OK then, today we have some movies to smear with poo-poo, as could dr. Martin Ssempa say.
Remember, here we have the same scale to check:
Welcome to the Cinemarathon:
Definitely
awesome thriller about uneasy burden of being a pathologist, a nihilist of
niezschean way and an sane serial killer simultaneously, almost
professional drama; finally, this is the movie when Alissa Milano dies, what else do you need?
This movie
is like fake christmas-tree decorations – looks like real but gathers no fun or
suspence or whatever.
Although
the plot repeats a bit “The Silence of the Lambs”, Cary Elwes hardly looks less
harmful than Anthony Hopkins, and this adds a yellow mark to the movie.
Sailors,
fog, pacts, priests, rotting housewives, fog – what is all this boring shit
for?
This film
should be a cult, at least it contains one of the best portrayed crazy
motherfuckers I have ever seen.
The best
example of how mediocre realization kills almost invulnerable idea.
The only
useful thing of this film is a lesson of how you should go to the tour: do not
be involved in a weird banjo competition, vainly seek for the body of your lost
friend, and do not use a bow to kill guy who fucked your buddy in the arse among the woods and forced him to squeal like a
piggy.
It will be
no disappointment in “Push” if you haven’t exorbitant anticipations from firm
and solid action movie about paranormal guys (and teens).
An
illustration that shows full powerlessness of even awesome actors in the face
of standard scenario and tolerable direction.
Christopher
Lambert cannot save you from merciless participation of Daniel Baldwin if you
haven’t a good writer.
Really
first-class directed motion picture about railroad, Rosario Dawson, and
two brave men, and based on the real story; you can ask why the fuck should we care about fucking train during watching this, and I can only response - that is the mystery, guise.
Crap with
Mary Elisabeth Winstead is still crap.
Although
sir Anthony Hopkins evidently can avoid of being a hostage of Hannibal Lecter’s
role, he cannot completely get rid from its traces, like transparent
hypnotizing gaze and terrifying smile manner, so it is an achievement for Ryan
Gosling to have no need for a clothes change during movie.
In spite of
fact that everything in this film is secondary, it is filmed good enough to be
catchy, relatively interesting and even a bit creepy; just do not ever read
fucking spoilers on Wikipedia.
I guess
that this film could be recognized as crap only by the person who didn’t live
in Moscow ; by Moscow inhabitants this film could be
recognized as utter crap with Val Kilmer for the half of usual price.
Although
the only thing that makes this movie distingiushable from flux of other its
congeners is true atmosphere of loneliness, isolation and hopelessness, I think
this is enough to estimate it so hign; many other cannot reach even this.
It is said that imitation is a sign of
acknowledgement; maybe so, and Park Chan-wook may eat his laurels
and shit them, but this movie could charm the viewer by its own
means, and not devoted only for true fans of “Oldboy”.
Try to
imagine a truly German variant of “Pandorum” but full of boredom, and you
obtain “Cargo”.
It is
absolutely unknown why this movie was filmed direct-to-DVD when simultaneously
its definitely worse comrades try to be distributed in movie theaters;
comparing to them this one has strong ability to be watched.
What do I
think that all 50’s cinematography has right to exist only for this brilliant
movie.
Thank you, indeed. Really cool movie digest. IMHO rare is the modern film, showing us brave heroes struggling and of course winning some kind of the battle like it was in 90s or even in 80s. The more the "Unstoppable" was great to watch. Maybe it's a lack of good guys in the movies.
ReplyDeleteIndeed. Almost never we can face unselfish heroes doing their own duty without any doubts, regrets or fear, and people start to forget that such kind of men does exist.
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