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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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas