Cinema Addict - 2485 Rankings
Member Since: Jun 13, 2008
Location: portland, oregon, USA
Bio: So white the only Compton I rep is Ivy Compton-Burnett
|61 T7||Thieves Like Us (1974) - Oct 13, 2015|
|34 T4||The End of the Tour (2015) - Oct 12, 2015
"Thanks a lot guys, now it's going to be even harder to bring up Infinite Jest in a conversation without sounding like a douche bag. Not that this is exactly a terrible film by normal standards per se, and it feels essentially well-intentioned at the very least, yet it still almost completely fails to convey any of the things that make Wallace such a compelling and well-loved author aside from him being Like, A Very Sensitive Dude (as if he needed any more such myth-building at this point). "
|83 T9||The Gang's All Here (1943) - Oct 10, 2015
"Carmen Miranda, Edward Everett Horton, and Berkley's most phantasmagorically trippy dance numbers all in one film is almost too much kitschy, campy brilliance to take (on top of having almost as much meta-commentary on it's own artifice as Singin' in the Rain does). Gold Diggers of 1933 has the funnier, smarter script but this is all-around just the "most" Busby Berkeley musical, in brilliant technicolor that by all rights should only exist in my wildest dreams. This shit is bananas, literally."
|50 T5||Trydno byt bogom (2013) - Oct 09, 2015
"Considering this basically feels like Tarr-meets-Gilliam, by all accounts i should probably hate it, but it's actually not that bad, although admittedly i still found it pretty hard to follow a lot of the time, and i'd be lying if i said the endless barrage of muck and brutality didn't start to feel pretty one-note after a while. It has a certain Herzog-ian surreal weirdness that at best reminds me of Klimov's Come and See, although it's more abstract and thus feels sort of emotionally inert."
|43 T5||Údolí vcel (1968) - Oct 08, 2015
"Although rather visually impressive in it's own right (and certainly comparable to early Tarkovsky, although i actually prefer Vlacil's style), it's hard for this not to feel overshadowed in every way by Marketa Lazarova, as stylistically similar as they are. Here, the artiness of the presentation only serves to somewhat distract from what is really an (un)remarkably straight-forward and even conventional narrative."
|70 T7||Marketa Lazarová (1967) - Oct 08, 2015
"I"m not sure i've ever been more impressed with a film on a purely cinematic/aesthetic level while being completely disinterested in it's contents. The film's reputation as a visual masterpiece is well earned, it feels incredibly innovative and really unlike anything else from it's time (apart from maybe a few Japanese New Wave films or especially Diamonds of the Night), but likewise as others have said it's pretty hard to follow (and the expositional intertitles are almost laughably unhelpful.)"
|94 T10||Dorian Gray im Spiegel der Boulevardpresse (1984) - Oct 04, 2015
"A difficult film to rate, it's dense bordering on impenetrable at times, parts of it sort of drag and it's a bit overlong in general, nevertheless it's still pretty remarkable and unique, as demanding as it is. Ottinger was an associate of Fassbinder's (and several of his regulars appear here) and she's sort of like his weirder, punkier radical feminist counterpart, but i could just as easily compare this to Jarman or Rappaport although really it's not quite like anything else i've seen."
|70 T7||Review (2014) - Oct 02, 2015
|79 T8||The Blood (1989) - Sep 29, 2015
"Damn, talk about a filmmaker evolving backwards..."
|48 T5||Camille Claudel 1915 (2013) - Sep 28, 2015
"Dumont at his most austerely Bergman-esque, or like Haneke in prestige film White Ribbon mode, in other words sort of dull and not really my thing at all, if not bad exactly. Like Haneke, there's something a bit heavy-handed and didactic about it (conservative Catholics are bad, but the mentally ill can be saintly, mmm kay?) and like Ulrich Seidl there's something that feels a bit stunt-y about casting an award-winning actress against a bunch of real handicapped people."