Box Office Theory Forum’s Top 100 Disney Movies

[Morieris]

49 minutes ago, Eric George said:

Its Legacy: The first Disney animated film based on Marvel Comics. Made said comic a household name. Became the highest-grossing Disney animated film in China and the second-biggest Disney animated film in Japan. Earned two television shows. Adapted into a manga and comic book series. Appeared in Disney Infinity. Appeared in Kingdom Hearts. The fourth-best selling home video release of 2015. New software technology was created at Disney to bring the film to life. Still one of Disney's highest-grossing animated films ever. Gave Damon Wayans Jr. a paycheck.

 

💀

 

I remember feeling it was somewhat incomplete when I watched it in the theater, but that was, oh god, 10 years ago, so I should try again.

[Eric Prime]

13 minutes ago, Morieris said:

 

💀

 

I remember feeling it was somewhat incomplete when I watched it in the theater, but that was, oh god, 10 years ago, so I should try again.

Yeah while doing the write-up for Big Hero 6, I wanted to vomit. Ain't no way this movie's about to be 10 years old. No way. Nope. Nuh-uh. No way that I was a junior in high school that long ago. Nope.

[cannastop]

32 minutes ago, Eric George said:

lmao

[Arlborn]

27 minutes ago, Eric George said:

 

#407 -  Reign of Fire

 

 

 

 

#405 - The Thirteenth Warrior

 

 

 

 

 

  

 

If anyone is looking for early 00's forgotten action would-be blockbusters, this is it by the way. They're both awesome action flicks that I wholeheartedly recommend for action fans.

[Eric Prime]

#400 - Buzz Lightyear of Star Command: The Adventure Begins, Fire of Love, Toothless (18 points, 1 list, avg. ranking #83)

 

#399 - Beauty and the Beast (2017), Hidalgo, Smoke Signals, Spy Kids 2: Island of Lost Dreams (19 points, 1 list, avg. ranking #82)

 

#398 - Black Widow (20 points, 2 lists, avg. ranking #91)

 

#397 - Bubble Boy, Venus (20 points, 1 list, avg. ranking #81)

 

#396 - The Game Plan (20 points, 1 list, avg. ranking #39)

 

#395 - Tinker Bell and the Lost Treasure (20 points, 1 list, avg. ranking #38)

 

#394 - The Greatest Game Ever Played, Pokemon 4Ever, Tall Tale (21 points, 1 list, avg. ranking #80)

 

#393 - Return to Neverland (22 points, 3 lists, avg. ranking #94)

 

#392 - Where the Heart Is (22 points, 1 list, avg. ranking #79)

 

#391 - Bad Santa, Glass, Iron Will (24 points, 1 list, avg. ranking #78)

 

#390 - Bicentennial Man, Down and Out in Beverly Hills, Fun and Fancy Free (25 points, 1 list, avg. ranking #77)

[Eric Prime]

#91

City of God

574 points, 8 lists

"I do worry sometimes I might just be entertaining myself while staving off the inevitable."

 

Box Office: 30.6M

Rotten Tomatoes: 91%

Metacritic: 79

Awards: 4 Academy Award nominations, 1 BAFTA Award and 1 nomination, 6 Grande Prêmio do Cinema Brasileiro Awards and 10 nominations, 1 Independent Spirit Award nomination, 1 Satellite Award

 

Roger Ebert's Review: "Meirelles began as a director of TV commercials, which gave him a command of technique--and, he says, trained him to work quickly, to size up a shot and get it, and move on. Working with the cinematographer Cesar Charlone, he uses quick-cutting and a mobile, hand-held camera to tell his story with the haste and detail it deserves. Sometimes those devices can create a film that is merely busy, but "City of God" feels like sight itself, as we look here and then there, with danger or opportunity everywhere."

 

Its Legacy: Considered one of Brazil's best movies and one of the best movies ever made. In numerous "Best Films", "Best 21st Century Films" and "Best Action Films" lists. Boosted Brazil's film production exponentially. Spawned a 2012 documentary, a spin-off series in 2002, and a spin-off film in 2007. Won the Audience Award at AFI Fest. Gave Seu Jorge a paycheck.

 

Commentary: Released under Miramax in the US, this feature from Brazil is one of those movies that feels like it’s in a class of its own. In style, in pacing, in tone, in direction, and more. Based on true events, this is an uncompromised look into the slums of Rio de Janiero, and its rise from the 1960s to the 1980s and, to an extent, today. It’s brutal, it’s mean, it’s madcap, it’s violent, it’s chaotic, it’s messy. Yet at the same time, it’s heartfelt, it’s moving, it’s tightly edited, and never skips a beat juggling countless stories and characters and tones and genres. It’s a film that details a world that seems unreal, but is the common day-to-day for many. Both within Brazil and even outside of it to some extent.

 

This isn’t really a film about one person, moreso a film about the City of God itself, and all the unique figures within it. From the aspirational Rocket to the psychotic Li’l Dice, my favorite character in the film, to the Robin Hood-esque drug dealer Benny, and more. Despite so many stories happening at once, nothing feels out of place, poorly-edited, nor unengaging. Everything works well to near perfection, and so many other films have tried, but haven’t come close to the ease and confidence that director Fernando Meirellies accomplishes. And I still don’t get how he pulled this off, quite frankly. But thank goodness he did.

 

It quickly gained more accolades than you can count, with every director and critic at the time hailing it as an instant masterpiece and one of the greatest movies ever made. In fact, director Meirellies even got a Best Director nomination at that year’s Academy Awards, placing him in the same category as icons like Peter Jackson, Peter Weir, Sofia Coppola, and Clint Eastwood. There’s serious talent in this man, and with the film still earning acclaim and even developing its own franchise, City of God still endures as one of, if not the greatest film Brazil has ever put out.

 

 

[Tower]

4 minutes ago, Eric George said:

#91

City of God

574 points, 8 lists

"I do worry sometimes I might just be entertaining myself while staving off the inevitable."

 

Box Office: 30.6M

Rotten Tomatoes: 91%

Metacritic: 79

Awards: 4 Academy Award nominations, 1 BAFTA Award and 1 nomination, 6 Grande Prêmio do Cinema Brasileiro Awards and 10 nominations, 1 Independent Spirit Award nomination, 1 Satellite Award

 

Roger Ebert's Review: "Meirelles began as a director of TV commercials, which gave him a command of technique--and, he says, trained him to work quickly, to size up a shot and get it, and move on. Working with the cinematographer Cesar Charlone, he uses quick-cutting and a mobile, hand-held camera to tell his story with the haste and detail it deserves. Sometimes those devices can create a film that is merely busy, but "City of God" feels like sight itself, as we look here and then there, with danger or opportunity everywhere."

 

Its Legacy: Considered one of Brazil's best movies and one of the best movies ever made. In numerous "Best Films", "Best 21st Century Films" and "Best Action Films" lists. Boosted Brazil's film production exponentially. Spawned a 2012 documentary, a spin-off series in 2002, and a spin-off film in 2007. Won the Audience Award at AFI Fest. Gave Seu Jorge a paycheck.

 

Commentary: Released under Miramax in the US, this feature from Brazil is one of those movies that feels like it’s in a class of its own. In style, in pacing, in tone, in direction, and more. Based on true events, this is an uncompromised look into the slums of Rio de Janiero, and its rise from the 1960s to the 1980s and, to an extent, today. It’s brutal, it’s mean, it’s madcap, it’s violent, it’s chaotic, it’s messy. Yet at the same time, it’s heartfelt, it’s moving, it’s tightly edited, and never skips a beat juggling countless stories and characters and tones and genres. It’s a film that details a world that seems unreal, but is the common day-to-day for many. Both within Brazil and even outside of it to some extent.

 

This isn’t really a film about one person, moreso a film about the City of God itself, and all the unique figures within it. From the aspirational Rocket to the psychotic Li’l Dice, my favorite character in the film, to the Robin Hood-esque drug dealer Benny, and more. Despite so many stories happening at once, nothing feels out of place, poorly-edited, nor unengaging. Everything works well to near perfection, and so many other films have tried, but haven’t come close to the ease and confidence that director Fernando Meirellies accomplishes. And I still don’t get how he pulled this off, quite frankly. But thank goodness he did.

 

It quickly gained more accolades than you can count, with every director and critic at the time hailing it as an instant masterpiece and one of the greatest movies ever made. In fact, director Meirellies even got a Best Director nomination at that year’s Academy Awards, placing him in the same category as icons like Peter Jackson, Peter Weir, Sofia Coppola, and Clint Eastwood. There’s serious talent in this man, and with the film still earning acclaim and even developing its own franchise, City of God still endures as one of, if not the greatest film Brazil has ever put out.

 

 

This is it, we have reached the cinematic peak of this list, with one of the greatest films ever made. I could complain about its low placing and how 90 lesser films will now follow, but considering the kind of film and list this is, I consider it a win just making the top 100. 

[Eric Prime]

4 minutes ago, Tower said:

This is it, we have reached the cinematic peak of this list, with one of the greatest films ever made. I could complain about its low placing and how 90 lesser films will now follow, but considering the kind of film and list this is, I consider it a win just making the top 100. 

No spoilers, but you’re gonna hate some of the movies that beat out City of God 😂 

[Tower]

12 minutes ago, Eric George said:

No spoilers, but you’re gonna hate some of the movies that beat out City of God 😂 

I submitted a list and I'm following the reveal of a Disney list despite thinking that the 1937 Snow White is one of the worst films of all time (and several other classic WDAS are bad). I know what I'm getting myself into, and I'm OK with that.

[Eric Prime]

#90

The Princess and the Frog

582 points, 16 lists

"There is no way I'm kissing a frog and eating a bug in the same day."

 

Box Office: 271M

Rotten Tomatoes: 85%

Metacritic: 73

Awards: 3 Academy Award nominations, 1 Golden Globe Award nomination, 3 Annie Awards and 5 nominations, 2 NAACP Image Award nominations, 1 Grammy Award nomination

 

Roger Ebert's Review: "The movie, which is sweet and entertaining, doesn't quite live up to those opening scenes. But it's a demonstration that the Walt Disney Studio still shelters animators who know how to make a movie like that, in an age when too many animated films are like fast food after memories of mom's pot roast. My guess is that afterward the poor kids won't feel quite so battered by input overload. The film dances on the screen and doesn't come into the audience and shake you to make you like it."

 

Its Legacy: The first 2D animated Disney Animation film in 5 years. Features the first Black Disney Princess. The ninth-best selling DVD of 2010. A massive merchandising success. Spawned an upcoming Disney ride. Spawned an upcoming television series. Kickstarted the Disney Revival. Gave Keith David a paycheck.

 

Commentary: This 2009 feature was set to be a trailblazer. Not only did we get our first Black Disney Princess, it was this film that we were promised the epic return of hand-drawn animation, a medium that was once considered dead and buried from the industry, including Disney themselves. This was the film that would give us tons more 2D animated hits, and bring us back to the good old days, when things were done on paper like God intended. And well...that didn’t happen. However, that didn’t mean this film didn’t leave an impact. On viewers and within Disney.

 

Of course, this film was an incredible source of representation. Millions of young Black children got to see themselves in the beautiful princess role, with Tiana instantly becoming one of Disney’s best characters. Caring, hard-working, determined, passionate, and in love with what she does and the people in her life. She’s the center to this fun and bouncy tale, that’s full of other great characters, catchy songs, memorable sequences, and a sweet romance of two supposed opposites finding comfort and love within each other.

 

And while it didn’t save 2D animation like it was supposed to, the film was still quite successful and the needed step in the right direction Disney needed. After a long decade of uncertainty and failed projects, Walt Disney Animation Studios used this film as a back to basics. A place where they can return to their bread and butter of princess musicals and remind audiences why they loved them in the first place. This of course led to Disney Animation returning to the well to great success with films like Tangled, Moana, Encanto, and of course Frozen, giving us the famed Disney Revival, full of hits just as iconic, if not more so, then the films of the Disney Renaissance.

 

And in the last 15 years, The Princess and the Frog has only grown more and more in stature, thanks to nostalgic Gen Zers, a huge presence on streaming even before Disney+ existed, and an upcoming ride at Disney World and upcoming Disney+ series that will only keep the film’s popularity enduring in the future. And it makes sense why. It’s funny, clever, full of heart, full of charm, and captures that Disney magic that only directors John Musker and Ron Clements can deliver. It’s a gem.

 

 

[Eric Prime]

18 minutes ago, Tower said:

I submitted a list and I'm following the reveal of a Disney list despite thinking that the 1937 Snow White is one of the worst films of all time.

Get out of my house.

[Tower]

9 minutes ago, Eric George said:

#90

The Princess and the Frog

582 points, 16 lists

"There is no way I'm kissing a frog and eating a bug in the same day."

 

Box Office: 271M

Rotten Tomatoes: 85%

Metacritic: 73

Awards: 3 Academy Award nominations, 1 Golden Globe Award nomination, 3 Annie Awards and 5 nominations, 2 NAACP Image Award nominations, 1 Grammy Award nomination

 

Roger Ebert's Review: "The movie, which is sweet and entertaining, doesn't quite live up to those opening scenes. But it's a demonstration that the Walt Disney Studio still shelters animators who know how to make a movie like that, in an age when too many animated films are like fast food after memories of mom's pot roast. My guess is that afterward the poor kids won't feel quite so battered by input overload. The film dances on the screen and doesn't come into the audience and shake you to make you like it."

 

Its Legacy: The first 2D animated Disney Animation film in 5 years. Features the first Black Disney Princess. The ninth-best selling DVD of 2010. A massive merchandising success. Spawned an upcoming Disney ride. Spawned an upcoming television series. Kickstarted the Disney Revival. Gave Keith David a paycheck.

 

Commentary: This 2009 feature was set to be a trailblazer. Not only did we get our first Black Disney Princess, it was this film that we were promised the epic return of hand-drawn animation, a medium that was once considered dead and buried from the industry, including Disney themselves. This was the film that would give us tons more 2D animated hits, and bring us back to the good old days, when things were done on paper like God intended. And well...that didn’t happen. However, that didn’t mean this film didn’t leave an impact. On viewers and within Disney.

 

Of course, this film was an incredible source of representation. Millions of young Black children got to see themselves in the beautiful princess role, with Tiana instantly becoming one of Disney’s best characters. Caring, hard-working, determined, passionate, and in love with what she does and the people in her life. She’s the center to this fun and bouncy tale, that’s full of other great characters, catchy songs, memorable sequences, and a sweet romance of two supposed opposites finding comfort and love within each other.

 

And while it didn’t save 2D animation like it was supposed to, the film was still quite successful and the needed step in the right direction Disney needed. After a long decade of uncertainty and failed projects, Walt Disney Animation Studios used this film as a back to basics. A place where they can return to their bread and butter of princess musicals and remind audiences why they loved them in the first place. This of course led to Disney Animation returning to the well to great success with films like Tangled, Moana, Encanto, and of course Frozen, giving us the famed Disney Revival, full of hits just as iconic, if not more so, then the films of the Disney Renaissance.

 

And in the last 15 years, The Princess and the Frog has only grown more and more in stature, thanks to nostalgic Gen Zers, a huge presence on streaming even before Disney+ existed, and an upcoming ride at Disney World and upcoming Disney+ series that will only keep the film’s popularity enduring in the future. And it makes sense why. It’s funny, clever, full of heart, full of charm, and captures that Disney magic that only directors John Musker and Ron Clements can deliver. It’s a gem.

 

 

After shitting on WDAS it's time to give credit when it's due. This film is great and deserves to make this list.

[cannastop]

1 hour ago, Eric George said:

Roger Ebert's Review: "Meirelles began as a director of TV commercials, which gave him a command of technique--and, he says, trained him to work quickly, to size up a shot and get it, and move on. Working with the cinematographer Cesar Charlone, he uses quick-cutting and a mobile, hand-held camera to tell his story with the haste and detail it deserves. Sometimes those devices can create a film that is merely busy, but "City of God" feels like sight itself, as we look here and then there, with danger or opportunity everywhere."

Ebert was also kind of dramatic, imploring readers to expect Meirelles to become a great director of other feature films, which mostly did not happen.

[Arlborn]

1 hour ago, cannastop said:

Ebert was also kind of dramatic, imploring readers to expect Meirelles to become a great director of other feature films, which mostly did not happen.

Meirelles is a weird one. So much potential and a couple of really good movies, but it feels like he gets sidetracked a lot.

[Tower]

The only other Meirelles film I have seen is Blindness, which got mediocre reviews, but I thought was great and I had at 26 on this list. Probably means I should watch the constant Gardner and maybe The Two Popes.

[TalismanRing]

 

12 hours ago, Tower said:

The only other Meirelles film I have seen is Blindness, which got mediocre reviews, but I thought was great and I had at 26 on this list. Probably means I should watch the constant Gardner and maybe The Two Popes.

 

Two Popes is pretty great - wonderful performances especially by Hopkins.

[Eric Prime]

#389 - Chico and Rita, Halloween: Resurrection (25 points, 1 list, avg. ranking #35)

 

#388 - Starsky and Hutch (25 points, 1 list, avg. ranking #34)

 

#387 - The Red Turtle (25 points, 1 list, avg. ranking #31)

 

#386 - The Adventures of Sharkboy and Lavagirl in 3D (26 points, 2 lists, avg. ranking #74)

 

#385 - A Christmas Carol (26 points, 2 lists, avg. ranking #65)

 

#384 - Anne of Green Gables: The Sequel, Don't Look Under the Bed, The Snapper, Snow Dogs (26 points, 1 list, avg. ranking #75)

 

#383 - Frankenweenie (27 points, 2 lists, avg. ranking #87)

 

#382 - 101 Dalmatians II: Patch's London Adventure, Garden State, Home on the Range, Mr. Holland's Opus, Tower of Terror (27 points, 1 list, avg. ranking #74)

 

#381 - Father of the Bride Part II, Mary Poppins Returns, The Return of Jafar (28 points, 1 list, avg. ranking #73)

[Eric Prime]

#89

Jojo Rabbit

597 points, 13 lists

"You're not a Nazi, Jojo. You're a ten-year-old kid who likes dressing up in a funny uniform and wants to be part of a club."

 

Box Office: 90.3M

Rotten Tomatoes: 80%

Metacritic: 58

Awards: 1 Academy Award and 5 nominations, 1 BAFTA Award and 5 nominations, 1 Critics Choice Award and 6 nominations, 2 Golden Globe Award nominations, 1 Grammy Award

 

Roger Ebert's Review: N/A

 

Its Legacy: Gave Taika Waititi his first Oscar. Spawned a Holocaust history curriculum with the USC Shoah Foundation. Won the People's Choice Award at TIFF. Chosen by the National Board of Review and AFI as one of the best films of the year. Encouraged millions to hate Nazis. Gave Rebel Wilson a paycheck.

 

Commentary: Propaganda is a terrifying thing. We all think we can be immune to it, but it can sneak up on you in the easiest of ways. Especially when you’re younger and easily impressionable. In some cases, it can take years of deconditioning and reeducation to realize that everything you were told was a lie. And sometimes, a lot of sacrifices have to be made to make you recognize and accept that, yes indeed, your life was a lie. 

 

Director Taika Waititi recognized that when directing this Oscar-winning feature. And he told this powerful story about the importance of thinking for yourself and breaking free from the lies of our evil governments in his own quirky, silly, eccentric way. The film’s a very goofy romp, as it mocks the Nazis for being incompetent, masculine-charged weirdos and losers. Even Taika, a Polynesian Jewish man, gets to play a silly version of Adolf Hitler. And that’s all well and good. It’s always fun to mock Nazis for the evil losers they are.

 

Yet it’s the drama that really makes this film compelling. It’s a film about a boy realizing everything he knew was wrong. A story about a boy who feels like an outcast from a group he probably should want to avoid anyways. A story that tells us that it’s important to do the right thing. To question authority. To make a heavy sacrifice if necessary. Doing this kind of stuff can hurt. And trying to do the right thing means you lose something. But these sacrifices are important. They help you grow. Make your life greater. Give you a tremendous sense of freedom.

 

Taika was already a huge rising star in Hollywood, and Jojo Rabbit solidified the comedy filmmaker as an icon. He would soon be part of many other films and shows since 2019, all to...varying levels of success, but the highs? Very, very high. And I hope we’ll see even more highs in the years to come. Man’s a talent. What can I say?

 

 

[Eric Prime]

#88

Enchanted

606 points, 16 lists

"Now you're beside me, and look how far we've come, so far. We are so close."

 

Box Office: 340.5M

Rotten Tomatoes: 93%

Metacritic: 75

Awards: 3 Academy Award nominations, 1 Critics Choice Award and 3 nominations, 2 Golden Globe Award nominations, 2 Grammy Award nominations, 3 MTV Movie Award nominations, 3 Saturn Awards

 

Roger Ebert's Review: "The movie has a sound background in Disney animation, starting with director Kevin Lima ("Tarzan," "A Goofy Movie") and the music by Alan Menken and lyrics by Stephen Schwartz, who composed songs for the soundtracks of Disney's "Pocahontas" and "The Hunchback of Notre Dame." More important, it has a Disney willingness to allow fantasy into life, so New York seems to acquire a new playbook."

 

Its Legacy: One of the earliest metatextual looks at the Disney formula by Disney. Made Amy Adams a household name. References countless Disney films from Snow White to Sleeping Beauty to The Shaggy Dog to Mary Poppins, among others. Spawned a sequel in 2022. Gave Susan Sarandon a paycheck.

 

Commentary: While parodies and spoofs of Disney movies and the Disney formula are nothing new, Enchanted is a very unique case. Director Kevin Lima, known for working on Disney films like Tarzan, and A Goofy Movie, directed this movie to lampoon and satirize the conventions of Disney films. Love at first sight, happily ever after, damsel in distress, and so on. Yet within the sly parody is a heartfelt love letter and appreciation for the animated films and live-action features that made the company so successful and loved.

 

In many ways, this is a precursor to many of the attempts to modernize the Disney formula that we have seen in recent years, as well as the "let's glorify the company that made us" we have seen in the past few years from Disney and Warner Bros. And it’s one of the best to do it. It feels natural and baked into the narrative, with no trace of eyerolling or cheap inclusion to seem more modern than it truly is.

 

Much of that has to do with the cast itself. Everybody here is aces, in particular James Marsden as the dashing Prince Edward and Patrick Dempsey as the cynical divorce lawyer turned dashing hero Robert. But yes, Amy Adams steals the whole show. Her role as the stereotypical Disney Princess of Giselle is absolutely hysterical, with so much of the film's comedy carried by her expressions, mannerisms, and vocals. At the same time, there is a defined character that grows and matures, and it really feels she learns plenty from the world of New York as she gives plenty to New York and the characters she meets. Frankly, this is an Oscar-worthy performance, as I feel very few actresses could balance the comedy, sweetness, emotion, and heart Adams gave to Giselle and it's a crying shame she wasn't even nominated that year.

 

To say nothing about Kevin Lima’s talents. How he imbues the movie with charm and likability, and how his film loves the classic Disney films of old, taking all the aspects that help them endure as classics. The emotional gravitas, the compelling characters with impeccable designs, the memorable music, the sense of wonderment and joy. Everything here feels like a true, warm hug and adoration to titles like Cinderella or Mary Poppins. This isn't just showing Disney iconography as a way to rake in nostalgia dollars, but a sincere adoration of a legacy of films that, whether we like it or not, has left an impact on us.

 

As it stands, Enchanted was the blueprint for movies like Tangled and Frozen, and we are all better off for it. It reminds us why we love the old Disney classics, while taking steps to ensure it remains modern and timely.

 

[Eric Prime]

#87

Call Me By Your Name

616 points, 11 lists

"When you least expect it, nature has cunning ways of finding our weakest spot."

 

Box Office: 43.1M

Rotten Tomatoes: 94%

Metacritic: 94

Awards: 1 Academy Award and 3 nominations, 1 BAFTA Award and 3 nominations, 1 Critics Choice Award and 7 nominations, 5 Empire Award nominations, 1 GLAAD Media Award, 3 Golden Globe Award nominations, 2 Gotham Awards and 2 nominations, 2 Grammy Award nominations, 2 Independent Spirit Awards and 4 nominations, 2 MTV Movie Award nominations, 

 

Roger Ebert's Review: N/A

 

Its Legacy: The breakthrough performance of Timothee Chalamet, the most beautiful man in the world and the reason I get up every morning. Became one of the most acclaimed films of 2017 and of the 21st century in general. Gained a passionate fanbase around the world. Boosted Luca Guadagnino's career exponentially. Sadly gave Armie Hammer a hit. Considered one of the greatest LGBT films of all time. Boosted the popularity of the original Andre Aciman novel. Became the title of a Lil Nas X song. Gave Michael Stuhlbarg a paycheck.

 

Commentary: It was released under Disney in Taiwan. Disney had a hand in its distribution. Therefore, it counts. My list, my rules. Fuck you.

 

So uh...can I use this space to talk about Timothee again? Never stopped me before, so I’m gonna do it. His work as Elio in here is just...it’s just beautiful. He captures the insecurities of first love. A love you can never grasp or achieve. A yearning to be with somebody who you just can never be with. He does all this while also enjoying the beauty of Italy, enjoying the comfort of man, and showing a sense of kindness and maturity, but a lovely sense of innocence and curiosity. It’s a transcendent performance. One of his best in a never-ending line of great performances. Why can't this man be in my life? I wish he was in my life. I love him. Oh my fuck, do I love him.

 

Credit should be given here to both James Ivory’s screenplay and Luca Guadagnino’s stunning direction in letting Timothee my beloved shine and deliver in the way he does. It’s through this film that he is now the biggest, most amazing, most beautiful movie star in the world. And I am forever grateful. And thank you Disney for releasing it in one country, meaning it was eligible, and gave me a chance to talk about how much I love my sweet, lovable baby.

 

Though I should mention...Disney, please make this man a Disney Prince. Please. Please oh please oh please. He is literally Prince Charming incarnate, and it would mean the world to have him be a Disney Prince. If you want to get your box office out of the toilet, this is your only option. Please do this. Please...please.