While I am certainly taking this to far, here is a little run-down on what movies might leave the list and the context:
You can find a detailed description for every movie and relevant quotes on a cheat sheet I made
The good news is: 5 entries were my mistake and should stay on the list (Between Two Worlds, Camps of the Dead, Wilmington, Jan 69, Selective Service System).
For the rest, it gets more complicated. As I said before, I think it would be truest to the book to limit the list to those films that have a dedicated section (either as a picture with text or just text). Including every film that gets mentioned to me seems random, since some of those movies are actually mentioned to point out their flaws and why they are not included in the sections.
Take this quote on 'Deep Throat':
A 1972 newcomer to the scene, Gerard Damiano's Deep Throat, turned a $24,000 production budget (three days shooting in motel rooms) into a multi-million dollar profit that increased every time the police or would-be censors went after it without (at least initially) succeeding. However while this latter film -- now world-famous as the prototype of "fellatio" films -- is unique in no respect except for the impossible anatomical talents of its star, Linda Lovelace (there has never been deeper penetration anywhere) -- Mona must be recorded as the pioneer and in every respect a superior work.
In this film, unlike Deep Throat, the challenge of the topic is taken seriously and the sexual activity riveted on it, as we observe the heroine in action in bedrooms, cinemas, back yards, wherever the opportunity can be created. There is an edge of abandon and desperation to her that whets the appetite of frustrated men and helps to define the film as a commercial product, in disproportionally large demand solely because society will not freely accept human activities as human.
There are no further mentons of that film. It is obvious that 'Deep Throat' shouldn't be on that list.
Similiarly, there are some historical references. Vogel points out that
Hitler called upon Leni Riefenstahl, whose earlier mystic 'Das
Blaue Licht' he had greatly admired.
That's it. 'Das blaue Licht' is not part of that canon for sure.
Now, Vogel mentions some films and it might be argued that in a more extensive list, they might have made the cut. For example he comments on some Polanski shorts:
In retrospect, this and Polanski's other short films (An Angel Has Fallen, The Fat and The Lean, Mammals), all made before he turned to features, emerge as his most personal, most subversive works.
Apart from that, there is nothing else. I would argue against it, but in comparison to most of the other films, these at least get the 'sign of approval' from Uncle Amos.
For 'A Free Ride' and 'Smart Alec' we would need to find a consistent rule. It is a compilation film and those two are part of that film. From a short research it seems that the cartoon classic 'Eveready Harton in Buried Treasure' is also part of the compilation, but Vogel went the extra mile and included that film explicitly. On the other hand, 'A History of the Blue Movie' features spoken commentary so these are different versions from the originals. I think it would be most consistent to add either all the films in the compilation or none and let the compilation stand for itself (Except for Everready since that one got a dedicated section).
'Que Viva Mexico' is mentioned in the book as context for 'Time in the Sun'. Since the 1979 version wasn't available at the time, I don't think it should be added. But since this probably has more material, it could be argued either way.