What was the best film you watched this week? (18/09/2017 – 24/09/2017)
The way this works is that you post a review of the best film you saw last week. It doesn't have to be a new release, just any film you have seen over the last seven days that you feel is worth talking about. Here are some rules.
1. Check to see if your favourite film of last week has been posted already. If so, please reply to that comment instead of making a new thread.
2. Please post your favourite film of last week.
3. NO TV SHOWS!
4. ALWAYS use spoiler tags. Report any comments that spoil recent / little-known films (e.g. It, mother!, Kingsman: The Golden Circle) without using the spoiler tag.
5. Comments that only contain the title of the film will be removed!
Here are some great comments from last week's thread:
I thought mother! was absolutely brilliant. On purely a filmmaking level, it's one of the most well crafted films I've seen on a long time. The POV cinematography is powerful at framing the story, the sound design is immersive, and the performances are excellent (especially Jennifer Lawrence, and actress whose blockbuster work I haven't enjoyed recently.) Aside from being one of the most well made films in recent years, I find the allegorical nature of the story to be absolutely fascinating. The metaphorical narrative paints a challenging, powerful picture. I know people aren't seeing it, partly due to the misleading marketing campaign, but it's my favorite of the year so far. Can't stop thinking about it. Some say it's heavy handed and over the top, but I don't think it was trying to be subtle. It's Aronofsky vomiting these ideas to the audience, and I love it.
Since I can't choose two movies, The Shape of Water is a truly beautiful film in every aspect, with Guillermo del Toro offering another adult fantasy but with a heartfelt and earnest romance (Three Billboards Outside Ebbing Missouri would be my other pick). Sally Hawkins and Doug Jones delivered captivating performances, despite not speaking a single word to each other. The mutual inability to speak lets both characters find solace in each other, both feeling like outcasts. Michael Shannon delivered another strong performance, feeling intimidating and quite the looming presence. The score and soundtrack really add to the air of romanticism, to the point where the film felt like a classic musical. Alexander Desplat's score is whimsical and swells with love, along with some of the songs del Toro chose for the soundtrack. Guillermo del Toro's conscious attention to the movie's color palette makes The Shape of Water one of the most beautifully shot movies of the year. The palette predominantly green and aqua, as del Toro chose those colors to represent the land, sea, and their union when the relationship develops. Overall, The Shape of Water is among my favourite movies of the year and will be a serious Oscar contender. Some side notes, this was one of the coolest screenings I've been to since the theater I was in was used as a set for The Shape of Water, so it felt rather surreal watching the theater I was in. Plus, Guillermo del Toro did a Q&A afterwards and he had a lot of interesting tidbits. He mentioned the significance of the use of color, how the creature was 95% practical, and how he was surprised he was able to pull the movie off on a $19 million budget. Another thing though, del Toro won't be recording a commentary for this since he believes the movie speaks for itself.
It takes a certain level of gall to make a movie about terrorism, a greater level to approach it from the terrorists' perspective and an even further one to repeatedly stage the explosive set-pieces. Bertrand Bonello's NOCTURAMA aspires to this level, focusing on a multi-cultural group of radicalised young people who commit an attack across Paris. Its opening half, focused on the hours before the bombs goes off, runs counterpoint to its second, where the group hides out in a shopping mall after-hours, placing them in the heart of the consumerist, capitalist culture they'd hoped to make a dent in as they come to understand that was already the case out in Paris at large. The Bling Ring does terrorism, Bonello approaches this story in a apolitical manner, tantalising glimpses of the planning are given in small measure, revealing little about what's to come, why the group are doing so and what's led them to, thus allowing him to present these events with an ideal of objectivity. An exercise in tension, Bonello's re-staging of events, sometimes from difference angles, gives rise to surprise first, suspense second and third and so on, never losing the visceral, in-the-moment quality that springs forth from the first. The first fifty minutes might be the ones involving explosives, but it's the latter eighty, when the world goes quiet, where the film truly comes alive, the most thrilling sequences coming as a result of "Whip my Hair" and "My Way". Evoking many, including Kubrick and Romero, along the way, this repetition and reflection makes the inevitable all the more shocking. I will be (pleasantly) shocked if there's a better film, that isn't Personal Shopper this year.
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