My favorite movies: 5-1

Top 55

I have often wondered, what are my favourite films of all time. I managed to get 55 of them. I would like to share this list with you.

Here’s the earlier lists:











So here we are, at the end of the list. The top five. I started to make this list about a year ago, and while I mostly agree on the final list, there are of course some movies, I’d like to add, reposition, or even delete, but what’s done is done. However, while my top five has always been the same, there is one movie I have mistakenly omitted from the list. So, before I reveal my five favorite films, I’m compelled to add one more film on this list. And that is:

Toy Story 2 poster

TOY STORY 2 (1999)

Directors: John Lasseter, Ash Brannon & Lee Unkrich

Writers: Andrew Stanton, Rita Hsiao, Doug Chamberlin and Chris Webb

I know, you must be thinking: “It’s the sequel to a Pixar movie. What’s the big deal?” And yes, as a film, it’s not high art, it’s not as culturally important film as its predecessor, the first Toy Story (which was the first fully CGI-animated feature film) nor does it even have a particularly gripping story. Why is it here then? Because it’s so goddamn fun, that’s why. It’s ludicrously rewatchable, probably more so than any other film. This is film making in top form. Everything the first Toy Story did right, the sequel does even better. The animation is (still) awesome, the script is better (even without Joss Whedon this time) and Toy Story’s few pacing problems have been wiped out. The characters were the first movie’s greatest strength and that also applies here. Buzz and Woody make a great leading pair and the supporting toys give great backup. The new toys in this sequel are mostly from Woody’s playset, and they are very well-rounded characters that feel like a worthy addition to the film.

The comedy works very well in the film and the more serious beats also hit their mark. The movie has an intro that most films would kill for and that sequence is a perfect example of effective dialogue-free film making, and should be studied by aspiring film makers. It also makes this sci-fi fan geek out hard, because that intro throws an incredible amount of subtle nods to sci-fi classics like a boss (sound designer Gary Rydstrom is obviously having a time of his life here). When I saw that opening in the cinemas I fell madly in love with this thing. And the rest of the film did not let me down, not once. Also, the final act at the airport is marvelous. Even the score is better this time. Randy Newman has never outdone, before or since, his musical score here. Pixar has always had a good casting sense, and unlike Dreamworks, don’t feel compelled to cast the films with all the latest celebrities (A Shark’s Tale being the worst offender), and it doesn’t disappoint here. The biggest name in the cast is of course Tom Hanks and he is doing splendid work here. The casting of Tim Allen as Buzz Lightyear in the first Toy Story raised a few eyebrows, because the guy definitely is not the space hero / action man type (Dreamworks would have casted Bruce Willis, I’m sure). But, as usual, the Pixar folks knew their shit, because Tim Allen is spot on. Wallace Shawn, Don Rickles and John Ratzenberg also return and they bring the goods, especially John Ratzenberg as Hamm, who gets all the best lines in the film. The new characters are very cleverly casted. Kelsey Grammer as The Prospector brings genuine melodrama in his conflicted character, and Joan Cusack is superb as Jessie, the yodeling Cowgirl. She has manic energy which is balanced perfectly when more dramatic scenes with her character occurs.

See, I can blabber on and on about this film’s excellence, but I’ll stop now, because soon I’ll start talking about the third one, and when I do that, I feel I have to add that movie to this–

Toy Story 3 Poster

TOY STORY 3 (2010)

Director: Lee Unkrich

Writer: Michael Arndt

Now, see what you made me do. I can’t keep adding films on this list! I mustn’t…but Toy Story 3 is sooooo good…

I have a question for you, my dear reader. Name a third film in a trilogy that is actually really good. The Godfather part III? Not a great film. The Matrix Revolutions? Hideous. Blade Trinity? A piece of shit. Indiana Jones and The Last Crusade? Now you’re talking. Mission Impossible III? Go on. Before Midnight? Yes, you’re getting it. But then there’s Toy Story 3…

The thing with Toy Story 3 is that it is the best third film of any trilogy (or quadrilogy, pentalogy and so on so forth) of films. Usually the second sequels tend to severely descent in quality but not here. Toy Story is funny, exhilarating and even wise when it comes to the themes of the film. Toy Story 3 also does something that almost no (if any) family friendly film has done. And it has something to do with the film’s villain, Lotso. See, Lotso is given a tragic backstory that sort of justifies his sinister action later in the film. While he is an asshole toward Woody and the rest of the heroes, there’s always this glimmer of hope that twinkles in the corner of his eye. He is redeemable. And during the last action set piece he places himself in danger and without Woody’s helping hand (who does this from the kindness of his heart) he would’ve surely be destroyed. He gets saved and he gives a bewildered expression that only an act of pure selfishness can evoke. Moments later Woody and his friends are in great danger and will be burned in a trash incinerator. Lotso gets the chance to prove himself and grant himself a sorely needed catharsis for his selfish and dastardly deeds. He takes a deep breath and puts his paw on the lever that will rescue them.

And…he doesn’t pull it. That scene is one of the most brutal fuck you’s to the audiences in a long time, and it is happening in animated film for the whole family. So Woody and the toys are slowly descending in the fiery pit of death, and there is nothing the toys can do about it, other than silently accepting their fates. It’s one the saddest scenes I’ve ever seen in a film. For a moment I was honestly thinking, “is this really how the film’s going to end?” I felt my eyes flooding with tears and only with enormous effort I could hold it in. The scene is next to unbearable and only at the last moment the movie gives us relief. I got a chance to breathe again, If only for a minute, because then the film gives us…the ending. There, Andy must let go of his (and ours) childhood and hand over his beloved toys to his young neighbor. And when it’s time to hand over Woody and Buzz, he almost cannot do it, and we understand why. We too don’t want to grow old. We can’t let go. Not yet.

Those were the few reasons I felt compelled to add these two amazing films on the list, even if they don’t fit in the ranking. I just wanted you to know how much I care about these two films.

But enough stalling, let’s get on with, one last time.

The top five.

Alien poster

5. ALIEN (1979)

Director: Ridley Scott

Writer: Dan O’Bannon

I remember, when I was about ten, my mom told me about this film that was a space film (I was nuts about space films at that time) called Alien. She told me that there was this monster on a space ship giving all kinds of trouble to the crew. I was puzzled.

“How many monsters were there?”

“One”, she said.

I thought for a second. “Well that doesn’t sound too bad. What kind of guns do they have?”

“I think they didn’t have any”, mom replied.

“But how will they beat the monster then?”

Mom looked at me silently for a second and said: “What makes you so sure they will?”

That was my first introduction on the film. I think a year went by. My knowledge of the film had not increased during that time, but Alien was always there, somewhere behind my thoughts. My mom was very shrewd when talking about Alien. She mentioned that she saw it at the cinema and it blew her away. I’d already seen Star Wars at that time and I asked if it was like that. She gave a dry laugh and said: “honey, it’s nothing like Star Wars. Star Wars is for you kids, Alien is for us adults”. Damn it, I had to see that film now more than anything. A few months passed and one evening our national television channel had a commercial for Alien. It would air in one week. I got a glimpse of the film for the first time. In the commercial, Tom Skerrit climbed on the top of the platform and then there was that wide shot of The Space Jockey. I REALLY needed to see Alien now. I begged my mom for a permission to see that film. At first she declined, saying that I was too young for it (which I was, speaking the truth) but eventually she caved in due to my determination (a ten year-old kid whining for a week is not pleasant) and I got my permission. I would get to see Alien.

And then I saw it. Nothing could’ve prepared me for it. When the opening credits popped up and that terrifying Jerry Goldsmith anti-music started playing, I knew that -like Martin Lawrence said it 24 years later- shit got real. This was not a film for kids. This was not Star Wars. But I could handle my shit. I braved on. Everything went smooth, I was proud of me. “This movie’s not that bad”, I thought. I could handle Alien. And I did. Until that fucking thing came out of Kane’s stomach.

Even if it was a censored version, it was still the most terrifying thing I have ever seen after the werewolf scene in The Company of Wolves. And even there I had the good sense of quit watching that Neil Jordan film. But here was this film I have been waiting to see for over a year. I could not stop, not now. I had to see it the whole way through. And so I continued, even when every fiber in my body and spirit beckoned me to bail out. And so I continued. I saw the full-sized Alien kill Brett. I saw the Alien wiping out the hero of the film, Dallas (“what the fuck, movie? He can’t die!”). I saw Ash trying to rape Ripley’s mouth with a magazine (“mom, why is he stuffing that on her face?”). I saw headless head of a robot telling that there’s no hope and they’re all going to die. I saw Alien executing the toughest guy of the crew like it’s just another bug to be wiped out. And I heard the bone-chilling screams of Lambert, while the Alien was raping her with its sharp knife-tail (there was no need to ask mom to explain that, I figured that one out on my own…). Then I saw Ripley’s impossible feat of taking the Alien on her own in that small emergency pod, and I swear I heard my own heartbeat pounding away. Then, the end credits rolled.

I have just seen Alien. I was way too young to see it yet. It scared the hell out of me. It scarred my fragile little psyche. I had trouble for sleeping for weeks. Yep, I just saw Alien, and it was one of the biggest mistakes I willingly and purposefully made at that time.

And I couldn’t wait to see it again.

Thank you Ridley Scott, for making a little ten year-old kid to be scared and amazed at the same time. And thank you for making a film that still holds up incredibly well. The craft and love you and the crew gave to that film is astonishing. As I am writing this, I am already a grown up, well on my way into adulthood. But every time I put Alien on, I am a ten year-old kid once again, on board of the mining ship Nostromo, ready to be scared again and again. And loving every minute of it.

What I love about it: The deliberate slow pacing. The production values. H.R. Giger. Ridley Scott’s perfect direction. The guy is a million times better here than in Prometheus.

Best Quote: “Back in the ole freezerinos.”

Saving Private Ryan Poster


Director: Steven Spielberg

Writer: Robert Rodat

We’re now (almost) done with Steven Spielberg. Saving Private Ryan totally changed the way cinema portrayed war on film. Excluding Terence Malick’s Thin Red Line, almost every war movie since just had to absorb that gritty intensity this movie pioneered at. Ridley Scott’s Black Hawk Down, Jean-Jacques Annaud’s Enemy at the Gates, Clint Eastwood’s one-two-punch Flags of Our Fathers and Letters from Iwo Jima took lessons from Ryan. Hell, even directors with their own unique styles like John Woo and Michael Bay joined the bandwagon with their efforts that became Windtalkers and Pearl Harbor. But Saving Private Ryan, the film that started it all, is the best of them all.

After the brutal D-Day assault on the shores of Normandy, Captain Miller (Tom Hanks) is assigned to locate a soldier who is somewhere in the war-torn France. This soldier, Private Ryan, has lost two of his brothers in the battlefield, and the U.S. Public Relations decides that that is enough dead Ryans for now.

Miller grabs a half dozen soldiers with him and they venture off to find Ryan. During their travel some of Miller’s men question the logic in risking the lives of many for the life of one, and justifiably so. Captain Miller obviously agree what his men are saying, but his loyalty to his superiors keep them marching along, facing the horrifying consequences of war.

I remember that day in the cinemas, when the door of that landing craft fell down and the bullets started ripping holes in those soldiers. The washed out visuals combined with that aural experience that sound designer Gary Rydstrom and his team concocted left me breathless for the entire Omaha Beach assault scene. Sound design has never been that good and will never be that good ever again. This film reached authenticity that has rarely been replicated. Steven Spielberg understood that in order to make the war seem real, they’d have to slightly over-do it, just a tiny amount. And they succeeded gloriously. Every effect look and sound authentic and even today the CGI is universally unnoticeable, which very few films can do even today, let alone a 16-year old film.

The cast in this is outstanding. Tom Hanks brings the goods, which he does in almost everything (I suspect he didn’t bring his A-game to The Simpsons Movie) and he gets supported by a great roster of incredible actors: Tom Sizemore, Edward Burns, Jeremy Davies, Paul Giamatti, Ted Danson, Giovanni Ribisi, Dennis Farina, Nathan Fillion (go Browncoats!) and even fucking Vin Diesel. And once again we get that awesome Spielberg casting when he chose Matt Damon to play the missing Pt. James Francis Ryan from Iowa. The guy wasn’t a superstar yet, but when the movie came out, he was a serious up-and-comer, having skyrocketed from Good Will Hunting a year before. When the crew (well, what’s left of them) finally catches up with him, Damon portrays the guy in a way that even the most unyielding soldier amongst them (Edward Burns, nailing that Brooklyn nag) finally accepts the mission to save this kid.

The battle scenes are stupendously well crafted and the scenes in between are highly interesting. Having some rare R&R in a church, the crew opens up a little and give brief glimpses to their lives before the war. Robert Rodat’s writing gives solid material for the actors and they really give great performances, especially Giovanni Ribisi, whose monologue about his mother is simultaneously sad and creepy, and his character comes off as someone who really shouldn’t be witnessing the horrors of war. This guy’s homecoming would not be a successful one. Also, I kind of adore Matt Damon’s monologue about his brothers when they shared their last evening together. I heard that Matt Damon improvised that scene and that solidifies the fact that Matt Damon is one talented bastard.

This film is not riddled with Spielberg’s third act problems that he seems to struggle, especially in his later days. Some say that the epilogue is unnecessary, but I think it bookends the movie perfectly and underlines the importance of the sacrifices the men did in the battlefield. The film is the best war film ever made and has huge place in my heart. An audiovisual masterpiece, if there ever was one.

What I Love About It: Gary Rydstrom’s sound design. I think this is the first Spielberg film, where sound effects are taking the center stage over John Williams’ (appropriately) understated score. The visuals. The cast. Hell, goddamn everything in the film.

Best Quote: “The Statue of Liberty is kaput. That’s disconcerting.”

Fight Club Poster

3. FIGHT CLUB (1999)

Director: David Fincher

Writer: Jim Uhls

I love Fight Club SOOO much. When I saw this film in the cinema I knew from the first 20 seconds that this film’s gonna make a lasting impression on me. And I wasn’t wrong. The film is smart, visually brilliant and beautifully acted. Fincher was on top of his game, and in my opinion, he never surpassed his work done here.

Edward Norton plays an unremarkable sleep-depraved employee for an insurance firm who gets his life twist-turned upside down, when his apartment blows up and burns to the ground, leaving him possession-free. His desperation leads him to call to his newly-found single-serving friend Tyler Durden (Brad Pitt) who agrees to offer him a place to stay, but not before luring Norton to an impromptu fisticuffs in the parking lot of a bar. Weirdly invigorated with the rush of violence, Norton and Tyler make the fighting into a habit, which quickly gathers interest from other men as well. Soon enough, they’ve formed a fight club, in which working men could let out some steam via punching other men in the face.

Norton is amazed at Tyler’s energy and unique view on life but is little taken back with some of the more far out ideas Tyler has planned. Misbehaving and chaos is Tyler’s game and he gets other men easily influenced by his actions. Only Norton seems to be sane enough to question Tyler’s action, but his conservative way of thinking goes to deaf ears. Tyler’s sex-filled relationship with Norton’s favorite hate power-animal Marla Singer (Helena Bonham-Carter) further bemuses Norton and he is finally forced to try stop Tyler Durden before his actions endanger innocent lives.

My feeble attempt to write down a synopsis for the film does a disservice for the film. The flick is so densely written and deals with so many subjects that I dare not try to cover them all here. Suffice to say the film has material for at least four different films, but still feels coherent and even breezy in the way the film delivers the story. It’s inconceivable that the screenwriter Jim Uhls’ filmography can be counted with one hand and his second biggest script is Jumper. How the hell is this guy not the biggest writer in Hollywood? Did he piss in some producer’s soup? But as good as job Jim Uhls does with the script, it’s the director David Fincher who knocks the film out of the park.

Fincher is furious in his methods, showing more creativity in this one single movie than many directors show in their entire filmographies. The acting is also uniformly great, spearheaded with the two awesome leads. Brad Pitt gets to chew scenery as the rebellious Tyler Durden (him doing those juvenile man-child roles seems to be where he excels at), but the film rests on the shoulders on Edward Norton, who pulls off his nervous and introverted character beautifully. It’s a pleasure to take a trip with him and the scene where he kicks his own ass in front his bewildered boss is an absolute highlight. Helena Bonham-Carter is also pretty good, although her accent gets a little funky every now and then. Also, Meat Loaf’s tits make quite a show. The score from the Dust Brothers is one of the best music written for a film and Jeff Cronenweth’s photography is perfect, every single frame a masterpiece in its own right.

After fifteen years, no other film has delighted, surprised or inspired me as much as Fight Club did. The violence aspect was incorrectly perceived at the times, but the message is clear and noteworthy: breaking out of the norm is healthy. Good films entertain, but great films entertain AND inspire. Thank you Fight Club for making me look outside the box, professionally as well as in personal life.

What I Love About It: James Haygood’s razor-sharp editing. The visual look. The flash-frames. The Dust Brothers’ dopey electronic score. The third-act twist. Fincher’s directing, which trumps all.

Best Quote: I could go over the rules of fight club, but for some reason I love this line that Brad Pitt delivers leaving his seat in the plane: “Now, a question of etiquette – as I pass, do I give you the ass or the crotch?” Never has a worthier question been asked.

Jaws Poster

2. JAWS (1975)

Director: Steven Spielberg

Writers: Peter Benchley & Carl Gottlieb

Well, it seems that Spielberg is a director that popped up on my list awfully lot. What can I say, the guy has mad skills and even when he’s not exactly making masterpieces, his still better at his craft than most directors. Hook, The Lost World or Always might not be great films, but their faults hardly lie in the directorial efforts of Steven Spielberg who speaks fluently the language of cinema. Yes, it might be unoriginal to say this, but I still think the guy is the best film director working today, closely followed by Robert Zemeckis. And there’s no other film that better encapsulates everything what makes Spielberg great than Jaws.

Based on novel by Peter Benchley, Jaws tells a heartwarming story about a great white shark that eats people and police chief who thinks that the shark shouldn’t. Roy Scheider (in the 70’s the guy was in everything) plays the good chief, Brody, who gets into a tight jam when people start dying in his small coast town. He wants to close the beaches, but the slimy Mayor (Murray Hamilton) wants to keep the tourists happy and keep them swimming. When people keep dying (including a little Kintner boy), Brody is forced to go out to the sea and hunt the shark down before it kills again. Thankfully he is not going alone, because he’s accompanied with two rather remarkable individuals: a good-spirited marine biologist Hooper (Richard Dreyfuss) and a grumpy sea hunter Quint (Robert Shaw). The three men need to try to get along on the hunting trip, but their nerves are twisted further by the shark who targets their rather inadequate fishing boat.

I want to do something a little unorthodox here. Rather than trying to do a comprehensive abbreviation of the things I love in this film, I’ll do a scattered and unfocused list of some of the things I love in Jaws. Here we go:

  • Mimicking with Brody & son.
  • The way Brody drinks wine.
  • Hooper’s appetite.
  • The reveal of Ben Gardener’s fate.
  • Hooper’s autopsy examinations (both of them).
  • “Spanish Ladies”-song.
  • The shooting star, and John Williams referencing “Spanish Ladies” in his score.
  • That John Williams score.
  • We’re gonna need a bigger boat”.
  • Everything that happens in Orca, actually.
  • The way the artist chick whimper-yells “shark!
  • The editing when Brody’s at the beach and he’s watching the ocean. Love the wipes with the passing people.
  • The shark rattling the cage. Happy accidents make great moments in cinema.
  • Hooper and Quint bickering; Quint’s can-crushing machismo and Hooper’s respond.
  • Fulfilling the action cinema trifecta: boobs, helicopters and explosions.
  • Comparing battle scars.
  • Quint’s U.S.S. Indianapolis -story.
  • The name of Bryan Singer’s production company, “Bad Hat Harry”, came from this movie. Hey, let’s be thankful it wasn’t “Stop Playing With Yourself, Hooper”.
  • The guys bonding and singing “Show me the way to go home”, only to be cut off by the shark, who seems to hate Irving King songs.

There’s a lot to love. I don’t think I’ve ever seen a film that balances humor with sheer terror quite so well. Whenever the shark attacks, it’s brutal and terrifying. Spielberg is a master at making violence feel real, whenever he grants his films go fully R-rated. Jaws, Saving Private Ryan, Schindler’s list, Amistad and Munich are great examples. In Jaws, the kills feel extra brutal, because there’s pretty much no music when they happen.

The characters in Jaws are strong, really strong. The three men are very well written and are perfectly portrayed by the three men playing them. Scheider is a good lead, playing a regular small town cop, who’s in a situation that’s way over his head, and he’s trying to cover his insecurities up, rather unconvincingly. Robert Shaw IS Quint, in my book. Whenever I see him in another role, all I see is Quint. He’s that good. But my favorite performance in the movie is delivered by Richard Dreyfuss. His Hooper is the MVP in the film and an absolute joy whenever he’s onscreen. Rickie D in Jaws is everything I’d hope to be as a person. Thankfully his character is wildly different in the film than in the book. Which brings me to…

Peter Benchley’s novel of Jaws is not that good. The characters are pretty one-dimentional and the novel is awfully mean spirited. Dreyfuss’ Hooper is an asshole who gets into a relationship with Brody’s wife. And when Hooper gets eaten in the novel by the shark, Brody’s like: “good riddance, dickhead”. I don’t how the movie turned out how it did, but the decision to change the mood of the book was absolutely the correct one. I suspect Spielberg and writer Carl Gottlieb are to be thanked.

Adventure, humor, suspense. This film has it all. It’s has insane amounts of replay value and it never loses its charm, Jaws is film making at its finest and a strong testament of the capabilities of its ingenious director. I’m sure you’ve already seen this, but if you haven’t, let me know. I’ll screen it with you. Anytime.

What I Love About It: Read the list above.

Best Quote: “We’re gonna need a bigger boat!” I also love Hooper’s W.C. Fields imitation: “I don’t have to take this abuse much longer!”

Before Sunrise Poster


Director: Richard Linklater

Writers: Richard Linklater & Kim Krizan

I was balancing the ranking between Jaws and Before Sunrise. Which one deserved the number one spot? For the longest time I think I preferred Jaws. That film is certainly makes an easy case for itself to be in the first place. Its masterful storytelling and excellent pacing makes easy to like among many. But one reason tipped the scale in favor of Before Sunrise, an underdog for sure, and that reason is my personal relationship with the film.

Like in everything, the taste in film, music or any other form of art is wholly subjective. Your favorite movie should be something that speaks to you personally. You form a personal connection with the material that sticks with you and you carry the experience for the rest of your life. This happened to me when I saw Before Sunrise in 1995.

A young American, Jesse (Ethan Hawke) meets a French girl Celine (Julie Delpy) in a train traveling through Europe. He is instantly interested in the girl and soon enough they start talking. They have a good chemistry together and they get along perfectly. They arrive in Vienna, which is Jesse’s stop. He enjoys Celine’s company and doesn’t want to let her go just yet, so he proposes that she’d get off the train with him and keep hanging out with him. She agrees and they spend an unforgettable night walking the streets of Vienna and forming a strong infatuation towards each other. But both of them know that in the morning they need to say goodbye to each other and face the fact they might never meet again.

What first attracted me to this film was the fact that the whole film happens during one day. I came in for the gimmick, but stayed for the characters, ambience and the dialogue. Both Jesse and Celine feel like real people and their repertoire feels genuine and honest. Their romance is refreshingly unforced and uncontrived. The scene where Jesse and Celine listen to record in a listening booth is delightfully awkward and exiting. Anyone who’s ever had a crush on somebody knows how it feels suddenly to be in an intimate space with their object of affection. And we’ve all been there, when you acknowledge the fact that your shared time will come to an end.

Why Before Sunrise is my favorite movie, above all else? Well, it comes down to this: no other movie has influenced my way of living and my outlook on life like this movie has. Every relationship, every romantic encounter I’ve ever had was reflected by this film. Don’t get me wrong, I don’t compare my relationships with the film, or try to duplicate the movie in my own life. But I share the views on romance and love with the film. Especially the idea of young love. The sequels dealt with more mature content and did it perfectly. My love for Before Sunset and Before Midnight is strong and unflinching, but Before Sunrise is like my first love, always holding a special place in my heart.

Cinematically Before Sunrise is superb and Richard Linklater directs the film confidently but keeps the film’s technical trickery inconspicuous. There’s long takes without editing, long Steadicam shots and remarkable lighting design. DOP Lee Daniel does marvelous work that the viewer probably won’t even notice. Ethan Hawke and Julie Delpy are effortlessly charming in their roles and it’s hard to imagine any other actors in these roles. These are career defining roles for them both and should be applauded from here to eternity. I love those guys. And I love this film, with all of my heart.

What I Love About It: I like nothing about it. I love everything about it.

Best Quote: ”Let me get my bag”.

This list was a chance for me to reflect myself through these amazing films and my choices tell a lot of me as a person. It seems I am a hopeless romantic at heart who appreciates adventure and other-wordly elements, yet also appreciating the stories grounded on reality. I appreciate the passion and brilliance of these spectacular film makers who make film that can inspire us all. We should celebrate them and keep talking about them. Learn from them, appreciate them and share them amongst each other. And if you feel like it, make your own. Inspire someone else and make it on their list of favorite movie. Or music. Or comic. Or any form of art. Whatever rocks your boat.

Thank you for reading my rambling. Please feel to share, comment or even make your own list for me to read. But most importantly, stay inspired, whatever way you can.

-Miska Engström



Täytä tietosi alle tai klikkaa kuvaketta kirjautuaksesi sisään:

Olet kommentoimassa -tilin nimissä. Log Out /  Muuta )

Google+ photo

Olet kommentoimassa Google+ -tilin nimissä. Log Out /  Muuta )


Olet kommentoimassa Twitter -tilin nimissä. Log Out /  Muuta )


Olet kommentoimassa Facebook -tilin nimissä. Log Out /  Muuta )

Muodostetaan yhteyttä palveluun %s