POMO

A very powerful, sombre adaption that draws its greatest strength from the excellent performances of its elite cast.

A visual poem with beautiful words and rhythms, but less space between the lines.

In comparison with the American remake The Ring, the original Japanese Ring is simpler in acting and technical terms, as it relies solely on the outline of a mysterious story that is not entirely clear. The American remake is sharper, visually more stylish, with better music and a more interesting cast. Therefore, I see the score as tied, or rather 1-0 for Hollywood. This is one of the few instances when I rate the remake above the original.

In filmmaking terms, this sequel is more professional than its predecessor (Ilsa, She Wolf of the SS) and it has a better screenplay, which contains one unexpected twist at roughly the midpoint of the film and the relocation of the whole plot to a new setting, as well as a surprisingly good, open-ended conclusion. But judging Ilsa, the Tigress of Siberia as a standalone film independently of the franchise, it’s just more bullshit. Very bloody bullshit with lots of nudity.

Oh, dear god Alfred Hitchcock. As a thriller, House on the Edge of the Park is absolutely hopeless and boring, with bad actors, an unimaginative and spasmodic screenplay, and zero visual style (oh, dear god Dario Argento). But that’s to be expected from Italian trash-maker Ruggero Deodato. What surprised me, however, is that the film really is just a thriller and there’s a minimum of blood and no sexual violence. Instead of the unpleasant feeling that I got from Deodato’s Cannibal Holocaust, I was just awfully bored. Though the deviant’s razor does explore every curve of the complete female cast, nothing ever happens. And that “surprising” final point... Oh, hell!

A spectacular, stylish action movie that disarms the viewer with its brilliant visuals and, through the superb idea of a parallel world, evokes the feeling that it is something more than just a spectacular, stylish action movie.

A few nice underwater shots and a few mediocre ones. Can anyone justify the use of 3D technology for making a documentary about nothing?

A solid thriller whose main handicap is the absence of such a strong protagonist as Harrison Ford in its predecessor, The Fugitive. But is Ford even necessary here when we’ve got the bad-ass agents on Tommy Lee Jones’s team? U.S. Marshals is not an epic blockbuster, but I wasn’t bored for even a second.

Stylistically, Supernova is “theatrical sci-fi” similar to Soderbergh’s Solaris. However, Solaris at least pretended to have some sort of content. And it definitely had an interesting form and hardworking actors. This bullshit doesn’t have anything at all.

A cultured, sexually free-thinking comedy about youthful relationships and non-relationships. Threesome ranks at the top of the genre alongside Singles.