Home Page – Best of 2014

We made it to 800 lists- 802 to be exact!  With that said, the lists seem to be stalled, so I think it’s time to put 2014 in the books.

2014 will be remembered as the year of Boyhood, Richard Linklater’s magnificent 12-year project.  The film was included on 536 lists and topped 189 of them – both records by our count.

The Grand Budapest HotelBirdman and Whiplash top off a strong top four for 2014 – and fortunately each was rewarded with a Best Picture nomination.

50. Chef (35 lists; 1 top spot)

Chef is lightweight, and could be seen as just a blatant attempt to cash in on the whole food-truck phenomenon, but it’s so engaging that it really doesn’t matter. — Cary Darling, Fort Worth Star-Telegram

50. Enemy (35 lists; 1 top spot)

Watching “Enemy,” in which Gyllenhaal cleverly delineates the character differences and confidence levels of the two leading roles, it’s clear that the movie is messing with you, in a highly calibrated fashion. — Michael Phillips, Chicago Tribune

49. Jodorowsky’s Dune (36 lists)

For those with any interest in cult cinema or just the bizarre behind-the-scenes stories of any film production, Jodorowsky’s Dune is a fascinating document of one of the most legendary films ever not made. — Ian Buckwalter, NPR

48. Stray Dogs (37 lists; 2 top spots)

The director’s austere minimalism has always been suspended between the mesmerizing and the distancing, and in his latest feature, the concentration on elliptical observation, mood and texture signals an almost complete rejection of narrative. — David Rooney, Hollywood Reporter

47. Mommy (38 lists; 3 top spots)

Defiantly a movie for the here and now, something so immediate, its very form resembles Instagram photos or smartphone videos. — Peter Howell, Toronto Star

46. Winter Sleep (39 lists; 2 top spots)

The esoteric world of masterful Turkish filmmaker Nuri Bilge Ceylan proves as vibrant and uneasy as ever in Winter Sleep, a Chekhovian meditation on a marriage that returns to the mood of the director’s early films like Climates and Clouds of May. — Deborah Young, Hollywood Reporter

45. Nymphomaniac (40 lists; 2 top spots)

A ferociously entertaining experience in which one finds von Trier at the peak of his craft, linking together ideas about female sexuality, fly-fishing and artistic creation with equal amounts of playfulness and intellectual rigor. — Scott Foundas, Variety

Note: Includes votes for Nymphomaniac, Vol. 1 and Nymphomaniac, Vol. 2

44. Norte, the End of History (40 lists; 3 top spots)

Norte is formidable cinema that doesn’t shy away from exploring history, philosophy, politics and religion at length. But it’s also a story of three individuals, through whom these topics gain sharper focus. — Tomas Hachard, NPR

43. American Sniper (40 lists; 5 top spots)

The best movies are ever-shifting, intelligent and open-hearted enough to expand alongside an audience. “American Sniper,” Clint Eastwood’s harrowing meditation on war, is built on this foundation of uncommon compassion. — Elizabeth Weitzman, New York Daily News

42. Manakamana (42 lists; 1 top spot)

“Manakamana” is a haunting experience, one that requires patience (and then some) but that offers spiritual, philosophical, and aesthetic rewards beyond the immediate power of words to describe. — Ty Burr, Boston Globe

41. Leviathan (45 lists; 6 top spots)

This is a whale of a movie, grotesque and a little bloated but impossible to ignore. — Dave Calhoun, Time Out

40. Obvious Child (53 lists; 3 top spots)

Whatever talent or care Robespierre has goes into guiding the actors toward real gentleness, including Slate, who spends the movie with big, untamed hair. Her affect is brazenly ungroomed. — Wesley Morris, Grantland

39. Love is Strange (55 lists; 3 top spots)

This beautifully observed ensembler shines on the strength of its two leads, John Lithgow and Alfred Molina, who conjure four decades together as they enter the “for better, for worse” phase of their union. — Peter Debruge, Variety

38. Captain America: The Winter Soldier (57 lists; 2 top spots)

The Marvel faithful will turn up for the action scenes, and the directors, brothers Anthony and Joe Russo, add an uncommon sharpness to sequences of urban warfare — these Heat-grade bullet volleys have a real ping to them. — Joshua Rothkopf, Time Out New York

37. Listen Up Phillip (63 lists; 3 top spots)

Why would anyone want to spend time with these people? Because they’re fools with great gifts, and Perry almost lovingly explores the gulf between the beauty with which they create and the smallness with which they live. — Ty Burr, Boston Globe

36. Blue Ruin (64 lists; 2 top spots)

“Blue Ruin” is a movie about revenge, but it reaches far past the bottom-shelf titillations of fantasy to tell a richer, character-driven story with a protagonist who’s less avenging angel than ghost. — Barbara VanDenburgh, Arizona Republic

35. The Raid 2 (64 lists; 3 top spots)

Just when you think the movie has gotten as wonderfully, violently over-the-top as possible, it manages to keep upping the ante until its exhausting climax. It leaves you drained, but not enervated. — Alfonso Duralde, TheWrap

34. Calvary (66 lists; 6 top spots)

The tension of Calvary is fitful at best, and much of the movie trips into silliness, but in Brendan Gleeson — in his proud bearing and his lamenting gaze — we see the plight of the lonely believer in a world beyond belief. — Anthony Lane, New Yorker

33. Locke (69 lists; 1 top spot)

Hardy rises to the gimmick and grounds “Locke” with a performance as watchably charismatic as it is minimalist. You can’t take your eyes off him – which is fortunate since there’s no one else there. — Ty Burr, Boston Globe

32. Wild (70 lists; 5 top spots)

What the book communicates better than the movie is just how grueling the Pacific Coast Trail can be…But that’s only a quibble. Like the book, the movie inspires wanderlust, whether the quest is for your body or your psyche. — Roger Philpot, Fort Worth Star Telegram

31. Dawn of the Planet of the Apes (71 lists; 3 top spots)

Dawn of the Planet of the Apes is the best and brainiest blockbuster of the summer, the kind of movie you hope for when you pay your money and buy your popcorn. — Peter Howell, Toronto Star

30. A Most Violent Year (73 lists; 4 top spots)

Just when we’re settling into the film being a Lumet-ian character-driven drama, Chandor will, on more than one occasion, organically segue to an adrenaline-packed truck chase that’s as exciting as any big action-movie moment of recent memory. — Alonso Duralde

29. The Theory of Everything (74 lists; 5 top spots)

Redmayne uses his eyebrows, his mouth, a few facial muscles, and the fingers of one hand to suggest not only Hawking’s intellect and his humor but also the calculating vanity of a great man entirely conscious of his effect on the world. — David Denby, New Yorker

28. Life Itself (76 lists; 2 top spots)

James cuts – as in all of his best work – straight to the human heart of the matter, celebrating both the writer and the man, the one inseparable from the other, largely in Ebert’s own words. — Scott Foundas, Variety

27. We Are the Best! (77 lists; 2 top spots)

Funny and frank in its observations, the film is a delightful snapshot of female friendship at that age, from the giddy highs to the melancholy funks, from the sustaining bonds to the jealousies and stinging betrayals. — David Rooney, Hollywood Reporter

26. Stranger by the Lake (78 lists; 7 top spots)

The film is a Hitchcockian murder story in which the Hitchcockian elements-style as well as content-are stood on their heads in order to realize a philosophical vision that’s no less sophisticated than Hitchcock’s own. — Richard Brody, New Yorker

25. Goodbye to Language (83 lists; 17 top spots)

Godard can’t stop himself from exploring new ways to make pictures. He seems to enjoy doing so almost as much as he enjoys frustrating the expectations of those who still want a movie to have a beginning, a middle and an end, in that order. — Mark Jenkins, NPR 

24. Mr. Turner (88 lists; 8 top spots)

“Mr. Turner” is a harsh, strange, but stirring movie, no more a conventional artist’s bio-pic than Robert Altman’s wonderful, little-seen film about van Gogh and his brother, “Vincent and Theo.” — David Denby, New Yorker

23. Citizenfour (101 lists; 8 top spots)

Adapting the cold language of data encryption to recount a dramatic saga of abuse of power and justified paranoia, Poitras brilliantly demonstrates that information is a weapon that cuts both ways. — Ronnie Scheib, Variety

22. Edge of Tomorrow (102 lists)

It’d be easy to dismiss Edge of Tomorrow as just another blunt-force summer movie, but it’s sharp as a scalpel in the deft hands of its makers, with the kind of smarts, wit, filmmaking and force too many other summer films can only dream of. — James Rocchi, Film.com

21. The Imitation Game (104 lists; 3 top spots)

The movie is undeniably strong in its sense of a bright light burned out too soon, and the often undignified fate of those who dare to chafe at society’s established norms. — Scott Foundas, Variety

20. Foxcatcher (104 lists; 4 top spots)

Steve Carell offers a tour de force of slow-burning menace. Foxcatcher, one of the year’s very best films, exposes the diseased underbelly of American exceptionalism and knocks the ground out from under you. — Peter Travers, Rolling Stone

19. The Immigrant (109 lists; 10 top spots)

The film is earnestly and unabashedly melodramatic to an extent that may baffle audiences accustomed to clever, knowing historical fictions. But it also has a depth and purity of feeling that makes other movies feel timid and small by comparison. — A.O. Scott, New York Times

18. Two Days, One Night (110 lists; 8 top spots)

The Dardenne brothers take on a movie star and lose none of their beautifully observed verisimilitude in another powerhouse slice of working-class Belgian life. — Scott Foundas, Variety

17. Force Majeure (128 lists; 3 top spots)

This brilliant, viciously amusing takedown of bourgeois complacency, gender stereotypes and assumptions and the illusion of security rubs your face in human frailty as relentlessly as any Michael Haneke movie. — Stephen Holden, New York Times

16. Interstellar (135 lists; 15 top spots)

It’s an amazing achievement that deserves to be seen on the biggest screen with the best sound system possible. Nolan has crafted Interstellar as a movie theater experience. Watching it at home, no matter how good the sound system is, won’t match. — James Berardinelli, ReelViews

15. The Babadook (136 lists; 5 top spots)

Who thinks up a film like The Babadook? Actress-turned-debuting-feature-director Jennifer Kent has the narrative chutzpah to show her entire hand in the pop-up story and then make us squirm as foretold events come true. — Joshua Rothkopf, Time Out New York

14. Inherent Vice (146 lists; 17 top spots)

As with Magnolia and Punch-Drunk Love, the director has created another vivid Los Angeles, one that doesn’t lean too hard on its pop-culture references to TV’s Adam-12 or Neil Young’s gentle Harvest album. — John Rothkopf, Time Out New York

13. Only Lovers Left Alive (167 lists; 9 top spots)

A smidge more commercial than Jarmusch’s meandering previous effort, “The Limits of Control.” But it still feels like an in-joke intended only for select acolytes, who will probably love it with an undying passion. — Leslie Felperin, Variety

12. The LEGO Movie (178 lists; 9 top spots)

Pop-culture jokes ricochet off the heads of younger viewers to tickle the world-weary adults in the audience, with just enough sentimental goo applied at the end to unite the generations. Parents will dab their eyes while the kids roll theirs. — A.O. Scott, New York Times

11. Snowpiercer (181 lists; 12 top spots)

In different hands, Snowpiercer might have been just another generic action movie. Yet with South Korean director Bong Joon-ho at the helm, it’s instead something more off-kilter and more disturbingly satisfying. — Cary Darling, Fort Worth Star Telegram

10. Selma (182 lists; 18 top spots)

“Selma” is one of the best American films of the year – and indeed perhaps the best – precisely because it does not simply show what Dr. King did for America in his day; it also wonders explicitly what we have left undone for America in ours. — James Rocchi, TheWrap

9. Ida (185 lists; 17 top spots)

[The] screenplay is a model of economy, as precise as the lensing by Ryszard Lenczewski and Lukasz Zal, who often position their subjects at the bottom of the frame, emphasizing personal insignificance within the totalitarian machine. — Peter Howell, Toronto Star

8. Guardians of the Galaxy (199 lists; 17 top spots)

The movie knows that junk art is still art, that no one is more in need of something to speak for them than the inarticulate – and with that it takes the secret pull of comic geekdom and elevates it to a kind of bittersweet, obsessive romanticism. — Stephen Whitty, Newark Star-Ledger

7. Gone Girl (258 lists; 11 top spots)

The movie is phenomenally gripping-although it does leave you queasy, uncertain what to take away on the subject of men, women, marriage, and the possibility of intimacy from the example of such prodigiously messed-up people. — David Edelstein, New York Magazine

6. Nightcrawler (258 lists; 18 top spots)

Nightcrawler curves and hisses its way into your head with demonic skill. This is a deliciously twisted piece of work. And Gyllenhaal, coiled and ready to spring, is scarily brilliant. — Peter Travers, Rolling Stone

5. Under the Skin (277 lists; 54 top spots)

Johansson provides an extraordinary window into an alien being; through her eyes, we see and hear the world as someone not from here would. Her performance is the payoff that makes Glazer’s enigmatic storytelling choices so effective. — Alonso Duralde, TheWrap

4. Whiplash (302 lists; 32 top spots)

You don’t have to be a jazz fan for Whiplash to zap you with its thrumming live-wire beat (although it doesn’t hurt). If you can appreciate the sight of two totally dialed-in performers simmering until they boil over, that’s enough. — Chris Nashawaty, Entertainment Weekly

3. Birdman (354 lists; 60 top spots)

Alejandro González Iñárritu’s Birdman is so good, so profoundly entertaining, so confident that it makes you wonder whether the other Iñárritu — the director of such weighty magazine spreads as 21 Grams, Babel, and Biutiful — was a fraud all along — Wesley Morris, Grantland

2. The Grand Budapest Hotel (415 lists; 26 top spots)

This is one of Anderson’s funniest and most fanciful movies, but perversely enough it may also be his most serious, most tragic and most shadowed by history, with the frothy Ernst Lubitsch-style comedy shot through with an overwhelming sense of loss. — Andrew O’Hehir, Salon.com

1. Boyhood (536 lists; 189 top spots)

Perhaps never has the long arc of the journey from childhood to college been portrayed as cohesively and convincingly as Richard Linklater has done in a film that can be plain on a moment-to-moment basis but is something quite special in its entirety.– Todd McCarthy, Hollywood Reporter



171 responses to “Home Page – Best of 2014

  1. joe

    I don’t remember The Assassination of Jesse James coming to my city

  2. david

    I saw No Country for Old Men, and I paid attention. I am still flummoxed at the number of people who are making excuses for this films non-ending. I liked the movie alot, but it lacked KEY elements of a story like climax and dynamic characters. And if you think you paid attention and “got it” then you tell me and everyone else who reads this site what the climax was and who was/were the dynamic character(s)! I bet some people will try but I dont think anyone can do it. And if youre reading this Peter Travers, Im calling you out. You tell us what you gathered when you “paid attention”. Edify me!

    • jimmy d

      the ending was key. The entire film up to that point was about the evils of man and the world we are living in. The ending gave us hope, that maybe there is some form of salvation for us in the end regardless of how horrible we are on this side. The film was perfect.

  3. Lance

    David – I’m not a big fan of the movie (21/2 out of 5, at best), but one of the reasons I did like it was that the structure of the story DIDN’T include a normal climax and tried to do something different. There was a climax but it happened off-screen and we missed it. Is this the best way to tell a story? I don’t think it worked but I’m happy that someone tried to do something different.

    With that said, I agree with your frustration with film critics who say they like something but never justify their reasons. I watched the VH1 special on the broadcast film critics awards and some of their reasons for liking a film or a performance sounded more like the reasons why any 16 year old would like something. Tell me your opinion and then give me real examples to back up your opinion. “It blew me away” or “I fell in love with this movie” should be outlawed from any future movie reviews.

  4. Daniel

    Here’s what I thought about No Country (which I loved by the way).
    The obvious theme of the movie is good versus evil. If you think about it, this struggle is on going. This movie did not have a definite climax or ending in order to represent that real life battle that continues as we type.

    I also think that Tommy Lee Jones’ character was pretty dynamic. For most of the movie he is a “good guy” who is fighting the good fight without questioning because he knows his father is waiting for him and that it is all worth it. But this country is “no country for old men.” He is realizing throughout the movie that times are changing, new evil is creeping in (represented by Anton) and he wonders whether he should even bother trying to keep up with it anymore.
    That was my take on it, anyway, I hope to hear back from you, David.

  5. Cliff

    I agree with Daniel. I felt like the story was a contrast between the apparition of evil to an honest man and a dishonest man. If Anton represents the presence of evil in this world, implacable and immutable, as his final scene would suggest, then what ultimately happens to Llewellyn and the sheriff is the basis for the film’s morality, and each of the three characters reaches his own personal resolution by the film’s end. And if you look at Tommy Lee Jones’ struggle as the viewer’s struggle, then the end of the film provides absolute closure for the question at the heart of the film.

  6. Don’t read this if you haven’t seen No Country For Old Men yet.

    No Country For Old Men is a meditation on the fear of growing old and dying. It is told from the point of view of an aging sheriff who sees death everywhere he looks. His fear throughout the film is that he is getting too old to contribute anything anymore and he is just going to wither away and die. He tells his crippled uncle that he feels “over-matched”. The end of the film, specifically the final monologue delivered by Tommy Lee Jones, represents acceptance of death. He says he knows when he gets there, his father will be waiting for him. He looks sad and terrified, because death is such an unknown frontier. But he has at least come to terms with it.

    The storylines of Llewellyn Moss and Anton Chigurh are metaphorically significant to this theme. Llewellyn represents how people indulge in superficial pursuits over their lives without giving much of a second thought to their own mortality until they get to be Sheriff Bell’s age (that is, if they make it that far). Anton Chigurh represents the Angel of Death himself. Sheriff Bell’s uncle responds to the news of the sheriff’s retirement and his feeling of being “over-matched” by telling him the story of another uncle in their family who was meaninglessly gunned down on his own front porch many years ago and says “What you got aint nothing new.” Obviously this refers to the same fears we’ve been discussing here.

    We all choose to live our lives however we see fit, many times we act selfishly and forget our place. But at the end of the day, we “can’t stop what’s coming”. We all go to the same place, and someday we must all accept that. I’d say that acceptance is as satisfying a conclusion to this story as there could possibly be.

    • Andy

      I love this movie/book and this is the best explanation I’ve ever heard on it. However, the story is also a comment on the (author’s perceived) moral de-evolution of modern day American society. The morbid remains of the Mexican stand-off serves as a microcosmic foreshadowing of the entire chain of events that is about to occur – as well as a prophetic statement about the younger generations taking control of American society.

  7. RichardA

    The explanations are all good; but, it’s an extrapolation of what’s presented on the screen.

  8. Mike Anderson

    There Will Be Blood is a bulldozer of a movie. Or should I say Daniel Day-Lewis bulldozes his way through the Daniel Plainview character. I saw this film at a screening in September and the thing still resonates with me. I don’t remember the last time I have seen a movie where practically every human emotion is displayed on screen, to where you are moved with the same types of emotions. Near perfect movie making all the way around, and Anderson has made a gigantic leap forward in his writing and directing. And Day-Lewis IS Plainview. You are watching Daniel Plainview, not Daniel Day-Lewis. It’s almost scary how that guy can become another person. Total immersion. You just shake your head in wonderment. I can’t wait to see it again when it’s released in January. Oh… No Country For Old Men is also my top film of 2007.

    • , No, I booked my fihglt online and rode the plane. Oh and another one I also get is Do you still live in teepees. Which is wrong cuz I’m not a plains Indian that you see on those old black and white western videos but rather Navajo and our traditional home is the hogan. All in all, I agree with ya on your blog about your view of stereotypes. But sometimes, you find a person that embodies the stereotype and you can’t help but smile. And as for the Japanese one. I gotta do some research of my own to see if it is true. Haha. J/K.

  9. Buddy

    I like all the different views on No Country for Old Men and I felt it was such a great film because it’s so rich with layers and different themes one could draw from. So, I’d like to share mine, it’s similar to other people’s but I’d still like to share it.

    When I first walked out of the theater I saw it as being a story about how it’s impossible for any of us to prevent death. The line “You can’t stop what’s comin’ ” from the Sheriff’s cousin towards the end of the film is key. Throughout the entire film the characters are constantly trying to escape Anton (an agent of death) and buy their way out. In the end though Moss still dies, and while it wasn’t by Anton’s hand it still happened. Then after that Anton goes to Moss’ wife and offers her a chance to get out of dying and she rejects it, proving herself to be the only person in the entire film that will accept her fate.

    Then the final moments of the film help solidify this theme. After leaving the wife’s house Anton is the car wreck, basically the universes’ way of reminding him that no matter how he sees himself he’s not the angel of death, he’s not a supernatural force, he’s just another superhuman being and it might not happen today, it might not happen tomorrow but he’s still going to die.

    The sheriff’s final dream at the end involves his father riding off to prepare a camp for him, his father doesn’t even look at him. His father’s ashamed that his son didn’t keep fighting for the good in the world. He might have died at Anton’s hand if he kept on searching but it would have been an honorable death. But just because he escaped Anton does not mean he’s escaped death and his father is still going ahead of him to prepare a place for him.

  10. Buddy

    Also, I thought I’d add in addition to No Country for Old Men my other favorite movies of 2007 are The Assassination of Jesse James and Zodiac. There’s alot on this list I haven’t gotten the oppurtunity to see yet because in my town we don’t get alot of the limited release stuff till later but I’m eagerly awaiting There Will Be Blood and Juno among others.

  11. Daniel

    I’d just like to say one more thing, my favorite movie of the year so far isn’t on this list (I haven’t seen Sweeney yet which will probably become my favorite when I do). That movie is Lars and the Real Girl. I highly reccomend it to everyone who likes comedies or dramas, because really its both. Its a definate must see, one of the best I’ve seen in a long time.

  12. Mike Anderson

    Yes. Lars and The Real Girl, Rescue Dawn, Gone Baby Gone, 3:10 To Yuma I would say personally, are missing from this list.

  13. Greetings: Thanks so much for including my list from MSNBC.com. But for future reference, my first name has no “f” in it. Cheers, and Happy New Year.

  14. Joe

    The top three films on this list are killer. “No Country for Old Men,” “There Will Be Blood” and “Zodiac” will be remembered for a long time as masterpieces by The Coen Brothers, Paul Thomas Anderson and David Fincher.

  15. Top 10 list from The Times-Picayune in New Orleans

  16. Tom

    DAVID –

    I loved this movie and paid attention enough to interpret it in my own way…great films are ambiguous.
    This is a film about a man who wishes he could have known his father better…and that he could have ‘saved’ him, had he known him better. At the end of the film it is clear that either time has past and Tommy lee is now retired, or no time has passed and he has BEEN retired. The main action has been his dream.

    Llewellen (Brolin) represented Tommy Lee Jones’s father as “the younger man’ in the main action. Tommy says he had two dreams at the end of the film: one where his father gave him some money and then he lost it…and the other where his father was “the younger man”.

    I decided to read the book to see if it would confirm my take on it…there are things that link and things that don’t…but to me the most profound evidence for my interpretation comes in the final sentence of the novel: “And then I woke up.”

  17. Cool site! I can tell you put a lot of work into it. Here’s my top 10 list from 2007, I write for Study Breaks Magazine, INsite Magazine and keep all my reviews archived on coleandbobby.com. Thanks!

  18. Kurt

    Is it a typo that the text for #31 and #34 are the same?

  19. Jordan

    Any updates coming up?

  20. criticstop10

    I will do one final update this weekend. There aren’t many additional lists coming out, but I do hope to add 2000 – 2005 in the next few weeks as well.

  21. Top10Scout

    I found you another 10 best list. It’s from the Corsair Newspaper in Santa Monica, Ca. I found it in their print edition but it wasn’t posted on their online. It’s done by Jonathan Ramos, their Arts & Leisure editor.
    1. The Kite Runner
    2. There Will Be Blood
    3. Once
    4. The Assassination of Jesse James by the Coward Robert Ford
    5. 3:10 to Yuma
    6. I’m Not There
    7. The Darjeeling Limited
    8. Juno
    9.Away From Her
    10. The Diving Bell and the Butterfly

  22. hitesh choudhary

    i am really excited of 2008 version . when will it be posted on this site??

  23. I enjoy checking out this compilation each year. Thanks so much for your hard work.

    Here’s my 2008 list if you’d like to add it to the pot:


    Cheers (and Happy Holidays),

  24. JR

    Time for an update ;)

  25. Send me an email when you get a chance and I will send you our member’s individual top 10 lists–I see you already have our combined list up. I thought I had your email from last year but I guess not. Talk with you soon.

  26. I don’t understand this chart. where are the lists? which lists are being calculated?

  27. JR

    re @Nathaniel

    Its not that hard to figure it out; just click on critics top 10 lists.

  28. Dave

    Is there a final update coming? It’s been saying for weeks that there will be one final one, but so far there’s been nothing!

  29. Emmaline

    Halo! The babes are here! This is my favorite site to visit. I make sure I am alone in case I get too hot. Post your favorite link here.

  30. Oops. I hadn’t checked the individual lists until too late.

    I see you’ve already included the Slant staff’s Top Tens.

  31. Here’s a 2008 top ten from Aaron Dumont:

    10. Death in the Land of Encantos
    9. Rachel Getting Married
    8. Let the Right One In
    7. The Beaches of Agnes
    6. Standard Operating Procedure
    5. My Winnipeg
    4. Hunger
    3. United Red Army
    2. Che
    1. Synecdoche, New York

  32. .

    Oops. That shouldn’t say Death in the Land of Encantos.

    That should read “Import/Export”. My bad.

  33. Scott

    Hey… when are we getting 2009’s list? Movie City News has their first list up!

  34. David Cochrane

    Nice to see the 2009 list up (and especially nice to see the Coens placing so well again). Will there be a best-of-decade page up as well?

  35. Dave Van

    Am I not seeing it, or is there no page that has the individual lists for 2009 up yet? Is there going to be?

  36. Cliff

    Yay! Glad to see the list up, and already surprised and intrigued by some of the placements (Fantastic Mr. Fox, Headless Woman). I’m sure you’ve got enough work on your hands right now, but I look forward to seeing the quotes to make the case for each one! In the meantime, happy to see Hurt Locker atop the heap, and Coraline sneaking in there.

  37. ron

    thanks for the update
    no.2 film inglourious basterds should have 174 lists, 23 top spots so far if i’m not mistaken.

  38. David Cochrane

    Wow – it doesn’t seem anything is going to catch The Hurt Locker. If it hadn’t come out in the summer and grossed only a tiny amount, I’d say it was a lock for a nomination and perhaps a win.

    I’ve seen a couple of end-of-decade polls but they only cover a couple dozen lists at the most; it would be interesting to see what a big survey would contain. I really hope you’ll put up a best-of-decade page here!

  39. Hey! You have already upload the first 2010 list! That’s awesome!

  40. Dave V

    Any chance you can post the individual lists of the critics for 2010? I am interested in seeing the breakdown, but also in each critics list.

  41. Pope

    This site is pretty cool. Looking forward to see who’ll take the #2 spot.

  42. Anonymous

    Where are these lists?! There’s only been like 5 or 6 lists posted on AwardsDaily yet you’re saying there’s 23 already? Where are they?

  43. Scott

    Where are these lists?! There’s only been like 5 or 6 lists posted on AwardsDaily yet you’re saying there’s 23 already? Where are they?

  44. Scott

    Oops, didn’t realize that double posted…sorry

  45. adithyakantewada

    Here is my list of 10 best movies of 2011
    2.Nader and Simin, A Seperation
    3.The Tree of Life
    5.Margin Call
    7.The Descendants
    8.The Artist
    10.War Horse

  46. Top Ten as of 12/16/11 (Still 10+ films to see)
    01- The Tree of Life
    02- This is Not a Film
    03- Mysteries of Lisbon
    04- Take Shelter
    05- The Muppets
    06- Certified Copy
    07- A Separation
    08- The Kid with a Bike
    09- Midnight in Paris
    10- Melancholia

  47. David Cochrane

    So glad to see The Tree of Life clambering to the top spot – it’s easily my #1 movie of a pretty good year – considering it came out over the summer & I was sure a backlash would have started to build by now. It will get nominated but has no chance in hell of winning (I’d say Hazanavicius, Payne or Fincher will get it – the latter two more in recognition of past films than of their new ones).

    A bigger surprise is Drive doing so well – it’s also been pretty polarizing & I was expecting, like the Malick film, to see its acclaim drop in the months since it came out, but the opposite seems to have happened. I had mixed feelings about it back in September but I really should take another look.

    • Anonymous

      The love for The Tree of Life is unfounded considering that film lacks a remotely entertaining or coherant story…in reality it’s little more then a video art installment. I think the critics were brainwashed or something by the eyegasms from the Planet Earth sequence.

      • Thomas

        “The love for The Tree of Life is unfounded considering that film lacks a remotely entertaining or coherant story”

        I’m glad you can determine that for us. But, in reality, the fact that you found that it lacks a “remotely entertaining or coherent story” doesn’t mean that everyone else feels the same way. I personally found it to be an enormously entertaining film, and one of enormous emotional resonance. While I do have some problems with the structure and overall worldview of the film, I do think it is a pretty exceptional film. Also, the “video art installation” line has been making it’s way around the internet, and the only thing that the line reveals is the fact that most people have never seen a “video art installation,” nor do they have any familiarity with art cinema.

        A general clue for life: If your best argument is “I didn’t like the film therefore anyone who did must be brainwashed,” you automatically fail. That is to say, your opinion that the film isn’t very good is perfectly valid – your opinion on the “brainwashed” nature of those who do like it isn’t valid, and the fact that you think it is says a lot about your own maturity.

        No matter how strong your feelings are on the subject, you do not have the one true reading of the film, nor is your opinion strong and definitive enough that anyone who disagrees with it reveals themselves to be “brainwashed.”

        Or, to use your tactics of assigning ulterior motives to those who disagree with your opinion and/or questioning the legitimacy and “objectivity” of opinions that differ from your own, it’s too bad you’re such a contrarian that, even though you loved it, you feel obligated to bash “The Tree of Life” just because other people praised it. Stop being brainwashed by anti-conformists and start learning to express your true feelings.

  48. Anonymous

    The love for The Tree of Life is unfounded considering that film lacks a remotely entertaining or coherant story…in reality it’s little more then a video art installment, lol

  49. Anonymous

    Do you consider foreign list? Here is Norway’s largest paper, VG’s list. They do a pretty good list every year.
    1. Drive
    2. Kongens tale
    3. Melancholia
    4. Winter’s bone
    5. Under huden
    6.Black Swan
    7. Another Year
    8. True Grit
    9. Rango
    10. Tree of Life
    source: http://www.vg.no/film/artikkel.php?artid=10016729

  50. Anonymous

    I don’t want this to become a slippery slope, but I’d really love to see a list for 1999. It’s often considered one of the best years in film history, and this site goes back to 2000… just one year away, come on now!!!

  51. Jesse

    The problem with including foreign lists are that release dates are different. Black Swan, True Grit, Another Year were released in 2010 in North America, but several other countries got them in 2011. Also, not all of these movies will open in every country so that’s a bit of a disadvantage when you include a country’s list that had no access to said film.

  52. Anonymous

    Very true Jesse. Although most festival titles have opened as far as I know, while missing some studio titles like J.Edgar.

  53. Anonymous

    Annual list from different critics by allocine:
    another foreign list however, from France.

  54. Anonymous

    Thanks for the list! The other lists doesn’t even come close to the number of lists you have here.

    And if you haven’t already have these, here’s a few top 10s from the folks at Film Threat: http://www.filmthreat.com/features/44746/comment-page-1/

  55. Kirk

    Thanks so much for maintaining this page. It’s an invaluable resource for me every year.

  56. AJC

    First: awesome site. I love trying to record this stuff.

    Secondly: you really need to get some citations. I would love to see which lists gave which movies top spots. Please? Thanks.

  57. David Cochrane

    I’ll add to the thanks – every year this is always fascinating to look at.
    As you mentioned at the top of the page, it’s interesting that there’s been no real runaway winner this year, or even any films making a majority of lists – Brokeback Mountain, I think, was the last ‘winner’ not to reach that threshold.

  58. Anonymous

    I love this site. But nobody seems to make any comments any more.

  59. I don’t understand why Drive only recieved one Oscar nomination

    • Andrew Sidhom

      It’s not very accessible, is it? You need to invest some thought and a special appreciation for it cause otherwise it could seem like an empty arthouse exercise about nothing in particular. Same reason MMMM, Take Shelter and Shame didn’t have a shot last year. Not to mention the extreme violence in Drive…

  60. Awesome site. Keep up the great, hard work. I use this as a main resource for 2000s movies, while I use They Shoot Pictures for older films.

  61. Anonymous

    What’s happening with the 2004 list?

  62. Anonymous

    Great site. (one mistake: in 2006 I don’t think you spell ”The Queen” —> ”The Qeen”)

    2011 IMO:
    1. Tinker Tailor Soldier Spy
    2. The Girl with the Dragon Tattoo
    3. Rundskop
    4. Margin Call
    5. The Tree of Life
    6. Drive
    7. The Artist
    8. Ides of March
    9. Carnage
    10. Moneyball
    11. A Separation
    12. Les Intouchables
    13. Hugo
    14. Rango
    15. The Help

  63. Anonymous

    So when’s the party kicking off this year?

  64. Anonymous

    Exactly? You still have some followers here.

  65. Anonymous

    Hurrah. Been checking up on this page for a couple of weeks now. Glad it’s back.

  66. David Cochrane

    Given what the critics’ groups have been saying so far, looks like Kathryn Bigelow will top the list again – it may even be by a margin like The Social Network or No Country for Old Men managed, but of course it’s too early to tell for sure. Looking forward to seeing what other films place in the top ten – hopefully Looper won’t get squeezed out.

  67. ajcfood

    Hey, this is a great blog, but some suggestions:
    1. PLEASE update your banner pictures.
    2. Try to make the comments MOST RECENT on top, instead of seeing comments from 2007
    3. You need to show citations and data, because I’m not sure how accurate some of these numbers are.

  68. Anonymous

    I always look forward to this site in December. Keep up the great work!

  69. Bellissima lista ma non trovare film come On The Road o Snow White & the Huntsman è una vera delusione….! Ma si sa i critici quest’anno ce l’hanno con Kristen Stewart e così facendo non si accorgono che con il loro fare ci rimettono grandi attrici e attori come CharlizeTheron , Chris Hemsworth , Sam Claflin, Hedlund, Sam Riley , Tom Sturridge, Kirsten Dunst, e una grande Amy Adams che sicuramente si porterà a casa molti premi a gennaio tra cui il Golden Globes e può essere anche un Oscar!!!!

  70. Anonymous

    I would like it if you could supply a database of links to every top 10 used.

  71. Anonymous

    yay!!! The Master is leading!!!

  72. Anonymous

    I really hope Killer Joe gets a place.

  73. I’d love to see if Killer Joe gets a place.

  74. Andrew Sidhom

    Hmm, where are The Sessions, Monsieur Lazhar, Middle of Nowhere, Elena, Frankenweenie, Sister, Footnote, Chico and Rita, Keep the Lights On and In Darkness?

    All of these received great reviews – in general descending order. Are critics schizophrenic or is some stuff missing here??

    • Melvin

      I was wondering that too. The Master was not well received by critics with only 85% at RT but it’s at No. 1. The same thing happened last year with The Tree of Life.

    • ericmvan

      There are definitely some movies that are legitimate critical hits but fare poorly in Top 10 rankings, because they seem to be a lot of people’s #15 choice but somehow nobody’s #10. (This is especially true of documentaries, by the way.) End of Watch is another.

      It’s paradoxical, in a way. How many of the movies you named were in your top 10? I’m disappointed to not see Monsieur Lazhar — but it’s #11 on my list right now. If we see a ton of films, we would like this top 40 list to match our own, but that requires some people liking our number 11 to 40, which we really, really liked, even better than we did — much better, in fact. I thought it scandalous that The Prestige got 0 votes in the Sight and Sound Poll and hence does not rank among the 1000++ movies of all time, when I have it as #20 … but if I had been voting, I wouldn’t have voted for it myself! Given that, it’s surprising that the system works as well as it does.

      To answer your general question, though, there are way more than 40 movies in a year that get significant critical love.

  75. It’s fabulous to see this site back up (when did that happen?). The re-design, with the photos and critic blurbs, makes for a very attractive experience.

    However, for a true film buff, it’s frustrating. There’s no longer any links to the actual separate lists, from which I used to compile my own rankings, rankings that included any film that got a mention. I’d include mentions from previous years for films that were making the rounds of festivals, and eventually from subsequent years for critics who came to a film late.

    And I suspect that the person compiling the lists is not a math fan, because the proper way to do this is to not simply count the number of list inclusions, but to give points depending on where a film is ranked 1 through 10 (18 points down to 9) — the problem of course then being that any critic who futzes with a strict 1 to 10 ranking (like giving a top 3 and listing 7 more films alphabetically, or worse yet, 8 more films) needs to be treated correctly, and that requires a certain comfort level with the math.

    And of course the biggest problem now is that you’re showing just 40 films a year. I think that’s a good number to show (50 might be better), but you also have to have a list that goes much deeper. You probably would have missed Blade Runner entirely in its year! I’d say that there are easily 100 films truly worth seeing in any given year, and I’ve discovered a bunch by spotting them in the 41-100 range of previous lists.

    I wouldn’t complain like this if I weren’t actually willing to *do all the work to provide corrected, complete lists for each year.* Just give me the raw data! Besides being an insane film buff, I’m a nationally-known stats guy for my work in baseball; in fact, ESPN Magazine is interviewing me next week for an article they’re doing on former baseball statistical consultants.

    You’ve done an incredible service to the film-buff community by collecting these lists. It would be a shame to have that data languish with its full potential untapped, and I’d love to help you extract the maximum value from it (I’ve got ideas that go way beyond just listing the results.) Please e-mail me!

    • Andrew Sidhom

      Why would you specifically start at 18 points for Number 1 and end with 9 points for Number 10 ? You could choose any range for this allocation of points, depending on whether you most value consensus or passionate support in your rankings (though it’s arguable that any movie listed even at 10th place from a film critic is already a passionate choice given the amount of films they see every year). You could also scale the range (of points awarded) with a multiplier. Since you have an infinite number of choices isn’t it almost impossible to get a sense of what it means really when you choose this range instead of that one? I know you just have to choose whatever in the end and get on with it, but it’s just that your 9 to 18 method seems like such a random choice.

      • ericmvan

        It’s admittedly somewhat arbitrary. You want the ratio of points awarded for #1 to points awarded for #10 to reflect the ratio of perceived excellence or worth of the two films. Obviously, no one thinks their favorite film of the year is ten times as good as their tenth favorite film. A 2:1 ratio seems right to me. It makes the #1 film 20% better than the #4 film, and 50% better than the #7 film. When I look at last year, that means A Separation is 20% better than Poetry, 50% better than Take Shelter, and twice as good as Incendies. All of that seems reasonable to me. (I didn’t invent the 9 to 18 scale, by the way.)

        Having established the ratio of values for #1 and #10, you then need to construct the scale for the intervening ones. In reality, it’s probably not linear, but assuming it is makes the math much easier. And the linear scale where #1 is twice as large as #10 is 18 to 9.

        In practice what you’re really doing is giving 1 to 10 points for the ranking, plus X for just getting mentioned at all. I’m saying I believe the best value for X is 8, because it produces the 2:1 ratio. But I would be open to counter-arguments: if most other people thought the 2:1 ratio should be higher or lower, I’d go with the consensus.

      • ericmvan

        Oh, in case it wasn’t clear, those 2011 movies were from my personal top 10. Anyone testing whether the 2:1 ratio feels right to them, obviously, should use their own top 10 from some year. But for the opinion to be valid, I think you have to have seen essentially everything of merit (I’ve seen 122 films from 2011). If you miss a film that would have actually made your top 10, that will make the 2:1 ratio seem too small.

  76. Ronald Trull

    This is my favorite website for approx. 8 weeks every year.

    Thank you.

  77. Anonymous

    Now that some mentioned it I am quite confused that End of Watch and The Sessions aren’t even in the top 40. Both hugely popular movies with the critics this year.

    • Anonymous

      Having said that, looking at other Top 10 aggregated lists at Indiewire and Metacritic, I can see that neither of these made their top 50/20s either. I suppose that’s the difference between a review aggregator like Rotten Tomatoes or Metacritic, and a Top 10 list aggregator, which doesn’t measure how many critics liked a movie, but how much they LOVED it.

  78. Anonymous

    And so he said they shall be 50, and there were 50.

  79. Terry

    The “always extraordinary” Michelle Williams!?!?!?! She and Anne Hathaway RUINED Brokeback Mountain.

  80. David Lowrey

    You say Toy Story got 1st place in 1995, where are the critics compilations of 90s films?

  81. My top 10 films of 2012

    10. Compliance
    9. Les Miserables
    8. Silver Linings Playbook
    7. Zero Dark Thirty
    6. Moonrise Kingdom
    5. Searching for Sugar Man
    4. Life of Pi
    3. Looper
    2. Beasts of the Southern Wild
    1. The Master

  82. Ed Kargir

    Thank you for doing this. This a great amount of work.

  83. Bartender

    My Top films for the century:
    NOTE: I’m still missing some acclaimed masterpieces like Yi Yi, In the Moo for Love, Before Sunset, Walking Life….

    1. L’enfant
    2. There Will Be Blood
    3. Mulholland Drive
    4. The Master
    5. Tinker Tailor Soldier Spy
    6. Punch-Drunk Love
    7. Lost in Translation
    8. Capote
    9. The Ghost Writer
    10. (Memento, it’s from 2000 so I don’t know if this counts)
    10.’ WALL-E

  84. Mike

    Does anyone have guesses on what will make the list for 2013? I think the following all have great shots at the top 50:

    Top 10 Bound:
    12 Years a Slave
    Inside Llewyn Davis
    Before Midnight
    Captain Phillips
    American Hustle

    Top 25:
    Blue is the Warmest Color
    Dallas Buyers Club
    Fruitvale Station
    Blue Jasmine
    All is Lost
    The Wolf of Wall Street
    Star Trek: Into Darkness
    Short Term 12
    The Past
    Enough Said
    The Butler

    Top 50:
    Catching Fire
    Saving Mr. Banks
    Stories We Tell
    The Spectacular Now
    Frances Ha
    Side Effects
    Ain’t Them Bodies Saints

  85. Adam

    My best guess at top 10:
    1. Gravity
    2. Her
    3. 12 Years a Slave
    4. Inside Llewyn Davis
    5. Before Midnight
    6. Captain Phillips
    7. Blue is the Warmest Color
    8. Nebraska
    9. The Wolf of Wall Street
    10. Blue Jasmine

  86. Nik

    In no particular order

    1. Blue Jasmine
    2. Gravity
    3. Her
    4. August: Osage County
    5. 12 Years a Slave
    6. Blue is the Warmest Color
    7. The Wolf of Wall Street
    8. Captain Phillips
    9. Saving Mr. Banks
    10. Inside Llewyn Davis

  87. moviewatcher

    You need to add Django and Lincoln’s mentions to the 2012 list. They’re clearly 2012 films.

  88. Nasir

    He cannot split a list between two years can he. He has to count the list itself in one year.

  89. Nasir

    Can you please create a page ans post the lists themselves too with the name of the critics. That would be immensely helpful. I can help out with that, you can contact me on my email address. Thanks.

  90. Ed Kargir

    Are you going to post individual lists?

  91. Anonymous

    I’ve asked this before, but you reference 90s movies that topped your compilations in the past, is there a way to see those compilations?

  92. Anonymous

    You reference 90s movies that topped your compilations in the past, is there a way to see those compilations?

  93. Ben

    Amazed there’s been no mention of The Spectacular Now so far.

    • Andrew Sidhom

      Damn, you’re right. How come it’s not in the Top 46 so far? I thought it would be more like a Top 20 film. Had lots of raves around its release…

  94. Edkargir

    We all appreciate the hard work you do to product this poll , but it’s lost some of the fun with out the critics lists. I think these lists tells more about the individual critics than it does about the movies.


  95. Ben

    C’mon Inside Llewyn Davis! Great a technical achievement as Gravity was, I’d hate to see such a poorly written movie come out on top in the end.

    • Andrew Sidhom

      Poorly written? How is that??

      • Ben

        Dire dialogue. A poorly conceived main character with a story (concerning her daughter) that not one person I’ve met has warmed to.

        Perhaps poorly written is overboard, but very basically written, to the extent where if its technical accomplishments were any less than immense, it would have been a largely forgettable film.

  96. Edkargir

    Good job, now it’s time to publish all 825 lists.

  97. Ben

    Thanks for your excellent work again. Your website is one of the things I look forward to the most towards the end of the year. See you again in December

  98. printthelegends

    Oh, man. I LOVE that it looks like you’re going back to the past years and expanding them all to 50. This is something I’d hoped you would do since last year, but I get that this page takes a lot of work to keep up so I never wanted ask. Thanks, and keep up the good work!

  99. Anonymous

    When will you begin complying the list for the top films of 2014?

    • Mike

      Once critics’ Top Ten lists start coming in, so not until closer to the end of the year.

    • Eric M. Van

      However, for folks who want to get a head start on the best reviewed movies to date, here are some high scores fro Rotten Tomatoes (their Average Score, which is a better number to look at than the Tomato Meter, and better than the Metacritic score). Bracketed movies had limited exposure and are not at all guaranteed to get end-of-year support, movies in braces may not be regarded as eligible by all voters:

      9.4, Boyhood (a slam dunk for this year’s top spot; the second best score ever for a wide release is 9.0)
      [9.2 Stray Dogs]
      8.5, Whiplash (so far; it’s in limited release and expanding)
      8.4 The Grand Budapest Hotel, Birdman (q.v. Whiplash)
      8.3, Ida
      {8.2, Ernest & Celestine: had Oscar-qualifying run only in LA in 2013}
      8.1, The LEGO Movie, Snowpiercer, [Ilo Ilo]
      8.0 Gone Girl, Blue Ruin, Gloria, [Love is Strange, Norte the End of History, Stand Clear of the Closing Doors]
      7.9 Dawn of the Planet of the Apes, Under the Skin, We Are the Best!, 7 Boxes, [Closed Curtain]
      7.8 How to Train Your Dragon 2, {The Normal Heart (HBO)}, Starred Up, {Stranger by the Lake}, [Manuscripts Don’t Burn]
      7.7, Guardians of the Galaxy, The Lunchbox, Pride, [{Archipelago}, Honey (Miele), (Once Upon a Time) Veronica, The Retrieval]

  100. Anonymous

    You wouldn’t happen to have any top 10 lists for years prior to 2000, would you?

  101. Anonymous

    So it begins.

    Guess on what the top 10 will look like:
    1. Boyhood
    2. The Grand Budapest Hotel
    3. Birdman
    4. Under the Skin
    5. Selma
    6. Inherent Vice
    7. Gone Girl
    8. Whiplash
    9. Nightcrawler
    10. Interstellar (I know it wasn’t well received by critics but it seems like the kind of film where the people who love it love it and will put it on their lists)

    11-20 I see: Guardians of the Galaxy, Foxcatcher, A Most Violent Year, Mr. Turner, Goodbye to Language, Winter Sleep, The Imitation Game, Citizenfour, Snowpiercer, Life Itself

    Probably missing 3-4 things that, despite not super high scores, will be super embraced by certain critics, like Spring Breakers last year.

    • Andrew Sidhom

      You forgot:
      The LEGO Movie
      Dawn of the Planet of the Apes

      • Andrew Sidhom

        We’ll see. I think Ida and Dawn will surprise you. Gloria maybe not as much but it will figure somewhere. On the other hand, I think Guardians of the Galaxy won’t be anywhere near the 20s.

      • Anonymous

        to be honest I don’t really see Gloria or Dawn even getting in the list, or at least if they did it’d probably be in the 30s+ at least.

        LEGO Movie is a good one, probably switch that ut for Winter Sleep. Ida I see being 20-25

    • Andrew Sidhom

      So I was wrong about Dawn of the Planet of the Apes (47) and Guardians of the Galaxy (15) (really surprised at that one), very wrong about Gloria (not in the 50), right about the LEGO Movie (14) and very right about Ida (9) ;)

      • Anonymous

        And now Guardians is in the top 10! And you are looking more right with Dawn. Might crack the top 30.

  102. lcbaseball22

    No Interstellar on the list yet? Surely it’s had at least 3 mentions, right? Here’s two alone from both the NYPost critics- http://nypost.com/2014/12/06/the-posts-critics-declare-their-top-10-movies-of-2014/

  103. Ben

    I’d be shocked and dismayed if Winter Sleep didn’t even crack the top 50. Brilliant film. It’s been an exceptionally strong year for movies I think. 2013 was a great year but I honestly don’t think 2014 is that far behind.

    The number of very good to excellent movies that aren’t in the list so far is a measure of the year’s strength:

    Listen Up Philip
    A Most Wanted Man
    Magic in the Moonlight
    The Wind Rises
    The Tale of Princess Kaguya
    The Unknown Known
    Merchants of Doubt
    A Most Violent Year
    Life Itself
    The Drop

  104. Bryan

    1. Where are the lists from the 1990’s? I see them mentioned in some section headings…
    2. How many lists were tallied in 2000, 2001, 2002, and 2009?
    Love the site!

  105. Tom

    Do you have the lists from the 1990s?

  106. lcbaseball22

    Another notice to the webmaster, individual lists for RogerEbert.com critics-


  107. Hello to every , as I am actually keen of reading this website’s post to be
    updated daily. It carries pleasant stuff.

  108. chrosTV

    Where the heck is How to train Your Dragon 2? It was better reviewed, than the first part and the first part was in the 20s of 2010.

    • Andrew Sidhom

      Metacritic is almost a joke. First, 30-40 reviews is not nearly enough of a sample to indicate consensus. Second, they assign a score according to their whim to reviews that have no rating. Third, they weigh some critics much more heavily than others (as if shutting out all except 30-40 voices in the country wasn’t elitist enough). Look to the Rottentomatoes average score for a much more accurate indicator of critical opinion.

      • Grego

        I disagree. Metacritic has a filter. Just because someone writes on the internet does not make them a critic, though Rottentomatoes believes the opposite. Rottentomatoes is a far less accurate “critical” aggregate precisely because, by sampling so many critics, they end up dumbing down their scores to practically invite the audience (less experienced or renowned critics) to rate the movies. So it’s true that Metacritic picks and chooses their critics and could do to add a few more, but Rottentomatoes has far too many to offer what I would refer to as an accurate critical assessment. An all-encompassing assessment, sure. Metacritic is elitist and highbrow whereas Rottentomatoes is for the masses.

      • Eric M. Van

        In theory sure. But I did an analysis of 600+ films released in 2011 — of which I’d seen, and rated on a 0-100 scale, 172 — and I found that the Rotten Tomatoes Average Score was definitely a better measure than the Metacritic score. It correlated better to IMDB scores, to Netflix’s prediction for me for all the films (which is based on the ratings of those who share my taste, which is extremely broad and, well, smart), and to my actual ratings for the 172.

        Furthermore, the “Top Critics” score correlated less well than their overall score.

      • andrew592014

        “Just because someone writes on the internet does not make them a critic”
        Rottentomatoes doesn’t add just anyone who writes on the internet. They add people who have movies-dedicated websites or blogs who have been around for a while writing reviews on a consistent basis. I don’t know what your definition of a critic is (just those lucky enough to get the very limited number of jobs available at famous newspapers?) but to me, that qualifies them as people who spend a significant amount of their time watching many movies of different genres and sizes and thinking about them in order to articulate what worked and what didn’t. In my opinion, that’s a critic. It’s not the millions of moviegoers, it’s still only 200-300 people.

      • andrew592014

        Grego and Eric, I appreciate the long, thought-out responses. Let me add my opinion.

        First, I don’t think you can very accurately correlate any number based on a movie’s reviews (be it from RT or metacritic) with its year-end placement based on Top 10 lists. It’s just not possible. One of the reasons it’s not possible is that there’s a significant number of critics who make a distinction between a movie that’s “good at doing its own thing” and a movie that’s “memorable and worthy of being in a Top 10”. For example they’ll give 5/5s and A ratings to a summer blockbuster or a comedy that is “great as a summer blockbuster/comedy” even though they don’t consider it quality cinema, so it won’t come close to being considered at the end of the year. While I highly disagree with this distinction, the fact is that these critics exist. There are other reasons why Top 10s placement is very difficult to predict like the fact that you just can’t know how passionate the people who did like a movie are about it just by looking at the rating they gave it. (And many critics give more than 10 perfect ratings per year). You touch upon this in your post when you talk about divisive films and how these fare poorly on RT and MC as opposed to year-end lists.

        So I disagree with you that metacritic can be an indicator of year-end placement, even if in the instances you mentioned (The Avengers, The Master) it is so. I can find countless other where it’s not and the year-end placement of a film is either surprisingly low or surprisingly high compared to its MC score. Examples of the latter just from this year’s Top 10: Under the Skin, Nightcrawler, Gone Girl and Guardians of the Galaxy. The RT avg rating is either just as good or actually better at predicting all four! (though not by much). That’s why it’s fun to come to this website at the end of each year and find out about all the surprise picks ;)

        As for the number of lists on this site, I think you make a very valid point when you say that“the more [lists] you get, the more you have to question whether they’ve even seen Stray Dogs or Norte”. This is certainly a problem. Still, don’t you agree that the majority of movies listed here are still very much art films (just not the very obscure ones)? It doesn’t feel to me like the Guardians of the Galaxy’s and the Interstellar’s are all over the list. Also, I can easily recognize which of the 50 are the mainstream ones and which are not, so I can almost treat a year’s Top 50 as two separate lists which give me the “Best of Arthouse” and “Best of Mainstream”. Personally, I still want to know about both as I need both in my movie-watching experience.

        Finally, regarding correlation between quality and MC/RT score, sure RT has some more mainstream critics. Personally I still want those voices to somewhat factor in because, as Eric puts it, some arthouse critics have blinkered taste. But let’s say you identify more with those critics (MC, Village Voice, Sight & Sound…), nothing wrong with that but may I suggest you look at the RT Top Critics average rating rather than MC? I think it has 2 advantages. First it doesn’t further weigh those top critics’ voices according to a hierarchy of who writes for the supposedly superior publication. Second, it doesn’t pretend to know how a critic would have rated a film if he/she used a rating system. Critics find both negative and positive aspects in most films but in my opinion, while they may lend one or the other more writing space, that doesn’t necessarily say how much weight these aspects have on their overall perception of the film. And guessing their rating to be a 90 instead of an 80 or a 70 makes a difference.

      • Eric M. Van

        Great response, Grego. I’m also someone who loves a lot of films that don’t make the mainstream critics’ lists: my top 12 for 2011 was A Separation, Hugo, Margaret, Mysteries of Lisbon, Poetry, Love Exposure, The Tree of Life, Pina, Take Shelter, Certified Copy, Incendies, and Beginners (Hugo could drop as far as 5th when I re-watch the next three). But I find many of the arthouse-leaning critics to have very blinkered taste, as if there were only one way for a movie to be great. In the last Sight and Sound poll, Memento, Donnie Darko, and The Prestige combined for 1 vote across both polls, which I find unimaginable and indefensible (they’d have two of my top three). IMDB voters actually do a great job of identifying great movies that the arthouse critics don’t even seem to consider (all three of those films are very deservedly in the IMDB Top 250). And although these films seem to be hit-or-miss with all critics (The Prestige had a 7.1 RTS and 66 Metacritic), they do fare better with the mainstream critics than with the arthouse-only crowd.

        It may well be that, for you, the Metacritic score works better than the RT. But I don’t think there’s any good argument that the better metric would be the one that correlates worse with IMDB scores. The people (like myself) who rate films there are film buffs. We may have, as a group, more commercial tastes than arthouse critics, but we still know good from bad. There are even great, pure arthouse films that have made their top 250 (like Spring, Summer, Fall, Winter … and Spring) without generating much of a buzz from critics (3 critics and 1 director in the S&S poll). Furthermore, it’s only arthouse films that get tons of press and hence get seen by an unusually large number of commercial moviegoers that get their IMDB scores driven down to the point of inaccuracy. For every The Tree of Life with a 6.7, there are probably thirty or fifty like Once Upon a Time in Anatolia at 7.8 or The Turin Horse at 7.7 — and Bela Tarr makes Malik look like Michael Bay. (Arthouse films that get seen by very few people also have unreliable ratings, but that’s true of almost every film there.)

        If you question this, here are some examples from a score that actually DOES correlate negatively with quality, all other things being equal, and perhaps even just by itself. If two films have the same Metacritic, Rotten Tomato, and IMDB scores, I can guarantee you that the film with the lower Netflix user rating will be the one both you and I prefer. As in, Alvin and The Chipmunks: The Squeakwell ahead of Annie Hall, 3.6 to 3.4, and National Treasure: Book of Secrets ahead of 2001: A Space Odyssey, 3.8 to 3.7.

        The other problem with Metacritic, BTW, is that one or two critics who are unfair and inconsistent can have way too much influence. You’ve probably noticed that Slant critics tend to savage anything good, but sometimes they don’t (a difference entirely driven by ideology rather than film quality).

        My own ratings are predicted best by adding the IMDB and RTS together with absolutely equal weights, or (fractionally better) multiplying them together. IOW, for me, there are just as many good and great films whose merits are missed by critics as ones that the average film buff doesn’t get. (And a film that satisfied both equally tends to be a bit better than one that was divisive across the two groups.)

      • Eric M. Van

        Andrew, your comments about the difference between Top 10 rankings and RT / Metacritic scores are spot-on. That’s why I’m always so eager to see the lists. And the fact that many critics never see the best indie and foreign films is indeed a vexing source of bias. With the 2011 films, I threw in the number of RT reviews into the analysis and messed around with an adjustment system. The trouble is estimating how many more top 10 rankings a film would get if seen by the critics who aren’t interested enough in seeing those kinds of films to seek them out. I never quite came up with something that felt entirely satisfactory; I should give it another shot some time.

        In the meantime, I have pretty complete lists of all votes for 2010-13, with lots of fine detail checking on the obscure ones, and votes from multiple years consolidated into the year of actual U.S. release (or into a list of still-unreleased ones). I could probably beat all of that data into publishable shape in a couple of days or so at some point later this winter, and I believe that our glorious site runner is willing to put them up here.

        Just looking at 2011, films that were 51-100 but were in my top 50:

        Source Code 52 / 43
        The Future 56 / 13
        Pina 59 / 8
        My Week With Marilyn 63 / 50
        Jane Eyre 64 / 17
        Bill Cunningham New York 71 / 28
        Crazy, Stupid, Love. 74 / 49
        Aurora 82 / 20
        Tyrannosaur 86 / 21
        We Were Here 98 / 38

        Films in my top 50 that were 101+ include Love Exposure, The Names of Love, Elite Squad: The Enemy Within, If a Tree Falls: A Story of the Earth Liberation Front, Even the Rain, The Adjustment Bureau, Dhobi Ghat (Mumbai Diaries), and Limitless.

        I think any serious cinephile wants to see the whole list. I had 80 films rated as B+ (must-see) or better, and there were 26 films in the critics’ top 80 that aren’t included. I actually believe that there are now 200 films worth checking out in any given year, and mentions at the bottom of the full critics list are one of the ways the more obscure films can cross your radar.

        (2011-U.S. films that got no votes at all, however, include King of Devil’s Island (my 24), Sidewalls (41), A Somewhat Gentle Man (46), Archie’s Final Project (48), When We Leave (57), and Fish Story (58). So you need other sources: all of those were highly recommended for me by Netflix.)

      • andrew592014

        Eric it’s very interesting that you have the full lists for 2010-2013. Where did you get them from? I know the individual lists are posted on this website from 2012 on (and I hope they’ll be posted this year when the tallying is over) but what about 2010 and 2011? I’d love to see the rest of the movies from 51st onwards. Could you possibly share them in some way?

      • Grego

        Eric and Andrew,

        Thanks once again for the replies. I actually agree with pretty much everything you’ve both said. I still don’t feel that IMDB is a good correlative to critics’ scores, for, as Eric alluded to, it seems that the more people who see an arthouse film, the lower the score will drop. Perhaps Turin Horse scores a 7.7 on IMDB and it scores close to that on metacritic, but for my money it can’t be a whole 1.6 off of The Shawshank Redemption! An extreme example, I know. And, for what its worth, I actually got Slant added to metacritic. As much as I sometimes regret doing so, I consider them the great equalizer, as much as they seem to delight in contrarian opinion, and for as much as they promote each of their critics to have their own unique opinion yet still come off as a clique, I consider their outlook to be highly revealing when it comes to getting deeper into a film, whether its unanimously acclaimed or otherwise.

        Andrew, those films you named – Under the Skin and Gone Girl, etc – may not be easily predicted from the metascore but they are easily predicted, for me anyway, by looking at the individual critics ratings for the films, which metacritic provides in an accessible format. Actually, you know, predicting year-end lists is pretty much the only thing I’m good at, so I don’t know where it comes from. It probably is a combination of a lot of things – director and style of the film, first and foremost – it’s just that I utilize metacritic more often than any other site. I agree that the top critics score on RottenTomatoes is the closest thing to the metascore and even has its objective advantages, but I actually appreciate metacritics weighting system, even if it doesn’t make complete objective sense, especially if, say, Peter Travers is one of the people they weigh more heavily (I can’t remember if he is) just because he writes for Rolling Stone. But I like the attempt to distinguish certain critics and their influence.

        I think the biggest problem with the year-end lists is knowing whether a critic has actually seen a movie, be it due to late-year release dates or to poor distribution. Such a problem for factoring a be-all, end-all sample. The other problem, as previously mentioned by all of us, is if a certain critic with mainstream taste hasn’t seen Stray Dogs, it makes me wonder if he also hasn’t seen Goodbye Dragon Inn and The River, etc., and how that has affected that critic’s taste. If the critic has seen all of those movies and simply doesn’t find value in them, then fine, that’s great. If he’s only seen one of them, then I wouldn’t expect him/her to appreciate it, and if he/she hasn’t seen any of them, then I feel a large part of what-cinema-can-be is missing from the critic’s vocabulary, which makes his/her approach to cinema more limited. In other words, if you want to put the quite lovely and incredibly fun Guardians of the Galaxy in your top ten, be my guest, but I just hope you’ve seen everything there is to see and have at least attempted to appreciate it. You know? And in these lists, you just never know!

        As for me, so I don’t seem like a total snob, I’m actually quite amazed that Interstellar was received so tepidly. I feel that Ebert would have championed the hell out of it in one of those reviews where he just glows about its ambition and the feeling it gave him. The movie I was most wrong about, apparently, is Nymphomaniac, of which I loved the first part and felt totally deflated by the second part, but which I could never have predicted would have been left off the entire Film Comment Top 50 poll since it’s Lars von Triers making an intentional magnum opus and so many people had so much fun with the first part. But at this point, I blame the producers, who released the theatrical cut, which allowed so many people to see the film and perhaps not be too curious to revisit a 5 and a half hour cut, which is a shame, since the director’s cut is so much fuller and flows so much better, especially in its transition from part one to two. In this form it really seems like it’s a movie about Lars himself, which makes it more puzzling that more arthouse critics decided that this would be the film NOT to champion. I mean, is it really so inferior to Antichrist? Once the smoke clears with the whole smug pornographic button pushing angle of the film and people start to focus on the film as a sort of Lars on Lars and remember that its the third part of his Depression Trilogy rather than a film about nymphomania, I think opinion may change. But as far as that applies to this conversation about lists and predicting them, the fact that the director’s cut is probably underseen (I expected to find a ton of reviews on it, but there are very few, even including blu-ray review websites) adds another facet to the whole debacle of trustworthy, year-end “accuracy.”

      • Andrew Sidhom

        Eric I find your 3rd paragraph very much on target (about whether a critic has seen enough movies from left-field and how that affects his/her cinematic taste). It would be fine with me if after a sufficient period of having checked out these kinds of films a critic has decided he’s mostly not interested in that type of cinema. But certainly many of them have simply not had the exposure to it.

        And yet, there is something to be said for an unfiltered “be-all, end-all sample” which this website provides. First, maybe some critics haven’t had exposure to obscure films because these films haven’t done much to get themselves noticed and seen – whether on account of insufficient funds, faults in distribution, bad luck, or bad quality – and maybe I don’t want to be one of two people in the world to have seen something even if it’s really good. Or at least not before I see all the other titles that are in the conversation. Which brings me to a second point: I’m personally on the low end among film fans in terms of the number of films I see every year. I like to give myself the time to digest movies, think about them, read and talk about them rather than cramming a new thing every day. This means the 50 titles of criticstop10.com are enough for me as reference for stuff I need to check out if I haven’t already. I’d still love to have a list beyond 50 just so that, when I stumble upon a movie on TV or at a friend’s at any time, I know whether or not it’s worth my time. But I digress. My point is: what this website, with its unfiltered be-all, end-all sample, tells me is: What are the movies that are being talked about the most as people look back on the year? This website answers the question very transparently and beautifully for me without complicating the process with filters or unnecessary math.

        Of course that may not be the same case for everyone as it is for me. If you’re more interested in the question “what are the most arthouse-inclined people talking about as they look back on the year” and especially if you’re the kind of viewer who watches lots and lots of films, then maybe you do have to look elsewhere.

      • andrew592014

        I’m sorry, I meant to address my last post to Grego. Sorry about the mix-up.

      • Grego

        Andrew and Eric,

        Thanks for the replies. That’s an interesting study you did in 2011, Eric. However, I would argue that the closer a critics’ aggregate is to an IMDB score, the less accurate the critics’ aggregate. If I did the study, I would probably relate more to the top critics as I have with movies that I’ve investigated, so in that regard its a matter of taste I suppose.

        And, perhaps I didn’t state what I meant accurately. I know the object of these sites is to present an accurate, objective assessment of what critics think. In that regard, all critics could be counted and therefore Rottentomatoes better encompasses the critical spectrum. What I’m saying is simply that I find a lot of the critics on Rottentomatoes to be inferior critics. Once again, a matter of subjectivity I suppose regarding something that should be objective. But I can liken it to this criticstop10 website. At first, you get a bunch of diverse lists from acknowledged critics. Then, as more and more lists are collected, Guardians of the Galaxy and other mainstream movies creep up the list while lesser known, more experimental films fall. I think Rottentomatoes is similar in that sense. A week ago, Inherent Vice was at a 74%, highlighting both its acclaim and divisiveness. Since it went wide, it dropped to a 69%, which most likely lowered its average score, which I know is more important and a better correlative to the metacritic score.

        That said, Inherent Vice is one of the year’s most acclaimed films and is bound to be more passionately remembered than most of the year’s films as time does its thing given its off-kilter nature and the pedigree of its director. So, in that regard, I would say that the metascore is a more accurate aggregate, where it scores an 81 rather than a 7. In both cases, the score is obtained objectively. Reading inside the numbers, both scores reveal themselves as torn between good, bad and confounded. But, in my way of looking at things, the metascore provides a more accurate assessment than the tomatometer.

        And, while I’m on the subject of Paul Thomas Anderson, his previous film, 2012’s The Master, which topped many a list and a few polls, scores an 8.1 on rottentomatoes and an 86 on metacritic. To me, the metascore is clearly a better indicator of not only the film’s quality and its placement on year-end lists, but also of how it will age. Not only that, but if The Master is only an 8.1, then how is 2012’s Avengers an 8.0? I admit I find Metacritic’s lower rating of Avengers (69) a bit too low, but I think the gap of quality and year-end placement is more accurately represented by the 17-point difference in the metascore.

        Now, you may disagree with all of this based on personal preference, or, oppositely, on the grounds that Avengers’ 8.0 was achieved objectively, and that The Master’s 8.1 was achieved the same exact way. I don’t disagree with that at all. It’s all about knowing how each website operates and then reading into the numbers. But as a guy who likes everything but whose year-end lists generally match up with those of Film Comment and Village Voice polls, I can’t help but view the metascore as “smarter” and the rottentomatoes score as more for the masses. The only thing about both websites, as evidenced by RT’s ratings of Inherent Vice, is that you can never account for a film that divides critics. Like a Dogville, for example, which renders a lot of this argument moot since it scores so much higher on Rottentomatoes (7.0) than it does on metacritic (59). But, regardless, to me that 59 truly speaks to its polarizing nature as a work of extreme art whereas the 7.0 on RT just seems so middle of the road. But, these divisive films and their aggregate scores can never speak to their true quality the way a unanimously acclaimed film’s rating can. So at the end of the day, both Metacritic and Rottentomatoes are meant to average out a critics score and its fun to look at, but its hardly consistent with how the film will be remembered. Boyhood, for example, will likely be remembered the way the aggregates tell us. But Dogville? No way.

        I’m more an advocate of list tallying and critics polls than critics’ initial reviews. But I have the same problem with this site that I do with Rottentomatoes. Too many lists. Accurate as it may be in objectively representing the critical spectrum, I simply don’t believe that the more mainstream elements of this list will predict the decade-end lists or once-a-decade Sight and Sound polls. I suppose its a question of how movies primarily come to be remembered as great – by way of audience or by way of critics. Who furthers a film’s history and carries on its acclaim more? Which brings me back to what I said about the masses. All of these lists collected may have been submitted by critics, but the more of them you get, the more the mainstream movies rise – the more you have to question whether they’ve even seen Stray Dogs or Norte. That said, I’d rather have this site just how it is than not at all, and its once again about reading inside the numbers. I find it fascinating that Guardians of the Galaxy places inside the top ten, and in some ways I couldn’t disagree with the 191 lists that place it there.

    • andrew592014

      No the first one was better reviewed.

      • chrosTV

        No, the second one has a metascore of 76 and 4 listed 100-ratings, where the first one only has a metascore of 74 and 0 listed 100-ratings.

  109. John

    You should create a bar graph to illustrated the disparity between Boyhood and all the other films.

  110. matt

    It makes no sense that you ignore the top spots, I mean, for example Inherent Vice is only one list less than Lego Movie, but it has almost the triple of top spots.

    • andrew592014

      We really don’t need one more site which attempts to assign a random numerical value to each movie on a Top 10 list according to how high it is in the list. These methods are very arbitrary. For example how do you know how much more a critic liked their #1 choice than their #2? Maybe the gap between their #2 and #3 is huge while that between #3 and #4 is infinitesimal.

      A film critic probably sees 100 to 300 films a year so a Top 10 is already a very narrow selection of movies that he/she thinks are very good. One of the main reasons I like this site is that it simply counts how many people think Movie X is “very good” without complicating the process with arbitrary math.

      • Grego

        You know, you’re absolutely right yet also a bit wrong. I believe that most critics really do know what they’d put number 1 or 2 on their lists and that those films should be awarded more points than what finishes number 8. So maybe at least a film’s ranking should have more to do with how many first place votes it has received. Basically, this website tries to assemble an accurate – though extremely large (which makes it less accurate to me, for as the more lists you get the more mainstream stuff gets mentioned at the expense of the foreign, indies, and weirdos) – sample of the year’s best movies. Which is great. But if you want to try to predict which movies are going to last, you kind of have to look at what movies have finished number 1 on the most people’s lists. At the end of a decade these same critics will be asked to submit a top ten that covers 10 years, and you better believe they’ll be reaching for the films that finished in the top three of each of their year-end lists.

      • Eric M. Van

        I’m the guy who helps our glorious webmaster with the data, compiling, for instance, the 2013 votes for 2014 films (which wee just added, giving a boost to a lot of good foreign and indie flicks that played festivals in 2013). And I just proposed to him that he should do precisely what Matt suggested and which you support: add the first place votes to the total votes. IOW, a first place vote simply counts double. He is not yet convinced, so I think I’ll explain the rationale and see what other users think!

        The reason why adding the first place votes to the overall total (which is to say, counting #1 votes double) provides a better ranking is that it is actually a terrific approximation for any compilation that actually keeps track of the 1 through 10 votes, and then assigns some extra weight (like 18 for a 1, and 9 for a 10, or 22 and 13). But it’s vastly less work, and, best of all, you don’t have to decide precisely how much extra weight to give a 1 versus a 10.

        So the math is anything but arbitrary. It’s incontrovertible that a guy who ranked their films 1 through 10 liked 1 more than 2, and so on down to 10. You can weight that any one of a number of ways. But in every case, the list you would get will more closely resemble the one from the simple “#1 vote counts double” method than it resembles the original list which ignores the #1 votes. So, there is no argument against including that extra preference information, and, no matter how you include it in order to make the ratings better, you can achieve results 90% as good, and much better than what you started with, by counting the #1 votes twice.

        The reason why this works, of course, is that films that get a lot of #1 votes also tend to get more #2, #3, and so on. So counting the #1 votes double is a beautiful quick proxy for tabulating all the separate ballots and counting a #1 whatever percent extra, a #2 a bit less extra, and so on. Which I did do for 2011 and, regrettably, will never have time to do again!

      • andrew592014

        “So the math is anything but arbitrary.”
        I still think it’s arbitrary to decide to multiply the #1 votes by two. Another guy can say well let’s multiply them by 1.5 to make it more even or let’s multiply them by 3 as these are very loved movies by the critic who ranks them #1 so they should have a lot of weight. And another guy can say well let’s multiply the #1s by 2 and the #2s by 1.5 since the #2 is also almost at the top. In my opinion, these are all arbitrary choices.

        “The reason why this works, of course, is that films that get a lot of #1 votes also tend to get more #2, #3, and so on.”
        For many movies yes that will be the case but what about love-it-or-hate-it movies? There are such movies. They may either be someone’s #1 or nowhere to be seen on their list. These would benefit a lot from doubling #1s while movies who almost everyone agrees are somewhere in the Top 5 of the year will be hurt by the method.

        I know there isn’t a perfect way to do things but to me the way this site currently works is really great because it tells me, in descending order, which movies most people agree are “Top 10 worthy” (ie. very good movies which are memorable by the year’s end). For a critic who sees lots of movies, he/she considers even his #10 to be very good. As a film viewer my own opinion will probably not fall in line with any particular critic enough for his fine distinctions between his #1 and his #2 and his #3 and his #4 to matter to me that much.

        That’s my opinion FWIW.

  111. Chick Mitchell

    Here’s another list you may not have counted, to help you get to 800: http://whichwayisawesome.blogspot.com/2014/12/year-in-review-2014-movies.html

  112. Joseph

    Do you guys have the list rankings from the 1990s?

  113. Up until that point, the dogs useful to hunt foxes were too similar
    in coloring towards the foxes they chased.
    Begin with short paragraphs in summary the introductory
    discussions. Mise and Crystal Whip on their own roster (and the like), it had been expected that Maine (#10) would be able to address Toronto (#15)
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  114. Joseph

    Do you have 1990s list, you’ve mentioned them but I see no links?????

  115. Raymond

    Do you have any lists from the 1990s?

  116. Craig

    Where are the lists from the 1990s?

  117. Bernard

    Would you be willing to make list of 1990s films

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