Pulled from Rotten Tomatoes Top Movies section:
http://www.rottentomatoes.com/top/bestofrt/?year=2018
UPDATED: 2/22/22
The 21st Century's Most Acclaimed Films list serves as a companion to the They Shoot Pictures, Don't They? 1,000 Greatest Films of all time list which, - by its nature - tends to have very few films from the 21st century in it. The 21st Century's Most Acclaimed Films list attempts to highlight and honour this century's most critically revered films and act as a sort of 'resting bay' for many great films that are likely to be included in the 1,000 Greatest Films list sooner or later.
Source: http://www.theyshootpictures.com/21stcentury.htm
All the movies with "Must-See" badge on Metacritic. Movie gets the badge when it has a score of 81 or higher and has been reviewed by at least 15 pro critics.
Movies (and some tv series/episodes) that are so insanely packed with things and ideas and visuals they become dense in one way or another.
Ordered alphabetically.
Suggestions welcomed but I'll have to see them to see if they fit my criteria.
Source: https://www.theguardian.com/film/2019/sep/13/100-best-films-movies-of-the-21st-century
This list is drawn from "The New York Times Book of Movies: The Essential 1,000 Films to See", published in 2019. It contains a selection of 1000 reviews that have been printed in The New York Times. The majority of movies in this book are among the "10 Best Films" chosen by New York Times critics at the end of each year.
Source: https://www.amazon.com/New-York-Times-Book-Movies/dp/078933657X
Cinema Tropical, the leading presenter of Latin American cinema in the U.S., has compiled a list of the Top Ten Latin American Films of the Decade (2010-2019), based on a poll of 97 international film festival and cinemathèque programmers.
In total, 229 films representing 17 Latin American countries were nominated for the distinction of being Best of the Decade, demonstrating the high quality and diversity of films from the region.
Source: https://www.cinematropical.com/10-best-films
HollyWood Movies based on Popularity
Notable Foreign Films
188 international critics and curators choose the five new releases that made the biggest impression on them in 2017. Rising to the top are some exciting new voices, new visions and new forms...
Source: http://www.bfi.org.uk/features/best-films-2017/
Full list http://www.bfi.org.uk/news-opinion/sight-sound-magazine/polls-surveys/annual-round-ups/www.bfi.org.uk/features/best-films-2017-all-the-votes/
From a critic poll published in November 2019.
Olympia is one entry.
Source: http://www.bbc.com/culture/story/20191125-the-100-greatest-films-directed-by-women-poll
Source:
Years 1931-2018 come from:
The New York Times: Book of Movies
the essential 1,000 films to see
2019 ed
Years after 2018 come from NYT website.
work in progress
There are discrepancies between the website and the book, particular for years after 2003. Please leave a comment for any errors you find.
Brakujące tytuły:
2. Pod wiatr (Nista, samo vjetar), 2017
1. Mistrz świata, Polska, 2018
Historical, Epic, Period Films
01–21 / venezia 74 competition
22–34 / out of competition
35–42 / out of competition docs
—
43–51 / film critics week
—
52 / tv series
—
53–63 / venice virtual reality
La Camera Insabbiata. Laurie Anderson & Huang Hsin-Chien
Greenland Melting. Nonny de la Peña
Draw Me Close, Chapters 1–2. Jordan Tannahill
Gomorrah VR – We Own the Streets. Enrico Rosati
Separate Silences. David Wedel
Alice, the Virtual Reality Play. Mathias Chelebourg. tt7395338
Em desenvolvimento
Fontes:
Listagem dos Filmes Brasileiros Lançados Comercialmente em Salas de Exibição 1995 a 2020
https://www.gov.br/ancine/pt-br/oca/cinema/arquivos-pdf/listagem-de-filmes-brasileiros-lancados-1995-a-2020.pdf
(Ainda em processo de adicionar)
Listagem de Coproduções Internacionais 2005 a 2020
https://www.gov.br/ancine/pt-br/oca/cinema/arquivos-pdf/listagem-de-coproducoes-internacionais-2005-a-2020.pdf
Lista dos 100 melhores filmes brasileiros segundo a ABRACCINE
https://pt.wikipedia.org/wiki/Lista_dos_100_melhores_filmes_brasileiros_segundo_a_ABRACCINE
https://www.bbc.com/culture/article/20191125-the-100-greatest-films-directed-by-women-poll
https://www.indiewire.com/feature/female-directors-best-movies-directed-by-women-1202045399/
https://editorial.rottentomatoes.com/guide/best-movies-directed-by-women-of-the-21st-century/
From Cageian phantasmagoria & 18th-century mischief to a world-weary Western and a stolen Singaporean road movie
Once upon a time, Derek Smith wrote: “2017 was a year endured rather than lived.” But all due respect to the past, because here we are creeping into this new 2019 and things are so much better than we thought they’d be!True, the year probably felt like 37 years or whatever removed from Rick Deckard’s squared-off tie and malfunctioning memory. And truth be told, the political crisis unfolding in the gray hallways might seem more honest if it resembled the light-starved, gnarled noir of Blade Runner. At least Schwarzenegger and The Running Man promised that 2019’s only choice would be “hard time or prime time,” even if its presentation of a neon capital, corporate-owned world seemed, you know, subtle. And for all the (dead) kids in cages and bodies bleeding out on street corners here and abroad, Michael Bay and The Island had a perfectly-drooped Buscemi diagnosing our humanist crisis: “I mean, you’re not human. I mean, you’re human, but you’re not real. You’re not a real person, like me.”
A lot of people were told they weren’t humans in 2018. This isn’t a writerly evasion or poetic epithet designed to elicit righteous ire/compel you to read another year-end list. Because what else could you call the concentrated attempt by some humans to discourage the freedoms of other humans? Our narrative didn’t turn science-fiction to let us off the hook: these non-humans weren’t clones or replicants or estranged Atlantean denizens returning to claim their kingly right. They just weren’t human enough (or the right kind of human) to matter in the eyes of louder, more powerful humans. All of our past’s proposed images of our worst futures pale in comparison to this denial of basic humanity that we see out our windows.
It is unsurprising, then, that cinema, our most volatile cultural mirror, began to show the stretch and strain in its images of our species. But what is surprising is that cinema in 2018 retained nuance and compassion as it mediated the cruelties and depravities of its age. Unlike this slab of prose, movies in 2018 moved beyond mediating good and evil in simple, monolithic terms. They attempted to sketch the boundaries of real freedom in an unjust world (BlaKkKlansman). They investigated, more acutely than ever before, the responsibilities of what it meant to keep (Shirkers) and tell (Madeline’s Madeline) another human’s story (If Beale Street Could Talk), especially in remembrance (Roma). They presented distorted genealogies (Hereditary) and fisheye-lens histories (The Favourite) to track the human body’s motion (Suspiria) in and out of comradeship (Support the Girls) and trauma (Burning). In 2018, we hurled our betrayed humanities up against foreign corpses (Zama), scorched country (The Ballad of Buster Scruggs), alien twins (Annihilation), and incongruent voices (Sorry to Bother You). We began to see, in everything, something like a way through the darkness. Why else keep watching the past (The Other Side of the Wind) if not to plot something we’d never imagined before (The Night Is Short, Walk On Girl)?
Our moving images in 2018 proposed that real love (Eighth Grade) and genuine care (Lazzaro Felice) could stretch impossibly across time to add up to a life steeped in both nuance and compassion (Won’t You Be My Neighbor?). Our love would not look the same (Leave No Trace) nor could it resound in strictly-feasible tones (Mandy), but we would recognize its absence; we could see that sometimes humanness looks like something we’ve never seen before (Spider-Man: Into the Spider-Verse).
More than anything, as one derelict theory proposed, “Through the negative you could see the real, inner, demonic quality of the light.” In laying the responsibilities of the filmmaker and artist at the feet of a murderer, The House That Jack Built came perilously close to endorsing our worst demons. Those demons shook and raged and hissed at us, urging us to give in to despair and make a world in their image. How did we let it stand? Thomas Merton was a central figure in a figurative, feral lens for our year, and he wrote that “despair is the absolute extreme of self-love.” To levy our humanity so close to inhumanness, suggesting that our better angels are distortions, is dangerous. To know, as these 25 films know, that there can be nothing without despair until there is love is to actually be human. To look, as we did, through our ruinous year and resist the despairs of all our oppressors and lowest urges, to shout, in image and montage and light and shadow, that this is how I deny you is to attain, beyond our humanity and into the future, a new kind of prayer. –FRANK FALISI
Source: https://www.tinymixtapes.com/features/favorite-25-films-2018
In 1952, the Sight and Sound team had the novel idea of asking critics to name the greatest films of all time. The tradition became decennial, increasing in size and prestige as the decades passed.
The Sight and Sound poll is now a major bellwether of critical opinion on cinema and 2022’s edition (its eighth) is the largest ever, with 1,639 participating critics, programmers, curators, archivists and academics each submitting their top ten ballot.
Note: While this list is ranked, several entries are ties, that's the reason why this list has actually 264 entries instead of the 250 entries intended. For a more comprehensibly ranked list as well as more information about it, follow the link below.
https://www.bfi.org.uk/sight-and-sound/greatest-films-all-time
There was one stark statistic that jumped out from the results of last year’s BBC Culture poll to find the 100 greatest foreign-language films of all time: just four out of that 100 were directed by women. And the same paucity of female directors has been a feature in each of our annual surveys: in 2017’s poll of the 100 greatest comedies there were four. Twelve films from female directors made it into the 100 greatest films of the 21st Century in 2016, but none of those films featured in the top 20. And in our first poll of film critics, to find the 100 greatest American films – just two were co-directed by a woman.
So in 2019 we set out to focus the spotlight firmly on women directors. The result is BBC Culture’s biggest and most international poll yet: 761 different films were voted for by 368 film experts – critics, journalists, festival programmers and academics – who came from 84 countries, from Afghanistan to Zimbabwe. We asked the same number of women to contribute as men to create a gender-balanced poll, with 185 female voters, 181 male voters, one non-binary person, and one who preferred not to say. Each voter listed their 10 favourite films directed by women, which we scored and ranked to produce the top 100 listed below.
https://www.theguardian.com/film/2019/sep/13/100-best-films-movies-of-the-21st-century
Below is our updated running tally of the films most frequently mentioned by individual critics on the year-end Top Ten lists. Note that if a critic ranks more than the standard 10 films, we will not include films ranked 11th or worse. (We do include unranked lists of 11-20 titles, though each film gets just one-half of a point.) In case of a tie for first or second, each film will receive the full points for that position.
https://www.metacritic.com/feature/film-critics-list-the-top-10-movies-of-2018
Le Reste...
Rotten Tomatoes: Best of 2018
by LISHVIP 9