4v291o
Michael Haneke, have you ever felt a pleasant feeling?
Perplexing and paranoia-filled slow burn. I’m torn on whether I can honestly say I enjoyed this because of the ending.. but it’s effectively ambiguous and I respect the level of detail. Applaudable lead performances as well.
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This wanted to be a quirky indie buddy comedy so bad, but it ended up being the most thinly sliced generic-brand Wes Anderson wannabe movie I’ve possibly ever seen.
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See the future, prank your past self, get the girl next door. This movie is so clever and fun, it never gets old!
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The unexpected nature of events and the character building in this film were incredibly successful. I had some preconceived notions about what I thought this would entail, and yet it veered into more emotional territory and human subject matter than I would’ve guessed. There are a few scenes that made me incredibly nervous, but they were wrapped up differently than I feared they were going to. I wasn’t super convinced by the lead performance initially, but I grew to found it fantastic. Surprisingly, and kind of devastatingly, quite relatable.
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Peak teenage angst nostalgia film, I wanted to be Bliss Cavendar so bad. Soundtrack still hits and so many fun people are involved in this!
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This feels like a 70s psychedelia-infused, low budget Moonrise Kingdom with a little less emotional gravity and some quirkiness that doesn’t always pan out. It’s creative, the coloration is visually pleasing, and I liked the kid adventure plot, but the fantasy elements got a little tangled and it ended up feeling underdeveloped. Some of the screenwriting and acting was off. I did enjoy the subtitles for the youngest character, though, that was funny. It seems like a decent start for this director but it wasn’t all there for me.
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There are few words to describe this film aside from infuriating. Complete waste of two hours, bad story, awful concept, hated it. The only thing somewhat interesting is the production design, but why should I care?
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Geez, why does nobody talk about this movie??
An unpredictable adrenaline rush, thoroughly entertaining, and so well performed. Sean Penn is great and Gary Oldman, as usual, absolutely crushes it. You can see how this role paved the way for his performance in Leon: The Professional. The way he’s able to completely transform himself into a character blows my mind every time.
For a mob movie, I found the setup to be unique. It manages to be a sort of character study without sacrificing a really engaging plot-line. I suggest going into it totally blind.
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I’m in physical pain from belly-laughing and smiling through this whole thing. This was so much more enjoyable than I imagined it would be - such a crazy, wild plot that managed to keep me on the edge of my seat the whole time. Tim Robinson is the funniest human alive, I think. Great theater-watching experience too.
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This review may contain spoilers.
Geez, I haven’t seen a more harrowing mother-son relationship since Goodnight Mommy. I probably saw this a good 8 years ago and I thought I ed it being pretty straightforward. I was surprised by this rewatch - the visual aesthetic and textured cinematography is gorgeous. But it also succeeds in being viscerally disturbing, too. The red overtones and the various substances - the tomato sauce being thrown at the beginning of the movie, the baby food thrown at the fridge, the paint splattered on the map-lined walls and the red paint thrown on the exterior of the house.. it’s effectively icky. The whole thing is deeply punishing and difficult to stomach.
The film explores feelings I just can’t imagine having.. a mother’s repulsion to her own son, a son’s disdain for his mother whose feelings toward him are instinctually felt.. I don’t think it necessarily excuses what happens but there is some serious parental neglect going on. The kid spends his childhood berating you, walking all over you, testing boundaries which effectively don’t exist, eventually killing the family hamster and causing harm to his own sister.. at a certain point it’s really your fault you didn’t intervene sooner. Good grief.
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Not gonna lie, kinda subpar short film but The Record is 10/10 and stays on repeat !!!
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Mood: Mickey Rourke as Motorcycle Boy letting out all the animals at the pet store
I’m such a sucker for modern black and white movies, and this one certainly used the monochrome to its advantage. Stylistically, this is incredible. The cinematography is gorgeous and I think the performances are all-around great (between this and Drugstore Cowboy, Matt Dillon is so underrated). Honestly the quality of this film feels so underrated.. I’d go so far as to say I like it better than The Godfather and I find it to be Coppola’s best direction so far.
Added to Francis Ford Coppola Ranked
Personal Cannon
My Top Narrative Features
Black & White Movies
A profound visual experience. Layered, humanistic storytelling that goes far beyond a simple narrative structure. Life itself, nature, relationships, origin, the universe, man’s curiosity about God, so much else is explored in this film. The grandeur is so immense, and the cinematography is absolutely unreal. Like nothing I’ve seen before.
I just love how Terrence Malick is able to utilize camerawork as a physical element in his filmmaking. It’s closer to a paintbrush than anything else. His films are painterly, in the most poetic sense.
Added to Terrence Malick Ranked
+ my Personal Cannon
Kind of like that one movie, The Piano Teacher. Only it’s a period piece love triangle and I don’t feel all that sorry for the protagonist.
This movie is definitively whack. There are so many bizarre choices here. Like what is the narrative value of the lead having a daughter? The mother-daughter dynamic was confusing. And I question nearly all of the characters’ decisions. Ultimately I just don’t think I understand the tone of Jane Campion’s movies.
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Pretentious eyeroll manic pixie garbage. And I understand that the argument it’s making is that women are actually three-dimensional human beings, blah blah. It’s still incredibly surface. Sadly no amount of Paul Dano could make this script less insufferable.
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Not what I was expecting at all.. I went in thinking that this would be a dramatic character study, and in some ways it was, but the overall tone and the gratuitous scenes made it almost unwatchable. It’s sickening though purposeful, which I can grasp, but I still don’t understand the value.
Up until the last 10 minutes I had pretty much made my mind up about what I thought this was about - a girl so entrenched in shame and grief, compulsively eating to withstand or to cope with the things that happen to her sister and perhaps her own general lack of control - only to have the whole entire plot flipped on its head. It turned from a sort of bland Jane Campion-esque drama to something teetering on Michael Haneke or The Vanishing in of trauma and dread. I truly don't know what I’m supposed to do with this!! I agree with all the reviews I’m seeing expressing concern and confusion because that’s where I’m at.
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There is a terrifying subgenre of coming-of-age movies that center around middle school and explore all the anxious feelings you have when you’re that age, and this movie does it perfectly. It’s written so specifically, with stutters and imperfections built into the script which read as natural and utterly relatable.
Eighth Grade is successful at being so uncomfortable to watch for much of the runtime, because it inherently reminds you of your own experiences in middle school. And yet, the tone is earnest and empathetic. It’s a great little character study, and Bo Burnham succeeds at crafting his specific tone without the crass or even much of the comedy he’s typically known for. It’s great to see another aspect of his work (I really wish he’d make more movies). It’s a subject matter I didn’t totally understand him tackling on a first watch, but seeing interview clips and rewatching this has totally contextualized it for me. In some ways, many of the themes he explores in Inside show up here too.
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Great storytelling, great performances, engaging plot, but this is truly Dustin Hoffman’s movie. He embodies this character so fully, it’s incredible. I know it’s been said, but geez what an actor.
There’s something to be said about second-wave feminism playing a part in this divorce and custody battle, and ultimately Meryl Streep’s character’s predicament. I know it’s a complex situation, but it was pretty impossible for me to have sympathy for her. It’s unfortunate there had to be a custody battle at all, but at least there’s a somewhat happy ending.
Dad goals!
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I don’t understand why Elizabeth Olsen has so few roles showcasing her acting range.. she’s fantastic in this movie. As a whole, the movie is kind of an unsettling slow burn / character study, and it’s aesthetically pretty despite its rough subject matter. It felt a little bit innocuous though, not all that original and the ending didn’t wrap things up in a way that kept me too interested narratively. The primary reason to watch this film is for Olsen’s performance.
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I expected this to be a bit more sinister and thrilling. It has its moments.. and Robert Mitchum is great, but his performance pales in comparison to The Night of the Hunter.
Liked it better than the remake!
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Bo Burnham’s behind the scenes of the behind the scenes
The final stop on my personal Burnham tour 2025. Bittersweet.
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What a special, unique, and truly cinematic experience. Bo Burnham opens a window to the creative process, the grueling and rigorous work of a longterm project which is ultimately incomparable to all his other specials. It’s on a complete other level. Comedic timing, silly (but terrifically performed) songs, seriously original content still applies, but the film format opens things up in a vastly more intimate and emotionally potent way. Inside will intrigue you, fascinate you, disturb you, concern you, and make you appreciate the mind of an artist like Bo all the more.
This was a special rewatch for me, because I had previously only seen it once upon its initial Netflix release and my reception of it this time was much different. I appreciate the craft of something so meticulous - the endless hours, days, months spent tediously constructing every bit of this. Writing, directing, and editing this himself is so impressive. It borders on genius territory.
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Don’t get me wrong, there are some songs in this that are brilliant and sort of timeless (Art is Dead, Oh Bo, and I’m Bo Yo in particular). But you can see in retrospect that his comedic style is totally in its infancy. He hadn’t figured out the right pacing for his jokes and a lot of substance gets lost in shock-value for the sake of shock-value.
Also, I can’t log Zach Stone Is Gonna Be Famous obviously because it’s a tv series, but I just rewatched it and I love it so much. I’d give it an 8/10. Concept is hysterical and it feels like an encapsulation of such a particular time. Bo Burnham utilizes awkwardness perfectly.
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This was a really delightful, fun watch. Such tender themes brought to life with great characters and performances. The screenwriting and humor is balanced with detail and excellent cinematography. Definitely a comfort movie, I already look forward to watching it again!
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A well-intentioned movie but it reads like a poorly produced X-files episode. A bit cliche and not very well-written.. even babyface Jim Caviezel couldn’t save it.
Edit: do you ever watch a movie for no real reason other than that you shuffle your watchlist and it pops up, only to have it come up in conversation days later? I hadn’t heard of this movie up until a few weeks ago. Three days after watching it my coworker referenced it while making a joke. I just think that’s crazy!
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I’m unwell because I’m rewatching Bo Burnham specials and I’m rewatching Bo Burnham specials because I’m unwell.. Irony can be so (autotune) painful
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I like the part when Bo Burnham
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I can’t believe I put this off for so long. Why does nobody talk about this film? It was not at all what I thought it would be, and yet I should learn to expect the completely unexpected when it comes to Park Chan-wook. This was incredibly eerie, atmospheric, well-edited, and the transitions are masterful. Exceedingly well-cast. A full 99 minutes without a moment wasted. I hesitate as to whether this is truly an 8 or 9/10, but maybe a future rewatch will help me fully decide.
Added to Park Chan-wook Ranked
And My Personal Cannon
My response to this film is pretty similar to Sorcerer - it was well-made and there were successfully thrilling moments, but I didn’t feel engaged with the characters and I generally struggled to connect with it. I don’t really have much more to say about it than that. Poster is sick though.
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Male friendships be like: We had a standoff shooting at each other’s hats and now we’re best buddies!
This was definitely better than A Fistful of Dollars - the pace was a lot more watchable and lots of fun, badass fight scenes. Loved the framing in this film, there are some great landscape shots too. On to GBU!
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A beautiful, painful film about loneliness, longing, and the death of the American Dream. Incredible performances from Voigt and Hoffman, which kind of goes without saying but can’t be overstated. The emotional depth just guts you.
I thought this was fantastically edited, with the dreamlike cuts and montages. Really crafts a reality - a three-dimensional atmosphere and characters. Good movie to watch when you yourself are feeling a little lonesome. But it’s also kind of hopeless which is nothing less than discomforting.
Added to
Favorite Performances of All Time
Personal Cannon
My Top Narrative Features
I’m not sure why this is such a comfort film for me, but I love it. Despite its imperfections, in spite of its sometimes ham-fisted feminism and perhaps surface-level storyline, it still manages to prod at deeper emotions. Namely because Carey Mulligan plays her role fantastically.
I loved the parallels between this and The Night of The Hunter, which I never really noticed before. The song Pearl sings on the boat playing over the most gut-wrenching scene in this movie makes it hit different. And there’s a blink-or-you’ll-miss-it clip from the movie that Cassie’s parents watch early on. Just a nice touch.
I could do without the entire last 30 minutes, but I guess it had to end somehow.. It’s not a perfect movie. But it’s got a sweet spot for me.
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The fact that this took me four days to get through and I managed to fall asleep in the last half hour is through no fault of this truly great thriller (I blame my general exhaustion level being at this point in the semester for my struggle getting through this). Bette Davis is absolutely remarkable - I’m immediately adding this performance to My Favorite Performances of All Time list. There are some really lasting narrative elements here, I enjoyed this classic a lot!
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Performances are like an 8/10 but the film as a whole was kinda mid. For such a serious subject matter I was surprised it didn’t go to a darker place with it. The whole thing remained pretty surface-level.
Honestly Meryl Streep outshines everyone in this. Also Viola Davis being nominated for best ing actress for a single scene/essentially a monologue is kinda crazy. She didn’t carry as much weight as Amy Adams did.
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If this it was literally anybody else playing “death” in the flesh besides Brad Pitt, this movie would have a completely different tone. But alas, it works, because who couldn’t love him?
I thought this was a surprisingly sweet and entertaining story. I liked the score. I thought the characters were interesting. It was pretty good!
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This review may contain spoilers.
I feel like the marketing for this movie was better than the actual movie.. I had high hopes after seeing the trailer but it didn’t hold to my expectations. For starters, the pacing of this movie felt incredibly slow and drawn out - it in no way warranted its two-hour runtime. It felt stiffly performed, which is a shame because there are some typically good actors in this who I imagine were just poorly directed and fed a weak script. There are greater failures like the lack of emotional depth which it really necessitated due to the subject matter.. we don’t get enough time to learn about the characters or the nuances of their relationship before the tragedy happens, which makes the flashbacks trite and their connection (as well as much of the other character interactions in the film) surface-level. There is some really cliché dialogue sprinkled in there, like…
“You need to go home.”
“I can’t go home.”
“Why?”
“Because she’s not there.”
(And yet, bro eventually does go home)
The whole story, including the twists and the way the protagonist is constantly able to outsmart the entire CIA just isn’t believable to me. This movie lacked a lot the depth that I believe could’ve saved it from being ordinary and at times even a little boring. Watching it on the big screen (IMAX, no less), I was hoping to see some sort of creative risk or ingenuity in this film or narrative but was disappointed by its lack. Bummer, but I still had fun going to the theaters with my family.
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Oasis is a remarkable and truly unique film, it is unlike any other movie I’ve seen. It’s a difficult watch.. at times it’s so painful, but it is also so effective at building these characters and their connection, and at inciting empathy from start to finish. The lead performances from Moon So-Ri and Sul Kyung-gu absolutely blew my mind… they completely embody these characters with such thorough detail, I can hardly believe they truly aren’t them.
I sobbed when Jong-du cut down the tree to rid Gong-ju of the shadow on her bedroom wall. Wow.. I am shaken by this movie and this extraordinary, peculiar love story.
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This movie is good, and it’s arguably Fincher’s best, but the whole thing is relatively whatever in comparison to Rooney Mara’s absolutely excellent performance as Lisbeth Salander. I didn’t really care for her before I saw movie, and this has changed my opinion on her entirely. Seriously one of the most badass, complex, interesting female characters ever, brought to life with equal aggression and carefulness. I could watch a prequel and a sequel of Mara’s Lisbeth and probably still want to see more of her.
Not gonna lie, the movie as a whole didn't hit as hard the second time around, but the first time I saw it I was floored. It’s a great, dark thriller mystery. “Why don’t people trust their instincts?”
My Favorite Performances of All Time
I’m not going to pretend I understood literally any of this.
The cinematography is truly something else, the camera movements are incredible and visionary. I appreciated many visual aspects of this film. But the story, which I know is definitively surrealist and purposely nonlinear, was just so difficult for me to get into. I imagine I will make more sense of this on a later watch, but right now it’s a bit much for me.
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“Sometimes, when I lie awake at night I wonder whether I’ve lived at all. Is it the same for everybody, or do some people have a greater talent for living than others? Or do some people never live? They just exist.”
This film is an emotional upheaval. It’s dialogue-heavy, it’s complex, and it feels so utterly realistic. Incredible performances from Liv Ullmann and Ingrid Bergman, who play these characters with such specificity and depth. As the movie goes on, you can see just how great the wounds are, and how this has overshadowed their relationship entirely.
I’m a bit speechless, mostly because I feel I lack the ability to describe the depth of character study and mother-daughter relationship turmoil explored here. It was painful to watch in ways I was unprepared for, but I can’t stress enough how well-made and well-written it is.
Added to My Favorite Performances of All Time
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Gorgeous colors, and a 17-minute full-scale, beautifully-set ballet sequence that makes up for a lot of far less interesting plotline in my opinion. I understand why this is considered a great visual film, but I was a bit underwhelmed by it as a whole. I think just not really my kind of movie.
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I forgot how incredibly dark this gets.. Robert Mitchum is so menacing. There are moments in this film that are truly terrifying. It feels really modern for 1955 - it accomplishes so much in a mere 93 minutes. I found it so fantastic on this rewatch that I have to bump it to a 10/10.
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Yura Borisov is my Russian movie crush ❤️
This was real special. I love the quiet, tender moments of slowly-built connection. Lyokha karate-kicking snowballs at the train stop. A bit melancholy but a subtly well-written narrative. Just a solid film.
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Giulietta Masina gives arguably the greatest character performance I’ve ever seen. From the very start of this film, you become completely captivated by this character. The way the narrative is set up comes brilliantly full-circle in a way that is so crushing. Technically, this film does so much more than I have the vocabulary for. The way it frames the events of this story visually is masterful. There isn’t a wasted second.
We see Cabiria experience so many levels of pain and heartache - being continuously manipulated, and in many small ways, neglected. In some situations her existence seems almost ghost-like - she floats through spaces and interacts with people with a curious distance. People fail to see her in her entirety.
Somehow, she remains so eccentric, even optimistic. There are a few moments of great humor. Not to mention, Masina’s *incredible* facial expressions that so specifically visualize her inner thoughts and feelings. On the flip side of this humor, however, there’s a sense of painful longing. In an awkward situation, there’s an equally sad reality.
At times when she is humiliated, she’s resilient and mouthy and stands her ground. But in her utter humanness, her deepest desire to be cherished and no longer neglected, she lacks the ability to see the telltale signs, the red flags all around her which keep her in this cycle of hopeless feelings. The things that lead this story to its bitter finale.
In the last 20 minutes of the film, my stomach was completely twisted in knots. You don’t know what is going to happen, and yet you know exactly what’s bound to happen. You prepare yourself for disappointment, but Cabiria is too blinded by hope to see it coming.
I’m speechless. What a movie. What an incredible performance. Something I will inevitably come back to and study.
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The Good:
- Clint Eastwood is so cold as The Man With No
Name (his name is Joe)
- The third act turned my rating from a 5 to a 7/10.
Once it finally picked up pace, I liked the action
- DIY bulletproof vest, he’s crafty
- Lotta hard stares
- The music was fantastic. Overtly influential on
Tarantino’s Kill Bill: Vol. 2, especially the buried
alive scene (the music and a few shots are
direct references!)
The Bad:
- I was very bored until the last 40 mins
- Pacing in general contributed to my struggle to
engage with it
- Not all-around wonderful actors
The Ugly:
- It’s so, so poorly dubbed. Like.. painfully bad.
Excited to watch what everyone says are far superior sequels!
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Incredible, heartbreaking masterpiece. A beautiful and devastating character study, gorgeous cinematography… so observant and empathetic in its visuals and lead performance. Undoubtedly an influence on the likes of Lynn Ramsay’s Ratcatcher and lots of Andrea Arnold’s work. Didn't expect to be bawling my eyes out at the end of a movie about a bird but, here we are.
This film was very emotionally affective and well made, I respect this so much and feel like I have just opened the door to a director I’m going to love. Excited to watch more of Ken Loach’s filmography.
The art of the plot twist!! I love the end title that says not to spoil what you saw to your friends.
The ending genuinely floored me - I loved it so much. It made the otherwise drawn out slow-burn mystery so worthwhile. I was going to say it genuinely did not seem to be a horror movie at all up until the last 10 minutes, and then I totally changed my mind. Definitely solid classic horror stuff. My jaw is on the floor.
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Rewatching this 6 years after seeing it in the theaters was a great experience. I don’t know how I managed to forget how wonderful this movie is - how jam-packed it is with great narrative, awesome characters, and a really killer ending.
I think this might be Tarantino’s best production design - the 1960s Hollywood sights and sounds are so well-curated. I love all the sound bites from commercials and television shows, of course the soundtrack is excellent, and there’s a lot of details in the posters, food packaging, furniture.. it’s a movie that feels straight out of that era while still being really modern and fast-paced.
There are a lot of special little performances here (alongside two really great lead performances that go without saying). Mikey Madison is just off the chain. It’s fun seeing so many stars from his older movies make appearances too.
Bumping this up on my Tarantino rating for sure - this is such an epic combination of so many great attributes of his filmmaking. It goes to show just how much this guy appreciates movies.
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POV you’re a counterfeit bill wreaking havoc on the lives of innocents
Aesthetically beautiful film - the blue-green hues are gorgeous, and the framing is remarkable. I love the way the camera zeros in on such specifically prioritized imagery.. there is rich texture and beauty described in the visuals.
It seems a bit ironic to me that I watched this immediately following Bicycle Thieves without really knowing about the plot of either. Both are incredibly unfortunate, though moving, storylines where money and greed are explored and the endings are anything but hopeful. The conclusion of this movie was a jaw drop. Need to watch something lighthearted now, everything is very heavy.
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Me watching this movie: Bro where is that bicycle??!
It took me a while to get invested in what initially seemed like a very simple narrative, but ended up being a compelling exploration of a moral conundrum. Does one accept the trials and tragedies that come upon them and deal with the fallout, or does immense struggle justify the sacrifice of morals in an act of desperation? The ending is nearly crushing, the storytelling is great.
Also, Bruno is like the most stand-up kid I’ve ever seen.
]]>- The Brutalist
- Nickel Boys
- Black Bag
- Lawrence of Arabia
- Mad Max
- Thief
- The Raid
- La Strada
- The General
- Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
...plus 13 more. View the full list on Letterboxd.
]]>First-time viewings of 2025
- Logan
- The Master
- You Were Never Really Here
- Babygirl
- True Romance
- About Time
- The Wild Robot
- Rebel Ridge
- Snowpiercer
- Maelström
...plus 98 more. View the full list on Letterboxd.
]]>A masterlist of all director ranking lists. Movies currently featured on this list are my #1 pick for each director. To qualify, I have to have watched at least 3 of their films.
In Alphabetical order:
A
Abel Ferrera
Agnes Varda
Alejandro Gonzalez Inarritu
Alex Garland
Andrea Arnold
Ari Aster
D
Danny Boyle
Dario Argento
Darren Aronofsky
David Cronenberg
David Fincher
David Lynch
Denis Villeneuve
E
Edgar Wright
F
Francis Ford Coppola
Frank Henenlotter
J
Jane Campion
Jeremy Saulnier
Joel + Ethan Coen
John Carpenter
John Cassavetes
John Hughes
Jordan Peele
M
Martin Scorsese
Michael Haneke
Michel Gondry
P
Park Chan-wook
Paul Thomas Anderson
Paul Verhoeven
Peter Weir
R
Richard Linklater
Ridley Scott
Robert Eggers
Robert Zemeckis
S
Safdie Brothers
Sam Raimi
Sean Baker
Sofia Coppola
Spike Jonze
Spike Lee
Stanley Kubrick
Steven Soderbergh
Steven Spielberg
T
Terrence Malick
Terry Gilliam
Tim Burton
Ti West
W
Wes Anderson
Wes Craven
William Friedkin
- Ms .45
- Cléo from 5 to 7
- The Revenant
- Ex Machina
- Fish Tank
- Midsommar
- Mickey 17
- Shallow Grave
- Suspiria
- The Wrestler
...plus 49 more. View the full list on Letterboxd.
]]>- Marty Supreme
- One Battle After Another
- The Bride!
- The Legend of Ochi
- Novocaine
- Roofman
- By Design
- The Alto Knights
- Opus
- If I Had Legs I’d Kick You
...plus 20 more. View the full list on Letterboxd.
]]>- Parasite
- Candyman
- Isle of Dogs
- Inglourious Basterds
- Jurassic Park
- Sneakers
- Toys
- Let the Right One In
- Young Frankenstein
- The Bird with the Crystal Plumage
...plus 175 more. View the full list on Letterboxd.
]]>Some films I’ve seen + some films I haven’t that have beautiful posters
- The Lobster
- Night Games
- Indecent Desires
- The Cremator
- Come to Daddy
- Network
- Kes
- Lord of the Flies
- Super Fly
- The Abductors
...plus 124 more. View the full list on Letterboxd.
]]>3 hrs +
- A Brighter Summer Day
- An Elephant Sitting Still
- Once Upon a Time in America
- Lawrence of Arabia
- Heaven's Gate
- Eureka
- The Brutalist
- Seven Samurai
- The Human Condition I: No Greater Love
- Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles
...plus 9 more. View the full list on Letterboxd.
]]>Nobody recommended it, I just said what the heck and pressed play. Then I loved it.
- Good Morning
- Police Story
- Walkabout
- Where Is the Friend's House?
- Drugstore Cowboy
- Mommy
- The Piano Teacher
- Rosetta
- Irma Vep
- Ratcatcher
...plus 3 more. View the full list on Letterboxd.
]]>- The Fighter
- Hot Fuzz
- RoboCop
- There Will Be Blood
- Upgrade
- Mystic River
- Jarhead
- Beyond the Infinite Two Minutes
- Natural Born Killers
- Alien
...plus 13 more. View the full list on Letterboxd.
]]>Every movie I seeing on the big screen (and yes, that includes childhood)
Favorite big-screen viewings: Alien, American Honey, Gravity, Nope, The Shining, Zola
- Alien
- American Honey
- Aloha
- The Amazing Spider-Man 2
- Astro Boy
- Avengers: Age of Ultron
- Avengers: Infinity War
- Avatar
- The Batman
- The Beach Bum
...plus 125 more. View the full list on Letterboxd.
]]>Inspired by my brother’s list. If it’s within 5 minutes of 3 hours, it counts.
- The Godfather
- Schindler's List
- Magnolia
- Meet Joe Black
- The Wolf of Wall Street
- The Hateful Eight
- Beau Is Afraid
- The Batman
- Titanic
- The Green Mile
...plus 4 more. View the full list on Letterboxd.
]]>Black + white movies are superior.
- Night of the Living Dead
- Godzilla
- The Night of the Hunter
- Psycho
- Cléo from 5 to 7
- Frankenstein
- Carnival of Souls
- Lord of the Flies
- La Haine
- The Lighthouse
...plus 31 more. View the full list on Letterboxd.
]]>- The 400 Blows
- Paris, Texas
- Picnic at Hanging Rock
- Walkabout
- Sid and Nancy
- RoboCop
- Brazil
- Peeping Tom
- The ion of Joan of Arc
- Carnival of Souls
...plus 125 more. View the full list on Letterboxd.
]]>Films that zero in on a particular person or persons, often are more observatory/visual than narrative, explorations of human life
- Fish Tank
- When You Finish Saving the World
- The Believer
- Ghost World
- Punch-Drunk Love
- Thirteen
- Eternal Sunshine of the Spotless Mind
- Half Nelson
- Precious
- Take Shelter
...plus 51 more. View the full list on Letterboxd.
]]>Inspired by Letterboxd’s Top 250 Narrative Features list, this is my companion to the concept. All list items are currently discluded from the official list but I think they should be considered.
- Fish Tank
- System Crasher
- Mysterious Skin
- The Piano Teacher
- Possession
- The Breakfast Club
- Amélie
- Léon: The Professional
- Moonrise Kingdom
- The Florida Project
...plus 27 more. View the full list on Letterboxd.
]]>A collection of movies that in some form or another, exhibit qualities that I love about cinema. Some favorites, some comfort movies, some watches that altered my perceptions about filmmaking.
Notes in-progress.
- The Thing
The Thing is my favorite movie of all time. I love the story, the practical effects, the way it constructs an environment and such high-stakes thrills. It’s totally etched in my brain - every scene is awesome. To me, it’s a perfect film.
- Days of Heaven
This movie is incredibly atmospheric and the cinematography is gorgeous. When I saw it, I felt instantly enamored with it. I love the narration by Linda Manz, whose voice is so rich and unique. The score is one of the best aspects of this film - it evokes so much emotion and beauty. The camerawork feels so tactile, so textural. And the storyline is great too. It’s all-around wonderful filmmaking.
- The Cabinet of Dr. Caligari
- Sherlock Jr.
Sherlock Jr. is a true display of the joys of movie-making. It’s imaginative, playful, and its influence is undeniable. It was my first Buster Keaton film, and I really loved it. Its humor, especially for the time it was made, really holds up.
- The ion of Joan of Arc
- Nights of Cabiria
- The Night of the Hunter
- Possession
I had the privilege of experiencing this on the big screen, which made the legendary subway station scene that much more grandiose and terrifying. The whole ordeal is haunting - it’s a slow, creeping nightmare with incredible lead performances. When I watched this, it recontextualized the entire horror genre as I had known it or felt I understood it up until that point. It feels like a totally unique experience for a scary movie - it could never be described as simply that.
- Amélie
- Kill Bill: Vol. 2
...plus 126 more. View the full list on Letterboxd.
]]>- Seven Samurai
- Hard Boiled
- The Seventh Seal
- This Is Spinal Tap
- Shock Corridor
- Dead Ringers
- High and Low
- M
- Andrei Rublev
- Time Bandits
...plus 117 more. View the full list on Letterboxd.
]]>If I could give Spike Lee’s Oldboy negative stars I sure would.
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