This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
It is always a challenge to produce a definitive list of “must- see” movies, because value judgments are, by definition, extremely subjective. However, the 100 handpicked films in this section have delighted, moved or educated audiences of all ages, all over the world. Over the last nine decades, these films have changed our perceptions of cinema, and most have left an indelible mark on film history.
Comedian Greg Proops invites you to sit down and watch some of his favorite movies with him. It's the cinematic companion piece you never knew you wanted but can't live without from the Smartest Man in the World.
We present to you our 100 favourite films across all genres. These are the scariest, funniest, most gripping, uplifting and moving crime-drama-thriller-horror-comedies that you will ever see! The list is updated all the time so be sure to keep checking back for new recommendations from the Kaizer movie kingdom! Enjoy!
Telefilms are Dutch films made specifically for Public Broadcasting. The films deal with current social issues.
The aim of the project is to stimulate cooperation between the film industry and broadcasters and to promote homegrown drama productions among the Dutch public. There are six films produced annually (none in 2000 and nine in 2001). Several films won national and international film awards.
The Telefilms are established with financial support from the Ministry of Education and the Co-production Fund Domestic Broadcasting.
"It is a rare director who is at once one of the foremost stylists and pioneering realists of cinema, but Alan Clarke falls into both categories. His relentless and innovative examination of contemporary British society, paired with the integrity of his approach, makes him an exemplar for socially conscious filmmaking[...] Clarke’s ability to direct so often and his low critical profile today stem from the same reason: his films were for television, where a weekly feature slot meant numerous directing opportunities and instant ubiquity during transmission[...]" (Nicholas Rapold, Senses of Cinema)