IT FOLLOWS WELL

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The only thing that can save modern American cinema are its independent film makers.

”It follows” is a cheap, non pretentious, ‘80s style horror movie about the invincible supernatural force that haunts the common people after having intimate contact with the infected individuals.

CGI is minimal, as well as the gore and blood, so the terror is forced inside the spectators heart old-fashioned way: dual focus shots, sudden cuts and creepy sound effects.

”It follows” will scare you and entertain you, without going too much into banal and obvious.

IT FOLLOWS - 7/10

A BEAUTIFUL LEGEND

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Chinese tend to overact, especially when it comes to their historical and mythical movie scripts. ”Hero” is no exception with nameless warrior’s (Jet Li) story behind the country’s uniting in the Middle age.

Yimou Yhang was the perfect choice for the directing chair of this epic flick, with his fanatically resilient consistency when it comes to colors, frames and action choreography. Every scene is a small piece of art, mesmerizing the spectator to forget about the somewhat banal and naïve plot.

”Hero” is spectacular, beautiful and consistently directed historical legend for the lovers of Chinese ”fly and fight” action genre.

HERO - 6/10

SMALL, BUT POWERFUL

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Golan heights and the outcome of the conflict which took place on the southernmost occupied part of Syria is one of the most bizarre when it comes to freedom of people to move from one side of the border to the other one.

In the centre of this Golanese movie story is a young bride to be, and her adventure to join herself in the holy matrimony with her fiance on the Syrian side of the border. Her inability to enter Golan ever again will lead to several complicated inter family breakouts and some hilarious moments as well.

Script dribbles well through every circumstance, climaxing towards the end of the film with all the major characters being stranded between two border crossings, not being able to move forward or behind. Ending will promote somehow sidelined bride into focus, wrapping up this untypical film story the only way it was able to.

”The Syrian bride” is an powerful indie with unbelievable story whose existence major part of ”civilized” isn’t aware of.

THE SYRIAN BRIDE - 7/10

NICELY SHOT, BUT INCONSISTENT

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Paraguay isn’t a pretty nice place to live if you judge by the covers of its best rated flick, ”7 boxes”. Although the script revolves around a young teenager and his task to carry 7 boxes on his cart from place A to place B, the main role in this indie is the flea market on which the entire movie takes place.

Camera is really nice and fresh, with some original shots and several tense action scenes, but the script fails to support it with its confusing outcome and naïve characters.

”7 boxes” is a feast for the eye, but, sadly, not for the brain as well.

7 BOXES - 5/10

SLOW TO THE VERY END

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Modern Samurai flicks tend to go on steroids in the past couple of years, so ”13 assassins” is no exception.

Story is very clearly laid out, with the vicious young shogun terrorizing other samurais and their families, as well as the common folk in its centre. His behavior triggers 13 outcasts and honorable samurais to join their forces together on the road of revenge that will lead to the dead of merciless shogun.

Characters are typical, but only basically detailed, while the overall tempo is really slow. However, every single of the separated events at the end lead to a spectacularly overacted battle in one of the villages between 13 assassins and hundreds of shogun’s personal guards.

”13 assassins” is a pretty much empty slow tempo samurai flick with an spectacular ending.

13 ASSASSINS - 4/10

GRIM, BUT SOLID

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Smuggling drugs from Latin America to the USA was a subject of several movies, some of them now classics (i.e. ”Scarface”), but rarely in an indie production that gives more liberty to movie makers to tell the story as it is, without any compromises or PG ratings restrictions.

”Maria full of Grace” follows young and pretty girl on her voyage from Columbia to the States as a drug ”mule” that swallows packages of cocaine only smuggle them across the customs on the airports.

Nausea and repulsion are there all along the way, as well as the sympathy for the characters. However, the grittiness succumbs in the second part of the movie, leaving the opportunity for a bit corny happy ending.

”Maria full of Grace” is an important lesson for everyone desperate enough to enter drug smuggling business and a solid indie flick.

MARIA FULL OF GRACE - 5/10

PRETENTIOUSLY POINTLESS

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Nick Cave as a screenwriter. Guy Pearce and Ray Winstone as lead stars in an gritty Australian western.

All the ingredients for a success, all there and all messed up and turned into a pretentious and painstakingly slow story about revenge leading nowhere.

I have a proposition for you. Don’t watch ”The proposition”. It’s not worth your time and patience, even if you’re a patient film lover.

THE PROPOSITION - 3/10

SURPRISINGLY REALISTIC

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I found ”The battle of Algiers” via iMdb’s Top 250 and never regreted watching it. Although shot over 50 years ago, it still resonates strong in the eye and the ear of  every movie lover.

Done the old-school way, with one black and white camera, huge sets with hundreds of extras, it depicts the brutal civil war led between the indigenous Muslim population of Algiers and the occupying armed forces from France.

High levels of tension, detailed script and strong opposing characters of Ali La Pointe (Brahim Hadjadj) and Colonel Mathieu (Jean Martin) will guide you smoothly through the entire course of this movie.

”The battle of Algiers” is one valuable lesson from history, urban guerilla warfare and film making.

THE BATTLE OF ALGIERS - 7/10

NAZI-PROOF MASTERPIECE

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Australian film was a big mystery to me, aside ”Mad Max” trilogy, as well as the culture and the destiny of the local indigenous inhabitants, the Aborigines. This was all until I watched ”Rabbit-proof fence”.

Shot almost entirely with self taught local actors, covering the wastelands of Eastern Australia, ”Rabbit-proof fence” is just one huge triumph after another.

Triumph of shedding a light on a monstrous demographic politics of the Caucasian Australians towards those who come from mixed marriages that lasted up until the 1970s (!!!)

Triumph of a magnificent photography, wide angle shots and lenses and overall directing.

Triumph of development of characters who literally suck you in their stories and make you cheer for them to succeed in getting away from the chasers from hell.

Triumph of Kenneth ”Adolph” Branagh as the ultimate villain which you desire to strangle with your own hands after only several minutes on the silver screen.

”Rabbit-proof fence” is one underrated and obscure masterpiece, in line with ”Schindler’s list” when it comes to depicting Nazi-methods all over the world.

RABBIT-PROOF FENCE - 9/10

STILL A CLASSIC

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Following the Academy’s greatest injustice in its history, I started exploring Peter O’Toole’s filmography with its most famous movie, an epic historic spectacle.

Although filmed in the early ‘60s, ”Lawrence of Arabia” is still a masterpiece of directing, camera, action sequences and special effects, done the old fashioned way, 100% analogue.

Subject itself, as well as the acting are still persuasive and applicable on the Middle Eastern geo-political situation, although occasionally naïve by today’s standards.

”Lawrence of Arabia” is a true gem of old-school filming that can be a lesson for the corny uninventive CGI filmmakers of today.

LAWRENCE OF ARABIA - 7/10

NAÏVE, BUT SCARY

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Customs are different from culture to culture. Vaginal mutilation of the young women in African Islamic societies that represents the main subject of Senegali ”Moolaade” will come as a shock to Westerners, as well as the constant reminder of how important and difficult the fight for the rights of women was significant and hard in the past centuries.

Despite the harshness of the script layout, overall acting and depiction is somehow diminished by the naïve and unnecessary serenity of the self-taught protagonists.

”Moolaade” is one of those flicks where the subject is more important than the movie as a whole.

MOOLAADE - 4/10

HALF WAY THERE

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Africa is called the ”dark continent” and movies like ”Nairobi: Half life” is one of the reasons for that. To be clear from the start, this has nothing to do with the color of the predominant race that inhabits it.

Crime, drugs, brutal murders and omnipresent stealing are the main reason why most Westerns have the aversion when it comes to visiting Africa. This flick won’t help them change their minds, despite occasional humor from the main actor (Joseph Wairimu).

”Nairobi: Half life” is another brutal depiction of Africa’s grim lifestyle, spiced up with some decent acting and a dash of hope at its very end.

NAIROBI: HALF LIFE - 5/10

WORRIED ‘BOUT AFRICA

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South Africa is one dangerous place to live, with vicious criminals lurking around every corner.

”Gangster’s paradise: Jerusalema” is the story of the crime lord that rose from the slime of black ghettos outside Johannesburg, only to become one of the most influential characters in the city. Aside from depicting the brutal and merciless world of slums, movie sheds a light on the political and racial corruption in the country it comes from.

However, the outcome of the script and the acting itself tend to deviate into incredulity which gives the entire flick a lower rating than expected at the beginning .

”Gangster’s paradise: Jerusalema” is a brutal display of modern South Africa, but nothing more than that.

GANGSTER'S PARADISE: JERUSALEMA - 5/10

LAST MOVIE IN THE UNIVERSE TO SEE

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When you know that a movie script is based on a book written by Yukio Mishima, naturally you expect something different and special.

Thai-Japanese adaptation of ”Lizzard King” just fails in every aspect of the written word it was intended to depict. Non-existent course of action, totally confused characters and the overall pointlessness of the entire flick is something most of you won’t be able to bear. So, don’t.

”Last life in the universe” is basically the last movie in the universe you should see.

LAST LIFE IN THE UNIVERSE - 1/10

THE KOREAN WAY

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”Based on a true story”.

If this story is true, then ”My way” may just be the most fascinating journey in the history of war movie genre. A Korean (Dong-gun Jang) and a Japanese (Jo Odagiri) athletes odyssey leads them across the globe, starting at Korea, moving to Siberia, only to end on a D-day in Normandy 1944.

Action sequences are masterfully led by the directing arm of Je-kyu Kang, although often unrealistically empowered when it comes to special effects. Script tends to repeat itself, but with a purpose, trying to emphasize the meaninglessness of war and the Korean role in it.

Ending is equally strong as this entire war movie ”on steroids”, leaving the spectator just awed by the mysterious ways of the human destinies inside the global conflict.

”My way” is truly a remarkable war story and you should see it, even if only for that.

MY WAY - 7/10

CLASSIC SAMURAI FLICK

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Samurai movies have a very rigid script. Honor, treason, reconciliation, major showdown at the end.

”The hidden blade” has all that, as well as the traditional Asian overacting. Brutality is also there, but only occasionally used to spice up the slow rhythm of the entire flick.

If you are a fan of samurai culture, this is a movie for you. If not, better to stay away.

THE HIDDEN BLADE - 5/10

NOWHERE

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International comedies are especially delicate movies, because they tend to carry the spirit of the local nation that films them. This is something that can not always be understood and accepted in the right manner.

This is just the case with ”Where do we go now”, a dark comedy that tries to ridicule the basically non-existing differences between the Christians and Muslims in the Middle East. Every ingredient for a hilarious tale is there, but the script just fails, leaving an occasional grin or two for the humor-thirsty audience.

„Where do we go now?” is one of those comedies that do not have the capacity for a more significant international career.

WHERE DO WE GO NOW - 4/10

RUN, OMAR, RUN!

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Another war torn story comes from the Middle East in the form of indie flick about the problems that young Palestinian Omar endures on his way towards normal private life and loyalty to his people in the fight for liberation from the Israeli oppression.

Although fundamentally naïve in its basic concept, ”Omar” offers some good dilemmas and closed loop consequences of the choices made by its main protagonist (talented Adam Bakri). These lead to some spectacular chases around the old city walls, which are the best action sequences in the entire movie.

Above mentioned is something that can be found in many movies with the similar subject. The thing that separates ”Omar” from the rest of the politically and socially engaged scripts is its very end. Brutal and surprising, it will raise the entire rating by a notch or two.

”Omar” is something already seen, but with a powerful ending worth waiting.

OMAR - 7/10

SLOW, BUT POWERFUL

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Film stories that come from the Middle East Bermuda triangle (Palestine, Lebanon and Israel) all tend to suffocate in the harsh environment of the messy and bloody civil war that rampages these countries for the past few decades.

However, ”Paradise now” tends to move the ladder of the unthinkable even higher when two Palestinian best childhood friends are selected for the next suicide bomb attack in Tel-Aviv. Entire script revolves around their last day/night and dilemmas and insecurities that his horrific assignment carries with it.

Two lead males (Ali Suliman and Kais Nashif) are very good, as well as the supporting cast which has the ungrateful task of shedding a light on the pros (if any?) and cons for this decision.

”Paradise now” represents a drama so different from the majority of genre that it deserves your attention and appraisal.

PARADISE NOW - 8/10

NAÏVE AND CHEAP

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Dutch cinematography is one of the European’s more obscure film industries, but „The memory of a killer” just isn’t the flick to begin your exploration of it.

Story about the professional killer with fast-paces Alzheimer’s disease is so naïve and cheap that it can barely be watched. Just barely.

THE MEMORY OF A KILLER - 2/10

PHILOSOPHICAL AND HEAVY

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Scandinavians just love family drama and ”Oslo, 31^st of August” is one of those classical heavy stories from the North of Europe.

Joachim Trier's flick follows one day in the life of an ex-drug addict Anders and his attempts to redeem himself with his family, friends and lovers. Camera is shaking really hard in the classical „dogma style”, while the conversations are stark and painful for everyone in the script.

Andersn Danielsen Lie does his time on the big screen well, as well as the other actors of this small European production.

”Oslo, 31^st of August” is an Scandinavian classic and a recommendation for the heavy drama genre lovers. Everyone else, STOP!

OSLO, 31st OF AUGUST - 6/10

UNINTERESTING

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American war stories are these days literally drowning in the sea of pathetic scripts and badly camouflaged CGI.

”Unbroken” is no exception from that trend. True story about the Olympic athletic champion and his journey through the WWII as an aviator is fascinating, but does not relay that fascination to the silver screen. On the contrary.

Angelina Jolie’s ”Oscar” runner for this year is just plain naïve and corny mashup of unrelated episodes in the Japanese captivity. This goes to the Jack O'Connell's acting and rare action sequences as well.

You should bypass ”Unbroken”, even if you don’t  know any wiser way to spend your Sunday afternoon.

UNBROKEN - 3/10

HAMBURG, OH, HAMBURG!

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There are movies made for the script and there are movies made for the characters and special effects. And then there are movies made for the cities they represent.

”Soul kitchen” is one huge portfolio of Hamburg's postcards that end to revolve around the young and unorganized restaurant owner. Great backdrop, tentativeness of food making and the exotic nightlife will draw you in very fast, not letting you to ask too much about the persuasiveness story and the main roles.

”Soul kitchen” will make you laugh, relax and enjoy Hamburg. And that’s just enough for this unpretentious German indie.

SOUL KITCHEN - 6/10

BEAUTIFUL, BUT EMPTY

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Unexpected co-production between the Iran and USA is a modern interpretation of the ever-repeating motive of the love between the female vampire and a mortal, set on the outskirts of the grim Persian suburb.

Even though the directing reinvents the capabilities of the black and white camera, the story and painfully slow rhythm tend to make the indisputable artistic achievements pointless. That’s a true shame, because this could have been an instant indie classic in the genre.

”A girl walks home alone at night” is one beautifully shot and directed indie, but sadly, without much sense and direction when it comes to script and characters.

A GIRL WALKS HOME ALONE AT NIGHT - 4/10

QUALITY AND TIMELESNESS

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Japanese legends represent one of the major topics for their cinematography, but with variable success rate.

”Love and honor” is in its core basically an epic folk poem about the young samurai that turns blind after tasting poisonous food for the local shogun. His misfortunes that follow the accident are pretty much typical, including one of the major subjects of the traditional Japanese movie, adultery.

Overall rhythm is slow, but very intense, including the much expected catharsis of our hero that wins the hearts of everyone in the audience with his persistence and reverence. Camera is pretty much consistent, focusing on the wider shots. The end, is as always different from those that people from the West are used to.

”Love and honor” is one of the finest Japanese traditional tales ever to see the big screen and a warm recommendation for every true movie lover.

LOVE AND HONOR - 9/10

UNEXPECTED JOURNEY TO THE TERRIFYING

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Koreans know how to make a horror movie, although their definition of horror differs significantly from the Western one.

”Sea fog” starts as an innocent story about the fishing crew that agrees to smuggle some immigrants to the shore, but along the way deviates into a full-time terrorizing flick.

As always when it comes to Koreans, camera and action sequences are impeccable and the tension levels are pretty high throughout the second part of the movie.

”Sea fog” is one satisfyingly scary horror flick from the cinematography that has reinvented the genre.

SEA FOG - 7/10

TOO AMERICANISH

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One of highly rated Argentine flicks brings us a mellow and artificially sweetened story about a busy and selfish son that neglects his parents and the fathers desire to marry almost totally demented mother inside the church before she dies. Ricardo Darin is the male star lead, but falls behind with his acting, as well as the rest of the overacted ensemble. Comical elements could have been a lifesaver for this one, but they are, alas, rare and scattered.

”Son of the bride” should have been filmed as a romantic comedy in the US and not in Argentina. 

SON OF THE BRIDE - 3/10

BARELY WATCHABLE

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Chinese ”Jackie Chan” comedies are usually totally overdone in every major segment, whether it comes to action sequences, dialogues or acting itself. Hong Kong feature with Andy Lau as a lead role is one of those barely watchable flicks with a confusing plot, not so funny funny scenes and some slapstick comedy. Even hour and a half of this Chinese mix is more than enough.

”Blind detective” is barely watchable ”comedy” not funny for anyone outside Asia.

BLIND DETECTIVE - 2/10

GOING SOMEWHERE

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French multiculturality is one of the biggest open questions inside this country’s society. Marseille school is the backdrop for ”The Class” and it is a volatile backdrop, with every possible nationality and race imaginable involved.

Although there is no plot in the classical term, the script is invigorated by the destructive dialogues between 15-year olds and their teacher that tries to maintain control over them. All the major issues of these kinds of society’s sub-units are tackled: racism, nationalism, local-patriotism, poverty, inclusion and harassment.

”The Class” is more of a documentary than a ”classical” long-feature film, and a good one as well.

THE CLASS - 7/10

STANDING STILL

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French-Canadian co-production about the substitute teacher coming from nowhere to take over the class that was traumatized by the former teacher suicide inside the classroom has all the ingredients of the European small scale drama, but somehow fails to fulfill all the potentials of it.

Acting is mediocre, plot is practically non-existent, but there are some quality questions opened when it comes to children’s trauma, growing up and relationships inside the classroom.

”Monsieur Lazhar” could have been a great school drama, but it isn’t. It’s just decent.

MONSIEUR LAZHAR - 4/10