Cinema Addict - 1170 Film Rankings
Member Since: Mar 30, 2006
Location: BC, Canada
Bio: How I rank simplified:
95-100 = 10
85-94 = 9
75-84 = 8
65-74 = 7
55-64 = 6
45-54 = 5
35-44 = 4
25-34 = 3
15-24 = 2
5-14 = 1
0-4 = 0
Check out Filligan's...
|93 T9||Call Me by Your Name (2017) - Feb 04, 2018
"We're getting close to the point where films with this subject matter are in danger of saying nothing new. I had my doubts through some of this film. It wasn't until about the last two scenes that really cinched this up as cinema worth studying and talking about. This isn't to say the rest of the film isn't engaging, but rather the ending elevates it. Chalamet gives the best performance of the year. This is one of those films that would've totally fucked me up a few years back. Stays with you."
|88 T8||Paddington 2 (2017) - Jan 28, 2018
"These films are intangibly special. I feel like locking them away to keep peoples' grubby depression off of them. The magic and charm of the original is back with full gusto for the sequel, and though I got a few Grand Budapest vibes, the film -- like the original -- is always full of adorable surprises. I welled up at the end. I'm not ashamed to say it. This fucking bear, man. Oh, and Hugh Grant is goddamn great."
|71 T3||Jumanji: Welcome to the Jungle (2017) - Jan 28, 2018
"Popcorn cruncher if there ever was one. The film is fun, and is trying hard to be fun for its entire runtime, but it still felt on a precipice of falling into a horrible abyss for much of it. The cast is on board, especially MVP Jack Black, and I laughed quite a few times, but I have no desire to watch this again."
|86 T7||Paddington (2015) - Jan 27, 2018
"This is... fuckin' great. It's not that it's safe (it is, but that's one of its many merits), it's that the humor is organic to the characters and situation and every ounce of the film comes off charming. What propels it into greatness is Paul King's visual flair. Paddington may be CGI, but everything around him, everything he interacts with is real, and the world feels lived in and homey. And the film occasionally surprises with touching visual tricks that add to its personality. A real treat."
|87 T7||Molly's Game (2017) - Jan 27, 2018
"Seems like all Sorkin needs to do now is get himself an editor that knows how to condense on a story level, not just provide snappy cuts. The script is still fresh Sorkin stuff. The musicality of his writing is a joy to listen to when delivered by talented actors like Chastain and Elba. "
|94 T10||Phantom Thread (2017) - Jan 23, 2018
"Feels like a return to form for PTA, and a return to form for him is a splash of new filmmaking and story ideas seamlessly interwoven with each other. He knows exactly the kind of story he's crafted and the exact best way to showcase it; classical in presentation with his usual elegance factor ratcheted up a few dials. The cast, of course, magnificent, but I felt the truest star of the show was Greenwood's score. "
|90 T8||The Post (2017) - Jan 23, 2018
"I guess I'm a sucker for Spielberg's simpler films these days. This is a sharp screenplay with fun dialogue and the actors step into the roles with relish. Spielberg flashes the camera around a few times, reminds us that he's at the top of the industry for a reason, and though the film doesn't strike firm blows, it feels very knowledgeable of 2017 on multiple fronts. Streep and Hanks are goddamn great."
|98 T10||Star Wars: Episode VIII - The Last Jedi (2017) - Jan 18, 2018
"Rian Johnson is a talented filmmaker and Star Wars benefits from his craftsmanship. Visual storytelling leaps from every frame, daring ideas explore uncharted territories, and the whole cast sells this affecting vision with renewed gusto. Driver and Hamill are especially fantastic. All of this in the most beautiful Star Wars to date. This only takes a few wrong swings, and I know fans are divided and calling it riddled with plot holes (it's not), but this is where Star Wars needs to go. "
|69 T3||Darkest Hour (2017) - Jan 14, 2018
"Occasionally we get a film that relies completely on one aspect to drive the rest of it. With Darkest Hour, that's Oldman. He's the reason to see the film. Joe Wright is a good director, but blimey does this feel a wee bit shallow. Churchill is, in the context of 2017, one of the most controversial figures of the 20th century. It's hard to care about the inner-turmoil of his war cabinet when, five months prior, Christopher Nolan gave us an astonishing representation of Dunkirk's success."
|82 T5||I, Tonya (2017) - Jan 14, 2018
"Craig Gillespie lived on Goodfellas. It's why he became a director. These are claims I haven't verified, just what I know after seeing I, Tonya. The film floats, jumps, surprises, simmers, and employs storytelling tactics like Goodfellas. It's rare that I find a film so enamored with another film. Yet, unlike Scorsese's masterwork, Gillespie falls just short of the finish line. I, Tonya always flirts with greatness, but never finds it -- apart from its cast, of course."