Cinema Addict - 2403 Film Ratings
Member Since: Feb 6, 2014
Location: Camden, London, UK
Bio: Nice beaver
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|95 97%||The Music Room (1958) - Feb 01, 2019
"Ray's sumptuous but subtle production stresses the dangers of pride and pettiness against the backdrop of an evolving India, as Chhabi Biswas' feudal lord sits in his decaying palace while the world he knows similarly crumbles around him. The patient, elegant direction shows a filmmaker at the top of his game, with the incorporated musical numbers demonstrating great restraint and mournfulness despite their extravagance. The ending is too easy but the only weak note of an assured masterpiece."
|75 70%||Kid with the Golden Arm (1979) - Feb 02, 2017
"With its brilliant costumes and hilarious death scenes, this Shaw Brothers classic really wears its ridiculousness on its sleeve. The fights come relentlessly, and the occasionally over-rehearsed choreography doesn't markedly diminish the wonderful spectacle of it all. All five of the Venom Mob impress, and Philip Kwok's booze-guzzling Tai Hao gets to deliver one of the best final lines ever."
|75 70%||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."
|100 99%||In Bruges (2008) - Feb 19, 2019
"McDonagh's first film pairs comedy and tragedy like no other, with the superb script tackling its themes of guilt, morality and judgment in astonishingly deep and humorous ways. Farrell and Gleeson give the most nuanced performances of their careers as Ray and Ken, two Irish hitmen irreparably haunted by their past sins. Bruges is a location seemingly frozen in time and drowning in Catholic imagery, making it the perfect other-worldly setting for a weekend sightseeing trip through purgatory."
|10 1%||Burke and Hare (2010) - May 30, 2019
"A crude comedy about these infamous graverobbers sounds enticing in the capable hands of John Landis, but his first film after more than a decade out of the game is an absolute dud, using the lowest of low-brow humour and a few pointless British cameos to drum up no laughs whatsoever."
|70 59%||Earthworm Tractors (1936) - Jul 07, 2016
"Joe E. Brown plays an overconfident, relentlessly optimistic tractor salesman in this pleasant little comedy. It's hammy but light fun - the script and sight gags are consistently amusing, and its warmth and charm are abundant."
|85 86%||In the Heat of the Night (1967) - Feb 18, 2016
"The main investigation story takes a back seat in this Southern murder mystery, with the film's focus instead lying firmly on the begrudging relationship between a white police chief and a black detective. The racism theme is handled in an impressively thought-provoking manner, and the fantastic direction, script and pacing means there's never a dull moment. Steiger and Poitier are exceptional in their respective roles."
|85 86%||The Sword in the Stone (1963) - Mar 02, 2015
"A lesser effort in the Disney canon, this excellent take on Arthurian legend is nevertheless a real delight. It's well-animated and highly creative, with some fantastically zany sequences involving dancing furniture, animal transformations and, best of all, a priceless wizard duel."
|85 86%||Street of Shame (1956) - Feb 14, 2019
"Mizoguchi's compassionate approach to his characters, an assortment of distinct and desperate prostitutes, displays a delicacy that prevents their stories from ever becoming mired in pathos, despite their often heartbreaking nature. It's a wonderful swansong for the legendary director, imbued with life by the strong performances and idiosyncratic score against a largely static camera."
|85 86%||Make Way for Tomorrow (1937) - May 30, 2019
"Even when directing a less comedic piece than usual, McCarey's touch remains as light as a feather; the drama resonates but never attempts to overwhelm, and is infused with a ray of optimism that gently shines through the layers of melancholy. Beulah Bondi, playing a woman approximately three decades her senior, gives a truly outstanding performance."