Cinema Addict - 1829 Film Rankings
Member Since: Feb 26, 2007
Location: Stoke on Trent, UK
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|75 T8||Murder on the Orient Express (2017) - Mar 20, 2018
"a murder is revealed to be a healing balm, a catalyst for masks to fall and humanity to emerge, and so poirot, nursing his own fractured soul, must re-examine his rigid moral code. it's a film about moral simplicity--how it's our nature to desire it, and the world's to deny it--so it's fitting that hidden within its light confection is a rich, conflicted centre. none of it would work without branagh's powerful performance: he manages to sell both absolute conviction and the dissolution thereof."
|63 T6||Wonderstruck (2017) - Mar 20, 2018
"an obsessively nostalgic visual patchwork referencing everything from sjostrom to spielberg. it's unwieldy, ultimately too tidy and expository, and doesn't work as the warm, wondrous family fare it shoots for, but it does feel like a half-forgotten memory of such things (more maddin than THE ARTIST, sans the humor). what stops it being cinephilic wankery is that its form is an extension of its characters' search for and preservation of history, and the accompanying feelings of loss and yearning."
|75 T8||The Ghoul (2016) - Mar 18, 2018
"he's only an executive producer here, but tonally this fits pretty snugly into wheatley's grimy oeuvre. while it's clearly a directorial debut and too clever for its own good, i love it for plunging into the ugliest recesses of the mind when so many psychological horror films can only represent them symbolically. would that more films about mental illness seemed like they were made by the mentally ill."
|50 T4||The Wall (2017) - Mar 17, 2018
"an iraq war-era dive into an all-american hero's headspace, his conscience whispering in his ear as he bleeds out of his physical/psychological Walls and learns to stop building/bombing Walls. it isn't interesting or coherent as anti-imperialist allegory, and the script is trash (the sniper sure loves e. a. poe lmao), but it's a single-location actioner which cares about the minutiae of physical degradation, spatial geography and strategy, which is enough to make absolutely anything watchable."
|50 T4||Tramps (2016) - Mar 17, 2018
"GIMME THE LOOT was lent specificity by its authentic location shooting and the intuitive, personable lead performances (by PoC), but that only partially elevated a rather cute, inconsequential mumblecore screenplay. this time the same disguise wears thin, perhaps because the whiter milieu/romance is a lot more familiar. there's a point when it asks you to doubt the integrity of one of the protagonists and it doesn't work because you know the movie's too nice to really trip you up that way."
|63 T6||Logan Lucky (2017) - Mar 13, 2018
"cheap shots at pop culture reveal SS' usual bitterness about lack of funding, but it's channelled into one of his cannier statements on the duplicitous, corrosive and exploitative nature of capitalism. a goofy but meticulous, barbed heist pic about stereotypical (yet sympathetic) blue collar americans (an amputee vet and chronically injured ex-football player, no less) rising up against those who've commodified their values and pastimes, redistributing that wealth to the exploited working class."
|75 T8||Dao khanong (2016) - Mar 13, 2018
"a self-deprecating work about the limitations and deceptions of the camera, its inadequacy as a window into history or cultural experience. everything is a fancy trick (cue melies), basic truths are no longer self-evident (the sky is blue only once she decides it), every mode of representation is undercut (the music video being the funniest example). a working class woman helpfully suggests the filmmaker should let her survivor-subject write her own damn story; everything else is just vanity. "
|75 T8||A Ghost Story (2017) - Mar 08, 2018
"lowery has called it BEETLEJUICE or POLTERGEIST by way of apichatpong or tsai, and sure, the uncanny resonance of its central conceit brings e.g. BOONMEE to mind. his muse is still malick however, rerouting the language of the ghost genre toward an evocation of being in time, provoking heideggerian angst with a visualisation of the eternal recurrence. ultimately, the nihilism embodied by will oldham (in a deliberately obnoxious film's most deliberately obnoxious scene) is firmly dismissed."
|37 T3||Wonder Woman (2017) - Mar 08, 2018
"i hate this idea that the only alternative to tony snark is a return to earnest, B&W idealism (love uber alles! unless you're deutsch anyway). as an alternative to trump it's even worse, 'cause it's playing the same game only flipping the board around; no need for nuance when you have conviction, compassion, REALNESS. gadot is radiant, endearing and super convincing in this positivity pornstar role; her being revealed as pro-IDF in the aftermath is the perfect analog for a hollow, gestural film."
|75 T8||The Death of Louis XIV (2016) - Mar 07, 2018
"the most self-aggrandising king of them all, played by a legend of the nouvelle vague, pathetically withering away on the most luxurious of deathbeds, surrounded by fussing fools carrying out useless rituals. uneventful and didactic on paper, it quickly lulled me in with its hushed intimacy, droll farce and painterly frames, and there's something fresh and exclusive to film in how it collapses gulfs between the mythological-historical and banal corporeal, between representation and the real."