Bohemian Rhapsody cast

Queen: The Greatest Band in History

2010.10.07 16:17 ozzraven Queen: The Greatest Band in History

Discuss about the greatest rock band ever! Queen
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2020.11.20 15:32 Eggo66 Series 3 Ranked 'n' Reviewed™ by someone with opinions probably

I used to get to series 3 in my watch throughs and kind of count down the episodes until Donna, because I’m probably not the only one who groans every time Martha is Yearning. But I was unbelievably wrong and this series is just as strong in its own right and so is Martha, even with its questionable moments and some of the weirdest looking special effects in the history of the show. But weird special effects is kind of what I’m here for, so here’s my ranking of the third revival series from Amazing to Please Don't Do That To Mr. Diagoras That's Just Wrong.
Heads up, there will be some weird takes in these rankings and not all of them are popular. In fact, a lot of them aren’t. Just warning you off the bat, this is not really the general consensus.
Also, I count Utopia separately from the rest of the finale because reasons.
11. Daleks in Manhattan / Evolution of the Daleks (3x04-05)
Sometimes I watch these and I wonder what the vibe must’ve been in the writers’ room for them to come out with… this. This badly paced, strange, wacky mess.
This is where the Daleks start to fall off the radar for me. The Cult of Skaro’s internal debate on the Dalek ethics of ruining their ‘purity’ to survive has some weight to it, but it’s too steeped in a plotline that’s so drawn out and ridiculous with way too many things to say at once. For a start, there is basically no reason for this to be set in 1930s New York other than… the aesthetic I guess? And then the episode tries to throw in some half-baked message about community and the treatment of the poor by society but it all gets totally lost in itself to create a story that quite often forgets to be entertaining.
And never have I seen a more mixed bag of side characters in a Doctor Who story, from compelling, grounded characters with a clear direction and purpose to totally disconnected cartoons who have no role in the story beyond being Like That. I am, of course, talking about the immeasurable divide between the characters of Solomon and Tallulah. Solomon is a deeply compelling character in a bloated story who embodies the best of Doctor Who character writing as someone who has a strong, measured approach to what he does, while also fitting into the universe and feeling grounded within it. Tallulah is a complete caricature whose whole thing is having an accent and making jokes about the Doctor being gay.
Beyond the huge divide in character quality and the pacing issues apparent through both parts, there is of course the elephant in the room: whatever the hell is going on with Dalek Sec. I don’t know if they were going for weird, scary, funny or any and all of the above with that bizarre prosthetic, but it doesn’t achieve much beyond making me wonder who did the concept art for this series. And much like the rest of this story, it just pales in comparison to the rest of series 3.
10. The Runaway Bride (Christmas 2006)
Disclaimer before I explain what this is doing in tenth place, I love Donna so much. But her entry into the show is just a little bit flat.
This is Donna before she really cemented herself as a character and as a result, the writing for her feels a little gimmicky here. They’ve got Catherine Tate here doing her whole thing, which is great and all, but she doesn’t quite feel like a properly layered character until the very end. Having said that, the chemistry between her and David Tennant carries this episode more than anything.
But most of all, this episode suffers from a pretty laughable villain. At the very least I can give props to the extremely impressive prosthetics and make-up that still look amazing 14 years on, but the Racnoss Empress carries basically no threatening presence whatsoever, and for an episode that mostly rides on how compelling that conflict is, it really does not work. And honestly, that Lance twist makes very little sense to me at all.
It isn't the worst episode ever as I’ve said, because even in their first appearance, the Doctor and Donna just click and it’s great to see, but all of Donna’s future appearances were much stronger than this.
9. The Lazarus Experiment (3x06)
This one doesn’t suffer from much other than being totally okay. Just really, very okay.
The whole concept of it is a little implausible to start with, but since this is Doctor Who I can just about suspend my disbelief. I suppose my main issue with this is that, after a string of fun adventures, being dropped back on Earth to a very Earth setting and having to watch Martha mediate her family drama is somehow a bit less interesting than witches and giant crabs.
Admittedly, Mark Gatiss gets a pretty solid turn as a one-off villain here, playing the suitably creepy Lazarus, but his odd, testosterone addled rivalry with the Doctor is like watching two lecturers try to stare each other to death. In other words, not hugely exciting. It takes a bit more of an intriguing turn when he starts to transform, however, and I’m going to say something that might turn a few heads. Yes, the CG for the Lazarus scorpion is questionable at best and yes, the entire concept of it is ridiculous. But I kind of like it. I like the cat and mouse aspect of the episode’s second half, with the Doctor facing a giant monster with no plan or drive beyond needing to feast. It’s genuinely fun to watch the Doctor grapple with the fact that he can’t talk his way out of something that literally only wants to swallow him.
On another positive note, the church sequence wraps things up nicely, even if the musings on human mortality are a little rushed and undercooked. And Martha getting a full-time spot on the TARDIS in the final scene is something I can’t help but smile at.
8. Smith and Jones (3x01)
Probably my personal pick for the most solid series opener in the Davies era, Smith and Jones introduces Martha brilliantly as a companion who, unlike Rose, already had a clear direction and purpose in life before the Doctor, as well as giving the audience a measured look into her personal life by showing how she talks to each of her family members and how she handles their drama. Unlike The Lazarus Experiment however, it doesn’t spend too much time on this family drama aspect before jumping straight into putting her on the moon.
Straight out of the gate, the Doctor and Martha have a really great dynamic, and while I find her frequent pining throughout the series really irritating, having Martha around as someone who matched the Doctor’s intelligence and resourcefulness was great to see, especially when she becomes more stern with him as the series goes on.
This episode also has two solid antagonists in the form of the Judoon and Leslie Tiller- I mean the Plasmavore. I have never been more creeped out by a plastic straw before seeing Miss Finnegan’s weird, hungry eyes and watching David Tennant get drained dry. That was a lot for 7 year old me.
Mostly, I think this episode just has a good element of mystery to it. It’s good for an episode to throw us into the deep end without much context every so often, and this one does it to great effect.
7. The Shakespeare Code (3x02)
For Martha’s first outing, they really went hard on building one of the most plausible reconstructions of Elizabethan England I’ve ever seen. There’s some great set pieces here, with all the Tudor houses and, of course, the Globe Theatre being put to good use. This episode is relatively simple, but it aims low and clears that bar just fine. The Shakespeare Code is a tightly written, decently paced gothic romp.
The villains in this are a little strange, and the context behind them is even stranger, but the three witches are played so well that it doesn’t really matter to me. All that matters is the Doctor fighting some fairly typical witches that fly around and do witch things.
The presence of William Shakespeare here is well-used and occasionally pretty funny, but they go in way too hard on the references to lines in his plays until it starts to feel forced after the ninth ‘Can I have that?’ line from Shakespeare. I’ve also got to credit the show for once again thinking up some ridiculous reason as to why a missing work is missing, because why else would it be other than ‘mid-2000s CG witches might show up if you read that’.
6. 42 (3x07)
Before Chris Chibnall took his divisive position as the showrunner, he was providing relatively strong single episodes to the show like this one. The decision to have this episode play out in real time was honestly inspired and helps to massively amp up the tension when it needs to. 42 is a tight, fast and extremely sweaty spacefest that comes at a point in Chibnall’s writing career where his environmental messaging isn’t suffocating yet.
The spaceship itself is brilliantly designed, from the generous lashings of CG shots of the ship slowly being consumed by the rays of the living sun, to the corridors glowing bright orange and filled with pressurised steam and broken, haphazard components littering the floors. This feels like a ship that’s about to fall apart, and that countdown is going to keep reminding us that it will.
There are a lot of side characters that pretty much all feel like spare parts and aren’t really here for much other than to be fodder for the sun possessed, with even characters like Riley and McDonnell that have the most screen time feeling notably undeveloped beyond a few surface traits, but with sustained tension and pacing like this, that kind of thing isn’t a huge issue. This is just 45 minutes of running and sweating and that is totally fine with me.
This one also sticks out to me as an episode where David Tennant’s performance doesn’t get talked about nearly as much as it should. Both as an angry, conflicted Doctor wrestling with what’s taking hold of him and as a terrified Doctor screaming in pain and telling Martha how scared he is, he acts all of it perfectly. And without that, this episode would be extremely forgettable. Instead, it’s a breathless and action packed romp through a ship that falls apart immediately, rather than a few minutes before the end.
5. Utopia (3x11)
I think this is a great comparison to my earlier comments on The Long Game, as both that and Utopia effectively have the same function within their respective series: they act as necessary precursors to the finale, ramping up the tension and planting important narrative threads that then get wrapped up neatly at the end of the series. The big difference between Utopia and The Long Game is that Utopia remembered it needed to stand on its own too.
While the first half an hour of this almost feels like business as usual, even with the thankful return of Captain Jack and the gang’s sudden excursion to the end of the universe. But when it suddenly kicks into gear, that realisation of who Professor Yana really is and what exactly has been going on through most of this episode and this series, it makes that sleepy first half an hour much more sinister in hindsight. In other words, the build-up is excellent, with Murray Gold’s thumping soundtrack making it seem so much more climactic.
And while Derek Jacobi gets only mere moments to prove himself as a worthy Master, he still performs that sudden demeanour change with enough gravitas and insidious glee that it almost makes the arrival of John Simm a shame. But then it isn’t a shame, because that is John Simm, the perfectly cast polar opposite to David Tennant. And now he’s got a TARDIS. Without exaggeration, I can safely say that Utopia has one of the best cliffhanger endings in the whole show.
4. Gridlock (3x03)
Acting as the darker, much grittier sequel to last season’s New Earth, Gridlock is definitely what I would say is the far superior visit to New New York. Russell T Davies has created an entire civilisation here, a whole alien society that is both totally outlandish and oddly speculative on what the future could look like for Humankind. A world hooked on drug-like mood patches and an entire underworld motorway choking on toxic fumes is definitely a future I could see coming.
The Doctor’s journey through the myriad of different cars is so much fun to watch and I honestly find it fascinating to see how the passengers survive and how they cope with the constant, unending driving. Thankfully, that’s something Davies thought to include, as there’s plenty of interesting and story-relevant lore baked into this episode, from how they eat and stay fit to how they stay sane and how they communicate. There isn’t just speculation here, but a lot of heart too, specifically through the singing sequence, where every passenger we’ve seen so far joins in. It shows that sense of community despite being stuck on the same motorway apart from each other for years on end and it succeeds in evoking that same emotion in the viewer.
The return of Novice Hame and the Face of Boe is also great to see and wraps up both of their respective arcs brilliantly. Although the Face of Boe’s sacrifice and final secret are the focus here, it’s also a highlight to see Novice Hame receive the forgiveness she’s been working for, specifically from the Doctor, since the hospital shut down. And after all that, the resolution to this is one of the best-executed in the series, with the cars driving up as a great final shot.
3. The Sound of Drums / Last of the Time Lords (3x12-13)
After the gut punch that was Utopia, what followed was one of the heaviest, darkest and most climactic finales we’ve had from Doctor Who.
For me, the personal highlight of this two-part Master blowout was The Sound of Drums. The Doctor, Martha and Jack as public enemies, with the fight being over before it really even began, evokes that same feeling of dread from way back in series 1’s finale, especially since it became much easier to connect with their ordeal this time around. This is the closest the show came to reaching that same oppressive atmosphere of fighting an already losing battle that series 1 had, with Freema Agyeman honestly carrying most of this for me with her extremely well-acted panic and desperation at discovering her family’s kidnapping.
I’ll extend that to say that Martha is the highlight of this whole trilogy. And while the journey between the desperate Martha we see in part one, to the battle hardened survivor we see in part two is unfortunately missing, it’s still some great development for her, especially with her ending up as the only modern companion to leave the Doctor willingly. There are of course other series highs for acting here, with John Simm’s gleefully cruel Master being obviously brilliant and a crying David Tennant still getting to me every time I watch this.
I will say that, compared to the careful crafting and ramp up to the awful dystopia seen over the two parts, the resolution is ever so slightly… ridiculous. It’s not terrible, but lots of people praying to satellites to make the Doctor go into Creative Mode and Superman it all back to normal is slightly out there, but I’ll roll with it, purely because of how well-written and brilliantly paced the rest of it is.
2. Blink (3x10)
And here it is. The Bohemian Rhapsody, the Spirited Away, the Remedial Chaos Theory of Doctor Who. The one everyone knows about and the one everyone says is unequivocally the best of them all. And while I definitely love it and I fully agree it’s one of the scariest, most clever and pitch perfectly written episodes, I’m not really of the mind that Doctor Who peaked irreparably in 2007. But it’s still almost the best of the third season though.
Blink is absolutely terrifying. As a Doctorlite AND Companionlite episode, as an experiment in utterly unique sci-fi horror, as an introduction to Doctor Who’s enduring idea of ‘kind murder’ in the Weeping Angels. One of the best original monsters the show has ever conceived, and the reason for me and many others to have real proper nightmares, but it isn’t just the monsters themselves that make this episode so damn scary. It’s Murray Gold’s screeching, subdued soundtrack. It’s the static camera shots of the statues that make you swear that they’ve moved, when maybe they didn’t. But most of all, I think it’s the distance from the Doctor that makes this one so scary. In pretty much every other episode, no matter how impending the threat or how terrifying the baddie, the Doctor is there as a shield, almost like a buffer to stop things getting too frightening. But in Blink, he’s not there and we as an audience are faced with someone who is finding out the nature and the abilities of the threat at the same time we are. And that kind of premise leads me to talking about what I see as one of the most effectively scary scenes of Doctor Who: the full transcript scene in the house. In one line, the Doctor chills me to the bone:
“And that’s it I’m afraid, I’ve got no more from you on the transcript, that’s the last I’ve got. I don’t know what stopped you talking, but I can guess, they’re coming.”
The realisation on Sally’s face, as well as the fact that she now knows something is coming to stop her talking, delivers more suspense than most full episodes strive to in just one line.
And while I’m talking about Sally, her resourcefulness and boundless curiosity carry an episode without the Doctor perfectly. And while she would absolutely be the worst friend imaginable (breaks into your house at 2am, says things like ‘sad is happy for deep people’ like she’s auditioning for Dead Poet’s Society 2), she is a stellar Doctor Who character. It is terrifying and fascinating in equal measure to watch Sally navigate all of this with barely any information while she watches everyone around her succumb to the Angels. And even if Sally never came back and even if the Weeping Angels are never as scary as this again, they were phenomenal to start with.
1. Human Nature / The Family of Blood (3x08-09)
It’s easy enough to sleep on this, considering it is right next to Blink, but (hyperbole at the ready once again) I would call this the best two parter of the show, and it’s definitely in my top 5 of stories as a whole.
Right off the bat, the setting is excellent not only as a backdrop for the invasion of the Family, but for the historical context it lends to the story, and boy does this really benefit from that. I would argue this is pretty much the only episode that blends its historical context completely seamlessly with both its characters and its intention. It explores pre-war England and the attitudes towards war, towards colonialism and people of colour and towards gender expectations of the early 1900s without any of it feeling tacked on or irrelevant. The themes explored in great depth here hit hard and fit with the narrative, and it only makes the unraveling of events feel that much more rooted in something real.
And because of this, the lead actors get chances to shine in some of their best performances in the show. David Tennant’s clueless, stern and slightly backwards John Smith is a whiplash level change in what we’re used to that sets this story apart from everything else in the series. He isn’t the man we’re used to, he’s now a man who believes in how ‘just’ war can be and a man that sanctions the beating of a child in his class. Despite it all though, his tearful farewell is so incredibly moving that I have to praise this episode for allowing sympathetic characters not to appear flawless. The same can be said for Joan Redfern, who acts as a mediator between the Doctor and John Smith as best she can and stands out as one of the most memorable guest appearances we’ve had. And of course, Martha Jones, having to deal with the loss of her friend and the sudden, harsh degradation of a racist era, while trying to protect him and everyone else from the Family of Blood. Freema Agyeman plays every moment of this perfectly and it’s certainly my favourite of Martha’s appearances. I know the Doctor thanked her at the end of the episode, but I really don’t think he thanked her enough.
As yet another ‘best in the series’ superlative for you, the Family of Blood are one of the best one-off villains we’ve had, specifically Harry Lloyd as Jeremy Baines / Son of Mine, who is far too good at portraying the unhinged, otherworldly presence of the Family. The Family of Blood always feel like a credible threat and always breathing down the necks of Martha and John Smith, with each encounter with them on screen from the village dance to the school barricade to their eventual reckoning at the Doctor’s hands, it’s all unbelievably memorable.
But even after all that, the moral centre of this story is still what elevates this above most other episodes. Joan Redfern shattering the Doctor’s conscience in barely a line with her question to the Doctor about his presence causing all of those deaths gives this layers and layers of subtext to delve into. And I know that some people have pointed out that this doesn’t hold up to scrutiny and that the Doctor’s ‘mercy’ is actually kind of backwards when you compare the Doctor just facing the Family rather than trying to be kind and getting everyone in the village killed instead. But I don’t see that as a flaw in the writing or execution in the slightest, all that’s doing is perhaps exposing a fundamental flaw in the Doctor himself, in that his definition of mercy is not always absolute. It’s something that’s brought up much more explicitly and most of the time with less nuance in future episodes, but for me, it’s never executed more perfectly and more painfully than here.
~
And that’s series 3! Join me next time for the fourth series, where I’ll be treasuring the giant wasp episode and giving it the love it sorely deserves. Thanks for reading!
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2020.11.03 10:32 matias2028 The 400 highest-grossing movies in the world excluding re-releases

1 - The Avengers 4 (2019) - $2.797 billion
2 - Avatar (2009) - $2.744 billion
3 - Star Wars 7 (2015) - $2.068 billion
4 - The Avengers 3 (2018) - $2.048 billion
5 - Titanic (1997) - $1.850 billion
6 - Jurassic Park 4 (2015) - $1.670 billion
7 - The Lion King (2019) - $1.656 billion
8 - The Avengers 1 (2012) - $1.518 billion
9 - Fast and Furious 7 (2015) - $1.515 billion
10 - Frozen 2 (2019) - $1.450 billion
11 - The Avengers 2 (2015) - $1.402 billion
12 - Black Panther (2018) - $1.346 billion
13 - Harry Potter 8 (2011) - $1.341 billion
14 - Star Wars 8 (2017) - $1.332 billion
15 - Jurassic Park 5 (2018) - $1.308 billion
16 - Frozen 1 (2013) - $1.280 billion
17 - Beauty and the Beast (2017) - $1.263 billion
18 - The Incredibles 2 (2018) - $1.242 billion
19 - Fast and Furious 8 (2017) - $1.236 billion
20 - Iron Man 3 (2013) - $1.214 billion
21 - Minions (2015) - $1.159 billion
22 - Captain America 3 (2016) - $1.153 billion
23 - Aquaman (2018) - $1.148 billion
24 - The Lord of the Rings 3 (2003) - $1.140 billion
25 - Spider-Man 2 (2019) - $1.131 billion
26 - Captain Marvel (2019) - $1.128 billion
27 - Transformers 3 (2011) - $1.123 billion
28 - Skyfall (2012) - $1.108 billion
29 - Transformers 4 (2014) - $1.104 billion
30 - The Dark Knight Rises (2012) - $1.081 billion
31 - Joker (2019) - $1.074,2 billion
32 - Star Wars 9 (2019) - $1.074 billion
33 - Toy Story 4 (2019) - $1.073 billion
34 - Toy Story 3 (2010) - $1.066,9 billion
35 - Pirates of the Caribbean 2 (2006) - $1.066 billion
36 - Rogue One (2016) - $1.056 billion
37 - Aladdin (2019) - $1.050 billion
38 - Pirates of the Caribbean 4 (2011) - $1.045 billion
39 - Despicable Me 3 (2017) - $1.034 billion
40 - Finding Dory (2016) - $1.028 billion
41 - Alice in Wonderland (2010) - $1.025 billion
42 - Zootopia (2016) - $1.023 billion
43 - The Hobbit 1 (2012) - $1.017 million
44 - The Dark Knight (2008) - $1.003 billion
45 - Harry Potter 7 (2010) - $976 million
46 - Harry Potter 1 (2001) - $974 million
47 - Despicable Me 2 (2013) - $970 million
48 - The Jungle Book (2016) - $966 million
49 - Jumanji 2 (2017) - $962 million
50 - Pirates of the Caribbean 3 (2007) - $960 million
51 - The Hobbit 2 (2013) - $958 million
52 - The Hobbit 3 (2014) - $956 million
53 - Harry Potter 5 (2007) - $941 million
54 - The Lord of the Rings 2 (2002) - $936 million
55 - Harry Potter 6 (2009) - $933 million
56 - Shrek 2 (2004) - $928 million
57 - Star Wars 4 (1999) - $924 million
58 - Jurassic Park 1 (1993) - $912 million
59 - Bohemian Rhapsody (2018) - $903 million
60 - Harry Potter 4 (2005) - $896 million
61 - Spider-Man 3 (2007) - $894 million
62 - Ice Age 3 (2009) - $886 million
63 - The Lord of the Rings 1 (2001) - $883 million
64 - Spectre (2015) - $880,7 million
65 - Spider-Man 1 (2017) - $880 million
66 - Harry Potter 2 (2002) - $878 million
67 - Ice Age 4 (2012) - $877 million
68 - The Secret Life of Pets 1 (2016) - $875 million
69 - Batman vs Superman (2016) - $873 million
70 - Finding Nemo (2003) - $871 million
71 - Wolf Warrior 2 (2017) - $870 million
72 - Star Wars 6 (2005) - $868 million
73 - The Hunger Games 2 (2013) - $865 million
74 - Guardians of the Galaxy 2 (2017) - $863 million
75 - Inside Out (2015) - $857 million
76 - Venom (2018) - $856 million
77 - Thor 3 (2017) - $853 million
78 - Transformers 2 (2009) - $836 million
79 - Twilight 5 (2012) - $829 million
80 - Inception (2010) - $826 million
81 - Wonder Woman (2017) - $821,7 million
82 - Spider-Man 1 (2002) - $821 million
83 - Independence Day 1 (1996) - $817 million
84 - Fantastic Beasts 1 (2016) - $814 million
85 - Shrek 3 (2007) - $813 million
86 - Coco (2017) - $807 million
87 - Jumanji 3 (2019) - $800 million
88 - Harry Potter 3 (2004) - $795 million
89 - Pirates of the Caribbean 5 (2017) - $794 million
90 - Mission Impossible 6 (2018) - $791 million
91 - Indiana Jones 4 (2008) - $790 million
92 - Spider-Man 2 (2004) - $788,9 million
93 - Fast and Furious 6 (2013) - $788 million
94 - Deadpool 1 (2016) - $783 million
95 - Guardians of the Galaxy 1 (2014) - $772 million
96 - 2012 (2009) - $769 million
97 - The Lion King (1994) - $763 million
98 - The Da Vinci Code (2006) - $760 million
99 - Hobbs and Shaw (2019) - $759 million
100 - Maleficent 1 (2014) - $758 million
101 - The Amazing Spider-Man 1 (2012) - $757 million
102 - The Hunger Games 3 (2014) - $755 million
103 - Shrek 4 (2010) - $752 million
104 - Madagascar 3 (2012) - $746,9 million
105 - Suicide Squad (2016) - $746,8 million
106 - X-Men: Days of the Future Past (2014) - $746 million
107 - The Chronicles of Narnia 1 (2005) - $745 million
108 - Monsters University (2013) - $743 million
109 - The Matrix 2 (2003) - $739 million
110 - Up (2009) - $735 million
111 - Deadpool 2 (2018) - $734 million
112 - Ne Zha (2019) - $726 million
113 - Gravity (2013) - $723 million
114 - Captain America 2 (2014) - $714 million
115 - Twilight 4 (2011) - $712 million
116 - Planet of the Apes 2 (2014) - $710 million
117 - Twilight 2 (2009) - $709,8 million
118 - Transformers 1 (2007) - $709 million
119 - The Amazing Spider-Man 2 (2014) - $708 million
120 - It 1 (2017) - $700 million
121 - The Wandering Earth (2019) - $699 million
122 - Twilight 3 (2010) - $698 million
123 - Mission Impossible 4 (2011) - $694,7 million
124 - The Hunger Games 1 (2012) - $694 million
125 - Mission Impossible 5 (2015) - $682 million
126 - Doctor Strange (2016) - $677,7 million
127 - Forrest Gump (1994) - $677 million
128 - Interstellar (2014) - $675 million
129 - The 6th Sense (1999) - $672 million
130 - Man of Steel (2013) - $668 million
131 - Kung Fu Panda 2 (2011) - $665 million
132 - E.T. (1982) - $663 million
133 - Ice Age 2 (2006) - $660 million
134 - The Hunger Games 4 (2015) - $658 million
135 - Justice League (2017) - $657,9 million
136 - Big Hero 6 (2014) - $657 million
137 - Fantastic Beasts 2 (2018) - $654,8 million
138 - Pirates of the Caribbean 1 (2003) - $654 million
139 - Star Wars 5 (2002) - $645 million
140 - Thor 2 (2013) - $644 million
141 - Moana (2016) - $643 million
142 - Sing (2016) - $634 million
143 - Kung Fu Panda 1 (2008) - $631,7 million
144 - The Incredibles 1 (2004) - $631 million
145 - The Martian (2015) - $630 million
146 - Hancock (2008) - $629 million
147 - Fast and Furious 5 (2011) - $626 million
148 - Men in Black 3 (2012) - $624 million
149 - Iron Man 2 (2010) - $623,9 million
150 - Ratatouille (2007) - $623 million
151 - Ant-Man 2 (2018) - $622 million
152 - How to Train Your Dragon 2 (2014) - $621 million
153 - Wolverine 3 (2017) - $619 million
154 - Jurassic Park 2 (1997) - $618 million
155 - The Passion of the Christ (2004) - $611 million
156 - Mamma Mia 1 (2008) - $609,8 million
157 - Life of Pi (2012) - $609 million
158 - Casino Royale (2006) - $606 million
159 - Transformers 5 (2017) - $605 million
160 - Madagascar 2 (2008) - $603,9 million
161 - War of the Worlds (2005) - $603 million
162 - Tangled (2010) - $592 million
163 - Quantum of Solace (2008) - $589,5 million
164 - Men in Black 1 (1997) - $589 million
165 - The Croods (2013) - $587 million
166 - The Hangover 2 (2011) - $586 million
167 - I Am Legend (2007) - $585,4 million
168 - Iron Man 1 (2008) - $585 million
169 - Ready Player One (2018) - $582 million
170 - Operation Red Sea (2018) - $579 million
171 - Night at the Museum 1 (2006) - $574 million
172 - 50 Shades 1 (2015) - $569 million
173 - Kong (2017) - $566 million
174 - The Smurfs 1 (2011) - $563 million
175 - King Kong (2005) - $562 million
176 - Cars 2 (2011) - $559 million
177 - Puss in Boots (2011) - $554 million
178 - The Mermaid (2016) - $553,8 million
179 - Armageddon (1998) - $553 million
180 - The Day After Tomorrow (2004) - $552 million
181 - Ted 1 (2012) - $549 million
182 - American Sniper (2014) - $547 million
183 - Mission Impossible 2 (2000) - $546 million
184 - Detective Chinatown 2 (2018) - $544 million
185 - X-Men: Apocalypse (2016) - $543,9 million
186 - Sherlock Holmes 2 (2011) - $543,8 million
187 - Despicable Me 1 (2010) - $543 million
188 - Cinderella (2015) - $542,3 million
189 - Madagascar 1 (2005) - $542 million
190 - World War Z (2013) - $540 million
191 - Brave (2012) - $538 million
192 - The Simpsons Movie (2007) - $536 million
193 - The Revenant (2015) - $532 million
194 - The Meg (2018) - $530 million
195 - Wreck It Ralph 2 (2018) - $529 million
196 - Monsters Inc (2001) - $528,7 million
197 - Hotel Transylvania 3 (2018) - $528 million
198 - The Boss Baby (2017) - $527 million
199 - Dunkirk (2017) - $525 million
200 - Godzilla 1 (2014) - $524,9 million
201 - Sherlock Holmes 1 (2009) - $524 million
202 - Meet the Fockers (2004) - $522 million
203 - How to Train Your Dragon 3 (2019) - $521,8 million
204 - WALL-E (2008) - $521,3 million
205 - Kung Fu Panda 3 (2016) - $521 million
206 - Ant-Man 1 (2015) - $519 million
207 - Terminator 2 (1991) - $516 million
208 - The Grinch (2018) - $511 million
209 - Ghost (1990) - $505 million
210 - Aladdin (1992) - $504 million
211 - Star Wars 1 (1977) - $503 million
212 - Rio 2 (2014) - $498 million
213 - Troy (2004) - $497 million
214 - How to Train Your Dragon 1 (2010) - $494,8 million
215 - Twister (1996) - $494 million
216 - Oz the Great and Powerful (2013) - $493,3 million
217 - Clash of the Titans 1 (2010) - $493 million
218 - Maleficent 2 (2019) - $491 million
219 - Planet of the Apes 3 (2017) - $490 million
220 - Mr and Mrs Smith (2005) - $487,2 million
221 - Toy Story 2 (1999) - $487 million
222 - Angels and Demons (2009) - $485,9 million
223 - Teenage Mutant Ninja Turtles 1 (2014) - $485 million
224 - Bruce Almighty (2003) - $484,5 million
225 - Shrek 1 (2001) - $484 million
226 - Rio 1 (2011) - $483 million
227 - Saving Private Ryan (1998) - $481,8 million
228 - Planet of the Apes 1 (2011) - $481 million
229 - Home Alone 1 (1990) - $476 million
230 - Charlie and the Chocolate Factory (2005) - $474,9 million
231 - Hotel Transylvania 2 (2015) - $474,8 million
232 - Indiana Jones 3 (1989) - $474 million
233 - San Andreas (2015) - $473,9 million
234 - It 2 (2019) - $473 million
235 - Wreck It Ralph 1 (2012) - $471 million
236 - Jaws (1975) - $470 million
237 - The Hangover 1 (2009) - $468,8 million
238 - The Lego Movie 1 (2014) - $468 million
239 - Bumblebee (2018) - $467,9 million
240 - Star Trek 2 (2013) - $467 million
241 - The Matrix 1 (1999) - $463,5 million
242 - Pretty Woman (1990) - $463 million
243 - Cars 1 (2006) - $461 million
244 - The 800 (2020) - $460,6 million
245 - Gladiator (2000) - $460,5 million
246 - X-Men 3 (2006) - $460 million
247 - National Treasure 2 (2007) - $459 million
248 - Lucy (2014) - $458 million
249 - Mission Impossible 1 (1996) - $457 million
250 - 300 1 (2007) - $456 million
251 - The Last Samurai (2003) - $454 million
252 - Dying to Survive (2018) - $451 million
253 - Ocean's 11 (2001) - $450,7 million
254 - My People My Country (2019) - $450 million
255 - Thor 1 (2011) - $449,3 million
256 - Pearl Harbor (2001) - $449 million
257 - Tarzan (1999) - $448 million
258 - La La Land (2016) - $446 million
259 - Men in Black 2 (2002) - $445 million
260 - Jason Bourne 3 (2007) - $444 million
261 - Alvin and the Chipmunks 2 (2009) - $443 million
262 - Les Miserables (2012) - $441,8 million
263 - Mrs Doubtfire (1993) - $441 million
264 - Terminator 5 (2015) - $440 million
265 - Warcraft (2016) - $439 million
266 - A Star Is Born (2018) - $436 million
267 - The Greatest Showman (2017) - $434 million
268 - Terminator 3 (2003) - $433,3 million
269 - The Mummy 2 (2001) - $433,01 million
270 - Detective Pikachu (2019) - $433 million
271 - Die Another Day (2002) - $431 million
272 - The Secret Life of Pets 2 (2019) - $430 million
273 - Cast Away (2000) - $429 million
274 - Rampage (2018) - $428 million
275 - The Matrix 3 (2003) - $427 million
276 - The Intouchables (2011) - $426 million
277 - Django Unchained (2012) - $425 million
278 - Bad Boys 3 (2020) - $424,6 million
279 - Dances with Wolves (1990) - $424 million
280 - The King's Speech (2010) - $423 million
281 - The Chronicles of Narnia 2 (2008) - $419 million
282 - Sex and the City 1 (2008) - $418 million
283 - The Captain (2019) - $416 million
284 - The Mummy 1 (1999) - $415,9 million
285 - The Chronicles of Narnia 3 (2010) - $415,6 million
286 - Jason Bourne 5 (2016) - $415 million
287 - Wolverine 2 (2013) - $414,8 million
288 - Kingsman 1 (2015) - $414 million
289 - Night at the Museum 2 (2009) - $413 million
290 - Batman 1 (1989) - $411,5 million
291 - Pacific Rim 1 (2013) - $411 million
292 - The Bodyguard (1992) - $410,9 million
293 - Kingsman 2 (2017) - $410 million
294 - The Mummy (2017) - $409 million
295 - Ice Age 5 (2016) - $408,5 million
296 - Signs (2002) - $408 million
297 - X-Men 2 (2003) - $407,7 million
298 - Twilight 1 (2008) - $407 million
299 - Alita (2019) - $404 million
300 - The Mummy 3 (2008) - $403,4 million
301 - Prometheus (2012) - $403 million
302 - Star Wars 2 (1980) - $400,08 million
303 - Tron 2 (2010) - $400 million
304 - Mission Impossible 3 (2006) - $398 million
305 - Snow White and the Huntsman (2012) - $396 million
306 - Mamma Mia 2 (2018) - $395 million
307 - Han Solo (2018) - $392,9 million
308 - The Wolf of Wall Street (2013) - $392 million
309 - Superman Returns (2006) - $391,08 million
310 - Gone with the Wind (1939) - $391 million
311 - Robin Hood (1991) - $390 million
312 - Independence Day 2 (2016) - $389 million
313 - Die Hard 4 (2007) - $388 million
314 - Monster Hunt 1 (2015) - $387 million
315 - Godzilla 2 (2019) - $386,6 million
316 - Home (2015) - $386 million
317 - Star Trek 1 (2009) - $385 million
318 - 1917 (2019) - $384,7 million
319 - Happy Feet 1 (2006) - $384 million
320 - Cars 3 (2017) - $383,9 million
321 - Ice Age 1 (2002) - $383 million
322 - 50 Shades 2 (2017) - $381,54 million
323 - Monsters vs Aliens (2009) - $381,5 million
324 - Back to the Future 1 (1985) - $381 million
325 - Godzilla (1998) - $379 million
326 - True Lies (1994) - $378,8 million
327 - Slumdog Millionaire (2008) - $378 million
328 - Taken 2 (2012) - $376 million
329 - G.I. Joe 2 (2013) - $375,7 million
330 - Spider-Man (2018) - $375 million
331 - Mad Max 4 (2015) - $374,7 million
332 - Star Wars 3 (1983) - $374,59 million
333 - Shark Tale (2004) - $374,5 million
334 - Once Upon a Time in Hollywood (2019) - $374,3 million
335 - What Women Want (2000) - $374 million
336 - The Adventures of Tintin (2011) - $373,9 million
337 - Penguins of Madagascar (2014) - $373,5 million
338 - Wolverine 1 (2009) - $373 million
339 - The Golden Compass (2007) - $372 million
340 - 50 Shades 3 (2018) - $371,9 million
341 - Batman Begins (2005) - $371,8 million
342 - Hitch (2005) - $371,5 million
343 - Terminator 4 (2009) - $371 million
344 - Captain America 1 (2011) - $370,5 million
345 - Edge of Tomorrow (2014) - $370 million
346 - There's Something About Mary (1998) - $369,8 million
347 - Gone Girl (2014) - $369 million
348 - The Fugitive (1993) - $368,8 million
349 - Jurassic Park 3 (2001) - $368,7 million
350 - My Big Fat Greek Wedding 1 (2002) - $368 million
351 - Hello Mr Billionaire (2018) - $366,9 million
352 - Grease (1978) - $366,1 million
353 - Die Hard 3 (1995) - $366 million
354 - Shazam (2019) - $365,9 million
355 - The Nun (2018) - $365,5 million
356 - Alvin and the Chipmunks 1 (2007) - $365 million
357 - Notting Hill (1999) - $363,8 million
358 - A Bug's Life (1998) - $363,25 million
359 - Night at the Museum 3 (2014) - $363,2 million
360 - Toy Story 1 (1995) - $363 million
361 - Ocean's 12 (2004) - $362,7 million
362 - Planet of the Apes (2001) - $362,2 million
363 - The Hangover 3 (2013) - $362 million
364 - The World Is Not Enough (1999) - $361,8 million
365 - Monster Hunt 2 (2018) - $361 million
366 - Fast and Furious 4 (2009) - $360,3 million
367 - My People My Homeland (2020) - $360 million
368 - Noah (2014) - $359,2 million
369 - Karate Kid (2010) - $359 million
370 - Home Alone 2 (1992) - $358,9 million
371 - Hotel Transylvania 1 (2012) - $358,3 million
372 - Minority Report (2002) - $358 million
373 - Your Name (2016) - $357 million
374 - The Legend of Tarzan (2016) - $356,7 million
375 - American Beauty (1999) - $356 million
376 - Rain Man (1988) - $354 million
377 - Indiana Jones 1 (1981) - $353,9 million
378 - Top Gun (1986) - $353,8 million
379 - The Great Gatsby (2013) - $353,6 million
380 - Dumbo (2019) - $353,2 million
381 - Apollo 13 (1995) - $353,1 million
382 - I Robot (2004) - $353 million
383 - Basic Instinct (1992) - $352,9 million
384 - Murder on the Orient Express (2017) - $352,7 million
385 - X-Men: 1st Class (2011) - $352,6 million
386 - The Angry Birds Movie 1 (2016) - $352,2 million
387 - Goldeneye (1995) - $352,1 million
388 - Catch Me If You Can (2002) - $352 million
389 - Now You See Me 1 (2013) - $351,7 million
390 - Hannibal (2001) - $351,6 million
391 - The Mask (1994) - $351,5 million
392 - Peter Rabbit (2018) - $351 million
393 - Speed (1994) - $350 million
394 - Dinosaur (2000) - $349,8 million
395 - Mary Poppins 2 (2018) - $349,5 million
396 - Deep Impact (1998) - $349 million
397 - The Lorax (2012) - $348,8 million
398 - Maze Runner 1 (2014) - $348 million
399 - The Smurfs 2 (2013) - $347,5 million
400 - National Treasure 1 (2004) - $347 million
submitted by matias2028 to boxoffice [link] [comments]


2020.10.26 00:21 matias2028 The 350 highest-grossing movies in the world excluding re-releases

1 - The Avengers 4 (2019) - $2.797 billion
2 - Avatar (2009) - $2.744 billion
3 - Star Wars 7 (2015) - $2.068 billion
4 - The Avengers 3 (2018) - $2.048 billion
5 - Titanic (1997) - $1.850 billion
6 - Jurassic Park 4 (2015) - $1.670 billion
7 - The Lion King (2019) - $1.656 billion
8 - The Avengers 1 (2012) - $1.518 billion
9 - Fast and Furious 7 (2015) - $1.515 billion
10 - Frozen 2 (2019) - $1.450 billion
11 - The Avengers 2 (2015) - $1.402 billion
12 - Black Panther (2018) - $1.346 billion
13 - Harry Potter 8 (2011) - $1.341 billion
14 - Star Wars 8 (2017) - $1.332 billion
15 - Jurassic Park 5 (2018) - $1.308 billion
16 - Frozen 1 (2013) - $1.280 billion
17 - Beauty and the Beast (2017) - $1.263 billion
18 - The Incredibles 2 (2018) - $1.242 billion
19 - Fast and Furious 8 (2017) - $1.236 billion
20 - Iron Man 3 (2013) - $1.214 billion
21 - Minions (2015) - $1.159 billion
22 - Captain America 3 (2016) - $1.153 billion
23 - Aquaman (2018) - $1.148 billion
24 - The Lord of the Rings 3 (2003) - $1.140 billion
25 - Spider-Man 2 (2019) - $1.131 billion
26 - Captain Marvel (2019) - $1.128 billion
27 - Transformers 3 (2011) - $1.123 billion
28 - Skyfall (2012) - $1.108 billion
29 - Transformers 4 (2014) - $1.104 billion
30 - The Dark Knight Rises (2012) - $1.081 billion
31 - Joker (2019) - $1.074,2 billion
32 - Star Wars 9 (2019) - $1.074 billion
33 - Toy Story 4 (2019) - $1.073 billion
34 - Toy Story 3 (2010) - $1.066,9 billion
35 - Pirates of the Caribbean 2 (2006) - $1.066 billion
36 - Rogue One (2016) - $1.056 billion
37 - Aladdin (2019) - $1.050 billion
38 - Pirates of the Caribbean 4 (2011) - $1.045 billion
39 - Despicable Me 3 (2017) - $1.034 billion
40 - Finding Dory (2016) - $1.028 billion
41 - Alice in Wonderland (2010) - $1.025 billion
42 - Zootopia (2016) - $1.023 billion
43 - The Hobbit 1 (2012) - $1.017 million
44 - The Dark Knight (2008) - $1.003 billion
45 - Harry Potter 7 (2010) - $976 million
46 - Harry Potter 1 (2001) - $974 million
47 - Despicable Me 2 (2013) - $970 million
48 - The Jungle Book (2016) - $966 million
49 - Jumanji 2 (2017) - $962 million
50 - Pirates of the Caribbean 3 (2007) - $960 million
51 - The Hobbit 2 (2013) - $958 million
52 - The Hobbit 3 (2014) - $956 million
53 - Harry Potter 5 (2007) - $941 million
54 - The Lord of the Rings 2 (2002) - $936 million
55 - Harry Potter 6 (2009) - $933 million
56 - Shrek 2 (2004) - $928 million
57 - Star Wars 4 (1999) - $924 million
58 - Jurassic Park 1 (1993) - $912 million
59 - Bohemian Rhapsody (2018) - $903 million
60 - Harry Potter 4 (2005) - $896 million
61 - Spider-Man 3 (2007) - $894 million
62 - Ice Age 3 (2009) - $886 million
63 - The Lord of the Rings 1 (2001) - $883 million
64 - Spectre (2015) - $880,7 million
65 - Spider-Man 1 (2017) - $880 million
66 - Harry Potter 2 (2002) - $878 million
67 - Ice Age 4 (2012) - $877 million
68 - The Secret Life of Pets 1 (2016) - $875 million
69 - Batman vs Superman (2016) - $873 million
70 - Finding Nemo (2003) - $871 million
71 - Wolf Warrior 2 (2017) - $870 million
72 - Star Wars 6 (2005) - $868 million
73 - The Hunger Games 2 (2013) - $865 million
74 - Guardians of the Galaxy 2 (2017) - $863 million
75 - Inside Out (2015) - $857 million
76 - Venom (2018) - $856 million
77 - Thor 3 (2017) - $853 million
78 - Transformers 2 (2009) - $836 million
79 - Twilight 5 (2012) - $829 million
80 - Inception (2010) - $826 million
81 - Wonder Woman (2017) - $821,7 million
82 - Spider-Man 1 (2002) - $821 million
83 - Independence Day 1 (1996) - $817 million
84 - Fantastic Beasts 1 (2016) - $814 million
85 - Shrek 3 (2007) - $813 million
86 - Coco (2017) - $807 million
87 - Jumanji 3 (2019) - $800 million
88 - Harry Potter 3 (2004) - $795 million
89 - Pirates of the Caribbean 5 (2017) - $794 million
90 - Mission Impossible 6 (2018) - $791 million
91 - Indiana Jones 4 (2008) - $790 million
92 - Spider-Man 2 (2004) - $788,9 million
93 - Fast and Furious 6 (2013) - $788 million
94 - Deadpool 1 (2016) - $783 million
95 - Guardians of the Galaxy 1 (2014) - $772 million
96 - 2012 (2009) - $769 million
97 - The Lion King (1994) - $763 million
98 - The Da Vinci Code (2006) - $760 million
99 - Hobbs and Shaw (2019) - $759 million
100 - Maleficent 1 (2014) - $758 million
101 - The Amazing Spider-Man 1 (2012) - $757 million
102 - The Hunger Games 3 (2014) - $755 million
103 - Shrek 4 (2010) - $752 million
104 - Madagascar 3 (2012) - $746,9 million
105 - Suicide Squad (2016) - $746,8 million
106 - X-Men: Days of the Future Past (2014) - $746 million
107 - The Chronicles of Narnia 1 (2005) - $745 million
108 - Monsters University (2013) - $743 million
109 - The Matrix 2 (2003) - $739 million
110 - Up (2009) - $735 million
111 - Deadpool 2 (2018) - $734 million
112 - Ne Zha (2019) - $726 million
113 - Gravity (2013) - $723 million
114 - Captain America 2 (2014) - $714 million
115 - Twilight 4 (2011) - $712 million
116 - Planet of the Apes 2 (2014) - $710 million
117 - Twilight 2 (2009) - $709,8 million
118 - Transformers 1 (2007) - $709 million
119 - The Amazing Spider-Man 2 (2014) - $708 million
120 - It 1 (2017) - $700 million
121 - The Wandering Earth (2019) - $699 million
122 - Twilight 3 (2010) - $698 million
123 - Mission Impossible 4 (2011) - $694,7 million
124 - The Hunger Games 1 (2012) - $694 million
125 - Mission Impossible 5 (2015) - $682 million
126 - Doctor Strange (2016) - $677,7 million
127 - Forrest Gump (1994) - $677 million
128 - Interstellar (2014) - $675 million
129 - The 6th Sense (1999) - $672 million
130 - Man of Steel (2013) - $668 million
131 - Kung Fu Panda 2 (2011) - $665 million
132 - E.T. (1982) - $663 million
133 - Ice Age 2 (2006) - $660 million
134 - The Hunger Games 4 (2015) - $658 million
135 - Justice League (2017) - $657,9 million
136 - Big Hero 6 (2014) - $657 million
137 - Fantastic Beasts 2 (2018) - $654,8 million
138 - Pirates of the Caribbean 1 (2003) - $654 million
139 - Star Wars 5 (2002) - $645 million
140 - Thor 2 (2013) - $644 million
141 - Moana (2016) - $643 million
142 - Sing (2016) - $634 million
143 - Kung Fu Panda 1 (2008) - $631,7 million
144 - The Incredibles 1 (2004) - $631 million
145 - The Martian (2015) - $630 million
146 - Hancock (2008) - $629 million
147 - Fast and Furious 5 (2011) - $626 million
148 - Men in Black 3 (2012) - $624 million
149 - Iron Man 2 (2010) - $623,9 million
150 - Ratatouille (2007) - $623 million
151 - Ant-Man 2 (2018) - $622 million
152 - How to Train Your Dragon 2 (2014) - $621 million
153 - Wolverine 3 (2017) - $619 million
154 - Jurassic Park 2 (1997) - $618 million
155 - The Passion of the Christ (2004) - $611 million
156 - Mamma Mia 1 (2008) - $609,8 million
157 - Life of Pi (2012) - $609 million
158 - Casino Royale (2006) - $606 million
159 - Transformers 5 (2017) - $605 million
160 - Madagascar 2 (2008) - $603,9 million
161 - War of the Worlds (2005) - $603 million
162 - Tangled (2010) - $592 million
163 - Quantum of Solace (2008) - $589,5 million
164 - Men in Black 1 (1997) - $589 million
165 - The Croods (2013) - $587 million
166 - The Hangover 2 (2011) - $586 million
167 - I Am Legend (2007) - $585,4 million
168 - Iron Man 1 (2008) - $585 million
169 - Ready Player One (2018) - $582 million
170 - Operation Red Sea (2018) - $579 million
171 - Night at the Museum 1 (2006) - $574 million
172 - 50 Shades 1 (2015) - $569 million
173 - Kong (2017) - $566 million
174 - The Smurfs 1 (2011) - $563 million
175 - King Kong (2005) - $562 million
176 - Cars 2 (2011) - $559 million
177 - Puss in Boots (2011) - $554 million
178 - The Mermaid (2016) - $553,8 million
179 - Armageddon (1998) - $553 million
180 - The Day After Tomorrow (2004) - $552 million
181 - Ted 1 (2012) - $549 million
182 - American Sniper (2014) - $547 million
183 - Mission Impossible 2 (2000) - $546 million
184 - Detective Chinatown 2 (2018) - $544 million
185 - X-Men: Apocalypse (2016) - $543,9 million
186 - Sherlock Holmes 2 (2011) - $543,8 million
187 - Despicable Me 1 (2010) - $543 million
188 - Cinderella (2015) - $542,3 million
189 - Madagascar 1 (2005) - $542 million
190 - World War Z (2013) - $540 million
191 - Brave (2012) - $538 million
192 - The Simpsons Movie (2007) - $536 million
193 - The Revenant (2015) - $532 million
194 - The Meg (2018) - $530 million
195 - Wreck It Ralph 2 (2018) - $529 million
196 - Monsters Inc (2001) - $528,7 million
197 - Hotel Transylvania 3 (2018) - $528 million
198 - The Boss Baby (2017) - $527 million
199 - Dunkirk (2017) - $525 million
200 - Godzilla 1 (2014) - $524,9 million
201 - Sherlock Holmes 1 (2009) - $524 million
202 - Meet the Fockers (2004) - $522 million
203 - How to Train Your Dragon 3 (2019) - $521,8 million
204 - WALL-E (2008) - $521,3 million
205 - Kung Fu Panda 3 (2016) - $521 million
206 - Ant-Man 1 (2015) - $519 million
207 - Terminator 2 (1991) - $516 million
208 - The Grinch (2018) - $511 million
209 - Ghost (1990) - $505 million
210 - Aladdin (1992) - $504 million
211 - Star Wars 1 (1977) - $503 million
212 - Rio 2 (2014) - $498 million
213 - Troy (2004) - $497 million
214 - How to Train Your Dragon 1 (2010) - $494,8 million
215 - Twister (1996) - $494 million
216 - Oz the Great and Powerful (2013) - $493,3 million
217 - Clash of the Titans 1 (2010) - $493 million
218 - Maleficent 2 (2019) - $491 million
219 - Planet of the Apes 3 (2017) - $490 million
220 - Mr and Mrs Smith (2005) - $487,2 million
221 - Toy Story 2 (1999) - $487 million
222 - Angels and Demons (2009) - $485,9 million
223 - Teenage Mutant Ninja Turtles 1 (2014) - $485 million
224 - Bruce Almighty (2003) - $484,5 million
225 - Shrek 1 (2001) - $484 million
226 - Rio 1 (2011) - $483 million
227 - Saving Private Ryan (1998) - $481,8 million
228 - Planet of the Apes 1 (2011) - $481 million
229 - Home Alone 1 (1990) - $476 million
230 - Charlie and the Chocolate Factory (2005) - $474,9 million
231 - Hotel Transylvania 2 (2015) - $474,8 million
232 - Indiana Jones 3 (1989) - $474 million
233 - San Andreas (2015) - $473,9 million
234 - It 2 (2019) - $473 million
235 - Wreck It Ralph 1 (2012) - $471 million
236 - Jaws (1975) - $470 million
237 - The Hangover 1 (2009) - $468,8 million
238 - The Lego Movie 1 (2014) - $468 million
239 - Bumblebee (2018) - $467,9 million
240 - Star Trek 2 (2013) - $467 million
241 - The Matrix 1 (1999) - $463,5 million
242 - Pretty Woman (1990) - $463 million
243 - Cars 1 (2006) - $461 million
244 - The 800 (2020) - $460,6 million
245 - Gladiator (2000) - $460,5 million
246 - X-Men 3 (2006) - $460 million
247 - National Treasure 2 (2007) - $459 million
248 - Lucy (2014) - $458 million
249 - Mission Impossible 1 (1996) - $457 million
250 - 300 1 (2007) - $456 million
251 - The Last Samurai (2003) - $454 million
252 - Dying to Survive (2018) - $451 million
253 - Ocean's 11 (2001) - $450,7 million
254 - My People My Country (2019) - $450 million
255 - Thor 1 (2011) - $449,3 million
256 - Pearl Harbor (2001) - $449 million
257 - Tarzan (1999) - $448 million
258 - La La Land (2016) - $446 million
259 - Men in Black 2 (2002) - $445 million
260 - Jason Bourne 3 (2007) - $444 million
261 - Alvin and the Chipmunks 2 (2009) - $443 million
262 - Les Miserables (2012) - $441,8 million
263 - Mrs Doubtfire (1993) - $441 million
264 - Terminator 5 (2015) - $440 million
265 - Warcraft (2016) - $439 million
266 - A Star Is Born (2018) - $436 million
267 - The Greatest Showman (2017) - $434 million
268 - Terminator 3 (2003) - $433,3 million
269 - The Mummy 2 (2001) - $433,01 million
270 - Detective Pikachu (2019) - $433 million
271 - Die Another Day (2002) - $431 million
272 - The Secret Life of Pets 2 (2019) - $430 million
273 - Cast Away (2000) - $429 million
274 - Rampage (2018) - $428 million
275 - The Matrix 3 (2003) - $427 million
276 - The Intouchables (2011) - $426 million
277 - Django Unchained (2012) - $425 million
278 - Bad Boys 3 (2020) - $424,6 million
279 - Dances with Wolves (1990) - $424 million
280 - The King's Speech (2010) - $423 million
281 - The Chronicles of Narnia 2 (2008) - $419 million
282 - Sex and the City 1 (2008) - $418 million
283 - The Captain (2019) - $416 million
284 - The Mummy 1 (1999) - $415,9 million
285 - The Chronicles of Narnia 3 (2010) - $415,6 million
286 - Jason Bourne 5 (2016) - $415 million
287 - Wolverine 2 (2013) - $414,8 million
288 - Kingsman 1 (2015) - $414 million
289 - Night at the Museum 2 (2009) - $413 million
290 - Batman 1 (1989) - $411,5 million
291 - Pacific Rim 1 (2013) - $411 million
292 - The Bodyguard (1992) - $410,9 million
293 - Kingsman 2 (2017) - $410 million
294 - The Mummy (2017) - $409 million
295 - Ice Age 5 (2016) - $408,5 million
296 - Signs (2002) - $408 million
297 - X-Men 2 (2003) - $407,7 million
298 - Twilight 1 (2008) - $407 million
299 - Alita (2019) - $404 million
300 - The Mummy 3 (2008) - $403,4 million
301 - Prometheus (2012) - $403 million
302 - Star Wars 2 (1980) - $400,08 million
303 - Tron 2 (2010) - $400 million
304 - Mission Impossible 3 (2006) - $398 million
305 - Snow White and the Huntsman (2012) - $396 million
306 - Mamma Mia 2 (2018) - $395 million
307 - Han Solo (2018) - $392,9 million
308 - The Wolf of Wall Street (2013) - $392 million
309 - Superman Returns (2006) - $391,08 million
310 - Gone with the Wind (1939) - $391 million
311 - Robin Hood (1991) - $390 million
312 - Independence Day 2 (2016) - $389 million
313 - Die Hard 4 (2007) - $388 million
314 - Monster Hunt (2015) - $387 million
315 - Godzilla 2 (2019) - $386,6 million
316 - Home (2015) - $386 million
317 - Star Trek 1 (2009) - $385 million
318 - 1917 (2019) - $384,7 million
319 - Happy Feet 1 (2006) - $384 million
320 - Cars 3 (2017) - $383,9 million
321 - Ice Age 1 (2002) - $383 million
322 - 50 Shades 2 (2017) - $381,54 million
323 - Monsters vs Aliens (2009) - $381,5 million
324 - Back to the Future 1 (1985) - $381 million
325 - Godzilla (1998) - $379 million
326 - True Lies (1994) - $378,8 million
327 - Slumdog Millionaire (2008) - $378 million
328 - Taken 2 (2012) - $376 million
329 - G.I. Joe 2 (2013) - $375,7 million
330 - Spider-Man (2018) - $375 million
331 - Mad Max 4 (2015) - $374,7 million
332 - Star Wars 3 (1983) - $374,59 million
333 - Shark Tale (2004) - $374,5 million
334 - Once Upon a Time in Hollywood (2019) - $374,3 million
335 - What Women Want (2000) - $374 million
336 - The Adventures of Tintin (2011) - $373,9 million
337 - Penguins of Madagascar (2014) - $373,5 million
338 - Wolverine 1 (2009) - $373 million
339 - The Golden Compass (2007) - $372 million
340 - 50 Shades 3 (2018) - $371,9 million
341 - Batman Begins (2005) - $371,8 million
342 - Hitch (2005) - $371,5 million
343 - Terminator 4 (2009) - $371 million
344 - Captain America 1 (2011) - $370,5 million
345 - Edge of Tomorrow (2014) - $370 million
346 - There's Something About Mary (1998) - $369,8 million
347 - Gone Girl (2014) - $369 million
348 - The Fugitive (1993) - $368,8 million
349 - Jurassic Park 3 (2001) - $368,7 million
350 - My Big Fat Greek Wedding 1 (2002) - $368 million
submitted by matias2028 to boxoffice [link] [comments]


2020.10.23 16:42 JAMESFAULKNERSS Production Of Sherlock Holmes 3 is On Hold

Sherlock Holmes 3 is shelved for an indefinite period, revealed the director Dexter Fletcher. Originally the third project of the Sherlock Holmes franchise was scheduled to be released on 22 December 2021, but now the production has been halted. The first film of the franchise was released on 25 December 2009 in Ireland, the Atlantic, the Pacific, and the United Kingdom.
📷The first film was based on the character of the same name created by Sir Arthur Conan Doyle. Sherlock Holmes is directed by Guy Ritchie and produced by Lionel Wigram, Joel Silver, Dan Lin, and Susan Downey.
Robert Downey Jr. is the movie’s protagonist and Rachel McAdams, Jude Law, Mark Strong, and Eddie Marsan. The film was nominated for the Academy Awards under Best Art Direction and Best Original Score.
The first movie’s plot follows Sherlock Holmes, a private detective, and his best friend, Dr. Watson. They save a woman from getting murdered by Lord Henry Blackwood, who has killed five other women in this process. The second film was also exploring the friendship between Holmes and Watson while solving a case. The sequel was released on 16 December 2011 with the same cast Law and Downey. Both films received mixed reviews from critics. However, the third film is under wraps, and the studio has not revealed any details regarding it.
Many writers submitted their version of the script, but Warner Bros. did not like their ideas. Later, the studio finalized Chris Brancato to write the final script. Brancato is known for his work in Narcos, Law, and Order: Special Victims Unit, and Narcos: Mexico. And the director’s chair is filled by Dexter Fletcher, who replaced Guy Ritchie, the director of the first two parts. Fletcher is an English actor and director; he appeared in a crime comedy-drama titled Smoking Guns. He made his directorial debut with Wild Bill and gave masterpieces like Bohemian Rhapsody, Sunshine on Leith, and Rocketman.
In the recent interview with Celebrity Catch Up, Fletcher shared that the film is on the back burner, and things are not yet clear.
The industry is at standstill mode, and Downey has bigger plans for the Sherlock Holmes franchise. And since he is finally free with his busy schedule as Iron Man for Marvel Cinematic Universe, Downey wants to make the franchise as big as that. This could be one reason for the delay in the production as Downey might be working on the betterment of the franchise.
Source-Production Of Sherlock Holmes 3 is On Hold
submitted by JAMESFAULKNERSS to u/JAMESFAULKNERSS [link] [comments]


2020.10.17 20:20 Analvolcano69420 Hall of Fame on the website?

Was listening to an old Halloween LCB episode with trill withers and coley and Jeff mentioned that they wanted to start a hall of fame for scenes movies castings and so on. That would be a pretty cool feature to add to the movierankings website any thoughts on adding it?
Ps. Jeff Lowe had a big whiff when talking about Bohemian Rhapsody at the beginning saying Freddie Mercury was dead half the movie
submitted by Analvolcano69420 to LightsCameraPodcast [link] [comments]


2020.10.10 15:43 bowlerhatbear I dreamt I met Leonardo DiCaprio, and (nearly) won an Oscar for my work on The Wolf Of Wall Street

I was sat at a table in a cafe with Leonardo DiCaprio, the fat black guy from The Office (he was playing Matthew McConaughey), and a few other people. We were taking a break from filming The Wolf Of Wall Street (I think I was an extra or an assistant)
Behind us on another table were Rami Malek and the cast of the Freddie Mercury film. They were singing along to Bohemian Rhapsody (I assume to practice for the film, somehow). The singing/music was quite loud, and we couldn't hear each other at the table.
I suggested to Leonardo that the Wolf Of Wall Street should have a scene where all the characters sing Bohemian Rhapsody, because it's this big post-modern statement about meaning or life or something. The director came back to the table (it wasn't Martin Scorsese, it was just some guy) and interrupted me talking to Leo.
Leo suggested that I suggest my idea to the director. My words were
Me: Well I was just talking to, uh ... (I look at Leo)
Leo: Mr. DiCaprio.
Me: talking to Mr. DiCaprio, and I was thinking ... [suggestion]
So I ran the idea past the director, and he seemed to like it.
Later at award ceremony, possibly the Oscars, the Bohemian Rhapsody scene in Wolf Of Wall Street won an award - something like Best Scene etc. - and the director and Leo took the stage. In his speech the director announced 'this was entirely my idea' and I woke up really annoyed that he hadn't credited me for my modest contribution to cinema
submitted by bowlerhatbear to Dreams [link] [comments]


2020.09.28 14:55 Angelopolagej Diving into TheShuckmeister (Part 2)

DIVING INTO SO - PART 2

Volume 11
I didn’t include what he says about this Volume in the last video since, all he says there, is sound. What he says about the Volume in his second video, is where problems arise.
According to Shuck, what happens to Pucci here, ”is where this Part derails”. For the reason that Pucci fuses with the baby, instead of taking care of it. It’s JoJo. What did you expect? Araki is all about surprises, unexpected twists and bizarreness. There’s nothing wrong with what we got, because of the plan ALWAYS being Heaven. This argument of his really feels like a biased complaint, rather than something objective and constructive. He didn’t like it, so “it bad”.
We then have him address the ”Pucci Problem”. Shuck believes that Pucci has nowhere to go, while there are 7 Volumes remaining. Pucci never had to go too far and he doesn’t have to have development every Volume. Besides, it’s like... a week until the New Moon, so there’s really nothing major that can happen. His motive, while complex, is clear. What we learn later on, is Pucci’s backstory. The cause of Stone Ocean. We get a perfect image of how Pucci was before and after he became part of the Joestar-Brando feud. Out of all the JoJo villains, Pucci had the most “screen-time”, so I don’t see an issue with him, at all. Don’t really have anything more to say here, because there isn’t anything TO say. There’s nothing worth “fixing” about Pucci. In regards to this, Shuck adds an editor’s note:
”I know there’s still the Weather backstory, but taking Weather’s memory doesn’t justify Pucci’s motivation to attain Heaven”
What??? Taking Weather’s memory was because Heavy Weather posed a threat to humanity (primarily to Pucci, himself). Pucci did something heroic, whether intentionally or not (I’ve already talked about this, in my other post in reference to Shuck’s claim that Pucci is a “one-note villain”). It literally had NOTHING to do with Pucci’s later goal of attaining Heaven.
Following this, Shuck once again, I would argue, demonstrates how he didn’t understand anything. He unironically compares Koichi’s Stand evolution to Pucci’s, all the while having this annoying attitude, speaking as if he’s right about everything. I don’t want to say this kind of thing, but I think he made an idiot out of himself (like with the whole “Araki Forgot” situation, after which Hamon Beat proved it all wrong).
Stands like Koichi’s, remain the same Stand, even after evolving. The ability of every Act, will just build onto the core ability of the initial Stand. Also, previous Acts can be used even after the Stand evolves to a new one. In Pucci’s case, attaining Heaven is noticeably different. While C-Moon bears some resemblance to Whitesnake, it has a completely different ability. Made in Heaven is the desired result with yet another, final ability. Unlike with Act-Stands, Pucci couldn’t use his previous Stand abilities anymore. The fact that the discs still remained, even after Whitesnake was no more, is because they are physical objects, visible/tangible by anyone. He still couldn’t make discs with C-Moon, or MiH. Nor could he manipulate Gravity, with MiH, in the same way as with C-Moon.
And to counter his sleazy statement that Pucci’s Stand evolution serves as an ”excuse for development” - It doesn’t. It happened for the sake of there being an extra fight before the finale (an amazing one, at that) and was merely a stage in his Stand’s evolution. This is because his Stand evolves when a certain criteria is met (being under the influence of the Moon’s Gravity). Act-Stand evolutions have to do with the user’s spiritual development, because it shows how much they’ve grown (as a person).
When he talks about the Road to Heaven and the 14 Phrases, I agree. This whole thing, like DIO’s diary, came out of nowhere. I feel like this was just Araki trying to make it complex, seeming like a process, rather than have it just be: “Go to this location and boom! Heaven!” The way Araki did it, adds mysticism to it, though. I’d say this isn’t something many take issue with, but merely accept it as it is. It still doesn’t affect anything, other than bring up the question of how DIO came to know all of this. What’s also kind of ironic, is that Shuck complains about the 14 Phrases not having musical references, and the use of Rhinoceros Beetle 4 times. Couldn’t the 4 beetles be a reference to... well... The Beatles? The band consisting of 4 members, called: The BEATLES? No? OK.
Volume 12
”Jailhouse Rock is a cool Stand that is handicapped by a bad fight” - It is at this point, where I really have to question Shuck’s sanity. He can hate the fight. It’s the other things he says, that shocked me. He starts rambling, and mockingly laughing, at ”this Part” and ”these narrative decisions”. The point of contention here, is that he’s baffled by the fact that, only AFTER MiuMiu is defeated, do Annasui and Weather ”materialize” in front of the Prison (instead of escaping at any point prior). So, he forgot the whole thing with how Jailhouse Rock covers the prison walls, making anyone, who attempts to escape, forget about it? Stand users could easily break out of the prison, but MiuMiu is the one who stands in their way. No one knows who she is and no one knows they even tried to escape, in the first place. I do agree that not showing the actual prison break is a miss. However, that might’ve been because Araki didn’t want to waste time on something like that. Maybe the actual prison break wasn’t all that spectacular, since MiuMiu was already dealt with. The group probably just walked out.
What I want to tackle here, in regards to what he says for his rewrite, is the whole Weather’s memory thing. Weather is meant to be a stoic block of wood. Comparing his case to Part 8 Josuke, is unreasonable, since their situations are very different. Josuke basically became a new person, while Weather lost a part of himself along with the memories. How can he exhibit emotions, when he doesn’t know/feel anything about himself. It’s akin to Alzheimer’s.
To Shuck, the main themes of SO are ”futility, tragedy and despair”. I personally don’t know what he’s on about. Out of these, only tragedy is a present theme. What I believe are the true, main themes of Stone Ocean, are:
• Gravity, in both scientific and metaphysical sense. Scientifically, it is the true nature of MiH’s ability. On a metaphysical level, it is the attraction between people (fated encounters). DIO’s philosophical question to Pucci: ”Do you believe in Gravity?” - has a double meaning. One is belief in actual Gravity (foreshadowing C-Moon and MiH), while the other is belief in the aforementioned attraction between people.
• Family and familial bonds, which is also presented on a physical level: Jotaro cutting Jolyne’s name on his arm, which then appears on hers; Weather getting a Stand, because Pucci got pierced; Weather getting the Joestar birthmark, because Pucci fused with the Green Baby (technically DIO), getting one himself.
• Legacy. More accurately: Legacy without bloodline. Probably the most obvious examples are Pucci and Emporio. Both weren’t related (by blood) to the Joestars or Brandos, yet they were the ones who picked up where the two families left off. Pucci (almost) ensured Heaven, originally DIO’s goal, while Emporio defeated Pucci through Jolyne’s and Weather’s sacrifices).
• Tragedy. Shuck lists examples in the video. To sum up, it’s basically found within all of the main characters’ pasts.
However, the one major thing he gets wrong, is that the protagonists failed in the end (explanation coming up in due time). And, AGAIN, that Dragon’s Dream has to do with Fate. It doesn’t.
On his whole rambling, where he compares DIO’s sons to Star Wars sequels and whatnot... it’s bizarre. I just don’t get it. He admits that his 5-minute video is bad, but still doesn’t provide anything, that would explain to me, why he hates the sons so much. It feels like he has his expectations set unreasonably high, for Part 6 (in a lot of aspects). He believes that focus is shifted on these three new characters, when it really isn’t. They’re obstacles in our protagonists’ journey, so they’re defeated and we move on. Every minor antagonist is the focus of their own fight. Versace’s backstory takes up time from his fight, true, but the other two are purely fight-focused. He even says they instill disgust (WHEN THAT’S THE WHOLE POINT!). I already talked about the sons’ purpose, so I won’t be repeating myself.
Volume 13
I agree about Sky High and Bohemian Rhapsody (the latter one was only exciting on a first read).
I guess the only other thing I can say here, is that he’s mostly wrong about censorship, when BR gets animated. The characters that appear are from fairy tales, along with historical art pieces (like the Venus and Van Gogh’s portrait). Mickey and Spider-Man are mentioned (and we see a tiny bit of each of them), so those might be left out in the anime. It’s not a big deal.
Volume 14
Like with the idea (in his rewrite) about Hermès swiping DIO’s bone, off of Sports Max, Shuck gets another “brilliant” idea. Pucci gives Weather’s memory disc to Rykiel... for no logical reason, other than for Jolyne to be able to get it at the end of the fight. This is, what I’d consider, bad writing. If you’re going to go and make a rewrite, at least think up all of the main plot points and outcomes, before criticizing a professional story-teller. Shuck came off as a hypocrite, here.
Volume 15
OK. The whole rewrite section is just... unnecessary. I know I’m repeating myself, but I just keep questioning Shuck’s perspective. Yes, the KKK could’ve been left out/replaced, and nothing would’ve changed. I still hold on to the idea that he is pointing his focus, too much, on inconsequential details. Doesn’t matter if KKK lynching’s weren’t a thing in the 80’s, it’s fiction. A more proper reason, could be that the lynching was just Araki trying to make it unsettling. It feels as if Shuck hasn’t got anything to criticize, so he forces himself to manufacture problems to pick at.
And we come to the birthmark “issue”. It’s not dumb. As I’ve mentioned, a big theme are familial bonds, which Araki takes to the extreme (like Doppio’s split-personality disorder). Weather gets the Joestar birthmark, because Pucci fused with the Green Baby (technically DIO), getting one himself. Their brotherly connection is what ends up giving Weather the birthmark. It’s just a new concept Araki introduced (exclusively) for Part 6.
Volume 16
What we get to now, is extremely cheezy/fan-service rewrite territory. I won’t dig into it, but will only point out Shuck’s “crime”: effectively removing the C-Moon fight, while making MiH a less focused one. On it’s own, MiH had intimidation and finality. The way the group worked together, utilizing their Stands (especially Emporio), to avoid Pucci was tense. It had everything you’d want from a series finale (at the time).
Volume 17
What Shuck has in mind for a final battle is, in my opinion, a catastrophe. So, instead of having Jolyne and Jotaro fight together, he separates them. This is mainly due to his rewrite having DIO return. This sacrifices the important moment where Jolyne understands that Jotaro was only trying to shield her from all this, by staying away from home. What Shuck opts for, just seems like a very generic shounen final battle. See, this is where I think he is the one who set something up for the whole story, and it having no payoff in the end, apart from fan-service. DIO is brought back (what I see as an already horrible idea) at the very end, only to die AGAIN. That makes the whole process of guarding the Green Baby (etc.) useless. Meanwhile, Araki has it set up where it seemed like Pucci would actually win, until the very end. Making his whole journey and struggles pay off.
Here is another instance where, I believe, Shuck failed to understand SO. The ending of Part 6, in his interpretation, has the Universe reset 3 times. Except it didn’t (not even once). I’ll try to give a comprehensive explanation:
There is a distinct difference between a “Universe reset” (which never happens) and an “emergence of a new world” (which does).
When the new world is formed, the reset doesn’t happen yet. The confusing thing is that, the moment that happens, Pucci says that the full acceleration was complete. This is retconned out, because later, Pucci states that it, in fact, didn’t go through the full cycle. He stopped the acceleration in order to properly deal with Emporio. This happens at the “beginning of Stone Ocean” in his new Universe, so the cycle isn’t complete. He did this, because Emporio was fated to leave the prison and escape Pucci. At the beginning of one of the Chapters, we’re given a diagram of the “timeline”, showing the loop MiH’s acceleration has to go through in order to reset.
Important to note is that people, that are killed during the acceleration, don’t get transferred to the new Universe, but stay in the old one (both body and soul). The reason we see “discount” Jolyne and Jotaro is because those are replacements for the originals. I see this as the Universe itself compensating for the absence of those people that didn’t make it into the new Universe.
Upon entering the ghost room Pucci, once again, accelerates time. This was because Emporio got Weather Report and retaliated. Pucci panics when he’s being killed, because the acceleration didn’t reach the full cycle, ie. reaching the exact moment in the new Universe, where it started in the old one (Cape Canaveral). He says that mankind’s fate will be altered. We later learn that this means that everyone would revert to the previous (original) Universe, but that the fate of the people Pucci interacted with, will be changed. Which it certainly does. If he was successful, then he wouldn’t have freaked out. He even says that the acceleration isn’t complete.
Everyone is back to the original Universe, although with different lives, different fates (just as Pucci said they would). Without any memories of things that took place during Part 6. No one but Emporio is aware of what happened, but they’re all back (which, of course, implies their souls). This was confirmed by Araki. Meanwhile, Pucci ceases to exist, trapped in his (now collapsing) Universe. This is why Pucci didn’t actually manage to reset.
I should also clarify as to why Made in Heaven has a B in Power, since a lot of people are confused by this. MiH’s ability is related to Einstein’s “Theory of Relativity”, ie. the weaker the Gravity, the faster Time passes (and vice versa). The time acceleration is merely a by-product of MiH’s true ability: “absorption of Gravity”. As stated in it’s Stand card, MiH absorbs the Gravity of both the Earth and Moon, in order to accelerate time. The time acceleration affects only non-biological things. Pucci is an exception, being able to move “with” the acceleration. The acceleration does not age living things, only non-living ones. It’s all about the perception of time. Pucci seems to be moving fast, but he’s actually walking/running normally. To him, everyone moves slower, because they can’t keep up with the acceleration. So MiH can’t have Power above B, because it actually moves normally, not at the speed of infinity. There's no extra momentum to it's attacks.
Whew! There’s the explanation.
My final (huge) issue, with his rewrite, is that Jolyne runs away from Pucci (the same way Emporio did, before getting to the ghost room). I get the feeling that Shuck actively wants to make Jolyne a lesser character. Every Joestar, when faced with impossible odds, will face the danger head on. Why would you have Jolyne NOT follow this heroic behaviour? She’s already exhibited self-sacrifice, throughout her story. On a more cynical note, she’s going to die anyway. So, why go through this whole humiliation of her, as the final Joestar, running away instead of facing even certain death, when she’ll perish? Better to go out fighting, than running, after which a dead man’s Stand will do all the work. This is another reason why Emporio is important for the story. Because of Jolyne’s sacrifice, Emporio managed to evade Pucci and use Weather’s disc. Even in death, Jolyne and Weather ended up triumphant over Pucci.
”And I think that’s honestly the best way to end it”/”This is how the end of JoJo’s should’ve happened” - Shuck, while describing his rewrite of the finale, where Jolyne was the one to replace Emporio and beat Pucci (in the same way Emporio did), followed by the same events as in the manga. I can’t believe he nonchalantly said this. There really isn’t anything to say anymore. If you’ve noticed, this post (as opposed to the first one) hasn’t got much to it. It’s because the second video is mostly the rewrite.
Outro
The outro consists of Shuck being deep, in regards to the meaning of “Stone Ocean” and the ending. He puts it nicely. What I find annoying, is him saying that SO is set between two S-tier Parts.
I know I’m not entitled to saying this, but this rewrite of Shuck’s tells me that he wasn’t satisfied with the direction Part 6 went in, which is something he can’t accpet. In the rewrite, he prioritized fan-service (out of personal bias) and saw issues where there really weren’t any, or were minor and inconsequential. He, additionally, pursued overdone/generic story elements.

AFTERWORD

It might not seem like it, but my goal here wasn’t to attack, demean or offend TheShuckmeister. It was to show that Stone Ocean doesn’t require a rewrite, or that it has some profound issues. It’s a fun, action-packed adventure, that takes the established system of Stands and makes it truly bizarre. Abilities take a bit of thought to understand, but it’s nothing complex. The story or characters don’t lack all that much, except for screen-time and chemistry. Still, it’s probably my favorite cast of characters in the whole series (paired with cool-looking and powerful Stands).
I just feel that it’s unfair how much Shuck propagates the ”Part 6 bad” circlejerk. If I were to go ahead and constantly, aggressively whine about the issues of Parts 3, 4, 5 or 8, he probably wouldn’t like it. Well, same here. Again, I understand if you don’t like something, but spreading that hate to others (whether because you genuinely hate it, or as a meme) is not OK.
Thank you for reading. What are your thoughts?
submitted by Angelopolagej to StoneOcean [link] [comments]


2020.09.28 14:51 Angelopolagej Stone Ocean Stands, and fights, aren't THAT confusing, bad or bizarre

FOREWORD

Even though a lot of people have read Part 6, after Vento Aureo's successful anime adaptation, and mostly enjoyed it, there is still this weird "concensus" on the quality of Stands and fights in Stone Ocean. They are mostly seen as too convoluted and bizarre, "even for JoJo".
I disagree... a lot. I believe that this is largely due to people skimming, just going with what others say, or refusing to understand things in Part 6 (even though everything is properly explained). It just requires a little bit of thinking. Part 6 is the turning point for Araki's art-style and fights, so it might come off as intimidating, at first.
I have to be honest though, I felt the same way on my first read. However, on the very second one, I started seeing how enjoyable and cool these abilities and fights are. So, I'll go Stand by Stand, giving reasons why they might not be as bad as people think they are. Maybe this will offer a new perspective on the topic and make people appreciate it more. Who knows?

FIRST HALF

Like every beginning in JoJo, it's not THAT entertaining or exciting. It usually takes a bit of time to get us truly invested. Part 6 is no exception to this trend. Although, I'd argue that it's introductory Chapters are perfect in setting up the story and introducing a new JoJo.
Goo Goo Dolls
Right off the bat, it's a better Little Feet (I am shocked to see how many people say it’s the other way around). It's shrinking is instant. There's not even a need for the user, Guess, to be able to shrink herself. Additionally, GGD is long-range and automatic, and will eliminate those that try to escape.
I feel that it reflects Guess pretty well, since "Stands are the manifestations of one's soul". She is intimidated by others, so she has this complex of wanting to be dominant. Her Stand shrinks people, making them into her personal toys/pets that she pushes around. It's also a great parallel to Alessi, from Part 3. He likes bullying the weak (children), and his Stand ability reflects that. Some other enemies are also obvious parallels to Part 3's enemies.
There's not much to be said about the fight, with it being the very first one in the Part. It's similiar to Little Feet's, but has it's differences, which is good.
Manhattan Transfer
Ok... what is with everyone picking on Manhattan Transfer? It seems that people measure how good a Stand is, by how useful it's abilities would be in real life. This is a horrible way of judging them, in my opinion.
As I've mentioned: "Stands are the manifestations of one's soul". Johngalli A is a blind sniper (a parallel to N'Doul. Both are blind, with long-range Stands and kill flies). Manhattan Transfer reads air currents, which helps Johngalli pinpoint his targets. It also serves as a ricochet surface for Johngalli's "trick-shots". It might not seem cool, but it fits it's user and performs it's task excellently. The Stand itself is pretty nimble due to it's, almost precognitive, senses.
What might be giving this Stand a bad rep, is the perplexing, "Inception-esque" arc it's in. The fight consists of three segments: 1) Jolyne’s hallucination; 2) Jotaro’s (brief) hallucination; 3) the real fight. Once you read through it, this structure becomes evident, which doesn’t make it seem as confusing.
The actual fight is rather short, since the majority takes place in Jotaro's and Jolyne's dreams. So, I can agree that the fight’s structure can be intimidating, especially as an early fight. Despite this, MT doesn't deserve the hate it gets. And yes, the Stand DOES exist and isn't part of the hallucination. This is made very clear towards the end of the fight.
Highway to Hell
It's more underwhelming than the other fights, but still has good Hermés moments, and generally serves to show Kiss's ability. Pucci's description of Thunder McQueen is on point, so I don't have to explain why the Stand fits him so well. The fact that the Stand inflicts equal damage onto the target, with A in range, makes it even scarier.
I personally don't outright hate this fight, but I can't blame you if you do. I never believed that SO is perfect (neither is any other Part). They all have their ups and downs.
I think a parallel can be drawn to Part 3, with this Stand, as well. What I’m referring to, is “Lovers”. Both Stands reflect damage onto the targeted individual. It’s just that HtH is indestructible.
Foo Fighters
A great mystery in the beginning. It's thrilling to read, the first time around. But, on consecutive reads is just a bore, since we know what happens. The second half, being an actual fight, is far more entertaining.
The fact that FF is sentient, is one of Araki's greatest ideas ever. Seeing a Stand have, and fight to preserve, it's intelligence, is very refreshing and thought-provoking. And FF is a fan-favourite, so she's rather popular.
As for the ability, she's the healer. A bit of a weird one at that, but she also has decent offensive capabilities.
Debt Collector Marilyn Manson
This is what I deem the first GREAT fight of Part 6. It's a "D'Arby fight", but much more exciting. The characters are actually doing something, running around while having to pass a ball, instead of sitting and playing betting/video games. Mirashon's design and demeanor are cool. She even does the elder D'Arby pose and says: "GOOD", when a deal is made.
The Stand is invincible, like many in Part 6, forcing the characters to chase down the user. The additional disadvantage to the protagonists, the rule to keep on passing the ball to each other, is a good example of these new types of fights. They will utilize the surroundings more (kind of like how Mirashon pays the guard to drop the baseball, so that Jolyne loses).
What is also AMAZING, is how this Stand builds onto what Chariot Requiem established. A shadow is the reflection of a person's soul. The Debt Collector comes out of the shadow, of the one that felt guilt for cheating.
Jumpin' Jack Flash
A pretty long and intense fight. At first, I didn't think much of it, probably due to the user, Lang Wrangler, being uninteresting. However, putting that aside, it's pretty good. What I'd argue makes this fight more intense than many others, is because it has the protagonists at a disadvantage, from the very start. The zero-Gravity environment, caused by J'JF, becomes more dangerous as time goes on, forcing Jolyne and Weather to end the fight as soon as possible.
The use of WR, to form atmospheric suits, has to be one of the greatest ideas Araki has come up with, in this series. Everything about the Stand itself, for that matter. How it causes friction and is able to deflect projectiles with changes in air pressure, was exciting to behold. We also have Jolyne using her string, in the same way as Bruno used Sticky Fingers. She was seen to be able to extend her reach, by unraveling Stone Free's arm, showing just how vast it's capabilities are.
We even see Lang have his moments. Chucking rats, to blind Jolyne, and using that makeshift "Oxygen bomb" were some of the most surprisingly unexpected things in this fight.
It's a cool ability but, with hindsight, we know that C-Moon is a much better Gravity-based Stand. Nevertheless, J'JF is still pretty dangerous. The fight is lengthy, so there's quite a bit of action, which also serves to reveal Weather Report's abilities. The ending, is one of the most satisfying beatdowns in JoJo. How the force of the air, entering the vacuum, kept pushing Lang towards Jolyne, allowing her to give him a long beating, was satisfying and well earned.
[An interesting fact about J'JF: It started out as a humanoid-type, but became a suit-Stand, halfway through the fight]
Limp Bizkit
Another banger of a fight. Everything, from the ability and it's brutality, to the pacing, was masterfully executed. That said, I don't see people complain about this one.
It also served it's purpose of giving Hermés a backstory and some focus. Sadly, as cool and intrigueing as the main cast is, they don't get enough time for any form of character development (apart from Jolyne and Weather).

HALFWAY POINT

And now we get to the Ultra Security Punishment Ward arc, revered as: "JoJo, at it's worst". Hopefully I provide some arguments as to why you shouldn't automatically treat it like complete garbage.
Survivor
Yes, I'm praising this Stand. As DIO said, it's rather usless/weak. Pucci, however, saw the potential in it and, sure enough, used the ability to it's fullest.
Survivor is great because of it's influence in the first half of this arc. It's sort of a... "passive" ability, affecting everyone the same way. It makes both sides go berserk, which leads to manic behaviour and gory beatdowns. It’s an unconventional Stand, so it makes encounters feel fresh.
It was mostly focused on during the fight against Viviano Westeood, but was shown to be active during the clash with Kenzo, as well. Also, don't forget that Survivor is the reason why the breakout started.
Planet Waves
It's a great ability. I just want to get something out of the way first.
When I see people criticize this fight, it's usually accompanied by the complaint that "Pucci's lackeys are all brainwashed and thus boring". May I remind you, that all of Part 3's enemies, were exclusively DIO fanatics. Nobody seems to complain about that, as much as they do here. Part 6 at least has Lang Wrangler, Kenzo, Foo Fighters, Mirashon, Ungalo, Rykiel and Versace who have goals of their own (some that benefit Pucci, some that don't). So, I think that people should just stop treating Part 6 as the only flawed Part. Hell, Part 5 has the most underwhelming final battle. The Chariot Requiem fight was more intense than the one against Diavolo (yet, they both aren't even deserving of being called fights).
With my complaint out of the way, we can go onto the ability. It doesn't get the love it deserves (the fight, too). It's the perfect ability for close-quarters combat. The fact that it attracts meteors, makes it even more devastating (I know Stand stats are busted, but I implore you to look at Planet Waves' stats. They're pretty good and, I feel, are mostly accurate).
Even though Viviano isn't immediately aware of having a Stand, the fight is still probably one of the most brutal ones, due to the influence of Survivor. It also is an actual fight, as opposed to what a "JoJo fight" entails. There's actual choreography, as we see Jolyne and Viviano duking it out in a bloody brawl, instead of each side making a move, besting each other until the protagonist wins. I'm not saying that 'that' aspect is completely absent, though.
And then you have the meteors hurdling towards Viviano. The Stand doesn't have to have a direct offensive ability, in order to be deadly. With the right circumstances, like in this situation, even a Stand like Planet Waves can be useful and deadly. They even disintegrate before coming in contact with the user, giving him greater freedom of movement. There's also that random, yet badass, Jolyne pose at the end, where she shouts: "Game set!"
I suggest going over the fight, with this in mind. It might become more enjoyable. If not, then the anime will certainly make it so.
Dragon's Dream
Alright, this is a big one. The Stand, everyone agrees, is the worst thing ever. "Why?" - I ask. It's simply Feng Shui, incorporated into a fight. I feel that, knowing what Feng Shui is, falls under general knowledge. The idea is even explained, in detail, so I don't see why people are so confused by this. Simply put: In nature, there are lucky and unlucky spots. D'sD points to the lucky spots. Easy peasy! The thing with the severing of limbs, is just a random side-ability.
Another sentient Stand, with a unique feature of being neutral which, in part, allowed FF to win. Annassui calls it ”almost invincible", but in reality, it actually IS invincible. It seems that one of the biggest issues, the Part 6 fights have, is the fact that Araki included a lot of overpowered Stands, which required bullshit methods to defeating them (well... Dragon's Dream), or the Stand is just unbeatable (eg. Marilyn Manson, Highway to Hell, Green Green Grass of Home, Bohemian Rhapsody and Yo-Yo-Ma).
FF, using a water reflection, is one such example. The thing is: how would Kenzo not notice this immediately, but is then able to see the water once he's realized that D'sD is in another location? This is my only gripe with this fight, along with the fact that Annasui did NOTHING to help FF. Otherwise, it has great pacing, hateable enemy and a satisfying end. Also, I really like the design and color of Dragon's Dream.
What's also a joy to behold, are the hilarious arguments, Kenzo and D'sD have, during the fight. It really emphasises the Stands' autonomus nature and sense of "balance". Somehow, Part 6 manages to be both the goryest and most humor-filled JoJo Part.
Yo-Yo-Ma
I can't stress enough how much of a necessity it is, that you watch Meti's video on Yo-Yo-Ma. He explains it masterfully, giving evidence as to why it is such a deadly ability. Personally, I skip it on re-reads since I do feel that, despite the scary ability, the pacing is rather slow. It leaves much to be desired.
Green Green Grass of Home
I'm really confused when I see people discussing what the most invincible Stands are and nobody's mentioning GGGoH.
It's user is untouchable, since anything that comes closer will be shrinked by half... infinitely! It's also seen to be selective, in the sense that a shoe or a rock will be affected (and not just humans). So, if you shot a bullet at the user, the bullet will never actually reach them... ever. That's an insane power to have. The Stand itself has an amazing design and I really hope DavidProductions keeps it’s color the same for the anime.
Out of all the shrink-Stand fights, this one takes the cake. There's even that one moment, where Jolyne and Annasui have shrunk so much, that the ground looks like a canyon. Another reason I like it the most, is because of how tiny the Stand actually is. It doesn't need to be big, since whoever approaches the Green Baby, will eventually shrink to being smaller than the Stand itself. The ability keeps the user safe, while the Stand is there to eliminate the assailant/s.
If you haven't noticed, the Green Baby is yet another parallel to Part 3. That being the baby Stand-user.
Pucci vs. FF/Jolyne
The high-point of this arc, and a great finale to it. We first have the long, fast-paced chase between FF and Whitesnake.
What follows is one of the best fights in JoJo, that literally no one talks about. It's the face-off between Jolyne and Pucci. The fact that they're chained together makes the fight even more tense, than the usual close-up fight. Like with Viviano, it's a straight up fight, incorporating the users' stamina, power and wits. The panels are also stunning and dynamic.
This fight also reinforced something about Pucci. He's encountered, and fought, the protagonists on MANY occasions during Part 6. As opposed to the rest of the villains, who have one or two skirmishes (Kira and Diavolo), or don't fight until the very end (DIO, Kars and Valentine). The fight also serves to "wake Jolyne up" and has her determined to put a stop to Pucci, even after she got what she was after (Jotaro's memory disc).

SECOND HALF

Contrary to the first halves, the second halves are always more intense and entertaining, containing the best fights in the Part. And, ho boy, does Part 6 deliver in that department.
Jailhouse Rock
One of the most unique abilities, for sure. The fact that there's a Stand user, serving as the guard of the prison's exit is a cool concept. MiuMiu's, and her Stand's, design is sooo unique and trippy. Araki stated that the emphasised "brain", is supposed to be symbolic of the ability.
What's shocking, is just how scary Jailhouse Rock is. It only works inside buildings (it seems), but that doesn't matter. It can put a person in the state of remembering only 3 things, as long as MiuMiu likes, and can affect multiple individuals at once. Now, if that isn't scary, then I don't know what is.
The fight mostly consists of Jolyne running around, and being goofy, yet it still manages to be entertaining. But, towards the end of the fight, things get crazy. Especially with how Jolyne used MiuMiu's ability, in order to escape. Kind of ironic, don't you think?
Bohemian Rhapsody
As grand, and legendary, as the musical reference and ability are, the fight is mostly a drag. First time around, it was a blast. The overwhelming power, and effect of BR, is truly terrifying. Seeing how it affects the whole world (much like Made in Heaven) makes the encounter seem apocalyptic. To be honest, BR could end the world.
The downside, in this fight, is the fact that nothing can be done about it. Weather and Annasui are running around until Weather finally comes up with a way to end the threat. This fight "structure", is the reason I don't enjoy Part 8 all that much. Despite this, it still had great twists and that hilarious ending. Ungalo giving up, just because he failed on his first try, has to be the most unique thing in JoJo. It’s interesting, because he has an invincible Stand, but lacks self-confidence and loses the will to live. It’s kind of ironic.
Sky High
This is the best sons of DIO fight (and the son himself, but that is covered in my other essay). I'd go as far as to say, that it's also one of the best fights in JoJo.
Even though Sky High possesses no defense, it's offensive capabilities are staggering. To simplify the ability: it's about heat; or rather: the removal of heat from one's body. Why I like this so much, is because of how Araki researched what happens when heat is absent from certain parts of the body, and incorporated it into the fight in various creative ways. Additionally, the Rods are a genius "invention", taking a myth and making in-depth lore on it.
First of all, Rykiel makes the helicopter crash. An explosive intro to the fight. That alone makes it stand out. Another reason I like it so much, is that the fight is chock-full of badass moments from Jolyne, but also Rykiel. The stand-out one being when they set themselves on fire. What's also enjoyable, is seeing how experienced Jolyne and Hermés are, figuring out aspects of Rykiel's Stand, from his behaviour. And also, how Rykiel's confidence rises and falls as the fight progresses.
For some reason, Araki never drew the Stand on Rykiel’s wrist. Hopefully DavidProductions corrects this.
Underworld
Moody Blues, but deadly. I feel like something more could've been done with it, apart from the two plane crashes. I'm not saying that it wasn't great, but that it simply felt repetitive.
It's definitely an interesting case, having the plane "crash" underground and whatnot. It's a bizarre one. We even get that hilarious scene, where Jolyne explains the situation to Emporio, over the phone, leaving him profoundly confused.
Overall, it's not to be taken lightly. It's other uses were creative, as well, being able to find out what was said or done (similiarly to Moody Blues).
Heavy Weather
What I immediately like about this fight is that it has stages. Being a 13-Chapter encounter, it's separated into different segments: 1) the ability is initiated; 2) history of Enrico and Domenico; 3) chasing down Versace; 4) WeatheAnnasui vs. Pucci; 5) the death of Weather. It gives it a good sense of progression, rather than having it all be intertwined, or whatever.
Like with a number of other Stands in this Part, there is a terror aspect to HW's ability. It's affecting you, and there's no way of stopping it. It uses your brain, technically yourself, against you. Who knew that one of the most dangerous abilities, in a series like JoJo, was going to be subliminal messages? It's gradual effect reminds me of Chariot Requiem, a bit. It starts to transform people into something else, as well. It's reminiscent of Survivor, in how it's omnipresent ability is affecting people's minds.
The fight is also extremely tragic, seeing Weather suffer because of his brother and his delusions. It also serves as a rematch of the encounter, the two brothers had, long ago.

THE FINALE

Stone Ocean's finale has to be the grandest, both visually and emotionally. Both fights are arduous and have a LOT of movement in them. The pacing and abilities are also superb, along with the cliffhangers at the end of each Chapter, making this one of the greatest experiences I've had with fiction.
C-Moon
What I want to immediately clear up, is that Whitesnake, C-Moon and Made in Heaven are all the SAME Stand. It's just an evolution. So, people that say that Pucci has three Stands, are wrong.
I believe it is important to point out just how good C-Moon is, since it’s a main villain Stand, and is criminally under-appreciated. It’s a semi-sentient Stand, with a Range of 20m. It forms a 3km area (dome) of effect where Gravity is pushed away from Pucci. He is able to freely move in this area, which moves with him as the center, and is seen to be able to walk on walls and roofs. C-Moon’s touch inverts gravity of whatever it touches. A very deadly ability, which Jolyne survived only because of her string.
I mean, think about it. Even if Pucci hadn't attained Heaven, C-Moon is already an invincible ability, with which he could exact revenge on Jolyne and co. He was even seen to be able to move in stopped time, due to Gravity. I’m sure it’s a parallel of how Jotaro once did the same thing, in Part 3, which makes his shock even more impactful. If the fight lasted longer, I'm sure Pucci would've been able to move even more. As for Jolyne's Möbius Strips, Pucci could find another way of dealing with her (like the gun).
I'll use this opportunity to adress one of my biggest issues. The Part 6 Stand stats. Now, I know that the stats are bogus, most of the time, but they are what the anime-onlies will see. I don't want to sound judgemental or condescending, but most anime-onlies tend to accept whatever they see without any thought put into it. They expect to be spoon-fed.
The issue is the None stat for Power. It really bums me, since it makes me wonder what these Stands are capable of. Araki probably didn't have enough time to come up with them, leaving a lot of the Stands' capabilities unknown. As examples, I'll use Jailhouse Rock, Underworld and C-Moon. All of them, with None in Power, shouldn't be able to do any damage (either physicaly or via their ability), yet they do. JR socks Jolyne, Underworld also damages a bunch of things, and C-Moon attacks with it's fists. If Araki wanted to convey that their physical attacks are weak, then he should've just put E. None should exclusively be for Stands like: Survivor, Thoth, Superfly and Achtung Baby. Stands that can't do any damage, at all. I'm also put off by the fact that GGGoH and Heavy Weather have ? for every stat.
Back to C-Moon. It's reveal, is the best Stand reveal, ever. The way that it exits the ticket booth and eerily floats towards Jolyne, until we get to see it completely, hypes it up exponentially. The way it uses the surroundng area to it's advantage, tiles on the ticket booth, instead of only using it's fists, gives the fight a bit of an original flavor. What is also one of the coolest things, that Pucci does, is set that one room on fire. It was such an unexpected move, that it left me shocked and amazed. In a good way.
Jolyne's determination and will, to take down Pucci, is also commendable. She's evolved so much and is finaly able to truly shine. Nothing will hold her back. She'll just patch herself up, and keep going. When her group surrounds Pucci, it's very reminiscent of when Kira is cornered at the end of Part 4.
To conclude, it's a great fight, with a plethora of insane moments. I love C-Moon's musical reference and design, like with the greater majority of Stands in Part 6.
Made in Heaven
I'm sure you expected me to write a wall of text about it. But, do I even need to say anything? The fight speaks for itself. Everything in it shows you that Araki truly meant to end JoJo with it. There's this huge sense of "finality" I get from it.
What I do want to tackle, is how MiH's design might've served as a big inspiration for Part 7, Steel Ball Run. Primarily, it's a >!horse and it's rider. Moving on, we have it's crown of thorns, hinting at Jesus. The feathers, coming out of it's neck, look like the ones Johnny has on his winter outfit. Lastly, the "horse's" mane, is braided the same way as Valkyrie's (Gyro's horse).!<
Like with C-Moon, I discuss MiH more, in my other essay. So, I will only say that DavidProductions is going to make it the greatest experience we'll have in anime, for a while.

AFTERWORD

So, it doesn’t seem as bad as many deem it to be, right? I hope so. What’s certain, is that it is heavily misunderstood, as a whole.
You might notice that I struggled when writing this. I have, because a video format fits this type of analysis the best. It can be hard, going into details about fights, because writing all that down would take me even longer to do. This is one of the reasons why there is SOOO much repetition. If this were a YouTube video, I could articulate myself much better. It's also my frustration, or rather fear, of wasting so much time because the post might not be registered by the sub.
The goal of this "essay" wasn't to force ideas on you. The purpose was, for me, to give a different perspective, as best as I could, in order to (HOPEFULLY) break the endless cycle of people jumping to conclusions, in regards to Part 6-related things. The great majority never even has an argument, for why they detest something in it. Or, they are like The Shuckmeister, and find something to be a large problem (other sons of DIO existing, which "diminishes" Giorno's existence), when it really isn't. I sure can't wait to see his video where he makes Part 6 "better"!
If you still don't like the Stands, or fights, then don't. You're free not to. Maybe it's just not your thing, or you just don't like how Araki handled the ability, or pacing of the fight. I just hate seeing such a good Part get ripped to shreds this much for no apparent reason, other than a "bandwagon" or people not thinking for themselves. Because, by that logic, we should be tearing into the other Parts, in the same way, as well.
Nevertheless, I hope you enjoyed this post! I'm curious as to what you think and what your favorite Stand/s, in SO, are. Thank you for reading!
submitted by Angelopolagej to StoneOcean [link] [comments]


2020.09.12 00:13 matias2028 The 300 highest-grossing movies in the world excluding re-releases

1 - The Avengers 4 (2019) - $2.797 billion
2 - Avatar (2009) - $2.744 billion
3 - Star Wars 7 (2015) - $2.068 billion
4 - The Avengers 3 (2018) - $2.048 billion
5 - Titanic (1997) - $1.850 billion
6 - Jurassic Park 4 (2015) - $1.670 billion
7 - The Lion King (2019) - $1.656 billion
8 - The Avengers 1 (2012) - $1.518 billion
9 - Fast and Furious 7 (2015) - $1.515 billion
10 - Frozen 2 (2019) - $1.450 billion
11 - The Avengers 2 (2015) - $1.402 billion
12 - Black Panther (2018) - $1.346 billion
13 - Harry Potter 8 (2011) - $1.341 billion
14 - Star Wars 8 (2017) - $1.332 billion
15 - Jurassic Park 5 (2018) - $1.308 billion
16 - Frozen 1 (2013) - $1.280 billion
17 - Beauty and the Beast (2017) - $1.263 billion
18 - The Incredibles 2 (2018) - $1.242 billion
19 - Fast and Furious 8 (2017) - $1.236 billion
20 - Iron Man 3 (2013) - $1.214 billion
21 - Minions (2015) - $1.159 billion
22 - Captain America 3 (2016) - $1.153 billion
23 - Aquaman (2018) - $1.148 billion
24 - The Lord of the Rings 3 (2003) - $1.140 billion
25 - Spider-Man 2 (2019) - $1.131 billion
26 - Captain Marvel (2019) - $1.128 billion
27 - Transformers 3 (2011) - $1.123 billion
28 - Skyfall (2012) - $1.108 billion
29 - Transformers 4 (2014) - $1.104 billion
30 - The Dark Knight Rises (2012) - $1.081 billion
31 - Joker (2019) - $1.074,2 billion
32 - Star Wars 9 (2019) - $1.074 billion
33 - Toy Story 4 (2019) - $1.073 billion
34 - Toy Story 3 (2010) - $1.066,9 billion
35 - Pirates of the Caribbean 2 (2006) - $1.066 billion
36 - Rogue One (2016) - $1.056 billion
37 - Aladdin (2019) - $1.050 billion
38 - Pirates of the Caribbean 4 (2011) - $1.045 billion
39 - Despicable Me 3 (2017) - $1.034 billion
40 - Finding Dory (2016) - $1.028 billion
41 - Alice in Wonderland (2010) - $1.025 billion
42 - Zootopia (2016) - $1.023 billion
43 - The Hobbit 1 (2012) - $1.017 million
44 - The Dark Knight (2008) - $1.003 billion
45 - Harry Potter 7 (2010) - $976 million
46 - Harry Potter 1 (2001) - $974 million
47 - Despicable Me 2 (2013) - $970 million
48 - The Jungle Book (2016) - $966 million
49 - Jumanji 2 (2017) - $962 million
50 - Pirates of the Caribbean 3 (2007) - $960 million
51 - The Hobbit 2 (2013) - $958 million
52 - The Hobbit 3 (2014) - $956 million
53 - Harry Potter 5 (2007) - $941 million
54 - The Lord of the Rings 2 (2002) - $936 million
55 - Harry Potter 6 (2009) - $933 million
56 - Shrek 2 (2004) - $928 million
57 - Star Wars 4 (1999) - $924 million
58 - Jurassic Park 1 (1993) - $912 million
59 - Bohemian Rhapsody (2018) - $903 million
60 - Harry Potter 4 (2005) - $896 million
61 - Spider-Man 3 (2007) - $894 million
62 - Ice Age 3 (2009) - $886 million
63 - The Lord of the Rings 1 (2001) - $883 million
64 - Spectre (2015) - $880,7 million
65 - Spider-Man 1 (2017) - $880 million
66 - Harry Potter 2 (2002) - $878 million
67 - Ice Age 4 (2012) - $877 million
68 - The Secret Life of Pets 1 (2016) - $875 million
69 - Batman vs Superman (2016) - $873 million
70 - Finding Nemo (2003) - $871 million
71 - Wolf Warrior 2 (2017) - $870 million
72 - Star Wars 6 (2005) - $868 million
73 - The Hunger Games 2 (2013) - $865 million
74 - Guardians of the Galaxy 2 (2017) - $863 million
75 - Inside Out (2015) - $857 million
76 - Venom (2018) - $856 million
77 - Thor 3 (2017) - $853 million
78 - Transformers 2 (2009) - $836 million
79 - Twilight 5 (2012) - $829 million
80 - Inception (2010) - $828 million
81 - Wonder Woman (2017) - $821,7 million
82 - Spider-Man 1 (2002) - $821 million
83 - Independence Day 1 (1996) - $817 million
84 - Fantastic Beasts 1 (2016) - $814 million
85 - Shrek 3 (2007) - $813 million
86 - Coco (2017) - $807 million
87 - Jumanji 3 (2019) - $796 million
88 - Harry Potter 3 (2004) - $795 million
89 - Pirates of the Caribbean 5 (2017) - $794 million
90 - Mission Impossible 6 (2018) - $791 million
91 - Indiana Jones 4 (2008) - $790 million
92 - Spider-Man 2 (2004) - $788,9 million
93 - Fast and Furious 6 (2013) - $788 million
94 - Deadpool 1 (2016) - $783 million
95 - Guardians of the Galaxy 1 (2014) - $772 million
96 - 2012 (2009) - $769 million
97 - The Lion King (1994) - $763 million
98 - The Da Vinci Code (2006) - $760 million
99 - Hobbs and Shaw (2019) - $759 million
100 - Maleficent 1 (2014) - $758 million
101 - The Amazing Spider-Man 1 (2012) - $757 million
102 - The Hunger Games 3 (2014) - $755 million
103 - Shrek 4 (2010) - $752 million
104 - Madagascar 3 (2012) - $746,9 million
105 - Suicide Squad (2016) - $746,8 million
106 - X-Men: Days of the Future Past (2014) - $746 million
107 - The Chronicles of Narnia 1 (2005) - $745 million
108 - Monsters University (2013) - $743 million
109 - The Matrix 2 (2003) - $739 million
110 - Up (2009) - $735 million
111 - Deadpool 2 (2018) - $734 million
112 - Ne Zha (2019) - $726 million
113 - Gravity (2013) - $723 million
114 - Captain America 2 (2014) - $714 million
115 - Twilight 4 (2011) - $712 million
116 - Planet of the Apes 2 (2014) - $710 million
117 - Twilight 2 (2009) - $709,8 million
118 - Transformers 1 (2007) - $709 million
119 - The Amazing Spider-Man 2 (2014) - $708 million
120 - It 1 (2017) - $700 million
121 - The Wandering Earth (2019) - $699 million
122 - Twilight 3 (2010) - $698 million
123 - Mission Impossible 4 (2011) - $694,7 million
124 - The Hunger Games 1 (2012) - $694 million
125 - Mission Impossible 5 (2015) - $682 million
126 - Doctor Strange (2016) - $677,7 million
127 - Forrest Gump (1994) - $677 million
128 - Interstellar (2014) - $675 million
129 - The 6th Sense (1999) - $672 million
130 - Man of Steel (2013) - $668 million
131 - Kung Fu Panda 2 (2011) - $665 million
132 - E.T. (1982) - $663 million
133 - Ice Age 2 (2006) - $660 million
134 - The Hunger Games 4 (2015) - $658 million
135 - Justice League (2017) - $657,9 million
136 - Big Hero 6 (2014) - $657 million
137 - Fantastic Beasts 2 (2018) - $654,8 million
138 - Pirates of the Caribbean 1 (2003) - $654 million
139 - Star Wars 5 (2002) - $645 million
140 - Thor 2 (2013) - $644 million
141 - Moana (2016) - $643 million
142 - Sing (2016) - $634 million
143 - Kung Fu Panda 1 (2008) - $631,7 million
144 - The Incredibles 1 (2004) - $631 million
145 - The Martian (2015) - $630 million
146 - Hancock (2008) - $629 million
147 - Fast and Furious 5 (2011) - $626 million
148 - Men in Black 3 (2012) - $624 million
149 - Iron Man 2 (2010) - $623,9 million
150 - Ratatouille (2007) - $623 million
151 - Ant-Man 2 (2018) - $622 million
152 - How to Train Your Dragon 2 (2014) - $621 million
153 - Wolverine 3 (2017) - $619 million
154 - Jurassic Park 2 (1997) - $618 million
155 - The Passion of the Christ (2004) - $611 million
156 - Mamma Mia 1 (2008) - $609,8 million
157 - Life of Pi (2012) - $609 million
158 - Casino Royale (2006) - $606 million
159 - Transformers 5 (2017) - $605 million
160 - Madagascar 2 (2008) - $603,9 million
161 - War of the Worlds (2005) - $603 million
162 - Tangled (2010) - $592 million
163 - Quantum of Solace (2008) - $589,5 million
164 - Men in Black 1 (1997) - $589 million
165 - The Croods (2013) - $587 million
166 - The Hangover 2 (2011) - $586 million
167 - I Am Legend (2007) - $585,4 million
168 - Iron Man 1 (2008) - $585 million
169 - Ready Player One (2018) - $582 million
170 - Operation Red Sea (2018) - $579 million
171 - Night at the Museum 1 (2006) - $574 million
172 - 50 Shades 1 (2015) - $569 million
173 - Kong (2017) - $566 million
174 - The Smurfs 1 (2011) - $563 million
175 - King Kong (2005) - $562 million
176 - Cars 2 (2011) - $559 million
177 - Puss in Boots (2011) - $554 million
178 - The Mermaid (2016) - $553,8 million
179 - Armageddon (1998) - $553 million
180 - The Day After Tomorrow (2004) - $552 million
181 - Ted 1 (2012) - $549 million
182 - American Sniper (2014) - $547 million
183 - Mission Impossible 2 (2000) - $546 million
184 - Detective Chinatown 2 (2018) - $544 million
185 - X-Men: Apocalypse (2016) - $543,9 million
186 - Sherlock Holmes 2 (2011) - $543,8 million
187 - Despicable Me 1 (2010) - $543 million
188 - Cinderella (2015) - $542,3 million
189 - Madagascar 1 (2005) - $542 million
190 - World War Z (2013) - $540 million
191 - Brave (2012) - $538 million
192 - The Simpsons Movie (2007) - $536 million
193 - The Revenant (2015) - $532 million
194 - The Meg (2018) - $530 million
195 - Wreck It Ralph 2 (2018) - $529 million
196 - Monsters Inc (2001) - $528,7 million
197 - Hotel Transylvania 3 (2018) - $528 million
198 - The Boss Baby (2017) - $527 million
199 - Dunkirk (2017) - $525 million
200 - Godzilla 1 (2014) - $524,9 million
201 - Sherlock Holmes 1 (2009) - $524 million
202 - Meet the Fockers (2004) - $522 million
203 - How to Train Your Dragon 3 (2019) - $521,8 million
204 - WALL-E (2008) - $521,3 million
205 - Kung Fu Panda 3 (2016) - $521 million
206 - Ant-Man 1 (2015) - $519 million
207 - Terminator 2 (1991) - $516 million
208 - The Grinch (2018) - $511 million
209 - Ghost (1990) - $505 million
210 - Aladdin (1992) - $504 million
211 - Star Wars 1 (1977) - $503 million
212 - Rio 2 (2014) - $498 million
213 - Troy (2004) - $497 million
214 - How to Train Your Dragon 1 (2010) - $494,8 million
215 - Twister (1996) - $494 million
216 - Oz the Great and Powerful (2013) - $493,3 million
217 - Clash of the Titans 1 (2010) - $493 million
218 - Maleficent 2 (2019) - $491 million
219 - Planet of the Apes 3 (2017) - $490 million
220 - Shrek 1 (2001) - $487,7 million
221 - Mr and Mrs Smith (2005) - $487,2 million
222 - Toy Story 2 (1999) - $487 million
223 - Angels and Demons (2009) - $485,9 million
224 - Teenage Mutant Ninja Turtles 1 (2014) - $485 million
225 - Bruce Almighty (2003) - $484 million
226 - Rio 1 (2011) - $483 million
227 - Saving Private Ryan (1998) - $481,8 million
228 - Planet of the Apes 1 (2011) - $481 million
229 - Home Alone 1 (1990) - $476 million
230 - Charlie and the Chocolate Factory (2005) - $474,9 million
231 - Hotel Transylvania 2 (2015) - $474,8 million
232 - Indiana Jones 3 (1989) - $474 million
233 - San Andreas (2015) - $473,9 million
234 - It 2 (2019) - $473 million
235 - Wreck It Ralph 1 (2012) - $471 million
236 - Jaws (1975) - $470 million
237 - The Hangover 1 (2009) - $468,8 million
238 - The Lego Movie 1 (2014) - $468 million
239 - Bumblebee (2018) - $467,9 million
240 - Star Trek 2 (2013) - $467 million
241 - The Matrix 1 (1999) - $463,5 million
242 - Pretty Woman (1990) - $463 million
243 - Cars 1 (2006) - $461 million
244 - Gladiator (2000) - $460,5 million
245 - X-Men 3 (2006) - $460 million
246 - National Treasure 2 (2007) - $459 million
247 - Lucy (2014) - $458 million
248 - Mission Impossible 1 (1996) - $457 million
249 - 300 1 (2007) - $456 million
250 - The Last Samurai (2003) - $454 million
251 - Dying to Survive (2018) - $451 million
252 - Ocean's 11 (2001) - $450,7 million
253 - My People My Country (2019) - $450 million
254 - Thor 1 (2011) - $449,3 million
255 - Pearl Harbor (2001) - $449 million
256 - Tarzan (1999) - $448 million
257 - La La Land (2016) - $446 million
258 - Men in Black 2 (2002) - $445 million
259 - Jason Bourne 3 (2007) - $444 million
260 - Alvin and the Chipmunks 2 (2009) - $443 million
261 - Les Miserables (2012) - $441,8 million
262 - Mrs Doubtfire (1993) - $441 million
263 - Terminator 5 (2015) - $440 million
264 - Warcraft (2016) - $439 million
265 - A Star Is Born (2018) - $436 million
266 - The Greatest Showman (2017) - $434 million
267 - Terminator 3 (2003) - $433,3 million
268 - The Mummy 2 (2001) - $433,01 million
269 - Detective Pikachu (2019) - $433 million
270 - Die Another Day (2002) - $431 million
271 - The Secret Life of Pets 2 (2019) - $430 million
272 - Cast Away (2000) - $429 million
273 - Rampage (2018) - $428 million
274 - The Matrix 3 (2003) - $427 million
275 - The Intouchables (2011) - $426 million
276 - Django Unchained (2012) - $425 million
277 - Bad Boys 3 (2020) - $424,6 million
278 - Dances with Wolves (1990) - $424 million
279 - The King's Speech (2010) - $423 million
280 - The Chronicles of Narnia 2 (2008) - $419 million
281 - Sex and the City 1 (2008) - $418 million
282 - The Captain (2019) - $416 million
283 - The Mummy 1 (1999) - $415,9 million
284 - The Chronicles of Narnia 3 (2010) - $415,6 million
285 - Jason Bourne 5 (2016) - $415 million
286 - Wolverine 2 (2013) - $414,8 million
287 - Kingsman 1 (2015) - $414 million
288 - Night at the Museum 2 (2009) - $413 million
289 - Batman 1 (1989) - $411,5 million
290 - Pacific Rim 1 (2013) - $411 million
291 - The Bodyguard (1992) - $410,9 million
292 - Kingsman 2 (2017) - $410 million
293 - The Mummy (2017) - $409 million
294 - Ice Age 5 (2016) - $408,5 million
295 - Signs (2002) - $408 million
296 - X-Men 2 (2003) - $407,7 million
297 - Twilight 1 (2008) - $407 million
298 - Alita (2019) - $404 million
299 - The Mummy 3 (2008) - $403,4 million
300 - Prometheus (2012) - $403 million
submitted by matias2028 to boxoffice [link] [comments]


2020.09.07 02:48 jabruck Cast of Bohemian Rhapsody v actual members of Queen

Cast of Bohemian Rhapsody v actual members of Queen submitted by jabruck to u/jabruck [link] [comments]


2020.09.06 18:01 Awkward_Dog Cast of Bohemian Rhapsody v actual members of Queen

Cast of Bohemian Rhapsody v actual members of Queen submitted by Awkward_Dog to interestingasfuck [link] [comments]


2020.08.31 08:50 Philliam_Swift 38 D&D Adventure Hooks from Cowboy Bebop and Samurai Champloo

Cowboy Bebop and Samurai Champloo are both classic anime series (from the same director no less) consisting of short, mostly disconnected story arcs with a consistent cast of characters. Because of this quality, I thought it might be a good idea to convert some of these episodes into intriguing story hooks to use in your D&D Campaigns!
  1. A criminal has stolen a large supply of powerful but contraband items (potions, magic items, etc) that he’s now using to fuel his escape. Find him before his old organization gets their hands on the goods. (Asteroid Blues)
  2. A benign house pet turned enchanted or otherwise dangerous creature has gone missing. Find it and turn it in to the authorities- or keep it for yourself. (Stray Dog Strut)
  3. A botched smuggling operation leads the party to be in the possession of a valuable magic item in the form of a mundane object. Will they give it up or try and sell it to the highest bidder? (Honkey Tonk Women)
  4. A group of environmentally-minded fanatics want to turn an entire city into animals. (Gateway Shuffle)
  5. A young, seemingly innocent child is actually a dangerous criminal mastermind (or lich, if you’d like) trapped in a false appearance. (Sympathy for the Devil)
  6. A commoner caught up in trading stolen goods asks the party for help, while also entrusting them some of the merchandise... (Waltz for Venus)
  7. An untraceable force has altered/vandalized a well known landmark, and the guards think this is a good excuse to start hunting magic users. (Jamming with Edward)
  8. A PC meets up with an old friend/love interest, only to find that they’re harbouring a known fugitive. (Ganymede Elegy)
  9. A strange, alien force is hunting the party, and it’s already close to home. (Toys in the Attic)
  10. A search for a missing NPC puts the party in the middle of a gang feud. (Jupiter Jazz)
  11. A group of completely unrelated street thugs pull of the perfect heist. None of them know who planned the operation- not even the mastermind themselves. (Bohemian Rhapsody)
  12. An important figure from a PCs past returns, but ends up trying to scam them. (My Funny Valentine)
  13. A group of prisoners take over a transport/prison and hold the staff hostage. (Black Dog Serenade)
  14. A starved party accidentally eats some strange mushrooms... (Mushroom Samba)
  15. A PC receives a message, but in an unreadable language. (Speak Like a Child)
  16. A band of pirates are using powerful magic to help them raid ships (Wild Horses)
  17. The party comes across an insane, highly powerful assassin- and becomes their next target. (Pierrot le Fou)
  18. The party receives a cryptic message from an NPC previously thought to be dead, urging them to follow a specific trail of clues. (Boogie Woogie Feng Shui)
  19. A colourful hero keeps accidentally interfering with the parties goals. (Cowboy Funk)
  20. A powerful cult leader is actually just a projection from the mind of a young child (Brain Scratch)
  21. The party must find a warrior who smells of sunflowers- a flower with no smell. (Tempestuous Temperaments)
  22. An NPC previously wronged by the party enlists several assassins to hunt them down. (Redeye Reprisal)
  23. Different party members are unknowingly hired by two opposing forces, and discover this at an inconvenient time. (Hellhounds for Hire)
  24. A modern art house is being used as a front for human trafficking. (Artistic Anarchy)
  25. A foreigner asks the party for a tour of the city/town, but individuals from their homeland are hunting them down. (Stranger Searching)
  26. A thief stealing from the party is only trying to treat their parents sickness. (A Risky Racket)
  27. A skilled fighter is challenging people around town to fight to the death- and one of the party members is next. (The Art of Altercation)
  28. The party is stopped at a border checkpoint, and must pull off a risky delivery by sunset if they want to pass through. (Beatbox Bandits)
  29. A hefty bounty is placed on a warrior with a strange and dangerous combat style. (Lethal Lunacy)
  30. A woman who is being forced to work at a brothel asks the party for help. (Gamblers and Gallantry)
  31. An individual from a criminal PCs past offers the party a job, but it’s revealed to be a setup when they betray them. (Misguided Miscreants)
  32. The party unknowingly stumbles upon a stash of counterfeit currency, and are hunted by those who printed it. (Bogus Booty)
  33. A rumoured beast in the woods turns out to be a framed criminal on the run from corrupt law enforcement. (Lullabies of the Lost)
  34. Siblings fight over who gets to inherit their families estate, but their methods are... unconventional. (War of the Words)
  35. A charlatan posing as a religious leader starts engaging in increasingly violent acts in the community. (Unholy Union)
  36. A blind NPC helping the party turns out to be a skilled assassin hired to kill them. (Elegy of Entrapment)
  37. The party comes across a mining operation run entirely by zombies... or are they hallucinating? (Cosmic Collisions)
  38. The party plays baseball. (Baseball Blues)
submitted by Philliam_Swift to DnDBehindTheScreen [link] [comments]


2020.08.13 13:49 imnhantran WOULD LOVE TO RECEIVE CORRECTION OF MY WRITING

Hi everyone, I'm Vietnamese and I'm learning English. I think it would be a massive help if i can receive corrections or "feedback" of my writing (word use, grammar, etc.)
Death at a funeral is quite a light-hearted dark comedy that falls more into comedy spectrum than dark humour. So speaking of a comedy that is so dark people might forget that it is a comedy, World’s greatest dad is a fine example.
From the trailer it may appear like a silly B-rated movie but don’t let it fool you, it is indeed thought provoking and emotion evoking. It’s funny, it’s hilarious, it’s absurd, whatever you might think about the movie, but there is an undeniable truth that it is meaningful. But I won’t talk about its meanings, because I think it’s best to watch and find them on oneself. I will only list general things that make this movie special in my opinion.
The first thing that is worth being mentioned is the performance of Robin Williams. I haven’t seen many movies of him but this particular role gave me a feeling that this was exactly how he was, how he felt and how he struggled through life. The acting was so subtle as if Robin was telling his own sufferings. The stories of a seem-to-be-happy old man with a lonely old soul in a world full of misery. Even if the storyline is not everyone’s favour, I do think that the performance of the cast is compelling enough to keep the audience stay to the end. At least for me, personally, it was more than enough to trigger my sympathy.
Comedy or dark comedy in particular often try so hard to create a series of tricky situations to make us laugh. In this movie, the most important event of the plot is one of the most dramatic yet ridiculous situation I have ever witnessed in movies or in real life. The first time I watched it, it literally made me dumbfounded. The pace was pleasant, I was being used to the ups and downs but out of a sudden, it took me to the abyss just in a second. Then the magic of dark comedy came into play. During a state of shock and sorrow, I laughed. This was the strangest laugh I had by a movie. It was extremely sad, emotionally speaking, but at the same time, it was hilarious in context. All the events that happened, big or small, were smartly written to contribute to the character development, even the slightest mood change was noticeable.
Last but not least are the dialogues and music. I find the lines natural and absolutely bullshit-free, far better than some farced movies of some actors I should not mention. The dialogues were closely attached to the characters so it made me laugh not only because they were obviously funny, but also they were characterized by the person who said it. You all have to admit that the same joke that is told by two guys can’t be equally funny, rite? Finally, this movie did an excellent job in choosing music. Go back to the life-changing event above, I suggest paying close attention to the music, it will multiply the extent of your experience for a few freaking times. Thanks to this movie I found myself another favorite song by Queen beside the legendary Bohemian Rhapsody.
submitted by imnhantran to EnglishLearning [link] [comments]


2020.08.05 15:21 PM__Me-_your__tits How does everyone feel about historical accuracy in films?

I've always found myself a bit harsh when it comes to historical accuracy in films, but I've softened up a bit as of recent.
I really only put it down as a negative when it changes the idea of the story, or it's really, really glaringly out of touch with the time period.
For example, that u boat movie "u 571" really annoyed me because it really stole the glory from a group of brits, and made it into an American story. Very disingenuous.
I disliked rocketman and bohemian rhapsody, because they made some characters absolute villains, that were in real life decent people, and gave their main cast a pass on a lot of the shady stuff they've done.
I feel that when real people, or events are involved, it's best to do them justice.
Some artistic liberty is necessary, but too much is propaganda.
Lawrence of Arabia may be inaccurate on some pretty big things, but it does at least hit a lot of the true points on racism against arabs, Lawrence using them as something to identify with, and Lawrence even admits that he enjoyed killing someone, and some of Lawrence's delusions of grandeur. They may portray Arab culture badly, but it does get across the idea that they aren't savages like the British presumed at the time.
It's not correct. But it mostly gets the right idea across. I think that is what is important in any historical movie.
It's not important if someone is portrayed with a different accent, or does something that they never did, as long as it fits in with the real person they are based off
That's just my two cents.
How important is historical accuracy for you, and what are your sort of rules for judging what is artistic license, and what is not?
submitted by PM__Me-_your__tits to movies [link] [comments]


2020.08.05 01:22 cbushman1 My movie list. Send opinions.

I know that there is no foreign films.
  1. The Usual Suspects
  2. Blood Diamond
  3. Casablanca
  4. Marriage Story
  5. The Nice Guys
  6. Grosse Pointe Blank
  7. Weekend at Bernie’s
  8. Back to the Future
  9. 3:10 to Yuma
  10. With Honors
  11. Pulp Fiction
  12. One Flew Over the Cuckoo’s Nest
  13. L.A. Confidential
  14. The Drop
  15. Unforgiven
  16. A Fistful of Dollars
  17. King Kong(1933)
  18. Tank
  19. Sands of Iwo Jima
  20. Dazed And Confused
  21. Forest Gump
  22. Public Enemies
  23. Midnight in Paris
  24. Man on a Ledge
  25. The Shawshank Redemption
  26. Interstellar
  27. A Few Good Men
  28. The Untouchables
  29. The Green Mile
  30. 12 Angry Men
  31. Heartbreak Ridge
  32. Palm Springs
  33. Escape from Alcatraz
  34. The Godfather: Part II
  35. The Godfather
  36. The Accountant
  37. The Irishman
  38. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
  39. Source Code
  40. Edge Of Tomorrow
  41. Felon
  42. Scent of a Woman
  43. U-571
  44. The Departed
  45. Once Upon A Time in America
  46. Bridge of Spies
  47. The Hitman’s Bodyguard
  48. The Guardian
  49. Cool Runnings
  50. Frequency
  51. The Old Man & the Gun
  52. Black Hawk Down
  53. Coach Carter
  54. Men Of Honor
  55. Spy Game
  56. A Bronx Tale
  57. The Dark Knight
  58. Gangster Squad
  59. Greyhound
  60. Talladega Nights
  61. Law Abiding Citizen
  62. For a Few Dollars More
  63. Fight Club
  64. Rain Man
  65. Knives Out
  66. Die Hard With A Vengeance
  67. The Fast And The Furious: Tokyo Drift
  68. Assault On Precinct 13
  69. Gran Torino
  70. JFK
  71. Pearl Harbor
  72. Casino
  73. Django Unchained
  74. The Good, the Bad and the Ugly
  75. Once Upon a Time in... Hollywood
  76. Tango & Cash
  77. Schindler’s List
  78. The Bodyguard
  79. Southpaw
  80. Green Book
  81. The Outsiders
  82. Goodfellas
  83. Good Morning Vietnam
  84. Ferris Bueller’s Day Off
  85. Hoffa
  86. Fail Safe
  87. Heat
  88. The Change-Up
  89. My Cousin Vinny
  90. Apocalypse Now
  91. Shutter Island
  92. The Great Escape
  93. The Truman Show
  94. Mystic River
  95. Three Kings
  96. Saving Private Ryan
  97. Crimson Tide
  98. My Blue Heaven
  99. Lord of War
  100. Dirty Grandpa
  101. Where Eagles Dare
  102. Man on Fire
  103. Tears of the Sun
  104. Rules of Engagement
  105. End of Watch
  106. Hacksaw Ridge
  107. Last Flag Flying
  108. Scarface
  109. Good Will Hunting
  110. Deadpool
  111. National Treasure
  112. Snatch
  113. Weekend at Bernie’s II
  114. The Execution of Private Slovik
  115. National Treasure: Book of Secrets
  116. The Prestige
  117. Criminal
  118. Uncut Gems
  119. Captain Phillips
  120. 1917
  121. The Negotiator
  122. Platoon
  123. Runaway Jury
  124. Midway
  125. Phone Booth
  126. Ford v Ferrari
  127. Hancock
  128. Jackie Brown
  129. Reservoir Dogs
  130. Inception
  131. Midnight Run
  132. The Bridge on the River Kwai
  133. Lock Out
  134. A Time to Kill
  135. The Patriot
  136. Stand Up Guys
  137. Donnie Brasco
  138. Taken
  139. We Were Soldiers
  140. Taxi Driver
  141. Da 5 Bloods
  142. Back to the Future Part III
  143. Argo
  144. Top Gun
  145. The Proposal
  146. Dr. No
  147. Big Time Adolescence
  148. Gemini Man
  149. Ad Astra
  150. The Perfect Storm
  151. A Perfect World
  152. K-19: The Widowmaker
  153. The Outlaw Josey Wales
  154. The Sum of All Fears
  155. Deadpool 2
  156. Fury
  157. Thirteen Days
  158. Killer Elite
  159. WarGames
  160. Remember The Titans
  161. When The Game Stands Tall
  162. Allied
  163. Million Dollar Baby
  164. Bohemian Rhapsody
  165. John Wick
  166. Under Siege
  167. The King of Staten Island
  168. The Whole Ten Yards
  169. Road to Perdition
  170. The Recruit
  171. 16 Blocks
  172. Outbreak
  173. 6 Underground
  174. Uncommon Valor
  175. American Made
  176. The Kingdom
  177. Limitless
  178. The Deer Hunter
  179. The Whole Nine Yards
  180. Cool Hand Luke
  181. Ronin
  182. Air Force One
  183. The Last Castle
  184. The Wolf of Wall Street
  185. Mr. & Mrs. Smith
  186. The Equalizer
  187. American History X
  188. World War Z
  189. The Banker
  190. Baby Driver
  191. Hunter Killer
  192. Bullitt
  193. Rise of the Planet of the Apes
  194. Die Hard
  195. Defiance
  196. Ted
  197. Inglorious Basterds
  198. Speed
  199. In the Line of Fire
  200. Silver Linings Playbook
  201. Mission: Impossible
  202. Cast Away
  203. This is the End
  204. The Taking of Pelham 123(2009)
  205. The Taking of Pelham One Two Three(1974)
  206. Zero Dark Thirty
  207. Back to the Future: Part III
  208. Arrival
  209. Unstoppable
  210. Driving Miss Daisy
  211. Valkyrie
  212. BlacKkKlansman
  213. Independence Day
  214. Snakes on a Plane
  215. A Walk Among the Tombstones
  216. Ted 2
  217. Dawn of the Dead
  218. Sicario
  219. Chronicle
  220. The General’s Daughter
  221. Mission: Impossible - Fallout
  222. Antowne Fisher
  223. The Expendables 2
  224. Fast Five
  225. Guess Who
  226. The Bounty Hunter
  227. Arlington Road
  228. The Intouchables
  229. Letters From Iwo Jima
  230. Above the Law
  231. Mission: Impossible - Rogue Nation
  232. Guarding Tess
  233. Trouble With The Curve
  234. The Highwaymen
  235. Hell In The Pacific
  236. Dawn of the Planet of the Apes
  237. Hotel Rwanda
  238. Logan
  239. Close Encounters of the Third Kind
  240. The Equalizer 2
  241. Mission: Impossible - Ghost Protocal
  242. Courage Under Fire
  243. Den Of Thieves
  244. The Silence of the Lambs
  245. Master and Commander: The Far Side of the World
  246. Robin Hood
  247. The International
  248. Flags of Our Fathers
  249. Behind Enemy Lines
  250. Avatar
  251. The Rock
  252. The Great Outdoors
  253. War for the Planet of the Apes
  254. Mission: Impossible: III
  255. Mr. Brooks
  256. Space Cowboys
  257. Fast Times at Ridgemont High
  258. The Devil’s Own
  259. Any Given Sunday
  260. Jack Reacher: Never Go Back
  261. The Philadelphia Experiment
  262. Rounders
  263. The Presidio
  264. Drive
  265. Poseidon
  266. The Way Back
  267. Se7en
  268. Kiss The Girls
  269. Uncle Buck
  270. The Iron Giant
  271. Meet the Parents
  272. Patriot Games
  273. Finding Nemo
  274. Hoosiers
  275. The Next Three Days
  276. Street Kings
  277. Salt
  278. U.S. Marshals
  279. Looper
  280. Half Past Dead
  281. Serpico
  282. Jason Bourne
  283. Con Air
  284. Anger Management
  285. Chinatown
  286. Friends With Benefits
  287. P.S. I Love You
  288. The Bucket list
  289. Unbreakable
  290. Gone Girl
  291. The Bourne Ultimatum
  292. Safe House
  293. Daylight
  294. American Gangster
  295. No Way Out
  296. Passengers
  297. Cape Fear
  298. The Mummy
  299. Along Came a Spider
  300. Sleepers
  301. The Bourne Identity
  302. Shot Caller
  303. Catch Me If You Can
  304. The Fugitive
  305. Dog Day Afternoon
  306. John Wick Chapter 3 - Parabellum
  307. J. Edgar
  308. Body of Lies
  309. The Sisters Brothers
  310. Traitor
  311. The Jackal
  312. Clear and Present Danger
  313. The Dead Pool
  314. Dirty Harry
  315. A Beautiful Mind
  316. Lock Up
  317. Wind River
  318. The Good Shepherd
  319. Love Actually
  320. Everybody’s Fine
  321. Armageddon
  322. Contact
  323. 12 Strong
  324. Sand Castle
  325. Deja Vu
  326. Eagle Eye
  327. Mercury Rising
  328. Home Alone
  329. Holes
  330. Battle Los Angeles
  331. The Invisible Man
  332. The Lincoln Lawyer
  333. 13 Hours
  334. Meet the Fockers
  335. Uncle Drew
  336. Under Siege 2: Dark Territory
  337. Jimmy Hollywood
  338. Honey I Shrunk The Kids
  339. The Bourne Supremacy
  340. Joker
  341. The Place Beyond the Pines
  342. Marked for Death
  343. The Expendables
  344. Turner And Hooch
  345. Ocean’s Eleven
  346. Brubaker
  347. 2 Guns
  348. The Bourne Legacy
  349. Going in Style
  350. We Are Marshall
  351. The Martian
  352. Memento
  353. Fast & Furious Presents: Hobbs & Shaw
  354. The Hurt Locker
  355. The Purge: Anarchy
  356. Angel Has Fallen
  357. Last Vegas
  358. Breach
  359. Buried
  360. The Hunter
  361. Only The Brave
  362. Extraction
  363. Hopscotch
  364. High Crimes
  365. The Town
  366. Step Brothers
  367. The Day After Tomorrow
  368. Inside Man
  369. The Final Countdown
  370. Hell or High Water
  371. The Company Men
  372. Knute Rockne All American
  373. All the President’s Men
  374. Olympus Has Fallen
  375. White House Down
  376. The Expendables 3
  377. 21 Jump Street
  378. Before Sunrise
  379. Ocean’s Thirteen
  380. 22 Jump Street
  381. The Sentinel
  382. Darkest Hour
  383. In The Army Now
  384. Collateral
  385. S.W.A.T.
  386. Vice
  387. Ocean’s 8
  388. The Hunt For Red October
  389. Definitely, Maybe
  390. Rendition
  391. 50/50
  392. Tag
  393. Deepwater Horizon
  394. Ladder 49
  395. Twelve O’Clock High
  396. Red
  397. Bill & Ted’s Excellent Adventure
  398. Point Break
  399. Jack Reacher
  400. Absolute Power
  401. Blended
  402. Vantage Point
  403. 3 Days To Kill
  404. Bad Boys(1983)
  405. Tin Cup
  406. Shooter
  407. All Is Lost
  408. Ocean’s Twelve
  409. Taken 2
  410. Act Of Valor
  411. Patriots Day
  412. Daddy’s Home
  413. The Purge: Election Year
  414. Into the Storm
  415. Furious 7
  416. Apollo 13
  417. Unbroken
  418. Fast & Furious 6
  419. Brake
  420. Hostage
  421. The Core
  422. Magnum Force
  423. Fast And Furious 6
  424. Max
  425. Lone Survivor
  426. Mile 22
  427. Battleship
  428. USS Indianapolis; Men of Courage
  429. In the Valley of Elah
  430. The Matrix
  431. Glengarry Glen Ross
  432. Panic Room
  433. Training Day
  434. Tora! Tora! Tora!
  435. A Lot Like Love
  436. 47 Meters Down
  437. Contagion
  438. Grown Ups 2
  439. Grumpy Old Men
  440. The Thin Red Line
  441. Lucy
  442. Elf
  443. E.T. the Extra-Terrestrial
  444. Spenser Confidential
  445. Grumpier Old Men
  446. Sicario: Day of the Soldado
  447. Jumanji: The Next Level
  448. Executive Decision
  449. Glass
  450. The Notebook
  451. The Longest Yard(1974)
  452. Black Sunday
  453. Enemy Of The State
  454. Deep Impact
  455. London Has Fallen
  456. Escape from New York
  457. Geostorm
  458. The Fate Of The Furious
  459. White Boy Rick
  460. Pay It Forward
  461. Escape Plan
  462. Bruce Almighty
  463. Titanic
  464. Capone
  465. Megan Leavy
  466. The 15:17 To Paris
  467. The Waterboy
  468. Thank You For Your Service
  469. The Enforcer
  470. Full Metal Jacket
  471. First Man
  472. They Shall Not Grow Old
  473. Grown Ups
  474. Prisoners
  475. No Country for Old Men
  476. Alive
  477. Unknown
  478. 2 Fast 2 Furious
  479. Basic
  480. Triple Frontier
  481. John Wick 2
  482. Red 2
  483. About Time
  484. The Sandlot
  485. Manchester by the Sea
  486. Red Dawn (2013)
  487. Happy Gilmore
  488. Jarhead
  489. 88 Minutes
  490. Next
  491. Miracle
  492. Creed
  493. Non-Stop
  494. American Sniper
  495. The Interpreter
  496. As Good As It Gets
  497. The Purge
  498. Ricochet
  499. Taken 3
  500. The Benchwarmers
  501. Tower Heist
  502. Lions for Lambs
  503. Fast And Furious
  504. Swordfish
  505. Mission: Impossible II
  506. Sudden Impact
  507. Homefront
  508. The Messenger
  509. Mine
  510. Everest
  511. Dear John
  512. Red Dawn (1984)
  513. Broken Arrow
  514. Green Zone
  515. Gone In 60 Seconds
  516. Backdraft
  517. Knowing
  518. Face/Off
  519. Red Tails
  520. Live Free Or Die Hard
  521. Creed 2
  522. The Fast And The Furious
  523. Memphis Belle
  524. Sully
  525. San Andreas
  526. A Good Day To Die Hard
  527. River Runs Red
  528. The Siege
  529. Flight
  530. 2012
  531. Ransom
  532. Demolition
  533. Finding Dory
  534. The River Wild
  535. Fast & Furious
  536. Die Hard 2
  537. Murder At 1600
  538. Hard Rain
  539. Papillon
  540. Life as We Know It
  541. Dante’s Peak
  542. Peppermint
  543. Little Fockers
  544. Enemy At The Gates
  545. The Monuments Men
  546. Falling Down
  547. Red Sparrow
  548. Goosebumps
  549. The 5th Wave
  550. Dunkirk
  551. Underwater
  552. G.I. Joe: Retaliation
  553. He’s Just Not That Into You
  554. Extremely Loud and Incredibly Close
  555. Max 2: White House Hero
submitted by cbushman1 to movies [link] [comments]


2020.08.03 16:24 TechnicalTanzer6 The Young Cast: "Bohemian Rhapsody" by David Garrett and Panic! At the Disco - World of Dance-Semi Finals Sneak Peak

submitted by TechnicalTanzer6 to Worldofdance [link] [comments]


2020.08.03 14:54 Milomi10 The Young Cast: "Bohemian Rhapsody" by David Garrett and Panic! At the D...

The Young Cast: submitted by Milomi10 to ILoveDance [link] [comments]


2020.08.01 11:43 3BitchesInATank I’m not your personal stereo!!

Still on mobile✌🏽
Okay so for context, I live on a farm, in the middle of a field (a good distance from other houses) and the sound travels easily to the top of the road - but only when you yell. This is all important to remember.
So the other day, I was sweeping the drive with my headphones on, because why wouldn’t I? Occasionally, if a good song came on, I’d sing along. I’ve been told I have a pretty decent voice by a couple people (some neighbours included) and didn’t think much of it as I wasn’t screaming Bohemian Rhapsody or anything.
Now, apparently, the new neighbours down the street didn’t realise that I’m actually allowed to make my own noise in my own home/garden (technically)? I’m not entirely sure what was going through their heads lol
So these 2 adults come stomping up my drive (I’m a teenager btw) and I’m thinking ‘oh oops I was being too noisy’ - which I thought was reasonable. They completely ignored my Dad in the next field over, on the tractor and cutting the grass which was way louder than I was.
Here’s our initial cast: W - the woman who gets redder than my tomato plants out back (wait for it). G - the guy with a voice louder than our tractor (The Trevinator). E - Me, hi there (:
W: “Hello!” E: “Um... hi. Sorry, was I being too loud?” W: “Oh, no, it’s okay. We were actually wondering if you take requests?”
Obviously I found this a bit odd... They couldn’t hear the music so it was just my voice; I thought they were being mean lol
E: “Sorry?” G (really condescending): “That’s okay. Could you sing these for us?”
He handed me (I kid you not) an A4 sheet of paper with a long list of songs on - most of which I’d never heard of. Now I don’t know if you know, but it’s kind of difficult to sing a song you’ve never heard of.
E: “I... I don’t understand. I was just- If I’m being too loud I can just stop singing.” (I don’t think I said it rudely, but W started going angry red.) W: “We don’t want you to stop! We want you to sing for us!” At this point, we’re joined by another person - K (kid of these two; she’s about 8).
K: “Mum why did the music stop?” Bear in mind there’s now 3 strangers on my drive, without permission and without masks (I was well beyond 6ft away, though, as I’m vulnerable and very cautious anyway).
W: “It’ll be back in a minute, sweetie. As soon as she starts singing for us.” (Not to get into it but I don’t always use she/her pronouns so this was a little shock to the system.)
G (loudly): “And she will sing for us.” Yeah, okay, that got me worked up.
E: “Um actually I don’t have to sing for you. I’m working, and singing to my own music on my own land and I’ve offered to stop if you don’t like what you can hear.” W (now nearing tomato-colour): “But we don’t want you to stop! We want you to sing these songs for us and we’re not leaving until you do!”
E: “Clearly you don’t understand the illegality of trespassing, and I’m not singing for you. Please leave.” I plug my earphones back in and resume sweeping. I can hear them yelling at me but I ignore them. G tries to pull my earphones out but I lift the broom to be between him and myself. I pause my music.
E: “That’s dangerous, and technically assault. We can add that to your trespassing.” K: “Shut up! We just want you to sing for us!” E: “Kid, I don’t know how it works in your house, but you’re on my land, so technically my house, and here we don’t use strangers as our personal show-monkeys or music-boxes. So please, get lost.”
W: “Don’t you dare talk to us like that! Sing now!” Their list is now on the floor. I pick it up, drop it in my dustbin (while maintaining eye contact, of course) and play my music.
They left at some point after that, still yelling for a while but they probably got bored of me ignoring them.
Not the greatest story, I know, but it was kind of a fun experience tbh (:
submitted by 3BitchesInATank to entitledparents [link] [comments]


2020.08.01 00:31 JuanRiveara Reddit Chosen Oscars: 2018 Winners

Best Picture
1. The Favourite
2. Roma
3. Spider-Man: Into the Spider-Verse
4. BlacKkKlansman
5. Hereditary
6. Eighth Grade
7. A Star Is Born
8. Black Panther
8. First Man
10. If Beale Street Could Talk
Best Director
  1. Alfonso Cuarón for Roma
  2. Yorgos Lanthimos for The Favourite
  3. Spike Lee for BlacKkKlansman
  4. Bradley Cooper for A Star Is Born
  5. Barry Jenkins for If Beale Street Could Talk
Best Lead Actor
  1. Ethan Hawke as Pastor Ernst Toller in First Reformed
  2. Bradley Cooper as Jackson "Jack" Maine in A Star Is Born
  3. Christian Bale as Dick Cheney in Vice
  4. Rami Malek as Freddie Mercury in Bohemian Rhapsody
  5. Lakeith Stanfield as Cassius "Cash" Green in Sorry to Bother You
  6. John David Washington as Detective Ron Stallworth in BlacKkKlansman
Best Lead Actress
  1. Olivia Colman as Queen Anne in The Favourite
  2. Toni Collette as Annie Graham in Hereditary
  3. Lady Gaga as Ally Maine in A Star Is Born
  4. Elsie Fisher as Kayla Day in Eighth Grade
  5. Melissa McCarthy as Lee Israel in Can You Ever Forgive Me?
Best Supporting Actor
  1. Mahershala Ali as Dr. Don Shirley in Green Book
  2. Richard E. Grant as Jack Hock in Can You Ever Forgive Me?
  3. Adam Driver as Detective Philip "Flip" Zimmerman in BlacKkKlansman
  4. Michael B. Jordan as N'Jadaka/Erik "Killmonger" Stevens in Black Panther
  5. Sam Elliott as Bobby Maine in A Star Is Born
Best Supporting Actress
  1. Regina King as Sharon Rivers in If Beale Street Could Talk
  2. Rachel Weisz as Lady Sarah in The Favourite
  3. Emma Stone as Abigail in The Favourite
  4. Amy Adams as Lynne Vincent Cheney in Vice
  5. Marina de Tavira as Sofía in Roma
Best Original Screenplay
  1. The Favourite
  2. Eighth Grade
  3. First Reformed
  4. Roma
  5. Blindspotting
Best Adapted Screenplay
  1. BlacKkKlansman
  2. Spider-Man: Into the Spider-Verse
  3. The Death of Stalin
  4. If Beale Street Could Talk
  5. A Star Is Born
Best Animated Film
  1. Spider-Man: Into the Spider-Verse
  2. Isle of Dogs
  3. Incredibles 2
  4. Ralph Breaks the Internet
  5. Mirai
Best Non-English Language Film
  1. Roma
  2. Shoplifters
  3. Burning
  4. Cold War
  5. Capernaum
Best Documentary Film
  1. Won’t You Be My Neighbor?
  2. Free Solo
  3. They Shall Not Grow Old
  4. Three Identical Strangers
  5. Minding the Gap
Best Original Score
  1. Black Panther
  2. If Beale Street Could Talk
  3. First Man
  4. Isle of Dogs
  5. BlacKkKlansman
Best Original Song
  1. "Shallow" from A Star Is Born
  2. "Sunflower" from Spider-Man: Into the Spider-Verse
  3. "All the Stars" from Black Panther
  4. "When a Cowboy Trades His Spurs for Wings" from The Ballad of Buster Scruggs
  5. "Ashes" from Deadpool 2
Best Sound
  1. First Man
  2. A Quiet Place
  3. A Star Is Born
  4. Mission: Impossible-Fallout
  5. Black Panther
Best Production Design
1. Black Panther
1. The Favourite
3. Roma
4. Crazy Rich Asians
5. First Man
Best Cinematography
  1. Roma
  2. The Favourite
  3. First Man
  4. Cold War
  5. A Star Is Born
Best Makeup/Hairstyling
  1. Vice
  2. The Favourite
  3. Black Panther
  4. Suspiria
  5. Mary, Queen of Scots
Best Costume Design
  1. Black Panther
  2. The Favourite
  3. Crazy Rich Asians
  4. The Ballad of Buster Scruggs
  5. Mary Poppins Returns
Best Editing
1. BlacKkKlansman
2. The Favourite
2. First Man
4. Mission: Impossible-Fallout
5. Roma
Best Visual Effects
  1. Avengers: Infinity War
  2. First Man
  3. Annihilation
  4. Ready Player One
  5. Solo: A Star Wars Story
Best Voice Acting/Motion Capture Performance by an Actor
  1. Josh Brolin as Thanos in Avengers: Infinity War
  2. Shameik Moore as Miles Morales/Spider-Man in Spider-Man: Into the Spider-Verse
  3. Bryan Cranston as Chief in Isle of Dogs
  4. Jake Johnson as Peter B. ParkeSpider-Man in Spider-Man: Into the Spider-Verse
  5. John Mulaney as Peter PorkeSpider-Ham in Spider-Man: Into the Spider-Verse
  6. David Cross as Cash’s White Voice in Sorry to Bother You
Best Voice Acting/Motion Capture Performance by an Actress
  1. Holly Hunter as Helen ParElastigirl in Incredibles 2
  2. Hailee Steinfeld as Gwen Stacy/Spider-Woman in Spider-Man: Into the Spider-Verse
  3. Phoebe Waller-Bridge as L3-37 in Solo: A Star Wars Story
  4. Greta Gerwig as Tracy Walker in Isle of Dogs
  5. Sarah Silverman as Vanellope von Schweetz in Ralph Breaks the Internet
  6. Catherine Keener as Evelyn Deavor in Incredibles 2
Best Directorial Debut
  1. Ari Aster for Hereditary
  2. Bradley Cooper for A Star Is Born
  3. Bo Burnham for Eighth Grade
  4. Boots Riley for Sorry to Bother You
  5. Carlos López Estrada for Blindspotting
Best Ensemble Cast
  1. The Favourite
  2. Black Panther
  3. The Ballad of Buster Scruggs
  4. BlacKkKlansman
  5. Vice
Best Choreography, Stunts or Dance
  1. Mission: Impossible-Fallout
  2. Avengers: Infinity War
  3. Black Panther
  4. Suspiria
  5. Mary Poppins Returns
Best Soundtrack
1. A Star Is Born
2. Spider-Man: Into the Spider-Verse
3. Black Panther
3. Bohemian Rhapsody
5. Mary Poppins Returns
Best Non-English Language Performance by an Actor
  1. Steven Yeun as Ben in Burning
  2. Tomasz Kot as Wiktor Warski in Cold War
  3. Yoo Ah-in as Lee Jong-su in Burning
  4. Lily Franky as Osamu Shibata in Shoplifters
  5. Zain Al Rafeea as Zain El Hajj in Capernaum
Best Non-English Language Performance by an Actress
  1. Yalitza Aparicio as Cleodegaria "Cleo" Gutiérrez in Roma
  2. Joanna Kulig as Zuzanna "Zula" Lichoń in Cold War
  3. Sakura Ando as Nobuyo Shibata in Shoplifters
  4. Marina de Tavira as Sofía in Roma
  5. Jeon Jong-seo as Shin Hae-mi in Burning
Full charts for all the categories
Preferential ballot for this year
submitted by JuanRiveara to Oscars [link] [comments]


2020.08.01 00:31 JuanRiveara Reddit Chosen Oscars: 2018 Winners

Best Picture
1. The Favourite
2. Roma
3. Spider-Man: Into the Spider-Verse
4. BlacKkKlansman
5. Hereditary
6. Eighth Grade
7. A Star Is Born
8. Black Panther
8. First Man
10. If Beale Street Could Talk
Best Director
  1. Alfonso Cuarón for Roma
  2. Yorgos Lanthimos for The Favourite
  3. Spike Lee for BlacKkKlansman
  4. Bradley Cooper for A Star Is Born
  5. Barry Jenkins for If Beale Street Could Talk
Best Lead Actor
  1. Ethan Hawke as Pastor Ernst Toller in First Reformed
  2. Bradley Cooper as Jackson "Jack" Maine in A Star Is Born
  3. Christian Bale as Dick Cheney in Vice
  4. Rami Malek as Freddie Mercury in Bohemian Rhapsody
  5. Lakeith Stanfield as Cassius "Cash" Green in Sorry to Bother You
  6. John David Washington as Detective Ron Stallworth in BlacKkKlansman
Best Lead Actress
  1. Olivia Colman as Queen Anne in The Favourite
  2. Toni Collette as Annie Graham in Hereditary
  3. Lady Gaga as Ally Maine in A Star Is Born
  4. Elsie Fisher as Kayla Day in Eighth Grade
  5. Melissa McCarthy as Lee Israel in Can You Ever Forgive Me?
Best Supporting Actor
  1. Mahershala Ali as Dr. Don Shirley in Green Book
  2. Richard E. Grant as Jack Hock in Can You Ever Forgive Me?
  3. Adam Driver as Detective Philip "Flip" Zimmerman in BlacKkKlansman
  4. Michael B. Jordan as N'Jadaka/Erik "Killmonger" Stevens in Black Panther
  5. Sam Elliott as Bobby Maine in A Star Is Born
Best Supporting Actress
  1. Regina King as Sharon Rivers in If Beale Street Could Talk
  2. Rachel Weisz as Lady Sarah in The Favourite
  3. Emma Stone as Abigail in The Favourite
  4. Amy Adams as Lynne Vincent Cheney in Vice
  5. Marina de Tavira as Sofía in Roma
Best Original Screenplay
  1. The Favourite
  2. Eighth Grade
  3. First Reformed
  4. Roma
  5. Blindspotting
Best Adapted Screenplay
  1. BlacKkKlansman
  2. Spider-Man: Into the Spider-Verse
  3. The Death of Stalin
  4. If Beale Street Could Talk
  5. A Star Is Born
Best Animated Film
  1. Spider-Man: Into the Spider-Verse
  2. Isle of Dogs
  3. Incredibles 2
  4. Ralph Breaks the Internet
  5. Mirai
Best Non-English Language Film
  1. Roma
  2. Shoplifters
  3. Burning
  4. Cold War
  5. Capernaum
Best Documentary Film
  1. Won’t You Be My Neighbor?
  2. Free Solo
  3. They Shall Not Grow Old
  4. Three Identical Strangers
  5. Minding the Gap
Best Original Score
  1. Black Panther
  2. If Beale Street Could Talk
  3. First Man
  4. Isle of Dogs
  5. BlacKkKlansman
Best Original Song
  1. "Shallow" from A Star Is Born
  2. "Sunflower" from Spider-Man: Into the Spider-Verse
  3. "All the Stars" from Black Panther
  4. "When a Cowboy Trades His Spurs for Wings" from The Ballad of Buster Scruggs
  5. "Ashes" from Deadpool 2
Best Sound
  1. First Man
  2. A Quiet Place
  3. A Star Is Born
  4. Mission: Impossible-Fallout
  5. Black Panther
Best Production Design
1. Black Panther
1. The Favourite
3. Roma
4. Crazy Rich Asians
5. First Man
Best Cinematography
  1. Roma
  2. The Favourite
  3. First Man
  4. Cold War
  5. A Star Is Born
Best Makeup/Hairstyling
  1. Vice
  2. The Favourite
  3. Black Panther
  4. Suspiria
  5. Mary, Queen of Scots
Best Costume Design
  1. Black Panther
  2. The Favourite
  3. Crazy Rich Asians
  4. The Ballad of Buster Scruggs
  5. Mary Poppins Returns
Best Editing
1. BlacKkKlansman
2. The Favourite
2. First Man
4. Mission: Impossible-Fallout
5. Roma
Best Visual Effects
  1. Avengers: Infinity War
  2. First Man
  3. Annihilation
  4. Ready Player One
  5. Solo: A Star Wars Story
Best Voice Acting/Motion Capture Performance by an Actor
  1. Josh Brolin as Thanos in Avengers: Infinity War
  2. Shameik Moore as Miles Morales/Spider-Man in Spider-Man: Into the Spider-Verse
  3. Bryan Cranston as Chief in Isle of Dogs
  4. Jake Johnson as Peter B. ParkeSpider-Man in Spider-Man: Into the Spider-Verse
  5. John Mulaney as Peter PorkeSpider-Ham in Spider-Man: Into the Spider-Verse
  6. David Cross as Cash’s White Voice in Sorry to Bother You
Best Voice Acting/Motion Capture Performance by an Actress
  1. Holly Hunter as Helen ParElastigirl in Incredibles 2
  2. Hailee Steinfeld as Gwen Stacy/Spider-Woman in Spider-Man: Into the Spider-Verse
  3. Phoebe Waller-Bridge as L3-37 in Solo: A Star Wars Story
  4. Greta Gerwig as Tracy Walker in Isle of Dogs
  5. Sarah Silverman as Vanellope von Schweetz in Ralph Breaks the Internet
  6. Catherine Keener as Evelyn Deavor in Incredibles 2
Best Directorial Debut
  1. Ari Aster for Hereditary
  2. Bradley Cooper for A Star Is Born
  3. Bo Burnham for Eighth Grade
  4. Boots Riley for Sorry to Bother You
  5. Carlos López Estrada for Blindspotting
Best Ensemble Cast
  1. The Favourite
  2. Black Panther
  3. The Ballad of Buster Scruggs
  4. BlacKkKlansman
  5. Vice
Best Choreography, Stunts or Dance
  1. Mission: Impossible-Fallout
  2. Avengers: Infinity War
  3. Black Panther
  4. Suspiria
  5. Mary Poppins Returns
Best Soundtrack
1. A Star Is Born
2. Spider-Man: Into the Spider-Verse
3. Black Panther
3. Bohemian Rhapsody
5. Mary Poppins Returns
Best Non-English Language Performance by an Actor
  1. Steven Yeun as Ben in Burning
  2. Tomasz Kot as Wiktor Warski in Cold War
  3. Yoo Ah-in as Lee Jong-su in Burning
  4. Lily Franky as Osamu Shibata in Shoplifters
  5. Zain Al Rafeea as Zain El Hajj in Capernaum
Best Non-English Language Performance by an Actress
  1. Yalitza Aparicio as Cleodegaria "Cleo" Gutiérrez in Roma
  2. Joanna Kulig as Zuzanna "Zula" Lichoń in Cold War
  3. Sakura Ando as Nobuyo Shibata in Shoplifters
  4. Marina de Tavira as Sofía in Roma
  5. Jeon Jong-seo as Shin Hae-mi in Burning
Full charts for all the categories
Preferential ballot for this year
submitted by JuanRiveara to oscarrace [link] [comments]


2020.07.14 13:07 adalby12 Actors Who Were Considered For Oscar-Winning Roles-Would They Still Have Won? Best Actor

Don’t know if anyone else is interested in this kinda thing but I thought I’d post and see. If there is interest I’ll do it for other awards too and then maybe for nominated roles as well
But yeah basically this is a bunch of situations where roles that actors won Best Actor for almost went to somebody else. Do you think the performances would have been as good? Better? Would they have still won the Oscar?
Joker (2019) - Warner Bros allegedly pushed hard for Todd Phillips to cast LEONARDO DICAPRIO as Arthur, but he only ever considered Joaquin Phoenix
Bohemian Rhapsody (2018) - SACHA BARON COHEN was originally cast as Freddie Mercury in an “R-rated, tell all” version of the movie, before leaving over creative differences.
Manchester By The Sea (2016) - MATT DAMON, who produced the movie, intended to star in the movie as well, but gave up the role when he realised he had no free time in his schedule for over a year
The Revenant (2015) - An early version of the movie was being developed by Park Chan-Wook, with SAMUEL L JACKSON attached to star as Hugh Glass
Dallas Buyers Club (2013) - RYAN GOSLING was in talks to star as Ron Woodruf before Matthew McConaughey was considered
Lincoln (2012) - Daniel Day-Lewis passed on the role when he was first offered it, leading to the role being offered to and accepted by LIAM NEESON, who eventually left the project after he felt like he aged out of it
The King’s Speech (2010) - Director Tom Hooper liked HUGH GRANT for the role of George VI, and screenwriter David Seidler liked PAUL BETTANY, before they agreed upon Colin Firth
The Pianist (2002) - Roman Polanski’s first choice for the lead role was JOSEPH FIENNES, who passed on it leading to Adrien Brody being cast
Gladiator (2000) - MEL GIBSON was offered the role of Maximus, but passed on it believing himself too old for it
American Beauty (1999) - Allegedly the role of Lester Burnham was offered to CHEVY CHASE, with the studio also considering BRUCE WILLIS, JOHN TRAVOLTA and KEVIN COSTNER
Forrest Gump (1994) - JOHN TRAVOLTA has said he was the first choice for the titular role, while author of the original book Winston Groom said he envisioned JOHN GOODMAN in the role, with the “rougher edges” from the book still present in the film
Silence Of The Lambs (1991) - Jonathan Demme first offered the role of Hannibal Lecter to SEAN CONNERY, who did not like the script and turned it down
Rain Man (1988) - Agents at CAA sent the script to BILL MURRAY, intending him to play the titular role with Dustin Hoffman instead playing the Tom Cruise role
Wall Street (1987) - Oliver Stone’s first choice for Gordon Gekko was RICHARD GERE, while the studio liked WARREN BEATTY for it
The Goodbye Girl (1977) - The original version of the script was called Bogart Slept Here and was set to star ROBERT DE NIRO
Network (1976) - The role of Howard Beale was offered to tons of acting legends, including HENRY FONDA, JIMMY STEWART and WALTER MATTHAU
One Flew Over The Cuckoo’s Nest (1975) - KIRK DOUGLAS bought the rights to this intending to star as McMurphy himself, but sold them to his son when he aged out of the role. Jack Nicholson was then cast.
Harry And Tonto (1974) - JAMES CAGNEY, LAURENCE OLIVIER and CARY GRANT all turned down the role of Harry before it went to Art Carney.
The Godfather (1972) - Paramount allegedly pushed hard for ERNEST BORGNINE to play Vito Corleone
The French Connection (1971) - William Friedkin was initially hesitant for Gene Hackman to star, instead preferring PAUL NEWMAN (who was too expensive for the production)
Patton (1970) - ROD STEIGER turned down the titular role, which he is quoted as saying was the worst mistake of his career
A Man For All Seasons (1966) - The producers didn’t think Paul Scofield was a big enough name to draw an audience and approached RICHARD BURTON to star instead
Cat Ballou (1965) - KIRK DOUGLAS allegedly refused the role of Kid Shelleen
Ben-Hur (1959) - An early production of the movie had MARLON BRANDO attached to star in the titular role
On The Waterfront (1954) - Brando initially passed on the role and this meant that FRANK SINATRA reportedly had a ‘handshake deal’ to play Terry Malloy, but no official contract
High Noon (1952) - JOHN WAYNE was offered the lead role but refused it as he was in support of blacklisting, which the movie is an allegory against
submitted by adalby12 to oscarrace [link] [comments]


2020.07.14 13:05 adalby12 Actors Who Were Considered For Oscar Winning Roles - Would They Still Have Won? Best Actor

Don’t know if anyone else is interested in this kinda thing but I thought I’d post and see. If there is interest I’ll do it for other awards too and then maybe for nominated roles as well
But yeah basically this is a bunch of situations where roles that actors won Best Actor for almost went to somebody else. Do you think the performances would have been as good? Better? Would they have still won the Oscar?
Joker (2019) - Warner Bros allegedly pushed hard for Todd Phillips to cast LEONARDO DICAPRIO as Arthur, but he only ever considered Joaquin Phoenix
Bohemian Rhapsody (2018) - SACHA BARON COHEN was originally cast as Freddie Mercury in an “R-rated, tell all” version of the movie, before leaving over creative differences.
Manchester By The Sea (2016) - MATT DAMON, who produced the movie, intended to star in the movie as well, but gave up the role when he realised he had no free time in his schedule for over a year
The Revenant (2015) - An early version of the movie was being developed by Park Chan-Wook, with SAMUEL L JACKSON attached to star as Hugh Glass
Dallas Buyers Club (2013) - RYAN GOSLING was in talks to star as Ron Woodruf before Matthew McConaughey was considered
Lincoln (2012) - Daniel Day-Lewis passed on the role when he was first offered it, leading to the role being offered to and accepted by LIAM NEESON, who eventually left the project after he felt like he aged out of it
The King’s Speech (2010) - Director Tom Hooper liked HUGH GRANT for the role of George VI, and screenwriter David Seidler liked PAUL BETTANY, before they agreed upon Colin Firth
The Pianist (2002) - Roman Polanski’s first choice for the lead role was JOSEPH FIENNES, who passed on it leading to Adrien Brody being cast
Gladiator (2000) - MEL GIBSON was offered the role of Maximus, but passed on it believing himself too old for it
American Beauty (1999) - Allegedly the role of Lester Burnham was offered to CHEVY CHASE, with the studio also considering BRUCE WILLIS, JOHN TRAVOLTA and KEVIN COSTNER
Forrest Gump (1994) - JOHN TRAVOLTA has said he was the first choice for the titular role, while author of the original book Winston Groom said he envisioned JOHN GOODMAN in the role, with the “rougher edges” from the book still present in the film
Silence Of The Lambs (1991) - Jonathan Demme first offered the role of Hannibal Lecter to SEAN CONNERY, who did not like the script and turned it down
Rain Man (1988) - Agents at CAA sent the script to BILL MURRAY, intending him to play the titular role with Dustin Hoffman instead playing the Tom Cruise role
Wall Street (1987) - Oliver Stone’s first choice for Gordon Gekko was RICHARD GERE, while the studio liked WARREN BEATTY for it
The Goodbye Girl (1977) - The original version of the script was called Bogart Slept Here and was set to star ROBERT DE NIRO
Network (1976) - The role of Howard Beale was offered to tons of acting legends, including HENRY FONDA, JIMMY STEWART and WALTER MATTHAU
One Flew Over The Cuckoo’s Nest (1975) - KIRK DOUGLAS bought the rights to this intending to star as McMurphy himself, but sold them to his son when he aged out of the role. Jack Nicholson was then cast.
Harry And Tonto (1974) - JAMES CAGNEY, LAURENCE OLIVIER and CARY GRANT all turned down the role of Harry before it went to Art Carney.
The Godfather (1972) - Paramount allegedly pushed hard for ERNEST BORGNINE to play Vito Corleone
The French Connection (1971) - William Friedkin was initially hesitant for Gene Hackman to star, instead preferring PAUL NEWMAN (who was too expensive for the production)
Patton (1970) - ROD STEIGER turned down the titular role, which he is quoted as saying was the worst mistake of his career
A Man For All Seasons (1966) - The producers didn’t think Paul Scofield was a big enough name to draw an audience and approached RICHARD BURTON to star instead
Cat Ballou (1965) - KIRK DOUGLAS allegedly refused the role of Kid Shelleen
Ben-Hur (1959) - An early production of the movie had MARLON BRANDO attached to star in the titular role
On The Waterfront (1954) - Brando initially passed on the role and this meant that FRANK SINATRA reportedly had a ‘handshake deal’ to play Terry Malloy, but no official contract
High Noon (1952) - JOHN WAYNE was offered the lead role but refused it as he was in support of blacklisting, which the movie is an allegory against
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