Film Freak - 610 Rankings
Member Since: Aug 19, 2012
Location: Florida, USA
Bio: 'Stars' rating system based on Michelin guides:
100-91 Four Stars: Must See
90-66 Three Stars: Worth a detour.
65-24 Two Stars: A good film in its category.
23-01 One Star or No Stars: Proceed at your own risk.
|50 T6||They Drive by Night (1940) - Sep 23, 2017
"A troublesome production because it is two different films, both of which could have been excellent, but neither of which is long enough to succeed separately. It starts out as a social-conscience film embracing the transition in America from the Lincolnesque Free Soil Theory of labour to the Modernity in which labour is literally proletarianised before our eyes. It then becomes a film noir dominated by Ida Lupino (who was born not very far at all from where I lived most of the time in London). "
|54 T7||The Man Who Would Be King (1975) - Sep 23, 2017
"A film about the imperial impulse and male partnerships shaped by the exact arc of the conventional historical narrative. A gender-based reading of this film is probably the most instructive, which is kind of surprising as at first glance it seems a rather flimsy structure. You get what you look for, I suppose."
|64 T8||Our Man in Havana (1959) - Sep 23, 2017
"A film of unintended consequences with a good helping of understated humour involving a convent girl. The lovable Noel Coward’s comic turn plays a few joyous visual jokes on the matter of the Englishman abroad in the tropics."
|73 T9||Hail, Caesar! (2016) - Sep 23, 2017
"I hated the philosophy underlying this film so much, yet I have spent so much time thinking and writing about it that I've given it a far higher score than I would have based on the theme alone "
|44 T5||Lord of War (2005) - Sep 23, 2017
"Visually, this Nicholas Cage vehicle, has a lot going for it right from the start. But basically it’s a modernised 1930s-era social-justice movie. A more interesting film could have been made about the father's same journey from lawbreaker to moralist."
|16 T2||Deja Vu (2006) - Sep 23, 2017
"One would think the combination of Denzel Washington, Val Kilmer and Tony Scott would produce something worth seeing, but this demonstrates that hypothesis to be gravely mistaken. Of course, expectations play a role. I thought I would see an interesting psychological thriller, but instead it was a pretty piece of sci-fi nonsense."
|95 T10||The Beautiful Troublemaker (1991) - Sep 23, 2017
"The length is absolutely necessary, and if anything is still too short. We watch at least twenty minutes of pen-and-wash sketching, about the same of charcoal sketching, and then other stages of the painter’s work, framed by the demands of the scheming Probus, who needs the painter Frenhofer to produce something he can sell. After four hours, we have some sense of just how much effort goes into making things that are worth seeing. "
|30 T3||Atonement (2007) - Sep 23, 2017
"This was a disappointing film. It’s full of tricks, using time-shifts, an impressively long tracking shot, multiple actors in the same role and, significantly, a typewriter in the soundtrack to underscore the power-relations between film-makers and film audience. In a film that’s main plot point hinges on the British class system (or does it?), this surely seems profound—except it seemed annoyingly facile."
|46 T5||Miami Blues (1990) - Aug 24, 2017
"Despite a lot of good parts, I got a sense of subtraction by addition, as afterwards the film seemed thin gruel. The emotional balance of the film rests on Baldwin’s fulfillment of the dreams of Leigh, and the tension between his life of crime (and the means by which he succeeds). These scenes are quite short in comparison with the set-up, and we never quite manage to get the scales level before the contradictions compel the denouement."
|45 T5||The Kidnapping of Michel Houellebecq (2014) - Aug 24, 2017
"A commentary on the media, turning their version of events into a reality. It is a succession of conversations tied to themes of transactions—such as between men and women, cooks and diners, writers and audiences, states and nations and even kidnappers and victims. And, of course, once the word ‘transaction’ is deployed we bring into view a critique of Capitalism"