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Celluloid Junkie - 4194 Film Ratings

Member Since: Apr 15, 2006

Location: Melbourne, Australia

Age: 48

Gender: Male

Bio: A score between 91 and 100 indicates a masterpiece.
Full reviews:
more Recent Ratings
75 83% The Killing of a Sacred Deer (2017) - Sep 19, 2019
"Quite an interesting reinterpretation of a tragedy about responsibility and sacrifice, Agamemnon's "rational" pragmatism in archaic Greece being replaced by Steven's fraught, impotent rationalisations in a modern world that wrongly imagines it has escaped the agonies of life and death, even and especially in those institutions designed to manage these dark mysteries and inevitable transitions. Effectively uses camera angles, lenses, dialogue and sounds to conjure a feeling of uncanny horror."
65 69% Elevator to the Gallows (1958) - Sep 18, 2019
"Stylish little thriller possessing numerous superior elements without being in any way outstanding."
45 33% War Dogs (2016) - Sep 17, 2019
"Amoral tale that borrows self-consciously from GOODFELLAS and WOLF OF WALL STREET but with an inferior screenplay that tends to sap the energy out of what's intended as a wild ride. On the plus side, the main premise seems to be that guys who quote Tony Montana are idiots: a lesson I learned one night at the Carlton Hotel on Bourke St in Melbourne almost thirty years ago ("You gotta make the money first…"). Good to have it confirmed by a director born on the same day, month and year as myself."
55 51% John Wick: Chapter 3 – Parabellum (2019) - Sep 16, 2019
"Everybody involved seems to have worked as hard as possible to make this the best expression of the lights and sounds of bodies (with weapons and/or vehicles) moving through time and space that they can, though without sequences as memorable as those in the previous episode: it's very hard for extended gun battles not to become dull, eventually. The ironic exploration of a hidden world of controlling powers operating with unstoppable violence but according to strict rules continues to unfold."
50 41% Coherence (2013) - Sep 11, 2019
"Does its best to generate the feeling of a bunch of flawed characters stumbling their way through a bizarre situation, proposing ludicrous strategies and spouting nonsense ideas. How the events should be understood is indeed quite complex, it seems, and perhaps cannot be reduced to a single interpretation. Audiences will either find this intriguing or frustrating, just as they will either find the shaky camerawork defensible or indefensible."
65 69% Summer Hours (2008) - Sep 08, 2019
"On artefacts as the locus of memories and therefore as that: (1) in which we invest emotionally in order to maintain the consistency of our psychic life; (2) which is perpetually threatened by destruction, forgetting and museification; (3) from which we can withdraw our investment through a process of re-interiorization capable of maintaining the thread of collective, generational memory only at the price of losing it. Surprisingly subtle and understated reflection from Assayas; one of his best."
60 60% Julieta (2016) - Sep 03, 2019
"A lot of Hitchcockian stylistic elements thrown into this melodrama, along with this filmmaker's usual attention to aesthetic detail, as well as a lot of doublings and symmetries that make the film more interesting but perhaps more mechanical as well. Almodóvar really seems to have a thing for comas. Some of the women seem very beautiful in this film, in particular Michelle Jenner, but also Adriana Ugarte and Mariam Bachir."
50 41% Prospect (2018) - Sep 02, 2019
"A kind of TREASURE OF THE SIERRA MADRE ON A MOON that benefits from Pascal's performance of a character written in a wordier way than has become usual for this kind of thing. The final scenes don't really achieve the tension necessary to count as a genuine climax, and the characters appearing in those scenes are rather more sketchily drawn, but for the most part this succeeds in sustaining interest as much as can be expected from this kind of low-budget space western."
70 76% Fårö dokument (1970) - Aug 30, 2019
"Effective documentary on the politics of locality for a small island community faced with the effects of industrialisation and the inadequacies of Swedish bureaucratic democracy. In The Magic Lantern, Bergman says he moved there, among other reasons, to "retreat from the world, read the books I hadn't read, meditate, cleanse my soul. (After a month or two I was hopelessly involved in the islanders' problems, something which resulted in the 1969 FÅRÖ DOCUMENT.)""
50 41% I Am Mother (2019) - Aug 29, 2019
"Spoiler: parable about a computationalist utilitarian quasi-eugenics in which apocalypse and reproductive technology form the background conditions for a species-restart, with AI as the god (between Kant and Bentham) who creates the world and then withdraws. Successfully manoeuvres the viewer through various phases of trust and uncertainty, ending up more interesting at the end than it seemed in the beginning, but filmed in that anonymous style that Netflix threatens to render ubiquitous."