DaViD´82

Did Ruins really have to be blessed with such an incredibly uninteresting opening hour? That it could have been significantly better is proven, among other things, by the excellent final thirty minutes.

If Hauer and Duncan didn't try to be so cheesy and instead were really tough, I'd definitely be happier. After all, it's a pretty passable B-movie otherwise.

A cannibal movie with no cannibals, about a tribe that invented the boomerang ax (and so it’s hard to consider them primitive). Accompanied throughout by a really bizarrely chosen (or stolen) soundtrack. Simply Indonesia. It’s a good thing that not so many horrors come out of there. And I’d better say nothing about the unforgettable ending sequence. You don’t often see things like that. (Un)luckily. P.S.: Congratulations for the Guinness Book of Records entry for the quickest ever assembled raft.

Again Bill Murray just sits there gazing. And again you wouldn’t hesitate to give him an armful of the highest acting awards. Jim Jarmusch, as if just by the by, almost indifferently filmed another in a row of seemingly uninteresting stories. And again it’s a success. Although it defies all logic, and although you might expect it to be a barely bearable artsy farce, the magic is there again. I don’t understand why, but I really enjoy it. Jim is simply a god and the category “actor" is too small for Bill. He must be something higher.

I had the feeling that Lion’s Den might be a sort of Argentinian “reply" to The Unknown Woman. To my surprise, I guessed pretty right. If only the heroine weren’t such a horrendously unlikeable piece of cattle (sorry, but there’s no other way of saying it). But I’m not saying that I wouldn’t take my hat off to Martina Gusman’s performance. In fact, quite the opposite.

Or how little Alejandro completely missed the American dream. The certain dullness of the somewhat dragging running time is more than compensated for by a sincerity and unpredictability not often seen in similar films.

This postcard seems to have got a bit lost. It came from the right place, but it’s like it doesn’t know its destination. Let alone which way it should set out. Shame, because I would like to read the book, if there is one. It has obvious potential. In fact I would also like to see it made for the silver screen. Even with the same cast, but made by a different director. Ideally somebody who doesn’t try to hide absolute lack of concept and confusion behind a catchy visual curtain. Why tell the viewer that Teo does three things every day to prove that he is not afraid, when this isn’t developed on and then the character doesn’t even behave accordingly. The same applies to the flustered old woman and to every character that appears in this. It unlocks a lot of potential, but nothing comes from it. It doesn’t manage to find the right wave of quirky poetry. The only saving grace is that the visual side really is smart and so occasionally a scene like a department store robbery using rats from your lethargy. But all in all, that isn’t enough. This isn’t going to be a “guerilla" Venezuelan Amélie after all.

A Croatian version Little Girl Blue from multiple perspectives. And except for the overly cheesy, though excellently delivered, ending, it is perhaps even better, thanks in fact to the effective distribution of attention to multiple characters.

Like The 51st State, but the Russian way. It’s hard to say what it is about, or if it is about anything, but it was stylish as few other things. That deserves praise.

Like The 51st State, but the Russian way. It’s hard to say what it is about, or if it is about anything, but it was stylish as few other things. That deserves praise.