POMO

“How about it then?” A better finale than in Titanic. :-) From the amount of attention the film pays to certain characters, it is obvious that a lot more material was filmed that didn’t make it to the final cut. That, however, doesn’t change the fact that I really enjoyed this flick and the time spent with its characters. The film didn’t have any other ambition and I don’t require anything more.

The Tenant is a psychological thriller from Roman Polanski, which means it’s as effective as traditional American thrillers, but without their proven formulas. It’s refreshing to once in a while see a film in which the creator achieves the same effect in such a unique, personal way. This is called filmmaking art. And this art is made even greater by the fact that this creator is both behind and in front of the camera.

The same formula as that used in Borat (a weird European guy goes to make it big in America, accompanied by an assistant with whom he has a row and then they make up) is clad in a different and, at the same time, very similar type of humor. The humor in Borat, however, didn’t limit itself to anuses and a little adopted black boy – and that’s why I found it more varied, relatable and imaginative. Which doesn’t change the fact that Sacha Baron Cohen is one of the best comedians alive. I believe that his talent would also be enough for serious character acting.

There are Madagascar (or Ice Age) adventures, and then there are South American adventures. The first ones rely on dozens of funny characters, put together by a weak storyline about family values. The South American adventure contains only one funny character and the movie tells a story of wasted opportunities and fulfilling one’s childhood dreams (which may also have a dark side — a cleverly presented difference between a child’s and adult’s perceptions). Up is an animated movie that can only be fully appreciated by adult viewers (kids will definitely have more fun watching the Madagascar series). The highlight of the movie is the opening sequence, which briefly summarizes the life of the main character from his childhood to old age. It’s pure beauty. If the creators said “sod the kids” (which they obviously couldn’t do :)) and went on with this type of storytelling, this could have been my all-time favorite animated movie.

This thriller made up of unoriginal elements wants to be different and deep, while also wanting to lure the mainstream viewer with proven genre clichés. Unfortunately, it fails on both counts, and not even Robin Williams’ and Toni Collette’s excellent acting can save it from its inconsistencies and fatally fumbling direction. A bland experience.

A line from the “by the way” dialogue at the beginning: “There are three most important things in business: distribution, distribution and distribution.” Yes, these are the ONLY values on which the Kaufman brothers built their Troma business. There is no need for quality; distribution is enough – there is a consumer for everything.

Assault on Precinct 13 is marked by its dumb B-movie script, solid action and visuals and one unexpected moment. The best thing about the film, however, is its cast. Even the smallest role of the bus driver will make you happy with a face you know from 1980s action and horror classics (a connection to Carpenter and his “golden age”). Especially Laurence Fishburne’s charismatic villain is perfect, and Maria Bello with her hair down, changing from boots to pumps, will spice up your dreams.

Figure skating through different film genres, with a boldness spiced up with a unique creative signature. Sam Raimi is a genius who has mastered everything from jump scares and spooky atmospheres to social humor and Hitchcock-like family dinners. But the combination of witty humor and polished horror is not to everyone’s taste. That’s why I prefer the first Evil Dead to the second for the reason that it is a pure horror movie... and I love Jackson’s Braindead for the reason that it is a pure comedy. I’ve never liked when these two genres get mixed. But I’m still giving this film four stars, mainly for Sam’s refined perfectionism.

Transsiberian features properly built suspense and unease in a strongly atmospheric setting, which is something that is not often seen in a thriller. The acting and directing are excellent. If the script, which otherwise works nicely with the characters’ psychology, came up with something original within the genre rules, I could have given this four stars.

I have a problem with Fargo. It contains a dozen unforgettable scenes, great characters and one of Carter Burwell’s best soundtracks, but it tries so hard to be a caricature that it loses touch with reality. It thus loses some of its seriousness, which was supposed to be its key element, and remains only an original film curiosity. I spent a long time vacillating between three and four stars. I settled on four, but only for the individual scenes. The atmosphere and omnipresent snow are not enough to make a movie complex and relatable.