Cinema Addict - 2248 Films Ranked
Member Since: Jun 13, 2008
Location: portland, oregon, USA
|63 T7||The Piano Tuner of Earthquakes (2005) - Dec 18, 2014
"I'm sure i'd appreciate Institute Benjamenta a lot more if i rewatched it now, this was not great by any stretch but it was completely fine. The worst that can be said about it is that it's kind of like Tim Burton trying to direct a Guy Maddin film (strong overtones of Twilight of the Ice Nymphs in particular), without much of the humor."
|72 T8||It's Such a Beautiful Day (2012) - Dec 15, 2014
"Pretty much the epitome of the post-irony/New Sincerity sensibility, whatever it is exactly, done the right way. I'll never like stick figures as much as actors, although Hertzfeldt certainly does his best with his inherently limited technique, otherwise i might rate this higher. I guess i overall prefer the deadpan comedy to the stabs at metaphysical significance, but i can also understand Hertzfeldt wanting the chance to stretch the full potential of the medium. Well done."
|41 T5||Actors and Sin (1952) - Dec 15, 2014
"Hecht could write good dialogue pretty much in his sleep, it seemed, and this is no exception up to a certain point, but it can't help but feel like sort of a too-insidery pseudo-vanity project (that the entire second story seems to be written around casting Hecht's own daughter doesn't help much in this regard, even if this is ultimately the more entertaining of the two stories.) It probably felt very fresh to satirize Hollywood at the time, now it just comes across as sort of smug."
|66 T7||In the Soup (1992) - Dec 14, 2014
"Cassel's insane performance really saves what might otherwise be a sort of try-hard quirky '90s-style indie (it's no wonder Rockwell would befriend Quintin Tarantino and not really do a whole lot else, this film is reasonably slick, stylish, and verbose without really having much to say aside from clearly being a young filmmaker's idealistic fantasy). At best though this does oddly sort of resemble a streamlined, accessible take on Ruiz's The Golden Boat (it might just be the Jarmusch cameo)."
|76 T8||The Long Day Closes (1992) - Dec 13, 2014
"Probably the quintessential Davies film."
|49 T5||Klassenverhältnisse (1984) - Dec 13, 2014
"Do you like the idea of early Fassbinder with less humor or Godardian cinematic referentiality? Or early Wenders without his innate sense of warmth and humanism? How about Bresson without any of his pesky spirituality? If so, than this just might be the movie for you. To be fair, this might be better than i'm giving it credit for if it actually had proper subtitles (although the Straub/Huillet stance on subtitles perhaps indicates a deep-seated pretentiousness within their whole sensibility)."
|64 T7||Lemonade Joe (1964) - Dec 12, 2014
"A little of this silliness goes a long way, and in that respect this probably outstays it's welcome somewhat, but at least it's never less than entertaining. As surreal Czech New Wave films go, i actually prefer this overall to, say, Daisies. It's still predictably political on a certain level (anti-Capitalist i assume/think?) but never less than ambiguously/absurdly so. The Guy Maddin comparisons are well founded, imagine him doing a Western parody/homage and you're not too far off."
|70 T7||Généalogies d'un crime (1997) - Dec 10, 2014
"Errs on the subtler side of Ruiz's innate oddness, revealing it's nesting doll structure gradually, never quite indulging in outright surreality. This is, perhaps, what makes it (and Ruiz's work in general) more genuinely dream-like than David Lynch could ever truly manage (although he if anyone came pretty close). Moment to moment it makes a certain degree of surface-level sense, yet seems more and more incoherent in retrospect, truly not unlike trying to recall a dream upon first waking."
|90 T10||We Won't Grow Old Together (1972) - Dec 08, 2014
"Doesn't hit me quite as hard as The Mother and the Whore or my favorite Rohmers, but this is pretty much undeniably a masterpiece just the same. If it lacks the cumulative power of Eustache's film it's mostly due to the less unwieldy runtime, although Pialat in general has a sort of haphazard approach to narrative form which lends this a somewhat repetitive feel after a while, although this in and of itself feels like a significant aspect of it's overall point."
|68 T7||Püha Tõnu kiusamine (2009) - Dec 07, 2014
"In many respects textbook "Cinema of Damnation" festival bait (think Tarr, Bartas etc.) but somewhat perversely presented as a (pseudo) comedy, so it almost reads as either a sly self-parody of eastern European arthouse miserablism, or as the broadest, most unsubtle allegory this side of Bunuel. As with Ounpuu's first film Sugisball, this doesn't ever feel particularly original per se, yet he manages to present these ideas in a less self-consciously severe manner than his humorless peers."
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