Stanislaus

Magic Mike is described here as a drama and a comedy, but it doesn't fulfill either genre enough for me to be satisfied with the overall result. On the comedy side of things, I was perhaps most amused by the scene of Channing Tatum like Marilyn Monroe, otherwise the rest were scenes that were more lightly funny, but there were few of them. The serious line of the film also didn't really work, or maybe I'm being too demanding, nevertheless I was expecting something deeper (within reason considering the premise). In short, a film that will absolutely be most appreciated by women and men who get off on metrosexual men dancing in thongs.

At first glance, Shame stands out for its compelling premise, but paradoxically, the story is the biggest enemy to the overall feel of the film. I found it insanely long-winded, going nowhere and empty. The performances of the actors didn't captivate me either, and I found myself wandering quite often over the erratically changing behaviour of the characters. A film that drags on far too dangerously.

The Loves of a Blonde is a typical example of Miloš Forman's veristic method of filmmaking. The omnipresent sense of awkwardness and cruelty, the observations, the improvised (and often empty dialogue) between the (non!) actors, the important dance sequences and many other features that are typical of the director. Overall, the plot/story is more intense than in Peter and Pavla, but the director's crowning achievement, which rides a similar wave, remains The Firemen's Ball. Initially, the film was quite slow, gradual, even tedious, something you have to get used to, but the (almost) final bed scene is second to none in this country (and maybe even abroad). In short, a film that, while not perfect, is timeless and stands out for its directness.

 We Are the Night is an average horror film, in which romantic peripeties also find their place, but it is quite significantly harmed by the lack of any major tension, which I would expect in a film of this genre. There are also no scares or monsters, at all. I do, however, have to commend the cast (except perhaps for the plucky vampire Nora) - I was most impressed with Nina Hoss (Louise) and Jennifer Ulrich (Charlotte). All in all, a horror film that I would call "light" - it's action-packed and has a decent atmosphere, but I just wasn't scared at all (maybe I'm too demanding).

Daniel Radcliffe has really been "hurt" a lot by the Harry Potter series in terms of acting. I just didn't believe he was an adult lawyer with a four year old child and a widower to boot. Formally, however, this is a decent horror film with some really good scares and suspense. The story is unremarkable at first glance, but the theme follows the template of other ghost movies, so nothing particularly new. Of the cast, I was most impressed by the Daily couple, who could also be the main characters. In short, genre-wise, this is a good horror film that lives up to its parameters but offers nothing I haven't seen before.

From Beginning to End is very similar in theme to the 2005 short Starcrossed, which also depicts an incestuous relationship between two brothers. The latter, however, was more emphatic and emotionally more intense, perhaps due to its shorter running time. From Beginning to End attempts to chart the evolution of the relationship between the two brothers over as long a period of time as possible, and as a result the film is at times boring and feels tedious. I'm not saying that I was bored the whole time, or that the film didn't give me anything, I am saying that more could have been made of it. As for the music, which irritated some users, I liked it. Still, unfortunately, this is a very average film, and the untapped potential is a pity.

I have to admit that I kept The Intouchables locked away in my "drawer" for a really long time, but I would like to slap myself right now for depriving myself of such a unique film, the kind that isn't made every year. On the one hand, there is tragedy, especially given Phillippe's health and Driss' social background. But all that drama is successfully countered with clever humour and plenty of moments that really warm the heart. The film sees the two worlds (characters) confront each other, with a memorable harmony in the end. In short, a very sweet, funny, but also sad film that holds firmly at the top among today's flood of emotionally blackmailing films.

After Plan 9 from Outer Space, Glen or Glenda is for me the second film from director Edward Wood, and I found it a bit more interesting. As far as the premise goes, it's pretty daring, especially as it deals with transvestitism, but the script was wretchedness, horror and dread. Bela Lugosi, who was supposed to be the main attraction, came across as too affected and in fact, the scenes with him felt like something out of another movie. In short, another treat for "woodophiles" no doubt, for me just a film that deals (albeit clumsily) with a timeless subject.

At first and second glance, a TV movie with a catch-all title that at times reminded me of the (awful) Mountain Medic with some of its shots, but fortunately only reminded me. Otherwise, it's an average film, brisk and witty within reason, set in a Bavarian village that's largely full of narrow-minded rednecks with antediluvian views. The cast was mostly likeable and the soundtrack was really well chosen, especially the last two songs. All in all, a fairly likeable film that doesn't offend and is entertaining at times.

The Three Musketeers is a visually beautiful and rich spectacle in which lovers of eye-candy will find their own. In terms of story and acting, however, it is pure average. I don't exactly do a double take on the pompous and arrogant Musketeer talk, of which there was a serious abundance. Of the actors, I was most impressed by the great Christoph Waltz as Cardinal Richelieu and the funniest character was Planchet.