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Nathan S

Cinema Addict - 2246 Film Ratings

Member Since: Nov 8, 2006

Location: Oklahoma City, Oklahoma, USA

Age: 29

Bio: Since my early teenage years, cinema has been my primary form of education. A travelogue which has afforded me experiences I otherwise haven't had the opportunity of enjoying: different eras, locations, languages, cultures, methods of thought. It's a fulfillment damn near spiritual.

My ratings are divided into five points for a more generalized representation of quality. The less reliance on nitpicky numerology, the better. I have awarded a sixth point to films which have had the largest and longest lasting influence on my own cinephilia. They are my all-time favorites, hence a movie is never given a six on first viewing.

The filmmakers who are most important to me include Chantal Akerman, Woody Allen, Robert Altman, Paul Thomas Anderson, Olivier Assayas, Ingmar Bergman, John Cassavetes, Joel & Ethan Coen, Jules Dassin, Robert Eggers, Werner Herzog, Alfred Hitchcock, Buster Keaton, Masaki Kobayashi, Hirokazu Kore-eda, Stanley Kubrick, Akira Kurosawa, Fritz Lang, Sergio Leone, Richard Linklater, Sidney Lumet, David Lynch, Terrence Malick, Jean-Pierre Melville, Hayao Miyazaki, F.W. Murnau, Yasujiro Ozu, Michael Powell & Emeric Pressburger, Satyajit Ray, Nicolas Winding Refn, Kelly Reichardt, Jean Renoir, Eric Rohmer, Roberto Rossellini, Martin Scorsese, Isao Takahata, Hiroshi Teshigahara, Francois Truffaut, Ming-liang Tsai, Denis Villeneuve, Orson Welles, Billy Wilder, and Kar-Wai Wong.
more Recent Ratings
76% Where Is the Friend's Home? (1987) - Jan 25, 2020
"This plain simplicity is easy and disarming. Watching this adorable boy's wide-eyed, single-minded determination to navigate the grown-up landscape, it becomes apparent that children and adults live in completely separate worlds. If Ahmed understands one thing, it's that he is doing what is right, even if the authority figures in his way can't bring themselves to comprehend or even care to begin with."
47% 1917 (2019) - Jan 24, 2020
"A masterfully designed film, up-close-and-personal, firmly embedding dirty flesh in the anxious confines of ticking time and hostile space. It's a linear propulsion which bears a certain video gamey quality in its structure and pace, which I like. There are a few genuinely sad passages, but its horrors-of-war ideals feel rather standard, and the overriding sentiment hews too close to being an act of heroic achievement, which might have been mitigated if the strings didn't swell so strongly."
93% Meghe Dhaka Tara (1960) - Jan 22, 2020
"To sacrifice one's health, ideals, and very personhood to the suffocating pressure of poverty. Neeta's endurance of repeated defeats is a little stagey and melodramatic, but it's not difficult to sympathize with this honest-to-goodness sentimentality, where the treatment and characterization ring so true. For all these beautiful landscapes and close-ups, perhaps what strikes me hardest is the frequent use of diegetic song: cathartic expressions of humor and reprieve, sorrow and suffering."
47% The Parallax View (1974) - Jan 20, 2020
"Patriotic fervor conceals the vacancy of justice, the corruption of institutions, the farce of ideals. Pakula's cynicism hangs low, easy to grasp but no less engaging for it. He and Frankenheimer are the twin pillars of conspiracy thrillers, and if The Parallax View isn't quite on the level of their greatest works, it at least contains a few extraordinary sequences: the dam, the montage, the airplane."
76% The House of the Devil (2009) - Jan 16, 2020
"A genre novelty and aesthetic exercise, executed to near-perfection. All I need, really. It's easy to imagine this being derivative and trashy, but commitment to sincerity and tasteful scare tactics elevate it. This film's reverence of its forebears is so spot-on and spirited that it's as much fun as it is frightening."
93% The Tenant (1976) - Jan 15, 2020
"Dysphoria, claustrophobia. Mental and spatial, if there even is any distinction. On what terms do mind and body coalesce, and how much of a person's identity is dictated by their environment? There is some sort of strange cyclical, cosmic, omnipresent spacetime at work here, just as in Don't Look Now, The Shining, Twin Peaks. The sound mix is sloppy and a few of the performances are stiff, but this film pays off in surreal spades of imagery and mood."
93% Suspiria (2018) - Jan 13, 2020
"Its explicit gore and eldritch lore are primordial, but Guadagnino has transmogrified giallo schlock into high-minded text with a litany of thematic baggage: a Holocaust parable, matriarchal primacy, psychosexual awakening. It's a lot to unpack, and perhaps some ideas are less coherent than others, but it's altogether rather extraordinary. What I love most might simply be the parallel of energies. Sensations of physicality: momentum, timing, space, manipulation, contortion. As dance to cinema."
76% You Were Never Really Here (2017) - Jan 10, 2020
"A non-verbal and cacophonous projection of post-traumatic headspace. It is aestheticized and mannered, but there's little doubt regarding the emotional veracity of this characterization."
47% Jour de fête (1949) - Jan 02, 2020
"Slight and breezy and very easy to watch. Much has been said about this germane sketch of later Tatisms, but in contrast to the silent Hulot, one of this film's lasting impressions on me is actually a piece of dialogue. About the third time he exclaims "I almost got beaned by that pole!" I lost my shit at the absurdity of such a line."
93% Interiors (1978) - Dec 18, 2019
"It might be easy to dismiss the strained seriousness of these bourgeoisie anxieties if this film weren't actually so literate, affectionate, and stunningly performed. This is among the most precarious and painful interplay Allen ever wrote, and even if its stark audiovisual design renders as mannered, it nevertheless rings with truth and naturalism. If it must be mentioned in the vein of his influences, it should also be noted that this is perhaps Allen's all-time greatest Bergman imitation."