TL;DR
I created a laundry list of high-level tenets that drive the game design of specific genre I coined the World game based on Brad's famous quote. These aim to be applicable to any game that would scratch my old school MMO itch.
What tenets would you choose?
Preamble
The MMO community is, to some degree, divided by the different expectations and desires of its player base. Even an MMORPG can mean so many things to so many different people. I wanted to get to the root of what a good MMO is to me, and in the process, I found that the ambiguous label of MMO is likely getting in the way.
Passionate players across the board seem to complain about the same issues. Ease of difficulty. Cash shops. Single-player focus. Theme park design. Players of these games either leave the genre, ultimately disenchanted with the thin veil over Skinner box design, or they continue to search for something better, because they know it is possible. Maybe this is intentional. Developers piggy back on the MMO genre to hook the player-base before extracting as much as they can from the whales in their glorified casino.
So, here, I present the tenets of a specific game genre: the World genre. The focus on world over game is not a new idea. Brad McQuad famously said, “I want to make worlds, not games.” That focus can be seen right there in the name of Visionary Realms. And without the right language to describe what we are after, the community is continually bit by games that fit the abstract label but disappoint in the details.
The goal with these tenets isn’t to create a template so much as it is to create rough guidelines. In fact, these guidelines probably wouldn’t do a game designer much good in creating a solid design. But they should help in evaluating different options and validating an existing design. Certainly, none of the tenets get as specific as the theme or even the existence of combat. They should apply equally well to a game set in feudal Japan, The Sims Online, or the next zombie apocalypse.
Some tenets are broad, while others more specific. Some tenets are rigid, others more malleable. Some tenets are critical pillars of the genre, while others are less important. Tenets frequently conflict, creating tension.
A note on intuition
The tenets below are driven by the principle that they should be intuitive. The World genre is trying to capture something deeply human, buried in our brains because of the way we have interacted with ourselves, each other, society, and our planet over millennia of evolution. There is no right or wrong answer. When in doubt, we err on the side of realism.
A note on ownership
Establishing reasonably prescriptive tenets on the World and gameplay highlights the necessity of strong ownership and vision for this style of game. This is particularly true given that many of these tenets go explicitly against what makes a great game in general. For example, how many games would actually benefit from less player matchmaking? This also does not lend itself well to player-generated content, where those tenets can be easily violated.
The tenets of immersion
TENET 1 The player should be directly represented in the World
The World genre requires the player to form a direct relationship with the World, not with the character. This is a key difference between Eastern of Western RPGs (both of which I love) and so this may be controversial. The player should be able to insert themselves into their avatar. On the flip-side, it precludes certain mechanics, such as squad-based designs.
TENET 2 The World should be realistic in both form and function
That is, the World should minimize the need for suspension of disbelief. It should pull the player in naturally. I have always felt conflicted by WoW’s appearance. I absolutely loved the cell-shaded look of Wind Waker, but instinctually disliked the cartoon-like nature of WoW. This goes back to immersion. That doesn't mean the visuals have to be photorealistic. They just have to pull you in. It may be possible to get around this through the setting. For example, if the setting is a digital afterlife, you may be able to get away with a more abstract appearance.
TENET 3 The player and World should interface only through the player character
The player should only be able to influence the World through their character. And the World should only be able to influence the player through the character. This means, respectively, no cash shops and a first-person camera. It also means no GPS — unless, of course, the setting supports it. Taken to an extreme, this precludes voice chat, at least without something like racial voice filters.
TENET 4 The player should directly engage with the World around them
The key here is “direct”. No minimaps, no waypoints, no fast travel. Of course, these are not absolute deal-breakers. The key is that the player is able to establish a connection with the World around them. The player should, over the course of the game, develop a strong mental model of the World and its relation to their character.
The tenets of freedom
TENET 5 The player should not be assigned a story
The World itself can (and should!) have a story to tell. But the player character’s story should be their own. The player must have the freedom to make their own place within the World, eschewing the rails that a story provides. Side quests are lesser evils, but still evils. The more choice the better.
TENET 6 The player should be able to pursue multiple forms of progression
The choice should not just be in how to progress. It should be in which ways to progress. The most obvious example is crafting, but this can also include loot, skills, the economy, faction, or even — maybe most importantly — growing in strategy and skill.
TENET 7 The World should be demanding, but not prescriptive
This is an extension of the idea of a lack of story. If the game is too prescriptive, it becomes a job. A chore. To combat this phenomenon, the player needs significant choice at all times. This may, in fact, be the primary draw of the World genre: to provide an environment where players are purely driven by their own will. It is equally important to avoid visibly and overtly influencing the player’s decisions. The player’s incentives and motivating factors should be an organic part of the World. No daily XP boosts, for example. Alternate forms of progression can help here, because even once a player is motivated to progress, they have the choice of which dimension of progress to pursue.
TENET 8 The World should encourage downtime
The player should not feel compelled to move forward at all times. There should be joy simply in existing in the World, experience it moment to moment. Even better, progression itself can require downtime; this is related to the notion that players should be encouraged to play any game in the most fun way possible. This can be accomplished with world design, such as guard-protected cities or social taverns, or mechanics, such as fishing, firework shows, and waiting in queue for a boat. This is effectively the white space of gameplay. And it is all but lost in modern MMOs.
TENET 9 The World should be dangerous
Choice is meaningless without consequence. With real, negative consequence, comes danger. This not only gives weight to the player’s decisions, but also helps to establish the intricate give-and-take relationship between the World and the player. Looking at you, death penalty. If a World game is about finding your place within that world, then danger and risk makes this a meaningful pursuit. If that tension between risk and reward does not exist, even at the start of the journey, it undermines those goals. Note that this is different than challenge — and challenge itself is not enough.
TENET 10 Players should be encouraged to explore the World
This doesn't mean that players are constantly seeking some never-before-seen point of interest, but it does mean that players get out and move. In other words, the world provides resources across its footprint, and you must seek those out. Most forms of progression should require you to get out and explore. This also does not necessitate baubles scattered around the landscape to find.
The tenets of impact
TENET 11 The player’s actions should be worn like a badge
You should be a product of your choices. Your reputation, gear, and skills should tell a story about where you have been and what you have accomplished. Your spoken languages can tell a story of what cities you have spent the most time in. As you spend time in different climates, you may develop a natural acclimation to those environments. Imagine you walk into town and one of the NPC gnomes recognizes the scent of the nearby crystal caverns you have been exploring. This is interesting because it relates to life; the player’s accomplishments should come with artifacts. This also means that auction houses should be limited, as they create an artificial divide between adventure and outcome.
TENET 12 Players should have something unique to offer
The ways that a player can help others in their progression should be relatively unique to that player. As much as possible, they should tell a story about adventures undertaken; e.g., a proc from an item dropped by a famous mob. Of course, classes and class-specific skills are one way to accomplish this, but the more ways the better. For example, if one form of progression is fishing, then fish should be useful to others in many ways. A cooking skill is obvious. More creatively, certain kinds of fish could be used as powerful but low-level weapons. A butcher could extract gills or eyes to, in turn, be used as reagents for spells.
TENET 13 There should be no end game
Even the name “end game” is problematic for several reasons. It suggests a hard limit to progression. It suggests a hard divide in the way the World is experienced once the player reaches this limit. It also suggests that the focus is no longer on the World, but on the game — which is to say, the core promise of the genre is lost. This doesn’t mean to eliminate raids or AA points. It just means that those things should be included in the game proper. This tenet also implies that progression should be relatively limitless. Skyrim is an interesting example of this. One way to accomplish this is to create exponential progress; for example, having each level take 10% more experience than the last. Granted, this is a much harder problem than the simple discussion here suggests.
TENET 14 The player should leave a mark on the World itself
Can a World be meaningful if there is no way to make an impact on it? Of course, their character is one such mark. It is easy to imagine statues erected in town, or NPCs chatting about the first character to hit max level. But there should be a means for all characters to leave some lasting impact. Given that players can already say whatever they want in chat, breaking immersion, a simple example is the ability to leave a journal. These could even be curated. Other possibilities include geocaching, naming items, plaques that can be erected in various places throughout the world. Player-owned housing is perhaps the most obvious.
TENET 15 Power, fame, and fortune must be possible
A world game should be able to provide all three of these drivers. As with reality, these should not be the only reason to play. Fame is largely supported by communication; fortune by economy and loot. Power can be found even outside the game, in the player’s mind, as they grow in skill and strategy.
TENET 16 The player should have a home
Can you have a world without a home? Some place in the world should feel like your own. Where even the NPCs tend to be supportive of you: merchants give discounts and trainers more assistance. This could simply be your birthplace, your hometown.
The tenets of socialization
TENET 17 There must be no explicit matchmaking
Players must find each other. In fact, a World game should ideally employ the opposite of matchmaking: some players should have barriers preventing that connection. This makes it all the more meaningful when these seemingly unlikely relationships form. There are many ways to accomplish this, including separating players by distance or climate or language. Allowing certain players to engage in PvP is another.
TENET 18 There should be risk in trusting others
Trust can only exist when that trust can be violated. Otherwise there is no trust — just a cold, lack of consequence. By allowing negative consequences through socialization, we enable trust, and so enable more meaningful relationships. For example, a player might grief the group, log out at the wrong time, or simply lack the skill to effectively play their character. They might steal your loot.
TENET 19 Players must be able to communicate with language
The purpose of having a World is to allow the player to tell their own story within it. And what story is worth telling that doesn’t involve real connection with others? Connection with others requires communication. And not just any form of communication, but with language. This communication should extend throughout the game, as much as possible. That is, it should be limited to the tavern, but should naturally extend out to the dungeon as well.
TENET 20 Players should be able to help each other organically
Those that have the means to help should find themselves naturally in proximity to those that might need it. For example, have high-level dungeon entrances in low-level areas. Have new characters start out near big cities.
TENET 21 Cooperation should generally benefit progression
For example, a blacksmith could gather all of her own materials or rely on other players. In some cases, a blacksmith might actually require an enchanter to lend a hand in creating the best equipment. This is not a difficult tenet to design towards; it is more a warning against designing forms of progression that specifically do not lend themselves to cooperation. In many MMOs, solo combat is so fast-paced and rewarding that there is little incentive to try to find a group.
The tenets of the World itself
TENET 22 The World should be persistent
Things can change, but not so frequently that it harms the connection the player has with the World. This is one reason why Minecraft may not work as a World game, and perhaps one reason why the focus on player-generated content in EverQuest Next did not lend itself well to a fun experience.
TENET 23 The World should be shared
There should be no instancing. If you need to come up with elaborate lore and mechanics to facilitate this, then so be it. For example, say all of the top tier raid bosses are spirits that can only be summoned by rare relics. And the spirits can only be hurt by those that share a clan sash with the one who summoned them. Obviously this is terribly contrived. But it demonstrates that it is possible to work backwards from the need of a shared world.
TENET 24 The World should be big
You should move slowly compared to the size of the world. It should always feel as though there is somewhere new to explore.
TENET 25 The World should be open
Big by itself is not enough. Theoretically, you could create a massive, linear world — imagine Ant Hill: The MMO. But that is not sufficient for a World game. Exploration is critical, and so the specific layout of the space is important. For another example, imagine Destiny but with hundreds of expansions. The game would be large by any standard, but it would not be a World.
TENET 26 The World should be alive
To some degree, the World should be the main character. Day and night cycles are a simple start. Other possibilities include transient events or even changes to the landscape over time. The World should be full of surprises, unpredictable. You should come across enemies not normally found in the local climate. You should discover loot normally reserved for much tougher mobs. Emergent gameplay can help here as well. The more mechanics and attributes that can be projected naturally to some underlying physics, the greater the chance for interesting and unique interactions. In the same breath, the World should have history. The best example of this is Hollow Knight, a game that tells the history of the World through visual storytelling, environments, enemy design, dialog, secrets, and journals.
TENET 27 The World should be consistent
The World should carry an underlying consistency through it. The World should feel congruent. Variety, also important, must be tempered.
TENET 28 The World should be varied
Different places within the World should have an identity of their own, through climate or culture or environment. Different environments should encourage different play styles and behavior, even downtime.
TENET 29 The World should have landmarks
The World should be defined by the interesting places within it. More than that, the World should have locations that pull players together. Breath of the Wild does an amazing job with this, whereas it is one of the weaknesses of The Witcher III. In EverQuest, the camps themselves often serve this role — think Treants — showing how landmarks can emerge from gameplay rather than, say, visual interest.

The results are in for Match 10. The winner is…
Ananas “Agnes” Bayley, with a score of 72 to Guy Manuel-Mota’s 69!

Category	Winner	Point Totals	Comments
Popularity	BADD GUYS	18-12
Quality	Suburban Regalia	22-23	Reasoning
JoJolity	Suburban Regalia	22-24	Reasoning
Conduct	Tie	10-10

Amidst the sea of concrete snow that the stage had become, egged on by Agnes’ unusual encore request that Metra had agreed to, the killing intent of the self-styled villain and master mixologist had won out against the comparable brutality of the affable mercenary who had tried to take his life with just as much brutality.
The crowd, though annoyed by being utterly doused in carbonated everything, literally tossed around, literally watching their fellow partygoers exsanguinated and turned into meat puppets, did not allow it to ruin their fun, cheering on for Metra and her eclectic song choices. Agnes hopped off the makeshift surfboard he’d constructed, his opponent cut to pieces and speared and speared to hell, and it a testament to the sheer resilience of Guy-Manuel Mota that, even in such a gored, pulverized state, his opponent wondered if he was actually dead.
Regardless, he wasn’t getting back up, or reassembling, or pulling any more surprises or attempts to play possum. Realizing that it was over, Agnes was shaking. Breathing heavily. Hints of tears started to form in his eyes… but before he had a chance to cry, he arched back, laughing into a sea of concrete snow.
He’d won again.
“There you go, Metra, your show is saved or whatever,” he said with a mocking flippancy as she left the crowd to meet him backstage, “and I didn’t even kill any of these guys who paid to see you… They’ll just have to deal with sticky-wet clothes and some broken limbs.”
“Can’t believe this happened again… And I just had no choice but to keep singing and dancing.” Metra rubbed her hands on her arms, shaking her head. “I’m sick of this shit… I thought it was all almost over, but it’s just going to be forever in this city, huh?”
“Probably,” Agnes said, still half-laughing through a strained face, “just a constant, encroaching wave of ‘despair’ every waking moment… Way I see it, either you ride that shit as far as you can, or you let yourself drown. Doesn’t make a difference to me which you do.”
He glanced up at the ceiling then, cupping his hands. “Hey, fuckers! I won now! I beat the guy you sent! Get on the biggering or I’ll burn your casino down again!”
The game had, in fact, been won, and Agnes and Metra were the first to start to be free of its grasp, along with the spiked and bloodied separated bits of Guy, still pulsating ambiguously.
“He’s out for blood.” Tigran declared, warning the others Entertainment District highrollers observing, as he produced a deck of cards. “My Stand can’t hold him at that size much longer… But this whole place is about to be flooded with people, too. Duck into somewhere, and get away in the confusion.”
He spoke authoritatively, and even his sole superior, Fox, complied with his wishes after an urgent glance. “I… I’ll come for you! I promise I will!”
Tigran didn’t hear much more of that, then, beyond the sounds of Pork Soda’s Stand cry amplified by sonic boosts courtesy of Metra Doria. He fought impressively with little more than a deck of cards, but even then, could only buy his friends the seconds they needed to get away, live to gamble another day.
Tigran “Golden” Sins, User of ‘The Grid
Retired!
Face broken in nearly a dozen places by Agnes and TD/MD, the 48 year-old owner of Heartache Casino would be very quickly interned at Red Clay penitentiary, Metra insisting that her ally not kill him.
As thousands of confused concertgoers suddenly grew to full size and began to flood the halls of the Alexander Dickinson Amphitheater, the rest of his accomplices were able to escape the authorities yet again. Despite his extremely infamous protectiveness towards his face, he almost seemed to wear the damage with pride, knowing that this time, it represented having allowed the only man he considered greater than himself to run free yet again.
Red Clay Penitentiary - Industrial District
“Well, well, well, isn’t this a small world now? Tigran Sins, now in my care… Certainly less of a looker than I’d heard.” A dark-wavy-haired twenty-something sat snickering in the warden’s big swivel-chair, clad in a sleeveless velvet minidress, what of her flesh was exposed covered in flickering tattoos resembling closed eyes, flanked by uncanny-looking guards. “You don’t know me, but I’ve certainly heard of you… Of how you treated someone I hold dear very cruelly. Don’t you understand we’re all Stand Users trying to live our best life, Mr. Golden? I’m not the one who hurt you and threw you in here, and you’re not the one who said that I needed to be kept half-starved at all times so I couldn’t create anything.”
“Wh… Wait. Who the hell’re you?”
“Did my sweetheart never mention me, or do you just not pay attention to anyone but you and yours?” She leaned forward, bridging her fingers together. “I’m Palmer. I was a drama teacher at a small-town high school, but they kept overfunding football, one thing led to another, and now… I’ve got some serious vision.”
Tigran would be the last inmate admitted to Red Clay before a coup months in the making finally came to fruition.
Hey, yeah, Palmer! Remember that fun NPC? She was dating Mr. Jones and killed four people for him! Anyway, yeah, adjacent to him, an all-out meanspirited brawl in a sewer is taking place, feat. two chaotic clowns and two very frustrated young women.
What rotten luck this had been.
That leak, now of all days, when Being So Normal, Cairo Satori’s pet project that they had been slaving away at ever since setting foot in this series, had the deals with the devil that it had been built upon from the very beginning exposed for the world to see, and the city, which had loved every second of it before, had now been divided sharply between the loyal fans remaining and those protesting the entire thing, demanding the resignation of their producer, the cancellation of a show which had been picked up by so many streaming platforms, had already begun to make so much for the people who had made a livelihood of it all.
With the connection to Andrew Tiffany’s demise, even the oh-so-loyal Purple Flying Man resigned with only a short argument, and even the damage control removal of Caroline Jeffords, responsible for the worst of it, did little to contain the fact that Cairo knew about this, and Cairo allowed this to proceed nonetheless.
What, were they going to just throw it all away at the last minute? Ruin lives, tank companies, get how many people laid off? All over the failures of those close to them? Of course not.
“Cairo, dear,” the voice of that ever-troublesome producer, Million Dollars, muttered into a cell phone for them, “I’m going to need to go under the radar for awhile… People are beginning to look into my own affairs as well. But know that, as always, no matter what, you have my support. This show isn’t just a cash cow, Cairo… It’s an example. An example for the world to look to, and something for Stand Users to aspire to be better. I know you’re probably mad at us as well, but… You know that, don’t you?”
“Dollars… You’ve got a lot of nerve, trying to plead with me right now,” Cairo answered, tense in what had been their green room, sitting in the mall their producer had owned, “we definitely need to talk about our future… But we need to have one, too. Of course the show must go on… Nothing’s gonna jeopardize that!”
Free Viper Strip Mall, Suburban District
In recent times, the atmosphere at Free Viper was… somewhat dire. In fact, it had been on a rapid decline since that fateful day a couple months ago when Bert hijacked a ritual meant to challenge fate and did so, while murdering tens of thousands of people and injuring far more than that at the same time. Actually, Black Knight Penitentiary Album’s death and the realization that Remix was a serial killer came before that and weren’t very uplifting either, but what Bert did was somewhat hard to top.
Either way, the realization that he found one of the most morally bankrupt groups of people to team up with in Los Fortuna was one that Arthur Lifeson had reached not too long ago, and though it was somewhat of a painful thing to come to terms with, he had no choice but to do so and simply carry on. Bert had died, and the least Arthur could do from here on out would be to do his best to assist the city of Los Fortuna and bring justice to those who deserved it. The city certainly needed it, given all that was occurring right now.
For all the time Arthur spent in the city, he hadn’t gotten enough of note done yet… but that was soon to change. He had a plan in mind, one that would help keep the city and the world of stand users as a whole from devolving into further chaos. Before he could put it in place, however, he’d have to get some help.
Los Fortuna Shopping District, Sweet FA Mall - The Next Day
Nix Ripa had been in this city for months now, and in that time, all he had done was tear down walls, break buildings, break people who had dared to step all over the safety of others, of those too weak to bend fate to their whims.
It was despicable to him, and the icy Stand User was seething with hot rage. Those without the power to change the world themselves were pitiable, in their ways, yet at once, he knew they were not above help… That they needed to be driven higher, reach for the stars rather than wave to the heroes they saw in them!
When Arthur Lifeson discovered and contacted him, he did not hesitate to make his way to the megamall in which this was all set to culminate. Rather than in the comfortable solitude of the Black Hill Estate, where he could train without disruption, he’d even spent the night in an alley nearby, wanting to be able to spring out first thing in the morning!
When he did, then, as if on schedule, the older bearded man who had requested his help stood at the foot of Sweet FA, looking himself quite regal with that increasingly modified Medieval Times getup.
“Sir Ripa… It is an honor to meet in person, with yet another warrior of great acclaim.”
“Heh… I’ve seen you around,” Nix answered, stretching off the sleeping-on-a-dumpster aches and forcing out his hand, which Arthur, in turn, grabbed firmly, the pair locking fingers tightly and staring one another down intensely. “Did a damn fine number on those guys at this very mall awhile back… And it takes some guts to drive out into the Middle Finger for any reason! The mountains are where I do my most intense training of all!”
“Aye, I regrettably was fooled into following the glorious allure of Being So Normal… I lack even your good reason, of how you and your fallen brother-in-arms, Sir Rains, apprehended a true villain in the process of this fight, and even a black knight who would have put a past companion of mine to shame with her depravity.” He looked towards the space and shuddered. “The show, it refused to show the truth, but the wounds from that grueling battle, the burns… They were excruciating. That witch Jeffords, nothing she’s touched can be trusted as a truth to show the world.”
“So we’re in agreement then!” Nix said, finally letting the handshake go as Arthur’s hand began to grow numb, rolling his arms around and turning to face Sweet FA. “I looked into this place, their mission statement, their show, their producer… Set a good example my ass! They just want the whole damn world to think there’s nothing better than being a Stand User! That the ground we walk on should be kissed just for what we’ve got! Well… I’m no goddamn celebrity!”
“Heavy is the head that wears the crown,” Arthur agreed, “and this mockery… It will not do good for the world to learn of us this way. A knight’s honor is not something we seek for glory, for congratulation, but because there is no greater purpose than to slay evil, to protect those who cannot for themselves!”
“Heh… I like you. After this, we’re sparring ‘til one of us can’t move!”
Nix led the way in there, then, Arthur feeling pause for a moment at the sheer intensity of his companion. This was not of fear, however, or of a sudden feeling of inadequacy at someone so much younger, yet so much more driven than him.
Nay, he had been filled with more righteous determination than ever, and with a battle cry that led to a family with two kids in a stroller staring his way, he ran in after him!
…
…
As soon as they reached the main foyer of the mall, both of them realized, in tandem, and Nix spoke first, “…this place is huge as hell! Where do we even go to smash shit up?”
“I… That. That is a good point! Perhaps we should conduct a map kiosk, one which says ‘you are here!’ Ugh, those are always a pain to read…”
“I’ll help you.”
Both turned, then, to see a very fashionable teenager, clad in a purple aviator cap and goggles, slim and bearing a dour expression on his face. All who had hung around Cairo would recognize the Purple Flying Man from someplace or another, as well as all the extremely online and influencer-following of Los Fortuna.
“This show… They’ve done so much to capitalize on my uncle’s death. They’ve actively stopped the truth of whatever might have happened to him from being investigated with their frameup… And this conflict, I have lost two of my brothers to it all over again.”
He paused, then, and the two men seemed to trust him.
“You won’t be able to erase the show completely… It’s already had a limited run in this city. But masters, extra footage, content they were going to actually send out… There’s a storage space nearby… Most of the show’s data is backed up, of course, but that’s where everything is being saved. If your wish is to sabotage Being So Normal, to ruin its international release before it can cause any more harm to the outside world, that is where you go.”
“So you’ve had a change of heart yourself… I am thankful to hear that, Purple One…” Arthur snapped his fingers, then, as if remembering his name. “Right, now I remember! ‘Afton,’ wasn’t it?”
Purple’s face faulted. “Erm… N-no, eheh. It, uh… It wasn’t that. I haven’t been anything but ‘Purple’ for a very long time.”
“No matter what you’re called, an enemy of this show’s from within is just what we need to make this a little less of a pain in the ass!” Nix declared. “Lead the way!”
A Series of Backstage Halls Deep Within Sweet FA
Acrobatic and stealthy as he was, after leading the way in for those who had sought out this quest to begin with, Purple hurried along deeper inward, well aware that it was likely this place would not be unguarded, and meaning to scout ahead, maybe even fight a bit if he absolutely needed to.
He really, really did not want to, and so far, it wasn’t reassuring to him that nobody had interrupted them. No show staff, no Stand Users, not even some rent-a-cop had yet gotten into the way of this.
As he made his way to a security room, quietly bemoaning the fact that he would never live down infiltrating a security room with that damned nickname Bad Apples had given him, his worst fears were confirmed.
His friend, his confidante, Cairo Satori was sitting in a swivel chair, watching screens displaying the entire mall and idly leaning their head into a metal baseball bat.
“Purp…” They spoke up without even turning to face him. “Wasn’t expecting to see you again so soon! I mean, with everywhere you’ve blocked me, privated your accounts… I was under the impression you needed some time away from the show.”
Purple hopped down, then, walking closer towards the chair, clearing his throat and pondering his words clearly.
“The show needs time away from the show, Cairo… You know damn well why I brought myself back. Come on. You know this isn’t right… It doesn’t have to be this, and even just delaying could save-”
“Delay, huh?” They stood, twirling that bat they’d always carried around. It didn’t worry Purple. He’d never seen them actually using it. “C’mon… You know it’s not that simple, buddy. I’m just trying to make sure everyone has a good time… Already, I’m cutting toxic people out of the show! Even when they’ll make it harder to make anything going forward, Caroline is gone! I’ll keep that producer on a really short leash! I am doing everything in my power to make sure that this goes well… C’mon, can’t you look on the bright side?”
“You… You already know my answer to that. You’ve betrayed my trust, Cairo. The trust of my uncle, of everyone you’ve worked with… Of this whole city!” He shifted in place, then, becoming a much more avian humanoid figure with its pose. “I am its lavender courage, and I am your friend! And as both, I cannot abide by-”
Cairo swang their bat, and as they did, the arms of a Stand emerged from their own hand and struck it as well, multiple times in quick succession.
By the time the bat impacted Purple, it was with enough force for the deeply resilient eternally-young ghost to be sent hurtling towards a wall, literally impacting it hard enough to leave an impression in its form, embedded and unconscious in a single swing. He was alive, and would walk this off, but he wouldn’t be getting back up today.
“Sorry ‘bout that,” they said, standing with the bat over their shoulder, ‘Peach Pit’ manifesting more fully by their side (drawn by the artist Boy George, as usual), “but I can tell we don’t have time to chat… I’ll send you a gift basket from the launch party, yeah?”
Then, their attention turned towards the others on the security room screens, addressing their Stand in the meantime, “uh, hey, Peach…”
“I’m on it,” the Stand answered, “Arthur Lifeson and Nix Ripa… I’m excited for this, honestly.”
“And you don’t need to know that I am to, honestly…” Cairo moved to press the intercom button.
“I heard violence!” Nix called out, balling his fists. “Purple found someone!” He began to rush forward, then, Arthur preparing to make a blade, only to be stopped by the crackling of an intercom button.
“Hello again! Wow, it really isn’t all that often that Being So Normal has repeat appearances, but that’s, what, twice in this promotional cycle alone?” Cairo’s voice rang through, then, and they continued, “I figured we’d see some trouble here, so I gave most of staff the day off… I knew it’d be types like you two who showed up, and honestly, I gotta say, despite the circumstances, I’m a bit psyched!”
“Cairo Satori!” Arthur spoke up then, waving his hands. “Put this madness to a close, before I have to put you to my blade! You need not fall victim to this any longer… To fight us is a waste of time!”
“Well, I’ve got time to kill, and nobody to talk to, now that my friend’s taking a bit of a nap. And besides, you think I’m gonna just let you destroy everything we’ve been working to build up because you don’t like a couple of the crew members? C’mon, have a reality check here! No way I’m gonna allow that… Especially not right now! Look, why not come talk to me after I’ve completely closed this Netflix deal?”
There was silence, then, and then they spoke up again.
“Oh, who am I kidding? We both know that this is only gonna end one way! If you wanna stop me from sending this show out for the whole world to know and love, and not just be another little piece of Los Fortuna’s super storied, super amazing history, then STOP me! I’m already sending Peach your way, and there’s no way the two of us will just get walked all over!”
Arthur shut his eyes in frustration, but Nix shook his shoulder. “We knew from the start it’d come to this. C’mon… Any more talking this through will be a waste of all our breaths.”
“Yeah! This pre-battle stuff goes on way too long, I swear! So much to cut down in post without missing the meat of it… But enough talking shop, yeah? Let’s get to what we’re here for… You wanna say it with me? …no? Okay, suit yourself!”
“OPEN THE GAME!”
Location:
A hallway to several storage rooms in Sweet FA Mall. The area here is 40 by 80 meters with each tile being 2.5 by 2.5 meters. The white tiles are completely out of bounds for this match. The light magenta tiles are the main hallway, the purple tiles are side hallways, and the red tiles are the rooms. Each room has a number associated with it for convenience, as shown by the purple numbers. The ceiling is 8 meters tall. The doorways are denoted by the dotted lines between the rooms and hallways.
The players start at the left end of the hallway and Cairo starts in the security room (room 5) to the right of the bottom center. Cairo’s Stand starts in the middle of the main hallway.
The grey X marked circles are security cameras on the ceiling that connect to the monitors that are represented by the yellow notched rectangles in room 5. The light blue rectangles in the main hallway are 4 meter tall metal shelves that house stage set up equipment such as stepladders, light fixtures, microphones, extension cables, construction tools, and anything else needed to set up or tear down a stage. All shelves are bolted to the ground.
The yellow stars are disks, tapes, harddrives and other recordings of the footage shot by Cairo’s show.
The walls are drywall while the floor is ceramic tiled.
Now onto the different rooms:

• Room 1: Contains racks and cardboard bins of merchandise. The brown rectangles are cardboard bins of plushies and hats. The red circles are racks of clothing merchandise.
  
• Room 2: Contains a mountain of chairs and other furniture within a 5 meter tall metal storage fence as represented by the light blue rectangle and the junk inside it. Each side of the fence has a chain locked door.
  
• Room 3: Contains various cooking appliances and peripherals. The white rectangles are 4 meter tall metal storage shelves and the magenta rectangles are 5 meter tall metal storage containers. Basically any appliance that doesn’t fit on a shelf is put into one of the three containers.
  
• Room 4: Contains two long tables as represented by the grey L-shaped rectangles. On these tables are neatly laid out items that were used in Round 2 Match 4, this means Riot Shields, Fireworks Cannons, Magnetic Ray Guns, Grappling Hook Guns, smoke bombs, Tar filled paintball guns, mannequins, body armor, skateboards, net launchers, fire extinguishers, step ladders, marbles, bowling balls, trampolines, shovels, steel chairs, and blankets. Only the crystal ball is missing. The blue circle is a barrel of fencing foils and the yellow rectangle is a banged up motorcycle that while not completely totaled is in pretty bad shape.
  
• Room 5: The security room. It is rather bare, only housing the monitors set-ups to the security cameras and three swivel chairs to go with them.
  

Goal: RETIRE your opponents!
Additional Information:
As a reminder, White Tile areas are out-of-bounds for this match. If you willingly traverse through them you will be retired by a pair of mall cops.
Here is a shortened version of Cairo’s character sheet with all relevant information, the full sheet is linked below
Name: Cairo Satori
Age: 21
Gender: None, whose business is that anyways?
Species: Human
Occupation: Beloved Media Icon
Equipment: The newest smartphone, two sets of wireless earbuds for communicating directly with [Peach Pit] quietly, a bag of weed mints, and a baseball bat.
User Stats:
Strength: 3 (Too much effort to get properly strong- Cairo can throw as much effort into a hit as they need to in order to finish someone off after being brought to near-retirement by [Peach Pit], and that’s about the maximum they need.)
Agility: 2 (Never had to run after or from anything.)
Endurance: 2 (Not one to hold up under sustained pressure for very long, hoping to duck back from any conflicts except where absolutely necessary.)
Conduction: 2 (Able to personally carry their Stand’s damaging energy through them, and has a general knowledge of how to apply it.)
Vibing: 3 (It's for vibe checks- the necessity of finishing an opponent off personally, in a fast and hard strike. The full force of their strength, loaded into one moment rather than a series of fests. Also, they do have good vibes.)
Stand Name: [Peach Pit]
Stand Appearance: On the bulkier side of stand builds, Peach Pit has some resemblance to a knight in plate armor- big, dark metallic pauldrons, a chestplate, an assortment of straps and buckles, etc. The surface of the stand looks very much like a sunset with its colors flipped around. Its face is smooth except for a simple minimalist icon of the sun, and the rest of the head is mostly covered by a knight's helmet as well. A gradient of sorts goes from the head of the stand down to its armored feet, starting with an orange-red and ending in black with white specks like stars in the night sky.
About/Oddities: The stand is dangerous, outright. The manifestation of an incredible will for a very specific life gave it incredibly high offensive might, and although Cairo has depleted its very low ‘potential,’ nothing else has decreased in the slightest.
Additionally, [Peach Pit] is sentient, and thinks of itself as a close friend and bodyguard to Cairo. Despite being able to dish out high damage, it is very much a friendly, calm and collected individual, having respect even for those it has to fight. As such, [Peach Pit] leaves RETIRING opponents up to its user completely. An enemy can be beaten down, but will still be able to pull together and carry on albeit impeded until Cairo personally finishes them off. This isn't simply a choice- if instructed to keep pressure on an opponent who's down but not out, its strikes can indefinitely inflict serious pain and yet never be quite enough to injure a foe to the point where they're considered RETIRED.
Due to the bold weakness in this, for how combat inefficient and easily hurt its user is, Peach doesn't have full damage transference. Instead, it can be destroyed repeatedly- Cairo takes one instance of C power damage upon its destruction, and it can be resummoned from Cairo's position after ten seconds.
Peach's presenting identity has been influenced by Cairo's insistence against defining things that way, to the point of being comfortably seen subjectively as anything. Peach will respond to any pronouns without questioning it.
Stand Stats:
Power: A(The stand can exert a great amount of power in its attacks)
Speed: A (Its movements are very fast and its attacks can travel just as quickly)
Range: B (50 meters)
Durability: E (Subpar durability, however when destroyed the user takes C power damage and the stand can be summoned back to Cairo’s side after 10 seconds.)
Precision: C (Generally decent in its movements, but its projectile attacks only move in a straight line once fired and can only be stored within conductive materials. In non-conductive materials it would keep traveling)
Ability: Peach Pit lacks a complex ability, as far as one would expect. Rather than intricate effects, its hits themselves can simply be conducted through material similarly the way that electricity does, with distinct variation based on the conductivity of the material. Within conductive material, damage is stored up much like a battery - the moment someone touches the "battery", the damage transfers directly to it on the point of contact. This means that if Peach were to punch a metal rod and someone were to touch it, they would feel the full brunt of Peach's attack the moment they do so. A battery remains charged for up to fifteen seconds, and at any point if it hasn’t been touched and discharged already, Cairo can pick any direction from where the battery is in contact with non-conductive materials to activate the next type of attack.
Within non-conductive material, either deployed through battery or direct strike, damage "travels", moving forwards in a straight line at A speed in the same direction it came from. This wave of damage can be seen as it travels, with slight shimmers of light and a crackling sound emanating from where it's currently positioned.
Damage cannot travel further than B range from Cairo.

Team	Combatant	JoJolity
Black Hill Regalia	Arthur Lifeson and Nix Ripa	“The thing in Hayato's hand was definitely a handy cam. It doesn't seem to be in this room right now...” This show is a sweet-sounding idea, but it’s so corrupt to its core that you can’t allow it to spread any further than it has. Destroy as many physical backings of the recordings Cairo has made for their show as you can over the course of your strat!
Being So Normal	Cairo Satori	“I even took a video of the cat-like plant you've got in the attic!” This show… You know it’s been an unsavory road, one you wish you could have managed differently, but the good it can do, the way the world might finally begin to understand the ugly and wonderful truths of Stand Users and appreciate them more as a part of their lives… You will celebrate that. Take creative inspiration from actions that took place in matches related officially to ‘Being So Normal!’ That is to say, these 5 matches, R1M5,R1M23,R1M29,R2M4, and R3M8!

Link to the Official Player Spreadsheet
Link to Match Schedule
As always, if you would like to interact with the tournament community and be among the first to get updates for the tournament, please feel free to PM a member of our Judge staff for an invite to our Official Discord Server!

Since PapaXan hasn't posted an update for this week's GTA Online (22 Dec)
it really is taking awhile for mods to post this weeks update out. I worry that not everyone would come onto last weeks post to find out this week's post in the comments. I've made this post so everyone could find it easier (hopefully)
Here's a list of what i've found so far,
SNOW IS BACK EVERYONE! THE MADLADS ACTUALLY DID IT
Podium Car: Progen Tyrus
New Vehicles

• Dinka Veto Modern $995,000
• Grotti Itali RSX $2,598,750
• Grotti Brioso 300 $610,000 - $457,600, now FREE to claim on Southern SanAndreas SuperAutos*

* based off my own game, unsure if it is also FREE if you have NOT completed the Cayo Perico Heist as a Leader (because rockstar do be like that sometimes) edit: can confirm even if you didn't complete Cayo Perico, you get it for free!
Vehicle Discounts

• Pegassi Tempesta $1,320,000 > $797,400
• Pfister Comet SR $1,145,000 > $687,000
• Ocelot Penetrator $880,000 > $528,000
• Blazer Aqua $1,755,600 - $1,320,000 > $1,053,360 - $792,000
• Rocket Voltic $3,800,400 - $2,880,000 > $2,298,240 - $1,728,000

Property Discounts

• CEO Offices 40% off + renovations (if my maths doesn't fail me) *Garages not included*

Time Trial

• Tonga Valley (00:58:80)

RC Time Trial

• Power Station (01:45:00)

Premium Race

• Down the Drain

Prime Gaming

• Nightshark 80% Off
• Progen Itali GTB 80% Off
• Progen Itali GTB Custom 80% Off
• Free Sonar Station Upgrade for Kosatka
• Free Sentinel Classic

2x Money and RP

• In & Out Adversary Mode

Extras:

• Firework Launchers are back lmao
• Christmas Decorations in Casino/Offices/Terrorbyte/Nightclub Office
• Christmas Themed Horns are available at Los Santos Customs (jingle my bells pls)
• Liveries - It's a Wrap for Akula/Technical Custom/Half-Track. Galaxy for StreiteAA-TraileOppressor
• Login Bonus - Festive Mask, Red Bleeder Sweater, Green Cluckin Bell Sweater

Sorry if I missed out on some stuff, tried my best to find out what I can to help everyone out hehe
Note:
Assuming Rockstar is now pushing out weekly updates on Tuesday's, this week's event should last until the 28th/29th December.
*Thanks for letting me know that I missed out on some stuff for this week everyone, much love and hope everyone is staying safe. Happy Holidays!

Background
A fond memory of playing games with friends as a kid was Luigi’s Casino. We’d play those stupid chance games all the time and it was so fun. Looking back, I wanted to design a tour around Luigi in his casino costume, so I thought where else a casino was present in Mario games. Of course, I immediately came to Hotel Delfino and the Sunshine version of King Boo. This tour idea is a mishmash these two characters put together.
(This tour idea series was inspired by u/WaffleyDootDoot. Please check him out, some of his ideas are great!)
New Track
Wii Moonview Highway: When choosing the new track, I had two themes in mind; night skies and bustling cities. This track is exactly both of those things and more! Not only do you get to swerve along the city roads, but you also get to take in the amazing views off the side of the highway. This course would also be the second from Mario Kart Wii, taking its place alongside Maple Treeway.
New Drivers
Luigi (Casino) (Medium, High-End): Luigi turns up in his casino outfit from the Super Mario 64 DS party games! He handles the riches of the casino, as well as acting as a gamemaster. His special item is the Coin Box.
King Boo (Sunshine) (Large, High-End): King Boo arrives in his Mario Sunshine style! After hiding under the casino of Hotel Delfino for far too long, he’s more than ready to haunt the race. His special item is the Giant Banana.
New Karts
Casino Bruiser (High-End): A black and green chequered variant of the normal Bruiser, this ride is sure to match Luigi’s new costume as he goes from riches to races. Its boosted skill is Slipstream Plus.
Pepper Pedaller (High-End): A variant of the Banana Master which features a supersize chili pepper. Despite his hatred for spicy food, it does match King Boo’s big, red tongue. Its boosted skill is Rocket Start Plus.
Gold Bruiser (High-End): A gold version of the normal Bruiser, this kart is perfect for anyone who wants to express their interest in high fashion. Its boosted skill is Mini-Turbo Plus.
New Gliders
Spicy Glider (High-End): A red variant of the Tropical Glider; instead of bananas, this tree grows… chili peppers? Its boosted item is the Super Horn.
Pipe Spotlights
Pipe 1: Luigi (Casino), Casino Bruiser, Fireworks Parachute Pipe 2: King Boo (Sunshine), Pepper Pedaller, Spicy Glider
Special Pipe
Night Out Pipe: Peach (Vacation), Pauline (Party Time), Rosalina (Aurora), Daisy (Yukata)
This pipe celebrates fashion and the lifestyles of those that visit night-time casinos. Peach, Pauline, Rosalina, and Daisy arrive wearing their best outfits! This pipe starts off with 30 items in it. None of the drivers are spotlights and you only pull a maximum of 3 High-End drivers.
(UPDATE: Of course, Nintendo decided to go and reveal an amazing new Pauline alt as soon as I’m about to publish this.)
Track Selection
The 12 tracks of this tour idea feature starry skies and night-time cities as well as a couple of Boo related courses:
New York Minute 3 Vancouver Velocity RMX Rainbow Road 1 SNES Ghost Valley 1 SNES Rainbow Road N64 Frappe Snowland DS Luigi’s Mansion DS Waluigi Pinball Wii Moonview Highway 3DS Shy Guy Bazaar 3DS Neo Bowser City 3DS Rosalina’s Ice World
Tour Gifts/Gold Pass
Normal Gifts: Ludwig, Bullet Blaster, Parachute Gold Pass Gifts: King Boo, Bull’s-Eye Banzai, Gold Bruiser, Plaid Ribbon
Thank You
Thank you for reading! This tour idea was super unique and some of the ideas took a while to perfect. Of course, my love for Mario Sunshine just had to seep in but there’s nothing wrong with some King Boo love (he needs more alts). I feel like if Nintendo were to do an idea like this, they could pull off something really interesting but it's once in a blue moon we get unique ideas like this.
Thanks for reading and have a great day. :)
Next Tour…
With this hint, you should be able to take a bite at guessing what’s next. I wonder what ideas this plants into your mind…

Preface

The Weeknd is a soul, R&B, and Pop artist from Toronto, Canada. He originally got his start by anonymously uploading music to YouTube.
For the last few albums, The Weekend has been doing a series of character progressions, where with each album (loosely), he transforms into a new character, taking place of his previous character. Sometimes violently (in one transition, he metaphorically kills his other self so that he can move on into his new image).
These videos touch on themes of fame, soullessness, drugs and alcohol abuse, murder, corruption, and obsessions with plastic surgery. I can't begin to describe the depth of thought and effort that went into these videos, The Weeknd's character, and the music he produced and sang. He is truly one of the greatest artists of this era.
 
Each main canonical video has a lot of references to popular or "cult" films, such as:
 
"Heartless" and "Blinding Lights"

• Casino
• Fear and Loathing in Las Vegas

"In Your Eyes"

• The Terminator
• Psycho
• Leatherface

"Save Your Tears"

• JokeThe King of Comedy
• The Dark Knight
• Eyes Wide Shut

"Too Late"

• Frankenstein
• American Psycho

Below I will list the title and description of each video. There are a few videos that are more of an aside (even though they're canonical) and don't really flesh out The Weeknd's main After Hours character, but I still like them.
Note: I highly recommend listening with earbuds or a nice set of speakers. The music is beyond great and there are sounds from the videos that can't often be heard or appreciated on regular laptop speakers.
 
 

Snowchild (animated - aside)

This is what I would call the "prequel" or interlude to his story. This is about The Weeknd growing up in Toronto, facing hardships having parents who migrated from Ethiopia, finding success, and ultimately telling himself that he's leaving for California. At the end of the video, his former self arrives at a casino in LA and sees what would be the character we transition into the next video.
I'd recommend skipping this video and maybe coming back to it, if you like. I really like the song, so I've watched this video about 5 times now.
https://www.youtube.com/watch?v=G0JKdFjWkLA
 

Heartless

At first I wasn't really into the style of the music on this song, but the choreography and style of the video had me hooked instantly. I was drawn into this character and couldn't get enough of the style of the video. (For what it's worth, I now love this song)
https://www.youtube.com/watch?v=1DpH-icPpl0
 

Blinding Lights

I'm pretty sure you've heard this song. When "After Hours" was released early in 2020, this song was on the top of the charts for a really long time. Very 80s synth pop. Well produced (much like a lot of his songs).
https://www.youtube.com/watch?v=4NRXx6U8ABQ
 

Until I Bleed Out (aside)

You can skip this video. The Weeknd's character is "coming down" from his all-night bender from the previous 2 videos. He's in a ballroom having a bad trip. There's not really much going on, story-wise, but I did appreciate it.
https://www.youtube.com/watch?v=i58MNnk6BhY
 

Blinding Lights (Live on Jimmy Kimmel) (aside)

The Weeknd performs "Blinding Lights" on Jimmy Kimmel. The production on the set is amazing. The entire video is done in one take, I think. The end of this video goes straight into the next video, which is a short film called "After Hours"
https://www.youtube.com/watch?v=VJYpyC1SNPc
 

After Hours (short film)

This video begins where the "Live on Jimmy Kimmel" video left off, where The Weeknd leaves the set of the show. The music in the background is the titular song of the album. Near the end of the video, when the people get into the elevator, I'd recommend turning up the volume, as there are subtle sounds in the background.
https://www.youtube.com/watch?v=oq9AgxHvGjw
 

In Your Eyes

Now we're getting into some really fun stuff. My kind of stuff. This video has a lot of references to "thrillekiller" movies, like Psycho, Terminator, and Leatherface. There's only a teeny tiny bit of gore. You'll probably not even notice it.
https://www.youtube.com/watch?v=dqRZDebPIGs
 

Too Late

This video continues our character's saga (even though I didn't think could've been done given what happened in "In Your Eyes") by being picked up by a couple of "hot chicks" in Hollywood. This might be the darkest of the video set, as there is a bit of gore, but it's not on screen for very long, and there are some very dark themes.
https://www.youtube.com/watch?v=Wh8DT09QCHI
 

American Music Association 2020 Performance: "In Your Eyes" / "Save Your Tears" (aside)

This is a live performance done in one take that spans almost the entire length of a bridge in Los Angeles, choreographed with timed fireworks. The Weeknd's face has now been altered by the women in the last video. It's a very fun performance and even though it's an aside, I highly recommend watching this one.
https://www.youtube.com/watch?v=f-g_SHNv5NI
 

Save Your Tears

The final video in the series. No description, as I want you to see this video without any expectations. Enjoy.
https://www.youtube.com/watch?v=XXYlFuWEuKI
 
Special shout-out to my girlfriend who turned me onto The Weeknd recently!

"That just means the game isn't over yet! The goddess of victory will smile upon me, Lupin III!"

Required listening for this thread
Lupin III is the grandson of Arsène Lupin. He is the world's most wanted gentleman thief. Lupin is acknowledged by virtually every law agency on earth as the world's number one thief. Often in his adventures, he and his colleagues, Daisuke Jigen and Goemon Ishikawa XIII, will take it upon themselves to foil other criminals engaged in more violent crimes. While first glance may imply Lupin as fun-loving, flighty, perhaps even "goofy", his surface façade overcoats a brilliant imagination and a thorough knowledge of a hundred varying sciences. Forever extemporizing and reevaluating, Lupin has been responsible for heists no right-minded individual would believe possible. While arrested and jailed on numerous occasions, typically by his nemesis Inspector Zenigata, he has always managed to escape. He has a fondness for fancy gadgets from time to time plus hands-on experience in many skills a thief would find useful. His infatuation with Fujiko Mine is perhaps his most significant weakness, as it lands him in undesirable situations most of the time.

Equipment

• A bag of bats

Exactly what it sounds like. They are released to distract the motion sensors of an extremely secure museum

• Airbag

A rapidly expanding airbag.

• Backup parachute

Lupin's trademark blue and white boxer shorts double as an emergency parachute.

• Ball Bomb

A small bomb that detonates when shot by Jigen.

• Balloons

A set of balloons that lift an Egyptian death mask display. Lupin also has a larger set they used to steal the Statue of Liberty

• Balloon Briefcase

A briefcase containing a rapidly expanding balloon filled with knockout gas.

• Balloon Coin

A small, golden coin with his face on it. When thrown, releases a giant Lupin-shaped dummy.

• Barrel Bombs

Several large barrels of explosive liquid set off by flaming rags.

• Bat Hang-glider

A massive hang-glider shaped like a bat.

• Blow-up Doll Grenade

A grenade that, upon contact, expands into a massive blow up doll.

• Bracelet

A decorative bracelet with a wire/chain on the end.

• Briefcase Wings

A pair of wings and an engine that extend from a handheld briefcase.

• Bubble Gum Ball

A massive bubble that protects Lupin from traps.

• Clear Hang-Glider

A nearly invisible hang-glider.

• Confetti Flashbang

A small, silver ball that emits a loud bang, a burst of light, and rainbow confetti.

• Distraction Balloon

A large, green balloon with Lupin's face on it.

• Ducky Boat

A paddleboat hidden within a larger boat's hull. The boat also has a large engine on the back

• Duck Bombs

Several duck-shaped bombs that are capable of sinking large ships. They do not discern what they're blowing up, however, and can be dangerous. They can also be hidden

• Dummy Smokescreen

A dummy head that when stomped emits a thick smokescreen.

• Dummy Suit

A dummy large enough for Lupin to hide inside. Can expand enough to lift a large truck

• Electro Light Adhesive Beam Reel

An electric gun developed by the same scientist who invented Lightsabers. Can cut through bullet proof glass, lift a store's worth of jewels and helps pull a building apart. It also instantly KOs Zenigata

• Explosives

Includes exploding chewing gum, exploding cigarettes, exploding cigars, an explosive hat an exploding head, a exploding lighter, a exploding mask, exploding navigation stick, an explosive suit, an explosive tooth, and an explosive watch

• Fake Tooth

One of Lupin's left molars. Has a brevity of uses including a remote control for one of his vehicles, a computer that can analyze any drugs he's given, a pair of robotic arms that can throw the drugs back, a radio, and a lockpick

• Fingerprint Spray

A small aerosol can that allows Lupin to lift fingerprints from a glass.

• Fireworks Grenade

A small grenade that lets off a colorful explosion.

• Flying Car

A remotely-controlled flying car. It manages to lift off the ground but nothing else.

• Fujin

A small device that opens a miniature black hole when used.

• Gas Grenade

A grenade with a powerful knockout gas. Works fast enough to cover an entire oil rig in seconds.

• Giant Flashbang

A massive, propelled dummy of Lupin and Jigen that explodes with a giant boom and flash

• Glue Rocket

A rocket fired from an RPG that, when detonated, sprays glue strong enough to stick several large ships together.

• Go-Kart

Pieces needed to assemble a working go-kart.

• Hang-glider

A small hang-glider that carries a single missile.

• Helicopter Hearse

A standard hearse that turns into a helocopter.

• Horse

A horse capable of outrunning several jeeps, dodging bullets, and running across a small ladder. Lupin has a way with animals that allows him to frequently use them in his escapes. Also he got a horse to do this once. I don't feel like trying to explain it.

• Jetpack

A standard jetpack.

• Jetpack Shoes

A pair of shoes which turn into personal jetpacks when activated by tapdancing. They can also be used offensively and for escapes

• Kusari-gama

A small kusari-gama capable of swinging a car back onto an icy road

• Lighter

Works as a lighter and also can emit a powerful knockout gas. Also explodes when dynamite is strapped to it, as most things do and works as a communicator

• Knockout Drug

A powerful drug slipped into Zenigata's drink.

• Magnetic Grips

A pair of magnetic hand grips that assist in climbing.

• Marbles

Standard marbles or ball bearings used to make a pursuer lose their footing.

• Mini-Kite

A small kite able to carry Lupin.

• Mini Oxygen Tank

A mini oxygen tank shaped like a cigarette.

• RC Cars

A fleet of tiny RC cars, all remotely controlled by Lupin. Comes in Red, Green, and Yellow.

• Rebreather

A breathing device kept in Lupin's jacket.

• Remote Control Gun

A gun that fires a suction cup dart that once attached pierces a glass window. It goes on to attach itself to a safe's dial. Lupin can control the dart remotely, cracking a safe from outside the room

• Remote Controlled Helicopter

A helicopter controlled by a small joystick.

• Remote Controlled Plane

Similar to his helicopter except it is controlled by a Gameboy-like controller.

• Riding Crop

A riding crop that fires miniature tranquilizer darts.

• Ring Light

A bright light attached to a ring on Lupin's finger.

• Robot Legs

A pair of robotic legs that can be attached to an object. Strong enough to make a statue run through a wall.

• Rocket Elevator

A device hidden within an elevator that causes it to turn into a high powered rocket.

• Rocket Weights

A pair of weights fired from an rpg. Used to wrap around submarines to weigh them down.

• Safe Opener

A small device created by Lupin that instantly cracks a safe.

• Shocky Shock Sticker

A small silver sticker that delivers a massive shock "bigger than a stun gun"

• Shoes Knives

A pair of knives fired from the tips of Lupin's shoes.

• Shoe Transmitter

A small transmitter in Lupin's shoe that signals a nearby biplane. The plane has a large bomb attached to it.

• Silver Walther P-38

A silver copy of Lupin's signature weapon. Lupin states it is "only for threatening".

• Sleeping Spray

An immediately effective sleeping aerosol.

• Smoke Bomb

Creates a thick smoke for quick escapes.

• Smokescreen Cigarettes

A pack of cigarettes that react when dropped in water to create a thick smokescreen.

• Sticky Bombs

A small bomb that can stick to any surface. The adhesive is strong enough a grown man cannot remove it and the explosion is large enough to topple a massive statue.

• Submersible Car

A car that doubles as a submarine with the flip of a switch. Allows Lupin and the gang to avoid a missile.

• Suction Cup Gun

A pistol-sized gun that fires a suction cup on a rope. Strong enough to lift a man.

• Switchback Car

A car that can be driven from either the front or the rear.

• Time Bombs

Adhesive bombs with a set timer.

• Umbrella Copter

An umbrella that grows in size and operates that a helicopter's blades.

• Underwater Bomb

A small bomb that causes a big boom.

• Underground Detector

Allow Lupin to see hollow spots underground.

• Underwater Bubble

A propelled underwater vehicle. When surfacing, turns into a raft

• Voice Changer

A small machine Lupin wears around one of his teeth.

• Watch Camera

A small camera inside Lupin's watch. Can take and print photos.

• Watch Grappling Hook

Different from his normal grappling hook, this is attached to a pistol-like controller that reels it in.

• Watch Tracker

A small dart fired from Lupin's watch that emits a trackable signal.

• Water Saber

A sword made of pressurized water. Stated to be as "hard as diamond". During their duel, the blade cuts a door in half

• Wings

A pair of wings that protrude from Lupin's car allowing it to glide.

• Wingsuit

A wingsuit.

• Yo-Yo

A pocket-sized yo-yo.

Speed

General

• Switches the times on everyone's watches while he was shaking their hands.
  
• Throws on an elaborate disguise in seconds
  
• Gets dressed and escapes before a grenade goes off
  
• Captures and trades places with a man before Zenigata realizes
  
• Saves a girl from being kidnapped
  
• Saves Fujiko from an exploding boat
  

Movement

• Instantly leaps to the rafters of a church
  
• Runs across water
  
• Outruns an explosion in two seconds
  
• Runs down a wall to catch the falling Fujiko
  
• Crosses a pair of trains quickly
  
• Hops across several falling pieces of a tower
  
• Runs up a wall after being bitten by a dog
  
• Runs along a narrow pass while being pursued by helicopters
  
• Outruns a bomb being dropped on him
  
• Runs down and across several walls while under fire
  
• Disappears from in front of a man in the time it takes him to move a book from his face
  
• Falls over paralyzed from a drug in his champagne, but recovers and appears in Fujiko's mirror in disguise
  
• Puts a mask on everyone in a theater. He also does this with several people while fleeing the police.
  
• Outruns a killer roller coaster
  
• Runs at incredibly high speeds when bitten by the ninja dog, Kotarou
  
• Avoids being swept away by a tidal wave
  

Reaction

• Avoids a scythe and several bullets
  
• Backs a car up to avoid a grenade
  
• Dodges a bullet fired from behind him at close range.
  
• Avoids a samurai's arrow
  
• Reacts to an ambush and summarily KOs the ambusher
  
• Catches a fired cork in his teeth
  
• Dodges a bullet while running through a fire
  
• Dodges strikes from a trained assassin and swipes her necklace. This assassin was able to weave through bullets
  
• Abandons a disguise to dodge a kick
  
• Turns, draws, and fires on a woman who had pulled a gun behind him
  
• Dodges a Suicide Ray and returns fire
  
• Dodges a bullet and rolls to cover
  
• Avoids a crushing trap
  
• Leaps away from a pair of gunmen
  
• Dodges and blocks several lasers from Mamo's cannons
  

Skill

Accuracy

• Knocks a woman out of the way, draws his weapon, avoids a bullet and puts a bullet directly down his attacker's guns barrel
  
• Throws a dart into a wall while falling
  
• Shoots Zenigata's handcuffs out of the air and causes them to snap around his legs and arms.
  
• Lands a grappling hook shot while jumping off a motorcycle
  
• Shoots a Nazi out of the air while riding down a bannister
  
• Accurately kicks a football
  
• Flicks a small bomb into a man's mouth
  
• While running, picks off several pursuers weapons, knocking them loose of their hands or completely destroying them
  
• Shoots the cylinder of Jigen's magnum back to him
  
• Removes a choker from a girl's neck
  
• Disables a blimp's engine with one shot while under fire
  
• Lassos a diving Fujiko
  
• Snags a gem with a fishing hook
  
• Holds back a small army
  
• Throws a jewel perfectly into a statue's eye socket
  
• Quickly shoots a man's outline in the glass behind him
  
• Shoots ropes off of Jigen
  
• Disarms a gunman with a thrown quarter
  
• Tosses a rose into a woman's lapel
  
• As a woman pulls a gun on him from behind, flips a quarter off of his finger back onto her gun, preventing it from firing
  
• Picks off gunmen while riding down some stairs on the back of a bike
  
• Shoots the lock off of a pig pen
  
• Tags a gunman with a rolling shot
  
• Goes shot for shot with Jigen. Jigen is ridiculously accurate
  
• Tags a building while flying past it in an aircraft
  
• Keeps a quarter spinning by taking turns shooting it with Jigen. He finishes the little exercise by shooting it and making it perfectly land in Jigen's hand.
  
• Dominates a game of ring toss
  
• Throws a spear into a helicopters windshield
  

Dodging

• Avoids gunfire while using a jetpack
  
• Crawls under a truck to dodge a missile
  
• Backsteps Gordeau's attack
  
• After throwing Jigen's hat through a trapped tunnel to memorize the pattern, avoids several laser-esque blasts
  
• Avoids bullets from several gunmen
  
• Leaps out of a disguise to dodge Jigen's bullets
  
• Jumps over a missile
  
• Sidesteps Jigen's shots and escapes him with a flashbang
  
• Avoids several strikes from Goemon while running through a city
  
• Avoids a strike from Goemon but does not avoid the second
  
• Dodges several goons while carrying Fujiko
  
• Dodges strikes from a massive Nazi
  
• Hand walks away from arrows
  
• Dodges bullets while running across car tops
  
• Effortlessly avoids another thief
  
• After giving himself up to be killed, avoids strikes from Goemon and Jigen
  
• Opens a door behind him to dodge Zenigata
  
• Dodges several strikes from Sadachiyo's whip
  
• Avoids bullets as he slides down a bannister
  
• Dodges bullets from Fujiko's machine gun
  
• While mind controlled, avoids both Jigen and Goemon
  
• Avoids a flash kick from Mash
  
• Avoids being killed by a mass of nanomachines. The nanomachines were fairly fast and bulletproof
  
• Dodges multiple ninja shenanigans
  

Driving

• Drives around several pitfalls during a race design to kill him
  
• Two wheels through a closing gate
  
• Avoids a sea of flames by taking his race car off road
  
• Rides a motorcycle across several metal girders
  
• Drives off the back of a moving truck
  
• Drives a car he cannot see, with a remote control on his tooth
  
• Hops a vespa up onto a rail
  
• Avoids being crushed by a large truck by driving on a tunnel's ceiling
  
• Drives through a mass of swerving traffic on a motorcycle
  
• Jumps a roadblock set by Zenigata
  
• Drives a boat that was cut in half
  
• Casually drives with his teeth
  
• Makes his car jump without a ramp
  
• Duels and defeats several other vehicles on a mountain pass
  
• After being pushed through a guard rail by a giant vehicle, manages to balance the Fiat on the guard rail and return to the roadway. He manages to lose the semi by driving under it, going offroad and tricking it into driving off a cliff
  
• Threads the needle between two large trucks
  
• Rides a motorcycle down a tight rope
  
• Drives a scooter through a casino while being pursued
  
• Figures out how to fly a UFO
  
• Two wheels between crowded New York traffic
  
• Avoids a spike strip by clipping it with his tire, sending it over his vehicle
  
• Leaps his car across a broken bridge
  
• Destroys a plane with a motorcycle
  
• Shakes a military pursuit by driving down several waterfalls, blowing up a chunk of mountain, and generally just driving really well
  
• Battles Green Jacket Lupin in a duel on top of a building. This is the only scene that should be viewed from Red vs. Green despite what Tad says.
  
• Drives off the back of a semi truck onto a highway. His vehicle dropped small, metal bearings that caused the pursuing trucks to crash. Shortly after, he avoids a grenade by forcing his car onto two wheels, after which he drives on the highways guard rail, leaning himself in and out of the vehicle to avoid the street lights. The vehicle then crashes into a dentist office Jigen is in.
  
• Chases a truck full of assassins on a motorcycle
  
• Weaves through a police roadblock
  
• Leaps a motorcycle to a blimp
  
• While being pursued by Edogawa Conan, drives his car out of an exploding boat. This includes him again driving on a guard rail and then riding the vehicle down a pair of hand rails. At the end of the chase, he recovers after being hit by one of Conan's soccer balls.
  

Escapes

• Slips free of a large claw
  
• Prevents himself being thrown by bailing on his disguise
  
• Escapes Zenigata's grasp by throwing off his disguise
  
• Slips out from under a dogpile
  
• Escapes via kangaroo
  
• Escapes Zenigata's ultimate weapon, 4 pairs of handcuffs on a rope by "giving him a leg"
  
• Escapes from ropes
  
• Escapes a pair of assassins
  
• Covers Zenigata and his officers in popcorn
  
• Builds a stick scarecrow to escape Zenigata
  
• Escapes a hospital
  
• Slips out of his clothes while riding a bike
  
• Effortless flips into an air duct and loses a pursuing Zenigata
  
• Goes plan for plan against Zenigata
  
• Escapes a trap after getting bit by a dog
  
• Easily frees himself from a rope
  
• Escapes a ton of handcuffs
  
• Abandons his clothes to escape a dogpile
  
• Escapes pursuit by jumping into the wayward top of a van
  

Fighting Ability

• Deflects a whip strike with his grappling hook
  
• Takes out several assassins with sweet Capoeira moves
  
• Brawls with a Nazi officer
  
• KOs a group of guards with a door
  
• Nonlethally subdues several police officers
  
• Fights an assassin with two ends of a broken pipe
  
• Dodges several knife strikes and wallops his attacker
  
• Defeats Cyborg Jigen
  
• Duels Mister X
  
• Fights several armed assassins
  
• KOs several cops with a staff
  
• Catches a ninja strike
  
• Cuts Fujiko's disguise
  
• Goes blow for blow with Goemon. Even without Zantetsuken, Goemon can hit hard enough to clear away stone from a statue and break limbs from a statue
  
• Battles General Headhunter. Their fight spans across several moving platforms
  
• Spins a man around by wrapping him with a whip
  
• Disarms a gunman with a staff throw
  
• Battles Fujiko's ancestor
  
• Headscissors an attacker off of a motorcycle
  
• Knife fights several assassins at once. The white haired assassin alone was able to block Jigen's shots and kill several people at once
  
• Steals a massive truck from a pair of guards and uses it against a warehouse full of goons
  
• Defeats the "mind reading" Rasputin. He explains he defeated Rasputin's technique by "emptying his mind" . Rasputing was fast enough to catch Goemon off guard and dodges his strikes and caught one of Jigen's bullets in his teeth.
  
• Flips a shoe at Gensai to create an opening to shoot him
  

General

• Off screen, won the Burglary Planning and Burglary Techniques games of the Burglary Olympics
  
• Leaps and swings across a gap
  
• Skillfully uses Zenigata's handcuffs
  
• Swings from point to point around a prison
  
• Communicates non-verbally with Zenigata
  
• Cracks a giant safe
  
• Crosses over a pressure sensitive floor using plungers
  
• Snowboards away from several police. He doesn't do it often, but when asked, Lupin is one hell of a snowboarder
  
• Lays a bike down, leaps off it, jumps over some guys and lands back on the bike
  
• Cracks a safe with several dials
  
• Flips through a laser grid
  

Quick Thinking

• While falling, grabs a rope with one hand
  
• Catches a bouncing Walther and shoots a gunman
  
• Manages to kill a snake with nothing but his teeth
  
• Steals Mamou's time machine
  
• Booby traps the Walther P-38
  
• Spits a dart into Fujiko's hair
  
• Hooks a massive Nazi's tie and pulls him down with him
  
• Escapes by pretending to turn into a werewolf
  
• Uses the suction cup gun to save a falling Julia
  
• Shoots a fortune teller before they attack Goemon
  
• Uses a nose pin to prevent himself from being gassed
  
• Shoots a damage light into the water to electrocute Mister X
  
• Throws a briefcase into the air to distract several guards, slides across the ground to shoot them all, and manages to catch the briefcase
  

Sleight of Hand

• Replaces medicine in a bag quickly
  
• Swipes a gun, removes the clip, and empties it before a girl notices
  
• Disarms a gunman by quickly disassembling his weapon
  
• Steals a keycard from a man during a scuffle
  
• Removes handcuffs from himself and slaps them on Zenigata
  
• Handcuffs Zenigata's arm to his own leg
  
• Escapes an assassin with a snazzy hat
  
• Pulls a robot's batteries
  
• Handcuffs Zenigata to a boat
  
• Blocks a spear trap with his magnetic grips
  

Disguises

As Lupin uses disguises all the time, gathering every single disguise he uses would fill the entire respect thread. I gathered some of my favorites for this section.

• A jobsite's foreman
  
• Millionaire Howard Heath. He laid it on a little thick and gave away his true self, however.
  
• Fujiko
  
• A prison guard
  
• A KO'd guard
  
• Uses a dummy of himself to convincingly disguise himself as a guard
  
• An old woman
  
• Zenigata's driver
  
• A security guard
  
• Disguises himself as Gensai, the leader of a group of ninja
  
• Fools Zenigata with a hippie disguise
  
• Wears a disguise of himself while wearing a disguise of Zenigata and doing a Zenigata impression that fooled Fujiko
  
• A fat man with a weak bladder.
  
• A tiger. To complete the disguise he also mimics the tiger's roar well enough it fools Zenigata
  
• Two people at once by using a "reflective plastic"
  
• Legendary painter, Sharaku
  
• Convinces a Nazi that he is an aged Hitler
  
• Quickly changes into a mask of a pretty lady in order to catch a pair of gunmen off guard.
  
• Throws on a disguise in the time it takes a man to fall into a snake pit
  
• May have tricked a Prince into thinking he was his father. There's also a good chance the Prince knew it was Lupin, but hey, the disguise looks good.
  

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

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