Celluloid Junkie - 4183 Film Ratings
Member Since: Oct 21, 2010
Bio: "The complete filmgoer is open to the movie on the screen, and asks it to work in its own ways for its own purposes. He does not fault one for not being the other, but is grateful for both if they are successful." - Roger Ebert, Review of "Keane" (2004)
Check out glumpy_99's...
|38 3%||The Matrix Revolutions (2003) - Jun 16, 2019
"Both MATRIX sequels represent a monotonous rehash of ideas more skillfully (and subtly) explored in the first film, with dull, lethargic action scenes awkwardly interspersed from time to time (even the much ballyhooed freeway chase and multiple Smith confrontations are pretty tired). For a stoic, ineffectual hero, Reeves' participation here still seems dead on arrival; there are long periods of time where you have to remind yourself that Keanu is the nominal star of these things!"
|38 3%||The Matrix Reloaded (2003) - Jun 16, 2019
"Both MATRIX sequels represent a monotonous rehash of ideas more skillfully (and subtly) explored in the first film, with dull, lethargic action scenes awkwardly interspersed from time to time (even the much ballyhooed freeway chase and multiple Smith confrontations are pretty tired). For a stoic, ineffectual hero, Reeves' participation here still seems dead on arrival; there are long periods of time where you have to remind yourself that Keanu is the nominal star of these things! "
|69 26%||Whiteley (2017) - Jun 16, 2019
"Reasonably engrossing documentary dips a little too often into uncritical assessment of the behaviour of the 'tortured'/'bohemian' artist - a more frank and honest dissection of Whiteley's personality in this regard would have made for a better film. Still this is a fun tour through the eccentricities of outsider artists in the 60s-80s in Australia and abroad, just disappointing that it does not bring sharper insight to its intriguing subject."
|84 63%||Sunset Song (2015) - Jun 16, 2019
"*SPOILERS* Beautifully and elegantly filmed portrait of suffering and abuse is outstanding for about an hour, thanks to Mullan's exceptionally brutal, yet not unsympathetic portrait of ugly masculinity. Deyn is then left to carry the film proper for the most part, which she does well, however the change in personality of Guthrie's soft-spoken husband undermines the film in the latter stages, because we never get a sense of the experiences he has endured to motivate such a radical change."
|67 22%||The Cars That Ate Paris (1974) - Jun 13, 2019
"Oddball Ozploitationer is a languid mix of WAKE IN FRIGHT and MAD MAX but can't compete in the same ball park; intriguing premise and story ideas are left underdeveloped (or inconclusive); performances are adequate, with only future MAX alumni Spence bringing a memorably sinister spin to his village idiot role. Would likely vanish into obscurity without Weir's involvement, but it's surprisingly hard to see the master's fingerprints here (especially given HANGING ROCK was only two years away)."
|30 2%||The Lovely Bones (2009) - Jun 13, 2019
"Unpleasantly wrong-headed take on admittedly difficult material is an overindulgent mess; cloying fantasy scenes in purgatory clash uneasily with the earthbound sequences which do a reasonable job dealing with the grieving family, bizarre digressions and interludes aside (Sarandon's Mrs Doubtfire musical sequence is the most tonally peculiar). Tucci's transformative performance is arguably the highlight, but even he is burdened with a garish make-up job which renders the character unconvincing."
|62 16%||The Smurfs 2 (2013) - Jun 11, 2019
"Same song second verse is, like its predecessor, fairly easy to take and benefits from Azaria's blatant (but entertaining) scenery chewing and the genial likability of the Smurfs themselves, though the action/slapstick sequences in the middle and end are a little painfully noisy and hectic at times. Some unnecessary plot convolutions detract (was it really necessary to make Gleeson Harris' *step*-father?). Bouncy and entertaining enough not to be a trial to older audience members!"
|77 43%||One Day (2016) - Jun 10, 2019
"Largely enjoyable romantic comic drama has some considerable credibility hurdles to overcome (especially the laughably arbitrary nature of Nui's 'disease'); the awkward charm of Dhanasevi almost helps you forget the troubling romanticising of his pretty insidious gaslighting. Still, it's a fun if often rambling good time, with the ski-town where the bulk of the action takes place providing an attractive back-drop for the would-be lovers."
|92 80%||The Hunt (2012) - Jun 10, 2019
"Searing, provocative consideration of the stigma of false accusations may have played as melodrama in a pre-#MeToo world, but feels all too real when contemplated in the context of the movement's more reactionary quarters. Superbly performed all round, anchored by Mikkelsen's haunting and sympathetic performance. Dogme sensibilities are well utilized here, providing an appropriately grim and oppressive atmosphere as things turn ugly."
|97 90%||Perfume: The Story of a Murderer (2006) - Jun 08, 2019
"What a stunning, gruesomely dark (and funny) tale; Tykwer ploughs straight through material which must have seemed unfilmable, creating a deliberately paced, haunting, even sympathetic adaptation of grotesquerie; Whishaw's withdrawn, enigmatic performance is a synecdoche for the film proper, though Hoffman and Rickman (as key figures in Grenouille's life) are notable for their more vividly passionate performances. A strange masterpiece, difficult to grapple with in the immediate aftermath."