blotsfan 2,112 Posted July 3, 2012 Dark Knight should be top 10 imo. One of the best movies ever but i know critics judge movies different. Normally some boring ass movie is always a winner for a grammy or something. I lold 2 Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 3, 2012 #17 "One of the most soulful of baseball movies—it confronts the anguish of a very tough game." –David Denby, New Yorker There is no salary cap or salary floor in Major League Baseball, a structure that favors big market teams and limits small market teams. One such small market team is the Oakland Athletics. Moneyball (2011), based on Michael Lewis’s book of the same name, is the story of Oakland’s 2002 season and their struggle to win baseball games amidst financial confines. The film follows the Athletics through the 2002 season, also showing flashbacks to general manager Billy Beane’s failed career as a baseball player. A first-round draft selection, there are high expectations for twenty-two-year-old Beane, but he turns out to be a bust at the major league level, eventually ending his career to become a scout. These flashbacks make Moneyball a character portrait. It is a baseball story, but anchored about Beane, and his character is given enough depth and Brad Pitt’s performance is a big enough home run swing to make it work. Giving its lead character so much depth, Moneyball is a refreshing exercise in the sports film genre. This film will appeal to the most die-hard baseball fans because it offers sentimental looks at moments of the sports world typically dismissed as everyday transactions. When the team offers a dirt-cheap contract to an injured player, he embraces his wife and daughter, celebrating work he didn’t think he would get. When the team trades for a prime pitcher, another must be sent down to the minors—and someone has to give him the bad news. The film is very smart not to forget its message, especially when the Athletics put together an impressive winning streak. Fans keep asking the question: how is it that the Athletics are able to win so many games? Moreover, what is it that makes a good baseball team? How much of it is skill? How much is luck? How much is random? Sports fans will debate these questions as long as baseball exists, and this film is wise not to try to answer them. Ultimately, Moneyball works because it is a new type of baseball film, shaped for the modern era of baseball, of statistics and sabermetrics. It offers the most unique take on professional sports we’ve seen on the big screen in years, provides an engaging but original underdog story, and gives more moments of insight into the game of baseball than I can or wish to name here. With all due respect to Field of Dreams (1989), this is the greatest baseball film of all-time. 50) George Clooney's Good Night, and Good Luck 49) Greg Mottola's Superbad 48) Terry George's Hotel Rwanda 47) David O. Russell's The Fighter 46) Ron Howard's Frost/Nixon 45) Edward Zwick's Blood Diamond 44) Christopher Nolan's Batman Begins 43) Ben Stiller's Tropic Thunder 42) James Mangold's Walk the Line 41) Christopher Nolan's The Prestige 40) Peter Jackson's King Kong 39) Nicholas Stoller's Forgetting Sarah Marshall 38) Judd Apatow's Knocked Up 37) Peter Berg's Friday Night Lights 36) Peter Jackson's Lord of the Rings: The Two Towers 35) Jonathan Levine's 50/50 34) Peter Jackson's Lord of the Rings: The Return of the King 33) David Fincher's Zodiac 32) M. Night Shyamalan's Signs 31) Nicolas Winding Refn's Drive 30) James McTeigue's V for Vendetta 29) Ridley Scott's American Gangster 28) Peter Jackson's Lord of the Rings: The Fellowship of the Ring 27) James Cameron's Avatar 26) Quentin Tarantino's Inglourious Basterds 25) Kathryn Bigelow's The Hurt Locker 24) Ridley Scott's Gladiator 23) Paul Haggis's Crash 22) Tony Gilroy's Michael Clayton 21) Ben Affleck's Gone Baby Gone 20) Gus Van Sant's Milk 19) Christopher Nolan's The Dark Knight 18) Alexander Payne's Sideways 17) Bennett Miller's Moneyball Share this post Link to post Share on other sites
RazorStar 4,025 Posted July 3, 2012 I think you just put Moneyball that high because you have a fetish for sabermetrics. >_> Seriously Batman Begins is way better than this. > 1 Share this post Link to post Share on other sites
56AceInDaPlace 110 Posted July 3, 2012 I lold Lol or wutever fucking award movies get , im not a movie buff. Nor a TV person. Like sweetness said i ain seen the movies he listed either. Its those kind that normally get awards. I just seen a commercial for some movie that was made too look like a 1950s movie. and it won best picture, how the fuck.. Share this post Link to post Share on other sites
Guest Phailadelphia Posted July 3, 2012 16/33 so far. I don't think I'm going to make it to half by the time this is done. I haven't counted but I probably haven't seen more than 10 of the movies listed so far. I don't watch many movies though. Lol or wutever fucking award movies get , im not a movie buff. Nor a TV person. Like sweetness said i ain seen the movies he listed either. Its those kind that normally get awards. I just seen a commercial for some movie that was made too look like a 1950s movie. and it won best picture, how the fuck.. It's about the substance, mang. Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 4, 2012 #16 "Payne is a master of the human comedy and George Clooney has never exposed himself to the camera this openly." –Peter Travers, Rolling Stone Few times in life are as trying as the death of a loved one and any legal complications that ensue. The Descendants (2011) deals with such a situation and utilizes legal issues of another variety to create something rarely seen on film: a genuine slice of life reflected on the movie screen. The plot progresses steadily, and manages to thicken in ways characteristic of a mystery thriller. It progresses slowly, but director Alexander Payne, as he did in Sideways, is very deliberate with his pacing, remaining graceful in his direction. There is an underlying tension in every single scene that involves Matt and his family dealing with Elizabeth’s death, and it holds the entire film together. For all its grief and drama, the film is not without the classic genre blending of a Payne film. In fact, The Descendants is a comedy for several reasons, one of which involves its ending, which I will not reveal. The film features a fantastic blend of comedy and drama; there are moments that will have you moved to tears, and others that will have you laughing out loud. Considering the plot of this film is as grim as it gets, it is remarkable that Payne is able to keep us laughing. George Clooney has been in Hollywood for a long time, but this may be the performance of his career. Never before has he conveyed anguish and sadness so well in a leading role. With every scene, every line of dialogue, every facial expression, Clooney conveys the pain his character is carrying with the skill of the great actor he is. He is also complemented by great acting from the young actresses asked to stand on screen with him as his daughters. Acting from children is usually hit-or-miss, but in this case, Miller and Woodley play their parts extremely well, and Payne makes their dialogue just as age-appropriate as he did with his forty-something characters in Sideways. After making The Descendants, Alexander Payne has put together a strong, diverse filmography. In reviewing the film, Joe Morgenstern of the Wall Street Journal said of Payne's status as a director, "After this one I’d compare him to the man who made Sideways. It’s the highest praise I know." In other words, Payne has put himself in his own category with his ability to capture the nuances of everyday life while charming us with intelligent comedy. He is a filmmaker unlike any other. 50) George Clooney's Good Night, and Good Luck 49) Greg Mottola's Superbad 48) Terry George's Hotel Rwanda 47) David O. Russell's The Fighter 46) Ron Howard's Frost/Nixon 45) Edward Zwick's Blood Diamond 44) Christopher Nolan's Batman Begins 43) Ben Stiller's Tropic Thunder 42) James Mangold's Walk the Line 41) Christopher Nolan's The Prestige 40) Peter Jackson's King Kong 39) Nicholas Stoller's Forgetting Sarah Marshall 38) Judd Apatow's Knocked Up 37) Peter Berg's Friday Night Lights 36) Peter Jackson's Lord of the Rings: The Two Towers 35) Jonathan Levine's 50/50 34) Peter Jackson's Lord of the Rings: The Return of the King 33) David Fincher's Zodiac 32) M. Night Shyamalan's Signs 31) Nicolas Winding Refn's Drive 30) James McTeigue's V for Vendetta 29) Ridley Scott's American Gangster 28) Peter Jackson's Lord of the Rings: The Fellowship of the Ring 27) James Cameron's Avatar 26) Quentin Tarantino's Inglourious Basterds 25) Kathryn Bigelow's The Hurt Locker 24) Ridley Scott's Gladiator 23) Paul Haggis's Crash 22) Tony Gilroy's Michael Clayton 21) Ben Affleck's Gone Baby Gone 20) Gus Van Sant's Milk 19) Christopher Nolan's The Dark Knight 18) Alexander Payne's Sideways 17) Bennett Miller's Moneyball 16) Alexander Payne's The Descendants Share this post Link to post Share on other sites
GA_Eagle 595 Posted July 4, 2012 really want to see that. I want to more now that I'veread the above review. Clooney is a way underrated comedic actor. Share this post Link to post Share on other sites
DonovanMcnabb for H.O.F 2,241 Posted July 4, 2012 Lol or wutever fucking award movies get , im not a movie buff. Nor a TV person. Like sweetness said i ain seen the movies he listed either. Its those kind that normally get awards. I just seen a commercial for some movie that was made too look like a 1950s movie. and it won best picture, how the fuck.. you talking about Moonrise Kingdom? I just saw that commercial like wtf... Share this post Link to post Share on other sites
GA_Eagle 595 Posted July 4, 2012 you talking about Moonrise Kingdom? I just saw that commercial like wtf... Oddly enough when I saw that trailer I was like "I gotta see that" Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 4, 2012 #15 "The brilliance of the film lies in the way Spielberg lets us into the mind of young Abagnale...Wildly entertaining from start to finish." –Paul Clinton, CNN.com Frank Abagnale, Jr. rose to infamy as a check forger and imposter, posing as a pilot, doctor, lawyer, and cashing forged checks that totaled millions of dollars—all before his twentieth birthday. After his capture by the Federal Bureau of Investigation (FBI), he became a security consultant, helping banks and companies design secure checks that could not be defrauded. Catch Me If You Can (2002) brings the early years of Abagnale’s life, his criminal career, to the movie screen with charm, humor, and an appropriately entertaining chase. The film makes no secret of Frank's capture, opening with him in a French prison and telling his story primarily through flashback. Instead, the film generates suspense in other ways. Steven Spielberg's direction is masterful, and he directs a crowd-pleasing chase flick as charming as it is entertaining. Spielberg directs two top actors, one who has been one of Hollywood's finest for a long time (Hanks) and one who has only recently affirmed his status as an on-screen heavyweight (DiCaprio). All three are on top of their game here, and it's a pleasure to watch the film come together so well. Additionally, John Williams' score is pitch-perfect, matching and enhancing both the light-heartedness of the film and the thrill of the chase it follows. One of the greatest conflicts in this film is one the audience faces: who are we supposed to be rooting for? Who is the good guy? Frank is a criminal, but a sympathetic character whose actions seem merited enough, and Carl is a law enforcement agent whose dedication to his job is admirable. But in a cop-and-criminal movie, can we root for both? I believe we can, and if it seems a paradox of storytelling to use two equally empathetic protagonists instead of a protagonist and antagonist, leave it to Spielberg to pull it off. The film's final act develops the relationship between Carl and Frank more than it continues the chase, and since the film is so diverse leading up to its final act—a chase thriller, coming-of-age tale, father-and-son story—it can't help but lose some steam by becoming one-dimensional. Still, while it may be disappointing to see the film continue long after the chase has ended, I would rather this than keeping the chase going too long and running out of energy, which could have ruined the entire film. By the time the 21st century began, Steven Spielberg's status as a legendary filmmaker was cemented. With a resume including all-time greats like Jaws (1975) and recent success like Saving Private Ryan (1998), it is difficult to make a new film that stands out. But that's exactly what Spielberg did with Catch Me If You Can, not only one of his best motion pictures, but one of the best of the century. 50) George Clooney's Good Night, and Good Luck 49) Greg Mottola's Superbad 48) Terry George's Hotel Rwanda 47) David O. Russell's The Fighter 46) Ron Howard's Frost/Nixon 45) Edward Zwick's Blood Diamond 44) Christopher Nolan's Batman Begins 43) Ben Stiller's Tropic Thunder 42) James Mangold's Walk the Line 41) Christopher Nolan's The Prestige 40) Peter Jackson's King Kong 39) Nicholas Stoller's Forgetting Sarah Marshall 38) Judd Apatow's Knocked Up 37) Peter Berg's Friday Night Lights 36) Peter Jackson's Lord of the Rings: The Two Towers 35) Jonathan Levine's 50/50 34) Peter Jackson's Lord of the Rings: The Return of the King 33) David Fincher's Zodiac 32) M. Night Shyamalan's Signs 31) Nicolas Winding Refn's Drive 30) James McTeigue's V for Vendetta 29) Ridley Scott's American Gangster 28) Peter Jackson's Lord of the Rings: The Fellowship of the Ring 27) James Cameron's Avatar 26) Quentin Tarantino's Inglourious Basterds 25) Kathryn Bigelow's The Hurt Locker 24) Ridley Scott's Gladiator 23) Paul Haggis's Crash 22) Tony Gilroy's Michael Clayton 21) Ben Affleck's Gone Baby Gone 20) Gus Van Sant's Milk 19) Christopher Nolan's The Dark Knight 18) Alexander Payne's Sideways 17) Bennett Miller's Moneyball 16) Alexander Payne's The Descendants 15) Steven Spielberg's Catch Me If You Can Share this post Link to post Share on other sites
DonovanMcnabb for H.O.F 2,241 Posted July 4, 2012 Oddly enough when I saw that trailer I was like "I gotta see that" Not surprised at all. lol. Share this post Link to post Share on other sites
RazorStar 4,025 Posted July 4, 2012 Oh hey, a good film is in the top 20. About time. >_> I haven't seen Sideways or the Descendents though, couldn't say if those should be there or not. I've seen 18 of the films so far. Share this post Link to post Share on other sites
Thanatos 2,847 Posted July 5, 2012 Oh hey, a good film is in the top 20. About time. >_> I haven't seen Sideways or the Descendents though, couldn't say if those should be there or not. I've seen 18 of the films so far. Wait, so Milk, the Dark Knight, and Moneyball are bad films? Share this post Link to post Share on other sites
blotsfan 2,112 Posted July 5, 2012 RZ believes batman begins is much better. Share this post Link to post Share on other sites
RazorStar 4,025 Posted July 5, 2012 Dark Knight can be dropped a couple of spots, Moneyball quite a few more, and I haven't seen Milk but I hate Sean Penn on principle. 2 1 Share this post Link to post Share on other sites
Favre4Ever+ 4,476 Posted July 5, 2012 Amen. Fuck Sean Penn. Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 5, 2012 Don't know what's up with the Sean Penn hate but I sure hope it has nothing to do with his acting. Share this post Link to post Share on other sites
Favre4Ever+ 4,476 Posted July 5, 2012 Sean Penn.... 2001 in "I am Sam". Went full retard. 1 Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 5, 2012 #14 "A film of Darwinian ferocity, a stark and pitiless parable of American capitalism." —Christopher Orr, New Republic The world may have looked a lot different at the turn of the 20th century than it did a hundred years later, but in some ways it still feels the same. While the 21st century brings more uncertainties about the future, America approached similar uncertainties with excitement at the start of the 1900's. A new industrial revolution was beginning, driven by the discovery of oil and the boom that followed. This is the setting for There Will Be Blood (2007), a film that explores this revolution in delicate and profound ways. The film follows a tension between Daniel and Eli, its two lead characters, between personal prosperity and communal prosperity, between ambition and salvation, between capitalism and religion. The film is not so much about the conflict between capitalism and religion, but about the complex relationship between the two during a period of economic growth. Though both are strong independently, they depend on each other to grow. Daniel's drilling does not get the support it does without the support of the church, and Eli's church does not get the renovations it needs without Daniel’s oil bringing money to the community. There Will Be Blood is a fascinating portrait of Daniel Plainview, its protagonist, a greatly ambitious and unsympathetic character. "I have a competition in me; I want no one else to succeed," he says [see clip above]. He is driven to make his business succeed, but he does not possess a strong desire for excessive wealth; he seems to want a lot of money simply for the sake of having a lot of money. Daniel's character is detestable in some ways, but Day-Lewis makes him overwhelmingly captivating. This is a fine example of a powerhouse performance anchoring an epic film, and might just be the best lead performance of the century. The film is, very deliberately, a sprawling epic, clocking in at over 150 minutes, and this is where it has some problems. Paul Thomas Anderson's directing style is mesmerizing but can only hold our attention for so long. Much time passes without significant plot movement, and many viewers may be checking their watch before it's over. Thankfully, Anderson rewards those of us who stick it out until the end with a surprise. This might shock viewers expecting a conventional ending, but for a film with such profound convictions, a conventional ending would have been a disappointing conclusion. Profound revelations are bound to be had when watching a film like There Will Be Blood and considering its meaning. The film has a lot to say about greed, power, and the cost of personal success. And though it takes place in a period of American expansion over a hundred years ago, it carries significance in the 21st century, a world where the conflict between capitalism and religion continues to grow and complicate, a world that is perhaps as driven by greed as Daniel. 50) George Clooney's Good Night, and Good Luck 49) Greg Mottola's Superbad 48) Terry George's Hotel Rwanda 47) David O. Russell's The Fighter 46) Ron Howard's Frost/Nixon 45) Edward Zwick's Blood Diamond 44) Christopher Nolan's Batman Begins 43) Ben Stiller's Tropic Thunder 42) James Mangold's Walk the Line 41) Christopher Nolan's The Prestige 40) Peter Jackson's King Kong 39) Nicholas Stoller's Forgetting Sarah Marshall 38) Judd Apatow's Knocked Up 37) Peter Berg's Friday Night Lights 36) Peter Jackson's Lord of the Rings: The Two Towers 35) Jonathan Levine's 50/50 34) Peter Jackson's Lord of the Rings: The Return of the King 33) David Fincher's Zodiac 32) M. Night Shyamalan's Signs 31) Nicolas Winding Refn's Drive 30) James McTeigue's V for Vendetta 29) Ridley Scott's American Gangster 28) Peter Jackson's Lord of the Rings: The Fellowship of the Ring 27) James Cameron's Avatar 26) Quentin Tarantino's Inglourious Basterds 25) Kathryn Bigelow's The Hurt Locker 24) Ridley Scott's Gladiator 23) Paul Haggis's Crash 22) Tony Gilroy's Michael Clayton 21) Ben Affleck's Gone Baby Gone 20) Gus Van Sant's Milk 19) Christopher Nolan's The Dark Knight 18) Alexander Payne's Sideways 17) Bennett Miller's Moneyball 16) Alexander Payne's The Descendants 15) Steven Spielberg's Catch Me If You Can 14) Paul Thomas Anderson's There Will Be Blood Share this post Link to post Share on other sites
BradyFan81 404 Posted July 5, 2012 (edited) Stevo's biased against movies that are over 2 hours long. I'm thinking Memento, City of God, Inception are still to come. Maybe some Pixar movies as well. Edited July 5, 2012 by BradyFan81 Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 5, 2012 Stevo's biased against movies that are over 2 hours long. I'm thinking Memento, City of God, Inception are still to come. Maybe some Pixar movies as well. A movie can be over two hours without feeling lengthy. And while I won't comment on any of the others you mentioned, City of God didn't qualify for my thesis because it was a foreign film. Share this post Link to post Share on other sites
Barracuda 629 Posted July 5, 2012 14? My personal top movie of the century. Share this post Link to post Share on other sites
RazorStar 4,025 Posted July 5, 2012 There Will be Blood, huh. I could never get interested in it, which is why I've only seen about 10 minutes of it, but my sister says good things about the film. The time period never really interested me, so I dunno, just not my type of movie. Seems like a thing I might like later in life though. Share this post Link to post Share on other sites
BwareDWare94 723 Posted July 5, 2012 Truth be told, parts of There Will Be Blood are obnoxiously boring for a movie of that length. It's basically thought of so highly because of DDL's performance and some great scenes, as well as what is arguably the greatest ending scene of this century. 1 Share this post Link to post Share on other sites
SteVo+ 3,702 Posted July 6, 2012 (edited) Truth be told, parts of There Will Be Blood are obnoxiously boring for a movie of that length. It's basically thought of so highly because of DDL's performance and some great scenes, as well as what is arguably the greatest ending scene of this century. I don't know about greatest, but it's certainly one of the boldest. I went into moderate detail about it in my thesis, but omitted that commentary from here, for spoiler purposes. Edited July 6, 2012 by SteVo Share this post Link to post Share on other sites
