PhantomKnight
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Post by PhantomKnight on Mar 17, 2020 18:32:08 GMT -5
59. RoomBecause it's a moving cinematic experience with a brilliant performance from Brie Larson and subtly skillful filmmaking. A movie about characters who are shut in inside somewhere and unable to go outside. AKA, another timely choice!
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IanTheCool
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Post by IanTheCool on Mar 17, 2020 18:55:09 GMT -5
Booya! Lincoln!
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Post by PG Cooper on Mar 18, 2020 10:51:20 GMT -5
56. SelmaBecause serious historical dramas are rarely this exciting to watch.
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Post by Dracula on Mar 18, 2020 12:22:14 GMT -5
51. Mad Max: Fury Road (2015) Year: 2015 Release Date: 5/15/2015 Director: George Miller Writer(s): George Miller, Brendan McCarthy, and Nico Lathouris Starring: Tom Hardy, Charlize Theron, Nicholas Hoult, Hugh Keays-Byrne, Rosie Huntington-Whiteley, Riley Keough, and Zoë Kravitz Based on: Characters created by George Miller Distributor: Warner Brothers Country of Origin: Australia Language: English Running Time: 120 Minutes Aspect Ratio: 2.35:1 As franchise obsessed as Hollywood is and always has been there was one franchise that really seemed dead it was Mad Max, which is a series that hadn’t had a new installment since before I was born despite having had a pretty noticeable effect on culture. This was probably because the series had long been associated with Mel Gibson and he had moved on to bigger things and because the original films were kind of in a gray zone between cult success and actual mainstream success. So suffice it to say I did not expect a reboot of the franchise would lead to one of the decade’s most critically acclaimed films and I certainly didn’t think that the person to do it would be the franchise’s original creator George Miller, who had kept kind of a low profile through much of the 90s and 2000s. Yet somehow everything came together and a rather amazing action movie was the result. The film had exciting action, some amazing visuals, and even a surprisingly large amount of political relevance. I loved the movie but I never quite went as all in on it as some critics and I think that’s largely because I think Mad Max himself is kind of devoid of personality and is almost a non-entity in his own movie despite seemingly being the film’s point of view character. That’s kind of a problem I had with the old movies in this franchise too but it’s a little more glaring here when everything else is so amazing. It’s still an amazing movie despite that Achilles heel and certainly belongs on any list of the best movies of the decade even if it’s a little lower on my list than it would be on some peoples'.
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Dracula
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Post by Dracula on Mar 19, 2020 7:43:14 GMT -5
50. Dunkirk (2017) Year: 2017 Release Date: 7/21/2017 Director: Christopher Nolan Writer(s): Christopher Nolan Starring: Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James D'Arcy, Barry Keoghan, Kenneth Branagh, Cillian Murphy, Mark Rylance, and Tom Hardy Based on: N/A Distributor: Warner Brothers Country of Origin: United Kingdom Language: English Running Time: 106 Minutes Aspect Ratio: 2.35:1 Of the four films Christopher Nolan made this decade Dunkirk would seem to be the least ambitious insomuch as it isn’t trying to dive into a dream world, send anyone on a mission across lightyears to save humanity, or cap off a legendary trilogy by invoking the French Revolution. And yet despite essentially being a recitation of history Dunkirk is a movie that’s more than worthy of Nolan’s skills and in many ways shows just as much ingenuity in its creation. The decision tell the three stories across three different periods of time while still ultimately having them line up, is quite original, but it employs the trick in a way that doesn’t call attention to itself and isn’t necessarily going to be the first thing that comes to mind when people think of the movie. The thing that does come to mind first is Nolan’s rigor in building out the Dunkirk evacuation with as many real people, real boats, and real planes as possible. It’s also notable for its ability to capture the all too real human story of desperation that went on at Dunkirk. When the movie came out I had this big elaborate theory about how it was a movie that perfectly matched the feeling of defeat mixed with determination to come back and win that the world was feeling after the double whammy of Brexit and Trump’s election, and while I acknowledge that this is very unlikely to have been intentional I still basically stand by the reading. It’s a movie that’s both meticulously cerebral and completely intense.
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IanTheCool
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Post by IanTheCool on Mar 19, 2020 7:56:14 GMT -5
Nice. I'm a big fan of Dunkirk.
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PG Cooper
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Post by PG Cooper on Mar 19, 2020 11:53:21 GMT -5
Some very nice choices, Drac. 55. The Tale of the Princess KaguyaBecause this final bow from one of the great anime filmmakers is a beautiful piece of animation with a quietly devastating story.
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Post by PG Cooper on Mar 19, 2020 16:22:31 GMT -5
54. The House That Jack BuiltBecause I don't know how the fuck Lars Von Trier got away with this, but I've never felt so guilty for laughing my ass off in a theater.
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Post by PG Cooper on Mar 19, 2020 17:12:38 GMT -5
53. Captain PhillipsBecause this tightly constructed true-to-life thriller is deceptively one of the best films made this decade about income inequality and global disparity.
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Post by Dracula on Mar 19, 2020 17:24:24 GMT -5
49. Mustang (2015) Year: 2015 Release Date: 11/20/2015 Director: Deniz Gamze Ergüven Writer(s): Deniz Gamze Ergüven and Alice Winocour Starring: Güneş Şensoy, Doğa Doğuşlu, and Elit İşcan Based on: N/A Distributor: Cohen Media Group Country of Origin: France Language: Turkish Running Time: 97 Minutes Aspect Ratio: 2.35:1 In 2016 director Deniz Gamze Ergüven released her sophomore effort, Kings, which is a film I have not seen but it certainly looks wretched. That Halle Berry/Daniel Craig Rodney King Riots film got a 9% on Rotten Tomatoes and is perhaps one of this decades biggest disappointments given that Ergüven’s debut feature Mustang was one of the most promising first features of the year. That film was set in Turkey, the country she emigrated from to France when she was young and in some ways the film feels like a sort of worst case scenario of what might have happened to her if her parents hadn’t moved. In it we watch five sisters who appear to have been orphaned and raised by their more conservative relatives and are basically forbidden from leaving the house and are being groomed to be married off at a relatively young age without any other option. It’s a situation that bears some similarities to Sofia Coppola’s The Virgin Suicides but here it feels more like a social critique than a thought experiment. Despite the fairly grim situation the film is actually rather rich with life and really brings the spirit of these girls alive. The title is a sort of metaphor for the vibrancy of the characters which can’t be contained by even these awful conditions. Hopefully Ergüven gets it together for film number three because if her debut is any indication there’s a lot of potential in her.
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Post by PG Cooper on Mar 19, 2020 18:38:41 GMT -5
52. GravityBecause it's an exquisitely crafted thriller that never lets up and a fantastic theatrical experience.
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Post by Neverending on Mar 19, 2020 18:40:26 GMT -5
Ian’s favorite movie
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Post by PG Cooper on Mar 19, 2020 22:06:39 GMT -5
51. LoganBecause while it may not be the most representative comic-book movie of the decade, it's definitely the best one.
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PhantomKnight
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Post by PhantomKnight on Mar 19, 2020 23:37:34 GMT -5
Damn right it is.
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Post by PG Cooper on Mar 20, 2020 10:11:36 GMT -5
50. Son of SaulBecause the way it's able to create a distancing effect through its cinematography is somehow so much more harrowing than the more overtly horrific version of this film would have been.
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IanTheCool
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Post by IanTheCool on Mar 20, 2020 10:43:21 GMT -5
A social distancing effect?
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Post by PG Cooper on Mar 20, 2020 11:18:16 GMT -5
A social distancing effect? Heh. 49. MelancholiaBecause this strangely accessible Lars Von Trier film walks many tight ropes as both a maximalist examination of depression and a minimalist depiction of an apocalyptic event, anchored by two amazing performances from Kirsten Dunst and Charlotte Gainsbourg.
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Post by Dracula on Mar 20, 2020 11:31:31 GMT -5
48. Leviathan (2014)
Year: 2014 Release Date: 12/25/2014 Director: Andrey Zvyagintsev Writer(s): Andrey Zvyagintsev and Oleg Negin Starring: Aleksei Serebryakov, Elena Lyadova, Vladimir Vdovichenkov, and Roman Madyanov Based on: N/A Distributor: Sony Pictures Classics Country of Origin: Russia Language: Russian Running Time: 141 Minutes Aspect Ratio: 2.35:1 Andrey Zvyagintsev has only made five movies over the course of a nearly twenty year career but despite that, and despite the fact that I have no idea how to pronounce his name, he’s pretty clearly the most important filmmaker to come out of Russia and Leviathan is probably the most important film of his career. The film is about a sort of battle of wills between a corrupt mayor that wants to seize a man’s home through a sort of eminent domain and the guy who refuses to sell and stands up to him. That’s the kind of set-up that could easily lend itself to a sort of cheesy movie about the little man overcoming adversity, but there’s none of that here. Instead the movie plays out like a sort of rumination on the biblical Book of Job with a man having his life getting worse and worse from his strict adherence to principals, but here our protagonist isn’t being tested by god (the movie is deeply anti-clerical) but by societal corruption in the form of both the government and the church. It’s a deeply cynical movie in which ordinary people are basically powerless when standing up to corruption and while it sympathizes with the guy on the receiving end of this trauma it doesn’t necessarily valorize him either. That’s what the movie is doing on a macro level anyway, but while you’re watching it the film doesn’t play like an on-the-nose parable, a lot of it actually concerns the protagonist’s day-to-day life and the breakdown of his family. It’s a dense movie with a lot going on in it and it’s not always a “fun” movie to watch, but it’s a deeply subversive movie that does not pull its punches.
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PhantomKnight
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Post by PhantomKnight on Mar 20, 2020 12:15:56 GMT -5
Melancholia was really very good, but damn did I need to watch something cheerful afterwards.
No surprise, given the title.
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Post by PG Cooper on Mar 20, 2020 12:21:48 GMT -5
48. ShameBecause Michael Fassbender and Steve McQueen are a match made in heaven and I hope they make more movies together.
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Post by PG Cooper on Mar 20, 2020 12:28:11 GMT -5
Leviathan is a very good movie that I couldn't quite find a place for in my list. Not a movie I'd argue against though. Crushing stuff, not in a necessarily nihilistic way, but its bluntness is pretty staggering.
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Post by PhantomKnight on Mar 20, 2020 12:30:47 GMT -5
If I had expanded my list beyond 30, Shame would've definitely been on mine as well.
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Post by PG Cooper on Mar 20, 2020 16:15:06 GMT -5
47. Winter SleepBecause while it may lack the same level of Hollywood sheen as Roma, Winter Sleep is an even richer example of how to tell a small scale character study with a more epic scope thanks to its patient storytelling, beautiful imagery, and nuanced wealth exploration which never announces itself as a thesis.
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Post by PG Cooper on Mar 20, 2020 19:23:18 GMT -5
46. Ad AstraBecause it's a heartwrenching journey and a great sci-fi odyssey and I really don't get why so many of you seem to hate it.
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Post by Dracula on Mar 20, 2020 19:43:16 GMT -5
47. Clouds of Sils-Maria (2015) Year: 2015 Release Date: 4/10/2015 Director: Olivier Assayas Writer(s): Olivier Assayas Starring: Juliette Binoche, Kristen Stewart, and Chloë Grace Moretz Based on: N/A Distributor: Sundance Selects Country of Origin: France Language: English Running Time: 123 Minutes Aspect Ratio: 2.35:1 The 2010s proved to be a very fruitful decade for the French filmmaker Olivier Assayas. He started the decade with the energetic and broadly scoped Carlos the Jackal miniseries Carlos (which is ineligible for this list) and then went on to explore his 60s youth but the two films that are most likely to be remembered are a pair of English language efforts he made with Kristen Stewart and particularly this one which focuses in on such themes as aging, modern filmmaking, and the line between acting and reality. Stewart plays an assistant to a middle aged actress played Juliette Binoche who has just been asked to star in a revival of a play that made her famous but to take on an older role rather than reprise the role she originated, which puts her in a rather wistful mood. The two spend much of their time traveling in scenic areas of Switzerland, including the titular valley where clouds snake through canyons, which is the perfect setting for this rather mysterious movie where reality seems somewhat in flux. The highlight of the film are the sequences where Stewart and Binoche are practicing lines and it becomes increasingly unclear whether they’re really just practicing or whether they’re actually talking to one another. It’s not a movie that’s trying to knock you over with its brilliance but it manages to be an interesting little puzzle with a rather hypnotic tone.
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