Eric Prime

https://deadline.com/2024/01/argylle-box-office-preview-1235809067/

#370 - Make Mine Music, Zenon: Girl of the 21st Century (37 points, 1 list) #369 - Inspector Gadget, Sling Blade (38 points, 1 list) #368 - Ducktales the Movie: Treasure of the Lost Lamp, While You Were Sleeping (39 points, 2 lists, avg. ranking #81) #367 - Flubber, The Princess Diaries 2: Royal Engagement, Venom (2005) (39 points, 1 list, avg. ranking #62) #366 - Fortress, Halloweentown, Melody Time (40 points, 1 list) #365 - D3: The Mighty Ducks (40 points, 1 list, avg. ranking #20) #364 - The Sorcerer's Apprentice (2010) (40 points, 1 list, avg. ranking #17) #363 - Alive (41 points, 1 list) #362 - Kim Possible: A Sitch in Time (42 points, 3 lists) #361 - Mickey's Once Upon a Christmas (42 points, 2 lists)

#84 Amelie 619 points, 12 lists "At least you'll never be a vegetable - even artichokes have hearts." Box Office: 174.2M Rotten Tomatoes: 89% Metacritic: 69 Awards: 5 Academy Award nominations, 2 BAFTA Awards and 7 nominations, 4 Cesar Awards and 8 nominations, 1 Golden Globe Award nomination Roger Ebert's Review: "I am not sure "Amelie" is better than "Fargo" (No. 63) or "The General" (No. 87), but I know what the vote reflects: Immediate satisfaction with a film that is all goodness and cheer--sassy, bright and whimsical, filmed with dazzling virtuosity, and set in Paris, the city we love when it sizzles and when it drizzles. Of course this is not a realistic modern Paris, and some critics have sniffed about that, too: It is clean, orderly, safe, colorful, has no social problems, and is peopled entirely by citizens who look like extras from "An American in Paris." This is the same Paris that produced Gigi and Inspector Clouseau. It never existed, but that's OK." Its Legacy: One of the highest-grossing French films in history. Spawned a 2017 Broadway musical. A species of frog was named after this movie. #37 in Rolling Stone's Top 50 Romantic Comedies. #2 on Empire's Top 100 Best Films of World Cinema. Gave Rufus a paycheck. Commentary: From director Jean-Pierre Jeunet, this French romance story is whimsy incarnate. A story full of oddball characters, eccentric visuals, and silly scenarios. A film that is wholly idiosyncratic, unlike any other movie made, and endearing because of how unique and wonderful it is. There’s a lot to love in the world Jeunet created and Audrey Tautou is phenomenal as the innocent, wide-eyed, mischievous title character. And above all else, it’s also a very sweet film about kindness and good deeds. It’s a movie about a woman, alone and isolated from the world, deciding to make the lives of the people around her better in her own unique ways. It results in a film that is endlessly charming and encourages all of us to be more creative, give back to the people we love, and embrace what makes us unique. In a film that is gorgeous to look at and wonderful to listen to. The film quickly became an awards favorite and celebrated as one of France’s greatest films and is still charming people even today, with it set to return to the big screen in the US in just about a month from now. It’s a delightful feature unlike anything else before and anything else after, and will forever be cited as one of the best romantic comedies ever made.

#85 The Rock 619 points, 13 lists "Losers always whine about their best. Winners go home and fuck the prom queen." Box Office: 335.6M Rotten Tomatoes: 68% Metacritic: 58 Awards: 1 Academy Award nomination, 1 MTV Movie Award Roger Ebert's Review: "What really works is the chemistry between Connery, as a reluctant warrior who has all the skills necessary to outsmart and outfight the occupying force, and Cage, as the nerd who can disarm the rockets but is not much in the killing department. And then there is an intriguing complexity added to the Ed Harris character, who is not as one-dimensional as he seems." Its Legacy: One of Michael Bay's most successful films ever. The highest-reviewed film in Bay's career. Caused actual political turmoil in Britain in 2002 (look it up). Joined the Criterion Collection. Dedicated to the memory of Don Simpson. Later referenced in Michael Bay's Ambulance. Gave Tony Todd a paycheck. Commentary: You know how people talk about how Disney’s Renaissance were movies like Beauty and the Beast, Aladdin, Lion King, and so forth? Nah son. Let’s be real, Disney’s real Renaissance, their best period of movies ever, was when Jerry Bruckheimer went nuts at the movie studio in the mid-to-late 90s, and gave us nothing but certified cheesy action movie bangers. Crimson Tide, Con Air, Armageddon, Enemy of the State? All certified hood classics. And in some ways, Bruckheimer’s opus during that time was when he and Michael Bay gave us The Rock. Bay is, and likely always will be, a very polarizing filmmaker. Even now, in a world where vulgar auteurism is the hip new thing, it’s hard for many to admit they find enjoyment in a lot of his works. However, most agree The Rock is an absolute blast. And yeah, I can’t argue with that. It’s a fantastic premise with a solid “rescue innocents” plot with a lot of government conspiracy, wild action setpieces, shit getting blown to kingdom come, and an incredible leading cast with Nicolas Cage and Sean Connery being their oh so lovable, charming selves. Bay himself also keeps up a high energy, making even the boring talky bits full of slick choreography and cinematography, showing his maximal energy and flair at his absolute best. It might not always work, but it’s easy to see, even if you don’t care for most of his movies, why he garnered a passionate fanbase and why so many find his sensibilities fascinating to watch and analyze. For some, this is the best Bay ever got, which does mean, in some respects, it was all downhill from there. But it also was obvious from this movie that, even if he may not always deliver what you want, his films are always interesting. And thankfully, the man has enough clout to get more blank checks and opportunities to make movies that will make an impression on at least a few. Though whether or not that’s a good thing is up to you.

#86 The Wind Rises 618 points, 10 lists "Which would you choose: a world with pyramids or a world without?" Box Office: 136.5M Rotten Tomatoes: 88% Metacritic: 83 Awards: 1 Academy Award nomination, 1 Annie Award and 2 nominations, 1 Golden Globe Award nomination, 2 Japan Academy Prizes. Roger Ebert's Review: N/A Its Legacy: Hayao Miyazaki's (not actually) final film. Revitalized the story of Jiro Horikoshi and brought to prominence Miyazaki's own manga of the same name. The highest-grossing Japanese film of 2013. Highly controversial for its political content. Gave Martin Short a paycheck. Commentary: As a filmmaker, Hayao Miyazaki is lauded for his originality and fantastic imagination. He can create amazing stories, incredible worlds, strange characters unlike anything ever seen before. But in his final release...well, his once final release, the Japanese icon decided to do a biopic, tackling the life of famed Japanese World War II plane engineer Jiro Horikoshi. In a way, it seems like a disappointing fit for such a creative filmmaker. Why make an animated movie about a regular person? Why would somebody who gave us so many creative monsters and fantastical stories make a movie focusing on a person’s life story? Of course, it’s all about the execution. And within Hayao’s story is a film about the wonders of innovation and creativity. It’s a film that tells us that dreams and hopes are necessary. Necessary to find a reason to live, necessary to bring great things to the world, necessary to spawn great innovations. And it’s explored through the eyes of Horikoshi, who used his dreams to create incredible planes and push the boundaries on what aircraft can do. Of course, being part of World War II and having his technology used for something so destructive and evil, there are tough questions to ask here. Should he be idolized? Is his story something to tell in a romanticized manner? Can we celebrate something that killed so many? These questions were all asked around the time of the film’s release and are important questions to ask even a decade later. But that’s life. Nothing is black and white. It’s all complex, confusing, awkward, and full of tough questions with even tougher answers. But life is also beautiful, creative, and full of exciting stories and adventures. In a way, the most fantastical stories are ones that have already happened. This deserved the Oscar over Frozen.

Daily Domestic Chart for Monday January 29, 2024 See also: Jan 29, 2023 Daily Chart - Jan 22, 2024 Daily Chart Register with The Numbers for free to see additional data and customize this chart. ← Previous Chart Chart Index Movie Title Distributor Gross %YD %LW Theaters Per Theater Total Gross Days In Release - (2) The Beekeeper MGM $568,923 -62% -29% 3,337 $170 $42,115,710 18 - (6) Anyone But You Sony Pictures $380,000 -60% -20% 2,885 $132 $71,400,631 39 - (3) Wonka Warner Bros. $327,003 -78% -23% 3,014 $108 $195,252,221 46 - (8) Poor Things Searchlight … $297,445 -58% +26% 2,300 $129 $24,952,214 53 - (10) American Fiction MGM $243,681 -57% +43% 1,702 $143 $11,787,710 46 - (12) The Boys in the Boat MGM $197,466 -45% -36% 1,869 $106 $47,420,965 36 - (9) Aquaman and the Lost Kingdom Warner Bros. $175,393 -75% -35% 2,118 $83 $118,180,312 39 - (-) All of Us Strangers Searchlight … $49,479 -60% -22% 255 $194 $3,102,604 39 - (-) The Book of Clarence Sony Pictures $40,000 -61% -62% 669 $60 $5,588,617 18 - (-) The Color Purple Warner Bros. $31,978 -69% -47% 503 $64 $60,033,523 36 - (-) Thanksgiving Sony Pictures $10,000 -54% +83,233% 511 $20 $31,918,885 74 - (-) Wish Walt Disney $6,954 -79% -24% 155 $45 $63,523,243 69 - (-) The Oath Freestyle Re… $172 +1,811% -44% 4 $43 $490,958 53 13 $2,328,494

Didn't know where to put this, but I thought some of our theme park nerds would like this. And UNIVERSAL MONSTERS LETS GOOOOOOOOOOOOOOOOOOOO

Just because movie theaters are struggling doesn't mean we have to automatically like or be nice towards movies we think look bad. I'm a Matthew Vaughn fan and really enjoy the Kingsman series, even the maligned second one, and I think it looks unfunny and annoying. It's also pretty condescending to act like being mean over this random movie means I hate the theatrical experience. I see just about every movie in theaters, and will probably check this out too. I go to see re-releases when I have the option available and I spend much of my free time going to the theater. But I guess I think one movie looks dumb and bad, I want movie theaters to die forever? And besides, the state of theatrical, which isn't as dire as people are making it out to be, isn't reliant on one specific movie performing well. AMC isn't dependent on Argylle specifically to perform like gangbusters.

#380 - The Pacifier (29 points, 2 lists, avg. ranking #86) #379 - The Computer Wore Tennis Shoes, Homeward Bound II: Lost in San Francisco, The Horse Whisperer (29 points, 1 list, avg. ranking #72) #378 - Ernest Saves Christmas, The Ref, Spies in Disguise, Swingers (30 points, 1 list, avg. ranking #71) #377 - Secret of the Wings (30 points, 1 list, avg. ranking #29) #376 - The Best of Walt Disney's True Life Adventures (30 points, 1 list, avg. ranking #28) #375 - The Hurricane, Judy (31 points, 1 list, avg. ranking #70) #374 - Brother Bear (32 points, 3 lists, avg. ranking #90) #373 - The Brothers Grimm (32 points, 2 lists, avg. ranking #85) #372 - Cadet Kelly, Nixon, Pollyanna (34 points, 1 list, avg. ranking #67) #371 - Maleficent: Mistress of Evil, My Neighbors the Yamadas (36 points, 1 list, avg. ranking #65)

Homeboy directed this masterpiece. I am so fucking here for this. Day 1. Let's go.

I mean...I'm 26 and I care about Ghostbusters, even with its gross Reagan-ass politics. These new movies suck though. Afterlife is up there with Jurassic World as one of the worst blockbusters in recent years.

I also just realized that CMBYN would have counted for the WB countdown, but I didn't notice that like an idiot. I'm now so sad. It could have made it on that list too. It's not fair. Life's not fair.

#87 Call Me By Your Name 616 points, 11 lists "When you least expect it, nature has cunning ways of finding our weakest spot." Box Office: 43.1M Rotten Tomatoes: 94% Metacritic: 94 Awards: 1 Academy Award and 3 nominations, 1 BAFTA Award and 3 nominations, 1 Critics Choice Award and 7 nominations, 5 Empire Award nominations, 1 GLAAD Media Award, 3 Golden Globe Award nominations, 2 Gotham Awards and 2 nominations, 2 Grammy Award nominations, 2 Independent Spirit Awards and 4 nominations, 2 MTV Movie Award nominations, Roger Ebert's Review: N/A Its Legacy: The breakthrough performance of Timothee Chalamet, the most beautiful man in the world and the reason I get up every morning. Became one of the most acclaimed films of 2017 and of the 21st century in general. Gained a passionate fanbase around the world. Boosted Luca Guadagnino's career exponentially. Sadly gave Armie Hammer a hit. Considered one of the greatest LGBT films of all time. Boosted the popularity of the original Andre Aciman novel. Became the title of a Lil Nas X song. Gave Michael Stuhlbarg a paycheck. Commentary: It was released under Disney in Taiwan. Disney had a hand in its distribution. Therefore, it counts. My list, my rules. Fuck you. So uh...can I use this space to talk about Timothee again? Never stopped me before, so I’m gonna do it. His work as Elio in here is just...it’s just beautiful. He captures the insecurities of first love. A love you can never grasp or achieve. A yearning to be with somebody who you just can never be with. He does all this while also enjoying the beauty of Italy, enjoying the comfort of man, and showing a sense of kindness and maturity, but a lovely sense of innocence and curiosity. It’s a transcendent performance. One of his best in a never-ending line of great performances. Why can't this man be in my life? I wish he was in my life. I love him. Oh my fuck, do I love him. Credit should be given here to both James Ivory’s screenplay and Luca Guadagnino’s stunning direction in letting Timothee my beloved shine and deliver in the way he does. It’s through this film that he is now the biggest, most amazing, most beautiful movie star in the world. And I am forever grateful. And thank you Disney for releasing it in one country, meaning it was eligible, and gave me a chance to talk about how much I love my sweet, lovable baby. Though I should mention...Disney, please make this man a Disney Prince. Please. Please oh please oh please. He is literally Prince Charming incarnate, and it would mean the world to have him be a Disney Prince. If you want to get your box office out of the toilet, this is your only option. Please do this. Please...please.

#88 Enchanted 606 points, 16 lists "Now you're beside me, and look how far we've come, so far. We are so close." Box Office: 340.5M Rotten Tomatoes: 93% Metacritic: 75 Awards: 3 Academy Award nominations, 1 Critics Choice Award and 3 nominations, 2 Golden Globe Award nominations, 2 Grammy Award nominations, 3 MTV Movie Award nominations, 3 Saturn Awards Roger Ebert's Review: "The movie has a sound background in Disney animation, starting with director Kevin Lima ("Tarzan," "A Goofy Movie") and the music by Alan Menken and lyrics by Stephen Schwartz, who composed songs for the soundtracks of Disney's "Pocahontas" and "The Hunchback of Notre Dame." More important, it has a Disney willingness to allow fantasy into life, so New York seems to acquire a new playbook." Its Legacy: One of the earliest metatextual looks at the Disney formula by Disney. Made Amy Adams a household name. References countless Disney films from Snow White to Sleeping Beauty to The Shaggy Dog to Mary Poppins, among others. Spawned a sequel in 2022. Gave Susan Sarandon a paycheck. Commentary: While parodies and spoofs of Disney movies and the Disney formula are nothing new, Enchanted is a very unique case. Director Kevin Lima, known for working on Disney films like Tarzan, and A Goofy Movie, directed this movie to lampoon and satirize the conventions of Disney films. Love at first sight, happily ever after, damsel in distress, and so on. Yet within the sly parody is a heartfelt love letter and appreciation for the animated films and live-action features that made the company so successful and loved. In many ways, this is a precursor to many of the attempts to modernize the Disney formula that we have seen in recent years, as well as the "let's glorify the company that made us" we have seen in the past few years from Disney and Warner Bros. And it’s one of the best to do it. It feels natural and baked into the narrative, with no trace of eyerolling or cheap inclusion to seem more modern than it truly is. Much of that has to do with the cast itself. Everybody here is aces, in particular James Marsden as the dashing Prince Edward and Patrick Dempsey as the cynical divorce lawyer turned dashing hero Robert. But yes, Amy Adams steals the whole show. Her role as the stereotypical Disney Princess of Giselle is absolutely hysterical, with so much of the film's comedy carried by her expressions, mannerisms, and vocals. At the same time, there is a defined character that grows and matures, and it really feels she learns plenty from the world of New York as she gives plenty to New York and the characters she meets. Frankly, this is an Oscar-worthy performance, as I feel very few actresses could balance the comedy, sweetness, emotion, and heart Adams gave to Giselle and it's a crying shame she wasn't even nominated that year. To say nothing about Kevin Lima’s talents. How he imbues the movie with charm and likability, and how his film loves the classic Disney films of old, taking all the aspects that help them endure as classics. The emotional gravitas, the compelling characters with impeccable designs, the memorable music, the sense of wonderment and joy. Everything here feels like a true, warm hug and adoration to titles like Cinderella or Mary Poppins. This isn't just showing Disney iconography as a way to rake in nostalgia dollars, but a sincere adoration of a legacy of films that, whether we like it or not, has left an impact on us. As it stands, Enchanted was the blueprint for movies like Tangled and Frozen, and we are all better off for it. It reminds us why we love the old Disney classics, while taking steps to ensure it remains modern and timely.

#89 Jojo Rabbit 597 points, 13 lists "You're not a Nazi, Jojo. You're a ten-year-old kid who likes dressing up in a funny uniform and wants to be part of a club." Box Office: 90.3M Rotten Tomatoes: 80% Metacritic: 58 Awards: 1 Academy Award and 5 nominations, 1 BAFTA Award and 5 nominations, 1 Critics Choice Award and 6 nominations, 2 Golden Globe Award nominations, 1 Grammy Award Roger Ebert's Review: N/A Its Legacy: Gave Taika Waititi his first Oscar. Spawned a Holocaust history curriculum with the USC Shoah Foundation. Won the People's Choice Award at TIFF. Chosen by the National Board of Review and AFI as one of the best films of the year. Encouraged millions to hate Nazis. Gave Rebel Wilson a paycheck. Commentary: Propaganda is a terrifying thing. We all think we can be immune to it, but it can sneak up on you in the easiest of ways. Especially when you’re younger and easily impressionable. In some cases, it can take years of deconditioning and reeducation to realize that everything you were told was a lie. And sometimes, a lot of sacrifices have to be made to make you recognize and accept that, yes indeed, your life was a lie. Director Taika Waititi recognized that when directing this Oscar-winning feature. And he told this powerful story about the importance of thinking for yourself and breaking free from the lies of our evil governments in his own quirky, silly, eccentric way. The film’s a very goofy romp, as it mocks the Nazis for being incompetent, masculine-charged weirdos and losers. Even Taika, a Polynesian Jewish man, gets to play a silly version of Adolf Hitler. And that’s all well and good. It’s always fun to mock Nazis for the evil losers they are. Yet it’s the drama that really makes this film compelling. It’s a film about a boy realizing everything he knew was wrong. A story about a boy who feels like an outcast from a group he probably should want to avoid anyways. A story that tells us that it’s important to do the right thing. To question authority. To make a heavy sacrifice if necessary. Doing this kind of stuff can hurt. And trying to do the right thing means you lose something. But these sacrifices are important. They help you grow. Make your life greater. Give you a tremendous sense of freedom. Taika was already a huge rising star in Hollywood, and Jojo Rabbit solidified the comedy filmmaker as an icon. He would soon be part of many other films and shows since 2019, all to...varying levels of success, but the highs? Very, very high. And I hope we’ll see even more highs in the years to come. Man’s a talent. What can I say?

#389 - Chico and Rita, Halloween: Resurrection (25 points, 1 list, avg. ranking #35) #388 - Starsky and Hutch (25 points, 1 list, avg. ranking #34) #387 - The Red Turtle (25 points, 1 list, avg. ranking #31) #386 - The Adventures of Sharkboy and Lavagirl in 3D (26 points, 2 lists, avg. ranking #74) #385 - A Christmas Carol (26 points, 2 lists, avg. ranking #65) #384 - Anne of Green Gables: The Sequel, Don't Look Under the Bed, The Snapper, Snow Dogs (26 points, 1 list, avg. ranking #75) #383 - Frankenweenie (27 points, 2 lists, avg. ranking #87) #382 - 101 Dalmatians II: Patch's London Adventure, Garden State, Home on the Range, Mr. Holland's Opus, Tower of Terror (27 points, 1 list, avg. ranking #74) #381 - Father of the Bride Part II, Mary Poppins Returns, The Return of Jafar (28 points, 1 list, avg. ranking #73)

Quorum Updates Madame Web T-16: 38.6% Demon Slayer: Kimetsu No Yaiba - To the Hashira Training T-25: 22.59% Ordinary Angels T-25: 23.03% Immaculate T-53: 21.44% It Ends With Us T-144: 17.42% Smile 2 T-263: 21.5% Argylle T-4: 32.58% Awareness Final Awareness: 36% chance of 10M, 6% chance of 20M Medium Awareness: 47% chance of 10M Lisa Frankenstein T-11: 28.87% Awareness Final Awareness: 15% chance of 10M Low Awareness: 13% chance of 10M Imaginary T-39: 26.98% Awareness T-30 Awareness: 86% chance of 10M, 59% chance of 20M, 38% chance of 30M Horror Awareness: 64% chance of 10M, 29% chance of 20M, 7% chance of 40M Monkey Man T-67: 21.78% Awareness T-60 Awareness: 60% chance of 10M, 31% chance of 20M Low Awareness: 28% chance of 10M, 11% chance of 20M

Get out of my house.

#90 The Princess and the Frog 582 points, 16 lists "There is no way I'm kissing a frog and eating a bug in the same day." Box Office: 271M Rotten Tomatoes: 85% Metacritic: 73 Awards: 3 Academy Award nominations, 1 Golden Globe Award nomination, 3 Annie Awards and 5 nominations, 2 NAACP Image Award nominations, 1 Grammy Award nomination Roger Ebert's Review: "The movie, which is sweet and entertaining, doesn't quite live up to those opening scenes. But it's a demonstration that the Walt Disney Studio still shelters animators who know how to make a movie like that, in an age when too many animated films are like fast food after memories of mom's pot roast. My guess is that afterward the poor kids won't feel quite so battered by input overload. The film dances on the screen and doesn't come into the audience and shake you to make you like it." Its Legacy: The first 2D animated Disney Animation film in 5 years. Features the first Black Disney Princess. The ninth-best selling DVD of 2010. A massive merchandising success. Spawned an upcoming Disney ride. Spawned an upcoming television series. Kickstarted the Disney Revival. Gave Keith David a paycheck. Commentary: This 2009 feature was set to be a trailblazer. Not only did we get our first Black Disney Princess, it was this film that we were promised the epic return of hand-drawn animation, a medium that was once considered dead and buried from the industry, including Disney themselves. This was the film that would give us tons more 2D animated hits, and bring us back to the good old days, when things were done on paper like God intended. And well...that didn’t happen. However, that didn’t mean this film didn’t leave an impact. On viewers and within Disney. Of course, this film was an incredible source of representation. Millions of young Black children got to see themselves in the beautiful princess role, with Tiana instantly becoming one of Disney’s best characters. Caring, hard-working, determined, passionate, and in love with what she does and the people in her life. She’s the center to this fun and bouncy tale, that’s full of other great characters, catchy songs, memorable sequences, and a sweet romance of two supposed opposites finding comfort and love within each other. And while it didn’t save 2D animation like it was supposed to, the film was still quite successful and the needed step in the right direction Disney needed. After a long decade of uncertainty and failed projects, Walt Disney Animation Studios used this film as a back to basics. A place where they can return to their bread and butter of princess musicals and remind audiences why they loved them in the first place. This of course led to Disney Animation returning to the well to great success with films like Tangled, Moana, Encanto, and of course Frozen, giving us the famed Disney Revival, full of hits just as iconic, if not more so, then the films of the Disney Renaissance. And in the last 15 years, The Princess and the Frog has only grown more and more in stature, thanks to nostalgic Gen Zers, a huge presence on streaming even before Disney+ existed, and an upcoming ride at Disney World and upcoming Disney+ series that will only keep the film’s popularity enduring in the future. And it makes sense why. It’s funny, clever, full of heart, full of charm, and captures that Disney magic that only directors John Musker and Ron Clements can deliver. It’s a gem.

No spoilers, but you’re gonna hate some of the movies that beat out City of God 😂

#91 City of God 574 points, 8 lists "I do worry sometimes I might just be entertaining myself while staving off the inevitable." Box Office: 30.6M Rotten Tomatoes: 91% Metacritic: 79 Awards: 4 Academy Award nominations, 1 BAFTA Award and 1 nomination, 6 Grande Prêmio do Cinema Brasileiro Awards and 10 nominations, 1 Independent Spirit Award nomination, 1 Satellite Award Roger Ebert's Review: "Meirelles began as a director of TV commercials, which gave him a command of technique--and, he says, trained him to work quickly, to size up a shot and get it, and move on. Working with the cinematographer Cesar Charlone, he uses quick-cutting and a mobile, hand-held camera to tell his story with the haste and detail it deserves. Sometimes those devices can create a film that is merely busy, but "City of God" feels like sight itself, as we look here and then there, with danger or opportunity everywhere." Its Legacy: Considered one of Brazil's best movies and one of the best movies ever made. In numerous "Best Films", "Best 21st Century Films" and "Best Action Films" lists. Boosted Brazil's film production exponentially. Spawned a 2012 documentary, a spin-off series in 2002, and a spin-off film in 2007. Won the Audience Award at AFI Fest. Gave Seu Jorge a paycheck. Commentary: Released under Miramax in the US, this feature from Brazil is one of those movies that feels like it’s in a class of its own. In style, in pacing, in tone, in direction, and more. Based on true events, this is an uncompromised look into the slums of Rio de Janiero, and its rise from the 1960s to the 1980s and, to an extent, today. It’s brutal, it’s mean, it’s madcap, it’s violent, it’s chaotic, it’s messy. Yet at the same time, it’s heartfelt, it’s moving, it’s tightly edited, and never skips a beat juggling countless stories and characters and tones and genres. It’s a film that details a world that seems unreal, but is the common day-to-day for many. Both within Brazil and even outside of it to some extent. This isn’t really a film about one person, moreso a film about the City of God itself, and all the unique figures within it. From the aspirational Rocket to the psychotic Li’l Dice, my favorite character in the film, to the Robin Hood-esque drug dealer Benny, and more. Despite so many stories happening at once, nothing feels out of place, poorly-edited, nor unengaging. Everything works well to near perfection, and so many other films have tried, but haven’t come close to the ease and confidence that director Fernando Meirellies accomplishes. And I still don’t get how he pulled this off, quite frankly. But thank goodness he did. It quickly gained more accolades than you can count, with every director and critic at the time hailing it as an instant masterpiece and one of the greatest movies ever made. In fact, director Meirellies even got a Best Director nomination at that year’s Academy Awards, placing him in the same category as icons like Peter Jackson, Peter Weir, Sofia Coppola, and Clint Eastwood. There’s serious talent in this man, and with the film still earning acclaim and even developing its own franchise, City of God still endures as one of, if not the greatest film Brazil has ever put out.

#400 - Buzz Lightyear of Star Command: The Adventure Begins, Fire of Love, Toothless (18 points, 1 list, avg. ranking #83) #399 - Beauty and the Beast (2017), Hidalgo, Smoke Signals, Spy Kids 2: Island of Lost Dreams (19 points, 1 list, avg. ranking #82) #398 - Black Widow (20 points, 2 lists, avg. ranking #91) #397 - Bubble Boy, Venus (20 points, 1 list, avg. ranking #81) #396 - The Game Plan (20 points, 1 list, avg. ranking #39) #395 - Tinker Bell and the Lost Treasure (20 points, 1 list, avg. ranking #38) #394 - The Greatest Game Ever Played, Pokemon 4Ever, Tall Tale (21 points, 1 list, avg. ranking #80) #393 - Return to Neverland (22 points, 3 lists, avg. ranking #94) #392 - Where the Heart Is (22 points, 1 list, avg. ranking #79) #391 - Bad Santa, Glass, Iron Will (24 points, 1 list, avg. ranking #78) #390 - Bicentennial Man, Down and Out in Beverly Hills, Fun and Fancy Free (25 points, 1 list, avg. ranking #77)

I will.