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The Fantastic Four (1994)
Hilarious hot garbage
Terrible special effects, hokey dialouge and the worst sound ever make this a camp classic. Don't overthink it, just get blazed pop on YouTube and have a laugh.
Santo vs. las mujeres vampiro (1962)
Wow. Crap.
One of the worst films I've ever seen. Plan 9 looks like Citizen Kane compared to this. So lucid and incomprehensible with no special effects. The vampires are too funny to bear, always with their arms stretched out, turning into plastic bats that don't move. Bad really really bad, hilariously bad.
First Reformed (2017)
Adequate Winter Light remake
Let me start by saying all the reviews saying "this isn't what church life is like" are HILARIOUS. It's drama, noone wants to watch two hours of a bake sale. And little secret, no hospital is like Grey's Anatomy.
Anyway, I find it atrocious that Schroeder didn't credit Bergman, claim this film as an adaptation and that it was nominated as an original screenplay. This is so clearly a modern remake of Winter Light, even stylistically. The acting is good and the story as emotional as the Bergmann film but adds nothing new. Schroeder's decision to film in 4x3 is also perplexing to me. Perhaps this is the new equivalent to shooting in black and white OR perhaps that's where he drew the line on the Bergman rip-offs.
The Gilligan Manifesto (2018)
Clever idea, poor execution
I love the concept and the premises the film puts forward, but it's not very good. The flow of the narrative, the clips, none of it works, the whole film feels like a college PowerPoint presentation. Probably best left for history nuts
The Master (2012)
P.T. Anderson makes another under appreciated masterpiece
Often in the history of film there have been remarkable gems, hailed by few and ignored by the masses. Over time many of these gain the credit they deserve, Citizen Kane was panned by many critics at the time and only with the passing of time has its influence and brilliance been generally acknowledged. P.T. Anderson's new film The Master may not be Citizen Kane but it is certainly in the same vein. As Orson Welles modeled Charles Foster Kane after William Randolph Hearst, Anderson's new film focuses on another controversial historical figure, L. Ron Hubbard. Like Welles, Anderson treats his characters with the same mixture of examination and empathy that leaves you questioning pre- conceptions and wondering what truly defines an individual.
In post-war America Freddie Quell (played by Joaquin Phoenix) , a former soldier with an abnormal libido and a hobby of making near toxic alcohol, is wandering through life like an actor oblivious of his stage. His course takes a slight detour when he wakes up aboard a ship with Lancaster Dodd (Philip Seymour Hoffman) and his followers who make up "The Cause", a cult-ish religion clouded in the guise of science, philosophy and psychology. Dodd sees in Quell the opportunity to display the power of his new methods, and in Dodd Quell sees a mentor and hope for answers to the questions that plague all humanity.
Like many of Anderson's films the pace can often be trying and the often surreal visions expounded are certainly not for everyone's taste. Images of swirling water are only a drop in the bucket of metaphors Anderson buries his audience in. Like Anderson's last film, 2007's There Will Be Blood, gorgeous imagery and an eerie score help create a dream-like sense of bewilderment that stays with you long after the lights go up and the popcorn is stale.
Anderson's ability to craft film as art is only matched by his eye for talent. Philip Seymour Hoffman, in his fifth collaboration with Anderson, plays Dodd with wonderful simplicity that allows the complexity of the character speak for itself. With subtly and reserve Hoffman lets his character's egotism and magnetism shine through Anderson's typically biting dialogue. Joaquin Phoenix, still recovering from his 2010 film debacle I'm Still Here, gives a powerhouse performance reminding us all what was so intriguing to begin with. Somehow Phoenix makes a character who should come off as a simpleton violent alcoholic a very empathetic and human individual. In the end he is still not very likable, like many people in this world, but you can nevertheless sympathize with his mortal struggle. Whether or not Phoenix will get the Best Actor Oscar as many have discussed is still anyone's guess, especially with the multi-Oscar winning Daniel Day Lewis (who won his second Oscar for Anderson's There Will Be Blood) in the competition. Rounding out the cast is Office darling Amy Adams as Dodd's wife Peggy, who has a far more pragmatic view of the relationship between Dodd and Quell.
It is a tragedy how often brilliance is not recognized by those in its presence. P.T. Anderson with masterpieces like Boogie Nights, Magnolia and There Will Be Blood under his belt would surely be Oscar material, but he is not. After the fall when Spielberg and all the other mainstream directors release their fare Anderson's little art film will receive little attention. He may get a nod with yet another nomination, but the sad truth is that his work may simply be ahead of his time. Just as his films are too "arty" for mainstream box office success the Oscars are too mainstream for him. So maybe he won't get the award until he's thirty years deep like Scorsese or perhaps never at all, but perhaps that's okay. After all he is in good company, there have been other perfectionist film makers who never won the Best Director statue, like Orson Welles.