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

[terrestrial]

59 minutes ago, Cap said:

Lol at the best Avengers talk. 

to me its more about which one I liked the most, which resonated with me the most, or which one surprised me the most or... (generell speaking)

Best is for me too much depending on: best about what?

Maybe a bit like awards:

they usually have lots of categories, the only one that never really interests me is the best movie category. So my lists are about enjoyment.

If e.g. a movie has a focus on a character I do not like, to me the whole is not enjoyable, even if the other scenes are nice or even great

If a movie e.g. promotes - or presents in a seemingly positively way - unequal treatments, it can be the best in quality of all time, I still wont have it on any of my top xy lists.

 

[mldardy]

Sicario way too low.

[Jamiem]

I didn’t have any Avengers films on my list (I do have 3 MCU films and 8 superhero films if I counted correctly) but if I did it would probably be Infinity War. The Snap is way better than Coulson’s death for me and that is as someone that knew it was coming. 

[Ethan Hunt]

Age of Ultron is definetly my favorite avengers film

[Jamiem]

6 hours ago, RealLyre said:

Only Lulu Wang and Kathryn Bigelow in the top 100 so far.

 

Think Greta Gerwig and maybe Céline Sciamma, Olivia Wilde or Debra Granik will also be in next but probably not much more 🤔

Hopefully Lady Bird makes it, was surprised how much I loved it when I first watched it as it didn’t look like something I’d like. 

[lorddemaxus]

2 hours ago, Ethan Hunt said:

Leave No Trace is WAY more likley ( in fact it's a 100% chance tbh)  to make it than Portrait of A Lady on Fire (which I don't see happening)

ok, I stand corrected. Even Aladdin placed higher than Portrait in the Best of 2019 list.

Edited April 14, 2020 by lorddemaxus

[Jake Gittes]

Number 60

Spoiler

 

 

"If we win, on our budget, with this team... we'll have changed the game. And that's what I want. I want it to mean something."

200 points, 16 lists

directed by Bennett Miller | US | 2011

 

The Pitch: In 2001-02, Oakland Athletics' general manager Billy Beane successfully assembles a baseball team on a lean budget by employing computer-generated analysis.

 

Top 12 Placements: 2
Metacritic: 87
Box Office: $110m WW
Awards: 6 Academy Award nominations
BOT History: #13, Top Movies of 2011
Critic Opinion: "A smart, intense and moving film that isn't so much about sports as about the war between intuition and statistics. I walked in knowing what the movie was about, but unprepared for its intelligence and depth." - Roger Ebert, Chicago Sun-Times

"Now that Pitt no longer has brash youth on his side, he's digging deeper and doing more with less. It's the kind of acting - understated but woven with golden threads of movie-star style - that gives us more to look at rather than less." - Stephanie Zacharek, Movieline
BOT Sez: “When I first saw this, I thought it was mediocre and overrated- a technical movie that didn't really exceed my expectations in any one area. But I watched this again yesterday for a research class, and holy shit. This movie was pretty fucking fantastic. I finally GOT it. I actually almost got a bit emotional when the daughter's song kicked in at the end while he was driving around - brilliantly directed scene. And the editing is fantastic throughout. I don't think Pitt and Hill deserved to win the Oscars like some lobbied, but I'll be damned if they weren't real and geniune as could be. Great film.” - @Cmasterclay
“I love this movie. It doesn't get the baseball right (ooh boy, does it ever not get the baseball right), but the acting and scripting are razor-sharp and the film never sags despite a lengthy run time. Brad Pitt's work as Billy Beane is admirably layered and introspective, giving the audience a glimpse into a character who is chasing some elusive conception of success that goes far beyond the more tangible success he never had as a younger man.” - @Webslinger
Commentary: After starting two days in a row with Brie Larson, we're starting two days in a row with Brad Pitt and the movies that made 2011 a banner year for him. Initially developed by Steven Soderbergh, Moneyball ultimately became Bennett Miller's follow-up to Capote, and if his approach has much less pizzazz to it than Soderbegh's likely would have had, he still made one of the decade's best-liked studio dramas, assuredly guiding the audience through potentially dry material with assist from Steven Zaillian and Aaron Sorkin's sharp script and two soulful lead performances.

 

 

 

 

 

 

[Jake Gittes]

Number 59

Spoiler

 

 

"The prophecy is made up, but it's also true. It's about all of us."

202 points, 19 lists

directed by Phil Lord & Christopher Miller | US, Denmark, Australia | 2014

 

The Pitch: An ordinary LEGO construction worker joins a quest to stop an evil tyrant from gluing the LEGO universe into eternal stasis.

 

Top 5 Placements: 1
Top 12 Placements: 1
Metacritic: 83
Box Office: $468m WW
Awards: BAFTA for Best Animated Feature; Annie Award for Best Writing, out of 6 nominations; Academy Award nomination for Best Original Song
BOT History: #6, Top Movies of 2014; #25 (2014), #20 (2016), #20 (2018), Top Animated Movies of All Time; BOFFY for Best Animated Feature and Best Song, out of 5 nominations
Critic Opinion: "One of The Lego Movie’s strengths comes from Lord and Miller’s decision to embrace the limitations of Lego, making the animated visuals look like they could have been constructed from Lego kits (albeit the biggest, most expensive Lego kits ever made). Characters move with the herky-jerky rhythms of stop-motion animation, fire takes the form of little flame pieces, and one of the main villains, Bad Cop/Good Cop (Liam Neeson), is a man with faces on opposite sides of the same little plastic head. 

It certainly works as a feature-length Lego commercial, but it also doubles as a feature-length reminder of how toys can serve as catalysts for creativity, letting kids get lost in worlds the toymakers never imagined. The Lego Movie offers one inventive notion after another, including Nick Offerman as a mecha pirate named Metal Beard who clearly put himself together with parts from un-piratey Lego worlds, and a meeting in which Michelangelo, the Renaissance artist and inventor, sits next to Michelangelo, the Teenage Mutant Ninja Turtle. It’s playtime on film, done with wit, warmth, and respect for the business of imagination." - Keith Phipps, The Dissolve

BOT Sez: “Phil Lord and Christopher Miller's best film is about what they do best. They take their inspirations and what they love, and make something new out of what seems old every time. The sheer humor and heart found in this film is something to behold. Rarely do I break down in tears at the end of a film, but this film does it for me every time. The power of creativity and love defeat cynicism and fear of the new. Lord and Miller's greatest work displays exactly why they're some of Hollywood's best filmmakers working. The LEGO Movie shows how experimentation and fresh takes bring about humanity's greatest triumphs, while also being one of the most enjoyable films to grace theaters in the past decade.” - @Blankments
Commentary: The biggest success (so far at least) of Phil Lord and Christopher Miller's career-long quest in taking on material that's dangerously close to being creatively bankrupt and making it sing onscreen. A movie-length toy commercial that also cleverly channels the spirit of what the toy in question is all about, it became a runaway hit in early 2014 and remains very warmly regarded, even as the franchise it spawned saw rapidly diminishing returns in subsequent years.

 

 

 

 

 

 

Edited April 14, 2020 by Jake Gittes

[WrathOfHan]

Blanks is about to rage 

[Ethan Hunt]

1 minute ago, WrathOfHan said:

Blanks is about to rage 

it made the list tho

[Blankments]

the #2 of the decade, making the list. nice

[Jake Gittes]

Number 58

Spoiler

 

 

“He looks for the good in all of us and somehow, he finds it!"

203 points, 13 lists

directed by Paul King | UK, France | 2017

 

The Pitch: Trying to get a present for his aunt's birthday, Paddington ends up imprisoned for a crime he didn't commit.

 

Top 12 Placements: 3
Metacritic: 88
Box Office: $227m WW
Awards: 3 BAFTA nominations
BOT History: #21, Top Movies of 2017; #16, Top Movies of 2018; 4 BOFFY nominations
Critic Opinion: "Director Paul King, who got his start helming the surreal cult comedy series The Mighty Boosh, continues to prove himself a confident and comparatively sophisticated stylist, employing cutaway sets, Rube Goldberg slapstick, animated sequences in different styles, and loads of visual gags to create the film’s dollhouse-storybook world [...] King’s humor and absurdist instincts are winning, from a Mr. Bean-by-way-of-digital-effects scene that finds Paddington taking a disastrous part-time job as a barber’s assistant to the various shenanigans of the villain, Buchanan, who scours the city for treasure disguised in his old theater costumes, leading Paddington’s friends to pin the crimes on a purported gang that includes a nun, a medieval knight, and the Great Expectations character Abel Magwitch. (Having a narcissistic character stand in front of a portrait of himself is an old visual gag, but King and production designer Gary Williamson cover the interior of Buchanan’s Notting Hill terrace house with framed glossies of Grant, like a teen girl’s bedroom circa the early 2000s gone rococo.)" - Ignatiy Vishnevetsky, The AV Club
BOT Sez: “What raises these films above the average made-for-TV kids movie is the unwavering commitment to the material both behind and in front of the screen. Paul King is unquestionably a very talented filmmaker and his appreciation for the source shows in every single frame. As with the previous film, Whishaw is the perfect voice for the titular character and Hawkins and Bonneville are excellent again in their supporting roles as the Browns, if maybe seeming a little less useful here than in the first movie.” - @tribefan695
“This movie is utterly PRECIOUS and so kind.  I loved the sense of wonder throughout ( I was BEAMING at the prison break!).  Every character was important and mattered; and in the end, everyone got to have their shining moment.  The script was wonderful, and the editing was so well placed.  And then there was Hugh, Oh My Gosh.  He was such a blast to watch.” - @Cap
“Art” - @That One Guy
Commentary: The higher-ranked 2017 film in which Sally Hawkins found herself underwater with an anthropomorphic creature. While something of a box-office underperformer, it was widely considered an improvement on its already remarkable predecessor, solidifying them both as the decade's most treasured live-action family films. (When it came to this countdown, it may have even done too good a job overshadowing the first film, outscoring it by over 150 points.)

 

 

 

 

 

 

Edited April 14, 2020 by Jake Gittes

[lorddemaxus]

Lol we already reached Paddington 2 and there are still 57 films left. 

[Ethan Hunt]

saddington aboout paddington 2 instead of paddington 1

[The Panda]

My favorite Avengers movie 

 

[The Panda]

1 hour ago, Jake Gittes said:

Number 60

  Reveal hidden contents

 

 

"If we win, on our budget, with this team... we'll have changed the game. And that's what I want. I want it to mean something."

200 points, 16 lists

directed by Bennett Miller | US | 2011

 

The Pitch: In 2001-02, Oakland Athletics' general manager Billy Beane successfully assembles a baseball team on a lean budget by employing computer-generated analysis.

 

Top 12 Placements: 2
Metacritic: 87
Box Office: $110m WW
Awards: 6 Academy Award nominations
BOT History: #13, Top Movies of 2011
Critic Opinion: "A smart, intense and moving film that isn't so much about sports as about the war between intuition and statistics. I walked in knowing what the movie was about, but unprepared for its intelligence and depth." - Roger Ebert, Chicago Sun-Times

"Now that Pitt no longer has brash youth on his side, he's digging deeper and doing more with less. It's the kind of acting - understated but woven with golden threads of movie-star style - that gives us more to look at rather than less." - Stephanie Zacharek, Movieline
BOT Sez: “When I first saw this, I thought it was mediocre and overrated- a technical movie that didn't really exceed my expectations in any one area. But I watched this again yesterday for a research class, and holy shit. This movie was pretty fucking fantastic. I finally GOT it. I actually almost got a bit emotional when the daughter's song kicked in at the end while he was driving around - brilliantly directed scene. And the editing is fantastic throughout. I don't think Pitt and Hill deserved to win the Oscars like some lobbied, but I'll be damned if they weren't real and geniune as could be. Great film.” - @Cmasterclay
“I love this movie. It doesn't get the baseball right (ooh boy, does it ever not get the baseball right), but the acting and scripting are razor-sharp and the film never sags despite a lengthy run time. Brad Pitt's work as Billy Beane is admirably layered and introspective, giving the audience a glimpse into a character who is chasing some elusive conception of success that goes far beyond the more tangible success he never had as a younger man.” - @Webslinger
Commentary: After starting two days in a row with Brie Larson, we're starting two days in a row with Brad Pitt and the movies that made 2011 a banner year for him. Initially developed by Steven Soderbergh, Moneyball ultimately became Bennett Miller's follow-up to Capote, and if his approach has much less pizzazz to it than Soderbegh's likely would have had, he still made one of the decade's best-liked studio dramas, assuredly guiding the audience through potentially dry material with assist from Steven Zaillian and Aaron Sorkin's sharp script and two soulful lead performances.

 

 

 

 

 

 

Mhmm that’s some real good stuff, much better than silly toy bricks

[Jake Gittes]

Number 57

Spoiler

 

“The same thing that's wrong with you isn't wrong with me."

203 points, 15 lists

directed by Debra Granik | US | 2018

 

The Pitch: A PTSD-suffering war veteran and his teenage daughter lead an off-the-grid existence until they are found and placed in social services.

 

Top 12 Placements: 5
Metacritic: 88
Box Office: $7.6m WW
Awards: 3 Independent Spirit Award nominations
BOT History: #11, Top Movies of 2018; BOFFY for Best Actress, out of 5 nominations
Critic Opinion: “Adapted from Peter Rock’s novel My Abandonment by Granik and regular co-writer/producer Anne Rosellini, Leave No Trace (which has its roots in a true story) unites several thematic strands that run throughout the director’s work. Having examined the lives of disenfranchised veterans in her 2014 documentary Stray Dog, Granik here cites several real-life accounts of post-combat trauma as “inspirational source materials”, alongside readings from Henry David Thoreau and the journals of Richard Proenneke. Yet crucially both Rock and Granik also acknowledge Shakespeare’s The Tempest as an archetypal template that offers an insight into the true heart of this quietly powerful film.

Whatever else it may be, Leave No Trace is a coming-of-age story in which Tom’s emerging identity is the real catalyst for change. The film opens and closes with images of a dewy spider’s web glistening in forest light, suggesting both escape and entrapment. When Tom tells her father “I’m growing”, his monosyllabic response (“I know”) economically suggests fear, resignation and denial. Like the leaky canvases they attempt to patch up with duct tape, it’s clear that this pair’s putatively Edenic world is coming apart long before the authorities arrive." - Mark Kermode, The Guardian
BOT Sez: “Debra Granik composed a subtle work of art on the effects of PTSD.  Leave No Trace is is a quiet film that doesn't really provide much exposition on why anything that's happening is happening, and it's better for it, as it simply shows a trans-formative moment in the main character, Tom's, life as she travels with her father who's living in the wilderness to battle his mental illness.  Both of the lead characters give effective performances, but it's Thomasin McKenzie who really shines, especially with a powerful ending that shows the journey the character had taken throughout the film.” - @The Panda
“Enjoyed this a lot. It's a very emotional film with two excellent performances from the leads. I wasn't expecting the second half to be what it was, but that's not necessarily a bad thing, especially as the movie sits in my mind. Probably my favorite movie of the year so far.” - @WrathOfHan
Commentary: The one that can't stop leaving a trace... in our hearts... and on our lists. Although Debra Granik's first fiction film after her Oscar-nominated Winter's Bone sadly flew under the radar relative to that film's industry reception, its tenderly told story struck a real chord with a good number of our posters, and it succeeded in serving as a breakthrough to another young actress, in this case Thomasin McKenzie.

 

 

 

 

[The Panda]

Just now, Jake Gittes said:

Number 57

  Hide contents

 

“The same thing that's wrong with you isn't wrong with me."

203 points, 15 lists

directed by Debra Granik | US | 2018

 

The Pitch: A PTSD-suffering war veteran and his teenage daughter lead an off-the-grid existence until they are found and placed in social services.

 

Top 12 Placements: 5
Metacritic: 88
Box Office: $7.6m WW
Awards: 3 Independent Spirit Award nominations
BOT History: #11, Top Movies of 2018; BOFFY for Best Actress, out of 5 nominations
Critic Opinion: “Adapted from Peter Rock’s novel My Abandonment by Granik and regular co-writer/producer Anne Rosellini, Leave No Trace (which has its roots in a true story) unites several thematic strands that run throughout the director’s work. Having examined the lives of disenfranchised veterans in her 2014 documentary Stray Dog, Granik here cites several real-life accounts of post-combat trauma as “inspirational source materials”, alongside readings from Henry David Thoreau and the journals of Richard Proenneke. Yet crucially both Rock and Granik also acknowledge Shakespeare’s The Tempest as an archetypal template that offers an insight into the true heart of this quietly powerful film.

Whatever else it may be, Leave No Trace is a coming-of-age story in which Tom’s emerging identity is the real catalyst for change. The film opens and closes with images of a dewy spider’s web glistening in forest light, suggesting both escape and entrapment. When Tom tells her father “I’m growing”, his monosyllabic response (“I know”) economically suggests fear, resignation and denial. Like the leaky canvases they attempt to patch up with duct tape, it’s clear that this pair’s putatively Edenic world is coming apart long before the authorities arrive." - Mark Kermode, The Guardian
BOT Sez: “Debra Granik composed a subtle work of art on the effects of PTSD.  Leave No Trace is is a quiet film that doesn't really provide much exposition on why anything that's happening is happening, and it's better for it, as it simply shows a trans-formative moment in the main character, Tom's, life as she travels with her father who's living in the wilderness to battle his mental illness.  Both of the lead characters give effective performances, but it's Thomasin McKenzie who really shines, especially with a powerful ending that shows the journey the character had taken throughout the film.” - @The Panda
“Enjoyed this a lot. It's a very emotional film with two excellent performances from the leads. I wasn't expecting the second half to be what it was, but that's not necessarily a bad thing, especially as the movie sits in my mind. Probably my favorite movie of the year so far.” - @WrathOfHan
Commentary: The one that can't stop leaving a trace... in our hearts... and on our lists. Although Debra Granik's first fiction film after her Oscar-nominated Winter's Bone sadly flew under the radar relative to that film's industry reception, its tenderly told story struck a real chord with a good number of our posters, and it succeeded in serving as a breakthrough to another young actress, in this case Thomasin McKenzie.

 

 

 

 

 

Yes, I got to be quoted for one of the good movies this time

[Ethan Hunt]

I'm pretty surprised bow how low it is tbh

[aabattery]

Leave No Trace Gang still out here, still leaving traces.