Eric Prime

Y'all, I don't think I can handle this on the big screen tomorrow. @MrPink you might have to hold my hand.

Don't know if I can handle this opening to 100M. Might just break down crying :')

#80 South Park: Bigger, Longer, and Uncut 505 points, 15 lists "Remember what the MPAA says; Horrific, Deplorable violence is okay, as long as people don't say any naughty woids!" Box Office: 83.1M Rotten Tomatoes: 80% Metacritic: 73 Awards: 1 Academy Award nomination, 3 Annie Award nominations, 1 MTV Movie Award. Roger Ebert's Review: "A lot of the movie offended me. Some of it amazed me. It is too long and runs out of steam, but it serves as a signpost for our troubled times. Just for the information it contains about the way we live now, thoughtful and concerned people should see it. After all, everyone else will." Its Legacy: Part of the long-lasting animated series. The highest-grossing R-rated animated movie until Sausage Party in 2016. Features the most swearing ever in an animated movie. Parker and Stone were given a picture of Saddam Hussein by US soldiers in 2006 because of this movie. Led to Trey and Matt dressing in drag while on LSD at the Academy Awards. Considered one of the greatest animated movies of all time. Gave George Clooney a paycheck. Commentary: What exactly can you say about South Park? It’s been on for so long, with so many specials, video games, merchandise, and tons of rip-offs and copycats, that we kind of take this show for granted now. Some of us still watch it, and once in a while it gets itself into controversy, but we kind of take for granted just how groundbreaking it was. How distinct it was from everything else on television, how many boundaries it pushed, how vulgar and crass it can truly be. And two years into this iconic show’s run, we had, in many ways, the peak of South Park as a franchise. Bigger, Longer and Uncut was unbound by the limitations of television censorship. And while it didn’t have the biggest budget, it certainly had enough where Trey Parker and Matt Stone could do whatever they wanted. And what came of it was, simply put, a masterpiece of trash. Trashsterpiece? It’s a film that mocked itself and the backlash it received. It made fun of all the moral panic nonsense conservative parents had against the original series, it spoofed the Disney musicals into the most disgusting iteration it could possibly be, and was more than happy to show that Satan and Saddam Hussein were in fact a gay couple. That’s not something you see in every movie. Alongside a slew of celebrity cameos and bombastic animation set pieces, this was the ultimate South Park package, and is arguably one of the main reasons the show has lasted as long as it has. And while there have been countless specials and 3-parters, there has never been anything like Bigger, Longer, and Uncut. And while rumors of a sequel or new theatrical movie have been around for ages, I think it’s for the best we all have this one singular movie to enjoy and laugh at. One that, frankly, is still relevant and hilarious, despite being in a genre that, frankly, doesn’t always age the best.

#81 Mildred Pierce 502 points, 9 lists "Personally, Veda's convinced me that alligators have the right idea. They eat their young." Box Office: 5.6M Rotten Tomatoes: 87% Metacritic: 88 Awards: 1 Academy Award and 5 nominations, 1 National Board of Review Award, 1 New York Film Critics Circle Awards nomination Roger Ebert's Review: N/A Its Legacy: Joan Crawford's most iconic, Oscar-winning performance. Crawford's first starring role for WB, but far from the last. A crucial part of the 1981 Crawford "biopic" Mommie Dearest and featured on the FX series Feud. Parodied on The Carol Burnett Show. Part of the Criterion Collection. Remade into an HBO miniseries starring Kate Winslet. Joined the National Film Registry in 1996. Gave Eve Arden a paycheck. Commentary: Moms deserve better. They do so much for us without ever getting paid. They have so many responsibilities, but never get any proper credit. They are the most important people in the world, yet still get treated like second class citizens. Mildred Pierce, from Casablanca director Michael Curtiz, is one of the strongest and toughest cinematic mothers in history. A mother who is left behind by her first husband, is raising a teenage daughter who hates her guts, despite Mildred doing everything to make her daughter happy and popular, and is stuck in another loveless marriage just to find some sort of social status to be liked by her daughter and the world. It’s emotionally devastating, and it’s all thanks to Curtiz’s subtle direction and the incredible performance of the one and only Joan Crawford, as well as a strong screenplay by Ranald MacDougall that frames everything into a noir backdrop and makes sure every character is still given nuance and dimension. And above all else, despite the tragedy, Mildred Pierce is still a remarkable woman, doing everything she can to support her daughters. Even if, in the end, that love leads to terrible repercussions down the road. It’s a very complex, yet very emotionally powerful feature. One that has become Joan Crawford’s greatest, most defining performance, and shows that feminist features and strong-written women have always been an integral part of cinema. And with a recent release in 4K UHD by Criterion, Mildred Pierce will continue to be celebrated long after we are gone. Like any great mom would.

#82 Badlands 501 points, 9 lists "At this moment, I didn't feel shame or fear, but just kind of blah, like when you're sitting there and all the water's run out of the bathtub." Box Office: N/A Rotten Tomatoes: 97% Metacritic: 93 Awards: 1 BAFTA Award nomination, Roger Ebert's Review: "Terrence Malick, born 1943, is a legendary figure in American film, often described as reclusive. In fact, he is simply private, absorbed in his own work, happy with a circle of friends, and declining to join in even token efforts at publicity. I am unaware of a single interview he has given; the many second-hand reports from those who know him paint a cheerful man, friendly, obsessed with details, enraptured by nature. There is a hint of Kubrick...In five movies in four decades, he has, in his own way, fashioned one of the most distinctive bodies of work of his time. Very much in his own way." Its Legacy: The closing film of the 1973 New York Film Festival. The breakout film of Sissy Spacek and influenced her understanding of filmmaking. Martin Sheen's favorite script he ever read. The debut film of arthouse icon Terrence Malick. Joined the National Film Registry in 1993. Gave Warren Oates a paycheck. Commentary: Terrence Malick. You either love this man’s films for their moody atmosphere and contemplative storytelling, or hate their spiritualism and lack of compelling narrative. Regardless of your own opinions, his directorial debut really seemed to leave an impression on tons of BOT users. And it’s easy to understand why. It’s largely considered one of his more accessible features, being a Bonnie and Clyde-style story about two lovers who go off on a killing spree. But despite the easy to follow narrative, many of Malick’s hallmarks are seen right out of the gate. Lush imagery, transcendent themes, powerful performances, and a screenplay that is mesmerizing and unlike anything else. The film was given positive reviews on its initial release. And like any great film, it’s aged like fine wine and is celebrated for beginning the career of an all-time film director and being the breakout for the icon that is Sissy Spacek. And with a spot in the National Film Registry and the cast still raving about how much they adore the movie they were a part of, this is going to be a classic beloved for generations to come. Especially with Malick continuing to be a strong force in the arthouse industry.

It stars somebody with XX chormosomes. If it has a woman, it automatically makes it woke to conservative fuckwads.

This strike is making things unhinged lmao

Every generation is too broad, with their own weird, unique expereinces that set people apart even 2 or 3 years apart. This is why lumping a bunch of people into one group like this has never sat right with me. Especially when people go into some diatribe about how "This generation sux because blah blah blah"

I loved that she wrapped his dad's Christmas presents in Marvel wrapping paper a few years ago. You know this family has a good sense of humor with one another

Genuinely depressing that if Oppenheimer didn't have any memes attached to it, Gen Z wouldn't care and this would have been lucky to match Dunkirk's opening. It's not like these kinds of movies can rely on release date memes all the time.

Mario also brought in like 62% 18-34.

Quorum Updates Teenage Mutant Ninja Turtles: Mutant Mayhem T-13: 50.45% Awareness Meg 2: The Trench T-15: 42.23% Awareness Gran Turismo T-22: 26.88% Awareness Strays T-29: 26.88% Awareness Next Goal Wins T-120: 9.27% Awareness Wish T-125: 21.67% Awareness Barbie T-1: 75.02% Awareness Final Awareness: 100% chance of 90M, 75% chance of 100M, 25% chance of 200M Talk to Me T-8: 23.04% Awareness Final Awareness: 12% chance of 10M Original - High Awareness: 25% chance of 10M

If you're still waiting for your Barbie/Oppy show to start, might I recommend a critical analysis of Aqua's iconic bop?

You should have placed it at 76 lol

Yes. And thank goodness for that lol

Sleeping on it, I have calmed down. Cuz you know? Everything happens for a reason. A Dune delay? Not the worst thing. And that’s not what I need to focus on in life. It’s fine. I’ll be fine.

Then why are you here? You complain every other day at this point about how this forum is terrible and how everybody thinks every Marvel movie is an epic bomb. If you don’t like this forum, you can go somewhere else. We aren’t the only place on the entire Internet where you can talk about Marvel. So why hang around a place you hate? Either way, this passive aggressive nonsense you’re doing, because people dare to have a different opinion than you over a kids movie you’re excited over, isn’t funny. So stop.

It's not fair! I had two movies with my baby. TWO! TWO! TWO! But Zas and Iger just can't help themselves and can't pay their writers and actors properly. I can't with this.

NO PLEASE NO PLEASE NO PLEASE NO PLEASE TIMOTHEE DON'T LEAVE MEEEEEEEEEEEEEE

NOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOOO WHYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY

@Menor the Destroyer told me I should get the thread up on Wednesday. So blame him.

#83 Wonder Woman 492 points, 18 lists "I will fight for those who cannot fight for themselves" Box Office: 822.8M Rotten Tomatoes: 93% Metacritic: 76 Awards: 1 Critics Choice Award and 2 nominations, 1 Empire Award and 3 nominations, 1 Hugo Award, 1 MTV Movie Award and 2 nominations, 1 Saturn Award and 5 nominations, 1 SAG Award Roger Ebert's Review: N/A Its Legacy: Gave us the long-awaited and immediately definitive take on the iconic DC superheroine. Considered a landmark in feminist blockbuster cinema. Earned the biggest opening for a female-directed film, and became the biggest domestic earner for a female-directed film and the biggest superhero origin film. Considered the creative high point of the DC Extended Universe. Made Gal Gadot a movie star. Earned a sequel in 2020. Ranked in AFI's Top Ten Movies of the Year. Gave Connie Nielsen a paycheck. Commentary: The DCEU fumbled the bag not once, not twice, but thrice, all immediately out of the gate. With three critical bombs, everybody was scared over the one movie that, frankly, WB could not fuck up. Wonder Woman is one of, if not the most important heroine in comic book history. She isn’t just some cool woman who kicks ass, but a symbol. A symbol of womanhood, a symbol of feminism, a symbol of power, a symbol of everything good about our world. And for decades, WB tried to get us the perfect movie we all deserved. But time and time again, projects would fall apart, restart, then fall apart again, because nobody knew how to do Diana of Themyscira justice. But finally, in 2017, Patty Jenkins came up and did it right. Oh boy, did she get it right. Opening already to a solid 103.2M, it seemed things would be okay for the Amazon warrior. But very quickly, Wonder Woman became a phenomenon. Women went out in full force to see their favorite feminist icon kick ass and save us from the clutches of World War I. And to the surprise of everybody, Wonder Woman did more than 4 times its opening and beat Spider-Man to become the biggest non-sequel superhero movie ever...then Black Panther came out a few months later, but still, crazy stuff. And it’s all because Jenkins knew what made Diana such an amazing hero, especially in these trying times. Coming out the same year as the Me Too movement, Diana, performed by Gal Gadot, was everything that made women amazing. She’s a powerful fighter, and is always willing to kick ass and take names. But she is also a protector. A protector who cares about the innocent, and hates the idea of evil torturing those who never deserved it. She knows that people are willing to do good things, and it’s important to keep them alive, even if their moral code as a whole is nothing but a gray area. Diana is the antidote to a society full of hatred and corruption. And having this character see such amazing success in a year when so many women revealed they have been abused, mistreated, and have lost their agency...it makes the film all the more powerful. Of course, things after that fateful film became a lot more shaky. She was treated like a joke in Josstice League, the sequel was considered a major disappointment, the third film in the planned trilogy was canceled, and now the whole franchise is getting rebooted in James Gunn's DC Universe, with the next actress having big shoes to fill. But that 2017 hit really was something special and reminded all of us that women really are the coolest people around. And that is something we will never, ever forget.

#84 Once Upon a Time in America 489 points, 10 lists "Noodles... I slip... ped." Box Office: 5.5M Rotten Tomatoes: 87% Metacritic: 75 Awards: 2 BAFTAs and 3 nominations, 2 Golden Globe Award nominations Roger Ebert's Review: "Is the film too long? Yes and no. Yes, in the sense that it takes real concentration to understand Leone's story construction, in which everything may or may not be an opium dream, a nightmare, a memory, or a flashback, and that we have to keep track of characters and relationships over fifty years. No, in the sense that the movie is compulsively and continuously watchable and that the audience did not stir or grow restless as the epic unfolded." Its Legacy: The final film of iconic, acclaimed director Sergio Leone. Also Leone's final film in his Once Upon a Time trilogy. Oft considered one of the greatest gangster movies and greatest movies of all time. Ranked #10 on Sight & Sound's 2002 critics list. #9 on Time Out's Top 50 gangster movies. Considered the fourth best mobster film by The Guardian. Has recieved several cuts and versions. Gave Danny Aiello a paycheck. Commentary: The swan song of Sergio Leone, this is a Warner Bros. movie that, sadly, Warner Bros. completely bungled and destroyed to make it more “marketable”. The Snyder Cut wasn’t the first time this stuff happened, and it certainly won't be the last. Cutting the 3 hour, 49 minute epic into a 2 hour, 19 minute feature that was more conventional and boring, everybody hated it. Critics thought it was awful, it was on tons of “worst movies of the year” lists, and it flopped hard in theaters. Trying to make things more appealing to everybody meant it appealed to nobody. But of course, that’s not what we recognize the film for these days. That 229 minute version? That’s the good stuff. It’s a densely packed, emotionally powerful insight into the lives of Jewish Americans. An epic odyssey that looks into themes and ideas of friendship, love, lust, greed, betrayal, loss, all through the backdrop of the rise of the mob within America. These days, that original cut is one of the greatest movies ever made. One of the greatest gangster stories ever made. And one of Leone’s absolute bests, right up there with that original Dollars Trilogy that gave us WB staple Clint Eastwood. Sure, it may not be The Ladd Company/Warner’s greatest achievement to ruin such a masterpiece. But decades later, with that European Cut widely available for us all to enjoy, does it really matter?

#85 The Music Man 481 points, 8 lists "So what the heck? You're welcome! Join us at the picnic! You can eat your fill of all the food you bring yourself." Box Office: 15M Rotten Tomatoes: 94% Metacritic: N/A Awards: 1 Academy Award and 5 nominations, 1 Golden Globe Award and 4 nominations, 1 DGA Award nomination, 1 WGA Award. Roger Ebert's Review: N/A Its Legacy: Ensured the already iconic musical would have an iconic film adaptation of its own. Remade by Disney starring Matthew Broderick. Cited as one of the greatest movie musicals ever made. Joined the National Film Registry in 2005. Gave Buddy Hackett a paycheck. Commentary: If you have skin, you know about Meredith Wilson’s timeless musical classic. And if you have skin, you have also either endured your community’s cringey theater production of The Music Man or were part of your school’s cringey theater production of The Music Man. I was in the latter camp. I played one of the background teenagers! At this point, The Music Man is overexposed, which means it’s a show we are all just sick of seeing everywhere. Well, that Warner Bros. movie from 1962? That’s a film so good that it reminds you why people love that show in the first place. The songs are all bangers, one after the other, and the story, while light and silly, is still a compelling one. And it's all through direction that is poppy, energized, and consistently exciting. It also helps that Robert Preston is the star. This man is Harold Hill. Matthew Broderick and Hugh Jackman can both attest to the fact that they can't beat the king. The man perfectly captures Harold Hill's slimeballness and shadiness, while still making sure he's lovable and charming. His character and growth is believable and his relationship with Marion and Winthrop, both of whom are expertly played by Shirley Jones and Ronny Howard, is well-done and paced wonderfully. It's strange to think that Warner Bros. would release this, find commercial and critical success with Robert Preston reprising his stage role, and then ditch Julie Andrews when doing My Fair Lady. No disrespect to Audrey Hepburn, but it's still weird. WB’s been synonymous with musicals since the Busby Berkeley days. And with Wonka and The Color Purple dropping later this year, this will not change any time soon. But this one stands as a cut above the rest and will always be celebrated as long as we still get community theater productions propping up like weeds across the country.