Stanislaus

Shekhar Kapur's film doesn't rely on a novel theme as much as on authentically written and endearingly acted characters whose love doesn't always work out as planned. But there is definitely a certain spice in setting the story in a world with values that are completely alien to us Europeans. Much like the story of the central couple, Zoe and Kazim, I was intrigued by the line about the disowned daughter. Even though you suspect (and know) from the beginning how the whole thing will end, it was still a nice film to watch - thanks to the nice cast, but also to the unusual cultural colour (see the wedding or the matchmaking service). Three and three-quarters stars!

More the Merrier is, in terms of space but also characters (since everyone involved basically only wants one thing), an intimate sensual small film consisting of several interlocking stories, of which I was particularly amused by the duo of women with a window like a door, and indeed the forced foursome of friends with an (un)planned denouement. Still, I wouldn't describe the film as a pure comedy, as some of the lines had a more serious edge – for instance, the two men's contact through the gloryhole, or the ex-partners meeting up years later. A quirky probe into relationships for one or more nights.

The third Ant-Man, following the example of its MCU predecessors, plays with multidimensional multiverses, but this time this colourful CGI ride didn't work for me. The Quantum Realm reminded me a lot of Star Wars in places with its atmosphere and diverse cast of characters, but that wasn't a bad thing. What struck me the most, however, was the character of M.O.D.O.K. - I haven't seen something so perverse in the cinema for quite some time. Even Weasel from DC wasn't that perverted. Paul Rudd, Evangeline Lilly, Michael Douglas and Michelle Pfeiffer really try, but the script throws ("socialist") sticks under their feet. Bill Murray's cameo was clunky, and I had mixed impressions of both Jonathan Majors and Kathryn Newton. Three (ant-sized) stars!

Do You See Me has a bit of an awkward start, but after Serena's epiphany about the man of her dreams, it becomes a likeable Italian flick about relationships and especially prejudice, which actually made me laugh in places – the fake video conference, the family dinner and the "poor" aunt. A nice diversion to make the evening more pleasant!

At first glance, the combination of werewolf horror with Norwegian production seems very appealing, but after watching it, I have to say that I found Viking Wolf a disappointment that smelled of awfully untapped potential. The intro lured me in nicely, only to then spend about half the running time waiting for the werewolf to actually show up at all, having probably dismantled many a skilled visual effects artist and a better version of the script while tearing people and animals apart. In some places the film seemed very unfinished and nonsensical (the line with the werewolf hunter goes nowhere, for example). Besides, it was hard to sympathise with the main character, who vehemently tries to make the viewer like her. The gradual transformation, which was better than the werewolf itself, and the sisterly relationship invited comparisons to Ginger Snaps, but the that one had a more eerie atmosphere and visuals. Too bad, there was probably a bad full moon constellation in the production of the film!

Man is a social creature! However, this does not preclude the possibility that he may at times become overwhelmed by someone's company and therefore, at his own discretion, fair or not, decide not to continue to waste his time with that person. At first glance, this sounds like a simple theme from everyday life, but Martin McDonagh took it in his own distinctive way and served us a powerful story that will entertain the viewer from the heart with its immediacy, only to give them an unpleasant chill down their spine and a bittersweet taste in their mouth in the next moment. Friendship may be eternal, but it certainly should not be taken for granted. The Banshees of Inisherin wouldn't be so effective and precise, though, if it weren't for the excellent cast (with excellent local English), whether it was the endearingly tough Colin Farrell, the chillingly stubborn Brendan Gleeson, the (un)happily goofy Barry Keoghan, or the caring Kerry Condon (all the acting Oscar nominations are spot on here). Last but not least, the unmistakable soundtrack deserves praise, perfectly underlining the beauty, but also the bleakness of the remote island where the banshees still announce an approaching death with their wailing. P.S. "I am not putting my donkey outside when I'm sad, okay?"

Special particularly benefits from a premise based on the life of creator/screenwriter/actor Ryan O'Connell, who, in a nice way, manages to bring fresh air to the relationship (tragi)comedy genre, by letting us see the world through the lens of a gay man with cerebral palsy, with all the funny but also serious moments that go with it. What I liked about this series with an enjoyable short running time was that the creators also tackled other topics besides LGBT and CP (family relationships, cultural assimilation, mid-life crisis, etc.), although it's true that I found the development of the characters and their relationships a bit rushed here and there (the Karen-Phil relationship was the one that hit me the hardest). Kim provided the biggest portion of entertainment, with the cynical Olivia in tow, while Ryan's partner-family relationships played on a more serious note. As a result, I'd rate the series 3.5 stars, but in this case I'll round up.

I have to start by saying what a pity it is that the film went directly to Netflix and not to cinemas. It was not as immersive an audiovisual experience as 1917 or Dunkirk, but still, many scenes would have been great on the big screen. I was a little hesitant to see the film at first, but I was surprised to learn it was nominated in nine categories for the Academy Awards, so I had to see for myself. Although the film is called All Quiet on the Western Front, it is a rather loose adaptation, which I personally didn't mind; the source material matter may have been viewed from a slightly different perspective, with an emphasis on the contrast between the "insignificant" soldiers in the sodden trenches with no food and the "big" men in the heat with plenty of food, but the basic ideas of the horrors and futility of war, as well as the stolen youth at the expense of "higher" goals, are present. I commend the film's reliance on rather unknown faces in most cases, though in the case of the protagonist I kept thinking about Rupert Grint. Although the film is nearly two and a half hours long, it managed to keep me engaged for the entire running time (the soundtrack, which was at times very dissonant to my ears, was harder to get used to), whether it was the realistically rendered and frightening shots of the front line (the arrival of tanks, flamethrowers and the flooded hole sequence will stay in my head for some time to come), the banter among comrades, or the theft of poultry. But the nine nominations seem excessive, even though the result is (at least technically) a fine film.

After the phenomenal The Gentlemen, my expectations for Operation Fortune may have been too high, but I didn't leave the cinema disappointed. Guy Ritchie's latest is a brisk one-watch action flick with some issues when it comes to the script and (black) humour, but it flows nicely in the cinema, and thanks to the regularly dosed action it doesn't get boring. It was good to see Josh Hartnett in action after quite a long time, but the main driving forces are the cruel Jason Statham and the equally sharp Hugh Grant, for whom such roles just tailor-made. In the end, the film neither impresses nor surprises, but it entertains and thrills, and that's what counts. A weaker four stars!

I'm completely untouched by the source material for The Amazing Maurice, and indeed by Terry Pratchett's work, so if the film strayed from his poetics, I couldn't care less. The story itself is essentially a variation on the Pied Piper, but the film rises out of the waters of mediocrity with an unusual narrative style that won't be to the liking of all viewers, but, I found this approach suited me (whether it was the story of Mr. Hopscotch, the breaking down of narrative clichés, or the reflection of the viewer through the characters). Plus, it was nice to see an animated film made outside of the big studios that isn't downright silly or funny and visually stripped down. A weaker four stars!