01.11.2021
Love Exposure by Sion Sono
Released in 2008
Viewing number 1
"Who cares about the standard's of other people?"
I have read a lot about Love Exposure's scandalous plot and nightmarish production, and therefore I had lots of expectations, and Love Exposure didn't only meet those expectations, it exceeded them. I expected a in-your-face, insane, hilarious, perverse, f-ed up, crazy and bonkers movie, and I got that. But what I didn't expect to get is one of the most moving love stories I have ever seen. This film is four hours long, but it feels like it's two hours and makes you wish it was six. How Sion Sono managed to make a four hour film that never drags and never becomes a thematic mess is beyond me. The fact that a film like this exists is baffling to me, but I'm not complaining.
Cast ratings:
Takahiro Nishijima - 3/5
Hikari Mitsushima - 4.5/5
Sakura Ando - 4/5
Atsuro Watabe - 3.5/5
Makiko Watanabe - 2/5
98/100
02.11.2021
Satantango by Bela Tarr
Released in 1994
Viewing number 1
"We'll go mad in the end."
Satantango opens with an 8 minute shot of some cows standing in the mud outside a slaughterhouse. It may seem like nothing, but this shot tells you everything about the film. It sets the grim and nihilistic tone, introduces the film's hypnotic pace, and introduces the film's themes. Satantango is a 7 hour behemoth about miserable people endlessly searching for someone to guide them out of their misery, not knowing that the only one who can do that is themselves. Yes, the film is one of the longest in cinema history, but when you immerse yourself into it's unique rhythms, it never drags. The film is brilliantly structured, being separated into 12 chapters, 6 going forward and 6 going backwards, just like a tango. But it's made in a way where it feels completely structureless and manages to make you feel just as lost as the characters. Satantango's incredible black-and-white cinematography is among the best ever put onto the screen. The rain and mud is endless, making every location look like a result of the apocalypse. Bela Tarr's infamous long takes are also some of the most brilliant I have seen. If you can't tell, this is one of the best films I have ever seen. Go watch it.
Cast ratings:
Mihaly Vig - 3.5/5
Peter Berling - 3.5/5
100/100
03.11.2021
The Man Who Shot Liberty Valance by John Ford
Released in 1962
Viewing number 1
"The place has sure changed. Churches, highschool, shops."
"Well, the railroad done that. Desert's still the same."
You know those nostalgic black-and-white flashback scenes that you constantly see in movies? John Ford's The Man Who Shot Liberty Valance is like one of those scenes stretched out into a full two-hour film, both literally and figuratively. It feels like Ford realized that the western was fading away, and then decided to remember it and give it a proper send-off, something he does expertly. The caravan is now dusty and broken, and John Wayne has passed away. It's a quiet and thoughtful swansong about films, genres, lifestyles, politics and people changing, and it's beautiful. Easily one of the greatest westerns in Ford's filmography, and of all time.
Cast ratings:
Jimmy Stewart - 5/5
John Wayne - 4.5/5
Vera Miles - 4/5
Lee Marvin - 5/5
Edmond O'Brien - 4/5
Andy Devine - 3.5/5
Woody Strode - 4/5
Jeanette Nolan - 3.5/5
97/100
04.11.2021
His Girl Friday by Howard Hawks
Released in 1940
Viewing number 1
"They ain't human!"
"I know, they're newspapermen."
His Girl Friday was famously made by Hollywood legend Howard Hawks to break the record for the fastest dialogue in a movie ever, and he certainly did it. His Girl Friday is like a musical, but every song is hard bebop jazz. There's no film more dedicated to it's chaotic rhythms than His Girl Friday, and they only become more and more chaotic and insane the longer the film goes on. Some of the ending scenes are the definition of controlled chaos. I have never heard faster dialogue, and it's honestly astonishing. His Girl Friday is also one of the greatest and funniest screwball comedies of all time. It finds most of it's humour through how chaotic the dialogue is, but it's also a devilishly funny satire of journalists. Every joke lands for me, especially those with small hints of black comedy. Cary Grant and Rosalind Russell also give some of their best work ever. This is certainly a film I will return to for a good laugh.
Cast ratings:
Rosalind Russell - 5/5
Cary Grant - 4.5/5
Ralph Bellamy - 4/5
94/100
05.11.2021
Breathless by Jean-Luc Godard
Released in 1960
Viewing number 2
"I want us to be like Romeo And Juliett."
Rarely does a film grow on me as much as this. On first viewing, Breathless was an incredibly dull and uninteresting film noir parody. I did appreciate the experimentation, but I didn't really see why there needed to be any experimentation at all. But after letting it grow on me for a few months, this thing was a completely different experience. There was clearly more to it than on first glance. The experimentation finally clicked with me, and so did the story. The first time, Breathless was a rather goofy parody of the film noir. The second time, Breathless was a tragic love story between two lost souls. Jean-Paul Belmondo and Jean Seberg make for one of the best couples in cinema history. Belmondo brings the humour and the cool to the film, while Seberg brings the depth and emotion. Also, I never realized how gorgeous Seberg is, so plus points for that. All in all, it's a great film, and if you want my full thoughts, please read my full review on it.
Cast ratings:
Jean-Paul Belmondo - 4/5
Jean Seberg - 4/5
99/100
06.11.2021
A Woman Under The Influence by John Cassavetes
Released in 1974
Viewing number 1
"Do you love me?"
I have never had as hard of a time watching a movie as when I watched A Woman Under The Influence. Every single frame was so brutally honest and emotionally resonant that it felt like I needed a break every 5 minutes. I don't think I have ever felt such emotional claustrophobia before. This is probably because of the genius handheld cinematography. At least 50% of the shots are extreme close-ups, and they aren't pretty close-ups either. They are gritty, ugly and hard-to-watch. The reason for why this film was so hard to watch is probably because of the performances too. Gena Rowlands gives one of the all-time great performances. I can't really describe why the performance is so great, it's just one of those performances you have to watch to believe. Peter Falk is also extraordinary. When you have two performances this good in your film, it's impossible to not get carried along with the emotion. But I do think the single reason why A Woman Under The Influence is such a hard watch is because of it's portrayal of marriage. In A Woman Under The Influence, marriage is a trap. A trap to lure happy couples into becoming another cog in the machine that is society. The pressure and repetition of modern living has ruined the relationship between Mabel and Nick. All love that once was is now gone. Mabel is desparately in need of the love and care she so rightly deserves, but Nick is unable to tell her that he loves her because he doesn't anymore. This film broke my heart into a million pieces, and I feel it will stick with me for as long as I live.
Cast ratings:
Gena Rowlands - 5/5
Peter Falk - 5/5
100/100
07.11.2021
The Crowd by King Vidor
Released in 1928
Viewing number 1
"We do not know how big the crowd is, and what opposition it is ... Until we get out of step with it."
King Vidor's ode to the everyday man is one of the greatest silent films I have ever seen. It's Vidor at the height of his directorial power, creating a truly magnificent film. The struggles of modern living and the startingly fast pace that time moves with is captured incredibly well, and the love story at the core of the film is beautifully moving. The Crowd is a tribute to the everyday man who is lost amongst the crowd. The man who sits on one of a million desks in a skyscraper that seems to never end. It's a painful reminder that only a few of us will actually make it and become something big, but it eventually concludes that you don't have to make it to enjoy life. A beautiful film on every level.
Cast ratings:
James Murray - 4/5
Eleanor Boardman - 4/5
93/100
08.11.2021 (1 out of 2 films watched)
Three Colours: White by Krzysztof Kieslowski
Released in 1994
Viewing number 1
"I still love her. Even more than before. After all she did, I still love her."
Kieslowski's Three Colours trilogy is his most famous work and is rightfully considered as a contender for his best, but when discussing the best film in the trilogy, people always go to Blue and Red, and not White. Why is White so overlooked? As a stand-alone film, it sure is great. It's Kieslowski comedy film, and a great one at that. It isn't a Will Ferrell comedy exactly, but more a tragicomedy with a pitch black sense of humour. It reminds me of Barry Lyndon in how it's comedy comes from the ridiculous levels of irony and tragedy. It is also gorgeously photographed, and the use of white is stunning. And I actually think some of the symbolism is excellent too, especially the bust. The plot is easily Kieslowski's most melodramatic, but it works incredibly well for me. It also has an amazing ending and a stunning final shot. But I will admit, it's is the weakest of the trilogy by far. Why? Well, it's a step down from Blue and Red in every possible way. The plot is good, but not as emotional and meaningful as Blue or Red. The cinematography is stunning, but the cinematography of Blue and Red is far more stunning. The colour of white is used very well, but not as emotionally resonant as in Blue or Red. The colour symbolism is good, but doesn't even stand a chance against the blue beads from Blue. But it's still an amazing film for me, just not on par with Blue and Red.
Cast ratings:
Zbigniew Zamachowski - 4/5
Julie Delpy - 3.5/5
82/100
08.11.2021 (2 out of 2 films watched)
Three Colours: Red by Krzysztof Kieslowski
Released in 1994
Viewing number 1
"I feel something important is happening around me. And it scares me."
Red is the grand finale of one of the greatest trilogies in cinema history, while also being the swansong of one of modern cinema's greatest directors. It's the simplest film in the trilogy, while also being the most complex one. It's a film about several of Kieslowski's favorite themes. Fate, blind chance, and most importantly, connection. Red opens with a shot that traces a telephone wire for miles, which is the perfect introduction to this film about breaking the barriers and connecting. The colour cinematography is taken to a new level with Red, making it easily the strongest film in the trilogy visually. Irene Jacob and Jean-Louis Trintignant give two of the best performances in Kieslowski's filmography. Both are completely stellar. And that ending! A beautiful headscratcher that makes you reflect back onto the whole trilogy. That's how you end a trilogy. Not bad Kieslowski, not bad.
Cast ratings:
Irene Jacob - 5/5
Jean-Louis Trintigant - 5/5
98/100
09.11.2021
It Happened One Night by Frank Capra
Released in 1934
Viewing number 1
"What are you thinking about?"
"By a strange coincidence, I was thinking about you."
I despise romantic-comedies. Most romantic-comedies that are made today are soulless cliched corporate machines, and I just hate it. But I loved every single second of Frank Capra's It Happened One Night. It's considered by many films historians to be the original romantic-comedy. Well, it wasn't the first romantic comedy, as filmmakers have been blending comedy and romance for as long as the medium has existed, but It Happened One Night is the film that established the genre. All the cliches you see in romantic-comedies come from this movie, which proves how influential it was. But if it's cliched, I should hate it, right? No! Because the thing that sets It Happened One Night apart from other romantic-comedies is that it's an incredibly charming film with an incredibly big heart. The humour is great, and even has a small dose of black comedy, and that's always a plus for me. It also smartly subverts gender roles and stereotypes, which results in great comedic moments. It also has the classic Capra emotional pay-off. It has great performances all around, with Claudette Colbert and Clark Gable being one of the best cinematic couples of the 1930's, and maybe of all time. Both nail their roles, and their chemistry is magical. Walter Connolly also plays one of cinema's greatest fathers and nails it. The cinematography is also surprisingly stunning. No romantic-comedy should have visuals as good as this. And the "Flying Trapeze" sing-along has to be one of the best musical moments in cinema history. All in all, a highly enjoyable film that I will revisit when I need some good laughs and happy tears.
Cast ratings:
Claudette Colbert - 5/5
Clark Gable - 5/5
Walter Connolly - 4/5
94/100
10.11.2021
Close-Up by Abbas Kiarostami
Released in 1990
Viewing number 1
"Is there anything I can do for you?"
"You could make a film about my suffering."
Abbas Kiarostami's Close-Up is one of the most fascinating films I have ever seen. It's in many ways two films playing at once. One film is a character study of a rather mysterious man who is either a very troubled lover of cinema, or a liar and a thief. The other film is a film that deconstructs cinema through clever filmmaking that blurs the lines between film and reality. And the fascinating thing about Close-Up is that it asks question without giving answers. And many will find this frustrating, but you have to understand that this is a film that is made to provoke thoughts. Close-Up's goal is to make you think about cinema and art, and it meets that goal incredibly well. It's probably the most thought-provoking film I have ever seen. This is by far Abbas Kiarostami's masterpiece, and easily one of the best films ever made.
No cast ratings, as everybody is playing themselves.
100/100
11.11.2021
Thief by Micheal Mann
Released in 1981
Viewing number 1
"I have run out of time."
Thief is the debut of Michael Mann, one of modern cinema's greatest directors, and what a debut it is. First of all, this may be Mann's greatest film visually. He pushes his neon coloured asthethic to the max, causing almost every shot to be a stunning painting drenched in neon colours. And these neon paintings paired with Tangerine Dream's heavenly synth score is a match for the ages. Mann's direction is also great. It's very stylish, but not so stylish that it becomes style over substance, more style as substance. Mann's usual mix of badassary and emotion is also present and incredibly strong. James Caan gives a great raw performance as a man who just wants to be ordinary. He nails every aspect of his performance. But my favorite performance in Thief is Robert Prosky as a viscious gangster masquerading as a kind old man. The only thing that keeps me from giving this a full score is that Thief is incredibly back-loaded. The first half is incredibly boring and uninteresting compared to the emotional rollercoaster that is the second half. But still, a great film that stands amongst Mann's best. Also, this thing is clearly a marxist critique, but I'll cover that if I ever review it.
Cast ratings:
James Caan - 4.5/5
Robert Prosky - 5/5
Willie Nelson - 3.5/5
88/100
12.11.2021
Harlan County U.S.A. by Barbara Kopple
Released in 1976
Viewing number 1
"Which side are you on?"
Harlan Country U.S.A. is one of the best documentaries I have ever seen. It's a honest look into the dangers of working as a cole miner, the companies who harvest this danger, and the people who go against those companies. It's a riveting film, and it's told in an excellent way that breaks your heart and boils the blood. It's in many ways a pretty sad film, as things are still pretty bad in Harlan County, with a coal miner protest happening in 2019, but I feel this is a optimistic film. It's one of the greatest testaments to the human spirit, teamwork and the fight for what's right, and it assures you that it may take a long time, but we will continue fighting for our rights. Also, the soundtrack may be the best in any film ever.
No cast ratings, as this is a documentary.
97/100
13.11.2021
Dune by Denis Villeneuve
Released in 2021
Viewing number 1
"This is only the beginning."
The most hyped up film of the year. I bought this for 200, and let me just say, it was worth it. I did not expect to love this as much as I did. First of all: The visuals are maybe the best in a Villeneuve film to date. The world of Dune comes alive on the screen, and it's one of the most stunning things I have witnessed in a long time. And the visuals paired with Hans Zimmer's heavenly score makes for a completely unique experience. I understand that some people didn't like the score, but for me, it was an atmospheric piece of music that fit perfectly. Villeneuve's scope and ambition is incredible, making for some of his best filmmaking to date. The cast is also stacked, with Oscar Isaac and Timothee Chalamet giving some of their best performances ever. I haven't read the original book, so I can't compare the film to the book, but I feel that it perfectly translated the complex world of Dune to a larger audience, so I would say it was a successful adaptation. Also, the worm is the absolutely coolest and most terrifying monster I have ever seen in a film. So, how about the ending? I understand that it was abrupt for some people, and it technically should have ended right before Paul met Chani, but I think the ended worked pretty well. It ends with Paul as a changed man, which I feel was a pretty good ending point. One thing is for sure: I am hyped for part 2.
Cast ratings:
Timothee Chalamet - 4.5/5
Rebecca Ferguson - 4/5
Oscar Isaac - 4.5/5
Stellan Skarsgård - 3.5/5
Zendaya - 3/5
91/100
14.11.2021
The Graduate by Mike Nichols
Released in 1967
Viewing number 2
"Plastics."
Somehow got even better on a second viewing. First of all, the visual storytelling still remains the best I have ever seen. Mike Nichols really nailed it on the head here. Dustin Hoffman, Anne Bancroft and Katherine Ross also nailed it on the head, all giving what I consider their best performances. The craftsmanship on display is also stunning, with the editing still being some of the best I have ever seen in a film. The cinematography was even more spectacular the second time around, and the akward comedy also clicked with me on this viewing. It still remains the most relatable film ever made 50 years after it's release, and that's quite a feat. If you want my full thoughts, I recommend reading my review The Graduate: The power of visual storytelling when it comes out.
Cast ratings:
Dustin Hoffman - 5/5
Anne Bancroft - 5/5
Katherine Ross - 5/5
100/100
15.11.2021
Dersu Uzala by Akira Kurosawa
Released in 1975
Viewing number 1
"How can people live in a box?"
Dersu Uzala is maybe the most unique film in Kurosawa's whole body of work. It seems every classic Kurosawa trademark was flipped on it's head with this film. The pacing is slow, the visuals are the definition of perfectionism, the editing is slow and methodical, the score is rarely used, etc. And as someone who fell in love with Kurosawa because of his unique style, it was pretty hard to get into this film. I really took some time to truly immerse myself in this film. But once I did, it payed off. First of all, the cinematography is some of the best I have seen in a Kurosawa film. It's clear how much time was put into the visuals, and it clearly paid off. The shot of Dersu and Arsenyev staring at the moon and the sun is probably one of the best shots Kurosawa ever composed. Speaking of those two, the friendship between Arsenyev and Dersu is among the best and most emotional in cinema history. I honestly even got a bit choked up at the end of act 1. And let me just say that Dersu is such a great character. He is written and performed with so much charm, humour and emotion that you can't dislike him. Quick kudos to Maxim Munzuk who played Dersu, he did an spectacular job. And that entire final act broke my heart. Also, there's some really great politics here I can't wait to dig into at one point. All in all, it's a near-masterpiece from Kurosawa, a gorgeous, relaxing and moving journey.
Cast ratings:
Yury Solomin - 3.5/5
Maxim Munzuk - 4/5
85/100
16.11.2021
After Hours by Martin Scorsese
Released in 1985
Viewing number 1
"I'll probably get blamed for that."
After Hours is a really morbid movie in many ways. Our main character, Paul, is really bored with his life, and thus he decides to try something new to break out of his boring routine. But then it's like some f-ed up God sees Paul, is annoyed with Paul's boredom, and decides to give him something that certainly isn't boring, just for their own amusement. I felt really sorry for Paul. I felt his frustration and anger deep in my soul (kudos to Griffin Dunne for his brilliant performance), but still I kept laughing. I have a real dark sense of humour, but I never really consider if me laughing at such twisted things is immoral. But this film made me think about that, which is what makes it a masterpiece of surrealist comedy. I also really love how the editing and camera work is constantly a bit off, which just adds to the surrealism. And I really like how this is basically a retelling of The Wizard Of Oz, but instead of Dorothy realizing that there's "no place like home", it's Peter accepting his situation in life and realizing that the mundane maybe isn't that bad. All in all, a masterpiece. The after hours sure are strange.
Cast ratings:
Griffin Dunne - 5/5
96/100
17.11.2021 (1 out of 2 films watched)
Rocketman by Dexter Fletcher
Released in 2019
Viewing number 2
"You've got to kill the person you were born to be in order to become the person you want to be."
Watched this in music class. I really feel that this film should be compared to Bohemian Rhapsody, and it should definitely not be known as "the good Bohemian Rhapsody", because it's so much more than that. It isn't just a musical biopic, it's the story of a man learning to really love himself, and it's told in a way that is as empathethic as it is extravagant. I will admit that I think it gets off to an incredibly rocky start filled with cliches, but it only gets better and better, eventually achieving near-perfection by the end. The 45 last minutes are literally as close to perfection as it gets. I do think there are two things that remain consistent in their quality. One is the musical numbers. Rocketman is at it's best when it is fully embracing it's eccentricity, and it's at it's most eccentric during the musical numbers. There isn't a single number I don't like, which is saying something. The other thing is Taron Egerton's performance. He gives a career-best as Elton John, and manages to make his character into a fully fleshed-out human being. He really should have been nominated for an Oscar. Rocketman gets off to a rocky start, but once it gets going, it's a blast-off.
Cast ratings:
Taron Egerton - 4.5/5
78/100
17.11.2021 (2 out of 2 films watched)
Suspiria by Dario Argento
Released in 1977
Viewing number 1
"Witch!"
Suspiria is quite the journey. It's a fairytale. It has witches, magic, ballet, mansions, ghouls, and all the other fairytale essentials. But this is a fairytale directed by Dario Argento, which means it's not a normal fairytale anymore. It's a very dark, twisted and morbid fairytale. In one word, it's terrifying. And when discussing what makes Suspiria so terrifying, most people will turn to the film's infamous gore. But for me, the gore wasn't even near the most terrifying parts of the film. For me, the true terror of Suspiria is the atmosphere created by the score and visuals. Suspiria's cinematography is incredibly terrifying. There are shots that ewake emotions of claustrophobia and anxiety, but what really makes the visuals so scary is the colours. The idea for the colours was that they would reflect the mood and atmosphere of the scene, but the characters wouldn't be able to see the colours. The colours tell the viewer when danger is near, and the viewer wants to tell the characters to run or hide, but they can't. All the viewer can do is to watch, and something about that is incredibly terrifying. And when paired with the intense score from Goblin, you have quite the horrifying experience.
Cast ratings:
Jessica Harper - 3.5/5
Joan Bennett - 3/5
92/100
18.11.2021
House by Nobuhiko Obayashi
Released in 1977
Viewing number 1
"Bananas!"
I have never seen anything like House, and I most probably won't see anything like it for the rest of my life. It's considered a horror film, but it's as light in tone as a Jim Carrey comedy. Each character is built around one character trait, and we are told to care about these characters, even though we have no reason to care about them. There's a short film about the war in here, and it's incredibly harrowing when you know about Obayashi's past, but it's sandwiched between scenes of light comedy, which makes it horribly misplaced. The image of Mac's flying head may be the absolute silliest thing I have ever seen in a film. Forget that actually, the cat meowing the score of the film may actually be the silliest thing I have seen in a film. Scrap that actually, the piano eating Melody has to be the silliest thing I have seen in a film. The last act of this film may be the most chaotic thing I have ever seen. So yeah, this film is insane. But the most insane thing about House is that it works. This is one of the most wonderfully insane films ever made. A confusing and chaotic joy of a film on every level possible.
No cast ratings, as I was a bit distracted by ... Well, everything really.
90/100
19.11.2021
Eyes Without A Face by Georges Franju
Released in 1960
Viewing number 1
"My face frightens me. My mask frightens me even more."
The only word that went my mind while watching Eyes Without A Face was "cold". That was infact the word that came to mind when I found out Georges Franju, the director of the relentless Blood Of The Beasts, directed this film. Franju has always been a cold director, and Eyes Without A Face is no exception. And the weird thing about the cold direction from Franju is that it's the thing that makes Eyes Without A Face great, while also being the problem. Franju's direction works very well most of the time, especially under the small moments of poeticism and the infamous surgery scene (which scared the crap out of me by the way), but it also makes the story very emotionally distant. We are clearly supposed to connect to Christiane's emotions of loneliness, isolation and identity, and there are some moments of connection, but we are held back by Franju's direction most of the time. When Christiane finally escaped, I felt nothing. I just thought "Well, good for her", and nothing more. But still, this is an amazing film. Some moments are terrifying, others are poetic and beautiful. I was surprised by every turn this film took, something few films can do. This film has clearly earned it's place in horror history.
Cast ratings:
Edith Scob - 3/5
Pierre Brasseur - 4/5
Alida Valli - 3.5/5
84/100
20.11.2021
Stalag 17 by Billy Wilder
Released in 1953
Viewing number 1
"There are two people in this barracks who know I didn't do it. Me and the guy that did do it."
I really love Billy Wilder, but I have always viewed him more as a screenwriter than a filmmaker. When discussing his films and what makes them so great, I always turn to the screenplays, even though his visual language is equally great. But I think one scene from Stalag 17 has changed that. After Sefton finds out Price is the mole, there comes a scene of the prisoners dancing together to an old waltz song. The camera moves in between the dancing prisoners before eventually landing on Sefton, who is watching someone. The camera once again moves through the dancing prisoners, eventually landing on Price, who is watching everyone which a smile on his face. So much told with two camera movements. Stalag 17 is Wilder at his best and most empathethic. It's cinematic comfort food at it's best. Wilder really can't make a bad film.
Cast ratings:
William Holden - 5/5
Otto Preminger - 4/5
Don Taylor - 4/5
Robert Strauss - 3.5/5
Harvey Lembeck - 3.5/5
Gil Stratton - 3.5/5
Peter Graves - 3.5/5
Richard Erdman - 3.5/5
Neville Brand - 3.5/5
Sig Ruman - 3.5/5
Robinson Stone - 3.5/5
94/100
21.11.2021
Laura by Otto Preminger
Released in 1944
Viewing number 1
"Goodbye, Laura. Goodbye, my love."
Laura is basically Vertigo and Twin Peaks before Vertigo and Twin Peaks, how can I not love it? It's a sharply written and riveting mystery that also doubles as a study of men who treat women as objects. I especially think Waldo Lydecker is one of the best written villains in all of cinema. Waldo Lydecker is a man who hides behind objects. He is a douchebag, but is respected because of his money. He then meets Laura, and falls in love with her beauty. Not knowing how to treat a woman, he starts treating her like another one of the objects in his shelf. In his eyes, she is not a human, she is a work of art. But she isn't perfect. Waldo is haunted by a painting of her, and is frustrated by how the painting is more beautiful than the painting. Thus he tries to make her as beautiful as the painting. She is an unfinished work of art, and that isn't acceptable. But he can't finish the painting, and the frustration drives him to try to kill her. That, my friends, is great writing. And every character is literally as well written as this. I am going to be coming back to this one.
Cast ratings:
Dana Andrews - 3.5/5
Gene Tierney - 4.5/5
Clifton Webb - 4.5/5
Vincent Price - 3.5/5
93/100
22.11.2021
The Cabinet Of Dr. Caligari by Robert Wiene
Released in 1920
Viewing number 1
"I must become Caligari!"
Kinda crazy that a film that is over 100 years old can still be this good. First of all, I was vibing hard with the visuals. As a lover of the works of surrealist filmmakers like Luis Bunuel and David Lynch, it was incredibly fun to see how this influenced them. There isn't a single frame in this that isn't odd or unsettling. Caligari truly was a visual innovator. It's also interesting to view this as one of the first examples of visual storytelling. A good example is the unusually tall chair the town clerk is sitting on. As the town clerk is a politician, this is probably a commentary on how the goverment is sitting high above the people. And the obscure symbols on the chair is probably commentary on how the goverment is corrupt. Also, the final plot twist still works like a charm today. It shook me, and made me want to watch this a second time. This film is proof that true art is timeless.
Cast ratings:
Werner Krauss - 3.5/5
Friedrich Feher - 3/5
Conrad Veidt - 4/5
Lil Dagover - 3.5/5
93/100
23.11.2021
Funeral Parade Of Roses by Toshio Matsumoto
Released in 1969
Viewing number 1
"All definitions of cinema have been erased."
I don't really know how to write about this film. It's a mess by all means, but it's a very controlled mess, if you get me. It's radical in every way possible. There is nothing conventional about the camera work, editing or structure of this film. There is also so many ways to analyze this film. You can view this as a look at the underground gay culture of Tokyo, a deconstruction of sexuality, gender and identity, a modern retelling of Oedipus Rex, etc. This film is rough. This film is gentle. This film is art. I have absolutely no idea what Matsumoto wants to tell me with this, but the ambiguity of the message is really intriguing to me. You can bet that I will be returning to this.
Cast ratings:
Peter - 4.5/5
98/100
24.11.2021 (1 out of 2 films watched)
Pathfinder by Nils Gaup
Released in 1987
Viewing number 1
"This morning I saw the reindeer bull for the third time in my life."
Watched this in class, because Sami history is really important. First of all, this film is amazing on a technical level. The camera work is stunning, perfectly capturing the beauty of Norwegian nature. I also really love the camera movements. It's clear that Nils Gaup knew what he was doing. I also think the editing is near-perfect. There isn't a single cut that feels unearned. Putting aside the technical mastery, I do have some issues with the rest of the film. My biggest problem with the film is the romantic subplot. It for some reason feels very unearned, and it doesn't even get much time to be fully fleshed out. You could literally have removed it, and absolutely nothing would have changed. There are also some scenes that I feel are really misplaced, especially a comedic scene involving nudity that is placed right in between some of the most tense scenes of the film. I also think the 80's synth score can be a bit mixed. There are scenes where it works, but there's also scenes where it really doesn't work. But all in all, I had a good time. I also highly recommend this film, because as I said, Sami history is really important.
Cast ratings:
Mikkel Gaup - 3/5
65/100
24.11.2021 (2 out of 2 films watched)
Night Of The Living Dead by George A. Romero
Released in 1968
Viewing number 1
"We may not enjoy living together, but dying together isn't going to solve anything."
This film really terrified me, and it wasn't the zombies. I find it incredibly unsettling how well this film has aged. Watching the characters board up the house and totally isolate themselves is incredibly terrifying to watch in 2021, with the pandemic coming closer and closer. I literally had to take a break when I realized the child was infected because it brought back so many bad memories of paranoia from 2020. The constant rising tension between the characters was also rather unsettling to watch. But the most terrifying thing was the ending. The ending should not have aged as well as it has. It should have aged badly, but it hasn't, and that makes me angry, sad and incredibly unsettled. This is one of the most terrifying and influential horror films ever made, and it has earned it's place in cinema history.
Cast ratings:
Duane Jones - 3.5/5
95/100
25.11.2021 (1 out of 2 films watched)
Butch Cassidy And The Sundance Kid by George Roy Hill
Released in 1969
Viewing number 1
"I got vision, and the rest of the world wears bifocals."
George Roy Hill's career is built up on nostalgic films, and Butch Cassidy And The Sundance Kid may be his most nostalgic. We see two legends of the west try to escape death while viewing the modernization of the west, and it's a riveting journey. Newman and Redford once again make for one of the best duos in cinema history, giving depth and charm to their roles. Their chemistry is something truly unique. There are several sequences that I love, especially the dialogue free montage in the middle of the film. And that ending shot remains one of the most haunting shots in cinematic history. It isn't without it's flaws, as the "Raindrops Keep Fallin' On My Head" scene is really misplaced, and Katharine Ross isn't given nearly enough screen time, but it remains an amazing film.
Cast ratings:
Paul Newman - 4.5/5
Robert Redford - 4.5/5
Katharine Ross - 3.5/5
89/100
25.11.2021 (2 out of 2 films watched)
Love And Monsters by Michael Matthews
Released in 2020
Viewing number 1
"Good instincts are earned by making mistakes."
My school arranged a class movie night, and this was the film that was chosen. I really like the concept of a dude trying to find love in a world populated by a bunch of monsters, and I feel the concept is executed well enough. I do think the structure of Joel meeting someone and then fighting a monster afterwards is a bit tiring, but it works well enough. The monsters look pretty good, although they aren't really that creative. I actually think the drawings of the monsters look cooler than the actual monsters. I do wish the main character was better written and acted, as he really just boils down to "haha, isn't he so quirky and relatable". The thing that ruins the film for me is the last 30 minutes. This film should just have been what the title says, but we suddendly get one of the worst twist villains I have ever seen, and the movie asks us "what if we are the monsters?" It should have ended with Joel finally finding love, but we just have to overcomplicate things don't we. Lots of potential, but congrats Hollywood, you ruined it.
Cast ratings:
Dylan O'Brien - 3/5
48/100
26.11.2021
The Night Of The Hunter by Charles Laughton
Released in 1955
Viewing number 1
"Would you like me to tell you the little story of right hand, left hand?"
Stunning. A grim fairytale about good and evil, or love and hate as Robert Mitchum so elegantly puts it. Speaking of Robert Mitchum, he gives one of the finest performances of all time here. He steals the entire film the second he is introduced. He is charismatic, terrifying and incredibly fascinating. He manages to make Harry Powell into one of the greatest villains in cinema history. The cinematography is also some of the greatest in cinema history. The use of shadows is unrivaled, and the framing and composition is stunning. Charles Laughton was a great director, and it's a shame that he never directed another movie. This is a masterpiece, and one of the greatest fairytales of all time.
Cast ratings:
Robert Mitchum - 5/5
Shelley Winters - 4/5
Lillian Gish - 5/5
98/100
27.11.2021
Eraserhead by David Lynch
Released in 1977
Viewing number 1
"In heaven everything is fine."
Makes for a very good double bill along with a 30-minute long YouTube video essay explaining it. But in all seriousness, this film is spectacular. I understand what Lynch meant when he called it his most spiritual film. It's one of those films you have to experience rather than watch. It's atmosphere is incredibly unsettling once you really get into it. On a technical level, this film is amazing. The visuals are stunning and terrifying, Easily some of Lynch's best work visually. I am also in love with the sound design. This film might actually hold the best sound design of any film ever. It's absolutely stunning. And the production design is so odd, but so perfect also. Eraserhead is clearly Lynch's most personal film, as it addresses his fear of parenting and modern living. It's a neverending parental nightmare, and I love it.
Cast ratings:
Jack Nance - 4/5
93/100
28.11.2021
The Innocents by Jack Clayton
Released in 1961
Viewing number 1
"But above anything else, I love the children."
Absolutely stunning. A gorgeously photographed psychosexual nightmare. Really love the ambiguity in this one. You can either view it as the story of the ghosts of sexual trauma and repression coming back to destroy all innocence, or you can view it as the sick fantasies of a sexually repressed woman destroying all innocence. Either way, it's the story of lost and destroyed innocence, and either way, it's devastating. Deborah Kerr gives what may be her all-time greatest performance, and when paired with the two best child performances I have ever seen, it makes for a masterpiece. Truman Capote even wrote the script! How can this not be perfect? This is easily one of the greatest horror films ever made, a terrifying and atmospheric masterpiece of the genre.
Cast ratings:
Deborah Kerr - 5/5
Martin Stephens - 5/5
Pamela Franklin - 5/5
Megs Jenkins - 4/5
100/100
29.11.2021
The Texas Chain Saw Massacre by Tobe Hooper
Released in 1974
Viewing number 1
"Who will survive, and what will be left of them?"
No horror film has ever terrified me to the same extent as this one has. Like Leatherface's dance at the end, The Texas Chain Saw Massacre is a rhythmless and chaotic ballet of pure brutality, insanity and depravity. I have never witnessed a film as brutal in it's violence as this one. The violence just happens, with no build-up whatsoever, and that's exactly why it's so horrific. Leatherface is one of the most terrifying killers in any film ever, not because of his appearence, but because of the way he attacks. He attacks completely on impulse. His scream is the most chilling part for me. It isn't a scream of anger, but a scream of fear, like he doesn't want to do what he is doing. The film is also incredible on a technical level. Hooper directs the film in a way where it doesn't feel like a film, making it even more terrifying. And the rapid editing and sizzling cinematography is only the cherry on top. Also, those 15 last minutes of nothing but screaming are the most horrific 15 minutes of any film ever. This film is true horror.
I'm just going to give the whole cast a 3/5 for now, as I was a bit too horrified to focus on every performance individually.
100/100
30.11.2021
Halloween by John Carpenter
Released in 1978
Viewing number 1
"Death has come to your little town, Sheriff."
What a missed chance it was to watch this at the first time on Halloween. Yesterday, I wrote about how Leatherface is terrifying because of how fast he attacks. But Michael Myers is terrifying for the exact opposite reasons. Many people don't like how slowly Myers attacks, but for me it's rather terrifying. It's like he knows that you won't escape no matter what. No matter which scene, Myers is always there, lurking in the shadows, and you never know when he is going to attack. Because of this, every scene is drenched in a feeling of constant paranoia, and the brilliant shadowy cinematography only helps with that. Also, the opening scene is one of the most chilling scenes in cinema history. Can't wait to watch this again on next year's Halloween.
Cast ratings:
Jamie Lee Curtis - 4/5
Donald Pleasence - 4.5/5
100/100
Amount of films watched: 34
Average monthly score: 9.18/10
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