Week 48 in film

Elysium (Neill Blomkamp, 2013)
Example of why and how science fiction can be utterly boring. Just because there is a new planet with some extremely improbable technology doesn't mean it is original. Blomkamp didn't impress me that much with District 9 and even fails to entertain with this one. Before the shaky action starts it is bearable but when Damon becomes a radioactive RoboCop with a love-interest we've seen 988223 times in other films (just like the flashbacks, the bad guy etc.) this film falls apart. Can be added to the long list of bad writing disguised as original scifi.  4/10



Like Father, Like Son (Hirokazu Koreeda, 2013)
How important is your upbringing and the love of parents? Koreeda manages to answer this question in his natural and realistic way. Two totally different families meet when the hospital finds out that their sons were switched after they were born. The families are asked to make a tough decision about their sons and for the somewhat workaholic father of one, this confronts him with his own youth and how it is translated into bringing up his only son. Typical Koreeda territory. Not his best is still pretty good.  7.5/10

Secretary (Steven Shainberg, 2002)
Considered classic by some. It has some 'Cronenberg-like' quality in its main theme. Of course, James Spader helps a lot in this. Couldn't help thinking about Cronenberg's Crash. Unfortunately this isn't a Cronenberg, the psychological element is only interesting for the first half hour, the remainder feels repetitive. 5/10

The Specialist (Luis Llosa, 1994)
Guilty pleasure from the nineties. Watched it often as a kid, and still I find it enjoyable at times. Has James Woods, Eric Roberts, Stallone and Sharon Stone must be one of the hottest women ever in film history. What I didn't remember well was that this is not a very good film. Nevertheless, I prefer it over the action films that are made nowadays. Too much 'cheap' action, special effects and 3D abuse. In the nineties at least there were character actors armed with snappy dialogue.  5.5/10

Week 24 in film

Good week for films. Most of it the result of a rainy, windy weekend combined with a slight hangover:

Deadfall (Christopher Coppola, 1993)
Crap, what a horrible movie. Had to watch it because it has a hilarious Cage-performance, which is the only excuse for watching this piece of garbage. Cage is out of his mind, which is, as ever, priceless  2/10



Stoker (Chan Wook Park, 2013)
South-Korea is coming to Hollywood and this is the result. It is an exact mix with a typical Hollywood-twist-and-turns plot, beautiful cinematography and intense directing from Asia. The latter making it somewhat worthwhile 6/10

To Be or Not To Be (Ernst Lubitsch, 1942)
Perhaps one of the best comedy's ever. This film about a bunch of 'nazi'-actors is sharp, witty and has a high tempo. Pretty sure Tarantino watched it before he made his Inglourious Basterds.  9/10

Where the Sidewalk Ends (Otto Preminger, 1950)
The kind of noir-quality I expected from Preminger. Great plot, suspense and of course it has the beautiful Gene Tierney  8/10

Il gattopardo (Luchino Visconti, 1963)
To be honest I am somewhat disappointed by this classic. Ok, the cinematography is of Italian beauty and style. Its plot nevertheless demands quite a bit of patience. Perhaps better appreciated with more background knowledge of Italian politics or maybe a second viewing. Does have great performances.  7.5/10



Still Walking (Hirokazu Koreeda, 2008)
Russia has Zvyagintsev to imitate Tarkovsky, Japan has Koreeda to imitate Ozu. Intimate portrayal of a complex (as ever) family situation demands great leads which are present. Still it feels like something is missing, as if more impact could have been established.  7.5/10

Super 8 (J.J. Abrams, 2011)
E.T. has grown older. Well-portrayed roles by child actors who want to make a horror movie. 7/10

Only God Forgives (Nicolas Winding Refn, 2013)
Not even close to Refn's Drive. Closer to Fear X. Style over substance is abused here. Neon lights, elektro music, Lynchian takes in deep hallways. Theoretically it could totally blow me away, unfortunately any emotional involvement is lacking. The violence is overdone again, this time not only uncomfortable but also inappropriate. Has some good moments and Kristin Scott Thomas is impressive, but that's about it.  6/10



Tristana (Luis Bunuel, 1970)
The beautiful Catherine Deneuve is falling apart in more than one way. Not bad, but I am still not a fan of Bunuel's style. Viridiana being the major exception.  7/10

Dead Ringers (David Cronenberg, 1988)
Brilliant twin gynaecologists are sharing work, praise and women. Treats some interesting themes but presents them without focus. Maybe too rich and promising. Tedious. 6/10