MC Yearly Consensus - 1951

[soitgoes...]

Submit your five favorite films from this year and in a week I will give you a top ten. IMDb dates will be used.

The point system is as follows

1st Place-5 points
2nd Place-4 points
3rd Place-3.5 points
4th Place-3 points
5th Place-2.5 points

There will be no restrictions on short films. A minimum of three films must be listed. You may edit your post freely up until the time that the voting is closed, which will be in about a week. I will give at least 24 hours warning before tallying votes.

You may begin now.

IMDB Power Search (http://www.imdb.com/list)

[soitgoes...]

1. Strangers on a Train (Alfred Hitchcock)
2. Early Summer (Yasujiro Ozu)
3. The Day the Earth Stood Still (Robert Wise)
4. The Browning Version (Anthony Asquith)
5. Repast (Mikio Naruse)
----------------------------------------------
6. Ace in the Hole (Billy Wilder)
7. The Lavender Hill Mob (Charles Crichton)
8. Rabbit Fire (Chuck Jones)
9. The Tall Target (Anthony Mann)
10. The Lady from Musashino (Kenji Mizoguchi)

HM's
A Streetcar Named Desire (Elia Kazan)
Summer Interlude (Ingmar Bergman)
An American in Paris (Vincente Minnelli)
Gerald McBoing-Boing (Robert Cannon)
Symphony in Slang (Tex Avery)

[Yxklyx]

1. Early Summer (Yasujiro Ozu)
2. A Place in the Sun (George Stevens)
3. The Well (Leo C. Popkin & Russell Rouse)
4. Ace in the Hole (Billy Wilder)
5. The Tales of Hoffmann (Michael Powell & Emeric Pressburger)

6. The African Queen (John Huston)
7. Diary of a Country Priest (Robert Bresson)
8. A Christmas Carol (Brian Desmond Hurst)
9. The Steel Helmet (Samuel Fuller)
10. Detective Story (William Wyler)

[Raiders]

1. The Tall Target (Mann)
2. Strangers on a Train (Hitchcock)
3. M (Losey)
4. The Steel Helmet (Fuller)
5. A Streetcar Named Desire (Kazan)

------------------------------------

6. The Day the Earth Stood Still (Wise)
7. Diary of a Country Priest (Bresson)
8. Ace in the Hole (Wilder)
9. The Thing from Another World (Nyby/Hawks)
10. Miracle in Milan (De Sica)

[Boner M]

1. Strangers on a Train
2. Early Summer
3. The Thing From Another World
4. The Day the Earth Stood Still

Need to see: Repast, Diary of a Country Priest, Ace in the Hole

[Raiders]

People definitely need to see Losey's M remake. I think it is uh, better than the original.

[origami_mustache]

1. Ace In The Hole
2. Alice In Wonderland
3. Venom and Eternity
4. A Streetcar Named Desire
5. The African Queen

[Boner M]

People definitely need to see Losey's M remake.
For a sec I read this as 'lousy M remake'.

I do need to see more Losey, tho.

[Ezee E]

1. Alice in Wonderland
2. Strangers on a Train
3. A Streetcar Named Desire
4. The Day the Earth Stood Still
5. The Steel Helmet

[Mysterious Dude]

People definitely need to see Losey's M remake. I think it is uh, better than the original.That would make it one of the five best movies ever made. Impressive!

[Mysterious Dude]

1. The Man in the White Suit
2. The Day the Earth Stood Still
3. A Streetcar Named Desire
4. The Lavender Hill Mob
5. Miss Julie

6. The African Queen
7. Rooty Toot Toot
8. A Place in the Sun
9. Ace in the Hole
10. Detective Story

[Grouchy]

1. Strangers on a Train
2. The African Queen
3. The Thing from Another World
4. Miracle in Milan

[MadMan]

Hey, I can vote! Barely. But I love/like all of the films I've voting for.

1. The African Queen
2. The Thing From Another World
3. The Day the Earth Stood Still

[Derek]

1. Miss Julie (Alf Sjöberg)
2. Strangers on a Train (Alfred Hitchcock)
3. Diary of a Country Priest (Robert Bresson)
4. A Streetcar Named Desire (Elia Kazan)
5. Alice in Wonderland (Geronomi, Luske & Jackson)
****************************** ****
6. Repast (Mikio Naruse)
7. The 13th Letter (Otto Preminger)
8. The Tall Target (Anthony Mann)
9. The Thing From Another World (Howard Hawks & Christian Nyby)

[Kurious Jorge v3.1]

1. Early Summer
2. Ace in the Hole
3. Diary of a Country Priest

5. The Browning Version

[ledfloyd]

1. Strangers on a Train
2. The Day the Earth Stood Still
3. Ace in the Hole
4. The Lavender Hill Mob

[Philosophe_rouge]

1. An American in Paris
2. Strangers on a Train
3. A Streetcar Named Desire
4. The Browning Version
5. Ace in the Hole

[dreamdead]

1. Early Summer
2. Strangers on a Train
3. The Steel Helmet
4. Diary of a Country Priest
5. The Day the Earth Stood Still

[Russ]

1. Strangers on a Train
2. Rabbit Fire
3. The Day the Earth Stood Still
4. People Will Talk
5. Bunny Hugged

[Kurosawa Fan]

1. Strangers on a Train
2. The Thing from Another World
3. Ace in the Hole
4. The Man in the White Suit
5. A Streetcar Named Desire

HM: People Will Talk, Alice in Wonderland, The Day the Earth Stood Still, Sirocco, A Place in the Sun, The Lavender Hill Mob


Really strong year.

[Lazlo]

1. Strangers on a Train
2. Alice in Wonderland
3. Diary of a Country Priest
4. Show Boat
5. A Streetcar Named Desire

[The Mike]

1. Strangers on a Train
2. The Day The Earth Stood Still
3. Alice in Wonderland
4. Abbott & Costello Meet The Invisible Man
5. Bride of the Gorilla

I really want to see Ace in the Hole, and have been meaning to see A Streetcar Named Desire for some time. Alas, I am lame.

[Weeping_Guitar]

1.Strangers on a Train
2. Early Summer
3. The Day the Earth Stood Still
4. The Man in the White Suit
5. Ace in the Hole

[SirNewt]

That would make it one of the five best movies ever made. Impressive!

or maybe just more than mediocre.

[SirNewt]

The Browning Version
An American in Paris
Early Summer
Ace in the Hole
A Place in the Sun

----------------------------------------

The Day the Earth Stood Still
The African Queen
A Streetcar Named Desire

Damn fine year for Hollywood.

[Pop Trash]

1. Strangers on a Train
2. A Streetcar Named Desire
3. The Day the Earth Stood Still
4. Diary of a Country Priest
5. Alice in Wonderland

Good year. I really need to see Ace in the Hole. It takes place in my home state!

Oh and I still think The African Queen sucks.

[Derek]

Oh and I still think The African Queen sucks.

Repped. I can't stand that movie.

[Kurosawa Fan]

Oh and I still think The African Queen sucks.

Rep from me as well. Seriously, it's such a lame "classic".

[Mysterious Dude]

Are there only two more of these things left? I'll be a little sad when it's over.

Not really, though. Not like I don't have stuff to do.

[Pop Trash]

Rep from me as well. Seriously, it's such a lame "classic".
I know and I usually love the Bogey/Huston joints.

[Philosophe_rouge]

I don't like the African Queen either

[baby doll]

I'll have to take a pass. Other than Early Summer and Ace in the Hole (although it loses some momentum in the closing stretches), I can't think of anything worth voting for. Strangers on a Train is good but minor Hitchcock. And I liked People Will Talk and The Thing From an Another World but not enough to vote for them. What movies are supposed to be good from this year?

An American in Paris has some technically impressive musical numbers, but everything else is threadbare. I suppose the whole point is to confirm every silly romantic notion Americans who haven't been to Paris have about the city, so of course the sets look like they were modelled on Impressionist paintings from the late 19th century--even though, if memory serves, the story is contemporary. Similarly, in the 1950s, the place to go to be an artist was New York, but since moviegoers in the Midwest are presumed to be intimidated by Abstract Expressionism, the film plays dumb about painting too. The assumption is that we know as little about the rest of the world as Sarah Palin and can't be bothered to learn.

[Boner M]

I'll have to take a pass. Other than Early Summer and Ace in the Hole (although it loses some momentum in the closing stretches), I can't think of anything worth voting for. Strangers on a Train is good but minor Hitchcock. And I liked People Will Talk and The Thing From an Another World but not enough to vote for them. What movies are supposed to be good from this year?
Diary of a Country Priest and Repast? I haven't seen either, but they're obviously great since they're by auteurs.

sry, can't help it

[Raiders]

What movies are supposed to be good from this year?

I would strongly recommend for you both Mann's The Tall Target and Losey's M remake. Surprised if you haven't seen Bresson's Diary of a Country Priest. Have you seen Fuller's Steel Helmet? Minor Fuller on many fronts, but there are shots and moments that rival some of his best.

[baby doll]

I would strongly recommend for you both Mann's The Tall Target and Losey's M remake. Surprised if you haven't seen Bresson's Diary of a Country Priest. Have you seen Fuller's Steel Helmet? Minor Fuller on many fronts, but there are shots and moments that rival some of his best.I have seen Diary of a Country Priest--wait, uh, I mean, Journal d'un curé de campagne--but found it difficult to get into. Maybe I was just tired, but I'll have to see it again. Embarassingly, I've yet to see a single Anthony Mann film, though it's not because I'm not interested, I just haven't come by any on DVD. (Maybe I'll torrent The Naked Spur some time.) Nor have I seen any of Losey's films, and I don't have a clue where to start (the longest thing I've read about his work is a John Waters article on Boom!). And I've been meaning to see The Steel Helmet for ages, but just haven't gotten around to it. Thanks for the recommendations.

[soitgoes...]

Nor have I seen any of Losey's films, and I don't have a clue where to start (the longest thing I've read about his work is a John Waters article on Boom!). Outside of you being able to find a watchable copy of M, check out The Servant.

[SirNewt]

An American in Paris has some technically impressive musical numbers, but everything else is threadbare. I suppose the whole point is to confirm every silly romantic notion Americans who haven't been to Paris have about the city, so of course the sets look like they were modelled on Impressionist paintings from the late 19th century--even though, if memory serves, the story is contemporary. Similarly, in the 1950s, the place to go to be an artist was New York, but since moviegoers in the Midwest are presumed to be intimidated by Abstract Expressionism, the film plays dumb about painting too. The assumption is that we know as little about the rest of the world as Sarah Palin and can't be bothered to learn.

Yes, it's utter silliness but that's why I enjoy it so.

[Philosophe_rouge]

For me, as with most great musicals, An American in Paris is an expression of emotion though song, and cinema. That emotion happens to be young love, however naive and silly it may be, it's incredibly charming and beautifully realised. It is a FANTASY, taking ideas, emotions and impressions to paint a world that exists only within the minds of the characters. It's not the best example, nor is it even Minelli's greatest work... but I'll be damned if I don't get caught up every single time.

[Spinal]

More?

[MacGuffin]

1. Strangers on a Train (Alfred Hitchcock)
2. Ace in the Hole (Billy Wilder)
3. Alice in Wonderland (Clyde Geronimi, Wilfred Jackson and Hamilton Luske)

[Spinal]

1. Alice in Wonderland
2. Strangers on a Train
3. Rabbit Fire

[monolith94]

1. Scrooge
2. His Kind of Woman
3. The African Queen
4. The Day the Earth Stood Still
5. The Lavender Hill Mob


6. Strangers on a Train
7. An American in Paris
8. Miracle in Milan
9. The Man in the White Suit

good year

[soitgoes...]

This one is winding down.

[soitgoes...]

Closed. Posting will commence shortly.

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#10

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The Browning Version

Director: Anthony Asquith

Country: UK

Andrew Crocker-Harris, a stuffy professor of Classical Greek at an English public school is disliked by his students, being cuckolded by a colleague and denied a deserved pension by the penurious headmaster. Although he began his career eighteen years earlier as a brilliant young scholar, he has withdrawn into the stiff rigidity of school rules and regimentation and has distanced himself from all human emotion. While facing a bleak financial future and a disintegrating marriage, the kindness of one of his students rekindles his humanity.

The title refers to a translation of Agamemnon. Of the many such translations, one of Crocker-Harris's pupils gives him the version written by poet Robert Browning.

"The cuckolded schoolmaster of Terence Rattigan's play requires a virtuoso actor, and in this British film version, directed by Anthony Asquith, it got one. If the sustained anguish of the role does not allow Michael Redgrave a great deal of room to move around in, it does give him a chance to show what he can do in tight quarters, and that, it turns out, is considerable. He is superb." - Pauline Kael

[soitgoes...]

#8 (tie)

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The African Queen

Director: John Huston

Country: UK/USA

September 1914, news reaches the colony German Eastern Africa that its motherland is at war, so Reverend Samuel Sayer became a hostile foreigner; German imperial troops burn down his mission, driving him mad- shortly after his well-educated, snooty sister Rose Sayer buries him and leaves by the only available transport, the crummy river steamboat 'African Queen' of grumpy boorish compatriot Charlie Allnut. As if a long difficult journey without any comfort weren't bad enough for such odd companions, she is determined to find a way to do their bit for the British war effort (and revenge her brother) and aims high as God is obviously on their side...

Originally offered to Bette Davis in 1938, the film would have co-starred David Niven as Charlie. It was offered to Bette Davis again in 1947, this time to co-star James Mason, but she had to pull out of the project due to pregnancy. In 1949, Bette Davis tried again to make the film, but by that time plans were under way for Katharine Hepburn to star. To show her disgust with the amount of alcohol that John Huston and Humphrey Bogart consumed during filming, Katharine Hepburn drank only water. As a result, she suffered a severe bout of dysentery.

"Whether C. S. Forester had his salty British tongue in his cheek when he wrote his extravagant story of romance and adventure, The African Queen, we wouldn't be able to tell you. But it is obvious—to us, at least—that Director John Huston was larking when he turned the novel into a film. His lively screen version of it, is a slick job of movie hoodwinking with a thoroughly implausible romance, set in a frame of wild adventure that is as whopping as its tale of off-beat love. And the main tone and character of it are in the area of the well-disguised spoof." - Bosley Crowther

[soitgoes...]

#8 (tie)

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The Thing from Another World

Director: Christian Nyby/Howard Hawks

Country: USA

Scientist at an Arctic research station discover a spacecraft buried in the ice. Upon closer examination, they discover the frozen pilot. All hell breaks loose when they take him back to their station and he is accidentally thawed out!

It is generally believed that Howard Hawks took over direction during production, and it has always been acknowledged by director Christian Nyby that Hawks was the guiding hand. However, in an interview James Arness said that while Hawks spent a lot of time on the set, it was Nyby who actually directed the picture, not Hawks. The scene in which The Thing is doused with kerosene and set ablaze is believed to be the first full body burn accomplished by a stunt man.

"What's most remarkable about The Thing (which was remade in 1982 by John Carpenter) is its continued ability to function as both a taut science-fiction thriller and a telling snapshot of the Cold War paranoia beginning to sweep the country in post-WWII America. The story, about the battle between a group of stranded military personnel and an alien creature fueled by human blood, is a model of economic storytelling." - Nick Schager

[soitgoes...]

#7

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Diary of a Country Priest

Director: Robert Bresson

Country: France

In Ambricourt, a young Priest (Claude Laydu) arrives to be the local parish priest. The community of the small town does not accept him, and although having a serious disease in the stomach, the inexperienced and frail priest tries to help the dwellers, and has a situation with the wealthy family of the location.

The famous line, "All is grace," is a quotation from Therese de Lisieux, a saint to whom novelist Georges Bernanos was deeply devoted. Reportedly, director Andrei Tarkovsky's favorite film.

"It’s strange how Robert Bresson’s Diary of a Country Priest, a film considered by many to be so spiritual, is so thoroughly immersed in the physical. But Catholicism – and the film is steeped in it – is full of paradoxes: loving one’s enemies; believing in one God with three incarnations; needing to die to gain eternal life. Bresson at an early point of his career – using the Georges Bernanos novel – seems to be telling us that to present matters indefinite (the spirit, or soul) you need for material matters definite (the body, the world it lives in); more, to break free of the world of the physical you must first take a firmer hold on said world – for traction, if you like." - Noel Vera

[soitgoes...]

#6

http://i233.photobucket.com/albums/ee171/soitgoes22/EliaKazan-AStreetcarnamedDesire1-1.jpg

A Streetcar Named Desire

Director: Elia Kazan

Country: USA

Blanche is in real need of a protector at this stage in her life when circumstances lead her into paying a visit to her younger sister Stella in New Orleans. She doesn't understand how Stella, who is expecting her first child, could have picked a husband so lacking in refinement. Stanley Kowalski's buddies come over to the house to play cards and one of them, Mitch, finds Blanche attractive until Stanley tells him about what kind of a woman Blanche really is. What will happen when Stella goes to the hospital to have her baby and just Blanche and her brother-in-law are in the house?

Vivien Leigh, who suffered from bipolar disorder in real life, later had difficulties in distinguishing her real life from that of Blanche DuBois. As the film progresses, the set of the Kowalski apartment actually gets smaller to heighten the suggestion of Blanche's increasing claustrophobia.

"Vivien Leigh gives one of those rare performances that can truly be said to evoke pity and terror. As Blanche DuBois, she looks and acts like a destroyed Dresden shepherdess. No one since the early Lillian Gish and the almost unknown, plaintive Nadia Sibirskaya of MENILMONTANT (1926) has had this quality of hopeless, feminine frailty; Shakespeare must have had a woman like this in mind when he conceived Ophelia. Blanche's plea "I don't want realism … I want magic!" is central to Streetcar. When Marlon Brando, as the realist Stanley Kowalski, cuts through her pretensions and responds to her flirting with a direct sexual assault, the system of illusions that holds her together breaks down, and he is revealed as a man without compassion--both infant and brute." - Pauline Kael

[soitgoes...]

#5

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Alice in Wonderland

Directors: Clyde Geronimi/Wilfred Jackson/Hamilton Luske

Country: USA

Disney version of Lewis Carroll's Children's story. Alice becomes bored and her mind starts to wander. She sees a white rabbit who appears to be in a hurry. She chases it into its burrow and then a most bizarre series of adventures begins.

In the Walrus and the Carpenter sequence, the R in the word "March" on the mother oyster's calendar flashes. This alludes to the old adage about only eating oysters in a month with an R in its name. That is because those months without an R are the summer months, when oysters would not keep due to the heat, in the days before refrigeration.

"It might be that Alice in Wonderland's status as being apart from Walt's personal favorites is how much it refuses to adhere to the binding, conservative Disney archetypes. Alice has no real hero (it's really just a girl dozing off during her studies), nor does it have a Madame Satan villainess (the corpulent Queen of Hearts is a terrifying and iconic figure to be sure, but she's got her humorous, Dominatrix moments and turns out to be really no more dangerous than the pack of cards Alice tosses aside). There is no attempt to affirm the supremacy of patriarchal courtship, no real lessons to be learned (in fact, it plays a lot like The Wizard of Oz without the "There's no place like home" homily tagged on at the end)." - Eric Henderson

[soitgoes...]

#4

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Early Summer

Director: Yasujiro Ozu

Country: Japan

In postwar Tokyo, this household is loving and serene: older parents, their 28-year-old daughter Noriko, their married son, his devoted wife, and two rascally sons. Their only discontent is Noriko's lack of a husband. Society is changing: she works, she has women friends who tease and argue, her brother sees her independence as impudence, she sees it as normal. When her boss suggests that she marry a 40-year-old bachelor who is his friend, all the members of her family press her to accept. Without seeking their advice, and to their chagrin, Noriko determines her own course of action.

One aspect of Ozu’s films that is little commented upon is his almost proto-Feminism. Most notably in the Noriko trilogy (Late Spring, Early Summer, and Tokyo Story), his female characters exhibited an independence and intelligence that was a departure from more traditional views of women.

"But hard as Early Summer works to prolong each moment, you know the end is coming, and this time ambivalently. If Noriko's decision to put her own happiness first inevitably means the splintering of her family, who cannot afford to all live in the same house without her contribution to the rent, her actions also return her parents to the countryside, where the view out their back door is not a wooden fence but an endlessly stretching plain, whose infinity is emphasized in the movie's wordless coda. If change is inevitably destructive, it is also to be welcomed, if only because there is no other option." - Sam Adams

[soitgoes...]

#3

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Ace in the Hole

Director: Billy Wilder

Country: USA

Charles Tatum, a down-on-his-luck reporter, takes a job with a small New Mexico newspaper. The job is pretty boring until he finds a man trapped in a mine. He jumps at the chance to make a name for himself by taking over and prolonging the rescue effort, and feeding stories to major newspapers. He creates a national media sensation and milks it for all it is worth.

When the film was released, it got bad reviews and lost money. The studio, without Billy Wilder's permission, changed the title to "The Big Carnival" to increase the box office take of the film. It didn't work. On top of that, Billy Wilder's next picture Stalag 17 (1953) was a hit and Billy Wilder expected a share of the Stalag 17 (1953)'s profits. Paramount accountants told him that since this picture lost money, the money it lost would be subtracted from the profits of Stalag 17.

"'Why shouldn't we get something out of it,' says someone at one point. This is the film's mantra of greed, and Ace in the Hole allowed Wilder to question the very nature of human interest stories and the twisted relationship between the American media and its public. More than 50 years after the film's release, when magazines compete to come up with the cattiest buzz terms and giddily celebrate the demise of celebrity relationships for buffo bucks, Ace in the Hole feels more relevant than ever. " - Ed Gonzalez

[soitgoes...]

#2

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The Day the Earth Stood Still

Director: Robert Wise

Country: USA

An alien (Klaatu) with his mighty robot (Gort) land their spacecraft on Cold War-era Earth just after the end of World War II. They bring an important message to the planet that Klaatu wishes to tell to representatives of all nations. However, communication turns out to be difficult, so, after learning something about the natives, Klaatu decides on an alternative approach.

Patricia Neal has admitted in interviews that she was completely unaware during the filming that the film would turn out so well and become one of the great science-fiction classics of all time. She assumed it would be just another one of the then-current and rather trashy flying saucer films that were popular at the time, and she found it difficult to keep a straight face while saying her lines.

"The Day the Earth Stood Still is mistakenly seen as a science fiction movie, with a title designed for double bill matinees and evenings at the drive-in. But make no mistake, it as just as political as All the President’s Men. The most prominent sci-fi aspect occurs in the first five minutes, when Gort vaporizes U.S. army guns and artillery. Most of the rest of the film is a complex anti-war statement, a call to end the Cold War, and to strengthen communication among nations." - Jamie Gillies

"Gort! Klaatu barada nikto!" - Helen Benson

[soitgoes...]

#1

http://i233.photobucket.com/albums/ee171/soitgoes22/AlfredHitchcock-Strangersonatrai-1.jpg

Strangers on a Train

Director: Alfred Hitchcock

Country: USA

Psychotic mother's boy Bruno Anthony meets famous tennis professional Guy Haines on a train. Guy wants to move into a career in politics and has been dating a senator's daughter (Ann Morton) while awaiting a divorce from his wife. Bruno wants to kill his father but knows he will be caught because he has a motive. Bruno dreams up a crazy scheme in which he and Guy exchange murders. Guy takes this as a joke, but Bruno is serious and takes things into his own hands.

The stunt where the man crawled under the carousel was not done with trick photography. Alfred Hitchcock claimed that this was the most dangerous stunt ever performed under his direction, and would never allow it to be done again. This was the last full feature for Robert Walker who died eight months after filming finished from an allergic reaction to a drug.

"Strangers on a Train, though undoubtedly effective as a classic Hitchcock thriller, is also nothing more complicated than one elongated gay cruise joke-cum-horror story. Based on a Patricia Highsmith story (enough said), the film opens with a cross-cut montage of two men's walking shoes, getting nearer to their train berths and, eventually, culminating in a flirtatious game of footsy. Bruno Anthony's two-tone saddles are juxtaposed with Guy Haines's monochromatically "sensible" shoes, saying in essence all one needs to know about the politics of their impending liaison: Bruno is the flamboyant aggressor, the fire lit under Guy's prudent ass." - Eric Henderson

[soitgoes...]

Photobucket decided to go down for maintenance right as I was uploading the picture for Strangers on a Train. I didn't want to leave everyone guessing what number 1 could possibly be :rolleyes:, so I went ahead and posted all the other stuff. I'll edit in the picture when I wake from my beauty sleep.

It's back up. Nevermind.

[soitgoes...]

1. Strangers on a Train - 79
2. The Day the Earth Stood Still - 41
3. Ace in the Hole - 31
4. Early Summer - 30.5
5. Alice in Wonderland - 30
6. A Streetcar Named Desire - 28
7. Diary of a Country Priest - 16.5
T8. The Thing from Another Planet - 15
T8. The African Queen - 15
10. The Browning Version - 13.5

Close: The Man in the White Suit - 11

[soitgoes...]

Some comments by me: I'm extremely pleased with the top 4 films. I don't think I've been as happy with any other year. That has to be offset by one of the worst Disney films produced coming in at 5. Just trying to find a somewhat positive quote for that one was a chore. It falls under the "only on Match-Cut" category.

[Spinal]

That has to be offset by one of the worst Disney films produced coming in at 5.

:crazy: