Cinema Addict - 1166 Film Ratings
Member Since: Aug 8, 2009
Location: Toronto, Ontario, Canada
Bio: Hey hi hello! I've got a MA in film, whereupon I wrote on Noé and Dumont specifically and the New French Extremity more broadly; I've also published and presented research on the NFE and, more recently and as a reflection of my core interest in film studies, studying spectator affect through Cognitive Film Theory (cognitivism): in that, my interest is examining how certain images and sounds affect a spectator's brain in different ways, utilizing research from neuroscience, psychology, psychophysics, aesthetic theory, et al. Other core filmic interests include theories of spectatorship and affect, aesthetics, exploitation / transgressive & cult cinema, 1960s European cinema, film noir, '80s action hypermachismo, black comedy, experimental / avant-garde cinema, genre deconstruction, and the representation of sex and violence. I tend to gravitate towards films that are, first and foremost, aesthetically and narratively unconventional, as I believe cinema is the most potent medium for the representation of abstract ideas and images, and I just *love* delving into the Abstract/Weird/Offbeat/Strange/etc. Things I despise in cinema: cliché & formula, most biopics, montages set to anything but sad music or Eye of the Tiger.
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|80 75%||North by Northwest (1959) - Mar 27, 2012
"The film definitely offers some of my favourite Hitch moments: the airplane sequence is just superb, some of the dialogue hilarious and deviant (oft-reminding me of the quick and witty innuendos from films noir such as 'Double Indemnity'), and the cat-and-mouse game made for an immensely entertaining two hours. I just felt that some moments between Grant and Saint slowed down the pace a bit too much, interrupting the momentum the film does so well to develop and sustain. Still, such a fun movie!"
|74 47%||Granny's Dancing on the Table (2015) - Sep 19, 2015
"Sköld effectively creates an atmosphere of tension, isolation, and brutality in the present-day narrative, while the sequences of stop-motion animation capture Eini's sense of childlike imagination and subsequent escape from reality. While the film sets out to present familial abuse as a cyclical act--in a highly disquieting and blunt manner--Sköld never digs deep enough to make Granny's influence on Eini clearly known, and her treatise on abuse is somewhat half-baked and without commentary."
|8 0%||The Greasy Strangler (2016) - Nov 08, 2016
"An awful Tim & Eric skit stretched out to 93 minutes, whose sole raison d'être is to cement Midnight Madness status through sheer revulsion and gross-out, absurdist 'comedy.' Truly awful shit. "
|0 0%||Home Alone 4 (2002) - Dec 22, 2014
"Only half-watched this on TV at midnight as I was reading a book, and I had to see for myself just how awful it really was. Well, it's really awful. I mean, it makes no sense. Why is 'Kevin' running away from the burglars in a mansion filled with about 60 guests for some gala, and instead of telling his dad, "Hey, dad, those burglars I had told you about when you didn't believe me? They're literally in the room next to us," he doesn't say anything until...after...they waltz out... OK"
|35 5%||A Serbian Film (2010) - Sep 15, 2011
"I'm not sure how to rate this. As an exploitation film, it's great. Yet, my inner conflict comes from the fact that the film actually attempts to be more than that, as stated by Spasojevic in numerous interviews. Solely because of this, I have no recourse but to rate it on the merits of being a 'good' piece of cinema--in which it ultimately fails."
|78 67%||Alphaville (1965) - Aug 26, 2015
"Notable for being one of Godard's only true genre pictures, Alphaville's unique hybrid of science fiction, film noir, and romance frames the film's core themes--individual vs. collectivist thought, the effects of a society dictated by technology & logic, epistemological meditations on the human condition and communication itself--in a dystopian future that best suits the questions Godard poses. Easily possesses some of Godard's most striking photography."
|73 45%||Hail, Caesar! (2016) - Sep 03, 2016
"What it lacks in the sustained pace of screwball hilarity as seen in BAR it makes up for in exquisitely evocative imagery of the Classical Hollywood era. Strangely for a Coen Bros. film, HC tends to feel more like a collection of (never less than amusing) comedic set pieces as a result of its narrative inconsistencies that tend to raise more questions than it can answer. The Coens continue to show why they love cinema and, through it, why we do as well. "
|80 75%||Submarine (2010) - Aug 01, 2012
"A truly sweet film that not only pokes fun at the teenage mindset of omniscience, but refreshingly locates the act of 'growing up' as something that adults must similarly stumble through. This parallel is what sets the typical Bildungsroman narrative apart from many, and as we watch the young boy learn from his parents, we smile as he reciprocates the teaching to his own parents. Stylistically idiosyncratic, which encapsulates the worldview of Oliver. Funny, honest, sad, nostalgic. Great film."
|88 95%||Playtime (1967) - Sep 04, 2015
"If Mr. Bean were Parisian, grappled with modern technology and architecture as opposed to social norms, and found himself lost in elaborately awe-inspiring sets that are equal parts dollhouse and rat maze, then you might have something like 'Play Time.' Every frame is filled with such an abundance of visual & aural gags, each shot choreographed to create a symphony of chaos, that I really am not sure how to properly define this, nor can I think of much comparison. Brilliant. "
|87 94%||Band of Outsiders (1964) - Aug 24, 2015
"One of the most purely fun films Godard has ever made. Equal parts pulp homage and subversion, Godard's playful nature is a wonder to behold, and his particular fondness for playing around with the film's soundtrack is as groundbreaking as it is cheeky. And is there anything he's done that is as cool as the dance sequence? Love love love this. "