Malarkey

A solid gloomy Irish affair, which is however rather over-contrived. I can’t imagine this situation happening in real life, but the world is a strange place, so maybe if the stars were really not in favor of the pair of main characters, ending in the two of them being as unlucky as humanly possible, a problem like this could occur in theory. In the beginning, I was wondering whether the film was addressing some specific issue of the inhabitants of Dublin and the surrounding area, which would make sense, but I still find the story hard to belief. The filmmaking aspect, however, turns this film into a solid European drama, Gloomy, heavy, but with a flicker a hope. And I can appreciate that.

The start of this episode is very special, because it deals with a murder of a man who looks incredibly like Benno. Everyone is so shocked by this that they don’t even check his identity. Then, however, the true Benno appears and the case starts to stir new emotions. Then there is a standard investigation, but with some really good lines. Especially when Resi starts to talk about her uncle who used to be in charge of SS groups. Sergeant Pfeiffer also has a nice moment when he shoots himself in the knee. I just can’t help liking this series…

I only found out that the Coen brothers’ True Grit is actually a remake when I discovered this western film on TV. I watched it for the sake of comparison; plus it has John Wayne, so I was sure I was making a good decision. In the end, however, I am not so sure anymore. In Czech dubbing, the main character Mattie is so annoying that I hoped that some of the tough ranchers would dispatch her and we’ll get rid of her. However, as it’s a story about Mattie’s revenge, I knew this wasn’t likely. John Wayne had some decent shots there, but Mattie kept nagging so much that it turned into a parody rather than any decent film experience. In comparison with other western movies of the era, True Grit seems too childish and cheap. I liked the remake a lot more.

Just like in his The Witch, the director relishes creating the right atmosphere, but his film is very inapproachable; he makes every effort to spoil your viewing experience. The actors in the leading roles (Dafoe and Pattison) deliver superb performances, moreover in black and white, in a spooky, morbid environment with a hidden evil like from Lovecraft. I like all of this, but the inapproachability of the film makes it hard to give it better than average rating. It is, however, definitely a unique experience.

One thing that can be safely said about contemporary Greek cinema is that it’s weird. It treats weird topics, tells stories in a weird way, and the characters are so weird that it makes me reconsider my image of the Greeks as of a nation of people who like food, wine and women and live in an olive-filled paradise. The Waiter is a weird film that surprisingly also features some dialogues. It also has a decent camera, and the entire technical aspect is actually not bad… and it’s weird. Just like you would expect a Greek movie to be, if you’re familiar with their contemporary cinema.

Jeez, what a piece of crap. A Swiss creator makes a film about two Europeans somewhere in America in the middle of an Indian reservation. The camera doesn’t show anything interesting except the miserable Indians, so I’m starting to really have some doubts about all of this. I’m used to Americans shooting films about anything they like, but when it’s a Swiss director presenting the decline of one American nation, it’s very strange.

During the film, I realized that this film is typically German. This is already evident in the opening credits when the typical German Ilker Çatak appears on the director’s chair. And he immediately showed us the beach resort in Marmaris, where I was quite shocked as I had no idea that German travel agencies are offering accommodation in hotels in Turkey where local Turkish gigolos will provide their services to you on the beach. I was really surprised about this. Were I a woman, I’d only book my holidays in Germany from now on. Then the story starts and we meet the main character, a Kurd helped by a German woman who takes him to Germany in an attempt to make a European out of him. National stigmas are no laughing matter, what can I say. In terms of story, however, it’s a decent, well-executed drama, so the film-loving part of my soul was satisfied.

A nice, undemanding little film about a girl with a fringe who has yet to graduate from high school but doesn’t lack confidence, so she tries to break through as a manager of a newly established rock band. I was in a mood for something musical I don’t need to give much thought to. Even though this film sometimes seems like something Disney Channel made ten years ago, I have to admit that these boys were making some good music. Plus the English countryside looks great in films.

I was looking forward to this documentary. After AC/DC, INXS is definitely the best Australian band and Michael Hutchence is a truly interesting figure and a great singer. There was a lot I didn’t know and learned from this film. All in all, a decent documentary. A star of Micheal’s size definitely deserved this. The best shots for me are those from Prague before 1989. You won’t see an empty Charles Bridge every day.

Since the producer of this film is Elton John himself, we can assume that Rockeytman was made to his image. But the musical inserts just didn't feel right for me. I’d prefer for the film to be a more typical biopic with everything it entails. Plus the songs I knew where altering with some I wasn’t familiar with, which I admit is my personal problem. Had it not been for the music moments, which start right from the beginning, it would have been a model biopic. You won’t recognize Taron Eagerton; he simply became Elton. And what does his singing sound like? I couldn’t believe that he sang all the songs himself. For this reason alone, Rocketman deserves your attention, but if it didn‘t include the musical moments, it would have been better.