Aaron’s Top 100 Movies (2020 Edition)

Recently I made a major change to how I rate films, doing away with half-stars altogether in favor of a simplified system with only 1, 2, 3, 4, or 5 stars as an option. My hope is that by taking away the additional complication of half-stars, I will be able to more accurately rate films on the first go-around. It’s no secret that I struggle with hype and I often find myself using half-stars only to scale ratings back when the end of the year rolls around and I take another look at them. Additionally, and more importantly, I’ve come to thoroughly embrace the conversations that we have about film online in places like our Feelin’ Film Discussion Group and in person at work. What I desire is for the words in my written reviews, on my podcast, or spoken in conversation to tell you more about my feelings for a film than the number assigned to it. To that end, simplifying my ratings means if you want to understand what distinguishes films in a certain group (say my 4-star rating) from each other, you’ll have to actually read what I have to say or… gasp… ask me about them.

With this change came a mass re-rating project, and after completing that and noticing that I am 2.5 years removed from my last Top 100 list, this was the perfect opportunity to give it an update. As always is the case, gray hairs emerged during this painful process as I tried to distinguish between beloved films. As always, my list is ever-changing, but this serves as a current reflection of my personal cinematic taste – a snapshot view of the cinephile that I am at this moment in time. I hope that as you read through this list you might be able to learn a little about who I am as a person by seeing what type of stories I love the most.

Note: For the purposes of this list, any film with an asterisk (*) after it represents its series or trilogy and is only used in cases where all films of the series are rated as 5-star. The arrows and numbers after each title them are just a fun little addition that shows a film’s movement since the last edition of this list. You can see the previous editions here:

2017 Top 100
2018 Top 100

This is my list. There are many like it, but this one is mine.

#1 The Lord of the Rings: The Fellowship of the Ring *  —  —
#2 The Princess Bride 3
#3 It’s a Wonderful Life 1
#4 Top Gun 11
#5 Before Sunrise * 4
#6 Casablanca 3
#7 La La Land  —  —
#8 12 Angry Men 4
#9 The Last of the Mohicans 7
#10 Interstellar 4
#11 Die Hard 46
#12 The Lion King 40
#13 Jaws 5
#14 The Dark Knight 7
#15 Jurassic Park 2
#16 Toy Story * 2
#17 Your Name. 41
#18 Raiders of the Lost Ark 1
#19 The Prestige 8
#20 Beauty and the Beast 44
#21 Star Wars 7
#22 The Shawshank Redemption 19
#23 Sleeping Beauty 15
#24 Black Hawk Down 46
#25 Full Metal Jacket 13
#26 The Sound of Music 10
#27 Memento 40
#28 Lawrence of Arabia 9
#29 Titanic NEW NEW
#30 National Lampoon’s Christmas Vacation 36
#31 The Wizard of Oz 11
#32 Children of Men 27
#33 Kill Bill * NEW NEW
#34 Singin’ in the Rain 11
#35 Groundhog Day 42
#36 Back to the Future 25
#37 The Departed 56
#38 Gladiator 13
#39 Mary Poppins 21
#40 The Social Network    
#41 The Nightmare Before Christmas 9
#42 Scream 1
#43 Pirates of the Caribbean: The Curse of the Black Pearl NEW NEW
#44 Hell or High Water 36
#45 Terminator 2: Judgment Day NEW NEW
#46 My Neighbor Totoro 1
#47 Fast Five NEW NEW
#48 The Incredibles 28
#49 Lost in Translation NEW NEW
#50 Gone Girl NEW NEW
#51 Blade Runner 2049 * 41
#52 Forrest Gump NEW NEW
#53 Tombstone 3
#54 Fight Club 20
#55 Snow White and the Seven Dwarfs NEW NEW
#56 Happy Gilmore NEW NEW
#57 The Fault in Our Stars NEW NEW
#58 The Rock NEW NEW
#59 The Bridge on the River Kwai 15
#60 Se7en 31
#61 Armageddon NEW NEW
#62 Young Guns NEW NEW
#63 Avengers: Infinity War NEW NEW
#64 The Great Gatsby NEW NEW
#65 Indiana Jones and the Last Crusade NEW NEW
#66 Alien 53
#67 Kubo and the Two Strings NEW NEW
#68 WALL*E NEW NEW
#69 Ex Machina 3
#70 Scott Pilgrim vs. the World 35
#71 The Avengers NEW NEW
#72 The Cabin in the Woods 12
#73 Pitch Perfect NEW NEW
#74 The Hunt for Red October NEW NEW
#75 Inception 48
#76 Creed NEW NEW
#77 Wreck-it Ralph NEW NEW
#78 Reservoir Dogs 10
#79 Little Women NEW NEW
#80 How To Train Your Dragon NEW NEW
#81 Almost Famous 51
#82 Friday Night Lights NEW NEW
#83 TRON: Legacy NEW NEW
#84 Harry Potter and the Prisoner of Azkaban NEW NEW
#85 Crazy, Stupid, Love NEW NEW
#86 Gravity NEW NEW
#87 Les Misérables NEW NEW
#88 Hamilton NEW NEW
#89 Con Air NEW NEW
#90 The Empire Strikes Back 44
#91 10 Cloverfield Lane NEW NEW
#92 Reality Bites 23
#93 Rashomon 60
#94 Vertigo 70
#95 Moon 10
#96 Rocky NEW NEW
#97 First Man NEW NEW
#98 Passengers NEW NEW
#99 Whiplash 21
#100 A Star is Born (2018) NEW NEW
  • It’s not unlikely for films to enter/leave/re-enter this list, but any film that has dropped out at one point and come back on is still designated as “NEW” just to keep things simple.

Link to list on Letterboxd

Like it? Hate it? Think I’m crazy? I’d love to hear your thoughts.


Aaron White is a Seattle-based film critic and co-creator/co-host of the Feelin’ Film Podcast. He is also a member of the Seattle Film Critics Society. He writes reviews with a focus on the emotional experience he has with a film. Follow him on Facebook and Twitter to be notified when new content is posted.

Episode 175: Pitch Perfect

This week we discuss a favorite film that bridges the gap between rom-com and musical so well, you could say it’s “pitch perfect”.

Pitch Perfect Review – 0:01:07

The Connecting Point – 1:07:26

Follow & Subscribe


Join the Facebook Discussion Group

Download This Episode


Support us on Patreon & get awesome rewards:

or you can support us through Paypal as well. Select the link below and make your one-time or recurring contribution.

Rate/Review us on iTunes and on your podcast app of choice! It helps bring us exposure so that we can get more people involved in the conversation. Thank you!

What We Learned This Week: June 11-17

LESSON #1: WHEN IMPORTANT DIVERSITY IS IN PLAY, EXTRA HYPE IS WARRANTED— Not understanding the important opportunities for diversity is equivalent to being tone deaf.  Recently some people tried to bash the female empowerment frenzy over the very existence of Wonder Woman, no matter if the film itself was any good.  After its trailer debut, pockets of ostriches with heads in the sand are doing the same with the new trailer for Black Panther and the fervid immediate and early hype from the black audiences.  Let me put it like this when it comes to Wonder Woman and Black Panther: “If you don’t understand why these films are important on principle alone, then you are part of the problem.”  The marketplace doesn’t just need these films, they deserve them.  Their importance assigned by their demographics and fanbases grants them warranted extra hype.

LESSON #2: NEW SOURCES WILL INVADE AWARDS RACES THIS WINTERIndiewire had a nice story recently talking about the Oscar chances of Get Out and Emmy chances of Netflix offerings.  I, for one, am all for it, but early-year films like Jordan Peele’s hit are going to need help coming November and December thanks to good old “out of sight/out of mind” syndrome.  More critics and voters need to keep these films in the conscientiousness of viewers and watchers.

LESSON #3: WHEN STEVEN SPIELBERG CALLS, YOU SAY YES— Speaking of the Oscars, just about everything the legendary Steven Spielberg touches becomes some kind of Oscar nominee or winner.  For his upcoming and fast-tracked December film The Papers (and no, it’s not about supplies from your weed guy), he is multiplying that Midas Touch with having fellow Academy darlings Tom Hanks and Meryl Streep headlining.  If that wasn’t colossal enough, take a gander at the supporting ensemble cast assembled by Spielberg behind Hanks and Streep.  If that’s not an eclectic “Murderer’s Row” of character actors, I don’t know what is.  The Spielberg clout is real.  Get Out and Netflix be damned, but say an early hello to your new Oscar frontrunner.

LESSON #4: STEVEN SPIELBERG APPARENTLY NEEDS TO CALL MORE WOMEN— Well-liked actress and emerging filmmaker Elizabeth Banks attempted to put Steven Spielberg on blast for not ever having directed a film with a female lead.  Her rant, which lead to a public apology, was quickly dispelled when she learned of The Color Purple.  That’s the only film it takes from Spielberg to negate the “never” in Banks’ words, but I think the crux of her argument remains fair.  Even when you add Sugarland Express and the little girl from The BFG, Steven is  more than a shade low in his percentages of female leading roles.  It wouldn’t kill him to rethink that.  Watch him follow in the footsteps of Banks and direct a Pitch Perfect sequel to shut everyone up.

LESSON #5: ARTSY-FARTSY PEOPLE APPARENTLY HATE JARED LETO— Academy Award winner and Suicide Squad actor Jared Leto was recently named the Chief Creative Officer of the film streaming service Fandor, pissing off film snobs everywhere.  Fandor fashions itself as a database for indie films, documentaries, international features and shorts.  Apparently to the high-end cinephiles, Leto has sold out and is not qualified.  People forget before he was Joker, the man won an Oscar and worked with off the beaten path with the likes of Fincher, Aronofsky, Malick, Toback, Mangold, Schumacher, Stone, Niccol, and Villeneuve.  Beyond his work resume, Leto has championed his own broadcast and social platform business VyRt for five years.  Dude, he’s quite qualified.  He’s not going to ruin the place.  In fact, watch it multiple with a driven guy at the helm.


DON SHANAHAN is a Chicago-based film critic writing on his website Every Movie Has a Lesson.  He is also one of the founders and the current directors of the Chicago Independent Film Critics Circle.  As an elementary educator by day, Don writes his movie reviews with life lessons in mind, from the serious to the farcical.  As a contributor here on Feelin’ Film, he’s going to expand those lessons to current movie news and trends.  Find “Every Movie Has a Lesson” on Facebook, Twitter, Medium, and Creators Media.