2008 Films: Back to Back

Whether you like it or not,cinema has come to an auteur point of disorder,so experimentation is nowadays the brand of practice.Garrone is a freshman although this statement should not refuse us to contradict his methods.Southern Italy as a battlefield.Eisenstein's editing,use of mass and short cuts of human tales are his elements.

Have we seen it before?It's possible.All of a sudden,this burst of outlandish situations is what makes little Stella a diverse character on-screen,like she has jumped from an Andersen fairytale engulfed with the most satirical elements from Nouvelle Vague.Barbara is fierce and romantic in her acting,in that her inexperience transforms to a lullaby of anarchy.

Maybe the ultimate sometimes leaves you simply reconciled with the notion of superstition.The general chaos of classifying which is which.A tremendous,perfect sketch could be described as the salvation of animation.A perfect accusation could be a torch in the cavern.Hail Bashir,the frivolous phantom..

The apathy of political consciousness.Andreotti isn't the first or the last corrupt politician (recall the Nixon and Stalin examples of the most famous exemplary state),it's just he has a unique desire like any single politician.The thing with Il Divo is Sorrentino's amount of information and endorsing background doesn't prove being a minus rather an uplifting mood,especially with the highly recommendable soundtrack.A peculiar statement but yes,it is one of the best movies of the year.Servillo is breathtaking.

A breathtaking feature,supreme,challenging and tight inside the faculty and classroom anxiety,rhythm,call it whatever you wish.2008 Cannes Film Festival presented several great movies and one of them is this simple story unbound from prohibitions and puritan thoughts.The teacher as a means of knowledge and not just a strict individual.Anti-authoritative?Maybe reality is as disturbing as prismatic joy.

Touching,heartwarming and earthly illustrious!Environmental care although it's somehow plagiarizing out of the original material being the humanization of robots and their real infant acts contrary to our species' cocky immaturity.Excellent soundtrack and it may not overcome previous Pixar delights but it sure is a great era for animation.

Courageous and anti-Hollywood comic on-screen riff.Batman vs Joker and the countdown begins.Of social chaos,perjuries and false decisions.I get it,and climactic pressure.The winner is probably Ledger and yet...the score isn't as bad as in Schumacher's Batman efforts.Great adventure film.

And on the seventh day of imaginary creation Woman came forth.Ha.Wouldn't that be unpredictable?Poppy could be the most fitting announcer of the phrase above.Hawkins boosts this exceptional little film,just by her smiles and tacky grins,she not only illuminates the screen,she pretty much directs the whole film from Leigh.Talking about art imitating life!!!

The curse and plight of a larger than life person.The Jamals of this universe would never believe the accomplishment of this youth and in spite of the predictability of the upcoming tour de force of a...quiz show (!),Boyle has spread beforehand the internal rumble of class division,adding the realistic Indian portrait,that of elder wealth...

How weird it is,the Spaniard fashion of things.Beyond the cliches and the undoubted charisma of the Catalan lovers (Bardem/Cruz debate),what's left is that Allen of 00's is struggling to balance his eccentricity and past youth.

A Greek critic mentioned Button suffers from thriving ambition,like watching an allegory where U.S.A. is aging backwards losing the knowledge she previously conquered since the dawn of Revolution.Affirmative?Maybe,this presumption,the same illumination Button's into passes through the whole film thereof clutching us in a race through time.Symbolic figures but the result comes off sour.Fincher stretched his project no matter how good Pitt and Henson were.

Viola Davis entering the screen forces us,watchers,to twist what we had in mind at first.The culminating moment of Doubt occurs right after we witnessed a spectacular display of performances (Streep is beyond legendary,she's like Karina and Mirren),the undercover plot line of ecclesiastical affairs,oh..and a diverse meltdown still,for a stage play adaption,it's working pretty well,precisely when it raises rhetorical questions,original?Far from it,thus..reasonable enough for what it's worth.
"And you shall know the truth and the truth shall set you free."

All the slimy allusions of part 1 are still the superb delight for the hungry audience.del Toro pays an obvious homage to various European mythological entities,however....prophetic junctions are increasingly tedious after a while and Mignola must be pissed off by the sequel's result.

And Van Sant created mainstream flavor.The come back post-Elephant era is here,the independent trilogies are on a recess for now and Queer cinema is back on track.Plain,old-school depiction of a very progressive character,Penn shines literally on the lead role,a bio-pic surprise for the 2008 finale,kudos to Brolin's job too.Van Sant encounters the legendary changes on the homosexual field,direct cinema in a beneficial way.

A trickling bubble,Winslet might be divine as always,but a flash of emotionally sprinkled images doesn't compensate for Daldry's newest drama effort.A TV reminiscent feature in addition to the overtly gratuitous court-room scenes.

Religions are the opium of the masses,end of story!
What more do you want?That's entertainment,worn (and a property) of bastardized preaching imams,rabbis,priests etc.Being a researcher of religion,I managed to overcome the loudmouthed Maher,playing his role as he wished it to be but forgetting to release his poison towards all religions aside the popular Judaic-Islamic pamphlet.I must say,2/3 of the jokes here are of superb craft!

Copy after pasting,oh shoot...rectangle degeneracies.The idiots are back.Masked under Brad Pitt and John Malkovich.McDormand saves the best for last!How come the script is frightfully soulless?The bargain,the box office hit was a perfect assistance to those sleazy brothers to fund their upcoming projects,so no worries folks,emptiness will be compensated.Honestly,enough with the Cold War/espionage jokes.

Instability of the fragile man and the turning points arrive,hellish consequences,oh,don't forget detrimental gorges.Please,the sentimentalist approach on a film cannot be put in action while you're removing the aggressiveness of the subject.So Vogel is a fuckin' talent.An A-class performance is not enough to seal this film's eternal mystery.Especially this desperate,deus ex machina wannabe finale...

There's a time,a significant moment when a director knows he's got the upper hand in his career.Howard may know it yet he seems out of intellectual order once again.Sheen gives all he's got so does Langhella in a silent exaggeration yet the score sounds incongruous,theatricality is obvious and please Hollywood,we all get it,you want to be liberal,just don't rub it in our face too much next time.

That was a cool film.Truly engaging spoofs and a hilarious combustion against normality,but for all you out there,the age of Shrek is over.Dreamworks really needs to invent some fresh materials,the whole cycling-around a Chinese "mythology" advertisement isn't compared to what Chicken Run did!

Alright,the emptiness of this film is an obvious factor from the start of the chase in Italy to the vast plains of South America.Craig's masculinity is surprisingly convincing and the whole aspect of a Bond film is progressing to the core of Flemming's novels rather a producers' interpretation of turbulent events.And yet,it cancels out itself.No excruciating villain,unpleasant female coladas.Sexism is off the coast,but this part 2 of New James Bond could use the method of script instead of impressionism by a variant genre director.

Rachel's character is pretty obnoxious but DeWitt is a carved gem!!!Demme is trying excessively hard with an anachronistic material,coalitions,tensions,mistakes,ah...the irreversible of fate.OK,to be perfectly honest,the second half got a little out of hand,a decent flick,nothing more.

What Mendes ought to conceive was the illustrating banality of inclusive nightmares.
What we are watching is a strenuous,unexplainable homage to 50's carnivorous personalities.I don't deny the incredible duo and their collapse but if it weren't for the bloodsucking slides,as well as for Shannon proving in 10 minutes he can smash Hollywood's ass,oblivion would be the suitable word for this kind of film.Far From Heaven is the bitter truth.

Brolin saves the day...and the film's tough narrative...tough to endure in that instance!Stone is too much in love with a material agreeable to the "myth" a useless political like Bush created and also afraid to push it to the limits.

A so and so bout of living obstacles.Fact is,Aronofsky is struggling to pave his road to auteur momentum and glorious mainstream pieces.I'm still torn by what I've seen in spite of the great acting by Rourke in top shape,in addition to the atmospheric wrestling clashes.Psychological battles one way or another,something Aronofsky is fixing after Fountain but can't seem to return to his Pi days.

How prerogative this is.A spectacle of situations and fictional conclusions.Australia is one opportunity land,relished with antique remnants by the colonialist mistake.It's a shame Luhrmann chooses to impress with another "family" epic rather telling a story.

Fun stuff,nonetheless,propaganda to the bone.DiCaprio fuses with power a predictable espionage flick,Scott is driving too fast and the climax leads nowhere.A less than zero production,possibly to help Scott get the funds for Nottingham..The desert was vast indeed,one of Scott's weakest directorial struggles.

A shaker of groundbreaking proportions,intrepid morality,requiem of the soul,yeah,yeah...next time Clint,please don't be so sappy and over-dramatic,it doesn't suit you,remember True Crime and Space Cowboys?Well..now you have Gran Torino alongside them...

Hardwicke cropped her indie methods and fried her egomaniac attitude for the studios' affair..And what an affair!Teen manic or a mechanical nocturne?There's a small acting effort by Stewart and of course Hardwick doesn't abandon teenagers like she began with her debut smash Thirteen.These "sweet sixteen" however are preoccupied to lovey-thirsts instead of passionate bites.

Saramago would have preferred to give the rights to a Breillat rather letting Meirelles to induce hoaxes instead of conversations with the psychological collision of humanity.However,there are lots of interesting symbolic notions which will leave many viewers satisfied (anti-feminism,slavery,free will) but the demanding ones can pass it through..
On second thought,it's a welcoming suggestion to even the demanding ones,like Moretti who lost control in Caimano,Meirelles is blindfolded,what a Hollywood ending....

Bolt is a dumb,painful drug to the worst amusement park Disney could find to mend her wounds.The mighty have fallen Walt,I was wondering,do you have any sibling,long lost half-brother/sister?
Please inform us,those Robinsons have madly confined us in Lightning Bolts.

Well that was a piece of cake.Directors who establish their name fail in between their successes.This is one of those moments in Eastwood's career.Too blunt to be taken seriously,too much of a proxy to be acknowledged as a liberal testimony on savage public figures.How brave has this journey been.Justice,humiliation,all those feelings...in a simple linear of events.Boring Clint,boring..

C.S. Lewis,you idiot.Why did you have to die so soon?If you were still alive to this very day you'd realize the mistake your family has fallen to,publishers,whoever it was to give your masterpieces' rights to amateurish Hollywood.Now everyone is complaining about the plot,teen fools will either praise it or swear it,your books will be forgotten by dumb mainstream viewers...I feel sorry not for you mr Lewis but for our cinema who's been controlled by the "people" who plainly materialize us...

It's funny and it's not the gross-out humor and tapestry of the Farrelly likes and Cohen's transfiguration (Ali G,Borat).Of course it's trying hard like all U.S. comedies do,preaching an unconventional theme of Jesus' trendiness and Hamlet's street culture.The major star goes for Coogan and the wicked,Saturday Night Live persona,Amy Poehler.

McAvoy spits on our face and theorizes "who the fuck are we?".Yeah,contamination of the strongest.The loser brings it on!!!
OK,what the fuck was this?The new adventure edition of the 21st century?Fuck this shit and fuck Angelina "I am a serious actress when I want to be" Jolie.Come on Bekmambetov,start working to finish off your acclaimed trilogy and leave U.S. bullshit to Michael Bays....

Zwick has come to a conclusion.For crying out loud,is this really a movie?A sentimental bullshit in my eyes!!!
Craig is like Bond in WWII,get real all of you...

I did casually observe another coarse costume drama,I should have re-watched Far From the Madding Crowd instead...what were the odds?Ah yes,I'd have saved 2 hours of a masturbatory bio-pic,woe to me for being a sucker of "romantic" eras and lavishing centuries...

What a fuckin' moronic piece of shit,Dr. Seuss would spit on that!!!!!
p.s.: now why don't they release the older Seuss cartoons?It could really be something,they can't have been as dirtballs as those of modern Cat,Grinch and Horton.

Michael,you better be strict and an idealist and as experimental as your previously numerous films you've done,because all this Hollywood mambo jumbo on the news lately has wreaked havoc in my brains!