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.
Referenced to IMDb releases of the year(there's no direct link to all in one source).
* Based on U.S. theatrical releases(re-release) only.
* Excludes: Shorts, direct-to-DVD, and films without an IMDb page.
* Sorted by release date(Jan->Dec).
The Life Cinematic is a message board full of film enthusiasts. Members have a very diverse and unique taste in film. This resulted in this consensus list based on their individual top 100s.
The site is now defunct, but this list is a glimpse into what a wonderfully idiosyncratic and often mental place it was.
The following eight films have no IMDb entries:
3. First Cousin Once Removed (dir. Alan Berliner)
9. The Extravagant Shadows (dir. David Gatten)
24. Reconversão (dir. Thom Andersen)
27. Traveling Light (dir. Gina Telaroli)
34. Age Is... (dir. Stephen Dwoskin)
36. Here and There (dir. Antonio Mendez Esparza)
42. The War (dir. James Benning)
43. Nights with Theodore (dir. Sébastien Betbeder)
The Top 25 of the Audience Award at the International Film Festival Rotterdam in 2012.
Not on IMDb are:
7. I'm Still Alive - http://www.filmfestivalrotterdam.com/nl/films/i-m-still-alive/
20. Peace versus Justice - http://www.filmfestivalrotterdam.com/nl/films/peace-versus-justice/
25. The Hyperwomen - http://www.filmfestivalrotterdam.com/nl/films/as-hiper-mulheres/
Let’s all just admit that 2012 started to get a little weird towards the end. At least Stateside, anyway. There was all that unpleasant political stuff going on; somehow rape became a gift and then it was bad again; and there was that inclement weather along the East Coast that totally had nothing to do with man-made climate change. Amid all this socialecological turmoil, we shouldn’t blame you for missing some pretty big news in the world of cinema. But we will, anyway.
After all, this year we said goodbye to one controversial auteur (Béla Tarr) and adopted a different personal pronoun for another (Lana Wachowski). Whit Stillman finally made another film after a nearly 15-year hiatus (Damsels In Distres), brilliantly showcasing the talent of Generation Me’s answer to Chloë Sevigny (Greta Gerwig). Plus, any year that a Zachary Oberzan film comes out (Your brother. Remember?) is a good year for movies. Thankfully, all that Mayan apocalypse dreck ran its course a couple years ago, leaving room for some more rarefied grapplings with the end of all things (Tarr’s number-one stunner, The Turin Horse). And all that IRL political stuff we mentioned earlier? Not nearly as troubling as 5 Broken Cameras or This Is Not A Film, movies that managed so brilliantly to elucidate the very real human loss of geopolitical conflict.
But what really blew us away this year weren’t the super-good films that defied convention or made grand political statements. Instead, we were left with our mouths agape by films helmed by auteurs confident enough to be okay simply ignoring convention, never feeling the need to prove anything outside the piece of work at hand, some of which were at ease merely reveling in the sheer virtuosity of their principal actors’ performances (The Master). Oh, and Béla, you’ll be missed. –PAUL BOWER