SvetoslavGrigorov

Yes, we watched the movie yesterday and Carrie Mulligan is ready for her Oscar, this is truly confirmed. In the seemingly comic beginning and the pink-sticky taste and shade of Britney Spears and Toxic is how the director gently sneaks you on the slide so that he can introduce you to the heroine of Mulligan. A dark-plastic clichéd but extremely realistic image of a focused character from the reconciled generation, 30+ years old, who swims in the soap of his own helplessness and seems to slip into alcohol and easily digestible professions. This is Carrie's heroine, Cassandra, who, in a flash, decides to rearrange the past and avenge the memory of her friend, whose death has lain on her shoulders for years and does not give her a chance to get rid of the vicious circle of her superficial existence. The film somehow echoes Fatal Attraction, Falling Down and 13 Reasons Why, but it shapes its own psycho atmosphere, digging into modern psychology, taking an unusual turn to reveal anger, helplessness, guilt and violence and sending them to you with all their consequences. This is the portrait of a young woman whose goal is to reveal the real culprits for the death of her friend Nina. The film has its feminist niche, although it doesn't try to be didactic and dig in there, it just shows you a human story that ends tragically. The end is dedicated to all those hidden parts of our lives that no one can see and no one would want to accept. This is an allegory of evil that is not punished. Pandora's box is opened with all the consequences and a non-Hollywood ending in the bittersweet symphony of a reality show that stands there waiting to be revealed.

I saw this movie yesterday and it is breathtaking. The camera work from 14 times Academy Award nominee cinematographer Rodger Deakins (Blade Runner 2049) is outstanding and yet reminds of Private Ryan it surpasses it without the gory details but still puts you on the edge of your seat. It is a movie that you can connect with either if you have been in the army or not because it is a movie for all. It is a message, it is a wake-up call for the atrocities of war, and this is a war that happens now, in front of your eyes. The camera is so strong that it has some kind of documental feel that evokes some frames of Peter Jackson's "They Shall Not Grow Old" from 2018 where he puts never-before-seen footage to commemorate the centennial of the end of the war.

Someone has said that that the war movies should not be glorified with a soundtrack but what a soundtrack this movie has! My ow my. I just want to mention one name here: Thomas Newman.

Another interesting fact. In this movie, you cannot feel the special effects. It is for the first time that I am not feeling tricked by any CGI or computer gimmicks. Whatever they used here they used it wisely without breaking the balance between cinema and documentary and the final result is mesmerizing. It a disorientating, captivating, .It was filmed and edited as if it was one long take and the camera never leaves our main protagonists, Blake (Dean-Charles Chapman) and Schofield (George MacKay), out of its sight. The plot is rather simple: you follow two young soldiers ordered to deliver a message which will save 1,600 other soldiers.

It is a second war movie from Sam Mendes after Jarhead and it deserves special recognition from the movie industry. It is a movie to be talked about in the future because of its authenticity and the special message that it contains

Just finished watching I am Patrick Swayze (2019). I realized that I've seen most of his movies and these are the movies of my youth. I didn't know about his problems with alcohol and the recognition of Hollywood as Kelly Lynch mentions in the movie. It's a sad movie about a guy with an unbelievable career, stamina and physical charisma. At the same time, it's a story about a vulnerable guy who had his ups and downs, just like every one of us. In this line of thoughts, the image of Patrick Swayze shines not only with that polished perfectionism through the typical macho outlook but sparkles with the variety of different characters which he portrayed and they completed the gamut of his possibilities as an actor. You will see a lot of big names talking about him here within whom are also his wife Lisa Niemi and Rob Lowe. A must-see for the kids like me who grew up in the 80s and not only. It's also a wake-up call how short human life is. Watch it and cry for a while. It's good to cry.

Euphoria (2019)

The show grabs you by the throat from the very beginning. The starting point is Zendaya, the main character who plays the role of Rue Bennet. Around Rue are depicted the lives of the other college characters, but is actually a show for a mature audience. This is definitely not a show for teenagers! And yes, this is different than "13 reasons why". It is classier, braver, has more psychology and is rawer at the same time. It is difficult to watch at times because it delves into drug addiction, sexual abuse, child traumas, depression, pregnancy and abortion, violence, OCD and anxiety.

What shocked me is how real the characters are. It is very rare to see so many talented actors (and also very handsome from both sexes and in between sexes, because Hunter Shaffer is a trans model and activist) not overplaying/competing but complementing each other. I do not like to use the word "modern" but this show is a definition of what happens now at this moment, and it extracts modernity not only in a provocative and brave way but also defines an era. I am sure they will speak about it in the next 10-20 years. Another important feature of the series is the LGBT-part of the story. Jule's character meets the "Dominantdaddy001" from Grindr who is into domination of trans women and effeminate gay guys. That important part of our gay-culture that needs to be discussed and healed. The hidden gay-component in our society.The invisible gay-people who marry in a heterosexual wedding and then make the hell the life of others around them (mostly closed ones). The example is with Nate who's gay, and his dad is also gay. Nate acts heterosexual, just like he was programmed from his dad: to obey and to fulfil. He has a tumultuous relationship with his girlfriend. He is expressing his feelings in a destructive way that can only hurt the other part. Some kind of inversion where the more you are trying to hide who you are, the more it comes back to kick your own ass and destroy you. You will see a lot of nudity, incredible filming and editing, and also the soundtrack is incredible. Well-done HBO.Cannot wait for season two.

Border (2018)

Tina (Eva Melander) is a customs officer who works at the Swedish border. She can sense human emotions and can catch offenders. She was born with facial dystrophy. She is a freak, a mutant as if she had escaped from the Texas Chainsaw Massacre, and she gets equally mocks and frights. One day, Tina meets Vore (Eero Milonof), who is of her breed. She feels a strange attraction and throws herself into the abyss of passion. Iranian-Danish director Ali Abbasi has blown the character's primacy to the size of a bloody-slippery amalgam of (anti) abstractions that include tough to be described, deformed genitals, hiist-foetuses as if taken from a Massive Attack clip and sexual acts that can recall pictures by Hieronymus Bosch.

Tina says: "As a child, I thought I was special. I had all these ideas about myself, but when I grew up, and I realised I was just a human being. An ugly, strange human with a chromosome flaw." Vore reassures her that there is nothing wrong with her and adds: "Humans are parasites that use everything on earth for their own amusement. Even their own offspring. The entire human race is a disease, I'm telling you."

This is only a single part of the interesting dialogues in the film that provoke, desacralise and rearrange the chaos of the narrative. The makeup and special effects are shocking. The film has a lot of industrial vibes, a Hypno-atmosphere, and infernal tones. You will also feel the chords of Let The Right One In from Lindqvist, which are typical for this part of Europe.

Romance and folklore in this fairy-tale film are mixed with concepts for tolerance, love, crime, longing for the realization of the being, rediscovery of humanity, choice and, of course, the notion of the border! The border is the gathering point in the film. Where is the border of humanity? Where is the border in communication? Where is the border of cloaking of the past (Tina and her father) These are questions that everyone has to decide for themselves while watching the movie.

In a year like 2018, in which the cinema has produced tons of rubbish, a film that I saw yesterday has appeared and refuted the saying that there is nothing new under the sun .

Presumably, historical dramas and biographies are always inflated and overburdened with surpluses that I have always tried to escape. It is incredibly rare for a film to be as accessible and honest as it is in the case with The Favourite. I remember two other similar movies that attracted me over the years and left a trace in my personal notebook, Orlando (1992) and Marie Antoinette (2006). They played with naturalism without exaggerating with unnecessary details in the historical context. Of course, along with The Favourite, they are all delving into another different surface, which we will be talking about in this review.

So let's focus on the film by George Lanthimos, who has so far become known for The Killing of the Sacred Deer (2017) and The Lobster (2015). The story is quite simple but multi-layered. Lesbian-queen with unpredictable temper (Olivia Colman) has a mistress Lady Sara (Rachel Wise) who actually manages the court and state affairs at moments when the queen is incapable of doing so. As we notice these moments are way too many because the queen is almost absent from being a head of state. Abigail (Emma Stone), Lady Sara's cousin, appears in the court trying to regain her lost title and reputation. She uses every single chance to win the Queen on her side.

The film is divided into eight parts, each of which contains a quotation from the subsequent dialogue.

There is something extremely introvert in the movie, despite the use of a fisheye lens and the incredible shooting angles. Olivia Colman gives Queen Anna maximum human dimensions. Here she stands in front of us without makeup, mask, grounded and exposed to godlessness. This is a woman without a desire for life, suffering from bulimia, gout, and the only thing that keeps her alive are the rabbits and her lover's company.

Abigail gradually pushes away her cousin from the favourite's throne , settling herself closely to Anna and then marries Lord Samuel Marsham, rewarding her with the needed honor and cementing her reputation.

The Favourite is a female apocalypse, a female kingdom and a female matrix in which men are only present as small figurines. This is a crazy but real story in which everyone is using each other. The genre is difficult to define because the pendulum sways between black comedy, love story, historical drama, and a thriller game of cat and mouse. All these segments are totally deconstructed and sent to you, so that you can then assemble them personally in your own head. That's why I like such films because there are no solutions here, but there is an eccentric, inspirational and dimensional vision in a tragicomedy. Tragicomedy is a genre that stretches the action from all possible angles of psychology, and gives the context a certainty and credibility. Each character at one time is duplicitous, but faithful, manipulative, but also trusting. Visual aesthetics extracts Baroque and renders it on the screen, inhabiting it with animalistic and raw characters. The dialogue is brutal. C.nt and f.ck are widely used and this is only a plus for the film, because the human history is shown without idealisation and romanticising.

The incredible soundtrack with lots of Bach and Handel, and as well modern experimental compositions of Messiaen and Ferrari, filters and dozes the splendour and glamour, and that's what, of course, every real movie needs.

Costumes, and oh, surprise but! the incredibly English accent of Emma Stone (who is from Massachusetts) is raising the bar high (even) over Hollywood level, and that (for sure) will be noticed and generously rewarded by the Academy.

I have read a lot of criticism of how the film is missing an end. Nothing like that!No one needs an end, only modestly shaped souls, which necessarily require an explanation of a historical fiction so that they can fall asleep quietly. In this line of thoughts, the film is not at all calm and quiet and will remain forever in you. Precisely with this open end.

A powerful coming of age story with a French taste. Jonas (2018) is a TV movie that can beat at least thousands of other movies for the big screen. Its qualities such as depth, a good, mysterious story that slowly unfolds in front of your eyes, and of course our homo problems, that are waiting to be cleared off on a very long queue this time hit you straight in the heart without any superficiality. The characters are true to life and there isn't stereotyping but pure acting as it should be. The movie operates with flashbacks exploring the youth and current days of Jonas, now a troubled 33-year-old guy who's just been thrown out from his boyfriend, because of cheating. The missing segments start to make sense as the movie progress in a perfect aka "Weekend" cinematography. It will make you think about a few of your crushes most probably as it is a very intimate film. A must see!

This movie definitely caught my attention firstly with the obvious use of B&W, second the gamut of actors in it and third because it is one of these movie-but-not-movie genres. Since I have lost track of Cillian Murphy's career after Neil Jordan's Breakfast On Pluto this movie brought back his talent to the screen and waw, how good he is here as the banker with his spotless suit! Kristin Scott Thomas and Patricia Clarkson, as Shadow Minister and her American friend, are impeccable but hey, let's get to the essence of things, and praising afterwords. When one thing gets wrong it can bring a chain of events that can destroy everything. Such thing happens here in this narrative. The key word is "life". Remembering a word, one single word from Joy Division's Love Will Tear Us Apart, "ambition", where Ian Curtis sings "When the routine bites hard/ And ambitions are low" and we can change it with "ambitions can grow". There are too many ambitions in this movie. Ambition to be a politic, ambition to reach status and career, ambition to grow. Wait a minute, don't you see yourself here? Yes, you can. Don't we all have ambitions and how these ambitions can clash with the outside world? How polite can we be to each-other and where it gets us?Then how many secrets we can keep in our lives and until when? Until the time has come. The character of Timothy Spall whispers "Why me?" and maybe he plays a little bit of his own life and his personal battle with cancer just a few years ago. The lesbian couple played by Emily Mortimer and Cherry Jones who are expecting a baby are questioning their relationship because of a typical Freudian threat from the newborns. Bruno Gantz idiosyncratically hammers modern karma cliches fighting with his wife and these twisted jewels start ringing in your ear with some strange new meanings. The movie echoes with another 21-century classic, 2016's It's Only The End Of The World by Xavier Dolan with their cathartic and healing components. So, watch this movie if you like a sharp and witty dialogue and you want to explore the doubts and the debris in your subconsciousness. It really stirs the collagen in your bones and pumps the blood running faster in your heart.

God's Own Country

As a friend on Facebook warned me that this a dull movie , so I have opened up all my senses to look carefully what's going on on the screen, since the opening first scene to the last one with the music and final titles. Before I start I need(ed) to question myself: what identifies us as tribe? Gay people. Sub-gender. People. Peoples . Human. Humans.

Rural England. A boy on the farm who's father is crippled and his mom has gone somewhere , lives with his grandma and survives everyday trying to gulp his own sexuality through binge drinking. A typical loser as someone would describe this character.

I read the second part of the Facebook post where the same friend said that nothing happens. It's true. Nothing happens apart from the appearing of the second protagonist, the Romanian worker Gheorghe who's there to help in the farm for few weeks. So, yes, nothing happens on everyone's expectations with the gay-cliches where there aren't included the "usual suspects" such as : AIDS , gay-pride, clubs and drugs, fetishes, tops and bottoms, screaming, mobile phones, Grindr, no Hollywood polished TomFords, no gay chic , no Wilde, no Thomas Mann, no 'intellectualize my sadness', no slogans or catch-phrases and no hidden subplots. What you see is what you get. Hard work, home, work, home, and voila: LOVE on the screen. Yesterday's loser has got a meaning in his life and this is the message of the movie. Not that love exists, because we all know that but that he has let this love touch his heart and how it changes his life.

This is not Brokeback Mountain II because it speaks about the modern culture although this part is carefully avoided by the filmmakers. Not that it doesn't exists anywhere in small towns and villages around the world but because of its lack of the typical crescendo which everyone expects to put in the mouth of the gay-stereotyping.

The boy's life has no meaning until the love of the Romanian guy comes to wake him up and put a fresh scent in his existence. This is a little movie and I know it will be avoided by the critics like it happened with Lilting. I feel very special when I see movies like this. There's no pretense here. It's only the love that steals the show. And I don't need more since I feel blessed with it.

The acting is superb and the camera work is beautiful. Few interesting facts about the movie is that the supposed Romanian language is actually Bulgarian and I recognised it by myself since I am Bulgarian too. All the graphic scenes with the animals are real and has been filmed closeby director's childhood home.

God's Own Country

As a friend on Facebook warned me that this a dull movie , so I have opened up all my senses to look carefully what's going on on the screen, since the opening first scene to the last one with the music and final titles. Before I start I need(ed) to question myself: what identifies us as tribe? Gay people. Sub-gender. People. Peoples . Human. Humans.

Rural England. A boy on the farm who's father is crippled and his mom has gone somewhere , lives with his grandma and survives everyday trying to gulp his own sexuality through binge drinking. A typical loser as someone would describe this character.

I read the second part of the Facebook post where the same friend said that nothing happens. It's true. Nothing happens apart from the appearing of the second protagonist, the Romanian worker Gheorghe who's there to help in the farm for few weeks. So, yes, nothing happens on everyone's expectations with the gay-cliches where there aren't included the "usual suspects" such as : AIDS , gay-pride, clubs and drugs, fetishes, tops and bottoms, screaming, mobile phones, Grindr, no Hollywood polished TomFords, no gay chic , no Wilde, no Thomas Mann, no 'intellectualize my sadness', no slogans or catch-phrases and no hidden subplots. What you see is what you get. Hard work, home, work, home, and voila: LOVE on the screen. Yesterday's loser has got a meaning in his life and this is the message of the movie. Not that love exists, because we all know that but that he has let this love touch his heart and how it changes his life.

This is not Brokeback Mountain II because it speaks about the modern culture although this part is carefully avoided by the filmmakers. Not that it doesn't exists anywhere in small towns and villages around the world but because of its lack of the typical crescendo which everyone expects to put in the mouth of the gay-stereotyping.

The boy's life has no meaning until the love of the Romanian guy comes to wake him up and put a fresh scent in his existence. This is a little movie and I know it will be avoided by the critics like it happened with Lilting. I feel very special when I see movies like this. There's no pretense here. It's only the love that steals the show. And I don't need more since I feel blessed with it.

The acting is superb and the camera work is beautiful. Few interesting facts about the movie is that the supposed Romanian language is actually Bulgarian and I recognised it by myself since I am Bulgarian too. All the graphic scenes with the animals are real and has been filmed closeby director's childhood home.

I've seen quite a few series and movies. Most of them, I am leaving after the first episode because either there's nothing to grab me or the story is too fake/implausible and the question WTF the authors of these want to tell me hangs up without an answer. Well, it's not that case with Fortitude. If you like Broen (The Bridge), Breaking Bad, Fargo,True Detective and Better Call Saul this can be your next good surprise in the world of well-conceived & acted action, crime series.Prepare yourself for an Island, somewhere close to Iceland where a closed community have to solve savage murders. Polar bears, a lot of glacier and frostbite combined with superb acting (Richard Dormer,Stanley Tucci & Ken Stott, etc) and onion-peeled-script can literally nail your eyes to the screen. I am on the eleventh episode and left the final twelfth from the first season for tonight. What a treat in the world of spam!

Saw Jackie (2016) yesterday. Boy, ow boy wasn't this one of the saddest but profoundly beautiful movies made. Natalie Portman deserves to grab the Oscar for that role not only because it breaks your heart while watching her facial expressions during this America's bloody episode but because some of the scenes are beyond words. You have to feel the closeups on the screen. Some cinematographic qualities of the tape can be compared with Kubrick's 2001 Space Odyssey where the alienation and loneliness of the tidied baroque are in a contrast with her melancholic grieving face.The music stabs more undertones in your cinematic heart while it pumps out blood when you empathise to her drama.

If you care for your cinematic soul in the movie apocalypse of CGI effects and soulless scripts this movie can be yours. The year is 2016 and director David Mackenzie is resurrecting the Western genre. It's the 21 century Wild-Wild-Best where the main protagonists have more to say with facial expressions, dialogue and scenes.They speak between the lines and this invisible speech penetrates the veins of your senses.

In these Texas landscapes you can see a mirror of nowadays America. This is America of the poor and the desolate.Vast land, old cars, banks which prove who are the current slaves to the system and which you can rob at least few times on the movie screen for one year. Banks that have done so much damage to humanity and nothing has changed but only aggravated.

Nevertheless, there is nothing vulgar in this movie, so do not expect Tarantino or The Good,The Bad & The Ugly. It is more Bonnie & Clyde meet the character of Michael Douglas from Falling Down. It has the feel of Blue Ruin and No Country For Old Men.The human wreckage lies in the middle of the story, that you have seen many times but this one, is so far the best and is beyond words.

The mirror of the movie can be applied to any other place in the world.The social anomaly of how sometimes you can do the craziest thing in your life because the system had failed and you are either Neo, or Noah or Tanner & Toby in this movie.The secret is to take the reins in your hands and cross through the unthinkable. Well, would you? As I said, at least do that on the screen!

Ben Foster steals the show in the brothers team, in a Breaking Bad finale.Your brain counts every second. The density of the masculinity & the protest within the massacre are so intense and merge in a self-destructive outburst in one of the saddest but expected endings.Chris Pine completes the damned symphony in almost monologue but still a dialogue "There-was-no- other-way" verbal clash with the old cop character played by Jeff Bridges.

Epic,sweaty and dusty music from Nick Cave & Warren Ellis complements the cathartic message of this great little movie. A very personal movie. A movie that will stay and to which you will return and reflect in the echoes of your continuous self interpretation.

OK, Bridge Of Spies. Long (141 mins) and boring spy thriller with the usual performance from Tom Hanks (James Donovan) who's face throughout the middle of the movie looks like a carrot due to the the bad makeup and in the other half has the usual-suspect- grimace if he is having a poo because of too much effort trying to convince us with his tricks in a particular scene. The story is ...hm "based on a true story" which can't save it from superficiality. Mark Rylance who plays Rudolf Abel is much more interesting/convincing as an actor but also struggle in the adapted screenplay so whoever did it better not do it again.The Iron Curtain/Berlin Wall is very much Hollywood and you have seen it in many other movies so you are already prepared for it and will not surprise you. At all. It's all a happy ending at the end so everyone's happy apart from me cause it was a waste of time.

Imagine how The Blue Angel Marlene Dietrich meets Audrey Hepburn in Breakfast At Tiffany's. Two goddesses in love affair. An essence and definition of love in its core distilled through different bodies and remaining a mutual enjoying of the heart. There is some cold classical feeling from the 30's in this movie, though it was set in the early 1950s in the McCarthy's era of witch-hunts. No answers are provided here and no stretched details. All is centred around Kate Blanchet and Rooney Mara.What you have to do is just to sit down,relax and enjoy the smoky narrative with a scarce dialogue.The 16 mm grainy picture, Sandy Powell's period costumes , cinematography and film editing from Edward Lachman and Affonso Gonçalves ,all well fitted in Patricia Highsmith's "The Price Of Salt" novel deliver a new conversation between the movie and the viewer. It's not about others but it's all about us. This message is truly important these days. No satisfaction in the sense and laws of tradition but how tradition have shaped us to rethink the history. As John Grant sings in Glacier "Don't listen to anyone, get answers on your own/Even if it means that sometimes you feel quite alone,No one on this planet can tell you what to believe,People like to talk a lot, and they like to deceive". There are echoes of other movies here such as the cold sentimentality of Savage Grace , Far From Heaven (from same director Todd Haynes) - another forbidden love story, Brokeback Mountain and A Single Man - both tragic waste of lives. Carol in some ways captures few finest moments from all these movies but as mentioned before it transcends one step further. It neutralises the bitter ends replacing it with hope. It's not the usual Hollywood hope but your own personal hope.It inspires you to decide,design and photograph your life. Don't wait,do it now!

I accidentally came upon this little German movie. It started with a blurry camera and a woman having a shocking moment of losing her identity. The story is not predictable but slowly unfolds in front of you while you question yourself fundamentals such as how society force our lives to be a web of lies. How innocence can be killed if does not play the game of survival. It's a brave movie with few explicit erotic scenes which only the European cinema can produce. There is no censorship in it, so be prepared. Needless to say it is a big psychological roundabout behind the unalloyed script and it's one of those movies like Polanski's Bitter Moon where you can always go back and find a hidden layer. A must see!

Well, I saw The Martian yesterday and in some ways reminded me of Interbo..ocks ( "Interstellar"). So far nothing can surprise me in the world of sci fi overtaking Kubrick's 2001: A Space Odyssey​ (1968) , Blade Runner​ (1982,Ridley Scott, again), Alien (1979, yes Ridley Scott, I know) ,Terminator 2: Judgment Day (1991,James Cameron) and Moon (2009, Duncan Jones). Half of the movie filling is a lot of American djaba-da-ba-dooo which I don't mind in The Flintstones family saga but not in a serious epic like the this one and Mr. Ridley Scott had bend over her majesty Hollywood to make a soap opera which everybody wanted. Yes, he did not make this movie for himself as he did with Blade Runner and The Alien but for everyone else.I am forgiving him only because the disco choice of music as a soundtrack. Such a choice can make sense only in a family soap opera to soften the edges of the harsh space but will you have the forever remaining epic with a Kubrick's class? I doubt it.

Matt Damon did his job, cut his rare beard, took a metal steel off his tummy to put us on the edge of our seats at the beginning,cried few times over the plants he seeded in martian soil and did not lose his nerves for 982 days! Or it was 1052?! What a hero! What a discipline and what a palavva.The photography was a good advert for NASA and ow yeah, so many facts that you have never heard about the Cosmos that even a documentary like Carl Sagan's Cosmos would sound like a fairy tale. Well, this one is nicely packaged. You can remember it among other "classics" such as Armageddon and Space Cowboys. Well, you got it guys. You have your popcorn and your movie. Enjoy!It's a good sale!

Every human being should see this movie.

Not that it's against the horror of war. Not that it's so little like our lives are as little in the universe. Not that if it wins an Oscar cause it's been nominated in the category for а foreign movie this year would change something. Not that you can see yourself there. Not that it's bigger than all religions in the world. Not that it's a drama and you don't like drama but your life is a drama. Not that you will not like it or like it. Not that it's a movie from 2013 but its distribution has been delayed for 2 years.

"Not that" too many times to count BUT because if you don't see it you will miss a lot. I know that.

Interstellar by Christopher Nollan

Reviewed by Svetoslav Grigorov

First, I had to look at the score on www.IMDb.com to confirm that all the rumors were true (9 out of 10): me and Paul were the only ones who didn't like this movie and left 45 minutes before it had finished. Whatever that means I can assure you that I was/am still sober and I am not a zombie like the rest of the crowd in the Kettering Odeon cinema. Secondly, I would like to ask how all these critics made the comparison(s) with Kubrick's 2001: A Space Odyssey and thirdly, please you who now read this review tell me that I am not the only one in my dullest disappointment for the year. Tell me that I haven't lost my marbles, tell me that you were enthralled from this copy of a House On The Prairie and if you think that this is the best movie of your life (or at least 2014), the only answer I can think of is: that's why so many rubbish movies have been released lately. Because the level of the quality has fallen drastically and the conveyor belt of the movie industry is catastrophic for the senses.

OK, so straight to the point. First 45 minutes we are introduced to the farming, dust and the coming famine problems, nitrogen on the rise in the atmosphere, Earth is doomed, father and daughter found a super-secret location that NASA strategically placed for their eyes only. We see a lot of corn and even the nineties Children of The Corn was a better shallow slasher while this one turns out to be an American clichéd space marmalade, and my best fitting comparison for it is Armageddon which is not really a movie, but a joke. Wormholes, saving of the human kind, bringing resources, planting/replanting, Plan A /Plan B, frozen embryos to colonize a distant world, overcoming gravity, scientists and even a quantum physics and so much camera- philosophy that Kubrick will turn in his grave, daddy-please-don't-go-to-space-cause –I'm- gonna-cry, bam the watch on the floor (I don't wanna see you anymore), counting while going into the stratosphere, Lego-robot which somehow was better acting than the rest of the actors or at least was more fun. Wait, wait, did I say actors? Matthew McConaughey, Anne Hathaway and Michael Caine (The rest of them are not worth mentioning apart from the crying daughter Murph who did her best job).

Matthew McConaughey has one of the most annoying twangs ever and his jaundiced bad- version-face of Paul Newman cannot contribute to any script lately (let's not forget that without the help of Jared Leto and his masterful transformation in The Dallas Buyers Club his Oscar was going to hell). His mumbling could be understood only from the villagers in Kentucky and what he is on about…Seriously, I needed subtitles to comprehend his actor's efforts in such a "serious" movie. How serious this movie was! I pushed myself to read couple of the 'serious' critical reviews and they had the audacity to call it "scientific"??? Oh man, poor Anne Hathaway who looked sometimes at the camera and was likely apologizing for the mess she was in. I felt sorry for her.

The script was the hell of the hells. Such nonsense with no credibility and no creativity at all. Total zero or even below the zero. As I said we left long before the end because my time is precious. I will open Isaac Asimov's (or Stanislaw Lem's) short stories and will be engulfed in characters and situations, so my brain will be given food for thought while all these poor people are going to see Interbol..cks and will be exposed on the radiation of a mediocrity (yes, I felt cheated like someone was trying to insult me). Well, if you who now read this review respect yourself and really like Kubrick, Moon, Gravity (and even Contact) and other good sci-fi don't waste your time and save your money. Today we wasted £40 including the drinks, the popcorn and the tickets and the only thing that I was inspired for was my generated anger for this text. My verdict on the scale from 1 to 10 is to give ONE for the director Christopher Nolan who needs a little encouragement and I am hoping he will not slip into the shoes of M. Night Shyamalan who have crafted a lot of rubbish lately as you know. God forbid that never happens.

P.S.Don't tell me that I have sat there for 2 (it's actually 169 minutes) hours of a film and it had a great ending cause I don't want know.

Blue Ruin.

OK. If you like No Country For Old Men, Falling Down, Reservoir Dogs, Taxi Driver, ...take out the commercial element from all of these and just leave the bare-bones of the pure cinema with: A/ actor who's face looks like your shy friend B/you cannot see any high-budgeted actor in it but all of them play better than Daniel Craig and Al Pacino altogether C/the script will take your head off even if you have been prepared for it and watched thousands of B/Indie movies in advance D/the camera work is magnificent E/Trust me, I am a Doctor: if you like a good action movie not set up upon Hollywood standards watch this movie after 00:00 and you will not be disappointed.

So far the best MOVIE of the year.

Nymphomaniac Vol I and II. I have done good with not reading any comments, reviews and opinions. It is a long movie - over 4 hours (and if we talk about the uncut versions it could go up to 5 hours) if you watch both of the parts together. It is something extraordinary, explicit and crossing the boundaries if you are both prepared and not prepared.It could be repulsive because it touches other human beings including yourself. It opens wounds and asks questions but does not give you any answers. You cannot be just a viewer while watching it, you are caught in the act along with her. Charlotte Gainsbourg. It is not a porn movie as you would think that it is. You would love it to be porn because it could be easily assimilated, absorbed but IT IS NOT. It is a life sentence for the main character. It is a study of depicting this character and in that sense it is a movie telling her story, fictional or non-fictional,true or not.The story is divided into chapters, the parts of her life. The film is well-balanced between both of the protagonists: Gainsbourg and Skarsgård. They are the both sides of the human equation.They are the plus and minus, the devil and the saint, the whore and the monk.You cannot expect mediocre/in-between/golden medium from Trier because he is non of those. Trier deals with extremes and if it involves gore, penises, v…..s, death, masochism, sadism,homosexuality, suicidal tendencies, and even paedophilia as part of the the spectrum of the human sexuality you have to accept it because if you do not you do not accept the life and the surrounding reality.And hey, let's not forget:it's not a propaganda, it's just someone's story,take it or leave it. The actors are what they should be:too far from Hollywood and too good to be true but they are so truthful that it could be scary for someone (or taken as porn as mentioned previously).I liked very much the little forgotten Christian Slater. He adds a lyrical tone to the movie and his death strangely contradicted to his (forever) youngish face is an allegory of how we remember the dying people.How the memory filters the presence of the loss and how it deals with it are some of the other questions. The music including Rammstein, Steppenwolf's Born To Be Wild, Shostakovich, Cesar Franck , etc. is a precise choice for a movie from 2014- a sentimental journey from point A to point B with ups and downs,enhancing the good photography, poetic language and metaphors. Now with the comparisons. Watching such an extreme movie, as I described it few lines earlier I will not diverge too much but to me it has echoes from Pasolini, The Night Porter, Fassbinder, and maybe a little bit of the early Polanski like The Tenant and Cul-De-Sac. Final note: Lars Von Trier is BIG.

First movie:good attempt+good acting and characters.London gangsta world looks like allows Ben Drew to borrow too many clichés from all the iconic predecessors like Trainspotting, Rise of the Footsoldier, Layer Cake, London to Brighton, The Acid House, maybe a bit of Bronson, Bonded by Blood, The Kid, ...Unfortunately does not touch the surface of Harry Brown where he-himself Mister Plan B was one of the cast and the movie was as serious as can be.This one here is more of a video-type, a videoclip, bouncing from character to character without having a finished line and sending a proper message to the recipient. Some questions arise here:Where this comes from, where it goes, how and why happens,is there any reason for all the violence?..at least if you 're looking for attention to make a first movie you need to answer these simple questions like all other big directors do. The music was brill! Thanx!