DaViD´82

A poignant grotesque about the fact that making fun is no fun at all. Most of the gags, even from today's perspective, are very funny and brilliantly delivered, but I feel they somewhat overdid it after the excellent opening forty minutes.

The Great Cheese Robbery Anderson-style. So nothing for kids. In his fox guise Clooney is maybe even more charismatic than usual, Dafoe’s part is one of the unforgettable ones, plus Desplat à la Morricone, not cheaply stealing from him (not like many others), but developing on him fantastically. And in fact this entire movie is a fantastic celebration of fox, uh sorry, human fantasy and playfulness.

There are several scenes that are as powerful as few in the field of psychological crime thrillers, but there also many scenes that are as mediocre as anything in the field of standard crime thrillers. It's like a river that doesn't know which way to go...

A serious "fairytale" with the cutest Irish kitten ever. Neil Jordan's creative range truly knows no bounds.

...all those reality shows and documentaries can go take a walk. Who would have said that the gray daily routines on both sides of the barricades could be depicted so convincingly. So much so that you absolutely understand the actions of both sides, while not identifying with either, although it is quite clear that that’s just the way it is. And not just in Baltimore, but also in circles not involved with crime or the police. You find no clichés here, either genre or series-related. But in spite of everything it works the same as what it is illustrating. Like an addiction that you can’t quit. And so I am becoming more and more addicted to the drizzly Baltimore weather that little fish, big bosses, regular cops and their superiors wake up to every morning, just to go out there and take shit again... It may put some viewers off that the separate seasons don’t work so much as individual episodes, but as a whole; like one long movie with lots of parts, so it’s understandable that if you watch this series in classic “one episode a week" style, you won’t have the stamina to last out to the very end.

Impassiveness through pulsating tempo. Irony through silence and furtive gestures. A study of a man whose internal motives we know almost nothing about. If you know your way around the political scene in Italy at the beginning of the nineties, you will probably enjoy this more than I did. I don’t intend to hide the fact that I was expecting something completely different - concentrating on Andreotti’s career as such with a particular focus on the events of spring 1978 and spring 1979. This is more of a “made by an Italian for Italians" affair.

The vendetta-obsessed white/Indian teenager is played by wrinkle-covered Arian McQueen who must have been getting on for forty. No joke - the filmmakers were completely serious. The movie is so full of unintentionally bizarre moments when Steve is visually the same age as (or even older than) his colleagues on-set, but they behave toward him like a little brat with milk still dribbling down his chin. It would have been excellent as a five-minute sketch by Monty Python, but it just doesn’t work as an unnecessarily long regular western about revenge which, apart from what I wrote here, has nothing of interest about it.

I hereby notify all upstanding citizens that Foxx is about as endearing here as any regular politician and Butler didn’t even attempt to endow his character with the charisma needed to command due respect. And if that weren’t enough, while writing this weak broth made from the first part of Saw, they looked up the term “shocking twist" but mixed up the definition with that for “load of hogwash".

An absorbing and wrenching film that brings to mind The Lives of Others. Only this secret police mid-life crisis is more believable, more intense and much better (not only) because of it.

Gilliam's The Last Temptation of Christ, while losing points in the superfluous passages behind the mirror (except in the of the very final one), it gets a lot of points in the London "real" part of the storyline, which fortunately prevails.