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

[CoolioD1]

6 minutes ago, Ethan Hunt said:

I'm pretty surprised bow how low it is tbh

to be fair there are barely any infinity stones in it. 

[Jake Gittes]

Number 56

Spoiler

 

“Isn't it strange, to create something that hates you?"

210 points, 24 lists

directed by Alex Garland | UK, US | 2014

 

The Pitch: A programmer is invited to the isolated home of his CEO to administer the Turing test to an intelligent humanoid robot.

 

Top 5 Placements: 1
Top 12 Placements: 1
Metacritic: 78
Box Office: $37m WW
Awards: Academy Award for Best Visual Effects; 5 BAFTA nominations; 6 Saturn nominations
BOT History: #8, Top Movies of 2015; #20, Top 100 Sci-Fi Movies (2020); BOFFY for Best Supporting Actress and Best Breakthrough (Alicia Vikander), out of 7 nominations
Critic Opinion: “What matters is not whether Ava is a machine. It is not even whether Ava, even though a machine, can be conscious. What matters is whether Ava makes a conscious person feel that Ava is conscious. The brilliance of Ex Machina is that it reveals the Turing test for what it really is: a test of the human, not of the machine. And Garland is not necessarily on our side.” - Anil Seth, New Scientist
BOT Sez: “A deliciously chilling four-man show, and extremely visually impressive despite the mostly claustrophobic but still absolutely stunning setting. The film's ultra-clean and almost sterile visual look is one of its big trump cards, which is a fantastic contrast to the performances, especially the chemistry between Isaac and Gleeson; with the former's more laid back demeanour drawing some of the best, if not slightly uncomfortable laughs and moments of levity, all playing off against Gleeson's geeky awkwardness. But of course they play both off the brilliant Alicia Vikander, whose steely, chilling, calculated but at the same time seductive, engaging and almost sincere performance was the real standout.” - @antovolk
Commentary: While Annihilation fell just short of making it onto the list, Alex Garland still found a spot here with his impressive directorial debut, the hermetic sci-fi thriller built around the dynamics between a nice-guy programmer, his dudebro inventor CEO, and a robot underestimated by them both. A modest success at the box office - at the time, it became A24's biggest grosser - it quickly endeared itself to sci-fi fans, and delivered a shocker when it earned the Visual Effects Oscar over several incomparably bigger tentpoles.  

 

 

 

 

[Jake Gittes]

Number 55

Spoiler

 

"I like it when she puts her tongue inside me."

212 points, 17 lists

directed by Yorgos Lanthimos | UK, US, Ireland | 2018

 

The Pitch: In early 18th century England, two cousins are vying to be Court favourites of the frail and erratic Queen Anne.

 

#1 Placements: 1
Top 5 Placements: 1
Metacritic: 90
Box Office: $95m WW
Awards: Volpi Cup for Best Actress; Academy Award for Best Actress, out of 10 nominations; 7 BAFTA Awards; 8 European Film Awards
BOT History: #7, Top Movies of 2018; BOFFY Awards for Best Ensemble, Supporting Actress (Rachel Weisz) and Original Screenplay
Critic Opinion: “Lanthimos places the monarch at the center of a surreal world—one where politicians race champion ducks around the halls, where the throne room is littered with royal bunnies who must be greeted by all those who enter, and where new estates are handed out as birthday gifts by a capricious ruler. [...] Lanthimos heightens Anne’s isolation, and the oppressive strangeness of her court, in any way he can, shooting scenes with fish-eye lenses and at extreme, daunting angles. His style is showy, but the flourishes feel necessary, bringing the nightmarish qualities of the world to the foreground. There have been many period dramas about royal-court intrigue throughout cinema history, but Lanthimos wants his setting to be as cloistered as the prisonlike compound of Dogtooth. This stifling atmosphere—along with career-best work from Stone—makes Abigail’s flinty desperation to climb the ladder, even if it means serving the whims of a flighty monarch, all the more plausible.” - David Sims, The Atlantic
BOT Sez: “A delightful dark comedy about power plays in early 1700s British politics with an All About Eve twist. I was surprised by how genuinely hilarious this was at times: the script is filled with hilarious one-liners and other quirks (that strange dance between Rachel Weisz and Joe Alwyn might be the hardest I’ve laughed all year). The biggest asset is its trio of central performances: Olivia Colman, Emma Stone (in a role that takes a dark turn previously unseen by the actress), and Rachel Weisz all deserve the awards love coming their way (kudos as well to a never better Nicholas Hoult). Like Love & Friendship from a few years ago, this is a period piece for those seeking something spicier from such a usually stuffy genre.” - @filmlover
Commentary: Having already found more of an audience in the English-speaking world than anyone could have expected around the release of Dogtooth, Yorgos Lanthimos was rewarded with his most successful film yet when he applied his idiosyncratic style to the British costume drama. Mining history for a dark comedy that nevertheless knew exactly when and how to get serious, The Favourite delivered on its promise, which included giving us the rare sight of three fully realized female leading performances in one film. And then, to top it off, it became responsible for one of the decade's greatest Oscar wins.

 

 

 

 

Edited April 15, 2020 by Jake Gittes

[aabattery]

[WrathOfHan]

The Favourite? More like my favourite movie of the decade  

[Jake Gittes]

Number 54

Spoiler

 

 

"Fuck the space!"

215 points, 20 lists

directed by Noah Baumbach | US, UK | 2019

 

The Pitch: An actress and a stage director go through a coast-to-coast divorce.

 

Top 12 Placements: 2
Metacritic: 93
Box Office: N/A
Awards: Academy Award for Best Supporting Actress, out of 6 nominations
BOT History: #6, Top Movies of 2019; 6 BOFFY nominations
Critic Opinion: “Still working with his longtime ace editor Jennifer Lame, Baumbach changes up his stylistic game, moving away from rapidly-cut hand-held jitters (as well as the elaborate tableaux staging deployed in Mistress America‘s finale) and towards slower-cut, more conventional coverage that, per usual wisdom, lets scenes “breathe,” which makes the film longer than usual—a hefty 135 minutes, his first-ever film over two hours. There are fewer throwaway laugh lines in the margins, the film staying thematically on-target, and I found the less aggressive formal language to be a bit of a letdown. [...] Despite my qualms about the relatively conventional presentation, Marriage Story did eventually get under my skin as a movie about the sadness of winding down a long-term relationship that simply didn’t work, when two partners who’ve thoroughly internalized each others’ rhythms, and who may never fully unlearn that intimacy, have to split.” - Vadim Rizov, Filmmaker Magazine
BOT Sez: “One of my favorite movies of the last few years. Almost every scene in this was dynamite and the balance of humor and drama was exquisite. As other posters have alluded to, the supporting cast deserve so much recognition, some of whom (Merritt Wever for example) only have one significant scene yet they make their brief appearance so memorable. The characterization was so rich, and while the two leads are not always the most likable individuals, their flaws and the alternative ways in which they deal with a tumultuous situation makes their relationship and its breakdown so compelling. Driver definitely gets the meatier material in the latter stages, but that doesn't necessarily mean the movie is siding with him. Johansson has a few moments towards the end which purely rely on her facial expressions to sell the emotion, and she nails every single one of them. I'm also a sucker for filmmakers creating a sense of authenticity within their films, so minor details during key sequences like Charlie struggling to open a cupboard and the front door when the evaluator is in his apartment, and him helping Henry pronounce certain words when reading Nicole's letter were things I really appreciated. This is a rare beast of a film which is so heartbreaking but simultaneously very re-watchable.” - @gadd
Commentary: Our highest-ranking Netflix release, and the sole entry by Noah Baumbach, who wrapped up a decade of generally strong work with the starriest and most popular film of his entire 25-year career. While it may not have been as talked-about on this board as a handful of high-profile 2019 films that we've already seen appear, it found wide and steady support throughout the list submission process, almost entering the top 50 in the end.

 

 

 

 

 

[RealLyre]

Marriage Story, Leave No Trace and The Favorite in the 50s 

 

 

 

 

Leave No Trace was one of my fav films of 2018 and established Thomasin Mckenzie as a breakout star. she has a long career ahead of her. 

[The Panda]

23 minutes ago, Jake Gittes said:

Number 54

  Hide contents

 

 

"Fuck the space!"

215 points, 20 lists

directed by Noah Baumbach | US, UK | 2019

 

The Pitch: An actress and a stage director go through a coast-to-coast divorce.

 

Top 12 Placements: 2
Metacritic: 93
Box Office: N/A
Awards: Academy Award for Best Supporting Actress, out of 6 nominations
BOT History: #6, Top Movies of 2019; 6 BOFFY nominations
Critic Opinion: “Still working with his longtime ace editor Jennifer Lame, Baumbach changes up his stylistic game, moving away from rapidly-cut hand-held jitters (as well as the elaborate tableaux staging deployed in Mistress America‘s finale) and towards slower-cut, more conventional coverage that, per usual wisdom, lets scenes “breathe,” which makes the film longer than usual—a hefty 135 minutes, his first-ever film over two hours. There are fewer throwaway laugh lines in the margins, the film staying thematically on-target, and I found the less aggressive formal language to be a bit of a letdown. [...] Despite my qualms about the relatively conventional presentation, Marriage Story did eventually get under my skin as a movie about the sadness of winding down a long-term relationship that simply didn’t work, when two partners who’ve thoroughly internalized each others’ rhythms, and who may never fully unlearn that intimacy, have to split.” - Vadim Rizov, Filmmaker Magazine
BOT Sez: “One of my favorite movies of the last few years. Almost every scene in this was dynamite and the balance of humor and drama was exquisite. As other posters have alluded to, the supporting cast deserve so much recognition, some of whom (Merritt Wever for example) only have one significant scene yet they make their brief appearance so memorable. The characterization was so rich, and while the two leads are not always the most likable individuals, their flaws and the alternative ways in which they deal with a tumultuous situation makes their relationship and its breakdown so compelling. Driver definitely gets the meatier material in the latter stages, but that doesn't necessarily mean the movie is siding with him. Johansson has a few moments towards the end which purely rely on her facial expressions to sell the emotion, and she nails every single one of them. I'm also a sucker for filmmakers creating a sense of authenticity within their films, so minor details during key sequences like Charlie struggling to open a cupboard and the front door when the evaluator is in his apartment, and him helping Henry pronounce certain words when reading Nicole's letter were things I really appreciated. This is a rare beast of a film which is so heartbreaking but simultaneously very re-watchable.” - @gadd
Commentary: Our highest-ranking Netflix release, and the sole entry by Noah Baumbach, who wrapped up a decade of generally strong work with the starriest and most popular film of his entire 25-year career. While it may not have been as talked-about on this board as a handful of high-profile 2019 films that we've already seen appear, it found wide and steady support throughout the list submission process, almost entering the top 50 in the end.

 

 

 

 

 

Highest ranked Netflix movie???

 

#JusticeForOkja #JusticeForBusterScruggs

Edited April 15, 2020 by The Panda

[RealLyre]

6 minutes ago, The Panda said:

Highest ranked Netflix movie???

 

 

well its only competition was Roma & Scorsese so was it really that hard 

 

 

edit: also the fact that Roma made the list at all is incredible tbh since it's a pretty much an art house movie that doesn't have mass appeal 

Edited April 15, 2020 by RealLyre
edit

[Eric the Ape]

5 minutes ago, The Panda said:

Highest ranked Netflix movie???

 

#JusticeForOkja #JusticeForBusterScruggs

#JusticeForTheBigShow

[The Panda]

Just now, RealLyre said:

well its only competition was Roma & Scorsese so was it really that hard 

[4815162342]

9 minutes ago, The Panda said:

Highest ranked Netflix movie???

 

#JusticeForOkja #JusticeForBusterScruggs

 

[RealLyre]

2 minutes ago, The Panda said:

where is that from

[The Panda]

Just now, RealLyre said:

where is that from

Ballad of Buster Scruggs, one of the superior to Marriage Story Netflix movies 

[RealLyre]

3 minutes ago, The Panda said:

Ballad of Buster Scruggs, one of the superior to Marriage Story Netflix movies 

oh the Coen Brothers one, I've always heard of this movie but never saw any footage of, maybe I'll finally check it out 

[Jake Gittes]

Number 53

Spoiler

 

 

"These are the rooms we're not supposed to go in... But let's go anyways!"

217 points, 18 lists

directed by Sean Baker | US | 2017

 

The Pitch: A six-year-old girl and her young single mother try to make ends meet while living in a motel near Walt Disney World.

 

Top 5 Placements: 2
Top 12 Placements: 1
Metacritic: 92
Box Office: $11m WW
Awards: Academy Award nomination for Best Supporting Actor; 2 Independent Spirit Award nominations
BOT History: #18, Top Movies of 2017; BOFFY for Best Supporting Actor
Critic Opinion: "The Florida Project unfolds at first like a series of sketches about the characters who live in the motel, held together by the hysterical antics of Moonee and her pack as well as long-suffering hotel manager Bobby (a splendid, warm Willem Dafoe), who tries to put up with it all while keeping some kind of order. But as the film goes on, a narrative starts to form, one that chronicles with heartbreaking detail the sorts of dilemmas that poor parents and their children face in America, and the broken systems that try to add structure to impossible situations. [...] There’s an especially American flavor to what Baker is doing. He melds truly devastating stories that have no clear solution or moral lesson for their characters with humor, warmth, and depictions of excess that expose how darkly funny the American appetite for excess really is." - Alissa Wilkinson, Vox
BOT Sez: “I figured this would end up being one of my favorite films of the year and it is. I don't live far away from where this was filmed and it was incredible how they portrayed this story. I ended up really caring for Halley despite all that she does throughout this because I could see that no matter what, she still really loved her daughter. The kids all feel like real children and not actors and they are almost feral to their environment. The twists aren't predictable and the film itself is this look into a world where kids create their own magic kingdom just outside the gates of Disney. There isn't a sore spot as far as acting (Willem Dafoe and Bria Vinaite really carry a lot of it) and I love how Sean Baker doesn't just spell everything out story wise and let's the audience figure it out.” - @somebody85
Commentary: Two years after his transgender iPhone Christmas screwball comedy Tangerine significantly raised his profile, director Sean Baker achieved a full-on breakthrough with his next vivid, tonally precise look at the lives of America's disenfranchised. Although it never received a wide theatrical release and was generally shut out of industry awards nominations with the exception of its sole established cast member, the acclaim it received for its performances and Baker's handling of very delicate material was considerable, and nearly three years on its stature has only gotten higher.

 

 

 

 

[MrGamer]

16 minutes ago, RealLyre said:

where is that from

Tombstone

[Jake Gittes]

Number 52

Spoiler

 

"If you wear a dress, and have an animal sidekick, you're a princess."

221 points, 15 lists

directed by Ron Clements & John Musker | US | 2016

 

The Pitch: The strong-willed daughter of a chief of a Polynesian village is chosen by the ocean itself to reunite a mystical relic with the goddess Te Fiti.

 

Top 5 Placements: 1
Top 12 Placements: 1
Metacritic: 81
Box Office: $691m WW
Awards: 2 Academy Award nominations; 2 Annie Awards, out of 6 nominations
BOT History: #12, Top Movies of 2016; #32, Top 100 Animated Films (2018); 2 BOFFY nominations
Critic Opinion: "All the beats proceed exactly as expected, but they hit with admirably precise timing, amid a strikingly beautiful landscape where every leaf is rendered with loving clarity. The humor, the wonder, and the awwww moments all hit home comfortably. This is such a perfect execution of the Disney formula, it feels like the movie the studio has been trying to make since Snow White." - Tasha Robinson, The Verge

"Everything in the picture, from the characters’ clothes and hairstyles to the vessels they sail, bear the stamp of authenticity. But Moana’s greatest strength is the verve in which they move the action along and the sheer joyousness evident in every aspect of their storytelling." - Soren Andersen, The Seattle Times
BOT Sez: “It doesn't live up to its potential in the first two thirds in my opinion by not doing anything truly remarkable aside from spectacular animation. But the last third wraps up things really beautifully and makes you reflect very positively on the entire film. Now the more I think about it, the more I appreciate its simplicity and charm. The scene at the end with Te Ka is one of the most beautiful and intense in Disney or even animation history. I got goosebumps and teared up for the entire scene. The songs and music are quite nice and catchy, and they keep growing on me especially "Where You Are" and "You're Welcome." To my surprise, everyone sings excellently in Moana, even the Rock and especially Auli'i Cravalho (really beautiful voice).” - @lolifofo

“For better and worse, I got a ton of nostalgia bombs watching this. Really felt like a 90s musical with 21st century technology. Visuals were absolutely breathtaking, lots of funny jokes, a winning vocal performance by Cravalho and some really well-done musical setpieces more than made up for a story that was pretty much beat-for-beat Disney formula.” - @tribefan695

"I think jake trying to tease us that moana might still be coming up is funny" - @Ethan Hunt

Commentary: Our highest-ranking WDAS film. Where Zootopia, its closest competitor from the same year, was more widely liked than loved, this vibrant update of a '90s adventure musical, which ditched the romance and built itself around Polynesian culture, went the opposite route, receiving 1/3 less votes but finding itself ranked somewhere in the top 20 by over half of the folks who had it on their lists. The passion won out. 
 

 

 

 

[Ethan Hunt]

wtf

[Cap]

LIIIIIIIIIIIN 🥰