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  • Ghoulies II 1987

    ★★ Watched 15 May, 2013

    A cross between Gremlins and Meet the Feebles, professionally looking Ghoulies II sees a gang of demonic creatures wreak havoc in an amusement park, killing its personnel and unsuspecting visitors. With a surprisingly un-ironic approach it attempts to get a broad range of reactions out of its viewers (odd considering the silly premise) but largely failing to hit he right notes, what could have been an entertaining time turns into a pile of blandness that doesn't have quite enough of anything, neither comedy nor gross scares or for that matter romance.

  • Flirt 1995

    ★★★ Rewatched 12 May, 2013

    Hal Hartley's experimental indie drama Flirt consists of three variations on a simple relationship-based plot, each filmed between 1993-1995, one segment each year in a country on a different continent with a different cast and crew acting in and shooting them. It's competently presented with Hartley's trademark style all over it, but less funny than his best output. The self-awareness component, a key feature in all of his films, is probably more overt than usual, as the characters not only…

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  • The Royal Tenenbaums 2001

    ★★★★★ Rewatched 14 Jan, 2013 4

    Wes Anderson's films are known primarily as Wes Anderson films, which is not very surprising seeing as he has developed his very own style, consisting of symmetrical colorful photography/art direction infused with sweet sounding pop songs, a combination that it takes mere seconds to recognize as distinctly andersonsonian. When looking back it's clear though that it was Anderson and Owen Wilson as a pair that had something really special going in the late 90s and early 00s. It was their…

  • Black Swan 2010

    ★★★★ Watched 25 Dec, 2010 1

    What begins as a classic fairy tale with rivalry between noble, overly sensitive ballerina and a free-spirited dancing partner, guilt-inducing mother and a character that resembles an evil queen with cruel intentions (Cassel's dirty minded instructor), derails via the more mature themes of personality disorder, sexuality and mutation, slowly and steadily into a beautifully controlled, complex mess. Neither Portman nor Aronofsky has ever been better.