Othello

When a thriller is made by a director who discovers in the process of making it that he doesn't actually want to make a thriller, it's a bummer. I guess that's why Disturbia looks more like a boring demo of interior lighting options. It's like Transformers without the robots. Shia running around, acting completely irrational, confused, stuttering, well just "cuuuute". Yet he picks up the biggest slut in the western hemisphere through the most depraved method – stalking, taking off her bra, peeing in her swimsuit and so forth. Girls, if that's your thing... be my guest. In its detective moments, the film acts more like a parody – the final thunderstorm with no rain, the electricity working one day, going out the other, the cop who's otherwise at the house within three seconds decides to just fuck off and finish his burger. The ultimate collection of genre clichés and teenage boredom with decent direction. A thriller for the whole family.

Exactly the kind of movie for Meat Factory – it's alternative, it fights conformity, the actors look serious, lots of retro elements and ingenious references to the B-movie days ("Fuck the Music, Kill, Kill!"). Girls with ballerina skirts and slender fingers will like it, but I was hampered by the attempt at a story.

Fantastic cinematography, work with the given space and its "mythology" (the bomb in the yard), and excellent performances by the child actors demonstrate how easily horror can break out of the trashy box. A gem.

The irony is that like most superheroes, Captain America is the materialized greasy dream of a nerd dreaming of a super body and muscles of steel that come in all sorts of ways, mainly so he doesn't have to do anything for it; Chris Evans and his superhuman musculature had to be digitally cleaned up in the first act of the film. Otherwise, most of the criticisms of Captain America (after all, I wouldn't go see it in 3D with dubbing) can equally be referred to the subject matter, which is even more awful. It's patriotic, ridiculous, silly, cliched. But again, say "Captain America" three times in a row and explain to me what you were expecting, or why you went to see it in the first place. Unlike the cinematic terrorism of Thor, this at least has action scenes and I feel like I'm watching a movie and not a color test on a monitor. Not that I wasn't expecting it, but I was also just annoyed that any intertextual winking was subsequently dispersed by the next shot, which then explains verbatim what was implied in the previous one. Oh well, let's just get the Avengers over with so we can finally see Iron Man sweep all these whiny schmucks under the rug and the most expensive campaign for a movie was over. Oh, and as the user Superpero wrote – this movie is really reminiscent of Return to Castle Wolfenstein -)

Narrative hedonism that divides its audience right in the film. I'll always choose John Neville over Vincent Price, my old pals aren't what they used to be either, but I have faith that one day we'll all get together and save the city. And then we'll get trashed. Yeah.)

Matthijs van Heijningen (fuck how does he expect to get into the subconscious with that name) may have played Silent Hill and Dead Space and enjoyed watching Hellraiser, so it’s kind of a shame he hasn't seen the original The Thing he was prequelling. An horror movie utterly devoid of ambition where nothing works apart from the two creatures, and it's distressing to watch the film try to pretend it’s not the case. The CGI is terribly boring, the characters are as flat as Milla Jovovich, instead of a final climax we get a routine visit to a spaceship (incidentally, the fact that the hole to it was supposed to be blown by the Norwegians is somewhat forgotten), and whereas in the original the space nastiness was rather sneaky and insidious, here it rearranges rooms with the nonchalance of the Hulk. Puke up and forget.

Tarsem is a phenomenon. The Indian sense of kitsch, color, and perverse stylization can strip away the jewels and graft them onto any culture. Sure, his observations smack a bit of a tourist who has flown around the world in 14 days, seen the highlights of every country, and taken a bunch of pictures, but either way, he manages to inflate it into a plot (or hard to say, there were three people at the writers' booth holding the door and they were remaking a Bulgarian comedy) that won't give you facial muscle spasms. You can grumble that it repeats shots a bit, that in places its an overdone fetish, and a more civil scene wouldn't hurt at all. In any case, it's not Singh's fault, it's yours -) Dramatic, funny, touching, weighty, and light. The final flashback to the stuntmen from the beginnings of the film will take more breath away than the entire film thus far, and the opening title sequence belongs to the golden fund of cinema. If it were up to me, The Fall is a film I would have shot into space in the hope that an alien entity would treat humanity accordingly. FILM! PS: the lead acting duo is great

A professionally and dynamically crafted documentary about people who are totally fucked up, but they don't know it and will never know it. In short, the American middle class. PS: Billy really could have used a white Persian cat on his lap with a diamond necklace -)

Evil spreads evil. Christopher Smith took a script with bigger balls than you’ll find in any anatomy book and delivered it to a director who has a reputation for not messing around. How do you rate a film whose only negatives can be chalked up to a budget apparently so low that half of it was swallowed up by poster-making? It is true that if the scenes had been split up among more locations (nearly twenty minutes of the second half take place in the same setting) one would not have that "meandering" feeling of a puzzle. Anyway, it's not Smith's fault, the directing is all an honor. He expertly fights against established principles, has ideas and timing (in particular, he knows exactly when to end dialogue and with it the scene for emphasis), and occasionally surprises with a distinctive directorial contribution – for example, the steadycam worn on the body of a character leading to an execution. Speaking of executions, the film certainly relishes violence, but it doesn't revel in it. Rather, it forms a backdrop for the poignancy of the entire period and holds the viewer's attention. There was a pleasantly surprising action scene (I kind of regretted that there weren't more of them) that finally explains what it means to be smacked in the face with a morning star, and I kind of regretted how long it's been since I've seen a proper swordfight in a movie (a LoTR marathon is probably around the corner). Definitely not to be missed. Make movies like this under the threshold of dependency so I don't have time to crave them.

The sick work of a manic-depressive director who can't tell the difference between his grandmother's death and a really good joke. A film in which neither good nor evil, love nor forgiveness wins, but the more systematic manipulative bastard wins. Norwegians are dangerous. I want more.