Celluloid Junkie - 3729 Rankings
Member Since: Apr 15, 2006
Location: Melbourne, Australia
Bio: A score between 91 and 100 indicates a masterpiece.
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|25 T1||Nothing Bad Can Happen (2013) - Jan 15, 2017
"Nasty little film with little to redeem it, despite the possible presence of the redeemer. The handheld camera and preference for out-of-focus shots seems overly fashionable in a way that also undermines any credit the viewer might be willing to consider extending to the filmmaker. Generally characterised by an all-round lack of faith, love and hope."
|40 T3||Hazard (2005) - Jan 14, 2017
"Japanese punk takes Manhattan. Seems to be about a familiar preoccupation of this filmmaker, namely the need to leave where you are to find out who you are, and tries hard to add pathos in the last few scenes, but everything is a little too ragged and unpleasant to really work. Twenty five years after OUT OF THE BLUE (and after THE LONG RIDERS, mentioned here, both premiering in Cannes in 1980), this doesn't really cut it. No significant female characters (let alone a Linda Manz) doesn't help."
|45 T4||Yume no naka e (2005) - Jan 14, 2017
"Kind of a Japanese "Notes from Underground" but filmed in a low-budget, almost Dogme-esque style, with a good deal of confusion between dream and reality and a lot of handheld long takes, plus some comedy thrown in. Still, not quite as interesting as such a description may lead you to believe. Might be construed as an argument that contemporary life pretty much amounts to a sexually transmitted disease."
|85 T10||Noriko's Dinner Table (2005) - Jan 13, 2017
"Even though the filmgoing public is largely composed of young people, few filmmakers have ever been genuinely interested in exploring their perspectives or experience. Those that do, such as Rohmer, Demy and Sono, are among the best, but in Sono's case, this preoccupation is mainly with the destruction of experience and existence as social and familial relations disintegrate. Very natural use of non-linear narrative here, rather than just as a tool for controlling viewer's access to information."
|25 T1||Anchorman 2: The Legend Continues (2013) - Jan 10, 2017
"Weak satire. Paddy Chayefsky this ain't. Haven't seen the first one."
|70 T8||The Land of Hope (2012) - Jan 09, 2017
"The director's imperative here seems to have been, on the one hand, to approach painful and difficult aspects of the aftermath of catastrophe that he sees Japan as still unwilling to confront, while, on the other hand, to make a film that would be appealing and accessible to as wide an audience as possible. Only occasionally does this balancing act teeter a little towards melodrama. For the most part, the characters and situations are subtle and unexpected, and the emotions tender and affecting."
|35 T2||Straw Dogs (2011) - Jan 08, 2017
"Oddly, a group of tradesmen has been working on my house for the past couple of weeks, and while my girlfriend knew some of them from years ago, I've never met them until now. They have been playing the radio while I've been trying to work, and when they explain the technical details of what they're doing, I don't really understand what they're telling me. But since my current writing projects do not involve the battle of Stalingrad, I am hopeful that recreations of that kind can be avoided."
|75 T9||The Clone Returns Home (2008) - Jan 06, 2017
"Melancholy rumination on the trauma of grief and the guilt that can follow, but, beyond that, on the prison worlds of the Unheimliche and the Unheimische, in a way that is strikingly complex and well worked out. The Tarkovsky influence is strong and obvious, and there are many connections that can be drawn to other films, but the filmmaker succeeds in creating his own aesthetic object in a gradual way that ultimately surprises the viewer with its affective power. "
|80 T9||The Cranes Are Flying (1957) - Jan 05, 2017
"The remarkable way in which the camera mediates between the protagonists and the crowd is appropriate for a film whose theme is really the relationship between the individual and the collective. Affecting tale with good performances and a beautiful lead actress. A war film with very few battle scenes, concerned more with the emotional conflicts of non-combatants, which is infinitely to its credit and rarer than one might imagine."
|70 T8||Kamen (1992) - Jan 04, 2017
"Cinema suspends the past by materialising the light that touches celluloid, and is in this way always a kind of audiovisual museum. At the same time, what is captured is first bent through one lens or another, not only suspending the relation of cinema's moving images to the world but dislocating the world as such. In this double sense, film is always a kind of phenomenological epokhe, at least in potential. This dual suspension seems to define the contours of Sokurov's aesthetic exploration."