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0 film ratings
djross

Celluloid Junkie - 4327 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: https://www.criticker.com/forum/viewtopic.php?f=6&t=5869#p55513
Twitter: https://twitter.com/DJRoss70
Research: https://centrepompidou.academia.edu/DanielRoss
more Recent Ratings
55 51% Portrait: Orson Welles (1968) - May 30, 2020
"Enough snippets to make it always interesting (especially if you would like to know how Orson Welles makes a salad), although some of the interview questions are pretty weak and the whole thing is fairly unstructured and messy. Welles's criticism of Cahiers du cinéma for looking for things that aren't there (which he says after they apparently criticised his superb CHIMES AT MIDNIGHT for taking cues from Dreyer "and a whole bunch of other movies I haven't seen") seems valid."
75 83% The Immortal Story (1968) - May 29, 2020
"Rather than the usual approach of trying to bury the literary origins of a work being adapted for the screen, Welles's attention is to the words, allowing them the space to conjure, through almost trancelike incantation, an unearthly realm that sets in motion a play between the hubris of cosmic meddling and the feeling that the cosmos itself is but a stage, we are merely players, etc. etc. In terms of casting, Eshley was rather a weak link, but Moreau suits perfectly."
50 41% The Stranger (1946) - May 29, 2020
"Welles struggles valiantly but fairly fruitlessly with a weak script: some effective use of light and a moving camera fail to raise this much above the generic level that Spiegel presumably demanded. If you are going to use actual footage of Auschwitz survivors, then your movie better make a strong claim for including it: here, Nazism is basically a pretext for a thriller about darkness lurking in small-town USA, and Welles's Rankin/Kindler was never believable as an architect of extermination."
50 41% Eva (1948) - May 28, 2020
"Melodrama about the difficulty of the struggle against feelings of guilt, mortality and perversion and for some kind of affirmation of life and existence. Episodic and mostly fairly standard, especially in its manner of resolving these issues, but in the section in the middle, in which Stig Olin tries to foist his young wife Eva Dahlbeck onto the protagonist, the film comes alive a little, and is at least suggestive of how Bergman will later develop some of his preoccupations with sexual life."
65 69% Neither Heaven Nor Earth (2015) - May 27, 2020
"A kind of "magical realist" or even medieval tale about the absurdity of war and the difficulty of mourning the losses it inevitably brings. But also about the way in which technologically-mediated perception (e.g., night goggles) is intended to provide more information but may equally cause a loss of knowledge, or at least comes with its own rules. And finally, about the lacunae of translation and the missed encounters that result, as well as the possibilities it opens up. Quite interesting."
75 83% A Delicate Balance (1973) - May 27, 2020
"When the plague (of terror) comes, should quarantine be enforced so as to prevent the spread of the disease or do we allow infection in hopes that the immune system will function and ultimately strengthen the organism? Performances perhaps a tad heavy-handed, and Hepburn is a decade too old for the part. Watching this after OPENING NIGHT (both thematising alcoholism), Albee's highly controlled stage direction certainly contrasts with Cassavetes's open style, but the results speak for themselves."
35 19% Shinjuku Mad (1970) - May 26, 2020
"Seems like Wakamatsu and Adachi probably intend this as a critique of revolutionary groups that don't see avant-garde cultural practice as contributing to the struggle, and of the way these groups consequently descend into nihilistic paranoia about impure elements, thereby losing sight of the battle for true revolutionary freedom. In any case, the film is very rudimentary, and the best that can be said is that it records the look of the area at the time and the jazzy soundtrack is listenable."
50 41% Opening Night (1977) - May 26, 2020
"Serious consideration should have been given to exercising the understudy option. The drunken-but-triumphant final performance scene did not work at all for this viewer, seeming both contrived and a continuation of the half-baked theatrics evidenced in the out-of-town shows. Cassavetes just isn't my guy: he never seems quite able to bring off what he's going for, caught halfway between gritty realism and acting-as-psychodrama. There are always moments, but here there's just too much nonsense."
75 83% Angst (1983) - May 25, 2020
"Based on Peter Kürten (one of the inspirations of M) as much as on Werner Kniesek, this seems less about the killer's angst than about his energy and excitement, which are conveyed very effectively via a camera that mostly stays very closely and tightly focused on the protagonist, or expressionistically shows his perspective, but at other times rises very high above the human figures, as if to emphasise the absurdity of the movements and actions we undertake for our own all-consuming purposes."
65 69% Faces (1968) - May 25, 2020
"Tend to agree with Kael, Going Steady, pp. 195–99. Perhaps she is a tad harsh, but the reliance on characters endlessly laughing or breaking into song seems a bit like a cover for the moments when inspiration fails. Undoubtedly gives a feeling of the despair and hostility that lurks beneath the surface of LA nights, and the performers work hard and sometimes genuinely succeed in conveying that melancholy and impending violence, but somehow the whole thing tends to wear out its welcome."