Criticker Zealot - 5107 Film Ratings
Member Since: Apr 3, 2006
Location: Tel Aviv, Israel
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, Radu Jude, 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.
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|40 27%||The Tomb of Ligeia (1964) - Oct 22, 2010
"I liked the atmosphere created in the first act, but by the second the mystery is entirely transparent, which effectively removes any "horror" from stories like this. Worse, Poe neglected to see that cats are adorably cute rather than scary, and no amount of crafty staging from a talented film director seems to change that. In a showdown where Vincent Price fights the small furry animal, armed with whips and iron pokers, I was unequivocally rooting for the cat."
|63 59%||[Rec] 2 (2009) - May 10, 2011
"Not half bad for a horror movie sequel, [Rec] 2 picks up exactly where the first one left off, with fairly good textual and directorial continuity. In fact, it relies on inertia and momentum from the first, which has gravity because the first was genuinely scary. However, like most horror sequels, it fails to reproduce the shroud of mystery that gives the scares their novelty. In fact, it features too much explanation, reducing the fearsome unknown into a tired Christians vs. devil affair."
|68 69%||Sun Scarred (2006) - Dec 14, 2010
"In this daring twist on the Death Wish premise, the bad guys are young. Very very young. The viewer is forced to contend with the suggestion that the teenagers shown, some pretty much children, are irreparably corrupted by childish cruelty, hopelessly fascinated with killing. Regardless of how honest this is in portraying Japan, Miike makes this brutally violent vigilante flick involving children work. You won't feel comfortable with it but you will really want their little heads on sticks."
|83 93%||An Uninteresting Story (1983) - Nov 29, 2008
"A title aptly reflecting the sardonic mindset of the protagonist in this good adaptation by venerable Polish director Has of a short story by Chekhov. A once successful scientist declines into desperation in his old age; he suffers insomnia and writer's block and is bitter and cynical. Worst, though he is well liked and admired, he becomes callous and rude to family, friends and students. It's the professor's underlying self-reflective sadness about his own condition which makes this so moving."
|98 99%||12 Angry Men (1957) - Mar 16, 2007
"Thoroughly fascinating by any standard, amazingly so for a movie mostly taking place in just one room. Reginald Rose's writing is superb: He characterizes with utmost care and never looks down on anyone, the conversation is masterfully conceived and strewn with delicate humor. Great acting across the board. To me as a foreigner, this movie is also a good example of how screwed-up two aspects of the American judicial system are: The jury system and the death penalty."
|43 30%||Pierrot le fou (1965) - Jan 28, 2013
"For a semi-unscripted musical road movie involving sex, poetry, animals and general whimsical haberdashery, I found Pierrot le Fou incredibly rigid and dull. Youth escaping bourgeois surroundings on wild vacations had become a staple of worldwide New Wave cinema by the mid 60s, and I acknowledge Godard's part in igniting that movement, but Pierrot is among the least exciting of its kind. The pseudu-intellectualism kills it. Every line of dialogue has to sound so smart, and none of them are."
|73 79%||Champion (1949) - May 14, 2009
"A great noirish boxing movie, similar to (but lesser than) "Body and Soul" and "Raging Bull" in that its tragic hero is a winner in the ring but a loser outside it. It looks like a precursor to Scorsese's film in many ways. The movie's straightforward text sometimes comes off as superficial but other times as subtle and understated. Kirk Douglas has charisma through the roof and his presence contributes much to the movie's quality."
|58 48%||Alice Doesn't Live Here Anymore (1974) - Oct 16, 2007
"Scorsese's decent attempt at a chick flick succeeds in putting some warts on a family/romantic road movie, but never really takes off beyond that. It gets everything right on a superficial level but doesn't do enough to penetrate the heart. Watch for child actress Jodie Foster in a very tomboyish role."
|38 23%||Destino (2003) - Feb 05, 2011
"A Catalan-looking lady with the unmistakable mannerisms of a Disney Princess - a twirly fragile body and frequently worried eyebrows - scurries about in a Daliesque world. A Spanish song arranged in the choral style typical to Disney plays in the background. Dali's dark eroticism is effectively castrated by the presence of the Disney elements. One gets the sneaking suspicion that this is far removed from what the masters had intended."
|100 99%||Raging Bull (1980) - Mar 03, 2007
"A great, great movie with strong catholic undertones. LaMotta is the embodiment of all seven sins and there is no one to stand in his way or say no to him. He therefore has rare moments whereof he achieves redemption through masochistic self-torment. Raging Bull is perfectly paced and portioned despite its long running time, owing nearly as much to Thelma Schoonmaker's brilliant editing as to Scorsese. LaMotta is probably the role of De Niro's lifetime."