I’ve mentioned before that one of the troubles with viewing films with the express purpose of assigning them a numerical rating and committing your thoughts to public scrutiny is that your tastes, preferences, and opinions are subject to change, sometimes very quickly. There are many films over the years that I’ve liked in the heat of the moment, only to forget about them within a few months as my enthusiasm waned. Conversely, there are numerous movies I was dismissive of or ambivalent toward upon release, only to grow to appreciate them the more I thought about them. This can make an annual Top Ten somewhat difficult to defend and even embarrassing to revisit, especially when you realize that you’ve only viewed your number one pick exactly once. 2019’s Top Ten is one such list. Though I penned it a mere three years ago, I was amazed and slightly appalled to see how I ranked the year’s best in show. As such, I thought it would be fun to revisit what I’d easily call that last good year in cinema before the world went barmy and see which films have held up in my mind. While the films themselves haven’t changed, the order in which they’re ranked has (or… has it??).Continue reading 2019 Top Ten List – Revisited
2022 Top Ten List (For Real)
In the words of a certain animated saber-toothed cat, who’s up for round two?! That’s right, folks – since I’ve barely updated this site in the past year, you’re getting two top ten lists for the price of one. In my last post, I disclosed a few personal reasons why I haven’t been giving Snooty Film Critic much attention lately, so I feel it’s only fair and natural to open this official top ten with one more. As a younger man, I took a perverse delight in seeking out bad movies and systematically dismantling them in long online rants, mostly to annoy people who watch movies for mindless escapism or worse – enjoyment. Movies like Man of Steel, Jurassic World, Venom, and 2016’s Suicide Squad were all targets of my caustic assessments in one form or another over the years, and while taking a Critical Drinker approach to bad movies is certainly fun, there just comes a point in life when it isn’t rewarding anymore. Like the hard-drinking, chain-smoking persona I regrettably spent years enabling, trashing movies for the sake of it just isn’t really me anymore. At this stage in life, I find I’m more interested in praising and appreciating films I like rather than dismembering movies I don’t. Maybe it’s the natural benevolence that sets in after one turns 30; maybe it’s the fact that my time has become more precious as I stare down the barrel of eternity in a post-COVID world; and maybe it’s the fact that I can’t be compelled to sit through anymore bloody comic book movies.
Whatever the case, here’s my real Top Ten for 2022:Continue reading 2022 Top Ten List (For Real)
2019 Top Ten List
My feelings towards 2019 as a year-in-film are mixed, because it felt like two radically different years fused together in the middle whose individual parts ultimately coalesced about as well as bone marrow and cheddar cheese. January until about June was one of the most disheartening seasons I can recall, and that was despite a conscious effort to avoid movies I knew I’d hate such as Godzilla: King of the Kong and X-Men XXII: Dark Phoenix Revisited. I must have angered the Indie Film Gods at some point, because there were key movies in the early portions of 2019 that I had pegged for a slot on the ol’ Top Ten that proved woefully disappointing. In fact, until about July I had been getting ready to give up on films altogether and devote myself to more worthy pursuits, such as reading, exercising, and dating—oh God, help me…
July, however, triggered a dynamic shift in the quality of films available to me, with some surprisingly great films trickling into my hometown’s Theatrical Symposium for Degenerate Fancies (likely by accident) and slowly but surely filling up my Top Ten.
Let’s Talk About: The Lighthouse
2019 is certainly proving to be the year for emerging Indie horror directors’ follow-up films, isn’t it? Jordan Peele followed up his universally-acclaimed quasi-horror-comedy Get Out with the much more sci-fi-leaning Twilight Zone tribute Us (which I adored); David Robert Mitchell followed up his eerie sex-themed after-school-special It Follows with the polarizing neo-noir Under the Silver Lake (which curiously went to Cannes unedited); and Ari Aster followed up his demonic family portrait Hereditary with the psychedelic, bloodletting Eurotrip Midsommar (which should never under any circumstances be viewed with grandma). Now, Robert Eggers has followed up his highly-effective period horror The Witch with a fresh article-noun arrangement called The Lighthouse, a psychological horror that is already being hailed as a masterpiece by those who have acknowledged its existence.
Alas, the proprietor of my hometown’s Theatrical Symposium for Degenerate Fancies was not one such person, having deemed the Zombieland sequel that no one asked for the preferable feature to screen. Incidentally, our Symposium bears many striking similarities to Eggers’ nightmarish lighthouse – it’s filthy, it’s drafty, it’s beset by cantankerous seagulls, and its employees are presumably forbidden access to the proprietor’s inner sanctum that is the projection room under pain of an axe murdering.