Dynamic Top Tens of 2013

Discussions of specific films and franchises.
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Calvin
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Re: Dynamic Top Tens of 2013

#51 Post by Calvin » Fri May 10, 2013 2:17 pm

Upstream Color (Carruth)
12 Years a Slave (McQueen)
Blue is the Warmest Color (Kechiche)
Gravity (Cuaron)
Before Midnight (Linklater)
Ain't Them Bodies Saints (Lowery)
Spring Breakers (Korine)
Inside Llewyn Davis (Coen/Coen)
The Wolf of Wall Street (Scorsese)
The Spectacular Now (Ponsoldt)
Last edited by Calvin on Mon Jan 27, 2014 4:05 pm, edited 2 times in total.

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Timec
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Re: Dynamic Top Tens of 2013

#52 Post by Timec » Fri May 10, 2013 2:49 pm

1. Wadjda
2. To the Wonder
3. The Wind Rises
4. Gravity
5. Blue Is the Warmest Color
6. The Wolf of Wall Street
7. Her
8. Inside Llewyn Davis
9. Upstream Color
10. The Past

Runners-up: Before Midnight, Blue Jasmine, Captain Phillips, Fallen City, Wajma: An Afghan Love Story, The Way Way Back

Really not very good at all: Houston, Oz: The Great and Powerful
Last edited by Timec on Sat Mar 01, 2014 12:49 pm, edited 6 times in total.

flyonthewall2983
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Re: Dynamic Top Tens of 2013

#53 Post by flyonthewall2983 » Fri May 10, 2013 7:54 pm

1. Gravity
2. The World's End
3. All Is Lost
4. Pain & Gain
5. Trance
6. Captain Phillips
7. The Counselor
8. Enough Said
9. Snitch
10/ All Is Bright

List subject to change.

Worthy mention to Metallica: Through The Never. 3D-wise, the concert footage was more eye-popping than the interstitial stuff which was just okay for me.
Last edited by flyonthewall2983 on Wed Aug 10, 2016 4:36 pm, edited 3 times in total.

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cantinflas
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Re: Dynamic Top Tens of 2013

#54 Post by cantinflas » Tue May 21, 2013 3:14 am

1. Spring Breakers
2. To the Wonder
3. Stranger by the Lake
4. Inside Llewyn Davis
5. Phil Spector
6. The Counselor
7. Stoker
8. The Conjuring
9. Frances Ha
10. Drinking Buddies
Last edited by cantinflas on Sat Jan 18, 2014 7:31 pm, edited 4 times in total.

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Professor Wagstaff
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Re: Dynamic Top Tens of 2013

#55 Post by Professor Wagstaff » Wed May 22, 2013 6:56 pm

I'm not familiar with (though I'm sure it's been done here) people adding TV movies to their top ten lists. Is there any rule in favor or against it? I'm asking specifically in regards to how such a ruling would affect a film like Behind the Candelabra which is playing on TV in the US but theatrically everywhere else.

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swo17
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Re: Dynamic Top Tens of 2013

#56 Post by swo17 » Wed May 22, 2013 7:09 pm

There are no rules here. List it if you like it.

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Shrew
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Re: Dynamic Top Tens of 2013

#57 Post by Shrew » Mon May 27, 2013 3:48 pm

1. Frances Ha
2. Before Midnight
3. Upstream Color
4. A Touch of Sin
5. The Angels' Share
6. Leviathan
7. Stories We Tell
8. Blue Jasmine
9. 12 Years a Slave
10. The Wolf of Wall Street


The Etc: Berberian Sound Studio, Nebraska, American Hustle, No, The World's End, The Place Beyond the Pines, The Grandmaster, The Spectacular Now, Ain't Them Bodies Saints, Much Ado About Nothing,
Last edited by Shrew on Tue Jan 07, 2014 2:37 am, edited 8 times in total.

PsychoWalrus
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Re: Dynamic Top Tens of 2013

#58 Post by PsychoWalrus » Sun Jun 02, 2013 10:42 am

1. Frances Ha
2. Beyond the Hills
3. Side Effects
4. Iron Man 3
5. Mud

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jindianajonz
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Re: Dynamic Top Tens of 2013

#59 Post by jindianajonz » Mon Jun 03, 2013 12:51 pm

In no particular order:

Spring Breakers
Trance
Inside Llewyn Davis
The Wolf of Wall Street
Only Lovers Left Alive
Her
Stoker
Only God Forgives
The Grandmaster
Gravity

Didn't quite make it: This is the End, Mud, The Gatekeepers, 12 Years a Slave, American Hustle
Pretty good; Francis Ha, Iron Man 3
Disappointments: Upstream Color, Pacific Rim, The World's End

Need to see: To The Wonder, Captain Phillips, Dallas Buyers Club, Leviathan, Blue is the Warmest Color, Computer Chess, Before Midnight, Side Effects, Behind the Candelabra
Last edited by jindianajonz on Mon May 12, 2014 3:15 pm, edited 15 times in total.

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stagefright50
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Dynamic Top Tens of 2013

#60 Post by stagefright50 » Mon Jun 03, 2013 8:07 pm

1. The Act of Killing
2. Like Someone in Love
3. A Touch of Sin
4. Before Midnight
5. The Lords of Salem
6. Stories We Tell
7. Frances Ha
8. Side Effects
9. Let the Fire Burn
10. Leviathan

Honorable Mention: The Grandmaster (International Cut), Bastards, Blue is the Warmest Color, The Bling Ring, Spring Breakers, Upstream Color, Maniac, The Place Beyond the Pines.
Last edited by stagefright50 on Sun Nov 24, 2013 1:17 am, edited 5 times in total.

weerasethakul
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Re: Dynamic Top Tens of 2013

#61 Post by weerasethakul » Mon Jun 10, 2013 6:24 pm

1. The Act of Killing
2. Before Midnight
3. Gebo and the Shadow
4. Beyond the Hills
5. Upstream Color
6. No
7. In the House
8. Outside Satan
9. Post Tenebras Lux
10. Fill the Void

as of 6/10

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repeat
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Re: Dynamic Top Tens of 2013

#62 Post by repeat » Wed Jun 19, 2013 9:15 am

Top 10, in alphabetical order:

1. Bastards (Claire Denis). Intensely dark, quietly disturbing, and ultimately heartbreaking - unreservedly recommended, although the faintest of heart might want to approach with caution. A second viewing felt more linear (probably resulting more from familiarity with the storyline than the slight differences in the cut), more melancholy and less shocking - although the pivotal scenes made the heart race even faster than the first time around.

2. Camille Claudel, 1915 (Bruno Dumont). Utterly depressing (true) story, masterful filmmaking from Dumont. A little weird seeing a famous face in a Dumont film at first, but Binoche's performance is outstanding. Shared winner for "quietest exiting crowd" so far this year (along with Bastards).

3. Norte, the End of History (Lav Diaz). Not a huge fan of Dostoyevsky (to whom this film is apparently dedicated), but I found this pretty gripping (and I'm not going to say "despite the four-hour running time", because come on, what's four hours?). A meticulously constructed film that left me with the impression of richness, not sparsity; thematic symmetries and mirrorings abound that will surely reward subsequent watches. Also it looks like very little else I've seen (especially the singular use of natural light sources).

4. Our Sunhi (Hong Sang-soo). The familiar juggling and rejuggling of places / situations / dialogue that was largely (and actually refreshingly) subdued in Haewon returns with full force here, and to great effect, as verbatim repetitions of the same discussions between different characters build up to a comedic and slightly melancholy meditation on how we construct images of people based on received wisdom about them. Solid Hong with really great performances once again from everyone.

5. Real (Kiyoshi Kurosawa). Wow. Say what you say about this film but one thing is clear: no one else but KK could have dreamed up anything like this. The twist and what follows are so problematic that it'll probably take another viewing or two until I can say anything meaningful about it, but this is top ten material just on the strength of the first hour.

6. Sorrow and Joy (Nils Malmros).

7. The Strange Little Cat (Ramon Zürcher). Wow. After hours and hours of being sucked dry by competent but uninspired festival films about Important Topics, out of nowhere comes this miraculous film about seemingly nothing, and restores my belief in contemporary cinema. Way more than a promising debut, this is an out-and-out masterpiece; as much as I love Petzold and co., I have to say this is by far the most life-affirming new German film I've seen since Dominik Graf's Dreileben contribution two years ago.

8. Stranger by the Lake (Alain Guiraudie). Another breath of fresh air in the stuffy mediocrity of this years' festival selections - a formally rigorous, highly atmospheric, and wickedly humorous little film that makes the most out of its confined setting and set of characters. The highly graphic sex scenes didn't feel gratuitous at all, but instead quite integral to the world of the film.

9. Stray Dogs (Tsai Ming-liang). Not going to pretend I understood even half of this (not to mention I fell asleep no less than three times), but what I managed to see and grasp was sufficiently impressive to merit a place on this list. Looking forward to a rewatch, as daunting a prospect as that is.

10. A Touch of Sin (Jia Zhang-ke). Every Jia film I've seen so far has left me not so much irrepressibly enthusiastic than quietly impressed, convinced of the riches that repeated viewings could uncover - and none more than this by turns (and often simultaneously!) shocking and touching, angry and sad, bleak and funny film that is ultimately about something much, much more universal than the present state of Chinese society. Always appreciated Jia's sense of deadpan comedy; had to laugh out loud at the self-ironic touch in the opening credits!

---

Bubbling under (until I figure out what to remove): Finsterworld (Frauke Finsterwalder)

Documentaries: Manakamana (Stephanie Spray & Pacho Velez), Father's Garden (Peter Liechti), Master of the Universe (Marc Bauder), The Missing Picture (Rithy Panh)
Also good: Ida (Paweł Pawlikowski), Jealousy (Philippe Garrel), My Name is Hmmm... (Agnès Trouble), October November (Götz Spielmann), The Reunion (Anna Odell), The Role (Konstantin Lopuchansky), Seventh Code (Kiyoshi Kurosawa), Snowpiercer (Bong Joon-ho), The Strange Colour of Your Body's Tears (Cattet/Forzani), Tip Top (Serge Bozon), When Evening Falls on Bucharest or Metabolism (Corneliu Porumboiu)
Slightly disappointing: Child's Pose (Călin Peter Netzer), The Immigrant (James Gray)

Still not seen: Die andere Heimat (Edgar Reitz), Ellie Lumme (Ignatiy Vishnevetsky), Hide Your Smiling Faces (Daniel Carbone), Love Battles (Jacques Doillon)
Last edited by repeat on Sat Sep 12, 2015 7:59 am, edited 22 times in total.

Cinosyrc
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Re: Dynamic Top Tens of 2013

#63 Post by Cinosyrc » Sun Jun 23, 2013 2:49 pm

1. Spring Breakers
2. To the Wonder
3. The Grandmaster
4. Upstream Color
5. Neighboring Sounds
6. The Act of Killing (not sure if this is counted as 2013)
7. Differently, Molussia (or this)
8. Paradise: Love

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FakeBonanza
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Re: Dynamic Top Tens of 2013

#64 Post by FakeBonanza » Mon Jun 24, 2013 6:16 pm

1. Mud
2. 12 Years a Slave
3. Spring Breakers
4. Blue is the Warmest Colour
5. The Bling Ring
6. Side Effects
7. To the Wonder
8. The Grandmaster (US cut)
9. Only God Forgives
10. Rush

beyond my top ten:
11. The Conjuring
12. Gravity
13. Blue Jasmine
14. The Great Gatsby
15. Frances Ha
16. Iron Man 3
17. Stoker
18. Gangster Squad
19. The Place Beyond the Pines
Last edited by FakeBonanza on Sat Nov 09, 2013 12:58 am, edited 9 times in total.

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colinr0380
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Re: Dynamic Top Tens of 2013

#65 Post by colinr0380 » Mon Jul 01, 2013 4:44 pm

OK, I'll try a personal 'dynamic top ten' for the first time! I'll not really follow release dates, just the best films by their imdb release year. I've really been inspired to do this from seeing The Grandmaster recently. I Wish would be on here but that was my favourite of last year.

1. Under The Skin
2. The Grandmaster
3. The Immigrant
4. Only God Forgives
5. Like Father, Like Son
6. Joe
7. The Strange Colour of Your Body's Tears
8. Upstream Color
9. Snowpiercer
10.Stray Dogs

Next:

11. Ender's Game
12. Nymph()maniac
13. Mystery Road
14. Blackfish
15. Her
16. Behind The Candelabra
17. Oblivion
18. Cloud Atlas
19. A Field In England
20. The East
21. Computer Chess
22. This Is The End
23. Heli
24. R100
25. Pacific Rim
26. The Evil Dead

Older films first seen:

Live and Become (2005) - interesting but far too many overwrought elements. Roschdy Zem is the biggest name in the cast as the adoptive father but ends up becoming a one note grumpy dad figure to the lead character once he reaches his late teens. The film eventually seems mostly about silly, uncomprehending men needing the compassionate, courageous, proactive women in their lives to push their lives forward for their own good.
Last edited by colinr0380 on Thu Aug 18, 2022 5:46 am, edited 29 times in total.

rohming
Joined: Thu Jun 06, 2013 5:40 pm

Re: Dynamic Top Tens of 2013

#66 Post by rohming » Tue Jul 09, 2013 5:31 pm

Mud
Catching Fire
Desolation of Smaug
Upstream Color
Frances Ha
Gravity
Last edited by rohming on Thu Dec 19, 2013 6:02 pm, edited 5 times in total.

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John Edmond
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Re: Dynamic Top Tens of 2013

#67 Post by John Edmond » Tue Jul 09, 2013 9:45 pm

Boring, provisional, and only featuring films that debuted in 2013.

1. Bastards
2. Let Your Light Shine
3. Stray Dogs
4. The Strange Little Cat
5. Mount Song
6. Hard to be a God
7. A Field in England
8. The Grandmaster
9. Only Lovers Left Alive
10. Under the Skin


Dishonourable mentions: Upstream Color (possibly an interesting structure, but who can care when the moments are so terrible?)
Last edited by John Edmond on Fri Dec 19, 2014 8:28 pm, edited 5 times in total.

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Camera Obscura
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Re: Dynamic Top Tens of 2013

#68 Post by Camera Obscura » Sun Jul 14, 2013 1:11 pm

Top 10:

1. Stories We Tell (Canada, Sarah Polley, 2012)
2. The Grandmaster (Hong Kong/China, Wong Kar Wai, 2013)
3. Frances Ha (US, Baumbach, 2012)
4. Post Tenebras Lux (Mexico, Reygadas, 2012)
5. A Touch of Sin (China, Jia Zhang-Ke, 2013)
6. Araf/Somewhere In Between (Turkey, Yesim Ustaoglu, 2012)
7. Thou Gild’st the Even (Turkey, Onur Ünlü, 2013)
8. Star Trek Into Darkness (US, J. J. Abrams, 2013)
9. Spring Breakers (US, Harmony Korine, 2012)
10. Architecture 101 (S. Korea, Yong-joo Lee, 2011)

Bubbling under (all excellent or worth seeing in some way or another):
Antiviral, Computer Chess, Gimme the Loot, Wolf Children, No, The Russian Novel, Paradise: Hope, Gangs of Wasseypur, Stemple Pass, Like Someone in Love, This Is the End, The Act of Killing.

Not good (or definitely not to my taste...):
John Dies at the End (Don Coscarelli), The Place Beyond the Pines (Derek Cianfrance), Mama (Muschietti), In Another Country (Hong Sang-soo), Father’s Day (Adam Brooks, Jeremy Gillespie), Gangster Squad (Ruben Fleischer), Sushi Girl (Kern Saxton), The Sessions (Ben Lewin), Hellbenders (J.T. Petty), Hitchcock (Sacha Gervasi).

Notably missed:
Stoker, Only Lovers Left Alive, Carrie, Blue Jasmine, Grand Central, Diego Star (Pelletier), Gravity, The Selfish Giant, Noche, Los salvajes, La vie d’Adèle, Stray Dogs, Nebraska (Payne), Snowpiercer, The Strange Colour of Your Body’s Tears (Cattet & Forzani), Gold (Thomas Arslan), Prince Avalanche, Before Midnight, Ugly, Escape from Tomorrow, Cheap Thrills, Why Don’t You Play in Hell? (Sono), Oktober November (Spielmann), Enemy, When Jews Were Funny.

......................................
Last edited by Camera Obscura on Tue Dec 31, 2013 9:34 am, edited 2 times in total.

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Tyler Michael
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Re: Dynamic Top Tens of 2013

#69 Post by Tyler Michael » Wed Jul 17, 2013 5:01 pm

Released Where I Am in 2013 (largely boring, but will probably improve as the year closes and more becomes available for viewing through various means)

1. "Spring Breakers" - Harmony Korine
Harmony Korine has always towed a fine line between exploitation and exposition, and in what is simultaneously his most and least accessible film, he almost gives us a whiff of ideology in a scene near the end of the first act wherein Selena Gomez's characters abandons her friends after feeling uncomfortable with a shift in scenery from the morally dubious, hard partying white vacationers to the morally dubious, hard partying black locals. Her reactions are believable for someone from her background while simultaneously being just exaggerated enough to show that Korine might start having Points to Make in his films. Luckily for us, he doesn't tread this territory too obviously, as most of the film is pure spectacle that only reveals itself to a viewer perhaps too eager to apply politics to a film with copious amounts of guns and poverty. Perhaps the most memorable scene of 2013 is the robbery scene, featuring a single shot executed flawlessly.

2. "Before Midnight" - Richard Linklater
Before Midnight risks being too clever in a scene where Jesse, now an old friend to any member of the audience, is sitting with his writer friends at what is essentially a Greek intellectuals' retreat. He is given a short critique of his third book, one that is "more ambitious" than the others, among other things. Most of the descriptors used there consciously refer to the film in particular, and were it not for the excellent execution from Hawke and Delpy in what might be their best roles, this kind of scene would make me wince. As it is, the film is, in fact, the crucial next step the trilogy (series?) needed. The endless sapiosexual discussions of the first and the creeping darkness watered down by wistfulness of the second make way for an altogether more complex film. On the one hand, there are the named and dialogue-delivering extra characters that help to work into the inevitable Delpy/Hawke third act and serve well in provoking new angles of Jesse and Celine as well as offering perspectives beyond their reach. On the other, there is Jesse and Celine's real life, which features prominently in this film. Jesse's son flying away is the opening scene of the film, and making what was abstract in Sunset tanglible instigates the explosive discussions near the end. As always, the film leaves off slightly unresolved, and in that and other scenes like it lies its beauty.

3. "Side Effects" - Steven Soderbergh
Though it doesn't begin to compare to the above two films, Soderbergh's opus featured a surprisingly decent performance from Channing Tatum, a refreshingly strong, largely unpredictable plot-twist, and a first act sensory overload that will come to be remembered as one of the best depictions of clinical depression and medication to come out of an era defined by both. A film, perhaps, of our time, but certainly with lasting impact on any viewer.

4. "From Up on Poppy Hill" - Goro Miyazaki
The latest Ghibli film technically came out some time ago, but was officially released in the U.S. just a few months ago. It is what you expect by now: charming, vaguely supernatural in how well-assembled the narrative is, and delivered with breathtaking visuals. Though the studio seems to have ceased releasing titanic, meditative experiences, at least for now, this is no philosophical slouch, even if it is a bit cloudy where exactly our sympathies are meant to lie. A feel-good film at its core, and one that achieves that goal splendidly.

other films seen in descending order of quality:
"The Bling Ring" - Sofia Coppola
"No" - Pablo Larrain
"This Is the End" - Seth Rogen / Evan Goldberg
"Monsters University" - Dan Scanlon
"Gangster Squad" - Ruben Fleischer
"The Great Gatsby" - Baz Luhrmann
"Identity Thief" - Seth Gordon

Wishlist (randomly ordered):
"Upstream Color" - Shane Carruth
"Frances Ha" - Noah Baumbach
"Pieta" - Kim Ki-Duk
"Blue Is the Warmest Color" - Abdellatif Kechiche
"Like Father, Like Son" - Hirokazu Koreeda
"Trance" - Danny Boyle
"Pavilion" - Tim Sutton
"Behind the Candelabra" - Steven Soderbergh
"Inside Llewyn Davis" - Coen Brothers
"Mud" - Jeff Nichols
"Stoker" - Park Chan-wook
"Wrong" - Quentin Dupieux
"To the Wonder" - Terrence Malick
"Pacific Rim" - Guillermo del Toro
"Sun Don't Shine" - Amy Seimetz
"Post Tenebras Lux" - Carlos Reygadas
"Leviathan" - Verena Paravel & Lucien Castaing-Taylor

Really interested in hearing others' opinions on my choices as well as advice on which Wishlist features to prioritize.
Last edited by Tyler Michael on Thu Jul 18, 2013 6:08 am, edited 1 time in total.

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Floyd
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Re: Dynamic Top Tens of 2013

#70 Post by Floyd » Wed Jul 17, 2013 8:15 pm

01 Leviathan (what an experience!)
02 To the Wonder
03 The Master
04 Only God Forgives
05 Spring Breakers
06 Mud
07 Upstream Color
08 Sightseers
09 Berberian Sound Studio
10 Frances Ha

Guilty Pleasure: The Heat
Last edited by Floyd on Tue Nov 19, 2013 12:53 pm, edited 1 time in total.

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barrym71
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Re: Dynamic Top Tens of 2013

#71 Post by barrym71 » Wed Jul 31, 2013 12:41 pm

1) Upstream Color
2) Blue is the Warmest Color
3) Spring Breakers
4) Pain & Gain
5) The World's End
6) Blue Jasmine
7) You're Next
8) Sightseers
9) Trance
10)

Worst: Girl Most Likely, To The Wonder, Bastards, Texas Chainsaw Massacre 3D
Last edited by barrym71 on Mon Dec 30, 2013 11:01 am, edited 1 time in total.

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zedz
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Re: Dynamic Top Tens of 2013

#72 Post by zedz » Mon Aug 12, 2013 5:41 pm

TOP TEN:

Norte, the End of History (Lav Diaz) – Already discussed in its own thread.

A Touch of Sin (Jia Zhangke) – From one angle a big change of pace for Jia, but from another a logical development of his great body of work to date, in which violence has always been implicit. Turns out he’s a master of suspense and a great stager of action scenes as well as everything else.

The Grandmaster (Wong Kar-wai)– Already discussed in its own thread. This film (In its original cut, at least) gets richer with each viewing.

The Strange Little Cat (Ramon Zurcher) – A strange little German film that might seem whimsically inconsequential (an extended family get together in a cramped flat for a celebration) were it not for the film’s formidable formal rigour. Every single shot, rigidly framed, incorporates off-screen action described on the soundtrack (voices off, sound effects, from just off-frame, in another room or out on the street). I’d estimate that fully two-thirds of the film’s action is present but invisible in this fashion, and it’s quite a remarkable formal achievement. It’s a film you really need to engage with aurally to get the most out of, and the weird sense of dislocation this evokes is eventually revealed to be thematically appropriate. Quite an astonishing first feature.

Nobody’s Daughter Haewon (Hong Sang-soo) – Discussed in the Hong thread. For this director, “more of the same” is music to my ears.

Stranger by the Lake (Alain Guiraudie) – A very dark (in more ways than one – encroaching night has seldom been more ominous in a film) and disturbing thriller, full of naked men, frequently fucking one another (you have been warned). The filmmaking is brilliantly assured, pindrop-sensitive to changes of mood, and builds to a hair-raising depiction of l’amour fou. The subject matter and its explicitness is clearly going to limit the film’s exposure, but if you’re really interested in great filmmaking, just close your eyes and swallow.

Only Lovers Left Alive (Jim Jarmusch) – A lot of knockabout, deadpan fun, but also perhaps the most delicately affecting film Jarmusch has ever made.

Leviathan (Lucien Castaing-Taylor, Verena Paravel) – Basically, everything you’ve heard about this film is true. It’s visionary and overwhelming, and I’d like to put in a special word for the amazing immersive soundtrack.

Something in the Air (Olivier Assayas) - I wouldn’t place this at the top of my personal Assayas pantheon, but there are enough magnificent sequences to get it into my top ten for the year.

Upstream Color (Shane Carruth) – Remarkable whatsit from Carruth. I found the filmmaking here far more assured than in Primer, and for all the comparisons it draws with Malick, I found this about 100 times more engaging than the ludicrous To the Wonder.


BUBBLING UNDER:

The Paradise Trilogy (Ulrich Seidl) – I was surprised by how effective these films were, and how, for all their grotesquerie, they were predicated on believable human behaviour – with the exception of Faith, which for me never really got beyond a caricature of religious mania. It’s still an impressive film, but it bumped the trilogy down a notch in my estimation.


HONOURABLE MENTION:

Camille Claudel 1915 (Bruno Dumont) – Probably Dumont’s most mature film, and Binoche is impeccable. He’s still far from being my favourite director, but his films always look fantastic.

Mood Indigo (Michel Gondry) – As usual, Gondry has difficulty pacing himself over the length of a feature, but in this case the enervation of the film’s second half (following the insane over-invention of the first) is part of the narrative design, so I’m prepared to give him the benefit of the doubt until I see the film again. The giddy, migraine-inducing over-stimulation of the first hour is surely a sight to behold. The kind of wacky, one-off visual gags he used to build whole music videos around come at you at machine-gun pace.

The Selfish Giant (Clio Barnard) – Inevitably less bracing than Barnard’s extraordinary The Arbor, the contours of this slab of post-Loach miserabilism are exceedingly familiar, but nevertheless expertly executed, right up to a truly shocking climax.

Child’s Pose (Calin Peter Netzer) – More post-Loach miserabilism, from Romania, impressively acted with its inherent ambiguities finely orchestrated. Nothing particularly new here, but it’s much preferable to the wearying contrivances of Farhadi’s The Past.

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John Cope
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Location: where the simulacrum is true

Re: Dynamic Top Tens of 2013

#73 Post by John Cope » Tue Aug 13, 2013 12:18 am

1. To the Wonder (Malick)
2. O Gebo e a Sombra (Oliveira)
3. Mud (Nichols)
4. Spring Breakers (Korine)
5. The Grandmaster (Wong)
6. Upstream Color (Carruth)
7. Behind the Candelabra (Soderbergh)
8. Trance (Boyle)
9. The Great Gatsby (Luhrmann)
10. The Bling Ring (Coppola)
11. The Conjuring (Wan)
12. Safe Haven (Hallström)
13. Stoker (Park)
Last edited by John Cope on Tue Oct 29, 2013 7:48 pm, edited 1 time in total.

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PfR73
Joined: Sun Mar 27, 2005 6:07 pm

Re: Dynamic Top Tens of 2013

#74 Post by PfR73 » Wed Sep 18, 2013 3:03 pm

1) Upstream Color
2) Prisoners
3) The Place Beyond The Pines
4) The Bling Ring
5) Mud
6) Before Midnight
7) Computer Chess
8) Drug War
9) Oblivion
10) Frances Ha

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rockysds
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Location: Denmark

Re: Dynamic Top Tens of 2013

#75 Post by rockysds » Wed Sep 18, 2013 3:26 pm

Before Midnight (Richard Linklater)
Les trois désastres (Jean-Luc Godard)
Hard to Be a God (Aleksey German)
Die andere Heimat - Chronik einer Sehnsucht (Edgar Reitz)
Computer Chess (Andrew Bujalski)
The Wolf of Wall Street (Martin Scorsese)
Upstream Color (Shane Carruth)
Love Battles (Jacques Doillon)
Side Effects (Steven Soderbergh)
The Grandmaster - HK cut (Kar Wai Wong)

HM:
Just in Time (Peter Greenaway), The Strange Little Cat (Ramon Zürcher), La última película (Raya Martin & Mark Peranson), The World's End (Edgar Wright), La jalousie (Philippe Garrel), Les salauds (Claire Denis)
Last edited by rockysds on Tue Jun 10, 2014 6:18 pm, edited 7 times in total.

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