Rane has written 47 reviews for films rated ★★★★ .

  • Annihilation



    Been a while since I wanted to rewatch a movie right after it ends. Consider the rating tentative. Shame about the whitewashing.

  • Blade Runner 2049

    Blade Runner 2049


    The movie Ghost in the Shell should've been. Villeneuve so fully completes Scott's half-finished thoughts here that I can forgive his predilection for twisty narratives. That said, a mistimed scene reminiscent of Spike Jonze's Her and an unnecessary story element distract from what is otherwise a superior continuation of a canon staple. Currently tied with your name. as my favorite of the year.

    (All that said, I'm unsure of Gosling's casting, which feels less appropriate for the character and more an attempt to broaden a difficult-sell film's mass appeal.)

  • Blade Runner

    Blade Runner


    Final Cut.

  • Edge of Tomorrow

    Edge of Tomorrow


    In spite of the total cop-out ending, this is clearly the best American live-action anime adaptation to date, and something Hollywood should look back to for instruction if it intends to keep mining Japanese IP.

  • Atomic Blonde

    Atomic Blonde


    Really liked this one, even if the plotting gets nigh incomprehensible near the end. But for whatever small fractures in the "spy shit" there's a helluva lot to love here. Comparisons to John Wick are perfunctory and unnecessary, as this clearly stands on its own in every way. The film's use of 1989 Berlin is really fantastic, rich in duality and contradiction that matches McAvoy's character very well. Theron gives a typically solid performance, even if the character is mostly…

  • Dunkirk



    Nolan talks a lot of shit about the superiority of film and the theatrical experience, so it's a good thing he makes such a strong case for it with DUNKIRK. At least half of this film's impact will be lost when screened on TVs, which might turn one of the most visceral experiences to be found at the multiplex into a simple, minimalist war pic. Luckily, the film also features Nolan at his best as a writer, meaning that the…

  • War for the Planet of the Apes

    War for the Planet of the Apes


    First off: BIG mistake by Reeves to make the film's central female character a white, mute little girl. Can't wait for that little bit of thinkpiece criticism to dominate the conversation.

    Which is a shame, because this is great Hollywood filmmaking. A "war" film with its emotional core not based on righteous violence, but the value of mercy. The movie doesn't dumb down the potential negative effects of offering mercy either, but still maintains its value nonetheless.

    Can't wait for Andy Serkis to get that honorary "Lifetime Achievement" Oscar sometime in the next few decades.

  • Au Hasard Balthazar

    Au Hasard Balthazar


    I've had...difficulty watching Bresson in the past, and Balthazar proved no different. His purposefully elliptical style makes comprehensive single viewings all but impossible and his dependence on Judeo-Christian symbolism puts me (a lifelong non-deist) at a certain disadvantage. But unlike Pickpocket, which I found more interpretable but less satisfying, I watched to rewatch this one almost immediately. Somehow by the "Fin" card, my disinterest born of bewilderment had somehow turned deeply emotional, at the plight of both the titular donkey…

  • Logan



    Logaaaaaan! Come back, Logaaaaaaan!!

  • Silence



    Like the Christ, Scorsese offers this dense, challenging, unwieldy but ultimately rewarding film as a sign from on high that He (Scorsese) is good, and quells any doubt in my heart about the ultimate quality of his work - recent or otherwise. Immediate rewatch needed.

  • Arrival



    A truly cinematic experience in glorious conflict with modern modes of Hollywood filmmaking, but its optimistic outlook on communication's abilities to reach understanding is the film's most otherworldly aspect at this particular moment in time. And while I adore the use of film language (particularly its use of the auditory and flashback-cuts) as another means of interpretation and communication, I have a sneaking suspicion that a rewatch may punch some large holes in the movie's most affecting moments. But movies like ARRIVAL simply aren't made often, and that deserves unreserved appreciation.

  • Holy Hell

    Holy Hell


    We're this not the year of OJ: Made in America, this might be my pic for doc of the year (so far). Needs less VO and over-explains both Michel and his disciples' various rationales, but otherwise terrific. Love the bleached-out aesthetics of the old video footage, especially compared to the talking heads' sharp realism.