Cinema Addict - 1700 Rankings
Member Since: May 2, 2007
Location: Sneedville, TN, USA
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|0 T1||Pearl Harbor (2001) - Oct 05, 2007
"Bay directs the slaughter by air of hundreds of sailors with the same weight that he directs giant robot-cars punching each other in their metallic faces. In other words, Michael Bay is a sociopath, which is seemingly at odds with his desire to slather every one of his pictures with a treacly sentimentality -- what, I presume, he most closely approximates human emotion to be, the better to distract us from his own glaring lack of it."
|13 T2||The Twilight Saga: New Moon (2009) - Dec 01, 2009
"Some weird wish fulfillment going on here. Bella is a blank slate upon which select females project themselves, in a world where violent, brooding monsters are the only alternative to the fey, ineffectual masculinity otherwise filling the void. The last few minutes are the hilarious best, in which Bella asks for her democratic election into the cult and the film decides, hey, maybe this subtext is too subtle (oh, and it's not), and outs itself as a vampire-filled ode to abstinence until marriage"
|50 T5||Brüno (2009) - Jul 19, 2009
"I love it as a blatant "Fuck you" to any homophobic pricks who have mistakenly assembled to watch it, but with a few exceptions it exposes less a homophobic current prevailing in American society than the discomfort of an unrequited come-on. After the takedown of American xenophobia, ignorance and paternalism that is Borat, a disappointment."
|88 T9||Scott Pilgrim vs. the World (2010) - Aug 13, 2010
"Not just canny commentary on how this generation's experiences are inextricably mediated through the prism of pop culture; it captures an attendant myopia, too. Any coincidence the film parallels Scott's fundamental narcissism w/ the endless parade of exclusionary inside jokes? Or that Scott (and by extension the audience) finds it impossible to separate his culture-saturated inner world from the world at large? It's all exhilaratingly, uninhibitedly hyperreal: Baudrillard would have a field day"
|100 T10||Vernon, Florida (1981) - Aug 01, 2010
""Reality. You mean this is the real world?" And so begins Vernon, Florida. Often accused of cruel exploitation, Morris actually provides a platform for his subjects to tell stories of their own choosing, pointedly editing them to provide a patchwork of thoughts on topics no less important than epistemology ("There's a lot of water out there." "And that's only the top of it."), empiricism (the man who looks at a turtle and sees a gopher), and entropy ("That's what God is: just happened.")."
|75 T8||October Country (2009) - Aug 20, 2009
"Lyrical, beautifully filmed rumination on the marginalized working poor, marinated in regret, like David Gordon Green directed a documentary."
|63 T7||Inception (2010) - Jul 17, 2010
"Too airless, too keen on wooden exposition, too hesitant to commit to any real dream logic, too nail-on-the-head in its philosophizing. But in how it cleverly acknowledges movies as collective dream spaces (car chase? assault on a snow bunker straight out of James Bond?), in its understanding of how we forge meaning and affect through the creation of narrative (the manipulation of Murphy's character), it's a definite success, and Mal -- a physical manifestation of memory -- was actually scary."
|63 T7||Terminator 2: Judgment Day (1991) - Jun 20, 2007
"Emotionally manipulative holocaust of playground, Robert Patrick is awesome, shit blows up, Robert Patrick continues being awesome, more shit blows up, Arnold has no idea what tears are despite complex understanding of human anatomy, Edward Furlong switches between emoting incredulity and hysteria, time paradox, more shit than ever blows up, Linda Hamilton is stupidly spared, Robert Patrick enters death throes, robots impart valuable lesson about being human, end's ambiguity ruined by sequels."
|100 T10||Dogville (2003) - Jun 08, 2009
"Well, that was the most fucked-up community production of Our Town I'VE ever seen."
|100 T10||Syndromes and a Century (2006) - Sep 03, 2009
"More tonal poem than narrative, Syndromes's bifurcated structure explores the distance between the fertile/feminine, the mechanical/masculine. The camera proves a medium between the two, capturing the same exchanges from startling, unexpected angles. The visual convergence of solar eclipse and dark pipe suggests a blurring of time and space and even subjectivity. Visual representation of Buddhist cyclicality, rural/urban discordance, our inability to learn from our mistakes? Dunno, but I love it"