DaViD´82

"A revolution? Seems to me the revolutions are all over the world. You know, they're like the crops." A picture with two extremely different halves. While the first half rides on an adventurous wave in The Good, The Bad and The Ugly style, the second half becomes rather serious all of a sudden. Almost as if Sergio was getting ready for Once Upon a Time in America. But both halves are just perfect, no doubt about that. But I can’t help myself feeling that they don’t go very well together. Otherwise, the classic elements of Leone’s pictures are here and again in masterful quality. From Morricone’s perfect music to the not so clear-cut characters of the protagonists. Coburn’s character’s flashbacks worked particularly well. The one with cuts to the scene by the wall, gradually increasing the tension, is absolute genius and significantly stands out against the rest of the movie (which you don’t often find in Leone’s movies). In comparison with Leone’s other movies, I would give this 4*, but in comparison with other movies, I can’t possibly give this any less than the full five stars. I’m not going to underrate this movie just because, in comparison to Leone, all other directors are nobodies.

Jodelle Ferland’s “one child show" who steals the entire movie, despite the excellent performances of all those involved. Tideland certainly isn’t a movie for everybody, or rather it suits the taste of only a minority of viewers who happen to be in the right mood to like it. If you are lucky enough and it suits you, then you definitely won’t mind that it basically isn’t about anything and it’s rather long-winded. The atmosphere will get to you and the whole movie then flows away like water under a bridge. It’s a really unusual experience and possibly the “sickest" movie seen at the movie theater for years (and perhaps ever). Gilliam still has it in him and particularly the camerawork is something that catches the eye and pleasantly surprises throughout the movie.

In terms of Woo’s Hong Kong movies, this is unusually mediocre, and should be ignored, while concentrating on his serious stuff. Although John Woo gets the comedy timing right, it doesn’t suit the serious story and so what we get is a humdrum hybrid. As always, this is held above water by the charisma of Chow Yun-Fat, but I probably don’t even have to remind anybody of that fact. The pleasant thing about this is that the central acting duo headed by the director doesn’t balk at making fun of his own greatest hits, although this has no positive influence on the movie as a whole.

An average film whose success was instrumental in the rise of South Korean cinema, so let's be grateful and enjoy its unremarkable grey mediocrity as an Asian copy of Michael Bay.

Aja is certainly not devoid of talent, but that makes it all the more incomprehensible why he's wasting it in a remake of a standard horror film, especially when it is an almost shot-by-shot remake.

A bonus short to The Ring 2, but much better than its feature-length sibling. In those 15 minutes or so there's an idea, a nice execution and an interesting connection between the first and second American remakes.

For an A-grade movie, this is rather unsure in technical terms, in terms of story this is also no miracle, the characters are uninteresting and one of them is absolutely unbearable (and paradoxically he is the central actor in one of the best scenes in the movie) - but thanks to the short running time and decent pace, watching this is quite a passable experience. Too bad that overall it will appeal to a younger audience, because apart from a couple of adult jokes, Over the Hedge has nothing better to offer.

Like the book, the picture is rather “naive" and rather than quality, we get solid craftsmanship instead. Thanks to the flatness of the characters, the actors have very little acting to do, which is highlighted by it being rather garrulous and so the entire movie relies on vocal performances. Although this could easily be cut down a good few minutes, in the end it is watchable without great damage to your health. But the only actually positive side of the whole Code is Zimmer’s soundtrack, which makes even the most boring dialog scene seem as if it is something fundamentally important for the story. The creators tended toward the secrecy storyline, which is therefore given the most space and so only a fraction of the movie is devoted to cracking the code and this becomes just a necessary evil with no power behind it, which is a great shame. OST score: 4/5

Had such a routine and uninteresting dull popcorn affair come as an adaptation of another comic, it could have been a relative success, but as a continuation of the franchise started by Singer, it is a huge flop, though watchable.

A boring TV production, the tiresome duplicating (ahem, actually dualistic) pace kills the otherwise interesting and topical theme.