Cinema Addict - 2098 Film Rankings
Member Since: Nov 8, 2006
Location: Oklahoma City, Oklahoma, USA
Bio: Since my early teenage years, cinema has been my primary form of education. A travelogue which has afforded me experiences I otherwise have not had the opportunity of enjoying: of different eras, locations, languages, cultures, methods of thought. It's a fulfillment damn near spiritual.
My ratings are divided into five points for a more generalized representation of quality. The less reliance on nitpicky numerology, the better. I have awarded a sixth point to films which have had the largest and longest lasting influence on my own cinephilia. They are my all-time favorites, hence a movie is never given a six on first viewing.
The filmmakers who are most important to me include Chantal Akerman, Woody Allen, Robert Altman, Paul Thomas Anderson, Ingmar Bergman, John Cassavetes, Joel & Ethan Coen, Jules Dassin, Werner Herzog, Alfred Hitchcock, Buster Keaton, Masaki Kobayashi, Stanley Kubrick, Akira Kurosawa, Fritz Lang, Sergio Leone, Richard Linklater, Sidney Lumet, David Lynch, Terrence Malick, Jean-Pierre Melville, F.W. Murnau, Yasujiro Ozu, Michael Powell & Emeric Pressburger, Satyajit Ray, Nicolas Winding Refn, Jean Renoir, Eric Rohmer, Roberto Rossellini, Martin Scorsese, Hiroshi Teshigahara, Francois Truffaut, Ming-liang Tsai, Denis Villeneuve, Orson Welles, and Billy Wilder.
|5 T10||Night Moves (2014) - Feb 16, 2018
"Here again Reichardt undermines genre, having less regard for high concept scenarios than for the psychologies of characters; normalized and ordinary folk upon whom extraordinary circumstances exert great pressure. Of course her suspense thriller is different from other suspense thrillers, and even so among its own thematic lineage - the unmistakably Russian Crime & Punishment, Match Point's cultured internationality - Night Moves is a stitch in this unique filmmaker's patchwork of Americana."
|3 T6||Baby Face (1933) - Feb 14, 2018
"It's exciting to see this salaciousness in old movies, but the gender roles remain rather quaint. It's still the mother or the whore, only this film has the guts (and lack of censoring oversight) to be about the latter. Swift and to the point, there is no subtlety here, but that's part of a lurid and outlandish appeal. What a vehicle for Stanwyck, the camera highlighting and dwelling on her figure and features: the details of her hair, clothing, and indeed, her legs. And she owns it with gusto."
|4 T8||Everybody Wants Some!! (2016) - Feb 13, 2018
"It might be easy to dismiss this as a superficial retread of Dazed & Confused, but that's a mistake. This film adheres to a pattern and theme which is altogether different than the former's laissez-faire attitude. The task of fitting in is Sisyphean; a perpetual rotation of cliques and genres, parlor games and psychological sparring. Linklater's charm is the optimism of youth; these characters come of age with bright eyes. "Be yourself" is trite, but it's a conclusion come by entertainingly."
|4 T8||The Private Life of Henry VIII. (1933) - Feb 09, 2018
"Laughton's embodiment of pomp and vanity is a thing to behold. This is a funny picture, but apart from the titan lead performance, perhaps it is most striking in moments of unexpected poignancy: Anne Boleyn facing execution with grace, Culpeper's unrequited love, and an aging Henry who longs for companionship."
|4 T8||Wooden Crosses (1932) - Feb 08, 2018
"A companion piece to All Quiet on the Western Front but less verbose in its pacifist sentiment, eschewing the politics and propaganda of the former film in favor of a more abstract depiction of the inevitable specter. Many decades of anti-war cinema have taught us that, of course, War is Hell, but here is a film over which death looms like few others, and presented with far advanced technique. The Ten Days passage is one of the great battle sequences ever filmed."
|5 T10||Inside Llewyn Davis (2013) - Feb 06, 2018
"It's the winter of 1961 and time has capsulized. Amusement gradually dims into melancholy as it becomes apparent that Llewyn's disappointments aren't arranged in a string so much as he simply exists in a sustained and habitual state of self-defeat. It's never new, and it never gets old."
|4 T8||Get Out (2017) - Feb 01, 2018
"To take deeply serious thematic material and treat it with tropey genre motifs. The result is a tongue only partially in cheek, self-reflexive satire which inspires uncomfortable laughter. The sheer enthusiasm with which this has been filmed and performed is infectious."
|3 T6||The Edge of the World (1937) - Jan 26, 2018
"This early work from Michael Powell actually seems like something of a precursor to neorealism, and its authentic capture of niche agricultural life on an obscure island specifically resembles Stromboli. The acting is not very good, but what tremendous visual grace. The landscapes are divine."
|4 T8||The Shape of Water (2017) - Jan 26, 2018
"Del Toro's visions are always uniquely twisted, but here is an especially unexpected and fearless representation of sexual nonconformity. Each of these characters might be largely defined by their sexual appetites, and the various ways they fail to comply with cultural values. The heroes are empathetic outliers - one disabled, one unfettered and animalistic, another gay, another unhappily married - and the villain is at the very least an abuser, if not an outright rapist."
|5 T10||Phantom Thread (2017) - Jan 20, 2018
"Measured and mounted with sophistication, a decorum illustrative of its milieu but counterpoint to its very soul. Not content with simplicity, Anderson's absurdist streak shines through when Phantom Thread takes a deep, dark dive into bizarre and unpredictable territory. Sociopathy is the least of these characters' disturbances. The reciprocity of love and detest makes for the cruelest mind games and food fights, and eventually one realizes the proper diagnosis might be psychopathy."