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Post by Talentless Elvis Costello on Dec 1, 2019 1:37:41 GMT -5
watch Ford v Ferrari sweep lmao
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I Gave You Power
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dolores umbrage
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Post by I Gave You Power on Dec 1, 2019 9:48:55 GMT -5
Knives Out was legit stellar.
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jaredfromsubway
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Post by jaredfromsubway on Dec 1, 2019 12:16:38 GMT -5
Waves was solid. A Malick-esque story of forgiveness without all the corny god shit.
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guyincognito
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Post by guyincognito on Dec 1, 2019 13:24:11 GMT -5
Damn ghetto Superstar was the jammy jam back den
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lil stormy
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Post by lil stormy on Dec 1, 2019 15:18:25 GMT -5
I still have to see Parasite, Lighthouse, Uncut Gems and a bunch more, but the movies i liked most this year so far:
Once Upon A Time in Hollywood
The Irishman
Low Tide
Light Of My Life
Adopt A Highway
Dolemite Is My Name
Burning
Vice
John Wick 3 i guess
i'm sure i'm forgetting some
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Athrenody
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Post by Athrenody on Dec 1, 2019 15:27:59 GMT -5
I really enjoyed The Report, the use of a lot of what is in the actual summary was really well done. Reminded me of All The Presidents Men at times.
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jaredfromsubway
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Post by jaredfromsubway on Dec 1, 2019 15:47:48 GMT -5
That's probably on all our end of the year list, bear no shame stormy |
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☭ Bob Loblaw ☭
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Post by ☭ Bob Loblaw ☭ on Dec 3, 2019 0:19:18 GMT -5
Waves was solid. A Malick-esque story of forgiveness without all the corny god shit. Was definitely picking up on the Malick influence, glad I’m not the only one. I dug it as well. I’m a pretty big fan of It Comes At Night and was curious if this movie would go as dark as it’s predecessor. Well, in that one particular scene, yes it sure did. |
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andrewwhatever69
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Post by andrewwhatever69 on Dec 3, 2019 2:40:29 GMT -5
Watched Beach Bum and Mystic River tonight. I ended up actually enjoying beach bum. Mystic River rules.
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☭ Bob Loblaw ☭
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Post by ☭ Bob Loblaw ☭ on Dec 3, 2019 14:28:35 GMT -5
I still have to see Parasite, Lighthouse, Uncut Gems and a bunch more, but the movies i liked most this year so far: Once Upon A Time in Hollywood The Irishman Low Tide Light Of My Life Adopt A Highway Dolemite Is My Name Burning Vice John Wick 3 i guess i'm sure i'm forgetting some A few I still need to catch (A Hidden Life, Uncut Gems, Marriage Story, Pain And Glory, The Report, Portrait Of A Lady On Fire), but so far: Parasite The Lighthouse Climax Midsommer Once Upon A Time...In Hollywood Ad Astra Us Jojo Rabbit Waves The Nightingale Do you guys count movies that technically got a festival run the year prior? What’s the general concencuss here? |
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jaredfromsubway
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Post by jaredfromsubway on Dec 3, 2019 14:50:22 GMT -5
If it got officially released to the public this year, I allow it
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☭ Bob Loblaw ☭
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Post by ☭ Bob Loblaw ☭ on Dec 3, 2019 15:12:44 GMT -5
If it got officially released to the public this year, I allow it Cool, then yeah I’m leaving Climax and The Nightingale on my list. |
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pbcookies
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Post by pbcookies on Dec 3, 2019 23:03:51 GMT -5
I liked the Irishman, but don't think it ranks with Scorcese's best (admittedly a very high bar).
I felt it spent a great deal of time simply moving the plot and not exploring the themes of the film. Maybe it's a lukewarm take to say it doesn't justify its length, but a lot of the union politics and mob machinations just didn't feel especially vital to me. The film is packed to the gills with all-time-great actors who can convey a great deal within small economical spaces, but the length of the film has them beating the same drum(s) repeatedly.
Scorcese is one of film's great masters of tone, and it was great to spend time in the atmosphere of the film, but it felt a little too comfortable, a little too getting-the-band-back-together for me.
It's still like a B
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jaredfromsubway
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Post by jaredfromsubway on Dec 4, 2019 1:48:30 GMT -5
1917 was cool, better than Dunkirk. Deakins must win every cinematography award.
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I Gave You Power
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Post by I Gave You Power on Dec 4, 2019 9:20:12 GMT -5
Watched Brick last night, that movie had such an absurdly weird tone to it. It was very good (especially from a cinematography standpoint), and it told an interesting story but putting what was a real hard-boiled noir crime story into a high school ecosystem made it feel so odd. I know that was a directorial choice and I'd give the movie a solid 'B', but still.
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lil stormy
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Post by lil stormy on Dec 4, 2019 9:32:49 GMT -5
Watched Brick last night, that movie had such an absurdly weird tone to it. It was very good (especially from a cinematography standpoint), and it told an interesting story but putting what was a real hard-boiled noir crime story into a high school ecosystem made it feel so odd. I know that was a directorial choice and I'd give the movie a solid 'B', but still. I know that movie gets a lot of praise and I liked the story and characters, but the whole think felt awkward to me. I get what the director was going for, and it is unique, but I couldn't take it seriously. |
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bentenn
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Post by bentenn on Dec 4, 2019 11:39:34 GMT -5
If anyone wants to follow Live tweeted awards from New York Film Critics Circle: twitter.com/nyfccAFI TOP 10 FILMS are announced today at like 2pm National Board of Review yesterday kicked off the Awards Season by giving Best Movie to THE IRISHMAN, Best Director to TARANTINO, and then ADAM SANDLER for Actor, PITT for Supporting, ZELLWEGGER for Actress and KATHY BATES for Supporting (for RICHARD JEWELL) PARASITE best Foreign |
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jaredfromsubway
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Post by jaredfromsubway on Dec 4, 2019 11:45:38 GMT -5
That AFI list is only going to consist of films done by AFI alumni
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Deleted
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Post by Deleted on Dec 4, 2019 11:53:15 GMT -5
1917 was cool, better than Dunkirk. Deakins must win every cinematography award. So excited to see 1917. |
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bentenn
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Post by bentenn on Dec 4, 2019 20:09:37 GMT -5
AFI TOP TEN
“The Farewell”
“The Irishman”
“Jojo Rabbit”
“Joker”
“Knives Out”
“Little Women”
“Marriage Story”
“1917”
“Once Upon a Time … in Hollywood”
“Richard Jewell“
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Deleted
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Post by Deleted on Dec 4, 2019 20:18:38 GMT -5
watched Mother! last night. weird fuckin movie.
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Post by 𝖒𝖊𝖔𝖜𝖋𝖚𝖓𝖈𝖙𝖎𝖔𝖓 on Dec 4, 2019 20:24:20 GMT -5
Watched Brick last night, that movie had such an absurdly weird tone to it. It was very good (especially from a cinematography standpoint), and it told an interesting story but putting what was a real hard-boiled noir crime story into a high school ecosystem made it feel so odd. I know that was a directorial choice and I'd give the movie a solid 'B', but still. I love this movie and it's the main reason I'm excited for Knives Out |
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bentenn
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Post by bentenn on Dec 5, 2019 10:40:47 GMT -5
Knives Out is such an improvement over anything Johnson's ever made. It felt like anyone could have made it, really, and thats a good thing.
I'm starving to see more Ana De Armas, including a reunion with Craig in the next Bond, where she looks simply stunning.
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bentenn
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Post by bentenn on Dec 5, 2019 18:47:47 GMT -5
Does any one person make more films that are come-and-go than Todd Haynes?
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Athrenody
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Post by Athrenody on Dec 5, 2019 20:57:33 GMT -5
Knives Out is such an improvement over anything Johnson's ever made. It felt like anyone could have made it, really, and thats a good thing. I'm starving to see more Ana De Armas, including a reunion with Craig in the next Bond, where she looks simply stunning.
This next Bond is one I'm really looking forward to. Fukunaga directoring and Rami Malek as the villain. Ok. On top of the screenplay being punched up by the creator/writer of Killing Eve...
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guttertech
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Post by guttertech on Dec 5, 2019 21:08:35 GMT -5
Does any one person make more films that are come-and-go than Todd Haynes? Safe is one of my all-time favorites, but dude's filmography seems all over the place when I've tried to dip into some of his other stuff. |
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guttertech
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Post by guttertech on Dec 5, 2019 21:58:01 GMT -5
Saw some good stuff this week:
The Sea and Poison (1986) - Based off a Japanese novel by the author who Scorsese adapted Silence from, and dealing with culpability for Japanese war crimes in the form of vivisections of American POWs and how various medical personnel found themselves involved either willingly or almost by chance alone. Seems like some of the touchiest subject matter possible for both countries involved, and it's never gotten an official home video release in the US. Despite being made in the '80s, it's shot in B&W and looks a lot like Japanese films I've seen from the 1960s, to the extent that I was looking it up afterward to see if it was something that WAS filmed in the '60s and got shelved for years. The inevitable comparison would be like the artsy, more introspective cousin of Men Behind the Sun. The actual surgical scenes are brutally uncomfortable and there's a sense of inevitability and dread accompanying the movie's thematic tension between fate and freewill under extraordinary circumstances.
Woman in a Twilight Garden (1979) - Belgian WWII drama that examines the ambivalence of the country's involvement in the war through a woman's relationship with two men on opposite ends of the political spectrum. Her husband (played by Rutger Hauer!) is a Flemish nationalist who enlists with the SS when the Nazis invade Belgium, and while he's gone, she's essentially taken captive in her own home by a member of the resistance who she falls in love with, and is later aided by to escape vigilante punishment for her collaborator-by-association status when Belgium is liberated. Was a little lukewarm on this one since it felt like it was trying to probe at morally gray territory of survival in wartime and the ugliness of post-war punishment without going particularly deep.
Martha (1974) - Fassbinder TV movie that might replace The Burning Bed for most depressing thing I can imagine airing on television. Bitter Tears is the only other Fassbinder I've seen, but this was the same kind of emotional cruelty and manipulation that left me feeling exhausted by the end.
The Third Part of the Night (1971) - Another WWII drama, this time from Zulawski of Possession fame. I first saw this a few years ago, and it still holds up as an extremely ominous film that reminds me of way later stuff like Antichrist or Hereditary. I got a little bit lost in the slew of quotes from Revelations, appearances of doppelgangers, and close-ups of lice, but basically if you liked Possession or are in the mood for frenetic handheld camera work and hysteric shellshocked performances, certainly worth checking out.
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Post by Talentless Elvis Costello on Dec 5, 2019 22:24:30 GMT -5
Does any one person make more films that are come-and-go than Todd Haynes? how dare you |
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bentenn
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Post by bentenn on Dec 5, 2019 22:25:24 GMT -5
Does any one person make more films that are come-and-go than Todd Haynes? Safe is one of my all-time favorites, but muchacho's filmography seems all over the place when I've tried to dip into some of his other stuff. I like a lot of his movies. It just seems one day he’s put out a new movie and the next day it’s forgotten. Dark Waters is getting terrible treatment. Even Carol, as critically acclaimed as it is, didn’t feel that way at the time. |
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bentenn
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Post by bentenn on Dec 5, 2019 22:26:31 GMT -5
Does any one person make more films that are come-and-go than Todd Haynes? how dare you Haha I meant this coming from an angle of a fan! That his films are under appreciated at the time, and treated poorly. My bad I guess lol. Read above! |
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