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Nathan S

Cinema Addict - 2178 Film Ratings

Member Since: Nov 8, 2006

Location: Oklahoma City, Oklahoma, USA

Age: 28

Bio: Since my early teenage years, cinema has been my primary form of education. A travelogue which has afforded me experiences I otherwise have not had the opportunity of enjoying: of 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, Ingmar Bergman, John Cassavetes, Joel & Ethan Coen, Jules Dassin, Werner Herzog, Alfred Hitchcock, Buster Keaton, Masaki Kobayashi, 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
77% Umberto D. (1952) - Jan 11, 2019
"There's much to be said, and much has been, about this immensely sad film, so I'll just add that it's a reminder of what comfort dogs are in a cruel and uncaring world."
77% Moonrise (1948) - Jan 04, 2019
"The poetry of shading, angle, motion, and associative editing. This is a formalist's dream, and among the most gorgeous and expressive Golden Age noirs. That grace stumbles over Dane Clark, whose performance is so nerve-wracked that it grates and strains suspension of disbelief. Of course the film is about the anxious torment of a guilty conscious, and aesthetically it seems to exist outside of the real world, but plainly, Danny might as well have "I'm the killer!" stamped on his forehead."
48% Mary Queen of Scots (2018) - Dec 28, 2018
"I don't have any strong feeling for it, but as costume drama, court intrigue, and fine acting go, this is pretty good."
77% Mon oncle Antoine (1971) - Dec 21, 2018
"The finer historical and political points of its French Canadian identity aside, this film really sneaks up on you, much as the enlightenments of adolescence might. It's not until the final act, when carefree children's games and the wonders of sex give way to the bittersweet realities of regret and death, that this coming-of-age reveals itself to be something truly special."
22% Miracle on 34th Street (1947) - Dec 20, 2018
"The best Christmas classics tend to have an unorthodox or irreverent undercurrent, and while this does become a trial film about institutionalizing Santa, on the whole it's all rather generic. I've never actually seen a Hallmark Christmas film, but this seems to be the blueprint for all those tacky tropes."
94% A Room with a View (1985) - Dec 13, 2018
"It's another film about true feeling hemmed in by bourgeois English mores, and furthermore about a young woman torn between a stiff upper lipped dweeb and a progressive free thinker. It's just rendered with such immaculate taste in all things: script and performance, European countrysides, and most importantly, a sense of humor. It's an immensely pleasant and happy film, leisurely and love-affirming."
77% The Crucified Lovers (1954) - Dec 06, 2018
"Here is a rather succinct representation of all things Mizoguchi: a straight and simple moral tale about the hypocrisy of patriarchal mores and lament for a cruel world. Melodrama, but not maudlin. Japanese cinema of the first order, which is to say that it is related with utmost grace and restraint."
77% The Easy Life (1962) - Dec 03, 2018
"Breezy and funny, until it isn't. Bruno is obnoxious and rude, with no sense of decency toward anyone unfortunate enough to wander into his path. Where this comedy finds an unexpected pathos is when it becomes clear how pitiful the brute is: incapable of forging lasting human connection, utterly wrecking any chance he has at it. Trintignant is an anchor of sympathy. Boy, that ending: the possibility of it scratches at the back of the mind, but still when it finally occurs, it's a shock."
77% Double Suicide (1969) - Nov 29, 2018
"I love the conceit: a classic doomed romance melodrama, told with modernist and metafictional dramatic devices. Literal stagehands loom over the proceedings, cloaked figures unseen by the characters but manipulating them toward their inevitable conclusion. As the fates will it, and as foreseen in the prologue, destiny is a script. These effects alienate and emphasize artifice and performance. Chikamatsu himself said that "art is something that lies in the slender margin between real and unreal.""
77% Jeremiah Johnson (1972) - Nov 27, 2018
"Something of a mood piece, a laconic rhythm pivoting only on the essentials. Form is function, resembling the sort of pure existence the title character seeks. But he learns that no man is an island. He takes on the burden of others, and is burden himself. His actions ripple. At the very least, and the very most, it is him and the landscape. Even the most rugged of mountain men are at the mercy of the natural order, and even the most towering myths are, after all, mortal."