Film Freak - 959 Rankings
Member Since: Jul 7, 2014
Bio: I love film and rate according to genre and/or a director's body of work.
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|53 T3||Predators (2010) - Jun 22, 2017|
|75 T8||One, Two, Three (1961) - Jun 22, 2017|
|45 T2||Judge Priest (1934) - Jun 19, 2017
"(Viewed on the 19/01/15): Judge Priest is now primarily known as the film that served as raw material for The Sun Shines Bright, a far greater and more sophisticated work in Ford's canon that is essentially a loose remake of it. While that film explores the racial problems of America and the shifting values of the nation with some degree of complexity, creating a rather ambiguous relationship between nostalgia and social critique, Judge Priest is all cornball humour and dull romance. "
|45 T2||Jurassic World (2015) - Jun 19, 2017
"Jurassic World isn't bad as far as remix-reboots are concerned, and it is at least self aware, but a feeling of redundancy inevitably sets in that erases any potential enjoyment. Pratt and Howard are attractive but hollow as the two leads, and the script was seemingly assembled on the fly. The modern theme park concept held promise, but they did nothing with it, and Trevorrow's direction is surprisingly poor until the CGI laden dino fight finale, which is fine but it's too late to save it."
|75 T8||The Umbrellas of Cherbourg (1964) - Jun 17, 2017
"It's easy to see why it's highly regarded: it's a beautifully filmed musical presented daringly as a kind of opera where actors sing their lines of dialogue in surprisingly well synched movements. Demy offers a rather ambiguous view of love, a class critique, and the melancholy vibe of the piece is quite affecting. All in all, it's a testament to the power of film form. The story is a rote young lovers tragedy, but it's transformed by a judicious use of color and sound."
|38 T1||AVP: Alien vs. Predator (2004) - Jun 17, 2017
"Presumably the result of Fox's desire to make easy cash from two ailing franchises, AVP is a weak creature crossover effort that is much worse than Freddy Vs Jason because at least its creators had the good sense to make a comedy-horror hybrid. AVP is absurdly serious in tone for a film that's completely ridiculous (pyramids in Antarctica?), and the grand explanation for why aliens and predators exist in the same world is bafflingly bad. The big showdown is anticlimatic and the sets look cheap."
|63 T5||A Humble Life (1997) - Jun 16, 2017
"T.H.L is another example of Sokurov's stylistic 'documentaries' that focus on solitary lives lived in remote isolation. He is fascinated by a secluded house inhabited by an old Japanese woman, and his camera patiently observes her daily rituals: cooking, cleaning and sewing kimonos. She has no contact with the outside world, and Sokurov communicates a near otherwordly perspective of solitude. The imagery, as usual, is striking, but T.H.L isn't as great as his other works in this mode."
|83 T10||Mother and Son (1997) - Jun 15, 2017
"Sokurov believes that the role of art is to prepare you for death, and M+S is just that: an elegant and moving meditation on the inevitable dissolution of life's essential bond. It is often criticised for its lack of content, but it's not about 'ideas' per se. It's an aesthetic creation that is sensual and moody. It's best appreciated as a dreamy tone poem that is hushed and intimate and rendered with complete senstivity by a master image maker in full control of the audio-visual medium. "
|48 T2||T2 Trainspotting (2017) - Jun 15, 2017
"Trainspotting is a quintessential 90's film, but it isn't great cinema. Judging from interviews, it's easy to get the impression that Boyle and co think otherwise, but T2 is a pseudo-event that struggles to justify its own existence. It certainly doesn't capture middle aged regret as effectively as the original captured its hedonistic sense of youthful abandon. The story is aimless with shameless callbacks to the original, and it looks ugly with gaudy colors and pointless visual flourishes."
|75 T8||The Lonely Human Voice (1987) - Jun 12, 2017
"(Viewed on 27/06/13): Sokurov's debut was banned by Soviet authorities and was highly regarded by Tarkovsky, whose own film Mirror it at times somewhat resembles. Its abstracted narrative is connected by ghostly fragments of hard lives once lived; its repetitive cyclical footage of men engaged in labour and toil suggest a film about the burden of being and the ruinous effects of a world characterised by spiritual poverty. An auspicious debut by one of the few modern masters."