Movie Tab II

Dead or Alive: Final (Takashi Miike, 2002)

Fancy Answers (Basil Wrangell, 1941)

Inescapable (Ruba Nadda, 2013)

Marketa Lazarová (Frantisek Vlácil, 1967)

In revenge for not supporting a war during the 13th century, religious young Marketa (Magda Vásáryová) is kidnapped.
Gerald’s Game (Mike Flanagan, 2017)

Hellfire: A Journey from Hiroshima (Michael Camerini, John Junkerman & James MacDonald, 1987)

That Little Band of Gold (Roscoe 'Fatty' Arbuckle, 1915)

Edge of Darkness (Martin Campbell, 2010)

Boston homicide detective Mel Gibson investigates the murder of his daughter and is aided by government consultant Ray Winstone who should be killing, or at least, thwarting him.
Mulberry St. (Abel Ferrara, 2010)

A Nutcracker Christmas (Michael Lambeck, 2016)

+
The Big Night (Joseph Losey, 1951)

Hiroshima (Hideo Sekigawa, 1953)

After the horror of the atomic bomb being dropped on Hiroshima August 6, 1945, the survivors make a vow.
Victoria and Abdul (Stephen Frears, 2017)

+
Hearts of Christmas (Monika Mitchell, 2016)

+
Good Time (Safdie Bros., 2017)

Patti Cake$ (Geremy Jasper, 2017)

Rappers PBNJ, led by Killa P (Danielle Macdonald), gets their album cover photographed.
The Ornithologist (João Pedro Rodrigues, 2016)

Bell Book and Candle (Richard Quine, 1958)

Crooked House (Gilles Paquet-Brenner, 2017)

That Most Important Thing: Love (Andrzej Zulawski, 1975)

Actress Romy Schneider shares her intense feelings with photographer Fabio Testi but less so with her husband (Jacques Dutronc).

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

Tales From the Crypt (1972) -



Anthology horror film. Santa and blind people - great! Cushing shows great class as always. Statuette and accident segments are okay.

Chillerama (2011) -



Anthology gross-out horror/comedy film. Too long, but has its charm. Vulgar homogeneous humour gets tiresome after a while.

超いんらん　姉妹どんぶり [Twilight Dinner] (1998) -



Vampires + pinku eiga. Could've been much better, but it's still a a decent one and what a twist at the end. :O

Giallo a Venezia [Giallo in Venice] (1979) -



The commissario is the king of eggs! The movie itself is an outrageous in its time giallo full of brutality and sex scenes. As great as it sounds, the film is decent at best, mainly because its style is so dull.

The Stranger (1946) -



The premise was super-interesting and the film lives up to it! Robinson once again shows his greatness and Welles is pretty good, too. Yet another Welles film better than Citizen Kane. <edgy>

La leggenda del santo bevitore [The Legend of the Holy Drinker] (1988) -



Yet another great Hauer performance. And the film itself... Christian! But how indisputable, philosophical, almost metaphysical!

Le corbeau [The Raven] (1943) -



Social commentary, whodunit, death wears black, suspense to the very end and noir aesthetics. A harsh critique of the French, an anti-informer movie (3 million French citizens informed Nazis!!!). It was banned and its director - Clouzot got a lifelong moviemaking ban (thankfully lifted after some time).

Le deuxième souffle [Second Breath] (1966) -



10/10 first scene. Later on - only coldness (Polar genre abides) and Melville's poetics. Woo was inspired by the final shootout! He once said that Melville is a God to him!

Suddenly, Last Summer (1959) -



Outstanding performances from Hepburn and Taylor. The former overshadows everybody when she appears on the screen! A quiet and observant performance from Clift. A lot of talking, as expected from a play-adapted movie. I actually met with many opinions claiming that this indeed is just a filmed play, but you can't have a close-up like that with Taylor on bed in a play. And the last act is a surreal nightmare!

The Big Clock (1948) -



Very solid noir thriller with comedy bits!

Слава – нам, смерть – врагам [Glory to Us, Death to the Enemy] (1914) -



A great Bauer film with, as always with him, outstanding visuals (deep focus!!!), but sadly did not survive in its entirety.

Le soupirant [The Suitor] (1963) -



Extremely good sense and poetry of a gag. Sentimentality at its best! That bloody ending almost made me cry! Both this and Yoyo are close to 4.5 stars!

The Voice Thief (2013) -



The son of Alejandro Jodorovsky makes a short film. It is a mix between his father's quirky controversy and Winding Refn's neon colours. A worthy final product!

La ronde (1950) -



To fiddle, or not to fiddle, that is the question. "To fiddle!" Walbrook prompts and invites you to a kinky adventure!

Les anges du péché [Angels of the Streets] (1943) -



Bresson's debut feature and a better film than a couple of his later ones! Not too Bressonian in style yet, but it is in themes. With this film I completed his filmography. Yet another director I've successfully unleashed my Total Solution program on (Kurosawa was the last one)!!! Renée Faure. 33333333333

女地獄 森は濡れた [Woods Are Wet] (1973) -



The arthouse intro is but a preludium to the orgy of degeneration that follows! The final ectasy in death and absolutely no moral boundaries! De Sade's Justine in Japan! Marquess would be proud!

Campanadas a medianoche [Chimes at Midnight] (1965) -



Good! The battle sequence directed by Jesus Franco (!!!) is paradoxically the best in the movie.

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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.

We Need To Talk About Kevin



Kind of thought I would be so-so on this through the first half hour but I should have trusted the story telling. It unravel perfectly and the result is one of the most disturbing movies I have ever seen. I love this director even if I won't be rewatching either of the first two movies I have seen from her any time soon. Is this a @cricket favorite? I thought of you while watching this. Seems right up your alley.

Good Time



The opening is probably my favorite scene in a movie all year. The pace and tone make this an easy watch but it does lose me some through the middle. Pattinson is really good and the last sequence almost matched the first.

Jim And Andy: The Great Beyond



Yeah Carey is pretty much a blow hard but that doesn't make him unentertaining or mean that he is always wrong. Fun watch, not unlike American Movie although it lacks the feeling of originality that doc has.

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Half Nelson



My kind of melodrama. I have become a big Gosling fan over the past couple years. Some probably call this sanitized but I think it does a good job walking the line between too clean and too dark. Gives it a realistic feel. Solid.

Lady Bird



Can't tell you how thrilled I was when this showed up at my local theater. It lived up to my high expectations. Exactly what I expected in all the right ways. Funny, poignant, and very well acted. Ronan deserves the praise she is getting and is quickly becoming a favorite.

Wendy And Lucy



So far I really love the look of Reichard's films and her actors are easy to watch. I could probably watch Williams peel potatoes for two hours. The films reamin pretty tepid for me though. I need a bit more life.

Murder on the Orient Express - Kenneth Branaugh directed and stars (alongside an impressive cast of actors) in this lavish Agatha Christie tale. Branaugh's Poirot is a wonderfully fussy man with a keen mind who's exhausted and only wants a short vacation from solving crimes. He doesn't get his wish, however, when a shady art dealer (Johnny Depp in an actually good performance) is murdered on the trip, and Poirot has to figure out which of the passengers did it before they reach their destination. It's great to see a film that's written on an adult level, doesn't dumb things down, rely on CGI effects, and doesn't feature superheroes (as much as I do enjoy superhero films). Branaugh is fantastic, as is Michelle Pfieffer as a middle aged heiress looking for a husband, Daisy Ridley as a governess heading to her next job, and Josh Gad as a shifty accountant to Depp's doomed character. Hell, the whole cast is fantastic. A sequel, Death on the Nile is forthcoming, as well. I'm excited to see where that goes.

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"You, me, everyone...we are all made of star stuff." - Neil Degrasse Tyson

https://shawnsmovienight.blogspot.com/

Damn surprised that didn't work for you more, i loved it. Don't like We Need To Talk About Kevin as much as you, it is good but i'd have it bottom for Ramsay. Half Nelson is just okay, Gosling is great though.

The Last Circus (2010) –
A plot that doesn’t necessitate a horror movie, but progressively gets f*cked up enough to fulfill the label. I love the exaggerated borderline militaristic music building up the pandemonium too.

El Bar (2017) –
A unique cast of folks are confined within a bar and grow increasingly paranoid. Iglesia’s movies are so goofy and entertaining, I can usually look past shortages of logic, but they’re too annoying here.

Buffet Froid (1979) –
Bleak(-ish) surrealism with some dry humor. Slow pace, infrequent music, and somewhat minimal scenery. I was in the mood for it this time.

Four Lions (2010) –
Funny

LFO (2014) –
A man brainwashes people with synth frequencies. Begins as a humble psych thriller with great use of dry humor, and grows more fascinating and ambitious as it goes along. The lead is complex and very well acted too.

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Funny Ha Ha (Andrew Bujalski, 2003)

Sweet Virginia (Jamie M. Dagg, 2017)

Seventh Son (Sergei Bodrov, 2014)

Children of Hiroshima (Kaneto Shindo, 1952)

Teacher Nobuko Otowa returns to her hometown to visit friends and former pupils who survived the atomic bomb.
Let’s Talk Turkey (Felix E. Feist, 1939)

-
Kagerô-za aka Heat-Haze Theatre (Seijuro Suzuki, 1981)

The Trip to Spain (Michael Winterbottom, 2017)

Wet Woman in the Wind (Akihiko Shiota, 2016)

Softcore porn about playwright Tasuku Nagaoka hiding out from women in the country who encounters a persistently sex-crazed one (Yuki Mamiya) along with a few others.
Living on Love (Lew Landers, 1937)

+
Message from Hiroshima (Masaaki Tenabe, 2015)

Don't Get Angry (No Director Listed, 1953)

Sex Is Comedy (Catherine Breillat, 2002)

Two film actors (Gregoire Colin & Roxane Mesquida), who have no physical or professional rapport, must be cajoled into filming an intimate sex scene by director Anne Pirallaud.
Born in Flames (Lizzie Borden, 1985)

+
Blondie in Society (Frank R. Strayer, 1941)

Hangman (Johnny Martin, 2017)

The Girl with the Golden Eyes (Jean-Gabriel Albicocco, 1961)

Things are seldom what they appear to be in this mysterious "romance" featuring the gorgeous Marie Laforêt.
Wild Seed (Brian G. Hutton, 1965)

+
Unlocked (Michael Apted, 2017)

Bus Riley's Back in Town (Harvey Hart, 1965)

+
Crossroads (Walter Hill, 1986)

+

Blues harp player Joe Seneca is made presentable by up-and-coming guitarist Ralph Macchio for a supernatural encounter on Highway 61.

The World of Apu (Satyajit Ray, 1959) -

A slight but ultimately solid conclusion to the Apu trilogy. I may give it the edge over The Unvanquished.

The Goddess (Satyajit Ray, 1960) -

Really couldn't tell if this was really bad or if I just wasn't in the mood for it (though considering how I watched it back-to-back with The World of Apu, maybe it was the former). In any case, I found this aggressively tedious to the point where even its text about the perils of blind faith only did so much for me. I may yet give it a second chance, though.

E.T.: The Extra-Terrestrial (Steven Spielberg, 1982) -

For me, this is probably the most confounding (or most ambivalence-inspiring) piece of Spielberg's filmography. On the one hand, it is a fine example of everything there is to dislike about his work - too cutesy (those kids have some screechy voices), too cloying (especially John Williams delivering a most aggressively saccharine score), and not all that interesting in its own right. On the other hand, that doesn't mean that it doesn't work. Confusing, sure, but I guess I'm okay with a film that sort of works instead of one that just...doesn't. See how I feel when I get around to re-watching this in another 5-10 years.

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

I liked the dark weirdness of The Lobster well enough, but seeing the vibe be transposed from that film's social satire to this one's horrifically subverted take on a morality play is making me reconsider my affinity for the former. The more I think about it, the less I like it.

Best of Enemies (Robert Gordon and Morgan Neville, 2014) -

A solid documentary about the unintentional genesis of televised punditry through the animosity-filled rivalry between William F. Buckley and Gore Vidal. Intriguing enough as a character study and as a piece about the evolution of the media landscape.

Professor Marston and the Wonder Women (Angela Robinson, 2017) -

A biopic about the creator of Wonder Woman and the polyamorous relationship that inspired his work. While it's interesting in how it focuses almost exclusively on the drama between the three leads (to the point where Wonder Woman doesn't factor into the plot until at least two-thirds of the way through), it's still rather dry in its execution.

Chicago Cab (John Tintori and Mary Cybulski, 1996) -

A very mid-'90s indie about a day in the life of a cab driver and the wide range of customers he has to transport. It's ultimately little more than a bargain-bin curiosity where it's mildly interesting to see various recognisable actors play the customers (just look up its cast list) but it's all in service to an extremely repetitive and vacuous exercise in cynicism.

Predator (John McTiernan, 1987) -

I considered dropping this half a box but then I came to my senses (and my 4.5s usually denote some level of personal preference that extends beyond the measurement of objective quality, though that's not to say that isn't good either). Anyway, it's Predator - what more do I need to say at this point?

Alien vs. Predator (Paul W.S. Anderson, 2004) -

The PWSA apologism continues with me giving a second chance to this bad boy and finding it a bit more worthwhile than I originally did. The lightweight narrative (in many ways, this feels like a rough draft for Prometheus) and the PG-13 nature of its violence are definitely strikes against it, but it's still a sufficiently functional piece of work that does all it really can with its crossover concept (and certainly works a whole lot better than Requiem).

Predator 2 (Stephen Hopkins, 1990) -

An admirable but not especially good attempt at a sequel that definitely ups the scale, expands the lore, and changes up the formula in a way that does yield a few decent spots of imagery (and is anchored by Danny Glover playing a character who's thankfully not a Dutch wannabe) but I'm ultimate not fussed about it one way or the other.

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Iro's Top 100 Movies v3.0

Rafter Romance (William Seiter, 1933)

-
Who Shall Live and Who Shall Die? (Laurence Jarvik, 1982)

Needle (Anahita Ghazvinizadeh, 2013)

Free Fire (Ben Wheatley, 2017)

Boston, 1978. An arms deal in a deserted warehouse goes wrong – mostly due to too many questionable “defenders” on both sides.
The Last Mistress (Catherine Braillat, 2007)

Angry Angel (Jamie Travis, 2017)

The Lamp (Roman Polanski, 1959)

Passing Strange (Spike Lee, 2009)

Stew’s deep, witty and creative rock musical about love and life is filmed on the Broadway stage.
Literally, Right Before Kevin (Ryan Eggold, 2017)

The Searchers (John Ford, 1956)

Snowglobe (Ron Lagomarsino, 2007)

Asparagus (Suzan Pitt, 1979)

Sexy, surrealistic animation – this scene at a theatre has animated puppet characters watching spaced-out imagery on stage.
Buried Loot (George B. Seitz, 1935)

Dirty Harry (Don Siegel, 1971)

+
Pickle (Amy Nicholson, 2016)

+
The Bad Batch (Ana Lily Amirpour, 2017)

After escaping a wasteland of cannibals, Suki Waterhouse finds herself in a dreamier world, yet still full of danger.
Kingsman: The Secret Service (Matthew Vaughan, 2015)

Radio Mary (Gary Walkow, 2017)

Wasp (Andrea Arnold, 2004)

What the Health (Kip Andersen & Keegan Kuehn, 2017)

Mostly-entertaining doc, if too-filled with conspiracy theories, about how veganism can improve the Earth’s and humankind’s health.

November:


The Straight Story (David Lynch, 1999)
Vampyr (Carl Theodor Dreyer, 1932)

+
Monsoon Wedding (Mira Nair, 2001)
Take Shelter (Jeff Nichols, 2011)


A Star Is Born (William A. Wellman & Jack Conway, 1937)
Angel (Ernst Lubitsch, 1937)
Der blaue Engel [The Blue Angel] (Josef von Sternberg, 1930)
Dracula unscored vsn (Tod Browning, 1936/1)
Four Daughters (Michael Curtiz, 1938)
My Man Godfrey (Gregory La Cava, 1936)
Stagecoach (John Ford, 1939)
The Lady Vanishes (Alfred Hitchcock, 1938)
The Roaring Twenties (Raoul Walsh, 1939)

+
Jezebel (William Wyler, 1938)
Les Misérables (Tom Hooper, 2012)
Modern Times (Charles Chaplin, 1936)
The Man Who Knew Too Much (Alfred Hitchcock, 1934)


Field Punishment No. 1 (Peter Burger, 2014)
Phase IV (Saul Bass, 1974)
Stand-In (Tay Garnett, 1937)
Tarzan The Ape Man (W.S. Van Dyke, 1932)
Top Hat (Mark Sandrich, 1935)
Triumph des Willens [Triumph Of The Will] (Leni Riefenstahl, 1935)
Waga seishun ni kuinashi [No Regrets For Our Youth] (Akira Kurosawa, 1946)
Wake Up And Live (Sidney Lanfield, 1937)
Yi ge ren de wu lin [Kung Fu Jungle aka Kung Fu Killer] (Teddy Chan, 2014)
Young And Innocent (Alfred Hitchcock, 1937)

+
Call Her Savage (John Francis Dillon, 1932)
La Danza de la Realidad [The Dance Of Reality] (Alejandro Jodorowsky, 2013)
Once In A Lifetime (Russell Mack, 1932)
Rain (Lewis Milestone, 1932)
Repo! The Genetic Opera (Darren Lynn Bousman, 2008)
The Petrified Forest (Archie Mayo, 1936)


Hoopla aka Hoop-La (Frank Lloyd, 1933)
Jamaica Inn (Alfred Hitchcock, 1939)
Mark Of The Vampire (Tod Browning, 1935)
Sita Sings The Blues (Nina Paley, 2008)
The 39 Steps (Alfred Hitchcock, 1935)

+
Berberian Sound Studio (Peter Strickland, 2012)
Child Bride (Harry Revier, 1938)
Lonely Wives (Russell Mack, 1931)
Now And Forever (Henry Hathaway, 1934)
Prezít svuj zivot (teorie a praxe) [Surviving Life (Theory And Practice)] (Jan Svankmajer, 2010)
Tarzan Finds A Son! (Richard Thorpe, 1939)


Radiator (Tom Browne, 2014)

+
Bringing Up Baby (Howard Hawks, 1938)
Killing Bono (Nick Hamm, 2011)
No One Lives (Ryûhei Kitamura, 2012)
Power Of Attorney (Howard Himelstein, 1995)
The World's End (Edgar Wright, 2013)
Tomorrow, When The War Began (Stuart Beattie, 2010)


Hross í oss [Of Horses And Men] (Benedikt Erlingsson, 2013)
Kill Your Friends (Owen Harris, 2015)
Sinners In Paradise (James Whale, 1938)
The Mandarin Mystery (Ralph Staub, 1936)

+
Rebellious Daughters (Jean Yarbrough, 1938)
The Ghoul (Gareth Tunley, 2016)
Tôkyô zankoku keisatsu [Tokyo Gore Police] (Yoshihiro Nishimura, 2008)
You're A Sweetheart (David Butler, 1937)


Jack Ryan: Shadow Recruit (Kenneth Branagh, 2014)
Love Among The Millionaires (Frank Tuttle, 1930)

+
Prevenge (Alice Lowe, 2016)
Tank 432 aka Belly Of The Bulldog (Nick Gillespie, 2015)


Aaaaaaaah! (Steve Oram, 2015)

What does the plus mean?

In the ratings you quoted it denotes an 8.5 as opposed to an 8.

Exploring the Thirties, @Chypmunk?

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Cobpyth's Movie Log ~ 2019

Getting some early watches and rewatches done in preparation for that countdown innit

November, 2017 movies watched-

What's Up, Doc? (1972) Repeat viewing Much better than my first viewing thanks in large part to the captivating Barbara Streisand.

Alien: Covenant (2017) I would rank this third in the series after the first two.

The Belko Experiment (2016) + Entertaining if you like mass carnage.

The New York Ripper (1982) Repeat viewing High marks for sleaze and nastiness.

Bad Moms (2016) Even though I laughed, it's a strong example of all that is wrong with modern comedy.

Empire of Passion (1978) - I didn't expect or want a ghost story, but was happy with what I got.

Fantastic Planet (1973) Repeat viewing I respect it a little more than I enjoy it, and actually find it upsetting to watch.

Scrapbook (2000) Properly sick but too poorly made to recommend.

Shot Caller (2017) - Terrible title but a really good film.

Night Moves (2013) Good, but not quite enough depth or intensity to make up for it's snail's pace.

The Sword of Doom (1966) + Tatsuya Nakadai and Toshiro Mifune star in an action packed and violent film.

Kingsman: The Secret Service (2014) Repeat viewing Just good entertainment.

Who Can Kill a Child? (1976) Alternated between creeping me out and almost putting me to sleep.

F for Fake (1973) Repeat viewing + Welles does a fantastic job at making me interested in things that I normally wouldn't be.

The Warriors (1979) Repeat viewing A long time favorite.

Visitor Q (2001) - Watchable because it's constantly sick and weird, but it leaves no impact.

Wonder Woman (2017) Pretty good until it became a bit too much for me.

Meshes of the Afternoon (1943) Surreal short from the 40's countdown.

All Through the House (2015) - Mediocre but watchable Christmas slasher.

Total November viewings-19
Total 2017 viewings-282

Smashed (James Ponsoldt, 2012) -

Eh, this seems like a competent but largely unremarkable tale of a woman trying to overcome her alcoholism and the obstacles that both it and staying sober represent. At least it's short and has good performances.

M. Butterfly (David Cronenberg, 1993) -

Cronenberg delivers a relatively understated (for him, anyway) film about the strange relationship between a French diplomat and a Chinese singer, delivering a pointed piece of work about the intertwining of colonialism and fetishisation that certainly doesn't lack for visual verve.

The Street Fighter's Last Revenge (Shigehiro Ozawa, 1974) -

I do want to keep watching the rest of Sonny Chiba's Street Fighter movies (only seen the original aside from this), but I hope they're better at delivering the action than this overly plot-focused installment.

The Spy Who Came In From the Cold (Martin Ritt, 1965) -

Admirably bleak but not altogether engaging Le Carré spy shenanigans. Worth watching, but only just.

The Warriors (Walter Hill, 1979) -

Original review found here. Genre pulp at its finest.

Message from the King (Fabrice du Welz, 2016) -

A disappointingly standard revenge thriller that's admittedly not without its charms (if nothing else, having Chadwick Boseman play a righteous avenging angel who beats dudes with a bike chain makes it seem like a stealth sizzle reel for Black Panther).

Kidnap (Luis Prieto, 2017) -

Halle Berry rushes to rescue her son from kidnappers in what is currently a serious contender for the worst 2017 movie I've seen yet. Its saving grace is that it's ultimately too dull to be worth hating.

The Hero (Satyajit Ray, 1966) -

Ray delivers a solid little character study about a movie star taking a passenger train that opts to examine the state of filmmaking and how various audiences respond to stars and their movies.

Wild at Heart (David Lynch, 1990) -

I've always considered this one of Lynch's weakest films because I don't much care for outlaw-couple movies and even the personal touches that he brings to the proceedings tend to feel like either self-parody or a lesser imitator (the Wizard of Oz leitmotif in particular just gets annoying after a while). There's still enough going on to ultimately make it okay in my book, though.

The Hit (Stephen Frears, 1983) -

I tend to be a little skeptical of "quirky hitman" movies these days, but this isn't too bad in that regard as it's anchored by some capable character actors and some decent technical touches.

Four Christmases (Seth Gordon, 2008)

Beeswax (Andrew Bujalski, 2009)

Mademoiselle (Tony Richardson, 1966)

The Loved One (Tony Richardson, 1965)

Full of himself and his kinks, Liberace is the top coffin salesman at Whispering Glades, a satiric, Forest Lawn-type memorial park in L.A.
In Paris Parks (Shirley Clarke, 1954)

Andròn: The Black Labyrinth (Francesco Cinquemani, 2015)

You Owe Me One (Carlos Cuarón, 2002)

Heart of a Dog (Laurie Anderson, 2015)

-

Laurie Anderson’s creative and deeply-moving tribute to her piano-playing dog Lolabelle is remarkably universal.
Hitch (Andy Tennant, 2005)

Two Rode Together (John Ford, 1961)

I Got the Hook Up (Michael Martin, 1998)

Detroit (Kathryn Bigelow, 2017)

Intense depiction of the Detroit race riots of 1967 centering on a particularly violent and racist incident involving the police.
Red Psalm (Miklós Jancsó, 1972)

Woman Thou Art Loosed: On the 7th Day (Neema Barnette, 2012)

Ice Climbers (Harry Wismer, 1956)

Home Alone (Chris Columbus, 1990)

When he‘s accidentally left behind by his family at Christmas, eight-year-old Macauley Culkin learns the sting of after shave lotion.
Electra, My Love (Miklós Jancsó, 1974)

Bridges-Go-Round (Shirley Clarke, 1958)

Boyka: Undisputed (Todor Chapkanov, 2017)

White Material (Claire Denis, 2010)

African coffee plantation owner Isabelle Huppert is confronted by her ex-husband (Christopher Lambert) and revolutionaries during a civil war.

November 2017 watches
Rewatches are in blue

2/11 - Punch-Drunk Love (Paul Thomas Anderson; 2002) -

3/11 - Mad Max (George Miller; 1979) -
3/11 - Mad Max 2: The Road Warrior (George Miller; 1981) -
4/11 - Mad Max Beyond Thunderdome (George Miller; 1985) -
4/11 - Sideways (Alexander Payne; 2004) -
4/11 - Falling Down (Joel Schumacher; 1993) -
6/11 - Fantastic Planet (Rene Laloux; 1973) -
10/11 - There Will Be Blood (Paul Thomas Anderson; 2007) -

11/11 - The Master (Paul Thomas Anderson; 2012) -

11/11 - Stranger Than Paradise (Jim Jarmusch; 1984) -
12/11 - Dead Man (Jim Jarmusch; 1995) -
13/11 - The Tree of Life (Terrence Malick; 2011) -
16/11 - Dr Strangelove (Stanley Kubrick; 1964) -
24/11 - Sorcerer (William Freidkin; 1977) -
25/11 - Boyhood (Richard Linklater; 2014) -
27/11 - Inherent Vice (Paul Thomas Anderson; 2014) -

Nov 17 total - 16
2017 total - 214

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