Online Film Critics Society (OFCS) isrinko 100 ispudingiausiu kino debiutu:

1. Citizen Kane (directed by Orson Welles)
“I started at the top and have been working my way down every since,” joked Orson Welles in the years following his startling debut feature. Citizen Kane has been so longed hailed as “the greatest film ever made” that it is in serious danger of becoming the least seen masterpiece around. The legends surrounding the film and its creator have too long overshadowed the actual film. Above all, Welles was a showman and Citizen Kane is a three ring circus of cinematic ingenuity, a startlingly entertaining blend of pulp melodrama, historical biography, detective story, political drama, storytelling confabulation, and plain old theatrical flourish. Years ahead of its time in its layered use of sound and score (a pioneering piece of dramatic composition by Bernard Herrmann, Welles’ radio collaborator), stunningly designed, and brilliantly shot by Gregg Toland with a creative invention that pushed the envelope of motion picture photography, Citizen Kane is a vital, exciting moment of American cinema brought back to life with every viewing. (Sean Axmaker)

2. Eraserhead (David Lynch)
David Lynch’s monochrome fever dream of frustrated desires and horrific unease was to be the last triumphant gasp of the Midnight Movie movement. Eluding easy definition or comfortable reception, Eraserhead was as much a phantasmagoria of tactile textures and immersive soundscapes as a nightmarish parable of fatherhood and the creative process. By turns beautiful, annoying, funny, exasperating and repellent, but always bristling with a nervous energy, Lynch’s debut merges the drab world and anxious subconscious of Henry Spencer (Jack Nance), a vacationing printer who must stay home to nurse his monstrous (and unwanted) babe in bandages. Sporting an impossibly tall haircut that has become one of the film’s most iconic signifiers of otherness, Henry is one of cinema’s great misfits, his very appearance and physical stiffness embodying the discomfort that the film inspires in its viewers -- and yet Nance’s performance is a master class in tragicomic understatement, all minutely nuanced gestures and Tati-esque humanity. Beneath the amorphous surface of this unnerving filmic experience is an undiscovered planet of untold depths and hidden layers in which to become lost, sickened or sublimely elevated. (Anton Bitel)

3. Night of the Living Dead (George A. Romero)
Simultaneously a sleeper cult hit and a candidate for arthouse exhibition, George Romero’s Night of the Living Dead has become one of the most influential independent films ever made in the forty-plus years since it was originally unleashed. The “zombies” of Romero’s movie (a term never actually used in the movie) are not the reanimated/drugged servants of voodoo lore; they are, in fact, not the product of a mythology at all. They are simply the dead -- corpses that have risen and now shuffle around aimlessly, their only impulse an unexplained urge to eat the living. Against this backdrop of an unexplained and incomprehensible menace, Romero places several average citizens trapped together in an isolated farmhouse and lets the human drama commence. Hysteria, frayed nerves, and an unspoken contest for Alpha Male supremacy keep the living from ever marshaling their forces effectively against the undead outside. At the time of its release, Night of the Living Dead was interpreted as a metaphor for the Vietnam War, microcosm of the breakdown of social order between generations and races in the middle of the Counterculture Revolution, and a critique of the reliance on authority figures for understanding and purpose. It can be all of those things, and it can be reinterpreted and resignified by current audiences two generations unborn when it was first released, but first and foremost it is a dark, relentless, and scary piece of cinema. (Nathan Shumate)

4. The Maltese Falcon (John Huston)
Unpromising project: young but already seasoned studio serf John Huston, desperate to make the difficult career leap from screenwriting to directing, takes on a pulpy property that’s already been filmed twice in the past decade with a low budget and lower expectations. Unlikely result: Huston’s rock-solid classical technique, exact casting, and carefully transcribed screenplay, lay the groundwork for a film that works with the drive and efficiency of a Formula One engine, even managing the unthinkable task of giving Citizen Kane a run for its money as the best debut film of 1941. Huston’s long, variable career would rarely see his pet themes and ironic romanticism as tautly conveyed as in this chamber-piece proto-noir. Humphrey Bogart’s incarnation of seamy, but honourable, private eye Sam Spade cemented him as a star, and Sydney Greenstreet, Peter Lorre, Elisha Cook, Jr., and Mary Astor backed him up with some of the finest character acting on record. (Roderick Heath)

5. Breathless (Jean-Luc Godard)
Breathless, the feature debut of Jean-Luc Godard, is an early film of the French New Wave. The film tells the story of Michel (Jean-Paul Belmondo), a roguish petty criminal who crosses a line when he shoots a police officer after stealing a car. On the run from police, Michel seeks out his American student girlfriend, Patricia (Jean Sebring); Patricia hides him for a while, planning an escape with Michel to Italy, before betraying him to police. Breathless is notable for its visual style; shot on a handheld camera with mostly natural lighting, Godard intended the film to evoke a documentary feel, and the use of the handheld camera allowed for spontaneity in the shooting of the film. Breathless is most known for Godard’s groundbreaking use of editing jump cuts throughout the film, which broke all established rules of continuity editing that were prevalent at the time. Breathless today is seen as the cornerstone of New Wave, and has influenced countless filmmakers. (Kim Voynar)

6. Reservoir Dogs (Quentin Tarantino)
Reservoir Dogs was the gritty, engaging, and exhilarating debut film of a 29-year-old self-educated former video store clerk, and the result was a cinematic revolution. Soon to be a household name, Quentin Tarantino produced an imminently imitable ballet of macho posturing, gun-pointing, and creative deployment of verbal obscenity. With a testosterone level that is off every chart, it happily wallows in its own juvenile love of criminals and violence, but the film’s dexterity and complexity proved Tarantino to be an extraordinary filmmaker right out of the gate -- his raw talent and an unmistakable understanding of film lore is embedded in every frame. The film is a landmark in film debuts because, despite borrowing widely in terms of both plot elements and style, Tarantino made Reservoir Dogs wholly his. (James Kendrick)

7. The Night of the Hunter (Charles Laughton)
The great Charles Laughton delivered great performances in a number of great films. But he only directed one feature, which was -- well – flippin’ fantastic. Meditations on good versus evil don’t get more beautiful and chilling than The Night of the Hunter, in which two youngsters (Billy Chapin and Sally Jane Bruce) are pursued by a phony preacher (Robert Mitchum) after their nogoodnik father’s money. Ostensibly a run-for-your-life thriller, The Night of the Hunter is at its finest in detailing how easy it is for the greatest terrors to slip by under the guise of virtue. Mitchum’s greed leads to a conclusion in which the forces of light and dark square off, a captivating cap-off to a spry and sneaky expressionist classic. (A.J. Hakari)

8. Blood Simple (Joel and Ethan Coen)
Just after Lawrence Kasdan and Bob Rafelson sexed-up classic noirs in the early 1980s -- with Body Heat and The Postman Always Rings Twice, respectively -- in Blood Simple the Coens took the latter narrative and turned it inside out. Instead of the discontent wife and lover successfully killing the husband (as in Postman), a seamy hitman (M. Emmet Walsh as Loren Visser), hired to off the adulterous couple, instead aims at the jealous man who hired him. When the body turns up not quite dead -- as the lover buries this evidence -- he gets his own shot, and a comedy of (t)errors follows. Though fate fueled the descent of classic noirs, in the Coens\' paranoia runs off absurdist misdirection. A true reassessment of noir, Blood Simple moves beyond the pre-erotic-thriller (not so)neo-noirs. Further proof: the freshness of Zhang Yimou\'s 2009 remake, set in historical China. (Matthew Sorrento)

9. The 400 Blows (François Truffaut)
At age 27, François Truffaut kick-started the Nouvelle Vague movement with this gritty drama about feisty 12-year-old Antoine Doinel (an iconic character that actor Jean-Pierre Léaud would revisit five more times). The film\'s free-form structure is still exhilarating today, bristling with schoolboy exuberance and a darkly evocative sense of pre-teen yearning. By the time that unforgettable freeze-frame appears at the end, we know this movie has changed the way we look at the world. Just as it changed cinema itself. (Rich Cline)

10. 12 Angry Men (Sidney Lumet)
Twelve men arguing in a single room, in real time. It sounds like a play, because it was a play, and a television movie before that. But in the hands of the 34-year-old theater/TV veteran Lumet, 12 Angry Men became so intensely, thrilling cinematic, it’s hard to imagine it in any other medium. With a dazzling array of shots and visual perspectives that switch around with every bend in the drama, and anchored by a legendary collection of the best character actors the ’50s had to offer, the film that would arguably remain the pinnacle of Lumet’s career established him in one stroke as an unmatched master of both the camera and character. (Tim Brayton)

11. L’Atalante (Jean Vigo)

12. Toy Story (John Lasseter)

13. Badlands (Terrence Malick)

14. Being John Malkovich (Spike Jonze)

15. This Is Spinal Tap (Marty DiBergi; co-directed by Rob Reiner)

16. Gates of Heaven (Errol Morris)

17. Hiroshima mon amour (Alain Resnais)

18. Airplane! (Jerry Zucker, Jim Abrahams, David Zucker)

19. Duel (Steven Spielberg)

20. The Iron Giant (Brad Bird)

21. The Evil Dead (Sam Raimi)
22. The Producers (Mel Brooks)
23. Knife in the Water (Roman Polanksi)
24. The Shawshank Redemption (Frank Darabont)
25. The Kid (Charles Chaplin)
26. District 9 (Neill Blomkamp)
27. Monty Python and the Holy Grail (Terry Gilliam and Terry Jones)
28. Donnie Darko (Richard Kelly)
29. L’Age d’Or (Luis Buñuel)
30. Synecdoche, New York (Charlie Kaufman)
31. Pather Panchali (Satyajit Ray)
32. Henry V (Kenneth Branagh)
33. Easy Rider (Dennis Hopper)
34. Clerks (Kevin Smith)
35. The Blair Witch Project (Daniel Myrick and Eduardo Sanchez)
36. Who’s Afraid of Virginia Woolf? (Mike Nichols)
37. Gattaca (Andrew Niccol)
38. Primer (Shane Carruth)
39. Pee-Wee’s Big Adventure (Tim Burton)
40. Brick (Rian Johnson)
41. Killer of Sheep (Charles Burnett)
42. Sex, Lies, and Videotape (Steven Soderbergh)
43. Mad Max (George Miller)
44. Pi (Darren Aronofsky)
45. In Bruges (Martin McDonagh)
46. Harlan County U.S.A. (Barbara Kopple)
47. American Beauty (Sam Mendes)
48. Boyz N the Hood (John Singleton)
49. Hedwig and the Angry Inch (John Cameron Mitchell)
50. Delicatessen (Marc Caro and Jean-Pierre Jeunet)
51. Elevator to the Gallows (aka Frantic) (Louis Malle)
52. Bottle Rocket (Wes Anderson)
53. Titicut Follies (Frederick Wiseman)
54. She’s Gotta Have It (Spike Lee)
55. Shadows (John Cassavetes)
56. Moon (Duncan Jones)
57. Monsters Inc. (Pete Docter)
58. Slacker (Richard Linklater)
59. Say Anything... (Cameron Crowe)
60. Shallow Grave (Danny Boyle)
61. Closely Watched Trains (Jiri Menzel)
62. Gone Baby Gone (Ben Affleck)
63. Repo Man (Alex Cox)
64. The Virgin Suicides (Sofia Coppola)
65. Amores Perros (Alejandro González Iñárritu)
66. On the Town (Stanley Donan and Gene Kelly)
67. The Triplets of Belleville (Sylvain Chomet)
68. Ivan’s Childhood (aka My Name Is Ivan) (Andrei Tarkovsky)
69. My Favorite Year (Richard Benjamin)
70. El Mariachi (Robert Rodriguez)
71. Performance (Nicolas Roeg and Donald Cammell)
72. In the Company of Men (Neil LaBute)
73. They Live By Night (Nicholas Ray)
74. Love Actually (Richard Curtis)
75. Fast Times at Ridgemont High (Amy Heckerling)
76. One-Eyed Jacks (Marlon Brando)
77. Hard Eight (Paul Thomas Anderson)
78. Following (Christopher Nolan)
79. Cabin in the Sky (Vincente Minnelli)
80. George Washington (David Gordon Green)
81. Blood of a Poet (Jean Cocteau)
82. The Station Agent (Thomas McCarthy)
83. Kiss Kiss Bang Bang (Shane Black)
84. Away from Her (Sarah Polley)
85. Thank You for Smoking (Jason Reitman)
86. The Orphanage (Juan Antonio Bayona)
87. Chicago (Rob Marshall)
88. The 40-Year-Old Virgin (Judd Apatow)
89. Pleasantville (Gary Ross)
90. Force of Evil (Abraham Polonsky)
91. Drugstore Cowboy (Gus Van Sant)
92. Nanook of the North (Robert Flaherty)
93. Heathers (Michael Lehmann)
94. Lock, Stock and Two Smoking Barrels (Guy Ritchie)
95. Strictly Ballroom (Baz Luhrmann)
96. Dances with Wolves (Kevin Costner)
97. The Falls (Peter Greenaway)
98. Koyaanisqatsi (Godfrey Reggio)
99. Get Carter (Mike Hodges)
100. Ratcatcher (Lynne Ramsay)

neblogas topas, tikriausiai rasit jame ir savo favoritus.
pabandikit sudaryti savo top10
o gal turite dar ka ir pridet prie sio saraso naujo?

o as kolkas pariskinau keleta mano megstamiausiu filmu, arba teisiog ispudingus debiutus
PS noriu butinai paziuret pilieti Kaina, jau tiek gero apie ji teko girdeti...