Yiannos
Cinema Addict - 1798 Film Ratings
Member Since: Jul 7, 2014
Bio: I love film and rate according to genre and/or a director's body of work.
Recent Ratings
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| 68 59% | The Fugitive (1947) - Jan 17, 2019
"(Viewed on 15/01/19): "
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| 50 24% | Conquest (1983) - Jan 17, 2019
"Fulci's 'ability' to take a simple story and make it confusing was surely some kind of talent.He is like that kid in school who reads his story out aloud for the class, but when you look at his notes they barely resemble what you just heard. He was a master of imaginative incoherence, and Conquest is a gloriously trashy testament to his outre sensibilities. It's pure 80's cheese with blurry soft focus fog drenched imagery that's almost strangely artistic, and the effects are delightfully corny. "
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| 68 59% | Nagaya shinshiroku (1947) - Jan 15, 2019
"The formal pieces were locked more firmly in place in this simple story of a relationship between a curmudgeonly widow and a lost boy. Ozu's staging and camera positioning are superior than they were previously in capturing subtle emotional expressions and the body language of his actors. The story itself lacks 'depth', but it's direct and heartfelt, and while the outcome is predictable, the small scenes of the widow and child bonding are warm and never seem blatantly manipulative. "
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| 58 37% | Razorback (1984) - Jan 15, 2019
"Mulcahy brought his 80's video clip aesthetic to this derivative horror that was derided for its frenetic cutting, which seems rather conservative today. What is less conventional is the odd Dali-esque style flourishes that are a reminder of a now distant past when even trash peddlers had a solid background in the visual arts. Mulcahy rips off his contemporaries shamelessly, especially Tony Scott and Raimi, and the end result is a passable creature feature that could have been wilder."
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| 78 86% | Khrustalyov, My Car! (1998) - Jan 14, 2019
"An uncharitable review would be to say that it's was a warm up to the main event (Hard To Be a God) with its grotesque characters behaving bizarrely in long takes captured by a roving camera, but that would be unfair as K.M.C works on its own terms as an over the top farce of Soviet paranoia."
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| 63 49% | Chichi ariki (1942) - Jan 13, 2019
"Concerns the relationship between duty and individual freedom and its connection to happiness and personal well being. It isn't top shelf Ozu as these themes have been better explored elsewhere in his oeuvre. As others have mentioned, it's difficult to know what Ozu's stance on the duty-trumps-all 'message' is given the context of its production, but as expected there is a subtle sadness lurking beneath the surface of this regimented world that hints at his real thoughts on the matter. "
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| 83 93% | Perceval le Gallois (1978) - Jan 13, 2019 |
| 73 73% | Brewster McCloud (1970) - Jan 12, 2019
"Brewster is Altman's most offbeat film that actively resists interpretation. The bird symbolism seems obvious at first then becomes more cryptic as the film progresses, and the downbeat ending may suggest a cautionary tale inspired by the myth of Icarus or it might just be a critique of American conformity. It's a wonderful flight of fancy with dark overtones nonetheless, and the film itself is a breezy ride through oddball Americana, which Altman treats with a mix of bemusement and affection."
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| 48 18% | Fedora (1978) - Jan 12, 2019
"A companion piece to Sunset Blvd, Wilder envisioned Fedora as some kind of statement on the faded glamour of Hollywood. Whether its deployment of a classical style to make its points is ironic or not, this is a desperately dated and painfully slow film that was understandly dismissed on release. Wilder seems well aware of his impending irrelevancy, which is woven into the film's fabric, a sense of time having passed and expired, but it's easy to see why Hollywood stopped returning his calls. "
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| 48 18% | Jim & Andy: The Great Beyond (2017) - Jan 11, 2019
"A testament to how much successful actors can get away with in their prime and the lengths Hollywood will go to to justify their obnoxious behaviour on artistic grounds (while claiming they don't approve) as well as America's nauseating tendency to mythologise their own pop culture. The footage of Carrey goofing around and annoying cast members on set is not without interest, but this exercise in pseudo self reflection is too guarded and merely encourages Carrey's own narcissistic delusions."
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