Here is an article from Time magazine that collects some of these comparisons, including Ebert calling Bring It On the Citizen Kane of cheerleader movies. Also, Cinefantastique called The Wicker Man the Citizen Kane of horror movies.
I have never understood the fascination with the movie Citizen Kane. As much as I always liked Orson Welles as an actor, I found the movie to be extremely boring. I only sat through the whole thing because I kept expecting better, and the whole rosebud thing at the end was stupid, out of place, and a bit grotesque with the lips closeup.
I guess I just didn’t get it, from either an entertainment or some sort of movie analysis aspect. For me to see a movie compared to Citizen Kane usually means it is something to avoid.
and sorry, other than my rant I don’t have anything to add to your list.
Citizen Kane was the respected movie during a long era when movies weren’t respected. A lot of that was due to a type of Margaret Dumont cultural elitism that’s now so long-dead that it’s hard four us to imagine, similar to the casual anti-semitism that people used to adopt. Also, it had an element of anti-Americanism: until the postwar creation of art films in Europe, movies were just yet another vulgar American factory product. Once television came along, (“chewing gum for the eyes”) movies suddenly looked dignified and distinguished in comparison. Still, for a long time when movies were Tom Mix shoots-em-ups and Andy Hardy and Beach Blanket Bingo, Citizen Kane was a stand-out (even though, if you looked, it had plenty of peers).
Citizen Kane is a historically important movie because it brought a lot of then-new filmmaking techniques to the forefront - things like deep focus, innovative camera angles, wipes and dissolves. These things made a big impression on film critics, and for a long time the consensus was that Citizen Kane was the best movie ever made. All of the movie’s innovations became commonplace, so that to modern eyes it seems less impressive. Citizen Kane is still respected by critics and historians, but it’s not loved by audiences.
Freaky Friday is the Citizen Kane of body-switch movies. Dumb and Dumber is the Citizen Kane of idiot comedies. Halloween is the Citizen Kane of dead teenager movies.
Andrew Sarris called A Hard Day’s Night “the Citizen Kane of jukebox musicals” upon its release in 1964, which must be one of the earliest Citizen Kane-ifications by a critic.