6u532b

Felt like it kinda said nothing overall, if I’m being completely honest. It takes on a heady theme, but doesn’t have enough bite in its imagery or single sequence to conjure up any unique commentary on the topic, and the accompanying message at the end, something that I find many viewers would already know, makes the whole thing come across as a little bit of a hacky PSA. 

So, how do we fix this, because I don’t wanna leave this review of an amateur’s effort without saying nun explicitly constructive. I think, when it comes to a minute-long film, assure everything boasts intentionality and unique purpose. Why does a theme stand out to you? What makes your take on said theme stand out? It’s these questions that would have benefit this film, trust, and made it simply bleed with impact and memorability.

Watched this time ago but forgot to log so I had to run it back. 

Prolly Nick’s best effort yet outta the ones I’ve seen. Middles about at points but definitely is a step in the right direction in of tightness and cohesion. Employs its simple concept effectively, for the most part, even if it resorts to pulling the same tricks one too many times.

The greatest Martin Scorsese movie that Martin Scorsese never made. Bleeds honesty and humanity.

Wes' head is going too far up his ass bro, I can't even lie. I'd be lying if I said that classic Wes charm was absent here - there's moments of delight and Michael Cera fit into the Wes mould like a glove and was an absolute joy to watch - but the story repeatedly finds itself weighed down by convoluted slop that a) is told clunkily and b) I didn't really care for.

Such a wonderful way to end BUFF. Considering its frenetic style, it’s so impressive how cohesively Eugene Kotlyarenko’s film comes together. The style is all over the place and in-your-face, but the story beneath the chaotic facade feels tender and genuine; defo a highlight outta the Dimes Square movement’s slate of efforts.

Unbelievably idiosyncratic depiction of schizophrenia that, despite feeling quite unfocused at points, does a marvellous job at creating a madcap, memorable and sympathetic of its titular pee pee poo poo man. Thrived most when there was 20-25 minutes of no narrative progression whatsoever, just the main character dousing people in buckets of piss and shit.

BUFF ROUGH CUT THOUGHTS

I mean, at this point, I think I’m sold on the notion that Nick literally cannot miss, as, even in this stage of incompletion, The King of Darkness still presents itself as perhaps the closest thing we’ll get to a contemporary Shakespeare: a grand tale rife with moral quandaries, epic soliloquies and sweeping tragedies, deeply intertwined with Internet-culture ridden sequences of excess, consumerism, materialism and (intentional) AI usage.

Every character felt rich and memorable and I felt each and every actor did them justice (shoutout to Jordan Briggs’ monologue as The Fool towards the end of the film: scene of the year so far). I felt the central character that Nick played - the Prince - and his internal conflict beautifully reflected so many of the themes in the film: in a world where one’s perceived worth and self-worth are entirely defined by a consumerist idea of beauty, he repeatedly finds himself having to conform to society’s perception of what traits a king must possess, which I felt not only justified, but made his AI dialogue feel thematically rich, alongside creating some super profound scenes out of the few moments where that AI cracks and we hear the Prince’s real voice for a fleeting second. 

Having said all that, for future cuts, I reckon these are the proposed areas of focus that stood out the most to me:
- At this moment, whilst I understand its purpose, I do feel like the AI is a little overkill; it sometimes takes away from the emotional punch of a scene
- Sound felt a little inconsistent in some scenes. Room tone between shots didn’t always match up, which took me out of the experience for moments at a time
- Contextualise Danny$wagg as a villain a little more. His motivations felt a little murky and more context could increase the impact of that conflict early on

But yeah all in all I really fucked with this. It was unlike anything I’ve ever seen before, and due to that I have all the confidence in the world when I say that this will definitely stick with me for a while.

A film with an addictive personality. Such a fun-loving experience that’s never afraid to wear its colours for everyone to see. Also very well performed and choreographed for a low budget film; was super impressed.

Serves as a gruelling, challenging and incredibly progressive (especially for 100 years ago) commentary on faith and sexual assault for 90% of the film, then pulls some dumb ass shit in the final stretch that uproots all that made this great. I’m sure I’m right in saying that you can hardly blame Oscar Micheaux for that, but unfortunately it did make the final cut so it ain’t smth you can jus ignore.

Such a hard film. Both pays homage to and satisfyingly subverts all the tropes of a rape-revenge, resulting in this sumptuous, campy experience that’s very very easy to enjoy.

I was stone cold fkn sober watching this and it felt like I was tripping balls from start to finish. Totally incomprehensible asw but at least it was well shot…?

Stg they say the goofiest shit during dirty talk in this film asw one of the sex scenes starts out with a guy saying “superfuck” which is the funniest shit ever idk what to say.

Unreal how much fun I had with this one. Super camp in all the best ways.

Sometimes brilliant, sometimes incomprehensible. Did I ever buy that we were in Cuba or New York? No. Was there glimpses of brilliance scattered in amongst here, like that sequence with the projector? Absolutely. Perhaps it all funnels down to how much I understood, but, if one thing’s for sure, it’s that Gabriel’s films (from what I gather) seem to be super reflective of who he is and show a fuck ton of promise.

Such an action packed and playful lil short. Had plenty of fun with this one.

An almost Chekhovian aimlessness captured brilliantly. Honesty doesn’t always bind itself to a set point A to point B narrative, and Daniel displays this wonderfully by wholly indulging in the pastimes of his two leads. It’s the only way they feel they can achieve any sense of connection, and the results are heartbreaking. Similar to what I’d imagine a mid length Lav Diaz would look like.

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Week 29: Courting Controversy Week

Fucking hurts so much that I came outta this feeling like this because, believe me, I went into this really really wanting to enjoy it. It’s always irable when an amateur filmmaker just goes out there and…makes a fkn feature, and Honeycomb wears that DIY aesthetic on its sleeves from start to finish. I constantly had the feeling that this was just one of those films where a filmmaker just went out with their homies and made smth, which was super calm. 

However, as irable as this may be, if truth be told, it more often works to the film’s detriment than betterment. Despite boasting an intriguing narrative at its core, and many irable visual ideas to boot, when it came to the writing and performances, you could really feel that it was an amateur production, for a lack of a better way of putting it.

I never really bought the central character dynamics whilst I was watching the film, and didn’t ever feel too convinced watching each character segue into their cult-like mentalities. There was a constant pervading lack of chemistry present, which, combined with dialogue that felt a little too on-the-nose to be poignant and a non-ending that didn’t really stick the landing, made the overall messages, in spite of their intuition, fall a little flat.

Despite some tonal inconsistencies, Avalon Fast makes great usage of the inherent SOV roughness the short boasts, which, along with the comedic punch of some of the motions throughout the short, makes for quite an enjoyable experience overall.

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Week 28: Arab Cinema Week

Sure, it may meander here and there, but the palpable emotion seeping through every facet of Mohammad Malas' film gives it an undeniably striking authenticity that's very hard not to warm to. Malas utilises the inherent connection between history and memory to deliver a beautiful, emotionally rounded love letter to his birthplace of Qunietra, Syria - which now lies mostly dismantled: a remnant of history. It focuses on how memory shapes us into the people we are today, and how historical struggle toughens and moulds us mentally.

It's a film wholly concerned with the people inside the city; we bear witness to how their situation moulds their learnings, their ideologies, their respective changes, which Malas often complements with seething reflections of the seemingly never-ending colonialist occupations in Syria and Palestine, reigns of terror that, to this day, continue to unjustly and inhumanely oppress hundreds of thousands, if not millions, of people.

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Week 27: I Stan Movies Week

Saw all the Kurosawa comparisons when approaching this film and I gotta say I see where they're coming from. For such a grand film "The Fall of Otrar" really does a fantastic job at keeping its shit together, offering memorable action scenes, an engrossing and necessarily gritty depiction of its period and complex commentaries on society: is it external forces becoming too powerful that defeats a nation, or the mindset of those living within it? Need more films and stories about Asian history; this proved that there's serious gems in there that the West love to gloss over.

Was finna call it Oscar bait because, let's face it, if this were an English-speaking film, it woulda defo had them shouts and probably would've been a frontrunner for Best Picture. It pushes real fucking hard to get the tears running, however, it's clear that Pat Boonnitipat has plenty of heart invested into this film, which makes many moments scattered throughout the film quite impactful regardless of such.

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Week 26: I-Spy Week

Starts off quite slow, blasé and aimless, but it's one of them experiences that really kicks into gear when the story starts to come full circle. Especially in the second half, Schlesinger's direction becomes super assured, and the story inhabits quite an addictive grit that - despite pulling punches here and there - makes for a far better ending than perhaps the first half deserved.

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Week 25: Thai New Wave Week

A fascinating and undeniably spiritual musing on ing and death. Weerasethakul's film moves at a languid, undeniably human pace, allowing its central relationships to achingly develop and blossom. Despite playing it a little too flat with the emotion here and there, this is one of those films where everything seethes beneath the surface; much like what it describes of our metaphysical and spiritual bonds to each other and ourselves, nothing is ever physically or explicitly described. It allows the experience of the film to sit with us, akin to how - in general - experience defines a person irrespective of the body they find themselves inhabiting.

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Week 24: One Vote Wonders Week

Yet another film that I respect more than I enjoy. It works best when it's loud - one of the best things about Sarah Jacobson is how bold and unapologetic she was with her filmmaking and messaging - and that forthright rebellion is on big display here. It's very rough, which occasionally is to the film's detriment, as the violence and kills, for a lack of a better way of putting it, are pretty shit, which I felt cheapened the fuck-you, no-holds-barred experience Jacobson was clearly going for.

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Week 23: Compos(h)er Week

At the start of the film the narration really threw me off - wasn't sure if I watching a Peter Sotos-like interview piece or an imitation infomercial - but when this kicks into gear, it is wickedly haunting. The narration possesses this real cutting, dark poignance, which Condit's disorienting, repetitive imagery wonderfully complements.

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Week 22: Sapphic Women of Color Week

Pretty standard pinku schlock for the most part which, to add insult to injury, is badly acted, but there's enough good ideas over the course of "Midnight Virgin" to keep it respectable. It's clear director Shogoro Nishimura has visual flair to his style, and the ending of this film is really kickass; it's just a shame that so much of what preceded it was so blasé.

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Week 21: Golden Leopard Week

In this day and age more than ever, we're constantly fed the notion that there is currently a male loneliness epidemic surging amongst the current youth, and, as a young man in today's society, its existence is impossible to dismiss. Men these days chase fleeting dopamine hits constantly, whether it be through outlets like online communities (often those promoting redpilled or incel ideologies), religion, or, perhaps most prominently, through parasocial relationships/obsessions with online models on platforms like OnlyFans.

Some like to attribute such to a supposed more callous mindset in women these days, whereas others pin it on the legacy of the patriarchy and the toxic attitudes traditional masculinity bears. However, what is apparent in almost all these cases is a lack of connection, men desperately trying to chase the feeling that they are loved and have a place in a world that they are still discovering the new, adult realities behind.

Despite seeming like such a modern and topical issue, perhaps the best cinematic depiction of it I've seen happens to turn 55 years old this year.

Akio Jissoji's spellbindingly shot "This Transient Life" exists at a crossroads between loneliness and desire, where the feelings of such are so strong that they become indiscernible from one another. Protagonist Masao finds himself so deprived of connectivity, particularly within the confines of his family setting, where he is repeatedly burdened with a set life path - taking over his father's business - that he finds no joy in whatsoever. Hence, he is instantly drawn to his sister Yuri, who, similarly disillusioned with the familial/traditionalist expectation of finding herself a husband before a certain age, he sparks a torrid, incestuous relationship with.

Jissoji's film, alongside being perhaps the best shot film I've seen all year, is rife with profundities, akin to many of its contemporaries in the Japanese New Wave, which this film only reaffirms constantly stayed 10 steps ahead of any other cinematic movement. The JNW was berthed by the disillusioned youth of Japan, filmmakers furious with the happy-go-lucky state of Japanese film in the 50s, peddled by particularly Yasujiro Ozu, which they felt reflected the desperate state of post-war Japanese society in no way whatsoever, and Jissoji's film ionately wears that sentiment on its sleeves from start to finish.

Despite being so steadfast about his beliefs, the film makes a very apparent point of Masao's aimlessness as a young man, going as far as to make him explicitly state his belief that life's ultimate pursuit is that of nothingness. Most of his actions are brought upon by fleeting desires, impulse decisions that, even when the decision is made, knows will have potentially disastrous consequences. The incestuous relationship that drives most of the film's first hour and a half, Masao's pursuit of Buddhist sculpture, despite his indifference towards the religion.

Each of them boast promises/outcomes that Masao knows are impossible to reach, but pursues regardless due to the fleeting sense of belonging that each of these acts grants him. Jissoji champions Masao's wandering mindset as an exacerbated parallel for the plight-ridden Japanese youth; the film provocatively boasts the questions: does tradition really grant one purpose? Where does purpose really lie; within the society, or the individual? And, perhaps most importantly, can projecting your own idea of purpose onto somebody else distort their definitions of the word? They're questions Jissoji not only asks the Japanese society the film so bluntly critiques, but also the audience through his reluctance to moralise each of the taboos he depicts.

The contradiction between Masao's projected security and true security within himself also frequently finds its way into the boldly shot cinematography of the film. In scenes of heightened tension, Jissoji uses his framing to cramp him into tiny spaces, whilst often employing high black-and-white contrasts and tight shots to accentuate the humanity of every face he speaks to; it's almost as if you inhabit the same space as them, looking at them with your very own eyes as opposed to through a screen. In addition to being unlike anything I've ever seen, Jissoji is able to masterfully use these striking choices to enhance not only his story's thematic weight, but also its place in reality. Are the taboos he depicts hyperbole, or something that is metaphorically - or metaphysically - being brought upon by Japan's antiquated traditions?

"This Transient Life" is another shining star of the Japanese New Wave. It uses its provocative narrative in bold and striking repeatedly, delivering a profound, layered and resonant commentary on the isolation prevalent amongst the youth of Japan, and the disastrous consequences clinging on to antiquated traditions can possess.

Really sold on Adam Rehmeier now my god this was great. A simple coming-of-age story done beautifully; it’s a blast of fun from front to back and just oozes authenticity from every single scene it’s one of the best times I’ve had with a film all year. Could very well be the 2020s’ answer to Superbad.

Incredibly hollow film. Perkins’ style really doesn’t work with a more light hearted horror, and many of his choices with the camera here feel gratingly vapid and unmotivated. It’s a film bereft of authenticity; every character in the film feels like plasticine hiding in human skin, which makes sympathising, let alone investing, in this thing a real chore.

Look, it ain't finna win any awards any time soon, but I had quite the time watching. The dialogue, in its moments, had real swagger, and the central bank robber in this film is prolly one of the smartest robbers I've ever seen depicted in film. Some say a film's primary goal is to entertain, and, if we go off those peoples' bibles, then this succeeded by all metrics.

Prolly my most belated watch outta ANY film ever released; so tapped that I just got around to it now. Anyways this absolutely deserves its reputation; it's such a fluid, unique and sweet experience overall. Very possibly the best Wes Anderson film.

Look, I get why this has the reputation it has; for a kids cartoon, it plays it real dark with its themes, but it still tries to maintain its goofy, slapstick type of humour, and the clash really doesn’t work. Also has this really irritating constant voice over: yes, we can see what’s going down, we don’t need none of that shi. 

Needed less voiceover, more Shiloh Dynasty.

Look, I reckon this is as good as the MCU is gonna get these days; regardless of anything I might say, this is no doubt a diamond in the rough when it comes to the MCU's dodgy run of form in recent times, and it definitely boasts one of the strongest thematic cores in the franchise's history.

Therein lies my respect for Jake Schreier's "Thunderbolts*", a film that uses its story to not merely tell another superhero story - something the new "Captain America" film earlier this year was certainly guilty of - but to detail a mosaic of how depression and mental health struggles both affect and influence each character in the film's vast cast. It gives each of these heroes plenty more meat on the bone, and allows the more than capable actors to really thrive with their performances.

Having said that, the film never breaks any new ground with its commentaries on mental health, often turning to hackneyed phrases and buzzwords to get their message across. Moreover, the balance between dark social commentary and goofball MCU humour is often a precarious one, but for the initiative alone - the idea that these as-of-recent disposable blockbusters can transcend their contemporaries and challenge their audience with an uncomfortable topic/subject matter, gives it plenty of merit.

Watched on Wednesday May 7, 2025.

Watched on Sunday May 4, 2025.

Another one of them Black Mirror episodes that is perfectly serviceable as an episode of TV/potential film, but just a shit Black Mirror episode. The point of Black Mirror is to make a commentary on future technology and its possible implications, and this doesn't say that the first U.S.S. Callister episode didn't say.

Nicely shot and an intriguing way to play with the one-minute time-restrictions, even if it was a little emotionally overbearing in- of its preachy music choices and slightly haphazard pacing.

Was only interested when the action scenes were going down, and I'm not quite sure whether that's a testament to how bland the story was or how awesome that action was.

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Week 20: Different Strokes Week

Shohei Imamura is that mf he was so fucking good at what he did. Mysterious, alluring and tense the whole way through, "Vengeance Is Mine" is textbook Imamura: a complex, albeit undeniably riveting mosaic through a serial killer's past and present, doing the whole 'into-the-mind-of-a-killer' narrative with more unsettling intimacy than most of its contemporaries. Wonderfully structured and dark in both what is overt and covert.

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Week 19: Marty's Friends Week

An awesome documentary that accentuates how hurt people hurt more people in a really enticing and unpredictable way. Middles in places I felt, as the same thematic brushstrokes were painted over a little more than necessary, but watching how Kenzo Okuzaki's twisted obsession with righteousness develops as the film goes on was fascinating and so well executed: it's a dichotomy (or, more over, hypocrisy) that's more prevalent than we may like to think.

Kinda unreal how lame this shi is. Reeks of funded-by-mulitmillionaire-who-has-no-idea-how-the-fuck-to-make-a-proper-movie.

You can call it stupid, you can call it absurd, you can call it a product of its time, but the bottom line is that Crank is one of the most enjoyable, batshit-crazy, pistol-pumping and unapologetically itself films that the glorious art of film has ever had to offer. 

Quite possibly the greatest action film ever made.

Fucking love the idea for this so much, which the film fully does justice to especially by assuming a responsible scope; despite the magnitude of its events - literally the second coming of Jesus - it chooses to stay tight with few characters and few locations, but is still effective in exemplifying the vulturous nature of the contemporary human, even within those who champion equality.

Also surprisingly competent for a film that, in saying that, you can tell is a student film of some sort; bar the multiple shots that are out of focus, and the occasionally deep-fried grade, the shots and visual ideas are often executed effectively, warping director Alexi Psaltopolous' cinematic reality in a way that I felt evoked Jesus' growing disillusionment with the race he came to aid. It does fall under the age-old student film trap of having clearly teenaged actors playing adult roles, but I think the short occasionally plays around it by having the main characters be these sequestered political zealots who are clearly inexperienced and in over their heads, so I can give it somewhat of a for that. The film's visual and thematic ambition certainly outweighs such shortcomings anyways, I feel it's worth mentioning, and overall the experience was an enjoyable one, mainly due to the aforementioned ambitions, so, yeah, fair to say I fucked wit this one.

Alexi bro as a fellow Greek-Australian working outta Melbourne I gotta get you down on one of my sets fr; I got bangers coming soon and I was genuinely impressed by this.

Fascinating concept but the characters rarely made any sense and, from what I understand, had an unrealistic and unbelievable portrayal of the film industry. Boasts a strong emotional gravitas and an excellent performance from Emma Corrin especially, but always felt a little too toned down; had quintessentially Black Mirror ideas but rarely the darkness of your quintessentially Black Mirror execution.

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Week 18: American Neorealism Week

Picked a film from Charles Burnett who's probably at the forefront of this American Neorealist Wave when it comes to filmmakers so I'm sure it's fair game that I picked this. Besides, it's a film with a heart of gold, one that casts no judgements upon its characters, instead ebbing and flowing with their characters in ways that feel both natural and poignant. Beautifully performed and emotionally resonant at every turn. It's such a shame how this film was cruelly banished and cast to the wayside; Charles Burnett never had an easy ride, which feels like such a miscarriage of justice considering how great and self-assured he is in the director's chair.

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Week 17: True Crime Week

All in all a pretty fascinating documentary on a pretty fascinating figure; not the usual typa vid you'd stumble across on YouTube that's for sure (one, that, for the record, . Often works as a psychological study on Issei Sagawa but keeps its distance from delving deeper into its more disturbing elements; it seems to assume that the subject at face value is enough to shake the audience which, depending on what the subject of the scene may be, works in flux.

For a doco that outlines how messed up and perverse Sagawa's release and subsequent cult of personality cultivation in Japan are, the fact that Sagawa was paid for this really dampens the impact of this film; it just becomes lip service as opposed to a chilling, authentic doco. Fuck all the mfs who were active in propping up Issei Sagawa after facing little to no punishment for killing a woman before raping and eating her corpse (which, unfortunately, includes even respected filmmakers like Hisayasu Sato - whose films I do still kinda wanna see - and this documentary, even, in the grand scheme of things). Our voyeuristic tendencies really know no bounds.

Watched on Sunday April 20, 2025.

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Week 16: Viva la revolucion! Week

Humberto Solas' ambition with "Lucía" is irable, to say the least, and, to the most part, effective in encapsulating 100 years of Cuban history. Perhaps the triptych that Solas sets up would have been more grand and impactful if I was more aware of the significance of their backdrops, and perhaps that exacerbates their working to fluctuating effects, but Solas clearly has such a grasp on the thematic roads he wants to pave with each of these stories, stringing the messages between the three stories in ways that effectively highlight Cuba's progression from a colonial state to a equal and progressive society.

Whilst the first and final stories occasionally fall into melodramatic and didactic territories respectively, the second story particularly stood out as a beautifully tensile, emotionally complex and fundamentally human story that's brilliantly performed on all fronts. Also worth mentioning that this is one of the best shot films I've seen in a minute; the cinematography is really fucking good and every choice made in that department felt bold, striking and unique, elevating the emotional stakes and poignance of all three stories significantly.

A more milquetoast experience than you'd often get with a Statham-led action film; not to say I was expecting high art or anything, but so much of the story lacked the extravagance and dynamic action sequences that so often make these films such good times. I respect David Ayer for not being afraid to grittily flirt with concepts of human trafficking, but his and Sylvester Stallone's screenplay feels too constrained to the formula to do anything even remotely interesting with it, or with any of the other elements the story allows them to play with for that matter (which, at this point, is typical Sly). A far cry from A-tier Statham shit.

Watched on Thursday April 17, 2025.

Solid as a short film overall; really fucking awesome if you consider it was a year 12 film. It's simple in concept, but tight and funny enough to make for a super entertaining experience, even in sight of its technical blips (namely the sound). But I had a great time with it, so all that didn't feel too deep. Good shit.

Films directed by young, up-and-coming Australian filmmakers that offer insight into the styles and narrative threads of the country's next new wave. Let's make this little new wave a post-COVID ting. Feel free to rec films and I'll expand this list accordingly.

If your film is on this list and you're wondering how the fuck I managed to find it, first, welcome to the New Age, and, secondly, I no-lifed scrolling through Australian releases from 2022 onwards in my spare time, and, well...congrats, your film, at some point, would've caught my attention, so I added it.

Feature Films first (60+ mins), then Medium-Length Films (40-59 mins) then Shorts.

May one day do a young Australian filmmaker directory if mandem wanna delve into the work of a specific filmmaker (because there's some pretty good ones in amongst here).

1. Grape Steak
2. The End of History
3. T Blockers
4. And They Lived...
5. bort 240p
6. Fragments of Red
7. In the Meantime
8. Satranic Panic
9. Mood Ring
10. Death Squad

...plus 195 more. View the full list on Letterboxd.

1. The King of Darkness

   ***BUFF ROUGH CUT***

2. Malls
3. Black Bag
4. Thunderbolts*
5. Mickey 17
6. The Phoenician Scheme
7. Havoc
8. A Working Man
9. Captain America: Brave New World
10. Another Simple Favor

...plus 2 more. View the full list on Letterboxd.

Mandem I wanna peep more from. No-life-d the fuck outta this list (i am chronically online).

I'll keep yutes on this list until I've either seen atl 50% of their filmog or over 6 films of theirs.

1. A.K.A. Serial Killer

   Masao Adachi

   Country: Japan 🇯🇵
   Language: Japanese 🇯🇵
   Career: 1963 - Present
   Filmog Completed: 0% (0/14)

2. No Home Movie

   Chantal Akerman

   Country: Belgium 🇧🇪
   Language: French 🇫🇷 / English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1973 - 2015
   Filmog Completed: 8% (3/34)

3. The Last Supper

   Tomás Gutiérrez Alea

   Country: Cuba 🇨🇺
   Language: Spanish 🇪🇸
   Career: 1960 - 1995
   Filmog Completed: 7% (1/13)

4. Field Niggas

   Khalik Allah

   Country: USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 2015 - Present
   Filmog Completed: 0% (0/4)

5. All About My Mother

   Pedro Almodóvar

   Country: Spain 🇪🇸
   Language: Spanish 🇪🇸 / English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1978 - Present
   Filmog Completed: 4% (1/25)

6. About Endlessness

   Roy Andersson

   Country: Sweden 🇸🇪
   Language: Swedish 🇸🇪
   Career: 1970 - Present
   Filmog Completed: 22% (2/9)

7. Landscape in the Mist

   Theo Angelopoulos

   Country: Greece 🇬🇷
   Language: Greek 🇬🇷
   Career: 1970 - 2008
   Filmog Completed: 5% (1/17)

8. Lucifer Rising

   Kenneth Anger

   Country: USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1947 - 2009
   Filmog Completed: 8% (3/34)

9. Neon Genesis Evangelion: The End of Evangelion

   Hideaki Anno

   Country: Japan 🇯🇵
   Language: Japanese 🇯🇵
   Career: 1985 - Present
   Filmog Completed: 0% (0/34)

10. L'Eclisse

    Michelangelo Antonioni

    Country: Italy 🇮🇹
    Language: Italian 🇮🇹 / English 🏴󠁧󠁢󠁥󠁮󠁧󠁿 / French 🇫🇷
    Career: 1950 - 1995
    Filmog Completed: 15% (3/20)

...plus 322 more. View the full list on Letterboxd.

1. Castration Movie Anthology i. Traps
2. My First Film
3. Snack Shack
4. The Brutalist
5. Challengers
6. Rats!
7. Anora
8. Grand Tour
9. I Saw the TV Glow
10. The Village Next to Paradise

...plus 53 more. View the full list on Letterboxd.

Gonna try finish this one after failing the 9th one. Always love doing these.

Adam Graff's OG list is here.

Started this bih a week late but fuck it. Hopefully won't lack this time around.

EDIT: Did lack, but that's partially due to external shit that happened to me during the challenge. Will honour the challenge and finish it, but will do so at my own pace (100% will finish before the 11th LSC starts tho).

1. Nekromantik

   Week 1: September 2nd-8th
   The American History of X Week

   This week's challenge is to watch a mainstream (non-porn) MPAA X-rated film from the rating's 22-year lifespan, conveniently compiled in Adam Graff's OG list is this list from C Collins.

   Review
   

2. Wavelength

   Week 2: September 9th-15th
   Anxiety Week

   This week we invite you to make yourself uncomfortable and watch a previously unseen anxiety inducing film.

   Review
   

3. All That Heaven Allows

   Week 3: September 16th-22nd
   Nicecore Week

   This week let's celebrate all kinds of kindness and watch a previously unseen Nicecore film.

   Review
   

4. Polyester

   Week 4: September 23rd-29th
   Her Dark Material Week

   Your challenge this week is to watch a title from Kevin MJ's The Best Female-Led Dark Comedy Films list.

   Review
   

5. A Pigeon Sat on a Branch Reflecting on Existence

   Week 5: September 30th-October 6th
   Anders(s)on Week

   This week's challenge is to watch a previously unseen film by Roy Andersson or Paul, Wes, Paul W.S., or Brad Anderson.

   Review
   

6. Shin Godzilla

   Week 6: October 7th-13th
   Strange Beasts Week

   For this week's challenge, let's focus on the films in David Haddon's What’s That Coming Over The Hill? - Kaiju Films list and bask in the spectacle that decades of gigantic strange beasts on film have wrought.

   Review
   

7. In the Land of the Head Hunters

   Week 7: October 14th-20th
   Indigenous Cinema Week

   In that spirit, this week's challenge is to watch a film from degelle's Native, Indigenous, & Aboriginal Cinema list. While sparse, the landscape of Indigenous cinema isn't completely barren, and, encouragingly, it's only grown more verdant as of late.

   Review
   

8. Lesson

   Week 8: October 21st-27th
   Alien Encounters Week

   So, whether you want to watch people kick some alien butt, chase after their awe-inspiring otherness, or somewhere in between, consider what it would mean to you if there was an entity in the universe that could challenge our notion of superiority by watching a movie featuring aliens. Here is a large helpful list from RJ.

   Review
   

9. August Underground

   Week 9: October 28th-November 3rd
   Found Footage Week

   This week's challenge is to watch a previously unseen found footage film.

   Review
   

10. An Elephant Sitting Still

    Week 10: November 4th-10th
    The Long Take Week

    This week's challenge is to hang in there with a film from kevinandrewrea3's One/Long take movies list.

    Review
    

...plus 23 more. View the full list on Letterboxd.

Ranking of everything i've seen for the 10th letterboxd season challenge

1. This Transient Life
2. An Elephant Sitting Still
3. The Annihilation of Fish
4. Lesson
5. Uncle Boonmee Who Can Recall His Past Lives
6. The Fall of Otrar
7. Freddy Got Fingered
8. Vengeance Is Mine
9. August Underground
10. Violent Summer

...plus 18 more. View the full list on Letterboxd.

The best shit out there. Might be a shit list but it's defo better than whatever's up in IMDb's top 250 so you can try check these off if you wanna watch some shit that's a certi banger.

Also if a writer's name is in italicised, it means the film was adapted from their work (brackets mean they didn't contribute to the screenplay). Budgets in USD; shit's jus easier that way. Some of the budgets I couldn't find, so I've made some DODGY estimations that feel close enough to what it could've cost.

1. Love Exposure

   Love Exposure is pure perfection: all you could ever ask for from a film encapsulated in an entrancing, exciting, wild, ambitious, poignant and flawless four hours. Boasts probably the greatest story ever put to screen and has you feeling so many different types of ways that you finna find out about emotions you didn't think you was capable of experiencing whilst watching. Words can barely describe how glorious this film is; it is a crowning achievement of not only of the art of cinema and its unwavering power, but of the whole damn human race.

   Directed by: Sion Sono
   Written by: Sion Sono
   Stars: Takahiro Nishijima, Hikari Mitsushima, Sakura Ando, Makiko Watanabe
   Cinematographer: Sōhei Tanikawa
   Genre: Coming-of-Age, Comedy, Drama, Romance, Action, Thriller
   Country: Japan 🇯🇵
   Language: Japanese 🇯🇵
   Budget: Unconfirmed; ~$500,000 - $1,000,000
   Length: 3h 57min

2. Call Me by Your Name

   When it comes to raw emotion and beauty in cinema, Call Me by Your Name is the gold standard. In of capturing our core human emotions - what makes us human - it soars triumphantly above each and every ones of its contemporaries. Its rawness and beauty is unparalleled, creating a deeply personal, relatable, poignant and beyond moving portrayal of love, self-discovery and coming-of-age. Fucking love this film with all my heart.

   Also, the final 20 minutes of the film may be the most powerful thing ever put to screen. Ever.

   Directed by: Luca Guadagnino
   Written by: James Ivory (André Aciman)
   Stars: Timothée Chalamet, Armie Hammer, Michael Stuhlbarg, Amira Cesar
   Cinematographer: Sayombhu Mukdeeprom
   Genre: Coming-of-Age, Romance, Drama
   Country: Italy 🇮🇹 / USA 🇺🇸 / 🇫🇷 / Brazil 🇧🇷
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿 / Italian 🇮🇹 / French 🇫🇷
   Budget: $3,500,000
   Length: 2h 12min

3. Full Metal Jacket

   If you know me, you know that Stanley Kubrick, in my eyes, is one of the greatest men to have ever lived. He had the Midas Touch; everything he touched turned to gold, and Full Metal Jacket is the greatest example of that. A perfect film in every sense of the world, it offers an unflinching and unfathomably powerful on war's toll on the human soul and spirit, masterfully portraying how dehumanising, senseless and pointless all of it is.

   Directed by: Stanley Kubrick
   Written by: Stanley Kubrick, Michael Herr, Gustav Hasford
   Stars: Matthew Modine, Adam Baldwin, Vincent D'Onofrio, R. Lee Ermey
   Cinematographer: Douglas Milsome
   Genre: Drama, War
   Country: England 🏴󠁧󠁢󠁥󠁮󠁧󠁿 / USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿 / Vietnamese 🇻🇳
   Budget: $30,000,000
   Length: 1h 56min

4. Angst

   Gerald Kargl's Angst is the most ingeniously shot, psychologically riveting and single greatest depiction of a killer cinema has ever seen, period. The confronting, compromising, creative and totally unique (to this day) direction and cinematography is unrelenting, unbelievably palpable and impactful beyond belief, refuting cinema's common tendency to desensitise people to the sheer brutality of murder by uncompromisingly hurling you into one of its most depraved perpatrators. It's a film that's as disturbing as it is brilliant, a watch that stays with you a long, long time after you switch it off. Once you get over how unsettling it all is, you'll recognise that this is because of its unparalleled artistry.

   Directed by: Gerald Kargl
   Written by: Gerald Kargl, Zbigniew Rybczyński
   Stars: Erwin Leder, Silvia Ryder, Edith Rosset, Rudolf Götz
   Cinematographer: Zbigniew Rybczyński
   Genre: Psychological Thriller, Contained Thriller, Horror, Crime, Home Invasion
   Country: Austria 🇦🇹
   Language: German 🇩🇪
   Budget: $432,000
   Length: 1h 15min

5. Lock, Stock and Two Smoking Barrels

   Ridiculously fun, clever and wild, there's no time quite like Lock, Stock and Two Smoking Barrels. This is Guy Ritchie in his purest form, revelling in his playful, unique and quintessentially English approach to cinema, and the result is a film that, regardless of what mood your in, is so, so easy to watch. Not only are the script and characters unique and memorable, not only is the plot brilliantly told and enticingly complex, but it's also an absolute ball from start to finish. I find it impossible to not have fun with this; it really can't do any wrong. Possibly the most enjoyable - and definitely the most quotable - film ever to grace the big screen.

   Directed by: Guy Ritchie
   Written by: Guy Ritchie
   Stars: Jason Flemyng, Nick Moran, Dexter Fletcher, Jason Statham
   Cinematographer: Tim Maurice-Jones
   Genre: Black Comedy, Crime
   Country: England 🏴󠁧󠁢󠁥󠁮󠁧󠁿 / USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Budget: $1,350,000
   Length: 1h 45min

6. On the Silver Globe

   On the Silver Globe is one of the most incredible films ever made. Whether it be the tumultuous production or the equally emotionally turbulent result, Andrzej Żuławski's film, to some extent due to its incompletion, serves as a poetic and unspeakably riveting musing on not only the human condition, but also the artistic process as a whole. It's so intelligent and ambitious as a film and it feels as if nothing truly like it has ever been made, which makes it a raw, beautiful, visceral, powerful and unparalleled experience.

   Directed by: Andrzej Żuławski
   Written by: Andrzej Żuławski (Jerzy Żuławski)
   Stars: Andrzej Seweryn, Jerzy Trela, Grażyna Dyląg, Waldemar Kownacki
   Cinematographer: Andrzej Jaroszewicz
   Genre: Sci-Fi Epic, Drama, Dystopia, Experimental
   Country: Poland 🇵🇱
   Language: Polish 🇵🇱
   Budget: $14,500,000
   Length: 2h 45min

7. American History X

   I know not all man would agree with me on this, but American History X is undeniably the most powerful story on racism cinema has ever produced, in my opinion. Mind-blowingly incredible performances aside, its true power lies in the thematically heavy screenplay, which attacks its subject matter with full force and harrowing authenticity. By wholly immersing in the unrelenting hate of its protagonists, it tells such a complete story about racism: how hate breeds hate, and how futile it all is. It's fucking incredible how poignant and impactful this shit is; it really stands on its own two feet right at the very top.

   Directed by: Tony Kaye
   Written by: David McKenna
   Stars: Edward Norton, Edward Furlong, Beverly D'Angelo, Jennifer Lien
   Cinematographer: Tony Kaye
   Genre: Drama, Crime
   Country: USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Budget: $20,000,000
   Length: 1h 59min

8. Under the Skin

   The definitive cinematic commentary on what it means to be human. Under the Skin is entrancing and undeniably beautiful, diving into its weighty themes in riveting, transcendental ways. The documentary-like, guerrilla fashion that Glazer shoots this in makes the experience feel all the more personal, grounding the film in a humble, authentic beauty, defying even the loftiest, otherwordly events of the story. It's a film that's just as inquisitive as Johansson's alien, but one that thrives in its poignant, unique, soul-crushing and deeply moving commentaries on humankind, ones that last well beyond the final credits.

   Directed by: Jonathan Glazer
   Written by: Walter Campbell, Jonathan Glazer (Michel Faber)
   Stars: Scarlett Johannson, Jeremy McWilliams, Adam Pearson, Paul Brannigan
   Cinematographer: Daniel Landin
   Genre: Sci-Fi, Drama, Psychological Thriller, Experimental
   Country: Scotland 🏴󠁧󠁢󠁳󠁣󠁴󠁿 / England 🏴󠁧󠁢󠁥󠁮󠁧󠁿 / USA 🇺🇸 / Switzerland 🇨🇭
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Budget: $13,300,000
   Length: 1h 48min

9. Funeral Parade of Roses

   Mind boggling how ahead of its time this film is; even in today's cinematic landscape, there's nothing quite like it. Funeral Parade of Roses is a fascinating and beautifully perceptive portrait of 1960s Tokyo's transgender and LGBT scenes; the way in which Matsumoto goes about telling his story is completely unique and bereft of judgement. Its quasi-documentary style is beyond riveting, allowing the film to tell its story whilst simultaneously letting its actors - people in the scenes it depicts - detail their own experiences in those scenes. It feels refreshingly authentic, unafraid to candidly depict a society that, at the time, was neglected, maligned and misunderstood, whilst also having the ability to understand its own misperceptions about them. Simply oozes class and is the crowning achievement of the Japanese New Wave, what I consider the greatest cinematic movement ever.

   Directed by: Toshio Matsumoto
   Written by: Toshio Matsumoto
   Stars: Peter, Ogamu Ogasawara, Yoshio Tsuchiya, Emiko Azuma
   Cinematographer: Tatsuo Suzuki
   Genre: Drama, Psychological Thriller, Experimental, Crime, Documentary
   Country: Japan 🇯🇵
   Language: Japanese 🇯🇵
   Budget: Unconfirmed; ~$50,000 - $100,000
   Length: 1h 45min

10. Cinema Paradiso

    So, so beautiful, not only as an ode to film as an art form, but also to love and human relationships. Tornatore creates an experience that seeps with ion out of each and every crevice; it's a film that bears so much emotional vulnerability and comion - genuine love for everything about its story. Even though I have nothing to do with the post-war Italian period it's set in, the sheer humanity of the film makes it deeply investing and relatable, all of which stems from the raw emotion conveyed by its director and performances. Final scene sums it all up perfectly: nothing is said, but its unparalleled power lies in the emotional, subtextual power. Incredible shit.

    Directed by: Giuseppe Tornatore
    Written by: Giuseppe Tornatore
    Stars: Philippe Noiret, Jacques Perrin, Marco Leonardi, Salvatore Cascio
    Cinematographer: Blasco Giurato
    Genre: Coming-of-Age, Drama, Romance
    Country: Italy 🇮🇹 / 🇫🇷
    Language: Italian 🇮🇹
    Budget: $5,000,000
    Length: 2h 35min

...plus 240 more. View the full list on Letterboxd.

NOT ON LETTERBOXD: The Lost Sex Films of Kings Cross (dir. George & Charis Schwarz, 1970-75) --> Saturday, 31 May 12:45pm @ Static Vision HQ

• Honeycomb

  Saturday, 31 May

  11:00am @ Static Vision HQ

• Cinephile Complex

  Saturday, 31 May

  11:00am @ Static Vision HQ

• Malls

  Saturday, 31 May

  2:45pm @ Static Vision HQ

• Night of the Cryptoid

  Saturday, 31 May

  2:45pm @ Static Vision HQ

• Ships That Bear

  Saturday, 31 May

  2:45pm @ Static Vision HQ

• Frankenhooker

  Saturday, 31 May

  5:15pm @ Estonian House

• I.K.U.

  Saturday, 31 May

  8:30pm @ Estonian House

• The Emasculator

  Saturday, 31 May

  10:30pm @ Estonian House

• Body and Soul

  Sunday, 1 June

  11:00am @ Pink Flamingo/Static Vision Underground

• Rats!

  Sunday, 1 June

  12:40pm @ Estonian House

...plus 3 more. View the full list on Letterboxd.

Episodes of Black Mirror ranked.

1. Black Mirror: White Christmas
2. Black Mirror: Shut Up and Dance
3. Black Mirror: San Junipero
4. Black Mirror: Hang the DJ
5. Black Mirror: The Entire History of You
6. Black Mirror: Nosedive
7. Black Mirror: Hated in the Nation
8. Black Mirror: Be Right Back
9. Black Mirror: Beyond the Sea
10. Black Mirror: Arkangel

...plus 19 more. View the full list on Letterboxd.

Every film that’s been directed by the mandem in the 2024-26 VCA cohort, both inside and outside of Uni.

The start of the come up.

• WHO'S AFRAID OF JERRY SEINFELD?
• Fever Bloom
• La Lune et Notre Sang
• The Knight's Sky
• A Journey Into Inner-Space
• Neurophasia
• Why We Kill
• Whitelight

...or, my half-star rated films

Title says it all. Avoid this shit like the plague if you know what's good for ya

• #Horror
• 365 Days
• 365 Days: This Day
• 6 Underground
• Acts of Violence
• Airplane Mode
• Angel Has Fallen
• American Psycho II: All American Girl
• Ax 'Em
• Back in Action

...plus 53 more. View the full list on Letterboxd.

I've watched way too few movies to be making this list, so it's prolly a really shit one. I'm forever watching new shit though so there'll probably be one day where this ranking is decent; for now though it's just my opinion so I'll leave it at that. Sus the notes to check out which directors I'm on about, if you don't alr know them. One day I'll expand this to a top 100, just bear wit me.

Developed a lil scoring system to rank the directors (which, knowing me, I will one day drop). All of these elements add up towards a Cumulative Score (Cum. Score) that each director gets out of 50. 

These Elements are as follows:
- Consistency: Have they managed to maintain the same high quality at a steady rate over their careers? How deep are their pockets? , Guy Ritchie exists (10/10 Prime but made Swept Away).
- Impact: Not socially or nun like that; this is purely selfish. Have I come away from their films with a changed view on film or whatever - maybe even something real pretentious like life itself.
- Influence: How much have they impacted the art form? How many cunts have turned to this selected director's filmog in their endless quests for inspiration?
- Originality: How unique are they? This can be evident in their stories, directorial style..., anything, really. What are they/did they bring to the table type shit.
- Prime: How good were they at the top of their game? Because, let's face it, for most of these yutes, that's a HUGE reason that they're on this list. Not KSI and Logan Paul's shitty energy drink.

Directors On The Waiting List (the waiting list being: if I watch one more of their films and it ain't total ass, they'll prolly find a spot on here):
- Michael Curtiz 🇭🇺
- Vittorio De Sica 🇮🇹
- Lav Diaz 🇵🇭
- Carl Theodor Dreyer 🇩🇰
- Victor Erice 🇪🇸
- Victor Fleming 🇺🇸
- Jean-Luc Godard 🇫🇷
- Shōhei Imamura 🇯🇵
- Buster Keaton 🇺🇸
- Richard Kern 🇺🇸
- Abbas Kiarostami 🇮🇷
- Masaki Kobayashi 🇯🇵
- Sergei Parajanov 🇦🇲
- Alexander Payne 🇺🇸
- Sam Peckinpah 🇺🇸
- Céline Sciamma 🇫🇷
- Seijun Suzuki 🇯🇵
- Isao Takahata 🇯🇵
- Edward Yang 🇹🇼
- Yoshishige Yoshida 🇯🇵
- Andrzej Žuławski 🇵🇱

1. Full Metal Jacket

   Stanley Kubrick

   Country: USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1955 - 1999
   
   Consistency: 10/10
   Impact: 10/10
   Influence: 10/10
   Originality: 9/10
   Prime: 10/10
   Cum. Score: 49/50

2. Throw Away Your Books, Rally in the Streets

   Shūji Terayama

   Country: Japan 🇯🇵
   Language: Japanese 🇯🇵 / French 🇫🇷
   Career: 1971 - 1984
   
   Consistency: 10/10
   Impact: 10/10
   Influence: 6/10
   Originality: 10/10
   Prime: 9/10
   Cum. Score: 45/50

3. Stalker

   Andrei Tarkovsky

   Country: USSR (Russia) 🇷🇺
   Language: Russian 🇷🇺 / Swedish 🇸🇪
   Career: 1962 - 1986
   
   Consistency: 9/10
   Impact: 8/10
   Influence: 10/10
   Originality: 9/10
   Prime: 9/10
   Cum. Score: 45/50

4. Vertigo

   Alfred Hitchcock

   Country: England 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1925 - 1976
   
   Consistency: 7/10
   Impact: 8/10
   Influence: 10/10
   Originality: 9/10
   Prime: 10/10
   Cum. Score: 44/50

5. The Wolf of Wall Street

   Martin Scorsese

   Country: USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1967 - Present
   
   Consistency: 9/10
   Impact: 8/10
   Influence: 10/10
   Originality: 8/10
   Prime: 9/10
   Cum. Score: 44/50

6. Dog Star Man

   Stan Brakhage

   Country: USA 🇺🇸
   Language: English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1952 - 2003
   
   Consistency: 9/10
   Impact: 9/10
   Influence: 7/10
   Originality: 9/10
   Prime: 9/10
   Cum. Score: 43/50

7. M

   Fritz Lang

   Country: Austria 🇦🇹
   Language: German 🇩🇪 / English 🏴󠁧󠁢󠁥󠁮󠁧󠁿
   Career: 1919 - 1960
   
   Consistency: 8/10
   Impact: 9/10
   Influence: 8/10
   Originality: 8/10
   Prime: 9/10
   Cum. Score: 42/50

8. Wild Strawberries

   Ingmar Bergman

   Country: Sweden 🇸🇪
   Language: Swedish 🇸🇪
   Career: 1946 - 2003
   
   Consistency: 7/10
   Impact: 9/10
   Influence: 9/10
   Originality: 8/10
   Prime: 9/10
   Cum. Score: 42/50

9. Funeral Parade of Roses

   Toshio Matsumoto

   Country: Japan 🇯🇵
   Language: Japanese 🇯🇵
   Career: 1967 - 1988
   
   Consistency: 9/10
   Impact: 9/10
   Influence: 4/10
   Originality: 10/10
   Prime: 10/10
   Cum. Score: 42/50

10. Ikiru

    Akira Kurosawa

    Country: Japan 🇯🇵
    Language: Japanese 🇯🇵 / Russian 🇷🇺
    Career: 1943 - 1993
    
    Consistency: 7/10
    Impact: 8/10
    Influence: 10/10
    Originality: 8/10
    Prime: 9/10
    Cum. Score: 42/50

...plus 40 more. View the full list on Letterboxd.

...or everything I give 5 stars. Real gold standard shit here, films that serve as glorious reminders of exactly why I love the art of cinema as much as I do.

• Pandora's Box
• Vertigo
• Contempt
• Funeral Parade of Roses
• Throw Away Your Books, Rally in the Streets
• Wake in Fright
• Barry Lyndon
• Angst
• Full Metal Jacket
• On the Silver Globe

...plus 17 more. View the full list on Letterboxd.

Films I've seen for the 9th Letterboxd Season Challenge ranked from best to worst

1. Belladonna of Sadness

   #56 in My Top 250 Movies

2. Final Cut: Ladies and Gentlemen

   #87 in My Top 250 Movies

3. But I'm a Cheerleader
4. The Fun House

   #133 in My Top 250 Movies

5. Sound of Metal
6. Jauja

   #223 in My Top 250 Movies

7. Anomalisa
8. Peeping Tom
9. Limite
10. Beauty and the Beast

...plus 22 more. View the full list on Letterboxd.

1. Oppenheimer
2. Poor Things
3. Close Your Eyes
4. Beau Is Afraid
5. BlackBerry
6. Spider-Man: Across the Spider-Verse
7. Eureka
8. Past Lives
9. Barbie
10. The Zone of Interest

...plus 90 more. View the full list on Letterboxd.

yeah this everything i've made that i consider an actual directorial effort. shit will prolly be removed off here as i grow as an artist and take these less seriously but rn enjoy what's there ig.

films are just as pretentious as the title of this list but they were crazy fun to make. sorted chronologically.

• The After Party
• (GONE WRONG)
• Why We Kill

My picks for the 9th Annual Letterboxd Season Challenge.

sethpaul's og list is here.

Added a lil about why I chose each movie below the descriptions of each week.

Super gassed to be doing this again. Should be watching some HEATTTTTTTTTTTT

Attached reviews to each film I watched before the challenge finished (I failed it). Just couldn't be assed afterwards for some reason.

1. Taste of Cherry

   Week 1: September 4th-10th
   99 Minutes Week

   This week's challenge is to us on cloud nine and watch a film from 𝖘𝖊𝖙𝖍𝖊𝖓𝖘𝖙𝖊𝖎𝖓's 99 minutes ⏲️ No more, no less list.

   Pretty essential Kiarostami this. Loved "Close-Up" and am embarrassingly behind with the Iranian's filmography, so this seemed a perfect choice. Been in the watchlist for a while; expecting no less than a powerful, emotional ride.

   Review
   

2. Upstream Color

   Week 2: September 11th-17th
   Lo-Fi Week

   This week's challenge is to watch a "Lo-Fi" film. Use this list for some ideas.

   “Primer” is one of the best time travel films ever made, so I had to check out Shane Carruth’s other feature at some point. Say what you want about him as a guy, but what his mind can think of and what he can do with such low budgets is stuff to marvel at. 

   Review
   

3. Jauja

   Week 3: September 18th-24th
   Letterboxd List Battles!: Litterboxd vs. Letterbarkd

   For this week's challenge, your friendly hosts are cruelly forcing you to choose between man's best friend and man's indifferent roommate. For those who are dog people, fetch a film from Rembrandt Q Pumpernickel's Letterbarkd list. Cat lovers can curl up with a selection from Hollie Horror's Litterboxd list.

   Lisandro Alonso is a very strong director, one with a clear penchant for methodical stories and investigations into humble, lost souls. Not the biggest fan of overly goofy or sentimental dog/cat films, so needless to say I was pre gassed when I saw this pop up in the list.

   Review
   

4. The Ballad of Narayama

   Week 4: September 25th-October 1st
   Palme d'Or Week

   This week's challenge is to watch a Palme d'Or winner.

   Shohei Imamura is the man fr. Directed "Profound Desires of the Gods" (which simply seeps brilliance) and went on to become one of four men to win TWO Palme D'Ors afterwards. Had to peep one of them two winners for this week.

   Review
   

5. Noisy Requiem

   Week 5: October 2nd-8th
   Visual Insanity Week

   This week's challenge is to watch a film from Emma Tolkin's 🐉🎭✨ 𝕍𝕀𝕊𝕌𝔸𝕃𝕃𝕐 𝙸𝙽𝚂𝙰𝙽𝙴👹🧞‍♀️👁️ list.

   So gassed to sus this one out; been on my watchlist for a MINUTE and the premise seems absolutely fascinating. Something tailor-made for the Japanese, it seems.

   Review
   

6. Belladonna of Sadness

   Week 6: October 9th-15th
   Art Horror Week

   This week's challenge is to watch an avant-garde or art-horror film. Use this list for inspiration.

   Animation style looks absolutely gorgeous and, even narratively, this shit's right up my alley. Also been looking into Eiichi Yamamoto's filmog recently so this'll be a nice way to sort of dig in to that. Super hyped for this.

   Review
   

7. The Hound of the Baskervilles

   Week 7: October 16th-22nd
   Hammer Horror Week

   This week dive into some classic Hammer Horror from this list.

   Rlly unfamiliar with Hammer Horror tbh, so I decided to go with a story that I am familiar with to some degree. Also that poster goes crazy; basically picked it just for that before I sussed it was Sherlock Holmes.

   Review
   

8. Midori

   Week 8: October 23rd-29th
   Body Horror Week

   This week buckle up for a wild ride and maybe don’t plan on eating dinner with your movie as you watch a body horror. Here’s a list from Maxvayne to help you out.

   Heard this shit is COOKED but I'm tapped so I tend not to mind that shit. And what's body horror supposed to be if it ain't twisted?

   Review
   

9. Suspiria

   Week 9: October 30th-November 5th
   Horror Revival Week

   This week's challenge is to watch a horror remake, reboot, reheat, etc. Use this list for inspiration.

   Dropped a year after Guadagnino dropped one of the greatest movies of all time in "Call Me By Your Name". How can you fuck up after making something that great??? (so happy this was there, because everything else looked proper shite)

   Review
   

10. Black Narcissus

    Week 10: November 6th-12th
    Nun for You Week

    This week’s challenge is to watch a movie featuring a nun as a main character. Here’s a list from NunMovieFreak to help you out.

    Couldn't find "The Devils" anywhere but I heard that this was a super strong, incredibly shot flick. That plus Powell and Pressburger behind the cam made it something I just had to get to.

    Review
    

...plus 23 more. View the full list on Letterboxd.

• Việt and Nam

  Wednesday, 14 August 2024
  6:00pm
  The Capitol (Swanston St)
  

  Review

• Grand Tour

  Friday, 16 August 2024
  6:30pm
  Kino 2 (45 Collins Street, CBD)

  Review

• Rumours

  Sunday, 18 August 2024
  4:30pm
  Hoyts Cinema 11 (Melbourne Central)

  Review

• You Burn Me

  Monday, 19 August 2024
  6:30pm
  Kino 2 (45 Collins Street, CBD)

  Review
  

• Daphne Was a Torso Ending in Leaves

  Companion Piece to You Burn Me

  Review

• The Village Next to Paradise

  Wednesday, 21 August 2024
  6:15pm
  Forum (154 Flinders Street, CBD)

  Review

• My First Film

  Sunday, 25 August 2024
  1:45pm
  Kino 2 (45 Collins Street, CBD)

  Review

Shamelessly ripped off heather

• M

  Normal

• Vertigo

  Normal 

• Cinema Paradiso

  Normal

• Lock, Stock and Two Smoking Barrels

  Normal

• The Dirties

  Normal
  
  Made for $10k and is pre much a masterpiece

• Profound Desires of the Gods

  Weird

• The Color of Pomegranates

  Weird

• Angst

  Weird

• Fat Girl

  Weird

• Love Exposure

  Weird

  
  

  When it comes to achievements in human history: Love Exposure (2008) > the invention of the wheel. That is how much I love this movie

All these guys go braaazzzzyyyy in these roles. One performance per film bc the ranking will go all outta whack if I do otherwise.

S/Os are posted below the film if I reckon another performance from the film was good enough to make this list but. Everyone deserves their props in these ends

1. M

   Peter Lorre as Hans Beckert

2. The Dark Knight

   Heath Ledger as Joker

3. The ion of Joan of Arc

   Maria Falconetti as Jeanne d'Arc

4. The Shining

   Jack Nicholson as Jack Torrance

   Honourable Mention: Shelley Duvall as Wendy Torrance

5. Once Were Warriors

   Temuera Morrison as Jake Heke

   Honourable Mention: Rena Owen as Beth Heke

6. Pandora's Box

   Louise Brooks as Lulu

7. Manchester by the Sea

   Casey Affleck as Lee Chandler

   Honourable Mention: Michelle Williams as Randi Chandler

8. Come and See

   Aleksei Kravchenko as Flyora Gayshun

   Honourable Mentions: Olga Miranova as Glasha and Liubomiras Laucevicius as Kosach

9. Persona

   Liv Ullman as Elisabet Vogler

   Honourable Mention: Bibi Andersson as Alma

10. Full Metal Jacket

    R. Lee Ermey as Sgt. Gunnery Hartman

    Honourable Mention: Vincent D'Onofrio as Pvt. Pyle

...plus 90 more. View the full list on Letterboxd.

The shit we all put in the pool for Joey’s recs. Also added another film that I was gonna rec but I didn’t want Joey to think I was completely tapped. 

Shit that ain’t on Letterboxd that was on the recs list:
- Halo 2 IDN Opening Sequence (2014) (Lachie)
- It’s Always Sunny in Philadelphia S05 E02 (2009) (Bater)
- Yellowjackets S01 + S02 E01 (2021, 2023) (Scout, Noura)

Guessing who chose each film. Shit should be interesting.

• Aftersun

  Roxie

• Arrival

  Julian

• Black Bear

  Minh

• Blue Velvet

  Heather

• Bottle Rocket

  Remi

• Cat on a Hot Tin Roof

  Jack

• La Strada

  Tom (Nav)

• Lady Bird

  Bridgette

• Lilya 4-ever

  Will

• Millennium Mambo

  Tom (Dick)

...plus 7 more. View the full list on Letterboxd.

Don't watch this shit

1. FRED: The Movie

   Beyond obnoxious in every shape, way and form. Makes it its priority to do all it can to get under your skin right from the get-go, making the modest 83-minute runtime - which is inundated with the most insufferable cunts you've ever seen - feel like fucking 6 hours.

2. The Haunting of Sharon Tate

   Way to shamelessly exploit a tragedy and spit on the graves of those murdered in said tragedy...

   ...oh, and it's also written, acted and made like ABSOLUTE SHIT.

   Absolute weapon of a film.

3. Double Down

   Maybe one or two scenes that are made so badly that you can get some enjoyment out of it. The hour and a half around it, however, is like being dragged through broken glass.

   Incompetence beyond entertainment. All there is is pain.

4. Swiped

   Cringe doesn't even BEGIN to describe this trainwreck.

   Awful in every conceivable aspect, but the script has gotta be one of the worst ever. No doubt about it.

5. #Horror

   I mean, what the fuck was anybody thinking here?

   The most irritating, pretentious and seizure-inducing stylisation I've ever fucking seen. You ain't made this shit deep, just fucking unwatchable.

6. Gotti

   As far as gangster films go, this is the worst of the lot. So bland and boring that it could fucking euthanise somebody.

7. Ax 'Em

   I mean, you gotta be fucking kidding me...

   The most carelessly thrown together film ever made??? Maybe you could run it back on the piss though; could be a decent time that come to think of it.

8. House of the Dead

   Imagine the worst action sequences you could possibly think of, then multiply it by two. And, with that, chuck the corniest, shittiest one-liners and dialogue ever written in there.

   Your result will look something like House of the Dead.

9. London Fields

   To give this credit, the premise is fucking cold as shit: really interesting and unique shit that is more than a solid framework for a gripping film.

   Which makes the film so, so much worse.

   Brutally stripping the source material of all its gall and intrigue, this banal, vapid, stupid and carelessly assembled mess (boasting one of the worst scripts ever written) seems more concerned about showing as much of Amber Heard as they can over making a watchable film. Horrible.

10. Diary of a Wimpy Kid: The Long Haul

    "Look how they massacred my boy"

    #NotMyRodrick

...plus 90 more. View the full list on Letterboxd.

1. All Quiet on the Western Front

   A
   9.2/10

2. Babylon

   A
   9.2/10

3. The Banshees of Inisherin

   A
   9.1/10

4. Bones and All

   A
   9.0/10

5. RRR

   A-
   8.9/10

6. The Whale

   A-
   8.8/10

7. The Quiet Girl

   A-
   8.7/10

8. Triangle of Sadness

   A-
   8.7/10

9. TÁR

   A-
   8.7/10

10. Aftersun

    A-
    8.7/10

...plus 57 more. View the full list on Letterboxd.

The films I’m gonna watch in my (ridiculous) attempt to watch 30 avant garde shorts in a single day.

1. Window Water Baby Moving
2. The Life and Death of 9413, A Hollywood Extra
3. Butterfly
4. Song of Love
5. Wavelength
6. Atman
7. The Ravishing of Frank N. Stein
8. Samadhi
9. Petrichor
10. Witch's Cradle

...plus 20 more. View the full list on Letterboxd.

Taken from a picture included in a YT vid I saw

Said Video

The following films in the iceberg aren’t on Letterboxd:
Death File Red (Tier 6)
Everything in Tiers 7 & 8 that isn’t already here

• Friday the 13th

  Tier 1

• Child's Play

  Tier 1

• Scream

  Tier 1

• Insidious

  Tier 1

• The Conjuring

  Tier 1

• Annabelle

  Tier 1

• Ju-on: The Grudge

  Tier 1

• Ring

  Tier 1

• A Nightmare on Elm Street

  Tier 1

• The Texas Chain Saw Massacre

  Tier 2

...plus 52 more. View the full list on Letterboxd.

1. Drive My Car

   A
   9.1/10

2. Bo Burnham: Inside

   A
   9.1/10

3. The Worst Person in the World

   A-
   8.8/10

4. Wolf

   A-
   8.7/10

5. Titane

   A-
   8.7/10

6. The Suicide Squad

   A-
   8.7/10

7. Spider-Man: No Way Home

   A-
   8.6/10

8. Last Night in Soho

   A-
   8.5/10

9. The Last Duel

   B+
   8.4/10

10. The Power of the Dog

    B+
    8.4/10

...plus 65 more. View the full list on Letterboxd.

Film movements to look out for.

Each movement represented by their most prominent film.

• Metropolis

  German Expressionism (1913 - 1933)

• Napoleon

  French Impressionism (1918 - 1928)

• Battleship Potemkin

  Soviet Montage (1924 - 1931)

• The Rules of the Game

  French 'Poetic Realism' (1930 - 1945)

• Bicycle Thieves

  Italian Neorealism (1943 - 1954)

• The Seventh Seal

  Scandinavian Revival (1943 - 1976)

• Pather Panchali

  Indian Parallel Cinema (1946 - 1999)

• Ashes and Diamonds

  Polish Film School (1947 - 1969)

• Seven Samurai

  Japanese Golden Age (1949 - 1968)

• Woman in the Dunes

  Japanese New Wave (1954 - 1976)

...plus 19 more. View the full list on Letterboxd.

1. Scum

   A
   9/10

2. The Darjeeling Limited

   B+
   8/10

3. West Side Story

   B+
   8.4/10

4. The Tale of The Princess Kaguya

   A-
   8.7/10

5. The Lobster

   B+
   8.1/10

6. Paprika

   B+
   8/10

7. Creep

   B
   7.6/10

8. Creep 2

   C+
   6.9/10

9. Sinister

   C+
   6.6/10

1. Adventure Time: Distant Lands

   A-
   8.9/10

2. Pastoral: To Die in the Country

   A-
   8.8/10

3. The Boy and the Beast

   B
   7.7/10

4. Straight Outta Compton

   B+
   8.2/10

5. Ocean's Eleven

   A-
   8.7/10

6. Ocean's Twelve

   C+
   6.9/10

7. Antichrist

   B-
   7.2/10

8. The Wolf House

   B+
   8.3/10

9. Bo Burnham: Inside

   A
   9.1/10

1. Minari

   A
   9.2/10

2. I'm Thinking of Ending Things

   A-
   8.9/10

3. The Father

   A-
   8.9/10

4. Another Round

   A-
   8.8/10

5. Soul

   A-
   8.8/10

6. Never Rarely Sometimes Always

   A-
   8.7/10

7. The Devil All the Time

   A-
   8.7/10

8. Promising Young Woman

   B+
   8.4/10

9. Nomadland

   B+
   8.3/10

10. Borat Subsequent Moviefilm

    B+
    8.3/10

...plus 55 more. View the full list on Letterboxd.

Not officially doing this but my irrelevant ass thought it’d be fun so I thought why not. I’ll try not to give up

1. A Brighter Summer Day

   Week 1: September 7th-13th
   Popular Quality Week

   This week's challenge is to watch the most popular film you haven't seen from the Letterboxd Top 250.

   
   Review

2. The Station Agent

   Week 2: September 14th-20th
   Independent Spirit John Cassavetes Award Week

   This week's challenge is to watch a previously unseen film that has been nominated for the Independent Spirit John Cassavetes Award.

   
   Review

3. A Patch of Blue

   Week 3: September 21st-27th
   Classic Performers: Sidney Poitier Week

   This week's challenge is to watch a previously unseen film starring Sidney Poitier.

   
   Review

4. The Big Blue

   Week 4: September 28th-October 4th
   Cinéma du Look (Who's Talking) Week

   This week's challenge is to watch a previously unseen Cinéma du Look film; OR Amy Heckerling's Look Who's Talking.

   
   Review

5. Il Soro

   Week 5: October 5th-11th
   Commedia all'italiana Week

   This week's challenge is to watch a previously unseen Commedia all'italiana film.

   
   Review

6. Spring

   Week 6: October 12th-18th
   Mumblegore Week

   This week's challenge is to watch a previously unseen Mumblegore film.

   
   Review

7. What We Do in the Shadows

   Week 7: October 19th-25th
   Vampires of the New Millennium (Mambo) Week

   This week's challenge is to watch a previously unseen vampire film released in 2000 or later; OR Hou Hsiao-hsien's Millennium Mambo.

   
   Review

8. Jennifer's Body

   Week 8: October 26th-November 1st
   Women Directed Horror Week

   This week's challenge is to watch a previously unseen horror film directed by a woman.

   
   Review

9. Pather Panchali

   Week 9: November 2nd-9th
   Ray, Ray, Ray, or Wray Week

   This week's challenge is to watch a previously unseen film directed by and/or starring Nicholas Ray, Satyajit Ray, Ray Winstone, or Fay Wray.

   
   Review

10. Lady Vengeance

    Week 10: November 9th-15th
    Korean Cinema Homework Week

    This week's challenge is to watch a previously unseen film from Katie Rife's Korean Cinema Homework list.

    
    Review

...plus 23 more. View the full list on Letterboxd.

1. Portrait of a Lady on Fire

   A+
   9.7/10

2. Once Upon a Time... in Hollywood

   A+
   9.6/10

3. Uncut Gems

   A
   9.4/10

4. The Gentlemen

   A
   9.4/10

5. Parasite

   A
   9.4/10

6. The Lighthouse

   A
   9.3/10

7. Waves

   A
   9.3/10

8. Little Women

   A
   9.3/10

9. Midsommar

   A
   9.2/10

10. Marriage Story

    A
    9.2/10

...plus 94 more. View the full list on Letterboxd.

1. Leaving Neverland

   B
   7.9/10

2. Minari

   A
   9.2/10

3. Summer Wars

   C
   6.3/10

4. Primer

   A
   9.3/10

5. The Raid

   B
   7.6/10

6. Promising Young Woman

   B+
   8.3/10

7. Popstar: Never Stop Never Stopping

   B+
   8.3/10

8. Project X

   B-
   7.3/10

9. Daisies

   A-
   8.8/10

10. Nomadland

    B+
    8.3/10

1. Boy

   B
   7.5/10

2. Wolfwalkers

   B+
   8.4/10

3. Ammonite

   C-
   5.8/10

4. Night Is Short, Walk On Girl

   A-
   8.8/10

5. Mishima: A Life in Four Chapters

   A-
   8.8/10

6. The Social Network

   A
   9.3/10

7. Grimsby

   B
   7.7/10

8. Chronicle

   B-
   7.4/10

9. The Blair Witch Project

   A-
   8.9/10

10. One Flew Over the Cuckoo's Nest

    A
    9.1/10

1. Top Gear: South America Special
2. Top Gear: The Great African Adventure
3. Top Gear: US Special
4. Top Gear: The Burma Special
5. Top Gear: The Perfect Road Trip
6. Top Gear: Polar Special
7. Top Gear: Botswana Special
8. Top Gear: Vietnam Special
9. Top Gear: Middle East Special
10. Top Gear: Patagonia Special

...plus 3 more. View the full list on Letterboxd.

1. The Florida Project

   A-
   8.7/10

2. About Time

   A-
   8.8/10

3. Melancholia

   C
   6.1/10

4. Batman Beyond: Return of the Joker

   B+
   8.4/10

5. The Devil All the Time

   A-
   8.9/10

6. Mulholland Drive

   A
   9.4/10

7. The Wicker Man

   B
   7.6/10

8. Drag Me to Hell

   C-
   5.9/10

9. A Clockwork Orange

   A
   9.3/10

1. Blue Is the Warmest Color

   B
   7.7/10

2. Columbus

   A-
   8.8/10

3. Liz and the Blue Bird

   B
   7.6/10

4. Manchester by the Sea

   A
   9.2/10

5. Inside Llewyn Davis

   B
   7.7/10

6. Burning

   A-
   8.9/10

7. Don't Look Now

   B-
   7.2/10

8. Carrie

   A-
   8.9/10

9. The Descent

   C+
   6.8/10

1. Schindler's List

   A
   9.4/10

2. Brick

   C
   6.3/10

3. It's Such a Beautiful Day

   A-
   8.9/10

4. Kiki's Delivery Service

   B+
   8.2/10

5. The Nightingale

   A-
   8.8/10

6. The Wolf of Wall Street

   A
   9.3/10

7. Climax

   D-
   4.1/10

8. Lake Mungo

   A
   9.4/10

9. Strangers on a Train

   B+
   8.3/10

1. 12 Years a Slave

   A-
   8.7/10

2. Rope

   A
   9.4/10

3. Ride Your Wave

   C+
   6.8/10

4. Portrait of a Lady on Fire

   A+
   9.7/10

5. Pad Man

   C
   6.3/10

6. Enter the Dragon

   B+
   8.3/10

7. Interstellar

   A
   9.2/10

8. The Witch

   A
   9.3/10

9. Midnight in Paris

   B+
   8.3/10

1. The Farewell

   B+
   8.4/10

2. Lady Macbeth

   B+
   8.4/10

3. Millennium Actress

   C
   6.3/10

4. Chak De! India

   A
   9.2/10

5. La La Land

   A
   9.4/10

6. Uncut Gems

   A
   9.2/10

7. Hacksaw Ridge

   A
   9.2/10

8. The Purge: Anarchy

   D+
   5.4/10

9. The Lighthouse

   A-
   8.9/10

My dosage of torture.

1. Laid in America

   E
   3.5/10

2. Natural Born Pranksters

   E
   3.4/10

3. Ghostmates

   E
   3.2/10

4. F*&% the Prom

   F
   2.8/10

5. Smiley

   F
   2.5/10

6. Airplane Mode

   F
   2/10

7. FRED: The Movie

   F
   0.9/10

1. On the Waterfront

   A-
   8.7/10

2. The Tree of Life

   D+
   5.1/10

3. Maquia: When the Promised Flower Blooms

   B-
   7.2/10

4. Zombieland

   B+
   8.3/10

5. Moonlight

   A
   9.3/10

6. Lost in Translation

   B
   7.8/10

7. Good Will Hunting

   A
   9.3/10

8. Veronica

   B
   7.7/10

9. Olympus Has Fallen

   D-
   4.2/10

1. Harakiri

   B+
   8.2/10

2. Moonrise Kingdom

   A-
   8.8/10

3. 5 Centimeters per Second

   B+
   8.2/10

4. I Want to Eat Your Pancreas

   A
   9.2/10

5. The Elephant Man

   A
   9.4/10

6. Sing Street

   A
   9.2/10

7. Collateral

   B+
   8.2/10

8. Don't Breathe

   B
   7.9/10

9. The Exorcist

   A
   9.1/10

1. The Garden of Words

   B
   7.8/10

2. Me and Earl and the Dying Girl

   A
   9.3/10

3. The Seventh Seal

   C
   6.3/10

4. Mirai

   B+
   8.4/10

5. Ben Is Back

   C+
   6.8/10

6. Bumblebee

   B+
   8/10

7. Inception

   A+
   9.5/10

8. Signs

   C
   6.4/10

9. The Houses October Built

   D-
   4.4/10

1. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

   B+
   8/10

2. BlacKkKlansman

   B+
   8.3/10

3. Wolf Children

   A
   9.3/10

4. The Edge of Seventeen

   A
   9.1/10

5. Incredibles 2

   A-
   8.7/10

6. Dirty Grandpa

   A-
   8.9/10

7. Bad Times at the El Royale

   B-
   7.1/10

8. The Interview

   E
   3.3/10

9. Bird Box

   C-
   5.8/10

1. Batman: Mask of the Phantasm

   A-
   8.8/10

2. The Age of Adaline

   A-
   8.9/10

3. A Star Is Born

   B+
   8/10

4. The Girl Who Leapt Through Time

   A-
   8.7/10

5. Vacation

   A-
   8.6/10

6. Vertigo

   A
   9.3/10

7. Accident Man

   A
   9/10

8. Wrong Turn

   F
   2.2/10

9. Wrong Turn 2: Dead End

   B-
   7.3/10

1. My Life as a Zucchini

   A
   9.2/10

2. The Grand Budapest Hotel

   B+
   8.3/10

3. A Silent Voice: The Movie

   B+
   8.4/10

4. Like Stars on Earth

   A-
   8.7/10

5. Mission: Impossible – Fallout

   B+
   8.2/10

6. Mom

   D
   4.5/10

7. Gone Girl

   A
   9.2/10

8. Deadpool 2

   A
   9.1/10

9. Hereditary

   C-
   5.9/10

1. The Kings of Summer

   A
   9.2/10

2. Love, Rosie

   A
   9.3/10

3. Your Name.

   A+
   9.7/10

4. Secret Superstar

   B-
   7.3/10

5. Gifted

   B-
   7.4/10

6. A Quiet Place

   B
   7.8/10

7. Stand by Me

   A-
   8.9/10

8. The Babadook

   B
   7.7/10

9. Jigsaw

   B-
   7.1/10