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

[Jake Gittes]

5 hours ago, The Panda said:

 

Number 226

L.A. Confidential (1997, Curtis Hanson)

 

Number 222

Captain America: Civil War (2016, The Russos)

 

 

[The Panda]

Starting off the pod of reveals later today will be a movie that’s rotten on RT but certified fresh in our hearts!

 

hope y’all are ready for it!

[That One Girl]

11 hours ago, The Panda said:

 

Number 227

How Green Was My Valley (1941, John Ford)

 

 

 

love this movie, glad it made it.

 

11 hours ago, The Panda said:

 

Number 222

Captain America: Civil War (2016, The Russos)

 

 

only 5 spots above is better than I expected!

[Cap]

2 hours ago, The Panda said:

Starting off the pod of reveals later today will be a movie that’s rotten on RT but certified fresh in our hearts!

 

hope y’all are ready for it!

please be BVS

[CaptNathanBrittles]

1 hour ago, That One Guy said:

 

love this movie, glad it made it.

 

 

The reputation it has endured over the decades by critics simply because it won the Best Picture Oscar over CITIZEN KANE is childish.

[The Panda]

LET'S FUCKING GO THE REAL COUNTDOWN STARTS HERE!

 

NUMBER 90

 

 

"Hide the rum."

 

 

About the Film

 

Synopsis

 

"Captain Jack Sparrow works his way out of a blood debt with the ghostly Davey Jones, he also attempts to avoid eternal damnation."

 

Its Legacy

 

"John Knoll’s crew at ILM had to invent an entirely new way of doing an established trick called ”motion capture.” Explaining all the details would make your eyes glaze over faster than a dead buccanneer’s. But basically, the profound improvement that Knoll and company hit upon was a way to do the motion-capturing right on the main movie sets, instead of trying to re-create all of Davy Jones’ actions on an isolated bluescreen soundstage months after principal photography was finished. Ever wonder why so many performances in the Star Wars prequels sound and look so stifled, so robotic? It’s partly because the actors typically had nothing physical to work off of, since every part of the scenery and the CG-creature supporting cast was put in later. (There was an on-set stand-in for Jar-Jar, actor Ahmed Best, but somehow that didn’t help much.)

 

 

Not so with Dead Man’s Chest. The actors were almost always working on either physical sets or actual locations, and their fellow cast members were right there next to them, interacting in real time with them, to keep line readings and physical bits of business much fresher. That means you get moments like Nighy’s Davy Jones making an odd popping sound with his upper lip to express puzzlement, or jerking his head in certain querulous, highly humorous ways. ”On a soundstage with 25 technicians staring at Bill and nobody to play off of, that quirkiness would all have gotten ironed out,” says Knoll. ”Somebody would say, That gesture is too off or too odd. It could have become a real sort of committee effort.” Instead, Nighy had to please only one chief — Verbinski — and thus gave an especially lively performance.

 

Working on stunning-looking locations instead of dull bluescreen stages also made the action choreography much more dynamic. For instance, there’s a shot of the Flying Dutchman pirate crew coming out of the milky-blue Caribbean waters to charge after Johnny Depp and Keira Knightley, who are in the midst of a swordfight on a white-sand beach. The shot looks as photorealistic as an island-vacation commercial — a breathtaking step forward in CG imagery. Knoll and company achieved it by first putting real actors in sensor-studded outfits right there in the water on a real beach, in the crazy-beautiful Exuma Islands of the Bahamas. That worked a lot better than trying to animate a CG group from scratch because the FX crew, which later CG-ized each actor into a barnacle-encrusted pirate monstrosity, had tremendously helpful details to work with. They could study the live-action footage carefully to see exactly how the light should look, exactly how the water should run off the pirates’ bodies, exactly how they should shift their weight while stepping into sand as they became CG figures instead of actors in suits. The result, by and large, is more convincing CG character movements — and better CG lighting effects — than we’ve seen before." - Steve Daly, Entertainment Weekly

 

 

From the Filmmaker

 

"I'm feeling I pretty much got the director's cut. Any fight we had over anything was very nominal. I'm very happy with the cut of those movies. I would say that Pirates 1 had an energy to it, which was essentially, ‘you're crazy’. I remember pitching it to [Hans] Zimmer and he said, ‘You're mad! You're making a pirate movie? Nobody's going to see a pirate movie.’ It was resoundingly, ‘that's the worst idea ever.’ And there was something exciting about that. It was so doomed to fail. You’re setting out to go make a genre that literally doesn't work, or there's so much historical proof that it will not work. So, you're making everybody nervous. The studio’s nervous. Everybody's nervous about Johnny Depp's performance. Everybody's nervous about the story. It's convoluted — they’re returning the treasure, wait they've taken the treasure back, they're cursed? Everything about that had a spirit of madness to it. Then, after it was successful, Pirates 2 and 3 start to fall into the ‘release date-driven experience’. There’s a calendar and dates and “we need two more of these babies. How soon can you do it?” So you don't have scripts and you're making a movie to a release date. That creates an energy, but the hardest part was now they're not nervous.

 

Other than make the date, nobody's nervous about what you're doing. So, I would have these conversations that would be, “we need to get back to not knowing”. This whole sense of, ‘Oh yeah, well, the audience liked that. Let's give them more of that. And they liked this and do that again. You need another big action set piece here.’ And then, it’s almost creating your own tropes to follow. I’m not criticizing any executive... It's just a practical force. That comes at you from the preceding success. So, when you asked me if there's a different cut, I think just pulling it off, while trying to maintain that original madness, was enough. I'm definitely proud of the second one. I feel like that one has a little bit more… it's got a similar spirit. And it's shy of being bloated, and maybe the third one got a little bit, okay, wow. Now where do you go? You have to go even bigger.

 

 

I think, trying to wrap up that many fractal narratives and give everybody a conclusion, Norrington's going to have to have his due, etc.. the thing just grows. That's what they do. They just go, ‘Well, the audiences love this guy, got to pay that guy off, and these guys have to return, and those guys have to show.’ Then you just start going, ‘Oh my God, I can't sustain this, I need to blow it up. I need to go blow it all up. To really end it. ’ So, I tried to make the third one saying, ‘There shouldn't be any more.’… I was like, okay, no more, done, three and out."  - Gore Verbinski

 

Why It's Great

 

Critic Opinion

 

"In his Oscar nominated performance as Captain Jack Sparrow, Johnny Depp swanned through the first Pirates of the Caribbean (2003) with enough wicked zest to make you forget the film was a bloated crock. The flab extends to the overlong (two hours and thirty minutes) sequel, but mostly in the dawdling setup. A pirate could braid his beard in the time it takes for producer Jerry Bruckheimer’s floating franchise to cut loose from the shoals of plot incoherence and put a wind in its sails. But once it does, nothing can stop it. The second Pirates does more than improve on the original, it pumps out the bilge and offers a fresh start. Returning director Gore Verinski and screenwriters Terry Rossio and Ted Elliott have wisely taken a cue from Depp and learned how to play fast and loose with the material. Lively is an odd word for something called Dead Man’s Chest, but lively it is. You won’t find hotter action, wilder thrills or loopier laughs this summer." - Peter Travers, Rolling Stone

 

Public Opinion

 

"It’s honestly insane how much this film slaps. 53 percent on rotten tomatoes my fucking ass." - @Rorschach

 

The AI's Poetic Opinion

 

dead man's chest

"A pirate's treasure
Dead man's chest
Buried deep inside"

- dA vInci

 

 

Factoids

 

Previous Rankings

 

UNRANKED (2020, 2018, 2016, 2014, 2013, 2012)

 

Director Count

 

James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Ridley Scott (1), Vittorio de Sica (1), Gore Verbinski (1), Peter Weir (1)

 

Decade Count

 

1930s (1), 1940s (1), 1970s (1), 1980s (1), 1990s (1), 2000s (4), 2010s (1)

 

Franchise Count

 

Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1)

 

Re-Weighted Placements

#55 Fanboy Ranking, #109 Cinema Ranking

#154 Old Farts Ranking, #81 Damn Kids Ranking

#51 Ambassador Ranking, #103 All-American Ranking

#39 Cartoon Ranking, #102 Damn Boomer Ranking

 

 

 

[IronJimbo]

DEPP can't stop winning this year!

[Daxtreme]

Davy Jones looks better than most (if not all of) CGI today.

 

Truly an achievement in visual effects. Also, great movie in its own rights too, underrated critically for sure. 

[Jake Gittes]

I guess that says something about how dire studio tentpoles have gotten over the past 15 years.

[The Panda]

Number 89

 

 

"What am I doing? I'm quietly judging you."

 

About the Film

 

Synopsis

 

"An epic mosaic of many interrelated characters in search of happiness, forgiveness, and meaning in the San Fernando Valley."

 

Its Legacy

 

"It’s a shame that Hollywood audiences have been taught that films are made primarily to entertain and amuse. That’s only for the mass audience; other films challenge us to look inside ourselves, especially the places we want to hide from the rest of the world. Magnolia (1999), directed by Paul Thomas Anderson, is a real departure from supposed mainstream “entertainment,” a film that’s both challenging and deeply disturbing.

 

 

Magnolia is a sprawling and operatic music video that interweaves so many characters, complex plots, and an ever-present sense of heightened melodrama, so that the viewer looks in vain for any element that holds the movie together. Ricky Jay’s narration provides one thread, but the narrative itself is a series of interlocking stories that intersect and collide over and over again. At the directorial level, the film is stitched together by Anderson’s trademark lengthy takes, long confusing tirades, a series of stellar performances, and an overwhelming music track that makes the whole film feel like a rather traumatic carnival ride that can’t be escaped, or a drug induced nightmare of epic proportions.

 

Nevertheless, at the core of this operatic journey through Hell is a study of the fragility and obsolescence of white masculinity, here closely tied to death, specifically death by cancer. The myriad plots are deliberately edited in such a way that they are almost impossible to follow, as if mirroring life itself, but all roads eventually lead back to pale men near death, men whose bodies are metastatic sites of a lingering, devastating form of cancer, their decaying bodies metaphors of white masculinity and patriarchy itself as a form of cancer." - Gwendolynn Audrey Foster

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"We say we want to see movies with people that look like us, with ordinary, unremarkable lives, but that’s not really true. Give us fantasy, give us beautiful people with lives that may be a little messy, but get better by the time the credits roll. Our time is short, why waste it on movies that illustrate how life is a long, often lonely series of fateful encounters and occurrences that, try as we might, we have no control over?

 

Magnolia, released twenty years ago this month, is arguably Paul Thomas Anderson’s most polarizing film. It has the audacity to be over three hours long, while not actually being about anything. There’s no real plot to speak of, not in the “point A to point B” sense, at least. There’s very little conflict (and when there is, it’s never really resolved), there’s no hero’s journey, and if the characters experience any sort of growth or change, it’s almost imperceptible, just enough to keep them going the next day. In the middle of the action (if you can even call it that), everyone stops to sing a melancholy song about how they’re foolish for thinking life is going to get any better. For some, Magnolia is a twee, melodramatic slog. For others, it offers comfort and hope, albeit served in tiny spoonfuls. Few major studio films have so accurately depicted the concept of bittersweet ordinariness — none of us are special, we’re at the mercy of what life decides to throw at us, and how we decide to handle it." - Gena Radcliffe, The Spool

 

Public Opinion

 

"To watch something that is so blisteringly confident and it's own is really a treat. Performances across the board are incredible. The way that this is able to cut back and forth between so many loosely connected storylines over the course of three hours while chugging along with the momentum of a freight train is something to behold. Some godly camerawork, especially during the game show sequence. It feels so deeply human in it's attempt to parse through life from beginning to end, how we connect, how we relate, how we hurt each other, and how we love. and just how much all of that we are capable of. One particular interaction in this movie that just really sticks out to me and i found very profound is when Jim and Claudia are on their date and right after the whole spiel about his intent to be loving of Claudia just as she is he is take aback by her using the phrase "piss and shit". A real punch in the gut moment noting as much as we intend to love unconditionally swallowing our expectations of those we love is never as easy as it may seem. Hell of a picture."  - @Ethan Hunt

 

The AI's Poetic Opinion

 

magnolia

"The aroma of magnolia
fill the air in the morning
sweet and refreshing"

- dA vInci

 

 

Factoids

 

Previous Rankings

 

UNRANKED (2020, 2018), #98 (2016), #91 (2014), UNRANKED (2013, 2012)

 

Director Count

 

Paul Thomas Andnerson (1), James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), The Russos (1), Ridley Scott (1), Vittorio de Sica (1), Gore Verbinski (1), Peter Weir (1)

 

Decade Count

 

1930s (1), 1940s (1), 1970s (1), 1980s (1), 1990s (2), 2000s (4), 2010s (1)

 

Franchise Count

 

Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1)

 

Re-Weighted Placements

 

#122 Fanboy Ranking, #79 Cinema Ranking

#134 Old Farts Ranking, #85 Damn Kids Ranking

#91 Ambassador Ranking, #88 All-American Ranking

#72 Cartoon Ranking, #93 Damn Boomer Ranking

 

 

[BestPicturePlutoNash]

I should have thrown Magnolia on my list but I already had some PTA on there

[Jake Gittes]

4 minutes ago, The Panda said:

 

From the Filmmaker

 

 

[Eric Atreides]

9 minutes ago, Jake Gittes said:

 

He's wrong tho

[The Panda]

Another brand new entry to the list! Also the first animated movie to make an appearance!

 

Number 88

 

 

"The future is not a straight line. It is filled with many crossroads. There must be a future that we can choose for ourselves."

 

 

About the Film

 

Synopsis

 

"A secret military project endangers Neo-Tokyo when it turns a biker gang member into a rampaging psychic psychopath who can only be stopped by a teenager, his gang of biker friends and a group of psychics."

 

Its Legacy

 

"When Akira wasn’t showing its extremely detailed animation, it was also reveling in its usage of negative space and lighting. The feature uses the negative space to highlight much of its action or vitally important sequences. The lighting heightens the effect and every frame is lovingly lighted. Light could be considered a character of the film as it even devours Neo Tokyo during the finale. Nerdwriter has a terrific video going into even more detail of how the lighting in Akira is a step above other efforts.

 

Even audiences in the West could feel the earth-shattering reverberations of Akira. Anime had briefly entered American markets with such imports as Speed Racer, but none had quite the effect of Akira. The film was distributed on bootlegged VHS tapes throughout colleges and once American audiences witnessed the film, they were hungry for more anime than ever. Even more exciting than just the beautiful animation or fascinating story; Akira was proof that animation wasn’t just for children.

 

 

The amount of money thrown at Akira was unheard of for a Japanese animated film. According to Uproxx, a total of $10 million was used and was the record for the most expensive anime film for quite some time. Even if the production committee was willing to spend that much money, they still weren’t able to entice directors from the West to tackle the project. Steven Spielberg and George Lucas were offered the chance to bring the property to Western audiences, but they believed it just wouldn’t suit Americans. That didn’t stop Akira from being monstrously successful worldwide. It has influenced countless musicians as well. Michael Jackson included a clip of Tetsuo falling from a skyscraper at the end of his music video for “Scream.” Kanye West has repeatedly cited the film as one of his favorites." - Max Covil, Film School Rejects

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"As scholar Susan J. Napier notes in her book Anime from Akira to Princess Mononoke, works like Gen and Fireflies “share in the collectivity of the Japanese memory as well as individual autobiographical accounts of personal suffering” (Napier 2001, 161). Hence, works similar to these films attempt to speak for history by employing a personal voice that has become well acquainted with “suffering, destruction, and renewal” (162). Many works that pull from the collective memory and trauma of the bombings are seen as part of a “victim’s history” narrative which works to promote sympathy from the viewer on behalf of the children they so often depict.

 

The opening sequence of Akira is subtle yet powerful. The camera angle travels down the streets of a city before the date– July 18, 1989– is superimposed across the screen. A bright white light suddenly fills the screen as an enormous explosion, illustrated by a semi-transparent black dome, engulfs the city and leaves only a black crater in its wake. This bright light, Freiberg has noted, is indicative of the tone of nuclear sublime that is present in Akira, as it “represent the sublimity of nuclear destruction.” This area will be later referred to as “The Old City” or “Old Tokyo,” while the rest of the film takes place in Neo-Tokyo in the year 2019, 31 years following World War III. The crater that still mars the surface of Old Tokyo returns to the screen, filling it ominously before the audience’s attention is refocussed on the chaotic streets of Neo-Tokyo. This new city is rife with biker gangs, one of which the main character, Tetsuo, is a member of.

Like other works within the apocalyptic mode, Akira presents the viewer with the unsettling reality of abandonment and the death of the nuclear family. This is most clearly illustrated through the conditions of the two main protagonists, Tetsuo and Kaneda, who met and grew up in an orphanage together. Takahata’s Grave of the Fireflies also operates through this narrative of abandonment, as the main characters– Seita and Setsuko– lose their mother while their father is away serving in the Navy. While the pair are granted the opportunity to seek refuge with their aunt, the aunt is notably unsympathetic toward their situation, which leads them to run away to live in an abandoned bomb shelter. Like Seita and Setsuko, Kaneda and Tetsuo have likewise been abandoned by their parents, and have no close familial ties with anyone who is blood related to them; like the brother-sister pair in Fireflies, the main characters of Akira have only each other. With films like these, there is an obvious commentary occurring concerning authority, illustrated pointedly through the absence of the father. As Napier notes, the symbolic mode of “the death of the father” is extremely important for postwar Japanese culture: “Scholars argue that Japanese culture now exists in a demasculinized state, overwhelmed by feminine ‘cuteness’ but still haunted by images of a dead, absent, or inadequate father and problematic masculinity” (171)."

- ees, The Artifice

 

 

Public Opinion

 

"I hadn't seen this in over 20 years, and honestly I didn't remember much, other than it was violent and trippy and wild. But I just rewatched it, and it really is a tremendous movie. It, BLADE RUNNER, and William Gibson's "Neuromancer" really set the tone for cyberpunk and futuristic sci-fi up into this millennium. Otomo really utilizes the medium to its best -- there's lot of tremendously vibrant and exciting shots here that would be impossible in live-action. Truly sensational."  - @Plain Old Tele

 

The AI's Poetic Opinion

 

akira

"the best anime
ever made
a classic that will last"

- dA vInci

 

 

Factoids

 

Previous Rankings

 

UNRANKED (2020, 2018, 2016, 2014, 2013, 2012)

 

Director Count

 

 

Decade Count

1930s (1), 1940s (1), 1970s (1), 1980s (2), 1990s (2), 2000s (4), 2010s (1)

 

Franchise Count

 

Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1)

 

Re-Weighted Placements

 

#91 Fanboy Ranking, #89 Cinema Ranking

#116 Old Farts Ranking, #86 Damn Kids Ranking

#85 Ambassador Ranking, #90 All-American Ranking

#31 Cartoon Ranking, #103 Damn Boomer Ranking

 

 

Edited July 31, 2022 by The Panda

[The Panda]

sorry about the strikeout, not sure what happened. working on fixing it.

[Cap]

Wait. Dead Men’s Chest? The third one? Really? Over the first one?

[Ethan Hunt]

1 minute ago, Cap said:

Wait. Dead Men’s Chest? The third one? Really? Over the first one?

I mean it's the second one. And the first one might still be higher 

[Cap]

3 minutes ago, Ethan Hunt said:

I mean it's the second one. And the first one might still be higher 

Oh that’s even worse 😂😂😂😂😂

[Fancyarcher]

I enjoy Dead Man's Chest quite a bit, but no, just no. 

[The Panda]

Sad to announce that this made the list, but shit happens!

 

Number 87

 

 

"Shit happens."

 

About the Film

 

Synopsis

 

"The presidencies of Kennedy and Johnson, the Vietnam War, the Watergate scandal and other historical events unfold from the perspective of an Alabama man with an IQ of 75, whose only desire is to be reunited with his childhood sweetheart."

 

Its Legacy

 

"Progress and Change is an inseparable part of American cultural value, we can notice some plots in Forrest Gump that can reflect it. Forrest’s life was not invariant all the time, but colorful and full of challenges and miracles. From Forrest’s study period to the latter life, his life was always in change. To a retarded person, his life, in people’s thoughts, should be ordinary. His greatest achievement was not more than that he can do a thing well, not making his life too disappointing. So to Forrest, people certainly thought he should go to a special school like other retarded children and learn a kind of skill, then find an ordinary job to pass his time. But with his mother’s insistence, he went to a good regular school like normal students. From primary school to secondary school then to university, he finished his education by his “scuds”. After his graduation from college, many people may think he should go home this time. But he chose to join the army, then he became a shrimping-boat captain to accomplish his friend’s wish, then he became a gardener after having donated his money, and then he became a famous person again for running. It was easy for Forrest to adapt to the changes and face the challenges calmly.

 

 

Whatever he did, he could achieve success and made progress through his own perseverance and diligence. His life was beyond one’s expectations all the time, but always brought people surprise and touching. In the movie, Forrest dodged with tension when Jenny told him that they had a child. Then he asked Jenny: “Is he smart?” “He’s very smart. He’s one of the smartest in his class”, Jenny answered. In the last part of the movie, when little Forrest was going to take the bus, the woman driver whose bus Forrest once took asked him: “You understand this is the bus to school, don’t you?” Little Forrest answered: “Of course, and you’re Dorothy Harris, and I’m Forrest Gump.” From his quick answer, we could know Little Forrest owned sensitive thought and fast reaction, and he was absolutely cleaver. Forrest was retarded, but his son could be smart. Everything was changing. The director gave much thoughts to these plots which could expose life was in change all the time and people were making progress. Progress and Change is a kind of cultural value that American people always believe in and it is also the motive power that promotes human being’s history." - Qingyuan Li, Study of Dominant American Cultural Values in Forrest Gump

 

From the Filmmaker

 

 

Why It's Great

 

Critic Opinion

 

"Movies are like a box of chocolates – everybody has their favourites. But Forrest Gump seems to give a lot of smart people, especially critics, a stomach ache. Its sugary sentimentality and cornball catchphrases (“Mama always said…”) make their teeth hurt. Granted, there is a lot about the movie that’s annoying. After two-and-a-half hours of Alan Silvestri’s piano-tinkling score, I too feel like banging my head against the nearest wall. And I’m certainly not going to win any cool points defending a film that inspired a shrimp restaurant chain. But every time Gump pops up on TV I get sucked in. No matter which point in the plot I enter from – Forrest as a child teaching Elvis how to swivel his hips, Forrest as a Vietnam vet showing the scar on his “butt-ox” to LBJ in the White House – I inevitably find myself curled up on the sofa with a bowl of popcorn in my lap. Which, in my opinion, is the definition of a really good film.

 

Pulp Fiction, which Gump beat for best picture at the 1995 Oscars (along with The Shawshank Redemption, Quiz Show and Four Weddings and a Funeral) gets all the credit for daring cinematic experimentation, with its zigzagging chronology and script full of pop culture shout-outs. But Gump is every bit as unconventional as Pulp Fiction. Eric Roth’s screenplay ignores all the formulas of film-making, and the movie unfolds more like a modern novel than a motion picture. It’s a film with no villains; no central conflict and no over-arching narrative tension. It’s not a comedy, and it’s not a drama, and it’s not any other genre you can pin down. Its hero is a man with an IQ of 75 who wanders through the second half of the 20th Century randomly bumping into one historical event after another –  standing next to George Wallace at the schoolhouse door in Alabama in the 1950s, getting swept onto a podium with Abbie Hoffman at an anti-war protest in the 1960s, striking it rich by investing in “a fruit company” called Apple in the 1970s — emerging in the final reel as the wisest, least cynical person on the screen.

 

I’m not saying Gump is a perfect movie. I’m not even saying it necessarily deserved to win best picture. But there’s no denying it connects emotionally in a way the hipper, flashier Pulp Fiction never could. It invented a totally new pop cultural archetype – a simpleton with Zen-like wisdom and the gift of historical serendipity – that continues to resonate today. Twenty-one years after its release, the film is still touching audiences, still being quoted (“Stupid is as stupid does”), still irritating critics." - Ben Svetzky, Why I Love Forrest Gump

 

 

Public Opinion

 

"Forrest Gump is one of those films that can be either adored or disliked for the same reason, which is its heart and tender handling of emotions. At first the overall film may seem like the telling of the perspective of an under adequate intelligent person as he goes through the course of our history. But inside that soft shell contains a message beyond that it seems to be, which is what is the true significance of our life and to just enjoy the beauties of life while you are here.

 

This film is often viewed as too cheesy or just plain silly but this film is nothing short of a masterpiece filled with so much heart and energy that you can't help but enjoy Gump's journey through life. As we view life through a rare perspective which is of a naive, heartfelt, and kind soul. The film not only studies history and life, but also the terms of our fate." - Israel Valencia, Letterboxd

 

The AI's Poetic Opinion

 

forrest gump

"life is like a box of chocolates
you never know what you're going to get"

- dA vInci

 

 

Factoids

 

Previous Rankings

 

#43 (2020), #32 (2018), #13 (2016), #39 (2014), #23 (2013), #15 (2012)

 

Director Count

 

Paul Thomas Andnerson (1), James Cameron (1), Charlie Chaplin (1), Clint Eastwood (1), William Friedkin (1), Spike Lee (1), Katia Lund (1), Fernando Meirelles (1), Katsuhiro Otomo (1), The Russos (1), Ridley Scott (1), Vittorio de Sica (1), Gore Verbinski (1), Peter Weir (1), Robert Zemeckis (1)

 

Decade Count

 

1930s (1), 1940s (1), 1970s (1), 1980s (2), 1990s (3), 2000s (4), 2010s (1)

 

Franchise Count

 

Avatar (1), Blade Runner (1), The Exorcist (1), The MCU (1), Pirates of the Caribbean (1)

 

Re-Weighted Placements

 

#85 Fanboy Ranking, #90 Cinema Ranking

#131 Old Farts Ranking, #83 Damn Kids Ranking

#131 Ambassador Ranking, #79 All-American Ranking

#95 Cartoon Ranking, #84 Damn Boomer Ranking