Malarkey

Well, I was pretty lost here. Alexandre Aja is actually a relatively solid director, and here he took on a story that at first appears to be unbelievably mysterious but after the first twenty minutes, the Earth will spin as if you drank half a liter of vodka. Here it actually looks as if the screenwriter, in protest, put hashish drops under his fingernails, because a movie that acts as if it could wipe the floor with Forest Gump storytelling-wise has such a mess in its head that it will make your eyes roll multiple times during the movie. But I persevered until the end. I was wondering how the mishmash will actually end, which was the only thing keeping me afloat. In the end, however, it didn’t end that badly. However, it didn’t improve my impression of the film. A movie that tries to appear to be of high-quality cinematography-wise, but the story will make you shake your head in bewilderment every five minutes.

An easy Jewish comedy with a filmmaking approach similar to the Czech Women in Temptation.

I intentionally watch the movie adaptations of Jussie Adler-Olsen’s novels on TV. There are so many Scandinavian crime movies that it is quite nice to make things easier with some movie series. And with this one, I always had to get used to the main characters in the beginning, so that I could really enjoy the story afterward. But here, it is a little more complicated. Here, Carl Mørck actually looks as if he had a pineapple up his ass during the whole movie and he drops a solid piece of wisdom at the end of the whole film. Assad at least expresses a few emotions and his character salvages a lot. Fortunately, the movie has a very decent atmosphere and an absolutely ultimate psychopath in the form of Pål Sverre Hagen so you can be sure that each of you will find certain moments interesting. But overall, I was disappointed. I put the movie on about 5 times and I truly finished it only on my 5th try. I don’t know a beginning of a Scandinavian crime movie more lukewarm than this one.

I admit that I was very hesitant between three and four stars. Three stars because, in my opinion, it at times dabbles unnecessarily in current American pop culture, which no American comedy can help; and four stars because I laughed a lot at it. In the end, however, sincerity and the desire to have fun with a comedy won, which again hasn’t happened to me for a long time. And James Franco dominated the movie perfectly. In the end, I couldn’t help but get the impression that the movie was far too similar to Meet the Parents until I read the end credits and found out that Ben Stiller was one of the producers. The relationship between a dad and his daughters’ boyfriend is absolutely clear. Either way, I can give nothing else for such a hoot. So far, the best comedy of the last two years that came from America. And probably one of the best characters of James Franco in the last few years. And he has had a fair share of those.

I finally saw the creation of the Chuckie doll and I have to say that the original idea is quite fun. You can smell the 1980s atmosphere from the movie from miles away. Blood isn’t used sparingly, a body part explodes ever so often, women have predominantly curly hair, and the Czech dubbing doesn’t mess about too much and so Chuckie intends to fuck everything that gets under his chiv. All of that is likable and, from today’s point of view, quite amusing. Much better than today’s remakes, which lack the magic of the time.

Once upon a time, Jane Austen met George Romero, and out of this emerged an interesting crossover, which benefits the most from nice, steampunk locations but on the other hand, completely collapses when it comes to storyline and especially humor. Too bad, too bad…

What good does it serve that the film is betting on the punk underground of the 1970s led by “The Clash”, when everything else is a weak concoction of what could be experienced and could happen at the time. Even then, London Town is a nice and nonoffensive drama about a family, whose children are the first to learn what it means to resist the system. From this point of view, it is nice… nice and nonoffensive. Too little for a movie with a punk background.

Originally, I looked forward to this series a lot. But somewhere around the middle of the series I started reading through the reviews at this side and wondered whether it would go in a slightly different direction. In the end, book-wise, I was surprised by one reader’s opinion, who compared the book this series is based on to a feminist version of the 1984. The writer actually wrote The Handmaid’s Tale in the year 1985. And it probably fits. Ever since the beginning, it is clear that there will be mostly heroines in the story, rather than heroes, which I didn’t mind. On the contrary, it strengthened the fact that Americans currently prefer heroines to heroes, which is very good and a nice change. I also really liked the way this series was filmed. You can see that the creators put a lot of work into it. For example, the cameraman is in his peak form. Some shots are flawless and as soon as some murder appears in the scene, count on it being a brutal shock for you. What is worse is how the creators are stretching the series. The first season is just about for four stars. But God knows in which direction the second season will go. It could be a lot more action-packed, but if it continues in a similar vein, I don’t know if I will be able to manage the utterly apathetic appearance of the main character, who is played by Elisabeth Moss. And make no mistake. She plays her amazingly. But the apathy she portrays is so unbelievable in the context of that world that if I were her, I would much rather put a bullet through my head than try to keep myself alive. You will not experience such a harsh approach to women as in the Republic of Gilead. Almost absurdly brutal.

Rubber has been waiting for a long time for me to get to it. This movie, starring a Goodyear tire, is actually something you don’t see every day. You will probably never see anything like it. And quite possibly, you will not even want to see it again. Mr. Oizo simply makes such movies. Everyone laughs at different moments. Somebody doesn’t laugh at all. But I believe that everyone is starring with their mouth wide open and is contemplating what they are actually watching. There are loads of WTF moments. Basically, crazy scenes alternate with crazy scenes, and it fascinates me that I didn’t get bored at all while watching a 79-minute story of a living tire. Is that even possible?

It isn’t as bad as you might think at first glance. I didn’t expect anything from the movie and the outcome is that I got a number of nice scenes from a first-person perspective, which has already been done by Hardcore Henry, but I haven’t seen it before watching this movie. Don’t look for a story in this movie, look for action, which really isn’t shot badly at all.