lamps

A likeable conversational comedy ornamented by very civil and precise performances (thanks to its male ensemble, in particular, it’s one of the most impressive casts of the 80s), several very funny dialogues, and a powerful and very memorable soundtrack. But I feel that Kazdan could have used those great songs to let his hair down a little as a director (as in the opening sequence) and that he could have anchored that easygoing charade of relationships with a stronger and deeper twist. It should get 3*, but those actors, the dramatic feeling, the nice humour, and Meg Tilly and her flexible hot character pull it to a weak 4*.

Many will say that Threads is amateur garbage, they couldn’t be further from the truth. The combination of naturalistic images, documentary elements, complex structure and deliberate emotional detachment results in a valuable masterpiece that is painful to watch, but at the same time impossible to look away from. The film is neutral about the dreaded issue and uses the characters as tools to manipulate the viewer, as a point of contact in the recapitulation of "real events". The plot is nothing but a pretext for a statement, which itself is a means of formal self-awareness (commentary and subtitles with data and statistics) and to generate a response from the viewer through everyday realistic motivations (the introductory information about the escalating conflict through TV news and radio). With the enemy and the possibility of salvation remaining absent and the afflicted humanity and the devastated environment coming to the fore, it is also a piece of work that is both timeless and current. And the sequence of the nuclear attack is very smartly and effectively staged, it will make your blood clot.

An easygoing piece that after the dramatic Endgame wanted to remind fans that Marvel is first and foremost a fun realm of blockbuster filmmaking. The first half is a lot of fun, actually, and it was surprising to see a superhero movie with a teenage romance line being far better than most thoroughbred teenage comedies – Peter’s troubles with his love interest and the subsequent dilemma about his own self work great, both in terms of humour and as an important causal element for the fundamental villain twist. And actually, overall, it’s a very nice spectacle that you will surely enjoy if you like Spider-Man and the Marvel universe, which allows for a rather sophisticated incorporation of illusory motifs and original antagonists. Unfortunately, it’s brought down by the shabby second half, which numbs the viewer with unnecessarily long illusory sequences and delivers a comedic finale where the characters, though they are truly putting their necks on the line, run to the Crown Jewels and share their secret weaknesses. The action is nothing great, either, and the final fate of the villain is quite inadequate given his potential. Also, the concept of travelling through well-known European locations has hardly any value and the interesting post-credit scenes underscores Sony’s stupid decision not to continue with this promising story. 70%

An intimate and honest account of the youth of the author of the most famous novels of the century. The story is not about “The Lord of the Rings” or “The Hobbit”, it’s about Tolkien, his love, his loss, his friendships and the major experiences and encounters that gave form to his imagination, his views over the question of good and evil and his relationship to language. If you don’t expect Hollywood celebratory chorals and grandiose artificial sequences, you’ll get a deeply felt and realistic portrayal of a commonly uncommon man that in a likeable manner represents the first figments of his famous works, the familiarity with which the creators expect in advance. Some of the emptier scenes made me realise that I would also like to see this biopic in those grandiose Hollywood hands, but I’m convinced Tolkien himself wouldn’t be offended by it. Nicholas Hoult is precise and Thomas Newman is fully charming again.

A slightly unfortunate combination of two creative approaches that allow neither for a full connection to the psychological level of the premise, nor for the film to be a gripping dark thriller. The material, however, is promising; there are parts where the film irradiates hopelessness and we root for the female lead, but the last act only telegraphs the main ideas of the story, which can’t develop in an interesting way and ultimately lead to a trivial finale. The previous versions managed to give this smart material a far more subtle and distinctive touch.

The popular concept of the human hunt in the not often seen setting of the African savannah. It’s clear that Cornel Wilde made the film almost by himself, but given how brisk and smart the result is, he can’t be blamed for his creative narcissism. The film hits the spot mainly thanks to its strong protagonists, the simple plot and the emphasis on the physical connection to the surrounding dangerous landscape. The pace wavers a little in the last act, but the narration delivers likeable human insight and impresses with a final gesture that highlights the natural respect and the order of the cruel but just traditions of the natives. 75%

James Gray completed, underscored, and carried to heavenly heights what he had already so impressively begun in The Lost City of Z: the fateful relationship of father and son and the perfectly old-fashioned, conscious development of the main character, wrapped in the most captivating cosmic setting ever. Interstellar? Hmmm, no, Space Odyssey. Every shot is magnificent, and the sequences on the moon and the final pilgrimage through material emptiness and moral fulfilment are downright hypnotic. Every gesture of the focused performance of Brad Pitt has a fundamental and undisputable reason, just like every note of the subtle score. I admire Gray from for not giving a crap about the mainstream and building a story of such epic proportions around a single character, whose distant journey from the earth’s surface so smartly symbolises a pilgrimage to his own past, while coping with his own legacy and bravely setting the direction for a new course of life, freed from the fateful shadow of his father. An audio-visually bombastic poem about the cosmos, by far the best and most beautiful homage to Space Odyssey ever, and with a human heart that truly touched me. I would have ended it with the detail of the praying hands, leaving the last minute to the audience, otherwise, beauty.

Since I’m not rich yet, I’ve no problem sympathising with this peculiar fairytale. An entertainingly lively spin on the concept of the human hunt that turns into a morbid carnage in the popular setting of a big baroque mansion. Although it grinds at times with the cheap way it delays the climax and the helplessness of the hunters associated to it, the viewer can always cling to the brilliant, badass main character (Samara Weaving was really born for roles like this), and in the ending rely on an unpredictable wave of foreshadowing, thanks to which the film can be taken as perverted and openly trashy fun in A-movie clothes. I’d love to see more brainwashers like this in the cinema, and all of them could be with Samara. 75%

With this The Conjuring universe has entered the phase of mass production. It’s competently made, eager, sleek and with pretty teenage actresses, but what good is that when you can experience similarly harmless horror in a traffic jam. Recommended by 8 out 10 film fans as a bed-time story for kids 6 and older.

If you skimmed over a biography of Linda Lovelace anywhere on the internet, you’ll get a more accurate picture of her life than this very simplistic TV portrayal. The only things the film can boast is not its confusing and haphazard time structure, but the solid period atmosphere and the very good performances. Other than that, it’s one cliché after another that won’t make you sad by the fate of the protagonist, but by the way it ignores many controversial facts. At least I enjoyed it a little as a fan of Amanda. 45%