berndgeiling

Andrew Scott gives a deeply neurotic and disturbing impression of one of the most beloved psychopaths in movie history. He's a great actor and he knows exactly what he's doing, sharp, precise, intense, on top of his acting skills.

Zaillian stretches the story out here, (sometimes a little bit too much in the last three episodes), taking 8 hours, compared to shorter former versions. I must say I like all versions, because Highsmith's original story is of genius quality, and it allows to open a lot of doors to different interpretations. I loved Alain Delon in the Rene Clement classic, as well as Matt Damon in the luscious Minghella version, but comparing the different interpretations in detail would take to long.

About this one: Yes, I loved that it was shot in atmospheric black and white (fantastic cinematography, every frame a piece of art!), I loved that this version was slow, I loved that it was so dark, I loved the sardonic humour.

I could have easily given this version 10 stars, but, I am sorry to say, the characterization of Freddie Miles didn't work for me here.

Glazers movie is loosely based on Martin Amis' novel The Zone Of Interest, extracting just one aspect out of it, the so-called normal life of the Höss family, living next to Auschwitz Concentration Camp, which was under Höss' command. Their life is being shown in an almost documentary style, in absolutely realistic reconstruction of the historical setting. Everything about their home is so bluntly normal, average and pseudo idyllic that it would be even boring, if we weren't be aware of the concentration camp hell just behind the wall around their garden.

What we don't see we're getting to hear on the background sound. While garden parties are being celebrated and children play at the pool side, we hear the barking of dogs, brutal shouting, the shooting, the permanent sound of industrial murder, as a constant reminder of the atrocities the family doesn't ever seem to notice.

The banality of evil is based on ignoring the murderous Nazi reality all around.

What we get to see sometimes are smoking chimneys and the smoke of incoming trains in the distance, transporting more victims to the gas chambers.

The erasing horror is a result of Glazers concept of refusing any empathy and subjective involvement to the viewer, with disturbing effect, because we, unlike the Nazi family, are unable to suppress the obvious.

For some this might be an unbearable patience test, for others it might raise the question of how much we're suppressing and ignoring nowadays to be able to continue our average daily life.

This movie tells a dreamlike story about loss, pain and trauma, and the search for redemption with the help of love, without ever getting sentimental or cheap.

Andrew Haigh trusts his brilliant ensemble, led by Andrew Scott, giving a lifetime performance here. A scandal he hasn't been nominated for an Oscar, unbelievable really! Haigh's film is about trauma, loss, pain, loneliness and the chance of finding love and redemption, to jump over the abyss of an unfulfilled life. Haigh dares to tell his story in a quiet and sensitive way, based more on dialogues and close-ups of faces than on spectacular pictures or special effects. The effect is irresistible: you start thinking about your own life and loss and participate in the yourney of his protagonist. The finale might be a bit too cryptic or esoteric for some.

A matter of taste or believe, but nevertheless it's a masterpiece.

This production achieves a very convincing strong realism in reconstructing the plane catastrophe in the Andes, which makes it really almost unbearable to watch in some sequences. The viewer gets the impression to take part himself in the horrors of the crash and the desperate attempts to survive under extremely hostile conditions, in an icy middle of nowhere in the mountains. The majestic breathtaking beauty of the landscapes gives a strong contrast to the sheer horror of the rugby team's isolation.

The shock, the cold, the claustrophobia, the hunger, the despair, watching your friends and beloved dying, the unimaginable horror of being forced to survive by acts of cannibalism, the production doesn't spare any of those cruel events. A very engaged ensemble of unknown actors makes this realism very believable. And the director manages to transcend all those feelings on the viewer himself. But hope never vanishes and even under unbearable circumstances the spirit of humanity can't be broken.

If two and a half hours seem too long for some people, well, the survivors made it through 72 days, before 16 of them could be rescued. Imagine that!

A quiet, unspectacular and touching movie about some very rare examples of outsiders, a teacher and his student, being condemned to spend the Holidays together, overcoming mutual felt antipathy, getting to know each other with a deeper understanding, solidarity and empathy. An offbeat film working on the hidden vulnerabilities of the characters, unsentimental, sometimes gritty, sometimes witty. Never too heavily dramatic, but effectively playing with underlying or hidden emotions. Sometimes it's more important what's lying underneath an expression, what is not being expressed in a full dramatic scale. It shows us we could all trust our simple and heartfelt humanity in dealing with each other.

A fine cast led by the brilliant actor Paul Giamatti.

The look of the movie and cinematography makes us believe going back in time into 1970.

I have barely seen a more convincing recreation of the 70s than in this movie. It looks like a movie actually coming from the 70s, not from 2023. The sense for every detail in clothes, hair, furniture, colour palette, set design is absolutely awesome.

A fine movie for a sensitive adult viewer.

Yes, Emma Stone shines in this movie, portraying a beautiful young woman with a child's brain, an almost animalic creature at first and then her gradual evolution to personal independence. Her acting here is bold, courageous, shameless in a provocative way, without inhibitions. Some might feel offended watching her in the endless sex scenes she's giving herself in. The intention is artificially anarchic in the best way possible. Lanthimos knows what he's doing and he does it for a disturbing reason. But I couldn't help myself asking if showing the process of a young woman's liberation through sexual exploitation and prostitution left some doubts about the genuine feminist approach of his story. Of course there's the one important question Bella Baxter points out in the brothel sequence: Shouldn't the women have the right to choose? Well, Lanthimos still shows the opposite and the perspective is still dominated by the male perspective. So much for the content which kept me sometimes a bit at loss.

Matt Ruffalo gives a very funny assisting part, showing the full scale of male frustration in the process of castration, resulting from totally loosing his naturally felt dominance.

The formal aspect of the movie is absolutely flawless, set design and photography are overwhelming. But my feelings in the end were still a bit discordant. Some say it's a masterpiece, but this time i can't agree with them.

My expectations were much too high, I guess. Inspite of good actors, my kudos go to Carey Mulligan here, once again showing her skills as an extraordinary actress, and Cooper's capability to transform himself into Bernstein, all the effort left me disappointed in the end. We have great cinematography, set design and last but not least great music from the master himself, but what really drags this movie down is the lack of a working story. Everything feels rushed and superficial, and the running time of more than two hours felt too short in the end. Maybe no one's really to blame for it: picking out a few dramatic or tragic events from the life of such a complex genius is simply not more than scratching the surface of his art, his difficult personality, his marriage to a devoted wife and his homosexuality.

They wanted to show it all and showed not enough in the end.

A prophetical nightmare about the inevitable consequences of our way of living in the 21st century.

A dysfunctional family with emotionally drained bonds between them, with patterns of social arrogance, mistrust and racism in their relation to another couple, each trapped in a doom-like situation, without a point of return to normal. The way they successfully describe the evolution of a global apocalypse here is disturbing, but absolutely true. It's likely that it won't come with a Big Bang, but with a whimper, a creeping process, which no one is able to understand or control, during everything looks like normal, but under the surface, invisible, everything has already changed with fatal consequences. The occuring events are enigmatic and the uneasiness resulting from that is perfectly shown by camera movements, montage of sequences and sound design.

Nature is out of balance, natural and technical ressources come to an end, our total slavish dependance on digital gadgets makes us vulnerable, a perfect target. Ignorance won't help us out. It's devastating that many of the viewers are already unable to get the crystal clear message of this movie. They prefer to continue, ignore and entertain themselves with stupid sitcoms.

That's what the end is telling us! And that's why they don't get it.

If this Killer's greatest challenge is really boredom, as he quotes himself in the opening sequence, he should have better taken care of not transferring too much of it to the viewer.

Almost no engaging story-line to notice, Fassbender's deadpan face expression throughout the whole length of two hours, not a single emotional moment which could have raised a minimum of interest for any of the presented characters, (his victims most of them).

And finally there's the embarrassing lack of suspense in a movie being sold as a thriller.

Fincher can be so much better than that, with an interesting and intelligent screenplay for sure. But here we simply have a weak example of style over substance once again. The pseudo-philosophical killer monologues didn't serve well in filling those gaps of content.

A lonely chalet in the French Alps. A dead man laying in the snow in front of it. Apparently he fell out of the third floor window under the roof.

Was it an accident? Suicide? Or a murderess attack? Whoever expects a conventional crime thriller with a final simple solution will be badly disappointed by this complex psychological drama about a female author fighting for her independence, dignity and her own truth in the courtroom, where she stands under suspicion to have killed her husband. But beware: truth has different aspects and different sides, depending on whoever tries to catch it. It comes in disguises, often invisible, always subjective.

In the end it's up to the viewer to make up his own mind about the case. While the investigation is unfolded Triets movie proudly walks in the footsteps of Ingmar Bergman, a classic analyst of complicated couple relationships and she truly succeeds in doing so.

Three and a half hours without a functioning inner tension arc didn't fulfill my high expectations watching Scorsese's latest opus magnum today. Once again Scorsese gives us a variation of his conviction that the so-called American Dream is nothing less than an inhuman nightmare.

I liked the perfection in set design, costumes and camera work, but all in all it was a letdown for me. I kept asking myself if Scorsese's efforts in retelling the Osage County murders could do justice to the real events which historically happened there in the 20s of the last century.

I should have left the theatre outraged and upset. Instead I felt disappointed and even a bit bored, because I didn't feel emotionally involved enough.

The actors saved it for me, especially Lily Gladstone's Mollie. A face shining with dignity and unbreakable humanity, the only unforgettable impression I took out of this movie.

Nothing but a masterpiece here, Nolan's movie about Oppenheimer, father of the atomic bomb, is way more than just one of those stale biopics in Hollywood History. It's visually breathtaking, with great cinematography, editing and soundtrack, set design and a monumental cast of perfect performances by dozens of the best actresses and actors working flawlessly for this historical epic, which should find it's place in film history forever.

Cillian Murphy as Oppenheimer gives the top notch performance in his career, a tragic and emotionally touching character study. And finally a highly intelligent script here, razor sharp dialogues, political intrigues, and an artistic attitude, which, in the devastating final sequences, leaves no doubt about what nightmare is waiting for mankind, since a handful of scientists opened Pandora's Box with the atomic bomb.

Highly appreciated attempt in creating something like a believable touching emotional romantic comedy between two young guys, and it surprisingly worked out well. It's witty, touching, not too overdramatic, it has a tenderness and an affectionate chemistry between the two handsome leads, so even the erotic scenes were not embarrassing. ( But An R-Rating? Really???) On the weak side we have most of the supporting characters arranged in a very superficial, stereotyped way around the love couple. Depending on the quality of their acting some scenes work well and others stay a bit flat for that reason. The great Stephen Fry has only one scene and he knows how to play it so well, that you miss him in any others.

It can't be praised enough that young people might watch this fairy tale story while struggling with their fear and the pressure to come out and stand to their own sexuality.

It might help them to realize that it's not only their sexual orientation that counts, but even more their ability to spread love without any obstacles.

I am sure there will be countless serious heart attacks or brain strokes in the field of fundamental Republicans, but this is no loss anyway.

Intense uncompromising character drama about the individual freedom to determine your own way of dying, enjoying your love and life to the fullest as long as it's possible.

Vickie Krieps plays her difficult main part with great intensity and sensitivity. I have never seen herself acting better than here.

Her partner played with no less vulnerability by the late Gaspar Ulliel. The film makes you really miss one of the best French actors of his generation. Emily Atef directs a beautiful and deep story, breathtaking photography in the Norway sequences. If the end doesn't break your heart, you don't have one.

Beautifully written and directed french drama about the possibility or impossibility of love in different relations, for a lover, a child, a father.

I loved the bitter sweet story, explored here with tenderness, lightness, humour and melancholy, reminding me of the best achievements of french cinema by Sautet or Lelouch in the 60s and 70s. Chemistry between Seydoux, who I never found acting more subtle and intense, and Poupaud with great sensitivity, works ideally. Pascal Greggory, one of the greatest french actors of his generation, gives a very touching performance as a father desperately fighting for his dignity against a mind threatening lethal disease, I also loved the natural performance of the little girl playing Seydoux' daughter.

There's hope in the end and we all know again what it's worth living for! Strongly recommended.

Aronovskys film is based on a well made stage play and this can't be denied on the formal level of his movie. If it's spectacular on first sight, than only by Fraser's monstrous physicality, which in some sequences is made to look frightening or even repulsive on purpose. My first impression was being shocked and felt even manipulated by Aronovskys direction, which doesn't spare the viewer from graphic or gore details.

What saves the movie on a deeper level from being annoyingly exploitative is Frasers touching and unforgettable performance as an actor, who, caged inside his obesity, has total emotional control over his characters sensitivity. His quest for honesty and respect from the few people he's dealing with, gives him a dignity and humanity which won't leave you for a long time after watching this movie. He makes you believe in the power of love and redemption even under unbearable circumstances. A message which can't be appreciated enough nowadays. Congratulations for a highly deserved OSCAR!

Most episodes were really fun to watch, until they decided to overturn all dramatic screws until the whole thing got totally exaggerated, overboard and unbelievable. With the final episodes I felt a bit overstuffed as if I had eaten too much of everything: they change the genre, the tone and the mood in almost every episode, from situation comedy, comedy of manners, psychological drama, violence, melodrama, satire, thriller, screwball comedy, horror, crime, action, even romance, and back from the start. Just too much of everything for my taste, which made me loose interest over the second half of this series. Production value is nevertheless great, as well as the acting is.

What can be really bad about a film directed by Mendes, with Deakins behind the camera and Olivia Colman in front of it? Reviews and critics I read in advance were a bit grumpy, more luke-warm than spectacular.

I wasn't disappointed by the result at all.

If you can open up yourself to a nostalgic but unsentimental psychological drama with Colman in top form portraying a broken soul in intense nuances, if you can enjoy the breathtaking beauty of the cinematography, you get a sensitive quiet little unpretentious film, which doesn't want to be more than it is.

Whole cast is strong, even if some characters are more sketched than fully developed. But Colman's touching fragility compensates some weaknesses of the script.

This series started very strong, sympathetic lead characters, beautiful cinematography, great set design and an interesting mixture of authentic historical events and fictional elements.

I really appreciated they created a series about the idealism and deep humanity of personalities like Varian Fry and Lisa Fittko, who risked their own lifes to save so many others. They were true heroes, lights in the darkness of their time and should serve as Role Models for our days, which are tumbling into darker times once again.

It made me think about the refugee crisis of our times.

With the difference that now refugees aren't trying to escape from Europe but try to get there desperately to find a better living.

I just couldn't give it a higher rating because script got thinner in the later episodes, being watered down by too many annoying and flat melodramatic cliches.

I can see the potential in it. Father-Son issues, nerdy characters, but no working story-line in sight. Instead you get cartoonish card-board two dimensional creatures, desperately trying to sound or look funny. But I can't help it, it simply doesn't work. It's not even funny at all, the acting almost amateurish.

It lacks a soul, a core, a heart. Humour working on an almost scientific routine level, formulaic, predictable, milking every character to death.

We have seen so much of this, based on a similar recipe, but working much better than that. The longer you watch, the more annoying and irritating it gets.

Soundtrack seems the funniest element.

A young film makers Coming-of-age as a skilled artist, using his talent as an instrument to unveil the truth of a hidden family secret, getting over the pain and distraction caused by his parents divorce, and as a student fighting back the open antisemitism he's confronted with. Sympathetic Gabriel LaBelle works well here as Spielberg's Alter Ego in this semi-autobiografical movie, which makes quite clear that the origins of his film making served as a personal survival strategy. Art looks deeper, looks behind the facades of conventional behavior, and without it life wouldn't be worth living.

Problem is that Spielberg's sensitivity goes sentimental way too often here, looking back into his childhood and youth with a much too mild approach, sometimes even filled with embarrassing self-pityness, and for me Michelle Williams was quite implausible as his mother. I even felt bored a few times, which is very unusual for a Spielberg movie, sorry to say so.

I'd have wished for more sequences than the very last one, a surprising and humorous close encounter with John Ford (David Lynch in a wonderful cameo!), teaching him one of the basic lessons in life and art: changing the perspective helps a lot when problems get over your personal horizon.

Blanchett's dedicated performance can't save this movie from being an unnecessarily overlong, cryptic, pretentious experience, which fails completely in delivering an interesting dramatic storyline. At least it raised some questions in the elitist cultural context, about the hypocrisy of moral codes and standards raised by high culture itself and the numerous examples of genius artists who clearly didn't live up to those ethics in their own behavior or own moral standards. Those examples are uncountable and many of them are mentioned in the movie, last but not least Lydia Tár herself serves as a perfect example.

But should we really separate the art from the artists themselves in case they don't match our contemporary moral values? Is an artist genius really independent from any moral standards? Should Bach be cancelled because he was a misogynist in his time? Mahler because he forbid his wife to continue composing? What would the world be without their art?

And what about uncountable cases of sexual harassment or politically questionable conformity of many artists up to our recent times?

I think those questions raised are more exciting than the movie itself. It doesn't live up to the raised hype around it. Overrated.

This is the most perfect example of a movie made especially for ADHD kids who are unaible to focus more than a minute on anything relevant. They're probably even totally into this kind of brainwash movie, because they think it's the coolest thing they've ever seen.

You're wrong! Be warned! For people who prefer to use their brains instead of leaving them outside at the popcorn shop this is just the latest offence to any intelligence, in case some of it is left after you have been able to watch this thing in full length.

Technically it might be an achievement, actors are as usual unimportant in such a mess, maybe with the exception of Jamie Lee Curtis, it's unbearably silly and the only content being delivered is: Be kind and love one another!

Seriously?

Unlike Florian Zeller's brilliant The Father the second part disappoints on many levels, except an emotional, but nevertheless predictable finale it's missing something. Authenticity. The real Magic just doesn't happen. They're not digging deep enough to make us believe in the devastating consequences of a clinical depression.

Difficult to say why it doesn't work despite good main actors, but the first impression is somewhat pale, too conventional and even a bit boring, I am sad to say. Script is lacking the right tension.

My biggest problem is the young actor playing the depressed son. He's simply not convincing in this difficult role. Therefore the film lacks the right balance between the actors.

Five minutes of Anthony Hopkins' presence in a small part are stealing the whole movie. You see immediately what makes the difference in the one and only scene you like to remember.

The bright summer light. The rich colours of flower fields. A boys close friendship, ever so intimate, so innocent, so beautiful.

Attending secondary school it's confronted by the ugliness of social pressure and prejudice. One of the boys feels so distraught by this pressure, that in the resulting process of estrangement the friendship breaks, with devastating consequences. As a result one of the boys has to deal with his fear, his guilt and his desperation.

It's as distressing for the viewer than it is for the boys. I have never seen before children actors playing with such authenticity and heart breaking emotionality. An astonishing experience, intense direction and photography , beautiful music. Strongly recommended!