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.
Order by:
Filter
-
1996 Top 10 Movies
Favs/dislikes: 0:0. -
1997 Film Awards
Favs/dislikes: 0:0. -
1997 Top 10 Movies
Favs/dislikes: 0:0. -
1997s IMDb's top 250
Favs/dislikes: 1:0. -
1998 Film Awards
Favs/dislikes: 0:0. -
1998 Top 10 Movies
Favs/dislikes: 0:0. -
1999 Film Awards
Favs/dislikes: 0:0. -
1999 Top 10 Movies
Favs/dislikes: 0:0. -
19èmes Rencontres des Cinémas d'Europe, Aubenas (2017)
Favs/dislikes: 0:0. Manque : 68, MON PERE ET LES CLOUS de Samuel Bigiaoui > Précédé de LE SAINT DES VOYOUS de Maÿlis Audouze > FRANCE > Invité >En partenariat avec Ardèche Image (Premières œuvres) LA FIANCEE DE L’ISHAM d’Oleg Frelikh > OUZBEKISTAN LE SERMENT d’Aleksandr Usol’tsev-Garf > OUZBEKISTAN LE VENT DANS LES ROSEAUX de Arnaud Demuyink > FRANCE WALLACE ET GROMIT : CŒUR A MODELER de Nick Park > GRANDE-BRETAGNE -
19th Academy Awards (1947)
Favs/dislikes: 2:0. -
1>500<400 Nominees
Favs/dislikes: 7:0. -
1SO's < 400 Checks
Favs/dislikes: 1:0. -
1SO's Essentials
Favs/dislikes: 4:0. Favourites list from [url]https://www.icheckmovies.com/profiles/1so/[/url] -
1st Academy Awards (1929)
Favs/dislikes: 1:0. -
1st Golden Globe Awards (1944)
Favs/dislikes: 0:0. -
2
Favs/dislikes: 0:0. -
2
Favs/dislikes: 0:0. -
2 heures de perdues
Favs/dislikes: 0:0. Films traités dans le podcast "2 Heures de Perdues" -
2 x 50 Years of French Cinema
Favs/dislikes: 4:0. List of movies that was mentioned in BFI documentary project about french cinema -
20 Aliens
Favs/dislikes: 0:0. -
20 Amazing Slow-Paced Movies You Shouldn’t Miss
Favs/dislikes: 5:0. Some of the best, and most obvious, advice to give anyone trying to get into cinema is to just be patient, and pay attention at all times. It is axiomatic for sure, but this advice is even more prevalent when considering slow, meandering cinema. It can be tempting to wander off and lose focus, but remaining diligent is what is going to provide the best understanding and enjoyment of the content over anything else. The history of slow cinema runs the gauntlet of auteur legends such as Carl Theodor Dreyer, Ingmar Bergman, Chantal Akerman, Yasujiro Ozu, and Michelangelo Antonioni. Since the infamous boos and jeers directed towards the groundbreaking L’Avventura at Cannes, slow film has always seemed to have an uphill struggle to find a proper home. Now many filmmakers are applauded for such “relentless” pacing. In fact, from an academic and historical point-of-view, slow film is entirely antithetical to classical style filmmaking. Old (and new) films are dominated by successive cutting, varying of shots/angles, and utilizing the Kuleshov effect to its fullest for easier plotting. Usually classic Hollywood films did this so the editor could cover up any mistakes or discrepancies. Now it seems as if newer, mainstream films are vying for audience attention with as much visual stimuli as possible. However, many slow films like to have the mise-en-scène at such a minimum to where it seems as if nothing is happening. Some directors have a preference for keeping the camera at a long or medium-long shot to maintain verisimilitude, letting the scene play out in sequence. There are many fantastic slow films, but these 20 films are emblematic of what the style/technique has to offer. -
20 Amazing Surrealist Movies
Favs/dislikes: 3:0. After the invention of cinema in the late 19th century, in the late 1910s and early 1920s, directors who emerged from French Impressionist Cinema, German Expressionist Cinema, Soviet Montage, Dada Cinema, Surrealist Cinema and Japanese Humanism Cinema all tried to explore the possibility of this new-born art form, and cinema reached its first golden age in history. Surrealist cinema is a modernist approach to film theory, criticism, and production with origins in Paris in the 1920s. Related to Dada cinema, Surrealist cinema is characterized by juxtapositions, the rejection of dramatic psychology, and a frequent use of shocking imagery. Surrealism was the first literary and artistic movement to become seriously associated with cinema,though it has also been a movement largely neglected by film critics and historians. Film surrealist like Luis Bunuel, Jean Cocteau, Alejandro Jodorowsky, Jan Svankmajer and David Lynch broke all the rules and cinema conventions, they made divided movies that both challenge and entertain us. In order to keep a balance, we only selected at most 2 movies from each of these greatest surrealists. Some of the movies on the list are not strictly surrealist cinema, you can argue they belong to the genre of sci-fi or fantasy, but the line is thin and they surely have some surrealist element in them, that’s the reason they got chosen. If you are looking for a list full of strange movies, then this is it. -
20 Best Horror Scripts to Download and Read for Free
Favs/dislikes: 1:0. 20 horror scripts to download and take your horror writing to the next level. -
20 Best Southern Gothic Films
Favs/dislikes: 4:0. The 20 Best Southern Gothic films, according to Taste of Cinema. -
20 Black and White Films With The Most Beautiful Widescreen Composition
Favs/dislikes: 1:0. There is nothing new under the sun and little that has ever been completely new in the cinematic world, either. The widescreen era in the motion picture world began in the early 1950s with the emergence of Cinerama and Cinemascope. These processes were introduced in an effort to lure newly converted TV fans back to the theaters by virtue of changing the shape of the motion picture screen from the long used “Academy Format”, which used a ratio of 4:3 to one of 2:35 to 1 or even wider. In truth, this type of process had been in existence since the late silent era and Fox Films and a few independent producers had tried to introduce it into American filmmaking in the early 1930s. However, first depression then global world events prevented the introduction of anything more that was new and elaborate in the world of motion picture theaters for some two decades. Then came television and the threat it carried to the movie world. In the effort to lure the audiences back, the film companies sought to give the public whatever TV couldn’t offer. Widescreen was certainly something different from TV but so, largely, was something else: color. Though there were experimental color broadcasts from the late 1940s, color on TV wouldn’t come into practical usage until the mid-1960s. Color had been a part of the movie world since the silent era of the 1920s, though not perfected until 1935. However, it was an expensive process and, though bright and radiant, it had the drawback of not being able to achieve the depth of focus and intensity of black and white. Thus, it was largely consigned to musicals, comedies, and period pieces. When widescreen came in, which was a bit costly as well, the film studios largely were of a mind that the high price meant that all widescreen films would also be shot in color in order to increase potential revenue. The problem with this is that some films needed, artistically, to be shot in black and white. Some subjects were far better served by monochrome and the depth of focus and use of light and shadow essential to telling the story correctly. At first it was a hard sell on the part of the director to make black and white filming possible. Fox studio head Darryl Zanuck had gone so far as to declare black and white dead (ironically, he would violate this more than once himself when he went into independent production a few years later). Thankfully, black and white was allowed to be used a number of times until the color era was firmly established in 1968 (the last year the Motion Picture Academy would give out awards in specific black and white craft categories was 1967). Europe and Asia were a bit more lenient in allowing black and white but film makers faced a color challenge there as well. The sad irony is that black and white anamorphic films are among the most aesthetically pleasing of all films, containing both great breath and depth. Following are some fine examples of this. (Note: non-ananamorphic widescreen black and white films such as Touch of Evil, Night of the Hunter, and Psycho are not covered in this article.)
Showing items 4251 – 4275 of 23394