The way this works is that you post a review of the best film you saw last week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules.
1. Check to see if your favourite film of last week has been posted already. If so, please reply to that comment instead of making a new thread.
2. Please post your favourite film of last week.
3. NO TV SHOWS!
4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. Logan) without using the spoiler tag.
5. Comments that only contain the title of the film will be removed!
Here are some great comments from last week's thread:
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I saw Before Sunrise for the first time today, and I think it has really cemented my love for Linklater's work and style. I haven't seen the rest of the trilogy yet but I'm looking forward to it. First, can we talk about that insane Criterion transfer? I saw some screenshots of the original BluRay/DVDs and the difference is mindblowing. The colors seemed completely dry and mid-2000s-home-video-like on the original print, but Criterion restored them perfectly and I think that the new version is the only one that does justice to the film itself. Please watch this on Criterion if you can. Now, for the movie itself. What makes it so bloody brilliant is Julie Delpy and Ethan Hawke's chemistry. The two actors managed to capture the feeling of fleeting love perfectly, and they seemed to be having as much fun as the characters did. While yeah, the dialogue did get quite pretentious and over-the-top in parts, it was interesting and mumblecore-y like the other Linklater flicks and kept me hooked on. It does feel like it was playing out in retrospect, where the characters are more self-aware of their situation than anyone in their position would be, but I guess it says a lot about this particular style of filmmaking and writing. There were some fascinating long-takes in the movie, especially the one on the tram with the two characters asking each other personal questions. The visuals did a great job at capturing the moment. They didn't overdo it with cuts and the shallow depth of field helped focus on the dialogue and characters even with those amazing Viennese landscapes in the background. I could go on and on about Linklater's brilliance but I don't want to, here's what I will say - Before Sunrise is an ode to what is so great about romantic cinema and it transcends the boundaries of character relationships. It makes you feel passionate for the story but doesn't indulge in the gratituousness of young love. It's the perfect romance film and I'm excited to see the rest of the trilogy.
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The Insider - Movies based on real events can often be either too dry or too sensationalized, but The Insider finds the perfect balance and is an extraordinarily compelling film. I liked both the leads a lot-Crowe ably navigates a role that combines intense paranoia, anger, intelligence, coldness and aloofness, and it’s one of the last times Pacino actually tried in a movie. Also, Plummer (as Mike Wallace) is terrific and I love his characterization in general since I was never really a fan of Wallace in general. I loved the screenplay for a number of reasons. First, it’s a great thriller, especially with the paranoia that’s pervasive throughout the first half (the scene at the driving range being my favorite, with perfect pacing, editing and cinematography). Second, it’s very dedicated to historical accuracy, something I think is important in a movie with explosive allegations and negative characterizations about people when the events happened just four years before the movie came out. Third, in a different telling of this story, we might get more broad and obvious characterizations, but here we get much richer portraits, like with Crowe’s character, who is clearly heroic by putting everything on the line for the right cause, but is also unpersonable and prone to anger. The other thing that stood out to me was the cinematography and editing, which felt very “modern” (for better or worse). Lots of rapid-fire cuts, heavy use of steadicam, off-kilter close-ups, and switching the focus from the foreground to the background (or vice versa) within the same shot-it certainly looks distinctive. I think it gives a dynamic feel to the movie, and in the context of a thriller like this, it works well. Making a compelling, true-to-real-life-events thriller with themes about monied interests and media influence that are more relevant today than ever is an incredibly difficult task, yet The Insider somehow gets everything right. This was the high point for Michael Mann’s career, a bit of a swan song for Pacino, and a movie that further established Crowe as maybe the top actor for the time period.
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Yi Yi - Probably the 3rd time I saw this masterpiece by the late Edward Yang. When I first saw it, I was probably still a kid in middle school - I have absolutely no idea what this film is about except that it's way too long. When I watched it the second time, I was in college, just starting to become a regular movie fan and watching all kinds of films (blockbuster/indie/foreign/classics/etc) - still, I'm not 100% sure why this is considered one of the best films in the 21st century; I do remember that the final words regarding getting old by Yang Yang really stuck with me. This time around, however, after I've seen much more films over the past couple years and have way better understanding of what makes a great film, I was absolutely absorbed by this film. I now consider it the best Chinese language movie of all time (although that doesn't say much since... not much competition really), and I think it's even better than another Yang's masterpiece - A Brighter Summer Day, which by a lot of people is considered his magnum opus. The story of Yi Yi is so specific and small, yet it becomes more and more "epic" and universal when time goes by. By the end of the film, I'm surprised by how many small things that I can relate to, and how deeply I can relate to them. The language of the film does not feel cinematic at all - the camera is such an observant and it never gets in my way, but the way the story unfolds and different montages are presented can never be achieved in other medium than film. It does not hit you as a tear-jerker, it doesn't try to manipulate your emotion, it lays out the story for you in the most straightforward way possible. But at the same time, it is profoundly poignant and tender, giving me chance to relate to all the characters in this film.
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Submitted March 26, 2017 at 11:07PM by GetFreeCash http://ift.tt/2nC1kfU
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