#what a character . carlos and alfonso cuaron like !

[gael-garcia]

The magazine rated her as "a woman afraid to claim her freedom." Luisa didn't agree.

Maribel Verdú as Luisa Cortés in Y tu mamá también (2001)

[ryanmeft]

Roma Movie Review

It is more than nostalgia. Alfonso Cuaron’s Roma evokes a time, a place and a situation---specifically, a middle class existence for a family of six and their servant in 1970, in Mexico City. If wistful memory was all it had to offer, it would be pleasant but forgettable. Cuaron’s crucial decision is to tell the story from the perspective of the servant, and to not give her omniscience. Other people---a harried mother, an unfaithful father, her rat of a boyfriend, four children in a hurry to grow up---move in and out of her view, and we see them as she does: for moments.

Her name is Cleo, played by Yalitza Aparicio, and she is in that place between becomings, when you are no longer a child but haven’t figured out what to do when you grow up yet. She has pinned her future to Fermin (Jorge Antonio Guerrero), a nice boy who practices martial arts to overcome his violent upbringing and swears devotion to her; she will become pregnant, and he will conveniently forget his promises. Antonio (Fernando Grediaga), the oft-absent doctor husband of the family she works for, goes on many business trips, and decides not to come back from one of them, preferring instead his mistress. His wife Sofia (Marina de Tavera) is tasked with the most ancient of female responsibilities: to hold her head high and protect her children so a man can do whatever he pleases. The children (Marco Graf, Daniela Demesa, Diego Cortina, Carlos Peralta) are mostly oblivious, but the oldest boy catches one of those instances when his mother cannot hold in the anger, heard through a kitchen door in a shot that will be familiar to most children as that time they first realized their parents were fallible.

Her role in the household is well-defined. Sofia greatly values her, but if, as sometimes happens, the dutiful mother finally breaks down from stress and comes home drunk one night, hitting the garage walls with her Ford Galaxie, it is part of Cleo’s job to say nothing. If the residual pain boils over and the children devolve to a fist fight, it is her job to break it up without being too forceful. She is to be loved, and she is, legitimately; this is not a case of a well-to-do family paying lip service to their help. When she becomes pregnant, they handle her care, and in a harrowing scene her water breaks during a student riot. She is also to be invisible.

All of the people in the movie have stories, but we only see those chapters which Cleo sees. The film never once cuts away from her perspective. Since the cheating husband is mostly outside her view, we almost never see him; perhaps if Cleo had known him better, we would. Whatever private torments Sofia suffers in her role as mother and protective spinner of domestic fairy tales, we are privy only to those Cleo is. This is most dramatically seen in the person of Fermin, the unreliable boyfriend. When they are together, we see him as she does: strong, romantic, devoted, a person who will protect her and love her. When he leaves, we see no more of him for a while. He shows up at a few intervals in the story, each time having revealed more of himself in the gap, and we see only the results, to often startling effect. Most movies reduce such characters to a set of traits to force the plot along, but Fermin seems to have a life, even if it’s one we feel contempt for. As much as I didn’t like him, I wanted to hear his point of view.

The film is heavily based on Cuaron’s childhood, Colonia Roma being the neighborhood of his youth, which is why it is telling he opted not to show it from a child’s perspective. In an interview given to Variety, he admits having a childlike take on his upbringing, and he got out of his own head by fictionalizing his family’s real maid, Liboria. She came from a rural area that was in his mind far away, and Cleo comes from a rural home oft-mentioned but never seen; the family talks of visiting but you sense that is one boundary that is forbidden. Much Mexican cinema that makes it to the U.S. depicts poverty, which we sense is Cleo’s lot in life were she not with the family Cuaron evidences some guilt in his interview about growing up in relative comfort. He shouldn’t, and even if he deserved to, his films show this did not dull his human sensitivity. He has an empathetic eye for what makes us, us.

Two themes drive his recollection: the way we never can know all of another person, and cycles. When the family escapes for Christmas to the home of a wealthy uncle, Cleo watches as sparks rise from beyond a wooded clearing, perhaps other revelers. No; it is a forest fire, and the family goes as close as they can to watch, and in the morning the land has been cleared, ready to regrow. Many members of the family could use that; I suspect we all could. I was surprised to find Cuaron handled his own cinematography, shooting in large-format black-and-white, but immediately after I found that out it made sense. It’s the respect in which we do see things through his eyes, and he lingers on that fire through the trees as it grows, letting it expand and just watching. It’s a stunningly beautiful shot that would have been destroyed by color. Other times when Cuaron’s understated visual focus is essential are in viewing a massive, violent riot mostly through the windows of a furniture store, always showing cars pulling into the attached garage from within, and the simple ways people on the street go about their business as Cleo makes her way through them. We are almost always looking through someone’s eyes, even when that person is on camera. What a perfect choice, in an age when jump cuts are almost the default. It lends these memories an intimacy that leaves them to live in your mind. The movie is streaming on Netflix, but I saw it in a theatre; this is ideal, and the way you should see it. It is the greatest work to date from an endlessly fascinating filmmaker, and I doubt a television could really capture it.

In Cuaron’s breakthrough film Y Tu Mama Tambien, the ostensible point is to find a beach the protagonists visited once long ago, which is really a metaphor for things we cannot have. There is a beach, too, in Roma. Though this isn’t a movie where the modern dread of spoilers really applies, I will forego talking about how it is used, except to say this: it is the place where all of the emotions in the film come together. It is no longer possible for Cleo to be invisible there. Back home, she takes the laundry, walks off screen, and the camera lingers on a plane passing overhead. If you wait long enough, another plane will pass. And then another.

Verdict: Must-See

Note: I don’t use stars, but here are my possible verdicts.

Must-See

Highly Recommended

Recommended

Average

Not Recommended

Avoid like the Plague

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 All images are property of the people what own the movie.

[vicaesco]

10 of ‘18

It’s rather a shame that Tumblr is dead now as I always looked forward to posting my ten favorite movies of the previous year. It was a post that usually garnered a lot of interactions and sharing it on other sites to friends would always make for a good conversation. I’ve also been doing it on this site since 2011 so it feels like an end to a tradition. For that reason, I think I’m going to keep it rather short this year as I’ll post the list on Facebook and make that the primary one. Some quick notes: I don’t think 2018 was as strong of a year as 2017. Making a list in 2017 was a lot more agonizing than making one this year and I also had one ready long before my usual self imposed due date (the day before the Oscar ceremony). This is the first year I’ve ever had a children’s movie in my top 10, I actually have two. This is the first time since 2013′s Man of Steel, that I’ve had a superhero movie in the list as well. I also saw a few more foreign movies in theaters than I usually do and 2018 was the first time in which I saw a documentary in theaters (for non-educational reasons).

I also want to mention Suspiria, Sorry to Bother You, and You Were Never Really Here. I thought each of those movies was fresh and bold in the directions they took but they didn’t click with me and it frustrates me to no end.

With all that said, here are my ten favorite movies of 2018.

1. First Reformed - dir. Paul Schrader - Paul Schrader returns to his tortured male character pushed to the edge in the form of Rev. Ernst Toller, a priest in the middle of a religious and environmentally conscious crisis. Toller is the far-left answer to Travis Bickle’s alt-right, making him all the more tragic, especially when filtered through Ethan Hawke’s career-best performance. Although a quiet, meditative film, it delivers a final yell filled with palpable anger and bite. As a viewer and non-believer, it’s as close to a religious experience I’ve had and one that I haven’t felt since the first time I saw Terrence Malick’s The Tree of Life.

2. First Man - dir. Damien Chazelle - First Man is stunning. It humanizes one of mankind’s greatest accomplishments, turning it into a small, personal journey while servicing those lost among the way. As much as I dislike La La Land, I can never knock it down on its merits and with just three films, Damien Chazelle has proved himself to be among the greats.  Spanning across the spectrum from moments of full blown terror to easily the most heartbreaking scene of last year (or last few years for that matter), First Man is not just one of the best movies of the year, but one of the best I’ve ever seen.

3. Hereditary - dir. Ari Aster - You have to feel bad for Ari Aster, who made what is possibly the best horror movie of the decade on his first outing. How do you top a movie like Hereditary? Where do you go from there? As a horror movie, it excels in it’s scares. As a drama, it is emotionally harrowing and draining. Hereditary is a stressful experience, it’s not one that I particularly enjoyed going through, nor is it one that I wish to revisit for those reasons, but it left me literally shaking in a way that no movie ever has. As someone who has always wanted to be traumatized by a movie, Hereditary gets an additional point for being the first one to feature an image that scarred.

4. Roma - dir. Alfonso Cuaron - Alfonso Cuaron distills cinema down to it’s purest form with Roma. A movie that doesn’t so much function as a traditional movie but as a memory, a love letter to a person and a time period that’s long gone and could never be replicated. Through Roma, Cuaron elicits the one power that art has: empathy. I understand that it’s easier to admire than to love but I believe Roma will one day be mentioned in the same breath as Fellini’s films or in a more daring statement, Bicycle Thieves. Every shot in Roma is a photograph and every one of those speaks a thousand words.

5. BlackkKlansman - dir. Spike Lee - On it’s surface, the plot of BlackkKlansman is a bit of a joke, but in Spike Lee’s hands, it’s a painfully funny and emotionally painful look at America’s long and storied relationship with race, from the Civil War to Charlottesville. If you’ve forgotten how great Spike Lee can be, this is a reminder, as it’s a vital work in the filmography of a generally angry, but on point filmmaker. While it’s easy to get lost in it’s 70′s look and heroics, it ultimately brings you back with a parallel of the racists of then to the racists of now as it holds a mirror for America to look at itself with, most likely in shame.

As an aside, I really appreciated the inclusion of Gone With the Wind and The Birth of a Nation in it. One of my favorite conversations in school was how we reckon with these two films being essential to the art of cinema and it’s development while also being racist monuments to the Confederacy. If anyone is going to take back the meaning of these two films, it might as well be Spike.

6. Cold War - dir. Pawel Pawlikowski - The beautifully shot Cold War elicits many of the same feelings Roma does on it’s viewer. It’s 88 minute run time brings this Polish, post-war Romeo and Juliet story down to it’s bare essentials. Despite it’s fragmented parts, it almost feels like an epic. More like a novel than a movie. It’s central love story hurts, but like it’s characters, it endures.

7. Blindspotting -dir. Carlos Lopez Estrada - To watch Blindspotting is to make a discovery whether it’s Daveed Diggs or Rafael Casal or Carlos Lopez Estrada, all three carefully craft a full, well rounded story about race, gentrification, police brutality, and what home really means in a manner that’s both hilarious and poignant.

8. Paddington 2 - dir. Paul King - The Dark Knight of children’s movie. A film that’s superior to it’s already excellent predecessor. Is there any movie more pure than Paddington? It doesn’t matter if your heart is made of stone because Paddington will win it and melt it while delivering shots that would make Wes Anderson jealous, a message of inclusivity that refutes the anti-immigration sentiments of Brexit and the U.S, and a fabulous performance from Hugh Grant. If we’re kind and polite, the world will be right.  

9. Mandy - dir. Panos Cosmatos - What begins as a sort of quiet, poetic meditation between Nicolas Cage and Andrea Riseborough slowly devolves into ‘80s heavy metal trash that’s been laced with LSD. Mandy is a bat-shit crazy, violent ride that’s anchored by an equally bat-shit performance from Nicolas Cage. In the most loving of ways, this film is trash and I ate it up. 

10. Spiderman: Into the Spiderverse - dir. Bob Persichetti, Peter Ramsey, Rodney Rothman - It’s a marvel that the seventh Spiderman film not only happens to be the best Spiderman movie but one of the best movies of the year. It felt wonderful to be transported back to that child-like feeling that maybe you too might be able to be a superhero. Into the Spiderverse is the new standard that animated films will be held to and we’ll be lucky to get anything like it anytime soon.

[sowhatisthisfor]

Movies 2018

 List of films I watched in 2018 from best to worst.

Updated soon after I’ve seen them.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Women of the Weeping River [Dayoc, 2016, Philippines] A film about a generational blood feud, and also a metaphoric portrayal of the unending armed conflicts in Mindanao where the vulnerable is the most at risk, and the strong isn’t really unbreakable. 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10  

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can't help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I'm already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that's more alive than the living and to the living that's more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10 

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10 

Dogman [Matteo Garrone, 2018, Italy] Examines a man's need to be recognized as a chihuahua in a shepherd's world. 9.5/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it's the kind of film that stays. 9.5/10 

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Sunday's Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10 

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10 

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10 

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn't feel like a movie at all, it's brilliant. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10 

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone's becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it's interestingly very human that I'm completely captured by it. 9/10

ML [Benedict Mique, 2018, Philippines] teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10 

Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10 

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

The Square [Ruben Ostland, 2017, Sweden, Denmark] An ironic and satiric take on elitism, privilege, and humanity. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don't match Marguerite Duras's poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying "this is my kind of humour" is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10 

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city's moral lethargy. 8/10 

Coco [Lee Unkrich, 2017, United States] Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Don’t Breathe [Fede Alvarez, 2016, United States] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10  

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist's delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don't match. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it's actually hypnotic. 7.5/10 

Revenge [Coralie Fargeat, 2018, France] Caution: explicit cursing while watching and cheering to this. 7.5/10 

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Billie & Emma [Samantha Lee, 2018, Philippines] There's magic in its production design and an amusing chemistry that would remind you of what it's like to fall in love the first time. It is everyone's teenage romance, the kind that buries heteronormativity. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10 

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Saving Sally [Avid Liongoren, 2016, Philippines] Is the freshest and has the most creative visual style I’ve seen in a long long time. I want more of it. 7,5/10 

One Week Friends [Masanori Murakami, 2017, Japan]  There’s a good reason for my sunken eyes right now, right? 7.5/10 

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Black Panther [Ryan Coogler, 2018, United States]

Hintayan ng Langit [Villegas, 2018] I'm not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one.  7.5/10  

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10 

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10 

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

Cam [Daniel Goldhaber, 2018, United States] Pushing its flaws aside, this is actually quite an accomplished thriller of a possible near future. It didn't end with an impactful resolution though. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that's just it for me. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10 

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10 

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10 

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there's something about its exchanges that seems unnatural. 7/10 

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people's tendency to miscommunicate emotions. 7/10 

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn't lead to what you think. It's black comedy of my liking. 7/10

Nearest and Dearest [Kseniya Zueva, 2017, Russia] displays the weakening social and moral values in contemporary Russian society. 6.5/10 

Hearts Beat Loud [Brett Haley, 2018, United States] Magical in its little ways. 6.5/10

Me Casé Con Un Boludo [Juan Taratuto, 2016, Argentina] Nothing much in here but laughter after laughter. 6.5/10

Delinquent [Kieran Valla, 2016, United States] a small-town thriller with a set location that breathes on its own. 6.5/10

Ang Babaeng Allergic sa Wifi [Jun Lana, 2018, Philippines] I thought it was just a cutesy take on appreciating moments and living life in the present, but heck no, prepare to find your tears falling. 6.5/10

Bakwit Boys [Jason Paul Laxamana, 2018, Philippines] a warm and light-hearted family drama with beautiful original songs to brag about. 6.5/10

Musmos Na Sumibol sa Gubat ng Digma [Iar Arondaing, 2018, Philippines] At times, it feels like it's trying too hard both to make a point and to sound subtle to a point that it feels a bit disconnected. 6.5 /10 

What If It Works [Romi Trower, 2018, Australia] Delightfully charming amidst the chaos of mental disorders. Works quite well. 6.5 /10

Eternity Between Seconds [Jan Alec Figuracion, 2018, Philippines] There’s comfort somewhere between the discomforts of bad acting here. 6.5 /10

Love, Simon [Greg Berlanti. 2018, United States] It’s a very familiar coming-of-age romance, but that familiarity is what made it stand out. 6.5 /10

Blockers [Kay Cannon, 2018, United States] Definitely my kind of humour. The sarcastic wit is overflowing. 6.5 /10

Alex Strangelove [CraigJohnson, 2018, United States] Nothing too new but isn't short of likeable. 6.5/10

Lobster Cop [Li Xinyun, 2018, China] Hilarious. I’d like it to be more brutal with its action scenes but it’s already otherwise quite entertaining. 6.5/10

Ant-man and the Wasp [Peyton Reed, 2018, United States] Funny as always, but I'm in love with Paul Rudd so I must be biased. 6.5/10

Kuya Wes [James Mayo, 2018, Philippines] explores the fundamental need of being appreciated in a light yet stinging narrative. I don't like a number of things, but the soundtrack works well, it's satiating. 6.5/10 

To All the Boys I've Loved Before [Susan Johnson, 2018, United States] There's substance in its shallowness, it's charming. 6.5/10

The Snow White Murder Case [Yoshihiro Nakamura, 2014, Japan] It’s a little too long to keep it entirely interesting. 6.5/10

Cardinals [Grayson Moore, Aidan Shipley, 2018, Canada] It was burning slowly until it was shot to the head. Could have been more painful if not for its loose ending. 6.5/10

Unli Life [Miko Livelo, 2018, Philippines] Not a fan of its comedic banters but I find its rare seriousness quite a gem. 6.5/10

The Cured [David Freyne, 2018, United Kingdom]

Sympathy for Mr Vengeance [Park Chan-wook, 2002, South Korea]

Berlin Syndrome [Cate Shortland, 2017, Australia, Germany] Cold and riveting with a third act that would push you to the edge. 6.5/10 

Wonder [Stephen Chbosky, 2018, United States]

12 Strong [Nicolai Fuglsig, 2018, United States] All that technical expertise and still end up saying nothing. 6/10

Goodbye, Grandpa [Yukihiro Morigaki, 2017, Japan] depicts the kind of mourning we tend to overlook and is only intensified by the bonding of family. 6/10 

Deadpool 2 [David Leitch, 2018, United States] Started off fun, ended up exhausting. 6/10

Bird Box [Susanne Bier, 2018, United States] a film with no emotional connection, no proper climax, and therefore no sensical resolution. 6/10

Madilim Ang Gabi [Adolf Alix, 2018, Philippines] seems like a show-off of stars after stars after stars playing bit roles to the point that it already feels unauthentic. 6/10 

Call Her Ganda [PJ Raval, 2018, Canada, Philippines] I'm not convinced of its storytelling, still an important one to watch though. 6/10 

A Million Happy Nows [Albert Alarr, 2017, United States] Despite the smallness of this film, it actually hits big. 6/10 

Bomba [Ralston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 6/10

Oceans 8 [Gary Ross, 2018, United States] Slow and mediocre, quite a waste of powerhouse cast. 6/10

Koxa [Ekrem Engizek, 2018, Turkey, Germany] Uninteresting for the kind of fact it exposes. 6/10

2 Cool 2 be Forgotten [Petersen Vargas, 2017, Philippines]

Beastmode [Manuel Mesina III, 2018, Philippines] ingenious and inventive but it’s not the kind I enjoy. 6/10 

Dedma Walking [Julius Alfonso, 2017, Philippines]

Can We Still Be Friends [Prime Cruz, 2017, Philippines]

The Belko Experiment [Greg McLean, 2017, United States] The experiment and the film are both pointless, but pointless sometimes is entertaining. 6/10

Hooked [Max Emerson, 2018, United States]

Sierra Burgess is a Loser [Ian Samuels, 2018, United States] I was enjoying it until its last act which felt rushed and unnatural. 5/10

Skyscraper [Rawson Marshall Thurber, 2018, United States] Plot after plot of action-packed impossibilities. 5/10

Glorious [Connie Macatuno, 2018, Philippines] Watching it is like riding a taxi cab with a clutch driver, it’s making me dizzy. 5/10

Rampage [Brad Peyton, 2018, United States] Feels like a bargain with nothing much to offer but cool CGI. 5/10

Je Ne Suis Pas Un Homme Facile [Eleonore Pourriat, 2018, France]  

Mga Mister Ni Rosario [Alpha Habon, 2018, Philippines] Entertaining but also miserably problematic. 5/10

Carrie [Kimberly Peirce, 2014, United States] Is quite an urban myth version of a school shooting. 5/10

Rough Night [Lucia Aniello, 2017, United States] Watched it on a plane, not sure if it's as fun if landed. 5/10

Bomba [Rolston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 5/10 

Avengers: Age of Ultron [Joss Whedon, 2015, United States] Boring with a capital B. 5/10

The Meg [Jon Turteltaub, 2018, United States] Mediocre. Very mediocre. 5/10

Final Score [Scott Mann, 2018, United States] It has potential but didn't quite scored a goal. 5/10

Uncle Drew [Charles Stone III, 2018, United States] I can't force myself to get comfortable watching this. 5/10

A Piece of Paradise [Patrick Alcedo, 2017, Canada, Philippines] It’s okay but there’s nothing much in there. 5/10

Happy Death Day [Christopher Landon, 2018, United States]

The Flu [Kim Sung-soo, 2013, South Korea] Stupid but fun. It's the kind of silly you enjoy. 5/10

Ali and Nino [Asif Kapadia, 2017, Azerbaijan, Georgia] Badly-acted, badly-designed production. Offers nothing much of excitement. 4/10 

Unexpectedly Yours [Cathy Garcia-Molina, Philippines, 2017] Fun at times. Corny at most. 4/10 

Forget About Nick [Margarethe von Trotta, 2017, Germany] is as if made as an example of movies that failed the Bechdel test from supposed to be feminist directors. 4/10 

I Love You, Hater [Giselle Andres, 2018, Philippines] I find its main plot gender insensitive so it’s a nope nope for me. 4/10

The Mumbai Siege: 4 Days of Terror (One Less God) [Lliam Worthington, 2018, Australia, India] That’s an annoying take on a siege that marked world history. 4/10

Life is What You Make It [Jhett Tolentino, 2018, United States, Philippines] For some reasons, I’m not sold on how it tries to inspire. 4/10 

We Will Not Die Tonight [Richard Somes, 2018, Philippines] If you're looking for brutal action and relentless stabbing where blood and sweat are like fireworks, go see it. If you're looking for sense or better fight choreographies, go somewhere else. 3/10 

Bleeding Steel [Leo Zhang, 2018, Hong Kong] Feels like switching between channels. 3/10

Citizen Jake [Mike de Leon, 2018, Philippines] Is like a collection of everything de Leon wants to try. Not effective at that. 3/10

On Again Off Again [Arsalan Shirazi, 2017, Canada, India] Undesirable characters in undesirable performances. 3/10

Jigsaw [Spirieg brothers, 2017, United States]

Tomb Raider [Roar Uthaug, 2018, United States] Impossible but fun. 3/10

Insidious (The Last Key) [Adam Robitel, 2018, United States] 

Pitch Perfect 3: Last Call Pitches [Trish Sie, 2018, United States] The worst of them all pitches. 3/10

When We First Met [Ari Sandel, 2018, United States]

Attack on Titan: Part 1 [Shinji Higuchi, 2015, Japan] Lacks character development, lacks plot continuity, it’s the movie adaptation disappointment of the decade. 3/10

Alright Now [Jamie Adams, 2018, United States] is said to be a feel-good movie but more like a feel-regretful for the time wasted watching this. 3/10

Hostel [Eli Roth, 2006, United States] Nothing here is pleasing. Not its concept, not its execution, and not even its gore. Down to the trash bin. 3/10

One More Chance [Cathy Garcia-Molina, 2007, Philippines] I’m sorry, I really can’t stand this movie. 3/10

Slumber [Jonathan Hopkins, 2018, United States] Is a snoozefest as simple as that. 3/10

In Un Giorno La Fine (The End?) [Daniele Misischia, 2018, Italy] Is funny in a bad way. 3/10

Peter Rabbit [Will Gluck, 2018, United States] RBF the entire freaking time. 3/10

You, Me and Him [ Daisy Aitkens, 2018, United Kingdom] Just one of those films that pass you by. 3/10

The Dawnseeker [Justin Price, 2018, United States] With that kind of premise, I honestly wanted it to be at least a decent watch. It isn’t. 2/10

Mara [Clive Tonge, 2018, United States] Generic. Mediocre. Forgettable. 2/10

Office Uprising [Lin Oeding, 2018, United States] Dumb. 2/10

School Service [Louie Ignacio, 2018, Phiippines] the intention is there but the concept isn’t concrete enough to be decently executed. 2/10 

The Strangers: Prey at Night [Johannes Roberts, 2018, United States] What a freaking stupid family that was. I could go on and on and on with my disgust towards this movie, but the bacon is cooked and bacon is more important. 1/10

The Matchmaker's Playbook [Tosca Musk, 2018, United States] a misogynist piece of bullcrap. 1/10

The Do-Over [Steven Brill, 2016, United States] Wow. That was boring. 1/10

Aswang [Michael Laurin, 2018, United States] a film perfect for when you can’t sleep. 1/10

The Lookout [Afi Africa, 2018, Philippines] is a joke after joke after joke, so unfunny, it deserves a laugh. 1/10 

[diegolunadaily]

The Movieline Interview || MAY 5, 2009

Gael, Diego, you guys have been directed by some of the biggest names in Spanish-language cinema...

GAEL GARCIA BERNAL: Yeah, literally! "Al-e-jan-dro Gon-zál-es Iñ-árr-i-tu..."

...and three of them were producers on Rudo. Out of those three -- including Alejandro and Alfonso -- you've acted for everybody but Guillermo del Toro. When is he finally gonna offer one of you a role in something he's directing -- or is he too busy with J.R.R. Tolkien?

BERNAL: Well, we auditioned for "El Hobbito." [laughs] Yeah, the same thing happened when we auditioned for Harry Potter [and the Prisoner of Azkaban, which Alfonso Cuaron directed]. They said, "Uh, we'll call you." And they never called us! Basically what happened with Harry Potter is that part of the audition was to fly with a broom, and we did it, but it didn't look so good because we hadn't done it in a while. [To Luna] Right?

DIEGO LUNA: Right.

BERNAL: I mean, we'd done it a few times when we were kids, but not anymore. [All three crack up]

What's the difference between Alfonso and Carlos in their approach to directing?

BERNAL: Well, I will say that if Alfonso had directed this film [Rudo y Cursi], he would have said things like, "OK, two minute warning!" in the soccer match. "Touchdown!"

LUNA: "And then you bring out your racquet..." Alfonso doesn't know anything about soccer, but he pretends to know, and that says a lot about them as directors. Carlos would not come to direct until he knows everything about the subject, you know? And Alfonso tells you everything you need to hear to be there. It's like, one thinks more as a writer, and the other thinks more as a director. And there's no rule on which way you have to be, but Carlos waited until everything was on the page and every answer was there. When there was confusion, he would say, "OK, let's go back to the script and the answer is there." Easy.

And with Alfonso?

LUNA: With Alfonso, he finds a lot in the moment. Also, I think Carlos is a guy who would hear everyone's opinion and decide where to go, versus Alfonso, who would shout if you even opened your mouth. [all laugh] Like, if I was the actor, Carlos would let me say anything I wanted, but with Alfonso, there's this feeling that either he's going to think you said something smart or you're going to be punished for the rest of the film!

Carlos, some people may go into this expecting a typical sports film, but nearly all of the actual soccer action happens off-screen -- often, literally out of frame as the camera focuses on a bystander's reaction instead of, say, a stunning goal. Was it like that in your script, or was that a practical consideration later on?

CARLOS CUARON: Yes, I wrote it that way. At some point, the director [in me] took over in the rewrites, and that's when I put that in...sort of.

BERNAL: The truth is, you wrote it like this and then you saw Goal...[all laugh] and you thought "Cha-ching! Cha-ching! I should rewrite it!"

CUARON: No, the truth is...you know Michael Haneke's Funny Games? It's very violent, but all the violence is off-camera. My feeling when I was writing the script was that the [soccer] was getting in the way of the drama, that it was interrupting the flow, and when I saw Funny Games, that was the answer. Why not shoot the soccer off-camera?

LUNA: From the very beginning, at the first lunch we had at that terrible restaurant, we sat down and talked about why soccer films have never worked and why they're not good. And Carlos has a good theory, saying that [soccer] is not as dramatic as other sports where there's a pause, there's a choice in every moment, the team gets together and a guy has all the pressure on him...soccer is not like that. It's beautiful and it has a flow and it lasts ninety minutes. And he made a choice -- and that's what I'm saying about how he would never have started that film without making a choice. He had it on the page.

Gael and Diego, you've both directed your own movies recently. Did that change you as actors?

BERNAL: Oh, yeah.

How so? Are you more outspoken or more cooperative on set?

BERNAL: More cooperative, surprisingly.

LUNA: What do you think, Carlos?

CUARON: No, they are a pain in the ass. [all laugh]

LUNA: Became a pain in the ass, or...?

CUARON: They've always been a pain in the ass. It had nothing to do with directing.

LUNA: We have changed a lot! This guy has no idea how we've helped him.

BERNAL: Hey, it's his first film, come on.

LUNA: No, it's not like we helped him to direct this film, but we were more aware of what it takes to be directing a film. The amount of pressure you go through, the longing that directing brings to you, that's something we learned. I remember one day I had just come from doing the helicopter shot in my film -- which cost like half of my budget -- and it didn't work. It was shaky, it was terrible. And I came out of the shower and I realized I had red dots all over my body from feeling terrible. So every time I saw Carlos sweating or going through a problem, I was like, "Shit! We can stay longer [on set] if you want us!" You want to help the guy who's going through that.

Diego, what kind of response did you get from your role as Jack Lira in Milk? How was it received?

LUNA: You mean in my house, or...?

In your house, or on the street.

CUARON: How is it in San Francisco now?

LUNA: Oh, San Francisco is amazing! I love going to San Francisco now.

BERNAL: He has a "long-lost cousin" there. And he goes up there a lot to "visit his cousin." [Bernal and Cuaron laugh]

LUNA: I eat for free in many places now. That was happening in New York, with all the Mexicans in kitchens, and now it happens in San Francisco. You know, my wife kind of hated the role, but she loves that.

What did she hate about it?

LUNA: Well, he's not a very likable guy. He was a very needy person, he was everything you would hate from a partner.

BERNAL: I think that's why Sean didn't pick you [in the movie], man.

LUNA: But eventually she loved it, it was fun. I sent her many pictures when I was creating the character, and every time I came home I would receive a reward. [laughs]

Gael, later in the year you have the Lukas Moodyson film Mammoth, which recently got some boos at the Berlin Film Festival.

BERNAL: You know, it's an interesting film that creates that kind of reaction -- either you like it or you don't. Maybe it's because normally a film is manipulative in this kind of dramatic situation, but Mammoth is passive and even a bit critical. That causes great confusion sometimes with people who don't like seeing that. With Lars Von Trier's films, it's the same response. From one side or the other, you sometimes have films that are either too manipulative or too cold and distant, and I think that's what happened with this film. It creates that kind of mixed reaction.

But surely you're being offered "more manipulative" big-studio fare. Weren't you being talked about for a villainous role in the last Bourne film [that eventually went to Édgar Ramírez]?

BERNAL: [suddenly downcast] Well...

Is that a sore subject?

BERNAL: It didn't happen.

But are you interested in doing a huge blockbuster like that? So far, you haven't.

BERNAL: I wouldn't mind! I wouldn't mind. I'm actually very curious. It could be fun.

Well, maybe Guillermo will take pity on you and offer you a part in El Hobbito.

BERNAL: El Hobbito!

LUNA: For that, he would have to fight me. We're really competitive. [Taunting Bernal] I've got a callback.

BERNAL: What, with Guillermo del Taco? [all laugh]

[source]

[mrmichaelchadler]

Odie Henderson's Top Ten Films of 2018

So many movies spoke to me in 2018, so much so that I had a harder time narrowing this list down than in prior years. For example, the margin between the top five films on this list is razor-thin. The distance is even closer between the top two movies, which flip-flopped right up until the time I wrote this sentence. And there are honorable mentions to the underrated “Widows,” the terrifying “Custody” and the memorable documentaries “Won’t You Be My Neighbor?” and “Hale County This Morning, This Evening.”

10. "I Am Not a Witch"

Good satire is hard to come by. Writer/director Rungano Nyoni has made a great satire with a vicious bite and a deliciously pointed gaze at all its targets. Aided by a scarily good Maggie Mulubwa, a young actress whose use of silence is wise beyond her years, Nyoni takes on every type of exploiter, from the patriarchy to the folks who come to Africa looking for weirdness and not realizing that they’re being trolled by those who they deem inferior. The film never tips its hand, and as the story gets wilder and funnier, its emotions become more devastating.  

9. "Spider-Man: Into the Spider-verse"

Just go see this. I want you to walk into this one blind. This is a gorgeously animated feature and the voice talent is first-rate. The story is pure comic-book joy, reminding us that in that world anything can happen and realities are constantly being twisted, rejiggered and combined. Seeing Miles Morales onscreen made me giddy, but he’s not alone. Any movie that not only gives me a Spidey who looks like me but also one voiced by a full-on film noir Nicolas Cage knows my sweet spots. And my goodness, this is SO MUCH FUN. Just go.

8. "Leave No Trace"

Here I’m reminded of Roger Ebert’s oft-cited quote about movies being an empathy machine. I had no idea about these characters and their environment. But by the final frames of director Debra Granik’s film, I had not only learned about these people, I was with them in spirit, shedding tears for them and hoping they’d get by. There’s no way in Hell the excellent Thomasin Harcourt McKenzie is a supporting character, as the awards machine keeps saying. She’s stitched so tightly into this film’s fabric that it couldn’t exist without her character. She’s not only our stand-in, the story hinges upon the changes her journey creates. Ben Foster offers memorable support as her dad. I am glad I saw “Leave No Trace.”

7. "Roma"

Director Alfonso Cuaron takes over from his usual cinematographer Emmanuel Lubezki and the result is his most personal and best work. His framing is practically another character in the film, and his use of black and white conveys both a dreamlike state and a harsh realism. This story of people from two different classes is refreshingly female-oriented. The leisurely pace only adds to its magic; it puts us onto the film’s rhythms and we fall into them accordingly. As Cleo, Yalitza Aparicio is a revelation, with one of the best performances of the year. “Roma” is a memory play whose Mexican-set story feels like an antidote to today’s demonization of that country.

6. "Paddington 2"

The bear is very furry. And his movie is very, very good. This sequel finds Paddington Bear in great spirits and gainful employment. That is, until he becomes embroiled in a Hitchcockian tale of the man—or rather bear—wrongly accused. Paddington’s jail time is shared by Brendan Gleeson and made possible by an evil has-been actor played by that sly charmer, Hugh Grant. Director Paul King, his F/X people and Ben Whishaw’s voice-work bring Paddington to life wonderfully, but the actors who surround him are equally important in casting this film’s lovely spell. Grant in particular is positively shameless and absolutely fabulous, a villain for all awards seasons.

5. "Amazing Grace"

This Sydney Pollack-helmed concert recording sat in Warner Bros. vault for decades before being shepherded into a finished product by a tireless Alan Elliott. And what a product it is: One of the greatest music documentaries ever made, starring a young, radiant, resplendent and transcendent Aretha Franklin returning to her gospel roots to make a joyful noise unto the Lord. The resulting album was the biggest gospel release of all time. But listening to it is nothing like seeing it performed live, complete with choir and appearances by the Holy Ghost. It only took 46 years to see Re in all her glory, but it was definitely worth the wait.

4. "Black Panther"

WAKANDA FOREVER!! Pick any aspect of this Marvel marvel and you’ll find excellence. Whether it’s Ruth E. Carter’s dynamic costumes, the eye-popping cinematography by Rachel Morrison, the rousing score by Ludwig Göransson featuring Kendrick Lamar, or the unapologetically Afrocentric world building inherent in the Ryan Coogler Universe, you can’t go wrong here. You’ll cheer for the protagonists led by Chadwick Boseman’s T’Challa, his tech-savvy sister Shuri (Letitia Wright) and the Dora Milaje. You’ll hiss at the complicated villain Killmonger, played in spectacular fashion by Coogler’s Robert DeNiro, Michael B. Jordan. And if you’re a brown kid holding out for a hero, you’ll beam with a pride that’ll burn brighter than a thousand suns.

3. "BlacKkKlansman"

Spike Lee’s angry, funny, funky and explosive retelling of the life of Ron Stallworth takes a sledgehammer to D.W. Griffith’s “The Birth of a Nation” and the racist beliefs it celebrated, beliefs that unfortunately still exist today. Stallworth’s infiltration of the Ku Klux Klan is milked for its comic potential, but underneath it all is a fascinating interrogation of identity and the repercussions that arise when that identity is marginalized. While John David Washington’s Stallworth gets the laughs with phone calls to a clueless David Duke (Topher Grace), it’s Adam Driver’s Flip Zimmerman who earns most of the film’s introspection. The powerful real-life coda is Lee at his most brilliantly political, challenging those who’d disavow the crazier aspects of his story by showing just how scary and accurate they actually are.

2. "If Beale Street Could Talk"

Barry Jenkins’ beautiful and haunting adaptation of James Baldwin’s 1974 book captures the author’s voice and spirit while simultaneously evoking its director’s trademarks and influences. Jenkins has several arrows in his quiver—the brilliant actress known as Regina King, James Laxton’s tactile cinematography, Nicholas Brittell’s delicate music—each of which hit the intended bullseye. KiKi Layne and Stephan James are superb as the couple who anchor this Harlem-set romance, tenaciously holding on to their relationship while injustice threatens to tear it apart. Jenkins maintains Baldwin’s matter-of-fact storytelling, which makes the characters’ joys all the more rapturous and their tragedy that much more shattering.

1. "Blindspotting"

This fearless exploration of the complex, messy, and complicated qualities of interracial friendship should be garnering all the attention currently reserved for the simplistic and insulting “Green Book.” Screenwriters and co-leads Daveed Diggs and Rafael Casal have a lot to say about rapid gentrification, racial stereotypes, police brutality and the type of friendly alliances that are as potentially dangerous as they are life-saving. The two leads are fantastic, and director Carlos López Estrada successfully navigates tonal shifts with a visceral, reckless abandon. It ends with a powerful monologue by Diggs that’s the most daring thing I saw in 2018.

from All Content https://ift.tt/2LhyEm4

[goarticletec-blog]

Beautiful Alfonso Cuarón movie Roma brought back my own childhood

New Post has been published on https://www.articletec.com/beautiful-alfonso-cuaron-movie-roma-brought-back-my-own-childhood/

Beautiful Alfonso Cuarón movie Roma brought back my own childhood

Yalitza Aparicio as Cleo (left), Marco Graf as Pepe and Daniela Demesa as Sofi in Roma, written and directed by Alfonso Cuarón. 

Alfonso Cuarón

I saw the movie Roma by Alfonso Cuarón intending to peek into the memories of his childhood in Mexico City.

When I left the theater, though, I had an intense need to look into my own.

In the late ’60s and early ’70s, Mexican youth fought on the streets of the capital for democratic change, civil rights and freedom of expression. On Oct. 2, 1968, the protests ended in the violent siege of Tlatelolco Plaza that left hundreds dead, but the demise of the movement came in 1971 (the year I was born) with El Halconazo, when government-trained paramilitaries beat up and killed demonstrators during a march in Mexico City.

It’s in this time and place Roma unfolds. The movie, a deeply personal masterpiece of storytelling and cinematography, opened in select theaters this week and will stream on Netflix starting Dec. 14. (Read my review of Roma in Spanish here.)

Roma is based on Cuarón’s childhood memories. In the film, the father leaves the family and the mother struggles to make sense of her new social and practical realities. There are four children and a grandmother, but the movie is really about their servants, Cleo (a fantastic Yalitza Aparicio) and Adela (Nancy García García). They both speak Mixtec, a language spoken in Central and Southern Mexico. “Stop speaking funny,” the youngest kid tells Cleo at the beginning. “I don’t understand you.” This foreshadows what’s to come.

Cleo is the emotional, practical problem solver: She cooks, cleans, does dishes, puts the kids to sleep and lets the matriarch (an excellent Marina de Tavira) blow off steam whenever she needs to.

In the film’s most heart-wrenching scene, we see El Halconazo through Cleo’s eyes. She’s pregnant and witnessing the violence in the streets from a furniture store when her water breaks and she’s taken to the hospital. A receptionist there asks the grandma for Cleo’s full name. “I don’t know her full name and I don’t know where she’s from,” she answers, crying. The transition from national to personal turmoil represents some of the most intense, impactful 20 minutes of cinema I’ve seen in a long time. 

Shared memories 

For many, growing up in the Mexican middle class meant living in a delicate bubble. While we waited for the implosion, we lived with privileges reserved for the aristocracy, but on a more modest scale. That meant we had domestic workers — nannies, cooks and in some cases even chauffeurs — but they were paid menial salaries with no benefits, lived in our homes in miniature bedrooms, cooked dinner late at night and woke up early the next day to have breakfast ready. In return for the lack of compensation, the Mexican middle class treat their workers “as family.”

Roma, in many ways, reminded me of my neglectful obliviousness. I feel mortified and regretful. 

My Cleo was Mari, my grandmother’s cleaning lady, a strong, fair-skinned woman who lost three fingers when she was a kid in separate accidents with a pair of scissors and a firecracker. Every time I went for a visit, she’d make my favorite lime pie. She’d also cook pozole soup, and it was particularly exquisite because she’d clean each kernel of hominy by hand, meticulously extracting its black spots. I don’t remember Mari’s last name, though I was able to visit her in her village as an adult. Her home was furnished with objects she inherited from my grandmother. 

Mari was “like family,” and yet she wasn’t. Growing up, the expression “like family” drove me crazy because of its inherent injustice. “They have their own family, and would rather be with them,” I’d argue. But I don’t remember how many brothers and sisters she had, anything about her parents or where she grew up. Roma, in many ways, reminded me of my neglectful obliviousness and made me feel mortified and regretful of not acknowledging Mari enough. 

In The Labyrinth of Solitude, an incisive and piercing essay about what it means to be Mexican by Nobel Prize winner Octavio Paz, the author describes hearing a noise in his home. “Who is there?” he asks. “I was answered by the voice of a servant who had recently come to us from her village,” he writes. Her reply: “No one, señor. I am.” She’s a Nobody who doesn’t want to call attention to herself, who does what she needs to do, just like Roma’s Cleo.

Someone who denies another human being their right to be, Paz writes, “is also changed into a Nobody.”

Cuarón, who won an Oscar for best director for Gravity in 2014, and who wrote, produced, directed and even did the cinematography for Roma, dedicated the film to Libo, his childhood nanny. In doing so, he not only acknowledges who she was and what she meant to him, but also reasserts that Libo was Somebody. By doing that, Cuarón makes himself a Somebody too.

Cuarón has said he waited to have the emotional maturity to make this movie. It’s perhaps his most personal yet, so it makes sense the director would also take total control of the camera instead of recruiting his regular collaborator, three-time Academy Award winner Emmanuel “El Chivo” Lubezki. He details his memories breathtakingly, filming in black and white: water running on the floor when Cleo sweeps the garage; slow-moving airplanes flying through a gray sky; the family watching TV together with Cleo sitting on the floor.

Alfonso Cuarón directs a scene from Roma, coming to Netflix in December after opening in theaters. 

Carlos Somonte/Netflix

La Roma of Roma

One of the main characters in the film is the neighborhood itself. I grew up 15 miles north of Mexico City in a suburb called Satélite. But my first job was in Colonia Roma, the neighborhood that gives the movie its name.

The movie reminded me of the era’s massive American-made cars, like the Chrysler Imperial or Valiant Acapulco shouldering past the minuscule and omnipresent Volkswagen Beetles crowding the roads. It also evoked the sprawling movie theaters surrounded by peddlers, who sold everything from strange-looking plastic Superman and Batman toys to multicolored balloons in indistinguishable forms. But it’s the neighborhood that’s the center of it all.

La Roma is near downtown Mexico City. Its main boulevard, Álvaro Obregón Avenue, is lined with trees amid big neo-colonial and Art Deco houses. Many of the old structures have been replaced by 20-story buildings with mirrored facades, and traffic today among its tight avenues is relentless, like in the rest of the city.

La Roma, the epitome of bourgeois, was battered twice on an ominous day: Sept. 19. In 1985 and 2017, powerful earthquakes rattled the city, and La Roma was one of the most affected areas with hundreds of multiple-story buildings crumbling. As a character, the neighborhood fits perfectly in the narrative about growing up middle class in Mexico. It’s a seemingly idyllic place, with a modern and European feel, but lies in the center of a city that still struggles with its identity as the former Aztec capital, the hub for Spanish colonial exploits and, today, the epicenter of Mexican hipsterism.

Like La Roma, the Mexican middle class also has a conflict of identity. 

In general, middle-class Mexicans are convinced we’re part of the solution. La Roma is home to many bureaucrats, professionals and intellectuals close enough to power to wield influence, but far enough away to avoid being tainted by rampant corruption. But our little secret is that we’re also part of the status quo, especially when it comes to exploiting others for meager pay and questionable living conditions. According to the National Institute of Statistics and Geography of Mexico, of the 2.48 million domestic workers in the country, 90 percent are women.

While Roma is about Cuarón’s memories, it forced me to squeeze my brain and remember my hometown, Mari and all the women who helped take care of me and my family along the way. I am thankful for all the memories, and the personal reckoning, it sparked — the reason I am planning to see the film again.

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[theconservativebrief]

A great movie is never just about its story. It’s about how that story is told, and particularly how it’s seen by the audience.

The best filmmakers know how to subtly guide our gaze toward what matters and hold it there, beckoning us to see what we might otherwise miss. In other words, great movies make us pay attention in a way that we often fail to do in our everyday lives.

That’s what Alfonso Cuarón does in Roma, and it’s with a mission. The film is personal for the director, who modeled its main character, Cleo, on a woman who worked for his family and raised him. The love for her that he brings to the screen, and the care and respect he pays her as the center of the film, is unmissable.

And in making Roma so visually rich and compelling, Cuarón is asking us to pay her the same respect — to slow our hearts, set aside expectations, and let the film speak for itself. Roma is a feast, crafted for those who are willing to pull up a chair and take part on the feast’s own terms.

Cuarón’s career is diverse and celebrated; after his 1991 debut, the Mexican film Sólo con Tu Pareja, he quickly migrated to movies that proved to have broad audience and critical appeal: A Little Princess (1995), Great Expectations (1998), Y Tu Mamá También (2001), Harry Potter and the Prisoner of Azkaban (2004, widely considered the best of the Harry Potter adaptations), Children of Men (2006), and Gravity (2013). He’s worked on documentary and TV projects as well, and has been showered with awards, including two Oscars and four more nominations.

In all his films, Cuarón exhibits a careful attention not just to the narrative aspects of his storytelling but to how that storytelling is shaped by what the camera sees. Often, he works with legendary Mexican cinematographer Emmanuel Lubezki (the two have known each other since they were teenagers), and the results are frequently unforgettable. Think of the heightened magical realism of A Little Princess, the extraordinary long takes in the painfully relevant Children of Men, or the weightless vertigo feeling of watching Gravity.

Roma is set in Mexico City in 1971. Carlos Somonte/Netflix

Roma feels both like the culmination of his career to date and something quite different. That is in part because, though Lubezki and Cuarón had planned to collaborate once again, scheduling problems led Lubezki to encourage his friend to not just write and direct the film but serve as its cinematographer as well.

The results are stunning. Shot in black and white and set around 1971, Roma — named for the Mexico City neighborhood in which Cuarón was raised — begins with a long, unmoving shot from above. The camera locks on a stone driveway as water is splashed across it, then a broom is pushed back and forth, washing the stones. The opening credits appear superimposed on this background, and it doesn’t change till they’re finished rolling.

Soon we find out the broom is pushed by Cleo (newcomer Yalitza Aparicio), who works for a well-off doctor (Fernando Grediaga), his wife Sofia (Marina de Tavira), her mother Teresa (Verónica García), and their four young children in Mexico City. Cleo lives in a room above the garage with Adela (Nancy García García), the family’s other domestic employee. The doctor is about to go on a work trip, and Sofia seems worried about whether he even intends to return. The children are rambunctious and full of questions, and the house bustles with life from dawn, when Cleo awakens the children, until dusk, when she turns off the last few lights.

Every bit of the house and the world around it is rendered in exquisite detail, and quietly; there’s no soundtrack to Roma, but the impeccable sound design puts you right into every scene. Often, Cuarón positions the camera in the center of a room and lets it rotate slowly, tracking with Cleo as she moves about the house, which is bursting with books and art and furniture and decorations that sketch out the life of the family.

It is not, strictly speaking, Cleo’s world — the divide between her roots in a poor village miles away and the family’s comfortable life are always starkly present. Even the way the characters talk underlines this fact; with the family, Cleo and Adela speak Spanish, but between themselves, they speak an indigenous dialect of Mixteca, from their home village. (The switches between the two are delineated in the onscreen captions for English speakers.)

But the subject of the movie isn’t the class contrast alone. Instead, it’s the way the domestic and the social collide, the way individuals’ lives play out in quotidian ways against the backdrop of much bigger happenings.

Marco Graf, Daniela Demesa, Yalitza Aparicio, Marina De Tavira, Diego Cortina Autrey, and Carlos Peralta Jacobson in Roma, written and directed by Alfonso Cuarón. Carlos Somonte/Netflix

Those happenings include social unrest, whispered conversations about land grabs, fires mysteriously appearing on a wealthy hacienda at Christmas, and the 1971 Corpus Christi massacre, when a shock group trained by the government attacked student demonstrators.

It would reveal too much about the story of Roma to describe how those events become part of Cleo’s world, but the film keeps her in the foreground even when Cuarón aims to show us what’s going on in the world outside the family’s home. (The mind boggles at the idea of staging these scenes, and how many extras were required.) The objects that fill her field of view often fill the screen too: a piece of broken pottery, a candle on the floor, the children’s toys scattered on the floor, the water she scrubs across the stones.

With Cleo at its center, Roma’s story takes on a meditative tone. Aparicio had never acted before this film, but she had worked as a domestic employee, as had her mother and other female relatives. That personal history is something she’s talked about in interviews,explaining that she drew on her lived experience when portraying Cleo’s life.

Often, Aparicio and Roma’s other cast members wouldn’t receive scripts from Cuarón until a day or so ahead of shooting, so they were discovering their characters in real time, and it shows in the authenticity of their emotions. If you’re not paying attention, Cleo could appear passive. But there is plenty happening below the surface, most often revealed by Aparicio’s expressive eyes.

Roma is at times quite funny, always in a way that builds out its world more richly (a recurring gag with a car that’s barely able to get into the driveway turns into something more substantial later in the film). But it’s also a serious drama with aching scenes of loss, and one that places women at the center of the world, amid men who are often so carried away by passion or ego that they are essentially useless, or worse.

And given how closely Cuarón modeled Roma on his memories, the film thus serves as a testament to the women who raised him and populated his world. While all these frightening things were going on in the larger country around them, they kept on, choosing to rebuild after tragedies, raising children, sustaining a sense of wonder.

Roma makes space for contemplation. Alfonso Cuarón/Netflix

One of the best things a movie can do is force us to settle down, quiet ourselves, and live inside someone else’s experience for a while. And Roma is a shining example of a film that succeeds in that endeavor, focusing on the primary element that sets cinema apart from other artistic mediums: It is visually immersive and richly textured both in its visuals and its sound.

That’s why, even though Roma was produced by Netflix and will begin streaming on the platform just three weeks after its theatrical release, the film is worth seeing in a movie theater if it’s playing near you. There’s something particularly absorbing about the seemingly endless detail layered into the film — and giving it as much attention as you can respects not just the art form but the people at its heart, and the love Cuarón bears for them too.

Roma opens in select theaters in Los Angeles, New York, and Mexico on November 21 and will gradually roll out in the US and abroad in the weeks following. It also premieres on Netflix on December 14.

Original Source -> Roma, from celebrated director Alfonso Cuarón, is one of the year’s best movies

via The Conservative Brief

[weekendwarriorblog]

WHAT TO WATCH THIS WEEKEND  October 5, 2018  -  Venom, The Star Is Born, The Hate U Give

Going to change things up again this week as we get into October, because I want to give special attention to a film called THE HATE U GIVE (20thCentury Fox), which is opening in select cities this weekend but will expand nationwide on October 19.

In this adaptation of Angie Thomas’ book (which I haven’t read), Amandla Stenberg plays Starr Carter, a teen girl living a dual life with her family in the primarily black Garden Heights community and when hanging out with her bratty white high school friends who are always trying to act “ghetto” around her. At home, Starr has loving parents, Maverick and Lisa (Russell Hornsby, Regina Hall), a younger brother Sekani and half-brother Seven. When Starr sees her childhood friend Khalil (Algee Smith) shot by a white police officer, she’s unsure whether she should come forward and testify. Her police officer uncle Carlos (Common) doesn’t think so, especially since Khalil might have involved with Maverick’s old crime-boss King (Anthony Mackie), who wouldn’t want his business known to the police.

It seems like a fairly simple plot derived from the #BlackLivesMatter movement, but there’s so much more to the movie than the ongoing battle between the police and the poorer communities they patrol.  In many ways, Starr is dealing with an identity crisis that I imagine   many African-Americans must face, having to be one way around white friends and co-workers and another way at home or with their family.

Besides the fact that this is Stenberg’s third movie this year where she had a hunky white boyfriend, she is so much better in this than her other films because she brings a playful energy to Starr that makes you want to follow her story.

Audrey Wells adapted Thomas’ book into a fantastic screenplay and director George Tillman Jr., whose filmography includes oddities like the biopic Notorious and Dwayne Johnson’s Faster, really directs the hell out of this movie

There are so many great scenes including one between Stenberg and Common where they have an honest talk about the different sides of what might seem like a cut-and-dry case of police racism.

The Hate U Give (which is derived from Tupac’s “T.H.U.G. L.I.F.E” motto that “the hate u give little infants effs everyone) is a movie that shares an important message without hitting you over the head with it ala Spike Lee’s BlacKkKlansman or some of the other films in the oeuvre release this year.

I guess my only misgiving about the film is that it goes on a little long, offering a few satisfying scenes that could have easily ended things there, but then continuing with a full-scale riot when tempers explode after the trial of Khalil’s murderer.

In my opinion, this is up there with some of the best movies I’ve seen this year, and only slightly behind A Star Is Born (review below) this week. While on the surface, it might not seem like a movie that would appeal to everyone, it works on so many levels, including as a straight-up coming-of-age film (and by now, you all should know how much I love those).

Rating: 8.5/10

The Hate U Give is kind of the Hollywood version of the #BlackLivesMatter story, but if you’re looking for something a little more grounded in reality, you should check out Reinaldo Marcus Green’s Monsters and Men (Neon), which is now playing in select cities. I got a chance to rewatch it this past week, and I was just as impressed as when I saw it at Sundance.  BlacKkKlansman star John David Washington is particularly impressive, again playing a police officer.

We now return you to the regularly-scheduled movie preview column after the jump…

This might surprise some but not others that this coming October is offering some of what might be the best films of the year, between this week’sA Star Is Born and The Hate U Give to next week’s First Man and Bad Times at the El Royale. We’re living in exciting times!  

VENOM (Sony)

In what looks to be the second to last “superhero” movie of the year, Sony is finally making a movie dedicated to Spider-Man’s arch-nemesis who later became a hero, hoping the fans will forget all about the awful version of Venom from Spider-Man 3.  A big selling point for the movie is that it returns Tom Hardy to the comic book world after playing Bane in Christopher Nolan’s The Dark Knight Rises, and he better hope fans like his Eddie Brock/Venom more than they did his strange-sounding villain.

Hardy has been laying low recently, his last film being Nolan’s Dunkirklast year in which the actor was barely recognizable as a WWII jet pilot. It was two years before that when he appeared in Inarritu’s Oscar-winning The Revenant, the crime-drama Legendand George Miller’s long-awaited (and also multiple Oscar nominee) Mad Max: Fury Road.  In the years following The Dark Knight Rises, Hardy has also starred in a number of smaller films that haven’t gotten much traction, so it’s odd to see him returning to superheroes only six years after playing Bane.

Venomalso brings director Ruben Fleischer back into the Sony fold after directing the horror-comedy hit Zombieland and the comedy 30 Minutes or Less, although Fleischer has been focusing on television in the last five years since the Ryan Gosling crime-drama Gangster Squad. Neither of the latter two movies did as well as Zombieland, and it definitely feels like he has something to prove with Venom.

Unfortunately, people have already been vocally pessimistic about the movie ever since the first trailer didn’t bother to actually show Venom, and things got even more questionable after seeing Venom in a rather awkward longer trailer.  Much of the movie’s success is going to depend on whether reviews totally trash the movie or whether some critics actually like what Fleischer and Hardy are doing. So far, the RottenTomatoes reviews are at 28% Fresh, pointing more to the former, but one wonders if curious fans will still give the movie a chance.

Some have suggested Venom could open with over $60 million but I’m going a bit lower with around $55 to 57 million and $130 million or so total domestic. What’s interesting is that the opening range for the movie puts Venom into consideration to become the top October opening over Alfonso Cuaron’s Gravity, which opened with $55 million a few years ago. Regardless of whether it sets a new October opening record or not, I expect a fairly large drop after its opening weekend just because the fans will rush out to see it and then move onto other things.  Expect this to end up around $125 million domestic, which is not great, probably not enough for a sequel unless the movie surprises internationally.

Mini-Review: I’ve never been a huge fan of Venom as a comic book character. He always seemed a little one-dimensional to me, even as other writers/artists tried to flesh him and his host Eddie Brock out. (So far, Donny Cates’ take on Venom is well worth reading.)

I’m going to assume you know something about the character, his history as a Spider-Man costume-turned-villain and then how he became a hero. It’s obvious Tom Hardy and director Reuben Fleischer were making a movie for fans of the character who were disappointed with his handling by Sam Raimi in Spider-Man 3, and for the most part, it’s fairly faithful other than any references to Spider-Man.  In fact, the whole story has  been moved to San Francisco, as to avoid any other Spider-Man comparisons.

In this case, the symbiote comes down to earth in a space shuttle made by the Life Corporation run by an Elon Musk-type CEO named Carlton Drake (Riz Ahmed), and Drake does experiments on the homeless to try to make them hosts for the alien creatures. Tom Hardy plays investigative reporter Eddie Brock, a big-time loser who loses his lawyer girlfriend (Michelle Williams) when he snoops into a case against Drake. While investigating at the Life Corporation, one of the symbiotes takes to Brock, and you can probably guess what happens.

Although this is a straight-up origin story in the simplest terms, some things just don’t work and there are definitely issues, the first being the often silly screenplay that is constantly on the border of veering into campy Nicolas Cage territory. Much of that is due to Hardy, who plays off the silliness of the schizophrenic nature of the character,

On paper, Venom could have easily been a terrifying R-rated horror film with lots of gore, but trying to keep it at PG-13 means that Fleischer makes it more of an action-comedy, and there is enough decent action scenes and quirky humor to keep things entertaining.

Probably one of the things that makes or breaks any comic book movie is the CG visual FX and Fleischer’s hefty team of animators does a decent job making Venom watchable with long black tendrils that reminded me of the video game Prototype (one of my first Xbox games). Things do get a little messy when a counter-symbiote is introduced named “Riot” is introduce and the end battle has some of the same problems as the Ed Norton The Incredible Hulk in that it just doesn’t deliver.

Even so, if you ARE a fan of the comic character, you should be pleased with this incarnation just as those unfamiliar with the character from the comics will probably find the movie and Hardy’s performance to be off-putting. The film never deteriorates to the point of being a Catwoman or Fantastic Fourlevel trash fire, though. Despite some tonal issues, it’s often fun and entertaining, especially the action scenes, and if nothing else, there’s an end credits scene that will make people (esp. Venom fans) hope this movie does well enough to warrant a sequel. Rating: 6.5/10

Venom is going to have a lot of strong competition for older moviegoers and women of all ages with...

A STAR IS BORN (Warner Bros.)

This wasn’t even remotely one of my more anticipated movies of the year until it started getting rave reviews out of the early September festivals, but I’m sure it would have gotten a lot of attention for being Bradley Cooper’s directorial debut, even if it seems like a shoe-in to win lots of awards over the next few months.

Obviously, this is a remake of a movie that dates back to the 1937 movie starring Fredric March and Janet Gaynor, which was nominated for 8 Oscars, winning for its story (as opposed to its screenplay). It was remade in 1954 with Judy Garland, and that was nominated for six Oscars and then again in 1974 with Barbra Streisand and Kris Krisstoferson, and that also only won one Oscar out of four nominations. Can Bradley Cooper’s version possibly break the “jinx” and make a movie that wins more than one Oscar? I think so.

Cooper has mostly been taking time off of acting to direct A Star Is Born, merely providing the voice of Rocket in last year’s Guardians of the Galaxy Vol. 2 and this year’s Avengers: Infinity War. He kind of hit a bit of a downturn in the years following his enormous hit American Sniper for Clint Eastwood, which grossed $350 million and got Cooper his third and fourth Oscar nominations. (Cooper has already been earmarked for a number of Oscar nominations for A Star is Born, for acting, directing and possibly even for writing some of the film’s songs.) Neither of Cooper’s 2015 movies with Jennifer Lawrence (Serena and Joy) did as well as their first two movies together with David O. Russell, Silver Linings Playbook and American Hustle. Cooper’s movies with Cameron Crowe (Aloha) and his cooking movie Burnt also didn’t do very well. Even so, Cooper had already been elevated to the A-list as an actor

The real ringer for Cooper’s debut is casting Lady Gaga in the role of Ally, the lounge singer who Cooper’s Jackson Maine discovers and falls for, because Lady Gaga has such an enormous diehard fanbase that even the younger girls might not be discouraged by the film’s soft-R rating. (Honestly, I still have to question the MPAA who gives this an R and Venom a PG-13 when there was WAY more swearing in that one.) Anyway, Lady Gaga is pegged to be nominated for an Oscar for her performance and probably one of her songs, too,

Another one of the films ringers is comedian Dave Chapelle, who basically just appears in one section of the movie but Warner Bros. wisely has cut a second trailer featuring him to play in movies like Night School in hopes of appealing to some of the African-American audiences that will see this movie as very white bread. More importantly, it stars Sam Elliot as Jackson’s older brother who has many great scenes with Cooper and is likely to be nominated for his first Oscar for it. (He should have been nominated for last year’s The Hero if you ask me.)

There are many easy comparisons for A Star is Born from Eminem’s 8 Mile ($51.2 million opening, $116m total) and the Johnny Cash biopic Walk the Line ($22.3m opening, $119m total). There’s certainly the hype that came with 8 Mile going into opening weekend and Cooper certainly has enough box office pull, but the fact that this is a remake might already make some older audiences wary. At the same time, Gaga and Cooper’s modern take on the age-old story is likely to appeal to younger audiences, as will the music that runs a wide gamut of country rockers and ballads, including a couple that will likely be nominated for Oscars.

The good news is that the movie has been receiving rave reviews since it premiered at Venice and then played Toronto shortly afterwards.

This is the thing. I think A Star Is Born is going to do very well this weekend, probably more than $40 million, but I think it’s really going to kill in the weeks to come as word-of-mouth and repeat viewings pushes the movie up over the $150 million mark. If the movie plays as well as I think it does, I wouldn’t even be surprised to see it approaching $200 million once it re-expands to take advantage of inevitable awards.

Mini-Review: It’s been more than a minute since I saw the Barbra Streisand/Kris Kristofferson A Star Is Born, so I’m not too adverse to a fourth remake, as much as I was concerned about a movie featuring an actor I’m so-so on and a pop singer whose work I never really cared for. Imagine my surprise when I found myself enjoying the film almost immediately as we see Bradley Cooper’s Jackson Maine performing on stage with the very loud live music coming from the Dolby sound system where I saw the movie.

Maine is an alcoholic so after the show he goes looking for a bar, winding up at a drag night of one local watering hole where it just so happens that Lady Gaga’s Ally is performing “La Vie en Rose” (maybe a nod to another Oscar-winning actress?). He’s immediately enthralled and goes backstage to meet her, and the two immediately hit it off, hanging out and learning more about each other. Ally immediately starts enjoying the perks of Jackson’s fame as he flies her to one of his concerts and pulls her up on stage to perform the song “Shallow.”

Things progress from there as Ally becomes famous from a video of her performance with Jackson. After one show, Ally is approached by a manager-type who wants to make her an even bigger star, and he proceeds to do what happens too many times in the music industry where he tries to transform her into some pop diva that’s

I really enjoyed seeing the romance and relationship between the two leads evolve, because Cooper’s Jackson Maine is quite a smooth-talker, even if he’s slurring most of his words. Gaga is also impressive, likely bringing some of her own struggles in the music business to the role. On top of that, the supporting cast, including Sam Elliot as Jack’s older brother and Andrew Dice Clay as Ally’s Dad brought a lot to the mix as Cooper ably balances the film’s tonal shifts from heavy drama to lighter moments.

Things do get a little bit predictable during the second act as Ally’s star begins to rise while Jackson’s starts to crash and burn, and he’s unable to accept how she’s becoming more successful than him, as his career begins to stagnate. He stops drinking, then starts drinking again and things just get worse and worse, as he seems to be hindering her career. The film’s last act is a stunner as Jack tries to get his alcoholism in check and Ally’s star continues to rise, making it obvious something’s eventually going to give.

A Star Is Born is an impressive debut from Cooper, not only for his direction but also how he elevates himself as an actor to keep up with his perfectly cast co-star. That’s not even considering that he co-wrote many of the film’s gorgeous songs. I enjoyed this film far more than I thought I would, and I know that I won’t be the only person seeing it multiple times.

Rating: 9/10

Venom shouldn’t have a problem taking the top spot although we’ll have to see whether negative reviews manage to keep the fans away. Either way, it will beat A Star is Born on Thursday/Friday but then the latter will pick up steam, bearing in mind that Monday is Columbus Day so there’s no school and government offices are closed, which could help some of the returning movies, as well.

This week’s Top 10 should look something like this…

1. Venom  (Sony) - $55.6 million N/A 2. A Star is Born  (Warner Bros.) - $42.5 million N/A 3. Night School  (Universal) - $15 million -46% 4.Smallfoot  (Warner Bros.) - $14.5 million -37% 5. The House with a Clock in its Walls  (Universal) - $7.3 million -40% 6. A Simple Favor (Lionsgate) – $4 million -38% 7. The Nun  (New Line) - $3 million -54% 8. Crazy Rich Asians  (New Line) - $2.7 million -35% 9. Hell Fest  (CBS Films/Lionsgate) - $2.2 million -57% 10. The Predator (Fox) – $1.7 million -57%

LIMITED RELEASES

Other than The Hate U Give, this weekend is kind of a mixed bag for limited releases, since I haven’t watched as many of these as I probably should.

Almost a year after it premiered at the Toronto Film Festival, Fernando Leon de Aranoa’s LOVING PABLO (Universal Pictures Home Entertainment) starring Javier Bardem as the Colombian drug lord Pablo Escobar as it follows his rise to power while in a love affair with Colombian journalist Virgina Vallejo, played by Penelope Cruz. The film is based on Vallejo’s book, and it’s opening at around 15 theaters across the country.

Filmmaker Peter Bogdonavich pays tribute to the great silent film Buster Keaton with Buster Restored (Cohen Media Group), which combines footage from Keaton’s silent comedies with interviews by those he’s inspired including Mel Brooks, Quentin Tarantino and Johnny Knoxville. It opens at the Quad Cinemaon Friday along with a small Buster Keaton retrospective and then opens at the Landmark Nuarton Oct. 19

Matt Tyrnauer follows his recent doc Scotty and the Secret of Hollywood with Studio 54, opening at the IFC Center Friday. It looks at the New York nightclub that was the place to be seen between 1977 and 1980 but was exceedingly hard to get into as its popularity and notoriety rose. Tyrnauer was given incredible access to the man-behind-the-club Ian Schrager, who tells the story of Studio 54 for the first time. After a number of showings at IFC Center with Tyrnauer in attendance, Studio 54 will then open at the Landmark Nuart in L.A. on Oct. 12.

Opening at the Film Forum in New York is Joseph Dorman and Toby Perl Freilich’s Moynihan (First Run Features), a portrait of former New York Senator Daniel Patrick Moynihan who tried to contend with poverty and racism in the greatest city in the world. (The latter bit is my own personal opinion. I haven’t seen the movie.)

Not to overshadowed by Bradley Cooper, Cuba Gooding Jr. stars and makes his directorial debut in Bayou Caviar (Gravitas Ventures), which stars Richard Dreyfuss as a Russian gangster who hires Gooding’s former boxer to take down an associate’s son-in-law with a scandalous tape. It also stars Famke Janssen, Katherine McPhee, Ken Lerner and Lia Marie Johnson.

Bella Thorne and Jessie Usher star in Jeremy Ungar’s Ride (RLJE Films) with the latter playing James, a struggling actor who drives people around L.A. for a ride-sharing service. The job gets slightly better when he hits it off with the beautiful Jessica, but the two of them are then taken on a crazy joy ride by another fare.

Following its run on DirecTV, Trevor White’s A Crooked Somebody (Vertical/DirecTV) stars Rich Sommer as a medium who goes against the advice of his minister father (Ed Harris) trying to call forth the dead, only to be idnapped by someone who desperately wants to make contact with the dead.

Terence Stamp and Ann Demetriou stars in David LG Hughes’ Viking Destiny (Saban Films/Lionsgate), the latter playing a Viking princess who is forced to flee her kingdom after her king father (presumably Stamp) is murdered, so she travels the world building an army to get revenge. In case you’re wondering what Game of Thrones has inspired…. wonder no more!

Michael Ironside stars in Michael Peterson’s horror film Knuckleball (Freestyle Digital Media) about a 12-year-old who finds himself alone on an isolated farm after his grandfather dies. (I assume Ironside plays the latter.)

I also don’t know a ton about Eugene Kotlyarenko’s Wobble Place (Breaking Glass Pictures), which has an exclusive run at Metrograph starting Friday with the filmmaker in attendance for a few screenings. Best I can do to describe this is to share the odd trailer…

This week’s Yash Raj Films offering is Abhiraj K. Minawala’s Loveyatri, a love story set during the 9-day festival of Navrati, starring Aayush Sharma and Warina Hussain, a romance which almost comes to an end as she travels back to the UK leaving him in India.

Filmmakers Jukka Vidgren & Juuso Laatio’s Scandinavian cult-comedy Heavy Trip (Doppelgänger Releasing/Bloody Disgusting) will open in select theaters Friday before going to VOD on Oct. 12. It stars Johannes Holopainen as a guy stuck in a small Finnish village who is also the lead singer of metal band Impaled Rektum, a band who hasn’t played a single gig in 12 years until they’re booked to play a Norwegian festival.

And speaking of which, Bloody Disgusting’s Retro Nightmares continues with a double feature of Amityville: The Evil Escapes & Amityville: It’s About Time on Thursday Oct. 4 in select cities.

Lastly,  Anthony Nardolillo’s Shine (Forgiven Films/GVN Releasing), which won the Best Feature award at the 2017 Urbanworld Film Festival, comes out Friday, starring salsa dancersJorge Burgos and Gilbert Saldivar as two brothers who find themselves on opposite sides of the gentrification hitting East Harlem.

STREAMING

The only major new film streaming on Netflix is Tamara Jenkins’ new film PRIVATE LIFE, which premiered at Sundance and just played the New York Film Festival. It stars Kathryn Hahn and Paul Giamatti as a married couple who have been trying to have a baby and start looking at alternative methods after fertility treatments aren’t working. Jenkins is the Oscar-nominated screenwriter of 2007’s The Savages, starring Laura Linney and the late Philip Seymour Hoffman. (The movie also opens at the IFC Center in New York and at a theater in L.A.)

REPERTORY

METROGRAPH (NYC):

I’m pretty excited about my local theater’s latest series, an Albert Brooks retrospective that runs between Friday and Tuesday and including some of his classics like Modern Romance, Lost in America, Mother, Defending Your Life,Real Life and a program of SNL shorts.

FILM FORUM (NYC):

Alain Resnais’ 1974 film Stavisky, featuring music by Stephen Sondheim, gets a restoration, which opens here on Wednesday.

EGYPTIAN THEATRE (LA):

Beyond Fest 2018 continues with a double feature of Flash Gordon and the West Coast premiere of the doc Life After Flash. Thursday sees a double feature of The Monster Squad and the new documentary about the movie called Wolfman’s Got Nards. Beyond Fest will then wrap on Saturday with a TRIPLE feature of Black Christmas and Halloween from 1978, as well as the brand-new Halloween weeks before its nationwide release.

AERO  (LA):

American Cinemateque’s other L.A. theater continues its own Beyond Fest Tribute to Cronenberg with a double feature of the director’s Crash and Spider on Thursday night. It also begins the series The Life of Reilly, as in John C. Reilly, with a double feature of Chicago and Step Brothers on Friday, and then a free screening of Reilly’s new film The Sisters Brothers on Saturday. Saturday also sees a screening of PT Anderson’s Magnolia with Reilly in person and a screening of A Grin Without a Hat (1977) to celebrate Icarus Films’ 40th anniversary.

QUAD CINEMA (NYC):

To help celebrate last week’s retrospective recipient Peter Bogdonavich’s new doc The Great Buster: A Celebration (see above), the West Village theater will also show a trio of Buster Keaton shorts, The General and other Keaton classics.

LANDMARK THEATRES NUART (LA):

Along with a program of Jean Vigo shorts, the Hollywood theater will show the new 4k restoration of the director’s L’Atalante that screened at Film Forum last week.

MOMA (NYC):

The Unknown Jerry: Home Movies and More from the Jerry Lewis Collection at the Library of Congresscontinues with  Come Back Little Shiksa (1962) and The Re-Inforcer (1951) on Friday, Fairfax Avenue (1951), and a couple features on Gar-Ron Productions on Saturday and The Bellboy (1960) on Sunday, as it continues into next week. The month-long Modern  Matinees: Vincent Price will show Edward Scissorhands on Friday afternoon.

[thegloober]

2018 Fall Movie Preview: 10 Films We’re Excited About

by Nick Allen

September 18, 2018   |  

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One strange truth about the American moviegoing calendar: the second half truly starts in September, even if that’s only four months left. But within September, October, November, and December you get a whole heap of big movies, some hoping for prestige, some box office dollars, some even both. Now’s the time where studios are showing off their big guns, whether they be crowd-pleasing awards hopefuls or recognizable tentpole properties, while select smaller distributors are throwing their brightest gems into the mix for hopes of end of the year attention. The fall season is basically “Summer: Redux,” but with the promise of flashier performances, period pieces, and a long-gestating James Cameron project. 

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To sift through this massive heap of movies, some of which we’ve seen at previous festivals like the Toronto Film Festival (click here to read all of our TIFF coverage) or the Venice Film Festival (click here to read all of Glenn Kenny’s coverage), we’re going to touch upon just a few we’re excited about. As with every time one of these lists is made, there are honorable mentions: Joseph Kahn’s “Bodied” (finally coming out on November 2), Ike Barinholtz’s “The Oath” (October 12), the documentary about Nadia Murad “On Her Shoulders” (October 19), Damien Chazelle’s Neil Armstrong movie “First Man” (October 12), “A Star is Born” (October 2), Tyler Perry’s “Nobody’s Fool” (November 2) and many, many more. Release dates are subject to change, of course. 

Below is a list of our ten most anticipated titles in what promises to be a very busy fall. We’ll be covering these films among many more at RogerEbert.com, so be sure to check back for all of our reviews. 

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10. “Bumblebee” 

I never did finish punishing myself with all three hours of Michael Bay’s “Transformers: The Last Knight,” but I still have room in my heart for a good movie based around sassy sports car Bumblebee. A big part of that has to do with the ever-burgeoning charisma of John Cena, the lighter tone this story is marketing itself with, and the new blood of director Travis Knight. It could prove to be a great refresher for a franchise that took itself way too seriously from the start, but with a character who helped kick off the first “Transformers” movie back in 2007 for a reason. “Bumblebee” stars Hailee Steinfeld, Angela Bassett, Justin Theroux, Pamela Adlon, John Cena, John Ortiz, the voice of Peter Cullen and more. (December 21) 

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9. “Mortal Engines” 

“Mortal Engines” might be the blockbuster underdog of the season, as it arrives as part of the mega-budget battle royale that is mid-December—“Mortal Engines,” “Spider-Man: Into the Spider-Verse 3D,” “Alita: Battle Angel,” “Bumblebee,” “Aquaman” and “Holmes & Watson” are all coming out in that two-week span, fighting for holiday moviegoers. So this new venture, which comes with a Peter Jackson co-writing credit as directed by one of his effects guys Christian Rivers, might be left behind if it can’t make a name for itself. I’m very on-board with the premise: a dystopia where cities are on wheels, and fighting for space. Amazing special effects are a given, but another apocalyptic hero’s journey sounds like dangerous territory all on its own. “Mortal Engines” stars Caren Pistorius, Hugo Weaving, Stephen Lang, Robert Sheehan, Jihae and more. (December 14) 

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8. “Widows” 

It’s a bit stunning to think that “12 Years a Slave” came out five years ago, and that we haven’t seen any features from Oscar-winning director Steve McQueen since then. I’m all the more excited, then, to see how he returns to feature filmmaking with this modern tale about corruption and bank heists in Chicago, featuring an incredible cast. And as a Chicagoan who kept his eye out for “Widows” sets throughout the city, I’m very curious as to what landmarks they’ll use. Did they end up using footage they shot at the bowling alley near my old apartment? “Widows” stars Viola Davis, Liam Neeson, Jon Berthal, Michelle Rodriguez, Elizabeth Debicki, Carrie Coon, Robert Duvall, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, and more. (November 16) 

7. “Destroyer” 

This project comes with two heavyweights who make for a dream collaboration: director Karyn Kusama, who freaked out audiences a couple years ago with her dinner party thriller “The Invitation,” and Nicole Kidman, who has become an instant awards favorite for her port. The supporting cast is of great promise as well: Toby Kebbell, Tatiana Maslany, Sebastian Stan, Scoot McNairy, Bradley Whitford. (December 25) 

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6. “Alita: Battle Angel” 

Even before he directed “Avatar” around ten years ago, James Cameron has been talking abut adapting Yukito Kishiro’s manga books for a groundbreaking blockbuster. But as fate will have it, it’s Robert Rodriguez who will bring this story to the silver screen, with a rumored 1,500 special effects shots and a main character who is shot in 3D among the movie’s live-action. And for a filmmaker who has made an incredible amount of movies across styles and demographics, this looks to be Rodriguez’s biggest endeavor yet. Here’s hoping that the script by Rodriguez, Cameron and Laeta Kalogridis makes this long-anticipated journey worth it. “Alita: Battle Angel” stars Lana Condor, Jennifer Connelly, Elle LaMont, Eiza Gonzalez, Michelle Rodriguez, Rosa Salazar, Christoph Waltz, Mahershala Ali, a whole lot of 0s and 1s and more. (December 21) 

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5. “Burning”

A lot of Cannes 2018 movies are going to be fighting for your attention in the upcoming months: Hirokazu Kore-eda’s “Shoplifters,” which won the Palme d’Or, Nadine Labaki’s “Capernaum” which reportedly features great young non-actors, among others. But “Burning” might have the biggest buzz, having wowed audiences in France and done it again at the Toronto International Film Festival, where it grew an even bigger, more immediate following. I don’t know much else about this movie from Lee Chang-dong, other than that it’s adapted from a Haruki Marakami short story, and that it features a great performance from Steven Yeun. Also, something about a cat? I look forward to becoming a “Burning” fan myself, hopefully I can make that happen when it plays the Chicago International Film Festival next month. “Burning” stars Ah-In Yoo, Steven Yeun, Jong-seo Jeon, Soo-Kyung Kim, Seung-ho Choi and more. (November 2) 

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4. “Overlord” 

Count me as someone who genuinely dug “The Cloverfield Paradox,” outside of its marketing strategy of a surprise Super Bowl Sunday release. My excitement about the possibilities of the “Cloverfield” franchise are nonetheless stoked for a WWII spin, as seems to be the case with Julius Avery’s gory-looking “Overlord.” From the packaging it looks like a “Call of Duty” game in monster mode, which isn’t the worst premise for a popcorn movie if you can add some sharp humor and brutal action scenes. I suspect the “Cloverfield” connections will be the cherry on top. “Overlord” stars John Magaro, Wyatt Russell, Pilou Asbaek, Bokeem Woodbine, Jovan Adept, Helene Cardona and more. (November 9) 

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3. “If Beale Street Could Talk” 

I was happily not surprised to hear that the next film from “Moonlight” director Barry Jenkins could very easily be one of the year’s best, a sentiment that rippled among reviewers after its world premiere at the Toronto International Film Festival (read Brian Tallerico’s rave for the movie here). Jenkins’ adaptation of James Baldwin’s novel of the same name, starring KiKi Layne, Stephan James, and Regina King, looks to be another display of his vital artistry. I will not be watching the trailer for this one, but I will be seeing this movie as soon as I can. “If Beale Street Could Talk” stars Layne, James, King, Colman Domingo, Teyonah Parris, Michael Beach, Aunjanue Ellis, Brian Tyree Henry and more. (November 30) 

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2. “Roma”

I have many vivid memories of seeing Alfonso Cuaron’s most recent films in theaters, laying witness to the gripping cinematography of “Children of Men” and the out-of-this-world experience of “Gravity.” I have no doubt I will be engrossed by his latest film, “Roma,” which had Cuaron acting as his own cinematographer, and telling a more personal story. This is another movie in which I only need the festival buzz (click here to read Brian Tallerico’s four-star review) to confirm that I’ll be seeing it on the biggest screen and as soon as I can. “Roma” stars Yalitza Aparicio, Marina de Tavira, Diego Cortina Aubrey, Carlos Peralta and more. (December 14) 

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1. “Vice”

Adam McKay’s followup to “The Big Short,” has been kept secret for a long while—it was earlier titled “Backseat,” and aside from a name change and some unofficial photos, not much is known about this Dick Cheney biopic, starring Christian Bale. But the success of “The Big Short,” as the rare movie that both entertained and informed about something as dry as the housing crisis, has me anticipating “Vice” with very high hopes. Not to mention that one of Bale’s very best performances came from working with McKay on “The Big Short,” a collaboration that could very recreate that magic. “Vice” stars Bale, Amy Adams, Steve Carell, Bill Pullman, Sam Rockwell, Lily Rabe, Alison Pill, Eddie Marsan, Tyler Perry, Shea Whigham and more. (December 14) 

Next Article: Shadow of the Tomb Raider Continues Modern Legacy of Beloved Character Previous Article: How the Fall Festivals Shaped the 2018 Oscar Race

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[sowhatisthisfor]

All-time favourite films

Favourite movies (rated 7-10 with 10 as the highest) watched from 2016 to present.

Updated soon after watching.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

A Separation [Asghar Farhadi, Iran, 2011] No other film has played w/ my emotions better than this one."Emotional rollercoaster" has never been truer. 10/10

Portrait of a Lady on Fire [Celine Sciamma, 2019, France] a film of magnificent visuals, intoxicating sound design, and a screenplay of jawdropping surprises – definitely on top of my 2019 movie list. 10/10

The Lobster [Lanthimos, 2015] a peculiar take on the world’s social construction of reality. Far-out yet accurate, it’s captivating. 10/10

The Handmaiden [Park, 2016] Lavish, sensual, beyond clever. Having watched and read Fingersmith won’t make this gem a tad predictable. 10/10

The Heiresses [Marcelo Martinessi, 2019, Paraguay] compellingly melancholic in its silence and uncertainty. It’s a blossoming, a self-discovery, a thorny journey towards maturity. 10/10

Parasite [Bong Joon-ho, 2019, South Korea] You can watch it in many different ways, perspective, and angle, and everything is just as clever. 10/10

Thy Womb [Brillante Mendoza, 2013, Philippines] is so painful, it doesn't shoot you straight in the head, it tortures you.. that even after watching it, your heart's still crying.

The Duke of Burgundy [Strickland, 2015, United Kingdom]  Remarkable. A film so beautiful, it’s so hard to forget. I love this too much, it’s almost haunting. 10/10 

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Carol [Haynes, 2015, United States]  a tough film w/ first-rate performances by both Blanchett & Mara that utterly make up for its minor dull moments. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Sana Dati [Jerrold Tarog, 2013, Philippines] a lost girl, a prince charming, an imperfect wedding, and an open-ended love story. I need a sequel. 8/10

Women of the Weeping River [Dayoc, 2016] This film literally left me speechless. Another Sheron Dayoc masterpiece. 10/10

Kanarie [Christiaan Olwagen, 2018, South Africa] Has one of the most poignant and critically-observed approach to self-awareness and acceptance. 10/10

The Salesman [Farhadi, 2016] Farhadi always has his way of shaking your soul, giving his audience a silent yet thrilling ride. 10/10

Shéhérazade [Jean-Bernard Marlin, 2018, France] a gritty narrative of an unusual young love with such depressing yet charming emotional pull. 10/10

Capernaum [Nadine Labaki, 2018, Lebanon] it’s not just about a boy in an unjust world, it is more about an implausibly unjust world where everyone is a victim and no one is an actual villain. 10/10

John Denver Trending [Arden Rod Condez, 2019, Philippines] Aside from its central theme of mental health awareness, it also has an excellent juxtaposition of the culture of bullying and cyberbullying and its correlation with how the nature of superstitions and religions shapes a country’s humanity. 10/10

Lady Bird [Greta Gerwig, 2017, United States] Small scale with great impact. It’s the type that doesn’t want to make you cry but makes you cry anyway. I love it with all my heart. 10/10

Call Me By Your Name [Luca Guadagnino, 2017, Italy, Brazil, France, United States] Its authenticity is incredibly palpable, I can taste it in my mouth. Something made with much love, my heart aches. Timothée Chalamet is remarkable. That last frame is unforgettable. 10/10 

Bliss [Jerrold Tarog, 2017, Philippines] Touches the fine line between dreamland and reality, and examines dreams or aspirations as mere illusions. It is wicked. It’s well-crafted. It’s a mindfuck. It’s deeply, as in deeply affecting 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10  

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Your Name [Makoto Shinkai, 2016, Japan] Star-crossed love at its smartest, warmest, and vividly-made anime. Something highly satisfying, I have no words. 10/10

The Third Wife [Ash Mayfair, 2019, Vietnam] possibly has one of the best visual stories this year with a contrast of hauntingly sensual tension and dreamlike composition, it’s strangely beautiful. 10/10

Magkakabaung [Laxamana, 2014, Philippines] A highly-compelling depiction of reality, misfortune, defiance and justice. A film I need to see over & over. 10/10 

Atlantique [Mati Diop, 2019, Senegal] Such a bewitching tale of love, lost, and longing. A film told with such raw elegance, it’s enchanting. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Metamorphosis [JE Tiglao, 2019, Philippines] Not your ordinary coming-of-age movie. This one comes with such importance and inclusivity, everyone needs to see. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can’t help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Violator [Dayao, 2014, Philippines]  The horror film that brought me to tears. I found myself shaking, fighting my own demons, and it’s damn scary. 10/10

The Favourite [Yorgos Lanthimos, 2019, Greece, Ireland, United Kingdom, United States] a dark period comedy oddly fused with sophisticated costume and production design for a strange yet striking visual treat. 10/10

Edward [Thop Nazareno, 2019, Philippines] I am so amazed at how this film shows struggles after struggles after struggles without spoonfeeding emotions. It’s a movie so simple yet so despairing. Everything of it is in the right place, it’s sublime. 10/10

Arrival [Denis Villanueve, 2016, United States] An admirable sci-fi thriller where aliens teach humans about humanity. 10/10 

Salvage [Sherad Sanchez, 2017, Philippines] A film that’s meant to look like a found footage, with one single camera perspective. It used unconventional, long continuous odd angles and silence that made it feel so raw and real, it’s haunting. 10/10

I Lost My Body [Jeremy Clapin, 2019, France] gives an absolute strange reason to cry, it’s extraordinarily cathartic. 10/10

Imbisibol [Fajardo, 2015, Philippines]  I don’t care how beautiful this film already is, I still need to see its greatness in black and white. 10/10

Night of Silence [Celik, 2012, Turkey]  Amazing how something so distasteful was told in such charming and spectacular execution. 10/10

Marriage Story [Noah Baumbach, 2019, United States] My favourite performance of the year belong to these two leads whose portrayal of lovers going through divorce is rock solid heartbreaking. 10/10

Moonlight [Barry Jenkins, 2017, United States] A rare impressionistic film on a man’s struggle to finding himself, something so rich in poetry and visual excellence, it’s spell-binding. 10/10

Three Billboards Outside Ebbing, Missouri [Martin McDonagh, 2017, United States] Too much hate and too much heart both at the same time. It is as shocking as it is enchanting. 10/10

About Elly [Asghar Farhadi, 2009, Iran] Its narration of a mystery is already engaging but its inner observation of truth and convictions is even more captivating. 10/10

Respeto [Treb Montreras II, 2017, Philippines] Uses the power of words to compare past and present. Shows the cycle of oppression in a well-crafted film of bewitching artistry. 10/10

Ulan [Irene Villamor, 2019, Philippines] Is a fuck you to societal norms, so profound, it is a love story that involves only one. 10/10

Ang Babaeng Humayo [Diaz, 2016] vividly questions justice, higher power, morality, and existence. It’s beyond brilliant, it aches. 10/10

Swiss Army Man {Scheinert, Kwan, 2016] Clever in all its weirdness. What an unforgettable experience. 10/10

Toni Erdmann [Ade, 2016] I don’t know if I should laugh or cry or both at the same time. No doubt a knockout. 10/10

Ang Manananggal sa Unit 23B [Cruz, 2016] If I can only use “beautiful” once a year to describe a film, I’ll use it on this one. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Embers [Carré, 2015] A stylistic post-apocalyptic narrative of survival of people who have lost their meanings. 10/10 

Respire [Laurent, 2015] With its overall well-observed direction, it’s compelling both visually and story-wise. 10/10

Avengers: Endgame [Russo brothers, 2019, United States] Raises the bar so high, is probably the most entertaining superhero movie to date. 10/10

Ari: My Life With a King [Catu, 2015, Philippines] So strong, it sinks too deep into my soul. 10/10

Honor Thy Father [Matti, 2015, Philippines]  Erik Matti made a competently crafted character in Edgar to complete a competently crafted masterpiece. 10/10

The Wife [Bjorn Runge, 2018, Belgium] Glenn Close is mesmerizing. There is no need to say more. 10/10

Anino sa Likod ng Buwan [Lana, 2015] Gripping, tender, sensual. Majestic in one long take. Saying I’m blown away is an understatement. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10 

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I’m already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that’s more alive than the living and to the living that’s more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

Sunday Beauty Queen [Villarama, 2016] Highly compelling, charming, and important. Sweetest of the festival. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it’s the kind of film that stays. 10/10  

Frantz [Ozon, 2016] a melancholic take on people’s journeys to finding a reason to live. Beautiful use of color and B&W. 10/10

Captain America: Civil War [Russo, 2016] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 10/10

Sing Street [Carney, 2016] No. There’s not a word in the world that could describe how much I love this film. Everything about it. 10/10

Pamilya Ordinaryo [Roy, 2016] Very raw, real and persuasive. Powerful in its entirety. 10/10

Hele sa Hiwagang Hapis [Diaz, 2016] Reality told through a mix of history & fantasy. A delicate & engaging quest for Filipino freedom. 10/10

Mustang [Ergüven, 2015] Brutal in its authenticity. Something I want to hate but can’t. I’m happy to have seen this film. I really am. 10/10

Still Alice [Westmoreland, 2015, United States]  It’s a highly moving film that doesn’t just make you cry, it makes you understand and feel, and it’s insanely good at it. 10/10  

Room [Abrahamson, 2015, United States] Astounding direction and performances make this film alive. And it should be for a hundred years or more. 10/10 

EDSA [Yapan, 2016] Is a number of things. It’s socially relevant, a moral challenge, a visual feast. Most simply one of the bests. 10/10

Son of Saul [Nemes, 2015] This film has a breathtaking power no one can doubt. 10/10

Embrace of the Serpent [Guerra, 2015] I got lost somewhere its visual hypnotism, but it’s great overall. 10/10

Winter Sleep [Ceyland, 2014, Turkey] Written too intellectually, I want to quote the entire film. And that’s just about 15% of its greatness. 10/10

Apprentice [Junfeng, 16] Draws the line between showing compassion & battling own conscience. Gripping, I feel hands around my throat. 10/10 Kubo and the Two Strings [Knight, 2016] has a heartfelt storytelling of the melancholic nature of humanity. 10/10 

Go Ji Jeon [Hun, 2011] Where wars for personal survivals, moralities, past horrors, and false hopes are far worse than combat battles. 10/10

Guernica [Serra, 2016] a little too overscored, but really great overall. 10/10

Crescent Rising [Dayoc 2015, Philippines] Captured clearly the struggles of people in search of justice, peace, hope & happiness in the midst of war. A film that is so hard to watch, there are times when I need to breathe through my mouth. 10/10

The Kids [Yu, 2015] an engaging portrait of a struggling young couple’s journey to parenthood told convincingly well. 10/10

El Misterio de la Felicidad [Burman, 2014] An easy and charming watch with an ending that could be one of my favourites. 10/10

The Survivalist [Fingleton, 2015] A long-lived representation of how people choose to risk their survival for fidelity and solicitude. 10/10

Ang Araw Bago ang Wakas [Diaz, 2016] Genius. An apocalyptic tale told through poetry against the backdrop of a growing disaster. 10/10

Grandma [Weitz, 2015] I love the story, I love how it unfolds, and I love how it will live in me for sure. 10/10

The Wailing [Na, 2016] An exhausting watch with an even more incredibly vexing inner context. 10/10

Oro [Yapan, 2016] Shows oppression and lopsidedness in equally lopsided frames. Amazing set of cast. 10/10

The Little Prince [Osborne, 2015, France]  Nothing like how I imagined it to be but I love it for everything it is. 10/10

Mad Max: Fury Road [Miller, 2015, United States]  That’s two hours of absolute vicious entertainment and visual marvel. 10/10

An Kubo sa Kawayanan [Yapan, 2015, Philippines] Stunning cinema. The film has its soothing silence that makes you appreciate the littlest things. 10/10 

The Martian [Scott, 2015, United States] Oddly funny in a satisfying form in the midst of struggle and desolation. 10/10

Thelma [Joaquim Trier, 2017, Norway]Meticulously-crafted film that questions fundamentalism as a basis for joy and purity. I yearn for films as poetic as this. 9.5/10

On Body and Soul [Ildikó Enyedi, 2017, Hungary] Too cold yet too heartfelt in all its complexity. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10 

Incendies [Dennis Villanueve, 2011, Canada] With such expert direction, it’s elementally strong in more aspect than one. 9.5/10

Us [Jordan Peele, 2019, United States] It is as if every element in this film is smartly placed there to serve a deeper purpose, it’s a movie in search of greater meaning. 9.5/10

Manchester by the Sea [Kenneth Lonergan, 2016, United States] a quiet yet profound drama narrated too effectively resulting to a mournful yet beautiful symphony. A film that brings the kind of sadness that is both painful and alluring. 9.5/10

La La Land [Damien Chazelle, 2016, United States] Is really technically excellent, but is also really disconnected. Kind of something you adore rather than love. 9.5/10

Bad Genius [Nattawut Poonpiriya, 2017, Thailand] Brimming with excellent editing and direction, it is a thriller and an ingenius commentary on how social class inequalities lead to inevitable corruption. Brilliant. 9.5/10

Les Innocentes [Anne Fontaine, 2016, France] a battle between religious order and moral conscience, one whose importance cannot be omitted. 9.5/10

L’enfant [Luc Dardenne, Pierre Dardenne, 2005, France] It offers the kind of suspense that attacks your soul rather than just your senses. 9.5/10

First Girl I Loved [Kerem Sanga, 2016, United States] a tender coming-of-age drama that tackles discovering self-identity and the fear that comes with that realization. So raw, it’s thrilling. 9.5/10

Birdshot [Mikhail Red, 2017, Philippines] Beautifully shot, it swims along two storylines at par – both in search for impunity in a corrupted society. Too relevant. 9.5/10

Heneral Luna [Tarrog, 2015, Philippines]  Jerrold Tarog is as brave as General Luna. He clearly is the Luna of film making. 9.5/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10 

Dogman [Matteo Garrone, 2018, Italy] Examines a man’s need to be recognized as a chihuahua in a shepherd’s world. 9.5/10

Grave of the Fireflies [Isao Takahata, 1988, Japan] Save your fragile heart, this isn’t for the emotionally weak. 9.5/10

Timbuktu [Sissako, 2014, French, Mauritius] It haunts me more how this film can tell such horror beautifully, I am both mad and pitiful at once. 9.5/10

Copenhagen [Rasso, 2014, Denmark]  A very unusual romantic drama made guilelessly, the characters will live for years. I’m so in love with it. 9/10

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Apocalypse Child [Cornejo, 2015, Philippines]  I don’t know where it’s going & that’s what makes it great. Has the best cast ensemble I’ve seen this year. 9/10

Sleepless [Cruz, 2015, Philippines]  In which love is sincerely felt in the absence of romance. 9/10

Sunday’s Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10 

Miss Bulalacao [Chawdhury, 2015, Philippines] A small-town film with a big message the whole world needs to know. 9/10

The Tale of Princess Kaguya [Takahata, 2014, Japan] Wow. How can something so cute and sweet break my heart into tiny little pieces? 9/10

The Ferry [Wei, 2013, China] Apart from its masterful visual beauty, the real treasure of this film is the beauty of its heart. 9/10

Saving Sally [Liongoren, 2016] Is the freshest and has the most creative style I’ve seen this year. 9/10

Sakaling Hindi Makarating [Idanan, 2016] In w/c you try to find yourself in far-flung places, & in doing so found someone equally lost. 9/10

Amelie [Jeunet, 2001] Uniquely crafted tour de force. So distinct, it won’t be forgotten. 9/10

One Week Friends [Masanori Murakami, 2017, Japan] There’s a good reason for my sunken eyes right now, right? 9/10

Vertigo [Alfred Hitchcock, 1958, 2012 restoration, United States] Where obsession leads to objectification of love and desire. 9/10

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10 

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn’t feel like a movie at all, it’s brilliant. 9/10

Goodnight Mommy [Franz, Fiala, 2015] As cold and effective as it wants to be. 9/10  

 The White Helmets [Orlando Von Eisiedel, 2016, United Kingdom, Syria] A heartrending glimpse at the life of true heroes in violence-stricken Syria. 9/10

Inside Out [Docter, 2015, United States] One of the bravest films to ever illustrate the dysfunctions (and functions) of people’s emotions. 9/10

Star Wars Episode VII: The Force Awakens [Abrams, 2015, United States] Works best without the tweetums. Mostly worked therefore. It is the most complicated, action-packed, gender sensitive, and racially-diverse of the franchise. It also is my favourite. 9/10

PK [Rajkumar Hirani, 2014, India] a courageous film that wittingly pokes fun of religious beliefs. 9/10

Mamu and a Mother Too [Rod Singh, 2018, Philippines] Why it scared me, I don’t know. It could be because it’s unpredictable, it’s non-cliche, and it’s gentle in ways you don’t expect. I love it. 9/10

The Good Dinosaur [Sohn, 2015, United States] Not much story to offer, but heartfelt in its nothingness. Stunning visuals. Really stunning visuals. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Manang Biring [Papa, 2015, Philippines] One of those films that perfectly hit home. 9/10

Mercury is Mine [Laxamana, 2016] Quite a reflection of colonial mentality and the acute patronage of the superficial. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone’s becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it’s interestingly very human that I’m completely captured by it. 9/10 

Paris is Burning [Jennie Livingston, 1991, United States] is a little documentary that stays. 9/10

Paglisan [Carl Papa, 2018, Philippines] Heartbreaking. It is a test of sympathy. 9/10

ML [Benedict Mique, 2018, Philippines]teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10 Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Widows [Steve McQueen, 2018, United States] How can something so traditionally formal feel so modern at the same time? Steve McQueen knows. 9/10

Eerie [Mikhail Red, 2018, Philippines] More than its excellent scare tactics, what I love about it most is its clever storytelling and use of metaphors. 9/10

Veloce Come Il Vento [Rovere, 2016] Funny, gripping, touching. I enjoyed every single moment of it. 9/10

Sarong Banggi [Dela Cruz, 2005] i’m not too keen on the plot twist but the emotional connection’s too strong, I’m easily in love w/ it. 9/10

I Love You, Thank You [Gohetia, 2015, Philippines] That was quite a torture, I left the theater too broken. 9/10

La Luciernaga (The Firefly) [Ana Maria Hermida, 2015, Colombia] is about finding love in grief, beauty in ugly. And though there are some directorial decisions I don’t necessarily agree with, the chemistry its leads bring onscreen is too tangible for me to care about its flaws. 9/10

Green Room [Saulnier, 2016] a lot of fun, tension, blood, and cinematic excellence. My type of film, really. 9/10

I’ll See You In My Dreams [Haley, 2015] So true about the death I know and the death I don’t know. So true about everything actually. 9/10

Tuos [Cabrido, 2016] Visually alluring with winning performances, it’s almost hypnotic. 9/10Cain at Abel [Brocka, 1982] Sleekly written, directed, and acted. Considerably flawless. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10  

First Reformed [Paul Schrader, 2019, United States] an astounding character study that questions the politics of religion. 9/10

The Conjuring 2 [Wan, 2016] I guess I just can’t really be scared of something this good. No dull moment. So human. Much love for this. 9/10

Fuccbois [Eduardo Roy Jr, 2019, Philippines] Amazing storytelling and editing of a narrative so strange yet so eclectic. 8.5/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10 

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

The End of the Tour [Ponsoldt, 2015, United States] Give me a minute, I need to rethink my life. 8.5/10

Margarita with a Straw [Nilesh Maniyar, Shonali Bose, India, 2016] An unusual take on sexual exploration and self discovery. It somehow lost its focus towards the end but still a delightful watch overall. 8.5/10

Berlin Calling [Hannes Stohr, 2008, Germany] a movie that lives in the present paced in such rhythmic beat, it is dazzling from start to end. 8.5/10

Kuwaresma [Erik Matti, 2019, Philippines] Is a multilayer of social commentaries which were good before they too contradict themselves. 8.5/10

Two Days, One Night [Dardenne, 2014, Belgium, France, Italy] I’m crying half of the time because its emotional dilemma has to be seen in the eyes of depression. 8/10

Battle of the Sexes [Jonathan Dayton, Valerie Faris, 2017, United States] Makes me feel bad for not being alive yet when it happened. Ace. 8/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Sicario [Villanueve, 2015, United States] One of the best and intensely-directed crime films I’ve seen that doesn’t need much action to thrill. 8/10

Don’t Breathe [Alvarez, 2016] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10  

Elle [Verhoeven, 2016] has one of the most intriguing antihero characters played perfectly well by Huppert. 8/10

Water Lemon [Lorca, 2015, Philippines] In w/c the struggle of finding strange connection (w/ people, emotions, wavelength, nature) is incredibly real. 8/10

Theeb [Nowar, 2015] For a newcomer, Nowar is a delightful surprise and so is Eid who did perfect in this film. 8/10

Brother of the Year [Witthaya Thongyooyong, 2018, Thailand] For all its simplicity and bleak storyline, it still offers an abundance of emotion and a sense of realism. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

Ek Ladki Ko Dekha To Aisa Laga [Shelly Dhar, 2019, India] Not a first in world cinema, but is still a groundbreaking moviemaking in the context of India. 8/10

Lorna [Bernardo, 2015, Philippines] Feels so legitimate, it’s entertaining from start to end. 8/10

The Killing of a Sacred Deer [Yorgos Lanthimos, 2017 Greece, UK , US] Yet another solid psychological thriller by the master of contemporary enigma. 8/10

If Cats Disappeared From the World [Akira Nagai, 2016, Japan] a tearjerker drama that examines the essence of living as opposed to just merely existing. 8/10

Ek Ladki Ko Dekha To Aisa Laga [Shelly Dhar, 2019, India] Not a first in world cinema, but is still a groundbreaking moviemaking in the context of India. 8/10

Coco [Lee Unkrich, 2017, United States]Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Medianeras [Taretto, 2011] a lot wordy. But it’s the kind of wordy I’d love to listen to over and over again. 8/10

Paterson [Jim Jarmusch, 2016, United States] Poetic is an understatement. 8/10

Changing Partners [Dan Villegas, 2017, Philippines] uses strong dialogues and character play that makes it rare and magical. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

Purgatoryo [Cabrido, 2016] Reminds me a lot of ‘Oros’ only with some serious technique and distinct visual style. 8/10

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Ex Machina [Garland, 2015, United Kingdom, United States] A gripping labyrinth shown with such sleek visuals. 8/10

Krigen [Tobias Lindholm, 2016, Denmark] Feels a little rushed in the end, but affecting overall. 8/10

Chemi Bednieri Ojakhi (My Happy Family) [Nana Ekvtimishvili, Georgia, 2017] Paints quite vividly a life of a woman in a patriarchal society. Remarkable. 8/10

Little White Lies [Guillaume Canet, 2010, France] I love these characters too much to the point of wanting them to be real. 8/10

Beach Rats [Eliza Hittman, 2017, United States] Overall, a substantial commentary on the stigma of homosexuality and its effect on why people choose to hide. 8/10 

The Artist [Hazanavicius, 2011] Very artistically and playfully crafted. 8/10 

Bridge of Spies [Spielberg, 2015, United States] A blend of intimate and gripping accounts of a political thriller with excellent performances and direction. 8/10

Paki [Giancarlo Abrahan, 2017, Philippines] an illustration of how even the most prosaic narrative could be weighty through the power of storytelling and good direction. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don’t match Marguerite Duras’s poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

A Gift [Jira Maligool, 2017, Thailand] One of those films that could effortlessly make you laugh and cry. Charming. Very very charming – definitely a favourite. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Girl in the Book [Cohn, 2015, Untied States] It’s uncomfortable to watch two people w/o resemblance play the same character. Otherwise it’s great. 8/10

Heaven Knows What [Safdie, 2015, Germany] Raw and natural. This film is so truthful and alive, it breathes on its own. 8/10

Ang Kwento Nating Dalawa [Abrogena, 2015, Philippines] Silence, long takes, parallelism. This film knows how to show separation in its most artistic form. 8/10

Brooklyn [Crowley, 2015, United Kingdom, Canada, Ireland] Honestly told, naturally acted, distinctly beautiful. 8/10

Personal Shopper [Olivier Assayas, 2017, France] A subtle but dreary take on grief. Slow but rewarding in the end. 8/10

Moglie e Morito [Simone Godano, 2017, Italy]Could be the funniest film I have watched this year. 8/10

Love You to the Stars and Back [Antoinette Jadaone, 2017, Philippines] Kind of wants to make you believe in destiny, kind of succeeds in that sense. A tender take on teenage love and loss, so pure, it’s precious. 8/10

Above the Clouds [Diokno, 2014, Philippines] Feels a bit preachy to me but at the same time subtle in advocating against environmental destruction. 8/10

Mission Impossible: Rogue Nation [McQuarrie, 2015, United States] I love the action, yes. But I love Rebecca Ferguson a million times more. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying “this is my kind of humour” is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10

Hacksaw Ridge [Mel Gibson, 2016, United States] Is one of those war films that stand out. 8/10

Hidden Figures [Ted Melfi, 2017, United States] For those questioning the existence of women figures in history, here’s a good start for you. 8/10

D'Ardennen [Robin Pront, 2016, Belgium] Just about the right amount of violence and grim unpredictability paced quite effectively. 8/10

Mother! [Darren Aronofsky, 2017, United States] It wore me thin down to the core then ended quite brilliantly. My social anxiety is triggered, I am petrified and annoyed both at the same time. 8/10

Blade Runner 2049 [Dennis Villanueve, 2017, United States] Despite its cringe-worthy attack on my feminist self, it actually has a rich cinematic vision of a bewildered 2049. 8/10

Ang Larawan [Loy Arcenas, 2017, Philippines]Has such polished musicality that it overwhelms you to the point of it defying the flaws. 8/10

Lipstick Under my Burkha [Alankrita Shrivastava, 2016, India] Comes with great intentions but lacks the powerful female characters the film supposed to have. 8/10

L’Avenir [Mia Hansen-Love, 2016, France] At this point, everyone should know that there is nothing Isabelle Huppert cannot do. 8/10

Nocturnal Animals [Tom Ford, 2016, United States] This is how a writer dies, and this is how a writer comes back with a kill. 8/10

La Tortue Rogue [Michael Dudok De Wit, 2017, France, Japan] A dialogue-less animation that proves that silence speaks a thousand words and could even provoke deep thinking. 8/10 

Everybody Loves Somebody [Catalina Aguilar Mastretta, 2017, Mexico] Nothing much is special and new about it which is why I don’t understand why I love it to a great extent. 8/10 

The Revenant [Iñárritu, 2015] Although it speaks, it doesn’t speak loud enough to be heard. 8/10

10 Cloverfield Lane [Trachtenberg, 2016] It’s wicked in a way that it is good. 8/10

Mon Roi [Maïwenn, 2016] With a narrative so hard to withstand, the riveting performances of Bercot and Cassel made this a must watch. 8/10 

Neruda [Larrain, 2016] Virtually poetic, contextually lyrical. 8/10

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city’s moral lethargy. 8/10 

Rogue One: A Star Wars Story [Edwards, 2016] If only for its third act, this is already worth every penny. 8/10

Un Homme Ideal [Gozlan, 2016] a film structured so well, it’s both suspenseful and unpredictable. 8/10

Rosita [Aspock, 2015] a momentous character-driven drama on relationships & sacrifices shown through natural & credible performances. 8/10

I Smile Back [Salky, 2015] Nothing I haven’t seen before which is why I don’t know why I liked it. 8/10 

Ned’s Project [Lorca, 2016] Has a profound sense of lesbian issues w/ a well-thought-of character superbly portrayed by Angeli Bayani. 8/10 

The Third Party [Laxamana, 2016] Examines the struggles of sexual confusion, and existential crisis. Something that hits home. 8/10 

Ignacio de Loyola [Dy, 2016] Sincerely really well-made, I’m surprisingly impressed. 8/10 

Curiosity, Adventure, Love [De Leon, Richiardone, 2016] it’s the kind of film full of wisdom, it’s like I left the theater smarter. 8/10

I am Not a Serial Killer [O'Brien, 2016] The thing I like about this is I’m still not sure whether he is or is not a serial killer. 8/10 

Macbeth [Kurzel, 2015] Poetically forceful, it leaves you vividly stunned. 8/10

The Jungle Book [Favreau, 2016] It is so good, I almost stood up from my seat to join them in the jungle. 8/10

Deadpool [Miller, 2016] Still a better love story than Twilight. 8/10

Sovdargari (The Trader) [Tamta Gabrichidze, 2018, Georgia] Emotionally intense depiction of rural poverty. 7.5/10

The Two Popes [Fernando Mereilles, 2019, UK, US, Italy, Argentina] Features two outstanding performances that redeemed it from all its dragging moments. 7.5/10

Baby Driver [Edgar Wright, 2017, United States] The ending blew it, but I had so much fun anyhow. 7.5/10

It Follows [Mitchell, 2015, United States] It isn’t particularly terrifying to me, but this is definitely an anti-cliche horror film worth watching. 7.5/10

Loving Vincent [Dorota Kobiela, Hugh Welchman, 2017, Poland-UK] Focused too much on visual mastery, wasn’t impactful, narrative-wise. 7.5/10 

Black Panther [Ryan Coogler, 2018, United States] Oozing with unusual but likable characters. 7.5/10

A Land Imagined [Chris Yeo, 2018, Singapore, France, Netherlands] An unsettling noir mystery that questions people’s notion of truth. 

My Days of Mercy [Tali Shalom Ezer, 2019, United States] There is a bewitching chemistry between the two leads despite the coldness of it all. 7.5/10

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist’s delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don’t match. 7.5/10

I, Tonya [Craig Gillespie, 2017, United States]Despite Robbie’s knockout portrayal, I still need to connect more with Tonya Harding. 7.5/10

Dunkirk [Christopher Nolan, 2017, United States] Boasts Nolan’s technical superiority. 7.5/10   

Contratiempo (The Invisible Guest) [Oriol Paulo, 2017, Spain] offers an outstanding and enjoyable thrilling ride. 7.5/10

Giant Little Ones [Keith Berhman, 2019, United States] An honest road to knowing your own self in the eyes of a boy transitioning to adolescence. 7.5/10

Revenge [Coralie Fargeat, 2018, France]Caution: explicit cursing while watching and cheering to this. 7.5/10

Tu Pug Imatuy [Arbi Barbarona, 2017, Philippines] Great. Everything here feels authentic, it’s powerful. 7.5/10

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7.5/10 

Kaptn Oskar [Tom Lass, 2013, Germany] Only basic virtue - it is a beautiful film. Not only for its comfort. But for the old poetry of dust emotions. 7.5/10

Walang Forever [Villegas, 2015, Philippines] A delightful romcom that shifts to heavy drama. Has a confusing tone, but ok with the follow through. 7.5/10

Tangerine [Baker, 2015, United States] Funny and adorable in an odd way. My favourite comedy of 2015 (so far). 7.5/10

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

That’s Not Us [William Sullivan, 2015, United States] Very real and natural, I’m nostalgic for reasons I cannot explain. 7.5/10

Other People [Chris Kelly, 2016, United States] So subtly-made, yet is filled with so much emotions. I have much respect for this. 7.5/10

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Creed [Coogler, 2015, United States] One of the most passionate films of the year. Surprisingly, it’s still very Rocky. 7.5/10

Furie [Le Van Kiet, 2019, Vietnam] With great performance and thrilling choreography, Furie is one of the best action films of 2019. 7.5/10

Logan [James Mangold, 2017, United States] Could be the marvel movie that made me feel the saddest. 7.5/10

The Awakening of Motti Wolkenbrunch [Michael Steiner, 2019, Switzerland, Germany] A funny glimpse at a life of an Orthodox Jewish man with a chemistry that gives you a hopeful ending. 7.5/10

Gerald’s Game [Mike Flanagan, 2017, United States] Meticulously-directed, it is an outstanding adaptation of Stephen King’s novel. 7.5/10

Kita Kita [Sigrid Andrea Bernardo, 2017, Philippines] I have a problem with what it’s trying to romanticize, but I still find it romantic, I’m conflicted. I don’t know but i tend to like films/books that border on finding comfort in loneliness. Kita Kita understands that concept pretty well.  7.5/10

You’re Ugly Too [Mark Noonan, 2015, Ireland] An engaging journey of two unusual characters thrown together infused with a great sense of authenticity. 7.5/10 

Billie & Emma [Samantha Lee, 2018, Philippines] There’s magic in its production design and an amusing chemistry that would remind you of what it’s like to fall in love the first time. It is everyone’s teenage romance, the kind that buries heteronormativity. 7.5/10

The Beguiled [Sofia Coppola, 2017, United States] Powerhouse cast in one of their most memorable performances. 7.5/10

Star Wars: The Last Jedi [Rian Johnson, 2017, United States] I like how it understands the inevitability of war, and how good and evil coexists. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Bambanti [Dulay 2015, Philippines] Has an honest storytelling of a small town tale that examines the correlation between social status and justice. 7.5/10

Singing in Graveyards [Bradley Liew, 2017 Philippines, Malaysia] It’s the things that it did not say that made this movie stirring. 7.5/10

Dukot [Soriano, 2016] has a kind of storytelling and powerhouse cast so good, you hate that it isn’t great. 7.5/10 

Kiko Boksingero [Thop Nazareno, 2017, Philippines] A small movie with lots of charm. A film about longing and finding satisfaction from things that are there all along. 7.5/10

A War [Lindholm, 2015] A war film In which the only villain is the circumstance itself. 7.5/10

Haunted: A Last Visit to the Red House [Phyllis Grande, 2017, Philippines] a quiet little gem. I would have want to cut it shorter though. 7.5/10

El Hombre de al Lado [Duprat, Cohn, 2009] Artistically minimalist, and yet very profound. 7.5/10

I Saw the Devil [Kim Jee-Woon, 2011, South Korea] A traumatic examination of how a monster is made. Creepy yet insightful. 7.5/10

Bagahe [Zig Dulay, 2017, Philippines] Proves that mental disturbance hits my emotions more than seeing physical violence. Affecting once digested. 7.5/10

Moana [Clements, Musker, 2016] Has a great sense of identity and sensibility, with really beautiful visuals and scoring. 7.5/10 

Baconaua [Joseph Israel Laban, 2017, Philippines] Hypnotizing. A small-town tale with profound ideologies buried under its simplicity. 7.5/10

Alipato: The Very Brief Life of an Ember [Khavn, 2016, Philippines] An enjoyable mix of weird artistry, whimsical storytelling, significant animation. Ridiculous but ridiculously exceptional. 7.5/10 

Kon-Tiki [Robbing, Sandberg, 2012] such a wonderful adventure in such a beautiful part of the world. 7.5/10

Jackie [Pablo Larrain, United States, 2016] Portman delivered a warm performance in what could be a cold memoir. 7.5/10

Italian for Beginners [Lone Scherfig, 2001, Denmark] an enjoyable character-driven story of adults finding love in the most unexpected moments. 7.5/10

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Black Panther [Ryan Coogler, 2018, United States] 

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10 

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10 

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10 

Trumbo [Roach, 2015] For a film about an exemplary screenwriter, it was only averagely written. 7.5/10

Miss You Already [Hardwicke, 2015] The kind that will make you laugh, or weep, or both at the same time. 7.5/10

Hintayan ng Langit [Villegas, 2018] I’m not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one.  7.5/10  

Always Be My Maybe [Villegas, 2016] Let’s do away with the immature cheesy scenes. The chemistry is already cute without it. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it’s actually hypnotic. 7.5/10

Heartland [Maura Anderson, 2017, United States] A lot of technical expertise is lacking but it’s heartbreaking just the same. 7/10

Under Heaven [Tilepbergen, 2015] A series of unfortunate events told through a collection of expressive shots and believable lead. 7/10

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Meadowland [Morano, 2015, United States] I’ve always loved Olivia Wilde, and this is her most accomplished performance yet. 7/10

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

UnTrue [Sigrid Andrea Bernardo, 2019, Philippines] to put it simply, UnTrue is a thrilling rollercoaster ride. 7/10

En Chance Til [Bier, 2014] has an underdeveloped style and presentation to convince its audience of its supposed resonant narrative. 7/10

The Hitman’s Bodyguard [Patrick Hughes, 2017, United States] To hell with that, I enjoyed it. A lot. 7/10

Ma’ Rosa [Mendoza, 2016] a glimpse of the reality of poverty & how Filipinos negotiate for their lives. Important film but not my fave. 7/10

Dear Ex [Chih-Yen Hsu, 2018, Taiwan] Features odd but genuine kind of love. It is funny, heartfelt, and charming all at the same time. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

First They Killed my Father [Angelina Jolie, 2017, United States, Cambodia] sincerely and sensitively paints a portrait of a country’s tragic history. 7/10

The Journey [Chiu Keng Guan, 2014, Malaysia] Gives you a glimpse of Chinese culture against the backdrop of the beautiful Malaysian landscapes. I really had fun. 7/10

Baboy Halas [Fiola, 2016] a film that will truly immerse you to a life completely unknown. Tranquil yet turbulent. A new experience. 7/10

Tale of Tales [Garrone, 2015, Italy] Boasts lavish productions with a series of macabre fairytales for adults. 7/10

I’m Drunk, I Love You [JP Habac, 2017, Philippines] Makes you feel so much. Something too relatable, it’s terrific. If only for its music scoring, it’s already worth the watch. 7/10 

La Tête Haute [Bercot, 2016] Paradot’s portrayal of a violent juvenile is one of the best I’ve seen this year. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that’s just it for me. 7/10

Vince & Kath & James [Theodore Boborol, 2016, Philippines] wait taym pers, bakit ampogi nung bagets? 7/10

Truth [Vanderbilt, 2015] It’s bothersome that it will make you thirst for truth, but the facts wont prove you that. 7/10

Mrs [Alix, 2016] Doesn’t go too big on drama but delivers first-rate portrayals of women wrestling with their own inner demons. 7/10

The Girl King [Mika Kaurismaki, 2015, Sweden, Finland] has a strong female character who does not dare conform to society’s truths. 7/10

Buhay Habambuhay [Herras, 2016] Technically, it was just okay. But it’s the kind of okay that lives. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10

Captain Fantastic [Matt Ross, 2016, United States] a thoroughly-observed film that asks too many radical questions that can only be answered by contradicting its own philosophy. Quite a realization that balance is the key to life. 7/10 

The Intervention [DuVall, 2016] Seems like a real bond, I don’t mind hanging out with them again. 7/10

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10

La Pazza Gioia [Paolo Virzi, 2016, Italy] The chemistry and the friendship formed between Beatrice and Donatella is a delightful box full of surprises. 7/10

The Girl Who Leapt Through Time [Mamoru Hosoda, 2006, Japan] an entertaining anime on time travel done with slick sensitivity. 7/10

Jorgen + Anne = Sant [Sewitsky, 2011] When it comes to love, who are we to judge? 7/10

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

The Write Moment [Dominic Lim, 2017, Philippines] Incredibly funny. Unfamiliar yet relatable. 7/10

Baka Bukas [Samantha Lee, 2017] A realistic take on coming out and drifting apart. 7/10

Mistress America [Baumbach, 2015] In which anxiety, loneliness and one’s own crises are hidden behind the wit. 7/10

The Battleship Island [Seung-wan Ryoo, 2017, South Korea] Kind of an upset for a big-budget film. It was entertaining anyhow. 7/10

One Day [Banjong Pisanthanakun, 2016, Thailand] I could buy the romance here but I wouldn’t. Still quite good though. 7/10

Hunt for the Wilderpeople [Taika Waititi, 2016, New Zealand] Boasts really funny puns, and spectacular landscapes. All fun. 7/10

Nabubulok [Sonny Calvento, 2017, Philippines] With how much I read and watch crime and legal thrillers, I find this film very problematic in more ways than one. Still worth a watch though. 7/10

The Diary of a Teenage Girl [Heller, 2015] Well, that was quite an extraordinary diary. 7/10

Cafe. Waiting. Love [Jiang Jin Lin, 2014, Taiwan] Better if cut into two different films. Says something important somewhere. 7/10

Ken and Kazu [Shoji, 2015] Hard to watch. Pays off in the end. 7/10

Dagen Zonder Lief [Groeningen, 2007] a subtle observation of how youth disappears from sight. 7/10

Hush [Flanagan, 2016] Interesting use of silence both as a scare tactic and as a lifesaver in this nail-biting thriller. 7/10

Bridgend [Ronde, 2016] When there’s a teen suicide outbreak, how are you not going to like it? 7/10

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there’s something about its exchanges that seems unnatural. 7/10

Lily [Deligero, 2016] Impressive style and use of myth to reject misogyny. 7/10

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Lady in the Van [Hytner, 2015] Nothing much in here stands out except for Maggie Smith’s glorious performance. 7/10

Instalado [Jason Paul Laxamana, 2017, Philippines] Has a creative approach in showing education as a privilege in a world of Insta-everything. Clever, it resembles the paranoia Margaret Atwood gives, and the subtle societal dysfunctions Yorgos Lanthimos offers. 7/10

High Tide [Tara Illenberger, Philippines, 2017] There’s something beautiful behind this film’s innocence. Too slow for my taste though. 7/10

Sa Gabing Nananahimik ang mga Kuliglig [Iar Lionel Arondaing, 2017, Philippines] Experimental with its cinematography and is probably its greatest strength. It’s 4:3 frame explains the film pretty well. 7/10

The Edge of Seventeen [Kelly Fremon Craig, 2016, United States] Full of hypothetical teenage angst, and coming of age romance. Was okay. 7/10

TPO [Altarejos, 2016] Melancholy & vexation told through intrinsic acting & a mix of essential & nonessential collection of long takes. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people’s tendency to miscommunicate emotions. 7/10

Rhymes for Young Ghouls [Barnaby, 2014] For a period film, this is kinda lost in the modern world. Other than that, it’s good. 7/10

Child of Debt [Swamy, 2015] a tale of forlorn hope in which life is on loan & the only way to pay is through death. Honestly beautiful. 7/10

Certain Women [Kelly Reichardt, 2016, United States] It takes patience to watch this, but in the end, the winning silences and subtleties are worth it. 7/10

Affinity [Fywell, 2008] I’m very angry, disappointed, and affected. If that’s the goal, then it did I great job. 7/10

Tanna [Butler, Dean, 2016] a tribal Romeo and Juliet. The kind of “you and me against the world” that changed a way of living. 7/10

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn’t lead to what you think. It’s black comedy of my liking. 7/10

4 Latas [Gerardo Olivares, 2019, Spain] For all its nonsense, I enjoyed it. 7/10