PG Cooper
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Post by PG Cooper on Mar 23, 2020 9:47:34 GMT -5
33. A SeparationBecause it's masterful told drama which continuously evolves in unexpected ways and offers no easy answers.
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PG Cooper
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Post by PG Cooper on Mar 23, 2020 11:05:51 GMT -5
32. 127 HoursBecause I'm still amazed that Danny Boyle was able to make such an energetic experience with largely just one actor (albeit one doing the best work of his career) trapped under a rock.
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PG Cooper
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Post by PG Cooper on Mar 23, 2020 12:00:27 GMT -5
31. Black SwanBecause it's a great piece of art-house horror that Darren Aronofsky disguised as prestige cinema.
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Post by Neverending on Mar 23, 2020 12:25:19 GMT -5
Because it's a great piece of art-house horror that Darren Aronofsky disguised as prestige cinema. Just because it won an Oscar doesn’t mean anyone thought it was a “prestige” film. We all know the type of filmmaker Aronofsky is.
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PG Cooper
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Post by PG Cooper on Mar 23, 2020 12:27:45 GMT -5
Because it's a great piece of art-house horror that Darren Aronofsky disguised as prestige cinema. Just because it won an Oscar doesn’t mean anyone thought it was a “prestige” film. We all know the type of filmmaker Aronofsky is. Idk, the fact that people like my Grandma were chomping at the bit to see it suggests the film was thought of as more of a "drama" by the general public than Requiem for a Dream or mother!
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Post by Neverending on Mar 23, 2020 12:30:44 GMT -5
Just because it won an Oscar doesn’t mean anyone thought it was a “prestige” film. We all know the type of filmmaker Aronofsky is. Idk, the fact that people like my Grandma were chomping at the bit to see it suggests the film was thought of as more of a "drama" by the general public than Requiem for a Dream or mother!
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PG Cooper
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Post by PG Cooper on Mar 23, 2020 13:04:16 GMT -5
30. SilenceBecause it's the religious epic Scorsese has been building to all his career.
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Post by PG Cooper on Mar 23, 2020 14:31:46 GMT -5
29. ParasiteBecause it's one of the most excitingly original stories put to film in the last decade, with immediate social relevance profound in its simplicity.
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Post by PG Cooper on Mar 23, 2020 15:41:39 GMT -5
28. Once Upon a Time in HollywoodBecause this is Tarantino's most sincere work since Jackie Brown and a movie that still made me laugh my ass off while also touching me in ways I didn't expect it to.
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Post by PhantomKnight on Mar 23, 2020 16:30:39 GMT -5
while also touching me in ways I didn't expect it to. Show us on the doll where it touched you.
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Post by PG Cooper on Mar 23, 2020 18:25:49 GMT -5
27. HereditaryBecause it's a truly horrific experience with fascinating thematic implications.
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Post by Doomsday on Mar 23, 2020 18:34:03 GMT -5
I liked Hereditary but everyone else seemed to love it. No complaints from me, I just don't know what I missed that pushed it over the edge.
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Post by Dracula on Mar 23, 2020 20:27:58 GMT -5
41. The Favourite (2018) Year: 2018 Release Date: 11/23/2018 Director: Yorgos Lanthimos Writer(s): Deborah Davis and Tony McNamara Starring: Olivia Colman, Emma Stone, and Rachel Weisz Based on: N/A Distributor: Fox Searchlight Country of Origin: United Kingdom Language: English Running Time: 120 Minutes Aspect Ratio: 1.85:1 Yorgos Lanthimos is plainly one of the most important filmmakers of the decade, but I don’t necessarily love everything he’s done. His first two English language films (The Lobster and The Killing of a Sacred Deer) were definitely interesting but they also kind of weirded me out. Something about the way that Lanthimos was handling dialogue in those movies was so isolating as to kind of keep me at arm’s length. Of course his movies are kind of supposed to keep audiences at arm’s length, they’re profoundly weird movies that are not meant to work for everyone. But then came The Favourite, a movie that somehow managed to be the perfect vehicle for Lanthimos to make something a bit more accessible without feeling like a sellout. This accessibility might partly be because Lanthimos didn’t write this one, but the way he directs the actors is still largely in keeping with his sensibilities. The movie is set in the very early 18th Century and depicts historical events that have not been depicted too often but the movie has a uniquely modern outlook and attitude in a lot of ways. The whole movie is a sort of Dangerous Liaisons riff where the characters are constantly backstabbing one another and the script is full of really biting insults and jabs. Emma Stone and Rachel Weisz are deliciously able to inhabit the roles of the suiters sniping at one another for the queen’s affection and the movie also brought the actress Olivia Coleman, who had previously really faded into the background, into focus as a major talent and won her an Oscar. There’s kind of a long tradition of these sorts of ribald costume dramas and this movie brings that tradition into the 21st century perfectly.
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Post by Dracula on Mar 24, 2020 9:43:14 GMT -5
40. Blue Valentine (2010) Year: 2010 Release Date: 12/29/2010 Director: Derek Cianfrance Writer(s): Derek Cianfrance, Cami Delavigne, and Joey Curtis Starring: Ryan Gosling and Michelle Williams Based on: N/A Distributor: The Weinstein Company Country of Origin: United States Language: English Running Time: 112 Minutes Aspect Ratio: 1.66:1 The 2010s have been a really strong decade for these movies that take a very close look at the messy realities of relationships between complicated people. This trend of anti-RomComs maybe got their start with 2010’s Blue Valentine, a film that cuts between the promising start and sad end to a marriage between two people who clearly love each other deeply prove to just not be able to make it work. The film was made about four years after Ryan Gosling had established himself as a strong dramatic actor in the film Half Nelson and in many ways this solidified him as one of the go-to prestige actors of the decade and also solidified Michele Williams as someone who could in many ways do no wrong. Director/co-writer Derek Cianfrance really puts in the work to give these characters a backstory and build a realistic lower-middle-class life for them that feels more real than it would in other similar movies while still finding ways to give the whole thing a bit of that operatic oomph you want out of cinema.
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PG Cooper
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Post by PG Cooper on Mar 24, 2020 9:47:43 GMT -5
It took me a long time to appreciate Blue Valentine but I'm fully on board now. Devastating film in a number of ways.
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Post by PG Cooper on Mar 24, 2020 10:03:13 GMT -5
26. DriveBecause while Nicolas Winding Refn hasn't really lived up to it in his subsequent works, I still think Drive is pretty awesome.
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Post by Neverending on Mar 24, 2020 10:16:48 GMT -5
26. DriveBecause while Nicolas Winding Refn hasn't really lived up to it in his subsequent works, I still think Drive is pretty awesome. I’m shocked that isn’t your #1.
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Post by PhantomKnight on Mar 24, 2020 10:20:31 GMT -5
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Post by PG Cooper on Mar 24, 2020 10:38:32 GMT -5
26. DriveBecause while Nicolas Winding Refn hasn't really lived up to it in his subsequent works, I still think Drive is pretty awesome. I’m shocked that isn’t your #1. I love the movie. It's stylish and awesome and more than enough to be the best movie of 2011. But best of the decade? Not quite.
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Post by IanTheCool on Mar 24, 2020 11:03:24 GMT -5
Yeah, I am surprised its not top ten at least.
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Post by PG Cooper on Mar 24, 2020 11:26:33 GMT -5
And now we get into the section relative to Dracula's poll. 25. JackieBecause it goes so far beyond a Jackie Kennedy biopic (though Portman's performance is certainly up to snuff) and becomes a far more complex meditation on grief and legacy.
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Post by PG Cooper on Mar 24, 2020 11:29:00 GMT -5
Yeah, I am surprised its not top ten at least. If Refn had continued to knock things out of the park this decade it might have fared better. I didn't go out of my way to place it lower or anything, but I don't doubt that placing it within the context of his filmography effected its placement.
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Post by Neverending on Mar 24, 2020 11:37:55 GMT -5
25. Jackie Random.
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Post by Doomsday on Mar 24, 2020 11:41:42 GMT -5
Yeah, I am surprised its not top ten at least. If Refn had continued to knock things out of the park this decade it might have fared better. I didn't go out of my way to place it lower or anything, but I don't doubt that placing it within the context of his filmography effected its placement. Have you watched Neon Demon? Curious to know your thoughts.
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Post by PG Cooper on Mar 24, 2020 11:45:19 GMT -5
If Refn had continued to knock things out of the park this decade it might have fared better. I didn't go out of my way to place it lower or anything, but I don't doubt that placing it within the context of his filmography effected its placement. Have you watched Neon Demon? Curious to know your thoughts. I actually haven't seen anything post-Drive other than Only God Forgives, which I actually kind of like, but it's definitely a step down. Probably unfair of me to make these judgements then, though part of the issue in my souring on Refn is less the movies and more the dude himself. The way he talks about his films is a bit much. That interview with Friedkin is hilarious.
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