Letterboxd 5019o Tom Brice

PlayTime 3o1x21 1967 - ★★★★½

Fri, 6 Jun 2025 10:26:40 +1200

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Playtime (1967) is a very famous comedy by the legendary French director Jacques Tati. Tati only made six films, operating as the director, writer and lead actor. Playtime (1965) took three years to make, and is often his best work. It sees the return of a reoccurring character, Monsieur Hulot.

The film follows Hulot as he gets lost in a high tech maze of modern architecture. It’s a perfect set to a classic politically savvy slapstick comedy with plenty of running jokes and clear references to Chaplin.

However, beyond this, the film is quite hard to describe. There is no real narrative, protagonist, or three act structure. It more films like a serious of isolated vignettes / skits within Tati’s own world.

Playtime (1965) is full of movement and vibrancy. Every shot is full of detail and things happening in the background, and this is often the root of the humour. Typically, the camera tracks Hulot as chaos unfolds around him, but occasionally Tati uses extended still frames in a long shot. This is really effective in providing you more time to see a scene unfold and have the whole picture when all the other characters might not. One scene in particular that comes to mind is the display on giant windows on a busy street, characters cut off by frames and barriers. There is no dialogue or music, only background traffic noises. This technique is a perfect contrast to the otherwise frantic rhythm, and adds another comedic layer.

My favourite sequence is in the hotel restaurant, where staff rush to complete construction and decoration as guest arrive. A server even holds the door knob and mines opening a door that has just been smashed to fancy guests. It’s brilliant humour, and feels very British / Monty Python esque.

I absolutely loved this film. It’s a completely unique experience and clear labour of world. There are times when it feels more intellectually stimulating than funny, and I’d require a rewatch to understand the nuanced social commentary’s, but it’s a landmark achievement nonetheless.

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No Other Land 582s1r 2024 - ★★★★½

Thu, 5 Jun 2025 09:16:38 +1200

No Other Land (2024) is an achievement in documentary filmmaking that defies belief. Filmed over four years (2019-2023) with next to no budget, it focuses on a young Palestinian activist’s (Basel Adra) efforts to resist the forced displacement on his hometown Masafer Yatta in the West Bank by Israeli forces.

It received widespread critical acclaim and became the first Palestinian film to win at the Oscars. Despite this, active efforts were made to limit viewership, receiving no US distributor and having a very limited theatrical / streaming release particularly in the US. due to its political stance.

As documentaries go, No Other Land (2024) is surprisingly simple. Adra chronicles and captures his personal experiences of forced military displacement and the impact it has on the community. It touches on wider issues, but does not go into any depth on the history of the Israel - Palestine conflict, or over utilise ing text. Lots of the footage is unplanned, showing reactive responses to sudden violence - e.g. at a peaceful community protest. This is very shocking and powerful for audiences.

The documentary is also very thoughtful and heartfelt. I love the focus drawn to the relationship Adra builds with a sympathetic Israeli journalist. The bond is close and brotherly, but also fraught and inevitably strained. It facilitated long candid conversations about how Adra can remain resilient and optimistic in the face of incredible hardship. As a viewer, it was also interesting to hear them lament western apathy towards these types of conflict and debate techniques for wider exposure and engagement. One scene in particular stands out in my memory, with Adra retelling a visit from Tony Blair which immediately let Isarel to cancel their plans to demolish the school - ‘This is a story of power’.

Emotional authenticity, primary footage, and societal importance are all hallmarks of an excellent documentary. No Other Land (2024) feels honest, raw, and full of integrity. It uses candid primary footage and avoids the trap of documentary filmmakers using set-up scenes, dialogue or lighting to influence audience opinions.

It’s a tough watch, but completely necessary. 4.5/5.

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Mishima 1b4412 A Life in Four Chapters, 1985 - ★★★★½

Wed, 4 Jun 2025 11:28:20 +1200

I was very excited to watch this film for three main reasons. Firstly, it is one of the few films from the official Letterboxd 250 list that I haven’t seen; Mishima: A life in four chapters (1985) is hard to find! Secondly, it was written and directed by Paul Schrader, who had a big partnership with Martin Scorsese in the 70/80’s writing the screenplays for Taxi Driver and Raging Bull, two of his best films.
Thirdly, it’s often considered one of the best biopics of all time, a genre I often struggle to enjoy.

The film certainly didn’t disappoint. It is unusually thoughtful and meditative as a biopic, exploring the key influences to his work and values throughout his life. The four chapters: Beauty, Art, Action and Harmony of Pen and Sword, are thematic as well as chronological, and each chapter uses a distinct colour palette. This is beautiful and elevates the cinematography to a new level. It also helps mitigate any confusion from chapters overlapping or merging with flashbacks.

All Chapters are equally beautiful. In Chapter 1, we focus on Mishima’s childhood, introduction to theatre, and key influences of his late Grandma : ‘you are a delicate flower, you shouldn’t leave the house’. The film weaves in Mishima’s real poetry and words throughout and this works perfectly : ‘For most people, the body precedes language. For me, words come first’. Chapter 2 is much more focused of his career and body of work, while Chapter’s 3 and 4 transition into his realise for the need to take action ‘words are a deceit but actions are never deceitful’.

The film also actively addresses rumours around Mishima’s sexuality, which remains a disputed subject to this day. In fact, his family withdrew for the film when their request to remove a scene with him in a gay bar was removed. Modern consensus is that he was bi-sexual, and this is implied in a beautiful mirror shot to cover half his face, and then overlap both sides. His sexuality is of course not important, but bias in portrayals towards historical figures or ission of key controversial details is often a key reason why Biopics fail. Mishima does not have this short coming, and deserves credit.

Mishima: A life in four chapters is a beautifully crafted film which would only grow in value when re-watched. The cinematography is the true standout. It uses carefully choreographed still frames, often in long shot to display scale, colour, beauty and symmetry. This is contrasted with other occasions of watercolour like overlaps and transitions, and dramatic slow zooms on faces, adding real ambition and surrealism. The soundtrack is also fantastic, with beautiful orchestral strings that provides suspense, rhythm, and engagement throughout, particularly impressive in a film this long.

My only criticism is the films complexity around timelines, and inevitable ending which didn’t film fully impactful.

It completely merits a spot in the Letterboxd 250, and will rank as a top 3 biopic for me alongside Malcom X (1992) and Amedeus (1984), but will not in my top 100 films of all time. 4.5.

Letterboxd 250 Official List Ranked: boxd.it/vmtt6
Favourite Biopics Ranked: boxd.it/vQqc2
1980’s Films Ranked: boxd.it/vQP06
Films with the most beautiful cinematography: boxd.it/EYZn2

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Dazed and Confused 486sd 1993 - ★★★★

Wed, 4 Jun 2025 09:23:00 +1200

Dazed and Confused is the fourth Richard Linklater film I’ve seen after Boyhood (2014), School of Rock (2003), and Before Sunrise (1995). I initially felt these films were quite different; transitioning between a sweeping childhood epic, comedic kids rock film, and a romantic melodrama. In reality, they are all connected by the directors ion to focus on youth, connection and identity through the coming of age genre.

Dazed and Confused (1993) certainly meets this criteria, following an ensemble cast of seniors and freshers on their final day of school in May 1976. As an audience, we observe an interesting dichotomy between Freshers trying to build confidence to impress women / avoid senior’s traditional ‘punishments’, and Seniors with their own fears and frustration about leaving school. Linklater challenges US high school culture, and the normality of sadistic fraternity / sorority initiations within a classic stoner comedy set-up. The effect is quite jarring and effective in my opinion, and part of the reason why the film has gone up to achieve cult status.

I think the film raises interesting questions around power and social norms, and several characters are shown to exploit high school traditions for their own sadistic gain. There is an understanding that their status comes from fear and their own insecurities. The film also explores conscious bystander behaviour repeatedly getting audiences to question if there any situations at all where characters won’t turn a blind eye in the name of self preservation. Some of this feels quite basic / cliched, but it’s certainly impactful within the context of the film.

Stylistically, Dazed and Confused (1993) is memorable for its soundtrack. Linklater boldly used 1/5 of the budget on soundtrack and it worked perfectly, adding 70’s nostalgia and emotion throughout. Finally, it would be amiss not to mention the fortune of the film offering breakout roles for Matthew McConauhey and Ben Affleck, both with lines that are still iconic to this day.

Ultimately, Dazed and Confused (1993) can be enjoyed in different ways, and this is its key strength. It is extreme and quite damming of US culture with poignant ages, but also straightforward, comedic and entertaining when needed. As a 90’s film I don’t think it has aged perfectly, but I’d still give it a 4/5.

1990’s Films Ranked: boxd.it/vQQaQ
Coming of Age Films Ranked: boxd.it/x26dC
Richard Linklater Films Ranked: boxd.it/HBzpM
Top 600 Films Ranked: boxd.it/vGmD4

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Licorice Pizza 3y666q 2021 - ★★★★

Wed, 28 May 2025 11:16:16 +1200

Paul Thomas Anderson is a director who never fails to impress. All his films have a uniquely odd tone which is hard to pin down, and Liquorice Pizza (2021) is no different.

Liquorice Pizza is a classic coming of age romance movie. The catch? Gary (played by Cooper Hoffman) is 15 and Lana (Alana Haim) is 25. Both actors are fantastic, brining unfiltered energy and young unknown stars. Gary is confident, successful, well liked/connected, and unrelenting in his pursuit of Lana. In contrast, Lana is lost, overshadowed by her family, and has no real place or purpose. Despite the age difference, Gary allows her to explore her feminist more, and by consequence feels powerful and wanted. This is such an interesting premise, and twist on power dynamics within age gap relationships.

I expected the film to continue this exploration of age and gender, but it shifts quite drastically. Romance turns to business partnership, and business partnership to one-upmanship competition for power. Gary will seek Alana’s affection, be rejected, and then pursue other woman to make her feel jealous. Their connection is contingent on ego and power, not true connection. This is reinforced by the cinematography, with clever touches to ensure some of barrier or separation between them, often through windows and doors.

If Liquorice Pizza is an indictment of inauthentic romance, it is definitely an indictment of men. Gary is not simply cast young as a comedic quirk on age gaps, but to show that men with power can be criticised at any age. He cheats, exploits his influence, and loses interesting interest in moments that don’t benefit him. There are times where Gary’s more innocent teenage lust shines through, like the hilarious scene where Alana watches the news and Gary gets distracted by newspaper sex adverts. However, in general, I think he represents male exploitation of status, just like Sean Penn’s character.

Liquorice Pizza has a fantastic script and some hilarious one liners. The humour doesn’t always land but it doesn’t matter. The films odd nature, brilliant pacing ed by fast camerawork and fantastic soundtrack ensures audience intrigue towards the story and characters are maintained. It is also absolute US 70’s nostalgia, turned up to the max

It also has great central performances. Despite this, it’s hard to question whether it all came together. Liquorice Pizza has often been compared to Once Upon a Time in Hollywood (2019) and I can understand why. The cameo’s don’t really work (e.g. Bradley Cooper), and there are lots of subplots and storylines that feel incomplete. The film slightly lost its way in the final 40 minutes, and I couldn’t quite understand the character development or what it was ultimately trying to say. Having both characters be on and off romantically the whole way through is difficult. Although I’ve touched on the potential psychology behind this, it is still quite jarring. My only thought is that it’s perhaps a commentary on how ambition destroys creativity?

Overall, I can forgive Liquorice Pizza for its flaws and occasional lack of cohesion. Although it ranks lower than others in his collection, it still adds to his building legacy by creating a story that’s unique, controversial, thought provoking, and filmed in a way that creates non-stop engagement.

Paul Thomas Anderson Films Ranked: boxd.it/AssdI
Top 600 Ranked: boxd.it/vGmD4
2020’s Ranked: boxd.it/vQTlM

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The Last Temptation of Christ 116f53 1988 - ★★★★

Wed, 28 May 2025 09:55:01 +1200

The Last Temptation of Christ (1988) is often considered one of the most controversial films of all time. It tells a story of Jesus (played by William Defoe) as an ordinary carpenter who doesn’t realise he is the son of god. He becomes troubled by God’s voice in his head, and builds crucifixion crosses for the Romans to anger God and shut him out. This is unquestionably controversial, and became a central factor in the films budget constraints, limited theatrical release, and banned status which remains in some countries to this day. The ending is even more inflammatory. Jesus doesn’t die on the cross due to fear, and lives out the rest of his life as a normal man. Despite this, the Apostle Paul decides to lie and convince people that Jesus did actually die and then be resurrected. He tells Jesus how impactful this lie will be for faith and humanity. I can definately understand why this would hurt and anguish the christian community.

However, to describe The Last Temptation of Christ as mere shock value tactics and controversy for controversy sake is not a fair reflection of the film’s merit. The film is incredibly thoughtful and character focused, focusing all of its attention on Jesus’ internal battle with religion, morality and duty. There is limited violence, sex or action, everything is about introspection.

The film follows a classic Scorsese rags to riches narrative, with William Defoe’s rapid progression to become Jesus and gain followers. This matches many of his films Goodfellas / Casino etc, but does standout as being quite rushed. Although Defoe’s performance is excellent, his character does undergo dramatic personality / value set changes that can feel confusing and inconsistent, with switches between humility, arrogance, pacifism, violence in split succession. I understand it is aiming to showcase the difficulty for Jesus to navigate the duality of being a divine god with human flaws, but I think it could have been executed better, because the end result feels jarring and difficult for an audience.

Martin Scorsese’s three religious explorations: LTOC (1988), Kundan (1997), Silence (2017) go overlooked in his discography. They are challenging, introspective, and not necessarily geared for mainstream audiences. The Last Temptation of Chris (1989) is a valiant character piece, ambitious and controversial in equal measure. Ultimately, it is too long, slow and drawn out for re-watch value. It would have benefited from more memorable cinematography and music to stand alongside the heavy dialogue, particularly when telling stories of Jesus (water to wine, Lazarus) that we know so well. A low 4/5 feels fair.

Martin Scorsese Films Ranked: boxd.it/v5UJm
1980’s Ranked: boxd.it/vQP06
Most Controversial Films: boxd.it/CVSgE
Top 600 Films Ranked; boxd.it/vGmD4

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Adolescence 5dl6v 2025 - ★★★★½

Wed, 28 May 2025 07:42:47 +1200

Watched on Tuesday May 27, 2025.

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Gladiator 2h1zo 2000 - ★★★★½

Sun, 18 May 2025 10:44:29 +1200

Gladiator (2000) is an iconic 2000’s action film which defined Russel Crow’s career, and is in Ridley Scott’s top 3. It tells the story of a beloved Roman general who becomes a gladiator, and seeks vengeance on the emperor.

The film is an undeniable epic with powerful and poignant moments, despite its occasion excessive steer into cheese and melodrama. There is intensity and drama in every scene with acting, eye , dialogue, lighting, and soundtrack all performing their maximum. The fades, flashbacks and dream sequences work perfectly for the narrative. They are very outdated stylistically, but completely quintessential to early 2000’s cinema.

From the first arena battle you can see he loves the roar of the crowd and hates himself for it. It’s a key part of Russel Crow’s performance. My favourite scene is the family’s death. The decision to not show the bodies and focus on Maximus’ emotion and reaction in POV is perfect. Only seeing the charred feet, and Russel Crow having snot running down his nose (the take he instituted stayed in) are very powerful.

Gladiator is a very accessible film. Dialogue is designed to implicitly state key plot points, and the dynamics between characters (e.g. Maximus, Commodus and Ceasar) is made immediately. This increases enjoyment and focus on the action in my view.

I do wrestle with Joachim Phoenix’s performance. Is it overdone, or is this simply a reflection of the direction for the character?

In my mind, I view Gladiator as a great but not incredible film which is slightly overrated. Perhaps this is unfair. How can a film be overrated when it has iconic dialogue, ground breaking action, a decade defining acting? Gladiator knows what it wants to achieve and executes it perfectly within an epic action film genre, and there is absolutely nothing wrong with that. On rewatch a 4.5 (albeit lower down) still feels fair.

2000’s Films Ranked: boxd.it/vQRQI
Action Films Ranked: boxd.it/vQpne
Ridley Scott Films Ranked: boxd.it/v6wEa

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Revenge 4d4i4v 2017 - ★★★★

Fri, 16 May 2025 11:09:08 +1200

I enjoyed the Substance (2024), but it pushed me right to the edge of my comfort zone, with several scenes creating a visceral reaction in the cinema forcing me to look away. Coming into Revenge (2017), I didn’t know what to expect. Would it be as graphic, in your face, and controversially feminist? After 20 minutes I spotted several stylistic / thematic similarities and realised it would be just as extreme.

Coralie Fargeat has such a distinct cinematographic style unashamedly utilising extreme close ups, reflections through glass, and oversaturated colours to great effect.

Revenge (2017) manages to give life to ‘rape revenge’ / ‘exploitation films’ as an outdated, overdone and controversial genre. It does this within the fresh 2017 context of ‘Me Too’. We see male characters discuss: ownership ‘peachy ass of mine’, prey/predatory hunting ‘bring home our trophies like every year’, justifying a friends assault, and turning a blind eye to assault - closing the door to allow a ‘out of sight out of mind’ mentality. Revenge is one of the most damming indictments of men I’ve ever see, and two scenes stand out in relation to Me Too ideas. Firstly, there is Stan’s bloodied wind screen wiper as a metaphor for wiping away male guilt. Second, is Jen’s death, her body reminiscent of Jesus on the cross to showcase dying for our (male) sins.

Revenge (2017) also explores ‘Male Gaze’ in film and how it can be depicted most forcefully. Beyond language and objectifying low angle shots, prolonged eye is a key technique to portray male sexual intention / aggression. Stan is incredibly intimidating. He looks at her purely from a sexual perspective. The performances are excellent, very physical and primal to convey men as predators and women are prey within the context of the film.

Jen’s unrealistic survival is a key reason why the film received mixed reviews. To me, this isn’t a problem. Firstly, it has poignant links to religion and male guilt. Secondly, it fits within the horror/gore genre, and doesn’t need to be realistic amidst long sequences of extreme violence.

I did dislike some of the sequences in the desert. The colour grading made it look like a video game, and the gore with Stan’s foot felt unnecessary and stupidly comedic. This was rectified by the fantastic cinematography for the ending, where the volume of blood, Gore, colour and nudity intensity to new levels. Beautiful symmetry is created between character bodies and the shape of a gun, and Coralie contorts Richard’s wounded body in a very unflattering way.

This is a shocking, very inhuman film, which is not for the faint hearted, but beyond the sex, violence and gore I do believe it has something important to say.

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Some Like It Hot 5k6cj 1959 - ★★★★★

Fri, 16 May 2025 05:22:38 +1200

Some like it hot (1959) is a timeless comedy with one of my favourite directors Billy Wilder. The film is full of energy and rhythm, driven by a tight script, endless wit, and brilliant central performances from Tony Curtis, Jack Lemmon and Marlyn Monroe.

Similar to Sunset Blv (1950), Some like it hot is incredibly progressive around gender and relationships. Pitching a story where both central characters cross dress to an all female band in 1959 seems unthinkable. Having one of them embrace their new identity so much that they forget they are male and enjoy a relationship with a man is another level further.

Marilynn Monroe is iconic, the cinematography is perfect positioning characters around doorways to keep constant movement, and it has one of the best ending lines of all time.

Problems sometimes arise with the portrayal of female characters and Marilyn Monroe, particularly during the train scene where the low angles of feet and sheer number of women feels uncomfortable, boxed in like cattle. Marilyn’s character is overly sexualised (as expected) and a heavy drinker. This feels worse when knowing that she struggling around alcohol in her own life and often needed 30+ takes to complete a scene correctly.

Some like it hot has rightly go down as one of the most beloved comedies of all time, and I’ve rarely experienced a film so perfectly paced and scripted.

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The Northman 436k6p 2022 - ★★★★½

Thu, 15 May 2025 10:10:47 +1200

Robert Eggers has quickly established himself as an important 21st century director, pushing the boundaries of art house horror through ambitious larger than life surrealist cinematography and a meticulous focus on historical / mythological accuracy.

The Northman (2022), his third film, pivots away from horror towards an epic Viking action saga focused on family and revenge. It has a fantastic opening, immediately hooking audiences to the place, time and key characters. The first twist is quite predictable and cliched, but I think this is necessary within a familiar revenge film narrative. Genre tropes continue with Amleth receiving a prophecy from a soothsayer to map his path to revenge.

Like any Eggers film, praise should be directed towards the cinematography. Actions sequences are tightly shot and laser focused, helping to propel graphic violence to new levels. In contrast, the camera drifts, slows down, and zooms out in more contemplative moments when Amleth is overwhelmed or lost in his emotions and grief. Eggers is a master at flashbacks and dream sequences. Quick sequential cuts convey a huge amount of important information while staying visually unique and impressive. I also loved the post production monochrome filter used. It creates space for introspection and beauty through accentuating light, shadow, contrast, faces and fine details. Using it sparingly maintains its power. A similar success is made in Eggers decision to not over-do grand shots of landscape (despite a beautiful set), and ensure a focus on close ups to prioritise character development.

In addition, the film has a standout soundtrack. A mixture of draw of violin and strings, hypnotic drums repetition, and more unusual ethereal sounds kept me engaged and on edge throughout.

One criticism is that there is next to no romantic chemistry between Almeth and Olga. They need each other based on individual circumstances but lack spark.

The Northman is an amazing film with brilliant performances, beautiful cinematography and standout performances. However, it remains, at its core, a classic revenge film told within expected genre boundaries. It does not possess the otherworldly uniqueness and magic of the Lighthouse. With this in mind, it felt a low 4.5/5 was most appropriate.

Sidenote: it’s difficult to see an ending set by a volcano and not think of revenge of the sith.

Top 600 Favourite Films: boxd.it/vGmD4
2020’s Ranked: boxd.it/vQTlM
Top 200 Films Ranked: https://boxd.it/CT26S
Robert Eggers Films Ranked: boxd.it/GZW7U

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Nope n25b 2022 - ★★★½

Sat, 10 May 2025 05:19:28 +1200

Nope (2021) is Jordan Peele’s 3rd film. On the surface, it tells the tale of two siblings discovering predatory alien life within a Western Sci Fi backdrop.

I went in expecting a chilling horror with sharp social commentary like Get Out (2017), but Nope is very different, finding nuance in its exploration of several themes and genres which are not always presented in obvious ways.

Similar to his other films, there is a clear horror element. The word ‘Nope’ is used by Peele as a critique of horror tropes, allowing characters to make more sensible decisions. Horror films often require a ‘less is more’ principle to be scary. Nope is excellent at this, using soundtrack and animal sounds (largely scared horses) as key driving factors for hidden danger. However, this is to the detriment of the film’s exploration of interesting Sci-Fi. The fusion of Western genre tropes, with OJ’s character archetype, the sets, finding a mentor, and the final showdown horseback ending, was much more successful.

The film is equally complex thematically. As expected, Peele looks at institutionalised implicit racism, especially within Hollywood. At the start, an assemble of white Hollywood producers ignore / dehumanise him, and don’t know how to react to his name. There is also an exploration of animal cruelty; lights to scare horses, a chimp forced to perform in a sitcom, as well as the alien itself, repeated likened to have animal / creature behaviours. However, it is the exploitation and commodification of spectacle that is most prominent. The frequent use of mirrors asks audiences to reflect on societal consumerism, the alien is a metaphor for the inability to avoid the pitfalls of exploiting spectacle, and Jupe repurposes childhood trauma for capital gains.

Some of these themes are not immediately recognisable, and the films definitely has flaws. The idea of combining UFO conspiracy humour with alien terror did not work in my opinion. Perhaps this is harsh, but I also didn’t think there were any standout performances. Brandon Perea was cliched (albeit perhaps intentionally), Keke Palmer felt forced, and Daniel Kaluuya (an actor I love) was underwhelming even within his introverted and possibly neurodivergent character.

While watching Nope, it is easy to underestimate the films vision. Many people will see a convoluted Western Sci Fi Horror which lacks cohesion, and it is hard to disagree with this. At the moment, I can only authentically score it as 3.5 but I could see this increasingly. I think the film has more value, and I myself would benefit from a rewatch.

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Red Rocket 3a235z 2021 - ★★★★½

Fri, 25 Apr 2025 00:31:57 +1200

Red Rocket (2021) is a tough controversial film. Simon Rex plays Mikey; an ageing washed up male pornstar who returns home to Texas after Hollywood fame.

In some it is classic Sean Baker, we see drawn out exchanges between ordinary community figures, awkward comedy, and the often featured donut shop as a central space.

The controversy lies in the subject matter. Mikey decides to flirt, seduce, and date an underage teenager. There are not many films that explore this theme and for good reason. Some references, e.g. Lolita / American Beaty etc. always focus on the protagonist’s backstory, life story, hardship as a potential reason for their actions. Red Rocket is very different. Mikey is never authentic, he always has an agenda to lie and trick people close to him for his own gain. He can adapt to any person or situation. As the film goes on we realise he is completely shameless, never trying to hide his behaviour or even deny it to himself. There is no regret, no redemption, just a car crash trying to use others. I think that’s a very unusual and impactful way of exploring such a difficult subject matter.

The twist and ambiguous ending are perfect. Sean Baker, as always, is unique, ambitious, controversial, and memorable. It ranked N3 in his discography behind Anora and Florida Project.

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Anora 2j2b4m 2024 - ★★★★★

Thu, 24 Apr 2025 11:22:15 +1200

My third Sean Baker film after Tangerine and Florida Profect. Anora was absolutely amazing and not what I expected. It is far more glamorous and high budget than some of his other working class centric indie films, despite continuing a theme on female sex worker communities.

Anora tells the story of a high end stripper who becomes romantically involved with a young Russian man. The film develops in a very unexpected way, putting a twist on the traditional Hollywood narrative. Like all Sean Baker films, there is a strong focus on comedic dialogue and local community, which becomes a strong driving force for the film. His style is so distinct. It’s a film that’s difficult to digest due to genre switches but grows with time and rewatches. Igor is a huge audience vehicle more through observation than dialogue. It is hard to accept Ani’s gradual loss of power despite knowing this is probably inevitable. She shifts from anger to love to eventual fragility and resets to her default state which creates an extremely powerful and difficult ending that makes the film complete.

The often seen but not heard relationship between Ani and Igor is particularly amazing, but there are so many other standout performances. It is incredibly ambitious to create a film as heartfelt, original and comedic as Anora and this is why it stands out above the others Oscar contenders and as one of the 2020’s best.

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Daughters gm47 2024 - ★★★★½

Thu, 24 Apr 2025 09:10:04 +1200

Daughters is a beautiful documentary which focuses on the relationship between incarcerated American men and their daughters. It is a director debut from Angela Patton, who does a fantastic job at created a balanced approach on several important topics. The film reminds me of Sing Sing (one of my favourite films of the 2020’s) in its approach towards male mental health and openness. The life coaching sessions are amazing;, and it’s clear how much they all look up and ire him.

Patton also focused on the flaws of the American prison system. We are Shocked to hear how many prisons don’t offer face to face visits, and only do paid video meetings, it’s awful. The prisoners are forced to accept it; instead of being angry at the system they are grateful for the small moments they get. This is very powerful. I also like how the male perspective is only partial; and both the mothers and daughters are allowed to express their views / strong unhappiness on the situation to ensure a balanced of all events. The documentary truly represents individual views of what it means to be a father, mother, and child of a dad in prison. There is no director involvement in this, despite the overly stylised additional shots at times.

While viewing, you are ultimately waiting for the dad / daughter dance. This is a fantastic emotional pay off, and pushes the film to new levels in my option. I also love the 1/3 year later scenes. It is very profound to see someone in and out of prison every 6 months and never imprisoned after the program, as well as the significant change in Bre which they could have easily hidden.

I can only only criticise the documentary for its style. At times, the extra cinematography, music and lighting felt forced. The slow mo, pans, and moody skylines engineered a sense of drama and time ing that felt slightly insulting the audiences intelligence.

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Anomalisa 304e5q 2015 - ★★★★

Thu, 24 Apr 2025 07:30:12 +1200

Charlie Kaufman is one of my favourite writers. This is his second directed film behind Synecdoche, New York. It is is also his first animated film.

Anomalisa is a curious film about the worst aspects of men. It took me a while to understand, but the central concept is a film about a famous man who is depressed and sees everyone as looking and sounding the same. It creates an unusual viewing experience. The film shifts when he finds somebody he likes; the sheer joy of connection causes a change in visual imagery. It is obvious that this won’t last long particularly due to his fame, depression, and sexist male gave.

Lots ideas are explored, but I still question the film as a whole and its overall accessibility which is surprising for a film of Kaufman’s creation.

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Triangle of Sadness 6u2nr 2022 - ★★★★½

Thu, 24 Apr 2025 07:05:20 +1200

The Triangle of Sadness is one of the most ambitious, chaotic and unpredictable comedies you are likely to see. We meet Carl, a young man aspiring to be a model. The agency explain that expensive brands require grumpier models who look down on their consumers. We then move to Act 1, where Carl discusses an age old question with his girlfriend: ‘who pays the bill’. The issue is explored in depth and executed perfectly. It’s tense, funny, and very uncomfortable. Carl can’t get Yaya to understand his viewpoint no matter how hard he tries. It’s made even harder by the elevator constantly closing for comedic effect. She is manipulative and insincere, and their relationship is entirely transactional and based on stereotypical gender roles.

In act 2, Carl and Yaya guests on a luxury yacht. It goes from discussing gender and money, to class and race. The white middle class deck crew are juxtaposed with the working class staff on the lower deck largely compromised of non white immigrants. The top deck staff potentially receive tips, while the lower deck live in cabins that look and sound like prison cells. Throughout the film, crew work in the background, often cropped, blurred or out of focus. If they are the central focus, they are heard not heard, a seem, a reference to the customer service industry. Carl also complains about a crew member invading his space and being shirtless whilst he’s doing exactly the same.

In Act 3, currency becomes skill instead of status and finance. Abigail (the toilet cleaner) is the only person who can fish, light a fire and survive on an island. in spite of this, Paula maintains her normal character. Other guests also prioritise their usual preference towards wealth and entitlement and lose status. I love the scene where Paula thanks Abigail ( ‘good job Abigail’) in a long distance shot from the water, in an offensive way like a dog.

Only at the end do you realise the full contradiction and double standards of Carl. He does not have the morale high-ground. Asked not to do anything by Yaya he promised he wouldn’t, ultimately he does for his own gain. He dated Abigail for resources and gain, using manipulation and sex, ‘’I love you, you give me fish’.

I don’t think there’s much to analyse to be honest . Everything the film wants to say is very clear and on the nose. The only comment is that the boat represents fragile capatalism, the captain represents strong socialism (heavy waves), and the pirate attack is a revolutionary act.

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Full Metal Jacket 142qv 1987 - ★★★★½

Mon, 21 Apr 2025 01:28:39 +1200

Full Metal Jacket is an iconic anti Vietnam war film, and one of Kubrick’s best works. I enjoyed it even more on second viewing, spotting minor details and finding greater appreciation for the often criticised second act.

Ronald Lee Ermy gives a fantastic performance as the Marine’s course leader. His dialogue is fast, witty, and unrelentingly cruel towards the trainees. He gives so much energy, cleverly adding magical pieces of authentic army improv within Kubrick’s tight script. Vincent D'Onofrio gives an equally memorable career best performance as Pyle. The ending of act one is predictable and slightly rushed, but impactful nonetheless.

Joker is also a fantastic character, and embodies the key messages of the film. Joker is full of contractions. The born to kill helmet and peace sign badge is an obvious starting point, but there is much more. He Pyle and then betrays him. He also shifts from choosing a role that avoids conflict to suddenly being back in an active war zone and immediately settling back into life with the marines. This is a metaphor for the Vietnam War; he like everyone else, has no clear value set or reason for being there, and this is a good way to summarise the idea of the film. This idea is ed by the films unpredictable soundtrack and oddly comedic tone of dialogue, providing irony amidst the violence around them.

The action scenes in Full Metal Jacket are fantastic. Kubrick uses POV video game style camerawork to provide immersion in the war zone area. Large chunks are shot from a low angle, helping audiences feel on the ground level and see the full scale of what’s around them, and how small they are in comparison. In lots of these scenes Kubrick cleverly decides to omit music. This keeps the tension high and means you only hear gunshots. Narration is also kept to a minimum which I liked. When narration or music are used, it’s very impactful. The power is in their selectivity.

In certain scenes Kubrick’s influence on future directors is clear. Tarantino for example, was undoubtably inspired by the scene for Handjob’s death, with high angle camera work focusing on each individual in turn within a circle very reminiscent of inglorious bastards.

Full Metal Jacket and Apocolypse Now are the standout Vietnam War Films in my opinion. They are drastically different, and although FMJ is much much more comedic, brash and on the nose I think it edges it in of impact.

Top 600 favourite films: boxd.it/vGmD4
1980’s films ranked: boxd.it/vQP06
Stanley Kubrick Films Ranked: boxd.it/v5zoi
War Films Ranked: boxd.it/vPlR8

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The Searchers 705q3b 1956 - ★★★★

Mon, 21 Apr 2025 00:38:15 +1200

The Searchers (1956) has an iconic status amongst Westerns and is arguably John Ford’s most famous film. Overall I was very impressed. The searchers is not what I would associate with a ‘typical western’ like the good, the bad and the ugly. It is surprisingly dark, experimental and non-nostalgic, similar to Clint Eastwood’s Unforgiven. It is pioneering in presenting John Wayne’s character as an anti-hero. Who is cruel, unlikeable, and feared rather than respected by his peers.

I also loved the way it was shot. The cinematography for a film from the 1950’s is beyond belief. Each scene is sharp and vibrant, with perfect composition and lighting. Characters are carefully positioned to highlight power dynamics and social status within a particular scene. Only Michael Powell (Black Narcissus) or David Lean (Lawrence of Arabia) can really compete in my view for films from this era.

It also has an incredible soundtrack, which similar to the cinematography, is very effective in communicating core emotions and central themes. It also provides some light amidst gritty action and dialogue, cleverly tricking the viewer into thinking our hero will change, grow, and find redemption.

The combination of brave character choices, and simple but effective cinematography and music makes for a great watch. However, this is undone by the ending. After an excellent action climax the film decides to switch to a love triangle conflict for comedic relief. The women are forced to watch the fight from inside the house, eagerly iring their show of ‘masculinity’. The scene is cheap, dated, and full of sexist one liners. Beyond how badly this has aged, it is also very out of touch with the rest of the film and ruins the carefully constructed narrative and tension. Without this, it would be a 4.5/5 and in my top 5 westerns.

Top 600 Films Ranked - boxd.it/vGmD4 -
1950’s Films Ranked - boxd.it/vQNbm
Western Films Ranked - boxd.it/zlkQu

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Black Dynamite 5c402t 2009 - ★★★★½

Sat, 5 Apr 2025 06:23:47 +1300

Watched on Friday April 4, 2025.

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American Honey 69g1j 2016 - ★★★★½

Thu, 3 Apr 2025 11:42:07 +1300

2016’s Cannes jury prize winner, and for good reason in my opinion!

American Honey is a fantastic coming of age road movie focusing on youth subcultures, class, community, and aspiration to chase the American dream. Star (Sasha Lane) s a group of travelling sales people, and becomes initialised by their rules and lifestyle in the hope to find connection, respect and purpose.

This is built gradually across the 2 hours 40 minute runtime. This may sound slightly stereotypical or over-explored, but key factors ensure the film remain fresh, ambitious and engaging, even within a 2 hour 40 minute run time.

Sasha Lanes performance as Star was fantastic. Star is defiant, independent, and both emotionally volatile and vulnerable. Her emotion is often shown through eye rather than words, allowing audiences to build a genuine connection and understand the world alongside her in real time. This technique is interesting from a cinematography stance, and also promotes female gaze. Sex scenes / emerging attraction also seem very led from a female perspective.

The intensity, rawnesses, and vulnerability of Sasha Lanes performance as Star can only really be compared to some of Sean Baker’s female characters such as Halley (Florida Project) or Ani (Anora, 2024) in my opinion. These types of performances are challenging, confrontational and hard to forget, and is of huge credit to Andrea Arnold as a talented female British director.

The cinematography, soundtrack and performances are all wonderful. American Honey achieves a unique balance. It manages to give a gritty critique of America’s poverty, class differences, and forgotten youth, whilst maintaining authenticity, beauty, and hope.

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Lady Vengeance 45541w 2005 - ★★★★

Tue, 1 Apr 2025 10:16:59 +1300

Watched on Monday March 31, 2025.

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The Emperor's Naked Army Marches On 72144m 1987 - ★★★★½

Tue, 1 Apr 2025 10:15:54 +1300

This is a very strange film / documentary. It follows Kenzo Okuzaku on his quest to find, interview, and ultimately berate ex officers linked to the murder of two soldiers.

Kenzo is persistent, headstrong and angry when interviewing officers, often resorting to physical violence himself. This creates a tense and claustrophobic experience for the audience. It gets more powerful as it goes along with no one taking ability despite increasing seniority. The subtext is fascinating with shame, guilt and lies always evident in people’s body language.

I also found the low budget fly on the wall documentary style very refreshing. Kenzo leads the film entirely and the camera is simply trying to capture and keep up not select or edit to influence perceptions. He lays out his intentions from the start and simply invites you to follow his journey.

I only found this film as it’s one of Martin Scorcses’ favourite. Hardly surprising as a ionate figure funding and reviving lost cinema. Overall, I thought it was well paced, engaging, informative, and highly memorable.

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Sunshine 726k3h 2007 - ★★★½

Mon, 31 Mar 2025 05:34:53 +1300

A film that is completely comfortable wearing its influences on its sleeves. Danny Boyle’s ission of Alien (1979) and 2001 a space oddesy as key inspirations came as no surprise to me, and the film openly references them throughout, often to comedic effect. The action packed voiceover opening also immediately reminded me of Fight Club, which was also played homage to with subliminal split second freeze frames.

Sunshine is difficult to judge Watching for the first time in 2025. Danny Boyle clearly went all out on budget to create a striking visual spectacle. It is powerful, but it’s also hard to not feel like some of the CGI is already quite dated. I was more impressed by the cinematography in some of the close ups and use of blurred vision to convey fear, madness and horror.

I felt similar confusion judging the action sequences and plot progression. Certain scenes were fantastic, full of drama tension, poignancy, and surprise. I also loved the genre shift. However, in other parts, cheap foreshadowing caused plot twists and character deaths / sacrifices to become incredibly predictable.

Likewise, the soundtrack and pacing were excellent, always keeping the audience engaged, but the casting felt misplaced and certain performances were surprisingly poor.

Like most Danny Boyle films Sunshine cannot be knocked for its ambition, style or style, or humanitarian touch. However, my lasting impact is of a film with flaws, chaos, and missed potential that fails to stand up to his greatest works.

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The Conformist 6h391y 1970 - ★★★★½

Sun, 30 Mar 2025 05:47:11 +1300

Watched on Saturday March 29, 2025.

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Nocturnal Animals b3oo 2016 - ★★★★

Sat, 29 Mar 2025 12:04:27 +1300

Watched on Friday March 28, 2025.

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You Were Never Really Here 53345g 2017 - ★★★½

Tue, 25 Mar 2025 12:26:37 +1300

Watched on Friday March 21, 2025.

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God's Own Country 2d5w5r 2017 - ★★★★½

Fri, 21 Mar 2025 06:59:45 +1300

Watched on Thursday March 20, 2025.

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Silence 281t2k 2016 - ★★★★

Fri, 21 Mar 2025 00:32:13 +1300

Watched on Thursday March 20, 2025.

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House of Tolerance 47l1i 2011 - ★★★

Thu, 20 Mar 2025 06:37:08 +1300

Watched on Wednesday March 19, 2025.

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Audition 2kke 1999 - ★★★½

Thu, 20 Mar 2025 06:36:59 +1300

Watched on Wednesday March 19, 2025.

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Who Killed Captain Alex? 626n5q 2010 - ★★★★½

Wed, 19 Mar 2025 10:37:00 +1300

Watched on Sunday March 16, 2025.

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Anora 2j2b4m 2024 - ★★★★★

Mon, 17 Mar 2025 11:57:05 +1300

Watched on Sunday March 16, 2025.

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Holy Motors 206b1b 2012 - ★★★★½

Sat, 15 Mar 2025 06:49:42 +1300

Watched on Friday March 14, 2025.

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Phantom Thread 393w8 2017 - ★★★★★

Tue, 11 Mar 2025 07:53:03 +1300

Watched on Monday March 10, 2025.

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Y Tu Mamá También 322w4s 2001 - ★★★★★

Tue, 11 Mar 2025 07:52:50 +1300

Watched on Sunday March 9, 2025.

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Exotica 6i1o3r 1994 - ★★★½

Tue, 11 Mar 2025 07:52:36 +1300

Watched on Sunday March 9, 2025.

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Mickey 17 296tq 2025 - ★★★★

Sun, 9 Mar 2025 22:48:45 +1300

Watched on Saturday March 8, 2025.

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The Cabinet of Dr. Caligari 1571c 1920 - ★★★★½

Fri, 7 Mar 2025 12:42:53 +1300

Despite watching 10/15 silent films from the 1920’s/1930’s, there are still many occasions where I struggle to stay engaged with the material. I don’t think I’m the only one. The clear exceptions have been Buster Keatons genius stunts in Sherlock Junior, timeless humour from Chaplin, and the beauty / intensity of The ion of Joan of Arc.

The Cabinet of Dr Caligari (1920) is a German Horror about a hypnotist using a patient as a catalyst for murder. The story / performances are excellent, but what makes the film so special is the sets and soundtrack. Weine uses beautiful painted backdrop sets, allowing the town / coordinator to become abstract, artistic and other worldly. This distinct aesthetic is reinforced by the written narration boxes.

The score is odd, both intense and melodic, and equally memorable. Both create inescapable audience engagement.

This is now the oldest film I’ve ever (apart from a trip to the moon) and it certainly didn’t disappoint!

1920’s/1930’s Ranked! https://boxd.it/vQMl6
Top 600 films Ranked: boxd.it/vGmD4
Horror Films Ranked: boxd.it/B9ZU2

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Sans Soleil 4t3a1m 1983 - ★★★½

Fri, 7 Mar 2025 12:15:23 +1300

A experimental French film with Documentary footage overlayed by female narration / poetry. About as Art House as it’s gets. It presents some interesting ideas around contemporary cultures to the 1980’s e.g. Japan. Critics argue some of these ideological reflections are basic and pretentious but I would tend to disagree as many thoughts felt poignant and impactful. I did however struggle to stay engaged due to the absence of structure and constant switching of locations / ideas.

I don’t think I could recommend this to a friend, especially if they didn’t have exposure to experimental cinema, surrealism or challenging material. It doesn’t have repeat value

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Threads 1ud53 1984 - ★★★★

Wed, 5 Mar 2025 12:47:56 +1300

I can’t imagine what it must have been like for UK audiences to watch this amidst reignited Cold War tensions. Extensive research allowed Mick Jackson to provide a faithful ‘sci fi’ simulation on what could happen in a nuclear attack aftermath.

Nothing in the film feels exaggerated, overproduced or fanatical. This is due to Jackson’s decision to use a simple linear narrative and documentary like style, which provides realism and unavoidable audience connection.

Despite this, as a modern viewer watching for the first time, I can’t help but feel like the film is slightly dated, particularly in of its sets, effects and acting. Perhaps this is unfair, but in my opinion, Threads’ lower budget limits its ability to match larger scale nuclear or anti-war films, and have the same cinematic impact.

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Enter the Void t422n 2009 - ★★★½

Tue, 4 Mar 2025 12:15:15 +1300

Watched on Monday March 3, 2025.

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The Brutalist d6e2s 2024 - ★★★★

Tue, 4 Mar 2025 09:57:14 +1300

Watched on Monday March 3, 2025.

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Birdman or (The Unexpected Virtue of Ignorance) 413d5l 2014 - ★★★★★

Mon, 3 Mar 2025 11:32:01 +1300

The limited cuts nature of this film makes it completely polarising to audiences. In my mind, the subject matter is far more important and impactful than the style. Birdman is a very clever anti superhero satire that examines the mental health of an ageing famous theatre actor who is losing relevance.

The film is entirely unpredictable and can be interpreted in different ways on each re-watch, particularly in relation to the ending. I view this as a worthy Oscar winner that firmly sits within my top 30 films. It is very emotive and ambitious, which is not surprising for such an inventive and acclaimed Mexican director.

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Monsters 553i1b Inc., 2001 - ★★★★★

Mon, 3 Mar 2025 07:46:46 +1300

My all time favourite Pixar film (which is saying a lot)! so creative, funny, emotive and inventive. It’s a film that can barely be faulted, apart from some slightly outdated CGI for sully. The uniqueness and soundtrack is what sets monsters inc apart from other Pixar classics. It’s truly a joy for adults and children alike

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Wild at Heart m3o6z 1990 - ★★★★

Mon, 3 Mar 2025 06:03:33 +1300

Nicolas Cage was perfectly suited to this role. It is definitely one of the more straightforward and coherent David Lynch films (which isn’t saying much). It also contains the most genuine hope, optimism, and romance which is quite refreshing. Despite being slightly forgotten in Lynch’s collection, I would argue it’s one of his strongest. Aspects of horror and surrealism are still present, and the cinematography is very memorable and vivid.

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The Salt of the Earth 1u5q2j 2014 - ★★★★½

Sat, 1 Mar 2025 00:39:33 +1300

A beautiful and simple documentary that explores the ages of sebastiao salgado’s life through his photography.

Wim Wender involvement as director and narrative gradually decreases, and the story of salgado’s life and images is recounted by Salgado himself.

Salgado has an amazing body of work bringing light to famine, war and injustices across the globe. The messages are very touching and human. The only fault is that the documentary never questions Salgado’s life choices, and long periods of absence from his son in childhood, particularly with the son as co director.

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Conclave 1l6f3b 2024 - ★★★★

Fri, 28 Feb 2025 06:11:24 +1300

Conclave tells the story of a cardinal (Ralph Fiennes) tasked with appointing the next pope following the predecessors death. He discovers corruption, and questions whether anyone is a worthy candidate.

I loved the cinematography, soundtrack, script, story and tension, but found the ending quite anticlimactic and out of place with the rest of the film. It also arguably lacks ambition. We’ve seen many films explore catholic church corruption in recent years and Conclave didn't expand the analysis. Although Ralph Fiennes, Stanley Tuchi, and John Lithgow were all excellent (as expected) it felt like very safe and standard roles firmly within their comfort zones.

Oscar worthy? Perhaps for some categories, but certainly not for best picture in my opinion

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Cries and Whispers d3w6r 1972 - ★★★★

Wed, 26 Feb 2025 05:07:21 +1300

Watched on Tuesday February 25, 2025.

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The Last Picture Show 3o2d58 1971 - ★★★★½

Tue, 25 Feb 2025 10:53:04 +1300

The last picture show is an ambitious and slightly controversial Oscar winner. It is a 70’s coming of age drama focused on sec and relationships in a town with Texas town with limited opportunities and lots of sadness. Innovation comes with its exploration of men presenting insecure teenage toxic masculinity and women finding Identity from losing their virginity and the female gaze (aka the pool scene). The black and white cinematography works perfectly, especially when framing portraits in shadow, and the acting is first class. I particularly enjoyed seeing Jeff Bridges breakout role as younger actor. To me, TLPS and paper moon are on a par, and both staples of 70’s American cinema.

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