seen it, there has been one scene in particular that's stayed etched in my mind and I need not regurgitate its specifics here. But anyone whose seen it remembers that legendary scene when our hero and villain finally confront one another it's a beautiful piece of on-screen acting and features a conversation whose subtext really defines the film in a nutshell; all these guys know is the jobs they've committed too, and they're both darn good at them.
"If it's between you and some poor bastard whose wife you're gonna widow. Brother you are going down." The story is certainly a complex one because there is an undeniable sense a comraderie between Lt. Hanna and Mccauley and yet they know the second they step out of that restaurant, they're each other's prey and target. One senses it's too late for either of these guys to get out before it's too late and that is really one of the themes of the film; at one point can one be able to walk away from all they know?
I ramble on about this scene but the entire film is a masterpiece of its type compelling performances, a tightly-wrapped story and top-notch direction. There's meticulousness to how everyone operates and that craft is shown to near perfection it's a nod to the pacing as well that the three hour run time feels closer to two. This is one of the greats in a superb decade for crime films.
The Odd Couple (1968)
"He's too nervous to kill himself. Wears his seat belt in a drive-in movie."
The Odd Couple was a 1965 Broadway Play written by Neil Simon and adapted for the big screen in 1968. The film went on to serve as inspiration for an entire genre of polar opposite roommates struggling to live with one another. Lemmon and Matthau's chemistry in it is spectacular and it's really what carries the film. Lemmon playing Felix Unger, the neurotic neat freak to Matthau's Oscar Madison, the sportswriter slob whose lifestyle at home is one to which The Dude would abide.
This film is simply hilarious perhaps because there is such a real life irony to the actions of Felix and Oscar. When we laugh, we do so because we can imagine these things really happening, and reacting, as shown on screen. The directing is nothing to write home about but the two charismatic leads, and the wonderful array of supporting characters (including their poker buddies and two particularly amusing sisters) keep our attention with ease.
There are many scenes whose humour have an inherent timelessness to them. 50 years later and you'll still be killing yourself with laughter. The scene with Felix preparing the meatloaf and berating Oscar before their dates come over is a particularly memorable one. Then there's the date scene itself, with its jarring but hilarious shift in tone. There's also a great scene where Oscar, caught on the phone by Felix and his dinner requests, misses reporting on a Triple Play that ensues. There's many and this is one truly great film.
Justice League (2017)
Justice... has been served to DC fans!
Attending arguably the most hyped comic book film of the year on opening night, to say my expectations were high coming into 'Justice League' would be an understatement in my opinion, this film was the breaking point of the DCEU as we know it. Aside from being wildly inconsistent over their films, DC has long suffered from corny dialogue, overblown special effects and a general lack of tone and I am happy to write that NONE of that was on display here. This was, simply, a cinematic triumph and visual spectacle. This is the DC film that people have been waiting for:
In short, the film is absolutely epic, with the perfection combination of character development, special effects and a solid tone that's been lacking in previous DC films. There is a fun comraderie between the leads and it makes for some of the best chemistry we've seen in a super hero film in a long time. Anyone seeing it can tell it was done with conviction and a unsurpassed vision. Catch this film in a packed theater and enjoy the satisfaction of knowing justice has been served to DC fans. It's about time!
After Hours (1985)
Scorsese's little-known gem with a "King of Comedy" eccentricity to it
When people mention great Scorsese films, I rarely hear "After Hours" come up as one of them. Following up The King of Comedy (1982), Scorsese created yet another offbeat story filled with tension and danger set against the juicy backdrop of New York street life in After Hours (1985). This film finds the perfect note in combing aspects of black comedy with a general sense of unease. Definitely NOT your typical Scorsese film.
We've all had those bad nights; Maybe we missed that subway coming home from work or got showered with a puddle by that car driving by. But we'll forgive those nights after seeing what Paul Hackett endures - he's just your ordinary word processor and one night we find him reading his book in a Manhattan cafe. He meets Marcy, a seemingly normal girl who shows genuine interest in Paul. The two hit it off. Naturally. And Paul decides to see her later that night.
Perhaps the first bad sign should have been the abnormally out of control cab ride he has. The cab flys so fast down the road that the only money Paul had on him for the night flys out the window. Little does he know of the series of problematic and life-threatening events that await him. We'll learn that he tries to escape but (in almost a perfect embodiment of 'Murphy's Law'), by one inexplicable happenstance after another, something will prevent him from doing so.
"After Hours" showcases Marty's true filmmaking skills - the beautiful tracking shots, the extreme close-ups, the dark and foreboding lighting; it's all there and brilliantly keeps the viewer in a state of paranoia and discontent. The story of Paul is like a Kafka-esque nightmare combined with the surrealism and peculiarity of a David Lynch film. A colourful array of characters, a strong visual style. And the perfect example of why Scorsese is one of the best living directors out there.
Eastern Promises (2007)
A modern crime masterpiece
With shades of film-noir and clear inspirations from legendary mob films like "The Godfather", "Goodfellas" and "Casino", Eastern Promises unfolds as one of the greatest modern crime films of the 21st Century. The film stars Viggo Mortensen, Naomi Watts, Vincent Cassel, and Armin Mueller-Stahl and is directed by David Cronenberg (The Fly, Videodrome, Dead Ringers).
The story, one of intertwined violence, corruption and mystery, focuses on a Russian mob family who may be tied to the rape and murder of a Russian teenager living in London. Her diary, which contained the secrets leading up to her demise, is found by British-Russian midwife Anna Khitrova and compels her to fill in the missing pieces. Anna's search for these answers is accompanied by the posthumous narration of the victim.
What separates this film from many modern crime films is the mood of the characters and the noirish atmosphere these moods seem to permeate. The musical score, composed by Howard Shore ("LOTR" franchise, dare I say more), is so evocative of the time it is portraying that to call it simply 'fitting' for the film would be an understatement - it becomes a character in itself and plays an integral role in shaping the film's authenticity and style.
It is so refreshing to witness a more recent film where the characters and story develop honestly, not in a contrived manner. It's a testament to the film's storytelling and respect for its audience - where feelings and inner conflicts are at the forefront; and the violence isn't so much exploited as it is a punctuation of the characters. EP pays homage to some of the greatest classic mob films while injecting enough mystery and charm in it to become a unique entry into the genre.
The Exorcist (1973)
A horror masterpiece
What can be said about this unsurpassed horror masterpiece that hasn't already been said? Perhaps the fact that it is so grounded in realism makes it the perennial kind of its genre. Some may look to the themes it so masterfully explores whether it be religion, faith, humanity, philosophy or ethics that puts it on a pedestal by itself. The spine-tingling score, one of the most memorable villains of all-time, the ominous pacing of the film - all reasons that separate this film as one of the single greatest horror films ever made.
As for the performances? They are all superb and each are vitally important to the film, since so much of it is the build-up of plot, characters and setting. In fact, the titular event doesn't even occur until much later than one would think. And this is because we have a director in William Friedkin who trusts his audience to be patient in understanding the ambiguity (a little paradoxical) of the subject matter at hand. As one doctor after another continues to feed BS diagnoses to Chris MacNeil, Friedkin forces us to confront our biggest fear: the unknown. Author Andrew Smith once wrote: "People fear what they don't understand and hate what they can't conquer."
Linda Blair as Regan MacNeil delivers one of the most chilling performances of all-time, transforming from a sweet, innocent and cheerful little girl to the definition of evil incarnate. The images of her slowly degrading condition have that raw power to stay so firmly entrenched in your mind. Ellen Burstyn as Chris MacNeil tragically conveys a mother clinging to whatever hope she has left in saving her doomed daughter. Max von Sydow and Jason Miller also give memorably powerful performances as the two Fathers, Lee J. Cobb is superb as Lt. Kinderman - to single out just one person out of this superb ensemble performance would be fatal, every individual in this film is superb!
With images that have that rare power to subside and remain in your memory, The Exorcist is that special film that succeeds in being so realistic with subject matter that can be considered far from. The only other perfect horror film I can recall seeing (at least in my humble opinion) is Psycho. And though you can't compare apples and oranges, the images, music and deeper themes portrayed from both somehow manage to just stay with you; there's no other way to really put it. The Exorcist transcends the horror genre and becomes an experience, with images of beauty and terror that can never be forgotten. A deserved title of being deemed a 'classic'.
The Babadook (2014)
A frustrating second half dampens the effect of a spectacularly tense and promising beginning
For the first hour or so, The Babadook unfolds as a spectacular film. The story is set out for us of a widowed mother named Amelia who has struggled to cope in life following the death of her husband. What's complicated the recovery process is being the mother to Samuel, a six-year old with serious social and behavioural issues. One day, Sam finds a seemingly children-targeted book in his shelf called Mister Babadook, which she can read to make him fall asleep. But the imagery of the book is disturbing, so much so that it begins to haunt ("Dook! Dook! Dook") Amelia and Sam
It's as soon as from the opening scene that we get a sense of the surrealistic elements the film will present us with. And everything right from the beginning credits click - the sinister atmosphere is developed, slowly and unnervingly. Amelia is exhausted but sharp, emotionally damaged but poised and self-assured. Sam is unstable, impulsive and riotous. Both struggle in a world post the death of Oskar (Amelia's wife / Sam's dad) and even their closest loved ones struggle to have Amelia and Sam a part of their lives.
What makes this film spectacular in the first half is its gradual development and subsequent change of both its tone and characters demeanour. Without spoiling any of the plot, how the characters interact and behave in the beginning slowly transforms and this subtle shift is pulled off masterfully. Their is a loss in humanity that doesn't come off as contrived or forced. And with only a mere 90 minute run-time, it is done incredibly efficiently, something with which many longer horror films struggle. This is thanks to the incredible cinematography, direction and acting.
This film is strongest when it suggests and doesn't show. Its buildups far exceed their payoffs - the incredibly subtle camera-work and construction of suspense is stuff Hitchcock and Kubrick would be proud of. In fact, in terms of a film creating a sheer tense atmosphere, The Babadook is among the best I've ever seen to do so. It is unfortunate that a strong first half is derailed by an unquestionably inferior second half, with a puzzling ending that will probably leave you frustrated. Nevertheless though, this remains one of the best horror films of the 2010s and certainly one of the best Australian horror films in recent memory.
An epic and spectacular climax to the greatest film trilogy ever created... just pure genius...
What a breathtaking end to an epic saga that will go down in cinematic history as the best trilogy that was ever created (if it hasn't already). The culmination of 10 years' work and the final chapter of Peter Jackson fantasy adventure film series, The Return of The King fires on all cylinders, as we follow our favorite middle earth characters in a larger- than-life journey that will lead to the final confrontation between the forces of good and evil. Whereas in FOTR and The Two Towers when we were still learning about our characters and their surroundings, everything about the ring's importance and power is unleashed in this third installment and to great effect.
With the exception of maybe only The Godfather Trilogy, the LOTR film series is indisputably the greatest in film history (it was only the second sequel to nab a Best Picture Oscar, the only other being -you guessed it- The Godfather Part II). And what more can actually be said? The breathtaking visuals, the outstanding character development, the epic musical score, gorgeous set designs, the plethora of visually striking creatures - there's never been anything quite like this on screen before. And there never will be again! Never has a film balanced electrifying action and substantial character development so deftly while also staying true to the original source material. It will never cease to amaze me how this was all brought to life.
Through this trilogy, Jackson presents us with an unprecedented odyssey of friendship, loyalty, bravery, self-realization and so many other things. In the beginning, we are introduced to a fellowship of 9 individuals who are given the seemingly impossible task of taking the one ring to the blood-curdling world of Mordor with the goal of destroying it and saving middle earth in the process. Over the course of 3 films, our characters learn so much about themselves, about what it means to fight for what you believe in and for something bigger than then yourselves. These themes, and the scale they're presented on, completely transcend the idea of a movie and almost operate on a more biblical and spiritual fashion.
And perhaps no film franchise has given us so many memorable characters as LOTR: Frodo, Sam, Merry and Pippin, Aragorn, Legolas, Gimil, Boromir, Gandalf, Elrond, Galadriel, Arwen, Eowyn and countless more. And that's JUST the good guys. We are also given such memorable villains as Gollum, Sauron and Saruman, in addition to the plethora of evil Orcs, Goblins, Demons, Dragons and other horrifying beings. If you think this sounds like a lot, nothing can prepare you for the sheer scope and vast vision of Jackson and his team. The franchise also has some of the most powerful cinematic moments I can recall from the last 40 years (Gandalf yelling "You Shall Not Pass!", The Battle of Helms Deep, Sam carrying Frodo up Mount Doom). Iconic doesn't do this franchise justice; it's legendary and it's immortal. It's Lord of the F****** Rings!
Above all, Jackson stays true to the major themes and philosophies from the original source material while showcasing his extraordinary cinematic talent and vision. ROTK defines what a "fantasy" epic should be and becomes so much more in the process; it's a resonant coming-of-age story and a masterpiece of storytelling and filmmaking. There just aren't enough superlatives for this film. And for this trilogy. And when you do finish it all for the first time, you'll be left sitting there with a feeling of emptiness for having left this magical world but a satisfaction in realizing you just witnessed one of the all-time greatest films and trilogies ever put to celluloid. What a crowning achievement by every single person involved.
Mulholland Dr. (2001)
A truly unique and dreamlike viewing experience
I can honestly say after watching Mulholland Drive that I've never seen anything quite like this... it helps to come into this film with the sole expectation that you are entering a dreamworld. Rather than being presented a straightforward plot with conventional tropes and rules, we are given from Lynch a succession of images, ideas and sensations - in that sense, Mulholland Drive really feels closer to a dream than a movie.
To say that David Lynch has a unique cinematic style would be an understatement - as a result, his films can be extremely hit or miss with people. But here, everything just seems to come together so well - the disquieting music coupled with the dreamlike surroundings creates a nightmarish and otherworldly environment to which you simply become a part of. Lynch re-creates the place we all see in our dreams that feels so real and yet is only a part of our subconscious.
There are many highlights in the film (the acting from Naomi Watts and Laura Harring specifically is outstanding) but what resonated the most with me was the beautiful imagery Lynch has crafted in this film. Ambitious in its deliberate approach to avoid conventional plot elements, the pieces of the film are so hard to put together that trying to do so would simply be futile. People have tried to solve its mysteries and contrivances but MD is meant to be left in its bare, enigmatic fragments.
Upon finishing the film, I was left with the same feeling I have waking up from an amazing dream: Unsure of what I had witnessed but stuck reminiscing at the mystery and beauty of it all. And until this point, I had never seen anything quite like this surreal, neo-noir experience. I seriously doubt I will ever come across anything like it again. This is great filmmaking by Lynch and his indisputable masterpiece.
Borg McEnroe (2017)
Former rivals and best enemies
I was fortunate enough to see "Borg/McEnroe" on opening night for the 42nd Toronto International Film Festival. Without giving away too much (especially if you're like me and you didn't know much about this 1980s tennis rivalry coming into it), I will say that this is a fabulous film and everyone involved in the making of it should give themselves a huge pat on the back. They have done an incredible job in crafting a story that successfully explores, analyzes and pays homage to two contrasting albeit equally fascinating personalities in sports history.
Both of the titular characters are played to perfection thanks to virtuoso performances from Sverrir Gudnason and Shia LaBeouf, the latter of whom was practically made for the role. Regardless of what you think about Shia, his commitment to any role is always awe- inspiring and here he gives a performance that so perfectly combines loud-mouthed arrogance with an icy determination that he actually makes it difficult for you to route against him. He creates a fascinating character alongside the calm, cool and collected persona of Björn Borg, played exquisitely well by Gudnason. Another performance that deserves a mention is that of Stellan Skarsgård, whose quiet loyalty really helps to anchor the film in the more pivotal emotional moments.
In a lot of ways this film reminded me of "Rush (2013)", another excellent film that deftly explored an iconic sports rivalry and how each athlete helped to shape the other. Like Rush, "Borg/McEnroe" transcends the sport at hand to become an exploration of human suffering, resilience and, ultimately, redemption. Aside from the themes at hand, the technical brilliance of the film completely grabs your attention and never lets go until the final frame. In what is the first full-feature length film of Janus Metz, he creates a film that perfectly captures a game-changing moment in sports history and the contrasting personalities of the men who changed it.
I really enjoyed this film and encourage anyone reading this to go see it!