POMO

With the exception of the mammoth hunt at the beginning, this naïve CGI fairy-tale has absolutely nothing to offer and is not entertaining, not even with Emmerich’s expected trademark silliness. It’s been a long time since I felt that I completely wasted two hours in a theater. From the script to the actors, 10,000 BC is an utterly empty movie. Ugh.

A cheap, straight-to-DVD B-movie from the Weinsteins. Prey is the type of movie that undermines itself as soon as the opening credits roll by using terrible music reminiscent of 1990s computer games and then confirming its trashiness with ridiculous camera effects in the mold of “let’s watch this from the left”. Surprisingly, however, some of the jump-scares are effective and two scenes even look like they were directed by someone. What is Bridget Moynahan doing here, though?

Superbad is probably the best movie produced by Judd Apatow. It’s so earnest and depicts the problems of teenagers so aptly that it might move you to tears. It is a crazy comedy about the shenanigans of a couple of young guys, in which the innovative screenwriting ideas and dialogue might give you more “film pleasure” than the Coen brothers’ sophisticated humor. And not many teen comedies are able to do that. I want a sequel! I want more of Seth, Evan and Fogell!

This very interesting, original thriller is a bit like Scorsese’s Taxi Driver, as it is a psychological study of an emotionally broken man and his extreme behavior caused by his fear of the world around him and also of himself. Neil Jordan was an excellent choice. Too bad that the ending is so stupid.

3:10 to Yuma starts out as a perfectly crafted Western, but it gradually starts to lose its drive in the second half and at the very end becomes a gooey, overly emotional tear-jerker defying not only plausibility, but also common sense. That’s a great pity. It could have been an excellent contribution to the Western genre, as Russell Crowe’s performance alone overshadows all classic Western actors put together.

It’s been a very, very long time since I regretted that a film about nothing other than killing isn’t longer. The last Rambo is a B-movie with Russian digital effects shrouded in nostalgia that is more physically intense than any megalomaniacal blockbuster by Michael Bay. Two spectacular scenes (the first ascent with a bow, the bomb), perfect genre purity and the character of John Rambo – that’s what it’s all about and it’s more than enough. “Don’t say anything and just go.” Nothing more needs to be said about the closing musical motif by Jerry Goldsmith. Had Stallone added more minutes and developed the characters more, this could have been the best action film of the year.

An atmospheric and chilling, deadly quiet and coldly rough thriller, with the unique creative signature of the Coen brothers. In the end, it tries to look like great art and the audience has no problem buying it. After a few ventures into comedy, the Coen brothers have returned to the genre where I like them most. My teenage nightmares were haunted by Michael Myers; today it’s going to be Javier Bardem’s killer. And not even the sheriff played by Tommy Lee Jones can save me from him.

Anthony Hopkins’ acting has more hues than all the beautiful locations he passes through in this film like Alice in Wonderland. Watching this acting genius is an experience as amazing as watching Ennio Morricone conduct an orchestra. And this film is nothing but a positive, good-natured, perfectly crafted ode on Anthony Hopkins’ acting skills. God bless him.

We Own the Night is smaller and less original, but more open and emotionally relatable than the similar American Gangster. Excellent actors, hard-on-inducing Eva Mendes, and a breath-taking car chase that will make the blood freeze in your veins. Very good job, folks!

A terribly depressing study of twisted family relationships brought on by a tragedy. The characters have more personal weaknesses and character flaws than we are used to in American films, and the screenwriter sends them to the deepest pits of hell for it. The plot is unpredictable and although the picture feels like it is 20 minutes longer than it really is, it is never boring. Before the Devil Knows You’re Dead is a thoroughly old-school psychological drama with very good acting performances, thriller elements and a special multi-flashback composition. It will exhaust you mentally. The curse of a journalist is to see such a film in the morning or early in the afternoon, as they would feel completely devastated for the rest of the day.