Top 10 Favorite Rule Breaking Films


>>CineFix Host: Sometimes cinema
wears down a rut and falls in it, telling the same six stories over and
over again, and that’s when it’s about
time to shake things up. These are our top ten favorite
rule-breaking films of all time.>>[MUSIC]>>CineFix Host: Kicking
us off at number ten, let’s talk about how there
are film rules in the first place. It’s not like there’s a stern film teacher
sending directors to the cinematic principles office for talking out of turn,
or film police arresting offending filmmakers and sentencing them to
community service shooting feature for the Lifetime movie network. No, we’re talking about the kinds of
rules that form a silent contract between filmmakers and film watchers that maybe
you can’t read off like commandments, but you damn well know when
they’ve been broken. And back in the golden age of Hollywood,
when the precedent for much of film was set, something we now call classic
Hollywood cinema style emerged. They were a practical set of rules,
guidelines, and practices, set out to ensure movies
do what they do best. Tell immersive stories. And what early Hollywood filmmakers
quickly realized was that the number one way to keep people in their seats and
buying popcorn was to make sure they didn’t realize it was all
an illusion until the ride was over. So for our first rule, we wanna honor
films that said, [BLEEP] it, and made damn well sure we all knew
it was a film we were watching. We’re talking about
breaking of the forth wall. Think Annie Hall, and Spaceballs,
and Horsefeathers, and JCVD, and The Great Train Robbery,
and Pierrot le Fou. Spike Lee has a way with a very Brechtian
direct camera address, which by the way is a theater tern that references the exact
distancing effect we’re talking about. But for our first pick, we think that Dogville really
broke realism down the best.>>Dogville Narrator: This is the sad
tale of the township of Dogville. Most of the buildings were pretty
wretched, more like shacks, frankly. The house in which Tom lived was the best,
though, and in good times might almost have passed for
presentable.>>CineFix Host: Sure, it’s not as
much breaking the fourth wall as it is demolishing all of them, but
the effect is exactly the same. It’s a constant reminder to the audience
that what they’re looking at isn’t real. The film itself is inspired by Bertolt
Brecht, the man the effect is named after. But we think one of the most
interesting things about distancing and alienation is that it stops working. After a long enough time,
we buy into the story anyhow. We forgive the lack of set,
and ultimately forget it. Sure, the walls have been broken down,
but the effect is the opposite. We let ourselves be sucked in anyway. But pulling out a megaphone and
screaming, hey, audience, you’re watching a movie, isn’t
the only way guaranteed to kill a buzz. There’s all kinds of smaller, technical rules you can screw up
to jolt the audience back into rude awareness of that tween two
rows over who will not stop texting. One of the most important things
you’ve gotta get right is the editing. Don’t let anything jump
jarringly in the frame. Only cut when motivated. Always cut on action. But these rules got broken, too,
by Battleship Potemkin, the repeat cut and October with the metaphorical cut. And by Legitae’s assembly of still images. However, if there is one bad boy
editing rule breaker to rule them all, it’s gotta be
Jean-Luc Godard’s Breathless.>>Speaker 3: [FOREIGN]
>>CineFix Host: That’s right back, when everyone was trying to make you forget about editing and cuts and
believe that movies were real, Godard was chopping up his film and
throwing them right in your face. Bringing the very artifice of editing
right to the forefront with the jump cut. Critics called it visual jazz, filmic Cubism,
Michel’s hyperactive point of view. Collaborators have explained it as anarchy
acting out against the establishment, freedom with no concern for the norm,
and an attempt to sabotage the film. We’re not sure what the truth is,
or if it even matters, because the jump cut
made a hell of a splash. In addition to editing rules,
another nearly ubiquitous feature of this classical Hollywood continuity style
is a predictable placement of the camera. Filmmakers like Mizoguchi and Agnes Varda
have drifted away from typical camera placement to beautiful effect in
films like Ugetsu and Vagabond. But the most important rule of all is
called the 180 degree rule, and it’s a shooting guideline for a establishing
a dependable screen geography. If you keep the camera on
one side of your scene, you end up with a consistent left and
right across all the shots. And although this kind of screen
continuity pervades almost every film you could have seen in theaters for
the past century, Yasujiro Ozu tossed it out
the window when he made Tokyo Story.>>Speaker 4: [FOREIGN]
>>CineFix Host: Composition was everything to Mr. Ozu, a man who never once used a zoom. Avoiding moving his camera at all
costs and used one dissolve, ever. So when it came to deciding
between a coherent space and a beautiful match cut,
he chose the latter. The man was notorious for replacing
the famously predictable 180 degree rule with his own disorienting
360 degree version. In place of left, right geography,
he substituted perfect graphic matches. But it worked. His patient storytelling and playful
style are only an obstacle insomuch as they are unfamiliar to the audience. But, after ten minutes of acclimation,
they’re just as engrossing as any generic shot shot-reverse
shot dialog scene and then some. At number seven, we also wanna honor films that took
the whole idea of representing reality, filming the world and capturing its light,
and said [BLEEP] it, let’s blow it all up. Think Cocteau’s Orpheus, or
2001 Stargate or Throw Away Your Books. Rally in the Streets. Think Tarkovsky’s mixture of
film stock in Andrei Rublev, Spielberg’s selective
color in Schindler’s List, and Wes Anderson’s eclectic aspect
ratios in The Grand Budapest Hotel. However for our number seven, we think there’s none
rule-breakier than Enter The Void.>>[MUSIC]>>CineFix Host: Part feature film,
part cinematic DNP trip, Enter the Void is the closest thing
there is to a mainstream incarnation of the strobe film, which was actually
a real thing in avant garde cinema. And, close your eyes epileptics,
because they look like this. And that’s enough of that. Enter The Void used lighting and
camera and visual effects in a way unlike
anything ever before it. The story is an out-of-body POV
experience in more ways than one, and an absolute visual revelation in
terms of how to view the world, which is why we have no problem
including it on our list. So what this all comes
down to is expectation. Rules are expectations, and breaking them
isn’t necessarily violating an inflexible law of gravity, so much as it is
throwing the audience a curveball compared to how they’ve
learned to interpret cinema. One of the easiest ways to quickly get
audiences on board with different sets of film conventions is by bundling them up
into convenient packages called genres. When we set of specific genre signifiers, we know the kind of language
the film is about to start speaking. So, we can pull out our mental
phrasebooks and follow along. But what happens when films
break from their conventions? When they specifically subvert
the expectations they’ve gone out of their way to establish. These are films like Million Dollar Baby,
Audition, and Life is Beautiful, Dead or Alive, Sunshine, or. Cabin in the Woods broke
it down in meta fashion. But for our number six we’re going with From Dusk till Dawn.>>[SOUND]
>>Speaker 5: What the-
>>[SOUND]>>CineFix Host: Quick-talking Tarantino-esque crime film, starring
Tarantino and a fresh from TV Clooney,>From Dusk till Dawn makes it just about
halfway through without a single undead, before quickly pivoting into
the kind of balls out, actiony, vampire shoot-em-up that’s pure Rodriguez. Does it work, depends on who you ask, and whether they like surprise
birthday parties or not. But it definitely breaks the rule. Definitely raises some awesome questions
about expectations and genre freedom, and finishes with a bang and a middle finger
to tradition, in true b-movie fashion. Shifting gears to the broader
strokes of storytelling and moving fully beyond the physical
craft of filmmaking, one of the most allegedly unassailable
features of the story is the protagonist. Stories are about people,
according to Aristotle, common sense, and your eighth-grade English teacher. Or at least animals
that act like people or fish that behave in
a slightly human manner. But what about films that say screw that, like Au Hasard Balthazar and
its protagonist donkey. Or Rubber’s sociopathic tire. Phone Booth and Barry buck tradition by getting rid
of everything but the protagonist. And Russian Ark makes the history
of an entire country its hero. But we think our number five belongs
to Alfred Hitchcock’s Psycho, for dramatically and
shockingly changing courses midstream.>>[SOUND] [MUSIC]>>Speaker 6: Aah!>>CineFix Host: Hitchcock purposely
set out to mislead his audience, and then devastated like an old
timey George R R Martin. He used their expectations against them, carefully cueing them to invest in
Marion Crane as the hero of the film, before stabbing them in
the metaphorical heart. Because while Psycho’s twist
is almost a cliche now. At its time, it was almost unthinkable. Making the effect all the better and reinvigorating screen death with
the kind of impact it deserved. So filmmakers can fracture images,
genres and heroes. Is nothing sacred, how far can they go? We all know how stories work, beginning,
middle, end, one thing leads to the next, a character wants something and
we watch them try to get it. Or do we?
Film makers like Tarantino, Nolan, and Kurosawa thought differently in films
like Pulp Fiction, Memento, and Rashomon. They swapped the order up, flipped
it backwards, and ran the tape back. The Sweet Hereafter went
backwards before it was cool. Run Lola Run revised itself three times. Planet Terror chopped out a whole
ten minutes for funsies, and Intolerance told four
stories at the same time. But for the film we think that gave
a middle finger to story structure best, it’s gotta go to
Alain Resnais’s Last Year at Marienbad.>>Speaker 7: [FOREIGN]>>CineFix Host: Truth, fiction, time, place, logic, and cause all fold in on
themselves, creating an Escher-like narrative structure that refuses to be
linearized in any kind of story map. It’s a question with no answer,
a film with no meaning, as beautiful as it is enigmatic. It is a story about a story. A story a man is telling a woman
that we may or may not believe. Resnais claims that when he wrote
the story, he didn’t believe it. But when he directed it, he did. They loved, they didn’t. They knew each other, they never met. She’s dead, alive, does it matter? The film marches onward with
no clear meaning or truth. Just a story unlike any other, yet
like them all at the same time. Okay, so we can chop and
screw a plot like a 90s DJ, what about throwing it out all together? The cardinal sin of storytelling
is to be boring, right? Well, maybe not. Clerks is just a few guys
at a convenience store, Gummo meanders through a strange world
with no real sense of direction. My Dinner with Andre is
just a conversation. Man with a Movie Camera
is just images of a city. The wold, and Cléo de 5 à 7 is two hours
in the life of a young singer waiting for medical test results. But that’s all still a little much for
our number three, which goes to great lengths to tell
a story with as little action as possible. In Jeanne Dielman’s 23 Quai du Commerce,
1080, man, that is a whole sentence worth of French. So you know what, [BLEEP] it. Let’s just write it up
there on the screen.>>CineFix Host: The film
is honest about life in a way most others are not. It does not select the fascinating,
it does not focus on the important. It does not trim the fat. Director Chantal Akerman spares no detail. Nothing is extraneous. Peeling potatoes is as
important as murder. For over three hours, Jeanne Dielman
meditates on the daily routine of a mother as she cooks, cleans,
engages in sex work, and repeats. By foregoing the extravagant, the mishandling of a single spoon is a
major plot point and cause for attention. It is an attempt at life un-distilled, and it’s a beautiful, tiny epic for
its narrative sins. But the envelope pushes further. Sure we can throw out plot, but what about
causality, what about coherence and logic? Enter surrealists. A world where 1 plus 1 equals blue. Check out Vera Chytilová’s Daisies,
Lynch’s Eraserhead or Inland Empire. Villeneuve’s Enemy or
Lanthimos’s the Lobster. But if there’s a clown king of
the surrealist film tricksters, it’s gotta be Luis Bunuel. And we could go with just about any of
his work, but for our number two pick, we’ll give this slot to the most
successful bizarro fest, The Discreet Charm of the Bourgeoisie.>>[SOUND]
>>Speaker 8: [FOREIGN]>>[SOUND]>>Speaker 9: [FOREIGN]>>Speaker 10: [FOREIGN]>>CineFix Host: True to its surreal nature, it is not easy to summarize The Discreet Charm of The Bourgeoise. It is a story about wealthy French diners repeatedly showing up for meals they are unable to eat. Instead, they find themselves evading the
police, or sneaking off to have sex, or imposed upon by the army, or
in the dream sequence of a stage play. They never stop searching for a feast, constantly frustrated
by illogical interruptions. But they never question
their reality either. It is a bizarre story world where anything
can happen, asking us all to interrogate our own logical assumptions and
those of the stories we consume daily. The surrealists were definitely onto
something by rejecting waking logic in favor of the oneiric sort. But they’re not the only ones to do it. In the same way we receive
visual information as a child, before words have meanings and
concepts have rigid associations. Visionary filmmakers have sought to
breakdown the rule of ordered thought and speak to us primally. So for our number one slot, we wanna
honor filmmakers that have set out to break the greatest rules of all,
those of the human mind. Kubrick dabbled in this
with 2001: A Space Odyssey, Malick with Tree of Life, Fellini with
8 1/2 and Antonioni with L’Avventura. But this slot belongs to none
other than Andrei Tarkovsky, whose every film could top this list, but
we’re going with our favorite, The Mirror.>>[MUSIC] [SOUND]>>Young Boy: Papa.>>CineFix Host: There’s nothing
like dissecting a non-verbal film out loud to suck the life of it. But they pay me by the words, so
please forgive me for trying, and trying and trying and trying.>>[SOUND]
>>CineFix Host: Thank you. Tarkovsky was a genius to
whom no rules could apply. His films are poetry
where others are prose. His images speak, but
not in words or symbols. They did not attempt to convey to us
logic or language or concrete plot. But instead, thoughts, motions, memories
in the abstract, before processing and verbalization. To use his words, he was a sculptor in
time, and as pretentious as it may sound, we believe it. Which is why his
masterpiece is our pick for the best rule-breaking film of all time. So what do you think? Do you disagree with one of our picks? Did we leave out one of your
favorite cinematic mavericks? Let us know in the comments below,
and be sure to subscribe for more CineFix movie lists.>>[MUSIC]

About the author

Comments

  1. maybe the most pretentious movie channel on youtube, lol. …some of these are great, but jesus christ, is it too much to ask for movies people have actually seen?

  2. Good list. I used to watch a lot more classic and foreign language cinema when I was younger, you are re-whetting my appetite.

  3. Very interesting list.
    The most sadistic attack on the audience i have ever seen was The Lobster. I am embarrassed that it took as long as it did for me to walk out. I wanted to beat up anyone who was involved in the movie. Do you have such a list?

  4. Are you kidding me? Star Wars??? What's next, Friend is best SiFi?? Come On… The Searchers is the best Western and Unforgiven #2 The rest I will not argue. Except for the foreign film , this is American Westerns

  5. I love Tarkovsky but I don’t feel he’s as rulebreaker as any other spot on this list; if that was the case we could fill the video with only arthouse movies… Also, as a rulebreaker, “Irreversible” seems like a better option than “Enter the Void”

  6. Different has become the norm…..Anyway, most of these films are unenjoyable to watch in this list….the norn is the norm because it works…..the best movies arent about the film making

  7. I feel like a film that made the film a character within the film itself should have been on this list as well. Aka shaky cam, found footage, etc ala Blair Witch Project, Cloverfield, Paranormal Activity. Lots have since done it, but the first few to do it were definitely breaking the rules. Movie goers were meant to get sucked in while watching and then know it was just a film upon leaving. Not continue questioning the reality of what they just saw and if it had actually happened documentary style.

  8. The Blair Witch project was interesting in that it was a film about pretend real events but was staged after all.

  9. One very obscure French film that should certainly make this list is "Hotel" by Benjamin Nuel.

    It was made entirely with video game graphics from Counterstrike, and tells a very surrealist and structureless story yet somehow captures this feeling of existential dread. I personally loved it.

    Not sure where one can watch it, it used to be on the Arte website, but more info in English here: http://www.vdrome.org/benjamin-nuel-hotel

  10. How did Snatched Not make the list? It has several of the rule braking, plot not in order during parts of the film, no clear protagonist or real winner in the end of movie, The fact it is hard to tell who was a good guy or bad guy in the film. Snatched seemed to break all the rules even camera angle rules. Only rule not broken was the color rule.

  11. Paprika really breaks all the reality rules, even thought it's already an Animated movie. I deserved as thought maybe 🙂 good choices, I was just waiting for Buñel to show up 🙂

  12. I watched "L'année dernière à Marienbad" on French TV…This film has been one of the most mocked ones ever by both critics and the public, and it doesn't look interesting at all judging by anything else than watching the film…But when you watch it, there's some kind of eery fascination unfolding…really beautiful.
    Please also watch only once in your life "L' âge d'or", by Dali and Bunuel…You"ll hate it, or love it.

  13. Also, have a look at that nonsensical french film : "Cold cuts"…The first hour or so is absolutely wonderful (you can feel that the Director got a bit tired eventually for the end looks botched).
    One of the best dialogs, I can't resist :

    (Depardieu's appartment rings, he opens the door to Jean Carmet, crestfallen)
    – I'm your wife's murderer.
    – Come in…Would you like to join me for dinner?
    (Jean Carmet sits and starts eating the soup, looking horribly distressed)
    – It doesn't go down.
    – Oh yeah? I prepared it yesterday, though, it's still fresh…
    – I'm not talking about your soup, I'm talking about your wife!
    – Oh, come on, man, just do like me and switch to something else!
    (The Police Officer, Depardieu's new neighbour, rings, jean Carmet is panicking)
    – Who's this?
    – Don't worry, it's my new neighbour, the Police Officer.
    – Whew, I'm so relieved!
    – Good evening Mister the Commissaire, here's my wife murderer!
    (Placid look from the Police Officer, played by Bernard Blier, to Jean Carmet)
    – Glad to meet you…
    – Glad to meet you…Do you have a lot of murder cases these days?
    – Quite a lot, thanks.
    – Do you catch the murderers often?
    – The least possible…
    – Why so?
    – Because a murderer is much more dangerous in prison than in the wild!
    – How that?
    – Because of the risk of contaminating the other inmates!

    Etc.Etc. What a wonderful first hour 🙂

  14. "And topping our list of the top 10 westerns of all time is Tarkovsky's 'The Mirror', because it's just that good."

  15. What was the movie with the brief clip of soldiers being attacked in a hallway just before From Dusk Till Dawn ?
    6 min 53 sec in.

  16. "So, I could pick this movie you've seen and this other thing you've seen, but fuck that, I'm going to pick another obscure French movie that you have zero point of reference for and talk about how great it is!"

    Repeat ten times.

  17. How much is Tarkovsky's estate paying you to put his films in EVERY list? Seriously love your eclectic channel, but COME ON, it's not all about Tarkovsky, there are a dozen directors just as, if not more, brilliant. You didn't even mention Bergman. Though it was nice to see a viddie that mentioned Ozu, Kurosawa and Mizoguchi. Now apologize for leaving out Kobayashi!

  18. @ CineFix, I would like to see a list of cultural norms, expected content and taboos of movies around the world. For instants, as Americans, we do not like to see children or a mother and child killed on screen, if killed at all.

  19. First off, gotta say that I love how much care and thought goes into these lists. Many top ten are pretty subjective, but y'all directly forego that by making each slot on the list focus on a different interpretation of the thesis. Most "rule breaking"? Here's ten films that have nothing in common.

    Anywho, a bit disheartened to see "From Dusk Till Dawn" make an appearance without a mention of Scott Pilgrim. Certainly, the title, the basis, and the genre all give something away. But the fact that his first opponent literally kicks through the roof and challenges him to an anime fight is absolutely contra to the first twenty minutes of film. Couple that with ADHD cuts, the not-quite-metaphor magical realism elements, and you've got a film that really shook up what it means to be an action…rom…com…

  20. Brecht and the Verfremdungseffekt came out of the Marxist Epic Theater movement of Erwin Piscator. Piscator wanted to create a theater that would not emotionally involve the audience in the action, so that the audience could be educated with the message of the play.

  21. No.2 was No.2 for real i wanna watch it now…i mean a hunger driven movie..doesn't get better than that

  22. Look call me uncultured when it comes to cinema I dont really care but I found this to be quite dull in selection choices. There are great choices to be had internationally, however, I find that to be few.

    American films can be quite lacking in certain depth and cinematic quality that is also rich in its artistic design with dialog that well written as often as I'd like but our movies have there many gems to be had you could have pulled here from many decades worth really yet nothing? Nothing in the last 30-40 years even?

  23. didn't understand what language you were speaking when you said the title "jeanne dielman, …", then realised it was in french, i speak french…

  24. Como!, you cant be that pretencious!, Pulp Fiction deserves 4th, and Memento 1th in its own category. You choosen old and stranger films this Time! No!!!!

  25. Peeling potatoes is as important as murder?

    Okay … you never once mentioned "camera shake" – which makes the movie look like it was made by an amateur.

    …unless, of course, it's when a cam-corder is used like Cloverfield or 8MM

  26. Cinefix list is for movie connoisseurs indeed. Every time one film makes it to the list many are mentioned as well. Again not everyone understand these placements because the list is made based truly on knowing cinematography and filming techniques. Interesting how most of the movies in this list are foreign movies that hardly make it to the cinemas.

  27. Alain Resnais didn't write Last Year at Marienbad. Like, not at all. It was written by novelist Alain Robbe-Grillet, who later became a director.

  28. Richard Linklater with Slacker is my favorite rule breakers! I mean the story as a whole fits so well, but it feels so random as it goes from each perspective with barely feeling like there is any break in the story line. Such a chaotic story but once it gets to the old man with the monologue on anarchy it all just feels like one story again. Also how everyone is slightly linked by friends or just passing by others focal point

  29. Why wasn’t Arrival on this list? I mean woah, that time shit was extravagant and definitely rule-breaking. A very non-linear story line where even the very saddest ending is placed at the forefront of the movie.

  30. Superb content. Thank you so much. The writing of the narration was unusual for its sophistication and the delivery of it bright.

  31. what about "killing the dog"… that's not supposed to happen ! The family pet should always survive (thanks John Wick)

  32. Would be nice to have a list of honorable mentions. Some of the names went by so fast, they were hard to understand.

  33. top 10 : really ? it's breaking the 4th wall, but the movie didn't do it really.. while you got Deadpool who broke the 4th wall when he was only a comic

  34. If an artist does a realistic portrait piece, anyone can be a judge and start talking about how left eye feels too big. Because you know what it is, it is easier to talk about it. If an artist uses pig blood, glue, and feather and smear all of it on a canvas, the sense of good or bad is cannot be structured. Personally I feel that a fantastic film with a great and CLEAR storytelling is much harder to make than mixed bag platter film of wtf was that.

  35. From Dusk Till Dawn didn't deserve to be here. Going into it, everybody already knew it was gonna be about vampires. So we were just waiting for that part to happen. And throwing careful character build-up away in favor of a gore-soaked second half wasn't a new thing either. Sleepwalkers did it a few years earlier and it sucked just about as much.

    Should have had an entry for The Cabinet of Dr. Caligari instead. Where other films try to break the 4th wall, Caligari sets up two walls (surrealistic expressionism sets) and lets the viewer get comfortable with them, and then reveals that – surprise! – there was a 3rd wall after all (where the surrealistic sets turn out to represent the insanity and blurred/wrong memory of the narrator).

  36. Bizarre – what's with the psycho-esque music interrupting the actual Psycho music and almost drowning out the voiceover?

  37. Show some love to Christopher Nolan's 'Memento' which features non-linear narrative and takes you into the mind of an amnesiac.

  38. What, no Be Cool? Which literally makes fun of movie rules including reminding the audience of other movies, and the characters the actors played in those movies. Its one of the hardest things for an actor, to not just jump out of typecasting, but to push away their fame of another role so they can keep the viewers mind on that character insteadof the extremely popular character they played before. Johnny Depp used to do this especially well, i watched Blow and it was years before i found out he was the main character….i never saw him as anything else. But Be Cool has actors discussing killing what is supposed to be a main character at the start then discusses why you cant do that, while having the actors listing movies that did…each one listing one they had been in. Then has stephen tyler talking about refusing to do a movie in which hes doing that same thing in the movie…. Come on, thats gotta make the list….
    Then you have americas sweethearts, which is a satire of the whole movie marketing industry which makes the whole industry look so incredibly fake….while being so endearing that theres a love story in there.
    Or dave barrys' big trouble, which includes a 7min version of the movie on the dvd so you really dont even have to watch it.
    Or what love is, which takes place in a house and outside said house and turns male/female relationships on their head in such a brusque and truthful way and makes the decision of the man to chose HIMSELF over the girl mindblowing and unexpected (is that even possible?!) over the woman he was going to propose to or the girl he met that was so profound and the viewer had to think they were going to hook up. Its an incredible work that could have been a play.
    There are a few others, but next time you may want to split up your list into modern and earlier (pre 1980) movies…can still classify it as a top 10, keep it in the same video, give reference to new or old movies in each list, and just give the caveat that you couldn't reference all the rule breakers (1st or more well known modern as the choice) and the changes in rules after the rule breakers.
    Just a thought.

  39. Oh, and star wars….im really surprsed star wars (original) didnt make on the list. The techniques they used were groundbreaking. And hate to say it, but avatar and all the cgi blend with live action should have gotten a spot. Hell, space jam, roger rabbit….could have done a lot with that. And dont roast me for not listing ones before toon town, i know animation and live action were done before, but still, the success of those early ones made most of the current movies possible.

  40. whatabout something regarding CHUNGKING EXPRESS ? you people over at CINEFIX, yor alright. oh! do something on REPO MAN maybe ? idonno. anyways, thanks.

  41. God, most of these look like dreadful artsy turds, especially #3 with its "Watch woman pick up a spoon, watch woman take a bath, watch woman get paid" etc -for fucks sake, if I want to just watch a day in the life of someone, I can just live my own life.

  42. the popular top 10 movie channels are cineflix, watchmojo, and looper…watchmojo is the most popular and has good taste in popular and current movies, whoever's running cineflix has unbelievable movie knowledge and i usually haven't heard of half the movies in their top 10s, but i trust their judgement without a doubt….looper is for 5 year olds

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