Celluloid Junkie - 2587 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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|16 T2||Django Unchained (2012) - Feb 06, 2016
"More of the same, but i'd actually give a slight nod to this over Inglourious Basterds i guess just because Tarantino actually found a subject here that he almost takes seriously enough that he lets his guard down and even gets a little corny at times. The first hour could almost pass for Coen Brothers which in this case is actually a compliment. Still, it's at least half an hour too long and again the big over-the-top finale is terrible, but at least it's kind of in on it's own dumb joke."
|15 T2||Inglourious Basterds (2009) - Feb 06, 2016
"Long, dumb, and violent. So in other words a Quentin Tarantino movie. Some of the Melanie Laurent parts aren't completely terrible i guess, but whatever slightly redeeming quality it earns is completely thrown out the window with that campy finale. With less narrative trickery than his earlier stuff, it's also has a weirdly plodding and monotonous structure. Basically, long overwritten dialogue scene followed by a shoot-out then repeat. And that self-congratulatory final line, ugh..."
|48 T5||In the Basement (2014) - Feb 02, 2016
"Another one of Seidl's deadpan pseudo-documentaries. Not his worst or his best, but it sort of feels like he's been making variations on the same basic set-up for over twenty years now. That said, the subject of this one is a bit broader than some of his others, allowing it to work almost more as an overview of his general sensibility. Often as provocative as ever, but less complex or probing than some of his more recent narrative films."
|33 T4||Northern Soul (2014) - Feb 01, 2016
"Utterly generic, but surprisingly seldom outright embarrassing. Predictably cycles through rote coming-of-age tropes, stock characters, and the familiar sub-Shane Meadows "gritty" social realist aesthetics contemporary British cinema seems helplessly saddled with. The kitchen sink realism feels as second hand as one would expect from a former fashion photographer. That said, it passes the time well enough. Obviously the soundtrack helps. Really, just watch Sandrine Rinaldi's Cap Nord though."
|74 T8||La Famille Wolberg (2009) - Feb 01, 2016
"Another deceptively low-key family drama from the former editor-in-chief of Lettre du Cinema, again featuring her frequent collaborator Serge Bozon. Like her other film Miss and the Doctors, outwardly it is less idiosyncratic than other films from the Lettre du Cinema crew (although on closer inspection the dialogue is more stylized than it initially appears). I would compare it to Desplechin if i didn't know how critical the group has been of his work, but Rohmer is also an adequate touchstone."
|65 T7||Time to Leave (2005) - Jan 31, 2016
"Definitely weaker than the other, later Ozon films i've been watching, but not bad at all. Obviously the work of a younger, less assured filmmaker. Sometimes sort of clunky, still manages to be quite poignant in places. Slight at it may be, it certainly doesn't overstay it's welcome. It reminded me a bit of Patrice Chereau's Son Frere. Between watching this and Young & Beautiful i feel like i really need to get a long green anorak."
|75 T8||Young & Beautiful (2014) - Jan 31, 2016
"Unexpectedly really good. I mean, it's not exactly original as far as these "teenage girls sexual awakening" movies go, but i think it's very well done for what it is. Especially when compared to something like, say, von Trier's Nymphomaniac. The psychological opacity works well for the most part, particularly in the first half when it focuses more on the "what" of the situation than the "why". Pretty great soundtrack too."
|70 T7||In the House (2012) - Jan 31, 2016
"Ultimately it amounts to less than the sum of it's clever, meta-fictive devices, but for the most part Ozon gets away with it. Of course it helps that i just have a soft-spot for this sort of meta-fictive trickery when it's done right, which for the most part it is here. It also doesn't hurt that i enjoyed 8 Women so much, so i'm giving Ozon the benefit of the doubt on this one. At times it sort of reminded me of Almodovar or Egoyan at their most convoluted and plotty. Maybe not deep, but fun."
|69 T7||Mommy (2014) - Jan 30, 2016
"It's impossible for me not to admire Dolan's sheer audacity and ambition, not to mention his sheer indifference to conventional notions of "cool", but to me this feels like the first time he's maybe overextended himself a bit. The epic running time which felt justifiable in Laurence Anyways feels a little indulgent here, and the film really only has two emotional registers: hysterical and self-consciously "poignant" which combined with the length gets slightly exhausting after a while."
|59 T6||Abuse of Weakness (2013) - Jan 29, 2016
"Surprisingly tame for what i've come to expect from Breillat, but elevated considerably by yet another outstanding Huppert performance (so good that i almost have to wonder if the film deserves it). Despite being sort of middling and repetitive, it's still definitely more watchable than some of Breillat's earlier stuff. I understand that it's very autobiographical, which i guess excuses how otherwise inconsequential it feels (it also notably isn't a very flattering self-portrait)."