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0 film ratings
djross

Celluloid Junkie - 4087 Film Ratings

Member Since: Apr 15, 2006

Location: Melbourne, Australia

Age: 47

Gender: Male

Bio: A score between 91 and 100 indicates a masterpiece.
Full reviews: https://www.criticker.com/forum/viewtopic.php?f=6&t=5869#p55513
Twitter: https://twitter.com/DJRoss70
Research: https://yachaytech.academia.edu/DanRoss
more Recent Ratings
40 25% Solo: A Star Wars Story (2018) - Sep 20, 2018
"The first few scenes give the impression that this will be just awful, but it eventually settles into a kind of awkward rhythm. Its spirit is perhaps closer to the original STAR WARS than to any of the interminable sequels in this worst of all "franchises". The way critics and fans decide, as a herd, which entries of a series are to be praised and which derided has almost nothing to do with the virtues and sins of the movies themselves. Here, the worst of the latter is that it is just too long."
70 76% Downsizing (2017) - Sep 20, 2018
"Going in knowing almost nothing (always the best way), the turns of the narrative were unexpected and strangely affecting, and it seemed like a genuine attempt to wrestle with difficult questions. Watched on a plane (never the best way), and may need another viewing to confirm initial impressions (had been awake too many hours by that stage to be sure of anything), but have a suspicion that the adverse reaction of critics and audiences may be the result of their own cynicism."
40 25% Hotel Artemis (2018) - Sep 20, 2018
"Jodie Foster’s really one-of-a-kind, as evident from her early roles in ALICE DOESN'T LIVE HERE ANYMORE, TAXI DRIVER and THE LITTLE GIRL WHO LIVES DOWN THE LANE, as well as her mature roles, and now, here, seemingly turning into Brad Dourif. The conceptual basis of the story seems remarkably similar to that of JOHN WICK, but the filmmakers are less preoccupied with action and bullets and more interested in character (however only partly successfully). Goldblum does his thing as reliably as eve"
60 60% Wonder Wheel (2017) - Sep 20, 2018
"The dialogue here seemed written in a self-consciously stagey style, and I think that's because the film is really about theatre, tragedy and specifically the Eugene O'Neill brand of American melodrama, combined with the frequent Woody Allen theme about the role of fiction in "real life". In other words, I get the feeling the critics may have missed what was interesting here, perhaps because their attention was focused on other tragedies stemming from other confusions of fact and fiction."
50 42% Hereditary (2018) - Sep 18, 2018
"Its best scenes are certainly better than those found in standard generic examples, and it does a better job than most as letting events unfold without explaining everything as it goes, but for this viewer it still didn't really reach the depths of horror necessary to raise it much above those standard generic examples."
30 13% The Thirteenth Floor (1999) - Sep 17, 2018
"Poorly written, directed and performed B-movie, or in other words, about as good as the poorly written, directed and performed TV-series that came out a quarter of a century earlier based on the same Galouye novel (from 1964). Someone should splice all these kinds of movies together so that they become just the various levels of one vast multi-dimensional simulation. It would go for about 183 hours, and then loop back to the start: maybe Elon Musk could finance it in order to spread the Word."
40 25% The Motive (2017) - Sep 15, 2018
"Rather mediocre tale about the narcissism of literary pretension, with really no outstanding elements and a weak denouement."
45 33% Nocturnal Animals (2016) - Sep 14, 2018
"A relationship is ended by a woman whose superficial, bourgeois tendencies too closely resemble those of her superficial, bourgeois mother. The man, accused of weakness, writes a novel about a man who learns to be strong (that is, to kill): through doing so he exacts vengeance on his ex. Perhaps this film is intended as a comment on our taste for revenge, but it does tend to come across as justifying it, especially when those who reject us are shallow women who fail to perceive our true virtues."
55 51% Voyeur (2017) - Sep 12, 2018
"Gives a good sense that Foos is manipulating Talese, but also that Talese is manipulating Foos. The filmmakers seem rather too reticent to ask either party the pointed questions that are obviously begged. Also, part of the value of the Foos story supposedly lies in the observations and conclusions he makes concerning the changing character of American sexuality and behaviour, so the complete absence of any discussion of these observations or conclusions limits the potential interest of the film."
50 42% Upgrade (2018) - Sep 11, 2018
"Rumination on the possibilities and dangers of Neuralink: the ideas and action are rather well handled but the dialogue could have used a little work and some of the acting was weak (particularly by the guy playing the Musk-type character). Despite its problems, it is one of the most interesting examples of this kind of reflection on AI, even if, of course, it depends on accepting the plausibility of this kind of brain-computer interface. But DAY OF RECKONING and HER are still far superior."