Cinema Addict - 2296 Film Rankings
Member Since: Dec 18, 2009
Location: Columbus, OH, USA
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|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."
|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. "
|92 T9||King of New York (1990) - Jan 28, 2010
"The dialogue ain't much, and it is more than a little weird (a crime boss who starts killing off mobsters because they won't help him bankroll a children's hospital?), but it is one of the most elegant, visually stunning crime films I've seen--expertly edited and superbly paced.. And Walken is good. And he dances a little too!"
|75 T3||Party Girl (1958) - Jan 26, 2013
"Ray seeks for the damaged little children beneath these jaded lovers, and Taylor and Charisse reveal them to us in surprisingly vulnerable performances. But Ray doesn't seem all that interested in the gangster story they inhabit, and that's a big problem. (Lee J. Cobb, as the mafia don, overacts as usual.) The technicolor is lush and Charisse has never looked more lovely or more voluptuous."
|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. "
|55 T1||Convoy (1978) - Jul 20, 2010
"Perhaps the worst film by a major director. And it's not as if Peckinpah was just going through the motions here, either. This is a very personal film, sort of a "Wild Bunch on Wheels," a "Smokey and the Bandit meets Pat Garrett and Billy the Kid" . . . with fierce iconoclasm, the obligatory slow-motion fight sequences and a denouement featuring machine gun fire. Blame it on booze and blow if you want, but this is a quintessential Peckinpah film. And it stinks to high heaven. "
|91 T9||Death in the Garden (1956) - Jul 22, 2011
"For the first half it is merely an elegantly directed but slow adventure flick enlivened by a few of brutal moments and the unique beauty of thirty-five-year-old Simone Signoret. Then everyone becomes stranded in the jungle, and the film becomes a dark--and rich--exploration of human character, as well as a cynical and reverent (only Bunuel could do both at once) commentary on religious belief. (There is a real serpent in this "garden," and you won't soon forget the scene where it appears!) "
|90 T9||Gone Girl (2014) - Oct 26, 2014
"Many of the effects--like the still-blood-drenched Amy being interviewed by law enforcement--strain credulity, but the performances are nuanced, and the direction maintains tension and audience involvement without sacrificing ambiguity, which is no small thing. Another good Fincher film about the prison of the ego and the impossibility of fulfilling relationships."
|72 T3||Babes in Arms (1939) - Dec 11, 2010
"Mickey and Judy are cute, so cute they almost make up for 1) the plot ("gee,let's put on a show in the barn" plus "save us kids from the orphanage") and 2) the pseudo-operatic vocal stylings of cloying Preisser and wooden McPhail, who manage to ruin one of the only two good songs ("Where or When") the movie has. If you've got the patience, though, watch it for the bizarre "Babes in Arms" production number in which our kids march toward stardom by torchlight like an army of Hitler Youth. "
|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)"