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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101 Greatest Screenplays of the 21st Century by WGA
Favs/dislikes: 3:0. Fifteen years ago, when the Writers Guild of America West (WGAW) and the Writers Guild of America, East (WGAE) compiled the 101 Greatest Screenplays of all time, the list was nothing short of a 20th century canon. The romantic wartime spy thriller Casablanca (written by the brothers Julius J. & Philip G. Epstein, and Howard Koch) was voted number 1; 99 screenplays later, at 101, was another romantic wartime spy thriller, Notorious (written by Ben Hecht). In between were foundational examples of film noir (Double Indemnity, written by Billy Wilder and Raymond Chandler), romantic comedy (Annie Hall, written by Woody Allen and Marshall Brickman), and gritty social drama (On the Waterfront, written by Budd Schulberg). But “canon” is a double-edged word: Of those 101 scripts, there were no writers of color, and only seven had a female screenwriter credited. 'The new 101 Greatest Screenplays of the 21st Century (*so far) could not but tell a different, and fluid, story. On the prior list, classic films about women, like Sunset Boulevard or All About Eve, were still narrated by men—one lying dead in a swimming pool. There are some 30 female screenwriters this time around, and five writers of color in the top 10. More to the point, there is not the sense that the writer had to contrive a way to make his or her character more…relatable, regardless of race, gender, or sexual orientation. As the number one vote-getter, Get Out is this list’s version of Casablanca: Imagine Jordan Peele pitching his concept to Jack Warner, and it immediately becomes apparent why comparing screenplays across Hollywood epochs is a non-starter. “We weren’t making art, we were making a living,” screenwriter Julius Epstein famously quipped of the studio system under which Casablanca was written. Get Out wasn’t conceived and written under any such restrictions, with a catch: The very concept of “writing for the screen” is in existential crisis. The studio system has given way to the streaming system, where everything, no matter the source, competes for eyeballs. This great (right?) democratization of content has also changed a lot of hard-and-fast rules. There are seven scripts for animated films on the new list. Depth of character, once strictly the province of the drama, or the issue film, is not out of place in a superhero movie or one starring a badly behaving bridesmaid. And formerly individuated genres like sci-fi, horror, comedy, and drama intersect freely, sometimes all in the same screenplay—see Parasite or The Lobster. Some things haven’t changed, list to list. Among the screenwriter’s roles is to reveal what is sick or horribly amiss in the culture. It was as true of Network or The Sweet Smell of Success as it is of The Big Short or Promising Young Woman. Universal themes are universal for a reason. For instance, the destructive nature of outsize power, concentrated in the hands of one apparently friend-less man. Charles Foster Kane, meet Mark Zuckerberg. There are other cool double bills across lists. All the President’s Men and Spotlight; Harold and Maude and Lars and the Real Girl; Sullivan’s Travels and Nomadland. Speaking of which, it is worth noting that most of the protagonists from the 20th century list had enviable job security, even if this meant Mafia boss, intergalactic warrior, or shark hunter. On the new list, occupation no longer defines character; but then again the middle class has vanished, the chasm between rich and poor evinced in movies from Roma to Little Miss Sunshine. And in screenplays like Wall-E, Arrival, or Children of Men, there is the heavy presence of a question: What exactly are we doing to ourselves, if not the planet? Perhaps that’s why the relatively earnest romantic comedy, at least as practiced by Nora Ephron’s When Harry Met Sally, is absent from the new list, unless you count the man-on-operating-system love of Her, or the teenage besties of Superbad and Booksmart. The screenwriters of the 20th century list were men who had either served in war, fled persecution in their home country, or come of age in war’s shadow. Cinema’s first job, until the studio system died and the rebel filmmakers of the 1960s and ’70s came along, was escape. The characters of the 21st century list are plagued by a different sort of battle. It involves the hard-fought realization of selfhood against mitigating forces of circumstance, biology, technology, identity, and neurosis. See Adaptation, Boyhood, Moonlight, and Inside Out. Destiny is now an option question, happily ever after just a construct. From Get Out at number 1, to Silver Linings Playbook at 101, the screenplays on this list invariably approach this question of self with authentic curiosity, boldness of vision, and a sense of artistic—if not personal—risk. -
101 horror movies you must see before you die
Favs/dislikes: 124:1. -
101 Movies That Need To Be Seen.
Favs/dislikes: 2:2. Chronological (Personal) list of movies from a wide variety of genres that are highly recommended. -
101 Movies to See Before You Grow Up
Favs/dislikes: 7:0. "Movies are made to entertain! Movies can make you think, teach you a lesson, or just let you escape into a fantasy world for a few hours. This book serves as an interactive bucket list of films for children ages 8 and up to watch before they grow up. 101 Movies to See Before You Grow Up goes beyond mainstream films. From modern flicks to classic films, the list offers a wide selection of "must see" movies. " -
101 Must See Comedies
Favs/dislikes: 4:0. -
101 Must-See Movies for Gay Men
Favs/dislikes: 26:1. n this 2005 book, author Alonso Duralde (arts and entertainment editor of The Advocate, the national gay and lesbian newsmagazine) presents a list of films every gay man should watch before considering his cultural education complete! From “The Apple” to “Xanadu”, “Auntie Mame” to “Zero Patience”, this list covers all the bases: Hollywood spectaculars, indie hits, cult faves, critical darlings and clamp classics. -
101 Sci-fi Movies You Must See Before You Die
Favs/dislikes: 75:0. From the book by Steven Jay Schneider -
101 War Movies You Must See Before You Die
Favs/dislikes: 89:1. Steven Jay Schneider's 101 War Movies You Must See Before You Die The horror and the heroism of war has long been a staple of cinema and the background for many different story genres, from anti-war comedies such as M*A*S*H to the heroic feats of combat troops and fighter pilots played by the likes of John Wayne and other screen favorites. Here are the 101 most memorable war films ever produced. [url=https://www.goodreads.com/book/show/7249742-101-war-movies-you-must-see-before-you-die]Source[/url] -
14th Academy Awards (1942)
Favs/dislikes: 2:0. -
2020s watchlist
Favs/dislikes: 0:0. -
30 for 30 Sports Documentaries
Favs/dislikes: 3:0. These are all the official 30 for 30 documentaries. -
99 Mind-fuck Films
Favs/dislikes: 4:0. A list taken from the top post of reddit.com/r/moviesuggestions -
A.V. Club's The Best Movies of the 2010s
Favs/dislikes: 55:2. [url=https://film.avclub.com/the-100-best-movies-of-the-2010s-1839846306]Source[/url] -
Abraccine's The 100 Best Brazilian Films
Favs/dislikes: 32:0. Made by Abraccine (Brazilian Association of Cinema Critics) based on the personal lists of its associates. -
Akira Kurosawa's 100 Favorite Movies
Favs/dislikes: 17:2. From chapter three of 'A Dream is a Genius', Akira Kurosawa discusses his top 100 films with his daughter, Kazuko. Kurosawa limits his choices to one film per director. -
All Time Box Office of France (Adjusted)
Favs/dislikes: 13:0. The 100 most visited movies in France. The list is ordered by number of tickets sold. -
All time favourites
Favs/dislikes: 1:3. -
AMP's 100+1 Essential South Korean Movies
Favs/dislikes: 11:0. "South Korean cinema, and particularly the mainstream part, has been developing at an uncanny pace since the beginning of the New Wave, which started during the last years of the 90s, and resulted in the renewed interest of local audiences for local movies. “Shiri” (1999) kickstarted the phenomenon by becoming the first film in South Korean history to sell more than two million tickets in Seoul alone. The success continued with a number of other blockbusters while by the 2000s, and particularly after “Oldboy”, the country’s cinema started to attract significant international attention. The “trend” continued during the next years, and currently, S. Korean film industry is considered among the top in the world, with directors that have shot movies in Hollywood (Park Chan-wook, Bong Joon-ho) actors that have become international stars (Bae Doona, Lee Byung-hun) and awards from most of the top festivals in the world (Lee Chan-dong for “Burning” and Bong Joon-ho for “Parasite”) However, in terms of inspiration and actual context, the roots of this trend can be traced in the 80s, when the end of the long period of dictatorship resulted in the release of almost two decades of compressed creativity, in another surge that continued until the beginning of the 90s. Further back, the Golden Age of S. Korean cinema is placed between 1955 and 1972, when a number of films that are considered still among the best (“The Housemaid”, “Aimless Bullet”) were released. With all that in mind, and on the occasion of the anniversary of 100 years of Korean cinema, we decided to list 100+1 S. Korean films that we believe are among the most notable the local industry has ever produced. Thankfully, the Korean Film Archive has given us the opportunity to watch a number of films that were produced before the New Wave, dating back to the 1930, thus expanding our view of Korean cinema quite significantly. Unfortunately, we have not managed to watch movies that were produced before the split, and thus, this list is by no means complete regarding the whole history of Korean cinema. Furthermore, 101 is not an adequate number to present every noteworthy film since the 50s and thus, a number of excellent productions were not included (we will not tell you which). In our effort, we included films not only for their sheer cinematic quality but also for their significance, while a number of titles were included just because we like them (they call it personal taste, I think). At some degree, we also tried to have diversity in the selection, both in terms of directors and context. Without further ado, here are 101 films that we believe every cinephile should watch." -
Andrew's Top 111
Favs/dislikes: 0:1. I'm just a guy. That loves film. A lot. Here are my favourite 111 films that I've seen. In no particular order (except for #1). -
Anne Billson's Top 100
Favs/dislikes: 2:0. Anne Billson is a film critic and writer (https://en.wikipedia.org/wiki/Anne_Billson) It's 101 films because Three Musketeers + Four Musketeers are one entry. The Spirits of the Dead entry is specifically for Toby Dammit, the Fellini one. -
Århundradets 100 bästa filmer - Expressen
Favs/dislikes: 13:0. The 100 best films of the 20th century according to the Swedish evening tabloid newspaper Expressen -
Available online without English subtitles: Chile
Favs/dislikes: 1:0. -
Available online without English subtitles: Israel
Favs/dislikes: 0:0. -
Awards Game Ranked Nominations 2004
Favs/dislikes: 0:0. -
AWFJ’s Top 100 Films List
Favs/dislikes: 4:0. The Tenth Anniversary of AFI's 100 Greatest Movies List got us to thinking, especially when we noticed that of 400 films nominated for AFI's list, only 4.5 were directed by women. We thought it would be interesting and fun to see whether AWFJ members– a diverse group of strongly opinionated and outspoken professional women film journalists who care passionately about the movies and industry they cover– would develop a list substantially different AFI's. The result, presented in alphabetical order, is an eclectic, perhaps somewhat surprising, collection of titles. It's neither politically nor academically correct, and it's far from definitive.
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