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. It, mother!, Kingsman: The Golden Circle) 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 mother! and it was one of my favorite films of the year! From the beginning I was hooked with a sense of intrigue. While the point of the film gets more and more obvious as it goes on, there's a great sense of mystery at first where you're trying to figure out what's really happening. Even then you still might not even be sure, though. It's a true psychological horror film in that you feel exactly the main character: like your space is constantly being violated, and you're slowly losing your mind to all the chaos. It gets so over the top near the end that it's like an inescapable nightmare. All of the performances were excellent. I wouldn't have felt as awful for mother if it weren't for Jennifer Lawrence's sweet and innocent demeanor. She's just so lovely, that you can't help but feel bad for her. Javier Bardem is enigmatic, charming, and soothing, but can snap on a moment's notice. It was also great to see Michelle Pfeiffer and Ed Harris again, who were both excellent. Aronofsky knocked it out of the park with the most unique and engrossing horror film to come out all year. The sound design is especially creepy, with creaky floorboards and whispering voices instilling a sense of dread. There's also barely a musical score, so it gave the film a natural quality, yet unnatural in a film sense. You're just constantly uneased. There's loads of imagery that will stick with for a while and I can't wait to watch it again. Not only will there will be new stuff to pick up on, but it's so bonkers and off the wall, I can't wait to relive the experience.
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I saw Zvyagintsev’s Loveless this week. It isn’t often that a review should explain what a film is not about, but Andrey Zvyagintsev’s Loveless is a spellbinding examination of absence. Absence of connection, of love, and of independence, each represented by its literal incarnation: the absence of a neglected child. This child belongs to a vile couple going through divorce. We are able to watch and understand their point of view (a shift in perspective during the first act gives a tangibility to the disappearance of their son), but never to the brink of empathy. Miserable and lonely, they have the emotional underpinning of a Roy Andersson character. In fact, every person in Loveless is a pessimist, figures stuffed inside their homes. The windows that they are framed against (literally against) is a way of maintaining the silence. Its themes may not be as enamoured with politics as Zvyagintsev’s last, Leviathan, but this remains an astute indictment of the Russian government. Loveless begins with its setting. This is Russia, a stark, empty abyss. Where are all the people? Kids pool out from inside a school building, and the camera follows the child, Alexey, until it doesn’t. The imagery here is telling, an invitation of the film’s themes before they’re revealed. The emptiness of the wintery wasteland is only filled up during the latter half of the film, where citizens choose to forgo authorities and muster up a search party of their own. Interpreting it this way, Loveless is slyly optimistic, staging a battle between an alienating country and its discontented populus. In many other ways, however, Loveless is not. Take the mother, for instance, who’s both neglectful of her child and expectant of his good behaviour. It is made clear that she doesn’t want anything to do with Alexey, and her inability to notice his disappearance until two days later is proof enough. She’s Mother Russia represented as a figure who has given up on who or what she’s supposed to love, and this characterisation is (sledge)hammered home in one of Loveless’ closing scenes. The film isn’t interested in delivering its message discreetly – why should it be? Zvyagintsev wants his intentions to be heard loud and clear. Televisions blare out war and chaos, a blah blah of negativity that wears off on the characters. It’s over the top, even comically so, but that’s the point. Loveless is a poetically written letter of desperation that urges its citizens to do something, anything, about their country’s political climate. Once the focus on thematic layering makes way for an investigative drama, Loveless’ narrative becomes more procedural and just as intense. This film can pull off this argument in tones simply due to the fact that it is in itself an argument. The first half stakes the claim that everything is hopeless in Russia, and that it’s citizens are unable to do anything about it. Its second half contradicts this, depicting people banding together in search. It is the results of the search that dictate which side of the dispute this film lies, leaving the viewer as empty as everything the film is not about.
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The best film I saw this week, and maybe the best film I saw this year, was, no joke, Captain Underpants: The First Epic Movie. I'll admit it's probably mostly painted by nostalgia. I couldn't count the number of times I read the original series, ripped the pages doing Flip-o-Rama, and probably annoyed the shit out of my parents yelling TRA LA LAAAAAA! That said, operating from a nostalgia perspective, they 100% nailed it. The 3D animation was, like The Peanuts Movie a couple years ago, really smartly used to bring 2-d into the 3D world. And the animation wasn't without its creative twists, mixing the 2-d style of the book in the comic book sequences, and even doing a really silly mini sock puppet animated scene. But they totally nailed the book to film conversion vis a vis Dav Pilky's silliness. I was just blown away by the film's endless creativity. Whether it was scene transitions breaking the fourth wall and seemingly dimension, or the nonstop almost 30 Rock level joke per minute style of the screenplay and visual gags. Middleditch and Hart are great as Harold and George. Helms makes a great Krupp/Captain Underpants. But the crown here goes to Nick Kroll's Professor Pee-Pee Diarrheastein Poopypants (yeah it's that kinda movie Fuck you it's amazing). Legit every line out of his mouth is hilarious. The screenplay is great, the visual gags are really creative, and it more than does justice to the source material. It's also a kind of touching friendship story. I really, genuinely think this is the best movie I've seen this year. 10/10.
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Submitted October 01, 2017 at 11:40PM by MoviesMod http://ift.tt/2fCKsk8
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