The Chameleon strikes back. But now it seems that some kind of style is being formed: we get the cameras from behind/side of the neck, not so agitated as in PUSHER, which also resembles this film in trying-to-survive-shitty-events. But we also get an almost silent protagonist and a pace that have traces of VALHALLA's silent, slow, dark mood. Witty lines, pop music, pink colors and a scorpion. That's all you need.

So, the people from the sand don't like the people from the water. And there's the rest of us who watch this shit.

Purely emotional response to a lot of messed up things. Can't really say about the quality of the material when it goes beyond rational view. I guess it's time that I really see Mike Leigh as one of my favorite directors, he's always doing this kind of thing.

if it.

It would be great it it were a book, I guess. Everything inside the asylum seems to happen in a schematic way, functioning only for the purpose of resolving a constructed narrative. Also, no feeling of time passing while trapped in a mental hospital, it's really never suffocating or scary in any sense - at least for me. It may be bold for the concept, but that alone has no effect.

Biggest surprise of the decade. Century maybe. In all Cosmos. J. J. Abrams is not a complete douchebag after all. Don't like the time lapses in the beginning, but somehow I was always completely interested in everything. Spock is a great character, should be the center of the next movie - and I think there will be others. Maybe it's the space exploring thing mixed with science talk that makes everything so fun to me.

Fuck Abel Ferrara.

Cut out all the super-ultra tragic bullshit and you get some of the most unique imagery ever created. Unfortunately, I think, if the tragedy side is removed part of the intense and unstoppable synaptic rush-crush that the viewer will receive is lessened - and the film is about entering some kind of void. Also too flying-over-buildings long. But Noe likes to try hard, trips like this doesn't get filmed every day.

Not as interested in its central samurais as Seven Samurai - that's even in the name "Assassins" - but still able to remember and immortalize Toshiro Mifune. Kurosawa would probably approve with merits.

Guess if you are going to do some homage to an old great director better not forget to put your own finger on it and press it hard to leave an impression. Lord Naritsugu, the villain, is the kind of guy Miike likes, always demanding a lot of fake blood and raw violence, and you'll remember this guy after the film. And you'll remember almost an hour of intense continuous battle that is much more than random slashes.

Want to watch this in HD to fully absorb its beauty. Not only the framing, using the ancient 4:3 format to perfection, but also the color tones and the natural light. Can take some time to slow down to its pace, three wagons wandering in the Old West amidst dry, dry and more dry is not the perfect scenario for uninterruptible action-scenes supply. It's built on survival debates and moral decisions. Fucking amazing.

This guy looks like a kid, and this kid looks like a psycho. The future of traumatic teenager-kids is filmed.

30 minutes or so of scattered great moments. But when it throws light on the mystery, it became kind of silly for me. Sure the way the three guys handle the situation is way more sympathetic and sensible that I was hoping for. Even the woman's easy acceptance of her doings is something to be amazed. But it loses it grip as it goes.

Sixth or seventh view. And now I don't know how this can be classified as anything close to action movie, something that happened when it was released. It's pure psychological cinematic mindfuckness. Not very beautiful in a photographic way, but Nolan was just starting to show the world that if he wants to film an idea, he can.

So there's hope for vampires in Cinema. At least in this dark, silent atmosphere, silence only broken by voices, often of children. Superb scenes work better alone than composing this twisted love story. In fact, I'm stuck with the scenes, even the most famous one that wasn't the first time I saw. But when it's not trying to be so fucked up as when Swimming May Not Be Safe and Let Her In, it didn't grab my attention.

Guy living empty life discovers its emptiness and doesn't like. The end.

Po is exaggerated, both in manners and speech, but that makes kind of sense if you see the whole discipline and self-knowledge thing as a universal thing - everyone should be able to achieve them regardless of personality. Well executed action scenes flow like the best ones Pixar has done. Great introduction, and I was hoping to see much more of that 2d style. Still, a little frenetic for its calm and beautiful ideas

Animated smartass alien with a sensible touch, go fuck yourself. 3d guys, had you made longer legs I wouldn't lose my time here. Thank you, till next time.

Only second viewing, many years after the first. And it's better than I could ever remember. It's like a controlled explosion, taking you from the seat to a unforgettable energetic ride and landing safely after it - adrenaline high for sure.

Pixar has something to worry (but is really no trouble): somebody did better work on the CG. And Depp is doing it again with Captain Sparrow from the West with a softer touch. And Verbinski thinks he got to a point where he can copy himself too: we've already seen Depp carried in the desert under blistering sun by arthropods. I don't even know why 2 stars. Even Rango only got one.

High definition making beautiful old (yeah, once upon a time in the 90s) films even more stunning. One of the major works of the decade and of the entire history of Cinema. Tarantino may try, but I doubt he'll ever manage to create a cast so richly entertaining as is the one in this film - BASTARDS and RESERVOIR got close. For me, one of the cornerstones of Art, and the truly signature of Tarantino.

I'm still not convinced by the scene where Sergei discovers the radiogram's information - we shouldn't see him aiming, that makes Pavel's acts even more unexplainable. But that is part of this desolate and haunting landscape. The Arctic is more than just scenario, entangling ideas in the mind of our young protagonist, giving Time a greater sense of scale - I was relieved by the sight of more human beings at the end.

Coens lazy and not-themselves in the third act. Little girl obfuscate everybody, even the Brothers. Some great wordplay, but when a film by the Coens does not completely encapsulate my brain in their universe, it's not that Coen.

This movie should be called ROBERT DOWNEY JR. TRYING TO SAVE GUY RITCHIE EVEN IF SHERLOCK HOLMES LOOKS MORE LIKE A PROFESSIONAL FIGHTER THAN A BRILLIANT DETECTIVE (even if the detective skills are primordial, and not forgotten, but just here's another prove that Holmes could be the next guy in DIE HARD WITH BRAINS, and here's a slow motion detailed and entertaining about how to crush someone, and he's good the end).

REPULSION meets ballet, Polanski is a better director in this case, but Aronofsky, whose film REQUIEM FOR A DREAM is a editing room festival, is surprisingly good here. Like, well, ballet, the camera dances in elegant ways, swinging in long movements. Beautiful to watch, but Portman is no Catherine Deneuve also, filled with fractured reality and mysteries. Still, I keep thinking about watching REPULSION again.

I thought this was a movie, instead is a very long trailer.

Mildy interesting to see the born of a new form of culture that I don't give a shit about.

So this is Chris Nolan before Inception, after wine, with some dinner: "Those people think I don't know how to direct action scenes? I'll give them action scenes in so many different levels of reality they'll be lost in unnecessary philosophical meanings and don't give a damn about how fuckin' good the film per se will be". And here comes Inception, the action film with dreams, so it's possibly more than pure action.

A trial movie with people fighting for money. Tightly packed, a modern subject that is only a natural evolution of Internet, but it's not a question of who got there first, it's who got there better - the definition of capitalism. In the end, just signs of time. But done by Fincher.

The weakest of the trilogy, as far as can remember #1. 2 is certainly better, mostly because its central question is much more pungent, not enclosed in the toy's universe, showing the first, in my opinion, signs of greatness that Pixar has delivered since (except for Nemo, which I didn't find...at all). Anyway, great entertainment, maybe a little too much action-oriented for my taste or for what I expect from Pixar.