Eric the Clown

#12 Unforgiven 1357 points, 22 lists "That's right. I've killed women and children. I've killed just about everything that walks or crawled at one time or another." Box Office: 159.2M Rotten Tomatoes: 96% Metacritic: 85 Awards: 4 Academy Awards and 5 nominations, 1 BAFTA Award and 4 nominations, 2 Golden Globe Awards and 2 nominations Its Legacy: Considered one of Eastwood's best movies and one of the best Westerns ever. The former biggest August opener of all time. The third Western to ever win Best Picture at the Oscars. Remade in Japan in 2013. Eastwood's final traditional Western #30 on WGA's greatest screenplays of all time. Joined the National Film Registry in 2004. Gave Gene Hackman a paycheck. Commentary: Everybody loves to throw the word “masterpiece” around like no tomorrow. But to me, that term applies to somebody’s greatest, most defining work. Not necessarily your personal subjective favorite, but a work that takes everything the artist has learned, cultivated, and developed over years and years of artmaking. Typically made near the end of an artists’ life, all their skills, tools, crafts, and understanding of what makes a good work of art are used to great effect here to create something that summarizes their works and exemplifies why they’re so good in the first place. And for me, Unforgiven is Clint Eastwood’s masterpiece. It’s far from his last movie of course, since Clint refuses to die, but it really feels like the perfect swan song for a certain aspect of Eastwood’s life and career. The moment where we all realized that he isn’t the emotionless, stone-cold badass we all associate him as. His two most iconic roles are The Man With No Name and Harry Callahan. People who shoot first and talk later. People who are the epitome of toxic masculinity. Figures who every conservative uncle idolizes. But Unforgiven shows the dangers of such people in real life. This is a man who was once in that mold, who wants to be far away from that. He is of course pulled into one last cowboy adventure, and it’s here he realizes just why he went away from that lifestyle. It’s a film that breaks down the black and white morality found in the Westerns of old, as we follow a man haunted by his past mistakes and his horrible actions. That the epic heroes are in fact just cowards and ninnys. That being a merciless figure who is harsh and cruel in the name of the law is in fact the worst thing possible. It all culminates in a surprisingly sensitive, yet still enthralling look into a genre that was only now getting deconstructed and subverted. It’s the spiritual successor to another WB classic The Searchers, and is frankly just as strong and effective as that film. And while Eastwood has made many more films after this, none of them have captured the raw emotion and powerful storytelling as Unforgiven. And this is far and away y’alls favorite from a man synonymous with Warner Bros.

#13 The Prestige 1323 points, 24 lists "Now you're looking for the secret. But you won't find it because of course, you're not really looking." Box Office: 109.7M Rotten Tomatoes: 76% Metacritic: 66 Awards: 2 Academy Award nominations, 1 Empire Award and 2 nominations, 1 Hugo Award nomination, 5 Scream Award nominations Its Legacy: The Nolan movie for hipsters. A reunion between Papa Nolan, Bale, Caine, Wally Pfister, Nathan Crowley, and Lee Smith. One of the best movies about magicians ever. A rare collaboration between bitter rivals Disney and WB. Gave Scarlett Johansson a paycheck. Commentary: It's the movie from Papa Nolan that everybody who thinks they're too cool for Inception or Interstellar love to hype up. A film that is, simply put, a powerful story about rivalry and obsession. Two magicians from different backgrounds, desperately trying to one up one another, whether it be through crazier and crazier odds, or even deception and theft. It's a powerful insight into how dedicated people are to winning over the crowd, as well as just how far one will devote themselves into the name of art. For something that most don't really recognize. While already well-recieved at the time, the film's plot and themes have only grown in stature and popularity since its release, with more and more citing it as an underrated classic within the WB and Touchstone library. And while we are all enamored by Nolan's recent works, which are more handsomely made and feature audacious ideas and special effects, it's important to recongize little movies like these. And yeah. To all the Nolanites out there, remember that this was released by Disney here in North America. So when we do the Disney countdown in a couple months...you got a good option to put on your list.

#14 Zodiac 1308 points, 22 lists "I am not the Zodiac. And if I was, I certainly wouldn't tell you." Box Office: 84.7M Rotten Tomatoes: 90% Metacritic: 78 Awards: 3 Satellite Award nominations, 1 Saturn Award nomination, 3 Empire Award nominations, 1 Teen Choice Award nomination Its Legacy: One of David Fincher's most acclaimed works. #12 on BBC's Top 100 Movies of the 21st Century. Relitigated interest in the Zodiac Killer in the San Francisco PD. In contention for the 2007 Palme D'Or at Cannes. Considered one of the best films of 2007. Gave Brian Cox a paycheck. Commentary: Based on one of the most infamous unsolved cases in history, director David Fincher captures the paranoia and fear that comes from such a terrifying piece of San Francisco history. With a 2.5 hour runtime, audiences are trapped in a story full of suspense, paranoia, and dread, perfectly capturing the fears that come from a man who nobody knows and could attack at any minute. Add on phenomenal digital cinematography and expert lead performances from Robert Downey Jr. and Jake Gyllenhaal, and we have ourselves an enthralling insights into the evil of Ted Cruz--I uh...I mean, the Zodiac Killer. There's also a Dirty Harry reference in here, which is pretty cool for Warner Bros. nerds like myself.

#15 Blade Runner 1285 points, 25 lists "Quite an experience to live in fear, isn't it? That's what it is to be a slave." Box Office: 41.6M Rotten Tomatoes: 89% Metacritic: 84 Awards: 3 BAFTA Awards and 5 nominations, 1 Golden Globe Award nomination, 2 Academy Award nominations, 4 Saturn Award nominations, 1 Hugo Award Its Legacy: Has way too many cuts to count. A landmark of neo-noir and cyberpunk. Considered one of the greatest sci-fi movies ever made. Influenced way too many video games, anime, and TV shows to count. Caused Atari, Bell, Coca-Cola, Cusinart, Pan Am, and RCA to see financial setbacks after its release. #54 on Sight & Sound's Top 100 Films by Critics, #74 on AFI's Top 100 Movies, and #97 for the 2007 edition. Joined the National Film Registry in 1993. Kickstarted a whole multimedia franchise. Commentary: A film that audiences, frankly, just weren’t prepared for. Even outside of the fact the original cut was not what Sir Ridley Scott wanted to show, the film’s slow pace, limited action, and contemplative sci-fi storytelling just didn’t fit in a post-Star Wars environment. Arguably, not even a post-Close Encounters environment. Still, a film this audacious and unique was bound to gain a cult following, especially amongst science fiction fans. And once it came out on home video, the tides quickly turned. It’s not only a fascinating neo-noir story, but also one of the best examples of a dystopian storyline and setting. One that still influences cyberpunk works and dystopian works in general. No Blade Runner? No Hunger Games. And man, what a world Scott has created. Even today, it still looks visually incredible, with its neon lights and massive city landscapes. You could release this today, and people would probably think this was a recent release. Since then, Blade Runner still has a devoted following, regardless of what cut of the movie you watched. And that led to a surprisingly robust franchise that is still going and still popular, if 2049’s placement in this countdown is anything to go by. Even now, a new TV series is in production, continuing Scott’s original legacy. It’s one of those classic cult hits that has now become mainstream, way past that original 2019 setting. And it will likely continue to be mainstream and beloved by the time we reach the year 2049 and beyond.

It was the second-biggest movie ever made domestically and fourth worldwide. What more do you want?

#16 Superman 1268 points, 25 lists "Lex, what has chewing gum got to do with the secrets of the universe?" Box Office: 723.2M Rotten Tomatoes: 96% Metacritic: 96 Awards: 7 Academy Awards and 3 nominations, 6 BAFTA Awards and 5 nominations, 7 Critics Choice Awards and 3 nominations, 1 Golden Globe Award and 3 nominations, 1 Grammy Award nomination Its Legacy: The most expensive ever made at that time. Broke ground in visual effects and science fiction storytelling. The beginning of the modern superhero movie. Made Christopher Reeve a household name. The former sixth highest-grossing film of all time. The most successful Warner Bros. movie ever made at the time. Created four sequels and a reboot. Helped revitalize the sci-fi genre alongside Star Wars and Close Encounters. #26 on AFI's Top 100 Heroes. #174 on Empire's Top 500 Movies. The main reason the MCU exists and DC movies still get made. Gave Ned Beatty a paycheck. Commentary: The one that started it all. It wasn’t the first superhero movie technically, but in our modern era where Marvel and DC dominate the film conversation, this is the first film in our hearts. And looking back, it’s easy to see why this film laid the template for the biggest genre out today. And also looking back, it’s insane that very, very few films in that genre stack to a masterpiece like this. Of course the film’s incredible visual effects were the big selling point, as audiences saw a man fly and do incredible feats that seemed impossible. Alongside the phenomenal casting (Christopher Reeve is the best Superman, go argue with a wall) and incredible John Williams score, it only further cemented this film as something special. But it was Richard Donner who really made this come together, as he and Tom Mankiewicz really understood not just why Superman is great, but why superheroes are such an amazing concept. Superman isn’t just a guy with amazing powers. He isn’t somebody we can never be. Rather, Superman is a symbol of who we should be. Not because of his strength or abilities. But because of his heart and kindness. This is a man who was taught about the values and importance of bravery, hard work, determination, and humility from his birth and adoptive father. This is a man who does heroics not for fame, but because it’s the right thing to do. It’s a man who will do anything to protect people, a planet he isn’t even from, out of the goodness of his own heart. We can all learn something from this movie. It’s one of the rare movies that makes me tear up every time I watch it and while the other Superman films since then have been...flawed to say the least, if James Gunn can capture at least a tiny bit of that Donner magic in 2025, it’ll be the greatest gift in the world to me. Your MCU/DCEU fave could never.

#17 Gravity 1259 points, 22 lists "You just point the damned thing at Earth. It's not rocket science." Box Office: 723.2M Rotten Tomatoes: 96% Metacritic: 96 Awards: 7 Academy Awards and 3 nominations, 6 BAFTA Awards and 5 nominations, 7 Critics Choice Awards and 3 nominations, 1 Golden Globe Award and 3 nominations, 1 Grammy Award nomination Its Legacy: The highest-grossing film of Sandra Bullock and George Clooney's careers. The highest-grossing October release until Joker. The eighth most profitable movie of 2013. Part of a banner year for women in blockbusters. Praised by Daddy Cameron. Gave Ed Harris a paycheck. Commentary: Where's John Mayer when you need him? Okay, I’m being silly. The actual movie. What a masterclass of visuals and storyline. Alfonso Cuaron uses VFX wizardry to really make it feel like we are in outer space, in the precarious situation Bullock and Clooney are in. If the film didn’t look as good as it did, we would not be as stressed or terrified for our heroes like we are here. And yeah, as a story, this is the best survival tale you can possibly have. There is nothing more terrifying and scary than being in outer space. A never-ending place with no air, no gravity, no food, no nothing. One wrong mistake, and you are screwed. This does amazing work putting so much tension and fear into every single frame, while also making sure Bullock’s character is a memorable and endearing one, making it easier for us to empathize...although I guess just being trapped in outer space is more than enough. The film would of course become a gargantuan success. The kind of success story that Hollywood should cultivate and learn from more. This wasn’t a film that relied on a nostalgic brand or shared universe to get people in. And this is a film that is designed to not have any sequels. Yet people came because it was a great concept executed by an amazing filmmaker, and everybody was rewarded for it. I hope one day we can get more movies like Gravity some day. I really, truly do.

lmao what

Quorum Updates Back on the Strip T-2: 20.61% Awareness My Big Fat Greek Wedding T-23: 35.38% Awareness It Lives Inside T-37: 18.64% Awareness Ferrari T-131: 16.93% Awareness The Tiger's Apprentice T-156: 12.27% Awareness Blue Beetle T-2: 42.2% Awareness Final Awareness: 89% chance of 10M, 59% chance of 20M, 37% chance of 30M, 22% chance of 40M, 11% chance of 70M DC/MCU Awareness: 100% chance of 70M Strays T-2: 47.95% Awareness Final Awareness: 89% chance of 10M, 59% chance of 20M Original - Low Awareness: 100% chance of 10M, 25% chance of 20M Retribution T-9: 30.23% Awareness Final Awareness: 33% chance of 10M, 2% chance of 20M Original - Low Awareness: 22% chance of 10M A Haunting in Venice T-30: 21.03% Awareness T-30 Awareness: 51% chance of 10M, 19% chance of 20M Sequel Awareness: 67% chance of 10M, 33% chance of 20M Expend4bles T-37: 33.49% Awareness T-30 Awareness: 87% chance of 10M, 61% chance of 20M Sequel Awareness: 50% chance of 10M

Weirdly, I’d argue PVOD helped that movie’s theatrical legs in particular. Feel like a ton of the memes came out after it was available in HD with no cam footage, alongside a bunch of “WOAH THIS ANIMATION IS SICK” posts. Like it would probably still be leggy, but it probably got a 50M boost from that early PVOD launch or whatever.

It’s because Ryan Gosling is in it.

#18 Malcolm X 1248 points, 19 lists "That's too much power for one man to have." Box Office: 73M Rotten Tomatoes: 89% Metacritic: 72 Awards: 2 Academy Award nominations, 1 Golden Globe Award nomination, 1 MTV Movie Award and 1 nomination, 1 MTV Video Music Award nomination, 4 NAACP Image Awards and 1 nomination Its Legacy: Gave the defining portrait of a legendary activist. The first Hollywood film to be shot in Mecca ever. Gave tons of Black interviewers and journalists a chance to get their foot in the door. One of Spike Lee's highest-rated and grossing films ever. The second of four collaborations between Lee and Denzel Washington. Features cameos of Bobby Seale, Al Sharpton, and Nelson Mandela. Joined the National Film Registry in 2010. Gave Delroy Lindo a paycheck. Commentary: Biopics are a lot harder to nail down than a lot of people give credit for. Detailing the accomplishments of one person through just one movie is difficult. Especially when you have to detail Malcolm X, a man who throughout his 39 years on this Earth had worn a lot of hats. An activist for civil rights, an activist for Islam, an activist for Black empowerment, an activist for Black separatism. A figure that was derided by white folks, highly controversial for statements that frankly have aged like wine, and, frankly, had changed his viewpoints constantly over his life. People evolve, think differently, learn new information, and don’t become the same person that they once were even a couple years ago. So trying to capture all of that in one movie, especially trying to show the real version of a figure that most had vilified as evil (he isn’t), is a herculean task. Yet through it all, the legendary Spike Lee, with the help of financial backing by every major Black figure in Hollywood, gave us the definitive biography of Malcolm (well, if you ignore the Alex Hayley novel it was based on). And what a fucking biography. No stone was left unturned in Malcolm’s life, with every aspect of him dissected and analyzed. From his emotions to how the public perceived him to how his contributions changed everything for millions of Americans and Muslims. And it’s done through snappy editing, gorgeous cinematography, a rollicking tone and atmosphere, and so much pop and excitement and style in every frame that the whole 201-minute feature flys by without anybody even noticing. It’s a film that teaches us that Malcolm wasn’t one thing. He wasn’t set in his ways, and he frankly had so many more stories to tell before he was wrongfully assassinated. Some of us already knew that, but for others (you know, the whites), this was the first time they ever saw a public portrayal of Malcolm that actually gave the truth. And while WB did try to stifle it by giving it a lower budget and try to take over control (corporations are not your friend), they still put it out for the world to see. And what we have here is one of Denzel’s best performances in one of my, and many others, favorite movies of all time. The kind of film I wish existed more in this world. But I suppose that having fewer movies like this means it’s extra special.

#19 Batman Begins 1246 points, 25 lists "Does it come in black?" Box Office: 373.7M Rotten Tomatoes: 84% Metacritic: 70 Awards: 1 Academy Award nomination, 3 BAFTA Award nominations, 3 Saturn Awards and 6 nominations, 1 MTV Movie Award and 2 nominations Its Legacy: Saved the Batman movie franchise. The blueprint for every reboot ever made ever. Influenced the Marvel Cinematic Universe, Daniel Craig's James Bond, the Planet of the Apes reboot series, etc. The second-highest grossing Batman movie ever at the time. Kickstarted the iconic Dark Knight trilogy. Gave Katie Holmes a paycheck. Commentary: Before Heath Ledger, we had Cillian Murphy and Liam Neeson. And boy oh boy, what a revelation this movie was. Dropping 8 years after the infamous misfire of Batman and Robin, this promised to be a total reinvention of everything we knew about Batman. It was grounded, it was realistic, it was serious. Yet it also promised high-octane action and, for the first time, a greater emphasis on Bruce Wayne as a character and figure. Christain Bale got to play the iconic Caped Crusader and really made it his own, seamlessly combining the suave billionaire playboy with the hardened, stone-cold hero we all know and love. We all make fun of his silly Batman voice, but he’s always been a main part of these movies’ appeal and Papa Nolan smartly made him the focus before the bad guys took over in the sequels. And speaking of, what a cliffhanger. That little tease, that the Joker was going to fuck shit up, got everybody buzzing. Whether it be the lucky ducks who saw it on the big screen or the millions more who watched it on DVD. That alone probably helped The Dark Knight be the phenomenon that it was...alongside Batman Begins being a very good movie I suppose. But is this highest Batman movie on the coun--okay, no it isn’t. But how close are to Dark Knight? Who knowssssssssssssssss??????????????????????

#20 Pan's Labyrinth 1216 points, 18 lists "I am the mountain, the forest and the earth. I am...a faun. Your most humble servant, Your Highness." Box Office: 83.9M Rotten Tomatoes: 95% Metacritic: 98 Awards: 3 Academy Awards and 3 nominations, 3 BAFTA Awards and 5 nominations, 1 Golden Globe Award nomination, 7 Goya Awards and 6 nominations, 7 Ariel Awards and 4 nominations Its Legacy: Guillermo del Toro's magnum opus. The highest-rated 2000s movie on Metacritic. Considered one of the greatest fantasy movies and movies in general. The sixth-highest grossing foreign language movie in the United States. The spiritual succcessor to 2001's The Devil's Backbone. Gave Doug Jones a paycheck. Commentary: Easily Guillermo del Toro’s most iconic film. A film that is a fantastical cacophony of wonder and terror, as well as a powerful parable to how children deal with the actual hardships adults force upon them. A lonely girl whose mother is set to die and war-crazed stepfather is obsessed with taking down rebels...it makes sense she would want to be far away, in her own fantasy world. A world that, frankly, we don’t know is real or not. Serving as a more adult-oriented take on Alice in Wonderland or Narnia, this is all of GDT’s best attributes in one package. Incredible production design, gorgeous visual effects, and powerful storytelling, all wrapped in a package that could have only come from a man with a limitless imagination. For many, this is del Toro’s peak. His best, most defining work. What he will always be famous for. And despite recent Oscar wins for The Shape of Water and Pinocchio, that does feel like the case. At the very least, it’s a shining example of one of the best directors working today crafting one of the best films of the century. One that he can match, but frankly never top.

#21 Harry Potter and the Prisoner of Azkaban 1203 points, 20 lists "The ones that love us never really leave us. And you can always find them in here." Box Office: 797.7M Rotten Tomatoes: 90% Metacritic: 82 Awards: 2 Academy Award nominations, 1 BAFTA Award and 4 nominations, 1 Grammy Award nomination, 9 Saturn Award nominations, Its Legacy: The highest-rated Harry Potter movie ever. The lowest-grossing Harry Potter movie ever. The first Harry Potter film to use IMAX technology. The first film to change the tone and style of Potter for good. The debut of Michael Gambon as Dumbledore. Gave Gary Oldman a paycheck. Commentary: Finally, we’re done with Harry Potter. And we’re ending things off with a rare case where a franchise brought along a famed auteur to make one of their silly toy commercials. And sure enough, this has become the fan favorite, the best in the series, for many Potter fans. It was the first time fan-favorite character Sirius Black joined the series, the first time we saw Michael Gambon take on the role of Dumbledore and the first time we saw Potter’s darker side. With heavy shadows, gloomier atmosphere, and a harsher story, this was when we really saw the true genius of Potter as a franchise. This was a series that grew up with its audience. Every year or two, a new one comes out, each one progressively becoming more mature and adult in its themes and style and execution, as if we are following a group of adolescents actually maturing and developing. Dealing with trauma, handling your own destiny, fighting against authority. All of this would become a lot more deft and discussed in Azkaban and define the series going forward. This all wouldn’t have happened if Cuaron didn’t craft something so strong and memorable, but his influence is still felt within almost all the future Potter installments, for better or for worse. And it’s no wonder that this is considered the crown jewel by the Potter fans here on BOT. Donate to the Transgender Law Center. Remember, trans rights are human rights. https://transgenderlawcenter.org/

#22 The Exorcist 1161 points, 19 lists "The Power of Christ compels you!" Box Office: 441.3M Rotten Tomatoes: 84% Metacritic: 82 Awards: 2 Academy Awards and 8 nominations, 4 Golden Globe Awards and 3 nominations Its Legacy: The former highest-grossing R-rated movie and highest-grossing horror movie ever made. The film that legitimized and prestigified the horror movie. #3 on AFI's Top 100 Thrills and #9 on AFI's Top 100 Villains. Referenced, homaged, and parodied countlessly in media, from Saturday Night Live to Ghostbusters. Sparked the modern horror movie franchise. Spawned way too many sequels and TV shows to count. A favorite and influence of Martin Scorsese, Robert Eggers, Stanley Kubrick, and David Fincher. Considered the greatest movie ever made by BBC film critic Mark Kermode. Caused audiences to faint and vomit. Caused the beginning of the end of Blaxploitation movies. Gave Ellen Burstyn a paycheck. Commentary: This entry sadly has an undercurrent of sadness to it now. William Friedkin, the director of this and countless other classics, passed away exactly one week ago. So it may be a little hard to really talk about arguably his greatest, most iconic work ever. But I suppose I can try it. Similar to many great all-time classics, The Exorcist wasn’t changed by the industry. Rather, the industry was changed by The Exorcist. Coming out to mixed reviews and massive controversy, the hype for The Exorcist came from just how terrifying and repulsive the film was to modern audiences. Audiences had never seen something so terrifying, so visceral, so nasty in all their lives. The cerebral angiography in particular was so gruesome to many that people fainted or vomited while watching the movie. That’s something you don’t typically hear from even the scariest horror releases. Moral panics ensued, drama over children sneaking into the movie was all over the press, the Catholic Church denounced it as blasphemous and Satanic. It was pure pandemonium. And sure enough, the entire horror genre changed overnight, as The Exorcist is oft-considered 2001 for the horror genre. What was considered schlocky nonsense could in fact boast incredible, jaw-dropping, thought-provoking features. Movies like these could easily thrive on big budgets and major set pieces. They can have emotionally stirring sequences, be contemplative, inspire and enrapture audiences, and make tons of money in the process. The Exorcist is a film that, if you are a horror fan, you are obligated to at least respect for a historical perspective. And it’s all thanks to Friedkin’s deliberate pacing, gorgeous cinematography, and compelling storyline about a mother who just wants the devil beaten out of her daughter. It has been a source for inspiration for just about every horror movie released in the last 50 years, is a major reason why films like The Conjuring and studios like Blumhouse are thriving the way they are now, and will continue to be a favorite around Halloween, no matter how many god awful sequels and prequels get made. Including that likely god awful Exorcist legacyquel coming out two months from now. William Friedkin, you made a masterpiece and you changed everything for the greater good of all horror and cinema fans forever. May you rest in peace.

I thought he died.

#23 The Fugitive 1152 points, 20 lists "I didn't kill my wife!" Box Office: 368.9M Rotten Tomatoes: 96% Metacritic: 87 Awards: 1 Academy Award and 6 nominations, 1 BAFTA Award and 3 nominations, 1 Golden Globe Award and 3 nominations, 2 MTV Movie Awards and 2 nominations Its Legacy: The definitive adaptation of The Fugitive franchise. Earned the biggest August opening weekend in history. Was #1 for six weeks in a row. The first Hollywood film to release in China since First Blood in 1985. #33 on AFI's Top 100 Thrills. Remade twice in India. Earned a spin-off, U.S. Marshals, in 1998. Gave Andreas Katsulas a paycheck. Commentary: It’s a premise that, frankly, is impossible to mess up. A man convicted of a crime he didn’t actually commit, trying to clear his name and find out who actually murdered his wife, while avoiding the feds, is an immediately compelling premise that is hard to mess up. All you need is a good director who can add style to the storyline and great actors to tie everything up in a good bow. And when you have a great action director like Andrew Davis of Under Siege fame, and your lead actors are the icons Tommy Lee Jones and Harrison Ford...I mean, that’s how you get to #23 on this list. It’s a fast-paced thrill ride right from the beginning of the film’s giant bus crash and the epic monologue of Jones’ menacing Deputy U.S. Marshal Sam Gerard. And from then on, the movie doesn’t stop, with a new action setpiece and chase scene always around the corner. Still, the film knows how to use its assets wisely. Ford has always been a great everyman protagonist, so it’s easy to empathize with his plight right away. Helps also we know he’s totally innocent. Then of course there’s Sam Gerard who TLJ does incredible work for and steals the show whenever he’s on screen. This sure enough led to him getting his own spin-off movie in 1998 with Wesley Snipes and Robert Downey Jr. I’m pretty sure this is the first time many of you even knew that was a thing that happened. Still, he does awesome work. The Fugitive would very quickly break box office records, with the biggest opening and gross for an August movie until The Sixth Sense, and is still a favorite. And speaking of, don’t forget to vote for it in @Cap's 30 for 30 1993 retrospective.

https://deadline.com/2023/08/teenage-mutant-ninja-turtles-retail-sales-1235519233/

No offense, but it's okay to just acknoweldge that some critics just had a different opinion than you and there's nothing "baffling" about a kids movie getting good ratings. It's really not that hard a concept to grasp.

In retrospect, it's probably my favorite DCEU movie apart from Gunn's Suicide Squad. It's got legitimately solid humor and a strong emotional heart behind it that makes it endearing and has a lot of fun ideas and concepts in terms of the power fantasy of a kid with superpowers. It's also smart in making sure Billy Batson gets a ton of focus, which I'm disappointed Fury of the Gods supposedly ignores (will probably watch it? Maybe? Who knows?). Him learning his birth mother rejected him really is one of the few legit solid bits of pathos in that franchise.

A few of those have showed up and a few of those aren't even eligible. Not gonna say what of course. 🤫

Moderation Just wanted to stop before this gets too far. The general DCEU dissertations are straying too off-topic and aren’t benefiting the Tracking Thread. Best to take this to the WB/Blue Beetle thread

I messed up. I’ll update when I’m off work