BOT Top 250 Films of All-Time: or How We Learned to Start Shitposting and Love the Countdown!

[Tower]

3 hours ago, The Panda said:

A little different than the just misses, here are all of the films deemed good enough by a single person to put it on their list, but still only towards to bottom (ie. all the films which received a single point)

 

American Hustle (dir. David O. Russell, 2013)
Sense and Sensibility (dir. Ang Lee, 2005)
Time of the Gypsies (dir. Emir Kusturica, 1988)
Fail-Safe (dir. Sidney Lumet, 1964)
Looper (dir. Rian Johnson, 2012)
Eve's Bayou (dir. Kasi Llememons, 1997)
Dark City (dir. Alex Proyas, 1998)
 

These are my contributions to this list. Not surprised that nobody joined me in voting for any of these, but I would recommend them all (with the warning that Time Of The Gypsies is a great example of Emir Kusturica's sensory overload style, which I'm sure is not for everyone).

[WorkingonaName]

3 hours ago, The Panda said:

Rain Man (dir. Barry Levinson, 1987)
The Ten Commandments (dir. Decil B Demille, 1956)
Elvis (dir. Baz Luhrmann, 2022)
The Great Gatsby (dir. Baz Luhrmann, 2013)
The Hangover (dir. Todd Phillips, 2009)
Marriage Italian Style (dir. Vittorio De Sica, 1964)
Reds (dir. Warren Beatty, 1981)
 

No-one else apricates the Bazzer, Sad. 

[Flip]

I wonder what’s left: probably at least Schindler’s List, Jurassic Park, ESB, both godfathers, pulp fiction

[The Panda]

Number 9

 

 

"There may be honor among thieves, but there's none in politicians."

 

Synopsis

 

"“I’m different,” declares Peter O’Toole’s T.E. Lawrence. Director David Lean had worked on something approaching this scale on The Bridge on the River Kwai (1957), but his masterstroke with Lawrence of Arabia was to centre this colossal epic about the WWI Arab revolt on a strange and fascinating performance from O’Toole, then enough of an unknown to merit the credit “And Introducing...”.

 

One stunning set piece follows another: the entrance of Sherif Ali (Omar Sharif) through a mirage, the capture of the town of Aqaba and the attack on a Turkish train. But for all this epic splendour Robert Bolt and Michael Wilson’s script asks searching questions about identity and loyalty, and the ultimately grim view of British intervention in Arab affairs remains all too relevant." 

- British Film Institute

 

 

From the Scholar

 

"The orientalism contained in the Sam Spiegel and David Lean version of theLawrence of Arabia myth appears at first sight evident enough. In Lawrence of ArabiaLawrence is represented as the archetypal “White Man” busy managing—and evenproducing—the Orient (Arabia) on behalf of a Western colonial/imperial power. In theprocess, according to Ella Shohat in “Gender and Culture of Empire” (1991), Lawrenceunveils the mysteries of an unknown space, accomplishing thereby a sort of rite de passagethat allegorizes the Western achievement of virile heroic stature, or as General Murrayputs it in the film, makes a “man” of him. The Oriental (the Arab), by contrast, as Saidremarks in Orientalism, cannot represent himself but must be represented, in this case byLawrence. It is Lawrence who, in the film, as in the Seven Pillars of Wisdom, carries thestoryline, Lawrence who gives shape to the Arab Revolt, and Lawrence who directs itsstrategy. And when a second opinion is called for, it is to Lowell Thomas (played byJackson Bentley) that the film turns and not one of the Arabs; though Emir Feisal andSharif Ali do have one or two pointed things to say from time to time. Nor is it lost onthe Arabs in the film that Lawrence describes them as a little people, a silly people,“greedy, barbarous and cruel”. As for the Turks, they are represented as being cruel andbeastly, murderers and rapists, much in need, no doubt, of European tutelage.

 

 

Such a characterization of Lawrence of Arabia—as an archetypal orientalist work—is,however, somewhat misleading for, as several students of the subject have pointed out,David Lean’s treatment of the Lawrence of Arabia myth in his film is deeply ambiguous.Steven C. Caton, in Lawrence of Arabia: A Film’s Anthropology (1999), for example, pointsout that Lawrence of Arabia, far from being an archetypal orientalist work, the product ofan imperialist and colonialist consciousness, is actually strongly anti-imperialist and anti-colonialist, concerned more with issues of gender and sexuality than with those of colo-nialism and imperialism (chap. 5). Michael A. Anderegg, in “Lawrence of Arabia: TheMan, the Myth, the Movie” (1982), discovers in the film three “particularly absorbing”contradictions: that between weakness and strength; that between the good and badimperialist; and that between self-promotion and self-abnegation. It is on these para-doxes, in Anderegg’s opinion, much more than on any specific account of Lawrence’slife, that David Lean and Robert Bolt constructed their version of the Lawrence myth(286–88). And Alain Silver and James Ursini, in David Lean and his Films (1974) find inLawrence of Arabia not an historical account of Lawrence’s adventures in Arabia, or evenan orientalist epic, but the story of a man’s discovery of his individual destiny and “itsconsequential almost megalomaniac alienation” (163–81)"

- Macfie, Alexander Lyon. "Representations of Lawrence of Arabia: From Said’s Orientalism (1978) to David Lean’s Film (1962)." Journal of Postcolonial Writing 43, no. 1 (2007): 77-87.

 

From the Filmmaker

 

 

From the Critic

 

"“For, this overwhelming desert, though it exists geographically, and was actually filmed by an actual camera crew, sent there for that purpose, is put to a use which is as far from reality as are most of the people we encounter in it. The least real of these people is Lawrence himself. This is not O’Toole’s fault: but so grave an adventure can scarcely be ascribed to the vagaries and idealism of a single man. Lawrence’s courage and steadfastness are given as admirable, because hard-won — here, the film, unconsciously, rather patronizes Lawrence; his complexities are barely — or, rather, perhaps, endlessly — hinted at, that is to say never illuminated. His rapport with the Arabs is of great use to the British, whose attitude toward him, otherwise, is at best ambivalent. The film takes the view that he was a valiant, maverick, naive and headstrong, brutally broken in battle, and betrayed, less by his country than by his inability to confront — as do his superiors — the hard facts of life, in this case, referring, principally, to the limits and exigencies of power. And it would appear to be true that Lawrence’s concept of power existed almost entirely on a messianic level — indeed, on a level far more complex and painful than that — but it is almost impossible to pursue this speculation within the confines described by the film.

 

 

The film presents us with an inadvertent martyr to the cause of spreading civilization: the speeding of the light to those in darkness. One of the hazards of this endeavor is that of finding oneself in the hands of the infidels. This is what happens to Lawrence in the film (and in a far more fascinating and terrible way in his book). In the film, he is captured by the Turks, refuses the lustful attentions of a Turkish Bey, and is raped by the soldiers. The precipitates his subsequent slaughter of the fleeing Turkish Army. This slaughter destroys his soul, and, though the desert has now claimed him forever, he no longer has any role in the desert, and so must go home to England, dead, to die.

 

The film begins with the death of Lawrence in order to avoid, whether consciously or not, the deepest and most dangerous implications of this story. We are confronted with a fallen hero, and we trace the steps which lead him to his end. But the zeal which drove Lawrence into the desert does not begin at the point at which we meet him in the film, but farther back than that, in that complex of stratifications called England. Of this, Lawrence himself was most tormentedly aware.

 

The English can be said to exemplify the power of nostalgia to an uncanny degree. Nothing the world holds, from Australia to Africa, to America, India, to China, to Egypt, appears to have made the faintest imprint on the English soul: wherever the English are is — or will resist, out of perversity, or at its peril, becoming — England. (Not, on the other hand, of course, that it can ever truly be England: but it can try.) This is a powerful presumption, but why, then, the ruder recipient cannot but demand, do not the English stay in England? It would appear that this island people need endless corroboration of their worth: and the tragedy of their history has been their compulsion to make the world their mirror, and this to a degree not to be equalled in the history of any other people — and with a success, if that is the word, not to be equalled in the history of any other people. I liked the things beneath me — Lawrence, from Seven Pillars Of Wisdom, is speaking — and took my pleasures and adventures downward. There seemed a certainty in degradation, a final safety. Man could rise to any height, but there was an animal level beneath which he could not fall. It was a satisfaction on which to rest.

 

The necessity, then, of those “lesser breeds without the law” — those wogs, barbarians, n*****s — is this: one must not become more free, nor become more base than they: must not be used as they are used, nor yet use them as their abandonment allows one to use them: therefore, they must be civilized. But, when they are civilized, they may simply “spuriously imitate [the civilizer] back again,” leaving the civilizer with “no satisfaction on which to rest.”

 

Thus, it may be said that the weary melancholy underlying Lawrence of Arabia stems from the stupefying apprehension that, whereas England may have been doomed to civilize the world, no power under heaven can civilize England. I am using England, at the moment, arbitrarily, simply because England is responsible for Lawrence: but the principle illustrates the dilemma of all the civilizing, or colonizing powers, particularly now, as their power begins to be, at once, more tenuous and more brutal, and their vaunted identities revealed as being dubious indeed. The greater the public power, the greater the private, inadmissible despair; the greater the danger to all human life. The camera remains on Lawrence’s face a long time before he finally cries, No prisoners! and leads his men to massacre the Turks. This pause is meant to recall to us the intolerable mortification he has endured, and to make comprehensible the savagery of this English schoolboy."

- James Baldwin, The Devil Finds Work

 

From the Public

"LOA's script is a masterpiece of subtlety and economy. There's not a wasted word." - @Dementeleus

 

 

Factoids

 

Previous Year's Rankings

2012 - #66, 2013 - #31, 2014 - #47, 2016 - #21, 2018 - #87, 2020 - #22, 2022 – #17

 

Director Count

C. Nolan (5), S. Spielberg (5), J. Cameron (3), A. Hitchcock (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), B. Bird (2), F.F. Coppola (2), H. Miyazaki (2), P. Jackson (2), J. Lasseter (2), S. Lee (2), S. Leone (2), R. Linklater (2), M. Scorsese (2), Q. Tarantino (2), R. Scott (2), B. Wilder (2), R. Allers (1), R. Altman (1), P.T. Anderson (1), F. Capra (1), J. Carpenter (1), J. Coen (1), M. Curtiz (1), F. Darabont (1), J. Demme (1), J. Demy (1), P. Docter (1), S. Donen (1), C.T. Dreyer (1), D. Fincher (1), Victor Fleming (1), M. Forman (1), W. Friedkin (1), T. Gilliam (1), R. Johnson (1), T. Jones (1), B. Joon-Ho (1), W. Kar-Wai (1), G. Kelly (1), M. Kobayashi (1), M. Mann (1), G. Miller (1), D. Lean (1), G. Lucas (1), K. Lund (1), S. Lumet (1), L. McCarey (1), F. Meirelles (1), R. Minkoff (1), A. Molina (1), J. Peele (1), B. Persichetti (1), S. Raimi (1), P. Ramsey (1), R. Rothman (1), A. Russo (1), J. Russo (1), M.N. Shyamalan (1), A. Stanton (1), V.D. Sica (1), G. D. Torro (1), G. Trousdale (1), L. Unkrich (1), La. Wachowski (1), Li. Wachowski (1), P. Weir (1), O. Welles (1), K. Wise (1), R. Zemeckis (1)

 

Decade Count

1990s (18), 2000s (18), 2010s (12), 1980s (10), 1970s (9), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (5), France (3), Italy (3), United Kingdom (2), Australia (1), Brazil (1), Hong Kong (1), Mexico (1), Spain (1), South Korea (1), U.K. (1)

 

Franchise Count

Pixar (7), Nolanite Cinematic Universe (4), Alien (2), Before (2), Middle Earth (2), WDAS (2), Spider-Man (2), Star Wars (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (1), The Godfather (1), Hannibal Lecter (1), Hawkguy Cinematic Universe (1), Jaws (1), Jurassic Park (1), Mad Max: Fury Road (1), Man With No Name (1), The Matrix (1), Monty Python (1), Overlook Hotel (1), Oz (1), Terminator (1), The Thing (1)

 

Genre Count

Drama (22), Comedy (16), Epic (16), Sci-Fi (16), Historical Fiction (15), Fantasy (13), Horror (13), Animation (12), Adventure (11), Action (10), Black Comedy (7), Crime (7), Thriller (7), Musical (6), Romance (6), Coming of Age (5), Monster (5), Mystery (5), Superhero (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Tragedy (3), Western (3), Anime (2), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Neorealism (1), Rom-Com (1)

 

 

A Recipe

Classic Bedouin Hummus

 

Ingredients

19 oz can chick peas or 3/4 c dried (reserve 1/4 c of the cooking liquid)
1/4 cup (4 T) tahini (sesame seed paste)
3 - 4 T lemon juice, fresh (or juice of 1 good sized lemon)
1/4 t salt

 

Instructions: https://therecipelesscook.blogspot.com/2011/03/hummus-mediterranean-chick-pea-dip.html

 

 

 

[DAR]

40 minutes ago, Flip said:

I wonder what’s left: probably at least Schindler’s List, Jurassic Park, ESB, both godfathers, pulp fiction

Godfather II already came up as did Pulp and Jurassic. Goodfellas and Fellowship of the Ring still to come. Raiders also.

Edited August 16 by DAR

[The Panda]

Number 8

 

 

"Sir, I've isolated the reverse, power flux coupling."

 

Synopsis

 

 

 

 

 

 

 

 

 

From the Scholar

 

 

 

From the Filmmaker

 

 

From the Critic

 

 

 

From the Public

 

"I don’t have a review but this is a good A+ movie I’m just putting this here in case Panda sees it and puts it in his user opinion thingy when it inevitably makes the list" - @That One Girl (in 2018)

 

 

Factoids

 

Previous Year's Rankings

2012 - #3, 2013 - #1, 2014 - #1, 2016 - #1, 2018 - #3, 2020 - #3, 2022 – #2

 

Director Count

C. Nolan (5), S. Spielberg (5), J. Cameron (3), A. Hitchcock (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), B. Bird (2), F.F. Coppola (2), H. Miyazaki (2), P. Jackson (2), J. Lasseter (2), S. Lee (2), S. Leone (2), R. Linklater (2), M. Scorsese (2), Q. Tarantino (2), R. Scott (2), B. Wilder (2), R. Allers (1), R. Altman (1), P.T. Anderson (1), F. Capra (1), J. Carpenter (1), J. Coen (1), M. Curtiz (1), F. Darabont (1), J. Demme (1), J. Demy (1), P. Docter (1), S. Donen (1), C.T. Dreyer (1), D. Fincher (1), Victor Fleming (1), M. Forman (1), W. Friedkin (1), T. Gilliam (1), R. Johnson (1), T. Jones (1), B. Joon-Ho (1), W. Kar-Wai (1), G. Kelly (1), I. Kershner (1), M. Kobayashi (1), M. Mann (1), G. Miller (1), D. Lean (1), G. Lucas (1), K. Lund (1), S. Lumet (1), L. McCarey (1), F. Meirelles (1), R. Minkoff (1), A. Molina (1), J. Peele (1), B. Persichetti (1), S. Raimi (1), P. Ramsey (1), R. Rothman (1), A. Russo (1), J. Russo (1), M.N. Shyamalan (1), A. Stanton (1), V.D. Sica (1), G. D. Torro (1), G. Trousdale (1), L. Unkrich (1), La. Wachowski (1), Li. Wachowski (1), P. Weir (1), O. Welles (1), K. Wise (1), R. Zemeckis (1)

 

Decade Count

1990s (18), 2000s (18), 2010s (12), 1980s (11), 1970s (9), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (5), France (3), Italy (3), United Kingdom (2), Australia (1), Brazil (1), Hong Kong (1), Mexico (1), Spain (1), South Korea (1), U.K. (1)

 

Franchise Count

Pixar (7), Nolanite Cinematic Universe (5), Star Wars (3), Alien (2), Before (2), Middle Earth (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (1), The Godfather (1), Hannibal Lecter (1), Hawkguy Cinematic Universe (1), Jaws (1), Jurassic Park (1), Mad Max: Fury Road (1), Man With No Name (1), The Matrix (1), Monty Python (1), Overlook Hotel (1), Oz (1), Terminator (1), The Thing (1)

 

Genre Count

Drama (22), Comedy (16), Epic (16), Sci-Fi (16), Historical Fiction (15), Fantasy (14), Horror (13), Adventure (12), Animation (12), Action (10), Black Comedy (7), Crime (7), Thriller (7), Musical (6), Romance (6), Coming of Age (5), Monster (5), Mystery (5), Superhero (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Tragedy (3), Western (3), Anime (2), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Neorealism (1), Rom-Com (1)

 

 

A Recipe

 

 

Edited August 16 by The Panda

[DAR]

What the fuck?

[Rorschach]

5 hours ago, The Panda said:

Assault on Precinct 13 (dir. John Carpenter, 1976)
Sleepy Hollow (dir. Tim Burton, 1999)
Game Night (dir. John Francis Daley and Jonathan Goldstein, 2018)
Macross: Do You Remember Love? (dir. Noboru Ishiguro and Shoji Kawamori, 1984)
Lost Highway (dir. David Lynch, 1997)

My contributions ❤️ 

[Rorschach]

1 hour ago, Flip said:

I wonder what’s left: probably at least Schindler’s List, Jurassic Park, ESB, both godfathers, pulp fiction

Unless one of them had a catastrophic drop-off, it's some combination of Fellowship of the Ring, Godfather 1, Spirited Away, Raiders of the Lost Ark, Goodfellas, Titanic, and Schindler's List

[baumer]

All I can say about Jaws is that in my opinion it will always be the best there is, the best there was and the best there ever will be.

[The Panda]

 

101.    Whiplash (dir. Damien Chazelle, 2014)
102.    Finding Nemo (dir. Andrew Stanton, 2003)
103.    Avengers: Infinity War (dir. Anthony and Joe Russo, 2018)
104.    The Princess Bride (dir. Rob Reiner, 1987)
105.    Return of the Jedi (dir. Richard Marquand, 1983)
 

 

Also, here is the complete list up until this point!

 

8.    The Empire Strikes Back (dir. Irvin Kershner, 1980)
9.    Lawrence of Arabia (dir. David Lean, 1962)
10.    2001: A Space Odyssey (dir. Stanley Kubrick, 1968)
11.    Jaws (dir. Steven Spielberg, 1975)
12.    Apocalypse Now (dir. Francis Ford Coppola, 1979)
13.    12 Angry Men (dir. Sidney Lumet, 1957)
14.    Back to the Future (dir. Robert Zemeckis, 1985)
15.    Star Wars (dir. George Lucas, 1977)
16.    The Apartment (dir. Billy Wilder, 1960)
17.    The Lord of the Rings: The Return of the King (dir. Peter Jackson, 2003)
18.    Pan's Labyrinth (dir. Guillermo Del Torro, 2006)
19.    The Godfather: Part II (dir. Francis Ford Coppola, 1974)
20.    The Matrix (dir. Lana and Lilly Wachowski, 1999)
21.    The Dark Knight (dir. Christopher Nolan, 2008)
22.    Terminator 2: Judgement Day (dir. James Cameron, 1991)
23.    Do the Right Thing (dir. Spike Lee, 1989)
24.    Mad Max: Fury Road (dir. George Miller, 2015)
25.    Mulholland Drive (dir. David Lynch, 2001)
26.    Jurassic Park (dir. Steven Spielberg, 1993)
27.    Singin' in the Rain (dir. Stanley Donen and Gene Kelly, 1952)
28.    Pulp Fiction (dir. Quentin Tarantino, 1994)
29.    Oppenheimer (dir. Christopher Nolan, 2023)
30.    Princess Mononoke (dir. Hayao Miyazaki, 1997)
31.    Heat (dir. Michael Mann, 1995)
32.    Taxi Driver (dir. Martin Scorse, 1976)
33.    The Incredibles (dir. Brad Bird, 2004)
34.    Vertigo (dir. Alfred Hitchcock, 1958)
35.    Inception (dir. Christopher Nolan, 2010)
36.    The Wizard of Oz (dir. Victor Fleming, 1939)
37.    Ratatouille (dir. Brad Bird, 2007)
38.    Star Wars: The Last Jedi (dir. Rian Johnson, 2017)
39.    Wall-E (dir. Andrew Stanton, 2008)
40.    E.T. The Extra-Terrestrial (dir. Steven Spielberg, 1982)
41.    The Lord of the Rings: The Two Towers (dir. Peter Jackson, 2002)
42.    The Shawshank Redemption (dir. Frank Darabont, 1994)
43.    My Neighbor Totoro (dir. Hayao Miyazaki, 1988)
44.    The Social Network (dir. David Fincher, 2010)
45.    Seven Samurai (dir. Akira Kurosawa, 1953)
46.    The Truman Show (dir. Peter Weir, 1998)
47.    Citizen Kane (dir. Orson Welles, 1941)
48.    Spider-Man: Into the Spider-Verse (dir. Bob Persichetti, Peter Ramsey, and Rodney Rothman, 2018)
49.    The Shining (dir. Stanley Kubrick, 1980)
50.    Alien (dir. Ridley Scott, 1979)
51.    Coco (dir. Lee Unkrich, 2017)
52.    The Thing (dir. John Carpenter, 1982)
53.    Saving Private Ryan (dir. Steven Spielberg, 1998)
54.    Dr. Strangelove or: How I learned to stop worrying and love the bomb (dir. Stanley Kubrick, 1964)
55.    Parasite (dir. Bong Joon-Ho, 2019)
56.    Inside Out (dir. Pete Docter, 2015)
57.    Before Sunrise (dir. Richard Linklater, 1995)
58.    Casablanca (dir. Michael Curtiz, 1942)
59.    Psycho (dir. Alfred Hitchcock, 1960)
60.    Rear Window (dir. Alfred Hitchcock, 1954)
61.    It's a Wonderful Life (dir. Frank Capra, 1946)
62.    Toy Story 2 (dir. John Lasseter, 1999)
63.    Silence (dir. Martin Scorsese, 2016)
64.    Before Sunset (dir. Richard Linklater, 2004)
65.    Toy Story (dir. John Lasseter, 1995)
66.    Sunset Boulevard (dir. Billy Wilder, 1950)
67.    Monty Python and the Holy Grail (dir. Terry Gilliam and Terry Jones, 1975)
68.    Interstellar (dir. Christopher Nolan, 2014)
69.    Once Upon a Time in the West (dir. Sergio Leone, 1968)
70.    City of God (dir. Fernando Meirelles and Katia Lund, 2002)
71.    The Silence of the Lambs (dir. Jonathan Demme, 1991)
72.    Inglorious Basterds (dir. Quentin Tarantino, 2009)
73.    In the Mood for Love (dir. Wong Kar-wai, 2000)
74.    Fargo (dir. Joel Coen, 1996)
75.    Avengers: Endgame (dir. Anthony and Joe Russo, 2019)
76.    A.I. Artificial Intelligence (dir. Steven Spielberg, 2001)
77.    Spider-Man 2 (dir. Sam Raimi, 2004)
78.    There Will Be Blood (dir. Paul Thomas Anderson, 2007)
79.    Malcolm X (dir. Spike Lee, 1992)
80.    Beauty and the Beast (dir. Gary Trousdale & Kirk Wise, 1991)
81.    Rashomon (dir. Akira Kurosawa)
82.    The Elephant Man (dir. David Lynch, 1980)
83.    Get Out (dir. Jordan Peele, 2017)
84.    Avatar (dir. James Cameron, 2009)
85.    Bicycle Thieves (dir. Vittorio De Sica, 1948)
86.    Gladiator (dir. Ridley Scott, 2000)
87.    Aliens (dir. James Cameron, 1986)
88.    The Lion King (dir. Rob Minkoff and Roger Allers, 1994)
89.    Blue Velvet (dir. David Lynch, 1986)
90.    The Young Girls of Rochefort (dir. Jacques Demy, 1967)
91.    Nashville (dir. Robert Altman, 1975)
92.    Memento (dir. Christopher Nolan, 2000)
93.    The Sixth Sense (dir. M. Night Shyamalan, 1999)
94.    The Exorcist (dir. William Friedkin, 1973)
95.    The Good, The Bad, and the Ugly (dir. Sergio Leone, 1966)
96.    Duck Soup (dir. Leo McCarey, 1933)
97.    Ikiru (dir. Akira Kurosawa)
98.    The Passion of Joan of Arc (dir. Carl Theodor Dreyer, 1928)
99.    Amadeus (dir. Milos Forman, 1984)
100.    Harakiri (dir. Masaki Kobayashi, 1962)
101.    Whiplash (dir. Damien Chazelle, 2014)
102.    Finding Nemo (dir. Andrew Stanton, 2003)
103.    Avengers: Infinity War (dir. Anthony and Joe Russo, 2018)
104.    The Princess Bride (dir. Rob Reiner, 1987)
105.    Return of the Jedi (dir. Richard Marquand, 1983)
106.    Akira (dir. Katsuhiro Otomo, 1988)
107.    Bambi (dir. David D. Hand et al., 1942)
108.    Master and Commander: The Far Side of the World (dir. Peter Weir, 2003)
109.    Forrest Gump (dir. Robert Zemeckis, 1994)
110.    North by Northwest (dir. Alfred Hitchcock, 1959)
111.    Star Wars: Episode III - Revenge of the Sith (dir. George Lucas, 2005)
112.    Hard Boiled (dir. John Woo, 1992)
113.    Dog Day Afternoon (dir. Sidney Lumet, 1975)
114.    All That Jazz (dir. Bob Fosse, 1979)
115.    Fight Club (dir. David Fincher, 1999)
116.    Some Like it Hot (dir. Billy Wilder, 1959)
117.    Your Name (dir. Makoto Shinkai, 2016)
118.    Life of Brian (dir. Terry Jones, 1979)
119.    Chinatown (dir. Roman Polanski, 1974)
120.    8 1/2 (dir. Federico Fellini, 1963)
121.    Eternal Sunshine of the Spotless Mind (dir. Michel Gondry, 2004)
122.    Die Hard (dir. John McTiernan, 1988)
123.    The Iron Giant (dir. Brad Bird, 1999)
124.    Who Framed Roger Rabbit (dir. Robert Zemeckis, 1988)
125.    Unforgiven (dir. Clint Eastwood, 1992)
126.    The Big Lebowski (dir. Joel Coen, 1998)
127.    Mission: Impossible - Fallout (dir. Christopher McQuarrie, 2018)
128.    Chungking Express (dir. Wong Kar-wai, 1994)
129.    The Grand Budapest Hotel (dir. Wes Anderson, 2014)
130.    Sunrise: A Song of Two Humans (dir. F.W. Murnau, 1927)
131.    The Terminator (dir, James Cameron, 1984)
132.    Spider-Man (dir. Sam Raimi, 2002)
133.    The Departed (dir. Martin Scorsese, 2006)
134.    Django Unchained (dir. Quentin Tarantino, 2012)
135.    Toy Story 3 (dir. Lee Unkrich, 2010)
136.    The Avengers (dir. Joss Whedon, 2012)
137.    Airplane! (dir. David and Jerry Zucker and Jim Abrahams, 1980)
138.    Stalker (dir. Andrei Tarkovsky, 1979)
139.    Blazing Saddles (dir. Mel Brookos, 1974)
140.    Come and See (dir. Elem Klimov, 1985)
141.    The Rocky Horror Picture Show (dir. Jim Sharman, 1975)
142.    Guardians of the Galaxy (dir. James Gunn, 2014)
143.    Uncut Gems (dir. Josh and Benny Safdie, 2019)
144.    Days of Heaven (dir. Terrence Malick, 1978)
145.    Dazed and Confused (dir. Richard Linklater, 1993)
146.    The Bridge on the River Kwai (dir. David Lean, 1957)
147.    All the President's Men (dir. Alan J. Pakula, 1976)
148.    Cabaret (dir. Bob Fosse, 1972)
149.    Planet of the Apes (dir.Franklin J. Schaffnfer, 1968)
150.    Wild Strawberries (dir. Ingmar Bergman, 1957)
151.    Everything, Everywhere All at Once (dir. Daniel Kwan and Daniel Scheinert, 2022)
152.    Top Gun: Maverick (dir. Joseph Ksinski, 2022)
153.    No Country for Old Men (dir. Joel and Ethan Coen, 2007)
154.    Indiana Jones and the Last Crusade (dir. Steven Spielberg, 1989)
155.    Magnolia (dir. Paul Thomas Anderson, 1999)
156.    Black Swan (dir. Darren Aronofsky, 2010)
157.    Kiki's Delivery Service (dir. Hayao Miyazaki, 1989)
158.    Scream (dir. Wes Craven, 1996)
159.    High and Low (dir. Akira Kurosawa, 1963)
160.    Groundhog Day (dir. Harold Ramis, 1993)
161.    Children of Men (dir. Alfonso Cuaron, 2006)
162.    Boogie Nights (dir. Paul Thomas Anderson, 1997)
163.    Blade Runner (dir. Ridley Scott, 1982)
164.    The Best Years of Our Lives (dir. William Wyler, 1946)
165.    When Harry Met Sally… (dir. Rob Reiner, 1989)
166.    Barry Lyndon (dir. Stanley Kubrick, 1975)
167.    The Insider (dir. Michael Mann, 1999)
168.    The Wolf of Wall Street (dir. Martin Scorsese, 2013)
169.    A Clockwork Orange (dir. Stanley Kubrick, 1971)
170.    Arrival (dir. Denis Villeneuve, 2016)
171.    Fanny and Alexander (dir. Ingmar Bergman, 1982)
172.    Casino Royale (dir. Martin Campbell, 2006)
173.    What We Do in the Shadows (dir. Taika Waititi, 2014)
174.    Dune (dir. Denis Villeneuve, 2021)
175.    Up (dir. Pete Docter, 2009)
176.    Aladdin (dir. John Musker & Ron Clements, 1992)
177.    All About Eve (dir. Jospeh Mankiewicz, 1950)
178.    Edward Scissorhands (dir. Tim Burton, 1990)
179.    The Prestige (dir. Christopher Nolan, 2006)
180.    The Texas Chainsaw Massacre (dir. Tobe Hooper, 1974)
181.    RoboCop (dir. Paul Verhoeven, 1987)
182.    Brokeback Mountain (dir. Ang Lee, 2005)
183.    City Lights (dir. Charlie Chaplin, 1931)
184.    Halloween (dir. John Carpenter, 1978)
185.    Arsenic and the Old Lace (dir. Frank Capra, 1944)
186.    Fantastic Mr. Fox (dir. Wes Anderson, 2009)
187.    Fiddler on the Roof (dir. Norman Jewison, 1971)
188.    Big Fish (dir. Tim Burton, 2003)
189.    The Matrix Reloaded (dir. Lana and Lilly Wachowski, 1999)
190.    Stand By Me (dir. Rob Reiner, 1986)
191.    The Royal Tenenbaums (dir. Wes Anderson, 2001)
192.    Persona (dir. Ingmar Bergman, 1966)
193.    Zodiac (dir. David Fincher, 2007)
194.    One Flew Over the Cuckoo's Nest (dir. Milos Forman, 1975)
195.    The Big Short (dir. Adam McKay, 2015)
196.    A Star is Born (dir. Goerge Cukor, 1954)
197.    Whisper of the Heart (dir. Yoshifumi Kondo, 1995)
198.    Face/Off (dir. John Woo, 1997)
199.    Dunkirk (dir. Christopher Nolan, 2017)
200.    Oldboy (dir. Parkk Chan-wook, 2003)
201.    Harry Potter and the Sorcerer's Stone (dir. Chris Columbus, 2001)
202.    The 400 Blows (dir. Francois Truffaut, 1959)
203.    Knives Out (dir. Rian Johnson, 2019)
204.    The Bridges of Madison County (dir. Clint Eastwood, 1995)
205.    Se7en (dir. David Fincher, 1995)
206.    Harry Potter and the Prisoner of Azkaban (dir. Alfonso Cuaron, 2004)
207.    Margaret (dir. Kenneth Lonergan, 2011)
208.    Eraserhead (dir. David Lynch, 1977)
209.    Shaun of the Dead (dir. Edgar Wright, 2004)
210.    The Searchers (dir. John Ford, 1956)
211.    Shrek (dir. Andrew Adamson and Vicky Jenson, 2001)
212.    The Third Man (dir. Carol Reed, 1949)
213.    Pirates of the Caribbean: Dead Man's Chest (dir. Gore Verbinski, 2006)
214.    The Right Stuff (dir. Dennis Quaid, 1983)
215.    The Black Stallion (dir. Carrol Ballard, 1979)
216.    Speed Racer (dir. Lana and Lilly Wachowski, 2008)
217.    Eyes Wide Shut (dir. Stanley Kubrick, 1999)
218.    Stop Making Sense (dir. Jonathan Demme, 1984)
219.    3 Idiots (dir. Rajkumar Hirani, 2009)
220.    District 9 (dir. Neill Blomkamp, 2009)
221.    Touch of Evil (dir. Orson Welles, 1958)
222.    Tenet (dir. Christopher Nolan, 2020)
223.    The Sound of Music (dir. Robert Wise, 1965)
224.    Good Will Hunting (dir. Gus Van Sant, 1997)
225.    Castle in the Sky (dir. Hayao Miyazaki, 1986)
226.    West Side Story (dir. Jerome Robbins and Robert Wise, 1961)
227.    King Kong (dir. Peter Jackson, 2005)
228.    Guardians of the Galaxy Vol. 2 (dir. James Gunn, 2017)
229.    L'Avventura (dir. Michelangelo Antonioni, 1960)
230.    Soul (dir. Pete Docter, 2020)
231.    Mishima: A Life in Four Chapters (dir. Paul Schrader, 1985)
232.    Memories of Murder (dir. Bong Joon Ho, 2003)
233.    The Thin Red Line (dir.Terrence Malick, 1997)
234.    Ocean's Eleven (dir. Steven Soderbergh, 2001)
235.    The Dark Knight Rises (dir. Christopher Nolan, 2012)
236.    Once Upon a Time in Hollywood (dir. Quentin Tarantino, 2019)
237.    Batman Begins (dir. Christopher Nolan, 2005)
238.    Slumdog Millionaire (dir. Danny Boyle, 2008)
239.    Monsters, Inc (dir. Pete Docter, 2002)
240.    Rocky (dir. John G. Avildsen, 1976)
241.    Call Me By Your Name (dir. Luca Guadagnino, 2017)
242.    Double Indemnity (dir. Billy Wilder,  1944)
243.    Persepolis (dir. Marjane Satrapi and Vincent Parnnaud, 2007)
244.    Notorious (dir. Alfred Hitchcock, 1938)
245.    The Night of the Hunter (dir. Charles Laughton, 1955)
246.    Little Women (dir. Greta Gerwig, 2019)
247.    Punch-Drunk Love (dir. Paul Thomas Anderson, 2002)
248.    Apollo 13 (dir. Ron Howard, 1995)
249.    Moonlight (dir. Barry Jenkins, 2016)
250.    Brazil (dir. Terry Gilliam, 1985)

[4815162342]

1 hour ago, The Panda said:

 

103.    Avengers: Infinity War (dir. Anthony and Joe Russo, 2018)

 

 

 

 

[Menor the Destroyer]

3 hours ago, 4815162342 said:

 

 

 

Should have been in the top 10 tbh

[grey ghost]

3 hours ago, 4815162342 said:

 

 

 

 

 

Ya'll are tripping, IW is way better than Endgame.

[The Panda]

Number 7

 

 

"One does not simply walk into Mordor."

 

Synopsis

 

"Young hobbit Frodo Baggins, after inheriting a mysterious ring from his uncle Bilbo, must leave his home in order to keep it from falling into the hands of its evil creator. Along the way, a fellowship is formed to protect the ringbearer and make sure that the ring arrives at its final destination: Mt. Doom, the only place where it can be destroyed." - The Movie Database

 

 

From the Scholar

 

“ One of the most impressive component of MiddleEarth in the original novel byJ.R.R. Tolkien was detailed scenography – creation of world with a full geographical,cultural and artistic description. P. Jackson in his film version re-created this imaginativeworld with great care and precision. It has however constructed another scenography– the added value which could not appear in any novel – musical one.Music in any movie plays very important role. It can emphasise or modify theaction, or in can suggest the movie’s structure. Music also can influence the viewer’ssubconscious with different patterns denotating various cultural spheres or symbols.The excellent example of the latter is music for The Lord of the Rings by Howard Shore.The analysis of composer’s idea opens the new dimension of the movie – besides theaction, scenography, costumes, movie props or sound landscape. The pieces describingvarious parts or heroes of MiddleEarth have been composed with use of deliberatelychosen instruments, motives, scales or styles. Such a combination creates the variousmusical worlds which are subconsciously recognised by viewers – even those musicallyunprepared.One of the most interesting musical cliché created by H. Shore is a musical Arcadiaor Utopia. The composer’s consideration of various musical imaginative worlds accomplishthe action of the movie and the its scenery. It is however important to noticethere is no one way of creation the “musical Utopia”. Composer not only uses differentmusical elements to generate various effects – what is quite obvious – but also selectsseparate elements of music as precisely as possible, to create diverse worlds. It is worthto discuss the method and the music vocabulary of such composer’s activities concerningworlds as dissimilar as Elfish world contrary to the Shire. Such the oppositioncan be seen as the Utopia versus Arcadia. The example of “old human civilization” willbe – within the above construction – Rohirrim musical culture. H. Shore uses not onlythe elements of various musical styles but also creates the subconscious links betweena range ofmusical elements and elements of imaginative world."

- Marchwica, Wojciech. "Musical scenery: Utopia vs. Arcadia in The lord of the rings (dir. Peter Jackson)." Musica Iagellonica 9, no. 1 (2018): 127-142.

 

 

From the Filmmaker

 

 

From the Critic

 

"The gleaming Ring itself is the ultimate source of power in all of fog-shrouded Middle-earth, contested over for centuries by mortals, hobbits, elves, orcs, the GollumOK, wake up. Actually, Jackson and his team have achieved something close to miraculous navigating the texts density, making it clear and compelling with a minimum of pruning. $300 million helps too, but the human grace notes are key: Ian McKellan makes a towering (if slightly self-amused) Gandalf, and Elijah Woods Frodo Baggins is an uncertain quester.

 

Jackson is working from obvious passion; he knows the most special of effects are expected of him but deploys his technology smartly. Certain life-size actors have been shrunk or heightened by trick sets and computers (McKellans head hovers dangerously close to the chandeliers of a hobbits cozy abode), and only the subtlest tweakings are made to New Zealands already ravishing glens. Fellowship leaves you vaguely exhausted but far less than one might have guessed; its a tribute to Jacksons faith that you exit musing not on the money but the spell of Tolkiens quaint variety of deep thoughts, once so beloved by the counterculture: To bear a ring of power is to be alone. (A note of concern to Jackson, the lonely bearer: Before next winter, you may want to rethink that second books title, The Two Towers.)"

- Joshua Rothkopf, In These Times

 

From the Public

 

"Eh, it's alright." - @Eric Ripley

 

 

Factoids

 

Previous Year's Rankings

2012 - #2, 2013 - #5, 2014 - #7, 2016 - #3, 2018 - #1, 2020 - #5, 2022 – #1

 

Director Count

C. Nolan (5), S. Spielberg (5), J. Cameron (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), B. Bird (2), F.F. Coppola (2), H. Miyazaki (2), J. Lasseter (2), S. Lee (2), S. Leone (2), R. Linklater (2), M. Scorsese (2), Q. Tarantino (2), R. Scott (2), B. Wilder (2), R. Allers (1), R. Altman (1), P.T. Anderson (1), F. Capra (1), J. Carpenter (1), J. Coen (1), M. Curtiz (1), F. Darabont (1), J. Demme (1), J. Demy (1), P. Docter (1), S. Donen (1), C.T. Dreyer (1), D. Fincher (1), Victor Fleming (1), M. Forman (1), W. Friedkin (1), T. Gilliam (1), R. Johnson (1), T. Jones (1), B. Joon-Ho (1), W. Kar-Wai (1), G. Kelly (1), I. Kershner (1), M. Kobayashi (1), M. Mann (1), G. Miller (1), D. Lean (1), G. Lucas (1), K. Lund (1), S. Lumet (1), L. McCarey (1), F. Meirelles (1), R. Minkoff (1), A. Molina (1), J. Peele (1), B. Persichetti (1), S. Raimi (1), P. Ramsey (1), R. Rothman (1), A. Russo (1), J. Russo (1), M.N. Shyamalan (1), A. Stanton (1), V.D. Sica (1), G. D. Torro (1), G. Trousdale (1), L. Unkrich (1), La. Wachowski (1), Li. Wachowski (1), P. Weir (1), O. Welles (1), K. Wise (1), R. Zemeckis (1)

 

Decade Count

2000s (19), 1990s (18), 2010s (12), 1980s (11), 1970s (9), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (5), France (3), Italy (3), United Kingdom (2), Australia (1), Brazil (1), Hong Kong (1), Mexico (1), Spain (1), South Korea (1), U.K. (1)

 

Franchise Count

Pixar (7), Nolanite Cinematic Universe (5), Middle Earth (3), Star Wars (3), Alien (2), Before (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (1), The Godfather (1), Hannibal Lecter (1), Hawkguy Cinematic Universe (1), Jaws (1), Jurassic Park (1), Mad Max: Fury Road (1), Man With No Name (1), The Matrix (1), Monty Python (1), Overlook Hotel (1), Oz (1), Terminator (1), The Thing (1)

 

Genre Count

Drama (22), Epic (17),  Comedy (16), Sci-Fi (16), Fantasy (15), Historical Fiction (15), Adventure (13), Horror (13), Animation (12), Action (10), Black Comedy (7), Crime (7), Thriller (7), Musical (6), Romance (6), Coming of Age (5), Monster (5), Mystery (5), Superhero (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Tragedy (3), Western (3), Anime (2), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Neorealism (1), Rom-Com (1)

 

 

A Recipe

Lembas Bread

 

Ingredients For lembas bread (lord of the rings “authentic” elvish
2 1/2 call purpose flour
1 Tbsp baking powder
1/4 tsp salt
1/2 c butter
1/3 c brown sugar
1 tsp cinnamon
1/2 tsp honey
2/3 c heavy whipping cream
1/2 tsp vanilla extract

 

Instructions on: https://www.justapinch.com/recipes/bread/bread-sweet-bread/lembas-bread-lord-of-the-rings-authentic.html

 

 

 

[cannastop]

Fellowship of the Ring not at #1???

[4815162342]

22 minutes ago, grey ghost said:

 

 

Ya'll are tripping, IW is way better than Endgame.

 

Neither should have made it to be clear 

[The Panda]

Number 6

 

 

"It's not the years, honey, it's the mileage."

 

Synopsis

 

"When Dr. Indiana Jones – the tweed-suited professor who just happens to be a celebrated archaeologist – is hired by the government to locate the legendary Ark of the Covenant, he finds himself up against the entire Nazi regime." - The Movie Database

 

From the Scholar

 

"The film Raiders of the Lost Ark was released in 1981 to immediate success. Using a noticeably retrospective style, Raiders appealed to the public's desire to experience once again the same kind of viewing pleasure that Hollywood offered in the classical period. Accordingly, the film's nostalgic recreation of classical Hollywood entails a reliance on type characters, tough dialogue, and stock situations--with an overarching emphasis on maintaining a breakneck pace in its action. The appeal for the viewer, then, involves the satisfaction of a need to return to a superficially "simpler" time when the movies themselves were "simpler"--as they fulfilled the expectation of straightforward entertainment.

 

And yet, on another level, Raiders's debt to Hollywood past often manifests itself with irony and a slightly comic tone. In its reworking of genre conventions, the film tends toward parody. Certainly, the detection of such moments of parody is viewer-specific. As parody plays upon each viewer's distinct viewing history, each viewer may react differently to the film's inversion of the conventional. Whatever the case, Raiders's parodic revisions of genre expectations (for instance, those of the Western) enable the viewer to partake in a sort of game--wherein knowledge and recognition of those instances of parody provide their own reward: the viewer's active role in meaning-making results in the satisfaction of achieving a seemingly "higher level" of interpretation.

 

 

But Raiders's relationship to Hollywood past is neither "simply nostalgic" nor "simply parodic." Paralleling the strategies of postmodern art, Raiders appropriates existing film images and plots. Accordingly, much of the film is a pastiche of previous Hollywood pictures. But unlike parody, pastiche entails no connotations of humor or derision. The appropriation of the existing image in the new text is effected seemingly without comment by that text. Raiders borrows then from films as diverse as 1941's landmark Citizen Kane and the independent 1955 film noir Kiss Me Deadly. Although the antecedent texts are not actually parodied--that is, ridiculed--in such appropriation, they must be in some way implicated.

 

Understanding the significance of Raiders's appropriation though can be problematic. The effect of pastiche in Raiders is not so easily reconciled with the effects of pastiche in more overtly deconstructionist postmodern art. Part of the problem here is one of definition: the film seems to follow the formal strategies but not the oppositional politics normally associated with postmodernism proper. Ultimately, the key might be to follow the suggestion of Hal Foster and recognize two distinct strains of postmodernism. As Foster suggests, another (non-deconstructive) postmodernism exists: one that serves to uphold and rebuild--rather than resist--both the sociopolitical status quo and the overwhelming cultural influence of representation. Raiders, finally, formulates no real critique of the Hollywood film industry, but rather--and despite its gentle parody of film conventions--seeks to celebrate and affirm the Hollywood product's utility as a palliative."

- Deters, Michael F. "Raiders of the Lost Ark and the Hollywood tradition: nostalgia, parody, and postmodernism." (1993).

 

 

From the Filmmaker

 

 

From the Critic

 

""Raiders of the Lost Ark" is an out-of-body experience, a movie of glorious imagination and breakneck speed that grabs you in the first shot, hurtles you through a series of incredible adventures, and deposits you back in reality two hours later -- breathless, dizzy, wrung-out, and with a silly grin on your face. This movie celebrates the stories we spent our adolescence searching for in the pulp adventure magazines, in the novels of Edgar Rice Burroughs, in comics -- even in the movies. There used to be a magazine named Thrilling Wonder Stories, and every shot in "Raiders of the Lost Ark" looks like one of its covers. It's the kind of movie where the hero gets out of bed wondering what daring exploits and astonishing, cliff-hanging, death-defying threats he will have to survive in the next ten seconds.

 

 

Two things, however, make "Raiders of the Lost Ark" more than just a technological triumph: its sense of humor and the droll style of its characters. This is often a funny movie, but it doesn't get many of its laughs with dialogue and only a few with obvious gags (although the biggest laugh comes from the oldest and most obvious gag, involving a swordsman and a marksman). We find ourselves laughing in surprise, in relief, in incredulity at the movie's ability to pile one incident upon another in an inexhaustible series of inventions. And the personalities of the central characters are enormously winning. Harrison Ford, as Indy Jones, does not do a reprise of his "Star Wars" work. Instead he creates a taciturn, understated, stubborn character who might be the Humphrey Bogart of "The Treasure of the Sierra Madre" with his tongue in his cheek. He survives fires, crushings, shootings, burnings. He really hates snakes. Karen Allen plays the female lead with a resilient toughness that develops its own charm. She can handle herself in any situation. She really hates snakes.

 

"Raiders of the Lost Ark" is a swashbuckling adventure epic in the tradition of "Star Wars," "Superman," the James Bond pictures, and all the other multimillion-dollar special-effects extravaganzas. It wants only to entertain. It succeeds. Watch it with someone you know fairly well. There will be times during the film when it will be necessary to grab somebody."

- Roger Ebert

 

From the Public

 

"That ending sums up the past few days for me tbh" - Mildly threatening LB review from @WrathOfHan

 

 

Factoids

 

Previous Year's Rankings

2012 - #13, 2013 - #6, 2014 - #12, 2016 - #2, 2018 - #4, 2020 - #1, 2022 – #6

 

Director Count

S. Spielberg (6), C. Nolan (5), J. Cameron (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), B. Bird (2), F.F. Coppola (2), H. Miyazaki (2), J. Lasseter (2), S. Lee (2), S. Leone (2), R. Linklater (2), M. Scorsese (2), Q. Tarantino (2), R. Scott (2), B. Wilder (2), R. Allers (1), R. Altman (1), P.T. Anderson (1), F. Capra (1), J. Carpenter (1), J. Coen (1), M. Curtiz (1), F. Darabont (1), J. Demme (1), J. Demy (1), P. Docter (1), S. Donen (1), C.T. Dreyer (1), D. Fincher (1), Victor Fleming (1), M. Forman (1), W. Friedkin (1), T. Gilliam (1), R. Johnson (1), T. Jones (1), B. Joon-Ho (1), W. Kar-Wai (1), G. Kelly (1), I. Kershner (1), M. Kobayashi (1), M. Mann (1), G. Miller (1), D. Lean (1), G. Lucas (1), K. Lund (1), S. Lumet (1), L. McCarey (1), F. Meirelles (1), R. Minkoff (1), A. Molina (1), J. Peele (1), B. Persichetti (1), S. Raimi (1), P. Ramsey (1), R. Rothman (1), A. Russo (1), J. Russo (1), M.N. Shyamalan (1), A. Stanton (1), V.D. Sica (1), G. D. Torro (1), G. Trousdale (1), L. Unkrich (1), La. Wachowski (1), Li. Wachowski (1), P. Weir (1), O. Welles (1), K. Wise (1), R. Zemeckis (1)

 

Decade Count

2000s (19), 1990s (18), 1980s (12), 2010s (12), 1970s (9), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (5), France (3), Italy (3), United Kingdom (2), Australia (1), Brazil (1), Hong Kong (1), Mexico (1), Spain (1), South Korea (1), U.K. (1)

 

Franchise Count

Pixar (7), Nolanite Cinematic Universe (5), Middle Earth (3), Star Wars (3), Alien (2), Before (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (1), The Godfather (1), Hannibal Lecter (1), Hawkguy Cinematic Universe (1), Indiana Jones (1), Jaws (1), Jurassic Park (1), Mad Max: Fury Road (1), Man With No Name (1), The Matrix (1), Monty Python (1), Overlook Hotel (1), Oz (1), Terminator (1), The Thing (1)

 

Genre Count

Drama (22), Epic (17),  Comedy (16), Sci-Fi (16), Fantasy (15), Historical Fiction (15), Adventure (14), Horror (13), Animation (12), Action (11), Black Comedy (7), Crime (7), Thriller (7), Musical (6), Romance (6), Coming of Age (5), Monster (5), Mystery (5), Superhero (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Tragedy (3), Western (3), Anime (2), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Neorealism (1), Rom-Com (1)

 

A Recipe

 

A Snake Bite & Shots for Marion

Ingredients
Sake
Vodka
Lychee Juice
Lager
Hard Cider

Instructions
Slowly pour beer into a pint glass tilted at a 45o angle. Stand the glass upright and wait for the beer to settle. Pour the cider slowly over the back of a spoon and into the glass of beer.

For the shot, mix equal parts very cold vodka, sake, and juice in a cocktail shaker with ice-- shake until chilled. Pour into as many shot glasses as you want and get the score card ready.

 

From: https://twocrumbsup.co/indiana-jones-raiders-of-the-lost-ark/

 

 

 

Edited August 16 by The Panda

[Menor the Destroyer]

41 minutes ago, grey ghost said:

 

 

Ya'll are tripping, IW is way better than Endgame.

Well no, but both should have been in the top 5

[The Panda]

Number 5

 

 

"You're a funny guy."

 

Synopsis

 

"Goodfellas (stylized as GoodFellas) is a 1990 American biographical crime drama film directed by Martin Scorsese, written by Nicholas Pileggi and Scorsese, and produced by Irwin Winkler. It is a film adaptation of Pileggi's 1985 nonfiction book Wiseguy. Starring Robert De Niro, Ray Liotta, Joe Pesci, Lorraine Bracco, and Paul Sorvino, the film narrates the rise and fall of mob associate Henry Hill and his friends and family from 1955 to 1980.

 

Scorsese initially titled the film Wise Guy and postponed making it; he and Pileggi later changed the title to Goodfellas. To prepare for their roles in the film, De Niro, Pesci and Liotta often spoke with Pileggi, who shared research material left over from writing the book. According to Pesci, improvisation and ad-libbing came out of rehearsals wherein Scorsese gave the actors freedom to do whatever they wanted. The director made transcripts of these sessions, took the lines he liked most and put them into a revised script, which the cast worked from during principal photography."

- Wikipedia

 

 

From the Scholar

 

"GoodFellas is arguably the apex of Scor-
sese's most openly ethnic production. Wishing to
make a "good commercial picture," Scorsese re-
turned to the Italian/American setting which had
already inspired his best films (except Taxi Driver).'
Scorsese's first feature, Who's That Knocking At
My Door? (1969), portrayed and examined sexism
and masculinity in the character of J. R. (Harvey
Keitel), a young Italian/American in crisis over his
Catholic faith. This promising debut revealed Scor-
sese's inspirational sources (the American cinema
of Ford and Hawks, and the French New Wave)
and it also contained the seeds of a cinematic style
capable of both accepting and bending narrative
conventions. Scorsese again returned to ethic con-
cerns with Mean Streets (1973), a film which art-
fully blended documentary reality with subjective
fiction in the portrayal of four young men on the
fringes of society in New York's Little Italy. In
1975, Scorsese turned to documentary with Italian-
american, in which he interviewed his own family.
Italianamerican also confirmed Scorsese's tendency
to use his personal environment for his cinema.
This tendency to personalize the set and make it
into a family emerges clearly in his long-standing
collaboration with such actors as Robert De Niro
and Harvey Keitel.2 In 1980, Scorsese and De Niro
returned to the Italian/American milieu with the
highly acclaimed Raging Bull, a film in which vio-
lence and masculinity are at once celebrated and
ruthlessly exposed.

 

On the subject of irony and masculinity, Scor-
sese must be credited with an interesting move. At
the time when Henry starts dating Karen-roughly
half an hour into the film-GoodFellas surprises us
by inserting her voice-over."' She thus challenges
Henry's authority as the first-person narrator and
provides an alternative point of view. She sees
Henry and the Italian/American milieu with the eye
of an outsider (she comes from a respectable Jew-
ish family). There is even a point at which the nar-
rative is totally hers, during the wedding scene. It is
fascinating to speculate on how the film might have
been reshaped if Scorsese had gone further with the
dual voice-over. Instead, GoodFellas bears witness
to an old-fashioned, ethnic mode of masculinity.
Is GoodFellas just a virtuoso piece with no sub-
stance? Is Scorsese indulging in a trip of macho
bellafigura? In effect, the film's formal extrava-
gance often parallels and enhances the content. For
example, to impress Karen on his first date Henry
takes her to the Copacabana. They leave the car key
to a valet and enter through the back door, thus
avoiding the line at the entrance. The camera fol-
lows them through a maze of steaming stoves, into
the crowded club where two waiters promptly place
a table for them where no one had been allowed be-
fore, front and center. It is undoubtedly a virtuoso
piece, one of the most tortuous tracking shots in
the history of cinema. Yet, it has a formal justifi-
cation, suggesting the drive towards the center
which motivates the search for success. The plea-
sure of occupying a central position and of being
looked at finds here a spatial and visual translation.

 

GoodFellas is yet another proof of how Scor-
sese works within a realist tradition which he modi-
fies significantly, thus enabling it to withstand the
recent attacks on representation." It is as if Scor-
sese knew that reality is never objective because
there is always a subject experiencing it. Experi-
ence, moreover, is never a passive reception of
stimuli but an activity-an activity that Scorsese
mirrors in his films. He is adamant about making
us see what he sees. There is no Bazinian freedom
for the viewer of his films. Spectators cannot sit
back and choose from the reality that Scorsese puts
on the screen. Scorsese's stylistic ebullience is the
mark of an extreme subjectivity which could not be
further removed from the objective rendering of
reality associated with realism. While offering us
his obsessions, however, Scorsese's ethnic films do
give us a strong sense of reality; we are certainly
more likely to say "this is how it must be" with
GoodFellas than with any other mob film. This is
partly due to Scorsese's adoption of cinematic con-
ventions associated with realism (repulsive material,
factual information and seemingly unstructured
narrative). But there is something more, something
which is hard to define and which I tend to associ-
ate with the intensity of expression."

- Viano, Maurizio. "GoodFellas." (1991). Film Quarterly: 43-50.

 

From the Filmmaker

 

 

From the Critic

 

"“As far back as I can remember, I always wanted to be a gangster.” 

 

That early line in Martin Scorsese’s Goodfellas, spoken by its protagonist, Henry Hill, played to fiery perfection by Ray Liotta, begins the ensuing marathon of compartmentalization. It begs the question: Why does Henry want to be a gangster? When he speaks this first line of his almost omnipresent narration, the situation is precarious. He and two fellow wiseguys, Tommy DeVito (Joe Pesci) and Jimmy Conway (Robert De Niro), have pulled off the road to check a noise from the trunk. A made guy, supposedly untouchable, writhes in the back, clinging to life. Tommy delivers a few heated blows with a kitchen knife, and Jimmy finishes the job with four gunshots, putting their victim out of his misery, all of them bathed in hellfire red from the rear lights of the car. Later, they will bury their victim. After six months, they will have to move the decomposing corpse to another location, prompting Henry to vomit violently while his compatriots crack jokes. Given miserable circumstances like these, one should again ask: Why does Henry want to be a gangster? Throughout the film, he remarks on the power and freedoms of the wiseguy lifestyle, and the breakneck filmmaking conveys the associated euphoria. Scorsese conveys Henry’s world through an immersion in his subjectivity, a first-hand testimony rendered with an infectious energy and style. All the while, Henry conveniently ignores or suppresses the grim realities and many contradictions between his métier and how he talks about that world."

- Brian Eggert, Deep Focus Review

 

 

From the Public

 

"I hope there’s more than egg noodles and ketchup in heaven Ray." - @DAR

 

 

Factoids

 

Previous Year's Rankings

2012 - #20, 2013 - #7, 2014 - #21, 2016 - #20, 2018 - #16, 2020 - #9, 2022 – #9

 

Director Count

S. Spielberg (6), C. Nolan (5), J. Cameron (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), M. Scorsese (3), B. Bird (2), F.F. Coppola (2), H. Miyazaki (2), J. Lasseter (2), S. Lee (2), S. Leone (2), R. Linklater (2), Q. Tarantino (2), R. Scott (2), B. Wilder (2), R. Allers (1), R. Altman (1), P.T. Anderson (1), F. Capra (1), J. Carpenter (1), J. Coen (1), M. Curtiz (1), F. Darabont (1), J. Demme (1), J. Demy (1), P. Docter (1), S. Donen (1), C.T. Dreyer (1), D. Fincher (1), Victor Fleming (1), M. Forman (1), W. Friedkin (1), T. Gilliam (1), R. Johnson (1), T. Jones (1), B. Joon-Ho (1), W. Kar-Wai (1), G. Kelly (1), I. Kershner (1), M. Kobayashi (1), M. Mann (1), G. Miller (1), D. Lean (1), G. Lucas (1), K. Lund (1), S. Lumet (1), L. McCarey (1), F. Meirelles (1), R. Minkoff (1), A. Molina (1), J. Peele (1), B. Persichetti (1), S. Raimi (1), P. Ramsey (1), R. Rothman (1), A. Russo (1), J. Russo (1), M.N. Shyamalan (1), A. Stanton (1), V.D. Sica (1), G. D. Torro (1), G. Trousdale (1), L. Unkrich (1), La. Wachowski (1), Li. Wachowski (1), P. Weir (1), O. Welles (1), K. Wise (1), R. Zemeckis (1)

 

Decade Count

1990s (19), 2000s (19), 1980s (12), 2010s (12), 1970s (9), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (5), France (3), Italy (3), United Kingdom (2), Australia (1), Brazil (1), Hong Kong (1), Mexico (1), Spain (1), South Korea (1), U.K. (1)

 

Franchise Count

Pixar (7), Nolanite Cinematic Universe (5), Middle Earth (3), Star Wars (3), Alien (2), Before (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (1), The Godfather (1), Hannibal Lecter (1), Hawkguy Cinematic Universe (1), Indiana Jones (1), Jaws (1), Jurassic Park (1), Mad Max: Fury Road (1), Man With No Name (1), The Matrix (1), Monty Python (1), Overlook Hotel (1), Oz (1), Terminator (1), The Thing (1)

 

Genre Count

Drama (23), Epic (17),  Comedy (16), Historical Fiction (16), Sci-Fi (16), Fantasy (15), Adventure (14), Horror (13), Animation (12), Action (11), Crime (8), Black Comedy (7), Thriller (7), Musical (6), Romance (6), Coming of Age (5), Monster (5), Mystery (5), Superhero (5), Tragedy (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Western (3), Anime (2), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Neorealism (1), Rom-Com (1)

 

A Recipe