Stanislaus

I put off watching The Cabinet of Dr. Caligari for a really long time because I thought it was a silent film and I just prefer sound films - and even though I saw the edited version, which was enhanced with music, the film ended up surprising me beyond my expectations. The Cabinet of Dr. Caligari artfully blends horror, action and detective fiction, making it – at least in my opinion – appealing to contemporary audiences. Moreover, the whole thing is wrapped up in an eerily beautiful set with distinctively made-up characters. A textbook example of German expressionism in film!

One thing you really can't deny Guillermo del Toro is his utterly limitless imagination in the field of supernatural monsters and creatures, which makes his films uniquely fabulous and dark and terrifying at the same time. While it's true that at times Hellboy 2 slid down the slide due to its bland one-liners and moments, and that at times the dark action fantasy turned (almost literally) into a family drama, somehow the director still pulled it off in the end, and overall it turned out to be a pretty good and, more importantly, visually and imaginatively rich fantasy film. There were moments where I could feel the atmosphere from Pan's Labyrinth within reach, which is just as well.

This is definitely one of the craziest and most bullshit films to ever see the light of day. So why the 3 stars? Maybe because of Ben Stiller's absolute parody of himself, which he handles with aplomb? Or perhaps due to the bizarreness of a few scenes? Who knows?! In short, it's bollocks, but not the kind of bollocks like other comedies of its kind, but the kind with that "higher calling".

Kathy Bates is the court actress of Stephen King's scary horror films, and next to Dolores Claiborne, her portrayal of Annie Wilkes is a perfect and convincing example of quality acting. The atmosphere of the film gradually builds, the emotions could be cut through with a chainsaw and there's some great music to boot. I just quietly enjoyed the performance of the aforementioned actress who made James Caan's life hell. In short, the satisfaction of yet another film adaptation of King's book is truly on point and I am intoxicated beyond measure by it.

Life as We Know It is in many ways similar to Raising Helen (Kate Hudson), but instead of a woman, there is a man. Both have to re-evaluate their lives after a tragedy and slowly discover that what they've been avoiding is what makes them happiest. If that sounds clichéd to you, it's definitely not your fault, because that's simply how romantic comedies are made in America. The same formula and usually the same result. Here, there was a likeable lead couple and a few laugh-out-loud moments, so I give it a nice 3*. In short, a typical product of America that is especially suitable for a good time.

Love and Other Drugs is a typical American dramatic-romantic comedy that doesn't really stand out from its long line of similar predecessors. The leading couple (Anne Hathaway and Jake Gyllenhaal) have already been together in Brokeback Mountain, and they really hit it off here. Despite the primal stereotyping, the plot was enriched by an inscrutable disease. A relaxing film to lighten the mood, helped especially by the likeable lead duo and a pleasant soundtrack.

Next to You Again, How Do You Know is the second disappointment of this year in the field of romantic comedies. The biggest weakness of this promisingly cast film is the lack of any meaningful script that could catch the viewer's attention, at least for a while. At times, I really struggled not to fall into a micro-sleep, and the only dose of stimulating caffeine was the pleasantly goofy Paul Rudd, who overshadowed even my favourite Jack Nicholson (for which I blame much of the script's content). In short, the potential was certainly there (and not just because of the enticing cast), but its harnessing somehow fizzled out into obscurity, which in this case was a great shame.

This more than half-century-old Czech classic would still give many C-horror films a run for their money when it comes to special effects. Karel Zeman really managed to bring long-extinct creatures to life, placing A Journey into the Primeval Times right up there with the American fantasy films co-written by the great Ray Harryhausen. Perhaps the only blemish on this gem is the four leading boys, who come across as too (but really too) plankish. In short, one of those Czech films of which we can be truly proud.

As a short film, the Shrek Halloween special is quite decent and even funny in places. The references to horror classics worked out well at times, yet it could have just been more polished. In short, another installment of the "green series" that was at its peak during the first two movies.

The Wrestler is the bitter and raw story of a man who has lost basically everything except his one passion - wrestling. He struggles through life as best he can, but still can't shake the label of "loser". Mickey Rourke delivers a strong and convincing performance, worthy of an Oscar nomination, which is also true of Marisa Tomei, who is truly endearing. Of Darren Aronofsky's filmography to date, The Wrestler is something different - unlike the other four titles, the plot and its characters are not set in a dream or fantasy world, but in the real one. In terms of screenwriting, it's a hefty dose of quality stuff, which also extends to the cinematography and the slight musical score. In short, a film that isn't god-awful shocking, but all the more authentic and provides a realistic insight into the parallel fate of any of us, and as a result won me over as a viewer.