#Las Vegas Film Critics Society

[thejewofkansas]

Awards Season 2024-25: Awards Round-Up 12/16 + Critics' Choice Award Nominations

Another week, another eight groups to process. I could wait until late on the 16th and add in the multiple groups announcing that day – but I’ll save them for the 23rd. This week’s contestants are: African-American Film Critics Association (AAFCA) Boston Online Film Critics Association (BOFCA) Chicago Film Critics Association (CFCA) Las Vegas Film Critics Society (LVFCS) Phoenix Critics…

[awardswatcherik]

2024 Las Vegas Film Critics Society (LVFCS) Winners: 'Dune: Part Two' Leads with 6

[silvyysthings]

DUNE: PART TWO' has won 6 categories at the Las Vegas Film Critics Society.

• Best Picture

• Best Director

• Best Cinematography

• Film Editing

• Best Score

• Best Visual Effects

[immortals-malec]

at the las vegas film critics society kit has been nominated for his work in the wild robot under the best youth male- performance!!!

[notearsnora]

Las Vegas Film Critics Society 2024 Nominations:

Best Picture: Wicked

Best Actress: Cynthia Erivo

Best Supporting Actress: Ariana Grande-Butera

Best Director: Jon M. Chu

Best Costume Design: Wicked

Best Art Direction: Wicked

Best Visual Effects: Wicked

Best Ensemble: Wicked

Full:

[world-cinema-research]

Week 2 Blog Post by Grant Montoya

À bout de soufflé (Breathless) 1960

Breathless is a critically acclaimed New-Wave French film that was released in 1960. The impact it had on the filmmaking world was monumental; its many hallmarks include experimental cinematography methods, abrasive humor, stylized visuals, and the introduction of jump-cuts to name a few. It influenced the way Hollywood would produce movies in the coming decade. Roger Ebert is even credited with stating that “Modern movies begin here, with Jean-Luc Godard's "Breathless" in 1960.” 

Jean-Luc Godard was the director of the film who received substantial help in post-production from another director by the name of Jean-Pierre Melville. The movie had an estimated budget of $90,000 and had earnings of about $590,112. The movie didn’t have a big launch, but soon after people recognized its brilliance. Despite this being the first feature film of Godard’s career, the focus was to make something different. The 400 Blows (1959) directed by François Truffaut came out a year before Godard’s. These two films are usually regarded as the “best” of the French New Wave era.

As mentioned, film buffs' favorite critic Roger Ebert has made it known that this is one of the most important movies of all time. continuing his quote from earlier:

"It is dutifully repeated that Godard's technique of "jump cuts" is the great breakthrough, but startling as they were, they were actually an afterthought, and what is most revolutionary about the movie is its headlong pacing, its cool detachment, its dismissal of authority, and the way its narcissistic young heroes are obsessed with themselves and oblivious to the larger society." - Roger Ebert

Although I have only viewed the film once, I wholeheartedly agree with his words here. I may be wrong, but I feel that the movie could be considered slightly postmodernist because it recognizes itself by means of self-referentiality and relativism. I think this is what Ebert was hinting at here.

At the time of this film's production, France was enduring an economic recession from the devastating effects of World War II. According to freelance writer Ted Mills,

"Although there wasn’t a lot of money floating around, there was still enough to make short films[...]The film was shot on a handheld camera, by Raoul Cotard, who had used such a camera in the war for newsreels[...]Godard turned his brain inside-out, like emptying a bag across a table: all his cultural obsessions, not just in cinema, but in writers, philosophers, music, and more, all came out." - Ted Mills

It seems like this turbulent time was beneficial for Godard. Perhaps the ordeal of the war invigorated him, or the lack of funds available gave him an excuse to truly unleash his artistic spirit because nothing was really at stake.

Trying to put this film in place as conventional or unconventional is a difficult task. It could be considered unconventional in its production, for sure. $90,000 isn't much of a budget at all for that time period and the actors weren't too well known before the making.

On the other hand, many of the creative choices might be too much for a general audience to digest. Within the first 5 minutes of the film, there is some crass, self-spoken humor from Belmondo's character which makes one think of Fear and Loathing in Las Vegas:

"Little girls hitchhiking!

I'll charge a kiss per mile.

The short one's not bad. Nice thighs.

Yeah, but the other one...

Oh, hell, they're both dogs."

Our protagonist here lacks inhibition throughout the entire movie. It is hard to understand his goals, aspirations, or motives. There is hardly anything for the audience to latch onto besides the doom that awaits him. Very against the grain.

Quote #1

Michel Poiccard : "Why won't you sleep with me?"

Patricia Franchini: "Because I'm trying to find out what it is that I like about you."

These two lines of dialogue from our two main characters aren't anything extraordinary, but because of their simplicity, we are reminded of the motives between these two and their dynamic for most of the movie. Michel is portrayed as a crook who lives in the now; a hedonist who doesn't understand what it means to love. Meanwhile, Patricia is entertained by this swooner but can't seem to understand what Michel's true intentions are or what kind of a man he is.

Quote #2

Michel Poiccard: "If you don't like the sea... or the mountains... or the big city... then get stuffed!"

I could have chosen any one of Michel's many quips for the spot of this quote. Aside from the hit and run on the policeman at the beginning of the film, Michel's commentary is really what keeps the movie chugging along. It's blunt, funny, and very surprising to see in a film as old as this one.

Image #1 depicts Jean Seberg's character (Patricia Franchini) gazing into the camera, and this shot appears many times throughout the movie. I think this full-face capture is great directing because it burns the actor/character's features into your mind and it offers an intimate way for the audience to connect with the characters. Apparently, this was a time when Godard and other filmmakers focused on the craft of raw cinematography, more so than the pieces of what makes a movie emotionally captivating (plot, dialogue, scores, etc.)

Image #2 is taken from the apartment scene, a part of the movie that drags on for about 24 minutes where Michel rambles on and Patricia continues prying. This is perhaps the most creative choice the director made in this movie, and it sort of works for it. The still reflects the playful nature of two people who hardly know each other, and stresses the fact that these two aren't fornicating in a setting where it would seem inevitable.

[yesthatssadirichardslove]

Suzanne Somers, of ‘Three’s Company,’ dies at 76

LOS ANGELES

Suzanne Somers, the effervescent blonde actor known for playing Chrissy Snow on the television show “Three’s Company” as well as her business endeavors, has died. She was 76.

Somers had breast cancer for over 23 years and died Sunday morning, her family said in a statement provided by her longtime publicist, R. Couri Hay. Her husband Alan Hamel, her son Bruce and other immediate family were with her in Palm Springs, California.

“Her family was gathered to celebrate her 77th birthday on October 16th,” the statement read. “Instead, they will celebrate her extraordinary life, and want to thank her millions of fans and followers who loved her dearly.”

In July, Somers shared on Instagram that her breast cancer had returned.

“Like any cancer patient, when you get that dreaded, ‘It’s back’ you get a pit in your stomach. Then I put on my battle gear and go to war," she told Entertainment Tonight at the time. "This is familiar battleground for me and I’m very tough.”

She was first diagnosed in 2000, and also had skin cancer. She faced some backlash for her reliance on what she's described as a chemical-free and organic lifestyle to combat the cancers. She argued against the use of chemotherapy, in books and on platforms like “The Oprah Winfrey Show,” which drew criticism from the American Cancer Society.

Somers was born in 1946 in San Bruno, California, to a gardener father and a medical secretary mother. She began acting in the late 1960s, playing the blonde driving the white Thunderbird in George Lucas’s 1973 film “American Graffiti.” Her only line was mouthing the words “I love you” to Richard Dreyfuss’s character.

At her audition, Lucas just asked her if she could drive. She later said that moment “changed her life forever.”

Somers would later stage a one-woman Broadway show entitled “The Blonde in the Thunderbird,” which drew largely scathing reviews.

She appeared in many television shows in the 1970s, including “The Rockford Files,” “Magnum Force” and “The Six Million Dollar Man,” but her most famous part came with “Three’s Company,” which aired on ABC from 1977 to 1984 — though her participation ended in 1981.

On “Three’s Company,” she was the ditzy blonde opposite John Ritter and Joyce DeWitt in the roommate comedy. In 1980, after four seasons, she asked for a raise from $30,000 an episode to $150,000 an episode, which would have been comparable to what Ritter was getting paid. Hamel, a former television producer, had encouraged the ask.

“The show’s response was, ‘Who do you think you are?’” Somers told People in 2020. “They said, ‘John Ritter is the star.’”

She was soon fired and her character was replaced by two different roommates for the remaining years the show aired. It also led to a rift with her co-stars; They didn’t speak for many years. Somers did reconcile with Ritter before his death, and then with DeWitt on her online talk show.

But Somers took the break as an opportunity to pursue new avenues, including a Las Vegas act, writing books, hosting a talk show and becoming an entrepreneur. In the 1990s, she also became the spokesperson for the “Thighmaster.”

Somers returned to network television in the 1990s, most famously on “Step by Step,” which aired on ABC’s youth-targeted TGIF lineup. The network also aired a biopic of her life, starring her, called “Keeping Secrets.”

[byneddiedingo]

Knight of Cups (Terrence Malick, 2015)

Cast: Christian Bale, Cate Blanchett, Natalie Portman, Brian Dennehy, Antonio Banderas, Frieda Pinto, Wes Bentley, Isabel Lucas, Teresa Palmer, Imogen Poots, Ben Kingsley (voice). Screenplay: Terrence Malick. Cinematography: Emmanuel Lubezki. Production design: Jack Fisk. Film editing: A.J. Edwards, Keith Fraase, Geoffrey Richman, Mark Yoshikawa. Music: Hanan Townshend.

Two films kept coming to mind as I watched Terrence Malick's Knight of Cups: Federico Fellini's La Dolce Vita (1960) and Andrei Tarkovsky's Mirror (1975). Fellini's film because the journey of Malick's protagonist, Rick (Christian Bale), through the decadence of Hollywood and Las Vegas echoes that of Marcello's (Marcello Mastroianni) explorations of Rome. Tarkovsky's because Malick's exploration of Rick's life exhibits a similar steadfast refusal to adhere to a strict linear narrative. Most of us go to movies to have stories told to us. Our lives are a web of stories, told to us by history and religion and science and society, and most explicitly by art. We tend to prefer the old linear progression of storytelling: beginning, middle, end, or the familiar five-act structure of situation, complication, crisis, struggle, and resolution. But artists tend to get weary of the straightforward approach; they like to mix things up, to find new ways of storytelling. The modernist novelists like Joyce and Woolf and Faulkner eschewed linearity, and filmmakers have tried to take a similar course. They have the advantage of working with images as well as words. So Malick, like Tarkovsky and Fellini and others, experiments with editing and montage to meld images with language and gesture to probe the psychological depths of human character and experience. The problem with experimentation is that experiments fail more often than they succeed. Some think that Knight of Cups is a successful experiment, but most critics and much of the film's audience seem to disagree, to judge from, for example, a 5.6 rating on IMDb. Knight of Cups spent two years in post-production and there are four credited film editors, which suggests that Malick over-reached himself. For me, what was lost in the process of making the film was a clarity of vision. Granted, the lives of human beings are messy, loose-ended things, but what do we depend on artists to do but try to make sense of them. I think Malick lost sight of his protagonist, Rick, in trying to interpret his life and loves through the film's odd amalgamation of John Bunyan's Pilgrim's Progress and the Major Arcana of the tarot pack and then overlaying it with a collage of images provided by Emmanuel Lubezki's camera. We glimpse Rick through filters, grasping for moments that will resolve into something substantial about him, his problems with his family and with women. And for all the casting of fine actors like Bale and Cate Blanchett and Natalie Portman, the production negates their attempts to create characters. In fact, their starriness works against them: Instead of being drawn into the character of Rick or Nancy or Elizabeth, we're removed from them by the familiarity of the actor playing them. I understand what admirers of the film like Matt Zoller Seitz are saying when they proclaim, "The sheer freedom of it is intoxicating if you meet the film on its own level, and accept that it's unfinished, open-ended, by design, because it's at least partly concerned with the impossibility of imposing meaningful order on experience, whether through religion, occult symbolism, mass-produced images and stories, or family lore." But I wonder if that's enough to make an experiment successful. I came away from Knight of Cups knowing nothing more about its characters than I did before I met them.

[denimbex1986]

'...The industry tends to anoint a presumed Oscar juggernaut. On one hand, the Globes might further cement a “Barbenheimer” Oscar battle by awarding Greta Gerwig’s toy-doll comedy and Christopher Nolan’s atomic bomb creation drama best picture in their respective categories. And although the group divides best picture and the lead acting performances by genre, the two blockbusters are set to face off in three races: director, screenplay and supporting actor (Robert Downey Jr. and Ryan Gosling). Nolan is poised to take directing honors, while “Barbie” could land prizes for its screenplay and Gosling...

Although this season has felt like Nolan’s to lose, Scorsese just might be the spoiler in the Globes’ directing derby with “Killers of the Flower Moon.” His track record here is strong, with three previous wins for “Gangs of New York” (2002), “The Departed” (2006) and “Hugo” (2011).

Meanwhile, in the lead acting races, a consensus hasn’t emerged from the awards chatter. Bradley Cooper’s transformation into conductor and composer Leonard Bernstein in “Maestro” has received raves from critics; so, too, co-star Carey Mulligan’s sparkling turn as Bernstein’s wife, Felicia Montealegre. However, aside from Cooper’s win at the Las Vegas Film Critics Society Awards, neither has landed any precursors. They might form a “package deal” on voters’ final ballots, but a safer bet is sticking with the two performers leading in critics’ prizes: Cillian Murphy of “Oppenheimer” and Lily Gladstone of “Flower Moon.”

Regarding the new category for box office and cinematic achievement, I’ve long believed it was “Barbie” and “Oppenheimer” set to duke it out...'

[thejewofkansas]

Awards Season 2023-24: Awards Round-Up 12/18

One week till Christmas. Two weeks till New Year’s. Five weeks and a day till the Oscar nominations. And here we have 14 critics’ groups who’ve announced their winners, not – hopefully – out of a desire to predict the outcome, but some of the trends here are pretty hard to dismiss. Here’s who we have (ordered alphabetically by their acronym): Boston Online Film Critics Association…

[awardswatcherik]

2024 Las Vegas Film Critics Society (LVFCS) Nominations

[justinsentertainmentcorner]

Lindsey Bahr at AP, via NewsNation Now:

Suzanne Somers, the effervescent blonde actor known for playing Chrissy Snow on the television show “Three’s Company” and who became an entrepreneur and New York Times best-selling author, has died. She was 76. Somers had breast cancer for over 23 years and died Sunday morning, her family said in a statement provided by her longtime publicist, R. Couri Hay. Her husband Alan Hamel, her son Bruce and other immediate family were with her in Palm Springs, California. “Her family was gathered to celebrate her 77th birthday on October 16th,” the statement read. “Instead, they will celebrate her extraordinary life, and want to thank her millions of fans and followers who loved her dearly.” In July, Somers shared on Instagram that her breast cancer had returned. “Like any cancer patient, when you get that dreaded, ‘It’s back’ you get a pit in your stomach. Then I put on my battle gear and go to war,” she told Entertainment Tonight at the time. “This is familiar battleground for me and I’m very tough.”

She was first diagnosed in 2000, and had previously battled skin cancer. Somers faced some backlash for her reliance on what she’s described as a chemical-free and organic lifestyle to combat the cancers. She argued against the use of chemotherapy, in books and on platforms like “The Oprah Winfrey Show,” which drew criticism from the American Cancer Society. Somers was born in 1946 in San Bruno, California, to a gardener father and a medical secretary mother. Her childhood, she’d later say, was tumultuous. Her father was an alcoholic, and abusive. She married young, at 19, to Bruce Somers, after becoming pregnant with her son Bruce. The couple divorced three years later and she began modeling for “The Anniversary Game” to support herself. It was during this time that she met Hamel, who she married in 1977. She began acting in the late 1960s, earning her first credit in the Steve McQueen film “Bullitt.” But the spotlight really hit when she was cast as the blonde driving the white Thunderbird in George Lucas’s 1973 film “American Graffiti.” Her only line was mouthing the words “I love you” to Richard Dreyfuss’s character. At her audition, Lucas just asked her if she could drive. She later said that moment “changed her life forever.”

[...] In 1980, after four seasons, she said she asked for a raise from $30,000 an episode to $150,000 an episode, which she described as comparable to what Ritter was getting paid. Hamel, a former television producer, had encouraged the ask. “The show’s response was, ‘Who do you think you are?’” Somers told People in 2020. “They said, ‘John Ritter is the star.’” She was promptly phased out and soon fired; Her character was replaced by two different roommates for the remaining years the show aired. It also led to a rift with her co-stars; They didn’t speak for many years. Somers did reconcile with Ritter before his death, and then with DeWitt on her online talk show. But Somers took the break as an opportunity to pursue new avenues, including a Las Vegas act, hosting a talk show and becoming an entrepreneur. In the 1990s, she also became the spokesperson for the “ThighMaster.” The decade also saw her return to network television in the 1990s, most famously on “Step by Step,” which aired on ABC’s youth-targeted TGIF lineup. The network also aired a biopic of her life, starring her, called “Keeping Secrets.”

Suzanne Somers, who starred in Three's Company and Step By Step, died at 76. Somers was phased out and then fired from Three's Company for asking for a pay raise to be paid comparable to John Ritter.

[brian-in-finance]

The Las Vegas Film Critics Society (LVFCS) have announced their nominations representing the best in film for 2021. The winners will be announced tomorrow on December 13th 2021. — Next Best Picture

Best Picture

Belfast

CODA

Licorice Pizza

tick, tick… BOOM!

West Side Story

Best Supporting Actor

Ciarán Hinds – Belfast

Jared Leto – House of Gucci

Troy Kotsur – CODA

J.K. Simmons – Being the Ricardos

Kodi Smit-McPhee – The Power of the Dog

Best Supporting Actress

Caitríona Balfe – Belfast

Ariana DeBose – West Side Story

Ann Dowd – Mass

Kirsten Dunst – The Power of the Dog

Ruth Negga – Passing

Best Screenplay (Original)

Being the Ricardos

Belfast

Don't Look Up

Licorice Pizza

Pig

Best Film Editing

Belfast

Dune

The Power of the Dog

tick, tick… BOOM!

West Side Story

Best Song

"Down to Joy" – Belfast

"Every Letter" – Cyrano

“Dos Oruguitas” – Encanto

"Be Alive" – King Richard

"No Time to Die" – No Time to Die

Best Male Youth in Film

Gregory Diaz IV – In the Heights

Jude Hill – Belfast

Noah Jupe – A Quiet Place II

Woody Norman – C'mon C'mon

Charlie Shotwell – John and the Hole

Remember when two of Caitríona’s on-screen sons were nominated for a Best Male Youth in Film award?

[notearsnora]

Las Vegas Film Critics Society 2024 Awards:

Best Costume Design: Wicked (Paul Tazewell)

Best Family Film: Wicked

Full:

[yes-svetlana-world]

by bones and all news

@bonesandallnews

Congratulations to Dave Kajganich for winning best adapted screenplay by The Las Vegas Film Critics Society (LVFCS) #BonesAndAll

@BonesAndAllFilm

[mogwai-movie-house]

The 100 Best Satirical Movies of All Time

So, this was a tricky one, and I'm not sure I entirely succeeded.

Satire is a quite specific strain of comedy that uses humour to criticize and attack hypocrisy, injustice, stupidity and pomposity in an attempt to improve society by lampooning it: another way to put it is that it's parody with a point. And while many comedies will have satirical moments, it can be debatable as to whether they have anything meaningful to say as a whole, or change as their aim. And many films that explicitly have ONLY change as their aim just aren't very funny at ALL, and so end up being nothing more than propaganda.  

So, there's some grey area and because of that I'm sure I will have included some films some people will feel don't meet those requirements, and overlooked others that do.

On top of that, there's also the challenge of knowing how best to rank them: for their objective quality as films, how funny they are or how well they succeed at hitting their targets?

I've generally gone with the latter, and very loosely ordered them more on their worth as satire than their objective quality as films or number of belly laughs, but I will try to revise the list as more come to mind or I remove some that, upon further reflection, I don't feel make the grade.

1. Life of Brian (1979) ★★★★★★★★★★ 2. Catch-22 (1970) ★★★★★★★★☆☆ 3. Network (1976) ★★★★★★★★★★ 4. Starship Troopers (1997) ★★★★★★★★½☆ 5. Fight Club (1999) ★★★★★★★★★★ 6. American Beauty (1999) ★★★★★★★★★★ 7. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964) ★★★★★★★★☆☆ 8. Bob Roberts (1992) ★★★★★★★☆☆☆ 9. The Bonfire of the Vanities (1990) ★★★★★★★★☆☆ 10. The King of Comedy (1982) ★★★★★★★★★½ 11. Idiocracy (2006) ★★★★★★★☆☆☆ 12. Harold and Maude (1971) ★★★★★★★★★★ 13. Election (1999) ★★★★★★★☆☆☆ 14. Sullivan's Travels (1941) ★★★★★★★★★☆ 15. Sleeper (1973) ★★★★★★★★★☆ 16. American Psycho (2000) ★★★★★★★☆☆☆ 17. Blazing Saddles (1974) ★★★★★★★★★★ 18. To Be or Not to Be (1942) ★★★★★★★★☆☆ 19. Monsieur Verdoux (1947) ★★★★★★★★☆☆ 20. Fear and Loathing in Las Vegas (1998) ★★★★★★★★☆☆ 21. Wag the Dog (1997) ★★★★★★★★☆☆ 22. Boudu Saved from Drowning (1932) ★★★★★★★★★☆ 23. RoboCop (1987) ★★★★★★★★☆☆ 24. Being There (1979) ★★★★★★★★☆☆ 25. Little Big Man (1970) ★★★★★★★★☆☆ 26. Sunset Blvd. (1950) ★★★★★★★★★★ 27. How to Get Ahead in Advertising (1989) ★★★★★★★☆☆☆ 28. Being John Malkovich (1999) ★★★★★★★★★★ 29. Heathers (1988) ★★★★★★★★☆☆ 30. Happiness (1998) ★★★★★★★★★☆ 31. Nothing Sacred (1937) ★★★★★★★★★☆ 32. Trainspotting (1996) ★★★★★★★★★½ 33. A Clockwork Orange (1971) ★★★★★★★★★☆ 34. Tropic Thunder (2008) ★★★★★★★★★☆ 35. The Executioner (1963) ★★★★★★★★★☆ 36. To Die For (1995) ★★★★★★★☆☆☆ 37. The Rocky Horror Picture Show (1975) ★★★★★★★★★★ 38. Grosse Pointe Blank (1997) ★★★★★★★★��★ 39. World's Greatest Dad (2009) ★★★★★★★★☆☆ 40. Team America: World Police (2004) ★★★★★★★★☆☆ 41. His Girl Friday (1940) ★★★★★★★★★★ 42. La Ronde (1950) ★★★★★★★★★★ 43. The Lobster (2015) ★★★★★★★★★☆ 44. This Is Spinal Tap (1984) ★★★★★★★☆☆☆ 45. The Truman Show (1998) ★★★★★★★★★☆ 46. La Poison (1951) ★★★★★★★★☆☆ 47. God Bless America (2011) ★★★★★★★☆☆☆ 48. The Graduate (1967) ★★★★★★★★☆☆ 49. The Great Dictator (1940) ★★★★★★★☆☆☆ 50. They Live (1988) ★★★★★★★☆☆☆ 51. The Producers (1967) ★★★★★★☆☆☆☆ 52. Orgazmo (1997) ★★★★★★★★☆☆ 53. Nightcrawler (2014) ★★★★★★★★☆☆ 54. District 9 (2009) ★★★★★★★★☆☆ 55. Withnail & I (1987) ★★★★★★★★★★ 56. Hail the Conquering Hero (1944) ★★★★★★★★☆☆ 57. Phantom of the Paradise (1974) ★★★★★★★★☆☆ 58. The Apartment (1960) ★★★★★★★★☆☆ 59. Addams Family Values (1993) ★★★★★★★★☆☆ 60. Modern Times (1936) ★★★★★★★★☆☆ 61. Very Bad Things (1998) ★★★★★★★★☆☆ 62. Zoolander (2001) ★★★★★★★★★☆ 63. The War of the Roses (1989) ★★★★★★★☆☆☆ 64. Zelig (1983) ★★★★★★★★★☆ 65. Nashville (1975) ★★★★★★★★★☆ 66. Shampoo (1975) ★★★★★★★☆☆☆ 67. Secretary (2002) ★★★★★★★★☆☆ 68. The Player (1992) ★★★★★★★★★☆ 69. My Man Godfrey (1936) ★★★★★★★★★☆ 70. The Man in the White Suit (1951) ★★★★★★★★☆☆ 71. Pygmalion (1938) ★★★★★★★★★☆ 72. Brazil (1985) ★★★★★★★★☆☆ 73. The Mouse That Roared (1959) ★★★★★★★☆☆☆ 74. Zombieland (2009) ★★★★★★★★☆☆ 75. Edward Scissorhands (1990) ★★★★★★★★★☆ 76. The Miracle of Morgan's Creek (1944) ★★★★★★★★☆☆ 77. 2081 (2009) ★★★★★★★★☆☆ 78. Falling Down (1993) ★★★★★★★★★☆ 79. Marquis (1989) ★★★★★★★★☆☆ 80. Man Bites Dog (1992) ★★★★★★★★☆☆ 81. Heavens Above! (1963) ★★★★★★★☆☆☆ 82. Welcome to the Dollhouse (1995) ★★★★★★★★☆☆ 83. Mars Attacks! (1996) ★★★★★★★☆☆☆ 84. The Meaning of Life (1983) ★★★★★★★☆☆☆ 85. Duck Soup (1933) ★★★★★★★★★★ 86. Ninotchka (1939) ★★★★★★★★★☆ 87. M.A.S.H. (1970) ★★★★★★★☆☆☆ 88. South Park: Bigger, Longer & Uncut (1999) ★★★★★★★★★★ 89. Eraserhead (1977) ★★★★★★★★★☆ 90. Divorce Italian Style (1961) ★★★★★★★☆☆☆ 91. Four Lions (2010) ★★★★★★★★☆☆ 92. Tootsie (1982) ★★★★★★★★★★ 93. Pain & Gain (2013) ★★★★★★☆☆☆☆ 94. Don Verdean (2015) ★★★★★★★☆☆☆ 95. Ruggles of Red Gap (1935) ★★★★★★★☆☆☆ 96. The Interview (2014) ★★★★★★☆☆☆☆ 97. A Bucket of Blood (1959) ★★★★★★★☆☆☆ 98. Hobson's Choice (1954) ★★★★★★★★★☆ 99. The Discreet Charm of the Bourgeoisie (1972) ★★★★★★★☆☆☆ 100. City of Women (1980) ★★★★★★☆☆☆☆