xnicofingerx Reviews

You'll Never Find Me (2023)

Big surprise

[7/10 · 20 May 2024]

An interesting start. Who or what is the threatening element here, the pointers are pointing in all directions? Turn up the volume, set your internal antennae to high sensitivity, the excellent sound system does a lot of dramaturgical work here. And it continues in the same vein as it began, maintaining the nerve-wracking tension almost throughout. Not a minute of this chamber drama is boring, until the last third you are completely in the dark. The ending, well, it's the old horror story. At least it's not a complete fail. Both actors are fantastic, celebrating the constant changes of mood. So don't inform yourself beforehand and enjoy this genuine surprise of all tending nobodies and make the film a deserved success.

Monkey Man (2024)

Special Mixed Art

[8/10 · 19 May 2024]

First of all, thank you Monkey Man, this is the India of my imagination, not some inappropriate hobnobbing. Dark, dirty, mystical, corrupt, brutal, misanthropic, more class difference and less class struggle than anywhere else. The lumpen filth stays in the dirt, the filth in fine silk celebrates itself with its own kind.

Comparisons with John Wick, Nobody and The Raid, for example, which are often made, initially by the film's own marketing, are superfluous; a different tone prevails here. No continuous fire, no uninterrupted music-clip aesthetic, everything is more raw and less westernised. The drama element permeates the action more noticeably, which is more authentic, underpinned by tradition and mythology. By and with Dev Patel, generally a guarantee for high-quality films, he demonstrates the courage to step on the brakes and mix different viewing habits. And that might be difficult for some. Blunt film buffs will be alienated by the withdrawal in the middle section, while fans of sophisticated entertainment will take a closer look, but then get a culture shock at the end. The ultimate film watcher, me for example haha, on the other hand, will leave the two hours satisfied.

Godzilla x Kong: The New Empire (2024)

$135 million trash

[5/10 · 18 May 2024]

I always switch on the sequences in video games when I want to play them myself. At least that was the case with my last game about 15 years ago. But if you like watching that, you've come to the right place. There's also product placement, blockbuster nonsense, Michael Bay aesthetics, further exploitation and perversion of the basic story. The only central content seems to be the question of which metropolis is being destroyed by a keyboard. I can't find any reference to its predecessor, which is typical of this type of film: turn off your brain, take in a flood of images, maybe be reasonably entertained for the duration, lose a dozen brain cells, remember nothing a day later. Although, a memory can also have a negative impact. The whole hollow earth nonsense was already bananas, but the body modification in Kong tops it all again. Somehow you like this Kong throughout the film, at least he doesn't mess that up, but it's still $135 million trash.

The Last Kumite (2024)

Thanks for everything, but compromises in the realisation.

[5/10 · 15 May 2024]

The opening, hats off, images, sound and style look like a truly authentic journey through time. However, the opening tournament brings you back down to earth, not really great martial arts. Eastern Europe as the location for the kumite is the final reality check, I really would have liked an Asian setting. That might have given a real boost to the search for the longed-for old charm, but as it is it's just another cheap Eastern European action production. I don't want to grumble at this point, the budget was limited, more would certainly have been possible with more. The story meanwhile takes wild turns, logic is a foreign concept, one nonsense follows the next. The training sequences with Billy Blanks are more of a bad joke. In general, the film is obviously a reference to Bloodsport, so it has to put up with comparisons. I've already said something about the location, but the choice of fighters doesn't make it any better. The attempt at diversity is certainly the right idea, but it lacks profile. Starting with the main character Lasko, the Fist of God, no Van Damme, to the main opponent Dracko, no Bolo Yeung. Nice to see Kurt McKinney again, by far the best actor. Another highlight for me was Bolo Yeun's son, wow, an absolute spitting image. Unfortunately, barely there and already gone. Cynthia Rothrock, well, never my favourite, her age certainly doesn't make it any better. The latter also applies to Matthias Hues, but thanks to him, one of the driving forces behind the production.

Ultimately, not the review I wanted, and perhaps even too good a rating. I still recommend a viewing, simply to appreciate the idea and the effort. A gift to fans should be honoured accordingly, even if one or two things don't quite fit.

Lust of the Vampire (1957)

Numerous births in one

[7/10 · 12 May 2024]

A vampire that doesn't exist, Notre Dame that isn't Notre Dame, but a crime thriller with the first hints of giallo and lots of fantasy elements. One of the (re)births of gothic horror. In addition to the further glory of being one of the first horror-esque European films of the post-war period, it also marked the start of Mario Bava's career. He switched from the camera to the director's chair during filming and you can already recognise his signature style. Great play of light and shadow, painted sets, a generally artistic but not artificial atmosphere. The story gradually progresses from evil to diabolical in an exciting and tragic way, even if the resolution is somewhat over-imaginable. But what genre are we talking about? Perhaps not a cinematic highlight, not a genre cult film, not an undiscovered gem, but nevertheless a small milestone in the horror genre and a historically important film that doesn't take you to other spheres, but certainly doesn't make you regret its short running time.

Supermarket (1974)

The truth hurts

[6/10 · 11 May 2024]

BRD GmbH in the 70s, a rancid dark chocolate in coloured paper. The upswing or rather the recovery through the peaceful annexation of the East is still a decade in the future. The film reflects a sad picture of a capitalistically assigned war loser, a white colony, in this part of Germany still with the old fascists on many strings, only in a new uniform, a new orientation. Disillusioned youth, grey everyday life, the brutalisation of society on the advance. The West is the Reeperbahn and Bahnhof Zoo, piss and vomit in the neon light, hookers and junkies on the street opposite, enrichment to/from third world countries on every corner. Hamburg fans watch out, this hole used to be your favourite city.

The actors, with the exception of Michael Degen, act woodenly, but true to life. The camera work is remarkable, a certain Mr Vacano was later behind many a great cinema picture.

A Clockwork Orange without artistic pretensions, but even deeper and much more realistic in the gutter. Not a film for a good mood, more of a self-flagellation.

The Animal Kingdom (2023)

Good concept vs bad decisions

[6/10 · 10 May 2024]

Good concept vs bad decisions.

Super interesting concept, really good effects, but for me the casting is a complete flop. Romain Duris is always a matter of taste, the young somebody is somewhere between a piece of wood and a handicap and Adèle Exarchopoulos is barely imaginable as a policewoman.

The tragedy behind the story is understandable on paper, but in my opinion it is only conveyed to a limited extent in the realisation, in other words, apart from the end, I was hardly touched. Nevertheless, hats off to European fantasy cinema, with this budget, in this quality. But unfortunately a financial failure. Next try, please.

Reality (I) (2023)

The truth, and other lies

[7/10 · 7 May 2024]

I recommend that you familiarise yourself with the historical background to this true story beforehand. This doesn't mean a loss of suspense, because it's not the story that is the yardstick here, but its realisation. But of course a viewing also works well without prior knowledge, at least that was my setting.

Sweeney, often scolded, cuts a really good figure here. Dramatic material also provides more of a showcase than undemanding popcorn cinema, or for acting in the first place. As a viewer, you can credibly feel the unpleasant noose around your own neck, so mission more than accomplished. The rehearsed, pleasant and friendly opportunists and (desperately trying not to portray this) antagonists are also very well cast.

Reality raises questions and manages to make the viewer think. You can't expect more from this kind of material; it is only entertaining to a limited extent. At what point are lies futile, is the truth a public good, when does duty end and humanity begin, is honesty punishable by law, does the state act for or against its citizens, does the media benefit or harm democracy, and so on and so forth.

River (2023)

A great screentime, the full 90 two minutes

[7/10 · 4 May 2024]

Asian cinema. With pleasure. Not even 90 minutes. Absolutely.

The visuals are a journey back in time to the 90s of Asian cinema, especially because of the lighting.

To digress a little first: Scenes shown make a European somehow melancholy. Japan has preserved its traditions and culture, its identity. No alienation, er I mean "diversity" of course, no loss of values, quality of life and inner security through unpleasant religions or primitive origins. As if more and more pages are being torn out of a book that is hundreds of years old. Those who don't understand its written words, will never understand them, don't want to understand them or are generally illiterate, don't care.

Back to the point: The basic premise of the time loop is of course nothing new, but the extremely short two minutes here open up completely new possibilities for ideas. And the film is bursting with them. The entire running time is entertaining, consistently interesting, often funny, sometimes sad. Even for viewers with viewing habits that deviate from this cinematic origin, I think the film can be consumed without hesitation and offers a wonderful time in front of the screen.

The Three Musketeers - Part II: Milady (2023)

Eva Green stands out

[6/10 · 3 May 2024]

Part 2 of the current film adaptation is by no means a bad film, thanks to the actors, budget and, of course, the literary source material. Nevertheless, it falls well short of its predecessor, not least because of the high expectations following the first film. What's missing this time? A certain freshness, the haunting presence of the protagonists, their actually indispensable interaction, memorable climaxes. Content now rules here, almost too much for the running time, instead of fun.

Eva Green gives an outstanding performance in her parade role as the femme fatale, this time making the important and correct decision that less is often more.

Lisa Frankenstein (2024)

Creepy! Strange! Bad!

[3/10 · 30 April 2024]

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

[6/10 · 28 April 2024]

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

[6/10 · 27 April 2024]

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!

[7/10 · 26 April 2024]

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

[7/10 · 25 April 2024]

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!

[3/10 · 23 April 2024]

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

[7/10 · 22 April 2024]

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

[3/10 · 20 April 2024]

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.

[5/10 · 17 April 2024]

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

[5/10 · 16 April 2024]

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.

The Teachers' Lounge (2023)

Not completely free of shackles, but still good

[7/10 · 13 April 2024]

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!

[9/10 · 12 April 2024]

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

[7/10 · 10 April 2024]

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

[8/10 · 9 April 2024]

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

[8/10 · 7 April 2024]

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.