Apireon
Joined Aug 2011
Welcome to the new profile
Our updates are still in development. While the previous version of the profile is no longer accessible, we're actively working on improvements, and some of the missing features will be returning soon! Stay tuned for their return. In the meantime, the Ratings Analysis is still available on our iOS and Android apps, found on the profile page. To view your Rating Distribution(s) by Year and Genre, please refer to our new Help guide.
Badges5
To learn how to earn badges, go to the badges help page.
Ratings5.3K
Apireon's rating
Reviews53
Apireon's rating
I went into The Heart Is Deceitful Above All Things without knowing much, and came out deeply affected. This is one of those raw, emotionally brutal indie films that leave a mark, whether you want it to or not. Based on JT LeRoy's (or rather Laura Albert's) controversial novel, the film paints a deeply unsettling portrait of a boy thrown into chaos and abuse, and it does so with shocking honesty and visual grit.
Asia Argento directs and stars, and what she assembled here in terms of cast is surprising. Aside from herself, we see performances by Peter Fonda, Jeremy Renner, Ben Foster, Michael Pitt, Kip Pardue and Marilyn Manson in unexpected roles. Still, it's young Jimmy Bennett who truly carries the film. His performance is nothing short of remarkable. Vulnerable, raw and heartbreakingly authentic, he plays Jeremiah with such emotional depth that it's impossible not to feel deeply unsettled by what unfolds. That level of emotional commitment from a child actor is rare. It hurts to watch, and it should.
The film breathes white trash Americana - motel rooms, truck stops, dingy diners - but never feels stylized. It feels lived in. Real. Every bit of pain, neglect, and desperation comes through. You watch as Jeremiah becomes collateral damage in a world ruled by addiction, selfishness, and generational trauma. Whether it's emotional abandonment or physical abuse, the film doesn't look away, and neither can we.
The central relationship between Jeremiah and his mother is both the heart and the wound of the film. Asia Argento walks a fine line here. The film often feels like it's questioning itself - is this exploitation, or is it a desperate plea for empathy? Maybe it's both. There are scenes here that are hard to sit through. And yet, they never feel gratuitous - more like the honest horror of a child's reality.
Watching this today, it's impossible not to be aware of the later controversy between Jimmy Bennett and Asia Argento. I won't go into details or speculate, but knowing what surfaced years later adds an undeniably complex, uneasy layer to the viewing experience. It makes you think about the fine line between art and reality, and about the emotional costs for everyone involved in telling stories this raw.
If you're looking for a feel-good drama, stay far away. But if you want something that grabs you by the throat and makes you feel something real, even if it's painful, this is worth your time.
It's a film that doesn't offer comfort or easy redemption. Just a scream into the void of a childhood lost - and the quiet question of what could have been.
Asia Argento directs and stars, and what she assembled here in terms of cast is surprising. Aside from herself, we see performances by Peter Fonda, Jeremy Renner, Ben Foster, Michael Pitt, Kip Pardue and Marilyn Manson in unexpected roles. Still, it's young Jimmy Bennett who truly carries the film. His performance is nothing short of remarkable. Vulnerable, raw and heartbreakingly authentic, he plays Jeremiah with such emotional depth that it's impossible not to feel deeply unsettled by what unfolds. That level of emotional commitment from a child actor is rare. It hurts to watch, and it should.
The film breathes white trash Americana - motel rooms, truck stops, dingy diners - but never feels stylized. It feels lived in. Real. Every bit of pain, neglect, and desperation comes through. You watch as Jeremiah becomes collateral damage in a world ruled by addiction, selfishness, and generational trauma. Whether it's emotional abandonment or physical abuse, the film doesn't look away, and neither can we.
The central relationship between Jeremiah and his mother is both the heart and the wound of the film. Asia Argento walks a fine line here. The film often feels like it's questioning itself - is this exploitation, or is it a desperate plea for empathy? Maybe it's both. There are scenes here that are hard to sit through. And yet, they never feel gratuitous - more like the honest horror of a child's reality.
Watching this today, it's impossible not to be aware of the later controversy between Jimmy Bennett and Asia Argento. I won't go into details or speculate, but knowing what surfaced years later adds an undeniably complex, uneasy layer to the viewing experience. It makes you think about the fine line between art and reality, and about the emotional costs for everyone involved in telling stories this raw.
If you're looking for a feel-good drama, stay far away. But if you want something that grabs you by the throat and makes you feel something real, even if it's painful, this is worth your time.
It's a film that doesn't offer comfort or easy redemption. Just a scream into the void of a childhood lost - and the quiet question of what could have been.
The Celebration (1998) - 8/10
The Celebration (Festen) by Thomas Vinterberg is not only a landmark in Danish cinema, but also (one of) the earliest and most impactful entries in the Dogme 95 movement. Co-founded by Vinterberg and Lars von Trier, Dogme 95 aimed to strip filmmaking down to its raw essentials. No artificial lighting, no special effects, no elaborate sets. What might sound restrictive or overly academic at first actually gives The Celebration an intense sense of immediacy and authenticity that feels surprisingly modern even today.
The story unfolds during the 60th birthday celebration of Helge, the patriarch of a wealthy Danish family. As relatives gather at their countryside estate, the mood is initially cheerful, albeit with an undercurrent of tension linked to the suicide of one of Helge's daughters. What begins as a seemingly normal family gathering quickly spirals into something much darker, as secrets begin to surface and long-suppressed emotions boil over.
What makes The Celebration so gripping is not only the shocking revelations, but the way Vinterberg orchestrates the emotional unraveling with precision and restraint. There is no over-the-top melodrama here - just raw, uncomfortable truth told in a way that feels incredibly immediate and human. The handheld camera work, often jittery and intimate, puts you right in the middle of the action. It feels as though you're at the dinner table with these people, watching their world fracture in real time.
The natural lighting and grainy visuals contribute to the sense of realism. The performances are uniformly excellent, especially Ulrich Thomsen as Christian, whose quiet intensity anchors the film. Each character is complex, flawed, and painfully real.
Despite its modest budget and minimalist aesthetic, The Celebration is a powerful film about trauma, family, and the destructive nature of silence. It builds slow and steady, gripping you tighter with every scene, and culminates in a finale that is both devastating and cathartic.
It's not an easy watch, and its themes are deeply uncomfortable but that's exactly what gives the film its strength. Dogme 95's stripped-down rules may have faded from mainstream relevance, but The Celebration remains an enduring example of how little you need to create something profoundly affecting.
The Celebration (Festen) by Thomas Vinterberg is not only a landmark in Danish cinema, but also (one of) the earliest and most impactful entries in the Dogme 95 movement. Co-founded by Vinterberg and Lars von Trier, Dogme 95 aimed to strip filmmaking down to its raw essentials. No artificial lighting, no special effects, no elaborate sets. What might sound restrictive or overly academic at first actually gives The Celebration an intense sense of immediacy and authenticity that feels surprisingly modern even today.
The story unfolds during the 60th birthday celebration of Helge, the patriarch of a wealthy Danish family. As relatives gather at their countryside estate, the mood is initially cheerful, albeit with an undercurrent of tension linked to the suicide of one of Helge's daughters. What begins as a seemingly normal family gathering quickly spirals into something much darker, as secrets begin to surface and long-suppressed emotions boil over.
What makes The Celebration so gripping is not only the shocking revelations, but the way Vinterberg orchestrates the emotional unraveling with precision and restraint. There is no over-the-top melodrama here - just raw, uncomfortable truth told in a way that feels incredibly immediate and human. The handheld camera work, often jittery and intimate, puts you right in the middle of the action. It feels as though you're at the dinner table with these people, watching their world fracture in real time.
The natural lighting and grainy visuals contribute to the sense of realism. The performances are uniformly excellent, especially Ulrich Thomsen as Christian, whose quiet intensity anchors the film. Each character is complex, flawed, and painfully real.
Despite its modest budget and minimalist aesthetic, The Celebration is a powerful film about trauma, family, and the destructive nature of silence. It builds slow and steady, gripping you tighter with every scene, and culminates in a finale that is both devastating and cathartic.
It's not an easy watch, and its themes are deeply uncomfortable but that's exactly what gives the film its strength. Dogme 95's stripped-down rules may have faded from mainstream relevance, but The Celebration remains an enduring example of how little you need to create something profoundly affecting.
I finally got the chance to watch Burn After Reading during a special summer open-air screening by Lake Zurich, with the Alps in the background - honestly, one of the most stunning settings I've ever experienced for a film. This one had been on my list for quite a while, and I'm glad I caught it in such an atmospheric way. The film is sharp, darkly funny, and pure Coen Brothers through and through.
From the very start, the story taps into the absurdity of bureaucratic paranoia. A disc containing the memoirs of a recently dismissed CIA analyst ends up in the hands of two dim-witted gym employees who mistake it for top-secret intelligence. What unfolds is a chaotic chain of events built entirely on misunderstanding, vanity, and stupidity - and it works brilliantly because the Coens treat even the dumbest characters with surprising nuance.
The cast is loaded with talent, and almost everyone has their moment. John Malkovich is hilarious and completely unhinged as the ex-analyst, Brad Pitt is unforgettable as the energetic but clueless Chad, and George Clooney once again proves he thrives in offbeat comedic roles. I've always felt Clooney doesn't get enough credit for how naturally funny he can be. Frances McDormand and Tilda Swinton add weight to the chaos with more grounded but equally eccentric characters. The chemistry between all of them is spot-on.
What I really appreciated is the pacing. At just over 90 minutes, the film moves fast and doesn't waste time. Not every gag hits, but the humor remains dry and biting throughout. It's one of those films that's both silly and razor-sharp, managing to comment on government surveillance, personal ambition, and everyday stupidity all at once. There's a sense of controlled madness in how the story escalates, and that's something the Coens do better than almost anyone.
Visually, the film is slick and polished - nothing overly flashy, but effective. The music, while subtle, complements the ironic tone. What makes Burn After Reading stand out is that it never tries too hard to be bigger than it is. It's compact, self-aware, and doesn't pretend to offer any deeper message beyond the fact that people are often the architects of their own chaos.
It's not the Coens' best film, but it's one of their most entertaining. If you enjoy dark, satirical comedies with a sharp script and top-tier performances, this one's worth your time. It doesn't try to change your life - it just wants you to sit back and watch the idiocy unfold. And sometimes, that's exactly what I need.
From the very start, the story taps into the absurdity of bureaucratic paranoia. A disc containing the memoirs of a recently dismissed CIA analyst ends up in the hands of two dim-witted gym employees who mistake it for top-secret intelligence. What unfolds is a chaotic chain of events built entirely on misunderstanding, vanity, and stupidity - and it works brilliantly because the Coens treat even the dumbest characters with surprising nuance.
The cast is loaded with talent, and almost everyone has their moment. John Malkovich is hilarious and completely unhinged as the ex-analyst, Brad Pitt is unforgettable as the energetic but clueless Chad, and George Clooney once again proves he thrives in offbeat comedic roles. I've always felt Clooney doesn't get enough credit for how naturally funny he can be. Frances McDormand and Tilda Swinton add weight to the chaos with more grounded but equally eccentric characters. The chemistry between all of them is spot-on.
What I really appreciated is the pacing. At just over 90 minutes, the film moves fast and doesn't waste time. Not every gag hits, but the humor remains dry and biting throughout. It's one of those films that's both silly and razor-sharp, managing to comment on government surveillance, personal ambition, and everyday stupidity all at once. There's a sense of controlled madness in how the story escalates, and that's something the Coens do better than almost anyone.
Visually, the film is slick and polished - nothing overly flashy, but effective. The music, while subtle, complements the ironic tone. What makes Burn After Reading stand out is that it never tries too hard to be bigger than it is. It's compact, self-aware, and doesn't pretend to offer any deeper message beyond the fact that people are often the architects of their own chaos.
It's not the Coens' best film, but it's one of their most entertaining. If you enjoy dark, satirical comedies with a sharp script and top-tier performances, this one's worth your time. It doesn't try to change your life - it just wants you to sit back and watch the idiocy unfold. And sometimes, that's exactly what I need.
