Cinema Addict - 2483 Film Ratings
Member Since: Sep 29, 2008
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|75 48%||The Day of the Locust (1975) - Jun 25, 2020
"I appreciate how delicate the film treats its dual tones, being both caring and sympathetic to its array of characters in tinsel town, and yet also displaying a complete disdain to them and how they treat and interact with each other. This is unfortunately diluted by the film's length and insistence on many unnecessary scenes, though it's otherwise entertaining and dazzling in design and in its characters. The climactic sequence is certainly fucking something, isn't it?"
|79 59%||Da 5 Bloods (2020) - Jun 23, 2020
"A hugely flawed film that is hugely ambitious. Despite its big pacing issues and its cliches and its overwrought commentary tenuously linked to reality, this presents a humanistic tale that breaks borders of identity, despite this buried treasure acting as a metaphor for looming tensions between these two past adversaries. Astonishing filmmaking and performances that earnestly present these themes make this a very clunky film that's also beautiful and full of heart."
|87 85%||Luce (2019) - May 29, 2020
"A riveting and nuanced piece of post-Obama MeToo storytelling that regards prejudice and skepticism in an intelligent way that feels completely of its release year. For a film about accusations, it relishes in being an enigma, offering up the sort of questions and ambiguities that riddles our own lives. It approaches ideas about race that most contemporary films won't loiter nearby, giving us satisfaction and frustration over the messiness of truth-seeking."
|77 53%||Succession (2018) - May 29, 2020
"S1- An enjoyable exposé on the family of a media company, though with far, far more focus on the family side than the business side -- I'm okay with that, but it'd still be great to see more of them contending with the dying medium that is television. Does feel like it's a bit too smug about its brash dialogue and character mannerisms at times, though the last few episodes (which each felt very singular in their own concept/setting) kept this fresh for me."
|78 56%||Fat City (1972) - May 29, 2020
"Given the sloppy pacing of this, it's the individual scenes here that impress. The romance in particular is done well, it evolving in a realistic way that films rarely depict. Good ol' quiet American town depressed and broken dreams/loves kind of film."
|82 68%||The Gambler (1974) - May 29, 2020
"An assured character study, with Caan's Alex being a, if not likeable, then understandable person who we can just about root for, despite his grounded nature disrupted by his vice. The constant gambles made throughout all add up to a thoroughly tense climax -- I see Uncut Gems took a lot from this film."
|69 34%||Shaft (1971) - May 29, 2020
"Leads up to a great climax that slowly builds up pressure until it explodes out in excitement. Everything before it is merely serviceable -- Shaft is a pretty cool character and all, though the script/dialogue could've made him cooler or more engaged with his search and rescue. "
|83 72%||Marathon Man (1976) - May 29, 2020
"As it says on the poster -- "A thriller" -- and what a nightmarish paranoia thriller it is. The set-up is somewhat general, though with some great subtext of a certain recent historical atrocity and its aftermath in the US, but this thriller improves and becomes more thrilling as it goes, never holding back on how terrifying Babe's situation gets. "Is it safe?""
|69 34%||Jerry Seinfeld: 23 Hours to Kill (2020) - May 18, 2020
"I used to complain that Jerry was too monotone -- now he's too dramatic, yelling out a lot of material like he's Bill Burr. I guess he should be somewhere in the middle, but this is clearly not as good as the stand-up in his TV show, but the material and topics are still good."
|87 85%||Sincerely Louis CK (2020) - May 18, 2020
"A hell of a come-back, much better than his previous Netflix special -- he's retained his edge and his amusingly misplaced misanthropic anger, but he also masterfully handles the more personal topics in his set (the "sexual assault" cases, his mother dying, falling in love) and never allows the pathos to replace the comedy, but keeps them level as he can find great laughs out of just about any topic. Also, like Dave Chappelle (and unlike Brendan Schaub), he fits in an appropriate Asian accent."