Dynamic Top Tens of 2023

Discussions of specific films and franchises.
User avatar
Joined: Fri Jun 13, 2014 12:55 pm

Re: Dynamic Top Tens of 2023

#26 Post by brundlefly » Sun Jan 01, 2023 2:16 pm

Actual List:
1. Showing Up (Reichardt)
2. Spider-Man: Across the Spider-Verse (Dos Santos, Powers, Thompson)
3. Beau is Afraid (Aster)
4. Barbie (Gerwig)
5. KIllers of the Flower Moon (Scorsese)
6. How to Blow up a Pipeline (Goldhaber)
7. A Thousand and One (Rockwell)
8. Country Gold (Reece)

Less Actual List:
₰. Mia Goth trying to not cut a roll in Infinity Pool
🔥. "Michael Jackson on Fire Diorama" (Fingers)
👟.Пиньята 2023 (johnny_mctokkinz)
55,555,555,551,001,001,001,001,005,555,555,555,155. Pay it Forward (bbygouda)
. Nothing, Forever (Hartle, Habersberger, and GPT-3)
Ω. "Had to try this trend" (McShirehampton)

Also seen (in order of appearance):
Skinamarink, the rest of Infinity Pool, Dungeons & Dragons: Honor Among Thieves, Cocaine Bear, Influencer, Oppenheimer
Last edited by brundlefly on Sat Nov 18, 2023 6:18 am, edited 20 times in total.

User avatar
Joined: Tue Jun 05, 2012 8:57 pm
Location: Toronto

Re: Dynamic Top Tens of 2023

#27 Post by TheDudeAbides » Sun Jan 01, 2023 5:37 pm

1. Killers of the Flower Moon (Scorsese)
2. Talk To Me (Philippou, Philippou)
3. Past Lives (Song)
4. Copenhagen Cowboy (Refn)
5. Asteroid City (Anderson)
6. Infinity Pool (Cronenberg)
7. Oppenheimer (Nolan)
8. Barbie (Gerwig)
9. Evil Dead Rise (Cronin)
10. John Wick: Chapter 4 (Stahelski)

Honourable Mentions:
Teenage Mutant Ninja Turtles: Mutant Mayhem (Rowe)
Mission Impossible: Dead Reckoning Part One (McQuarrie)
Saw X (Greutert)
Guardians of the Galaxy Vol. 3 (Gunn)
Knock at the Cabin (Shyamalan)

Scream VI (Bettinelli-Olpin, Gillett)
Cocaine Bear (Banks)
The Super Mario Bros. Movie (Jelenic, Horvath)
Missing (Johnson, Merrick)
M3GAN (Johnstone)
The Little Mermaid (Marshall)

Brother (Virgo)
The Boogeyman (Savage)
The Pope's Exorcist (Avery)
Renfield (McKay)

65 (Beck, Woods)


2022 2021 2020 2019 2018 2017 2016 2015 2014 2013 2012
Last edited by TheDudeAbides on Tue Oct 31, 2023 11:45 am, edited 12 times in total.

User avatar
Joined: Mon Jul 07, 2008 5:09 pm
Location: Edinburgh, UK

Re: Dynamic Top Tens of 2023

#28 Post by Finch » Sun Jan 01, 2023 10:36 pm

1. Mission Impossible Dead Reckoning Pt 1


Mixed: M3GAN, Evil Dead Rise, Talk To Me

Last edited by Finch on Wed Sep 20, 2023 9:29 pm, edited 4 times in total.

User avatar
Joined: Thu Jun 19, 2008 7:51 am

Re: Dynamic Top Tens of 2023

#29 Post by LQ » Mon Jan 02, 2023 10:25 am

1. Beau is Afraid
2. Knock at the Cabin
Last edited by LQ on Thu Apr 20, 2023 7:57 am, edited 2 times in total.

User avatar
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: Dynamic Top Tens of 2023

#30 Post by mfunk9786 » Mon Jan 02, 2023 10:25 am

01. The Wonderful Story of Henry Sugar (Anderson)
02. Beau is Afraid (Aster)
03. Knock at the Cabin (Shyamalan)
04. Asteroid City (Anderson)
05. Oppenheimer (Nolan)
06. Mission: Impossible – Dead Reckoning Part One (McQuarrie)
07. Air (Affleck)
08. You Hurt My Feelings (Holofcener)
09. John Wick: Chapter 4 (Stahelski)

LAST UPDATED: 10/01/2023

Past lists: 2022 2021 2020 2019 2018 2017 2016 2015 2014 2013 2012 2011 2010 2009 2008 2007

User avatar
Jean-Luc Garbo
Joined: Thu Dec 09, 2004 1:55 am

Re: Dynamic Top Tens of 2023

#31 Post by Jean-Luc Garbo » Mon Jan 02, 2023 11:19 pm

Killers of the Flower Moon
Saint Omer
Copenhagen Cowboy
Knock at the Cabin
Last edited by Jean-Luc Garbo on Fri Dec 01, 2023 2:16 pm, edited 4 times in total.

User avatar
The Fanciful Norwegian
Joined: Tue Nov 02, 2004 2:24 pm
Location: Teegeeack

Re: Dynamic Top Tens of 2023

#32 Post by The Fanciful Norwegian » Thu Jan 05, 2023 1:34 pm

Same eligibility as my 2021 and 2022 lists: anything I watch for the first time that premiered in the last calendar year or later.
  1. Pacifiction (Albert Serra)
  2. Arnold Is a Model Student (Sorayos Prapapan)
  3. This Closeness (Kit Zauhar)
  4. Rewind & Play (Alain Gomis)
  5. De humani corporis fabrica (Lucien Castaing-Taylor and Véréna Paravel)
  6. 100 Yards (Xu Haofeng and Xu Junfeng)
  7. The Novelist's Film (Hong Sangsoo)
  8. Mad Fate (Soi Cheang)
  9. Youth (Spring) (Wang Bing)
  10. Tár (Todd Field)
Honorable mentions: Art College 1994 (Liu Jian), Barbie (Greta Gerwig), Conann (Bertrand Mandico), Fairytale (Aleksandr Soukurov), The Fifth Thoracic Vertebra (Park Syeyoung), Fremont (Babak Jalali), How to Have an American Baby (Leslie Tai), Like & Share (Gina S. Noer), Tchaikovsky's Wife (Kirill Serebrennikov), A Wing and a Prayer (Lee Kwang-kuk)

Best 2023 U.S. commercial releases:
  1. Pacifiction (Albert Serra)
  2. Rewind & Play (Alain Gomis)
  3. De humani corporis fabrica (Lucien Castaing-Taylor and Véréna Paravel)
  4. Sick of Myself (Kristoffer Borgli)
  5. Fremont (Babak Jalali)
  6. Give Me Pity! (Amanda Kramer)
  7. Unrest (Cyril Schäublin)
  8. The Novelist's Film (Hong Sangsoo)
  9. Guardians of the Galaxy Vol. 3 (James Gunn)
  10. Bottoms (Emma Seligman)
Best ineligible first watches:
  1. *Corpus Callosum (2002, Michael Snow)
  2. Hard to Be a God (2013, Aleksey German)
  3. Marriage Story (2020, Jessica Dunn Rovinelli)
  4. Out of the Past (1947, Jacques Tourneur)
  5. Ivan the Terrible (1944, Sergei Eisenstein)
  6. The Green Ray (1986, Éric Rohmer)
  7. The Man Who Sleeps (1974, Georges Perec and Bernard Queysanne)
  8. A Married Woman (1964, Jean-Luc Godard)
  9. Va savoir + (2001, Jacques Rivette)
  10. Red & Rosy (1989, Frank Grow)
Last edited by The Fanciful Norwegian on Fri Sep 29, 2023 12:50 pm, edited 18 times in total.

User avatar
Joined: Wed May 29, 2013 9:35 pm

Re: Dynamic Top Tens of 2023

#33 Post by RSTooley » Fri Jan 06, 2023 4:22 pm

Spider-Man: Across the Spider-verse
Talk to Me
You Hurt My Feelings

Will rank a a full ten after some re-watches.
Last edited by RSTooley on Thu Sep 21, 2023 12:01 pm, edited 1 time in total.

User avatar
Joined: Sun Apr 20, 2008 11:59 pm
Location: Upstate NY

Re: Dynamic Top Tens of 2023

#34 Post by Murdoch » Sat Jan 07, 2023 3:57 pm

1. Barbenheimer
2. Skinamarink
Last edited by Murdoch on Sun Aug 06, 2023 12:09 am, edited 2 times in total.

User avatar
Joined: Wed Mar 07, 2018 1:16 pm

Re: Dynamic Top Tens of 2023

#35 Post by Persona » Mon Feb 20, 2023 4:48 pm

1. Killers of the Flower Moon (Scorsese)
2. Oppenheimer (Nolan)
3. Roald Dahl Collection (Anderson)
4. The Killer (Fincher)
5. Copenhagen Cowboy (Refn)
6. Master Gardener (Schrader)
7. Priscilla (Coppola)
8. Fair Play (Domont)
9. Past Lives (Song)
10. The Caine Mutiny Court-Martial (Friedkin)
Last edited by Persona on Fri Nov 17, 2023 12:12 am, edited 8 times in total.

User avatar
Joined: Sat Dec 08, 2007 1:48 am
Location: sydney

Re: Dynamic Top Tens of 2023

#36 Post by cantinflas » Fri Mar 24, 2023 12:58 am

1. John Wick: Chapter 4
2. Scream VI
3. M3GAN
4. Air
5. Creed III
6. Murder Mystery 2
7. Knock at the Cabin
8. Operation Fortune: Ruse de Guerre
Last edited by cantinflas on Sat May 13, 2023 7:18 am, edited 1 time in total.

User avatar
Joined: Wed Aug 14, 2013 12:56 pm
Location: England

Re: Dynamic Top Tens of 2023

#37 Post by Altair » Mon Apr 10, 2023 12:13 pm

1. Oppenheimer
2. Passages
3. Killers of the Flower Moon
4. The Killer
5. Bottoms
6. John Wick: Chapter Four
7. No Hard Feelings
Last edited by Altair on Fri Nov 03, 2023 2:22 pm, edited 6 times in total.

User avatar
Grand Wazoo
Joined: Thu Jun 21, 2007 2:23 pm

Re: Dynamic Top Tens of 2023

#38 Post by Grand Wazoo » Thu May 04, 2023 9:17 am

1. Hello Dankness
2. Magic Mike's Last Dance

User avatar
Life is one big kevyip
Joined: Wed Dec 05, 2007 6:39 pm
Location: Los Angeles

Re: Dynamic Top Tens of 2023

#39 Post by lacritfan » Tue Jul 04, 2023 11:22 pm

Beau is Afraid
John Wick: Chapter 4
Last edited by lacritfan on Sun Oct 15, 2023 11:33 pm, edited 1 time in total.

User avatar
The Curious Sofa
Joined: Fri Sep 13, 2019 6:18 am

Re: Dynamic Top Tens of 2023

#40 Post by The Curious Sofa » Wed Jul 05, 2023 4:32 am

1. The Beasts/As bestas
2. Past Lives
3. Talk to Me
4. Influencer
5. Reality
6. Beau is Afraid
7. Where Evil Lurks
8. M:I Dead Reckoning Part 1
9. All the Beauty and the Bloodshed
10.Guardians of the Galaxy 3
Last edited by The Curious Sofa on Wed Nov 29, 2023 11:55 am, edited 4 times in total.

User avatar
Soy Cuba
Joined: Mon Jul 10, 2023 8:36 am

Re: Dynamic Top Tens of 2023

#41 Post by Soy Cuba » Mon Jul 10, 2023 8:40 am

1. Close
2. Safe Place
3. Beau is Afraid
4. Love According to Dalva
5. Saint Omer
6. The Eight Mountains
7. Godland
8. Past Lives
9. Riceboy Sleeps
10. Tori and Lokita
Last edited by Soy Cuba on Thu Sep 21, 2023 7:37 am, edited 1 time in total.

User avatar
Joined: Mon Dec 01, 2008 1:42 am
Location: US

Re: Dynamic Top Tens of 2023

#42 Post by Yakushima » Wed Jul 26, 2023 12:16 am

1. Oppenheimer
2. Master Gardener
9. M3GAN
10. Asteroid City

User avatar
Joined: Sun Nov 07, 2004 7:24 pm

Re: Dynamic Top Tens of 2023

#43 Post by zedz » Tue Aug 08, 2023 4:49 pm

The film festival has blown through town, and two and a half weeks later, out of 135 films from 40 countries, here’s what stuck with me.

TEN BEST (reverse alphabetical order)

When the Waves Are Gone (Lav Diaz) – For so-called slow cinema, Lav Diaz sure packs a lot of story in. His latest cine-novel follows over three hours the parallel threads of a violent police lieutenant, Hermes, who has returned to his home town to try and recover from his psoriasis, and Supremo, his former mentor, a religious extremist fresh out of prison and out for revenge on the protégé who put him there. When they finally close in for the final confrontation, we get an amazing (slow, inconclusive) film-noir chase on rain-slicked night streets, and a showdown on a wharf at night where the characters are reduced to stark white figures in a void of black. This is a film that you live in rather than just watch.

The Tuba Thieves (Alison O’Daniel) – A hugely imaginative and accomplished feature set in the Los Angeles deaf community but also bouncing around in time and space to take in the first performance of John Cage’s 4’33” and punk shows at the San Francisco Deaf Club in the late 70s. Oh, and a rash of thefts from school marching bands. The film plays with ideas of sound and silence, signal and noise, and features extremely innovative sound design.

Smoke Sauna Sisterhood (Anna Hints) – Fantastic, unconventional documentary in which women talk about themselves in Estonian saunas. It’s joyous and sometimes harrowing, and the conversations encompass a full range of lived experience. Beautifully photographed and assembled.

Shackle (Ainslie Henderson) – An animation tour-de-force combining puppet and object animation, filmed on location in a forest, so that the background trees and the light flutters and fluctuates with every frame. It’s ravishing to look at, but Henderson also manages other tricks, like expanding and contracting portals into another dimension (the forest at night). It’s a tiny little epic that outdoes most conventional good vs. evil features.

The Settlers (Felipe Galvez) – Probably the greatest western since Jauja. Three men (two colonizers; one colonized) traverse a continent (and the Andes) looking for a safe route for livestock to the Atlantic. This movie shows just how great Academy ratio is for spectacular landscapes and action (one major scene depicts a massacre in heavy fog, from the perspective of a character who’s not participating in it). The compositions are painterly, with expressive, rather than realist, cinematic lighting, and it has a killer score, all heavy percussion and jangling wires.

Pacifiction (Albert Serra) – Serra’s most narratively dense film so far, but it’s also a trippy, disorienting mood piece, with some bracing set-pieces (e.g. the surfing sequence). These kind of stories tend to get labelled “post-colonial”, but there ain’t nothing “post-“ about what’s going on in this film. It’s always exciting to see an accomplished director take a step up to a new level.

No Bears (Jafar Panahi) – This might be my favourite of Panahi’s post-filmmaker films to date, a very clever self-reflexive film in which fiction turns out to be fact and vice versa, all while gently prodding his own privileged (if compromised) position. If it’s not quite as dizzyingly layered as classics like Close-Up or A Moment of Innocence, it’s nonetheless a pleasure seeing Iranian cinema get back to those qualities of 4-D bafflement.

L’Immensitá (Emanuele Crialese) – This is a big, entertaining movie-star movie, with Penelope Cruz giving a big, entertaining movie-star performance, but what I liked about it is how it used that glossy format to smuggle in a whole lot of powerful and subtle elements. For instance, it’s a film with a trans hero, even though it’s not a film about his trans struggle or trans triumph. That’s just who he is. Similarly, it deals seriously with domestic trauma (manifested in various ways) without being sensationalistic or miserabilist. The film at times escapes into musical numbers, including a table-setting scene at the outset that’s one of the most delightful sequences of the year. Cruz really is magnificent in the film, conveying an extremely complex character without histrionics. Her work is so subtle and sympathetic that
you’re halfway through the film before you realize that you’re watching a quasi-remake of A Woman Under the Influence. We’ve been so taken in by her portrayal of a joyous free spirit that we don’t want to acknowledge that she can only express that joy through her children and is desperate to escape the adult world.

De Humani Corporis Fabrica (Lucien Castaing-Taylor, Verena Paravel) – The latest Sensory Ethnography Lab joint takes us inside the Paris public hospital system and the bodies of its patients. We follow people with dementia as they trek the corridors on obscure quests and eavesdrop on nurses complaining about conditions, but mostly this film is about surgery. You have been warned. The spectacle is astonishing, if occasionally stomach-churning. As a child I split my head open (21 stitches) and could feel the doctor moving my skull around under the skin to check nothing was too badly broken. The cornea transplant segment in this film was worse than that. It might as well have been titled “I’ll show you, Un Chien Andalou.” The film concludes with a magnificent, totally unexpected swirling shot of a mural, set to New Order’s ‘Blue Monday’.

Fremont (Babak Jalali) – Deadpan comedy in very early Jarmusch mode about an Afghan refugee working in a fortune cookie factory. Beautifully rendered in black and white and genuinely warm and funny.

TEN SECOND-BEST (forwards alphabetic order)

Afire (Christian Petzold) – You know you’re going to get impeccable filmmaking with Petzold, but the surprise here is that this is by far his funniest film, about a grumpy writer struggling to complete (or not complete) his difficult second novel among people who are just too fucking cheerful. The film has its dark side, of course. The only thing that kept this out of the top tier for me was the predictability of the climax and denouement.
Does anybody watching this not expect somebody to get caught in the offscreen forest fire? And for that person to be whoever decides to finally go and rescue the (offscreen) car? And from the moment we learn of the presence of an interloper at the cabin, isn’t if obvious that the real second novel will be the story of this interlude?
Fantastic Machine (Alex Danielson / Maximilien Van Aertryck) – Very smart and very snappy essay film about the history of image making and faking.

Kokomo City (D. Smith) – Electrifying documentary, shot in sleek high-contrast black and white, about black trans sex workers in Georgia. Stylish as hell, and an emotional roller-coaster ride.

Lost Love (Ka Sing-Fung) – I went into to this expecting a simplistic tear-jerker (couple become foster parents, with all the reward and heartbreak that portends) and instead got a marvellously complex and graceful one.

On the Adamant (Nicolas Philibert) – Another sublime observational documentary from Philibert, this time about a facility for mental health patients on a barge on the Seine where the focus is on expressing creativity and forming a community.

Passages (Ira Sachs) – Sachs’ strongest film since Forty Shades of Blue, with three very different actors acing their lead roles (Franz Rogowski, Ben Whishaw and Adele Exarchopoulos).

River (Junta Yamaguchi) – Awesome high-concept, no-budget science-fiction film set in a gorgeous ryokan in a gorgeous mountain valley. Everybody is going about the daily business when suddenly time starts looping every two minutes. The characters’ consciousnesses continue in linear fashion, so they are aware of the temporal glitch and try to get things done before the 120-second reset returns them physically to square one. The elaborations on the idea are ingenious, and though the tone never gets beyond whimsical despite a few existential feints (a couple of people find out what it’s like to die), it’s a formal delight, with most of the film unfolding in highly mobile two-minute sequence shots (as the main character rushes all over the ryokan and its environs trying to manage the chaos) that end on match-cuts back to Mikoto, standing by the riverside where it all begins again.

Showing Up (Kelly Reichardt) – Reichardt is a master of the demotic sublime, and it’s a delight to be able to sink into a film in which even the most glancing characters have a lived-in reality.

The Survival of Kindness (Rolf de Heer) – Spectacular, functionally wordless post-apocalyptic quest film, in which a black woman abandoned in a cage in the desert escapes and makes her way slowly to ‘civilization’ in order to fulfil a vision, while dodging a militia of white men in gas masks executing outsiders. Oh, and there’s a very nasty pandemic going on. It makes for an allegorical soup that’s all the better for not being reduced too far. Visionary filmmaking, a bit like Jodorowsky if he were less silly and egomaniacal.

War Pony (Gina Gammell, Riley Keough) – Native American drama (with poodles!) that got stronger and more confident as it went along.

TEN THIRD-BEST (alphabetical by last letter)

Casa Susanna (Sebastien Lifshitz) – Recovered history of a 1960s Catskills hideaway for cross-dressers (and their wives). A really lovely documentary that nobody went to see.

La Chimera (Alice Rohrwacher) – Less overtly magical realist than Lazzaro Felice, but in the same ballpark. It’s an elusive tone that Rohrwacher can pull off better than almost anybody else working today.

Anatomy of a Fall (Justine Triet)

Totem (Lila Avilès) – Busy family drama from Mexico with verisimilitude to burn and the ability to change gears into the sublime for the denouement. La Cienaga and Neighbouring Sounds seem like good reference points and ample recommendation.

EO (Jerzy Skolimowski) – I had to admire the gumption of remaking Au hazard, Balthazar in the least Bressonian manner imaginable. As such, this film stands or falls as defiantly its own thing.

May December (Todd Haynes) – Haynes does what he does best: queasily complicating the sensational.

Monster (Hirokazu Kore-eda) – Tricksy thriller with a Rashomon structure that gets a little too tricksy for its own good (there are a number of contrivances that are just there to justify radically different readings of the same events by different participants). The film provides the solution, which doesn’t quite add up, but scene by scene and performance by performance this is great stuff.

Perfect Days (Wim Wenders)

Inshallah a Boy (Amjad Al Rasheed) – Adult drama with nasty Islamic complications, in the vein of Asgar Farhadi, but not so contrived.

Disco Boy (Giacomo Abbruzzese) – Hostile takeover in a French disco! This film owes a lot to Beau Travail, but has lots of its own ideas buzzing around (including a great climactic fight shot with a heat-imaging camera). A very promising first fiction feature.


Only the River Flows (Wei Shujun)

Pictures of Ghosts (Kleber Mendonca Filho)

Music for Black Pigeons (Andreas Kofoed / Jorgen Leth)

Tiger Stripes (Amanda Nell Eu)

Saint Omer (Alice Diop)

Last Summer (Catherine Breillat)

Cat and Moth (India Barnardo)

Plan 75 (Chie Hayakawa)

Kidnapped (Marco Bellocchio)

Mami Wata (C.J. “Fiery” Obasi)


Hello Dankness (Soda Jerk) – I enjoyed Terror Nullius, but this film has none of its wit. It’s an impressive feat of editing, but its satire is brain-dead and obvious. Wouldn’t it be hilarious if the nasty neighbours from random 80s comedy number thirty-seven had a Trump flag on their lawn? This film has nothing of interest to say, and is merely satisfied with reassuring its hip target audience that they’re right to hate the Republicans and other obvious targets, and they’re awesome for knowing the same middlebrow Hollywood movies that Soda Jerk do. It’s like an agit-prop version of Family Guy.

Carmen (Benjamin Millepied) – Lame, lame, lame Australian / French co-production parading as ‘edgy’ Latin American. A cliché-ridden script dressed up in third-hand “high style” (Lynch and Malick cops, basically – if all the slow-motion shots in the film ran at normal speed, it would be twenty minutes shorter) and punctuated by listless dance numbers. Rossy De Palma provides the jazz hands; Paul Mescal looks like he knows he’s taken a very wrong career turn.

Sisu (Jalmari Helander) – Big, craven wannabe action blockbuster (wiry Finnish gold miner destroys the Nazi war machine single-handedly, and entirely in English) that pulls absolutely no surprises. Strictly for fans of bad writing and cartoonish gore.

Banel & Adama (Ramata-Toulaye Sy) – Or should that be “Banal and Adama”? Shallow and predictable fable with wafty, whispery Malickisms. The moral of the story: God don’t like those uppity women.

Shin Ultraman (Shinji Higuchi) – Or should that be “Shit Ultraman”? At first I was intrigued by the Fukusakuan compression of the exposition: the film literally crams six movies into the first five minutes. A little later on, I became morbidly fascinated by just how visually incoherent the film was: sequences entirely constructed of show-offy camera angles (looking up at a character’s face from his crotch, peeping out from behind computer monitors or spying from the far corner of a room) with no logic to motivate or connect them. Then I realized this wasn’t avant-garde, but rather inept, and the film was just staler-than-stale action movie crap where all the action was in the expository dialogue and the big set-pieces were weightless and bland CGI tableaux of monsters shooting beams at each other. The most boring film I’ve seen so far this year.

My Name Is Alfred Hitchcock (Mark Cousins) – There are some decent insights scattered throughout the film, but the framing conceit (that this is narrated by a present-day Alfred Hitchcock) is so irritating (yes, I really needed to know what Mark Cousins thinks Alfred Hitchcock would think of iPhones) and pretentious that any points it scores are immediately deducted. And the Hitchcock impersonator was iffy at best.

User avatar
Mr Sausage
Not PETA approved
Joined: Wed Nov 03, 2004 9:02 pm
Location: Canada

Dynamic Top Tens of 2023

#44 Post by Mr Sausage » Wed Aug 09, 2023 2:31 pm

zedz wrote:The film festival has blown through town, and two and a half weeks later, out of 135 films from 40 countries, here’s what stuck with me.

I caught Tiger Stripes and Mami Wata at the Fantasia Film festival, and enjoyed them. Mami Wata had some of the most gorgeous photography I’ve seen in a long time, especially the contrast it makes between the actors’ black skin and the stark white of their traditional make up. Stunning to look at.

Kicking myself for skipping River. I saw "time loop" and disregarded it (I've seen enough time loop movies), but your capsule tells me this was a mistake.

User avatar
Soy Cuba
Joined: Mon Jul 10, 2023 8:36 am

Re: Dynamic Top Tens of 2023

#45 Post by Soy Cuba » Thu Sep 21, 2023 7:39 am

I've had to change my list to include:

'Beau is Afraid'. I thought it was epic. Only a few film-makers can produce output like this.
'Love According to Dalva'. Incredible debut from a country that is producing such good dramas and directors right now (Belgium)
'Past Lives' - I know many dislike it but I thought it was lovely.

User avatar
Joined: Fri Dec 30, 2022 10:36 pm

Re: Dynamic Top Tens of 2023

#46 Post by bufordsharkley1 » Thu Nov 16, 2023 11:39 pm

1. Asteroid City (Anderson)
2. The Holdovers (Payne)
3. Godland (Pálmason)
4. John Wick: Chapter 4 (Stahelski)
5. Showing Up (Reichardt)
6. The Killer (Fincher)
7. Bottoms (Seligman)
8. Beau Is Afraid (Aster)
9. Oppenheimer (Nolan)
10. Talk to Me (Philippous)

BUBBLING UNDER: The Elephant 6 Recording Co. (Stockfleth), Master Gardener (Schrader), Killers of the Flower Moon (Scorsese), The Royal Hotel (Green)

User avatar
Joined: Thu Mar 04, 2010 1:36 pm

Re: Dynamic Top Tens of 2023

#47 Post by JamesF » Wed Nov 29, 2023 11:39 am

In no particular order yet and foolishly sticking to the criteria that it has to have been released in the UK between January 1st and December 31st:

Women Talking
Infinity Pool
The Eight Mountains
Talk to Me
Past Lives
Anatomy of a Fall
How to Have Sex
May December

Post Reply