Desert Island Film 62

One of France's greatest ever action films.  Watch it and also watch Friedkin's loose remake Sorcerer.

Desert Island Film 61

For the painterly naturalism of Roizman and the docu syle of Friedkin.  I most love the way Friedkin uses natural sounds and the only very little musical score.

Desert Island Film 60

For the way that David Gordon Green and Tim Orr captured nature, beauty, quiet, slowness

Desert Island Film 59

Lynch looks at Hollywood and leaves us both in awe and confounded, like we woke up from a daytime nap unsure of where we are or how we got there.

Desert Island Film 58

One of cinema's great descents into noir

Desert Island Film 57

As a model of how to make a personal film lyrical, funny and palatable for larger audiences.

Desert Island Film 56

 For starters, for the collaboration of Pakula, Willis and Shire.

Desert Island Film 55

If you put me in a corner and ask my my favorite use of a score in the history of film, this is what I'm telling ya.

Desert Island Film 54

France's most adventurous filmmaker gives France's most daring young actor a wonderfully expansive canvas to play on.

Desert Island Film 53

 Early Kubrick and one of the great early nonlinear works of film.

Desert Island Film 52

 Simply, one of my very favorite heist films.

Desert Island Film 51

When a great filmmaker goes back to a smaller canvas and his immense talent is still so evident.

Desert Island Film 50

Along with Welles and Ford, I consider Anthony Mann as one of our filmmakers with the keenest eye for how to frame a shot.

Desert Island Film 49

The movie that for me best captures the feelings between a man and his dog.

Desert Island Film 48

A master class in the effect and power a "classic" approach to filmmaking (beautiful acting, immaculate set design, repetitive, symphonic score) can have when it's in the hands of a great director.