Well, we had all that data on the most critically-admired films from 2011 and 2012, and I don’t know about you, but I couldn’t resist compiling it.
In 2012 we counted 240 films that made critics’ best-end lists. In 2011 we counted 250 (not, as I originally miscounted, 248). They add up not to 490 as you might expect, but to 463, because there was some overlap between the two years. (27 films, we can now tell, made year-end lists in both years.)
. . . And, actually, since I posted about the best 240 movies of 2012, the Year-End site I draw this data from has added four more critics’ lists—in particular Jonathan Rosenbaum’s. So I’ve folded in those results as well, yielding 251 films in 2012, 250 in 2011, and 474 films total between those two years. Though remember, of course, that this is all very approximate!
Now, because we’re dealing with more votes for 2012 than for 2011 (77 critics/organizations vs. 58, yielding 1293 mentions total vs. 1072), we should expect there to be a bias toward films from 2012. Furthermore, I predict that bias will be most evident in the most top-rated films from this year (since that’s where critical opinion concentrated).
So here are the 13 most-mentioned films from the past two years. [The format is # of mentions, title, (director)]:
Last year I wrote a post, “The 248 Best Movies of 2011,” where I tallied all the film data reported at the site Year-End Lists, which reports critics’ year-end lists for movies, music, and books. Film critics surveyed include Andrew O’Hehir, A.O. Scott, Dennis Cooper, J. Hoberman, John Waters, Kenneth Turan, Manohla Dargis, and Roger Ebert, as well as journals like the A.V. Club, Cahiers du Cinéma, Film Comment, and Sight & Sound. The site also reports on the accolades dished out by various organizations and critics circles.
Since 2012 is now mostly a matter of record, I once again tallied things up, in order to see how critics have already begun to regard the past year. But before we dive into the data, a few caveats:
- The value of the numbers below is primarily relative, not absolute. Some critics were sampled more than once, since they not only make their own lists, but also contribute to larger lists (such as the Sight & Sound poll, or the New York Film Critics Circle Awards).
- Every time a film was mentioned, I gave it a single point. In other words, I didn’t weight films, even if a given critic’s year-end list was ranked. (I just don’t have the time to do that.) Honorable mentions and near-misses also counted for a point; that’s just the way it goes. But I think this is OK: my primary intention is to see which films are being thrown about in regards to “the best films of the year,” and I think an honorable mention does just as well as the #1 spot. We’ll let the frequency of mentions do the weighting for us.
- I also counted each award received as a single point. Thus, the New York Film Critics Circle awarded Zero Dark Thirty three prizes: Best Picture, Best Director, and Best Cinematographer—and that counts as three points for our purposes. I think this is fair because, in addition to seeing which films are being singled out, we’re trying to gauge how much they’ve been praised relative to one another. Counting awards like this will pull the most honored films toward the top.
Again, keep in mind that this is all pretty relative. I also won’t claim that we’re sampling all the data we should be sampling; I just went with what’s at the Year-End Lists site. Also, note that a strong bias was given to English-language critics, especially US-based ones—but that, my friends, is the data to which I have the readiest access.
Caveats aside, however, the results strike me as representative of the cinematic zeitgeist c. January 2013. Because without doubt, the two films from 2012 that I’ve seen critics talking the most about have definitely been—