Remedy

Del Toro's Hollywood debut actually turned out pretty well. I'd mostly single out the first half, which very artfully builds up the tension and prepares the viewer for the carnage in the second half, which tries to be almost "Alien-esque" at times, which of course it can't pull off :) In any case, this is an appealing, functional B-movie, which was great to watch and have checked off in del Toro's filmography. [60%]

Exactly the kind of film that pontificates on a very pertinent and topical subject but in a completely uninteresting way. Too many plot lines that somehow fit together in the end, but at the same time cause almost certain viewer death. As a political study of international relations focusing on the oil industry, this could work quite well. It's too convoluted a subject for a feature film which is also portrayed in an extremely unimaginative way. [50%]

Tony Scott's bravura spy thriller, whose predatory and dynamic pacing precisely matches the shakily unpredictable world of the clandestine services. The stunning narrative style, which maps out previous important missions alongside the current storyline and gradually fleshes out a complete picture of the close relationship between two key agents, is almost perfect under Scott's direction. The execution itself and especially the use of camera filters, including all the other visual flourishes, is very reminiscent of the best of the 90s, which warms the heart twice over. [85%]

A strange mix of the grandiose and the grotesque, but one that works quite well. Johnny Depp is already a bit in "Sandler" mode here, but he basically fits his character's template to a tee. Gore Verbinski is a well-practiced megalomaniac, but compared to the likes of Michael Bay, he can actually be quite original and I don't get a sense of annoying repetitiveness in his work (which I often do with Bay). [75%]

It's far from the genius of the first one and it's not as megalomaniacal or over-the-top as the second one, yet still is overwhelmingly a disappointment. It's crazy fun at individual points (the bit with Rasputin and the trench sequences are pure delight), but the whole comes across as rather wild and disorganized (not in a good way, unfortunately). It is, of course, absolutely flawlessly and confidently filmed, but what does it matter when it still turns out to be the weakest installment in the series. Gemma Arterton was great and woefully underused. I expected a lot more and even IMAX didn't save it. [65%]

An honest western that illustrates in perhaps a somewhat linear (yet basically almost flawless) way that evil must be confronted and fought to the end, even in the face of what seems a losing battle. Overall, this is a story told very slowly and with a wonderful build all the way through, graced in the end by one of the most impressive shootouts I've ever seen. It's very "Costnerian", but I don't mean that pejoratively in the slightest. [80%]

Andrew Garfield plays piano, composes, sings, works in a diner, helps come up with marketing slogans, and in between it all, learns how bitter life as a "real" non-commercial artist can be. The whole autobiography is underscored by the intense groping and uncertainty of what comes after 30, and Andrew Garfield really portrays Jonathan Larson in a very impressive way. It's a long way from being a conventional musical, but it's pretty close to being a sensitive biographical narrative that includes moving and breathtaking musical numbers. One of those less flashy films that is definitely worth seeing. [80%]

A festival of sensitivity and a pleasantly civil look at a grizzled weatherman dealing with a proper existential crisis. Gore Verbinski's well-known directorial mannerisms are undeniable here, but it's actually more of a plus. On the one hand, it’s a rather intimate and psychologically complicated story; on the other hand, all the visual flourishes and tricks notably enhance the viewer's experience. On top of that, Nicolas Cage gives one of his best performances. [80%]

A hardcore fairy tale set in an imaginative world with a strong appeal to sensitive and conscientious behavior towards nature, which is very ambitious and broad in its many themes and (sub)plots (I honestly got a little lost at times). Miyazaki has really created an extremely diverse world here, which, though rendered (only) in animation, has absolutely full-blooded and morally quite contradictory heroes. [90%]

Without hesitation the second best installment in the series. It's tremendously appealing the grace with which the creators of Ready or Not took on this (for me, anyway) legendary franchise. Logically, most of their references are to the best (first) installment and they work with all the characters and themes with the utmost respect while being unafraid to add a considerable amount of new elements. The fifth Scream works on many levels – whether as a mere reflection on endless film series, or again as a very thought-provoking education in what the actual slasher rules are, or as a simple yet extremely entertaining gore spectacle. What I appreciate most is the actual production itself, which feels old-school in the best sense of the word, yet manages to work perfectly in today's ultra-modern age thanks to the imaginative talents of the new filmmakers. In short, it's a beautiful textbook example of how to dust off a now classic 90s work without completely emasculating it. It's retained a huge heart and added some serious balls. A beauty. [80%]