If You Haven’t Seen These Movies In Your Life, Here Are Some Should Watch Movies
Parasite – 2019
When Bong Joon Ho released Parasite in 2019 it completely blew everyone’s minds. A close-up look at the class struggle, social injustice, and wealth imbalance that exist in South Korea and around the world is provided by the narrative. The four unemployed Kim family members are followed in the parenthesis as they struggle to make ends meet. When they get the chance to con their way into everyone working for the wealthy Park family, their lives take an unexpected turn.
The movie is a satirical look at capitalism that explores how inequality in our world may begin to damage and have an impact on a person’s mental health as well as how far greed can lead us. The 2019 Cannes Film Festival’s Palme d’Or went to Parasite, the first South Korean film to do so. The 92nd Academy Awards saw it go on to win four more accolades, including Best Picture, Best Director, Best Original Screenplay, and Best International Feature Film. It also made history by becoming the first South Korean film to be nominated for Best Picture and the first movie in a language other than English to win the award. This is unquestionably one of the movies that we meant when we said they had broken down barriers in the film business.
In addition to being one of the many ground-breaking Asian stories told in recent years, including Minari, Everything Everywhere All at Once, and Crazy Rich Asians, it also paved the way for films to win big in these categories without having to be translated, dubbed, or categorized as “foreign” during award season. And yet another? They demonstrated that varied and original stories do well at the movie office.
2. Black panther – 2018
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Don’t think of Black Panther as merely making up for years of neglecting diversity; it was Marvel’s first black superhero epic and the first Marvel film to receive an Oscar nomination for Best Picture. With the help of writer-director Ryan Coogler’s vision, Chadwick Boseman’s crime-fighting monarch of the made-up African nation of Wakanda, and Michael B. Jordan’s empathetic interpretation of the tormented-supervillain archetype, it’s also a game-changing film. Coogler’s contribution to the superhero film genre will be recognized for more than just being an MCU standout. The revolution has just begun.
3. Moonlight – 2016
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Barry Jenkins’ second movie appeared out of nowhere; it was an adaptation of “In Moonlight Black Boys Look Blue,” a little-known play by Tarell Alvin McCraney, from a small indie distributor (what’s an A24?). … a director who had difficulty following up his outstanding 2008 debut Medicine for Melancholy. When people watched what the 37-year-old director had created, the term “game-changing” doesn’t even begin to capture the impact it had. Using three different time periods and three different actors (Alex R. Hibbert, Ashton Sanders, and Trevante Rhodes, all of whom are fantastic), Jenkins traces a sensitive young Florida boy’s rocky path to manhood. Jenkins refracts the pains and joys of African-American life through a highly personal prism.
However, the tale he has given us defies classification in any way. Simply put, Moonlight is a thoughtful, compassionate, and empathetic portrayal of a human being who is painfully and eventually coming into his own. Each character has multiple layers, from the local drug dealer (Mahershala Ali, long live!) to the addict mother (Naomie Harris), to the high school bully. Every image is gorgeous. It’s the kind of once-in-a-lifetime enterprise that comes along just in time
and attracts the proper audience. This is how movies appear when a person with vision fully utilizes the expressive potential of the medium.
4. The Social Network – 2010
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Meet Mark Zuckerberg (Jesse Eisenberg), a typically dark, depressed Harvard student who would eventually start Facebook, betray his buddy Eduardo Saverin (Andrew Garfield), and lay the groundwork for the modern world’s wellspring of gossip and false information. This adaptation of Ben Mezrich’s book Accidental Billionaires is one deliciously re-watchable preview of the end of the world, as entertaining and cheeky as it is troubling and startlingly prescient.
It is blessed with the dream team of screenwriter Aaron Sorkin and director David Fincher (as well as a cast that includes Armie Hammer as both Winklevoss twins and Rooney Mara as the object of Zuckerberg’s fixation). You can see how Fincher and company are icily deconstructing the idea of smartest-guy-in-the-room entitlement from the minute the grimacing Zuckerberg discovers how to transform what we now refer to as toxic masculinity into a billion-dollar enterprise. And what appeared merely scary a decade ago (pre-Gamer Gate and Cambridge Analytica) is now likely what has pushed our sense of decency and civilization to the very edge.
5. Holy Motors – 2012
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A comparison to acting? a study of the various roles we have to perform in life? Or maybe one of the wildest and craziest bursts of pure imagination to appear on a screen in a movie this decade? Yes, yes, and hell yes: Holy Motors is such a hilariously weird comedy that it could take some time for viewers to understand it also makes a significant commentary on the status of current society.
Denis Lavant is given free rein by writer-director Leos Carax to carry out a number of various “assignments” throughout the course of a single day in Paris. He might be asked to play a part as a motion-capture artist in an absurd love scene one moment and a monster terrorizing the populace the next. Holy Motors wants us to view existence as a huge game of dress-up where automobiles can talk and accordion bands break out the jams. It is gleeful while continuously alert to the melancholy, metaphorical implications of its all-the-world’s-a-stage premise. Perhaps we do lead a lovely life.
6. Get out – 2017
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Jordan Peele’s debut film was nothing short of a cultural sensation, an elegant homage to the social terror of the ’70s and ’80s, and a startlingly incisive examination of institutional racism. Peele is a former sketch comedy star turned master of the horror genre. In his dark adaptation of Guess Who’s Coming To Dinner?, which debuted in theaters during the first months of the Trump administration, Daniel Kaluuya played Chris, a photographer who travels upstate to meet the family of his new fiancée, Rose (Allison Williams).
Catherine Keener and Bradley Whitford, her parents, seem like decent people, but something is awry right away. We are several leagues into the Sunken Place before we learn what these affluent white liberals are really up to. Peele created a safe environment for a necessary conversation about our post-Trayvon Martin reality, when the deadliest location for African-Americans is a sleepy suburban street, by adding sardonic comedy to his genre exercise while being unafraid to pack in the shocks. a timeless piece.
7. The Master – 2012
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Is Paul Thomas Anderson currently the most fearsome, unfathomable, and untamable American filmmaker to emerge in the twenty-first century? In his 2012 drama, the Oscar-nominated Joaquin Phoenix plays the raw, exposed nerve of World War II veteran Freddie Quell, who enjoys drinking homemade booze and changing jobs frequently. He is precisely the kind of lost soul Lancaster Dodd, a 1950s cult leader portrayed by the late, great Philip Seymour Hoffman, would seduce (a pause here to honor the enormity of his loss).
Is L. Ron Hubbard, the man who started the Church of Scientology, represented by the name Dodd, which rhymes with God? Anderson has disputed that the divisive character served as a direct model for the imposing father role in the film. However, the similarity is less important than the way the movie criticizes blind commitment to organizations that require absolute allegiances, such as religion, country, sex, and money. As seen from the dizzying heights of “success” and those moments before hitting rock bottom, it is a complicated and inexhaustibly interesting examination of the American spirit.
8. Carol – 2015
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Todd Haynes’ romantic drama holds you in the palm of his elegantly gloved hand from the minute the youthful photojournalist Therese (Rooney Mara) meets the older, aristocratic Carol (Cate Blanchett) across a toy department packed with holiday shoppers. The director and cinematographer of Poison, Ed Lachman, give this period melodrama the full Sirkus Maximus visual treatment in their adaptation of Patricia Highsmith’s 1952 novel about a love that dares not speak its name during the era of repressive conformity. You could not ask for a more sumptuous interpretation of lust.
Haynes’ heartbreaker, however, never comes off as being overly cerebral because of his subtly subversive touch and two performers who are adept at capturing the sexual awakening and the price of giving in to such urges, respectively. And the conclusion is the ideal illustration of how to transform the tragedy into the sublime.
9. A Separation – 2011
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There was Asghar Farhadi’s brutally honest account of a marriage torn apart by resentment, custody disputes, blind self-involvement, double standards, and the need for the relocation before Marriage Story gave rise to a thousand memes. Of course, the fact that this clash is taking place in Iran also means that there are different cultural norms at work.
The pair, represented by Peyman Moadi and Sarina Farhadi, frequently encounters their shared animosity and annoyance with bureaucratic red tape. An incident involving a caretaker (Sareh Bayat) hired to look after the husband’s ailing father only makes matters more difficult.
10. The Irishman – 2019
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In the name of a mob movie unlike any he (or anybody else) has ever created, Martin Scorsese reunites with Robert De Niro 25 years after the two of them collaborated on Casino. Perhaps our greatest American filmmaker believes that he was looking for “something more meaningful and set for his and my time and life.
” The story of mob soldier Frank Sheeran (De Niro) and his suspected involvement in the hit on union leader Jimmy Hoffa (Al Pacino) ordered by Philadelphia capo Russell Bufalino is thereby marred by the effects of time because both men are in their mid-70s (Joe Pesci). This excellent acting trio is digitally aged back to the mid-20th century before Scorsese makes a melancholy, late-career masterpiece that explores how growing older and loneliness may be more deadly than a gun.
