rikitiki

This modern day film-noir boasts an exceptionally a dark atmosphere, dark characters and gloomy comments by the central protagonist. It has sex, money and danger. It works quite well until the final denouement. Noir movies frequently had convoluted and sexually deviant endings. The way this one ends, however, is just dumb. The protagonist promises a cruel revenge - which, in his situation, is not surprising - but then he forgets all about it. He is so terribly enamored of this seductive femme fatale, who he succumbs to, intoxicated with passion, to the sound of a saxophone, only to almost totally erase her from his mind. The main mystery around which everything revolves should have remained unrevealed and so it leaves viewer confused at just why it saw the light of day at all, and in such unlikely circumstances. IN A NUTSHELL: Playing at film-noir in sunny suburbia.

The enthralling story of three brothers and their group, which survived a series of ups and downs. Looking at them, it occurred to me how important the appearance of singers is nowadays. Do any not too good-looking female singers with fantastic voices exist, or do producers always pick them for just their looks and then fix their voice in the studio? It's plain unfair: there are plenty of not-so-attractive male singers today, but a different standard applies for women. The Gibb brothers were no beauties, but they sure could sing and write songs.

Robert Redford, that blond hunk, the prototype of the all-American boy and such a creative and inspiring man! However, the French documentary - not surprisingly - places an overwhelming emphasis on his political activism.

Hey, Jane Birkin, those home videos of you enthusing about a toad you claim is a hot guy, of you filming your kids toddling about and rolling about on the grass and drinking wine ... could you please keep all that for the privacy of your own home and not bother us with it? Including that constant marveling and confused comments of yours. IN A NUTSHELL: Jane Birkin finds a box of old home videos of her vacations in the garage, someone adds closing credits and releases them for the world to see.

The drunken antics of the young Belmondo and the elderly Gabin are inherently sad. Especially when we discover that the reason for Belmondo's drinking is fear and a subconscious desire to avoid anything that duty and conscience might compel him to do. The two men keep getting drunk to deal with their anxiety and terror of reality, and everyone around them pays the price. I’ve seen that before somewhere. Fortunately, their alcoholic journey is not completely aimless and, although it zig-zags along the way, it does lead toward hope. IN A NUTSHELL: How to get to China by drinking while staying in small-town France. Sometimes being taken by the hand can provoke greater fear than a dragon breathing fire.

The story deserved more build-up. Maybe it should have concentrated less about the past and more about what happened to the central character's fate in the 1950s. Or maybe showed the absurdity of a man of German origin living in Bohemia and claiming to be Czech. A man who got in everybody's way while doing nothing wrong, just being who he was. The bizarreness of being involved in the filming of what he once personally experienced. So he knew how things were then, and how the communist propaganda presented everything differently than in reality. But then there is definitely enough build-up during the race itself. A deadly coldness and definite fatality ooze from it. IN A NUTSHELL: When frost gets under your fingernails even through the screen.

In colors typical of mannerism, Anderson delves nostalgically into rose-tinted memories of the press, which has long since ceased to exist in this form. A time when journalists were paid for everything and had time to build a real relationship with their themes. A time when writing was valued. In doing so, it pokes fun at artistic, activist and culinary snobbery, and does so with passion and gusto. I hope that someone will take up his idea for a new gastronomic style: food suitable for police surveillance, because it would be useful today for other professions too. IN A NUTSHELL: About the press with love, nostalgia and fantasy.

The series is as warm and comforting as the beautiful knitwear worn by the protagonists (my hat is off to the knitters - the patterns, colors and execution are top notch). Although in the series war is at the door, people die, animals suffer - everything is presented in a nice old-fashioned way. People take care of each other and help each other out. They what the right way to behave is and behave accordingly. They have respect for each other and have unshakeable principles. It's a pleasant, never-existing world. People were never so polite to one another and were never so tidily turned out, especially coming straight out of a pigpen. But it's nice to immerse yourself in this fairytale world and snuggle into it. IN A NUTSHELL: Good old dreamed-up rural England.

First off: Vicky Krieps is a phenomenal actress. Here she gives one of the best acting performances I've ever seen. With a movement of her head, depth of gaze and subtle gestures, she paints a portrait of the Empress that is not only recognizable, but where we can also read her hidden thoughts. She portrayed a woman who is not necessarily likeable to all, but who convinces the viewer to understand her. Sissi has capable support in Florian Teichtmester as Franz Joseph. The two are the perfect couple in their demonstration of how they can never be a couple. At least not a happy, or even harmonious one. Although they obviously like and respect each other, these two can’t stay together. While Franz Joseph willingly sports his whiskers to show them off to the crowd, playing the emperor, Sissi pulls on her corset extremely reluctantly and his stiffness harms her not just physically but mentally too. Franz Josef knows what his duty is and intends to do it, despite perhaps considering it archaic. Sissi knows hers too, but her doing it sucks the life out of her, so she avoids doing it at all costs. ____ This movie leaves out any dramatic historical twists or important historical events; it paints a psychological picture focused mainly on the Empress. It does not claim historical accuracy, although it is obviously based on history. It is an intimate narrative, and somewhere around the middle it seemed rather self-indulgent. Still, if only for the stunning acting of the main protagonist, and all those who support her, the film is worth seeing. IN A NUTSHELL: A movie where, for ridiculous reasons you have to keep wearing a corset, even though it makes you unable breathe.

This overtly political movie tries to simplify a difficult subject for the viewer. We also see the civil war through the eyes of a little girl who has a problem of her own in the midst of the conflict: the search for her mother. Intimate family moments are interspersed with battle scenes, and it probably would have worked if the girl's parents hadn't kept making such clearly stupid and incomprehensible decisions. SPOILERS: Whether it's the way they told her she was adopted or the idiotic trip to a war zone where they walk around like they're on a seaside vacation at some resort. And they don’t let being captured by an armed group, gunshot wounds or rocket attacks bother them at all. IN A NUTSHELL: How to find a biological mother with no regard for the child's or your own safety.