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Seen in February Pt.2



A fantastic spectacle. I can never resist a play. The costumes and sets were total eye-candy. I love Edmondson in The Young Ones and Bottom, so seeing him in this was brilliant. It was interesting to see Luscombe’s interpretation of the gay relationships, he’s great at making the actors show sexual tension. The ending took a very dark tone, which I was not expecting. I absolutely adored all the song and dance numbers, there’s just something about posh men acting like children that’s so entertaining. The lines are delivered brilliantly. The physical comedy (And dirty jokes!) were the highlight of the whole thing, it never failed to make me laugh. The short film that accompanied the cinema broadcast was super interesting aswell.



Very bizarre. I liked the soundtrack and imagery, but the lack of an obvious plot structure made the film very hard to enjoy. Not as good as Primer. I’m excited to see what Shane makes next.


+
Very enjoyable. The really fake effects made the film very charming. Everyone gave a believable performance. My only problem is that despite being labelled a comedy, there weren’t too many jokes.



A fascinating study of gender. It was a good idea to adapt the book during the 90's, due to all the women's rights stuff that happened in the 60's. There's some wonderful set design and costumes and the soundtrack is absolutely beautiful (Though one track at the start sounded like something from a dungeon-crawler). The use of people playing roles of the opposite sex was a very cool stylistic choice, possibly inspired by the use of boy's in the roles of girls during plays during that time. The film splits itself up with different era's with different titles, it's a brilliant way of showing how views on women changed throughout time. The stark contrast between 1850 and modern times just shows how much we've changed within the last 100 years. Swinton gives a brilliant performance, she makes it very hard not to care for her character. Some people may not like the fantasy stuff,but I feel like it's the only possible way for the film's plot to work.


My review: https://www.movieforums.com/reviews/...-shanghai.html



A very interesting story, with some great performances and a brilliant ending. The soundtrack was no subtlety whatsoever though. I love how the film smoothly flows from the point of view from one character to another.



This film seems more like a series oaf jokes lined together with a microscopic plot, not that that’s a bad thing or anything, but it leaves me very confused about the film’s message. Throughout the film I thought I was supposed to see Dangerfield as the bad buy and the granddad as the good guy, but at the end of the film it completely swaps that around and I am super confused.



Predictable, but very funny and entertaining. Those lads don’t look 15 at all though.


+
An absolute marvel. I can’t respect the director enough for wanting to do the film entirely practical in the actual cold with little to no CGI, all filmmakers should aspire to be like him. I also respect all of the actors for going through these conditions and giving a brilliant performance.
The cinematography is just gorgeous. The direction in this film is absolutely jaw-dropping; There’s a lot of long shots, and the way Iñárritu shoots his scenes is almost exactly like how Cuarón shoots his trademark long shots. I don’t know what type of camera they used, but the one they used allowed to to see everything in the frame. This and the way the scenes are shot make the entire experience feel real, like you are actually there. Speaking of real, the little CGI used is flawless, that bear basically looks like a real bear. The fight scenes also feel real as well, you can almost feel the stabs and punches.



Quite the wacky comedy. Lots of fun action with great comedy and very memorable characters. Maybe a bit too long.



February, 2018 movies watched-

The War Zone (1999)
British drama that is extremely upsetting.

Last Flag Flying (2017)
- Pretty solid but nothing about it stands out.

American Made (2017)
+ My kind of movie but not as good as it should have been.

Call Me By Your Name (2017)
+ I didn't quite completely love it because I didn't feel anything.

Stronger (2017)
Personal unobjective rating although I do believe it's a terrific film.

Caligula (1979)
So over the top crazy that I enjoyed this mess of a movie.

Only the Brave (2017)
+ True life adventure that becomes emotional.

Glory (1989) Repeat viewing
+ A little too feel good for a war film but still a great story told well.

Ghosts of the Civil Dead (1988)
Bleak and brutal Australian prison drama.

The Killing of a Sacred Deer (2017)
- Haven't quite loved anything yet from the director, but I'm starting to think he's required viewing.

American Graffiti (2017) Repeat viewing
A solid movie that gives me a great feeling.

Hedwig and the Angry Inch (2001) Repeat viewing
A rare musical that I enjoy.

Phantom Thread (2017)
I raised my rating after thinking about it a bit.

Aguirre, the Wrath of God (1972) Repeat viewing
Great for Kinski and the on location filming.

Shallow Grave (1994) Repeat viewing
+ Much better than my first viewing.

The Glass Castle (2017)
- Not bad but comes off like a made for TV movie.

Diary of a Teenage Girl (2015)
- A more explicit coming of age film that wasn't that far from being great.

American Assassin (2017)
+ Entertaining action film with a fun performance from Michael Keaton.

L'Avventura (1960) Repeat viewing
Technically beautiful but I don't believe in the characters.

The Florida Project (2017)
+ I love watching trashy people.

The Elephant Man (1980) Repeat viewing
I can't pick out any flaws but I only like it.

Rebecca (1940) Repeat viewing
- I now think it's probably Hitchcock's best.

Dunkirk (2017)
It certainly has it's merits; I just wasn't completely involved.

Kingsman: The Golden Circle (2017)
- A step down from the first but still plenty of fun.

Super Dark Times (2017)
Nothing new or special but I like these types of movies.

In the Mood for Love (2000)
Good film but not close to having enough emotional impact for me.

Total February viewings-26
Total 2018 viewings-59



February (pt ii):


Near Dark (Kathryn Bigelow, 1987)


Harlan County U.S.A. (Barbara Kopple, 1976)
Secrets & Lies (Mike Leigh, 1996)
Suspiria (Dario Argento, 1977)
The Fighter (David O. Russell, 2010)

+
Hardware (Richard Stanley, 1990)
Hell's Angels (Howard Hughes, Edmund Golding & James Whale, 1930)
Olympia 1. Teil - Fest der Völker [Olympia Pt 1: Festival Of Nations] (Leni Riefenstahl, 1938)


Gloria (Sebastián Lelio, 2013)
Il portiere di notte [The Night Porter] (Liliana Cavani, 1974)
Monster (Patty Jenkins, 2003)
Olympia 2. Teil - Fest der Schönheit [Olympia Pt 2: Festival Of Beauty] (Leni Riefenstahl, 1938)

+
Diabolik aka Danger: Diabolik (Mario Bava, 1968)
Dark Journey aka The Anxious Years (Victor Saville, 1937)
King Solomon's Mines (Robert Stevenson & Geoffrey Barkas, 1937)
Point Break (Kathryn Bigelow, 1991)
Still Alice (Richard Glatzer & Wash Westmoreland, 2014)


Berkeley Square (Frank Lloyd, 1933)
Bridal Suite (Wilhelm Thiele, 1939)
Shukujo wa nani o wasureta ka [What Did The Lady Forget?] (Yasujirô Ozu, 1937)
Ten Cents A Dance (Lionel Barrymore & Edward Buzzell, 1931)
The Iron Lady (Phyllida Lloyd, 2011)

+
Mamma Mia (Phyllida Lloyd, 2008)
Night World (Hobart Henley, 1932)
The Lobster (Yorgos Lanthimos, 2015)


Bullet Boy (Saul Dibb, 2004)
Killing Ground (Damien Power, 2016)


Noah (Darren Aronofsky, 2014)
The Hallow (Corin Hardy, 2015)
White Slaves Of Chinatown aka Olga's White Slaves (Joseph P. Mawra, 1964)

+
Olga's Girls (Joseph P. Mawra, 1964)


Deadly Revenge (Michael Feifer, 2013)
The Future (Miranda July, 2011)

+
Wanderlust (David Wain, 2012)


Olga's House Of Shame (Joseph P. Mawra, 1964)



Seen in February Pt.3/3


btw this poster is f*cking terrifying

A horror film that gives a complete crazy ride of emotions. The direction and writing is fantastic, everyone feels and acts like a real person. You genuinely feel like crying during the emotional scenes. Overall what I loved most about the film was the complete sense of isolation and terror , I really can’t put this feeling into words without describing scenes from the movie. The film does an amazing job at making you feel how alone everyone is in the film, it leaves you with no hope. Usually I would complain for a film being too dark in colour but for this film it makes total sense. I can see why some people thought it was boring and not scary, but it was the exact opposite for me. I’m excited to see Krisha by the same director.

Sorry if this seems a bit ranty, I just loved this so much!



A delightfully devilish black comedy that’s brought together by two brilliant leads and a great script. It really started to lose my attention in the second half though.



A brilliant dark drama. When going into it I thought it was gonna be about a weird religious cult, oh how wrong I was! Going into the film I also thought the title was meant to be ominous, but when I neared the end of the film I realised it was a summary of the film's plot and themes. Tore is a fantastic character (He's funny, cute and interesting) and the main focus of the film, his interactions with the family, is very entertaining. The romance between Tore and the girl is very cute and feels real. A flaw I had with the film was how they kept using the same stock crow sound effect over and over again. Do the filmmakers think we're too stupid to realise it?

For the first 1/2 of the film you're so used to the heavy but overall optimistic atmosphere you are completely thrown off when s*it goes from 10 to 10,000,000. One of my problems with the film was how one or two scenes near the end felt needlessly cruel, as in, it was trying so hard to mess with your emotions that it accidentally made a plot-hole.
WARNING: spoilers below
Throughout the film the wife character seemed fairly reluctant to the harming of Tore, but in the scene at the end she just goes full out with her lady friends. I don't get it.

WARNING: spoilers below
My biggest flaw of the film however was the character motivations. The whole film revolves around the father character torturing Tore. This is awful, he must have a very interesting reason behind this. His reason: He stole some of his food and he's a pacifist. WTF THAT'S SO STUPID!!! If the father character is meant to be a sadist or psychopath they should've mentioned it because I didn't catch onto it at all

Overall this was a very intriguing and f*cked up experience.



February Watches:

35. Darkest Hour (Joe Wright, 2017)

36. Noroi: The Curse (Kôji Shiraishi, 2005)

37. I, Tonya (Craig Gillespie, 2017)

38. Noriko's Dinner Table (Sion Sono, 2005)

39. Los Olvidados (Luis Buñuel, 1950)

40. A New Leaf (Elaine May, 1971)
+
41. Old Joy (Kelly Reichardt, 2006)
-
42. A Fantastic Woman (Sebastián Lelio, 2017)

43. Punch Drunk Love (Paul Thomas Anderson, 2002)
+
44. Phantom Thread (Paul Thomas Anderson, 2017)
+
45. Faces Places (Agnes Varda & JR, 2017)

46. The Killing of a Sacred Deer (Yorgos Lanthimos, 2017)

47. Super Dark Times (Kevin Phillips, 2017)
-
48. Marie Antoinette (Sofia Coppola, 2006)

49. Nostalgia For The Light (Patricio Guzmán, 2010)

50. News From Home (Chantal Akerman, 1977)

51. [REC] (Jaume Balagueró and Paco Plaza, 2007)

52. Je, Tu, Il, Elle (Chantal Akerman, 1974)

53. The Blackcoat’s Daughter (Oz Perkins, 2015)

54. No Home Movie (Chantal Akerman, 2015)

55. Ouija: Origin of Evil (Mike Flanagan, 2016)
-
56. Night of the Demon (Jacques Tourneur, 1957)

57. Jeanne Dielman, 23, Quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975)

58. Braindead (Peter Jackson, 1992)
+
59. The Headless Woman (Lucrecia Martel, 2008)

60. Annabelle (John R. Leonetti, 2014)

61. The Cloverfield Paradox (Julius Onah, 2018)

62. Rabid (David Cronenberg, 1977)

63. Streetwise (Martin Bell, 1984)

64. Trouble In Paradise (Ernst Lubitsch, 1932)
+
65. Peeping Tom (Michael Powell, 1960)
+
66. La Ciénaga (Lucrecia Martel, 2001)
+

February Watches: 32
2018 Watches: 66

Favourite First Time Watch:




Sorry if I'm rude but I'm right
54. No Home Movie (Chantal Akerman, 2015)
That's a very high rating. Especially given how you rated two other superior (in my opinion) Akerman films. Why exactly did you love it so much?
__________________
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 was cured, all right!”
------Oscar 2018------
The Shape of Water (2017) [Guillermo del Toro] ★★
All the Money in the World (2017) [Ridley Scott] ★★
Phantom Thread (2017) [Paul Thomas Anderson] ★★★★
Three Billboards Outside Ebbing, Missouri (2017) [Martin McDonagh] ★★½
Lady Bird (2017) [Greta Gerwig] ★
Mudbound (2017) [Dee Rees] ★★½
Dunkirk (2017) [Nolan] ★★★★
Get Out (2017) [Jordan Peele] ★★★½
The Post (2017) [Steven S.] ★★★
Darkest Hour (2017) [Joe Wright] ★★
Call Me by Your Name (2017) [Luca Guadagnino] ★★

The Square (2017) [Ruben Östlund]★★
Loveless
(2017) ‘Нелюбовь’ [Andrey Zvyagintsev] ★★★★


------Others------
A Bay of Blood (1971) [Mario Bava] ★★★
Murder on the Orient Express (1974) [Sidney Lumet] ★★★
Dragon Inn (1967) ‘龍門客棧’ [King Hu] ★★★★
Blade Runner (1982) [Ridley Scott] ★★★★★
Focus (2015) [Glenn Ficarra, John Requa] ★
Pink Floyd: The Wall (1982) [Alan Parker] ★★★★★
Amadeus (1984) [Miloš Forman] ★★★
Oscar (1991) [John Landis] ★★★★
The Wind That Shakes the Barley (2006) [Ken Loach] ★★★
StageFright:Aquarius (1987) [Michele Soavi] ★★★
True Grit (1969) [Henry Hathaway] ★★★★
Sex and Fury (1973) ‘不良姐御伝 猪の鹿お蝶’ [Norifumi Suzuki] ★★★★
Shadow of a Doubt (1943) [Alfred Hitchcock] ★★★★
The Burning (1981) [Tony Maylam] ★★★
The House on Sorority Row (1983) [Mark Rosman] ★★
The Great Escape (1963) [John Sturges] ★★★★½
Split (2016) [M. Night Shyamalan] ★★★★
Lethal Weapon (1987) [Richard Donner] ★★★★
L’Enfer (1994) [Claude Chabrol] ★★★★
The Color of Lies (1999) [Claude Chabrol] ★★★½
The Seven Deadly Sins (1962) [Philippe de Broca/Claude Chabrol/Jacques Demy/Sylvain Dhomme/Jean-Luc Godard/Édouard Molinaro/Roger Vadim] ★★★
Senso (1954) [Luchino Visconti] ★★★★½
Antonio das Mortes (1969) [Glauber Rocha] ★★★½
The Story of the Last Chrysanthemum (1939) ‘残菊物語’ [Kenji Mizoguchi] ★★★★
The 47 Ronin (1941) ‘元禄 忠臣蔵’ [Kenji Mizoguchi] ★★★★
Sunset Boulevard (1950) [Billy Wilder] ★★★★
It’s a Wonderful Life (1946) [Frank Capra] ★★★
The Shawshank Redemption (1994) [Frank Darabont] ★★★
Full Metal Jacket (1987) [Stanley Kubrick] ★★★★
All Good Things (2010) [Andrew Jarecki] ★
Wake of Death (2004) [Philippe Martinez] ★★
La Belle Noiseuse (1991) [Jacques Rivette] ★★★★★
Cemetery Man (1994) ‘Dellamorte Dellamore’ [Michele Soavi] ★★★½
Thief (1981) [Michael Mann] ★★★½
Wolf Warrior (2015) ‘战狼’ [Wu Jing] ★★
Reservoir Dogs (1992) [Quentin Tarantino] ★★★★
Pulp Fiction (1994) [Quentin Tarantino] ★★★★★
Jackie Brown (1997) [Quentin Tarantino] ★★★★★
Kill Bill: The Whole Bloody Affair ★★★★★
Lady Snowblood(1973) ‘修羅雪姫’ [Toshiya Fujita] ★★★★★
Lady Snowblood 2: Love Song of Vengeance (1974) ‘修羅雪姫 怨み恋歌’ [Toshiya Fujita] ★★
The Bridge on the River Kwai (1957) [David Lean] ★★★★½
Hardball (2001) [Brian Robbins] ★★★½
Hard Eight (1996) [Paul Thomas Anderson] ★★
Punch-Drunk Love (2002) [Paul Thomas Anderson] ★★★½
Boogie Nights (1997) [Paul Thomas Anderson] ★★½
Aventuras en Marte (1981) [Roberto Bolaños, Enrique Segoviano] ★★★★


------2017 films------
The Florida Project [Sean Baker] ★★★
The Outlaws ‘범죄도시’ [Kang Yun-sung] ★★★
Good Time [Ben Safdie, Joshua Safdie] ★★★★½
V.I.P. ‘브이아이피’ [Park Hoon-Jung] ★★½
Old Stone ‘Lao Shi’ [Johnny Ma] ★★★★★


------Andrei Tarkovsky------
Ivan’s Childhood [1962] ★★★★
Mirror [1975] ★★★★★
STALKER [1979] ★★★★★
Nostalgia [1983] ★★★★★
Voyage in Time (1983) [Andrei Tarkovsky, Tonino Guerra] ★★★★

------Animation------
A Silent Voice (2016) ‘聲の形’ [by Naoko Yamada] ★★★★
Urotsukidoji I: Legend of the Overfiend (1989)[Hideki Takayama] ★★
Batman: Mask of the Phantasm (1993) [Bruce Timm, Eric Radomski] ★★★

------Concerts------
Gojira: The Link Alive (2007) ★★★★★
Pink Floyd: Live at Pompeii (1972) [Adrian Maben] ★★★★★

------Shorts------
À propos de Nice (1930) [Jean Vigo] ★★★
Taris (1931) [Jean Vigo] ★★★★

------Garbage------
Pirates of the Caribbean: Dead Men Tell No Tales (2017) [Joachim Rønning, Espen Sandberg]

2018 watches: 90 films

-There are some rewatches missing, but it doesn't matter;
-I use stars for rating in my personal txt control. It's too many films, so I just don't feel like putting all of them in [rating]rating_.etc;
-The colors mean nothing;
-The films was watched between January 09 and February 27.
-Edit¹: Added 2 more films.



That's a very high rating. Especially given how you rated two other superior (in my opinion) Akerman films. Why exactly did you love it so much?
I havent seen it but it seems more ascessible



Sorry if I'm rude but I'm right
I havent seen it but it seems more ascessible
Not exactly an action-packed film, but I see how it might be perceived as more accessible compared to the slowness of Jeanne Dielman or News from Home. It's got a more immediately understandable premise, too.

@Camo I recommend Portrait of a Young Girl at the End of the 1960s in Brussels.



I understood them all fine definitely was more nervous than i should have been about their difficulty, i just got a lot more out No Home Movie. Think watching News From Home before No Home Movie and getting an insight into Akerman and her mothers relationship helped me appreciate the latter more.

Will check that out Minio, was thinking about watching From The East next.

Also i don't have mentions on.



Sorry if I'm rude but I'm right
From The East is great too. My favourite scene from the film is the one with a Russian woman making sandwiches.



Sorry if I'm rude but I'm right
Twice-Told Tales (1963) -



@Swan getting old.

Three horror stories with Vincent Price. The first one is great, even though it's predictable. The other two are okay. Far from the best of its kind, but still worth it if you love Price.

অরণ্যের দিনরাত্রি [Days and Nights in the Forest] (1970) -





Yet another Satyajit Ray masterpiece. When you hear "Indian cinema", the first thing that comes to your mind is Bollywood. The second is Satyajit Ray. He seems to be the sole force fighting the stereotypical image of Indian cinema being just luscious musicals, or action-packed 3 hours long Masalas, and even though there were many other greats creating Parellel Cinema back then, he is probably the greatest of them. Simply put the film is a buddy comedy drama that involves four friends spending a holiday in the country, and three women these men interact with (one of the men is an unnattractive dwarf and has to resort to gambling while his peers accompany the ladies). Eventually the film induces this bittersweet feeling of nostalgia when the holidays are over and you have to part with the people you befriended.

Céline (1992) -



Too many beautiful frames in this film to pick just one.

A rightly luministic film about the light in all of us. Christian sanctity achieved by Eastern methods. Finding the meaning in the face of death. The beauty of nature expressed in painterly framing.

In girum imus nocte et consumimur igni [We Turn in the Night, Consumed by Fire] (1978) -



Dude uses found footage and mumbles for 90 minutes.

His best so far, although still a mediocre film. Unlike in The Society of the Spectacle, there are some attempts at incorporating poetry into the boring overtly academic Marxist "capitalist society sucks, and people like you, you consumeristic capitalist pig, contribute to the collapse of the World" theories. Some of the still photos used are beautiful, and the semi-autobiographical parts are interesting. Too bad the whole thing is too much into politics and too little into beauty. Lettrism > Situationism.

Great shorts:
A Mal Gam A (1976) -




Zulueta is a master of atmosphere and his (sadly) only full-feature Arrebato is the best example of this. This short film is probably his second best. I love how much the ambience adds to the overall mood.

Moon's Pool (1973) -




Bathing in the moon's pool is like being in your mother's womb.

+ BONUS:

Top 10 seen in February:

1. Has the Film Already Started? (Maurice Lemaître, 1951)
2. Céline (Jean-Claude Brisseau, 1992)
3. Moments choisis des Histoire(s) du Cinéma (Jean-Luc Godard, 2004)
4. Pinchcliffe Grand Prix (Ivo Caprino, 1975)
5. My Life as a Courgette (Claude Barras, 2016)
6. The Emperor's Naked Army Marches On (Kazuo Hara, 1987)
7. Wodzirej (Feliks Falk, 1977)
8. Days and Nights in the Forest (Satyajit Ray, 1970)
9. Pirosmani (Giorgi Shengelaia, 1969)
10. The Offence (Sidney Lumet, 1972)



Welcome to the human race...
Good Time (Josh Safdie and Benny Safdie, 2017) -


Plays a little better a second time around as there are quite a few important subtleties that I don't think I picked up on initially. Also still my pick for best score of 2017.

Howard the Duck (William Huyck, 1986) -


Surprisingly enough, this is one of those "worst movies ever" that is too damn weird and singular to genuinely hate. I wouldn't say there's much to recommend about it on its own merits, though.

Dead Slow Ahead (Mauro Herce, 2015) -


A brief but slow documentary about life on a freighter. A starkly beautiful portrait of machine against nature and the humans that are glimpsed or heard moving around in the belly of a steel beast.

The Lost City of Z (James Gray, 2016) -


I do like a good jungle movie from time to time and this one certainly delivers in that regard with its tale of an explorer and his obsession with locating the eponymous ruins.

The Salvation (Kristian Levring, 2014) -


I guess there's a certain novelty in the Danish taking their own stab at making a classic revenge Western and there's nothing particularly terrible about the execution, but there's nothing all too inspired about it either. It's a watchable diversion but in no way essential.

Dear Basketball (Glen Keane and Kobe Bryant, 2017) -


One of those try-to-separate-the-art kind of deals where you can appreciate the effort that went into the sketchbook-style animation and the triumphant John Williams score but can't really muster any enthusiasm for the fact that it's about Kobe Bryant of all people.

Negative Space (Ru Kuwahata & Max Porter, 2017) -


A French stop-motion short that looks like it was cut from the same cloth as My Life As A Zucchini and is all the better for it. Also taught me some valuable lessons about packing luggage.

Lou (Dave Mullins, 2017) -


I haven't really been keeping up with Pixar's features that much in recent years, but at least the shorts seem to be maintaining a decent standard of quality. This particular one - about a pile of lost property that comes alive in order to scare a bully straight - condenses that familiar charm into a handful of minutes and is all the better for it.

Revolting Rhymes (Jan Lachauer & Jakob Schuh, 2016) -


I feel like I've read Roald Dahl's twisted take on classic fairytales before - in any case, this adaptation doesn't do too bad a job at translating his sensibilities into a colourful computerised creation (though the fairly long running time and clunkier attempts at rhyming and storytelling work against it quite a bit).

Garden Party (A Lot of People, 2017) -


My personal favourite of the official nominees thanks to its mix of remarkably high-end visuals and darkly humourous excuse for a narrative. Definitely hoping that it'll win but maybe not.

Lost Property Office (Daniel Agdag, 2017) -


I'm guessing this screening included a bunch of honourable mentions (and a few brief interludes) to pad out the running time - it certainly doesn't seem to reflect all that well on these particular shorts. Anyway, this is a fairly standard flight-of-fancy short that at least manages to create a distinctive aesthetic.

Weeds (Kevin Hudson, 2017) -


A relatively bleak take on the usual vaguely inspirational rise-above-circumstances narrative that centres many short films (especially coming directly after that previous one) that is quick and efficient.

Achoo (A Lot of People, 2017) -


What if Dumbo but with dragons?

DeKalb Elementary (Reed Van Dyk, 2017) -


Definitely the best of the live shorts with its dramatically solid tale of a lone gunman preparing to carry out a school shooting and the receptionist who tries to talk him out of it.

The Silent Child (Chris Overton, 2017) -


A straightforward message movie that nevertheless manages to put together a brief but sufficiently effective tale of the conflict that arises over a family trying to deal with their youngest child being deaf and the social worker who does her best to help the situation.

My Nephew Emmett (Kevin Wilson, Jr., 2017) -


This feels like the weakest of the live-action nominees if only because it's a little too simple with its re-enactment of the events leading up to Emmett Till's death as seen through the eyes of his uncle. That doesn't make it worthless, but there's only so much to be gained from it.

The Eleven O'Clock (Derin Seale, 2016) -


The only one out in the live-action category that opts to be a comedy, this time about the battle of words that ensues between a psychiatrist and a patient who believes that he's the real psychiatrist. It certainly doesn't lack for laughs and doesn't wear out its welcome.

Watu Wote (All of Us) (Katja Benrath, 2017) -


Another competently-made but not especially remarkable true-story dramatisation, this time about a terrorist attack that unfolds on an African border road.
__________________
I really just want you all angry and confused the whole time.
Iro's Top 100 Movies v3.0



@ Mr Minio
thanks for this masterpiece

Wodzirej (1978)


laj la la laj la la laj
__________________
A normal man? For me, a normal man is one who turns his head to see a beautiful woman's bottom. The point is not just to turn your head. There are five or six reasons. And he is glad to find people who are like him, his equals. That's why he likes crowded beaches, football, the bar downtown...



Sorry if I'm rude but I'm right
Little Malcolm and His Struggle Against the Eunuchs (1974) -




A terrifying satire on totalitarism, a spoof on NSDAP, a film that starts off hilariously and gradually gets darker, scarier, and more extreme. Little Malcolm, based on a play by David Halliwell, is the only film in a very long period of time that had me both laughing out loud, and sitting silently in shock during its duration time. John Hurt and David Warner give great performances as well.

A Sun-Tribe Myth from the Bakumatsu Era (1957) -




Listed as the 4th best Japanese film of all time by Kinema Junpo, the film is a solid comedy, albeit not a masterpiece by any stretch. I thought it's more like the 400th best Japanese film of all time, and even this I'm not so sure. ;) Either way, the film is enjoyable enough, though I have to say it's not exactly up my alley humour-wise. Not even close to the brilliance of Yamanaka's The Million Ryo Pot.

Farewell, My Lovely (1975) -




A Chandler adaptation with Robert Mitchum playing Marlowe. Mitchum is old and weary, and that suits his character perfectly. A really nice noir mood. Nothing groundbreaking, but it's enjoyable enough.

Heaven's Gate (1980) -




My second Cimino and for the second time I'm not sold. The film starts off with a bang, a great speech sequence followed by a grandiose dance, and then it's 20 years later, and it's a western, and everything kind of goes downhill. The cinematography by Vilmos Zsigmond is pretty good. I especially liked the use of smoke, dust and other fumes that creates a layer in almost every other scene. Huppert in all her female glory wasn't that bad to look at either. I enjoyed the performances of Isabelle Huppert, Christopher Walken and John Hurt. I think my biggest issue was that the story was so underwhelming, and I can't really put my finger on why as I have nothing against beautiful scenes that are there just to be beautiful and don't add anything to the narrative.

Millennial Bee (1983) -




Almost four years after I saw (and absolutely loved) my first Jakubisko film and a long time since I saw a Czech or Slovakian film, I decided to finally branch out and get me some of this Slovakian goodness. And boy, was it worth it. Jakubisko started in the 60s and was one of the most talented maverick directors to come from Czechoslovakia.Millennial Bee, a film from the 80s, still has a lot of verve of his New Wave films, and uses similar tricks, moves at a neckbreaking speed, and presents a magical rural life similarly to Shadows of Forgotten Ancestors. I was afraid Jakubisko might have degraded in quality once Czechoslovak New Wave ended, but it looks like my fears were unfounded. Can't wait to see his other acclaimed 80s film.

Every Man for Himself (1980) -




Well, I happened to watch two films with Isabelle Huppert in one week, and both times I hadn't known she stars in the film until I started watching it. Godard again tries to mock capitalist society, but this kind of taunt escapes me yet again. He also adds some kinky, fetishistic sexual stuff, but you'd have to be a prude to find it revolting. It's not exactly what most people consider normal, but I didn't find it that insulting. Having watched more than 100 pinku eiga films I might be biased, though. :P Godard falls in love with frame by frame slow motion in this, too, and exploits it to a moderate success. Not one of my favourites of his, but not a puny film either.

A Dedicated Life (1994) -




My second Hara documentary and I'm impressed once again, although I'm not really sure how good the actual film is in terms of moviemaking as opposed to how good the subject matter is. It's just your usual documentary cinema verite style, but the person portrayed once again proves to be a fascinating character, hence the film's excellence. Also there is a twist in the film, and normally you wouldn't expect a twist from a documentary, so that's good, too.

The Deserter and the Nomads (1968) -




Another Jakubisko and yet another masterpiece! I usually don't overread into other people's thoughts, but I just couldn't say this any better than some guy on Letterboxd who rightly noticed that Jakubisko:

- Prophesized the gigantic scope of Kusturica's spectacles
- Had the anarchic disorder of Jancsó's anti-war testaments
- Predated Terayama's ferocity of the wilderness and symbolisms to unravel the psyche
- Featured Kalatozov's hand-held camera style and tracking shots
- Used animals like Jodorowsky would
- Features nudity as confidently as Greenaway
- Appreciates nature visually with the passion of Malick
- Predicted Lopushanskiy's scope of an apocalypse in Dead Man's Letters (1986)
- Colored the screen with silent-film-like tints to separate time settings and accentuate emotions
What a joy I am still able to find such gems after intensively trying to fish them out of cinema's pond for 7 years. By the way, Slovakian is the closest language to Polish. I could understand a lot!

Bone Tomahawk (2015) -




Zahler might be the best craftsman in American film industry today, and I'm using the term 'craftsman' fully aware of its derogatory meaning, yet at the same time I also lament at how he could make a film that is an ultimate masterpiece had he made it more artsy. But... firstly, it's probably my personal fault (or should I say preference), more than the director's fault, and secondly, I really can't imagine how Zahler could have made Bone Tomahawk even better without going into the artsy pantsy territory that obviously is not his cup of tea (perfectly alright, and if that's not his strength, it would be extremely risky for him, too, so I guess it's better he does what he does best). I heard people saying Bone Tomahawk is a Tarantinian film, but I beg to differ. It's not. It's not a meta film, although the director loves his B-movie stuff. The dialogues are witty and sharp, but are not ironic (don't confuse characters being ironic at times with the dialogue and film being ironic in general). It doesn't have the usual Tarantino's shenanigans either. Calling this Tarantinian is like calling every second slow cinema film Tarkovsky-esque. But to the point:
I love how the film is shot in digital yet it looks really good. It embraces the digital filmmaking and doesn't try to fight or resist it.
I love the portrayal of the cannibals. They are genuinely terrifying, dangerous and powerful and you can feel it all during fights.
I love how there is so much heart put into the film and its characters. The flea circus monologue is a particularly touching example of this.
I heard about the infamous halving being a strong scene, but I would have never guessed it's THAT strong. No doubt one of the most gruesome scenes I've seen in years.
Having a tendon inflammation, I could deeply identify myself with Arthur (admittedly his condition was worse, though). This gets a strong 4 stars, but I can't bring myself to giving it a 4.5. I don't know why. I'm a boring, sad artfag, I guess.

D’ici là (1997) -




My second film of the director. He's extremely influenced by some other greats like Godard here, and once again focuses on the fleeting nature of time. No doubt would be a 4 if not for the fact I watched Bone Tomahawk just before.

Brawl in Cell Block 99 (2017) -




Second Zahler and only a little bit inferior to his debut, but still a great, great film! Of course, the film is enjoyable without all this, but I can't stop thinking that it has some political message hidden in it. The hero is a patriot, his attitude towards Hispanics is particular to say the least (or is it just a coincidence?), he goes to extremes hurting and taking many lives in order to save the life of his cheating wife and unborn child (family values over everything else). Quite a portrayal of pro-Trump nationalistic American if you ask me. I feel this theory is quite stretched and unfounded, but I can't get it out of my head for some reason. A minor nitpick would be he's too overpowered. It's understandable he defeats the 'your average Joe' guards in the first prison, but the second prison guards look like freakin' Waffen-SS karate squad yet he handles them with such ease... The violence wasn't as gruesome as in Bone Tomahawk either, and the head-stomping was extremely B-movie-like (me gusta). I can't wait to see another Zahler film!

Repeated Abscences (1972) -





My second Guy Gilles film, and what a soul-crushing masterpiece! A sublime study of faces, depression, alienation, drug addiction, and homosexualism (or was it 19th century-esque bromance?), shot and told with extreme understanding, poetic touch, and visual beauty. I wanted to describe my favourite scene, but then realized that the entire film is one big favourite scene of mine. However, if I had to choose just one, I believe it would be a moment of otherworldly beauty: that sequence when camera shows a bunch of androgynous faces sunk in the shadows with Lacrimosa playing in the background. "Lives end, but feelings are forever."

Oh my, 2018 is going to be amazing. I've only seen four
films in 2017. I've already seen four (and am thinking about the fifth) such films in 2018 and it's just the beginning of the year!



Welcome to the human race...
The Battle of Algiers (Gillo Pontecorvo, 1966) -


It's not every day that I see such a well-renowned classic that does more than just hold up - if anything, its dramatisation of the years-long conflict between Algerian freedom fighters and the French occupying forces still feels astonishingly and depressingly fresh in terms of both cinematic panache and thematic resonance respectively.

Sweet Country (Warwick Thornton, 2017) -


Thornton's true-story Western about an indigenous stockman going on the run after shooting a white landowner is self-defence definitely pays homage to other similarly revisionist tales like The Chant of Jimmie Blacksmith or The Tracker while still managing to carve out a unique identity for itself. Mesmering outback footage blends with a bleak tale of rural retribution to be an early contender for one of the best films of 2018.

A Fantastic Woman (Sebastian Lelio, 2017) -


A fairly solid Almodòvar-esque film that does a decent job of juggling a variety of tones - serious, surreal, sentimental - in telling its tale of a transgender woman handling the aftermath of her boyfriend's death.

The Illumination (Krzysztof Zanussi, 1973) -


Zanussi's film about the life and times of an aspiring physicist who undergoes all sorts of experiences and setbacks (both personal and professional) across the years has its moments and is definitely carried by its more experimental flourishes than any narrative consistency.

Before the Flood (Fisher Stevens, 2016) -


It's a little hard to judge movies like this that need to be so direct in communicating with an audience about an important cause, but I'll give this credit for being more than just a blandly agreeable reminder about a big issue that I'm already aware of and in favour of solving.

Alphaville (Jean-Luc Godard, 1965) -


A simple but effective hybrid of sci-fi and noir as filtered through Godard's cinematic idiosyncrasies that manages to be inventive enough with its approach to genre storytelling without getting too bogged-down in Godard's trademark polemicising.

Assault on Precinct 13 (John Carpenter, 1976) -


Carpenter at his rawest, if not necessarily his best.

Mute (Duncan Jones, 2018) -


I do like a good tech-noir and this certainly promised that much but the execution itself is very underwhelming. There is just enough of an emotional throughline with the mute protagonist searching for his lost love to save this from being a total catastrophe, but the film's decision to juggle his already-loose arc with an extremely bloated B-plot involving a pair of scumbag surgeons really doesn't do this film any favours.

Red Sparrow (Francis Lawrence, 2018) -


The hard thing to judge about this rather grim tale of one woman being forced to play psychosexual spy games is how much of its positive (and perhaps even negative) qualities can be credited to its obvious auteurist influences by the likes of Cronenberg and Verhoeven, to say nothing of whether its deliberate slowness isn't just dullness or if its lengthy and convoluted back half serves the story instead of hampering it.

I Live in Fear (Akira Kurosawa, 1955) -


Maybe my least favourite Kurosawa as of writing but that's hardly the worst thing I could say about this tale of an elderly patriarch (somewhat convincingly played by a 35-year-old Toshiro Mifune, no less) and his quixotic plans to save himself and his family from nuclear catastrophe. It meanders quite a bit at times but never totally loses sight of its purpose.



Seen in March Pt.1


Garden Party

OMG THE FROGGOS ARE THE CUTEST THING I’VE EVER SEEN EEK! DON’T YOU DARE HURT MY FAT FROGGY BOI!

But in seriousness, the animation’s fantastic looking.



Just an overall great film. It made me really wanna go outside. That skydive scene was fantastic. Keanu Reeves is kinda hilariously bad in this. You can’t stop yourself from laughing whenever he tries to be witty or serious.
I AM AN FBI AGENT!



I swear I'm not going on a Keanu Reeves marathon! I went into this not knowing he was in it, seeing him was a very pleasant surprise! But yeah it was good. Performances were good. I really liked the scenes of the creatures travelling quickly through the city.


+
Completely wonderful. Seriously debating if this or A Ghost Story is my favourite film of 2017. The film has a real, comforting, sleepy, nostalgic feel of being on a holiday and being too relaxed to do anything made with a combination of its realistic dialogue, beautiful colour pallet and 35mm camera. The ending is so sad OMG! Timothée Chalamet is awesome and so is Hammer. Some may be creeped out with the age difference, but they address the concern in the film and I feel it’s alright as they’re both age of consent.

In nearly every LGBT film I’ve seen they always have to say s*it like “What will our parents think if we do this?!” and then at the end of the film they have to make a big song and dance number about how it’s ok to be gay. This film has none of that, it just treats the relationship as if it’s the most casual thing ever, I love it; Making being gay not a big deal is better than making a big deal about how it’s ok to be gay. The romance in the film is so beautiful and when something bad happened I felt emotions that I've never felt in a film in years.



Above average. Fonda’s performance is pretty good. The first hour where he’s being interrogated is pretty cool. The scene where the son is talking to Fonda made me smile so hard. Some cool shots. A problem though was that the ‘right’ man looked nothing like Fonda.


-
Great. Ronan’s fake American accent is really good, and so is her performance. She feels like an actual teen, and Metcalf feels like an actual mom. It’s really nice to see a movie for your demographic where people actually have ache and are fat, you never see that in other films and it pisses me off. Basically all of the interactions between Ronan and Metcalf and Feldstein felt 100% real, which I loved. Lots of emotional moments and a very powerful final shot.

The plot is kinda hard to take seriously though considering this plot’s been done the same way over and over again.



I'm not the type of guy who go's out of his way to watch hundreds of weird, short films on Letterboxd that only 2 people in the world have seen, but the premise hooked me hard enough to want to see it. The idea's pretty unique, and it's pretty tense and suspenseful. Maybe it taking place during the daytime adds to that.


+
Overall just a very entertaining and engaging movie. It was a great idea to adapt this autobiography, as this story is really original. The performances were fine, the soundtrack was fine. The emotional moments worked well. I liked the characters. The foreskin scenes made me cringe so hard OMG. The final scene was very nice.

I don't really have anything to say about this film, as I feel like every element was 'good' and there's nothing that stood out to me. My only other criticism is that the sex scene is hilariously unrealistic, almost cartoonish. The film does look like it was just filmed on sets, but that's not a particular issue.



You can tell this was actually filmed out in the freezing cold, which is cool. The performances are great, especially the lady. The soundtrack is soul-crushing, it makes those emotional scenes alot more emotional. The cinematography is great, and the way the director places the camera makes for some really great looking shots.

This would all work perfectly, if this film wasn't so BORING! I mean, these aren't my type of movies. I'd most likely never watch something like this on purpose. I had to watch this film in two halves to get through it. The film is just REALLY drawn out, that interrogation scene went on for way too long. It wasn't helped either with the boring shot/reverse-shot. It's a real shame because this film has some brilliant material, which would be perfect in another movie.



Damn it’s pretty sad, but kinda inspiring, and undeniably great. Robbie and Janney’s performances were brilliant. The director is fantastic; he can make you feel the soul-destruction during the emotional abuse scenes, he can make you feel the punches during the physical abuse scenes, he can make you feel those damn tears during the crying scene, he really is a dictionary definition of a great director. The way in which it was told (mockumentary comedy with fourth-wall breaks) surprisingly works really well. My only real problem is that when the story gets to the scandal, there’s tons of parts that could be trimmed out and the film would overall be better, and make that section feel less drawn out.



Sorry if I'm rude but I'm right
Ulzana's Raid (1972) -




A gritty, brutal western with a pretty good performance from Burt Lancaster. Loved the idea of a young idealistic boy's beliefs getting crushed by reality. Robert Aldrich is a director I love, and even though this is far from his best efforts, it's still a solid film!

The Tempest (1979) -




My least favourite Jarman so far. Quite an original yet wacky Shakespeare adaptation with occasional gothic horror vibes (Ken Russell's vastly superior Gothic comes to mind).

Rosencrantz & Guildenstern Are Dead (1990) -




Didn't really think much of it in terms of filmmaking. It's very plain visually, and pales in comparison to many other rather ravishing films I watched lately. Still, I loved the chemistry between Oldman and Roth, their word games, and film's kind of humour. Laughed a couple of times as well. When the film ended I still didn't know which one is Rosencratz and which one Guildenstern.

Sitting on a Branch, Enjoying Myself (1989) -




Perhaps his best. An outstanding showcase of sensitivity. Jakubisko manages to depict tragic events in a beautiful, humane way. It's incredible how he creates such an idyllic haven inside the evil of this world. The highest level of film art.

Occupation in 26 Pictures (1978) -




Quite a disappointment, really. Especially given the film is highly regarded amongst my film buff friends. It's shot and plays like a cheap Nazisploitation, and quickly turns out to be a Communist propaganda picture. The infamous bus scene was not as brutal as I heard it was. All this being said, the film successfully depicts how an ideology can be both connecting and divisive. The wide streets of Dubrovnik populated by pigeons, but devoid of humans are a sight to remember, too.

In the White City (1983) -




A very Wendersian film. An irrational hero struggles to make his life right on the land yet he can't help loving sea the most.

Angel Guts: Red Vertigo (1988) -


KINKY

Ishii's directional debut, and as much as I loved the way it was directed, this time the story was extremely weak, and hardly believable, based around some confused understanding of Stockholm Syndrome. Deus ex machina ending felt kinda contrived as well. Two more films in the series to go. Let's hope for at least one great film.

It's Better to Be Healthy and Wealthy than Poor and Sick (1992) -




I'm on Jakubisko binge! This one is from the 90s, but still has the usual Jakubisko visual cues, and great music to go with it. The film is one of the most 90s films ever, and given it takes place in Slovakia, it hits close to home. While many people complain 80s were extremely kitschy and cheesy, I can't help thinking it's the 90s that were like that.

The Devil (1972) -




I'm not big on Żuławski's expressionist style. All throughout the film the actors are either running around screaming, or lying in convulsions. If you want to say something meaningful, you don't have to scream it to the viewer's ear while beating him over his head. Still, there's method in this madness. The film is uncouth, and there's some primordial power to it, which made it fascinating. The hand-held camerawork fits its style, too.

In a Year with 13 Moons -




Nicely shot (but at times things seemed a little bit off) and depressing story about a man who decides to become a woman for love.

Build a House, Plant a Tree (1980) -




Jakubisko's most down-to-earth yet, and it's quite understandable given it's his first film after a nine years long ban on filmmaking.

The Feather Fairy (1985) -




One could say that given his eye for nifty visual effects, and magical nature of his oeuvre, Jakubisko should direct a fairy tale. Well he did, and here it is! It stars Giulietta Masina as well!!!

Man Follows Birds (1975) -




For what it's worth, this is the best film from Uzbekistan. A poetic yet violent account of the lives of three orphan children who prematurely have to face the evil of this world. Of course one could nitpick at film's editing that's kind of rough around the edges at times, but juxtaposed to the film's poetic beauty, it becomes unimportant.

A Story of the Forest: Mavka (1980) -




Some sorcery at work here.

The Disaster Artist (2017) -




You're tearing me apart, Franco! The best movie on aliens in years. The best Hollywood dream movie in years. As visually plain, uninteresting and boring as The Room itself. Almost as funny as The Room itself. A couple of lines had me laughing out so loud I was screaming. The final message of the story is: "You can laugh, you can cry, you can express yourself, but please don't hurt each other. Okay? Enjoy The Room.". Or maybe it is: "You can do anything if you have money".



Sorry if I'm rude but I'm right
What do you think was off?
There was a scene with a woman (I guess) framed in a way that was supposed to look like a painting. However, since I saw a bunch of films who perfected this tableau vivant aesthetic, I couldn't help noticing something's off. Maybe the lighting. I'm not sure. It's a minor detail, but for some reason it stood out for me and really put me off for a moment.

There were some other visual moments in this that lacked perfection, and I realize how much I'm nitpicking, especially given the cinematography is great nevertheless, but lately I've been finding myself more and more attached to the visual side of films, to the point every little detail matters, and I haven't felt like this in years.