Well, it's that time of year again, so sit tight while
I tell you about my top 10 movies from 2012. And by '10', I mean however the fuck many I feel like. I mean, if there are more than ten movies in a year worth
recommending, then why wouldn't I tell you about some of them? And not only that, but there's a point to me
waiting sixteen months before doing this, too. When I make a list of the year's best movies, the point
is to provide you with a list of the year's best movies. Not get more views by jumping on the New Year's bandwagon, which
is exactly what anyone's doing when they start their review by saying, "Oh, I know I haven't seen all the movies I wanted to this
year, and there are some that would probably make my list, but I haven't watched them yet, and it's not playing
in my area, but I'm just gonna make my list now, because instead of waiting until I could actually
watch it, I'm more concerned about the views. Why would I wait for foreign films to be released, when one hundred
percent of the best movies of every year come from America? If it doesn't have a $200 million advertising budget,
then it's not worth watching, right? Right?" Please understand that the point in this list is not to go "Ha!
You haven't heard of it, that means I'm better than you!" Just because we might not have the same film taste, doesn't
mean that my reasons for liking the films aren't genuine. And I'll try my best to explain why I liked each film without spoiling it. I've had to watch through a lot of horrible
pieces of shit to find some of these movies, and even if right now you're thinking
these movies on your kind of thing, I'd like to think that there's enough variety in this list, that I'll have
introduced you to at least one film that you'll enjoy by the end of it. And who knows? You might even like it
enough to own a physical copy of it... [clip] ... on new Memorex Video Tape. This remarkable tape has been recorded
and re-recorded one hundred times, but I bet you still couldn't tell if it was Memorex or me. Which really isn't me. It's Memorex. [YMS] Starting of this list at number 15 is an
Indonesian film called The Raid: Redemption. This movie is balls to the wall action, and it's action done right. Sure, it's not like there's a compelling story
and interesting characters holding it up, but part of what makes it successful, is that
it doesn't pretend to be anything different. Yeah, sure, they very well could have included the 15
to 20 minutes of typical Hollywood formulated bullshit, but instead, they kept it extremely minimal,
and I think that that was a great choice. Not only does it help get straight to the action that you
paid for, but it makes the fight scenes more tense as well. For most of the movie, there's no real clues as to whether or not the character that you're watching in this
particular fight scene is completely expendable. Unlike the Expendables, where the
characters are anything but expendable. This is a film where you're actually able to feel scared
and get a rush of adrenaline from the fight scenes, because the character you're watching has a good chance of dying. Who would have thought it would have taken this
long to figure out that action scenes work better when the characters participating in them aren't invincible? Not only that, but the choreography itself
in the fight scenes is very well done. There's none of that typical Hollywood quick-cut close-shot bullshit, that's specifically designed so that you
can't see how bad their choreography is. This is a movie that excels on its action, and
it tries its best not to bullshit you in between. Now, that being said, the reason why it's so low on this list, is
that it doesn't nearly have the same effect on the second watch, and there are a few moments that are kinda fucking ridiculous, but regardless, there's enough to appreciate about
what this movie did right to justify giving it a mention. At number 14, we have a Danish documentary called The Ambassador. In this documentary, a journalist goes
undercover as a Liberian diplomat, pretending to be planning to set up a match
factory in the Central African Republic, but secretly showing us the process of obtaining blood diamonds. And holy shit, does this guy have some ball. He literally
puts his life on the line to show us these shots, and despite the obvious danger, and
overall seriousness of what he's doing, somehow, he was able to deliver quite a lot
of this documentary in a way that's comedic. It's funny, informative, and even kinda fucked
up, and I'd say it's definitely worth checking out. [clip] Yeah, yeah. No. No, no, no. OK. - All right?
- Yes. At number 13, we have Killing Them Softly by Andrew Dominik. Now, despite this only being his third film, I've come to understand
that he's got a little bit of recognition in the film scene. The Assassination of Jesse James by the Coward Robert
Ford has been on my watch list for quite some time, and I still haven't seen it (story of my life). But now that I've seen this movie, even
though I wouldn't call it phenomenal, it's got me more than interested to check out his previous works. This movie not only serves as a mobster crime story, but is also able to make a lot of statements on
America's financial system for anybody paying attention. All of the performances are great, and the
characters are consistently well written, but what really brings it home is how uniquely stylized it
is, with some really interesting choices in audio editing. Now unfortunately, despite praising the choices made for audio
editing, there was at least one moment where I heard some clipping, but overall this is a very well done film. The pacing and conclusion are a little bit unconventional, so try
not to get caught up in your expectations for where the story goes, but I found this movie to be very entertaining, and
I'm looking forward to checking out his others. [clip] Jesus, that's what you fucking got, dish-washing gloves? - Look, you take what you can fucking get, all right?
- These fucking things are too thick. It's what they had. They might had some fucking latex gloves
from, like, a fucking hospital or something. You'll make do -There you go.
- Jesus, the fuck is this? What does it look like? It's a fucking sawn-off shotgun,
OK? It's what you asked me to fucking get you. I mean, you asked me for this, mate. We shoot somebody with this fucking thing,
it's gonna kill everybody in the fucking room. Well, tell them that. We're gonna look like a bunch of
fucking amateurs when we go in there. - Take a breath.
- All right, you ready to do this? - You don't even have your glove on.
- I got my fucking glove on. - Just shut the fuck up.
- You shut the fuck up. You know. I'm going out there with a fucking hand
grenade, and there's a fucking condom on my hand. [YMS] At number 12, we have Like Someone in Love, by Abbas
Kiarostami. There's a good chance that I'm not pronouncing that right. Because despite this entire film being Japanese,
the director was born and raised in Iran. and he's the same director as Certified Copy,
which was spoken in English, French and Italian. If that doesn't deserve some credit, I don't know what does. Because, when I first watched this film at Vancouver
Film Fest in 2012, I had no idea who he was. And although I enjoyed it at the time, I wasn't quite
sure whether or not it would end up on this list. Now I don't believe in adding any film to
my top 10 list, unless I've seen it twice, and after watching and loving Certified Copy and understanding
what this director is about, it really won me over the second time. Now, if you're the type of person that doesn't typically watch films
that deviate from the norm, but would like to start somewhere, trust me that this is not the film you want to start with. Despite loving this film overall and obviously putting it on my list, it's not something that I would exactly recommend to
people, unless they have a certain degree of patience. It's extremely well shot, and the characters
are all convincingly realistically, but if you find that you're not the type of person who normally checks out things from the Criterion Collection, I would suggest checking out something else on this list first, and if this does look appealing to you, I would strongly recommend
checking out Certified Copy, because that is a much, much better film. Now, you're probably wondering why this is even on my
list, if I have to add such a huge disclaimer in front of it, and the reason is because it's impossible for me
to ignore just how meticulously directed this is. The majority of the movie is in real time,
and everything's so natural and realistic that it really makes you feel like you're an omniscient
observer on the conversations taking place. And I can rarely say this about a movie,
but even when analyzing and critiquing it, it's almost impossible to view the
actors as anything but their characters. The only flaw I noticed in the film was a moment near the end
where one of the characters lines of dialogue was out of sync. But aside from that, this is an extremely professionally well done film. Granted, he would have drawn in bigger audiences
had there been a few more arcs in the story, but when it's abundantly clear that he told the story he
wanted to tell, I fail to see how that would be fair criticism. At number 11, we have one of the more
accessible films on this list, called The Sessions. In complete contrast to the movie that I was just talking about, this is a film were pretty much everything you
can appreciate about it is right in front your face. And honestly, it's kinda fucking confusing how John
Hawkes didn't get an Oscar nomination for this, because this is one of the better performances in the year. In this film, he plays Mark O'Brien, a man
paralyzed from the neck down because of polio. What follows on screen is his struggles with romance,
and eventual decision to hire a sex surrogate. Now, it's kinda odd that this is so close on the list to Like
Someone in Love, because they're pretty much polar opposites. Aside from the fantastic performance from John Hawkes,
this is a film that I'm mostly appreciate for its subject matter. I mean, most people simply wouldn't tackle this type
of story, just because they don't have the balls. What it tried to do, it was successful at, and I'm
glad it understood what its capabilities were. It's crowd-pleasing, heartfelt, and somewhat
dramatic, but mostly, it's a comedy. And its respectable that they were able to make
one out of a somewhat serious subject matter without it seeming immature or insincere. If you're looking for entertainment with minimal interpretation, then
I have no issues recommending this to you, and I hope you enjoy it. [clip] Sometimes, I ejaculate during
a bed bath in front of my attendants. All I feel is shame and mortification, while other men,
apparently, get pleasure. I'm sorry if I sound angry. Don't worry about it. Go on. This therapist suggested I could work with a sexual
specialist, have sex with a person known as a sex surrogate, who would be sensitive to my unusual
needs. I've been giving it some thought. - Hold on. What do you mean, "have sex"?
- Well, when a man and a woman love other very much... No, I understand what it... um, are
we talking about sexual intercourse? - I think so.
- Outside marriage? I did do my best on the question of marriage. What's the difference between this sexual
specialist and a common prostitute? I don't know, but I... think there's a difference. [YMS] At number ten we have a South
Korean film called Nameless Gangster. For whatever reason, a lot of the good films that come
out of South Korea happened to be crime stories, but this one's almost got kind of a Martin Scorsese feel to it. Any issues I have with this film are fairly minimal. Like, there was a scene where someone gets
stabbed, and it was delivered in kind of cheesy way, and there were a couple continuity errors that I noticed,
but aside from that, this movie is pretty fantastic. The film features two great South Korean
actors, Jung-woo Ha from The Chaser, and the incredibly talented Min-sik
Choi, from Oldboy and I Saw the Devil. Without their performances, this film would still be above solid for
execution, but with them, it really brings it up to a whole new level. It's crazy to see Min-sik Choi pull of such different
characters for every film I've seen him in, and the fact that his character's shit-faced drunk for
half the movie, really gives him an opportunity to shine, because that is something that he does
very well and in a very entertaining way. The plot is solid without it being too original, but like I said, the
overall execution, and the fantastic performances in this movie make it very deserving of the spot on this list. I'd recommend this to pretty much anyone, so go check it out. At number 9, is a documentary called Indie Game: The Movie. Now, I might be a little biased, considering I had already bought
and played every single one of the games featured in this movie, but I do think that, regardless, it is a very well done documentary. The documentary shows the development
process of three different indie games, and the way that they set up for filming is particularly clever. Here you've got the perspective of someone who built their game
from scratch, and had a tremendous amount of success in the market. Here you've got someone dealing with the pre-production
side of the business, while his game's still in development. And the best segment of the three is for Super Meat Boy, chronicling
the period of time just before and during the game's release date, so they were not only able to get good interviews from
the creators of three different credible indie games, but they were also able to show the different
stages in creating a successful indie title. And it's even crazier when you consider that they started
filming two of these stories before they'd even had a success. I mean the documentary would have kind of a different
tone of Super Meat Boy turned out to be a total flop, so I applaud the filmmakers for being
able to detect a success before it happens. Not only that, but who better to score the soundtrack than Jim Guthrie, the composer behind the fantastic soundtrack for
the indie game Superbrothers: Sword & Sworcery? Now, this film's soundtrack doesn't exactly live up to that one, but
it's going for more of a documentary feel anyway, so I respect that. I'm really glad that this documentary touched
on the general psychology of video games, and what it takes to make a player learn a new mechanic. There's an interesting science behind it, that I'm
sure even non-gamers would find interesting. Now, I understand that not everybody likes Fez, and Phil
Fish has done some pretty douchey things in the spotlight, but I don't see that as any reason not to
be able to enjoy the documentary anyway. I mean, you're free to interpret what
anyone's saying whatever way you want, and to me, the highlight of the movie is listening to
Edward [sic] McMillan talk about what inspires him in his art, and that whether or not you enjoy his games,
they come from a very personal place within him. This documentary is entertaining, well edited,
and a lot of clever choices were made. I'm recommending this one to pretty much anybody. [clip] And then I thought, "How cool would it be to, like, make a game
that could put other people inside my mind when I was, like, 5, 6, 7?" And, uh, that was Aether. So, this kid gets on the back of a, of a monster,
and the monster goes around in space, and he gets to explore all these other planets, because he doesn't, he
can't connect to anybody on Earth, so he goes to find other friends. But all these other planets are, are inhabited with
these kind of weird, or sad, or nervous creatures. And he goes and tries to solve their problems. And then he solves the problems, but th..they don't become
happy, and he keeps going around all these different planets, but each time he solves one of these problems, the Earth gets smaller, and then when he comes back to Earth and he... and it's so small
that when he touches it, it breaks, and then he's kinda lost in space. Each of those planets was like a phobia of mine when I was
little, and I was little, before I'd go to bed, I would obsess. My grandma passed away and she had a box of,
of my drawings, that she saved, when I was little, and that's when I found a, um, this picture
that I had drawn of me in space, floating. But yeah, no, it was, it was validating to find that box and see
those things and be like "Wow! Like, this is just like the game." [YMS] At number 8, is Rust and Bone, from the director of A Prophet. Now, before you search up anything about this movie, you should
understand that the reason why I'm not saying much about it, is because I think it's better to go into
this movie without knowing much. Certain plot elements are more effective when you don't
see them coming, so I'm not gonna spoil that for you. Not only is this movie very well shot, but Marion
Cotillard pulls off a phenomenal performance (not sure if I'm pronouncing that right, either). Somehow, she's able to communicate so much
with something as simple as a look in her eye, and even though she outshines everyone else,
the other actors in the film are also very talented. Like I said, I don't want to spoil
anything, so just trust me that it's good. At number 7 is Reality, from the director of Gomorrah. The film centers around a young and
married fishmonger named Luciano. He's a character that his friends really seem to love,
so they persuade him to audition for a reality TV show. Though once unaffected, this sudden glimpse
of a shot at fame seems to consume him, and it sets the story up for being a dark and interesting
commentary on how we treat fame in our culture. Everything about it rings depressingly
true on how we create values in society, and the immense pain associated with false expectations is
incredibly relatable to anybody trying to get a big break as an artist. This is also something that I don't want to spoil too much, but all in
all, it's a great commentary on society and our obsession with fame. If that subject matter interests you,
then I would suggest checking it out. At number 6 is Elena, from the director of The Return. Now this is the first movie that I seen from
this director, and I've heard of his films before, but now I'm very excited to watch The Return, which
has been on my watch list for quite some time. Story of my life. This impressively shot Russian film tells the
story of, you guessed it, Elena, and her husband. Both of them had previous marriages before, and they both
come from very different levels of economic backgrounds, meaning that Elena's family doesn't really have all that much
money. She still loves her son and wants what's best for him, but is worried that he might have to join the
army if he can't afford post-secondary education. The film's able to show some really interesting contrast
between these divided societies in modern Russia. The score for the film is great, and every shot is set up perfectly, and
it's impressive to watch this director keep everything in place so well. The director's intent means a lot to me in a film,
and it matters most when there's certainly behind it, and I can't honestly say that I can think of
anything in this movie that seems unintentional. In any typical Hollywood movie, that picture of her son
on the mirror would have had a close shot at least once, especially considering the context of the phone conversation she
just had, but this movie doesn't treat you like you're fucking dumb. Yes, we should already understand that she cares a lot about her son, but instead of placing that prop there for
the sole purpose of beating it into your head, it instead allows you as the viewer to notice it, and because of
that, it's a nice little detail rather than blatant reinforcement. This is an extremely well shot film, and though I can't say it's
necessarily complex, I definitely benefited from a second watch. Certain subtleties that are scattered throughout the
film easier to pick up once you've seen the whole thing. Anyway, I thought this movie was great, and I'll
be looking forward to seeing his other films. Coming in at number 5, we have Samsara. A documentary filmed over the course
of five years in 25 different countries. It's essentially an hour and 42 minutes
of some really impressive shots. It's almost something that you would
expect someone to be narrating over top of, giving you explanations on purpose, culture and origin, but instead, this documentary chooses to
let you observe and interpret for yourself, and it becomes educational as you make it out to be. Putting any interpretations aside, you're still left with
some breathtaking shots and emotionally powerful music. But despite there being zero narration, I do believe
that there are points being made throughout the film. Now, it shows quite a few different cultures in the movie, and we're able to witness a variety of style, art, and
rituals that are completely normal within their culture. And it's when they include similar images of cultures that are more
akin to our own, that we're able to see a really interesting parallel. When shown in close proximity to these odd and foreign customs, it's able to show a certain level of ridiculousness
in the customs we're already used to. It also shows a healthy variety of what
each culture determines to be an art form, ranging all the way from standard theatrical performances, to an edited version of a French performance
artist piece called Transfiguration. It's a documentary that allows you to observe, and
surprisingly, it is not one that tests your patience. It never lingers on any one shot long enough for you to feel bored,
and everything they show is interesting in its own unique way. This is not just a film, it's an experience, and I'd highly recommend watching this on the biggest
screen with the best resolution and best sound possible. And let yourself get sucked into the crazy world we call Earth. At number 4, we have Moonrise Kingdom by Wes Anderson. Now, this is the type of movie on my list that I'm
comfortable recommending to pretty much anybody. It has a perfect blend of humor and emotional relatability,
with enough accessibility to appeal to the average film goer, and enough style to appeal to the average film critic. It is
generally a very well-liked movie and that's not a bad thing. With this being his film that he made
directly after Fantastic Mister Fox, I can't help but wonder if his work in stop-motion inspired
him to want to create similar cinematography in live action, because a lot of it feels very similar but there's enough
different about it, that it doesn't exactly feel stale. The movie features two new child actors, and a
couple of familiar Wes Anderson cast members, but this time, we get to see Bruce Willis, who's actually
acting and playing a character? Haven't seen that in a while. Anyway, if you want to see a quirky comedy that
doesn't use its quirkiness to hide behind a lack of talent, I would suggest checking this one out. [clip] - What do you creeps want?
- We're looking for you. - Why?
- Well, because you're a fugitive. No, I'm not. I quit the Khaki Scouts. Well, it doesn't matter, anyway. You don't have that authority. We've
been deputized. Now are you going to come along peacefully, or not? Listen to some reason: I don't like you. You don't
like me. So, why don't you just let us disappear? Well, it's tempting, but we can't allow it. - You know, you shouldn't be friends with him.
- Why not? - Because he's crazy.
- Maybe you just don't know him. Actually, we know him a lot better than you. He's emotionally
disturbed because his family died. Nickleby, tie him up. Do not cross this stick. You're doomed, Shakusky [YMS] At number 3, we have The Master by Paul Thomas Anderson. In this film, we see some amazing
performances by some very talented actors, most notably by Joaquin Phoenix ,who gives
possibly the best performance of the year. His ability to transform into other characters
surpasses the vast majority of Hollywood actors, and pairing him with an actor as great as Philip
Seymour Hoffman makes for some amazing scenes. Now there's lots of films were actors are
consistently able to portray characters, but it's written in such a way that the script provides an excuse for
us to be shown an emotional power house from these characters. Add that to the ominous soundtrack, amazing
cinematography, and cleverly delivered statements on religion, and you've got the number 3 spot on my list. [clip] Is there something frightening to you
about The Cause's travels into the past? Frightening? No, no. Well, wh-wh-what scares you so much
about traveling into the past, sir? I'm not frightened. Are you afraid that we might discover
that our past has been reshapen? Perverted? And perhaps what we think we know
of this world is false information? Time travel does not frighten me, sir, because it's not possible. What
does frighten me is the possibility of some poor soul with leukemia - coming to you...
- There are dangers of traveling in and out of time as we understand it.
But it's not unlike traveling down a river, you see? You travel down the river, 'round the bend, look
back, and you cannot see around the bend, can you? But that does not mean it is not there, does it? But certain clubs would like us to think that a
truth, I say truth, uncovered, should stay hidden. I belong to no club, and if you're
unwilling to allow any discussion... No, this isn't a discussion, it's a grilling. There's nothing
I can do for you, if your mind has been made up. You seem to know the answers
to your questions. Why do you ask? I'm sorry you're unwilling to defend
your beliefs in any kind of rational.. Oh, if you, if you, i-if you already know the answers
to your questions, then why ask, pig fuck?! We are not helpless. And we are on a journey that risks the dark. If you don't mind, a good night to you. Freddie, stop! [YMS] Coming in at a very close second
place is The Hunt by Thomas Vinterberg, and if you haven't already seen his film The
Celebration, I'd highly recommend you check it out. Now, I know the Academy Awards decided to call this
a 2013 release, but this is a 2012 movie for me. When it comes to film festivals and limited showings, the release
day can get pretty debatable, so I'd suggest you not worry about it. When it premiered at the 2012 Cannes Film Festival, Mads Mikkelsen
took on the Best Actor award, and I can't really argue with that, because the level of suffering and desperation we
see from this character is more than convincing. And if you thought a paralyzed man getting a sex surrogate was a
ballsy subject to make a movie on, wait till you get a load of this one. The film follows the main character
Lucas, who works at a local kindergarten. A series of unfortunate coincidences leads one of the adults
to believe that he sexually abused one of the children, and I don't want to spoil too much, but eventually
leads to mass hysteria within his community. And I gotta say, as a person with a
penis, this movie fucking terrifies me. To think that human beings are, by nature, so fucking crazy
that entire lives can be ruined by nothing more than a lie, is a harsh reminder of the dangers of
group mentality and mass hysteria. And it's all delivered extremely well; even the child
performances being nothing short of superb. And it's even crazier to think that shit
like this actually fucking happens. Most prominently in the eighties and nineties, where crazy news reports would actually fucking tell
people that Satanists had invaded their day cares. And if you really feel like being unsettled today, take a look at this
news report, that shows exactly how things like this happened. Anyway, like I said, it's a really ballsy subject
matter, but regardless, it's a great film, and it's hard to imagine it could have been delivered in a better way. And my favourite movie of 2012 is... I'm predictable, it's Amour, it's from my
favorite director, you should know this. And honestly, it was a really close call between this and The Hunt, and there was a part of me that wanted to give this spot to The
Hunt so bad, just because I didn't want to seem predictable, but alas, it is difficult for me to lie to myself,
and this is genuinely my favorite movie of 2012. Now, if anybody remembers my 2009 list,
he made a film called The White Ribbon, and despite that one being completely
in German, this one is now in French. It's the familiar flawlessness of Haneke that we're used to, but the story and subject matter he's decided
to tackle make the movie feel fresh and new. Now, obviously I don't want to spoil too much about
this movie, but as you can tell by the main cast members, it's a movie that deals with the harsh realities
and troubles associated with old age, and from what I can tell, this is a very personal film to him. And I think the fact that he's already 72
years old is of at least some relevance. It's really gonna suck when he dies, but I think that this
film is in some way his acknowledgement of death, and that whether we like it or not, our
physical bodies aren't designed to last forever. And part of what I love about Haneke so much, is
that he's brutally honest in every depiction he makes. To sugarcoat the most horrific realities of life would not only
be dishonest, but it wouldn't be as emotionally effective. And this is a film that aims to hurt. Putting all of that aside, I'm still monumentally impressed by how
well he's able to convey emotion with extremely minimal use of music, and I respect the intelligent consistency whenever he does use music. The few points that we actually do hear
a song over top of scenes in the film are points when the song's actually
being played in the movie's universe. So it is if you're watching a scene where characters dialogue
continues to play despite jumping to different points in the film, except instead of dialogue, it's audio from a song being played. And this way, he's able to provoke emotion
by overlaying songs on top of scenes, but unlike almost every other movie with a soundtrack, the
songs don't magically exist outside of the movie's universe. It's as if the tools he's working with to tell his story are all within
the story itself, and I gotta say, what's more honest than that? It's as if he feels it's illegitimate to try and provoke
emotions from things that aren't actually a part of the story, and although, obviously, I love films with great soundtracks, I
can't help but be impressed by his ability to mostly do without. Visually, he sets up every single shot fucking perfectly. I can't even begin to think of how much
communication there was with the extras for this shot, because no matter which person you focus on, there isn't a
single person that's doing anything that doesn't look natural. Remember that there's a very good
reason why this guy's my favorite director, and I pretty much consider him to be a genius at what he does. Unfortunately, there's no one short scene that I
could use to describe this movie and also not spoil it, so I'm gonna show you a bit from the trailer
instead, and I think that it does the movie justice. Well, there you have it my top 10... of 2012. Now,
I know not every film on this list is for everyone, but hopefully I've defended them well enough so that you can at least
see that there's some form of talent going into each one of these. And since I started these lists with my 2009 review, I'd like to see if I can get the time to start going
back each year in between these yearly reviews, so even though the 2013 list is gonna come out a year
from now, you might see 2008 sometime before then. Anyway if any these movies seem appealing to you, go
bake some fresh tortillas and let me know how it went. Or you can buy them on Blu-ray like me. Literally, every single
one of them this year, you can buy on Region A Blu-ray. We kinda lucked out this time: still trying to buy
Armadillo from 2010, but it's only Region B. Thanks, region locking, for helping to deter piracy once again. [sighs] Subtitles by JorWat
sigh, fuck you Adam I was going to go have a nap in between classes but now need to watch this
Oh God, I just watched the hunt and it hit right in the feels. That shit is fucking depressing.
Can we all start nagging him about the 2013 top 10 list now? Also my number one of 2012 was indie gamer, glad to see it on the list.
Can some one explain "bake some fresh tortillas"??
I love these videos! Always remind me I watch nowhere near enough movies... looking forward to seeing some of these!
YES! I was just going to ask if you were thinking of going backwards in the lists (the end of the video is playing now).
And I also fucking despise region locking... I LONG FOR YOU CRITERION!
The only one that I felt was slightly out of place was indie gamer. I liked it, and got really into it, especially after having played super meat boy, but I kinda felt that it was lacking. it just felt kind of forgettable, unlike most other films on your lists. Of course though, this is your list, not mine!
Woo! I'm just about to eat, so this is a perfect thing to watch while eating.
The Raid! I got a free pass to see this in cinema from an event I help run, I've been thinking about it on and off ever since, been meaning to see it again! Okay, I'll go back to watching the video now.
edit1: Indie Game The Movie was pretty good. I'm not sure what I think about it.
I didn't really love nor enjoy watching Amour, as it felt like a chore. The only other film I've seen by him was Cache (which I did love), and I don't know if making the audience feel like a voyeur is what he does in all of his films, but the use of that style in Amour was used to fucking perfection in its portrayal of old age and death. It NEEDED to be long and dull. His portrayal of reality is fucking top-notch here, and it works so well that the ending really shocked me. I do believe that it is a boring film, because it's a dull, depressing, and devastating subject matter, yet it's an important subject that we all are doomed to experience as human beings.
I'm so glad The Master was high on this list. It was my favorite of 2012 and I had a great experience watching it in a theater even though I heard a couple people say it was bad when the film was over.
And I think I want to watch Samsara baked. I think that will be incredible.