Cinema Addict - 1267 Film Ratings
Member Since: Aug 8, 2009
Location: Toronto, Ontario, Canada
Bio: Hey hi hello! I obtained my MA in film back in 2013, whereupon I wrote on the New French Extremity through a cognitivist (aka cognitive film theory) lens, having also published and presented research on the NFE and other concepts related to cognitivism and cognitivist pedagogy; in this, 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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|85 90%||The Virgin Spring (1960) - Jul 18, 2015
"The irony in people's referring to this as one of Bergman's more 'simplistic' films lies in the fact that it raises what might be some of the most difficult questions Bergman has posed forth: In what manner must we act towards those who have wronged us so cruelly? Is there even a 'correct' way to do so? And to what end does religious conviction require the act of forgiveness to supplant that of vengeance--or is it righteous 'justice'? Heavy material that is both beautiful and harrowing at once."
|82 83%||On Cinema (2012) - Dec 18, 2015
"Skewering nearly every element of film criticism and cinephile culture, Turkington and Heidecker deconstruct the "movie review program" in a manner that is equal parts hilarious, absurd, and irreverent, its low-budget aesthetics and empty analysis a "Fuck You" to those who may take their film sensibilities just a bit too seriously. The Oscar specials remain series highlights for their complete mockery of the year's most masturbatory event."
|40 7%||Silver Linings Playbook (2012) - Jul 24, 2014
"A completely dishonest, unbelievable portrayal of the mentally ill. O. Russell has absolutely no idea how those with bipolar, depression, or OCD actually function and, more importantly, communicate with one another. Contrived, predictable, superficial. I'm giving it a 40 because Lawrence did very well with what she had, and it was technically produced well. "
|20 1%||American Warships (2012) - Jun 26, 2013
"Watched this while super stoned. Things I couldn't stop wondering about: "Why is Van Peebles acting as if he's a thespian? Did he help finance it to get more screentime than Weathers? Why are there only two sets being used the whole time? Are these constant female ass-shots supposed to turn me on? Why does the alien warship look no better than that in the Eiffel 65 'Blue' music video?" Then I realized I was simply thinking too hard on an Asylum flick. Awesomely terrible."
|47 10%||Let Sleeping Corpses Lie (1974) - Oct 09, 2015
"Some nice ambient sound design establishes a distinctly off-kilter atmosphere from the start, but it can't save the film from the rest of its failings: awful dubbing, poor acting, incongruous character motivations... I enjoyed its slower pace, but it doesn't function towards much in the way of tension or horror. "
|65 23%||Within Our Gates (1920) - Nov 15, 2011
"It's fairly clear by watching this that Micheaux was always an authour first, filmmaker second. The amount of exposition lopped into the numerous intertitles adds to the film's messy, crammed narrative, attempting to do too much at once without properly establishing what, exactly, is occurring. It is quite interesting to see a film reverse the role of the "savage black man" at this time, however, and the final sequence--parallelling the rescue sequence in 'The Birth of a Nation'--is great."
|88 96%||Anomalisa (2015) - Feb 18, 2016
"A remarkable examination of the search for love and connection in a time of existential nihilism, Kaufman & Johnson encompass a far vaster spectrum of human emotions in its brief 90 minutes than any other release from 2015. Employing astonishing stop-motion animation with 3D-printed puppets, the film's depiction of the Fregoli delusion is not just a watershed moment for the visualization of psychological disorders, but for their treatment as life-affirming metaphors. Bittersweetly inspiring."
|1 0%||Dog Eat Dog (2016) - Jun 29, 2017
"Doesn't know whether it wants to be the gritty pulp of Abel Ferrera or the metacinematic weirdness of Werner Herzog or the smutty camp of '70s John Waters. Whatever, it's a fucking mess all the same."
|55 14%||Never Let Me Go (2010) - Apr 19, 2013
"An interesting premise brought down by dreadfully slow pacing, a narrative which only made me continually question what was occurring rather than be wrapped up in its dystopian dimensions ("Why don't they just run away? Who is forcing them to do this? How did they get put into this situation?"), and characters I cared very little for--This latter point a death sentence for a film so character-driven. Blah. I can "let go" of this film quite easily."
|85 90%||Creed (2015) - Dec 02, 2015
"Stallone's most honest and heartbreaking role ever. Part of what makes the film so remarkable is how the mythologizing of Rocky Balboa ruptures the fourth wall and becomes reality itself. It isn't just a film about Rocky growing old and having his body break down; it's also about Stallone's coming to terms with his own mortality, and with it all the happiness of years past fading away to memory. It's devastating, but done so completely earnestly in a way that earns its tears. Tremendous."