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

[cannastop]

Oh my god one of my favorite movies isn't here yet. But it very well could show up soon.

[The Panda]

Sorry forgot to edit the points and vote total in for Goodfellas. It got 108 points and 20 votes!

[grey ghost]

25 minutes ago, 4815162342 said:

 

Neither should have made it to be clear 

 

BOT's 100 Favorite Movies would be a more fun list anyway. 

 

 

[The Panda]

Number 4

 

 

"Leave the gun. Take the cannoli."

 

Synopsis

 

"Spanning the years 1945 to 1955, a chronicle of the fictional Italian-American Corleone crime family. When organized crime family patriarch, Vito Corleone barely survives an attempt on his life, his youngest son, Michael steps in to take care of the would-be killers, launching a campaign of bloody revenge." - The Movie Database

 

From the Scholar

 

"Now, 28 years after its release, The Godfather has firmly established itself as the single greatest achievement in the history of film. (Some still argue for Citizen Kane, but they're wrong.) It's the peerless cinematic epic, the story of the destructive power of love and family. Coppola jettisoned the pulpier aspects of Mario Puzo's novel, which wasted countless pages on roman-a-clef renderings of Frank Sinatra and Dean Martin, to focus in on the tragedy of Michael Corleone. Slowly, magisterially and heartbreakingly, the young hero back from World War II loses his soul because he cannot escape the call of his blood - and it is the particular punishment for his father Vito, who had hoped that Michael would transcend the thievery and thuggery into which Vito had descended as a young man, that he must watch sadly as his son is inexorably transformed into a colder and more ruthless version of himself.

 

It was Puzo's wily conceit that these Mafiosi weren't just criminal bums but Roman emperors and generals in modern garb, fighting over turf and position not for money but for the greater glory of their family names. But it was Coppola who took that conceit and made it into a human drama both amazingly intimate and grandly horrifying. Coppola gives us the same kind of exquisitely careful detail in the sequence when the wounded Vito is presented hand-made get-well cards by his loving grandchildren after he is nearly assassinated as he does in the famous climax when Michael renounces Satan during the baptism of his godchild even as his henchmen are simultaneously wiping out his rivals all over New York City.

 

 

In Coppola's rendering, even in a new world where men like Michael are free to choose the lives they wish to lead, the demands of family and tradition win out - and are so powerful that they can destroy everything that's good in a man who had greatness in him. The Godfather has, by my reckoning, but a single flaw - the anachronistic exchange between the newly minted Mafia chief Michael and his future wife in 1947 when she protests, "Senators and governors don't have people killed," and he responds, with Nixon-era cynicism, "Now who's being naive, Kay." That's 12 seconds out of 175 minutes, and it's not surprising that the flaw comes when its writerdirector decides to come out from behind the curtain and give the audience a little wave just to remind them that he's there and has a Big Point to make.

 

The facts surrounding the production - that Coppola took it on grudgingly, found the whole experience hellish, and turned in an alarmingly brief first cut little resembling the three-hour epic we all know and love - are testimony to how accidental an art form the movies really are. Movies become works of art - which is to say, coherent and unified creative visions that enlarge our sense of humankind and the world - largely by accident. Films are often astounding works of craftsmanship, as intricate and studied in every detail as a medieval cathedral."

- Podhoretz, John. "Father of the Godfather." Policy Review 99 (2000): 83.

 

From the Filmmaker

 

 

From the Critic

 

"Welcome to the thrilling conclusion of our analysis of the greatest Best Picture winners at the Academy Awards. In this final installment, we unveil the top 25 films that have left an enduring legacy on the world of cinema. From immortal film criterion to esteemed contemporary crafts, these cinematic gems have captivated audiences for generations. Let’s dive right into the grand finale of our 95-year odyssey and celebrate the artistry, storytelling, and enduring impact of these extraordinary films. and Part Three (50-26) here.

 

 

There is not a single inharmonious note in The Godfather’s nearly three-hour runtime. Always the 1B to the film that I have listed in the top spot, The Godfather is in many ways the greatest movie ever made. The innovative use of shadowy lighting and cinematography by Gordon Willis, a cast that includes multiple Oscar-winners (along with a list as long as my arm of other amazing character actors), a perfect screenplay adaptation, and Nino Rota’s brooding and authoritative score make it hard not to place this film at number one. The Godfather works like a masterfully conducted orchestra, whose immaculate symphony is a meticulously crafted and extraordinarily integral thread in the fabric of cinema history."

- Mark Johnson, Awards Daily

 

From the Public

 

"This is one of those films in which everything is simply masterful. Not one single aspect really stands out because everything is simply damn good. No words can truly do justice to transcendent material such as this, but I will do my best to convey the stand-out aspects for me.Perhaps what struck me first and foremost was the way in which the film was shot. The way the shadows mingle with the light here is simply fantastic. The camera work allows the darkness of the Mafia to mix simultaneously the elegance. It makes for a hypnotizing mix. Nothing less than brilliant filmmaking on display here." - @mattmav45

 

 

Factoids

 

Previous Year's Rankings

2012 - #4, 2013 - #16, 2014 - #6, 2016 - #4, 2018 - #9, 2020 - #6, 2022 – #4

 

Director Count

S. Spielberg (6), C. Nolan (5), J. Cameron (3), F.F. Coppola (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), M. Scorsese (3), B. Bird (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 (10), 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), The Godfather (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (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 (18),  Comedy (16), Historical Fiction (16), Sci-Fi (16), Fantasy (15), Adventure (14), Horror (13), Animation (12), Action (11), Crime (9), 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

Homemade Cannoli

 

Ingredients 

For the Filling:
800 g sheep’s milk ricotta or 3 cups
300 g sugar or 1 ½ cups
250 g mini semi-sweet chocolate chips or ½ cup

For the Shells:
250 g 00 flour or 1 ½ cups
20 g sugar or 1 ½ tablespoon
3 g salt 3 or 1/2 teaspoon
2 g cocoa powder or 1 teaspoon
25 g lard or 1 tablespoon
45 g eggs or 1 egg, whisked + 1 more separate
50 g marsala wine or ¼ cup
8 g white wine vinegar or 1 teaspoon

 

Instructions on: https://www.billyparisi.com/homemade-cannoli-recipe/

 

 

 

[Jake Gittes]

1 hour ago, grey ghost said:

 

BOT's 100 Favorite Movies would be a more fun list anyway. 

 

 

 

Who's gonna tell him

[grey ghost]

33 minutes ago, Jake Gittes said:

 

Who's gonna tell him

 

 

Speak for yourself.

[The Panda]

Number 3

 

 

"Welcome the rich man, he's hard for you to miss. His butt keeps getting bigger, so there's plenty there to kiss!"

 

Synopsis

 

"Winner of the Academy Award® for Best Animated Feature,* Hayao Miyazaki's wondrous fantasy adventure is a dazzling masterpiece from one of the most celebrated filmmakers in the history of animation.

 

Chihiro's family is moving to a new house, but when they stop on the way to explore an abandoned village, her parents undergo a mysterious transformation and Chihiro is whisked into a world of fantastic spirits ruled over by the sorceress Yubaba. Put to work in a magical bathhouse for spirits and demons, Chihiro must use all her wits to survive in this strange new place, find a way to free her parents and return to the normal world. Overflowing with imaginative creatures and thrilling storytelling, Spirited Away became a worldwide smash hit, and is one of the most critically-acclaimed films of all time."

- The Studio Ghibli Collection

 

 

From the Scholar

 

"Spirited Away stages a modernizing Japan in the Meiji period (1868-1912) when Western influences overpowered the nation politically and ideologically and one of the most significant influences from the West to Japan was the reorganization of Japanese society into a capitalist one. During the Edo period (1603-1867), the autocratic Samurai class controlled the whole nation and Japan closed its door to most other nations in order to preserve itself. In 1853, Commodore Perry from the United States urged Japan to start trading with other nations. In the following year, Japan opened its door to other nations and the Meiji era, which is considered as the period of restoration, began. In this Meiji restoration, the influx of the Western culture brought to Japan both chaos and growth, represented by the mixing of Japanese identity with Western architecture, philosophy, fashion, and values.

 

Miyazaki takes us back to Meiji Japan by sending the protagonist, who was born in contemporary times, to a modernizing Japan. The story goes as follows: Chihiro, an apathetic ten year-old girl, is moving from the city to a rural area with her family. While they are driving to their new home, they wander into a closed theme park, now called the Yuya. It's actually is a leisure center built in the spiritual world by a greedy witch, Yubaba. This mystical town resembles Meiji Japan in terms of architecture, during which time the style was a mix of Western and Japanese. By the witch’s curse, Chihiro's parents are turned into pigs, and Chihiro must serve as a laborer at the Yuya in order to rescue them. At the Yuya, she encounters a mysterious boy named Haku, and with his help, the meek girl now learns to meet the challenges of the distressing spirit world. By having Chihiro live in the era of a modernizing Japan, Miyazaki invites the audience to experience what we really were losing as a nation and personally during that period.

 

...

 

In Spirited Away Miyazaki also visually separates the worlds of spirits and humans. Stylistically he depicts the human world as realistically as possible and the world of spirits as fantastic. In the beginning of the film, before Chihiro’s family wanders into the world of spirits, Miyazaki utilizes cinematic moments that are unusual in animation but more often found in live-action films. Only after the family enters into the town of the Yuya does the mise-en scene become more fantastically animated. The shadowy spirits and buildings and everything that is in the amusement park take on life, but now a fantasmic life. Those visual cues that indicate a movement from verisimilitude to the fantasmic indicate the two worlds are now separated or at least that the spirits, neglected in the world of humans, no longer wish to coexist with humans in this highly industrialized world.

 

 

One of the origins of Shinto may have come in olden times when agriculture sustained human societies; people animated nature and believed that their care and respect for it pleased its spirits who protected the nation and provided prosperity. However, after the coming of Western industrialization, people’s faith was no longer in nature but in a successful economy. Applying this kind of thinking to his own art, once, in an interview, Miyazaki decried contemporary post-industrial society as a system that watered down anime's expressive possibilities. Anime, according to Miyazaki, could well represent love and justice. However, as he put it,

 

"Our old enemy 'poverty' somehow disappeared, and we can no longer find an enemy to fight against" (Miyazaki, 1988).

 

In other words, after Japan's industrial success since the Meiji restoration in 1890s and recovery from WWII cast out poverty from the nation, people still remain possessed by an illusion of gaining a wealthy everyday life and continue living with a gap between their ideal and real life. As a result, an endless and unsatisfying cycle of production and consumption has begun destroying harmony among family and community (Harootunian, 2000). Zizek (1989) points out that people of late capitalism are well aware that money is not magical. To obtain it, it has to be replaced through labor, and after you use it, it will just disappear, as will as any other material. Allison (1996) adds to this point:

 

"They know money is no more than an image and yet engage in its economy where use-value has been increasingly replaced and displaced by images (one of the primary definitions of post-modernism) all the same” (p. xvi).

 

So, as Miyazaki puts it, the concerns of the late-capitalist Japan are now not for love and justice, but for money and pleasure."

- Suzuki, Ayumi. "A nightmare of capitalist Japan: Spirited Away." Jump Cut: A Review of Contemporary Media 51 (2009).

 

From the Filmmaker

 

 

From the Critic

 

"There may be no nobler aim in animation than to provide wonders that could not otherwise be seen; if that is the case, Spirited Away is perhaps the most noble animated film of all time, for it is almost nothing but wonders, though they are never arbitrary and always anchored to the film's emotional honesty. We are never dazzled for the sake of it; we are dazzled because Chihiro is dazzled. We are never delighted, terrified, amazed, or comforted, except as those things happen to our protagonist. And thankfully, her writer and director knew enough of children to make her a guileless innocent without making her stupid, and to allow her the space to feel awe without forcing her into empty spectacle. I think, for example, of the amazing sequence when the spirit world first manifests itself around Chihiro: the environment changes slowly and at times subliminally, while maybe the finest piece of music in Joe Hisaishi's long collaboration with Miyazaki imparts a feeling of simultaneous dread and exotic mystery to the eerie images. It's a perfect sequence, visionary while also making good story sense and further tying our perceptions to Chihiro's emotions. That's the great achievement of this great animated film: it understands that the true meaning of fantastic worlds is not what they show us, but how they make us feel in doing so."

- Tim Brayton, Antagony and Ecstasy

 

 

From the Public

 

An enchanting film of animation and wonder that I have overtime come to realize is, and likely always has been, my favorite in the medium. It pulled me in as child, time and time again, with a feeling of enthrallment I got from nothing else. There's much that could be said, and many have already said in much better words than I have. About its use of yokai and folklore. The deeper reflections Miyazaki draws on human's relation to nature, the spiritual, and the disconnect the industrial state makes of that. How that disconnect of the human and spirit, and fixation on the industrial, causes us to forget our very identity, integrated into the capitalist system as a cog in the machine. All of the hidden meanings though are supplemental to the visual and audible symphonic overtures the film creates. It fully sucks you into a form of experiential enchantment.

- @The Panda

 

 

Factoids

 

Previous Year's Rankings

2012 - #64, 2013 - #38, 2014 - #68, 2016 - #62, 2018 - #28, 2020 - #16, 2022 – #5

 

Director Count

S. Spielberg (6), C. Nolan (5), J. Cameron (3), F.F. Coppola (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), H. Miyazaki (3), M. Scorsese (3), B. Bird (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

2000s (20), 1990s (19), 1980s (12), 2010s (12), 1970s (10), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (7), 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), The Godfather (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (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 (18),  Comedy (16), Historical Fiction (16), Fantasy (16), Sci-Fi (16), Adventure (15), Horror (13), Animation (12), Action (11), Crime (9), Black Comedy (7), Thriller (7), Coming of Age (6), Musical (6), Romance (6), Monster (5), Mystery (5), Superhero (5), Tragedy (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Anime (3), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Western (3), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Neorealism (1), Rom-Com (1)

 

A Recipe

 

 

 

 

[cannastop]

1 minute ago, The Panda said:

 

A Recipe

 

 

hell yeah I love Spirited Away and I love this video. 🤤

[4815162342]

4 hours ago, Menor the Destroyer said:

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

 

[The Panda]

Thank you all so much for participating and making the list a blast to reveal. I always enjoy doing these and am glad the forums are always so lively about them and the results. Probably one of the more fun sets of results to reveal as well, with all of the surprise first timers to start off the list and an entire top 5 which had never topped the list before (each of the movies getting their all-time high placements). A pretty cool fresh set of results!

 

Without further ado, here are your final two!

 

Number 2

 

 

"To the stars."

 

Synopsis

 

"Titanic, American romantic adventure film, released in 1997, that centres on the sinking of the RMS Titanic. The film proved immensely popular, holding the all-time box-office gross record for more than a decade after its release.

 

The film begins with the robotic exploration of the Titanic’s wreckage by treasure hunters who hope to locate a fabled massive blue diamond, known as the Heart of the Ocean, that was supposedly lost when the ship sank. They recover a safe that contains some papers, including a drawing of a nude woman wearing a necklace with the gem in it. After the illustration is aired on television, the team is contacted by an old woman (played by Gloria Stuart) who tells them that she is the one depicted in the drawing, Rose DeWitt Bukater, thought to have died in the accident. Hoping that she can help them find the jewel, the treasure hunters bring Rose to their expedition ship. Most of the film’s story is then told in flashbacks as she recounts the Titanic’s fateful 1912 voyage."

- Britannica

 

 

From the Scholar

 

"The great attention that has been paid to the sinking of Titanic, especially in
recent years, affords an opportunity to address questions that cannot often be
scientifically posed, let alone answered, when it comes to less celebrated historical
events. The recent works of Hermann Soldner and Debbie Beavis have
provided robust and accurate information about those aboard Titanic. 1 Moreover,
these data are especially suitable for statistical investigations. 2 Beavis has
sorted out, without absolutely resolving the issue, the question of the individuals
who were actually aboard on the evening of 14 April 1912, while Soldner
has painstakingly documented the characteristics of each of 1318 passengers,
compiling, within a very narrow margin of error given Beavis's findings, the
most accurate passenger list currently available.

Using the data published by Soldner, we have engaged in a logistic
regression analysis of the likelihood of a Titanic passenger surviving the accident
based on his or her particular characteristics.' In broad terms, regression
analysis comprises a set of statistical methodologies and analytic techniques
used extensively in many fields, including economics, finance, political science
and history. It enables a researcher, with a quantifiable degree of certainty, to
sort out various hypothetical causes of a particular observable effect. Here we
are interested in the characteristics of who was able to survive the accident,
with the probability of survival being the "dependent" or "criterion" variable.

 

 

A number of "explanatory variables" are seen in the data: age/gender,
class (of the purchased ticket), responsibility for children and nationality. Each
has been put forward at one time or another as a significant factor in whether a
passenger lived or died. "Significant factor," or statistical significance, means
that in the absence of a relationship, the probability of observing what has actually
occurred in the data would be very small, e.g., one, five or ten percent.
In the analysis that follows, we will reject the hypothesis that there was no
significant difference or effect when this probability is less than five percent.
A general difficulty is that more than one explanatory variable is
likely to have influenced the dependent variable contemporaneously. Logistic
regression analysis enables us to quantify the effect on the ability of a passenger
to survive based upon, for example, the gender of a particular passenger,
controlling for other explanatory variables; i.e., ceteris paribus,' In other
words, it tells us within a certain degree of confidence that if we imagine two
passengers identical in all respects save one, e.g., one is an adult male and one
an adult woman, what would have been the likelihood of one of the passengers
surviving relative to the other based on that single difference.

Therefore, logistic regression analysis enables us to reach conclusions
as to which of the explanatory variables has had a statistically significant effect
on the dependent variable and the direction of the effect. In the case of significant
explanatory variables it also enables us to calculate "odds ratios" to measure,
for instance, how much more likely it would have been for an adult
woman passenger to survive compared to an adult man."

- Gleicher, David, and Lonnie K. Stevans. "Who survived Titanic? A logistic regression analysis." International Journal of Maritime History 16, no. 2 (2004): 61-94.

 

From the Filmmaker

 

 

From the Critic

 

"When the film was released, it was a gamble the size of ... well, the metaphors present themselves a bit too easily. It was a wild risk, both for filmmaker James Cameron (who was known for Aliens and his Terminator movies) and for the studios that funded it, Paramount and 20th Century Fox. Cameron’s terrible temper and a runaway production with troubles to spare — one disgruntled crew member laced the chowder at craft services with PCP one night, provoking hallucinations in 50 people, including cast member Bill Paxton — had prompted people to wonder if the legendarily expensive film was doomed for the same fate as its subject. The production budget reportedly ran over $200 million, an enormous sum by any contemporary standards that was much more so in 1997.

 

There was one overarching reason for its massive success: Lots of people began to go see it every weekend. This audience — composed largely of teenage girls, but certainly not limited to that demographic — took in the movie upward of a dozen times, bringing friends along to share in the experience. But on a more basic level, Titanic’s popularity had everything to do with its evolution from “blockbuster movie” to “cultural phenomenon.” It was something you simply had to see, whether you were young or old, adult or teenager. Everyone except me, it felt like. I grew up in an exceptionally conservative slice of evangelical Christianity that eschewed mainstream culture generally and movies specifically. To my memory, the only films I saw in movie theaters growing up were Toy Story (with my grandmother), the Lord of the Rings trilogy (evangelicals love Tolkien), and The Passion of the Christ in 2004.

 

 

Titanic may have been a historical story, but it was also a teen romance, one that involved sex and nudity and that engaged in what some members of our community would have termed “glorifying teenage rebelliousness.” Seeing it was not an option. Some conservative families, trying to give their kids a way to participate in pop culture, bought edited copies of Titanic on VHS from a Utah company called Sunshine Family Video (and thus kicked off decades of lawsuits over the legality of so-called “clean versions” of movies). But in many communities, the teen romance aspect was still a bridge too far, so I went 20 years without seeing the film.

 

Reevaluations of Titanic are a small cottage industry among film critics, who regularly write essays on how it’s the greatest movie of all time, responsible for hater culture, one of the best movies to ever win Best Picture, or “basically a 3.5 hour Zales commercial, only slightly less emotionally compelling.” In 2002, the legendary film director Robert Altman called the movie “the most dreadful piece of work I’ve seen in my entire life,” while Ebert wrote in 1998 that its enduring power “comes not because it is a love story or a special effects triumph, but because it touches the deepest human feelings about living, dying, and being cherished.” Novelist Lorrie Moore called Rose’s struggle to find and free Jack from the bowels of the sinking ship “an athletic enactment of grace (unanticipated, unearned, as grace always is). It is love that exceeds the deserts of the beloved.”

 

I can’t tell you whether it’s the best or worst movie ever made. What I can tell you, risking puns, is that it swept me off my feet almost from the get-go, a grand epic romance-disaster that reminded me, in the middle of my overstuffed-with-movies life, of what we mean when we talk about the power of cinema."

- Alissa Wilkinson, Vox

 

From the Public

 

"A sweeping emotional epic that slowly but surely makes you feel for the intense romance at its core, and then violently rips you away from it so you can't help but feel the same heartbreak. What's also worthy of awe here is how Cameron makes the ship itself a character, a vessel for sheer spectacle merely in existence that you can't help but feel horror as it heads to its slow demise. Thus, when the film makes it even more clear that the Titanic and its decadence are merely things and the true tragedy lies within the loss of life, that perception change is felt deeply and sorrowfully. One of the greatest films ever made, Titanic's intense romance, thrilling spectacle and utterly crushing evocation of what happens when thousands face their deaths is always an achievement well worth revisiting. Cameron's masterpiece." - @Blankments

 

 

Factoids

 

Previous Year's Rankings

2012 - #5, 2013 - #26, 2014 - #59, 2016 - #28, 2018 - #8, 2020 - #8, 2022 – #10

 

Director Count

S. Spielberg (6), C. Nolan (5), J. Cameron (4), F.F. Coppola (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), H. Miyazaki (3), M. Scorsese (3), B. Bird (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 (20), 2000s (20), 1980s (12), 2010s (12), 1970s (10), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (7), 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), The Godfather (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (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 (24), Epic (18), Historical Fiction (17), Comedy (16), Fantasy (16), Sci-Fi (16), Adventure (15), Horror (13), Animation (12), Action (11), Crime (9), Black Comedy (7), Romance (7), Thriller (7), Coming of Age (6), Musical (6), Tragedy (6), Monster (5), Mystery (5), Superhero (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Anime (3), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Western (3), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Disaster (1), Alternative History (1), Neorealism (1), Rom-Com (1)

 

 

A Recipe

First Class Lamb Marinade (Recipe from the Titanic)

 

Ingredients
Metric
Lamb Marinade
1 rack of Lamb Chops (Frenched, trimmed and cut Individually)
2 Tablespoons Olive oil
salt and ground black pepper
2 sprigs of rosemary (stems removed)
2 cloves of garlic

Mint Sauce
2 shallots (diced)
1/4 cup white wine
1 cup chicken stock
2 teaspoons cider vinegar
1 teaspoon sugar
1/4 cup chopped mint, plus another tablespoon for garnish
2 tablespoons butter (optional)

 

 

 

 

Number 1

 

 

"I didn't do enough!"

 

Synopsis

 

"Until Schindler’s List hit theaters, depictions of history in films were often “essentially set decoration,” TIME’s then-film critic Richard Corliss noted in a feature when the movie was first released in 1993. The Holocaust especially had “been left mostly to documentarians and to Europeans,” but, he explained, that was changing:

 

…Steven Spielberg’s Schindler’s List is a consequential event. It is a high-profile, big-studio film, produced and directed by the most popular filmmaker of our era, possibly of all time (four of the top 10 grossing movies ever are Spielberg’s, including the biggest of them all, this year’s Jurassic Park. These factors alone would grant it an access to the mainstream public consciousness that no other movie on this subject has enjoyed. The fact that it is a very good movie means it has a chance to lodge there instructively, and perhaps permanently.

 

 

“The Movie simply needed my clout to get it made,” Spielberg says, and he is not being immodest. Since no filmmaker has a track record like his, none has his power to encourage both a studio and the young mass audience to take a risk on a movie the subject of which is inherently repellent, not to say terrifying.

 

Not all film critics loved it. Israeli daily newspaper Haaretz quoted a historian who called it “Spielberg’s Holocaust park,” while the German newspaper Die Welt described it as “the fantasies of a young boy from California who had never taken an interest in the Holocaust or the Jews before.” Others said Spielberg took on the project only because he thought it could win him his first Academy Award. (Indeed, it won Best Directing and Best Picture.) When Spielberg spoke of his own motivation for making the movie, he pointed to its educational value. Holocaust survivors were getting older, and there was a push to record their accounts to debunk Holocaust denial; Spielberg himself founded what’s now called the USC Shoah Foundation: The Institute for Visual History and Education in 1994 to do just that. Then, as now, levels of knowledge about the Holocaust could be shockingly low. “We’re not making a film, we’re making a document,” Spielberg told the cast."

- Olivia B. Waxman, Time Magazine

 

 

From the Scholar

 

"Four years later, in 1997, Ford Motor Company sponsored an ad-free broadcast of Schindler’s List on NBC. Sixty-five million people tuned in. (Roughly 200 million around the world had watched the film prior to that point.) Per Nielsen, more than a third of households watching TV in the U.S. that Sunday night were tuned in to Schindler’s List.

 

The broadcast proved controversial; Tom Coburn, a Republican representative from Oklahoma and a co-chair of the Congressional Family Caucus, objected on the grounds that children across the nation “were exposed to the violence of multiple gunshot head wounds, vile language, full-frontal nudity and irresponsible sexual activity.” Senator Alfonse D’Amato, a Republican from New York, in turn pointed out that depicting naked prisoners in a concentration camp is not sexual.

 

Ford Motor Company’s founder, Henry Ford, was a notorious antisemite who published various antisemitic screeds, including against Jewish filmmakers, in his newspaper, the Dearborn Independent. Though Ford executive Gerry Donnelly downplayed the industrialist’s history when discussing the sponsorship, he also said the team “felt it was the right thing to do to present this great story of one man’s courage.” Regardless of how intentional the choice of movie was, the fact that a company founded by an antisemite sponsored a film about the Holocaust was something of a turning point—one that hinged on Schindler’s List.

 

The film’s influence extended beyond the U.S. to the wider world, says Michael Berenbaum, a scholar who previously served as the project director tasked with overseeing USHMM’s creation. Back in 1999, he had the opportunity to watch Schindler’s List at the Berlin Film Festival. “I did not look at the movie as much as I looked at the audience looking at the movie,” he says. “You could see the powerful impact on the younger generation in Germany.” In Berenbaum’s mind, the film was “of critical importance in unfolding Holocaust consciousness in the United States and the world.”

 

 

In 1994, Spielberg founded the Survivors of the Shoah Visual History Foundation, now known as the USC Shoah Foundation. The nonprofit records, preserves and shares tens of thousands of testimonies from Holocaust survivors across dozens of countries and in many languages; since its founding, it has expanded to include testimony from other 20th- and 21st-century atrocities, including the Armenian genocide, mass violence against the Rohingya, and war and genocide in Bosnia and Herzegovina. The foundation also houses a collection on contemporary antisemitism.

 

Spielberg has said that he created the foundation because he was profoundly changed by making Schindler’s List. His goal was to “deny the deniers who had been saying on many, many occasions [that] the Holocaust never happened.” By recording testimony, survivors become educators and can remain so long after their deaths, teaching people about what happened, an atrocity that cannot be undone and should not be forgotten or denied.

 

The movie itself is a work of historical fiction, which has led to, if not critique, then corrective comment from those who want to ensure that the real history of the Schindler story is not lost."

- Emily Tamkin, Smithsonian Magazine

 

From the Filmmaker

 

 

From the Critic

 

"For this film Spielberg has done the best directing of his career. Much of his previous work has been clever and some of it better than that, but Schindler’s List is masterly. He has, with appropriate restraint, shot it in black and white (except for two closing sequences in color). Janusz Kaminski’s superb cinematography uses shadows like prosody—illuminates with shadows. Michael Kahn has edited with intensity and line, never breathless, always fast. (One demurral: the intercutting between a Jewish wedding in a camp, a wild German officers’ party and a German officer’s boudoir romp is heavy.) John Williams has arranged a score, with Itzhak Perlman doing violin solos, that for the most part is quiet: Jewish melodies on woodwinds or a small children’s chorus under scenes of inhumanity.

 

Spielberg has not used one trite shot, one cheap tear-jerking assemblage. Tears are evoked, but honorably; his aim was to make a film that gripped us with authenticity. To this end he often uses newsreel angles and newsreel cutting. Yet he is not band-held-camera nutty: where a panorama is needed--Jews in a long street assembling for deportation, Jews in a (seemingly) mile-wide file coming over a great field toward liberation--he understands how to present it and leave it alone. (Most of this picture was filmed in Poland.) Imagination, talent, commitment shine in every flame.

 

 

Now come two dreadful words: and yet. Is there a need for another film about the Holocaust? Especially after Shoah? Presumably there are at least some people who have never seen a Holocaust film and may see this one because it’s by Spielberg and will have mainstream promotion. Let’s hope there are many such.

 

But others may be aware of two bothersome connected points. Both of them demonstrate yet again how good work can be victimized by previous work, good or less good, on the same subject. First, the German commander, played by Ralph Fiennes, though based on fact, is by now something of a film cliché—smooth, cultivated, monstrous. Second, the film takes about two hours to reach the event that the tide promises, Schindler’s (not quite predictable) rescue operation. Everything up to then, vigorously done though it is, is—in two senses—terribly familiar.

 

Still, this film is a welcome astonishment from a director who has given us much boyish esprit, much ingenuity, but little seriousness. His stark, intelligent style here, perfectly controlled, suggests that this may be the start of a new period in Spielberg’s prodigious career—Part Two: The Man."

- Stanley Kauffman, The New Republic

 

From the Public

 

"The filmmaking on display is so good it transcends the utter blackness of the subject matter. I saw it five times in theaters. The first time, it was still in limited release, and I drove 40 miles to San Francisco to see it by myself (I was 19 and none of my friends were interested). There was this old man seated next to me (honestly, I didn't even really notice him until the end), and when the credits were rolling and everyone in the theater was just sitting there, pole-axed, he turned to me and said, "I was there, in one of those camps."I was so flabbergasted and stunned all I could manage was, "oh wow..." (Surely one of the more idiotic things I could've said), and then he got up and left.The 40-mile drive back home was a thoughtful and powerful one." - @Dementeleus

 

 

Factoids

 

Previous Year's Rankings

2012 - #21, 2013 - #10, 2014 - #15, 2016 - #10, 2018 - #15, 2020 - #4, 2022 – #16

 

Director Count

S. Spielberg (7), C. Nolan (5), J. Cameron (4), F.F. Coppola (3), A. Hitchcock (3), P. Jackson (3), S. Kubrick (3), A. Kurosawa (3), D. Lynch (3), H. Miyazaki (3), M. Scorsese (3), B. Bird (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 (21), 2000s (20), 1980s (12), 2010s (12), 1970s (10), 1960s (9), 1950s (8), 1940s (4), 1930s (2), 1920s (1), 2020s (1)

 

International Film Count

Japan (7), 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), The Godfather (2), WDAS (2), Spider-Man (2), Toy Story (2), Avatar (1), Back to the Future (1), Batman (1), Exorcist (1), Fargo (1), Gladiator (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 (25), Epic (18), Historical Fiction (18), Comedy (16), Fantasy (16), Sci-Fi (16), Adventure (15), Horror (13), Animation (12), Action (11), Crime (9), Black Comedy (7), Romance (7), Thriller (7), Coming of Age (6), Musical (6), Tragedy (6), Monster (5), Mystery (5), Superhero (5), Christmas/Holiday (4), Comic Book (4), Noir (4), Religious (4),War (4), Anime (3), Jidaigeki (3), Post-Apocalyptic (3), Satire (3), Surrealism (3), Western (3), Courtroom Drama (2), Prison Break/Heist (2), Spaghetti Western (2), Alternative History (1), Disaster (1), Neorealism (1), Rom-Com (1)

 

 

No recipe for this one, as I feel like it'd be a bit tasteless for a write up of a movie about the holocaust.

 

 

[cannastop]

1 minute ago, The Panda said:

 

LMAO age restricted. OWNED.

[The Panda]

The final list!

 

1.        Schindler's List (dir. Steven Spielberg, 1993)

2.        Titanic (dir. James Cameron, 1997)

3.        Spirited Away (dir. Hayao Miyazaki, 2001)

4.        The Godfather (dir. Francis Ford Coppola, 1972)

5.        Goodfellas (dir. Martin Scorsese, 1990)

6.        Raiders of the Lost Ark (dir. Steven Spielberg, 1981)

7.        The Lord of the Rings: The Fellowship of the Ring (dir. Peter Jackson, 2001)

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)

[WorkingonaName]

Titanic was robbed.

[grey ghost]

Spielberg being the top director and Schindler's List being the top movie are well deserved.

 

Schindler's List is one of the most important movies ever made and should be required viewing for every teen.

 

And Spielberg is the GOAT.

[grey ghost]

Thanks for doing this @The Panda

 

It was very well done.

[Flip]

22 hours ago, The Panda said:

 

101.    Whiplash (dir. Damien Chazelle, 2014)

[TalismanRing]

@The Panda  Merging 1 & 2 so I can't #2

Edited August 17 by TalismanRing

[Avatree]

thanks for doing all this @The Panda

[mldardy]

Titanic at number 2

[DAR]

I also added the list to Letterboxd.

 

https://boxd.it/xZmiQ