Besides the Star Wars and Superman franchises, James Bond and Godzilla films are still being released periodically; all four are among the highest-grossing franchises. Some of the older films that held the record of highest-grossing film still have respectable grosses by today’s standards, but no longer compete numerically against today’s top-earners in an era of much higher individual ticket prices. When those prices are adjusted for inflation, however, then Gone with the Wind—which was the highest-grossing film outright for twenty-five years—is still the highest-grossing film of all time. All grosses on the list are expressed in U.S. dollars at their nominal value, except where stated otherwise. But what’s so beautiful about Johnson’s film–in addition to all the dynamic performances and moments of hilarity–is that in spending the final act on the company’s fall, the director shows how ephemeral these sorts of products are.
After a heartbreaking divorce, a family tries to recover and understand the complexities of love. This wasn’t the result of any kind of “out with the old, in with the new” intention. In some cases — Scorsese, Spike, Godard — we felt their best work was pre-21st century.
Marilyn Monroe’s enduring popularity is due in large part to her tumultuous private life, but Some Like It Hot is a great reminder of her charisma and talent. In a Golden Globe-winning performance, she plays Sugar Kane, a singer who befriends two musicians who that are secretly dressed up as women because they are running away from the mafia after witnessing a crime. Iconic leading lady aside, it’s also just a near-perfect rom-com and considered one of the funniest movies ever made, which is made even more rare by the fact that it’s not super problematic 63 years later.
Among the best to grasp that opportunity is Taika Waititi, who helped find Thor’s true funny bone, a more effective weapon than Mjolnir. Ragnarok, which shakes up Thor’s entire world (by, er, destroying it) is a hilarious take on a superhero story, full of action, while re-introducing Mark Ruffalo’s Hulk in fantastic fashion and having us meet the likes of Tessa Thompson’s Valkyrie and Jeff Goldblum’s Grandmaster. If you’re going to wrap up your tenure as one of the most loved superhero icons in fiction, it’s hard to think of a better way than how Hugh Jackman – with James Mangold directing — punched out on the time clock of playing Wolverine. Set in a dark near-future world where an aging Logan is caring for a mentally unstable Professor Xavier (Patrick Stewart) and getting mixed up yet again with some very dangerous people , Logan is a truly original superhero tale that is mournful without being morbid. It’s so outside the established mold, in fact, it’s honestly a wonder the film ever got made.
Before winning Oscars and cementing his name in the Hollywood firmament for Parasite, Bong Joon-ho had something of a sideline in creature features. While 2006’s The Host remains worth hunting down, this 2017 saga of genetic engineering and animal exploitation may be the director’s best foray into the genre. After helping raise an enhanced “super pig” in rural South Korea, young Mija (Ahn Seo-hyun) is distraught when the American company behind its creation, Mirando, comes to take it back.
Unless you’re the kind of shallow person who only watches movies that are ‘entertaining’. The sheer bludgeoning, blood-spilling, visceral power of its Omaha Beach, D-Day-landing opening act ensured that Steven Spielberg’s fourth World War II movie set the standard for all future battle depictions. Its shaky-staccato-desaturated style (courtesy of Janusz Kaminski’s ingenious cinematography) newsreel made cinema has been oft-copied, but rarely bettered. But if you really insist on only seeing one David Lean movie, then make sure it’s Lawrence Of Arabia, the movie that put both the “sweeping” and the “epic” into “sweeping epic” with its breath-taking depiction of T.E. Saoirse Ronan is perfectly precocious as the not-always-likeable Christine ‘Lady Bird’ McPherson, experiencing fractured friendships, first fuckboys, and fateful fumbles in her final year of high school in 2003 Sacramento.
It’s got a little bit of everything, from action to suspense to comedy to romance. Humphrey Bogart delivers two of the most iconic lines in film history, and his chemistry with Ingrid Bergman is the kind of magic that people have been trying to recreate for 80 years. A 16-year-old Judy Garland stars as Dorothy Gale, and trust me, when you hear her sing “Somewhere Over the Rainbow,” you’ll understand why she’s such a legend. Frank Baum’s novel, but that won’t bother you as soon as Dorothy steps out of her black and white house into a world of color (literally). It might be more than 80 years old, but this movie is a classic for a reason. If you ask most people for a list of “the best movies ever made,” The Shawshank Redemption will probably be on it.
We could go on and on about the shortcomings of our work here — not enough animation! Without further ado, here are what we consider the 50 best films of the 21st century so far. The original Enola Holmes (2020) proved a surprisingly enjoyable twist on the world’s most famous detective, focusing instead on his overlooked sister, Enola.
When she comes to the villa of retired naval officer Captain Georg von Trapp to be governess to his seven children, she begins to realize how much the family means to her. The latter part of the movie has an unexpected twist and displays the unfathomable truth of what it was like living in Nazi Germany. A hilarious comedy with a super-sweet love story, Coming to America is an essential watch for anyone who loves to smile. This film also cemented Eddie Murphy’s place as comedy royalty, with him and Arsenio Hall cracking us up through multiple different characters. This sumptuous story follows the life of a Mexican girl who’s subjected to a family custom that demands she stays unmarried and take care of her mother through old age.
Falling foul of the Motion Picture Production Code, Mom and Dad was prevented from obtaining mainstream distribution and restricted to independent and drive-in theaters. It was the biggest hit of its kind, and remained in continual distribution until the 1970s when hardcore pornography eventually took over. At the end of 1947 it had earned $2 million, and by 1949, $8 million; by 1956 it had earned $22 million in rentals, representing a gross of $80 million, and would have easily placed in the top ten films in the late 1940s and early 1950s. Once revenue from home entertainment is factored in, it is not immediately clear which film is the most successful. Titanic earned $1.2 billion from video and DVD sales and rentals, in addition to the $2.2 billion it grossed in theatres.
The genius of James Cameron’s self-penned Alien follow-up was to not try to top the original as one of the greatest ever horror movies. Instead, he transplanted the Alien (and, significantly, Ripley) to a different genre, and created one of the greatest ever action movies. Putting together the director of Arrival with a sci-fi franchise that – for box office performance reasons — hasn’t been overexploited the way some others have, seemed like a no-brainer. It’s actually a big brainer, with Denis Villeneuve dipping into Philip K. Dick’s universe and constructing a sequel that not only doesn’t embarrass Ridley Scott’s original, but builds out that world, adding layers and texture while still feeling of a piece. Audiences still didn’t exactly bite, but between Harrison Ford revisiting his iconic replicant hunter and Ryan Gosling grappling with his own identity, 2049 is a triumph of quiet character moments and glorious, sense-enveloping spectacle. Adapted from Tarell Alvin’s play In Moonlight, Black Boys Look Blue, Barry Jenkins’ Oscar-winning drama is the kind of film that seeps under your skin and stays there.
Bringing Miles Morales to the screen was a masterstroke, and Shameik Moore’s vocal work gives him buckets of charm. And it’s exactly right free movie sites that we still don’t know what he whispered to her at the end. Bill Murray at the height of his loveable (eventually) schmuck powers.
Among other things, Nolan is interested in Oppenheimer’s contradictions, genius, inscrutability, and rationalizations–how the romance of a momentous achievement can blind ostensibly well-meaning people to their inevitable disastrous consequences. It’s a testament, then, to the potency of Nolan’s filmmaking–as well as Ludwig Goransson’s pulse-quickening score and Cillian Murphy’s magnetic performance–that Oppenheimer feels propulsive throughout. As a bonus, it will be hard for any movie this year to top the spectacle of the Trinity Test. Part science-fiction caper, part generational culture-clash movie, part weirdo family drama (in which the hero has to rescue his own existence after his mother falls in lust with him, eww), Back To The Future still manages to be timeless despite being so rooted in, well, time. And it might just have the best title of anything on this entire list. A joyous, vibrant Technicolor celebration of the movies, that’s such an essential viewing experience there should perhaps be a law that it feature in every DVD and Blu-ray collection.
Grosses are not limited to original theatrical runs either, with many older films often being re-released periodically so the figures represent all the business a film has done since its original release; a film’s first-run gross is included in brackets after the total if known. Because of incomplete data it cannot be known for sure how much money some films have made and when they made it, but generally the chart chronicles the films from each year that went on to earn the most. In the cases where estimates conflict both films are recorded, and in cases where a film has moved into first place because of being re-released the previous record-holder is also retained. While inflation has eroded the achievements of most films from the 1950s, 1960s, and 1970s, there are franchises originating from that period that are still active.
Blackberry isn’t a film that valorizes business, nor is it one that sinks its teeth all that deep. No matter how big these men’s invention gets, they always seem quite small, destined to be munched up by bigger world-changers. Sometimes a great piece of art smacks you in the face, other times its effect creeps up on you. Kelly Reichardt’s films tend to work in the latter mode, and Showing Up—one of her best—is no exception.