film

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South Korean desire to make a new zombie flick, but improve it on the realistic, social and emotional scale.
They just have to win everthing.

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The inevitable coming-out-of-(teen)age story for the millennial male generation. Filled with stereotypes to empathize with and nostalgic one-liners to never forget.

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A temple-like structure in a busy street, drawing the egypt geek‘s attention. Step inside and follow the pyramidal descent into chambers of pharaocious entertainment.

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Subtly striving for the viewer’s attention is rewarded with hypnotic disturbing discomfort.
This film creates a unique chemistry of sound and silence, control and terror.

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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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Vincent‘s natural performance gallantly steals an already stolen picture show navigated by a loud but warm director who makes the whole thing fly just right.

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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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With a completely incomprehensible and visual-demanding plot it’s easy to look stunning nowadays.
But nailing it with a well, bagel-circular story is rare.

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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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Likeable round around Buscemi´s past featuring family and settings no one would object to watch other than a certain female interest that feels uncomfortably young.

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Locked in a claustrophobic tea kettle, witnessing the boiling point of seasoned people pushing their morals against each other.
Hackman & Washington in superb opposition.

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Although preceded by a promising start, the problem springs up in the hollow-middle by scattering nothing around other than fun for the people involved.

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Long-winded screw-eightball of a dark & daring political comedy for the news-aware long-attention spanner du jour expansively mirroring 1976´s “Network” efforts.

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He’ll sock it to you like a bag of alkaline Christmas chimney bricks that used to be sweet but now burn through charm and bone.

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Smack in the stiff middle of the 1960´s cerebral courtesy: a sunny-dark comedy of the black & whitest kind adorned and embalmed with Liberace.

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Brass-balled Baldwin articulates the angry voice of reason coming from a late self-awareness that reflects the present with polished regret and self-derision.

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Firmly cushioned in the eye candy of the revolutionary storm—adorned with a Rock & Rococo soundtrack that invisibly frames the perfect portrait of unawareness.

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Chest-kicking serial-crime kill-Thriller
of breathtaking simplicity and murky south-Korean self-deprecation finding grace in pratfalls and humor of the crassest kind.

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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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A refreshing but maniacally twisted tale of becoming the predator of what lurks in the night‘s shadow.

Where does vengeance end, where does malevolence begin?

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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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A suspenseful gatekeeper for Seoul‘s crime rabbit hole – with a dynamic that is second to none.

Unconventional and arrogant necessities clear the path to deliverance.

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Macabre true crime mixed with hilarious character representation?
This richly detailed and beautifully crafted closer look of 20th‘s century’s korean detective work pulls it off.

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Complex messianic circle jerk that transgressively fortune-wheels its dark-hippy nonsensical beauty around bringing its victims to a profound world of shit and cum.

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Grounded with emotional veracity in the most vocal point of feud with the Death of everything that was holy and pure to rock and roll.

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Influenced by ‚Pulp Fiction‘ and early Kevin Smith  genius, this film belongs to the 90s feelgood-underground pantheon.

A fast burn with warm narcotic release.

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A big booty in the desert magnetically pulls sore strangers and their dry behavioural rage together to visit the normally closed off parts of hell.

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Despite sugar visuals and good Penn-manship this film strays all over the place with those unafraid to fly over an ocean of scrambled plots.

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Tall, biblical thriller that out-of-the-box polishes and replenishes audiovisual standards up to a stern point of absurdity where nothing ends before pain.

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“Morbid self-attention” won’t get you to revenge the world against what’s wrongly dark and seldom slightly right. “Don‘t you want to make it, mister?”

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Complex hard-watch that feels like a nightmare Sake bar-brawl-beating loop with a heart-kicking pace that punches holes into every moral direction.

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A headhunt through early 2000‘s Europe, which shines in a blue-grey velocity and shows how good a minimalistic & realistic action movie can be.

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Classiest porn noir of the century with a truly horny Douglas who keeps the viewer interested after manually climaxing for the first couple of times.

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A roman candle of crazy characters (most of which are no doubt stolen from nearby realities) in an overwrought romanticised dark comedy by bonehead Bono.

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His name is Robert Paulsen and his tits are not as large as his wounded heart which bleeds loud & clear like testicular cancer does.

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Punch-Drunk Love (2002) meets the Lincoln Lawyer (2011) with a pure Sandler as main stressing agent in a beautifully acted display of ugly characters.

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Strongly-subtle dark comedy that can for days on end make one consistently laugh out loud at punch-line silences that stitch to the mind.

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Family values suffer
In this Passion Play
Powered by music,
Coal, OIL, & palms
Greased by multiple
Pieces of silver.
Lewis triumphs in
Self-crucifixion.

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Talent-heavy (cast-wise) downer about a man who erases his own by hiding behind an embalming hype that far outlasts its allotted 15 minutes.

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Benchmark trip from a fantastic audio-visual realm that does not really clarify the slowly rotating Rubik´s Cube storyline that’s space-cold and trauma-like.

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A clandestine teenage brothel run by hard loving parents who keep basking in God´s rain right where the moral crater seems to bleed the most.

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First:
Watch NO SOUND
(just subtitles).

Next:
Watch w/ voices
(& excellent musical “commentary”).

This delivers Nicholson’s
“Lear/Quixote”
As SUPREME
(Max Sennett)

TRAGI-COMEDY.

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Single most black & white modern period-film exquisitely monkey-grinding the royal Randolph hemp out of us with Reznor-sharp reel-changing monochromatic flair.

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Geoffrey Rushes his
Portayal of Proteus
Both amusing
And annihilating all
Significant others
(especially mothers),
But never
Pleased!
(Based-on book)

Don’t skip
Audio Commentaries!

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Not even partially dubious casting could jinx this blood-ruby of classy kitsch—carved out of morbid fascination and respect for the franchise´s original outputs.

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With youth one can hide from adulthood either by extending it or revisiting…but to escape it entirely, however: one has to try much harder.

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Precious stone of modern independent cinema and character study “par excellence.” Hysterical, ballistic and mordantly fulminant. A truly stimulating example for period-films to come.

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The original sparks that supernova-ed a whole industry that ludicrously although successfully reinvented both the wheel and how to become a music-free rockstar.

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Fast zoom accompanied by a silence-piercing musical sting hits like a battering ram and leaves your heart throbbing in horrific awe.

Jump-scare masterclass.

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Uneventful eye-thriller meant to box-office fail despite helpful bad intentions. A film about film itself that looks immaculate but does not communicate well.

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Profound motion picture of short stature that proves itself large by showing with stunning, sympathetic sharpness how a pre-adolescent masochist jumps into intentional idiocy.

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Childhood-scary, sating and harrowingly haunting. It bends the mind in all directions while stiffing the body with soul-breaking terror that is just awesome.

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Time-honored period-film that simply and independently pulls off a believable vintage-vibe by bringing out big nuances out of very small-town things.

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Might be the worst sequel “ever to happen to a man or jew”, but its raunchy, manipulative heart still points generously in the right direction.

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The automatic acid rain that comes with being a voiceless victim with no other choice but gravitational travesty. A perspective-enforcing film of monumental caliber.

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Circular uphill post-amnesiac ride that prints itself out both in color and black & white while each new layer diagonally help us to remember.

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Kurt Cobain´s last watched film: kiwi period piece that is really about prostitution rather than repressed passions juicing through the colourful cracks of dark colonialism.

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Cliches are nothing but dosed up bait in an artistic horror film of compensatory length that lightens up instead of darken while blooming us away.

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This film makes me believe in love. Connection that knows no age, class, or reason. Through each other’s love, both characters become their best selves.

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Widowed & wizened,
Jim-Crow-South,
Jewish-Princess “Outsider”
Enjoys commanding
Subordinate Blacks,

But learns to FEEL
Kinship w/ black chauffeur
While her son
Assimilates.

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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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Agressiv roter Blickfang nachdem man den ikonischen Eingangsbereich passiert hat.
Verstand spinnt automatisch ein sich links eröffnendes Blutszenario zusammen, welches ein Nähertreten unterbewusst erschwerlicher macht.

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Crème de la crème of a celebrated lifetime of Midnight Espressos that cinematically pushes every right Benjamin-Button with medically accurate gore and passive wrath.

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Twist-less crowd winner that Hellraises Oliver’s lion-faced redemption out of bloodied vistas like a fat Phoenix that Reeds of condescending soundtracks and cutting.

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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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Childless & sleepless, guy asks mirror, “What’s it all about, Alpha? Is it just for Ikea I live?” Mirror answers: “Oil & water mix explosively.”

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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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A pastrie-bone of an off-spinning movie for those nostalgic fans who for years waited long between seasons. A cultural phenomenon that gives back.

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Brightly lit indie truffle full of good dialog with intimately framed characters who are strong in blood and flavor including the most fatal femme fatale.

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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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Good times horror flick for the underworld-savvy Rock ’n’ Roll pre-teen that has a gluttonous taste for graphically warned sex and the macabre.

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Get yourself kitted out proper with an invisible rope around your bird´s neck until you´re cuffed. Don’t hate the player but love the bloody game.

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A deliberately over-edited character-carousel colorfully whirling around all kinds of wild trailer-trash debauchery with the ruminating impatience of a coked-up policeman.

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Mehr eine sexy Spionage-Komödie mit überbesetzter „Crew“, welche zu stark Werbung für den Dean Martin Soundtrack macht. Gewann mehr Lorbeeren durch Tates kultbehaftetes Ableben.

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A bright flame of a thespian toddler that thanks to the divine intervention of editing can do no wrong when melting the Arriflex lenses away.

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Never underestimate the pain resolutions of those who’ve have been wronged by you. A cautionary moral mortality story in which everybody loses and were entertained.

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A very gruesome but friendly ghost the way Casper was meant to be but failed miserably due to its punch-me-in-the-face tenderness.

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The pater familias and owner of the Norman Rockwell house by the side of the road-rope noosing around his trophy house-wife and kids.

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“Geiler Film hab mich tot gelacht als ich den zum ersten Mal gesehen habe. Ich will dir doch nur ein Z in die Stirn ritzen.”

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“A career criminal nabbed by Mexican authorities is placed in a tough prison where he learns to survive with the help of a young boy.”

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All romantic comedies should be independent passion projects by law, the breaking of which should be punished by force feeding the perpetrator with commercial crap.

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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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Intense beauty and fear holding hands in the permanent protection of a broken family that is full of love for one another in macabre ignorance.

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Solipsistic Jizz-jerk that feels sorry for itself with a smile we all share in the gluttonous glitter surrounding our every longing delusion of danger.

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The Johann Sebastian Bach of relevant children films from an era in which intense fear and wonder was grafted onto them for their own good.

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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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I’d die for her in a heartbeat, wouldn’t anybody? No. Nothing like a motion picture to illustrate the obsessive use of externally abusive internal agendas.

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All gimmicks are truisms, and all truisms are true. A truly messed up kid portrayed as perfectly as a veteran Shakespearean hand playing a glove.

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Never Stop Never Stopping updates the rock mockumentary for the 21st century mainstream — and hits many of its low-hanging targets with side-splitting impact.

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An observant man who does not believe in the shutdown-retirement of duty and is blasphemed by the terrifying prospect of losing his existential stress.

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Twin Peaks (1990-1991) meets the Shining (1980) during the well-manored, palm-treed night vision period of the Golf War. Sometimes in is out.

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The epitome of the parasitical social sociopath and the dark behavioral counterpart of Seinfeld‘s (1989-1998) Kramer if let loose in the park long enough.

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A man walking in the hottest of days with a rainless cloud above his head one drop away from spilling blood all over the place.

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Visionäres Liebesdrama welches sich verstärkt durch eigene Erfahrungen subjektiv dramatisiert und zuletzt dein geläutertes Ich fragend in isolierender Kälte zurücklässt; Nochmal zurück oder vergessend weiter?

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Langeweile schafft Kreativität
schafft unkonventionelle Abkürzungen.
Unterschichtler haben im Überlebenskampf nach oben wenig zu verlieren, nur sich selber.
Ein mehrfach gefalteter Perspektivwechsel
wie beim Pizzakarton.

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Efficiently entertaining action comedy build around Mel Gibson’s bullseye charm with which both his personal and crew effectiveness are borderline groundbreaking at a snappy pace.

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Creepy-ass piece of horror in the time-honored “Sacred Burial Ground” tradition—notable members not exceeding the number of fingers in a monkey’s paw.

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A perfectly lighted, both gently scripted and edited Neo-Classical 80´s AIDS epidemic horror-metaphor that takes place in ghostly Detroit made by John Hughes.

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“A lonely and mentally disturbed cable guy raised on television just wants a new friend, but his target, a designer, rejects him, with bad consequences.”

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“The film actually deserves four stars for its imaginative style and astonishing suspense, zero stars for its shameless exploitation of violent shocks and loveless sensuality.”

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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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“Renton, deeply immersed in the Edinburgh drug scene, tries to clean up and get out, despite the allure of the drugs and influence of friends.”

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“After finding an old rifle, a young boy joins the Soviet resistance movement against ruthless German forces and experiences the horrors of World War II.”

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“Three film students vanish after traveling into a Maryland forest to film a documentary on the local Blair Witch legend, leaving only their footage behind.”

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There’s something really naturally annoying about this child-actress’s performance that made her perfect for the part as one sides automatically with her brother instead.

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Tom Holland porträtiert Spiderman/ Peter Parker wie er im (Comic-)Buche schwingt.
Weniger Blockbuster, mehr gut umgesetzte Comic-Verfilmung als Puzzleteil im hiesigen MCU-Kosmos.

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There are some really interesting developments in this blue Russian cat’s character, the kind of revealing behavioral changes that are normally reserved to humans exclusively.

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A magic potion picture film that blatantly discriminates color and is heavy and greasy to the touch with high-contrasting characters gunned out of lead.

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Hey, don´t hassle Bob, he´s alright and local. Hassle yourself into a new reality instead, because the one you know does does not apply anymore.

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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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With crew, cut, script, cast and sound of high enough caliber can this force of nature celluloid projectile blow up any line to kingdom come.

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“Because of the actions of her irresponsible parents, a young girl is left alone on a decrepit country estate and survives inside her fantastic imagination.”

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A short-haired, fair-skinned maternal beauty carrying a black hole of trauma as heavy as cement-dipped sumo wrestlers fighting in a sinking ship.

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A Western with an afterparty feel to it that lacks nothing but is in no hurry to get anywhere fast and that works perfectly somehow.

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Real love in the hearts of good people who find themselves in the heart of 44 misty mountains being knock-knocked by a heartless world.

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Glorious continuation to the perfect film that Goodfellas (1987) already is, magnifying the produce from every technical artistic prowess displayed before into another real story.

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Ask Johnny Two-Times how funny does he think this based-on-true-events mob movie is, and exactly how is it amusing and entertaining.

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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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Tremendous downer that is no way shape or form meant to be pleasant—by one of the most charming and universally acclaimed actors out there.

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Sometimes one needs to destruct the body to save the mind in sweet but most socially unacceptable escapism. The colorful roads away from matte black.

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Cineastisch bildliche Darstellung von zuckersüßen Synthie-Pop und düsteren Heavy Metal der 80er.
Herausragender Cast aus Kids und Milfs performt Mix aus „Goonies“ und „It“.

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The announcer vents the verdict: “ladies and gentlemen, madame et monsieur, I am proud to announce we have a unanimous all-time dream-sequence winner.”

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Very impressive, anti-heroic Australian blue-flame of a unique film that is as intense, raw and real as Kangaroo carcasses frying in the bush.

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If William Dafoe needed an acting diploma this should be his master thesis to share with Keaton´s Beetlejuice (1988) and Gibson´s The Singing Detective (2003.)

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Nach Ändern der ‚Thor‘-Formel im richtigen Space-Opera Licht.
Humor, ‚Hulk‘, hervorragender Goldblum, Waititi‘s ‚Korg‘ und der Soundtrack lassen Hauptbedrohung sowie Vorgängerfehler fast vergessen.

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Alternative Origin- und Lovestory mit herzhaft genialer Comedy und ‚Pegi-18-trifft-Comic’-Brutalität skizzieren den popularisierenden Antihelden, der durch Reynolds verkörperndem Showspiel vollendet wird.

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Noch schwächere Fortsetzung und nachgekauter Mix aus Sci-Fi- und Mittelalter-Themen.
Aufgrund unnötiger Liebeshandlung, einem unrelevant austauschbaren Bösewichten und vergessenswürdigen Ereignissen MCU‘s uninteressantestes Kapitel.

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Jeder kennt diese Tage wo eine Kette von schlechten Ereignissen das Fass zum Überlaufen bringen.
Doch wer ist der Gute/Böse?
Midlife-Crisis auf Speed.

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Midwestern white trash at its ingrown-peak shown under neutral autopsy lights instead of the usual ridicule a John Waters satire would no doubt use.

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