Isherwood

For the first two hours, I figured I wouldn't give it full stars just because the American president Roger Murtaugh didn't declare "I’m too old for this shit!" at the sight of a rolling wave. During the third hour, I wondered why Emmerich had to add a bonus to his "best-of" that would make it hard for me to give it three stars. Yet my happy feelings prevailed. Together with Kloser, they know how to make fun of themselves, foreign policy, and genre mischief, which they’ve pulled off countless times before. Although the ending (the most boring thing this "most American German" ever made) will stay with me for a long time, the over-the-top special effects orgy, fine actors, and actually the whole overblown atmosphere will keep it at four stars. However, a second watch on DVD doesn't add to that.

There’s plenty of unintentional stupidity, framed by an utterly desperate story with impressively decadent rules (probably pulled from the comic book universe), in which a burning horseman wrecks half a city just for the sake of it, only to then destroy a bunch of emo-villains with the grim gaze of a flaming skull It’s all combined with Johnson's routinization (the man can't even film a motorcycle ride) and Cage’s toupee. I can’t even call this a "guilty pleasure." Yet the film will go through the burner and in a few years it will get a chance to do it better. Then maybe an extra star will shine for it. But until then... Shit Rider.

This was a nice surprise. The grapevine lied (deliberately?) and the end result is a fine girly adventure where a guy doesn't necessarily have to be ashamed of his own balls, although it's clear beyond measure that Diablo Cody is surely healing some of his low self-esteem issues by writing them down, and through his protagonists. Moreover, when a woman is behind the camera and the main character is played by probably the hottest hot ass of my generation, you can either solemnly throw it off the cliff of eternal damnation or accept the rules of the game, which requires the optics of horny high school girls. The throat-biting is the least of it. PS: The unconventional soundtrack suits the film.

Anderson, Marshall, Cameron... the director has borrowed quite a lot. With the production supervision of Anderson, he has made an impressive horror/slaughter film that puts the cards on the table without much fuss and then rides the frantic rhythm of a space slasher, which shows that the director enjoys this genre and serves up all the B-movie clichés side by side. It doesn't matter that he answers the viewer's "What the hell is behind this?" question in the most banal way. The cast on this darkened spaceship does what was expected of them, and Ben Foster in particular deserves a few extra claps. It's not a radical film in the history of horror, but as a representative of thematically similar colleagues from previous years, it will be missing in this year's movie theater offerings.

Danny Boyle is often thought about, but in my opinion wrongly. Jones’s story could easily have been set on Earth, but then it lacked the "Cameron-esque" detachedly cool industrial setting that perfectly supports the film's events. The story isn't rocket science but instead rides along a strong emotional level of a lonely man, which was a challenge accepted by Sam Rockwell, who did his job with incredible grace. Not to be unfair to the director - especially the opening paranoia and the schizophrenic feel of the second half do make us think - but Rockwell's acting, backed by Mansell's excellent score, actually "made" this film. It’s an unconventional film experience, though probably without a significant audience response.

I found out how hard it is to make a solid film out of this particular subject (a bunch of murderous blobs) with the original in 1958. Thirty years later, a remake was made that is still breathtaking today. From his recent work, I have Russell pegged as a decent craftsman, but this is an incredibly distinctive piece of filmmaking that has found a place for everything a proper 1980s horror B-movie should have. There’s plenty of incorrectness (the kill-list made my chin drop!), unpredictability (dead-end situations are solved with a bazooka), excellent characters (well acted), and most of all the absolutely FANTASTIC special effects! The details of the murderous attacks would still score points today. There’s no need to mention all the catchphrases, quotes, allusions and winks at more skilled viewers, which are literally wasted.

A sympathetically stupid affair that cruelly fails due to the main attraction announced by the title. In contrast to other B-movies of the time, the hungry gelatin gave way to amorous gossiping and police self-inquiry. The hunched Steve, who is supposed to be here as a dandy who is ten years younger, doesn't really matter. What bothers me the most is that in the final absolution, it's not desperately stupid enough to be loveable.

A fantastic hit and one of the biggest surprises of the year. After a series of flops (which were more or less his own fault), Twohy manned up and made a terrific thriller that feels like Hitchcock came back from the dead and went to Hawaii to make another of his classics. A calm romantic introduction outlines the characters, only to be followed by a fairly unoriginal (those who have been watching will remain calm) twist and a perfect final half hour, which (also thanks to the music) is an absolutely crazy sprint full of exaggeration (skull-cracking) and undying adrenaline. The replacement Zahn and a decently acting Milla work well, but Timothy Olyphant is an otherworldly tough guy who can high-five Woody Harrelson for the sharpest tough guy of the fall season. 4 ½.

Haunted horror movies are all about whether or not you develop a relationship with the characters. To put it briefly: She’s a cow and he’s an asshole. The positives? TY nights. The handy-cam is irrelevant. The result? Boring as shit.

While I understand the overseas acclaim, I refuse to join in. In fact, Zombieland runs at about half throttle when it could easily push the pedal through the floor for 85 minutes. Ideas from the black humor barrel are piled on during the opening credits meaning that essentially nothing happens for an hour, and then they arrive at B. M. and then at the amusement park. Every now and then pop culture is mentioned (Facebook, actors, movies), and sometimes it switches to video game mode (the roller coaster ride is a "Painkiller" DLC), but rarely does something ball-busting pop up that would stay in my mind forever and make me want to watch this again... for that, all I need is the trailer. PS: Woody Harrelson is one of the absolute best guys of the year, no question about it.