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Celluloid Junkie - 4262 Film Ratings

Member Since: Apr 16, 2006

Location: Melbourne, Australia

Age: 49

Gender: Male

Bio: A score between 91 and 100 indicates a masterpiece.
Full reviews:
more Recent Ratings
30 13% Until the End of the World (1991) - Feb 24, 2020
"Has a kind of hippyish sensibility and conjures a sort of whimsy, but overall this is barely watchable. Saw the 5-hour version, and, even though the second half stuff about dream-reading technology is slightly better, the whole thing is incredibly static. With these things people naturally want to blame the producers for imposing their calculations on the artist, but one can only imagine the reaction when those who invested $20 million realised what kind of product they had sunk their cash into."
65 69% Parasite (2019) - Feb 21, 2020
"A droll diversion halfway between the upstairs/downstairs and the con-artist-among-the-aristocrats types. It seems as if critics have made some inflated claims about this movie, as if it weren't just another entry in these genres that take advantage of audience anxiety and resentment about economic inequality for comedic or nightmarish effect, but it is nevertheless well-executed, and a vast improvement on the director's previous, deadly earnest attempt to do so, in The Train That Never Stops."
45 32% Otoko goroshi onna goroshi: hadaka no zyudan (1969) - Feb 19, 2020
"A couple of amusing scenes and good lines, and some nice work from the Yosuke Yamashita Trio, help to make this otherwise rather generic film noir/gangster movie fairly watchable. The standout moment is probably the chicken-eating scene, and in any case things move along briskly over the 72-minute running time. As in real life and THE WIZARD OF OZ, colour is reserved for the sex scenes."
70 76% La Chinoise (1967) - Feb 17, 2020
"No doubt infected by the cult of Mao and fantasies of the Cultural Revolution (like many other French intellectuals), but this seems directed to the youth movement more than about them, as a warning: taking up Mao's idea of fighting on two fronts, Godard uses Dostoyevsky to point out the perpetual risk of becoming absurd, and uses Brecht to show that the question of political or revolutionary art is highly complex. A director struggling internally and externally to take steps on a long march."
50 41% Made in U.S.A. (1966) - Feb 16, 2020
"There's ideas aplenty here, but one could also be forgiven for thinking that by 1966 Godard was already running out of good ones. Score would have been lower still, had it not ended with Anna Karina in the passenger seat of a car declaring in a tragic tone that we have years of struggle ahead of us, mostly within ourselves."
70 76% Le Petit soldat (1963) - Feb 16, 2020
"Quite politically complex, especially given that it was filmed in 1960, and in some ways its significance may have appreciated over time."
80 89% Histoire(s) du cinéma: Les signes parmi nous (1998) - Feb 14, 2020
"The final summation (sort of) of what seems like an attempt to tell not the history of cinema but the history of a century that would be that of cinema, or, he seems to want to say, it is the nineteenth century that through the invention of the cinema gives birth to a century that is perhaps still in want of the art, or the technique, or rather the mystery, that would be capable of discerning its essence. Elusive, but there are great things here, and in the end the attempt seems quite genuine."
80 89% Histoire(s) du cinéma: Le contrôle de l'univers (1998) - Feb 14, 2020
""Spirit is true only when it manifests itself. The root of 'manifest' is the word 'hand'. Love is the epitome of spirit… Loving others is an act. A hand reaching out, not a draped sentiment… But man's true condition is to think with his hands… True violence is the work of the spirit. Every creative act contains a real threat… If thought refuses to do violence, it exposes itself in vain to all the brutalities which its absence released." And check out what images go with these words."
80 89% Histoire(s) du cinéma: Une vague nouvelle (1998) - Feb 14, 2020
"Something like a self-assessment, combined with a reminiscence, if not also a kind of mourning for the loss of what was, and for what it was not quite able to become."
80 89% Histoire(s) du cinéma: La monnaie de l'absolu (1998) - Feb 14, 2020
"Ends with a moving ode to Italian neorealism."