Celluloid Junkie - 2721 Rankings
Member Since: Jun 29, 2007
Location: Los Angeles, California, USA
Bio: After a fairly Lynchian childhood in an American suburb, I moved to Japan at 13, saw foreign film, and it destroyed my fragile little mind. Now forever damaged, I live in LA, have degrees in Cinema and Religion, a Masters in Information Science, and watch too many films in between writing projects. Life goals: direct a film, and see a UFO.
|94 T10||Toy Story 3 (2010) - Jun 23, 2010
"Pixar is the only American animation studio that can take some of our most iconic characters, have them swim in existentialism, get tortured by a villain who refuses redemption, and send them to a literal hell and back - but do it with such undeniable tact, grace and aplomb nobody even bats an eye. Actually, it might make the ending that much more stirring. It's a good thing there are credits videos for those... um, other people, clearly... who teared up."
|94 T10||Samurai Rebellion (1967) - Jan 24, 2009
"I'll have to disagree with most here and say that the social dilemma of the film - beauracratic traditionalism vs. the sanctity of the family unit - is just as heartbreaking and wraught as Kobayashi's other works. This is Sirk with katanas; this heightened family melodrama is underscored by the incredible B&W cinematography, and showcases one of society's most universal follies. The extended-family-encounter scene is as brilliantly staged and handled as the more action-heavy ending."
|96 T10||Winstanley (1975) - Jul 12, 2012
"After a long hiatus, this film reaffirmed my love in cinema's potency and power, brevity and universality. The film is as much a love letter to the people it depicts as it is to film structure and economy, and it shows remarkable depth and respect for both. An underrated masterpiece."
|82 T8||Martha Marcy May Marlene (2011) - Dec 10, 2012
"Too many "cult" films focus on propaganda as if there are keywords that cause all who listen to them to fall prostrate at a masochist's feet. MMMM rightly revolves around three elements instead: emotion, ambiguity, & their intersection. A difficult subject, but Durkin makes it work because, like Hawkes' character, you feel immediately as if you are in good hands, and then it messes with you in deep and frightening ways. It's a beautiful debut film that will continue to say more with time passing"
|90 T9||Kuruizaki sanda rodo (1980) - Jun 02, 2015
"One can easily name off the film's clear progeny: Miike, Otomo, Kitano, Anno, Tsukamoto, Sono, Kurosawa, Yukisada. And it's easy to see why. From its opening moments, its raw, unrestrained, angsty energy is viral, and ultimately, its primary theme. Yet despite the pedigree it inspired and left in its wake, Crazy Thunder Road is its very own stray and rabid dog, and ultimately a sensation, requiring Western rediscovery."
|98 T10||Häxan: Witchcraft Through the Ages (1922) - Jan 24, 2009
"One of the most effective silent films I've ever seen, and notoriously underrated. Does it really dismiss spirituality away with reason in its final chapter? Or does the whole film basically enchant its audience anyway? ~ Really, one circular joke that can be viewed many times with differing interpretations."
|10 T1||Highlander II: The Quickening (1991) - Nov 03, 2010
"Writer to Studio Exec: "OK, so the Immortals are actually Aliens." Exec: "What about the first movie?" W: "What first movie? Anyway, it's the future, and McLeod is old, but he has to fight an evil corporation from hiding the ozone layer from them." Exec: "He's old? Isn't he immortal?" W: "He is immortal!" Exec: "OK, I'll give you $35 million. Just steal more ideas from Blade Runner and Logan's Run if you need anything.""
|99 T10||My Darling Clementine (1946) - Apr 17, 2017
"Kurosawa once said My Darling Clementine is a template for what films can be - and it's hard to disagree with the sensei. Bridges myth and history, allegory and humanity, in a way only the great foundational fables can. Intervening years of romanticism and cynicism have not diluted its power in the slightest. "
|76 T7||Heaven Can Wait (1943) - Nov 29, 2010
"Lubitsch's use of ellipsis is intelligent to the point of being profound: it really is like grasping at the wind of life to catch only the most important bits. Still, I get the distinct impression that Lubitsch is looking back on his own life - and his distinct gender politics, marrying love and polygamy - and hoping Satan is just a heck of a nice fella. There is a very peculiar melancholy there, creating a different level of dark comedy. And I truly hope that worked out for him, really."
|90 T9||The Dark Knight Rises (2012) - Jul 30, 2012
"An overwhelmingly oppressive film on many different levels. Its penchant for melodrama over supreme logic makes sense for a film of its masked caliber - what was surprising for a comic opera, then, was every characters' recurring self-acknowledgement that they are acting out of very specific ideals, representing them, becoming walking synecdoches of some larger puzzle that generations from now will be piecing together for us. That it's also somehow a blockbuster makes this a frightening success."