#top rated movie

[aaronwarner]

SEOHYUN & LEE JUN-YOUNG AS JUNG JI-WOO & JUNG JI-HOO in LOVE AND LEASHES 모럴센스 (2022) dir. Hyeon-jin Park

[sleepy-edits]

[compacflt]

slimav?

would never happen bc slider canonically smells bad

[lesbiancolumbo]

sometimes letterboxd is THE stupidest fucking community in the world i swear to god. tell me why i have to see a whole garden variety of 0.5-1 star reviews of a movie with an openly queer protagonist who, over the course of her coming of age narrative explores and reaffirms her queerness and remains openly and happily queer, that are all calling it an "anti-gay narrative/propaganda". be so fucking serious right now. does anyone in this thread do mushrooms

[carcarrot]

now that i am running out of movies ive seen to rate, i am committing the cardinal letterboxd sin of reading reviews of movies i like

[atomicradiogirl]

rip james wilson MD you would have loved letterboxd

[nr1-logo-design-inspiration]

Write in a comment which year is your favorite?

Thank you! 🧡🙏

[nakflix]

Top 10 Best R-Rated Thriller Netflix Movies

[ulkaralakbarova]

Memphis Belle

The “Memphis Belle” is a World War II bomber, piloted by a young crew on dangerous bombing raids into Europe. The crew only have to make one more bombing raid before they have finished their duty and can go home. In the briefing before their last flight, the crew discover that the target for the day is Dresden, a heavily-defended city that invariably causes many Allied casualties  Credits:…

[bi-spector]

*coming home from puss in boots*

Denial can only last so long.

[psychoticwillgraham]

mom: ‘you can choose the movie for tonight :3’

me, who really wants to watch Polar just bc of ‘that one scene’ with mads: ‘hmm. not a very good idea’

[wewontbesleeping]

wow amazon prime has great streaming recommendations

[rystiel]

…can you tell i rate movies by how much fun i had and not how good it is

[compacflt]

yesterday (06/12) was the anniversary of me watching top gun for the first time so here are some of my favorite personal reviews

i saw tg and tgm in june & didn’t think about tg for two months. i wrote the epilogue for wwgattai on august 10 and THEN rewatched it on the 11th & that’s when i knew there was enough potential to start writing wwgattai for real

a lot can change in a year. :)

[gothicprep]

netflix's business model is soooo bad. clownishly bad. we'd be here all day if i unpacked all of this, so i'll just focus on one thing for now:

if you look at the box office top 10 at any given time, it's generally dominated by IP films. even the non-IP films, the biggest one this year has been oppenheimer, and that's a christopher nolan movie. a lot of people know what a christopher nolan movie is and want to go see that already. so even something that's not an IP film per se is still partaking in stuff that is known, which makes it functionally very similar.

but the way that you get successful IP is that you market it, and you get people talking about it. netflix doesn't have successful IP because they don't do marketing, and they don't get people talking. and there's sort of a chicken and egg problem here, which is that without the marketing, they're not gonna have the cultural cachet, and without the cultural cachet, they're not going to have IP because their stuff is forgettable.

they also, i think, explicitly design their movies and tv shows to be kind of forgettable. their whole model, if you go back a couple of years, has been "we want to feed every niche". and what that means is that they can't develop a coherent brand identity in the way that hbo or a24 or vertigo comics developed a coherent brand identity. what does a netflix movie or series feel like? you can't describe it. sometimes it's the sandman, or sometimes it's house of cards, sometimes it's some sort of kids show or reality show, sometimes it's is it cake. the only thing that ties those together is that netflix owns all of them. that's it. there's nothing else.

on a broader level, it's feeding its subscribers things that are intentionally disposable and is designed as a commodity, both in the way that they market it and the way that they roll them out so that they have no cultural lift and traction. this creates a problem for stars because the only way you can get paid big money by netflix is if you are already a big brand, which means you need to be already associated with something that's big and marketed and has a cultural footprint before you get to netflix. will smith gets a giant paycheck for bright, adam sandler gets a giant paycheck for doing his movies, but somebody who isn't a household name can't build one on netflix. which is going to create big problems for them when it comes to talent, because they aren't making anything that people will watch 100 times and be talking about 20 years later.

there are some exceptions here, of course. the stranger things kids have managed to build name recognition from being on the show. or the oscar bait stuff that they put out at the end of the year, like roma or marriage story, doesn't feel anywhere near as commodified. but in the grand scheme of how much stuff they produce, cases like those are drops in the bucket.

[carcarrot]

letterboxd if you even care. still very much in progress but hii