Nieuwe recensie - Topgebruikers

Swiss Army Man

POMOSwiss Army Man(2016) 

Engels A corpse played by Daniel Radcliffe as the kindred spirit of a suicidal outsider played by Paul Dano? Why not?! An irresistibly imaginative and surprising cinematic flight of fancy packed with friendship, farting, existential ideas and personal fragments of life, among which each of us can find “their own”.

Alone

POMOAlone(2020) 

Engels Alone loses points because of its unimaginative screenplay and the improbable behaviour of its characters. The forest setting is not enough, nor is the typologically well-chosen killer when there is neither the skill nor effort to motivationally shape his character, to somehow surprise the viewer or to have a greater goal than a hunt and fight for survival, which is done more interestingly by a lot of other films. An absolutely average two and a half stars.

La casa de papel (Netflix-versie) - Season 2

KakaLa casa de papel (Netflix-versie) - Season 2(2017) 

Engels Although the second season still maintains a very promising pace and rhythm primarily in the first half, the ending doesn't quite manage to build-up properly. And instead of a heavyweight conclusion to a promising European heist series, the finale feels slowed down, with an overdose of emotion and a lack of momentum and realism. It’s nothing new that Money Heist is purely an entertaining screenwriting game of cat and mouse rather than a raw crime drama. Unfortunately, however, as time went on, it got to the point where I was just waiting for the protagonists to have a siesta at five with a sangria tasting and passionately dance flamenco together, after which they would properly dissect their relationships from A to Z from the heart. It's got a mostly fine vibe, a hugely likeable mix of (anti)heroes, but over time the series morphs from action crime drama into a gritty romance to the sound of a browning machine gun, and unfortunately that doesn't suit it very well. Still four stars, but just barely.

In the Land of Saints and Sinners

POMOIn the Land of Saints and Sinners(2023) 

Engels The killers of Inisherin. This surprisingly little known Irish production with tough guy Liam Neeson is more pleasing than some of his recent Hollywood movies. Though the plot is heavily formulaic and predictable, the characters, between which sparks fly, are not one-dimensional; the story is told meticulously from the directorial standpoint, with love for westerns (including a harmonica), well-directed actors, great use of coastline panoramas and music that’s far nicer and deeper than what you would expect from a “cowboy flick with Neeson” (listen to the closing credits). The main villain played by Kerry Condon is an ultra-bitch and Ciarán Hinds and Colm Meaney are always delightful in supporting roles. Three and a half stars.

Johnny vs Amber: The U.S. Trial

NinadeLJohnny vs Amber: The U.S. Trial(2022) 

Engels This is a genre within a genre. A courtroom drama between Johnny Depp and Amber Heard. They met professionally during the filming of The Rum Diary (2011), were married from 2015-2017, and the rest is history. Depp's hardcore fans will never admit anything that could tarnish their image of him, their cult idol who has been with us for 4 decades. Heard has always been a small fish next to him, one of many of his partners, so no one expected that the potential breakup of their relationship could have such a bitter aftermath. But it happened, it's a separate topic, a whole series of documentaries are being made, books are coming out, and the tabloids have thoroughly enjoyed it, so I expect a feature film adaptation eventually. Because if Hollywood knows how to do anything, it's to exploit scandals to the core. It was like this 100 years ago in the Roscoe Arbuckle case, and nothing has changed.

Les Valseuses

gudaulinLes Valseuses(1974) 

Engels The film is full of famous names that shaped the face of French cinema over the last 50 years, often at the beginning of their stellar careers. However, its interest - and in a way, its importance - lies elsewhere. It adeptly (if unintentionally) captures the transformation that the intellectual left-wing scene underwent since the pivotal protest year of 1968. Originally, the left was a protest movement that opposed the system, aiming to dismantle it or at least radically transform it. Over two decades, the left completely dominated university grounds, with its progressive graduates integrating into the system and gradually becoming the establishment. This brought about a complete transformation not of society itself, but of the themes and approach of the left, which began to accommodate the needs of its affluent and self-assured members. Social and class conflicts receded into the background, making way for ecology, feminism, and minority protection. Jean-Claude and Pierrot are typical heroes of that original anti-system left and representatives of its values. Unconventional, radical, and disregarding traditional morality, they take from people and life what they deem appropriate. The film's director and screenwriter, embodying these characters, views their actions with a kind understanding. They steal a car, and the owner who tries to stop them is depicted as a despicable bourgeois property owner. Women are mere consumer goods for the successful duo, serving exclusively to satisfy their needs. Icons of that era's leftist movement were often self-centered macho men expecting women to admire them and cater to their needs, which is reflected in the film, where women are fascinated by their dominant behavior and allow themselves to be exploited. Depardieu, I believe, never played such a repulsive creature again, despite having numerous negative roles to his name. Regarding the film's cinematic aspects, I see nothing exceptional or deviating from the French film productions of the 1970s. Due to its unpleasant - and from today's perspective, problematic - content, I cannot give it a higher overall impression than 40%.

Tensei šitara dai nana ódži datta no de, kimamani madžucu o kiwamemasu - Season 1

JeoffreyTensei šitara dai nana ódži datta no de, kimamani madžucu o kiwamemasu - Season 1(2024) 

Engels I'd say director Yuichi Abe (who also served as the action director) either really loves this novel (or maybe just the maid Sylpha) or was just determined to impress. The dynamic, breathtaking, and beautifully choreographed action sequences featuring the maid/swordswoman were incredible. The training scene with Lloyd was jaw-dropping, and episode ten, with the camera circling Sylpha gracefully before a stunningly edited fight scene, was so good I had to watch it a few times. The magical battles were epic too, especially the showdown between Lloyd and the transformed Jade. The visual effects were impressive. It wasn't just the fights that grabbed me; the main character, Lloyd, was intriguing in his own way. Is he mentally unstable? Maybe, but more like someone obsessively in love with magic to the point of self-harm. But he wasn't annoyingly flawed; in fact, in crucial moments, I found him quite likable. His quirky personality felt refreshing. The story was engaging, and I didn’t mind Lloyd turning the first defeated demon into his satanic Paimon. Certain parts of the plot struck the right emotional chords, especially the final arc with the "assassin guild" which worked for me in its serious aspect. What didn’t work for me was the humor — often childish and sometimes downright silly with the chibi animations. It rarely made me laugh and disrupted the overall tone of the show. Another issue is the weird fanservice around Lloyd. Considering he's 10 years old, the maid's unhealthy obsession with him was uncomfortable. One last positive note: despite Lloyd being absurdly overpowered, the final battle made me worry for him at times, thanks to the well-crafted "final boss." Overall, I'd give it a 6.4/10.

Re:Monster

JeoffreyRe:Monster(2024) 

Engels A 6/10 rating seems fair for this one. The production values, especially the animation, are at best mediocre. This is particularly evident in the fight scenes, which lack impact, with stiff character movements and unimpressive effects. The biggest problem, though, is the pacing. The story feels sterile and much less engaging than it could be, with too much telling and not enough showing. The leveling system is poorly explained; while it's clear the hero gains new abilities by consuming enemies, the way these abilities are presented feels like a bland list, and during battles, it's hard to tell which skill or combination is being used. The manga handles these aspects much better, offering clearer and more detailed explanations. The anime, on the other hand, often resorts to brief comments. Character development and relationships also suffer. Many characters are complex, and it’s interesting to see how the hero’s harem evolves from basic survival instincts to a mix of biological urges and eventually some romantic feelings. But let’s focus on what Re:Monster does well. Any story where the protagonist isn’t a generic human earns points from me, and starting as a goblin is a unique twist. The main character is likable, engaging, and easy to root for. There are a few other interesting characters, both within and outside his harem. I also enjoy the day-by-day, almost diary-like storytelling approach. The variety of species and the rules governing their evolution are well done, as is the gradual development of the hero’s party and his position in the world. However, I wasn’t thrilled with the later direction of the story, especially the princess transport subplot and the decision to become mercenaries. I would have preferred more focus on building a diverse monster society and interacting with surrounding nations, similar to what Rimuru does. Lastly, the opening song was terrible — one of the worst I’ve heard this season (I skipped it from episode two onward). This show has potential, with several original aspects that make it worth checking out, but for a better experience, I’d recommend the manga, which I’d rate around 7.5/10 based on what I’ve seen.

Ali

NinadeLAli(2001) 

Engels Muhammad Ali (1942–2016) was the 16th heavyweight boxing world champion, but by his time, the original idea was already there, as Jack Dempsey first fulfilled it. The story of this champion is full of activism, racism, and politics. In his career, not even the black bomber Joe Louis was important anymore, but rather the endless strife to regain the title. Will Smith surpassed himself here, but considering the complexity of the whole life story, I must conclude that the resulting film is only a superficial work.

Rocky Marciano

NinadeLRocky Marciano(1999) 

Engels Rocky Marciano (1923-1969) was the son of Italian immigrants, shaped by the legendary boxing match between Louis and Schmeling in 1938. He became the 11th heavyweight boxing world champion shortly after defeating his childhood hero Louis and subsequently Joe Walcott. This film is great because it's not just about the classic formula of a poor kid becoming a champion; it tells the whole story of frustration from poverty, respect in a brutal sport where life was at stake even then, and most importantly, it portrays the fates of boxers who didn't fare well in their old age. Joe Louis had to step back after years of glory and returned to being just a poor black man; lightweight champion Lou Ambers also didn't end up well. Jon Favreau surprisingly delivers a great performance in the lead role. Moreover, thanks to him, it's confirmed how closely the stories of classic boxers and comic book superheroes resonate with each other.

Dempsey

NinadeLDempsey(1983) 

Engels The television biography of Jack Dempsey (1895-1983), the first World Heavyweight Boxing Champion, is as good as films like Ring of Passion about the fights between Schmeling and Louis, or the life story of Marion Davies in The Hearst and Davies Affair. These grand stories from pre-war popular culture were still vibrant then, setting the stage for cinematic retellings. Dempsey's story had it all. Raised by Mormons, he had a sports career, and married film actresses Estelle Taylor and Hannah Williams. He acted in movies, ran a restaurant, and wrote the memoir "Championship Fighting: Explosive Punching and Aggressive Defense, How to Fight Tough a DEMPSEY". Even during World War II, he didn't slack off. What more could you want? Treat Williams in the lead role? You got it.

Dží-san bá-san wakagaeru

JeoffreyDží-san bá-san wakagaeru(2024) 

Engels "Grandpa, they said on TV that Japan has a birth rate problem, and people don't want to start families!" "That's a shame, Grandma. It's time to show everyone true family values!" "You're right, Grandpa. We have grandchildren. We must set an example and show them that true love lasts a lifetime." "Exactly, Grandma, and maybe give them a little push!" "Grandpa, did you hear? Young people are moving away from the countryside!" "That's sad, Grandma. There's nothing better than a peaceful life in the country." "You're right, Grandpa. Who will grow apples if we don't? It's up to us to show everyone the joy of caring for an orchard!" "Good thing we're so spry for our age, Grandma. We need to show the young folks that old people are cool!" "Look, Grandpa, do you see that golden apple over there?" If I took a shot every time they said "jiisama" or "baasama," my Sundays would be pretty wild, and I probably wouldn't make it to old age. I get what the show was trying to tell me — respect the elderly for their wisdom, find a spouse, start a family, move to the countryside, and grow apples! I almost wanted to check our apple trees for golden apples and dreamed of being twenty years younger — but the frost ruined this year's harvest... The problem is, with how much the show pushed these ideas (almost like some agricultural propaganda or a pro-birthrate ad), I couldn't relax and just enjoy it. I love these fateful romances and admire swans for their lifelong partnerships. I even remember the story of Philemon and Baucis, who had a lot in common with our grandma and grandpa. But here, I just couldn't buy into the atmosphere. It felt too forced. Whether it was propaganda or not, I have to say the animation wasn't great. It was just enough to hold together, but no one bothered with details. The focus was on the message, not the form. Unfortunately, I didn't enjoy this story much. Maybe I saw something that wasn't there, but overall, the series didn't convince me. I'm not planning to start a family, I already respect the elderly, and I'll leave large-scale apple farming to others. I’m happy with just a few apples from my garden for a pie... 4.8/10.

One Room, hiatari fucú, tenši-cuki.

JeoffreyOne Room, hiatari fucú, tenši-cuki.(2024) 

Engels This is a totally average harem anime, notable only for featuring girls who are also mythical beings (angel, vampire, kappa, yuki onna). The girls are cute and likable enough to keep me watching and maybe crack a smile, but they’re not memorable or unique enough to stick with me a week or two later. The main character is your typical "nice, ordinary guy," bland enough for any male viewer to project themselves onto. The animation is decent, especially the designs of the girls — no surprise for a harem anime. The story is mostly generic and predictable. The romance is very light and childish, full of blushing, awkwardness, misunderstandings, and minor missteps. With a cute angel acting like an anime "puppy" and the main guy being just a "nice, ordinary boy," it's par for the course. If you enjoy harem anime with cute girls, this series will likely be pleasing and inoffensive. However, if you’ve seen a few harem anime and are looking for something original and new, you won’t find it here. It’s just another average harem anime. 5/10

La casa de papel (Netflix-versie) - Season 1

KakaLa casa de papel (Netflix-versie) - Season 1(2017) 

Engels And then they say only Hollywood can make stories like this. Money Heist is quite deservedly Netflix's prime work. It's got a fresh cast, well-written characters and a gripping plot. It can be faulted for some questionable lapses in logic and weaker technical aspects; after all, the action looks at its American friends from afar with its charge and overall set-up, but surprisingly this Spanish parade doesn't really need action as a driving force, it easily makes do with such well-acted and spontaneous characters, wit and tension. The only concern is towards possible future over-complication of the story, but for now Money Heist will maintain its high standard and fresh European feel. A top addition to the heist genre.

I Saw the TV Glow

EvilPhoEniXI Saw the TV Glow(2024) 

Engels Monotonous, stagnant and tedious indigestible artsy shit where the most creepy thing in the entire movie is the main character's mouth. No decent script, no interesting characters, no horror scene, hideous visuals, just everything is wrong here. One of the worst overhyped flicks I've seen this year. The Pink Opaque, the TV show that will steal your time. 2/10.

The Burned Over District

EvilPhoEniXThe Burned Over District(2022) 

Engels A passable cheap horror B-movie that suffers a bit from the fact that it takes itself too seriously (the first half is quite tedious and uninteresting), which is a big minus in similar films, but the final third improves the impression quite a bit. The murder of the cult is quite funny and bloody (although there’s no explicit gore, Winnie-the-Pooh: Blood and Honey was better in that regard), but it didn't offend me at all, even if the acting and visuals weren't worth much. Pure average. 5/10.

Kubi

EvilPhoEniXKubi(2023) 

Engels An interesting samurai film, where the samurai commanders are portrayed as exaggerated caricatures (Oda Nobunaga is downright mad and a buffoon here), but unfortunately, compared to Shogun the political intrigue doesn't have the necessary power, perhaps due to the fact that it's a satire where the director makes fun of great historical icons. On the other hand, it's nice that no violence is spared and severed heads fly very often, so the rawness, filthiness and twisted brutality was very pleasing to me and also earned the film a higher rating. The plot didn't blow me away that much and the running time could have been shorter, but Kubi has its moments and it’s worth seeing for fans of samurai themes. 7/10.

Une année difficile

EvilPhoEniXUne année difficile(2023) 

Engels Olivier Nakache and Eric Toledano probably won't have another hit like The Intouchables, but this is fine too. Again, it's a film that tackles strong social issues, but unfortunately it's not funny enough for a comedy; it's more of a drama about debt and eco-terrorism. The leading duo are deep in debt and it was a little sad to see how some people can end up, their lives ruined like this with no bright hope. Some of the dialogue has depth, the acting is very good, overall it's a decent film on an unconventional subject where the first half is a bit more entertaining, but I still don't regret watching it. 6/10.

Une affaire d'honneur

D.MooreUne affaire d'honneur(2023) 

Engels Riveting duels with great choreography that even a layman like me can appreciate, and an entertaining and suspenseful story that explores the theme of honor from all sides and is actually contemporary despite the time it takes place. Vincent Pérez is as excellent a director as he is an actor, and his villain has charisma to spare, and Roschdy Zem is his equal. If you like Ridley Scott's The Duellists, The Edge of the Blade is especially for you.

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