The Panda

sorry about the strikeout, not sure what happened. working on fixing it.

Another brand new entry to the list! Also the first animated movie to make an appearance! Number 88 "The future is not a straight line. It is filled with many crossroads. There must be a future that we can choose for ourselves." About the Film Synopsis "A secret military project endangers Neo-Tokyo when it turns a biker gang member into a rampaging psychic psychopath who can only be stopped by a teenager, his gang of biker friends and a group of psychics." Its Legacy "When Akira wasn’t showing its extremely detailed animation, it was also reveling in its usage of negative space and lighting. The feature uses the negative space to highlight much of its action or vitally important sequences. The lighting heightens the effect and every frame is lovingly lighted. Light could be considered a character of the film as it even devours Neo Tokyo during the finale. Nerdwriter has a terrific video going into even more detail of how the lighting in Akira is a step above other efforts. Even audiences in the West could feel the earth-shattering reverberations of Akira. Anime had briefly entered American markets with such imports as Speed Racer, but none had quite the effect of Akira. The film was distributed on bootlegged VHS tapes throughout colleges and once American audiences witnessed the film, they were hungry for more anime than ever. Even more exciting than just the beautiful animation or fascinating story; Akira was proof that animation wasn’t just for children. The amount of money thrown at Akira was unheard of for a Japanese animated film. According to Uproxx, a total of $10 million was used and was the record for the most expensive anime film for quite some time. Even if the production committee was willing to spend that much money, they still weren’t able to entice directors from the West to tackle the project. Steven Spielberg and George Lucas were offered the chance to bring the property to Western audiences, but they believed it just wouldn’t suit Americans. That didn’t stop Akira from being monstrously successful worldwide. It has influenced countless musicians as well. Michael Jackson included a clip of Tetsuo falling from a skyscraper at the end of his music video for “Scream.” Kanye West has repeatedly cited the film as one of his favorites." - Max Covil, Film School Rejects From the Filmmaker Why It's Great Critic Opinion "As scholar Susan J. Napier notes in her book Anime from Akira to Princess Mononoke, works like Gen and Fireflies “share in the collectivity of the Japanese memory as well as individual autobiographical accounts of personal suffering” (Napier 2001, 161). Hence, works similar to these films attempt to speak for history by employing a personal voice that has become well acquainted with “suffering, destruction, and renewal” (162). Many works that pull from the collective memory and trauma of the bombings are seen as part of a “victim’s history” narrative which works to promote sympathy from the viewer on behalf of the children they so often depict. The opening sequence of Akira is subtle yet powerful. The camera angle travels down the streets of a city before the date– July 18, 1989– is superimposed across the screen. A bright white light suddenly fills the screen as an enormous explosion, illustrated by a semi-transparent black dome, engulfs the city and leaves only a black crater in its wake. This bright light, Freiberg has noted, is indicative of the tone of nuclear sublime that is present in Akira, as it “represent the sublimity of nuclear destruction.” This area will be later referred to as “The Old City” or “Old Tokyo,” while the rest of the film takes place in Neo-Tokyo in the year 2019, 31 years following World War III. The crater that still mars the surface of Old Tokyo returns to the screen, filling it ominously before the audience’s attention is refocussed on the chaotic streets of Neo-Tokyo. This new city is rife with biker gangs, one of which the main character, Tetsuo, is a member of. Like other works within the apocalyptic mode, Akira presents the viewer with the unsettling reality of abandonment and the death of the nuclear family. This is most clearly illustrated through the conditions of the two main protagonists, Tetsuo and Kaneda, who met and grew up in an orphanage together. Takahata’s Grave of the Fireflies also operates through this narrative of abandonment, as the main characters– Seita and Setsuko– lose their mother while their father is away serving in the Navy. While the pair are granted the opportunity to seek refuge with their aunt, the aunt is notably unsympathetic toward their situation, which leads them to run away to live in an abandoned bomb shelter. Like Seita and Setsuko, Kaneda and Tetsuo have likewise been abandoned by their parents, and have no close familial ties with anyone who is blood related to them; like the brother-sister pair in Fireflies, the main characters of Akira have only each other. With films like these, there is an obvious commentary occurring concerning authority, illustrated pointedly through the absence of the father. As Napier notes, the symbolic mode of “the death of the father” is extremely important for postwar Japanese culture: “Scholars argue that Japanese culture now exists in a demasculinized state, overwhelmed by feminine ‘cuteness’ but still haunted by images of a dead, absent, or inadequate father and problematic masculinity” (171)." - ees, The Artifice Public Opinion "I hadn't seen this in over 20 years, and honestly I didn't remember much, other than it was violent and trippy and wild. But I just rewatched it, and it really is a tremendous movie. It, BLADE RUNNER, and William Gibson's "Neuromancer" really set the tone for cyberpunk and futuristic sci-fi up into this millennium. Otomo really utilizes the medium to its best -- there's lot of tremendously vibrant and exciting shots here that would be impossible in live-action. Truly sensational." - @Plain Old Tele The AI's Poetic Opinion akira "the best anime ever made a classic that will last" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018, 2016, 2014, 2013, 2012) Director Count Decade Count 1930s (1), 1940s (1), 1970s (1), 1980s (2), 1990s (2), 2000s (4), 2010s (1) Franchise Count Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1) Re-Weighted Placements #91 Fanboy Ranking, #89 Cinema Ranking #116 Old Farts Ranking, #86 Damn Kids Ranking #85 Ambassador Ranking, #90 All-American Ranking #31 Cartoon Ranking, #103 Damn Boomer Ranking

Number 89 "What am I doing? I'm quietly judging you." About the Film Synopsis "An epic mosaic of many interrelated characters in search of happiness, forgiveness, and meaning in the San Fernando Valley." Its Legacy "It’s a shame that Hollywood audiences have been taught that films are made primarily to entertain and amuse. That’s only for the mass audience; other films challenge us to look inside ourselves, especially the places we want to hide from the rest of the world. Magnolia (1999), directed by Paul Thomas Anderson, is a real departure from supposed mainstream “entertainment,” a film that’s both challenging and deeply disturbing. Magnolia is a sprawling and operatic music video that interweaves so many characters, complex plots, and an ever-present sense of heightened melodrama, so that the viewer looks in vain for any element that holds the movie together. Ricky Jay’s narration provides one thread, but the narrative itself is a series of interlocking stories that intersect and collide over and over again. At the directorial level, the film is stitched together by Anderson’s trademark lengthy takes, long confusing tirades, a series of stellar performances, and an overwhelming music track that makes the whole film feel like a rather traumatic carnival ride that can’t be escaped, or a drug induced nightmare of epic proportions. Nevertheless, at the core of this operatic journey through Hell is a study of the fragility and obsolescence of white masculinity, here closely tied to death, specifically death by cancer. The myriad plots are deliberately edited in such a way that they are almost impossible to follow, as if mirroring life itself, but all roads eventually lead back to pale men near death, men whose bodies are metastatic sites of a lingering, devastating form of cancer, their decaying bodies metaphors of white masculinity and patriarchy itself as a form of cancer." - Gwendolynn Audrey Foster From the Filmmaker Why It's Great Critic Opinion "We say we want to see movies with people that look like us, with ordinary, unremarkable lives, but that’s not really true. Give us fantasy, give us beautiful people with lives that may be a little messy, but get better by the time the credits roll. Our time is short, why waste it on movies that illustrate how life is a long, often lonely series of fateful encounters and occurrences that, try as we might, we have no control over? Magnolia, released twenty years ago this month, is arguably Paul Thomas Anderson’s most polarizing film. It has the audacity to be over three hours long, while not actually being about anything. There’s no real plot to speak of, not in the “point A to point B” sense, at least. There’s very little conflict (and when there is, it’s never really resolved), there’s no hero’s journey, and if the characters experience any sort of growth or change, it’s almost imperceptible, just enough to keep them going the next day. In the middle of the action (if you can even call it that), everyone stops to sing a melancholy song about how they’re foolish for thinking life is going to get any better. For some, Magnolia is a twee, melodramatic slog. For others, it offers comfort and hope, albeit served in tiny spoonfuls. Few major studio films have so accurately depicted the concept of bittersweet ordinariness — none of us are special, we’re at the mercy of what life decides to throw at us, and how we decide to handle it." - Gena Radcliffe, The Spool Public Opinion "To watch something that is so blisteringly confident and it's own is really a treat. Performances across the board are incredible. The way that this is able to cut back and forth between so many loosely connected storylines over the course of three hours while chugging along with the momentum of a freight train is something to behold. Some godly camerawork, especially during the game show sequence. It feels so deeply human in it's attempt to parse through life from beginning to end, how we connect, how we relate, how we hurt each other, and how we love. and just how much all of that we are capable of. One particular interaction in this movie that just really sticks out to me and i found very profound is when Jim and Claudia are on their date and right after the whole spiel about his intent to be loving of Claudia just as she is he is take aback by her using the phrase "piss and shit". A real punch in the gut moment noting as much as we intend to love unconditionally swallowing our expectations of those we love is never as easy as it may seem. Hell of a picture." - @Ethan Hunt The AI's Poetic Opinion magnolia "The aroma of magnolia fill the air in the morning sweet and refreshing" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018), #98 (2016), #91 (2014), UNRANKED (2013, 2012) Director Count Paul Thomas Andnerson (1), James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Ridley Scott (1), Vittorio de Sica (1), Gore Verbinski (1), Peter Weir (1) Decade Count 1930s (1), 1940s (1), 1970s (1), 1980s (1), 1990s (2), 2000s (4), 2010s (1) Franchise Count Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1) Re-Weighted Placements #122 Fanboy Ranking, #79 Cinema Ranking #134 Old Farts Ranking, #85 Damn Kids Ranking #91 Ambassador Ranking, #88 All-American Ranking #72 Cartoon Ranking, #93 Damn Boomer Ranking

LET'S FUCKING GO THE REAL COUNTDOWN STARTS HERE! NUMBER 90 "Hide the rum." About the Film Synopsis "Captain Jack Sparrow works his way out of a blood debt with the ghostly Davey Jones, he also attempts to avoid eternal damnation." Its Legacy "John Knoll’s crew at ILM had to invent an entirely new way of doing an established trick called ”motion capture.” Explaining all the details would make your eyes glaze over faster than a dead buccanneer’s. But basically, the profound improvement that Knoll and company hit upon was a way to do the motion-capturing right on the main movie sets, instead of trying to re-create all of Davy Jones’ actions on an isolated bluescreen soundstage months after principal photography was finished. Ever wonder why so many performances in the Star Wars prequels sound and look so stifled, so robotic? It’s partly because the actors typically had nothing physical to work off of, since every part of the scenery and the CG-creature supporting cast was put in later. (There was an on-set stand-in for Jar-Jar, actor Ahmed Best, but somehow that didn’t help much.) Not so with Dead Man’s Chest. The actors were almost always working on either physical sets or actual locations, and their fellow cast members were right there next to them, interacting in real time with them, to keep line readings and physical bits of business much fresher. That means you get moments like Nighy’s Davy Jones making an odd popping sound with his upper lip to express puzzlement, or jerking his head in certain querulous, highly humorous ways. ”On a soundstage with 25 technicians staring at Bill and nobody to play off of, that quirkiness would all have gotten ironed out,” says Knoll. ”Somebody would say, That gesture is too off or too odd. It could have become a real sort of committee effort.” Instead, Nighy had to please only one chief — Verbinski — and thus gave an especially lively performance. Working on stunning-looking locations instead of dull bluescreen stages also made the action choreography much more dynamic. For instance, there’s a shot of the Flying Dutchman pirate crew coming out of the milky-blue Caribbean waters to charge after Johnny Depp and Keira Knightley, who are in the midst of a swordfight on a white-sand beach. The shot looks as photorealistic as an island-vacation commercial — a breathtaking step forward in CG imagery. Knoll and company achieved it by first putting real actors in sensor-studded outfits right there in the water on a real beach, in the crazy-beautiful Exuma Islands of the Bahamas. That worked a lot better than trying to animate a CG group from scratch because the FX crew, which later CG-ized each actor into a barnacle-encrusted pirate monstrosity, had tremendously helpful details to work with. They could study the live-action footage carefully to see exactly how the light should look, exactly how the water should run off the pirates’ bodies, exactly how they should shift their weight while stepping into sand as they became CG figures instead of actors in suits. The result, by and large, is more convincing CG character movements — and better CG lighting effects — than we’ve seen before." - Steve Daly, Entertainment Weekly From the Filmmaker "I'm feeling I pretty much got the director's cut. Any fight we had over anything was very nominal. I'm very happy with the cut of those movies. I would say that Pirates 1 had an energy to it, which was essentially, ‘you're crazy’. I remember pitching it to [Hans] Zimmer and he said, ‘You're mad! You're making a pirate movie? Nobody's going to see a pirate movie.’ It was resoundingly, ‘that's the worst idea ever.’ And there was something exciting about that. It was so doomed to fail. You’re setting out to go make a genre that literally doesn't work, or there's so much historical proof that it will not work. So, you're making everybody nervous. The studio’s nervous. Everybody's nervous about Johnny Depp's performance. Everybody's nervous about the story. It's convoluted — they’re returning the treasure, wait they've taken the treasure back, they're cursed? Everything about that had a spirit of madness to it. Then, after it was successful, Pirates 2 and 3 start to fall into the ‘release date-driven experience’. There’s a calendar and dates and “we need two more of these babies. How soon can you do it?” So you don't have scripts and you're making a movie to a release date. That creates an energy, but the hardest part was now they're not nervous. Other than make the date, nobody's nervous about what you're doing. So, I would have these conversations that would be, “we need to get back to not knowing”. This whole sense of, ‘Oh yeah, well, the audience liked that. Let's give them more of that. And they liked this and do that again. You need another big action set piece here.’ And then, it’s almost creating your own tropes to follow. I’m not criticizing any executive... It's just a practical force. That comes at you from the preceding success. So, when you asked me if there's a different cut, I think just pulling it off, while trying to maintain that original madness, was enough. I'm definitely proud of the second one. I feel like that one has a little bit more… it's got a similar spirit. And it's shy of being bloated, and maybe the third one got a little bit, okay, wow. Now where do you go? You have to go even bigger. I think, trying to wrap up that many fractal narratives and give everybody a conclusion, Norrington's going to have to have his due, etc.. the thing just grows. That's what they do. They just go, ‘Well, the audiences love this guy, got to pay that guy off, and these guys have to return, and those guys have to show.’ Then you just start going, ‘Oh my God, I can't sustain this, I need to blow it up. I need to go blow it all up. To really end it. ’ So, I tried to make the third one saying, ‘There shouldn't be any more.’… I was like, okay, no more, done, three and out." - Gore Verbinski Why It's Great Critic Opinion "In his Oscar nominated performance as Captain Jack Sparrow, Johnny Depp swanned through the first Pirates of the Caribbean (2003) with enough wicked zest to make you forget the film was a bloated crock. The flab extends to the overlong (two hours and thirty minutes) sequel, but mostly in the dawdling setup. A pirate could braid his beard in the time it takes for producer Jerry Bruckheimer’s floating franchise to cut loose from the shoals of plot incoherence and put a wind in its sails. But once it does, nothing can stop it. The second Pirates does more than improve on the original, it pumps out the bilge and offers a fresh start. Returning director Gore Verinski and screenwriters Terry Rossio and Ted Elliott have wisely taken a cue from Depp and learned how to play fast and loose with the material. Lively is an odd word for something called Dead Man’s Chest, but lively it is. You won’t find hotter action, wilder thrills or loopier laughs this summer." - Peter Travers, Rolling Stone Public Opinion "It’s honestly insane how much this film slaps. 53 percent on rotten tomatoes my fucking ass." - @Rorschach The AI's Poetic Opinion dead man's chest "A pirate's treasure Dead man's chest Buried deep inside" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018, 2016, 2014, 2013, 2012) Director Count James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Ridley Scott (1), Vittorio de Sica (1), Gore Verbinski (1), Peter Weir (1) Decade Count 1930s (1), 1940s (1), 1970s (1), 1980s (1), 1990s (1), 2000s (4), 2010s (1) Franchise Count Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1) Re-Weighted Placements #55 Fanboy Ranking, #109 Cinema Ranking #154 Old Farts Ranking, #81 Damn Kids Ranking #51 Ambassador Ranking, #103 All-American Ranking #39 Cartoon Ranking, #102 Damn Boomer Ranking

Starting off the pod of reveals later today will be a movie that’s rotten on RT but certified fresh in our hearts! hope y’all are ready for it!

The other thing to consider is who actually has peacock to know this stuff is streaming?

Just some consolation if you're sad about these misses. Over 1600 movies received a vote, so it was very competitive to even get a top 250 spot! Number 230 Spider-Man (2002, Sam Raimi) Number 229 Once (2006, John Carney) Number 228 Black Swan (2010, Darren Aronofsky) Number 227 How Green Was My Valley (1941, John Ford) Number 226 L.A. Confidential (1997, Curtis Hanson) Number 225 The Hunger Games: Catching Fire (2013, Francis Lawrence) Number 224 The Big Short (2015, Adam McKay) Number 223 Braveheart (1995, Mel Gibson) Number 222 Captain America: Civil War (2016, The Russos) Number 221 No Country for Old Men (2007, Ethan Coen)

last one for tonight, although i'll post some more of the 'misses' right after this. Number 91 "It's too bad she won't live! But then again, who does?" About the Film Synopsis "In the smog-choked dystopian Los Angeles of 2019, blade runner Rick Deckard is called out of retirement to terminate a quartet of replicants who have escaped to Earth seeking their creator for a way to extend their short life spans." Its Legacy "“’Blade Runner’ changed the way the world looks and how we look at the world,” science fiction author William Gibson told Wired. Gibson’s books, specifically “Neuromancer” — which came out a year after “Blade Runner” — are viewed as being the defining stories of what became known as the cyberpunk movement. The popular science fiction sub-genre juxtaposes a technologically-advanced future with the breakdown of social order (in other words, a technological dystopia). The exploration of the moral and philosophical quandaries that would come with computers and artificial intelligence was present in science fiction books dating back to the ’60s and ’70s — including Philip K. Dick’s 1968 novel “Do Androids Dream of Electric Sheep?,” which “Blade Runner” is based on. What made “Blade Runner” groundbreaking was it created the visual look, atmosphere, and world of cyberpunk. Ridley Scott and his team of incredible technicians built a futuristic Los Angeles that was the perfect extension of the near-future dystopia sci-fi authors were writing about in their books. As the role technology plays in our daily lives has grown exponentially since the ’70s and ’80s, the themes of the cyberpunk movement have permeated all aspects of popular culture. As a result, the international film market has increasingly gravitated toward this futuristic setting defined by technology — bleeding into genre re-defining superhero movies (“Dark Knight”), action movies (“The Matrix”) and anime (“Ghost in the Shell”) — for which “Blade Runner” is the visual touchstone. It’s a connection that filmmakers like Christopher Nolan, the Wachowskis, and “Ghost in the Shell” visionary Mamoru Oshii readily acknowledge." - Chris O'Fault, IndieWire From the Filmmaker Why It's Great Critic Opinion "In Blade Runner, as in all science-fiction, the “future” is a style. Here that style is part film noir and part Gary Numan. The 40s influence is everywhere: in Rachael’s Joan-Crawford shoulder pads, the striped shadows cast by Venetian blinds, the atmosphere of defeat. It’s not just noir, Ridley Scott also taps into 70s cop shows and movies that themselves tapped into nostalgic style, with their yearning jazz and their sad apartments; Deckard even visits a strip joint as all TV detectives must. The movie remains one of the most visually stunning in cinema history. It plots a planet of perpetual night, a landscape of shadows, rain and reflected neon (shone on windows or the eye) in a world not built to a human scale; there, the skyscrapers dwarf us like the pyramids. High above the Philip Marlowe world, hover cars swoop and dirigible billboards float by. More dated now than its hard-boiled lustre is the movie’s equal and opposite involvement in modish early 80s dreams; the soundtrack by Vangelis was up-to-the-minute, while the replicants dress like extras in a Billy Idol video, a post-punk, synth-pop costume party. However, it is noir romanticism that wins out, gifting the film with its forlorn Californian loneliness." - Michael Newton, The Guardian Public Opinion "Ridley Scott’s genre-defining film, Blade Runner, is a colossal cinematic achievement and the blueprint of which informs nearly every science-fiction film since its 1982 release. Scott’s often imitated, never replicated depiction of a desolate dystopian future is an utterly enveloping sensory experience. Jordan Cronenweth’s sweeping lurid vistas of towering monolithic pyramids, neon-lit streets, invasive probing lights, and perpetual downpour create visual texture, tactility, and a sense of world-weariness of a future on the brink of collapse. The roads feel walked on, the houses seem lived in. Vangelis’ jazzy synth score drunk on its melodic vibrancy is majestic and ethereal, evoking tension and mood whilst calling attention to the absence of nature in the dreary machine of Los Angeles 2019. But at the heart of Blade Runner and the source of its cultural resonance is its thematically-dense rumination on mortality, existence, and the unyielding question of what it means to be human, physically manifested in the form of replicants, who blur the lines between naturalism and artificiality. But the lingering discussion regarding Deckard’s humanity is not as important as the reason for the discussion itself. The point isn’t whether Deckard is a replicant, the point is that we can’t tell the difference. What does this entail about our humanity and our purpose?" - Ethan, Letterboxd The AI's Poetic Opinion blade runner "In the dark night Harrison Ford runs through the rain pursued by robots" - dA vInci Factoids Previous Rankings UNRANKED (2020), #89 (2018), #65 (2016), #60 (2014), #94 (2013), UNRANKED (2012) Director Count James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Ridley Scott (1), Vittorio de Sica (1), Peter Weir (1) Decade Count 1930s (1), 1940s (1), 1970s (1), 1980s (1), 1990s (1), 2000s (3), 2010s (1) Franchise Count Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1) Re-Weighted Placements #135 Fanboy Ranking, #75 Cinema Ranking #78 Old Farts Ranking, #102 Damn Kids Ranking #81 Ambassador Ranking, #34 All-American Ranking #176 Cartoon Ranking, #80 Damn Boomer Ranking

Number 92 "Neytiri calls me skxawng. It means "moron."" About the Film Synopsis "In the 22nd century, a paraplegic Marine is dispatched to the moon Pandora on a unique mission, but becomes torn between following orders and protecting an alien civilization." Its Legacy "Cameron had a very specific vision for Avatar, which is why he waited for so long to finally get it done. He worked on new motion capture animation technologies that would allow him to better capture the facial expressions of the actors so the animators could later use them. Other technologies developed for Avatar were a new system for lighting massive areas (like Pandora’s jungle), a new texturing and paint software system, and new ways to make many of the CGI elements look as realistic as possible. In addition to that, Avatar made the 3D format popular (and relevant) again, with a lot of films getting 3D releases ever since. It was built to be a one-of-a-kind theatrical experience and it definitely succeeded on that, and also made it possible for other films to use these new technologies to their advantage. Simply put, without Avatar’s technical advancements, films like Avengers: Endgame or even the Star Wars sequels wouldn’t look as they do. Avatar’s success was such that it got a theatrical re-release in 2010, exclusively in 3D theaters and IMAX 3D and with nine minutes of extra footage, all of which was CG. Re-releases are a move that many other films have made since, and while Avatar obviously wasn’t the first to do so, it can brag about having a successful release and re-release, which added more to its box office numbers (and, once again, it was a strategy that Avengers: Endgame used to its advantage). Another particularity of Avatar which ended up becoming a sort of “strategy” in the film industry is its release date. Summer used to be the ideal time to release big films, but Avatar proved that December also works quite well. Studios keeping their biggest titles for the last month of the year is very common now, and the new wave of Star Wars films (except Solo: A Star Wars Story) is a good example of this. While many film enthusiasts feel the world has now forgotten about Avatar, truth is that it had such an impact on so many areas that it won’t be forgotten for a long, long time – more so now that Cameron is working on Avatar 2 and 3. It remains to be seen if the sequels will bring new technologies and have an effect on the film industry as big as the first film." - Adrienne Tyler, Screen Rant From the Filmmaker Why It's Great Critic Opinion "More than a decade in the making, James Cameron’s 3-D fantasy about a colony of human astronauts hoping to plunder an alien rain forest represents a quantum leap in movie magic; watching it, I began to understand how people in 1933 must have felt when they saw King Kong. Motion-capture animation, which transposes actors’ physical movements and facial expressions to digital characters onscreen, has never been executed with such accuracy and delicacy, and the planet’s strange, colorful landscape is so minutely realized, with such careful study of botany and biology, that the movie’s standard eco-parable feels effortlessly sincere. None of this would matter, though, if not for Cameron’s perfectly arcing story line, in which a paraplegic military man (Sam Worthington) gets a chance to inhabit an ambulatory alien body and ultimately must choose between his own people and the tribal community they’re about to attack." - J.R. Jones, Chicago Reader Public Opinion "4 billies is coming lad, would be a shame if box office expert like yourself didn't see it coming." - @IronJimbo The AI's Poetic Opinion avatar "The blue one Aang is the chosen one He will save us all" - dA vInci Factoids Previous Rankings UNRANKED 2020, #88 2018, UNRANKED 2016, #43 2014, UNRANKED (2013, 2012) Director Count James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Vittorio de Sica (1), Peter Weir (1) Decade Count 1930s (1), 1940s (1), 1970s (1), 1990s (1), 2000s (3), 2010s (1) Franchise Count Avatar (1), The Exorcist (1), The MCU (1) Re-Weighted Placements #70 Fanboy Ranking, #104 Cinema Ranking #119 Old Fart Ranking, #87 Damn Kids Ranking #69 Ambassador Ranking, #97 All-American Ranking #78 Cartoon Ranking, #94 Damn Boomer Ranking

Number 93 "There's a cure for everything except death" About the Film Synopsis "Antonio, an unemployed man in the depressed post-WWII economy of Italy, at last finds a good job hanging up posters, the only requirement for which is that he must have his own bicycle. When Antonio’s bicycle is stolen, he and his son are forced to walk the streets of Rome in search of it, or else face ruin." Its Legacy "There is a group of filmmakers like myself who wanted to counter the distorted narratives and stereotyped images of Hollywood, and on seeing Bicycle Thieves, I was moved by how ordinary people were able to express so much humanity. The story achieved in very simple terms what I was looking to do in film: humanize those watching. Bicycle Thieves has the quality and intention of a documentary. It is totally unromantic. The characters are just ordinary people, and the film gives the impression you are watching life unfold before you. It is entertaining, but that is not the goal. Its goal is to make audiences aware of a particular social condition that needs a political solution. It is clear that it was made as a tool for change. Also amazing is the fact that the thieves are not portrayed as bad people but as victims of a corrupt society. It is postwar Italy, just freed from a Fascist government that had controlled information and lied to its people. When Antonio Ricci (Lamberto Maggiorani) forces the young man who stole his bike to take him to his house, all of the thief’s neighbors come out to give him support. His partner comes out of his rundown apartment holding a baby when he hears the commotion. When he sees Antonio, he escapes back into his apartment. You find a kind of Lower Depths, but in spite of their poverty, they have grace." - Charles Burnett, The Criterion Collection From the Filmmaker Why It's Great Critic Opinion "The use of ordinary people and actual locations, which didn’t begin with De Sica, was already, in 1948, a hallmark of neorealism, the movement that helped Italy secure a central place in postwar world cinema. Like most artistic tendencies, neorealism has often been more of a puzzle than a program, its essence obscured by theoretical hairsplitting and ideological disputation. By the strict accounting of some critics, there are exactly seven films in the neorealist canon: three apiece by De Sica and Roberto Rossellini and one by Luchino Visconti. A less rigorous definition includes countless Italian films released between the end of the war and the mid-1960s, even big-budgeted, movie-star-filled, internationally flavored productions like Federico Fellini’s “La Strada” and Visconti’s “Rocco and His Brothers.” Any Italian movie shot in black-and-white and concerned with the struggles of poor people might qualify. I prefer to think of neorealism as an impulse, an ethos, a spore that caught the wind of history and sprouted in the soil of every continent. The spirits of Maria and Antonio Ricci — and perhaps especially of the impish, vulnerable Bruno — live on in the work of Satyajit Ray in Bengal in the late 1950s, in the Brazilian Cinema Novo in the 1960s, in Iran in the 1990s and the United States in the first decade of this century. Films like Ramin Bahrani’s “Chop Shop” and Kelly Reichardt’s “Wendy and Lucy,” which tally the moral and existential costs of economic precariousness, have a clear affinity with “Bicycle Thieves.”" - A.O. Scott, The New York Times Public Opinion "It's a film that posits a simple premise of a man trying to get his bike back from a thief. Yet in a clever turn of events, Bicycle Thieves has perhaps one of the densest conflicts I've seen in a movie. It's through the lens of Antonio, performed by Lamberto Maggiorani, that we see why the bike was stolen in the first place. Between all the glitz and glamour, Rome is a terrible place, full of income inequality, the poor struggling to find work, a police system that is indifferent to others in the best of times, and everybody has to either give up the things they love or take what isn't there's. And in the end, nothing really changes. We're all so used to it that there's no point helping your fellow man. It's devastating, yet engrossing odyssey, anchored by both of the lead performances of Maggiorani and Enzo Staiola and Vittorio De Sica's stunning direction. Simply masterful." - @Eric the Superdog The AI's Poetic Opinion bicycle thieves "A haiku about bicycle thieves Thieves who love to steal bikes Always looking for their next prize Never knowing when they'll strike" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018, 2016, 2014, 2013, 2012) Director Count Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Vittorio de Sica (1), Peter Weir (1) Decade Count 1930s (1), 1940s (1), 1970s (1), 1990s (1), 2000s (2), 2010s (1) Franchise Count The Exorcist (1), The MCU (1) Re-Weighted Placements #113 Fanboy Ranking, #85 Cinema Ranking #70 Old Farts Ranking, #107 Damn Kids Ranking #72 Ambassador Ranking, #96 All-American Ranking #69 Cartoon Ranking, #97 Damn Boomers Ranking

Number 94 "Your mother sucks cocks in Hell, Karras, you faithless slime." About the Film Synopsis "12-year-old Regan MacNeil begins to adapt an explicit new personality as strange events befall the local area of Georgetown. Her mother becomes torn between science and superstition in a desperate bid to save her daughter, and ultimately turns to her last hope: Father Damien Karras, a troubled priest who is struggling with his own faith." Its Legacy "The production, distribution, and marketing of The Exorcist, along with other specific techniques, helped the film reach a larger audience. The special effects team utilized the tried and accurate low-tech methods of the day. Along with innovative ideas to create unforgettable images, these effects would sell one of the greatest horror films. Due to its special effects, marketing, and distribution, The Exorcist completely changed the horror genre into what it is today. The importance of The Exorcist seeming as realistic as possible began before the movie came to fruition. The film is adapted from the 1971 William Blatty novel, based on a true story revolving around a fourteen-year-old boy named Ronald Hunkeler living in Silver Springs, Maryland. When Blatty began his research, he contacted Reverend Thomas Bermingham, a professor at Georgetown University. Friedkin later hired Father Bermingham and two other priests as technical advisors: Father John Nicola and Father William O’Malley. Friedkin realized that many Catholics, let alone most people, never heard of an exorcism; he needed the priests' image as trusted men to add faith and belief to the religious subject matter." - Melissa Rose Cusano, GameRant From the Filmmaker "Q: You stated a couple of times that, when you made The Exorcist, your intention was never to make a horror film. The fact that people consider it to be one of the best horror films ever made says quite a lot about how frightening exploring the nature of human beings really is. William Friendkin: Well, by now, obviously I recognize that audiences for generations have considered it a horror film. I won’t deny that, but when I set out to make it, the writer and I never had any concept of it as a horror film. We thought of it as a powerful, emotional, disturbing story. But we did not think of it in terms of a horror film, let alone a classic horror film, or a lot of the stuff that passes for horror films. We just both found this story, which was inspired by an actual case, you know, to be very powerful, and I thought would be cinematic. But I never thought in terms of horror films, like the ones that I appreciated, like Psycho and Diabolique, and Onibaba, and a handful of others. They are clearly horror films, and I didn’t think of The Exorcist to be one of them when I made it. Now I understand that the public thinks of it that way, so I don’t dispute it. Q: And what do you think scares the public the most? Well, why bad things happen to good people. An innocent 12-year-old girl, who goes through extraordinary symptoms that clearly represent a disease that medical science is unable to deal with. That’s extremely disturbing to people. Because most people either have a child, or have been a child or are a child. So whenever your child goes through the sort of illnesses that are depicted in The Exorcist, it’s of great concern to everyone. And I think the fact that I made the film in a realistic way is what ultimately gets to people. It’s not done as though it takes place on a planet far, far away or something like that, or in an intangible world—it’s set in the real world, with characters who are portrayed as humanly possible. So I think that the fact the story is portrayed realistically is what disturbs people about the events in it. It was a very productive and exciting period to work with William Peter Blatty on his great creation." - A Discussion with William Friedkin, Cinephilia and Beyond Why It's Great Critic Opinion "Nearly five decades on, The Exorcist continues to be one of the most talked about horror movies of all time; even to the point that its many surrounding curiosities and controversies are practically common knowledge to even non-horror fans. On top of claims of injury, pain and misery for its cast and crew, The Exorcist also enjoys claims of its apparent sacrilege and being one of the scariest films of all time – its initial release had droves of audiences fainting in the aisles of their local cinemas and even some modern viewers testify to losing sleep after a curious watch. Often enough, the urban myths surrounding certain films inflate the expectations of the audience to ridiculous levels, which inevitably leads to disappointment, but the fact of the matter is that the hype for The Exorcist hasn’t died down over the years, even amongst hardcore horror fans; so can we be blamed for our curiosity? " - Katie Doyle, Film Magazine Public Opinion "Watch any clip of The Exorcist on YouTube and you'll find comments debating whether the movie itself is still scary or not. Aside from the obvious point that horror is about the most subjective genre out there besides comedy, I think it's particularly funny that people are finding this to be a worthy discussion, especially with scenes taken out of context. If you put The Exorcist on late at night, as I just did, with the sound cranked up, there's no conversation to be had, it's just that scary, pea soup and all. If you're religious, it could even be deemed 'evil' or 'unholy'. For me, it's an unsettling examination of a cast of characters thrown into an unexplainable existential quandary, a mess of symbols and bread crumbs leading up those set of stairs to a white door with a haunted little girl inside. Within that room, the mystical - another dimension torn between the faithful and the faithless, an ancient evil adapting to the beliefs of our world, taking hold of the innocent as a hostage. William Friedkin importantly disregards any blunt metaphors or trite discussions of religion. He portrays Catholicism as just another detached process, a system that is only summoned when medicine finds no other explanation. And we learn through Friedkin's precise sequencing (the opening in Iraq, the scenes with Karras and his mother, Chris MacNeil yelling at the operator over the phone) that these people are uniquely tied to this experience, time and place and circumstance all culminating in a battle of strength and will. The film is first-rate. Performances and scripting are most immediately evident, but everything about it is exceptional. The Exorcist patiently builds a believable scenario, no matter how improbable, and heightens it with shocking imagery and an undercurrent of bad vibes." - SilentDawn, Letterboxd The AI's Poetic Opinion the exorcist "The exorcist is the only one who can save us from the devil" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018, 2016, 2014, 2013, 2012) Director Count Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Peter Weir (1) Re-Weighted Placements #117 Fanboy Ranking, #84 Cinema Ranking #67 Old Farts Ranking, #109 Damn Kids Ranking #102 Ambassador Ranking, #85 All-American Ranking #122 Cartoon Ranking, #86 Damn Boomers Ranking

Number 95 "On your left." About the Film Synopsis "As Steve Rogers struggles to embrace his role in the modern world, he teams up with a fellow Avenger and S.H.I.E.L.D agent, Black Widow, to battle a new threat from history: an assassin known as the Winter Soldier." Its Legacy "As hard as it may be to believe, this week marks the fifth anniversary of the theatrical release of Captain America: The Winter Soldier. The 2014 Captain America sequel was universally acclaimed upon its initial release, a distinction that has only improved over the past five years, and brought directors Joe and Anthony Russo to Marvel Studios. The siblings' partnership with the studio would grow, with the Russos returning to helm Captain America: Civil War, Avengers: Infinity War and, next, Avengers: Endgame. More importantly than the impressive talent behind the camera, however, is how the film itself informed the Marvel Cinematic Universe for years to come, with the fallout from its story impacting its titular characters and more. Following the World War II hero emerging in present day at the end of Captain America: The First Avenger and joining the eponymous team of 2012's The Avengers, the Russos, with screenwriters Stephen Markus and Chris McFeely, were tasked with creating the MCU's first present day solo adventure for the Star Spangled Avenger. To do so, the filmmakers chose to weave in other previously established characters for the sequel. S.H.I.E.L.D. agents Nick Fury, Black Widow, Maria Hill and Jasper Sitwell all returned with prominent roles in the film, while the sequel also introduced Falcon and Crossbones to the MCU. Most importantly, though, the movie reimagined Steve Rogers' best friend and World War II companion Bucky Barnes as the Hydra assassin the Winter Soldier, based on the classic comic book storyline by Ed Brubaker and Steve Epting." - Sam Stone, Comic Book Report From the Filmmaker Why It's Great Critic Opinion "We spend a lot of time here on the internet talking about the Meaning of blockbuster movies, attempting to analyze what some new mega-successful PG-13 rated corporate-branded movie says about our culture or the age we live in. We do this maybe because blockbuster movies have become more interested in tackling weighty themes. (9/11 is all over the Christopher Nolan Batman movies and the J.J. Abrams Star Trek movies; conversely, it’s difficult to graft some larger mid-’90s topical narrative onto Star Trek: First Contact or Batman Forever.) But we also do this because blockbuster movies are popular, and it’s fun to use popular things as a prism for understanding the issues of our day. It’s rare for a blockbuster movie to come right out and announce its intentions. And so I was legitimately shocked and impressed and fascinated when I reached the middle of Captain America: The Winter Soldier — SPOILERS FROM HERE — and got to the scene where the movie clearly states that our modern intelligence apparatus and our whole system of national security was invented by some of the greatest villains of the 20th Century. And worse: Like the vampires of the pre-glitter period, HYDRA was welcomed in by their victims, freely and of their own will. In real-world terms, Winter Soldier basically says that the NSA was invented by Nazis…and that we let it happen, insisted even, giving up our freedom because we were too afraid to do anything else. EW critic Owen Gleiberman pointed out in his review that the villain in Winter Soldier is really the military-industrial complex. And that villain has accomplices, accessories, and henchmen who help the bad guys by doing nothing. To paraphrase Pogo: We have met the enemy, and they is us." - Darren Franich, EW Public Opinion "The Russo Brothers, Markus & McFeely, and Kevin Feige created a modern genre masterpiece with their sequel to the fabulous Captain America: The First Avenger. More importantly, they catapulted the Marvel Cinematic Universe into a completely new stratosphere of creativity and quality. TWS proves that modern blockbusters can nuanced, emotional character moments, and brilliantly choreographed action sequences. The shrewdest creative decision in TWS is to have Natasha Romanoff fill the role/trope of the Best Friend/Sidekick and Sam Wilson to fill the role/trope of the Love Interest. By flipping these gendered norms, the movie now explores refreshingly modern takes on friendship and trust. My favorite element of Captain America: The Winter Soldier is that for a superhero action movie, it features a hero whose true power is his goodness, and his ability to inspire others. His big power play in the Third Act is to give a speech, over the PA system. Steve's Price of Freedom Speech is the perfect example of all that's good about Captain America." - @Cap The AI's Poetic Opinion the winter soldier "Soldier of winter, His past a mystery. Haunted by his ghosts." - dA vInci Factoids Previous Rankings #78 2020, #76 2018, #96 2016, #78 2014, NA (2013, 2012) Director Count Charlie Chaplin (1), Clint Eastwood (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Peter Weir (1) Re-Weighted Placements #69 Fanboy Ranking, #105 Cinema Ranking #73 Old Farts Ranking, #105 Damn Kids Ranking #143 Ambassador Ranking, #83 All-American Ranking #94 Cartoon Ranking, #92 Damn Boomers Ranking

Here's some more of the 'misses'! Number 240 The Graduate (1967, Mike Nichols) Number 239 Little Women (2019, Greta Gerwig) Number 238 Speed (1994, Jon de Bont) Number 237 Kingdom of Heaven (2005, Ridley Scott) Number 236 Ikiru (1952, Akira Kurosawa) Number 235 The Right Stuff (1983, Phillip Kaufman) Number 234 Short Term 12 (2013, Destin Daniel Cretton) Number 233 The Sting (1977, George Roy Hill) Number 232 Only Angels Have Wings (1939, Howard Hanks) Number 231 Caddyshack (1980, Harold Ramis)

Number 96 "That's too much power for one man to have." About the Film Synopsis "A tribute to the controversial black activist and leader of the struggle for black liberation. He hit bottom during his imprisonment in the ’50s, he became a Black Muslim and then a leader in the Nation of Islam. His assassination in 1965 left a legacy of self-determination and racial pride." Its Legacy "It has been 55 years since Malcolm X was assassinated and 28 years since Spike Lee released his cinematic chronicle of Malcolm X’s life but the injustices he fought against still plague the world today. Quite possibly one of the best biopics ever made, Malcolm X is more relevant now than ever for anyone who wants to try and understand the deeply problematic history of systemic racism in America. Lee’s three-hour epic about one of the most prominent and “controversial” Black intellectuals of the 1960s is an attempt to understand and demystify the man who has been consistently vilified and slowly erased from the history textbooks. History has constantly drawn comparisons between Martin Luther King Jr. and Malcolm X to criticise the radical extremism of the latter. Lee has actively tried to show that they are not antithetical approaches to the same problem, insisting that a synthesis of their ideas is required for Black empowerment. In Malcolm X as well as the end of his 1989 magnum opus Do The Right Thing, he has maintained that Malcolm is just as important a figure as Martin Luther King Jr. in Black history if not more. It is crucially important to put things into perspective when we compare the two. While King received a formal education and began his PhD at Boston University in 1951, Malcolm was educating himself at the same time in a prison library. He was realising how the language he uses is not his own, scouring the dictionary to see how the words “black” and “white” were formulated as oppositional terms. He was understanding how his surname is not his own, it is the legacy of the people who enslaved him. He was finally discovering the possibility that the white God he had shunned might have the same skin colour as him. Yes, he was religiously indoctrinated by a follower of Elijah Muhammad (played by Al Freeman Jr.), the leader of Nation of Islam, and taught that the only way to combat the religious conservatism of Christian white supremacists like the Ku Klux Klan was to adopt another religion. He was taught to bend the knee in the name of Allah, religious radicalism masquerading as discipline. However, all of these contributing factors help us understand why Malcolm became Malcolm X. He was a lost Black prison inmate who turned his life around by “religiously” studying and improving himself, rising to the uppermost ranks of public intellectuals under the guidance of Elijah Muhammad. Malcolm wasn’t an absolute pacifist like King because his experiences were vastly different from the relatively privileged life of the latter, he saw that his people were suffering in America and he was very angry." - Swapnil Dhruv Bose, Far Out Magazine From the Filmmaker Why It's Great Critic Opinion ""Malcolm X" will offend many people for all the wrong reasons. It is neither so inflammatory as Mr. Lee's statements about it would have you believe nor so comforting as might be wished by those who would call a halt to speculation concerning Malcolm's murder. It is full of color and exuberance as it tells of life on the streets in Boston and New York, but it grows increasingly austere when Malcolm is arrested for theft and sent to prison, where he finds his life's mission. The movie becomes proper, well mannered and somber, like Malcolm's dark suits and narrow ties, as it dramatizes his rise in the Nation of Islam, founded by Elijah Muhammad. Mr. Lee treats the Nation of Islam and its black separatist teachings seriously and, just as seriously, Malcolm's disillusionment when Elijah Muhammad's fondness for pretty young secretaries is revealed. When, after his split from the Nation of Islam, Malcolm goes on his pilgrimage to Mecca, the film celebrates his new insight into racial brotherhood, which makes his assassination all the more sorrowful." - Vincent Canby, The New York Times Public Opinion "Absolutely gigantic, epic cinema that paints an astonishing portrait of America and the black lives within it through the lens of one of its most prolific voices. Denzel Washington is truly mesmerizing and never fails to capture Malcolm through everything - his powerful, passionate speeches, his tender empathy, uncertain fear, and more. He's just as powerful delivering monologues as he is in moments of complete silence, and as much as I love Scent of a Woman, I can't fathom how he lost this Oscar. Lee incorporates his style seamlessly into a classical cinematic epic, beautifully stitching together gorgeous footage that never dulls for its 200 minute runtime and packs so much into every frame and cut. I'm still trying to piece together everything in my mind on this movie, but it absolutely goes without saying that this is one of the greatest films of our modern era, and I'm a tad embarrassed it took me this long to see it." - @Ezen Baklattan The AI's Poetic Opinion malcolm x "Malcolm X, born Malcolm Little, changed his name and his life" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018, 2016, 2014, 2013, 2012) Director Count Charlie Chaplin (1), Clint Eastwood (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), Peter Weir (1) Re-Weighted Placements #113 Fanboy Ranking, #93 Cinema Ranking #122 Old Farts Ranking, #95 Damn Kids Ranking #85 Ambassador Ranking, #99 All-American Ranking #67 Cartoon Ranking, #100 Damn Boomer Ranking

Thank you @Jake Gittes for reminding me that I had forgotten to reveal the points and votes scores. City of God got 109 points, 7 votes Master and Commander got 109 points, 7 votes Unforgiven got 109 points, 6 votes Tiebreakers for tied points and votes went to whichever one got the highest individual ranking (so if one's highest points from a vote was 40 and the other was 35, then the movie with a 40 point vote wins the tiebreaker) Number 97 "True blind love." About the Film Synopsis "With the aid of a wealthy erratic tippler, a dewy-eyed tramp who has fallen in love with a sightless flower girl accumulates money to be able to help her medically." Its Legacy "Charlie Chaplin's signature character, the gentlemanly vagabond known as the Little Tramp, appeared in numerous short films in the 1910s, followed by several features in the '20s and '30s. The Tramp was insanely popular, becoming one of the most recognized fictional characters in the world, perhaps the most recognized until Mickey Mouse -- who Walt Disney said was partially inspired by the Tramp -- came along. Among the character's most beloved films was City Lights, still considered one of the finest movies of the silent era. But is it still funny? Was it even funny then? What's the big deal? Let's put on our big shoes, derby hats, and fake mustaches and consider. The praise: In 1949, film critic James Agee called the final scene of City Lights "the greatest single piece of acting ever committed to celluloid." Coming in 69th among all movies, it's the highest-ranked silent film by Internet Movie Database users. The American Film Institute named it the #1 best romantic comedy of all time, the 38th best comedy, and 11th best film of any genre (the highest comedy on the list). The British Film Institute's Sight and Sound magazine's first survey of film critics, in 1952, put City Lights as the second greatest film of all time (behind Bicycle Thieves). Orson Welles called it his favorite movie, and Stanley Kubrick had it in his top five. The context: The advent of sound in motion pictures caused a general upheaval in Hollywood, as many performers who had honed their craft in the silent era -- or who had annoying voices -- wondered if their talents would survive the transition. But few had more to lose than Charlie Chaplin. Since his film debut in 1914, Chaplin, aided by his trademark Little Tramp character, had become the biggest movie star in the world. His Gold Rush (1925) and The Circus (1928) were among the top 10 highest-grossing movies of the silent era. He co-founded the United Artists film studio and exercised almost complete control over his own films, writing, directing, producing, editing, and starring in them, in addition to composing the musical scores. His personal life was tabloid fodder; one biographer says his romance with the much younger Lita Grey -- he was 35 when they became involved; she was 16 -- was the inspiration for Vladimir Navokov's novel Lolita. And Chaplin was extremely rich: his and Grey's divorce, in 1927, set a record with its $825,000 settlement, plus a million bucks in legal fees." - Eric D. Snider, Film.com From the Filmmaker Why It's Great Critic Opinion "City Lights, an indelible masterwork of cinema and, it seems fairly safe to say (nearly eighty-five years after its debut), Western civiliza­tion, represents both a beginning, in that it has been endlessly imitated, and an end, in that it has never been superseded. Charles Chaplin invented a new art in 1921 with his first feature film, The Kid. With City Lights, ten years later, he perfected it. Chaplin’s new art was a form of storytelling combining burlesque comedy and dreadful pathos, each tuned to a pitch so high that the audience is jolted from one physical response to another: laughter and tears, the two faces of Comedy and not Tragedy but rather the melodramatic concession of Pathos, look­ing straight at each other. Familiar territory today, but it smacked of radical egotism then. No one had brought it off before, and Chaplin—the orphaned music hall clown who became, through movies, the most popular comedian the world had ever known—defied his partners’ warn­ings that his ambition would cost him his audience." - Gary Giddins, The Criterion Collection Public Opinion "A lighthearted comedy about homelessness, suicide, disability, manic depression, substance abuse, handguns, bipolar disorder, drunk driving, robbery, rheumatic fever, and incarceration. Ladies and gentlemen.....the 1930s!" - Keith, Letterboxd The AI's Poetic Opinion city lights "A million lights aglow In the city that never sleeps The hustle and bustle below" - dA vInci Factoids Previous Rankings UNRANKED (2020, 2018, 2016, 2014, 2013, 2012) Director Count Charlie Chaplin (1), Clint Eastwood (1), Katia Lund (1), Fernando Meirelles (1), Peter Weir (1) Re-Weighted Placements #174 Fanboy Ranking, #73 Cinema Ranking #56 Old Farts Ranking, #129 Damn Kids Ranking #78 Ambassador Ranking, #100 All-American Ranking #189 Cartoon Ranking, #89 Damn Boomer Ranking

I apologize on behalf of Dall-E Mini for drawing terrible faces for this one. Number 98 "If you run, you're dead. If you stay, you're dead again." About the Film Synopsis "Buscapé was raised in a very violent environment. Despite the feeling that all odds were against him, he finds out that life can be seen with other eyes…" Its Legacy "Directed by Fernando Meirelles, the 2002 film portrays life in the City of God, a favela known by the same name for over three decades, starting in the 1960s when it was a new housing project and its main characters were children and petty thieves, and ending in the early 1980s, by which time the slum is a war zone and most of the protagonists are either dead or engaged in a bloody war over drugs turf. Narrated by Rocket, a boy who dreams of becoming a photographer, the story focuses on the escalating battle between rival gangs led by the murderous Lil Zé and Carrot. The favela itself is a central character in the film, which traces its deterioration into anarchic bloodbath: for the 1960s segment, the slum is bathed in a golden light and laughing children kick around a football in open spaces. As Rocket, Lil Zé and his sidekick Benny become teenagers in the 1970s, the streets take on a grey/brown hue. Leaving the favela is shown as going from darkness into light. By the time the community has sunk into all-out war, the favela is portrayed with the detachment of a documentary as Rocket, beginning to distance himself, shoots the killers with his camera." - Jo Griffin, The Guardian From the Filmmaker Why It's Great Critic Opinion "The crew filming City of God were all professionals though the movie gave off the effect that everything from the actors to the filming was amateur. A lot of the scenes were shot at low angles, without tripods, and at slanted curves. When Buscape is at the beach kissing Angelica, the camera is slated almost sideways and very close up to their faces. While during the filming of the scene where Lil’ Ze forces the little boy to kill the other boy for stealing, the camera is put at the level of Lil’ Ze’s legs, and almost all the time the camera is shaky and moving. These techniques give the audience a very realistic tone to the movie. These along with Buscape’s narration make City of God seem almost like a documentary. Overall, the success of the movie is well deserved as the directors helped open the eyes of the international crowd and everything was well done. Though the picture was very violent, it was based on true events which helps one take everything they see more seriously. This film was the beginning for a lot of people’s acting careers and even helped director Fernando Meirelles receive many job offers from Hollywood. City of God is the perfect example of the Post-Cinema Novo Brazilian Cinema movement." - sjfilmhistory Public Opinion "From the moment that the antagonist of the film is revealed, City of God becomes absolutely enrapturing. An absolutely mesmerizing crime epic that captures the carnage, devastation and toll that the drug wars took on the streets of the slums (or favelas) of Rio de Janeiro, everything from the characters, to the actors, to the direction, the cinematography, the music and the production values was on point. The film is somehow able to juggle the weight of so many different characters in a 2 hour runtime, leading them to organic and senseful conclusions, even if the characters didn't really learn life-changing lessons, but in a story strongly based on real events, you don't necessarily need that to tell a tale that's gripping and compelling from start to finish. City of God is about how greed, corruption and soullessness have wrecked so many lives, even including shocking scenes of tortured or dead children caught in the war. Meanwhile, the character of Zé Pequeno might just be one of the most iconic villains of 2000's cinema - ruthless, cold and remorseless. Astounding performance from Leandro Firmino, and even his child counterpart Douglas Silva. It takes a solid act to get itself together and allowing you to meet it in its wavelength, but once you settle in, City of God is an unforgettable experience that captures the horrors of Brazil's social struggles. Between this and Walter Selles' Central Station, turn of the century Brazil cranked out some absolutely all-time classic cinema." - Andre Meria, Letterboxd and Box Office Theory Forums The AI's Poetic Opinion city of god "The city of God, amidst the noise and pollution a beacon of hope." - dA vInci Factoids Previous Rankings #56 2020, #97 2018, Unranked 2016, Unranked 2014, #58 2013, #81 2012 Director Count Clint Eastwood (1), Katia Lund (1), Fernando Meirelles (1), Peter Weir (1) Re-Weighted Placements #143 Fanboy Ranking, #83 Cinema Ranking #126 Old Farts Ranking, #92 Damn Kids Ranking #62 Ambassador Ranking, #110 All-American Ranking #154 Cartoon Ranking, #92 Damn Boomer Ranking

Sorry i wrote the wrong subtitle it's Master and Commander: The Far Side of the World My bad!

Number 99 "To wives and sweethearts." About the Film Synopsis "After an abrupt and violent encounter with a French warship inflicts severe damage upon his ship, a captain of the British Royal Navy begins a chase over two oceans to capture or destroy the enemy, though he must weigh his commitment to duty and ferocious pursuit of glory against the safety of his devoted crew, including the ship’s thoughtful surgeon, his best friend." Its Legacy "No movie production could ever be described as "easy," but the challenges and complexities involved in taking "Master and Commander" from the script to the screen would likely put many other modern films — even $200+ million superhero movies — to shame. Having been nominated at the Academy Awards for Best Art Direction, Best Cinematography (which it won), Best Costume Design, and Best Visual Effects, it sure seems as if all that hard work paid off. That hard work, however, involved an assortment of tricks to bring the film to vivid detail. As much as the film's reputation thrives on its adherence to filming on actual ships and sets, quite a bit of visual trickery was involved to bring out the story's true sense of scope and scale. So when it came to the question of using actual paintings in order to augment the use of miniatures, practical sets, and visual effects rather than opting for the "too perfect" tendency of CGI at the time, you could perhaps say that the creative team behind "Master and Commander" chose the lesser of two ... weevils." - Jeremy Mathai, Slashfilm From the Filmmaker "Paintings were terribly important in all of these action sequences in terms of getting the volume of smoke, the attitude of ships in close combat and particularly for damage to the vessels... miniatures firing at each other were further enhanced. The sky and the water were all added. We had white smoke in the shot, which was then digitally enhanced to make it black. Until the ship emerges from the smoke, the audience clearly thinks that the English ship has failed in its objective. This created more tension. The slightly larger miniature mast and the miniature ships were composited by ILM. But the key thing I had to always remind them of was that it shouldn't look too smooth. You can do so much with CGI that sometimes it can look too perfect. I wanted them to imagine they were doing the shot in a camera boat that was rocking so the shot looked a little off." - Peter Weir Why It's Great Critic Opinion "It's an odd claim to make for a film that won the Oscar for cinematography, but at its best Master and Commander: The Far Side of the World (released on video this week) is less a visual experience than an aural one. Director Peter Weir opens with aerial shots of a tall ship accompanied by on-screen text--"H.M.S. Surprise ... N. coast Brazil. Admiralty orders: ... 'Intercept French privateer Acheron en route to Pacific.'"--before swiftly shifting to a nighttime change of watch aboard the vessel. The camera glides past sleeping sailors and silent cannons; we see a hand flip an hourglass and another ring a bell; shadowy figures climb the rigging as others descend. The real function of the scene, however, is not to let us see--it takes place, after all, at night--but to let us hear. And what we hear is a marvel. Weir and his sound people fill the darkness with the low gurgle of the sea, the heavy creak of the hull, the squeak of hammocks and lanterns swaying with the ship's roll, the strain of rope ladders carrying men's weight. The scene has no narrative or expository purpose, but it announces Weir's intentions with wordless clarity: Master and Commander may feature crashing naval battles and acts of derring-do, but its primary concern will be the portrayal of life aboard this ship, the mundane rhythms and chores that were part of life in the Royal Navy circa 1800." - Christopher Orr, The Atlantic User Opinion "April 1805. Napoleon is master of Europe. Only toxic masculinity stands before him. The discourse is now a battlefield. H.M.S. Surprise. 28 guns, 197 bros." - Will Menaker, Letterboxd The AI's Poetic Opinion master and commander "The captain is the master Of the ship and all who sail in her A true commander" - dA vInci Factoids Previous Rankings Unranked (2020, 2018, 2016, 2014, 2013, 2012) Director Count Clint Eastwood (1), Peter Weir (1) Re-Weighted Placements #181 Fanboy Ranking, #71 Cinema Ranking #58 Old Farts Ranking, #127 Damn Kids Ranking #76 Ambassador Ranking, #101 All-American Ranking #200 Cartoon Ranking, #88 Damn Boomers Ranking

Number 100 "We all got it coming, kid." About the Movie Synopsis "William Munny is a retired, once-ruthless killer turned gentle widower and hog farmer. To help support his two motherless children, he accepts one last bounty-hunter mission to find the men who brutalized a prostitute. Joined by his former partner and a cocky greenhorn, he takes on a corrupt sheriff." Its Legacy "Up to 1992, the genre had defined much of Eastwood’s career. His first success as an actor came with the television series Rawhide, and his performances in Sergio Leone’s Dollars trilogy (1964-66) turned him into a western icon. Later he’d reflect on this image in much of his directorial work, for example with his comically self-deprecating take on the actor as outlaw in Bronco Billy (1980) or the subversion of his gunfighter persona in the two era-defining westerns that led to Unforgiven – The Outlaw Josey Wales (1976) and Pale Rider (1985). Though a sense of closure and finality defines the picture, it doesn’t even mark the mid-point of Eastwood’s directorial career. He has directed 20 films over the last quarter of a century, and, though he hasn’t made another western, many of the film’s themes appear throughout his later work: the vagaries of ageing in Blood Work (2002), the futility of retribution in Mystic River (2003) or the role of fate in Hereafter (2010)." - Craig Williams, BFI From the Filmmaker Why It's Great Critic Opinion "With masterful temperance and humanity, Clint Eastwood’s Unforgiven adopts a critical structure to reassess our perception of the American West, both in historical terms and in an autobiographical context for its director, producer, and star. As a revisionist Western reflecting on the past, the film takes place at a time when gunslingers had lived long passed their prime. By 1880, about when the film takes place, these men had eased into what might be called simpler lives. Some escaped the violence of their former selves to settle down with a family, while others celebrated their own names by participating in dime novels and Wild West shows that transformed their exploits into the feats of living legends. Likewise, in 1992, when Unforgiven was released, the larger part of Eastwood’s career as an actor and filmmaker relied on his status as a masculine protagonist in violent, escapist action films where, along with Eastwood himself, characters like Dirty Harry and The Man with No Name became screen icons. With this film, Eastwood redefines his onscreen and offscreen persona by instilling uncertainty into traditional Western archetypes, and in doing so the film questions the history of the American West and furthermore Eastwood’s own role in defining the West in cinema." - Brian Eggert Public Opinion "This movie is a sublime flip whereupon the most vile culprits are also the ones who show the most hesitance towards violence, yet for everyone else violence is not just tolerated, it is expected. A western community is defined by simmering hatred spreading across class, race and sex, and everyone is just waiting for an outsider to kill so the sky can turn black and the torches can be lit. The latter sections do not resemble generic Western stereotypes as they do generic noir stereotypes - the world lives only blackness and dimly lit saloons. This combination is key, because here Clint shifts the subject from the iconography of genre to the iconography of himself. The films final moments are both explosive and a tunnel into the void - Eastwood does what he has done in a number of westerns, even ones he has directed - he walks into a doorway and single handedly kills an entire room full of men. He's not even above shooting a man in the back, running in fear. But what is once stylized like the Leone films which CE built his career on is now nothing short of horrifying - archetypal icon now is unmasked as psychopath. But this does not fully seem as reflective of western cinema as a whole as it does of the films Eastwood made with Leone, and furthermore his position in them. It's genuine inquiry if not total self-repudiation. This final sequence could be a sort of 'anti-aesthetic,' in that it rejects formalism for the purpose of sensory reaction. Or perhaps, the rejection of aestheticism if it does not have a moral position." - Neil Bahadur, Letterboxd The AI's Poetic Opinion unforgiven There's always that one person Who you can't seem to forget The one who hurt you - dA vInci Factoids Previous Years Rankings #81 (2020), #86 (2018), Unranked (2016), Unranked (2014), Unranked (2013), #83 (2012) Director Count Clint Eastwood (1) Re-Weighted Placements #145 Fanboy Ranking, #81 Cinema Ranking #123 Old Farts Ranking, #93 Damn Kids Ranking #66 Ambassador Ranking, #108 All-American Ranking #182 Cartoon Ranking, #91 Damn Kids Again Ranking

While I get a few additional things settled I will tease you all with the first 10 movies that did NOT make the top 100, but did make the top 250. Number 250 Almost Famous (2000, Cameron Crowe) Number 249 The Young Girls of Rochefort (1968, Jacques Demy) Number 248 The Texas Chainsaw Massacre (1974, Tobe Hooper) Number 247 The Avengers (2012, Josh Whedon) Number 246 Shrek (2001, Andrew Adamson and Vicky Jenson) Number 245 Raging Bull (1980, Martin Scorsese) Number 244 Ocean's Eleven (2001, Steven Soderbergh) Number 243 Evil Dead 2 (1987, Sam Raimi) Number 242 The Third Man (1949, Carol Reed) Number 241 Mean Girls (2004, Mark Waters)

55 Lists were received. Hearts will be thrilled and broken. As usual we will be doing full write-ups for every movie in the top 100, but announcing the full top 250. We will also see how movies in the top 100 would have performed using re-weighted user stats denoted at: Powism - The percent of franchise films on a user's list Used to calculate a movie's 'Fanboy Ranking' and the 'Cinema Ranking' (re-weight the list inverse of the Powism scores) Breadth - The percent of pre-1980 movies on a user's list Used to calculate a movie's 'Old Fart Ranking' and the 'Damn Kids Ranking' (Inverse breadth scores) International - The percent of non-English language movies on a user's list Used to calculate a movie's 'Ambassador Ranking' and the 'All American Ranking' (Inverse International scores) Animation - The percent of animated movies on a user's list Used to calculate a movie's 'Cartoon Ranking' and 'Damn Kids Again Ranking' The List 31. Saving Private Ryan (1998) 32. Apocalypse Now (1979) 33. Alien (1979) 34. Beauty and the Beast (1991) 35. Citizen Kane (1941) 36. Seven Samurai (1954) 37. Pulp Fiction (1994) 38. Psycho (1960) 39. Rear Window (1954) 40. The Lion King (1994) 41. The Thing (1982) 42. Singin’ in the Rain (1952) 43. Star Wars: The Last Jedi (2017) 44. It’s a Wonderful Life (1946) 45. Inside Out (2015) 46. 2001: A Space Odyssey (1968) 47. Silence of the Lambs (1991) 48. Do the Right Thing (1989) 49. Princess Mononoke (1997) 50. The Truman Show (1998) 51. Wall-E (2008) 52. Once Upon a Time in the West (1966) 53. The Good, The Bad, and the Ugly (1964) 54. Monty Python and the Holy Grail (1975) 55. Sunset Boulevard (1950) 56. Dr Strangelove: or How I Learned to Stop Worrying and Love the Bomb (1964) 57. Toy Story (1995) 58. The Shining (1980) 59. Mulholland Drive (2001) 60. Pan’s Labyrinth (2006) 61. Halloween (1978) 62. Silence (2016) 63. Your Name (2016) 64. The Wizard of Oz (1939) 65. Gladiator (2000) 66. Ratatouille (2007) 67. Avengers: Endgame (2019) 68. Se7en (1995) 69. Aliens (1984) 70. Return of the Jedi (1983) 71. Memento (2000) 72. A.I. Artificial Intelligence (2001) 73. The Incredibles (2004) 74. The Social Network (2010) 75. In the Mood for Love (2000) 76. Eternal Sunshine of the Spotless Mind (2004) 77. The Prince of Egypt (1998) 78. Finding Nemo (2003) 79. Before Sunset (2004) 80. My Neighbor Totoro (1988) 81. Grave of the Fireflies (1988) 82. Fargo (1996) 83. The Departed (2006) 84. Interstellar (2014) 85. Scream (1996) 86. Rocky (1976) 87. Forrest Gump (1994) 88. Akira (1988) 89. Magnolia (1991) 90. Pirates of the Caribbean: Dead Man’s Chest (2006) 91. Blade Runner (1982) 92. Avatar (2009) 93. Bicycle Thieves (1948) 94. The Exorcist (1973) 95. Captain America: The Winter Soldier (2014) 96. Malcolm X (1992) 97. City Lights (1931) 98. City of God (2002) 99. Master and Commander: The Far Side of the World (2003) 100. Unforgiven ... 126. The Intouchables 127. Ghostbusters (1984) 128. The Matrix Reloaded (2003) 129. Nashville (1975) 130. Get Out (2017) 131. Star Wars: Episode III – Revenge of the Sith (2005) 132. Inglourious Basterds (2009) 133. Rashomon (1950) 134. Ran (1985) 135. Whisper of the Heart (1995) 136. The Age of Innocence (1993) 137. Batman Begins (2005) 138. Zodiac (2007) 139. The Princess Bride (1987) 140. The Big Lebowski (1998) 141. The 400 Blows (!959) 142. Stalker (1979) 143. The Handmaiden (2016) 144. Children of Men (2006) 145. Amadeus (1984) 146. A Clockwork Orange 147. Face/Off (1997) 148. Memories of Murder (2003) 149. One Flew Over the Cuckoo’s Nest (1975) 150. Up (2009) 151. Knives Out (2019) 152. Good Will Hunting (1997) 153. Dazed and Confused (1993) 154. 1917 (2019) 155. Bambi (1942) 156. Whiplash (2013) 157. Oldboy (2003) 158. Star Wars: The Force Awakens (2015) 159. The Sound of Music (1965) 160. Modern Times (1936) 161. Guardians of the Galaxy (2013) 162. Who Framed Roger Rabbit? (1988) 163. Candyman (1992) 164. Fight Club (1999) 165. The Great Escape (1963) 166. La La Land (2016) 167. Come and See (1985) 168. Brokeback Mountain (2005) 169. Fanny and Alexander (1982) 170. A Star is Born (1954) 171. A Silent Voice (2016) 172. The Bridge on the River Kwai (1957) 173. Margaret (2011) 174. The Searchers (1956) 175. There Will Be Blood (2007) 176. Chinatown (1974) 177. Life of Pi (2012) 178. Cabaret (1972) 179. Call Me By Your Name (2017) 180. RoboCop (1987) 181. Das Boot (1992) 182. The Blair Witch Project (1999) 183. Amelie (2001) 184. The Best Years of Our Lives (1946) 185. Catch Me if You Can (2002) 186. Lady Bird (2017) 187. Eraserhead (1977) 188. Mary Poppins (1964) 189. The Manchurian Candidate (1962) 190. Doctor Zhivago (1965) 191. Arsenic and the Old Lace (1944) 192. A Beautiful Mind (2001) 193. Notorious (1946) 194. When Harry Met Sally (1989) 195. Gone Girl (2014) 196. Fiddler on the Roof (1971) 197. Cinema Paradiso (1988) 198. High and Low (1967) 199. Fantastic Mr. Fox (2009) 200. Paddington 2 (2017) 201. Belle (2021) 202. Slumdog Millionaire (2008) 203. Paper Moon (1973) 204. All That Jazz (1979) 205. Once Upon a Time in America (1984) 206. Ferris Beuller’s Day Off (1986) 207. Hard Boiled (1992) 208. Pinocchio (1940) 209. The Martian (2015) 210. Kiki’s Delivery Service (1989) 211. A Nightmare on Elm Street (1984) 212. District 9 (2009) 213. The Iron Giant (1999) 214. JFK (1991) 215. Sunrise: A Song of Two Humans (1927) 216. Wild Strawberries (1957) 217. Cruel Intentions (1999) 218. Gravity (2013) 219. The LEGO Movie (2014) 220. Harry Potter and the Deathly Hallows – Part 2 (2011) 221. No Country for Old Men (2007) 222. Captain America: Civil War (2015) 223. Braveheart (1995) 224. The Big Short (2015) 225. The Hunger Games: Catching Fire (2013) 226. L.A. Confidential (1997) 227. How Green Was My Valley (1939) 228. Black Swan (2010) 229. Once (2006) 230. Spider-Man (2002) 231. Caddyshack (1980) 232. Only Angels Have Wings (1939) 233. The Sting (1977) 234. Short Term 12 (2013) 235. The Right Stuff (1983) 236. Ikiru (1952) 237. Kingdom of Heaven (2005) 238. Speed (1994) 239. Little Women (2019) 240. The Graduate (1967) 241. Mean Girls (2004) 242. The Third Man (1949) 243. Evil Dead 2 (1987) 244. Ocean’s Eleven (2001) 245. Raging Bull (1980) 246. Shrek (2001) 247. The Avengers (2012) 248. The Texas Chainsaw Massacre (1974) 249. The Young Girls of Rochefort (1968) 250. Almost Famous (2000)

GET YOUR LISTS IN THEY ARE DUE TODAY! BORING BOX OFFICE WEEK ANYWAYS

okay actually one more last mass tag to remind everyone that lists are DUE TODAY! @Eric the Minion @Jake Gittes @cannastop @Jayhawk the Hutt @Kvikk Lunsj @Plain Old Tele @DAR @YourMother @TOG @SLAM! @4815162342 @Ethan Hunt @Rorschach @Cap @Blankments @Eric @SchumacherFTW @Ezen Baklattan @NamakFiskKa @tribefan69501 @Menor Reborn @chasmmi @Water Bottle @water @vc2002 @Wrath @WrathOfHan @Jason @MrPink @charlie Jatinder @DAJK @Jay Beezy @AndyLL @raulbalarezo @aabattery @ZeeSoh @Sal @Empire @Cmasterclay @MrGamer @TMP @Webslinger @meridian @Brainbug @Gopher @Essem @Sir Tiki @BoxOfficeFangrl @B J @SnokesLegs @Neo @filmlover @IronJimbo @Ryan Reynolds @grim22 @kayumanggi @Impact @CJohn @CoolioD1 @TwoMisfits @John Rambo @Valonqar @Totem @Shawn @BruiseCruise @vale9001 @Alpha @MrFanaticGuy34 @titanic2187 @wildphantom @Ledmonkey96 @scoobysaurus @BestPicturePlutoNash @Mango @DC Rich @ringedmortality @Doffy @PenguinHyphy @cruelintentionsisgoated @Box Office Hit @Jonwo @Issac Newton @lilmac @Fancyarcher @#ED @Porthos @75Live @A Star is Orm @a2k @ACSlater @acab @AJG @angeldelmito @Arlborn @Barnack @baumer @Biggestgeekever @Blaze Heatnix @boomboom234 @Boxofficerules @BoxOfficeZ @ChD @Captain Craig @CaptainJackSparrow @Catty @cdsacken @cax16 @Chewy @Claire of Themyscira @Dark 33Legend of the Sith @darkelf @Darth Lehnsherr @ddddeeee @DeeCee @Deja23 @EarlyDeadlinePredictions @Eevin @el sid @ElsaRoc @elcaballero @Empire @EmpireCity @Exxdee @FantasticBeasts @Tower @Jack Nevada @Films @Finnick @FlashMaster659 @franfar @Frozen @FrozenUnicorn @FrozenFan626 @Goffe @IceFire9yt @Inceptionzq @Ithil @James @Jandrew @Jim Shorts @JimiQ @JJ-8 @justvision @K1stpierre @Kalderic @Kalo @KeepItU25071906 @kitik @Krissykins @Lion Roar @LonePirate @m3racer123 @M37 @Mattrek @Mekanos @Michael Gary Scott @Mike Hunt @misafeco @Morieris @MrGlass2 @Ms Lady Hawk @Mulder @Napoleon @narniadis @Neo @Noctis @Nova @Olive @peludo @RandomCat @RealLyre @Rebeccas @reddevil18 @redfirebird2008 @RichWS @RobrtmanAStarWarsReference @rukaio101 @Sam @sfran43 @Sheikh @ShouldIBeHere @Spidey Freak @TalismanRing @tawasal @terrestrial @The Fast and the Furiosa @ThiagoMaia @TLK @trifle @VanillaSkies @vc2002 @VENOM @ViewerAnon @Walt Disney @Webslinger @Xillix @The Stingray @grey ghost @RySenkari @BourneFan #1 @John C-Nah @JohnnY @langer @incognitoo @boomboom234 @SchumacherFTW @MCKillswitch123 @Ozymandias @MovieMan89 @RobinHood26 @John Marston @Avatree @GraceRandolph @Reddroast @Premium George @Jamiem @carolwoodpr @ThomasNicole @Joel M @Fullbuster @dxmatrixdt @cmbbox2390 @dudalb @AJG @keysersoze @Tinalera @el sid @Immortal @pepsa @StarLord @The Panda @Mr Terrific @Durden @LegendaryBen @Immortal @ZackM @katnisscinnaplex @Legion and Thunder @ThomasNicole @Rebeccas @StormbreakerXXR @Kalel009Shel @Macleod @Nikostar @Hatebox @jedijake @Factcheck @WittyUsername @Last Man Standing @excel1 @TomCruiseTop @JamesCameronHimself @Alli @Maggie @HesAPooka @Borobudur @Juan Caballo @Grebacio @Custom Boxes @jimisawesome @Bruce @interiorgatordecorator @Lucas @SpiderByte @efialtes76 @Seto Kaiba @motionpic05 @Totem @Joel M @Poseidon @BadOlCatSylvester @exomassey @RthMav @Cheddar Please @Brandon Gray @ZackM @cax16 @Lancelot Gold @xanamanax @Sam @Olive @THUNDER BIRD @picores @moviegeek @MOVIEGUY @NCsoft @Krissykins @JohnnyGossamer @Mike Hunt @Gavin Feng @Gabbage Bash Kid @El Gato @Xavier @harrisonisdead @Skim Beeble @abra @AnDr3s @Flamengo81 @Hilpkioy @MikeQ @Godzilla @mmacader @Pinacolada @jma22 @Alpha @Deep Wang @Doffy @Sandro Mazzola @Chaz @efialtes76 @Mr Terrific @Viper @PenguinHyphy @datpepper @Sir Tiki @AniNate @poweranimals @snarkmachine @ban1o @John2015 @El Squibbonator @Sophie @Wormow @reddevil18 @Nero @Dominic Draper @ThePrinceIsOnFire @Rebeccas @sharadsuman @filmnerdjamie @Nikostar @p a p i @Juby @stripe @Doffy @Mojoguy @parkerthegreat @ringedmortality @efialtes76 @LonePirate @krla @Jiffy @Cappoedameron @JustLurking @Hades @Lestranger @Liiviig 1998 @longleo90 @ThomasNicole @Pinacolada @Firepower @Factcheck @Mulder @Grebacio @Dragoncaine @Taruseth @Tokugennumataka @YM! @mikeymichael @Coldbird @Reddroast @Freakymagic @WorkingonaName @AJG @jedijake @HouseOfTheSun @eddyxx @cax16 @SpiderByte @KJsooner @WittyUsername @Porthos @Ecks Ecks Are @MOVIEGUY @Seth Irskens @AnDr3s @Avatree @Krissykins @Goldenhour36 @PlatnumRoyce @Mojoguy @motionpic05 @Xavier @setna @MrFanaticGuy34 @Torontofan @BruiseCruise @A District 3 Engineer @Mandatory @Lighthouse

The list that Capt sent to me they allocated their own points so their specific ranking did not matter. Their submission was perfectly fine, let's not attack them please. Also, old movies are the best

One final reminder. Lists are DUE TOMORROW! @Eric the Minion @Jake Gittes @cannastop @Jayhawk the Hutt @Kvikk Lunsj @Plain Old Tele @DAR @YourMother @TOG @SLAM! @4815162342 @Ethan Hunt @Rorschach @Cap @Blankments @Eric @SchumacherFTW @Ezen Baklattan @NamakFiskKa @tribefan69501 @Menor Reborn @chasmmi @Water Bottle @water @vc2002 @Wrath @WrathOfHan @Jason @MrPink @charlie Jatinder @DAJK @Jay Beezy @AndyLL @raulbalarezo @aabattery @ZeeSoh @Sal @Empire @Cmasterclay @MrGamer @TMP @Webslinger @meridian @Brainbug @Gopher @Essem @Sir Tiki @BoxOfficeFangrl @B J @SnokesLegs @Neo @filmlover @IronJimbo @Ryan Reynolds @grim22 @kayumanggi @Impact @CJohn @CoolioD1 @TwoMisfits @John Rambo @Valonqar @Totem @Shawn @BruiseCruise @vale9001 @Alpha @MrFanaticGuy34 @titanic2187 @wildphantom @Ledmonkey96 @scoobysaurus @BestPicturePlutoNash @Mango @DC Rich @ringedmortality @Doffy @PenguinHyphy @cruelintentionsisgoated @Box Office Hit @Jonwo @Issac Newton @lilmac @Fancyarcher @#ED @Porthos @75Live @A Star is Orm @a2k @ACSlater @acab @AJG @angeldelmito @Arlborn @Barnack @baumer @Biggestgeekever @Blaze Heatnix @boomboom234 @Boxofficerules @BoxOfficeZ @ChD @Captain Craig @CaptainJackSparrow @Catty @cdsacken @cax16 @Chewy @Claire of Themyscira @Dark 33Legend of the Sith @darkelf @Darth Lehnsherr @ddddeeee @DeeCee @Deja23 @EarlyDeadlinePredictions @Eevin @el sid @ElsaRoc @elcaballero @Empire @EmpireCity @Exxdee @FantasticBeasts @Tower @Jack Nevada @Films @Finnick @FlashMaster659 @franfar @Frozen @FrozenUnicorn @FrozenFan626 @Goffe @IceFire9yt @Inceptionzq @Ithil @James @Jandrew @Jim Shorts @JimiQ @JJ-8 @justvision @K1stpierre @Kalderic @Kalo @KeepItU25071906 @kitik @Krissykins @Lion Roar @LonePirate @m3racer123 @M37 @Mattrek @Mekanos @Michael Gary Scott @Mike Hunt @misafeco @Morieris @MrGlass2 @Ms Lady Hawk @Mulder @Napoleon @narniadis @Neo @Noctis @Nova @Olive @peludo @RandomCat @RealLyre @Rebeccas @reddevil18 @redfirebird2008 @RichWS @RobrtmanAStarWarsReference @rukaio101 @Sam @sfran43 @Sheikh @ShouldIBeHere @Spidey Freak @TalismanRing @tawasal @terrestrial @The Fast and the Furiosa @ThiagoMaia @TLK @trifle @VanillaSkies @vc2002 @VENOM @ViewerAnon @Walt Disney @Webslinger @Xillix @The Stingray @grey ghost @RySenkari @BourneFan #1 @John C-Nah @JohnnY @langer @incognitoo @boomboom234 @SchumacherFTW @MCKillswitch123 @Ozymandias @MovieMan89 @RobinHood26 @John Marston @Avatree @GraceRandolph @Reddroast @Premium George @Jamiem @carolwoodpr @ThomasNicole @Joel M @Fullbuster @dxmatrixdt @cmbbox2390 @dudalb @AJG @keysersoze @Tinalera @el sid @Immortal @pepsa @StarLord @The Panda @Mr Terrific @Durden @LegendaryBen @Immortal @ZackM @katnisscinnaplex @Legion and Thunder @ThomasNicole @Rebeccas @StormbreakerXXR @Kalel009Shel @Macleod @Nikostar @Hatebox @jedijake @Factcheck @WittyUsername @Last Man Standing @excel1 @TomCruiseTop @JamesCameronHimself @Alli @Maggie @HesAPooka @Borobudur @Juan Caballo @Grebacio @Custom Boxes @jimisawesome @Bruce @interiorgatordecorator @Lucas @SpiderByte @efialtes76 @Seto Kaiba @motionpic05 @Totem @Joel M @Poseidon @BadOlCatSylvester @exomassey @RthMav @Cheddar Please @Brandon Gray @ZackM @cax16 @Lancelot Gold @xanamanax @Sam @Olive @THUNDER BIRD @picores @moviegeek @MOVIEGUY @NCsoft @Krissykins @JohnnyGossamer @Mike Hunt @Gavin Feng @Gabbage Bash Kid @El Gato @Xavier @harrisonisdead @Skim Beeble @abra @AnDr3s @Flamengo81 @Hilpkioy @MikeQ @Godzilla @mmacader @Pinacolada @jma22 @Alpha @Deep Wang @Doffy @Sandro Mazzola @Chaz @efialtes76 @Mr Terrific @Viper @PenguinHyphy @datpepper @Sir Tiki @AniNate @poweranimals @snarkmachine @ban1o @John2015 @El Squibbonator @Sophie @Wormow @reddevil18 @Nero @Dominic Draper @ThePrinceIsOnFire @Rebeccas @sharadsuman @filmnerdjamie @Nikostar @p a p i @Juby @stripe @Doffy @Mojoguy @parkerthegreat @ringedmortality @efialtes76 @LonePirate @krla @Jiffy @Cappoedameron @JustLurking @Hades @Lestranger @Liiviig 1998 @longleo90 @ThomasNicole @Pinacolada @Firepower @Factcheck @Mulder @Grebacio @Dragoncaine @Taruseth @Tokugennumataka @YM! @mikeymichael @Coldbird @Reddroast @Freakymagic @WorkingonaName @AJG @jedijake @HouseOfTheSun @eddyxx @cax16 @SpiderByte @KJsooner @WittyUsername @Porthos @Ecks Ecks Are @MOVIEGUY @Seth Irskens @AnDr3s @Avatree @Krissykins @Goldenhour36 @PlatnumRoyce @Mojoguy @motionpic05 @Xavier @setna @MrFanaticGuy34 @Torontofan @BruiseCruise @A District 3 Engineer @Mandatory @Lighthouse