angel74

It is so believably filmed and acted that it gives you chills. In my opinion, the apparent disjointedness of the film contributes to the viewer's greater immersion in the feelings of anxiety, fear, and absolute helplessness of the participants in the horrific massacre on the islet of Oslo. (80%)

The acclaimed director Wojciech Smarzowski once again hit the nail on the head with Clergy, which unceremoniously criticizes the Catholic Church. He didn't leave a stone unturned, which is why I'm surprised that deeply religious Poles flocked to movie theaters in such large numbers. But I was even more amazed by the film itself, even though I never had any illusions about religion. I was quite sickened by the uncompromising depiction of all kinds of vices in which the current church dignitaries are mired. (85%)

I guess we all know, often from our own experience, how a woman can wrap a man around her finger. Such relationships abound in everyday life. Then it only depends on what a man allows a woman to do. Christian Tafdrup developed this theme to the extreme in A Horrible Woman. The main character Maria pacified her partner Rasmus so much that he lost himself. Even though Rasmus was aware of everything and it was eating him up inside, it was too late to turn back. (75%)

The Guilty could be described as "a lot of music for little money", even though there is hardly any music in it. The voices of the people that Asger Holm, brilliantly portrayed by Jakob Cedergren, hears on the line gradually kickstart the viewer's imagination to the maximum. At least mine was working at full throttle. In short, this emotionally charged film had me riveted to the screen. I would never have believed that one actor, one room, and one imaginatively conceived family disaster would be enough. (90%)

The main idea, characterized by a philosophical overlap with atmospheric music by Japanese composer Kenji Kawai, appealed to me, but I guess that's the end of it, even though I like sci-fi. I got lost in the story at times and the animation didn't really grab me. (65%)

I laughed a couple of times and had some decent fun with it, but there were also some rather awkward jokes that I could have done without. And when I add the quite lousy screenplay to that, I can't even give it a rating of weak three stars. (45%)

This cold Nordic film tells the story of a grumpy old man whose wife suffers a massive stroke. Although it may not be apparent at first glance, the central motif is love, which can bring out the sensitive core of even the most morose individuals. The painful life story is complemented by impressive shots of the harsh Icelandic landscape and fitting music. The slow pace of the film fully corresponds to the subject it deals with. (75%)

The first two episodes indeed have a mysteriously dark and almost ghostly atmosphere, but that's almost nothing compared to the tension in the third and fourth episodes, where the suspense is palpable. I haven't seen such a good mystery drama in a long time. However, it's no wonder when Niall MacCormick, who directed the excellent miniseries The Victim, took the director's chair. In addition, both series have great acting performances by the leads. (85%)

Maybe a little better than 2Grapes... but it is becoming increasingly apparent that the subject matter has somewhat exhausted itself. Hopefully, the creators will understand this and not keep making these. At least the musical accompaniment, provided by Jan P. Muchow, deserves praise. (45%)

A very well-crafted music documentary that includes a wealth of interesting information and not entirely overused archival audiovisual recordings from the period. I had no idea what a difficult road David Bowie had to travel before he became successful and famous. I am infinitely grateful to him for not relenting in his efforts and not being deterred by anything, because otherwise, we would have missed out on a huge number of amazing songs with which he consistently supplied us throughout his prolific creative life. (90%)