Remedy

The final half hour is one of the most intense and impressive finales I've ever seen. On top of that, there's an absolutely endearing final idea that is crystal clear yet extremely powerful in the context of the entire film. Jamie Foxx gives one of his best performances as an uncompromising FBI agent who is no stranger to humanity and empathy in addition as much as he is to wit and brute force. The casting is generally very good, and in the absence of pathos or an otherwise screamingly conciliatory ending, this is indeed a showpiece of the genre. Along with Lone Survivor, this is probably Peter Berg's best work.

The top of the thriller genre with world-class parameters. I discovered the charm of good Spanish thrillers a long time ago, but The Body is a real genre gem with its portrayal, compelling characters, and mysterious atmosphere. What I liked most about it was the thoroughness in all aspects, because it really came together well in terms of the script, direction, and acting. How "serious and believable" it is in the end, I truly do not care, because it's just one hell of a good flick.

Sion Sono can boldly hold his own with the world's top directors because his directorial trademark has more balls than many a contemporary Hollywood thriller. It's true that in the case of his latest film, he gets a little off the leash at times, but what can you do when it's still so fucking well made. The contrast of highly aestheticized visuals and sickening violence is completely unprecedented here, and when paired with the oddly "gentle" soundtrack, it adds up to a sort of colorized monster movie that is alternately outrageous and perversely fascinating. Some passages perhaps could have used a bit of editing, but I can't say that I was significantly bored despite the truly respectable running time of two and a half hours. Moreover, The Forest of Love works not only as a sweeping reconstruction of Japan's worst criminal elements, but also as a first-rate family thriller about a single-minded, ultra-strict upbringing, including its painful consequences.

Brilliant minimalism. How sumptuous a genre horror film can look when it sets two simple rules that it sticks to dutifully from start to finish! David Robert Mitchell has won my great fondness, mainly because he has managed to make one hell of a genre entry for two million using a specific retro-analog atmosphere and a homogenous script. And that the soundtrack is very reminiscent of Carpenter's classics or Argento's giallo pieces is probably no coincidence.

Quite possibly the most inspirational film you'll ever see. On the other hand, it's by all accounts Stone's total magnum opus, with by far the best last line in a film, delivered by an appealingly unflappable idealist with the face of Kevin Costner. It's a hell of a job to make a politically engaged film that doesn't come across as mainstream and is as believable as possible. I wouldn’t say I agree with Stone's complete interpretation, but the overall scope and form of his historical research is breathtaking.

Another terrific Nordic mystery that feels rather more intimate (e.g. when compared to the Millennium trilogy), but overall an excellent opening to the loose Department Q cold case series. A great main duo that, while fulfilling perhaps every possible genre schema/cliché (the formerly successful, now downgraded investigator with a tendency to alcoholism and the ad hoc assigned partner who comes across as a perfect wimp at first); on the other hand, is one of the supporting elements of the whole narrative and I'm very curious to see the evolution of the two main characters in the next installments.

In the end, I didn't mind too much that Oliver Stone glorifies his hero quite unreservedly and once again (yet like almost always) makes a sharp rebuke of a malevolent American administration. In fact, the film stands on pretty solid ground and, given Stone's usual tendentiousness, is moderate within reason. Yes, it's much more of a political statement than a "real person's story," but you simply can't teach old Oliver new tricks. It's worth mentioning, though, that cinematically it's once again an extravaganza, and I'm still very much enjoying that engaging visual style of Stone's. Incredible work with camera filters. A nice 4 stars.

Awesome psychedelic soundtrack and a non-comedic Adam Sandler in a tragicomic role as a self-destructive swindler whose every next move may be his last. What I enjoyed about it was the fatal hopelessness and the very successful transfer of atmosphere to the viewer, where I lived all the heart-stoppingly tense situations to the bone along with the main character. Maybe "instead of the main character" would be more accurate, as I felt like no matter how much trouble Howard Ratner was in, he kind of didn't care. As long as he could place a bet as soon as possible. Uncut Gems is almost annoying in some passages with its noisiness and crudeness, but ironically this is one of the cornerstones of their success, as it's actually quite novel and very perversely entertaining. Sandler's good, but he's already proved that in Punch-Drunk Love or Reign Over Me. The reviews regarding his unique acting performance are slightly overhyped.

An admirable update of Scott's classic, which in many ways perfectly complements and expands the original universe. Technically (Roger Deakins simply must have gotten his hands on a camera immediately after birth, otherwise I simply can't explain his mastery) a brilliant affair that is crowned by stunning direction and an absolutely brutal sound mix. Despite its seemingly fatal length, there are virtually no dead spots, and aside from an appealing homage to the original film, this new Blade Runner has a hell of a lot to offer in its own right.

An exemplary example of a film where the main characters are gradually shattered due to supernatural events. By the end, all the perceptions and twists might be a bit much, but you can't deny the originality and the appealing chamber setting that suit it perfectly. Such an understated yet almost excellent film.