Cinema Addict - 1165 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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|70 T6||Casa de Lava (1994) - Sep 22, 2017
"C.D.L was a transitional film that featured elements of Costa's future style before the radical formal break occured. It pales in comparative significance due to Costa's complete mastery of a unique minimalist style in the interim with a strong emphasis on dimly lit interiors. Nonetheless, it's a key work in his oeuvre that has moments of real atmospheric beauty, capturing his obvious talent in its raw embryonic state, but the concentrated intensity of Colossal Youth was still years away."
|58 T4||Color of Night (1994) - Sep 19, 2017
"(Viewed in 2013): Scoring this film is pointless. I could give it 20 or 70, depending on my mood or speculations of what Rush's intentions were. Rush has always been a shameless purveyor of excess, but C.O.N is over the top in such an aggressively moronic way that it reaches near meta levels of stupidity. It's a tawdry psychological thriller with a twist so obvious that one has to question whether the entire film was a private joke that only he (and maybe Willis) was in on. A guilty pleasure."
|53 T3||Friday the 13th (1980) - Sep 18, 2017
"Friday The 13th is commonly viewed as little more than a Halloween clone, but it's arguably closer in style to Bay of Blood with its emphasis on gore and over the top (for its time) kills. Compared to Bava, Cunningham is a complete hack, yet Friday The 13th effectively employs a documentary like aesthetic that heightens the tension and makes great use of its atmospheric setting. The iconic score is chilling, but the film is too amateurish and silly to leave a truly lasting impression."
|75 T8||City Girl (1930) - Sep 18, 2017
"(Viewed in 2013): I have a small confession to make: I find Sunrise overrated. Yet I love Murnau. How do I reconcile the two? Quite easily in fact. City Girl is better than Sunrise because it's less of a showpiece and it doesn't sag in the middle. While it lacks the standout shots of Sunrise, its graceful rhythms, its ebb and flow, make for a smoother viewing experience. It's also less typical insofar as the rural folk are more corrupt than the city girl, who has good intentions. Underrated."
|78 T9||The Outlaw Josey Wales (1976) - Sep 18, 2017
"Clint has made a career of playing inscrutable characters, but T.O.J.W is probably the first real example of his directorial skill. It begins as a standard revenge story, but it takes many narrative detours and develops unexpectedly into a depthful quasi-Fordian take on a makeshift community of outcasts who band together to protect their own. Suttee's shadowy photography is stunning, capturing the jagged contours of the American landscape and the rustic interiors of period dwellings."
|73 T7||Camera Buff (1979) - Sep 17, 2017
"(Viewed on 14/12/12): C.B is an unadorned piece of social realist cinema that bears little visual resemblance to Kieslowski's better known films, but it shares their concerns about the interconnectedness of people. It's about a man who buys a camera and decides to film the world around him, which draws mixed responses from his family and friends. It's a thoughtful film that provides insight into a real artistic dilemma while explaining Kieslowski's decision to quit making documentaries."
|63 T5||Blind Chance (1987) - Sep 17, 2017
"(Viewed on 22/02/15): Kieslowski's narrative innovations in Blind Chance have been obviously influential, and fans should be able to appreciate it as a transitional work that builds a bridge between his earlier, more explicitly political concerns and his later films that are defined by metaphysics and mood. The premise is original, but the role of destiny in shaping human lives is not as effectively explored as it's in his key works, and the political overtones compromise its universality."
|58 T4||Tucker: The Man and His Dream (1988) - Sep 17, 2017
"(Viewed on 5/02/11): Tucker's battle against the big corporations of his time has said to be analogous to Coppola's own struggle to establish Zoetrepe as a legitimate heir to United Artists in a market dominated by major players and rapid commercialisation. Needless to say, both stories ended in failure (Zoetrope is a pale shadow of its former self). The personal connection is more interesting than the film, which is a rote TV style biopic with decent performances and a lack of substance."
|63 T5||The Gold of Naples (1954) - Sep 17, 2017
"(Viewed on 14/05/11): De Sica's anthology film pays tribute to the colourful sights and sounds of Naples all of its decrepit glory. The characters are mostly stereotypes, which certainly dates it, but they are performed with such gusto by an all star cast that it hardly matters. As far as broad Italian comedies from the period are concerned, this is a notch or two above the pack, mostly due to the efforts of a committed cast and some decent segments, especially the ones with Loren and De Sica."
|85 T10||The Last Laugh (1924) - Sep 17, 2017
"T.L.L was Murnau/Freund's astonishing answer to Griffith, employing a relatively fluid mobile camera to track movement and distort space to blow the possibilities of the medium wide open. Their work continues to impress, and the use of lighting to create atmosphere and mood and relay narrative information is second to none in early pioneering cinema. Jannings gives a truly iconic performance, and its tragi-comic tone is highly ambiguous, ending on a farcical note that masks a savage irony."