POMO

The most fascinating thing about this series is that despite the cultural differences, it is able to speak to the Western audience thanks to its values. The screenplays of the “exploitation road movie” series Lone Wolf and Cub are not as sophisticated as those of top-tier films like Lady Snowblood. Even the technical aspect is one step behind, which is apparent in the lower-quality visuals and frequent absence of sound. However, this film amazes with its atmosphere and the sensibility of the individual scenes, which are a match for Lady, if not better. Some scenes are a bit long, but others will take your breath away. My favorites are the one where the cub takes care of the wounded father and the “We’ll get warmer when there’s three of us instead of just two” scene. Baby Cart at the River Styx is a simply shot and edited episode, but one of the most beautiful things I’ve seen in recent years.

At the moment when the film really pulls you into the story and starts to be fun, it is over and you have to go watch its sequel. The first instalment, Sword of Vengeance, cannot really stand alone; it is just an introduction to the movie series. I’ll say more in my review of the sequel, Baby Cart at the River Styx.

Made without a trace of talent, this boring and static flick tells a clichéd story about a man living at a remote castle who kidnaps women and uses them to cure his beloved (this time it’s his daughter). Unfortunately, there is no violence, sex, depravities, gore or hallucinations, which we would expect from this director. It is one of the most conventional horror movies by Jesse Franco, whose creative signature is almost entirely absent here. Everything is immersed in black and white, which is a vain attempt to create the atmosphere of classic horror movies. An extremely bland film.

The script is great for this type of film, even though it lacks original ideas and the characters are not depicted in detail, but it’s action packed and without any boring moments. What the directors made from it, however, is sadly a different story. The hard to follow, badly edited action scenes, which make up about 80% of the movie, look like a direct-to-DVD C-movie with Michael Paré. Especially the shootouts with the army will make you shake your head in disbelief. That’s too bad, because the decent production values and cult status of Aliens and Predator put together could have amounted to a spectacular B-movie.

The Condemned is an embodiment of filmmaking stupidity. This film claims to criticize the same thing it tries to drown the audience in. Films like this harm the reputation of Hollywood cinematography. I thought Vinnie Jones was better than this. Only someone who is completely desperate would accept such a role.

Another contribution to the family of top-notch mafia flicks. The first half is a little protracted and boring, but the second half makes up for it. Denzel Washington steals the show, forcing Russell Crowe into the sidekick role. The new Scorsese (The Departed) was more superficial, but stronger in details and with sharper edges. Scott is slower and less flashy, but also more harmonic and easy to follow. The kings of the genres for me are still Coppola (The Godfather) De Palma (Scarface) and old Scorsese (Goodfellas).

Original, tasteful, funny, fresh and excellently cast and acted, P.S. I Love You is light but also intelligent. Hilary Swank doesn’t need any commentary while Gerard Butler was a pleasant surprise. The script is worthy of an Oscar nomination and I feel stupid for not knowing why I’m not giving this the full five stars.

Paul W.S. Anderson deserves credit for the script (especially the “raven” and “last joint” scenes), while Russell Mulcahy deserves it for the atmosphere and fast pace. The only element that doesn’t fit the genre template perfectly is Milla Jovovich – her boobs are too small for that.

The Golden Compass is another soulless digital orgy with self-serving, over-the-top acting performances. It most reminded me of The League of Extraordinary Gentlemen. Stunning set designs, great effects, a dozen stars, but a story that has no chance of engaging the audience. And why does Daniel Craig dominate the poster? By the way, the music is rather mediocre; Alexandre Desplat is great with atmospheric, emotional music, but adventurous grandiosity is not his strong suite.

Zabriskie Point is a nicely filmed but boring flick about politics and feelings, whose “climax” is the protracted scene of group sex in one of the most beautiful parts of Death Valley.