4v291o

Watched on Sunday May 25, 2025.

Watched on Sunday May 25, 2025.

It doesn’t “get” Paddington as much as the previous installments, and this may seem odd coming from a cynical movie viewer: but it’s the adorable bear who brings charm and humor everywhere, you’d have to fumble big time for me to hate it.

The arcs never really seem to connect, the climax lasts too long, some backgrounds look less than ideal for a feature this recent, characters are all over the place; a truly horrendous hodgepodge to be rather frank. What it lacks in a cohesive story it makes up for in its silliness and charm. Perhaps too much on the former, but it mostly landed so I can’t complain too much. Gave me a good laugh, won’t deny that. Wholesome and silly enough to make me almost look past the flaws. Olivia Colman is always delightful.

The first installment came out over a decade ago, but and a fourth is on the way. I’ll it to being skeptical since another seems too much to bear (forgive the pun). Although, it’s Paddington, so fingers crossed.

This is the dawning of the rest of our lives.

Clever gags aside, you can tell exactly what this movie is going to be like after the first ten minutes, which makes the other seventy a bit of a slog. Good to be silly when the world is suffocating. I should mention that the main vaudeville comics I don’t find particularly funny, so this type of humor was hit or miss. Never exceeded a chuckle, but I appreciate the wit.

Watched on Saturday May 10, 2025.

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There is no history, there are only historians.

How do you reconcile with the unreconcilable? How do you overcome the death of someone close to you? What would you do to keep them with you? Would you sacrifice your sanity for some artificial solace?

Celestial bodies are what we orbit around, what we live on—and yet we’ve barely scratched the surface of anything. At home, outer space—we don’t know. If we don’t know the ground on which we stand, how can we know each other? Even our conception of someone we don’t fully know, because memory is a fickle and unreliable thing. And if we can’t understand each other, why do we even bother with space? Global problems now made universal, and yet the real problem is still personal. Love will forever be more mysterious than our universe, because how can we know something that’s an innate instinct? We can pick up each other’s pheromones and chemically that is attraction, but that isn’t what drives us to commit to one another. The pheromones aren’t there for you when the love of your life is gone. But your emotions are.

What a deeply lonely picture. Trying to study God’s creations that we’ve lost looking for God. But even with all that knowledge, we still want to carve out a space of our lives for someone. And that small space is worth everything.

Recommended by @Andreas Martinez

One of the most acclaimed films I have yet to see until now, and it does not disappoint. Gangster films are nothing new, but labeling this as a mere work of gang conflict is far too reductive. It’s about living in constant struggle, where the authorities are the criminals and the criminals aren’t always the perpetrators. But nobody is clean in the City of God. Coming of age meets a society where you’re unlikely to reach a high age, cruelty reigns supreme, and showing your heart will cause it to bleed out. Directed with full confidence, edited like a firing machine gun, and very little fat to it. Perhaps not quite a masterpiece for me, but certainly a fantastic film.

One of the most positively disturbing works I’ve seen, and certainly one of the most personal. Which makes it infinitely more powerful. Words don’t do it justice, this is one of the finest features I’ve seen. Upsetting in every way. Potentially expect a long review for this.

If there’s anything I can do that is pretentious, (besides watch Greenaway films) it’s to compare a film to Citizen Kane. Throughout, I looked at these suitcases with the thinking of “Rosebud” and how the suitcases were Luper’s version of that. Only, this is infinitely more complex than Welles’ film.

This is Greenaway’s most ambitious work, and by definition, one of the most ambitious works out there. Even unfinished, all the work surrounding this character in its multimedia form is impressive. This first part of the film trilogy also directly names or implies relation to multiple of Greenaway’s other body of work—(I noticed Vertical Features Remake, Water Wrackets, The Belly of an Architect, A Zed and Two Noughts, as well as Drowning by Numbers; and I’m sure more) making this give the impression of all his talents conglomerating into one magnum opus. Luper not only serves as the auteur himself, but of his memories. While clearly not fully biographical, considering Greenaway wasn’t alive in the First World War, it feels personal. Growing up in a post war environment, working as a painter, making films and other works with a unique caliber, before leaving that mostly behind to make narrative features that became rather controversial. Sounds rather like Tulse Luper—even if some of the comparisons are rather obvious. Nobody does it like Greenaway, and I’m frankly glad people like him exist within the art form to create some of the most original and highly inspirational projects out there. Naturally, we get some lovely depictions and reflections upon humanity, religion, fascism, sex, and more surrounding the (in)human condition. Nobody else could have made this film, and certainly not on this level. Can’t wait for the next two chapters.

I was quite digging this movie during the first third. And the rest, not so much! The action sequences in the climax was rather good, if ridiculous. But once the second act kicks into gear, the continuity is shot; and then it somehow outdoes the other Bonds in racism. Which is saying something. “You must become a Japanese” and then changes the appearance of Bond to be more… I don’t need to say more, the red flags are there.

This was clearly meant to be the send off for Connery, and they did a mostly proper one, but I wish it was more that and less ridiculous shenanigans and cultural appropriation. ittedly, my favorite score and intro of this journey thus far.

To quote Stevie Nicks, “The feeling remains even after the glitter fades.”

This is a flawed movie, no question there. The characters kind of suck, for lack of a better term. Digging beneath the neon lit surface, you won’t find a whole lot to it. The catalyst for the climax is a bit ridiculous. Coppola is never beating the male gaze allegations either.

But this one really hit me in the feels, I won’t lie. Where it lacks in broad characterization it more than makes up for in ion. La La Land for people who listen to the blues. In Sin City—the divorce capital of the world, anything can happen. Love comes and goes, and sometimes you have enough of love or whatever is left of it. Also, almost no movie looks better than this. The Broadway-like production design meshed with the over the top lighting and flashy cinematography is gorgeous to look at, and nothing else. Even at its lowest points, those visuals encapsulate everything the characters couldn’t.

I could criticize this a lot more, ittedly this almost borders the guilty pleasure one, but I think Coppola’s intent wasn’t to think as much with your head, but with your heart. And baby, this one’s from the heart.

Recommended by @penscribbles. I suffered this because of @FilmLad and @Portal and @Camstone. And apparently @Eve. @TheSnuffles also suffered.

Justin threw the first brick.

I don’t want to say anything more.

Violence in media. Sensationalized. It probably won’t adversely impact your children or anything. Media probably won’t make you numb to tragedy.

See where I’m going with this.

Name some of the most successful shows out there. Crime dramas? True crime. Cops? NCIS? Glorification of institutional violence, sensationalizing the lives of serial killers time and time again. How many series exist about Dahmer? OJ? Bundy?!

Haneke knew it was bad, and I’d argue he doesn’t explore it in the best way, but actively engaging with the audience makes us a part of it. We’re to blame for the success of that junk. It’s a basic economic law that there is no supply without demand. No wonder he gives us that smug look.

There’s no subtlety, and there doesn’t need to be. Why should there? It was bad then, it’s worse now. Prophecies don’t always need room for interpretations. It’s no mistake the violence isn’t ever seen. We come up with that all by ourselves.

Significantly better on rewatch. The screenplay is clearly disted and has a few holes, but when it hits it really hits the nerves. Sure, the USSR outlasted the Nazis, but there still were tragedies in this victory nonetheless. Soldiers taking advantage of their status, good soldiers being hurt, and the bigwigs in control of the bottom line. It’s why there will always be wars: money and power. The number one causality is never the government, but the people. A child is caught up in all of this, and perhaps that’s what makes it more effective.

Being not written by Tarkovsky, it feels very far removed from his usual style, and that may be why this is treated as a lesser work, but for a debut director this is still rather impressive—even with the script’s issues.

I still can’t quite love this as much as I’d want to, but I’d be lying if I didn’t say this was anything short of the most accurate to Scripture film of the greatest story ever told. Beautiful, and nothing less.

Happy Easter, God bless all of you.

What will happen, will happen. Qué Será, Será.

Generational gaps, paintings of the past, a future that hasn’t quite dried. Akiko always being behind shots of glass, wanting freedom from her existence. Dualities between the old man and her, such as their jobs both involve calls that they’re less than enthusiastic. When the boyfriend comes into picture, we think he’s definitely aggressive, but later we come to think: is he really so bad? Kiarostami toys with what we know of feudal expectations clashing with modern expectations, but also showing a stark beauty of love—or the attempt at it. It all comes crashing down like a brick through glass.

I should add on that the old man having the job of translation is so random job. The nature of doing translations word for word in different languages doesn’t work. You can do it, but it won’t sound right since all languages are structured differently. Kiarostami, not native to Japan or at any point a resident, knows this. He feels like an outsider—translating in this sense as well. To translate is to compromise exactness to bring out something in its language while keeping the essence of the original one. Is this not also what love is?

Watched on Saturday April 12, 2025.

Watched on Saturday April 12, 2025.

Watched on Saturday April 12, 2025.

Watched on Saturday April 12, 2025.

Watched on Saturday April 12, 2025.

Watched on Saturday April 12, 2025.

There’s no such thing as freedom. At least, not under capitalism—but I still doubt its existence. Even Mona isn’t free, and I’m shocked to see the reviews saying she is. To me, at least, she is an example of perhaps the most notorious symptom of failed capitalism. We have the homes. We have the money. We can pay for every homeless person to move off the streets—but we don’t. Mona isn’t this, she is by choice living free of this system—at least that’s how it appears. She still is living off of capitalism, simply dealing with the dregs of her situation instead of the abundance surrounding her being of help. Her shackles are looser, but there’s no key to her locked up reality.

I couldn’t help but think of Citizen Kane when watching this. If the identity of the biggest man in the world cannot be explained, how can the identity of someone without anyone than be? People are perplexed by Mona, that much is clear. Some are intrigued, maybe even thankful. Others hate her for her smell. Some love her for her body. None of them know who she is, and maybe that’s why she’s a vagabond to begin with: so nobody will. Mona dies without the press of Kane, without anybody but a few ing her. She touched their hearts in some way; positively or not, and now she’s gone. Realistically, she won’t stay in their hearts very long.

It’s the duty of a vagabond to drift away, after all.

Structuralism à la ornithologist extraordinaire: Tulse Luper—or more accurately, the recreation of him. Which, if you think about it, is in itself a form of structuralism. Landscape painters, photographers, and filmmakers will appreciate the attempts at bringing a still art form to life, and recreating it. This last step is important, as the structure needs to be refined, polished—and told through a different lens in a mocking but somewhat edifying way. Numbers and pictorials are the friends of Peter Greenaway, and here was the first sign of it.

Credit where credit is due: the action sequences are done incredibly well. Besides the horrendous editing that plagues the Connery franchise, I was rather pleased with it. The underwater sequences were absolutely marvelous and beyond impressive.

But I cared for very little else beyond that. For a plot that seems like Bond’s most dangerous yet, the stakes are very low. All of the 00 agents are called in, and they serve literally no purpose. Bond has a ridiculous amount of plot convenience. The sequence with “the rack” is comical for something that is supposed to dangerous. I know I mentioned the poor editing, but the amount of times where action scenes are sped up to x2 speed is ridiculous. The CGI is horrendous and unnecessary—and even breaks continuity in some shots. Least favorite villain so far in the Connery franchise, very little is done to develop the character; and when something does happen, it feels mostly cheap. Perhaps the worst crime of all: it’s boring.

Following up Goldfinger was going to be challenging, but this being my least favorite Connery thus far made the whiplash in quality far more apparent.

Watched on Sunday April 6, 2025.

Watched on Sunday April 6, 2025.

Watched on Wednesday April 2, 2025.

Dear mom,

A Belgian filmmaker by the name of Chantal Akerman travels back to New York City, making it her second trip there. Today marks my second stay in New York City. I watched it fully aware of this, with it playing even on the drive back to the airport. I’m flying home today, mom. You already know this, since you are picking me up. Sorry for not spending more time talking to you while I was gone, for I’m sure you want to know. Seems like a rather busy period I was gone, but all things considered, it’s not a horrible flight back—and God willing, I’ll see you in just a few hours.

We all have our own journeys in life, and I know inevitably you won’t play as large a part in my life in the future; which is painful to say, but we both know it’s true. I’ll try to call, and I’m sure you will; and idealistically every time we will pick up, but realistically we will likely both get caught up in our busy lives instead of paying as much attention to each other. Did you have kids knowing we wouldn’t stay with you? I’m not sure I could bear that weight, even if I must once I have children. It wouldn’t be right to keep them, no matter how much I would. The city that never sleeps and I have become on rather friendly . It stinks of smoke, but there’s never a lack of anything to do or to work as a filmmaker. Maybe you’ll see a part of me in the films I make, even if we aren’t physically connected. I sure hope so. Boarding doesn’t start in too long, so I’m sorry if the words feel too little. I’m grateful, for everything—even though I’m sure I don’t show it. A few hours isn’t too long a distance, anyway. I’m coming home, mom.

Sincerely, your son.

Watched on Wednesday April 2, 2025.

Bong Joon-ho’s newest feature had some big shoes to fill. Following up Parasite, former Letterboxd #1 movie, Best Picture Winner, and Palme d’Or winner was never going to be an easy feat. So naturally, he doesn’t try to top it, but does something completely different. But is it good? Well…

This is a fun movie filled with flaws. Some of the themes aren’t explored enough, the characters can feel shallow, and the commentary is disted. Mark Ruffalo as Donald Trump was not on my bingo card, with a performance that is embarrassing following Poor Things. Which is a shame, since the criticism was spot on—got a huge laugh out of the “supreme race” and the symbol for their church, hilarious stuff. I wanted more character for Yeun, wanted Collette to shut up about sauce, that one side character who wanted 17 to be of literally any relevance, or the narration to end. I could go on, there are flaws out the wazoo.

But if I’m being honest, I don’t dislike this as much as I should. Perhaps I just crave something solid nowadays, but I’m just happy film can be so against imperialism and still be funny, while never detracting from the horror of it. Ethical concerns such as cloning, animal cruelty, and the obvious criticism of the man who puts his name on the Bible are on display, while not fleshed out fully, I’m not too upset since how much I laughed makes the issues shy away. The political climate is a joke right now, with the worst personalities bringing out the worst in us, so I think I needed a little laugh to smooth over my absolute horror.

I should say, that Pattinson is certainly doing solid even with the annoying voice. Props to the production designers and cinematographers—even Bong’s lesser quality works look good. Unfortunately, it is a lesser work from him, and definitely flawed more than I give it credit for, but I’m happy the man hasn’t gone on airplane mode when he absolutely could have.

This review may contain spoilers.

It’s rather difficult to watch this knowing the full story of Akerman; or rather, how she died.

This was Akerman’s first film, in which the lead—played by Akerman herself—destroys the foundations of the environment she lives in. Including herself. Similar themes of the entrapment found in domesticity would later become hallmarks of her work, which is impressive considering she was 18 when she made this. Even though the Godardian style found in this wasn’t particularly recurrent, it shows how much we dedicate others and ourselves within cinema. Unfortunately, Godard and her met with a similar fate.

I alluded earlier to Akerman’s death. In 2015, she committed suicide at the age of 65. Her first film displays her doing just that, and it is haunting. We don’t know why she did, unlike the character her film, but it is tragic to see a self-fulfilling prophecy unveil itself in real time. One who poured herself into her work, by her own , and defied being categorized. She, ironically, blew up any type of label. Rest in peace, Chantal Akerman. It’s almost been ten years since your death. I never knew you personally. You are an inspiration.

Watched on Tuesday April 1, 2025.

Watched on Tuesday April 1, 2025.

Perhaps you have noticed, perhaps not, but there has been one specific pattern in most that I have been watching this month, in that they are directed by females. This was not an accident, as after an absolutely laughable attempt at doing the same for BHM, I wanted to step up my game a little bit. While I can understand why going out of my way to watch a work based on the sex of the person behind it might be upsetting, it should be noted I exposed myself to art I may not have seen otherwise, and had one of the best months in of rating cinema highly I’ve had in a long while.

I start this as a preface, because I’ve went from 0 watched movies from Alice Guy-Blaché to 31, one for each day of the month—making her my most watched director in of amount. Ending with her most popular work, The Cabbage-Patch Fairy. This is reputed as the first narrative film to ever exist. It should be noted the one I’m logging is the remake, since the original from 1897 is thought to have either been lost or never existed, making this by default the correct one to log. Alice Guy-Blaché is, simply put, one of the most innovative filmmakers of all time. The first narrative feature is not her only accomplishment, but one of the earliest filmmakers to feature people of color, and homosexuality within her works—while also pioneering what the camera can pick up. She is arguably the most influential female in cinematic history, and it’s a shame she remains so unknown in many film circles.

So, to summarize: go out of your way to push yourself into watching stuff you may not have otherwise. Cinema is more than a niche or comfort zone, and I can attest that this has been a resounding success for me. Beyond Alice Guy-Blaché, I’ve seen works from Chantal Akerman, Agnès Varda, and more hidden works from directors like Antoinetta Angelidi and Athina Rachel Tsangari. Surprise yourself.

Watched on Monday March 31, 2025.

Watched on Monday March 31, 2025.

Watched on Monday March 31, 2025.

Watched on Monday March 31, 2025.

Watched on Saturday March 29, 2025.

Watched on Saturday March 29, 2025.

Watched on Saturday March 29, 2025.

Watched on Saturday March 29, 2025.

Watched on Saturday March 29, 2025.

Watched on Saturday March 29, 2025.

Watched on Friday March 28, 2025.

Very early on, it’s gimmick becomes clear. Characters within a Brussels neighborhood experiencing love in all its many forms in short vignettes.

This film could very easily frustrate audiences with its slow nature, being almost entirely composed of still shots, and how repetitive it may feel—Akerman’s minimalist style is often repelling to many. To me, I didn’t find any interaction the same. Even the three dance sequences all had drastically different meanings. The costumes should also be noted, almost entirely composed of blue, yellow, white, and occasionally red. All the similar costumes implies that love is a shared experience, just in different hues. It taking place at night gives this the feel of people unmasking themselves; their true forms. They can love, try to love, fail at love, avoid love, or lose love all night long. In the sweetest, tender, most heartbreaking, sorrowful, most glorious ways. The ambivalence of love in ninety minutes. One could argue the same effect could be accomplished with a short film, but I was not once bored or frustrated with its length.

When daylight comes, clarity will rise alongside the sun. That certainly sounds nice, but every day leads to another night.

Thank you @orson houellebecq for making this watch possible. Thematic spoilers to be found, but with a work so interpretative it’s unlikely many will see the same in this as I did.

Let me add some basic insight into the title. Hours represents time, which ed by more frequently than we’d like it. Slips through our fingers in the hourglass of our life, and we away. A square is a perfect shape, all sides perfect and symmetrical. Simple, yet can hold infinite possibilities.

This is Angelidi’s most ‘accessible’ work, having by far the most dialogue and certainly more plot focused than her prior two films. That being said, this would repel most casual audiences out of frustration, for this is far from simple. Angelidi does not make her films to be understood as the priority, but felt. Drenched in mythos, but grounded in reality.

My personal interpretation: a lot of the characters are in fact the same person. One character states that suicide will make you go through the same experience as when you were originally born, living the same life. Many characters seem to mimic the other, the room with the apples seemingly deciding fate while the trough of water being a pool of rebirth. A square repeats itself, even if time goes on.

As for what I’ve noticed, the reference to 1 Corinthians 13 is certainly not lost on me. “If I speak in the tongues of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal” is spoken directly, and perhaps the least subtle move in this obtusely subtle one is how musical instruments are carried around. They are carried on, and while seldom played, carrying an instrument to liken loud noises seems rather fitting. Above all else, this is about marriage; a criticism of it. Not necessarily marriage itself, but people who don’t understand each other when they’re the closest they could possibly be—people who never should have married in the first place. You can only raise a fragment of a human when you and your partner are barely one anymore. Vowing to do better, keep sexuality pure; it all adds up to your spouse drawing lines on a wall. The names of characters referencing Greek gods makes this seem more mythic, as does the glorious production design, but it’s far too human to be completely detached from reality. Perhaps our reality itself is transcendent.

We will all return to our trough, and start anew. A square repeats itself, time goes on. Maybe the next life will be better, or maybe it will be worse.

Watched on Wednesday March 26, 2025.

Just like it says. Doesn’t have to be limited to a genre. Chances are I’m gonna watch everything recommended, but if it isn’t available there isn’t much I can do, sorry. However I’m not going to ignore the recommendation, as I’m sure it’ll be available with time. I likely won’t accept tv shows.

This isn’t an original idea in the slightest, but I like movies, so if there’s something that means something to you and you want to share, please go right ahead. Comments are open for anyone to pipe in, so please do.

<Please don’t recommend anything with real sex (such as unsimulated acts of any kind, porn inserts, etc.) or promoting/containing satanic values (including imagery, most forms of possession, sacrilege, sacrifice, demons, hell, and more) as I have no interest in that. If you think you need to ask me if I’m comfortable with something, chances are you already know my answer>

I remove the title once it’s watched, but I add it to a separate list so I I’ve watched it. Ranking to show order of recommendation.

• Ernest & Celestine
• The Social Network
• Whisper of the Heart
• Wolf Children
• Aparajito
• Apur Sansar
• A Beautiful Mind
• Rocketman
• Run Lola Run
• Wolfwalkers

...plus 277 more. View the full list on Letterboxd.

Patron worth everything just for these ones alone

• Alvin and the Chipmunks: The Road Chip
• Eraserhead
• The House That Jack Built
• Minions
• Despicable Me
• The Cabinet of Dr. Caligari
• Road House
• Gran Turismo
• Alvin and the Chipmunks
• Alvin and the Chipmunks: The Squeakquel

...plus 48 more. View the full list on Letterboxd.

Ranked just to show amount, not any particular order.

Trying (poorly) to rank by spine number.

1. Seven Samurai
2. The 400 Blows
3. Walkabout
4. The Seventh Seal
5. The Silence of the Lambs
6. Salò, or the 120 Days of Sodom
7. Dead Ringers
8. High and Low
9. Picnic at Hanging Rock
10. M

...plus 243 more. View the full list on Letterboxd.

Just be better than last year, I’m begging

1. Mickey 17
2. The Colors Within
3. Novocaine
4. Paddington in Peru
5. Wolf Man
6. The Electric State

List idea by @maddy

Basically just a list for my friends/followers’ favorite films. Useful in recommending them what I can cause all of us have very very different opinions.

If there’s been a change or you would like to be showcased, etc., lemme know and there will be an adjustment.

• Magnolia

  My personal favorite
  @FilmLad

• Dekalog

  @Joshua14

• Spider-Man: Across the Spider-Verse

  @MCUisbest

• Pulp Fiction

  @GreatOliverN

• Back to the Future

  @Lion Racing
  @FriendlyInsider

• There Will Be Blood

  @Stringer Bell

• The Batman

  @Freeguyiscool

• Satantango

  @Edgar Cochran ✝️

• Andrei Rublev

  @FilmEnthusiast3 ✝️

• The Grand Budapest Hotel

  @luna 🌙

...plus 17 more. View the full list on Letterboxd.

Honestly, I can’t think of a director I have a bigger love-hate relationship with. He can be so good at times but his last twenty years of work have made MAYBE three good movies in total.

Please note that I haven’t seen AI, Minority Report, or Saving Private Ryan in a long time.

1. Schindler's List
2. Jaws
3. Saving Private Ryan
4. Minority Report
5. Catch Me If You Can
6. A.I. Artificial Intelligence
7. Raiders of the Lost Ark
8. The Fabelmans
9. Indiana Jones and the Last Crusade
10. Jurassic Park

...plus 4 more. View the full list on Letterboxd.

In the process of trying to make a ranking of directors, I’m trying to complete the filmographies of directors so I can accurately make a ranking. This is who I currently have seen every movie for. For modern filmmakers, they will need to have at least five movies to be added, and for those who made less and are finished, they will be added. Not a ranking of the films listed, just listed to represent my favorite movie of each filmmaker.

-Paul Thomas Anderson average score: 9.11/10
-Satoshi Kon average score: 8.5/10
-Andrei Tarkovsky average: 8.43/10
-Stanley Kubrick average score: 8/10
-Bong Joon-ho average score: 7.88/10
-Peter Greenaway average score: 7.76/10
-Denis Villeneuve average score: 7.73/10
-Alejandro González Iñárritu score: 7.57/10
-Jane Campion average score: 7.5/10
-Terrence Malick average score: 7.44/10
-David Lynch average score: 7.4/10
-Wes Anderson average score: 7.34/10
-Quentin Tarantino average score: 7.33/10
-Pier Paolo Pasolini average score: 7.08/10
-Kelly Reichardt average score: 6.38/10
-Sofia Coppola average score: 5.38/10

1. Magnolia
2. Perfect Blue
3. Andrei Rublev
4. 2001: A Space Odyssey
5. Memories of Murder
6. The Cook, the Thief, His Wife & Her Lover
7. Incendies
8. Amores Perros
9. An Angel at My Table
10. The Tree of Life

...plus 6 more. View the full list on Letterboxd.

Beauty is only known through ugliness

Average: 7.76/10

1. The Cook, the Thief, His Wife & Her Lover
2. The Baby of Mâcon
3. A Zed & Two Noughts
4. Prospero's Books
5. The Pillow Book
6. The Draughtsman's Contract
7. The Tulse Luper Suitcases, Part 1: The Moab Story
8. The Belly of an Architect
9. The Tulse Luper Suitcases, Part 3: From Sark to the Finish
10. Drowning by Numbers

...plus 7 more. View the full list on Letterboxd.

The ultimate fictional alter ego.

• Intervals
• Dear Phone
• A Walk Through H
• Water Wrackets
• Vertical Features Remake
• The Falls
• The Draughtsman's Contract
• A Zed & Two Noughts
• The Belly of an Architect
• Drowning by Numbers

...plus 8 more. View the full list on Letterboxd.

As another version of my other content warning list, I wanted to make a list for people who might be harmed by exposure to such content. It will contain anything from mention of or scenes of suicide, self harm, ideations; anything potentially harmful. While some films like It’s a Wonderful Life and Taste of Cherry are life affirming, they will remain on the list (however, notes will specify if they are films such as those). Open to suggestions.

I’ve been told a site called doesthedogdie.com also provides information and warnings over content that may distress some.

1. The Madness
2. Joker: Folie à Deux
3. Kinds of Kindness
4. Furiosa: A Mad Max Saga
5. I Saw the TV Glow

   I’ve been told it’s life affirming. Haven’t seen so I can’t confirm.

6. Poor Things
7. Anatomy of a Fall
8. Babylon
9. Hundreds of Beavers
10. Smile

...plus 187 more. View the full list on Letterboxd.

I have a friend who gets really uncomfortable watching this stuff (and it’s completely fair; I’m not the biggest fan of it either, and I’m never going to watch some of these) and I thought that a lot of people likely are as well, so I decided to compile a list of movies so that people sensitive to it could avoid. DoesTheDogDie.com can be used for further triggers.

Open to suggestions.

• Joker: Folie à Deux

  Mentions molestation, and sexual misconduct with implications of assault

• The Brutalist
• DAN DA DAN: First Encounter
• The Apprentice
• Kinds of Kindness

  Sequence of rape. Someone becomes drugged and then used; briefly, but disturbing.

• Rebel Moon – Part One: A Child of Fire
• Poor Things
• The Bikeriders
• Saltburn
• Sound of Freedom

  The film is about the fight against child sex trafficking. While nothing is shown, there are many implications and scenes depicting some form of abuse. Shows actual footage of children being kidnapped. Highly disturbing.

...plus 234 more. View the full list on Letterboxd.

Probably the only director with the power to whisper into the soul consistently.

I don’t even know how to begin talking about any of these films, just that I appreciate all of them.

Average score: 8.43/10

1. Andrei Rublev
2. Solaris
3. Stalker
4. Nostalgia
5. The Sacrifice
6. Ivan's Childhood
7. Mirror

Cinema is without a doubt my favorite art form, and these are my favorites of the ones I have seen. Fairly interchangeable.

It’s clear I have no business making a ranking this large, seeing as films come and go quite frequently. I should have capped at around 50, but the list will stand as is.

Just for fun, here is a number of movies per decade on here.

1910’s: 1
1920’s: 1
1930’s: 1
1940’s: 3
1950’s: 11
1960’s: 14
1970’s: 8
1980’s: 9
1990’s: 23
2000’s: 19
2010’s: 9
2020’s: 2

1. Magnolia
2. The Tree of Life
3. The Sweet Hereafter
4. Dekalog
5. It's a Wonderful Life
6. Schindler's List
7. Princess Mononoke
8. The Godfather
9. Neon Genesis Evangelion: The End of Evangelion
10. Three Colours: Red

...plus 90 more. View the full list on Letterboxd.

Only 5 star movies accepted here, nothing less. Not necessarily favorites because some of my favorites are 4 1/2 star movies and make the list, but this is what I consider to be the best movies I have seen. In alphabetical order.

1. 12 Angry Men
2. 2001: A Space Odyssey
3. 2046
4. The 400 Blows
5. Adaptation.
6. Aliens
7. All About Eve
8. Amélie
9. Andrei Rublev
10. Angel's Egg

...plus 96 more. View the full list on Letterboxd.

I do silly things that don’t make much sense, read notes for explanations.

1. No Time to Die

   My first Bond movie

2. Mission: Impossible III

   First Mission: Impossible, followed by Rogue Nation, Fallout, and Ghost Protocol in that order

3. Satyricon

   My first Fellini

4. The Shining

   My eighth Kubrick movie

5. Until the End of the World

   My first Wenders

6. Deadpool

   My first X-Men movie

7. Logan

   The first movie I saw with Wolverine in it

8. Spider-Man: No Way Home

   Watched before seeing the third Maguire Spider-Man and before any Garfield Spider-Man

9. Once Upon a Time in America

   First Leone

Adding this list just so I can pull stuff in the future if I wanted to make anything beyond a top 100.

Idea from @Jaime Rebanal (give them a follow; they’re far more knowledgeable of film than I am).

• The Godfather
• GoodFellas
• 12 Angry Men
• The Sweet Hereafter
• Magnolia
• The Tree of Life
• Amélie
• Before Sunset
• Before Sunrise
• Seven Samurai

...plus 260 more. View the full list on Letterboxd.

1. Love Exposure
2. The Truman Show
3. Manchester by the Sea
4. Fear and Loathing in Las Vegas
5. Waking Life
6. Your Name.
7. Nights of Cabiria
8. Okja
9. Perfect Blue
10. The Prestige

...plus 95 more. View the full list on Letterboxd.

Fairly loose. Await her next film quite a lot.

1. We Need to Talk About Kevin
2. You Were Never Really Here
3. Morvern Callar
4. Ratcatcher

They have to be theatrical releases, and solo efforts.

• Synecdoche, New York
• Me and You and Everyone We Know
• Citizen Kane
• Being John Malkovich
• Reservoir Dogs
• 12 Angry Men
• The Virgin Suicides
• Lady Bird
• Walkabout
• Perfect Blue

...plus 14 more. View the full list on Letterboxd.

1. Apur Sansar
2. Nashville
3. Aparajito
4. Farewell My Concubine
5. The Wild Bunch
6. Munich
7. American Splendor

Dave is the worse dad in the world

• Taxi Driver

  Alvin says quotes Travis’ “You Talkin’ to Me” monologue word for word in the Squeakquel

• Pink Flamingos

  John Waters makes a cameo in The Road Chip, and Alvin states “Don’t judge me, I saw Pink Flamingos”

• The Shining

  A parody of “Here’s Johnny” shows up in The Road Chip

• The Terminator

  A character is referenced to be like The Terminator

• The Silence of the Lambs

  Alvin says word for word Hannibal Lecter’s infamous fava beans line

• Apocalypse Now
• Dr. No
• The Good, the Bad and the Ugly
• The Matrix
• Cast Away

  Chipwrecked references Wilson in the form of sports balls with faces

...plus 3 more. View the full list on Letterboxd.

I have more questions than you. No Time to Die was my first in the franchise, so note that I’m not doing this correctly.

Will rank as I watch through the whole franchise.

1. Goldfinger
2. Dr. No
3. You Only Live Twice
4. From Russia with Love
5. Thunderball

Really my only planned thing for 2025.

Guidelines: Has to be a solo directorial effort. Not including tv movies or films made outside major studios. This is already going to take up a lot of time as is, and accessibility is a challenge. I will not be seeing a work another time unless I need a refresher or I feel like it. Will try to watch director’s preferred cut; will specify in notes when the time comes.

And yes: I will rank them all when I’m finished.

• The Rain People

  X

• One from the Heart
• Jurassic Park

  X

• Gardens of Stone

  X

• Peggy Sue Got Married

  X

• Tucker: The Man and His Dream

  X

• THX 1138

  Cut
  X

• Finian's Rainbow

  X

• The Lost World: Jurassic Park

  X

• Jack

...plus 72 more. View the full list on Letterboxd.

Mostly for me since I create too many lists, but knock yourself out.

My frequently updated/looked at lists:
Made Me Reflect on My Christian Faith Positively | My Top 100 | Directors I’ve seen the whole filmography of | Liked Movies (my canon) | Only the Best (5 Stars) | Best Picture Winners ranked | Palme d’Or Winners ranked | Recommend me something | Completed Recommendations | Director list of shame | Every Criterion Collection movie I’ve seen | All 3+ hour films I’ve seen | My ranking of the 250 | She |

Former Letterboxd who was a huge inspiration to me:
| FilmEnthusiast3 ✝️ |

Content Warning Lists
CW: Self harm | CW: Sexual assault

Idea credit: @AverageFilmgoer and @Darren Carver-Balsiger

• The Shop on Main Street
• Shadows of Forgotten Ancestors
• Earth
• The Mario Movie
• Léon Morin, Priest
• Times Square

Films depicting the life of Christ based on the Gospels. Some are more accurate than others, and the quality can vary. Only ones explicitly about Christ are on here, so for example Intolerance: Love’s Struggle Throughout the Ages is absent.

• The Birth, the Life and the Death of Christ
• The King of Kings
• King of Kings
• The Gospel According to Matthew
• The Greatest Story Ever Told
• Jesus of Nazareth
• The Gospel of John
• The ion of the Christ
• Son of God
• The Chosen: Last Supper

...plus 1 more. View the full list on Letterboxd.

1. Life, and Nothing More…
2. Taste of Cherry
3. Where Is the Friend's House?
4. Certified Copy
5. Like Someone in Love
6. Through the Olive Trees
7. Close-Up
8. The Report
9. The Traveler

Car crash in slow motion.

Less than half of these are ing, and many of the ing ones likely won’t stay that way upon second watch.

1. The Lobster
2. The Brutalist
3. Marcel the Shell with Shoes On
4. Aftersun
5. The Killing of a Sacred Deer
6. Room
7. Past Lives
8. Climax
9. The Florida Project
10. The Lighthouse

...plus 24 more. View the full list on Letterboxd.

Such a meaningful weirdo.

1. It's Such a Beautiful Day
2. World of Tomorrow
3. It's Such a Beautiful Day
4. World of Tomorrow Episode Three: The Absent Destinations of David Prime
5. I Am So Proud of You
6. Everything Will Be OK
7. World of Tomorrow Episode Two: The Burden of Other People's Thoughts
8. The Meaning of Life
9. ME
10. Rejected

...plus 5 more. View the full list on Letterboxd.

Help

1. The Brutalist
2. Kinds of Kindness
3. Dune: Part Two
4. The Wild Robot
5. Problemista
6. I'm Still Here
7. A Real Pain
8. Flow
9. Queer
10. Hundreds of Beavers

...plus 22 more. View the full list on Letterboxd.

I’d argue Varda is the mother of the French New Wave; and certainly a better filmmaker than Godard. Tales of femininity, sorrow, beauty, and the joy of the world. Or the lack of it.

1. Cléo from 5 to 7
2. One Sings, the Other Doesn't
3. Vagabond
4. Le Bonheur
5. La Pointe Courte

One of the better action franchises out there, coming to a close this year, so here’s my ranking of the ones I’ve seen.

1. Mission: Impossible – Rogue Nation
2. Mission: Impossible – Fallout
3. Mission: Impossible – Ghost Protocol
4. Mission: Impossible – Dead Reckoning
5. Mission: Impossible III

Not sure how to rank her since she’s made shorts, docs, narrative features—the whole shebang. So I’m just grouping her up in one whole bundle, as opposed to my typical ranking of narrative feature films alone.

Minimalist icon, shows so much with painstakingly little, and a woman we lost too soon.

1. Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
2. Toute une Nuit
3. Golden Eighties
4. Je Tu Il Elle
5. Hotel Monterey
6. News from Home
7. The Beloved Child, or I Play at Being a Married Woman
8. Blow Up My Town
9. The Room
10. Le 15/8

...plus 5 more. View the full list on Letterboxd.

You know I’m running out of title ideas when I start quoting the mcu

1. The Tree of Life
2. It's a Wonderful Life
3. Princess Mononoke
4. Neon Genesis Evangelion: The End of Evangelion
5. Punch-Drunk Love
6. 2001: A Space Odyssey
7. Mulholland Drive
8. Spirited Away
9. There Will Be Blood
10. Midnight Cowboy

...plus 55 more. View the full list on Letterboxd.

After gaining the world’s attention with Parasite, I; like many others, began to go through his filmography. He is one of the most consistently talented filmmakers today, who continues to make elaborate films portraying human nature and dropkicks.

Snowpiercer and Barking Dogs Never Bite are tied for last.

Average: 7.88/10

1. Memories of Murder
2. Parasite
3. Okja
4. Mother
5. The Host
6. Mickey 17
7. Snowpiercer
8. Barking Dogs Never Bite

Reputed as the first female filmmaker, the one who began narrative film, and in my opinion, one of the best to work in her era. Maybe the best.

1. Falling Leaves
2. On the Barricade
3. The Race for the Sausage
4. The Consequences of Feminism
5. Pierrette's Escapades
6. A Fool and His Money
7. At the Floral Ball
8. Serpentine Dance by Mme. Bob Walter
9. The Birth, the Life and the Death of Christ
10. The Glue

...plus 21 more. View the full list on Letterboxd.

• One Sings, the Other Doesn't
• The Company of Strangers
• Attenberg
• Falling Leaves

  Watched a load of Blaché’s work, totaling:

• Le Bonheur
• The Other Side of the Underneath
• You Were Never Really Here
• Variations on the Same Theme
• Toute une Nuit
• The Hours: A Square Film

...plus 42 more. View the full list on Letterboxd.

Grammar.

• The Good, the Bad and the Ugly
• Planes, Trains and Automobiles
• Fear, Anxiety and Depression
• The Cook, the Thief, His Wife & Her Lover
• 4 Months, 3 Weeks and 2 Days
• Me, Myself & Irene
• Spring, Summer, Fall, Winter... and Spring
• You, Me and Dupree
• The Birth, the Life and the Death of Christ
• Birds, Orphans and Fools

...plus 2 more. View the full list on Letterboxd.

My taste is way more basic than I’d like to it. Haven’t seen anything from 1947, which is why there is a cutoff. Some years listed I’ve only seen one movie from. Others like 1997 were difficult to rate due to their being multiple films I love were released. Will likely forget to update.

Idea from @FilmEnthusiast3 ✝️

• Bicycle Thieves
• The Third Man
• Rashomon
• Diary of a Country Priest
• Ikiru
• Tokyo Story
• Seven Samurai
• Ordet
• A Man Escaped
• 12 Angry Men

...plus 67 more. View the full list on Letterboxd.

We love nepotism.

1. The Godfather
2. The Godfather Part II
3. Apocalypse Now
4. The Rain People
5. The Virgin Suicides
6. Lost in Translation
7. Gardens of Stone
8. Peggy Sue Got Married
9. Priscilla
10. The Outsiders

...plus 8 more. View the full list on Letterboxd.

• Casablanca
• Diary of a Country Priest
• Andrei Rublev
• Cries and Whispers
• Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
• Picnic at Hanging Rock
• Polyester
• Insignificance
• The Last Temptation of Christ
• Dekalog

...plus 11 more. View the full list on Letterboxd.

1. Neon Genesis Evangelion: The End of Evangelion
2. Neon Genesis Evangelion
3. Evangelion: 3.0+1.0 Thrice Upon a Time
4. Evangelion: 3.0 You Can (Not) Redo
5. Evangelion: 2.0 You Can (Not) Advance
6. Love & Pop
7. Evangelion: 1.0 You Are (Not) Alone
8. Evangelion: Death (True)²

With the release of Babylon, I decided to put together everything over 3 hours I have seen. Ranked in order of length. Check notes for specific cuts.

1. Out 1
2. Dekalog
3. Satantango
4. Napoleon
5. Until the End of the World

   Director’s cut

6. Hamlet
7. A Brighter Summer Day
8. Love Exposure
9. Gone with the Wind
10. Once Upon a Time in America

...plus 33 more. View the full list on Letterboxd.

With the 95th Academy Awards airing in a little over a week I thought I would rank all the Best Picture winners I’ve seen.

I accidentally put Shawshank even though I knew it didn’t win, this has been fixed.

1. Schindler's List
2. The Godfather
3. Midnight Cowboy
4. All About Eve
5. Casablanca
6. Parasite
7. The Apartment
8. The Silence of the Lambs
9. The Godfather Part II
10. Amadeus

...plus 37 more. View the full list on Letterboxd.

I love movies so much I hate them.

1. The Brutalist
2. Dune: Part Two
3. I'm Still Here
4. Nickel Boys
5. The Substance
6. Conclave
7. Anora
8. Wicked
9. Emilia Pérez

I got into movies a few years ago, and this list helped in no small part to introduce to a wide variety of cinema. Thanks to this community and @Dave for his vigilance updating the list. I haven’t seen them all, but I’m nearing half, so I figure that’s a good portion.

1. It's a Wonderful Life
2. Schindler's List
3. The Godfather
4. Princess Mononoke
5. Neon Genesis Evangelion: The End of Evangelion
6. Three Colours: Red
7. Mulholland Drive
8. 2001: A Space Odyssey
9. Seven Samurai
10. Spirited Away

...plus 157 more. View the full list on Letterboxd.

Reminder for the recommendations from female directors.

• Too Wise Wives
• The Blot
• The Blue Light
• Craig's Wife
• Dance, Girl, Dance
• Never Fear
• Outrage
• Hard, Fast and Beautiful
• The Hitch-Hiker
• The Bigamist

...plus 63 more. View the full list on Letterboxd.

This is embarrassing.

1. The Tree of Life
2. Taxi Driver
3. Dancer in the Dark
4. Pulp Fiction
5. Parasite
6. Taste of Cherry
7. sex, lies, and videotape
8. All That Jazz
9. The Third Man
10. Apocalypse Now

...plus 14 more. View the full list on Letterboxd.

1. Three Colours: Blue
2. The 400 Blows
3. Cléo from 5 to 7
4. The ion of Joan of Arc
5. Amélie
6. Portrait of a Lady on Fire
7. A Man Escaped
8. Diary of a Country Priest
9. Le Samouraï
10. Breathless

...plus 25 more. View the full list on Letterboxd.

The Father of Montage.

1. Battleship Potemkin
2. Strike
3. The General Line
4. Alexander Nevsky
5. October (Ten Days that Shook the World)

1. 2001: A Space Odyssey
2. Oldboy
3. Taxi Driver
4. Barry Lyndon
5. Persona
6. It's Such a Beautiful Day
7. The 400 Blows
8. Angel's Egg
9. Eyes Wide Shut
10. Stalker

...plus 16 more. View the full list on Letterboxd.