Cinema Addict - 2046 Film Ratings
Member Since: Nov 12, 2014
Bio: Ratings are clinically formulated via felicific calculus specifically excluding the 7th variable.
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|73 58%||Vlad Tepes (1982) - Apr 01, 2019
"As a subject for historical drama Vlad III is still a can of graveworms. His story is nothing if not fascinating though & considering the damage it sustained even before being carelessly run over by Stoker this is a welcome take. Even minor context on medieval records & late 70s Romania illuminate an intricate political story subtly & blatantly worked into an agenda-heavy narrative. Still packs enough introspective pathos & stick-to-your-guns budget-craft to be more than just dryly interesting."
|94 99%||Ballad of Narayama (1983) - Aug 20, 2015
"As beautiful as it is bleak. Maintains a cool anthropological perspective that's both spectacular and emotional without turning cheesy or sentimental. The narrative is slightly all over the place and some of the symbolism a bit heavy-handed but the naturalistic style holds everything together brilliantly. It paints a brutally human picture of the everyday struggle for survival in physical, social and spiritual sense. Breathtaking visuals and Sumiko Sakamoto is absolutely transcendent."
|76 69%||Django, Kill... If You Live, Shoot! (1967) - Sep 17, 2018
"Very unusual spaghetti western that kinda serves as a precursor to El Topo & the whole acid western subgenre. Takes the generic core elements & twists them in a way that approaches some kind of mildly abstract surrealism. Committedly grim & ugly like none of its peers & filled with vice & debauchery of all kinds. Works more as anti-western horror about hellish damnation than as any kind of regular action adventure. Not even close to coherent but interestingly wild & experimantal genre bender."
|83 86%||Death Laid an Egg (1968) - Sep 23, 2018
"So I've been watching some strange movies lately but honestly this is one of the weirdest things I've ever seen. Imagine Jodorovsky & Bunuel blended with a hint of wicked subtlety. Nominally a giallo, this mutates its inherent bourgeoisie glamour into a kind of futuristic industrial despair. A radically anti-conformist take on popular cinema without a hint of condescension. Questi fought for a leftist anti-fascist resistance during WWII & his films seem almost like an expansion of that fight."
|67 38%||Week End (1967) - Aug 14, 2019
"Attempt to cure my irrational prejudice against Godard achieved partial success. It's interesting & formally impressive how the film combines political/philosophical discourse to playful farce with an experimental structure that comments on itself. The fact that its various elements exist in constant self-conscious contradiction & conflict with each other is probably the point, a sporadically amusing but rather tedious & disengaging one. Especially since the avant-garde isn't so avant anymore."
|82 84%||Cross of Iron (1977) - Sep 04, 2018
"It feels very natural that Peckinpah, who throughout his career has explored violent crises of masculinity with increasing bleakness eventually arrived at this story of a German platoon fighting a desperate losing battle for an insane dead cause in the Eastern Front of 1943. Grave, pained & almost abstract in its intensity, it's a limping masterpiece about war as a state of being. Everyone is at war against everyone & themselves. All reason is reason for violence. And God is the ultimate sadist."
|92 98%||Dawn of the Dead (1978) - Nov 12, 2014
"Some weird anarchic type of masterpiece, Dawn of the Dead still manages evoke a wincing smile, throwing together biting social satire, goofy slapstick & plenty of disgusting gore. It revels in a sort of controlled chaos that Romero gleefully steers on an ocean of rampant creativity. His direction is far from masterful yet somehow from almost amateurish circumstances rises a sort of modern absurdist comedy masterpiece that stays true to its ideas and never overplays its grim satirical tone."
|85 90%||Late Spring (1949) - Jan 10, 2017
"Ah, nothing like an Ozu film to warmly reconnect with humanity. Although Ozu's humanity seems to mostly inhabit a stable & conservative upper middle class existence, he has an uncanny ability to use composition, timing & structure to draw every bit of weight, nuance & reflective sentiment out of his dramas with an easy flow. More focused & less layered than some of these. The whole bittersweet essence of this is on Hara's intricate smile. First 45 mins of that noh scene were a bit perplexing."
|49 12%||Godzilla: King of the Monsters (2019) - Jun 06, 2019
"Utter trash elevated only by its absurdly sincere desire to translate 60y of variously meaningful & meaningless Japanese pop-culture into Hollywood blockbuster. Tonally inept & horribly paced clusterfu*k that makes no sense independent of the Toho films. Too many humans & kaiju to afford them any weight. Comes across as lame & nonsensical beyond even the cheesiest Toho films. Aside from some arresting shots even the spectacle feels weightless & incoherent. Hollywood simply does not get Godzilla."
|87 93%||Possession (1981) - Nov 12, 2014
"Bizarre plot, bleak but naturalistic setting and shrieking performances will offset any viewer even before the introduction of a demonic octopus-creature. There are a number of fascinating ways into this story. The political, religious & psycho-sexual subtexts will reward multiple viewings, but are all marinaded in stark hysterical paranoia that explodes in several unforgettable scenes. The one in the metro tunnel left me genuinely stunned. A layered depiction of mysterious uncontrolled anxiety."