POMO

The Weather Man is a melancholic “drama from life” about a guy who comes to terms with his own shortcomings and thus finds himself. It is less sentimental and episodic than The Pursuit of Happyness and less theatrical and superficial than American Beauty. Talented craftsman Gore Verbinski affirms his feel for impressive visuals and an original take on relatively conventional material. The film loses its clear direction in places, but the accurate and intelligent expression of the final idea makes it work well as a whole. If you watch it at the right time, you may find itdd unforgettable.

The Queen is respectably and sensitively filmed and acted, but I was not at all interested in its content.

A sad “film from life” that tells you that you are not alone and that things will get better someday. The Pursuit of Happyness is melancholic, with a slow pace, but it’s not boring. The film’s driving force is the focused performance of Will Smith, who brilliantly portrays all of the situations of a troubled man and thus elevates the film above the level of average. An actor who had not gone through something similar in his own youth wouldn’t have done such a credible job.

This hyperactive indie flick is never boring even for a moment – as long as you have popcorn. The deeper intellectual dimension is only artificially grafted on and, together with the gratuitous violence, undermines the film. Apocalypto could have been either an excellent family film or a great existential drama, but it’s unsuitable for children because of its brutality and it turns off adults with its thematic shallowness. On top of that, the visuals look cheap due to the large number of shots filmed with a digital camera. The dynamics and editing are great, but the filters could have been put to better use, which would have helped the appearance of the film, giving it the look that makes The Passion of the Christ an audio-visual gem. Apocalypto is a thrilling experience, but a few days after watching it, you remember it as a forgettable farce that missed the mark.

Rocky Balboa is a dementedly simple but pleasantly honest and modest little film about a washed-up boxer who still has something to say, and not just with his fists. The film’s prelude is a bit drawn out and, conversely, the climax is rushed, but *nostalgia* has its indisputable weight of likability, which irons out a lot of the wrinkles. Sly Stallone managed to do the same thing that his hero did – he didn’t make a great comeback, but he acquitted himself with dignity.

Perfume is a work of art, a parable and an allegory, masterfully wrapped up in a beautiful, spectacularly attractive mainstream package. It is an amazing sensualist film about everthing that a talented person can do and, mainly, create when driven by love. I don’t feel sorry for Grenouille’s single victim; I feel sorry for Grenouille. And I admire him. Tom Tykwer brings perfect balance to the collage of drama, thriller and comedy, the sets are amazing, and the actors – including Dustin Hoffman and Alan Rickman – fully embody their characters (and that’s not even to mention Ben Whishaw...) and some scenes (the maze, the climax) are exemplary demonstrations of film editing. Perfume reawakened in me a memory of the melancholic student days of Branagh’s Frankenstein.

An ambitious subject rendered in the form of a disjointed and confused television farce. The only positive aspect here is the high-quality actors.

A winning combination of social drama and action/adventure. Bleak scenes of violence are insterspersed with gripping action, which is tempered by intimate dialogue – and this pattern is repeated over and over again, which unfortunately makes Blood Diamond seem drawn-out and repetitive in places. In the end, however, it is still a respectable example of first-rate Hollywood filmmaking, like almost everything else by Edward Zwick. And that is thanks to the beautiful visual aspect, the attractive setting, great actors and a lot of very powerful scenes, especially the last one.

Though A Good Year is a modest little film, it is one of the best in Ridley Scott’s filmography in terms of fulfilling its objectives. There is nothing for which to fault this film. It doesn’t overdo anything, it’s pleasant and positive, and it makes full use of Russell Crowe’s acting skill and charisma. The poetics of the setting (camera filters, music) uniquely complement the intimate story, with the added bonus of sensitive and intelligent humor.

The Holiday is a fake romantic comedy with a few sincere moments. Besides that, it gives off a whiff of sucking up to people in the film industry, let’s say directly to academics (the storyline with the old Oscar-winning screenwriter). Sorry, but there’s a deep chasm between Hollywood’s The Holiday and the British Love Actually.