What was the best film you saw this week? (20 Nov – 26 Nov)
The way this works is that you post a review of the best film you saw last week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules.
1. Check to see if your favourite film of last week has been posted already.
2. Please post your favourite film of last week.
3. NO TV SHOWS!
4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. Blade Runner 2049, Murder on the Orient Express) without using the spoiler tag.
5. Comments that only contain the title of the film will be removed!
Here are some great comments from last week's thread:
Casablanca – I feel bad that I went 28 years in my life without seeing this absolute masterpiece. I just missed seeing it in theaters as a “Classics” promotion in Cinemark so I decided to watch it at home. It instantly became my new favorite movie. If you or anyone you know is even somewhat hesitating watching this movie, stop stalling and watch it. You’ll love it. Yes, it’s been parodied/spoofed/emulated a million times, and the ending and classic lines have been ruined and overused in other media, but in the moment, watching the movie, it holds up. This movie has a certain dichotomy to it all throughout. It’s a war movie with no battle scenes. It’s a romance without lovers. It is an old movie that stays perpetually relevant due to its themes. This is one that every film lover should watch at least once (though they’d probably want to watch again and again). It’s the type of movie that, despite being 75 years old is still magnificent and is downright insulting to suggest a remake. It’s the type of classic that is a perennial favorite even for that one friend that “doesn’t like black and white movies.” My favorite scene was the dueling anthems. I had seen the clip, out of context, before and didn’t understand why people liked it. “People are just singing,” I thought. In the context of the movie, however, I understood why people loved it.
I watched Citizen Kane for the first time. I have no idea why I've heard so many people (who um… kind of seem like idiots to me now, sorry I'm a bit frustrated) say "oh it was good for the time", "it's kind of slow paced now", or "every movie is like it now, so it's not a revelation" because this movie was just pure excellence! It could easily be the best movie I've ever seen! Every shot not in the documentary intro is a work of art. The plot structure is uses specific character's perspectives without feeling artificial or repetitive. The pacing at least felt incredibly fast and was certainly very well done with each shot flowing into the next, dialog overlapping in a way that I haven't seen outside of John Carpenter movies, and just a raw sense of energy to the whole film; I actually had trouble keeping up with the movie (and I kept up with the LEGO MOVIE, catching every joke on my first watch) due to revelling in every single shot. The dialog was incredible and constantly surprising, regularly cutting to the heart with sharply written lines. I'm genuinely confused as to why people think there is a plot hole, as well. It's often repeated that "there was no one there when Kane said 'Rosebud'", but if you actually watch the movie, that's completely wrong. The butler flat out says, "I heard him say it. He just said 'Rosebud' and then he dropped that glass ball and it broke on the floor." That intro was taken as a POV shot of the Butler and we never get an establishing shot of the room where Kane dies, so why assume that he was alone? I straight up need answers, why is it that every single criticism I've heard of this movie was completely wrong? Do people just not watch this movie anymore and pretend to know exactly what its problems are? I mean that's obviously a harsh thing to assume, but seriously… how?
GOOD TIME – Look. It's long since the world should've collectively decided that Twilight was a force for good –– it gave us Kristen Stewart and Robert Pattinson; two of the finest actors working today –– but this is the best and most accessible opportunity anyone has to get with that program. Powered by the manic of early Scorcese and Mann, an urge to keep on moving, Good Time hums along relentlessly without treading the streets the world has come to recognise, content to take a shortcut through the alleyways – perhaps the most quintessential New York movie (at least in terms, of being a story about the space it inhabits) since Margaret. That it accomplishes this while also being one of the most clever films about class in quite some time is no small feat. Marvelling at how this owns his persona as a heartthrob, weaponising his allure, while the Safdie's simultaneously weaponise his character's whiteness (and privilege that comes attached) for a sweat-wrenching ride that's all in the eyes. Connie's are all jittery, looking for the exits, working on the macro, while the Safdie's keep it locked in, focused on the micro. Like a piece of acid blotted-paper bearing Pepe the Frog; it's one heck of a trip.
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Have fun and play nice!