Celluloid Junkie - 3379 Rankings
Member Since: Dec 29, 2008
Location: Brasília, Brazil
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|40 T2||Krisha (2016) - Jun 25, 2017
"Empty exercise of style disguised as the family's black sheep on a journey (back) to hell. Just bland cinema of DISCOMFORT (lol) and unease perfectly slated for festivals and arthouse crowds. The score makes it worse than it should be."
|70 T7||Staying Vertical (2016) - Jun 23, 2017|
|35 T1||Demain tout commence (2016) - Jun 21, 2017|
|45 T3||It Comes at Night (2017) - Jun 20, 2017|
|45 T3||War Machine (2017) - Jun 19, 2017
"Rise and fall of a strange old war dude that happens just another tool in the industry of war -- he is there not actually to keep things rolling, but to end it. As a true WAR DUDE, he can't help act in favor of his troops and set things in motion as if he were on an actual battlefield against enemies in suits -- instead, he sees himself in a place where they are just the invaders full of empty promises. Michod can't quite set the right war satire performances, but most of the cast actually work."
|65 T7||20th Century Women (2016) - Jun 17, 2017
"Mills can't help but drop names, books, cult references and old historical memorabilia, even PSYCHEDELIC FILTERS and his usual accelerated images and this almost ruins it. It's really the cast that holds most of this period piece about three women (one born before WWII, a grown-up who lived through the 60s madness and a young cynical girl) experiencing the life of a bright and gentle teenage boy. Maybe too self-celebrative, but still beautiful when it is able to breathe pure life movement. "
|75 T8||A Man Apart (2003) - Jun 15, 2017
"FGG makes films like he's shooting Ice Cube videoclips. Combines mid-aerial shots with handheld to create a rare sober revenge. It all points to this DEA street smart agent becoming a monster to catch a monster -- as he is told by a drug lord. But instead of a path of empty violence, he uses the law in his favor, in a rare twist that dares to be low-key instead of bloated. FGG is a truly good director in conveying surprise finales in actioners, actually. An auteur that likes to have some fun."
|40 T2||Life (2017) - Jun 13, 2017
"It's really weird how this starts so graceful and promising -- oh a scientific take on extraterrestrial life? -- and then falls apart by doing the exact things you expect -- which is copying better space horror movies and admitting the idea of being just a battle for the survival of species instead of something deeper. The surprise finale please-I-want-to-be-a-franchise is also a bummer."
|50 T4||Aileen: Life and Death of a Serial Killer (2003) - Jun 11, 2017
"More a personal account of a filmmaker's experience -- is she honest or performative? -- and obsession in interviewing her than actually a life-and-death film. Aileen provides catchy testimonies -- one time she's sober, in the last conversation she talks about crooked cops and tells that Iraq will destroy US in 2019 --, but Broomfield is maybe too control freak to let the movie breathe. Aileen was such a fan of Independence Day that in her final words she said she would return in Emmerich-style."
|65 T7||After the Storm (2016) - Jun 10, 2017
"A storm may bring tragedy, but also a family together (at least for a few hours). Koreeda stages every gesture in the tradition of japanese melodrama -- still cam, light and powerful feelings, a complex mix of guilt, love and concern --, but he also seems too eager to forge situations in order to make his characters change and talk things over -- like the tormented, flawed, gambling-driven writer trying to sleep with his ex-wife out of the blue or the late discover that his dad loved his work."