My Favourite Films (Honourable Mentions)

To finish off my anniversary look at my favourite films, here are five honourable mentions. The first two films on this list are films that I watched while uploading the list itself, and would have definitely been up for consideration if I had gotten to them sooner. The other films are ones that almost made it on, but I decided against it for one reason or another.

Seven Samurai (1954, Akira Kurosawa)

This film is every bit as good as everybody says it is. One of the most remarkable examples of how to develop a large number of characters and frame them against some of the most engaging action ever put to celluloid. 

Truly some of the best cinematography and some of the best performances you will see in Japanese film. Just a shame that I waited until midway through making this list to rewatch this masterpiece. I could watch this film literally a hundred times and still find it fresh and new, it's alive.





Stop Making Sense (1984, Jonathan Demme)

One of the most surprising films I have ever seen. It is hard to imagine that a simple concert film (literally, there is nothing to the film other than just a concert) could be this good. The Talking Heads' music, the editing and the overall pace are all exquisite.

I honestly am floored by this one, a week after watching it and I can't stop listening to it (I am listening to Once in a Lifetime as I write this sentence) and it keeps drawing my attention from other things. Just, incredible in every single way.





Through a Glass Darkly (1961, Ingmar Bergman)


I excluded this film purely because next to the complex majesty of Persona this far simpler Bergman film cannot help but look a little modest and unremarkable. 

Still, Harriet Anderson gives one of the greatest performances I have ever seen in this film and the entire cast does incredible work. Bergman offers an intelligent and emotionally charged portrait of a crumbling family and doesn't hold back in a single scene. Just an incredible drama.




The Innocents (1961, Jack Clayton)

This is film that I think I reject not putting on the list the most. I have no real reason for the exclusion and although I cannot think of any film in particular that I would have cycled out for this one, it does play heavily on my mind.

Anyway, this is probably the most unnerving and unsettling horror film I have ever seen, and one of the most amazingly edited films period. It is a feature length session of build-up that finally results in one of the most crushing notes of any film I have ever seen.

This is the kind of film I feel you could spend many a year pouring over and deconstructing, finding new and horrifying things  the entire time.



The Thing (1982, John Carpenter)



A film that I have watched many a time and have left with something new on each viewing. Horror, joy, fascination, it is a film that has given me much. Carpenter was truly an incredible director in his prime, and is one of the most diverse filmmakers in history.

With this film Carpenter achieved something greater than almost every other film on the planet has, impact. True impact, the kind that sends ripples and affects things that one would not expect. I assure you that every other film featuring a parasite or an desolate environment owes this film a true debt. A film that has influenced me very heavily indeed.

By Jack D. Phillips

My Favourite Films (Part 7)

The Master (2012, Paul Thomas Anderson)

Paul Thomas Anderson, after showing total mastery over conventional storytelling in films like Boogie Nights, dives into the wild and experimental with this film. The Master is unconventional and without a clear structure, but it is far from aimless or unfocused.

The film tells the story of two men and the nature of their complex relationship, along with looking at ideas of faith and destiny. The film is complex and brainfrying but slow and relaxed enough to wash over the viewer. I hate using this term too much because I feel it gets thrown around a lot, but this film is truly an incredible experience.


A Field in England (2013, Ben Wheatley)

Easily the least accessible and hardest to describe film on this list. A Field in England is a drugged out and alienating experience, dripping in horror and comedy alike.

Basically, there is not a single other film on this list that comes even close to this films strangeness, yet its power is incredible. The film chills, amuses and utterly horrifies, there are moments from this film that are truly burnt into my memory. 

Just, tread carefully with this one.



Her (2013, Spike Jonze)

Spike Jonze interests me. I would personally consider the first two films Jonze directed to be less attributable to Jonze himself and more screenwriter Charlie Kaufman (who also wrote Eternal Sunshine of the Spotless Mind). So when their collaboration ended in the early 2000's, it would be reasonable to assume that Spike Jonze would slip away.

However he then comes along with this utter masterpiece, a film so sweeping and intense in it's emotions and so utterly stunning in its visuals that it takes my breath away to even think about. I am deeply sorry for any dismissiveness I or anyone else may have had towards you Spike Jonze. 

And an extra mention has to go to Arcade Fire (A band I really like) for creating the best soundtrack in a film in recent years.

Oh, this alongside The Master transformed Joaquin Pheonix into possibly my favourite living actor. He is just incredible.


The Tale of Princess Kaguya (2013, Isao Takahata)

Isao Takahata is one of the all time unsung heroes of animation. I love every single thing about this film, to the point where I don't really want to write about it. Just please see it, please. I have never cared more for a character in my life, by the end of this film I was literally screaming internally for things to turn out ok for Kaguya.

Possibly the most beautiful looking film ever made, and dripping with the things that make me love film. Emotion, beauty, poetic storytelling. There is probably no film on this list that I want to be seen more, especially considering that it is the unfortunate swansong to the greatest studio in animation history.





Inside Out (2015, Pete Doctor, Ronnie Del Carmen)

Pixar is a strange entity in the world of animation. Incredibly talented, both artistically and technically, yet somehow a little cold. There is something a little detached and anonymous about them when compared to a studio like Ghibli or even plain old Disney.

Inside Out blew me away however, and represents the biggest leap I could have possibly have hoped for the studio. A film as psychosocially intelligent as it is visually stunning, just mindblowing to see on the big screen.

There are films which genuinely have the power to change the world, and that's what I want Inside Out to do. I want, no, demand that the way society views animation (and film on the whole) matures. We need to challenge ourselves in art or we will begin to roll backwards. I believe Inside Out represents a way forward, and with its success, maybe animation will be used for more in the west than a thing to distract children. 



By Jack D. Phillips

Perfect Blue (1997)

Surreal and yet totally grounded in human emotion, Satoshi Kon's first feature holds up incredibly well. Although it suffer from a weak ending.

What better film to start off the holiday season than a dark psychological thriller with not one, not two, but three scenes of sexual assault? 

Satoshi Kon is a genius, and one that I have talked about several times on this blog. Around one year ago I made my first foray into his work and was floored by his incredible film Tokyo Godfathers, which I would since consider one of my favourite animated films of all time. Since then I have become far more knowledgeable in terms of animation and wished to revisit his small but remarkable filmography.

Perfect Blue is a psychological thriller, and by that I mean truly psychological. It is both a thrilling mystery, and more importantly a dark journey into the sub-conscience of a very interesting leading character.

Mima is a pop idol, a recognisable but largely disposable pop figure in Japanese culture. The kind to amass a large and rabid following, without much in the way of substance or future prospects. She decides to leave the group she was a part of to strike out in acting, a decision she makes to further her seemingly limited career prospects, and she experiences a swirling descent into madness and abuse.

The film's perspective is largely situated in Mima's mental state, with benign yet significant aspects of her life (her fish, her new computer) coming to represent the disastrous changes that occur in  her life. Unlike say, the thrillers of David Fincher, who invites the audience to view the drama unfold from an outsider perspective, Kon gives us front row seats. We are inside Mimas head, experiencing her paranoia and increasing separation from reality along with her.

This brilliant perspective comes to crescendo during an extended montage sequence wherein Mima repeatedly skips moments in her life, waking up in various location with no idea how she got there. At this point, the film becomes truly disorienting, with reality becoming difficult to perceive or understand. Furthermore, Mima slowly give sup trying to understand her world, submitting to her lack of attachment to her own life.

This deeply unsettling mental breakdown comes as a result of the various humiliations and abuses she undergoes in her new career as an actress. Her initial part in the tv show she signs onto is tiny, however by agreeing to participate in a rape scene (to boost ratings) her part is increased. I wonder how many dozens of budding actresses have been forced into the same decision, it is a disgusting thought. The pain of moments like this is so sharp, easily some of the best and most unsettling use of character decisions I have ever seen in a film.

The film is also gorgeous to look at. Anybody who accuses animation of being a lesser form of film can officially go fuck themselves, Kon has one of the most precise and inventive cinematic eyes I have ever seen and some of the simple images in this film took my breath away. In terms of editing, the opening performance from Mima and her musical group is one of the most engaging and well put together opening sequences I have ever seen and the aforementioned psychological montage never lost my interest.

Before I finish up I may as well give a comment on this film's relationship to Black Swan. Director Darren Aronofsky is a gigantic fan of Kon's work and took a lot of inspiration from Perfect Blue not just in that film, but also in certain images from Requiem for a Dream. Some have even labelled Black Swan a pseudo remake of Perfect Blue, and I have to disagree in this area.  The two films share a lot in common, however popular opipion and that nature of obsessiveness in fans is a key theme in Kon's film that Aronofky's lacks. The two films also have radically different styles of editing and totally different settings, important as the cramped Tokyo apartment Mima occupies in this film is as much a reflection of her mental state as the editing is (her room becomes more and more messy and unkempt as she begins to unravel). So although the two films are certainly kindred spirits, calling one a remake of the other does them both a severe disservice.

Finally, the films ending. My one big grip with the film. The film ends far too cleanly, the person who has been stalking and threatening Mima is caught, her acting career has taken off, and Mima has regained control over her identity and her life overall. I do not like this. For such a jagged and bold film this ending feels to clean, like ending Apocalypse Now with 'and then the war ended and everyone got back to their normal lives happily'. No, the damage dealt to Mima in this film was too crushing and harsh to be so easily swept away, the film almost seems to believe that catching the stalker was all Mima needed tp get things together. Absolving to television studio that figuratively raped her of any guilt, along with Japanese society on the whole.

This ending really bugs me and prevents me from loving the film as much as I truly want to. This film could have been one of my storytelling Bibles, and I suppose it still is, but I cannot call it a true masterpiece. 

What a damn shame.

By Jack D. Phillips

A Zoom Film Review

My Favourite Films (Part 5)

Schindler's List (1993, Steven Spielberg)


A beautifully shot and emotionally tender portrayal of the greatest tragedy in modern history. Spielberg directs this gigantic film with the care and delicacy that can only come from a director with his amount of experience. Not a single shot is wasted in this film, the craftsmanship is truly amazing.

Aside from the the excellent direction, the performances are universally excellent, the soundtrack is one of the greatest I have ever heard, and the pacing beggars belief. Perhaps the most engaging three hour film ever made (although I would need to rewatch Seven Smaurai to confirm that).



Fargo (1996, The Coen Brothers)

The Coen's are such inventive filmmakers, I doubt that there is any genre that they could not turn there skills towards. This film in particular is one of the cleverest uses of the noir format, a charming and deeply subversive take on one of the most influential genres of all time. 

The thing that makes this film so wonderful is its overall message and purpose. Despite their cynical worldview, the Coen's show an incredible optimism in this film, a belief in the good nature in humanity that comes though the main character (played by Francis Mcdormand) so incredibly strongly.

This is basically a film that makes me feel happy to be alive, through an amazing lead performance and some excellent writing from the Coen's.



Boogie Nights (1997, Paul Thomas Anderson)

Paul Thomas Anderson is a shining god. Every single film I have seen of his has been a masterpiece. This film in particular is one of the most poignant and engaging multi-character epics I have ever seen, and proof positive that a great artist can make any subject compelling.

Within the confines of the California porn industry during the late seventies/early eighteen PTA fills his story with humour, tragedy, heartbreak and heart. In terms of sheer strength of narrative, this is one of the absolute greatest films I have ever seen.

Also, the performances and dialogue are both incredible across the board.




The Big Lebowski (1998, The Coen Brothers)

The most quotable film ever made. Just...beyond fascinating in every way, I just want to dissect this film and rewatch it endlessly because absolutely everything about its frantic and wild story is spot-on perfect. Not a single scene fails to connect, and I genuinely think I could watch this film on an endless loop.

I don't even think I can articulate this film any further, it has just become a part of me in a way that no other film has.



By Jack D. Phillips

My 30 Favourite Films (Part 4)

The Elephant Man (1980, David Lynch)

I need to watch more of Lynch's incredible filmography, which is as terrifying to think of as it is exciting. The Elephant man is both delicate and sympathetic towards a very tragic historical figure, yet also harsh and ruthless when condemning the culture that caused this tragedy, and by extension our society.

One of the most visceral and invigorating period pieces ever made, and quiet possibly the most stunningly shot Black and White film I have ever seen (although the competition is certainly fierce in that area).

Just an  incredible film.


Back to the Future (1985, Robert Zemeckis)


Although humble and small in comparison to the true filmmaking juggernauts I have showcased so far, this film is probably the most invigorating and fun examples of basic narrative cinema ever made. Fun and enjoyable in every single scene, and joyful to rewatch. Worthy of its status in pop culture.

Not much to say, other than everything was done to near perfection here. The quintessential recipe for telling a fun and adventurous story.




Grave of the Fireflies (1988, Isao Takahata)


I am going to try and keep this short. With the exception of When the Wind Blows and one or two other films later in the list, this film carries more emotional power over me than any other. I have a long history with this one.

Touching on every level, as emotionally complex as it is amazingly simple structure wise. Just watching two doomed characters trying to survive is more than enough on its own, and some scenes from this film hurt like a gun. Just, incredible.


Do the Right Thing (1989, Spike Lee)

I am trying so hard to not pun off this title, but this film truly does do the right thing. Funny, revealing and playful, this film looks at race in a way which is not preachy nor overly solemn. It blames everybody embroiled in the pointless conflict, showing wisdom well above the years of the young Spike Lee.

Inventive and original in its style, this is a film that actually derives strength from being heavily dated, entrenching itself so firmly in its contemporary setting that it becomes more of a landmark in history than anything else.

Probably the greatest film on race issues that will ever be made, which won't stop hacks like Paul Haggis coming a few years later to try for themselves, with sadly greater success.

By Jack D. Phillips

My 30 Favourite Films (Part 3)

F for Fake (1973, Orson Welles)

Where Citizen Kane started Welles' career with an incredibly told and beautifully crafted narrative masterpiece, this film ends his career on a less conventional note.

Totally non-linear, and without a any kinda of typical structure, yet still totally coherant and engrossing. A film in which every single cut sizzles and pops with interest and style, probably the most interesting documentary film I have ever seen. 

Welles truly was an incredible artist, and despite his own self-deprecation in this film, totally worthy of the praise he is given.



Taxi Driver (1976, Martin Scorsese)

As of the time of writing this list, I have only just begun the process of rediscovering Martin Scorsese. Having watched (and loved) many of his film a fair while ago, I have begun to work my way back through his filmography with this film.

And hot damn it's amazing. Possibly the most beautiful depiction of an urban setting in the history of film, garnished by Bernard Hermann's beautiful and bold score, and anchored by the simply incredibly Robert De Niro.

It fascinates me how audiences must have reacted to this film back in the seventies. This must have seemed like a feral beast entering their multiplex.



Watership Down (1978, Martin Rosen)


The first animated film on this list and a truly beautiful one. One of the most emotionally complex films ever made, ranging from serine joy to jagged existential peril without any kind of inconsistencies in tone.

Nature has never been so stunningly animated nor as characterised in its own right. You feel the personality of the countryside in this film.

Also, the sequence with Art Garfunkel's beautiful song 'Bright Eyes' is easily one of the greatest pairings of music and image I have ever seen.




Manhattan (1979, Woody Allen)



It hard for me to describe why I love this film so much. When compared to Annie Hall (which was also considered for this list) this film is far less realistic in its depiction of love in the modern age, but I think it this shunning of realism that makes me love it so much.


Allen creates what might be the purest and most optimistic portrayal of romance that has ever been made, a story in which the message is simply to be with the person you love and screw what everyone thinks. 
Beautifully photographed and scored with the excellent music of George Gerschwin. This is a film that is certainly in my sights for a rewatch soon.

By Jack D. Phillips

Ocean Waves (1993)

 A touchingly simple look

at youth, dripping 

with detail 

and authenticity.

Ocean Waves is one of the least talked about of all Ghibli films, and it is fairly easy to see why that is. It was not originally a theatrical release, rather a TV movie, and it deals with a radically different subject than most other Ghibli films, the drama of teenagers entering the responsibility of young adulthood. There is none of the fantastical magic that has become so ingrained within the identity of the studio here, and so it tends to get lost and left behind. I however do not feel that this is fair, for despite being radically different in pace and tone to it's siblings, there is something genuinely magical and powerful about this film, and in fact I would use this film as a prime example of Ghibli's power.

For a start, the attention to detail in this film is remarkable. The narrative's framing device is that a University student upon glimpsing a familiar figure on a train station begins to recall his sixth-form days. There are several moments where the film focuses on small elements of the environment, for example a man smoking while on a break from the kitchen he works in, or some pigeons flying around the entrance to a shopping mall. These details bring the environment to life and adds a nostalgic air to the entire narrative. The film is paced like a series of individual memories played in sequence, with significant time leaps between or even during sequences, and these details tie everything together. The individual memories are preserved in such detail and candidness, just as important memories are in real life.

The film is also beautifully written. Although I do not think naturalistic is the right word, there is something real and human about the way these people are written. The situations and scenarios are familiar and simple yet never feel dull. The dilemmas and relationships of our lead character flow and fold into each other realistically, yet the framing device and time lapses allow a satisfying and dramatic pace to be maintained.  There is something composed and relaxed about the film which I can only presume comes from it's roots in television. There are no contrived set-pieces, a flaw which can sometimes ruin the endings to some of Ghibli's more relaxed films (most notably Kiki's Delivery Service) in my opinion.

There is just something beautifully refreshing about this film. Even it's title brings to mind a soothing and revitalising excursion to a beautiful little world. When Ghibli gathered a bunch of it's younger talents and told them to make a film, I cannot think of a better way their unique voice could have been used. One final thing I wish to bring up is the film 5 Centimetres Per Second, which is also a fabulous animated film about reflecting on youth. It was on my mind a lot while watching and writing about this film, and although the two cover a lot of different ground, they work wonderfully as companion pieces. Of the two however Ocean Waves is easily the more consistent and overall affecting, as it gave me a lot to chew on over the few days following.

By Jack D. Phillips
A Zoom Film Review

Hannah and Her Sisters (1986)

Everything wrong with

Woody Allen as a director

is on display here. 

However the

strength of it's cast is 

just enough to make it tolerable.

I am a pretty huge fan of Woody Allen as a filmmaker. This makes the fourth film of his that I have seen, and up to this point I have been nothing but impressed. In particular I would consider Manhattan to be one of my favourite films of all time. As a result, it was sad that this film disappointed me so severely. Particularly as this seems to be one of the more well known film of Allen's career. Not only is this undoubtedly the weakest of his films that I have seen, it also showcases all of his most glaring weaknesses as a storyteller.

Although I probably sound harsh at this point, I should make it clear that I do not hate this film. In fact I wouldn't even be able to fully commit to calling bad. This is due almost entirely to the strength of the performances. The cast is incredible, probably the reason why this film has endured as much as it has within the film community, featuring Woody himself, Carrie Fischer, Mia Farrow and Michael Caine amongst other well known talents. Every single performance in this film is strong and in many cases the actors are able to significantly raise the quality of the material that they are given (more about that said material later). I will give particular praise to Michael Caine, for he gives a sensitive and subtle performance and truly lights up the screen with his presence whenever he is shown. It is a shame that Allen film decided to use an ensemble style narrative with this film, as it means Caine's character is reduced to that of a supporting player. If he and Mia Farrow (who is also very strong here) were at the centre of this film's narrative rather than loitering in it's suburbs , it would probably have been for the better.

The film's biggest problem is it's screenplay. I general like Allen's writing style, as he has a very unique and articulate voice and knows how to pace a film narrative well. He is also highly self-conscience, with many of his funniest or most powerful scenes coming from his own critical eye over himself. All of these positive aspects are notably absent from this film, which is self indulgent and, above all else, boring. This film feels at least two or three times it's length, I could literally not believe how short the film was when I checked the back of the DVD. In the end, this tiring and monotonous pace cements the film as mediocre to me. Every strong element that this film offers is lost in the monotony of it's narrative, and that is a real shame.  Aside from this perceived length problem, Allen is at his most narcissistic here. His self-deprecating humour is gone here, and without it he becomes quite unlikeable as a performer. Rather than lovable he is annoying, and he is way to prominent in the films overall narrative. I personally feel Allen should have stayed behind the camera for this one.

The film's overwritten script also manages to lessen the effects of the performances at times. There are scenes where we see characters quietly contemplating their situations, the emotional impact of the moment being sold by the expressions on the actors face. For some reason however, Allen decided to overlay these scenes with dull and dense narration, explaining  away the emotions that the actors are already conveying visually. This undercuts the effect of these moments and lessened my relation to the people on screen, because the film was not allowing me to interpret anything. This lack of audience involvement, furthers the boredom that the film instils.

I cannot call this film an absolute failure. It was still mildly entertaining and the film has some pretty great moments. Although I have no intention of watching this film again, and I would not recommend it for a moment, it is ultimately harmless and average.

By Jack D. Phillips
A Zoom Film Review

The Men Who Tread on the Tiger’s Tail (1945)

Although rather weak

compared to his later

 work, this

early period piece shows hints of what would

come for the great artist.

It is fair to say that I am huge fan of director Akira Kurosawa. This however marks my first foray into the director's early work, perhaps the least discussed period of the filmmaker's entire career. Despite being ignored by many, from what I have read almost every film in this period is subject to polarising opinions from fans and critics alike. This film for example has been called Kurosawa's weakest film by Tony Zhou (a Youtube film critic that I am a huge fan of), and one of his best early offerings by Stuart Galbraith IV, the author of a highly extensive biography of the director. So now it is time for me to offer my own thoughts on this polarising film.

For a start it is worth noting that this film was made at the height of the second world war, and as such amidst terrible working/living conditions. This sadly shows in the final film, which was clearly filmed entirely on a fairly cheap sound stage. Furthermore, the audio quality itself is sometimes quite poor. Holding these shaky elements against the film feels unfair, however it does still negatively impact the film's attempt to create an authentic period setting.

To counter the films weak technical elements, it boasts a simple yet elegant screenplay. The story is one of honour, loyalty and the lengths one must go to in order to fulfil their duty. It is a compelling tale, and it held my interest throughout. However this may have been aided by the film's slim running time, so short that I doubt it is even possible to lose interest before the end. I do give the film credit for telling a fairly epic story despite this limit running time, establishing the backstory efficiently in an opening narration and leaving just enough breathing room to establish some personality within the characters, although it is still fairly minimal in the scheme of things. Overall, I feel this film's narrative is one of it's better elements and I praise the film for it's efficient, although far from spectacular, storytelling.

The film's cinematography is quite fantastic in my view. This early in his career Kurosawa had already learned how to keep a film engaging through simple camera moves and story enhancing shot compositions. Alongside the film's phenomenal editing, which is beautifully paced and constantly interesting from start to finish, I would certainly recommend watching this film in particular if you want to know how to enhance a film's impact through cuts and shots alone.

So far I have described some of the film's strongest elements, however things fall apart in when I move onto the subject of the lead performances. For some strange reason, although the narrative has a clearly defined main character, the film adds a comedic relief character

who was not present in the films source material. This character dominates the screen for huge chunks of the film, and I found him insufferable. The actor mugs and overacts in way which I did not even think possible, and is clear to me that Kurosawa did not know how to integrate this guy into the story properly. This comedic character legitimately ruins parts of the film for me, his presence is truly baffling.

Outside of the terrible comedic elements, Denjirô Ôkôchi is excellent as the lead despite being pushed aside, and his ability to hold the viewers eye is really quite remarkable. Furthermore, Takeshi Shimura and Masayuki Mori appear in two very minor roles. They do very little, however it is nice to see two of Kurosawa's greatest collaborators lending their talents in the background. To be bold, one could even call Shimura's performance here a very early prototype to his work on Seven Samurai, as I saw the same gravity and dignity here that made that performance so sublime.

In the end, this film should probably best be remembered as an interesting little experiment from Kurosawa's early career. Many of his talents were honed in this film, and judging by the relative lack of comedic relief in his later films it is safe to assume that the director identified some of his weaknesses. Hardly a masterwork, but still certainly worth seeing for hardcore fans of Kurosawa.

By Jack D. Phillips

A Zoom Film Review

Alone.

Top Left-Bottom Right

The Machinist (2004)

The Master (2012)

The Thing (1982)

There Will Be Blood (2007)

Boogie Nights (1997)

Dead Man Walking (1995)

Ivan;s Childhood (1962)

Dead Man's Shoes (2004)

Red Desert (1964)

Winter's Light (1963)

Drive (2011)

I Saw the Devil (2010)

Attack on Titan (2013)

Psycho (1960)

Cowboy Bebop (1998-1999)

Annie Hall (1977)

The Silence of the Lambs (1991)

Yojimbo (1961)

The Old Dark House (1932)

The Terminator (1984)

Citizen Kane (1941)

Tokyo Story (1953)

Blow Out (1981)

M (1931)

The Meaning of Life (2005)

The Blair Witch Project (1999)

Little Malcolm (1974)

Ringing Bell (1978)

At Midnight I'll take your Soul (1964)

Eternal Sunshine of the Spotless Mind (2004)

The Shining (1980)

Grave of the Fireflies (1988)

By Jack D. Phillips