Jake Gittes

missed #23

The Three Caballeros (1944) - 7/10. In which Donald Duck gets uncontrollably horny for live-action Latin American women who keep ignoring, rejecting and mocking him, resulting in his whole world going from normal to surreal psychedelic sugar-rush crazyland. A surprisingly relatable quarantine movie. Most of the back half really is fucking insane and kinda glorious, modern-day Disney obviously could never. Rewatches for the all-time list Dr. Strangelove (1964) - 9/10 Casablanca (1942) - 9/10 The Innocents (1961) - 9/10 Man with a Movie Camera (1929) - 10/10 Heat (1995) - 10/10 Master and Commander: The Far Side of the World (2003) - 10/10

Glad you dug it. I can see that re: the romance which does require a little going along with, personally I fully believe that she'd become smitten with him whereas on his part you pretty much have to read emerging feelings into small details and gestures (his appreciation of her professionalism at the piano, openness in their subsequent talk over drinks, etc) and buy that he's trying to suppress them under the stoic exterior until he finally can't. And yeah Kid is the best. Probably my favorite character here which is no small feat with this ensemble. The first time I watched this, I loved being in the company of these people so much that I then rewatched it again two more nights in a row. So far it's the only film to make me do that as an adult (so in the past 8-9 years).

Cmon Gosling. You know what to do. Get Refn in on this action.

"Bad look" just means that you're more concerned with how something looks (to you) than with what it is. This entire series is Miller's baby, not WB's or Theron's, and he has the right to take any risk with it he's interested in taking. (Lord knows it's paid off in the past.) If he succeeds in this case we might get another Brando/De Niro pair of iconic performances of the same character, or at the very least another case of Gibson/Hardy. If he doesn't, sucks for him (and for whoever he'll have cast) but Theron's performance will remain untarnished. But this "tsk tsk but she deserved a franchise!" finger-wagging ffs cry me a fucking river.

RIP maestro. Put this on to pay respects the next time you're getting some. What a career. Given the sheer volume of his filmography, I'm looking forward to discovering more gems from him (and hearing familiar ones again) for... as long as I watch movies, really.

yes. those lists get copied from previous years and are meant to give a reminder to established posters, not to limit participation.

Fine 1. Harakiri (1962, Japan) 2. The Young Girls of Rochefort (1967, France) 3. Man with a Movie Camera (1929, Soviet Union) 4. Friday Night (2002, France) 5. The Conformist (1970, Italy) 6. My Friend Ivan Lapshin (1985, Soviet Union) 7. Persona (1966, Sweden) 8. Irreversible (2002, France) 9. Letter Never Sent (1960, Soviet Union) 10. Memories of Murder (2003, South Korea) 11. Toute une nuit (1982, Belgium/France) 12. Chapiteau-show (2011, Russia) 13. Day of Wrath (1943, Denmark) 14. Black Book (2006, Netherlands/Germany/Belgium/UK) 15. Kiki’s Delivery Service (1989, Japan) 16. High and Low (1963, Japan) 17. Diabolique (1955, France) 18. Army of Shadows (1969, France) 19. Andrei Rublev (1966, Soviet Union) 20. Pierrot le Fou (1965, France) 21. Trial on the Road (1971, Soviet Union) 22. Twenty Days Without War (1977, Soviet Union) 23. Chungking Express (1994, Hong Kong) 24. The Saragossa Manuscript (1965, Poland) 25. A Summer at Grandpa’s (1984, Taiwan) 26. Smiles of a Summer Night (1955, Sweden) 27. Ordet (1955, Denmark) 28. A Man Escaped (1956, France) 29. Heal the Living (2016, France/Belgium) 30. Drug War (2012, China) 31. Turning Gate (2002, South Korea) 32. Maskerade (1934, Austria) 33. Pola X (1999, France) 34. Bus 174 (2002, Brazil) 35. Dust (2005, Russia) 36. Bed and Sofa (1927, Soviet Union) 37. Dog Days (2001, Austria) 38. The Passion of Joan of Arc (1928, France) 39. Monsieur Hire (1989, France) 40. The Cranes Are Flying (1957, Soviet Union) 41. La Dolce Vita (1960, Italy) 42. Barbara (2012, Germany) 43. Daisies (1966, Czechoslovakia) 44. Paper Soldier (2008, Russia) 45. An Autumn Marathon (1979, Soviet Union) 46. Winter Light (1963, Sweden) 47. Assa (1988, Soviet Union) 48. Touchez pas au grisbi (1954, France) 49. Everybody’s Woman (1934, Italy) 50. Alice in the Cities (1974, West Germany) 51. The Wind Will Carry Us (1999, Iran) 52. One Hundred Days After Childhood (1975, Soviet Union) 53. Autumn Sonata (1978, Sweden) 54. Cléo from 5 to 7 (1962, France) 55. Diary of a Country Priest (1951, France) 56. Hard-Boiled (1992, Hong Kong) 57. Cold Water (1994, France) 58. Like Someone in Love (2012, Japan/France) 59. Band of Outsiders (1964, France) 60. The Rules of the Game (1939, France) 61. Elle (2016, France/Germany) 62. Dogtooth (2009, Greece) 63. Leila (1997, Iran) 64. Stray Dog (1949, Japan) 65. The Lovers on the Bridge (1991, France) 66. In the Mood for Love (2000, Hong Kong) 67. Wings (1966, Soviet Union) 68. Eyes Without a Face (1960, France) 69. Miss Bala (2011, Mexico) 70. House of Pleasures (2011, France) 71. The Seventh Seal (1957, Sweden) 72. The 400 Blows (1959, France) 73. The Demons (2015, Canada) 74. Paradise: Faith (2012, Austria) 75. The Dance of Reality (2013, Chile) 76. We Are the Best! (2013, Sweden) 77. Ivan the Terrible (1944, Soviet Union) 78. Fellow Citizen (1983, Iran) 79. Show Me Love (1998, Sweden) 80. Elevator to the Gallows (1958, France) 81. Women on the Verge of a Nervous Breakdown (1988, Spain) 82. A Separation (2011, Iran) 83. Brother (1997, Russia) 84. Summer Interlude (1951, Sweden) 85. Pusher 3: I’m the Angel of Death (2005, Denmark) 86. Journey to the West (2014, France/Taiwan) 87. The Raid (2011, Indonesia) 88. The Triplets of Belleville (2003, France) 89. Black Sabbath (1963, Italy) 90. Breathless (1960, France) 91. Brief Encounters (1967, Soviet Union) 92. A Long Goodbye (1971, Soviet Union) 93. Don’t Go Breaking My Heart (2011, China) 94. Pretty Village, Pretty Flame (1996, Serbia) 95. 4 Days in France (2016, France) 96. A Single Girl (1995, France) 97. Beauty and the Beast (1978, Czechoslovakia) 98. Tu dors Nicole (2014, Canada) 99. Nocturama (2016, France) 100. I Stand Alone (1998, France)

Disney could do untold amounts of good if they kept Touchstone going and committed to both funding and selling grown-up movies. They're absolutely responsible for their perpetually endangered status.

past two weeks. more rewatches M (1931) - 7/10 (10/10 to the first and last 15 minutes though) Last Year in Marienbad (1961) - Last Year in Marienbad/10 Underground (1995) - 7/10 Stromboli (1950) - 6/10 Five Easy Pieces (1970) - 9/10 (8 if you weren't obsessed with it at a tender age) A Woman is a Woman (1961) - 7/10 Pierrot le Fou (1965) - 8/10 Once Upon a Time in the West (1968) - 10/10

RIP.

Guest starring TV queen Carrie Coon in a great rol... oh wait

It's a voice that says "Just do whatever". In seriousness, I wouldn't call it coherent either. Coherent in overall safely businesslike attitude to things, maybe. But that same attitude means that in terms of e.g. worldbuilding, politics, etc. the movies will often leave questions unanswered and/or brush any previous developments under the rug when it's convenient, knowing perfectly well the audience won't give a shit as long as enough snarky quips get fired off in front of CG backgrounds.

Ah yes how could we forget all those iconic, rich villain roles that were so beautifully tailored to the talents of Mads Mikkelsen, Jude Law, Guy Pearce, Christopher Eccleston, Daniel Bruhl, Corey Stoll, Lee Pace...

Yeah, make a collection of huge budget network TV episodes that play in theaters.

I think if you've got vision enough to make the next Blood Simple, you should have the ability to make it without studio or government help. The Coens didn't become the Coens by being cultural go-with-the-flow types, and good twisty genre stories never go out of style. Hell, if you're savvy enough you can probably sell Blood Simple to that culture minister of yours by pitching it as a movie about how stupid and prone to needlessly wreaking havoc white people are. Beyond that, I don't see how that government funding situation concerns Hollywood and its own system. I think a far bigger and more universal problem with movies today is their ever-growing contentification, with great, idiosyncratic work - made by all kinds of people - getting pushed closer and closer to the margins. But it still gets made and recognized, and it's not like this is remotely a new problem either. And the 2010s brought us (beyond Chazelle) the Safdies, Eggers, Lanthimos, Bonello, Peele, Granik, Jenkins, Gerwig, Aster, Sean Baker, Mike Mills, Jennifer Kent, David Robert Mitchell... sure, not a crop that made as much mainstream impact as the '90s one (which, again, has a lot to do with a lack of industry support and thus visibility), but strong enough if you were a cinephile coming of age in the past decade. Besides, all those filmmakers you mention are still active and relevant and true to themselves (whereas e.g. out of the big '70s directors, arguably only Scorsese and Spielberg still consistently produced major work in the '90s), so there's no real urge for anyone to take their place.

Amazing. Imagine keeping an alt in storage for 2 and a half years just in case and then getting discovered after two posts because you just... can't help but be yourself.

Recommending and talking about great foreign cinema is perfectly possible while other things are going on in the thread. And if you're gonna solicit these kinds of lists from a forum community, it seems like basic courtesy to 1) provide people with the information on how their lists are gonna be scored and especially 2) actually engage with perfectly valid criticisms of the initial scoring system you had. Deleting it and refusing to talk about it makes you look pretty childish, and certainly makes me want to participate in this whole thing less, especially if you still intend to score this like the summer game.

It looks pristine.

Huzzah! I can see that, that part is one of my favorites (really it's the whole stretch from Gene Kelly's first appearance through to the big running-into-one-another-in-the-streets sequence) but in the end I love the movie's whole world too much to care about the final third not quite being the peak. As for the murder, I take it as wry commentary on - the film basks in being "movie-ish" in how it treats romance (love at first sight, fate, people being perfect for each other, etc) but that doesn't mean it's not aware of the potential darkness beneath all that. The murder is just the most extreme example of that really.

Summer is saved baby

It's ok we have The New World.

This seems like pretty cheap fan service.