Isherwood

There are plenty of romantic comedies that entertain but are forgotten after a while. The Guru is a slightly different case. It stands out for its incredibly original execution. The story of an Indian man conquering America and porn actresses is indeed brilliantly executed. Directorially, musically, and especially choreographically. The script captivates not only with the filming of a porn movie but also with the perfect characters of Ramu and Sharon. Their behavior is firmly framed by romantic barriers, but the perfect acting of Heather Graham and Jimi Mistry elevates it just a little bit higher. Thanks to them, their characters are not lifeless puppets but people who live their "movie" lives. The Guru is a comedy that will definitely entertain you at first glance, but I can't guarantee that you will have the same fun watching it a second time.

I don't know how it was for the two newlyweds who chose a honeymoon vacation combined with scuba diving, and the boat crew only remembered them after 2 days. I don't know what it was like for these two people, whose story director Chris Kentis decided to make this film based on. However, Kentis disgustingly squashed the incredibly promising subject matter with his unimaginative and soulless direction and even worse editing. The 79-minute runtime passes quickly, but the film's content is highly contradictory. After fifteen minutes, people get into the water and the drama begins. The protagonists are put through a real test. The audience really empathizes with them and waits to see how their situation will unfold. Then comes a rough cut, and we see the couple arguing, accusing each other of everything possible, and then another cut, and all is well again. They tell each other how much they love each other and that it will all work out. After it was over, I was nearly beside myself with rage when I realized the potential Chris Kentis held in his hands. If he had at least developed the psychology of the two people a little by going in and out of the argument through small cues, it might also have given the film a real cinematic dimension. The way it is makes it come across as an unsympathetic and poorly edited documentary. The digital camera (which also changes about four angles) also didn’t help. That may be modern today, but the attempt for a rawer image doesn't always go as planned. Kentis didn't manage to achieve it at all. All things considered, Open Water could have become a cult classic because, compared to Jaws (which is a spectacular spectacle in comparison to this), no similar film has emerged since then. But on the other hand, it must be acknowledged that Kentis' intention was truly commendable, and the zeal with which he shot the film was remarkable. Unfortunately, I'm interested in the final product, which seems like a bad joke, much like the shot of the cooked shark under the closing credits.

I didn't expect anything from The Time Machine. But I certainly was not pleasantly surprised by the result. The film is missing one very important thing: Heart. The heart of director Simon Wells, who claims to be the great-grandson of the author of the book H.G. Wells. The film is made without any passion for the book, without a sense for arranging scenes, and as a result, I feel like I just watched some cold calculation that producers quickly devised and had this project rushed through. The beginning of the story is very promising when Alexander takes his first trip through time. Instead of portraying a person exploring and experimenting with their invention, the script strangely dictates that they instantly bond with the machine, accepting its capabilities as something entirely natural. The vision of the future might only captivate around the year 2037 when the Moon crashes into the Earth. But even this scene, where a perfect apocalypse could have been unleashed, was abruptly cut, and the film jumped forward to the year 800,000. So what’s it like? Just going back to the Stone Age is enough, and we'll end up the same way. The "pretentiousness" of Guy Pearce's acting at the beginning, where he attempts to portray a somewhat scattered scientist, brought a smile to my face. However, that doesn't mean his tough guy act as a world savior was any better. The Time Machine may seem like a grand spectacle, but upon closer reflection, it becomes evident that it's merely a film made to cater to the popcorn industry's demands. Poor H.G. Wells, he's probably turning in his grave. However, I can't sympathize with him because I haven't read his book.

Even during the peak of the 1980s, the film remains an incredibly dumb and cheaply told story about an angry black man who showed everyone. Carl Weathers was definitely capable of more than that!

Sandra, bottle in hand, searching for existential wisdom, accompanied by a singing Steve Buscemi? Damn, I sure did enjoy that!

Is this the height of tastelessness and a reflection of the corruption of today's youth? No, it's more of an entertaining provocation of 'popular' entertainment conventions, but personally, I didn't quite take a liking to it.

Desperation, pitifulness, kitsch, awkwardness... I terminated this self-imposed torture 20 minutes before the end. Christopher Lambert lost in the inescapable mud of cinematic mediocrity... sad!

A brilliant one-man show by Jack Black, whose infectiously vibrant acting captivates from the start. When he's skillfully supported by the little rascals, with an amazed expression on your face, you'll forgive the film all its flaws, including the biggest one - undoubtedly the sugary ending. Rock music rulezz!

Monumentally grand, beautifully shot, bombastically scored, and masterfully acted... Although the plot may be somewhat simple, it serves as a perfect microcosm of the life of an ordinary ship's crew, likely one of the most comprehensive portrayals available in today's mainstream oceans.

A disgusting parasite on my personal action cult, which takes its stupidity deadly seriously. Watching the movie from my hospital bed, I almost ended up in the CPR ward...