Stanislaus

The latest contribution to the Alien universe has stirred up a variety of opinions here, and I can understand any assessment. I was impressed with Alien: Romulus in the cinema, and I'm probably glad that it wasn't as scary a horror film as it was presented before its release. The storyline is quite simple, the characters are not very well drawn out, and there are a few holes in the logic, but I liked the film as a whole and it managed to make me tense while watching it whether it was the acidic weightlessness or the final confrontation with the unexpected spawn. We even got one return from the "grave", for which I give it a thumbs up. As I wrote at the beginning, not everyone will like this return to the world of the xenomorphs, but for me it worked very well.

The Suck Me Shakespeer trilogy (especially the first film) was a fresh and humorous breeze in the field of German comedies, and I'm glad that they decided to make a sequel, albeit in a slightly different direction. Jella Haase with her Chantal was one of the funniest elements within those films. so why not use her as fodder for a fairy tale adventure? The fact that the film was made in the homeland of the Brothers Grimm makes it all the more hilarious and ironic. Chantal in Fairyland combines quite successfully a wacky comedy with a fantastical tale of female emancipation and the importance of friendship. These are admittedly common (and thus overused) themes these days, but in this case it is spiced up with just that unconventional genre concept. From a technical standpoint, it was a satisfying piece with a solid soundtrack, and I won't be at all opposed to a repeat screening in the future. I'd just be sure to watch it in the original version.

Borderlands looks like a hybrid of Guardians of the Galaxy and Mad Max: Fury Road, but due to its lacklustre execution, it is far from both films in terms of quality - both in terms of humour and imaginative action - which is a shame, given the cast. Eli Roth's film is proof that even Oscar-winning actresses like Cate Blanchett and Jamie Lee Curtis can try their best but can't do anything against a weak script. If I were to go to Pandora again, I would definitely and only go to the one with the Na’vi.

Depicable Me 4 was probably made based on a working brand rather to push the Grue-Minion universe in any direction. The fourth, or sixth (if we count the Minion films) adventure of Gru and co. made a mediocre impression on me overall. It’s not boring due to the amount of action, but the impression of untapped potential is noticeable. The line with the enhanced Minions – a wink in the direction of the Fantastic Four (or Five) – seemed completely unnecessary, while the first Men in Black immediately came to mind when looking at the villain. The cameos of the villains past were fine and it was such a short addition to end on. Considering the popularity of the Minions, we can expect another sequel in a couple of years, but it would be nice to work on being more imaginative and not just relying on a proven brand.

I know the original film from the 90s, of course, but I have never seen the whole thing, so I approached this modern "remake" without any dose of nostalgia, but also without expectations. I am a seeker of disaster movies in which untamed elements of nature play the main role, and I am glad that now and then there is a fine piece like Twisters. The film has a universally likable cast, with a great (at first glance) juxtaposition between the neat scientist Daisy Edgar-Jones and the badass tornado hunter Glen Powell. In this respect, I commend the filmmakers for pushing the romantic talk almost out of the picture. From a technical point of view, this is a supremely impressive film with evocative sound effects, which would be a sin not to see on the big screen, where films like this simply belong. Even the characters knew that cinema was the right space!

Ever since the MCU has been toying with the multiverse, pretty much anything is possible in this world: even Wade Wilson and Logan reuniting on screen after fifteen years (our time). And this time, they're even bigger and more vulgar! Shawn Levy's film will be most enjoyed by fans of MCU films who have knowledge beyond that, for they will be full of bliss at the huge plethora of references, allusions and jokes to lots and lots of people. The story itself is basically simple, but the film stands on (un)expected cameos and especially on the leading duo, whose bloodthirsty banter I really enjoyed. As with previous Deadpool films, the soundtrack is great, with the the cover of Madonna’s “Like a Prayer” standing out the most of course. I literally had a royal good time at all the scenes with Nicepool and his “beautiful” dog, as well as the brutal scene or the confrontation with the Variants. Deadpool & Wolverine is inherently wacky and reference-laden bollocks, but it is aware of this and knows how to properly use it for the viewer's experience. P.S. Watch out for the "baby-knife"!

The 1950s and 60s were marked by the cosmic Cold War between the US and the USSR, and Greg Berlanti's film takes us back to one of the greatest milestones in our modern history, when Neil Armstrong took "a small step for man, but a great leap for mankind". B ut was it really so!? Take Me to the Moon follows both the preparations for that big moment and the planning of the biggest con of the century (if not the millennium). Personally, I expected the film to ride a more humorous wave given the cast  featuring Channing Tatum, Scarlet Johansson and Woody Harrelson. The comedic level didn't really appeal to me (the character of the eccentric director was a disaster), but the dramatic one worked quite in places (e.g. the background of the character of Kelly Jones). P.S. Beware of the black cat!

I really enjoyed the first trip into Riley's head thanks to the original story and beautiful animation. Inside Out 2 ultimately rides a very similar wave (of emotion) and visibly builds on the dense fan base of the first film. The second adventure of the five emotions, and the four new ones, while not as original, still offers very interesting ideas wrapped in a proper serving of humour. The film lacked an outright powerful scene (like the one with Bing Bong in the first part) that would have moved me inwardly, which was a bit of a surprise considering the setting of the story in the teenage phase. Nevertheless, it was a nice film to watch and its message, though similar to that of nine years ago, will appeal to audiences young and old alike. P.S. Ah, the Nostalgia!

For the last two years, the duo Alexandre de La Patellière and Matthieu Delaporte have been working on and gradually bringing to the big screen adaptations of Alexandre Dumas' great novels. Like the two parts of The Three Musketeers, the The Count of Monte Cristo is a breath of fresh air in the field of adventurous historical film in which intrigue, but also love, plays a big part. I had seen an earlier series adaptation with Gérard Depardieu a long time ago, but I was nevertheless very happy to be reminded of Edmond Dantes' story - a tale of love, betrayal and, above all, revenge that slowly goes from righteous to consuming to toxic. A visually impressive film with believable performances. I really enjoyed watching the elaborate cat-and-mouse game, full of disguises, theatrics, and pratfalls, which, despite the moderate amount of action, kept me entertained for the entire three-hour running time.

(KVIFF 2024) I chose this film by Leos Carax's as the last one of this year's Karlovy Vary festival, without ever having seen the work of this filmmaker who "paints" his self-portrait in It’s Not Me. Actually, he does paint – no need for quotation marks – as he imaginatively plays with the image and offers various scenes during the forty minutes. In this case, I don't mind not riding a similar wave as the creator, as I enjoyed this show of paintings that was meant to answer the question "Where is Leos Carax now?" I thoroughly enjoyed it. Sometimes you just have to see, and not understand!