Criticker Zealot - 5073 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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|5 2%||Expelled: No Intelligence Allowed (2008) - Mar 10, 2010
"The very existence of someone like Ben Stein is proof that "intelligent design" could not have been invested in this world, but there is at least a trace of cunning in the lies told here (after all, this is a guy who once wrote speeches for Nixon). Religious dogma knows that it has been beaten by science, so with no hope of competing against it, it now masquerades as its reviled enemy. But Stein was not "expelled" for trying to pass a creation myth for scientific theory. He simply flunked."
|85 95%||Investigation of a Citizen Above Suspicion (1970) - May 03, 2014
"The "Dottore" is easily one of the most fascinating characters I've ever seen on screen. Driven crazy by his untouchable authority, he is at once power-drunk and dying to be humbled; framing innocents for his crime but trying to get caught, the same psychological pattern is echoed in his sexual relationship revealed in flashbacks, and even in his schizophrenic politics as he almost mocks his own neo-fascism. Petri directs with flair, and Volonté's performance is absolutely stupendous."
|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."
|70 74%||Jealousy (1994) - Apr 18, 2013
"Chabrol procures the script to Clouzot's unfinished film from his widow, and resulting is an interesting cross between France's two masters of suspense. It's unclear whether Clouzot's peculiar sensitivities entirely survive the transition to Chabrol's care, and whether Chabrol feels perfectly at home with this material, but it cannot be denied that Jealousy is a very good thriller, with formidable acting by François Cluzet and Emmanuelle Béart."
|48 35%||WALL·E (2008) - Jul 07, 2009
"It's entertaining and highly proficient technically, but just as one might expect from Pixar it's also cutesy, cheesy, superficially dazzling but lacking in substance. It's sort of ironic that it itself exemplifies the shallow, consumeristic hedonism that is supposed to mark the decadent futuristic dystopia it mocks."
|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."
|70 74%||Cries and Whispers (1972) - Sep 02, 2010
"Sophisticated and daring and successfully communicates psychological drama between a dying woman and her two sisters and maid. On the other hand, its instruments seem too blunt, such as the tricolor (black/white/red) symbolism of the sets and wardrobe, the over-reliance on raw portrayal of suffering and guilt, the eventual evolution into a ghost story. Like many of his films, it is part of Bergman's search for accurate self-therapeutic expression, and like most, it is a miss."
|20 9%||The Philadelphia Story (1940) - Aug 08, 2009
"As I watch this I envision a "laugh" prompt lighting up on every other line of the dialogue. With its incessant chatter it tries desperately to be funny and fails miserably, repeatedly. In its desperation it sinks as low as to steal a song from a yesteryear Marx Brothers movie. I can't help but surmise that the continued popularity of a comedy so dull is owed to the popularity of the leads."
|65 64%||Face to Face (1976) - May 13, 2010
"In one of Bergman's most depressing movies, a family woman descends into madness. Both Cassavetes and Fassbinder have done the subject more justice, and it's hard to appreciate after seeing Bergman's more important works. He uses the same devices he had already used to better effect, such as Wild Strawberries' seeing oneself dead in a dream. Liv Ullmann scolds her parents (thinly veiling Bergman's own childhood issues) in a cathartic nervous breakdown, but this is better done in Autumn Sonata."
|40 27%||Breakfast at Tiffany's (1961) - Jan 01, 2009
"Most of this is incessant and inane chatter, which made it difficult to stay focused. Adorable cat makes repeated appearances, but racist characterization of an Asian person cranks that karma down again."