Isherwood

The FBI team, which solves cases thanks to the visions of one of the female agents, can be tolerated, but the "look" of a German crime drama for a long morning and the excess of female emancipation combined with very dilettantish bit of filmmaking cannot.

Untouched by the original, but aware of the direction of Nick Cage’s acting career, I approached the film with a slight bias. But as the Prague intro suggested, the Pangs made it into a B-movie, which they tried to spiritualize with a wistful romance. However, it's hard to believe in the hero who, with his zero emotion, then has an emotional outburst for a deaf-mute girl. At the same time, it makes the film less fateful, which the final meeting in the warehouse especially needed. This leaves us with only a few impressive moments (the action in the pool, the shot-up boat, the elimination of the pickpockets) that you can't erase from your memory. It’s too bad the same can't be said for the whole film.

I can imagine that the whole tabloid machine could have been hit with even more vigor, but Simon Pegg is such a comedic element that you basically have to buy whatever he is selling you. In fact, he ends most of the hackneyed dialogue that pushes forward the relatively bland plot with a classically "British" sarcastic addition, for which it's impossible not to love him. You also can't help but love it when Megan Fox walks through the swimming pool and Kirsten Dunst pours several bottles of wine down her throat, and I then secretly anticipate the ending, from which the characters eventually emerge with incredible grace. I haven’t seen a romance that makes you both so angry and entertained for a long time. I’m thankful for it.

A quote from the Bible at the beginning, followed by one layer of clichés on top of another, the transparent natures of the characters who are unsympathetic assholes to boot, a terrible boring hour and a bit, and an idiotic finale with a moronic point and a laughing Michael Madsen at the end. But even that poor guy can't improve it whatsoever. Well, that’s that.

This is a pleasant surprise in terms of expectations because the return to Europe was obviously good for Frank Martin. Besson's screenplay is one big absolute "WTF?!" and Megaton's action at the end is a bit "over the top." On the other hand, I enjoyed how nicely it flows, how the traditionally charismatic Jason delivers one decent punch after another in Yuen's choreography, and what a great villain Robert Knepper is. On the other hand, transporting obnoxious Ukrainian women with the image of a better hooker, breaking one rule after another, and having sex in the back seat is too much even for my benevolent little self. I give it a decent two stars and I’m looking forward to the fourth film.

One great truth of life that chills in the right moments and warms in others. And Mila Kunis is a cutie! 4 ½.

The islanders strike back at the French, who have had no competition in the exploitation field recently. It takes place in the traditional backdrop of a deep forest, where a young couple go for a romantic weekend. This time they’re not terrorized by a sweaty redneck, but rather by a bunch of rude brats. The plot, based on a clear model, is disrupted by several impressive twists and turns, an excellent pair of protagonists, a twisted party boss with the visage of a hockey player, and, above all, a surreal ending that pushes the despair even further. Some moments (the thorn, the game with fire, the ending) make me want to give it full stars, but the slight aftertaste from the mix of Frontier(s) and Them keeps me at a four, albeit a very strong four. Keep it up!

This film is an honest piece of craftsmanship, into which Fincher has put a lot of his unmistakable ideas, and yet they don't really attract attention and thus leave enough room for the story. The story itself could actually be told in a moment. It’s not that I was bored - the director can tell a story engagingly enough for that, but this is his first film that completely missed the mark for me emotionally. Maybe that’s because of the fact that Cate Blanchett just doesn't "fit" in the film for me and she flutters a bit behind the excellent Pitt, and also because of the lengthy runtime, which is just too long given the amount of plot. Some people obviously think that a perfect style can carry a film. I give it a weaker four stars.

An intense horror inferno in which the directors hit the viewer with such vigor that you won't care about the questionable handheld camera - even though it has a strong defense for being there given that it’s part of a TV show where journalists want to film everything. Knowing that there’s not much new you can do with zombies, the film brings an excellent group of characters to the scene, who crystalize in the calm opening so that you can cheer them on, tooth and nail, in the final inferno. The main character is a decent character and I realized that I haven't worried about anyone in a movie as much as I did about her in a long time. The few shocking moments (the fall down the stairs, the little girl with her mother) and the entire ending, starting with the entrance to the attic, is a chapter of its own, for which I would gild the filmmakers' hands. I’d have to look far back in time to find SUCH a quality horror film.

Stiller is getting smarter and smarter, and he can make fun of things you thought everyone had already made fun of enough a long time ago. After the modeling industry, Hollywood is taking the hit with such vigor it's chilling if it's really true. The excellent technical aspects are just the cream on the cake, but the cherry on top is Tom Cruise - at least for having the courage to make such an ass of himself, and with such grace that I would really give him the Golden Globe!