Celluloid Junkie - 3762 Rankings
Member Since: Apr 15, 2006
Location: Melbourne, Australia
Bio: A score between 91 and 100 indicates a masterpiece.
Full reviews: https://www.criticker.com/forum/viewtopic.php?f=6&t=5869#p55513
|80 T9||Spirited Away (2001) - Apr 27, 2017
"This viewer may have a soft spot for movies thematising rivers and industrialisation, especially when the virtues and vices of tradition and modernity are treated with some subtlety and complexity. Animation is very impressive, often beautiful, showing great imagination and care. Very good for children of a certain age, so long as they haven't already been screwed up by other social and cultural garbage. James Cameron clearly borrows from this animistic fantasy, but remains more superficial."
|25 T1||Rogue One: A Star Wars Story (2016) - Apr 18, 2017
"Having neglected to download an email attachment, a girl is forced to go down to the building where she can get an actual copy on disc, only to find she has upload problems due to the size of the PDF. The outcome of fans spending years bitching and moaning online about (and mocking) the prequel trilogy seems to be to have to suffer several centuries of unrelenting, programmed blandness in the form of endless repetition of the original. Congrats. Orchestral score is outdated and intrusive."
|25 T1||Tokyo Tribe (2014) - Apr 16, 2017
"It's the size of a man's heart that matters, not the size...well, if you really need the text of that particular sermon, go ahead and tune in, but be aware that WEST SIDE STORY this ain't. Presumably there is a target audience for this that doesn't include me, but it's just all too loud and frenetic, with too few compensations. Could be Sion Sono's worst movie."
|60 T7||Rocky (1976) - Apr 15, 2017
"Who could begrudge Stallone taking himself from average Joe to showbiz king by casting himself as an average Joe against an opponent who represents showbiz kings? A slow buildup unpunctuated by "action", moderately complex characters, humour that springs from the situations, trust that audiences can understand that losing can be winning, and charm: viewing this formula movie for the first time 40 years thence, one cannot but be struck by the degradation of the formula in the intervening decades."
|90 T10||Perceval le Gallois (1978) - Apr 14, 2017
"Setting himself the crazy task of representing the Middle Ages cosmos as they would have filmed it, which is not identical to how they painted it, Rohmer pursues the education of a young boy into the codes of chivalry and beyond. The attention paid to all aspects of the aesthetic and historical dilemmas of representing Chrétien de Troyes cinematically today is astonishing, yet, despite the alien world and the constant artifice, the film remains so warm and inviting. Watched it on Good Friday!"
|20 T1||On the Silver Globe (1988) - Apr 13, 2017
"Highly recommended for audiences who love hysteria and hate subtlety. For everyone else, a bad trip, seventies style. The hilarious part comes from thinking that state authorities at the time viewed the film as a threat to their very existence. Enter at own risk."
|80 T9||Faust (2011) - Apr 12, 2017
"Seems less about power than about restlessness, almost a reworking of STALKER to show that the wish for knowledge is really just a posture concealing the unslakable thirst and perpetual dissatisfaction of an empty, or nonexistent, soul. "Painterly" has become a cinematic cliché, but in this case there is not a frame to which it could not be justly and literally applied. The wildly energetic camera, and the surreal world it creates, will find an echo in 2013 in Aleksei German's HARD TO BE A GOD."
|20 T1||Fear Factor (2001) - Apr 10, 2017
"Joop van den Ende and John de Mol are, at the time of writing, reportedly worth more than a billion dollars each, making them two of only eight Dutch billionaires. But are they truly happy?"
|40 T3||Welcome to New York (2014) - Apr 10, 2017
"The ambition is there, framing the events in unusual ways (e.g., the careful attention to the realities of policing and incarceration), but the key scenes on which the film ultimately hangs, the confrontations between husband and wife, too closely resemble amateur theatrics, highlighting the inability of the two leads to improvise their way past clichéd melodramatics. A deeper descent into decadent hell was needed if Ferrara hoped to expose the nihilism of Devereaux's corrupt je m'en foutisme."
|85 T10||Soshun (1956) - Apr 10, 2017
"Between the electrified trains, rising office buildings and billowing smokestacks, a small group of salarymen and associates find themselves struggling to figure out if they still know how to live in a world in a hurry to modernise. Eschewing a direct focus on intergenerational tensions, here Ozu uses the dilemmas of one generation as a means to very subtly examine a society whose traditions have been thrown into disarray by collective trauma and an obsession with national productivity gains."