The MoFo Top 100 of the 2010s Countdown

The Raid: Redemption - All the guns used in the film are Airsoft replicas and not functioning firearms. All the shots of the guns actions cycling, muzzle flashes and casings ejecting were added digitally.

World of Tomorrow - Don Hertzfeldt's first digitally animated film. All of his other films were shot on 16mm and 35mm, but he animated this film using a Cintiq tablet, Photoshop and Final Cut Pro. He stated in an interview that he did this because that since the film takes place in the future and that the future looks so abstract, it would be impossible and time consuming to do it right on film.

Hey, @SpelingError. I noticed you erroneously posted #66.

The camera work in this film is wonderful and extremely elegant for such an elevated level of lunacy and everlasting action. Pretty much every action beat and every heartbeat of our main characters is captured correctly and carefully, so that we feel the action instead of having our reaction time fumble with the fact that quick cuts and shaky cam just can't cut it quite the same. Gareth Evans knows how to slice and dice and spice things up just the right amount and despite of the one-way whirlwind of action it is the most diverse “monotone action movie” I have seen. The story and characters could use more angles, but the camera almost makes up for it with all the angles that it captures in place of the story. 'The Raid' is an extremely violent film, but the martial arts elegancy brings beauty to the brutality and adds lightness and ease to the tough-to-watch weight of the violence. The film goes full throttle for most of its runtime and comes perfectly to a climax of carefully choreographed hand-to-hand-to-head-to-knee-to-foot combat with the choreographer himself, who is playing the role of Mad Dog.

World of Tomorrow also marks Hertzfeldt's first digitally-animated film and he does not waste his new-found visual tools. The film naturally involves his particular brand of stick-figures but here they are put against all sorts of colourful yet minimalist settings that range in tone and vibrancy from the ever-changing colours of the Outernet through to the monochromatic lunar surface where Emily Clone works for a time. The sci-fi setting allows for a greater exploration of the same themes of existentialism that had characterised previous Hertzfeldt works even within a running time of about sixteen minutes. Humans program robots with a strong fear of death in order to make them work more efficiently, people can live forever by uploading their consciousness into small black cubes but still find the experience dissatisfying, and clones naturally experience their own existential crises despite retaining the memories of their "ancestors". World of Tomorrow conveys all these familiar sci-fi tropes and themes with enough creative vigour on both visual and textual levels to make them seem refreshed and, thanks to the brief running time, never outstays its welcome. It may not quite be on the same level as It's Such a Beautiful Day, but it proves such a natural evolution of that film's occupations with notions of self and reality that it doesn't matter. Highly recommended.

It says #99 for me. Are you on mobile or browser?