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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Park Chan-wook filmography
Favs/dislikes: 3:0. -
Park Hoon-jung Filmography
Favs/dislikes: 1:0. -
Parker Finn Filmography
Favs/dislikes: 0:0. Feature length filmography for director Parker Finn -
Parker Tyler's Underground Film: a critical history
Favs/dislikes: 34:0. "Parker Tyler (1904-1974), one of the few great American film critics, was intimate with and enormously respected by many of the underground and experimental filmmakers of his time. In this book, Tyler evaluated the Underground in general and the seminal films in particular, covering the history and scope of the genre with insight and verve." Missing films: Kenneth Anger - Inauguration of the Pleasure Dome: Sacred Mushroom Edition (1966) (reedited version from 1954 original) -
Parody films
Favs/dislikes: 0:0. -
part 1
Favs/dislikes: 0:0. -
Pascale Ogier Films
Favs/dislikes: 0:0. Pascale Ogier (26 October 1958 – 25 October 1984) was a French actress. For her performance in the Éric Rohmer film, Full Moon in Paris, Ogier was nominated for a César Award for Best Actress and won the Volpi Cup for best actress at the 1984 Venice Film Festival. Shortly afterwards, at age 25 — on the day before she was to celebrate her 26th birthday — Ogier died of a heart attack probably caused by a heart murmur condition she had since age 12 combined with drug use. -
Pass The Popcorn Film Club
Favs/dislikes: 1:0. Film Club movies from the private torrent tracker Pass The Popcorn -
Passport 2
Favs/dislikes: 0:0. -
Paste - The 50 Best Ghost Movies of All Time
Favs/dislikes: 6:0. When we set out to create a list of the best “ghost movies,” we didn’t quite realize at the start exactly how diverse that list would eventually be. We began with horror cinema in mind. Sure, there are hundreds of classical cinematic ghost stories and haunted house tales, right? All the way back to 1944’s The Uninvited, through The Amityville Horror and onto The Conjuring and others—it’s not like there’s a shortage of malevolent spectres out there. But then, in assembling the list, it became clear that this was another beast entirely from our recent ranking of the 50 best slasher movies of all time. Even more so than our list of the best zombie movies, “ghosts” have been co-opted into seemingly every genre, and they all belong on a list of the “best ghost movies.” After all, A Christmas Carol revolves entirely around its visiting ghosts, doesn’t it? So does Field of Dreams and its ghostly major leaguers, or the title character of Beetlejuice. So yeah, there’s plenty of horror on this list—but there’s also plenty more ghost movies suitable for fans of every genre, from romance to comedy to science fiction. Here then, are the best “ghost movies” of all time. -
Paste 50 Best Horror TV Shows of All Time
Favs/dislikes: 3:0. "The shows on this list represent a best-of, decades-long appreciation of spooky television. Some are horror comedies that never truly intended to frighten, but instead play off tropes of the genre in the vein of The Munsters. Others stretch boundaries, and would also show up on lists of the best sci-fi shows of all time, but they belong here as well. Some are simply terrifying, and are responsible for an untold number of nightmares over the years." -
Paste Magazine: Best 100 Silent Films of All Time
Favs/dislikes: 12:0. The 100 Best Silent Films of All-Time, selected by Jeremy Mathews -
Paste Magazine: The 100 Best Documentaries of All Time
Favs/dislikes: 8:0. In documentary filmmaking, truth is almost always filled with lies. It’s just the nature of the form, really—of any filmmaking at all, for that matter. Even a home video recording, if you’ve ever made or watched or starred in one, is marred by manipulation: Whether you’re aware you’re being “watched” or not, your truth is a sort of surreal quilt of camera placement, cuts and atmosphere, totally mitigated by the lens and then, further down the food chain, the ultimate observer. If you know you’re being watched, you act accordingly; if you don’t, the recording may carry a subtle tone of voyeurism, of intrusiveness—the feeling that something isn’t quite right. And yet, from direct cinema to Dogme 95, truth has always been an idealistic goal for many filmmakers, and not necessarily the purity of it, but the translation of its most deeply held essentials. Arguably, documentary filmmaking has always been at the forefront of that aim, though during much of its primordial beginnings—especially throughout the 1920s, ’30s, and ’40s—documentary filmmakers trolled truth as if it was yet another stuffy branch of bourgeoisie power. In Land Without Bread (1933), Luis Buñuel parodied the white guilt of popular travelogue docs of the time, pointing out that sadness and economical devastation existed in Spain itself—no need to travel to some faraway land. In Nanook of the North (1922), the life of an Inuit clan was notoriously messed with. And Man with a Movie Camera (1929) pretty much just made a bunch of shit up. Their goals weren’t to leave truth unfondled, but to say that an unfondled truth is an unexplored one: shallow and meaningless. Once Jean Rouche, Frederick Wiseman, D.A. Pennebaker and the Maysles, however, pioneered and then defined throughout the 1950s and ’60s what came to be known as cinéma vérité, documentary filmmaking shouldered the burden of truth, resolving to allow life to operate on its own, brushed only briefly by the manipulative fingers of the filmmaker. This was coupled with advances in filmmaking technology, notably that equipment became lighter, and more mobile. In turn, crews shrank, and coverage became paramount. That Nick Broomfield’s films are filmed with a minute crew on minute budgets, or that Oscar-winning Searching for Sugar Man (2012) was captured partly on an iPhone camera, means that today, as it is with most art, anyone can be a documentary filmmaker. Which isn’t a bad thing. Because truth belongs to the people, by definition—it is ours to shape and hone and mold into something that enriches each of our lives and each of our worldviews however we see fit. That the following list leans heavily on films released in the past five years isn’t a coincidence, nor is it a factor of some shortsighted list-making. Instead, it points directly to our increased capacity to capture, reproduce and respect truth. If anything, we’re coming full circle. Will the truth set you free? Probably not, but we believe the following 100 documentaries are the all-time greatest attempts to find out. -
Paste Magazine's 50 Best Anime Series of All Time
Favs/dislikes: 6:0. -
Paste Magazine's 50 Best Samurai Films of All Time
Favs/dislikes: 0:0. What is it about the samurai that captivates Westerners? The armor and swords, the reverent attitude and the reputation for supreme competence in warfare are all pretty impressive, but they don’t get to the heart of it. I believe it might be that at the core of every samurai is the code of bushido, the feudal Japanese equivalent of chivalry, with its one edict above all else: If the time should call for it, protect your lord with your life. That self-abnegation in service of something greater than oneself is the question at the heart of the works of generation after generation of directors as they revisit the samurai film. And it’s why we’re so excited to present Paste’s list of the 50 Best Samurai Films of All Time. This is a broad genre, just from a the standpoint of how much history falls within it. The American Western falls more or less within the bounds of the 19th Century, yet samurai films offer centuries of warfare, palace intrigue and a drawn-out end of an era for the history and film buff to chew on. Samurai flicks really have something for everyone. Fans of period pieces will love the intricate set design, costuming and portrayals of towering historical figures in the midst of epic conflict. If operatic drama is more your speed, you can sit back and watch committed actors dine upon lavish scenery. Action junkies get to watch riveting combat with cool-looking swords. And fans of film history in general will delight in tracing the lineage of some of the West’s cinematic touchstones to their forebears in the East, as well as some stellar Eastern adaptations of Western canon. It is with solemn bushido reverence that I invite you to join us as we dive into 50 films that exemplify this mightiest of genres. We’ve formed this list with a careful eye toward the classic jidaigeki (Age of Civil War period piece) and chambara (swordfighting) films that typify the genre in Japan, but also to some of the weird and subversive outliers that challenge audience expectations or the mythic idea of the samurai code. And because this genre is so deeply steeped in the history of its homeland, we’ve also arranged this list in a loose sort of historical chronological order and added some context that might help clarify the settings of some of the movies. -
Paste Magazine's 80 Best Movies of the 1980s
Favs/dislikes: 7:0. Welcome to Paste’s 80 Best Movies of the 1980s. This list takes into account what the critics and audiences of the time could not—the lasting ripple effects of iconic performances, influential direction and pop-culture sweet spots, as well as some simply overlooked gems. That said, a great performance or popular endearment isn’t necessarily enough. The films on this list must be good, solid examples of their respective genre (and in some cases, the template for said genre). -
Paste Magazine's The 100 Best “B Movies” of All Time
Favs/dislikes: 24:0. From Paste: Not every film can be the Citizen Kane of its day. For every high-budget “A movie” that commands significant promotion and funding from its studio, there are piles of B movies that scratch and claw their way into existence without the benefit of things like “a budget” or “a script” in some cases. To compare them with A movies in terms of resources and immersiveness isn’t a fair proposition. Instead, discerning film fans are able to simply appreciate them for what they are. But what does “best” mean when we’re talking about films often famous for their shoddy construction? It certainly doesn’t mean “best-made.” It also doesn’t mean “worst-made,” or else films like Manos: The Hands of Fate and The Beast of Yucca Flats would make prominent appearances. They’re not on this list because the meaning of “best” here is “most entertaining,” and I defy you to be entertained by Manos without its MST3k commentary or a pound of medical-grade marijuana. If these films are painful, they’re also equally fun. Whenever possible, I tried to keep the list to more obscure titles. Although John Carpenter’s Halloween is a great example of a superbly made “B movie” in terms of budget, any film fan has most likely seen it already. Gathered here is a collection of some of the most entertainingly cheap and endearingly bad movies ever made. -
Paste's 100 Best French Films of All Time
Favs/dislikes: 7:0. French language cinema covers vast swathes of history, geography and genre. The best French movies aren’t simply the product of a French person working strictly with a French team, they represent film as entelechy—a century of directors rooting around within the source code of this particular form of storytelling, pushing it into realms equally transcendent and horrifying. For its own sake. Because it is right to do so. If there is anything unifying the films in the following list—besides the French language—it might be that there exists a current of fundamental innovation throughout the many years surveyed. Auteurist visions care of Belgium, Greece, Poland, Denmark, Taiwan, Spain, Italy, the Netherlands and Senegal course through and inform the prelapsarian innards of French cinema, transforming the country into a hub for international film. This is foundational stuff. With the following we’re trying to provide a primer on French language film from an English-speaking perspective, exploring the schools of thought and exotic taxonomies that have defined what French filmmaking has been since George Méliès first set a moon cackling like a creep in 1902, and what it can be, skin-flaying, cannibalistic Grand Guignol nightmares and all. The Nouvelle Vague—both those of the Left Bank (Agnès Varda, her husband Jacques Demy, Alain Resnais and Chris Marker) and the Cahiers du cinéma crew (Jean-Luc Godard, François Truffaut and Claude Chabrol)—the erotic French thriller, the mind-bending (and bowel-emptying) horror of the New French Extremity, the colorful musical, the social farce, the sprawling crime film, the experimental vérité, the personal and unflinching documentaries: Even as so many films on this list have irrevocably altered our ideas of what filmmaking can mean, what it can do, so do they exist on the fringes, at the limits, willing to test the boundaries of taste, logic and (in the case of Chantal Akerman) time in order to question and then pull apart the systems and expectations that stagnate art and oppress artists. -
Paste's 100 Best Horror Movies of All Time
Favs/dislikes: 11:0. This list has been a long time coming for Paste. We are fortunate—some would say “cool enough”—to have quite a lot of genre expertise to call upon when it comes to horror in particular. Several Paste staff writers and editors are lifelong horror geeks, and there’s also a strong sentiment toward the macabre among several of our more prolific contributing writers. Case in point: We have so many writers focused on horror that we’ve produced huge lists of the 70 best horror films on Netflix, or the 100 best horror films on Shudder, both within the last year. We’ve kept you up to date with the 10 best horror movies of 2017 so far. We’ve even given you the likes of the 50 best zombie movies of all time, and the 100 best vampire movies of all time, if you can believe that. And yet, somehow, despite all that expertise, we’ve never put together a definitive ranking of the best horror films of all time. That ends now, with the list below: a practical, must-see guide through the history of the horror genre. There are classic films on this list, of course. There are also likely a handful of independent features that will be unknown to all but the most dedicated horror hounds. There are foreign films from around the globe, entries that range from 1922 to 2017. In some cases, you will likely be shocked by films that are missing. In others, you’ll find yourself surprised to see us going to bat for films that don’t deserve the derision they’ve received. One thing is for certain: With all the films that were nominated, we could easily have made this list 200 entries long. Horror cinema speaks toward the dark side in all of us, allowing us to confront the most frightening, primal forces we struggle with every day—death, and human malevolence—in a way that is actually constructive in strengthening the psyche. In the oddest of ways, horror movies help us overcome our own fears. Last updated October 2022 -
Paste's 100 Best Martial Arts Movies of All Time
Favs/dislikes: 10:0. List added January 2015 and updated in November 2022 Fighting, whether sanctioned or no-holds-barred, is without a doubt the oldest form of competition that mankind has ever engaged in. At times, it has been a necessary tool of survival—kill or be killed—and that proved an extremely effective motivation and crucible for enhancing mankind’s fighting prowess. Technology rapidly came into play and has been seen out to its inevitable conclusion, which removes man from the equation almost entirely. Today, robotic drones are poised to do much of our fighting for us—whether we ultimately end up in a Robot Jox scenario where wars are decided by giant mech battles is a valid (and awesome) question. And yet, despite all of our sophistication and technology, we still fight by hand as well. Some is driven by necessity. Others fight professionally, and have only continued to expand the complete picture of what a fighter is. Look at the exponential growth in sophistication from the early days of mixed martial arts to how the sport has become in 2015, going from big guys winging punches at one another to a beautiful, scientific system of mixed grappling and striking styles. The audience has never been bigger, because on some level, we love fighting, if only because it reminds us of our most primal roots that have long been shelved and put aside by civilization. And nowhere is appreciation for the beauty of fighting more apparent than in the wide, storied genre of martial arts cinema. Violence is the selling point of these films, but seeing as that violence is achieved through trickery, stunt work and movie magic, it’s not truly the audience’s bloodlust that drives the industry. It’s an appreciation for the beauty of violence, a reminder of the exceptional abilities derived through training and a celebration of ancient, classical storytelling, in the vein of “Avenge me!” No genre reveres classic themes as this one does, because at their root they speak to us like cinematic comfort food, and they provide excuses for what people have really wanted to see all along: The action. And so, let us celebrate the martial arts genre from its top to its bottom, old and new. Epic and modest. Comedic and tragic. Grave and absurd, all represented in equal measure. These films contain many wondrous sights: Monks training their bodies to repel bullets. Men with prosthetic iron hands shooting poison darts. Flying heads. Incredibly silly ninja costumes. It’s all here. But please note, don’t look for Seven Samurai, Yojimbo or The Sword of Doom here. Although they’re all great films, we wanted this list to focus squarely on our conception of “martial arts cinema,” which has little in common with a great samurai drama by Akira Kurosawa. These films are action-packed fighting spectacles, but above all, they’re just plain fun. -
Paste's 100 Best Western Movies of All Time
Favs/dislikes: 7:0. List published in June 2016 Is the Western the most American of movie genres? You can make an argument for the Western film’s internationality on the names of the directors who have contributed to its iconography: You have your John Fords and your Anthony Manns, your Sam Peckinpahs and your Samuel Fullers, but over in Europe you also have filmmakers like Sergio Leone, Enzo G. Castellari and Sergio Corbucci, among many, many others, as authors of Western offshoots that influence filmmakers even today. (And of course there are those great entries in the Western canon that were lifted wholesale from Akira Kurosawa’s filmography.) Hell, let’s flash from the Western’s glory days to the last decade, where Kim Jee-woon and Takashi Miike have put their individual stamps on its tropes and motifs. For these reasons, there’s certainly an argument to made that the Western is truly “universal.” But no matter where Western movies are made, no matter what subgenre classifications they are individually accorded, and no matter who makes them, the films always engage with symbols, eras and images that are quintessentially “American.” The Western is the domain of the cowboy, the solitary hero. It’s a place where law and chaos are ever in conflict with one another and where the difference between survival and death usually comes down to who is faster on the draw. It’s a testament to the rich, awesome power of the Western as a narrative mode that filmmakers from around the planet have found stories worth telling within its purview, but even the Italian maestros simply added their own unique (and significant) flourishes to a cinematic tradition that is American in its DNA. Maybe it’s more accurate to say that they made the Western their own. Spaghetti Westerns are, after all, a cousin to American Westerns in terms of style, content, themes and morality. The Italian Westerns are literally gritty where American Westerns are polished and clean; they deal in ambiguity instead of black and white. The average Spaghetti Western hero looks like a total bastard next to the clean-cut heroes of American Westerns, who uphold all of the best and most commonly accepted standards of heroism as we know them. Who would you rather save the day for you? Will Kane, or the man with no name? There’s a divide separating the Westerns made by Europeans and those shot by Americans, but if you can sort these movies out by their varying approaches, you can’t keep them all from standing under one umbrella. (A better point of debate: Did the Spaghetti Western become a thing in 1958 or 1964?) Like the wide and sprawling landscapes that are so much a part of the Western’s character as a genre, the Western itself is a big, open canvas for storytelling of all stripes. With that in mind, we here at Paste set about collecting Westerns from all over the map and across the ages to assemble our picks for the 100 best Western films of all time. —Andy Crump -
Paste's 100 Greatest War Movies
Favs/dislikes: 8:0. War. What is it good for? Well, if nothing else, then a tidy template for cinema: conflict, clear protagonists and antagonists, heightened emotions, and a generally unpredictable, lawless atmosphere which—as per the western—has since the dawn of cinema offered an elastic dramatic environment in which filmmakers can explore men at both their best and worst. And make no mistake, the war movie is almost always about men. It’s the most masculine of genres, the fact that armies have throughout history often been almost exclusively male seeing to it that men almost always dominate these things. It’s a genre that emphasizes action and existential angst. It’s also a malleable genre, and one that could broadly include all manner of films that we ultimately ruled out of the running in this list. With this top 100, we’ve made the decision to include only movies whose wars are based on historical conflicts, so none of the likes of Edge of Tomorrow or Starship Troopers. We’ve picked films that deal with soldiers, soldiering and warfare directly, meaning wartime movies set primarily away from conflict, often told largely or exclusively from the civilian perspective—a category which includes such classics as The Cranes Are Flying and Hope & Glory, Grave of the Fireflies and Forbidden Games—didn’t make the cut. Post-war dramas, like Ashes and Diamonds and Germany, Year Zero, as well as films that go to war for only a fraction of the running time, such as From Here to Eternity and Born on the Fourth of July, were also excluded. Some tough choices were made on what actually constituted a “war movie.” Resistance dramas feature in this list, but Casablanca doesn’t appear. Likewise Robert Bresson’s A Man Escaped and Sidney Lumet’s The Hill. It was decided ultimately that the war was too much a peripheral element in these films. On the other hand, while both western The Good, The Bad and The Ugly and biopic The Imitation Game feature war prominently, they, like Casablanca (a romance with noir and thriller elements) plus A Man Escaped and The Hill (both prison movies), belong more obviously to other genres. We’ve also decided not to include movies which focus on the Holocaust here; those are set to appear in another feature entirely. Regarding the films that do feature here: our 100 hail from all over the world. These films were released as recently as last year and as far back as 1930. They range from comical to harrowing, action-packed to quietly introspective, proudly gung-ho to deeply anti-war. They are a diverse set of movies; they are also worthy of being called the 100 greatest war movies ever made. Published May 2017 -
Paste's 50 best films of 2015
Favs/dislikes: 0:0. Top 50 films of 2015 according to paste -
Paste's 50 best films of 2016
Favs/dislikes: 0:0. Top 50 films of 2016 according to Paste.com -
Paste's 50 Best Films of 2017
Favs/dislikes: 2:0. Top 50 movies of 2017 according to paste magazine
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