Oh my GOODNESS MEEEE, EVERY BODDDYYYY. We've reached the END. The end of this 3 week EPIC* (*Disclaimer: Not actually epic) countdown of my favourite films of ALlllLL TiIiIiIMMe...currently...at the specific time where I correlated the rankings...this is a very changeable kinda thing, but all the same IT'S TIME FOR THE TOP 10 FILMS, specifically MY TOP 10 FILMS. WOW.
As should be obvious, this is part 3 to a trilogy of blogs, so if you haven't read them yet, go check out Parts 1 and 2 on my page. For that reason also, I will not be repeating the rules of specifics of this list again, as you can check those all out in Part 1. All that's left to do now is get on with the blog, so heeere we goooooo.
10. The Matrix (1999).
Oh me, oh my, it's Keanu Reeves, and he can fly! Ending the previous millennium with a cinematic bang, The Matrix slow motion wall flipped onto the scene and changed the game for science fiction and action movies in the years that followed. Sure, the two films that followed up this one left a lot to be desired, and indeed, The Wachowski's have never quite managed to top, or even equal their breakout directorial hit since, but that doesn't take away from just how gamechanging The Matrix was, and just how damn good the film remains to this date, where it's now celebrating its 20th anniversary (I know, I know, it's depressing). The premise is simple...just kidding, it's exceedingly complicated and weird. Keanu Reeves is an office worker by day, computer hacker by night, who goes by the nickname of Neo. He starts to question the nature of his life after encountering strange individuals and mysterious murmurs online...and as often is the case, he soon finds himself tumbling down a rabbit hole where he discovers mankind has been reduced to cattle, reality as we know it being a virtual construct used by machines in the future to keep us alive and active, in order to harvest our energy to power themselves. Natch. Neo joins a (At the time seemingly) ragtag bunch of humans who've escaped from 'The Matrix' and now attempt to free humanity from their machine overlords, acting both inside the program, and outside in the real world. Their leader, Morpheus believes Neo to be 'THE ONE', a being who can potentially control the system and eventually take it down. So yeah, shit's gonna go down. We got Jesus allegories, we got backflips, sister, we GOT IT ALL. It's...it's THE FUCKKINNG MATTRIIXX.
The Matrix works so well as a film due to multiple things. It's interesting in premise, it's stylish as fuck, it's full of fun sequences and characters, the action is insane, and the premise is initially confusing but also completely understandable. It's a unique and impossible film to imitate (Even in its sequels I may add), many have tried, but none have succeeded. Importantly, it doesn't take itself too seriously, playing out as pulpy sci-fi fun, rather than the melodramatic and overburdened antics of the two films that followed. The special effects continue to be mind blowing to this day, for the most part at least, the use of multi-camera and slow motion photography, practical effects and bombastic framing make for some shots that you really have to wonder how they achieved back in 1999. The film makes full use of its sci-fi premise, where people who are aware they are living in a simulation can use that to their advantage, gaining extensive firearms/vehicular knowledge in moments, and bending the world around them to their needs, making doors where none had been before, stocking up with dozens of weapons at a time, harnessing superhuman abilities and..oh yes, wearing the sickest leather trenchcoats and latex pants this side of a Marilyn Manson concert. Using these advantages to fight Agents, programs within the simulation who can be anyone, anywhere, and are seemingly impossible to kill. It's a grungy, green-tinted action epic the likes of which you've never seen...providing you haven't already seen it, which I'd imagine you have. So break out your trendy late 90s flip-phones, put on your needlessly reflective glasses, and get WATCHIN'.
9. Wallace & Gromit: The Curse of the Wererabbit (2005).
Here they are, here's Aardman again. We previously talked Chicken Run, but now we're going back to the pair that launched the British studio to international fame, and simultaneously going forward...to their follow-up feature to Chicken Run, the horror spoofing CURSE OF THE WERERABBIT. Wallace & Gromit is one of animations best film series', and whilst Curse of the Wererabbit isn't their finest outing (The Wrong Trousers, as previously ranked on my W&G blog a year ago would hold that honour for me), it's their only feature length adventure, and it's also a damn good one at that. Of course it helps, for me, that this specific installment of the franchise is a homage to horror, more specifically of the British, Hammer variety. Naturally, the film is anything but scary, this is an Aardman production after all, instead the film lampoons the genre in camp, crude fashion, with the studios trademark comedic signage and little details doing the heavy lifting where it comes to actual horror parodies. All that said, it also manages to capture the unique atmosphere and lighting of the genre in a way you'd think was impossible for a stop motion production, the legendary Nick Park at the height of his directorial powers in this entry.
As it stands, and like with Chicken Run, I've already written about this film recently thanks to my Aardman double-bill last year, so I'll keep the summary as brief as I can. Long story short, Wallace & Gromit are humane pest controllers dealing with a rabbit infestation, in a village of prize vegetable growers. It's a lucrative business where the simpleton villagers will pay any price to protect their produce, but with the bunny population starting to overwhelm, Wallace decides to try brainwashing them into disliking vegetables with his new invention. Of course. Naturally, there's a BRAIN MELDING CALAMITY and suddenly there's a giant rabbit monster terrorising the town gardens in the dead of night. Throw in a love triangle, a dastardly villain and an angry village mob counting down to the town vegetable competition, and you've got yourself one crazy ass romp. It's beautifully animated, wonderfully scored and endlessly charming in a way only Aardman, and Wallace & Gromit specifically can manage to be...all the while making as many vegetable innuendos as possible along the way. A deserving Oscar Animated Feature winner, Curse of the Wererabbit is an endlessly rewatchable film for me, and my all time favourite full length animation...although Chicken Run does give it a run for its money, I'll admit. Thus is the power of Aardman in their prime.
8. Inception (2010).
It was only a matter of time until Christopher Nolan turned up, right? One of modern cinemas most relevant directors, and IMDBs fantasy boyfriend, Nolan has made some of the most iconic features of recent times, and Inception is possibly his biggest contribution to original cinema to date, the ship that launched a thousand BWAAAAAAA's. Yes, the concept of dream exploration has been done before, and yes, I'm aware of Paprika...and that...Ducktales comic(?), but Inception is still a wholly original film, and an epic one that. Leonardo di Caprio plays Domnick Cobb, a 'extractor' for hire who, along with various other individuals, is hired by corporations to enter the subconsciousness' of their competitors and extract valuable information without leaving a trace, thanks to experimental tech that lets them enter and control dreamscapes. Cobb is also on the run from the law, accused of murdering his wife and as such is unable to enter the United States, or see his children. One businessman approaches him with the desire to not extract, but implant something in the mind of a man who's recently inherited his deceased fathers business empire. If he succeeds in this task, he'll have his criminal charges dropped, and be able to see his family again. As such, the stakes are high, and after banding together a group of the best incepterrrrs in the field, Cobb and his team embark on a literally mind-bending voyage of the mind, facing some all too real inner demons along the way. It's a fantastic premise, delivered in a grand style that only Nolan can seem to provide, with an ending that swells with emotion, and then delivers cinema's biggest audience-wide groan of mild frustration, and then amusement.
Inception has a great premise, and a great cast, but what really makes it a modern classic is its sheer scale and spectacle. As with most Christopher Nolan movies, it's easy to find and pick holes in the larger than life premise, but none of those potential pitfalls get in the way of the entertainment on offer, I feel at least. As the team descend into the deeper and deeper levels of the dream world, the different scenarios and situations begin to effect each other, whilst the team sleep peacefully on a long-haul flight, the next level down there's a frantic car chase being undertaken, the level under that is then affected by the bumpy ride above, leading to an innocent looking hotel corridor becoming a spiraling whirlwind of chaos, which itself causes an avalanche in the snowy fortress that dwells one dream level below. The film becomes multiple sequences occurring simultaneously, albeit within different frames of time, the further down you get, the slower each second of the real world is perceived, meaning any calamities that occur on the level above will have longer implications for the one below. It's multiple thriller sequences fighting each other across simultaneous planes of existence, and the team also need to synchonise their return journeys (A 'kick' lurching them out of each respective level of dream) if they want to succeed in their mission, and make it out 'alive' in the process. It's genius, and makes for fast-paced, thrilling viewing. It's also beautifully filmed, and features one of the most incredible film scores of all time, Hans Zimmer creating a wholly unique and influential soundscape that can both overwhelm with sheer noise, and then also bring a tear to your eye with its swelling beauty. It's an incredible work of cinema, and although its success has led to some somewhat cynical over-examination by film folks, that does not prevent it from being a masterpiece of a sci-fi thriller. A multi-layered mind heist. How often can you say that about a film.
7. Drive (2011).
I love a good crime caper, me. I also love car chases, violence (in movies at least), aesthetically strong cinema, and memorable soundtracks. As such, it's pretty easy to immediately understand why I adore Drive, the arthouse romantic crime drama that pissed off a few, but pleased a great many more upon is release in 2011. It's also the film that made a name out of Nicolas Winding Refn, a talented director who's since gone on to make absolute shit in the years that followed, using this film as the clout he needs to make the films he wants to make...which are apparently, all awful. That doesn't take away from Drive, though, a film that's rightfully gone on to become a cult classic and helped make its star, Ryan Gosling a household name. In the film, Gosling plays the 'Driver', a nameless, practically silent protagonist who does movie stuntwork by day, and does getaway driving by night. His life of crime is operated on a very specific series of rules, he doesn't get involved with the crime, he doesn't carry a gun, and if you aren't back in the car at the 5 minute mark, you're on your own. He's the best at what he does, but all that falls to the wayside when he meets Irene, the lady next door who's husband is currently in prison. The two develop a semi-romantic relationship, being the surrogate father to her child in the process. It all sounds too perfect for him, and it is, and soon enough his love, work and criminal lives collide in a violent fashion that risks him losing it all, and possibly even his life in the process.
Drive could well have been your standard, fast paced crime thriller, and many argued that it was even marketed that way (I'd disagree but there you go), but to MAKE A CAR RELATED METAPHOR, it keeps things in a much lower gear for most of its running time, playing out as a slow motion car crash, full of sweeping and melodic sequences where all the many narrative pieces are calmly put into place, only for the 3rd act to violently tear them to pieces in spectacular, heartbreaking fashion. That said, there's a constant undercurrent of dread that creeps up throughout the film, a reminder that even if things seem to all be going swell, there's still menace lurking just around the corner of the road, with Gosling's quiet and gentle natured Driver himself hiding a dark and dangerous streak that threatens to explode out at any minute. All that said, Drive manages to be a film that's beautiful even in its most violent moments, often pairing beauty with the beast, so to speak, in order to make that violence all the more potent. One of the films most iconic scenes involves a final lovers kiss that seems to warp the world around the kissers in an almost fairy-tale fashion, only for this to immediately be followed by one of cinemas most crunchy boots to the face, bringing things down to earth (Literally, since it takes place in a lift, HO HO) again in a terrifyingly gory way. As it stands, Drive is an understandably acquired taste, I get why some people don't like it...or at least don't love it on the same level, when you apply arthouse sensibilities to a film it automatically becomes harder to swallow, depending on the balance, but for me Drive is an almost perfect crime film...engaging, twisty, violent and visually poetic, relying less on dialogue and more on expression to tell its story, with a score that shines both in its original uneasy tunes and its licensed jukebox collection, put to specifically excellent use in the films opening sequence and credits. Also Ryan Gosling is a handsome boy, y'know? It's got that going for it too.
6. Psycho (1960).
The first of several obvious inclusions to this end of the list...of course Psycho was going to turn up, right? I mean, its memorable final scene became my avatar for this very site (Well, ScrewAttack originally), now with a more...reptilian flare to it. It's also an iconic, gamechanging classic of cinema, and specifically horror, which as you'll have worked out across this list, is a favourite of mine. All that said, I'm not actually the biggest fan of Alfred Hitchcock's library. Don't get me wrong, he's made some real corkers, but there's also a few of his most treasured works that I really don't think all that highly of (Vertigo and The Birds to name but two), and there's even more of them I haven't even seen...hell, the guy made a lot of films across his some 40 years of working, I'LL GET AROUND TO IT, LEAVE ME ALONE. Anyway, my point is, Psycho wasn't guaranteed a spot just because of its generally perceived pedigree, I don't always find myself agreeing when it comes to Hitch...but yeah, I think Psycho's pretty bloody great. Bit of a longwinded way of saying it, admittedly. The original slasher comfortably remains one of the best.
To talk about the story of Psycho is to let unfurl one of Hollywood's greatest twists...but frankly if you don't know it by this point, that's kinda your fault, bub, the film's almost 60 years old, YA FOOL. We start out following the misadventures of Marion Crane, a secretary who's entrusted with a large sum of money by her boss, and decides to steal it and run off to be with her boyfriend, encountering suspicion from the police along the way before winding up stopping at the remote Bates Motel for one, rainy, fateful night. It's here she meets Norman Bates, the gentle but off-putting motel manager who through a somewhat awkward conversation, convinces Marion to turn back and try to escape from the personal trap she'd placed herself in. Of course, the rest is history, and after the most iconic showering in all of history, the film changes gears, no longer about Marion, but instead about Norman Bates, and his attempts to cover up Marion's murder, protecting his mysterious mother in the process. Once again, not everything is as it seems, and what ensues is a slowburn game of cat and mouse, with a truly killer ending. It's a masterwork of suspense, beautifully filmed in black and white, steeped in menacing shadows that offer an advanced warning of the terrible fate that awaits Marion in the first half, before becoming a constant companion to the dark mystery that follows in the second. The real star of the show is Anthony Perkins as Norman Bates, of course, giving a disarmingly charming, but frequently unnerving performance that's one of the most memorable in cinema. Psycho would've been a good film without him, but it's a masterpiece as a result of his grand work. And who can forget the score? Oh man, the score. Shrieking shower sequence aside, it's a orchestra of menace and panic that works perfectly with the visual atmosphere to create a film that remains haunting and engrossing long after its big twists are revealed. You won't believe this, but Psycho is a good film. It's...CRAZY...aho...get it? Cuz...Psycho. Okay. Moving on.
5. Alien (1979).
OH SHIT, one of the most obvious inclusions in this ranking, and the hardest to talk about since I've kinda gone on about Ridley Scott's horror masterpiece in great detail a great many times, one very recently. And I mean...what's there left to say about Alien? It's impact on cinema, the horror genre, and pop culture is well known, and beyond its influential nature, it's just a damn good movie. It made a star of Sigourney Weaver, it put Ridley Scott on the directorial map and made the late, great and weird HR Giger the cult icon he deserved to be...the weirdo, thanks to his unforgettable design work on the alien ship, and ...oh yes, that big, phallic Xenomorph, which remains one of cinemas most famous monsters. It's scary, exciting, dark, visually creative and surprisingly funny. It's just GREAT, and I've already stated that many times before, so let's moooooove on.
4. Children of Men (2006).
Alfonso Cuaron has already featured on this list for the excellent Gravity, and in that entry I mentioned how knowing he was the director made it an instant must-see for me. The reason for that is Children of Men. Holy shit, Children of Men. One of the most criminally underrated films of modern times, this epic, British-set dystopian thriller is as gritty and dark as they come, and it's all the better for it. Released in 2006, but set in the 'not too distant' future of 2027, Children of Men sees humanity on the brink of collapse, 18 years after, for unknown reasons, our species became infertile. Naturally, an increasingly aging world without the prospect of further children is quite the shitty one, the global economy is in the toilet, most of the world's governments have collapsed, and Britain, one of the few surviving political powers is a state of immigrant segregation, police oppression and readily available suicide pills. We follow divorced, grieving bureaucrat Theo Faron as he's recruited by his activist ex-wife to help a young refugee flee the country, it becoming rapidly clear that she could be humanity's last, best hope for the future. What follows is a lifechanging journey across the depression ravaged country, meeting a host of unusual individuals along the way, some who can be trusted, but many who cannot. It's a journey into darkness, but with glimmers of hope and beauty, exploring the lengths we'll go in order to survive, both individually and as a species, which makes Children of Men a far less bleak experience than it could've easily been.
That's not to say Children of Men isn't bleak, it's not a fun ride for sure. From the explosive opening sequence it's clear that the film is treating its high concept sci-fi premise with a huge degree of realism, the near-apocalyptic premise taking a narrative backseat to an all too familiar looking war-torn, fascist ruled landscape, this time brought right to our western societal doorstep. This is a world of broken people living on the very edge of potential annihilation, and that's why so many are willing to put everything on the line to get Kee, the previously mentioned refugee out of the country, and into the hands of people who can potentially save the future of the human race. As I said, there is beauty and awe to be found throughout, helped by Cuaron's magic directorial touch, those trademark long shot takes being put to their greatest use in this film, with a lengthy 3rd act sequence proving to be one of modern cinemas most powerful and breathtaking moments. The performances all around are top notch, everything from Clive Owen's stoic, broken lead, to Michael Caine's weird stoner (and also broken) character providing memorable and often heartbreaking moments. The soundtrack is exceptional too...honestly, there's not a lot about Children of Men that isn't outstanding, whisking you along on a unforgettable journey through a brilliantly realised dystopian future, giving you enough information to keep you engaged, but never so much that you feel above the protagonists you're desperately scrambling along the cracked, decaying streets of Britain with. It's a modern masterpiece, and one you desperately need to check out if you haven't already...just be prepared for an emotional ride.
3. Heat (1995).
Oh maaaan...Oh MICHAEL MANN (Gettit), this whole Top 5 is getting me pumped as hell. Although I am pretty comfortable with my #1 entry, the four that precede it could easily be placed in any order, I just did the best I could do to choose a preference. As I said previously with Collateral, I'm a fan of Mann...ahheuh....and there's no greater contribution to cinema from him than his 1995 crime masterpiece, HEAT. Marketed at the time as a clash of the cinematic titans, in its bringing of Al Pacino and Robert De Niro together in the same film, face to face, for the first time. That might not mean much now, when Al Pacino is doing fake Dunkin Donut adverts for Adam Sandler, and De Niro is....somewhere, I'm not sure where actually...but in the 90s? This was an event not to be missed by any cinephile...not that I would've known at the time, I was two years old. I obviously watched it quite a bit later, where the novelty of those two colliding was mostly lost on me...and the thing about Heat is that, 90s cheese aside, it works because of, and as well as those core performances, perhaps the last real tour de force role for the both of them. Heat is an epic and complex crime drama that is fantastic broadly because of the cast involved, but at the same time, when those two sit across from each other in that iconic diner scene, it's not exciting because of who they are, it's exciting because of the story, and the characters they are playing. In 2019, Heat isn't a must-watch because of the two lead men, it's a must-watch because it's just fuckin' good cinema.
The film is a tale of two individuals who reside on opposite sides of the law. De Niro a highly skilled criminal with a code of isolation, the idea that you shouldn't commit yourself to anything in life that you aren't able to leave behind forever at a moments notice, should the circumstances call for it, one he finds himself breaking as he falls in love with a random woman he meets in a diner. Pacino is a world-weary 'Major Crimes Unit' Lieutenant trying to track down and apprehend De Niro and his heist crew, all whilst dealing with a collapsing marriage and a stepdaughter that's suffering in the middle of him and his wife's turmoil. The two have both let their personal lives fall apart in constant pursuit of the next 'job', and upon finally encountering each other, find themselves feeling a great deal of mutual respect, one that comes with the grim caveat that, should the moment call for it, both would not hesitate to kill the other if it means surviving themselves. It's a gleefully complex protagonist/antagonist relationship, and the film spends ample time with both party to flesh out both their character, and the ample roster of supporting characters on both sides. At its core, this is a film about a cop trying to catch a robber, but as a film, it is so much more than that. There's some great action sequences, the city shootout and its realistic soundscape in particular being a highlight, but really it's the performances, writing and atmosphere that make this film a real classic. So much of it is spent in the LA landscape late into the night, scored to grungy, tortured guitars and moody licensed music, spending time with the different characters and exploring their personal problems more than it does the heists and gunplay. At nearly 3 hours in length, it's an crime epic in the very literal sense, and parts of it maybe haven't aged as well as others...but really...Heat is just some exceptional cinema, there's really nothing like it out there. A fantastic neo noir thriller, and a character study of mutually appreciative, flawed individuals, both of whom have the other in their gun's sights, whilst knowing their own time may be numbered. Also, Pacino says GREAT AAAAAAAAASSSSSS at one point, and that's really something.
2. The Dark Knight (2008).
Given the current comic book movie landscape, it's hard to imagine that just over 10 years ago, the concept of a film making a billion dollars at the box office, and a comic book movie being one of the most acclaimed, talked about films of the year was a surprise. Nowadays if a tentpole superhero release doesn't make upwards of a billion financially, it's often considered a disappointment, and comic book movies are regularly among the highest reviewed, most notable releases of their respective years. Of course, it's also hard to imagine that the acclaimed, award winning $1 Billion movie was be a DC property as well. But here we are, with The Dark Knight, the film that ruined DC and a lot of blockbuster cinema for years to come, but stands itself as possibly the finest of its genre, at least in my opinion. Often the middle film of a trilogy is the weakest, stuck as a halfway house between the exciting origins and explosive finale, but that's very much not the case with Christopher Nolan's gritty, semi-grounded trilogy take on the caped crusader, which is great all across the board (In my opinion, I know Rises is pretty divisive), but truly shines in its second round. With the origin story out of the way, The Dark Knight plays as a mostly self-contained experience, referencing aspects of Batman Begins without also being chained to it. It stands by itself as a masterpiece of the action/crime/thriller/comic book genres, and yes...this list is really showing how much I like most of those boxes being ticked.
The Dark Knight sees Bruce Wayne and Batman at the height of their respective powers in Gotham, and basically chronicles the downfall of them both across the course of the film...uh...spoilers, I guess? Of course, there is no Batman villain better suited to bringing the hero, and his city to their knees than the Joker, played, obviously, by Heath Ledger, who gives an astonishing, award winning performance, one that would sadly be his last, the circumstances of his death relating to the dark role he plays in this film remaining a dark patch on an otherwise exceptional cinema experience. As with the previous entry on this list, it's the dynamic between Batman and Joker that really sets the thing alight, a man who lives by a strict, honorable code pitted against a psychopath without boundaries, hellbent on proving to his adversary that deep down, he's no better. The Dark Knight is a film that's just wall to wall brilliant moments, opening with a gloriously choreographed heist sequence which perfectly introduces this new, very different take on the Joker, and not really coming off the cinematic gas after that point. Trucks flip, hospitals explode, faces are two'd, pencils are made to...disappear and morality is tested by both tragic deaths and high stakes hostage situations, all exquisitely filmed by Nolan and his cinematographer Wally Pfister, and exceptionally scored by the masterful Hans Zimmer. It's a beautifully made film with jaw-dropping action sequences, memorable performances (particularly by Ledger of course) and a blisteringly thrilling ending that really packs a punch as the film smashcuts to black, and the credits start rolling. I know some people have had their impressions of this film soured over time, but for me it remains just as magnificent as the day I first watched it in awe back in Summer 2008. It left a huge impression on me, and helped truly blossom my love of complex and mature cinema, which obviously, I retain even moreso to this day. It's just a fucking great time, a film I could watch again and again quite happily, gravelly Batman voice and all.
1. Aliens (1986).
Yep, it's Aliens. Big shock, huh? The biggest hurdle I faced when planning this list was grappling with the fact that....the number 1 choice was blindingly obvious to anyone who's ever known me. I've not exactly been subtle about the fact that I view this film as my favourite of all time, I even said so in my Alien/Predator ranking blog last year...which also has left me in the position where I have to end my epic(?), 3 part movie countdown on a film that...really I don't have a lot more to say about. I feel like I've been praising this movie since I started regularly blogging 7-8 years ago...like...it's Aliens? I love it to bits? It's got everything I love in a film that isn't a complex crime drama where the morality and ambiguity of different sides of the law are explored in a neo noir, grungy setting ...cuz that's not really this film's style. Aliens has everything else ticked though, it's an action horror movie, expertly directed, wonderfully scored (Courtesy of the late, great James Horner) with a great lead performance and a roster of memorable characters, sequences and iconic lines. I love the Xenomorphs, I love Ripley, Burk can kiss my ass, that Ripley vs Queen fight is one for the ages.
I could gush and gush and gush. But I'll restrain myself, as I did with the similarly excellent Alien earlier. I just love Aliens, I know it's not the most intelligent or 'film buff' kinda choice to make, but y'know...fuck that, I guess? I don't love cinema the way I do, and enjoy the films I do to come across as an expert on the medium, or to make some fellow film enthusiast nod in quiet satisfaction as I pick a new wave French art-house flick as my all time favourite (Not that there's anything wrong with liking those either), what makes me such a fan of cinema is because there's so many places it can take you. I can adore 90 minutes of mindless carnage just as much as I can be riveted by a thoughtful 3 hour indie drama. All genres and corners of cinema have the capacity to be exceptional, and inspire audiences in so many different ways, there is no elevated genre or touchstone of high art. But none of that really matters, because Aliens is rad as fuck, so...yeah. The end? Cue Dark Knight'esque smashcut and an audience of disappointed readers slowly getting to their feet and making their way down the aisles, and out the exit. You missed the end-credits scene where I ask you to Zing the blog, assholes!
Well, that's it folks! Top 30 films ranked and written about. Hooowee, that was a big project to undertake, so I hope you enjoyed it, and better yet, it introduced you to something you haven't seen, and will maybe check out. That'd be awesome. Thanks to anyone who's read and shared these 3 blog entries around over the last few weeks, I really appreciate the support. As with the other two...if you enjoyed this final part, give it a ZING, post a comment with your thoughts on the entries, and your own favourites...and share it around the social medias if you'd like. I don't know when my next blog will be, but hopefully it won't be too long away...until then, LATER GATOOOORS.