Charts: Lists
This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
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GamesRadar: 50 Best Westerns
Favs/dislikes: 0:0. -
german favs
Favs/dislikes: 0:0. ranked -
Gorro's Canada Top 50 - iCM Forum
Favs/dislikes: 1:0. My submission for the Canada poll on the iCM Forum. -
Gorro's Favorite Middle Eastern Films
Favs/dislikes: 0:0. My submission for the iCM Forum poll -
great animation - list by beavis
Favs/dislikes: 0:0. -
Greatest Election Movies of All Time - Films Ranked
Favs/dislikes: 1:0. Few things are more American than elections and Hollywood. This list explores what happens when the campaign trail wanders through Tinsel Town. -
Guardian 50 best films of 2020 in the UK
Favs/dislikes: 0:0. -
Guardian Top 50 Films of 2019 (UK)
Favs/dislikes: 1:0. -
Guardian's Top 50 Films of 2017
Favs/dislikes: 4:0. -
Guardian's Top 50 Films of 2018
Favs/dislikes: 2:0. -
Haterd's top 50 must sees
Favs/dislikes: 0:11. Mijn persoonlijke toplijst van must-sees -
HBO's 50 Great Brazilian Films
Favs/dislikes: 1:0. TV-mini series analysing 50 great films. In order of appearance -
Hello Giggles: 50 movies you have to see in your lifetime
Favs/dislikes: 3:0. -
hernameiseliza Must-watchs and Favourites
Favs/dislikes: 0:1. -
High On Films' 50 Best Japanese Films of the 21st Century
Favs/dislikes: 2:0. It is a general idea that the Japanese cinema’s downfall started in the 1980s, and the 90s economic stagnation knocked the film industry down until its revival through J-horror (in the late 1990s). But since cinema history is often written from a Western perspective, we need to deeply examine such one-dimensional outlook directed against any home-grown national cinema. It’s true that the spread of television reduced the number of theater-going audience in Japan in the 1970s and 1980s. At the same time, the Hollywood movies garnered more popularity than the Japanese ones. Moreover, the biggest Japanese film studios like Shochiku, Toho and Nikkatsu were in deep financial trouble from the start of 1970s and they hardly made the kind of films that found an international audience. Finally, we should take in the fact that around the 1980s & 1990s, Mainland Chinese, Hong Kong and Taiwanese cinema became the face of Asian cinema in the European and American markets. But it doesn’t mean there was dearth of new talents in the post-new wave generation Japanese cinema. From Kazhuhiko Hasegawa’s The Man Who Stole the Sun (1979), Kohei Oguri’s Muddy River (1981), Yoshimitsu Morita’s The Family Game (1983) to Juzo Itami’s The Funeral (1984) & Tampopo (1985), and Mitsuo Yanagimachi’s Fire Festival (1985), we are gradually discovering the gems of Japanese cinema from this era. One of the great Japanese auteurs, Nobuhiko Obayashi made some of his best works in the 1980s. And who can forget the rise of anime and the domination of Studio Ghibli in the 1980s & 1990s? Then there was Takeshi Kitano, Shinya Tsukamoto, Kiyoshi Kurosawa, Hirokazu Koreeda, Naomi Kawase, and so on. Even the veteran Japanese filmmakers like Nagisa Oshima, Shohei Imamura, Kaneto Shindo, Masahiro Shinoda, Seijun Suzuki, and Koji Wakamatsu were making movies in the 80s, 90s, and some even in the 2000s. The point is that – despite the limited output of the massive Japanese film industry in the decades following the 1960s or the alleged lack of creative flourish – Japanese cinema always continues to be one of the greatest cinemas around the globe. The masters of 21st century Japanese cinema are also engaged in the process of comforting the disturbed and disturbing the comforted. Maybe, our myopic tendencies might have kept some of the gems of modern Japanese cinema hidden. It’s akin to what the Nigerian author Adichie says about ‘the danger of a single story’. A phrase she uses in her TED speech to emphasize how false perceptions and overly simplistic beliefs can restrict our ideas about a person or a group or a country. In that way, movie lists are efficient to overcome the simplistic notions about a national cinema. A movie list, of course is strictly subjective, and hence it’s not definitive even though the title makes it sounds like that. In fact, making a movie list is not an act of educating movie-lovers. But it’s an act of learning and sharing. So join us in this process and let’s look at some of the best films of Japanese cinema from the ongoing 21st century: -
Highest Rated Animation TV Series With At Least 1000 Votes
Favs/dislikes: 2:0. IMDb list: http://imdb.to/1Iv5rRe -
Hollywood 3-D Features, 1952-55
Favs/dislikes: 1:0. The 50 stereoscopic Hollywood feature films released during the so-called "Golden Age of 3-D" from 1952-55. -
Hollywood Reporter Critics Pick the 50 Best Films of the 21st Century (So Far)
Favs/dislikes: 1:0. Over the course of a few months, several Zoom meetings, and countless emails, six THR film critics came together to hash out, and rank, what they consider the greatest films since 2000. BY JON FROSCH, DAVID ROONEY, SHERI LINDEN, LOVIA GYARKYE, LESLIE FELPERIN, JORDAN MINTZER APRIL 6, 2023 Why now? Why not? Sure, we’ve yet to hit the quarter-century mark, when these sorts of lists tend to start landing. But we’ve arguably already lived through 100 years’ worth of upheaval, progress, pain, destruction, hope and heartache in the world — not to mention the film industry — since 2000. We thought it as good a time as any to look back at the films that have, to us, stood the ever-unfolding test of time. In the spirit of transparency, our methodology went something like this: We all offered up titles we thought were worthy of consideration (an initial list of well over 100 movies). Everyone voted “yea” or “nay” on each of those titles. The films with the most yeas — about 80 — advanced to the next round. Everyone scored each title from 0 to 3. We tallied up the points, and then hashed it out from there. Countless emails and a few long Zoom meetings later, we had our list. Our only parameters: All six of us had to love, like or at least respect every film on the list. And we did not consider anything from 2022; it just felt too soon (translation: after the forever-long awards season, we needed a breather from talking about Tár, Everything Everywhere All at Once and the rest of ’em). Picking the movies we love the most, while being mindful of variety and inclusivity, significance and staying power, was difficult (we know: world’s smallest violin). We wanted our list to reflect the breadth of world cinema and of our tastes, but we also didn’t want to placate or pander or allow fear of Film Twitter or Outrage Twitter (or any Twitter) to weigh on our process. That doesn’t mean we weren’t plagued by doubts along the way. What are we missing? Who are we leaving out? Why this movie and not that one? We know certain omissions and selections are bound to incite eye rolls, grumbles and maybe a shriek or two. But we tried to stay true to our love of movies, these movies, and others that didn’t make the cut. (Remember, it’s only 50!) The final list is a reflection of that love, but also of a system that favors certain stories and storytellers at the expense of others. If the list is not a model of representational balance, call us out — we can take it — but also continue to call out an industry that hasn’t given us a more diverse landscape of voices to love, hate and argue over. The most conspicuous, surprising (including to us) and, surely to some readers, infuriating, thing about our list is how many masters are missing. After all our deliberating, point tallying, reconsidering, revoting, retallying and re-deliberating, none of the following directors cracked the top 50 films or 15 honorable mentions: Clint Eastwood, Steven Spielberg, Martin Scorsese, Terrence Malick, Spike Lee, Gus Van Sant, Jean-Luc Godard, David Cronenberg, Michael Mann, Quentin Tarantino, Steven Soderbergh, Alexander Payne, Jim Jarmusch, James Gray, Jia Zhangke, Abbas Kiarostami, Jafar Panahi, Asghar Farhadi, Apichatpong Weerasethakul and Hou Hsiao-Hsien. Ditto polarizing though prolific auteurs like Woody Allen, Roman Polanski and Lars von Trier. This wasn’t the result of any kind of “out with the old, in with the new” intention. In some cases — Scorsese, Spike, Godard — we felt their best work was pre-21st century. In Spielberg’s case, there were several films that had love (including Minority Report and West Side Story), but none that united all six of us in full-throated enthusiasm. In other cases, as in Eastwood’s Million Dollar Baby, Malick’s The New World and The Tree of Life, and Tarantino’s Once Upon a Time in Hollywood, there were ardent supporters but also just-as-ardent detractors. In other words, we didn’t reverse-engineer the list by starting with great directors and pulling from their filmographies; we allowed the titles to emerge organically, via memory and good old-fashioned brainstorming. (Five directors — or six if you count the Coens separately — ended up with two films apiece on the list: Jane Campion, Joel and Ethan Coen, Alfonso Cuarón, David Fincher and Richard Linklater. For more stats and specifics about the results, read [url=https://www.hollywoodreporter.com/?p=1235362388]this breakdown[/url].) Straight-up studio comedy, action, sci-fi and horror are largely, though not entirely, absent from our final selections (cue the cries of film-critic elitism). We love those genres, we swear! Movies like Borat, The 40-Year-Old Virgin, Collateral, The Bourne Ultimatum, Master and Commander and, yes, Anchorman: The Legend of Ron Burgundy were all in contention at one point or another. But the scarcity of this type of entertainment on our list reflects what we see as a certain creative impoverishment in those genres over the past few decades. The lack of risk-taking in mainstream filmmaking, the sameness and safeness of so much of that “product,” results in few of those movies lingering in the mind for longer than their runtimes. We could go on and on about the shortcomings of our work here — not enough animation! — but that’s what we count on you for! Without further ado, here are what we consider the 50 best films of the 21st century so far. Honorable mentions (in alphabetical order): [url=https://www.icheckmovies.com/movies/cache/]Caché[/url] (Michael Haneke, 2005); [url=https://www.icheckmovies.com/movies/the+dark+knight/]The Dark Knight[/url] (Christopher Nolan, 2008); [url=https://www.icheckmovies.com/movies/lenfant/]L’Enfant (The Child)[/url] (Jean-Pierre and Luc Dardenne, 2006); [url=https://www.icheckmovies.com/movies/holy+motors/]Holy Motors[/url] (Leos Carax, 2012); [url=https://www.icheckmovies.com/movies/the+hurt+locker/]The Hurt Locker[/url] (Kathryn Bigelow, 2009); [url=https://www.icheckmovies.com/movies/margaret-2011/]Margaret[/url] (Kenneth Lonergan, 2011); [url=https://www.icheckmovies.com/movies/marriage+story/]Marriage Story[/url] (Noah Baumbach, 2019); [url=https://www.icheckmovies.com/movies/la+pianiste/]The Piano Teacher[/url] (Michael Haneke, 2002); [url=https://www.icheckmovies.com/movies/the+royal+tenenbaums/]The Royal Tenenbaums[/url] (Wes Anderson, 2001); [url=https://www.icheckmovies.com/movies/lheure+dete/]Summer Hours[/url] (Olivier Assayas, 2009); [url=https://www.icheckmovies.com/movies/there+will+be+blood/]There Will Be Blood[/url] (Paul Thomas Anderson, 2007); [url=https://www.icheckmovies.com/movies/sous+le+sable/]Under the Sand[/url] (François Ozon, 2001); [url=https://www.icheckmovies.com/movies/under+the+skin-2013/]Under the Skin[/url] (Jonathan Glazer, 2014); [url=https://www.icheckmovies.com/movies/vera+drake/]Vera Drake[/url] (Mike Leigh, 2004); [url=https://www.icheckmovies.com/movies/vals+im+bashir/]Waltz With Bashir[/url] (Ari Folman, 2008) -
Horror
Favs/dislikes: 1:0. -
Horror
Favs/dislikes: 0:0. -
Horror.media's The 50 Best Action Horror Movies, Ranked (2017)
Favs/dislikes: 3:0. Ranked list, compiled by Tyler Callaway. [quote]I want to present everyone with a fun list that is full of great movies that really can be a great change of pace from watching Friday the 13th or Poltergeist. While those are both great films, they can get old after a while. This Halloween could be much more action filled. The action-horror genre is one that has not been getting much attention in recent years, but with the recent success of films like Don't Breathe and The Purge franchise, maybe we will start to see a trend. There are still plenty of action and gore filled horrors to make a huge list for them though, and that's what i'm going to do.[/quote] -
i-D's 50 Queer Films That Defined the 2010s
Favs/dislikes: 2:0. From 20th century-set lesbian love stories to transgender sex workers seeking revenge in modern day Hollywood, these are the 50 LGBTQ+ movies that shaped a decade of cinema. Ten years feels like a long time, doesn't it? Presidencies have changed hands, whole industries have adapted to new methods of consumption, and the news that the planet is dying has gone from being a political footnote to galvanising the most vital, pressing movement of our times. Some communities, however, have barely changed at all. Instead, they've continued the fights they've been fighting for decades, awaiting their honest moment in the cultural spotlight. For queer representation in cinema, the 2010s felt like a benchmark moment. What had existed before -- scatterings of queer love stories with heteronormative leads; inaccurate portrayals of trans bodies; queer characters fetishised or used for cheap laughs -- was finally starting to come undone. The tapestry of characters that graced our screens finally became representative of what life was like in the real world. Queer filmmakers got their time in the spotlight. Queer actors, finally, got the roles that had been stolen from them for decades. To celebrate that, we've compiled a list of 50 queer films that defined the decade. While the top 10 is a standard countdown of what we consider to be the finest queer films to have hit cinema screens this decade, the remaining 40 are presented in random order: excellent films that deserve your recognition regardless of their position. -
Ian Haydn Smith's FilmQuake - The Most Disruptive Films in Cinema
Favs/dislikes: 0:0. Discover films that dared to be different, risked reputations and put careers in jeopardy. This is what happens when filmmakers take tradition and rip it up. FilmQuake introduces 50 movies that shook the cinematic world, telling the fascinating stories behind their creation, reception and legacy. From unbelievable developments in technology (Citizen Kane (1941)) to feminist triumphs (Wanda (1970); films that kickstarted New Queer Cinema (Paris is Burning (1990) to others that challenged lawmakers (A Short Film About Killing (1988) – FilmQuake presents the movies that questioned boundaries, challenged the status quo and made shockwaves we are still feeling today. From film's first innovators, people like the Lumière brothers, whose short film of a train arriving was reported to have terrified audiences in 19th century Paris, through iconoclasts like Sergei Eisenstein and Luis Buñuel, to titans of 20th century cinema like Alfred Hitchcock and Jean-Luc Godard, discover the stories behind the films which incontrovertably changed the course of cinema forever. Into the modern day, this book examines how filmmakers have addressed themes of prejudice and inequality, from the Black Lives Matter movement and Jordan Peele's unmissable Get Out to Bong Joon-ho's cutting study of the lives of the wealthy in Parasite, as well as innovative new cinematic techniques emerging in films like 28 Days Later and Blair Witch Project. In telling the history of cinema through the works that were truly disruptive, and explaining the context in which each was created, FilmQuake demonstrates the heart of modern film, which is to constantly question boundaries and challenge expectation. -
ICM Forum - Prison Films 2023
Favs/dislikes: 0:0. -
ICM Forum 1952 Nominations
Favs/dislikes: 0:0.
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