A FRESH RESTART

„Star Wars” was a drenched out franchise, downgraded to a lavish video material for children with ADD, destined to a neverending self-recycling in the decades to come. Or it looked like that, when the new owners of the copyrights decided to make a spinoff serial that nobody wanted. And not only that. The new owners decided to try to make something a little bit different, with more creative, visual and storyline freedom, wooing the new, young generation ofdirectors and acotrs along that way.

It can easily be said that Gareth Edwards and „Rogue one” saved the „Star wars” franchize from extinction. They did it by writing a real-life scenario with brutal development and outcome(s) discreetly linked to the original movies. They did it by creating a gloomy, dark atmosphere and „Bladerunner-like” production sets, followed by some serious supporting cast (Mads Mikkelsen, Forest Whitaker, Riz Ahmed). They did it without the trademark excessive pathetic and they did it with some serious cynical humor. They also managed to dose up the action sequences and to create a powerful closure without the tacky happy end.

On the other hand, they failed to generate credible two major roles (Felicity Jones, Diego Luna) and a they failed to create a villain capable of withstanding the tremendous impact of Darth Vader.

Overall, „Rogue One: A Star wars story” is a very good beginning of something that can be a great spinoff sub-franchize.

ROGUE ONE: A STAR WARS STORY – 8/10

FOTO: cdn1.vox-cdn.com

EMBRYO FOR SEVERAL GENRES

„Vertigo” was one of those flicks made before its time when it comes to the level of production available and also the psychologically deepest movie Hitchcock ever filmed.

James Stewart was once again in the centre of the famous filmmaker's story revolving around his character's fears and phobias that led to a strange relationship with old friend's wife (Kim Novak).

Story will be laid out in a original, but somewhat undeveloped way. That manner will follow the script all the way to the very bizzarre and sudden end.

„Vertigo” is one of those movies that should have been filmed a couple of decades after their original release.

VERTIGO – 5/10

FOTO: filmmakeriq.com

OLD SCHOOL WAR FLICK

1950s were the „golden age” of Hollywood in every single genre it tackled with. It was also the period of transition to technicolor and more modern visual effects that enabled some more realistic action sequences to be filmed.

All of those elements combined together gave some quality war flicks, „The enemy below” being one of them. Nazi U-boat terror form the deep during Second World War forms the script with a strong acting rivalry between Robert Mitchum and Curd Jurgens. The game of cat and mouse will sharpen along the way leading to a already seen ultimate clash between the US escort destroyer and German submarine.

On the downside, subplots and outcome will form a cliche, spiced up with some medium strength patheticism.

„The enemy below” is a solid war thriller, but also something already seen at the time being.

THE ENEMY BELOW – 6/10

FOTO: stagevu.com

THE BIRTH OF A PSYCHOLOGICAL THRILLER

Alfred Hitchcock basically invented the thriller, creating the postulates of tension on the big screen long before the golden age of the genre itself. He did it in  a old school fashion, with minimum on screen violence and blood, tangling with the viewer's mind.

„Rear window” brings us the original concept of photographer (immortal James Stewart) strapped to a wheelchair that begins to suspect his neighbor is a murderer. Suspicion is the backbone of the script that is placed in a small inner courtyard of the building and it succeeds to drag every person living there in it, including the lead character's girlfriend (Grace Kelly). Things are getting more and more complicated as the dilemma grows, leading to a final crescendo.

The major flaw of the script is the production uncapable of visually presenting the final showdown as well as certain naïve explanations and action sequences.

„Rear window” is a great old school thriller and a role model in the decades that followed its appearance.

REAR WINDOW – 7/10

FOTO: hitchcockzone.com

CORNERSTONE FOR THE ENTIRE GENRE

Hitchcock's best movie was the combination of his favorite genres, horror and thriller.

With „Psycho” Alfred went further and deeper inside the viewer's head than any time before or after it. There were no questions asked about the stringency of the story about a Oedipal young hotel manager (magnificently portrayed by Anthony Perkins) and all of his crimes. The anatomy of a psychopath was thouroughly laid out in front of the viewer, giving every single aspect of his frightening behaviour a logical motivation. In a lack of a better explanation, „Psycho” outgrew horror and became real life.

When you add some of the cinema's most memorable scenes (Janet Leigh under the shower, mother's rocking chair) and a blood chilling closing performance by Perkins, you get a timeless classic.

„Psycho” is Hitchock's best work and one of the best genre representatives in the entire history of Hollywood.

PSYCHO – 9/10

FOTO: www.jasonbovberg.com

STILL GRUESOME, BUT A BIT BANAL

Hitchcock invented thriller, but also managed to lift the horror movies to a psychologically convincing genre after decades of rubber dolls and poor makeup.

The concept of wildlife (in this case birds) turning against humans wasn't new in Hollywood, but presented visual effects and serious gore on the silver screen indeed were.

However, due to a technology evolution, „The birds” main advantages became its major flaws, not coming near to convincing the modern day viewer in its action sequences. Also, the very end will leave the story tangling in the air, finishing the dramatic movie too soon and too fast.

„The birds” were a remarkable achievement in its era, but also failed the test of time.

THE BIRDS – 5/10

FOTO: s-media-cache-ak0.pinimg.com

EVERLASTING AND VISIONARY

There are several timeless books that are really difficult to be presented in an adequate manner on the big screen. One of those everlasting classics is „The trial” by Franz Kafka. With its specific, gloomy and orwellesque atmosphere, it required a visually strong director to successfully transfer it to celluloid.

Luckily, Orson Welles was one of those directors, capable of graphically exploit black and white technique, modernistic production backdrops and visual effects to create claustrophobic modern society that hunted and ran down Joseph K (magnificent Anthony Perkins) to the ground. All the memorable scenes from Kafka’s novel will be there except the very end, which is altered in a tradition of Second World War generation.

„The Trial” is one of the best book adaptations in movie history and also one of the most underrated ones.

THE TRIAL – 10/10

FOTO: 65.media.tumblr.com

ULTIMATE COURTHOUSE MOVIE

Sidney Lumet is one of those directors who knew how to shoot a perfect movie in every genre he touched. He was meticulous and consistent in every major aspect of one movie, so „12 angry men” is no exception.

At the same time, the 1950s were also the „golden era” of theatre-like scripts in Hollywood, so there was rarely a flick that didn’t require viewer’s full attention during its course. Storyline is everything in „12 angry men”, revolving around a group of jurors closed inside one room until they deliver the verdict about the homicide case allegedly committed by a young African American. Henry Fonda leads the cast in a persuasive and dominant way, but every single actor gets his time on the screen and sheds his portion of light on a particular subject or motif.

Everything will be shot with one camera inside a single room, heavily using the trolley, crane and rotation. Tension will be created with narrow shots, sweat and character of the acting itself. Twist and turns will drive the entire story to the everlasting dilemma at the very end, forcing the viewer to follow every single aspect of the story.

„12 angry men” is the ultimate courthouse movie and also one of the best dramas in the entire history of Hollywood.

12 ANGRY MEN – 10/10

FOTO: assets.mubi.com

DELICACY FOR THE BRAIN

Jerome Bixby is an old school writer of the sci-fi („Twilight zone” - movie, „Star Trek” – TV series) and his final testimony bears that spirit of storytelling.

„The man from earth” can hardly be classified as a movie itself, since it is basically a theatre play filmed by a cheap camera. Casting is all „B” and „C” and the production is on the level of TV movie endeavours. But all of that won't matter at all since the script steals the show and awes tha average viewer offering some of the most memorable ideas and dialogues in the newer movie history.

The basic concept of a man saying goodbye to a bunch of friends and colleagues by revealing a shocking truth about himself is just the begining. Story and plot thickens from that point, sucking in philosophy, history, science and religion along its way. The outcome will be only logical and so inspiring that your brain will refuse to stop working after the credits.

„The man from Earth” is one of the most original science fiction movies ever made and maybe the best „small” movie in history of indie production.

THE MAN FROM EARTH – 9/10

FOTO: blogatheologica.files.wordpress.com

SCRATCHING THE SURFACE

„American beauty” inspired several movies on the turn of the century, none of them reaching the heights of the original story of supposedly ideal suburbia US families.

„Little Children” will feature a star female cast (Winslet, Connelly), will try to offer some interesting basic plots, but will also end too fast and too undeveloped, especially when it comes to the pedophile part of the script. Acting will be decent, humor will also work, but nothing more than that. 

„Little Children” lays a good foundation, but fails to develop and finish it in a proper manner.

LITTLE CHILDREN – 4/10

FOTO: funkyforestfirstcontact.files.wordpress.com

TIMELESS STORY

George Orwell's timeless classic about the futuristic tyrany ruthelessly controlling and brainwashing its minions longed for a decent movie adaptation ever since it was written. That adaptation finally came in a Michael Radford's version from 1984.

Although the script altered the original book significanly (especially towards the end) the main idea is there, gaining strength and destruction as time goes by. Simply, the modern everyday political world became the one Orwell described, and we are those minions being harassed. The movie itself will follow that main idea nicely, using grim production sets and Nazi-like costimography to illustrate the harshness of the „Ingsoc” party and Big Brother. John Hurt and particularly Richard Burton played their roles reliably, as well as the supporting cast. The very end will be sort of a anticlimax, but that won't alter the overall positive impression.

„1984” is a great book transferred into a very good movie.

NINETEEN EIGHTY-FOUR – 7/10

FOTO: pre12.deviantart.net

POOR PORTRAYAL

Jackson Pollock was one of the most fascinating modern US painters and Ed Harris took on himself the task of protraying his life on big screen, both behind and in front of the camera. And that portrayal was just too blunt, too flat-lined and empty. Harris remarakably looks like the late artist and  that fact represents the single largest quality of this biopic. Development of the trademark pointillistic style of painting will also be done in a too plain way, as weel as the outcome of the entire movie.

„Pollock”  is one dissappointignly forgetable movie experience.

POLLOCK – 3/10

FOTO: s3.amazonaws.com

BANAL, BUT TENSE

Paul Walker won't be remembered as a great drama actor, which is really a shame, because he did show some serious potential for it.

„Hours” is one of two serious movies Walker made in his career (second one being „Running scared”), and it's a heart moving small situation thriller with a lots of dramatic elements. Late actor plays the young father that remains stranded with his just-born baby in the incubator in a deserted hospital in the wake of hurricane Katrina and he plays it well. The script is somewhat thin in the beginning, but some nice subplots and the shotgun scene at the very end make up for that.

„Hours” and a little bit naive concept that grows up to be a pretty solid drama and Walker's best movie.

HOURS – 6/10

FOTO: slantmagazine.com

UNREAL, PATHETIC AND SPECTACULAR

Korean historical war movies tend to overact with pathetic patriotism and the story about one of the greatest naval victories in Second war with Japan in late 16^th century is one of those scripts.

Also, entire concept and strategy described will stay pretty much doubtful when it comes to the level of reality. Acting will be solid, led by reliable Choi Min-shik, while the show will be stolen by some really innovative action sequences and quality CGI.

„The Admiral” is a true spectacle, but also a one huge exaggeration of historical facts.

THE ADMIRAL – 4/10

FOTO: korea.net

BIZARRE MIX

Shakespeare's adaptations are rarely done the right way when it comes to big screen. Classical adaptations have their very strict limitations, so seldomly movie creators try to brake the cliche and place one of his plays in a modern backdrop.

„Richard III” from 1995 does it in a most radical way, placing the story about the brutal heir to the English trone in a Nazi-like modern Britain. Solid portrayal by Ian McKellen and the all-British cast will be somewhat diminished by the hardcore script that will stand out from all the modern (and excellent) production and costimography.

„Richard III” is the most original interpretation of Shakespeare, but also the most bizzare one as well.

RICHARD III (1995) – 4/10

FOTO: images.amcnetworks.com

CONFUSING TOWARDS THE END

Korean thriller screenwriters just love to twist their stories and characters, and so did the makers of „The Yellow sea”.

A lowlife half-Chinese Gu-nam (portrayed by the reliable Jung-woo Ha) that comes from North to South Korea seeking his wife while embarked on a voyage to kill a businessman will start his journey in an interesting way, but will wander off from that well lit path somewhere along the way. Subplots, outcomes and the very ending will be left completely dangling in the wind of forced and non-creative solutions.

„The Yellow sea” starts as a great thriller, but ends as a mediocre one.

THE YELLOW SEA – 4/10

FOTO: 1.bp.blogspot.com

KOREAN „TWILIGHT”

Comedy about the pair of vampires is a dangerous path for every movie industry, except the Korean. Especially when its being driven by Chan-wook Park („Vengeance” trilogy) and when center of the story is built around a young minister.

„Thirst” will dance between drama, comedy and some serious horror from the beginning to the very end. Along that way, the rhythm will be pretty unstable, as well as the sharpness of its satirical blade, making this entire production somewhat non consistent.

„Thirst” is the very first attempt in the world to make vampire genre serious, although only partially successful.

THIRST – 5/10

FOTO: thesoundandthescreen.files.wordpress.com

SOME SERIOUS EXORCISM

Movies dealing with exorcism are rarely considered anywhere near of being serious when it comes to plot, twist and outcome. Unless they are being rendered by the Koreans.

„The Wailing” will start pretty casual, on the very brink of parody, but things are about to get pretty messy and scary as the twisting script unwinds. There will be no mercy, no happy end and no safe closures to this battle of the spirits in a God forsaken Korean village, following the well lit Korean path of no compromises.

„The Wailing” makes the entire subject of exorcism more than watchable.

THE WAILING – 6/10

FOTO: static.rogerebert.com

ENTIRE GENRE REVAMPED

I thought that zombie horror subgenre was officially dead and I was wrong. I was wrong because Koreans hadn't done it before, at least not in the feature film format.

„Train to Busan” is basically an adapted manga, placed in a bullet train from Seoul to Busan, making it a classic situation thriller. The retarded basic storyline is there, as well as the corny dialogues and cliche characters, but so is the trademark Korean originality when it comes to intellectual subplots and extraordinary micro-action sequences. All of this will be spiced up with minimum CGI and a truly powerful, altough pathetic ending.

„Train to Busan” is probably the most original zombie horror ever filmed.

TRAIN TO BUSAN – 7/10

FOTO: cdn5.thr.com

FINEST HOLLYWOOD TRADITION

Even after all the recycling, rebooting and revamping, there is still quality in modern Hollywood. The problem is it is rare, hidden and non-commercial.

„Hell or high water” is one of those well balanced mixes of drama, action, comedy and social criticism that Hollywood used to send to box office in two decimal numbers per year, but nowadays does that only once or twice. Atmosphere of economy run down Texas is realy convincing as well as the musical background and acting. Jeff Bridges is just perfect as a mysogene ranger awaiting pension, Ben Foster is reliable as always, bringing the much needed humor to ease the situation down, and even Chris Pine tries his best to keep up with his well developed character. There will be no false American partiotism and pathetic will hold well inside the barriers of the acceptable until the western-like ending.

„Hell or high water” is one of those movies that made Hollywood and the ones it desperately needs right now.

HELL OR HIGH WATER – 8/10

FOTO: aolx.tmsimg.com

BANAL SOFT PORN

Chan Wook Park gave us some really powerful and quality movies in the past and his every next flick is the one being closely monitored. And so ist the story about the Korean con trying to hussle his way into a wealthy Japanese family with the help of his protege, a handmaid.

Besides deceit, love will form the second backbone of „The Handmaiden”, this time focusing on the emotional relationship between two women. Unfortunately, that lesbo moment will overtake the entire flick and almost completely diminish Park's trademark mystery twists.

„The handmaiden” is just too erotic and banal for a mystery movie.

THE HANDMAIDEN – 4/10

FOTO: hancinema.net

GRIM TRASH

American indie production is bursting inside the horror and SF genre, trying to revive the golden age of B-fantasy flicks, the '80s. It also now manages to attract the middle level of actors inside its budgets, like it did with John Goodman and „10 Cloverfield lane”.

Goodman will be strongest asset of this postapocalyptic psychological situation thriller that will revolve really slowly until the last quarter of the movie, where entire script will explode into something completely different from the anticipated closing. On the downside, subplots and action sequences won't be so tense, the rest of the cast falls behind Goodman significantly and there is a introduction to the entire franchise as well.

„10 Cloverfield lane” will surprise you with its ending, but not with the rest of it as well.

10 CLOVERFIELD LANE – 5/10

FOTO: cdn1.lockerdome.com