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Mike P (kr) wrote: Another great British movie... Dark, moving, intense and some fine acting. The performance of the lead was brilliant, the mix of fear, anger, sadness and determination were very beleavable. Couldn't believe how empty the cinema was for such a good film when there will have been other screens in the cinema more full for a lot poorer movies. Not sure what to think following this movie, but the point is, I'm still thinking about it.
Robert I (kr) wrote: Kind of dull at times, but some good ideas to fantasy up Robin Hood. Alas, I wish they took more cues from "Game of Thrones" and had been darker with story. Presentation is very uninspired, they needed a director with precision point vision. Erica Durance is made for fantasy. Julian Sands continues to be the poor man's Jeremy Irons and we love him for it.
Astrid T (es) wrote: It was time to see what else Rupert Grint can do. And I must say I was totally impressed. Give him some leading roles! I want to see more.The movie itself is pretty funny - especially for kids. What is funnier than fart jokes? My nephew and his buddy were laughing out loud! Good fun!
Ryan W (gb) wrote: Pretty damn funny spoof film..z
Blake P (kr) wrote: There are too many thrillers that want to be sexy and dramatic and stylish and smart, but with great disappointment, those "ands" turn into italicized "ors," as few artistic talents are capable of such an intricate juggling act. One too many "Basic Instinct"s walk out the door all dressed down in crotchless interrogations with little value to be held in the long run. Some directors are so self-conscious that they feel the need to grab a megaphone and loudly inform us that, that's right, they are aiming to be sexy and dramatic and stylish and smart. If only those damn "ors" would get out of the way for once. Few filmmakers, however, have the gutsy panache of Pedro Almodvar, who possibly was the result of a lab experiment involving Alfred Hitchcock, Douglas Sirk, Brian De Palma, and the wardrobe of Endora from "Bewitched." His films range from candy colored to smokily noiry, sometimes carrying the weight of a Technicolor "Bringing Up Baby" or a severely darkened vintage women's picture. Though slightly flagrant, his projects maintain the professionalism of an auteur who simply knows what the hell he's doing. Take a film like "Live Flesh," which isn't quite sexy enough, soapy enough, violent enough, yet still manages to feel distinctly, no pun-intended, fleshed out. It's subdued, but it's carefully subdued. If we had the same old X-rated Sirk stuff like usual, we'd surely be tripping in a David LaChapelle styled hallucination. This time around, Almodvar fabricates a complicated story of revenge, steamy trysts and deadly misunderstandings that hit all the right notes, even if those notes are all sharped and flatted; yet, it's his most mature film. The movie begins in 1970 with a theatrical birth in the back of a city bus; being welcomed into the world is Victor Plaza, the son of a prostitute (Penlope Cruz). Jump 20 years into the future: Victor (Liberto Rabal) is meeting Elena (Francesca Neri), a drug addict, for an impromptu date after hooking up a week previously. Elena was in the mood for a one-night stand, not a courtship - when Victor shows up to her apartment, she flies into a rage, threatening to shoot him in a fashion only Loretta Young could top. They get into a scuffle, leaving Elena unconscious while the gun flies out of her hands and accidentally fires. The downstairs neighbor hears, and, concerned, calls the police. The cops who arrive, the alcoholic, reckless Sancho (Jose Sancho) and the more proper David (Javier Bardem) attempt to calm the scene. Cut to yet another scuffle, David is shot in the back, paralyzed, while Victor is sent to prison for the next four years. But when he is released, he finds that David and Elena have married, leading to a series of events that could only be found in a classy telenovela. No matter how breathy and melodramatically enhanced the plot may at first sound, it is surely one of Almodvar's most toned down films, both in terms of style and personality. Gone are the neons, artificial sets and delightfully wacky side-characters; gone is the tongue-in-cheek restlessness that made his films better-than-average Hollywood homages that were far too good to simply be called homages. In "Live Flesh," you take him seriously, viewing him as a director who has had plenty of fun in the past but wants to make something as substantial as his peers. Looking back, the film marked a turn in his career, shifting towards heavyweights like "All About My Mother" in 1999 and "Talk to Her" in 2002. Not to suggest that "Live Flesh" is sapped of any pleasures. The storyline is pleasingly hammy, with touches of unexpected realisms like wheelchair basketball and domestic abuse, and the performances are finely tuned. Even better is the cinematography (clearly influenced by Almodvar himself), which hangs onto the bodies of the actors like a fixated Michelangelo; whether they're silhouetted, in the nude, or clothed in cheetah prints, there is an added lustiness that heightens the frequent sexual tensions the film constantly revisits. "Live Flesh" is a sumptuously shot throwback of a romantic thriller, evidence of a director with pop arted ambitions taking a risky turn that pays off.
thomas m (au) wrote: Odd - gappyUnusual in a quite a good way - worth the watch
Spike V (de) wrote: My favorite Linklater film, and I would say one of the best 90's alternative movies. It has witty dialogues and funny situations, with a deep and serious view on gentrified, suburban America. It was written by Eric Bogosian, based on his play of the same name. With soundtrack handpicked and score by Sonic Youth, I think everyone should watch this, might even see yourself there. It's a damn shame it hasn't been released in either DVD or Blue-Ray format.
Judi H (es) wrote: Great fun to watch if you can get hold of it! You've never seen Tom Hanks looking this young! Lots of retro-interest - old telephones, phone booths the World Trade Centre. Teens and twenty-somethings would enjoy comparing and contrasting their gaming culture to the one portrayed here. I have just become aware of "LARP" ing activities so I'm a bit surprised to find that it's been practiced by gamers for over 25 years! But then, I never really got past Monopoly...
Peter F (jp) wrote: Fassbinder's most important film for a number of reasons. Ali: Fear Eats the Soul was instantly controversial upon its release in Germany due to its commentary on racism, and the film is as passionate as it is enraged. The bi-racial couple played by Brigitte Mira and El Hedi ben Salem (the latter being Fassbinder's lover at the time), expose a complex relationship that's problems reflect social issues of the day and age. Its views can certainly be upsetting, but the film never comes off as anything less than sincere, and at a snug hour-and-a-half running time the film is fully digestible while communicating what it needs. A high water-mark for international melodrama.