Film Freak - 877 Rankings
Member Since: Jul 7, 2014
Bio: I love film and rate according to genre and/or a director's body of work.
|70 T7||Brain Damage (1988) - May 25, 2017
"Helenlotter makes exploitation films with social commentary"
|58 T4||Hell Comes to Frogtown (1987) - May 23, 2017
"A rating for this film borderline impossible to determine. Roddy Piper plays Sam Hell, our nomadic hero trapped in a post-apocalypic wasteland controlled by women who want his genetic material to prolong the human race, but first he has to battle mutant frogs and rescue women from captivity to mate with. Yeah, exactly. The makeup is quite impressive for a cheapie, and the comedy of errors somehow coalesces into an enjoyable film, even if it's a bit too leisurely paced and mild for its own good."
|78 T9||Good Morning (1959) - May 23, 2017
"Much fuss has been made about the television in G.M being a symbol of Western encroachment, but it's best appreciated as a charming comedy of manners where small misunderstandings in communication create amusing ripple effects in cramped living spaces; the conventions of language become empty signifiers that lubricate the social wheel but frustrate and/or thwart desire. Rather than highlight the generation gap, Ozu draws insightful parallels between the behaviour of adults and children."
|60 T4||The Two Jakes (1990) - May 22, 2017
"Nicholson shouldered an enormous burden taking on this project, but the film doesn't live up to Chinatown, a foregone conclusion only partially explained by Polanski's absence. Gittes once again becomes embroiled in an elaborate mystery with conspiratorial overtones, only this time the plot is overly convoluted and has less intriguing elements. Nicholson's direction is competent, if a little dry, and there is a world weariness to him that's appealing, but the film rarely gets out of second gear."
|73 T7||The Missouri Breaks (1976) - May 22, 2017
"Unfairly maligned in its day, time has been kind to T.M.B, Penn's offbeat Western starring two of the greatest actors to ever grace the silver screen. Its off beats are mostly delivered by Brando, who gives a truly bizarre performance that's near impossible to assess. It's a stubbornly divisive turn that will annoy many viewers, but it becomes increasingly compelling as the stakes are raised. The film isn't always consistent, but there are a few excellent scenes that make it worthwhile."
|83 T10||Rear Window (1954) - May 21, 2017
"Hitchcock's disregard for reality based cinema is evident in Jeff's constant rebuking of Lisa. How many men would turn down Grace Kelly's advances? Rear Window is classic Hitch with its elaborate pans, tasteful tracking shots and intense suspense built slowly, like clockwork. His style was ruthlessly mechanical, and it's almost too perfectly deployed, but he was undoubtedly skilled and could tell a multi-layered story with enviable ease. Voyeurism has never been this fun. Screw Depalma!"
|85 T10||Apocalypse Now (1979) - May 21, 2017
"(Viewed on 04/14): "
|60 T4||The Big Sleep (1946) - May 21, 2017
"I've never been crazy about Hawks. He is constantly praised for his invisible style, his precise direction and his versatility. Yet not one of his films has made a distict impression on this viewer, and he increasingly strikes me as a solid, if unremarkable, craftsman that was a jack of all trades, master of none. T.B.S doesn't change that impression. It is a competently directed noir featuring an overly complex plot and the much hyped chemistry of Bogart/Bacall, which I can take or leave."
|58 T4||Centro Histórico (2012) - May 21, 2017
"(Viewed in 2015): An omnibus film honoring the city of Guimarães, C.H combines four major talents with conflicting styles with predictably mixed results. Costa's Sweet Exorcist is the clear standout, which in retrospect was merely a preview for Horse Money; it is an early cut of the lengthy elevator sequence with additional material. It's formally stunning, but it's an odd fit and is considerably less effective outside the context of H.M. The other films are decent but nothing special."
|70 T7||Observe and Report (2009) - May 20, 2017
"(Viewed on 02/16): Rogen plays a dumb and delusional mall cop with psychotic tendencies that make him socially unstable. Hill's script is an uneasy mix of jet black humour and disarmingly dramatic moments along with the usual tomfoolery that produces hesistant laughs. Tonal shifts occur at the drop of a dime, but it is anchored by Rogen's risky performance in an unsympathetic role (ditto Farris) and there are plenty of hilarious moments. Liotta also shines as his imaginary rival."