/u/StopReadinMyUsername on reddit combined the average ratings (Critic's & Users) from IMDb, Rotten Tomatoes, Metacritic and Letterboxd, and then weighted and tweaked the results with general film data from iCheckMovies and IMDb to reveal the 1001 Greatest Movies of All Time.
Can you remember a time without Rotten Tomatoes? Those sightless days of people reaching out and bumping into movies at random, like wandering through a Blockbuster with all the lights off. Those were dark and undirected times. Since the launch of RT in August of 1998, though – the site went live on August 18 of that year – movie fans have had immediate access to the largest accumulation of film reviews ever, distilled for one purpose: to get you watching the best kind of movies you want to see. (Or if you only want to watch bad movies, the site can help you find those more quickly, too.)
As we mark our 20th birthday, we’re looking back on the past two decades with this guide to the 200 best-reviewed movies released since that fateful day in August of 1998. To keep the competition tight, we only included movies that had at least 80 reviews, the number at which wide-release movies qualify for Certified Fresh status; applying that rule, and limiting the total list to 200 titles, the lowest Tomatometer score you’ll find is 95%. The criteria also meant that no films from 1998 made the cut (Shakespeare in Love did come awfully close).
The list, which we’ve ordered chronologically, runs the gamut of movies, ranging from popular blockbusters (Harry Potter and the Deathly Hallows – Part II, The Lord of the Rings: The Two Towers) to indies (The Wrestler, Nightcrawler) and the still underseen (Step, Gloria). Some 14 movies come from this very year made the list, among them Mission: Impossible – Fallout and BlacKkKlansman. There are seven Best Picture Oscar winners and 24 animated movies in there – 10 of which are Pixar products, and three of which come from the UK’s Aardman Animations. Documentaries make up a whopping quarter of the movies listed, and include landmark films like Bowling For Columbine and Man On Wire, while 53 of the movies listed are foreign-language, including Crouching Tiger, Hidden Dragon, and the first film on the list, Pedro Almodóvar‘s All About My Mother.
A number of directors show up twice on the list – Ava DuVernay, Taika Waititi, Ryan Coogler, and Sean Baker among them – and a handful show up even more than that: Lee Unkrich, Pete Docter, Brad Bird, and Richard Linklater. Meanwhile, series like the Paddington, Before, and Toy Story films appear more than once, along with both films in The Act of Killing/The Look of Silence documentary pairing feature.
So: 200 movies, 20 years. How many have you seen after all this time? And how many are you adding to your watchlist?
All credits go to IMDb user: gibboanx
While the filmic landscape of 2012 A.D. was characterized by apocalypses, our favorite films this year pointed toward a triumph of the real, reveling in our fucked up world instead of imagining its destruction. Directors turned their lenses (usually warped ones) to the immediate and the present — or at the very least, the rippling continued effects of the past (12 Years a Slave). Sure, our list includes some fantastical films — most obviously ones about robots (Pacific Rim and World’s End), but also mind-controlling worms (Upstream Color) and nearly everything else (Wrong, The Rambler). But overwhelmingly, in 2013, shit got real.
More documentaries (a half dozen!) ranked in our favorite 30 than any previous year, with two in our top five (Act of Killing, Leviathan). And whether dismantling documentary veracity in search of personal truths (Stories We Tell), foregoing narrative altogether (Bestiaire, Leviathan), or limiting themselves to found footage (Let the Fire Burn), all the docs (not to mention Everything is Terrible’s found-footage collage double feature) on our list manipulated form in search of new ways to represent our world.
Meanwhile, the dismembered scraps of traditional documentary techniques littered our favorite fictional films, which employed found footage, mockumentary, non-actors, vlogs, and voyeurism to show us such horrors as the wreckage of post-tsunami Japan (Himizu), school shootings (The Dirties), sex tourism (Paradise: Love), economically stagnated suburbs (Pavilion), nerds (Computer Chess), and Florida beach culture (Spring Breakers). Even in the films that fell solidly within the formal confines of fiction, subject matter was immersed in large-scale contemporary concerns (Drug War, Mud, Frances Ha), while the generic conventions of realism were reworked for contemporary audiences (Sun Don’t Shine, Before Midnight).
As always, we had a difficult time narrowing our list down to 30 films: Hors Satan, Pain and Gain, Beyond the Hills, and Escape from Tomorrow all deserve honorable mentions. But this year, our staff had more consensus than ever about the films we loved. Maybe it’s just that we live in a weird time, both IRL and filmically, and our list reflects that. I mean, a release with no press became one of our favorites (Black Box), a Harmony Korine film played in nearly every multiplex, Pacific Rim’s kaiju washed ashore, and, amazingly, we actually laughed at stand-up comedy (Everything is Terrible: Comic Relief Zero). –BENJAMIN PEARSON"
The commented choices are over @