
The distinctive nod in Coppola’s Daddy’s Home contributes significantly to the allure of various film lists, such as those from The New York Times, Sight & Sound, Letterboxd Four Favorites, Criterion Closet, and so on. It isn’t the specific final rankings that make these lists appealing; for instance, the new NYT list placing Everything Everywhere All at Once over Tree of Life doesn’t carry much weight beyond a hint of recent popularity. Instead, what captivates us is the individual ballots. These lists serve as indicators of a particular standard, suggesting that celebrities and artists share tastes similar to our own. We are intrigued by what they watch and why.
For example, when crime novelist Dennis Lehane, whose works have been adapted into films like Gone Baby Gone and Shutter Island, includes Inside Out on his list, it leaves us questioning — perhaps he’s trying to say something? Even though the meaning might not be clear, it still seems significant.