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Lisa Frankenstein (2024)
Creepy! Strange! Bad!
A few uncreative, moderately talented but (undeniably) ambitious creators think they've found a winning formula for a good genre film, one that should also scratch the mainstream itch. I rate it as poorly copied, not understood, a failed attempt. The 80s rarely looked so intentional, the actors also want to, but can't at all. The comedic elements dominate to such an extent that, in conjunction with the sitcom look, everything comes across as exclusively slapstick. A film whose even more discreet teasers made one look forward to it, the realisation of which is all the more disappointing. Everything that was tried to be mixed together here in a big colourful pot fails completely. Neither scary nor romantic nor funny, most of all annoying. This is not only not good, it borders on bad.
The Last Seduction (1994)
Ride with the devil
A stereotype ensemble is sent through a thriller scenario to a jazz soundtrack. So it's not a setting that should be taken entirely seriously; there are regular winks of the eye. The direction of the film remains in the dark for a long time, not just an allusion to film noir. The biggest one is clearly the femme fatale. What a one, Linda Fiorentino is the faintly curvaceous corporeal. A man should actually realise after a few moments that he'd better keep his hands off here, but well, we pants-brains. Mike is even a tad more stupid, falling in love means doom. The 100 minutes run smoothly, but there is a lack of memorable highlights, except of course for every devilish look, every snake-tongued word and every man-killing hip movement of the fantastic protagonist. Convincing, Mrs Fiorentino probably never got rid of the image again. The final witches' sabbath rounds off the game, but I don't think it's necessary to watch it again.
Land of Bad (2024)
America-NO
Apart from the title itself, it's a well-rounded film, exactly what you would expect within this genre. Minimal story, means to an end, alternating tension and action, but of course also the usual staging clichés. Anyone who can't relate to this, as is always the case with these genre representatives, should generally stay away. What is interesting is the look at the current warfare of our American heroes, who are never at a loss for a lazy technical trick. And yet, as usual, there are peasants with slingshots on the sack. If all else fails, half the forests, deserts or mountains are blown up - after all, the air force is always ready in foreign territory. It's crazy how supposed hero stories are still constructed from this. Anyway, action doesn't necessarily need a plausible concept, but it makes a film complete.
In the Line of Fire (1993)
Malkovich show!
A bit old-fashioned. Probably already in the 90s. So the filmic mirror of Eastwood's role here, and possibly of his person, of old Hollywood. A little implausible. It's the 90s! And it's a Petersen, entertainment at any price. The aforementioned Eastwood is certainly the flagship of the film, but the secret star is definitely Malkovich. As a result, his scenes are thrilling, entertaining and always fascinating. The rest of the film, in my opinion, is rather average, especially the middle section, which is a bit of a slog. Petersen creates real Hollywood cinema here, he had perfected the tools of the trade by this time. It gets better and better towards the end, as I said, the Malkovich effect comes more and more to the fore.
Girl You Know It's True (2023)
Not bad! I hadn't expected that. I
Not bad! I hadn't expected that. I would even attest to the international standard of the production. A brisk production, an interesting story, of course, that's what it was, but with a few shortcomings in the acting. An entertaining biopic designed to entertain.
Of course Schweighöfer is, as always, a minus point at first, but that neutralises itself at some point. Either you get used to his eternally identical performance over the course of the film or he finds his way into the role quite well. He's always got a mischievous side to him and somehow can't be taken seriously.
As I said, the story is a self-runner. Exciting, tragic, sometimes simply unbelievable. A wonderful journey through time.
Drive-Away Dolls (2024)
Shocking! Shockingly bad!
NO Coen. At least not a Coen brothers. But it's not worthy of the name either, any reference is probably something every cineaste simply refuses to recognise. With imagination, certain typical stylistic devices can be talked into it, but basically only the following classification buzzes through the screen space: irrelevant, clownish, sometimes repulsive lesbian film. "We're still here, we can be modern too." No, you're obviously not and again no, you can't and nobody needs it. Footnote, as it is now often pointed out for marketing reasons: any attempted references to Pulp Fiction should be completely rejected in connection with a film like this.
Ghostbusters: Frozen Empire (2024)
Better than expected
Chasing ghosts in mindless times, times in which nothing is sacred anymore thanks to the full commercial exploitation of every micro-idea. Something as sacred as the Ghostbusters now feels like any other run-of-the-mill franchise, squeezing out money to the bitter end. Fortunately, that doesn't mean that every output is automatically a creative disaster. Tastes differ, as you could tell from the first reviews of the film. I wouldn't have actually needed the 4th part, I'm blowing my own horn about the fact that there have only been this number so far, but I also felt the big BUT during the viewing. The creative minds did a lot of things right after all. A good script, one with content and interesting ideas, not just full-time ruckus. It was the same in the originals, even if some people seem to have forgotten this under the influence of "modern viewing habits" or others don't know any different. Finally we're back in the Big Apple, we get the old headquarters, a few new old faces, a few passable new ones, less Stranger Things pandering, more genuine ghost hunter nostalgia, less Paul Rudd, still too much, and yet the small hope that this was the last sequel for now, simply because of the renewed certainty that it won't work without the original heroes.
Please Don't Destroy: The Treasure of Foggy Mountain (2023)
You won't find any treasure in this rubbish bin
It's really bad. After 2 minutes you want to switch off, after 5 minutes you almost can't help it. How much viewing does a review need? Actually 100%, a sense of duty. So more hectic pacing, a flurry of cuts, no plot, infantile humour, correct no humour, subterranean actors, just stupid, permanent silliness. A film made for hollow young American viewers who "binge" films and series, partly under the premise of increasing the running speed in order to "get more done". I didn't make it to the end, so not really worth a review, but this really was the worst I've seen in a long time. Lost lifetime.
Snoopy Presents: Welcome Home, Franklin (2024)
One of the weaker short film episodes in the Peanuts cosmos.
The current ideological cudgel doesn't stop at Peanuts either. Unfortunately. When ambitious people who are less interested in a story than a message are allowed to work on such cultural assets, nothing sustainable can emerge, just another bland snapshot. So an old figure is dug up, the main thing is colour, and the whole thing is accompanied by hardly any story, little depth and zero emotion. This one is strikingly reminiscent of Charlie himself, and I can only admonish: such "changing of the guard" should rather stay, please not the next Disney. One of the weaker short film episodes in the Peanuts cosmos.
The Marsh King's Daughter (2023)
Without direction, you are treading water
Hunting. Great. Children who hunt. Even better. A psycho father who garnishes this with meaningless calendar slogans, the tip of the spear. Oh no, wrong type of weapon, brave men shooting instead of facing anything close to equal opportunities. Cut. Fortunately not that kind of film, but the one between the lines of the prologue. As I said, a strong cut, but no matter how vile a parent is, they can be sure of their child's love for now, the nature of things. What happens next? With a problem, the big nothing, a too long, we're halfway through now, waiting for something. I don't know what the book is doing at this point, or in general, but the threat doesn't feel as it probably should. Three quarters in, finally the emotional, feelings in all directions, encounter we've had to wait so long for. But again this lack of direction, drama, survival, thriller, a bit of everything, but nothing really. Maybe it all has its appeal for fans of the main characters, but be warned. Daisy Ridley is nice to look at, but pale, Ben Mendelsohn even invisible. At least it's always nice out in the countryside.
Das Lehrerzimmer (2023)
Not completely free of shackles, but still good
Can a film be unpleasant from start to finish? Yes, it can and "The Teachers' Lounge" wants to be. The protagonist is a classic case of a sincere anti-heroine who always wants the best, but often creates the exact opposite through her communication. This external effect is not necessarily to be seen as wrong, but it often moves sensitive levers. And people who create wind quickly face headwinds, at least if they are not at the top of a hierarchy. Here, a medium-sized mosquito becomes a huge elephant, a dynamic that some people may have already experienced themselves in other forms and which is staged here as a captivating situation of empathy.
I was pleasantly surprised, as I tend to have prejudices against German films. The leading actress in particular is worth mentioning, she carries the film, fights her way impressively through the facets of the conflict, visibly embodying its increasingly pertinent traces.
Nevertheless, it must be mentioned that it is a German film, mostly financed by German compulsory fees, and unfortunately has to pass through the detectors of the media felt. After the diligent work of the last 8 years (in particular), the school portrayed is probably now a fantasy product, or at least an exception. Although this is not about the general problem in the reality of German education, but about a special story, it is not only ignored and thus latently trivialised, but also presented as an alternative or rather adapted by 180 degrees. But that's enough, I was talking about a positive surprise. In addition to Leonie Benesch's good performance, it is above all Ilker Çatak's dramaturgy. A bird with a strong voice can still sing well in a cage if everything else fits.
Akira (1988)
AKIRA was, is and will be!
A superlative manga film adaptation, but not only that. A sci-fi classic, a decisive transformation from cartoon to anime full of technical innovations, a kick-start for the success of Japanese manga worldwide. Thematically, we get coming of age, cyberpunk, body horror, supernatural powers, genetic experiments, the fusion of man and technology, dark future dystopias, political power struggles and plenty of action. The story is relatively complex, may require several viewings and lacks the why questions in many places, as the overall concept of the manga series was not yet complete at the time of the film's release.
Something like Akira did not exist before and hasn't really existed since, but it has been the inspiration for numerous contributions from all possible artistic directions. Ghost In The Shell, which is comparable in many respects, only came a few years later. Timeless both visually and in terms of content and still at the spearhead of the genre decades later.
The Iron Claw (2023)
A moving family and sports drama
A dubious sport, but nevertheless a moving film. The most important cornerstone is the toxic behaviour of parents and their unpleasant tendency to realise themselves or what they have not achieved in their children. The so-called Von Erich curse is less mystical than the members of the family would like to explain, it is this so-called father. But I don't want to pin it on him alone, the heartless mother also plays her sad role. Unbelievably, the tragedy shown in this family is based on true facts. What does parental love and care mean? How far can you go for sporting success?
The wigs are bad, the acting performances are rather mediocre, but the physical performances in the film in preparation for the body transformation are incredible. And the film has its heart in the right place, concerning all the actors involved. Above all, the bond between the brothers is brought to the screen very well. When I said "mediocre performances" earlier, that's not a limitation for the film - after all, it's about real people from real life.
Reservoir Dogs (1992)
A peak right at the start of the mountain
A fantastic blueprint for Tarantino's masterpiece Pulp Fiction, here all the iconic elements are not only practised, but already masterfully celebrated. Division into chapters, time jumps, a plethora of characters, each of them - not meant in a derogatory way, but positively in the sense of entertainment and plot drive - tends to be stereotypical. A constantly swirling storm that results in a round tornado at the end. The set becomes too long, too many fantastically staged stylistic devices. So it's a new one: unforgettable outfits, a plethora of cinematic references, a retro soundtrack that storms the charts, a level of violence that has not been seen in cinema for a long time, at least as shocking as the tough choice of words. A piece of pop culture, always worth seeing again.
Are You There God? It's Me, Margaret. (2023)
There was not the attention it deserved here
Every year, these cosy films come around again, time travel, which in the best case, this one, work because of certain predicates: preferably a coming-of-age scenario, with likeable written protagonists, generally good actors, an appropriate budget for an authentic setting, of course the soundtrack and, last but not least, an interesting core theme. Here it is, see the reference in the title, a question of faith. Don't worry, no direction is favoured here, if then rather that of disbelief. But the rest of the usual themes are also presented in an appealing way: family, friendship, first loves, but without overly problematic constellations. So it's more of a feel-good film, unjustly underrated.
Road House (2024)
I am beaten back and forth
"Road House"? Remake? Neither. I would have preferred a different title. So a tip to all those who go in with mental conclusions about the '89 film: better not, just approach it independently. I see only minimal parallels.
This reference and the exclusion of the expectation of being presented with something like a serious action film with dramatic references. I would describe it more as an exaggerated action comedy and, as Comedy says, it's all about having fun. Everyone involved obviously had a lot of fun and this is certainly transferred to the viewer. Blinking your eyes before they are beaten green and blue, and this in a continuous loop. Stereotypes, clichés, a minimalist story, a holiday feeling, minus pretensions, all in a high-speed mixer and seasoned with amusement. Jake Gyllenhaal impresses on the positive side with an incredible body level and on the negative side with subterranean acting. No matter, he acts according to necessity, just like the film. 6 or 7? Hm, whoever says Bee, i.e. Me, also has to say Road, but this one pushed other buttons for me. Nevertheless, I wish everyone 120 minutes of fun, they're definitely in there.)
Anatomie d'une chute (2023)
Don't be afraid, as dry as a typhoon
After 10 minutes it is already clear: everything fits here, an excellently staged film.
Actors, script, camera, editing, music.
The viewer may initially be negatively impressed by the length of the film, but this quickly disappears. They are treated to an interesting courtroom film, an exciting thriller and a gripping relationship drama, but certainly not a minute of boredom. I can't and shouldn't reveal any more than that. Just one more thing, perhaps, something subjective: quite honestly, and I have to admit this as a possibly partisan man, Sandra is a strong woman and Samuel is a poor sausage.
King of Kings (1961)
Believe! ...a truly impressive film adaptation
A truly wonderful film, if you are willing to let it be. The creative team have considered everything that is important in order to bring the greatest story of all time to the screen in an impressive and befitting manner. They have dispensed with superstars taking centre stage in favour of monumental music and images, clearly without sparing any expense or effort. The realisation of the oversized original succeeds without digressing, and has staged everything essential in an entertaining and rousing way, albeit with minor deviations in content.
When Jesus appears, you can really feel what the moved and touched people are feeling. If King Of Kings leaves you cold, you can truly call yourself an unbeliever. Amen.
Tango & Cash (1989)
Almost cult
Tango & Cash, Cash & Tango. There are trailers that want to convey a tough and super-serious cop action film. Certainly not and not at all necessary. The main thing is that Buddy could only be good at this stage of the film's development.
After a really memorable first third, the film runs out of steam in the middle section, at least in terms of cult factor. No question, there is always something happening, but the seriousness is now at a minimum. But Stallone and Russell are clearly having fun and carry the entire running time with their presence, without any noticeable alpha duel. So harmony with the superstars, that certain something is missing elsewhere. I'd say the direction and script could have been (even) better.
Farang (2023)
JCVD in THE RAID
The European problem is not really a European problem. And one of these problems as an embodied problem solver, difficult fare? Had I considered this film choice carefully?
France, the country of origin, is probably at the top of the Lost Countries, bearing the rotten fruits of its dirty-golden years like no other nation. Fortunately, despite the bitterness, a change of scenery. Thailand. A little martial arts, even more idyllic holiday atmosphere. Everything could be fine now, but unfortunately the cobbler sticks to his last. Prototype: it has to be a lot very quickly, with as little effort as possible. So let's say impatience is in this blood, only evil tongues speak of criminal energy.
Enough negative energy, after the first quarter we get to see a real action pearl, a dramatic 90s Van Damme story build-up, which then leads to a 2010s The Raid-style battle. Yes, the finale is the same as always with these films, but it's somehow essential fan service. Comparisons with the current "Sixty Minutes" are legitimate, but France can do it better than Germany, wild Bangkok versus overrated Berlin is also self-explanatory, and so are learned martial arts skills versus martial arts history. However, it's nice that films like this still exist.
Damsel (2024)
Netflix once again misses the point
What hasn't Millie Bobby Brown done? Developed her acting skills in any way since her teenage appearances. What can't Milli Bobby Brown do? Carrying a (sustainable) film. But she's a cinematic pop star, at least for now, and we're only talking about 15 days of streaming fame, not an entry in the history books. And what or who is supposed to portray her stepmother here? Well, it's a fairy tale, and then there's Netflix. Accordingly, the film came more or less out of nowhere, with CGI instead of real substance. The direction doesn't quite reveal itself, I had the feeling of a Sunday afternoon TV fairytale the whole time. After the first third, however, it becomes less child-orientated. So it's most likely a fairy tale for adults, especially women, see the constant strong-girl tones. I don't believe in a successful direction, but no matter, the main thing is that the agenda is right. Not to review only negatively, there are positive things too, most notably the dragon. This seems to be where the main animation budget was invested, and with really good results. The story itself isn't bad either, as far as I know it's an adaptation of a novel. What Damsel means, however, is withheld (at least from German viewers).
Streets of Fire (1984)
Underrated cult film
What is Walter Hill doing here after 48 Hrs? At least paving the way for a lot of upcoming familiar faces. I had seen the film in the early 2000s and was relatively disappointed, at least after everything I had seen of the master before. Maybe just confused, an unexpected sensory overload. It's back to the streets of Moloch, a bit like "The Warriors", but even more comic-like. Thanks to the constant soundtrack, high tempo and exaggerated stereotypes, the film almost feels like a musical. One that wildly mixes the last four decades in a parallel reality. Without question, the visuals are stunning, but the content is nothing. But style over substance is obviously the basic orientation.
Dafoe is special and there's a lot more to come, you can see that straight away. Why it didn't work with Michael Paré, however, is strange. In any case, this re-watch was a win for me, and not just in terms of the score.
All of Us Strangers (2023)
Different emotional worlds, for the protagonist and also for me
Adam is lonely and loves being lonely. Whereby loving is probably the wrong word for an obviously unhappy constellation of existence. It seems rather obsessive, driven by fear of life, so bad that even a straw is spurned instead of drawn with relief, no matter how much it wants to prick him (metaphor 1). Then we move away from the "normal film" by means of a surreal time shift, possibly a fantasy world. And Adam feels better, precisely because he has come to terms with his parental relationship and that with his neighbour. Closeness and trust are now possible again, obviously after a long time. An opening (metaphor 2) not only to another person, but also to himself.
During the viewing, I went through two essential emotional worlds, fundamentally different ones.
My first summarising thought in the course of the film, about halfway through: the central theme is homosexuality, the director doesn't seem to have any others if you look at his filmography. This is all normal, we all get it, but watching some of the physical scenes may be a little more difficult for some people, like me. Just like the feeling of accusation, accusation of what we are supposedly doing to these people. The director makes it easy for himself to blame the parents, as well as everyone around you, for a burdened state of mind. One group finally has its next big film, the rest may feel nothing at all. Or applauds because everything else is immediately equated with a "fascist" anti-attitude in the currently razor-sharp public eye. This means that every acting performance is from another planet, every creative contributor is a genius.
The development of my assessment over the course of the last quarter: the central theme is the loss of parents, the cutting of the fundamental roots of every human being, extended by the tragedy of missed opportunities. What if Adam hadn't lost his parents at the age of 11, what a happy childhood he would have been denied. And a better future would probably have been on the horizon. What if Adam had let in Harry, who had also suffered a stroke, all those wonderful moments would not have been just fantasy. Once again, there would have been a brighter future.
That's what I call turning the tide. The surprising twists in the story really round off the overall concept and make it a special, almost unique film, one that will definitely be remembered. Not my cup of tea in terms of the scenery, but I have the greatest respect for the artistic value of the film.
Law Abiding Citizen (2009)
Entertaining nonsense
A vigilante thriller, but not along the lines of older models, see Death Wish. At the beginning, however, the film is congruent, a bitter prologue swears the viewer to an unconditional thirst for vengeance. However, this then becomes less simple and comprehensible, more unbelievable, unfortunately in the sense of outrageous. In order to bring something special to the screen instead of one film out of many, the makers borrow a little from Saw here and a little from Seven there. Speaking of Saw: unbelievable? Not since Law Abiding Citizien. Butler's role is even more difficult to handle than the plot, which scratches the 0% probability mark. From nobody to super genius, from loving family man to sadistic butcher, from pitiable victim to heinous perpetrator. Apart from the fact that the acting doesn't really fit, he was supposed to be our hero, or is that what we wanted? Ok, the film even challenges us a little psychologically, but no less so in a negative sense, but with the climax of nonsense, this finale.
As bestas (2022)
The right buttons are pressed
It starts with a shock! Not in terms of content, but in terms of running time: two hours twenty. Whew. But good, long usually means too long lately, but that doesn't always have to be the case. Always be like that. At the beginning we are allowed to indulge in our favourite stereotypes, the idealistic city dweller comes to a rural region full of obnoxious hillbillies. Hillbillies. Secondly, it fits without question, but the clear perpetrator-victim principle is softened somewhat in the meantime. There are points of view, there are interests, there are there are perspectives, there are approaches, there are character traits. Simply different worlds. However, the principle mentioned above the psychological thriller shifts somewhat in the direction of crime/drama. Towards crime/drama. With regard to the latter facet, a touching intergenerational dialogue at the beginning of the last quarter, parents beware. In the the course of the plot, things tend to happen that the viewer probably doesn't expected. A sign of quality, surprise means amusement means Viewer loyalty.