Between ‘ Star Wars: The Rise of Skywalker ‘ and ‘ The Witcher, ‘that is, the new battle between Disney and Netflix, here we continue with the review of the best. December is the month where we look back and select the highlights of the year that ends. After recommending our favorite series, we now go to the youtube hallmark movies.
Top youtube hallmark movies
An important clarification, especially for those of you who read us from other countries. You are going to find productions from 2020 that have arrived. Without further ado, then I leave you with our recommended youtube hallmark movies that have been released recently:
A film that is both honest and exhibitionist, but perfectly consistent with the creative moment that Almodp\ovar lives today. Balanced, sober, and with absolute confidence in the extraordinary ability to narrate and move that the veteran director has achieved, ‘Pain and Gloria ‘is both a culmination of certain obsessions that gripped the director from the beginning of his filmography. A statement of continuity with the aesthetic and creative principles that have characterized him for decades.
The fleeting two and a quarter hours duration of ‘Parasites’ and the tsunami of stimuli with which it hits the viewer can only be compared to some of the great symphonies that have lasted through the centuries. Creations that bring their instruments together – whether musical or filmic — in a single piece that sinks deep into the heart, thrilling, wondering, and shuddering as only masterpieces can.
It is one of the films of the year. It may seem that I have said this a lot lately, since in just a few weeks the arrival of titles such as’ The Irishman, ” Le Mans’ 66 ‘ or ‘Daggers in the back,’ but that’s not why I’m going to stop praising Baumbach’s latest work. A precise proposal that knows how to get the most out of a story without much novelty in the plot, but painful and fascinating in portraying the divorce the two characters faced excellently by Driver and Johansson.
Tarantino thus sets up a set of mirrors at some points even more sophisticated than that of ‘Inglourious Basterds,’ and strikes a unique balance between his dissection of a Hollywood that is almost a state of mind (that drive-in near where he lives Booth and from where you can hear the tune of the trailer commercials that popularized ‘Grindhouse’), his author traits (with scenes stretched to the paroxysm, such as the filming of the western or Booth’s conversation with his dog) and the sincere tributes with meaning and sensitivity (from Bruce Lee to Bruce Dern). A real party, but also a reflection on the legacy of pop culture. Pure Tarantino.
It is extremely difficult to try to catalog it in a way that does justice to its exceptional richness. Midsommar is much simpler than it appears and at the same time contains a complexity that would give hours of analysis. It exudes a joke aroma of an exquisite bad taste interspersed with a transcendence that those films that desperately strive to stand out from their peers can only dream. That is why it is better to free themselves from hateful labels and simply claim ‘Midsommar’ as one of the most relevant horror films that we will leave this decade, signed by an author as unique and outstanding as his atypical and brief filmography.
Using his overflowing talent and a more than evident devotion to the genre, Johnson has managed to sign a hilarious deconstruction of it that he claims as one of the great unexpected jewels of 2019. A marvel entitled ‘Daggers in the back’ reminds us that with passion, craft and vast amounts of gray matter, the best cinema imaginable can go hand in hand with the most refreshing entertainment.
Regarding the list of virtues that make ‘Joker’ one of the best films of the year and that fully justify its controversial Golden Lion. It is necessary to vindicate Warner’s audacity to risk giving the green light to a project of these characteristics, not only in terms of theme but also in terms of its stylized form. Because if something defines ‘Joker,’ that is his freedom. A concept that ranges from his enormous camera work and staging to a Joaquin Oscar’s Phoenix unleashed and given over to improvisation, going through a tone and treatment of violence without concessions.
The festival of excesses, death, and violence that unfolds during the first two acts of ‘The Irishman’, more traditional and closely linked to the genre, lead to a third and final episode that links more with ‘Silencio’ than with ‘Casino’. In this way, the director underlines the twilight aspect of his piece and underpins his devastating yet warm discourse on aging, loyalty, remorse, duty. The fear of leaving no mark in this life. It is the umpteenth reaffirmation that the day Scorsese leaves us, an irreplaceable person will leave.
The drama, peppered with those usual ups and downs in a relationship submerged in conflict. It is followed with great interest thanks to an effective script loaded with improvisation. This invisible staging seeks to capture the daily and intimate life of its protagonists, and the work of David Verdaguer and María Rodríguez Soto, always convincing and natural, without a hint of pose or artifice. Marques-Marcet films a passionate experience that captivates and shakes, that leaves its mark.