Filligan
Cinema Addict
Member Since: 30 Mar 2006
Location: BC, Canada
Bio: How I rank simplified:
95-100 = 10
85-94 = 9
75-84 = 8
65-74 = 7
55-64 = 6
45-54 = 5
35-44 = 4
25-34 = 3
15-24 = 2
5-14 = 1
0-4 = 0
Follow me on Twitter where I'm always chattin' about film/TV, sometimes with regular punctuation, sometimes not -- what more could you ask for?? https://twitter.com/DustyBuurd
95-100 = 10
85-94 = 9
75-84 = 8
65-74 = 7
55-64 = 6
45-54 = 5
35-44 = 4
25-34 = 3
15-24 = 2
5-14 = 1
0-4 = 0
Follow me on Twitter where I'm always chattin' about film/TV, sometimes with regular punctuation, sometimes not -- what more could you ask for?? https://twitter.com/DustyBuurd
Recent Ratings
Check out Filligan's...
The Substance (2024) - Rated 11 Jan 2025
"The unholy child of Kubrick and Cronenberg, but with its own kinetic identity and sense of humor. Difficult to recap all of the varied noises this squeezed out of me. It doesn't matter how much you think you can endure or if you think the film has gone far enough, if you think it should've ended earlier -- it hasn't, it won't, and you're only gonna make it if you succumb to the lunacy and laugh hysterically."
Anora (2024) - Rated 11 Jan 2025
"Best to go into this as blind as possible. I didn’t know what a rollercoaster this would be, but the highs kept getting higher and the script kept me guessing. Much of this, especially the first act, is shouldered by Madison, who by frame one feels larger than the film feels ready to handle."
Trap (2024) - Rated 11 Jan 2025
"Funny reaction to this one. Shyamalan played his full hand early on, but that seemed to only exacerbate an expectation amongst some viewers that a huge twist was imminent. I just came along for the ride and had a good time. Hartnett is bonkers. Loaded with little touches of personality and humor that are so indicative of why Shyamalan is still worth watching."
Juror #2 (2024) - Rated 11 Jan 2025
"With Eastwood, more often than not, his films are about as good as their screenplays, and Juror #2 isn’t bad for a concept piece (“what if Henry Fonda was the killer?”). It feels like a first-time screenplay; too many bits of antiquated dialogue, like it was originally written as a play or overtly influenced by certain 50s courtroom masterpieces. The ending also feels half-baked—a desperate concession after the writer boxed himself in by the concept. It'll hold your attention."
I Saw the TV Glow (2024) - Rated 11 Jan 2025
"I think the Donnie Darko comparisons are wonderful. Few films can touch the bizarre and unique and dreamy sensations that Donnie Darko inspires. I'm sure Schoenbrun was influenced by it, but I hope they wear the glowing comparisons as a badge of honor. It means they crafted lightning; oozing atmosphere to the point of enchantment; a film with an immense sense of self."
The Thomas Crown Affair (1999) - Rated 11 Jan 2025
"I'm sure everyone's mom loves this."
Analyze This (1999) - Rated 11 Jan 2025
"Like Meet the Parents, this has about five good jokes, all of them used in promotional materials, and, well, hopefully you'll find the rest of this interesting. Crystal and De Niro both get a chance to goof around but, I dunno; Michael Scott ordering gabagool is funnier than anything here so maybe just rewatch The Office for the ninetieth time, you depressed bastard."
Grumpy Old Men (1993) - Rated 11 Jan 2025
"Look out! Almost-dead Walter Matthau puts on a nice plaid shirt while "I'm Too Sexy" plays! Outrageous!"
A Complete Unknown (2024) - Rated 11 Jan 2025
"A Complete Unknown is smart enough not to pull the thread on Dylan's identity. To dig into where he came from would undermine that persona, which is so entwined with the way people see and idolize him. But the film also tepidly recognizes that persona makes him kind of a cringey asshole. For both the film and real life, you kinda have to sit there and eat it because his music really is that good, goddammit."
Nosferatu (2024) - Rated 11 Jan 2025
"I swear this isn't normal for me, but for much of this film my general reaction was something like: "This is great. Coppola did it better." There's a delicateness here. The detailed and deliberate artistry almost lend to a weakness of verisimilitude, like a window to the choices made as opposed to their ultimate goal to immerse viewers. It's not enough to break the film (obviously, based on my score), but it does leave the film feeling a bit fragile. Look at it long enough and it might break."
