Kritiken (5 627)
Spieleabend (2024)
Putting aside the early 2000s and its heap of cringey German comedies, I’d say Germany has finally cracked the code on making decent comedies. Ever since Fack ju Göhte, they’ve really leaned into likable, fresh characters and easygoing humor that may not be laugh-out-loud but still makes for a chill, relaxing watch. I went into Blame the Game hoping it would follow that same vibe despite some mixed reviews, but, unfortunately, those reviews were pretty spot on. It’s a comedy with a few solid moments that feel like today’s German comedies at their best—though sadly mixed with some truly awkward scenes that the cast couldn’t quite rescue.
'Twas the Fight Before Christmas (2021)
An over-the-top case of holiday madness: on one side, you've got the guy who moves in and decides his house will be the brightest, most decorated spot the world’s ever seen. On the other, his neighbors, who aren’t thrilled by the spectacle. Cue the extreme, legal drama that only American laws can inspire. Because this is America and “freedom” always seems to come with a unique interpretation!
Wolfs (2024)
Pure old-school action with that something I’ve been missing in recent films. Simple premise, delightfully absurd humor, and Brad Pitt and George Clooney absolutely killing it in the leads. One night, one (or a few) problems to solve. Perfection.
Ein ganz mieser Tag (2024)
A goofy Swedish action-crime comedy that's light and easygoing but lacks any truly standout scenes. Fun for a quick watch, but nothing memorable enough to keep you talking about it once it’s over.
Der Mann, der UFOs liebte (2024)
If the creators had dared to go all in, this could’ve been a solid parody. Instead, we get a story about an overzealous journalist who can turn total bullshit into an alien invasion story—but somehow, it still doesn’t land the laughs.
Lonely Planet: Liebe in Marokko (2024)
Laura Dern and Liam Hemsworth in a romance where you can’t even buy the 23-year age gap between them. Ridiculous.
Der Schacht 2 (2024)
The original had an interesting concept and a bit of creativity to it. But as sequels often go, this one doesn’t bring anything new to the table—just more of the same, and it mostly ends up feeling stale.
Die Werwölfe von Düsterwald (2024)
Jean Reno and Franck Dubosc usually guarantee a classic French film experience, and with a premise that hints at something in the vein of The Visitors or another delightfully quirky French comedy, I figured, why not give it a shot? Maybe it’d be a pleasant surprise. Unfortunately, it wasn’t. Midway through, I started questioning if my standards for a fun movie have dropped so low that I can be entertained by something that’s actively annoying me. As the end drew closer, though, it hit me—so many things could have been done differently, and better. Great concept, but the execution was bland and forgettable. Despite its decent production values, this one felt more like a missed opportunity than anything else.
Kleine schmutzige Briefe (2023)
The Brits seem to be all about these cheeky historical dramas lately—mixing raunchiness with the stiff restraint of Austen, only with a dash of the Marquis de Sade’s edge. The problem? It’s less a reflection of the times and more a satirical free-for-all, poking fun wherever it can, à la Bridgerton. Personally, I’m not sold on this approach. It feels cheap, shallow, and pandering to modern trends.