[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

2 minutes ago, The Panda said:

Endgame, dubbed edition wins the list

Here come the Cameron fans!

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

9 minutes ago, MrPink said:

 

Hardboiled, let's goooo

Get the Tequila Party Bus going.
 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

1 hour ago, Rorschach said:

Movie's so good, it made Top 10 countdown in a decade it wasn't even released in.

 

Michael Bay. His power.

Need to recognize the real undisputed champion of the 2000’s. Peak cinema.
 

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

1 minute ago, Plain Old Tele said:

#DonkeyDick

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

51 minutes ago, MrPink said:

 

Jake about to reveal the #1 film...

 

 

BAH GAWD THAT'S HARD TO BE A GOD

 

 

I thought I smelled shit (or was it mud?).

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

1 minute ago, baumer said:

@Plain Old Tele to MrGamer right now:

 

You're mother's so fat, when she sits around the house, she really sits around the house.

I’m sure that one cracks up all the dads up in Canada.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

Just now, grim22 said:

Tele is old enough that he remembers a time when that wasn't an issue.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

17 minutes ago, Plain Old Tele said:

I admit, I only lasted about twenty minutes into SCOTT PILGRIM, so I can’t really say that I’ve seen it. 

I’m sure that’s not the first time you finished early.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

2 hours ago, Madhuvan said:

Scott Pilgrim not in Top 100 movies of the decade automatically makes this list not worthy. 

Even Marty will agree that Pilgrim is one of the best.It's different, it's innovative.

 

Edgar Wright will haunt you all. 

Didn’t know Edgar Wright was no longer with us. RIP in peace.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

3 minutes ago, Jake Gittes said:

Number 21 (tie)

  Reveal hidden contents

 

"Love is the one thing we're capable of perceiving that transcends time and space."
320 points, 23 lists

directed by Christopher Nolan | US, UK | 2014

 

The Pitch: In a dystopian future, a group of astronauts travel through a wormhole near Saturn in search of a new home for humanity.

 

Top 5 Placements: 1
Top 12 Placements: 4
Metacritic: 74
Box Office: $677m WW
Awards: Academy Award for Best Visual Effects
BOT History: #1, Top Movies of 2014; #25, Top 100 Sci-Fi Movies of All Time (2020); BOFFY for Best Original Score, out of 5 nominations
Critic Opinion: “There’s a definite space-station-cover paperback charm to the way Interstellar practices sci-fi: the lean characters, known only by their surnames; the geeky cool of the old-school team robot, TARS, a bulky metal rectangle with a disconcertingly human voice; the wide-eyed garbling of textbook science. In its best stretches, which tend to come in the middle, it is a fatalistic adventure that pits peaceful science types against themselves and each other as they struggle to achieve a greater goal; in its worst moments, toward the end, it is a dopey exercise in humanist metaphysics, a movie about facing the cosmic unknown that explains everything several times over.” - Ignatiy Vishnevetsky, The AV Club
BOT Sez: "I thought the scene where McConaughey and Hathaway kidnap the two young girls and torture them, especially the scene where they took out one of the girls intestines and then made the other girl pee her own pants, was a little unnecessary.  But other than that, the rest was pretty good.....especially the shark stuff."  - @baumer
 

"Matthew McConaughey was a beast in this film. He single handily carried some scenes into greatness, squeezing out every emotion out of you with his emotional beats. Without him, this movie could have fallen flat on its face.
The emotional core of the story really worked for me. I nearly went into full tears no less than three times during the movie, when he leaves Murph, when he sees the 23 years of videos, and then when he comes face to face with Murph again. Now, the beats were as subtle as a brick to the face, and lacks the elegance and grace of some of Nolan's other emotional moments (Prestige ending, Mal and Cobb growing old together in Inception), but it worked.
Really, the reason why I'm not in love with the film is just the overall indifference to the mission. The stuff they were doing on the planets were just there. I was really into the family bonds, but the mission just lacked excitement save for the docking sequence and slingshot.”

“My initial review of Interstellar was all the shame I ever needed to endure in life.”

“I love Interstellar like the father who loves his son who gets slightly lower grades than all his other Asian children.” 

- @MrPink
Commentary: Nolan is going to keep us regular company now, and here he is with his biggest and most ambitious, which is also a way of saying that it's his most overstuffed and divisive, original movie - so, naturally, it almost made the top 20. Inherited from Steven Spielberg and sharing some of his sentimentality to which Nolan himself is not typically given, as well as some of the DNA of 2001 and Solaris, it contributed to the 2010s streak of audacious space sci-fi and has played a dramatic role in MrPink's life as a BOT member, as you can see from the quotes above.

 

 

 

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

7 minutes ago, Jake Gittes said:

Number 24

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"If you want love, then this is it."
312 points, 16 lists

directed by Richard Linklater | US | 2013

 

The Pitch: 18 years after Before Sunrise and 9 years after Before Sunset, the now 40-something Jesse and Céline spend a summer vacation in Greece.

 

Top 5 Placements: 3
Top 12 Placements: 5
Metacritic: 94
Box Office: $23m WW
Awards: Academy Award nomination for Best Adapted Screenplay
BOT History: #10, Top Movies of 2013; BOFFY for Best Adapted Screenplay, out of 3 nominations
Critic Opinion: "As with its two predecessors — and with the films of French New Wave director Éric Rohmer, presiding deity of this kind of cinema—Midnight's essentially a film about people talking. But when the talk's this good, this absorbing and revealing and witty and true, who's going to complain?... [It's a] more-than-worthy, expectation-exceeding chapter in one of modern cinema's finest love stories. As honest, convincing, funny, intimate and natural as its predecessors." - Philip Kemp, Total Film
"The shifting meaning of a moment—as it is anticipated and then experienced, as it is remembered or misremembered, as it gains or loses luster in a year, a decade, or more—is the existential question that animates the story of Jesse and Celine, which has now played out over three films spanning nearly two decades. Each film is a window onto a stage of life, sharply attuned to the possibilities and disappointments of one’s twenties, thirties, and forties. Taken together, they have become something much larger and more radical: an ongoing collective experiment in embodying the passage of time. Such decade-spanning endeavors are hardly unprecedented in cinema: obvious analogues include Michael Apted’s Up documentaries and François Truffaut’s Antoine Doinel series. But The Before Trilogy gains its unique emotional force from being, in the fullest sense, a love story, a rare, knowing engagement with both the fantasies and the realities of romance." - Dennis Lim, Criterion
BOT Sez: “Linklater is one of the most unique directors around, especially for someone who makes at least one film per year, and this film is a testament to his abilities. Just like with the first two, he can manage to make 20-30 minutes conversations riveting and involving. The final argument especially packs a wallop, with the raw power of Hawke and Delpy being unlike anything I've seen in years.” - @JonnyCraig
Commentary: Talking > superheroes. Now here's a passion pick, the film with the 5th highest average point score (19.5) in the top 100; of the other four, one is Dangal, which appeared on only 5 individual lists, and the others are all in the top 3, i.e. they're passion-driven favorites on a significantly bigger scale. Continuing modern cinema's longest-running relationship story, of the lovers that first met onscreen in 1995 and reunited in 2004, Before Midnight largely sustained the wit, poignancy and precise behavioral observation of its beloved predecessors; seven years on it, too, has stood the test of time.

 

 

 

 

The real list begins now.

[Classic Conversation Thread]

2 minutes ago, CoolioD1 said:

i say FUCK that hack matt reeves and let's get the Pizzaman's batman movie

 

Batman became Kratos.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

11 minutes ago, Plain Old Tele said:

Dougray Scott counts as the Tom Cruise stunt in MI2, though, so that tracks. 

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

5 minutes ago, aabattery said:

Number 33 (tie)

 

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"Hold my nuts."

274 points, 15 lists

directed by (honestly dunno tbh) | US | 2018

 

The Pitch: Kyrie Irving is an old man who needs his nuts to be held.

 

Metacritic: 57

Box Office: $46.7m WW

Awards: Shortlisted for Best Comedy Movie of 2018 by the People's Choice Awards.

BOT History: Some of the questions on Week 10 of the 2018 Summer Game were based around Uncle Drew.

Critic Opinion: " Basketball players pretend to be old people for 2 hours. Aside from a few quips, that's the whole joke. Oh, and plenty of product placements. " - Matthew Lee, HeyUGuys

BOT Sez: "There's nothing redeeming about this movie.  It's rarely funny, horribly scripted and if what you came to see is some awesome basketball being played, even that is directed with such pedestrian flair, that it took me out of the movie. I liked nothing about this." - @baumer

"Hold my nuts." - @MrPink

Commentary: The one that unleashed these nuts on the world. Appearing on the list for a second time, against all the odds, is, once again, Uncle Drew. The re-occurrence of this film, both on this list and on the lists of the submitters, is a testament to the extremely high regard in which the nuts of this film are held. It brought Kyrie Irving's sensualist approach to basketball together with whoever wrote it's intelligent, disciplined screenplay, resulting in one of the most praised films of its year and the decade; in spite of whoever distributed it seemingly doing everything in its power to bungle the film's end of summer box office run, it wasn't long before it found an audience that surrendered to it.

 

 

 

 

 

God is real 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

3 hours ago, Jake Gittes said:

Number 40

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"The saviour who came to tear my life apart. My Tamako. My Sookee."
249 points, 13 lists

directed by Park Chan-wook | South Korea | 2016

 

The Pitch: In Japan-occupied 1930s Korea, a Korean woman is hired as a handmaiden to a Japanese heiress, while being involved in a plot to defraud her.

 

Top 5 Placements: 2
Top 12 Placements: 1
Metacritic: 84
Box Office: 38m WW
Awards: BAFTA Award for Best Foreign Film
BOT History: BOFFY nomination for Best Foreign Film
Critic Opinion: "Without sacrificing his taste for psychosexual perversity or his flair for violent grace notes, Park has given us a teasingly witty and elegant puzzle-box of a thriller whose pleasures are rooted not in visceral shock but in narrative surprise, and which wisely opts to seduce rather than pulverize its audience." - Justin Chang, Los Angeles Times

"Park Chan-wook’s The Handmaiden is a fiendishly clever, sinfully funny con-job melodrama, the kind that keeps yanking the rug out from under everyone on screen and off. If that’s all the film was, it would still be a must-see, at least for those who don’t mind a little graphic violence and kinky sex to go with their misdirection. But for all its twists, turns, and betrayals, the most shocking thing about the film is that it’s also, quite possibly and quite improbably, the year’s most genuinely romantic movie." - A.A. Dowd, The AV Club
BOT Sez: “When they ended part one, it surprised me as it had already given me everything I was expecting to see and so the twists and the reveals of the next two thirds were great bonuses. The big thing that makes the great Korean directors so damn great to watch is that when you have essentially a Hollywood film upbringing, everything shocks you as scenes that aren't supposed to happen in a film actually happen and reveals are not telegraphed from a mile away. [...] With this, you are given a film that again highlights how damn good Korean cinema can be when studios are shoehorning the latest KPop star in to be the lead and pissing all over what made 2002-2010 so damn excellent.” - @chasmmi
Commentary: Our next-to-last non-English language film, hailing from the same country as the remaining one. Director Park Chan-wook's sumptuous, entertaining adaptation of Sarah Waters' novel Fingersmith, with the setting changed from the original's Victorian era, became his biggest success since Oldboy upon its 2016 release, and its many charms did not escape members of BOT, particularly our favorite lecherous old uncle with the Peter O'Toole avatar. 

 

 

 

 

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

Can’t wait for Baahubali Part 1 and 2 to top the list.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

21 minutes ago, Plain Old Tele said:

How many write-ups feature @MrPink?

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

18 minutes ago, Jake Gittes said:

Number 41

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"Only assholes drink Mr. Pibb."
248 points, 19 lists

directed by David Mackenzie | US | 2016

 

The Pitch: Two brothers carry out a series of bank robberies to save their family ranch, while being pursued by two Texas Rangers.

 

Top 12 Placements: 3
Metacritic: 88
Box Office: $38m WW
Awards: 4 Academy Award nominations
BOT History: #5, Top Movies of 2016; BOFFY for Best Ensemble, out of 9 nominations
Critic Opinion: Hell or High Water‘s deliberate pacing gives it the feel of a heist story with its feet stuck in mud — and that’s a good thing. When the movie just sits with the characters on front porches or in backyards, Mackenzie’s generous, hands-off approach with his actors — most of the conversation scenes play out in long takes with minimal camera movement — yields poignant rewards." - Danny King, The Village Voice

"For all the methodical pacing and old archetypes, Hell or High Water is a thoroughly contemporary action film, complete with fast chases and flashes of dark comedy. But like the classic Westerns, it invites viewers to evaluate, one more time, the myth of the American outlaw, and the idea of criminals as heroes." - Tasha Robinson, The Verge
BOT Sez: The final scene between Pine and Bridges is probably best of the year for me.

It's like a climax and epilogue in one and the acting is pitch perfect from both. It's incredible how tense it feels, despite the fact that it's 'over.'
I've always liked Chris Pine, as in, he's better than his pretty boy looks suggest, but here, he outdoes himself. He's got a certain weariness, a yearning to be done with everything that that really shows throughout, and that's not something every actor can express through their body language. - @MrPink

Commentary: We wrap it up today with one of the decade's best-liked smaller movies, the crime neo-western that served at once as a throwback and an update. Sharply written by Taylor Sheridan (who becomes our second writer, after Steven Zaillian, to have two films on the list that he didn't also direct) and directed with flair but without show-offiness by David Mackenzie, it became one of the very few bright spots of summer 2016, and later rode its old-school charms to a Best Picture nomination.

 

 

 

 

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

1 hour ago, Jake Gittes said:

Number 48

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"I don't want to survive. I want to live."

225 points, 21 lists

directed by Steve McQueen | US, UK | 2013

 

The Pitch: Solomon Northup, a free African-American man, is kidnapped and sold into slavery in 1841.

 

Top 5 Placements: 1
Top 12 Placements: 2
Metacritic: 96
Box Office: $187m WW
Awards: Academy Awards for Best Picture, Supporting Actress and Adapted Screenplay, out of 9 nominations; BAFTA for Best Film and Best Actor
BOT History: #6, Top Movies of 2013; BOFFY awards for Best Ensemble, Supporting Actor and Supporting Actress, out of 8 nominations
Critic Opinion: “Given 12 Years A Slave’s subject matter, it’s a welcome surprise that John Ridley’s script pushes McQueen to prove he can proficiently execute multiple tones. Dexterity is necessary to handle adaptation of Solomon Northup’s slave narrative, which is a sort of ghastly picaresque featuring Northup (Chiwetel Ejiofor) as an innocent continuously abused in various settings. [...] There’s a pointed crane up from his dungeon to a bird’s eye view of the White House within shouting distance. Washington, D.C., is a particularly stark example of how the United States’ infamous incarceration rates disproportionately affect black people: 50.1% of the district’s population according to the 2012 census, but making up 91% of its inmates in June. That crane shot directly connects this country’s overblown prison business with executive policy, and it’s one of many indications that 12 Years is up to more than simply rendering The Horrors Of Slavery at a safe distance for everyone to shiver blamelessly at. The subject is, among other things, structural racism, in which institutional practices make everyone complicit in a greater ill without the possibility of identifying actors whose removal would lead to justice.” - Vadim Rizov, Filmmaker Magazine
BOT Sez: “Fantastic movie that lives up to the hype. I wasn't a big fan of either Hunger or Shame, but I absolutely love 12 Years A Slave. It was wonderfully-directed. Acting performances are good to great all around. Fassbender is outstanding in the role, his mannerisms were spot on as the manic, abusive and despicable slave-driver.Chiwetel Ejiofor is fantastic. His acting strength lies in the emotional and physical struggle conveyed through body language, especially his eyes. I can see and feel the anguish and pain just by his stares. It was a powerful, but not the in-your-face type of performance, and I love that. Another performance that also caught my attention is by Lupita Nyong'o in the role of Patsey. But really, they were all good. Definitely completely a characters-driven movie and succeeded at that. Storytelling was very effective, I felt engaged throughout. The rawness and sensitive nature of the subject involved was handled, in my opinion, in the most-suited way." - @Sam
Commentary: Our third, and third-to-last, Best Picture winner. Following his provocative arthouse successes Hunger and Shame, director Steve McQueen found a wide audience when he applied his unwavering, carefully studied approach to some of the toughest subject matter there is, making a film that avoided being either melodramatic or miserablist. A strong box-office success and winner of many industry awards, it remains widely admired, including by members of this board.

 

 

 

 

 

If we ever did a list on movie posters, the Brad Pitt version of that poster would be in the top 10.

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

16 minutes ago, RealLyre said:

where is that from

Tombstone

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

17 minutes ago, Jake Gittes said:

 

[BOT's Top 100 Films of the 2010s: The Countdown | List complete]

[Bond Weekend Thread | NM 42.3, NTTD 40.1]

11 minutes ago, grim22 said:

Deadline updates

 

 

No Time to Flop

[Classic Conversation Thread]

9 minutes ago, MrGlass2 said:

Dexter

  Reveal hidden contents

as lumberjack

made more sense and was more satisfying than Walter White

  Reveal hidden contents

mowing down Nazis with his robot car.

 

[Classic Conversation Thread]

21 minutes ago, MrGlass2 said:

No show since 2000 gets even close to the success or consistency of GoT. Dexter is more similar to a Breaking Bad or Mad Men, shows that ran too long and had to come up with nonsensical new twists every season for their ever more absurd antihero protagonist.

This may be the dumbest thing I’ve ever read.