Criticker Zealot - 5938 Film Rankings
Member Since: Mar 23, 2006
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|74 T9||Isle of Dogs (2018) - May 21, 2018|
|56 T5||Solo: A Star Wars Story (2018) - May 16, 2018
"It doesn't matter that Ehrenreich doesn't have the swagger in him (he seems like a supporting player in his own story) because nothing matters. The film is lights and sounds, betrayals and tight escapes, watchable (even magnificent) through its visual design (MVP dp Bradford Young), with capable, robust action. It will probably be remembered as a misfire, if anyone remembers it at all. But seeing it on a rainy day in Cannes felt smooth like velvet."
|30 T2||Under the Silver Lake (2018) - May 16, 2018
"A try at a mysterious, dazed, and slightly psychotic L.A. detective story that miscalculates our investment in a grungy loser's creepy fascination with conspiracy theories. Of course he's looking for a girl, or rather girls, who in fantasy sequences consistently bark at him. It's pointlessly uncomfortable, just like the anachronistic noir style that doesn't capture the chill and danger of the modern city at all. There's a stink to this film."
|64 T6||BlacKkKlansman (2018) - May 16, 2018
"Lee's political fervor is still on fire, as witnessed by Harry Belafonte's cameo retelling of an exceptionally brutal lynching. Contrasted with a Klan ritual, the outrage is both soulful and full of scorn towards America. A coda contextualizes the contemporary importance of the story with footage from the Charlottesville attack. The film plays like a historian's warning while its actual jokey drama, though always entertaining/populist, is somewhat minor and commonplace."
|69 T8||Manbiki kazoku (2018) - May 15, 2018
"Kore-eda, who in his gentle sentimentality likes to compare himself more to Naruse than Ozu, is still as reliable as the latter: luminous compositions, intimate observation, a quietly shattering ending. This family unit of grifters spends their days working low-paid jobs, stealing, gambling. Their untidy home is a haven, and by all rights shouldn't exist in this harmony for long. It takes two hours to get to that sad truth because Kore-eda likes the moments of bonding to have a lasting impact."
|23 T1||Happy as Lazzaro (2018) - May 14, 2018
"I'll give Rohrwacher that she gets a nice Olmi/Taviani homage right with the peasant society that dominates the first half. But modern capitalism keeps advancing, superseding slave labor with migrant poverty and 90s techno. Also with fey lords and wolf metaphors. All the while the magical half-wit Lazzaro keeps staring into nothing, walking without moving his arms, falling down mountains. The only paradise lost is Italian film. This is a didactic "fable" that makes you want to quit the artform."
|50 T4||Three Faces (2018) - May 14, 2018
"Ostensibly a tale about, right, three faces (show biz ones), it shows many more as extras, i.e. the country folk, those of the narrow mind, the tradition, the superstition, the wariness towards strangers. In this Iranian backland Panahi stumbles around, playing the straight man to the wacky villagers. The film starts with an amateurishly imagined suicide note and doesn't get less clumsy and opaque as it opens up. It's a tribute that made me appreciate the mysteries of Kiarostami a bit more."
|86 T10||Les filles du soleil (2018) - May 13, 2018
"Not only an utterly contemporary war movie about the ground fight against ISIS, it's also a feminine manifesto for the ages. These women's fight is not symbolic or for small victories; they fight for their blood and soul, something that is directed by Eva Husson in revolutionary poses und unsubtle but ecstatic moments of maternal heroism. In her impressionistic intensity of color and movement her boldness and poetry compares with the spiritual battle cinema of Malick."
|66 T7||Jiang hu er nv (2018) - May 12, 2018
"Tao Zhao's young wannabe gangster falls from loyalty to a man and rises again, over years and years, after prison, through ingenuity and persistance. While she does this, China parallels her movements, in all its egotism, decay and renewal. It's a great, down-hearted performance, even if her travails only amount to something like scenery in the bigger picture. Zhangke is about the mood of a nation."
|60 T6||Zimna wojna (2018) - May 11, 2018
"Pawlikowski uses great folkloric and period detail to tell an elliptical expat tale that suffers from its schematic and finally pathetic lead characters. Because they're not interesting beyond their situation in communist Poland, all the transcendent romantic imagery only leads to pat clichés and dubious choices. A love story has to turn on the inner lives of its protagonists, not the generalized, chilly distance the director treats his political pawns with."