Jake Gittes

Back to the Future sorta makes sense to me but It and Fargo are not historical movies.

FYC Heavily inspired by the real history of pre-war California The founding of Jamestown and the dramatization of the story of John Smith and Pocahontas Decades-spanning story of two dueling French officers around the time of Napoleonic wars. Not exactly a historical allegory but gets at larger historical notions of obsession/aggression, honor, etc. Ridley Scott's secret best film. Classic musical set against the backdrop of the rise of the Nazi Party in 1931 Berlin Character study of an Italian bureaucrat working for the Fascist secret police in the 1930s Borderline perhaps but I do think the '70s setting is important enough to this. It is about its specific time and place as it's both remembered and might have been experienced, and in the process it becomes about nostalgia for a specific time and place as well. On military hypocrisy during World War I. One of Kubrick's best and maybe his most accessible and emotionally gripping. Decline of the old aristocracy during the Italian reunification of the 19th century The creation of Gilbert and Sullivan's The Mikado in 1884-85, which also serves as a window into the larger depiction of the Victorian society of the time. A must for all fans of theater (musical and otherwise), stories about the creative process, Amadeus, Shakespeare in Love, etc. The historical part is an extended flashback taking up most of the movie which is bookended by contemporary sections; hopefully it counts. An examination of the English notion of honorable warfare during the Boer War, World War I and the lead-up to World War II. On the persecution of women accused of witchcraft in 17th century Norway. Essential viewing for all fans of The Witch. For non-fans too, really. Alexander Nevsky drools. Ivan the Terrible rules A companion piece to The Age of Innocence, the other great adaptation of an Edith Wharton novel about old New York society. AFAIK, Gillian Anderson's sole lead role in a film outside of the X-Files movies, and it's an incredible showcase. Spike Lee's semi-autobiographical comedy/drama about the life of a large black family in 1970s New York. Among his underrated ones. Based on a true story of settlers traveling across the Oregon desert in 1845. The activities of a group of French Resistance fighters during WWII Dramatisation of the true story of a 17th century Roman Catholic priest accused of witchcraft Capitalism and power struggles in a small mining town in the beginning of the 20th century Set in the 1940s and 50s, a multiple generations-spanning story of the family of a Russian Jewish immigrant who came to the US in 1914. Possibly the very best film I've seen on memory and the experience of times changing, and one of the most overlooked American movies ever made. Last year's Russian drama about two women's lives in the immediate aftermath of WWII and the traumatizing impact of the war on society. Dramatization of Elyesa Bazna's career as a spy working for the Nazis while stationed at the British embassy in Turkey. Great cold-blooded thriller.

Thank you all very much for bearing with me, for the very generous likes, and for bringing back some of that classic BOT energy. It was a joy. Now go and watch more movies that'll come in handy for any and all future lists we do. Peace

I'll just say it amuses me to no end that Jojo Rabbit finished with 88 points.

Officially as good as Mortdecai.

And here is the complete, and I mean complete rundown. Scroll / ctrl+F to your heart's content.

#10-12 is a single tier

Number 2 Number 1 Commentary:

Turn?

but infinity war

Jesus do you miss all your targets like this

Number 3

Number 4 Spoiler "Creation myths need a Devil." 627 points, 33 lists directed by David Fincher | US | 2010 The Pitch: The founding of Facebook and the subsequent lawsuits. #1 Placements: 6 Top 5 Placements: 4 Top 12 Placements: 5 Metacritic: 95 Box Office: $225m WW Awards: 3 Academy Awards, including Best Adapted Screenplay, out of 8 nominations; 3 BAFTA Awards, including Best Director and Adapted Screenplay BOT/BOM History: #1, Top Movies of 2010; #5, Top Movies of the Century (2015); #17 (2012), #30 (2013), #46 (2014), #54 (2016), Top 100 Movies of All Time Critic Opinion: “Impeccable popular art: lit like an altarpiece, obsessively organized. David Fincher has created a body of work that’s as remarkable for its thematic consistency as for its virtuoso craftsmanship and technique—no small feat, considering he’s never written a page of script. Here, he turns Aaron Sorkin’s take on the rise of Facebook into a study of personal alienation and obsession, with CEO Mark Zuckerberg (Jesse Eisenberg) as a compelling ironic figure: the perfectionist who makes billions on relationships in online space, despite (or maybe because of) not being able to maintain them in real life. Cut with industrial precision to a moody electronic score and bolstered by a uniformly superb supporting cast (with Justin Timberlake and Armie Hammer as the standouts), this is smart, entertaining, and beautiful to look at. It’s about a lot of things—success, loneliness, ego—but the internet probably isn’t one of them.” - Ignatiy Vishnevetsky, The AV Club BOT Sez: “I don't think TSN was just "cold but great filmmaking", it was an insight about our generation and how internet affected our lifestyles. The fast-paced editing (the facemash/phoenix party and the courtroom scenes, for example) or the confusing dialogue about multiple things in the intro are metaphors to our "gotta-do-everything-at-the-same-time" behaviour on our constantly wired life. And that ending in which Mark is waiting for Erica to accept his friendship request (ironically, on facebook) by the sound of "Baby, you're a rich man" is just perfect." - @JohnnY Commentary: The one that was derisively referred to as "the Facebook movie" for months after its announcement only to become the most acclaimed film of 2010 upon its release. It prompted more energized critical writing than any American movie in two or three years, and became a rare non-genre milestone for a generation of young cinephiles just getting into film - and when it came to this countdown, despite missing the top 3, it received more #1 placements from individual participants than any other film.

Number 5 Spoiler "Take her to the moon for me, okay?" 591 points, 32 lists directed by Pete Docter & Ronnie del Carmen | US | 2015 The Pitch: Inside the mind of a teenage girl, five personified emotions attempt to guide her through life as she moves to a different city. #1 Placements: 2 Top 5 Placements: 3 Top 12 Placements: 7 Metacritic: 94 Box Office: $857m WW Awards: Academy Award for Best Animated Feature; 10 Annie Awards BOT History: #3, Top Movies of 2015; #1 (2016), #1 (2018), Top Animated Movies of All Time; #40 (2016), #20 (2018), Top 100 Movies of All Time; 5 BOFFY awards, including Best Picture and Original Screenplay, out of 12 nominations Critic Opinion: “While other Pixar productions like the Toy Story movies, Monsters, Inc., and Up (the latter two directed by Docter) have stood out in a crowded animation field for their innovative ideas, what really distinguishes Pixar films is the way they take surprising narrative risks and dig deeply into painful emotions that most kid-friendly films strive to avoid. Inside Out does it more literally than other Pixar films, but it does it magnificently. There are endless comedic possibilities in the scenario of five demanding emotions fighting for dominance, and the film periodically toys with those possibilities to lighten the mood. But mostly, it uses the setup to explore why emotions exist, how they change as people grow up, and how a simple surface reaction might come from complicated inner conflict. [...] Like so many Pixar films, Inside Out uses a rambunctious, chaotic adventure to shape a story about growing maturity and understanding. In a deeply evocative way, it’s about coming to terms with sadness (or in this case, Sadness) and still moving forward. And it draws on recognizable, relatable experiences and feelings cleverly, in a way that isn’t entirely tied to a single age or experience. Pixar vets will remember the profound emotions brought up by the opening sequences of Up, the final scenes of Toy Story 3 and Monsters, Inc., and so many other watershed moments in the company’s library of films. Inside Out not only evokes that profundity of emotion, it does it with emotions capable of examining their own response. The emotional control room isn’t a new idea. Inside Out just manages the most ambitious and expressive version of that idea to date.” - Tasha Robinson, The Dissolve BOT Sez: “This is one of the most superlative animated films I know of. Nearly everything here works amazingly. All of these characters are given full stories and their actions all make sense, while the lack of a villain in the movie is something so rare in tentpole animated films, yet the film has a stronger sense of conflict than so many other films. I ended up caring for the wellbeing of one young girl more than the possible destruction of cities in your typical summer blockbuster. Even some of Disgust, Fear, and Anger's decisions work because they ultimately want what's best for Riley, and all of the emotions really do care not just for Riley, but for one another. Joy gets not only one of the best character arcs in Pixar History, but cherishes every bit of power Amy Poehler gives to her role. Sadness goes without saying, and Bing Bong was another obvious standout who becomes way more unexpected and nuanced a character than I thought going into this film.” - @Spaghetti "Joy is a fucking monster in Inside out. She's so ridiculously mean. She is a fucking bully" - @Ethan Hunt Commentary: Our first top 5 finalist is BOT's favorite animated movie. Successfully executing one of Pixar's more high-concept premises, Pete Docter's third feature solidified him as the studio's most imaginative and consistent voice and somewhat unexpectedly became its most successful original film unadjusted for inflation. It's also the highest grossing release in our top 10.

Number 6 Spoiler "It always fits. Eventually." 558 points, 31 lists directed by Bob Persichetti & Peter Ramsey & Rodney Rothman | US | 2018 The Pitch: Teenage Miles Morales becomes the Spider-man of his reality and teams up with his multiverse counterparts to save New York City from Kingpin. #1 Placements: 2 Top 5 Placements: 2 Top 12 Placements: 10 Metacritic: 87 Box Office: $375m WW Awards: Academy Award for Best Animated Feature; 7 Annie Awards; Hugo Award for Best Dramatic Presentation BOT History: #4, Top Movies of 2018; #2, Top Comic Book Movies of All Time (2019); 7 BOFFY Awards including Best Picture Critic Opinion: “There’s a breathless sense of discovery and play that makes the film seem new, even as it’s tap-dancing through the imprints of so many sci-fi stories throughout the years. Simply put, superhero movies don’t often carry this sense of possibility anymore.” - Dominick Suzanne-Mayer, Consequence of Sound “Spider-Verse doesn’t reinvent the wheel, and a lot of the narrative beats are gussied-up versions of standard superhero plotting. There are betrayals, obvious reveals, end-of-the-world stakes, and a capital-B Big climax that simultaneously ties up the plot and pays off the established character arcs and themes. Yet, Spider-Verse imbues the familiar with infectious cheer and plays off the audience’s knowledge of Spider-Man/genre tropes without playing Deadpool’s snark-the-reference game. It helps that Lord and Rothman’s confident, fast-paced script eschews any and all unnecessary exposition, foregrounds jokes, and takes seriously the sincere emotional underpinnings of the Spider-Man story without devolving into saccharine nonsense. [...] The main attraction, however, is Spider-Verse’s animation, which immerses you in a dazzling comic-book aesthetic inspired by the work of many artists over Spider-Man’s five-decade history, including and especially Sara Pichelli, who co-created the Morales character in 2011. Employing 142 animators, the largest crew ever used by Sony Animation, Spider-Verse combines computer animation with traditional line-drawing techniques to engender the feeling of a three-dimensional comic book. This would be an achievement unto itself, but Persichetti/Ramsey/Rothman never once sacrifice spectacle for coherency, choreographing action sequences within the layers of effects and color work. In every single frame, Spider-Verse proves once and for all that animation remains the best medium for superhero films, as the mutable style best fits the source material’s fantastical nature.” - Vikram Murthi, The Film Stage BOT Sez: “Spiderman: Into the Spiderverse may legitimately be one of the most well-constructed stories I've seen in a long time. Seriously, I was amazed at how well almost every single detail of this movie was constructed to help push the main story of this film. And I mean every single detail. Every line, every visual cue and theme, even the music, all worked to support this story and message and it all came together perfectly for what was arguably the strongest payoff in any movie I saw this year.” - @rukaio101 “This film wakes me up. Even when I watch it while wiped out from a long day of work, I find myself with a few tears in my eyes and a huge smile for a majority of the runtime. It’s pure magic. It distills just what we love about superheroes so precisely and with such visual and storytelling panache that it may have very well killed the genre for me. Who cares about another fun-yet-empty installment in a neverending cinematic universe when I can just rewatch this and get the mythic storytelling these modern icons deserve, with better quips and action sequences than most of the competition? Still an absolute masterpiece.” - @Blankments “I laughed every time Kingpin appeared on screen. Dude looks like a buff, 10-foot tall Gru lmao” - @Eric Atreides Commentary: One of the 2010s' biggest unexpected delights, the 7th Spider-Man film in 16 years that became the freshest and most invigorating since at least Sam Raimi's 2002 original, if not ever. Taking an all-inclusive approach to the onscreen Spidey's identity and combining producers' Phil Lord and Christopher Miller's familiar, ever-refined balance of humor and respect with a dazzling visual style that actually looked like a comic book come to life, it may not have come close to the live-action Spider-Man movies' box office heights but made a massive impact anyway, actually demonstrating a possible stylistic way forward for the superhero movie.

We're all about the variety of perspectives here

Number 7

Number 8

Number 9

Alright let's get to our ending. Number 10

I uuuuuuuh hope so! Won't start earlier than three hours from now, if I'm able to do this today.

Llewyn Davis was #38. And speaking of sad people with good hair don't forget Silence finishing high. Also fuck yeah Inside Man

Number 11

Number 12