4v291o

You should be legally required to attend at least a full year of cognitive behavioural therapy and receive a certificate from your therapist before you are allowed to use the word "gaslighting"

Indeterminable sci-fi-horror-action streaming slop with a vaguely centrist metaphor of putting our differences aside and reaching across the aisle, yada yada. Horrifying to think that this kind of shit is quickly going to become nostalgic, it is at least still a real film made by real people even if it doesn't have much to say.

Yet another slice of young adult slop from Sersh's teenage years. Why is James Gandolfini in this lmao.

Watched on Thursday May 22, 2025.

Watched on Thursday May 22, 2025.

Watched on Wednesday May 21, 2025.

At one point this series really stood against the bloat and tedium of contemporary Hollywood blockbusters. Ghost Protocol and Rogue Nation in particular were slick, unpretentious, creative, outlandish yarns that ran two hours flat each and never got lost in their own sauce. But you either die the hero or see yourself live long enough to become the villain - and in this case Mission: Impossible got stuck halfway between the two, culminating in a gigantic, bloated, laborious, melodramatic two-parter with each part running three hours. I presume this second part got reworked quite hastily in flight to mould it into a series finale (for now, whatever) once the first part flopped. I don't know just how much changed but I'm willing to bet that Rebecca Ferguson wasn't supposed to stay dead (she uh, "died" in the last one) and would have had a fake out return in this one, and the conspicuously muted emotional note of her death (and the fact that she literally isn't acknowledged once in this one) now feels like a misfire in hindsight.

The rest of it seems to be preening for the audience, desperate for them to accept it after the first part flopped. The Final Reckoning almost becomes a clip-show episode of the series with the amount of call-backs and references to other moments in previous films. Everything that has happened in (nearly, M:I-2 is noticeably ignored) every previous film is aggressively retconned to be part of the sprawling master plan of the omniscient AI superintelligence that is the big villain of these final two films, every thread leading Ethan Hunt to his divine destiny. I mean, it's even funny when they do it to J.J. Abrams's boring MacGuffin from his instalment, because he has it coming, but it also streamlines all of the collective stakes and possibilities of literally everything that has ever happened and maybe more importantly could ever happen in this franchise down into a dead end, and then it crashes into that dead end. Not to mention the forced payoffs of pulling random characters from all over the series back into the plot. Heck, there's a guy who walks into the room in the first movie when Tom Cruise is hanging from the ceiling and they get the same actor to reprise this role and he's a main character for most of this movie. To that I ask, like, why? What is going on here?

But the worst sin is the inevitable surrender into bloat that is typical of mainstream film-making these days. This movie goes for three hours and most of it is just people explaining the plot to each other. Like half an hour of it is just recapping everything that happened or was already established in the first part, for fuck's sake. They explain the plan of the next set piece, they explain what the Entity is doing, they explain the stakes, they explain how the MacGuffins work and interact with each other, they glaze up Ethan Hunt over and over again, sometimes they criticise him instead for being a ruthless maniac, if only to reinforce the dramatic irony of how it's extremely obvious that he is the only one who can and will solve every problem at hand. They explain the same things multiple times too. They just don't stop fucking explaining things. There's also all sorts of bullshit melodrama with the most trivial ing characters, maybe ten minutes of exposition is dedicated to a note being delivered to an aircraft carrier's commander played by Hannah Waddingham, which has a date written on it, which she explains solemnly is the day she lost someone she loves because nobody would take a risk. This character literally doesn't have any other screen time in the film, they're here to receive this note and explain it, and are then shown repeatedly looking at the note in the middle of other big dramatic payoffs.

So much of this film is dedicated to a bunch of government people in a war bunker circling around the US president, who is only ever referred to as "The President" mind you, as they lumber through the dilemma of whether to pre-emptively nuke every major city in the world to try to stop the Entity, or to not fucking do that. Get this, The President relents at the last second (in a series of scenes that repeatedly distract from and derail the final action set pieces) and chooses the latter option, what a shock. This just goes on and on to the point where it disrupts the climax of the film because it didn't wrap itself up in time, and I don't think there's ever any real tension as to what the choice will be. As a side note, it's hard to reconcile this film with the current reality we're seeing in world politics when an exposition dump in the cold open explicitly explains that the Entity has heavily eroded democracies around the world with misinformation campaigns, but the president is someone this rational and level-headed in the middle of the crisis.

I really do think you could have gotten this whole thing down into one movie. Maybe one that runs three hours, sure go nuts, but after you hack out literally 90+ minutes of all the pointless and redundant exposition and recapping, the second half of this film, which includes the big submarine dive set piece, and then the finale plane chase set piece (Which is literally just the Fallout climax again but with planes instead of helicopters!) really does feel like it could easily be squeezed down into the third act if this were a singular film. And hey, Tom Cruise is still doing the big stunts, he does this big submarine dive (and the film doesn't even pretend that it has an explanation for how he survives it when he is forced to surface without his oxygen tank) and he clings to planes as they do barrel rolls and loop-de-loops over and over, but as much as the crazy stunts are all as complete and audacious as they always have been, it doesn't seem like his heart is in it any more. It has deteriorated into mere performativity ahead of artistry, and it doesn't hold up under Tom Cruise's obvious ego the way it did before because it doesn't serve the film properly any more. Like, there's a fight scene here where he's just doing wrestling moves and it's like Tom Cruise is showing off shit he learned in his spare time, rather than something the character Ethan Hunt would do. Given that this is supposed to be the final movie, maybe I'm not imagining this, and as persistently evergreen as the guy has been for decades, this is the first time where he seems noticeably tired and worn out, and maybe his willingness to end the franchise aligns with the fact that he didn't really want to do it any more anyway.

The usual set pieces where various MacGuffins are swirled around each other to be combined or activated all at the same time while one or more nuclear bombs or doomsday devices or whatever are ticking down in the background are still shot and edited super coherently and are technically impressive, but they are also now tedious and exhausting instead of tense and exciting, the obvious self-aware contrivances of each scenario now a no-longer-funny, played-out joke. Like we get it. He always gets the job done in time. Always. Even with the constant exposition dumps with all the characters sitting around explaining everything to each other over and over again, the functional logic of the finale doesn't really make any sense. Ethan is trying to combine the source code of the Entity with a magic algorithm that will learn from it and destroy the Entity accordingly, while the other characters are trying to lure the Entity into a magic USB stick and trap it there. These three MacGuffins are never coherently correlated with each other but it's taken for granted that they have to somehow be coordinated at the same time while a nuclear bomb is also timed to go off, they mindlessly serve the purpose of having Ethan have to chase after a villain who has one while giving his sidekicks something to do at the same time.

But maybe this is just reflecting a deeper problem. Everything has just gone too far, everything has gone on for too long. The action set pieces have to be more and more complicated and convoluted with every sequel, and through his obligations to arbitrarily succeed in answering any and all stakes, Ethan Hunt has been elevated beyond even the most outlandish action hero into some kind of deity that can't be taken seriously as a character any more, even through the framing of taking this at face value as a silly action film that you suspend your disbelief for. The exaggerated tone and themes just don't fit any more, for example in the post-finale cooldown, a recording from another character narrates super deep and uplifting existential platitudes about destiny and fate, but this kind of melodrama and these kinds of forced overarching themes just don't feel like they fit with any of the espionage action that should be the focus of films like these.

Fashioned quite overtly as a final chapter, it's an unfortunate bang-turned-whimper to end the franchise for now, but maybe this is a merciful place for it to end, given the downward slope of quality it has been left teetering over. And like I said, there's basically nowhere else for Mission: Impossible to go now anyway, the arbitrarily escalating stakes have propelled Ethan Hunt into almost literal godhood over this universe by the conclusion of this one, and the ultimate nature of its villain has retconned everything before into this singularity. There is nothing you can conceptualise that can be narratively earned as a threat to these characters any more. There may be vague tease of more to come in that final scene before the credits roll, but the surviving team are also just not that interesting. Casting Simon Pegg in these films remains a stroke of genius at least, but I swear to fuck Greg Tarzan Davis wasn't actually in the last one, who the hell is this guy? You do feel like another major soft-reboot or retooling would have to come before this franchise can breathe again, and god knows who has the willpower to carry that out, or what it would look like if it was attempted. The studio already said it's time to cut losses, and I can agree with that.

Watched on Monday May 19, 2025.

Solidarity between Australia and Ireland in that our state screen funds produce the most inane misery porn dramas imaginable.

The absolute gall of a piece of US state propaganda to have the evil bad guy bogeyman launch their attacks through MK Ultra sleeper agents in this. Also one of the main ing characters is this creepy little Israeli woman and I realise now so clearly that obnoxious Israeli visibility in US state propaganda films like this is probably going to be the norm for the time being. We can't be permitted to forget who the Good Guys are.

Watched on Friday May 16, 2025.

FFFA screening at Lido with a live jazz band. Details a very special kind of bromance where you start out as enemies but beef with each other so hard that it turns into mutual respect and before you know it an alliance. They really don't make them like this any more, a cornerstone masterpiece, even praise for this specifically as a genre action film feels reductive. This kind of explosive, vivid, hyper-ludic, seemingly endless magic is exactly what cinema is all about and more. Tony Leung is the ultimate sad little gay man sailing his boat around Victoria Harbour.

Gothic horror reconstruction bathed in the tides of the sexual revolution. It's so fluid and humorous and self-aware and unashamedly sleazy and yet nails all the tropes of the genre it's openly lampooning that I'm wondering why this isn't a more critically recognised cult classic. Very obvious progenitor to stuff like Hot Fuzz.

Watched on Wednesday May 14, 2025.

Watched on Tuesday May 13, 2025.

Watched on Monday May 12, 2025.

This was directed by one of the co-writers of Andrei Rublev.

Girl just turn the digiDROP thing off. There is surely an option to deactivate it. Dude also fails the shit-test for not immediately suggesting it as soon as it's raised as a problem, but I guess we wouldn't have a movie if they did that.

Also in real life if someone has compromising intel on a corrupt public figure or businessperson or whatever they just shoot them or blow them up in broad daylight. No need to fashion people into a social engineering Rube Goldberg Machine like this. Heck, if the documents were released publicly nothing would happen anyway.

Okay whatever this was fun.

Watched on Thursday May 8, 2025.

Vincent Price is fucking hilarious in this lmao

Watched on Wednesday May 7, 2025.

Watched on Tuesday May 6, 2025.

A sombre romantic period drama exploring the social progress of a past generation, for that matter something that seems to be ironically stuck in the very past it is set in rather than looking forwards, and wrought by the usual elements of misery that these super serious adult genre-dramas are, be it a general malaise of fear, uncertainty and doubt, be it mental illness, death and mortality, be it sexual insecurity fostered by the internalised institutional puritanism of the era.

Maybe it's the point but I really just don't understand how these two people are married to each other when it seems like they've never had a real conversation about anything with each other. I don't really engage with anything going on here. Boring as shit.

A post-apocalyptic thriller that opens with an ittedly exciting bang, writes itself into a dead-end before it's even halfway over, and then deteriorates slowly and painfully from there. Yeah, look, the whole thing at the start where the film doesn't tell us some kind of cataclysm has happened and it seems like some sort of home invasion scenario, only for the setting to gradually pull back and reveal the implied real context of what is going on, is super cool and interesting at first, but just as the film itself deflates along with it, this setup is readily exposed as a cheap gimmick to draw us into little actual substance. Themes about the conflict and relationship between anarchy and order and between the individual and the collective and the age old human struggle to negotiate them are all definitely here, but they are also plain and paper-thin, intent wholly readable from the get-go with nothing really added.

I saw the trailer for this like 50 times in cinemas when it originally came out. Surreal to actually watch this piece of shit for the first time twenty years later.

It's positively shocking to find that this massively "controversial" documentary that even resulted in the co-director being harassed and persecuted by Israeli authorities is actually the most benign centrist take on the conflict to begin with. It's only about a Palestinian villager who is getting unilaterally evicted by Israeli settlers from land he and his ancestors have always lived on, the only home they've ever known, and the whole thing is about him actively trying to bargain with and compromise with his oppressors, asking what he can do for them to let him stay, pleading for a common ground that they can all share. This is all explicitly diplomatic and non-confrontational in tone and message, it is a heartbreakingly sincere attempt at de-escalation.

This guy has no agenda, he has no chip on his shoulder, and considering the intense thoughts and feelings I've had about this whole thing for so long now it's actually really fascinating to see someone who has such a grounded perspective on the injustice that he is being subjected to. And yet this message is met with only indignant fury: A full-press smear campaign and widespread de-platforming of the film from distribution. There is only screaming, uncontrolled hate in reaction to this, rejection and victimhood only ever in absolute .

It's so clear now that there are absolutely no limits to Israeli bloodthirst. Even attempts at a rational "centrist" dialogue and the concept of a compromise are too offensive to them to even entertain or explore without causing a hysterical meltdown. Even this is too much for them. Anything other than the completely unquestioned eradication of Palestine and the extermination of its people constitutes the most extreme indignity to them, and they are always the victim no matter what. There is no quarter here. A terrifying void.

Watched on Sunday April 27, 2025.

My dad made me watch this when I was like 11 and I still don't understand why. Even with the sombre heroic overtones, which are lame as shit, at the very least this doesn't shy away from the grisly realities of war itself and even seems to make a vague point about the nihilism of the USA's pointless and destructive aggression in Vietnam. It's still schmaltzy as hell though, some of this borders on unintentional comedy for how trite and sappy it is.

Watched on Wednesday April 23, 2025.

You want an unbearably fucking miserable indie film with vaguely pretty cinematography, funded by your state's screen fund? How original. Oh, and you want it to be about "toxic masculinity" aka every male character is a brooding sook who grunts and swears and only communicates through wanton violence, and every female character is a helpless victim of the male characters? Daring today, aren't we.

Watched on Tuesday April 22, 2025.

Watched on Monday April 21, 2025.

I cannot stress enough that remote areas in Australia are literally like this.

Watched on Saturday April 19, 2025.

Annual Easter screening at the Astor. The best movie ever made. No notes.

I am beginning to suspect that Haneke has a problem with authoritarianism.

Authoritarian communities will inevitably and inherently tear themselves apart from the inside, and it happens so quietly yet so surely. It also doesn't matter how good or just or fair you can strive to be inside the cage, as it will always drive you to be the worst version of itself, and even if you think you find freedom in being an oppressor, you are still in that cage.

I adore it how among all the usual Haneke nastiness here, there is a relatively benign and humourous sub plot about a young man just trying to get laid. Also devestated that the scene where this started working for me also includes the phrase "among us" in a line delivery, I didn't just lean in for the meme, I swear.

Watched on Monday April 14, 2025.

Watched on Saturday April 12, 2025.

Watched on Thursday April 10, 2025.

Watched on Wednesday April 9, 2025.

A very shallow cut for CTEQ hey but nobody is going to complain. At some point aeons ago when I was first exploring classic films I watched this and didn't get into it, but I am a very different man now, and the atmosphere of seeing this in a cinema on actual film is quite an experience. An almost surreal meta-pastiche of idealised Hollywood noir wherein a casual misogynist reckons with the world of ranked competitive misogynists, and of course the apocalyptic bottomless greed of capital.

Say all the negative things you wish about Roman Polanski, and he probably deserves them, but a dark truth I have to consider about this film is that he is probably very qualified to discuss a lot of this subject matter. The sheer image of that lecherous creep dragging his daughter-granddaughter away with blunt impunity during the ending is so startling and revolting man.

Watched on Tuesday April 8, 2025.

Watched on Monday April 7, 2025.

Watched on Saturday April 5, 2025.

It's hard to say something that hasn't been said a million times before. Andrei Rublev is perhaps a film prone to cliched evaluations of its thematic presentation. It is renowned for its ambiguity and subjectivity. There's definitely a valid reading in that lot of what is offered and depicted here is open to interpretation, and for that matter, there's something truly invigorating about its open-endedness in of form and narrative. It's a testament to the possibilities of cinema and what can be done in this medium, and it really is eye-opening to watch a film that presents itself this way, so far outside the structural boundaries that contemporary mainstream films are rigidly confined to. In an era where big historical epics like this were encumbered by bloat and felt like a chore to trudge through, Andrei Rublev strikingly carves its own path with a chain of loosely connected and mostly unexplained vignettes. It floats seamlessly from moment to moment for three hours, and a not a single second feels strained.

Some make the agreeable assessment that good films should ask questions instead of offering answers, but Andrei Rublev seems to be above even this notion in the way that it explores its ideas and themes with such openness - all it does is simply be. There is in fact something frustrating about this in that I can't even say that I feel like I understand the film all too well, and I am not convinced of anyone who can. Yet, as it all washes over me there is this weird and undeniable feeling of knowing that what I'm experiencing is truly, deeply brilliant - even if I don't quite understand or know how to articulate why it is so. Some sequences here evoke inexplicable and intense emotional zeal, even when I don't seem to know why they are making me feel that way, or what exactly is literally going on in them, for that matter. Perhaps this nature of the film epitomises it as truly profound. I reach in and my fingers glance against something undeniably far-reaching, something so much bigger than I am, but that is as far as I can go. For the rest, I can only wonder. Maybe it's a readable point that accepting this mystery and believing in its truth is a deliberate parallel to the faith depicted in the film, that this is an axiomatic film about axiomatic faith.

For all of Tarkovsky's well-earned reputation as an incredibly sensible and serious filmmaker, it's amazing to reflect on how sporadically fucking wild this is as well. He never really did anything with this kind of offbeat and volatile tone before or afterwards, and it feels like a lost opportunity. The chaos also underlines a very heavy central point about what creating art is, of what it can mean to endure so much incomprehensible fucking terror as the general human experience, and then persevere enough to create something that others will forever. This is what it means to be alive.

Watched on Wednesday April 2, 2025.

Astounding that this actually came out in 1971. If it wasn't for the hairstyles and the plot being fixated on landline telephones you could have convinced me this came out this year. Brazenly modern stuff.

Delirious, relentlessly-paced zoomer bullshit. I can't help but find it somewhat endearing.

It's fine and it's sociopolitically rightful but I'm left yearning for a cut that just has an hour straight up cleaved out of it. Even the climactic chase sequence just drags on and on.

Taking reccs

• Inland Empire
• Hot Fuzz
• Se7en
• The Big Lebowski
• Memento
• Zodiac
• High and Low
• Poor Things
• The Lobster
• TÁR

...plus 4 more. View the full list on Letterboxd.

This list is up to date as of March 31st, 2025.

You'll be surprised by some of these. Going by the list here: 250.took.nl/titles

Missing films that do not have entries on Letterboxd.

Please comment if there are any mistakes or films missing.

Please don't comment asking me to update this if it's been a few months. I'll always maintain this as long as my Letterboxd is active, just let me go at my own pace.

• The Shawshank Redemption
• The Godfather
• The Godfather Part II
• The Good, the Bad and the Ugly
• Pulp Fiction
• Schindler's List
• One Flew Over the Cuckoo's Nest
• The Empire Strikes Back
• 12 Angry Men
• Casablanca

...plus 993 more. View the full list on Letterboxd.

• Mars Attacks!
• Hollow Man
• The Witches
• The Matrix
• Jumanji
• Spider-Man
• The Sixth Sense
• Signs
• Antz
• Raiders of the Lost Ark

...plus 8 more. View the full list on Letterboxd.

Including films seen before I started my logs in 2013. Will be routinely updated whenever I something I saw.

• Rome, Open City
• Seven Samurai
• One Froggy Evening
• Throne of Blood
• Kisses
• General Della Rovere
• A Wife Confesses
• Black Test Car
• Lawrence of Arabia
• Irezumi

...plus 396 more. View the full list on Letterboxd.

1. The Lord of the Rings: The Return of the King
2. Schindler's List
3. Parasite
4. Lawrence of Arabia
5. The Godfather
6. Birdman or (The Unexpected Virtue of Ignorance)
7. 12 Years a Slave
8. Anora
9. Million Dollar Baby
10. Ben-Hur

...plus 87 more. View the full list on Letterboxd.

1. Nosferatu
2. Anora
3. Challengers
4. Kneecap
5. Inside Out 2
6. A Different Man
7. Presence
8. Flow
9. Look Back
10. A Real Pain

I thought I'd see if I could bash something like this out. The twenty worst films I've ever seen. In my own opinion or whatever. Listed in chronological order, with no real ranking. Otherwise The Green Berets would probably be in the top spot.

• The Birth of a Nation
• The Green Berets
• Annie Hall
• Dune
• Super Mario Bros.
• Me, Myself & Irene
• Moulin Rouge!
• Crash
• Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan
• My Super Ex-Girlfriend

...plus 11 more. View the full list on Letterboxd.

Unranked in chronological order for now.

Films will be added to this and others will be pruned as I see fit.

• Wonder Woman 1984
• Run Hide Fight
• Promising Young Woman
• Space Jam: A New Legacy
• Blonde
• Elvis
• Oppenheimer
• Wonka
• Deadpool & Wolverine
• Better Man

1. Better Man
2. Deadpool & Wolverine
3. Emilia Pérez
4. Megalopolis
5. The Substance
6. Uglies
7. Borderlands
8. Krazy House
9. Unfrosted
10. Megamind vs. the Doom Syndicate

Taking reccs. I'd prefer a focus on films directed and produced by Australians, but I am open to including films merely set or filmed here at my discretion.

Really interested in getting more stuff about/starring/made by Aboriginals, Indigenous Australians, Torres Strait Islanders and/or First Nations People on here too so flick those at me definitely.

• The Castle
• Animal Kingdom
• Samson and Delilah
• Nitram
• Mad Max
• Walkabout
• Picnic at Hanging Rock
• Wake in Fright
• Malcolm
• Death in Brunswick

...plus 42 more. View the full list on Letterboxd.

1. The Lord of the Rings: The Fellowship of the Ring
2. The Lord of the Rings: The Return of the King
3. The Lord of the Rings: The Two Towers
4. The Hobbit: An Unexpected Journey
5. The Hobbit: The Desolation of Smaug
6. The Lord of the Rings
7. The Hobbit
8. The Hobbit: The Battle of the Five Armies
9. The Lord of the Rings: The War of the Rohirrim
10. The Return of the King

All the films by Akira Kurosawa that I have seen, ranked best to worst.

1. Ran
2. Ikiru
3. Rashomon
4. Throne of Blood
5. The Hidden Fortress
6. Seven Samurai
7. High and Low
8. Yojimbo
9. Sanjuro
10. Dersu Uzala

...plus 20 more. View the full list on Letterboxd.

United States films from the late 90s and early 00s with a noticeably idealised or dreamlike atmosphere, reflecting a cultural bubble which was shattered by the September 11 attacks in 2001.

• I Am Sam
• Enemy at the Gates
• The Patriot
• Rat Race
• End of Days
• The Waterboy
• City of Angels
• Godzilla
• Big Daddy
• Pay It Forward

...plus 4 more. View the full list on Letterboxd.

Updated on the fly. By IMDb year.

1. Minari
2. Devs
3. Shiva Baby
4. Never Rarely Sometimes Always
5. Dinner in America
6. Some Kind of Heaven
7. Onward
8. The Empty Man
9. Spree
10. Pieces of a Woman

Films that use Generative AI for any elements contained in the film. For tracking purposes - I refuse to , watch, pay money for, or consume any of these films.

Substantiated suggestions are most welcome and encouraged.

• Late Night with the Devil
• Little Death
• Secret Invasion
• What Jennifer Did
• AGGRO DR1FT
• The Last Screenwriter

By IMDb year, updated on the fly.

1. Past Lives
2. The Iron Claw
3. Killers of the Flower Moon
4. Poor Things
5. Beau Is Afraid
6. The Boy and the Heron
7. Problemista
8. Mars Express
9. Asteroid City
10. Dream Scenario

1. WALL·E
2. Ratatouille
3. Up
4. The Incredibles
5. Finding Nemo
6. Monsters, Inc.
7. Toy Story
8. Toy Story 3
9. Inside Out
10. Toy Story 2

...plus 18 more. View the full list on Letterboxd.

1. Oppenheimer
2. Wonka
3. Boy Kills World
4. The Little Mermaid
5. Sound of Freedom
6. Leave the World Behind
7. Saltburn
8. Guardians of the Galaxy Vol. 3
9. The Flash
10. Ant-Man and the Wasp: Quantumania

If you were born in the early 90's like I was you probably saw tons of these in the cinema because your mum wanted to get rid of you for a few hours on a weekend.

Open to recommendations. Focused on the early 00's but as a guideline more than a rule.

• The Adventures of Rocky & Bullwinkle
• Cats & Dogs
• Sonic the Hedgehog
• Sonic the Hedgehog 2
• Scooby-Doo
• Scooby-Doo 2: Monsters Unleashed
• Kangaroo Jack
• Spy Kids
• Spy Kids 2: The Island of Lost Dreams
• Spy Kids 3-D: Game Over

...plus 30 more. View the full list on Letterboxd.

Updated on the fly. By IMDb year.

1. Cats
2. The Lion King
3. Avengers: Endgame
4. Captain Marvel
5. Hellboy
6. The Haunting of Sharon Tate
7. Fast & Furious Presents: Hobbs & Shaw
8. HOMECOMING: A film by Beyoncé
9. Black Christmas
10. The Queen's Corgi

One of the greatest film makers, but also one of the most erratic and inconsistent.

1. Se7en
2. Gone Girl
3. Zodiac
4. Fight Club
5. The Social Network
6. The Killer
7. The Game
8. Panic Room
9. The Girl with the Dragon Tattoo
10. Mank

...plus 2 more. View the full list on Letterboxd.

Unranked in chronological order for now. Minari is the benchmark.

Films will be added to and removed from this as we go along.

• Minari
• Dune
• The Fabelmans
• Past Lives
• The Iron Claw

By year of release as listed on IMDb. Updated on the fly.

1. Deadpool 2
2. Once Upon a Deadpool
3. Avengers: Infinity War
4. Mamma Mia! Here We Go Again
5. Extinction
6. The Cloverfield Paradox
7. Mute
8. God's Not Dead: A Light in Darkness
9. Tremors: A Cold Day in Hell
10. Fantastic Beasts: The Crimes of Grindelwald

As per the TSPDT poll. Essentially, the same as the S&S poll, but anything that polled any votes in the S&S 22 list is ineligible.

The only films that overlap with my own actual Top Twenty are The Blues Brothers and Hot Fuzz, so if I had voted in S&S 22 they would have been ineligible for this poll.

I have omitted The Fabelmans and Past Lives even though they are technically eligible, as they obviously didn't feature in S&S 22 due to not being out yet. Next S&S I'd fully expect they'd both be getting votes.

• The Blues Brothers
• Hot Fuzz
• The Incredibles
• Finding Nemo
• Election
• Hereditary
• Star Wars: The Last Jedi
• Rush
• District 9
• United 93

For those concerned about doxxing: This address is public information in all contexts referenced.

• A Nightmare on Elm Street
• A Nightmare on Elm Street Part 2: Freddy's Revenge
• Bo Burnham: Inside

This list is in chronological order of release. It is not in the order I would rank these films.

If a director's cut, extended edition or otherwise equivalent version exists for any of these films apart from The Empire Strikes Back, it is my preferred version of the film.

I consider The Lord of the Rings trilogy to be one complete film that was released in three parts.

• Bringing Up Baby
• Ikiru
• Ugetsu
• Persona
• Andrei Rublev
• Apocalypse Now
• The Blues Brothers
• The Empire Strikes Back
• The Thing
• Fanny and Alexander

...plus 10 more. View the full list on Letterboxd.

A list of films from the turn of the century and onwards, which are visually ugly in a distinctively sickly and blurry way, due to an over-reliance on CGI and digitised post-production. Pioneered, no less, by the Star Wars prequels, and normalised by the Hobbit films.

Taking recommendations, as always.

• Star Wars: Episode I – The Phantom Menace
• Star Wars: Episode II – Attack of the Clones
• Star Wars: Episode III – Revenge of the Sith
• The Hobbit: An Unexpected Journey
• The Hobbit: The Desolation of Smaug
• The Hobbit: The Battle of the Five Armies
• The Chronicles of Narnia: The Lion, the Witch and the Wardrobe
• Captain America: The First Avenger
• Sky Captain and the World of Tomorrow
• Cinderella

...plus 25 more. View the full list on Letterboxd.

They are out to get me

• Mamma Mia!
• The Greatest Showman
• Annie Hall
• Moulin Rouge!
• Elvis
• 2025: The World Enslaved by a Virus
• The Boy in the Striped Pyjamas
• Deadpool
• Deadpool 2
• Dear Evan Hansen

...plus 15 more. View the full list on Letterboxd.

• Persona
• Ikiru
• Fanny and Alexander
• Rashomon
• In the Mood for Love
• Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
• M
• Harold and Maude
• Mulholland Drive
• Seven Samurai

...plus 73 more. View the full list on Letterboxd.

Warcraft at the top as the worst film of the decade. Cats in clear second place. The rest are unranked in alphabetical order.

• Warcraft
• Cats
• Avengers: Endgame
• Avengers: Infinity War
• Deadpool 2
• Foodfight!
• The Lion King
• Sausage Party
• Terminator Genisys
• Tiny Furniture

By IMDb year, on the fly, etc.

1. The Fabelmans
2. TÁR
3. Athena
4. The Banshees of Inisherin
5. The Northman
6. Babylon
7. Avatar: The Way of Water
8. Fire of Love
9. Turning Red
10. Fresh

Give me my hipster cred validation, I nailed this twice

• Parasite
• Everything Everywhere All at Once

Films I've logged that I chose not to give a rating, for various reasons. Please note that "No Rating" does not necessarily mean the film was too bad to be given a rating. I often give it to films that I feel cannot be evaluated as art or entertainment specifically.

• Pink Flamingos
• The Room
• The Book of Henry
• The Whale
• Hamilton
• Shoah
• Triumph of the Will
• Leaving Neverland
• Allen v. Farrow
• Horse

...plus 3 more. View the full list on Letterboxd.

Gone Girl in the top spot as my official film of the decade. The Grand Budapest Hotel in clear second. The rest are unranked in alphabetical order.

• Gone Girl
• The Grand Budapest Hotel
• Arrival
• The Favourite
• First Man
• Hereditary
• La La Land
• Looper
• Midsommar
• The Revenant

Check notes for specific actors named.

Listed in chronological order. I will add to this on the fly as I see fit.

• The ion of Joan of Arc

  Maria Falconetti

• M

  Peter Lorre

• Bringing Up Baby

  Cary Grant
  Katharine Hepburn

• Persona

  Liv Ullmann
  Bibi Andersson

• Ikiru

  Takashi Shimura

• Taxi Driver

  Robert De Niro

• Apocalypse Now

  Martin Sheen
  Marlon Brando

• The Shining

  Entire cast

• Possession

  Sam Neill
  Isabelle Adjani

• The Thing

  Kurt Russell

...plus 28 more. View the full list on Letterboxd.

Updated on the fly. By IMDb year.

1. Blonde
2. Elvis
3. Thor: Love and Thunder
4. What Is a Woman?
5. The Adam Project
6. Death on the Nile
7. The Gray Man
8. Jurassic World Dominion
9. Uncharted
10. Morbius

Updated on the fly. By IMDb year.

First Reformed screened at festivals in 2017 so it is listed as a 2017 film on IMDb. It appears in my 2017 list accordingly.

1. The Favourite
2. First Man
3. Hereditary
4. Isle of Dogs
5. Widows
6. Burning
7. Incredibles 2
8. Solo: A Star Wars Story
9. Roma
10. Eighth Grade

Will be updated on the fly, especially with such a rich awards season looming.

1. La La Land
2. Arrival
3. Silence
4. Sing Street
5. Hunt for the Wilderpeople
6. The Neon Demon
7. Jackie
8. Zootopia
9. Rogue One: A Star Wars Story
10. Finding Dory

I feel like I've finally seen enough good films this year to build this list. Completely tentative. I will add in films that make the cut as I see them, which should be often as screener season is upon us.

1. The Revenant
2. Star Wars: The Force Awakens
3. Inside Out
4. Sicario
5. Spotlight
6. Demolition
7. Mission: Impossible – Rogue Nation
8. Room
9. Carol
10. The Good Dinosaur

Updated on the fly. Years by IMDb.

1. Star Wars: The Last Jedi
2. Nathan for You: Finding s
3. First Reformed
4. The Killing of a Sacred Deer
5. Phantom Thread
6. Blade Runner 2049
7. Brawl in Cell Block 99
8. Baby Driver
9. Three Billboards Outside Ebbing, Missouri
10. Coco

1. Fanny and Alexander
2. The Thing
3. The Lord of the Rings: The Fellowship of the Ring
4. The Lord of the Rings: The Two Towers
5. The Lord of the Rings: The Return of the King
6. The Matrix
7. Punch-Drunk Love
8. The Godfather
9. Whiplash
10. The Good, the Bad and the Ugly

...plus 124 more. View the full list on Letterboxd.

Taking suggestions. Read notes for snide comments.

PS. A film being here doesn't necessarily mean it is bad.

PPS. No, fucking seriously, don't whine in the comments just because your favourite film is in here. Fuck off.

• Lion

  this film is such an extreme epitomy of the trope that it inspired me to actually make the list

• Atonement

  randomly ed this and rushed to put it right behind lion at the top of the list

• The Book Thief

  i saw this in the cinema and people were unironically crying

• Slumdog Millionaire

  fuck this movie

• The Imitation Game

  that second rate cgi showing the bombings on london really got me in a way i just can't articulate

• A Star Is Born

  lAdY gAgA iS a MuSiCaL gEnIuS

• The Theory of Everything
• Hacksaw Ridge

  i can't get over that scene where he wins the court case and is immediately rewarded with sex

• Interstellar

  dun reeeaaaghhhh meeeghhhh murrrrrffhghh

• The Help

  white people solve racism (you're welcome black people)

...plus 121 more. View the full list on Letterboxd.

By IMDb year. Updated on the fly.

1. Space Jam: A New Legacy
2. Dear Evan Hansen
3. 2025: The World Enslaved by a Virus
4. Music
5. The Tomorrow War
6. Eternals
7. Moxie
8. Cherry
9. Cinderella
10. Army of the Dead

Updated on the fly. By IMDb year. Yada, yada.

1. Dune
2. Nitram
3. Licorice Pizza
4. Midnight Mass
5. Belfast
6. No Time to Die
7. Last Night in Soho
8. The French Dispatch
9. Pig
10. Bo Burnham: Inside

I watched all of these in a week, my world is pain.

Including the non-EON productions Casino Royale (1967) and Never Say Never Again (1983).

1. Casino Royale
2. Goldfinger
3. No Time to Die
4. Skyfall
5. Octopussy
6. On Her Majesty's Secret Service
7. A View to a Kill
8. From Russia with Love
9. The World Is Not Enough
10. Dr. No

...plus 17 more. View the full list on Letterboxd.

[american-accented trailer voice] Hae-yoe Mee-ah-zah-kee

1. Princess Mononoke
2. Spirited Away
3. My Neighbor Totoro
4. Nausicaä of the Valley of the Wind
5. Castle in the Sky
6. Kiki's Delivery Service
7. Ponyo
8. Lupin the Third: The Castle of Cagliostro
9. The Wind Rises
10. Howl's Moving Castle

...plus 1 more. View the full list on Letterboxd.

Films that feature the classic pop song This Must Be the Place by Talking Heads in the soundtrack. I am haunted, I just keep getting ambushed by this track while watching movies lately.

Shout out if you know any.

• Stop Making Sense
• This Must Be the Place
• Lars and the Real Girl
• Wall Street
• Crazy, Stupid, Love.
• Spaceship Earth
• Gold
• Wall Street: Money Never Sleeps
• He's Just Not That Into You

Updated on the fly. By IMDb year.

Close to making this list unranked because really all of these are equally fucking awful and I can barely split them.

1. Wonder Woman 1984
2. Run Hide Fight
3. Promising Young Woman
4. Black Is King
5. Mulan
6. 365 Days
7. The Kissing Booth 2
8. The Hunt
9. Money Plane
10. Bad Boys for Life

Cloned from Jackson's list.

1. Star Wars
2. The Godfather
3. Jurassic Park
4. Jaws
5. E.T. the Extra-Terrestrial
6. Avatar
7. Titanic
8. The Sound of Music
9. Gone with the Wind
10. Avengers: Endgame

...plus 1 more. View the full list on Letterboxd.

• 8MM
• Steve Jobs
• Dark Places