Stanislaus

Those already familiar withy the character of the Marquis de Sade (for example, in the 2000 biopic Quills) will understand the many scenes that are fundamentally full of perversion and depravity. De Sade was a man who vented his (highly perverse) desires into writing, so if you want to adapt some of his work cinematically, you have to expect that it won't be very nice to the eye (or the ears). I'd already encountered Pier Paolo Pasolini's fondness for depicting nudity and sex in his one-year-earlier Arabian Nights, but in Saló he adds a lot of more perverse, brutal and bloody scenes that at times (especially towards the end) reminded me of Ruggero Deodato's Cannibal Holocaust (though that film wasn’t made until five years later, in 1980). The idea of unlimited power over human life is controversial enough on its own, and when you pile on scenes that make you wonder if you're also perverted while watching, you get the model template of a scandalous film. This film is damned by some, adored by others and ignored by others. I am one of those who wanted to see one of the most controversial films in the history of cinema out of curiosity. I can't give it a Boo! rating, because it wasn't completely bad and useless, but I can definitely say that I will never go back to it.

John Woo's Hostage is a terrifically action-packed and brisk representative of The Hire series of films, in which the tension gradually builds with the fast-paced rescue of a kidnapped woman.

A funny and brisk piece from The Hire series that brings together an all-star cast. A satanic Gary Oldman, an "ageing" James Brown, tough guys Clive Owen and Danny Trejo and last but not least a bizarre Marilyn Manson.

While Laputa: Castle in the Sky didn't wow me as much as Miyazaki's breathtaking "trilogy" (working title) Spirited Away, Howl’s Moving Castle, and Princess Mononoke, it's still a highly above average animated film that stands tall in terms of quality. There is the typical Miyazaki motif of a girl/woman and a boy/man relationship, one of whom is not exactly an ordinary person. There are also some wonderful and elaborate scenes that are full of unbounded imagination. This time there is a certain visionaryism, with the conquest of a perfect place that seems at first sight unattainable. The film does not lack for a witty line, which is especially provided by the characters of the pirates, led by Dora. In short, another great cinematic experience, which is not unusual for Miyazaki, but practically a given.

Funny, romantic, brisk! In the span of a few minutes, we get to see the life of a man who dared to take a risk and grabbed his biggest chance by the short hairs. And even though it looked like it wasn't going to end well, there is a happy ending.

A very unusual concept of one seemingly ordinary date, in which various formalities occur that you would not normally expect in everyday life. The result is a funny and imaginative short film with a witty conclusion.

As in Franz Kafka's "The Metamorphosis", the main character, Joseph K., is thrown into a completely absurd situation right at the beginning and there are many unanswered questions in the world for which we will wait in vain for answers. Orson Welles decided to bring this unconventional novel to the screen, and IMHO he succeeded. He cast Anthony Perkins in the lead role, who had already proven two years before that he could command the audience's attention in a thriller (Psycho). Orson Welles, as the conniving attorney with a shrill voice and confident delivery, was a great balance to the unstable Perkins. The icing on the cake was the casting of Jeanne Moreau and Romy Schneider, who added to the film's charm. The most impressive scenes were Joseph and Leni's conversation during the storm and Joseph's escape through the narrow corridors from the excited girls. All in all, a very fine film adaptation of a literary classic, highlighting the insignificance of an individual trying to defy a system that is corrupt through and through, and so everything comes to its inevitable conclusion.

Since the remake is knocking on the door, I decided to watch the original 1981 film without being some kind of horror movie fan. And I have to say that this 30+ year old film does not do the genre any shame. Many of the scenes are nicely paced, the atmosphere is thick, and the visual effects are quite well done for the time (the rape in the woods was really scary). Otherwise, the make-up artists also did a great job and created more than one hideous face.

John Carter may be brimming with breathtaking audiovisual effects and lavish production design, but on the other hand, there is a fairly bland story (to what extent this is the fault of E. R. Burroughs, I really don't know), which is marred by a lot of clichéd dialogue and a few completely deaf spots. Andrew Stanton is much more suited to directing animated films that stand very tall within their genre (Finding Nemo, WALL-E). The lead actor, Taylor Kitsch, also doesn't have that much potential to grab the audience's attention - which (in my opinion) was mostly taken care of by Mark Strong (and that cute "dog"). In short, a film that is solid in terms of form, but not so much in terms of content.

Paperman, as an Oscar winner in the field of short animated films, is not original in its story, compared to Signs and Post-It Love, but it manages to captivate with its unusual animation, black and white visuals and pleasant music. As a result, it is a cute American caress that has a certain charm despite its simplicity.