BOT's Top 100 Films of the 2010s: The Countdown | List complete

[lorddemaxus]

12 minutes ago, Rorschach said:

Hard to Be a God is.... quite something.

Well... so are transformers balls

 

[Madhuvan]

3 hour films used to be quite common in India. Nowadays 150 minutes has become standard. 

 

[MrGamer]

1 hour ago, Rorschach said:

Movie's so good, it made Top 10 countdown in a decade it wasn't even released in.

 

Michael Bay. His power.

Need to recognize the real undisputed champion of the 2000’s. Peak cinema.
 

 

Edited April 19, 2020 by MrGamer

[Jake Gittes]

Number 20

Spoiler

 

"He certainly sustained the illusion with a marvelous grace."
321 points, 23 lists

directed by Wes Anderson | US, Germany | 2014

 

The Pitch: A writer encounters the owner of an aging mountainside resort, who tells him of his early years serving as the hotel's lobby boy under an exceptional concierge. 

 

Top 5 Placements: 1
Top 12 Placements: 4
Metacritic: 88
Box Office: $173m WW
Awards: 4 Academy Awards, out of 9 nominations; 5 BAFTA Awards, out of 11 nominations
BOT History: #3, Top Movies of 2014; #16, Top 100 Movies of the Century (2015); 7 BOFFY awards, out of 10 nominations
Critic Opinion: “Despite being one of his most ostentatious films to date, the setting, plot, performances and authorial tone on display marry together seamlessly to simultaneously heighten and smooth his trademark style.” - Ben Nicholson, Cinevue
“With this film, Anderson has built a thoroughly likable vision of a prewar Europe – no more real, perhaps, than the kind of Viennese light-operetta that sustained much of 1930s Hollywood – but a distinctive, attractive proposition all the same. It's a nimble-footed, witty piece, but one also imbued with a premonitory sadness at the coming conflagration.” - Andrew Pulver, The Guardian
BOT Sez: “Wes Anderson has just delivered one of his most unique and wonderful films to date. There's certainly elements of a fun crime caper sewn in here, as well as a lament of times past and the ways in which war and violence can ruin society, but it's always never less than satisfying. Ralph Fiennes is simply fantastic as Gustave, and the kid who plays Zero is also pretty good, too. I feel like the ending could have been drawn out a bit more, especially in its themes of reflection, but as it stands, it's something truly special.
I'm also in love with the hand-made aesthetic that Wes Anderson puts into his films, he's truly one of the most unique filmmakers today, and no matter what he brings to the table, you sure know it's going to look beautiful.” - @Spaghetti
Commentary: Following the enthusiastically received Fantastic Mr. Fox and Moonrise Kingdom, Wes Anderson made the centerpiece movie of the second act of his career with this madcap adventure comedy set predominantly in the Old Europe of the imagination against the backdrop of encroaching fascism. It became the writer and director's most successful film to date in terms of box office and awards, and although some dinged it at the time for being overly slight, both its charms and the melancholy underneath them have proven hard to shake; the film's reputation seems to be in no danger of going down.

 

 

 

 

Edited April 19, 2020 by Jake Gittes

[The Panda]

Me looking for Moonrise Kingdom on this list

 

[Jake Gittes]

Number 19

Spoiler

 

"Go on, pray. But pray with your eyes open."
329 points, 20 lists

directed by Martin Scorsese | US, Taiwan, Mexico, UK, Italy, Japan | 2016

 

The Pitch: In the 17th century, two Portuguese Jesuit priests travel to Japan, where Christianity is suppressed, to find their missing mentor, who is rumored to have apostatized.

 

#1 Placements: 2
Top 5 Placements: 1
Top 12 Placements: 5
Metacritic: 79
Box Office: $24m WW
Awards: Academy Award nomination for Best Cinematography
BOT History: #13, Top Movies of 2016; BOFFY for Best Overlooked Feature
Critic Opinion: “Silence, Martin Scorsese’s long-in-the-works adaptation of Shūsaku Endō’s same-titled novel about a Jesuit priest searching for his former mentor in shogun-era Japan, is a truly religious piece of filmmaking, in that it looks for meaning in the contradictions and absurdities of faith, instead of its assurances. One might call it a movie of dark ironies or a black comedy without jokes or even the anti-Goodfellas, as the two films complement each other in unexpected ways. [...] Its treatment of Rodrigues’ spiritual turmoil alternates between mystical affirmation and droll subversion. In its superb coda, the film somehow finds a way to the former through the latter. Having walked and sat alongside Rodrigues as he has wrung his hands in doubt and watched others die horribly while trying to figure out whether it would be worse to betray his faith or their own, Silence delivers a couple of cosmic punchlines, making it one of the few Scorsese films to redeem its protagonist.” - Ignatiy Vishnevetsky, The AV Club
“Like Andrew Garfield’s would-be Jesuit martyr in Silence, his sense of mission renewed by contact with the backbreaking poverty of the Japanese peasantry, Scorsese loves to go down among the shunned and despised—to mix with the moral lepers, to wash their sores, to chance contagion. A straight line can be drawn from Yōsuke Kubozuka’s Kichijiro, the serial-apostatizing backslider in Silence, to De Niro’s Johnny Boy in Mean Streets. Peopled with such irredeemables and full of beckoning lures and snares, Scorsese’s films don’t provide the audience a buffer of safe pity or contempt—in watching Silence, you are tested and implicated along with the priest, a mutely rubbernecking witness to a terrible Theater of Cruelty spectacle. It’s a gorgeous, troubling addition to Scorsese’s corpus, which is nothing if not a monument to visual allurement and moral turpitude. And with popular culture glutted by smug know-it-alls, self-styled Nice Guys, and patient explicators, a premium must be put on artists like Scorsese who are still willing to get lost—to venture into a forest dark, away from the straightforward pathway.” - Nick Pinkerton, Artforum
BOT Sez: "the rarest of films a legitimate epic dealing with complex themes and shit. in fact it's probably one of the most ideologically dense and complex movies i've ever seen. it's gonna give film academics decades worth of material. i think it's one of those "you get out of it what you put in" kinda deals. militant atheists and christians will have very different reactions to the ending. definitely feels like scorsese has put out the definitive representation of his struggles with faith that comes across in many of his films. can see why it took him 30 years to figure this shit out and even now there's no easy conclusion. not for everyone though, it's a difficult watch for sure and not one that gives immediate gratification. been thinking about it for a day and that doesn't feel near long enough. right now not the most celebrated film of 2016... but give it a decade. we'll see then." - @CoolioD1
“Not only is Silence the best movie of the decade, and the most overlooked one (which is shocking given it's Scorsese's career long passion project), not only do I find it to be the best film of Scorsese's career, it has just about moved its way into one of my top 5 films of all time. One of the most powerful movies I have ever watched.  Silence is certainly not an easy watch, and one that you'll certainly leave gaps of time before you come back and re-watch it, but that does not diminish the immense power of the movie.  It is not an easy, glowing endorsement of the faithful, nor is it a glorification of martyrdom, and it's also not a skeptical critique on religion.  Silence is a layered and nuanced look at faith, to what extent a person will go to hold onto it (to what extent the faithful should hold onto it), a question about suffering and how it can be allowed, and ultimately a work that is affirming to soul and rewarding to the faithful.  There's movies you never forget, there's movies that stick with you, there's movies that challenge you, but Silence is one of the few that goes beyond all of that.  If you're willing and of the right state of mind, it just might etch its way in your soul.  It's a movie with ideas and imagery that I'm still meditating over three years later, but ideas and imagery that were always there within my personal spiritual theology, it just provided the clarity to allow me to look and see them.” - @The Panda
Commentary: Martin Scorsese's long, quiet and demanding religious epic that, unusually for something that carries itself so much like an art film, seems to have found a more passionate fanbase on our box office forum than it would be likely to among any given group of film critics, whom one would think more predisposed to feeling so strongly about it. Planned by the director for a quarter-century, it proved to be about as uncommercial as its premise suggests, getting lost in the shuffle of 2016 awards-season releases, but there's no mistaking the integrity and clarity of its vision, which should keep viewers returning to it and discovering it for a long time to come.

 

 

 

 

Edited April 19, 2020 by Jake Gittes

[Plain Old Tele]

22 minutes ago, The Panda said:

Me looking for Moonrise Kingdom on this list

 

 You and @Blankments

[MrPink]

8 minutes ago, Jake Gittes said:

Number 19

  Hide contents

 

"Go on, pray. But pray with your eyes open."
329 points, 20 lists

directed by Martin Scorsese | US, Taiwan, Mexico, UK, Italy, Japan | 2016

 

The Pitch: In the 17th century, two Portuguese Jesuit priests travel to Japan, where Christianity is suppressed, to find their missing mentor, who is rumored to have apostatized.

 

#1 Placements: 2
Top 5 Placements: 1
Top 12 Placements: 5
Metacritic: 79
Box Office: $24m WW
Awards: Academy Award nomination for Best Cinematography
BOT History: #13, Top Movies of 2016; BOFFY for Best Overlooked Feature
Critic Opinion: “Silence, Martin Scorsese’s long-in-the-works adaptation of Shūsaku Endō’s same-titled novel about a Jesuit priest searching for his former mentor in shogun-era Japan, is a truly religious piece of filmmaking, in that it looks for meaning in the contradictions and absurdities of faith, instead of its assurances. One might call it a movie of dark ironies or a black comedy without jokes or even the anti-Goodfellas, as the two films complement each other in unexpected ways. [...] Its treatment of Rodrigues’ spiritual turmoil alternates between mystical affirmation and droll subversion. In its superb coda, the film somehow finds a way to the former through the latter. Having walked and sat alongside Rodrigues as he has wrung his hands in doubt and watched others die horribly while trying to figure out whether it would be worse to betray his faith or their own, Silence delivers a couple of cosmic punchlines, making it one of the few Scorsese films to redeem its protagonist.” - Ignatiy Vishnevetsky, The AV Club
“Like Andrew Garfield’s would-be Jesuit martyr in Silence, his sense of mission renewed by contact with the backbreaking poverty of the Japanese peasantry, Scorsese loves to go down among the shunned and despised—to mix with the moral lepers, to wash their sores, to chance contagion. A straight line can be drawn from Yōsuke Kubozuka’s Kichijiro, the serial-apostatizing backslider in Silence, to De Niro’s Johnny Boy in Mean Streets. Peopled with such irredeemables and full of beckoning lures and snares, Scorsese’s films don’t provide the audience a buffer of safe pity or contempt—in watching Silence, you are tested and implicated along with the priest, a mutely rubbernecking witness to a terrible Theater of Cruelty spectacle. It’s a gorgeous, troubling addition to Scorsese’s corpus, which is nothing if not a monument to visual allurement and moral turpitude. And with popular culture glutted by smug know-it-alls, self-styled Nice Guys, and patient explicators, a premium must be put on artists like Scorsese who are still willing to get lost—to venture into a forest dark, away from the straightforward pathway.” - Nick Pinkerton, Artforum
BOT Sez: "the rarest of films a legitimate epic dealing with complex themes and shit. in fact it's probably one of the most ideologically dense and complex movies i've ever seen. it's gonna give film academics decades worth of material. i think it's one of those "you get out of it what you put in" kinda deals. militant atheists and christians will have very different reactions to the ending. definitely feels like scorsese has put out the definitive representation of his struggles with faith that comes across in many of his films. can see why it took him 30 years to figure this shit out and even now there's no easy conclusion. not for everyone though, it's a difficult watch for sure and not one that gives immediate gratification. been thinking about it for a day and that doesn't feel near long enough. right now not the most celebrated film of 2016... but give it a decade. we'll see then." - @CoolioD1
“Not only is Silence the best movie of the decade, and the most overlooked one (which is shocking given it's Scorsese's career long passion project), not only do I find it to be the best film of Scorsese's career, it has just about moved its way into one of my top 5 films of all time. One of the most powerful movies I have ever watched.  Silence is certainly not an easy watch, and one that you'll certainly leave gaps of time before you come back and re-watch it, but that does not diminish the immense power of the movie.  It is not an easy, glowing endorsement of the faithful, nor is it a glorification of martyrdom, and it's also not a skeptical critique on religion.  Silence is a layered and nuanced look at faith, to what extent a person will go to hold onto it (to what extent the faithful should hold onto it), a question about suffering and how it can be allowed, and ultimately a work that is affirming to soul and rewarding to the faithful.  There's movies you never forget, there's movies that stick with you, there's movies that challenge you, but Silence is one of the few that goes beyond all of that.  If you're willing and of the right state of mind, it just might etch its way in your soul.  It's a movie with ideas and imagery that I'm still meditating over three years later, but ideas and imagery that were always there within my personal spiritual theology, it just provided the clarity to allow me to look and see them.” - @The Panda
Commentary: Martin Scorsese's long, quiet and demanding religious epic that, unusually for something that carries itself so much like an art film, seems to have found a more passionate fanbase on our box office forum than it would be likely to among any given group of film critics, whom one would think more predisposed to feeling so strongly about it. Planned by the director for a quarter-century, it proved to be about as uncommercial as its premise suggests, getting lost in the shuffle of 2016 awards-season releases, but there's no mistaking the integrity and clarity of its vision, which should keep viewers returning to it and discovering it for a long time to come.

 

 

 

 

 

Who's tramplin now motherfuckers

[aabattery]

[The Panda]

7 minutes ago, Jake Gittes said:

Number 19

  Reveal hidden contents

 

"Go on, pray. But pray with your eyes open."
329 points, 20 lists

directed by Martin Scorsese | US, Taiwan, Mexico, UK, Italy, Japan | 2016

 

The Pitch: In the 17th century, two Portuguese Jesuit priests travel to Japan, where Christianity is suppressed, to find their missing mentor, who is rumored to have apostatized.

 

#1 Placements: 2
Top 5 Placements: 1
Top 12 Placements: 5
Metacritic: 79
Box Office: $24m WW
Awards: Academy Award nomination for Best Cinematography
BOT History: #13, Top Movies of 2016; BOFFY for Best Overlooked Feature
Critic Opinion: “Silence, Martin Scorsese’s long-in-the-works adaptation of Shūsaku Endō’s same-titled novel about a Jesuit priest searching for his former mentor in shogun-era Japan, is a truly religious piece of filmmaking, in that it looks for meaning in the contradictions and absurdities of faith, instead of its assurances. One might call it a movie of dark ironies or a black comedy without jokes or even the anti-Goodfellas, as the two films complement each other in unexpected ways. [...] Its treatment of Rodrigues’ spiritual turmoil alternates between mystical affirmation and droll subversion. In its superb coda, the film somehow finds a way to the former through the latter. Having walked and sat alongside Rodrigues as he has wrung his hands in doubt and watched others die horribly while trying to figure out whether it would be worse to betray his faith or their own, Silence delivers a couple of cosmic punchlines, making it one of the few Scorsese films to redeem its protagonist.” - Ignatiy Vishnevetsky, The AV Club
“Like Andrew Garfield’s would-be Jesuit martyr in Silence, his sense of mission renewed by contact with the backbreaking poverty of the Japanese peasantry, Scorsese loves to go down among the shunned and despised—to mix with the moral lepers, to wash their sores, to chance contagion. A straight line can be drawn from Yōsuke Kubozuka’s Kichijiro, the serial-apostatizing backslider in Silence, to De Niro’s Johnny Boy in Mean Streets. Peopled with such irredeemables and full of beckoning lures and snares, Scorsese’s films don’t provide the audience a buffer of safe pity or contempt—in watching Silence, you are tested and implicated along with the priest, a mutely rubbernecking witness to a terrible Theater of Cruelty spectacle. It’s a gorgeous, troubling addition to Scorsese’s corpus, which is nothing if not a monument to visual allurement and moral turpitude. And with popular culture glutted by smug know-it-alls, self-styled Nice Guys, and patient explicators, a premium must be put on artists like Scorsese who are still willing to get lost—to venture into a forest dark, away from the straightforward pathway.” - Nick Pinkerton, Artforum
BOT Sez: "the rarest of films a legitimate epic dealing with complex themes and shit. in fact it's probably one of the most ideologically dense and complex movies i've ever seen. it's gonna give film academics decades worth of material. i think it's one of those "you get out of it what you put in" kinda deals. militant atheists and christians will have very different reactions to the ending. definitely feels like scorsese has put out the definitive representation of his struggles with faith that comes across in many of his films. can see why it took him 30 years to figure this shit out and even now there's no easy conclusion. not for everyone though, it's a difficult watch for sure and not one that gives immediate gratification. been thinking about it for a day and that doesn't feel near long enough. right now not the most celebrated film of 2016... but give it a decade. we'll see then." - @CoolioD1
“Not only is Silence the best movie of the decade, and the most overlooked one (which is shocking given it's Scorsese's career long passion project), not only do I find it to be the best film of Scorsese's career, it has just about moved its way into one of my top 5 films of all time. One of the most powerful movies I have ever watched.  Silence is certainly not an easy watch, and one that you'll certainly leave gaps of time before you come back and re-watch it, but that does not diminish the immense power of the movie.  It is not an easy, glowing endorsement of the faithful, nor is it a glorification of martyrdom, and it's also not a skeptical critique on religion.  Silence is a layered and nuanced look at faith, to what extent a person will go to hold onto it (to what extent the faithful should hold onto it), a question about suffering and how it can be allowed, and ultimately a work that is affirming to soul and rewarding to the faithful.  There's movies you never forget, there's movies that stick with you, there's movies that challenge you, but Silence is one of the few that goes beyond all of that.  If you're willing and of the right state of mind, it just might etch its way in your soul.  It's a movie with ideas and imagery that I'm still meditating over three years later, but ideas and imagery that were always there within my personal spiritual theology, it just provided the clarity to allow me to look and see them.” - @The Panda
Commentary: Martin Scorsese's long, quiet and demanding religious epic that, unusually for something that carries itself so much like an art film, seems to have found a more passionate fanbase on our box office forum than it would be likely to among any given group of film critics, whom one would think more predisposed to feeling so strongly about it. Planned by the director for a quarter-century, it proved to be about as uncommercial as its premise suggests, getting lost in the shuffle of 2016 awards-season releases, but there's no mistaking the integrity and clarity of its vision, which should keep viewers returning to it and discovering it for a long time to come.

 

 

 

 

 

 

The list can end here, it has now peaked with the best film.

[Ethan Hunt]

12 minutes ago, Jake Gittes said:

Number 19

  Hide contents

 

"Go on, pray. But pray with your eyes open."
329 points, 20 lists

directed by Martin Scorsese | US, Taiwan, Mexico, UK, Italy, Japan | 2016

 

The Pitch: In the 17th century, two Portuguese Jesuit priests travel to Japan, where Christianity is suppressed, to find their missing mentor, who is rumored to have apostatized.

 

#1 Placements: 2
Top 5 Placements: 1
Top 12 Placements: 5
Metacritic: 79
Box Office: $24m WW
Awards: Academy Award nomination for Best Cinematography
BOT History: #13, Top Movies of 2016; BOFFY for Best Overlooked Feature
Critic Opinion: “Silence, Martin Scorsese’s long-in-the-works adaptation of Shūsaku Endō’s same-titled novel about a Jesuit priest searching for his former mentor in shogun-era Japan, is a truly religious piece of filmmaking, in that it looks for meaning in the contradictions and absurdities of faith, instead of its assurances. One might call it a movie of dark ironies or a black comedy without jokes or even the anti-Goodfellas, as the two films complement each other in unexpected ways. [...] Its treatment of Rodrigues’ spiritual turmoil alternates between mystical affirmation and droll subversion. In its superb coda, the film somehow finds a way to the former through the latter. Having walked and sat alongside Rodrigues as he has wrung his hands in doubt and watched others die horribly while trying to figure out whether it would be worse to betray his faith or their own, Silence delivers a couple of cosmic punchlines, making it one of the few Scorsese films to redeem its protagonist.” - Ignatiy Vishnevetsky, The AV Club
“Like Andrew Garfield’s would-be Jesuit martyr in Silence, his sense of mission renewed by contact with the backbreaking poverty of the Japanese peasantry, Scorsese loves to go down among the shunned and despised—to mix with the moral lepers, to wash their sores, to chance contagion. A straight line can be drawn from Yōsuke Kubozuka’s Kichijiro, the serial-apostatizing backslider in Silence, to De Niro’s Johnny Boy in Mean Streets. Peopled with such irredeemables and full of beckoning lures and snares, Scorsese’s films don’t provide the audience a buffer of safe pity or contempt—in watching Silence, you are tested and implicated along with the priest, a mutely rubbernecking witness to a terrible Theater of Cruelty spectacle. It’s a gorgeous, troubling addition to Scorsese’s corpus, which is nothing if not a monument to visual allurement and moral turpitude. And with popular culture glutted by smug know-it-alls, self-styled Nice Guys, and patient explicators, a premium must be put on artists like Scorsese who are still willing to get lost—to venture into a forest dark, away from the straightforward pathway.” - Nick Pinkerton, Artforum
BOT Sez: "the rarest of films a legitimate epic dealing with complex themes and shit. in fact it's probably one of the most ideologically dense and complex movies i've ever seen. it's gonna give film academics decades worth of material. i think it's one of those "you get out of it what you put in" kinda deals. militant atheists and christians will have very different reactions to the ending. definitely feels like scorsese has put out the definitive representation of his struggles with faith that comes across in many of his films. can see why it took him 30 years to figure this shit out and even now there's no easy conclusion. not for everyone though, it's a difficult watch for sure and not one that gives immediate gratification. been thinking about it for a day and that doesn't feel near long enough. right now not the most celebrated film of 2016... but give it a decade. we'll see then." - @CoolioD1
“Not only is Silence the best movie of the decade, and the most overlooked one (which is shocking given it's Scorsese's career long passion project), not only do I find it to be the best film of Scorsese's career, it has just about moved its way into one of my top 5 films of all time. One of the most powerful movies I have ever watched.  Silence is certainly not an easy watch, and one that you'll certainly leave gaps of time before you come back and re-watch it, but that does not diminish the immense power of the movie.  It is not an easy, glowing endorsement of the faithful, nor is it a glorification of martyrdom, and it's also not a skeptical critique on religion.  Silence is a layered and nuanced look at faith, to what extent a person will go to hold onto it (to what extent the faithful should hold onto it), a question about suffering and how it can be allowed, and ultimately a work that is affirming to soul and rewarding to the faithful.  There's movies you never forget, there's movies that stick with you, there's movies that challenge you, but Silence is one of the few that goes beyond all of that.  If you're willing and of the right state of mind, it just might etch its way in your soul.  It's a movie with ideas and imagery that I'm still meditating over three years later, but ideas and imagery that were always there within my personal spiritual theology, it just provided the clarity to allow me to look and see them.” - @The Panda
Commentary: Martin Scorsese's long, quiet and demanding religious epic that, unusually for something that carries itself so much like an art film, seems to have found a more passionate fanbase on our box office forum than it would be likely to among any given group of film critics, whom one would think more predisposed to feeling so strongly about it. Planned by the director for a quarter-century, it proved to be about as uncommercial as its premise suggests, getting lost in the shuffle of 2016 awards-season releases, but there's no mistaking the integrity and clarity of its vision, which should keep viewers returning to it and discovering it for a long time to come.

 

 

 

 

wow what a mainstream popular film

[The Panda]

Up there as one of the most powerful stills in the history of cinema

 

 

The cinematography of the film alone puts it in a class only few other movies can reach.  A true masterpiece and spiritual experience.  
 

I have a caliber group of around 5-10 films that if I am ever asked which movie is my favorite of all time, I end up consistently picking from.  Silence is one of those movies.

[charlie Jatinder]

7 hours ago, baumer said:

how much did that make it to North American box-office? How many commercials were on TV so that anybody here could be aware of that movie?

May be next time limit the list to Hollywood films since its a Hollywood forum. The above reason is 100% accurate.

 

Also Scot Pilgrim. It's good but not even in Top 200, let alone Top 100.

 

What's up @Ethan Hunt?

Edited April 20, 2020 by charlie Jatinder

[charlie Jatinder]

Knives Out in Top 5 can redeem this list 

Edited April 20, 2020 by charlie Jatinder

[Jake Gittes]

12 minutes ago, charlie Jatinder said:

May be next time limit the list to Hollywood films since its a Hollywood forum. The above reason is 100% accurate.

What on Earth would that accomplish? The Hollywood films aren't the underrepresented ones here.

[Jake Gittes]

Number 18

Spoiler

 

"If I was a girl in a book, this would all be so easy."
343 points, 21 lists

directed by Greta Gerwig | US | 2019

 

The Pitch: The March sisters come of age during and after the American Civil War.

 

Top 5 Placements: 3
Top 12 Placements: 2
Metacritic: 87
Box Office: $206m WW
Awards: Academy Award for Best Costume Design, out of 6 nominations
BOT History: #7, Top Movies of 2019; 10 BOFFY nominations
Critic Opinion: Gerwig’s most obvious weapon is the structure, which is artfully jumbled and mostly flits between (or within) two time periods: during the American Civil War, with the four sisters and mother living in straitened circumstances and getting acquainted with rich next-door neighbour Laurie (Timothee Chalamet); and seven years later, with the girls’ father back from the war, Meg now married, Jo in New York trying to become a writer and Amy in Paris with rich Aunt March (Meryl Streep). Put like that, it doesn’t sound very interesting – but the way the film is structured means it runs on emotion instead of what-happened-next. Sometimes the transitions are explicitly emotional, thus for instance we cut from Amy being affronted by Laurie’s brutal honesty at a Parisian ball to Jo being similarly outraged by another man’s brutal honesty regarding her writings. Sometimes it works on contrast, going from a celebration to a funeral to a wedding day in 10 breathless minutes. The structure adds layers in another way too: we know more than the characters do. When Aunt March promises the excited Jo that she’ll take her to Paris as her companion, we already know that she ended up taking Amy instead. The film’s restless energy is the opposite of the staid approach that makes (most) period dramas feel so conventional – and also makes it touching when people are kind, because that kindness isn’t telegraphed.” - Theo Panayides, Cyprus Mail
BOT Sez: “Gerwig has made it clear again that her greatest talent is her ability to make us empathise with the characters, not just through her writing, but through the visuals and editing. A lot of people seemed to dislike the non-linear editing but I think its part of the reason why this movie works, espescially when it comes to the latter half of the movie. The way the movie cuts between the beach in the past and the present and the scene where we see Jo go down to the kitchen, both in the past in the present, to check if Beth has died are powerful because of they way they were put together.” - @lorddemaxus
"Timmy’s hair is so pretty in this. Like black cotton candy" - @Eric Atreides
Commentary: Greta Gerwig joins the club of filmmakers who've made this list more than once, and an even more exclusive club of those who've done it with 100% of the film work they did in the 2010s. A film that throws itself into being both a faithful adaptation of its classic source material and its critique (in the respectful, inquisitive sense of that word, rather than any negative one), her Little Women quickly attracted adoration, and four months after its release the enthusiasm for it seems to only be growing.

 

 

 

 

 

[RealLyre]

we're already at the best movie of 2019 and there's still 17 more films to go 

[Eric Atreides]

I love you Jakey 😘 

[baumer]

Little Women? 🤐

[Ethan Hunt]

Queen Greta again