Goldbeater

This movie balances right on that line between three and four stars at this point. I was entertained by the entire one-hundred and sixty-four minutes of millionaire chess and backstabbing, plus it introduced a story I had no idea about before, and the ensemble cast is absolutely amazing, no question about it. I enjoyed the scenes with Irons, Leto, and Pacino the most (the latter, in particular, steals the show a lot, and I am glad he got so much screen time). I was slightly distracted by the variance in Italian accents with the actors (Driver, Irons, and Pacino were restrained X Gaga’s and Leto’s was totally extravagantly over the top). I found the movie a little disappointing because Ridley Scott had so much room to tell the overall story evenly in the space of two and a half hours. Despite that, he spent more time on some of the less crucial parts, which made the ending feel rushed by comparison. Therefore, the way the final scene is connected to what precedes it lacks any convincing explanation of how it came about and where the participants went wrong. Too bad, I found it all very interesting otherwise.

For the sheer insanity of what was going on in that film, it was surprisingly solid entertainment of a B-movie kind. The most bizarre thing about this is the absolutely insane imbalance in the tone; it jumps from a pretty intense animal horror movie to a family movie to an almost insane comedy with grotesque sound effects. This was probably an attempt at an entertainment for the whole family. Only the final revelation, which every audience member could have seen coming way before, could have been better covered up by the movie’s makers.

This time the mindless copying did not turn out to be very entertaining. Robowar may be the ultimate rip-off of the Predator; however, it is, unfortunately, one of the least entertaining and most sloppy works from the legendary Italian copyist and two-bit hack, Bruno Mattei. His movies can sometimes be very entertaining (Hell of the Living Dead, Rats: Night of Terror) and even downright hilarious (Shocking Dark/Terminator II), even though there is really nothing to take away from this boring walk through the jungle.

The plot is entertaining and it has catchy minimalist visuals. Plus, it is just the right length concerning the richness of the narrative it wants to present. I would perhaps criticize the over-predictability of the fate of some characters, and I think it really did not need the strange twist in the last episode and would have been better without it. Otherwise, this is really a decent show from South Korea.

With minor reservations, The Night House is actually the best horror movie I have seen in months. In addition, I am fully prepared to watch it again and possibly increase the rating. I really like mature horror movies like this.

This movie confirmed my belief - Tibor Takacs is great in shooting dreamlike sequences, integrating classic special effects and creating strong horror atmosphere, but the weak screenplay, and especially the lack of logic in the behavior of the characters, is extremely obvious under his hands. I had that exact same feeling with I, Madman, and I got that feeling again with this movie. Anyway, if I had first seen The Gate as a kid, I would have definitely still great memories of it today.

I do not really understand the general restraint towards this particular installment in the franchise, which, despite its numerous references to the previous movies, actually works as a standalone movie and is one of the few in the Bond series to attempt a different approach and tone. You are not going to find a more emotional scene than the ending in this movie from the early Bond movies, or quite possibly from all of them. George Lazenby may have come and gone as Bond; however, his performance in this movie is excellent, and in some alternate dimension, I would have liked to have seen more movies starring Lazenby as Bond. I would have liked to have seen more Bond movies with Timothy Dalton as well. The only blemish on the beauty of this work for me personally, even after all these years, is the objectively insane editing of the action scenes; the filmmakers simply did not have a clue at the time. In addition, they should have kept the end credits quiet.

Deadline - U.S.A. has, first and foremost, the excellent Humphrey Bogart, and last but not least, the kind of snappy and clever dialogues that you don't hear in contemporary movies. Plus, believe me, that is all you need to be satisfied.

Baby Blood was a nicely surprising French film. It is a pure horror road movie that takes the audience on a journey through the unusual pregnancy of the main protagonist and hurtles along not pausing for breath. This stomach-churning body horror does not hold back, its gory scenes are quite impressive and its rather absurd black humor (especially in the last act of the movie) works as well. It slightly reminded me of Frank Henenlotter's work. This is a must for true fans of quality horror B-movies. In addition, I had not even considered beforehand how convenient it was to put this on Netflix as a double feature with Baxter since the bull terrier Baxter himself has a small cameo here.

This is a cute parody. The plot is rather banal and the ending seems completely random, although the dry British sense of humor and the few hilarious gags lift it slightly above average. In addition, the charismatic Vincent Price is in the movie, albeit only for about five minutes, even though when he appears he simply steals the show and totally owns the movie, just as expected.