Change Your Image
johannes2000-1
Ratings
Most Recently Rated
Reviews
Winnie-the-Pooh: Blood and Honey 2 (2024)
Better than part 1, but lacking decent VFX
To be honest, I didn't think it was all bad. It was definitely better than part 1, it had more of a serious story, with even a (farfetched) explanation of how the monsters were created, and they got a little bit of extra depth to motivate their resentments and anger. The atmosphere is all through the movie pleasantly sinister, with some effective photography, and the violence was relentless, with some awesome gore. A special thumbs up for the make-up and prosthetics department, they really did some great work. I had to adjust a bit to Scott Chambers as Christopher Robin, but gradually he grew on me and I started to appreciate his understated way of acting, while his boyish looks were exactly right for the part.
On the other hand there's also a lot to criticize. The creatures are done with masks, and in this day and age of high-end CGI that's rather disappointing, making them look - at least in close-up - more silly than scary. The special effects - if any! - are underwhelming: especially Owl flying around looked very amateurish. At some point, the violence went totally over the top, so much that it became more preposterous than horrifying, like in the party where the corpses eventually heaped up to the ceiling. And I sorely missed some humor, as a counter balance to all the pitch-dark and dead serious goings-on!
I don't know where this will lead to: a whole franchise with continuously resurrected monsters and new massacres?? If another sequel is considered, I hope they will give it some new angles to the story, and some far better VFX!
The Strangers: Chapter 1 (2024)
Reasonably entertaining, but nothing new
Apparently this is growing into a franchise, and I'm wondering if that's really an asset. Because let's be honest: with these sadistic masked killers who stay all the time totally anonymous, and without any motive whatsoever for their actions (besides something like: "because we can" or "because you're here"), the format becomes rather shallow and repetitive. No twists or turns in the story, no exciting intrigues, just the same chasing & hiding & killing. Only the faces of the victims and the setting vary.
In this episode (apparently this new movie is meant to be the first of a series) the besieged couple is at least well acted by Madeline Petsch and Troy Gutierrez, they are both cute (if you can overlook Petsch's overblown lips) and have real chemistry. The photography is okay and the atmosphere is pleasantly sinister. Hopefully the end, referring to a next episode, promises a serious and more rewarding change in the format, and not yet another helping of the same, by that time pretty stale soup.
Mickey's Mouse Trap (2024)
As a generic meant-to-be slasher disappointing, and the use of MM doesn't add anything
Potentially everything is there to make this pretty generic teen-slasher in the funhouse category work: the amusement arcade has all kind of promising attractions, the group of friends is as diverse as it should be (jock, nerd, airheaded bimbo, pothead, etc.) and there's a cute and spirited heroine. But the pace constantly sags between the (few) moments of action; there are hardly any special effects; most killings take place off-camera (apart from an effective gorey one at the very end); while the format of interchanging between the actual happenings and a witness afterwards telling everything to the police was mainly annoying, time consuming and redundant for the story.
Biggest let-down was the use of the Mickey Mouse persona: they didn't do anything with it that in any way fitted the character of Disney's Mickey (like they did in the Winnie the Pooh movies), it just came down to some killer with a MM-mask, that could have been any other mask. His supernatural origin came out-of nowhere and made for some pretty ludicrous scenes.
The end is almost trunked-off in mid-air. I patiently sat out all the closing credits, and yes: after those there's a very last scene that supplies some kind of explanatory twist. Probably missed by 99 percent of the viewers, if they even made it to the closing credits.
Love Hurts (2022)
Failed wannabe psychological thriller
This is a very curious movie. It's meant to be a sinister horror/thriller, with an eccentric who invites a group of random persons for a dinner party in his mansion, under the pretense that they will be paid 10.000 dollar if they will experience an "emotional breakthrough". Then, in the course of the evening, he starts provoking them, playing with their minds and revealing some of their hidden personal secrets. This causes some of them to snap and totally lose control; as a result eventually blood flows, and worse.
This may sound interesting, and is does have potential, but the execution is really bad. The pace is way too slow, the photography is lackluster, and especially the acting is below every par. Only the host (Sean Sprawling) and his butler (Simon Phillips) do a good job, but the actors playing the guests are all terrible. The script is very talkative, and the whole movie is very low on action.
Biggest let-down is the lack of any comprehensible or relatable motive for the host (or for his commissioner, as a twist at the end of the movie reveals) for their actions. The interrogation by the two police-detectives doesn't really help in getting answers, they are so awkward and amateurish that the result is hardly surprising.
In fact, my only positive feeling concerns Sean Sprawling: as the gender-fluid androgynous host his (their) attitude, gestures and dialogues are almost theatrically choreographed, and lend him (them) a definite, larger than life charisma. But that alone wasn't enough to save this disappointing project.
Incoming (2024)
Non pretentious fun
This is non pretentious fun, in an old school, American Pie kind of way. There's nothing new here, but who cares if it's done in such an entertaining and pleasant way! The story is exactly as corny, raunchy and predictable as it should be, with lots to chuckle about and a few really hilarious scenes. Some were a bit over the top (like the faeces thing, which really took way too much time!), although that probably goes with the territory in this kind of aimed-at-teens movies. As to the acting, I was surprised by the young cast, they all did a great job, acting very natural and easy, with Mason Thames as a sure promise to turn into a future heartthrob.
Last Ferry (2019)
What did I just watch?? (apart from some bad PR for Fire Island)
This is a curious movie. It's intended as a (gay themed) murder-thriller-mystery, but it seemed as if the major plot had taken place right before the story starts. There has apparently been a murder, but we hardly hear anything about it, and certainly don't get any clou of the why's and how's, and only very late in the movie, rather indirectly, of who did it. In the meantime we follow main character Joseph (Ramon O. Torres, by the way also the writer of the script) as he makes a visit to Fire Island in the off-season. There's some innuendo of him being a gay newbie, as we see him wandering wide-eyed around the island, craving for some (gay) action. After within five minutes being drugged and robbed, he finds a warm shelter in the vacation house of attractive Cameron and his friends, and a love-affair between Joseph and Cameron blooms. But gradually we find out that this Cameron has a secret, as well as a dangerous ex-lover. The ending of the movie feels as trunked as the beginning: after some chaotic turmoil it's suddenly over and the closing credits start to roll, without anything being cleared up.
Okay, there's some nice-looking gay eye-candy, including some skin, but for the rest the whole movie is extremely tame and lackluster. The acting is hardly adequate, especially Ramon O. Torres walks constantly around like a dazed zombie. And it doesn't seem like good PR for Fire Island: we only see the bleak barren side of it, and the first two persons we meet are a lecherous old guy, drooling over poor innocent Jonathan, and a violent gay basher. It certainly doesn't make me want to try a visit.
Horny Teenagers Must Die! (2024)
Uninspired and totally failed wannabe slasher
I did watch the whole thing out, only thanks to my almost superhuman endurance. Because it is really a bad movie. Maybe it's made by totally inexperienced newbies in the business, as their first wobbly try at a feature film. But somehow it impressed me more as if some sleek producer thought it an easy way to make a quick buck, by aiming at a non-critical teen audience with a titillating title that promises sex and slashing, while keeping the budget as low as possible.
Everything here is wrong. The whole cast cannot act, and in their helpless efforts blatantly over-act. The sound varies, at times even within a scene, from muffled to swimming hall echos. The lighting is totally off, in many scenes the actors have a toxic green glow in their hair. The special effects are almost non-existent and totally unconvincing. The killings (pivotal, one would say, in a supposed slasher flick!) are lame, shown in a quick flash, and that's it.
The story is a dull and uninspired rip-off of the zillion (and mostly way better!) cabin-in-the-woods slashers, with all the usual unoriginal characteristics: the bunch of youngsters who couldn't be more different and thus make a totally improbable group to go on a trip together; sex- and nude scenes at the craziest moments; characters reacting either hysterically over-the-top, or strangely stoical when stumbling over yet another mutilated body or severed head; I could go on and on.
Maybe, just maybe, they could have saved this project when they would have made it into a comedy, or in a parody on slasher movies. But alas, there was nothing even remotely to laugh about. In short: this is a bad, yes, a sad and bad movie. Avoid!
Fabbricante di lacrime (2024)
Involving romance, but with some serious flaws
On the positive side: this is a carefully made, sensitive and romantic movie, with as a harsh and cynical edge the abuse and harassing of children in an orphanage. Story and settings are very atmospheric, almost (and I guess quite deliberately) in the vein of an ancient fairytale. The romance between Rigel and Nica is convincing, and sensually photographed, and young actors Simone Baldasseroni and Caterina Ferioli both do a fine job and are very attractive.
I had some serious reservations too. The pace is extremely slow. The dialogues are all rather profound and solemn, especially Rigel and Nica are constantly communicating in almost poetic sentences, hardly common for two high school kids. It gradually impressed a bit as pretentious writing. The abuse in the orphanage, which is so pivotal for the story and the awkward relation between Nica and Rigel, is shown during the movie only very sketchy, in literally flashy flashbacks, so it's a bit hard to relate to the traumatic influence it must have had on the children. Nica's brave speech during the court session is so (again!) poetic, and not at all explicit, that it hardly explains the apparent successful outcome.
Still, on the whole this movie is very involving, you keep rooting for the kids to finally find their happiness, which only proves how well it's made.
Cinderella's Curse (2024)
Cinderella on a ridiculous killing spree - avoid!
Apparently the makers of this production meant to come up with an original and (very!) unconventional approach to the well-known Cinderella fairytale: turning it into a supernatural slasher-/horror story. Now these old fairytales originally weren't as sweet and Disney'ish as the 20th century has re-invented them, but here they really went totally overboard: this version is nothing but one big blood-soaked gore-pandemonium! It's a Cinderella drowning in a hotchpotch of Hellraiser, Wishmaster and Evil Dead, all in one.
Even in the introductory scenes the violence of the terrifying stepmother and her evil daughters is of Saw-like proportions. But when, after the pivotal ball at the palace, Cinderella shifts into her revenge-mode, all fuses are blown and a hysterical killing-spree starts among all the guests, turning the party into a chaotic frenzy of screaming victims who are stabbed, amputated, torn to shreds and devoured one by one by Cinderella-turned-demon and her Cenobite-like helpers, amidst never ceasing fountains of blood. The VFX- and make-up people probably have had a real ball, but at home I watched in disbelief.
Okay, the acting was reasonable, Kelly Rian Sanson is pretty, Danielle Scott makes a fearsome stepmother, and sleek prince Sam Barrett was at least allowed to show some impressive skin. But that was all. Maybe, just maybe, it could have worked, when they had made it into some kind of comedy, but alas, not one laugh to lighten up the day. What remained is the overblown result of a writer's crazy fantasy, executed on steroids. It's not even camp, just bad. Avoid!
Where the Crawdads Sing (2022)
A touching tale, very well acted, with beautiful photography
This is a very moving film: a coming of age, drama, romance, and mysterie all in one. The setting in the swamps of Georgia gives it a very atmospheric and authentic feel, and the photography is absolutely beautiful. The story is intense, and Daisy Edgar-Jones gives a really stunning performance as the forlorn and scorned but resilient Kya, who has to build up her own life after being abandoned in the swamps by all her family-members. The scenes with Tate, when Kya cautiously at last admits love, are really touching, and Taylor John Smith does an excellent job. As do Davis Strathairn as the intelligent and caring lawyer, and Harris Dickinson as the opportunistic, creepy Chase.
I didn't read the book, so I don't know what liberties were taken with the text. The fact that one of Kya's brothers returned home, totally out of the blue, seemed a bit redundant to the story, since nothing was really done with it. And I had hoped that we in the end would get to see in flashback what really had happened in the fire tower. Now the revelation comes to us rather indirectly in the very ultimate scenes, almost casually, as a footnote in the story. It's even hard to tell how it effected the old Tate after discovering it.
But over all, very impressive! It's one of those movies that give you the feeling of having experienced something extraordinary, that you will remember for a long time.
The Town That Dreaded Sundown (2014)
This effective and beautifully photographed slasher is a real hidden gem
I was pleasantly surprised by this 10 years old movie, that I had never heard of before. It's basically a slasher horror, and it totally works like that, with a scary masked killer, his gruesome gorey killings, and the confusion around his identity up until the very last scene. And as usual there's a brave young heroine in spite of herself, who is granted a short but endearing romance.
So this all sounds probably pretty familiar. But what lifts it above the common multitude of comparable horror flicks, is the very careful and inventive direction and the absolutely wonderful photography! All the time it's as if director Alfonso Gomez-Rejon and cinematographer Michael Goi specifically steered clear from every risk of cliché, and turned each scene into an unexpected little piece of art. Don't get me wrong: it still is every inch a creepy and enjoyable slasher, but with this impressive extra edge of quality and of being different. Beautiful and sweet Addison Timlin and cute-as-a-puppy Travis Tope do a great job as the two main characters, and there's a fine, carefully chosen score.
Élite (2018)
Exciting high school show with some thriller aspects and pretty daring (same) sex content.
I just watched the latest (8th) season of the Spanish high school series "Elite", and like all former seasons it again was (at least in my opinion) a real treat!
As in any other high school show it has at its core the intrigues and relationships of the various main characters. But as a specific edge there's the posh character of this private school for the kids of the super rich, in combination with some less fortunate kids that are allowed on a scholarship, which causes all kinds of frictions. And then, as an extra bonus, there's in every season some murder with a whodunnit aspect. All of this together guarantees exciting episodes chockfull of sizzling intrigues, dramas and romances, lavishly drenched in Spanish temperament.
Every season again I'm amazed at the quality of acting of the young and mostly very attractive cast (there are by the way many changes during the different seasons), in the last seasons I was especially impressed with the ones that played Chloe, Isadora and Joel. Among the (few) grown-ups in the cast Maribel Verdú deserves special mention, she's absolutely hilarious!
"Elite" is also known (if not notorious!) for the amount of sex-scenes, getting more daring with every next season. I admit that it sometimes feels a bit as being deliberately provocative. But it's also at many times very functional to the story. And the way they incorporate same-sex relationships, and don't shy away from pretty graphic gay making out and sex scenes, is absolutely laudable and groundbreaking. Being gay is, in the world of Elite at least, as normal and a non-issue as being straight. A big kudos for that!
No Way Up (2024)
Entertaining, but with some questions as to logic and realism
It may not be the best disaster-movie or thriller ever, but I still liked it. The scenes with the plane breaking in mid-air and crashing into the ocean is very convincingly done, and the rest of the story, where we see how the few survivors cope with their predicament and try to find a way out kept me on the edge of my chair. Apart from the sudden appearance of sharks, there are no other twists or turns, but by giving each of the survivors a personal touch you get to care for them and this keeps the tension up until the end.
I guess the makers took some technical and scientific advising, but at several points I wondered if things were really that realistic. Like a broken plane lying deep under water but capable of keeping an air-bubble for many hours? Or enormous sharks swimming without any problem in the narrow aisle (at best some 20 inches or 50 centimeters) between the two rows of seats, I mean: how wide is a grown-up shark?! And do sharks really back away just by blowing air bubbles in their faces? And how did the survivors know how much time it would take to reach the surface of the sea, they couldn't have had any real idea of how deep the plane had sunk. And wouldn't there have been a risk of decompression problems?
Anyway, these reservations didn't really mar my pleasure. For a non-pretentious airplane-disaster movie it was entertaining enough.
Sting (2024)
Entertaining and fun, non-pretentious creature feature
I liked it. It's a non-pretentious, very straightforward and old-fashioned creature-feature, about a family in a residential building and an ever-growing carnivorous spider from outer space on a killing spree. No complicated twists and turns in the story, just suspense, a whole lot of running and chasing, several horrifying killings, and the resourceful teen daughter trying to find a way to fight the beast. The acting of all of the cast is fine (with special mention of young Alyla Browne), the spider looks pleasantly scary, there's some nice gore, and - last but certainly not least - there's lots of humor. Very entertaining, if you just go with the flow.
I'll Always Know What You Did Last Summer (2006)
Uninspired replay of the first two editions
I didn't expect much, and rightly so: this is but a lukewarm and uninspired rip-off of the original movie. The premise is pretty much the same: some youngsters accidentally cause some one's death, and decide to be silent about their part in it; then they get haunted by the notorious homicidal hooked sailor. Here the slightly original edge is, that the sailor is not an alive person, but the come-to-life-again demon-version of the original sailor who got definitively killed on the Bahama's in part 2 of the franchise. Well, the result is as can be expected: some predictable killings with the hook, and a whole cast running frantically around to try and escape the deadly attacks.
Since the demon is almost unkillable, the counter-attack of the last-ones-standing to ultimately save the day has to be extra inventive, and that was nicely done. As was the face of the sailor-demon, when it's finally revealed: great make-up! The kids involved look good, but as actors they are hardly a match for the original (pre-)star cast.
I Still Know What You Did Last Summer (1998)
In spite of the predictability and clichés, still pretty entertaining
Call me shallow, but I actually liked this movie. Sure, it's chockfull of horror clichés (thunder and lightning, and jump scares with according sound crescendos, that mostly proof to be false alarm). The story is totally one-dimensional: the notorious maniac with the hook chases after heroine July (Jennifer Love Hewitt) and her friends and starts a relentless killing spree, so the rest of the movie is almost totally filled with everyone in a constant panic trying to escape. Only in the last ten minutes there's one serious and meant to be surprising plot-twist, but one that could be seen coming like a half hour in advance.
Add to this that the identity of the killer is clear from the start, so there's no whodunnit aspect to keep the suspense up; that the killings are the same, with the hook, so after the 10th time this becomes a bit tedious; and it's totally unclear why he also kills all these totally innocent hotel staff members, when it's specifically July that he wants to torment.
So why did I still like it?? Well, because they used all the clichés in a very effective manner. And because the pace is pleasantly high. And because the acting is excellent, not only by Love Hewitt, but especially by Brandy Norwood and Mekhi Phifer as her spicy, ad-libbing friends, even for only those two the movie would be worthwhile. Oh, and for the small, totally goofy part of Jack Black as a constantly high, dreadlocked pothead.
Those About to Die (2024)
Maybe not the best CGI, but for the rest a great and exciting historical series
I'm a bit surprised at so many negative reviews here on IMDb, because personally I had a great time with this series. Sure, the CGI isn't the best there is (the city and buildings look a bit vague, and especially the animals, like elephants and crocodiles and the super lion, aren't very convincing), but there's so much to enjoy that this didn't mar my pleasure a bit.
The story is intricate but solid, with all the different storylines and characters neatly coming together, while the several intrigues are involving and exciting. The settings in the palaces, halls, brothels, suburban apartments and the claustrophobic dirty streets of Rome are impressive, as are the costumes; and the frenzied atmosphere in the packed stadium is well done and totally convincing. The chariot races are (in spite of my earlier comments on the CGI) absolutely awesome and realistic. Even the historical background of the story (emperor Vespasianus and his sons) is reasonably accurate (except for Titus being murdered).
The acting of all major characters by the (very international) cast is top-notch, with special mention of Iwan Rheon and Sara Martins, who both are the impressive pivots of this series. But I was also impressed by the parts of the Spanish brothers, who were very moving; by Jojo Macari, who makes Domitian into a fascinating neurotic and cruel opportunist; and by Dimitri Leonidas as the carefree conceited Scorpus. Personally I had hoped that Alessandro Bedetti as the breathtakingly beautiful toyboy of Domitian would get a bigger role, but alas....
All in all, a great and exciting series, comparable in design and quality to Spartacus. I hold my fingers crossed that there will be a next season!!
The Price We Pay (2022)
Reasonably entertaining, with some serious gore, but too predictable
I watched the whole movie out and was reasonably entertained, so that's something. The introductory scenes were rather chaotic, almost off-putting, but from the moment the villains and their hostage enter the isolated farm, some serious suspense sets in, and for a short while the atmosphere gets really creepy and filled with anxious anticipation. Then we get to know what's really going on, and for the rest of the movie we're treated to an over-the-top Hostel-like horror-scenario, including the usual cat-and-mouse game between the sadistic maniac (and his of course hideously deformed accomplice) and the frightened victims who try to get out alive. No further twists or turns, so the rest of the story, including the outcome, is pretty predictable.
Still, the pace is fine, the acting is good (although it gave Stephen Dorff not so much to really put his teeth in), and there's some serious, hefty gore. And the addition of young Tyler Sanders as a coerced but well-meaning member of the maniac family gives it an extra personal edge, he being the only character of all to evoke some sympathy. Such a terrible thing to read on IMDb that Sanders died shortly after the production wrapped, aged only 18. Life is not fair.
Trap (2024)
Involving, well made and inventive thriller
After the disappointing Knock On The Door I was pleasantly surprised with this new Night Shyamalam. No mysterious and unfathomable happenings this time, no innuendos of supernatural causes; here we are presented with an all too real, relentless villain who gets caught up in a cleverly played cat- and mouse game with the FBI. The setting in the middle of a pop concert is a real find, as is the combination of Josh Hartnett's unscrupulous cunning schemes with the presence of his unsuspecting and endearing teenage daughter (Ariel Donoghue). The clever script provides an inventive twist, when the villain gets outsmarted by Lady Raven (Saluki Shyamalan), and later on another one, when the role of the wife (Alison Pill) turns out to be a lot bigger than just that of an insignificant little mouse.
Josh Hartnett is absolutely great, convincingly playing a charming and caring father, as well as an evil, crazed mastermind. Saluki Shyamalan is a real surprise, she did a fine job, both as actress and as singer (assuming that it was really she herself that did the singing and dancing). By the way, the concert that made the background of the movie was awsome, with some great songs, and could go on tour without any problem!
Sure, some things in the script were a bit farfetched and unrealistic, like Lady Raven keeping her cool so admirably under the threatening pressure of a mass murderer; or the villain escaping time and again right from under the noses of throngs of policemen! And the very last scene was maybe a bit too cliché, as in: the evil isn't really over yet. But for the rest: a solid, involving and very entertaining thriller. That, come to think of it, in spite of featuring a mass murderer nicknamed The Butcher, didn't have any drop of blood or hardly any violence in it. It simply didn't need it.
La huella de unos labios (2023)
Not very involving and depressing Covid-themed gay love- and sex story
I wasn't that thrilled. It's the rather depressing story of two gay men, who accidentally meet and (after we've seen how wild and unhindered their original sex lives were) are caught up by a terrible pandemic and all the severe restrictions that come with it. Living (conveniently) right across the street of each other, they have to play out their sexual longings on the phone, while watching each other from their windows. The scenes we see are a mixture of how they suffer under their dreary confinement, and their erotic phantasies. Just when their virtual relationship seems to go to an emotional deeper level, Fate comes relentlessly knocking.
For me, the most fascinating side of this movie was seeing how draconic all the governmental restrictions apparently were in Mexico, assuming that they were pictured as they in fact were during the Covid time. But neither the story itself, nor the two main characters could really touch me. They weren't pictured very sympathetic to begin with, and both actors weren't really convincing either. There's some serious graphic sex involved, I confess it's titillating, but for that alone there are a zillion sites on internet to see.
Eismayer (2022)
Fascinating account of an unlikely but true gay lovestory in the army
After the last scene of this movie, my first feeling was: an interesting gay-themed feel-good story, but too farfetched and unrealistic! Until a closing text proved me totally wrong: it's based on true events, both original main characters are still happily married, and before the closing credits they even showed a picture of this unlikely but radiant couple on their wedding day!
It's already a fascinating story as it is, without the hindsight knowledge. In the Austrian army, at the end of the 90's, being gay is not so much a taboo, but still considered to be less masculine and the focus of ridicule. It's hard enough for young gay recruit Falak to hold his own, but his superior, closeted major Eismayer, has to hide himself behind a mask of extreme sterness, all the time raging and shouting, and bullying all his inferiors. Gradually however a surprising secret love-affair between the two unfolds. What remains as a major barrier, is the fear of Eismayer to out himself to his army-unit.
I guess the story is here and there slightly romanticized for the sake of the movie and the entertainment value. For who's interested: on wikipedia you can find some really enlightening background material, among other things an extensive article in an Austrian newspaper, dated 2014, with an interview with both men on account of their recent marriage. This article was by the way the source that triggered director David Wagner's interest in making this film.
The settings in the army barracks, the military drills and the field exercises are totally authentic (thanks to the support of the Austrian state army), and both main actors Gerhard Liebmann and Luka Dimic do a great job, especially Liebmann's part as the raging Eismayer must have been a real tour de force. Cinematographically this movie may be not very inventive or impressive; but as a well acted, uplifting story of how love can blossom even in the most unexpected circumstances it's totally rewarding!
Dead Sea (2024)
Reasonably entertaining thriller
I had a reasonably good time with this thriller, although the story is rather one-dimensional: apart from the surprise twist after the friends are rescued from their predicament in open sea, it turned out as a pretty generic and thus predictable cat- and mouse game between the captives and the villains. But it was all convincingly done, there's a good balance between action and suspense, bad guy Rey is seriously creepy, and Isabel Gravitt is a tenacious and inventive heroine (and very attractive to boot!). The motive of the villains for capturing people was pretty original, albeit a bit farfetched; and it's pretty questionable by the way if surgery on a wobbly boat on high sea, without any noticeable precautions as to sterility, will produce really usable donor organs. But for the rest: a pleasant, well done, non pretentious thriller.
Bashtaalak sa'at (2022)
A brave Arabic view on gay sex, but too arty and anecdotical
I can admire the courage of an Arab director to make a film that not only specifically reflects on gay relationships and gay sex, but this even glorifies and all over the movie pretty graphically shows with ample naked male skin. For this alone he deserves praise and support.
But to be honest: I personally didn't find the chosen form very involving. Maybe one could call it eclectic, but to me it seemed like an incoherent hotchpotch of styles and cinematographical whims: animations, colorful graphics, stills, people at the oddest times bursting into singing, guys making out in two- and threesomes, and especially endlessly babbling with each other, about.... well, about what? It's all intended (I guess) as sharing life experiences and drawing profound conclusions, but it never in any way reached my heart or brain (and being gay, I sincerely started watching with a totally open mind!).
Since any serious narrative is absent (at least, I didn't see it), what remains is a rather tiresome succession of anecdotical scenes and visual bits and pieces, like an Arabic-spoken ADHD-version of Bidgood's Pink Narcissus. It lasts only 60 minutes, but still felt overlong and over-arty, on the brink of pretentious.
But hey, I guess it's me, I probably missed tons of metaphors or am simply not appreciative enough. And as I said: kudos for the guts of mister Shawky Hassan.
Große Freiheit (2021)
A difficult watch, but very moving and impressively acted
This is an extraordinary and very moving film. It's as well utterly depressing, in its picture of the deplorable daily life in a German post-war prison and how a person can get dehumanized; as well as uplifting, because even in all that misery love and loyalty still can blossom. The images are harsh, realistic and unvarnished, and the narrative is intelligently construed, not so much with flashbacks, but by presenting three moments in time that we alternately follow. Franz Rogowski gives an impressive performance, with few words but all the more with his attitude and expressive face. His necessary aging is totally convincing.
It's poignant to realize how laws against homosexual behavior even in a West-European modern state like post-war Germany could exist so long, incarcerating people, driving them to desperation, or even to suicide. The end of the movie gives it a cynical turn, when we see how main character Hans Hoffman at last can experience the long awaited Grosse Freiheit (Great Freedom), but then makes an unexpected personal choice.
Not a pleasant watch, but very worthwhile, and really getting under your skin.
The Couple Next Door (2023)
Good premise, but too much side-stories and a crummy ending
I have mixed feelings about this mini-series. The main premise is fine (a young couple moves into their new house and gets entangled with their new, rather provocative and sensual neighbors), and the story that gradually unfolds is involving enough, with first the mutual attraction, later on spiralling down into distrust, anger and paranoia. Only in the last episode things go definitely over the top with a chaotic shoot-out, that clearly is intended as a Grand Finale but becomes slightly ridiculous.
Still, I could live with that, but unfortunately the writers didn't think this enough to fill the 6 one-hour episodes, so they threw in three extra story-lines that took up heaps of time, but didn't add anything to the main story. The one with the lecherous neighbor across the street, as well as the one with the revealed child, were at least in itself interesting and well acted. But the one where main character Danny, a policeman no less, let himself be lured into illegal actions, up to assisting a dangerous mobster, robbing a bank and getting murderous thugs after him, was a bit too much. Without these side-lines the main story would have been exactly the same, probably even stronger (and at least two episodes shorter!).
Eleanor Tomlinson and Jessica De Gouw both do a great job (and are each extremely sensuous to boot!), but Sam Heughan was constantly pictured as an attractive but clumsy dork, which somehow didn't really seem to befit his persona. Alfred Enoch plays at first the most stable character of them all, but towards the end unfortunately was made into a raving hysteric.
All in all: a bit of a waste of some good actors and a basically interesting premise.