$SNE, MASSIVE DOUBLE DICK INSIDE. Poised to moon long-term (Computer vision boom, EV boom, autonomous driving tech, gaming boom, music streaming boom, cross-media IP, vertically integrated anime streaming monopoly, online medical services boom, shift to mirrorless cameras)
Listen up retards. Do you happen to feel regret because you always think “ohhh if I yoloed my savings on TSLA/AMD/NVDA 🚀 leaps years ago I could be rich by now!!!” Well if you didn't know already, it doesn’t really matter what happened in the past. Hindsight will always be 20/20. You shouldn’t be harsh on yourself on your past self that your past self wasn’t retarded enough to yolo their savings into AMD/TSLA/.... Your past self doesn’t have the same knowledge that your current self has. It’s fine. If you judged those stocks with the best DD you could do at the time and didn’t think they were worth it, then you did a good job. If you always think about what you could/should have done in the past, then you don't have the right attitude to play the stock market casino imho. The single most important thing is to be able to look ahead. There are always plenty of opportunities around. There are thousands of rockets that are still on earth right now. Some may depart this year, others will stay a little longer on earth. The true strength lies in being able to identify those rockets with the knowledge you have right now. And if you still miss most rockets that will take-off this year that's fine, maybe you'll learn, get better and you'll do better next year. Now, what if I told you there’s a big rocket that’s parked right right here on earth and it has decent chance for take-off this year? Maybe it won't quite reach the moon this year yet, but hey leaving the exosphere should already be a cool milestone. It has rock-solid fundamentals and will see lots of growth in the following years/decade. It’s a company that has the fundamental technology to power all the computer vision tech, which is bound to boom this decade. The company we’re talking about is of course Sony, and it is extremely undervalued right now. Its P/E is only 14. They have a P/S of 1.65, a PEG of 0.92 (< 2 is already somewhat exceptional for a company/conglomerate of Sony’s size, under 1 is a steal) Much lower than all of its same-sector peers. This indicates significant undervaluation. Next up Sony has a P/CF 13.2, ROE of 20% (S&P 500 average is 14% which would already be considered pretty good. 20% ROE is excellent), PEGY of 0.89, P/B of 2.65 and finally Sony has $41.6B in cash on hand. This makes Sony one of the cheapest tech/entertainment/EV/semiconductor growth stocks you will find on the market. (ROE of 20% + PEGY of 0.89 + PEG of 0.92 means this company is a growth stock based on the numbers alone, but we’ll dig into the actual company and overall outlook in a moment) I challenge all retards to find a company with similar benchmarks in one of the mentioned sectors, seriously. Quite frankly doing this DD honestly blew my mind. I kept looking everywhere for reasons why the company could be so undervalued and why they may struggle in the future. Very important to look at all the challenges the company faces to make sure I’m not just doing confirmation bias DD. But all I could find was the opposite. After several weeks and months of working on this DD, I can only conclude that it is overall a very solid company for a bargain price. The new CEO is taking the company in a great direction imho and I'm begin to think he could be Sony's Satya Nadella. So if you want some easy tendies, maybe consider $SNE while it is still cheap, I’d say. For the autists out there who care about analyst ratings, SONY ($SNE) currently has 18 BUY ratings, 2 OVERWEIGHT, 4 HOLD and 0 SELL. (= analyst consensus is a STRONG BUY). Very little analysts cover this stock compared to other entertainment/tech companies, so this adds to my assertion that the stock is very much under the radar. Which means you have time to get in before it gets noticed by the larger investing world and before it starts to get a more fair valuation (P/E of around 30 would be more fair for this company I think, but still cheaper than many same sector peers). But, anyway the few analysts who do happen to cover this company are basically all saying it’s an instant-buy at its current price. Most boomer investors still think big Japanese tech companies are dinosaurs that have long been surpassed by China, South Korea and Apple etc ages ago. Young boomers may think Sony = PlayStation and that it's it. But the truth is that PlayStation, while very important (about 24% of Sony's total revenue last year), is a part of a larger story. Lots of investors in general associate Sony with the passé Japanese electronics companies from the 80’s and the 90’s. Just like a lot people may think BlackBerry is a struggling phone company. While Sony may not be the powerhouse in consumer electronics it was in the 80’s and the 90’s, in a lot of ways they are more relevant than ever before. Despite being a well-known brand and being known as the company behind PlayStation, for some reason its stock still seems to be under the radar among both retail and institutional investors. And boy, are they mind-blowingly undervalued. Even if a big part of its business would collapse tomorrow, they would still be slightly undervalued. And I am about to tell you why. (& btw compared to Japanese tech/entertainment stocks $SNE is still super cheap (Canon, Nikon, Toshiba, Sharp, Panasonic, Square Enix, Capcom, Nintendo, Fujitsu all have P/E ratios ranging from 18 to 77 and none of them have the combination of global clout, fundamentals & growth prospects that Sony has)) 2021 Sony as a corparation is not the fucking Sony from 2005-2015’s, just like BlackBerry in 2021 is not the fucking Blackberry from 2012. Just like Garmin in 2021 is not Garmin from 2011. Just like AMD in 2021 is not AMD from 2012. No, in 2021, Sony is the global leader in imaging technology and people do not fucking realize it. Sony has 50% marketshare in the CMOS image sensor market. There’s a very good chance the smartphone in your pocket has Sony image sensors (unless it’s a Samsung phone). Sony image sensors are powering a big part of today's vision/camera technology. And they will power even more of tomorrow's computer vision tech. In 2021, Sony is a behemoth in video games, music, anime, movies and TV show production. Sony is present in every segment of entertainment. Sony’s entertainment branches have been doing great business over the past 5 years, especially music and PlayStation. Additionally, Sony Pictures has completely turned around. In 2021, Sony is the world’s biggest music publisher (and second biggest music company overall). Music streaming has been a boon for Sony Music and will continue to be. In 2021, Sony is among the biggest mobile gaming companies in the world (yes, you read that right). And it’s mainly thanks to one game (Fate/Grand Order) that nets them over $1B revenue each year. One of the biggest mobile gaming companies + arguably biggest gaming brand in the world (PlayStation). In 2021, Sony is an EV company. They surprised the world when they revealed their “Vision-S” at CES 2020. At the reception was fantastic. It is seriously one of the best looking EV’s. They already sell sensors to Toyota. Sony will most like sell the Vision-S's tech to other car manufacturers (sensors for driving assistence / autonomous driving, LiDAR tech, infotainment system). 40 sensors in the Sony Vision-S Considering the overwhelmingly good reception of the Vision-S so far, I suspect the Vision-S could be another catalyst that will put Sony as a company on the radar of investors and consumers. We've seen insane investment hype for anything even remotely related to EV over the past year. We've seen a company that barely had a few EV design concepts (oh wait, they had a gravity-powered truck though) even get a $30B market cap at some point lmao. But somehow a profitable company ($SNE) that has an EV that you can actually drive, doesn't even have a fair valuation? In 2020’s Sony’s brand value is at their highest point since 12 years. In 2021, it is projected to be a its highest point since 2001 assuming same growth as average yearly growth from 2015 to 2020. Keep in mind brand valuation is a bit bullshitty as there’s no standardization to compare brands from different sectors, let alone non-consumer-facing brands with consumer-facing brands. But one thing we can note is that Sony both as B2C brand and as a B2B company is on a big upwards trend. https://interbrand.com/best-global-brands/sony/ https://careers.uw.edu/blog/2020/03/17/these-are-the-10-biggest-video-game-companies-in-north-america-shared-article-from-zippia/ In 2021, Sony is an entertainment behemoth. They have grown their entertainment branches by a huge amount over the past 5 to 10 years (they made some big acquisitions in the music space especially and they’re now also all-in in anime). I don’t think people realize how big Sony is as an entertainment company. I dug up the numbers and as of Q3 2020, PlayStation is the second biggest video game company in the world (Tencent is #1) in revenue (I suspect Sony might dethrone Tencent after Sony’s FY Q3 2020 is released). But Sony already comes very close to Tencent especially if you add Fate/Grand Order (which is under Sony Music and not under PlayStation) under PlayStation. There’s no single other company that has this unique combination of a dominant/important position in all entertainment segments. (video games + music + movies + TV series + anime + TV networks). I guess Tencent maybe? In 2021, Sony has amazing momentum in the camera space. If you’re familiar with the enthusiast photography space, you should know this. Basically, the market is slowly shifting from SLR to mirrorless cameras. This is because mirrorless cameras tend to smallelighter, have faster AF, better low light performance, better battery life and better video performance. Sony is the company that has been specializing in the development for mirrorless cameras for over a decade while Canon’s bread and butter has always been SLR cameras. Sony is in the lead when it comes to mirrorless cameras and that’s where the market is shifting towards. Because the advantages of mirrorless have become more and more apparent and Sony’s cameras have become technically superior, Sony has gained quite a bit of market share over Canon and Nikon in the last few years. In 2019, Sony overtook Nikon as the #2 camera manufacturer. Sony is in an upwards trend here. (they have the ambition to become the world’s #1 camera brand) Sony also has very good marketing for their cameras. (Sony has a lot of YouTubers / influencers / brand ambassadors for their cameras despite being a smaller brand than Canon) (just search on YouTube and/or Google “switching to Sony from Canon” just to give you an idea that they do have amazing brand momentum in the camera space. You won’t get as many hits for the opposite) A huge portion of Sony’s profit comes from image sensors in addition to music and video games. This is in addition to their highly profitable financial holdings division & their more moderately profitable electronics division. Sony’s electronics division, unlike other Japanese brands, has shown great resilience against the very strong competition from China & South Korea. They have been able to maintain their position in the audio space and as of 2020 are still the global market leader in high-end TV’s (a position they have been holding for decades) and it seems they will continue to be able to maintain that. But seriously this company is dirt-cheap compared to any of its peers in any segment and there’s various huge growth prospects for Sony:
CMOS image sensors & Sony’s overall imaging prowess will boom due to increased demand from automotive sector, security & surveillance industry, manufacturing industry, medical sector and finally from the aerospace & defence industry. On the longer term, image sensors will continue to boom due to increased demand for computer vision & AI + robotics. And for consumer electronics demand will remain very high obviously.
Sony is aiming for 60% market share in the CMOS image sensor market by 2026. Biggest threat here is Samsung here who have recently started to aggressively invest in image sensors and are challenging Sony. Sony has technological lead + higher production capacity (and Sony will soon open a new plant in Nagasaki), so Sony should be able to hold off Samsung.
The iPhone 12 Pro has 3 cameras + a lidar sensor. Apple now buys 3 image sensors (from Sony) + LiDAR sensor (from Sony) per iPhone 12 Pro they manufacture. Remember the iPhone X and iPhone XS? That one had “only” 2 rear cameras (with image sensos from Sony of course). Basically, Sony will be selling exponentially more image sensors as more smartphones get equipped with more and more cameras.
Now think about how many image sensors Sony can sell to Apple if the iPhone 13 will have 5 cameras + LiDAR sensor (I mean the number of cameras on smartphones certainly won’t decrease)
Gaming (PS5 hype, PSN game sales are booming, add-on content is booming, PS+ subscribers count is booming and finally PSNow & first-party games sales are trending upwards as well). Very consistent year-on-year profit & revenue growth here. They have a history of beating earnings expectations here. The number of PS+ subscribers went from 4M to 48M in just 6-7 years. Investors love to hype up recurring revenue and subscription services such as Disney+ and Netflix. Let’s apply the same logic to PS+? PS+ already has more subscribers than HBO Max in the USA.
PlayStation (video games in general) has not even scratched the fucking surface. Most people who play video games now are millennials and kids. Do you think those millennials will stop playing video games when they grow older? No, of course not. Boomers today also still watch movies and TV. Those millennials have kids and those kids are now also playing video games. The kids of those kids will also play video games etc. Basically the total addressable audience for video games will by HUGE by the end of the decade (and the decades after that) because video games will have penetrated all age ranges of the population. Gaming is the fastest growing segment of the whole entertainment business. By a large margin. PlayStation is obviously in a great position here as you can guess from the PS5 hype, but more importantly imho, the growth of PS+ subscribers (currently a bit under 50 million) and PSN users (>100 million MAU) over the past 5 years shows that PlayStation is primed to profit from the audience growth.
On top of that you have huge video game growth in the China where Sony & PlayStation is already much better established than Xbox (but still super small compared to mobile games and PC gaming in China). Within the console market, Xbox only competes with PlayStation in North America. In the rest of the world, PlayStation has an enormous lead over Xbox. Xbox is simply a lesser known and lesser desirable brand in the rest of the world
Anime streaming (basically they have a monopoly already + vertical integration, it might still be somewhat niche right now, but it will be big within 5 years. Acquiring Crunchyroll was a very good move)
Music streaming (no, they don’t have a music streaming service, but as music streaming grows, Sony Music also gets a piece of the growing pie through licensing/royalties, and they also still have a little 2.8% stake in Spotify)
Apple, Amazon, Netflix, AT&T and Disney are currently battling it out in the streaming wars. When there’s a war you have little chances of winning, you shouldn’t be the one waging the war. You should be the one selling the ammo. Basically Sony Pictures (tv shows + movies) is in that position. Sony Pictures can negotiate good prices for their content because Apple, Amazon, Netflix, AT&T are thirsty for content and they all want their own exclusive content. Sony Pictures does not need to prop up their own streaming service just like Sony Music doesn’t need their own music streaming service when they can just license out their content and turn a profit. There will always be demand for TV & movies content, so Sony Pictures is well positioned is as an independent content provider. And while Apple, Amazon, Netflix, AT&T and Disney are battling it out on the forefront, Sony is quietly building their anime empire in the background. Genius business move from Sony here, seriously. They now have anime production & distribution.
Netflix has 200M subscribers and they currently have a 250M market cap. Think about what Sony will have in 5 years? >30M Crunchyroll subscribers (assuming all anime will be consolidated into Crunhyroll) & >100M PS+ & PSNow subscribers? Anime and gaming is growing faster than movies and TV shows. (9% CAGR for anime, 12% CAGR for gaming vs. 5% CAGR for the whole movies & TV show entertainment segment which includes PVOD, SVOD, box office, TV etc etc). And gaming as a whole is MUCH bigger than SVOD streaming. Netflix gets 99% of their revenue & profit through subscriptions. For the whole Sony Group Corporation, their subscription services (games + anime) it’s currently only 4.5% of their total revenue. And somehow Sony currently has a meagre $128B market cap?
PlayStation alone is bigger than Netflix in terms of operating profit. PlayStation has a MUCH higher profit margin than Netflix. For Q3 2020 Netflix posted $790M operating profit and PlayStation posted $988M operating profit. Revenue was was $6.44B for Netflix vs. $4.77B for PlayStation. (and btw Sony’s mobile gaming revenue (~$1B / year) is under Sony Music, it is not even in those PlayStation numbers!!!)
Think about it. PlayStation alone posts bigger operating profit than Netflix (yes revenue is bit smaller, but it’s the operating profit that matters most). And gaming is growing faster than movies. And PlayStation is about 24% of Sony’s total revenue. And yet Netflix has a market cap that is equal to the double of Sony's market cap? Basically If you apply Netflix’ valuation to PlayStation then PlayStation alone should have a bigger market cap than Netflix' market cap.
Sony Vision-S & autonomous driving tech (selling sensors + infotainment system to other car manufacturers). Sony surprised everyone when they revealed their Sony Vision-S electric vehicle last year at CES 2020 (in-house design and made in cooperation with Magna Steyr). And it’s currently being tested on public roads. Over the past year we have seen absurdly big investment hype into anything even remotely related to EV’s (including a few questionable companies). We’ve even seen an EV company with a gravity-powered truck get a $30B market cap in June last year. Meanwhile Sony, out of nowhere, revealed what is arguably (subjectively) one of the best looking EV’s. It got very positive reception at CES 2020. An EV that you can actually drive. But somehow their stock is still dirt-cheap based on their current fundamentals alone? Yet some companies that had pretty much nothing but some EV design concepts got insane valuations purely due to hype?
LTE chips for IoT & Industry 4.0 (Altair Semiconductors)
Cross-media IP (The Last of Us show on HBO, Uncharted movie etc). Huge unrealized potential synergy here (it’s about to change). We have seen that it can turn out super well when you look at The Witcher, Sonic the Hedgehog and Detective Pikachu. When The Witcher released on Netflix, sales of The Witcher 3 significantly increased again. Imagine the same thing, but with Sony IP’s. Sony Pictures is currently working on 7 video game IP based TV shows and 3 movies. We know The Last of Us tv series is currently in production for HBO. And then the Uncharted is currently in post-production and scheduled to be released in July this year currently. If Uncharted turns out to be successful, it will mark a big, new milestone for Sony as an entertainment company imho.
Aniplex (Sony Music Entertainment Japan subsidiary for anime production, distribution & mobile games) had a fantastic year in 2020. (more on this later) There is a lot of room for mobile games growth with Aniplex. Thanks to Aniplex, Sony might beat their earnings forecast.
Drones. DJI just got put on Entity List in USA and Sony started developing drones for prosumer / professional a few years ago. Big opportunity for Sony here to take a bit from DJI’s dominance. It only makes sense for Sony to enter the drone market targeting the professional & prosumer video market, considering Sony’s established position in the professional audio/video/photography space
Currently Sony also has several ventures & investments in AI & robotics
Over the past decade, Sony has also carefully expanded into medical equipment tech & biotechnology. Worth noting that Sony also has an important 33% stake in M3 inc (a medical services through-the-internet company with a market cap of $65.5B) (= just their stake in M3 Inc is worth $22B alone, remember Sony, with their large, diversified revenue streams & assets only has a market cap of $128B?)
Sony Pictures has a great upcoming movie slate (MCU Spider-Man, Uncharted, Ghostbusters: Afterlife, Venom 2, Morbius, Spider-Verse sequel, Hotel Transylvania 4, Peter Rabbit 2, Vivo, The Nightingale). They will profit from the theatre reopening and covid recovery. They may even become more favourable among movie theatre chains because they won’t release their movies on the same day on streaming services like Warner (and yeah movie theatres are here to stay, at least for a while imho)
All the above comes on top of established, mature markets (Financial Holdings & Electronic Products)
Oh yeah, btw though TV’s are a cyclical and mature market and are not that important for Sony Group Corporation’s bottomline*, Sony TV’s will continue to do well for the following successive years: o 2020: continued pandemic boost
2020-2021: PS5 / Xbox Series X/S
2021 Summer Olympics (tv sales ALWAYS spike during the olympics) (& the effect is more pronounced for high-end TV’s, = good for Sony because Sony’s market share is concentrated in the high-end range (they are market leader in the high-end range)
2022 FIFA world cup (exact same thing as for the olympics)
You could say it’s already priced in, but the stock is already ridiculously undervalued so idk…
You would think this company somehow has a bad outlook, but that could not be further from the true, let me explain and go over some of the different divisions and explain why they will moon: Sony Entertainment While Netflix, Disney, AT&T, Amazon, and Apple are waging the great streaming war, Sony has been quietly building its anime streaming empire over the past years.
Sony recently acquired Crunchyroll for $1.175B (it is a great deal for Sony imho and will immediately be more valuable under Sony. Considering the growing appetite for anime I honestly do not even understand why AT&T sold it, they could have integrated it with their other streaming service (HBO Max) but ok)
With Crunchyroll Sony now has the following anime empire:
Aniplex (anime production & distribution, subsidiary of Sony Music Entertainment Japan) F
Funimation
Manga Entertainment UK (production, licensing, and distribution, UK)
Wakanam (licensing and distribution in Europe)
AnimeLab (licensing and distribution in Australia & New Zealand)
Crunchyroll (3 million paying subcribers, 90 million registered users and 50 million social media followers)
* Why anime matters: Anime growth “The global size is expected to reach USD 36.26 billion by 2025, registering a CAGR of 8.8% over the forecast period, according to a study conducted by Grand View Research, Inc. Growing popularity and sales of Japanese anime content across the globe apart from Japan is driving the growth” (tl;dr anime 🚀🚀🚀🚀🚀, Sony is all in on anime and they have pretty much no competition) Anime is the fastest growing subsegment of movies/video entertainment worldwide.
Sony also has a partnership with Bilibili for anime distribution in China:
Bilibili already partnered with Sony Music Entertainment Japan to bring Aniplex’s hugely successful Aniplex’s Fate/Grand Order mobile game in China.
Sony acquired a 5% stake in Bilibili for $400M in March 2020 (that 5% stake is now already worth $2.33B at Bilibili’s current share price ($BILI) and imho $BILI still has lots of upside potential considering it is the de facto video creation/sharing/viewing à la YouTube/Twitch for GenZ in China)
Sony Music (mobile games) generated $400M revenue from its mobile games in Q2 FY2020, published through Aniplex (Sony Music Entertainment Japan, “SMEJ”) subsidiary
They are the publisher of Fate/Grand Order, one of the most profitable mobile video games of the past 5 years (has generated $4B in revenue (!!) by the end of 2019 and is still as popular as ever). Fate/Grand order is the 7th most profitable mobile game in revenue worldwide as of 2020 (!)
Aniplex launched Disney: Twisted Wonderland in March this year. In Q3, it was the #10 most downloaded mobile game in Japan. (Aniplex now has two top ten games in Japan)
Fate/Grand Order was the #2 most tweeted game in 2020 and #3 was Disney: Twisted Wonderland. You can see that Aniplex has two hugely successful mobile games. (we are talking close to $1B of revenue a year here). It is the #2 game in Japan by total revenue from Q1 2016 to Q3 2020 and the #9 game in worldwide revenue from Q1 2020 to Q3 2020.
SMEJ earns about > $1B from mobile games in revenue from mobile games and there is still a lot of future growth potential here considering Japan’s mobile game market grew a whopping 32% yoy from Q3 2019 to Q3 2020.
Aniplex recently co-distrubuted the movie Demon Slayer: Mugen Train in Japan in October 2020. It became the highest grossing film of all time in Japan with a total gross box office revenue of $380M. In the middle of a pandemic. It still needs to release in South Korea, China and USA where it will most likely do great as well.
Sony Interactive Entertainment (SIE) (Game & Netwerk Services business unit):
We all know 2020 was a huge year for video games with the stay-at-home pandemic boost. The whole video game sector brought in $180B of revenue in 2020, a whopping 20% increase yoy.
But 2020 will not be just a one-off temporary exceptional year for video games. The video game market has a CAGR of 13% which means it will be worth $291B in 2027. Video games is by far the segment with the highest growth rate in the whole entertainment industry.
PlayStation obviously has a huge piece of this pie and over the past years has seen consistent yoy revenue and profit growth. Think about it, for every FIFA/Call of Duty/Assassin’s Creed sold on PS4/PS5, Sony gets a 30% cut. There have been sold a billion PS4 games so far.
5 years ago 20 to 30% of PS4 games were purchased digitally. Flashforward to 2020 and it’s 60-75% and the digital ratio looks set to still increase a bit. This means higher profit margin for game publishers and for Sony at the expense of retailers
SIE has seen huge success in its first-party games over the past 5 years. Spider-Man, God of War, Horizon: Zero Dawn, The Last of Us Part 2, Uncharted 4, Ghost of Tsushima, Days Gone, Ratchet & Clank have all been huge successes. This is really big and represents a big change compared to the previous generations where Sony never really hit it big as a games publisher even though most of their games were considered quality games.
SIE is now not only a powerful platform holdeprovider, but also a very successful games publisher with popular IP’s (Uncharted, God of War, The Last of Us, Horizon, Ghost of Tsushima, Ratchet & Clank). This is an enormous asset, because firstly it increases the chances of success for cross-media opportunities (Sony Pictures can make TV shows and movies out of it to expand the popularity of those IP’s even more). And secondly, it is an obvious selling point for PS5. The more popular and bigger their exclusive content, the more they can draw people to their platform/service. This should increases PS5 total marketshare over its competitor.
The hype for God of War: Ragnarok will be absolutely through the roof. Hype for Horizon: Forbidden West is also very good already (10 million yt views, 273K likes which is very good). Gran Turismo 7 and Ratchet & Clank will also do very well in 2021. (I suspect that GoW oand Horizon might be delayed to 2022)
PS5 reception has been extremely good. Demand is through the roof as well all know. The only problem is that they cannot quite capitalize on the demand due to lack of supply, but overall, it is a very good thing that demand is very high, and that reception has been very positive. The challenge will primarily supply and production-related for the following 6 months and to be able to maintain brand momentum. Hopefully, they won’t push disappointed/inpatient customers to competitors.
Considering there’s backwards compatibility from PS4 to PS5, users will want all their PSN content to transition with them as well, so I expect them to lose very little marketshare to Xbox. Also, I do not know if Americans realize it, but Xbox is not nearly as big as PlayStation in the rest of the world as it is in the USA. PlayStation just has global brand power that Xbox just doesn’t have, so Xbox isn’t much of threat at all I’d say. Where I live, in Belgium, In Europe everyone is talking about the PS5, nobody really seems to care about Xbox Series S/X that much. Comparing PlayStation to Xbox in terms of mindshare is like comparing Apple to Motorola (not meant to be a diss to Motorola, I have a Motorola phone myself, just saying that Xbox has significantly less mindshare / brand power in Europe).
SIE is likely working on PSVR 2, this could be big.
Sony has a small stake in Epic Games (1.4%) and they have a good business relationship with them, so this might also make them open to release first-party games on Epic Games Store after exclusivity period on PS5.
Remember the Travis Scott concert in Fortnite? I believe that was one of the reasons why Sony invested in Epic Games. It serves as an example how music can sometimes converge with video games, and this can play to Sony’s strengths.
PlayStation also has way superior presence in Asia compared to Xbox. Have been expanding into China as well. Another great opportunity for revenue growth.
PS+ subscribers grew from 5.7 million by the end of 2013 to 46 million by October 30th, 2020. This is an average growth rate of 28% over the past 5 years. Considering most of the growth was early on, it will slow down, but I predict that they will have about 70 million PS+ subscribers by the end of 2023. This is huge and represents a stable, recurring source of income. Investors who keep hyping Netflix/Disney+ will love this, but it seems they have yet to discover $SNE.
There is a reason why Amazon, Google, Nvidia have been aggressively investing in video games & games streaming. They know the business is huge and is about to get even bigger. But considering the established, loyal PlayStation userbase, the established global brand of PlayStation and the exclusive games, PlayStation should be able to easily standoff competition from Amazon, Google and Nvidia (GeForce Now) in the next few years. So far, Amazon’s venture into game development, publishing & streaming has completely failed. Stadia and GeForceNow seem to have a bit more success, but still relatively niche. Therefore, I think PlayStation is well-positioned to remain one of the leaders in the industry for the following decade.
I'll get to the other divisions later, I figured this is a good first step. But so far the tl;dr Image sensors: 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 IoT/Industry 4.0 chipsets: 🚀🚀🚀🚀🚀🚀🚀 PS5/PSN/PS+: 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 Online medical services (M3 inc.): 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 Anime: 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 Fate/Grand Order: 🚀🚀🚀🚀🚀 Demon Slayer: Mugen Train 🚀🚀🚀🚀🚀 Sony Music / music streaming (the performance of Sony Music’s in Sony’s business is seriously understated. The numbers speak for themselves): 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 Sony Electronics 🚀 Sony Financial Holdings (very stable & profitable business, even managed to grow slightly during pandemic when most insurance companies performed more poorly): 🚀🚀🚀 Still have to cover Sony Pictures, but their upcoming movie slate looks pretty good honestly (Spider-Man sequel, Venom: Let There Be Darkness, Ghostbusters: Afterlife, Uncharted, Morbius, Hotel Transylvania 4 so that's worth one rocket as well imho 🚀 tl;dr of tl;dr: 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 Disclaimer: I am not a financial advisor. I am an idiot that's trying to understand why $SNE stock is so cheap. Positions: SNE 105C 21st January 22
Artist:Joji Album:Nectar Label: 88Rising Release Date: September 25, 2020 Listen: Spotify Apple Music YouTube Music Deezer Soundcloud Background Not many artists have had a come-up as interesting and eccentric as George Kusunoki Miller, a former YouTube comedian/edgelord turned moody R&B singer. George first got his taste of internet fame as FilthyFrank, a character he described as everything a person should not be, he played the notorious persona on YouTube for over 6 years and eventually had to retire it due to him losing passion for it and suffering from stress induced seizures, which playing the character often caused. Throughout his time as FilthyFrank however he began experimenting with music, mostly of the satirical kind at the start, his first tracks were under the FilthyFrank persona, the first one being Who's The Sucker, a dumb track where he somehow manages to rhyme "nicer" with "vagina", go figure. A few years later, alongside the satirical rap, Joji began to make what he would consider as serious music, and this is where the timeline gets a bit messy, as he put out multiple tracks under multiple different aliases and the lines got blurred pretty fast, so I won't focus on aliases too much, but rather on the music he put out, around this era he released the therapeutical Medicine, the slow and melancholy We Fall Again, and Dumplings, which was Joji's best attempt at a trap banger. In 2015, he birthed the Joji alias, released two singles on Soundcloud under that name, and announced a project called Chloe Burbank Vol. 1, the project was later scrapped and is probably sitting on Joji's hard drive, unfinished, however, the two singles he put out, thom and you suck charlie, were the tracks that put him in the spotlight, not to mention that to this day, there are some of his fans that believe these 2 tracks are his best and will not be topped, but that's a discussion for another day. Following the overwhelmingly positive reception, Joji began to put out more tracks and singles, both under the aforementioned alias and Pink Guy, which was a character that blossomed into a satirical rap project, but I won't be covering that too much, and will focus on what he did as Joji instead, most tracks Joji put out were met with positive reception, some of the tracks, such as worldstar money, ended up on his debut EP as well. Sometime around early 2016, Joji ended up signing with 88rising, a label focused on building the bridge between east and west, he explained in an interview that he was initially a consultant for the duo behind the record label, however, once the duo noticed his music and how well it was received, they asked him to jump on board and he instantly took the chance, getting signed alongside the likes of Rich Brian and Higher Brothers. The label immediately undertook Joji and began distributing his catalog on their YouTube channel and helped him release more music, which was a couple of singles in the earlier half of 2017, and his debut EP in the latter half, the EP, known as "In Tongues", was met with mixed reception from fans and critics alike, with some describing it as his most concise body of work so far that is oozing potential, and others describing it as a bleak project that fails to set Joji apart from the sea of artists on the same wavelength as himself. Following the release of the EP, Joji began working on his debut album, known as BALLADS 1, the album's first single, YEAH RIGHT, was released on the 8th of May, the track was first believed to be a standalone loosie as it was released 5 months before the album itself, however it ended up being on the album and was confirmed as the one of the singles alongside SLOW DANCING IN THE DARK, CAN'T GET OVER YOU, which features a production credit from non other than Clams Casino, and TEST DRIVE. The album was well received, and was praised for containing a wider variety of sounds than its predecessor, it felt like a natural progression for Joji's sound and was a step forward towards a more mainstream approach whilst not sacrificing any of the rawness that Joji's older stuff had, which seemed to be what most fans were expecting from him. Moving forward Joji stayed mostly silent throughout 2019, appearing on the second 88Rising collaboration album, which was negatively received due to it's lack of creativity and sub-par performances from most label signees, he also appeared on Rich Brian's sophomore album, The Sailor, and released which is now known to be as the first single from Nectar, Sanctuary, a synth based poppy track that previewed a vocally improved and more confident version of Joji. What was assumed to be a loosie turned out to be the beginning of an album rollout, as half a year later Joji released Run, setting a new standard for himself both instrumentally and vocally, and a couple of months later he released Gimme Love, a double sided track with a fun, catchy beginning and a melancholy ballad driven ending, the last single, Daylight, was released on the 8th of August, the instrumental was produced by Diplo and the track itself sounded like Joji's attempt to break into the mainstream. Without warning, he also released two tracks that he classified as "NOT SONG", the first being Pretty Boy, which actually ended up on the album with a Lil Yachty feature, and the second being FTC, which sadly did not end up on the album, both tracks had videos and it seemed to me at first that the purpose of both tracks was to serve the lore that Joji has built around the album, which I will be touching up on in this write-up. A day before the album's release, he put out Gimme Cum, an enigmatic track with a mysterious message. Nectar itself was pushed back from it's original July release date due to the pandemic and Black Lives Matter protests, the album however was released on the 25th of September. Album Lore If there's one thing George is no stranger to, it would definitely be worldbuilding, as he has proven time and time again that he has a knack for it, especially with his FilthyFrank YouTube channel, where he managed to create characters, locations, and an entire universe out of a few satirical characters, his lore was adored by many and even though visually he never wrapped up the story he did release a book that served as closure for the FilthyFrank lore. This album's lore is not as straight forward however, and there are multiple theories doing the rounds on the internet, personally I will go by what sounded most convincing to me in terms of timeline and storyline, however do feel free to expand on what I've said or correct me, George has left multiple things left open to interpretation therefore I would not be surprised if there were multiple different meanings to the same thing. Our story begins in the music video for Gimme Love, where we see a young Joji who appears to be a small time engineer that is eager to climb through the ranks of the company he is working for, as he rises however he appears to become more stressed out and agitated at all times, lashing out at his coworkers and breaking down consistently, throughout the music video we can see that the more he progresses, the more roadblocks he runs into, which causes his behavior to become more psychotic and manic, as the shots move forward we see him accept awards, lead his very own research team, run failed experiments on his coworkers that causes them to bleed, and eventually receive military covert status, which did not come without sacrifices, as we see him smile less and less throughout the video. In the second half of the video, we see Joji steal the rocket he helped build by locking out his crew members, and launch himself into space, disappointing everyone he worked with and stabbing them in the back he appears to be quite happy however, eventually his mood flips as he is faced with two choices, engage or eject, the following shot does not allow us to see which one he picked as we are facing his back, all we see is Joji making the choice and gearing up for what's to come. The lines get blurred around this spot and many people have different theories as to which video is the right one chronologically, personally I believe Daylight comes next, and my theory is Joji is having some sort of fever dream featuring his previous coworkers, most notably the older people who went through layers of plastic surgery, who appear in the music video for FTC, where they are seen wearing badges that features the same organization Joji worked for, throughout the video they are seen rummaging through the wreckage caused by Joji, clearly looking for something specific, which ends up being the award Joji won. Back to Daylight, Joji appears to be some sort of intern working for the director and the actors, towards the end of the music video we can see Joji waking up from the aforementioned fever dream, clearly in a daze, as the shot widens we see that he is alone, in a barren wasteland, with nothing around him except for a tent and what appears to be a device used for communication, he plants a few seeds in the soil and sits by the device, hoping for a sign of life. Next comes Run, where we are once again met with Joji having a nightmare, the entire video symbolizes being trapped in a place you don't want to be in, as Joji appears to be in a never ending limousine with people he has no interest in whatsoever, towards the end of the nightmare we actually see Joji running across a massive wasteland, the same wasteland we saw him in at the end of the Daylight music video, throughout the video, we see Joji become consumed by the soil itself, which I would assume is a representation of his fears back then, seeing as he was alone and had little to no hope of being saved whatsoever. Joji wakes up from this nightmare and appears to be in some kind of spaceship, if the videos were released chronologically, we would be completely lost at this point, lucky for us, we already know what the spaceship is, as we see a picture of the Sanctuary crew in the final shots of the Run music video, I'm gonna go out on a limb here and say that the crew is the ones that saved him from death and picked him up from the mess that he placed himself in, hence the name Sanctuary, which means refuge or safety from pursuit, persecution, or other danger The crew itself is seen in action in the music video for Sanctuary, where Joji appears to be fighting and defeating some sort of one-eyed alien supervillain at the start, however, once he is defeated, both Joji and the crew themselves become aimless, as they are living monotonously without a goal, thankfully(???), one of the crew members sees this and decides to take matters into his own hands, by surgically removing his own eye, which portrays his transformation into the new supervillain, and following this up by killing a crewmember and escaping on his own, once again giving the spaceship it's own purpose. Unfortunately the music videos that were put out after the release of the album appear to be too subtle for me to think they are connected in any way, shape or form, there are many theories of course but I can't help but feel like that most of them are a reach. The most plausible explanation for this lore that I can think of is that the whole escaping from earth on his own, landing in a barren wasteland, trying to plant seeds in it, and eventually being picked up by a group(88Rising, wink wink) is a metaphor for his transition from FilthyFrank to Joji, the barren wasteland stands for how hopeless he felt at the time and the seeds symbolize the loosies he was slowly dropping before ditching his channel to become an R&B superstar, which if true, solidifies the idea that George was done with FilthyFrank long before he actually left the channel itself. Regardless, I thought the lore was very enjoyable and it was nice to see Joji back in one of his elements at least, most fans would have been disappointed in me if I had not touched up on it a bit seeing as it was a huge part of the albums release and they are intertwined in some sort of way. Review
When it's lovely I believe in anything What does love mean When the end is rolling in
Ew
It is important for me to preface this review with the fact that this Joji album is not like anything we've ever heard from him before, this is not the one man army, garageband using, sample meshing Joji that we knew in the past, this is Joji with an entire team behind his artistic vision, a whole group of people working with him to help him push his sound to the next level, and unfortunately, while the quality of the music has clearly went up, when so many people have their own input on something eventually the lines get blurred and the album loses its artistic direction and cohesion, which is one of my only complaints with this album, and I'm glad I got it out of the way first. Artistic direction and cohesion aside, this album contains some of Joji's highest highs to date, especially the singles, that's not to say that there aren't some deep cuts on here that shine as well, but once you listen to the album in it's entirety you quickly understand why the singles were chosen as singles, especially when you consider how sonically different they are from the non-singles. Sanctuary, the album's first single, is a sweet, poppy and synthy track that features a high pitched and melodic Joji, some of the track's lyrics are somewhat abstract but they are quite visually descriptive and that's always a plus in my book, the instrumental itself is quite spacey and has a nice retro vibe to it, already a huge step forward from what we've already heard from George, the track's climax reaches towards the end and gives us a beautiful bridge,with Joji crooning about wanting to be held by a significant other.
I fell for your magic, I tasted your skin And though this is tragic, at least I found the end I witnessed your madness, you shed light on my sins And if we share in this sadness, then where have you been?
Run
Run is one of the more cinematic cuts on this album, the track is truly a double edged sword because although it's one of Joji's best, it has set an extremely high standard for both Joji and the album, leaving fans such as myself worried about whether or not he will ever reach a similar high, the production is clean, Joji's vocal lines are as dynamic as ever, the guitar melody is infectious, the lyrics are better than anything Joji has ever written and he is putting his heart and soul into every word, the electric guitar solo at the end is also something worth mentioning, which sits perfectly right in front of Joji's distant and wide vocals, ending the track on a strong note.
Look into your heart and let me know Do things turn black and gray as they go? When I'm far too gone, can you show me love? Give me love
Gimme Love
The lyrics above come from the album's third single, a 2 sided track that starts as a bouncy, percussive, fast paced, and catchy song, with Joji chanting and pleading to be given love, softly singing about being surrounded by apathetic people, after the second chorus the entire song comes to a halt in order to make room for a mellow guitar and Joji's harmonies, which are absolutely stunning if I may add, the track, much like many other tracks on here, ends on a cinematic strong note with a string section and a grandiose piano. The final single, Daylight, is no doubt unexplored territory for Joji, the instrumental, which was produced by Diplo, starts off slow and minimalistic, with a simple yet groovy bassline, and reaches its apex on the chorus, when it suddenly becomes extremely lush, heavy, and thick, the track is most definitely a solid attempt at modern day and mainstream pop music, clearly made with the intention of receiving radio play. All of the singles show up in the first leg of the album, which is absolutely phenomenal, the opener track, Ew, starts off light and easy, with a somber and distant arpeggiated piano backed with Joji's soft vocals, who's singing about heartbreak and the loss of many relationships, sounding as bitter as ever lyrically, the chorus includes a grand string section and a chord progression that is fully panned to the right and sitting all the way behind the mix, and surprise surprise, the track itself ends on a cinematic strong note, much like many of the other tracks on here.
I've got no aim, a million rounds, is nothing real? A hundred pounds of heavy steel, it feels so loud Tied to my chest, it feels so loud I'll take a peek to across the peaks This grass is neat and I'm quite unique But I'd like to be, but I'd like to be
MODUS
Up next comes MODUS, a moody track that has an intro similar to the opener track but later on has Joji melodic rapping to a murky trap instrumental, with Joji of course sounding better than ever, lyrically speaking, many of the themes on this album are similar, Joji is mostly singing about relationships, heartbreak, and the need for a significant other, the lyrics themselves give the album a nocturnal, bitter, hopeless vibe, which is what we've come to expect from Joji's music nowadays. The third track, Tick Tock, is a plucky banger of an instrumental that has Joji rapping over it with pitched up vocals on the chorus which is something that's a little bit reminiscent of his older, more amateur work, the vocal layering on the verse is also something worth mentioning, really showcases Joji's dynamic range and how much he improved as a whole, the track is nothing groundbreaking in terms of what we've heard so far and remains lowkey for the most part but is without a doubt one of my favorites on this project.
On Nectar, one of the yet-to-be-announced tracks was produced when the artist was only sixteen years old. “I’m excited to see if it sticks out or not to the listeners.” he reveals.
Joji Interview with Schön! Magazine.
While not officially announced by Joji himself, it is safe to say that Upgrade is the aforementioned track, a small interlude that seats itself in the earlier part of the album, the track starts with a grandiose piano, which is quite unnecessary if you ask me, because once we have it out of the way all we get is a very obviously barebones instrumental made from a different time, the telltale sign being non other than the ukulele that we have seen in George's earlier work. It upsets me that Joji has not made this fact much more known because this track has been consistently the subject of criticism by critics and fans alike, but at the same time I understand, because at the end of the day George left that track in there for the die hard fans, not the critics. Up until this point there is no doubt that Joji has played it safe, sure the album is much more grand and cinematic than its predecessor, but there's no denying that the signature sound is still there, we still get the hazy and moody slow bangers, if Nectar was only the first half then Joji might have had a strong album in his catalog, maybe even a classic, but I understand him wanting to expand and experiment with other sounds in order to grow as an artist. The midsection gets a little bit tricky, as Joji begins to get out of his comfort zone and the album features start appearing, to me it sounds like Joji did not know how he could keep the listener interested in the second half of this album and decided to opt in for a bunch of features as a quick fix, some work out fine, some better than others.
Handsome young man, never pull up on time Lookin' in the mirror, lookin' good should be a crime, crime All this pain I'll never let show (No) My real thoughts, you'll never know (No)
Lil Yachty on Pretty Boy
I never really listened to Lil Yachty that much aside from the obvious hits he had over the course of his career, but he clearly shined on this track as the feature, for starters, the track is very light-hearted, definitely one of the more lofi tracks on this album, the highlight for me without a doubt is the bridge, which sounds like something straight out of Pink Season, George was clearly having genuine fun with it, some even speculate that most of the bridge was made using samples from his earlier work as Pink Guy. High Hopes, which features Omar Apollo, is one of the more lowkey cuts in here as well, the percussion on the instrumental and the detuned guitar on here remind me of some of Joji's stuff from BALLADS 1, unfortunately however the track doesn't stand out much, at least not as much as Afterthought with BENEE, another track where Joji's melodies and vocals shine through once again, and BENEE's feature definitely adds some character to the track, at least enough to the point where the feature made some sense On Normal People, Joji recruits childhood friend rei brown, in an attempt to capture lightning again after their first collaboration, Once In A While. Unfortunately lightning didn't strike twice here for me and the track felt quite lackluster and uninteresting, especially for such an anticipated track and when compared to their first song, many of the tracks and collaborations on the second part of the album really felt like Joji just trying to recapture the magic of his earlier work, and while some of those attempts did work at the end of the day it does feel like a cheap cop out.
Oh, understand, girl, I'm out of sight To the other side, I don't want no stripes Got my insides loud like motorcycles Girl, don't notice it, I don't notice it
NITROUS
Another example of Joji attempting to recapture magic is NITROUS, which marks Joji's second time collaborating with Clams Casino, the track is very reminiscent of their first track together, both Joji and Clams Casino however killed it, the track's instrumental is very murky and nocturnal, much alike most of the album, but that doesn't stop Joji's delivery, which is very fun-loving and upbeat.
By the way you move, I know you want me to Tell you all the rules, I know I'm searching too Give me all your clues and things to guide me through The end of the world, the end of the world
Mr. Hollywood
Produced by the one and only Kenneth Instrumentals, Mr. Hollywood is one of the more heartfelt and personal tracks on this album, Joji is singing about his evergrowing popularity and how it will never affect what is important for him, which in this case is the girl he's singing about, like many other tracks on this album, you will often hear something that will remind you of Joji's older work, in this case it is the ad-libs on the chorus, which are very reminiscent of his ad-libs on BESIDJU, regardless the song has at least a bit of substance which makes it one of the more commendable tracks. The final run of this album is where Joji flips the script here, there are a few tracks that have questionable artistic decisions, such as Reanimator, with non other than Yves Tumor, the track serves as an instrumental interlude before the final two tracks, however with a feature such as Yves Tumor I honestly expected much more than what we got, and what we got is basically a 3 minute track, with the first minute and a half being nothing than a drone-y, synthy instrumental, and the second half being quite a lackluster performance by Joji and his guest, much like some of the other tracks on the album, it seems like it received a similar treatment, where the track was initially unfinished and still half-baked, and rather than attempting to finish the track they opted for an easy way out, which in this case was making more than half of the track an instrumental and then calling it an interlude just to be safe.
"that weeknd synthpop track sure is doing huge numbers, maybe i should also make a synthpop track as well"
Joji, probably.
I would be down to argue that if Blinding Lights by The Weeknd had not existed, 777 wouldn't have existed either, Joji's constant attempts at breaking into the mainstream and commercializing his sound have always left a bad taste in my mouth as it felt like it came from a place where authenticity is lacking, nevertheless I find it bizarre to make a track that is very similar to one of the most successful tracks of the year and not attempt to push it at all, that's not to say that 777 on it's own is not a good track, however there's no denying that the sound selection on the instrumental, some of the flows, and the chorus itself hold blaring similarities to The Weeknd's track, I understand why he would make such a track however and find it admirable at the very least. Thankfully, the album ends on a strong note, the final two tracks are both beautiful even though they're worlds apart, Like You Do, is a quintessential love ballad from Joji, a stripped down instrumental with beautiful piano chords and a laid back vibe, Joji is singing about his current partner and how what they have might not work out, even though he feels like they're perfect for one another, the closing track, Your Man is a massive change in tempo, with an upbeat, electronic, deep house-esque instrumental, we hear a Joji that is optimistic, which is a nice change of pace, especially considering how bitter most of his albums and projects have been up to date.
Since I met you All the gloomy days just seem to shine a little more brightly Consider what we've got 'Cause I can never take you for granted
Like You Do
Conclusion There's no denying that some tracks on here sound like a bastardized version of Joji's signature sound. Joji is trying his best to commercialize his sound without sacrificing the rawer elements of it, which unfortunately results in a jumble of sounds. This album is not free of criticisms as there are many issues in here that need to be worked on, it's much less cohesive than its predecessor and at times sounds like a bunch of rough ideas put together in order to create the world's most average musical equivalent of a photo collage, but if we were to just set all of that aside and just look at this album for what it is, then there's definitely something in here for everyone. George might have not made a classic, and he certainly hasn't found his sound yet, but this album is an indicator that he's on to something, and once again I am already anxious to hear what he has in store next. Talking Points
What did you think of this album? Is it a good follow-up to BALLADS 1?
Do you think Joji works better alone or when he has a team behind him?
Do you think Joji will yet again set another high standard for himself next project?
What are your predictions for Joji's sound in the future?
Now that he's more keen on having features, who do you think would compliment Joji's sound the most?
Review of Martin Scorsese’s 1995 Casino [A mob movie that has many actors that will go on to be in the Sopranos].
mods please lmk if this violates the rules. i’m posting here because I write about the mob/casino and many relevant themes that are important elements of the Sopranos, in my opinion. I think they’re of the same medium and genre so wanted to post here. Hope that’s alright. Cheers! (11 min read) ———————————————————————— EDIT 2: TL;DR - Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor. ———————- Every good filmmaker makes the same movie over and over again—Martin Scorsese is no different Scorsese's Casino is a phenomenal story of the condoned chaos and "legalized robbery" that happens on a daily basis to gamblers who bett away thousands of dollars and return each day for more “FinDom,” but without any of the sexual sadism. The whole scam only persists because the house always wins: the odds are stacked 3 million to one on the slot machines, but the same shmucks return wide-eyed each day hoping for a different outcome, devoid of any rational re-evaluation required to maintain their grasp on reality, and the liquidity of their bank accounts. Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor. Robert De Niro plays Sam "Ace" Rothstein, recruited by his childhood friend Nick "Nicky" Santorno to help run the Tangiers casino, which is funded by an investment made with the Teamsters’ pension fund. Ace’s job is to keep the bottom line flowing so that the Mafia's skimming operation can continue seamlessly. De Niro's character felt like half-way between Travis from Taxi Driver (of course, nowhere as mentally disturbed) and half of the addictive excess, greed, and eccentric business-mind of Jordan Belfort in The Wolf of Wall Street. Ace’s attention to detail gives him a rain-man-esque sensibility; his ability to see every scam, trick, hand signal, and maneuver happening on the casino floor make him the perfect manager of the casino, and take his managerial style to authoritarian heights in his pursuit of order and control over what is an inherently unstable and dynamic scheme; betting, hedging outcomes, and walking the line to keep the money flowing and the gamblers coming back. I’m not claiming Ace is autistic, I'm no clinician, but his managerial sensibilities over the daily operations of the casino, from the dealers to the pit bosses, to the shift managers, are to the point of disturbing precision, he has eyes everywhere, and knows how to remove belligerent customers with class and professionalism, but ultimately is short sighted in “reading” the human beings he is in relationship with. Ace is frustratingly naive and gullible in his partnership with Nicky and the threat he poses to him, and in his marriage with Ginger. Ace has no personal aspirations to extract millions of dollars for himself out of the casino corruption venture. Ace simply wants the casino to operate as efficiently as possible, and he has no qualms about being a pawn of the bosses. While Sam, “the Golden Jew”—as he is called—is the real CEO of the whole enterprise, directing things at Tangiers for the benefit of the bosses “back home.” Ace’s compliance is juxtaposed with Nicky’s outrage upon feeling used: he gripes about how he is in “the trenches” while the bosses sit back and do nothing. Note that none of the activity Nicky engages in outside of the casino—doing the work of “taking Las Vegas over”—is authorized by the bosses. Ultimately Nicky’s inability to exert control over his crew and the street lead to his demise. In the end, capitalism, and all that happens in the confines of the casino, is nothing but “organized violence.” Sound familiar? The mob has a capitalist structure in its organization and hierarchy: muscle men collect and send money back to the bosses who do not labor tirelessly “in the trenches.” The labor of the collectors is exploited to create the profits of their bosses. The entire business-model of the Mafia is predicated on usury and debtors defaulting on loans for which the repayment is only guaranteed by the threat of violence. But this dynamic is not without its internal contradictions and tensions, as seen in Casino. In a comedic turn, the skimmers get skimmed! The bosses begin to notice the thinning of the envelopes and lighter and lighter suitcases being brought from the casino to Kansas City, “back home”. The situation continues to spin out of control, but a mid-tier mafioso articulates the careful balance required for the skimming operation to carry on: to keep the skimming operation functioning, the skimmers need to be kept loyal and happy. It’s a price the bosses have to pay to maintain the operation, “leakage” in their terms. Ace’s efficient management and precision in maintaining order within Tangiers is crucial for the money to keep flowing. But Ace’s control over the casino slips more and more as the movie progresses. We see this as the direct result of Nicky’s ascendance as mob kingpin in Vegas, the chaos he creates cannot be contained and disrupts the profits and delicate dynamics that keep the scam running. Of course I can’t help myself here! We should view Scorsese’s discography, and the many portrayals of capitalist excess not as celebratory fetishization, but a critique of the greed and violence he so masterfully captures on film. See the Wolf of Wall Street for its tale of money as the most dangerous drug of them all, and the alienation—social and political—showcased in Taxi Driver. Scorsese uses the mob as a foil to the casino to attack the supposed monopoly the casino holds on legitimate, legal economic activity that rests on institutionalized theft. When juxtaposed with the logic of organized crime, we begin to see that the two—Ace and Nick—are not so different after all. The only dividing line between the casino and organized crime is the law. Vegas is a lawless town yes, “the Wild West” as Nicky puts it, but there are laws in Vegas. The corruption of the political establishment and ruling elites is demonstrated when they pressure Ace to re-hire an incompetent employee who he fired for his complicity in a cheating scam or his stupidity in letting the slot machines get rigged; nepotism breeds mediocrity. In the end, Ace’s fall is the result of the rent-seeking behavior that the Vegas ruling class wields to influence the gaming board to not even permit Ace a fair hearing for his gaming license, which would’ve given him the lawful authority to officially run Tangiers. The elites use the political apparatus of the State to resist the new gang in town, the warring faction of mob-affiliated casino capitalists. While the mob’s only weapon to employ is that of violence. The mafia is still subservient to the powers that be within the political and economic establishment of Vegas, and they’re told “this is not your town.” I’d like to make the most salient claim of this entire review now. Casino is a western film. The frontier of the Wild West is Vegas in this case, where the disorder of the mob wreaks havoc on, an until then, an “untapped market.” The investment scheme that the Teamsters pension fund is exploited for as seed capital, is an attempt to remain in the confines of the law while extracting as much value as possible through illegal and corrupt means for the capitalist class of the mob (and the ultimately dispensable union president). Tangiers exists in the liminal space of condoned economic activity as a legal and otherwise standard casino. While the violence required to maintain the operation, corrupts the legal legitimacy it never fully enjoyed from the beginning. This mirrors the bounty economy of the West and the out-sourcing of the law and the execution of the law, to bounty hunters. There is no real authority out in the frontier, the killer outlaw on the run is not so different from the bounty hunter who enjoys his livelihood by hunting down the killers. Yet, he himself is not the State. The wide-lens frame of Ace and Nicky meeting in the desert felt like a direct homage to the iconic image of the Western standoff. The conflict between Ace and Nick, the enforcer and the mastermind, is an approximation of the conflicts we might see in John Wayne’s films. The casino venture itself could be seen as an analogy of the frontier-venturism of railroad pioneers going to lay track to develop the West into a more industrial region. I would have believed that this was a documentary about how the mob took over control of the Vegas casinos in the 1970-80s … if it were not for the viewer being expected to believe that Robert De Niro could play a Jew; it's hard to believe a man with that accent and the roles he’s played his entire career could be a “CRAZY JEW FUCK!!” I kid! But alas, De Niro is a class act and the last of the many greats of a bygone era. At times, it felt like Joe Pesci lacked talent as an actor, but his portrayal of the scummy, backstabbing bastard in Nicky was genuinely remarkable, but I might consider his performance the weak point of the movie. It’s weird to see a man that short, be that much of physical menace. There are a number of Sopranos actors in Casino. I’m sure Vincent Chase watched the movie and said to himself, “bet, i’ll cast half of these guys.”The set design and costumes were gorgeous. The styles and fashion of the time were spectacular. Scorsese’s signature gratuitous violence featured prominently, but tastefully. The camera work, tracking shots through the casino and spatial movement was incredible and I thought the cinematography was outstanding, the Western-esque wide lens in the desert was worthy of being a framed still. The Nicky//Ace dynamic is excellent and the two play off of each other well. The conflict between the two of them escalates gradually, and then Nicky’s betrayal of Ace by cheating with Ginger marks the final break between the two of them. Nicky’s mob faculties represent a brutal, violent theft that is illegal and requires the enforcement of violence by organized crime. Despite the illegal embezzlement and corruption at play with the “skimming” operation at work at the casino, the general business model of the casino stands in contrast to the obscene violence of the loan sharks. Ace operates an intelligent operation of theft through the casino, and his hands-on management approach is instrumental to the success of the casino. Nicky’s chaos pervades the casino, and the life and activities of “the street” begin to bleed into Ace’s ability to maintain order in the casino. “Connected” types begin frequenting the casino, and Ace unknowingly forces one particularly rude gambler to leave the casino, who happens to have mob ties with Nicky. The “organized violence” of the casino cannot stay intact perfectly, because the very thing holding it together is the presence of the mob. Nicky is in Vegas as the enforcer and tasked with protecting Ace but his independent, entrepreneurial (shall we call them?) aspirations lead him to attempt to overtake what he realizes is a frontier for organized crime to brutalize and exploit the characters of “the street” (pimps, players, addicts, dealers, and prostitutes) and the owners of small private businesses. Nicky is reckless, “when i plant my flag out here you won’t need your [casino/gaming] license” Nicky thinks he, and Ace, can bypass the regulations and bureaucratic legal measures by sheer force of violence alone. But ultimately Nicky is shortsighted and doesn’t have a real attachment to the success of the casino. After all, he isn’t getting profits from it (or much anyway) and isn’t permitted to play a real, active role in its daily functions because of his belligerent, untamed personality. Nicky has no buy-in that would motivate him to follow the rules or to work within the legal parts of the economy, it’s not the game he knows how to play, and win. All that he is loyal to, or deferent too, is the bosses back home; for whom he maintains absolute, uncompromising loyalty to, but still holds intense spite for. And now to the more compelling element of the narrative. Sam “Ace” Rothstein is positioned as remarkably intelligent, he makes informed decisions that aid in his skill as a gambler, he can read people to determine whether he’s being conned, he has an attention to detail—aided by the casino’s surveillance apparatus which monitors cheating—that is almost unbelievable. Ace knows when he’s being cheated, he knows how to rig the game so that the house always wins, enacting psychological warfare to break down the confidence of would be proficient gamblers, who could threaten Tangiers’ bottom line. But in the end, the greatest gamble Ace makes is his marriage to Ginger. Ginger is the seductive, charismatic, and flirtatious madame who makes her money with tricks and her sexual power. Ginger works as a prostitute, seducing men, and extracting everything she can, almost as a sort of sexual-financial vampirism. Ginger is the bad bet Ace can’t stop making even when she destroys his life, her own, and puts their daughter Amy in harm’s way. Ginger is the gamble Ace made wrong, but he keeps going back to her every time, trying to rationalize how she might change and be different the next time. Ace is not a victim to Ginger’s antics. Ginger makes it clear who she is: an addict, alcoholic, manic shopaholic who will use all of her powers to extract everything she can from everyone around her. She uses everyone to her advantage and manipulates men with her sexual power in exchange for their money and protection. Ginger had a price for her hand in marriage: $1 million in cash and $1 million worth of jewelry that are left to her and her alone as a sort of emergency fund. Ace’s numerous attempts to buy Ginger’s love—and the clear fact that no matter how expensive the fur coat and how grand the mansion, none of it would ever be enough to satisfy her—mirrored Jordan Belfort’s relationship with Naomi in The Wolf of Wall Street. Both relationships carried the same manic volatility and conflict over child custody was found in both films, with the roles reversed in the respective films. Ginger may be irredeemable and a pathological liar, but Ace can’t claim that she wasn’t clear with him; when he asked her to marry him, Ginger said she didn’t love Ace. Ace replied that love could be “developed” but required a foundation of trust to develop. That trust was never there to begin with. The love was doomed from the start to destroy the two of them; two addicts, two gamblers, lying on a daily basis to one another and themselves about reality to justify their respective existences, the marriage, and Ace’s livelihood. And as Ginger pointed out, “I should have never married him. He’s a gemini, a triple gemini … a snake” Maybe astrology has some truth to it after all. Now I’m not licensed (but hey neither was Ace, and he ran a casino empire!), but Ginger has the inklings of a borderline personality: her manic depression, narcissism, drug and alcohol abuse, and constant begging for forgiveness all seem indications of a larger psychological disorder at play. In the end, Ginger runs away with all the money Ace left her and finds her people in Los Angeles, the pimps, whores, and addicts she fits in with, in turn exploit and kill her for 3 grand in mint coins by giving her a ‘hot’ dose. Overall, Casino is an incredible cinematic experience. I highly recommend watching this and seeing it as part of Scorsese's anthology of commentary on our economic system and its human victims. I’d argue that Casino, Wolf of Wall Street, and The Irishman all fit together nicely into a trilogy of the Scorsesean history of finance and corruption from the 70s to the 90s. ————- EDIT 2: TL;DR — Casino is a story of sexual and financial intrigue, mob violence, union pension fund embezzlement, a “love” story, and the protagonist's masochist addiction to the pain and chaos his lover inflicts on him. It turns out that the sharp-minded genius who meticulously runs the casino, is no more rational than the gamblers who routinely frequent the casino, coming back to lose their money and hoping that the odds will magically shift in their favor.
(Repost because I posted this really late and I was hoping to get some more discussion on the ideas.) TLDR: Cincinnati seems like an interesting location for a future Fallout game and I break down my reasoning and then give an idea for a story. Maybe Cincinnati, Ohio isn’t as popular as other American cities, but I think it still deserves a shot. So this post is taking some older ideas in some Reddit posts for a Fallout game and adding some additional ideas for it. I believe that a Fallout game set in and around Cincinnati, Ohio could potentially be a good fit for the Fallout franchise. I’m gonna break down the reasons why I think it could fit the theme/work as a map and then some story ideas for what could work in the area. I’d also like to state that my ideas are based off of information from the Fallout Wiki and Wikipedia. If anything doesn’t add up, I apologize. MY REASONING FOR CINCINNATI AND WHY IT CAN FIT THE FALLOUT LORE: -So Cincinnati might not seem like a city as grandiose as somewhere like NYC, Philadelphia, Detroit, New Orleans, etc. To an extent, I totally agree with that sentiment. It’d be really cool to see those cities that were mentioned above as future Fallout locations. However, I believe that those world ideas are also so full of interesting locations that a game trying to capture it all would struggle to get all the significant locations with current technology. Cincinnati is a smaller city that is still rich with culture and history that could be captured more accurately than bigger projects. -A decent amount of the skyscrapers and more significant places of Cincinnati and the surrounding cities are somewhat older. There is enough buildings in Cincinnati that were built before or close enough to the divergence point that the skyline and city layout could be decently recognizable. -Cincinnati had a decently sized manufacturing and industrial sector before the IRL Midwest De-Industrialization and Formation of the Rust Belt in the 40s and 50s. Considering that Fallout is themed around the ‘Pax Americana 1950s & Early 60s’ culture, the idea of showing off a Midwest city that continued to boom in those sectors could be an interesting focus for a Fallout game. -Cincinnati has a large, mostly unused subway system that was never finished. In game, we could see areas of underground activity like the Fallout 3 subway system. The IRL subway eventually had a section that was also reworked to be a nuclear shelter, so a Vault being under the city wouldn’t be far-fetched. -The Underground Railroad considered Cincinnati to be an important stop along the way, as it was a large destination for runaway slaves. The city was seen as a large region to hide amongst and find work that was just north of the Ohio River, where Slavery was mostly illegal (still not that great for runaways, but better than the South). Any concepts of slaves coming to Cincinnati for newfound freedoms or a system/faction of abolitionists and runaways would make a lot of sense for the themes. -The Ohio River would be an important location that could go right through the middle of the map. Based off of how irradiated the rivers were in Fallout 3: The Pitt, I think it’d be safe to assume that the Ohio River in Cincinnati would also be unsafe to travel across. This creates something like the Deathclaws north of Goodsprings in Fallout: New Vegas where players can follow a normal path to get to the main city. This also means that it could create fun and challenging ways to get across the river. -Fallout’s 1950s styled America is still in love with baseball. If you’re looking for a major city with a rich baseball history/culture, Cincinnati’s your place. Cincinnati is the city where the first professional baseball team was created, the Red Stockings. It could be host to a baseball themed faction, a settlement like Diamond City, or maybe even a quest line to reform a pro baseball team. -The Cincinnati Zoo is a long standing and prestigious zoo that could be an interesting point in this hypothetical game. Since the zoo is home to various creatures that aren’t native to most of America, we could see interesting enemy mobs like mutated gorillas and irradiated hippos. -IRL Cincinnati is home to major companies like Kroger, Procter&Gamble, and GE Aviation. Fallout companies like Super Duper Mart and Abraxodyne Chemical could be stand-ins for Kroger and P&G. It’d be a cool bit of story building for some of the pre-war companies that have products littering the Fallout wastelands. -While New Orleans is probably more famous for this point, Cincinnati was also historically home to a developed steamboat industry that made it an important location in the history of American exploration/expansion into the river basins of Midwest America. Fallout 4’s museums based around Massachusetts’ involvement in the American War of Independence show off the cultural significance of the region in American history. Cincinnati could have a museum dedicated to it’s prominent position as a gateway to the west, showing off it’s contributions to expansionist American culture. -One of the cities in the Cincinnati region is a town south of the Ohio River known as Newport, Kentucky. Historically, before Las Vegas became Sin City, Newport, KY was a huge contender for that role. From the 1920s to the 1950s, Newport was a city filled with criminal bosses and corrupt public officials. Casinos, brothels, and other illegal enterprises made up a good chunk of everyday life for this town. If fans want to recapture the spirit of New Vegas with the focus on moral degradation and a city of ‘Sex, Drugs, and Rock’n’Roll,’ then look no further than Newport. -Cincinnati was one of the major US cities that had Nike anti-air missile bases around the Greater Cincinnati area. I don’t think it’d be too far of a stretch to assume that after world tensions got worse in the 21st century, that the government would repurpose some of these launch sites into nuclear silos. Maybe we could see another Megaton situation. -Cincinnati is also home to 3 facilities in the area that were dedicated to nuclear research and enrichment (until these plants were closed due radiation leaking out). These would be some great areas to explore and mess around with nuclear enrichment. WHEN WOULD THIS TAKE PLACE & WHO WOULD BE INVOLVED: So I feel like this game could work if it was set between the ending of Fallout 2 and the beginning of Fallout 3. IMO, the ideal starting date would be between 2248 and 2252 due to the ideas I have for the factions that could be used in this game. I don’t have all the details for all the different factions, but I have 4 ideas for 4 major factions. Two new ones and two old ones that could fit the area. RETURNING FACTIONS: -The Brotherhood (Chicago Faction) So the Brotherhood of Chicago is an ill defined group that exists only in references. Fallout: Tactics set up a group known as the Midwest Brotherhood, however, Tactics is no longer recognized as a canon game since Bethesda acquired the Fallout series. According to Fallout 3 & 4 though, there is still a group of the Brotherhood that still exists in the Chicago area. Like Tactics, the Chicago group of the Brotherhood arrived in Chicago due to an airship crashing into the area. Beyond this, there isn’t much lore about the Chicago chapter so this is where I’d like to add my ideas. After the crash, feeling disconnected from the rest of the Brotherhood (and their dedicated supplies and supply lines), the Chicago chapter turns more towards the religious aspects of the Brotherhood. Having a lot of connections to the airship that decided their fate, as well as possibly being based out of Chicago’s O’Hare International Airport, the Chicago Brotherhood turns towards the sky. They begin a process of turning into an Aviation cult, a society that worships and encourages air travel. Like the old Brotherhood, they would hoard technologies, just more focused on air travel and air defenses. Over time, they begin to expand around the Great Lakes region, eventually coming to a manpower crisis. At this point, the Chicago chapter would either loosen it’s recruiting standards to allow in wastelanders who would join due to their acceptance of their new faith system, or the Chicago chapter would create a Spartan styled theocratic dictatorship with the airship survivors acting as foreign rulers over Chicagoans. Either or would have interesting story choices, but I can’t chose which I like more. Anyhow, the Chicago chapter eventually comes across tales of ‘Prophet Wright and Prophet Patterson,’ the founders of flight (and possibly the sky if the chapter is naive/delusional enough). The Chicago Brotherhood learns of a ‘Holy City’ where flight was birthed and worshiped at a ‘Holy Air Base.’ The Chapter would take it’s proudest forces and equipment to claim their perceived Holy Land, the city of Dayton, OH and Wright-Patterson Air Base. Upon arrival, the Chicago chapter realized that the city was already claimed by other forces. Believing that their God (or Gods) was on their side, the Chicago Brotherhood launched an attack for Dayton. Time would pass, and no gains were made by the Brotherhood, revealing a dirty truth that this chapter was not as dominant and guided by God(s) as they thought they were. They also had to accept that an enemy force with Wright-Patterson could challenge their tactical and spiritual hold on the sky. Upon tactical reevaluation, the Chicago chapter noticed that the enemy forces were sending extra soldier South of the battle. The chapter correctly guessed that their enemies were moving to encircle them and stop their Midwestern gains. In response, the Brotherhood would send it’s own forces South to try to counter-encircle the enemy. Both forces, evenly matched and evenly stretching their lines would finally hit the Ohio River. Both sides were stuck countering the influence of the other, eventually both would settle in to starve the other one out around Cincinnati. The Chicago Brotherhood had their work cut out for them, for they would be facing off against..... -The Enclave After the events of Fallout 2, the Enclave would need to rebuild. Bases of theirs lying in ruins, groups deserting them, Enclave members being hunted down for justice, profit, and fun. The situation looked dire for most. That was until a Mr. John Henry Eden gave orders to regroup and rebuild in the Capitol wasteland. Most Enclave members saw the writing on the wall, and decided that the move East would be better than death. This is where I believe that a certain group of the Enclave would be moving east, eventually stumbling upon Dayton & Wright-Patterson. This group of the Enclave didn’t feel like moving on past this treasure trove would be a smart idea, so the group settled there. Now I was thinking that the leader of this Enclave chapter would eventually get all high and mighty, thus proclaiming that the Dayton Enclave was the true enclave, that their leader was the rightful President, and that Eden and his Capitol Wasteland Enclave was not legitimate. The Dayton Enclave President swore an oath of duty to reunite the Enclave under him, and to invade and conquer the Capitol for their own state. While the older and higher up ranks supported the grand plan, younger officers and cadets had an uneasy feeling over these plans. Some would even go as far to talk about open rebellion and, even possibly, a return to democratic institutions and rules. (I would love to see a quest line where you can influence the Enclave and chose between a status-quo Enclave or a democratic Enclave. However, just because a bad guy says that they’re good now, it does not mean that they will be seen by the people as a good guy now). All of this would have to wait though, as a new enemy has arrived on this Enclave chapter’s borders. In less than an hour after their arrival, the enemy began a siege on the Enclave’s Wright-Patterson base. The Enclave was caught completely off guard, as none of the higher ups believed that ‘No savages of this region could possibly learn how to fly and professionally fight.’ After the initial chaos, the Enclave was able to get their air force up and defending their positions. Amid the siege and dogfights, the Enclave would learn of the name of their ‘new’ enemy: The Brotherhood. The Enclave officers had been both right and wrong. The Brotherhood was not a savage of this region, as they had fought against them in California. They were still in this region though, and they were able to put up an actual fight. Realizing the direness of getting stuck in a constant siege, the Enclave came up with a plan to hopefully solve all their problems. If the Enclave forces could just encircle the Brotherhood forces, then they could possibly cut their supply lines while also conquering lands to keep the Brotherhood from moving any further into Ohio, as well as a start on the Dayton Enclave’s Eastern March to take DC. Their forces moved south, only for the Brotherhood to match their moves to the south. The Enclave tried again, only to meet the same results. This began a race south to try to get under the other army. Evenly they moved along, until both forces hit the Ohio River. While some war-hawks within the Enclave ranks wanted to move into Cincinnati to try to gain the upper hand, the Dayton Chapter President refused, wishing to focus on the Brotherhood and the eventual Eastern March. Unfortunately, the Enclave and the Brotherhood had moved their battlegrounds too close to Cincinnati, and soon, a new force would join the fight..... NEW FACTIONS: -The Republic of the Ohio Cincinnati was not spared from the horrors of nuclear hellfire. Being a city with a large amount of manufacturing, commerce, transportation, and nuclear refinement will tend to put you on list for enemy nuclear destruction. As such, Cincinnati has seen better days. It is not 2077 anymore though, and the city has learned to heal. Emerging from vaults long after Nuclear War, but long before the time of this game, a new generation of citizens of Cincinnati began the process of rebuilding. In the beginning, many factions arose, with no central authority. Chaos and violence ruled the scorched streets. Eventually, due to raiders and instability, multiple governing groups formed trade pacts and alliances. These districts would eventually merge due to the economic ties to create the city of Cincinnati once more. While not all districts complied willingly, Cincinnati would continue to grow through a combination of economic ties and small military missions. With trade being such a central idea to the culture of the city, Cincinnati began to work out deals with even more areas that weren’t even part of the Cincinnati Districts. Around this time, the wealth inequality within the city began to grow faster and faster. More individuals were gearing up to meet more locals to enact more trade, of which some profits would go to line the pockets of these traders. Soon, the very well off individuals were producing shipping vessels on the Ohio River. While this meant that Cincinnati could spread it’s wings further, it also meant that more and more land on the river was being gobbled by those who already owned the majority. Nevertheless, the city would continue to work with the ultra rich to expand. By this point, many districts were starting to look worse compared to how they were doing before the city united. Since the city had been set up loosely, it had become a confederation in principle. As such, many districts were on the cusp of declaring their freedom once more. To quell any chance of District independence, the then Mayor of Cincinnati declared the ‘Republic of the Ohio.’ On one side of things, the new government better reflected the new growth on the Ohio River by recognizing new lands as different territories instead of new additions to the city. On the other side, the Republic was formed as a new government level to force territories looking for freedom back into the greater system. While the Districts could still leave the city of Cincinnati, they would still be stuck inside the Republic of the Ohio. The Republic was based off of the government of the pre-war USA, in which succession was illegal and punishable. Not everyone listened, and soon, the poorer districts declared a counter-government to recognize the ‘forgotten man.’ The Republic did not tolerate this, and swept through the districts, taking out any opposition that could be found. It was after this point, very early on in the new republic, that the government tightened the rules until the Republic was only a republic in name. Yes, the freedoms of speech and religion and the right to vote would still exist. But if you did not worship and speak of the Republic in the ‘correct way,’ you might have just found yourself stuck in social shaming and potential revenge. And while you could vote, it mattered not as everyone knew who the ‘winners’ would be. As the Republic embraced a darker side, it began to feel the drawbacks of it’s actions. Social services and protections offered by the state declined more and more, as politicians were more focused on the pay and helping their families. It was very clear that the rich of the republic had it all, while the poor never recovered from the District disassembly and forced reintegration. The Elite cared little though, as the republic grew it’s trading operations further up and down the River. Life was good enough. Or so it seemed until the scouts of the Republic brought news one day. Advanced groups with flying weaponry were moving south, towards the Republic itself. The President of the Ohio makes the call to send all forces to defend the northern walls. Little did they know that they had weakened another front, and a force moving from the South East to meet that weakened border. Known only in the region as a rumor, they are..... -The Kanawha Coalition Nuclear War came a little bit later for the land of West Virginia, but when it came, it left it’s mark. West Virginia was spared from the worse in 2077, leaving behind a land with great potential. While violence and death was nothing foreign to the WV Wastelanders, it was comparatively tame versus the surrounding states. Eventually, a vault filled with Dwellers opened up. These pioneers would bring about change to the region, leading to more factions showing interest in the region. The population boomed, and it looked as if the region could sustain a form of civilization. Then the bombs came again, and again, and again. The new people of WV were not all as valorous and good-hearted as it seemed they would be. West Virginia was home to a series of active nuclear missile silos. Taking advantage of the chaos that comes with societal formation, certain individuals made their way to these silo sites to bring about new nuclear devastation. So quickly was the flame of law, order, and civilization sniffed out by nuclear destruction. Many would die, possibly even more than the amount of West Virginians killed in the actual war. Many more would just up and leave the lands, hoping to find a better home outside of WV. What was left after the first round of deaths and departures was a network of abandoned communities and other forgotten homesteads. The structures left behind would decay and fall apart, bits flying away along the wind. The locals that stayed were also forced to increase their mineral stripping and scavenging to build better homes, able to stand up to the toxicity of the region. Most of these were in vain, however, as the other survivors of the region were usually the ones still launching the weapons. Many years would pass with this pattern still going the same, only the Earth around them changing. While WV had been polluted even before the war, the leftover junk combined with the constant nuclear war brought the region to a new low. But at it’s lowest, WV would find a solution. Slowly, the psychopathic souls who had fired the weapons became bored of tormenting the region. The nukes were becoming a thing of the past, now the region could focus on the other problems that plagued everyday life. Those issues that had been put to the side were finally in full view. And that view was of a homeland soured by nuclear fires and other pollutants. The people had enough of their rotting home, so they elected to meet and discuss a solution. The meeting brought together a handful of tribes that had somehow survived. Many attending the meeting were no longer human, as the radiation had ghoulified a vast amount of the populace. While most regions struggled with the ostracism of ghouls, many humans within West Virginia had either accepted them or had learnt to tolerate them enough to not cause too much damage. While some grudges still seep into social arrangements, the ghoul-human relations are comparatively better to most other societies. The tribes of ghouls and humans came together to unify, creating a coalition of the West Virginian tribes. The elders of each tribe created a council to organize and direct new objectives for the willing locals. It was decided that the tribes would forgo the technologies that brought about the conditions that they lived in. They would focus their efforts on peace and harmony with the lands that had been ruined, with the eventual goal of creating an ecologically sustainable homeland. In an effort to rebrand the region and connect with a people who focused on the Earth, the coalition would begin to refer to the lands of West Virginia as Kanawha. Consequently, the coalition would eventually come to be known as the Kanawha Coalition. Time would pass and Mother Earth would heal... somewhat. After a long period of partial success, the council would meet and make a drastic choice. No longer would they toil to make a broken land heal, a new, better land would be searched out. The tribes packed up and began a long march towards a new home. A rumored land of a city that continued to kill Mother Earth with no punishments. Now, it was time to punish the wrongdoers and take their lands triumphantly. WHY SET IT BETWEEN 2248 AND 2252: The main reason I feel like this time period would work is due to the events between FO2&3. According to the DC Brotherhood in 3, the Chicago Brotherhood had gone silent by the time of their eastern journey. It also fits due to the Enclave moving East as well. As such, 2248-52 seems late enough for the Enclave to get out East, while being early enough for the Chicago Brotherhood to disappear by 54/55. THANK YOU FOR READING THIS, I’M SORRY IF I MISTYPED ANYTHING OR SOMETHING DIDN’T MAKE SENSE.
Hello again, and good morning! This listing is for items that did not sell during the January 17 Auction, so you can buy anything you want right here and right now - no buyer's premiums, no additional fees. *FREE shipping for any order over $100. *All items priced at $1 are now .75 each Each lot was individually imaged (front and back) for the auction - so the easiest way for you to see exactly what you're buying is to visit the auction link (the auction is over, so I'm not advertising anything different or advertising an upcoming auction) - so here that is: https://www.invaluable.com/catalog/2qx7j50tq0?size=50&page=1&categories=&sort= Here is the required "prove you still have the stuff" photo with the username card and today's date: PHOTO Payment: PayPal only. I do not have Venmo/Zello/Bitcoin or any other form of digital payment at this time. No notes if using PPFF, please. (Thank you.) If you choose to use PPFF, please make sure to send me your shipping address here as it won't automatically load with your payment. Shipping: I will charge you what it costs me for the USPS label rounded up to the nearest dollar. For First Class that is usually $4, for USPS Priority Mail Flat Rate Small Box it will be $9. I will get you a tracking number right after payment is received and will get your package scanned into the USPS system within 24 hours of receipt of payment. I will offer "Risky Shipping" (via stamped greeting card)at my discretionfor $1 - for single, small coins ONLY.NOTE: These prices are for Continental US shipping only - if you live outside the continental US, shipping will be more expensive. I am still happy to do it under the same rules as above, but just keep in mind it's going to cost more. What do YOU need to do to buy coins from this group: send me a list of which lots you want (for example, I want to buy lots # 51, 52, 53, 54, 55) and I will send you a total. There are too many coins here (plus there are duplicates) so I cannot look up the coins you want by description - just give me lot numbers and it will be much simpler. I'd like to make a simple and polite request - if I have sent you my PayPal information (meaning we've agreed to a deal) please finish it up as soon as you can so I can check you off the list and move on to the next person. This helps make sure you get all the coins we discussed and no one else is in limbo. I will do my absolute best to update the ad as soon as lots sell. LEFTOVERS: 52 China (Republic) 10 Cash $5.00 57 China (Hu-Peh Province) 10 Cash $1.00 59 Hong Kong - 1866 1 Cent NICE $8.00 61 China (Republic) 10 Cash $3.00 62 China (Kiang-Nan Province) 10 Cash NICE $20.00 63 China (Republic) 20 Cash $5.00 641977 D Eisenhower Dollar UNC MINT CELLO $4.00 67 British West Africa - 1940 1/10 Penny NICE $5.00 70 France (Perpignan) 1917 A 10 Centimes $5.00 71 1976 Shelbyville Dam (Illinois) Elongated/Smashed Nickel Souvenir $3.00 76France (Orleans/Lyon/Toulouse) 10 Centimes Transportation Token (good to 31 Dec 1918) $3.00 77 Papua New Guinea - 2008 2 Kina UNC $2.00 78 Missouri Insurance Company (St. Louis) Good Luck Token $3.00 79 1900 India (Rama-Laksmana) Type C #1 (Brotman) Temple Token NICE $40.00 801956 Roosevelt Dime UNC TONED $6.00 83 1955 General Motors "Motorama" Medal BU $15.00 86 Central States 70th Anniversary Convention Token Jerry Lebo Advertising $6.00 87 Consolidated Numismatic Advertising Token Good For $1 Edmundston, Canada $2.00 88 France (Perpignan) 1917 A 5 Centimes $5.00 91 France (Perpignan) 1921 A 25 Centimes Scalloped Edge $8.00 93Ukraine - 2003 100 Hryvnia UNC $2.00 94 German East Africa (Tanzania) - 1916 T 20 Heller $10.00 95 Illinois Governer Otto Kerner Inauguration Medal $2.00 96 5 Cent Trade Token NICE $3.00 98 Germany (Schleswig-Holstein) - 1923 10 Mark Notgeld UNC $10.00 99 A. Phillips Co Cambridge, Maryland 20 Cent Trade Token NICE $8.00 100 EZ Park Courtesy Token $1.00 159 Great Britain - 1949 Penny NICE $2.00 1631959 Type B Reverse Washington Quarter UNC TONED $12.00 165 Great Britain - 1932 1 Penny NICE $3.00 1661960 Type B Reverse Washington Quarter UNC $10.00 167 1960 Type B Reverse Washington Quarter UNC $10.00 169 Portugal - 1921 10 Centavos NICE $10.00 170Germany (Prussia) 1700's-1800's Jeton (Token) Wilhelm 3 "Neue Ehre Neues Gluck" $3.00 172 1963 Type B Reverse Washington Quarter UNC TONED $12.00 175 1964 D Washington Quarter UNC TONED $8.00 176 Canada - 1921 1 Cent NICE $4.00 179Stag Beer Wooden Nickel "Fair on the Square" $1.00 180 The TV Shop Slidell, LA One Wooden Buck $1.00 181 Canada - 1929 1 Cent NICE $3.00 1851962 Type B Reverse Washington Silver Quarter NICE $8.00 186 Canada - 1920 1 Cent NICE $4.00 1881957 Type B Reverse Washington Quarter NICE $6.00 192 Canada - 1945 5 Cents NICE $2.00 193 State of Missouri Sesquicentennial Medal $2.00 194 State of Missouri Sesquicentennial Medal $2.00 195 Canada - 1945 5 Cents NICER $4.00 196France - 1916 2 Centimes LOW MINTAGE $2.00 197Germany (Empire) 1914 J 2 Pfennig NICE $8.00 198 Mexico - 1946 1 Centavo NICE $1.00 200Mexico - 1924 2 Centavos BETTER DATE $6.00 2591954 S Washington Quarter UNC $10.00 260 1957 Washington Quarter UNC TONED $10.00 261 1963 Type B Reverse Washington Quarter UNC TONED $20.00 2621999 D Kennedy Half Dollar UNC from Mint Set GEM BU PROOFLIKE $3.00 263 1941 S "Large S" Lincoln Wheat Cent $1.00 2641941 S "Large S" Lincoln Wheat Cent $1.00 2661941 S "Large S" Lincoln Wheat Cent $1.00 267 1941 S "Large S" Lincoln Wheat Cent $1.00 269 Maybrook NY Golden Jubilee Good For 10 Cent Wooden Nickel $1.00 270 Maybrook NY 1975 Golden Jubilee 25 Cent Wooden Nickel $1.00 274 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00 275World Silver - Barbados 1973 Proof 5 Dollars LOW MINTAGE $20.00 276 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00 2772009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00 279 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00 280 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00 2812009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00 2822009 P Lincoln Cent "Formative Years" Doubled Die Reverse Book Low UNC $2.00 2862009 P Lincoln Cent "Formative Years" Doubled Die Reverse 002 UNC $2.00 2871983 Lincoln Cent DDO FS-101 $25.00 2882009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00 2892009 P Lincoln Cent "Formative Years" Doubled Die Reverse 012 UNC $2.00 2911964 D Washington Silver Quarter UNC TONED $8.00 293 1960's Terre Haute, IN Sesquicentennial Wooden Nickel $2.00 295 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 002 UNC $2.00 296 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 002 UNC $2.00 298 1982 Buffalo NY Sesquicentennial Wooden Nickel $1.00 352 Denmark - 1950 5 Ore KEY DATE $10.00 354 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00 355 2009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00 3562009 P Lincoln Cent "Formative Years" Doubled Die Reverse 013 UNC $2.00 357 1990 Rappahannock Area Coin Club Wooden Nickel $1.00 359Germany (Empire) - 1874 C 1 Pfennig $2.00 360 Old Time Wooden Nickel Co Support Our Troops Wooden Nickel $1.00 361 1941 S "Large S" Lincoln Wheat Cent $1.00 362 1941 S "Large S" Lincoln Wheat Cent $1.00 364 1980 D Jefferson Nickel Mint Error - Minor Curved Clip (@3:30) $3.00 365 1979 S "Type 2 - Clear S" Proof Jefferson Nickel $2.00 367Germany (Empire) - 1895 F 1 Pfennig $3.00 368Germany (Empire) - 1874 A 1 Pfennig $2.00 369Germany (Empire) - 1900 F 1 Pfennig $2.00 370Germany (Empire) - 1874 B 1 Pfennig $2.00 371 Australia - 1951 3 Pence $2.00 372Great Britain - 1861 3 Pence $3.00 373Germany (Empire) - 1875 J 5 Pfennig $2.00 375 50 Cents in Trade Token $1.00 376Germany (Empire) - 1874 E 2 Pfennig $2.00 377 Clear Lake, IA Perkins Wooden Nickel $1.00 378 50 Cents in Trade Token $1.00 379 Medallic Art Co Grand Canyon National Park 50th Anniversary Medal Bronze $3.00 380 Great Britain - 1981 25 New Pence UNC $3.00 382 Pomona National Bridge / Jackson County 200 Year Anniversary Medal $3.00 383Guyana - 1970 1 Dollar UNC $2.00 384Germany (Empire) - 1875 J 2 Pfennig $4.00 385 Illawarrra Numismatic Association Membership Discount Wooden Nickel Token $1.00 386 San Juan Quality Royale Casino Token $1 Face Value $1.00 387Canada - 1963 Prooflike 1 Cent Emerald Rainbow Toning $3.00 388 Artisan Silverworks Temecula, CA Wooden Nickel $1.00 389 Canada - 1966 1 Cent Emerald Toning $2.00 390Germany (Empire) - 1875 E 2 Pfennig $2.00 391Germany (Empire) - 1874 H 2 Pfennig $4.00 392 5 Cent Token $1.00 394Germany (Empire) - 1894 F 1 Pfennig $3.00 395 Denmark - 1904/804 1 Ore NICE $8.00 396 Netherlands Antilles - 1965 2.5 Cents UNC TONED $6.00 397 Germany (Empire) - 1874 G 1 Pfennig $10.00 398 Netherlands - 1921 1/2 Cent BETTER DATE $2.00 399 Netherlands - 1922 1/2 Cent BETTER DATE $4.00 400 Germany (Empire) - 1874 D 10 Pfennig $3.00 451Sweden - 1901 1 Ore $1.00 452 Norway - 1948 50 Ore Overdate 4/4 $5.00 453 Netherlands Antilles - 1959 1 Cent UNC $2.00 454Germany (Empire) - 1899 A 1 Pfennig $1.00 455Germany (Empire) - 1899 A 1 Pfennig $1.00 456Germany (Empire) - 1898 A 5 Pfennig $1.00 457Germany (Empire) - 1875 F 5 Pfennig $1.00 458 Canada - 1948 5 Cents $1.00 460 Denmark - 1951 10 Ore NICE $5.00 461Barbados - 1973 Proof 5 Cents in OGP $1.00 462Germany (Empire) - 1875 A 5 Pfennig $1.00 463 Barbados - 1973 Proof 25 Cents in OGP $1.00 464Germany (Empire) - 1876 D 5 Pfennig $1.00 465Hungary - 1965 2 Filler Key Date $5.00 466Germany (Empire) - 1889 A 5 Pfennig $1.00 467 Germany (Empire) - 1889 A 5 Pfennig $1.00 468Switzerland - 1968 5 Rappen UNC TONED $1.00 469Germany (Empire) - 1875 A 5 Pfennig $1.00 470Germany (Empire) - 1875 C 5 Pfennig $1.00 471Trinidad & Tobago - 1973 Proof 1 Cent in OGP $1.00 473Germany (Empire) - 1892 D 5 Pfennig $1.00 474 Germany (Empire) - 1897 A 5 Pfennig $1.00 475Germany (Empire) - 1890 E 5 Pfennig $1.00 477Germany (Empire) - 1890 D 5 Pfennig $1.00 478Germany (Empire) - 1894 D 5 Pfennig $1.00 480 Barbados - 1980 Proof 25 Cents in OGP cello $1.00 481World Silver - Switzerland 1975 1 Franc $6.00 482Germany (Empire) - 1897 D 5 Pfennig $1.00 484Canada (New Brunswick) - 1861 1 Cent $3.00 485Canada (Nova Scotia) - 1861 1/2 Cent $2.00 486 Austria - 1893 10 Heller $1.00 488 Netherlands East Indies - 1921 1/2 Cent NICE KEY DATE $8.00 489 Austria - 1895 10 Heller $1.00 490 Austria - 1894 20 Heller $1.00 492World Silver - Mexico - 1887 Do C 10 Centavos LOW MINTAGE $5.00 551South Africa - 1965 Proof 1 Cent LOW MINTAGE 25,000 $2.00 553Switzerland - 1902 2 Rappen KEY DATE FIRST YEAR $8.00 554 Panama - 1975 Proof 1 Centesimo in OGP $5.00 557 South Africa - 1965 Proof 5 Cents LOW MINTAGE 25,000 $2.00 560South Africa - 1965 Proof 20 Cents LOW MINTAGE 25,000 $2.00 561 Panama - 1975 Proof 5 Centesimos in OGP $1.00 562 Panama - 1976 Proof 5 Centesimos in OGP $2.00 563 South Africa - 1965 Proof 50 Cents LOW MINTAGE 25,000 $5.00 564 South Africa - 1966 Proof 1 Cent LOW MINTAGE 25,000 $2.00 565 South Africa - 1966 Proof 2 Cents LOW MINTAGE 25,000 $2.00 566 South Africa - 1966 Proof 5 Cents LOW MINTAGE 25,000 $2.00 567 South Africa - 1966 Proof 10 Cents LOW MINTAGE 25,000 $2.00 568 Panama - 1974 Proof 5 Centesimos in OGP cello $1.00 569 South Africa - 1966 Proof 20 Cents LOW MINTAGE 25,000 $2.00 572 Panama - 1973 Proof 1/10 Balboa in OGP $1.00 573 South Africa - 1967 Proof 1 Cent LOW MINTAGE 25,000 $2.00 574 Barbados - 1973 Proof 1 Cent $1.00 575 Panama - 1973 Proof 1/4 Balboa in OGP $1.00 576 South Africa - 1967 Proof 2 Cents LOW MINTAGE 25,000 $2.00 577 South Africa - 1967 Proof 5 Cents LOW MINTAGE 25,000 $2.00 578South Africa - 1967 Proof 10 Cents LOW MINTAGE 25,000 $2.00 579 South Africa - 1967 Proof 20 Cents LOW MINTAGE 25,000 $2.00 580 South Africa - 1967 Proof 50 Cents LOW MINTAGE 25,000 $4.00 584 Liberia - 1974 Proof 10 Cents in OGP $1.00 590 Mexico - 1923 1 Centavo NICE UNC TONED $8.00 593 Mexico - 1923 5 Centavos NICE $5.00 594 Bahamas - 1970 Proof 1 Cent in OGP $1.00 595 Mexico - 1935 20 Centavos NICE $30.00 596 Token "10" Unknown origin $1.00 652 Indiana Sesquicentennial Medal 1966 $3.00 654 Alleppey Dist Treasury 286 Token $3.00 655 Creotina Remedies Belleville, IL Token $3.00 657 Mexico - 2001 1 Peso UNC in original cello $1.00 658Germany (Empire) - 1903 A 1 Pfennig $4.00 662Germany (Weimar) - 1924 A 1 Pfennig NICE $6.00 664 Malaysia - 1977 50 Sen TONED UNC $3.00 665 Franklin D Roosevelt $2 Trade Token Union Maystern $3.00 666 Great Britain - 1953 5 Shillings UNC (Crown sized) $5.00 667 Russia - 1994 50 Roubles Blind Mole Rat LOW MINTAGE UNC $3.00 672 Mint of Romania Aluminum Token UNC $3.00 673 Bahamas - 1973 and 1974 Proof 1 Cents in OGP (two coins) $1.00 675 Canada - 1939 5 Cents UNC $20.00 676 Penny Press Mint 1 Dollar Token (Morgan Dollar Inspired Design) $2.00 677 Penny Press Mint 1 Dollar Token (Morgan Dollar Inspired Design) $2.00 678 France (Paris) Montmartre Auditing Firm "Good for one audition" Token $2.00 679 Thailand - Bangkok Institute of Accounting Token $1.00 680 Swedish Shooting Medal Double Pistols Design $3.00 681 1941 Mercury Dime Pin $4.00 682 Korea (Republic) - 1968 5 Won UNC $25.00 683 Korea (Republic) - 1973 50 Won NICE $5.00 684 Russia - 1994 50 Roubles Bison NICE LOW MINTAGE $2.00 685 Coca-Cola 1974 "It's the real thing" Silver Dollar City Token $5.00 686 State Mint of Romania Octagonal Token UNC $2.00 687 Canada - 1937 Dot 5 Cents UNC $10.00 688 France - 1977 10 Francs TONED $2.00 690 Saarland - 1954 10 Franken UNC $8.00 692 Mount Vernon, VA High School Token $1.00 693 Korea (Republic) - 1967 10 Won NICE $5.00 694 Korea (Republic) - 1967 10 Won UNC $40.00 695 Princes of Jerusalem - Cahokia Council A.A.S.RITE Valley of East St Louis Token $3.00 697 Magic Mountain Valencia California Souvenir Token $2.00 698 Pearl Harbor, Hawaii Driver's Association "good for one full fare" token $1.00 700 Downtown Granite City (Illinois) Shopping Center Token $3.00 751 Canada - 1957 House of Commons Medal $3.00 753 Mr. Pizza (World's Worst Pizza) Wooden Quarter Token $1.00 754 National Pony Express Centennial Medal So Called Dollar UNC TONED $5.00 755 Pulaski Bowling Center Free Game Wooden Nickel Token $1.00 756 Four Canada 1991 UNC Cents (4 coins) in OGP CELLO $1.00 757 Four Canada 1991 UNC 5 Cents (4 coins) in OGP CELLO $1.00 758 Pair of Two Thomas Jefferson 1 Cent Postal Stamps $1.00 761 Mexico - 2000 10 Pesos UNC in original cello $6.00 764 Ye Olde Curiosity Shop Seattle 25 Cent Wooden Nickel Token $1.00 765 Mexico - 2000 20 Pesos UNC in original cello $10.00 768 Morocco - AH1320 10 Mazunas $8.00 773 Diamond Dolls Pompano Beach, FL Free Hamburger Wooden Nickel Token $1.00 774 Nadine's Backwoods Bistro One Free Tap Beer Wooden Nickel Token $1.00 775 Ocean Springs Mini Golf One Free Game Wooden Nickel Token $1.00 777Poland - 2014 2 Zlotych UNC $2.00 778 Lansing, Michigan University Quality Inn One Free Well Drink Wooden Nickel Token $1.00 780 San Jose, California Donut Delight One Small Drink 40 Cents Wooden Nickel Token $1.00 781 H.E.B. Hustle Chip Wooden Nickel Token $1.00 782 Two Mixed Tokens $1.00 784 South Gate, California Robby's Tepee 1 Glass Draft Beer Wooden Nickel Token $1.00 785 Macadoo's One Free Sara Lee Bagle (with butter!) Wooden Nickel Token $1.00 786 Canada - 1970 1 Cent TONED $1.00 788 State Penal Institution 5 Cent Good For Token $3.00 790 Fishing Equipment & Tackle 10% Discount Wooden Nickel Token $1.00 791 District Treasury Alleppey 1860 Token Government of Kerala $2.00 792 Russia (Empire) - 1881 1 Kopek $1.00 793 Black Duck Buck Good For One Premium Drink Wooden Nickel Token $1.00 794 Goodles, Michigan Cook's Cobblestone One Free Beer Wooden Nickel Token $1.00 796 San Diego, California My Yogurt Place One Free Frozen Yogurt Sundae Wooden Nickel Token $1.00 797 Canada - 1939 Coronation Medal $2.00 798 Ellsworth, Maine Bicentennial Headquarters Wooden Nickel Token $1.00 800 Suwanee River Attractions 25 Cent Admission Wooden Nickel Token $1.00 851 Sunnyvale, California Odyssey Room 1 Free Drink Wooden Nickel Token $1.00 852 Great Britain - Queen Victoria 60 Years of Rule Medal $3.00 854 Belgium - 1944 2 Franc NICE $1.00 855 Fredericksburg, Virginia Rappahannock Area Coin Club Wooden Nickel Token One free month $1.00 859 Monarch Automatic Co Northhampton Good For One Coupon in Trading Token $2.00 860 Netherlands - 1881 1 Cent $1.00 862 Mexico - 2000 20 Pesos UNC in original cello $10.00 863 Fredericksburg, Virginia Rappahannock Area Coin Club Wooden Nickel Token One free month $1.00 864 Tullahoma, Tennessee The Finish Line Free Drink Wooden Nickel Token $1.00 865 Here's Johnny's 25 Cents off Purchase Wooden Nickel Token $1.00 866 $1 Good For Token Large $3.00 867 Canada - 1939 Coronation Medal $3.00 868 Boise, Idaho Miller's Sewing Center 25 Cent Needle Package Wooden Nickel Token $1.00 869 San Antonio, Texas Dan's 10861 FM "Round TUIT" Wooden Token $1.00 870 Belgium - 1836 2 Centimes $1.00 871 Vandalia, Ohio Skipper's $3 off purchase Wooden Nickel Token $1.00 872 Roseville, California Onyx Club One Free Beer Wooden Nickel Token $1.00 873 Long Beach, California Fayette Cleaners Wooden Nickel Token $1.00 874 Beckett, Massachussetts 1965 Bicentennial Lee National Bank 5 Cent Wooden Nickel Token $1.00 875 Munhall, Pennsylvania 5 Cent Wooden Nickel Token $1.00 877Washington, Indiana Sesquicentennial 1966 Wooden Nickel Token $1.00 878 1953 Queen Elizabeth Coronation Medal $3.00 881 Fredonia, New York Coyle's Pub One Free Drink Wooden Nickel Token $1.00 882 Monterey, California Wharfside Restaurant Complimentary Calimari Appetizer Wooden Nickel Token $1.00 883 Lyman, Wyoming Cecil Sanderson Military Token & Wooden Nickel Collector "Round TUIT" Token $1.00 884 Eastlake, Colorado Karl's Farm Dairy Inc 25 Cent Wooden Nickel Token $1.00 885 Elko, Nevada Ed's Coins & Currency "Cents of Humor" Wooden Nickel Token $1.00 887 Richmond Hot Stuff Deluxe Tattoo One Free Drink Wooden Nickel Token $1.00 888 Australia - 2014 1 Dollar 100 Years of ANZAC $1.00 889 Sacramento, California The Tides 1 Free Beer Wooden Nickel Token $1.00 890 Lancaster, Pennsylvania The Comic Store Free Comic Wooden Nickel Token RARE $1.00 891 Bennington, Vermont Bicentennial 1961 5 Cent Wooden Nickel Token $1.00 892 Torrance, California Old Towne Mall One Free Play Wooden Nickel Token $1.00 893 Duenweg, Missouri State Bank One Quart Token NICE $3.00 894 Rotary International Token $1.00 896 Canada - 1930 House of Commons Medal $3.00 897 Greenfield, Iowa Al's Shoe Service 5 Cents Wooden Nickel Token $1.00 900 France - 1944 C 2 Francs $1.00 951 France - 1944 C 2 Francs $1.00 952 Poland - 2006 2 Zlotych $3.00 953 Poland - 2003 2 Zlotych $3.00 954 Aurora, Illinois Dairy Queen Free Small Sundae Wooden Nickel Token $1.00 955 Mullan, Idaho Silver Dollar Bar 1 Free Drink Wooden Nickel Token $1.00 956 Poland - 2004 2 Zlotych $3.00 957 New Horizons Computer Learning Center Turkey Token 10 Auction Dollars Wooden $1.00 962 Lake of the Woods 40th Anniversary Token $2.00 963 The Travancore Bank Trivandrum #103 Token $1.00 964 Perryville, Wisconsin Good For 1 Glass Tap Beer Wooden (plastic) Nickel Token $1.00 966 1925 Larkin Dollar Medal BU $8.00 968 Palmolive Soap Chicago, Illinois Good For One Cake Token NICE $5.00 969 Duenweg State Bank Duenweg, Missouri Strawberry Token Good For 1 Crate $6.00 970 Dallas, Texas City Hall Token $1.00 971 California State Numismatic Association 1973 53rd Anniversary Token $2.00 972 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (Mexico 20 Centavos) $3.00 973 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (Mexico 20 Centavos) $3.00 977 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00 979 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00 981 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00 983 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00 984 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (New Zealand 5 Cents) $3.00 987 Harry S Truman US Mint Bronze Medal in OGP $3.00 988 John Wayne US Mint Bronze Medal in OGP $5.00 989 Vietnam Veterans National Bronze Medal in OGP $3.00 992 2010 Korea Money Fair Token with original Flip $3.00 993 Matchless Metal Polish Co Liverpool 1906 Token $5.00 995 Marissa, Illinois 1967 Centennial Wooden Nickel Token $1.00 996 Central States Numismatic Society 2005 Token Original AirTite $2.00 997 Central States Numismatic Society 2005 Token Original AirTite $2.00 998 Central States Numismatic Society 2005 Token Original AirTite $2.00 999Rustler Silver Gas Token $1.00 1000 Worldwide Bi-Metallic Collector's Club World Money Fair Encased Coin (Euro 5 Cent) $3.00
These are the statistical top 500 movies of all time, according to 23 different websites
Hey everyone, great to be back again. Some of you might remember a similar title from a post I made back in April, where I made a list of the top 250 movies with 13 sources, or a preview of this list I made last month. I want to emphasize that this is NOT an official ranking nor my personal ranking; it is just a statistical and, personally, interesting look at 500 amazing movies. These rankings reflect the opinions of thousands of critics and millions of people around the world. And I am glad that this list is able to cover a wide range of genres, decades, and countries. So before I get bombarded with "Why isn't X on here?" or "How is X above Y?" comments, I wanted to clear that up. I sourced my data from Sight & Sound (both critic and director lists), TSPDT, iCheckMovies, 11 domestic websites (Rotten Tomatoes, Metacritic, IMDb, Letterboxd, TMDb, Trakt, Blu-Ray, MovieLens, RateYourMusic, Criticker, and Critics Choice), and 9 international audience sites (FilmAffinity, Douban, Naver, MUBI, Filmweb, Kinopoisk, CSFD, Moviemeter, and Senscritique). This balance of domestic/international ratings made the list more well-rounded and internationally representative (sites from Spain, China, Korea, Poland, Russia, Czech Republic, Netherlands, and France). As for my algorithm, I weighted websites according to both their Alexa ranking and their number of votes compared to other sites. For example, since The Godfather has hundreds of thousands of votes on Letterboxd but only a couple thousand on Metacritic, Letterboxd would be weighted more heavily. After obtaining the weighted averages, I then added the movie's iCheckMovies' favs/checks ratio and TSPDT ranking, if applicable. Regarding TSPDT, I included the top 2000 movies; as an example of my calculations, Rear Window's ranking of #41 would add (2000-41)/2000=0.9795 points to its weighted average. I removed movies that had <7-8K votes on IMDb, as these mostly had low ratings and numbers of votes across different sites as well. For both Sight & Sound lists, I added between 0.5 and 1 point to a movie's score based on its ranking, which I thought was an adequate reflection of how difficult it is to be included on these lists. As examples, a #21 movie would have 0.9 points added while a #63 would have 0.69 points. So without further ado, the statistical top 500 movies ever made. I separated the scores into overall, critics, domestic, and international columns to make comparisons easier. This list on Letterboxd.
Ranking
Title
Overall Score
Critics
Domestic
International
Year
Director
1
The Godfather
93.89
97.73
90.50
89.36
1972
Francis Ford Coppola
2
The Godfather: Part II
91.93
93.30
89.04
88.06
1974
Francis Ford Coppola
3
Seven Samurai
91.05
97.38
87.63
85.90
1954
Akira Kurosawa
4
12 Angry Men
90.45
95.45
88.74
88.62
1957
Sidney Lumet
5
City Lights
89.94
96.75
85.67
85.93
1931
Charlie Chaplin
6
The Good, the Bad and the Ugly
89.45
91.20
87.81
86.59
1966
Sergio Leone
7
The Shawshank Redemption
89.41
82.95
89.49
89.18
1994
Frank Darabont
8
Psycho
89.29
95.23
85.70
85.01
1960
Alfred Hitchcock
9
Modern Times
89.28
95.55
85.21
85.37
1936
Charlie Chaplin
10
Schindler's List
89.08
93.80
87.22
87.29
1993
Steven Spielberg
11
Pulp Fiction
88.85
92.60
87.69
86.42
1994
Quentin Tarantino
12
Rear Window
88.63
97.65
85.40
83.33
1954
Alfred Hitchcock
13
One Flew Over the Cuckoo's Nest
88.55
87.38
86.28
86.97
1975
Miloš Forman
14
Apocalypse Now
88.54
93.85
85.24
83.48
1979
Francis Ford Coppola
15
Tokyo Story
88.49
98.30
85.16
83.76
1953
Yasujirō Ozu
16
Spirited Away
88.34
93.78
86.80
85.91
2001
Hayao Miyazaki
17
GoodFellas
88.03
91.48
87.00
84.03
1990
Martin Scorsese
18
Vertigo
88.02
95.60
84.05
82.76
1958
Alfred Hitchcock
19
Singin' in the Rain
88.01
97.65
83.95
83.13
1952
Gene Kelly, Stanley Donen
20
Sunset Boulevard
88.00
95.45
85.44
84.22
1950
Billy Wilder
21
Citizen Kane
87.83
99.03
83.06
82.22
1941
Orson Welles
22
Harakiri
87.79
85.83
88.00
86.29
1962
Masaki Kobayashi
23
Rashomon
87.74
96.55
83.52
82.73
1950
Akira Kurosawa
24
Once Upon a Time in the West
87.71
86.65
85.48
84.62
1968
Sergio Leone
25
Fanny and Alexander
87.54
97.30
83.15
83.00
1982
Ingmar Bergman
26
The Lord of the Rings: The Return of the King
87.40
92.59
86.06
85.38
2003
Peter Jackson
27
Andrei Rublev
87.39
91.90
83.80
83.94
1966
Andrei Tarkovsky
28
The Passion of Joan of Arc
87.39
94.65
83.88
83.57
1928
Carl Theodor Dreyer
29
Sherlock Jr.
87.36
96.45
83.64
85.60
1924
Buster Keaton
30
Bicycle Thieves
87.35
94.70
83.91
83.46
1948
Vittorio De Sica
31
Casablanca
87.35
98.00
85.25
82.62
1942
Michael Curtiz
32
Some Like It Hot
87.28
95.30
82.11
83.73
1959
Billy Wilder
33
Persona
87.22
88.20
84.28
83.07
1966
Ingmar Bergman
34
Children of Paradise
87.21
95.33
84.81
83.27
1945
Marcel Carné
35
Taxi Driver
87.14
93.88
83.60
82.06
1976
Martin Scorsese
36
The Dark Knight
87.08
88.81
86.96
84.80
2008
Christopher Nolan
37
Metropolis
87.03
96.00
82.92
84.01
1927
Fritz Lang
38
Sunrise: A Song of Two Humans
87.02
93.95
82.23
84.02
1927
F. W. Murnau
39
Stalker
87.02
92.30
83.86
83.29
1979
Andrei Tarkovsky
40
Pather Panchali
86.96
94.35
84.40
82.80
1955
Satyajit Ray
41
Lawrence of Arabia
86.95
97.65
83.76
81.49
1962
David Lean
42
M
86.91
96.20
84.34
82.92
1931
Fritz Lang
43
Ordet
86.82
98.10
83.08
82.55
1955
Carl Theodor Dreyer
44
It's a Wonderful Life
86.77
90.45
85.17
84.90
1946
Frank Capra
45
Satantango
86.76
90.45
84.58
84.21
1994
Béla Tarr
46
Parasite
86.72
96.34
86.55
83.15
2019
Bong Joon-ho
47
The 400 Blows
86.70
96.70
83.14
82.60
1959
François Truffaut
48
Ikiru
86.56
93.80
85.48
84.29
1952
Akira Kurosawa
49
Mirror
86.50
95.60
82.75
82.34
1975
Andrei Tarkovsky
50
Come and See
86.50
90.50
85.22
83.13
1985
Elem Klimov
51
The Apartment
86.48
92.00
84.09
82.99
1960
Billy Wilder
52
The General
86.45
91.45
82.59
83.87
1926
Buster Keaton, Clyde Bruckman
53
Grave of the Fireflies
86.43
95.13
85.85
82.97
1988
Isao Takahata
54
Le Trou
86.41
89.95
85.46
85.14
1960
Jacques Becker
55
The Battle of Algiers
86.37
95.40
82.64
81.24
1966
Gillo Pontecorvo
56
A Man Escaped
86.34
96.50
83.67
82.03
1956
Robert Bresson
57
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
86.34
95.85
84.37
83.03
1964
Stanley Kubrick
58
Paths of Glory
86.25
92.30
84.97
84.48
1957
Stanley Kubrick
59
The Lord of the Rings: The Fellowship of the Ring
86.24
88.75
85.61
84.31
2001
Peter Jackson
60
All About Eve
86.23
96.95
83.69
83.20
1950
Joseph L. Mankiewicz
61
Star Wars: The Empire Strikes Back
86.21
86.93
87.05
83.29
1980
Irvin Kershner
62
High and Low
86.16
86.55
86.08
84.26
1963
Akira Kurosawa
63
The Great Dictator
86.15
91.10
84.25
85.03
1940
Charlie Chaplin
64
The Silence of the Lambs
86.12
88.68
85.29
84.17
1991
Jonathan Demme
65
2001: A Space Odyssey
86.06
88.35
82.93
81.54
1968
Stanley Kubrick
66
North by Northwest
86.03
96.38
83.17
81.74
1959
Alfred Hitchcock
67
Double Indemnity
85.91
94.38
83.84
83.12
1944
Billy Wilder
68
Ugetsu
85.91
97.25
82.69
81.91
1953
Kenji Mizoguchi
69
Woman in the Dunes
85.91
93.95
84.71
83.77
1964
Hiroshi Teshigahara
70
Sansho the Bailiff
85.88
95.50
84.24
82.21
1954
Kenji Mizoguchi
71
Once Upon a Time in America
85.87
86.10
83.84
85.53
1984
Sergio Leone
72
City of God
85.86
84.08
86.39
84.00
2002
Fernando Meirelles, Kátia Lund
73
Late Spring
85.81
94.75
83.74
82.27
1949
Yasujirō Ozu
74
Barry Lyndon
85.80
87.95
82.44
82.30
1975
Stanley Kubrick
75
The Lord of the Rings: The Two Towers
85.78
88.78
85.00
84.29
2002
Peter Jackson
76
Raging Bull
85.77
90.48
82.01
81.80
1980
Martin Scorsese
77
Chinatown
85.72
94.08
83.32
80.69
1974
Roman Polanski
78
Alien
85.69
91.73
84.76
82.62
1979
Ridley Scott
79
Ran
85.68
94.70
83.93
82.52
1985
Akira Kurosawa
80
The Seventh Seal
85.67
92.10
83.52
82.13
1957
Ingmar Bergman
81
The Kid
85.61
92.85
82.91
84.94
1921
Charlie Chaplin
82
Wild Strawberries
85.51
90.05
83.38
82.24
1957
Ingmar Bergman
83
A Brighter Summer Day
85.50
93.38
84.07
81.01
1991
Edward Yang
84
8½
85.48
91.20
82.59
81.09
1963
Federico Fellini
85
The Pianist
85.38
88.69
83.31
84.80
2002
Roman Polanski
86
The World of Apu
85.38
93.20
84.38
83.09
1959
Satyajit Ray
87
La Dolce Vita
85.37
94.38
81.40
80.48
1960
Federico Fellini
88
Star Wars
85.33
90.03
85.22
81.92
1977
George Lucas
89
The Best of Youth
85.31
88.78
85.31
83.64
2003
Marco Tullio Giordana
90
The Gold Rush
85.29
94.55
81.93
83.59
1925
Charlie Chaplin
91
The Third Man
85.26
96.50
82.91
80.21
1949
Carol Reed
92
The Treasure of the Sierra Madre
85.20
96.68
82.77
81.81
1948
John Huston
93
I Am Cuba
85.18
93.60
82.00
83.44
1964
Mikhail Kalatozov
94
The Lives of Others
85.14
89.03
84.12
82.73
2006
Florian Henckel von Donnersmarck
95
Witness for the Prosecution
85.13
92.65
83.67
84.99
1957
Billy Wilder
96
Touch of Evil
85.11
95.70
81.36
79.65
1958
Orson Welles
97
WALL-E
85.10
92.09
82.82
82.64
2008
Andrew Stanton
98
Scenes from a Marriage
85.02
86.85
84.80
83.06
1974
Ingmar Bergman
99
To Be or Not to Be
84.99
89.58
82.52
83.39
1942
Ernst Lubitsch
100
A Separation
84.92
94.24
83.34
80.90
2011
Asghar Farhadi
101
The Night of the Hunter
84.91
96.93
81.17
79.06
1955
Charles Laughton
102
Three Colors: Red
84.87
96.78
83.32
80.78
1994
Krzysztof Kieślowski
103
Yojimbo
84.87
91.55
83.85
82.99
1961
Akira Kurosawa
104
Back to the Future
84.85
89.38
84.47
81.94
1985
Robert Zemeckis
105
My Neighbor Totoro
84.84
87.53
83.44
83.17
1988
Hayao Miyazaki
106
In the Mood for Love
84.84
83.87
82.55
81.20
2000
Wong Kar-wai
107
Princess Mononoke
84.83
81.18
85.02
84.24
1999
Hayao Miyazaki
108
Saving Private Ryan
84.82
90.35
83.94
82.50
1998
Steven Spielberg
109
Cinema Paradiso
84.78
82.30
84.73
83.43
1988
Giuseppe Tornatore
110
La Jetée
84.75
89.25
83.27
81.80
1962
Chris Marker
111
The Wages of Fear
84.71
94.60
82.99
82.80
1953
Henri-Georges Clouzot
112
Das Boot
84.68
90.13
83.62
82.71
1981
Wolfgang Petersen
113
Fight Club
84.65
71.18
86.39
84.95
1999
David Fincher
114
Nights of Cabiria
84.64
92.25
82.72
83.13
1957
Federico Fellini
115
La Strada
84.61
92.60
80.79
82.78
1954
Federico Fellini
116
Amadeus
84.53
89.55
82.88
82.59
1984
Miloš Forman
117
Forrest Gump
84.50
76.90
83.06
86.12
1994
Robert Zemeckis
118
Spider-Man: Into the Spider-Verse
84.49
90.41
85.03
81.69
2018
Peter Ramsey, Rodney Rothman, Bob Persichetti
119
The Lion King
84.45
88.28
77.22
84.09
1994
Rob Minkoff, Roger Allers
120
Inception
84.43
82.07
84.18
84.17
2010
Christopher Nolan
121
Whiplash
84.42
89.53
84.87
81.96
2014
Damien Chazelle
122
The Shop Around the Corner
84.40
94.43
80.85
82.37
1940
Ernst Lubitsch
123
Rififi
84.38
92.00
83.03
81.58
1955
Jules Dassin
124
Umberto D.
84.38
92.63
82.20
81.75
1952
Vittorio De Sica
125
Army of Shadows
84.37
95.30
82.98
80.50
1969
Jean-Pierre Melville
126
Blade Runner
84.34
85.85
82.57
80.29
1982
Ridley Scott
127
Samurai Rebellion
84.33
89.05
82.85
83.84
1967
Masaki Kobayashi
128
Close-Up
84.31
85.70
81.99
80.69
1990
Abbas Kiarostami
129
The Circus
84.29
90.35
81.69
83.14
1928
Charlie Chaplin
130
Raiders of the Lost Ark
84.19
89.33
84.31
80.57
1981
Steven Spielberg
131
Grand Illusion
84.18
95.35
81.85
79.78
1937
Jean Renoir
132
A Clockwork Orange
84.18
82.78
82.37
82.51
1971
Stanley Kubrick
133
Eternal Sunshine of the Spotless Mind
84.07
89.37
83.36
80.57
2004
Michel Gondry
134
A Woman Under the Influence
84.01
87.40
82.51
80.40
1974
John Cassavetes
135
The Cranes Are Flying
84.00
89.30
82.76
82.40
1957
Mikhail Kalatozov
136
Yi Yi
83.91
91.25
82.48
79.64
2000
Edward Yang
137
To Kill a Mockingbird
83.91
89.13
81.98
82.20
1962
Robert Mulligan
138
The Matrix
83.90
77.78
84.54
83.06
1999
Wachowski Sisters
139
The Sting
83.90
85.73
82.71
83.36
1973
George Roy Hill
140
The Mother and the Whore
83.87
94.55
81.24
79.82
1973
Jean Eustache
141
Se7en
83.86
72.15
84.91
84.48
1995
David Fincher
142
Early Summer
83.85
94.45
82.19
82.01
1951
Yasujirō Ozu
143
Werckmeister Harmonies
83.80
91.73
80.89
81.93
2000
Béla Tarr, Ágnes Hranitzky
144
Coco
83.80
86.21
82.73
83.66
2017
Adrian Molina, Lee Unkrich
145
Toy Story
83.76
95.03
82.30
80.15
1995
John Lasseter
146
It Happened One Night
83.76
90.83
81.46
81.76
1934
Frank Capra
147
Reservoir Dogs
83.74
84.68
83.12
81.99
1992
Quentin Tarantino
148
Unforgiven
83.73
88.55
82.24
81.59
1992
Clint Eastwood
149
The Deer Hunter
83.73
87.68
80.57
82.06
1978
Michael Cimino
150
The Young and the Damned
83.72
87.10
82.58
80.82
1950
Luis Buñuel
151
The Best Years of Our Lives
83.68
92.63
81.19
81.20
1946
William Wyler
152
The Leopard
83.66
97.30
79.56
79.57
1963
Luchino Visconti
153
Time of the Gypsies
83.65
86.05
83.31
82.29
1988
Emir Kusturica
154
Ali: Fear Eats the Soul
83.61
96.70
80.51
79.97
1974
Rainer Werner Fassbinder
155
Raise the Red Lantern
83.57
90.25
82.37
81.81
1991
Zhang Yimou
156
Terminator 2: Judgment Day
83.57
82.00
84.11
81.83
1991
James Cameron
157
The Shining
83.55
75.35
84.08
81.80
1980
Stanley Kubrick
158
Viridiana
83.54
92.95
80.68
80.81
1961
Luis Buñuel
159
Portrait of a Lady on Fire
83.52
93.59
83.08
80.02
2019
Céline Sciamma
160
Greed
83.51
97.05
80.65
80.64
1924
Erich von Stroheim
161
Gone with the Wind
83.48
92.90
80.01
81.68
1939
Victor Fleming
162
There Will Be Blood
83.48
89.65
81.91
79.02
2007
Paul Thomas Anderson
163
L.A. Confidential
83.46
91.63
82.08
80.81
1997
Curtis Hanson
164
Paris, Texas
83.46
83.95
82.89
81.66
1984
Wim Wenders
165
Throne of Blood
83.45
91.30
82.18
81.49
1957
Akira Kurosawa
166
Toy Story 3
83.43
93.55
81.61
80.32
2010
Lee Unkrich
167
Memento
83.43
85.20
83.78
80.76
2000
Christopher Nolan
168
On the Waterfront
83.37
93.00
82.23
79.52
1954
Elia Kazan
169
Trip to the Moon
83.37
94.70
79.96
82.83
1902
Georges Méliès
170
The Rules of the Game
83.33
96.55
80.45
78.02
1939
Jean Renoir
171
Red Beard
83.32
74.15
83.41
83.27
1965
Akira Kurosawa
172
The Grapes of Wrath
83.32
95.45
80.42
80.34
1940
John Ford
173
Au Hasard Balthazar
83.29
98.08
77.93
77.54
1966
Robert Bresson
174
Autumn Sonata
83.29
84.85
83.09
82.66
1978
Ingmar Bergman
175
Annie Hall
83.28
93.18
80.58
80.58
1977
Woody Allen
176
The Conformist
83.27
96.68
79.92
78.58
1970
Bernardo Bertolucci
177
Rocco and His Brothers
83.24
84.73
81.95
81.68
1960
Luchino Visconti
178
Dersu Uzala
83.23
74.75
82.35
83.37
1975
Akira Kurosawa
179
Cool Hand Luke
83.21
93.05
82.22
79.83
1967
Stuart Rosenberg
180
Monty Python and the Holy Grail
83.18
91.98
82.96
79.30
1975
Terry Gilliam, Terry Jones
181
Le Samouraï
83.18
92.35
82.45
79.40
1967
Jean-Pierre Melville
182
Aliens
83.18
88.73
83.29
79.61
1986
James Cameron
183
PlayTime
83.16
93.50
80.22
78.80
1967
Jacques Tati
184
The Bridge on the River Kwai
83.14
90.58
81.93
80.24
1957
David Lean
185
The Red Shoes
83.13
93.15
82.82
79.96
1948
Michael Powell, Emeric Pressburger
186
American Beauty
83.10
87.15
81.93
81.13
1999
Sam Mendes
187
To Live
83.10
84.00
82.16
82.46
1994
Zhang Yimou
188
Battleship Potemkin
83.10
95.85
77.81
80.41
1925
Sergei Eisenstein
189
Day of Wrath
83.09
93.40
81.07
81.29
1943
Carl Theodor Dreyer
190
All Quiet on the Western Front
83.07
92.85
80.05
81.48
1930
Lewis Milestone
191
It's Such a Beautiful Day
83.07
91.25
83.62
79.77
2012
Don Hertzfeldt
192
Full Metal Jacket
83.06
81.53
82.21
82.54
1987
Stanley Kubrick
193
The Cabinet of Dr. Caligari
83.05
96.40
79.84
81.83
1920
Robert Wiene
194
Kes
83.03
97.80
79.59
80.55
1969
Ken Loach
195
The Usual Suspects
83.02
80.23
84.08
81.48
1995
Bryan Singer
196
The Cameraman
83.00
93.90
80.77
81.57
1928
Edward Segdwick, Buster Keaton
197
Aparajito
83.00
90.90
81.81
81.20
1956
Satyajit Ray
198
The Elephant Man
83.00
83.00
82.10
81.87
1980
David Lynch
199
Rebecca
82.98
90.08
81.08
80.93
1940
Alfred Hitchcock
200
Make Way for Tomorrow
82.97
95.80
81.72
80.14
1937
Leo McCarey
201
The Great Escape
82.97
87.68
82.29
80.66
1963
John Sturges
202
Your Name
82.97
84.55
84.07
81.29
2016
Makoto Shinkai
203
Limelight
82.92
88.00
79.85
83.02
1952
Charlie Chaplin
204
Breathless
82.92
91.95
78.88
79.10
1960
Jean-Luc Godard
205
Underground
82.91
80.75
81.26
82.64
1995
Emir Kusturica
206
The Man Who Shot Liberty Valance
82.88
91.90
81.08
79.53
1962
John Ford
207
Aguirre: The Wrath of God
82.87
94.55
80.46
78.62
1972
Werner Herzog
208
Oldboy
82.86
78.98
84.00
81.27
2003
Park Chan-wook
209
Up
82.84
90.28
81.32
80.86
2009
Pete Docter
210
Anatomy of a Murder
82.84
94.00
80.57
80.02
1959
Otto Preminger
211
The Wild Bunch
82.84
90.35
79.45
80.12
1969
Sam Peckinpah
212
The Hunt
82.75
82.08
82.79
82.62
2012
Thomas Vinterberg
213
Il Sorpasso
82.74
95.75
82.84
79.57
1962
Dino Risi
214
The Last Laugh
82.74
95.25
79.47
81.61
1924
F. W. Murnau
215
A Streetcar Named Desire
82.73
94.60
79.89
80.26
1951
Elia Kazan
216
Life Is Beautiful
82.73
68.45
83.60
85.57
1997
Roberto Benigni
217
A Short Film About Love
82.71
87.10
81.90
81.89
1988
Krzysztof Kieślowski
218
The Shop on Main Street
82.71
94.45
82.15
80.43
1965
Ján Kadár, Elmar Klos
219
Rio Bravo
82.71
92.10
80.46
79.80
1959
Howard Hawks
220
Roman Holiday
82.70
84.55
80.74
82.42
1953
William Wyler
221
Ivan's Childhood
82.69
94.80
81.25
80.37
1962
Andrei Tarkovsky
222
The Exterminating Angel
82.68
91.10
81.66
80.17
1962
Luis Buñuel
223
Trainspotting
82.68
85.20
81.57
81.21
1996
Danny Boyle
224
The Last Picture Show
82.67
94.15
79.90
79.56
1971
Peter Bogdanovich
225
The Truman Show
82.64
89.63
79.70
82.15
1998
Peter Weir
226
Memories of Murder
82.64
82.88
82.68
80.94
2003
Bong Joon-ho
227
Faust
82.62
89.70
80.23
81.94
1926
F. W. Murnau
228
Sans Soleil
82.62
83.90
79.45
80.51
1983
Chris Marker
229
Song of the Sea
82.57
87.63
80.59
82.23
2014
Tomm Moore
230
Léon: The Professional
82.55
67.38
84.05
84.07
1994
Luc Besson
231
Fargo
82.54
87.45
82.36
79.19
1996
Coen Brothers
232
Solaris
82.54
89.95
80.91
79.69
1972
Andrei Tarkovsky
233
Sweet Smell of Success
82.52
96.53
80.81
77.62
1957
Alexander Mackendrick
234
For a Few Dollars More
82.52
79.28
82.38
83.15
1965
Sergio Leone
235
White Heat
82.51
90.65
80.77
81.24
1949
Raoul Walsh
236
Brief Encounter
82.50
88.35
80.81
81.03
1945
David Lean
237
Wings of Desire
82.49
85.70
81.30
80.42
1987
Wim Wenders
238
Diabolique
82.47
90.70
81.27
80.73
1955
Henri-Georges Clouzot
239
An Autumn Afternoon
82.45
91.95
81.68
79.85
1962
Yasujirō Ozu
240
The Tale of the Princess Kaguya
82.44
90.63
81.16
80.43
2013
Isao Takahata
241
Amarcord
82.41
85.95
79.26
80.73
1973
Federico Fellini
242
Heat
82.40
79.08
82.03
81.73
1995
Michael Mann
243
L'Atalante
82.40
95.60
78.32
78.10
1934
Jean Vigo
244
Django Unchained
82.39
83.44
82.23
81.94
2012
Quentin Tarantino
245
Jeanne Dielman, 23 Commerce Quay, 1080 Brussels
82.38
95.50
78.73
79.69
1975
Chantal Akerman
246
Kind Hearts and Coronets
82.38
95.60
80.80
79.72
1949
Robert Hamer
247
Dog Day Afternoon
82.37
88.40
81.11
79.80
1975
Sidney Lumet
248
Forbidden Games
82.37
93.75
80.36
80.99
1952
René Clément
249
The Crowd
82.35
93.35
79.21
81.23
1928
King Vidor
250
Notorious
82.35
96.78
79.96
78.21
1946
Alfred Hitchcock
251
Mary and Max
82.35
88.05
80.95
82.42
2009
Adam Elliot
252
Persepolis
82.34
88.95
80.09
80.77
2007
Marjane Satrapi, Vincent Paronnaud
253
Howl's Moving Castle
82.33
78.71
82.63
83.10
2004
Hayao Miyazaki
254
Nausicaä of the Valley of the Wind
82.33
85.10
81.54
82.03
1984
Hayao Miyazaki
255
Safety Last!
82.33
92.25
80.95
81.10
1923
Fred C. Newmeyer, Sam Taylor
256
Rosemary's Baby
82.32
94.78
79.99
78.69
1968
Roman Polanski
257
L'Avventura
82.32
92.10
79.08
78.03
1960
Michelangelo Antonioni
258
The Searchers
82.32
93.90
78.16
76.66
1956
John Ford
259
La Haine
82.30
90.60
82.38
79.56
1995
Mathieu Kassovitz
260
Three Colors: Blue
82.30
88.28
81.55
79.23
1993
Krzysztof Kieślowski
261
Chungking Express
82.30
79.95
82.29
80.73
1994
Wong Kar-wai
262
Inside Out
82.29
93.66
80.27
79.85
2015
Pete Docter
263
Where is the Friend's Home?
82.28
89.25
81.22
80.21
1987
Abbas Kiarostami
264
Cries and Whispers
82.27
85.45
81.02
80.80
1972
Ingmar Bergman
265
Napoleon
82.22
93.25
81.89
78.99
1927
Abel Gance
266
Paper Moon
82.19
83.08
81.37
81.29
1973
Peter Bogdanovich
267
The Spirit of the Beehive
82.17
89.83
79.31
78.91
1973
Víctor Erice
268
A Special Day
82.16
90.20
81.11
81.25
1977
Ettore Scola
269
Nostalghia
82.15
83.00
80.91
81.23
1983
Andrei Tarkovsky
270
Network
82.13
85.45
82.36
79.08
1976
Sidney Lumet
271
L'Eclisse
82.11
84.70
79.78
78.81
1962
Michelangelo Antonioni
272
Mr. Smith Goes to Washington
82.09
80.83
81.78
81.15
1939
Frank Capra
273
Sanjuro
82.09
91.90
81.67
80.85
1962
Akira Kurosawa
274
Badlands
82.06
93.38
79.77
77.21
1973
Terrence Malick
275
Vivre Sa Vie
82.06
85.20
80.12
79.83
1962
Jean-Luc Godard
276
Nobody Knows
82.06
87.18
81.12
81.15
2004
Hirokazu Koreeda
277
No Country for Old Men
82.05
90.68
80.56
78.47
2007
Coen Brothers
278
Spring, Summer, Fall, Winter... and Spring
82.05
86.05
80.76
80.62
2003
Kim Ki-duk
279
La Notte
82.04
78.35
81.45
81.11
1961
Michelangelo Antonioni
280
The Celebration
82.04
84.23
81.34
80.08
1998
Thomas Vinterberg
281
In the Name of the Father
82.04
84.90
81.14
81.85
1993
Jim Sheridan
282
I Am a Fugitive from a Chain Gang
82.02
89.55
80.18
81.56
1932
Mervyn LeRoy
283
Shoplifters
82.01
92.39
80.60
79.31
2018
Hirokazu Koreeda
284
Finding Nemo
82.01
92.60
80.13
78.76
2003
Andrew Stanton, Lee Unkrich
285
Z
81.98
87.55
82.21
79.59
1969
Costa-Gavras
286
The Phantom Carriage
81.96
95.00
80.01
80.32
1921
Victor Sjöström
287
Manhattan
81.95
86.23
80.50
79.81
1979
Woody Allen
288
Rome, Open City
81.94
95.40
80.45
79.27
1945
Robert Rossellini
289
Children of Heaven
81.93
80.15
81.24
82.01
1997
Majid Majidi
290
The Green Mile
81.92
71.93
82.95
84.38
1999
Frank Darabont
291
The Iron Giant
81.91
86.61
80.88
79.95
1999
Brad Bird
292
The Sacrifice
81.90
80.30
80.47
81.37
1986
Andrei Tarkovsky
293
The Philadelphia Story
81.90
94.95
79.79
77.86
1940
George Cukor
294
The Twilight Samurai
81.90
86.10
81.07
81.13
2002
Yôji Yamada
295
Before Sunset
81.88
87.79
81.42
78.41
2004
Richard Linklater
296
Before Sunrise
81.86
84.40
82.24
79.44
1995
Richard Linklater
297
Castle in the Sky
81.85
81.63
81.49
82.06
1986
Hayao Miyazaki
298
The Departed
81.84
86.92
82.82
79.04
2006
Martin Scorsese
299
Brazil
81.83
90.23
80.61
78.37
1985
Terry Gilliam
300
Incendies
81.81
83.85
81.88
80.74
2011
Denis Villenueve
301
The Maltese Falcon
81.81
95.65
80.24
77.28
1941
John Huston
302
The Wizard of Oz
81.77
98.03
79.38
77.17
1939
Victor Fleming
303
Le Cercle Rouge
81.76
90.03
80.81
78.54
1970
Jean-Pierre Melville
304
Monsieur Verdoux
81.76
89.80
78.55
81.34
1947
Charlie Chaplin
305
The Return
81.72
84.85
80.02
80.96
2003
Andrey Zvyagintsev
306
Secrets & Lies
81.71
90.73
80.29
78.66
1996
Mike Leigh
307
The Hidden Fortress
81.70
91.25
80.79
80.72
1958
Akira Kurosawa
308
Pan's Labyrinth
81.69
92.59
81.60
76.08
2006
Guillermo del Toro
309
Amélie
81.69
79.64
81.96
80.27
2004
Jean-Pierre Jeunet
310
Ben-Hur
81.67
86.93
79.86
80.22
1959
William Wyler
311
Fitzcarraldo
81.67
75.80
81.06
81.21
1982
Werner Herzog
312
American History X
81.63
70.13
83.58
83.00
1998
Tony Kaye
313
Ace in the Hole
81.62
79.10
80.88
81.36
1951
Billy Wilder
314
Capernaum
81.62
81.83
80.52
82.18
2018
Nadine Labaki
315
Still Walking
81.61
90.30
80.92
79.48
2008
Hirokazu Koreeda
316
All About My Mother
81.61
88.77
79.56
78.80
1999
Pedro Almodóvar
317
The Discreet Charm of the Bourgeoisie
81.60
92.28
78.82
78.83
1972
Luis Buñuel
318
Platoon
81.60
88.70
79.52
80.45
1986
Oliver Stone
319
Farewell My Concubine
81.60
80.50
80.49
81.04
1993
Chen Kaige
320
Letter from an Unknown Woman
81.59
93.10
79.84
79.31
1948
Max Ophüls
321
The Grand Budapest Hotel
81.58
87.64
80.72
79.19
2014
Wes Anderson
322
The Virgin Spring
81.58
82.45
80.70
80.66
1960
Ingmar Bergman
323
The Red Balloon
81.57
90.20
79.93
80.30
1956
Albert Lamorisse
324
Stagecoach
81.57
94.58
77.69
78.94
1939
John Ford
325
Mulholland Drive
81.56
80.61
79.60
77.87
2001
David Lynch
326
A Matter of Life and Death
81.49
92.60
81.91
76.27
1946
Michael Powell, Emeric Pressburger
327
High Noon
81.48
90.58
79.27
78.94
1952
Fred Zinnemann
328
Orpheus
81.48
96.20
79.88
78.90
1950
Jean Cocteau
329
Life of Brian
81.47
82.98
80.78
79.81
1979
Terry Jones
330
Casino
81.46
74.23
81.54
81.75
1995
Martin Scorsese
331
Kagemusha
81.44
82.93
80.01
80.43
1980
Akira Kurosawa
332
Butch Cassidy and the Sundance Kid
81.43
76.08
80.53
81.85
1969
George Roy Hill
333
In a Lonely Place
81.43
92.45
80.42
78.77
1950
Nicholas Ray
334
Scarface
81.43
71.30
81.97
82.18
1983
Brian De Palma
335
A Short Film About Killing
81.42
87.35
79.89
80.38
1988
Krzysztof Kieślowski
336
Beauty and the Beast
81.41
92.05
79.28
78.32
1946
Jean Cocteau
337
The Hustler
81.39
92.45
80.43
78.97
1961
Robert Rossen
338
Cléo from 5 to 7
81.38
91.65
80.03
79.11
1962
Agnès Varda
339
Fireworks
81.37
90.15
80.01
79.63
1997
Takeshi Kitano
340
Room
81.36
88.41
80.43
79.48
2015
Lenny Abrahamson
341
Mad Max: Fury Road
81.35
90.39
79.76
77.80
2015
George Miller
342
Steamboat Bill, Jr.
81.32
95.75
79.30
79.23
1928
Charles Reisner, Buster Keaton
343
Judgment at Nuremberg
81.31
71.58
82.24
83.03
1961
Stanley Kramer
344
The Straight Story
81.30
87.15
79.64
79.88
1999
David Lynch
345
Meshes of the Afternoon
81.29
96.25
77.91
79.99
1943
Maya Deren, Alexandr Hackenschmied
346
Alice in the Cities
81.28
86.70
79.60
80.20
1974
Wim Wenders
347
Akira
81.28
80.90
81.12
79.98
1988
Katsuhiro Otomo
348
Good Will Hunting
81.27
79.38
81.97
81.05
1997
Gus Van Sant
349
The Miracle Worker
81.25
85.15
78.88
81.55
1962
Arthur Penn
350
Talk to Her
81.25
87.48
79.33
78.71
2002
Pedro Almodóvar
351
The Graduate
81.24
85.58
78.91
79.97
1967
Mike Nichols
352
Beauty and the Beast
81.22
92.28
79.20
78.77
1991
Gary Trousdale, Kirk Wise
353
The Heiress
81.19
94.45
80.20
79.76
1949
William Wyler
354
Fantasia
81.18
93.03
76.76
79.95
1940
Samuel Armstrong, James Algar
355
Au Revoir les Enfants
81.18
94.25
80.14
78.92
1987
Louis Malle
356
Three Billboards Outside Ebbing, Missouri
81.18
88.62
79.36
79.90
2017
Martin McDonagh
357
Inglourious Basterds
81.17
79.05
81.06
80.51
2009
Quentin Tarantino
358
Elevator to the Gallows
81.16
90.45
79.31
78.56
1958
Louis Malle
359
Gladiator
81.16
75.39
81.69
81.52
2000
Ridley Scott
360
Through a Glass Darkly
81.15
93.60
81.11
78.86
1961
Ingmar Bergman
361
Million Dollar Baby
81.15
87.41
77.43
80.72
2004
Clint Eastwood
362
Days of Heaven
81.15
90.75
80.19
77.08
1978
Terrence Malick
363
Do the Right Thing
81.15
90.78
80.26
77.04
1989
Spike Lee
364
Out of the Past
81.14
91.40
80.73
77.92
1947
Jacques Tourneur
365
Strangers on a Train
81.11
93.30
80.01
78.68
1951
Alfred Hitchcock
366
Blue Velvet
81.11
83.48
78.98
77.09
1986
David Lynch
367
That Obscure Object of Desire
81.09
89.40
79.59
78.11
1977
Luis Buñuel
368
What Ever Happened to Baby Jane?
81.08
80.23
80.74
80.75
1962
Robert Aldrich
369
My Night at Maud's
81.07
88.15
79.51
79.42
1969
Éric Rohmer
370
The Earrings of Madame de…
81.07
92.15
80.36
77.05
1953
Max Ophüls
371
The Conversation
81.04
89.23
80.03
77.44
1974
Francis Ford Coppola
372
The Killing
81.03
91.50
79.51
79.21
1956
Stanley Kubrick
373
The Servant
81.03
87.83
79.45
78.57
1963
Joseph Losey
374
The Intouchables
81.03
67.15
82.13
84.70
2011
Olivier Nakache, Éric Toledano
375
The Life and Death of Colonel Blimp
81.01
94.15
81.57
75.44
1943
Michael Powell, Emeric Pressburger
376
Jaws
81.01
90.98
79.91
75.70
1975
Steven Spielberg
377
Winter Light
81.01
73.55
81.51
79.95
1963
Ingmar Bergman
378
Love Exposure
81.01
80.88
82.23
79.55
2008
Sion Sono
379
Hiroshima Mon Amour
81.00
92.95
80.13
77.99
1959
Alain Resnais
380
Day for Night
80.98
92.55
80.21
78.27
1973
François Truffaut
381
Ratatouille
80.97
92.73
78.72
78.68
2007
Brad Bird
382
Ghost in the Shell
80.97
81.43
79.98
81.15
1995
Mamoru Oshii
383
Germany Year Zero
80.95
92.00
77.80
80.03
1948
Roberto Rossellini
384
Spotlight
80.93
93.00
79.75
77.55
2015
Tom McCarthy
385
Die Hard
80.93
79.58
81.11
79.43
1988
John McTiernan
386
Laura
80.93
93.80
79.70
78.47
1944
Otto Preminger
387
Sleuth
80.93
89.95
79.16
80.87
1972
Joseph L. Mankiewicz
388
The Diving Bell and the Butterfly
80.92
88.64
79.69
77.84
2007
Julian Schnabel
389
The Handmaiden
80.92
85.99
82.55
77.41
2016
Park Chan-wook
390
Stand by Me
80.90
80.20
81.28
79.54
1986
Rob Reiner
391
Wolf Children
80.90
80.15
80.40
81.27
2012
Mamoru Hosoda
392
Marriage Story
80.88
92.86
79.40
77.75
2019
Noam Baumbach
393
Shoeshine
80.87
93.75
79.02
79.38
1946
Vittorio De Sica
394
Freaks
80.85
84.70
77.66
80.31
1932
Tod Browning
395
Nosferatu
80.85
93.75
78.29
79.14
1922
F. W. Murnau
396
Dial M for Murder
80.84
77.60
81.17
81.31
1954
Alfred Hitchcock
397
Amour
80.81
90.90
77.74
78.19
2012
Michael Haneke
398
12 Years a Slave
80.80
94.00
79.74
76.94
2013
Steve McQueen
399
The Nightmare Before Christmas
80.77
85.38
79.26
79.69
1993
Henry Selick
400
Cabaret
80.77
84.68
77.34
80.69
1972
Bob Fosse
401
Central Station
80.77
83.28
80.91
78.52
1998
Walter Salles
402
Landscape in the Mist
80.74
71.35
80.76
80.28
1988
Theo Angelopoulos
403
1917
80.73
84.37
80.65
79.33
2019
Sam Mendes
404
Intolerance: Love's Struggle Throughout the Ages
80.71
93.98
75.69
78.01
1916
D. W. Griffith
405
Call Me by Your Name
80.71
91.25
79.43
77.87
2017
Luca Guadagnino
406
Midnight Cowboy
80.71
82.98
79.10
79.50
1969
John Schlesinger
407
Shadow of a Doubt
80.70
94.38
79.31
76.04
1943
Alfred Hitchcock
408
Interstellar
80.70
74.16
81.30
82.25
2014
Christopher Nolan
409
Hannah and Her Sisters
80.69
88.95
79.15
77.98
1986
Woody Allen
410
Monsters, Inc.
80.68
85.29
79.37
80.08
2001
Pete Docter, David Silverman
411
The Testament of Dr. Mabuse
80.65
85.85
79.40
79.38
1933
Fritz Lang
412
Downfall
80.64
83.53
81.54
78.55
2004
Oliver Hirschbiegel
413
Being There
80.64
87.30
79.42
78.06
1979
Hal Ashby
414
The Killer
80.63
92.60
79.27
78.66
1989
John Woo
415
My Left Foot: The Story of Christy Brown
80.63
93.23
78.13
79.15
1989
Jim Sheridan
416
Jean de Florette
80.60
88.40
80.18
79.69
1986
Claude Berri
417
The Big Lebowski
80.57
74.80
82.28
78.57
1998
Coen Brothers
418
The King's Speech
80.57
90.86
78.50
78.59
2010
Tom Hooper
419
Whisper of the Heart
80.55
79.98
80.80
80.31
1995
Yoshifumi Kondō
420
E.T. the Extra-Terrestrial
80.54
93.08
77.22
77.82
1982
Steven Spielberg
421
Infernal Affairs
80.54
79.83
79.92
80.22
2002
Andrew Lau, Alan Mak
422
The Prestige
80.54
72.22
82.71
81.38
2006
Christopher Nolan
423
Our Hospitality
80.54
92.85
77.72
79.58
1923
Buster Keaton, John G. Blystone
424
Zootopia
80.53
85.22
78.84
80.18
2016
Byron Howard, Rich Moore
425
Toy Story 2
80.49
92.59
78.51
77.05
1999
John Lasseter, Ash Brannon, Lee Unkrich
426
Klaus
80.48
75.00
81.07
81.41
2019
Sergio Pablos
427
The Big Sleep
80.45
92.10
79.74
77.58
1946
Howard Hawks
428
Ford v Ferrari
80.45
83.94
79.37
80.01
2019
James Mangold
429
Dead Poets Society
80.44
78.70
79.43
80.75
1989
Peter Weir
430
The Terminator
80.43
89.08
78.26
78.13
1984
James Cameron
431
Naked
80.43
84.48
80.39
77.34
1993
Mike Leigh
432
Dangal
80.41
83.00
79.68
80.56
2016
Nitesh Tiwari
433
Kwaidan
80.40
81.80
79.75
79.42
1964
Masaki Kobayashi
434
The Man Who Would Be King
80.40
90.55
78.24
77.79
1975
John Huston
435
Wild Tales
80.38
82.57
80.48
79.22
2014
Damián Szifron
436
Groundhog Day
80.38
80.08
79.31
79.35
1993
Harold Ramis
437
Catch Me If You Can
80.38
83.44
78.74
80.57
2002
Steven Spielberg
438
I Vitelloni
80.36
90.28
77.64
78.06
1953
Federico Fellini
439
The Big Heat
80.35
92.90
79.27
77.87
1953
Fritz Lang
440
The Double Life of Véronique
80.35
82.63
80.19
77.87
1991
Krzysztof Kieślowski
441
Who's Afraid of Virginia Woolf?
80.35
82.58
80.19
78.43
1966
Mike Nichols
442
Requiem for a Dream
80.33
71.39
81.39
80.93
2000
Darren Aronofsky
443
Rope
80.33
79.20
80.31
79.30
1948
Alfred Hitchcock
444
Love and Death
80.33
89.83
77.55
78.50
1975
Woody Allen
445
The Remains of the Day
80.29
86.88
78.75
78.80
1993
James Ivory
446
Jules and Jim
80.28
93.70
78.30
77.94
1962
François Truffaut
447
The Gospel According to Matthew
80.28
88.30
76.50
78.52
1964
Pier Paolo Pasolini
448
How to Train Your Dragon
80.27
81.97
79.45
80.24
2010
Chris Sanders, Dean DeBlois
449
Harry Potter and the Deathly Hallows: Part 2
80.27
88.50
78.81
78.53
2011
David Yates
450
Cat on a Hot Tin Roof
80.26
87.05
79.46
79.79
1958
Richard Brooks
451
The French Connection
80.26
93.35
78.04
76.89
1971
William Friedkin
452
Opening Night
80.25
78.05
80.50
79.25
1977
John Cassavetes
453
Hotel Rwanda
80.24
84.54
79.34
79.40
2004
Terry George
454
4 Months, 3 Weeks and 2 Days
80.22
92.51
77.76
76.22
2007
Cristian Mungiu
455
Tampopo
80.22
92.40
81.20
77.01
1985
Juzo Itami
456
Scarface
80.22
93.50
76.43
79.55
1932
Howard Hawks, Howard Hughes
457
The Face of Another
80.21
87.50
79.61
79.34
1966
Hiroshi Teshigahara
458
The Roaring Twenties
80.21
86.20
77.79
80.68
1939
Raoul Walsh
459
Pickpocket
80.20
93.80
76.41
76.47
1959
Robert Bresson
460
Kiki's Delivery Service
80.20
85.45
79.87
78.84
1989
Hayao Miyazaki
461
A Prophet
80.19
89.61
79.53
76.14
2009
Jacques Audiard
462
Zelig
80.19
90.00
76.50
80.29
1983
Woody Allen
463
Trouble in Paradise
80.18
88.20
79.35
77.62
1932
Ernst Lubitsch
464
Gran Torino
80.17
76.27
78.57
82.36
2008
Clint Eastwood
465
Last Year at Marienbad
80.16
88.25
78.29
77.37
1961
Alain Resnais
466
All the President's Men
80.15
85.95
80.48
76.46
1976
Alan J. Pakula
467
Breaking the Waves
80.15
79.85
78.46
79.55
1996
Lars von Trier
468
Indiana Jones and the Last Crusade
80.14
74.28
81.44
80.57
1989
Steven Spielberg
469
Divorce Italian Style
80.12
91.00
79.28
78.26
1961
Pietro Germi
470
Edward Scissorhands
80.12
78.65
78.09
80.73
1990
Tim Burton
471
The Thing
80.12
67.98
82.60
79.34
1982
John Carpenter
472
Perfect Blue
80.11
74.05
80.91
80.09
1997
Satoshi Kon
473
Down by Law
80.10
79.03
78.98
79.61
1986
Jim Jarmusch
474
Bringing Up Baby
80.10
90.75
78.25
76.45
1938
Howard Hawks
475
The Phantom of Liberty
80.09
85.10
78.89
78.66
1974
Luis Buñuel
476
Bonnie and Clyde
80.07
85.38
78.16
78.23
1967
Arthur Penn
477
The Incredibles
80.07
89.69
79.77
75.78
2004
Brad Bird
478
Rocky
80.04
79.73
79.17
79.29
1976
John G. Avildsen
479
His Girl Friday
80.03
94.15
79.24
76.72
1940
Howard Hawks
480
Mommy
80.03
80.79
80.39
79.13
2014
Xavier Dolan
481
Mon Oncle
80.03
88.00
78.03
78.76
1958
Jacques Tati
482
My Fair Lady
79.99
91.85
77.53
78.00
1964
George Cukor
483
Charade
79.98
85.55
79.37
78.72
1963
Stanley Donen
484
Stalag 17
79.95
87.13
79.62
77.79
1953
Billy Wilder
485
Boyhood
79.95
97.08
76.08
75.95
2014
Richard Linklater
486
The Secret in Their Eyes
79.95
82.49
81.27
77.67
2009
Juan José Campanella
487
Ninotchka
79.95
90.15
77.99
78.50
1939
Ernst Lubitsch
488
Pierrot le Fou
79.94
81.75
77.84
76.65
1965
Jean-Luc Godard
489
The Enigma of Kaspar Hauser
79.94
89.10
78.30
78.27
1974
Werner Herzog
490
Stroszek
79.94
88.40
79.50
77.77
1977
Werner Herzog
491
A Hard Day's Night
79.93
93.73
76.82
77.08
1964
Richard Lester
492
Onibaba
79.90
74.75
79.42
79.96
1964
Kaneto Shindo
493
Repulsion
79.85
92.68
77.29
76.57
1965
Roman Polanski
494
Like Stars on Earth
79.85
80.50
79.54
79.86
2007
Aamir Khan, Amole Gupte
495
Duck Soup
79.84
92.33
79.01
74.92
1933
Leo McCarey
496
Carlito's Way
79.83
70.28
79.16
82.01
1993
Brian De Palma
497
Nashville
79.82
93.23
76.89
74.92
1975
Robert Altman
498
The Triplets of Belleville
79.82
88.97
76.57
78.66
2003
Sylvain Chomet
499
Dr. Mabuse the Gambler
79.81
85.10
76.88
79.98
1922
Fritz Lang
500
Gone Girl
79.79
83.03
79.32
78.87
2014
David Fincher
If you found this list interesting, I would really appreciate it if you can give my newish Youtube channel a subscribe. It would mean a lot. As always, if you know of or use any other movie website, definitely let me know. Thanks guys.
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