Isherwood

Since arriving at the house, there’s a permanent charge of a depressing atmosphere and bad premonition. All the rest is just filler that doesn't move the plot or, heaven forbid, the atmosphere. For those who have watched similar films, the essence of The Woman in Black feels like a familiar routine. The ending is great. PS: The new adaptation of the novel by James Watkins promises much.

I give it four stars for the fact that the protagonist of this "naughty" genre film doesn't actually change at the end, which I applaud, as well as the great actors. However, I take a star off for the fact that there was so much more that could have been squeezed out of the kids.

Under certain circumstances, it might have made a decent drama, but if someone wants to sell human arrogance and boundless rudeness as comedy, I have no mercy for them. This is despite the fact that Donutil understood exactly what to do and how to act in this role. I’m sick of what the current standard of "folk entertainment" is. I felt even more feelings of awkwardness than I did when watching From Subway with Love, but this time it was not because I was a man, but due to the screenwriter because if this is what his world looks like, I sincerely pity him.

It's as if someone has fixed your once-upon-a-time favorite theme park attraction for the fourth time. You’ll be entertained by old friends, at times you will be delighted by new ones, your eye will get tired of the effects, your ear will endure the moments when someone speaks and somehow you will partly laugh through it, and partly suffer through it to the end. The most significant feeling it will leave in you after you get out is that you were quite bored. PS: Half a day after watching it, all I remember is the raucous music, the perpetually drunk Depp, and Penelope’s cleavage. An elegant quarter-billion-dollar experience.

A remake better than the original. That’s mainly because Haggis is much better at family tension than Cavayé. He succeeds mainly because the American family is much more accessible. The burden of the husband's fate is not almost existential, but instead is driven by a clear daddy motivation and offers more audience-appealing elements (the tennis ball tick, the bumpkey, the time press). My only criticism is towards the lack of more vigorous chasers (Quinn’s character is basically made for it!). Otherwise, it’s the best "escape" film since The Fugitive. 4 ½.

It’s hypnotic (almost everyone talked about the soundtrack after leaving the movie theater), clings to details (cinematography, sound), and constantly goes against established audience expectations. When I got up from my seat, sweat was pouring off me and it wasn't just the heat in the movie theater.

Wan is a scholarly student of all the genre textbooks and manuals, which is fine on the one hand because then he can afford to subvert Paranormal Activity in two or three scenes. On the other hand, he doesn't bring us anything new, so when Whannell shoots it down (again) with his script, it runs out of steam. The self-ironic insert with the arrival of the "ghostbuster" duo still works, but the exorcism scene sends it down the drain. The second half was obviously not meant to be scary, but as a bizarre trip to another world, it is actually too tame, meaning that any positive impressions disappear as quickly as the flash of a camera. This is especially true when you guess the point halfway through the film. 3 ½.

I actually admire the writers for the fact that even for the seventh time, they manage to come up with a twist that turns everything that happened before upside down. Regardless, for the umpteenth time, I have to wonder at the insanity of the minds of the trap designers. I’m also not even sad about the fact that no director is able to rise above the subject matter and inject some perspective into it. Yet the combination of so much marble combined with blood splatters á la Jackson's splatter films (the color of blood included) does entertain us in the "other" way.

I like the fact that Duncan Jones sells utter banalities as little unobtrusive indie pieces, where many (rightly!) shout the words of the savior of intelligent sci-fi, and so on. With Source Code, however, I can't help thinking that if the whole thing had been treated as a quarter-hour short, the result would have been better than this feature film, which harms itself by trying to do too many things at once (time paradoxes, military trauma, the love story). In addition, the protagonist has the option to press the "load" button so many times that you eventually realize that he has to be able to do it once, just like in a PC game when you start from the same checkpoint for the umpteenth time and hope that this time you won't definitively die. 3 ½.

I respectfully take my hat off to Dave Grohl for building one of the best rock bands of our time from the remains of Nirvana. This straightforward and unbiased look into the good and bad times of this band finally makes you understand why each album is so different and yet good every time. PS: If it weren't for "Wasting Light," I don't know what could have held me together better when I was studying for my state exams.