Naive, predictable, longish, dumb and sometimes even plain bad - but visually very, very impressive (so impressive it got me a headache. Or was it caused by 3D for nearly three hours?). So no big surprise. The first full 3D feature does not disappoint. No point having it not on IMAX screen, not at all.
After No Country this is another truly good Coens' film. Ironic, bitter, merciless, dark (but nobody gets killed, how strange) and funny. Quality tragicomedy.
Refreshed in anticipation of Tron Legacy. Probably the coolest Disney (non-cartoon) production ever, which, at the same time doesn't entitely solve the problem it's still bloody Disney (D's people tend to forget movies for kids don't have to be that stupid). After over twenty years special effects and primordial CGI animations remain pleasing and impressive. What else: time has done good to Jeff Bridges, for his young self looked like a tosser (a bit).
Don't get fooled by the names (Bridges, Clooney, McGregor or Spacey. The only good thing in this crappy movie, but that's not enough, hell no), or that it's 'based on true events' (actually some of it is). Comedic pieces in the book (haven't read) may had be better left on paper. Even trailer is somehow unconvincing (and as you know it's quite difficult to get a weak trailer in general). A terrible miss of everybody (involved). For most of cinegoers, too...
Straight in your nut sack: Kang-ho Song is Father (or rather a monk of certain Catholic order) as Asian version of "Thorn of Birds"' Richard Chamberlain, a martyr, "a man of God" and... a vampire - sinister and sinful (and superpower libido versus priest's morality) - all in one man. As with any significant Park Chan-wook movie there's solid warranty it becomes one bloody mess, rest assured it'll be hefty. So yes, there is some macabre to it, but also plenty laughs - as far as I recall none of Chan-Wook's films has been that openly (in more or less perverse way) funny. I put Bakjwi next to Ferrara's The Addiction and Låt den rätte komma in (Let the Right One In). Top vampire flick, sweet and drastic/drastic and sweet. And black humour, fat lot of it.
It took me few days to write anything about this pretty much anticipated (usual mistake) movie. I know it's not fair but... I guess I've seen Baron Munchausen far too many times (pointless to mention all things common for both films). And I know it's been very difficult production to close (well, that's nothing new regarding Gilliam film, ennit), still, it feels, as with the Grimms, half-baked and not complete. I dig the solution with multiple actors playing the same character (btw, casting Waits as Mr Nick was a brilliant idea), and some production details (why imagined dimensions are made in CGI I can understan but... why they're so poor? And a bit too much Burton-like, too), but the story limps towards end terribly. It's a good movie allright, but could've been better. Fans may like/should accept it, others may skip it, I think.
The New World is not as miserable as in Herzog's Stroszek but quite miserable nonentheless. The locations are both actual and extremely ordinary, almost random, which I find really cool. No urge to go to Hills And I want some braces, too.
One of my favourite from the white-haired auteur, to whom the Coens owe some. As with most Jarmusch characters, it's difficult to not like our protagonists, even a hustler. Roberto Benigni's one and only truly funny performance (I can't stand the guy but he's really amusing here). This flick really hit the spot.
Micro clashes of cultures, sad Memphis, and strange events at strange night in strange hotel involving strange individuals. Omnipresence of the King is also strange. Jarmusch is known for casting hefty musicians (John Lurie, Tom Waits), here you'll have Screamin' Jay Hawkins and Joe Strummer.
Really, having this I can't be bothered to watch remake with Statham - 2000 is the shit (produced by Roger Corman, so you get the idea). Reminds of good o'le Carmageddon game, also makes me want to rewatch Rollerball/The Running Man. Simply "cult classic" flick, that is.
Meta biopic (sort of) about Harvey Pekar, the writer of autobiographic comic series (or, should I say, graphic novels) called ironically American Splendor. The "gloom and doom" guy is being played by Paul Giamatti (another frustrated/introvertic/neurotic/manic depressive character in the actor's emploi), his cartoon version and himself. Genuine nerds are 'the real deal', big corporations are rotten, some families - completely sane. I learned Tom Green hadn't been first to pull therapeutic (public) stunt with a serious illness. Strange as it may sound, it's a really uplifting movie.
Jason Statham is Chev Chelios. Chev Chelios ist sehr krank. And who would say Google Earth could demand a product placement... or execs just went cheap?. I'm curious of two things: whether blond starlet (Amy Smart) was happy with her snapshot at end credits and how they'll (tiny spoiler alert) resurrect our cool British hitman in the second part.
Wang and Austen superb B-side to Smoke. Blue in the Face (alt. Brooklyn Boogie) might be taken as sort of appendix to the mentioned predecessor, an enhancement in brighter tones, separate comedy which consists of love letter to Brooklyn, New York and semi-documentary with talking heads of the borrough inhabitants (one famous and few completely unknown) - but never average sequel. Most of the scenes were improvised on the set, and there's plenty of memorable cameos. An easy peasy one which I just had for the fourth time.
Ah, yet another evergreen classic from Mr Lynch. A story of pain called desire, wonderfully exagerrated fairy-tale full of bizzarre characters (some introduced with little, if any, connection to the plot, just to confuse - but only those unfamiliar with peculiar logic of Lynch's movies). Also the second (after Raising Arisona) role of Cage I can truly enjoy. Always fun to rewatch it.
A rare case when high expectations met their solid confirmation, when afterwards a man is surer of well spent dough. As for moderately a new title in cinemas, the room was nearly empty (obviously I like it that way). Just can be bothered and go to the show.
Herzog once more put his favourite simpleton (unbelievable Bruno S.) in front of the camera. Memorable scenes, genuine faces (so to speak), bitter lesson and such ending.
Quiet, almost cameral drama in the ranks of the French Foreign Legion. Was it deliberate that military excersises of one of the toughest armies in the world look here like a ballet (...or is it my tendentious thinking)? Because the epilogue leaves little doubt regarding the very reason of master sergeant's wrongdoing. Good film.
I know it's not a regular film, that it's amateur project by musicians (The Flaming Lips) and their friends. I just couldn't finisih it, knowing it's highly 'unprofessional' of me. Rather watch The American Astronaut, a developed "child" of guys from The Billy Nayer Show, really.
Many posts in this post post post postmodern western, but that's the whole point. Takashi Miike still has it, Japanese English (accent) is still funny and Tarantino is still a lousy actor.