*Anon*’s Film Reviews
8 Films have been rated or reviewed by *Anon*.
Predicament (2010)
Well–pitched performances from Clement and Frost, along with a heightened sense of 1900s gothic panic pervading Stutter's cinematography and production design, overcome uncommitted performances from Franklin and Finn and a sense of unusual slightness.
Once Upon a Time in the West (1968)
A classic without compare. With a perturbing strain of misogyny acting as the sole mark against its name, Leone's impeccably–constructed spaghetti western is as entertaining and as questioning of Western mythos as its title suggests.- DVD
$25$18.75 
Exit Through the Gift Shop (2010)- Banksy proves himself a smarter and more interesting artist than his street art suggests, his cleverly metafictional doco interrogating what constitutes art and how it's valued with a wry sense of humour and a vibrant aesthetic.
Teenage Paparazzo (2010)
One of the major disappointments of the NZIFF 2010. Grenier intrudes on his naturally–interesting subject with redundant observations that wouldn't be out of place in an uni philosophy class, and his smug attempts at deeper analysis ring painfully hollow
Capricorn One (1978)
Hyams' script cleverly deconstructs and mocks the entire vocabulary of the conspiracy theory in this knowingly absurd thriller, but his devotion to the trappings of the 70s conspiracy film undermines it with a plodding, disengaged investigation subplot.
Manchurian Candidate, The (1962)- A borderline–incompetent first act soon gives way to a tightly–wound political thriller pitched halfway between hallucination and documentary, a film that remains eerily prescient today.
Avatar (2009)- Despite Cameron's apparent 'game–changing' 3D environments (which is somewhat appealing in how vivid it is), the action inside his multi–planed world is painfully dragged out. The cast, flaccid; the symbolism, obvious; the themes, ethically dubious.
Kings of the Road (1976)- Wenders' leads are often too petulant and snarky for their own good, but the stunning black–and–white cinematography and easy–going pace help sell Wenders' concerns about the breakdown of communication in 1970s Germany in a respectful and often funny way.
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