Charts: Lists
This page shows you the list charts. By default, the movies are ordered by how many times they have been marked as a favorite. However, you can also sort by other information, such as the total number of times it has been marked as a dislike.
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Letterboxd's Official Top 250 Documentary Films
Favs/dislikes: 4:0. LAST UPDATE: May 2024 A companion piece to Dave Vis' list of Letterboxd's official top 250 films of all-time, which excludes documentaries from consideration. Ranked by average user rating. This list was extracted from here. Updated once a month. This is an official list progress project on all-time stats pages for Pro and Patron users. Expanded from a top 100 to a top 250 on June 27th, 2021, on the list's 3-year anniversary. ~~ ELIGIBILITY RULES: • Documentaries must be feature-length (45+ minutes), with a theatrical and/or festival release in its entirety. • TV series, miniseries, and episodes are excluded but docs listed as 'TV movie' on IMDb are eligible. Exceptions made for series and episodes that also had a limited theatrical release. • No featurettes unless theatrically distributed, even if feature-length (featurettes are marked as 'Video' on IMDb, such as 'making of' docs). • In an attempt to combat unintentional fan manipulation, all music-adjacent films must have screened at a film festival to qualify. • No standup comedy marked as a documentary, nor any stage shows. Exceptions may be made for borderline exceptions. • Skateboarding compilations are excluded. • There is a 1,000 minimum ratings threshold. NOT ON IMDB/ICM: #102 Disintegration Loop 1.1 (2024, Basinski) -
Letterboxd’s Top 250 Highest Rated Narrative TV Miniseries Of All Time
Favs/dislikes: 4:0. LAST UPDATE: May 2024 Ranked by average user rating. Updated once a month. ELIGIBILITY RULES: • There is a 500 minimum views threshold. -
Letterboxd’s Top 250 Science Fiction Films
Favs/dislikes: 4:0. Extracted from Darren Carver-Balsiger's Letterboxd List: "An accompaniment to the Letterboxd Top 250, which contains just a few science fiction films. Extracted from here: https://letterboxd.com/films/genre/science-fiction/by/rating/size/small/ The Rules: No shorts, no TV series or TV movies, no YouTube videos, no filmed stage productions, no reissues/re-edits, no commentary track versions, no compilations of TV show episodes, no behind-the-scenes documentaries, nor anything else that isn't really a full film. All entries must be at least 40 minutes in length. To ensure this list isn't filled with films with very few ratings, this only includes films rated by at least 1,000 users and with at least 100 likes". Last update: 12th October 2021. -
Looper's 60 Best Mystery Movies of All Time
Favs/dislikes: 4:0. BY MIKE BEDARD/UPDATED: NOV. 4, 2021 3:07 PM EDT Who doesn't love a good mystery movie? Watching a clever detective figure out who's behind a murder never gets old. Sometimes these films are comical, sometimes they're bizarre, and sometimes they're deadly serious. Yet all of them leave you guessing until the final frame. Not every whodunit is a winner, however. How's a fan supposed to know which flicks are worth checking out, and which should remain in the bargain bin? That's where we come in. From brilliant Hitchcock classics to modern day crime sagas, these are the 60 best mystery movies of all time. Updated on October 14, 2021: New mystery movies come out every day, from all corners of the globe. We keep a close eye on the cinematic landscape, and update this list whenever a new classic is released. Be sure to check back for new and exciting developments in the realm of mystery movies. -
Marie Claire's 42 Murder Mystery Movies That Will Satisfy Your Inner Detective
Favs/dislikes: 4:0. We're living in a golden age of true crime content, from documentaries to podcasts to TV shows and books. Which means, no surprise, that the murder mystery film is also seeing a resurgence in popularity. The classic genre has had some major standouts over the last several decades, and the typical whodunit setup—several people in a house, one dies, a detective has to solve the crime—has expanded to include truly unique settings and stories. That's a good thing: It means that a lot of these mysteries can play with form and framing while still giving you a perfect twist ending. There are horror films, action movies, and dramas on this list (not to mention a couple comedies!). From Alfred Hitchcock to the Coen brothers to David Fincher to Rian Johnson, some of the best directors in history have tried their hand at this iconic genre. The one thing these movies have in common? A killer mystery—pun absolutely intended. What's also great is that fictional whodunits can satisfy your crime-solving, clue-finding itch without the sad (and, if we're being honest, somewhat problematic) true-life aspects of those true crime shows you love. Here are 42 murder mystery movies that will have you on the edge of your seat from start to finish. No major spoilers lie ahead for any of these mind-bending films, particularly the whodunit part. But if you don't want to know ANYTHING about the plot, go watch before you read. -
Movies where more than 60% of dialogue is from women
Favs/dislikes: 4:0. Based on the splendid project "Film Dialogue from 2,000 screenplays, Broken Down by Gender and Age" by Hanah Anderson and Matt Daniels I made a number of lists. This list contains the 171 movies (out of 2000) that have more than 60% female dialogue (sorted from high to low). -
MovieZine - Movie Top list 2015-07-01
Favs/dislikes: 4:0. This is a movie top list. Rated by the users of moviezine.se. This is the actual standing 2015-07-01. -
MUBI's Essential Indian Cinema
Favs/dislikes: 4:0. Many thanks to user [url=https://mubi.com/users/8415525]Krish Sanghvi [/url] for this list, who says: “These films cover the entire range of Indian cinema, from early works to contemporary film; from mainstream Bollywood to more art house cinema; and are aimed to be representative of the themes Indian cinema represents, as well as include full length feature films and documentaries. The list, according to me, is what anybody who wants to familiarise themselves with the best of Indian cinema should watch.” Missing from imdb: [url=https://mubi.com/films/shores-of-silence]#103 Shores of Silence (Mike Pandey 2010)[/url]. Gangs of Wasseypur is considered two separate films on MUBI, at #106 & #108. -
Not Again: 24 Great Films Too Painful To Watch Twice
Favs/dislikes: 4:0. -
OFDb Top 250
Favs/dislikes: 4:0. The OFDb (Online-Filmdatenbank, meaning online film data base) is a german database of movies and their DVD/BD and theatrical releases with information about techncial aspects and censorship. Like the IMDb top list, this list is determined by average user votes. Though every movie is ranked, these are the current first 250 positions. -
Paste's The 100 Best Movies of the 2010s
Favs/dislikes: 4:0. There are two movies by Martin Scorsese on this list, and five Marvel movies. Let us demarcate the next decade by refusing to ever stop talking about this. But, hey, here we are: our staff’s favorite 100 movies released between 2010 and now (November 13, 2019). There’s a lot of the familiar and a lot of the divisive and a small bit of the esoteric, but in its weird breadth this list is the best we could do to cover so much, from our writers’ taste to our best guess for which films will have a lasting effect on whatever post-apocalyptic hellscape is to come as direct result of this moment’s war between Scorsese and the MCU. In that spirit, we had to leave a bunch of films out, make some serious compromises to get other titles in. John Wick is here, representative of all three chapters; Blade Runner 2049 can stand in well enough for Arrival’s scope; The Beach Bum is the humanist opus in conversation with what Spring Breakers promised; Coco is the best of what kind of magic Pixar’s conjured all decade; Annihilation wraps Ex Machina in its warm embrace, and absorbs it. Or, at least that’s how we reasoned our way to the following 100. And make sure to check out more of our Decade’s Best lists, dutifully analyzing how closely we stayed consistent throughout: The 30 Best Documentaries of the 2010s The Best Horror Movies of the 2010s The Best Anime Movies of the 2010s The Best Bollywood Movies of the 2010s The Best Sci-Fi Movies of the 2010s Here are the best 100 movies of the 2010s: (#27 is for both The Act of Killing & The Look of Silence) -
PrettyFamous - The Best Ensemble Movies of All Time
Favs/dislikes: 4:0. As Hollywood knows, audiences love stars. Putting a bunch of them together in a movie can lead to big returns at the box office. The “ensemble film,” characterized by a large cast of lead actors that share nearly equal screen-time, has proven its value to filmmakers time and time again. New ensemble films are released each year, with the latest film, “Masterminds,” starring Zach Galifianakis, Kristen Wiig, Owen Wilson and Jason Sudeikis, opening in theaters on Sept. 30. After delays pushed back the release, moviegoers have been waiting excitedly to see if this star-packed ensemble will achieve box office success. Both the epic fantasy “Lord of the Rings,” and the iconic musical “Hairspray,” are considered ensembles, illustrating how versatile the format can be. “Sin City,” with its episodic format, is proof that most of the stars don’t even need to be on the screen together. After the huge success with “Silver Linings Playbook,” writer and director David O. Russell quickly followed up with “American Hustle” and “Joy” to capitalize on the dynamite chemistry between Jennifer Lawrence, Bradley Cooper and Robert DeNiro. With so many movies to choose from, PrettyFamous, an entertainment research site powered by Graphiq, decided to put together a list of the greatest ensemble films of all time. PrettyFamous looked at all movies that have been nominated for the Critics' Choice Movie Award for best acting ensemble and ranked them based on their Smart Rating: a weighted average of each film’s Rotten Tomatoes score, IMDb rating, Metacritic Metascore, Gracenote rating and U.S. box-office gross, adjusted for inflation. From “Milk” to “Star Trek,” see where your favorite ensemble films rank on the list. -
Public Domain Movies
Favs/dislikes: 4:0. This list is a summary of public domain films. Most of these are available legally and free online. You can watch most if not all of these movies for free on http://publicdomainmovies.net/ Please note that while the movies are in the public domain, certain character, scripts soundtracks and other aspects of these films may still be copyrighted, as in the case of Steward v. Abend. -
RadiiChina's 100 Films to Watch to Help You Understand China
Favs/dislikes: 4:0. The history of cinema has shadowed the history of modern China, turning a lens on more than a century of radical upheavals that have given form and substance to the People’s Republic as it stands today. In the spirit of exploring this vast and complex country through the layer of its big-screen output, RADII presents our list of 100 Films to Understand China. This is not a ranked list of 1-100 — we’re not trying to tell you the 100 “best” or “most important” films to come out of China. Our goal is to give a round and deep profile of the country through the medium of films made here in the last 100 years or so. This list is a syllabus of movies across the spectrum of time, space and quality that, taken together, provide a snapshot of today’s China, the forces that shaped it, and the directions in which it’s moving looking forward. We’re focusing primarily on films made in mainland China, since these come from a different cultural context and industrial framework than films made in Hong Kong or Taiwan. In assembling the list we reached out to filmmakers, producers, distributors, curators, critics, experts and industry insiders, who gave us an eclectic mix of mainstream titles, cult classics, and deep cuts. They provided these via the category headings that we provided and therefore do not necessarily endorse all of the selections you’ll find here. To make it easier to navigate, we’ve divided the 100 films up into 10 categories with 10 movies each: - Pre-war Shanghai; - The Mao Years; - Opening Up; - Indie & Arthouse; - Documentaries; - Wuxia; - Pop(corn) Culture; - China Today; - Bad Films; - Animation. -
Rolling Stone's 50 Greatest Comedies of the 21st Century
Favs/dislikes: 4:0. The 50 best comedies made during the 21st century, according to 19 Rolling Stone writers. [quote]After a number of heated arguments and lots of name-calling and the occasional chaotic pie fight, we've narrowed down our choices for the greatest comedies of the 21st century. Culling this down to a mere 50 entries was a tough call – humor is a seriously subjective topic, and every one of our 19 writers weighing in had their own idea of what constitutes "hilarious." But this list represents the best cross-section of screen comedy of our still young millennium, a collection that runs the gamut from droll to bladder-loosening.[/quote] -
Rolling Stone's 50 Greatest Superhero Movies of All Time
Favs/dislikes: 4:1. From the campy to the grimdark, the dark knights of Gotham City to the defenders of Wakanda — these are the best superhero films to ever pow, zap and websling to a theater near you. When Action Comics No. 1 hit newsstands in June of 1938 and readers met Krypton’s number-one-son Superman, it was a big-bang event that kicked off what would become the Great American Superhero Obsession. Naturally, the movies wanted in on this craze as well. Thus, a few years later, serials like The Adventures of Captain Marvel (1941), Batman (1943) and Captain America (1944) became matinee staples; even the Man of Steel would get his own 15-part adventure in 1948. Later, these comic-book characters would get co-opted by this newfangled invention called “television,” and you could tune in watch George Reeves move faster than a speeding bullet, Adam West and Burt Ward zap-blam-pow their way through a who’s-who of Bat-villains and Bill Bixby go from mild-mannered drifter to a raging green hulk. Don’t even get us started on Saturday morning cartoons. By the time superheroes started making their way back to the big screen in the late 1970s and the 1980s, these defenders of truth and justice had become universally recognized icons — you didn’t have to be a comic-book reader to know what that black-and-yellow bat insignia meant, or understand that a red mask with white eyes and a web design equaled your friendly neighborhood Spider-Man. And when the one-two punch of the first X-Men movie and Sam Raimi’s first Spider-Man hit theaters within a few years of each other, the stage was set for the first part of the 21st century to give birth to what’s now a Golden Age of Superhero Movies. So, after having navigated several cinematic universes and traveled through a host of multiverses, fought infinity wars and played endgames, rode shotgun with webslingers and prowled alongside dark knights and hung with so many supergroups that we’ve practically become charter members, we’ve ranked the top 50 superhero movies of all time. From the campy to the grimdark, the late nights in Gotham City to the sunrises in Wakanda, these are the films that both define the genre and have helped turn the thrill of watching comic-book characters leap on to the screen into a multiplex lingua franca. --Rolling Stone -
SCFZ's favourite sci-fi films
Favs/dislikes: 4:0. genre poll held at the scfz film forum: http://scfzforum.org/phpBB3/viewtopic.php?f=5&t=399 -
Sens Critique's 100 Best French Films
Favs/dislikes: 4:0. Top 100 des meilleurs films français 2794 membres ont répondu Le meilleur de la production cinématographique française depuis l'invention du septième art. -
Slant Magazine's The 25 Best Films of 2013
Favs/dislikes: 4:0. -
Sources of the Star Wars-trilogy
Favs/dislikes: 4:0. 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. -
The 10 Best Electronic Film Scores of All Time
Favs/dislikes: 4:0. Since the invention of electronic instruments in the 1960s, a giant multiplicity of genres had evolved. With the huge possibilities regarding the synthesis of futuristic sounds, it doesn’t surprise that electronic instruments established themselves as essential part of movie scoring. The following list will name the 10 best all-electronic scores of all time. It only contains scores with a complete or nearly complete electronic instrumentation. -
The 100 Most Significant Political Movies of All Time
Favs/dislikes: 4:0. Not “best.” Not “favorite.” Not “most likable.” Most significant. Some are obvious. Some obscure. A few will be controversial. Let the debate begin. -The New Republic. (The list is 103 entries because the source contains Olympia part 1 & 2 and The Battle of Chile 1-3 as single entries.) -
The 15 Best Movies About The Creative Process
Favs/dislikes: 4:0. There is evidence of human artwork dating back 500,000 years. It is our very nature to express ourselves through creative endeavors and share them with others. Creativity is in our blood. The passage of time has allowed us to graduate from crude paintings on cave walls to magnificent moving images projected onto massive theater screens. But the point is still the same: sharing a story. Not surprisingly, the creative art of filmmaking loves looking at creative types. Movies are the perfect vehicle to explore the creative process, the method, the origin of inspiration, and the struggle to bring them to fruition. Movies utilize many of the great arts: writing, music, acting, composition, color, and of course a little magic – the age-old deception of doing the impossible. Let’s gather ‘round the fire and share some stories. -
The 20 Best Indie Animation Features of 2010s
Favs/dislikes: 4:0. [quote]Here's the top indie animation features from the 2010s decade, as selected by Head Editor Vassilis Kroustallis. For our decade review, we considered films from 2010-2019 coming from Europe and the independent animation world in general. Japanese anime was here excluded (the number and the scale of production merits a different list), but Asian films otherwise were considered.[/quote] The list is ranked. The link below includes links to their film reviews and trailers. from [url=https://zippyframes.com/index.php/news/top-indie-animation-features-decade]https://zippyframes.com/index.php/news/top-indie-animation-features-decade[/url] -
The 25 Most Infamous Movies of All Time
Favs/dislikes: 4:0. A quick glance at IMDb’s Top 250 page, or even at nominally more serious attempts to supposedly list the “greatest films ever,” shows that few people, their claims of be-ing “cinephiles” notwithstanding, take cinema seriously as an art form. The petit bourgeois journalist-cum-“critic” views cinema the same way he (it is usually a he) views a late-afternoon newspaper crossword or Sudoku puzzle, namely, as a decoder-ring semiotic symbolization to be deconstructed, by “reading” visu-al/formalistic and stylistic virtuosity or assigning meaning to easily-decoded predeter-mined camera movements. He views the “greatest films ever” as being so great pre-cisely because every moment in them – every shot, every camera movement or position, every editing technique and decision, etc. – is intentionally and specifically endowed with an obviously- and easily-decodable “meaning” even the most unsophisticated viewer can understand within a few seconds. So, for example, a large and empty house – especially if filmed from within a corridor – signifies a character is either lone-ly or depressed (and, naturally, so must the viewer feel after decoding said meaning), a lightning storm that the characters experienced an emotional turmoil, a husband and wife sitting at the opposite ends of a massive dinner table that their marriage is in shambles, and so forth. These films do not engage with emotions or have viewers work out their emotional responses to depicted situations step-by-step perceptually and perceptively, rather, they explicitly tell the viewers when to feel sad or happy and, rather than having them work with the characters’s emotional, physical, or vocal/verbal states, simply tell the viewers immediately how they feel. Dialogue, acting, characteri-zations, human interactions, etc., are minimal and functional at best, and frowned up-on at worst, in these “greatest films ever,” interfering with the journalist’s definition of great cinema as one that “tells a story and a plot using visual and cinematic devices.” And, if these “greatest films ever” have some generic and simplistic formulaic and/or abstract take-home message, especially if conveyed through these easily-decodable “hidden and deep meanings” – virtually always either some basically-true yet painful-ly-obvious-without-seeing-the-film and banal cliché or stereotype taken for granted by practically every semi-educated adult (e.g. “racism and war are bad,” “money is not everything and our current economic system is not perfect either,” “different people have different opinions,” “it is a bad and even dangerous idea to allow governments and corporations to develop technologies that shall allow them to spy on civilians, that may even cause alienation,” “there are several differences between the Jewish and Christian views of morality,” “society tends to be dominated by men,” “American so-ciety tends to value X or Y and that is not optimal,” “politicians and journalists some-times lie,” etc.), a crude and rather abstract popularization of some philosopher’s or theoretician’s views with little to no relevance to actual life and lived experience, triv-ial informative tidbits derivative of ideas more fully expressed elsewhere where the sole purpose of cinema is not to present anything new but merely to use said “cinemat-ic language” to express them (e.g. the director’s views regarding the Vietnam War or the Gulf War, metaphorical retellings of the stories found in the Book of Genesis or the New Testament, “this-means-that” metaphors where one easily “gets” the direc-tor’s intention of pointing our attention at some historical event, etc.), or, pandering to the politically-correct ideology of the bourgeoisie endlessly regurgitated by the media (yet still presented as subversive despite being hegemonic) by telling it what it wishes to hear regarding, for example, victimhood – the journalist likes them even more and he will even claim they are “deep.” What is clear is that emotionally-profound learning, truth-based experiences, and actor-focused character interactions based on the human body intended to provide the viewers with an understanding of and ways to improve themselves, their selves, and their lives are the last things on these people’s minds. These are referred to by this coterie as “merely filmed theatre or literature,” just about the worst offence in their eyes. Easy and easily-understandable Platonic grand themes and ideas as well as shortcuts to emotional understandings of characters and self, en-gendered by intellectually codifying camera angles within two seconds and other such easily-decodable devices situated outside the human body, in which life is framed and nothing is its brute self but a symbol, easily take the cake over emotional profundity for these folks. Films dealing with difficult emotional situations and with the com-plexities of life by focusing on the body and acting, in which the camera is merely functional, are “non-cinematic” and hence more-or-less the enemy. The testosterone-fueled dudebro psychology underlying much of this “canon,” the obsession with, not to say fetishizing of, technological tricks and lack of interest in emotional and psychological complexity, as can be ascertained just by looking at the top fifty or so films at IMDb’s Top 250 page or the endless columns claiming that tel-evision series glorifying the mucho thuggery of mobsters and their explosions and car chases (“quality dramas”) are somehow equal to the greatest works of Western civili-zation (not to mention beer commercials!), should be clear. In my country, the most popular website dealing with cinema seems to operate out of some ressentiment allow-ing its visitors to eat their cake while keeping it too, namely, to be interested in little more than emotionally-stale flicks centered on simplistic messages and easily-decodable decoder-ring symbolizations, all filled with all the explosions and car chas-es and button-pushing fight-or-flight reptilian comic-book thriller plots and “cool” stylizations teenage boys like, while still winning cultural and symbolic capital by claiming nobody can define what art is and that all cultural values are subjective and arbitrary, indeed, the very existence of art, independent, and experimental/avant-garde cinema often causes these people extreme anxiety for these very reasons. “There’s also a gender component to it [and] [i]t’s no accident that most of these critics – and the filmmakers they adore – are men [because] [i]t’s a boy thing [and a] teenage boy thing. ‘[l]ook at how tough I am [and] [h]ow unsentimental I can be. I’m a real guy,’” wrote critic Ray Carney. “Films which plug”, he wrote elsewhere, “into boy fantasies of dis-covering secrets about the adult world and enacting a cosmic destiny [in which] [e]very button in the adolescent male psyche is pushed—from the fascination with gadgets (computers and cell phones), to the feeling that no one understands you, to a sense of nostalgia for a lost youth [in which] every boy-in-a-baseball-cap can revel in his fantasy of rebelling against authority and saving the world, obtaining the love of an older and wiser woman (so there will be no messy sexual complications, like having actually to talk to her), and being a ninja-samurai warrior-Zen master […] at the same time [in which] [t]wenty-somethings undergoing a crisis about becoming middle-class wage slaves can indulge their fantasy of being closet-rebels with deep philosophies,” merely collapse “into an adolescent wail of despair or trying to recapture a golden age of childhood that never existed in the first place [which] is just another form of escap-ism, another way of avoiding and denying the claims and complexities of adult life, another way of refusing to grow up […] young people in these films and the young people watching them wash their hands of the problems of adult society and console themselves that they are the hapless victims of even more screwed-up parents [so] [t]hey can blame their father, mother, or other authority figure for their problems [and] [i]t’s flattering because it allows young viewers […] to cast themselves as and to iden-tify with all of the other damaged, weak, heartbroken misfits [hence] [i]n a word, it allows the viewer […] to feel sorry for himself: ‘[o]h, it’s so hard to be born into a world where there are no more heroes, where everyone is flawed, where eternal love is no longer possible. I’m so lonely I could cry [and] [w]oe is me [b]ut it’s comforting to know I’m not the only one who feels this way.’” No wonder most films considered the “greatest ever” or the most “philosophically” (i.e. being based on easily-decodable tidbits pandering to adolescent boys) “profound” could be summarized as “nobody understands you and adult society is just a bunch of dirty secrets, so be a real man, rebel against authority, and blow something up.” This list/article is the first in a series trying to take a different approach by moving beyond the “greatest films ever.” Could actor-based performances, as a form of truth-telling, enrich our lives much more and in much more complex ways than the standard Hollywood-filmmaking of assigning meaning to easily-decoded predeter-mined camera movements and other such shortcuts to understanding? Could films taking this approach teach us anything new that is not trivial, move us past received opinions and social dogmas, and force us to look at that we have forgotten? Of course, it is possible to try to clumsily coerce art, experimental/avant-garde, and independent cinema into the aforementioned standard modes of understanding, though, by doing so, one will never understand what makes them different from Hollywood fare. To-day we shall try to answer this question, by paying attention only to body-, dialogue-, and acting-focused cinema and ways of knowing and by ignoring all “purely cinemat-ic language” approaches, by looking at films often described as infamous, politically-incorrect, shocking, offensive, gross, or disturbing.
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