Botrány

More or less a missed chance... A film about an important topic, which was intended to make available and clarify it ideally to everyone, and yet it is such ordinary and unsurprising boredom intended only for a narrow circle of audience members. The most interesting character was played by Margot Robbie, probably because she was made up, or the fact that the screenwriter put several other characters into her, while Nicole Kidman almost didn't appeal to me and Charlize Theron turned out only a little better. I forgive both women, but the second most interesting character was Alies played by John Lithgow, which is hardly something that the creators intended. (2020.12.19)

A procedural that, thanks to its extremely soft sensitive topic, seems to be angling for the Oscars, but it’s not that sensational. It's just one of the many corporate American #metoo type of stories that has great performances, timing and editing, moves very quickly and actually has a solid narrative value, but will eventually be forgotten because something other than militant feminists vs. conglomerates, or flamboyant Trump, will be in vogue. (2020.03.23)

Because I’m not American, I have never heard about that host who went against Trump in her show while the whole nation was watching. So the film barely aroused my interest. The thing I enjoyed was looking at Margot, Nicole a Charlize. And I’m not talking just about their beauty, but about how the make-up artist managed to make them look almost unrecognizable. But that’s about it. (2020.01.27)

How one lawsuit can ignite a tempestuous campaign as a result of which fat and insecure employers can no longer prey on young, scantily clad girls. It’s carried mostly by the excellent actors, but the attention is also held by the frantic reservoir of information and dialogues. The story, however, shoots out of nowhere without an above-par directing framework, not to mention the clearly truncated female efforts, which lack a firmly focused argumentative value and rely only on us having to automatically relate to the heroines, which is not always possible, because they are voluntary and proud members of the heinous media (at least that’s how it’s portrayed) and are far from likeable figures themselves. Also, you soon get quite lost among that deluge of names and characters, of whom, paradoxically, the best was John Lithgow and his amazing make-up, he handles his role with panache. 60% (2020.03.24)

The opening five minutes scared me because everything suggested that Charles Randolph was trying to replicate the actual hyperactive style of Uncut Gems. Luckily, this zest quickly subsided and the story began to be told in a more classical biographical rhythm, which despite the ambiguous tone of some key scenes, lays the cards on the table too quickly and does not allow the main stars to shine as brightly as their key roles deserve. Nevertheless, not only does the unwavering Nicole Kidman shine, but so does Margot Robbie, who outdoes herself and it is her Kayla who pulls the whole intense case above average. However, it only partially manages to break free from the obvious formula, since the ending neither moves you nor crushes you. And that is a serious mistake with a topic that is still painfully relevant. (2020.01.20)