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CSI: Crime Scene Investigation: Turn of the Screws (2004)
Dead men don't ride roller coasters.
I also find the episode very entertaining and exciting. Grissom shows his typical dry humor and sharp powers of observation again in this episode. He doesn't allow himself to be influenced by the doubts of his colleagues or the suspect's tricks. He trusts the evidence, which he analyzes using scientific methods.
I find his charismatic appearance and his image as a competent and experienced investigator of the unit absolutely convincing and impressive.
The question to the perpetrator "why didn't you repair the roller coaster?" was a real hit.
The episode will definitely appeal to viewers who are not so familiar with CSI. It could be scary for viewers who have a panic fear of rollercoasters.
CSI: Crime Scene Investigation: Room Service (2005)
One night in Vegas could be the last. In this case, this was probably the case for Julian Harper
I think the episode has a good balance between suspense, drama and humor. The actors deliver convincing performances, especially William Peterson as Gil Grissom stands out again with his charismatic manner and his appearance as a competent and experienced investigator.
The episode also shows again how intuitively and precisely the CSI team works together to solve the cases and how they deal with their personal problems at the same time.
Some criticisms I have of the episode are that it's a little too predictable in places, and that some of the supporting characters don't have enough depth.
For example, I found the spa owner a little too stereotypical and unlikeable. The same goes for Julian Harper, he is only interested in fame and money and has no talent or passion for music. He uses his fame and wealth to take advantage of other people. He has no respect or compassion for the feelings of his partners.
I would also have liked to know more about the actual background of the young suspect who is being defended by Grissom.
Overall, I think the episode is one of the better ones of the sixth season and will satisfy fans of CSI: Tracking Down the Culprits.
Fargo (1996)
Beautifully grotesque, funny and exciting, typical Coen film.
The setting of "Fargo" with its snowy landscapes reminds me of Scandinavian productions. The crime thriller, enriched with black humor, is quite exciting and entertaining. The actors do a good job. I think an Oscar for Frances Louise McDormand is absolutely appropriate and well deserved.
Directed by the Coen brothers (No Country for Old Men, True Grit), "Fargo" is a black-humored, grotesque crime thriller that paints a portrait of the provincial inhabitants of the north of the USA that is as affectionate as it is curious.
"Fargo" successfully combines bizarre situations, quirky characters and crude violence with a crime plot that may not be particularly innovative, but is certainly cleverly constructed and always has a few surprises in store. Added to this is the strongly captured wintry atmosphere of snowy Minnesota and a very playful ensemble of actors, from which Frances McDormand stands out in particular as a pregnant police officer who combines an engaging warmth with determination and shrewdness.
The Coen brothers could have tightened the tension a little more here and there and cut out some scenes that are irrelevant to the main plot - such as the policewoman's meeting with her old acquaintance Mike (Steve Park) - but even so, "Fargo" is brilliantly entertaining with its finely tuned mixture of humor and thrills.
The movie is rounded off by the very nice, wintry atmosphere in snowy Minnesota, where the clocks tick differently and everything has this rural backwater character. I like movies like this that are set in more remote regions and "Fargo" also captures this charm in a fun and likeable way. Ultimately, the movie is easily accessible and provides good entertainment.
A few somewhat unnecessary subplots and humor passages that didn't click with me keep "Fargo" from being my favorite Coens film so far, but it's still a very successful and worthwhile film.
Conclusion: Exciting story, somewhat dorky kidnappers, peppered with quirky characters, pleasantly restrained touches of humor. Worth seeing!
Heat (1995)
A classic with two of the best actors in top form. A tough game of cat and mouse between Pacino and De Niro. This is a modern crime epic.
Michael Mann has simply conjured up a wonderful atmosphere here that I have never experienced in any other gangster movie before.
A "must see" for all classic gangster movie fans, long on the list, now we finally got around to it. And yes, it is an "old" movie, but it doesn't seem as dusty or antiquated as I had initially feared.
Despite the length of 2:45 hours, the tension is maintained and it's a pleasure to watch the acting talent of Robert De Niro and Al Pacino in their younger years - they excel in the intelligent game of cat and mouse between uncompromising gangster and cop, right down the line. But the "supporting actors" also do a good job.
And even if it doesn't quite tell the "new" story, it's fun to follow this worthwhile gangster story. Highly professionally staged, a lot of effort has (still) been put into the look, the camera angles and the acting.
I have the feeling that the two have become really good buddies after all the films they have made together.
Conclusion: A superbly constructed thriller gangster heist epic that just gets better with every viewing.
Just watch and enjoy it.
Casino (1995)
Casino ~ a crime drama from 1995...none other than Martin Scorsese could create this masterpiece
Martin Scorsese's directorial masterpiece. With quasi-documentary accuracy, he sheds light on the criminal power structures behind the red carpets, the green poker tables and the chinchilla fur coats in Las Vegas in the 1970s and 1980s.
When the city of sin was still the vicious extension of the Wild West and not, as it is today, a kind of Disneyland for narrow-gauge racketeers.
The effervescent, multi-perspective information jumble is accompanied by an almost virtuoso rhythmic stylistic confidence that is still unparalleled today.
It feels like not a minute goes by without a song accompaniment, voice over or a tear drop. "Casino" is bold excess and yet detailed analysis, hysterical and yet completely to the point. What is also incredibly impressive is that Scorsese's mafia deconstruction reaches a disturbing climax in terms of violence.
The master has never been more cruel or more virtuoso in showing the bestial logic of self-preservation and self-destruction that gradually spirals out of control.
Conclusion: Despite the long running time, I didn't find "Casino" tedious. The movie gives a realistic insight into Las Vegas in the 70s and 80s. The actors deliver a strong performance and are familiar from many similar films.
Compared to "Casino", however, I find other gangster epics to be a clear cut better.
Back to the Future (1985)
Back to the Future is Feel-good cinema at its best.
There are simply these films that have something magical about them. The magic of cinema - images, stories, characters that could enchant you, especially as a child. You were immersed in another world and sat in front of the TV with your mouth open. That was exactly the feeling I had when I saw "Back To The Future" for the first time.
And the amazing thing is that I can still feel this feeling today when I watch the films.
Even when the first notes of the magnificent score are heard, I get goose bumps.
Immediately I am carried away into a world where I feel at ease and can forget everything around me. Hardly any other film has such an incredible charm as "Back To The Future" and its successors.
This first film in particular is close to perfection for me. You can't tell a time travel story much better, more charming, wittier, more exciting, more intelligent than Robert Zemeckis does in this film. The plot is brilliant from beginning to end and there is not one scene that I find unnecessary or don't like.
In addition, the strip offers simply incredible highlights, where you would like to rewind right away. For example, the appearance of Marty when he plays "Johnny B. Goode" at the ball, just fabulous. Or the skateboard scene, great.
But not only the individual scenes, but in general this atmosphere, especially in the later course, when the action takes place in the 50s, is wonderful with the very beautiful backdrops. With Marty McFly and Doc Brown, of course, you have one of the most iconic movie duos of all time anyway, and with Michael J. Fox and Christopher Lloyd, two outstanding actors who play it so well that they will forever be associated with these roles of a lifetime.
Conclusion: Is there such a thing as the perfect film? Probably not, but "Back To The Future" is for me probably a strip that comes closest to it. And the best thing is that there are two more parts to follow, which are also really good and make up a totally round trilogy, which fortunately has been left as it is until today...
The Patriot (2000)
The Patriot always manages to impress me. Very good film that also touched my heart.
That the "Master of Disaster" director Roland Emmerich (Independence Day, Godzilla, The Day After Tomorrow, 2012) can not only disaster blockbuster cinema, he proved with the historical war film "The Patriot" at the beginning of the new millennium.
South Carolina, 1776: At the time of the American War of Independence, British soldiers threaten the home and children of family man Benjamin Martin (Mel Gibson, Mad Max 1-3, Lethal Weapon 1-4, Braveheart).
The father becomes a patriotic national hero when he and his eldest son Gabriel (Heath Ledger, Knights of Passion, Brokeback Mountain, The Dark Knight) lead a rebel militia into battle against the British army to protect his family, seek personal revenge and fight for the freedom of a young nation.
Patriotism is writ large here, and there's not too much emphasis on historical accuracy either.
If you can ignore that, you'll get great, epic historical cinema here. Or star cinema, because the cast (including Jason Isaacs, Tom Wilkinson, Joely Richardson) can be seen here.
Gibson, still at the peak of his acting career, pulls off a lot here. Oscar nominations were received in the categories of Best Sound, Best Cinematography and Best Score (John Williams).
Conclusion: Mel Gibson in top form, the atmosphere of the film exciting, sad and even a little humorous at times. Jason Isaacs as the villain could only have been better cast with Kevin Spacey as the antagonist.
Independence Day (1996)
In all respects THE absolute blockbuster of the 90s.
ID4 can happily join classics such as Jurassic Park.
Great cinema with heart and mind. Films that fascinate you as much as this one of its time, you look for today almost in vain.
Very good is that at the beginning first the various central characters (Will Smith, Jeff Goldblum, Bill Pullman) are introduced and their family relationships are presented.
The World building itself is artistically done, which everybody can see in the self-fabricated livebroad casts, some of which are shown in the film.
We can acclimatize well into this world from the beginning.
You really feel immersed in it.
The attack sequence seems so real and authentic that it's always scary to see how Washington D. C., New York and L. A. are rolled down in a Tsunami of flames by the attack of the alien invaders.
The attack of the aliens is presented step by step, different tactics are designed how to fight them and the action sequences never get out of hand.
The film contains a bit of coincidence, cheesiness and silliness where it weakens a bit, but ultimately it's still as great as it was when it came out in 1996.
The film remains entertaining fun to this day, with a much higher quality than other films in the same genre!
Conclusion: Modern science fiction classic, which knows how to inspire due to great tricks and successful story.
Top Gun: Maverick (2022)
A damn unexpectedly good movie.
Impressive.
Out of nowhere, a sequel to an 80s hit comes into theaters, after which basically no one was crowing, and in a short time it becomes the most successful film of the year.
And not without good reason. "Top Gun: Maverick" easily leaves the original, which in my opinion is quite overrated, behind and is the better film in every respect.
If you watch both parts in quick succession, you can see very well how much better Tom Cruise is as an actor today.
Here the characters and story are kept simple.
Despite this, there is time and space for emotional moments, that really touchs your heart.
The finale really ramps things up and the action in the air is simply breathtaking reference.
What you get here visually alone is of course first class.
The scenes in the air are absolutely impressive and masterfully staged.
A partially perfect interplay of image, sound and tension.
Likewise, Tom Cruise shines again as Maverick. It is his role that again puts the stamp on the film.
TOP GUN: MAVERICK is the most awesome aviation movie to date. After well over 30 years, Tom Cruise returns to the big screen as rebellious ace pilot Pete Mitchell, this time directed by Joseph Kosinski, who has not been stingy with imposing visual arcs to date (OBLIVION & NO WAY OUT). But for Cruise, this sequel was of course also an affair of the heart, for which he has once again really dug in. MAVERICK tells a similar story to its predecessor with heart and a nostalgic touch, which then amusingly culminates in a Death Star-like mission.
In order to be able to complete (or survive) the flight scenes filmed with 6K special cameras mounted in the cockpit, the actors had to go through an intensive three-month training in advance.
The reward for this is absolutely realistic-looking and fast-paced flying action like you've never seen before. Breathtaking and simply sensational.
The cast is not bad, the sunsets on the beach still a dream, the body cult unbroken and the opening sequence with the Darkstar Hypersonicjet gives you a little goosebumps in this really successful sequel, which also has some nice laughs.
Conclusion: A top- class Entertainment film with remarkable flight scenes, which I have not experienced in the cinema so far.
Mission: Impossible - Fallout (2018)
Mission Impossible - Fallout is simply a continuous joy!
"Mission: Impossible - Fallout", the sixth and so far last part of the film series before the next part hits theaters in the summer, naturally offers the typical agent action fare that makes these films so popular among their fans.
This time, Tom Cruise and his team find themselves in Paris and London, where they must once again prevent a terrorist attack, which surprisingly has connections to the plot from the previous fifth part.
At least the cast has been expanded with some familiar faces like Henry Cavill, Vanessa Kirby or Angela Bassett, while on the other hand most of the old familiar characters return.
Unfortunately, the new characters remain very pale, but I still liked how they deal with the meanwhile quite beloved, old characters and how they have, for example, Michelle Monaghan's character once again.
Furthermore, the film offers better action setpieces than the fifth part. The Halo jump, for example, or the helicopter fight towards the end (even if the whole last third was a bit exaggerated) remain in the mind and provide show values, which of course enhance such an action flick.
Conclusion: Tom Cruise just doesn't get tired.
Along with James Bond, Mission Impossible is one of the most successful franchises in film history.
He races across rooftops, jumps out of airplanes and no matter what you think of Tom Cruise - be it because of the Scientology component - or what he does in private - he is and remains an exceptional talent!
Mission Impossible - Fallout is a spectacular film with many twists and turns, surprising intrigues and megalomaniac stunts!
I'm already looking forward to "Dead Reckoning" - for all I care, Cruise can continue the Mission Impossible series until he's 80.
Mission: Impossible - Rogue Nation (2015)
For me, the best of the Mission Impossible series.
What fascinates me so much about Rogue Nation is that the film never gets boring!
The scene in Morocco when Ethan Hunt does the insane turbine stunt is memorable.
For a moment, it looks as if he has met his creator. The fight against drowning, against fainting, against death - fantastic!
Then the crazy chase in Morocco, with breathtaking stunts. The fact that he was dead five minutes ago and then pulls off these stunts.... - Ethan Hunt in delirium.
What I also like are the supporting characters:
Ilsa Faust (Rebecca Ferguson): Double agent, triple agent. She's sexy, she's cunning, she's strong - just superb acting!
Benji Dunn (Simon Pegg): just terrific this guy! I can't imagine Mission Impossible without his presence! He brings the necessary humor to almost every scene. He is slightly scatterbrained but still a genius!
Renner, Rhames and Baldwin also do their thing well!
Conclusion: A multi-faceted action cracker....
Great cast!
A witty cat and mouse game!
Mega stunts!
Mission: Impossible - Ghost Protocol (2011)
After part 3 already showed a lot of potential, it went up a notch again with Phantom Protocol.
"Mission: Impossible - Ghost Protocol" is exactly the refreshment the film series needed after the rather mediocre second and third installments.
The highly entertaining agent actioner takes itself much less seriously than its predecessors and focuses on exactly what "Mission: Impossible" is all about for me - cool gadgets and breathtaking stunts. In the process, it goes to a few different locations around the world, here it's Moscow, Dubai and Mumbai.
And even if the last part in India drops a bit in quality, simply because the plot is too predictable at that point to really get 100% excited, the film is an absolutely entertaining affair that offers plenty of spectacle, whereby the famous scene of Tom Cruise on the facade of the Burj Khalifa is of course the most impressive.
The IMF team was expanded this time with Jeremy Renner, who I really like and who adds an interesting character to the series.
The troupe is rounded out by the attractive Paula Patton and once again Simon Pegg, who is once again responsible for the humor and does it just really well.
Conclusion: "Mission: Impossible - Ghost Protocol" was clearly a very nicely staged action film with small sprinklings of humor, which does a lot right, especially in the first two thirds.
Training Day (2001)
A brilliant cop thriller! Good story, exciting and excellently acted.
I like cop thrillers in general and especially films that are set in LA and show the diversity of this city, especially the dangerous gang neighborhoods.
I don't think there is much to say about the plot.
A working day in the life of two policemen, a good cop and a very bad cop.
Exciting to the end, lots of action and a really good performance by Denzel Washington makes the film quite outstanding.
This movie impressed me in every way, the story is thrilling, with great police detective action and the most remarkable aspect of the movie was the acting performance of Denzel Washington and Ethan Hawke; they breathed their souls into the characters, making this movie a total pleasure for those who like action movies with intelligent scripts and also suitable for movies of high quality.
Collateral (2004)
"Collateral" is a thoroughly engrossing and fast-paced thriller with exceptional acting performances.
Collateral is a film by Michael Mann in his absolute top form! An action film or thriller, which for me is one of the best in the genre!
Also one of the best acting performances by Tom Cruise! He shines here as an ice-cold hitman. The stunts made by himself, his professional handling of the weapons-top. And reminds in some moments of a John Wick....
The weapon sound alone is uniquely realistic and I know in this form really only from Michael Mann!
Story is realatively simple: contract killer Vincent (Tom Cruise) gets in the evening in the cab of Max (Jamie Foxx). He pretends to be a real estate agent who has to check 5 houses here and therefore wants to rent Max's cab including him as a driver for one evening. He baits him with an exorbitantly high sum, so that he finally agrees.
But something goes wrong during the first murder, when the first victim falls from the balcony of a high-rise building onto Max's cab and damages it. At the same time, Vincent's cover story is ruined and he reveals to Max who he is.
And with that, things take off. Rapidly staged. The night shots are beautiful. Including a hammer soundtrack and epic scenes.
In addition, sometimes exciting dialogues between the ice-cold and cynical acting Vincent and a Max, who between shock, confusion and anger does everything to survive this night....
There is not much criticism. Sometimes some scenes seem a bit illogical - on the other hand, some things just don't stand out in a mega metropolis of under a million inhabitants.
What makes this film good and sets it apart from similar films that are simple in concept and execution is the high caliber of the acting performances.
Mark Ruffalo and Javier Barden complement the lead actors with excellent performances.
Michael Mann's direction is smooth and well paced, and although the action is sporadic, the interest never wanes for a second. The film is set exclusively at night, but the shots are always clear and well-chosen, giving the film an excellent atmosphere that is enhanced by the excellent soundtrack.
Conclusion:
All in all, this is a fast-paced thriller that is worth watching more than once.
Apollo 13 (1995)
Nine-time Oscar-nominated, superbly directed and superbly acted reconstruction of the near-tragedy.
"Apollo 13" tells of the nerve-wracking rescue operation when three astronauts encounter unforeseen problems during their mission. Despite a familiar ending and fewer action possibilities, the film succeeds very well in creating suspense out of this scenario.
But also the ensemble, which conveys the human in the midst of the technological dialogues, makes the film worth seeing to this day.
Based on Jim Lovell's bestseller "Lost Moon," director Ron Howard staged a gripping work between space thriller and human tragedy. In 1970, the "Apollo 13" moon mission lived up to its unlucky number and made "Houston, we've got a problem" a catchphrase.
Straightforwardly told and with an excellent cast around Tom Hanks, Kathleen Quinlan and Ed Harris, Howard's film delivers an immensely exciting reconstruction of the dramatic events, which also still knows how to convince visually.
Apollo 13" skillfully juggles several captivating storylines. We alternately experience the electrifying chamber play in space, the desperate rescue efforts on earth and the days of anxiety of the relatives. Each of the participants - even the booted out Ken Mattingly (Gary Sinise) - is given enough profile.
The film also highlights the sensationalism of the media and the public. Initially, the mission met with little interest and was even considered a routine procedure, but the emergency situation of the astronauts brought it into the general focus.
A certain tendency to pathos is readily forgiven in view of such apt observations.
Conclusion: A modern classic.
Titanic (1997)
The ultimate motion picture. The ultimate love story. Grandiose effects. Cinema to melt away. Unrivaled.
After 25 years, one sees things more realistically, less one-dimensionally in the retrospective. What has been achieved here in terms of film history and music is beyond question: it is almost a moon landing of cinema history. One of the most famous film music in the world, great and suitable for each role actors, beautiful, multi-dimensional as well as fictional perfectly embedded love story, grandiose production design, which is still unparalleled today
The first half of the film, is one of the most beautiful and authentic romance stories ever written for the big screen and the second half is the most intense, gripping and tragic experience I have ever seen in a movie.
Even in my younger years, I was interested in the "Titanic myth" - starting with books and ending with the old Titanic films.
I literally devoured them.
At that time, I was already gripped by a feeling...a feeling of awe, sadness, melancholy, humility - as if I had really boarded the Titanic on April 10, 1912 - That's how much I wished for that.
Titanic movies that were on TV were all recorded! Whether feature films or documentaries, they were all recorded.
This film is without a doubt a masterpiece! A groundbreaking masterpiece. It amazed people so much back then!
This soundtrack that blends perfectly with the scenes "Goosebumps and tears in the eyes moments" The powerful visuals of the ship and the sunset - always perfectly captured!
The last half hour is a "tear-jerker of emotions", so emotional, so tragic, so soulful.
The film is so multi-faceted! Cameron manages to bring the small different plots into a context and generate a big whole out of it - this makes the film not boring for a second! Everything has been constructed and designed with attention to detail. The film makes you feel as if you were on the Titanic and experiencing the maritime disaster for yourself! Even the cold tides can be felt!
Conclusion: Sweeping, massive - a gigantomanic blockbuster!
Terminator 2: Judgment Day (1991)
Terminator 2 is still the benchmark in action blockbusters 32 years after its release. Superbly aged!
Already the incisive, cold, metallic main theme announces the impending apocalypse.
A colossal clash between the T-800 (Arnold Schwarzenegger) and the modern, almost indestructible T-1000 (Robert Patrick) - every time you think you've seen the craziest and most spectacular scene, another one comes along that simply takes your breath away! You sit in front of the TV screens thinking "you've got to be kidding me, how awesome was that?" and it never stops. The movie never should have stopped.
Not one second did I feel bored.
Robert Patrick embodies the T-1000 perfectly. The facial expressions and gestures, the anatomy, the facial features!
I think it's even better than part 1, with more pace, more effects and an absolutely cool Robert Patrick as the fluid Terminator T1000.
He has a really fitting cold robot face. Smoothly cut, without blemish or emotion. As if modeled from clay.
The T-1000 seems like a real threat, Arnie has never been cooler and the film is exciting from start to finish. The action is still outstanding, the pacing is perfect and on top of that the film manages to pull you along emotionally, because you are rooting for the characters and besides the action the film also offers many character moments that give the characters depth.
Scary exciting chases and immense transformation with the artificial machine, which knows completely stubbornly and inevitably only one goal: eliminate. Cult.
This movie offers us a lot of multi-layered and never seen before action - crazy car chases, cool sayings ("I want your clothes, your boots and your motorcycle" - "You forgot to say please"), well-placed humor (Arnie's glasses break).
We also witness gloomy visions of the future, a scary nuclear destruction and a neat dynamic between mother and child.
Production-wise, this film offers us the highest level of quality and you can tell that it was developed with a lot of heart and soul.
Conclusion: For many people the best film of all time! Why: Because the film is exciting, because it was damn innovative in terms of trick technology in 1991, and because it still blows the minds of the masses today in terms of trick technology and because it was perfectly staged down to the smallest detail.
War of the Worlds (2005)
Dystopian science fiction thriller with Tom Cruise as a family man fleeing an alien invasion.
It's been a few years since I last saw Steven Spielberg's WAR OF THE WORLDS.
The film, in which Tom Cruise and his children, including Dakota Fanning, find themselves in a fight for survival after Earth is attacked by a highly intelligent alien life form, has a rather mediocre reputation among most film fans, even though the film has received mostly good reviews.
Now, however, I have to say that I liked WAR OF THE WORLDS unexpectedly well after the second viewing and in its best moments literally tied me to the screen.
It seemed to me throughout as if I had seen a completely different film than I had at the time.
Steven Spielberg stages the alien invasion for a mainstream film in my eyes unusually dark, dirty, hard, brutal, uncompromising and without any prospect of hope.
The effects and dimensions of this seemingly hopeless apocalypse, especially with regard to the fears of the people who find themselves in the face of death in an incredible chaos of flight, despair and madness, come out particularly strongly for my taste.
This feeling of apocalypse, the notorious "end of the world", comes out here for me so wonderfully palpable and also tangibly close, whereby the events were wrapped by Spielberg in consistent as well as extremely realistic images that develop a threatening and authentic atmosphere, which gives the film a consistently noticeable intensity. I have hardly felt so in the middle of the action with any other genre representative as I do here....
Personally, I find the strip from beginning to end damn exciting, whereby WAR OF THE WORLDs has in places really great scenes to offer, especially when I think, for example, the place in the basement, where I actually got a little wet hands. More tension and intensity is hardly possible.
Tom Cruise convinces here acting once again in his role as a family man who somehow tries to survive with his two children and must also face other family problems.
Maybe not his best or most memorable role, but still believable, passionate and played well as usual! I always enjoy seeing Tom Cruise.
Dakota Fanning is also convincing here alongside Tom Cruise as his little daughter, but I'm not used to anything else from her, as I've never seen her do badly, whereby just the roles from her time as a child actress are always played great.
Otherwise, Justin Chatwin, who has remained in my memory especially as Jimmy/Steve in SHAMELESS and here slips into the role of Tom Cruise's son, and Tim Robbins in his short role as a survivor who increasingly loses his mind, also play very well!
WAR OF THE WORLDs actually flattened me unexpectedly strong and effective on the second viewing!
I can understand if some people do not see the big hit in this film, but I personally was yesterday really long not so great entertained and chained in front of the screen as with WAR OF THE WORLDS.
Steven Spielberg has created a gloomy, striving for realism as well as intensity and highly exciting alien invasion, which will probably always divide the opinion of viewers.
The end comes admittedly really a bit abrupt, but otherwise I personally think little that I could reproach this strip.
A gripping, hard and great staged experience.
And the most beautiful thing is always when a film inspires you completely unexpectedly, without you even rudimentarily expected it, isn't it?
Lincoln (2012)
Democracy can be this exciting!
Impressive how a film that consists almost entirely of dialogue can be so captivating. 2 1/2 hours of lively and perfectly staged U. S. history to experience, simply terrific!
If you want to see very good actors and are interested in the history of the USA, especially Abraham Lincoln, you will be presented with good narrative cinema.
There are very good and of course a lot of dialogues and debates, but you have to listen to them very carefully.
Spielberg has once again chosen an exciting episode in human history. And assuming that he has handled it in a historically adequate manner, I can only marvel at how close to the people such a president can be.
To walk into the White House today "just like that" - unimaginable.
At least in this film, the president's residence is portrayed as a government building that is alive with people.
The story about the 13th Amendment of the U. S. Constitution, which is supposed to prohibit slavery, is essentially or actually exclusively about politics.
One wants something and needs votes - then he has to give the others something else to get them.
It's a back-and-forth battle that rarely seems to be about the real thing.
In the end, it has to be said that "Lincoln" is more for politics than history buffs.
However, everyone should be thrilled by the performance of Daniel Day-Lewis (once again), who gives the famous US president a lot of dignity and definitely leaves a lasting impression. Daniel Day-Lewis definitely deserves his Oscar here.
The music is so melancholy and soothing it perfectly complements the Civil War setting.
A wonderful ensemble of actors complete this great biography and contemporary history, which lets us participate in the hard way to what is actually natural and should always have been!
Steven Spielberg sets with perfection, Abraham Lincoln a worthy cinematic monument.
A masterpiece!
All in all, an all-around successful film!
1917 (2019)
An impressive war film with strong landscape shots and haunting images, kept very realistic, focusing on the story of a soldier involuntarily chosen as a "hero".
Technically excellent, otherwise a common heroic story.
All the praise of this earth to the makers, camera brilliant, light, sound, effects, everything that has to do with a film creation, is here final level.
Even the dialogs are okay, the usual soldier babble, I'm spared once.
Atmospherically absolutely successful, I felt from minute 1 to the end, here integrated into the action. I have lately absolutely rare saw something like this in a War Movie.
In addition, a perfect score by Thomas Newman, the music perfectly reflects the images.
The cast does its job superbly as well. Chapman and MacKay make a great team. I almost like Chapman better in his minutes.
The cameos are used well, whether through scenery or timing.
Similar to The "Thin Red Line", or even older "The Longest Day". Has certainly been taken as a model here. Although in The Longest Day, much more pronounced.
The suspense is also great. Almost more of an adventure film than a war film, the film manages to keep the tension, or even increase it.
That is for me 80% of the film.
From there also 8 points more does not add.
Because, he also makes some not so good. Some things, such as this heroic story, seems too intentional, or too thickly applied.
The film is very convincing with very powerful shots, but suffers from a lack of action. Even the epic scene at the end of the film, in which the soldier runs past hundreds of soldiers rushing out of the trenches, can't excuse that.
Good film that probably would not have hurt a little more action.
Indiana Jones and the Last Crusade (1989)
An entertaining conclusion to the trilogy....
"Indiana Jones and the Last Crusade" is a good, very entertaining film. The acting is a plus, with convincing performances from the entire cast. The character development is well done and even adds another facet to the title character. The chemistry between Connery and Ford proves to be a highlight of the film, creating a solid emotional depth that is enhanced by the comedic moments between the two.
However, the overall hilarity is mixed, between forcing plot conveniences for laughs and sometimes mediocre dialogue. The supporting cast could have been developed a bit more, but ultimately serve their purpose, and some of them prove important to the progress of the story even in their limited playing time. The motivations are also mostly clear. This makes the resolution largely satisfying and provides a fitting conclusion for each character.
The protagonists' story arcs are also admirably written. The film's reference to various historical events and people actually works and makes the film more exciting for the viewer.
The script is largely grounded in reality and focuses on exciting car chases and other action sequences that make the protagonists look even worse than before. All of this builds tension that the characters must overcome.
The opening scene could have been written a little better, though, as it answers questions that didn't necessarily need to be asked.
The CGI in some scenes detracts from the experience, but the practical effects are fine for the production.
The score by Williams and the sound do an amazing job of supporting the film's development, punctuating each scene perfectly.
All in all, this film is a worthwhile and adventurous addition to the Indiana Jones story.
Road to Perdition (2002)
"Road to Perdition" a mafia drama with lavish sets and a fairly prominent cast.
First of all, Great film, which is particularly convincing, of course, due to the terrific cast.
Tom Hanks plays a killer, but he acts morally absolutely comprehensible. So he is no longer stuck in the image of the nice guy, but he is not the bad guy either.
Quite the opposite is the hitman Jude Law as Maguire, who is set upon him. After his many roles in which he played the pretty boy, Jude Law outgrows himself in this film. Absolutely ingenious he goes his way until the end.
The actual antagonist, Daniel Craig, gets relatively little screentime and appears correspondingly pale.
The intense scenes, are the meeting of Hanks and Law in the diner, as well as the hotel scene with the shootout and the Calvino nightclub scene.
But even in the shootout scene between Maguire and Sullivan, I found the proceedings unconvincing.
Law is lying on the floor bleeding and temporarily unable to fight. But instead of following up and eliminating the danger, Hanks flees and even gets shot in the process.
This did not fit at all with the otherwise so consistent action of Mike Sullivan.
The ambience, the beautiful old cars, it's all very coherent and, of course, the rain falling from the sky is cleverly used as a stylistic device.
Everything together results in a high class gangster story from the time of Prohibition, the heyday of the American Mafia.
Nevertheless, one of my favorite films. The visual language of Sam Mendes is breathtakingly successful.
Die Hard (1988)
Yippie-ki-yay! The mother of all action movies and it's set at Christmas of all times
"Die Hard", directed by John McTiernan (e.g. "Predator"), a veteran of the action genre, pushed moviegoers all over the world deep into their seats in 1988 and left them with a permanent grin after the brute performance.
An action thunderstorm of the extra class - without disgusting CGI additions - makes the first in the "Die Hard" film series a special movie experience - entertaining, action-packed, funny, exciting and garnished with plenty of cool sayings of the then newly created action hero Bruce Willis!
"Die Hard" is a movie about an NYPD officer trapped in a huge office building taken over by German terrorists, and he tries to rescue the hostages, including his wife.
Bruce Willis is great in this movie, he really is the action hero everyone wanted to be as a kid the guy who saves the day and gets the girl.
I love that the whole movie just takes place in this one building.
The movie is full of badass quotes and action and is just very entertaining. People think that "Die Hard" is the best Christmas movie. In my opinion, it's a masterpiece that I want to watch over and over again.
Alan Rickman is a great villain and this movie was actually his first Hollywood movie and it was excellent he has a unique acting style that makes him different. The most underrated role is definitely the cop (Reginald VelJohnson) who talks to Bruce Willis, he was the connection to the rest of the world and he plays that role perfectly and there was even a great bromance moment between the two.
It's an excellent movie and everyone should see it.
Skyfall (2012)
The best Bond in years.
Skyfall is the best bond film. Period. The music alone is a masterpiece and so is the film. Of all the bond films I've seen, this one is the best one. This is definitely no ordinary James Bond film.
First of all, this film looks phenomenal, it is the most beautiful film of the series, the best filmed.
Every image is a work of art, the colors, the lights, the backlit fights, the night lit by fire, the rooftops of Istanbul, they are iconic images that no Bond film has ever achieved.
Every scene has its little ideas, everything was arranged in a fascinating way and every shot looks well thought out. Roger Deakins is one of the artists of our time. In a very compressed way, we see the art right at the beginning, in a cold open that is a small film itself, with building tension, wild and beautiful chase to the dramatic end and the smooth transition into Adel's song.
The skill is back in the series, every action scene also knows something about its characters and every conversation not only throws the story at your feet, but tells you something about the world and its characters.
In addition, the humor is back, we have those little and big sayings again and we have some eroticism as well. Naomie Harris as the quick-witted Eve not only shaves Bond verbally here, and Bérénice Marlohe as Sévérine manages a remarkable cameo appearance, hijacking this film for 15 magical minutes and exiting it in the most dramatic way possible.
Unfortunately, the latter commented with a silly line from Bond.
If this film has come a long way from the Bond formula, the women's deaths continue to be merely a means to an end.
Acting as the primary Bond Woman in this film is Judi Dench, as always as M. At the same time, she is also the focal point of the film, as the bizarrely alienated Javier Bardem as Raoul Silva has also turned all his senses to her. It is an Oedipal play about love and hate for her mother. An unusual theme for such a film, even though it has been hinted at over the first two films, Bond's relationship with women is added another facet here. He seems to still love one woman but how that ends is known to all who know James Bond films. Is it ours or his longing for a decider, for someone who still knows the way, in a time when all ways seem to be wrong?
M's speech scene, the build up, the confrontation, what a sequence. God this scene always gave me goosebumps.
Cinematography, music, performance, script, presentation everything is just spot on.
M and Bond hang on to an old world where there was a license to kill, where MI6 killed in the shadows and where they themselves decided life and death. They have arrived at the time when there are no more secrets. But then where is the place for secret agents, where is the place for heroes? Two films after the reboot, we have already arrived at its swansong, which is also a swansong to the old England, whose representatives we see dying here. At the end, the film renews a promise that there will be classic Bond films again, but at the same time it tells us that this will not be the case.
Is it really as impossible as the makers want to tell us here? Are there really only prequels and sequels without a life in between? Has the escapism that made these films what they are really passed away? You don't want to believe it and yet, for all its brilliance, the film radiates this message: Look, we can't help it. All we see are artifacts of the past in a meaningful future. Let's hope that future Bonds will find an answer to this.
Rogue One (2016)
Rogue One is actually still as good as I remembered it.
Rogue One fits seamlessly into the existing Star Wars canon.
Although its outcome is basically clear from the start, the flick adds interesting new details and characters to the familiar stories, though the latter wouldn't have hurt with a bit more development.
But the greatest achievement of Gareth Edwards' film is that it shows the war between the Empire and the Rebels from its darkest side yet, and does so without black and white
This is grittier, bigger, better, more gripping, created with more affection and a lot more adult than The Last Jedi
The main protagonist Felicity Jones does a fabulous job, but the highlight is probably Ben Mendelsohn as the aggressive creep.
The overall construct of the story is well developed, the flick provides more or less permanent suspense, the action is well dosed and the finale provides emotions even without kitsch and kisses.
Isolated lengths are quickly forgotten by the really clean production, the exciting narrative and the smooth scene transition, even after 6 years one of the strongest films of the SW universe.
But there is a great link to the old films of the first trilogy. The look is nice and dirty. Here you get the feeling that large parts of the galaxy are in turmoil. Also, unlike the old movies, the rebels aren't just portrayed as shining heroes.
The fight scenes live up to the name Star Wars.
The space battle over Scarif is for me the best of all Star Wars movies and the ending, I can remember, made half the hall leave the cinema with cheers. First it is the emotions and then the nostalgic childhood memories that come up.
After spending a little more time soaking up Rogue One, I have come across 4 prominent new themes that Giacchino gives us, plus a wealth of Star Wars themes that really ties the movie together with Episodes 4 and 5. Which makes sense given that the film takes place days before the events of A New Hope.
We hear hints of 2 Death Star/Empire themes, Imperial March, the Force theme, Rebel Fanfare, and I believe I even heard a woodwind statement of the main Star Wars theme at one point.
I actually like how Giacchino mashed up Vader's Imperial March from Empire Strikes Back with the Death Star Theme from A New Hope.
A lot of the action pieces have the general energy and orchestrational style of John Williams. They also do the much needed job of scoring the scenes and giving the audience the larger than life excitement, while maintaining the sound of Star Wars. This is no easy task, especially when you consider how many notes Giacchino had to write in a mere 4 ½ weeks.
The track Rogue One, where the rebels prepare to lift off towards Scariff, is a minor-ish type of march that John Williams loves to write, similar to March of the Resistance (used in a similar fashion of preparing for battle in Force Awakens), or the Trade Federation March (from Phantom Menace).
Of the new themes, Jyn Erso's theme is the most prominently featured throughout the film, particularly in these tracks on the soundtrack:
Jedha Arrival, Rebellions Are Built on Hope, and Jyn Erso & Hope Suite. It's a versatile minor theme that Giacchino applies to somber, thrilling, and uplifting moments of the film.
Gareth Edwards created an incredibly rousing space fairy tale, which explodes all dimensions at the latest in the final act. [...]