DaViD´82

Basically, this is like the demo for Bowling for Columbine. That's where Moore perfects his demagogically confrontational style.

A surprisingly bearable movie that is better than some of the more recent adaptations of Karl May’s books about the Wild West. You will find a few really lame and embarrassing gags here, but luckily these are outweighed by a few ideas of genius. Most of the rest of the movie is a decent parody on adaptations of May’s works (once very popular in Central Europe) with some nods to other pictures too.

The only one of all the Asterix films that is a quality adaptation of a storybook adventure. Smart, yet understandable humour, this time spiced with a pinch of English dry humour.

The only Asterix movie that isn’t even a loose adaptation of any of the Asterix comic books is paradoxically almost the best of them all (apart from Asterix versus Caesar). While the downfall of the other Asterix movies is the unsuccessful transfer of the intelligent but universally comprehensible humor of the books, here the creators managed to think up absolutely insane tasks performable only by gods and maintain the spirit of the adventures from the comic books.

For a comedy, it lacks humor and for a drama, it lacks a dramatic line. Yet the premise undoubtedly has comedy potential and the FratPack crew could certainly make something out of it. At least the Farrelly brothers toned down on the coarse-grained humour this time.

Ingeniously dumb and dumbly ingenious - a total parody of a lifestyle, life and everything. Indescribable absurdity multiplied by infinity, which goes all the way ad absurdum. For Christ’s sake, I so want to a man who looks not just good, but really good, like a male model, and I wish I could manage at least Zoolander’s Magnum. I’m not setting my sights on Blue Steel quite yet, but the day will come... Lucky I have this on CD and so can have countless repeat viewings to get Derek’s prize expression down to a T.

Smith returns to his New Jersey gang of slackers after a break of twelve years, and we can only be grateful, as the characters of Randell and Dante still have a lot to say after all this time. The new characters are as memorable as the ones already familiar to us. Rosaria Dawson is a convincing actor and the Catholic, Elias, will definitely get to you. Like most of Kevin's films, it's based primarily on brilliantly polished dialogs – both serious and pop cultural. In addition to the beautifully captured melancholy, above all they give us brilliant humor. I laughed at most of the scenes long after they ended (if this movie doesn't convince you that Bay's feature-length Transformers has a philosophical message of the highest quality, I don't know what will). Last but not least, the iconic Jay and Silent Bob duo returns to the screen in top form. I sincerely hope that we will meet this bunch again in another decade’s time...

Conrad's “Heart of Darkness” is one of those timeless books, and it's not bad at all. It is all the more remarkable that Coppola's adaptation does not fall short in any respect, it even surpasses it in many ways. At least in the director's cut, it is an equally riveting probe through the darkness of the soul and madness.

Is this or is this not a fairytale? As a "regular" movie it is terrible, but as an experiment it is fascinating. A fairytale for adults that plays around and turns all the common clichés and established narrative procedures upside-down. You have to play Shyamalan's game otherwise this will just be a boring mishmash for you. That is, except for the small detail that it is not a mishmash. Quite the opposite. Playfulness with established procedures is only hindered by Night's egoism. Too bad about that.

Tarantino would perfect his style in his next film, but for me personally Reservoir Dogs and their slut Madonna are enough for complete satisfaction.