Criticker Zealot - 5026 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 Wayward Sun (2013) - Jan 14, 2017
"Largely unfazed by the fact that one of them has just killed their best friend, Wren and the suddenly sober Chaz leave their overturned jeep on the road and wander off into the desert, walking at a snail's pace and never checking google maps despite their phones' phenomenal battery life and reception. Wren hallucinates an exotic dancer and reaper-like phantom, which are creepy the first couple of times out of their zillion reappearances. Later, a stoner cactus preaches existentialism."
|65 64%||Salò, or The 120 Days Of Sodom (1975) - Oct 05, 2007
"Salò stands out as the grossest, most depraved European 'art' movie ever. The literary aspect of it is less accomplished; there is nothing easier - and more exploitative - than using sexual torture of children as a critical allegory for the total evils of the fascist aristocracy portrayed. Despite the failure of its main polemical aspiration, its form alludes to Dante, it's an interesting commentary on sex and power, and it's an effectively shocking movie taken at face value."
|55 44%||Telstar (2008) - Dec 13, 2009
"I had long awaited this, a movie about my hero Joe Meek, but it's somewhat disappointing. You see, Meek, despite his eccentricity and tone-deafness, was a genius. The young musicians working with him were very talented. Telstar is so caught up in the trappings of the conventional unflattering biopic, it makes Meek out to be nothing but an arrogant asshole surrounded by buffoons with most of their daily routine spent throwing stuff at each other. What's more, Con O'Neill is a total miscast."
|63 59%||Fast-Walking (1982) - Sep 26, 2014
"This movie really lays out the plan for what James Woods would forever be; mixing serious subject matter, often seriously portrayed (prison violence, politics), with more than a dab of humorous schlock and blatant sexploitation - a combination defining Woods' persona in later films such as Videodrome, Salvador and Cop. I dare say Fast-Walking also sets the standard - it's well-made, with some interesting characters, but doesn't really commit to achieving greatness."
|48 35%||The Quiet Man (1952) - Nov 11, 2012
"My tolerance for Ford's quaint, cutesy depiction of the rural Old Country waned after How Green Was My Valley. This one's consciously comedic, but still prejudiced by Ford's 2nd-generation Americanism. Worse yet, John Wayne plays his Western self. The same combination of traits; that coy machismo and otherwise blandness, which the love interest seems to find immediately irresistible. He's a middling actor, and Ford has a knack for visual composition, but uses middling scripts."
|53 41%||A Serious Man (2009) - Jan 25, 2010
"It's a sign of growth that the Coens no longer reach for slapstick violence as cheap entertainment. A Serious Man is still essentially their usual misanthropic farce, and predictably populated by vapid caricatures who are neither sympathetic nor funny (e.g. "Book of Job reenactor" protagonist vs. "Asian who against-type is bad at math"). The close-up photography allows the good cast to hold the viewer's interest, but that's about the best I can say for it."
|58 48%||Days of 36 (1972) - Jan 08, 2008
"Like a long series of pretty establishing shots with a little bit of movie thrown in. There's very little speech. Most of the time it's like Angelopoulos is more interested in visual compositions than plot, making Days of '36 look like a political thriller commissioned by the nature channel. However, once you get over this very odd style of filmmaking, it is an interesting (if rather slight) movie and worth a watch."
|68 69%||Seconds (1966) - May 07, 2014
"The problem is that it's too easy to draw a kind of "appreciate what you've got" moral from this, and it takes some mental effort to block that tripe out of one's mind - but to the extent that I managed it, this was quite creepy and had a bit of a "The Trial" vibe. It's one of Rock Hudson's best performances, but most of the credit is probably due to legendary cinematographer James Wong Howe. Seconds is all about the atmosphere, which is his doing."
|53 41%||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."
|63 59%||The Demon (1963) - Dec 14, 2015
"It's not a scary horror movie nor a very juicy drama, but there is something remarkable about The Demon besides the gorgeous Israeli leading lady and its unmistakable influence on The Exorcist: On the surface, it appears to espouse open-and-shut primitive morals where her "witchcraft" sexuality makes woman a demonic temptress preying on God-fearing family-men and deserving of exorcism. That interpretation is subverted by the film's total focus on Purif. She is the only sympathetic character."