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Post by kevin on Oct 19, 2020 11:59:32 GMT
The Forty-Year-Old Version (2020) - 8/10
Link = letterboxd.com/kevinwriter/film/the-forty-year-old-version/The Forty-Year-Old Version is a 2020 drama movie by Radha Blank and her directorial debut. Radha herself has also written the project and stars in the main role as herself in this movie that is inspired on her own experiences as a NY playwright. After becoming quite a hit at Sundance earlier this year, it was picked up by Netflix and released on their streaming platform earlier this week. The movie is about Radha's struggles as a playwright once she nears 40 years of age and her reinvention as a rapper. Directorial debuts are some of my favorite movies to watch. They often show a director's vision in their purest and most personal form. While the movies are often not as polished as their later works, the relative inexperience and low budget forces directors to explore what's close to them and their lives. And The Forty-Year-Old Version is a prime example of that. I'm not sure how autobiographical this movie truly is, but either way it feels completely real, like a dramatized version of a true story that you find late at night on tv somewhere; except, of course, that this is way better. For a debut this movie feels extremely mature and polished, like it has been made by a director who has already made 10 movies. What I love most about it is that there is such a unique voice and style to it that sets it apart from everything else. It's just one movie of course, but it has those distinctive features that I think you can later watch 1 minute of a movie an immediately say 'this is a Radha Blank movie' just based on the style. The often handheld cinematography is phenomenal with great pans back and forth between characters during conversations and a style that reminds me of a theater production, not surprising considering Radha's history. The theater-like aesthetic and general style/short clips from random people also really give me a Spike Lee vibe, specifically Do The Right Thing. Unfortunately I don't think it will happen, but an Oscar cinematography nomination for Eric Branco would be well deserved in my opinion. Editor Robert Grigsby Wilson also did a fantastic job with sudden cuts while still keeping a natural, almost documentary-like pace. I'm sure it's all orchestrated based on Radha's vision, but I also want to give props to the cinematographer and editor for realizing that vision so well. The black-and-white aestethic feels so natural in the movie and the way shadows are used to show how characters are feeling is textbook perfect cinematography. And the best thing is that, besides the cinematography and editing, the story itself is also phenomenal. It's powerful and emotional and it also feels real and relatable. It's a great underdog story, precisely becuase it feels like a realistic underdog story and not one where the protagonist just powers through everything despite low expectations. The protagonist works hard, but even then like in real life not everything works out, which makes it even better in the movie when it actually does for a few times. There is way more I want to say about this movie, but I don't feel like I can describe it that well at this moment, maybe I need to watch it another time. The Forty-Year-Old Version may be Radha Blank's debut, but she feels like a veteran director behind the camera with a unique style and vision that we will hopefully be able to enjoy for many more movies to come. If her follow-ups are anything like this one, I'm sure she has a great future as a director ahead of her.
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Post by kevin on Oct 19, 2020 12:00:36 GMT
The Trial of the Chicago 7 (2020) - 7/10
Link = letterboxd.com/kevinwriter/film/the-trial-of-the-chicago-7/Aaron Sorkin is a masterful writer, one of the best of this generation, but I think I'm not being unfair when I say that he has a tendency to write cheesy or overwritten dialogue at times. Usually this is reeled in by the directors he writes screenplays for. But since Sorkin is also the director here, there's less counterweight to stop these scenes from getting into the movie. That is the main flaw that I think is present in this movie. Because on all other aspects, The Trial of the Chicago 7 completely delivers. Most of the time the script is snappy and perfectly works to increase the tension of the movie, to make the viewer involved in it. Yes the dialogue is very clever, perhaps too clever to feel realistic, but this is Sorkin's style and tbh when done right I think dialogue like that is very entertaining. I assume since this based on a true event most people are already invested in it, but Sorkin's great screenplay also makes you feel involved, like you're sitting in the courtroom as well. The editing, while a little jumpy and sudden at times, generally works very well with the back-and-forth in a courtroom setting. And the stars of the movie are absolutely the actors who all deliver incredible performances. I especially want to give shout-outs to Sacha Baron Cohen and Mark Rylance, who I think both have a very good chance to get some awards recoginition. I also have to add that I'm an absolute sucker for courtroom drama's so that obviously also plays to the advantage of this movie. The movie is just so well-paced and entertaining (for lack of a better word) to watch that the two hours just flew by. Out of all the movies I've seen so far that came out this year, this one would definitely get my 'best pacing' award. I was with Sorkin for most of the movie and my praise in the above paragraph might suggest an even higher rating, but I'm mainly sticking with a 7/10 due to the ending. The ending was okay, but they way it handled the true event felt like less than it deserves. Sorkin tends to have a 'feelgood' writing syndrome where he tries to end every story victorious, like the underdog that won. But considering what the world looks like 50 years later, I think a somber, more realistic portrayal would have been more apt. I almost got a Green Book vibe from it, which was a movie whose ending left a real bad taste in my mouth. Luckily, I think Sorkin's writing and ending is less superficial than that and never ignores the real-life problem behind the story, but still the ending does not leave me with the feeling that I feel Sorkin was building up to throughout the movie. Because The Trial of the Chicago 7 makes you angry, furious even about not just the failure of the court system, but of the government as a whole. And yet the swelling music and claps at the end over text telling us what happened afterwards makes us feel like the defendents are the ones who have won, even though the issues they stood for have not changed at all (not the Vietnam war of course, but I mean their ideas of values in general). The story of Bobby Seale and the Black Panther Party also feels like it was shoved to the side a bit and I think further exploration of that element could have given the movie a lot more depth. But of course this is a dramatization of a true event and not the true event itself and I can understand why Sorkin made the decisions he made, showing that victory can be defined by your own terms and not by who wins or loses the court case. To further emphasize that the movie does not even show the final verdict, an unexpected but good story decision in my opinion. But still the way it was handled felt so Oscar-baity to me. In the end, The Trial of the Chicago 7 is a riveting, nail-biting courtroom movie with stellar performances from the entire cast and mostly excellent directing and writing by Sorkin. I have some reservations about the ending and the way certain storytelling elements have been handled, favoring a crowd pleasing moment over the emotional gutpunch that I felt the movie was building up to. But as a whole this is definitely a movie to check out and will probably be one of the awards frontrunners this season.
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Post by kevin on Dec 18, 2020 8:41:28 GMT
Fantastic Beasts: The Crimes of Grindelwald - 3/10
Link = letterboxd.com/kevinwriter/film/fantastic-beasts-the-crimes-of-grindelwald/This is unfortunately not a good movie, not at all. And this is coming from someone who liked the first movie and who has basically grown up with Harry Potter. But The Crimes of Grindelwald is just a shell of a movie. It's 50% exposition, and boring exposition at that, delivered in such a shamelessly obvious manner that it basically could've been a 'history of the Wizarding World' history book. Maybe fun to read, but it doesn't make for a good movie when it's read out loud line for line. Like there is a scene where someone from the ministry talks to Dumbledore about his relationship with Grindelwald and it's so painfully obvious that this scene only exists to explain to the audience how Dumbledore and Grindelwald feel about each other because there is no way any real people would actually have such an exposition filled conversation when they both already know exactly what's going on. And the problem is that basically all of the scenes in the movies are like this. Scenes where everyone already knows what's going on, but it's just said out loud because the audience doesn't know yet. The characters all feel unimportant to the story, like they're just there but that's all there is to it. All the side characters just feel unnecessary and awkward f.e. Yusuf Kama and that alchemist. It also doesn't help that Queenie and Jacob are significantly more annoying than funny. The worst is that there isn't really a plot at all. There a just seperate story beats that are randomly mentioned and don't seem to fit together at all. At some point in the movie Newt is in the middle of trying to track someone down, but here is a random Zouwu creature that Newt has to catch for 2 minutes because he loves magical creatures so we have to put some kind of creature in there for him to catch even though it doesn't fit with the current story at all. I think it also all has to do with the extreme urge of this movie to cram in as much fan-service as possible. Like, you know Nagini? Well here she is. You wanted to see Dumbledore teaching at Hogwarts? We'll give it to you. Oh by the way remember McGonagall? There she was for a few seconds. And how about Lestrange? We'll cram her family name into the story as well for no reason at all. Remember Flamel, that guy that made the Philospher's Stone in the first Harry Potter movie? No? Well, here he is anyways as a random alchemist that the protagonists seem to meet for no reason at all. Oh yeah and he comes back at the end to help them stop all of Paris from being destroyed because WTF was that about. I'm sure there is an explanation for it in the lore, but from a movie & story perspective it is just bad and doesn't have any tension at all. I feel like everyone screaming 'finite' must have been epic or something like that, but it's just cringey. Don't get me wrong, I'm not against including previous elements of the story into new movies of your franchise. On the contrary, it can greatly increase the scope and worldbuilding of your story, especially in these sort of prequel movies. But with this movie every inclusion of previous characters or references just feels pointless, like it doesn't contribute anything to the plot and is just there because it'll remind us of the fact that there were once good Harry Potter movies. And the worst thing is that even with all this exposition, it feels like it doesn't explain the actual important things about the world and it just keeps throwing uninteresting characters at you while expecting you how all of them relate to each other precisely in order for random plot twists later in the movie that carry no weight whatsoever. There are some good things about this movie. I think Eddie Redmayne is still a great Newt Scamander and single-handedly makes the movie somewhat likeable. Jude Law as Dumbledore is also pretty good and I didn't dislike Johnny Depp as Grindelwald as much as I expected, even though I still think that his role was seriously miscast. It's just that most of the other characters feel like lifeless exposition-giving shells of what could be actually interesting characters. F.e. Creedence, who is just painfully boring, but who could've been a really interesting character who has to handle with all the grief and anger in his life. I'm not sure why because Mark Day is usually a pretty great editor, but the editing in this movie is just awful at times. I don't know, maybe I expected too much but this one really let me down.
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Post by kevin on Dec 18, 2020 8:42:40 GMT
A Beautiful Day in the Neighborhood
Link = letterboxd.com/kevinwriter/film/a-beautiful-day-in-the-neighborhood/ Since I'm not from the US, I have never seen a single episode of Mister Rogers' Neighborhood and I before I watched this I only had a vague idea of who Mr. Rogers really was. So I think it's safe to say that I went into this movie knowing pretty much nothing at all about any of the characters. And I loved it. I guess this really shows that this movie isn't dependent on its nostalgia as I have no memories of the tv show, but still felt deep connection with Mr. Rogers, who is brilliantly played by Tom Hanks, by the end of the movie. A Beautiful Day in the Neighborhood isn't primarily about Mr. Rogers however, but instead focuses on the family of Lloyd Vogel, who is a reporter tasked with writing a piece about the television host. What I about this movie is how much it feels like a play. Not in the way it is filmed like is the case with f.e. Do The Right Thing, but in the way it's written. Take for example a short speech Lloyd gives at the start of the movie. When I first heard it, it felt a bit off, like it was 'too scripted' or 'fake'. My initial internal reaction of that small scene was that I was afraid of the quality of the direction and screenplay of the movie. But as the story progressed, I realized that the entire screenplay was purposefully written in such a manner with clear blocked scenes in single locations and dialogue sometimes written as if it's 'too perfect'. It's a subtle but very well executed style that makes the movie feel more like a collection of memories that someone is going, which feels very fitting for the story that is being told. It's these subtle hints, but also the fantastic pacing and excellent framing choices that really show the great work Marielle Heller has delivered with her direction of this movie. Of course much of the movie's brilliance also has to do with Tom Hank's near-perfect performance. As I said before, I never watched Mr. Rogers so I decided to watch a part of youtube video of one of the show's episodes afterwards and it's incredible just how well Hanks is able to bring Mr. Rogers to the big screen. It feels so natural and steers clear of feeling like an impersonation, which is a big pitfall with biopics. The character of Lloyd Vogel feels very generic in this movie, but I mean this in a good way. I think this was also purposefully done in order for everyone to be able to easily see themselves in the character of Lloyd. Because in the end this movie tries to make us feel like Lloyd and to then learn the same things from Mr. Roger as Lloyd does. It's very difficult for a movie to have such a message without feeling pandering, but A Beautiful Day in the Neighborhood is a very sincere movie about a very beautiful lesson in life. My only critisism is that sometimes the main characters feel a bit too bland, but in general the movie works like a charm.
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Post by kevin on Dec 18, 2020 8:43:12 GMT
The Prom - 3/10
Link = letterboxd.com/kevinwriter/film/the-prom-2020/For the most part this movie is not as bad as I expected it to be based on some of the reviews. Yes it's over-the-top but guess what that was the intention. In the end it managed to be a forgettable bit of High School Musical-esque fun, which I mean as a compliment. Unfortunately, there's no way around it, there are 2 horrible elements to this movie that just ruin it for me. The first one are the terribly written and performed musical numbers. I guess this must be what everyone who hates musicals thinks all musicals sound like. As someone who actually quite likes musicals, the music in this was (to be blunt) just utter trash. Some of the most blatantly lazy writing and singing I've ever seen in a movie. The second element has to do with one of the actors. I really try to give him another chance with every role he plays, but it really looks like James Corden took on a bet to try to derail the movie as much as possible. His performance is so disingenuous and almost insulting that it makes most of the movie a slog to get through. It gets a bit better in the end, but it's still nothing to write home about. I wish he'd surprise me for once and deliver a decent performance, but this definitely wasn't it. He sure isn't helped by the dull screenplay with basically zero real character development and change-of-heart moments that feel so incredibly fake. There's so much in the premise to make a good screenplay and the core of the movie has a great message, but nothing of it can be found in the end product. I haven't seen any of Ryan Murphy's other work so I'm not sure if it's also the case there, but this almost feels as fake progressive as the narcissism of the main characters. There are some great potential characters here, but everything is so surface level and one-dimensional that most of the characters feel like charicatures of themselves. The high school plot was pretty engaging at times with Jo Ellen Pellman delivering one of the better performances in the movie and I'm sure there's some 3.0/5 movie hidden in this somewhere, but the whole celebrity plot line brought it down so much. Corden is the worst offender, but even with the star power of for example Meryl Streep that whole part of the movie just never got off the ground for me. They start out as narcissists who only want to help people for their personal gain and their development is too sudden and tbh almost not discussed that it never made me believe that they were actually better people by the end of the movie. The dialogue is not good enough to be enjoyable, but also not Riverdale-level bad enough that it becomes funny. Instead it's somewhere inbetween which makes it even worse. So yeah, this is on the edge of 1.5 and 2.0 stars for me, but the wonky pacing and cinematography bring it down to a 1.5 stars for me. I know a lot of people do enjoy this and I'm happy you guys managed to have a good time with it, but it didn't work for me.
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Post by kevin on Dec 18, 2020 8:44:03 GMT
Star Wars: Episode III - Revenge of the Sith - 8/10
Link = letterboxd.com/kevinwriter/film/star-wars-episode-iii-revenge-of-the-sith/My thoughts on the Star Wars prequels have changed quite a bit over the years. I remember watching them as a little kid and loving them, then as I became older and rewatched them I started to notice just how awful the dialogue and chemistry is, especially in Attack of the Clones. And for most years my opinion stayed that way, dismissing them as failed projects just like most other people did. And for the most part I still do. I still have The Phantom Menace at a 2.0/5 and Attack of the Clones at a 1.5/5. But there's just something about Revenge of the Sith that I just can't get enough of. Not sure if this is a hot take, but I probably consider the Star Wars prequels to be the biggest untapped potential in all movies I've seen. Because when you look at it from afar the premise is so phenomenal, almost like a Shakesperean tragedy but set in space. It tackles many of the themes of the original trilogy, but on a scope far wider than ever attempted in the originals. The way Lucas tries to discuss political ignorance is fantastic, showing just how easy it is for monsters to come into power during periods of war, xenophobia and nationalism. And yet when most of us think of the prequels (including me), the first thing we think about is the horrid dialogue and Jar Jar. Maybe I'm just looking too much into this and I'm nerding out, but the ambition Lucas had with this movie just feels so great that it's frustrating that the finished product is so flawed. If there was a possibility for me to go back in time and let someone else rewrite and/or redirect a single movie or movie trilogy, the prequels are easily my first pick. But unfortunately with Lucas' direction the themes are as subtle as a car crash. Don't get me wrong, Lucas is an amazing world-builder and concept writer perhaps one of the best to ever do it, but he is just not a good writer. Luckily, there is something that partly saves the movie: the campiness. Star Wars has had its share of campiness before, but nothing like here. And it saves a lot of the movie. Dialogue that would've been awkward and stale in Attack of the Clones is highly entertaining here and ridiculous in a good way. There's a reason why Revenge of the Sith might be the most memeable movie ever made. I'm not sure if it was intentional but it works either way, especially with Ian McDiarmid who just has the time of his life. On many factors I'd usually use to define a good movie, this one would get a very negative grade. But I'm not a robot and my ratings aren't some mathematical sum of factors. And I can't help but love just how little Lucas seemed to care about public opinion and just made what he wanted to make. To be honest when comparing this two the other two prequels it feels like this installment is the story Lucas really wanted to tell and everything else was just necessary stuff to build to this moment. I can't help but admire the ambition shown here, even if in the end it probably isn't the success George envisioned. The dialogue here is probably worse than some movies that I rated a 2.0/5, but the story being told is so phenomenal that it elevates the blunt and messy execution. My ratings reflect my enjoyment of a movie and I can't deny just how much fun I have with this movie. Where Empire perfectly tackled themes of destiny, friendship & internal peace and The Last Jedi brilliantly discusses failure, hope and empowerment, Revenge of the Sith is a deconstruction of arrogance, fear and manipulation with perhaps the clearest anti-war sentiment in the franchise. And while Revenge of the Sith is imo by far the clunkiest of these 3 entries, Star Wars is at its best when it tackles these themes and sets itself apart from most other sci-fi/fantasy movies or just movies in general. It's the reason why both Empire and TLJ are in my top 3 Star Wars movies. And while Revenge's execution is just too messy for me to let it join that top 3, its ambition and attempt to reach for the stars is enough to give this clunky and cheesy movie 4 stars.
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Post by kevin on Dec 21, 2020 21:14:22 GMT
Dr. Strangelove - 10/10
Link = letterboxd.com/kevinwriter/film/dr-strangelove-or-how-i-learned-to-stop-worrying-and-love-the-bomb/For some reason I've always tried to postpone watching Dr. Strangelove. Like most movie fans, I agree with the consensus that Stanley Kubrick is one of the greatest directors. But, I don't know why, I always had the idea that Dr. Strangelove just wasn't a movie for me. Boy was I wrong. Barry Lyndon firmly remains my favorite of Kubrick's projects, but damn this has to be one of the greatest screenplays ever written. The Kubrick movie I (for no good reason I might add) expected the least of, is probably the one that surprised me the most. I don't think I've ever seen satire being executed as effectively as here. It's crazy for me to think that this was released at the height of the cold war. And it's even crazier to me that Kubrick got away with all that he did here, because he ridicules everyone. Better than I could ever explain in these short notes, he illustrates just how idiotic both the American and Soviet propaganda is. The entire upper military department, the red fear, the pointless race in everything between the US and the Soviet Union, the MAD doctrine, the missle gap, the presidency of the United States itself, it's all completely dissected and completely destroyed by Kubrick. About 20 minutes after watching the end of the movie, I'm still amazed by what it managed to do. Besides pretty much roasting everyone, Dr. Strangelove is also just incredibly funny. Kubrick's movies are many things, but funny is not a term that I'd usually attribute to them. And of course it's no other than his movie about nuclear annihilation that is laugh out loud hilarious. Of all the genres comedy is probably the most difficult one to stand the test of time because it highly relies on context and because what people find funny changes with time. But the comedy here is timeless, since unfortunately the world hasn't changed that much since then. Well, the threat of nuclear destruction has luckily gone down, but the core issues that Kubrick is getting at are still present. And those core issues are the pointlessness and ridiculousness of war and more importantly what drives people to war and violence. Remember that the whole plot in this movie was set in motion because someone was convinced that the Russians were secretly trying to take over the world by fluoridating water. And these type of ridiculous conspiracy theories are still present to this very day, be it more related to the current pandemic instead of the cold war. It's the ultimate proof of what Kubrick is trying to say here: that most war, division, distrust and violence is caused by stupid and nonsensical ideas, propagated by nonsensical people. I mean, come on, the president of the United States and the premier of the Soviet Union arguing like an old married couple. The classic fight in the war room. The fact that, when the world is ending, what one of the characters is really worried about is getting sued by Coca Cola. There are many types of comedy, but this has to be the peak of comedy from absurdity together with Monty Python. And perhaps its best scene comes at the very end. In the face of nuclear armageddon, knowing that all hope is lost, the most important people of the United States discuss ways to ensure the survival of the human race. And in the the end what do they end up talking about? The fact that they want to have many women in the survival bunker, under the pretence of ensuring the quick spread of the human race in the future, but we all know it's really because they want to have a good time while they're underground. The fact that these are the things they talk about when the world is literally ending... there's no better summary of the selfishness, stupidity, self-destructive nature and irony of politics or humanity in general. I could talk so much more about how brilliant this movie is, but I neither have the time nor the writing capabilities to accurately articulate what it's trying to say. So if you haven't yet, just watch it. You won't regret it.
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Post by mikef6 on Jan 12, 2021 15:56:32 GMT
kevin I know what you mean about James Corden. Recently PBS showed the 2011 live performance from London of “One Man, Two Guvnors” a farce that is reportedly Corden’s breakthrough. It is one of those relentless “comedies” where everybody onstage is in a heightened state of near hysteria for the whole two hours. It made me tired and got on my nerves. Also, the two episodes of Doctor Who where he guest stars are two of the worst in that show’s 39 season history. The only time he has been tolerable to me is in a small roll as an insurance investigator who comes sniffing around after the heist in “Ocean’s Eight.” He is actually restrained and performing a character instead of just doing shtick.
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Post by kevin on Jan 13, 2021 14:58:54 GMT
Howl's Moving Castle - 6/10
Link = letterboxd.com/kevinwriter/film/howls-moving-castle/Let me first say that this movie looks absolutely stunning. With the increased budget after Miyazaki's Oscar win for Spirited Away and the incredible talent of the animators of Studio Ghibli, Howl's Moving Castle definitely is one of the most beautifully animated movies I've seen. In most of his movies, Miyazaki is a master of scope. He manages to change scope dramatically throughout his movies without ever losing the viewer. Princess Mononoke perhaps best illustrates this as it moves from a story that's mainly about a single person to an epic battle for the survival of the Earth and it never misses a single beat. A similar expansion of scope occurs for Spirited Away. On the other hand for example The Wind Rises expertly shows how in the final act Miyazaki can zoom in on initially large story and only focus on single emotion, a single moment without losing the essence of the overarching story. Nausicaa is perhaps the only movie of him before this one where I felt he lost grasp of his increasing scope a bit. In Nausicaa Miyazaki was perhaps a bit too eager to express his very valid anti-war sentiment to the point where it exceeded his storytelling capabilities at the time. The Wind Rises shows how much he has grown since his first projects as the message of the movies are fairly similar (or at least parts of them), but the latter one is executed in a much more graceful manner. Unfortunetly, while Howl's Moving Castle is a great movie for much of its runtime, I think it falls in a similar trap as Nausicaa where it tries to do too much and thereby pushes the character-driven story that was set up in the first 2/3rds of the movie out of the way. I understand Miyazaki's message that war is all around us and inescapable and I understand and empathize with the fact that Miyazaki wanted to make a statement regarding the Iraq war specifically, but in this case I think in terms of a filmmaking perspective it hindered the story instead of expanding it. And as a result I think the first 2/3rds of this movie are easy 4.0/5 star material, but it's brought down by a 2.5ish final act. I was really engaged in Sophie's story of being cursed with old age and especially the 1st act where she comes to realize just how different the world seems to her now that she is no longer a young person. It's a great premise that I felt was worth exploring more than was actually done in the story. The other characters are also all great, Calcifer was especially a fun character. But if I'm being honest Miyazaki lost me a bit near the end where the story became more convoluted than complex. The romance between Sophie and Howl never really felt natural to me, which is also one of the reasons why the third act didn't work that much for me. In the end, Howl's Moving Castle is a gorgeous movie with phenomenal world-building and in general great characters. The first half is genuinely fantastic, but the movie is brought down by a third act that tries to take on more than it can handle. It's still an enjoyable movie and an admirable effort by Miyazaki, but I do think it ends up near the bottom tier of his movies. I think this is also the final Miyazaki movie I had to watch (at least in terms of feature length projects) so my ranking of the master director should now be complete.
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Post by kevin on Jan 13, 2021 15:00:47 GMT
Mulan (2020) - 4/10
Link = letterboxd.com/kevinwriter/film/mulan-2020/For the first 30 minutes or so this movie was actually pretty okay. Sure it was no exceptional movie, but to give you an idea it would probably be in the 3.0/5 range. However, as the movie progressed it became ever clearer just how inferior the live-action version of Mulan is to the fantastic animated movie (which is one of Disney's best movies imo). 2020's version of Mulan instead trades the emotional weight and exploration of themes for overedited action setpieces. I have to be honest, the production design here is phenomenal. Unfortunately, it is undone by at times truly awful visual effects. They put so much half-finished effects, editing and artificial lighting in this movie that not even the great production design or pretty backgrounds can convince me that this was an actual real world. And I know they're going for the Wuxia style fighting with doing double flips then kicking an arrow mid-air, but unlike the great martial arts movies, the flying kicks in Mulan just feel silly and so conflicting with how grounded the movie wants to be at other times. You can choose to go full martial arts flying style (tbh I probably would've preferred that, it would've been a lot more entertaining) or you can go for a more grounded action style, but mixing the two in the way that was done in Mulan just clashes in a really bad way. I don't know, it's difficult to describe, it's best explained by watching the movie itself. Anyways, the action is just a small part of the movie and why I wasn't a big fan, the main thing is the lack of any emotional attachment. The animated version of Disney's Mulan was so good because of how emotionally powerful it was. But the stiff dialogue and wooden acting from most of the main cast makes it feel like a cold and soulless retelling of the original. Some of the dialogue seriously reaches Attack of the Clones level of wooden line delivery. As I said before, there are some good elements to this movie. The first 30 minutes or so (before the war starts) contain the best emotional moments imo and delves into Mulan's struggle with the fact that people around her don't accept who she is. I also liked the addition of Xianniang, one of the better characters in the movie. But all in all, this is another soulless and bland Disney live-action remake that completely misses the point of what made the animated version so great. Also, why would you scrap all the music, those songs in the animated version were so great.
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Post by kevin on Sept 23, 2021 8:08:15 GMT
I decided to rewatch the Star Wars saga in its entirety and went with the chronological order, so I started with the 1977 original. Here's some of my thoughts on it: boxd.it/29ILiL
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Post by kevin on Sept 26, 2021 8:55:17 GMT
My thoughts on I'm Thinking of Ending Things, which I rewatched yesterday (heavy spoilers): boxd.it/2a4O05
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Post by kevin on Sept 28, 2021 10:27:38 GMT
And since I'm busy anyways here's my current top 50. The last one I posted was one year ago. 01 / 2006 / Children of Men 02 / 1975 / Barry Lyndon 03 / 2003 / The Lord of the Rings: The Return of the King 04 / 2017 / Blade Runner 2049 05 / 1979 / Alien 06 / 2001 / Spirited Away 07 / 1993 / Schindler's List 08 / 2019 / Parasite 09 / 1980 / Star Wars: Episode V - The Empire Strikes Back 10 / 2001 / The Lord of the Rings: The Fellowship of the Ring 11 / 2015 / Mad Max: Fury Road 12 / 2006 / Pan's Labyrinth 13 / 1989 / Do the Right Thing 14 / 2013 / The Wind Rises 15 / 2017 / Dunkirk 16 / 1980 / The Shining 17 / 2012 / It's Such A Beautiful Day 18 / 1959 / North by Northwest 19 / 2011 / The Tree of Life 20 / 2017 / Paddington 2 21 / 1968 / 2001: A Space Odyssey 22 / 2014 / Whiplash 23 / 2009 / Inglourious Basterds 24 / 2018 / Hereditary 25 / 1985 / Back to the Future 26 / 2014 / Boyhood 27 / 2013 / Under the Skin 28 / 2019 / Marriage Story 29 / 2008 / Wall-E 30 / 1993 / Jurassic Park 31 / 2019 / Uncut Gems 32 / 2004 / Harry Potter and the Prisoner of Azkaban 50 / 2014 / The Grand Budapest Hotel 13 / 2010 / Inception 34 / 1997 / Princess Mononoke 26 / 2018 / Annihilation 16 / 1972 / The Godfather 25 / 2014 / The Babadook 39 / 1996 / Fargo 40 / 2010 / Toy Story 3 41 / 2002 / The Lord of the Rings: The Two Towers 46 / 2017 / A Ghost Story 43 / 1994 / Pulp Fiction 44 / 2007 / Hot Fuzz 45 / 1977 / Star Wars: Episode IV - A New Hope 46 / 2016 / The Handmaiden 47 / 1954 / Rear Window 42 / 1975 / Monty Python and the Holy Grail 49 / 2019 / Little Women 50 / 1986 / Aliens One year later means another top 50. 01 / 2006 / Children of Men 02 / 1975 / Barry Lyndon 03 / 2003 / The Lord of the Rings: The Return of the King 04 / 1979 / Alien 05 / 2017 / Blade Runner 2049 06 / 2013 / The Wind Rises 07 / 1993 / Schindler's List 08 / 2019 / Parasite 09 / 1989 / Do the Right Thing 10 / 1998 / The Truman Show 11 / 1980 / Star Wars: Episode V - The Empire Strikes Back 12 / 2001 / The Lord of the Rings: The Fellowship of the Ring 13 / 2006 / Pan's Labyrinth 14 / 2001 / Spirited Away 15 / 2015 / Mad Max: Fury Road 16 / 2012 / It’s Such a Beautiful Day 17 / 1980 / The Shining 18 / 2017 / Dunkirk 19 / 1954 / Rear Window 20 / 2017 / Paddington 2 21 / 1964 / Dr. Strangelove 22 / 2011 / The Tree of Life 23 / 2014 / Whiplash 24 / 2009 / Inglourious Basterds 25 / 2018 / Hereditary 26 / 1985 / Back to the Future 27 / 1957 / 12 Angry Men 28 / 2014 / Boyhood 29 / 2019 / Little Women 30 / 2013 / Under the Skin 31 / 1959 / North by Northwest 32 / 2014 / The Grand Budapest Hotel 33 / 2008 / Wall-E 34 / 1984 / Amadeus 35 / 1968 / 2001: A Space Odyssey 36 / 2013 / The Babadook 37 / 1993 / Jurassic Park 38 / 2003 / Harry Potter and the Prisoner of Azkaban 39 / 1972 / The Godfather 40 / 2007 / Hot Fuzz 41 / 2015 / Son of Saul 42 / 1997 / Princess Mononoke 43 / 2010 / Toy Story 3 44 / 1975 / Monty Python and the Holy Grail 45 / 2019 / Uncut Gems 46 / 2010 / Inception 47 / 2002 / The Lord of the Rings: The Two Towers 48 / 1982 / The Thing 49 / 1984 / Stop Making Sense 50 / 2016 / The Handmaiden HM: Marriage Story, Annihilation, A Ghost Story, Eternal Sunshine of the Spotless Mind, Pulp Fiction, The Red Turtle, Little Miss Sunshine, Aliens, Kiki's Delivery Service, Spider-Man: Into the Spider-Verse, Coherence, Seven Samurai, The Lives of Others, Quo vadis Aida?, Portrait of a Lady on Fire
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Post by kevin on Feb 13, 2022 12:08:40 GMT
Only half a year since my last top 50, but there have been quite some updates so here's my updated version.
01 / 2006 / Children of Men / Alfonso Cuarón 02 / 1975 / Barry Lyndon / Stanley Kubrick 03 / 2003 / The Lord of the Rings: The Return of the King / Peter Jackson 04 / 1979 / Alien / Ridley Scott 05 / 2017 / Blade Runner 2049 / Denis Villeneuve 06 / 1985 / Come and See / Elem Klimov 07 / 1989 / Do The Right Thing / Spike Lee 08 / 2004 / Before Sunet / Richard Linklater 09 / 1998 / The Truman Show / Peter Weir 10 / 2013 / The Wind Rises / Hayao Miyazaki
11 / 2019 / Parasite / Bong Joon-ho 12 / 1993 / Schindler's List / Steven Spielberg 13 / 2001 / The Lord of the Rings: The Fellowship of the Ring / Peter Jackson 14 / 2001 / Spirited Away / Hayao Miyazaki 15 / 1995 / Before Sunrise / Richard Linklater 16 / 2012 / It’s Such a Beautiful Day / Don Hertzfeldt 17 / 1980 / Star Wars: Episode V - The Empire Strikes Back / Irvin Kershner 18 / 2006 / Pan's Labyrinth / Guillermo del Toro 19 / 2015 / Mad Max: Fury Road / George Miller 20 / 1964 / Dr. Strangelove / Stanley Kubrick
21 / 1954 / Rear Window / Alfred Hitchcock 22 / 2017 / Dunkirk / Christoper Nolan 23 / 2011 / The Tree of Life / Terrence Malick 24 / 2017 / Paddington 2 / Paul King 25 / 2014 / Whiplash / Damien Chazelle 26 / 1980 / The Shining / Stanley Kubrick 27 / 2009 / Inglourious Basterds / Quentin Tarantino 28 / 2018 / Hereditary / Ari Aster 29 / 1957 / 12 Angry Men / Sidney Lumet 30 / 2019 / Little Women / Greta Gerwig
31 / 1985 / Back to the Future / Robert Zemeckis 32 / 2001 / Y Tu Mamá También / Alfonso Cuarón 33 / 1999 / The Matrix / Lilly Wachowski, Lana Wachowski 34 / 2013 / Under the Skin / Jonathan Glazer 35 / 1999 / Magnolia / Paul Thomas Anderson 36 / 1959 / North by Northwest / Alfred Hitchcock 37 / 2014 / Boyhood / Richard Linklater 38 / 2008 / Wall-E / Andrew Stanton 39 / 2014 / The Grand Budapest Hotel / Wes Anderson 40 / 1984 / Amadeus / Miloš Forman
41 / 1968 / 2001: A Space Odyssey / Stanley Kubrick 42 / 1989 / Kiki's Delivery Service / Hayao Miyazaki 43 / 2013 / The Babadook / Jennifer Kent 44 / 1988 / Cinema Paradiso / Giuseppe Tornatore 45 / 2015 / Son of Saul / László Nemes 46 / 1991 / Terminator 2: Judgment Day / James Cameron 47 / 2003 / Harry Potter and the Prisoner of Azkaban / Alfonso Cuarón 48 / 1972 / The Godfather / Francis Ford Coppola 49 / 2010 / Toy Story 3 / Lee Unkrich 50 / 1975 / Monty Python and the Holy Grail / Terry Gilliam, Terry Jones
HM: Hot Fuzz, A Separation, Princess Mononoke, Uncut Gems, Inception, The Thing, Stop Making Sense, The Handmaiden, The Lord of the Rings: The Two Towers, Jurassic Park, Eternal Sunshine of the Spotless Mind, Roma, A Ghost Story, Portrait of a Lady on Fire, Pulp Fiction, The Favourite, Quo Vadis Aida?, Inside Llewyn Davis, Little Miss Sunshine, The Red Turtle, Annihilation, Spider-Man: Into the Spider-Verse, Call Me By Your Name, Mission: Impossible - Fallout
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Post by politicidal on Feb 14, 2022 19:28:00 GMT
kevin yeah the Mulan remake was a big disappointment. It felt watered down because it was a live-action Disney movie. Though I thought it was rated a PG-13.
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Post by kevin on Apr 26, 2022 12:32:31 GMT
A bit different from my usual reviews or top 50 movies lists, but I recently went catalogued all the albums I remember ever listening to and tried to make some sort of top 50 favorite albums. I didn't relisten to all these albums before making this list so the exact placement has a bit less meaning than with my movie lists but I still thought it would be nice to share. Any of your favorites in this list.
# / Year / Artist / Album / Main genre / Country
01 / 1980 / Talking Heads / Remain in Light / New Wave / US 02 / 1968 / The Beatles / The White Album / Rock / UK 03 / 1977 / David Bowie / Low / Art Rock / UK 04 / 1985 / Kate Bush / Hounds of Love / Art Pop / UK 05 / 1969 / The Velvet Underground / The Velvet Underground / Pop Rock / US 06 / 1999 / The Magnetic Fields / 69 Love Songs / Indie Pop / US 07 / 2011 / The Beach Boys / The Smile Sessions (archival) / Baroque Pop / US 08 / 2009 / Sweet Trip / You Will Never Know Why / Indie Pop / US 09 / 1977 / Pink Floyd / Animals / Progressive Rock / UK 10 / 2005 / Madvillain / Madvillainy / Abstract Hip Hop / US
11 / 1972 / David Bowie / Ziggy Stardust / Glam Rock / UK 12 / 1997 / Stereolab / Dots and Loops / Art Pop / UK 13 / 2010 / Joanna Newsom / Have One On Me / Chamber Folk / US 14 / 1968 / The Beatles / Abbey Road / Pop Rock / UK 15 / 1972 / Nick Drake / Pink Moon / Contemporary Folk / UK 16 / 2010 / Janelle Monaé / The ArchAndroid / Contemproary R&B / US 17 / 1972 / Milton Nascimento & Lô Borges / Cluba da Esquina / MPB / Brazil 18 / 1983 / Steve Hiett / Down on the Road by the Beach / Surf Music / UK 19 / 1971 / Joni Mitchell / Blue / Singer-Songwriter / Canada 20 / 1973 / Pink Floyd / The Dark Side of the Moon / Progressive Rock / UK
21 / 1971 / Fela Kuti / Zombie / Afrobeat / Nigeria 22 / 1991 / My Bloody Valentine / Loveless / Shoegaze / Ireland 23 / 1982 / Tatsuro Yamashita / For You / City Pop / Japan 24 / 1970 / George Harrison / All Things Must Pass / Pop Rock / UK 25 / 1980 / King Crimson / Discipline / Progressive Rock / UK 26 / 1970 / Exuma / Exuma / Caribbean Folk Music / Bahamas 27 / 2019 / Weyes Blood / Titanic Rising / Baroque Pop / US 28 / 2007 / Radiohead / In Rainbows / Art Rock / UK 29 / 1971 / Can / Future Days / Krautrock / Germany 30 / 2020 / Little Simz / Sometimes I Might Be Introvert / UK Hip Hop / UK
31 / 1975 / Parliament / The Mothership Connection / P-Funk / US 32 / 1999 / The Flaming Lips / The Soft Bulletin / Neo-Psychedelia / US 33 / 2011 / Fleet Foxes / Helplessness Blues / Indie Folk / US 34 / 1967 / The Beatles / Sgt. Pepper's Lonely Hearts Club Band / Psychedelic Pop / UK 35 / 1978 / Kraftwerk / Die Mensch-Maschine / Electronic / Germany 36 / 2015 / Kendrick Lamar / To Pimp a Butterfly / Conscious Hip Hop / US 37 / 1991 / Talk Talk / Laughing Stock / Post-Rock / UK 38 / 1969 / King Crimson / In the Court of the Crimson King / Progressive Rock / UK 39 / 1993 / A Tribe Called Quest / Midnight Marauders / East Coast Hip Hop / US 40 / 1999 / Fishmans / 98.12.28 Otokotachi no Wakare / Dream Pop / Japan
41 / 2018 / Beach House / 7 / Dream Pop / US 42 / 2000 / Deltron 3030 / Deltron 3030 / West Coast Hip Hop / US 43 / 1990 / Cocteau Twins / Heaven or Las Vegas / Dream Pop / UK 44 / 1967 / The Velvet Underground & Nico / The Velvet Underground & Nico / Experimental Rock / US 45 / 1976 / Mort Garson / Mother Earth's Plantasia / Progressive Electronic / Canada 46 / 2019 / La Bruja de Texcoco / De Brujas Peteneras y Chachalacas / Avant-Folk / Mexico 47 / 2013 / Goldfrapp / Tales of Us / Chamber Pop / UK 48 / 1974 / Lucio Battisti / Anima Latina / Progressive Pop / Italy 49 / 1969 / Scott Walker / Scott 4 / Baroque Pop / US 50 / 2003 / Sheena Ringo / Kalk Samen Kuri No Hana / Art Pop / Japan
HMs: *Radiohead - OK Computer *Paul McCartney - Ram *Nick Cave and the Bad Seeds - Ghosteen *Animal Collective - Merriweather Post Pavilion *Television - Marquee Moon *Neutral Milk Hotel - In The Aeroplane Over the Sea *The Shins - Chutes Too Narrow *Jorge Ben - Força Bruta *Ariel Pink - Pom Pom *Sly & The Family Stone - There's a Riot Goin' On *Gustavo Cerati - Bocanada *The Beatles - Magical Mystery Tour *Wilco - Yankee Foxtrot Hotel *Car Seat Headrest - Twin Fantasy *Sufjan Stevens - Carrie & Lowell *The Caretaker - An Empty Bliss Beyond This World *The Cure - Disintegration *Kanye West - My Beautiful Dark Twisted Fantasy *The Stone Roses - The Stone Roses
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Post by kevin on Oct 2, 2022 19:54:28 GMT
More than half a year since my last update so here's my current list, now expanded to a top 100.
01 / 2006 / Children of Men / Alfonso Cuarón 02 / 1975 / Barry Lyndon / Stanley Kubrick 03 / 2004 / Before Sunet / Richard Linklater 04 / 1979 / Alien / Ridley Scott 05 / 1985 / Come and See / Elem Klimov 06 / 2003 / The Lord of the Rings: The Return of the King / Peter Jackson 07 / 2017 / Blade Runner 2049 / Denis Villeneuve 08 / 1989 / Do The Right Thing / Spike Lee 09 / 2022 / Everything Everywhere All At Once / Daniel Scheinert, Daniel Kwan 10 / 1998 / The Truman Show / Peter Weir
11 / 2013 / The Wind Rises / Hayao Miyazaki 12 / 1993 / Schindler's List / Steven Spielberg 13 / 2019 / Parasite / Bong Joon-ho 14 / 1995 / Before Sunrise / Richard Linklater 15 / 2001 / The Lord of the Rings: The Fellowship of the Ring / Peter Jackson 16 / 2012 / It’s Such a Beautiful Day / Don Hertzfeldt 17 / 1999 / Magnolia / Paul Thomas Anderson 18 / 2001 / Spirited Away / Hayao Miyazaki 19 / 2011 / The Tree of Life / Terrence Malick 20 / 1980 / Star Wars: Episode V - The Empire Strikes Back / Irvin Kershner
21 / 2006 / Pan's Labyrinth / Guillermo del Toro 22 / 1964 / Dr. Strangelove / Stanley Kubrick 23 / 2015 / Mad Max: Fury Road / George Miller 24 / 1954 / Rear Window / Alfred Hitchcock 25 / 1979 / All That Jazz / Bob Fosse 26 / 1968 / 2001: A Space Odyssey / Stanley Kubrick 27 / 2017 / Dunkirk / Christoper Nolan 28 / 2001 / Y Tu Mamá También / Alfonso Cuarón 29 / 2017 / Paddington 2 / Paul King 30 / 1980 / The Shining / Stanley Kubrick
31 / 2014 / Whiplash / Damien Chazelle 32 / 2018 / Hereditary / Ari Aster 33 / 2009 / Inglourious Basterds / Quentin Tarantino 34 / 1957 / 12 Angry Men / Sidney Lumet 35 / 2019 / Little Women / Greta Gerwig 36 / 1985 / Back to the Future / Robert Zemeckis 37 / 1999 / The Matrix / Lilly Wachowski, Lana Wachowski 38 / 2021 / Drive My Car / Ryusuke Hamaguchi 39 / 2013 / Under the Skin / Jonathan Glazer 40 / 1959 / North by Northwest / Alfred Hitchcock
41 / 1989 / Kiki's Delivery Service / Hayao Miyazaki 42 / 2014 / Boyhood / Richard Linklater 43 / 2008 / Love Exposure / Sion Sono 44 / 1984 / Amadeus / Miloš Forman 45 / 2005 / Brokeback Mountain / Ang Lee 46 / 1988 / Cinema Paradiso / Giuseppe Tornatore 47 / 2014 / The Grand Budapest Hotel / Wes Anderson 48 / 2008 / Wall-E / Andrew Stanton 49 / 2013 / The Babadook / Jennifer Kent 50 / 1991 / Terminator 2: Judgment Day / James Cameron
51 / 2015 / Son of Saul / László Nemes 52 / 2003 / Harry Potter and the Prisoner of Azkaban / Alfonso Cuarón 53 / 1972 / The Godfather / Francis Ford Coppola 54 / 2010 / Toy Story 3 / Lee Unkrich 55 / 1984 / Stop Making Sense / Jonathan Demme 56 / 2007 / Hot Fuzz / Edgar Wright 57 / 1975 / Monty Python and the Holy Grail / Terry Gilliam, Terry Jones 58 / 1993 / Jurassic Park / Steven Spielberg 59 / 2002 / The Lord of the Rings: The Two Towers / Peter Jackson 60 / 2019 / Uncut Gems / Josh Safdie, Benny Safdie
61 / 2004 / Eternal Sunshine of the Spotless Mind / Michel Gondry 62 / 1997 / Princess Mononoke / Hayao Miyazaki 63 / 2004 / Mysterious Skin / Gregg Araki 64 / 2013 / Before Midnight / Richard Linklater 65 / 2019 / Portrait of a Lady on Fire / Céline Sciamma 66 / 2018 / The Favourite / Yorgos Lanthimos 67 / 1984 / Threads / Mick Jackson 68 / 2020 / Quo vadis, Aida? / Jasmila Žbanić 69 / 2017 / A Ghost Story / David Lowery 70 / 2018 / Roma / Alfonso Cuarón
71 / 2006 / Little Miss Sunshine / Jonathan Dayton, Valerie Faris 72 / 2021 / Another Round / Thomas Vinterberg 73 / 2016 / The Red Turtle / Michael Dudok de Wit 74 / 2013 / Inside Llewyn Davis / Joel Coen, Ethan Coen 75 / 2016 / The Handmaiden / Park Chan-wook 76 / 1994 / Pulp Fiction / Quentin Tarantino 77 / 2018 / Spider-Man: Into the Spider-Verse / Rodney Rothman, Peter Ramsey, Bob Persichetti 78 / 2017 / Call Me By Your Name / Luca Guadagnino 79 / 1997 / Happy Together / Wong Kar-wai 80 / 2010 / Inception / Christopher Nolan
81 / 2013 / Coherence / James Ward Byrkit 82 / 1982 / The Thing / John Carpenter 83 / 2022 / Nope / Jordan Peele 84 / 2019 / Marriage Story / Noah Baumbach 85 / 2006 / Das Leben der Anderen / Florian Henckel von Donnersmarck 86 / 1982 / Blade Runner / Ridley Scott 87 / 2011 / A Separation / Asghar Farhadi 88 / 1999 / The Iron Giant / Brad Bird 89 / 2010 / Heartbeats / Xavier Dolan 90 / 1948 / Rope / Alfred Hitchcock
91 / 1986 / Aliens / James Cameron 92 / 2018 / Mission: Impossible - Fallout / Christopher McQuarrie 93 / 1964 / A Hard Day's Night / Richard Lester 94 / 2009 / Up / Pete Docter 95 / 1977 / Star Wars / George Lucas 96 / 2001 / The Royal Tenenbaums / Wes Anderson 97 / 1996 / Fargo / Joel Coen 98 / 1960 / Psycho / Alfred Hitchcock 99 / 2016 / Sing Street / John Carney 100 / 1993 / Groundhog Day / Harold Ramis
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Post by kevin on Feb 21, 2023 15:03:44 GMT
Okay it's only been 4 months since my last list but I decided to watch some of my favorites again recently so there are quite some substantial changes.
01 / 2001 / Mulholland Drive / David Lynch 02 / 2004 / Before Sunset / Richard Linklater 03 / 2006 / Children of Men / Alfonso Cuarón 04 / 1975 / Barry Lyndon / Stanley Kubrick 05 / 1985 / Come and See / Elem Klimov 06 / 2012 / It's Such A Beautiful Day / Don Hertzfeldt 07 / 1999 / Magnolia / Paul Thomas Anderson 08 / 1989 / Do The Right Thing / Spike Lee 09 / 2011 / The Tree of Life / Terrence Malick 10 / 1989 / Kiki's Delivery Service / Hayao Miyazaki
11 / 2003 / The Lord of the Rings: The Return of the King / Peter Jackson 12 / 1998 / The Truman Show / Peter Weir 13 / 2017 / Blade Runner 2049 / Denis Villeneuve 14 / 1993 / Schindler's List / Steven Spielberg 15 / 2019 / Parasite / Bong Joon-ho 16 / 1995 / Before Sunrise / Richard Linklater 17 / 1954 / Rear Window / Alfred Hitchcock 18 / 2006 / Pan’s Labyrinth / Guillermo del Toro 19 / 1964 / Dr. Strangelove / Stanley Kubrick 20 / 2001 / The Lord of the Rings: The Fellowship of the Ring / Peter Jackson
21 / 2022 / Aftersun / Charlotte Wells 22 / 1979 / Alien / Ridley Scott 23 / 2001 / Spirited Away / Hayao Miyazaki 24 / 2015 / Mad Max: Fury Road / George Miller 25 / 1979 / All That Jazz / Bob Fosse 26 / 1992 / The Long Day Closes / Terence Davies 27 / 2022 / Everything Everywhere All At Once / Daniel Scheinert, Daniel Kwan 28 / 2001 / Y Tu Mamá También / Alfonso Cuarón 29 / 1968 / 2001: A Space Odyssey / Stanley Kubrick 30 / 1980 / The Empire Strikes Back / Irvin Kershner
31 / 2017 / Dunkirk / Christopher Nolan 32 / 2014 / Whiplash / Damien Chazelle 33 / 1957 / 12 Angry Men / Sidney Lumet 34 / 2018 / Hereditary / Ari Aster 35 / 1994 / Chungking Express / Wong Kar-wai 36 / 1980 / The Shining / Stanley Kubrick 37 / 2017 / Paddington 2 / Paul King 38 / 2009 / Inglourious Basterds / Quentin Tarantino 39 / 2019 / Little Women / Greta Gerwig 40 / 1999 / The Matrix / Lilly Wachowski, Lana Wachowski
41 / 2021 / Drive My Car / Ryusuke Hamaguchi 42 / 1985 / Back To The Future / Robert Zemeckis 43 / 2013 / Under the Skin / Jonathan Glazer 44 / 2008 / Love Exposure / Sion Sono 45 / 1959 / North by Northwest / Alfred Hitchcock 46 / 1984 / Amadeus / Miloš Forman 47 / 1984 / Threads / Mick Jackson 48 / 2004 / Mysterious Skin / Gregg Araki 49 / 1982 / The Thing / John Carpenter 50 / 1988 / Cinema Paradiso / Giuseppe Tornatore
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Post by kevin on Oct 30, 2023 14:23:53 GMT
More than 6 months since the last list so here's a new one
01 / 2001 / Mulholland Drive / David Lynch 02 / 2004 / Before Sunset / Richard Linklater 03 / 1975 / Barry Lyndon / Stanley Kubrick 04 / 2006 / Children of Men / Alfonso Cuarón 05 / 1985 / Come and See / Elem Klimov 06 / 2012 / It's Such A Beautiful Day / Don Hertzfeldt 07 / 1999 / Magnolia / Paul Thomas Anderson 08 / 1989 / Kiki's Delivery Service / Hayao Miyazaki 09 / 2011 / The Tree of Life / Terrence Malick 10 / 1989 / Do The Right Thing / Spike Lee
11 / 2004 / Eternal Sunshine of the Spotless Mind / Michel Gondry 12 / 2003 / The Lord of the Rings: The Return of the King / Peter Jackson 13 / 1998 / The Truman Show / Peter Weir 14 / 2017 / Blade Runner 2049 / Denis Villeneuve 15 / 2019 / Parasite / Bong Joon-ho 16 / 2006 / Pan’s Labyrinth / Guillermo del Toro 17 / 1995 / Before Sunrise / Richard Linklater 18 / 1993 / Schindler's List / Steven Spielberg 19 / 1979 / All That Jazz / Bob Fosse 20 / 1992 / The Long Day Closes / Terence Davies
21 / 2022 / Aftersun / Charlotte Wells 22 / 1994 / Chungking Express / Wong Kar-wai 23 / 1964 / Dr. Strangelove / Stanley Kubrick 24 / 2001 / The Lord of the Rings: The Fellowship of the Ring / Peter Jackson 25 / 1954 / Rear Window / Alfred Hitchcock 26 / 1979 / Alien / Ridley Scott 27 / 2001 / Spirited Away / Hayao Miyazaki 28 / 2001 / Y Tu Mamá También / Alfonso Cuarón 29 / 2017 / Paddington 2 / Paul King 30 / 2015 / Mad Max: Fury Road / George Miller
31 / 1968 / 2001: A Space Odyssey / Stanley Kubrick 32 / 1980 / The Empire Strikes Back / Irvin Kershner 33 / 2014 / Whiplash / Damien Chazelle 34 / 1984 / Threads / Mick Jackson 35 / 2019 / Little Women / Greta Gerwig 36 / 2017 / Dunkirk / Christopher Nolan 37 / 2008 / Love Exposure / Sion Sono 38 / 2018 / Hereditary / Ari Aster 39 / 1957 / 12 Angry Men / Sidney Lumet 40 / 1999 / The Matrix / Lilly Wachowski, Lana Wachowski
41 / 2022 / The Banshees of Inisherin / Martin McDonagh 42 / 1980 / The Shining / Stanley Kubrick 43 / 1985 / Back To The Future / Robert Zemeckis 44 / 2022 / Everything Everywhere All At Once / Daniel Scheinert, Daniel Kwan 45 / 2009 / Inglourious Basterds / Quentin Tarantino 46 / 2013 / Under the Skin / Jonathan Glazer 47 / 1959 / North by Northwest / Alfred Hitchcock 48 / 1988 / Cinema Paradiso / Giuseppe Tornatore 49 / 2004 / Mysterious Skin / Gregg Araki 50 / 2014 / The Grand Budapest Hotel / Wes Anderson
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