Making lists is not my favorite occupation. They inevitably inspire only reader complaints. Not once have I ever heard from a reader that my list was just fine, and they liked it. Yet an annual Best Ten list is apparently a statutory obligation for movie critics.
My best guess is that between six and ten of these movies won't be familiar. Those are the most useful titles for you, instead of an ordering of movies you already know all about.
One recent year I committed the outrage of listing 20 movies in alphabetical order. What an uproar! Here are my top 20 films, in order of approximate preference.
I was watching a movie this week, a very good one, that will open Friday here in Chicago. As sometimes happens, it led me into a realm of thinking that was not directly connected to it--or perhaps it was.
The movie is "The Mill and the Cross," by the Polish director Lech Majewski. It literally enters into a famous painting, Bruegel's "The Road to Calvary," and walks around inside of it.
Lech Majewski's "The Mill and the Cross" takes place inside Flemish painter Pieter Bruegel's 1564 The Way to Calvary -- as the artist observes, imagines, designs, sketches and paints it. I like to think of it as "Bruegel's 8 1/2," and I have rarely seen more absorbing and imaginative uses of blue-screen and CGI in movies.
Not that it's that simple. An article in American Cinematographer describes the film as "a three-year project that took [the filmmakers] to the Jura Mountains of Poland, the Czech Republic and New Zealand for 48 days of filming, followed by 28 months of postproduction at Odeon Film Studio in Warsaw. Production and post immersed them in digital technologies that included the first Red One to arrive in Poland, 2-D compositing in Flame and After Effects, 3-D compositing in Nuke and Fusion, and 3-D graphics in LightWave." Yeah.
Breugel (Rutger Hauer, acting in a world as fantastical and visually striking as that of "Blade Runner") wanders through the landscape of his painting, occasionally explaining his plans and methods to a patron played by Michael York. Charlotte Rampling is also featured as a model for the mother of Christ. But mostly they, and we, just watch. Breugel examines a dew-bejeweled spiderweb and is inspired to structure his painting along the same lines, with the principal event (Jesus stumbling while carrying the cross to Golgotha -- transposed to Flanders) in the center, yet surrounded by so much other activity (hundreds of other figures going about their business) that it is nearly lost, like the titular event in the artist's "The Fall of Icarus." At the upper left is the Tree of Life and the Circle of Life (the town); on the right, the Tree of Death (breaking wheel raised on a tree trunk) and the black Circle of Death (Golgotha).