Cinema Addict - 2072 Film Rankings
Member Since: Nov 7, 2006
Location: Olathe, KS, USA
Bio: Read my full reviews here! http://mymoviemusings.wordpress.com
I like just about anything; I have my preferences (I find myself leaning towards crime, noir, and epics), but I'm not an extremely discriminate moviewatcher. Chances are, if it's a classic and/or well-received by most, I'll probably like it, so I guess I'm kind of predictable. I also love anything with great cinematography and gorgeous visuals; my very favorites are populated by-and-large with movies that are, among their other merits, pleasing to the eye.
|4||Black Panther (2018) - Feb 22, 2018
"Killmonger is right to demand global revolution, but the movie cleverly disguises that fact by positioning Wakanda as an unmolested haven of Afro-futuristic paradise whose existence would be threatened by the outside world's knowledge of their resources. Still, it compensates for by being one of the few Marvel films with style and verve. It was genuinely shocking, in a good way, to see so much uncompromised blackness in a $200 million picture."
|3||Spider-Man: Homecoming (2017) - Feb 22, 2018
"I just remembered I saw this. Always so memorable, Marvel."
|2||The Cloverfield Paradox (2018) - Feb 10, 2018
"It was at least nice of Netflix to put this film up immediately after they let us know it existed, so that the hype could immediately be completely and utterly deflated."
|4||The Beguiled (2017) - Feb 08, 2018
"The menace here turns not on Farrell himself, who is disarmingly polite, but on the reality of his very presence, which threatens the secluded safety of his hosts in any number of ways. What Coppola makes felt is the distrust that his existence sows, both within and without the conclave they've established away from the harsh day-to-day of the war. It's a ghost story, but the question remains: who's haunting who? "
|5||Marie Antoinette (2006) - Feb 08, 2018
"An object lesson in film's ability to convey complex, contradictory feelings. Forget the soundtrack or the lavish production design, which renders the era in gaudy, confectionary pastels; it's the casting that's most startling, not least Jason Schwartzman's ineffectual Louis XVI. Yet for all its satire of aristocratic pomposity, there's an undeniable glamour to the monarchy's idyllic lifestyle, and the tragedy of Marie's own circumstance is not entirely swept away by righteous revolution."
|3||45 Years (2015) - Feb 07, 2018
"A respectable, albeit drab, kitchen-sink drama featuring a couple of dynamite performances on which the film relies. The premise is strong enough, but if anything, Haigh underplays his hand."
|5||Phantom Thread (2017) - Feb 06, 2018
"An immaculately conceived and produced period piece which takes unexpected and bizarre turns that reveal there's something far more to it - something darker, livelier, funnier - than its surface pleasures. It's equal parts Merchant Ivory and dark comedy (c'mon, the guy's name is WOODCOCK), by way of the Bronte sisters' gothic fatalism. PTA proves not only that he's the consummate formalist of modern film, but that he can twist that formality into something shockingly pleasurable."
|3||Encounters at the End of the World (2008) - Feb 06, 2018
"Herzog is always more interested in the encounters than he is in the ends of the world to which he travels, and this film slowly finds itself fascinated with the symbiotic relationship which humanity has with nature: reverent and insatiably curious towards a monolith which regards it, if at all, with a sort of detached bemusement."
|4||10 Cloverfield Lane (2016) - Feb 05, 2018
"I'm not sure this needed to be a Cloverfield film at all, but as a bottle thriller, it's pretty damn fun, particularly with Goodman commanding the screen. "
|5||The Florida Project (2017) - Jan 31, 2018
"Something about the way Baker shoots street scenes makes them feel like my own memories brought back to vivid life: the golden-hour glow of the setting sun shining down on unglamorous reality and breathing life and mystery into it, the never-ending cavalcade of cars in the background subtly intruding on the solitude of the main characters, who do their best to inure themselves from the harsh circumstances of their immediate surroundings. It's the rare film that makes me feel like a child again."