Cinema Addict - 1052 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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|73 46%||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. "
|73 46%||Knight of Cups (2015) - Jan 08, 2016
"Lubezki's eye for geometric composition and kinetic flair is disgustingly on-point here, as is Townshend's gorgeous Gregorian-inspired score and some absolutely wondrous sound mixing. Unfortunately, the crux of the film's narrative--Malick's routine voiceover narrations--feels far more hackneyed this time around, simply too uninspired and too esoteric to evoke those strongest of humanist emotions Malick has been so strong at producing. An aesthetic marvel, but my patience was tested."
|30 4%||Dan in Real Life (2007) - Aug 09, 2009
"Was dragged along to see this years ago. Barely remember one thing about it, save for the fact that I hated it."
|80 76%||Dancer in the Dark (2000) - Dec 13, 2011
"While at first I was, like others, frustrated at the contrived situations of Selma, I soon realized its purpose: Whenever a musical number came up, I forgot about her predicament, expecting something good to happen, before jumping back to her grey world of shit, where I was once again reminded that nothing good WOULD happen. The film is an experiment in audience expectations of the musical, and LVT completely subverts them as confrontational as possible. Bleak? Very. But I respect its daring."
|86 93%||Eraserhead (1977) - Oct 29, 2015
"The soundscape envelops you in its layers of white noise and metallic crunching, distorted and loud and abrasive and all-too-personal as it is; it is this film's greatest attribute in constructing its violently bizarre nightmare of a world. A fear of parenthood turned into an odyssey where night never seems to end, and lit with brilliant chiaroscuro lighting in a world constructed as the dark underbelly of 1970s American sitcoms, there still exists virtually nothing like Lynch's debut."
|70 36%||Revolutionary Road (2008) - Aug 07, 2012
"Without a fleshing-out of the characters' psychology or backstory, I felt oddly distanced from Winslet and DiCaprio the entire time--a death sentence for a melodrama focusing on them for two hours. Even with such a 'depressing' ending, I just...failed to react in any way to it. Ultimately, the film just feels too cluttered and condensed, a--to borrow a line from DiCaprio--'hollow shell', I imagine, of Yates' acclaimed novel. For a superior look at marital discord: 'Blue Valentine'."
|75 56%||The Rover (2014) - Jul 27, 2014
"While wary of watching yet another post-apocalyptic film, I cannot deny how powerful this one is. Brutal and bleak, its ending will have you thinking on the film's various angles of law and morality, and the absence of such in the face of absolutely nothing left and nothing left to lose. Its pace, which is sure to be its most polarizing feature, meets an unlikely comparison in 2011's 'Drive', sharing its barely-watchable moments of intensity and graphic violence."
|55 15%||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."
|25 3%||Malibu's Most Wanted (2003) - Jul 26, 2015
"Fairly awful but with moments so ridiculous and seemingly unaware of its own cheese, I can't help but be amused."
|97 99%||Six Feet Under (2001) - Nov 15, 2015
"Hoo boy. About as close to perfection as possible for me. Some truly powerful storytelling here, replete with ridiculously synergetic performances and focused direction. Tremendous."