DaViD´82

It's a pity Cage was born already in the era of the talkies. Here he proves with his pupils that he would be more at home in the silent film era.

The first Asian film where I would like to see a western remake. The premise is perfect, but the result does not match it, except for a few partial ideas.

A crying shame that Victoria seems so out of breath in the second half. Otherwise Vallée might surpass the standard he set with his previous movie. The thing that is absolute genius throughout is Hagen Bogdan’s camerawork. I don’t know where they found him, but I haven’t seen such sweet camerawork for years and years.

Not even a bunch of stoned niggers would appreciate these adventures of the "nigga version of Bob Saint-Clair" more than two almost uninhibited Central Europeans with paid tickets.

I like imaginative adaptations , which this one certainly is. The problem is that I was unable to believe MacFadyen's Mr. Darcy for a second. And Pride and Prejudice without a good Darcy is like the Milka cow in brown – just ordinary.

I have had a weakness for Shakespeare all my life, but I consider the “Merchant of Venice" to be one of his more average plays. The theme is full of bravado (if you can mention bravado when writing about a social-issues fairytale about a dandy deep in debt who even gets his best friend - a xenophobic hypocrite - indebted to a revengeful Jew so they could both find happiness and not pay even a symbolic cent of their debt), but the treatment, which mainly in the style of his other forgettable love comedies, is really unsuitable. It means that this is neither a comedy or a drama. But I have to admit that Radford did a much better job of it than I had expected. Even though the acting ensemble probably has a lot to do with that.

The mountaineering part is riveting, free of clichés, realistic (from a layman’s point of view) and often so much so that I would like to see a “making of", because often the mind boggles at “how they were able to film that without the actor actually hanging there at ten thousand feet in the middle of a snowstorm". The problem with the picture is that apart from the mountaineering part, there is a reporting part, following the ascent from basecamp. And that is absolutely unnecessary. Which makes it even more frustrating that it gets as much room as the climbing part. And this carries on until the last forty minutes of the movie. The creators rely heavily on the fact that the viewer already has some knowledge of the Eiger and so not much effort is lost on introducing the mountain. Which is a bit of a shame for those who aren’t “in the know". Somehow I had expected that this movie would be about the first successful attempt at climbing the Eiger by Harrer’s team, so it was a surprise and an enlightening experience to find out otherwise.

A modern-day Moses performed by an actor who would score about a hundred and ten percent on the “looks like an Arian" scale, walks around the woods for two and a quarter hours, all the time babbling away in dumb English with an “Eastern Bloc" accent. And sometimes he looks so content strolling through those woods that you get the urge to switch off the TV and go take a walk in real-life woods. However, it does have the advantage that when they are casting the main protagonist for a remake of Rambo, Liev Schreiber is the obvious choice. That guy grows with every movie he makes.

An Irish version of Internal Affairs with an almost extraordinarly likeable protagonist, and that's in spite of his marriage swindler's moustache. I was expecting something more in the style of The Baader Meinhof Complex, but what the hell.

Dismal Zürich weather, a dismal atmosphere and one dismal sleeper agent who somebody wakes, but nobody knows who or why. And that dismal agent isn’t like one from a Bond movie, strutting around with a gun in his hand, across roofs, mountains or in exotic destinations, shooting on sight and seducing one girl after another. This one has his daily routine, financial advice and he is at home in the office.