indie
This Must Be the Place (2011) – Paolo Sorrentino
[25-WR]
Despite sugar visuals and good Penn-manship this film strays all over the place with those unafraid to fly over an ocean of scrambled plots.
[25-WR]
Million Dollar Hotel (2000) – Wim Wenders
[25-WR]
A roman candle of crazy characters (most of which are no doubt stolen from nearby realities) in an overwrought romanticised dark comedy by bonehead Bono.
[25-WR]
Rushmore (1998) – Wes Anderson
[25-WR]
Strongly-subtle dark comedy that can for days on end make one consistently laugh out loud at punch-line silences that stitch to the mind.
[25-WR]
Bronson (2008) – Nicolas Winding Refn
[25-WR]
Precious stone of modern independent cinema and character study “par excellence.” Hysterical, ballistic and mordantly fulminant. A truly stimulating example for period-films to come.
[25-WR]
Mid90s (2018) – Jonah Hill
[25-WR]
Profound motion picture of short stature that proves itself large by showing with stunning, sympathetic sharpness how a pre-adolescent masochist jumps into intentional idiocy.
[25-WR]
Dazed and Confused (1993) – Richard Linklater
[25-WR]
Time-honored period-film that simply and independently pulls off a believable vintage-vibe by bringing out big nuances out of very small-town things.
[25-WR]
In the Aeroplane Over the Sea (1998) – Neutral Milk Hotel
[25-WR]
Upbeat melancholy raft-ride that´s full of genuine quirkiness and maritime-saltiness that feels bittersweet and soberly sad. Trumpeting ever so slightly while floating around.
[25-WR]
Memento (2000) – Chris Nolan
[25-WR]
Circular uphill post-amnesiac ride that prints itself out both in color and black & white while each new layer diagonally help us to remember.
[25-WR]
The Piano (1993) – Jane Campion
[25-WR]
Kurt Cobain´s last watched film: kiwi period piece that is really about prostitution rather than repressed passions juicing through the colourful cracks of dark colonialism.
[25-WR]
Thursday (1998) – Skip Woods
[25-WR]
Brightly lit indie truffle full of good dialog with intimately framed characters who are strong in blood and flavor including the most fatal femme fatale.
[25-WR]
Gangster No. 1 (2000) – Paul McGuigan
[25-WR]
Get yourself kitted out proper with an invisible rope around your bird´s neck until you´re cuffed. Don’t hate the player but love the bloody game.
[25-WR]
Spun (2002) – Jonas Åkerlund
[25-WR]
A deliberately over-edited character-carousel colorfully whirling around all kinds of wild trailer-trash debauchery with the ruminating impatience of a coked-up policeman.
[25-WR]
Gia (1998) – Michael Cristofer
[25-WR]
Being hot and wanted worked the opposite way inside the self-repelling time bomb that Gia Carangi really was. A flawlessly executed plead for caution.
[25-WR]
To Die For (1995) – Gus Van Sant
[25-WR]
I’d die for her in a heartbeat, wouldn’t anybody? No. Nothing like a motion picture to illustrate the obsessive use of externally abusive internal agendas.
[25-WR]
Eternal Sunshine of the Spotless Mind (2004) – Michel Goudry
[25-WR]
Visionäres Liebesdrama welches sich verstärkt durch eigene Erfahrungen subjektiv dramatisiert und zuletzt dein geläutertes Ich fragend in isolierender Kälte zurücklässt; Nochmal zurück oder vergessend weiter?
[25-WR]
It Follows (2014) – David Robert Mitchell
[25-WR]
A perfectly lighted, both gently scripted and edited Neo-Classical 80´s AIDS epidemic horror-metaphor that takes place in ghostly Detroit made by John Hughes.
[25-WR]
The Cable Guy (1996) – Ben Stiller (Coincidental IMDB 25-WR)
[25-WR]
“A lonely and mentally disturbed cable guy raised on television just wants a new friend, but his target, a designer, rejects him, with bad consequences.”
[25-WR]
The Blair Witch Project (1999) – Daniel Myrick, Eduardo Sánchez (Coincidental IMDB 25-WR)
[25-WR]
“Three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind.”
[25-WR]
Dead Man (1995) – Jim Jarmusch
[25-WR]
A magic potion picture film that blatantly discriminates color and is heavy and greasy to the touch with high-contrasting characters gunned out of lead.
[25-WR]
Tideland (2005) – Terry Gilliam (Coindidental IMDB 25-WR)
[25-WR]
“Because of the actions of her irresponsible parents, a young girl is left alone on a decrepit country estate and survives inside her fantastic imagination.”
[25-WR]
Nil by Mouth (1997) – Gary Oldman
[25-WR]
Brutalist approach to visually materializing an agonizing reality based on derision and Death-toned humanity. Never underestimate the darkness within a man behind his camera.
[25-WR]
The War Zone (1999) – Tim Roth
[25-WR]
Tremendous downer that is no way shape or form meant to be pleasant—by one of the most charming and universally acclaimed actors out there.
[25-WR]
Love Liza (2002) – Todd Louiso
[25-WR]
Sometimes one needs to destruct the body to save the mind in sweet but most socially unacceptable escapism. The colorful roads away from matte black.
[25-WR]
Shadow of the Vampire (2000) – E. Elias Merhige
[25-WR]
If William Dafoe needed an acting diploma this should be his master thesis to share with Keaton´s Beetlejuice (1988) and Gibson´s The Singing Detective (2003.)
[25-WR]
Red White & Blue (2010) – Simon Rumley
[25-WR]
Did not see any extreme changes of mood or style coming before it turned into full-blown cinematic transgression. Better watched without previous plot knowledge.
[25-WR]
Gummo (1997) – Harmony Korine
[25-WR]
Midwestern white trash at its ingrown-peak shown under neutral autopsy lights instead of the usual ridicule a John Waters satire would no doubt use.
[25-WR]
Motorama (1991) – Barry Shils
[25-WR]
The “Myth of Sisyphus” for the self-made kid stuck in a cartoonish world unsupervised by dim-burnouts soiling the oily ground that spawned them.
[25-WR]
City Kino Wedding – Berlin, Germany
[25-WR]
An emerald hiding in the bushes around Berlin’s Eiffel Tower that could only be better if popcorn was sold and the projection rooms were darker.
[25-WR]
The Saddest Music in the World (2003) – Guy Maddin
[25-WR]
…in the happiest German-expressionistic “talkie” that comes to mind. A dream-hybrid between narrating silent-era camera moves and gold-digging song and dance.
[25-WR]
Female Perversions (1996) – Susan Streitfeld
[25-WR]
The ticking time-bomb that appearances really are and the pale, psychotic knuckles betraying the grabbing on to it. Tilda swings herself away in submersion.
[25-WR]
Sexy Beast (2000) – Jonathan Glazer
[25-WR]
Happiness is skin-drying under the molting Milky Way of Spain in a fortress carved out of distress. Unhappiness is having Mahatma Gandhi come visit.
[25-WR]
Frank (2014) – Lenny Abrahamsom
[25-WR]
He‘s the amalgamation between Syd Barret and the most bizarre talk show host imaginable. The brightest side of mental illness shines through this crazy diamond.
[25-WR]
Creep (2014) – Patrick Brice
[25-WR]
Blairwitchesque Found-Footage-Film beginnend um eine fragwürdige Person.
(Gute) Jumpscares, makaberer Humor sowie schizophrene Ansicht, -Stimmungswechsel zwischen Psychostalking und Mordgedanken erzeugen konstante Nichtblinzel-Atmosphäre.
[25-WR]
I Shot Andy Warhol (1996) – Mary Harron
[25-WR]
People go after their fifteen minutes of fame the way a moth goes to a flame. Symptoms of burning can only manifest in negative ways.
[25-WR]
Nobody’s Baby (2001) – David Seltzer
[25-WR]
An almost invisible Gary Oldman is betrayed only by his exuding greatness while saving a motion picture that will chapstick you in many uncomfortable places.
[25-WR]
The Place Beyond The Pines (2012) – Derek Cianfrance
[25-WR]
„Durch die Bank“ düstere Geschichte welche die Abgründe menschlicher Macht- und Gesellschaftsdramen aufreißt.
In drei Akten holen die jeweiligen Protagonisten das Maximum ihrer Rollen raus.
[25-WR]
Broken Flowers (2005) – Jim Jarmusch
[25-WR]
We´re only as good as people´s memory of us. What do you give to the man who has everything and still seems sad? A ride!
[25-WR]
The Wraith (1986) – Mike Marvin
[25-WR]
The darkest shade of Sheen at the peak of his fountain-of-youth fame before infamy made up most of his name despite respectable nepotism.
[25-WR]
Permanent Midnight (1998) – David Veloz
[25-WR]
A passionate and out-of-character character for Stiller, that he brings out convincingly in an extreme case of adrenaline addiction under strict hyper-functionality.
[25-WR]
Vacuuming Completely Nude in Paradise (2001) – Danny Boyle
[25-WR]
Flair and flavor remain strong in a brave new decade, only this one feels like an aggressive early-two-thousands stream-of-consciousness psilocybin trip.
[25-WR]
Dazed and Confused (1993) Richard Linklater
[25-WR]
Inbegriff eines High School-Sommerferienbeginn-Gefühls. Ein gigantisches Musikvideo mit sanfter Nostalgie und familiärem Vibe durch viele heutzutage bekannte Schauspieler vor der Blüte ihrer Zeit.
[25-WR]
Gambling, Gods and LSD (2002) – Peter Mettler
[25-WR]
A traveling documentary that trips itself into worlds of abrasive escapism, social warp and the terrified hope that sense can be made out of life.
[25-WR]
Lost in Translation (2003) – Sofia Coppola
[25-WR]
Das Gefühl des Fremden in einem fremden Land und die Sehnsucht nach Vertrautheit/ Verbundenheit in Bild und Ton.
Filmmagie durch die Frage „Was könnte sein…?“
[25-WR]
Colour Me Kubrick: A True…ish Story (2005) – Brian W. Cook
[25-WR]
A bizarre true-story satellite parasitically surrounding the final years of reclusive director Stanley Kubrick who would no doubt get a kick out of this.
[25-WR]
Eternal Sunshine of the Spotless Mind (2004) – Michel Gondry
[25-WR]
A visually strong, practically effective piece of subjective cinema by tenderly perpetrating a set of talented men and women asking themselves what happened and why.
[25-WR]
The Blair Witch Project (1999) – Daniel Myrick, Eduardo Sánchez
[25-WR]
Harrowing sylvian Ouija-boarding of the mind that genuinely wounded mass audiences everywhere. Less is more when it comes to found footage, though. Avoid sequels.
[25-WR]
Adaptation (2002) – Spike Jonze
[25-WR]
The identical twin gimmick works only when there’s excellence en-caged in an actor. Nicolas shines here exemplary carrying and saving an otherwise pretentious film.
[25-WR]
The Last Detail (1973) – Hal Ashby
[25-WR]
The prospect of prison in the life of an unexperienced young man tends to accelerate the rituals of passage any free person should go through.
[25-WR]
Mallrats (1995) – Kevin Smith
[25-WR]
Nerdy humorvolles Low-Budget-Break-Up-Drama mit jugendlichem Charme im Einkaufszentrum.
Jay und Silent Bob und Stan Lee‘s bester Cameo.
Ein Film für mich.
[25-WR]
Dogville (2004) – Lars von Trier
[25-WR]
An original motion picture with an irresistible trailer and a surefire cast. A great take on our basic humanity and treatment of one another. Outstanding.
[25-WR]
Pulp Fiction (1994) – Quentin Tarantino
[25-WR]
(Tarantino-)Streifen mit den populärsten Szenen und bekanntesten Zitaten. Die alternative Form der Filmerzählung gespickt mit fetischisierenden Dialogfeuerwerken machen diesen Film zum Meisterwerk der Popkultur.
[25-WR]
Lola Rennt/Run Lola, Run (1998) – Tom Tykwer
[25-WR]
In-motional motion picture with a fluent techno-rhythm and welcomed gimmicks that keep our eyes lubricated, tuned and toned throughout an intense perception-workout.
[25-WR]
Salvation Boulevard (2011) – George Ratliff
[25-WR]
Very serious comical take on a single star system in the disbelief-suspended galaxy of organized religion and their Bonde-esque villains coloring it all.
[25-WR]
Love and Mercy (2014) – Bill Pohlad
[25-WR]
Cusack hasn´t been this good since his own Grace disappeared, but Dano has been trully great for the first time in a permanently resonant film.
[25-WR]
Intro – Mandy (2018)
[25-WR]
It starts out soberly Jacking the King Crimson lumber sap Out of a roller-coasting tree-line that dusks blood red dawns out of Death.
[25-WR]
Naked (1993) – Mike Leigh
[25-WR]
The smartest people in the world seem to spawn in Manchester. No doubt, a cosmic conspiracy hides behind this preternatural patch of hyper-verbose land.
[25-WR]
Auto Focus (2002) – Paul Schrader
[25-WR]
Careful what you audition for: it might get you in the tightest-spot of a color-blind district that is sharp with double-life contrast.
[25-WR]
Blood Simple (1984) – The Coen Brothers
[25-WR]
Strong start for one of the strongest creative duos soldered together by nature and tried to be separated by none. A text-book student film.
[25-WR]
Box of Moonlight (1996) – Tom DiCillo
[25-WR]
All bets are off when off the grid you go, except for betting on life itself which can look, feel and sound like nothing before.
[25-WR]
The Matador (2005) – Richard Shepard
[25-WR]
Finding true truant-camaraderie in some of the darkest, yet most sought-after corners of this open-bar planet of ours can sometimes be beautiful.
[25-WR]
Donnie Darko (2001) – Richard Kelly
[25-WR]
Suburban black magic that orbits around the interdimensional cellar-portal of a fast-cracking teenage mind that is full of defying questions to colliding answers.
[25-WR]
Chopper (2000) -Andrew Dominik
[25-WR]
What is it about this man who’s constantly welding attention to himself and the things he’s done under a sordid sense of right and wrong?