Ranking | Title | Overall Score | Critics | Domestic | International | Year | Director |
---|---|---|---|---|---|---|---|
1 | The Godfather | 93.89 | 97.73 | 90.50 | 89.36 | 1972 | Francis Ford Coppola |
2 | The Godfather: Part II | 91.93 | 93.30 | 89.04 | 88.06 | 1974 | Francis Ford Coppola |
3 | Seven Samurai | 91.05 | 97.38 | 87.63 | 85.90 | 1954 | Akira Kurosawa |
4 | 12 Angry Men | 90.45 | 95.45 | 88.74 | 88.62 | 1957 | Sidney Lumet |
5 | City Lights | 89.94 | 96.75 | 85.67 | 85.93 | 1931 | Charlie Chaplin |
6 | The Good, the Bad and the Ugly | 89.45 | 91.20 | 87.81 | 86.59 | 1966 | Sergio Leone |
7 | The Shawshank Redemption | 89.41 | 82.95 | 89.49 | 89.18 | 1994 | Frank Darabont |
8 | Psycho | 89.29 | 95.23 | 85.70 | 85.01 | 1960 | Alfred Hitchcock |
9 | Modern Times | 89.28 | 95.55 | 85.21 | 85.37 | 1936 | Charlie Chaplin |
10 | Schindler's List | 89.08 | 93.80 | 87.22 | 87.29 | 1993 | Steven Spielberg |
11 | Pulp Fiction | 88.85 | 92.60 | 87.69 | 86.42 | 1994 | Quentin Tarantino |
12 | Rear Window | 88.63 | 97.65 | 85.40 | 83.33 | 1954 | Alfred Hitchcock |
13 | One Flew Over the Cuckoo's Nest | 88.55 | 87.38 | 86.28 | 86.97 | 1975 | Miloš Forman |
14 | Apocalypse Now | 88.54 | 93.85 | 85.24 | 83.48 | 1979 | Francis Ford Coppola |
15 | Tokyo Story | 88.49 | 98.30 | 85.16 | 83.76 | 1953 | Yasujirō Ozu |
16 | Spirited Away | 88.34 | 93.78 | 86.80 | 85.91 | 2001 | Hayao Miyazaki |
17 | GoodFellas | 88.03 | 91.48 | 87.00 | 84.03 | 1990 | Martin Scorsese |
18 | Vertigo | 88.02 | 95.60 | 84.05 | 82.76 | 1958 | Alfred Hitchcock |
19 | Singin' in the Rain | 88.01 | 97.65 | 83.95 | 83.13 | 1952 | Gene Kelly, Stanley Donen |
20 | Sunset Boulevard | 88.00 | 95.45 | 85.44 | 84.22 | 1950 | Billy Wilder |
21 | Citizen Kane | 87.83 | 99.03 | 83.06 | 82.22 | 1941 | Orson Welles |
22 | Harakiri | 87.79 | 85.83 | 88.00 | 86.29 | 1962 | Masaki Kobayashi |
23 | Rashomon | 87.74 | 96.55 | 83.52 | 82.73 | 1950 | Akira Kurosawa |
24 | Once Upon a Time in the West | 87.71 | 86.65 | 85.48 | 84.62 | 1968 | Sergio Leone |
25 | Fanny and Alexander | 87.54 | 97.30 | 83.15 | 83.00 | 1982 | Ingmar Bergman |
26 | The Lord of the Rings: The Return of the King | 87.40 | 92.59 | 86.06 | 85.38 | 2003 | Peter Jackson |
27 | Andrei Rublev | 87.39 | 91.90 | 83.80 | 83.94 | 1966 | Andrei Tarkovsky |
28 | The Passion of Joan of Arc | 87.39 | 94.65 | 83.88 | 83.57 | 1928 | Carl Theodor Dreyer |
29 | Sherlock Jr. | 87.36 | 96.45 | 83.64 | 85.60 | 1924 | Buster Keaton |
30 | Bicycle Thieves | 87.35 | 94.70 | 83.91 | 83.46 | 1948 | Vittorio De Sica |
31 | Casablanca | 87.35 | 98.00 | 85.25 | 82.62 | 1942 | Michael Curtiz |
32 | Some Like It Hot | 87.28 | 95.30 | 82.11 | 83.73 | 1959 | Billy Wilder |
33 | Persona | 87.22 | 88.20 | 84.28 | 83.07 | 1966 | Ingmar Bergman |
34 | Children of Paradise | 87.21 | 95.33 | 84.81 | 83.27 | 1945 | Marcel Carné |
35 | Taxi Driver | 87.14 | 93.88 | 83.60 | 82.06 | 1976 | Martin Scorsese |
36 | The Dark Knight | 87.08 | 88.81 | 86.96 | 84.80 | 2008 | Christopher Nolan |
37 | Metropolis | 87.03 | 96.00 | 82.92 | 84.01 | 1927 | Fritz Lang |
38 | Sunrise: A Song of Two Humans | 87.02 | 93.95 | 82.23 | 84.02 | 1927 | F. W. Murnau |
39 | Stalker | 87.02 | 92.30 | 83.86 | 83.29 | 1979 | Andrei Tarkovsky |
40 | Pather Panchali | 86.96 | 94.35 | 84.40 | 82.80 | 1955 | Satyajit Ray |
41 | Lawrence of Arabia | 86.95 | 97.65 | 83.76 | 81.49 | 1962 | David Lean |
42 | M | 86.91 | 96.20 | 84.34 | 82.92 | 1931 | Fritz Lang |
43 | Ordet | 86.82 | 98.10 | 83.08 | 82.55 | 1955 | Carl Theodor Dreyer |
44 | It's a Wonderful Life | 86.77 | 90.45 | 85.17 | 84.90 | 1946 | Frank Capra |
45 | Satantango | 86.76 | 90.45 | 84.58 | 84.21 | 1994 | Béla Tarr |
46 | Parasite | 86.72 | 96.34 | 86.55 | 83.15 | 2019 | Bong Joon-ho |
47 | The 400 Blows | 86.70 | 96.70 | 83.14 | 82.60 | 1959 | François Truffaut |
48 | Ikiru | 86.56 | 93.80 | 85.48 | 84.29 | 1952 | Akira Kurosawa |
49 | Mirror | 86.50 | 95.60 | 82.75 | 82.34 | 1975 | Andrei Tarkovsky |
50 | Come and See | 86.50 | 90.50 | 85.22 | 83.13 | 1985 | Elem Klimov |
51 | The Apartment | 86.48 | 92.00 | 84.09 | 82.99 | 1960 | Billy Wilder |
52 | The General | 86.45 | 91.45 | 82.59 | 83.87 | 1926 | Buster Keaton, Clyde Bruckman |
53 | Grave of the Fireflies | 86.43 | 95.13 | 85.85 | 82.97 | 1988 | Isao Takahata |
54 | Le Trou | 86.41 | 89.95 | 85.46 | 85.14 | 1960 | Jacques Becker |
55 | The Battle of Algiers | 86.37 | 95.40 | 82.64 | 81.24 | 1966 | Gillo Pontecorvo |
56 | A Man Escaped | 86.34 | 96.50 | 83.67 | 82.03 | 1956 | Robert Bresson |
57 | Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb | 86.34 | 95.85 | 84.37 | 83.03 | 1964 | Stanley Kubrick |
58 | Paths of Glory | 86.25 | 92.30 | 84.97 | 84.48 | 1957 | Stanley Kubrick |
59 | The Lord of the Rings: The Fellowship of the Ring | 86.24 | 88.75 | 85.61 | 84.31 | 2001 | Peter Jackson |
60 | All About Eve | 86.23 | 96.95 | 83.69 | 83.20 | 1950 | Joseph L. Mankiewicz |
61 | Star Wars: The Empire Strikes Back | 86.21 | 86.93 | 87.05 | 83.29 | 1980 | Irvin Kershner |
62 | High and Low | 86.16 | 86.55 | 86.08 | 84.26 | 1963 | Akira Kurosawa |
63 | The Great Dictator | 86.15 | 91.10 | 84.25 | 85.03 | 1940 | Charlie Chaplin |
64 | The Silence of the Lambs | 86.12 | 88.68 | 85.29 | 84.17 | 1991 | Jonathan Demme |
65 | 2001: A Space Odyssey | 86.06 | 88.35 | 82.93 | 81.54 | 1968 | Stanley Kubrick |
66 | North by Northwest | 86.03 | 96.38 | 83.17 | 81.74 | 1959 | Alfred Hitchcock |
67 | Double Indemnity | 85.91 | 94.38 | 83.84 | 83.12 | 1944 | Billy Wilder |
68 | Ugetsu | 85.91 | 97.25 | 82.69 | 81.91 | 1953 | Kenji Mizoguchi |
69 | Woman in the Dunes | 85.91 | 93.95 | 84.71 | 83.77 | 1964 | Hiroshi Teshigahara |
70 | Sansho the Bailiff | 85.88 | 95.50 | 84.24 | 82.21 | 1954 | Kenji Mizoguchi |
71 | Once Upon a Time in America | 85.87 | 86.10 | 83.84 | 85.53 | 1984 | Sergio Leone |
72 | City of God | 85.86 | 84.08 | 86.39 | 84.00 | 2002 | Fernando Meirelles, Kátia Lund |
73 | Late Spring | 85.81 | 94.75 | 83.74 | 82.27 | 1949 | Yasujirō Ozu |
74 | Barry Lyndon | 85.80 | 87.95 | 82.44 | 82.30 | 1975 | Stanley Kubrick |
75 | The Lord of the Rings: The Two Towers | 85.78 | 88.78 | 85.00 | 84.29 | 2002 | Peter Jackson |
76 | Raging Bull | 85.77 | 90.48 | 82.01 | 81.80 | 1980 | Martin Scorsese |
77 | Chinatown | 85.72 | 94.08 | 83.32 | 80.69 | 1974 | Roman Polanski |
78 | Alien | 85.69 | 91.73 | 84.76 | 82.62 | 1979 | Ridley Scott |
79 | Ran | 85.68 | 94.70 | 83.93 | 82.52 | 1985 | Akira Kurosawa |
80 | The Seventh Seal | 85.67 | 92.10 | 83.52 | 82.13 | 1957 | Ingmar Bergman |
81 | The Kid | 85.61 | 92.85 | 82.91 | 84.94 | 1921 | Charlie Chaplin |
82 | Wild Strawberries | 85.51 | 90.05 | 83.38 | 82.24 | 1957 | Ingmar Bergman |
83 | A Brighter Summer Day | 85.50 | 93.38 | 84.07 | 81.01 | 1991 | Edward Yang |
84 | 8½ | 85.48 | 91.20 | 82.59 | 81.09 | 1963 | Federico Fellini |
85 | The Pianist | 85.38 | 88.69 | 83.31 | 84.80 | 2002 | Roman Polanski |
86 | The World of Apu | 85.38 | 93.20 | 84.38 | 83.09 | 1959 | Satyajit Ray |
87 | La Dolce Vita | 85.37 | 94.38 | 81.40 | 80.48 | 1960 | Federico Fellini |
88 | Star Wars | 85.33 | 90.03 | 85.22 | 81.92 | 1977 | George Lucas |
89 | The Best of Youth | 85.31 | 88.78 | 85.31 | 83.64 | 2003 | Marco Tullio Giordana |
90 | The Gold Rush | 85.29 | 94.55 | 81.93 | 83.59 | 1925 | Charlie Chaplin |
91 | The Third Man | 85.26 | 96.50 | 82.91 | 80.21 | 1949 | Carol Reed |
92 | The Treasure of the Sierra Madre | 85.20 | 96.68 | 82.77 | 81.81 | 1948 | John Huston |
93 | I Am Cuba | 85.18 | 93.60 | 82.00 | 83.44 | 1964 | Mikhail Kalatozov |
94 | The Lives of Others | 85.14 | 89.03 | 84.12 | 82.73 | 2006 | Florian Henckel von Donnersmarck |
95 | Witness for the Prosecution | 85.13 | 92.65 | 83.67 | 84.99 | 1957 | Billy Wilder |
96 | Touch of Evil | 85.11 | 95.70 | 81.36 | 79.65 | 1958 | Orson Welles |
97 | WALL-E | 85.10 | 92.09 | 82.82 | 82.64 | 2008 | Andrew Stanton |
98 | Scenes from a Marriage | 85.02 | 86.85 | 84.80 | 83.06 | 1974 | Ingmar Bergman |
99 | To Be or Not to Be | 84.99 | 89.58 | 82.52 | 83.39 | 1942 | Ernst Lubitsch |
100 | A Separation | 84.92 | 94.24 | 83.34 | 80.90 | 2011 | Asghar Farhadi |
101 | The Night of the Hunter | 84.91 | 96.93 | 81.17 | 79.06 | 1955 | Charles Laughton |
102 | Three Colors: Red | 84.87 | 96.78 | 83.32 | 80.78 | 1994 | Krzysztof Kieślowski |
103 | Yojimbo | 84.87 | 91.55 | 83.85 | 82.99 | 1961 | Akira Kurosawa |
104 | Back to the Future | 84.85 | 89.38 | 84.47 | 81.94 | 1985 | Robert Zemeckis |
105 | My Neighbor Totoro | 84.84 | 87.53 | 83.44 | 83.17 | 1988 | Hayao Miyazaki |
106 | In the Mood for Love | 84.84 | 83.87 | 82.55 | 81.20 | 2000 | Wong Kar-wai |
107 | Princess Mononoke | 84.83 | 81.18 | 85.02 | 84.24 | 1999 | Hayao Miyazaki |
108 | Saving Private Ryan | 84.82 | 90.35 | 83.94 | 82.50 | 1998 | Steven Spielberg |
109 | Cinema Paradiso | 84.78 | 82.30 | 84.73 | 83.43 | 1988 | Giuseppe Tornatore |
110 | La Jetée | 84.75 | 89.25 | 83.27 | 81.80 | 1962 | Chris Marker |
111 | The Wages of Fear | 84.71 | 94.60 | 82.99 | 82.80 | 1953 | Henri-Georges Clouzot |
112 | Das Boot | 84.68 | 90.13 | 83.62 | 82.71 | 1981 | Wolfgang Petersen |
113 | Fight Club | 84.65 | 71.18 | 86.39 | 84.95 | 1999 | David Fincher |
114 | Nights of Cabiria | 84.64 | 92.25 | 82.72 | 83.13 | 1957 | Federico Fellini |
115 | La Strada | 84.61 | 92.60 | 80.79 | 82.78 | 1954 | Federico Fellini |
116 | Amadeus | 84.53 | 89.55 | 82.88 | 82.59 | 1984 | Miloš Forman |
117 | Forrest Gump | 84.50 | 76.90 | 83.06 | 86.12 | 1994 | Robert Zemeckis |
118 | Spider-Man: Into the Spider-Verse | 84.49 | 90.41 | 85.03 | 81.69 | 2018 | Peter Ramsey, Rodney Rothman, Bob Persichetti |
119 | The Lion King | 84.45 | 88.28 | 77.22 | 84.09 | 1994 | Rob Minkoff, Roger Allers |
120 | Inception | 84.43 | 82.07 | 84.18 | 84.17 | 2010 | Christopher Nolan |
121 | Whiplash | 84.42 | 89.53 | 84.87 | 81.96 | 2014 | Damien Chazelle |
122 | The Shop Around the Corner | 84.40 | 94.43 | 80.85 | 82.37 | 1940 | Ernst Lubitsch |
123 | Rififi | 84.38 | 92.00 | 83.03 | 81.58 | 1955 | Jules Dassin |
124 | Umberto D. | 84.38 | 92.63 | 82.20 | 81.75 | 1952 | Vittorio De Sica |
125 | Army of Shadows | 84.37 | 95.30 | 82.98 | 80.50 | 1969 | Jean-Pierre Melville |
126 | Blade Runner | 84.34 | 85.85 | 82.57 | 80.29 | 1982 | Ridley Scott |
127 | Samurai Rebellion | 84.33 | 89.05 | 82.85 | 83.84 | 1967 | Masaki Kobayashi |
128 | Close-Up | 84.31 | 85.70 | 81.99 | 80.69 | 1990 | Abbas Kiarostami |
129 | The Circus | 84.29 | 90.35 | 81.69 | 83.14 | 1928 | Charlie Chaplin |
130 | Raiders of the Lost Ark | 84.19 | 89.33 | 84.31 | 80.57 | 1981 | Steven Spielberg |
131 | Grand Illusion | 84.18 | 95.35 | 81.85 | 79.78 | 1937 | Jean Renoir |
132 | A Clockwork Orange | 84.18 | 82.78 | 82.37 | 82.51 | 1971 | Stanley Kubrick |
133 | Eternal Sunshine of the Spotless Mind | 84.07 | 89.37 | 83.36 | 80.57 | 2004 | Michel Gondry |
134 | A Woman Under the Influence | 84.01 | 87.40 | 82.51 | 80.40 | 1974 | John Cassavetes |
135 | The Cranes Are Flying | 84.00 | 89.30 | 82.76 | 82.40 | 1957 | Mikhail Kalatozov |
136 | Yi Yi | 83.91 | 91.25 | 82.48 | 79.64 | 2000 | Edward Yang |
137 | To Kill a Mockingbird | 83.91 | 89.13 | 81.98 | 82.20 | 1962 | Robert Mulligan |
138 | The Matrix | 83.90 | 77.78 | 84.54 | 83.06 | 1999 | Wachowski Sisters |
139 | The Sting | 83.90 | 85.73 | 82.71 | 83.36 | 1973 | George Roy Hill |
140 | The Mother and the Whore | 83.87 | 94.55 | 81.24 | 79.82 | 1973 | Jean Eustache |
141 | Se7en | 83.86 | 72.15 | 84.91 | 84.48 | 1995 | David Fincher |
142 | Early Summer | 83.85 | 94.45 | 82.19 | 82.01 | 1951 | Yasujirō Ozu |
143 | Werckmeister Harmonies | 83.80 | 91.73 | 80.89 | 81.93 | 2000 | Béla Tarr, Ágnes Hranitzky |
144 | Coco | 83.80 | 86.21 | 82.73 | 83.66 | 2017 | Adrian Molina, Lee Unkrich |
145 | Toy Story | 83.76 | 95.03 | 82.30 | 80.15 | 1995 | John Lasseter |
146 | It Happened One Night | 83.76 | 90.83 | 81.46 | 81.76 | 1934 | Frank Capra |
147 | Reservoir Dogs | 83.74 | 84.68 | 83.12 | 81.99 | 1992 | Quentin Tarantino |
148 | Unforgiven | 83.73 | 88.55 | 82.24 | 81.59 | 1992 | Clint Eastwood |
149 | The Deer Hunter | 83.73 | 87.68 | 80.57 | 82.06 | 1978 | Michael Cimino |
150 | The Young and the Damned | 83.72 | 87.10 | 82.58 | 80.82 | 1950 | Luis Buñuel |
151 | The Best Years of Our Lives | 83.68 | 92.63 | 81.19 | 81.20 | 1946 | William Wyler |
152 | The Leopard | 83.66 | 97.30 | 79.56 | 79.57 | 1963 | Luchino Visconti |
153 | Time of the Gypsies | 83.65 | 86.05 | 83.31 | 82.29 | 1988 | Emir Kusturica |
154 | Ali: Fear Eats the Soul | 83.61 | 96.70 | 80.51 | 79.97 | 1974 | Rainer Werner Fassbinder |
155 | Raise the Red Lantern | 83.57 | 90.25 | 82.37 | 81.81 | 1991 | Zhang Yimou |
156 | Terminator 2: Judgment Day | 83.57 | 82.00 | 84.11 | 81.83 | 1991 | James Cameron |
157 | The Shining | 83.55 | 75.35 | 84.08 | 81.80 | 1980 | Stanley Kubrick |
158 | Viridiana | 83.54 | 92.95 | 80.68 | 80.81 | 1961 | Luis Buñuel |
159 | Portrait of a Lady on Fire | 83.52 | 93.59 | 83.08 | 80.02 | 2019 | Céline Sciamma |
160 | Greed | 83.51 | 97.05 | 80.65 | 80.64 | 1924 | Erich von Stroheim |
161 | Gone with the Wind | 83.48 | 92.90 | 80.01 | 81.68 | 1939 | Victor Fleming |
162 | There Will Be Blood | 83.48 | 89.65 | 81.91 | 79.02 | 2007 | Paul Thomas Anderson |
163 | L.A. Confidential | 83.46 | 91.63 | 82.08 | 80.81 | 1997 | Curtis Hanson |
164 | Paris, Texas | 83.46 | 83.95 | 82.89 | 81.66 | 1984 | Wim Wenders |
165 | Throne of Blood | 83.45 | 91.30 | 82.18 | 81.49 | 1957 | Akira Kurosawa |
166 | Toy Story 3 | 83.43 | 93.55 | 81.61 | 80.32 | 2010 | Lee Unkrich |
167 | Memento | 83.43 | 85.20 | 83.78 | 80.76 | 2000 | Christopher Nolan |
168 | On the Waterfront | 83.37 | 93.00 | 82.23 | 79.52 | 1954 | Elia Kazan |
169 | Trip to the Moon | 83.37 | 94.70 | 79.96 | 82.83 | 1902 | Georges Méliès |
170 | The Rules of the Game | 83.33 | 96.55 | 80.45 | 78.02 | 1939 | Jean Renoir |
171 | Red Beard | 83.32 | 74.15 | 83.41 | 83.27 | 1965 | Akira Kurosawa |
172 | The Grapes of Wrath | 83.32 | 95.45 | 80.42 | 80.34 | 1940 | John Ford |
173 | Au Hasard Balthazar | 83.29 | 98.08 | 77.93 | 77.54 | 1966 | Robert Bresson |
174 | Autumn Sonata | 83.29 | 84.85 | 83.09 | 82.66 | 1978 | Ingmar Bergman |
175 | Annie Hall | 83.28 | 93.18 | 80.58 | 80.58 | 1977 | Woody Allen |
176 | The Conformist | 83.27 | 96.68 | 79.92 | 78.58 | 1970 | Bernardo Bertolucci |
177 | Rocco and His Brothers | 83.24 | 84.73 | 81.95 | 81.68 | 1960 | Luchino Visconti |
178 | Dersu Uzala | 83.23 | 74.75 | 82.35 | 83.37 | 1975 | Akira Kurosawa |
179 | Cool Hand Luke | 83.21 | 93.05 | 82.22 | 79.83 | 1967 | Stuart Rosenberg |
180 | Monty Python and the Holy Grail | 83.18 | 91.98 | 82.96 | 79.30 | 1975 | Terry Gilliam, Terry Jones |
181 | Le Samouraï | 83.18 | 92.35 | 82.45 | 79.40 | 1967 | Jean-Pierre Melville |
182 | Aliens | 83.18 | 88.73 | 83.29 | 79.61 | 1986 | James Cameron |
183 | PlayTime | 83.16 | 93.50 | 80.22 | 78.80 | 1967 | Jacques Tati |
184 | The Bridge on the River Kwai | 83.14 | 90.58 | 81.93 | 80.24 | 1957 | David Lean |
185 | The Red Shoes | 83.13 | 93.15 | 82.82 | 79.96 | 1948 | Michael Powell, Emeric Pressburger |
186 | American Beauty | 83.10 | 87.15 | 81.93 | 81.13 | 1999 | Sam Mendes |
187 | To Live | 83.10 | 84.00 | 82.16 | 82.46 | 1994 | Zhang Yimou |
188 | Battleship Potemkin | 83.10 | 95.85 | 77.81 | 80.41 | 1925 | Sergei Eisenstein |
189 | Day of Wrath | 83.09 | 93.40 | 81.07 | 81.29 | 1943 | Carl Theodor Dreyer |
190 | All Quiet on the Western Front | 83.07 | 92.85 | 80.05 | 81.48 | 1930 | Lewis Milestone |
191 | It's Such a Beautiful Day | 83.07 | 91.25 | 83.62 | 79.77 | 2012 | Don Hertzfeldt |
192 | Full Metal Jacket | 83.06 | 81.53 | 82.21 | 82.54 | 1987 | Stanley Kubrick |
193 | The Cabinet of Dr. Caligari | 83.05 | 96.40 | 79.84 | 81.83 | 1920 | Robert Wiene |
194 | Kes | 83.03 | 97.80 | 79.59 | 80.55 | 1969 | Ken Loach |
195 | The Usual Suspects | 83.02 | 80.23 | 84.08 | 81.48 | 1995 | Bryan Singer |
196 | The Cameraman | 83.00 | 93.90 | 80.77 | 81.57 | 1928 | Edward Segdwick, Buster Keaton |
197 | Aparajito | 83.00 | 90.90 | 81.81 | 81.20 | 1956 | Satyajit Ray |
198 | The Elephant Man | 83.00 | 83.00 | 82.10 | 81.87 | 1980 | David Lynch |
199 | Rebecca | 82.98 | 90.08 | 81.08 | 80.93 | 1940 | Alfred Hitchcock |
200 | Make Way for Tomorrow | 82.97 | 95.80 | 81.72 | 80.14 | 1937 | Leo McCarey |
201 | The Great Escape | 82.97 | 87.68 | 82.29 | 80.66 | 1963 | John Sturges |
202 | Your Name | 82.97 | 84.55 | 84.07 | 81.29 | 2016 | Makoto Shinkai |
203 | Limelight | 82.92 | 88.00 | 79.85 | 83.02 | 1952 | Charlie Chaplin |
204 | Breathless | 82.92 | 91.95 | 78.88 | 79.10 | 1960 | Jean-Luc Godard |
205 | Underground | 82.91 | 80.75 | 81.26 | 82.64 | 1995 | Emir Kusturica |
206 | The Man Who Shot Liberty Valance | 82.88 | 91.90 | 81.08 | 79.53 | 1962 | John Ford |
207 | Aguirre: The Wrath of God | 82.87 | 94.55 | 80.46 | 78.62 | 1972 | Werner Herzog |
208 | Oldboy | 82.86 | 78.98 | 84.00 | 81.27 | 2003 | Park Chan-wook |
209 | Up | 82.84 | 90.28 | 81.32 | 80.86 | 2009 | Pete Docter |
210 | Anatomy of a Murder | 82.84 | 94.00 | 80.57 | 80.02 | 1959 | Otto Preminger |
211 | The Wild Bunch | 82.84 | 90.35 | 79.45 | 80.12 | 1969 | Sam Peckinpah |
212 | The Hunt | 82.75 | 82.08 | 82.79 | 82.62 | 2012 | Thomas Vinterberg |
213 | Il Sorpasso | 82.74 | 95.75 | 82.84 | 79.57 | 1962 | Dino Risi |
214 | The Last Laugh | 82.74 | 95.25 | 79.47 | 81.61 | 1924 | F. W. Murnau |
215 | A Streetcar Named Desire | 82.73 | 94.60 | 79.89 | 80.26 | 1951 | Elia Kazan |
216 | Life Is Beautiful | 82.73 | 68.45 | 83.60 | 85.57 | 1997 | Roberto Benigni |
217 | A Short Film About Love | 82.71 | 87.10 | 81.90 | 81.89 | 1988 | Krzysztof Kieślowski |
218 | The Shop on Main Street | 82.71 | 94.45 | 82.15 | 80.43 | 1965 | Ján Kadár, Elmar Klos |
219 | Rio Bravo | 82.71 | 92.10 | 80.46 | 79.80 | 1959 | Howard Hawks |
220 | Roman Holiday | 82.70 | 84.55 | 80.74 | 82.42 | 1953 | William Wyler |
221 | Ivan's Childhood | 82.69 | 94.80 | 81.25 | 80.37 | 1962 | Andrei Tarkovsky |
222 | The Exterminating Angel | 82.68 | 91.10 | 81.66 | 80.17 | 1962 | Luis Buñuel |
223 | Trainspotting | 82.68 | 85.20 | 81.57 | 81.21 | 1996 | Danny Boyle |
224 | The Last Picture Show | 82.67 | 94.15 | 79.90 | 79.56 | 1971 | Peter Bogdanovich |
225 | The Truman Show | 82.64 | 89.63 | 79.70 | 82.15 | 1998 | Peter Weir |
226 | Memories of Murder | 82.64 | 82.88 | 82.68 | 80.94 | 2003 | Bong Joon-ho |
227 | Faust | 82.62 | 89.70 | 80.23 | 81.94 | 1926 | F. W. Murnau |
228 | Sans Soleil | 82.62 | 83.90 | 79.45 | 80.51 | 1983 | Chris Marker |
229 | Song of the Sea | 82.57 | 87.63 | 80.59 | 82.23 | 2014 | Tomm Moore |
230 | Léon: The Professional | 82.55 | 67.38 | 84.05 | 84.07 | 1994 | Luc Besson |
231 | Fargo | 82.54 | 87.45 | 82.36 | 79.19 | 1996 | Coen Brothers |
232 | Solaris | 82.54 | 89.95 | 80.91 | 79.69 | 1972 | Andrei Tarkovsky |
233 | Sweet Smell of Success | 82.52 | 96.53 | 80.81 | 77.62 | 1957 | Alexander Mackendrick |
234 | For a Few Dollars More | 82.52 | 79.28 | 82.38 | 83.15 | 1965 | Sergio Leone |
235 | White Heat | 82.51 | 90.65 | 80.77 | 81.24 | 1949 | Raoul Walsh |
236 | Brief Encounter | 82.50 | 88.35 | 80.81 | 81.03 | 1945 | David Lean |
237 | Wings of Desire | 82.49 | 85.70 | 81.30 | 80.42 | 1987 | Wim Wenders |
238 | Diabolique | 82.47 | 90.70 | 81.27 | 80.73 | 1955 | Henri-Georges Clouzot |
239 | An Autumn Afternoon | 82.45 | 91.95 | 81.68 | 79.85 | 1962 | Yasujirō Ozu |
240 | The Tale of the Princess Kaguya | 82.44 | 90.63 | 81.16 | 80.43 | 2013 | Isao Takahata |
241 | Amarcord | 82.41 | 85.95 | 79.26 | 80.73 | 1973 | Federico Fellini |
242 | Heat | 82.40 | 79.08 | 82.03 | 81.73 | 1995 | Michael Mann |
243 | L'Atalante | 82.40 | 95.60 | 78.32 | 78.10 | 1934 | Jean Vigo |
244 | Django Unchained | 82.39 | 83.44 | 82.23 | 81.94 | 2012 | Quentin Tarantino |
245 | Jeanne Dielman, 23 Commerce Quay, 1080 Brussels | 82.38 | 95.50 | 78.73 | 79.69 | 1975 | Chantal Akerman |
246 | Kind Hearts and Coronets | 82.38 | 95.60 | 80.80 | 79.72 | 1949 | Robert Hamer |
247 | Dog Day Afternoon | 82.37 | 88.40 | 81.11 | 79.80 | 1975 | Sidney Lumet |
248 | Forbidden Games | 82.37 | 93.75 | 80.36 | 80.99 | 1952 | René Clément |
249 | The Crowd | 82.35 | 93.35 | 79.21 | 81.23 | 1928 | King Vidor |
250 | Notorious | 82.35 | 96.78 | 79.96 | 78.21 | 1946 | Alfred Hitchcock |
251 | Mary and Max | 82.35 | 88.05 | 80.95 | 82.42 | 2009 | Adam Elliot |
252 | Persepolis | 82.34 | 88.95 | 80.09 | 80.77 | 2007 | Marjane Satrapi, Vincent Paronnaud |
253 | Howl's Moving Castle | 82.33 | 78.71 | 82.63 | 83.10 | 2004 | Hayao Miyazaki |
254 | Nausicaä of the Valley of the Wind | 82.33 | 85.10 | 81.54 | 82.03 | 1984 | Hayao Miyazaki |
255 | Safety Last! | 82.33 | 92.25 | 80.95 | 81.10 | 1923 | Fred C. Newmeyer, Sam Taylor |
256 | Rosemary's Baby | 82.32 | 94.78 | 79.99 | 78.69 | 1968 | Roman Polanski |
257 | L'Avventura | 82.32 | 92.10 | 79.08 | 78.03 | 1960 | Michelangelo Antonioni |
258 | The Searchers | 82.32 | 93.90 | 78.16 | 76.66 | 1956 | John Ford |
259 | La Haine | 82.30 | 90.60 | 82.38 | 79.56 | 1995 | Mathieu Kassovitz |
260 | Three Colors: Blue | 82.30 | 88.28 | 81.55 | 79.23 | 1993 | Krzysztof Kieślowski |
261 | Chungking Express | 82.30 | 79.95 | 82.29 | 80.73 | 1994 | Wong Kar-wai |
262 | Inside Out | 82.29 | 93.66 | 80.27 | 79.85 | 2015 | Pete Docter |
263 | Where is the Friend's Home? | 82.28 | 89.25 | 81.22 | 80.21 | 1987 | Abbas Kiarostami |
264 | Cries and Whispers | 82.27 | 85.45 | 81.02 | 80.80 | 1972 | Ingmar Bergman |
265 | Napoleon | 82.22 | 93.25 | 81.89 | 78.99 | 1927 | Abel Gance |
266 | Paper Moon | 82.19 | 83.08 | 81.37 | 81.29 | 1973 | Peter Bogdanovich |
267 | The Spirit of the Beehive | 82.17 | 89.83 | 79.31 | 78.91 | 1973 | Víctor Erice |
268 | A Special Day | 82.16 | 90.20 | 81.11 | 81.25 | 1977 | Ettore Scola |
269 | Nostalghia | 82.15 | 83.00 | 80.91 | 81.23 | 1983 | Andrei Tarkovsky |
270 | Network | 82.13 | 85.45 | 82.36 | 79.08 | 1976 | Sidney Lumet |
271 | L'Eclisse | 82.11 | 84.70 | 79.78 | 78.81 | 1962 | Michelangelo Antonioni |
272 | Mr. Smith Goes to Washington | 82.09 | 80.83 | 81.78 | 81.15 | 1939 | Frank Capra |
273 | Sanjuro | 82.09 | 91.90 | 81.67 | 80.85 | 1962 | Akira Kurosawa |
274 | Badlands | 82.06 | 93.38 | 79.77 | 77.21 | 1973 | Terrence Malick |
275 | Vivre Sa Vie | 82.06 | 85.20 | 80.12 | 79.83 | 1962 | Jean-Luc Godard |
276 | Nobody Knows | 82.06 | 87.18 | 81.12 | 81.15 | 2004 | Hirokazu Koreeda |
277 | No Country for Old Men | 82.05 | 90.68 | 80.56 | 78.47 | 2007 | Coen Brothers |
278 | Spring, Summer, Fall, Winter... and Spring | 82.05 | 86.05 | 80.76 | 80.62 | 2003 | Kim Ki-duk |
279 | La Notte | 82.04 | 78.35 | 81.45 | 81.11 | 1961 | Michelangelo Antonioni |
280 | The Celebration | 82.04 | 84.23 | 81.34 | 80.08 | 1998 | Thomas Vinterberg |
281 | In the Name of the Father | 82.04 | 84.90 | 81.14 | 81.85 | 1993 | Jim Sheridan |
282 | I Am a Fugitive from a Chain Gang | 82.02 | 89.55 | 80.18 | 81.56 | 1932 | Mervyn LeRoy |
283 | Shoplifters | 82.01 | 92.39 | 80.60 | 79.31 | 2018 | Hirokazu Koreeda |
284 | Finding Nemo | 82.01 | 92.60 | 80.13 | 78.76 | 2003 | Andrew Stanton, Lee Unkrich |
285 | Z | 81.98 | 87.55 | 82.21 | 79.59 | 1969 | Costa-Gavras |
286 | The Phantom Carriage | 81.96 | 95.00 | 80.01 | 80.32 | 1921 | Victor Sjöström |
287 | Manhattan | 81.95 | 86.23 | 80.50 | 79.81 | 1979 | Woody Allen |
288 | Rome, Open City | 81.94 | 95.40 | 80.45 | 79.27 | 1945 | Robert Rossellini |
289 | Children of Heaven | 81.93 | 80.15 | 81.24 | 82.01 | 1997 | Majid Majidi |
290 | The Green Mile | 81.92 | 71.93 | 82.95 | 84.38 | 1999 | Frank Darabont |
291 | The Iron Giant | 81.91 | 86.61 | 80.88 | 79.95 | 1999 | Brad Bird |
292 | The Sacrifice | 81.90 | 80.30 | 80.47 | 81.37 | 1986 | Andrei Tarkovsky |
293 | The Philadelphia Story | 81.90 | 94.95 | 79.79 | 77.86 | 1940 | George Cukor |
294 | The Twilight Samurai | 81.90 | 86.10 | 81.07 | 81.13 | 2002 | Yôji Yamada |
295 | Before Sunset | 81.88 | 87.79 | 81.42 | 78.41 | 2004 | Richard Linklater |
296 | Before Sunrise | 81.86 | 84.40 | 82.24 | 79.44 | 1995 | Richard Linklater |
297 | Castle in the Sky | 81.85 | 81.63 | 81.49 | 82.06 | 1986 | Hayao Miyazaki |
298 | The Departed | 81.84 | 86.92 | 82.82 | 79.04 | 2006 | Martin Scorsese |
299 | Brazil | 81.83 | 90.23 | 80.61 | 78.37 | 1985 | Terry Gilliam |
300 | Incendies | 81.81 | 83.85 | 81.88 | 80.74 | 2011 | Denis Villenueve |
301 | The Maltese Falcon | 81.81 | 95.65 | 80.24 | 77.28 | 1941 | John Huston |
302 | The Wizard of Oz | 81.77 | 98.03 | 79.38 | 77.17 | 1939 | Victor Fleming |
303 | Le Cercle Rouge | 81.76 | 90.03 | 80.81 | 78.54 | 1970 | Jean-Pierre Melville |
304 | Monsieur Verdoux | 81.76 | 89.80 | 78.55 | 81.34 | 1947 | Charlie Chaplin |
305 | The Return | 81.72 | 84.85 | 80.02 | 80.96 | 2003 | Andrey Zvyagintsev |
306 | Secrets & Lies | 81.71 | 90.73 | 80.29 | 78.66 | 1996 | Mike Leigh |
307 | The Hidden Fortress | 81.70 | 91.25 | 80.79 | 80.72 | 1958 | Akira Kurosawa |
308 | Pan's Labyrinth | 81.69 | 92.59 | 81.60 | 76.08 | 2006 | Guillermo del Toro |
309 | Amélie | 81.69 | 79.64 | 81.96 | 80.27 | 2004 | Jean-Pierre Jeunet |
310 | Ben-Hur | 81.67 | 86.93 | 79.86 | 80.22 | 1959 | William Wyler |
311 | Fitzcarraldo | 81.67 | 75.80 | 81.06 | 81.21 | 1982 | Werner Herzog |
312 | American History X | 81.63 | 70.13 | 83.58 | 83.00 | 1998 | Tony Kaye |
313 | Ace in the Hole | 81.62 | 79.10 | 80.88 | 81.36 | 1951 | Billy Wilder |
314 | Capernaum | 81.62 | 81.83 | 80.52 | 82.18 | 2018 | Nadine Labaki |
315 | Still Walking | 81.61 | 90.30 | 80.92 | 79.48 | 2008 | Hirokazu Koreeda |
316 | All About My Mother | 81.61 | 88.77 | 79.56 | 78.80 | 1999 | Pedro Almodóvar |
317 | The Discreet Charm of the Bourgeoisie | 81.60 | 92.28 | 78.82 | 78.83 | 1972 | Luis Buñuel |
318 | Platoon | 81.60 | 88.70 | 79.52 | 80.45 | 1986 | Oliver Stone |
319 | Farewell My Concubine | 81.60 | 80.50 | 80.49 | 81.04 | 1993 | Chen Kaige |
320 | Letter from an Unknown Woman | 81.59 | 93.10 | 79.84 | 79.31 | 1948 | Max Ophüls |
321 | The Grand Budapest Hotel | 81.58 | 87.64 | 80.72 | 79.19 | 2014 | Wes Anderson |
322 | The Virgin Spring | 81.58 | 82.45 | 80.70 | 80.66 | 1960 | Ingmar Bergman |
323 | The Red Balloon | 81.57 | 90.20 | 79.93 | 80.30 | 1956 | Albert Lamorisse |
324 | Stagecoach | 81.57 | 94.58 | 77.69 | 78.94 | 1939 | John Ford |
325 | Mulholland Drive | 81.56 | 80.61 | 79.60 | 77.87 | 2001 | David Lynch |
326 | A Matter of Life and Death | 81.49 | 92.60 | 81.91 | 76.27 | 1946 | Michael Powell, Emeric Pressburger |
327 | High Noon | 81.48 | 90.58 | 79.27 | 78.94 | 1952 | Fred Zinnemann |
328 | Orpheus | 81.48 | 96.20 | 79.88 | 78.90 | 1950 | Jean Cocteau |
329 | Life of Brian | 81.47 | 82.98 | 80.78 | 79.81 | 1979 | Terry Jones |
330 | Casino | 81.46 | 74.23 | 81.54 | 81.75 | 1995 | Martin Scorsese |
331 | Kagemusha | 81.44 | 82.93 | 80.01 | 80.43 | 1980 | Akira Kurosawa |
332 | Butch Cassidy and the Sundance Kid | 81.43 | 76.08 | 80.53 | 81.85 | 1969 | George Roy Hill |
333 | In a Lonely Place | 81.43 | 92.45 | 80.42 | 78.77 | 1950 | Nicholas Ray |
334 | Scarface | 81.43 | 71.30 | 81.97 | 82.18 | 1983 | Brian De Palma |
335 | A Short Film About Killing | 81.42 | 87.35 | 79.89 | 80.38 | 1988 | Krzysztof Kieślowski |
336 | Beauty and the Beast | 81.41 | 92.05 | 79.28 | 78.32 | 1946 | Jean Cocteau |
337 | The Hustler | 81.39 | 92.45 | 80.43 | 78.97 | 1961 | Robert Rossen |
338 | Cléo from 5 to 7 | 81.38 | 91.65 | 80.03 | 79.11 | 1962 | Agnès Varda |
339 | Fireworks | 81.37 | 90.15 | 80.01 | 79.63 | 1997 | Takeshi Kitano |
340 | Room | 81.36 | 88.41 | 80.43 | 79.48 | 2015 | Lenny Abrahamson |
341 | Mad Max: Fury Road | 81.35 | 90.39 | 79.76 | 77.80 | 2015 | George Miller |
342 | Steamboat Bill, Jr. | 81.32 | 95.75 | 79.30 | 79.23 | 1928 | Charles Reisner, Buster Keaton |
343 | Judgment at Nuremberg | 81.31 | 71.58 | 82.24 | 83.03 | 1961 | Stanley Kramer |
344 | The Straight Story | 81.30 | 87.15 | 79.64 | 79.88 | 1999 | David Lynch |
345 | Meshes of the Afternoon | 81.29 | 96.25 | 77.91 | 79.99 | 1943 | Maya Deren, Alexandr Hackenschmied |
346 | Alice in the Cities | 81.28 | 86.70 | 79.60 | 80.20 | 1974 | Wim Wenders |
347 | Akira | 81.28 | 80.90 | 81.12 | 79.98 | 1988 | Katsuhiro Otomo |
348 | Good Will Hunting | 81.27 | 79.38 | 81.97 | 81.05 | 1997 | Gus Van Sant |
349 | The Miracle Worker | 81.25 | 85.15 | 78.88 | 81.55 | 1962 | Arthur Penn |
350 | Talk to Her | 81.25 | 87.48 | 79.33 | 78.71 | 2002 | Pedro Almodóvar |
351 | The Graduate | 81.24 | 85.58 | 78.91 | 79.97 | 1967 | Mike Nichols |
352 | Beauty and the Beast | 81.22 | 92.28 | 79.20 | 78.77 | 1991 | Gary Trousdale, Kirk Wise |
353 | The Heiress | 81.19 | 94.45 | 80.20 | 79.76 | 1949 | William Wyler |
354 | Fantasia | 81.18 | 93.03 | 76.76 | 79.95 | 1940 | Samuel Armstrong, James Algar |
355 | Au Revoir les Enfants | 81.18 | 94.25 | 80.14 | 78.92 | 1987 | Louis Malle |
356 | Three Billboards Outside Ebbing, Missouri | 81.18 | 88.62 | 79.36 | 79.90 | 2017 | Martin McDonagh |
357 | Inglourious Basterds | 81.17 | 79.05 | 81.06 | 80.51 | 2009 | Quentin Tarantino |
358 | Elevator to the Gallows | 81.16 | 90.45 | 79.31 | 78.56 | 1958 | Louis Malle |
359 | Gladiator | 81.16 | 75.39 | 81.69 | 81.52 | 2000 | Ridley Scott |
360 | Through a Glass Darkly | 81.15 | 93.60 | 81.11 | 78.86 | 1961 | Ingmar Bergman |
361 | Million Dollar Baby | 81.15 | 87.41 | 77.43 | 80.72 | 2004 | Clint Eastwood |
362 | Days of Heaven | 81.15 | 90.75 | 80.19 | 77.08 | 1978 | Terrence Malick |
363 | Do the Right Thing | 81.15 | 90.78 | 80.26 | 77.04 | 1989 | Spike Lee |
364 | Out of the Past | 81.14 | 91.40 | 80.73 | 77.92 | 1947 | Jacques Tourneur |
365 | Strangers on a Train | 81.11 | 93.30 | 80.01 | 78.68 | 1951 | Alfred Hitchcock |
366 | Blue Velvet | 81.11 | 83.48 | 78.98 | 77.09 | 1986 | David Lynch |
367 | That Obscure Object of Desire | 81.09 | 89.40 | 79.59 | 78.11 | 1977 | Luis Buñuel |
368 | What Ever Happened to Baby Jane? | 81.08 | 80.23 | 80.74 | 80.75 | 1962 | Robert Aldrich |
369 | My Night at Maud's | 81.07 | 88.15 | 79.51 | 79.42 | 1969 | Éric Rohmer |
370 | The Earrings of Madame de… | 81.07 | 92.15 | 80.36 | 77.05 | 1953 | Max Ophüls |
371 | The Conversation | 81.04 | 89.23 | 80.03 | 77.44 | 1974 | Francis Ford Coppola |
372 | The Killing | 81.03 | 91.50 | 79.51 | 79.21 | 1956 | Stanley Kubrick |
373 | The Servant | 81.03 | 87.83 | 79.45 | 78.57 | 1963 | Joseph Losey |
374 | The Intouchables | 81.03 | 67.15 | 82.13 | 84.70 | 2011 | Olivier Nakache, Éric Toledano |
375 | The Life and Death of Colonel Blimp | 81.01 | 94.15 | 81.57 | 75.44 | 1943 | Michael Powell, Emeric Pressburger |
376 | Jaws | 81.01 | 90.98 | 79.91 | 75.70 | 1975 | Steven Spielberg |
377 | Winter Light | 81.01 | 73.55 | 81.51 | 79.95 | 1963 | Ingmar Bergman |
378 | Love Exposure | 81.01 | 80.88 | 82.23 | 79.55 | 2008 | Sion Sono |
379 | Hiroshima Mon Amour | 81.00 | 92.95 | 80.13 | 77.99 | 1959 | Alain Resnais |
380 | Day for Night | 80.98 | 92.55 | 80.21 | 78.27 | 1973 | François Truffaut |
381 | Ratatouille | 80.97 | 92.73 | 78.72 | 78.68 | 2007 | Brad Bird |
382 | Ghost in the Shell | 80.97 | 81.43 | 79.98 | 81.15 | 1995 | Mamoru Oshii |
383 | Germany Year Zero | 80.95 | 92.00 | 77.80 | 80.03 | 1948 | Roberto Rossellini |
384 | Spotlight | 80.93 | 93.00 | 79.75 | 77.55 | 2015 | Tom McCarthy |
385 | Die Hard | 80.93 | 79.58 | 81.11 | 79.43 | 1988 | John McTiernan |
386 | Laura | 80.93 | 93.80 | 79.70 | 78.47 | 1944 | Otto Preminger |
387 | Sleuth | 80.93 | 89.95 | 79.16 | 80.87 | 1972 | Joseph L. Mankiewicz |
388 | The Diving Bell and the Butterfly | 80.92 | 88.64 | 79.69 | 77.84 | 2007 | Julian Schnabel |
389 | The Handmaiden | 80.92 | 85.99 | 82.55 | 77.41 | 2016 | Park Chan-wook |
390 | Stand by Me | 80.90 | 80.20 | 81.28 | 79.54 | 1986 | Rob Reiner |
391 | Wolf Children | 80.90 | 80.15 | 80.40 | 81.27 | 2012 | Mamoru Hosoda |
392 | Marriage Story | 80.88 | 92.86 | 79.40 | 77.75 | 2019 | Noam Baumbach |
393 | Shoeshine | 80.87 | 93.75 | 79.02 | 79.38 | 1946 | Vittorio De Sica |
394 | Freaks | 80.85 | 84.70 | 77.66 | 80.31 | 1932 | Tod Browning |
395 | Nosferatu | 80.85 | 93.75 | 78.29 | 79.14 | 1922 | F. W. Murnau |
396 | Dial M for Murder | 80.84 | 77.60 | 81.17 | 81.31 | 1954 | Alfred Hitchcock |
397 | Amour | 80.81 | 90.90 | 77.74 | 78.19 | 2012 | Michael Haneke |
398 | 12 Years a Slave | 80.80 | 94.00 | 79.74 | 76.94 | 2013 | Steve McQueen |
399 | The Nightmare Before Christmas | 80.77 | 85.38 | 79.26 | 79.69 | 1993 | Henry Selick |
400 | Cabaret | 80.77 | 84.68 | 77.34 | 80.69 | 1972 | Bob Fosse |
401 | Central Station | 80.77 | 83.28 | 80.91 | 78.52 | 1998 | Walter Salles |
402 | Landscape in the Mist | 80.74 | 71.35 | 80.76 | 80.28 | 1988 | Theo Angelopoulos |
403 | 1917 | 80.73 | 84.37 | 80.65 | 79.33 | 2019 | Sam Mendes |
404 | Intolerance: Love's Struggle Throughout the Ages | 80.71 | 93.98 | 75.69 | 78.01 | 1916 | D. W. Griffith |
405 | Call Me by Your Name | 80.71 | 91.25 | 79.43 | 77.87 | 2017 | Luca Guadagnino |
406 | Midnight Cowboy | 80.71 | 82.98 | 79.10 | 79.50 | 1969 | John Schlesinger |
407 | Shadow of a Doubt | 80.70 | 94.38 | 79.31 | 76.04 | 1943 | Alfred Hitchcock |
408 | Interstellar | 80.70 | 74.16 | 81.30 | 82.25 | 2014 | Christopher Nolan |
409 | Hannah and Her Sisters | 80.69 | 88.95 | 79.15 | 77.98 | 1986 | Woody Allen |
410 | Monsters, Inc. | 80.68 | 85.29 | 79.37 | 80.08 | 2001 | Pete Docter, David Silverman |
411 | The Testament of Dr. Mabuse | 80.65 | 85.85 | 79.40 | 79.38 | 1933 | Fritz Lang |
412 | Downfall | 80.64 | 83.53 | 81.54 | 78.55 | 2004 | Oliver Hirschbiegel |
413 | Being There | 80.64 | 87.30 | 79.42 | 78.06 | 1979 | Hal Ashby |
414 | The Killer | 80.63 | 92.60 | 79.27 | 78.66 | 1989 | John Woo |
415 | My Left Foot: The Story of Christy Brown | 80.63 | 93.23 | 78.13 | 79.15 | 1989 | Jim Sheridan |
416 | Jean de Florette | 80.60 | 88.40 | 80.18 | 79.69 | 1986 | Claude Berri |
417 | The Big Lebowski | 80.57 | 74.80 | 82.28 | 78.57 | 1998 | Coen Brothers |
418 | The King's Speech | 80.57 | 90.86 | 78.50 | 78.59 | 2010 | Tom Hooper |
419 | Whisper of the Heart | 80.55 | 79.98 | 80.80 | 80.31 | 1995 | Yoshifumi Kondō |
420 | E.T. the Extra-Terrestrial | 80.54 | 93.08 | 77.22 | 77.82 | 1982 | Steven Spielberg |
421 | Infernal Affairs | 80.54 | 79.83 | 79.92 | 80.22 | 2002 | Andrew Lau, Alan Mak |
422 | The Prestige | 80.54 | 72.22 | 82.71 | 81.38 | 2006 | Christopher Nolan |
423 | Our Hospitality | 80.54 | 92.85 | 77.72 | 79.58 | 1923 | Buster Keaton, John G. Blystone |
424 | Zootopia | 80.53 | 85.22 | 78.84 | 80.18 | 2016 | Byron Howard, Rich Moore |
425 | Toy Story 2 | 80.49 | 92.59 | 78.51 | 77.05 | 1999 | John Lasseter, Ash Brannon, Lee Unkrich |
426 | Klaus | 80.48 | 75.00 | 81.07 | 81.41 | 2019 | Sergio Pablos |
427 | The Big Sleep | 80.45 | 92.10 | 79.74 | 77.58 | 1946 | Howard Hawks |
428 | Ford v Ferrari | 80.45 | 83.94 | 79.37 | 80.01 | 2019 | James Mangold |
429 | Dead Poets Society | 80.44 | 78.70 | 79.43 | 80.75 | 1989 | Peter Weir |
430 | The Terminator | 80.43 | 89.08 | 78.26 | 78.13 | 1984 | James Cameron |
431 | Naked | 80.43 | 84.48 | 80.39 | 77.34 | 1993 | Mike Leigh |
432 | Dangal | 80.41 | 83.00 | 79.68 | 80.56 | 2016 | Nitesh Tiwari |
433 | Kwaidan | 80.40 | 81.80 | 79.75 | 79.42 | 1964 | Masaki Kobayashi |
434 | The Man Who Would Be King | 80.40 | 90.55 | 78.24 | 77.79 | 1975 | John Huston |
435 | Wild Tales | 80.38 | 82.57 | 80.48 | 79.22 | 2014 | Damián Szifron |
436 | Groundhog Day | 80.38 | 80.08 | 79.31 | 79.35 | 1993 | Harold Ramis |
437 | Catch Me If You Can | 80.38 | 83.44 | 78.74 | 80.57 | 2002 | Steven Spielberg |
438 | I Vitelloni | 80.36 | 90.28 | 77.64 | 78.06 | 1953 | Federico Fellini |
439 | The Big Heat | 80.35 | 92.90 | 79.27 | 77.87 | 1953 | Fritz Lang |
440 | The Double Life of Véronique | 80.35 | 82.63 | 80.19 | 77.87 | 1991 | Krzysztof Kieślowski |
441 | Who's Afraid of Virginia Woolf? | 80.35 | 82.58 | 80.19 | 78.43 | 1966 | Mike Nichols |
442 | Requiem for a Dream | 80.33 | 71.39 | 81.39 | 80.93 | 2000 | Darren Aronofsky |
443 | Rope | 80.33 | 79.20 | 80.31 | 79.30 | 1948 | Alfred Hitchcock |
444 | Love and Death | 80.33 | 89.83 | 77.55 | 78.50 | 1975 | Woody Allen |
445 | The Remains of the Day | 80.29 | 86.88 | 78.75 | 78.80 | 1993 | James Ivory |
446 | Jules and Jim | 80.28 | 93.70 | 78.30 | 77.94 | 1962 | François Truffaut |
447 | The Gospel According to Matthew | 80.28 | 88.30 | 76.50 | 78.52 | 1964 | Pier Paolo Pasolini |
448 | How to Train Your Dragon | 80.27 | 81.97 | 79.45 | 80.24 | 2010 | Chris Sanders, Dean DeBlois |
449 | Harry Potter and the Deathly Hallows: Part 2 | 80.27 | 88.50 | 78.81 | 78.53 | 2011 | David Yates |
450 | Cat on a Hot Tin Roof | 80.26 | 87.05 | 79.46 | 79.79 | 1958 | Richard Brooks |
451 | The French Connection | 80.26 | 93.35 | 78.04 | 76.89 | 1971 | William Friedkin |
452 | Opening Night | 80.25 | 78.05 | 80.50 | 79.25 | 1977 | John Cassavetes |
453 | Hotel Rwanda | 80.24 | 84.54 | 79.34 | 79.40 | 2004 | Terry George |
454 | 4 Months, 3 Weeks and 2 Days | 80.22 | 92.51 | 77.76 | 76.22 | 2007 | Cristian Mungiu |
455 | Tampopo | 80.22 | 92.40 | 81.20 | 77.01 | 1985 | Juzo Itami |
456 | Scarface | 80.22 | 93.50 | 76.43 | 79.55 | 1932 | Howard Hawks, Howard Hughes |
457 | The Face of Another | 80.21 | 87.50 | 79.61 | 79.34 | 1966 | Hiroshi Teshigahara |
458 | The Roaring Twenties | 80.21 | 86.20 | 77.79 | 80.68 | 1939 | Raoul Walsh |
459 | Pickpocket | 80.20 | 93.80 | 76.41 | 76.47 | 1959 | Robert Bresson |
460 | Kiki's Delivery Service | 80.20 | 85.45 | 79.87 | 78.84 | 1989 | Hayao Miyazaki |
461 | A Prophet | 80.19 | 89.61 | 79.53 | 76.14 | 2009 | Jacques Audiard |
462 | Zelig | 80.19 | 90.00 | 76.50 | 80.29 | 1983 | Woody Allen |
463 | Trouble in Paradise | 80.18 | 88.20 | 79.35 | 77.62 | 1932 | Ernst Lubitsch |
464 | Gran Torino | 80.17 | 76.27 | 78.57 | 82.36 | 2008 | Clint Eastwood |
465 | Last Year at Marienbad | 80.16 | 88.25 | 78.29 | 77.37 | 1961 | Alain Resnais |
466 | All the President's Men | 80.15 | 85.95 | 80.48 | 76.46 | 1976 | Alan J. Pakula |
467 | Breaking the Waves | 80.15 | 79.85 | 78.46 | 79.55 | 1996 | Lars von Trier |
468 | Indiana Jones and the Last Crusade | 80.14 | 74.28 | 81.44 | 80.57 | 1989 | Steven Spielberg |
469 | Divorce Italian Style | 80.12 | 91.00 | 79.28 | 78.26 | 1961 | Pietro Germi |
470 | Edward Scissorhands | 80.12 | 78.65 | 78.09 | 80.73 | 1990 | Tim Burton |
471 | The Thing | 80.12 | 67.98 | 82.60 | 79.34 | 1982 | John Carpenter |
472 | Perfect Blue | 80.11 | 74.05 | 80.91 | 80.09 | 1997 | Satoshi Kon |
473 | Down by Law | 80.10 | 79.03 | 78.98 | 79.61 | 1986 | Jim Jarmusch |
474 | Bringing Up Baby | 80.10 | 90.75 | 78.25 | 76.45 | 1938 | Howard Hawks |
475 | The Phantom of Liberty | 80.09 | 85.10 | 78.89 | 78.66 | 1974 | Luis Buñuel |
476 | Bonnie and Clyde | 80.07 | 85.38 | 78.16 | 78.23 | 1967 | Arthur Penn |
477 | The Incredibles | 80.07 | 89.69 | 79.77 | 75.78 | 2004 | Brad Bird |
478 | Rocky | 80.04 | 79.73 | 79.17 | 79.29 | 1976 | John G. Avildsen |
479 | His Girl Friday | 80.03 | 94.15 | 79.24 | 76.72 | 1940 | Howard Hawks |
480 | Mommy | 80.03 | 80.79 | 80.39 | 79.13 | 2014 | Xavier Dolan |
481 | Mon Oncle | 80.03 | 88.00 | 78.03 | 78.76 | 1958 | Jacques Tati |
482 | My Fair Lady | 79.99 | 91.85 | 77.53 | 78.00 | 1964 | George Cukor |
483 | Charade | 79.98 | 85.55 | 79.37 | 78.72 | 1963 | Stanley Donen |
484 | Stalag 17 | 79.95 | 87.13 | 79.62 | 77.79 | 1953 | Billy Wilder |
485 | Boyhood | 79.95 | 97.08 | 76.08 | 75.95 | 2014 | Richard Linklater |
486 | The Secret in Their Eyes | 79.95 | 82.49 | 81.27 | 77.67 | 2009 | Juan José Campanella |
487 | Ninotchka | 79.95 | 90.15 | 77.99 | 78.50 | 1939 | Ernst Lubitsch |
488 | Pierrot le Fou | 79.94 | 81.75 | 77.84 | 76.65 | 1965 | Jean-Luc Godard |
489 | The Enigma of Kaspar Hauser | 79.94 | 89.10 | 78.30 | 78.27 | 1974 | Werner Herzog |
490 | Stroszek | 79.94 | 88.40 | 79.50 | 77.77 | 1977 | Werner Herzog |
491 | A Hard Day's Night | 79.93 | 93.73 | 76.82 | 77.08 | 1964 | Richard Lester |
492 | Onibaba | 79.90 | 74.75 | 79.42 | 79.96 | 1964 | Kaneto Shindo |
493 | Repulsion | 79.85 | 92.68 | 77.29 | 76.57 | 1965 | Roman Polanski |
494 | Like Stars on Earth | 79.85 | 80.50 | 79.54 | 79.86 | 2007 | Aamir Khan, Amole Gupte |
495 | Duck Soup | 79.84 | 92.33 | 79.01 | 74.92 | 1933 | Leo McCarey |
496 | Carlito's Way | 79.83 | 70.28 | 79.16 | 82.01 | 1993 | Brian De Palma |
497 | Nashville | 79.82 | 93.23 | 76.89 | 74.92 | 1975 | Robert Altman |
498 | The Triplets of Belleville | 79.82 | 88.97 | 76.57 | 78.66 | 2003 | Sylvain Chomet |
499 | Dr. Mabuse the Gambler | 79.81 | 85.10 | 76.88 | 79.98 | 1922 | Fritz Lang |
500 | Gone Girl | 79.79 | 83.03 | 79.32 | 78.87 | 2014 | David Fincher |
My Dear MelancholyGaspar Noe/Cannes Film FestivalThe My Dear Melancholy era notable for being a time when The Weeknd was in proximity to a lot of serious directors. While he’s had a foot in Hollywood for awhile, 2017 through 2019 he was actively engaging with filmmakers like the Safdies Brothers, Gaspar Noe, and Claire Denis, amongst others. While he had been actively courting the Safdies since Good Time was released, he attended the 2018 Cannes Film Festival where he crossed paths Noe, whose film Climax took home a number awards at Cannes. Noe’s Enter the Void had previously served as an inspiration for Kiss Land, and for MDM (and later After Hours) seem to call back to Noe’s other films, like Irreversible and Love, which are both twisted depictions of heartbreak. On the other hand, Climax is about a French dance troupe who accidentally take LSD, and according to Noe is not a “message” movie. It is an audacious psychedelic technical exercise, with numerous long takes and highly choreographed set pieces. The idea for Noe, who had previously captured the feeling of drugs in previous films, was to do the opposite, and present the objectively reality of drugs, watching people high from a sober perspective. Noe is a rather strong advocate of film, and the opening scene of Climax features VHS boxes of a number of films that have influenced his filmmaking. Two of note are Schizophrenia, otherwise known as Angst, one of Noe’s favorite films which The Weeknd name checked to the Safdies, and Possession, which would go on to be an influence on After Hours (more on this later). He is also said to have sat next to Benicio Del Toro at Cannes, which means he likely caught some of the Un Certain Regard section, where Del Toro served as a jury member. Outside of that section, there were a few other films of interest such as The House That Jack Built from Lars Von Trier (The Weeknd has previously expressed affection for Von Trier’s Antichrist), Mandy from Pastos Costamos, and music video director Romain Gavras’s The World Is Yours, as well as a restoration of 2001: A Space Odyssey, which Noe has referred to as the film that got him into filmmaking. https://preview.redd.it/qga7a3l8ct261.png?width=910&format=png&auto=webp&s=371cf20d42ee8783cc23bfe7f2cfa16a0a927a0e Asian Cinema Later in 2018, The Weeknd continued his globetrotting with a tour of Asia. He once claimed in an interview that whenever visiting a foreign country he only watches films from there. I’ve previously written about the influence of Asian cinema on Kiss Land, and there’s not enough work from the MDM era to glean anything cinematically adjacent to this, but now would be a good time to mention that the "Call Out My Name" video was heavily inspired by the work of famed Japanese photographer Hiroshi Sugimoto. The Asian tour poster seems to be a reference to Ichi the Killer, which leads us to Takashi Miike. Though he is notoriously prolific across a number of genres, his most popular works internationally are genre melding blends of horror, comedy and crime, most notably Audition, Ichi the Killer and Gozu. Another film worth mentioning is Perfect Blue, Satoshi Kon’s masterwork about a pop star’s mysterious stalker that The Weeknd posted about on Instagram before. Bloody and haunting, the film was a major influence on Darren Aronofsky’s Black Swan and Requiem for a Dream. In Interviews he has also mentioned a number of Korean films, such as The Wailing, I Saw the Devil and Oldboy. While Wong Kar Wai was previously mentioned as an influence on Beauty Behind the Madness, also worth mentioning is the work of John Woo, specifically A Better Tomorrow, well known for the shot of smoking a cigar off money, and Infernal Affairs, Andrew Lau’s crime classic which served has the basis for Scorsese’s The Departed. https://preview.redd.it/fx7o9s2bct261.png?width=642&format=png&auto=webp&s=0fec2f841e9d3b09104238d0f89595daa6140faa https://preview.redd.it/n4x7fiy9ct261.png?width=1316&format=png&auto=webp&s=8a9650263272518216fc5f36913e80a10d2b0a8e After HoursMartin ScorseseWhile After Hours more so than any other Weeknd album is bursting at the seams with cinematic references, the influence of Martin Scorsese stands above all. Similar to The Weeknd’s body of work, many Scorsese’s are explorations of violence and masculinity, investigating them from a perspective that depending on who you ask (and how they’re feeling) glamorizes, condemns or just simply presents the reality of characters on the fringes of society. While there are direct references to a number of prominent Scorsese films, what’s interesting is that his influence also reverberates in other films/filmmakers that influence After Hours. Todd Phillips’s Joker is in effect an homage to Scorsese’s loner-centric New York films, and the Safdie Brothers have been putting their own millennial spin on the type of 70s gritty thriller that Scorsese trafficked in (Scorsese was also a producer on Uncut Gems). Specific Scorsese works will be discussed more in depth in the requisite sections, but it is worth mentioning upfront what a prominent role that Scorsese plays in the nucleus of After Hours. https://preview.redd.it/wcds9qpdct261.png?width=1196&format=png&auto=webp&s=246c560c72340782e26ad03b8ff63367999eaadd Urban HorroIsolation With After Hours, The Weeknd departs from the slicker sounds and influences that permeated Starboy and returns to the cinematic grittiness of Beauty Behind the Madness. While urban horror is a theme that permeates throughout The Weeknd as a project overall, there is a thorough line to be drawn here that follows a number of 70s and 80s cinematic and aesthetic references. For one thing, while the initial bandaged nose was a reference to Chinatown (previously, The Weeknd has a Kiss Land demo titled "Roman Polanski"), the full bandaged face that is so prominently featured throughout the After Hours era is a classic cinematic visual trope that was especially prominent throughout 60s and 80s, though it saw a slight re-emergence in the 2010s. The fully bandaged face is often used to remake someone in the image of another, usually against their will (The Skin I Live In, Eyes Without Face), or as a case of mistaken identity and doppelgängers (Good Night Mommy, Scalpel), themes present throughout much of After Hours. The "Too Late" video acknowledges these references, but instead presents the bandages on two Los Angeles models recovering from plastic surgery, in a nod to a famous Steven Meisel’s photoshoot for Vogue Italia. https://preview.redd.it/dtbxjc3ict261.png?width=900&format=png&auto=webp&s=66a98cc3cba73d502f8586a215a65cc41c5408a1 The “masks” people wear is another horror trope that is featured prominently on After Hours, and this is best seen in the red suit character. One important reference in the film is to Brian De Palma’s Dressed To Kill, where a serial killer is targeting the patients of a psychiatrist (any more on this film will veer towards spoiler territory). The Weeknd is on the record as saying Jim Carrey’s The Mask as being a large influence on the Red Suit character, it being one of the first film’s he watched in theaters. One of the more complex references would be to Joker. While it sort of an in-joke that the character of the Joker is commonly overanalyzed and misinterpreted, referencing Todd Phillips’s Joker is more nuanced because it is in essence a full on homage to Martin Scorsese’s New York films, most notably Taxi Driver and The King of Comedy, which focus on eccentric loners, and can both be seen as cautionary tale of urban isolation, a theme explored perhaps in songs like "Faith." The King of Comedy revolves around a would be obsessive stand up Rupert Pupkin haggling his way to perform on late night TV, with The Weeknd’s talk show appearances being a prominent part of the early After Hours marketing, most notably in the “short film”. This idea of isolated and compressed urbanites recurs throughout After Hours and it’s films. https://preview.redd.it/egap17ttdt261.png?width=900&format=png&auto=webp&s=1aab204ac0845a7df74ceeff6d1f714274f9ace0 The idea of urban repression is in the subway scene of the After Hours short film. The entire film itself is something of a reference to the subway scene to Possession (another Gaspar Noe favorite), mimicking the (also subway set) scene in which Isabelle Adjani’s Anna convulses on the subway due to a miscarriage, as well as Jacob’s Ladder, a 90s cult classic horror film starring Tim Robbins as a Vietnam vet (like Taxi Driver’s Travis Bickle) who is experiencing demonic hallucinations, encountering them in the subway and later at a party he attends, splitting the scene into two. https://preview.redd.it/g53copgmct261.png?width=900&format=png&auto=webp&s=9d29e368ae695d295b36039e86125ccfd7b4eb88 Las Vegas As always, The Weeknd once again grounds After Hours with a strong sense of place, this time setting the album against a nocturnal odyssey through Las Vegas. One of the most prominent films is Fear and Loathing in Las Vegas, Terry Gilliam’s adaptation of Hunter S. Thompson’s book. This is directly referenced in the "Heartless" video, which sees The Weeknd and Metro Boomin in the Johnny Depp and Benicio Del Toro roles as they tumble through a Las Vegas casino. The Weeknd has gone on the record to state that the famous red suit character was influenced by Sammy Davis Jr.’s character in the film Poor Devil. However, similar red suit has also been sported by a number of Vegas characters, most notably Richard Pryor and Robert De Niro’s Sam Rothstein in Martin Scorsese’s Casino. With the red suit, The Weeknd seems to be playing with the idea of a devil-ish other, another side of his personality that emerges in Las Vegas. https://preview.redd.it/gjow6hq2dt261.png?width=1992&format=png&auto=webp&s=10a379bc26df54af88064bf64813d5cdd29775d9 While the city lights are the oft discussed part of part of Las Vegas, it should be noted that similar to Beauty Behind the Madness, the desert that surrounds Las Vegas is just as important to the juxtaposition of its beauty. The "Until I Bleed Out" video ends/"Snowchild" video in the desert, similar to the confrontation between Robert De Niro’s and Joe Pesci’s showdown in the desert in Casino, as well as Joe Pesci's death in Goodfellas. The idea of a hedonistic desert playground also bears semblance to Westworld, both the film and the TV show. The desert seems to represent some sort of freedom to The Weeknd, as the "Snowchild" video portrays the desert as a pensive location for reflection, as well as the "In Your Eyes" video showing the girl prominently dancing with the dismembered head out in the open, in reference to The Texas Chainsaw Massacre, another prominent desert film. https://preview.redd.it/98ec10wxct261.png?width=1168&format=png&auto=webp&s=45e29aa361fa41ff74e2a6017e203015bdcbc6c3 New York/The Safdies Despite it’s Las Vegas setting, After Hours also takes a good amount from films set in New York, most notably Martin Scorsese’s 1983 film After Hours. Besides the title, After Hours is similarly about a twisting and turning nighttime odyssey. The film stars Griffin Dunne as Paul, a working class stiff who heads downtown to rendezvous with a woman he met at a diner earlier that night. Of course, things don’t turn out the way they should, chaos ensues, and Paul is set on a dangerous trek back uptown. Like the film, the album After Hours is set off by a woman (though the album takes more stock in romantic endeavors), seems to be set over a single night (or at least a condensed period of time), and involves similar chaos and misadventures (sirens at night at the end of Faith). Tonally, After Hours the film is more comedic perhaps than After Hours the album, however The Weeknd is on the record as having said that "Heartless" and "Blinding Lights" placement on the album is intended to be somewhat comedic, reflecting exaggerated machismo and ecstasy, respectively (to comedic effect). https://preview.redd.it/f3w7yz4pdt261.png?width=1346&format=png&auto=webp&s=fe7e4f003987fd843020a42a5b53f94092984267 Another of the most prominent filmmakers of After Hours are the Safdies, who featured The Weeknd in Uncut Gems. They also served as a link to Oneohtrix Point Never, who scored their last two films and later worked After Hours. I believe there are three major film tropes (not genres) that inspired After Hours, all of which the Safdies’s have engaged with. There is the one-long-night films, in which a character spends one-long-night on the run from whatever chaos and forces may be that they left in their path. This can be seen in the Good Time, as well as After Hours (the movie). Then, there is the descent-into-madness type, where a character slowly loses grip with reality and ends up in over their head (something like Scarface or Breaking Bad, but for our purposes Jacob’s Ladder can be categorized here as well), which the Safdies did with Uncut Gems. Lastly, but maybe most importantly, the Safdies also explored toxic romance (more on this later) in their less seen film Heaven Knows What, about two heroin addicts and the destructiveness their love brings out in each other, an idea that recurs throughout After Hours on songs like "Until I Bleed Out" and "Nothing Compares." A recurring song throughout Heaven Knows What is Isao Tomita’s synth version of Debussy’s "Claire De Lune", which is featured in some episodes of Memento Mori and bears some resemblance to the start of "Alone Again". https://preview.redd.it/em255b5qdt261.png?width=1344&format=png&auto=webp&s=a5226c9496d0ae5c14b6d6c05e16f5ea18678a9a Obsession/Toxic Romance While love and lust and the ups and downs with it have been a formative part of The Weeknd’s ideology and themes, I don’t think it would be remiss to say that After Hours is perhaps his most outwardly romantic album. Despite this, one of the major arcs of the album is toxicity that comes with it, which a number of already mentioned films deal with. While "In Your Eyes" is one of the more romantic and accessible songs on the album, a re-assessment of it Ala Sting’s “Every Breathe You Take” could frame it as lonely obsessing, such as Travis Bickle’s infatuation with Jodie Foster’s teenage prostitute Iris, Joker's fixation on Murray Franklin, Rupert Pupkin’s obsession with Jerry Langford. Casino also deals with toxic romance, another prominent theme in After Hours, best seen in the love triangle that forms between Sam, his partner Nicky and his wife Ginger, played by Joe Pesci and Sharon Stone respectively. https://preview.redd.it/eq1ioijvdt261.png?width=898&format=png&auto=webp&s=f9e4b781ee60762ae767c4dbd92066357ebc24b0 In almost all of the After Hours’s video content, The Weeknd seems to constantly meet his demise at the hands of women. Another interesting reference that may be something of a reach is to Phantom Thread, Paul Thomas Anderson’s film about Reynolds Woodcock, a couture dressmaker loosely based on Cristobal Balenciaga and his muse Alma, played by Daniel Day Lewis and Vicky Krieps, respectively. The film delves into their dysfunctional relationship, with Woodcock berating her and Alma poisoning his tea to keep him dependent on her. One of the highpoint of the film is a New Years Eve Party that bears strong resemblance to the "Until I Bleed Out" video. While the balloons may just be a callback to his earlier work, there is something about the color grading/temperature and the production design of the "Until I Bleed Out" video (as well as parts of the "Blinding Lights" video) that made me immediately think of Phantom Thread. A similar relationship is seen in the German horror film Der Fan, which The Weeknd has mentioned in a recent interview. In Der Fan, a young girl Simone spends her days obsessing over popstar R, until she finally encounters him outside his studio. The film is similar to the aforementioned Takashi Miike’s Audition in its exploration of obsession and idealization. In the film, an older man puts up a fake casting call to search for the perfect girlfriend. While Audition explores these themes from an Eastern perspective of societal pressure, Der Fan explores it through a Western lens of pop idolization and idealization. Both films deal with the idea that despite outward appearances, the perfect partner does not exist, and anyone that claims to be (or has the expectations put on them) is not who they seem. https://preview.redd.it/3m661q62et261.png?width=1342&format=png&auto=webp&s=c9377018cb53f67cf7ce95b24392afb471e4aec1 One film he has spoken at length about is Trouble Everyday, Claire Denis’s arthouse vampire movie. The film stars Vincent Gallo as Shane, a scientist who travels to Paris under the guise of his honeymoon to track down core, a woman who he was once obsessed with who has now become a vampire. Core is locked up in a basement but sometimes sneaks out to seduce and consume unwilling victims. This seems to be where some of the bloody face stuff comes from, but I believe it’s influence is a little more conceptual. To me, a good companion film to Trouble Everyday is American Psycho, which seems to also have been a thematic influence on After Hours. Both films concern idealized version of masculinity and femininity, both very sexual and physical, but hostile as well. American Psycho ends with Patrick Bateman confessing to the killing of a prostitute, but no one believe him. Trouble Everyday ends with Shane killing Core, but Shane is unable to arouse himself after that except through violence. Koji Wakamatsu, a former Yakuza turned prominent extreme Japanese filmmaker (and a major influence on Gaspar Noe) is quoted as saying “For me, violence, the body and sex are an integral part of life.” Despite being hollow, idealized impressions of the self, a vampire and as a banker (cold, seductive bloodsuckers = monsters), Patrick Bateman and Core represent the Frankenstein-ian relationship between sexuality and violence, which I believe is the main theme of After Hours. Truly, we hurt the ones we love. https://preview.redd.it/zfllbd83et261.png?width=900&format=png&auto=webp&s=9c048ee98d86d7bbb9db67fa8302d34c36214c4f PostscriptTo cap things off, I would just like to illuminate some key takeaways. As a filmmaker myself, this has been an extremely helpful exercise in understanding other artists process and ideas.Steeped in the history of the medium… It’s clear that The Weeknd is not your typical “I’m influenced by cinema” artist but an extremely legit film buff with serious credentials. The Weeknd’s film taste leans towards 70s-00s genre works, mostly horror, drama and thriller, and is well versed in the classics but also has the nose to sniff out deeper cuts and obscurities. The mantra of “good artists borrow, great artists steal” works even better if not many people know where you’re stealing from! What is impressive to me is that he is not just versed in “mainstream” obscurities, but also serious deep cuts. Films like Possession and Phantom of the Paradise may not stick out to the average person on the street but are well known in most film circles. Films like Inland Empire and New Rose Hotel (Der Fan was especially impressive to me, it is one of my favorite films) however are not as well known and it is very impressive to me that he can come across films like that, and really get enough out of it to bring into his own work. …is able to interpolate contemporary/mainstream films… This perhaps is one of the most impressive aspects of his integration of film into The Weeknd’s work. It is very easy for film buffs to get lost within their own obscure taste, living in a world where everyone is an idiot for not knowing who Shinya Tsukamoto. Trilogy and Kiss Land had a lot of contemporary obscurities, like Stalker, David Lynch etc., well known but they still existed as artifacts, not of the time we live in. However, perhaps picking something from his work on Fifty Shades of Grey, of late he has kept his finger on the zeitgeist and anticipated/integrated what the filmmakers of today are doing, such as his work on Black Panther and Game of Thrones, general appreciation of Tarantino, the works of Nicolas Winding Refn in Starboy, and his use of the Joker and Uncut Gems on After Hours, both of which came out just a few months before the album. It feels Jackson-esque, and I believe this is one thing that will help him further in his quest for pop stardom. …while also being fully in tune to the works of modern transgressive auteurs… In addition to keeping up with the mainstream is in touch with, The Weeknd also makes it a point to seek out and learn from the cutting edge filmmakers of today. While the Safdies were always going to blow up, I don’t doubt that a Weeknd co-sign accelerated their rise. Gaspar Noe is one thing, Enter the Void and Irreversible exist as masterpieces of the mainstream obscurities I’ve been mentioning, but he really truly tries to understand the heart of Noe’s work, even going so far back as to understand Noe’s influences (I sincerely hope he is tuned in to the work of Koji Wakamatsu). But most of all, to be a fan of Claire Denis is one thing, but to seek her out and make her an offer that she ACCEPTED is absolutely astounding to me. Just spitballing but it would be like if Michael Jackson shot a music video with Rainer Werner Fassbinder (who I’d bet good money that The Weeknd was put on to by Noe). We can only PRAY that one day we will be blessed with a David Lynch Weeknd video. --------------------------- …and that just about does it. Hope you enjoyed this and thanks for being patient with me. I got quite busy after the first two and had my own projects/work going that kept me occupied. As we’re still technically in the After Hours era, I also wanted to wait until a few more videos and interviews came out to aid me in my research. I also wanted to find enough time to make the Letterboxd for this. I personally don’t love Letterboxd culture, I find the popular culture surrounding the site a bit snobbish and exclusive, but I’ve gotten a number of requests for one and you gotta give the people what they want. Throughout the list are a few films that he hasn’t mentioned but are some of my personal favorites and I believe Weeknd fans will like, I encourage you to accidentally stumble upon things on it. Don't overthink, just pick something and watch! If you’d like to follow me further, you can find me on Instagram here, where I post about film reviews Letterboxd style. I prefer Instagram so that more average people see it instead of an echo chamber of film snobs. I am also a filmmaker myself, I just recently wrapped this short film and am currently in the process of putting together my next project. The main reason I did this however, besides a general appreciation of The Weeknd’s work, was to put more people on to the beautiful art form that is cinema. One thing I learned from Scorsese is that one must be an advocate and truly champion your medium. I hope that this encourages to check out more interesting movies than they wouldn’t normally come across, and I hope this will inspire more people to create more as well, whether it be to write, make films, music, anything. If even one person picks up a pencil, a camera or a keyboard because of these posts, I will be satisfied. Thanks all! |
These moments all crop up in Scorsese’s narrative pictures. Thus, to wish a happy birthday and pay tribute to Martin Scorsese and his discerning ears, we bring you 15 of his greatest musical ... Casino in some respects is director Martin Scorsese dialing Goodfellas up to 11. Oh, you want the mob life? Well here it is in Chairman of the board brashness and lurid VEGAS BABY! sindulgence, where gambling king and long-term gaming licensee in waiting Sam “Ace” Rothstein (Robert De Niro) funnels money out the back door of the fictional Tangiers hotel he all but runs for the mob elders ... Martin Scorsese: The first newspaper article Nick Pileggi showed me was about the police covering a domestic fight on a lawn in Las Vegas one Sunday morning. And in that article it slowly began to unravel, this incredible ten-year adventure that all these people were having, culminating in this husband and wife arguing on their lawn, with her smashing his car, the police arriving, and ... Filmmaker Martin Scorsese, who has over 50 years experience directing some of cinema’s most notable films such as Goodfellas (1990), Casino (1995), The Departed (2006), The Wolf of Wall Street (2013), and The Irishman (2019), shares shares his top tips on sound design. Martin Scorsese meanwhile takes us to school over the intricacies of the casino business. He devotes a significant proportion of the movie in doing so - but in his own unique style replete with voice over narration, stunning tracking shots and epic Rolling Stones music. Casino makes us follow the money from the gaming tables, to the boxes, ... The soundtrack to Martin Scorsese's '70s mob epic Casino is as over-sized as the movie. Assembled by Robbie Robertson, the album runs the gamut from schmaltzy pop to blues and rock & roll, featuring a great assortment of classic tracks and performers. Martin Scorsese remains, at nearly 77 years of age, among the most vibrant, propulsive and gripping filmmakers working. He doesn't just tell you a story with his movies; he grabs you by the neck ... Martin Scorsese is perhaps one director whose name holds as much weight in music as it does in the field of film. The director has long been affiliated with some of the biggest rock acts of all time thanks to his penchant for a musical documentary and a sincere skill at delivering a pulsating concert film. Director Martin Scorsese’s collaboration with author Nicholas Pileggi on GOODFELLAS (1990) led to arguably the biggest success of either man’s careers. Their shared affinity and thorough knowledge of Italian American culture as focused through the prism of organized crime created one of the best films of the 1990’s. So when Scorsese heard that Pileggi was sniffing around… Music, Film, TV and Political News Coverage. Early on in Martin Scorsese’s film The Wolf of Wall Street, Leonardo DiCaprio’s brash young broker throws a party at his office.Strippers, a ...
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