It has got everything in it, but the spirit. There is the story of formation of an independent woman after separation due to her husband?s betrayal. There is the legend of formation of a good man in a world of injustice and ignorance. There are two sweet eccentric kiddies coming into the big city to explore something bigger than life. There is a love story between their middle-aged mom and their babysitter, the good man. But due to a misunderstanding concerning fertility, everything goes wrong. But when there is no soul in this body, everything seems not convincing and not interesting a bit ? however the film is a pocketful of unfunny gags?
Going through the childhood memories, there are a few directors capable of capturing zeitgeist of a decisive historical era like Fellini in AMARCORD. Not about Italian Fascism, but focused on Israeli Zionism, THE TIME THAT REMAINS brings us a colorful circus of violence and injustice... Funny and sensitive, sometimes too exaggerated, it is one of the loveliest cinematic memories of the year...
Desperately trapped in stupid clichés, predictable from the very beginning of each scene, it's not deserved to be called a horror film; No. There is no suspense and obviously no thrill... But as a moral piece for not taking an orphan to your house (!!!!), it seems a little bit naive and simplistic...
Foolish and unbearable... Not a bit funny, not a bit interesting... Preoccupied with their games and disguised characters, a couple miss their escapist venture to Fiji due to mist over SF - something easily forgotten all through the film! Messed up after a live TV interview, they are obliged to visit four eccentric families of their divorced parents during the bloody Christmas... An insult to human intelligence and any intelligent touch in the history of the movies!
A well-made black & white, but uninventive opening clip leads to disgusting, dirty pieces of sadomasochistic follies. Believing that everything is revolving around him in the whole universe, self-centered Lars Von Trier does not see any necessity to act normally. Therefore he easily does not respect anything: morals, ideas and interestingly filmmaking. Unfocused and unbalanced, he simply tries to show how a mother becomes an antichrist after losing her child due to her unconsciousness during lovemaking, but without any psychological depth or philosophical insight, he merely composes some devious, fabricated images of horrifying violence and hollow human relations. In the absence of reasonability, everything is based on an unbearable lie: because of naturalistic, documentary style of filmmaking, the audience is imposed with the rush of untruthful images ? the same method used in BLAIRWITCH and IRREVERSIBLE?.
A cheap romantic comedy with disgusting simplistic moralism and stupid spiritual escapism. The comedy situations are repetitive and unbearable ? for instance, the wedding cake business. And at its best, the misery comes as a rubber ?fall from the sky? As usual, Garner seems more masculine than her co-star?
Not a stunner, but a collection of interesting perfs. However it is an attempt to mark a mentalist as something different from a magician, the populist side of Buck Howard character is unique and based on stupid typical mannerism (the way of shaking hand, the shout of "I love this town", etc). Therefore exaggerating Malkovich in this minor role forms a real populist. But when the last question of logic finds a superstitious answer in the final scene, triumph of content becomes a pain in the ass...
After his great DOWNFALL, German director Oliver Hirschbiegel entered his international follies to mark his own "downfall": sci-fi INVASION was an ambitious work, but not inspiring attempt, to work with Hollywood standards, but disappoint the audience; and now his little Irish anti-IRA drama is a meaningless struggle of exaggerated perfs! Unforgivable!
Thumb down! In structuring the new script, the key role of Half-Blood Prince's book in development of the narrative and unfolding the mysteries is under-estimated! Instead the film is focussed on teenage romantic stories, not appealing enough for such a blockbuster! Gifted director Yates ? whose breathtaking TV series, STATE OF PLAY, is ruined in an American rescrew ? is disappointing in the showdowns in his both Potter entries?