Malarkey

I really liked the previous two movies; they offered good entertainment and had a relatively high storytelling value. I had a bit of an issue with this one, though. The first half in Australia was technically only about situations in which almost every member of the expedition almost died on the road. At first, Dan Přibáň ended up in a bush with a torn back, then Dominika fell and slid on the gravel. And that was basically the entire first half of the movie. The storytelling value more or less nonexistent, except for when they came to the sacred mountain Uluru, where half of the group respected the Aborigines and did not climb the mountain, while the dude from Slovakia did not hesitate and climbed it only to shout out that the mountains in Slovakia are better. At that moment, I felt bad that I had a certain amount of respect for them up until that point, but from then on, it’s only gotten lower and lower. The Aborigines already have it hard enough trying not to drink themselves to death and to survive. They certainly won’t be better off if some crew decides to climb their sacred mountain. Especially if white people are exactly those who will one day oust their nation out of their native land. A shame. However, the second half from Timor immediately lifted my spirits. I immediately remembered the mood of the previous two instalments and the rest of the documentary was much more pleasant to watch.

Klaus Kinski and Werner Herzog are insane. They conveyed human madness in the form of Fitzcarraldo and turned into a movie of the same name. And I really don't know who the bigger freak here is: Kinski, who looks like he's just stuck a fork into the socket, or Herzog, who wanted the staff to move the whole ship over the mountains in Peru and even used it for a final scene that I’ll never forget. It’s a movie that makes it easy to realize that someone could have gotten themselves killed during the filming (which did actually happen), and also that there was no one from the crew who didn’t also become a stuntman.

Apparently, the Finns wanted revenge on the Swedish royal family over the centuries of enslavement and made a deliberately bad film about one of the famous figures in Swedish royal history. Because I can't explain such a bad movie in terms of the story, the environment, the actors (except Nyqvist) and especially the dialogues in any other way.

The story comes from the rank of honest European dramas based on difficult-to-talk-about European stigmas. French soldiers are returning from Afghanistan and the army prepares three days of relaxation in nationally schizophrenic Cyprus for them. They couldn’t have chosen a better place if they tried. But the average French person knows approximately as much about Cyprus as I do about knitting sweaters, and so they have to give them a little heads-up about where they are and that they’re really in Europe. What follows then is a rather interesting probe into the heads of brainwashed soldiers and in the end, there’s a slight deflation of emotions, which wasn’t as shocking as it could have been.

As soon as Blondie started playing, it unexpectedly grabbed my attention. Because when Richard Gere was young, he was a proper Hollywood Adonis. And honestly, when he introduces us with his role as a male escort, he somehow seems twice as gentle, feminine, even. But over time, the movie’s atmosphere keeps on getting darker and darker and the ending is a proper 1980s pitch-black darkness. What’s to blame is the music which is absolutely amazing in this movie. It perfectly completes the atmosphere of a 1980s’ thriller. I must admit that it’s why I wouldn’t have guessed that this was actually made in 1980.

I don't know what Danny Boyle intended to do with this sequel to the original Trainspotting, but unfortunately, he didn't manage to get rid of the nostalgia that tends to run through all sequels, perhaps across all cinemas around the world. And the more years since the first movie, the more nostalgic these sequels tend to get. Trainspotting included.

According to the ratings of some users on this site, I was expecting an original story from World War II. In the end, however, I was disappointed by an average romance that offered absolutely nothing captivating.

Klaus Kinski is a first-class acting psychologist. What he did with his relationship with Werner Herzog probably won't be seen with any other actor in relation to the director. I recommend this documentary to anyone who loves movies so they could see how an actor can behave. The Indian offers, the kick-off of an ultra-poisonous snake or the brutal fit of rage towards Werner are the worst things you can't even imagine, and they have little to do with professionalism. All the more haunting is the peace of mind of Werner Herzog, who radiates more fear than the loud-mouthed Kinski. Believe me, you wouldn't want to be extras in any movie starring Kinski. Worst case scenario, you would survive.

In this movie, Idris Elba is tougher than a coffin nail and he also acts like it. An interesting action movie without a pinch of any emotion.

I fully understand why Gérard Depardieu got all the way to Hollywood with his acting. In the 1990s, it was a pleasure to watch him play his roles. He was such a right, kind-hearted, giant, albeit a bit choleric, Frenchman who was very hard to dislike. Green Card was his ticket to America, and he delivered his performance with a grace that simply cannot be denied. In fact, this movie beautifully reminded me of why I actually like him so much. A nice, pleasant, human film with European nonchalance in the American world.