Cinema Addict - 2387 Films Ranked
Member Since: Jun 13, 2008
Location: portland, oregon, USA
Check out JakeAesthete's...
|66 T7||The Day He Arrives (2011) - May 20, 2015
"While in a way this feels like almost decidedly minor Hong, it's at least nice to see him working in black and white again, and i feel like i might be underrating both this and his work in general a bit, because there are things about these films that hit as uncomfortably close to home for me as just about any films do. The typical Hong repetitions are particularly well used here, as a way to underline the (seemingly) inevitable (un-self-aware) behavior of the characters."
|72 T8||La chouette aveugle (1987) - May 18, 2015
"When you've seen as many Ruiz films as i have (especially over the course of a year), his mid-'80s work in particular all sort of starts to blend together after a while. This is more or less as fine an example as any, less visually beautiful than some (not that the muddy VHS quality helps any), less incoherent than others (very broadly speaking of course). Along with Insomniac on the Bridge it's probably his most excessively garish and unsettling, which is a nice contrast to his later films."
|52 T6||Harvard Man (2001) - May 17, 2015
"The first half of this is actually almost inexplicably great, like the mainstream teen comedy Raoul Ruiz never made, or even a better-realized Southland Tales (the presence of Gellar in both makes me wonder if she isn't secretly far more subversive than she gets credit for). With it's bizarre disjointedness and smart/stilted dialogue it already feels enough like a teen comedy on acid that when the actual "acid trip" scenes start it's completely unnecessary and it sort of loses its footing."
|84 T9||Cap Nord (2007) - May 17, 2015
"While in a broad sense clearly not as aesthetically accomplished as Serge Bozon's films, this nonetheless solidifies that whatever it is exactly that this La Lettre Du Cinéma crew are doing, it's significant, and at the very least resonates with me on an intensely personal level far beyond that of the vast majority of films that i see. Dare i say that if it were any more visually "good" and polished, as roughshod as it is, it might have been almost too close to my cinematic ideal to bear?"
|70 T7||Night and Day (2008) - May 17, 2015
"More like LONG Sang-soo, amirite? (sorry). Seriously though, i admire Hong's attempts to expand his sensibility somewhat, in locale and length at least, even if it expectedly pretty much boils down to drunken soju-fueled awkwardness and masculine cluelessness. If anything, the Parisian setting serves to underscore the Rohmer comparisons even more than usual, to the point of feeling like it must be a deliberate homage (it's almost like Hong's attempt to roll all six Moral Tales into one film). "
|77 T8||Windows on Monday (2006) - May 16, 2015
"While in many ways coming across like an above-average albeit fairly typical piece of arthouse ennui, much like Kohler's previous film Bungalow, the director nonetheless manages to ultimately differentiate himself somewhat from his more pro forma Berliner Schule peers by adopting a distinctly elliptical formal presentation which seems to owe as much to Pialat as it does to the more expected glacial Antonioni-isms, creating an interesting hybrid of sorts. "
|13 T2||Breathless (1983) - May 14, 2015
"Painful to get through, but the fact that Quentin Tarantino has cited this as one of his favorites actually goes a long way toward explaining the bizarre misreading of Godard that forms the basis of his sensibility."
|99 T10||Tip Top (2013) - May 14, 2015
"Although Mods is probably still my favorite (if not one of my absolute favorite things ever), at the very least this solidifies my opinion that Serge Bozon is unequivocally one of the most interesting and (dare i say) even necessary filmmakers going. At once unabashedly silly, deeply socio-politically relevant, both delightfully cinephilic and astutely critical (i can't help but interpret Huppert's role as in part a critique of Haneke's somewhat puritanical Freudian stance in The Piano Teacher)."
|84 T9||From the Journals of Jean Seberg (1995) - May 12, 2015
"Probably the most wide-ranging and in-depth of Rappaport's essay docs, but also (in a sense at least consequentially) the driest and least 'fun' to watch, even if ultimately it might also be the most thought-provoking (if sort of depressing, in a good way). There's probably an entire book-length thesis' worth of film theory worked over here, and it's interesting to see Rappaport's evolution between this and Casual Relations, and how he was able to integrate his ideas more successfully over time."
|49 T5||Footlight Parade (1933) - May 12, 2015
"Ruby Keeler is utterly adorable (enough that i can almost look past the cringe-iness of the "Shanghai Lil" number), that little boy is terrifying, "By a Waterfall" is the obvious highlight, but overall there aren't enough of those amidst the largely unfunny banter (like Hawksian screwball without the jokes) you have to make it through to finally get to the big dance numbers (which aren't even as great as the ones in Dames, plus the songs are terrible). At least now i know James Cagney can dance?"