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  • Historic Centre

    Historic Centre 2012

    ★★★ Watched 19 Apr, 2015

    In order of preference:

    1. Oliveira (*** 1/2)
    2. Costa (***)
    3. Kaurismaki (***)
    4. Erice (** 1/2)

    Interestingly consistent amalgam of four of the world's foremost filmmakers (two native and two foreign), focusing on a single Portuguese city. All look backwards, jaundiced by history and changes wrought by technology and the shifting tide of modernity, with only Oliveira and Kaurismaki, as are their wonts, deriving any wry, deadpan satisfaction from these examinations. It's also noteworthy that their segments are…

  • Horror Express

    Horror Express 1972

    ★★½ Watched 26 Oct, 2014

    Dictated in a Facebook movie game for October by Andrew Madsen:

    HORROR EXPRESS is an odd, misshapen but intriguing duck, structured like the hurtling Trans-Siberian Express of the title as a series of discrete horror tropes only cursorily connected together. Starring Christopher Lee and Peter Cushing as gently rivalrous scientist colleagues, the Spanish-UK co-production could be easily mistaken as a product of Hammer Films, that groundbreaking British studio that made stars of them in the 50s and 60s and combined…

Popular reviews

  • Jodorowsky's Dune

    Jodorowsky's Dune 2013

    ★★½ Watched 01 May, 2014 2

    Could this have been a game-changing psychedelic, philosophical sci-fi epic of gargantuan proportions, somehow bankrolled by a Hollywood studio? I guess, but I sure as hell wouldn't have ponied up the money for a project like this, with only a weighty scrapbook and a surrealistic supergroup helmed by an excitable madman to recommend it.

    The movie itself is badly-shot auteur-stroking of the highest order, as indulgent of its subject as Jodorowsky is of himself, but the art and imagery do…

  • In the Cut

    In the Cut 2003

    ★★★★ Watched 08 Aug, 2013 2

    A drifting intellectual late-bloomer's sexual awakening in the guise of an erotic thriller, unfairly if understandably maligned by viewers hoodwinked by advertising and unaccustomed to whodunits slathered in atmosphere and psychology at the expense of rollercoaster theatrics, put off by a reckless and glistening camera too busy charting the headspace of isolated and sexually paranoid Meg Ryan (fearless and vulnerable and as willing to shed her on-screen past as her character is to shed her depressed, idealistic innocence) faced with…