Movie Tab II

Quality.

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Iro's Top 100 Movies v3.0

My fave - The Goat:

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It's what you learn after you know it all that counts. - John Wooden
My IMDb page

Cool, Started watching them chronologically and that's actually next for me. Watched Hard Luck and The High Sign today, would have those two bottom of the eight i've watched so far but they were still very enjoyable. The last five minutes of the latter with the booby-trapped house was brilliant.

Three Daughters (Satyajit Ray, 1961) -

Ray does an anthology of three considerably different short stories. "The Postmaster" might be the best installment as it sees him once again focus on the culture clash between an uptight city-dweller and a rural village, "Monihara" is a passable attempt at a ghost story that ends up being the weakest installment, and "Samapti" is an adequate piece of relationship drama.

Wheelman (Jeremy Rush, 2017) -

A novel enough B-movie about a getaway driver that takes place entirely within the getaway car (effectively playing out like a more action-oriented version of Locke in the process) but is maybe a little too rough around the edges to be truly good.

Road to Perdition (Sam Mendes, 2002) -

A straightforward but immensely well-crafted gangster drama (especially that cinematography, I mean damn). Also, given the Craig/Mendes connection I'm pretty sure that Spectre owes more to this film than it really should.

Cold Mountain (Anthony Minghella, 2003) -

A decent-looking but incredibly dreary Civil War drama.

Star Wars: The Force Awakens (J.J. Abrams, 2015) -

Original review found here.

Raw (Julia Ducournau, 2016) -

Not as much of a straightforward horror movie as I was expecting, but still has more than enough disturbing moments to qualify with its bluntly allegorical yet uneasy-to-watch tale of college-age cannibalism.

American Psycho (Mary Harron, 2000) -

This dark little satire of chauvinistic yuppies definitely holds up a lot better than I thought. It's not often that you see a movie where every scene somehow manages to feel iconic regardless of whether or not they actually are.

Rogue One: A Star Wars Story (Gareth Edwards, 2016) -

While I liked this a bit more than I did originally, it's still such a mixed bag of a movie. There's a lot to be said for its visuals (mostly good as far as action and production design goes, but those uncanny CGI characters still leave a lot to be desired), but the plot and characterisation tend to be rather so-so, which is a real shame.

The Bad Batch (Ana Lily Amirpour, 2016) -

This kind of aggressively weird arthouse curiosity - a post-apocalyptic revenge drama that dabbles quite heavily in surrealism - really could go either way with me, so I'm a little disappointed that it ultimately goes the way that it does.

Lucky (John Carroll Lynch, 2017) -

As much as I would like to say that I loved this unintentional swansong for the late great Harry Dean Stanton, I ultimately have to admit that it is merely an adequate slice-of-life film that still has a considerable amount of charm to it.

One of the very few films that mix sacrum and profanum so well. Love - erection, religion - panties, Jesus - Kurt Cobain etc. One of the best movies of the 2010s!

Shame is a masterpiece. What a Shame you did not rate it even higher!

Valley of the Bees is a great Medieval flick, too!

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Look, I'm not judging you - after all, I'm posting here myself, but maybe, just maybe, if you spent less time here and more time watching films, maybe, and I stress, maybe your taste would be of some value. Just a thought, ya know.

I have decided shame will be my first Bergman. Putting it on hold soon

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Saccharine?

Sacrum. Sacred or holy in English.

Neighbors is my fav short just for the fence swatter bit. The Goat's probably 2nd for me.

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Neighbours was great (they all are), the whole on each other shoulders bit is defiintely the part i've wondered how he did it the most. Well other than several parts in Sherlock Jr., like the rides his bike across two trucks? Was that just a background trick? Who knows it looked amazing either way.

38:00 into this video:

Sorry, my mistake. You're English is amazing and better than most I know who are native speakers. How did you learn so well?

American Honey (Andrea Arnold, 2016) -

I like the core concept of a gang of youths traveling across America trying to sell magazine subscriptions and getting into tragicomic misadventures in the process, but the execution itself is rather hit-and-miss and I definitely question whether the film really needed to be that long.

Detroit (Kathryn Bigelow, 2017) -

As far as "important" movies go, this one's actually pretty solid.

The Matrix (Lana Wachowski and Lilly Wachowski, 1999) -

I do wonder if this is one of those movies where I can't really be objective about it - I'll obviously recognise its flaws (still hesitant about bringing it back to the full five) but I don't think it'll ever truly go out of consideration when it comes to drafting a top 100.

Murder on the Orient Express (Kenneth Branagh, 2017) -

Having watched Lumet's 1974 adaptation not too long ago, viewing this ultimately ended up being a bit of a formality. It's still a decent story at its core that Branagh updates for better (deconstructing the original text's problematic elements) and for worse (a handful of action beats straight out of Guy Ritchie's Sherlock Holmes), though it is ultimately an inessential piece of work.

The Room (Tommy Wiseau, 2003) -

Still hard to determine exactly how to categorise my thoughts and feelings about this film within the context of a ten-point rating system, but I'll settle with my current rating because I do still have fun with it and can't bring myself to hate it (nor give it a higher rating...at least not yet). Also, on this viewing I have come to the conclusion that Claudette is the real MVP here.

The Matrix Reloaded (Lana Wachowski and Lilly Wachowski, 2003) -

After rewatching the original, I figured that I should try giving the sequels another chance. While I'll definitely admit that they are flawed, I have to admit that I still get at least a little fun out of them even now.

Point Break (Kathryn Bigelow, 1991) -

Original review found here.

The Disaster Artist (James Franco, 2017) -

Working on a full review, but let's just say that the sheer amount of comedy that this film manages to provide ends up being both a plus and a minus.

The Matrix Revolutions (Lana Wachowski and Lilly Wachowski, 2003) -

Still undecided as to whether or not I prefer this to Reloaded - in some ways it's better and in some ways it isn't.

Chasing Trane: The John Coltrane Documentary (John Scheinfeld, 2016) -

A pretty nuts-and-bolts documentary about jazz legend John Coltrane as told by family, friends, collaborators, biographers, and even a superfan or two. Coltrane's as good a subject for a movie as any, but the movie itself is just alright.

A better question would be what kind of illiterate people you know. :P

So you rate your films based on enjoyment instead of on a technical level? Same here.

Maybe you're not so literate -- you can't answer a simple question!