Best of 2010-2019

[transmogrifier]

Decade's almost over, folks. Give us your lists here and update them throughout the year, and we'll do a consensus thing at the end:

Mine so far:

Mistress America - 82
The We and the I - 81
The Wolf of Wall Street - 80
Confessions - 78
The World of Us - 77
Boyhood - 76
What We Do in the Shadows - 76
A Touch of Sin - 75
The Wind Rises - 75
Burning - 75

I plan to spend this year catching up on this decade.

[Grouchy]

In no particular order:

Elle
Mad Max: Fury Road
Phantom Thread
Under the Skin
The Handmaiden
Holy Motors
The Wolf of Wall Street
La Grande Bellezza
The Skin I Live In
The Neon Demon

[Peng]

As of now:

1. Toy Story 3
2. Cloud Atlas
3. Before Midnight
4. The Tree of Life
5. It's Such a Beautiful Day
6. Two Days, One Night
7. Boyhood
8. A Separation
9. Mad Max: Fury Road
10. Call Me By Your Name

[Mr. McGibblets]

Not in order, but 10 movies that have held up for me. I'm still way behind on 2017-2018:

The Ghost Writer (2010)
The Social Network (2010)
A Separation (2011)
Contagion (2011)
Looper (2012)
Inside Llewyn Davis (2013)
Inherent Vice (2014)
Chi-Raq (2015)
Love & Friendship (2016)
Get Out (2017)

[Spinal]

Shortlisted:

Cold War
Eighth Grade
The Florida Project
Inception
It's Such a Beautiful Day
The Lure
A Man Called Ove
Mustang
Oslo, August 31st
A Pigeon Sat on a Branch Reflecting on Existence
Pina
The Shape of Water
Shoplifters
Suntan
The Tale of the Princess Kaguya
The Tree of Life
Two Days, One Night

[Pop Trash]

The Tree of Life
Margaret
Holy Motors
Mad Max: Fury Road
The Immigrant
First Reformed
Her
OJ: Made in America
Inside Out
Lady Bird


Honorable Mentions:
Greenberg
The Social Network
Under the Skin
Moonrise Kingdom
The Grand Budapest Hotel
Inside Job
Bones Brigade: An Autobiography
Melancholia
Take Shelter
20th Century Women
Blade Runner: 2049

[Dead & Messed Up]

Just to get myself started.

2010 - Inception (How to Train Your Dragon, MacGruber)
2011 - The Tree of Life (Attack the Block, MI: Ghost Protocol)
2012 - Cloud Atlas (The Cabin in the Woods, Kill List)
2013 - The World's End (Before Midnight, The Wolf of Wall Street)
2014 - Edge of Tomorrow (The Lego Movie, Whiplash)
2015 - Mad Max: Fury Road (Creed, What We Do in the Shadows)
2016 - Green Room (The Invitation, Kubo and the Two Strings)
2017 - Phantom Thread (Get Out, Star Wars: The Last Jedi)
2018 - MI: Fallout (Annihilation, BlackkKlansman)
2019 -

Whittling down 2014 was the hardest, I had to not include a bunch of favorites like: The Babadook, The Boxtrolls, Boyhood, Godzilla, Gone Girl, The Grand Budapest Hotel, Guardians of the Galaxy, John Wick, Nightcrawler, Noah, The Raid 2, Snowpiercer, and Under the Skin. Good God, what a year.

[Pop Trash]

2010 - MacGruber


N O I C E

[Dead & Messed Up]

N O I C E


https://www.youtube.com/watch?v=ZHCd8doza2M

[Ezee E]

I'll need to dig into this.

If anyone wants to pull up a thread of the Top Tens of each year, that'd be cool!

[transmogrifier]

I'll need to dig into this.

If anyone wants to pull up a thread of the Top Tens of each year, that'd be cool!

Good idea. One of the reasons I wanted this up for a year is to get recommendations BEFORE the final tally so the lists can be more complete.

All movies rated 70+. Korean movies in italics.

2010
Confessions
Shutter Island
Bedeviled
Winter's Bone
Rare Exports: A Christmas Tale
13 Assassins
Toy Story 3
Inception
Despicable Me

2011
Margaret
A Separation
Elena
Bleak Night
Attack the Block
The Skin I Live In
Melancholia
Bridesmaids
Fright Night
Rise of the Planet of the Apes
Drive
Martha Marcy May Marlene

2012
The We and the I
Zero Dark Thirty
ParaNorman
Killing Them Softly
Looper
Cabin in the Woods
Frances Ha

2013
The Wolf of Wall Street
A Touch of Sin
The Wind Rises
This is the End
Before Midnight
A Very Ordinary Couple
Resolution
You're Next

2014
Boyhood
What We Do in the Shadows
Gone Girl
Coherence
The Raid 2
Blue Ruin
Godzilla
The One I Love
Don't Go Breaking My Heart 2

2015
Mistress America
Sicario
It Follows
The Lobster
The Big Short

2016
The World of Us
A Monster Calls
Indignation
Manchester by the Sea
The Nice Guys
The Girl with all the Gifts
Seoul Station

2017
Logan
The War for the Planet of the Apes
A Ghost Story
Get Out
The Florida Project
Wind River

2018
Burning
You Were Never Really Here
Hereditary
Support the Girls

[Neclord]

True Grit
Drive
The Master
Upstream Color
Under the Skin
Mad Max: Fury Road
Silence
The Lost City of Z
Mission: Impossible - Fallout

[baby doll]

Long-listed:

Copie conforme (Abbas Kiarostami, 2010)
The Ghost Writer (Roman Polanski, 2010)
Mysteries of Lisbon (Raùl Ruiz, 2010)
Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2010)
L'Apollonide—Souvenirs de la maison close (Bertrand Bonello, 2011)
Le Gamin au vélo (Jean-Pierre and Luc Dardenne, 2011)
Hors Satan (Bruno Dumont, 2011)
Melancholia (Lars von Trier, 2011)
Here, Then (Mao Mao, 2012)
Modest Reception (Mani Haghighi, 2012)
Post Tenebras Lux (Carlos Reygadas, 2012)
Our Sunhi (Hong Sangsoo, 2013)
Adieu au langage (Jean-Luc Godard, 2014)
The Grand Budapest Hotel (Wes Anderson, 2014)
The Forbidden Room (Evan Johnson/Guy Maddin, 2015)
Son of Saul (László Nemes, 2015)
Hermia & Helena (MatÃ*as Piñeiro, 2016)
The Woman Who Left (Lav Diaz, 2016)
The Florida Project (Sean Baker, 2017)
Western (Valeska Griesbach, 2017)

[Ezee E]

2010 (http://matchcut.artboiled.com/showthread.php?2785-Your-Top-Ten-of-2010&highlight=2010)
2011 (http://matchcut.artboiled.com/showthread.php?3389-Top-10-of-2011&highlight=2011)
2011 MATCHIES (http://matchcut.artboiled.com/showthread.php?3423-THE-MATCHIES-2011&highlight=2011)
2012 (http://matchcut.artboiled.com/showthread.php?3912-Your-Top-10-of-2012&highlight=2012)
2012 MATCHIES (http://matchcut.artboiled.com/showthread.php?3883-THE-MATCHIES-2012&highlight=2012)
2013 (http://matchcut.artboiled.com/showthread.php?4798-Your-Top-10-of-2013&highlight=2013)
2014 (http://matchcut.artboiled.com/showthread.php?5516-Top-10-of-2014&highlight=2014)
2015 (http://matchcut.artboiled.com/showthread.php?6039-Top-10-of-2015&highlight=2015)
2015 MATCHIES (http://matchcut.artboiled.com/showthread.php?6427-THE-MATCHIES-2015-The-Show!&highlight=2015)
2016 (http://matchcut.artboiled.com/showthread.php?6244-Top-Ten-of-2016&highlight=2016)
2016 MATCHIES (http://matchcut.artboiled.com/showthread.php?6611-2016-Match-Cut-Awards&highlight=2016)
2017 (http://matchcut.artboiled.com/showthread.php?6754-Top-10-of-2017&highlight=2017)
2017 MATCHIES (http://matchcut.artboiled.com/showthread.php?7012-MC-Awards-2017&highlight=2017)

[Skitch]

I'm genuinely surprised at several of trans' selections made a 70+. Good on ya sir.

[transmogrifier]

I'm genuinely surprised at several of trans' selections made a 70+. Good on ya sir.

I need to catch up on a lot of non-English films for this decade. I've watched very few of the ones on people's lists so far.

[Ezee E]

Need to do some proofreading on old lists, but looking like my top ten will be comprised of:

2010:
Shutter Island
Inception
A Prophet
Exit Through the Gift Shop
Social Network

2011:
Drive
Girl With the Dragon Tattoo
Hanna
Moneyball

2012:
Django Unchained
The Grey
Zero Dark Thirty
Oslo, August 31

2013:
12 Years A Slave
Inside Lleweyn Davis
Wolf of Wall Street
Blue is the Warmest Color

2014:
Gone Girl
Interstellar
Birdman
The Babadook

2015:
The Revenant
Son of Saul
Big Short

2016:
Arrival
Hell or High Water
Moonlight

2017:
Dunkirk
Logan
Florida Project
Mother!

2018:
Suspiria
Vice
Sorry to Bother You

[baby doll]

2010:
A ProphetThis premiered at Cannes in 2009, if that matters to you.

[Ezee E]

This premiered at Cannes in 2009, if that matters to you.

February 2010 USA release. hmm....

I don't think it squeezes into the top ten anyhow.

[PURPLE]

Usually my lists tend to end up reflecting my larger preferences, hopefully because I do a good job searching out those kinds of films. Here's how it breaks down for me:

Black Comedy
The Square
The Lobster
Listen Up Phillip

Realist
Goodbye, First Love
Our Little Sister
Margaret

Minimalist/Metaphorical/Structuralist
The Tree of Life
The Strange Little Cat
Le Quattro Volte

Expressionist
(null)
Bonus:
Scott Pilgrim vs. the World

To See (among innumerable others): Tabu, House of Tolerance, Winter Sleep, A Pigeon Sat on a Branch Reflecting on Existence, Post Tenebras Lux, Meek's Cutoff, The Turin Horse, Hard to Be a God

[Ivan Drago]

Expressionist
(null)


Are you referring to the short film (null), or something else?

[PURPLE]

Are you referring to the short film (null), or something else?Is it good enough to put there?

I just meant that I typically love wildly expressionist films but I couldn't think of any that fit the bill among the best of the decade. (null) meant "None available to list at this time". Maybe I should have put that, but there's no way of knowing if that's also a short film or not! Well, I could use the internet, but that seems like a lot of work.

[Spinal]

Over the past few days I've watched a couple of films from this thread to start playing catch-up and it's paid off very well so far.

A Separation was one that's long eluded me, even though I knew it was universally praised. Somehow I had thought it was essentially an Iranian Scenes from a Marriage. I was very happy to find that it was much more than that. But damn, the real surprise was Green Room, maybe because I had more modest expectations. It's not easy to make a film feel dangerous and tense for nearly 90 straight minutes, but this one had me gripped. I thought no way would it stick the ending, but the ending was fantastic! Really surprised at how effective it was.

I'm going to try to keep dialing up films from your lists. I'll try to hit at least one new film from everyone.

[Ezee E]

Yeah, Green Room would certainly be one of the biggest surprises of the decade for me.

Funny story for me, I had no idea of the premise or ANYTHING really. Just that it was well-liked. I thought it was going to be a rock & roll movie... And uh, things changed.

[Spinal]

As the movie settles in, it occurs to me that Green Room works effectively on multiple levels.

First off, it's main purpose is to be a thriller and it certainly works on that level. It's tense. It's scary. It's got great pacing, and just enough downtime to get us ready to be horrified again.

Second, its got a resonant anti-fascist thrust. I hesitate to call it 'undertones' because it's all there on the surface. If this movie came out in the past two years, you might think it a little too on the nose. But the far left/far right dichotomy in this movie is rich and prescient in the way it speaks to the current intractable struggle in American politics. The right wing controls the weapons and the property and the police. The left wing is blinded by its own sense of righteousness, not realizing the vulnerability of its position until its too late. The result is in fact "a nightmare for us all."

Finally, it's really clever in the way it plays around with audience expectations and the conventions of the genre:

It's a little bit like Game of Thrones in the way that it successfully disguises its protagonist until late in the narrative. You might think it would be the band's front man, or Sam, because she's the only female. But no, without a lot of buildup, both are slaughtered quickly and brutally. When one of the antagonists flips allegiances, you start imagining the third act of the movie and how it will play out ... only to have him shot in the face quickly thereafter. And the final line is hilarious! We've been waiting for the whole 'desert island artist' discussion to pay off, indicating to us that the character has had some sort of character growth or profound revelation through his ordeal. But no. Amber shuts him down because he's no more interesting or special than he was at the beginning of the movie. He's simply the one who got lucky and survived. Roll credits.

[Spinal]

Now, if I can just stop myself from referring to it as Green Book.

[Watashi]

Before Midnight (2014)
First Man (2018)
It's Such a Beautiful Day (2012)
The Lost City of Z (2017)
Mad Max: Fury Road (2015)
Magic Mike XXL (2015)
Margaret (2011)
The Social Network (2010)
The Tree of Life (2011)
The Wind Rises (2013)

[Neclord]

The Lost City of Z (2017)

https://media.giphy.com/media/pHb82xtBPfqEg/giphy.gif

[Dead & Messed Up]

Over the past few days I've watched a couple of films from this thread to start playing catch-up and it's paid off very well so far.

A Separation was one that's long eluded me, even though I knew it was universally praised. Somehow I had thought it was essentially an Iranian Scenes from a Marriage. I was very happy to find that it was much more than that. But damn, the real surprise was Green Room, maybe because I had more modest expectations. It's not easy to make a film feel dangerous and tense for nearly 90 straight minutes, but this one had me gripped. I thought no way would it stick the ending, but the ending was fantastic! Really surprised at how effective it was.

Nice! Glad you dug it, and your thoughts further down are great. It's one of the few thrillers I've seen where it feels like it's happening as you're watching it.

[Peng]

Green Room and Don’t Breathe are two of my recent favourite theatrical experiences. Great collective freakout sessions for the audience.

[Spinal]

I've put together a checklist for myself, hoping to watch at least one new film from everybody's list by the end of the year. If I can get through these, I'll try to watch more. Here's what I am targeting so far:

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

[dreamdead]

It’s Such a Beautiful Day
The Lobster
The Handmaiden
Mad Max: Fury Road
Only Lovers Left Alive
Stranger by the Lake
Upstream Color
Timbuktu
A Separation
Tree of Life

HM: Girl Walk All Day; Before Midnight; Grand Budapest Hotel; Columbus; Support the Girls or Results; Burning; Oslo, August 31st;

[Watashi]

Oh man, I really want to know what Spinal thinks of Cloud Atlas.

[Spinal]

Oh man, I really want to know what Spinal thinks of Cloud Atlas.

I wanted to read the book first, which is why it's taken me so long. That may or may not happen.

[Ezee E]

Good to see Oslo, August 31st on many lists. I'm due for a rewatch.

[Watashi]

Cloud Atlas is one of the few movies I have done a complete 180 upon rewatch. I unabashedly love it now even though I still recognize the same qualms from my first viewing.

[Dukefrukem]

Shit. I didn't create a Letterboxd list for this decade....

[Pop Trash]

Spinal needs to watch MacGruber.

[Dukefrukem]

2010
1.Inception*
2. Scott Pilgrim vs. the World


2011
1.Melancholia*
2.I Saw the Devil*
3. A Separation
4. The Raid
5. Drive*
6.Attack the Block*

2012
1.The Cabin in the Woods*
2.John Dies at the End*
3.Life of Pi*
4.The Avengers*
5.The Intouchables*
6.Wrong*
7.The Act of Killing*


2013
1.Upstream Color
2.The Wolf of Wall Street
3.John Dies at the End
4.Odd Thomas
5.Her


2014
1.Interstellar*
2.Captain America: The Winter Soldier*
3.Predestination*
4.Whiplash*
5.Gone Girl*
6.Big Hero 6


2015
1.Mad Max: Fury Road*
2.Avengers: Age of Ultron*
3.Bone Tomahawk*


2016
1.The Lobster*
2.Captain Fantastic*
3.Nocturnal Animals
4.Swiss Army Man*
5.Zootopia*


2017
1. Mother!
2.Get Out*
3. Colossal*


2018
1.Hereditary*
2.Roma*
3.Avengers: Infinity War*


2019
X

[Pop Trash]

What do the asterisks signify?

[Dukefrukem]

I think that is just some junk characters that copied over from my copy/paste from Letterboxd. So ignore them. My list will be based on those movies plus anything in 2019.

[Ivan Drago]

Cloud Atlas is one of the few movies I have done a complete 180 upon rewatch. I unabashedly love it now even though I still recognize the same qualms from my first viewing.

To this day I keep doing 180s on it. The first time I saw it I was meh on it, after the second I loved it. Then on the third time, I hated it and gave up on it. But when I reflect on it now, I admire it for its ambition. It's still a mess, but one that's watchable.

[Pop Trash]

I can't get past Tom Hanks being horribly miscast in Cloud Atlas, but similar to Suspiria 2K18, I'm glad ambitious follies like these exist.

[Spinal]

Spinal needs to watch MacGruber.

I've seen it! I liked it a lot.

[Dukefrukem]

Good to see Oslo, August 31st on many lists. I'm due for a rewatch.

Its a good movie. But 2012 was an excellent year for cinema. Wouldn't crack my top 10.

[Pop Trash]

I've seen it! I liked it a lot.

Time to go pound some Cunth, Spinal.

[Pop Trash]

Going through these lists made me realize how many foreign language blindspots I still have. I blame crappy USA distribution.

[Ivan Drago]

I expect this to change several times after I revisit my last decade of lists over the coming year.

1. The Tree of Life
2. Moonlight
3. Black Swan
4. The Act of Killing
5. Under The Skin
6. Prisoners
7. Mad Max: Fury Road
8. Blade Runner 2049
9. You Were Never Really Here
10. Call Me By Your Name

[Ezee E]

At the moment:

1. 12 Years A Slave
2. Wolf of Wall Street
3. Django Unchained
4. Social Network
5. The Big Short
6. Logan
7. Interstellar
8. The Grey
9. Gone Girl
10. The Revenant

I should probably do a top ten foreign...

[baby doll]

Going through these lists made me realize how many foreign language blindspots I still have. I blame crappy USA distribution.There are ways to circumvent this: torrents, festivals, not living in North America.

[Spinal]

Libraries.

[baby doll]

2010...Since we're all doing this now:

2010
Arrietty the Borrower (Yonebayashi Hiromasa)
Carlos (Olivier Assayas)
Copie conforme (Abbas Kiarostami)
Film socialisme (Jean-Luc Godard)
The Ghost Writer (Roman Polanski)
Greenberg (Noah Baumbach)
Hereafter (Clint Eastwood)
Mysteries of Lisbon (Raùl Ruiz)
Post Mortem (Pablo LarraÃ*n)
Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)

2011
L'Apollonide—Souvenirs de la maison close (Bertrand Bonello)
Bernie (Richard Linklater)
The Deep Blue Sea (Terence Davies)
Le Gamin au vélo (Jean-Pierre and Luc Dardenne)
Hors Satan (Bruno Dumont)
Impardonnables (André Téchiné)
Margaret (Kenneth Lonergan)
Martha Marcy May Marlene (Sean Durkin)
Melancholia (Lars von Trier)
A Separation (Asghar Farhadi)

2012
Barbara (Christian Petzold)
Betrayal (Kirill Sebrennikov)
Here, Then (Mao Mao)
Holy Motors (Leos Carax)
Modest Reception (Mani Haghighi)
Moonrise Kingdom (Wes Anderson)
Neighbouring Sounds (Kleber Mendonça Filho)
Spring Breakers (Harmony Korine)
Post Tenebras Lux (Carlos Reygadas)
Tabu (Miguel Gomes)

2013
American Hustle (David O. Russell)
Before Midnight (Richard Linklater)
Behind the Candelabra (Steven Soderbergh)
Ida (Pawel Pawlikowski)
Locke (Steven Knight)
Nebraska (Alexander Payne)
Night Moves (Kelly Reichardt)
Our Sunhi (Hong Sangsoo)
The Wolf of Wall Street (Martin Scorsese)

2014
Adieu au langage (Jean-Luc Godard)
Boyhood (Richard Linklater)
Force Majeure (Ruben Östlund)
The Grand Budapest Hotel (Wes Anderson)
The Liquid Casket/Wilderness of Mirrors (Paul Clipson) (https://vimeo.com/100673989)
La Sapienza (Eugène Green)

2015
Evolution (Lucile Hadzihalilovic)
The Exquisite Corpus (Peter Tscherkassky)
The Forbidden Room (Evan Johnson/Guy Maddin)
Frenzy (Emin Alper)
The Lobster (Yorgos Lanthimos)
Mistress America (Noah Baumbach)
Mountains May Depart (Jia Zhangke)
Night Without Distance (LoÃ*s Patiño)
Son of Saul (László Nemes)
Taxi (Jafar Panahi)

2016
Aquarius (Kleber Mendonça Filho)
Dawson City: Frozen Time (Bill Morrison)
Harmonium (Fukada Koji)
Hermia & Helena (MatÃ*as Piñeiro)
Kékszakállú (Gaston Solnicki)
La Mort de Louis XIV (Albert Serra)
The Ornithologist (João Pedro Rodrigues)
A Quiet Passion (Terence Davies)
Safari (Ulrich Seidl)
The Woman Who Left (Lav Diaz)

2017
Cocote (Nelson Carlo de Los Santos Arias)
The Florida Project (Sean Baker)
Have a Nice Day (Liu Jian)
Laissez bronzer les cadavres (Hélène Cattet/Bruno Forzani)
Life and Nothing More (Antonio Méndez Esparza)
The Other Side of Hope (Aki Kaurismäki)
Rose Gold (Sara Cwynar)
Strangely Ordinary This Devotion (Dani Leventhal/Sheilah Wilson)
Western (Valeska Griesbach)
Zama (Lucrecia Martel)

2018
Hotel by the River (Hong Sangsoo)
Jinpa (Pema Tseden)
El Labertino (Laura Huertas Millán) (https://vimeo.com/292093390)
Le Livre d'image (Jean-Luc Godard)
Shoplifters (Kore-eda Hirokazu)
The Stone Speakers (Igor Drljaca)

[Dukefrukem]

Every year there's a bunch of movies I never end up getting to and then when we make lists like this it reignites my desire to see them.

I really should watch Nebraska this week.

[Spinal]

The Immigrant - Good movie. I like the look of this film. I'm not even talking about the compositions, although there are some that are very striking. I just mean I really like the colors. They give it a sort of vintage feeling that is appropriate for the period melodrama of the narrative. It's one of those typical Joaquin Phoenix performances where I spend a lot of time trying to decide whether it's brilliant or ludicrous. On the one hand, he's passionate, intense, inventive, funny .... on the other, he sometimes seems like he's acting in a movie where his character is about to undergo a transformation into a werewolf. Excellent work by Cotillard. It's like a prequel to The Deuce.

[MadMan]

I don't like my list and I haven't seen enough from this decade. Come back to me in oh, 20 years, if the site isn't (hopefully) gone and I'm not (maybe) dead.

[MadMan]

Every year there's a bunch of movies I never end up getting to and then when we make lists like this it reignites my desire to see them.

I really should watch Nebraska this week.

Nebraska is great, funny, touching and well made. Dern should have won the Oscar. I don't know if it is still on Netflix or not.

[Pop Trash]

There are ways to circumvent this: torrents, festivals, not living in North America.

I prefer watching films in theaters, and it tends to be easier to watch American films with the times and length they are in theaters. Foreign films tend to be on one screen and disappear after a week, so you really have to catch them quick. I watch films at home sometimes, but once I miss something theatrically it often get puts on my neverending list of "oh I want to see that" but realistically hardly get to it. My letterboxd watch list has something like 250 movies on it now and many of them are recent foreign language pictures.

[baby doll]

I prefer watching films in theaters, and it tends to be easier to watch American films with the times and length they are in theaters. Foreign films tend to be on one screen and disappear after a week, so you really have to catch them quick. I watch films at home sometimes, but once I miss something theatrically it often get puts on my neverending list of "oh I want to see that" but realistically hardly get to it. My letterboxd watch list has something like 250 movies on it now and many of them are recent foreign language pictures.I very rarely go to the theatres any more (except during TIFF, when I pig out for a week and a half), so when I do go, I tend to operate according to a principle of scarcity: It either has to be something that I really want to see (e.g., a new Lucrecia Martel film or an old Max Ophüls on 35mm) or something I might not be able to watch later (a program of experimental shorts).

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

I Saw the Devil - [Accidentally erased my original write-up. Basically, it wasn't my thing. The violence was too relentless for my taste, without a lot going on in compelling character development to sustain my interest. It has some nicely composed camerawork at times though.]

[Dukefrukem]

That cab shot though....

[Grouchy]

The Great Beauty (Grouchy)
What does this mean? Do I owe somebody a write-up?

[Peng]

What does this mean? Do I owe somebody a write-up?

I think it means whose list he takes that film rec from.

Great idea actually, I think I will do the same. No idea what you (or any given person) would think of Cloud Atlas though, haha, hope you at least like the messy ambition of it, Spinal! My opinion of the film will be forever enhanced by my first viewing, in which I watched it on the biggest non-IMAX screen here. Just an experience.

[Peng]

Highest unseen-by-me film in ranking (or in the case of unranked, first unseen film mentioned) from each person:

The We and the I (transmogrifier)
The Lure (Spinal)
Greenberg (Pop Trash)
MacGruber (Dead & Messed Up)
Mysteries of Lisbon (baby doll)
The Grey (Ezee E)
Goodbye, First Love (PURPLE)
Girl Walk All Day (dreamdead)
Melancholia (Dukefrukem) (Thank god because I really have no desire to see I Saw the Devil)

[Ivan Drago]

I'll be legit curious about your thoughts on The Forbidden Room, Spinal.

[Grouchy]

I think it means whose list he takes that film rec from.

Aaaah that makes sense.

[Dead & Messed Up]

I kinda want in on this too.

Mistress America - Trans
Elle - Grouchy
Two Days One Night - Peng
A Separation - McGibblets
Eighth Grade - Spinal
Margaret - Pop Trash
Silence - Neclord
Son of Saul - Baby Doll
Moonlight - Ezee E
The Lobster - Purple
First Man - Watashi
The Handmaiden - Dreamdead
Her - Dukefrukem

[Dukefrukem]

Me too. What do we do? Just pick a movie you haven't seen from everyone's list?

Mistress America - Trans
Elle - Grouchy
It's Such a Beautiful Day - Peng
Chi-Raq - McGibblets
Creepy - Dead & Messed Up
Eighth Grade - Spinal
Margaret - Pop Trash
Silence - Neclord
Copie conforme - Baby Doll
Son of Saul- Ezee E
The Square - Purple
First Man - Watashi
The Handmaiden - Dreamdead
You Were Never Really Here - Ivan Drago

[Dukefrukem]

Highest unseen-by-me film in ranking (or in the case of unranked, first unseen film mentioned) from each person:

The We and the I (transmogrifier)
The Lure (Spinal)
Greenberg (Pop Trash)
MacGruber (Dead & Messed Up)
Mysteries of Lisbon (baby doll)
The Grey (Ezee E)
Goodbye, First Love (PURPLE)
Girl Walk All Day (dreamdead)
Melancholia (Dukefrukem) (Thank god because I really have no desire to see I Saw the Devil)


I did end up ranking them btw:

https://letterboxd.com/dukefrukem/list/best-of-the-decade-2010-2019/

[Spinal]

That cab shot though....

Best part of the movie.

[Dead & Messed Up]

NEED ANOTHER MOVIE- SEEN THEM ALL - Dead & Messed Up

I feel so seen. (sobs)

Have you seen Kiyoshi Kurosawa's Creepy from 2016?

[Spinal]

Fun to have some others making checklists as well. It's been good motivation so far to catch up on stuff that's eluded me.

[MadMan]

I kinda want in on this too.

Mistress America - Trans
Elle - Grouchy
Two Days One Night - Peng
A Separation - McGibblets
Eighth Grade - Spinal
Margaret - Pop Trash
Silence - Neclord
Son of Saul - Baby Doll
Moonlight - Ezee E
The Lobster - Purple
First Man - Watashi
The Handmaiden - Dreamdead
Her - Dukefrukem

Give me a rec and I will see it. Or try to, anyways.

[Spinal]

Give me a rec and I will see it. Or try to, anyways.

Mustang

[Dukefrukem]

I feel so seen. (sobs)

Have you seen Kiyoshi Kurosawa's Creepy from 2016?

Never even heard of it. Looks right up my ally!

Edit: And it's on Amazon Prime!

[Peng]

I did end up ranking them btw:

https://letterboxd.com/dukefrukem/list/best-of-the-decade-2010-2019/

By luck, still Melancholia! Happens to be one of the few late-period von Triers I want to see too.

[Pop Trash]

I made a list of all the films from this decade I gave five stars to (I'm very stingy giving five stars to newish films -- generally four stars means they would be top fifteen of a respective year).

Strictly in chronological order.
https://letterboxd.com/adam_ball/list/five-star-films-2010-2019/

[Dukefrukem]

Wow. Nice to see Inside Job on that list. I thoroughly enjoyed it, but hard for me to give it a perfect score.

[MadMan]

Mustang

I had no idea that was on Netflix. Cool.

[transmogrifier]

An update:

2013
The Wolf of Wall Street
A Touch of Sin
The Wind Rises
The Congress
This is the End
Before Midnight
A Very Ordinary Couple
Resolution
You're Next

[PURPLE]

Bones Brigade: An AutobiographyI watched this one last night. It's nothing exceptional as a contribution to the art of the documentary, but its content is fascinating in many ways. First of all, it's interesting how it documents the actual history of the explosion of a huge worldwide sport/activity. Secondly, it's interesting how it documents many of the seeds of an entire set of intertwining subcultures in the surf/skate community. Thirdly, it's interesting how its documentarian is both a hugely biased and hugely integral part of the story and how that perspective enhances the human aspect of the story (which is not primary but comes across strongly enough). Finally, it is fascinating to see an example of a community which fostered and supported high-achieving youths through the tumultuous period of gaining fame and becoming dissilusioned with success while seeing many if not all of them come through without succumbing to the evils associated with that kind of fame and success. Everything described above still seems a bit undercooked, but it is all still an expression of the ragtag ethos employed by the man who was the driving force behind the development of a hugely influential subculture with a ragtag ethos. How fascinating this is to someone with no knowledge of that subculture I don't know, but I enjoyed it.

[Pop Trash]

That's a DEEPLY personal five star movie. I totally get why people who don't have much knowledge of the late 80s Powell/Peralta pro skating scene wouldn't understand why I love it so much, but I was a HUGE skater in those years (I was about 8-11 when I skated and Tony Hawk was my hero, with Mike McGill and Steve Caballero not far behind). Along with punk rock and Mad Magazine, pro skating shaped my worldview during those formative years and helped me understand DIY culture and subculture in general. So much of what was pop culture in the late 80s was really terrible and super commercial. I think this is why Nirvana breaking in the mainstream in '91 was such a big deal. ANYWAY it was like watching that part of my childhood all over again. I legit cried during some of the Rodney Mullen interviews. The Gator documentary is really interesting as well (but much more of the dark side of that scene) and the Dogtown + Z Boys doco is great too, even though I wasn't alive during that time.

[Pop Trash]

Wow. Nice to see Inside Job on that list. I thoroughly enjoyed it, but hard for me to give it a perfect score.

That one is kinda iffy for me now. If I dropped a film from that list, it would be that one, but it thoroughly blew my mind when I watched it back in the early years of the Obama administration. It seems like water under the bridge now, but living through the biggest economic meltdown since the Great Depression was surreal and that film explained it well w/o any Michael Moore bullshit (I should note I still like Michael Moore's early films, but the later ones just wear me down... it doesn't help that I'm not nearly as left leaning as I used to be).

[Dukefrukem]

That one is kinda iffy for me now. If I dropped a film from that list, it would be that one, but it thoroughly blew my mind when I watched it back in the early years of the Obama administration. It seems like water under the bridge now, but living through the biggest economic meltdown since the Great Depression was surreal and that film explained it well w/o any Michael Moore bullshit (I should note I still like Michael Moore's early films, but the later ones just wear me down... it doesn't help that I'm not nearly as left leaning as I used to be).

The mortgage crisis was the staple of my business law capstone project so I can understand why it would register with people. Many people should have gone to jail that didnt when the dust settled.

[Pop Trash]

The mortgage crisis was the staple of my business law capstone project so I can understand why it would register with people. Many people should have gone to jail that didnt when the dust settled.

I enjoyed Charles Ferguson's grilling of a lot of the people involved on Wall Street, since he completely understood what happened, but many of the people he interviewed had a smug attitude like "oh it's complicated, you wouldn't understand since you're just a filmmaker." When it became evident that Ferguson understood what happened -often better than the people he was interviewing- the subjects would get frustrated and some of them even cut the interview.

[PURPLE]

That's a DEEPLY personal five star movie. I totally get why people who don't have much knowledge of the late 80s Powell/Peralta pro skating scene wouldn't understand why I love it so much, but I was a HUGE skater in those years (I was about 8-11 when I skated and Tony Hawk was my hero, with Mike McGill and Steve Caballero not far behind). Along with punk rock and Mad Magazine, pro skating shaped my worldview during those formative years and helped me understand DIY culture and subculture in general. So much of what was pop culture in the late 80s was really terrible and super commercial. I think this is why Nirvana breaking in the mainstream in '91 was such a big deal. ANYWAY it was like watching that part of my childhood all over again. I legit cried during some of the Rodney Mullen interviews. The Gator documentary is really interesting as well (but much more of the dark side of that scene) and the Dogtown + Z Boys doco is great too, even though I wasn't alive during that time.I didn't expect it to be anything other than that kind of film, so it wasn't as if I was shocked when it wasn't a wildly experimental documentary. Any film with Rodney Mullen is going to be fascinating, though.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

The Great Beauty - This one was a blast. I can't say that I was able to absorb everything in the first viewing, but it's poignant and provocative, sexy and surprising. The obvious influence is Fellini, and this film is every bit as rich visually, every bit as imaginative in capturing the bizarre and wonderful journey humans take through life. I liked the humorous commentaries on art and religion, and the party scenes are hypnotic. I suspect I'll be thinking about this one for a while. I wish I had seen it on a big screen.

EDIT: Holy crap, this only has 50% approval on Match Cut?

[Ezee E]

My list of unseen films to still see (that I think I'd like):
Blue Ruin
Burning
Chi-Raq
Handmaiden
The Raid 2
Shoplifters
The Square

[Spinal]

My list of unseen films to still see (that I think I'd like):
Blue Ruin
Burning
Chi-Raq
Handmaiden
The Raid 2
Shoplifters
The Square

These are all awfully damn good. The others might be too. I haven't seen them.

[baby doll]

The Great Beauty - This one was a blast. I can't say that I was able to absorb everything in the first viewing, but it's poignant and provocative, sexy and surprising. The obvious influence is Fellini, and this film is every bit as rich visually, every bit as imaginative in capturing the bizarre and wonderful journey humans take through life. I liked the humorous commentaries on art and religion, and the party scenes are hypnotic. I suspect I'll be thinking about this one for a while. I wish I had seen it on a big screen.

EDIT: Holy crap, this only has 50% approval on Match Cut?This film represents basically everything I hate about contemporary cinema. Sorrentino's style is monotonously hyperactive, he doesn't know how to tell a story, the film's pot shots at the art world are facile and misogynistic (female performance artists are pretentious, Marxist women writers just need to get fucked), it presents platitudes unironically as profound insights ("Roots are important"), and the damn thing goes on forever.

[Spinal]

This film represents basically everything I hate about contemporary cinema.

Always a pleasure!

[Ezee E]

Always a pleasure!

lol.

I've been meaning to check this out after seeing episodes of the Young Pope. But I never did finish that season, so....

[Irish]

Mm. You might dislike baby doll's tone, but his post is a legit criticism of that film.

[Spinal]

Mm. You might dislike baby doll's tone, but his post is a legit criticism of that film.

You act like I don't have years of experience knowing that a discussion with this poster is much more likely to result in multiple lengthy paragraphs insinuating I'm an idiot rather than anything productive. Not interested.

[Pop Trash]

Marxist women writers just need to get fucked

Accurate.

[PURPLE]

You act like I don't have years of experience knowing that a discussion with this poster is much more likely to result in multiple lengthy paragraphs insinuating I'm an idiot rather than anything productive. Not interested.It is quite a skill.

[Irish]

You act like I don't have years of experience knowing that a discussion with this poster is much more likely to result in multiple lengthy paragraphs insinuating I'm an idiot rather than anything productive. Not interested.

Hey, man. I'm the undisputed King of Writing Multiple Paragraphs Implying Someone is An Idiot. Don't take my crown away and give to baby doll just offand like that. ;)

Anyway, you'll have to excuse me. I shouldn't have jumped in the middle. I was trying to defend what I saw as a legit criticism without realizing you felt attacked by it.

[baby doll]

Anyway, you'll have to excuse me. I shouldn't have jumped in the middle. I was trying to defend what I saw as a legit criticism without realizing you felt attacked by it.Nor did I mean my comment as an attack. Spinal expressed surprise at the film's mixed reception on this forum, and I offered some reasons why I find the film so objectionable.

That said, I was a little surprised myself at the film's low standing around these parts, given--and I'm trying to phrase this in such a way that it doesn't come off as a Pauline Kael-esque critique of the film's admirers--it's the kind of film that goes out of its way to flatter its audience. Not only is there the compulsive busyness of Sorrentino's style, which injects every sequence with an artificial "energy" (e.g., the mechanical cross-cutting between a static conversation and an unrelated striptease occurring adjacent to it), as if to mask the utter lack of inspiration in the direction (Scorsese, Wong Kar-wai, and the early Paul Thomas Anderson have all done far more inventive work in a similar register). There's also the way Sorrentino allows the viewer to feel superior and knowing without having to actually know anything, which betrays his underlying conservatism: Viewers who don't know anything about art and literature won't feel intimidated by the film because the women artists it ridicules are all such obvious phonies that no specialized knowledge, or even thought, is required to arrive at the correct verdict on them. According to the film, only men can be real artists and women exist solely to inspire them by flashing their tits next to a picturesque body of water.

But then, maybe I'm missing something. If anyone wants to explain to me why this movie is so special, I'd be glad to hear their arguments.

[Grouchy]

According to the film, only men can be real artists and women exist solely to inspire them by flashing their tits next to a picturesque body of water.
Where are you guys getting off on this load of shit? The reason the performance artist is a woman is that the character is sort of a parody of Marina Abramovic.

[baby doll]

Where are you guys getting off on this load of shit? The reason the performance artist is a woman is that the character is sort of a parody of Marina Abramovic.Don't forget also the woman Marxist writer and the girl abstract painter. And in any case, why parody Abramović rather than any contemporary male artist? Of course, she's famous and it's easy to make performance art look silly, but I don't think her gender and her feminism are irrelevant here, especially given the overall context.

Since we don't learn anything about the protagonist's writing beyond title of his early novel, in order for us to accept him as a Man of Sensibility, the film needs to furnish a series of phonies for him to see through, thereby demonstrating an intuitive feeling for art that all the women artists in the film lack. Yet, when a literary groupie remarks that he must've been in love when he wrote his first novel, neither the character nor Sorrentino realize what a cliché this is.

To clarify, I'm less offended by the film's conservatism and misogyny per se than the script's lack of imagination. I'd be more than happy to see a conservative and/or misogynist film about the art world if it offered a fresh and interesting take on its subject.

[Spinal]

We all have our flaws. Mine is flippancy. Well, at least one of them. I'll try again:

This film moved me because I felt that the observations it made about intellectuals and high culture and art were pointed and often funny. I do not think it's a misogynistic film in the least. I think it's fair it in its targets and it's even-handed in wondering if anybody really has a clue what they're talking about. There's power in the scene with the young girl flinging paint on canvas because it creates a dichotomy. On the one hand, it seems utterly absurd that serious people could call it art in the strictest sense. On the other hand, her passion and anger are real, the process of watching her is captivating and the result is indeed quite beautiful.

In the earlier scene, I don't feel like the performance artist's gender is something that is important. What's important is that she is hiding behind a bluff, using pain, nudity and iconography to mask something substantial to say. Whether or not she's based on Abramovic, the difference is that, unlike Abramovic, she lacks the ability to answer follow-up questions about the significance of her work. There are many great performance artists. And there are also those who ape the extreme indulgences of their predecessors without it being genuinely felt expression. That, to me, was the target of ridicule, not her gender.

I was likewise moved by the party scene in which he asks his friend to drop her facade and simply be human. I feel like there's truth in that. I think that humility is an attractive quality, both in artistic expression and in artistic critique. Being human is challenging and life is too short for us not to cut others a little bit of slack.

Is the protagonist likable? Or any more insightful than anybody else? I don't know that he is and I don't think he needs to be. I think it's enough for us to understand that he's reached a point in his life where he's reached the unsettling conclusion that, although he's lived in the midst of high society and culture, nobody around him really knows what they're talking about. Life seems absurd and frustrating, but also joyous and much too brief.

It sounds like it felt blunt and obvious to you. It didn't to me. I was caught up in the music and the visual surprises. I thought it was an effective expression of one man's journey and his attempt to make sense of it.

[baby doll]

We all have our flaws. Mine is flippancy. Well, at least one of them. I'll try again:

This film moved me because I felt that the observations it made about intellectuals and high culture and art were pointed and often funny. I do not think it's a misogynistic film in the least. I think it's fair it in its targets and it's even-handed in wondering if anybody really has a clue what they're talking about. There's power in the scene with the young girl flinging paint on canvas because it creates a dichotomy. On the one hand, it seems utterly absurd that serious people could call it art in the strictest sense. On the other hand, her passion and anger are real, the process of watching her is captivating and the result is indeed quite beautiful.

In the earlier scene, I don't feel like the performance artist's gender is something that is important. What's important is that she is hiding behind a bluff, using pain, nudity and iconography to mask something substantial to say. Whether or not she's based on Abramovic, the difference is that, unlike Abramovic, she lacks the ability to answer follow-up questions about the significance of her work. There are many great performance artists. And there are also those who ape the extreme indulgences of their predecessors without it being genuinely felt expression. That, to me, was the target of ridicule, not her gender.

I was likewise moved by the party scene in which he asks his friend to drop her facade and simply be human. I feel like there's truth in that. I think that humility is an attractive quality, both in artistic expression and in artistic critique. Being human is challenging and life is too short for us not to cut others a little bit of slack.

Is the protagonist likable? Or any more insightful than anybody else? I don't know that he is and I don't think he needs to be. I think it's enough for us to understand that he's reached a point in his life where he's reached the unsettling conclusion that, although he's lived in the midst of high society and culture, nobody around him really knows what they're talking about. Life seems absurd and frustrating, but also joyous and much too brief.

It sounds like it felt blunt and obvious to you. It didn't to me. I was caught up in the music and the visual surprises. I thought it was an effective expression of one man's journey and his attempt to make sense of it.I want to focus on this idea that no one really has a clue what they're talking about. What does this mean, exactly, in an artistic context? Either you like something or you don't, and there are plenty of good artists who are terrible explicators of their own work (David Lynch being perhaps the most obvious example). Yet rather than requiring the spectator to make a judgement, the film settles for easy potshots at people who are obviously phonies. Maybe it's captivating to watch a child make an abstract painting, but by literally infantilizing her, and thereby suggesting she is incapable of having a mature artistic intent, the film lets the viewer off the hook: We don't have to be able to discern whether the final result is a good example of abstract painting or a bad one; rather, the whole idea of abstract painting is made to seem absurd, confirming every yokel's first and last insight about Jackson Pollock ("My kid could paint that"). Perhaps the most revealing thing about this scene is that it upends the historical association of Abstract Expressionism with the Virile Male Genius pouring his soul into a canvas, as if the film were so invested in the notion of the Great Male Artist that Sorrentino had to make the painter a girl before he could ridicule the work.

[MadMan]

You act like I don't have years of experience knowing that a discussion with this poster is much more likely to result in multiple lengthy paragraphs insinuating I'm an idiot rather than anything productive. Not interested.

Hehe...rep.

[Spinal]

I want to focus on this idea that no one really has a clue what they're talking about. What does this mean, exactly, in an artistic context?

It means the same thing that it does in the context of religion, later in the film. It means that certain people hold themselves up to be authorities and are able to get others to believe in them because it's comforting for some to believe that there's an authority who can tell them what's right and what's wrong. It's the artist's affectation and facade that is the subject of ridicule in the performance artist scene. Lynch is eccentric to be sure, but he is also authentic. Jep reaches a point in his life where he's questioning how he can know what is truly meaningful. Everything around him seems absurd, although often beautiful as well. My take on the ending is that he starts writing again not because he's any more talented than anybody else, but rather because he sees that everyone is struggling to create beauty and give voice to meaning in this world, so he might as well too. It's a 'human' thing to try and be absurd and fall short. As he says at the dinner with friends: "We're all on the brink of despair, all we can do is look each other in the face, keep each other company, joke a little..."

It worked for me.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

What We Do in the Shadows - On the surface of it, a Real World style parody with vampires doesn't seem like the most novel comedic premise, but fortunately it pays off big here. This a very, very funny movie and the masterstroke is the decision to parody different conceptions of vampires through the ages. By allowing their extravagant clothing and ridiculous accents to collide with the mundane aspects of modern life, the film becomes not so much a parody of vampires, but a parody of the ways in which we build mythology, loading the past with decadent sexuality, over-the-top violence and faux gravitas. Plus, I can't stop saying "eat some basghetti".

[transmogrifier]

What We Do in the Shadows - On the surface of it, a Real World style parody with vampires doesn't seem like the most novel comedic premise, but fortunately it pays off big here. This a very, very funny movie and the masterstroke is the decision to parody different conceptions of vampires through the ages. By allowing their extravagant clothing and ridiculous accents to collide with the mundane aspects of modern life, the film becomes not so much a parody of vampires, but a parody of the ways in which we build mythology, loading the past with decadent sexuality, over-the-top violence and faux gravitas. Plus, I can't stop saying "eat some basghetti".

Yay! We are werewolves, not swearwolves.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

Our Little Sister - Even if the conflict feels a little light in the first half of the film, Koreeda's depth of humanity is on full display here. Here is a film filled with good, likable people trying to their best to live well, torn between self-fulfillment and their obligations towards family. I appreciated the film's warmth and detailed depictions of various character types, although ultimately the film's gentleness means it left less of an impression of me than either Nobodys Knows or Shoplifters.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

The Forbidden Room - A work of dazzling creativity and technical innovation to rival Peter Greenaway's Propspero's Books. Maddin's hilarious extrapolation of silent film conventions is always welcome and many of the title cards are laugh out loud funny. "Forced to wear a leotard" is my personal favorite. It's the kind of film where you're never quite sure how you got to where you are, but you also don't really mind because there's sure to be an extraordinary visual surprise around the corner. My only reservation, and it's a mild one, is that Maddin is a bit disconnected from real-world consequence. His mischievous experimentation with cinema and narrative is endlessly witty; however, I miss the weight of something that feels drawn from life outside of artifice.

[baby doll]

The Forbidden Room - A work of dazzling creativity and technical innovation to rival Peter Greenaway's Propspero's Books. Maddin's hilarious extrapolation of silent film conventions is always welcome and many of the title cards are laugh out loud funny. "Forced to wear a leotard" is my personal favorite. It's the kind of film where you're never quite sure how you got to where you are, but you also don't really mind because there's sure to be an extraordinary visual surprise around the corner. My only reservation, and it's a mild one, is that Maddin is a bit disconnected from real-world consequence. His mischievous experimentation with cinema and narrative is endlessly witty; however, I miss the weight of something that feels drawn from life outside of artifice.I'm glad you liked it. However, I would take issue with the idea that the film is disconnected from the real world, insofar as its formal procedures reproduce the horrible presentness and discontinuity of life in the 21st century (another day, another social media outrage), which results in a feeling of never being quite sure how you got where you are (exactly the predicament of the Roy Dupuis character in the film). Thus, the disintegration of film history in the movie, where the various fragments of stories seem to be disappearing before our eyes, is not simply a matter of personal forgetfulness but reflects how the attention economy makes remembering impossible.

[Spinal]

I'm glad you liked it. However, I would take issue with the idea that the film is disconnected from the real world, insofar as its formal procedures reproduce the horrible presentness and discontinuity of life in the 21st century (another day, another social media outrage), which results in a feeling of never being quite sure how you got where you are (exactly the predicament of the Roy Dupuis character in the film). Thus, the disintegration of film history in the movie, where the various fragments of stories seem to be disappearing before our eyes, is not simply a matter of personal forgetfulness but reflects how the attention economy makes remembering impossible.

Good stuff. It would be interesting to watch it again with this in mind.

[PURPLE]

Our Little Sister - Even if the conflict feels a little light in the first half of the film, Koreeda's depth of humanity is on full display here. Here is a film filled with good, likable people trying to their best to live well, torn between self-fulfillment and their obligations towards family. I appreciated the film's warmth and detailed depictions of various character types, although ultimately the film's gentleness means it left less of an impression of me than either Nobodys Knows or Shoplifters.What I love about the film is that while the conflicts are light, they aren't actually smaller than in any other film. The difference is that the characters (realistically) don't overreact, which does at least two things: It allows for far many more conflicts which are also realistically underplayed (which adds texture) and it enables the characters' behavior to be imbued with meaning. This is not to say something pretentious about "the meaning of life", it is to say that the characters' reaction actually means something. If they don't react adversely toward their new sister despite her being the product of her father's unfaithfulness, it means that they value her as a human being more than the actions of their father, and it means that they value family, and if they value family then it means that they also value their shared father, which even further heightens the meaning of their generosity. In another film, where the sisters acted defensively and spitefully, it means that they are selfish and small minded. So much cinema and theater and writing centers uninterestingly either around conflict that is so large that the reactions can never resemble 99% of real life or around conflict that it small and is uninterestingly turned "dramatic" by making characters all selfish and small minded. Here is a cinema of selfless, broad minded people - it will necessarily be free of "drama", but it won't necessarily be uninteresting.

It's a funny film, because its complexity is only possible because it is so subdued. In a way, it can be seen as a deconstruction of a typical drama because it removes all of the drama and allows characters to not be enslaved by the need for theatrics but instead to be driven only by the desire to live their best lives and support each other in ways that their parents never did. In this light, it's pretty much as inspirational a film as has ever been made: The characters' ability to overcome the negative elements of their parents' behavior is both an example of and a testament to the power of overcoming the obstacles in one's life. Sure, the obstacles don't seem huge in the film, but that's in part because the characters are successful, not because the obstacles are any lesser or greater. To the extent that this reading is "reaching" - it's fine, because the film is still simply a lovely film about people overcoming a multitude of negativity and living their best lives. The film is instructive as to the benefits of perspective, of maximizing the positives and dealing openly but rationally with negatives. Many films spend an hour and a half with people spiraling in the negative only to have one moment of clarity at the end - this film has two hours of clarity, and instead of the clarity merely being momentary it is instead incredibly nuanced.

Contrasting the film with Like Father, Like Son, you can see a remarkable difference. That film is really about contrasting two different families' reactions to the same situation. One is clearly unhealthy, but realistically a product of that character's foibles. Here, each character has a unique personality and unique foibles, but they are each able to surmount their issues more readily and more healthily together as opposed to the worst character in Like Father, Like Son, whose greatest error is not necessarily that he has foibles but that he is incapable of accepting anyone's help. This film has a hint of that dimension, but instead of contrasting a bad character with a good character it is done by contrasting a solitary young girl with a group, and showing how her life improves by incorporating herself into the group. This dynamic also continues into the next film, but utilizing a much different concept and achieving much different results.

This film exists in a continuum with Koreeda's previous films and his following film, and while this film is less "dramatic" it is, to me, far more accomplished as an example of how to live a life and a celebration of that kind of life and, if you're doing things right, a reflection of the viewer's life - or perhaps a model for how to improve one's life. That being said, as I mentioned, I do not see this as a fluff piece, as I see an immense amount of texture and nuance, it is just far better than films that people see as not puff pieces solely because characters react less sensibly. I guess you could say that the degree to which the film seems unfamiliar is the degree to which each person needs it - if you think that such a "scandal" would irrevocably ruin your life then it probably means you need to do some introspection, and if it seems totally reasonable and normal then it's probably refreshing to find a film that actually mirrors reality and doesn't waste its time on histrionics. And then, you know, there are people on all sorts of the spectrum who don't like it that much because that's just how art works. C'est la vie.

[Dukefrukem]

Me too. What do we do? Just pick a movie you haven't seen from everyone's list?

Mistress America - Trans
Elle - Grouchy
It's Such a Beautiful Day - Peng
Chi-Raq - McGibblets
Creepy - Dead & Messed Up
Eighth Grade - Spinal
Margaret - Pop Trash
Silence - Neclord
Copie conforme - Baby Doll
Son of Saul- Ezee E
The Square - Purple
First Man - Watashi
The Handmaiden - Dreamdead
You Were Never Really Here - Ivan Drago

As I said in the thread, First Man is good, not great. Typical biopic. Agreed the score was great and probably the standout; found myself a little emotional when the music kicks in as Neil tosses the bracelet. Gosling is typically Gosling. The other day when we were talking about comedic actors with no range. How does Gosling do stuff like the Nice Guys or La La Land, and then does his best Drive character in this? I didn't think Neil Armstrong was a Sully like guy; but maybe I need to read up on him more.

[Peng]

Regardless of Gosling’s performance, I know someone who made a thesis about Armstrong in uni and said the film’s version of him more or less captures him perfectly.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

Upstream Color - This is very much a "wavelength" film it seems. I think that one's appreciation of what Carruth has done here will depend on how well you can get on board with his affection for jump cuts, purposefully leaving his narrative as a series of dots or dashes that need to be connected in the viewer's mind. It's alternately mesmerizing and exhausting, and I can't say that I was completely successful at grasping the film's underlying purpose without help from Wikipedia. That, unfortunately, kept me at a bit of an emotional distance, although I can see how this would be something close to a spiritual experience for the right viewer.

[dreamdead]

I love a lot of the quiet or non-dialogue scenes in Carruth's film. The silent shift from Kris's (Seimetz's) feminine attire to a masculine attire after the attack--how they echo her trauma or, alternately, contrast that sense;

How Jeff tells Kris midway through the film, “I want to marry you. I’m married to you right now. I’m marrying you.” The structural collapse of time in both dialogue and editing style;

How the paintings of fences in Jeff's room echo the trauma that Jeff and Kris's piglets are suffering;

How those last ten minutes of the film really have no dialogue and trust us to piece together so much;

How it feels like a legitimate take on feminist vigilantism, closing with community rather than individuality...

[Peng]

Eager to revisit this one. Liked it a lot already but could see it going up.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

Oslo, August 31st - A life in freefall, plummeting towards oblivion, grasping for a reason to pull the ripcord. This film is utterly riveting, capturing both the joy and the pain of existence. What feels so authentic about this film is that even when Anders experiences the former, it is undercut with his knowledge that the latter is sure to follow and hit back twice as hard. Anders has opportunities - a job interview, old relationships, an invitation to a party - and we get the sense that people generally like him. But by the time we enter his life, there is something already broken - a disbelief that he can ever be loved for himself, a crippling anxiety that fills him with self-loathing.

Wonderful film, and one that I will add to my own shortlist for the decade's best.

[Lazlo]

My buddy and I have a podcast about Tom Cruise and we're running a March Madness-style bracket battle for the best movie of the decade (any movie, not Tom Cruise specific). We're currently in the Sweet 16 for 2011. Would love to have y'all vote if you're interested.

Facebook (https://www.facebook.com/pg/thecruisecruise/posts/)
Twitter (https://twitter.com/TheCruiseCruise)
Instagram (https://www.instagram.com/thecruisecruise/?hl=en)

The Social Network won 2010. New year every week until we get through 2018, matchups last 24 hours. Eventually we'll have a bracket of 64 movies from the whole decade, I guess this time next year once we see how 2019 shakes out. Hope to see y'all out there voting!

[Mr. McGibblets]

My buddy and I have a podcast about Tom Cruise and we're running a March Madness-style bracket battle for the best movie of the decade (any movie, not Tom Cruise specific). We're currently in the Sweet 16 for 2011. Would love to have y'all vote if you're interested.

Facebook (https://www.facebook.com/pg/thecruisecruise/posts/)
Twitter (https://twitter.com/TheCruiseCruise)

The Social Network won 2010. New year every week until we get through 2018, matchups last 24 hours. Eventually we'll have a bracket of 64 movies from the whole decade, I guess this time next year once we see how 2019 shakes out. Hope to see y'all out there voting!

Cool. I voted for all the ones where I've seen both films and followed that Twitter account to keep up.

[Lazlo]

Cool. I voted for all the ones where I've seen both films and followed that Twitter account to keep up.

So cool, thanks!

[Spinal]

I voted too, but it looked liked some damage had already been done. The Tree of Life knocked out by Captain America? Yikes.

[Lazlo]

I voted too, but it looked liked some damage had already been done. The Tree of Life knocked out by Captain America? Yikes.

Yeah, the electorate mostly being our friends and family to start with has not done the candidates very many favors. Partly why I posted here, get some movie people voting!

[Dukefrukem]

I voted too, but it looked liked some damage had already been done. The Tree of Life knocked out by Captain America? Yikes.

I approve.

[Lazlo]

I approve.

Definitely thought of you in that matchup!

[Lazlo]

You can also vote on our Instagram story, if that's more your speed. Or, you know, vote on all three platforms to help protect your faves.

Instagram (https://www.instagram.com/thecruisecruise/?hl=en)

[Dukefrukem]

I voted but the results are ridiculous. Hugo beating Fast Five and Drive beating Cabin in the Woods. Just no.

[Lazlo]

I voted but the results are ridiculous. Hugo beating Fast Five and Drive beating Cabin in the Woods. Just no.

But... those are the better movies ;)

[Dukefrukem]

Hugo might be the worst movie of the decade. Should we make a worst movie of the decade thread?

[Lazlo]

Hugo might be the worst movie of the decade. Should we make a worst movie of the decade thread?

:eek:

[Dukefrukem]

:eek:

Even MC was torn.

http://matchcut.artboiled.com/showthread.php?2899-Martin-Scorsese-s-Hugo-(2011)/page4&p=386324&viewfull=1#post386324

[Lazlo]

Even MC was torn.

http://matchcut.artboiled.com/showthread.php?2899-Martin-Scorsese-s-Hugo-(2011)/page4&p=386324&viewfull=1#post386324

Yeah, but "worst" is some damn strong language.

[Dukefrukem]

Yeah, but "worst" is some damn strong language.

Well out of the 109 movies I've seen from 2011, I've seen only 7 films worse than Hugo. That's in the 95 percentile of bad. Take the top 5 percent of terrible movies in the decade, and Hugo would surely be on my list. So "worst" is very apt.

103. Season of the Witch
104. The Loneliest Planet
105. Pirates of the Caribbean: On Stranger Tides
106. Emergo
107. Hostel: Part III
108. Hellraiser: Revelations
109. Cowboys & Aliens

[Grouchy]

I love Hugo. I would rank it above Fast Five any day... you know, if they were comparable in any way.

[Pop Trash]

I love Hugo as well. Marty riffing on Spielberg and beating him at his game in many ways. I also like it when he gets away from crime dramas (as much as I like many of them).

[Lazlo]

Well out of the 109 movies I've seen from 2011, I've seen only 7 films worse than Hugo. That's in the 95 percentile of bad. Take the top 5 percent of terrible movies in the decade, and Hugo would surely be on my list. So "worst" is very apt.

103. Season of the Witch
104. The Loneliest Planet
105. Pirates of the Caribbean: On Stranger Tides
106. Emergo
107. Hostel: Part III
108. Hellraiser: Revelations
109. Cowboys & Aliens

Sorry you didn't like it. I quite enjoyed it!

[Spinal]

I manage to avoid most of the truly wretched movies, so my lower ratings don't get used that often. But here's the worst things I saw this decade, year by year:

2010: Alice in Wonderland
2011: The Muppets
2012: The Hunger Games
2013: This is the End
2014: Lava
2015: The Witch
2016: The Belko Experiment
2017: King Arthur: Legend of the Sword
2018: Early Man (this one's not all that bad, just managed to avoid most of the bad stuff last year)

[Pop Trash]

According to letterboxd I gave 1 star to:

Man of Steel
Ghostbusters (2016)
Suspiria (2018) (to be fair, I think I gave this one star because it seems like less of an insult than giving it 2 stars or 3 stars)
Green Book
The Help
Kick-Ass
Attack the Block
Trainwreck
The Fault in Our Stars
Cosmopolis
The Future
Lola Versus
Wanderlust
No Strings Attached

Some of these I barely remember. I'm pretty sure I watched Wanderlust in the theater around 2011, and apparently I hated it, but I seriously can't remember much about it.

[Dukefrukem]

Suspiria (2018) (to be fair, I think I gave this one star because it seems like less of an insult than giving it 2 stars or 3 stars)


:confused:

[Pop Trash]

:confused:

When I was ranking all the 2018 movies, Suspiria would have been lumped in with mediocrities like The Predator if I gave it two stars, so giving it one star seems more affectionate. I have a massive amount of problems with Suspiria but at least it is SOMETHING and nothing if not ambitious. Also that first pretzel/dance kill is one of the best scenes of last year and would work as a killer(har har) short film.

[Ezee E]

I voted Drive over Cabin, and I would do it again.

[Watashi]

A lot of great movies on these so-called worst lists.

[Ivan Drago]

Sure, why not? My worst movies from each year in the last decade:

2010: Grown Ups
2011: The Twilight Saga - Breaking Dawn: Part 1
2012: Men In Black 3
2013: Pain and Gain
2014: The Identical
2015: Me and Earl and the Dying Girl
2016: Suicide Squad
2017: Dark Night
2018: Gotti

[Lazlo]

2010 - Grown Ups
2011 - Arthur
2012 - Act of Valor
2013 - Grown Ups 2
2014 - The Monuments Men
2015 - Vacation
2016 - Mother's Day
2017 - Transformers: The Last Knight
2018 - Gotti

[Mr. McGibblets]

I gave my lowest rating of the decade to Tyrannosaur, which I don't remember seeing at all, but it sounds like the kind of thing I would hate from the plot description and yet it does have generally good reviews.

[baby doll]

2010: The King's Speech (Tom Hooper)
2011: The Artist (Michel Haznavicius)
2012: To Rome with Love (Woody Allen)
2013: Blue Is the Warmest Colour (Abdellatif Kechiche)
2014: Mommy (Xavier Dolan)
2015: No Home Movie (Chantal Akerman)
2016: Ta'ang (Wang Bing)
2017: Caniba (Lucien Castaing-Taylor/Véréna Paravel)
2018: The Trial (Sergei Loznitsa)

[Dukefrukem]

I watch a lot of bad horror- so the years where bad horror makes the worst of the year, I have the non-horror movie in parentheses.

BTW, The Bye Bye Man might be the worst major motion film of the 21st century.

2010 - The Last Airbender
2011 - Cars 2
2012 - Tape 407 (Spring Breakers)
2013 - Identity Thief
2014 - 300: Rise of an Empire
2015 - The Lazarus Effect (Jurassic World)
2016 - Ghostbusters
2017 - The Bye Bye Man (A Bad Moms Christmas )
2018 - The Hurricane Heist

[Grouchy]

You people must not actually watch the really terrible ones. Tyrannosaur? Come on.

[Neclord]

2010 - The Last Airbender
2011 - Green Lantern
2012 - Red Lights
2013 - After Earth
2014 - Transformers: Age of Extinction
2015 - Entourage
2016 - The Angry Birds Movie
2017 - The Bye Bye Man
2018 - Life Itself

Man the number of movies I've seen from each year really tapers off.

[Spinal]

What We Do in the Shadows (transmogrifier)
The Great Beauty (Grouchy)
Cloud Atlas (Peng)
A Separation (Mr. McGibbletts)
The Immigrant (Pop Trash)
Green Room (Dead and Messed Up)
Upstream Color (Neclord)
The Forbidden Room (baby doll)
Oslo, August 31st (Ezee)
Our Little Sister (Purple)
The Lost City of Z (Watashi)
Only Lovers Left Alive (dreamdead)
I Saw the Devil (Duke)
Prisoners (Ivan)

Prisoners - I'm always a bit wary of films that use physical threats to children as their main source of emotional manipulation. On the other hand, this is a film that features the extended torture and beratement of Paul Dano, so that's positive. Although highly unpleasant a lot of the time, I have to concede that this is an engrossing thriller that earns its lengthy runtime. Jake Gyllenhaal is the one who really sells the movie for me, taking what could have been a cliched character and filling him with depth and authenticity. The tense car scene towards the end of the movie is both harrowing and beautiful.

[MadMan]

Eh why the hell not? Don't care if the list counts.

1. Drive (2011)
2. Interstellar (2014)
3. The Guest (2014)
4. World of Tomorrow (2015)
5. Lady Bird (2017)
6. BlacKkKlansman (2018)
7. The Social Network (2010)
8. The Rider (2017)
9. Midnight in Paris (2011)
10. Django Unchained (2012)

[megladon8]

*walks in*

*doesn’t see a single mention of The Greasy Strangler*

You’re all a bunch of...
...
...
BULLSHIT ARTISTS!!

[Irish]

LOL

[Ivan Drago]

LOL

He's not wrong.

[Peng]

The We and the I (transmogrifier)
The Lure (Spinal)
Greenberg (Pop Trash)
MacGruber (Dead & Messed Up)
Mysteries of Lisbon (baby doll)
The Grey (Ezee E)
Goodbye, First Love (PURPLE)
Girl Walk All Day (dreamdead)
Melancholia (Dukefrukem)

Quoting myself as a reminder to start this soon.

[Dukefrukem]

Yes Peng. That reminds me I just acquired a bunch of those from my list.


Mistress America - Trans
Elle - Grouchy
It's Such a Beautiful Day - Peng
Chi-Raq - McGibblets
Creepy - Dead & Messed Up
Eighth Grade - Spinal
Margaret - Pop Trash
Silence - Neclord
Copie conforme - Baby Doll
Son of Saul- Ezee E
The Square - Purple
First Man - Watashi
The Handmaiden - Dreamdead
You Were Never Really Here - Ivan Drago

[MadMan]

I have no idea what I would rec. Probably The Rider if you have not seen it.

You Were Never Really Here is great, btw.

[Peng]

Finally get started on this (though it remains to be seen if I can keep it up)...

The We and the I (transmogrifier)
The Lure (Spinal)
Greenberg (Pop Trash)
MacGruber (Dead & Messed Up)
Mysteries of Lisbon (baby doll)
The Grey (Ezee E)
Goodbye, First Love (PURPLE)
Girl Walk All Day (dreamdead)
Melancholia (Dukefrukem)

Unfortunately, I didn't care for The Lure at all (sorry, Spinal!). The early going-ons are promising, with tropes of fairy tale run amok with brash color, bubbly music, and casual violence/nudity. But even accounting for cult item status, once it settles in its "plot" the storytelling is so shoddy and it feels like a string of scenes put together into feature length without much coherent story flow. The film either needs its characters to register stronger or the world-building to be much more detailed/crazy, so that it can have any energy to compensate for lack of any emotional connection or involving story beat. 5/10

[Dukefrukem]

Thanks for reminding me about this again. I need to get back on the train.

[Peng]

The We and the I (transmogrifier)
The Lure (Spinal)
Greenberg (Pop Trash)
MacGruber (Dead & Messed Up)
Mysteries of Lisbon (baby doll)
The Grey (Ezee E)
Goodbye, First Love (PURPLE)
Girl Walk All Day (dreamdead)
Melancholia (Dukefrukem)

Spent more than half of The Grey wavering about the heavy existentialism: is it distracting from a very effective simple survival tale (sans some frantically edited wolf action), or does it add a refreshing edge of man vs themselves to man vs nature? Maybe if characters other than Neeson are more well-defined from the start, I'll embrace that aspect more readily. But what cinches it is the very great, haunting last act, starting from after the river crossing; the film finally embraces the full fatality of its premise, mixing the bleak question, of how each one of us will deal with death when it comes (one character's simple, quietly nonchalant response to it chokes me up real good), with the humanity of people caught in and confronting it. And it's impossible for me to separate this story and Neeson's performance from his personal life around the time, adding immense wrenching power to scenes such as him questioning reasons with God. Also, one of the great last scenes ever. 7.5/10

[TGM]

So here it is, my Top 15 Movies of the Decade: https://cwiddop.blogspot.com/2020/01/my-top-15-movies-of-decade-2010-2019.html

Philip J. Fry in particular will love my top pick. :cool:

[origami_mustache]

The Tree of Life (Terrence Malick, 2011)
The Turin Horse (Béla Tarr, �gnes Hranitzky, 2011)
Holy Motors (Leo Carax, 2012)
Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul, 2011)
Post Tenebras Lux (Carlos Reygadas, 2012)
Hypernormalisation (Adam Curtis, 2016)
The Master (Paul Thomas Anderson, 2012)
Stray Dogs (Tsai Ming-liang, 2013)
Norte, The End of History (Lav Diaz, 2013)
Roma (Alfonso Cuarón, 2018)
Kaili Blues (Bi Gan, 2015)
Outside Satan (Bruno Dumont, 2011)
The Forbidden Room (Guy Maddin, Evan Johnson, 2015)
Two Years at Sea (Ben Rivers, 2011)
Enter the Void (Gaspar Noé, 2009)
Melancholia (Lars von Trier, 2011)
Under the Skin (Jonathan Glazer, 2013)
Blade Runner 2049 (Denis Villeneuve, 2017)
Shoplifters (Hirokazu Koreeda, 2018)
First Reformed (Paul Schrader, 2018)

[transmogrifier]

I plan to spend this year catching up on this decade.

Well, this did not happen at all.

[Dukefrukem]

2010
1.Inception*
2. Scott Pilgrim vs. the World


2011
1.Melancholia*
2.I Saw the Devil*
3. A Separation
4. The Raid
5. Drive*
6.Attack the Block*

2012
1.The Cabin in the Woods*
2.John Dies at the End*
3.Life of Pi*
4.The Avengers*
5.The Intouchables*
6.Wrong*
7.The Act of Killing*


2013
1.Upstream Color
2.The Wolf of Wall Street
3.John Dies at the End
4.Odd Thomas
5.Her


2014
1.Interstellar*
2.Captain America: The Winter Soldier*
3.Predestination*
4.Whiplash*
5.Gone Girl*
6.Big Hero 6


2015
1.Mad Max: Fury Road*
2.Avengers: Age of Ultron*
3.Bone Tomahawk*


2016
1.The Lobster*
2.Captain Fantastic*
3.Nocturnal Animals
4.Swiss Army Man*
5.Zootopia*


2017
1. Mother!
2.Get Out*
3. Colossal*


2018
1.Hereditary*
2.Roma*
3.Avengers: Infinity War*


2019
X

An update for 2018 and 2019. I still want to make everyone's top film a priority in January.

2010
1.Inception*
2. Scott Pilgrim vs. the World


2011
1.Melancholia*
2.I Saw the Devil*
3. A Separation
4. The Raid
5. Drive*
6.Attack the Block*

2012
1.The Cabin in the Woods*
2.John Dies at the End*
3.Life of Pi*
4.The Avengers*
5.The Intouchables*
6.Wrong*
7.The Act of Killing*


2013
1.Upstream Color
2.The Wolf of Wall Street
3.John Dies at the End
4.Odd Thomas
5.Her


2014
1.Interstellar*
2.Captain America: The Winter Soldier*
3.Predestination*
4.Whiplash*
5.Gone Girl*
6.Big Hero 6


2015
1.Mad Max: Fury Road*
2.Avengers: Age of Ultron*
3.Bone Tomahawk*


2016
1.The Lobster*
2.Captain Fantastic*
3.Nocturnal Animals
4.Swiss Army Man*
5.Zootopia*


2017
1. Mother!
2.Get Out*
3. Colossal*


2018
1.Hereditary
2.Roma
3.Suspiria
4.Avengers: Infinity War


2019
1.Once Upon a Time… in Hollywood
2.The Nightingale
3.Under the Silver Lake
4.Dragged Across Concrete
5.Booksmart

[baby doll]

Top fives, by year:

2019
1. Synonymes (Nadav Lapid)
2. (tourism studies) (Joshua Gen Solondz)
3. Vitalina Varela (Pedro Costa)
4. My Skin, Luminous (Nicolás Pereda/Gabino RodrÃ*guez)
5. Krabi 2562 (Ben Russell/Anocha Suwichakornpong)

2018
1. Le Livre d'image (Jean-Luc Godard)
2. Hotel by the River (Hong Sangsoo)
3. The Stone Speakers (Igor Drjlaca)
4. 3 Faces (Jafar Panahi)
5. El Laberinto (Laura Huertas Millán)

2017
1. Western (Valeska Griesbach)
2. The Florida Project (Sean Baker)
3. Cocote (Nelson Carlo de los Santos Arias)
4. Laissez bronzer les cadavres (Hélène Cattet/Bruno Forzani)
5. The Green Fog (Evan and Galen Johnson/Guy Maddin)

2016
1. The Woman Who Left (Lav Diaz)
2. The Dreamed Ones (Ruth Beckermann)
3. Hermia & Helena (MatÃ*as Piñeiro)
4. La Mort de Louis XIV (Albert Serra)
5. Safari (Ulrich Siedl)

2015
1. Son of Saul (László Nemes)
2. The Forbidden Room (Evan Johnson/Guy Maddin)
3. The Exquisite Corpus (Peter Tscherkassky)
4. The Lobster (Yorgos Lanthimos)
5. Mistress America (Noah Baumbach)

2014
1. Adieu au langage (Jean-Luc Godard)
2. The Grand Budapest Hotel (Wes Anderson)
3. Force Majeure (Ruben Östlund)
4. Snakeskin (Daniel Hui)
5. La Sapienza (Eugène Green)

2013
1. Our Sunhi (Hong Sangsoo)
2. Un conte de Michel de Montagne (Jean-Marie Straub)
3. Nebraska (Alexander Payne)
4. Ida (Pawel Pawlikowski)
5. Night Moves (Kelly Reichardt)

2012
1. Post Tenebras Lux (Carlos Reygadas)
2. Moonrise Kingdom (Wes Anderson)
3. Tabu (Miguel Gomes)
4. Modest Reception (Mani Haghighi)
5. Here, Then (Mao Mao)

2011
1. Le Gamin au vélo (Jean-Pierre and Luc Dardenne)
2. L'Apollonide—Souvenirs de la maison close (Bertrand Bonello)
3. The Turin Horse (�gnes Hranitzky/Béla Tarr)
4. Hors Satan (Bruno Dumont)
5. Melancholia (Lars von Trier)

2010
1. Copie conforme (Abbas Kiarostami)
2. Uncle Boonmee Who Can Recall His Past Lives (Apichatpong Weerasethakul)
3. The Ghost Writer (Roman Polanski)
4. Mysteries of Lisbon (Raùl Ruiz)
5. Film socialisme (Jean-Luc Godard)

[Rico]

So I made a thread on twitter

https://twitter.com/rickypramos/status/1241860324493426688

[Dukefrukem]

Followed - some good and questionable choices there.

Your top 5 is excellent.

[MadMan]

Well, this did not happen at all.

Join the club. We have beer.

Also Parasite would easily make my list.

[Philip J. Fry]

So here it is, my Top 15 Movies of the Decade: https://cwiddop.blogspot.com/2020/01/my-top-15-movies-of-decade-2010-2019.html

Philip J. Fry in particular will love my top pick. :cool:I saw my name.

[TGM]

I saw my name.

Thoughts?