DaViD´82

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.

A story involving possibly all of the most hackneyed artsy topics imaginable. A handful of each and everything, but nothing is full on. The opening, dragged-out, sepia colored opening shot of a person falling asleep foreshadowed what the movie would be like. How unintentionally fitting. Three Monkeys isn’t really so bad. I just find it fascinating that somebody actually felt the need to shoot SUCH a worn-out and long-winded movie.

Six animated stories where the Dark Knight figures to a greater or lesser extent. Have I Got A Story For You - 2/5: Not at all bad, but stumbles the way the story is handled. Nor did I like the animation of the characters and in fact overall, this episode doesn’t fit in with the others. It’s too this way and that. Crossfire - 4/5: A marvelously dark atmosphere which, combined with the excellent animation, more than makes up for the rather unoriginal story. This is The Dark Knight in his purest form. Field Test - 3/5: Good, but a shame about Bruce Wayne’s childish face. He really didn’t deserve that. In Darkness Dwells - 4/5: The most full on tale of all. In view of it’s shortness, maybe too full on. Everything was awfully hurried. Working Through Pain - 4/5: I would be surprised if at least one of these stories doesn’t go back to the times of Bruce’s voluntary exile. And, low and behold... Shame there aren’t more of them. You see, this is the only one that develops on Nolan’s vision at all. And the ending is just perfect. Deadshot - 4/5: The most stylish, although not the best, episode. While it has a marvelous intro, it gradually runs out of breath. But if you wanted to watch just one of these, I would recommend this one, notwithstanding. It has something for everybody. *** In view of the fact that in a way it’s just one big commercial for The Dark Knight, I have to admit that I would gladly watch commercials like this more often. And it has one more advantage. The separate segments are so different from each other that everybody will find a part that suits them.

Directed by a Cro-Magnon, screenplay by a Neanderthal, and actors are homo sapiens sap... No, just plain homo sapiens. Just crap the size of a mammoth, excuse my language, turd. I’m sure even those saber-toothed tigers are capable of having more meaningful dialogs. And these are the movie’s greatest assets. It's hard to find a dumber and more idiotic movie, that is at the same time so sincerely childishly and mean-spiritedly entertaining. The best part is that apparently everyone takes it so deadly seriously. There is not a single deliberate joke ore snappy comeback in the whole film. Personally, what most amused me was Omar Sharif's "poetic" narrator and playing at thoughtful mythology. From the Egyptian passage onward I began to be afraid that it would turn out to be a prolog to Stargate. If you're expecting a second Quest for Fire you have the wrong movie, but if you want to see one big “what?", you're definitely in the right place.