BOT in the Multi-Verse of Madness: Countdown of the DEFINITIVE Top 250 Movies of All-Time (2022 Edition)

[THUNDER BIRD]

29 minutes ago, Eevin said:

20 left, i can guess 19 of them fairly confidently in no particular order- 

1. Empire Strikes Back
2. Star Wars
3. Fellowship of the Ring
4. Two Towers
5. Return of the King
6. Schindler’s List
7. Titanic
8. Goodfellas
9. Mad Max: Fury Road
10. Parasite
11. Jaws
12. Lawrence of Arabia
13. Spirited Away
14. Jurassic Park
15. Casablanca
16. The Godfather
17. The Godfather Part 2
18. Raiders of the Lost Ark
19. The Dark Knight

what’s the 20th? uncle drew? something random from 2020/2021?

Curse of the black pearl.

 

Dead Man's Chest made the list, so will it.

[Jake Gittes]

1 hour ago, Eevin said:

20 left, i can guess 19 of them fairly confidently in no particular order- 

1. Empire Strikes Back
2. Star Wars
3. Fellowship of the Ring
4. Two Towers
5. Return of the King
6. Schindler’s List
7. Titanic
8. Goodfellas
9. Mad Max: Fury Road
10. Parasite
11. Jaws
12. Lawrence of Arabia
13. Spirited Away
14. Jurassic Park
15. Casablanca
16. The Godfather
17. The Godfather Part 2
18. Raiders of the Lost Ark
19. The Dark Knight

what’s the 20th? uncle drew? something random from 2020/2021?

 

The Matrix.

[DAR]

4 hours ago, The Panda said:

heat.

 

Number 25

 

 

"I'm angry. I'm very angry, Ralph. You know, you can ball my wife if she wants you to."

 

About the Film

 

Synopsis

 

It's heat.

 

 

Its Legacy

 

"heat." - @aabattery, in telegram

 

"the thing about Heat is it's Heat." - @TOG, in telegram

 

"Heat." - @cannastop, in telegram

 

"heat." - @tribefan69501 in telegram

 

"Heat." - @Ethan Hunt, in telegram

 

"Heat." - @Jake Gittes, in telegram

 

"Red Heat." - @DAR, in telegram

 

"Bathroom, heat, shitty blinds." - @SchumacherFTW, in telegram

 

"Heat" - @MCKillswitch123, in telegram

 

"heat." - @MrPink, in telegram

 

"Yay the heat rash healed." - @YM!, in telegram

 

"Heat" - @WrathOfHan, in telegram

 

"In the Heat of the Heights" - @Rorschach, in telegram

 

"see, here's the problem, that type of water exists in the tropics

 

but tropical summer not quite for you, you're found of dry heat." - @Jason to @Plain Old Tele in the telegram

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"In Heat, all the meticulous authenticity and coolly portrayed characters inherent to a Michael Mann picture fulfill a crime epic of incredible scale and ambition. Over the course of twenty years, Mann developed and accumulated detail for his script, and in 1995 he set out to broaden the limitations of an otherwise formal genre structure. Lending an atypical approach to a basic “cops and robbers” scenario, Mann achieved a film less about crime genre exploits and more about the failing machismo of two uncompromising men. As a professional thief heading an expert crew and the unrelenting detective pursuing them, icons Robert De Niro and Al Pacino make their first onscreen appearance together in the film. Through their magnificent performances and Mann’s operatic script, Heat becomes a crime-infused melodrama beyond compare. More than basic genre thrills, which this film has in abundance, Mann’s moody character piece explores the inner lives of his subjects, how their work affects their relationships, and how their ongoing existential and personal dilemmas derive from their professional lives. Unique to the film is Mann’s daring balance of human tragedy and genre excitement; even while he considers weighty themes of identity and troubled masculinity, his treatment of the action operates in a hyper-real mode that grounds the film’s theatricality into a stirring, convincing drama.

 

Mann’s career as a feature filmmaker consists of projects infused with a single unchanging contradiction: his are films marked by their realism yet brimming with style. By definition, style is an ornamentation of reality, and this aesthetic conflict has never been ideologically resolved by Mann yet it is the balance of these components that makes many of his films great. Amid Mann’s occasional failures, the normally incongruous pairing of style and realism delivers the kind of motion picture to which the director is best attributed. After growing up in a tough Chicago neighborhood where he filmed some of the Chicago riots as a student, Mann attended the London International Film School in the mid-1960s and studied documentary film-making. His footage of the 1968 Paris riots earned him some notoriety, and after several years he broke into television by writing and producing TV movies and cop shows (such as Starsky and Hutch, Police Story, Vega$, Miami Vice, and Crime Story). Strong notices for his ABC movie-of-the-week, The Jericho Mile (1979), about prison life shot entirely within Folsom State Penitentiary, earned Mann and his severe realism attention from Hollywood. Mann’s reputation would be forever solidified by his immersive, stunningly detailed environments that are at once loaded with the capacity for narrative drama, but his work was also inhabited with a remarkable level of pure information. Mann’s authenticity is then counteracted and sometimes balanced by his visual style, which includes a rich use of colors and visual metaphors to enhance his realism with superbly melodramatic flourishes.

 

 

Heat remains an enduring classic for a number of reasons, not the least of which are De Niro, Pacino, and a number of strong supporting performances. The actors benefit from Mann’s script, as he fleshes out nearly every character in this crime epic, ingraining a level of seriousness and dramatic heft to heighten not only his film’s realism but its emotional impact. This quality sets the film apart from prototypical “cops and robbers” stories. Not one character feels one-dimensional, unnecessary, or unauthentic within the story. Every subplot adds to the complexity of his characters and the film’s dramatic gravitas. Lauren’s shocking suicide attempt is one example among many. Consider also Shiherlis’ wife Charlene (Ashley Judd) and her affair with scummy criminal Alan Marciano (Hank Azaria), a reluctant snitch who gives Charlene up to Hanna. Charlene, who must contend with her gambling addict husband and the risks he takes as a professional thief, while also trying to ensure a future for their young child, resolves to help Hanna capture her husband. But Shiherlis doesn’t follow McCauley’s strict professional code; he says he will forever remain devoted to Charlene, but his fluidity in this respect allows him to eventually evade capture by abandoning his family to escape. Another subplot involves Breeden (Dennis Haysbert), an ex-con just out of Folsom and struggling to reform for his loving wife Lillian (Kim Staunton) in a shoddy-but-legitimate diner post. When McCauley needs to replace his getaway driver on the morning of the bank robbery, he spots Breeden flipping burgers and asks him to join. Breeden agrees and the decision gets him killed. In the aftermath of the robbery, a news report announces Breeden’s death. Mann cuts to Lillian for a wordless expression of utter heartbreak.

 

Mann’s affinity for tragedy throughout Heat might reach too far if he did not counterbalance his melodrama with astounding realism and subtle style. The director demonstrates efficiency, self-control, and simplicity worthy of comparison to Jean-Pierre Melville’s similarly themed Le cercle rouge (1970), whose penchant for cool style and scrupulous details were clearly an influence on Mann. Note the Melvillian stroke in Mann’s robbers and how they dress; McCauley’s crew does not look like crooks or even very masculine. They look stylish, if not chic in their designer suits; clean cut and organized. As McCauley notes, “Do you see me doin’ thrill-seeker liquor store hold-ups with a ‘Born To Lose’ tattoo on my chest?” Of course not. McCauley’s crew is professional, and therefore not subject to the stupid mistakes made by robbers in Stanley Kubrick’s The Killing (1956) or Quentin Tarantino’s Reservoir Dogs (1992). Mann has elevated these professionals with melodrama and tragedy. Another clear influence is Raoul Walsh’s gangster classic White Heat (1949), an equally tragic tale starring James Cagney as a criminal made insane by his inner conflicts and his chosen line of work. Mann’s film is distinct in that he resolves to conceal his drama within the reality of his setting, the sprawling concrete wasteland of Los Angeles. Shooting at 85 locations around LA, Mann depicts a mythic asphalt jungle where the muted street scenery provides a contrast to his dramatic characters. Cinematographer Dante Spinotti’s lensing is blue-hued and dark, conveying characters that appear pale in their surroundings, yet their lives are filled with hugely dramatic events. The look of Heat is textured and gloriously cinematic, just as much as Mann’s choice of music that alternates between classic orchestral strings to the booming sounds of Moby’s “New Dawn Fades”. Always, the director is juxtaposing realism and style."

- Brian Egert, Deep Cut Review

 

Public Opinion

 

"It's cool when a bunch of geniuses at the height of their powers all converge on one single perfect project."

- Patrick Williams, Letterboxd

 

 

The Poetic Opinion

 

heat

"O wind, rend open the heat,
cut apart the heat,
rend it to tatters.

 

Fruit cannot drop
through this thick air—
fruit cannot fall into heat
that presses up and blunts
the points of pears
and rounds the grapes.

 

Cut the heat—
plough through it,
turning it on either side
of your path."

- H. D.

 

Factoids

 

Previous Rankings

 

#35 (2020), #75 (2018), #77 (2016), UNRANKED (2014), #89 (2013), UNRANKED (2012)

 

Director Count

 

James Cameron (3), Stanley Kubrick (3), Christopher Nolan (3),  Martin Scorsese (3),  Ridley Scott (3), Steven Spielberg (3), Brad Bird (2), John Carpenter (2), David Fincher (2), Alfred Hitchcock (2), Spike Lee (2), Sergio Leone (2), Hayao Miyazaki (2), The Russos (2),  Andrew Stanton (2), Peter Weir (2), Roger Allers (1), Paul Thomas Anderson (1), John G. Avildsen (1), Frank Capra (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Francis Ford Coppola (1),  Wes Craven (1), Frank Darabont (1), Jonathan Demme (1), Pete Doctor (1), Stanley Donan (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Terry Gillam (1), Michel Gondry (1), Steve Hickner (1), Rian Johnson (1), Terry Jones (1), Gene Kelly (1), Akira Kurosawa (1), John Lasseter (1), Richard Linklater (1), Katia Lund (1), David Lynch (1), Michael Mann (1), Richard Marquand (1), Fernando Meirelles (1), Rob Minkoff (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Isao Takahata (1), Quentin Tarantino (1), Guillermo Del Torro (1), Gary Trousdale (1), Lee Unkrich (1), Gore Verbinski (1), Orson Welles (1), Simon Wells (1), Billy Wilder (1), Kirk Wise (1), Kar-Wai Wong (1), Robert Zemeckis (1)

 

Decade Count

 

1930s (2), 1940s (3), 1950s (4), 1960s (5), 1970s (7), 1980s (10), 1990s (18), 2000s (17), 2010s (8)

 

Country Count

 

Japan (6), Italy (3), UK (2), Brazil (1), China (1), Mexico (1), Spain (1)

 

 

Franchise Count

 

Pixar (6), Ghibli (4), Alien (2),  The MCU (2), Star Wars (2), WDAS (2), Avatar (1), Before (1), Blade Runner (1), Dollars (1), E.T. (1), The Exorcist (1), Finding Nemo (1), Hannibal (1), Halloween (1), Incredibles (1), The Lion King (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), The Shining (1), Terminator (1), Thing (1), Toy Story (1), The Wizard of Oz (1)

 

Re-Weighted Placements

 

#37 Fanboy Ranking, #18 Cinema Ranking

#30 Old Farts Ranking, #22 Damn Kids Ranking

#24 Ambassador Ranking, #26 All-American Ranking

#71 Cartoon Ranking, #20 Damn Boomer Ranking

 

 

WE JUST HAD HEAT AT 35 TWO YEARS AGO!!!

 

[Jake Gittes]

Quote

18 VOTES

 

 

[baumer]

16 hours ago, Eric the Tank Engine said:

The best Spielberg. Only beautiful people (like me!) share this opinion.

 

 

It's my number two movie of all time, right behind Jaws.

[Eric Furiosa]

7 hours ago, The Panda said:

Public Opinion

 

"I’ll fully admit that it was really hard to pay attention to the second half because I learned about the loss of Betty by then, and it really clouded my head and put me in a bad mood. I’m only giving this 5 stars because I know it’ll rock my socks when I’m actually in a good mood, because Billy Wilder is a king and can do no wrong."

 - @Eric the Tank Engine

...really? That was the review you chose?

[CaptNathanBrittles]

Based on its current trajectory THE APARTMENT should be #1 in 2024.

[WrathOfHan]

Let's get Vertigo into the Top 20 next time  

[Ethan Hunt]

14 minutes ago, WrathOfHan said:

Let's get Vertigo into the Top 20 next time  

sure

[Ozymandias]

8 hours ago, Eevin said:

20 left, i can guess 19 of them fairly confidently in no particular order- 

1. Empire Strikes Back
2. Star Wars
3. Fellowship of the Ring
4. Two Towers
5. Return of the King
6. Schindler’s List
7. Titanic
8. Goodfellas
9. Mad Max: Fury Road
10. Parasite
11. Jaws
12. Lawrence of Arabia
13. Spirited Away
14. Jurassic Park
15. Casablanca
16. The Godfather
17. The Godfather Part 2
18. Raiders of the Lost Ark
19. The Dark Knight

what’s the 20th? uncle drew? something random from 2020/2021?

 

1. Empire Strikes Back
2. Star Wars
3. Fellowship of the Ring
4. Two Towers
5. Return of the King
6. Schindler’s List
7. Titanic
8. Goodfellas
9. Mad Max: Fury Road
10. Parasite
11. Jaws
12. Lawrence of Arabia
13. Spirited Away
14. Jurassic Park
15. Casablanca
16. The Godfather
17. The Godfather Part 2
18. Raiders of the Lost Ark
19. The Dark Knight

 

imo

[Blankments]

My predict for 101 is toy story 2 lol

[Kvikk Lunsj]

1 hour ago, Blankments said:

My predict for 101 is toy story 2 lol

Not in the top 250

[cannastop]

 

[The Panda]

alright. let's go rapid fire!

 

Number 125

Blazing Saddles (1974, Mel Brooks)

 

Number 124

The Dark Knight Rises (2012, Christopher Nolan)

Number 123

Toy Story 3 (2010, Lee Unkrich)

 

Number 122

Arrival (2016, Denis Villeneuve)

 

Number 121

North by Northwest (1959, Alfred Hitchcock)

 

Number 120

The Wolf of Wall Street (2013, Martin Scorsese)

 

Number 119

The Terminator (1984, James Cameron)

 

Number 118

All About Eve (1950, Joseph K. Mankiewicz)

 

Number 117

Dunkirk (2017, Christopher Nolan)

 

Number 116

Harry Potter and the Prisoner of Azkaban (2004, Alfonso Cuaron)

[The Panda]

Number 20

 

 

"Witness me."

 

About the Film

 

Synopsis

 

"An apocalyptic story set in the furthest reaches of our planet, in a stark desert landscape where humanity is broken, and most everyone is crazed fighting for the necessities of life. Within this world exist two rebels on the run who just might be able to restore order."

 

Its Legacy

 

"The characters were intriguing, the stunts were exhilarating, and every frame was bursting with incredible, how’d-they-do-that nerve. “Mad Max: Fury Road” set a new high-water mark for action filmmaking when it came out in 2015, and no summer blockbuster since has been able to match its turbocharged ingenuity. Even Oscar-winning auteurs have been awed by George Miller’s operatically staged spectacle. “Parasite” director Bong Joon Ho said last year that the scale of the movie brought him to tears, while Steven Soderbergh put it more bluntly: “I don’t understand how they’re not still shooting that film,” he said in a 2017 interview, “and I don’t understand how hundreds of people aren’t dead.”

 

So how did Miller and his cast pull it off and survive to tell the tale?

 

Five years after “Fury Road” was released, I asked 20 of its key players what making it was like. Though its post-apocalyptic plot is deceptively simple — road warrior Max (Tom Hardy) and the fierce driver Furiosa (Charlize Theron) must race across the desert to escape the vengeful Immortan Joe and his fleet of kamikaze War Boys — filming the movie was anything but easy.

 

“Like anything that has some worth to it, it comes with complicated feelings,” Theron said. “I feel a mixture of extreme joy that we achieved what we did, and I also get a little bit of a hole in my stomach. There’s a level of ‘the body remembers’ trauma related to the shooting of this film that’s still there for me.”

 

“It was one of the wildest, most intense experiences of my life,” said the actress Riley Keough, while her co-star Rosie Huntington-Whiteley added, “You could have made another movie on the making of it.” As for Hardy? “It left me irrevocably changed,” he said.

 

Here, in the cast and crew’s own words, is how a nearly impossible project managed to become an Oscar-winning action masterpiece.

 

FIND OUT AND READ MORE BEHIND THE NYTIMES PAYWALL!"

- NYT

 

 

From the Filmmaker

 

JK This is the rest of that NYT article

 

GEORGE MILLER (director) For so long, whenever the idea of another “Mad Max” movie came up, I thought there wasn’t much more I could do with it, but I specifically remember the moment that changed. I was crossing the street in Los Angeles and this very simple idea popped in my head: “What if there was a ‘Mad Max’ movie that was one long chase, and the MacGuffin was human?” I was flying back to Australia a month later, ruminating on it, and by the time I landed, I called Doug Mitchell and said, “I think I’ve got an idea.”

 

DOUG MITCHELL (producer) There were a number of names thrown out for the female lead back when we first started, [like] Uma Thurman.

 

MILLER I remember we were talking about Charlize even then. Her agent said she wasn’t interested, but I mentioned it to her over a decade later, and she said, “No one ever told me!”

 

RILEY KEOUGH (Capable, another one of the Immortan’s escaped “wives”) They were holding crazy, nontraditional auditions in Australia. They’d have bunches of us, five to six girls, go through this audition process with no scenes from the film but a lot of improv, a lot of acting-class stuff. We had no idea if we’d get chosen or not, and out of my group, I was the only one who got selected.

 

KRAVITZ When they cast me, I was brought to a room that I wasn’t allowed to leave, and I sat there and read the script. It was one of the strangest scripts I’d ever seen, because it was like a really long comic book.

 

JOHN SEALE (cinematographer) I couldn’t make head nor tail of it, so I gave up. I thought, “They’ve been in preproduction for 10 years, let’s just go make it.”

 

KEOUGH It was the craziest thing you could imagine, and the craziest thing I’ve ever experienced. For one, it felt very real, which is why it looks so incredible. Everyone in this film was so excited to be their characters that walking around on set was like actually walking around in that world. It was almost like a cosplay thing.

 

NICHOLAS HOULT (Nux, one of the Immortan’s War Boys) Hugh, who played the Immortan, would put photos of himself all around the stunt gym where the War Boys trained.

 

GIBSON All the action had to be real. The hair can’t stand up on the back of your neck — not for me, anyway — watching Vin Diesel drag a three-ton safe down through perfect right-angle turns on the street. The whole rationale was to make it as real as possible so that as much as possible was at stake.

 

 

HARDY As we dug in, it was dangerous, or certainly could have been extremely so, if it weren’t for the methodical professionalism and preparation of the experts: stunt coordination, stunt team and riggers.

 

KRAVITZ We would do exercises like writing letters to our captor, really interesting stuff that created deep empathy. I’m glad we had that, because it was such a crazy experience — so long and chaotic — that it would be easy to forget what we were doing if we didn’t have this really great foundation that we could return to.

 

KEOUGH I thought it was amazing that George cared so much. It could have just been like, “This is a big Hollywood movie, now put on your bathing suits and get outside.”

 

THERON The biggest thing that was driving that entire production was fear. I was incredibly scared, because I’d never done anything like it. I think the hardest thing between me and George is that he had the movie in his head and I was so desperate to understand it.

 

SIXEL It was very difficult for the actors, because there’s no master shot, no blocked-out scenes. Their performances were made of these tiny little moments

 

SEALE (cinematographer) It was tough for them. The crew can be protected by the elements — the cold and wind and sand — but they can’t. They’re wearing a wardrobe that is very specific.

 

ABBEY LEE (the Dag, another “wife”) It looks warm, but we shot it in the winter and it was blisteringly freezing. Us girls weren’t wearing much, and Riley got hypothermia.

 

KEOUGH There were night shoots that were brutal, and there was so much dust that your face would be covered with three inches of sand by the end of the day. We kept it together pretty well, I think, for the first five months.

 

KRAVITZ By the end, we wanted to go home so badly. It had been nine months, and not nine months where you’re in a city and you hang out in your trailer. It was nine months of the environment you’re seeing in the movie, with nothing around. You really do start to lose your mind a little bit.

 

MILLER There was a high degree of difficulty on the film, and unless you are entirely rigorous about safety, something is inevitably going to go wrong. That was my biggest anxiety — it’s something I’d experienced before [when a stuntman broke his leg], and it gnaws at you. I guess the actual working process of the actors, I probably should have paid more attention to."

- Kyle Buchanan, NYT

 

 

Why It's Great

 

Critic Opinion

 

"Like Mad Max 2, Fury Road is an after-Eden narrative that represents the human Fall from the Garden due to capitalist accumulation gone wild. Ostensibly depicting a post-nuclear-holocaust world, Fury Road could equally represent a future marked by climate change and the environmental issues associated with the Anthropocene – drought, pollution and severe weather patterns. We learn from the opening voiceover that there have been oil wars and then later water wars, battles fought over these increasingly scarce natural resources. The film's plot follows Furiosa (Charlize Theron) and the Five Wives as they seek the Green Place, Furiosa's former homeland that supposedly lies to the east of the Citadel. In seeking the Green Place, these women hope to not only recover the Garden of Eden, but also to escape patriarchal oppression and enslavement by Immortan Joe (Hugh Keays-Byrne), the lord of the Citadel, and his army of 'War Boys'. Furiosa says that in seeking the Green Place, she hopes to find redemption, a term that refers both to being saved from evil and to reclaiming one's freedom. Thus, as in the traditional recovery narrative, the film initially sets up the Garden of Eden as a beautiful, good place in need of rediscovery. Unlike the traditional recovery narrative, however, the film also marks the Garden of Eden as a place of freedom from patriarchy, particularly for women like Furiosa and the Five Wives. In this way, Fury Road disrupts the traditional Edenic recovery narrative by representing nature as a space of feminist possibility rather than a safe haven for masculine agency.

 

Despite this promise, however, the women discover midway through the film that the Green Place no longer exists. After a hard journey, the women, along with Max (Tom Hardy) and the recently acquired Nux (Nicholas Hoult), arrive at the Green Place, only to learn from the remaining female caretakers of the Green Place that the soil and water was poisoned so badly that they 'couldn't grow anything' anymore. Thus, the film's protagonists and audience learn that the Garden of Eden no longer exists in the material reality of the film's world. Rather, the Garden of Eden only exists in the memories and imaginations of the film's characters."

- Michelle Yates, Science Fiction Film and Television

 

Public Opinion

 

"me driving 1MPH above the speed limit: I’M GONNA DIE HISTORIC ON THE FURY ROAD"

- Iana, Letterboxd

 

The Poetic Opinion

 

"Where must we go?

We who wander this Wasteland

in search of our better selves."

- The First History Man

 

 

Factoids

 

Previous Rankings

 

#10 (2020), #21 (2018), #24 (2016), NA (2014, 2013, 2012)

 

Director Count

 

James Cameron (3), Alfred Hitchcock (3), Stanley Kubrick (3), Christopher Nolan (3),  Martin Scorsese (3),  Ridley Scott (3), Steven Spielberg (3), Brad Bird (2), John Carpenter (2), David Fincher (2), Spike Lee (2), Sergio Leone (2), Hayao Miyazaki (2), The Russos (2), Robert Zemeckis (2), Andrew Stanton (2), Peter Weir (2), Billy Wilder (2), Roger Allers (1), Paul Thomas Anderson (1), John G. Avildsen (1), Frank Capra (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Francis Ford Coppola (1),  Wes Craven (1), Frank Darabont (1), Jonathan Demme (1), Pete Doctor (1), Stanley Donan (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Terry Gillam (1), Michel Gondry (1), Steve Hickner (1), Rian Johnson (1), Terry Jones (1), Gene Kelly (1), Akira Kurosawa (1), John Lasseter (1), Richard Linklater (1), Sydney Lumet (1), Katia Lund (1), David Lynch (1), Michael Mann (1), Richard Marquand (1), Fernando Meirelles (1), George Miller (1), Rob Minkoff (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Isao Takahata (1), Quentin Tarantino (1), Guillermo Del Torro (1), Gary Trousdale (1), Lee Unkrich (1), Gore Verbinski (1), Orson Welles (1), Simon Wells (1), Kirk Wise (1), Kar-Wai Wong (1)

 

Decade Count

 

1930s (2), 1940s (3), 1950s (6), 1960s (6), 1970s (7), 1980s (11), 1990s (18), 2000s (17), 2010s (9)

 

Country Count

 

Japan (6), Italy (3), UK (2), Australia (1), Brazil (1), China (1), Mexico (1), Spain (1)

 

 

Franchise Count

 

Pixar (6), Ghibli (4), Alien (2),  The MCU (2), Star Wars (2), WDAS (2), Avatar (1), Back to the Future (1), Before (1), Blade Runner (1), Dollars (1), E.T. (1), The Exorcist (1), Finding Nemo (1), Hannibal (1), Halloween (1), Incredibles (1), The Lion King (1), Mad Max (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), The Shining (1), Terminator (1), Thing (1), Toy Story (1), The Wizard of Oz (1)

 

Re-Weighted Placements

 

#23 Fanboy Ranking, #20 Cinema Ranking

#28 Old Farts Ranking, #17 Damn Kids Ranking

#42 Ambassador Ranking, #17 All-American Ranking

#24 Cartoon Ranking, #19 Damn Boomer Ranking

 

 

Edited August 8, 2022 by The Panda

[The Panda]

Number 19

 

 

"They are nice because they're rich."

 

About the Film

 

Synopsis

 

"All unemployed, Ki-taek’s family takes peculiar interest in the wealthy and glamorous Parks for their livelihood until they get entangled in an unexpected incident."

 

Its Legacy

 

"Korean culture has created buzz all around the globe with it’s music (Kpop), K-Dramas, and movies. Bong Joon-ho's dark comedy drama, Parasite (2019) had a significant hand in the same as it won the Academy Award for the Best Picture and it was a cultural breakthrough. With numerous accolades, 'Parasite' brought significant interest and curiosity among consumers and non-consumers of the Korean culture. It marked a watershed change in Korean cinema by getting international recognition and a new spotlight on it.

 

What were the elements that captured the audience's interest in Parasite? Was it just the daunting reality of our society that people can relate to, or the freshness of a new kind of cinema that moved beyond the commercialisation? All these reasons played an essential role in engaging the audience, not just with the film but the Korean culture, much like what happened with India and Indian culture when 'Jai Ho' won an Oscar. Like a national victory, the people of South Korea collectively celebrated this feat. The world, through this movie, was able to see and explore more of Korean cinema; its quality content was hidden before Parasite happened.

 

 

Bong Joon-ho's filmography has always left the audiences in awe and broadened their perspective. The rich and the poor class gap and the class warfare, the hierarchy between the bourgeoisie and the proletariat can be felt and experienced globally as the gap between them widens. Bong Joon-ho's movie gave a boost to the non-commercialised cinema. At the same time, they were bringing back the hope that non-English films will have a chance at being recognised on a global platform.

 

The streaming sites have now made available different, and all kinds of content from across the world at just a click away. Pandemic and the lockdown increased the usage of streaming sites with which people explored the unexplored, unraveled the path they never thought existed. These sites and subtitles/dubbing has put a stop to the perennial question of accessibility. As Boog Joon said while giving his golden globe acceptance speech for the best foreign film, “Once you overcome the one-inch tall barrier of subtitles, you will be introduced to so many more amazing films,” the pandemic gave Korean culture new audiences, new explorers who delve right into it, whether after Parasite, Crash Landing on You, or BTS (K-Pop boy band).

 

How much of this will help or has helped in stopping/reducing Asian hate crimes is debatable but it positively impacted movie lovers; it increased Korean cinema consumption globally while creating an interest in regional films and not the commercialised ones. In giving filmmakers a boost to go for movies, they believe in and challenge themselves by creating movies alike. From contributing to the Korean wave to becoming a part of cultural diplomacy, Parasite did it all, and how it has affected these aspects is not going anywhere anytime soon."

- Entertainment Desk, City Spidey

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"Bong Joon Ho’s thriller film, Parasite, has swept away viewers and critics since it premiered in May 2019. The film was the first to win the Cannes Film Festival’s Palme d'Or with unanimous votes since 2013 and garnered four Academy Awards including Best Picture, becoming the highest-grossing South Korean film and first South Korean film to receive an Academy Award nomination (Jurgensen 2020). The film tracks the poor Kim family as they tactfully infiltrate—as English tutor, art tutor, housekeeper, and chauffeur—the rich Park family, “parasitically.” The film begins as charming and comedic but gradually turns into horror and tragedy as worlds of wealth and poverty collide, and the consequences of feigning rich leaves more than splattered blood (Joon Ho 2019).

 

Parasite, beyond its ability to move seamlessly between the emotional extremities of cinematic experience, provides important questions for medical practitioners and educators. As a writer in nonfiction, Parasite struck me as a story which unfolded with layers of moral complexity the way I remembered reading Crime and Punishment for the first time or any harrowing contemporary memoir. While many films directly tackle the experience of illness—(Shu 2020) most recently The Farewell as well as Dallas Buyers Club, Still Alice, and James White—we might look to Parasite as a film for better understanding narrative humility.

 

Beyond the sociopolitical tensions Parasite navigates, the film is effective as a tool for better understanding this construct of narrative humility in the context of medicine. The vexed interpersonal relationships in the movie—between rich and poor families, between old and new housekeeper, between the seemingly innocent or ignorant children—constantly disrupts our sense of “knowing,” urging viewers to reckon with their own discomfort while still being engaged, active witnesses to the unfolding story. There is no point in the film when the viewer, I would agree, feels comfortable because the characters are reliably unpredictable—the former housekeeper seems one-dimensionally sweet until she is not, the English tutor’s actions seem to follow a logical trend until suddenly they do not. Manhola Dargis, film reviewer for the New York Times, wrote that “the movie’s greatness isn’t a matter of [Bong’s] apparent ethics or ethos—he’s on the side of decency—but of how he delivers truths, often perversely and without an iota of self-serving can” (10 October 2019).

 

Perhaps even more productive is the way Parasite creates space for discussion around social justice that relates to the work of caregiving without being directly about it. I teach a series of narrative medicine workshops to undergraduate students and find myself resisting the urge to rely on stories that relate directly to experiences of illness. Health Humanities courses at the college or graduate level often invoke direct representations of illness, and humanities workshops for medical professionals often use such texts as well (Berry et al. 2017). But, if we consider what DasGupta writes, “Narrative humility allows clinicians to recognise that each story we hear holds elements that are unfamiliar—be they cultural, socioeconomic, sexual, religious, or idiosyncratically personal” (981), then we must seek stories from outside of medicine to better understand the work within the encounters of medicine. Just like evaluating and reflecting on the Self is a necessary step in understanding the Other that sits across from us in any hospital, classroom, or daily encounter."

- Yoshiko Iwai, Journal of Medical Humanities

 

 

Public Opinion

 

"Have you ever gone to see a great film by yourself? And after you've seen the film, have you gone back home to hear nothing but a quiet whir, the film's imagery still enduring in your mind? I hear that same quiet whir. I feel that same stillness.

 

With Parasite, Bong Joon-Ho has made a significant work. This is a work of art with iconic set-pieces and well-rounded characters. Classic cinema with a distinct message to share--in others words, a film that manages to say something.

 

Do not miss out on this one"  - @SLAM!

 

The Poetic Opinion

 

parasitic adams

 

"Hatched my biochemical egg.
Looking into a clutch displace.
Waiting for the Sun that I didn't make.

 

So I parasite Eve.

 

Married them to the birthstone;
of another world.
Far from the frozen throne.
And sitting on the moon.

 

So I parasite Eve.

 

The lungs that held air;
also held back.
What plants grew.
To clutch; myself in
on your games.

 

Where launch forth
the Diabolic lunch.
What human remains
I gave up to you.

 

My soul; like a liquid language
of the mind.
That tastes the flames delight!

 

 

When the parallel world
meets my tomb.
When the angels live on
the moon.

 

I'll sit up forever counting
the stars, like brain cells
in curbs.

 

My Satellite children racing me
and completing to a unfinished line.

 

So I parasite Eve."

- reflectionshadow

 

Factoids

 

Previous Rankings

 

#27 (2020), NA (2018, 2016, 2014, 2013, 2012)

 

Director Count

 

James Cameron (3), Alfred Hitchcock (3), Stanley Kubrick (3), Christopher Nolan (3),  Martin Scorsese (3),  Ridley Scott (3), Steven Spielberg (3), Brad Bird (2), John Carpenter (2), David Fincher (2), Spike Lee (2), Sergio Leone (2), Hayao Miyazaki (2), The Russos (2), Robert Zemeckis (2), Andrew Stanton (2), Peter Weir (2), Billy Wilder (2), Roger Allers (1), Paul Thomas Anderson (1), John G. Avildsen (1), Frank Capra (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Francis Ford Coppola (1),  Wes Craven (1), Frank Darabont (1), Jonathan Demme (1), Pete Doctor (1), Stanley Donan (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Terry Gillam (1), Michel Gondry (1), Steve Hickner (1), Rian Johnson (1), Terry Jones (1), Bong Joon Ho (1), Gene Kelly (1), Akira Kurosawa (1), John Lasseter (1), Richard Linklater (1), Sydney Lumet (1), Katia Lund (1), David Lynch (1), Michael Mann (1), Richard Marquand (1), Fernando Meirelles (1), George Miller (1), Rob Minkoff (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Isao Takahata (1), Quentin Tarantino (1), Guillermo Del Torro (1), Gary Trousdale (1), Lee Unkrich (1), Gore Verbinski (1), Orson Welles (1), Simon Wells (1), Kirk Wise (1), Kar-Wai Wong (1)

 

Decade Count

 

1930s (2), 1940s (3), 1950s (6), 1960s (6), 1970s (7), 1980s (11), 1990s (18), 2000s (17), 2010s (10)

 

 

Country Count

 

Japan (6), Italy (3), UK (2), Australia (1), Brazil (1), China (1), Mexico (1), Spain (1), South Korea (1)

 

Franchise Count

 

Pixar (6), Ghibli (4), Alien (2),  The MCU (2), Star Wars (2), WDAS (2), Avatar (1), Back to the Future (1), Before (1), Blade Runner (1), Dollars (1), E.T. (1), The Exorcist (1), Finding Nemo (1), Hannibal (1), Halloween (1), Incredibles (1), The Lion King (1), Mad Max (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), The Shining (1), Terminator (1), Thing (1), Toy Story (1), The Wizard of Oz (1)

 

Re-Weighted Placements

#7 Fanboy Ranking, #29 Cinema Ranking

#68 Old Farts Ranking, #12 Damn Kids Ranking

#14 Ambassador Ranking, #21 All-American Ranking

#5 Cartoon Ranking, #26 Damn Boomer Ranking

 

 

Edited August 8, 2022 by The Panda

[The Panda]

 

Number 18

 

 

"Dinosaurs eat man. Woman inherits the earth."

 

About the Film

 

Synopsis

Dinosaurs go roar, stomp, chomp, chomp.

 

Its Legacy

 

"Legendary visual effects magician Dennis Muren admitted that two decades ago while supervising the full-motion dinosaurs on Steven Spielberg’s Jurassic Park — a film that would become a defining work in the history of visual effects — he “wasn’t aware of how much of a game-changer it was going to be.”mBut George Lucas knew. Speaking with The Hollywood Reporter, Muren recalled that while working on Jurassic Park at Lucas’ Industrial Light & Magic VFX house, “George came by, and I said I was hoping that [someday] we could do something like 2001: A Space Odyssey. George said, ‘you don’t know it, but you’re working on it.'”

 

 

That same year, Tim Alexander started his first industry job at Disney’s former Buena Vista Visual Effects, and a group from the team went to see Jurassic Park. “We were blown away; we weren’t doing anything remotely like what ILM was doing,” said Alexander, who 20 years later would find himself at ILM as VFX supervisor on Jurassic World. “Jurassic Park was a huge leap forward, everyone recognized it. It was a milestone in the switch over to the computer realm.”

 

“When I started [at Buena Vista] there were only six people in digital, and most came over from optical [effects]. Digital was the future,” Alexander said. “Within a year we were up to 35 people in the digital department. Jurassic Park was the turning point.” Muren — who recently celebrated 40 years at ILM — is the most honored artist in his field, having won a remarkable nine Oscars in VFX for such seminal films as The Empire Strikes Back, E.T.: The Extra Terrestrial, The Abyss, Terminator 2: Judgment Day and, of course, Jurassic Park.

 

The latter brought to the screen the most realistic dinosaurs audiences had ever seen at that time, a combination of animatronics and fully computer-generated creatures. The CG work was difficult, and during production even Muren had moments of doubt. “I had never seen CG skin that looked real, other than some university research. [Before Jurassic Park] we did T2, and that was complicated. We did a lot of tests to see if we could make the dinosaurs work. It was a lot of algorithms, [for instance] to see if we keep the creatures’ skin from tearing. We had the fallback of stop motion.”"

- Denis Muren, The Hollywood Report

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"A heart-pounding pace and a zoo parade of prehistoric behemoths power Steven Spielberg's "Jurassic Park," a hellzapopping tour of the land that time almost forgot. A dumbed-down adaptation of Michael Crichton's techno-novel on the dangers of dinosaur cloning, it's not Spielberg at the top of his game, but it's dino-mite just the same.

 

 

"Jurassic Park" does for live-action critters what "Who Framed Roger Rabbit" did for toons. In that sense, it's a cinematic landmark, but in terms of plot and character, it's about as well developed as "Godzilla." The human actors are little more than Spielberg's designated dinosaur-gawkers. Jaws suitably agape, they simulate awe for the arrival of every skyscraping beast.

 

Crichton's cautionary tale has been altered to reflect Spielberg's sappy sensibilities, but the premise remains implausibly monstrous: Dinosaurs get a second chance at world dominance when a shortsighted billionaire developer, John Hammond (Richard Attenborough), stocks his Costa Rican theme park with a variety of humongous Mesozoic has-beens. Talk about raiding the lost ark.

 

The wondrous menagerie has been cloned from blood cells found in the stomachs of fossilized mosquitoes. There are what the kids of the cast (Ariana Richards and Joseph Mazzello, as Hammond's grandchildren) call the "veggiesaurs" -- herds of lowing, long-necked brachiosaurs and gallivanting, fleet-footed gallimimuses. And there are the "meatasaurs," like the sweetly chirping dilophosaurus, who seems E.T. sweet till she spits a blinding poison loogie in your face. Parents, these things have big, long teeth and a powerful hunger for the young ones. There's a reason for the rating: Under 13, be well advised."

- Rita Kempley, The Washington Post (1995)

 

Public Opinion

 

"i strongly relate to jeff goldblum in this film because in this scenario i too would just walk around being sexy and flirting with laura dern then get injured at literally the first instance of danger and spend the rest of the time lying dramatically on a table, still being sexy and annoying everyone but with my top off this time"

- ciara, Letterboxd

 

 

The Poetic Opinion

 

jurassic world

"how  weird    that   i  could
miss  something  as simple
as   your   odd    habit     of
saying "zoom zoom zoom"
any time you're  in motion"

- Megan Grace

 

Factoids

 

Previous Rankings

 

#18 (2020), #19 (2018), #35 (2016), #9 (2014), #27 (2013), #38 (2012)

 

Director Count

 

Steven Spielberg (4), James Cameron (3), Alfred Hitchcock (3), Stanley Kubrick (3), Christopher Nolan (3),  Martin Scorsese (3),  Ridley Scott (3), Brad Bird (2), John Carpenter (2), David Fincher (2), Spike Lee (2), Sergio Leone (2), Hayao Miyazaki (2), The Russos (2), Robert Zemeckis (2), Andrew Stanton (2), Peter Weir (2), Billy Wilder (2), Roger Allers (1), Paul Thomas Anderson (1), John G. Avildsen (1), Frank Capra (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Francis Ford Coppola (1),  Wes Craven (1), Frank Darabont (1), Jonathan Demme (1), Pete Doctor (1), Stanley Donan (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Terry Gillam (1), Michel Gondry (1), Steve Hickner (1), Rian Johnson (1), Terry Jones (1), Bong Joon Ho (1), Gene Kelly (1), Akira Kurosawa (1), John Lasseter (1), Richard Linklater (1), Sydney Lumet (1), Katia Lund (1), David Lynch (1), Michael Mann (1), Richard Marquand (1), Fernando Meirelles (1), George Miller (1), Rob Minkoff (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Isao Takahata (1), Quentin Tarantino (1), Guillermo Del Torro (1), Gary Trousdale (1), Lee Unkrich (1), Gore Verbinski (1), Orson Welles (1), Simon Wells (1), Kirk Wise (1), Kar-Wai Wong (1)

 

Decade Count

 

1930s (2), 1940s (3), 1950s (6), 1960s (6), 1970s (7), 1980s (11), 1990s (19), 2000s (17), 2010s (10)

 

 

Country Count

 

Japan (6), Italy (3), UK (2), Australia (1), Brazil (1), China (1), Mexico (1), Spain (1), South Korea (1)

 

Franchise Count

 

Pixar (6), Ghibli (4), Alien (2),  The MCU (2), Star Wars (2), WDAS (2), Avatar (1), Back to the Future (1), Before (1), Blade Runner (1), Dollars (1), E.T. (1), The Exorcist (1), Finding Nemo (1), Hannibal (1), Halloween (1), Incredibles (1), Jurassic Park (1), The Lion King (1), Mad Max (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), The Shining (1), Terminator (1), Thing (1), Toy Story (1), The Wizard of Oz (1)

 

Re-Weighted Placements

 

#10 Fanboy Ranking, #26 Cinema Ranking

#42 Old Farts Ranking, #14 Damn Kids Ranking

#17 Ambassador Ranking, #18 All-American Ranking

#7 Cartoon Ranking, #21 Damn Boomer Ranking

 

 

[Cap]

1 hour ago, The Panda said:

alright. let's go rapid fire!

 

This group is a rollcoaster of emotions.

[THUNDER BIRD]

14 minutes ago, The Panda said:

 

Number 18

 

 

"Dinosaurs eat man. Woman inherits the earth."

 

About the Film

 

Synopsis

Dinosaurs go roar, stomp, chomp, chomp.

 

Its Legacy

 

"Legendary visual effects magician Dennis Muren admitted that two decades ago while supervising the full-motion dinosaurs on Steven Spielberg’s Jurassic Park — a film that would become a defining work in the history of visual effects — he “wasn’t aware of how much of a game-changer it was going to be.”mBut George Lucas knew. Speaking with The Hollywood Reporter, Muren recalled that while working on Jurassic Park at Lucas’ Industrial Light & Magic VFX house, “George came by, and I said I was hoping that [someday] we could do something like 2001: A Space Odyssey. George said, ‘you don’t know it, but you’re working on it.'”

 

 

That same year, Tim Alexander started his first industry job at Disney’s former Buena Vista Visual Effects, and a group from the team went to see Jurassic Park. “We were blown away; we weren’t doing anything remotely like what ILM was doing,” said Alexander, who 20 years later would find himself at ILM as VFX supervisor on Jurassic World. “Jurassic Park was a huge leap forward, everyone recognized it. It was a milestone in the switch over to the computer realm.”

 

“When I started [at Buena Vista] there were only six people in digital, and most came over from optical [effects]. Digital was the future,” Alexander said. “Within a year we were up to 35 people in the digital department. Jurassic Park was the turning point.” Muren — who recently celebrated 40 years at ILM — is the most honored artist in his field, having won a remarkable nine Oscars in VFX for such seminal films as The Empire Strikes Back, E.T.: The Extra Terrestrial, The Abyss, Terminator 2: Judgment Day and, of course, Jurassic Park.

 

The latter brought to the screen the most realistic dinosaurs audiences had ever seen at that time, a combination of animatronics and fully computer-generated creatures. The CG work was difficult, and during production even Muren had moments of doubt. “I had never seen CG skin that looked real, other than some university research. [Before Jurassic Park] we did T2, and that was complicated. We did a lot of tests to see if we could make the dinosaurs work. It was a lot of algorithms, [for instance] to see if we keep the creatures’ skin from tearing. We had the fallback of stop motion.”"

- Denis Muren, The Hollywood Report

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"A heart-pounding pace and a zoo parade of prehistoric behemoths power Steven Spielberg's "Jurassic Park," a hellzapopping tour of the land that time almost forgot. A dumbed-down adaptation of Michael Crichton's techno-novel on the dangers of dinosaur cloning, it's not Spielberg at the top of his game, but it's dino-mite just the same.

 

 

"Jurassic Park" does for live-action critters what "Who Framed Roger Rabbit" did for toons. In that sense, it's a cinematic landmark, but in terms of plot and character, it's about as well developed as "Godzilla." The human actors are little more than Spielberg's designated dinosaur-gawkers. Jaws suitably agape, they simulate awe for the arrival of every skyscraping beast.

 

Crichton's cautionary tale has been altered to reflect Spielberg's sappy sensibilities, but the premise remains implausibly monstrous: Dinosaurs get a second chance at world dominance when a shortsighted billionaire developer, John Hammond (Richard Attenborough), stocks his Costa Rican theme park with a variety of humongous Mesozoic has-beens. Talk about raiding the lost ark.

 

The wondrous menagerie has been cloned from blood cells found in the stomachs of fossilized mosquitoes. There are what the kids of the cast (Ariana Richards and Joseph Mazzello, as Hammond's grandchildren) call the "veggiesaurs" -- herds of lowing, long-necked brachiosaurs and gallivanting, fleet-footed gallimimuses. And there are the "meatasaurs," like the sweetly chirping dilophosaurus, who seems E.T. sweet till she spits a blinding poison loogie in your face. Parents, these things have big, long teeth and a powerful hunger for the young ones. There's a reason for the rating: Under 13, be well advised."

- Rita Kempley, The Washington Post (1995)

 

Public Opinion

 

"i strongly relate to jeff goldblum in this film because in this scenario i too would just walk around being sexy and flirting with laura dern then get injured at literally the first instance of danger and spend the rest of the time lying dramatically on a table, still being sexy and annoying everyone but with my top off this time"

- ciara, Letterboxd

 

 

The Poetic Opinion

 

jurassic world

"how  weird    that   i  could
miss  something  as simple
as   your   odd    habit     of
saying "zoom zoom zoom"
any time you're  in motion"

- Megan Grace

 

Factoids

 

Previous Rankings

 

#18 (2020), #19 (2018), #35 (2016), #9 (2014), #27 (2013), #38 (2012)

 

Director Count

 

Steven Spielberg (4), James Cameron (3), Alfred Hitchcock (3), Stanley Kubrick (3), Christopher Nolan (3),  Martin Scorsese (3),  Ridley Scott (3), Brad Bird (2), John Carpenter (2), David Fincher (2), Spike Lee (2), Sergio Leone (2), Hayao Miyazaki (2), The Russos (2), Robert Zemeckis (2), Andrew Stanton (2), Peter Weir (2), Billy Wilder (2), Roger Allers (1), Paul Thomas Anderson (1), John G. Avildsen (1), Frank Capra (1), Charlie Chaplin (1), Brenda Chapman (1), Joel Coen (1), Francis Ford Coppola (1),  Wes Craven (1), Frank Darabont (1), Jonathan Demme (1), Pete Doctor (1), Stanley Donan (1), Clint Eastwood (1), Victor Fleming (1), William Friedkin (1), Terry Gillam (1), Michel Gondry (1), Steve Hickner (1), Rian Johnson (1), Terry Jones (1), Bong Joon Ho (1), Gene Kelly (1), Akira Kurosawa (1), John Lasseter (1), Richard Linklater (1), Sydney Lumet (1), Katia Lund (1), David Lynch (1), Michael Mann (1), Richard Marquand (1), Fernando Meirelles (1), George Miller (1), Rob Minkoff (1), Katsuhiro Otomo (1), Jan Pinkava (1), Makoto Shinkai (1), Vittorio de Sica (1), Isao Takahata (1), Quentin Tarantino (1), Guillermo Del Torro (1), Gary Trousdale (1), Lee Unkrich (1), Gore Verbinski (1), Orson Welles (1), Simon Wells (1), Kirk Wise (1), Kar-Wai Wong (1)

 

Decade Count

 

1930s (2), 1940s (3), 1950s (6), 1960s (6), 1970s (7), 1980s (11), 1990s (19), 2000s (17), 2010s (10)

 

 

Country Count

 

Japan (6), Italy (3), UK (2), Australia (1), Brazil (1), China (1), Mexico (1), Spain (1), South Korea (1)

 

Franchise Count

 

Pixar (6), Ghibli (4), Alien (2),  The MCU (2), Star Wars (2), WDAS (2), Avatar (1), Back to the Future (1), Before (1), Blade Runner (1), Dollars (1), E.T. (1), The Exorcist (1), Finding Nemo (1), Hannibal (1), Halloween (1), Incredibles (1), Jurassic Park (1), The Lion King (1), Mad Max (1), Pirates of the Caribbean (1), Rocky (1), Scream (1), The Shining (1), Terminator (1), Thing (1), Toy Story (1), The Wizard of Oz (1)

 

Re-Weighted Placements

 

#10 Fanboy Ranking, #26 Cinema Ranking

#42 Old Farts Ranking, #14 Damn Kids Ranking

#17 Ambassador Ranking, #18 All-American Ranking

#7 Cartoon Ranking, #21 Damn Boomer Ranking

 

 

Too Low 

 

Also 2012, 2013, 2016 folks failed.

 

2018, 2020, 2022 people average.

 

2014 members passed with flying colors.

[CaptNathanBrittles]

Three massively overrated movies in a row.