D.Moore

It's a pity that the film spends so much time on the least interesting subplot involving a London con artist (incidentally, Moira Lister may have been Adina Mandl's twin, even her voice is almost identical) and not on the escapades of the other brother, a homeless harpist and of course the wonderfully clueless Alec Guinness, who "likes vegetables more than people" and no one can blame him. But it's still an excellent comedy, mostly lighthearted, with some absolutely great moments (boarding the underground) and a fireworks display of all sorts of garrulous Welshisms.

A star-studded mob movie without mobsters in a thoroughly engaging delivery by Ridley Scott. When I wrote two days ago about how much I was moved by Last Night in Soho and how few films manage to do that, I was kind of hoping that House of Gucci would be another one. Fortunately, it was. This riveting saga benefits from a stellar ensemble cast as much as it does from Scott's understated yet thoroughly engaging direction. Lady Gaga will be forever a safe bet for me after this performance, Adam Driver confirms that after John Williams's music he is the best thing the new Star Wars has brought us, Al Pacino is classic Al, obviously happy to get a proper role, and I had a great time watching his art in the cinema again (the "No!" scene is unforgettable). Jared Leto doesn't get lost even under the (excellent) make-up, which is good, Jeremy Irons and Salma Hayek have probably the smallest roles of all, but that doesn't mean they don't rightfully enjoy them. One of the films of the year, hands down.

Maybe it's a coincidence, maybe it's not, either way this straightforward spaghetti western action flick looks a bit like the answer to the year younger The Dirty Dozen. Sort of, because at least in The Dirty Dozen you can find characters you can like, whereas here... The members of the gang hired by the southern army are simply thugs who are not interested in any noble goals. But not that it matters. If I were to find out that Tarantino likes this movie, I won't be surprised at all.

A thoroughly intoxicating experience that drew me in like few films manage to do. After 14 years, Edgar Wright has made a film that I have nothing to reproach, and above all, the way he made it is breathtaking. Amazing visuals to the rhythm of superbly chosen music, clouds of directorial ideas, a clever (perhaps just a little too literal at the end) screenplay and a fantastic cast, of which Anya Taylor-Joy stands out, but Thomasin McKenzie keeps on her heels with his transformation until he eventually is on par with her, and Matt Smith is, as always, a great choice. I look forward to experiencing it all again.

So my childish self didn't dream of it then, this is indeed a horror movie in many scenes. Terrifying bleakness alternates from beginning to end with the conviction that everything will turn out well, and the mood is very similar to that of Karel Zeman's The Sorcerer's Apprentice. Now, together with scaring, The Witches also entertains, thanks to black humour, great make-up effects and puppets and of course the performances of Anjelica Huston and Rowan Atkinson.

It was a strange decision to make a prequel film in which almost nothing happens that we didn't already know from the previous installment. However, this time Mike Flanagan got the oracle board, and so Ouija: Origin of Evil is better in every way than the previous one. It has interesting characters, there's suspense, it's just not that silly or boring, and it can safely afford to quote The Exorcist several times. If you haven't seen the first film at all, go straight to this one and you'll get a very, very good piece of horror.

Very good biopic. On the one hand, it is a traditional formula, but on the other, it is also an original presentation, especially thanks to the almost documentary-like inserts that show the various uses of radioactivity that the Curies did not live to see (from the bombing of Hiroshima to cancer treatment). The film has a strange, hard to describe, almost magical mood, which is supported by the amazing music with solos for a theremin, and I probably don't need to write about the fact that Rosamund Pike is perfect. It's just a pity that Radioactive isn't longer or that it's not a miniseries, because this story and this topic deserve a deeper dive.

Wes Anderson's movie reportage, an amazing film that can be watched from beginning to end with a smile, preferably in the cinema, because that's the kind of film that cinemas were invented for. You can't help but admire the visuals and the innumerable ideas; all the actors are delightful, no matter how small their role, and each of the stories has something to offer. I look forward to seeing this delightful cannonade of fantasy again, and again, and again. Until then, I'll probably be listening nonstop to Desplat's amazing soundtrack.

I'm a little closer to a "Now I've seen it all" status again, and I hope Nicolas Cage never gets (and accepts) a serious role again, because I'd love to see him in something watchable. Assuming, of course, that he still wants to (and can) act at all.

The plot and twist must have been dated already in 1950, but the film is still a pleasant, if melancholy, spectacle on the whole. Almost a predecessor to Being There, but better in every way.