DaViD´82

Far from being the most kosher Coen movie, but, despite all of that “viewer-unfriendliness", it’s a good movie, although it isn’t even a bit funny. Even though it is clear not just from the ending that this movie was nothing other than one big joke from this brotherly duo. And, you have to give to them, it came off brilliantly (even though I started to have my suspicions after the Goy’s teeth episode).

The same old story. Reitman makes one movie after another, but he just can’t achieve the quality of his shorts. And here it is even worse because the entire time I couldn’t shake off the feeling that this is an Americanized variation (and I don’t mean that pejoratively, just it’s been adapted to the American way of life, the mood in society etc.) on last year’s Japanese Oscar winner. Unfortunately I get the feeling from this that it isn’t nearly as sincere as intentional, criminally dry and almost too “serious".

In part one, Arnie promised that he’d be back. And he kept his word like a real gentleman. But the stumbling block here is the sticky epilog which I have never come to terms with (and have no plans of doing so in the future) and this also applies to the special effects which are unusually frequent for Cameron. P.S.: This is one of the few movies that HD is detrimental to. The picture is so crystal clear that in most stunt scenes you can easily recognize Arnold’s stand-in, who really doesn’t look much like him.

A perfect cast, but it doesn’t help much. Strong spends too much time in the background, Law can’t keep up with Downey in any of their scenes (while in this movie they are meant to be on level pegging!), Rachel McAdams is uninspiring, the movie lacks any real case, deduction is not employed, but abused like deus ex machina and so Hans Zimmer steals all the attention. And it’s not that Richie is bored; he is having fun, and it works well in some places, but he fell a long way short of managing to reproduce the type of goofy shenanigans like we saw in Pirates of the Caribbean. But it’s clear that’s what he was aiming for. If you want to make an untraditional Holmes movie, you need either a good idea or you need a good Sherlock to base one’s performance on, which Downey does in any case. ♫ OST score: 4/5

In the first half, this movie is almost distasteful, thanks to the “I suppose I’d better be try and be funny" trainer. Then the second half has more tears and pathos than anything else of the kind. Plus the forcibly inserted clash with the US team... It’s almost a shame to waste words on this shower. So why the high score in the end? Well, I have a soft spot for ski jumping and I must admit that they are presented so wonderfully and spectacularly here that this is crying out to be projected in an IMAX theater.

If there’s nothing happening, not even a death can change things (screenplay) and less often means more (special effects). The images we see are often beautiful, but also absolutely empty of emotion. It would never have occurred to me that Peter Jackson would end up suffering from the syndrome that accompanies the works of Tarsem Singh. But in the first half-hour it has everything it needs, including emotions, which are so important for movies like this. But this just makes the rest of the movie that much more painful, because this outstanding “prolog" just proves that the movie could have been different. For instance, more in terms of hints instead of spectacular CGI landscapes.

Everything Baz Luhrmann's Australia wanted to be twenty-three years later, and everything it ultimately wasn't for a moment. A Hollywood epic in the best possible sense of the word.

To survive an unsuccessful landing in the Pacific during the War, at last, after endless suffering in the beating sun with no water to drink to reach a desert island in the middle of nowhere and to meet a beautiful nun there who has the sexiest voice ever (I have to find some more movies with Deborah!), openly seducing you with every glance, every gesture, who doesn’t succumb to your advances; now that really is bad luck, Mr. Allison. But otherwise, in view of Huston’s talent, the interesting topic of the conflict between loving God/a person is addressed rather naively, but because the chemistry between the central two protagonists works so darn well, this shortcoming may easily be forgiven.

In Charly's "first phase" Robertson pushes the envelope too hard, and in general it's shifted from the source material to that warmly human level so typical of films about the simpler intellects among us. But it's still a good film, just from a slightly different genre than Keyes's original work.

A Czech animation classic. Pojar managed almost incredibly beautifully to combine the catchy and original visual aspect with amazing playfulness and unforced lessons, while maintaining the quality at such a high level that this is entertaining for kids and adults alike. The separate episodes that were made gradually over the years all maintain an almost incredible balance that easily survived the later change of narrator.