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The 25 best L.A. films of the last 25 years (2008)
Favs/dislikes: 5:0. The city has been a main character in many films of the last 25 years. Our film crew picks the best. It's a tough list to crash. (L.A. Times) -
The 25 Best Movie Performances of All Time
Favs/dislikes: 3:0. Introductory Note: This list/article is the second in a series attempting to argue that for cinema to be and to be taken seriously as an art form, it must forgo and move beyond Hollywood-like visual-based ways of meaning-formation, understanding, etc. into actor-, face-, dialogue-, voice-, emotion-, body-, character-, feeling,-, psychology-, and tone-based ones. -
The 25 Most Infamous Movies of All Time
Favs/dislikes: 4:0. A quick glance at IMDb’s Top 250 page, or even at nominally more serious attempts to supposedly list the “greatest films ever,” shows that few people, their claims of be-ing “cinephiles” notwithstanding, take cinema seriously as an art form. The petit bourgeois journalist-cum-“critic” views cinema the same way he (it is usually a he) views a late-afternoon newspaper crossword or Sudoku puzzle, namely, as a decoder-ring semiotic symbolization to be deconstructed, by “reading” visu-al/formalistic and stylistic virtuosity or assigning meaning to easily-decoded predeter-mined camera movements. He views the “greatest films ever” as being so great pre-cisely because every moment in them – every shot, every camera movement or position, every editing technique and decision, etc. – is intentionally and specifically endowed with an obviously- and easily-decodable “meaning” even the most unsophisticated viewer can understand within a few seconds. So, for example, a large and empty house – especially if filmed from within a corridor – signifies a character is either lone-ly or depressed (and, naturally, so must the viewer feel after decoding said meaning), a lightning storm that the characters experienced an emotional turmoil, a husband and wife sitting at the opposite ends of a massive dinner table that their marriage is in shambles, and so forth. These films do not engage with emotions or have viewers work out their emotional responses to depicted situations step-by-step perceptually and perceptively, rather, they explicitly tell the viewers when to feel sad or happy and, rather than having them work with the characters’s emotional, physical, or vocal/verbal states, simply tell the viewers immediately how they feel. Dialogue, acting, characteri-zations, human interactions, etc., are minimal and functional at best, and frowned up-on at worst, in these “greatest films ever,” interfering with the journalist’s definition of great cinema as one that “tells a story and a plot using visual and cinematic devices.” And, if these “greatest films ever” have some generic and simplistic formulaic and/or abstract take-home message, especially if conveyed through these easily-decodable “hidden and deep meanings” – virtually always either some basically-true yet painful-ly-obvious-without-seeing-the-film and banal cliché or stereotype taken for granted by practically every semi-educated adult (e.g. “racism and war are bad,” “money is not everything and our current economic system is not perfect either,” “different people have different opinions,” “it is a bad and even dangerous idea to allow governments and corporations to develop technologies that shall allow them to spy on civilians, that may even cause alienation,” “there are several differences between the Jewish and Christian views of morality,” “society tends to be dominated by men,” “American so-ciety tends to value X or Y and that is not optimal,” “politicians and journalists some-times lie,” etc.), a crude and rather abstract popularization of some philosopher’s or theoretician’s views with little to no relevance to actual life and lived experience, triv-ial informative tidbits derivative of ideas more fully expressed elsewhere where the sole purpose of cinema is not to present anything new but merely to use said “cinemat-ic language” to express them (e.g. the director’s views regarding the Vietnam War or the Gulf War, metaphorical retellings of the stories found in the Book of Genesis or the New Testament, “this-means-that” metaphors where one easily “gets” the direc-tor’s intention of pointing our attention at some historical event, etc.), or, pandering to the politically-correct ideology of the bourgeoisie endlessly regurgitated by the media (yet still presented as subversive despite being hegemonic) by telling it what it wishes to hear regarding, for example, victimhood – the journalist likes them even more and he will even claim they are “deep.” What is clear is that emotionally-profound learning, truth-based experiences, and actor-focused character interactions based on the human body intended to provide the viewers with an understanding of and ways to improve themselves, their selves, and their lives are the last things on these people’s minds. These are referred to by this coterie as “merely filmed theatre or literature,” just about the worst offence in their eyes. Easy and easily-understandable Platonic grand themes and ideas as well as shortcuts to emotional understandings of characters and self, en-gendered by intellectually codifying camera angles within two seconds and other such easily-decodable devices situated outside the human body, in which life is framed and nothing is its brute self but a symbol, easily take the cake over emotional profundity for these folks. Films dealing with difficult emotional situations and with the com-plexities of life by focusing on the body and acting, in which the camera is merely functional, are “non-cinematic” and hence more-or-less the enemy. The testosterone-fueled dudebro psychology underlying much of this “canon,” the obsession with, not to say fetishizing of, technological tricks and lack of interest in emotional and psychological complexity, as can be ascertained just by looking at the top fifty or so films at IMDb’s Top 250 page or the endless columns claiming that tel-evision series glorifying the mucho thuggery of mobsters and their explosions and car chases (“quality dramas”) are somehow equal to the greatest works of Western civili-zation (not to mention beer commercials!), should be clear. In my country, the most popular website dealing with cinema seems to operate out of some ressentiment allow-ing its visitors to eat their cake while keeping it too, namely, to be interested in little more than emotionally-stale flicks centered on simplistic messages and easily-decodable decoder-ring symbolizations, all filled with all the explosions and car chas-es and button-pushing fight-or-flight reptilian comic-book thriller plots and “cool” stylizations teenage boys like, while still winning cultural and symbolic capital by claiming nobody can define what art is and that all cultural values are subjective and arbitrary, indeed, the very existence of art, independent, and experimental/avant-garde cinema often causes these people extreme anxiety for these very reasons. “There’s also a gender component to it [and] [i]t’s no accident that most of these critics – and the filmmakers they adore – are men [because] [i]t’s a boy thing [and a] teenage boy thing. ‘[l]ook at how tough I am [and] [h]ow unsentimental I can be. I’m a real guy,’” wrote critic Ray Carney. “Films which plug”, he wrote elsewhere, “into boy fantasies of dis-covering secrets about the adult world and enacting a cosmic destiny [in which] [e]very button in the adolescent male psyche is pushed—from the fascination with gadgets (computers and cell phones), to the feeling that no one understands you, to a sense of nostalgia for a lost youth [in which] every boy-in-a-baseball-cap can revel in his fantasy of rebelling against authority and saving the world, obtaining the love of an older and wiser woman (so there will be no messy sexual complications, like having actually to talk to her), and being a ninja-samurai warrior-Zen master […] at the same time [in which] [t]wenty-somethings undergoing a crisis about becoming middle-class wage slaves can indulge their fantasy of being closet-rebels with deep philosophies,” merely collapse “into an adolescent wail of despair or trying to recapture a golden age of childhood that never existed in the first place [which] is just another form of escap-ism, another way of avoiding and denying the claims and complexities of adult life, another way of refusing to grow up […] young people in these films and the young people watching them wash their hands of the problems of adult society and console themselves that they are the hapless victims of even more screwed-up parents [so] [t]hey can blame their father, mother, or other authority figure for their problems [and] [i]t’s flattering because it allows young viewers […] to cast themselves as and to iden-tify with all of the other damaged, weak, heartbroken misfits [hence] [i]n a word, it allows the viewer […] to feel sorry for himself: ‘[o]h, it’s so hard to be born into a world where there are no more heroes, where everyone is flawed, where eternal love is no longer possible. I’m so lonely I could cry [and] [w]oe is me [b]ut it’s comforting to know I’m not the only one who feels this way.’” No wonder most films considered the “greatest ever” or the most “philosophically” (i.e. being based on easily-decodable tidbits pandering to adolescent boys) “profound” could be summarized as “nobody understands you and adult society is just a bunch of dirty secrets, so be a real man, rebel against authority, and blow something up.” This list/article is the first in a series trying to take a different approach by moving beyond the “greatest films ever.” Could actor-based performances, as a form of truth-telling, enrich our lives much more and in much more complex ways than the standard Hollywood-filmmaking of assigning meaning to easily-decoded predeter-mined camera movements and other such shortcuts to understanding? Could films taking this approach teach us anything new that is not trivial, move us past received opinions and social dogmas, and force us to look at that we have forgotten? Of course, it is possible to try to clumsily coerce art, experimental/avant-garde, and independent cinema into the aforementioned standard modes of understanding, though, by doing so, one will never understand what makes them different from Hollywood fare. To-day we shall try to answer this question, by paying attention only to body-, dialogue-, and acting-focused cinema and ways of knowing and by ignoring all “purely cinemat-ic language” approaches, by looking at films often described as infamous, politically-incorrect, shocking, offensive, gross, or disturbing. -
The 25 Most Intelligent Movies of All Time
Favs/dislikes: 3:0. This list/article is the fourth in a series arguing that for cinema to-be-and-to-be-taken-seriously as an art form, it must forgo and move beyond Hollywood-like visual-based ways of meaning-formation/understanding into actor-, face-, dialogue-, voice-, emo-tion-, body-, character-, feeling,-, behavior/psychology-, and tone-based ones. Readers are strongly advised to read my three previous articles, especially (though by no means only) the lengthy theoretical/aesthetic introduction to the first, which obviously cannot be reprinted here for reasons of brevity, for a fuller understanding of this intellectu-al/critical project (and also because some important information contained therein about several directors to be discussed will also not be reprinted). -
The 27 greatest stop motion movies of all time
Favs/dislikes: 2:0. With Laika's visually sumptuous and breathtaking stop motion masterpiece Kubo And The Two Strings dazzling audiences throughout the country, what better time to celebrate this singular and remarkable art form? The effect is created when an on-screen character or object is carefully manipulated one frame at a time, leading to an illusion of movement during playback - and such fiendishly intricate work, which takes years of dedication, deserves to be honoured. Here are the greatest examples of stop motion movie mastery. -
The A.V. Club's 50 most important American independent movies
Favs/dislikes: 1:0. What makes an independent film? The question has never had a straightforward answer, and the cultural criteria that define an indie has changed over the decades. But by and large, it has always been something that couldn’t have been made within the Hollywood system. In our attempt to assemble a list of the most important American indies, we have included works by mavericks, film school grads, and true outsiders; productions with multimillion-dollar budgets and labors of love financed through part-time jobs; movies that played the arthouse, the grindhouse, or barely anywhere at all. Some were massive box office hits, while others languished in obscurity for decades. Not all of our selections would rank among the best American independent movies ever made. Instead, the films on this list are the ones that broke new ground, created genres, or first introduced important artistic voices and subjects into American film. -
The AV Club's 100 best films of the Decade So Far
Favs/dislikes: 3:0. -
The Best Fantasy Films of All Time (Consensus)
Favs/dislikes: 3:0. The list from Reel Fives pre-launch movie rankings for the best fantasy movies of all time. After an extensive online search, found 40 published rankings for fantasy. Reel Fives has taken all of those rankings and aggregated them into definitive rankings for the top 72 fantasy movies of all time. For each ranked list of top movies for the fantasy genre, they have taken the top five ranked films. Top 10 (Original List with 72 Movies) Percent of online top fives movies appear in shown 1 . The Lord of the Rings: The Fellowship of the Ring (2001): 70% 2 . The Wizard of Oz (1939): 50% 3 . The Lord of the Rings: The Return of the King (2003): 40% 4 . The Princess Bride (1987): 32.5% 5 . Harry Potter and the Sorcerer's Stone (2001): 30.0% 6 . Pan's Labyrinth (2006): 27.5% 7 . The Lord of the Rings: The Two Towers (2002): 22.5% 8 . Beauty And The Beast (1946): 15.0% 9 . Willow (1988): 12.5% 10 . It's a Wonderful Life (1946): 10% Fantasy Movie Ranking Sources with top spot. Games Radar........List of top 50 (The Wizard of Oz) Time Out...............List of top 50 (LOTR: FOTR) Good Movies List.List of top 50 (LOTR: ROTK) Film School WTF..List of top 100 (LOTR Trilogy) List Challenge.......List of top 50 (The Wizard of Oz) Watch Mojo..........List of top 10 (LOTR Trilogy) The Top Tens.......List of top 10 (LOTR: ROTK) Fantasy 100.........List of top 100 (LOTR Trilogy) Ranker..................List of top 388 (LOTR: ROTK) Arrowstorm Entertainment . List of top 5 (LOTR Trilogy) Flickchart.............List of top 2889 (Ghostbusters) Rotten Tomatoes.List of top 50 (The Wizard of Oz) Metacritic.............List of top 575 (The Wizard of Oz) American Film Institute..List of top 10 (The Wizard of Oz) What Culture........List of top 20 (LOTR: FOTR) Film Crave............List of top 500 (LOTR: ROTK) Hub Pages...........List of top 10 (Harry Potter Series) Thoughts on Fantasy.List of top 25 (LOTR Trilogy) AZCentral.............List of top 10 (The Wizard of Oz) Wired Editor's Choice..List of top 10 (Excalibur) Wired Readers' Choice.List of top 10 (LOTR: FOTR) The Daily Beast...List of top 10 (LOTR Trilogy) Reelz....................List of top 10 (LOTR: ROTK) Digital Dream Door..List of top 100 (LOTR: ROTK) IGN.......................List of top 25 (LOTR: FOTR) Funny or Die........List of top 5 with No particular order Cinema Blend......List of top 5 (LOTR Trilogy) Movies Online......List of top 5 (LOTR Trilogy) Top 5 Goodies.....List of top 5 (Pan's Labyrinth) eBay.....................List of top 10 (LOTR Trilogy) Bibliognome........List of top 5 (Willow) 411 Mania...........List of top 5 (LOTR Trilogy) Movie Film Review..List of top 100 (It's a Wonderful Lif) List Surge............List of top 10 (The Hobbit Trilogy) Movie Guide........List of top 10 (It's a Wonderful Life) Black Gate...........List of top 10 (LOTR: TTT) Escape Club........List of top 5 (The Princess Bride) Rinn Reads..........List of top 5 (LOTR Trilogy) Man, I Love Films..List of top 10 (LOTR Trilogy) These Fantastic Worlds..List of top 10 (LOTR: ROTK) The full list with 72 movies and link for every source at the bottom link -
The Daily Iowan: Top Movies of Past Decade
Favs/dislikes: 0:0. The DI Arts & Culture staff has gathered the best of the best of the past 10 years, starting with 2000. Hours upon hours were spent gathered at apartments, houses, and various downtown locations arguing over the best and most quality pieces of art. In the end, surprisingly, no one was punched in the face, and agreement came peacefully. And because the Arts staff is full of humble writers, it looked to the DI’s readership for their opinions and received more than 2,000 votes on the website. -
The Hankyoreh's 100 Korean Films
Favs/dislikes: 3:0. For the 100th anniversary of Korean film, Hankyoreh and CJ Cultural Foundation organized a selection committee with 38 experts from the film industry, (including directors, producers, critics, programmers, and researchers of film history) to select 100 films to represent 100 years of Korean film. Top 11 in chronological order "The Border City" (2002) and "The Border City 2" (2009) are included together, but the former is missing on ICM and IMDB. -
The National Movie Examiner's Top Movies of the Decade
Favs/dislikes: 2:0. The top movies of 2000-2009 on examiner.com. It actually 50 movies but the link for other 40 movies doesn't exist/found. -
The Scorecard Review Movie Awards: Best Movies of the Decade
Favs/dislikes: 0:0. The decade is over (and has been for a year). Now, we finally know what The Scorecard Review readers believe were the best of the best in the TSR Movie Awards. There were 501 total voters who voted. Yes, I know it’s not technically a decade. We’ve been doing The Scorecard Review Movie Awards for eight years and decided it was time for a “Best of,” hence the “(Almost).” If there is one thing we learned, it was The Decade of the Ledger, Heath Ledger. Ellen Page, Lord of the Rings, Meryl Streep, Avatar and Leonardo DiCaprio all had their moments as well. I will offer complete commentary on each individual category so stay tuned for that. Look for The 9th Annual TSR Movie Awards in February 2011. -
The Sydney Morning Herald: Ten Years, Ten Film
Favs/dislikes: 2:0. Realistically there is one qualification for consideration in either list. The film had to have a cineama release, in the decade from 2000 - 2009, in Australia. In the instance of record / memory failure, IMDb is taken as the authority. Interestingly 1999 appears to have been an incredible year for cinema if the sheer number of frustrating releases that you really wish qualified, is anything to go by. An interesting observation. In ten years of intense cinema going, DVD watching, Foxtel IQing and totally legal downloading a few truths become self-evident: - Clearly, you will never see all the films in a decade. You will also never manage to see all the films you 'should' see from that era. So no matter what films are included in the list, someone will always respond with a film you haven't got to yet. This isn't a failing on the part of the list, it's more an incentive to go and see it. For example, here's an admission: The autho has not seen No Country For Old Men yet from what everyone has said it would otherwise have made for serious consideration. - There were a lot of really good films made in the last ten years, no matter what your grandparents / parents / film school graduate friends tell you. They may not make them like they 'used to' or they 'should' but dang, some of them are good. - Making one of these lists is the most subjective thing you will do today. Two people pretty much cannot agree on a top ten list. It's like taking a group of people to the DVD store and asking them all to agree on one film. If people still went to DVD stores that is. So let's go. And remember, if your reaction to this list is of the "You're wrong", "You're mad" or "You should be shot" variety - then the response is "Well, yes" and "Challenge extended: Show us your list then!" CATEGORIES To try and give a variety of films a look in, the following list is broken up very roughly into genres. There are of course way more than ten categories of films, so to say that some very dis-similar films have been shoe-horned in together, would be a gross misunderstatement. As such more than one film is mentioned in each tier, and any that are named deserve a spot in the list. 1. Biopics 2. Action 3. Foreign Language 4. Australian 5. Documentary 6. Franchise 7. Indie Comedy 8. Mainstream Comedy 9. Indie 10.Animated So without further ado... -
The Telegraph: The Films That Defined The Noughties
Favs/dislikes: 1:0. This decade has brought some extraordinary shifts in the way films are made, and the way we watch them. But it’s not always easy to pinpoint exactly when those changes began – or where they will end. Many of the best films on this list – long-gestating triumphs such as In the Mood for Love or Spirited Away – were in development in the Nineties; others, now in production, will only see the light of day in a few years time. More than that, some of the key trends of the past 10 years – the DVD boom, faster broadband, YouTube – mean that today’s film fans have been watching, legally or illegally, movies from a bygone age. A fragmented, pick’n’mix cinematic culture, represented on this list by highly referential films such as Kill Bill, Moulin Rouge! and Far from Heaven, is increasingly the norm, not the exception. Big studios have continued to focus on blockbusters and franchise-fare to boost their profits. This hasn’t always been bad – the Bourne and Lord of the Rings trilogies are terrific fun – but it’s striking that artistically successful, award-winning features such as There Will Be Blood and Milk have under-performed at the box office: how sombre they must seem to audiences weaned on Pirates of the Caribbean and Spider-Man. How CGI-depleted! How zombie-less! Documentaries – intimate (Être et Avoir), epic (the nine-hour West of the Tracks) and idiosyncratic (The Gleaners and I) – have flourished, in part because of cheap digital technology, but also because that genre is given increasingly short-shrift on television. Animation – from the reliable Pixar stable to the Israeli Waltz with Bashir – has moved mainstream. The independent sector has become more international with the rise of Mexican drama, Korean horror, Romanian social realism. The succès d’estime of Steve McQueen’s Hunger and Apichatpong Weerasethakul’s Tropical Malady bodes well for the future of art film. Cinema, claimed by many to be moribund at the end of the Nineties, is still hungry, furious and vital. -
The Top 21 Movies of the 21st Century……So Far!
Favs/dislikes: 1:0. It’s one thing to come up with a list of the best movies in any given year, but the best movies of a century that’s just in its 16th year? We Are Movie Geeks polled a group of 30 carefully-selected (and mostly St. Louis-based) movie critics, movie bloggers, movie academics, movie promoters, and just plain old movie fans and asked for a list, in order of preference, of their Top Ten Favorite Films so far this century. Somewhere among the endless superhero blockbusters, franchise reboots, and sequels, some really great movies have come out in the last 16 years. And some of them were indeed superhero blockbusters, franchise reboots, and sequels! The 21st century has another 84 years to go, and there’s no doubt that these choices will change as the years go by, but since it’s doubtful any of those polled will be around when the century ends (unless Stephen Tronicek – born in 1999 – makes it to 101), we might as well do this now. To come up with our top 21, a super-scientific algorithm was generated….just kidding! We simply scored each movie based on its rank in any given list. If a movie was #1 on any list, it received 10 points, #2 received 9 points, and so on (a movie ranked #10 received 1 point – get it?). Of course, all of these lists are highly subjective and some favorite titles will be omitted, so prepare to argue with the selections of these 30 film buffs. -
The Top Tens: 20 Years of Memories
Favs/dislikes: 2:0. Favorite films of the last twenty years by cinemasight.com (1996-2016).Of the films with multiple citations, Fargo has the most mentions with three. With two each, Boyhood, Spirited Away and The Lord of the Rings trilogy. Now, let’s take a look at the films that make up their lists. -
The Top Tens: Our Cinematic Influences
Favs/dislikes: 2:0. This is another list by cinemasight.com.These are the films that influenced their tastes and opinions about movies, made they see them in differing lights and altogether molded who they would and have become as film enthusiasts. -
They Shoot Pictures Family
Favs/dislikes: 7:0. Family films on the TSPDT 1000 list. When you need a check and need to watch the kids on the same night. -
Time Out London: The 50 best Christmas Movies
Favs/dislikes: 4:0. -
Time Out New York 50 Most Romantic Movies
Favs/dislikes: 13:0. From 2011, Time Out New York presents their list of the most romantic movies of all time. -
Time Out's The 50 best gay movies: the best in LGBT film-making
Favs/dislikes: 7:0. With the help of leading directors, actors, writers and activists, we count down the best LGBTQ+ films of all time By Cath Clarke, Dave Calhoun, Tom Huddleston, Alim Kheraj, Guy Lodge and Ben Walters Posted: Tuesday June 16 2020 The importance of representation cannot be downplayed. By watching films we are introduced to experiences different to our own. It creates empathy and understanding – a connection between yourself and other people, while also helping us understand ourselves. That’s why, in the last few years, it’s been exciting to see an increase in quality LGBT+ cinema that truly represents different facets of the queer experience. Films like ‘Moonlight’, ‘Love, Simon’, the Melissa McCarthy-starring ‘Can You Ever Forgive Me?’ and the thrilling ‘A Fantastic Woman’ have all brought much-needed representation to the big screen, while also telling a diverse range of LGBT+ stories. And while we still have a long way to go before queer cinema is entirely mainstream, it’s worth celebrating how far we’ve come even since 2005’s ‘Brokeback Mountain’. So, with that in mind, we asked some LGBT+ cultural pioneers and Time Out writers to share their most essential LGBT+ films to countdown the 50 best gay movies. First version: By Cath Clarke, Dave Calhoun, Tom Huddleston and Ben Walters Posted: Tuesday November 24 2015 Leading directors, actors, writers and activists – including Todd Haynes, John Waters, Kimberly Peirce and George Takei – share the lesbian, bisexual, trans and gay movies they love the most Which movies are most beloved for the light they shine on lesbian, gay, bisexual and trans experiences? Which screen stories involving LGBT characters are the most enduring, whether romances, horrors or comedies? Which are the most groundbreaking, politically or artistically? And which simply demand to be watched again and again? We asked LGBT cultural pioneers – including Xavier Dolan, Christine Vachon, Bruce LaBruce and Roland Emmerich – to share with us their ten best gay movies. Here’s their out-and-proud list of 50 great LGBT movies. Note: The Terence Davies Trilogy (1983) is actually a compilation of three shorter films: [url=https://www.icheckmovies.com/movies/children/]Children (1976)[/url] [url=https://www.icheckmovies.com/movies/madonna+and+child/]Madonna and Child (1980)[/url] [url=https://www.icheckmovies.com/movies/death+and+transfiguration/]Death and Transfiguration (1983)[/url] -
Time Out's The 50 Most Special Effects of All Time
Favs/dislikes: 0:0. TONY ranks the most awe-inducing moments of our dreams and nightmares. -
TimeOut's 12 Best Stand-Up Specials Of All Time
Favs/dislikes: 3:0. "TimeOut watched and ranked the best stand-up comedians’ specials of all time, so get ready to laugh your ass off. If you’re too tired to go out to one of the city’s best comedy clubs, just stay in and appreciate the true best comedians of all time doing what they do best in these videos. Who knows, maybe one will inspire you to try your own hand at one of the city’s open mic nights." -
Top 10 Films: Top 50 Films of the 2000s
Favs/dislikes: 2:0. Welcome to Top10Films’ Top 50 Films of the 2000s. This is like the amp from “This Is Spinal Tap” – but we’ve gone even further. We haven’t just cranked it up to ’11’, we’re all the way up to ’50’. -
Top 10 Shitty Shatner Movies (Cinemassacre)
Favs/dislikes: 0:0.
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