The Hollywood Reporter - Os 100 melhores filmes de todos os tempos

A revista “The Hollywood Reporter” convocou personalidades de Hollywood — atores, produtores, diretores, roteiristas e executivos —, para escolher seus filmes favoritos. Ao todo, mais de 2 mil participantes responderam a enquete. A lista traz filmes de variadas épocas e gêneros.

"Quem melhor para julgar os melhores filmes de todos os tempos do que as pessoas que fazem? Chefes de estúdio, vencedores do Oscar, a realeza da TV, todos foram pesquisados e THR publica o seu primeiro ranking mais significativo da indústria do entretenimento... Mas tenha em mente, listas de filmes não são eternas. Como destaca Michael Bay, "Seu filme favorito pode mudar todos os dias."

Confira a lista:

001. O poderoso chefão (Francis Ford Coppola, 1972)
002. O mágico de Oz (Victor Fleming, 1939)
003. Cidadão Kane (Orson Welles, 1941)
004. Um sonho de liberdade (Frank Darabont, 1994)
005. Pulp fiction - tempo de violência (Quentin Tarantino, 1994)
006. Casablanca (Michael Curtiz, 1942)
007. O poderoso chefão - parte II (Francis Ford Coppola, 1974)
008. E.T. , o extraterrestre (Steven Spielberg, 1982)
009. 2001 - uma odisséia no espaço (Stanley Kubrick, 1968)
010. A lista de Schindler (Steven Spielberg, 1993)
011. Star wars (George Lucas, 1977)
012. De volta para o futuro (Robert Zemeckis, (1985)
013. Os caçadores da Arca perdida (Steven Spielberg, 1981)
014. Forrest Gump - o contador de histórias (Robert Zemeckis, 1994)
015. E o vento levou (Victor Fleming, 1939)
016. O sol é para todos (Robert Mulligan, (1962)
017. Apocalipse now (Francis Ford Coppola, 1979)
018. Noivo neurótico, noiva nervosa (Woody Allen, 1977)
019. Os bons companheiros (Martin Scorsese, 1990)
020. A felicidade não se compra (Frank Capra, 1946)
021. Chinatown (Roman Polanski, 1974)
022. O silêncio dos inocentes (Jonathan Demme, 1991)
023. Lawrence da Arábia (David Lean, 1962)
024. Tubarão (Steven Spielberg, 1975)
025. A noviça rebelde (Robert Wise, 1965)
026. Cantando na chuva (G. Kelly - S. Donen, 1952)
027. O clube dos cinco (John Hughes, 1985)
028. A primeira noite de um homem (Mike Nichols, 1967)
029. Blade Runner - o caçador de andróides (Ridley Scott , 1982)
030. Um estranho no ninho (Milos Forman, 1975)
031. A Princesa prometida (Rob Reiner, 1987)
032. Star wars V - o Império contra-ataca (Irvin Kershner, 1980)
033. Fargo - uma comédia de erros (Joel Coen - Ethan Coen, 1996)
034. Beleza americana (Sam Mendes, 1999)
035. Laranja mecânica (Stanley Kubrick, 1971)
036. Curtindo a vida adoidado (John Hughes, 1986)
037. Dr. Fantástico (Stanley Kubrick, 1964)
038. Harry e Sally - feitos um para o outro (Rob Reiner, 1989)
039. O iluminado (Stanley Kubrick, 1980)
040. Clube da luta (David Fincher, 1999)
041. Psicose (Alfred Hitchcock, 1960)
042. Alien - o oitavo passageiro (1979)
043. Toy story (John Lasseter, 1995)
044. Matrix (Andy Wachowski - Larry Wachowski, 1999)
045. Titanic (James Cameron, 1997)
046. O resgate do soldado Ryan (Steven Spielberg, 1998)
047. Quanto mais quente melhor (Billy Wilder, 1959)
048. Os suspeitos (Bryan Singer, 1995)
049. Janela indiscreta (Alfred Hitchcock, 1954)
050. Jurassic Park - parque dos dinossauros (Steven Spielberg, 1993)
051. O grande Lebowski (Ethan Coen - Joel Coen, 1998)
052. A malvada (Joseph L. Mankiewicz, 1950)
053. Gênio indomável (, 1997)
054. Butch Cassidy e Sundance Kid (George Roy Hill, 1969)
055. Taxi driver (Martin Scorsese, 1976)
056. Brilho eterno de uma mente sem lembranças (M. Gondry, 2004)
057. Batman - o cavaleiro das trevas (Christopher Nolan, 2008)
058. Crepúsculo dos deuses (Billy Wilder, 1950)
059. Thelma & Louise (Ridley Scott, 1991)
060. O fabuloso destino de Amélie Poulain (J.-P. Jeunet, 2001)
061. Amor, sublime amor (1961)
062. Intriga Internacional (Alfred Hitchcock, 1959)
063. Feitiço do tempo (Harold Ramis, 1993)
064. Mary Poppins (Robert Stevenson, 1964)
065. Touro indomável (Martin Scorsese, 1980)
066. O Rei Leão (Rob Minkoff - Roger Allers, 1994)
067. Avatar (James Cameron, 2009)
068. Monthy Python em busca do cálice sagrado (T. Gilliam - T. Jones, 1975)
069. Gladiador (Ridley Scott, 2000)
070. Um corpo que cai (Alfred Hitchcock, 1958)
071. Quase famosos (Cameron Crowe, 2000)
072. O jovem Frankenstein (, 1974)
073. Todos os homens do presidente (Alan J. Pakula, 1976)
074. Banzé no Oeste (Mel Brooks, 1974)
075. A ponte do rio Kwai (David Lean, 1957)
076. O segredo de Brokeback Mountain (Ang Lee, 2005)
077. Os caça-fantasmas (Ivan Reitman, 1984)
078. 12 homens e uma sentença (Sidney Lumet, 1957)
079. WALL-E (Andrew Stanton, 2008)
080. Sindicato de ladrões (Elia Kazan, 1954)
081. Amadeus (Milos Forman, 1984)
082. O Senhor dos Anéis - A irmandade do anel (Peter Jackson, 2001)
083. Duro de matar (John McTiernan, 1988)
084. A Origem (Christopher Nolan, 2010)
085. Seven - os sete crimes capitais (David Fincher, 1995)
086. A Bela e a Fera (Gary Trousdale - Kirk Wise, 1991)
087. O Senhor dos Anéis - O retorno do Rei (Peter Jackson, 2003)
088. Quem quer ser um milionário? (Danny Boyle, 2008)
089. Coração valente (Mel Gibson, 1995)
090. Amnésia (Christopher Nolan, 2000)
091. Rocky, um lutador (John G. Avildsen, 1976)
092. Up - Altas aventuras (Peter Docter e 2009)
093. Contatos imediatos de terceiro grau (Steven Spielberg, 1977)
094. O franco atirador (Michael Cimino, 1978)
095. Doutor Jivago (1965)
096. O labirinto do fauno (Guillermo del Toro, 2006)
097. Apertem os cintos,  o piloto sumiu (J. Abrahams - J. Zucker - D. Zucker, 1980)
098. Cães de aluguel (Quentin Tarantino, 1992)
099. Bonnie e Clyde - uma rajada de balas (Arthur Penn, 1967)
100. Os sete samurais (Akira Kurosawa, 1954)

BBC Culture - Os 100 melhores filmes do séulo 21

"Queríamos saber mais sobre os melhores filmes na memória recente", comentou o editor de Cultura da BBC, Matthew Anderson. "Estes são os filmes que a maioria das pessoas gostou. Esperamos que esta lista estimule discussão e debate, não apenas entre os críticos e cinéfilos, mas entre todos os que gostam de filmes e tem uma opinião sobre o que seja um bom filme."

001. Cidade dos sonhos (David Lynch, 2001)

002. Amor à flor da pele (Kar-Wai Wong, 2000)

003. Sangue negro (Paul Thomas Anderson, 2007)

004. A viagem de Chihiro (Hayao Miyazaki, 2001)

005 Boyhood: Da infância à juventude (, 2014)

006. Brilho eterno de uma mente sem lembranças (, 2004)

007. A árvore da vida (Terrence Malick, 2011)

008. As coisas simples da vida (Edward Yang, 2000)

009. A separação (, 2011)

010. Inside Llewyn Davis: Balada de um homem comum ( - , 2013)

010. Onde os fracos não tem vez ( - , 2007)

012. Filhos da esperança (Alfonso Cuarón, 2006)

012. Zodíaco (David Fincher, 2007)

014. O ato de matar (, 2012)

015. 4 meses, 3 semanas, 2 dias (Cristian Mungiu, 2007)

016. Holy Motors (, 2012)

017. O labirinto do fauno (Guillermo del Toro, 2006)

018. A fita branca (Michael Haneke, 2009)

019. Mad Max‬: Estrada da fúria (, 2015)

020. Sinédoque, Nova York (, 2008)

021. O Grande Hotel Budapeste (, 2014)

022. Caché (Michael Haneke, 2005)

022. Encontros e desencontros (Sofia Coppola, 2003)

024. O Mestre (Paul Thomas Anderson, 2012)

025. Amnésia (Christopher Nolan, 2001)

026. A última noite (Spike Lee, 2002)

027. A rede social (David Fincher, 2010)

028. Fale com ela (Pedro Almodóvar, 2002)

029. WALL-E (Andrew Stanton, 2008)

030. Oldboy (Chan-wook Park, 2003)

031. Margaret (Kenneth Lonergan, 2011)

032. A vida dos outros (Florian Henckel von Donnersmarck, 2006)

033. O filho de Saul (, 2015)

033. Batman - o cavaleiro das trevas (Christopher Nolan, 2008)

035. O tigre e o dragão (Ang Lee, 2000)

036. Timbuktu (, 2014)

037. Tio Boonmee, que pode recordar suas vidas passadas (Apichatpong Weerasethakul, 2010)

038. Cidade de Deus (Fernando Meirelles - Kátia Lund, 2002)

039. O novo mundo (Terrence Malick, 2005)

039. O segredo de Brokeback Mountain (Ang Lee, 2005)

041. Divertida mente ( - , 2015)

042. 12 Anos de escravidão (, 2013)

042. Amor (Michael Haneke, 2012)

042. Melancolia (Lars Von Trier, 2011)

045. Azul é a cor mais quente (, 2013)

045. Cópia fiel (, 2010)

045. 2014)

048. Brooklyn (, 2015)

049. Adeus à linguagem (Jean-Luc Godard, 2014)

049. A Origem (Christopher Nolan, 2010)

049. A Assassina (, 2015)

052. Mal dos Trópicos (, 2004)

053. Ida (, 2013)

053. Moulin rouge - Amor em vermelho (Baz Luhrmann, 2001)

053. Era uma vez na Anatólia (Nuri Bilge Ceylan, 2011)

056. As harmonias de Werckmeister ( , 2000)

056. A hora mais escura (Kathryn Bigelow, 2012)

058. Marcas da violência (, 2005)

058. Bastardos inglórios (Quentin Tarantino - Eli Roth, 2009)

058. Moolaadé (, 2004)

058. Síndromes e um século (, 2006)

058. Sob a pele (, 2013)

063. Aquário (, 2009)

063. A grande beleza (, 2013)

063. O cavalo de Turin ( - , 2011)

066. Primaver, Outono, Verão, Inverno e... Primavera (, 2003)

066. Guerra ao terror (Kathryn Bigelow, 2008)

068. Carol (Todd Haynes, 2015)

068. Os excêntricos Tenenbaums (Wes Anderson, 2001)

070. Histórias que contamos (, 2012)

070. Tabu (, 2012)

072. Antes do pôr-do-sol (, 2004)

072. Amantes eternos (, 2013)

074. Spring Breakers: Garotas perigosas (, 2012)

075. Dogville (Lars Von Trier, 2003)

075. Vício inerente (Paul Thomas Anderson, 2014)

075. O escafandro e a borboleta (Julian Schnabel, 2007)

078. Quase famosos (, 2000)

078. O retorno (, 2003)

078. O Lobo de Wall Street (Martin Scorsese, 2013)

081. O Profeta (Jacques Audiard, 2009)

081. Um homem sério (, 2009)

081. A.I. - Inteligência artificial (Steven Spielberg, 2001)

081. Ela (Spike Jonze, 2013)

081. Shame (, 2011)

086. O fabuloso destino de Amélie Poulain (Jean-Pierre Jeunet, 2001)

086. Longe do paraíso (Todd Haynes, 2002)

088. Spotlight - Segredos revelados (, 2015)

089. A mulher sem cabeça (, 2008)

090. Procurando Nemo (Andrew Stanton, 2003)

090. Deixa ela entrar (, 2008)

090. Moonrise Kingdom (Wes Anderson, 2012)

090. Ratatouille ( - , 2007)

090. O assassinato de Jesse James pelo covarde Robert Ford (, 2007)

090. O pianista (Roman Polanski, 2002)

090. O segredo dos seus olhos (Juan José Campanella, 2009)

097. Dez (Abbas Kiarostami, 2002)

097. Os catadores e eu (, 2000)

097. Minha terra, África (Claire Denis, 2009)

100. Carlos, o Chacal (, 2010)

100. Réquiem para um sonho (Darren Aronofsky, 2000)

100. Toni Erdmann (, 2016)

SIGHT AND SOUND - Os 12 filmes preferidos de Martin Scorsese

http://www.openculture.com/2013/07/martin-scorsese-reveals-his-10-favorite-movies.html

Martin Scorsese, diretor, produtor, roteirista e ator é considerado um dos melhores cineastas de todos os tempos. Mas além de admirar suas obras primas, como Taxi Driver e Os Bons Companheiros, você já parou para pensar quais são os filmes que o inspiraram?

2001 - uma odisséia no espaço (Stanley Kubrick, 1968)
8 1/2 (Federico Fellini, 1963)
Cinzas e diamantes (Andrzej Wajda, 1958)
Cidadão Kane (Orson Welles, 1941)
O Leopardo (Luchino Visconti, 1963)
Paisà (, 1946)
Os sapatinhos vermelhos (M. Powell - E. Pressburger, 1948)
O rio sagrado (Jean Renoir, 1951)
O bandido Giuliano (Francesco Rosi, 1962)
Rastros de ódio (John Ford, 1956)
Contos da lua vaga (Kenji Mizoguchi, 1953)
Um corpo que cai (Alfred Hitchcock, 1958)


Cinema as we’ve almost always known it — “Edison, the Lumière brothers, Méliès, Porter, all the way through Griffith and on to Kubrick” — has “really almost gone.” So writes Martin Scorsese in his recent essay for the New York Review of Books, “The Persisting Vision: Reading the Language of Cinema.” He argues that traditional film forms have “been overwhelmed by moving images coming at us all the time and absolutely everywhere, even faster than the visions coming at the astronaut” in Kubrick’s 2001: A Space Odyssey. “We have no choice but to treat all these moving images coming at us as a language. We need to be able to understand what we’re seeing and find the tools to sort it all out.” Only natural that Scorsese, as one of the best-known, highest-profile auteurs alive, would reference Kubrick, his generational predecessor in the untiring furtherance of cinematic vision and craft.

We just yesterday featured a post about Kubrick’s 1963 list of ten favorite films. Scorsese, for his part, has impressed many as one of the most enthusiastically cinephilic directors working in America today: his essays about and appearances on the DVDs of his favorite movies stand as evidence for the surprising breadth of his appreciation. Today, why not have a look at Scorsese’s list, which he put together for Sight and Sound magazine, and which begins with the Kubrick selection you might expect:

In “The Persisting Vision,” he champions comprehensive film preservation, citing the case of Hitchcock’s Vertigo, the final entry on his list, now named the greatest film of all time by Sight and Sound‘s critics poll. “When the film came out some people liked it, some didn’t, and then it just went away.” When, after decades of obscurity, Vertigo came back into circulation, the color was completely wrong,” and “the elements — the original picture and sound negatives — needed serious attention.” A restoration of the “decaying and severely damaged” film eventually happened, and “more and more people saw Vertigo and came to appreciate its hypnotic beauty and very strange, obsessive focus.” I, personally, couldn’t imagine the world of cinema without it — nor without any of the other pictures Scorsese calls his favorites.

FILMSITE - Os Melhores Personagens do Cinema

http://www.filmsite.org/greatfilmcharacters.html




Greatest Movie Characters: Criteria for Selection What are the greatest or most memorable film roles or characters in the history of cinema? What criteria have been used to choose from the thousands of candidates? These selections are: unique, fully-realized character roles that made a strong cultural impact in feature films (either live-action or animated) award-winning, enduring, multi-dimensional and memorable characterizations iconic individuals highlighted with notable characteristics (often instantly recognizable), or with identifiable phrases or lines of dialogue and behaviors classic roles from both Hollywood's Golden Era and more recent roles, and some roles from non-English language films sometimes a pair or group of characters who often appeared in a long-running film series or franchise equally representative of heroes, anti-heroes, villains, heroines, super-heroes, killers, saints, as well as historical figures (non-fiction) and fictional individuals, and even a few monsters or creatures inclusive of a wide range of genres (biopics, horror, westerns, action, war, comedy, etc.) Some of these great character roles were: Career-making (e.g., Dorothy (Judy Garland) in The Wizard of Oz (1939), Tom Powers (James Cagney) in Public Enemy (1931), Princess Ann (Audrey Hepburn) in Roman Holiday (1953), and Benjamin Braddock (Dustin Hoffman) in The Graduate (1967)) Inspired casting choices that brought Oscar-winning performances (e.g., Marty (Ernest Borgnine) in Marty (1955), Cesira (Sophia Loren) in Two Women (1960, It.), Annie Hall (Diane Keaton) in Annie Hall (1977), and Gen. Patton (George C. Scott) in Patton (1970)) Responsible for typecasting an actor forever (e.g., Count Dracula (Bela Lugosi) in Dracula (1931), or Norman Bates (Anthony Perkins) in Psycho (1960)) Derived from the lives of real-life characters (e.g., T. E. Lawrence (Peter O'Toole) in Lawrence of Arabia (1962), Sir William Wallace (Mel Gibson) in Braveheart (1995)) Roles that summed up entire careers (e.g., Ethan Edwards (John Wayne) in The Searchers (1956), Margo Channing (Bette Davis) in All About Eve (1950)) Responsible for jump-starting a sagging or failing career (e.g., Mildred Pierce (Joan Crawford) in Mildred Pierce (1945), Tracy Lord (Katharine Hepburn) in The Philadelphia Story (1940)) Pairings or teamings of two performers who went on to repeat their roles (e.g., Nick and Nora Charles (William Powell and Myrna Loy) in The Thin Man films, or Astaire/Rogers in their many films together) Often not the performers' best role or even very well-acted (e.g., The Sheik (Rudolph Valentino) in The Sheik (1925), Tarzan (Johnny Weissmuller) in the Tarzan films, the Bandit (Burt Reynolds) in Smokey and the Bandit (1977), and Vivian Ward (Julia Roberts) in Pretty Woman (1990)) Filmsite doesn't believe in ranking one character against another, so they are organized here alphabetically by character name. Also, the list has more than a select number, such as 100, since this list should be inclusive, not exclusionary.




A
. Abbott e Costello (Bud ABBOTT e Lou COSTELLO) em The Naughty Nineties (1945) e outros
FOTO

. 'Ace' Ventura (Jim CARREY) em Ace Ventura: Pet Detective (1994)
FOTO

PREMIERE - Os 100 Melhores Personagens do Cinema de todos os tempos

http://www.filmsite.org/100characters1.html

Em Abril de 2004 A revista Premiere publicou um artigo com sua lista dos 100 Melhores Personagens do Cinema de todos os tempos (100 Greatest Movie Characters of All-Time). Os personagens, seus intérpretes e os momentos definitivos seguem abaixo.


100 Greatest Movie Characters of All-Time: Premiere Magazine (in its April 2004 issue), in an article written by numerous authors, published a list of the 100 Greatest Movie Characters of All-Time. The defining moments were excerpted and abbreviated from the article.

Facts and Commentary About the List:

The list celebrated the most memorable movie characters in film history.

In terms of criteria, there were no biopic characters in the list, and priority was given to people who never were but "who are always with us movie lovers." They described the characters as such: "They took us over the rainbow, showed us that greed is good, shook us and stirred us, and made us an offer we couldn't refuse."

However, they left off animated figures (for example, Mickey Mouse, Jessica Rabbit), and many other prominent movie characters from their list of 100 greatest. See Filmsite's alternative and more inclusive list at: Greatest Film Characters of All-Time.


001. Vito Corleone
Marlon Brando
The Godfather (1972)
Vito's promise to cream puff crooner Johnny Fontane (Al Martino) who doesn't believe that he'll get an acting role from a Hollywood big shot director: "I'm gonna make him an offer he can't refuse."
002. Fred C. Dobbs
Humphrey Bogart
The Treasure of the Sierra Madre (1948)
Dobbs' reaction to Curtin's (Tim Holt) challenge about putting his hand under a rock, where he doesn't believe that a Gila monster is hiding.
003. Scarlett O'Hara
Vivien Leigh
Gone with the Wind (1939)
After the death of Scarlett's second husband, Rhett Butler's (Clark Gable) grand proposal and her scornful rejection, followed by his passionate kiss to erase all thought of Ashley Wilkes (Leslie Howard).
004. Norman Bates Anthony Perkins Psycho (1960) and sequels Norman's stunning, sudden, rage-filled reaction when future victim Marion Crane (Janet Leigh) suggests that his mother be put "somewhere."
005. James Bond Sean Connery Dr. No (1962) and six later films Bond's suave remark to doomed Professor Dent (Anthony Dawson): "You've had your six [shots]".
006. Annie Hall Diane Keaton Annie Hall (1977) Annie's decision to remain in LA with a music producer (Paul Simon), with newly-discovered self-recognition, rather than return to New York to marry Alvy (Woody Allen).
007. Indiana Jones Harrison Ford Raiders of the Lost Ark (1981) and three later films Indy's overcoming of several treacherous challenges in the film's opening sequence, only to lose the priceless artifact to French nemesis Rene Belloq (Paul Freeman).
008. Ellen Ripley Sigourney Weaver Alien (1979) and three later films Ripley's nervy refusal to open the ship's hatch so that Kane (John Hurt) can be admitted - with a thing attached to his face.
009. Jeff Spicoli Sean Penn Fast Times at Ridgemont High (1982) Spicoli's order of a pizza that is delivered in Mr. Hand's (Ray Walston) history class, and his reply to an incredulous question about what he's doing: "Learning about Cuba and having some food."
010. Gollum Andy Serkis The Lord of the Rings (2001-2003) trilogy Gollum's twisted, tortured wrestle with himself.
011.
Margo Channing (Bette DAVIS) em
A malvada (Joseph L. Mankiewicz, 1950)

"Margo's menacing, self-mocking, legendary quip at a party as guests arrive, as she jealously suspects young acolyte Eve (Anne Baxter): 'Fasten your seatbelts, it's going to be a bumpy night.'"

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VIP - 20 cenas de lutas "animais"

Revista VIP maio de 2009
touro Indomável

Paul Newman - Rebeldia indomável (Stuart Rosenberg)
Três Patetas - Sucker Punch
A noiva x Ellen Driver - Kill Bill vol.1
Guerreiros da Noite
Ash x A mão - A morte do demônio (1981)
Babyface - Clube da luta
Karate Kid luta final - Karatê Kid
Rocky x Apollo Doutrinador - Rocky I
Borat (Larry Charles, 2006)
Laranja Mecânica
De Volta para o Futuro
Irreversível
Coração Selvagem
Matador de Aluguel
zorro



01. Touro indomável (Martin Scorsese, 1980)
Jake LaMotta x Sugar Ray Robinson

Robert DeNiro é Jake LaMotta, o campeão de boxe que apanha feito um condenado de Sugar Ray Robinson.



02. Laranja mecânica (Stanley Kubrick, 1971)
Alex e seus Droogs x Gangue do Billy Boy

Tirando a noite para praticar um pouco da velha ultra-violência, Alex e seus Droogs encontram a gangue rival, comandada por Billy Boy. A porrada come solta (ainda que segundo a coreografia milimétrica de Stanley Kubrick). De trilha, uma ópera de Rossini. Arte em estado bruto. Brutal.



03. Coração selvagem (David Lynch, 1990)
Nicolas Cage x Matador de aluguel

Nicolas Cage reage a um matador de aluguel e dá cabo do malandro com as próprias mãos. Socos e chutes são só o começo – o que impressiona é a maneira como Cage brinca com a cabeça do seu oponente, como se fosse uma bola de basquete. Sangue pra todo lado. David Lynch, sempre promovendo seu espetáculo de horrores.



04. Kill Bill vol. 2 (Quentin Tarantino, 2004)
Beatrix Kiddo x Elle Driver (a briga das loiras no trailer)

Dos dois filmes que contam a saga da “Noiva” Beatrix Kiddo, é até difícil escolher a melhor cena de luta. Há desde a briga caseira que abre o primeiro filme até o coreografado embate entre a Noiva e 88 capangas da máfia japonesa. Mas a melhor é a que bota as duas loiras preferidas de Bill frente a frente. Em um trailer no meio do deserto – e devidamente equipadas com espadas Hatori Hanzo -, Beatrix (Uma Thurman, durona) e Elle Driver (Daryl Hannah, caolha) se pegam pra valer. O trailer é destruído, Elle quer ver Beatrix morta, mas esta é mais malvada: arranca o único olho da adversária, pisa nele com seu pé descalço e abandona a coitada em um trailer com uma cobra venenosa à solta. Quentin Tarantino concebeu uma das brigas mais violentas do cinema, e protagonizada por duas loiras.



05. O vôo do Dragão ( 1972)
Bruce Lee X Chuck Norris



02. Rocky, um lutador (John G. Avildsen, 1976)


Rocky x Apollo Doutrinador - Rocky I


0. Irreversível (Gaspar Noé, 2002)

O diretor desse filme é mesmo um doente. Além de imaginar (e realizar!) uma cena de estupro de mais de 9 minutos com a Monica Bellucci, ele destruiu um rosto a estocadas de extintor de incêndio. O rosto do cara vai se destruindo, até ficar parecido com uma múmia de 2 mil anos encontrada em uma escavação. Um prodígio da tecnologia digital (na revista, explico como foi feita a cena!).



3. 














Optimus Prime vs. Bonecrusher na rodovia – Transformers - o filme (Michael Bay, 2007)

Matrix (1999)

Neo vs Agente Smith

Homem-Aranha vs. Dr. Octopus no trem – Homem-aranha 2 (Sam Raimi, 2004)

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A Luta Mais Trash: Comando para matar (Mark L. Lester, 1985)

Um dos grandes sucessos dos anos 80, Comando Para Matar é um dos filmes que fez de Arnold Schwarzenegger o maior astro dos filmes de ação. Ele é John Matrix, um ex-combatente que curte a aposentadoria com sua filha Jenny, nas montanhas. Certo dia, a menina é sequestrada por uma quadrilha misteriosa que, descobrirá Matrix, é liderada por Bennet, um antigo companheiro de tropa.

Bennet é, na prática, um sósia anabolizado do Freddie Mercury, de bigodinho, couro e tudo mais. Em suma, um estereótipo gay. Matrix, bem mais bombado e um pouco mais másculo, vai matando um por um dos soldados da mílicia de Bennet, até o confronto final entre os dois bofes.

E que confronto! Com falas pra lá de suspeitas (“sou eu quem você quer”, “eu não preciso da garota!”, “está gostoso, John?”), disputas de quem tem o maior facão e um cenário que parece saído do vídeo-clipe de Relax, do Frankie Goes to Hollywood (fogo, metal, choque elétrico), a briga chega ao ponto em que Matrix está subjugado, de joelhos, de costas para Bennet. Este pega uma pistola e se prepara para executar o inimigo. Mas estamos falando de Schwarzenegger, e ele não pode se dar mal: arranca um cano de vapor, que estava ali do lado, e o arremessa como um dardo no peito de Bennet. Resumindo: o cara morre empalado por um cano que está soltando gás.




Dando sequência à lista de melhores cenas de luta do cinema, vamos lembrar dos anos 80: época em que tínhamos os russos e traficantes colombianos para levar a culpa, e que tínhamos uns nerds com potencial cool o suficiente para quebrar a cara dos fortões otários da escola.

Vamos às brigas mais bacanas que povoaram o imaginário dos anos 80:

Karatê kid - a hora da verdade (John G. Avildsen, 1984)
– Daniel-san x Johnny Lawrence



Matador de Aluguel – Patrick Swayze resolve briga de bar


Pois veja só: Dalton, o personagem de Swayze no filme, é um cara formado em filosofia pela NYU, mas que, por algum motivo, ganha a vida como leão-de-chácara em bares de estrada. Bacana, essa briga. Com direito a trilha sonora do Jeaff Healey Band em pessoa.

De volta para o futuro (1985) – George McFly x Biff

Dessa você se lembra. Nem vou botar o vídeo. Leia a descrição da cena, do jeito que escrevi na revista:

Na fatídica noite do Baile do Submarino Encantado, em 1955, muita coisa está em jogo: George McFly deve beijar Lorraine pela primeira vez – caso contrário, o futuro filho do casal, Marty, não nascerá e não conseguirá sair do zero a zero com sua namorada. Marty, que foi parar naquele dia dentro de uma máquina do tempo, tenta armar o encontro entre seus pais, mas Biff (o vilão-padrão das fitas adolescentes) tem outros planos. Dentro de um carro, ele está tentando abusar de Lorraine, quando é surpreendido por McFly (que fica mais surpreendido ainda). O grandalhão, então, deixa a menina de lado e empreende seu último ato de valentia pra cima do fracote, torcendo seu braço direito. McFly reúne suas últimas forças e, enquanto Biff ri, prepara seu direto de esquerda. O soco, inesperado, bota Biff desacordado no chão. A escola toda vem ver o que acontece, e McFly vira um cara bacana, e ele beija Lorraine, e o rock’n’roll é inventado graças a esse beijo. Só assistindo para entender.




Clube da luta (David Fincher, 1999) – Narrador x Angel Face

É a Laranja Mecânica da Geração Y. Executivos, contínuos, garçons, gente de todo tipo entra no clube fundado por Durden e seu sócio, o Narrador (Edward Norton), para exorcisar as vidinhas urbanas sem graça. Muitas cenas bacanas: a primeira briga entre os amigos fundadores; o Narrador se socando na frente do chefe embasbacado; e o Baby Face (puxa-saco juvenil do Durden) apanhando feio do Narrador no Clube.

PREMIERE - 100 Melhores interpretações do Cinema de todos os tempos

http://www.filmsite.org/100greatperformances4.html



Premiere Magazine (in its April 2006 issue), in an article written by numerous authors, published a list of the 100 Greatest Movie Performances of All-Time, to celebrate the best movie performances in film history. The defining performances were excerpted and abbreviated from the article.

Fatos e comentários sobre a lista:

The authors described the movie performances: "They made us laugh, they made us cry....We love great movies the most - we feel the most electric connection to them - when the actors look out from that big screen, and hook into us. They make us believe that they're the people they're playing and that we, as viewers, have a genuine stake in what's coming next."





http://www.moviemags.com/index.php


http://en.wikipedia.org/wiki/Premiere_%28magazine%29





90.
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95.
96.
97.
98.
99.
Navin Johnson (Steve MARTIN) em
The Jerk (1979)

FOTO

"I was born a poor black child..."

100.
Alex De Large (Malcolm MCDOWELL) em
A Clockwork Orange (1971)

FOTO

A self-aggrandizing, sadistic rapist and hooligan, for whom McDowell suffered various forms of torture for the performance (near drowning, scratched corneas, etc.).

MOVIELINE - 100 Melhores personagens femininos

http://www.filmsite.org/femaleroles.html

Movieline Magazine (in their April, 1997 issue), published an article about the 100 Best Female Character Roles, written by Virginia Campbell and Stephen Rebello.

Fatos e comentários sobre a lista:

Eles descreveram as personagens como: "esposas leais, mães adoradas,

They described the characters as: "Loyal wives, loving mothers, lost lushes. Heroines, whores, homicidal hussies. They're all here, with a few slick sisters, whip-smart working girls, a screwy septuagenarian, and other women concocted out of light, shadow and sound." Descriptive excerpts from the pop-cultural magazine article were included in the listings below for each character.

1.
Alma (Patricia NEAL) em
Hud (1963)

FOTO

This slow-drawling, womanly, wised-up housekeeper tells the incorrigible Paul Newman she'd have happily had sex with him if he'd asked her instead of trying to rape her. Suffice it to say, this takes place in Texas.

2.
Ellie Andrews (Claudette COLBERT) em
It Happened One Night (1934)

FOTO

The spoiled heiress must defy her father and run off to marry Mr. Right if she is ever to grow up and be her own person; and then, of course, she must learn that her father was right about how wrong her Mr. Right is so that she can see that her Mr. Wrong (who happens to be her father's Mr. Right-for-her) is the real Mr. Right.

3.
Anita (Rita MORENO) em
West Side Story (1961)

FOTO

The feisty, hot, experienced, I-like-to-be-in-America girl who's whore to Maria's virgin, and causes everybody a lot less trouble for it.

4.
Anna (Deborah KERR) em
The King and I (1956)

FOTO

The warmest, most gracious instrument of 19th-century Western imperialism ever invented.

5.
Mary Hatch Bailey (Donna Reed), It's a Wonderful Life Sure, it's a portrait of unquestioning love. It's also a tribute to a lost breed--women who quietly, unfussily prevail.

6.
Judy Barton/Madeleine Elster (Kim Novak), Vertigo (1958) Victim? Predator? Ghost? Hitchcock's enigma-to-beat-most-other-enigmas. The gal most guys deserve to meet.

7.
Ellen Berent (Gene Tierney), Leave Her to Heaven (1945) What goes on in this all-too-pretty head? Desperate strategizing. If your crippled brother-in-law threatens to take your husband's attention away from you, simply engineer a tragic drowning. If your unborn baby makes the same mistake? Throw yourself down the stairs. Points for originality.

8.
Lisa Berndle (Joan Fontaine), Letter From an Unknown Woman (1948) Here is a testament to and elegy for the relentlessness of hopeless love in the female of the species, and hence a plea to the male of the species to forego the slightest encouragement if the female's love cannot be requited.

9.
Karen Blixen (Meryl STREEP), Out of Africa (1985) She had a farm in Africa. And everything failed, except her character, which was tangled up in contradictions that fueled a saving imagination.

10.
Esther Blodgett/Vicki Lester (Janet Gaynor), A Star is Born (1937) "This is Mrs. Norman Maine." And she knows everything you need to know about Hollywood.

Fanny Brice (Barbra Streisand), Funny Girl (1968) A hugely talented Brooklyn-born ugly duckling who turns herself into an uptown swan (with a big bill).

The Bride (Elsa Lanchester), Bride of Frankenstein (1935) The prototype of today's surgery-mad starlets. And a pioneer in hair-streaking, to boot.

Berenice Sadie Brown (Ethel Waters), The Member of the Wedding (1952) The mammy whose saintliness extends all the way to not gagging the logorrheic prepubescent female she's forced to share the kitchen with.

Irene Bullock (Carole LOMBARD), My Man Godfrey (1936) A rich, spoiled, insecure, booze-addled, selfish, willful, utterly spaced-out, adorable, glamorous, good-hearted, Park Avenue society girl of the '30s.

Lucy Burrows (Lillian GISH), Broken Blossoms (1919) Born poor, left for dead by a father who beat her to a bloody pulp, this Silent Era heroine presses her fingers to the corners of her tremulous lips to force a smile--and fails to use her suffering as an excuse for substance abuse, abuse of others or incessant whining.

Carrie (Sissy Spacek), Carrie (1976) Every paranoid fantasy about female puberty--and girls know that in the case of female puberty, paranoid fantasy can be very close to reality--wrapped up in one pale, vengeful girl.

Catwoman (Michelle PFEIFFER), Batman Returns (1992) Guys, wanna know what happens when you (metaphorically) throw gals out the window? They get slinky the way you always wanted them to, only now they come with claws and whips, and psychological wounds transformed into lethal finesse. The best you can hope for is to get your face licked after your butt's been kicked.

Margo Channing (Bette DAVIS), All About Eve (1950) A warning to women about the stupidity of ever befriending younger, prettier versions of themselves. No wonder sisterhood's in short supply in showbiz.

Nora Charles (Myrna Loy), The Thin Man (1934) Authentically sophisticated practitioner of that only-works-in-the-movies marriage strategy wherein the witty, stunningly beautiful wife keeps up with, and often ahead of, her husband in such things as martini drinking, and makes the whole experience fun for both of them.

Charlie (Teresa Wright), Shadow of a Doubt (1943) A small-town girl who indulges in romantic (make that incestuous) fantasies about her namesake, Uncle Charlie, comes to realize that the dashing hero is actually a heartless murderer of women. Naturally, nobody else in the family understands this. So she must kill him herself. As must every girl.

Chris (Angie Dickinson), Point Blank (1967) The reason John F. Kennedy felt he had to do Angie Dickinson?

Queen Christina (Greta GARBO), Queen Christina (1933) Showing commendable common sense, she gives up the throne of Sweden to romance a Spanish knockout.

Sister Clodagh (Deborah KERR), Black Narcissus (1947) A sublime notion of feminine spirituality, she's the sophisticated and very superior Mother Superior who comes from her Western tradition to a wild Eastern place and is shaken down by the rakish Englishman who is the man of her dreams and nightmares.

Daisy Clover (Natalie Wood), Inside Daisy Clover (1965) Nervous breakdowns, screaming fits, a frenzied desperation to please, serial relationships with wrong guys--the incisive portrait of an adolescent Hollywood star.

Jane Craig (Holly Hunter), Broadcast News (1987) The contemporary working girl at her brightest--inspired, resourceful, relentless and bonkers.

Stella Dallas (Barbara STANWYCK), Stella Dallas (1937) The tacky, self-immolating mom who watches from outside a window as her only child marries into a Park Avenue family. If this type existed today, you'd send her for a makeover and hire a gigolo to keep her occupied at the reception.

Bree Daniels (Jane Fonda), Klute (1971) The girl with the most distinctive hairdo in the history of prostitution. Not Dick Morris's type.

Mrs. Danvers (Judith Anderson), Rebecca (1940) A warning to second wives and new girlfriends about the importance of tossing out all things and people belonging to your predecessor.

Billie Dawn (Judy Holliday), Born Yesterday (1950) A spectacular early example of the bodacious-bodied ditz-cum-millionaire's bimbo.

Norma Desmond (Gloria Swanson), Sunset Boulevard (1950) The godmother for a society in which everyone's ready for their closeup.

Cruella de Vil (Betty Lou Gerson (voice)), One Hundred and One Dalmatians (1961) She sounds like Tallulah Bankhead imitating a seal, and is too cool to sing.

The new Mrs. de Winter (Joan Fontaine), Rebecca (1940) A heroine for women who are forced by circumstance to compete with the Ideal Woman without benefit of poise, confidence or the ability to accessorize--which is to say, most women.

Phyllis Dietrichson (Barbara STANWYCK), Double Indemnity (1944) An inspiration or cautionary tale, depending, for women who don't merely like to use men, but like to use them to kill their husbands.

Fran Dodsworth (Ruth Chatterton), Dodsworth (1936) A pinnacle of female vanity, selfishness, pretension, grandiosity, disloyalty, self-delusion and overdressing.

Blanche DuBois (Vivien LEIGH), A Streetcar Named Desire (1951) Vain, neurotic, self-deluded, manipulative, weak but tyrannical --you know, Southern.

Isadora Duncan (Vanessa Redgrave), Isadora (1968) A righteously annoying creative pioneer.

Jean Louise "Scout" Finch (Mary Badham), To Kill a Mockingbird (1962) The socially blundering, pre-feminine girl-child of Atticus Finch has curiosity, impatience, combativeness and smarts operating both for and against her as she tries to crack the codes of adult society.

Alex Forrest (Glenn Close), Fatal Attraction (1987) Cinematic evidence that nothing is tougher on a marriage, a car or a furry little animal than an umarried, libidinous, big-city lady editor.

Lisa Carol Fremont (Grace KELLY), Rear Window (1954) The girl too sexy, too refined and too smart not to indulge her boyfriend's fantasy that she's frivolous.

Frenchie (Marlene DIETRICH), Destry Rides Again (1939) The ultimate old West saloon gal--sexy, tough and heroic when motivated by love.

Lily Garland (Carole Lombard), Twentieth Century (1934) A minimally talented shopgirl who gets turned by a theatrical Svengali into a self-enchanted virago. Sounds like half of Hollywood to us.

Miss Giddens (Deborah KERR), The Innocents (1961) Imagine a morally upright, proper 19th-century British woman--Anna from The King and I, say--but one who seethes with sexual repression and religious hysteria. Now imagine her as the caretaker to two very odd, perhaps demonically possessed children.

Holly Golightly (Audrey HEPBURN), Breakfast at Tiffany's (1961) What's not to love?

Laurel Gray (Gloria Grahame), In a Lonely Place (1950) The used, smart L.A. beauty who inspires her self-destructive screenwriter/lover to pen the lines: "I was born when you kissed me. I died when you left me. I lived a few weeks while you loved me." This must be how the joke about the Polish actress who slept with the screenwriter got started.

Marylee Hadley (Dorothy Malone), Written on the Wind (1956) Of all the rich, messed-up, cocktail-swigging, didn't-get-enough-attention-from-Daddy-so-I'm-gonna-screw-lowlifes little sisters in big screen history, none does the rumba so thrillingly.

Annie Hall (Diane Keaton), Annie Hall (1977) The apotheosis of hip, dope-smoking, neurotic ditz as ideal modern woman.

Charlotte Haze (Shelley Winters), Lolita (1962) Vulgar, pretentious, horny, cloyingly seductive and terrifying mom who discovers that her middle-aged dreamboat has married her in hopes of porking her adolescent daughter. A classic of her type.

Karen Holmes (Deborah KERR), From Here to Eternity (1953) A bitter, edgy wife who not only grabs at clandestine sex, but screws Burt Lancaster in the Hawaiian surf. A model for our times.

Alicia Huberman (Ingrid BERGMAN), Notorious (1946) A sinner seeking Cary Grant's assistance in her struggle for redemption, but, more important, the best excuse for a zillion closeups in the history of film.

050. Jane Hudson (Bette DAVIS), What Ever Happened to Baby Jane? (1962) A has-been movie star serves her invalid sister a dead parakeet and a rat, then takes her to the beach and lets her fry in the sun. Sisterhood for a society in which everyone is ready for their closeup.

051. Janet (Susan Sarandon), The Rocky Horror Picture Show (1975) It was back in the '70s that she got liberated from her fatuous virtue, and since then good girls have had no excuse for their insufferable ignorance.

Jody (Joan Cusack), Men Don't Leave (1990) Serenely eccentric, winningly bossy and unstoppably blithe, Jody steals teenaged Chris O'Donnell out of his unhappy, fatherless home and takes him into her own home and bed, then cures his grieving, widowed mom. One of film's inexplicable, inimitable good souls.

Kirsten (Lee Remick), Days of Wine and Roses (1962) At last, equality for women in alcoholism.

Sandra Kovak (Mary Astor), The Great Lie (1941) A brilliant, conceited, self-obsessed pianist who hands off her newborn to her friend like last year's gown. A career woman's career woman in the age before cheap Central American labor.

Sugar Kane Kowalczyck (Marilyn MONROE), Some Like It Hot (1959) Best thing that ever happened to a ukelele, Tiny Tim included.

Lara (Julie Christie), Doctor Zhivago (1965) What other heroine has incited passion, madness, betrayal, revolution, thousand-mile treks through snow, poetry and bestselling theme music?

Mabel Longhetti (Gena Rowlands), A Woman Under the Influence (1974) Whereas there are a thousand times more serial murders on-screen than there are in real life, the reverse is true of nervous breakdowns. Mabel has such a dilly it almost compensates for the imbalance.

Wilma Dean Loomis (Natalie Wood), Splendor in the Grass (1961) A one-girl argument against parental meddling in teen romance.

Ilsa Lund (Ingrid BERGMAN), Casablanca (1942) The kind of celluloid creation who ruins guys for real-life women.

Mama (Irene Dunne), I Remember Mama (1948) This warm, enduring, protective Norwegian mom struggles to make a decent life for her family in San Francisco, setting a terrifying standard for women forced to play this role in real life.

Marge the Police Chief (Frances McDormand), Fargo (1996) She can crack a case, build up her man's self-esteem, capture a killer and speak out for human decency, all while in an advanced state of pregnancy and at sub-zero temperatures.

Martha (Elizabeth TAYLOR), Who's Afraid of Virginia Woolf? (1966) One of the crudest, funniest, most self-destructive and venomous harpies in the history of film. An early glimpse of how Elizabeth Taylor looks in the morning.

Maude (Ruth Gordon), Harold and Maude (1971) The character who poses the question, Why kill yourself when you can have sex with a 79-year-old woman instead?

Terry McKay (Irene Dunne), Love Affair (1939) The earliest and best version of this thrice-created character who's proof that women who are down on romance are the most likely to meet the love of their lives.

Evelyn Mulwray (Faye Dunaway), Chinatown (1974) That most fascinating of creatures, an honest liar. When the tarnished beauty doesn't let her sordid past keep her from dressing spectacularly, making a last stab at trusting a man, or dying to protect her child, she becomes a tragic heroine.

Ninotchka (Greta Garbo), Ninotchka (1939) A delightful prototype of today's Russian woman--an overnight, overdue convert to capitalism and glamour.

Scarlett O'Hara (Vivien LEIGH), Gone With the Wind (1939) Hollywood's one-woman argument for PR-stunt talent searches.

Sugarpuss O'Shea (Barbara STANWYCK), Ball of Fire (1941) Who'd have thought a Snow White knockoff could be so sexy?

Kitty Packard (Jean Harlow), Dinner at Eight (1933) "I read a book the other day. Do you know that the guy said machinery is going to take the place of every profession?" says this '30s blonde bimbo supreme. Another character looks her up and down and says: "Oh, my dear, that's something you'll never have to worry about."

Sarah Packard (Piper Laurie), The Hustler (1961) "The girl" in this smoky, gritty, booze-guzzling classic about pool sharks raises passivity to an art form.

Mildred Pierce (Joan Crawford), Mildred Pierce (1945) A '40s, martyr-style working mom who's a mystery to any late '90s working mom, but an inspiration to female impersonators everywhere.

Ruth Popper (Cloris Leachman), The Last Picture Show (1971) She may be a dirty-dishwater Mrs. Robinson, but at least she sleeps with Timothy Bottoms instead of Dustin Hoffman.

Rachel (Kelly McGillis), Witness (1985) From strapping farm widow and obedient adherent of a marginal antimodern, pacifist religion to luminous maiden straight out of de la Tour to passionate heretic and soul-changing lover. All in one season.

Rachel (Lillian GISH), The Night of the Hunter (1955) Cinematic proof that little old spinsters are children's and civilization's best defense against bad parents and psychopathic, homicidal, fundamentalist charlatans.

Norma Rae (Sally Field), Norma Rae (1979) We like her, we really like her.

Nurse Ratched (Louise Fletcher), One Flew Over the Cuckoo's Nest (1975) Without this spiteful, power-abusing psychiatric head nurse in our collective imagination, how many more of us would have succumbed to the lure of going nuts?

Raymond's mother (Angela Lansbury), The Manchurian Candidate (1962) The mom other paranoid males only think they have.

Ripley (Sigourney Weaver), Alien (1979) A woman so cool, so smart, so brave and so beautiful that she can move in after the guys have failed and blast the bejesus out of a gnashing, drooling outer-space killing machine and look sensational in bikini underpants? Plus she risks her life for a puttytat? The ultimate role model for the Millennium.

Mrs. Robinson (Anne Bancroft), The Graduate (1967) This lacquered, restive suburban barracuda elevates The Graduate from a museum of '60s romantic blather into a genuine classic.

Rosemary (Mia Farrow), Rosemary's Baby (1968) We are all indebted to Rosemary for making it perfectly clear that if you grow up a good Catholic girl, and treat others as you would have them treat you, you'd better not marry an actor.

Sally (Susan Sarandon), Atlantic City (1981) This oyster shucker, who's hell-bent on becoming a croupier, has such an inventive way with a lemon that she prompts ancient Burt Lancaster to pop a woody.

Rose Sayer (Katharine HEPBURN), The African Queen (1951) A middle-aged spinster shoots the whitewater rapids of the Dark Continent with a sweaty, cussing skipper, and beams post-coitally, "Now that I've had a taste of it, I don't wonder why you love boating, Mr. Allnut." What other character could have given Hepburn a chance to experience the Big O on-screen?

Sera (Elisabeth Shue), Leaving Las Vegas (1995) The newest member of cinema's elite club of beautiful losers.

Catherine Sloper (Olivia de Havilland), The Heiress (1949) A Jamesian masterpiece of a woman, Catherine gets exquisite, if Pyrrhic, revenge on looker Montgomery Clift not so much for lusting after the money she has, as for not lusting after the beauty, charm and wit she doesn't have.

Cora Smith (Lana Turner), The Postman Always Rings Twice (1946) She's cheap, self-deluded, hot-blooded, homicidal. In other words, a "Hard Copy" calendar girl, way before her time.

Clarice Starling (Jodie Foster), The Silence of the Lambs (1991) Hannibal the Cannibal loves her enough to refrain from mixing her with fava beans. She needs no further endorsement.

Annie Laurie Starr (Peggy Cummins), Gun Crazy (1950) A money-and-gun-obsessed carnival markswoman who shoots up much of the nation's countryside the instant she finds the guy who really makes her trigger-happy.

Sue Ann Stepanek (Tuesday Weld), Pretty Poison (1968) A true-blue American psychoteen who gets straight to the point and shoots her mother.

Milly Stephenson (Myrna Loy), The Best Years of Our Lives (1946) When her husband comes home from war, she refrains from applying her emotional energies to the task of trying to understand either what he's been through or what he's going through now, and reserves them for unpresumptuous tolerance.

90.
Frances Stevens (Grace KELLY) em
To Catch a Thief (1955)

FOTO

"I'm sorry I ever sent her to finishing school," carps her nouveau riche mother. "I think they finished her there." Oh shut up.

91.
Anne Sullivan (Anne BANCROFT) em
The Miracle Worker (1962)

FOTO

Tough love in action.

92.
Thelma (Geena Davis), Thelma & Louise (1991) They're mad as hell and they're not going to take it anymore, and like most people who are mad as hell and not going to take it anymore, they must die. But, as exemplary feminists, they do the job themselves. See below.

93.
Louise (Susan SARANDON) em
Thelma & Louise (1991)

FOTO

See above.

94.
Judith Traherne (Bette DAVIS) em
Dark Victory (1939)

FOTO

Trash cinema's persuasive argument that the best fate for a society playgirl is an early death.

95.
Catherine Tramell (Sharon STONE) em
Basic Instinct (1992)

FOTO

Dresses like Grace KELLY (sans panties), kills like Norman Bates (sans mother).

96.
Vivian (Lauren BACALL) em
The Big Sleep (1946)

FOTO

One of the coolest, most sardonic, most glamorous rich girls ever to hit noir. Whether you want to be her or sleep with her, she's your best defense against going nuts trying to follow the plot she's embroiled in.

97.
Matty Walker (Kathleen TURNER) em
Body Heat (1981)

FOTO

A woman who can wear a red skirt like nobody's business and mean it when she says, "You're not too smart, are you? I like that in a man."

98.
Lucy Warriner (Irene DUNNE) em
The Awful Truth (Leo McCarey, 1937)

FOTO

Cinema's wittiest, smartest, loveliest and most stylish lesson in how to avoid the ugliness and drudgery of playing the Wronged Wife.

99.
Lena Younger (Claudia MCNEIL) em
A Raisin in the Sun (Daniel Petrie, 1961)

FOTO

A wise South Side Chicago widow who finds herself locked in the conflict between Old School black vs. New.

100.
Sophie Zawistowski (Meryl STREEP) em
Sophie's Choice (Alan J. Pakula, 1982)

FOTO

You expect that a woman of such luminous and live beauty is energized by secrets. The beauty becomes indelible when you discover there is just one secret, and it is calamity.