The Top 5 List Thread
- Thread starter zabu of nΩd
- Start date
CiG
Approximately Infinite Universe
CiG
Approximately Infinite Universe
Bloopy
Active Member
5 fav Candlemass songs (only the biggest doom riffs need apply):
1. Darkness in Paradise
2. Dark Are the Veils of Death
3. Black Stone Wielder
4. Bearer of Pain
5. Mirror Mirror
5 fav Diamond Head songs:
1. In the Heat of the Night
2. It's Electric
3. Sucking My Love
4. Am I Evil
5. Helpless
5 fav Laurie Anderson songs:
1. The Day the Devil
2. Speechless
3. Big Science
4. Poison
5. Statue of Liberty
5 fav SPK tracks:
1. The Agony of the Plasma
2. Internal Bleeding
3. Israel
4. A Heart That Breaks (in No Time or Place)
5. Twilights of the Idols (From Science to Ritual version)
1. Darkness in Paradise
2. Dark Are the Veils of Death
3. Black Stone Wielder
4. Bearer of Pain
5. Mirror Mirror
5 fav Diamond Head songs:
1. In the Heat of the Night
2. It's Electric
3. Sucking My Love
4. Am I Evil
5. Helpless
5 fav Laurie Anderson songs:
1. The Day the Devil
2. Speechless
3. Big Science
4. Poison
5. Statue of Liberty
5 fav SPK tracks:
1. The Agony of the Plasma
2. Internal Bleeding
3. Israel
4. A Heart That Breaks (in No Time or Place)
5. Twilights of the Idols (From Science to Ritual version)
CiG
Approximately Infinite Universe
Top 5 releases of October:
1. Autopsy - Ashes, Organs, Blood and Crypts
2. Negative Reaction - Zero Minus Infinity
3. Malokarpatan - Vertumnus Caesar
4. Cosmic Jaguar - The Order of the Jaguar Knights EP
5. Torso Freak - Post Mortem
I thought Negative Reaction would be a contender for my AOTY, but nope it didn't even survive best of October because Autopsy are just the fucking KINGS.
1. Autopsy - Ashes, Organs, Blood and Crypts
2. Negative Reaction - Zero Minus Infinity
3. Malokarpatan - Vertumnus Caesar
4. Cosmic Jaguar - The Order of the Jaguar Knights EP
5. Torso Freak - Post Mortem
I thought Negative Reaction would be a contender for my AOTY, but nope it didn't even survive best of October because Autopsy are just the fucking KINGS.
Bloopy
Active Member
After reaching 1000 gigs/festivals attended, I came up with a list of the top 5 gigs I've ever seen. Perhaps not ranked as precisely as albums since you can't just call up a concert and relive it...
1. Headless Chickens - Auckland NZ, 2008
2. Stonerfest (Looking Glass/The House of Capricorn/Meth Drinker/Numbskull/Shallow Grave/Somme/Triceratops) - Auckland NZ, 2012
3. Budgie - Brisbane AU, 2008
4. Cosmic Psychos - Auckland NZ, 2017
5. Eagle Twin / Russian Circles - Auckland NZ, 2012
I'm seeing Cosmic Psychos again this month and Russian Circles is returning here soon too so can't complain about that.
1. Headless Chickens - Auckland NZ, 2008
2. Stonerfest (Looking Glass/The House of Capricorn/Meth Drinker/Numbskull/Shallow Grave/Somme/Triceratops) - Auckland NZ, 2012
3. Budgie - Brisbane AU, 2008
4. Cosmic Psychos - Auckland NZ, 2017
5. Eagle Twin / Russian Circles - Auckland NZ, 2012
I'm seeing Cosmic Psychos again this month and Russian Circles is returning here soon too so can't complain about that.
PrincessHades
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Bloopy
Active Member
Only took me 7211 days to do! I'm aware of people who go to even more, but there's not an excessive amount worth going to here so can't get too crazy. The majority were smaller shows with just New Zealand acts, so I got good value for money.
Vegard Pompey
ALLY TO GOOD, NIGHTMARE TO YOU
Top 10 movies of 1950
10. In a Lonely Place (dir. Nicholas Ray)
I clearly don't get the hype behind this so no point writing at length about it. The drama behind the production is interesting but doesn't translate to an equally interesting film. At least I ranked it over Rashomon.
9. The Gunfighter (dir. Henry King)
Gregory Peck rides into town to a theme tune so bombastic I thought he was on his way to blow up a Mako reactor, but what follows is the most somber, funereal western I've seen that doesn't have 49 characters in its title. And much like that particular film, it is an examination of hero worship, showing how the mere presence of an outlaw gunfighter of legendary stature causes a whole town to lose its damn mind and project all its hopes and fears onto him.
8. Scandal (dir. Akira Kurosawa)
I think of black-and-white era Kurosawa as an economical, fundamentally unpretentious director who always places the story first regardless of whether it's an adaptation of Shakespeare or an American airport novel. What's fascinating about Scandal is that there isn't much of a story to speak of, so it ends up being the kind of leisurely hangout movie he's not known for making. While generally considered one of his least works, I found it the coziest watch of the year.
7. Where the Sidewalk Ends (dir. Otto Preminger)
A violent detective covers up the accidental murder of a suspect during an interrogation, and is then tasked with investigating his own crime, whereupon he falls in love with the woman he's widowed. The result is a claustrophobic film that finds unexpected empathy for a man who does the wrong thing again and again.
6. Wagon Master (dir. John Ford)
An ethereal tone poem about the frontier spirit. Intuitive, singular filmmaking that I may well be underrating because I wasn't on its wavelength until it ended.
5. The Asphalt Jungle (dir. John Huston)
Fatalistic heist film where the Hays-code morality hangs like a Sword of Damocles over an eminently likeable ensemble cast of rogues. These moral lessons are nothing new, but the excellent character writing adds real weight to the last act's series of downer endings.
4. Gun Crazy (dir. Joseph H. Lewis)
Maybe more than anything on this list, this movie felt like watching the stuff of legends. I can't really put into words what I mean so I'll just link the greatest courtship scene in cinema.
3. The Breaking Point (dir. Michael Curtiz)
Out of all the movies I've seen this year, I think all of two featured African American actors in supporting roles and in both cases it was the same actor, Juano Hernández. The way this movie ends is such a perfect response to that lack of representation that it sent chills down my spine. This serves as a capstone to what is already an excellent, tense noir that also stands apart visually through its nautical setting.
2. Sunset Blvd. (dir. Billy Wilder)
I thought this would be a lock for #1, but I didn't love it as much on rewatch as I thought it would. My main issue is that Joe's narration feels overbearing and spends a lot of time explaining what is explicitly shown on screen. Having said that, just about everything involving Norma Desmond is pitch-perfect. This is one of those movies that gets better the older it gets. As a black-and-white movie reflecting back on the silent movie era, with every year that passes it feels more like an echo of an echo. One of the most dreamlike movies with a completely realistic narrative.
1. Night and the City (dir. Jules Dassin)
Uncut Gems 70 years before Uncut Gems, right down to spectator sports playing a huge part in the story. Richard Widmark's character in this is a stark contrast to the stoic leading men in every other movie on this list - he plays a swindler/entrepeneur (your mileage may vary) with the neurotic, overcaffeinated energy of a 90s Steve Buscemi performance. I had never heard his name before, and now I want to watch everything he's ever been in. His performance makes up the centerpiece of a 90 minute burst of anxiety that's basically everything I want out of cinema, and discovering this has already single-handedly justified this stupid project.
I clearly don't get the hype behind this so no point writing at length about it. The drama behind the production is interesting but doesn't translate to an equally interesting film. At least I ranked it over Rashomon.
9. The Gunfighter (dir. Henry King)
Gregory Peck rides into town to a theme tune so bombastic I thought he was on his way to blow up a Mako reactor, but what follows is the most somber, funereal western I've seen that doesn't have 49 characters in its title. And much like that particular film, it is an examination of hero worship, showing how the mere presence of an outlaw gunfighter of legendary stature causes a whole town to lose its damn mind and project all its hopes and fears onto him.
8. Scandal (dir. Akira Kurosawa)
I think of black-and-white era Kurosawa as an economical, fundamentally unpretentious director who always places the story first regardless of whether it's an adaptation of Shakespeare or an American airport novel. What's fascinating about Scandal is that there isn't much of a story to speak of, so it ends up being the kind of leisurely hangout movie he's not known for making. While generally considered one of his least works, I found it the coziest watch of the year.
7. Where the Sidewalk Ends (dir. Otto Preminger)
A violent detective covers up the accidental murder of a suspect during an interrogation, and is then tasked with investigating his own crime, whereupon he falls in love with the woman he's widowed. The result is a claustrophobic film that finds unexpected empathy for a man who does the wrong thing again and again.
6. Wagon Master (dir. John Ford)
An ethereal tone poem about the frontier spirit. Intuitive, singular filmmaking that I may well be underrating because I wasn't on its wavelength until it ended.
5. The Asphalt Jungle (dir. John Huston)
Fatalistic heist film where the Hays-code morality hangs like a Sword of Damocles over an eminently likeable ensemble cast of rogues. These moral lessons are nothing new, but the excellent character writing adds real weight to the last act's series of downer endings.
4. Gun Crazy (dir. Joseph H. Lewis)
Maybe more than anything on this list, this movie felt like watching the stuff of legends. I can't really put into words what I mean so I'll just link the greatest courtship scene in cinema.
3. The Breaking Point (dir. Michael Curtiz)
Out of all the movies I've seen this year, I think all of two featured African American actors in supporting roles and in both cases it was the same actor, Juano Hernández. The way this movie ends is such a perfect response to that lack of representation that it sent chills down my spine. This serves as a capstone to what is already an excellent, tense noir that also stands apart visually through its nautical setting.
2. Sunset Blvd. (dir. Billy Wilder)
I thought this would be a lock for #1, but I didn't love it as much on rewatch as I thought it would. My main issue is that Joe's narration feels overbearing and spends a lot of time explaining what is explicitly shown on screen. Having said that, just about everything involving Norma Desmond is pitch-perfect. This is one of those movies that gets better the older it gets. As a black-and-white movie reflecting back on the silent movie era, with every year that passes it feels more like an echo of an echo. One of the most dreamlike movies with a completely realistic narrative.
1. Night and the City (dir. Jules Dassin)
Uncut Gems 70 years before Uncut Gems, right down to spectator sports playing a huge part in the story. Richard Widmark's character in this is a stark contrast to the stoic leading men in every other movie on this list - he plays a swindler/entrepeneur (your mileage may vary) with the neurotic, overcaffeinated energy of a 90s Steve Buscemi performance. I had never heard his name before, and now I want to watch everything he's ever been in. His performance makes up the centerpiece of a 90 minute burst of anxiety that's basically everything I want out of cinema, and discovering this has already single-handedly justified this stupid project.
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no country for old wainds
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i hadn't considered the uncut gems comp!
your criticism of sunset blvd is just a wilder thing in general i think, it's why he gets some shit from h/c cinephile types. like in double indemnity there's a scene where he's just like describing how the light is coming through the blinds and it's like, my dude this isn't a book, you don't need to be describing this. or maybe that happens in SB and i'm confusing films?
anyhow, my main issue is a tonal one, where for me it just oscillates too much between sympathising with norma and viewing her grotesque/inhuman. i'm cool with there being a tension between those things as it's kind of the whole point, but it leans way too far into the latter sometimes for my tastes, that wilder snark can be overpowering. my favourite scene is the one where she goes to see demille, that hits exactly the tone i want from it.
i agree on gun crazy although i do wish the male lead was played by someone else, that guy doesn't really do it for me. courtship scene is gold, so are the ultra influential robbery and the ending.
i don't think there's that much to get with in a lonely place, except that it just... isn't much of a noir/thriller at all, just a bruised weary drama where all the violence is emotional. every ray movie is like this in some guise despite being very varied in a lot of ways, so i'm curious whether you'll like anything else from him. i'm not sure that would even be in my top 3 rays anymore for what it's worth, you'll hit the best one in '56.
also interested what you'll think of high noon when you get to that in '52, unless you've already seen it. some obvious similarities with the gunfighter there. and i'm excited for you to see more widmark stuff.
your criticism of sunset blvd is just a wilder thing in general i think, it's why he gets some shit from h/c cinephile types. like in double indemnity there's a scene where he's just like describing how the light is coming through the blinds and it's like, my dude this isn't a book, you don't need to be describing this. or maybe that happens in SB and i'm confusing films?
anyhow, my main issue is a tonal one, where for me it just oscillates too much between sympathising with norma and viewing her grotesque/inhuman. i'm cool with there being a tension between those things as it's kind of the whole point, but it leans way too far into the latter sometimes for my tastes, that wilder snark can be overpowering. my favourite scene is the one where she goes to see demille, that hits exactly the tone i want from it.
i agree on gun crazy although i do wish the male lead was played by someone else, that guy doesn't really do it for me. courtship scene is gold, so are the ultra influential robbery and the ending.
i don't think there's that much to get with in a lonely place, except that it just... isn't much of a noir/thriller at all, just a bruised weary drama where all the violence is emotional. every ray movie is like this in some guise despite being very varied in a lot of ways, so i'm curious whether you'll like anything else from him. i'm not sure that would even be in my top 3 rays anymore for what it's worth, you'll hit the best one in '56.
also interested what you'll think of high noon when you get to that in '52, unless you've already seen it. some obvious similarities with the gunfighter there. and i'm excited for you to see more widmark stuff.
PrincessHades
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Oh yea that's a concert per week, sounds like a lot of fun. I hope to be able to do that soon, I'd totally go see small acts a few times a week if I could afford to keep that up.
zerostatic
Damned in Flames
Surprised that Overkill made the number 1 spot...I binged their discography hard in preparation for their new album but didn't think I had listened to them that frequently since. Second year in a row that Priest had been in my top 5 Artists. All the songs in my top 5 are from the Alexander Hamilton Soundtrack.
Bloopy
Active Member
It finally happened. The 5 bands I've seen live the most times excluding artists from my own country:
Holy Serpent (6×)
Megadeth (6×)
Mayhem (4×)
Psycroptic (4×)
Slayer (4×)
Metallica could've been in there if Hetfield hadn't needed to go back to rehab. Haven't seen them since 2010.
no country for old wainds
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Wainds' Favourite Film of Every Year
1920
One Week, Buster Keaton & Edward F. Cline
1921
1921
The Kid, Charles Chaplin
1922
1922
Nosferatu, F. W. Murnau
1923
1923
Safety Last!, Fred C. Newmeyer & Sam Taylor
1924
1924
Sherlock Jr., Buster Keaton
1925
1925
The Gold Rush, Charles Chaplin
1926
1926
Ménilmontant, Dimitri Kirsanoff
1927
1927
Sunrise: A Song of Two Humans, F. W. Murnau
1928
1928
The Docks of New York, Josef von Sternberg
1929
1929
A Cottage on Dartmoor, Anthony Asquith
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no country for old wainds
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1930
Morocco, Josef von Sternberg
1931
1931
City Lights, Charles Chaplin
1932
1932
Me and My Gal, Raoul Walsh
1933
1933
Counsellor at Law, William Wyler
1934
1934
No Greater Glory, Frank Borzage
1935
1935
Steamboat Round the Bend, John Ford
1936
1936
Modern Times, Charles Chaplin
1937
1937
Angel, Ernst Lubitsch
1938
1938
Bringing Up Baby, Howard Hawks
1939
1939
Only Angels Have Wings, Howard Hawks
no country for old wainds
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1940
The Shop Around the Corner, Ernst Lubitsch
1941
1941
How Green Was My Valley, John Ford
1942
1942
To Be or Not to Be, Ernst Lubitsch
1943
1943
The Life and Death of Colonel Blimp, Michael Powell & Emeric Pressburger
1944
1944
A Canterbury Tale, Michael Powell & Emeric Pressburger
1945
1945
Brief Encounter, David Lean
1946
1946
My Darling Clementine, John Ford
1947
1947
Monsieur Verdoux, Charles Chaplin
1948
1948
Portrait of Jennie, William Dieterle
1949
1949
Act of Violence, Fred Zinneman
no country for old wainds
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1950
In A Lonely Place, Nicholas Ray
1951
1951
On Dangerous Ground, Nicholas Ray
1952
1952
The Lusty Men, Nicholas Ray
1953
1953
Pickup on South Street, Samuel Fuller
1954
1954
Track of the Cat, William A. Wellman
1955
1955
The Night of the Hunter, Charles Laughton
1956
1956
Bigger Than Life, Nicholas Ray
1957
1957
The Incredible Shrinking Man, Jack Arnold
1958
1958
Vertigo, Alfred Hitchcock
1959
1959
North by Northwest, Alfred Hitchcock
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1960
Wild River, Elia Kazan
1961
1961
Last Year at Marienbad, Alain Resnais
1962
1962
The Manchurian Candidate, John Frankenheimer
1963
1963
High and Low, Akira Kurosawa
1964
1964
Man's Favorite Sport, Howard Hawks
1965
1965
Pierrot Le Fou, Jean-Luc Godard
1966
1966
Seconds, John Frankenheimer
1967
1967
The Young Girls of Rochefort, Jacques Demy
1968
1968
Rosemary's Baby, Roman Polanski
1969
1969
My Night At Maud's, Éric Rohmer
no country for old wainds
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1970
Husbands, John Cassavetes
1971
1971
They Might Be Giants, Anthony Harvey
1972
1972
Aguirre: The Wrath of God, Werner Herzog
1973
1973
Badlands, Terrence Malick
1974
1974
The Texas Chainsaw Massacre, Tobe Hooper
1975
1975
Dog Day Afternoon, Sidney Lumet
1976
1976
The Killing of a Chinese Bookie, John Cassavetes
1977
1977
Eraserhead, David Lynch
1978
1978
Days of Heaven, Terrence Malick
1979
1979
Saint Jack, Peter Bogdanovich
