MAINSTREAM BIOPIC

Hayao Miyazaki is the visually most dominant Japanese anime author, and his reputation soldiers on in a biopic about one of the most famous airplane constructors between two world wars.

However, the storyline fails to follow impeckable graphic style with a too oflat lined story, which gives little or no surprises. Dreamworld in which the main character habitates and draws the inspiration for his constructions is just occasionally shadowed by the illness of his spouse and looming war predictions throughout the entire course of the movie.

„The wind rises” is just too „ordinary” for a Japanese animated flick.

THE WIND RISES – 4/10

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FASCINATING STORY, MEDIOCRE MOVIE

Communist hunt in Hollywood in the '40s and '50s have remained almost totally hidden from the mainstream production if we don't count some lonely shots like  „Good night and good luck”.

Story about witch hunt on the screenwriters with pretty solid Bryan Cranston at the helm is one of those unknown stories that represent „Trumbo's” greatest contributions to this years Academy nominees. Unparalled pressures that included jail and notices for the „red” entourage around Dalton Trumbo caused the writer's anonymity even from the greatest prize of them all, the „Oscars”.

Besides that fact, „Trumbo” is one average flick with some substandard supporting cast.

„Trumbo” will make you learn something you didn't know about Hollywood and not so distant US history and nothing more than that.

TRUMBO - 5/10

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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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DARK, BUT HILARIOUS

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Argentinian runner for this year's best foreign language ”Oscar” is an omnibus of different tales based on the crimes from passion that differ in length and quality, but are joined together present one dark and cynical comedy. Some of the stories are just plain heavy (battle on the highway, hit and run) while the others are hilarious (towed cars, wedding).

Almost every significant Argentinian actor is there, led by the Ricardo Darin and each and every one of them gives their small contribution to the film as a whole.

Overall, ”Wild tales” is one of the finest representatives of quality Argentinian dark comedy.

WILD TALES - 8/10

SLOW, BUT TEPID

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Although it was considered a major runner for the foreign-language flick at this year’s ”Oscars”, ”Leviathan” isn’t a good movie. Its subject that depicts every possible stereotype about the Russian society is very politically favorable when it comes to American audience, but that’s not the worst aspect of this flick.

”Leviathan” is artistically astonishing, with all of its wide angles and stark landscape of northern Russia, but it is also one very, very slow and boring script with no beginning, no end and no point. Acting is pretty much mediocre, as well as the rare dialogues.

Russian modern cinema is in a big crisis and ”Leviathan” sure does not offer the light at the end of the tunnel.

LEVIATHAN - 2/10

MOVIEMAN

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Alejandro González Iñárritu is a remarkably talented man, whether you talk about cinematography, script or directing itself. He hadn’t made too many movies, but each and every one of them was a small masterpiece. So is the ”Birdman”.

In a really quality-poor movie year, Iñárritu has done it again, creating the most original American flick in years.

Everything about „Birdman” is fresh and different from the stale Hollywood mainstream.

Script is dynamic, creating real life characters that you can bond to. Casting is superb, with Keaton leading the way with the performance of his life. Ed Norton is that Ed Norton we have missed so much since ”Fight club” and his chemistry with Michael is one of the most magical moments in the entire story. Emma Stone, Naomi Watts and Zack Galifianakis support them all the way to the end. But good plot, explosive and witty dialogues and pristine acting aren’t Iñárritu's main weapon. No.

Greatest quality of ”Birdman” is its unique visual identity, rivalled this year only by ”Grand Budapest hotel”. Unlike Wes Anderson’s cartoonistic approach, Mexican director does it the old-fashion way. With his camera, surreally long cuts (first one is 53 (fifty-three) minutes long!) and intimate narrow frames. Final result is one of the most successful and lovable hybrids between theatre and cinema ever.

If there’s any sanity left in the members of the ”Academy”, ”Birdman” must harvest all the major ”Oscars” in February 2015. Giving the ”golden boy” for best male lead, best female support, best movie, best directing and best script to any other flick/director/actor/actresses would be a crime for a capital punishment. As well as a great injustice, both towards the film industry, and to the Alejandro ”Movieman” Iñárritu himself.

BIRDMAN - 10/10