Snobbin: Beautiful Trash in the Pop Culture Gutter

With a script by Samuel Fuller, this hardboiled Douglas Sirk noir does not disappoint if you like crisp dialogue, tight pacing, and disillusioned characters.

22. Three Colours: Blue -- It was hard to choose a favorite from the Three Colours Trilogy because each of these films was masterfully shot, the writing and acting was phenomenal, and Krystof  Kieślowski's directing was breath taking. The first entry in the trilogy, Blue is also the saddest, depicting a young woman's struggle to live in isolation after the death of her husband and child. Juliette Binoche brings Julie to life and adeptly depicts her struggles. The trilogy's themes are those of the French Revolutionary Ideals.  The film's subject is liberty, and it shows the difficulty of achieving freedom and autonomy, yet it also shows how connections  with others can be freeing.  21. On the Bowery -- One of the more thematically interesting films that I watched last year. On the Bowery is a biopic of the early days of New York City's Bowery. The director, Lionel Rogosin, hired actual Bowery inhabitants and shot it in that section of the city. It tells a st...

269. Fish Tank (2009), Andrea Arnold, Curzon Artificial Eye 270. The Hurt Locker (2008), Kathryn Bigelow, Summit 271. Dune (1984), David Lynch, Universal 272. My Big Fat Greek Wedding (2002), Joel Zwick, IFC 273. Rope (1948), Alfred Hitchcock, Warner Bros. 274. The Birds (1963), Alfred Hitchcock, Universal 275. Feet First (1930), Clyde Bruckman, Paramount 276. Documenteur: An Emotion Picture (1981), Agnes Varda, DPI 277. The Baron of Arizona (1950), Samuel Fuller, Lippert 278. Mr. Freedom (1968), William Klein, Grove Press

219. The Dracula Saga (1973), Leon Klimovsky, Profilmes 220. Lone Wolf and Cub: Baby Cart In Peril (1972), Buichi Saito, Toho 221. The Kid Brother (1927), Ted Wilde and J.A. Howe, Paramount 222. The Lady Vanishes (1938), Alfred Hitchcock, United Artists 223. The Adventures of Robin Hood (1938), Michael Curtiz and William Keighley, Warner Bros 224. Captain Blood (1935), Michael Curtiz, Warner Bros. 225.  Hanzo the Razor: Sword of Justice (1972), Kenji Misumi, Toho 226. The Lodger: A Story of the London Fog (1927), Alfred Hitchcock, Gainsborough 227. The Lost World (1925), Harry Hoyt, First National 228. The Steel Helmet (1951), Samuel Fuller, Lippert

209. The Immortal Story (1968), Orson Welles, Altura 210. Three Cases of Murder (1955), David Eady, George More O'Ferrall , Wendy Toye , and Orson Welles (uncredited), London Films 211. The Naked Kiss (1964), Samuel Fuller, Allied Artists 212, Sisters (1973), Brian De Palma, American International Pictures 213. Speedy (1928), Ted Wilde, Paramount 214. For Heaven's Sake (1926), Sam Taylor, Paramount 215. He Walked By Night (1948), Alfred L. Werker and Anthony Mann (Uncredited), Eagle-Lion 216. Cruel Gun Story (1964), Takumi Furukawa, Nikkatsu 217. The Circus (1928), Charlie Chaplin, United Artists 218. A Return to Salem's Lot (1987), Larry Cohen, Warner Bros.

57. The Blob (1958), Irvin Yeaworth, Paramount 58. Park Row (1952), Samuel Fuller, United Artists 59. Tillie's Punctured Romance (1914), Mack Sennett, Keystone 60. Viva Joe Strummer: The Clash and Beyond (2006), Mike Parkinson 61. The Red Queen Kills Seven Times (1972), Emilio Miraglia 62. The Night Evelyn Came Out of the Grave (1971), Emilio Miraglia 63. Don't Torture a Duckling (1972), Lucio Fulci, Medusa 64. The Black Belly of the Tarantula (1971), Paola Cavara, MGM 65. Devil's Doorway (1950), Anthony Mann, MGM 66. A Colt is My Passport (1967), Takashi Nomura, Nikkatsu

Samuel Fuller's directorial debut I Shot Jesse James is an action-filled examination of Bob Ford's (John Ireland) assassination of Jesse James (Reed Hadley) and its aftermath. Ireland portrays Ford with pathos and sympathy, especially in a scene where a troubadour (Robin Short) plays the folk song, "Jesse James" for him. Ford shoots James to earn money to settle down with Cynthy Waters (Barbara Britton). John Kelley (Preston Foster) plays his conflicted rival. Fuller's direction is minimal, yet allows the actors room to breathe within their roles.