Criticker.com uses cookies to recognize visitors and provide a better experience. Learn more about how we use cookies in our privacy policy. By continuing to use the site, or by pressing agree, you are giving your consent to our use of cookies.
login | register
0 film ratings
djross

Celluloid Junkie - 4663 Film Ratings

Member Since: Apr 16, 2006

Location: Melbourne, Australia

Age: 50

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://independent.academia.edu/DanielRoss57
more Recent Ratings
45 32% Neotpravlennoye pismo (1960) - Apr 15, 2021
"Ode to the pioneering spirit and the risk and sacrifice it can entail, but sometimes looks aren't enough."
45 32% The Masseurs and a Woman (1938) - Apr 15, 2021
"Restrained but still sentimental tale of failed encounters. An unusual setting but we don't learn very much about this world or its people. Even though it's only from 1938, still somehow the images that are intended to be affecting come across as rather clichéd."
65 69% Sisters of the Gion (1936) - Apr 13, 2021
"The tension between the sexes is thematised by two geisha sisters, one of whom represents the attitude that it's a war in which only calculation and strategy can succeed and the other the attitude that only sentiment and a concern for appearances can ever achieve peace. Probably these are intended as questions for modernising Japan as a whole, but it's the tragic cry against the state of sexual relations at the end of the film that leaves an impression. Really quite an interesting narrative."
65 69% Destiny of a Man (1959) - Apr 12, 2021
"A handsome movie about one tiny square of the unimaginable tragedy and sacrifice of the Russian and Soviet contribution to defeating Nazism, containing some very impressive scenes. Somehow, despite everything, it feels like something is missing: there is still some sense of conveying an incredible adventure and, despite the emotional power of the last sequence, the ultimate conclusion is a bit too pat in its attempt to convey the message of the need to "move on", understandable though it may be."
55 51% Arigato-san (1936) - Apr 12, 2021
"Depression-era tale that aims for a light touch despite the main plot concerning a mother preparing to sell her daughter into prostitution. Should obviously be part of a double feature with MEXICAN BUS RIDE."
55 51% The Actress and the Poet (1935) - Apr 09, 2021
"A couple learns that even if she pays the rent, things work better if he's still the master of the house (which means: he gets to sleep in while she prepares breakfast). Starts slow, but eventually picks up. Early evidence for the thesis that Japanese movies contain far more train shots per film than any other national cinema, beginning here with the opening frames. First time I've ever seen a couple's double suicide used as a comedic device, but maybe that's a Japanese quirk too."
40 24% Space Station (2002) - Apr 09, 2021
"It's kind of remarkable that they could get this footage, but there's nothing much going on here, and the astronauts are as uninteresting as ever."
70 76% The Only Son (1936) - Apr 08, 2021
"Framed by scenes of factory labour, this affectingly conveys the realities of poverty, the faith in education in the absence of any alternative, and the dashed hopes that come with the realisation that a life of struggle often fails to pay off. In other words, there's a feeling that Ozu's concern with the industrialisation of Japan has more of a directly economic component than is seen in his later works. In some ways a bit rudimentary, but one imagines it was quite powerful for 1936 audiences."
35 18% Made in Milan (1990) - Apr 07, 2021
"Just a puff piece, as they say. I have little interest in this topic, but I also have a suspicion that a real documentary about Amancio Ortega could be interesting."
25 6% Ore wa Sono Sion da! (1985) - Apr 07, 2021
"The parts where the filmmaker isn't mugging for the camera give a slight feeling of a guy who is figuring out how to create images, but the overwhelming impression left by this effort is that Sion Sono needed to go through a very long process before he had any chance of making anything resembling a good movie. Nevertheless, at least it cannot be said that he was trying to conform to someone else's aesthetic idea."