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M (1931) – 90/100
Excellent narrative of a race between a band of criminals and the police to catch a child murderer. Very engaging story even though no single perspective is stuck with for long. Particularly smooth camera work blends the picture into a cohesive story, and especially passionate acting makes this a great film.
Good Bye, Lenin! (2004) – 85/100
Superb music and a unique plot are the highlights of a drama where a son manipulates his mother’s world to protect her fragile heart.
Lola (1981) – 78/100
Unbelievable use of color livens up this film for the most part, but continuously dreamy depictions get tiring after a while. Very well cut, but the subject matter of a sexually free woman reigning over several men’s lives just to prove she can becomes too fearsome, not melancholy, for me.
Veronika Voss (1982) – 92/100
An unbelievable film written and captured perfectly. A great script full of excellent one liners. A perfect dose of subtle creepiness, and a riveting, enigmatic plot about who pulls the strings behind a decaying film star, and a man who tries to uncover the whole crazy yet probable scheme.
The Marriage of Maria Braun (1979) – 90/100
A very intriguing narrative of a woman and the men she goes through over the years during and after WWII while always acting for her and her husband’s interests.
Wings of Desire (1987) – 84/100
Some scenes are very engrossing, but others feel distant though admirable. Dialogue is a highlight, and once the film switches from black and white to color it becomes much more engaging. Though its relatively slow, it ends too abruptly and feels like a dream thats suddenly gone. I saw this after the American remake, which is very different in mood, but exactly alike in shot composition and roughly in message.
Stupid Crazy Love (2011) – 52/100
I don’t have the heart to say that anything that Ryan Gosling and Steve Carell are involved in sucks, so I’ll just say it sucks except for them. Totally manipulative script set to lure sympathy from the audience instead of express anything, at all. A useless 2nd conflict unnecessarily lengthens the movie, and characters are diluted so as to be overly relatable. Formulaically kitsch.
Our Idiot Brother (2011) – 68/100
Pretty good popcorn flick with a normal amount of laughter. Definitely a new approach to criticizing the modern man/woman’s overly conceited and self-absorbed personality, but it ends with a surprising lack of resolution.
Annie Hall (1977) – 98/100
Pshhhh, perfect portrayal of a relationship by the world’s most likable narrator.
Match Point (2005) – 99/100
Undeniably awesome film about the man we’re all told to be. A lovely highlight on the role of chance in a story of a man’s unrelenting fight for what he wants.
The Shinning (1980) – 100/100
My 3rd viewing of the film. Brilliant. Just Brilliant. Jack Nicholson in his greatest role in the greatest horror flick of all time.
Hanna (2011) – 88/100
My 2nd viewing of the film. Excellent tackling of a trivial plot, if only all action flicks were this heavy on style. Great synchronization of music with action, camera work exemplifies the mood of key scenes, and surreal depictions of other scenes really communicate the feelings of the characters. This film is an analogy of an animal running through a complex maze, and every stylistic choice effectively communicates the flavor of the situations in the film, and leaving meaning to be irrelevant. But, I don’t think this thoughtless depiction of perception comes off obviously enough. The scarce explanation of the plot that there is, intellectualizes a film about feelings, and should have been left out. As is, superfluous elements are introduced to the viewer, trying to justify action. But this is contradictory to the overall message of the film, and muddies it, knocking it down from a home run.
Blue Velvet (1986) – 84/100
Crazy and disturbing view of depravity, and how easy it is to brush away that depravity, in a suburbia near you. Very straightforward for a David Lynch film.
Mulholland Drive (2001) – 86/100
The biggest example for an ending justifying the whole film. Everything will seem terrible and stupid until you reach the last half hour or so. You’ll be convinced that this is another “so-bad-its-good” film, then you’ll reach the end, and everything will make sense.
Cocoon (1985) – 58/100
Weird tales of aliens and old people, not exciting in the least. But, the music from Super 8 was pulled from this, so at least that’s good.
Deep End (1970) – 76/100
Some parts are so good, other parts are so bad. This is due to acting that is very inconsistent, but at least your interest will be kept peaked by an alluring tale of the sexual tension between a young boy and a slightly older woman. Stylistically memorable for great color palettes, and the fact that its an unconventional buldingsroman makes it an “alright watch.”
30 minutes or less (2011) – 15/100
Terrible plot, pathetic jokes, repulsive characters. A lame catalogue of losers doing their thing.
Super (2010) 2/100
This movie is evil. A portrayal of the depravity in an overgrown child in a disgusting style. This movie glamorizes unjust violence, and gives right to the naive taking action when they have no right. And if everything was meant to be sarcastic, I still can’t handle such disgusting subject matter. I just feel guilty watching such pathetic characters, the feeble shouldn’t be glamorized or ridiculed, whichever this dark movie is trying to do.