Celluloid Junkie - 2526 Rankings
Member Since: Jun 13, 2008
Location: portland, oregon, USA
Bio: So white the only Compton I can rep is Ivy Compton-Burnett
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|49 T5||The Garden (1990) - Nov 30, 2015
"An (in my opinion) uneasy combination of Jarman's more avant-garde and camp tendencies. A lot of the material has a similar feel to The Last of England, except here there's often a thudding literalness to the symbolism (AIDS as crucifixion metaphor) that detract from the images' more innate and impressionistic poetic force, and inversely the more garish and silly bits just feel out-of-place. Too often it unfortunately verges on self-parody of pretentious art films. Jarman is really hit-or-miss."
|58 T6||The Bitter Tears of Petra von Kant (1972) - Nov 30, 2015
"(Rewatch) OK yeah i definitely understand why i wasn't crazy about this the first time, it's very unabashedly stagey and basically consists of long theatrical monologues, almost like Fassbinder doing a Bergman thing (but better, and more interestingly shot, by Ballhaus of course). I can at least appreciate it for what it is now, and parts are even pretty great (the Walker Brothers song!) It's probably best, and most interesting, to read it as gender-swapped autobiography on Fassbinder's part."
|63 T7||Die Sehnsucht der Veronika Voss (1982) - Nov 30, 2015
"(Rewatch) As with Lola, this sometimes doesn't feel as assertively "Fassbinder" as a lot of his other work, and almost risks falling completely into a sort of weird film noir pastiche thing, as visually stunning as it is (and again, it's one of his nicest looking). The plot is sort of weirdly generic but oddly disjointed at the same time. It almost feels at times like a Raoul Ruiz film that's actually trying to make sense."
|65 T7||Lola (1981) - Nov 30, 2015
"(Rewatch) I barely remembered this one, and i certainly appreciate it's dazzling technicolor aesthetics much more now. In fact, i think this could even be his single most visually beautiful work, although at the same time he risks losing some of his distinctive sensibility underneath all the exquisite retro '50s pastiche. There's actually plenty of his usual thematic concerns about capitalism and mutual exploitation going on, but it's sometimes hard to notice."
|53 T6||The Merchant of Four Seasons (1972) - Nov 30, 2015
"(Rewatch) I think i actually maybe like this somewhat less than before. I find it surprising that Fassbinder took what was for him a long break before making this, because if anything it feels more rushed and sloppier than usual in nearly every sense, aesthetically and performance-wise. It's all very quintessentially typical Fassbinder on a thematic level, but basically in a lot of ways just feels like a warm-up for things he'd explore in much more depth later on, namely in Berlin Alexanderplatz"
|85 T9||Ali: Fear Eats the Soul (1974) - Nov 30, 2015
"(Rewatch) In light of certain recent events, this feels more poignant than ever. As it was, it's probably the only Fassbinder film with any real sense of warmth or humanism, which makes it more approachable and consequentially why it's one of his most popular. What i didn't appreciate before was how remarkably aesthetically accomplished it actually is as well (it practically looks like a Kaurismaki film!) The intertextuality with Sirk is here of course, but i think this transcends mere homage."
|36 T4||Magnificent Obsession (1954) - Nov 29, 2015
"More frothy nonsense from Sirk, but much harder to detect the critical aspect than in All That Heaven Allows. I think i prefer my irony served upfront (a la Lubitsch) rather than buried under all the semiotic melodrama. Still ravishing to look at though."
|27 T3||Réalité (2015) - Nov 28, 2015
"I guess Dupieux is getting incrementally better (i mean there's always just enough potential in his stuff that i keep watching), even though this is still pretty dumb. But at least he's learning to tone things down a little bit, even if he's still just doing self-consciously pointless "random" surrealism. It's like he's trying to be Kaufman or Gondry but completely misses the point of what they're about, and there isn't really anything aesthetically interesting to justify it. He's no Raoul Ruiz."
|34 T4||Amour (2012) - Nov 27, 2015
"Yeah, of course Haneke would start winning Palm d'Ors when he started making "prestigious", ponderous borefests like this and The White Ribbon. It's not that i want him to keep making "shocking", "extreme" cinema or anything, it's just that when you take those things away his humorless austerity just becomes tedious and dreary. This reminded me of watching "grownup" movies with my parents that made me fall asleep when i was a kid. Now i'm an adult and i did almost the same thing."
|0 T1||Not Cool (2014) - Nov 26, 2015
"Is this hell? Pretty much the worst thing ever, which again from watching The Chair i was already expecting, but still it's literally painful to get though (maybe almost worth it for Zachary Quinto's disgusted reaction on the show. Now i share his pain). If this Dawson guy is big with tweens, i'm seriously scared for kids these days. I think i also feel bad for the lead actress."