Celluloid Junkie - 4374 Rankings
Member Since: Apr 3, 2006
Location: NYC, NY, USA
Bio: I'm a writer. I lean towards arthouse cinema, realism and old Italian stuff, and some guilty pleasures include horror, kung fu, and anything strange and unusual. Favorite filmmakers include (in no particular order): Jacques Rozier, Mario Monicelli, Maurice Pialat, Emir Kusturica, R.W. Fassbinder, Asghar Farhadi, C.T. Dreyer, Antonio Pietrangeli, Dino Risi, Werner Herzog, Lina Wertmüller, Luchino Visconti, Claude Chabrol, Nicolas Roeg, Sidney Lumet, Satyajit Ray, Sam Peckinpah, Sergei Parajanov, John Cassavetes, Michelangelo Antonioni, Lynne Ramsay, Abbas Kiarostami, Woody Allen, Federico Fellini, Nuri Bilge Ceylan, Alan Clarke, Terry Gilliam, Costa-Gavras, Aki Kaurismäki, Jafar Panahi, Douglas Sirk, Ernst Lubitsch, Kaneto Shindo, Jean Renoir, Ermanno Olmi, Cristian Mungiu and Francesco Rosi.
|60 T6||Jules and Jim (1962) - Dec 01, 2008
"French New Wave cinema exists to be appreciated, but does little to be enjoyed, and Jules et Jim is a great example: It strikes an intellectual pose, tries for an artsy look and strains to be witty and charming. The characters, however, are made of paper and their relationships superficially described and impenetrable. Is the lack of closeups a catalyst to this or simply a symptom of the director's disinterest in his subjects?"
|53 T5||The Kids Are All Right (2010) - Mar 01, 2011
"A movie about an "alternative" family, with the theme of lesbian parenthood engaged openly and frankly, and in this sense it is somewhat off the path. But it's not a film that pushes out against normative boundaries, quite the contrary: it strives to tame, normalize and centralize its subjects, to show that the kids, and the three parents, are indeed "all right", and that even their hardships are pretty "straight" stuff. It's a believable and serviceable lighthearted drama, but nothing special."
|35 T2||Let the Right One In (2008) - Oct 30, 2009
"As far as vampire movies go, it's better than stuff like Salem's Lot, but that's not saying much. The film (and evidently the novel) is based on the wrong assumption that infecting an otherwise banal children's love story with vampirism, or an unscary vampire flick with juvenile romance, is enough to make it interesting. It isn't. The film is boring, and while another reviewer found an "impressively choreographed slaughter of three kids" cheer-worthy, I found it tastelessly manipulative."
|78 T9||The Hunt (2012) - Mar 25, 2013
"Excellent acting and directing aside, I think The Hunt is a courageous film. The idea that false accusations even exist has become almost taboo in the west, and some in the audience will therefore find the script unbelievable. I believed it, and I appreciated its restraint and sense of proportion actually. And to anyone admitting to themselves that this scenario is realistic in contemporary culture, it's a disturbing, harrowing, upsetting film."
|78 T9||Bubù (1971) - Sep 21, 2014
"The best film you'll ever see about that type of girl who falls madly in love with an asshole just because he ruins her, and rejects the nice romantic guy who really cares about her because he's a wimp (and there's a twist). Aside from an excellent script narrowly avoiding melodrama, and Piccolo's sensational performance, Bubu features absolutely stunning cinematography by Ennio Guarnieri (also the perfect "Swept Away") whose every frame evokes August Renoir."
|43 T4||Rooftops (1989) - Jun 12, 2010
"Robert Wise was one of Hollywood's most prolific directors but never an auteur. After a long, varied career, his swan song is this: An unmistakable product of the late eighties, cashing in on the capoeira craze, but also a faint echo of Wise's production from thirty years back, the West Side Story film. If you can appreciate over-the-top eighties movies (youth clad in tight jeans, Death Wish 3, groin kicks etc), you may find some enjoyment here."
|73 T8||Savage Streets (1984) - Oct 14, 2009
"How many points am I obligated to reduce for how sexploitative this is? A girl shower scene is one of several excuses to show full female nudity, and naked tits abound, including Linda Blair's. A graphic and brutal rape scene is perhaps particularly shocking coming from a film like this. But what if it's a great movie nonetheless? It's trash but so well devised you can't take your eyes off it, and it culminates in some exquisitely suspenseful sequences. Don't mess with L.B..."
|78 T9||A Time to Love and a Time to Die (1958) - Apr 20, 2011
"The romantic affair of a newly conscientious, repentant Nazi soldier home on vacation. Far better than it sounds. Such instances as when the lovebirds lament their inability to honeymoon in Paris or Holland as they'd be hated, feel chillingly decadent considering context - until finally a horrid Nazi atrocity is mentioned in brief but purposefully, giving perspective. The hammy delivery belies a nuanced, moving and thought-provoking script, with dialogue tottering between pathos and profundity."
|30 T2||Noma: My Perfect Storm (2015) - Dec 24, 2015
"Redzepi is a living parody of the type of chef who would win "world's best restaurant" on some readerless magazine for putting live ants in his dishes to make them fancy. "Noma" is actually the name of the world's most horrific infectious disease. Deschamps puts his all into the filmmaking, but doesn't seem hip to the fact that his subject is an often comically stuck up, pretentious asshole, or how little interest is generated by an argument about whether the norovirus came from the mussels."
|48 T4||High Tension (2003) - Oct 29, 2012
""High Tension" is right. This is highly tense. It is also highly gruesome. Alexandre Aja went on to do schlock and shitty remakes and would never again make horror as effective as this. Sadly, he completely fucked this one up. The plot is at worst pedestrian, until the point where Aja decided "hey, it's half-decent so far, so let's do a twist ending that's extremely old, extremely lame, and RETROACTIVELY MAKES THE ENTIRE MOVIE MIND-BOGGLINGLY, ABSURDLY NONSENSICAL AND STUPID"."