FARAWAY, SO CLOSE TO PERFECTION

Christopher Nolan is one of those movie people that has been close to the laureates from the very beginning of his stellar career, but somehow always failed to materialize his enormous talent.

One of the most inspiring wartime stories of all time, English evacuation of expeditionary forces from the coast of Dunkirk in 1940, was one of those scripts waiting for a diversely capable man behind the camera to take it to the stars.

And Nolan did it, creating one of the most tense war movies ever filmed, using everything he has to recreate the unique claustrophobic atmosphere through three overlapping stories (beach, air, water). He also didn’t abandon his trademark storylines intertwining masterfully leading them to the major problem of this movie.

Its ENDING.

If it weren’t for the bottom quarter of the script, we would be now talking about „Dunkirk” as the best directed war movie of this century. If it weren’t for the surreal heroism, pathetic patriotism and sudden lack of brutality, „Dunkirk” would’ve been known as a total triumph of Nolan’s supreme cinematography. Unfortunately, loss of the control over the script managed to severely diminish perfect sound, sound mixing, wide angle, handheld camera and realistic sea and sky battles, as well as some solid acting (Murphy, Whitehead, Rylance) and that is a real shame.

„Dunkirk” is one masterfully directed war story that will awe you in the first three quarters of its course.

DUNKIRK – 8/10

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OOH LA LA

Modern day Hollywood hype around a certain flick is rarely deserved, and I was one of the doubters when it came to 14 (fourteen) nominations for „oscars” for a musical. To be quite hones, I don't like musicals. Basically, I hate them. If I exclude the classic ones („Hair”, „All that jazz”), I disliked almost every single one of those who roared across Kodak theater in the '90s and early '00s (i.e. „Moulin rouge!” and „Chicago”). Hence, my skepticism around the much acclaimed and awaited second Damien Chazelle's long feature was really, really high. And totally undeserved.

In its nutshell, „La la land” is one perfectly balanced blockbuster. Although a musical, the score doesn't overpower the narrative. Although lighthearted and cheerful, it offers some serious existential questions beneath its surface. Although serious for a musical, it doesn't drown in the darkness of modern day US drama. Although funny, it criticizes both Hollywood and the world of music. Although one great hommage to the „good old times”, city of Los Angeles, classical Hollywood and jazz, it stays way out of the pool of pathetic and tacky thank-you notes. All of this, thanks to one single man, the genius behind the camera, young and incredibly talented director and screenwriter, Damien Chazelle.

Taking total control over this vast project, he shows off in every single aspect of it, nailing the certain „golden boys” for best directing, cinematography, editing and production design. By casting the best available young actress (immaculate Emma Stone), he secures the reality of his characters, using the male lead (best Gosling in years) to complement her story. And the story is really one of those everyone can easily relate to, giving the widest possible audience the chance to follow it all the way to the very end.

Ending is a special piece of Chazelle's art, just like the one in his previous indie hit, „Whiplash”. Although a huge musical (jazz) fan, Damien doesn't produce movie fairytales, although they certainly look that way in one point or another. The ending will lift „La la land” from its shell of a elaborated romantic comedy to the level of serious drama that will stand the test of time in years to come.

„La la land” is the one of the best American movies in this decade and certainly the best musical in this century. It will make you laugh, cry, think over it and talk about it long after you left the cinema. Just like every great movie in cinema history does.

LA LA LAND – 9/10

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ACTUALLY NOT THAT BAD

Computer game-based movie is always a bad idea, primarily due to the fact that 99.9% of computer games have banal and empty plots.

„Warcraft” is one of those games, based on the orc invading a imaginery human world called Azareth. However, the movie isn't that bad after all. At least, if you adapt your expectations.

I'm not a fan of the „Warcraft” world, but the Duncan Jones's movie decently amused me. CGI was great, there was even some characterization and indication of real life plots and casting was ok (Travis Fimmel, Ben Foster).

„Warcraft” was a pleasant surprise, overcoming (to be honest) really low expectations.

WARCRAFT - 6/10

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A HEARTSTABBER

Overall slump of quality in Hollywood is followed by a really dangerous trend of neglecting the rare flicks that stand out from the mainstream recycling of old ideas.

„Room” is one of those sidelined dramas, coming from the smaller production and entering the cinemas well below the radar of mainstream public. It is also one of those flicks that you just can not succeed in hiding from the light of the day it deserves.

The critically acclaimed adapted script written by Emma Donoghue is really well camouflaged in the first third of the movie, leaving the viewer wondering what the hell is going on with the five-year old boy (phenomenal Jacob Tremblay) and his mother (excellent Brie Larson) and why won't they leave the premises of their tiny house. Compiled from the several kidnapping real life stories, the plot thickens from then on, and it thickens majestically.

The scene in the pickup is so tense, that you will be dared to try to breathe during its course. You will be challenged by the breathtaking performance from the young nom-less Jacob (shame on you, Academy!) and by the discreet, but phenomenal directing of the obscure Lenny Abrahamson („Frank”). From that moment on, everything changes, evolving from the claustrophobic surroundings to a brand new world for little Jake and his mother.

Drama isn't over, although we are only half way there when it comes to overall course of the movie, but we can breathe easier. Little Jake enables us to do so, with his hearthstabbing, but unquestionably optimistic narrations depicting the adaptation of his untouched soul with the terrifying, but in the same time fascinating outer world. The closure will maybe considered as a anticlimax by some, but it will be the only possible ending for such an emotional roller-coaster.

„Room” is without any doubt and by far, THE BEST movie of the year and the best drama coming from Hollywood in this decade.

ROOM - 10/10

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ARTISTIC BRAINWASH

Artistic flicks are one of the most dangerous movie categories because the directors and screenwriters can really, really easily step into the vast sea of banality, stupidity and pretentiousness. And this is exactly what happened to „The Lobster”, easily the most annoying flick of the entire movie season.

There isn't a story here, nor acting, nor much sense. Just random scenes, absurd dialogues and overall sense of the movie maker's arrogance.

Taking everything said and done into consideration, „The Lobster” is just one of those flicks you should NEVER watch. Never. Ever.

LOBESTER - 1/10

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HILLARIOUS

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The series about the young actor and his entourage proved to be one of the more amusing runs on recent American TV, although without a decent closure at the very end. The fans wanted more, and a movie was the only logical answer.

Unlike its women’s counterpart, „Sex and the city”, long feature of „Entourage” was a true revelation and even more amusing than the original series. The main quartet is there (Vince, Johnny Drama, Eric and Turtle), but as always the show is stolen by the unbelievably funny and politically incorrect manager Ari Gold (Jeremy Piven). As for the plot, it doesn’t differ much from the TV version, rotating about the production of a new movie in Hollywood. The series trademark cameos are present as well, with Pharell Williams and Emily Ratajkowsky leading the way.

„Entourage” movie will make laugh your heart out even though you haven’t seen the series.

ENTOURAGE - 8/10

ESTONIAN REDEMPTION SEEKER

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Estonians fought for both sides during the Second world war, but they did it much more for the Germans and this movie won’t change that fact, despite occasional solid action sequences, depictions of meaninglessness of war and several laughs along the way.

”1944” is a politically motivated film placed inside anti-Russian worldwide hysteria coming from a small country with some nasty historic issues.

1944 - 4/10

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

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

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

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

DARK, BUT FUNNY

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John Michael McDonagh is one talented screenwriter and director. His filmography led me to ”The guard”, dark humored tale of the corrupted and politically incorrect policeman who likes drugs, alcohol and prostitutes and who, by chance, becomes the final obstacle between the trio of ruthless Irish drug smugglers that obtain heroin for the Ireland via Atlantic.

Brendan Gleeson is great in his lead role, while Mark Strong and Don Cheadle present a decent backup. Script is harsh, insulting and quite funny from time to time, but still falls short in terms of consistency.

”The Guard” is one solid dark humored comedy with an attitude.

THE GUARD - 6/10

PLAIN AWFUL

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Serbian movie is the only thing with less quality than the Serbian football. All the disadvantages of the modern Serbian movie are quite obvious, even inside trilateral co-production with Korean and Japan.

Overacting, ridiculous lines of the naïve script, cheap backdrop of Belgrade and a pathetic story of a successful tenor coming parts with his life after the thyroid gland surgery is just unwatchable.

”Tenor” is a waste of your precious free time and your hard earned money and deserves none of your attention.

TENOR - 1/10

TOO SWEET

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Chinese cinema tends to steer in two major opposite extremes. While Hong Kong revolves around brutal action packed crime stories, mainland Sino-cinema embraces artistic expression. ”The road home” is one of those artsy flicks, with a story about love and dedication between the young village school teacher and its student.

In theory, everything sounds correct. On the big screen, story is pretty thin and elongated. Photography is fine, but there is a lot of overacting as well.

”The road home” is one decent attempt, but nothing more than that. It could have been a lot better. It should have been a lot better.

THE ROAD HOME - 4/10