D.Moore

Get Carter could be a prime example of the differences between American and British films, or between films made 40 years ago and today. Compared to the great original, this remake is pretty weak. It lacks any thought and atmosphere, we just watch one pissed off guy beating on people all the time, and sometimes he learns something from one of them (or not, but what the hell). From my point of view, it's saved mainly by Stallone, who is exemplarily tough (although he doesn't show anything else on screen), Michael Caine and Mickey Rourke, who are only half trying to act, but they do act, and the music, which nicely revived the addictive theme from the original Carter... and that's it. Why the filmmakers chose a completely different (!) ending from the original remains a mystery to me. When I get to the book one day, I'm sure it will end in a "British" way, I know it... Carter's score: Two and a half stars.

What can I say about Dr. Strangelove? It's a film by one of my favorite directors, starring one of my favorite actors in several roles, the subject matter is a satirical Cold War comedy, which is (what a coincidence) one of my favorite subjects... What, you haven't seen it yet? "I'm walking!"

THE MINISTRY OF BODILY FLUIDS WARNS: DON'T EAT WHILE WATCHING THIS MOVIE! Hooray, hooray, four absolutely pure and honestly deserved stars! Sam Raimi has forgotten about the awkward Spider-Man and returned to where we love him best. Among the dead and the undead, in dark houses, in dug up cemeteries in a heavy downpour... Drag Me to Hell is almost a perfect horror film, which I ate up like a raspberry thanks to its reasonable length. Suspenseful scenes are interspersed with even more suspenseful ones, with every scare leading to the proverbial hand (you learn, for example, how to use a stapler in self-defense, or that goats can talk when it comes to them), and the whole film is conceived as a super-fun reminder of the work of the late 80s and early 90s. Moreover, Raimi can afford to employ actors who know how to act, and he was lucky enough to have a sensational atmospheric score. It should be noted that the gypsy witch is one of the most repulsive characters of all time. And being a person who hates any bodily fluids besides blood, I really preferred not to watch some of the scenes with this content. Disgusting. But I'll watch it again.

Few films are so full of despair and desire for revenge... Especially the final twenty minutes must be etched in everyone's memory. The final interview is like the snapping of the lid of an imaginary coffin, in which Caine's son may lie, as well as the ideals of ordinary people trying to fight bureaucrats of all kinds.

Christopher Lee is clearly the best Bond villain ever! That's why it's a shame his Scaramanga isn't seen more in The Man with the Golden Gun... Besides Lee, John Barry's music (he definitely composed the best "stuff" for this film, for The Living Daylights with Timothy Dalton, and for Goldfinger), the great Bangkok car chase, and Moore being in pretty good physical shape (we all still believe him here), this Bond film doesn't really stand out. Still, I won't give it a three because it wasn't boring. P.S. Scaramanga's minion-dwarf was getting on my nerves, that dumbass. Was that the screenwriters' intention?

Another quality Moor Bond film, even one of the best ones. 007 is not only a sexual, joke-spouting machine, but the film shows him much more as a soldier (probably because of the officer's uniform he puts on a few times). The opening ski chase is well filmed (though not as long or as entertaining as the one from For Your Eyes Only), and I really like the whole part set in Egypt (the cameraman did a great job) + the music from Lawrence of Arabia used in it. The ending in the tanker is a brisk, originally-filmed action full of gunshots, explosions and angry hijacked and kidnapping sailors. What I really liked was the quick handling of the villain. No speeches, no talking points, blah, blah, blah, Mr. Bond, just fast action and saving the Bond girl (the very, very pretty Barbara Bach). Four pure stars.

"Wait a minute, guys, I have a brilliant idea..." An hour and a half of utterly seamless fun filled with typically British playful hyperbole (the "prison" of Mr. Bridger leads the way), tons of jokes and likable characters through and through. I don't think it's possible that this film is 41 years old... The scene with the Mini Cooper is amazing (I recommend to see one cut part of it, when the Mini "dances" with the police cars to Strauss’ waltz :-)), and the ending.... Those who have seen it know. Three and a bit stars.

It’s both outrageously crazy and entertaining. Beautiful girls fight each other and men, they practically don't need a plot to do it, and they make jokes... The action scenes (which make up 90% of the film) are very imaginative and original, they are served to the audience in a beautiful package (my favorite is probably the skirmish in the bamboo grove), the film flows until the end, which comes after less than an hour and a half, which is just right. If DOA had been a few minutes longer, it would have been drawn out. Definitely above average in the "B" category.

After a second viewing, it definitely deserves five stars. The Medusa Touch is an incredibly escalating film that creeps stealthily from the chilling beginning, hissing like a snake, occasionally sticking out its imaginary horns (yes, I know a snake doesn't have horns), but only attacking you with all its force in the final 20 minutes. The thrilling experience of Burton's and Ventura's performance is underlined by the essentially brilliant music, Gold's direction caters to it all and makes it TRULY one of the most thrilling films of all time.

Three and a half stars. I'll say right from the start that my main problem with Moonraker is Richard Kiel. His Jaws is completely unnecessary here, and - let's face it - awkward. I literally hate the scenes with the braided busty blonde, whether it's their meeting or what happens to them at the end of the film. Brrr. Jaws just wasn't supposed to be here, but you know how it goes - once the audience likes a character, why not put them back in, right, filmmakers? Nevermind. I have absolutely no qualms regarding the rest of the film. It's an exaggerated Bond film (like Brosnan's Die Another Day), it comes closest to parodying itself, and is all the more entertaining for it. A ride in Venice, a river chase in Rio... However, director Gilbert and composer Barry deserve absolute praise for the scene of the escape of the beautiful pilot from the Dobermans. Although it is one of the crueler scenes, it is incredibly beautifully filmed. And Lois Chiles is one of the most beautiful Bond girls ever.__P.S. Music blaring during launch and space flight... Simply divine.