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djross

Celluloid Junkie - 3737 Rankings

Member Since: Apr 15, 2006

Location: Melbourne, Australia

Age: 46

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://yachaytech.academia.edu/DanRoss

more Recent Rankings
55 T6 Camelot (1967) - Feb 20, 2017
"How did I forget to score this one?"
35 T2 Man of Steel (2013) - Feb 11, 2017
"The child of a philosopher-king is expelled from the Republic, which is collapsing due to accepting Plato's dogmatisation of the questioning Socrates. As he matures, he initially agrees with the latter's preference for accepting the consequences of citizenship regardless of cost, but ultimately he rejects the tragic conception, engaging instead in a search for kleos that transcends the need to sacrifice himself for the City, instead raising himself above it in a triumph of modern individualism."
55 T6 Weiner (2016) - Feb 10, 2017
"There will always be people who say the moral here is about politicians who betray the public's trust, but the real lesson is for the famous: never trust the public, because there will always be those among them for whom you are merely the stepping stone in their own desperate hunt for celebrity and fortune. That said, Weiner's attention-loving shamelessness is also the source of his peculiar kind of honesty, even though he clearly comes across as the professional, cynical politician type."
60 T7 Penn & Teller: Fool Us (2010) - Feb 04, 2017
"Usually contains good stuff."
25 T1 Interview with a Murderer (2016) - Feb 04, 2017
"With zero evidence presented, this is reduced to some kind of pointless "battle of wills" motivated by a shared thirst for television celebrity. The criminologist comes across as self-important, manipulative and irresponsible. If Spencer's ex-wife hadn't made a sudden appearance at the end (how this came about is left unexplained), the program would consist of precisely nothing: as it is, it adds a fresh tidbit of hearsay. Is this really how criminology is supposed to work, or just on TV?"
45 T4 Don't Breathe (2016) - Jan 31, 2017
"A Uruguayan outsider tries to give his American audience what he thinks it wants, in this instance a highly sanitised portrait of the criminalising effects of urban decay on contemporary youth, and a portrait of veterans of the Iraq conflict as lying somewhere midway between battle-forged superheroes and disfigured monsters. Hungary has never looked more beautiful."
75 T9 Diary of a Chambermaid (1964) - Jan 30, 2017
"Like Musil or THE SERPENT'S EGG, or indeed like CABARET, this is about the insidious foreboding of something awful rising inexorably. This remains highly pertinent today, not because of the decadence of bourgeois culture that was Buñuel's target, since this has now been eradicated, but rather because of the decay of industrial democracy itself. Perhaps for this reason, the film seems to possess a renewed capacity to shock, in its evocation of the early signs of an onrushing torrent of events."
40 T3 Ekusute (2007) - Jan 20, 2017
"Focused on female characters and concerns that are a little more interesting than usual, and it would be possible, I suppose, to read some kind of psychoanalytic significance into the ideas and images, or to see the film as reflecting on the uncanny aspects of Japanese youth culture, but as a horror movie it is hard to take seriously and as a parody it's not amusing enough."
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."
35 T2 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."