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By MCN Editor editor@moviecitynews.com

The 2012 Top Ten Lists Updated

You can see the individual lists here or click on the individual critic name for their list.

Rank Last Chart Top Tens KennyTapleyLangfieldSingerDenbyLongworthKohnTullyZacharekRapold Votes Total
1 1 Zero Dark Thirty
3 7 1 3 2 2 2 * 26 204.5
2 2 Amour
5 5 21 150.0
3 3 Lincoln
7 6 2 1 * 19 138.5
4 7 Master, The
1 10 8 2 1 3 * 19 131.0
5 6 Moonrise Kingdom
4 2 7 3 * 16 105.5
6 4 Argo
8 4 8 4 15 91.5
6 8 Holy Motors
9 1 2 1 1 12 91.5
8 4 Beasts of the Southern Wild
9 3 8 13 79.5
9 15 This is not a Film
5 7 4 1 * 9 55.5
10 25 Once Upon a Time in Anatolia
9 * 7 40.0
11 25 Looper
8 3 9 9 39.5
12 10 Deep Blue Sea, The
3 7 38.5
13 9 Life of Pi
7 6 37.0
14 21 Django Unchained
4 3 10 * 6 32.5
15 11 Silver Linings Playbook
5 4 27.5
16 Turin Horse, The
2 3 27.0
17 12 How to Survive a Plague
6 6 24.5
18 15 Rust and Bone
6 * 4 23.5
19 21 Magic Mike
4 23.0
20 21 Skyfall
6 * 4 21.5
13 Gatekeepers, The
10 10 5 19.5
17 Dark Knight Rises, The
4 19.0
Tabu
10 7 5 18.0
Oslo, August 31st
2 * 4 17.5
Grey, The
1 3 16.0
20 Searching for Sugar Man
3 14.5
14 Imposter, The
3 14.0
Cabin in the Woods, The
4 3 13.5
Kid With the Bike, The
5 5 3 13.0
Perks of Being a Wallflower
3 13.0
Oki's Movie
* 2 12.5
Flight
5 12.0
Anna Karenina
8 3 12.0
17 Sessions, The
3 12.0
17 Middle of Nowhere
2 12.0
Haywire
* 2 11.5
Lonliest Planet, The
5 8 3 11.0
Compliance
7 3 11.0
Color Wheel
3 11.0
21 Margaret
2 11.0
Your Sister's Sister
6 2 10.5
Goodbye, First Love
4 2 10.0
Attenberg
4 2 10.0
Bernie
3 9.0
Impossible, The
2 9.0
Girl Walk All Day
10 2 9.0
Al Weiwei: Never Sorry
3 8.0
Beloved
2 8.0
Keep the Lights On
* 2 7.5
Kill List
2 7.0
Premium Rush
* 2 6.5
Neighboring Sounds
7 2 6.0
Killing Them Softly
2 6.0
Sister
2 5.0
Jeff, Who Lives at Home
2 5.0
Pitch Perfect
2 4.0
Frankenweenie
2 4.0
Damsels in Distress
2 4.0
Only the Young
10 2 3.0
Invisible War, The
2 3.0

0 0.0

0 0.0
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0 0.0

0 0.0

0 0.0
One Vote Wonders
Napoleon
1 10
Les Miserables
1 10
Beyond the Black Rainbow
1 9
Paradise: Faith
1 9
Perret in France and Algeria
1 9
Barbara
3 1 8
Paradise: Love
1 8
Waiting Room, The
1 8
Monsieur Lazhar
1 7
Room 237
1 7
Last Time I Saw Macao
1 7
Footnote
1 7
Frances Ha
1 6
Killer Joe
1 6
Not Fade Away
1 6
This is Forty
5 1 6
Petitfogger
1 6
Hit and Run
* 1 5.5
Cosmopolis
* 1 5.5
Amazing Spider-Man
1 5.5
Almayer's Folly
* 1 5.5
Abendland
* 1 5.5
Two Years at Sea
1 5
To Rome with Love
1 5
Ted
1 5
Klown
6 1 5
It's the Earth Not the Moon
1 5
Eat Sleep Die
1 5
Chico and Rita
1 5
Arbitrage
6 1 5
Elena
1 4
Dark Horse
1 4
Take This Waltz
1 4
View from the Acropolis
1 4
You Ain't Seen Nothing Yet
1 4
Marina Abramovic: The Artist is Present
1 3
Leviathan
1 3
Wreck-It Ralph
1 3
Dust Bowl, The
1 3
Dragon
1 3
Detropia
8 1 3
August and After
1 3
21 Jump Street
1 3
West of Memphis
1 2
Chronicle
9 1 2
Starlet
1 2
Sleepwalk With Me
1 2
Queen of Versailles, The
9 1 2
Here and There
1 2
Comedy, The
9 1 2
Central Park Five, The
9 1 2
Universal Soldier: Day of Reckoning
10 1 1
Safety Not Guaranteed
1 1
Lines of Wellington
1 1

6 Responses to “The 2012 Top Ten Lists Updated”

  1. Daniella Isaacs says:

    Holy Motors is rightly ascending.

  2. TheFigTree says:

    How many lists are used here? The 1st update was 21.

  3. Andrew Sidhom says:

    TheFigTree, I was wondering the same thing. Went through the voters by 10s using the “Next 10 Voters” thing and I counted 39.
    I love this site’s compilations because it doesn’t skew too obstinately arthouse and it uses a weighted average method, but I’m kind of wondering though, why are there so few lists so far?? At CriticsTop10 they have 344 lists and counting! I understand if the editors are simply busy and a little behind – I only hope everything will get added in time as this is usually my N.1 reference for movies of each year.

  4. TheFigTree says:

    Andrew, yeah using the “next 10 voters” button comes up with 39. At the top, it says to click to find the individual lists and when I go through them I come up with 52. It would be nicer to eventually just have 1 page with every critic and the ability to click on each one to see each critic’s list.

    Also, as someone mentioned on the previous update, the point system doesn’t seem ideal, since it gives 10 times the weight for a #1 over a #10. As if critics always find a huge disparity between their selections (some don’t even rank their picks). Oh and thanks for reminding me of the criticstop10. Really interesting as well. That site just ranks on # of lists a film makes, which is another strategy. Whatever though, I just use these sites to decide what to see. My #1 reference is TSPDT but this is a close 2nd.

  5. Jerry says:

    I really like MCN’s scoring system since I have made my own top tens for twenty years and I can’t recall many years when where there wasn’t a massive quality difference between the first and last on my lists.

  6. MarkyDee says:

    When will this chart be updated? A ton of good top 10 lists have come out in the past week.

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Tsangari: With my next film, White Knuckles, it comes with a budget — it’s going to be a huge new world for me. As always when I enter into a new thing, don’t you wonder how it’s going to be and how much of yourself you are going to have to sacrifice? The ballet of all of this. I’m already imaging the choreography — not of the camera, but the choreography of actually bringing it to life. It is as fascinating as the shooting itself. I find the producing as exciting as the directing. The one informs the other. There is this producer-director hat that I constantly wear. I’ve been thinking about these early auteurs, like Howard Hawks and John Ford and Preston Sturges—all of these guys basically were hired by the studio, and I doubt they had final cut, and somehow they had films that now we can say they had their signatures.  There are different ways of being creative within the parameters and limitations of production. The only thing you cannot negotiate is stupidity.
Filmmaker: And unfortunately, there is an abundance of that in the world.
Tsangari: This is the only big risk: stupidity. Everything else is completely worked out in the end.
~ Chevalier‘s Rachel Athina Tsangari

“The middle-range movies that I was doing have largely either stopped being made, or they’ve moved to television, now that television is a go-to medium for directors who can’t get work in theatricals, because there are so few theatricals being made. But also with the new miniseries concept, you can tell a long story in detail without having to cram it all into 90 minutes. You don’t have to cut the characters and take out the secondary people. You can actually put them all on a big canvas. And it is a big canvas, because people have bigger screens now, so there’s no aesthetic difference between the way you shoot a movie and the way you shoot a TV show.

“Which is all for the good. But what’s happened in the interim is that theatrical movies being a spectacle business are now either giant blockbuster movies that run three hours—even superhero movies run three hours, they used to run like 58 minutes!—and the others, which are dysfunctional family independent movies or the slob comedy or the kiddie movie, and those are all low-budget. So the middle ground of movies that were about things, they’re just gone. Or else they’re on HBO. Like the Bryan Cranston LBJ movie, which years ago would’ve been made for theaters.

“You’ve got people like Paul Schrader and Walter Hill who can’t get their movies theatrically distributed because there’s no market for it. So they end up going to VOD, and VOD is a model from which no one makes any money, because most of the time, as soon as they get on the site, they’re pirated. So the whole model of the system right now is completely broken. And whether or not anybody’s going to try to fix, or if it even can be fixed, I don’t know. But it’s certainly not the same business that I got into in the ’70s.”
~ Joe Dante

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