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0 film ratings
sellis

Cinema Addict - 2258 Film Ratings

Member Since: Jan 11, 2009

Location: Omaha, Nebraska, USA

more Recent Ratings
91 88% Toni Erdmann (2016) - Dec 08, 2019
"This, along with the works of Ruben Ostlund and Yorgos Lanthimos, stands as one of the great social satires of the decade. I like how messy it is; it does not feel as long as its runtime. I wish I could go back in time and make myself see this with an audience, because I'd imagine it'd heighten the first viewing to another level of greatness. How quickly and smoothly this transitions from farcical to moving. Haven't seen anything quite like it."
86 77% Honey Boy (2019) - Dec 08, 2019
"Despite the narrative's amorphous shape and sputtering pace, the personal nature of the material allows for an intimacy and complexity of character psychology. Some of the best cinematography and editing of the year, along with dynamic performances all around - Hedges and Jupe, not to mention Shia LeBeouf in, without question, the best performance of his career. Proof that authenticity always wins against originality, even leading to it in examples such as this."
67 36% Once Upon a Time in Anatolia (2011) - Dec 07, 2019
"It's grating when a movie presumes its characters' every utterance will be spellbindingly fascinating without earning it. I didn't sense any coherent thematic conversation occurring in the 2 1/2 hours it takes for one basic plot event to happen. Characters explicitly mention "the sins of parents" but does the film explore this? Saying stuff isn't exploring stuff. However, cinematogs are cool. The shot after the opening credits = sublime. So - nice imagery. Awful story (or I'm missing something)."
93 92% The Act of Killing (2012) - Dec 05, 2019
"Probably Michael Haneke's favorite documentary. It says everything he tried to say with Funny Games but with the grisly details of real world psychology and one nation's violent delusion. This film is about the distance used to manipulate our moral perception of reality. This relates to not only the subjects being filmed, but the filmmaker himself. He respects his subjects' perception until, finally, he is asked to share his own. The last fifteen minutes of this film are unforgettably powerful."
74 48% The Laundromat (2019) - Dec 04, 2019
85 75% The Turin Horse (2011) - Dec 03, 2019
"The apocalyptic version of Jeanne Dielman. Moments of joy, connection, or any semblance of hope at the beginning may create a more dynamic, powerful experience. However, I'm sure this is not at all what Tarr was intending with this piece. For being so concerned with banality, no routine is shot exactly the same way and a transcendent spell is cast in the at once fluid and still lives of these empty people. A beautifully visualized tone poem, but not close to Tarr's best."
88 83% Marriage Story (2019) - Dec 01, 2019
"As a raw a drama as Baumbach is likely ever to make. In recent years, he's tackled social satires, screwball comedies, and generational snapshots. Here, he's focused on an agenda-less and faultless portrait of lost love. At times, so simple it feels vague. The performances bring specificity to it, creating emotionally complex characters out of what at times feel like placeholder archetypes. The karaoke, knife, and climactic argument scenes are powerful. Driver and ScarJo captivate."
82 67% Knives Out (2019) - Nov 30, 2019
"A good-hearted, fun movie. Heavy on idiosyncrasies in the ensemble though not finding a way to fully utilize them. The story works in its use of its main character’s intentions. This provides a nice balance to what might otherwise feel like a convoluted machine of a plot. Humor works well and there’s some nice setup/payoff sprinkled throughout. I’m not sure if the subtext of illegal immigration does anything other than serve as a device, but it feels excusable. Solid entertainment"
74 48% The Irishman (2019) - Nov 27, 2019
"Redemptive final hour saves this. A painful first hour stumbles with de-aging, but mostly because the story drags - partly in the roadtrip structural device. Characterization is replaced with awkward stammering and forced emotion. Pacino provides much needed intentional energy. DeNiro and Pesci feel most comfortable and nuanced in old age; the artifice is finally stripped away. If the film were about artifice, this would be justifiable. In the end, this slog of a reunion only works in theory."