Stanislaus

The funniest characters from Madagascar finally got a feature film and they serve a decent spectacle packed with both wit and proper action. The chase scene in Venice is the one that sticks in my mind the most, it was absolutely perfect, the ultimate in action and humour, and there’s also the perfect scene with the Bavarian dance in "Lederhosen", which amused me as a Germanist all the more. The second rescue team, which included other polar animals, didn't impress much but didn't offend me either. In short, a good animated film with the guardians of good facing a powerful enemy with a smile on their faces and a proper slap on the back.

Monsters University lacks the effect and impact of the first film, it is still an above-average piece in today's animated production, which does not lack funny and touching scenes, a number of bizarre characters and lines that can entertain even adults. In short, a film for a pleasant afternoon, where you can switch off, but at the same time it is not some infantile brainwashing.

I'll admit right at the beginning that I went to see Fifty Shades of Grey in the most ironic mood, because I thought it would be a good idea not to have a good time on Friday the 13th, and this film literally called for it, starting from what I heard from people who had read the book, to the numerous ads everywhere, to the first reviews here, all of which piqued my curiosity even more. I honestly expected this film to be much worse. In terms of the script, it was absolutely mismanaged. Unfortunately (or fortunately) I haven't read the book, so I don't know how things work there, but I had to laugh at some of the actors' statements, even if the scene in question was probably meant to be taken seriously, which it really wasn't. This impossible to ignore shortcoming was balanced, on the other hand, by a really great soundtrack – “Love Me Like You Do” by Ellie Goulding played in my ears daily for at least a week before the premiere. At times it reminded me of a bad Twilight parody, which is actually a parody in itself, so let's call it a meta-parody. Nevertheless, I don't want to give it a Boo! rating, because there were several funny scenes, the music was perfect, and it wasn't actually as mindlessly erotic as one would expect. In short, a film that will earn its money at least through advertising and various promotional items, but will still draw lots viewers (at least female) to the cinemas, so despite its obvious mediocrity, this film will soon see a sequel.

When I learned that the 4th season of American Horror Story would be titled Freak Show, I immediately thought of the iconic horror film Freaks from the 1930s, which the entire series actually references a lot, whether it be in plot, characters, or overall atmosphere. This is for me the best season of AHS so far, after the second, and for many reasons. First of all, I liked the setting of the story in a freak show circus, and there was a lot to be made of that. Second, the series is full of memorable characters that have become deeply etched in my memory: the ambivalent Elsa Mars, the superbly technical and character-driven Siamese twins Bette and Dot, and the sleazy and disgustingly convincing psychopathic sociopath Dandy. Alongside them, it's worth mentioning the return of Pepper, whose line was drawn and tightened to the max, or the cutest character played by Ma Petite. The fourth season also features wonderful covers of well-known songs, especially my favourite “Gods and Monsters” by Lana Del Rey, which introduces another interesting character, Edward Mordrake. Thirdly, I'd like to address the opinions of many by saying that I certainly didn't find the series to be inconsistent, and that the characters were threadbare, as I found their stories from the past, present and future to be sufficient. Perhaps the only thing that surprised me at the end was the strangely brief appearance of Neil Patrick Harris, who was there perhaps just to clear the air. All in all, I can say for myself that I thoroughly enjoyed season 4, both thematically and script-wise, it's full of wonderful characters, sudden twists and turns and memorable scenes.

I've seen quite a lot of of the work of Alejandro González Iñárritu, so I was expecting another dense psychological piece from Birdman, this time also with a humorous tone, since the film is categorized as a black comedy. I have to admit that Birdman is in some ways very different from Amores Perros, 21 Grams and Babel. A big part of that is the aforementioned comic level and the fantasy elements that corresponded with the life of a (former) action hero. Michael Keaton excels in his role, in fact one could say that it was tailor-made for him, considering his famous role as Batman. Also worth mentioning is the performance of Edward Norton, who was seriously annoying with his egocentric behaviour, which was of course the point. The ending offers more than one interpretation of how things endd and how it actually was throughout the film. In short, an unusual film that made do almost entirely with the shrill sounds of the drums in terms of music, and whose success lies mainly in its stellar cast and a script that is both peppy and very well written.

I'll admit that I wanted to see Always primarily because it stars Audrey Hepburn, but she didn't really warm film. Too bad! Story-wise, it's nothing new, I found the main characters quite annoying, but the actors in supporting roles made up for these shortcomings – John Goodman and Audrey. I was quite puzzled by the fact that the director is Steven Spielberg, from whom I would have expected something better. All in all, an average film that could have been made better – there are a few emotionally powerful scenes and some nice ideas, but much of it is shrouded in the grey of mediocrity.

Love Recipe is particularly interesting because of the intertwining scenes, which always have some connection, but it is a below-average piece in terms of story and animation.

While the latest film adaptation of Bram Stoker's classic novel offers a new perspective on one of horror's most famous monsters, the result is another mediocre American-made audio-visual spectacle that benefits from the casting of Luke Evans in the lead role, but loses on the story level. In short, a one-off that neither impresses nor offends, yet neither scares, which was perhaps a bit of a shame.

Pride is a very powerful film whose immediate strength lies in its story based on true events, and in the convincing performances. The film is not lacking in strong moments as well as downright light-hearted and funny scenes, all of which are used with purpose. Of the cast, I would particularly single out the absolutely wonderful Imelda Staunton and Bill Nighy, who impressed me the most, but the other members of the ensemble also performed convincingly. In short, a very well made film with a terrific cast that is a great mix of comedy and drama.

Brief, minimalistic, yet so intense. A constant repetition of similar phrases with variations and a surprising ending. A very evocative short film.