Criticker Zealot - 5594 Rankings
Member Since: Apr 26, 2008
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|85 T8||Baby It's You (1983) - Jul 27, 2017
"One big scene set to "She's the One", another to "Adam Raised a Cain"—in a movie set in the mid-60s—but it's Sayles so his Jersey rats only get their apocalyptic teenage romanticism till they realize what class is. And then a little bit after that, because he knows there's no ideology without poetry. (NEBRASKA had just come out, after all.) Ballhaus and Arquette A+++"
|85 T8||A Lady Takes a Chance (1943) - Jul 26, 2017
"For a good stretch in the first half this is the greatest more or less, with a very horny Arthur given ample opportunity for just about everything she did best (and was the best at doing) while Seiter crams in a welcome ton of visual puns and reality-bending slapstick (that barfight). Then it takes a bizarre turn into the maudlin when Arthur puts Wayne's horse in the horsepital by stealing his blanket in the middle of the night and never quite recovers. (The horse, unfortunately, does.)"
|85 T8||Side/Walk/Shuttle (1992) - Jul 24, 2017|
|75 T6||Lies My Father Told Me (1975) - Jul 20, 2017
"Alternately charming/irritating—often in the same line—film of childhood written by LOVE STREAMS' Ted Allan, offering truly one of the most repulsive characters ever, based on his own father, a greasy conman who berates his family for his own incompetence—and whose doomed ventures are then well-woven into Grandpa's reluctant Marxist initiation. A rare narrative film that treats Marxism seriously (Allan walked the walk). And not for nothing, one of the all-time great titles (oft-'homaged')."
|75 T6||Ikiru (1952) - Jul 19, 2017|
|30 T2||Black Robe (1991) - Jul 18, 2017|
|60 T4||Dreamland (2006) - Jul 16, 2017|
|25 T2||Endgame (2015) - Jul 16, 2017|
|80 T7||Remember (2015) - Jul 16, 2017
"Having recently read Arendt's account of sloppy Jewish vengeance incompetently disguised as statecraft, it was perversely cathartic to experience vicariously bloody revenge both ingenious and shameless, in a manner quite distinct from anything Tarantino. The fabulistic elements present in Egoyan's previous two films are fully-realized, especially Zev's encounters with children (of all ages) and the final confrontation with our earliest and most cherished myth. Much more Malamud than MEMENTO."
|60 T4||Serious Moonlight (2009) - Jul 14, 2017
"Cheryl Hines directs a leftover Adrienne Shelly script, adequately for the most part, but I wish she'd starred, too. It's not that I don't like Meg Ryan. Well, yeah, I guess it kinda is. Shelly evidently felt that there was still more mileage in the woman-kidnaps-man-into-loving-her dynamic after I'LL TAKE YOU THERE, and there are indeed even more jarring tonal shifts and re-writing of romcom conventions. But it never comes together and ends like a half-baked New Yorker story circa 1995."