Oscars 2022: The Ceremony Should Not Be Pre-Televised!

The lead-up to last night's 94th annual Academy Awards ceremony proved to be one of its most controversial, and for several reasons. As such, a couple of elephants in the room need to be addressed here. First of all, the Academy's decision to pre-tape eight of the show's technical achievements was something they attempted to do three years ago (before several noteworthy filmmakers petitioned against the idea and ultimately overturned it). Nevertheless, they stuck to the decision this time around for the supposed sake of viewership ratings and runtime. In the end, however, the show ran for roughly 3 hours and 40 minutes. So live show wins for Sound, Documentary Short Subject, Visual Effects, Animated Short, Live Action Short Film, Original Score, Film Editing, Production Design, and Makeup & Hairstyling, would've still benefited the respective winners and unsung heroes behind-the-scenes of the year's most acclaimed films. 

Filmmaker Guillermo del Toro perhaps said it best earlier this month, 

The nominees that we have here . . . [worked] against many, many difficult odds [to get here], and we don’t do [films] alone. . . . We do them together, and the people that made them with us did it risking everything in a pandemic, showing up, making the day, somewhat in a miracle. I must say, if any year was the year to think about it, this is not the year not to hear their names live at the Oscars. This is the year to sing it, and sing it loud.

(l-r) Hosts Regina Hall, Amy Schumer, and Wanda Sykes, at the ceremony's conclusion

And then there was that brief-but-heated situation between Best Actor nominee (and eventual winner) Will Smith and presenter Chris Rock. While the latter presented the award for Best Documentary Feature, Rock made a joke about Smith's wife, Jada Pinkett Smitt (who was diagnosed with alopecia in 2018), leading the former "Fresh Prince"--who was sitting in the front of the audience--to storm the stage and slap Rock. This arguably ranked as the show's most awkward-turned-gasping moment of the evening. (Twitter is reportedly still blowing up, as a result.). To be fair, subsequent presenter Sean "Diddy" Combs politely--if humorously--addressed the situation ("We're gonna solve that like family at the Gold Party"), while Smith delivered a tearful and humble apology during his acceptance speech, for his acclaimed performance as the family patriarch in the Venus & Serena Williams biopic King Richard. While we should at least give the man credit for his transparency (as well as reported words of wisdom from fellow nominee Denzel Washington), only time will if the Academy will invite him back next year. 

Those elements notwithstanding, the ceremony, for the most part, managed to be engaging and well-done, with several worthwhile acceptance speeches and highlights involving cast and crew in front of and behind the camera. The same went for the humorous (if, at times, crass) hosting duties of comic actresses Amy Schumer, Wanda Sykes, and Regina Hall, especially when they parodied Spider-Man, Richard Williams, and Tammy Faye, respectfully. (I theorize, however, if the decision to have three hosts this year was to make up for the last three, host-less Oscars.) While Warner Bros' acclaimed sci-fi blockbuster adaptation Dune collected most of this year's technical honors (including well-deserved statues for visual effects, sound, and Hans Zimmer's groundbreaking score), several other high-profile and festival-friendly picks took home at least one statue. 

(l-r) Oscar-winners Ariana DeBose (Best Supporting Actress), Troy Kotsur
(Best Supporting Actor), and Jessica Chastain (Best Actress) 

From The Power of the Dog (Jane Campion became the third woman to win Best Director, and the first New Zealand native to do so since Peter Jackson) to West Side Story (Best Supporting Actress Ariana DeBose--who knocked it out of the park as Anita in Steven Spielberg's superb musical adaptation--became the first openly queer woman of color and second Latina to win for acting), Encanto (Disney's latest phenomenon won Best Animated Feature Film, not surprisingly), Cruella (for Jenny Beaven's impeccable, 1970's punk-rock-inspired costume design), No Time To Die (brother-sister music duo Billie Eilish and Finneas continued the tradition of award-winning James Bond theme songs, while Eilish became the first Oscar-winner born in the 21st Century), Belfast (writer-director Kenneth Branagh won his first statue for his original, semi-autobiographical screenplay, while being the first person to be nominated in seven different Oscar categories throughout his decades-long career), Drive My Car (the 3-hour-long, multilingual character drama from Japan won Best International Feature Film, also not surprisingly) and The Eyes of Tammy Faye (Jessica Chastain was declared Best Actress, while the televangelist biopic was also commended for its Makeup & Hairstyling), the evening had a fair representation of several diverse films, not to mention shout outs to their respective countries and/or communities (i.e., Ireland, the deaf community), including a moment of silence for the current situation in Ukraine. (The "In Memorium" segment, on the other hand--while featuring touching tributes to film actor Sidney Poitier, producer-director Ivan Reitman, and TV icon Betty White--, seemed a little too distracted by its more upbeat chorus.) 

On a different note, several classic films celebrated their respective anniversaries this year, with surprise appearances from the actors and/or filmmakers behind them. These included the seminal 1972 mafia drama The Godfather (presented by director Francis Ford Coppola and franchise stars Al Pacino and Robert DeNiro), the 1992 basketball comedy-drama White Men Can't Jump (stars Wesley Snipes, Woody Harrelson, and Rosie Perez presented Best Cinematography), the 1994 anthology crime thriller Pulp Fiction (stars John Travolta, Samuel L. Jackson, and Uma Thurman, recreated some of their famous movie moments and lines, including an appearance from the mysterious briefcase), the 2007 coming-of-age dramedy Juno (stars Jennifer Garner, J.K. Simmons, and transgender actor Elliot Page presented Best Original Screenplay), and the 1972 Bob Fosse-directed musical Cabaret ("showbiz legend" Liza Minneli--wheelchair in tow--presented the Best Picture award with former Oscar-winner Lady Gaga). 

Best Picture-winner CODA

With the latter in mind, perhaps the other big surprise of the night was the Apple- and Sundance-produced indie drama CODA. Not only did Best Supporting Actor Troy Kotsur become the second deaf actor to win an Academy Award (his co-star, Marlee Matlin, was the first, having won Best Actress for Children of a Lesser God, 35 years ago). Writer-director Sian Heder was also awarded for her adapted screenplay (based on the 2014 French film, La Famille Belier), while the film itself became the underdog victor when it won the coveted Best Picture award. The film's producers ultimately thanked the Academy for "recognizing a movie of love and family in this difficult time." Here's hoping the Oscars reinstate the aforementioned technical categories to live presentations next year. They deserve said respect just as much. 

***

POST-SCRIPT: On March 28th, Will Smith issued a public apology to the Academy and to Chris Rock, stating, 

I was out of line and I was wrong. I am embarrassed and my actions were not indicative of the man I want to be. There is no place for violence in a world of love and kindness. . . . I deeply regret that my behavior has stained what has been an otherwise gorgeous journey for all of us . . . I am a work in progress.

That same week, he resigned from the Academy of Motion Picture Arts & Sciences, while the Board of Directors banned the actor from attending the Oscars for ten years (beginning April 8, 2022), to which Smith accepted. As for Chris Rock, while his aforementioned joke was off-color and unnecessary, he should be commended for keeping his composure throughout Sunday night's ceremony. 

RETROSPECT: Adjusted For Inflation or, The 25 Highest-Grossing Films of All-Time

WRITER'S NOTE: This post was originally published on March 15, 2022, but was eventually removed since it was still in very rough form. It has been thoroughly reviewed, updated, and re-posted on August 23rd, 2022.

When reading through the list of the highest-grossing films in the U.S. and worldwide, it's important to remember--or at least consider--that the box-office only tells us how many people went to see these films. It doesn't tell us what those people thought about them. That being said, I've found that examining lists of films adjusted for inflation (that is, what they would make in today's dollars) is a more legitimate examination of the history of cinema and its popularity. 

In keeping with the theme of movies that have endured over the last century (and with the latest re-releases of Steven Spielberg's iconic blockbusters E.T. and Jaws in IMAX), the following is based on in-depth research of the top 25 films that have made the most money at the box-office (in U.S. currency), starting with number 1. Included with their respective grosses and ticket sales (as well as worldwide grosses for select titles, as of 2020) are critical and user scores or ratings from the Internet Movie Database (IMDb), Rotten Tomatoes (RT), and Metacritic. I've also included accolades from various polls conducted by the American Film Institute (AFI) between 1998 and 2008--which, since 1968, continues to "educate filmmakers and honors the heritage of the motion picture arts in the United States." 

1. Gone With the Wind (1939, dir. Victor Fleming, MGM)

Est. number of tickets: 202,286,200

Lifetime gross: $200,882,193

Adjusted lifetime gross: $1,850,581,586

(Adjusted worldwide gross / ranking: $3,724,000,000 / #1) 

IMDb critical rating: 97

Critical excerpt: 

Although this epic romantic melodrama is undoubtedly one of the most popular and beloved motion pictures ever to grace the silver screen, it is also arguably the most overrated. Gone with the Wind is a very good movie, perhaps bordering on being great, but its subject matter and running time (which is easily 60 minutes too long) argue against its status as a masterpiece. ~James Berardinelli, ReelViews

IMDb user rating: 8.2/10 ("Top 250," #158) 

RT score/critical consensus: 90% ("Certified Fresh") / Gone with the Wind's epic grandeur and romantic allure encapsulate an era of Hollywood filmmaking -- but that can't excuse a blinkered perspective that stands on the wrong side of history.

RT audience score: 92%

Metacritic metascore/user score: 97 (Metacritic "Must-See") / 8.3 

AFI Accolades

-->100 Greatest American Films (1998 poll, #4; 2007 poll, #6) 

-->100 Greatest Love Stories (2002 poll, #2) 

-->100 Greatest Movie Quotes (2005 poll, #1: "Frankly, my dear, I don't give a damn") 

2. Star Wars (1977, dir. George Lucas, Fox) 

Est. number of tickets: 178,119,500

Lifetime gross: $460,998,507

Adjusted lifetime gross: $1,629,496,559

(Adjusted worldwide gross / ranking: $3,059,000,000 / #4) 

IMDb critical rating: 90

Critical excerpt: 

Star Wars, set “a long time ago in a galaxy far, far away,” is the most exciting picture to be released this year — exciting as theater and exciting as cinema. It is the most visually awesome such work to appear since 2001: A Space Odyssey, yet is intriguingly human in its scope and boundaries. ~John Wasserman, San Francisco Chronicle [May 25, 1977]

IMDb user rating: 8.6/10 ("Top 250," #28) 

RT score/critical consensus: 93% ("Certified Fresh") / A legendarily expansive and ambitious start to the sci-fi saga, George Lucas opened our eyes to the possibilities of blockbuster filmmaking and things have never been the same. 

RT audience score: 96% 

Metacritic metascore/user score: 90 (Metacritic "Must-See") / 8.8

AFI Accolades

-->100 Greatest American Films (1998 poll, #15; 2007 poll, #13) 

-->25 Greatest Film Scores (2005 poll, #1)

-->100 Most Thrilling American Films (2001 poll, #27)

3. The Sound of Music (1965, dir. Robert Wise, Fox) 

Est. number of tickets: 142,485,200

Lifetime gross: $159,287,539

Adjusted lifetime gross: $1,303,502,105

(Adjusted worldwide gross / ranking: $2,562,000,000 / #6) 

IMDb critical rating: 63

Critical excerpt: 

The 20th-Fox release will be one of the movies' all-time hits, one of the all-time great pictures. It restores your faith in movies. If you sit quietly and let it take, it may also restore your faith in humanity. It does this with infectious wit, with consistent gaiety, with simple and realistic spirituality, with romance of heartbreak and heartmend. This is set against the most beautiful scenery you have seen in your life. The Sound of Music is quite a picture. ~James Powers, The Hollywood Reporter [March 1, 1965] 

IMDb user rating: 8.1/10 ("Top 250," #243) 

RT score/critical consensus: 83% ("Certified Fresh") / Unapologetically sweet and maybe even a little corny, The Sound of Music will win over all but the most cynical filmgoers with its classic songs and irresistible warmth.

RT audience score: 91% 

Metacritic metascore/user score: 63 / 8.5

AFI Accolades

-->100 Greatest American Films (1998 poll, #55; 2007 poll, #40) 

-->25 Greatest Movie Musicals (2006 poll, #4) 

4. E.T.: The Extra-Terrestrial (1982, dir. Steven Spielberg, Universal) 

Est. number of tickets: 141,854,300

Lifetime gross: $436,895,734

Adjusted lifetime gross: $1,297,730,421

(Adjusted worldwide gross / ranking: $2,501,000,000 / #7) 

IMDb critical rating: 91 

Critical excerpt: 

E.T. The Extra-Terrestrial is a reminder of what movies are for. Most movies are not for any one thing, of course. Some are to make us think, some to make us feel, some to take us away from our problems, some to help us examine them. What is enchanting about E.T. is that, in some measure, it does all of those things. ~Roger Ebert, Chicago Sun-Times [March 22, 2002] 

IMDb user rating: 7.9/10 

RT score/critical consensus: 99% ("Certified Fresh") / Playing as both an exciting sci-fi adventure and a remarkable portrait of childhood, Steven Spielberg's touching tale of a homesick alien remains a piece of movie magic for young and old.

RT audience score: 72% 

Metacritic metascore/user score: 91 (Metacritic "Must-See") / 8.2

AFI Accolades

-->100 Greatest American Films (1998 poll, #25; 2007 poll, #24) 

-->25 Greatest Film Scores (2005 poll, #14)

-->100 Most Inspiring Films (2006 poll, #6) 

5. Titanic (1997, dir. James Cameron, Paramount/Fox) 

Est. number of tickets: 135,549,800

Lifetime gross: $659,363,944

Adjusted lifetime gross: $1,240,054,754

(Adjusted worldwide gross / ranking: $3,096,000,000 / #3) 

IMDb critical rating: 75

Critical excerpt: 

With the ship, with its totality of people, Cameron is wizardly, creating an entire society threading through the various strata of a world that has been set afloat from the rest of the world. ~Stanley Kauffmann, The New Republic [Jan. 5, 1998]

IMDb user rating: 7.9/10

RT score/critical consensus: 87% ("Certified Fresh") / A mostly unqualified triumph for James Cameron, who offers a dizzying blend of spectacular visuals and old-fashioned melodrama.

RT audience score: 69% 

Metacritic metascore/user score: 75 / 8.4 

AFI Accolades

-->100 Greatest American Films (2007 poll, #83) 

-->100 Greatest Love Stories (2002 poll, #37) 

-->100 Greatest Songs in American Movies (2004 poll, #14: "My Heart Will Go On") 

6. The Ten Commandments (1956, dir. Cecil B. DeMille, Paramount) 

Est. number of tickets: 131,000,000

Lifetime gross: $65,500,000

Adjusted lifetime gross: $1,198,431,667

(Adjusted worldwide gross / ranking: $2,368,000,000 / #8) 

IMDb critical rating: N/A 

Critical excerpt: 

Charlton Heston would forever be known as Moses and a bigger than life figure after his superb performance in this film.  It is this performance that allows both sections of the story to become believable. ~Chanan Stern, 1001 Movies You Must See Before You Die [Nov. 24, 2017] 

IMDb user rating: 7.9/10

RT score/critical consensus: 84% ("Certified Fresh") / Bombastic and occasionally silly but extravagantly entertaining, Cecil B. DeMille's all-star spectacular is a muscular retelling of the great Bible story.

RT audience score: 87% 

Metacritic metascore/user score: N/A

AFI Accolades

-->100 Greatest Heroes & Villains (2003 poll, #43 HERO: Moses) 

-->100 Most Inspiring Films (2006 poll, #79) 

-->10 Greatest Films in 10 Categories (2008 poll, #10 EPIC) 

7. Jaws (1975, dir. Steven Spielberg, Universal) 

Est. number of tickets: 128,159,700

Lifetime gross: $260,758,300

Adjusted lifetime gross: $1,172,447,655

IMDb critical rating: 87

Critical excerpt: 

It was the complete nightmare that invented the "summer blockbuster", launched the genius on a global scale and delivered an astonishingly effective thriller built on a very primal level: fear. ~Ian Nathan, Empire

IMDb user rating: 8.1/10 ("Top 250," #206) 

RT score/critical consensus: 97% ("Certified Fresh") / Compelling, well-crafted storytelling and a judicious sense of terror ensure Steven Spielberg's Jaws has remained a benchmark in the art of delivering modern blockbuster thrills.

RT audience score: 90% 

Metacritic metascore/user score: 87 (Metacritic "Must-See") / 8.7 

AFI Accolades

-->100 Greatest American Films (1998 poll, #48; 2007 poll, #56) 

-->25 Greatest Film Scores (2005 poll, #6)

-->100 Most Thrilling American Films (2001 poll, #2) 

8. Doctor Zhivago (1965, dir. David Lean, MGM) 

Est. number of tickets: 124,135,500

Lifetime gross: $111,721,910

Adjusted lifetime gross: $1,135,632,932

(Adjusted worldwide gross / ranking: $2,244,000,000 / #9) 

IMDb critical rating: 69

Critical excerpt: 

It’s impossible not to be swept along and caught by the details: the pompous army officer falling into the barrel, the anarchist (played by a young Klaus Kinski) watching an old couple affectionately cuddling on the train, Zhivago himself suddenly shocked at his own haggard reflection in the mirror. Lean was hunting big game, and catching it. ~Peter Bradshaw, The Guardian

IMDb user rating: 7.9/10 

RT score/critical consensus: 84% ("Certified Fresh") / It may not be the best of David Lean's epics, but [Doctor] Zhivago is still brilliantly photographed and sweepingly romantic.

RT audience score: 88% 

Metacritic metascore/user score: 69 / 8.3

AFI Accolades

-->100 Greatest American Films (1998 poll, #39) 

-->100 Greatest Love Stories (2002 poll, #7) 

9. The Exorcist (1973, dir. William Friedkin, Warner Bros.) 

Est. number of tickets: 110,599,200

Lifetime gross: $233,005,644

Adjusted lifetime gross: $1,011,798,348

IMDb critical rating: 81

Critical excerpt: 

Rarely do movies affect us so deeply. The first time I saw Cries and Whispers, I found myself shrinking down in my seat, somehow trying to escape from the implications of [Ingmar] Bergman’s story. The Exorcist also has that effect--but we’re not escaping from [director William] Friedkin’s implications, we’re shrinking back from the direct emotional experience he’s attacking us with. This movie doesn’t rest on the screen; it’s a frontal assault. ~Roger Ebert, Chicago Sun-Times [Dec. 26, 1973] 

IMDb user rating: 8.1/10 ("Top 250," #226) 

RT score/critical consensus: 84% ("Certified Fresh") / The Exorcist rides its supernatural theme to magical effect, with remarkable special effects and an eerie atmosphere, resulting in one of the scariest films of all time.

RT audience score: 87% 

Metacritic metascore/user score: 81 (Metacritic "Must-See") / 8.7

AFI Accolades

-->100 Most Thrilling American Films (2001 poll, #3) 

-->100 Greatest Heroes & Villains (2003 poll, #9 VILLAIN: Regan MacNeil) 

10. Snow White and the Seven Dwarfs (1937, dir. David Hand [supervising director]; William Cottrell, Wilfred Jackson, Larry Morey, Perce Pearce, & Ben Sharpsteen [sequence directors]; Walt Disney) 

Est. number of tickets: 109,000,000

Lifetime gross: $184,925,486

Adjusted lifetime gross: $997,168,333

IMDb critical rating: 95

Critical excerpt: 

There has never been anything in the theatre quite like Walt Disney's Snow White and the Seven Dwarfs, seven reels of animated cartoon in Technicolor, unfolding an absorbingly interesting and, at times, thrilling entertainment. So perfect is the illusion, so tender the romance and fantasy, so emotional are certain portions when the acting of the characters strikes a depth comparable to the sincerity of human players, that the film approaches real greatness. ~John C. Flinn Sr., Variety [Dec. 28, 1937] 

IMDb user rating: 7.6/10 

RT score/critical consensus: 98% ("Certified Fresh") / With its involving story and characters, vibrant art, and memorable songs, Snow White and the Seven Dwarfs set the animation standard for decades to come.

RT audience score: 78% 

Metacritic metascore/user score: 95 (Metacritic "Must-See") / 8.2 

AFI Accolades

-->100 Greatest American Films (1998 poll, #49; 2007 poll, #34) 

-->100 Greatest Songs in American Movies (2004 poll, #19: "Someday My Prince Will Come") 

-->10 Greatest Films in 10 Categories (2008 poll, #1 ANIMATION) 

11. Star Wars: The Force Awakens (2015, dir. J.J. Abrams, Lucasfilm/Disney) 

Est. number of tickets: 108,115,100

Lifetime gross: $936,662,225

Adjusted lifetime gross: $989,072,973

(Adjusted worldwide gross / ranking: $2,213,000,000 / #10) 

IMDb critical rating: 80

Critical excerpt: 

The rollicking, space-opera spirit of George Lucas’s original trilogy (you can safely forget the second trio of cynical, tricked-up prequels) emanates from every frame of J.J. Abrams' euphoric sequel. It’s also got an infusion of modern-day humor that sometimes steers the movie this close to self-parody—but never sarcastically, nor at the expense of a terrific time. ~Joshua Rothkomf, Time Out 

IMDb user rating: 7.8/10

RT score/critical consensus: 93% ("Certified Fresh") / Packed with action and populated by both familiar faces and fresh blood, The Force Awakens successfully recalls the series' former glory while injecting it with renewed energy.

RT audience score: 85% 

Metacritic metascore/user score: 80 / 6.7

AFI Accolades

-->Top 10 Films of 2015

12. One Hundred and One Dalmatians (1961, dir. Clyde Geronimi, Hamilton Luske, & Wolfgang Reitherman; Walt Disney) 

Est. number of tickets: 99,917,300

Lifetime gross: $144,880,014

Adjusted lifetime gross: $914,076,766

IMDb critical rating: 83

Critical excerpt: 

It is the wittiest, most charming, least pretentious cartoon feature Walt Disney has ever made. ~TIME magazine [Feb. 17, 1961] 

IMDb user rating: 7.3/10

RT score/critical consensus: 98% ("Certified Fresh") / With plenty of pooches and a memorable villain (Cruella De Vil), this is one of Disney's most enduring, entertaining animated films.

RT audience score: 76% 

Metacritic critic/audience: 83 / 7.8

AFI Accolades

-->100 Greatest Heroes & Villains (2003 poll, #39 VILLAIN: Cruella De Vil) 

13. The Empire Strikes Back (1980, dir. Irvin Kershner, Fox) 

Est. number of tickets: 98,273,100

Lifetime gross: $292,753,960

Adjusted lifetime gross: $899,035,076

IMDb critical rating: 82 

Critical excerpt: 

The balance between action and mysticism in The Empire Strikes Back provides fascinating energy. It's as if the kids are given one set of delights, the bravado of battles and elaborate warships zooming through exotic space, and adults are given another, a layered explanation of what it all means in the grand scheme of things. ~Peter Stack, San Francisco Chronicle [Feb. 21, 1997] 

IMDb user rating: 8.7/10 ("Top 250," #15) 

RT score/critical consensus: 94% ("Certified Fresh") / Dark, sinister, but ultimately even more involving than A New Hope, The Empire Strikes Back defies viewer expectations and takes the series to heightened emotional levels.

RT audience score: 97% 

Metacritic metascore/user score: 82 (Metacritic "Must-See") / 9.1 

AFI Accolades

-->100 Greatest Heroes & Villains (2003 poll, #3 VILLAIN: Darth Vader) 

14. Ben-Hur (1959, dir. William Wyler, MGM) 

Est. number of tickets: 98,046,900

Lifetime gross: $74,432,704

Adjusted lifetime gross: $896,965,723

IMDb critical rating: 90

Critical excerpt: 

An extraordinary motion picture, greater in dimension and significance than any similar film of our time . . . . More importantly, [Ben-Hur] is at the same time a highly rewarding dramatic experience, rich and complex in human values: a great adventure, full of excitement, visual beauty, thrills and unsurpassed cinema artistry. ~Jack Harrison, The Hollywood Reporter [Aug. 19, 2016] 

IMDb user rating: 8.1/10 ("Top 250," #181) 

RT score/critical consensus: 85% ("Certified Fresh") / Uneven, but in terms of epic scope and grand spectacle, Ben-Hur still ranks among Hollywood's finest examples of pure entertainment.

RT audience score: 89% 

Metacritic metascore/user score: 90 / 8.4

AFI Accolades

-->100 Greatest American Films (1998 poll, #72; 2007 poll, #100) 

-->100 Most Inspiring Films (2006 poll, #56) 

-->10 Greatest Films in 10 Categories (2008 poll, #2 EPIC) 

15. Avatar (2009, dir. James Cameron, Fox) 

Est. number of tickets: 97,309,600

Lifetime gross: $760,507,625

Adjusted lifetime gross: $890,220,657

(Adjusted worldwide gross / ranking: $3,273,000,000 / #2) 

IMDb critical rating: 83 

Critical excerpt: 

Avatar is all-enveloping and transporting, with Cameron & Co.'s years of R&D paying off with a film that, as his work has done before, raises the technical bar and throws down a challenge for the many other filmmakers toiling in the sci-fi/fantasy realm. ~Todd McCarthy, Variety 

IMDb user rating: 7.8/10 

RT score/critical consensus: 82% ("Certified Fresh") / It might be more impressive on a technical level than as a piece of storytelling, but Avatar reaffirms James Cameron's singular gift for imaginative, absorbing filmmaking.

RT audience score: 82% 

Metacritic metascore/user score: 83 (Metacritic "Must-See") / 7.5 

16. Avengers: Endgame (2019, dir. Anthony & Joe Russo, Marvel/Disney) 

Est. number of tickets: 95,268,900

Lifetime gross: $858,373,000

Adjusted lifetime gross: $871,551,653

(Adjusted worldwide gross / ranking: $2,811,000,000 / #5) 

IMDb critical rating: 78

Critical excerpt: 

Avengers: Endgame is easily the Marvel Cinematic Universe’s most ambitious, emotional, and affecting film to date, somehow managing to tie up more than a decade of storytelling in a confident (and mostly coherent) climax - a hurdle that many other blockbuster franchises have stumbled over in their final runs. ~IGN

IMDb user rating: 8.4/10 ("Top 250," #80) 

RT score/critical consensus: 94% ("Certified Fresh") / Exciting, entertaining, and emotionally impactful, Avengers: Endgame does whatever it takes to deliver a satisfying finale to Marvel's epic Infinity Saga.

RT audience score: 90% 

Metacritic metascore/user score: 78 / 7.9 

17. Return of the Jedi (1983, dir. Richard Marquand, Fox) 

 

Est. number of tickets: 94,059,400

Lifetime gross: $309,306,177

Adjusted lifetime gross: $860,486,744

IMDb critical rating: 58 

Critical excerpt: 

Brings things to an almost cheesy conclusion. Given the gripping, dark elements that creator George Lucas introduced in the two previous films, the third movie’s outcome smacks of PG-rated populism rather than artistic fulfillment. But the experience is still highly entertaining. ~Desson Thomson, Washington Post

IMDb user rating: 8.3/10 ("Top 250," #88) 

RT score/critical consensus: 83% ("Certified Fresh") / Though failing to reach the cinematic heights of its predecessors, Return of the Jedi remains an entertaining sci-fi adventure and a fitting end to the classic trilogy.

RT audience score: 94% 

Metacritic metascore/user score: 58 / 8.4 

18. Jurassic Park (1993, dir. Steven Spielberg, Universal) 

Est. number of tickets: 91,799,700

Lifetime gross: $404,214,720

Adjusted lifetime gross: $839,814,255

IMDb critical rating: 68

Critical excerpt: 

For dinosaurs to rule the earth again, the monsters needed majesty as well as menace. And Spielberg got it all right. ~Richard Corliss, TIME Magazine [June 14, 1993] 

IMDb user rating: 8.2/10 ("Top 250," #148) 

RT score/critical consensus: 92% ("Certified Fresh") / Jurassic Park is a spectacle of special effects and life-like animatronics, with some of Spielberg's best sequences of sustained awe and sheer terror since Jaws.

RT audience score: 91% 

Metacritic critic/audience: 68 / 8.8 

AFI Accolades

-->100 Most Heart-Pounding American Films (2001 poll, #35) 

19. Star Wars: Episode I--The Phantom Menace (1999, dir. George Lucas, Fox) 

Est. number of tickets: 90,312,100

Lifetime gross: $474,544,677

Adjusted lifetime gross: $826,205,195

IMDb critical rating: 51 

Critical excerpt: 

Good enough, but only just. It's got the hardware, but neither the characters, the imagination, nor the resonance one had hoped for. ~Jay Carr, Boston Globe

IMDb user rating: 6.5/10 

RT score/critical consensus: 51% / Burdened by exposition and populated with stock characters, The Phantom Menace gets the Star Wars prequels off to a bumpy -- albeit visually dazzling -- start.

RT audience score: 59% 

Metacritic metascore/user score: 51 / 6.2 

20. The Lion King (1994, dir Roger Allers & Rob Minkoff, Disney) 

Est. number of tickets: 89,146,400

Lifetime gross: $422,783,777

Adjusted lifetime gross: $815,540,983

IMDb critical rating: 88 

Critical excerpt: 

There are moments of fun and humor, to be sure, but the undercurrent is of a far more serious, "adult" nature. The Lion King is primarily about guilt and redemption. ~James Berardinelli, ReelViews

IMDb user rating: 8.5/10 ("Top 250," #36) 

RT score/critical consensus: 93% ("Certified Fresh") / Emotionally stirring, richly drawn, and beautifully animated, The Lion King is a pride within Disney's pantheon of classic family films.

RT audience score: 93% 

Metacritic metascore/user score: 88 (Metacritic "Must-See") / 8.8

AFI Accolades

-->100 Greatest Songs in American Movies (2004 poll, #99: "Hakuna Matata") 

-->10 Greatest Films in 10 Categories (2008 poll, #4 ANIMATION) 

21. The Sting (1973, dir. George Roy Hill, Universal) 

Est. number of tickets: 89,142,900

Lifetime gross: $156,000,000

Adjusted lifetime gross: $815,508,963

IMDb critical rating: 83 

Critical excerpt: 

The Sting has all the signs of a blockbuster. Paul Newman and Robert Redford are superbly reteamed, this time as a pair of con artists in Chicago of the ’30s, out to fleece a bigtime racketeer brilliantly cast with and played by Robert Shaw. George Roy Hill’s outstanding direction of David S. Ward’s finely-crafted story of multiple deception and surprise ending will delight both mass and class audiences. Extremely handsome production values and a great supporting cast round out the virtues. ~A.D. Murphy, Variety [Dec. 11, 1973] 

IMDb user rating: 8.3/10 ("Top 250," #108) 

RT score/critical consensus: 92% ("Certified Fresh") / Paul Newman, Robert Redford, and director George Roy Hill prove that charm, humor, and a few slick twists can add up to a great film.

RT audience score: 95% 

Metacritic metascore/user score: 83 (Metacritic "Must-See") / 8.3 

22. Raiders of the Lost Ark (1981, dir. Steven Spielberg, Paramount) 

Est. number of tickets: 88,543,400

Lifetime gross: $248,159,971

Adjusted lifetime gross: $810,024,538

IMDb critical rating: 85 

Critical excerpt: 

Raiders of the Lost Ark is, in fact, about as entertaining as a commercial movie can be. What is it? An adventure film that plays like an old-time 12-part serial that you see all at once, instead of Saturday-to-Saturday. It's a modern Thief of Baghdad. It's the kind of movie that first got you excited about movies when you were a kid. ~Gene Siskel, Chicago Tribune [June 12, 1981]

IMDb user rating: 8.4/10 ("Top 250," #56) 

RT score/critical consensus: 96% ("Certified Fresh") / Featuring bravura set pieces, sly humor, and white-knuckle action, Raiders of the Lost Ark is one of the most consummately entertaining adventure pictures of all time. 

RT audience score: 96% 

Metacritic metascore/user score: 85 (Metacritic "Must-See") / 8.9 

AFI Accolades

-->100 Greatest American Films (1998 poll, #60; 2007 poll, #66) 

-->100 Most Thrilling American Films (2001 poll, #10) 

-->100 Greatest Heroes & Villains (2003 poll, #2 HERO: Indiana Jones) 

23. The Graduate (1967, dir. Mike Nichols, United Artists) 

Est. number of tickets: 85,576,800

Lifetime gross: $104,945,305

Adjusted lifetime gross: $782,885,092

IMDb critical rating: 83 

Critical excerpt: 

The Graduate is not subtle in its writing off of the parental generation as hopelessly corrupt. ~Jay Carr, Boston Globe

IMDb user rating: 8.0/10 

RT score/critical consensus: 87% ("Certified Fresh") / The music, the performances, the precision in capturing the post-college malaise -- The Graduate's coming-of-age story is indeed one for the ages.

RT audience score: 90% 

Metacritic metascore/user score: 83 (Metacritic "Must-See") / 7.4 

AFI Accolades

-->100 Greatest American Films (1998 poll, #7; 2007 poll, #17) 

-->100 Funniest American Movies (2000 poll, #9)

-->100 Greatest Songs in American Movies (2004 poll, #6: "Mrs. Robinson") 

24. Fantasia (1940, dir. James Algar, Samuel Armstrong, Ford Beebe Jr., Norman Ferguson, David Hand, Jim Handley, T. Hee, Wilfred Jackson, Hamilton Luske, Bill Roberts, Paul Satterfield, & Ben Sharpsteen; Walt Disney) 

Est. number of tickets: 83,043,500

Lifetime gross: $76,408,097

Adjusted lifetime gross: $759,709,619

IMDb critical rating: 96 

Critical excerpt: 

A masterpiece of the art of animation. The concept and some of the episodes are tainted with kitsch, but there's no other animated film with its scope and ambition—it is, in Otis Ferguson's words, “one of the strange and beautiful things that have happened in the world.” ~Dave Kehr, Chicago Reader [Oct. 26, 1985]

IMDb user rating: 7.7/10 

RT score/critical consensus: 95% ("Certified Fresh") / A landmark in animation (and a huge influence on the medium of music video), Disney's Fantasia is a relentlessly inventive blend of the classics with phantasmagorical images.

RT audience score: 83% 

Metacritic metascore/user score: 96 (Metacritic "Must-See") / 8.3 

AFI Accolades

-->100 Greatest American Films (1998 poll, #58) 

-->10 Greatest Films in 10 Categories (2008 poll, #5 ANIMATION) 

25. The Godfather (1972, dir. Francis Ford Coppola, Paramount) 

Est. number of tickets: 78,922,500

Lifetime gross: $136,381,073

Adjusted lifetime gross: $722,009,337

IMDb critical rating: 100 

Critical excerpt: 

Overflowing with life, rich with all the grand emotions and vital juices of existence, up to and including blood. And its deaths, like that of Hotspur in Henry IV, Part I, continue to shock no matter how often we've watched them coming. ~Kenneth Turan, Los Angeles Times [16 Mar 1997]

IMDb user rating: 9.2/10 ("Top 250," #2) 

RT score/critical consensus: 97% ("Certified Fresh") / One of Hollywood's greatest critical and commercial successes, The Godfather gets everything right; not only did the movie transcend expectations, it established new benchmarks for American cinema.

RT audience score: 98% 

Metacritic metascore/user score: 100 (Metacritic "Must-See") / 9.2

AFI Accolades

-->100 Greatest American Films (1998 poll, #3; 2007 poll, #2) 

-->25 Greatest Film Scores (2005 poll, #5)

-->50 Greatest American Screen Legends (1999 poll, Marlon Brando #4 MEN) 

REVIEW: "The Batman"--A Dark and Immersive Experience

I remember, when the first trailer for director Matt Reeves' latest take on Batman premiered at San Diego Comic Con in 2020, reportedly only 15-25 percent of the movie was filmed. Even so, what we saw in that trailer was seriously impressive, especially when the eponymous character sucker-punched a spray-faced criminal to a pulp in the rain before declaring, "I'm vengeance." 

Even more than the question of whether this new rendition of Bob Kane and Bill Finger's ever-popular creation would be any good--ditto Robert Pattinson's portrayal of a younger Bruce Wayne--I was more curious about the film's 3-hour runtime. True, Christopher Nolan's previous Dark Knight films each came close to that length (with 2012's Rises hitting exactly 165 minutes), but would three hours be too much for a story set one year into Bruce's dark crusade?

Taking a few inspirations from the graphic novels, "Batman: Year One" and "The Long Halloween," The Batman makes the smart choice in avoiding the clichéd origin story beats (e.g., parents murdered when he was a child, his training with the League of Shadows) and getting right into the action and drama. And the film's gritty and brooding aesthetic is all the more original and bold for it. I was immediately sold by Wayne's diary voiceovers, which, more than any other interpretation (save for, perhaps, the animated T.V. series from the 1990s), really tap into Batman's role as "the world's greatest detective". 

Jeffrey Wright and Robert Pattinson in The Batman

I've said it before: I'm still a huge fan of Tim Burton's 1989 film (can't wait to see Keaton again in The Flash and Batgirl later this year), while Nolan's trilogy has my respect and the animated series remains a gold standard. What helps make this latest iteration so distinct is how it takes its time with its characters, and how their respective dynamics really carry the story. And you couldn't go wrong with a more stellar cast. Pattinson, again, really sells it as both Wayne and the Caped Crusader, with equal parts emotion and brute, and an awesome suit, voice, and vehicles to spare (wait until you see the Batmobile). Zoë Kravitz kills it as Selina Kyle a.k.a. Catwoman. Jeffrey Wright is a great Jim Gordon, ditto Andy Serkis's Alfred. Paul Dano is creepy as a more sadistic and twisted version of the Riddler. And Colin Farrell is completely unrecognizable and believable as the Penguin (somebody give the makeup effects artists Oscars already). 

More discerning families, on the other hand, should know that this dark variation is filled with hard-hitting violence, elements of horror and disturbing imagery that feel like something out of a David Fincher movie (including characters who are victims of child abuse and/or trauma), and more language issues than the script really needed. Still, it does have worthwhile messages of persistence even in the face of hopelessness, the difference between vengeance and justice, and the visual symbolism of masks, covered and uncovered. Like that first trailer, it may leave a different effect in more ways than one. 

REVIEW COLLECTION: Batman Animated & Other DC Universe Stories

WRITER'S NOTE: The following is a collection of reviews posted on my Instagram account (@be.kerian) over the past twelve months. They’ve been organized--and will be posted--by specific categories, in chronological order based on initial (theatrical) release dates, and have been slightly edited. (The dates in which said reviews were initially posted are in parentheses.) 

With Matt Reeves' interpretation of The Batman in theaters this weekend (and already generating early praise), here's a look back at a fraction of the animated mythology within the Caped Crusader's decades-long history, as well as live-action and/or animated variations from some of his fellow Justice League teammates and foes. 

***

FROM COMICS TO CARTOONS

Batman: The Animated Series (1992-1997) 

I'm gonna go out on a limb here. Christopher Nolan's Dark Knight trilogy is brilliant, no question. And I love Tim Burton's Batman from '89. But Batman: The Animated Series, from the early-90s, is the definitive version of Bob Kane and Bill Finger's iconic character. Taking notes from a great, insightful video essay (courtesy kaptainkristian), I agree that this acclaimed series encapsulates nearly every era of the character and strikes an incredible, accessible, irreplaceable, and cinematic balance of all of those elements: its campiness from the 60s, its swashbuckling adventures from the 70s, and its gritty intensity from the 80s. Like the Max Fleisher Superman cartoons of the 1940s, Batman: TAS is a high-mark in the medium, and continues to have an enormous influence on the entire DC Animated Universe--and DC, for that matter.

With that in mind, there are so many great episodes, it's hard to pick just one. "Heart of Ice" forever redefined the arc of Mr. Freeze. "Perchance to Dream" is a subversive tale of Bruce Wayne's alternate reality. "Beware the Gray Ghost" guest-starred former Batman Adam West. "Almost Got 'Im" is a unique perspective from the Dark Knight's rogues gallery. "The Laughing Fish" is one of Batman's best (if not the best) battles against the Joker. "Day of the Samurai" pre-dates Batman Begins with an engrossing Eastern setting. "Over the Edge" is a polarizing take on a now-hunted Bruce. And "Legends of the Dark Knight" is a great homage to his comic book origins, as well as Frank Miller's The Dark Knight Returns. There have also been some great two-part episodes, including "Two-Face" (a.k.a., the tragedy of Harvey Dent), "Robin's Reckoning" (retracing the origins of the Boy Wonder, Dick Grayson), and "Shadow of the Bat" (a great introduction to Batgirl). (10/17/2021) 

Batman: Mask of the Phantasm (1993)
The first theatrical spinoff of the acclaimed animated series, Mask of the Phantasm follows Batman as he is wrongfully accused of the deaths of various mobsters in Gotham City, all while facing the real culprit--the mysterious and eponymous figure known as the Phantasm--and finding connections to an old flame from Bruce Wayne's past, as well as his archrival, the Joker. 

Regarded as one of the greatest screen variations of the Caped Crusader, Phantasm is certainly Batman's most underappreciated big-screen adventure. It is violent and dark, to be sure. It also showcases tight-yet-thoroughly-engrossing storytelling and complex themes that made the television series so enduring. (10/18/2021) 

Batman & Mr. Freeze: Subzero (1998)
Released one year after the disappointing live-action Batman & Robin, this engrossing direct-to-video spinoff of the acclaimed animated series centers on cryogenic archvillain Victor Fries (a.k.a. Mr. Freeze) as he searches for a live organ donor to save his comatose wife.

Sure, this hour-plus feature wears its dated special effects and home video aesthetic on its sleeve (or Bat-cape, if you prefer). But its emotional stakes, intense action, and fully-dimensional characters (including a dynamic Barbara Gordon a.k.a. Batgirl) make it a serious alternative to--and a lot better than--Joel Schumacher's over-the-top romp. This one sure kicks some ice. (10/9/2021) 

 

Green Lantern: First Flight (2009)
If you consider yourself a fan of DC Comics, yet are only familiar with the dreadful 2011 film adaptation of Green Lantern starring Ryan Reynolds (of which the now-famous Deadpool actor has since made no secret of his utter disdain for), you should consider this animated rendition of the (vague) origin story of Hal Jordan. While lacking in substance, its animation style is edgy and entertaining, and its worldbuilding and characters are engaging. It's certainly a better alternative to the live-action misfire, although not really for kids (some scenes of violence are too intense). Future filmmakers should take a cue from this action-packed slice of the DC Animated Universe. (9/7/2021) 

***

OTHER DC PROPERTIES (LIVE ACTION) 

Superman: The Movie (1978)

There have been hundreds of theatrical features throughout the twentieth century that have been adapted from comic books, particularly in the form of Saturday matinee serials. From Max Fleischer's Superman shorts to the Batman adventures in the 1940s, superheroes didn't really get the big-budget feature-length treatment until Richard Donner's landmark film in the late-1970s.

Although the special effects are dated by today's standards, Superman: The Movie remains a captivating and spectacular epic for young and old, thanks to a superb cast (including the late Christopher Reeve, who will always be remembered for making us "believe a man can fly"), slick direction, and John Williams' unforgettable score. (For the record, I highly recommend looking into the groundbreaking Fleischer cartoons. They're short but brilliant.) (8/29/2021) 

Superman II: The Richard Donner Cut (2006)

Long before Zack Snyder had a grand-if-divisive vision for the DC Extended Universe--and during the same period where Star Wars creator George Lucas and one-time Dune helmer Alejandro Jodorowsky had much bigger ambitions for their respective space sagas--Warner Bros originally conceived the first two Superman films of the late-1970s as one long picture.

Late director Richard Donner had filmed both movies back-to-back before WB decided to focus on finishing the first installment for its December 1978 release. Donner had shot roughly 70-80 percent of the second film by that point, but was unfortunately let go (he and producers Alexander and Ilya Salkind reportedly didn't get along behind-the-scenes) and replaced with Richard Lester, who eventually changed the tone and direction of the series to camp in the 1980s. (Don't even bother with the third and fourth films, by the way.) And it shows in the theatrical cut of Superman II, which, despite receiving good reviews, left fans scratching their heads and, years later, starting a petition to see Donner's intended vision for Part II.

Thanks to the anticipated release of the spiritual sequel Superman Returns in 2006, WB allowed Donner's original footage out of the vault, and the results are much stronger (if a little unpolished), more action-packed, and sincere. The story follows Clark Kent as he chooses to give up his powers to live a normal life with Lois Lane, only to turn back and save Planet Earth from a trio of supervillains headed by General Zod.

The subplot involving Clark and Lois in bed together is not only unnecessary but out of character. Yet, the film ultimately has the redemptive arc of Superman in the right place, showcasing a morality tale about what it means to be human (self-seeking) and to be a true hero (willingly helping others). With this director's cut, this is arguably where the Christopher Reeve series really ended, giving both the late, beloved actor (and Donner) a proper send-off. Other genre films should take a cue from this. (8/30/2021) 

Superman Returns (2006)

A long-awaited, attempted sequel that's more retro than original, director Bryan Singer's modern-yet-classical take on Jerry Seigel & Joe Shuster's iconic superhero and his mild-mannered alter-ego finds Metropolis has moved on without him while the ever-villainous Lex Luthor plots another diabolical scheme.

Superman Returns is entertaining, roller-coaster, and features a splendid A-list cast (headlined by then-unknown Brandon Routh, who bears an uncanny resemblance to the late Christopher Reeve). Heck, the opening credits and John Williams' iconic theme music are a wonderful homage to Richard Donner's first two pictures from the late-1970s. But it's a rather forgettable blockbuster, with heavy special effects, a climax that goes on too long, and a conventional story that didn't leave a lasting impression. At least the franchise was given a fresh (if divisive) slate seven years later.

Trivial fact: Another darker Superman movie was originally planned for a 1998 release, starring Nicolas Cage as the Man of Steel and director Tim Burton at the helm. But the project was canned before filming even began, largely due to one very disappointment 1997 release. Talk about being ahead of the curve. (8/31/2021)

Birds of Prey (and the Fantabulous Emancipation of One Harley Quinn) (2020) 

This latest spinoff in the DC film universe centers on Gotham City criminal Harley Quinn (a role actress Margot Robbie has now become synonymous with, a la Ryan Reynolds as Deadpool or Hugh Jackman as Wolverine) and her unlikely team-up with other female characters (Jurnee Smollett-Bell steals the show as Black Canary) against a sinister crime lord. It is a huge improvement over the overly-disappointing Suicide Squad, to be sure, and has a more consistent (though kooky), stylized and colorful narrative to spare. But it's still very edgy, sexual (it really walks a very tight rope between female empowerment and objectification), crude, profane, and bonkers. (2/22/2020) 

Wonder Woman 1984 (2020) 

The highly-anticipated and fairly-long-delayed Wonder Woman 1984 doesn't lack ambition or cinematic scope. It certainly has spectacular action sequences (including Diana Prince's famous invisible jet making a jaw-dropping debut), an incredible score by the always-incredible Hans Zimmer, and Gal Gadot still shines as the fearless and endearing Amazonian warrior.

But there seems to be something askew when it comes to exposition (i.e., a few questionable plot holes in Diana's backstory) and in thematically and viscerally illustrating the cost of desires and the challenge in surrendering such dreams for the greater good. Though that really has nothing to do with the stylish-but-not-shallow 80s setting, cheesy as it can sometimes be; nor from any sense of "franchise fatigue," which so many other sequels are guilty of. Pedro Pascal (who's terrific on The Mandalorian) seems underdeveloped as the central antagonist, Max Lord. But it's SNL veteran Kristen Wiig who stands out as the awkward-turned-fierce Barbara Minerva/Cheetah. WW84 isn't a great movie, but it's not bad either. Just a misguided one, perhaps. I will say it's far better on the big screen than on HBO Max, believe me. (1/24/2021) 

The Suicide Squad (2021)

The best thing I can say about this latest incarnation of obscure supervillains in the DC Universe is that it's a lot better than the disappointing mess we got in 2016. But that is far from a recommendation. Sure, this action-comedy is colorful and features a stellar cast (especially Daniela Melchoir's Ratcatcher 2 and Sylvester Stallone's King Shark), as well as writer-director James Gunn (of Marvel's Guardians of the Galaxy fame)'s trademark wit and offbeat humor--even though the film does drag on at times. 

But you should know this is very hard-R territory, with characters spewing out numerous profanities and graphic violence (exploding heads, slashed limbs, etc.), giving Deadpool some heavy competition. Gunn has dabbled in such content before, having penned Zack Snyder's 2004 remake of Dawn of the Dead, and directed other gorefests like 2006's Slither and 2010's Super. Also, the marketing may have been misleading in more ways than one. Just saying. (8/22/2021)