Cinema Addict - 2042 Film Ratings
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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|20 0%||Jaws: The Revenge (1987) - Oct 19, 2019|
|48 19%||Return of the Living Dead III (1993) - Oct 16, 2019|
|50 25%||Us (2019) - Oct 13, 2019
"Overhyped horror suffers from the same fate as other symbolic horrors. i.e it's neither sufficiently scary or intelligent. After a promising, near wordless prologue involving a little girl in a hall of mirrors, it's all downhill. Peele has grown as a visual stylist since his debut, and it's certainly ambitious, but unlike Get Out the 'subtext' overwhelms the story to the point of distraction, and it's far less playful. The social commentary also seems more confused than ambiguous."
|63 50%||Dumb and Dumber (1994) - Oct 12, 2019
"Carrey's films haven't aged that well because they were primarily star vehicles, but D+D is an exception because his (at the time) unexpected chemistry with Daniels is so strong that it compensates for the occasional clunkiness of the Farrelly's direction and their scattershot script. It inspired a truly terrible trend in comedy in the 90's though, and it loses points for that, but there are some undeniably funny scenes that highlight the obvious reasoning behind Carrey's superstardom."
|50 25%||Annabelle Comes Home (2019) - Oct 10, 2019
"Another predictable disappointment from The Conjuring Crew, fresh off the line of their rusty conveyor belt. Dauberman joins a growing list of B league journeymen wandering aimlessly through this increasingly bland homogeneous world. They have really overplayed their hand, and this is no exception, relying on cheap jump scares with overly drawn out set ups and dim lighting that's mostly lacking in artistry. The plot feels arbitrary, and frights are few, but it passes the time. For now."
|73 74%||Climax (2018) - Oct 08, 2019
"Despite its excesses, the unity of time/space lends Climax an almost classic literary, albeit freeform, structure that results in Noe's most accessible film to date, and it proves that brevity is his strong suit. It doesn't overstay its welcome and is deftly edited for maximum impact. Noe gets solid performances out of his mostly non-professional class, and the infernal finale featuring an upside down camera capturing the contorted thrashing of thighs and limbs is among his best work."
|48 19%||The Curse of La Llorona (2018) - Oct 07, 2019
"Will Cardellini ever land a decent film role? She does the best she can under the circumstances, but this is by the numbers horror that is only vaguely connected to The Conjuring Universe yet looks and sounds like a direct copy, despite its mythical origins lying elsewhere. Chaves simply mimics Wan's style, which was already a composite to begin with, to much lesser effect, and he makes the fatal mistake of piling on the jump scares from the getgo, leaving no room to breathe."
|65 56%||The Awful Truth (1937) - Oct 06, 2019
"Has a rather unusual take on marriage and divorce for its time. A curious mix of cynicism and frivolity performed in a charmingly playful register. Grant is his usual reliable self, delivering the mostly well written dialogue with panache and verve, and Banks' art deco sets add a touch of class. There isn't much to criticise here, and it ends on an unexpectedly strong note, but you really have to be a fan of the genre to understand its place in the film canon. "
|48 19%||Creed 2 (2018) - Oct 06, 2019
"The whole concept represents much of what is wrong with contemporary Hollywood: it reeks of lame fan fiction and exploits nostalgia for the sake of another tired iteration. Adonis remains a dull character, and having Sly wear his character's trademark fedora in almost every scene verges on parody. The macho sentiment is grating, and Dolph's revenge motive is too cartoonishly portrayed to take seriously. Caple Jnr's handling of the fight sequences is also inferior to both Sly's and Coogler's."
|70 67%||Ingmar Bergman Makes a Movie (1963) - Oct 03, 2019
"Does a pretty good job of capturing some of the qualities that cemented Bergman as one of the all-time greats, such as his patience, thoughtfulness and near peerless ability to relate to actors. It also dispels the myth of 'dourness', especially when he playfully turns the tables on Sjöman and starts enquiring about his profession. The overall impression one gets is of a talented and sensitive artist who likes to work with others in a relatively relaxed and unpretentious fashion."