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.
The top 500 films seen by the writer at Chrisfilm.wordpress.com.
*List is always changing. With film as merely a hobby, I fully admit I have barely scraped the surface of what the film world has to offer.
The first decade and a half of the 21st century has brought a lot of changes to the landscape of film. The advancement and sophistication of computers has made realistic computer generated effects a mainstay in both big-budget and small-budget films. The internet and streaming technologies have given big Hollywood new competition in films produced independently and by non-traditional means. We went from purchasing films on yards of tape to plastic disks, and now we can simply upload them to the cloud. Advertisements for films have reached a higher, more ruthless level where generating hype through trailers and teasers is crucial for a film’s commercial success. Movie attendance has fluctuated along with the economy, but that hasn’t stopped films from breaking box office records, including having films gross more than $1 billion on a regular occasion. Finally, as technology has developed, so too has a worldwide appreciation of film. No longer is a film’s commercial success dependent mainly on the North American market. Asian markets especially have become a major source of business for film studios worldwide. Also consider that easier access to film has created an appreciation for films of foreign countries and cultures.
To reflect on all the changes that film has gone through over the past 15 years, we’ve chosen the 100 best films of the 21st century (so far). These are films released in theaters or independently in the years 2001-2015 (the 20th century century ended in the year 2000, not 1999). To create this list, we reviewed several hundred of the best-received films of the last fifteen years. An algorithm was generated to create rankings based on a number of important criterion for all of these films. These criteria include a film’s impact on filmmaking, society, and pop culture. We looked at box office earnings to determine commercial success, and awards nominations and wins to determine critical success. We compared ratings from popular movie websites such as Rotten Tomatoes, MetaCritic, and IMDB which combine audience and critic opinions. Finally, we included a bit of our own preferences in order to come up with the final ranking of movies you see here. For films that have come out recently, we’ve taken into account the incompleteness of their box office results, critical reviews, and awards nominations/wins by making predictions as best we could based on previous years. For films released earlier during this time period, we took into account the effect of inflation as well as the growth of information technology and the impact this would have on everything from website ratings to number of awards nominations.
Note that we have decided to leave off documentary films. There are plenty of fantastic documentary films that have been released over the last 15 years, some of them among the best films released in a particular year. But the truth is that a documentary is difficult to compare to a traditional film for purposes of ranking when taking into account the criteria mentioned above.
In 2008 the Somethingawful.com subforum Cinema Discusso held a poll of the best films for every year from 1920 to 2007, as well as a poll for pre-1920 films, this collection compiles the results. The top 10 films from each poll with at least 2 votes made the list.
Today, June 21 2013, is the official start of summer, a technical bit of information Hollywood's studio execs have never given a damn about. For them and their expensive beach-season tentpole movies, summer officially begins once May calendars are introduced—meaning, since Iron Man 3, moviegoers have been steadily bombarded with gargantuan flicks the likes of Man of Steel and Fast & Furious 6, and, with World War Z opening, that's not about to stop anytime soon.
What's a cinema buff to do? As always, seek out the nearest independent theater and/or art-house venue and drop cash on the latest no-budget films worthy of such concerted efforts. Without that kind of open-mindedness, DIY moviemaking would cease to exist, robbing cinephiles of flicks that could potentially rival the hallowed likes of Reservoir Dogs, The Terminator, and Night of the Living Dead. All of which, yes, were initially inconspicuous, independently made passion projects.
Need some palate cleansers to help you fall back from seeing Man of Steel for the third time? Please consult our list of the 50 indie movies you need to see before you die, because, you know, a terrible, tragic accident could happen while you're en route to watch Channing Tatum save the world next week in White House Down. Use this to avoid any afterlife regrets. (complex.com)
Complaining about the film world’s lack of originality and daringness would feel shameful if it wasn’t so damn easy to find reasons to grumble. And the last 10 years, which have seen a multitude of trends come and go, A-list movie stars continually fail to open non-franchise movies, and the box office dominance of one Harry Potter, have given us plenty reasons to criticize. For instance, we’d need at least four hands to count the number of lifeless and inept horror remakes that genre fans have been assaulted with, and you know it’s slow creatively in Hollywood when Spider-Man gets completely rebooted (with this summer’s The Amazing Spider-Man) a mere five years after a $337-million-earning sequel (2007’s Spider-Man 3).
As you can tell, though, it’s a celebration around the Complex offices these days, after 10 years doin' it, and doin' it well, and when it came time to reflect upon the films that best represent our brand’s decade-long run, one fact became clear: For all of the whining movie purists do these days, those of us who painstakingly seek out quality over instant accessibility have more cause for elation than bitching.
Thanks to names like Judd Apatow, David Fincher, Daniel Day-Lewis, and Joel and Ethan Coen, as well as sick genre purveyors from countries such as France and Spain, the last 10 years have collectively been catnip for us reel folks. See for yourselves as we count down The 100 Best Movies Of The Complex Decade.
Let's face it: That much touted American Film Institute list of a few years ago was one of the laziest exercises in modern list-making since Entertainment Weekly began publication. The average person could sneeze out a hundred films in their sleep and be reasonably assured of duplicating 75% of the AFI's stunningly mainstream cinematic enumeration.
The CONELRAD 100, on the other hand, is a highly specialized and, in some cases downright obscure, round-up by and for the Atomic film connoisseur Many of these titles you may never have heard of. But that's what makes this list DIFFERENT, educational and, above all, FUN.
Over the past four years, the editors of CONELRAD spent numerous hours watching and researching 300 motion pictures with Atomic and/or Red Scare/Cold War themes. From this collection we revved up the particle separator and painstakingly pared the list down to a clean 100.
But unlike the AFI's collection, this list is not cast in stone. We invite spirited debate and submissions of Atomic tites we may have missed. CONELRAD will soon be presenting a fully searchable database of ALL three hundred films that we came across in determining the big 100. Eventually, we will repost a democratically elected 100, but for now we offer these films for fiery discussion purposes. So have at it!
Since its inception in 1946, cinephiles have counted on the Cannes Film Festival, the most prestigious annual film program in the world, to keep up with the medium’s most important artists and movements. Its star-studded red carpets and glorious French Riviera scenery may get as much attention as the carefully selected films in its competition showcases, but the true legacy of Cannes has always been the masterpieces that premiered there—and especially those that have emerged as winners. The festival’s top award was originally called the Grand Prix, and the trophy for it designed each year by a different artist. Then, beginning in 1955, it became the Palme d’Or, with a new trophy modeled after the city of Cannes’s coat of arms. (The festival continues to bestow a Grand Prix, although it’s a second-place honor now.) At Criterion, we’ve collected many titles that have won the festival’s highest award, hailing from many nations of the world, Russia (The Cranes Are Flying), Italy (The Leopard), Japan (Kagemusha), and the U.K. (If….) among them.
“Life caught unawares”—that’s how Soviet filmmaker Dziga Vertov expressed the principle and art of documentary in the 1930s. But the documentary has taken so many forms over the past century that it would be oversimplifying to call it merely the recording of reality. From its anthropological origins in the works of Robert Flaherty, the documentary has come to encompass Soviet and fascist propaganda of the thirties; the Direct Cinema and cinema verité of the sixties; the populist social-reform tradition of today; and so much more. What all great documentaries have in common is the ability to capture a place and time so vividly as to equal the imagery and storytelling of the best fiction.
Poetic realism was a cinematic style that emerged in France during the 1930s, the peak of that nation’s classic period of filmmaking. With its roots in realist literature, this movement combined working-class milieus and downbeat story lines with moody, proto-noir art direction and lighting to stylishly represent contemporary social conditions. Julien Duvivier’s Pépé le Moko, with the iconic Jean Gabin as the titular antihero, is generally regarded as the start of this melancholic, often fatalistic brand of cinema, which in part reflected the ominous atmosphere of prewar France but also lent itself to the individual sensibilities of a wide range of brilliant directors, such as Jean Renoir (Grand Illusion, La bête humaine) and Marcel Carné (Le jour se lève), and set designers like Alexandre Trauner. Poetic realism is thought to have greatly influenced such later film movements as Italian neorealism, which was equally sympathetic to the proletariat, and the French new wave, which looked to these great masters who had retained their artistic freedom while working in the French film industry.
A collection of all year lists from 2000-present as listed by CriticsTop10.com. The are ranked within each year based on how many critic top 10 lists they appeared on at the end of the year. Please see the website for more information.
1-39 - 2000
40-79 - 2001
80-119 - 2002
120-159 - 2003