teenagelobotomy

DeRank ™: 5,19 • DeAge™ : 5697 days

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  • Here since 7 january 2010
teenagelobotomy
teenagelobotomy
20 jul 16

DeRank™: 3,00

The films that make cinematic art great #53 Alphaville - Jean-Luc Godard
No matter how hard I tried, I could never bring myself to love Godard. Except for this immense film.
 
teenagelobotomy
teenagelobotomy
14 jul 16

DeRank™: 3,22

The films that make cinema great #50 Umberto D. - film intero - Vittorio De Sica - 1952 (Cesare Zavattini) for me, the most beautiful film of the entire neorealism season, and one of the most beautiful in Italian cinema.
 
teenagelobotomy
teenagelobotomy
13 jul 16

DeRank™: 0,51

The films that make cinematic art great #49 The Yakuza on Vimeo masterpiece by Pollack, not one of his most known films, but probably the most beautiful. with Mitchum who might have been the greatest of his generation, and Takakura Ken, the most famous Japanese actor after Mifune.
 
teenagelobotomy
teenagelobotomy
12 jul 16

DeRank™: 0,00

The threads that make cinematic art great #48 The Godfather 2: You won't take my children! among the countless iconic scenes in 200 minutes of perfection, this has always been one of my favorites.
Pacino's outburst of anger and change of expression are a demonstration of what it means to be an actor.
 
teenagelobotomy
teenagelobotomy
10 jul 16

DeRank™: 2,06

The films that make cinematic art great #46 Old Boy "it's not that things are much better, I'm just in a bigger prison"

a pitying veil, of course, for Lee's miserable remake.
 
teenagelobotomy
teenagelobotomy
9 jul 16

DeRank™: 0,00

The films that make cinematic art great #45 The Royal Tenenbaums - Introduction of Children a perfect center of Anderson's style and poetic universe, a true milestone of 2000s pop cinema. Unforgettable.
 
teenagelobotomy
teenagelobotomy
8 jul 16

DeRank™: 1,57

The films that make cinematic art great #44 1997: Fuga da New York say what you want, but this film remains a legend.
 
teenagelobotomy
teenagelobotomy
7 jul 16

DeRank™: 0,00

The films that make cinematic art great #43 The Dead (Gente di Dublino) di John Huston - Monologo finale
whenever you come across a survey or ranking concerning the hypothetical best monologues in cinema, you always find the same ones: Blade Runner, Raging Bull, Trainspotting, Good Will Hunting, Any Given Sunday... beautiful monologues, from great masterpieces (if we’re lucky, not so much the last two mentioned), but predictable, expected, trivial choices. Instead, there can be no words more beautiful than those final ones from Houston's last film, based on Joyce.
 
teenagelobotomy
teenagelobotomy
6 jul 16

DeRank™: 6,58

The films that make cinematic art great #42 Big Fish (8/8) Movie CLIP - The Story of My Life (2003) HD sure, for several years now it's been fashionable to say that Burton sucks, that he hasn't hit anything in twenty years, that he only makes films with Johnny Depp, that only Beetlejuice and Ed Wood are worth saving... but his most beautiful and magical film is precisely this one.
 
teenagelobotomy
teenagelobotomy
5 jul 16

DeRank™: 4,57

The films that make cinematographic art great #41 Man on the Moon, Last Scene it’s impossible not to be moved by the end of this final scene, just as it’s impossible not to recognize Jim Carrey’s performance in this film as one of the rarest acting feats. Within a challenging genre, often subject to limitations and simplifications like the biopic, Forman manages to evoke emotions by conveying the character’s genius while also effectively showcasing the bigger picture of that America. And for a couple of hours, he even makes me like Courtney Love.
 
teenagelobotomy
teenagelobotomy
4 jul 16

DeRank™: 3,00

The films that make cinematic art great #40 Body Double Murder Scene the quintessential and definitive film by De Palma, contains everything related to it in a theoretical/meta-cinematic form. It remakes Rear Window and Vertigo, mainly discussing duality and voyeurism, fiction, appearance, and the deceitful nature of the cinematic image from the brilliant opening credits. Nothing is ever what it seems, and everything conceals something different from what is initially shown. In this sense, the famous De Palma maxim "the camera lies continuously, lies twenty-four times a second" finds its utmost expression in this film. But De Palma's metacinema doesn’t get lost in intellectualism à la nouvelle vague; rather, it beautifully condenses theoretical aspects with pure entertainment. A delight, and one of the iconic films of the '80s.
 
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week 4 - 2011