inspired by Thomas's newfound disregard of nuance, I will henceforth only review movies using traffic light colours

Mad Max: Fury Road 🟢
Apple in the River 🟡
Trancers 🟢
Antonio Gaudí 🟡
Tokyo Drifter 🟢

critic/filmmaker Dan Sallitt has a baroque six-colour scale he uses instead of ratings place movies in an all-time context

the colors are red (pantheon), orange (near-masterpiece), yellow (Hall of Very Good), blue (good), purple (lowest rung of recommendability or interest), and everything not worth ranking is grey

this is needlessly complicated but very interesting

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also pick better colours bro, my colourblind ass can't differentiate a bunch of this

for all it's flaws this is better than Mike D'Angelo's 100-point scale

if you grade art on a 100-point scale you are diseased

@derek How does he score it? What's the difference between an 89 and a 90???

@derek @Thomas I rate my movies based on various types of cutlery. I will not be elaborating.

@Thomas @derek iirc he starts at 100 and removes points for specific reasons, I was going to fact check this but then I remembered how annoyed I get by his pedantic

@Thomas @derek i have a friend who has very complicated metrics for their own personal 100 point scale

@douglasfur @Thomas I see this on Letterboxd, like "Acting: 20/25, Aesthetics: 17/25 [...]" and I stroke out every time

@alex @derek @douglasfur I think even rating parts of a movie separate from others because film is collaborative. How can you rate acting separate from direction? How can you rate cinematography separate from set design or even wardrobe?

@Thomas @derek @douglasfur simple.

you just listen to the score and assign that a number
you then listen to the movie with the screen off and assign that a number
you then watch the movie with no sound and put a thumb up to the screen whenever an actor is present and assign that a score
then you watch the movie through a peephole and only look at the actors' faces and assign th

@derek @douglasfur @Thomas i love that they think acting and aesthetics make up for a total of 50% of a movies worth. Like you can determine that a movies aesthetic can only ever be worth up to 25%, but something like real world impact isn't even counted

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