My Top 10 Films of 2023 Part 1 (#10 — #4)
Afternoon, folks. My Innnnnugh(ｲｯｯｯｯﾇ=Doooooggguu) Kashitsuki(加湿器=humidifier) told me to “Ochitsuke(落ち着け=slow down) Da-Wan(だワン=a dog barking sound),” so my top 10 to 4 films today. Oh, I love Gattai(合体=combine) two toys into one.
10. “Barbie.” Since “The Squid and the Whale(‘05),” it was intriguing for me to see Baumbach intentionally co-wrote this screenplay that hooked the “big audience.” The film itself also was brilliantly colorful enough to catch the majority.
9. “M3GAN.” Honestly, the latter half loses the steam. Yet, the premise of “Does A.I. devour and manipulate humans?” and its initial stage setting was excellent enough to hook the most viewers. I’m sure James Wan is like Akasaka Aka(赤坂アカ).
8. “Indiana Jones and the Dial of Destiny.” Overlong, but this was like a double-disk greatest hits for 40+yrs Dr. Jones fans like me. Watching a lot of familiar scenes (even insects!) in “2023 Remix” was nothing but “full of fan service” entertainment. Born in the 70s? Com’on.
7. “Past Lives.” Korean films in these years are quality-assured, and this one is no exception. This “reuniting-tearjerker” story surprisingly works thanks to a calmly-toned atmosphere, restrained direction, and believable acting. Slow but enjoyable.
6. “Red Rooms.” Not just the concept of digging deeper into “a dark web,” but the film’s solid and fast-paced presentation impacted me a lot from “ACT I.” This is a great source material to compose how a “psychological thriller” works perfectly.
5. “How to Blow Up a Pipeline.” Angry youth. Break the current situation. “BLOW UP.” and BOOM. A rare film in which we support some “unconscious” villains to disturb a peaceful society. Impressively fast-paced editing/filming solidifies this film’s intensity.
4. “Godzilla Minus One.” Dauntless Godzilla stampedes cities, towns, and local people. That’s pretty much it. Yet, this is absolutely a big-screen experience that “really menacing” Godzilla mauls humanity. Folks, go to the movie theater now!
Break. Tomorrow, the top three. So, “Minus One”’s composer Sato Naoki(佐藤直紀, 1970-, @naokisato_face) is pretty notable for collaborating with the director Yamazaki Takashi(山崎貴, 1964-). This time, he composed a Godizlla-scale suite.
Since I dosed some of my folks with my Twexxt in 3 days, like Queensryche’s “I Am I,” I had “given the situation / of info saturation”. I’ll save “My Top 3 Films” and some last 2023 Tweets for now. Important ones go last. See you folks tomorrow afternoon.
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