Criticker Zealot - 5875 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...
|83 64%||The Lost Daughter (2021) - Jan 23, 2022
"Seems scattered and disorganised in the moment, but is actually methodically and deliberately paced and plotted, finding an ideally cast Colman playing a character so strangely disconnected from her own reality. Much more interested in a portrait of moody anxiety than attempting a traditional character study, this feels like a throwback to abstract 70s film-making; if the mid-section occasionally threatens to collapse under its own opaque pretensions, it still remains captivating and compelling."
|61 18%||The Handmaid's Tale (1990) - Jan 22, 2022
"A compelling vision of a dystopic “futuristic” world, which strips back any sci-fi sensationalism to focus on its themes of misogyny and dehumanisation which provides (at least initially) a visceral critique of social culture. Unfortunately little effort is made to explore the world created; with Richardson a not especially compelling heroine, the film rests on a terrific Dunaway and Duvall; Duvall is especially good as a blithely clueless incarnation of the thoughtless abuses of the patriarchy."
|65 24%||Being the Ricardos (2021) - Jan 22, 2022
"A seemingly perfect showcase for an excellent Kidman and Bardem falters due to Sorkin’s scattered and unfocused screenplay, feeling like a limited series pruned down to feature length; the multiple plot threads (Lucy vs HUAAC, Lucy vs. Desi, the social culture of 50s Hollywood) could each sustain their own feature, and in hopping between them, the film feels frazzled and incomplete. It’s still a delight to watch the fine cast at work, complemented by the beautiful cinematography and design."
|73 40%||Van Helsing (2004) - Jan 22, 2022
"It’s silly and overlong, and falls to pieces during the numbing CGI-fest of a third act, but still a lot of fun, with Jackman’s stolid Van Helsing and Beckinsale’s overly coiffed heroine balanced by Roxburgh’s delightfully hammy Dracula; he basically steals the film, giving it a much needed shot of energy whenever spirits start to lag. It’s the first act which works best as it gently tips its hat to Bond – love the opening briefing (replete with overheads) by Armstrong’s Cardinal!"
|81 60%||The Door in the Floor (2004) - Jan 21, 2022
"Quietly searing and painful character study of grim and unpleasant characters is (pardon the metaphor) like watching an emotional car wreck gradually come into focus; both Bridges and Basinger are in superb form and keep their ugly characters watchable and at least understandable, but their “George-and-Martha” gone bitter and acrimonious dynamic makes the film tough going, especially as they relate to Foster’s bland and underwritten audience surrogate. Fascinating but not necessarily enjoyable."
|59 15%||The AristoCats (1970) - Jan 21, 2022
"Bland Disney entry is genial to a fault and a pleasant watch, but its lack of conflict or any sort of edge leaves it largely unmemorable; might have gotten a higher score but for the simplistic (and somewhat ugly) animation style, an unfortunately common stylistic choice by Disney during this period. A fun voice cast provides some compensation (you can’t fully hate any movie that features Crothers!)"
|16 1%||Allen v. Farrow (2021) - Jan 20, 2022
"Can't remember if they discussed Mia’s Valentines Day card before or after Annie Hall… Whatever your feelings are about this case, which is indeed a complex and weedy one, it is difficult to view this as anything other than an imbalanced, shoddy attempt at procedural; while it never claims to be impartial, its slimy and off-putting sensationalised telling of serious, disputed, criminal events that were never pursued criminally, apparently with the prosecutor’s consent(!) leaves a bad aftertaste."
|70 32%||The Tragedy of Macbeth (2021) - Jan 20, 2022
"Interesting adaptation finds Coen perhaps intimidated by the text and eschewing any “typical” Coen stylistic flourishes instead echoing the Welles version (and even Olivier’s HAMLET). Washington and McDormand are fine, if not electrifying – both struggle with projecting the snowballing madness of their characters; tellingly their final scene “together” is almost bizarrely bereft of any true emotion! Dystopic, black & white cinematography is a definite plus making for a lumpy but worthwhile brew."
|61 18%||Shiva Baby (2021) - Jan 18, 2022
"Portrait of social anxiety as claustrophobic horror film is interesting at first, with a jarring, glass-edged score doing much to increase the tension and growing disconcertion of Sennott’s lead. Begins to slide off the rails when Deferarri enters the frame proper; his connection to the main plotline seems forced and contrived at best, and signals the start of a pile of manufactured (and overblown) plot developments, which are ultimately not interesting enough to warrant the level of drama."
|60 16%||Hardcore (1979) - Jan 17, 2022
"Typical Schrader screenplay dealing with masculinity and how it mashes uneasily within social power structures; unfortunately we get little to no insight into Scott's straight-backed god fearer (outside of his superficial disgust) and no insight into what it means for this character to engage with (and enjoy?) entering this alien world. Two terrific performances from Scott and Boyle are somewhat redemptive, with Boyle emerging as the most intriguing (and charismatic) character of the piece!"