Cinema Addict - 2296 Rankings
Member Since: Dec 18, 2009
Location: Columbus, OH, USA
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|98 T10||Hail the Conquering Hero (1944) - Jan 05, 2010
"One of the great screen comedies. This WW II movie has perhaps the most unabashedly patriotic ending ever filmed, yet it still seems right even in this cynical age. Bracken is funny and moving, and William Demarest gives an unusually restrained performance. And don't forget boxer Freddie Steele as Bugsy, the slightly addled orphan-Marine with the mother-fixation. (I love it when the astonished Woodrow barks at Bugsy "Are you nuts?" and Bugsy pauses for a moment and answers, "Maybe.") "
|91 T9||All the Real Girls (2003) - Jun 08, 2011
"It suffers just a bit from a fashionable disdain for plot, but the superb acting (natural and skillful in improvisation, astonishing in emotional power), the starkly beautiful cinematography, the evocative musical score, and the way all three are unified into a powerful whole by the poetic intensity of Green's direction, more than make up for it. Few films give us a place as fully realized as this small, decaying North Carolina factory town. "
|69 T2||Take This Waltz (2012) - Apr 18, 2014
"Gee, can the quirky indie girl/part-time journalist with emotional range (if not depth) decide between the sensible husband/writer of cook books (Rogen) and the poet guy who pulls a rickshaw for tourists (Luke Kirby)? And will the fact that Rickshaw Boy lives in the equivalent of a loft apartment perched atop an old lighthouse affect her decision? You bet it will. (There's one neat scene amid the dodge 'em cars when the colored lights turn off, but that's not nearly enough to make a film)"
|90 T9||Brewster McCloud (1970) - Apr 22, 2011
"This odd, rambling film is gloriously, characteristically Altman. More original than "Mash," it can be seen as a first sketch of "Nashville" in the way it uses an obsession, a crime and a southern city to explore the nature of the U.S.A. in the later part of the 20th century. Bud Cort gives this film a special sweetness, and Kellerman and Duvall have never been better, but my favorite parts are the small, strange characters created by Auberjonois, Margaret Hamilton and Stacey Keach. "
|95 T10||One Flew Over the Cuckoo's Nest (1975) - Dec 21, 2009
"Despite a jarringly triumphant, slow-mo conclusion, this film is unusually restrained in the matter-of-fact humanism of its direction and the detailed realism of its ensemble acting. Nicholson delivers the performance of a lifetime, but it is a performance which emerges organically from a real world in a way Cool Hand Luke, with all his Hollywood Christ imagery, never could. It is a quintessentially American story viewed through a distinctively European eye, and therein lies its uniqueness. "
|80 T5||Crossfire (1947) - May 10, 2011
"This might have been a fine noir, but it never recovers from the censors and script doctors. Ryan's homophobic character was turned into an anti-semite, which makes nonsense of the plot. You know, it happens all the time: one fellah invites another fellah up to his hotel room for a drink, and the first fellah tells the other fellah he's a Jew, so the other fellah goes crazy and beats him to death. Hunh? Ryan is good and creepy, Mitchum is good too, but Robert Young is weak as the detective."
|91 T9||The Tree of Life (2011) - Jun 23, 2012
"Malick connects the infinite with the intimate, but only partially succeeds. I think he could have used more plot (just a little!) so we would know better and care more about this particular Texas family and thus feel with greater force the cosmic core of their sharply realized quotidian gestures. Still, the details haunt: each pat of father's hand, each waft of window curtain, each motherly smile, each dusty street, seems part of my childhood too, fillng me with both mortality and mystery. "
|69 T2||Auntie Mame (1958) - Jul 30, 2010
"Strained, stagy comedy. Rosalind Russell tries way too hard, producing the opposite of her intention: she reveals herself to be a drab, disciplined professional pretending to be a colorful eccentric."
|95 T10||The Gay Desperado (1936) - Mar 13, 2011
"A musical featuring an operatic tenor, no dancing, and a plot involving stereotypical Mexican bandits aspiring to be stereotypical U.S. gangsters? Bad, right? Yeah, that's what I thought, but I was wrong. The script is sweetly goofy, the art direction and shot composition (featuring looming shadows, Diego Rivera sombreros and huge phallic cacti) is lovely and camp, Martini, Lupino, and Carrillo are charming, and the whole cast--including the Raft, Robinson and Cagney lookalikes--is a hoot."
|86 T8||Summer Storm (1944) - May 07, 2011
"Linda Darnell shines with youthful beauty, George Sanders excels in showing us just how sad and lost a lust-filled man can become, and Edward Everett Horton thoroughly enjoys playing a lecher. Sirk had not yet developed his Hollywood style (this was his second American film) but he directs with great fluidity and continental sophistication, and a few of his set pieces (the Russian Orthodox wedding, the maid glimpsing the killer's hands through a chink in the wooden bathhouse) are very fine. "