Cinema Addict - 1622 Rankings
Member Since: Feb 6, 2014
Location: Camden, London, UK
Bio: Nice beaver
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|40 T2||Twin Peaks: Fire Walk with Me (1992) - Sep 15, 2016
"The series’ uniquely disquieting nature becomes lost amid all the uncharacteristic violence, nudity and bad language; this stark change of tone strips the film of the quaint, soapy quality that initially made Twin Peaks so singular, compelling and endearing. Also, Lynch predominantly depicts events that fans will already be familiar with and still ultimately leaves even more questions unanswered. Ray Wise is excellent all the same."
|75 T7||House (1977) - Feb 23, 2016
"In this bonkers Japanese horror, Obayashi uses all the camera tricks and cheap special effects at his disposal to create a deliciously absurd nightmare, with every passing scene offering a more mind-boggling display of creepy, colourful, chaotic weirdness than the last. Visually, it’s an unforgettable comedic treat, and the deliberate bad acting and one-note characterisation make it all the more hilarious."
|60 T4||Vera Cruz (1954) - Aug 17, 2016
"A team of gunslingers agree to protect a convoy for the Mexican Emperor. There are constant twists and betrayals, none of which are unforeseen, and a slightly goofy tone that denies it much credibility, but it has an exceptional pace that easily fends off tedium. Cooper’s lethargy does stifle some of the film’s energy, but Lancaster’s exuberance more than makes up for it."
|70 T6||Broken Flowers (2005) - Jan 12, 2017
"This Jarmusch road movie is episodic but immensely thoughtful, superbly anchored by Bill Murray and featuring a terrific supporting cast. The central mystery is wonderfully understated throughout, and its ultimate lack of a resolution is both poignant and gloriously cynical. The film feels incomplete, and is so much better for it. That Ethiopian jazz music sure is ghastly though."
|70 T6||L'Âge d'or (1930) - Mar 28, 2016
"In his last creative collaboration with Dali, Buñuel boldly relays his negative feelings towards the Catholic Church, bourgeois society and contemporary attitudes towards sex, setting the tone for much of his later work. As surreal cinema goes, it’s highly accessible: well-paced, occasionally funny and bursting with effective imagery."
|90 T10||Seven Beauties (1975) - Aug 29, 2015
"Pasqualino is an incredible character; he obsesses over honour yet proves repeatedly that he himself is completely without it. Desertion, rape, cold-blooded murder – nothing is beyond him, and yet despite his numerous deplorable acts, he somehow remains a sympathetic character. Wertmüller's excellent script and spot-on direction make it a captivating experience to watch him weasel his way through the horrors of the war, and Giannini is sensational in the role."
|95 T10||Divorce Italian Style (1961) - Mar 05, 2016
"This darkly comic tale of a middle-aged scoundrel’s pursuit of his teenage cousin doubles as a sharp satire, highly critical of antiquated Italian laws and customs and featuring a number of hilarious caricatures of Sicilian stereotypes. The story and dialogue are phenomenal, and Mastroianni’s performance is sheer perfection."
|80 T8||Little Fugitive (1953) - Jul 26, 2016
"This simple story has a young boy run away to Coney Island when he mistakenly thinks he’s killed his older brother. Gorgeously filmed and edited, it brings an evocative mix of sadness and joy to the screen, and the lead does a fine job for one so young. It’s easy to see how Engel’s naturalistic style influenced the French New Wave."
|55 T3||The Blood of Heroes (1989) - May 31, 2015
"There’s some good action in this dystopian sports movie, but the plot lacks structure and the characterisation is disappointingly light. The film’s universe is expansive yet Peoples doesn’t offer enough insight into its origins or traditions, so a little more exposition would have actually been welcome. Even so, it’s very creative aesthetically, and Hauer and Chen turn in worthy performances."
|50 T3||Cars (2006) - Dec 20, 2016
"After six films ranging from good to outstanding, this Lasseter passion project represents Pixar’s first real misfire. The story is unoriginal and the characters lack both imagination and affability, but most disappointing of all is the film’s lack of any effective emotional core; it’s all machine and no heart."