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The #1 online casino company $RSI is primed for autism
Positions: $RSI 30 03/19 30C Proof: https://imgur.com/a/swCCMjz *This post is for informational purposes only, you should not construe any such information or other material as investment, financial, or other advice.* TLDR: Rush Street Interactive ($RSI) is the #1 nationwide online casino company and the #3 or #4 sports book depending on the state. Short selling, unwarranted institutional wariness of share dilution and the general market focus on sports book instead of online casino has left $RSI grossly undervalued. A massive blow out at Q4 earnings will result in analyst upgrades and a rapid repricing by market makers and institutions seeking exposure to the emerging sector. **Overview** "Sports book is really just kind of a warm up in a lot of ways for an online casino where the real money is made" - Niccolo De Masi, CEO dMY technologies Rush Street Interactive ($RSI) operates the BetRivers.com online casino and sports book. They are now fully licensed and operating in New Jersey, Pennsylvania, Michigan, Illinois, Indiana, Colorado, Iowa, and Virginia. They own and operate a casino in New York and already have a New York license making them well positioned for liberalization there. They merged with a dMY Technology Group SPAC on Dec. 31st 2020 with 240 million on the balance sheet to spend on growth. The online casino business is fundamentally more profitable than sports betting because the average value of a casino player is estimated at $600 while a sports book player could be as little as $20. Estimates put the online casino market at DOUBLE the size of the online sports book market and the online casino industry is really just getting started as more states liberalize. $RSI is expert at new market entry; they have been first to market in Pennsylvania, Illinois, Indiana, and Colorado and even when they aren't first they are capable of capturing market share in competitive markets such as New Jersey. They also have products which women play which accounts for at least half of the market in online casino. The female market is one that the pure sports book plays miss out on. Also for some fucking reason they operate a casino and sports book in Colombia (rushbet.co) and may make large expansions into other parts of south America as legalization continues. This means they have the expertise necessary for global expansion in the future although the states remains their primary focus and growth driver. **The Financials and Strategy** Unlike other companies in the space Rush Street is already profitable in 2020 and has a strong focus on Return On Invested Capital (ROIC). Q3 gross revenue was $71.9 Million. Q4 revenue is going to be a blow out. Combing through state gambling revenue data and breaking that down by market share my estimate is that Q4 revenue could be as high as $120 Million. Paired with this blow out will be a **guidance raise to $500 Million for 2021**, which is 2/3 of DraftKings 2021 guidance of $750M. https://imgur.com/a/xkfcayC What is striking when compared to $DKNG is that their advertising spend was only a quarter of revenue in Q3 while $DKNG spent 155% of their revenue. This will change as they begin to focus on growth, but it shows they are very good at getting return on ad spend. This company should actually be valued close to $DKNG based on growth potential once guidance is raised. https://imgur.com/a/RQQXtGg Their focus on attracting **female gamers** is also important to their long term growth potential. The sports book plays with cross sells to casino such as $DKNG will not be able to grow through the female demographic in the same way. **This cannot be understated** as one of the major strategic advantages of $RSI. https://imgur.com/a/xzJj26n As I said before I expect their trend of rapid growth to continue for Q4 earnings, certainly going to be a blow out based on looking at state gambling revenue numbers. My estimate is that their revenue will be around 110M for Q4. I also expect guidance to be raised to 500M for 2021 due to strong performance in existing markets and the recently opened Michigan market as well as their sports book launch in Virginia. https://imgur.com/a/ckTqHhh **Short sellers have entered the chat** The short interest on $RSI sits at 5.08 M shares as of 01/14/21 representing a 30% increase. Now why would a company already valued at 2.8 Billion and with a comparative valuation of 8-10 Billion compared with $DKNG and $PENN be so heavily shorted at such a low market cap? My conclusion is that an institution with 10s of millions to throw at shorting this stock wants to take advantage of fear of share dilution from warrant calling or to establish a better entry prior to earnings. **Commander in GILF Cathie Wood is Bullish on the sector** On Feb. 2nd ARK disclosed that they had purchased 620,300 shares of $DKNG. This is extremely bullish for the sector. I am highly confident that after Q4 earnings ARK will be purchasing shares in $RSI as well due its strategic advantages relative to $DKNG and exposure to the female demographic. For such a small market cap company this will be a major catalyst. **Institutions are bullish** Fidelity has increased their holdings to 14% as of today: https://d18rn0p25nwr6d.cloudfront.net/CIK-0001793659/8f10b0d8-a3d2-447c-bc75-87587d0a4670.pdf Alliance Bernstein holds a 6% position reported today: http://d18rn0p25nwr6d.cloudfront.net/CIK-0001793659/e883778d-e759-4a85-91c1-3242ed110720.pdf **Final notes** Jerome "The Bus" Bettis, Steelers legend and hall of fame running back, is their brand ambassador... This company knows their target audience and how to appeal to them, likely more 'classic' ambassadors to come to attract even more boomer and Gen X degenerates. Keep in mind these are the gamblers with big money to spend, the average age of an online casino gambler is 42. This stock has been grossly underpriced due to short selling. The terms of the SPAC deal were not unfavorable and all the insiders held their shares through the merger banking on growth in the market - **management owns 77% of the company**. This is a true value play on a well managed company in an emerging industry with a market size in the hundreds of billions. I plan to hold shares long term. I will post a part 2 breaking down their latest S-1 filing and Q4 revenue by state when they release their Q4 earnings date. Do your own research. References: https://www.legalsportsreport.com/sports-betting/revenue/ https://fintel.io/doc/sec-rush-street-interactive-inc-ex991-2021-january-05-18632-947 https://s26.q4cdn.com/794539746/files/doc_presentations/2020/RSI-Investor-Presentation-15-Oct-2020.pdf https://ir.rushstreetinteractive.com/news/news-details/2020/RUSH-STREET-INTERACTIVE-ANNOUNCES-THIRD-QUARTER-2020-RESULTS-AND-RAISES-FULL-YEAR-GUIDANCE/default.aspx https://www.youtube.com/watch?v=SQWEhWuPmzU https://www.thestreet.com/investing/draftkings-surges-as-stake-bought-by-ark-next-generation Positions: $RSI 30 03/19 30C I will be adding 04/16 25cs each week until earnings. Exit strategy: "What's an exit strategy?" - u/deepfuckingvalue Update 021321: IMPORTANT after a commenter pointed out that technically they could report as late as April 2nd I AM RECOMMENDING THAT EVERYONE ROLL OUT TO APRIL 16TH 35Cs
The #1 online casino company $RSI is primed for ingress.
Positions: $RSI 03/19 30C Proof: https://imgur.com/a/swCCMjz This post is for informational purposes only, you should not construe any such information or other material as investment, financial, or other advice. TLDR: Rush Street Interactive ($RSI) is the #1 nationwide online casino company and the #3 or #4 sports book depending on the state. Short selling, unwarranted institutional wariness of share dilution and the general market focus on sports book instead of online casino has left $RSI grossly undervalued. A massive blow out at Q4 earnings will result in analyst upgrades and a rapid repricing by market makers and institutions seeking exposure to the emerging sector. Overview "Sports book is really just kind of a warm up in a lot of ways for an online casino where the real money is made" - Niccolo De Masi, CEO dMY technologies Rush Street Interactive ($RSI) operates the BetRivers.com online casino and sports book. They are now fully licensed and operating in New Jersey, Pennsylvania, Michigan, Illinois, Indiana, Colorado, Iowa, and Virginia. They own and operate a casino in New York and already have a New York license making them well positioned for liberalization there. They merged with a dMY Technology Group SPAC on Dec. 31st 2020 with 240 million on the balance sheet to spend on growth. The online casino business is fundamentally more profitable than sports betting because the average value of a casino player is estimated at $600 while a sports book player could be as little as $20. Estimates put the online casino market at DOUBLE the size of the online sports book market and the online casino industry is really just getting started as more states liberalize. $RSI is expert at new market entry; they have been first to market in Pennsylvania, Illinois, Indiana, and Colorado and even when they aren't first they are capable of capturing market share in competitive markets such as New Jersey. They also have products which women play which accounts for at least half of the market in online casino. The female market is one that the pure sports book plays miss out on. Also for some fucking reason they operate a casino and sports book in Colombia (rushbet.co) and may make large expansions into other parts of south America as legalization continues. This means they have the expertise necessary for global expansion in the future although the states remains their primary focus and growth driver. The Financials and Strategy Unlike other companies in the space Rush Street is already profitable in 2020 and has a strong focus on Return On Invested Capital (ROIC). Q3 gross revenue was $71.9 Million. Q4 revenue is going to be a blow out. Combing through state gambling revenue data and breaking that down by market share my estimate is that Q4 revenue could be as high as $120 Million. Paired with this blow out will be a **guidance raise to $500 Million for 2021**, which is 2/3 of DraftKings 2021 guidance of $750M. https://imgur.com/a/xkfcayC What is striking when compared to $DKNG is that their advertising spend was only a quarter of revenue in Q3 while $DKNG spent 155% of their revenue. This will change as they begin to focus on growth, but it shows they are very good at getting return on ad spend. This company should actually be valued close to $DKNG based on growth potential once guidance is raised. https://imgur.com/a/RQQXtGg Their focus on attracting **female gamers** is also important to their long term growth potential. The sports book plays with cross sells to casino such as $DKNG will not be able to grow through the female demographic in the same way. **This cannot be understated** as one of the major strategic advantages of $RSI. https://imgur.com/a/xzJj26n As I said before I expect their trend of rapid growth to continue for Q4 earnings, certainly going to be a blow out based on looking at state gambling revenue numbers. My estimate is that their revenue will be around 110M for Q4. I also expect guidance to be raised to 500M for 2021 due to strong performance in existing markets and the recently opened Michigan market as well as their sports book launch in Virginia. https://imgur.com/a/ckTqHhh Short sellers have entered the chat The short interest on $RSI sits at 5.08 M shares as of 01/14/21 representing a 30% increase. Now why would a company already valued at 2.8 Billion and with a comparative valuation of 8-10 Billion compared with $DKNG and $PENN be so heavily shorted at such a low market cap? My conclusion is that an institution with 10s of millions to throw at shorting this stock wants to take advantage of fear of share dilution from warrant calling or to establish a better entry prior to earnings. Cathie Wood is Bullish on the sector On Feb. 2nd ARK disclosed that they had purchased 620,300 shares of $DKNG. This is extremely bullish for the sector. I am highly confident that after Q4 earnings ARK will be purchasing shares in $RSI as well due its strategic advantages relative to $DKNG and exposure to the female demographic. For such a small market cap company this will be a major catalyst. Final notes Jerome "The Bus" Bettis, Steelers legend and hall of fame running back, is their brand ambassador... This company knows their target audience and how to appeal to them, likely more 'classic' ambassadors to come to attract even more boomer and Gen X degenerates. Keep in mind these are the gamblers with big money to spend, the average age of an online casino gambler is 42. This stock has been grossly underpriced due to short selling. The terms of the SPAC deal were not unfavorable and all the insiders held their shares through the merger banking on growth in the market - **management owns 77% of the company**. This is a true value play on a well managed company in an emerging industry with a market size in the hundreds of billions. I plan to hold shares long term. I will post a part 2 breaking down their latest S-1 filing and Q4 revenue by state when they release their Q4 earnings date. Do your own research. References: https://www.legalsportsreport.com/sports-betting/revenue/ https://fintel.io/doc/sec-rush-street-interactive-inc-ex991-2021-january-05-18632-947 https://s26.q4cdn.com/794539746/files/doc_presentations/2020/RSI-Investor-Presentation-15-Oct-2020.pdf https://ir.rushstreetinteractive.com/news/news-details/2020/RUSH-STREET-INTERACTIVE-ANNOUNCES-THIRD-QUARTER-2020-RESULTS-AND-RAISES-FULL-YEAR-GUIDANCE/default.aspx https://www.youtube.com/watch?v=SQWEhWuPmzU https://www.thestreet.com/investing/draftkings-surges-as-stake-bought-by-ark-next-generation Positions: $RSI 03/19 30C I will be adding 04/16 25Cs each week until earnings Exit strategy: "What's an exit strategy?" - u/deepfuckingvalue Forgot to add: http://d18rn0p25nwr6d.cloudfront.net/CIK-0001793659/8f10b0d8-a3d2-447c-bc75-87587d0a4670.pdf Fidelity just doubled their position to almost 15% Update 021221: Everyone that went in on my initial entry is down 40% right now. As I said I plan to continue to buy 03/19 25Cs each week until earnings. If you’re worried about further losses wait until the day before earnings to load up, you may miss a run up though. Update 021321: IMPORTANT after a commenter pointed out that technically they could report as late as April 2nd I AM RECOMMENDING THAT EVERYONE ROLL OUT TO APRIL 16TH 35Cs
(If this is a spam post, sorry, I only just joined. Let me know and I’ll delete it) also if you don’t have 100, then no biggie. Just put as many as you can. Mine:
Spirited Away
The Dark Knight
Raiders of the Lost Ark
Indiana Jones and the Last Crusade
Jurassic Park
Howl’s Moving Castle
Star Wars Episode V: The Empire Strikes Back
Inception
Schindler’s List
Mission Impossible: Fallout
Casino Royale
Star Wars Episode IV: A New Hope
When Marnie Was There
Terminator 2: Judgement Day
Batman Begins
Princess Mononoke
Kiki’s Delivery Service
Halloween (1978)
The Terminator
Jaws
Good Will Hunting
Signs
The Lord of the Rings: The Return of the King
The Lord of the Rings: The Fellowship of the Ring
The Lord of the Rings: The Two Towers
Unbreakable
The Sixth Sense
Skyfall
Spider-Man 2
Back to the Future
Star Wars Episode VI: Return of the Jedi
The Conjuring 2
Scream
The Conjuring
Alien
Aliens
Edge of Tomorrow
Minority Report
The Wind Rises
Pan’s Labyrinth
Mission Impossible: Rogue Nation
Ghost in the Shell
Batman (1989)
Goldeneye
The Blair Witch Project
The Ring
Knives Out
Perfect Blue
Saving Private Ryan
The Shining
Predator
Indiana Jones and the Temple of Doom
The Matrix
The Sound of Music
La La Land
Mission Impossible: Ghost Protocol
Your Name
The Nightmare Before Christmas
Forest Gump
The Bourne Identity
Spider-Man
Ghostbusters
The Silence of the Lambs
E.T.
The Truman Show
The Exorcist
Full Metal Jacket
Whiplash
The Village
Die Hard
Beetlejuice
A Silent Voice
Scott Pilgrim Vs. The World
Ponyo
Citizen Cane
Paprika
A Nightmare On Elm Street
Rain Man
Django Unchained
Rocky
Back to the Future Part III
Mulan
Batman: Mask of the Phantasm
Kill Bill
Coralline
Hot Fuzz
Blues Brothers
Sunset Boulevard
It’s A Wonderful Life
My Neighbor Totoro
The Hunt For Red October
The Lego Movie
The Incredibles
The Thing
Gremlins
Back to the Future
Ferris Bueller’s Day Off
Toy Story 2
Ready Player One
Trick ‘R Treat
Edit: Thank you all for the replies and recommendations! I know my list is kind of bare, and there’s a ton of iconic films I have yet to see, but I’m getting there! I also know that some of my choices for the higher places might be more “mainstream” or I guess popcorn movies, but I love those types of films! There’s a lot of independent films I’ve watched and although I very much enjoy them, I’ve found that the films that top my list now are the ones I distinctly remember the most, and get the most excited to rewatch. I also know there’s a number of films in here which probably wouldn’t come close to touching most people’s even top 1000, but I love them nonetheless. In particular, I know The Village is probably my most controversial pick, but I loved it. I’ve really enjoyed reading everyone’s lists! The ones that have completely different films from mine are the most interesting, and I know that my bucket list of films has just increased a whole bunch! Anyway, thank you again, and I hope you all have a great day/evening or whatever! Edit 2: Oh, I can’t believe I forgot to put Zodiac on the list! I’ll have to think about where it should go.
Score Media and why its a massive candidate for a multi bagger
Hello fellow autists, Just a pre-cursor, this is my first post of any kind on WSB. I would occasionally peruse the forum but was obviously drawn here from the GME craze and love every part of it. Score Media and Gaming, listed on the TSX as SCR and in the US as TSCRF. These guys have nothing but positive news coming in the next 12 months and has the ability to at least double in the next half year, if not sooner. These guys are foraying into the sports betting market and are the only players that have a fully intuitive and integrated sports scores/stats application on the market. So what are the positives/catalysts for Score Media: - Expansion with the help/investment of Penn Gaming to expand sportsbook in the US. Keep in mind, Penn is the same company that invested in Barstool. The Score is already approved in New Jersey, Indiana and Colorado, with Iowa right around the corner, and Michigan up next. - Sports betting in Canada is a 14 Billion dollar market. Single wagering is currently illegal, however, there is unity across the aisle between all political parties to amend the criminal code and make single wagering legal. There are currently two bills in play. C-13 and C-218. C-13 second reading is currently delayed, while C-218 is scheduled for the House of Commons on February 24th. Like most countries, they have currently spent a ton of money propping up their respective economies due to COVID-19. It is highly unlikely the Canadian government rejects this massive taxable revenue stream when it needs it the most - Leader in sports applications for time spent on the app on a monthly basis, beating out heavy hitters like TSN, ESPN, Bleacher Report....literally every other sports media application - Only major player with an already existing sports news/fantasy application with seamless sportsbook integration. No hopping back and forth, you can wager through the sports app as if you were on the sportsbook - They are the biggest E-sports media player with over 1 million subscribers on YouTube and that lead is growing - They are pushing to get listed on the NYSE in the very near future to further growth and investment opportunities. The only real hinderance that could potentially stop the run of this company is if the Canadian government fails to amend the current laws for single game wagering, which in the current economical climate, I find extremely unlikely. ESPECIALLY with support from all political parties including the Conservatives, New Democratic Party, Bloc Quebecois and most Liberal MP's. Even in the event that this for some reason failed to pass, it still has access to an enormous US market with the backing of Penn. I love this stock boys and girls! EDIT 1: Currently with 2500 shares. Started at 1.71 and have been steadily buying dips, now at 1.91 cost average Sources and Links: Bill C-218 and Canadian Market: https://financialpost.com/telecom/everything-has-changed-canadian-companies-looking-to-cash-in-as-sports-betting-legalization-spreads https://www.radionl.com/2021/02/04/bclc-advocating-for-ottawa-to-legalize-single-event-sport-betting/ ScoreBet integration: https://www.businesswire.com/news/home/20201112005877/en/Introducing-BET-SECTION-A-New-Dedicated-Home-for-Betting-on-theScore-App Penn investment and US plans: https://www.thestar.com/business/2021/01/16/the-faceoff-score-media-vs-draftkings-the-well-known-canadian-online-gaming-site-is-bracing-for-competition-from-its-larger-us-peer-but-its-high-brand-recognition-across-canada-gives-it-home-ice.html Canadian position compared to rivals and US listing plans: https://www.casino.org/news/thescore-ceo-says-company-in-pole-position-for-canadian-sports-betting/
NBA Owners' net worth (Dan Gilbert's net worth rose from $7.5 billion to $45.3 billion this year)
...After his company went public. I had to include that in the title. Maybe now he won't be such a cheap bastard with his GMs. I had no idea Gilbert was now the second richest owner in the league. Which made me wonder what other owners are worth (the title of this post was almost "why is Tilman Fertitta such a cheap bastard while Joe Lacob spends money like he thinks the shit's gonna rot?"). Which brings us to this handy Forbes list from March: 1. Steve Ballmer (Los Angeles Clippers): $51.4 billion Ballmer scored a huge win this week for his dream of building a new arena. He bought the Forum for $400 million from the Madison Square Garden Company, which tried to block a new Clippers arena near the Forum in Inglewood, California. 2. Philip Anschutz (Los Angeles Lakers): $11.2 billion Anschutz owns one-third of the Lakers, plus the arena in which they play, the Staples Center, in addition to the NHL’s Kings. \For those wondering, it's hard to find a reliable source on Jeanie's net worth but according to unreliable sources it's in the ballpark of $500 million* 3.Stanley Kroenke (Denver Nuggets): $10 billion The real estate and sports mogul owns teams in the NBA, the NHL, the NFL, MLS and the Premier League. 4.Joseph Tsai (Brooklyn Nets): $9.9 billion The cofounder of Alibaba Group completed his purchase of the Nets last year for $2.3 billion and bought the Barclays Center for an additional $1 billion. 5. Robert Pera (Memphis Grizzlies): $7.1 billion Pera owns nearly three-quarters of wireless equipment maker Ubiquiti Networks. He was the lead investor in the Grizzlies purchase in 2012. 6. Daniel Gilbert (Cleveland Cavaliers): $6.2 billion Gilbert made his first fortune from Quicken Loans, the largest online mortgage lender, which he cofounded in 1985 at 22 years old.*List is from March, before the IPO 7. Tom Gores (Detroit Pistons): $5.7 billion Gores and his brother Alec are both private equity billionaires. The Pistons opened a new $90 million headquarters and training facility in September. 8. Micky Arison (Miami Heat): $5.3 billion Arison’s net worth plummeted 33% over the past six weeks with the collapse in the stock price of Carnival Corp. The world’s largest cruise ship operator was founded by Arison’s father in 1972. 9. Tilman Fertitta (Houston Rockets): $4.4 billion Fertitta furloughed roughly 40,000 employees at his casino and restaurant empire to curb the economic impact caused by coronavirus-induced shutdowns. His fortune is derived from his ownership of the Golden Nugget Casinos and Landry’s, a Texas-based restaurant and entertainment company. 10. Mark Cuban (Dallas Mavericks): $4.3 billion Cuban was one of the first sports team owners to commit to paying hourly arena workers for games missed during the coronavirus crisis. He’s invested more than $20 million as a “shark” on ABC’s popular Shark Tank show. 11. Joshua Harris (Philadelphia 76ers): $3.7 billion Harris cofounded private equity powerhouse Apollo Global Management in 1990 with fellow billionaires Leon Black and Marc Rowan. He remains a managing director there. 12. Gayle Benson (New Orleans Pelicans): $3.2 billion Benson inherited the Pelicans and the NFL’s Saints when her husband, Tom, died in 2018. 13. Glen Taylor (Minnesota Timberwolves): $2.8 billion His printing firm, Taylor Corp., generates more than $2 billion in revenue annually. Taylor also owns stakes in Minnesota’s MLS and WNBA teams. 14. Herb Simon (Indiana Pacers): $2.6 billion The real estate mogul bought the Pacers with his since-deceased brother, Melvin, in 1983, for $10.5 million. Simon Property Group is one of the world’s largest real estate investment trusts, with 206 properties in the U.S. 15.Antony Ressler (Atlanta Hawks): $2.4 billion Ressler cofounded private equity firm Ares Management in 1997. He owns a small piece of the Milwaukee Brewers, in addition to his controlling stake in the Hawks. 16. Michael Jordan (Charlotte Hornets): $2.1 billion The NBA’s GOAT sold a minority stake in the Hornets in September in a deal that valued the team at $1.5 billion. Nike pays Jordan more than $100 million annuallybased on growing sales for the company’s Jordan Brand. 17. Marc Lasry (Milwaukee Bucks): $1.8 billion Lasry, a hedge fund titan, joined Wes Edens to buy the Bucks in 2014 for $550 million. He was born in Morocco and moved to the U.S. at age 7 with his family. 18. Gail Miller (Utah Jazz): $1.7 billion Miller transferred ownership of the Jazz in 2017 to a family legacy trust to deter her heirs from selling or moving the team. Gail and her since-deceased husband, Larry, bought the team for $22 million in 1986. 19. Jerry Reinsdorf (Chicago Bulls): $1.5 billion Reinsdorf led a group of investors who bought a controlling stake in the Bulls for $9.2 million in 1985. Good timing. It was one year after the team drafted Michael Jordan, who led the Bulls to six NBA titles. The team is now worth $3.2 billion. 20. Theodore Leonsis (Washington Wizards): $1.4 billion Leonsis initially built his fortune as a senior executive at AOL, before investing in sports teams like the Wizards and the NHL’s Capitals. *Not included on the list but googled for your edification: DeVos Family (Magic): $5.4 billion James Dolan (Knicks): $2 billion Joe Lacob (Warriors): $1.2 billion Vivek Randive (Kings): $700 million Robert Sarver (Suns): $400 million Jody Allen (Trail Blazers): The sister of Microsoft cofounder, Paul G. Allen, took control of the team after his death. At the time her brother was worth $20 billion though he intended to give most of his fortune away... Boston Basketball Partners LLC (Celtics): An American local private investment group formed to purchase the Boston Celtics Maple Leaf Sports & Entertainment (Raptors): The Raptors are a subsidiary of MLSE The Professional Basketball Club, LLC (Thunder): A group of OKC businessmen "who represent a wide variety of local and national business interests" owns the Thunder Spurs Sports & Entertainment LLC (Spurs): An American sports & entertainment organization, based in San Antonio, Texas owns the San Antonio Spurs
Background IL casinos reopened last week. Drove down (about a 45 minute drive) this past Saturday only to find out that they were limiting how many people were in the casino and there was a 30+ minute wait (in the cold) so we decided to cut our losses and return home. I was bummed but my wife already wasn't excited about going to rivers. She prefers Potawatomi (Milwaukee) but they have removed all tables..hence my desire to go to Rivers (they do have 3 bubble machines at Potawatomi but not the same to me). Because my wife wasn't too excited about going to Rivers, I knew my time might be short. I was hoping she would have a good day on the slots so I could play a while....but I also didn't want to push it too much as I'm hoping to go back down again and didn't want her annoyed waiting for me while I'm having fun. The Casino We had a snow storm come through the area on Tuesday and work was slow so we decided to try Rivers again Tuesday afternoon. The place was busy but not crazy and they had a lot of tables running. From a craps perspective, I counted 5 tables (one $5, three $10, and a $15). 3 to a side. One thing that surprised me is they were apparently short 'boxmen' as I only counted two and they were bouncing between tables, primarily handling cash and coloring up. My dealer took my cash and gave me chips without a boxman at the table. The table I joined ($5) was full but there was at least one $10 table with only one guy at it when I left. As far as other table games go, Blackjack had $10 & $15 tables I saw and Ultimate Texas Hold'em had $5 and $15 tables. I'm sure there were other games being run but those are my jam so that is what I noted. My short time playing Craps I must have pulled up at the right time as a spot was open at the $5 table. Point was either 8 or 9 so I waited to join. They had just hit all the small and were one away from all the tall (I believe the 9). The guy to my left played a heavy lay bet as he had $10 on the all. The next roll hit the point and the roll after got them all...I believe a roll or two after 7'd out. I got in after the point was hit and ended up losing a little of my starting ($300) bankroll. I was playing the line with heavy odds (100x at rivers). After that the dice made a fairly quick pass around the table. I rolled poorly in my first time rolling. Going into the casino, I assumed they would only have $15 tables so I wanted to try placing a $30 6/8 and then lowering it to table minimum after the first hit. Since I was at a $5 table, I adjusted a bit to play the line with odds but still placed a $30 6/8 on some shooters. That didn't work too well my first time at bat. I believe by the time it came back to me, I was down to my final $100. I played a similar strategy. I usually only play ATS when I roll which I did ($5 minimum). I hit a couple 6/8's but was down so much that I abandoned my strategy of lowering my wages after the first hit (I came to play, right?). Ended up hitting all the small and only had a 9 left on the tall. The guy to my left again, played a heavy lay bet against the 9 but I took a chance....I should have followed his lead as the next roll was a 7, At this point I was close to my starting bankroll (I believe the small paid $160). I played the line and the point started at an 8. I placed the 6 for $30 and $25 odds. What I didn't do was play ATS. I mean...what are the chances.....but the guy to my left was having a good day. He played $5/$15/$5 on the ATS I believe. By now you probably see where this is heading....all the small was again hit first (again)...I don't recall what the last number was on the tall but he did his heavy lay ($900 I think) but hit it for a $2000 plus payout. I ended up with $450 after tipping. My wife was having horrible luck at the slots and wasn't 'in the mood' so we weren't even there an hour (that's right....1.5 hours driving round trip and less than an hour at the casino). It felt like I should have been up a lot more but points weren't actually hitting that much...I hit my place bets a few times and then I hit the small once. But it was fun to see my 'teammate' next to me go up probably $3k in the short time I was there....I don't even think he was playing much outside the line bet and the place bets I mentioned. All in all...a fun time was had. Wish I could have played longer (of course) but leaving with a 50% profit and not annoying my wife too much is a win in my book. Now I just have to wait for my next trip to Michigan/Indiana (Four Winds/Bluechip) next month.
https://s1.dmcdn.net/v/41iE01LRz2oG6tRB3/x1080 I decided to make a compilation of my favorite movies for home theater, not just in terms of sound, but also all around movie experiences:
13 Hours
3:10 To Yuma
1917
21 Bridges
A Quiet Place
Ad Astra
The Adjustment Bureau
After Earth
Air Force One
All Is Lost
Allied
American Sniper
Anna
Annihilation
Anon
Armageddon
Apocalypto
Apollo 13
Arrival
The Assassination Of Jesse James
Atomic Blonde
Ava
Avatar
The Aviatior
Baby Driver
Batman Begins
Battleship
The Big Short
Black Hawk Dawn
Black Swan
Blade Runner 2049
Blood Diamond
Body Of Lies
Bridge Of Spies
Catch Me If You Can
Captain Philips
Casino
Cast Away
Children Of Men
Con Air
Contact
Constantine
The Curious Case Of Benjamin Button
The Dark Knight
The Dark Knight Rises
Deepwater Horizon
The Departed
Django Unchained
Drive
Dunkirk
Elysium
Equilibrium
Ex Machina
Exodus Gods And Kings
Flags Of Our Fathers
The Fifth Element
Fight Club
First Man
Ford V Ferrari
Fury
The Fountain
Gangs Of New York
Gattaca
Gladiator
Glass
Gods Of Egypt
Good Fellas
Good Kill
Gravity
The Great Gatsby
The Great Wall
The Green Mile
Hacksaw Ridge
The Happening
The Host
Hostiles
Hugo
The Hurt Locker
I Am Legend
I, Robot
In The Heart Of The Sea
In Time
Inception
Inglorious Basterds
Interstellar
The Island
The Jackal
Joker
Joy
Jupiter Ascending
Killing Them Softly
Kingdom Of Heaven
The Last Samurai
Lone Survivor
Looper
Lords Of War
Lucy
Mad Max Fury Road
The Machinist
The Martian
The Mask Of Zorro
Master And Commander
Minority Report
Mortal Engines
Mother!
No Country For Old Men
Once Upon A Time In Hollywood
Panic Room
Passengers
The Passion Of The Christ
The Patriot
Pearl Harbor
The Perfect Storm
The Prestige
The Professional
Public Enemies
Ready Player One
Red Sparrow
The Revenant
Road To Perdition
Roma
Rush
Salt
Saving Private Ryan
Scarface
Seabiscuit
Se7en
Shutter Island
Sicario
Signs
S1m0ne
The Sixth Sense
Space Cowboys
Split
Sully
Tenet
There Will Be Blood
The Thin Red Line
Titanic
Tron Legacy
True Grit
U-571
Unbreakable
Unstoppable
V For Vendetta
The Village
Wanted
War Of The Worlds
War Horse
Wheelman
I also recommend the following IP movie series franchises:
007 James Bond
The Chronicles Of Narnia
DC Extended Universe
Fantastic Beast
The Fast & The Furious
Godzilla
Harry Potter
The Hobbit
The Hunger Games
Indiana Jones
Jason Bourne
John Wick
Jurassic Park
King Kong
The Lord Of The Rings
Marvel Comics (MCU, Spider-Man, X-Men)
The Matrix
Mission Impossible
The Mummy
The Pirates Of The Caribbean
Pixar
Star Trek
Star Wars
The Terminator
Transformers
Edit: Also pretty much any action movie with The Rock, Charlize Theron, Jason Statham, Milla Jovovich, Mark Wahlberg, Kate Beckinsale, Liam Neeson, Angelina Jolie, and Gerard Butler.
Is the Crying of Lot 49 Partially about Disneyland?
Ok, so, I was recently rereading The Crying of Lot 49 last night, specifically Chapter 3, and I do feel I have a strange hypothesis about sections of that chapter that may be a complete projection, but the more that I look into the content of the sections I will parse out in particular, and the more research that I do, the more evidence seems to fall in place that sort of freaks me out and confirms my theory. Being freaks yourselves, I thought this would be the place for me to project my world, so to speak, and see if what I’m seeing is in any way based in reality or if I’m instead way off base. My hypothesis is that Chapter 3 of The Crying of Lot 49, and specifically the Lake Inverity/Bone charcoal/Tony JaguaFangoso Lagoon section might be subtextually about Disneyland. I have struggled to find much about these particular sections of this chapter related to Disney. I own J. Kerry Grant’s A Companion to Lot 49, have scoured the Pynchon Wiki, read the reddit post discussion for Chapter 3 of this book, and tried Googling as much about it as I could, and I haven’t found anything to suggest Disneyland, so this is either a relatively new idea or one that is inaccurate as hell. Oh, boy! To begin, I will say, I am fascinated and obsessed with Disneyland and Disney World which is maybe why I found some of the information I found within Lot 49 to begin with. One could say I have a perverse fascination with the 2 theme parks which has led me to all manner of revelations. In the same way that Pynchon, being from what I can tell, a heretical Catholic, has a perverse fascination with the sacred through the filter of the profane, I am somehow deeply attracted to and obsessed with all things Disney even though I think they are essentially a fascist, culturally banal, destructive force. Similar to how I believe Oedipa may have with Disneyland in the novel, I “fell in love with it (41).” What can I say? The first half of Chapter 3 which I will focus on, involves Oedipa’s continued revelations. She gets her first peek at WASTE, the Tristero, the posthorn, and the Boeing-esque Yoyodyne is introduced. The plot of the novel really starts to thicken, or to put it a different way, the tapestry, the maaswork, really starts to come together, narrative threads criss-crossing every which way in all directions at once. A resource that was helpful for much of my understanding of this chapter and even just in how I read much of Lot 49 in general is Charles Hollander’s article on the novel: “Pynchon, JFK, and the CIA.” I’ll post it below. https://www.vheissu.net/articles/hollander_49.php Chapter 3, according to Hollander, is where some of the first hints of JFK’s assasination are placed. According to Hollander, this chapter uses allusion, parody, analogy, and enthymeme to encode its secret message about the JFK assassination. Mike Faloppian’s Peter Pinguid Society’s Dallas chapter certainly suggests this. I mention this, partially, to say that, in a way, I could maybe call what I’m trying to figure out here “Pynchon, Disney, and the CIA,” since in many ways what I’m wrestling with is what I perceive to be many hidden references to Disney's shaddy dealings throughout 40s and 50s Californian history. Disney World, in particular, does have a direct history of involvement with the CIA with regard to how it acquired its real estate holdings, for example, which interestingly enough is what a chunk of this chapter is about when it comes to its references to Inverarity (not Disney World, but real estate holdings in general, Inverarity's more specifically). The first section of the chapter that gave me some strange vibes regarding Disneyland was the section where Metzger, Oedipa, and the Paranoids go to Fangoso Lagoon, “one of Inverarity’s last big projects (40).” I will quote some of these sections below where these vibes first made themselves known. “Somewhere beyond the battering, urged sweep of three-bedroom houses rushing by their thousands across the dark beige hills, somehow implicit in an arrogance or bite to the smog the more inland somnolence of San Narciso did lack, lurked the sea, the unimaginable Pacific, the one to which all surfers, beach pads, sewage disposal schemes, tourist incursions, sunned homosexuality, chartered fishing are irrelevant, the hole left by the moon’s tearing-free and monument to her exile; you could not hear or smell this but it was there, something tidel began to reach feelers in past eyes and eardrums, perhaps to arouse fractions of brain current your most gossamer microelectrode is yet too gross for finding (40-41).” This first quote stood out to me because it reminded me of the printed circuit Oedipa sees in Chapter 2. At the beginning of Chapter 2, Oedpia looks out at the landscape and sees it as deeply controlled, planned, almost machine-like or circuit-like. I don’t think this is a wildly different passage from that one. It, like the previous seciton forces the reader to ask the question: how did America come to be how it is now? This is an important question Lot 49 is always forcing its reader to ask. How did the deep conservatism or fascism creep in? Would the answer not be the subject of this book? Communication systems. What company is in charge of some of the most monopolized forms of our communication systems to this day? Disney, of course! Is this an accident? Was it planned? The malignant, magic forces referenced in Chapter 1 may have made it so, may have “urged [the] sweep of three-bedroom houses rushing by their thousands across the dark beige hills (40).” Surely the Walt Disney Company has done as much as any to reinforce suburban 3-bedroom forms of existence that have had a stranglehold on our cultural existence for so many years, than just about any, right? But this was just where I started to get the first inkling of vibes about Disneyland. To continue with another quote: “They came in among earth-moving machines, a total absence of trees, the usual hieratic geometry, and eventually, shimmying for the sand roads, down in a helix to a sculpted body of water named Lake Inverarity. Out in it, on a round island of fill among blue wavelets, squatted the social hall, a chunky ogived and verdigrised, Art Nouveau reconstruction of some European pleasure-casino. Oedpia fell in love with it (41).” This is where my paranoia really got going. Much of the description of the passage above does not sound like a man-made lake or lagoon. Far from it. Lake Inverarity is described as “a round island of fill,” that contains a “social hall,” and as a “Art Nouveau reconstruction of some European pleasure-casino.” That sounds much more like Disneyland than just a man-made lake created by a real-estate developer? Also with Oedpia being a consistent parody of housewives in suburban America, it would make sense that she would fall in love with Lake Inverarity if it is, in fact, Disneyland. Plus, there might be another hint in the name Lake Inverarity itself, since it is the only holding named after Inverarity specifically, just as Disneyland is named after Disney himself. I don’t believe that Inverarity is a direct analogy for Disney specifically, but I do believe he is instead an analogy for any of the unseen hyper-capitalist forces that have come to dominate our culture, Disney clearly being one example. And just a side note before I continue with some of my evidence. It would make complete sense, this being a novel about Southern California, its real-estate development, and history, that Pynchon would eventually have to get to Disneyland. It is a property in Southern California, that especially between 1955 and 1965 had to have HUGE influence. How could he not incorporate it even if it was only referred to passively or encoded into the references of the text (much in the same way Hollander argues that Pynchon does the same for JFK’s assassination). There is another passage that REALLY got me convinced about my above theory, the section where Manny DiPresso is discussing the bone charcoal “used in the R&D phase of the filter program. Back around the early 50’s.” Here it is: “Presently the bodies sank and stayed where they were till the early ‘50s, when Tony Jaguar, who’d been a corporal in an Italian outfit attached to the German force at Lago diPieta and knew about what was at the bottom, decided among some colleagues to see what he could salvage. All they managed to come up with was bones. Out of some murky train of reasoning, which may have included the observed fact that American tourists beginning then to be plentiful, would pay good dollars for almost anything; and stories about Forest Lawn and the American cult of the dead; possibly some dim hope that Senator McCarthy, and others of his persuasion, in those days having achieved a certain ascendancy over the rich cretini from across the sea, would somehow refocus attention on the fallen of WWII, especially ones whose corpses had never been found; out of such labyrinth of assumed motives, Tony Jaguar decided he could surely unload his harvest of bones on some American someplace through his contacts in the “family,” known these days as Costa Nostra. He was right. An import-export firm bought the bones, sold them to a fertilizer enterprise, which may have used one or two femurs for laboratory tests but eventually decided to phase entirely into menhaden instead and transferred the remaining several tons to a holding company, which stored them in a warehouse outside of Fort Wayne, Indiana, for maybe a year before Beaconsfield got interest (47).” When I read “which may have included the observed fact that American tourists beginning then to be plentiful, would pay good dollars for almost anything,” I could not think of anything but Disneyland. In his historiographic metafictions, Pynchon often superimposes historical realities onto present ones in order to make political, social, and religious commentary that would otherwise be inexpressible. An easy example is the fact that Gravity’s Rainbow is a novel about 1960’s America set in Britain during World War II. In the above passage, if Pynchon is superimposing the strange, seemingly random history of “an Italian outfit attached to the German force at Lago diPieta.” and is using this as an analogy, to project a world that speaks to his present day, I don’t know how Pynchon couldn’t be referring to Disneyland. The novel is set in Southern California, the place where Pynchon lived in 1965. Wouldn’t Disneyland, the rise of tourism, how that was changing the landscape of America and hijacking the “family,” its communication systems, propaganda, and culture, wouldn't all that have been on his mind? I have a few more quotes and then a possibly even more major revelation before I feel I can finally feel I’ve made my point. Later on in the Lagoon, the Paranoids start smoking pot, and the following happens: “[B]y holding up the glowing roaches of their cigarettes like a flipcard section at a football game, to spell out alternative S’s and O’s, attracted the attention of the Fangoso Lagoons Security Force, a garrison against the night made up of one-time cowboy actors and L.A. motorcycle cops (49).” I believe this “one-time cowboy actor” reference to be a reference to Ronald Regan, a fixture of southern California and one-time cowboy actor, and yet another thread in the patchwork connections to Disney. On October 24, 1947, Walt Disney and Ronald Regan both testified against communism, naming particular individuals they found nefarious communists within the film industry (another communication industry, one could say) before the House of Un-American Activities Committee. Which got me thinking, with all the mob references in the above section about Lago diPeta and the bones, was Disney ever involved with the mafia or mob, with “Costa Nostra?” I didn’t find much, but I did find something extremely interesting, which also led to one final even more strange realization. Read the link below, it lays out the story of Willie Bioff, a mobster who attempted to but failed to help break up Disney’s Union Strike in the 1940’s. https://babbittblog.com/2016/10/09/disney-and-the-mob-willie-bioff/ This may seem unrelated to Pynchon’s “parable of power,” but earlier in the chapter when Mike Fillopian is discussing Russia and America, clearly also, yet again using a historical detail as a historiographic metafiction, superimposing a historical reality onto a present one, in this case, that of the cold war, when Fillopian mentions “After the confrontation, appalled at what had to be some military alliance between Russia...and a Union that paid lip service to abolition while it kept its own industrial laborers in a kind of wage-slavery (36),” its fairly clear which side of the picket-isle Pynchon would have been during an animator strike of Disney in the 1940s, or any strike for better treatment, for that matter. In Lot 49, Pynchon has written a "parable of power" about the various ways the circuit board of American life has reinforced the indentured servitude of supposed abolitionists, which in our modern world, could easily be a stand in for the structures of neo-liberalism. And nothing on this earth is more an example of banal neoliberal capitalism than Disneyland, nothing (except for maybe Epcot, of course). This is a lot of information, and I may not have done a very good job of connecting it all or being as explicit as I could have at explaining how specific references hint at Disney throughout the chapter, and this has already become too long, HOWEVER, I have one final piece of information that blows my DAMN MIND that is likely coincidental, but which I still could not believe I found. Inspired by the book and wanting to find more connections in the tapestry, I started doing research into Disney’s involvement with the FBI and found some public records about his direct involvement with them on the FBI's website. Walt Disney was a SAC (Special Agent in Charge) for the FBI, according to these documents, for a period of time, interestingly enough, in the late 50s. There are literal letters to Disney from J. Edgar Hoover himself to Disney in these documents. I’ll post them below along with a number of other links that discuss Disney’s connection to the FBI, the last one being particularly fascinating in its connections to the novel. https://vault.fbi.gov/walter-elias-disney/walter-elias-disney-part-01-of-03/view http://www.schaakstukkenmuseum.nl/?p=2195&lang=en http://jfk.hood.edu/Collection/Weisberg%20Subject%20Index%20Files/F%20Disk/FBI/FBI%20Press%20Use%20Of/Item%2009.pdf https://www.mouseplanet.com/8987/The_Mickey_Mouse_Club_FBIs_Most_Wanted I very much suggest looking at the Mouse Planet link above. If you have read The Crying of Lot 49 and know who Baby Igor and Metzger is, I VERY MUCH SUGGEST IT. Upon reading this and looking at all the other material, I discovered that there was a child-star, mentioned specifically in these documents, that was to be the child used in a set of documentaries Disney was to make as propaganda films for the FBI specifically, promoting them to the public in 1958. This child’s name was Dirk Metzger. I shit you not. His name was METZGER and he was a child star whose father was in the military. READ THE ARTICLE. His daddy, his doggy, and HIM! And guess what, look at what his profession became after being a child actor in these films? Guess it was: he became a lawyer!!! Baby Igor himself! In the flesh!? Look at the article. It’s all there. I can’t fucking believe it!? Now, I admit, this is all probably just a coincidence. Being 14 in 1958 would put Metzger at being only 21 or so in 1965 when the Crying of Lot 49 came out, so it is unlikely that this is exactly what I think it is, a direct, real, historical correlation, but who knows? Pynchon lived in California at the time. Who knows whom or what he may have come across... Maybe I’m seeing things that aren’t there. Maybe Disneyland is nowhere to be found in the California of The Crying of Lot 49. Maybe this is all, as Hilarius would say, a Rorsoch blot. Maybe I’m simply hallucinating. I will say though, either way, I do think the political exigence of The Crying of Lot 49 has done its work on me. Even if this is only an ink blot, a world I’m projecting rather than one that is actually there, I have certainly done more thinking about Disney, its union-busting, suburban-infused. McCarthy-ian underbelly than I have, maybe ever, and that power, and Pynchon's parable of power he wrote in reaction to it, is something that is very much alive and with us today, it is a power that is still creating indentured servitude and whose malignant, “formless magic” is igniting all around us. Hopefully I, like Oedpia, have gotten a little closer to understanding how it works and counting its line of force. Maybe, “If the tower is everywhere and the knight of deliverance no proof against its magic, what else?”
I'm not seeing a huge amount of knowledge on this subreddit, so I'm going to list some of the reasons why I'm hoping for some decent price increases.. If you find anything juicy that I've missed feel free to leave a top level comment or even message me and I'll add it. Perhaps we should keep updating this post and sticky it as a goto DD for SCTSCRF?
Score have the most popular sports app in Canada and second most popular in the US behind ESPN, this puts them in a somewhat unique position to integrate sports betting in to a popular sports app (though note FUBO just announced purchasing Vigotry with their intention to integrate sports betting in to their sports streaming service, they closed up 34.32% today on the news and likely caused the dips in the share prices for SCR and DKNG, even PENN's share price seemed to waiver around midday);
Score already have sports betting live in Colorado, Indiana and New Jersey;
Score recently did a share offering and raised $25,649,390 which can be used for growth and expansion of sports betting in the US - check out their careers page and click on available opportunities;
Score have a multiyear partnership with the NBA and the MLB to be an authorized sports betting operator, including access to official betting data and league marks/logos for the betting app;
Score have a strategic multi-state market access partnership with PENN, PENN have access to 11 states, further PENN have a 4.7% stake in Score with the potential for this stake to increase as additional market access fees become payable (the second link, which is from PENN, says the term of the agreement with PENN is 20 years, even DKNG only has a deal for 10 years subject to a 10 year extension);
Let's look at some user numbers. As expected they were down a bit during 2020 due to covid, but that is about to change across the industry with sports opening up properly and sports betting being legalised in many US states and hopefully Canada to help raise tax funds for covid expenses (never will sports betting have been more socially acceptable, almost encouraged!). They achieved 3 million active monthly users (4.3 million in q1 2019, should see this or higher again once sports start up properly - 62% of those users were in the US, 27% in Canada and the remaining 11% in other international markets). Users had an average of 70 sessions per month (75 the year prior), so 3*70 = 210 million users per month. 292 million video views for esports in just Q4 alone, year-over-year growth of 243%! Their esports tiktok account has over 1 million followers while their sports tiktok account has almost 2.5 million (up over 500k in the last quarter). Over 1.5 million youtube subscribers for their esports channel. Their twitter account has ~600k followers, almost double what DKNG have! Their social sports content across Twitter, FB, Instagram and TikTok achieved an average monthly reach of about 103 million;
Score already cover women's sports, doing this without having to follow the competitors or have it requested by women shows a genuine interest in supporting women's sports. Hopefully this will extend to allowing sports betting on women's sports;
Score esports has been named exclusive English language broadcast partner for League of Legends' Demacia Championship, a marquee annual event featuring 24 of China’s top esports teams. Live event coverage will run from December 20-27 and be streamed across theScore esports’ YouTube and Twitch channels. The Demacia Championship will be theScore esports’ first-ever live event broadcast, with production originating from their esports headquarters in Toronto.
Score has joined the National Council on Problem Gambling as a Platinum member - this bodes well for support of Score from politicians and people normally critical of sports betting who are mostly onside at the moment through the need of raising tax money for covid related costs.
Future catalysts I'm hoping for:
There's a live webcast to report q1 f2021 financial results Jan 13 at 5:30pm EST (details here). Hopefully good news so we 🚀 rather than ☄️ short-term, but I'm still bullish long-term regardless because sports have not really started up properly yet, nor has sports betting opened up in many places yet. With a bit of luck the income from the share offering will be included in the revenue for this quarter which might help;
If we ever get uplisted to NASDAQ/NYSE and get out of the penny stocks then I would be surprised if it doesn't get pumped in numerous places including WSB;
Legalisation of sports betting across more US states and Canada. The governor of NY has now expressed interest after previously being opposed to the idea, so too has Texas for example. Score do not yet have a partnership with a NY casino, but hopefully they will get on to that, they do have access to Texas through PENN;
Partnerships with NFL and NHL would be awesome to go along with the NBA and MLB partnerships;
Successfully competing with the big players like DKNG (and now FUBO too), hopefully with juicy earnings reports in to the future (if we do, look at the performance and current prices of DKNG and PENN, I'd be extremely happy if we ever made it to CAD$20/share, if we got to DKNG's current USD price we'll be in tendie heaven);
Huge uptake in sports betting with a rally of public support to help cover the public costs associated with Covid;
Maybe esports betting could become a huge thing? TheScore seem like they're in a good position to earn a decent market share there, possibly even be the ones to introduce it and bring it to market?
tl;dr: 🚀🚀🚀🚀🚀🚀🚀🚀🚀🚀 (hopefully at least 10x) If you would prefer an ETF to have exposure to the betting market check out BETZ. position: 42.8k shares
These are the statistical top 500 movies of all time, according to 23 different websites
Hey everyone, great to be back again. Some of you might remember a similar title from a post I made back in April, where I made a list of the top 250 movies with 13 sources, or a preview of this list I made last month. I want to emphasize that this is NOT an official ranking nor my personal ranking; it is just a statistical and, personally, interesting look at 500 amazing movies. These rankings reflect the opinions of thousands of critics and millions of people around the world. And I am glad that this list is able to cover a wide range of genres, decades, and countries. So before I get bombarded with "Why isn't X on here?" or "How is X above Y?" comments, I wanted to clear that up. I sourced my data from Sight & Sound (both critic and director lists), TSPDT, iCheckMovies, 11 domestic websites (Rotten Tomatoes, Metacritic, IMDb, Letterboxd, TMDb, Trakt, Blu-Ray, MovieLens, RateYourMusic, Criticker, and Critics Choice), and 9 international audience sites (FilmAffinity, Douban, Naver, MUBI, Filmweb, Kinopoisk, CSFD, Moviemeter, and Senscritique). This balance of domestic/international ratings made the list more well-rounded and internationally representative (sites from Spain, China, Korea, Poland, Russia, Czech Republic, Netherlands, and France). As for my algorithm, I weighted websites according to both their Alexa ranking and their number of votes compared to other sites. For example, since The Godfather has hundreds of thousands of votes on Letterboxd but only a couple thousand on Metacritic, Letterboxd would be weighted more heavily. After obtaining the weighted averages, I then added the movie's iCheckMovies' favs/checks ratio and TSPDT ranking, if applicable. Regarding TSPDT, I included the top 2000 movies; as an example of my calculations, Rear Window's ranking of #41 would add (2000-41)/2000=0.9795 points to its weighted average. I removed movies that had <7-8K votes on IMDb, as these mostly had low ratings and numbers of votes across different sites as well. For both Sight & Sound lists, I added between 0.5 and 1 point to a movie's score based on its ranking, which I thought was an adequate reflection of how difficult it is to be included on these lists. As examples, a #21 movie would have 0.9 points added while a #63 would have 0.69 points. So without further ado, the statistical top 500 movies ever made. I separated the scores into overall, critics, domestic, and international columns to make comparisons easier. This list on Letterboxd.
Ranking
Title
Overall Score
Critics
Domestic
International
Year
Director
1
The Godfather
93.89
97.73
90.50
89.36
1972
Francis Ford Coppola
2
The Godfather: Part II
91.93
93.30
89.04
88.06
1974
Francis Ford Coppola
3
Seven Samurai
91.05
97.38
87.63
85.90
1954
Akira Kurosawa
4
12 Angry Men
90.45
95.45
88.74
88.62
1957
Sidney Lumet
5
City Lights
89.94
96.75
85.67
85.93
1931
Charlie Chaplin
6
The Good, the Bad and the Ugly
89.45
91.20
87.81
86.59
1966
Sergio Leone
7
The Shawshank Redemption
89.41
82.95
89.49
89.18
1994
Frank Darabont
8
Psycho
89.29
95.23
85.70
85.01
1960
Alfred Hitchcock
9
Modern Times
89.28
95.55
85.21
85.37
1936
Charlie Chaplin
10
Schindler's List
89.08
93.80
87.22
87.29
1993
Steven Spielberg
11
Pulp Fiction
88.85
92.60
87.69
86.42
1994
Quentin Tarantino
12
Rear Window
88.63
97.65
85.40
83.33
1954
Alfred Hitchcock
13
One Flew Over the Cuckoo's Nest
88.55
87.38
86.28
86.97
1975
Miloš Forman
14
Apocalypse Now
88.54
93.85
85.24
83.48
1979
Francis Ford Coppola
15
Tokyo Story
88.49
98.30
85.16
83.76
1953
Yasujirō Ozu
16
Spirited Away
88.34
93.78
86.80
85.91
2001
Hayao Miyazaki
17
GoodFellas
88.03
91.48
87.00
84.03
1990
Martin Scorsese
18
Vertigo
88.02
95.60
84.05
82.76
1958
Alfred Hitchcock
19
Singin' in the Rain
88.01
97.65
83.95
83.13
1952
Gene Kelly, Stanley Donen
20
Sunset Boulevard
88.00
95.45
85.44
84.22
1950
Billy Wilder
21
Citizen Kane
87.83
99.03
83.06
82.22
1941
Orson Welles
22
Harakiri
87.79
85.83
88.00
86.29
1962
Masaki Kobayashi
23
Rashomon
87.74
96.55
83.52
82.73
1950
Akira Kurosawa
24
Once Upon a Time in the West
87.71
86.65
85.48
84.62
1968
Sergio Leone
25
Fanny and Alexander
87.54
97.30
83.15
83.00
1982
Ingmar Bergman
26
The Lord of the Rings: The Return of the King
87.40
92.59
86.06
85.38
2003
Peter Jackson
27
Andrei Rublev
87.39
91.90
83.80
83.94
1966
Andrei Tarkovsky
28
The Passion of Joan of Arc
87.39
94.65
83.88
83.57
1928
Carl Theodor Dreyer
29
Sherlock Jr.
87.36
96.45
83.64
85.60
1924
Buster Keaton
30
Bicycle Thieves
87.35
94.70
83.91
83.46
1948
Vittorio De Sica
31
Casablanca
87.35
98.00
85.25
82.62
1942
Michael Curtiz
32
Some Like It Hot
87.28
95.30
82.11
83.73
1959
Billy Wilder
33
Persona
87.22
88.20
84.28
83.07
1966
Ingmar Bergman
34
Children of Paradise
87.21
95.33
84.81
83.27
1945
Marcel Carné
35
Taxi Driver
87.14
93.88
83.60
82.06
1976
Martin Scorsese
36
The Dark Knight
87.08
88.81
86.96
84.80
2008
Christopher Nolan
37
Metropolis
87.03
96.00
82.92
84.01
1927
Fritz Lang
38
Sunrise: A Song of Two Humans
87.02
93.95
82.23
84.02
1927
F. W. Murnau
39
Stalker
87.02
92.30
83.86
83.29
1979
Andrei Tarkovsky
40
Pather Panchali
86.96
94.35
84.40
82.80
1955
Satyajit Ray
41
Lawrence of Arabia
86.95
97.65
83.76
81.49
1962
David Lean
42
M
86.91
96.20
84.34
82.92
1931
Fritz Lang
43
Ordet
86.82
98.10
83.08
82.55
1955
Carl Theodor Dreyer
44
It's a Wonderful Life
86.77
90.45
85.17
84.90
1946
Frank Capra
45
Satantango
86.76
90.45
84.58
84.21
1994
Béla Tarr
46
Parasite
86.72
96.34
86.55
83.15
2019
Bong Joon-ho
47
The 400 Blows
86.70
96.70
83.14
82.60
1959
François Truffaut
48
Ikiru
86.56
93.80
85.48
84.29
1952
Akira Kurosawa
49
Mirror
86.50
95.60
82.75
82.34
1975
Andrei Tarkovsky
50
Come and See
86.50
90.50
85.22
83.13
1985
Elem Klimov
51
The Apartment
86.48
92.00
84.09
82.99
1960
Billy Wilder
52
The General
86.45
91.45
82.59
83.87
1926
Buster Keaton, Clyde Bruckman
53
Grave of the Fireflies
86.43
95.13
85.85
82.97
1988
Isao Takahata
54
Le Trou
86.41
89.95
85.46
85.14
1960
Jacques Becker
55
The Battle of Algiers
86.37
95.40
82.64
81.24
1966
Gillo Pontecorvo
56
A Man Escaped
86.34
96.50
83.67
82.03
1956
Robert Bresson
57
Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb
86.34
95.85
84.37
83.03
1964
Stanley Kubrick
58
Paths of Glory
86.25
92.30
84.97
84.48
1957
Stanley Kubrick
59
The Lord of the Rings: The Fellowship of the Ring
86.24
88.75
85.61
84.31
2001
Peter Jackson
60
All About Eve
86.23
96.95
83.69
83.20
1950
Joseph L. Mankiewicz
61
Star Wars: The Empire Strikes Back
86.21
86.93
87.05
83.29
1980
Irvin Kershner
62
High and Low
86.16
86.55
86.08
84.26
1963
Akira Kurosawa
63
The Great Dictator
86.15
91.10
84.25
85.03
1940
Charlie Chaplin
64
The Silence of the Lambs
86.12
88.68
85.29
84.17
1991
Jonathan Demme
65
2001: A Space Odyssey
86.06
88.35
82.93
81.54
1968
Stanley Kubrick
66
North by Northwest
86.03
96.38
83.17
81.74
1959
Alfred Hitchcock
67
Double Indemnity
85.91
94.38
83.84
83.12
1944
Billy Wilder
68
Ugetsu
85.91
97.25
82.69
81.91
1953
Kenji Mizoguchi
69
Woman in the Dunes
85.91
93.95
84.71
83.77
1964
Hiroshi Teshigahara
70
Sansho the Bailiff
85.88
95.50
84.24
82.21
1954
Kenji Mizoguchi
71
Once Upon a Time in America
85.87
86.10
83.84
85.53
1984
Sergio Leone
72
City of God
85.86
84.08
86.39
84.00
2002
Fernando Meirelles, Kátia Lund
73
Late Spring
85.81
94.75
83.74
82.27
1949
Yasujirō Ozu
74
Barry Lyndon
85.80
87.95
82.44
82.30
1975
Stanley Kubrick
75
The Lord of the Rings: The Two Towers
85.78
88.78
85.00
84.29
2002
Peter Jackson
76
Raging Bull
85.77
90.48
82.01
81.80
1980
Martin Scorsese
77
Chinatown
85.72
94.08
83.32
80.69
1974
Roman Polanski
78
Alien
85.69
91.73
84.76
82.62
1979
Ridley Scott
79
Ran
85.68
94.70
83.93
82.52
1985
Akira Kurosawa
80
The Seventh Seal
85.67
92.10
83.52
82.13
1957
Ingmar Bergman
81
The Kid
85.61
92.85
82.91
84.94
1921
Charlie Chaplin
82
Wild Strawberries
85.51
90.05
83.38
82.24
1957
Ingmar Bergman
83
A Brighter Summer Day
85.50
93.38
84.07
81.01
1991
Edward Yang
84
8½
85.48
91.20
82.59
81.09
1963
Federico Fellini
85
The Pianist
85.38
88.69
83.31
84.80
2002
Roman Polanski
86
The World of Apu
85.38
93.20
84.38
83.09
1959
Satyajit Ray
87
La Dolce Vita
85.37
94.38
81.40
80.48
1960
Federico Fellini
88
Star Wars
85.33
90.03
85.22
81.92
1977
George Lucas
89
The Best of Youth
85.31
88.78
85.31
83.64
2003
Marco Tullio Giordana
90
The Gold Rush
85.29
94.55
81.93
83.59
1925
Charlie Chaplin
91
The Third Man
85.26
96.50
82.91
80.21
1949
Carol Reed
92
The Treasure of the Sierra Madre
85.20
96.68
82.77
81.81
1948
John Huston
93
I Am Cuba
85.18
93.60
82.00
83.44
1964
Mikhail Kalatozov
94
The Lives of Others
85.14
89.03
84.12
82.73
2006
Florian Henckel von Donnersmarck
95
Witness for the Prosecution
85.13
92.65
83.67
84.99
1957
Billy Wilder
96
Touch of Evil
85.11
95.70
81.36
79.65
1958
Orson Welles
97
WALL-E
85.10
92.09
82.82
82.64
2008
Andrew Stanton
98
Scenes from a Marriage
85.02
86.85
84.80
83.06
1974
Ingmar Bergman
99
To Be or Not to Be
84.99
89.58
82.52
83.39
1942
Ernst Lubitsch
100
A Separation
84.92
94.24
83.34
80.90
2011
Asghar Farhadi
101
The Night of the Hunter
84.91
96.93
81.17
79.06
1955
Charles Laughton
102
Three Colors: Red
84.87
96.78
83.32
80.78
1994
Krzysztof Kieślowski
103
Yojimbo
84.87
91.55
83.85
82.99
1961
Akira Kurosawa
104
Back to the Future
84.85
89.38
84.47
81.94
1985
Robert Zemeckis
105
My Neighbor Totoro
84.84
87.53
83.44
83.17
1988
Hayao Miyazaki
106
In the Mood for Love
84.84
83.87
82.55
81.20
2000
Wong Kar-wai
107
Princess Mononoke
84.83
81.18
85.02
84.24
1999
Hayao Miyazaki
108
Saving Private Ryan
84.82
90.35
83.94
82.50
1998
Steven Spielberg
109
Cinema Paradiso
84.78
82.30
84.73
83.43
1988
Giuseppe Tornatore
110
La Jetée
84.75
89.25
83.27
81.80
1962
Chris Marker
111
The Wages of Fear
84.71
94.60
82.99
82.80
1953
Henri-Georges Clouzot
112
Das Boot
84.68
90.13
83.62
82.71
1981
Wolfgang Petersen
113
Fight Club
84.65
71.18
86.39
84.95
1999
David Fincher
114
Nights of Cabiria
84.64
92.25
82.72
83.13
1957
Federico Fellini
115
La Strada
84.61
92.60
80.79
82.78
1954
Federico Fellini
116
Amadeus
84.53
89.55
82.88
82.59
1984
Miloš Forman
117
Forrest Gump
84.50
76.90
83.06
86.12
1994
Robert Zemeckis
118
Spider-Man: Into the Spider-Verse
84.49
90.41
85.03
81.69
2018
Peter Ramsey, Rodney Rothman, Bob Persichetti
119
The Lion King
84.45
88.28
77.22
84.09
1994
Rob Minkoff, Roger Allers
120
Inception
84.43
82.07
84.18
84.17
2010
Christopher Nolan
121
Whiplash
84.42
89.53
84.87
81.96
2014
Damien Chazelle
122
The Shop Around the Corner
84.40
94.43
80.85
82.37
1940
Ernst Lubitsch
123
Rififi
84.38
92.00
83.03
81.58
1955
Jules Dassin
124
Umberto D.
84.38
92.63
82.20
81.75
1952
Vittorio De Sica
125
Army of Shadows
84.37
95.30
82.98
80.50
1969
Jean-Pierre Melville
126
Blade Runner
84.34
85.85
82.57
80.29
1982
Ridley Scott
127
Samurai Rebellion
84.33
89.05
82.85
83.84
1967
Masaki Kobayashi
128
Close-Up
84.31
85.70
81.99
80.69
1990
Abbas Kiarostami
129
The Circus
84.29
90.35
81.69
83.14
1928
Charlie Chaplin
130
Raiders of the Lost Ark
84.19
89.33
84.31
80.57
1981
Steven Spielberg
131
Grand Illusion
84.18
95.35
81.85
79.78
1937
Jean Renoir
132
A Clockwork Orange
84.18
82.78
82.37
82.51
1971
Stanley Kubrick
133
Eternal Sunshine of the Spotless Mind
84.07
89.37
83.36
80.57
2004
Michel Gondry
134
A Woman Under the Influence
84.01
87.40
82.51
80.40
1974
John Cassavetes
135
The Cranes Are Flying
84.00
89.30
82.76
82.40
1957
Mikhail Kalatozov
136
Yi Yi
83.91
91.25
82.48
79.64
2000
Edward Yang
137
To Kill a Mockingbird
83.91
89.13
81.98
82.20
1962
Robert Mulligan
138
The Matrix
83.90
77.78
84.54
83.06
1999
Wachowski Sisters
139
The Sting
83.90
85.73
82.71
83.36
1973
George Roy Hill
140
The Mother and the Whore
83.87
94.55
81.24
79.82
1973
Jean Eustache
141
Se7en
83.86
72.15
84.91
84.48
1995
David Fincher
142
Early Summer
83.85
94.45
82.19
82.01
1951
Yasujirō Ozu
143
Werckmeister Harmonies
83.80
91.73
80.89
81.93
2000
Béla Tarr, Ágnes Hranitzky
144
Coco
83.80
86.21
82.73
83.66
2017
Adrian Molina, Lee Unkrich
145
Toy Story
83.76
95.03
82.30
80.15
1995
John Lasseter
146
It Happened One Night
83.76
90.83
81.46
81.76
1934
Frank Capra
147
Reservoir Dogs
83.74
84.68
83.12
81.99
1992
Quentin Tarantino
148
Unforgiven
83.73
88.55
82.24
81.59
1992
Clint Eastwood
149
The Deer Hunter
83.73
87.68
80.57
82.06
1978
Michael Cimino
150
The Young and the Damned
83.72
87.10
82.58
80.82
1950
Luis Buñuel
151
The Best Years of Our Lives
83.68
92.63
81.19
81.20
1946
William Wyler
152
The Leopard
83.66
97.30
79.56
79.57
1963
Luchino Visconti
153
Time of the Gypsies
83.65
86.05
83.31
82.29
1988
Emir Kusturica
154
Ali: Fear Eats the Soul
83.61
96.70
80.51
79.97
1974
Rainer Werner Fassbinder
155
Raise the Red Lantern
83.57
90.25
82.37
81.81
1991
Zhang Yimou
156
Terminator 2: Judgment Day
83.57
82.00
84.11
81.83
1991
James Cameron
157
The Shining
83.55
75.35
84.08
81.80
1980
Stanley Kubrick
158
Viridiana
83.54
92.95
80.68
80.81
1961
Luis Buñuel
159
Portrait of a Lady on Fire
83.52
93.59
83.08
80.02
2019
Céline Sciamma
160
Greed
83.51
97.05
80.65
80.64
1924
Erich von Stroheim
161
Gone with the Wind
83.48
92.90
80.01
81.68
1939
Victor Fleming
162
There Will Be Blood
83.48
89.65
81.91
79.02
2007
Paul Thomas Anderson
163
L.A. Confidential
83.46
91.63
82.08
80.81
1997
Curtis Hanson
164
Paris, Texas
83.46
83.95
82.89
81.66
1984
Wim Wenders
165
Throne of Blood
83.45
91.30
82.18
81.49
1957
Akira Kurosawa
166
Toy Story 3
83.43
93.55
81.61
80.32
2010
Lee Unkrich
167
Memento
83.43
85.20
83.78
80.76
2000
Christopher Nolan
168
On the Waterfront
83.37
93.00
82.23
79.52
1954
Elia Kazan
169
Trip to the Moon
83.37
94.70
79.96
82.83
1902
Georges Méliès
170
The Rules of the Game
83.33
96.55
80.45
78.02
1939
Jean Renoir
171
Red Beard
83.32
74.15
83.41
83.27
1965
Akira Kurosawa
172
The Grapes of Wrath
83.32
95.45
80.42
80.34
1940
John Ford
173
Au Hasard Balthazar
83.29
98.08
77.93
77.54
1966
Robert Bresson
174
Autumn Sonata
83.29
84.85
83.09
82.66
1978
Ingmar Bergman
175
Annie Hall
83.28
93.18
80.58
80.58
1977
Woody Allen
176
The Conformist
83.27
96.68
79.92
78.58
1970
Bernardo Bertolucci
177
Rocco and His Brothers
83.24
84.73
81.95
81.68
1960
Luchino Visconti
178
Dersu Uzala
83.23
74.75
82.35
83.37
1975
Akira Kurosawa
179
Cool Hand Luke
83.21
93.05
82.22
79.83
1967
Stuart Rosenberg
180
Monty Python and the Holy Grail
83.18
91.98
82.96
79.30
1975
Terry Gilliam, Terry Jones
181
Le Samouraï
83.18
92.35
82.45
79.40
1967
Jean-Pierre Melville
182
Aliens
83.18
88.73
83.29
79.61
1986
James Cameron
183
PlayTime
83.16
93.50
80.22
78.80
1967
Jacques Tati
184
The Bridge on the River Kwai
83.14
90.58
81.93
80.24
1957
David Lean
185
The Red Shoes
83.13
93.15
82.82
79.96
1948
Michael Powell, Emeric Pressburger
186
American Beauty
83.10
87.15
81.93
81.13
1999
Sam Mendes
187
To Live
83.10
84.00
82.16
82.46
1994
Zhang Yimou
188
Battleship Potemkin
83.10
95.85
77.81
80.41
1925
Sergei Eisenstein
189
Day of Wrath
83.09
93.40
81.07
81.29
1943
Carl Theodor Dreyer
190
All Quiet on the Western Front
83.07
92.85
80.05
81.48
1930
Lewis Milestone
191
It's Such a Beautiful Day
83.07
91.25
83.62
79.77
2012
Don Hertzfeldt
192
Full Metal Jacket
83.06
81.53
82.21
82.54
1987
Stanley Kubrick
193
The Cabinet of Dr. Caligari
83.05
96.40
79.84
81.83
1920
Robert Wiene
194
Kes
83.03
97.80
79.59
80.55
1969
Ken Loach
195
The Usual Suspects
83.02
80.23
84.08
81.48
1995
Bryan Singer
196
The Cameraman
83.00
93.90
80.77
81.57
1928
Edward Segdwick, Buster Keaton
197
Aparajito
83.00
90.90
81.81
81.20
1956
Satyajit Ray
198
The Elephant Man
83.00
83.00
82.10
81.87
1980
David Lynch
199
Rebecca
82.98
90.08
81.08
80.93
1940
Alfred Hitchcock
200
Make Way for Tomorrow
82.97
95.80
81.72
80.14
1937
Leo McCarey
201
The Great Escape
82.97
87.68
82.29
80.66
1963
John Sturges
202
Your Name
82.97
84.55
84.07
81.29
2016
Makoto Shinkai
203
Limelight
82.92
88.00
79.85
83.02
1952
Charlie Chaplin
204
Breathless
82.92
91.95
78.88
79.10
1960
Jean-Luc Godard
205
Underground
82.91
80.75
81.26
82.64
1995
Emir Kusturica
206
The Man Who Shot Liberty Valance
82.88
91.90
81.08
79.53
1962
John Ford
207
Aguirre: The Wrath of God
82.87
94.55
80.46
78.62
1972
Werner Herzog
208
Oldboy
82.86
78.98
84.00
81.27
2003
Park Chan-wook
209
Up
82.84
90.28
81.32
80.86
2009
Pete Docter
210
Anatomy of a Murder
82.84
94.00
80.57
80.02
1959
Otto Preminger
211
The Wild Bunch
82.84
90.35
79.45
80.12
1969
Sam Peckinpah
212
The Hunt
82.75
82.08
82.79
82.62
2012
Thomas Vinterberg
213
Il Sorpasso
82.74
95.75
82.84
79.57
1962
Dino Risi
214
The Last Laugh
82.74
95.25
79.47
81.61
1924
F. W. Murnau
215
A Streetcar Named Desire
82.73
94.60
79.89
80.26
1951
Elia Kazan
216
Life Is Beautiful
82.73
68.45
83.60
85.57
1997
Roberto Benigni
217
A Short Film About Love
82.71
87.10
81.90
81.89
1988
Krzysztof Kieślowski
218
The Shop on Main Street
82.71
94.45
82.15
80.43
1965
Ján Kadár, Elmar Klos
219
Rio Bravo
82.71
92.10
80.46
79.80
1959
Howard Hawks
220
Roman Holiday
82.70
84.55
80.74
82.42
1953
William Wyler
221
Ivan's Childhood
82.69
94.80
81.25
80.37
1962
Andrei Tarkovsky
222
The Exterminating Angel
82.68
91.10
81.66
80.17
1962
Luis Buñuel
223
Trainspotting
82.68
85.20
81.57
81.21
1996
Danny Boyle
224
The Last Picture Show
82.67
94.15
79.90
79.56
1971
Peter Bogdanovich
225
The Truman Show
82.64
89.63
79.70
82.15
1998
Peter Weir
226
Memories of Murder
82.64
82.88
82.68
80.94
2003
Bong Joon-ho
227
Faust
82.62
89.70
80.23
81.94
1926
F. W. Murnau
228
Sans Soleil
82.62
83.90
79.45
80.51
1983
Chris Marker
229
Song of the Sea
82.57
87.63
80.59
82.23
2014
Tomm Moore
230
Léon: The Professional
82.55
67.38
84.05
84.07
1994
Luc Besson
231
Fargo
82.54
87.45
82.36
79.19
1996
Coen Brothers
232
Solaris
82.54
89.95
80.91
79.69
1972
Andrei Tarkovsky
233
Sweet Smell of Success
82.52
96.53
80.81
77.62
1957
Alexander Mackendrick
234
For a Few Dollars More
82.52
79.28
82.38
83.15
1965
Sergio Leone
235
White Heat
82.51
90.65
80.77
81.24
1949
Raoul Walsh
236
Brief Encounter
82.50
88.35
80.81
81.03
1945
David Lean
237
Wings of Desire
82.49
85.70
81.30
80.42
1987
Wim Wenders
238
Diabolique
82.47
90.70
81.27
80.73
1955
Henri-Georges Clouzot
239
An Autumn Afternoon
82.45
91.95
81.68
79.85
1962
Yasujirō Ozu
240
The Tale of the Princess Kaguya
82.44
90.63
81.16
80.43
2013
Isao Takahata
241
Amarcord
82.41
85.95
79.26
80.73
1973
Federico Fellini
242
Heat
82.40
79.08
82.03
81.73
1995
Michael Mann
243
L'Atalante
82.40
95.60
78.32
78.10
1934
Jean Vigo
244
Django Unchained
82.39
83.44
82.23
81.94
2012
Quentin Tarantino
245
Jeanne Dielman, 23 Commerce Quay, 1080 Brussels
82.38
95.50
78.73
79.69
1975
Chantal Akerman
246
Kind Hearts and Coronets
82.38
95.60
80.80
79.72
1949
Robert Hamer
247
Dog Day Afternoon
82.37
88.40
81.11
79.80
1975
Sidney Lumet
248
Forbidden Games
82.37
93.75
80.36
80.99
1952
René Clément
249
The Crowd
82.35
93.35
79.21
81.23
1928
King Vidor
250
Notorious
82.35
96.78
79.96
78.21
1946
Alfred Hitchcock
251
Mary and Max
82.35
88.05
80.95
82.42
2009
Adam Elliot
252
Persepolis
82.34
88.95
80.09
80.77
2007
Marjane Satrapi, Vincent Paronnaud
253
Howl's Moving Castle
82.33
78.71
82.63
83.10
2004
Hayao Miyazaki
254
Nausicaä of the Valley of the Wind
82.33
85.10
81.54
82.03
1984
Hayao Miyazaki
255
Safety Last!
82.33
92.25
80.95
81.10
1923
Fred C. Newmeyer, Sam Taylor
256
Rosemary's Baby
82.32
94.78
79.99
78.69
1968
Roman Polanski
257
L'Avventura
82.32
92.10
79.08
78.03
1960
Michelangelo Antonioni
258
The Searchers
82.32
93.90
78.16
76.66
1956
John Ford
259
La Haine
82.30
90.60
82.38
79.56
1995
Mathieu Kassovitz
260
Three Colors: Blue
82.30
88.28
81.55
79.23
1993
Krzysztof Kieślowski
261
Chungking Express
82.30
79.95
82.29
80.73
1994
Wong Kar-wai
262
Inside Out
82.29
93.66
80.27
79.85
2015
Pete Docter
263
Where is the Friend's Home?
82.28
89.25
81.22
80.21
1987
Abbas Kiarostami
264
Cries and Whispers
82.27
85.45
81.02
80.80
1972
Ingmar Bergman
265
Napoleon
82.22
93.25
81.89
78.99
1927
Abel Gance
266
Paper Moon
82.19
83.08
81.37
81.29
1973
Peter Bogdanovich
267
The Spirit of the Beehive
82.17
89.83
79.31
78.91
1973
Víctor Erice
268
A Special Day
82.16
90.20
81.11
81.25
1977
Ettore Scola
269
Nostalghia
82.15
83.00
80.91
81.23
1983
Andrei Tarkovsky
270
Network
82.13
85.45
82.36
79.08
1976
Sidney Lumet
271
L'Eclisse
82.11
84.70
79.78
78.81
1962
Michelangelo Antonioni
272
Mr. Smith Goes to Washington
82.09
80.83
81.78
81.15
1939
Frank Capra
273
Sanjuro
82.09
91.90
81.67
80.85
1962
Akira Kurosawa
274
Badlands
82.06
93.38
79.77
77.21
1973
Terrence Malick
275
Vivre Sa Vie
82.06
85.20
80.12
79.83
1962
Jean-Luc Godard
276
Nobody Knows
82.06
87.18
81.12
81.15
2004
Hirokazu Koreeda
277
No Country for Old Men
82.05
90.68
80.56
78.47
2007
Coen Brothers
278
Spring, Summer, Fall, Winter... and Spring
82.05
86.05
80.76
80.62
2003
Kim Ki-duk
279
La Notte
82.04
78.35
81.45
81.11
1961
Michelangelo Antonioni
280
The Celebration
82.04
84.23
81.34
80.08
1998
Thomas Vinterberg
281
In the Name of the Father
82.04
84.90
81.14
81.85
1993
Jim Sheridan
282
I Am a Fugitive from a Chain Gang
82.02
89.55
80.18
81.56
1932
Mervyn LeRoy
283
Shoplifters
82.01
92.39
80.60
79.31
2018
Hirokazu Koreeda
284
Finding Nemo
82.01
92.60
80.13
78.76
2003
Andrew Stanton, Lee Unkrich
285
Z
81.98
87.55
82.21
79.59
1969
Costa-Gavras
286
The Phantom Carriage
81.96
95.00
80.01
80.32
1921
Victor Sjöström
287
Manhattan
81.95
86.23
80.50
79.81
1979
Woody Allen
288
Rome, Open City
81.94
95.40
80.45
79.27
1945
Robert Rossellini
289
Children of Heaven
81.93
80.15
81.24
82.01
1997
Majid Majidi
290
The Green Mile
81.92
71.93
82.95
84.38
1999
Frank Darabont
291
The Iron Giant
81.91
86.61
80.88
79.95
1999
Brad Bird
292
The Sacrifice
81.90
80.30
80.47
81.37
1986
Andrei Tarkovsky
293
The Philadelphia Story
81.90
94.95
79.79
77.86
1940
George Cukor
294
The Twilight Samurai
81.90
86.10
81.07
81.13
2002
Yôji Yamada
295
Before Sunset
81.88
87.79
81.42
78.41
2004
Richard Linklater
296
Before Sunrise
81.86
84.40
82.24
79.44
1995
Richard Linklater
297
Castle in the Sky
81.85
81.63
81.49
82.06
1986
Hayao Miyazaki
298
The Departed
81.84
86.92
82.82
79.04
2006
Martin Scorsese
299
Brazil
81.83
90.23
80.61
78.37
1985
Terry Gilliam
300
Incendies
81.81
83.85
81.88
80.74
2011
Denis Villenueve
301
The Maltese Falcon
81.81
95.65
80.24
77.28
1941
John Huston
302
The Wizard of Oz
81.77
98.03
79.38
77.17
1939
Victor Fleming
303
Le Cercle Rouge
81.76
90.03
80.81
78.54
1970
Jean-Pierre Melville
304
Monsieur Verdoux
81.76
89.80
78.55
81.34
1947
Charlie Chaplin
305
The Return
81.72
84.85
80.02
80.96
2003
Andrey Zvyagintsev
306
Secrets & Lies
81.71
90.73
80.29
78.66
1996
Mike Leigh
307
The Hidden Fortress
81.70
91.25
80.79
80.72
1958
Akira Kurosawa
308
Pan's Labyrinth
81.69
92.59
81.60
76.08
2006
Guillermo del Toro
309
Amélie
81.69
79.64
81.96
80.27
2004
Jean-Pierre Jeunet
310
Ben-Hur
81.67
86.93
79.86
80.22
1959
William Wyler
311
Fitzcarraldo
81.67
75.80
81.06
81.21
1982
Werner Herzog
312
American History X
81.63
70.13
83.58
83.00
1998
Tony Kaye
313
Ace in the Hole
81.62
79.10
80.88
81.36
1951
Billy Wilder
314
Capernaum
81.62
81.83
80.52
82.18
2018
Nadine Labaki
315
Still Walking
81.61
90.30
80.92
79.48
2008
Hirokazu Koreeda
316
All About My Mother
81.61
88.77
79.56
78.80
1999
Pedro Almodóvar
317
The Discreet Charm of the Bourgeoisie
81.60
92.28
78.82
78.83
1972
Luis Buñuel
318
Platoon
81.60
88.70
79.52
80.45
1986
Oliver Stone
319
Farewell My Concubine
81.60
80.50
80.49
81.04
1993
Chen Kaige
320
Letter from an Unknown Woman
81.59
93.10
79.84
79.31
1948
Max Ophüls
321
The Grand Budapest Hotel
81.58
87.64
80.72
79.19
2014
Wes Anderson
322
The Virgin Spring
81.58
82.45
80.70
80.66
1960
Ingmar Bergman
323
The Red Balloon
81.57
90.20
79.93
80.30
1956
Albert Lamorisse
324
Stagecoach
81.57
94.58
77.69
78.94
1939
John Ford
325
Mulholland Drive
81.56
80.61
79.60
77.87
2001
David Lynch
326
A Matter of Life and Death
81.49
92.60
81.91
76.27
1946
Michael Powell, Emeric Pressburger
327
High Noon
81.48
90.58
79.27
78.94
1952
Fred Zinnemann
328
Orpheus
81.48
96.20
79.88
78.90
1950
Jean Cocteau
329
Life of Brian
81.47
82.98
80.78
79.81
1979
Terry Jones
330
Casino
81.46
74.23
81.54
81.75
1995
Martin Scorsese
331
Kagemusha
81.44
82.93
80.01
80.43
1980
Akira Kurosawa
332
Butch Cassidy and the Sundance Kid
81.43
76.08
80.53
81.85
1969
George Roy Hill
333
In a Lonely Place
81.43
92.45
80.42
78.77
1950
Nicholas Ray
334
Scarface
81.43
71.30
81.97
82.18
1983
Brian De Palma
335
A Short Film About Killing
81.42
87.35
79.89
80.38
1988
Krzysztof Kieślowski
336
Beauty and the Beast
81.41
92.05
79.28
78.32
1946
Jean Cocteau
337
The Hustler
81.39
92.45
80.43
78.97
1961
Robert Rossen
338
Cléo from 5 to 7
81.38
91.65
80.03
79.11
1962
Agnès Varda
339
Fireworks
81.37
90.15
80.01
79.63
1997
Takeshi Kitano
340
Room
81.36
88.41
80.43
79.48
2015
Lenny Abrahamson
341
Mad Max: Fury Road
81.35
90.39
79.76
77.80
2015
George Miller
342
Steamboat Bill, Jr.
81.32
95.75
79.30
79.23
1928
Charles Reisner, Buster Keaton
343
Judgment at Nuremberg
81.31
71.58
82.24
83.03
1961
Stanley Kramer
344
The Straight Story
81.30
87.15
79.64
79.88
1999
David Lynch
345
Meshes of the Afternoon
81.29
96.25
77.91
79.99
1943
Maya Deren, Alexandr Hackenschmied
346
Alice in the Cities
81.28
86.70
79.60
80.20
1974
Wim Wenders
347
Akira
81.28
80.90
81.12
79.98
1988
Katsuhiro Otomo
348
Good Will Hunting
81.27
79.38
81.97
81.05
1997
Gus Van Sant
349
The Miracle Worker
81.25
85.15
78.88
81.55
1962
Arthur Penn
350
Talk to Her
81.25
87.48
79.33
78.71
2002
Pedro Almodóvar
351
The Graduate
81.24
85.58
78.91
79.97
1967
Mike Nichols
352
Beauty and the Beast
81.22
92.28
79.20
78.77
1991
Gary Trousdale, Kirk Wise
353
The Heiress
81.19
94.45
80.20
79.76
1949
William Wyler
354
Fantasia
81.18
93.03
76.76
79.95
1940
Samuel Armstrong, James Algar
355
Au Revoir les Enfants
81.18
94.25
80.14
78.92
1987
Louis Malle
356
Three Billboards Outside Ebbing, Missouri
81.18
88.62
79.36
79.90
2017
Martin McDonagh
357
Inglourious Basterds
81.17
79.05
81.06
80.51
2009
Quentin Tarantino
358
Elevator to the Gallows
81.16
90.45
79.31
78.56
1958
Louis Malle
359
Gladiator
81.16
75.39
81.69
81.52
2000
Ridley Scott
360
Through a Glass Darkly
81.15
93.60
81.11
78.86
1961
Ingmar Bergman
361
Million Dollar Baby
81.15
87.41
77.43
80.72
2004
Clint Eastwood
362
Days of Heaven
81.15
90.75
80.19
77.08
1978
Terrence Malick
363
Do the Right Thing
81.15
90.78
80.26
77.04
1989
Spike Lee
364
Out of the Past
81.14
91.40
80.73
77.92
1947
Jacques Tourneur
365
Strangers on a Train
81.11
93.30
80.01
78.68
1951
Alfred Hitchcock
366
Blue Velvet
81.11
83.48
78.98
77.09
1986
David Lynch
367
That Obscure Object of Desire
81.09
89.40
79.59
78.11
1977
Luis Buñuel
368
What Ever Happened to Baby Jane?
81.08
80.23
80.74
80.75
1962
Robert Aldrich
369
My Night at Maud's
81.07
88.15
79.51
79.42
1969
Éric Rohmer
370
The Earrings of Madame de…
81.07
92.15
80.36
77.05
1953
Max Ophüls
371
The Conversation
81.04
89.23
80.03
77.44
1974
Francis Ford Coppola
372
The Killing
81.03
91.50
79.51
79.21
1956
Stanley Kubrick
373
The Servant
81.03
87.83
79.45
78.57
1963
Joseph Losey
374
The Intouchables
81.03
67.15
82.13
84.70
2011
Olivier Nakache, Éric Toledano
375
The Life and Death of Colonel Blimp
81.01
94.15
81.57
75.44
1943
Michael Powell, Emeric Pressburger
376
Jaws
81.01
90.98
79.91
75.70
1975
Steven Spielberg
377
Winter Light
81.01
73.55
81.51
79.95
1963
Ingmar Bergman
378
Love Exposure
81.01
80.88
82.23
79.55
2008
Sion Sono
379
Hiroshima Mon Amour
81.00
92.95
80.13
77.99
1959
Alain Resnais
380
Day for Night
80.98
92.55
80.21
78.27
1973
François Truffaut
381
Ratatouille
80.97
92.73
78.72
78.68
2007
Brad Bird
382
Ghost in the Shell
80.97
81.43
79.98
81.15
1995
Mamoru Oshii
383
Germany Year Zero
80.95
92.00
77.80
80.03
1948
Roberto Rossellini
384
Spotlight
80.93
93.00
79.75
77.55
2015
Tom McCarthy
385
Die Hard
80.93
79.58
81.11
79.43
1988
John McTiernan
386
Laura
80.93
93.80
79.70
78.47
1944
Otto Preminger
387
Sleuth
80.93
89.95
79.16
80.87
1972
Joseph L. Mankiewicz
388
The Diving Bell and the Butterfly
80.92
88.64
79.69
77.84
2007
Julian Schnabel
389
The Handmaiden
80.92
85.99
82.55
77.41
2016
Park Chan-wook
390
Stand by Me
80.90
80.20
81.28
79.54
1986
Rob Reiner
391
Wolf Children
80.90
80.15
80.40
81.27
2012
Mamoru Hosoda
392
Marriage Story
80.88
92.86
79.40
77.75
2019
Noam Baumbach
393
Shoeshine
80.87
93.75
79.02
79.38
1946
Vittorio De Sica
394
Freaks
80.85
84.70
77.66
80.31
1932
Tod Browning
395
Nosferatu
80.85
93.75
78.29
79.14
1922
F. W. Murnau
396
Dial M for Murder
80.84
77.60
81.17
81.31
1954
Alfred Hitchcock
397
Amour
80.81
90.90
77.74
78.19
2012
Michael Haneke
398
12 Years a Slave
80.80
94.00
79.74
76.94
2013
Steve McQueen
399
The Nightmare Before Christmas
80.77
85.38
79.26
79.69
1993
Henry Selick
400
Cabaret
80.77
84.68
77.34
80.69
1972
Bob Fosse
401
Central Station
80.77
83.28
80.91
78.52
1998
Walter Salles
402
Landscape in the Mist
80.74
71.35
80.76
80.28
1988
Theo Angelopoulos
403
1917
80.73
84.37
80.65
79.33
2019
Sam Mendes
404
Intolerance: Love's Struggle Throughout the Ages
80.71
93.98
75.69
78.01
1916
D. W. Griffith
405
Call Me by Your Name
80.71
91.25
79.43
77.87
2017
Luca Guadagnino
406
Midnight Cowboy
80.71
82.98
79.10
79.50
1969
John Schlesinger
407
Shadow of a Doubt
80.70
94.38
79.31
76.04
1943
Alfred Hitchcock
408
Interstellar
80.70
74.16
81.30
82.25
2014
Christopher Nolan
409
Hannah and Her Sisters
80.69
88.95
79.15
77.98
1986
Woody Allen
410
Monsters, Inc.
80.68
85.29
79.37
80.08
2001
Pete Docter, David Silverman
411
The Testament of Dr. Mabuse
80.65
85.85
79.40
79.38
1933
Fritz Lang
412
Downfall
80.64
83.53
81.54
78.55
2004
Oliver Hirschbiegel
413
Being There
80.64
87.30
79.42
78.06
1979
Hal Ashby
414
The Killer
80.63
92.60
79.27
78.66
1989
John Woo
415
My Left Foot: The Story of Christy Brown
80.63
93.23
78.13
79.15
1989
Jim Sheridan
416
Jean de Florette
80.60
88.40
80.18
79.69
1986
Claude Berri
417
The Big Lebowski
80.57
74.80
82.28
78.57
1998
Coen Brothers
418
The King's Speech
80.57
90.86
78.50
78.59
2010
Tom Hooper
419
Whisper of the Heart
80.55
79.98
80.80
80.31
1995
Yoshifumi Kondō
420
E.T. the Extra-Terrestrial
80.54
93.08
77.22
77.82
1982
Steven Spielberg
421
Infernal Affairs
80.54
79.83
79.92
80.22
2002
Andrew Lau, Alan Mak
422
The Prestige
80.54
72.22
82.71
81.38
2006
Christopher Nolan
423
Our Hospitality
80.54
92.85
77.72
79.58
1923
Buster Keaton, John G. Blystone
424
Zootopia
80.53
85.22
78.84
80.18
2016
Byron Howard, Rich Moore
425
Toy Story 2
80.49
92.59
78.51
77.05
1999
John Lasseter, Ash Brannon, Lee Unkrich
426
Klaus
80.48
75.00
81.07
81.41
2019
Sergio Pablos
427
The Big Sleep
80.45
92.10
79.74
77.58
1946
Howard Hawks
428
Ford v Ferrari
80.45
83.94
79.37
80.01
2019
James Mangold
429
Dead Poets Society
80.44
78.70
79.43
80.75
1989
Peter Weir
430
The Terminator
80.43
89.08
78.26
78.13
1984
James Cameron
431
Naked
80.43
84.48
80.39
77.34
1993
Mike Leigh
432
Dangal
80.41
83.00
79.68
80.56
2016
Nitesh Tiwari
433
Kwaidan
80.40
81.80
79.75
79.42
1964
Masaki Kobayashi
434
The Man Who Would Be King
80.40
90.55
78.24
77.79
1975
John Huston
435
Wild Tales
80.38
82.57
80.48
79.22
2014
Damián Szifron
436
Groundhog Day
80.38
80.08
79.31
79.35
1993
Harold Ramis
437
Catch Me If You Can
80.38
83.44
78.74
80.57
2002
Steven Spielberg
438
I Vitelloni
80.36
90.28
77.64
78.06
1953
Federico Fellini
439
The Big Heat
80.35
92.90
79.27
77.87
1953
Fritz Lang
440
The Double Life of Véronique
80.35
82.63
80.19
77.87
1991
Krzysztof Kieślowski
441
Who's Afraid of Virginia Woolf?
80.35
82.58
80.19
78.43
1966
Mike Nichols
442
Requiem for a Dream
80.33
71.39
81.39
80.93
2000
Darren Aronofsky
443
Rope
80.33
79.20
80.31
79.30
1948
Alfred Hitchcock
444
Love and Death
80.33
89.83
77.55
78.50
1975
Woody Allen
445
The Remains of the Day
80.29
86.88
78.75
78.80
1993
James Ivory
446
Jules and Jim
80.28
93.70
78.30
77.94
1962
François Truffaut
447
The Gospel According to Matthew
80.28
88.30
76.50
78.52
1964
Pier Paolo Pasolini
448
How to Train Your Dragon
80.27
81.97
79.45
80.24
2010
Chris Sanders, Dean DeBlois
449
Harry Potter and the Deathly Hallows: Part 2
80.27
88.50
78.81
78.53
2011
David Yates
450
Cat on a Hot Tin Roof
80.26
87.05
79.46
79.79
1958
Richard Brooks
451
The French Connection
80.26
93.35
78.04
76.89
1971
William Friedkin
452
Opening Night
80.25
78.05
80.50
79.25
1977
John Cassavetes
453
Hotel Rwanda
80.24
84.54
79.34
79.40
2004
Terry George
454
4 Months, 3 Weeks and 2 Days
80.22
92.51
77.76
76.22
2007
Cristian Mungiu
455
Tampopo
80.22
92.40
81.20
77.01
1985
Juzo Itami
456
Scarface
80.22
93.50
76.43
79.55
1932
Howard Hawks, Howard Hughes
457
The Face of Another
80.21
87.50
79.61
79.34
1966
Hiroshi Teshigahara
458
The Roaring Twenties
80.21
86.20
77.79
80.68
1939
Raoul Walsh
459
Pickpocket
80.20
93.80
76.41
76.47
1959
Robert Bresson
460
Kiki's Delivery Service
80.20
85.45
79.87
78.84
1989
Hayao Miyazaki
461
A Prophet
80.19
89.61
79.53
76.14
2009
Jacques Audiard
462
Zelig
80.19
90.00
76.50
80.29
1983
Woody Allen
463
Trouble in Paradise
80.18
88.20
79.35
77.62
1932
Ernst Lubitsch
464
Gran Torino
80.17
76.27
78.57
82.36
2008
Clint Eastwood
465
Last Year at Marienbad
80.16
88.25
78.29
77.37
1961
Alain Resnais
466
All the President's Men
80.15
85.95
80.48
76.46
1976
Alan J. Pakula
467
Breaking the Waves
80.15
79.85
78.46
79.55
1996
Lars von Trier
468
Indiana Jones and the Last Crusade
80.14
74.28
81.44
80.57
1989
Steven Spielberg
469
Divorce Italian Style
80.12
91.00
79.28
78.26
1961
Pietro Germi
470
Edward Scissorhands
80.12
78.65
78.09
80.73
1990
Tim Burton
471
The Thing
80.12
67.98
82.60
79.34
1982
John Carpenter
472
Perfect Blue
80.11
74.05
80.91
80.09
1997
Satoshi Kon
473
Down by Law
80.10
79.03
78.98
79.61
1986
Jim Jarmusch
474
Bringing Up Baby
80.10
90.75
78.25
76.45
1938
Howard Hawks
475
The Phantom of Liberty
80.09
85.10
78.89
78.66
1974
Luis Buñuel
476
Bonnie and Clyde
80.07
85.38
78.16
78.23
1967
Arthur Penn
477
The Incredibles
80.07
89.69
79.77
75.78
2004
Brad Bird
478
Rocky
80.04
79.73
79.17
79.29
1976
John G. Avildsen
479
His Girl Friday
80.03
94.15
79.24
76.72
1940
Howard Hawks
480
Mommy
80.03
80.79
80.39
79.13
2014
Xavier Dolan
481
Mon Oncle
80.03
88.00
78.03
78.76
1958
Jacques Tati
482
My Fair Lady
79.99
91.85
77.53
78.00
1964
George Cukor
483
Charade
79.98
85.55
79.37
78.72
1963
Stanley Donen
484
Stalag 17
79.95
87.13
79.62
77.79
1953
Billy Wilder
485
Boyhood
79.95
97.08
76.08
75.95
2014
Richard Linklater
486
The Secret in Their Eyes
79.95
82.49
81.27
77.67
2009
Juan José Campanella
487
Ninotchka
79.95
90.15
77.99
78.50
1939
Ernst Lubitsch
488
Pierrot le Fou
79.94
81.75
77.84
76.65
1965
Jean-Luc Godard
489
The Enigma of Kaspar Hauser
79.94
89.10
78.30
78.27
1974
Werner Herzog
490
Stroszek
79.94
88.40
79.50
77.77
1977
Werner Herzog
491
A Hard Day's Night
79.93
93.73
76.82
77.08
1964
Richard Lester
492
Onibaba
79.90
74.75
79.42
79.96
1964
Kaneto Shindo
493
Repulsion
79.85
92.68
77.29
76.57
1965
Roman Polanski
494
Like Stars on Earth
79.85
80.50
79.54
79.86
2007
Aamir Khan, Amole Gupte
495
Duck Soup
79.84
92.33
79.01
74.92
1933
Leo McCarey
496
Carlito's Way
79.83
70.28
79.16
82.01
1993
Brian De Palma
497
Nashville
79.82
93.23
76.89
74.92
1975
Robert Altman
498
The Triplets of Belleville
79.82
88.97
76.57
78.66
2003
Sylvain Chomet
499
Dr. Mabuse the Gambler
79.81
85.10
76.88
79.98
1922
Fritz Lang
500
Gone Girl
79.79
83.03
79.32
78.87
2014
David Fincher
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