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.
Here's a bunch of potentially shitty flicks we'll see together at the Skype Crew.
If you know of a crappy movie, that's also an official check, and is not on this list, recommend away!
Wanna watch a movie with the Skype Crew? Send me a PM, then. :)
The list can also be found at IMDb, with our ranking for each movie: http://www.imdb.com/list/gEVCJVXOpD4/
It is always a challenge to produce a definitive list of “must- see” movies, because value judgments are, by definition, extremely subjective. However, the 100 handpicked films in this section have delighted, moved or educated audiences of all ages, all over the world. Over the last nine decades, these films have changed our perceptions of cinema, and most have left an indelible mark on film history.
The lesson of this weekend’s box office is two-fold. First of all, we
have another shining example of why ranking is relatively irrelevant.
Disney’s Thor: The Dark World is the top film of the weekend with 38
million (-55 [smiley] , but it is not the top story of the weekend.
Universal’s The Best Man Holiday, Malcolm D. Lee’s sequel to The Best
Man fourteen years after the original, debuted with a genuinely strong
30.6 million. Said number is an unquestionable triumph for the 17m
comedy whether it ends up in first place or ends up in ninth place.
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The second lesson of the weekend is yet another one that should have
been learned by now: Yes, black people go to the movies. We all like to
act surprised over and over when Tyler Perry scores again and again or
when Kevin Hart’s Laugh At My Pain or Let Me Explain break out in
limited release. It’s well-past time we noticed that black audiences
like seeing themselves onscreen. More importantly, and this is arguably
the key, they really like seeing black characters onscreen in starring
roles in films that don’t necessarily revolve around racially-based
adversity. When Hollywood bothers to make films like that,
African-American audiences generally show up in relatively solid
numbers, with periodic blockbuster debuts like this one. Tim Story’s
Think Like A Man, loosely based on Steve Harvey’s dating self-help book,
was a breath of fresh air last April. We all acted stunned when it
debuted with 33 million the weekend before summer, but in retrospect it
shouldn’t have been all that surprising. It was a genuine ensemble
romantic comedy that happened to be filled with black movie stars
without the Tyler Perry package. It was something we hadn’t seen much of
since the early 2000?s. If Think Like A Man was a (new) trendsetter
like The Ring, Malcolm D. Lee’s The Best Man Holiday is The Grudge, the
first major movie to capitalize on what Hollywood hopes may be a genuine
fad. It doesn’t hurt that several cast members of The Best Man have
become bigger stars in the last fourteen years. Taye Diggs, Morris
Chestnut, Regina Hall, Terrence Howard, Sanaa Lathan, Nia Long, and
Harold Perrinea are all “names” in the African American community. The
Best Man Holiday not only operated as a nostalgic sequel for audiences
pining for a time (1997-2004) when films like The Best Man weren’t an
aberration, but also happened to be primed to capitalize on being the
first big ensemble romantic comedy to open after the (we hope)
trend-setter that is Think Like A Man. The film played 75% female, 63%
35-and-older, and 87% black. The debut is slightly less than Think Like A
Man and higher than every Tyler Perry debut save Madea Goes To Jail
(40m). Presuming it has a weekend-to-final multiplier closer to Think
Like A Man (2.72x) than the usual Tyler Perry film (an average of around
2.25x), it’ll end its domestic run with 83m. That’s a huge win and
should make Sony , which has Think Like A Man Too set for June, very
happy. There really isn’t much news of note this weekend. Charlie
Countryman, Shia LaBeouf’s bid at indie respect, grossed just 8,579 on
fifteen screens. Alexander Payne’s Nebraska debuted from Paramount
Vantage on four screens this weekend, for 140,000 and a 35,000
per-screen average. This one is gunning for an Oscar nom for Bruce Dern,
but this strong debut means little one way or another for the
black-and-white dramedy as it copes with a strong Oscar season. Of note,
I would hope that Paramount releases this somewhat wide, as it takes
place in and is arguably about the kind of “flyover” country that
Hollywood often ignores but is ripe for the picking. There is a reason
that Bernie, which was a skewed love letter to Texas hospitality, played
all summer back in 2012. Paramount is at least expanding to ten markets
next Friday. Thor: The Dark World is doing fine, with a solid 38.5m
weekend. That’s a drop of 55%, which is a larger drop than Iron Man (-48
[smiley] , Thor (-47 [smiley] , and The Avengers (-50 [smiley] but
slightly smaller than the likes of Iron Man 2 (-59 [smiley] , Iron Man 3
(58 [smiley] , The Incredible Hulk (-60 [smiley] , and Captain America
(-60 [smiley] . I could argue that perhaps a smaller drop might have
been in order due to little demographic competition and a November
release date, but that’s beside the point. Thor: The Dark World has a
ten-day domestic cume of 147 million, with its worldwide total now at
479m, well above the entire S449m total of the first Thor. It may not
be leggy, but it has big enough numbers, and it’s doing well enough as a
kid-centric entertainment (see that 3.6x second weekend multiplier),
that it doesn’t need legs. Warner Bros.’ Gravity is nearing the end of
its initial theatrical run (I’m expecting an Oscar-centric IMAX
rerelease in early 2014), and it crossed S240 million domestic today
with a S6.2m (-26 [smiley] weekend gross. It’s the fifth-biggest
domestic grosser of 2013, having passed Fast & Furious 6 (S235m) and
its racing towards S500m worldwide. Free Birds earned another S8.3m
(-25 [smiley] for a new total of S42.2m. The good news is that Free
Birds is holding quite well. The bad news is that Free Birds has just
one more weekend before its goose gets cooked by Disney’s Frozen.
Lionsgate’s Ender’s Game held up okay, dropping 40% in weekend three for
a S6.2m frame. But having barely crossed S50m after 17 days (S53m),
it’s another dead would-be franchise. Not that it matters that much with
The Hunger Games: Catching Fire dropping next Friday. Richard Curtis’s
About Time has now earned S11m domestic but S53m worldwide, while Rush
has S26m domestic. Matthew McConaughy’s Oscar-bait drama Dallas Buyers
Club is hanging in there, having earned S1.7m on 184 screens in its
third weekend. Its cume is S3m. Paramount’s Jackass Presents: Bad
Grandpa earned an estimated S7.6 million (-32 [smiley] in its fourth
frame. It’s shown remarkable legs, ending the weekend with S90m, and it
will cross S100m around Thankgiving. CBS CBS +0.36% Films’ Last Vegas
held steady with a S8.87m third weekend (-20 [smiley] . It’s at S46.9m
total and, once it surpasses the S54m gross of The Woman In Black, will
become CBS Films’ biggest domestic earner ever. Oscar bait Captain
Phillips won’t quite make it to S100m by the end of the this weekend
(about S97m cume), but it should happen sometime over the next week,
while presumptive front runner 12 Years A Slave is slowly chugging along
as it retains its position as Best Picture “one to beat”, and it should
be just over/under S25m by the end of today. That’s it for this
weekend. Join us for the debut of Lionsgate’s The Hunger Games: Catching
Fire (review Tuesday or Wednesday), the single-screen debut of Disney’s
Frozen (review Monday or Tuesday), and the wide debut of Disney’s Vince
Vaughn vehicle Delivery Man. . . .
This list contains 250 films by the 250 greatest directors of all time, according to "they shoot pictures don't they?". Each director has one entry; their most critically acclaimed film. Two directors appear more than once on the list (Michael Powell and Stanley Donen) and all together there are 5 director couples (Powell/Pressburger, Donen/Kelly, Coen Brothers, Cooper/Schoedsack and Straub/Huillet). #76 is a TV-mini-series; #81, #151, #157, #180, #190 and #202 are short features, the rest of the entries are featured films.
This is a list of films condemned by the Legion of Decency, a United States Catholic organization, and its successor (from 1965), the National Catholic Office for Motion Pictures. The condemned (or C) rating was issued from the time of the Legion's formation in 1933 until 1978, when the C rating and the B rating were merged into the new O ("morally offensive") rating. In 1980, the NCOMP film office was shut down, along with the biweekly Review, which had published ratings on 16,251 feature films.
The Legion's ratings were applied to movies made in the United States (which were subject to the Production Code until 1967) as well as those imported from other countries. Beginning in 1968, the ratings were applied in addition to any rating assigned by the MPAA film rating system.
Legion-organized boycotts made a C rating harmful to a film's distribution and profitability. Accordingly, for the majority of years that the rating was applied, most condemned films were made outside of the United States, where their producers didn't have as much to fear from the condemnation. Of the 53 movies the Legion had placed on its condemned list by 1943, only Howard Hughes' The Outlaw came from a major US studio, and it had not been approved by the Production Code or distributed widely.
Despite rumors to the contrary, Elia Kazan's A Streetcar Named Desire and Billy Wilder's The Seven Year Itch did not receive C ratings. Rather, Kazan's film was cut by 4 minutes to avoid condemnation, while Wilder's film had to cut scenes from the original play to be approved by Legion of Decency. [wikipedia]
The Canon is a podcast hosted by Devin Faraci and Amy Nicholson where the two critics debate each week about a classic film and whether it should be inducted into "The Canon", the ultimate list of culturally and artistically important works in film history. After the duo debate, the vote to place a film into The Canon is given to the listeners who vote on whether or not the film deserves inclusion.
The following list is only of the films that have been voted into The Canon. To see the rest of the films discussed or to listen to the episodes, you can go here: http://thecanon.wolfpop.com/audio/playlists/3968
This is my own personal list of films that, in my opinion, should have won the Academy Award for Best Picture. It is in no way an official list, and it reflects my opinion, and my opinion only. Enjoy!
Original version (May 2012)
For the highest rated films that received 3-7 votes, and therefore did not meet the minimum requirement of 8 votes needed in order to be included in the FG Top 1000. In descending order, beginning with the highest average rating (9.667). Credit for this list should go to Gloede / Crinderman (organizer), The Magician (script), Serriform (spreadsheet), and the FGers who did all the voting.
These movies have a definite Jackie Collins bad Hollywood novel feel to them. Whether based on a true story, completely fictional, or a little of both, some are so very good I feel bad putting them on the same list as the truly horrible so good it's bad favorites of mine... But all so enjoyable.
Movies reviewed on the Outside the Cinema podcast including movies watched or reviewed during special live shows and the top 6 list from ep. 100. End of the year roundtables and tv-shows (Firefly, Buffy) are not included so far. Comments, questions, remarks? Feel free to leave a comment!
Movies covered with Ryan are 1-99
Movies covered during ep. 100: 195-236
Kickstarter movies: 557-568, 571-588, 591-619,
2008 - 01-87
2009 - 88-236
2010 - 237-341
2011 - 342-437
2012 - 438-533
2013 - 534-623
2014 - 624-
Missing because movie is not in IMDB:
The eye of the condor, episode 320.
If comparing music from Gillian Welch and Outkast in our 50 Best Albums of the Decade is like apples and oranges, ranking films like Amélie, The Dark Knight and Mulholland Drive is more like apples, ice cream and foie gras. But despite the wild variety among our 50 Best Movies from 2000-2009, each is an exquisitely made, exceptionally satisfying piece of cinema that we believe will endure well after the decade has ended. There are masters like Martin Scorcese and Lars Von Trier, and relative newcomers like Fernando Meirelles and Anna Boden. There are documentaries, comedies and dramas, as well as animated films and even a super-hero flick. Mirroring a decade of globalism, the filmmakers are from the United States, New Zealand, Taiwan, Germany, Ireland, France, Japan, Canada, Mexico, Denmark, Romania, Thailand, Brazil, and nearly every part of the U.K. Let these be our recommendations for your Netflix queue. Personally, after reading the loving descriptions in these pages, I’ve already got films I missed the first time around—like Syndromes and a Century and Beau Travail—on the way. —Josh Jackson, Paste editor-in-chief
"Lost in a maze of movies and can't decide which to watch?
Whatever you look for in a movie - action-packed adventure, spine-tingling suspense, sophisticated romance, realistic drama, side-splitting comedy, a look at life in another land or era - Rating the Movies will help you choose the very best.
This reliable source of information summarizes and rates over 3900 films [actually it doesn't; there are 3895 entries in total]. Each review includes key information on leading performers, directors, running time, year of release, videotape and Closed-Captioned availability, MPAA rating, and Academy Awards and nominations.
Rating the Movies is updated, to include the very latest important films - Dick Tracy, Total Recall, Driving Miss Daisy, Born on the Fourth of July, Back to the Future Part III, Die Hard 2: Die Harder, Pretty Woman, and many more.
Of course, all the great classics that made movie history are here too, including such colorful swashbucklers as The Adventures of Robin Hood and such sweeping epics as Gone With the Wind.
Rating the Movies is the indispensable guide that belongs on every movie lover's bookshelf."
439 films receive ★★★★
207 films receive ★★★½
1429 films receive ★★★
385 films receive ★★½
1096 films receive ★★
112 films receive ★½
209 films receive ★
18 films receive No Stars
The feature films of Richard Linklater.
Self-taught writer-director Richard Linklater was among the first and most successful talents to emerge during the American independent film renaissance of the 1990s. Typically setting each of his movies during one 24-hour period, Linklater's work explored what he dubbed "the youth rebellion continuum," focusing in fine detail on generational rites and mores with rare compassion and understanding while definitively capturing the 20-something culture of his era through a series of nuanced, illuminating ensemble pieces which introduced any number of talented young actors into the Hollywood firmament.
George Lucas was inspired by a lot whilst writing the story of Star Wars. He was influenced by books, mythology, religion, his personal life and of course movies. This list gives an overview of films and television series that have left their prints in this story.