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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

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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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“Chad Harbach spent ten years writing his novel. It was his avocation, for which he was paid nothing, with no guarantee he’d ever be paid anything, while he supported himself doing freelance work, for which I don’t think he ever made $30,000 a year. I sold his book for an advance that equated to $65,000 a year—before taxes and commission—for each of the years of work he’d put in. The law schools in this country churn out first-year associates at white-shoe firms that pay them $250,000 a year, when they’re twenty-five years of age, to sit at a desk doing meaningless bullshit to grease the wheels of the corporatocracy, and people get upset about an excellent author getting $65,000 a year? Give me a fucking break.”
~ Book Agent Chris Parris-Lamb On The State Of The Publishing Industry

INTERVIEWER
Do you think this anxiety of yours has something to do with being a woman? Do you have to work harder than a male writer, just to create work that isn’t dismissed as being “for women”? Is there a difference between male and female writing?

FERRANTE
I’ll answer with my own story. As a girl—twelve, thirteen years old—I was absolutely certain that a good book had to have a man as its hero, and that depressed me. That phase ended after a couple of years. At fifteen I began to write stories about brave girls who were in serious trouble. But the idea remained—indeed, it grew stronger—that the greatest narrators were men and that one had to learn to narrate like them. I devoured books at that age, and there’s no getting around it, my models were masculine. So even when I wrote stories about girls, I wanted to give the heroine a wealth of experiences, a freedom, a determination that I tried to imitate from the great novels written by men. I didn’t want to write like Madame de La Fayette or Jane Austen or the Brontës—at the time I knew very little about contemporary literature—but like Defoe or Fielding or Flaubert or Tolstoy or Dostoyevsky or even Hugo. While the models offered by women novelists were few and seemed to me for the most part thin, those of male novelists were numerous and almost always dazzling. That phase lasted a long time, until I was in my early twenties, and it left profound effects.
~ Elena Ferrante, Paris Review Art Of Fiction No. 228

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