Its interesting not just for the fact that everyone loves a good list ranking (either to whole heartedly agree with or scornfully scoff at) but also that the scope of the judging seems to built on effects for effects sake...
The list contains all the usual suspects but it does appear that the criteria for inclusion is biased somewhat towards a purity of the craft and artistry of the effects themselves without necessarily taking into account whether the effects are in coherent and integrated concert with the larger narrative aims of the film.
How else would you explain the inclusion of such tragically plot-less and dysfunctionally stupid films as 'Pirates of the Caribbean: Dead Man's Chest', 'What dreams may come', 'The Matrix' and the 'Fifth Element'...? Go on, hurl the abusive flame as you see fit. Fact is if you loved The Fifth Element you've been had, hoodwinked, bamboozled... A sad, derivative, unoriginal and uninspired heap of shit. (You see, this is what I love about a blog. The free reign to be as verbose as one wants:)
Anyhoo, what I propose is a much shorter list.... The top five films where sophisticated visual effects are directly in support of plot; where each and every effect is present on screen with the sole purpose of driving the narrative, emotive and metaphorical core of the film.
And my list is....
1. Blade Runner
For sheer influence on every sci-fi film (and many non scifi) films to follow. Every frame of this move is directly constructed to re-enforce the movies central themes and metaphors. Not a wasted frame, not a wasted effect.
2. Metropolis
Very old and still very impressive. Lang was a filmmaker with an ability to think very big and that vision still has impact today.
3. Alien
A definitive whole greater than the sum of the parts. Effects are but one element, Gieger's exquisite design another but what makes this film age so well is that Ridley Scott has given it the whole package ? editing, performance, cinematography, sound design and plain old structured dramatic tension all together milking the visual effects for everything they're worth.
4. Lord of the Rings
What makes these films so special, and Peter Jackson such an extraordinary filmmaker, is that everything is narrative driven ? every fight scene has its own plot ebb and flow, every character has a very distinct character arch, every effect is there to serve a very specific narrative purpose. Jackson also knows exactly when digital is the right answer and when good old fashioned make-up and latex is the best solution. (a lesson George Lucas evidently failed)
5. Sin City
It might hold a readily disposable 'hip' factor today but in years to come we will reflect back on Sin City as a landmark moment in an evolved state of film making ? film making where live action is an 'option'; where lines between animation, effects, performances and cinematography are hazy and irrelevant; where the camera is virtual and the locations are all green and the story's vision is all the more engaging and mind expanding.
