Cinema Addict - 1449 Film Ratings
Member Since: Aug 2, 2010
|71 31%||Grizzly Man (2005) - Jan 15, 2019
"As far as personality-focused documentaries go, the methodology of this one and its effort to explore the philosophy of its subject as much as his idiosyncrasies is far more palatable than others. I appreciate Herzog's deep interest in the subject, even if it feels slightly objectifying, but his ideological interest in the story shows through and reveals something about obsession, nature, and modernity that might've remained buried in the story and its sensationalist retellings otherwise."
|41 5%||Excalibur (1981) - Jan 15, 2019
"A shallow if visually poetic retelling of an already overexposed mythology with some mad TV movie energy. The Holy Grail section is a good mix of fantastic imagery and nuanced storytelling, but the rest is alternatingly over-the-top and dry with stop-start pacing, meager attempts at characterization, and dialogue that tries way too hard."
|16 1%||Bohemian Rhapsody (2018) - Jan 15, 2019
""We're not like other bands," the movie insists as it shuffles through endless biopic clichés. It's a tedious circlejerk, a movie that never stops saying how great Queen is, for people who already think Queen is great, all so fans can congratulate themselves and surviving band members can revise history so that Freddie was the sole source of strife in the band. It's a movie to make you feel good for liking Queen, even though it completely falsifies their legacy. Is that really worth celebrating"
|82 70%||Phantom Thread (2017) - Jan 13, 2019
"Even past the complex web of associations it makes between artistry, ego, love, sacrifice, and purpose, Phantom Thread is primarily about both the impossibility and necessity of communication and communion and an elegant vision of the recklessness of romance. Aesthetically intimate but emotionally cold, the movie dismantles love in a way I've never seen, illustrating the self-destruction and psychological violence of romantic compromise in brutally snippy encounters."
|74 39%||Paddington 2 (2017) - Dec 28, 2018
|79 56%||Revenge (2017) - Dec 13, 2018
"A ruthlessly blunt satire of the male gaze with a psychedelic Mad Max aesthetic and an insane, brilliant ending that really emphasizes the movie's feminist perspective. In some senses, it's much larger than the typical rape revenge narrative it's been accused of being, but if it weren't so focused on sticking to the structural components of the genre, it could've made a far more robust and singular statement. Of course, then it may not have been so perfectly subversive in the same way."
|77 51%||Won't You Be My Neighbor? (2018) - Dec 13, 2018
"This movie illustrates in clear terms the deep thirst for compassion in society, and it certainly does feel like a critical message for this era of American discord. It allows us a glimpse at the cracks in the Mr. Rogers persona and returns him to humanity, reminding us that there was nothing supernaturally good about him. Ultimately, the movie has a simple message that it tells simply, just as Mr. Rogers did, but it comes off as profound because we forget how to act with empathy at all times."
|74 39%||Morvern Callar (2002) - Dec 12, 2018
"The opening scenes are so perfectly realized in every way, intensely emotional without being at all overstated, as Ramsay does so well, but the thread of relatability I was so closely attracted to in the beginning begins to flicker in and out in the cold idosyncracies of the second half. That said, I'd love to see the movie again with a better transfer and especially higher fidelity audio (I watched on Prime Video) to better appreciate the minor moments that comprise the whole of the atmosphere."
|81 65%||Shirkers (2018) - Dec 12, 2018
"An intensely dreamy, colorful, and somewhat unevenly designed documentary about coming-of-age as a process of loss and adaptation. It speaks to the value of nostalgia as an evolutionary tool, and trauma as, among other things, an unlikely bonding mechanism. Tan and her friends' childhood artifacts act as a conduit into memory and our perception of our past selves, with added cultural significance surrounding '90s cinema and the boom of indie filmmaking. It's also just one hell of a true story."
|75 42%||Nosferatu the Vampyre (1979) - Dec 12, 2018
"Herzog updates a German classic with minor stylistic flourishes, including dialogue draped in stilted poetic language and the director's signature philosophizing about death, faith, and despair, expressionistic cinematography that pays tribute to the original in vivid, modern ways, and Kinski's predatory presence which, given who he is, can almost scarcely be called a "performance." A thoughtful, atmospheric envisioning of the tale that sadly carries very few new revelations with it."