IMDb Top 150 Part 3: Toy Story 3 | Full Metal Jacket

Movies I watched for the first time: Amélie, Snatch, Scarface, A Separation, Double Indemnity, Incendies, Metropolis, The Apartment, The Father, Dangal

121. Toy Story 3 (2010)

• IMDb plot summary: The toys are mistakenly delivered to a day-care center instead of the attic right before Andy leaves for college, and it's up to Woody to convince the other toys that they weren't abandoned and to return home.

• Some quick thoughts: This is how you end a story that takes 15 years to tell: acknowledge how much older your fans have gotten in the real world while continuing to develop your characters and say goodbye. It’s hard to ignore the metatext of this film, which felt tailor-made for my generation that grew up on the original two movies. This film is a prime example of what Pixar does best: make movies that are essentially aimed at children, smart enough for adults to engage with, and tug at the heartstrings of all those watching. This entry, far more successfully than the second, explores the same question as the first one with its own spin: what if our toys cared about us as much as we cared about them?

• Does it belong? For sure, but I think lower.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.5/10

120. Amélie (2001)

• IMDb plot summary: Amélie is an innocent and naive girl in Paris with her own sense of justice. She decides to help those around her and, along the way, discovers love.

• Some quick thoughts: This film feels like the movie hipster’s anthem, and while I’m happy to have seen it, it didn’t necessarily become a new favorite. Jean-Pierre Jeunet’s direction is quirky with a capital “Q”, but when mixed with Bruno Delbonnel’s gorgeous cinematography, the result is something that is not only visually interesting, but blazingly fresh. Jeunet’s celebration of life’s small things creates a Paris where every character’s little bubble becomes its own fairy tale world, forcing the audience to in turn consider their own little bubbles. The plot meanders, to be sure, but Audrey Tautou’s ultimate introvert, Amelie, is a great vessel for this film’s experiential nature if not its plot structure. If you’re looking for a unique vision that is a cinematic warm hug, this film is a great recommendation. It’ll be weird, but it is delightful.

• Does it belong? Yes, because there’s not much else like it and it is impressive, but it’s not quite my brand of vodka.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.3/10

119. Snatch (2000)

• IMDb plot summary: Unscrupulous boxing promoters, violent bookmakers, a Russian gangster, incompetent amateur robbers, and supposedly Jewish jewelers fight to track down a priceless stolen diamond.

• Some quick thoughts: Guy Ritchie movies are an experience of their own, and this is no exception. Featuring an ensemble cast, chronologically free-flowing narrative, and twists galore, Snatch’s story is sure to delight any crime or comedy lover, but if you’re looking for thematic depth, you’re in the wrong place. Ritchie’s style is purely unique, and powers what would otherwise be a convoluting narrative exercise to adrenaline-pumping and laugh-inducing highs.

• Does it belong? Nope, but it’s a wickedly fun time.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8/10

118. 1917 (2019)

• IMDb plot summary: April 6th, 1917. As a regiment assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that will stop 1,600 men from walking straight into a deadly trap.

• Some quick thoughts: This was an amazing in-theater experience, and a worthy tribute to those who fought in WW1. However, its success hinges completely on its technical gimmicks, the most notable of which is that it appears as one unbroken long take, and once you spot/get over/stop being impressed by the gimmicks, this film loses a significant amount of power. Despite this, there are some terrifically rousing sequences, strong performances, and a sense of relentlessness that cements this movie as one of the better ones of its year, but maybe not one of the best of all time.

• Does it belong? Nope – replace it with The Irishman right away.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.1/10

117. Scarface (1983)

• IMDb plot summary: In 1980's Miami, a determined Cuban immigrant takes over a drug cartel and succumbs to greed.

• Some quick thoughts: I’m embarrassed to admit it took me so long to see this movie, which feels like one of the 10 bro movies that every bro should see (don’t ask me for the full list, but Fight Club is on it). I also have a large gap in my movie resumé when it comes to De Palma movies, and I am likewise ashamed. He insists on doing things in camera, builds tension with zooms better than anyone, and is willing to embrace taboo subject matter. In Scarface, he creates what’s seemingly an 80’s, coked-out, synth-heavy remake of a 30’s gangster classic, but the second half of this film reveals its true intent: a scathing social commentary on the greed-fueled Reagan era and CIA-sponsored drug trafficking. Written and shot with layers of satire and an all-time, over-the-top performance by Al Pacino, this film Trojan Horses its social critiques into a conventionally entertaining package and is not to be missed.

• Does it belong? Say hello to my little ranking! It’s in, even if it’s not De Palma’s best.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.6/10

116. A Separation (2011)

• IMDb plot summary: A married couple are faced with a difficult decision - to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer's disease.

• Some quick thoughts: I won’t sugarcoat it – this film is tough. Director Ashgar Farhadi employs a fantastic natural style to tell this story of a separated Iranian couple navigating the frustrating legal system amidst their divorce, a charge of “murder” (accidental forced miscarriage) filed by their housemaid, and a grim look at an elder’s deterioration. While not graphic in its depictions of this ugly side of life, the film embraces the complicated emotions and human condition that emerge in these circumstances, and subtly yet surely paints how a religiously legalistic society can only exacerbate these situations. It’s gripping, challenging, moving, and an incisive look at a place most Western audiences haven’t been exposed to.

• Does it belong? 100%

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.8/10

115. The Sting (1973)

• IMDb plot summary: Two grifters team up to pull off the ultimate con.

• Some quick thoughts: I thoroughly expressed my love for this movie in one of my earlier posts, found here, but I’ll quickly run down the highlights. Despite being set in the criminal underworld with deathly stakes, this film is simply a delight. Director George Roy Hill incorporated old-school filming to evoke the period of the story in a way that made this movie immediately timeless, which complements the story’s built-in twists that continue to draw in new viewers. Knowing the twists, this movie is among my favorites to return to, because it is one of the happiest minute-by-minute movie experiences that I’ve ever had.

• Does it belong? Just including this movie on this list isn’t enough, but it sure is close.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 9/10

114. Double Indemnity (1944)

• IMDb plot summary: An insurance representative lets himself be talked by a seductive housewife into a murder/insurance fraud scheme that arouses the suspicion of an insurance investigator.

• Some quick thoughts: When most of us think of film noir, we imagine tough-talking leading men who are usually detectives, femme fatales, double-crossings, and beautiful black-and-white. We don’t usually imagine the leading man’s moral weakness being exploited to drive the plot and being trapped in over their head, but that is an important subsection of the genre, and Double Indemnity is the prime example of this. The non-explicit sexual tension and mutual attraction permeates the atmosphere of this movie and is punctuated by the flirty, whip-smart dialogue. The final hour of this film unravels as a non-stop suspense vehicle, where scene after scene threatens the secrecy of the lovers’ wicked scheme, as well as further explores the depth of this femme fatale’s evil and depravity.

• Does it belong? Yes, but not higher than The Third Man or The Maltese Falcon.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.8/10

113. Incendies (2010)

• IMDb plot summary: Twins journey to the Middle East to discover their family history and fulfill their mother's last wishes.

• Some quick thoughts: I wasn’t prepared for how affecting this film would be; its bleak and brutal depiction of a fictitious Middle Eastern country in turmoil between radical Christians and Muslims, and how the cyclical nature of this type of violence impacts individuals and a family over the course of decades is beyond astonishing. Its story is framed as a mystery with flashbacks sprinkled in among present-day investigations, but for all its strengths the film just doesn’t quite congeal. Be warned: the secret at the core of the film that is as disturbing as it is heartbreaking, and when I say the scenes set in the past are bleak, I really mean it. If you can brave it, it’s quite worth your while.

• Does it belong? No – Denis Villeneuve has only gotten better with every film he makes, and I would replace this with Sicario.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.5/10

112. Taxi Driver (1976)

• IMDb plot summary: A mentally unstable veteran works as a nighttime taxi driver in New York, where the perceived decadence and sleaze fuels his urge for violent action by attempting to liberate a presidential campaign worker and an underage prostitute.

• Some quick thoughts: This movie was considered great but dangerous upon its release, and it is still just as effective today. De Niro creates what might be one of the 10 most recognizable and important characters in movie history in Travis Bickle while Scorsese puts us into this broken mind more effectively than any other director could and mixes gritty realism with arthouse filmmaking style. Directors consider it among the most influential of all time, and who am I to argue with the people who make movies? It’s historically important while also remaining timeless, and its look at the dark side of the American psyche is intoxicating, scary, and amazing at 45 years old.

• Does it belong? Yes, and within the top 30.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 9.5/10

111. Metropolis (1927)

• IMDb plot summary: In a futuristic city sharply divided between the working class and the city planners, the son of the city's mastermind falls in love with a working-class prophet who predicts the coming of a savior to mediate their differences.

• Some quick thoughts: This is among the very oldest films not just on this list, but in all of world cinema that still holds sway and influence. I was taken aback by this film’s singular vision of a dystopian future that embraces visions and biblical ideas of sin and purity. Even as a silent film that is approaching its 100th birthday, it was more than capable of holding my attention and garnering my awe at its expressionistic set design, which is earned by its future setting. This movie is going for it in every performance, musical choice, and complex edit or special effect; I think that’s why this movie has stuck around and isn’t going anywhere.

• Does it belong? 100%

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 9.3/10

110. The Apartment (1960)

• IMDb plot summary: A man tries to rise in his company by letting its executives use his apartment for trysts, but complications and a romance of his own ensue.

• Some quick thoughts: I still stand by my opinion that both Psycho and Spartacus are better films from this year, but we ought not overlook either how historic or how continually resonant this movie is. Jack Lemmon’s Baxter, a young and single corporate employee amongst 30,000+ who doesn’t even realize how lonely he is remains relatable to every new generation of workers. Historically, its head-on addressing of sex (without graphic depiction or description) is quite important, and its ability to be funny, tragic, hopeful, pessimistic, and real 60 years later is worthy of a spot on the list, but not an Oscar for Best Picture over both Psycho and Spartacus.

• Does it belong? Absolutely!

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.7/10

109. A Clockwork Orange (1971)

• IMDb plot summary: In the future, a sadistic gang leader is imprisoned and volunteers for a conduct-aversion experiment, but it doesn't go as planned.

• Some quick thoughts: It’s about time we hit some Kubrick on this list, and a quick skim ahead tells me that there’s a lot more to come. This movie really, really unnerved me. It wasn’t Alex’s dark deeds in the first act of the movie, nor the brutal techniques that the government employs to cure him, but the political chess pawn that he becomes as the story winds down. This is one of the darker, and more difficult-to-stomach entries on this entire list, and yet it’s hard for me to call it anything less than visionary – quintessential Kubrick. It was beyond controversial in its time and remains so today but is considered among Kubrick’s very best works. It’s hard for me to criticize any of the movie technically, and I’m glad it’s in the world, but I won’t revisit it.

• Does it belong? Yes, but not this high; I’d rather revisit Taxi Driver.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.2/10, which would be lower on my list.

108. The Father (2020)

• IMDb plot summary: A man refuses all assistance from his daughter as he ages. As he tries to make sense of his changing circumstances, he begins to doubt his loved ones, his own mind and even the fabric of his reality.

• Some quick thoughts: I hadn’t seen this film before it won at the Oscars, and like plenty of people was apprehensive to the idea that Anthony Hopkins could have turned in a better performance than Chadwick Boseman’s acclaimed role in Ma Rainey’s Black Bottom; after watching this movie, I think it unfair that the two are linked by Oscar controversy. This film brings the audience into the deteriorating mind of its protagonist by replaying the same scenes with different people, disorienting editing to manipulate our sense of time, and monochromatic blues in sets and costumes to represent reality slipping away. Hopkins is deserving of this award, but then again, so was Chadwick; I don’t have a definitive side that I’m on yet.

• Does it belong? No – maybe time will prove me wrong, but there are no films from 2020 that I consider worthy of the list, including Best Picture winner Nomadland and my favorite Minari.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.5/10

107. Dangal (2016)

• IMDb plot summary: Former wrestler Mahavir Phogat and his two wrestler daughters struggle towards glory at the Commonwealth Games in the face of societal oppression.

• Some quick thoughts: This sure is a charmer! I’m not sure it earns its runtime, and the narrative isn’t all that cohesive, but I’ll chalk that up to a cultural difference; Bollywood values spectacle and keeping audiences in their seats in a way that Hollywood has moved away from. The performances at the heart of Dangal are quite strong, and Nitesh Tiwari is a master of eye-popping color and shot composition even if the editing feels choppy at times and the musically backed montages don’t mesh with the rest of the story. At the end of the day, this is still quite a crowd pleasing and rousing sports film/light family drama that’s hard not to like.

• Does it belong? No – there’s some other Bollywood on this list that I’m interested in, but this one lost too much focus over the course of the story.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8/10

106. Full Metal Jacket (1987)

• IMDb plot summary: A pragmatic U.S. Marine observes the dehumanizing effects the Vietnam War has on his fellow recruits from their brutal boot camp training to the bloody street fighting in Hue.

• Some quick thoughts: I disagree with everyone who thinks this film falls apart after the amazing first act revolving around Marine bootcamp on Parris Island. The entire film is a study in duality, with Pvt. Joker’s helmet being the most obvious reference; its two-act structure is essential in creating one of the most scathing looks at Vietnam and the American military experience ever put to film. The penultimate film of Kubrick’s career, and only the second he made in the 80’s, is among not just his best, but the decade’s best and the war genre’s best. It remains a thorough depiction of the dehumanization that war brings out in young Americans, but its second half – where these now-dehumanized young men find themselves in Vietnam and forced into ethically dubious situations – is among the most visually stunning work of Kubrick’s oeuvre, which includes Barry Lyndon!

• Does it belong? Yes, but swap it with Barry Lyndon.

• IMDb User Rating: 8.2/10

• Rymer’s Rating: 8.5/10