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Two-By-Two, Eyes-Of-Blue: Uncovering The Conspiracy And Future Expansions of 2077 - An Analysis of The Conspiracy, Clues, and Theories to the Future
I think we're all aware by now of the conspiracy that's building in the background of 2077. Most of us know about the mysterious Blue Eyes who appears in The Sun ending to the game. He operates as The Stinger of sorts for (that) ending of the game; He and V discuss a job vaguely alluded to through out the ending sequence and then the ending cuts to V in space charging off towards The Crystal Palace. Cue DLC Hook and credits. But, let's go back here. This is only the tail end of the conspiracy and where it actually intersects with V's story. Blue Eyes (and some connections to him) crop up multiple times through out the game and, when pieced together, start building a larger picture that runs deeper into Night City than the pockets of most corporats. I've finished my second playthrough of the game and I've been drafting this post as I play and find more clues. I doubt I'll find everything or might completely dismiss some, but I want to be on the front lines of uncovering this mystery, especially if this will be our Gaunter O'Dim for Cyberpunk 2077. I apologize for the length of this post ahead of time, but I need to summarize a bunch of lore and at least 4 major side-quests; "I Fought The Law", "Dream On", "Full Disclosure", and "The Prophet's Song". Here's a long essay incoming, but I hope you chooms enjoy and I hope you read through to the end because, oh boy, I uncovered some cool shit! So, who is Blue Eyes? Who are his contacts? What is his role in the ecosystem of this city? "I FOUGHT THE LAW" Let's start with where he most appears in the game; Jefferson and Elizabeth Peralez, political family in the running for Night City's first family. Which I kinda have to summarize their questlines, including the first one which Blue Eyes never appears in. But I'd prefer to go in chronological order and not jump around, so stick with me. Elizabeth first contacts you for the job "I Fought The Law". It's fairly basic, but the quest tells us she convinced her husband to hire V to look into the recent death of Mayor Rhyne. We get a BD of a cyberpsycho attack by Peter Horvath on Mayor Rhyne. Weldon Holt leaves the room before the attack and then the security gate crashes right before Peter walks in with billions of eddies worth of chrome. The attack is unsuccessful and stopped by Detective River Ward, who was only there because Peter went missing internally at the NCPD and he knew where Peter would go. When investigating Peter Horvath, his previous boss describes him as paranoid that "probably thought Mayor Rhyne talked to him through the TV" and that the world was out to fuck him. She then mentions that someone "finally saw what he was worth" which cues into how Peter was thrown into this attack in the first place; he had a patron who funded his chrome and the attempt on Rhyne's life. Tellingly, River than goes into a little talk about how clues rarely make sense until put into the larger context, much like we're doing right now. V goes to the club Rhyne died in; The Red Queen's Race. V sneaks through, takes out some Animals, and can investigate what actually happened to Rhyne. If we read the emails on the office terminal, we know that Weldon Holt arranged for Rhyne to be there. He initially mentioned this to Rhyne during the first BD; Rhyne asked Holt directly to arrange his usual room at the club. So, this doesn't inherently look too suspicious on it's own, but Holt knew where Rhyne would be. We also find out via the Animals Boss there that Weldon Holt is the one who hired them to smash up the club and they're currently waiting around for payment. Further, you can go to the room Rhyne died in, find the BD headset, and put it on... which INSTANTLY knocks V out and they need to be rescued by River (who, btw, takes out any Animals on the property you didn't get to! Ty bro!). They surmise that Rhyne was killed by a virus in the headset. Lastly, we find footage of Detective Han (River's partner) covering up the death of Rhyne. They confront Han, V goes off to the Peralezs, and quest ends. Of note, finding the BD set is a hidden dialogue option with the Peralezes suggesting, yes, that's the correct deduction to make. You don't get that option otherwise. And V never actually comes to any real conclusion to what happened to Rhyne. So, let's summarize what we know about the death of our Mayor. Peter Horvath was hired by an unknown Patron who spent a ton of money to turn him into a suicide bomb against Rhyne. They have connections internally to the corrupt NCPD which allowed Horvath to get access to Rhyne, both from escaping NCPD custody and for the security to give him access to Rhyne's conference room. That fails so our mastermind instead assassinates Rhyne at his usual sex club, one that we know for sure Holt knew about. Rhyne is assassinated via malware in a BD porno headset, NCPD comes in an Detective Han cleans it up. Later, Holt hires the Animals to take claim to the club and fuck it up. Holt is looking suspicious AF rn, but we also don't have any direct evidence and V says as much if you accuse him. Personally, I think it's a little too clumsy if it's him. Holt leaves the room just as an assassination attempt goes down, sets up a sex club appointment for the Mayor where he's successfully assassinated, NCPD covers it up... and then he hires a gang to cover it up more? Something doesn't fit here. My theory is Holt is innocent. He's a scum bag, but not the culprit here. Why would you EVER give your identity to the Animals you hired to cover up an assassination? The big dumb brutes of the underworld? A name they give up with almost no fight? No, I think someone hired them under Holt's name. And I think they hired them because they KNEW the BD Headset was left behind; Han dismissed it entirely as Rhyne dying of a heart attack brought on during sex. They needed that destroyed to cover the final footprints. It's the only piece of evidence that doesn't have Holt or NCPD's name on it and doesn't fit the narrative that both are pushing. If they're covering NCPD or Holt's tracks, why not delete the emails or footage of Han? And if Holt or Han were trying to push this false narrative, why leave the headset right there the first time? And, while I have no evidence of this assertion, the Animals are only still there because they're waiting for payment to come in... I think our employer never intended to pay them and left them in the path of V, who is likely to shoot them and tie up the loose end for our mysterious entity. Animals destroy the BD set, V shoots the animals, no trace. And, even if he doesn't, Animals will point V to the wrong person. No, we've got a third party here. But let's continue so we can finally let our lead actor take center stage. "DREAM ON" "Dream On" starts when Jefferson calls V and asks them to help in another case. Long and Short; Jefferson woke up in the night and found a man in a mask (or an implant) standing over him. Jefferson shot the man, only for his head to fry and knock him out. Coming to, he's back in bed with no evidence it ever happened. SSI, their private security, insists that there was nothing on the cameras, no evidence, and nothing happened. Elizabeth claims she slept through the whole thing event. V investigates the apartment, with Elizabeth giving the tour, and finds a lot of evidence. Elizabeth is kinda dismissive at first thinking V won't find much. First small stuff leading into larger reveals. Let's start small and work our way up. First room Liz takes us to is the campaign room. She talks about running the campaign entirely out of pocket and having to keep most of their supplies at the Penthouse; "It's cheaper that way". You find a picture of their daughter on the wall and Liz explains that she's off at university in Europe while Jefferson is running for office; "It's easier that way" she says. That phrasing again. EDIT: A redditor in the comments pointed out that the Peralez are being controlled via drugs in their food as part of the tech. They mention they've been eating fast food lately, explaining why Jefferson was lucid enough to catch the agent and shoot him. V can look at Jefferson's emails (which Liz slightly discourages them, saying there's nothing there) which reveals a bit more about their campaign. There's a video of the iconic commercial and poster of Jefferson pulling out a gun and shooting a bunch of paperwork. In the email, Jefferson HATES this commercial, but his assistant, Lea Patel, insists on it as it will air in television time slots with action-drama series and catch the attention of voters. Further emails have Eric Boucher, Jefferson's Campaign Partner (Manager?), saying Jefferson has been acting unpredictably lately; presumably referencing one of the next emails. Boucher is confused because they fired Lea Patel together, only for her to continue working and sent him a new ad for approval. When emailed, Jefferson is confused about Lea being fired at all and doesn't remember the event ever happening, even telling Boucher to be honest if he has some issue with her. A final email is from SSI Chief of Security, Wallace, discussing Jefferson's intent to hire a merc to look into Rhyne's death ("Dream On") and they suggest Jefferson drop it or have NCPD or themselves look into it. Private Security just... offering to investigate the former mayor's death? Huh... sounds more like they want to squash the issue to me. We should now talk about the Peralez's campaign. As you explore the apartment, Liz explains that they're running on a corp free campaign; they want to get Night City out of the control of the corps and do so without ever owing any favors to them. She specifically cites "Night Corp, Militech, and Petrochem" as ones they've denied. Militech and Petrochem come up a few times in other quests but Night Corp is relatively obscure. And they choose that corp to be the first one she mentions? Stands out to me. It also isn't lost on me that we're talking about running a campaign out of pocket and refusing corp assistance... while walking on the fancy ass balcony of a penthouse in Charter Hill- North Oak. Next room, we find Jefferson's office. Elizabeth and Jefferson both graduated with law degrees from Asukaga University in Berkley. V points out it would be extremely expensive for them both, but Elizabeth says that both got full ride scholarships from the Richard Night Foundation, run by Night Corp. To further fucking cement this moment, there's a Richard Night biography shard on the desk. But we'll drop this for now because I want to get to Night Corp a bit later. The computer on the office desk has some emails on it sent by Elizabeth. One is between her and Judy where she's asking Judy for help on the original "I Fought The Law" quest and Judy is the one who gave her your contact in the first place. Another is from their daughter kinda asserting the same thing earlier; safer for her in Europe so she's not a target on the campaign trail. And here's the interesting one; Boucher emailed Elizabeth asking why Jefferson changed his mind on Lea Patel. Elizabth says Jefferson explained it to her that it "slipped his mind" and "circumstances changed in Lea's favor" and she asks him to drop the whole thing. She's dismissive and gives extremely vague details. Next room, Bedroom. Elziabeth's gun is on the table. It's the one Jefferson claimed he fired and scanning it tells us that it has been fired recently. We also find the wedding photo of Jefferson and Elizabeth where she fondly talks about having blue roses because she loves them so much... except the photo's roses are red and V says as much. Elizabeth quietly corrects herself that they only had red roses instead and moves on. In the hall, we find the blood trail and gun shots in the wall; both covered up hastily. Following the trail, we enter a tv room. The Smart Glass isn't working and Elizabeth says it stopped working recently; not like they use it much anyway. Passing a Tech Check lets us try and fix it... only to be quickly blacked out by it so hard Johnny felt it too. V asks Elizabeth about it but she doesn't know what V is talking about despite having been standing right there. We also find a hidden door in the wall. Unlike earlier, Liz is actually confused by the door but demands V try and open it. Downstairs we have the security room. Liz says that it used to be her place but "Security had to set up somewhere" and that she had to make sacrifices for this campaign; "it wasn't the first nor will it be the last". One computer has a Welcome email from SSI to new recruits. It details that they have access to all areas except Section Zero, which is reserved for Blue or Black agents and that, should the encounter a Blue or Black Agent (SPECIFICALLY "in the night"), do not interact or acknowledge them. The next email from Wallace mentions an accident where there was a "behavioral anomaly" and "ALPHA" injured a Blue Agent (BLUE-66M) who is in critical and the SSI head is requesting access to Sector Zero to give medical aid. SSI gives Wallace the code to Sector Zero and sends a team to aid. SSI knew about the accident and lied. You go to the second computer, unlock it, and can unlock the upstairs door. On that terminal is a bunch of deleted files (presumably the security footage from that night) and emails discussing "normal maintenance procedure" and further informing security that ALPHA (Jefferson) hired a merc (V) and, should security encounter them, do not interact with them. Small thing I found interesting, a shard called "You Are What You Slot" is found down here too. It details a fictional assassin who kills and then steals the identity of her victims. Small and doesn't mean much on it's own, but the shards are hinting at the story here; one of false identities and manipulation. Now, let's get to the main event; the secret room. Inside is a control center. Elizabeth is horrified and feels violated. She shouts that she's not letting SSI anywhere near them, only for her head to start hurting and she tells V to do what he needs to do. She leaves him. Inside the control room is a box of bloody medical supplies. The computer discusses "behavioral norms" for ALPHA (Jefferson) and suggests amplifying "neural dampening". It discusses things similar to Wallace's terminal, but from the other side; ALPHA is displaying odd behavior by hiring a merc, the SSI teams avoided meeting the merc, and then the actual accident that occurred injuring BLUE-66M during regular 'maintenance'. The other side of the room also has another data shard, "Rewriting Synaptic Pathways", basically talking about using tech to rewire the brain a bit. Following some wires from the control room to the roof, we find a signal dish. Johnny (replacing Elizabeth for conversation now that she's gone), joins in that the tech looks prehistoric but functional and that Militech used it in the war; it requires line of sight to transmit data but otherwise can't be intercepted. We can see the tower and go to investigate. V tells Liz the whole deal; V can suggest that the Van near the tower could be SSIs or that it might not be due to unconventional tech. Liz then itterates twice that it's a stressful campaign time for Jefferson and V should talk to her, NOT him. "Sure, whatever" V and the player dismiss. (I SWEAR WE'RE ALMOST DONE WITH THE SUMMARIZING FOR DREAM ON, I'M SO SORRY.) We drive after the van, Johnny is suddenly excited for smashing a corpo conspiracy and iterates that citizens do not choose their representatives, instead they're chosen by "key players" who watch the Peralezes for weaknesses or blackmail material. We arrive at the facility patrolled by Maelstrom and the occupants of our van park, get out, and climb ladders to the roof where they get into an AV that is cloaked to be near invisible (as shown in a couple of vids on YouTube and this subreddit). At the place, Maelstom is explained; "UNKNOWN USER" contacted them while driving the van for protection to take care of V and then destroy the van. Van's data makes it pretty clear; the Peralezs' minds are being manipulated, new neural pathways are being created, and their memories are being created, changed, or erased. There are also a couple of other names of other test subjects. The data is then erased. We do see an almost flower like symbol before the data is destroyed. The agents on the cloaked AV CAN be killed and do drop a shard, thought it doesn’t have many more details, merely that they’re contacting HQ to arrange extraction and that the Van’s data should be destroyed and echoing the arrangement with Maelstrom mentioned earlier in their shards. V calls Liz, Liz wants to meet in person instead of over holo and send him to a Japantown Raman shop (same one that used to be Rainbow Cadenza, coincidentally). Odd choice for an upstanding congresswoman. She says her nerves are shot, the ramen shop is a quieter place to meet than the apartment, and she needs a moment to gather herself since she last saw V, with V even asking if something has happened since they last saw each other. Of note, Liz is stress smoking the entire scene, something she hasn't done until now. She then explains, no, it's been over a longer period of time. She's been watching her husband change and act differently for awhile; he stopped reading, his taste changed, and he even insisted he was an only child and never had a bother when Liz asks about visiting the grave. Of note, yes, Antonio Peralez has a Columbarium Vault, which proves Liz is correct on this. She confesses that she herself has been told by others she's been acting strangely. V says she knew what V would find and she asserts that she doesn't know the who, how, or why, but "they're changing us". Jefferson apparently went on in great detail about a trip she swears they never went on, but she doesn't know if the vacation is a fake memory or if she's the one that doesn't remember. She saw a stranger in their apartment tinkering with a monitor, only for him to be missing when it was reported to SSI and they looked at the feeds. The next day, she got a phone call from a stranger (whom she refers to by "he") saying that she's walking on thin ice and Jefferson could have an accident. They later erased all data that the phone call had happened. Elizabeth claims she's terrified for herself and her husband's safety and doesn't want V to reveal the truth. V points out "they" could be telling her to say that but it doesn't really change how she feels since she just wants Jefferson to be safe. She tells V to tell Jefferson it was SSI spying for Holt. She asserts she wants SSI out of her roof if they're spying on their sleep. She will take responsibility for firing SSI, but wants Jefferson to be safe and out of that fight. She adds a meeting with Jefferson to his calendar at Reconciliation Park. But, ultimately it's V's choice (especially since she has no idea if she'll remember the conversation) and leaves. Johnny jumps and and talks and mentions that there were talks like this back in his day and worrying about the damage a puppet mayor could do. V heads to Reconciliation Park to meet with Jefferson. Entering, V is called by an Unknown Number which blacks out V's optics. They claim to know who V is, *what* V is, and what V wants. It doesn't matter what V tells Jefferson, but "don't dare cross that line" and "you're playing with fire". Its a garbled male robo voice, so safe to say it's irrelevant to the owner. Enter Stage Right, our missing lead; Mr. Blue Eyes. He is standing on a balcony watching the place where we meet Jefferson. In the Scanner, he is labeled "Mr. Blue Eyes", has no known affiliation, is wanted for "SC 370", and is wanted for "Classified". His eyes are electronically glowing blue you can even see from several yards away. You cannot injure him as grenades do nothing and you can't aim at him. Of small note, and I don't know if this ACTUALLY means anything, but his hair style asset is referred to as Morgan Blackhand in the files, but could mean nothing if this hair is actually used by other NPCs. MOST LIKELY THIS IS NOTHING UNLESS SOMEONE HAS FURTHER INFO. (Plot twist: It meant something. But we'll get there.) V sits with Jefferson and can reveal the truth; "SSI is on the take from an unknown group to control your lives". V can even point out the absurdity of Peralez being as successful of a politician as he is without any corp sponsors. "They want you to be *their* mayor. Molding you like clay". You can tell Jefferson how to proceed and additional details, but it doesn't matter. Later, Jefferson will send a text and delete your number and so will Elizabeth, who will call you out for telling Jeff. In the end credits voicemails, Jefferson has decended into paranoia about some vitamins Liz gave him which he didn't trust so he sent them to the lab, only to then not trust the lab results saying they're fine. Jefferson Peralez is confirmed the new mayor during Late Act 2 and the major difference is his state of mind at the end game; either hiring V to be on his security staff or descending into absolute paranoia over everything in his life. Lastly, Johnny appears and cryptically talks about back in his day when they'd talk about rogue AIs. Personally... I kinda completely dismiss this? It comes out of nowhere, Johnny cites NOTHING for why he'd bring this up in relation to the case, and I can't fathom a motive. I’d also point out that this isn’t the only time Johnny is outright wrong. In fact, he’s wrong A LOT in the game. For example, he criticizes V for listening to the Netwatch Agent and that he’s bullshitting you. Except, the agent is 100% correct that VDB did spike V as a suicide virus and Johnny is actually wrong. He also claims he doesn’t know what happened with Thompson after Never Fade Away, but this is a lie because Thompson is flying the AV Johnny takes to Arasaka in 2023. The only connection I can find is "Who is controlling Blue-Eyes" which might make Johnny correct, if just not in the way 'Rogue AIs' initially implies. So, what actually has happened? The Peralez family has been molded for a very long time into being the perfect political couple. They got scholarships from the Night Foundation for two fancy law degrees, have successful political careers, and Jefferson is running for Mayor on an anti-corp platform, an insanity for Night City. And he's actually successful at it. During a maintenance service at night on the Peralez's apartment, Jefferson woke up and shot an SSI/Unknown agent making repairs. The Control Booth knocked Jefferson out and they pulled the agent out of the apartment into the secret room. SSI put the Peralezes back into bed and hastily cleaned up everything, but the damage was done and Peralez hired V who uncovered mostly everything. Elizabeth seems to be initially very upset by the discovery, but wants V off the trail when we meet her next. However, she's not in on it as she's equally a victim to the brainwashing/gaslighting and that's for certain. I think she's a pawn who is either too scared or too programmed to break the rules of movement on this chessboard. It's worth noting that, while the unknown entity threatens Jefferson's life and V's well being, they do not make due on either of these threats. I call their bluff. They have put too much work into Jefferson to abandon or kill him. But, where else have we heard of this gaslighting brainwash process before? "FULL DISCLOSURE" Ok, we're on the shorter end so I don't have to actually explain this quest in full. Sandra Dorsett is a netrunner and a very skilled on at that, actually collecting data from Night Corp. She was kidnapped by the savs we rescued her from at the beginning of the game shortly AFTER she stole this data, suggesting Night Corp was behind it. This data is on the shard she asks you to collect during the aforementioned quest. V has full ability to NOT read it, but let's look at it; "Operation Carpe Noctem" ("Seize The Night" in Latin) Described in it is an experiment on Night Corp's own employees where they are quietly brainwashing them and getting them to do whatever they want. They specifically cite an empathetic and calm employee who they got to fight a co-worker and then jump from a 16th floor window. The shard ends on mentioning that they're ready to install CN-07 on "our actual target". I think multiple quests discussing brainwashing and gaslighting is too coincidental to be utterly unrelated to each other. I think Night Corp's actual target mentioned here is Peralez. So, what is Night Corp? Night Corp is the most mysterious of the corps in Night City. It currently operates to better Night City via philanthropic ventures, fundraising, community support, and city infrastructure. Basically, while Militech and Arasaka and the others operate in the city, Night Corp basically RUNS the actual city. They're also noteworthy for the level of security they have that even the best netrunners can't get much from them and, since they keep to themselves and seemingly just do city infrastructure stuff, no one really super bothers them. It has been run by Miriam Night, wife of late-Richard Night, until recently and we currently don’t actually know who runs NightCorp. Originally, they were the Night Foundation, but that requires explaining Richard Night... oh boy, Lore Drop. I'll make it quick as possible. Richard Night is the founder of Night City. He started as a partner of a firm, but his ambitions grew beyond that to founding "Night International" to build his dream; a city that would be so grand it would make all other cities pale by comparison, Coronado City. A capitalist mecha of opportunity, Night City would be run by corporations and have next to no anti-business policies on the books. Arasaka, EMB, and Petrochem were his first backers and he came into claim of land on the central-California coast; Del Coronado Bay and Morro Bay would be the location of his dream city. (BTW, irl, Morro Bay, California is a real place. Been there, have family there, go there regularly, kinda cool!). Despite being a capitalist mecca city and run by corps, Richard Night also dreamed it to be "A sprawling metropolis, free of crime, of poverty, of debt. A place where people could live safely, peacefully, without having to worry about the dire situations that were growing around the world at the time". However, due to the design plans, Night didn't employ local contractors and instead got expensive architects and builders from all over the world. Local builders didn't like that, they had mob connections, bloodshed started. And soon Richard Night was murdered by an unknown assassin, presumably a mob hitman. The city was renamed Night City in his honor and his dream utopia became to embody everything that was destroying the world. Mob took control and corps didn't give a fuck since it didn't hurt them any until they eventually had to take out the mob gangs, but not in any favor to Night’s dream either. Miriam Night, Richard's Widow, founded the Night Foundation (later Night Corp) to stick to Richard's Ideal dreams of what he wanted the city to be. They invest heavily in ecological research, alt power sources, civic infrastructure, public works, and charities and scholarships for Night City youth. "They've even managed to stay out of the normal corporate power struggles which tend to plague every other corporation, both inside the city and out. Even the shadowy corporate rumors about them, like having underwater bases in the bay or access to orbital satellites, remain unsubstantiated despite extensive investigation." So, where does this put us now? We have ONE last quest... "THE PROPHET'S SONG" Garry The Prophet is our local crazy man. He spouts off insanities to anyone who will listen near Misty's Esoterica in Kabuki. However, some of his ideas aren't quite as much off the mark as one might think. There ain't no technonecromancers from Alpha Centuri (or Spanish Inquisition) nor is Saburo Arasaka an immortal vampire, but he was correct that Saburo wasn't dead and in fact immortal; via Mikoshi and The Relic. He send you on a quest to investigate a meeting; he says that his ripper mistuned some cyberware in his head and he can hear their communications. You show up to a meeting between corps and Maelstrom. They say some nonsense phrases and transfer a data shard. Reading it ("Destroy After Reading") it seems like nonsense. But does include the line "The cages of men melt as night descends". You can decode it via a Null Cipher; first letter of every line: “Project Oracle Command Execute Plans”. We don’t know what Project Oracle is. In real life, secret project or operation names actually tend to be chosen at random and are unrelated to the actual project (you can google funny stories about names that ended up awkward to the actual project), so this could mean nothing. But, narratives tend to give meaning to everything. Oracles are mythical in references and could predict the future or see the unseen. Perhaps perfect prediction via behind the scenes manipulations? Not sure we’ll get answers on this one for now. Going back to Garry, he's been kidnapped. His protoge is screaming he's been kidnapped "Black suits came by - blue eyes and all". Blue Eyes huh? Further, she claims that they threw him into an invisible AV... Huh, like the one we saw back during "Dream On"? "Night's comin... The eternal night" So, it’s time to jump us to the final step in our Fool’s Journey: The Sun. “THE SUN” The Sun ending has V wake up in their new penthouse apartment (with their love interest if they have one). Checking the computer, we see emails from our dear Mr. Blue Eyes. He wants an answer from V as to the job to the Crystal Palace he has planned and that they’re on a tight schedule for “obvious reasons”. We meet with him at the Afterlife and he talks about the job; Casino security is going into maintenance and V mentions giving him the casino client list. V also asks him to “hold up your end of the bargain”. They never discuss eddies or payment. It’s all in such vague terms. “Your end” or “Obvious reasons”. Smaller point but an email from Vik on the space shuttle also tells us that he’s asked around about Blue Eyes and has nothing; either he works with people WAY above Vik’s paygrade or he’s shady as hell… or both. I think Blue Eyes knows V is dying (the obvious reasons) and I think the unspecified payment is V’s survival. V always says that they want to come back to their love interest so it’s not a mindless suicide run and I don’t think V would risk it all for nothing but eddies; especially not after Reaper (both versions) paint suicide runs as a horrible terrible thing. To then glorify it in another ending… no, the game is smarter than that. Your love interest doesn’t seem to be too upset about the situation either. Panam and Judy leave V in The Sun due to their lives taking different directions, but it seems mostly amicable and understanding. They even express desire to see V again because they know V needs to do this job. Kerry, who stays with V in The Sun and expresses worry and also a desire to settle down with V, also seems mostly understanding that V needs to go on this quest. I don’t think they’d be so calm and loving and understanding if this were a suicide run. They know more than the player does. Further, I think Blue Eyes isn’t after the casino aspect of the Crystal Palace at all. While that’s the major commercial aspect of the station as marketed to the citizen world, the station also has embassies from every nation on earth, facilities from all the major corporations, and is pretty much THE place where all the dark corporate espionage goes down. There’s so much more to this location than ‘casino resort’. *EVERY* corp has space stations and hideaways in space because the Crystal Palace offers it’s own legalities and opportunities that are not allowed within Earth’s terms and conditions. If they want to do some research that would be frowned upon elsewhere and get up to some Top Secret shit, it’ll be in outer space. Night City is controlled by corps and has lax laws, but outer space’s are even more so. I think the cure V wants is not only on the station, I think it’s what Blue Eyes himself is after, but I’ll get there when it’s time to theory craft about the future. I think it’s worth noting; Blue Eyes IS IN THE TRAILER FOR THE GAME. Yeah, anyone remember that shot on a shuttle with a guy being burned out from the inside? Yeah, he’s there. In the foreground. *Smirking*. The shuttle also seems like they’re in space. These events leading to the Crystal Palace and the conspiracy with Blue Eyes are blatant DLC Hooks for the future and suggest a post-game DLC. This isn’t the first CDPR has done so either; Blood and Wine takes place after the story of Witcher 3 and is explicitly incompatible with the worst endings of that game. I think, conceivably, other endings where V is still alive could be roped into this adventure; Blue Eyes merely needs to hire them with the same offer of survival. While The Star takes V to Arizona and away from Night City, I think that choice of location is appropriate as, to even get to space for The Crystal Palace, citizens go from LAX to Arizona for a space port to launch them off Earth’s surface. They could have chosen anywhere else to send Panam and V, but they choose Arizona, huh. I do think Reaper, Temperance, and Devil will be locked out of this future, however, as all make any point of Blue Eyes hiring V irrelevant; there’s no V left to hire/save. MAYBE a rejected Devil ending, but I wouldn’t blame them for not continuing that conclusion either as Devil is one of the bad endings. So, it’s finally time to really compile a lot of this information into where I think this is going in the next comment below
Who killed notorious 1940s gangster Benjamin ‘Bugsy’ Siegel, the father of modern Las Vegas? Was it another mob boss? The lover of his best friend's wife? One of the men he was embezzling money from? His Mafia spy girlfriend? His own bosses? The possibilities are endless—and puzzling.
(Note: be warned, kind of long background info here, but I think it’s needed) As far as interesting lives, few can beat Benjamin ‘Bugsy’ Siegel. Born February 28, 1906 in Brooklyn, New York, Siegel came from a poor Jewish family. Before he was even twenty, he’d established a profitable protection racket and a lengthy rap sheet, including armed robbery, rape, and murder. Siegel had connections—he was childhood friends with Al Capone and familiar with many of the well known New York City mobsters of the day—and he also had a taste for violence. Soon, he’d established a small mob specializing in hits for the numerous bootleg gangs of the time with Meyer Lansky, a fellow mobster. His violence and short temper led some to say he was “crazy as a bedbug,” giving him his famous nickname ‘Bugsy,’ which he even more famously despised. Siegel was making money, which he was happy to flaunt, but he wanted more. He carried out several hits for Charles “Lucky” Luciano, and eventually formed Murder Inc. with his associates, establishing himself as a skilled hitman for the National Crime Syndicate, an organization of mob families. But Siegel was already making enemies, and several assassination attempts were made on his life, some of which came very close to being successful. So, it was time to move out west. In California, Siegel helped establish gambling rackets, drug trade routes, and prostitution rings. His star was rising outside of the Underworld too, and in addition to the numerous politicians and police on his payroll, he befriended stars like Cary Grant and Clark Gable. Incredibly, while in Italy with a socialite in 1938, he met Hermann Goering and Joseph Goebbels, whom he immediately disliked and offered to kill. The offer was declined by his lady friend. Yet Siegel was not always looked upon fondly by the upper echelons of Hollywood; he borrowed exorbitantly from celebrities, knowing he would never be asked to pay it back, and began to develop extensive plans to extort movie studios. After several trials and acquittals for failed and successful hits, it was time to leave California. Siegel’s next stop was Las Vegas where, in 1945, he purchased and developed the Flamingo Hotel & Casino, the first luxury hotel on the Vegas strip. As you might imagine, that was expensive, and over the course of its construction, costs were equivalent to over $61 million in today’s money each year. Siegel’s checks were bouncing, and many of the locals felt threatened by him. Mob bosses were beginning to lose patience with Siegel too, and he was refusing to report on business, claiming he was running the California Syndicate himself. For now, they left him alone—he'd been valuable in the past, after all. The Flamingo Hotel was a dismal failure, and people—very powerful people—were starting to get tired of waiting for the promised money to materialize. By 1947, it was gradually turning around—with the help of Meyer Lansky, now in Vegas—but for most, it was too little too late. Death: On June 20, 1947, Siegel was gunned down in the Beverly Hills home of his sometimes-girlfriend Virginia Hill. He was 41. Somewhat suspiciously, Hill had taken an unscheduled flight to Paris the day (or by some sources, week) before. As Siegel sat reading the newspaper with associate Allen Smiley, an unknown assailant fired with a .30 caliber military M1 carbine through the window, striking Siegel many times (NSFW). Two shots hit his head, with one passing through his right cheek and the other his nose. Though he was not hit directly through the eye (NSFW), a bullet-in-the-eye death became a popular trope in Mafia media, including in the Godfather, where a character based on Siegel is murdered in the same manner. The death was covered extensively in the media, which portrayed Vegas as a bastion of sin and mafia activity. As early as the day after Siegel’s death (or, as some sources have it, during Siegel’s death), however, more personal things were changing: Lansky walked into the Flamingo and took over operations. Theories: The mob is famously tight-lipped, and Siegel’s death was no exception. Despite the extensive speculation, no precise motive has ever been confirmed. There was a massive police investigation, but in a case like this, that doesn’t mean much, nor does the media coverage. The media in particular salivated over the potential for splashy crime stories, and the circumstances of this case have been complicated by contemporary coverage. Several days after Siegel’s death, for example, one newspaper ran the headline “BUGSY'S BLONDE EX-WIFE GIVES CLUES TO HIS KILLERS,” while another read “BUGSY'S EX NO AID IN HUNT.” As far as the most popular theories: A Mob hit: A mob hit seems like the most obvious cause, and it's a theory that’s been popularized by several novels and the 1991 movie Bugsy. It would certainly make sense; it was the mob’s money Siegel had been spending wildly on his unsuccessful hotel after all, and he’d been growing uncooperative. Of the proposed hitmen, the most often mentioned are Frankie Carbo (Ralph Natale, former Philadelphia boss and Mob squealer, claimed Carbo as the true killer) and Eddie Cannizarro, both Syndicate hitmen. But even here, there are several proposed reasons for the hit. As some have it, mob money from the Flamingo’s funding was going missing and Siegel was skimming off the already meager profits. Skimming could have been forgiven, if the Flamingo was a success. It was not. After a meeting of the Syndicate’s “Board of Directors,” it was allegedly decided that Siegel would die, with Lansky reluctantly agreeing. Others believe that a hit might have been ordered whether Siegel was skimming or not; the Flamingo was simply too expensive. As one historian put it, “Bugsy was a dreamer. And he was dreaming with other people’s money.” Yet many have also argued against this theory. According to one of Siegel’s emissaries in Vegas, for example, no one would have dared to order a hit on Siegel. He and Lansky were close until the end of their lives, and Lansky would never have agreed to it. And if Lansky would not agree, then Charles “Lucky” Luciano, who was “the head of everything,” would never have agreed either. And as others have argued, the method of execution (NSFW) didn’t match with typical mob methods; firing a weapon from outside a house increased the risk of missing as well as the risk of being seen. The preferred method was a clean shot to the back of the head. According to some, the oft-referenced money problems of the Flamingo also wasn’t an issue. At the time, Lansky was paying back any investor who wanted out, and the gradual uptick in its profits was quickening by the day. Personally, I don’t think the financial uptick invalidates the theory. If the hotel was starting to make more money, then that might be all the more reason to get rid of the difficult-to-manage Siegel and take over. Wire Business: At the time of his death, Siegel was embroiled in a dispute with Jack Dragna, dubbed the Capone of Los Angeles. Siegel and Dragna had had an uneasy partnership in previous years, but Dragna, far less powerful than Siegel and the New York gangs, resented the income and respect Siegel commanded. This came to a head when a racing wire service (a way of cheating on bets) between the two of them soured. Siegel wanted control for himself, and ordered Dragna to turn it over or be killed, to which Dragna agreed. After Siegel’s death, control was returned to Dragna. He had a motive, but his story would only have been one among many for a man as ruthless as Siegel, which, in a way, complicates things further—there’s a real possibility that the culprit in Siegel’s murder was someone never even considered. His list of enemies was long, varied, and probably mostly unknown. Yet another man who had reason to want Siegel dead, for example, was his bodyguard and muscle Mickey Cohen. A Cleveland gangster, Cohen was given control of the Syndicate’s West Coast gambling operations. If Siegel still lived, he would never have gotten it. Interestingly, he, like Al Capone before him, was eventually felled by tax evasion. Virginia and/or brother: The same emissary of Siegel who shot down the mob hit theory believed that Virginia Hill’s brother had carried out the murder. The brother, a marine stationed at Camp Pendleton named Bob or Bill, had seen Siegel and Virginia fighting outside the Flamingo as well as the bruises Siegel had left on her and threatened to kill him. Another of Virginia’s brothers, Chuck, was also at the Beverly Hills house when Siegel was murdered. Virginia herself has also been the subject of suspicion. Nicknamed the “Queen of the Mob,” Hill worked, among other powerful jobs, as a cash courier, laundering money and stolen goods as well as blackmailing high-ranking men through sexual liaisons. Her relationship with Siegel was tempestuous at best, and she may have been embezzling from the Flamingo. She’s also been accused of two-timing with rival mob operations, though this is unconfirmed. Eventually fleeing to Europe permanently, Hill died of an overdose in 1966, though some have alleged that she was actually murdered after she, completely broke, attempted to leverage her intimate knowledge of the Mob. Rival Mobs: Unfortunately, I can’t find much concrete information about this theory (note: story of my life researching these posts haha), but some believe that rival mob operatives wanted Siegel gone. He was a powerful—and very public—figure, which made him something of an obvious target in the cut-throat world of Mafia politics. Moe Sedway: This is a relatively new theory, emerging after Robbie Sedway was interviewed for LA Magazine after his mother’s death. Here, he alleged that Siegel’s murder was ordered by his mother Bee, the wife of powerful mobster—and childhood friend of Siegel’s—Moe Sedway. According to Bee, who wrote and scrapped a book proposal called Bugsy's Little Lunatic (Siegel’s nickname for her), Siegel had threatened her husband, who was the Flamingo’s numbers man, and therefore watching Siegel—who, remember, had been accused of skimming—closely. So Bee contacted Mathew “Moose” Pandza, a truck driver whom Bee married after Moe’s death. Moose, the perfect killer, since he had no connection to the Mob, then shot Siegel to death. The problem with this theory, however, is that Bee is the only source; as she herself said, anyone who could contradict her was dead. She also squandered most of the fortune left to her by Moe over the course of her life, and died almost penniless. All of the above: Some believe that almost all the suspects were involved. Usually, it goes something like this: “Virginia supplied the location and received some reward. Cohen knew Bugsy's schedule for the evening, but happened to not be watching him that night…Dragna ordered the hit, with the approval of Lansky and Luciano.” It’s unlikely, but it certainly has its believers, if only for the convenience of it. Final Thoughts & Questions: This case is interesting to me because of the sheer number of suspects. In the end, a mob hit seems the simplest and most likely explanation. But there were so many people with means, motive, and opportunity. So:
Why was Siegel killed and who killed him? The Syndicate, rival mobs, Virginia Hall, her brother, Mickey Cohen, Jack Dragna, Mathew Pandza (as ordered by Moe and/or Bee Sedway), several of the suspects, or someone else entirely?
These are the statistical top 500 movies of all time, according to 23 different websites
Hey everyone, great to be back again. Some of you might remember a similar title from a post I made back in April, where I made a list of the top 250 movies with 13 sources, or a preview of this list I made last month. I want to emphasize that this is NOT an official ranking nor my personal ranking; it is just a statistical and, personally, interesting look at 500 amazing movies. These rankings reflect the opinions of thousands of critics and millions of people around the world. And I am glad that this list is able to cover a wide range of genres, decades, and countries. So before I get bombarded with "Why isn't X on here?" or "How is X above Y?" comments, I wanted to clear that up. I sourced my data from Sight & Sound (both critic and director lists), TSPDT, iCheckMovies, 11 domestic websites (Rotten Tomatoes, Metacritic, IMDb, Letterboxd, TMDb, Trakt, Blu-Ray, MovieLens, RateYourMusic, Criticker, and Critics Choice), and 9 international audience sites (FilmAffinity, Douban, Naver, MUBI, Filmweb, Kinopoisk, CSFD, Moviemeter, and Senscritique). This balance of domestic/international ratings made the list more well-rounded and internationally representative (sites from Spain, China, Korea, Poland, Russia, Czech Republic, Netherlands, and France). As for my algorithm, I weighted websites according to both their Alexa ranking and their number of votes compared to other sites. For example, since The Godfather has hundreds of thousands of votes on Letterboxd but only a couple thousand on Metacritic, Letterboxd would be weighted more heavily. After obtaining the weighted averages, I then added the movie's iCheckMovies' favs/checks ratio and TSPDT ranking, if applicable. Regarding TSPDT, I included the top 2000 movies; as an example of my calculations, Rear Window's ranking of #41 would add (2000-41)/2000=0.9795 points to its weighted average. I removed movies that had <7-8K votes on IMDb, as these mostly had low ratings and numbers of votes across different sites as well. For both Sight & Sound lists, I added between 0.5 and 1 point to a movie's score based on its ranking, which I thought was an adequate reflection of how difficult it is to be included on these lists. As examples, a #21 movie would have 0.9 points added while a #63 would have 0.69 points. So without further ado, the statistical top 500 movies ever made. I separated the scores into overall, critics, domestic, and international columns to make comparisons easier. This list on Letterboxd.
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
If you found this list interesting, I would really appreciate it if you can give my newish Youtube channel a subscribe. It would mean a lot. As always, if you know of or use any other movie website, definitely let me know. Thanks guys.
King of Clubs King of Diamonds 9 of Clubs 9 of Diamonds - Pair of Dogs (because it's K9K9-- two canines) Queen of Clubs Queen of Diamonds 3 of Clubs 3 of Diamonds - San Francisco Waiters (Queens with Trays/Treys) Jack of Clubs Jack of Diamonds 5 of Clubs 5 of Diamonds - Jackson Five (Jacks and Fives), Motown, Rock and Roll Casino rules allow the exclusion and/or eviction of undesirable gamblers. Eye in the Sky: watches the action as the casino staff surveys the floor. Face Cards: casino jargon for kings, queens or jacks. Firing: casino lingo for betting large amounts at money games. Fish: losing player. Two Queens can be called Siegfried and Roy, while a Queen with the three (or a très in French) is called a San Francisco Busboy or Gay Waiter. A J-4 hand is called a Flat Tire. Why? From folk and rock to country and hip-hop, there’s a gambling song in every genre. Check out our definitive top 31 list for the songs that really caught our attention through the decades. 326 reviews of Emerald Queen Casino "EQC is probably the best casino in the local area. The dealers are friendly and there's a huge variety of slots here as well. The food in the restaurant is good and the drinks are good as well. Any drink is $1 when you're playing and if you're really throwing down some huge cash they will comp you very nicely. The LINQ Hotel & Casino Las Vegas welcomes two dogs up to 50 lbs for an additional fee of $85 per night, plus an additional refundable deposit of $100 per night. Guests with pets are only allowed in 'Pet Stay' rooms which cannot be booked online. To reserve a pet-friendly room, you must call (800) 634-6441. Well-behaved dogs may be left unattended in guest rooms. Casino closures in Alaska. Alaska has only two small tribal bingo halls, both of which are currently open. Casino closures in Arizona. Arizona has only tribal casinos, which will make their own decisions independent of the state. At the moment, most are open. The first exceptions are Casino Del Sol, Casino of the Sun and Del Sol Marketplace. "Casino Night" is the twenty-second episode of the second season of The Office and the 28th overall. It was writtenby Steve Carelland directed by Ken Kwapis. It first aired on May 11, 2006. It was viewed by 7.7 million people. It is the first "supersized" episode of the series, being 28 minutes in length instead of the standard 22 minutes. 1 Plot 2 Trivia 3 Deleted scenes 4 Cultural References ... Poker Terms - Common Phrases and Acronyms. In poker, there is practically a library of poker terms that are commonly used. For the uninitiated, these terms can sound like a completely different language, when a poker player says, "I flopped a belly buster on a rainbow board", when they are really saying that they have an inside straight draw, after the dealer dealt the first three cards, all ... Two flush hands that are all the same (such as K-J-9-4-3 in hearts against K-J-9-4-3 in clubs) results in a tie. No suit trumps another suit in poker. Straight. A straight is five cards that all connect – five cards in a row, such as 7-6-5-4-3. When two or more players hold a straight, the hand with the highest starting card wins, thus a Jack ...
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