Jake Gittes

I'm not sure why this is an argument, I thought it was clear from this scene that The Lion King remake does have live action elements:

May Witness (1985) - 6/10 *The Fast and the Furious (2001) - 6/10 Heat (1963) - 7/10 *The Lord of the Rings: The Return of the King (2003) - 9/10 *Chungking Express (1994) - 9/10. Seen on the big screen twice. Don't watch this new Wong "restoration" if you can help it, it has "Dreams" (the Faye Wong song from the home improvement montage and the end credits) play over the earlier scene of Leung slowly drinking coffee which is a George Lucas-fucking-with-the-OT-level offence. You and Me (1971) - 6/10 *The Ascent (1977) - 9/10 Come and See (1985) - 7/10 Byelorussian Station (1971) - 7/10 *The House That Jack Built (2018) - 7/10 Better Luck Tomorrow (2002) - 5/10 *2 Fast 2 Furious (2003) - 6/10 *The Maltese Falcon (1941) - 8/10 *The Fast and the Furious: Tokyo Drift (2006) - 6/10 Fast & Furious (2009) - 5/10 *Fast Five (2011) - 6/10 *Fast & Furious 6 (2013) - 6/10 *Furious 7 (2015) - 6/10 F9 (2021) - 6/10 New Order (2020) - 2/10 *Annie Hall (1977) - 6/10 *Saturday Night Fever (1977) - 9/10 Escape from New York (1981) - 6/10 *The Lion King (1994) - 6/10 *The Incredibles (2004) - 9/10 *Dazed and Confused (1993) - 10/10 *Corpse Bride (2005) - 7/10 *Bullitt (1968) - 8/10 *The Curse of the Were-Rabbit (2005) - 7/10 Ranking of F&F movies because that bunch of ratings on its own is kinda meaningless and I like some of them notably better than others even if I rate them the same: Tokyo Drift 6 [gap] 2 5 1 7 9 [gap] 4 8

Boo Searchlight give me a summer release. Try winning best picture without clogging up the fall/winter for once.

The disrespect towards Everybody Wants Some!! smh.

it's a fast and furious movie that's 140 minutes long in 2021 so as you might imagine it pretty much plays like big-screen season 9 of a network tv show, with ever more absurd narrative contortions, arbitrary mcguffins (it took me less time than ever before to completely check out of why anything was happening) and disbelieving reflections on its own existence. definitely better than 4 and 8 but lacks the inspiration of any of the others, although the magnet shit is cool. Cena is serviceable; Charlize continues to be criminally wasted, with a couple of dialogue scenes here so embarrassing I actually watched through half-closed eyes; Han looks unsettlingly old. the reunions and hugs are affecting but the sense of going through the motions is still inescapable.

This isn't ineligible since Galasso's music is original as far as I can tell, but the Umebayashi piece was first written for another film. That may affect your placement.

The link in the tweet is working now. Some nice context in there right away

April Penny Serenade (1941) - 7/10 *Easter Parade (1948) - 8/10 Dragonwyck (1946) - 7/10 Somewhere in the Night (1946) - 6/10 Adam's Rib (1949) - 7/10. Thought I was watching a new favorite early on, between the unexpected rawness in Judy Holliday's performance and Hepburn and Tracy's amazingly (even accounting for their being together in real life) intimate, lived-in dynamic, but it semi-lost me along the way as it increasingly turned into a farce, with the court defense being based entirely on "it's okay for women to commit a crime in response to infidelity if men do it too" and the case then becoming more or less forgotten by the ending. Different Times Dept.: Tom Ewell's character outright admits to domestic violence on the witness stand, and it's never brought up again. *Total Recall (1990) - 8/10. Big screen, which made a difference - I wasn't a big fan on my first viewing at home, where the action seemed one-note and the give-these-people-air climax too earnest and straightforward for Verhoeven (and I still think RoboCop and Starship Troopers make better use of his penchant for satire), but in the theater it's grand pulp entertainment that puts nearly every recent blockbuster to shame. *All About Eve (1950) - 8/10 Pandora and the Flying Dutchman (1951) - 6/10 *Red Beard (1965) - 8/10 (mostly for the second half) The Lion in Winter (1968) - 5/10. This was 2+ hours of self-consciously florid speechifying that got me absolutely nowhere. Performances are vivid, which is not to say I ever particularly cared about these people; it is impressive how O'Toole can totally sell playing a 50-year-old at 35 through facial hair, a guttural voice and body language rather than makeup. The Murder of Fred Hampton (1971) - feels weird to grade this, but it is both essential and doesn't exactly attempt being palatable, which is fair given its proximity to the titular tragedy. Does not blink when staring into the face of instutional evil. Juggernaut (1974) - 9/10. This is a hidden gem that everyone should see, a Richard Lester-directed disaster thriller about an ocean liner rigged to explode by a bomber with a stacked cast playing both passengers and those attempting to foil him. A human-scaled antidote to puffed-up Hollywood blockbusters, infused with a sense of humor, healthy cynicism and rumpled, down-to-earth professionalism. Would be obvious that it's a huge influence on Soderbergh even if I didn't know that he wrote a book on Lester. *The Lord of the Rings: The Fellowship of the Ring (2001) - 9/10 [theatrical cut]. Cooling down a bit as I get older on overt fantasy/lore elements like spells and magic and "Behold!"-style pronouncements - then again I like the extended cut better, so maybe it's the matter of that stuff getting more space to breathe there - but it obviously still works like gangbusters as both a horror/chase movie and a rollicking epic adventure movie. Is there any blockbuster with more scenes of dudes weeping? That's not a complaint, I'll always treasure these movies' commitment to earnest emotion. Howards End (1992) - 7/10 The Remains of the Day (1993) - 8/10. A rare well-judged literary adaptation (though it doesn't reach the level of the novel, which is forgivable because the novel is exceptional), and probably Hopkins' best performance. Better than either of his Oscar-winning ones, anyway. The Father (2020) - 7/10. Too gimmicky for me to get fully invested in, and I think I need a second viewing to either decide that the gimmick fundamentally doesn't work for me or accept it fully as an expression of the character's experience. All I know is, I'd likely be more affected if e.g. in the first scene where Olivia Williams shows up it was actually Colman again and we could see right there how much it hurts her to not be recognized. And so on. Only Imogen Poots' first scene and the ending really got through to me. Gunda (2020) - 5/10. One highly emotional scene (you'll know it when you see it) and a whole lot of animals lying around, animals standing around and animals walking around, all in blandly aestheticized B&W. Not nearly as transporting as Microcosmos or the Sensory Ethnography Lab films like Leviathan as nature documentaries go. Another Round (2020) - 6/10. Turns out alcohol can be both good and bad for you. Much to think about. *Lady Bird (2017) - 8/10 *Phantom Thread (2017) - 8/10 *Toni Erdmann (2016) - 8/10. Feel like I could finally appreciate this now, watching it on a big screen with only one other person in the audience instead of cramming it into a late-December catch-up like I did in 2016. A film about the hard work of breaking through the surface of modern life and all it entails, which is why duration is important; on the whole, still a little too dry and uninflected for me to really love, but "The Greatest Love of All" had me laughing until I cried and Sandra Hüller's performance is one of my all-time favorites, the most full-bodied portrayal of the consequences of sacrifices made for professional success I can think of. Look forward to a third viewing. The Square (2017) - 6/10 *The Third Man (1949) - 9/10 Judas and the Black Messiah (2021) - 6/10. Was really into this for the first half, drawn in by the craft (it's a pleasure just to watch a mid-budget drama like this that feels like a real movie rather than prestige TV), the Stanfield-Plemons dynamic and the expected fiery charisma Kaluuya brings to Hampton, but somewhere around the mid-point it just comes apart, no longer telling a focused story so much as dramatizing multiple related Wikipedia articles and not giving any of the characters their full due. The "onscreen text + real photos/footage of the subject" ending is particularly egregious in its length here. *The Lord of the Rings: The Two Towers (2002) - 8/10 [theatrical cut; extended is a 9] *Moonlight (2016) - 6/10. Would be lower if not for the cinematography and the third act. The rest is as simplistic and contrived as I remembered. *Death Becomes Her (1992) - 6/10 *Speed (1994) - 7/10 *The Duellists (1977) - 8/10

Ctrl+F Swordfish = 0 results

Of course there is a Dom Shrine. Of course.

March *Chungking Express (1994) - 9/10 [up from 8]. "It's not every day / We're gonna be the same way / There must be a change, somehow." No longer bothered by Faye Wong's stalkerish ways, as I finally recognize the whole film is shot through with an almost childish innocence that makes such objections irrelevant; even when people kill other people here, it's just a heightened gesture rather than an action with real weight (it's not cynical or juvenile, just... guileless, somehow), the weight being reserved for the romanticism. The only Wong I really love, shape-shifting and exhilarating rather than moodily protracted or wallowing in repetitive style. Ashes of Time (1994) [Redux] - 7/10 Fallen Angels (1995) - 6/10 Blazing Saddles (1974) - 7/10. Full climactic descent into meta-ness doesn't quite work for me, since most if not all of the humor before that, for all its absurdity, is rooted in something real and uncomfortable, so the ending just comes across as a stunt in comparison (Monty Python were incorporating that stuff into their comedy a lot better around the same time). Pretty terrific until then. Didn't expect to recognize *that* many quotes I'd known for years. *In the Mood for Love (2000) - 7/10. It's like it gets off on being withholding. Borat: Cultural Learnings of America etc etc (2006) - 6/10. Two or three great scenes (the wrestling, obviously, plus the rodeo and the frat bros), but mostly just a spectacle of Borat saying or doing something absurdly, beyond-the-pale outrageous and other people in the scene being baffled and/or heroically patient in response (I guess the fans might argue their *not* being outraged is commentary in itself, but I'd probably be quietly struggling to get my bearings too in an interaction like that, especially if I were being filmed); I'm more with Hitchens here than with those who see something revelatory in this. May have actually liked the sequel a little better, because Borat's absurdity seems a better fit for the absurdity of 2020 and adding Bakalova was inspired. Bacurau (2019) - 6/10. Too long a build-up for the payoff we get (wish it would have at least used the time to flesh out the villagers more; the opening creates false expectations), but still some very satisfying anti-colonial ownage. Bad Education (2019) - 6/10. Might be underrating, since the structure is canny and Jackman is excellent, but there's still a sort of synthetic slickness to it (montages, people telling each other things they already know for our benefit, all that stuff) and Finley's direction doesn't have the personality he showed in Thoroughbreds. Ironically feels like a movie made for TV even though it originally wasn't. Birds of Prey (2020) - 5/10. Have yet to become tired of Robbie's Harley; pretty tired of the everything-and-the-kitchen-sink approach applied to all that surrounds her. Borat Subsequent Moviefilm etc etc (2020) - 6/10 *Some Like It Hot (1959) - 9/10 Juliet of the Spirits (1965) - 5/10. Fellini is my least favorite of the canonized mid-20th century auteurs, and although I don't find this as crude and shallow as e.g. Amarcord, it still eventually becomes pretty rough going in its structureless lost-in-itself grotesquerie. Almost rescued by Giulietta Masina, who had one of the greatest faces in cinema, even if for much of this she does look like (to quote Ebert) "nothing more than an unwilling housewife dragged by her husband to a strip show he is sure they will both enjoy." Time (2020) - 6/10. Not so much a movie about time and its devastating passage, or even about America's fucked-up justice system, as about one woman's strength and resilience (complete with multiple scenes of her proselytizing to a rapt audience), which is deeply admirable and not all that complex or interesting, at least as presented. *The Great Beauty (2013) - 6/10. Loved this back when it came out, but a lot of it seemed maudlin and patronizing this time (it repeatedly pulls a trick where it introduces a character as someone to be laughed at/looked down on, then unexpectedly does something to make you feel for them; I understand why some consider that a sign of depth, but the manipulation rubs me the wrong way.) Still some transporting passages, and Tony Servillo's a fine host. *Hellzapoppin' (1941) - 8/10 *Europa (1991) - 8/10 *Blue Collar (1978) - 9/10. The most incisive film about capitalism and the ways it works to reinforce inequality that I know of. RIP Yaphet Kotto. *The Flavor of Green Tea Over Rice (1952) - 6/10 *5 Fingers (1952) - 9/10. WWII espionage as an expertly controlled series of negotiations, manipulations, double-crosses and role reversals, the movie playing its characters just like they play one another. On-location detail side-by-side with awesomely witty dialogue, and James Mason taking his urbane charisma someplace dark and dangerous; both a very tense thriller and a very dark, very dry comedy. *The Marrying Kind (1952) - 8/10 *Rushmore (1998) - 9/10. Absolutely peak Anderson, funnier and more perceptive and affecting every time I see it. Olivia Williams' remains my favorite character and performance in a Wes Anderson movie, precisely because she may be the only character from a Wes Anderson movie who doesn't feel like she spent her entire life in one. July Rain (1967) - 7/10. Snapshot of young '60s Soviet intelligentsia in between the Khrutschev Thaw and the invasion of Czechoslovakia & the Brezhnev stagnation, as stylish, insightful and occasionally maddening as its characters. This and the same director's three-hour I Am Twenty (1965) are recommended to anyone interested in everyday Soviet life and culture as captured in contemporary dramas.

FYC

team chad radioactive dinosaur

Of good-to-great (imo) movies winning picture here

Bad Grandma came disturbingly close to going all the way but the actual winner's a nice surprise. Got the streak going another year.

Too low. Should have been #10.

This reads a lot different if you don't check the fine print in the post you're responding to