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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10 Great Movies That Meditate On Time
Favs/dislikes: 3:0. Cinema is truly one of the most complex forms of art. Legendary director Andrei Tarkovsky once said, “No art form can fix time as cinema does. So, what is a film? It’s a mosaic made of time.” In this list, we’re approaching movies that somehow have reflections about time in its theme (or themes). As always, it is never too late to remember that many aspects interfere on the choice of the titles of an article like this. But, as usual, memory and personal preferences are the main factors. If you think any other movie should be on this list, please leave it as a recommendation in the comments section below. So, here are 10 amazing movies that meditate on time: -
10 Great Movies That Push The Limits of Digital Filmmaking
Favs/dislikes: 3:0. Cinema is stuck in a circle of conventions and forced and unforced nostalgia, and particularly fervent supporters of the analogic qualities of cinema have taken the digital revolution as something to be criticized. What some people have missed is that the digital medium has a sort of punk attitude that represents the best chance at challenging the rules of cinema, rediscovering a more intimate nature, defying old codes of representation as well as the temporal and economical rules of cinema. It is also the best medium to approach the society of the late 90s and the 2000s, where digital is slowly beginning to dominate every artistic, economical, and philosophical field. -
10 great whodunnit mysteries
Favs/dislikes: 3:0. Rian Johnson’s Knives Out joins the devilishly entertaining tradition of suspect-filled murder mysteries in which the audience plays sleuth. Rian Johnson’s riotously enjoyable movie Knives Out has all the ingredients of a classic whodunnit: a dead body in a country house, a variety of plausible suspects, an eccentric investigator and a plot with more twists than a coiled rattlesnake. Daniel Craig plays Benoit Blanc, a southern-fried sleuth called in to solve the murder of novelist and patriarch Harlan Thrombey (Christopher Plummer). Naturally, suspicion falls on every member of his family, and Blanc must eliminate them one by one. From the procedural cop shows on TV to big-screen thrillers, the murder mystery is perennially popular, but the classic whodunnit makes more sporadic appearances. Part intellectual puzzle, part comedy, the whodunnit is at its most enjoyable when it is witty and light on its feet. It’s not about doling out justice, but tickling the audience with the pleasures of plot and character. That’s partly why Agatha Christie’s The Mousetrap remains the longest-running show in the West End – although she famously asked the audience not to reveal the ending to their friends. In a perfect whodunnit the identity of the murderer should not be easily guessed at the outset, although looking back there will have been unmistakable clues. The plot should be garlanded with so many red herrings and dead ends that the audience’s heads are spinning by the end anyway. The detective may be an amateur, but he or she must be brilliantly clever, utterly idiosyncratic and dogged in their pursuit of the one person who had the means, the motive and the opportunity to commit the murder. For the most satisfying possible finale, the culprit’s true identity should be unveiled with a flourish, in front of all the suspects who have been gathered for the coup de théâtre. While Knives Out is self-consciously a throwback to the classic form, packed with allusions to its predecessors, this is a sub-genre that has taken a few enjoyable detours of its own. So let the games begin… -
100 best comedy by Maxim
Favs/dislikes: 3:0. -
100 Best Movies of All Time (according to 24/7 Wall St.)
Favs/dislikes: 3:0. Film is arguably the art form that evokes the most emotions. And great films are those that move audiences most. They generate a deep connection between moviegoers and the story. While 24/7 Wall St.’s list of 100 best movies of all time attempts a more impartial approach of aggregating and averaging critic and audience reviews, these reviews were no doubt influenced by the films’ emotional appeal. -
100 British Documentaries (BFI Screen Guide) (work in progress)
Favs/dislikes: 3:0. "Ever since John Grierson popularized the term "documentary," British non-fiction film has been renowned, sometimes reviled, but seldom properly appreciated. "100 British Documentaries "provides a uniquely accessible, occasionally provocative introduction to a rich and surprisingly varied tradition by considering 100 examples taken from across a century's worth of output. The 100 films range from the Victorian period to the present day. Alongside such classics as "Night Mail "and "Touching the Void "are documentaries that illustrate the many uses to which it has been put - from pro-gram-filler to political propaganda to classroom teaching aid - and the many styles and viewpoints it has embraced. While the focus is on the documentary "film," several television productions are included, indicating how the genre has developed on the small screen." -
100 clásicos del cine del siglo XX
Favs/dislikes: 3:0. Selección de películas incluídas en el libro "100 clásicos del cine del siglo xx" Link: https://www.goodreads.com/book/show/30735260-100-cl-sicos-del-cine-del-siglo-xx -
100 Favorite Movies
Favs/dislikes: 3:5. As of 7/8/2015 -
100 Favorites
Favs/dislikes: 3:1. -
100 films pour une cinémathèque idéale
Favs/dislikes: 3:1. 100 films présentés par Claude-Jean Philippe pour les Cahiers du Cinéma. -
100 Great War Movies: The Real History Behind the Films
Favs/dislikes: 3:0. This cinematic guide to war movies spans 800 years in its analysis of films from those set in the 13th century Scottish Wars of Independence (Braveheart) to those taking place during the 21st-century war in Afghanistan (Lone Survivor). World War II has produced the largest number of war movies and continues to spawn recently released films such as Dunkirk. This book explores those, but also examines films set during such conflicts as the Napoleonic Wars, the American Civil War, World War I, the Vietnam War, and the wars in Afghanistan and Iraq. -
100 Greatest Films by "Sobesednik"
Favs/dislikes: 3:0. -
1000 Favourite Movies
Favs/dislikes: 3:0. A ranked list of my favourite 1000 movies of all time. -
1000 (or so) Directors, 1000 Movies (Part II)
Favs/dislikes: 3:0. -
1000 (or so) Directors, 1000 Movies (Part III)
Favs/dislikes: 3:0. -
1000 (or so) Directors, 1000 Movies (Part IV)
Favs/dislikes: 3:0. -
1001 Movies Before You Die - 20th Century legacy version
Favs/dislikes: 3:0. Composite of past versions of 1001 Before You Die books, which only includes 20th Century films which have featured in any of the English editions (which neatly almost exactly adds up to 1001 titles). -
1001 Movies I Have to See Before I Die
Favs/dislikes: 3:0. Self-explained -
1001 Movies You Must See Before You Die (films in all editions)
Favs/dislikes: 3:0. For 2003-2021 editions currently -
1001 popular movies at the 2000s box-office
Favs/dislikes: 3:0. Top 1001 grossing movies released in the 2000s. Box-office not adjusted for inflation. Number of movies of each year : 2000 : 90 2001 : 90 2002 : 102 2003 : 98 2004 : 98 2005 : 109 2006 : 103 2007 : 99 2008 : 110 2009 : 98 Other year : 1995 & 1999 (Toy Story and Toy Story 2 Double Feature + Fantasia 2000) -
1001 popular movies at the 2010s box-office
Favs/dislikes: 3:0. Top 1001 grossing movies released in the 2010s. Box-office not adjusted for inflation. No longer updating here : future updates on https://letterboxd.com/thejroyy/lists/ -
101 Eesti filmi (Tristan Priimägi)
Favs/dislikes: 3:0. Filmikriitik Tristan Priimägi on valinud nende kaante vahele 101 Eesti filmi, mis annavad meie rohkem kui saja-aastasest filmiloost värvika läbilõike. Raamat aitab lugejal tõlgendada neid filme ajalises kontekstis, toob võrdlusi üleilmsete tähtteoste ja suundumustega, tunnustab arengut, uudseid mõtteid ja filmitehnilisi võtteid, puistab fakte ja põnevaid kaadritaguseid lugusid, selgitab seosid ja viskab vihjeid, intrigeerib edasi mõtlema ja vanu filme uue pilguga uuesti vaatama. Raamatu filmiregistrist võib leida peaaegu 500 pealkirja ja isikunimede registrist ligi 800 nime. Films missing from IMDb: 19. Talupojad 76. Esteetilistel põhjustel 79. Isamaa ilu 81. Vali kord 93. Salme saladus -
101 Greatest Screenplays of the 21st Century by WGA
Favs/dislikes: 3:0. Fifteen years ago, when the Writers Guild of America West (WGAW) and the Writers Guild of America, East (WGAE) compiled the 101 Greatest Screenplays of all time, the list was nothing short of a 20th century canon. The romantic wartime spy thriller Casablanca (written by the brothers Julius J. & Philip G. Epstein, and Howard Koch) was voted number 1; 99 screenplays later, at 101, was another romantic wartime spy thriller, Notorious (written by Ben Hecht). In between were foundational examples of film noir (Double Indemnity, written by Billy Wilder and Raymond Chandler), romantic comedy (Annie Hall, written by Woody Allen and Marshall Brickman), and gritty social drama (On the Waterfront, written by Budd Schulberg). But “canon” is a double-edged word: Of those 101 scripts, there were no writers of color, and only seven had a female screenwriter credited. 'The new 101 Greatest Screenplays of the 21st Century (*so far) could not but tell a different, and fluid, story. On the prior list, classic films about women, like Sunset Boulevard or All About Eve, were still narrated by men—one lying dead in a swimming pool. There are some 30 female screenwriters this time around, and five writers of color in the top 10. More to the point, there is not the sense that the writer had to contrive a way to make his or her character more…relatable, regardless of race, gender, or sexual orientation. As the number one vote-getter, Get Out is this list’s version of Casablanca: Imagine Jordan Peele pitching his concept to Jack Warner, and it immediately becomes apparent why comparing screenplays across Hollywood epochs is a non-starter. “We weren’t making art, we were making a living,” screenwriter Julius Epstein famously quipped of the studio system under which Casablanca was written. Get Out wasn’t conceived and written under any such restrictions, with a catch: The very concept of “writing for the screen” is in existential crisis. The studio system has given way to the streaming system, where everything, no matter the source, competes for eyeballs. This great (right?) democratization of content has also changed a lot of hard-and-fast rules. There are seven scripts for animated films on the new list. Depth of character, once strictly the province of the drama, or the issue film, is not out of place in a superhero movie or one starring a badly behaving bridesmaid. And formerly individuated genres like sci-fi, horror, comedy, and drama intersect freely, sometimes all in the same screenplay—see Parasite or The Lobster. Some things haven’t changed, list to list. Among the screenwriter’s roles is to reveal what is sick or horribly amiss in the culture. It was as true of Network or The Sweet Smell of Success as it is of The Big Short or Promising Young Woman. Universal themes are universal for a reason. For instance, the destructive nature of outsize power, concentrated in the hands of one apparently friend-less man. Charles Foster Kane, meet Mark Zuckerberg. There are other cool double bills across lists. All the President’s Men and Spotlight; Harold and Maude and Lars and the Real Girl; Sullivan’s Travels and Nomadland. Speaking of which, it is worth noting that most of the protagonists from the 20th century list had enviable job security, even if this meant Mafia boss, intergalactic warrior, or shark hunter. On the new list, occupation no longer defines character; but then again the middle class has vanished, the chasm between rich and poor evinced in movies from Roma to Little Miss Sunshine. And in screenplays like Wall-E, Arrival, or Children of Men, there is the heavy presence of a question: What exactly are we doing to ourselves, if not the planet? Perhaps that’s why the relatively earnest romantic comedy, at least as practiced by Nora Ephron’s When Harry Met Sally, is absent from the new list, unless you count the man-on-operating-system love of Her, or the teenage besties of Superbad and Booksmart. The screenwriters of the 20th century list were men who had either served in war, fled persecution in their home country, or come of age in war’s shadow. Cinema’s first job, until the studio system died and the rebel filmmakers of the 1960s and ’70s came along, was escape. The characters of the 21st century list are plagued by a different sort of battle. It involves the hard-fought realization of selfhood against mitigating forces of circumstance, biology, technology, identity, and neurosis. See Adaptation, Boyhood, Moonlight, and Inside Out. Destiny is now an option question, happily ever after just a construct. From Get Out at number 1, to Silver Linings Playbook at 101, the screenplays on this list invariably approach this question of self with authentic curiosity, boldness of vision, and a sense of artistic—if not personal—risk. -
15 Great Films That Let Your Eyes Do The Editing
Favs/dislikes: 3:0. Since the birth of cinema the average shot length (ASL) of films has been getting shorter and shorter, and when we talk about ASL (if you don’t know) we’re talking about how long a shot lasts before cutting. The lower the ASL, the more separate shots a film contains. To give you a practical example, Spun (Jonas Åkerlund, 2002) has an ASL of around 1.2, meaning that the average duration of a shot before cutting is a mere 1.2 seconds long, whereas Some Like it Hot (Billy Wilder, 1959) has an ASL of around 12.4. As a general guideline, ASLs for all films were much longer in the past, and over the decades people like Barry Salt have done exceptional work tracking the changing form of cinema, and looking at how films feature more and more cuts, and shorter and shorter takes as the medium has developed. Editing is something that we’ve become impatient for these days: we see the object, recognise its significance, and move on as quickly as possible. And this is something we’re taught to do: ‘keep it tight’, ‘cut, cut, cut’ and so on. But there’s an interesting conversation to be had about what happens when an audience is presented with a sustained frame, one that they are allowed to edit with their eyes by choosing where to look. -
15 Of The Most Confusing Films Ever Made
Favs/dislikes: 3:0. As seen here: http://www.popcrunch.com/most-confusing-films/
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