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Jake Gittes

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

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Number 15

Spoiler

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"So long, partner."
380 points, 27 lists

directed by Lee Unkrich | US | 2010

 

The Pitch: As the now-17-years-old Andy prepares to leave for college, his old toys accidentally get donated to a day care center.

 

Top 5 Placements: 2
Top 12 Placements: 3
Metacritic: 92
Box Office: $1.067 billion WW
Awards: Academy Awards for Best Animated Feature and Original Song, out of 5 nominations
BOT/BOM History: #3, Top Movies of 2010; #67 (2012), #33 (2013), #13 (2014), #30 (2016), #44 (2018), Top 100 Movies of All Time; #2 (2013), #4 (2014), #10 (2016), #5 (2018), Top Animated Movies of All Time; #13, Top 100 Movies of the Century (2015)
Critic Opinion: “A sequel made with care and integrity, Toy Story 3 is just moving enough: It winds its way gently toward its big themes instead of grabbing desperately at them, and because its plot is so beautifully worked out, getting there is almost all of the fun.” - Stephanie Zacharek, Movieline
BOT Sez: “Beautiful animation, beautiful characters, beautiful ending to what could, argubably, be considered the best trilogy of all time, by some. This movie's last 20 minutes are some of the most incredible scenes put to film in cinema history... no exaggeration. The hand holding scene was gut wrenching, beautiful, powerful, sad, and epic, all at once. And just when you thought Pixar couldn't go for more, they create the last scene with Andy saying goodbye to his friends by giving them away in a heartfelt closing scene.” - @Letsuseournoggin
Commentary: A Pixar sequel from the time when that could still be considered an event, and the last of the studio's staggeringly well-received 2007-2010 four-movie run. Taking the real-world time passage since the '90s predecessors and making it an integral part of the story, Toy Story 3 finished the (what was then a) trilogy on a high note, arriving at possibly the most dramatic climax in any Pixar film by way of entertaining prison-escape comedy. In addition, it is our highest-ranking film to have won its year at the box office.

 

toy-story-3

 

 

 

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2 minutes ago, CoolioD1 said:

cameron fans are weak couldn't even get Battle Angel on this list.

 

unless...

 

Can't be. Jake just said:

 

Quote

In addition, it is our highest-ranking film to have won its year at the box office.

 

Which, if I recall correctly, would eliminate Alita. I haven't checked the numbers myself but I remember being told it would make at least a couple of billies?

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3 minutes ago, aabattery said:

 

Can't be. Jake just said:

 

 

Which, if I recall correctly, would eliminate Alita. I haven't checked the numbers myself but I remember being told it would make at least a couple of billies?

Jake probably just forgot. this is not a not a swan song.

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Number 14

Spoiler

ABh5fpD.jpg

 

"Turn my pages, bitch!"
398 points, 24 lists

directed by Damien Chazelle | US | 2014

 

The Pitch: An ambitious young jazz drummer is mentored by an abusive perfectionist instructor.

 

Top 5 Placements: 5
Top 12 Placements: 2
Metacritic: 88
Box Office: $49m WW
Awards: 3 Academy Awards, out of 5 nominations; Sundance Grand Jury Prize
BOT History: #4, Top Movies of 2014; #55, Top 100 Movies of the Century (2015); #80 (2016), #59 (2018), Top 100 Movies of All Time; BOFFY awards for Best Supporting Actor and Breakthrough
Critic Opinion: “Directing with a cool, steady hand that renounces shaky-cam the way Fletcher would denounce rock ‘n roll, and getting strong performances from his two leads, Chazelle provides a potent metaphor for artistic ambition as both a religion and an addiction.” - Richard Corliss, TIME
BOT Sez: “I second whoever said it's similar to Black Swan. Stylistically is much more tamer than Aronofsky's movie but thematically they share a lot. I think the movie is less about the abusive teacher-student relationship and who wins or loses and more about Andrew's search for perfection. The main thing I got from Whiplash is that it tried to show how it is to be a person who thinks the only thing worth living and dying for is to be perfect at the thing you love the most. For all I know maybe Andrew becomes a new Charlie Parker or ends up hanging himself a few years later like that other student or even collapsing and dying on stage after the credits rolled. But it doesn't matter. The only thing that matters (like Portman in Black Swan) is achieving that moment of greatness and perfection.” - @Joel M
Commentary: A contender for the decade's most impressive directorial breakthrough, Damien Chazelle's dopey, thrilling sophomore feature that first explored the core theme of his career to date - viz. the cost of achievement - through an inspirational-teacher movie done as a thriller. Shot on a small budget in under a month and demonstrating a precise, confident sense of craft, it never quite took off in North American box office but didn't let that deter it, becoming one of the most popular and honored movies of its year anyway. 

 

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1 hour ago, RealLyre said:

Does this forum even watch anime besides the most mainstream shit? This list only has  Your Name and Princess Kaguya lol 

At the very last A Silent Voice should’ve also made the list in my opinion. 

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Number 13

Spoiler

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"All we did was survive."
426 points, 28 lists

directed by Christopher Nolan | UK, US, France, Netherlands | 2017

 

The Pitch: The Dunkirk evacuation as seen from land, sea and air.

 

#1 Placements: 1
Top 5 Placements: 1
Top 12 Placements: 5
Metacritic: 94
Box Office: $526m WW
Awards: 3 Academy Awards, out of 8 nominations
BOT History: #1, Top Movies of 2017; 4 BOFFY awards, including Best Director
Critic Opinion: “It’s at once minimalist and maximalist, cynical and dopey, a big-boy white elephant art film that is actually a lean and mean suspense set-piece machine. Here is a lavish, colossal re-telling of the escape of Allied troops over the English Channel from the tip of France in 1940, shot in 70mm with an ensemble cast, though its ostensible subject is the law of survival in the nick of time; long stretches consist of movement without dialogue, and the nesting-doll narrative brings attention to reflex and scale, all while sucking Dunkirk’s largely unnamed characters toward a climax that also runs the length of the film. (Neat trick, that.) In terms of form, it marks a big step forward for Nolan; restraining his usual choppiness, the Anglo-American creator of long, quasi-cerebral blockbusters has crafted what are head-and-shoulders the purest action scenes of his career, and they take up most of the movie. In other words, Dunkirk finds Nolan playing both genre director and composer-conductor—a 107-minute oratorio for dead wet beaches, gunfire, Stuka dive bombers, Spitfires, ticking clocks, burning oil, and sinking ships, in the key of the filmmaker’s career-long obsession with water and drowning. (See: Inception, Interstellar, The Prestige, The Dark Knight, etc.) At a glance, it seems to have no subtext. But when a movie is set almost entirely over sand and sea, one should know to look below the surface.” - Ignatiy Vishnevetsky, The AV Club
BOT Sez: “Nolan once again plays with time, taking three different storylines across three different timeframes down to its conclusion. Each section displays a slice of what Dunkirk represented to each participant in the evacuation, some more tense while others more thrilling or heroic. It struck me as his most focused blockbuster in some time, laser focused on the goals he wanted to achieve, and his most optimistic film to date. Our audience surrogate does nothing except survive, but the movie reminds us that it is human, understandable, and also a victory of sorts. Surrounding that are heroic actions that seemed small, but cumulatively added up to so much. That can be as simple as a pilot sacrificing his fuel to protect what soldiers he can from above, or a citizen helping to evacuate who he can.” - @MrPink
Commentary: Today's dose of Nolan takes the form of his most recently released film, which, despite the presence of a handful of his familiar themes, tricks and obsessions, still found him in borderline-experimental mode, consciously pushing himself to reject some of the crutches he'd come to rely on. The result became one of the more unusual studio-bankrolled tentpoles of recent years, and a war film that expressed a worldview through action and imagery even before it started explaining itself through dialogue. And the audiences trusted the director enough to give him yet another leggy hit.
 

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5 minutes ago, Jake Gittes said:

Number 13

  Reveal hidden contents

 


Surprisingly low for Nolan D. 

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10 minutes ago, Jake Gittes said:

Number 13

  Reveal hidden contents

 

 

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Number 12

Spoiler

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"I guess I'll see you in the movies."
436 points, 26 lists

directed by Damien Chazelle | US | 2016

 

The Pitch: A jazz pianist and an actress fall in love in Los Angeles while navigating their respective fledgling careers.

 

Top 5 Placements: 6
Top 12 Placements: 3
Metacritic: 94
Box Office: $446m WW
Awards: 6 Academy Awards, out of 14 nominations; 5 BAFTA Awards, out of 11 nominations; Volpi Cup for Best Actress - Venice Film Festival
BOT History: #2, Top Movies of 2016; #78, Top 100 Movies of All Time (2018); 8 BOFFY awards, out of 16 nominations
Critic Opinion: ‘The movie traffics in the bittersweet happiness of treasuring things that are vanishing, like the unrealized future imagined in the climatic dance number, or those inky, star-filled dance floors that go on forever in old movies, or Hollywood musicals themselves.” - Ty Burr, The Boston Globe
“This is an artificial movie, and indeed that’s the point. When we first see Mia, she’s talking on her phone – but in fact she isn’t, she’s a wannabe actress and the one-sided dialogue is a piece she’s practising for an audition. Later we see her at the actual audition – and the camera moves closer as her eyes fill with tears, but of course the tears aren’t real. So what’s real? Well, the coffee stain on her dress is real. Unpaid bills are real (and “not romantic”). A couple’s arguments are probably real. Above all, creative work is real: maybe not the dream but the work itself, the constant striving, the insane commitment that comes from trying to produce something great (this was also the subject of Whiplash). Art is one such creation – Mia pours her soul into a one-woman show; Sebastian is a jazz purist, his dream being to open a club harking back to the great days of jazz – and of course love is another. Lovers get caught up in a grand romantic project, and usually fail. It’s too hard; it 'hurts too much'". - Theo Panayides, Cyprus Mail
BOT Sez: “Damien Chazelle has expanded on the promise he showed with Whiplash here, and in a way, La La Land feels like a natural follow-up with its themes of ambition. The movie is a marriage of color (the movie is a cinematography lover's wet dream), song, and fantasy that serves as a magical love letter to both Los Angeles and a time when Hollywood made movies they seldom do anymore while also very much creating a new classic of its own. This is very much a two-hander between Ryan Gosling and Emma Stone, and both actors are more than up to the challenge and deliver bonafide "movie star" performances that make Sebastian and Mia one of the more endearing movie couples in history.” - @filmlover
"Technically, it's ... great … obviously directed with a lot of verve [...] I ran into a huge, huge ... moment [...] I wanted ... Ryan Gosling every time he was on screen. Emma Stone was ... man oh man [...] "City of Stars" is a lovely song." - @Plain Old Tele
Commentary: Right back to Chazelle and his passion-project follow-up to Whiplash, the bursting-at-the-seams romantic reflection on dreams, love, Hollywood, compromise and the impossibility of perfection. A messy film in mostly productive ways and a more layered one than it's often given credit for, and powered relentlessly by its leads' chemistry and Chazelle's forceful direction, it barreled through the 2016-17 awards season (before being pushed aside at its very last stop by Moonlight) and became one of the highest-grossing modern live-action musicals.

 

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