nancerrez has written 62 reviews for films rated ★★★★ during 2018.

  • Isle of Dogs

    Isle of Dogs


    I think animation may be Wes Anderson’s true calling. He really thrives in these fantasical worlds, where his imagination can roam and delight us. The animation is made breathtaking with his meticulous precision, and the characters are entitled to their cartoonish flair.
    But more importantly, this is when Anderson’s genuineness and heart really, really comes through. 

    And bless your heart, Wes. The world could use more of it.

  • Annihilation


    I really enjoyed this. Though branded as science fiction, the film basically descends into a philosophical take on the concept of human identity and self. Imperfections are there (for one, the dialogue sometimes hits you over the head). But I was captured by the 'Shimmering' right from the start, a place both dream-like and nightmarish in its visuals, and one that manages to feel authentically beautiful, yet eerily haunting
    And it delivered a few surprises, too. One of those gems that makes an applaudable effort to challenge how we think.

  • Shoplifters


    I have to say this did not quite meet my high expectations (inevitably hyped by Cannes), but the film is undeniably well-made, tender and poignant. There is a lot that is said in the film's undertones, but Kore-eda does not let any of it boil to the surface. In fact, in perhaps the film's most climactic scene, Sakura Ando's Nobuyo repeatedly uses the motion of brushing her hair back to disguise wiping away her tears. It is a powerful, powerful, muted…

  • Maniac



    “You get therapy, and you get therapy, and EVERYONE gets THERAPY!!!”

  • Maniac



    An extra half star for entertainment value. Starts off a little slow but its a thrill ride from there. Felt lied to because this short series really isn’t sci-fi or a deep psyche study, but rather, at the heart of it, a story of romance/friendship, of human connection. 
    So I think it’s a bold move for Fukunaga to experiment with meshing a million genres (and just as many ideas) in this format, and it’s an achievement (especially technically) that the end product is coherent and entertaining. The downside is that it leaves quite a few rough edges. 

    But what’s not to enjoy about this acid trip?

  • Kill Bill: Vol. 2

    Kill Bill: Vol. 2


    Content wise, actually liked this more than the first

  • Kill Bill: Vol. 1

    Kill Bill: Vol. 1


    A supreme arthouse exercise in ultra-violence, epic cinematography and chreography. Also contains some very funny set-pieces. Though with vol. 1 and even 2, I just happen to find the actual plot less entertaining, considering other things were brilliant.

  • Before Midnight

    Before Midnight

    It’s like coming down from a drug-induced haze. Gone are the escapism-induced romance and the lightness of uncertainty, enter the reality of a long-term, committed relationship. Indeed, the story of Jesse and Celine deserves to be examined beyond a circumstantial romance like the Titanic.

    Linklater’s final instalment of the Before trilogy is often sullen, painful, but essential. It delivers justice to one of the most epic on-screen romances of all-time.

  • You Were Never Really Here

    You Were Never Really Here


    The thing about Lynne Ramsay is that she often focuses on going deep inside the mind of her main character rather than the plot itself (which can be merely a tool). As a result, her films are sometimes borderline experimental, and success depends on whether the audience can empathize with the main character’s pysche and feel the tension of the film.
    For me, Ramsay always hits the mark. It is always a true cinematic experience with her detached gaze and her artistic pursuit of pure cinematic expression.

    (And Phoenix and Greenwood makes it just that much better)

  • I Am Not Your Negro

    I Am Not Your Negro


    - beautifully delivered (we get Samuel L. Jackson reading James Baldwin)
    - endlessly quotable, excerpts of Baldwin’s social commentary on racism and western/american morality withstands the test of time. Offers great critique using American film history.
    - still unfortunately relevant

    - likely a pretty incomprehensive portrayal of Baldwin’s idealisms and views, even if we focus solely on racism.

  • Deep in the Heart

    Deep in the Heart


    There may be minor narrative confusion with editing, but overall a very engaging and well-paced thriller (albeit meticulously structured). Dark and cutting first feature from an independent mainland filmmaker.
    Hope China will provide an environment to support its talent, so someday the subtitles at the end will be rendered uneccesary.

  • Faces Places

    Faces Places


    Jean-Luc Godard you piece of