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|612 reviews in total|
It's a not so uncommon movie subject, this one about reunions which
become life-changing drama. But Anna Odel's version is shakening. She
meets her old class after 20 years and gives a speech. It's about
hierarchies, power, games and one of the greatest sadist joys: Falsely
making somebody believe you're in love with her.
The first half of the film tells about the party, which is a humiliating disaster for Anna. In the second part, she confronts some persons from the class. What's the greatest bully victory? Making someone feel she wasn't bullied at all.
It's not a perfect film, but one you will remember if you have any experience at all of hierarchies in school and other places.
*** This review may contain spoilers ***
There are certain action tricks which live on forever, if they are
performed with good handicraft. You find many of them here. Of course
you also know who the good and the bad guys are, but you're not that
certain anyway. Why are there pirates from Somalia, attacking Western
ships? Can it have anything to do with Westerners stealing the fish
they used to live on?
But one trick is here repeated once too much. That one with the sacrificer. Tom Hanks is good, sometimes it's even quite exciting, but you of course know how it will turn out. An old trick is an old trick.
But OK. Entertaining.
This guy is a Don Juan or a Don Jon. New girl every week, new sex every
week, new computer porn-watching every day. It's single-minded.
But one week, he comes close to what he thinks are real emotions. But computer porn never ends, it beats these emotions and the girl leaves him because of his mischiefs. So he's back at starting point, until IRL finally arrives.
Could be an interesting script with interesting questions, but it's done a little too easy. IRL has a somewhat uncomplicated part, which isn't helped by great acting (again) from Julianne Moore, USA:s best actress.
Pieces of a space ship, space litter, hit this American station. The
astronauts are in danger, because in cosmos, you're very lonely. How to
survive? That question has been put many times in film history.
It's in 3D, but you can't say the film makers take much advantage of that. Maybe it doesn't matter, because the drama is more about what happens inside Sandra Bullock. She meets different space cultures, Russian and Chinese, and there are collisions.
It seems to be quite easy making space emptiness the base of dramatic events. Perhaps a little too easy. Anyway, the universe moves on, with us or without us.
This woman gives birth too early and her child is born with brain
damages. He must remain in hospital, but his mother can hardly watch
him. And impossibly touch him.
So she goes into a deep depression, after a while trying to solve it with group therapy. She's wealthy, she invites the group and herself to a hotel and there, things start moving. The bullied girl, the woman who loathes her body, the man who was abused by his mother.
It's a strong drama. Calling it being lighted up by some humor almost on the slapstick level, is a false expression. But it's interesting with movies, where you hardly can tell whether it's a comedy or the opposite.
We follow the butler almost from start. His father is murdered and his
mother raped by a Southern racist. For compensation, he gets education
to become a house servant. It's a promotion
The career goes on and after a couple of decades the main character goes on from a white house to The White House. He serves from Eisenhower to Reagan. It's the time of the Civil Rights moment. Will it change his conditions?
Sad thing, it's a quite simple story on ordinary TV but not HBO level. One problem is the US presidents, who are more or less badly acted. It's a little about cheating on a period of big historic importance.
Why did Churchill lose the elections of 1945. Were people simply
ungrateful? According to Ken Loach, there were two main reasons. People
remembered the misery after WW1 and they had realized that if the state
was able to organize the war victory, it should also be able to win
victory in peace.
So it came during Clement Attlee; nationalization of health care, of electricity, of the railways, of the coal mines. And at the same time Britain changed into a welfare state.
It's a very effective documentary, but two questions remain unanswered. How was it all financed and why did Churchill come back in 1951? Anyway, it's refreshing to watch how politics once was in charge.
Let's first make clear that Edda Magnason is fantastic as Monica
Zetterlund, an icon in Swedish jazz music and entertainment. Not at
least when she sings. It's almost scary.
But the script about her life outside stage is a melodrama on at best average level. The chronology is strange, 15 years pass and her daughter doesn't get older and nothing new is put to the common movie myth about the self-burning artist and her soul.
We're quite in love with the early 60s now. Both we who were where and the rest of us. Which doesn't mean we're so interested in this way of romanticizing it in this way, even the destructiveness it kept
Woody Allen is back in the States and that seems to be an improvement.
He also surprises us. Not knowing the director's name, you would hardly
guess it's Allen.
Jasmine returns to her trash sister. She returns from Park Avenue, from wealth, from a husband killing himself in prison, from life. She starts lying immediately, but the only ones who believe her is her former kind of people and herself. Until neither they or herself do so.
Cate Blanchett is superb as the ruin of a Park Avenue Lady. Suddenly Woody Allen seems to take more interest in people than in clever lines. Give us more of that.
The annoying thing with young rebels is that they always turn up to be
like their parents anyway. How interesting is that?
Frances is the last one of them in her age group. We follow her, trying to struggle it. The struggle is partly successful, but she pays her price. Not that it's no return, because Frances will certainly in five years have kids too.
Greta Gerwig is great as expected. The first-take-feeling makes it look authentic, but the question why rebels can't stand the pressure in the long run isn't answered. It's not just a question of age. Are our societies really that strong? Yes, maybe.
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