POMO

Clint Eastwood with fragile piano music is the Danielle Steel of serious topics. But for topics as serious as those addressed in Changeling, and especially for tying them together in some meaningful way, a big heart alone is not enough.

This chill-out comedy is basically the same as The Devil Wears Prada except worse, because it lacks the phenomenal Meryl Streep (with all due respect to Jeff Bridges).

Evilenko is a boring, flat, monotonous and above all superfluous film. It fails as a reconstruction of actual events, because it twists reality, changing it to fit its own vision. And it fails as a fictional thriller/shocker about a serial killer because it doesn’t offer the basics: a well-thought-out police investigation and terrifying murders. Evilenko seems to have been made by a naïve, conservative TV filmmaker who thinks that gloomy music and one well-cast actor will turn his work into a masterpiece. That was a grievous mistake.

The New Country is something like Jan Svěrák’s The Ride, but more carnal, hectic, sincere, open and emotional, and with beautifully delivered performances by actors completely devoted to the cause. It’s been a long time since I saw camerawork and editing so strongly and so precisely connected to the feelings of the characters (a lot of close-ups of faces). This film is a very pleasant surprise that does not need to pretend to be “art” and speaks to the viewer in a universal language.

This reconstruction of an adolescent tragedy is similar to Gus Van Sant’s Elephant, but filmed in a traditional manner and relying on emotion and sentiment (that’s Nick Cassavetes for you). The most important thing is the actors – Emile Hirsch and Ben Foster are excellent, while Justin Timberlake and the kidnapped Anton Yelchin don’t do the film any harm. What does harm the film, however, is the final conversations with “real” parents, as they degrade its authenticity and believability (especially the overweight and overacting Sharon Stone is terrible!).

Australia is a theatrical, affected overly sweet monstrosity that decides anew what it is about every half an hour. In order to hold itself together, it relies on the relationship of the central couple, which is, however, drier than Australian desert. I haven’t suffered like this in a theater for a long time and I can’t believe that this suffering was brought by the same Baz Luhrmann whose beautiful, emotional and complex Moulin Rouge! I love with all my heart. I’m giving this the second star only for the poetic story line with the little Aboriginal boy and the only really nice scene in the film, which is connected to him (stopping the cattle just before the abyss). Australia deserved its fate as a box-office bomb.

Though it has a traditional concept and is a more than decently filmed spy thriller, Body of Lies does not have enough of the exotic atmosphere of Spy Game or the high-tech coolness of Enemy of the State to become a hit. It goes straight to the epicenter of the issue of contemporary Islamic terrorism and does so with perfect action scenes. But even though it keeps switching between different locations and the plot moves forward at a decent pace, I still feel like it’s actually stuck in one place. That is probably because everything apart from spy machinations seems both superfluous and half- baked (the attempt to depict the background of Crowe’s character, or DiCaprio’s relationship with the local girl). And it needs a different kind of ending.

Even though this film’s creators don’t bring anything new to the table, instead just combining the technique from The Blair Witch Project with the final exposition of The Silence of the Lambs (the green night-vision mode, similar setting), their low-budget result still managed to raise my adrenalin level and in places I was scared so much that I wanted to avert my eyes from the screen (which hasn’t happened to me in some fifteen years). The climax is truly BADASS, because it doesn’t stay in the realm of pure film entertainment, but throws in an unsettling this-could-actually-happen feeling. Brrr!

The Day the Earth Stood Still neither offends nor enraptures, and it definitely doesn’t satisfy, be it in terms of plot or the technical aspect. Derrickson alternates nice thought-provoking and emotional moments with purely visual ones, but the first type is scarce and the second one is clichéd and unoriginal. And the rest is just filler held afloat only by the performances of Jennifer Connelly and Keanu Reeves. Even though these two have little to do here, you’ll root for Jennifer from the start and as for Keanu, you’d believe him even as an alien, in spite of the fact that his facial expressions are the same as in all his other movies. The young Jaden Smith is terrible, just like the young Dakota Fanning a few years earlier. As an intimate director, Scott Derrickson was not the best choice (the character of an army general, who acts more like a redneck carpenter posturing in a garage, is a failed attempt at irony). The film has a pleasant “sci-fi charm”, but it is overly cautious and bland. It comes up short in the inevitable comparison with Spielberg’s War of the Worlds, which was a far more exciting experience despite all its faults.

A contagiously seductive and fragrant combination of classic horror elements, an innocent concept of platonic love, hackneyed plot clichés, Matrix visuals, beautiful natural locations, a Volvo C30 and metrosexuality. How can you resist something like that, especially when it tries to look deadly serious in all its childish naivety? The film is an embodiment of everything that the teenagers of today consider “in” and that sells well. If it hadn’t taken the central couple so long to get together, I might have even condescended to give this a higher rating. A guilty pleasure.