Post-2000s: Time to vote on the next countdown

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What should our next countdown be?
50.88%
29 votes
Comedies
29.82%
17 votes
Musicals
40.35%
23 votes
War
31.58%
18 votes
Noir
57 votes. You may not vote on this poll




Another reason I asked was as a result of something you said -- basically how it would be better if there's more people, which is why I thought having the ability to change it might sway some people to think, "Oh well, I'm not wasting my vote on that"
I don't entirely follow, but you don't have to expound unless you want to. Also when I talk about more people, I mean more people sending in ballots, not voting.

Please note the poll allows you to vote for multiple options, though. It's not "which of these do you want most?" it's "how many of these are acceptable?" Mentioning since some of these questions sound like they might be indirectly implying a zero sum thing.

but I went ahead and went with War.... I'm kinda noired out, and I have a feeling the IMDB categorization of comedy might not fit.. I'm guessing a lot of mine would be "gallow's humor"...
As mentioned above, I'm not sure there's any functional difference between comedy and any other list here. There might be more of an edge to people's arguments, since "that isn't even comedy" is harsher than "I don't like that particularly example of comedy," but whether you think something isn't part of the genre OR you just don't like it, the result is the same: you don't vote for it. Comedy might happen to be more stratified, I'm not sure, but I don't think people having different conceptions of comedy is necessarily changing anything fundamental.



You ready? You look ready.
War.

Because it never changes.
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Society researcher, last seen in Medici's Florence
Very satisfyingly designed poll function. This is exactly what I meant in the pre-discussion.
Indeed, this gonna show the exact mood of the community which is the most important thing.

As for the poll options, initially I thought that War is going to win. This genre has a ton of classics in every era of the cinema history, most of them broadly known (it is also valid for comedy). The war theme contains action within itself and variety of other sub-genres which attracts the audience.

Anyway, I've skipped only one of the poll options and voted for the other three. I'm prepared to post my top 50 for these tomorrow, if you say so.
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I voted for ....(static hiss/incomprehensible noise).....



I voted comedy. I don’t particularly like most war movies (at least not the combat ones) or most musicals and I still haven’t seen a satisfactory definition of noir so I think comedy will be easier anyway.



I voted for War-Comedies.

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Please Quote/Tag Or I'll Miss Your Responses
War movies don't have to have combat scenes... "Grand Illusion", "Johnny Got His Gun", or even those with a few scenes like "Paths of Glory"... But also consider movie buffs might want to give attention to the not-so-popular movies. Personally, I thought saving private ryan sucked.



The trick is not minding
*hacks into the polls*

*throws 12 votes for musicals*

*cackles maniacally*


*decided to throw one vote for pink films to satisfy Mr Minio*



I voted comedy. I don’t particularly like most war movies (at least not the combat ones) or most musicals and I still haven’t seen a satisfactory definition of noir so I think comedy will be easier anyway.
Well Film Noir runs from the 1940's-50's, it expanded globally after that. In the 1970's-80's it inspired film makers to redo the genre in color but with darker tones and themes.

Film Noir (literally 'black film" or "black cinema') was coined by French film critics (first by Nino Frank in 1946) who noticed the trend of how 'dark', downbeat and black the looks and themes were of many American crime and detective films released in France to theatres during and following World War II, such as The Maltese Falcon (1941), Murder, My Sweet (1944), Double Indemnity (1944), The Woman in the Window (1944), and Laura (1944). A wide range of films reflected the resultant tensions and insecurities of the time period, and counter-balanced the optimism of Hollywood's musicals and comedies. Feelings of fear, mistrust, bleakness, loss of innocence, despair and paranoia (displayed through visual styling and low-key lighting) were readily evident in noir, reflecting the 'chilly' Cold War period when the threat of nuclear annihilation was ever-present. The criminal, violent, misogynistic, hard-boiled, or greedy perspectives of anti-heroes in film noir's story conventions were a metaphoric symptom of society's evils, with a strong undercurrent of moral conflict, purposelessness and sense of injustice. There were rarely happy or optimistic endings in noirs. The restrictive Production Code (or 'Hays Code') at the time dictated how subjects such as crime and sex could be handled, and promoted more suggestive plots with shadowy and dark elements.
Classic film noir developed during and after World War II, taking advantage of the post-war ambience of anxiety, pessimism, and suspicion. It was a style of low-cost, B-list American films (the bottom of a double feature) that capitalized on advancements in film-making in the 20s and 30s, including synchronized sound, panchromatic (black and white) film stock with better light sensitivity, more compact lighting equipment, and cheaper on-location shoots.
Film noir first evolved in the 1940s, became prominent in the post-war era, and lasted in a classic "Golden Age" period until about 1960 (marked by the 'last' film of the classic film noir era, Orson Welles' Touch of Evil (1958)). Very often, a film noir story was developed around a cynical, hard-hearted, disillusioned male character [e.g., Robert Mitchum, Fred MacMurray, or Humphrey Bogart], stereotypically a fedora-wearing gumshoe detective, who encountered a beautiful but promiscuous, amoral, double-dealing and seductive femme fatale [e.g., Mary Astor, Veronica Lake, Jane Greer, Barbara Stanwyck, or Lana Turner] in an urban setting. The 'killer dame' would often use her feminine wiles and come-hither sexuality to manipulate him into becoming the fall guy - often following a murder. After a betrayal or double-cross, she was frequently destroyed as well, often at the cost of the hero's life. As women during the war period were given new-found independence and better job-earning power in the homeland during the war, they would suffer -- on the screen -- in these films of the 40s.
Or if you prefer videos



Or if you need a list here are the 1,000 noirs from

'1,000 Noir Films: They Shot Dark Pictures, Didn't They?'


https://www.flickchart.com/Charts.as...st&perpage=250



Welcome to the human race...
I just voted for War on the basis that it's the only category that doesn't have any prefabricated lists dedicated to it.
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Iro's Top 100 Movies v3.0



Well Film Noir runs from the 1940's-50's, it expanded globally after that. In the 1970's-80's it inspired film makers to redo the genre in color but with darker tones and themes.

Or if you prefer videos



Or if you need a list here are the 1,000 noirs from

'1,000 Noir Films: They Shot Dark Pictures, Didn't They?'


https://www.flickchart.com/Charts.as...st&perpage=250
See, I read that and I watch the video and I think I've got a handle on it, then I look at that list and others around the net and I'm confused all over again. This is just a repeat of where I was before you posted.



That's not what I see? Unless you mean ahead of one particular choice.

It is shockingly close right now, regardless. A lot more than I'd have guessed.



A system of cells interlinked
This could go any way!
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