lamps

One of those movies that I could watch until I'm blue in the face just for its heap of delicious life truths. Levitt's personality now seems to be in a very specific phase, where he remains a free-thinking young man masturbating to death, while also being fully aware of all the problems and bitterness that free-thinking and an adult life full of "serious" relationships and different needs involve. As a result, Don Jon is not only a brilliant generational statement where the young prefer casual sex and the family is presented as a group of completely disparate and disconnected people, but also an enjoyable satirical comedy, aptly addressing the unbearable mannerisms of the female population, and disarming in its endearingly frank portrayal of them. The direction cannot be faulted at all, the script is well smart and very original within the genre and all the actors are really enjoying their roles – especially Levitt, who has risen incredibly in my eyes again. I'm even afraid that if I looked as good as him, I'd be living just like Don Jon... :P 85%

Arnold is excellent again, he doesn't overact unnecessarily and with his motherfucker expression he easily outshines everything between Moscow and Chicago. His capitalist sidekick Belushi, though he gains some sympathy with his performance, feels as if he was there only to make Arnold's iconicity more visible. Story-wise, it’s one of those mediocre 80's B-movies that, apart from the pile of dead and maimed, is interesting mainly because the cold and principled Soviet is played by the embodiment of the modern American dream – but thank God for that... 60%

One of the so-called American classics of the 1960s: Audrey Hepburn’s cute smile, the blue eyes of the charming Peter O'Toole, Audrey Hepburn and her magical look, William Wyler without sandals and without Charlton Heston and Audrey Hepburn...., just Audrey Hepburn. It's not the most imaginative, refined or funny crime comedy, but everything is somehow mixed and shaken in just the right way to make it enjoyable and interesting to watch even after all these years. Tasteful, smart and not boring.... what more can you ask? :)) 80%

In terms of atmosphere, visual effects and its very groundbreaking story structure, there is nothing to fault considering the year this film came out. The chilling story full of mystical and fantastical images is told in a very original way and, together with its very depressing premise, it manages to keep our full attention, although the monotonous (but not unsuccessful) music starts to put us to sleep after a while and a few scenes have no narrative value at all – the line of the remembrance of the hero's evil deeds, in particular, lacks the poetry and imagination of the rest of the film. Nevertheless, this is an important work of cinema, making great use of minimalist means to evoke very strong emotional and thought experiences. Plus, I finally saw where the axe breaking through a door first appeared in cinema – a familiar scene from the cult classic The Shining... :)) 80%

A serious film that should not to be taken seriously. Wilder once again handles a challenging material with unprecedented virtuosity, moving on two genre fronts at once: black dramatic comedy and psychological war drama, without falling into sterility or dullness for a single moment. On the contrary, thanks to lots of insight and the great actors, the film is more than pleasant to watch and the two hours fly by like a prisoner of war with a spotlight on his back. However, if we put the two fronts together and apply even a little of rational thinking, it would be immediately clear that war could never look like this. In terms of craftsmanship, however, it's excellent and has some truly unforgettable moments, but if we had dropped the comedy and called in a villain like Amon Goeth, Wilder would have been able to conjure up a much more impressive and important film. 85%

Sometimes it takes us a long time to finally realize how lucky we have been all our lives. Jenny realized it in Forrest Gump, young Bryce realized it in Reiner's Flipped, and Gilber Grape also realized it after he "drank" his mug of bitterness to the bottom. All of these films ring very true in terms of feelings and emotions, which is why I appreciate them so much. A little big ACTOR’s film, which didn't leave me with so many questions or topics to think about, but I still find it much more valuable and rewarding than a whole week spent in a boring school :D After all, it's like everything by the tear jerking Hallström.. 85%

A heavy, existentially tuned and extremely personal drama that attacks the limits of the viewer's emotionality in a completely indiscriminate, mentally and physically exhausting way. Unfortunately, this applies only to the second half, when watching Fassbender suffer voluntarily makes us more nauseous than Jackson's Braindead – if the whole film was like this, it would immediately reach top positions in the popularity charts here and perhaps even the percentage rating. Unfortunately, the opening part is boring and confusing rather than shocking and, despite all efforts at authorial innovation, quite uninteresting, too, so my rating is just a logical outcome of two completely different halves. But nothing against McQueen, his patient and strongly poetic approach would prove very useful and even massively successful in subsequent films. And here (in the first half) is the germ of everything. 70%

Among all the cult classics with Master Funes, Don't Look Now: We're Being Shot At is unique because it’s not primarily about Funes and his style of comedy, it’s a sweeping satirical story with many supporting characters; and it’s also about Bourvil, who embodies a character much closer to ordinary, war-afflicted people. And it’s precisely the perfect interplay between these two icons of French comedy that makes every generation sit back and watch over and over again this immortal classic where the Russians decide to occupy a foreign country and start an armed conflict just for fun. A star down only for the slightly excessive runtime, which hinders the aforementioned duo and the entire intricately intertwined plot. 85%

Revenge is sweet, French is elegant, Romy Schneider is charming and the Nazis are a bunch of heartless bastards – if you agree with all this, The Old Gun is the film for you. An unjustly forgotten gem in the treasure trove of French cinema that has perhaps the most raw and authentic type of action scenes imaginable in a non-commercial and psychological movie. At the same time, it’s exactly the kind of film art that Hollywood would never bother with: pacifist in content and strongly ethically tinged, but formally perfectly independent, idiosyncratic, indecipherable and highly artistic. The climactic passages are absolutely riveting and immersive with a chilling, sometimes unpleasantly claustrophobic atmosphere (excellent camera work), but unfortunately they stand in rather striking contrast to a number of very slow, uninteresting and unsurprising scenes, mostly from the opening part. If Robert Enrico had been a bit more nimble, this could have been a fantastically executed war drama instead of "only" 85%..

An interesting short that beautifully documents the boundless grief I felt the moment I learned Michelle Rodriguez is a lesbian. :)) I call that a crime against nature.