nancerrez has written 82 reviews for films rated ★★★★ .

  • The Princess Bride

    The Princess Bride

    if it ain't one of the best family movies to ever exist (for sentimental reasons)

  • Ali: Fear Eats the Soul

    Ali: Fear Eats the Soul

    ★★★★

    There’s something so delicate about two extremely marginalised characters embracing each other and saying:

     “But when we’re together we must be nice to each other. Or else life isn’t worth living.”

  • The Batman

    The Batman

    ★★★★

    Reeves’ Gotham >>>> Phillips’ Gotham

    This makes a pretty great standalone movie so I’m already dreading the sequel. Probably the best cinematography I’ve enjoyed in a superhero movie in a while. In some ways it didn’t feel like one — love how it fully committed to its grungy, grimy, 90s serial killer movie vibes. It’s fun and a little punk (but not too much for the general audience), with Battinson in his full greasy, emo, scared-of-sunlight virgin boy glory (?). And Zoë Kravitz being…well, Zoë f**king Kravitz 😮‍💨. Dano also makes a simultaneously hilarious but deranged Riddler.

    Only goths in Gotham, so true Matt Reeves.

  • Brooklyn

    Brooklyn

    ★★★★

    In the streets of Brooklyn she dreams of a homeland that no longer is

  • Titane

    Titane

    ★★★★

    If films are meant to make us feel both the most abominable and the purest human emotions all at once, yet somehow still be able to make sense of it all — then this might be a masterpiece.

    Anyways, Ducournau is insane by every definition of the word. Rousselle might be the most electrifying Cannes debutante in decades. These punk bitches rock.

  • No Time to Die

    No Time to Die

    ★★★★

    I have long hoped for the franchise to end at Craig. Now I’ve never been more convinced.

    Craig’s extended tenure as Bond saw the character be given, for the first time in 40 years, continuity. His Bond had a past, present, and eventually, a future he dared to hope for. He aged. He accumulated trauma. He let them go. There was a beginning, and now, an end — so even if the style and overall plot (noting the terrific first act)…

  • The Haunting of Bly Manor

    The Haunting of Bly Manor

    ★★★★

    “To truly love someone is to accept the work of loving them is worth the pain of losing them.”


    Proof that the best love stories do not need an ounce of toxicity nor drama,,, but simply the curse of impending doom looming upon star-crossed lovers.

    Jokes aside, in Bly manor, it’s the love that haunts you.

  • Pain and Glory

    Pain and Glory

    ★★★★

    I need more life experience under my belt to fully appreciate this film, and parts of it felt a bit self-indulged? but Almodóvar is so tender and nostalgic with this let’s just say it made me feel very soft 😩

  • The Lighthouse

    The Lighthouse

    ★★★★

    Robert Eggers was THIS close from driving me insane. Willem Dafoe has been trying to throw me off the rails with his entire filmography. I have so much respect for them both. So many questions on why I’m a masochist. 

    Anyhow, it’s one disturbing, phallic (HOMOEROTIC), filthy, smudged hysteria. So many other layers to it too, much I probably lack the knowledge to catch, but not sure if it all holds up together. What is certain is that Dafoe and Pattinson are out of this world. They’re batshit crazy.

  • Boogie Nights

    Boogie Nights

    ★★★★

    PTA has to be a goddamn genius for me to enjoy a Mark Wahlberg character, because Dirk Diggler? He’s my boy.

    This all-encompassing grandness isn’t exactly to my preference, but one has to admire its excellence in execution. Most importantly, it’s full of vibrancy and heart, a great story told by a superb storyteller.

  • Paddington 2

    Paddington 2

    ★★★★

    The most wholesome ball of fluff I have ever seen.


    Spot on execution. Oh how I missed the simple pleasures in life :’)

  • Parasite

    Parasite

    ★★★★

    Parasite shows that Bong Joon-ho has perfected his unique style of genre-defying drama-flick(?) at this point. And for me this is both the film's greatest strength and weakness. Masterfully crafted, the metaphors, as obvious as they are - visually, spatially and contextually, superimposes each other perfectly to enrich the storytelling.

    I think Bong has always made 'commercialised' films in the sense that they have a certain processed structural flow; while this is fine, in Parasite, plot turns and character decisions…