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Criterion Watched List

by Travis Eskins

Created 11/27/16

Edit List

Films in the Criterion Collection that I have seen. Vaguely in the order in which I saw them.

  • I saw this when I was obsessed with 80's action films in high school, and I remember liking it. I didn't fall in love with it like The Terminator or Indiana Jones, but it was good. It's been a while. 7/10

  • A (relatively) modern american classic for a reason. 8/10

  • I remember nothing about this movie, but I saw it.

  • Another classic. Masterful suspense. 8/10

  • A funny and extremely creative film with great commentary on celebrity culture. Almost too creative for its own good. 8/10

  • Classic. 8/10

  • One of Fincher's worst. There are some great moments, but he ending is basically a joke and I don't even think Fincher knew what it was supposed to be about. Even Fincher's worst is very good, though, as the directing is spot on. 7/10

  • Kubrick's first great film. A powerful anti-war film with great performances and beautiful photography. 8/10

  • A generally solid thriller that I found to be a bit sloppy, probably due to low budget and the fact that it is a debut. 6/10

  • This is lesser Hitchcock in my opinion. 5/10

  • I watched this before I knew what the Criterion Collection was. I remember it being entirely unremarkable. 6/10

  • There is some genuine emotion at times, but not much else. 7/10

  • Even when I love a del Toro film, I still don't understand the praise it gets. This film gets heralded as a one of the great films of the 21st century, and I just don't get that. I adore this film. The effects, acting, and music are all great and the story is very effective and emotional. I just think it is a bit too childish and cliche or sentimental to have the reputation it does, but I guess that's the point. whatever. 8/10

  • A film I appreciate and I really wish I liked. I love the idea of this film and every time someone describes it, I want to watch they are talking about. Unfortunately, the film people describe is not the film I watch. My main problem is the acting and writing, which are GARBAGE. I can appreciate the style, but even that is over the top and cheesy most of the time. I like the climactic riot scene, but the final conversation between Mookie and Sal is the worst scene in the film. 5/10

  • I loved the first half, with the brilliant imagery of depression and societal pressure, but I remember not liking the rest of the movie that much. Now that I have seen so much analysis of this film, I think I may be able to appreciate the film more. I will definitely re-watch before buying the blu-ray. 7 or maybe 8/10

  • I didn't really care for the romance and I found the structure and random mix of plotlines annoying. I mainly enjoyed the cinematography and the character of Adam Sandler. 6/10

  • I love the songs in this film and I thought it was funny at times, but I didn't get much else out of it. 7/10

  • I found this a bit disappointing compared to Kubrick's later work, but there is some good film making and humor here. 7/10

  • It's been a while since I saw this, but I remember it being sort of funny, but also incomprehensible and pretentious. 5/10

  • I genuinely do not understand what the big deal is with this movie. If the film did not have the main gimmick, than no one would give it a second look. The story is generic and boring and most of the acting is not good. As far as I'm concerned, everything this film tried to do was already better accomplished by the Before Trilogy. 6/10

  • Another solid, emotional film from the Dardennes. The plot is better developed, but is less emotional that Kid with a Bike. I like the brother's films, I just don't really understand all of the praise. 7/10

  • My favorite film in the collection currently. An expertly told and tense story that builds to the greatest ending I have ever seen in film. It's perfect. 10/10

  • I fell in love with the characters and humor, and by the end I was won over by the emotion. 8/10

  • An absolutely beautiful film and the ultimate "gay movie," as well as a universal love story with interesting ideas. A must watch for anyone who has ever struggled with their identity/sexuality. 9/10

  • Not as good as Weekend.
    7/10

  • Very disappointing compared to The Holy Grail, but it's still funny I guess. 7/10

  • I found this film a bit slow and not as emotional as I imagine it was intended to be. It was still interesting and entertaining. 7/10

  • Possibly my favorite in the trilogy. The imagery of grief and depression in this film is absolutely stunning, and the use of music is brilliant. The second half gets a bit iffy for me, but the ending is great. 9/10

  • Everyone's least favorite in the trilogy, and I have to agree. It is still very good and entertaining and emotional at times, but does not have the same punch as the other two. It feels more like an episode of The Dekalog, which is not a bad thing. 8/10

  • The more I think about the trilogy, the more this starts to become my favorite. This film emotionally destroyed me, but I'm not sure why? Which is something I've heard before but never really understood. 9/10

  • Pretty disappointing after Three Colors. There were some parts I found emotional, but it was a bit too abstract for me to really get much out of it. Will probably rewatch in the future. 7/10

  • I thought it started slow, but I really liked the second half, and I loved the 17 min conversation long take. But I feel like McQueen does things specifically to piss me off, like the absolutely unbearable long take of a prison guard cleaning the floor. 6/10

  • Again, a bit disappointing, although I have come to appreciate it a bit more. Like all early Kieslowski, its a bit too political for it's own good. 7/10

  • I really liked some of the more serious moments and conversations, mainly the scenes between von Sydow and Death. The reason I didn't like this film very much is because I found the tone very inconsistent and I didn't like the more silly or happier scenes I guess. I don't know, something just didn't click. Some scenes were absolutely riveting, but ultimately I found this very short film very hard to sit through. 6/10

  • Lesser Kubrick, A solid heist movie with good performances. Kubrick hadn't yet fully formed his own unique style, which makes this feel kind of cliche and derivative. 7/10

  • A great story featuring interesting characters first and foremost, with some social commentary thrown in for good measure. 8/10

  • A brilliant documentary and a brilliant film. The acting is beautiful and so naturalistic, which I'm not sure if that is surprising or expected because all the actors are real people playing themselves. It's amazing that an unedited court hearing could be completely riveting, but it is. Beautiful. 9/10

  • I liked this much better than Seventh Seal; this is my type of movie. I found this much more tonally consistent. I was initially grabbed by the great conversations and acting, but fell in love with the surrealist imagery and statements on identity. The repeated scene near the end destroyed me. 8/10

  • This film fucks with you unlike any I have ever seen before, and I love it. 8/10

  • My vote for the worst Criterion I have seen so far. I was intrigued at first, but the story just kept getting less and less interesting, culminating in the absolutely horrid ending fight sequence (also, "Jesus Gris" please kill me now). Most of the acting was fine, but surprisingly Ron Perlman pulls an awful performance. I give it credit for the practical effects and the intriguing first 20 minutes or so, but not much else. 4/10

  • A great modern romance film. The first half had me smiling from ear to ear with the brilliant writing and performances, but I don't think the second half was as emotional as it could have been considering how invested I was. Still great, but had the potential to be much more. 8/10

  • There are some really great horror scenes in this, and every scene with the daughter is outstanding, but I think the film gets too caught up in the pulpy police procedural story-line to be great. 7/10

  • An extremely effective horror film with a lot of hidden meaning to uncover for yourself. A surrealist classic. 8/10

  • The culmination of Lynch's career. Like Eraserhead, but even more dense and emotional. The ending scene had me completely terrified and then crying within a second. 9/10

  • A really interesting and influential sci-fi short film. The still images have a really interesting affect on me when I watch it, where I'll kind of zone out and just stare. I like it. 8/10

  • An interesting essay film of sorts. It doesn't seem related to La Jetee, but it is in a way. Although it is not still images, the shots are more concerned with images that movement most of the time. The images and voice-over have a similar effect as La Jetee as well. A great companion piece to the legendary short film. 8/10

  • I can appreciate the influence of this film, but I don't understand the present-day appeal of it. I got pretty much nothing out of this film. 6/10

  • Another beautifully human film from Abbas Kiarostami. He must be a great actor's director, because the brilliantly realistic performances he pulls out of non-professional actors in this and Close-Up are impressive. This one is all about the conversations. I'm not completely sure about the ending, though. 8/10

  • A solid war film and start for Tarkovsky's career. That's about it. 6/10

  • I appreciated the experiment and it definitely didn't get annoying as I expected it might, but I didn't quite love it. 7/10

  • Interesting ideas and a few great sci-fi scenes, but I guess I don't really "get it." I don't think Tarkovsky's films are for me. Every time someone describes the appeal of his films, I roll my eyes. 6/10

  • A handful of good scenes, but not quite great. 7/10

  • I liked it for a while, but I think it gets a bit too abstract along the way. 6/10

  • One of the few Criterion films I can legitimately say that I hated. It felt like it was building to something, but with every minute that passed I started to doubt that assumption. And I was right, as the film ends with a giant fuck you to the audience. I legitimately felt like I wasted my time with this film, as there was no arc or resolution and I gained absolutely nothing from the experience. I have seen several Haneke films, and all of them have felt like he made them specifically to piss me off. 4/10

  • I liked the style and thought it was pretty funny at times, but I did not get as much out of it as other similar "essay" films like F for Fake or Sans Soleil. 7/10

  • I loved the mystery and just pure weirdness of this film, but I didn't really connect emotionally with anything going on. also I couldn't stand Edith. 7/10

  • Much more emotional than Breathless, but also much less visually and stylistically interesting. Maybe the French New Wave just isn't for me. 6/10

  • One of the most realistic films I have ever seen, with a load of great performances, mainly child performances. There are some scenes where the emotion sneaks up on you out of nowhere and they hit me pretty hard. 8/10

  • A really great romance film filled with fascinating conversations. My theory about this trilogy is that you are meant to watch them at the same age as the characters. I relate pretty heavily to this film because I am a similar age to the characters, but I know others who are a bit older find the next film more effective. 8/10

  • I love the style and the decision to make the film in real time. I thought the beginning relied too heavily on nostalgia of the first film, but it only got better, with the last third being the best in the trilogy. I think the first two are relatively equal in quality, as I related more to the first, but the film making is much better in this 8/10

  • It was pretty fun I guess, but I didn't get much out of it, and It is flawed in many ways. 7/10

  • A really interesting documentary about an important person. There's not much else for me to say. I am a Hawking fan so I enjoyed this film a lot, if you don't care about him, the film will probably not do much for you. Morris brings his usual style so that it doesn't feel like every other doc. Much more effective than The Theory of Everything. 7.5/10

  • I really, really wanted to love this film. This has some of the most beautiful photography I have seen in any film, let alone black and white film. There are also some legitimately brilliant moments of tension and horror, but this film has far too many flaws for it to have a reputation as a masterpiece. First and foremost, all of the acting, except for Robert Mitchum, is awful, and even Mitchum dips too far into camp at times. The child actors were particularly bad, which is surprising considering they are the main focus of the story. And I could talk for a very long time about how much I hated the grandmother character, from writing to acting. I thought the pacing was off somehow, as this very short film seemed to last forever, and there were a lot of moments with confusing character motivations and actions. Also the ending is complete garbage in every way and this entry is already too long. Extremely disappointing, but beautiful photography and a handful of great scenes save it. 6/10

  • There are very few films that I believe have no weak moments, and this is one of them. A perfect film. 10/10

  • I can see why the american remake was so bad now, as the original is just as uninteresting. It is definitely better, though, because it has a certain energy that the remake lacks, but it is still not great. 6/10

  • My first Kurosawa film. My first experience of watching this film was confusing. I really liked the opening scene and the scenes at Rashomon gate in general, but once the different stories of the event started, I found the tone and overwhelming music almost unbearable. Then the twist happens, and I realized why the stories had that tone, I was completely blown away. When any film, especially one almost 70 years old, can mess with me that much, it is an amazing achievement 8/10 maybe 9/10 on later watches.

  • My second Kurosawa. After falling in love with Rashomon, I decided to take the leap and watch all 207 minutes, and I was very happy that I did. What can I say that hasn't been said before. The story, characters, writing, visuals, action, pacing, everything is flawless. A perfect film. 10/10

  • My third Kurosawa. I found this very disappointing after loving Rashomon and Seven Samurai so much. I found the story and visuals much less interesting and the comedic tone was annoying to me. It is still undeniably solid and entertaining. I'll have to give it a re-watch some day. 7/10

    Update: I rewatched this and, while I still don't love it, I can definitely appreciate more about it now. I'm not sure if my overall opinion or rating has really changed that much, though. Will probably still get the box set.

  • My fourth Kurosawa. It has the most serious and oppressive tone of any of his films I have seen, which I found refreshing after Yojimbo. There are a load of brilliant scenes, including the witches and the assassination, and Mifune's descent into paranoid madness is fascinating. The ending is also harrowing, which is not a word I use much. I'm starting to feel spoiled by how great all of Kurosawa's films are. 8/10

  • My fifth Kurosawa. What can I say, I love almost everything about this film. The framing and staging of the characters is completely brilliant and Mifune is at his absolute best. If the film was just in his house, I think it would be a perfect film. I think it slows a bit when the story expands, but it is never ruined or anything. One of the best police procedural/thrillers I have ever seen. 9/10

  • My sixth Kurosawa. His most emotionally draining but also most uplifting film I've seen so far. Shimura gives a great performance and I love the choice to focus on the people whose lives he's affected in the second half. I also love the repetition of the love song, including the iconic scene on the playground. Another great Kurosawa film. 8/10

  • My seventh Kurosawa. Typically brilliant visually, and Toshiro Mifune gives another fantastic performance. I love the horseback fight and duel near the middle and the ending is stunning. If there is one thing I don't like it's the overpowering soundtrack. I think Kurosawa's films work best with minimal music (Seven Samurai). 8/10

  • My eighth Kurosawa. This is more like it. Visually stunning, great story, and the comedic tone worked much better than the first film. Not to mention the great action and beautifully violent ending. I'll definitely give Yojimbo a re-watch because I want that box set. 8/10

  • My ninth Kurosawa. Similar to Throne of Blood to me, in that the tone was much more serious, and although there were a load of great scenes, I wasn't totally sold on the film until the ending, which I loved. The color photography was beautiful and I loved the story of the thief, although I found the overall story about the rival clans hard to follow. I am very excited for Ran after this. 8/10

  • My tenth Kurosawa. I made a mistake and watched this very long film at midnight. I absolutely loved the first half, especially the famous battle scene. Unfortunately, I started dozing off in the second half. I stayed awake for the whole thing but I was distracted and so the second half was kind of hard to sit through. I like it enough already, but I'll give it a re-watch eventually. 8/10

  • I've always thought that a great film could be made from Lord of the Flies, but this is not it. Most of the child acting is horrifically bad and I thought the film felt very rushed. I never really got a chance to know the characters or anything about their personalities. If I hadn't read the book I imagine I would have been completely lost. I don't think the film gave itself enough time to make the descent into madness seem believable, it just seems like everyone turns on a dime and is evil. I will say I like the ending and the scene with Simon and the pig head. 5/10

  • I was sort of into this film for most of the run time, it felt like a cheap Kurosawa film, sure, but I was into it. I liked the way the different story lines were being built up and was excited to see them all come together at the end because I'd heard the ending was great. Then the nightmare/hallucination scene happened, and I thought that was really great. I still assumed there would be some sort of resolution for the other characters, though. But then it just ends with the monotonous fight scene that just seemed to go on forever, and you never see the other characters ever again. Also I found the cheesy sword hit sound effect to be pretty fucking unbearable by the end of the fight scene. Maybe all of that was intentional? I don't know, all I know is it almost ruined the film for me. 6/10

  • A film that I appreciate more than I enjoy. I love the idea of a film about memories and how certain memories are tied to others or songs or movies; and for the most part, those parts of the film are great. I think the film falls flat because there wasn't enough emotional connection with the characters for me. And, although the film is only 85 minutes long, there were too many parts that felt super long-winded. 6/10

  • A really funny film that has a lot of interesting things to say about relationships. 8/10

  • Not as funny or as thought provoking as Tie Me Up. It gets worse as it goes along, ending with the awful "action" climax. 6/10

  • This is the film I expected Do the Right Thing to be. Great characters, interesting story with a lot of forward momentum and tension, good sense of humor, and an amazing cinematic style. The social and political statements hit much harder because of how invested I was in the plot and characters. One of the best endings I've seen in a while. 8 or maybe 9 I dunno/10

  • I really liked the violent or more creative parts, but the actual story itself was not all that interesting to me. 7/10

  • I absolutely loved the pickpocketing sequences and I enjoyed the character study, but I wasn't very interested in the love story and I found the end of the movie (except for the final pickpocket) sort of rushed. 7 or 8/10

  • I really don't have anything to say about this movie. It really didn't do anything for me. It felt like too many movies at once. 6/10

  • An amazing character study as well as a psychological thriller with lots of layers of commentary and meaning to be drawn out. My type of movie. 8/10

  • My introduction to Cronenberg's work in the collection. A film I almost loved in spite of all of the horror trappings. Oliver Reed is great, the effects are great, and I love the story and how you can tell that the director was working through a very stressful time in his life. My main complaints are that that acting, outside of Reed and Eggar, is not great and the film has the structure of a pretty basic slasher, aside from the fantastic final act. Also the sound quality is really bad. This seems like a film that will get better the more I think about it. 7.5/10 for now.

  • Another film I almost loved in spite of my brain wanting to hate it. The lead actor is complete garbage, I found much less substance in this film than in The Brood, and the film is just generally kind of sloppy, with the sound quality and dubbing being particularly shoddy again. But, I can't deny that the effects, sound DESIGN, and story are all fantastic. This is the second Cronenberg film I have seen and both have had a brilliant, unsettling tone that I get completely sucked into, and that is an achievement. Another film that I expect will age well in my mind. In some ways it is better than The Brood and in other ways it is worse. I am pretty excited to watch Videodrome, as it seems it may have the same ideas and tone as these films, but with less of the B-movie sensibilities. I can only hope. 7.5/10

  • I got nothing out of this movie. I was confused for most of the runtime, although I love the sequence of the character examining the pictures. I read some popular interpretations online, and although I can appreciate some of them, I have no idea how I was supposed to reach them by myself. Roger Ebert said it was about a man woken from his malaise and then sucked back into it by his society. I can understand that to a point, but if that was the intended interpretation, I don't think the film does a good job at showing his initial unhappiness. To me, he seemed fairly content with his career and the art he was making. I think if the film showed the character as very unhappy before being invigorated by the process of discovering the mystery, the film would have been more effective overall. I would still think the final act is overly nonsensical, though. 5/10

  • Amazing music and cinematography create a really creepy and absorbing tone. There are some outstanding thriller set pieces here, mainly the train and subway sequences. I also really loved the characters, but I am not sure about the last 20 minutes or so. It sems like something I will enjoy more on later watches. 7 or 8/10

  • Done with the same meticulous realism as all of Kiarostami's films. Somewhere between a romantic drama and a David Lynch film structurally, in the way that it gives us a puzzle and leaves us to gain meaning from it. I think this film sets up its puzzle perfectly. For most of the first half, the characters are debating original vs copy as it applies to art, so when the film takes a turn near the mid-point, the audience is ready to try to apply those themes to the relationship that is unfolding. It kind of feels wrong to give this a rating after only one watch, but I loved this film. 8+/10

  • A simple story told masterfully as always by Kiarostami. Not as thematically dense as Certified copy, but filled with emotional moments, fascinating dialogue, and beautiful, meaningful cinematography. 8/10

  • This was really frustrating and hard to sit through. I really liked a lot of the individual dreams and deciphering the themes behind them, but the movie as a whole felt really badly paced. Also the fact that the lines spoken on set were random and not related to the dubbed lines at all was probably the most frustrating thing I have ever seen. 5/10

  • I love basically everything about this move. The beautiful colors and photography, all the layers in the plot, the magnificent Romantic-Era-inspired score, and the brilliant ballet sequence. For a movie from almost 70 years ago, it felt more modern than a lot of 50s and 60s movies I have seen. I think the film drags a bit after the ballet sequence, but the ending is amazing. I am surprised I never heard of this film in relation to a modern film I love, Black Swan, because they are almost the same film. I am starting to think I just love ballet. 9/10

  • This was pretty disappointing after The Red Shoes. Unlike that film, this felt very dated and just plain goofy. The only things I can really praise are the color photography and the score. 5/10

  • There are some great comedy set-pieces in this film and I think the ending is great, but it is hard to view this as anything other than a piece of history. 6/10

  • An interesting character study with great acting and fascinating, intense dialogue. I don't realy think the film does enough to be called great, though. 7/10

  • Kind of like a great episode of an anthology TV show. It has a utterly fascinating theme and it explores the themes well. I mainly love the odd, eerie tone the film has that I can't quite explain. 8/10

  • Another film that is more interesting as history than as an actual film. I appreciate the realism and the plot, but overall it felt amateurish and rough around the edges. 6/10

  • I think this movie has extremely interesting themes and ideas and there are a handful of great scenes, but I think the movie is just not well made and kind of goofy. It doesn't live up to it's premise. 6/10

  • I could see that this film was going for a layered, meta sort of story, but it failed pretty bad in my opinion. The basic story was fine, but there was some really bad acting/writing and it was pretty mediocre technically. 5/10

  • A great coming of age film with beautiful photography, acting, and vibrant colors. I think it loses steam a bit in the third act, but it ends well. 8/10

  • I feel like this movie wasn't made for my demographic, so I didn't get much from this. The whole film felt really cynical and honestly really antagonistic to men in a way. Also the shocking ending didn't really seem to add much. 5/10

  • A realistic and meticulous (almost to a fault) film that serves as a commentary on the role of women in modern society as well as a subtle character study. The long static shots force you to study every detail and be aware of every subtle change in camera angle, framing, and character actions. 8/10

  • In which a bunch of things happen that have no apparent connection to one another and I don't care about any of them. Seriously, this should have just been a documentary or something because there was no character development or really any reason for this to be a movie. And the Scorsese comparisons are really not warranted, as this movie has no sense of humor. It's a shame too, because there are some serious directing and cinematography skills shown here. 6/10

  • I liked the opening, subway, and dream sequences, but the rest didn't really do much for me. 6/10

  • One of the most beautiful and emotional films I have ever seen. A film about a city, but also about what it is to be a human and all of the pleasures and horrors that come with that. I think the section in color at the end is not as good as the rest, otherwise this is perfect. 9/10

  • Definitely an interesting experience, but I didn't get much from this. I felt like it relies too heavily on the dances themselves, some of which I enjoyed, but for the most part, I was left confused by. I didn't really feel like I gained an understanding of Pina. 6/10

  • Honestly one of the worst in the collection that I have seen. Really bad acting, uninteresting story and character arch, and just plain not funny. 4/10

  • I was hoping this would be more stylistically interesting like Wings of Desire, but this was still a solidly engaging character study with some good acting and photography. The booth scenes are just as amazing as everyone says they are and are a much better version of the ending to Wings. 7/10

  • A lot of us like to think that we are desensitized to the horrors of the Holocaust, but the last five or so minutes of this are completely gut-wrenching in a way that I haven't seen before. I don't really know how to rate this. 7.5./10

  • A gripping and extremely tense thriller with a technique so simple and subtle yet somehow ahead of it's time. More consistent than Pickpocket but less emotionally dense. I will have to check out more Bresson, he might be one of my favorites. 8/10

  • An interesting idea, and one that sounded extremely tailored to me, as I love deep discussions in the films of Kiarostami and whatnot, but the conversations in this were completely uninteresting and borderline pretentious to me. 5/10

  • As beautiful and expressive as any of Kurosawa's period pieces, but with a more somber tone and sensitive style. I absolutely love the use of traditional Japanese flute and percussion music, the mother's song, and basically the entirety of the sound design. One of the most heartbreaking films I have ever seen. 8 or 9/10

  • Films like this just prove how special and talented filmmakers like Kurosawa and Mitzoguchi were. Where as Sansho was one of the most emotional movies ever, the attempts at emotion in this fail completely. Where as Kurosawa'a films are some of the most well-paced and thrilling action films ever, this film is awkward and stilted. The only things I can praise are the never-ending charisma of Mifune and the great color photography. 5/10

  • Another emotinal Mizoguchi film featuring more brilliant camera moves and sound design. Not as good as Sansho for me, but I feel like i am getting spoiled by another great Japanese filmmaker. 8/10

  • An absorbing love story about a generation of Americans featuring some of the best cinematography I have ever seen and a brilliant climax. I didn't think people were making films like this in the seventies. 8/10

  • I like the things it said about childhood, hometowns, and memory, but I thought it was a bit too bizarre and goofy for it's own good. 7/10

  • One of the most joyful and straight up fun films I have ever seen. Beautiful direction, cinematography, humor, and music kept me smiling and tapping my foot like an idiot the whole time. One of my favorite musicals. 9/10

  • A solid drama with great music and interesting, inconsistently stylish directing. I liked the characters fairly well, but I didn't believe the romance and the ending fell flat. 6/10

  • A hypnotic meditation on memory and trauma featuring brilliant and innovative editing. Somewhere between a traditional New Wave drama and a free-form essay film. I love that you can tell how Night and Fog leads to this film. On the lookout for more Alain Renais. 8/10

  • I kind of regret watching more Renais, because I found this almost completely incomprehensible. The editing is really noticeable again, but it doesn't really lead to much at all. The editing could have been more effective if it included some flash back scenes like Hiroshima, considering it is a film about time and memory. The stepson's story is the most effective, but Helene's failed completely for me. 5/10

  • Another hypnotic and atmospheric adenture that contains some of the best editing I have ever seen. The montages say more with images than could ever be said with dialogue. Much more effective at conveying the civilization vs. outback themes than Picnic at Hanging Rock in my opinion. I am even more excited for Don't Look Now than I was before. 8/10

  • The worst Demy film I have seen and in the running for one of the worst in the collection. The music is lame and cheesy, the direction is flat and boring, and the "drama" completely fails. I didn't buy one second of the romance and the ending is laughably bad. 4 or 5/10

  • Another masterpiece of editing and visual storytelling from Nic Roeg. The opening and ending scenes are some of the best edited sequences I have ever seen. I think Walkabout is a bit better because this has not aged as well, but this film has completely invaded my mind for several days. 8/10

  • A visually beautiful and gripping period piece that is as dark and perfectly crafted as every Polanski film. 8/10

  • The ending is legitimately brilliant, but the rest is boring and/or obnoxious. 6/10

  • I didn't like it at first, but it keeps getting better as it goes along, and the ending is a masterpiece. The stand out aspect of this film is the beautiful color photography. 8/10

  • There are some parts that are really great, but I wish the film would slow down a bit. A lot of the film, especially near the beginning, is really fast paced and hard to follow, which only makes the Shakespearean dialogue even harder to understand. The best parts are when the film takes its time, like the ending. Also the dubbing and audio quality are distractingly bad. I liked it quite a bit despite all of this, though. I will probably revisit this when the blu ray is released. 7/10

  • I find most "controversial" films to be disappointingly tame, but this is legitimately shocking and disturbing. It is also a beautifully made character study with great music, cinematography, and social commentary. 9/10

  • I really liked the first 40 minutes to an hour or so, which was funny and original. Once the story gets more "metaphysical" I suppose, it lost me a bit. The ending was a little too on the nose for me. 7/10

  • I can appreciate the style and the use of color and music, but these cheesy gangster B-movies aren't really my thing. 6/10

  • Some of the most amazing and impressive tracking shots I have ever seen and a surprising amount of emotion. The death scenes are some of the best scenes I have seen in a while. A definite inspiration for Lubezki and films like The Revenant. 8/10

  • I really loved the music and the horror-themed scenes and the story was effective and engaging, but some bits were a bit cheesy. I was surprised by the amount of fairly normal drama scenes. Better than most silent films I have seen. 7/10

  • I kind of almost consider this a perfect film. It is not particularly deep or ground-breaking or mind-blowing, but the structure builds so perfectly to the final feast and the ending is just wonderful. It made me happy and it made me want to go out and make something, so it was a success. 9/10

  • I loved the sections in prison and immediately after the escape, but the beginning and ending are not nearly as good. All of the acting, outside of the main three, is pretty bad. 7/10

  • A very effective horror movie with some interesting ideas. I'm not sure I ever want to watch it again, though. I think it is a bit too weird for it own good. 7/10

    RE-WATCH: So I did actually decide to watch this again, and I was completely blown away. I was much more engaged in the story and found it way more emotionally effective. This also made it easier and more interesting to try to figure out the symbolism or messages in the film. I think I was just too on-edge the first time around because of this film's reputation so I was distracted. This time I was more focused and the experience was much better. The climactic sequences are fucking breathtaking. 9/10

  • I expected this film to be funny and satirical, but I was surprised by the quality of the film making, acting, and how engaging the story was. Definitely one of the better comedies in the collection and I will be watching more Altman in the future. 8/10

  • A unique and engaging music documentary. I appreciated learning the history of the group, but the best moments are watching the musicians play and watching them explore America. 8/10

  • Although this is only the third Wes Anderson film I have watched and second I have actually finished, I continue to not understand the praise. It's definitely well made and it has some interesting visual comedy, but honestly all of his films are just so wacky cute zany quirky wow it makes me want to vomit. 5 or 6/10

  • Definitely a unique war film, choosing to focus on developing Che's character and putting less emphasis on the plot, but I don't quite think it worked. The acting and cinematography are great, but the editing style and lack of focus on plot make it very frustrating and hard to follow. There are some really great sequences, but I think it needed a bit of a re-edit; not even necessarily to be shorter, just different. 7/10

  • I held off on watching Ozu for a very long time even though I love Japanese films from the Golden Age because they seemed sort of long and boring and not really my style, but I was wrong. The story and writing are engaging and heartwarming, the color cinematography is great in the way that it makes smoke stacks and power lines look beautiful but also slightly menacing, and the acting is good in a sort of stiff, Bresson-esque way. I mainly loved the satire and statements on modern life; and the fart jokes were surprisingly well-done. 8/10

  • Another brilliant film by Bresson. I used to be a bit turned off by the acting style he often employs, but now I love the unique tone it gives all of his films. The characters aren't really characters or performances, they can be seen as a lot of different things, like a blank slate to project emotions onto or a symbol for all of humanity. This acting style also allows Bresson to focus on the actions of the characters as opposed to emotions or reactions. Most of this film is focused on character's hands or midsection (where their money would be). The ending is brilliant. 8/10

  • Another lovely film from Ozu. Focuses less on humor in order to create a more emotionally affecting story. Everything that was great about Good Morning is just as good here and better in some places. I don't really know what else to say, this is a great film. 8 or 9/10

  • I'd seen three Tarkovsky films before this, and I wasn't really a fan of any of them. They just did nothing for me at all, so I had pretty much decided I was just not a Tarkovsky person (also because the way people describe and praise his films is so pretentious to me). I decided to watch this after everyone was so excited that it was announced, and I am very glad I did because I absolutely loved this film. The difference between this and Solaris was that this film grabbed me from the start with it's interesting story and sci-fi world, and then I was able to to try to decipher the various imagery and whatnot. Solaris was interesting for a bit (and even better looking than Stalker), but it kind of fell apart the more it went along. Stalker, on the other hand, hand me hooked from beginning to end. There are so many great cinematic moments and questions to be asked and it is just ny type of film. Maybe I'll give Solaris a re-watch sometime. 9/10

  • Suffers a bit from some cheese and the overbearing score, but this is a smart thriller with a unique visual style and an amazing climax/ending. Definitely my favorite between this, Blow-Up, and The Conversation, but I love that all three exist. One is a weird, socially aware art piece, one is a subtle character study, and this is a straight up thriller. 8/10

  • Ozu's most well known for good reason. All of his films seem so similar in so many ways, but at this point I don't really care. Ozu's films are like a lovely day where you relax and look at something beautiful and laugh and smile but also think about sad things or remember something slightly poignant from your past and you get a bit emotional. That's the best way I can describe them. 9/10

  • Probably my least favorite Ozu so far. The first time the similarities between his films started to bother me. This almost the exact same film as An Autumn Afternoon, just not as good in every way. Still really good. 7 or 8/10

  • An outstanding score, story, and visual style come together to create one of the great masterpieces of 60s Japanese cinema. I think the story gets a bit iffy when telling the long story of how he got here, but the climax is perfect. 9/10

  • Part serial killer story, part In The Realm of The Senses-style sexual drama, and it does neither of them very well. The story is interesting enough and the character study is the highlight, but just not quite a complete package. 7/10

  • The absolutely brilliantly haunting first half and ending make up for the boring, overly talkative second act. 8/10

  • A great collection of Japanese ghost stories enhanced by Kobayashi's visual style and Takemitsu's consistently brilliant sound work. Some thoughts on the individual stories: The Black Hair is perfect in every way. I really liked the visual style and opening of The Woman of the Snow, but I found the ending a bit lacking. Oichi the Earless has some of the best sequences in the entire film, but there is too much boring filler in between; it has no reason to be over an hour long when the others are less that 40 minutes. In a Cup of Tea has some great suspense but mainly I loved the frame story and ending. 8 or maybe 9/10

  • Basically a film made perfectly for me. A highly effective psychological thriller that works as a social allegory with brilliant cinematography, lots of symbolism, and another outstanding soundtrack from Takemitsu. This film takes no wrong steps. 9 or 10/10

  • I never really liked gangster movies and apparently I don't really like yakuza movies either. This was just boring to me. Takemitsu's score showed flashes of greatness, but it was nowhere near as effective as his other work. The same goes for the directing and visuals; sometimes great, mostly boring. 6/10

  • Definitely an interesting experiment; not as daring as Jeanne Dielman and it is worse for it. I felt like the film tried to hard to be dialogue free. Like there were some times when it would be totally normal and expected for the characters to talk but they would just stare or motion and it felt really awkward. I really liked the climax and the ending though, so I guess there's that. 7/10

  • One of the most renowned international films of all time for good reason. The performances are great, the story is simple yet effective, and it's just really fucking well made. Like I was expecting some sort of guerrilla film making from the Neorealist movement because this was my first one, but it was just really good. whatever. 8 or 9/10

  • The fact that this is not more well-known in the Japanese films in the collection is a travesty, because this is a masterpiece. It's beautiful, stylish, daring, and a hauntingly emotional story. The kabuki elements like the narration, sets, and scene transitions may be annoying to some but I found them to be fucking genius. There are so many powerful little moments and stories about death and aging and the final journey to Narayama is honestly one of the highlights of Japanese film I have seen. There are a few parts in the middle that are a bit boring or confusing.
    8 or 9/10

  • It has so many jokes and parodies and satires and whatever else in basically every frame. The design, acting, lighting, cinematography, editing, effects, music, etc. are all perfect for the experience this movie is going for. Plus it's just plain fun. 8/10

  • Not nearly as good as Bicycle Thieves because it lacks any real drive or motivation. The whole movie just ends up feeling sort of pointless. There are a few good sequences in which there is some driving force, but the film as a whole is pretty boring and forgettable. The train scene at the end is great, but the actual ending is not. I wonder if this is the first time in film history that a dog was exploited for cheap emotion. 6/10

  • There are some really great things about this film, but god damn is it cheesy as hell. The synth score is strait-up terrible and the ending actually had me laughing out loud. 6/10

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