drama

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It honors the original by keeping it Swedish all the way including blurry accents that can´t stop its long force of satisfactory texture-layer brilliance.

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Polished but razorsharp  journalism warfare of a fresh millennium; digging for (un)holy truths of untouchable legacies.

A documentary-like disclosure featuring actors vanishing in spotlight.

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Bleak corridors into the void of meaninglessness expose and narrow down the subliminal morals and ethics of claustrophobic workplaces.

A riveting philosophical tour de force.

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Season one is condescendingly sexy in a poor man’s Hollywood/Holloway sort of way while sometimes delivering quality twists provided one’s disbelief gets suspended enough.

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Picture-pitch perfect except for the sound of farts offensively trapping a scattered
plot inside of a frame that hits one square between the eyes.

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Intimate acid dive into the stolen perspectives of the Dahmer-ed down victims of a seemingly parental crime that got out of God´s wrathful hand.

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Tainted shades flutter through this NY-based fever dream, filled with real people in realistic situations, doing the best and the worst for each other.

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Balancing historically accurate brutality and well-rounded storytelling, this feast pushes its narrative of avenging men and succumbing women right into viewer‘s eyes and guts.

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A soft exploration of nostalgia which turns into intoxicating, soul seeking frustration.

The black and white approach lets you see and feel in synesthetic ways.

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Barking dogs don’t bite, but conceal their fragile masculinity under thick hides.

This psychological exposé intersects power’s balance with sharp angles and a descending score.

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When good casting goes in the right direction, multiple perfection chemically compounds into an
earthquake that enables entire oceans of televised series to rise up.

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Intriguing community-building affairs vaunted with a cozily speckled beach vibe.
But stripped naked by bland emotional acting and suggestively fading ties at the end.

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Creeping historical “hacienda”-ascension story full of good people playing uglier-than-fiction roles to cherry things on top of sourly majestic interior/exterior shots.

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There is never enough time to sketch the spectrum of human life in a few strokes.
But when it succeeds, it leaves you shockingly speechless.

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The art of creating something successful while taking drugs is for some the needed apparatus and others a misconception. Mind your abyss, control your fantasy,

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Lost in aquatic-translation. Out of the blue, looking for purpose.
Bubble, bubble – Discovering alternative ways to communicate.
Subtle trouble – Finding alternative version of me.

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Dystopian human-world drama with a very unique but realistic setting.

Damocles’ sword, who’s right and wrong, hangs above people’s heads and on their throats.

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Judy sang “Born in a trunk”.
Rudy danced “Born on a train”.
Trunk or train, it’s an old refrain:
“Survival of the cutest on stage”.

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“Equality & Fraternity” ?
NO.
“Liberty (w/ follow-spot)”
YES.

“I was born to excell.
(Let the rest go to Hell.)

Signed,

Nureyev,
“King of Ballet”

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“For me, no more
‘Espree d’ cor’ ”
Says Rudy to
Soviet nursery.

“In Paris France
I’ll take my chance
For fancier pants
And fat-pursery.”

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The Soviets expect gratitude from
a “lump of coal” they polished into
a diadem for their chandelier of
mock-French Ballet.

But Pinocchio renounces Gepetto.

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The camera focusez mostly on the “Boy” who’z “script” describez hiz harrowing encounter w/ evangelical “Converzhion Therapy for Gayz”.

The camera “Erasez” hiz erroneous
parents.

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Born-queer little midnite-black-boy survivez Macho Cult-shure w/ brief fostering support & ritual “baptism”
Into a long
quest for
one
Tru
Luv.

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Shue deeps her toes into cinematic greatness in an emotionally productive codependent-relationship with a very fine Nicolas Cage who gently escorts her around hell.

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Being hot and wanted worked the opposite way inside the self-repelling time bomb that Gia Carangi really was. A flawlessly executed plead for caution.

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Suicide is not painless, and drinking yourself to death has got to be one of the worst ways to check out of this world affair.

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“The centuries old vampire Count Dracula comes to England to seduce his barrister Jonathan Harker’s fiancée Mina Murray and inflict havoc in the foreign land.”

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“A young woman becomes the fourth wife of a wealthy lord, and must learn to live with the strict rules and tensions within the household.”

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Brutalist approach to visually materializing an agonizing reality based on derision and Death-toned humanity. Never underestimate the darkness within a man behind his camera.

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Beim Schauen wurde ich in einer der mitreissendsten Ermittlungen eines Schwerverbrechens und moralischer Weggabelungen entführt.
Mit (an)gespannten Schultern war ich ein Gefangener bis zum Ende!

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A passionate and out-of-character character for Stiller, that he brings out convincingly in an extreme case of adrenaline addiction under strict hyper-functionality.

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The horrors of a corrosive fantasy that Highly Defines the ugliest sides of an already hideous humanity dead set on giving bliss a dead end.

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A very stern motion picture warning against obtuseness and corruption not to be taken lightly then and a good idea to tattoo in mind today.

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I would give anything to have a time machine for the sole purpose of feeling the rapture of watching this for the first time again.

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