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Regarding some of these criticisms towards Hereditary (and, please God, let's not go too deep into that) even if I were to acknowledge that its narrative is reliant on a bunch of horror cliches (I'm not sure I do, but I can see the point), I personally think a horror film can be entirely built out of cliches and, as long as it reinvigorates them in some way, it can feel entirely fresh and original. Since Hereditary is not really about demonic possession as much as it is about grief laid completely bare, even if it took the most painfully obvious horror tropes, the context we find them in is what makes them startling and new. It's just a big ugly-cry of a film that just so happens to have witch cults in it. I'd have been fine if they were wearing pointy hats and stirring a bubbling cauldron up in that tree house. Just because I've seen some elements of it before, doesn't mean I've seen Hereditary.
Jinn's 100 Films of the 2010s
Shivers is probably my favorite Cronenberg along with Videodrome. I think I prefer Rabid over The Brood.
You had me on board until you mentioned putting Rabid over The Brood, and I was just no no no no no.
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People here are making top 100s, meanwhile I can barely piece together a top 3 lol
Oh well, there's a lot of films on here I've never heard of, and that's always a good sign. Looking forward to the rest of it.
Oh well, there's a lot of films on here I've never heard of, and that's always a good sign. Looking forward to the rest of it.
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77. Shame (2011, dir. Steve McQueen)
I might be more inclined towards the intersections of sexuality and psychological dysfunction than some viewers. It's not the most exciting type of film, and certainly not the most erotic. They neither turn me on or bleak me out, but the ones that can navigate the cracks of the facade to show real human reflection are the ones that might offer some balance between intimacy and performance.
I might be more inclined towards the intersections of sexuality and psychological dysfunction than some viewers. It's not the most exciting type of film, and certainly not the most erotic. They neither turn me on or bleak me out, but the ones that can navigate the cracks of the facade to show real human reflection are the ones that might offer some balance between intimacy and performance.
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75. A Ghost Story (2017, dir. David Lowery)
It's the story about a house, basically. But it's really about space, specific spaces. Existential, not horrible. The film glides through time much as one walks through a home. I admire the brass. The commitment. The only part that didn't work for me was the overly verbal segment with Will Oldham which is just the kind of hipster drain this film should have avoided.
It's the story about a house, basically. But it's really about space, specific spaces. Existential, not horrible. The film glides through time much as one walks through a home. I admire the brass. The commitment. The only part that didn't work for me was the overly verbal segment with Will Oldham which is just the kind of hipster drain this film should have avoided.
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74. Shutter Island (2010, dir. Martin Scorsese)
(caveat: in B&W)
I thought that this thriller was pretty good on release, but I'm terminally committed to watching it in monochrome, as this provides the preferable splendor for my own private screenings. I'm not mad.
It's a mobius aesthetic that connects the pole between the B-movie matinee and late night television.
(caveat: in B&W)
I thought that this thriller was pretty good on release, but I'm terminally committed to watching it in monochrome, as this provides the preferable splendor for my own private screenings. I'm not mad.
It's a mobius aesthetic that connects the pole between the B-movie matinee and late night television.
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More thoughts on the films I've seen on the list:
78. The Ghost Writer does work as a first rate mystery with Ewan McGregor’s writer trying to figure out what the former Prime Minister Pierce Brosnan. While the subject is sent to the US to elude the International Criminal Court, the writer goes to work trying to figure out why his predecessor died by drowning and finds himself unraveling a lot more than he was expecting. Honestly, my first Polanski and I‘m interested in finding more of his films to watch.
74. Like a lot of films that are defined by the twist, I haven’t seen Shutter Island a second time. But what I did find is a first rate thriller wrapped in some intrigue and in the hands of Martin Scorsese, the twist manages to be pulled off in such a way that it adds another layer to the story. Haven’t tried it in black and white yet, but considering how it was filmed, it might be worth a go.
78. The Ghost Writer does work as a first rate mystery with Ewan McGregor’s writer trying to figure out what the former Prime Minister Pierce Brosnan. While the subject is sent to the US to elude the International Criminal Court, the writer goes to work trying to figure out why his predecessor died by drowning and finds himself unraveling a lot more than he was expecting. Honestly, my first Polanski and I‘m interested in finding more of his films to watch.
74. Like a lot of films that are defined by the twist, I haven’t seen Shutter Island a second time. But what I did find is a first rate thriller wrapped in some intrigue and in the hands of Martin Scorsese, the twist manages to be pulled off in such a way that it adds another layer to the story. Haven’t tried it in black and white yet, but considering how it was filmed, it might be worth a go.
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Ranking this ahead of Mandy was the correct choice.
Anyway, Rainbow has some stylistic pleasures as Mandy and is maybe a bit less obvious in its design, but lacks any sense of narrative momentum. I remember the ending being especially bad.
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As a result, I have no doubt the story I submitted will be considered as being pro-facism and immediately disqualified, even though all I wanted to do was write an allegory about my cats.
I felt like it was a bit too calculated, for lack of a better word. On paper "Nic Cage heavy metal revenge flick" pretty much sells itself, but the finished product didn't make much of an impression on me. It was like Elevator Pitch: The Movie. I was onto their game as soon as I saw the trailer with the "it's...crazy...EVIL!" line. "Come watch Cage Cage the bleep out!"
(and I didn't even hate it, by the way)
(and I didn't even hate it, by the way)
Have you seen McQueen's debut Hunger? I think I like that one a bit more.
I was initially disappointed with the predictability of the plot twist....
I remember the ending being especially bad.
Besides The Irishman, that's my favorite of Scorsese's 2010's films. I was initially disappointed with the predictability of the plot twist, but since rewatching it a couple of times, I found the various visual sequences which allude to the twist more sensually powerful. Nowadays, I love the ride getting to the twist so much that I don't mind being able to predict the outcome.
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I have but that one seemed more like a stunt for some reason. Still good. I've liked all of McQueen's films so far, even the ridiculous Widows almost solely on that great limo cam shot.
Bah, I think the twist is pretty distracting, and I've come to loathe these "Big Twist" movies as such. Anyway the real twist....
is far more powerful.
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Also, don't forget that its plot is essentially
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73. Francis Ha! (2012, dir. Noah Baumbach)
I know I've already shirked off Baumbach, but, let's face facts, this is purely Greta Gerwig's movie through and through. He owed her, of course, for subjecting her to Greenberg's feeble wits, but this film is the culmination of the sweet charm bristling from Hannah Takes the Stairs or Nights and Weekends that was obviously too bold and precious for mumblecore to contain. And it's hardly a mystery why Greta has taken off on her own writing/directing career almost immediately afterward, because she's got to have it.
I know I've already shirked off Baumbach, but, let's face facts, this is purely Greta Gerwig's movie through and through. He owed her, of course, for subjecting her to Greenberg's feeble wits, but this film is the culmination of the sweet charm bristling from Hannah Takes the Stairs or Nights and Weekends that was obviously too bold and precious for mumblecore to contain. And it's hardly a mystery why Greta has taken off on her own writing/directing career almost immediately afterward, because she's got to have it.
73. Francis Ha! (2012, dir. Noah Baumbach)
I know I've already shirked off Baumbach, but, let's face facts, this is purely Greta Gerwig's movie through and through. He owed her, of course, for subjecting her to Greenberg's feeble wits, but this film is the culmination of the sweet charm bristling from Hannah Takes the Stairs or Nights and Weekends that was obviously too bold and precious for mumblecore to contain. And it's hardly a mystery why Greta has taken off on her own writing/directing career almost immediately afterward, because she's got to have it.
I know I've already shirked off Baumbach, but, let's face facts, this is purely Greta Gerwig's movie through and through. He owed her, of course, for subjecting her to Greenberg's feeble wits, but this film is the culmination of the sweet charm bristling from Hannah Takes the Stairs or Nights and Weekends that was obviously too bold and precious for mumblecore to contain. And it's hardly a mystery why Greta has taken off on her own writing/directing career almost immediately afterward, because she's got to have it.
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72. Hail Caesar! (2016, dir. Coen Brothers)
A minor Coen Bros. film, perhaps, but an interesting attempt at satirizing the parallel myth machines of religion and Hollywood (rendering both unto commerce), while Cold War myths linger in the background (and sink marvelously). The film is probably better known for its elaborate homages to the likes of Busby Berkeley, Gene Autry, Gene Kelly, etc., and some fun attempts at inside joke casting (George Clooney = Victor Mature; Ralph Fiennes = Ernst Lubitsch, etc), but the film is so straight-faced silly that it earns more grins than laughs. The best jokes, like whether or not Jesus is an extra, are too meta to register for most audiences.
A minor Coen Bros. film, perhaps, but an interesting attempt at satirizing the parallel myth machines of religion and Hollywood (rendering both unto commerce), while Cold War myths linger in the background (and sink marvelously). The film is probably better known for its elaborate homages to the likes of Busby Berkeley, Gene Autry, Gene Kelly, etc., and some fun attempts at inside joke casting (George Clooney = Victor Mature; Ralph Fiennes = Ernst Lubitsch, etc), but the film is so straight-faced silly that it earns more grins than laughs. The best jokes, like whether or not Jesus is an extra, are too meta to register for most audiences.
I thought you hated Frances, Rock.
I'm not much of a fan of the mumblecore genre in general, so I'm not a good source, but I will recommend Hannah Takes the Stairs and Nights and Weekends solely based on Gerwig's abilities.
I’ve been meaning to watch this one for the past few years. I’m not terribly familiar with mumblecore, although it’s possible I may have seen more then I realize, but I hope to get a better understanding of it through this and what ever else I find. I think I’ll include the two other titles you just provided.
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