14. #849 Our Hospitality (1923, Buster Keaton & John G. Blystone): 7.5 - Keaton's first feature that tells one continuous story (Three Ages basically was three short stories put together thematically)is based on the infamous Hatfields vs McCoys feud. That Keaton's rivals because of their Southern hospitality can't kill him while under their roof leads to some amusing moment. But, like many Keatons, the movie really takes of in the final chase, which includes a still breathtaking rescue from a waterfall. I also learned that the first passenger train were just stagecoaches with a locomotive in front of them. This part has also some inventive gags, but goes on a bit too long.
15. #932 Seven Chances (1925, Buster Keaton): 8.0 - This really is the work of a confident filmmaker. It starts with a great showing of the passage of time by showing a dog growing up in each little segment with Keaton talking to his love-interest in different seasons. It has some very good use of deep focus, f.e. when we see Keaton and his partner working in their office in the background while Snitz Edwards attorney is talking to his secretary in the foreground. The set ups of Keaton talking and being rejected by all different women are done very well. My personal favorite is when in one long shot we see him talking to one woman while going up the stairs, immediately turn around at the top to try with another downwards. This ends (again) with a massive final chase with impressive stunts and astonishing pratfalls, including Keaton at one point running full speed into barbwire.
16. #576 The Cameraman (1928, Buster Keaton & Edward Sedgwick): 7.8 - Keaton tries to impress his new flame by becoming a cameraman. Of all these features I watched, this had the best romance story of them all (well best human one, it still can't beat Keaton and Brown Eyes) with the girl being interested in him cause of his sweet nature and not for his efforts to impress her. The big Tong war while being low on funny stunts and gags is impressively staged nonetheless. The different plot strings come together very well in the end.
1. #630 India Song (1975, Marguerite Duras): 7.0
2. #726 Edvard Munch (1974, Peter Watkins): 8.0
3. #429 Scener ur ett äktenskap [Scenes from a Marriage] (1973, Ingmar Bergman): 8.8
4. #690 Mon oncle d'Amérique [My American Uncle] (1980, Alain Resnais): 6.2
5. #500 Valerie a týden divu [Valerie and Her Week of Wonders] (1970, Jaromil Jires): 6.0
6. #652 Phase IV (1974, Saul Bass): 7.8
7. #831 Willy Wonka & the Chocolate Factory (1971, Mel Stuart): 6.5
8. #892 Wise Blood (1979, John Huston) : 6.5
9. #987 Les rendez-vous d'Anna [The Meetings of Anna] (1978, Chantal Akerman): 6.5
10. # 793 Die Bitteren Tränen der Petra von Kant [The Bitter Tears of Petra von Kant] (1972, Rainer Werner Fassbinder): 5.8
11. # 748 Die Ehe der Maria Braun [Die Ehe der Maria Braun] (1979, Rainer Werner Fassbinder): 7.0
12. #640 Die Puppe [The Doll] (1919, Ernst Lubitsch): 7.5
13. #767 The Piano (1993, Jane Campion): 8.0
