Celluloid Junkie - 4007 Film 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
|65 T7||Wild Wild Country (2018) - May 21, 2018
"My father used to go to a Rajneesh café in Melbourne in the early 80s, and he felt they seemed mostly OK, fairly thoughtful if overly optimistic people. Despite all the melodrama and Sheela's homicidal plots, what we see here tends to support that view of the followers. And, for all his Rolls-Royces, the Bhagwan comes across as not too bad either, with some good impulses, but obviously he should not have divorced himself from goings on, nor allowed his deputy to pursue such hostile strategies."
|45 T4||The Greatest Showman (2017) - May 18, 2018
"Talented performers were clearly involved in the production of this very pop music musical, but the same cannot be said about the writing. The now familiar application of rapid-fire editing and computer-generated imagery may be an inevitability, but detracts and distracts from the singing and dancing more than it adds. Also, another in the line of sexless, rather infantile musicals that seem to have permanently overthrown the possibility of any real depiction of desire, seduction or romance."
|75 T9||Phantom Thread (2017) - May 17, 2018
"Deadpan Albeesque (1962), or in other words Bernesque (1964, a date that is somewhat surprising: I'd always assumed the order of appearance was the other way around) psychodrama of the "whatever works" variety, to put it in Allenesque terms (2009). As such, and as was equally the case for this trio of just-mentioned precursors, it may be taken as critical comment on an age in which relationships tend to be understood and judged in terms that are rather one-dimensional, or at best two."
|70 T8||Isle of Dogs (2018) - May 14, 2018
"Wry, amusing tale, put together with Anderson's usual attention to detail and aesthetic pleasure."
|65 T7||Anti-Porno (2016) - May 08, 2018
"Sono sometimes, including here (and in the celebrated LOVE EXPOSURE), pushes the hysteria to a level difficult to cope with, but, as it unfolds the variations on its themes and the repetitions of its monologues, this example succeeds in generating a certain amount of power and indeed rage against the poles of shame and shamelessness that seem to define the contours of female sexuality in Japan. Contains some remarkable imagery, interspersed with a familiar set of classical music favourites."
|60 T7||Camera (2000) - May 07, 2018
"Well done short on the cinematic uncanny, and on its relationship to the digital video uncanny."
|55 T6||The Sion Sono (2016) - May 07, 2018
"Anyone who has seen HIMIZU, GUILTY OF ROMANCE, LOVE AND PEACE and NORIKO'S DINNER PARTY knows that Sion Sono is an artist (but one whose working motto is "quantity not quality", with the mixed results one would expect from such a strategy), and not a director working in the Cannes genre (as he says). Here, in the course of criticising film critics, he offers effusive praise for only one director: Lars von Trier (himself formerly a Cannes director but never a director in the genre of Cannes)."
|70 T8||The Whispering Star (2015) - May 06, 2018
"Both information and significance rely on a material support, and perhaps both can be grasped only in terms of a (pro)tension stretched between intensities, but only the latter truly finds the source of its singular, incalculable possibility in a necessary default that constantly requires a constitutively late and yet performatively anticipatory process of adoption. For me, Sion Sono directed three of 2015's ten best films: a statistic unrivalled in cinema history. My 4000th ranking."
|50 T5||Thor: Ragnarok (2017) - May 05, 2018
"Some amusing moments that make pretty good use of the comedic capabilities of the cast."
|25 T1||Justice League (2017) - Apr 19, 2018
"Too many characters engaging in too much nonsense, fashioned with the help of too many computers and using too much slow motion. Ninety minutes of assembling the team are followed by thirty minutes of climactic battle, making for two hours of complete meaninglessness. The addition of a sprinkling of exceedingly weak humour fails to enliven proceedings."