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The Last Winter (2006)
The shape of "The Thing"
The movie "The Last Winter" shares some of the mentality of the 1982 film "The Thing" through its portrayal of nature and its mystical influence, maybe a bit excessively, focusing on a specific point: the harm humans cause in their pursuit of greater needs and luxuries, even at the expense of everything else.
The danger of nature and human despair was enough to make the film good, but the use of CGI effects and the introduction of supernatural beings somewhat deviated the film from its original focus.
The director has a good talent for creating an atmosphere that suits the idea, with shots that imply a sense of unease, especially at the beginning of the film. Perhaps giving him further chances in other movies could be a good idea.
Cannibal Holocaust (1980)
Bloody human civilian
The film may seem to present a critical portrayal that is uncivilized, especially with its bloody narrative. However, within this narrative, a fundamental question arises: which of the two operates in the realm of primitivism and savagery?
This question is crucial because other elements may not be as significant; they, in a way, broaden the scope of visual and behavioral disturbance. Yet, they are necessary as they illustrate the extent of a civilized person's ability to become primitive when faced with an existential disparity in the concepts of others and their relationships.
There is a secondary aspect that the film attempts to communicate, highlighting the media's capacity to endorse actions deemed right by the civilized person, no matter how low and degrading they may be. The overall idea deals with the historical projection of how former European civilization and its cultural methods persist in dealing with primitive peoples, extending into contemporary times.
While the film adopts a documentary approach, which may not be cinematically significant, it holds importance in conveying concepts such as the primitiveness of civilized consciousness. In short, the film represents the notion of how culture and its pioneers can dominate and harm any entity perceived as inferior from a refined perspective.
In the end, the primitive may engage in a ritual of sacrifice or killing in self-defense, but cultural and civilized societies practice collective death for entertainment and mastery.
Padre Pio (2022)
Ferrara's insights into history
To engage in the contemporary cultural discourse on history and present it as a manifestation of historical truth, even if it is through certain scenes or dialogues, is, in my perception, an attempt to solidify a stereotypical image of history itself, disregarding certain facts about historical conflicts and their political, social, and religious implications, particularly in the realm of cinema. If the film falls within the biographical genre, as is the case with Ferrara's latest work, there is a slight manipulation of history, giving a cultural impression of the struggle between fascism and socialism in early Italy. This presentation, however, remains stylized in some scenes. Nonetheless, on a general level, the film follows Ferrara's typical pattern of evoking an ominous and mysterious presence without clear substantiation. There is an obsession with objects and affiliations from various factions, despite their lack of convergence. The anarchists, democratic socialists, fascist socialists, communists, Catholic Church, and the central figure, Father Padre, all become entangled in an attempt to depict a cryptic part of his life. Although some documented information about Padre's life confirms his inclination towards the fascist social order and his support for arming fascists, Ferrara intended to create a world that is less stringent in its adherence to the biographical truth, making Padre's struggle a wholly separate and internal one, detached from the political landscape and the immediate post-World War I events.
I believe Ferrara's depictions are critical in addressing the clergy's involvement in the dark side of human conflict. He aimed to present Padre not as an active participant and supporter of fascism, but he did not dismiss the darker aspects of the church's ideological and religious rigidity in Padre's mind, and its tendency towards violence against anyone deviating from Jesus Christ's teachings.
The film offers limited political insights into Italy during the 1920s, and it presents an idealized approach to understanding the achievement of a political justice system from a populist perspective, which halted the military regression, albeit symbolically, towards destruction towards the end of the film.
Overall, the film operates within a commendable framework, and I found myself relatively intrigued by Ferrara's cautious presentation of the desired imagery, without delving extensively into explicating it. They are fleeting and delicate glimpses into the life of a martyr of faith, a neutral observer of the daily human struggle, seeking to achieve a sense of justice within the mechanisms of exploitation.
I thoroughly enjoyed Shia LaBeouf's portrayal of the character Padre.
La fille de nulle part (2012)
Everything from nothingness
Regardless of any criticisms that may be voiced about the film, I have developed a profound love for it. There are numerous reasons behind this sentiment, most notably the fact that proponents of postmodern art theory and those who understand the ever-changing artistic elements within temporal and digital contexts cannot craft a cinematic image that is simultaneously realistic, sensitive, and imbued with a sense of strangeness. Even in terms of execution and with a nearly nonexistent budget, it is sheer nonsense to claim otherwise. Those who support such claims are individuals who fundamentally fail to grasp the profound significance of experiencing a cinematic image as a living expression of what individuals convey when they bring their ideas to life on a moving canvas.
This film, likewise, is a creation borne out of nothingness, much like the girl born from the void. It presents intimate dialogues concerning thinkers who do not believe in the metaphysical realm, yet peacefully sway within the aesthetic mysticism of history and self, driven by the natural human desire for fulfillment. They dream, they contemplate, and they philosophize because they are humans who cannot be easily confined within the boundaries of reality. They are experimental.
The context of the film speaks to this form of human empathy within a cinematic framework, crafted by a director who attempted to compose his entire cinematic history through an individual project that, despite years of anticipation, failed to secure the necessary funding. Consequently, he decided to take on the role himself, alongside a girl and a friend, within the confines of his own home, utilizing a dilapidated camera.
Priso, a director who is madly devoted to his artistic world and philosophy, is incredibly captivating in this film.
The narrative dialogues vividly illustrate the fragility of consciousness at times and its strength at other times, as well as the formation of human desires that drive individuals towards belief despite their lack of faith.
It is a profound philosophical exploration within an era where films of this nature are no longer afforded genuine presence.
It is a film about the isolation of individuals when they engage in creative thinking, regardless of the closed boundaries of their creativity and its intersection with a domain that is not their own, as exemplified by the living element of the film itself. The presence of Priso as an actor allows him to fully acknowledge that he is not an actor and does not fulfill the expectations placed upon him. It is the very idea that the film presents through the measurements of conceptual models it showcases.
This is a film that is not easily embraced, simply because it does not conform to the conventional requirements of mainstream cinema within the context of postmodernism and digital systems.
Sam gang 2 (2004)
Asia and the Philosophy of Existential Horror
Three... Extremes is actually comprised of three independent films from Hong Kong, Korea, and Japan respectively. What unites them is a pivotal point of distinctive horror, which is the horror arising from everyday life and the human anguish intertwined with pressing existential questions in an incomprehensible world when one's very existence is at stake.
These are horror films that do not evoke fear, panic, and screaming, or resort to covering faces with hands like teenagers imitating the typical horror image portrayed in American cinema. Here, the horror operates on an entirely different level. It is an Asian horror with deep philosophical undertones, exploring the relationship between humans and their desires, dreams, obsessions, and hidden aspirations. It delves into human needs and the resulting vulnerabilities, ultimately focusing profoundly on the concept of monstrosity.
"Dumplings" - Hong Kong - directed by Fruit Chan.
"It is a somewhat typical tale of a woman's dream to stay young. It is a recurring narrative throughout history, with a woman willing to do anything to obtain this gift. It is closer to the Faustian perspective, but here Mephistopheles is not the ultimate figure; rather, it is the self-indulgence and its evolution throughout the film's presentation.
The film addresses several secondary themes such as abortion restrictions in Hong Kong and class disparities, but the most important is the selfish yearning of the human entity to acquire something that is supposed to be a specific concoction. However, when that concoction is revealed, one becomes susceptible to a reshaping of their imagination, existence, and desires that contradict many values of the idea of their own existence.
In my opinion, "Dumplings" is a very good and distinctive film in terms of its exploration of the human's existential savagery and its persistence in preserving its instincts of destruction, even if they conflict with any other values.
It has worked excellently within the realm of portraying human longing in a way that I personally appreciated."
"Cut" - South Korea - directed by Park Chan-wook
I can take a moment to delve into the dialogue present in Park Chan-wook's Korean version of "Cut." It can be said that it excels in portraying the mindset of an ordinary person towards the outside world, their understanding of others' accomplishments and their own, as well as their resentment towards things that may seem inherently uninteresting or weak but become a target to compel others to commit evil acts, allowing the envious individual to feel a sense of equality in existence. Perhaps a quote that lingers in one's mind during the film is when the killer says something along the lines of: "The rich have everything, they have the present and even eternal bliss in heaven because they are kind-hearted. Nothing actually drives them to commit sins and evil because they are content, and this will secure them a comfortable eternity. As for us, we have nothing but sins, as their goodness surpasses our feeling of helplessness and deep-seated misery, even immortality has been stolen from us."
Such monological speeches seem akin to a repeated slap within their class context, but Park's treatment appears to go beyond this narrow perspective of one's resentment towards another's success, wealth, or superiority. It delves into a deeper yearning for balance, not just by forcing the good person to become evil in a decisive and optional moment but also by the inability of the evildoer to commit certain actions they wish they could but cannot. It practically makes the good person perform an act of evil that the evildoer themselves is incapable of.
"Cut" is a film with a solid screenplay that has a subtle yet disturbing impact.
"Box" - Japan - Takashi Miike
"The Box" is the latest and simplest film as a presentation, but it is the most surreal to pause for a moment and try to understand its intent, especially in the final scene.
However, regardless of that, Takashi's surreal vision operates within a realm of recurring nightmarishness with sexual undertones, exploring human relationships between twin sisters and a father figure, and concepts that fall into what we perceive as preference or perceptual error that can lead to a catastrophe where one is psychologically driven deep into an unsettling realm of nightmares.
Takashi is an expert in crafting such existential nuances of human relationships and infusing them with a simple yet heightened sense of fear that immediately makes us feel that we are facing a strange, intertwined image that requires contemplation to truly grasp its purpose. Additionally, his ability to evoke questions and portray the inner life and its sense of regret and even the illusion's control over the mind due to a specific mistake is remarkable.
Despite my admiration for Takashi's Japanese film and its potential to achieve a first-place position with its calm visual and narrative elements, I find myself leaning towards Fruit Chan's "Dumplings" when making comparisons. Perhaps it is directly due to the shock that Chan created, or maybe because I am more inclined towards the idea of the gradual accumulation that humans create within themselves, gradually transforming into a monstrous entity simply because instinct has a greater presence than any value, despite all the human boasting of civilization and ethics.
Personally, I am inclined towards the philosophical approach of these presentations, as I feel they are genuinely existential without distortion. Therefore, the ranking of the films would be Hong Kong's "Dumplings" in first place, followed by Japan's "The Box," and then South Korea's "Cut."
However, all three films make a difference in the concept of horror and their high focus on the idea of human existence and its quest to interpret its actions through a terrifying perspective in an enjoyable Asian manner.
Ms .45 (1981)
An Ethical Inquiry into the Demise of the Male Dominant System
What I admire in Abel Ferreira's consciousness is his cinephilic intelligence, sufficient to steer the wheel of public opinion among viewers as he pleases, leaving no room for spectators to indulge in interpretation and attempt to circumvent the intended meaning.
The film "Ms .45" is remarkably simplistic in its portrayal of revenge resulting from rape.
One notable aspect of this film, stemming from Ferreira's intelligence, is that it challenges the typical representations of rape and the ensuing revenge found in cinema. These often employ visual contexts that seek to pacify feminine indignation and anger towards acts of rape. An exemplar of such films is "I Spit on Your Grave" (1978), which creates a progression of sympathy, initially towards the victim, then shifting towards empathy for the assailant. These films present a destructive formula that both feeds and disgusts human sensibility.
However, Ferreira astutely recognizes the value in films that blur the lines between right and wrong from a human perspective. This is evident not only in "Ms .45," but in all his works, carefully crafting a different portrayal of rape and its repercussions.
Thana, a mute seamstress, appears delicate and innocent, even excessively childlike. Within the first ten minutes, Ferreira plunges us into the depths of the event, showcasing his vision of cinema. Thana is raped twice, first in a dimly lit alley, then in her own home when she encounters a burglar. The thief demands money, and when unable to find any, resorts to raping her out of personal entitlement. Thus begins Thana's transformative journey.
Thana commits the crime of killing the intruder. Unable to speak, she finds no one to assist her and feels immense pressure to dispose of the body. She dismembers the man, attempting to rid herself of him. In one of her attempts, she is pursued by a man whom she ultimately shoots.
After killing two men and enduring two instances of rape, Thana metamorphoses from a gentle and innocent girl, both in appearance and spirit, into a sexually provocative and seductive femme fatale. She becomes the avenging angel, enacting justice for any woman subjected to injustice, abuse, rape, or harassment.
Thana's evolution into a predator illustrates the personal hallucinations she experiences as a result of specific social realities.
What impressed me about the film is its ability to move swiftly, leaving no space for cultural interpretations in the minds of viewers. It surpasses theoretical interpretations and takes a clear stance on an issue that is unmistakably presented. There are no explicit nude scenes during the rape sequences, and even in the two rape scenes depicted, the intended brutality is not gratuitously exaggerated as seen in other rape-themed films. The film lacks historical backstories or desperate reactions to justify the characters' actions as victims of a flawed family upbringing or societal responses. Rather, it offers a realistic embodiment of the male gaze, its dominance, and its desire for physical and psychological harm simply because it can. Thana's equation in seeking revenge mirrors the same arbitrariness found in rape, rather than seeking revenge for feminist or liberal emancipatory reasons or due to a sense of victimhood from male chauvinism or stereotypical feminine misery. It transforms her into someone capable of inflicting harm upon anyone who could potentially play the role of the oppressor solely because they have the ability to dominate. Perhaps the final scene suggests a moment of hesitation in the prospect of killing a man dressed as a bride at a Halloween party, signifying the uncertainty of the possibility that the man could one day become a perpetrator of violence or a victim. However, the self-identity or our internal desires matter little as long as biology asserts itself externally.
Thana embodies the characteristics of a malevolent male protagonist. It presents a case that requires us to understand the necessity of human nature from both perspectives and ethically balance it within a destructive world. It challenges us to consider what we can accept in order to achieve that balance.
All the characters fulfill their respective gender roles without any sense of wrongdoing, to the extent that no one notices Tanya's muteness and her lack of speech. The focus revolves around the self-centered dominance of any man, with the ultimate goal being to penetrate Tanya, which remains unaccomplished. In his film, Ferreira reaches a level where it becomes a movie about rape and revenge, but without the viewer feeling sympathy for those killed by Thana, in contrast to how they are portrayed in other stereotypical rape films.
Ferreira's intelligence is captivating and impartial. Furthermore, I truly appreciate the realistic depiction of everyday streets and natural homes. It adds a pure cinematic value by presenting the reality of the world as it truly is.
Villain (1971)
Go, English gangsters!
The film portrays the internal destruction of institutions in 1970s England, shedding light on societal consciousness and corruption. Overall, the film is quite commendable and exhibits a distinct style that sets it apart from other gangster movies. Unlike many others in the genre, it doesn't heavily rely on wanton acts of destruction and random killings.
The movie presents personal issues in a devastating and peculiar manner, especially when it comes to the development of the gangster character. This character constantly oscillates between his professional role as a violent individual and the emotional and social constructs that are tied to his own psychological projects. These projects heavily depend on the presence of others, such as his mother and lover.
In my opinion, the character development in the film was well-executed, and Richard Burton delivered a strong performance in portraying the complexities of the character.
Ostre sledované vlaky (1966)
The innocence of the cinematic character
Films that tell of human innocence are definitely beautiful films, because they do not complicate the ideas people have about their existence but treat them as they are. They are a spontaneous expression of the contemporary phrase "Just Do it".
Innocent beings who try to live with their natural identity, but the complexity surrounding them distracts them and encourages them in a kind of self-reflection, transcending their identity and inserting themselves more into the environment, creating the dazzling for society, namely the catastrophic concepts that surround our consciousness, such as national heroism, familial masculinity, religious sponsors, and so on.
All these models are distorted in depth, and in my perception of this film he has tried, through the innocent young model, to present this philosophical equation with a smoothness that is characteristic of the cinema of the new Czech wave, to which the film is subject.
The film clearly belongs to this wave, which is always characterised by the presence of the gentle, innocent, smiling person with endearing naivety, who cannot understand the world around him. Sarcastic image.
For example, in this film, scenes such as the scene of the declaration of tactical retreat and the dull question (why?), then we see the station inspector greeting in reverse after parting with the boss and the car backwards with an amazing musical march, the value of satire is the poetic image, and analogy to many scenes This is one of the characteristics of the new wave in Czech cinema, in addition to an essential element that is always present in the wave, the sexual excitement, whether verbal or visual.
In the film, for example, expressions such as (the woman is the most beautiful jewel that nature has produced) or (the clock has a very beautiful voice) stand out with the essence and aspirations of each character, but they all enter into a sexual context that expresses the drive that seeks its main ingredient in the innocent being that does not have the ability to compete. The woman and the clock are mobile like a mechanical sense, but they are conceptually rigid, and therefore it is an innocent male expression of the simple man.
It is also noticeable that in The Wave, long, rigid cylindrical scenes, pens, tobacco, phallic objects in hands are repeatedly central as delusional sexual symbols of the fragile male imagination, and this fragile sexual representation is the hallmark of The Czech Wave. In addition to drawing on much Czech literature, such as this film based on the novel of the same name by Bohumil Hrabal, one of the advantages of the film is the fast-paced editing with an explanatory monologue of the action.
All these elements serve to present an objective nature in the wave, and this is the reason why Godard was in the French wave and called the Czech wave bourgeois, because it focused on satirical points in human behaviour and considered these things as transgressions, especially in the representation of the sexual question, despite the many similarities between the two waves, such as the representation and narratives.
M3GAN (2022)
Evil evolution
The plot of the movie seems generally good, but there is one idea that is not well understood, or perhaps the basic idea, why the idea that the development of artificial intelligence always goes in the direction of evil is anchored!
I have the impression that this idea will become part of human consciousness.
Also, the film works in the area of similarities with the old horror genres, trying to put them in the framework of digital modernity to create more interesting dramatic dimensions, but Megan's film succeeded in this!?
I think it insults the idea of traditional horror cinema and offers nothing else.
The film is fun and you will not get bored, but it does not leave you with more impressions than that.
Great Performances: Macbeth (2010)
The best version
I really liked this version of Macbeth, not only for the genius performance of Patrick Stewart and Kate Fleetwood, but for modernizing the work as a whole. The film maintained the theatrical layout within the film, and this was sufficient reason to make it unique.
Joker (2019)
Joker Phoenix, Evil is a natural production of power.
Since the official announcement of The Joker 2019, starring Joaquin Phoenix, Hollywood critics led a fierce campaign against the film, before it appeared in public, and before they watched the show. The reasons for this initial refusal were based on some of the scenes shown in the film's official announcements.
The principle of the campaign was that the film presented the idea of violence through a character who had a historical presence in the world of comics, the Joker, around which more than five films have been made since they came out in the pages of comic books. The campaign not only stopped with critics, but also extended to politicians who warned about the film and its negative impact on viewers, even the U.S. military leadership issued a directive to its members, noting that there were threats of possible shootings or mass interceptions after the film.
American power was filled with fear, but on the other hand, this authoritarian fear, offset by psychological comfort in the popular street in other parts of the world, was a strong public yearning for a rebellious figure against the authorities.
After watching the film, I was very pleased, not only for Phoenix's brilliant and fun performance, but also because I understood why politicians and critics who worked under the loyalty of political authorities, feared such a film.
Cinema watchers in general and DC fans, who invented the Joker character, know exactly the history of this character cinematically without knowing the reality from which it was created, In other words, the Joker always practiced anarchist behaviour without a date to explain to us what he was doing, for example, with The Joker, Jack Nicholson, we know the reasons for sabotage and destruction, it's personal revenge after he is chemically mutilated, but we still don't know his history, and with Heath Ledger, we were with a troubled personality with a deep philosophy about life, indifferent to his death, and also not knowing what made him like that, but with Joaquin Phoenix, he gave us a profound explanation of the reasons for the creation of this character, The Joker is a natural human being with an ambition to make people happy, but poverty, homelessness, ignorance, corruption and The triviality of political discourse, led him to become the Joker who will rebel against all the false laws of the civilized world.
In the old version of the Joker, evil was the goal, and the character made it and moved it, but with Joaquin Phoenix, the Joker was part of a social system that rejected political and economic law. A sense of helplessness and frustration, he and others have generated a certain amount of rejection that will turn him into a joker who fights power in his own way.
The dialogues and symbols used in the film, illustrate the laws that affect the capitalist society at its core, such as the closure of health insurance institutions, the harsh working conditions that lead a person to starve, acceptance of the harshest actions in order to continue life, ridicule of the individual dream, and social bullying of by the media, and those with influence and prestige over marginal human beings.
In the latest version of The Joker, it is what made politicians, critics, and even the military leadership, to campaign to distort the film before it was shown, the fear of a similar situation like the one that happened earlier with a film in V for Vendetta, best known for its "Ideas Don't Die", and Continued to this day. but the biggest problem for the authority was not the composition of the character persecuted by the higher society, but in describe it as originally not evil, and what the situation of rejection and rebellion to the formula of the absolute right of man to be at a better standard of life.
In the old Joker, evil prevailed, and no authority objected to it, although visual violence was higher than the last version. Joker Phoenix is not evil, nor is there violence compared to any American commercial film of horror or violence in which murder is the basis of the show, such as John Wick "Keanu Reeves", who dies in one film about 400 people, Political and military power and critics do not object to such violence, because it does not carry any rebel message, it is murder for entertainment, systematic violence without affecting the form of higher society, but Joker Phoenix threatens the depth of political structure and mechanisms of its triviality and contempt for the weak human being.
This film is simply a real stain on the meaning of the authorities and economic powers, a profound analysis of the industrial community, marginal individuals, and the patients who live in it. A film that tells everyone that evil is nothing but a natural reaction to political practices that despise man, it is an explicit call to destroy false civilization and to overthrow every power that bully's the marginal human being.
The House of Violent Desire (2018)
Film without film
My God
What is this film ?. A movie without music will be a piece of nothing. music is present in every part, in order to cover the overall weakness
Bad performance. A meaningless story. Boring. The only acceptable thing is the place.
Green Book (2018)
The most beautiful films about racism
If I was not white enough. If I was not black enough, tell me who I am!.
This sentence that comes in the middle of the film almost embodies the content of the entire film.
I was reluctant to watch this film first, because the American director Peter Farrelly, one of the directors specialized in the manufacture of light comedy. There is an implicit fear of a distinguished director in the humor industry that would be able to make a biographical, dramatic film. But what I saw was truly amazing. Farley has outdone himself here.
For the first time, I see a highly professional film dealing with a recurring issue in American cinema, the issue of racism that America had more than 50 years ago. A very clever dramatic adaptation of the famous pianist Donald Shirley and his relationship with his white driver Tony Lip, who in turn had a somewhat racist view of black, but who, as a result of his need to work, agreed to become a driver for Shirley.
On a long journey towards the southern cities, Shirley plays for the white class, when it feels the importance of its culture when it listens to a genius. the story of the different style begins between the two people in a very sophisticated manner, especially from Mahershala as Shirley.
Interesting dialogues, cultural backgrounds, and dramatic development by influencing the other. Explains the racist concepts of circulation.
Vice (2018)
The secrets of politics
I didn't like this movie about Biography, although good performance from Christian Bale and Sam Rockwell. The film discusses the mysteries of politics, the way they deal with people and nations, and proves how human in that hidden world has no real value.
The film is good and realistic but I didn't like it.
Siccîn (2014)
it's good to know
Islam, like all other religions, believes too much in other life and forms of spirits.
The film is good, but there is a problem permanently in the horror Turkish movies, It's repeat itself, Repetition of the idea and religious rites.
Cinematography and Performance it's OK, but sound effects is bad. but the idea for me that it is no different from commercial horror films that dealing the same way with the Christian religion
Marrowbone (2017)
Good story and poor performance
There's a part made me bored or several scenes. however, the film is good as classified as horror. I like psychological aspect in horror films and the treatment of certain character within the movie.
The movie is not bad but not impressive, perhaps the reason for the performance. anyway, the movie is not the type who the person is remembers for a long time.
The Magnificent Seven (2016)
The pattern
You can enjoy the movie as an entertainment scenes, but as an idea, it's really bad. It's worse than typical
The Dead Girl (2006)
Full Life
Like a puzzle, this movie is installed. It's not a puzzle about the form, it's a way of photographing life. It's a picture of life.
a film about the death of a girl, composed of five stories, five views (Stranger, sister, wife, mother, dead girl). everything is centered on a feminist perspective.
life, desire, suffering, pleasure, difficulty living and the unexpected end of the fate of an object he wanted and chose his own way of life. Pure coincidence forms the end.
I loved this movie, but I felt a glitch unless I could identify it. He was initially well and strangely able to attract, but gradually entered into an optical and mental routine.
But in general, a movie worth watching.
Hard Candy (2005)
Offender and the victim
Who is the offender, and who is the victim?
This is what the film has reviewed since its inception. surely we will not know until the end.
and away from burning the story of the movie, I'll talk about my sense.
for a first moment, I felt very provocative. maybe the movie wanted to feel you that, and the truth it did. but what weakened my rating of the film, Is the end that has not largely explained the deep psychological causes of the girl's history, or even her view of justice.
and the moment of death in the end and the high rate of remorse or salvation is unjustified
the whole focus was in storytelling, violence, the calm of the girl and the psychological manipulation. but there was no explanation for her origin.
the movie is good in general, but not much.
River of Darkness (2011)
Silliness
Oh my God, what is this silliness ? silliness !!! It's than more silliness.
How did become the cinema look at the cinema? It's beyond imagination.
Surely 0.5/1000
Yongseoneun eupda (2010)
No mercy, really no mercy
You can't watch an Asian movie without being surprised. In this film, the director creates a story of revenge, one of the famous stories of the Cinema of Asia.
without burning for the movie but what caught my attention is the dramatic plot that makes you directly lift the film two degrees. level of astonishment in the film creates inside your impressions, contradictory feelings between love, compassion, madness and screaming.
This film is great by all standards.
You Were Never Really Here (2017)
The desire for suicide and life
The Scottish director, Lynne Ramsay, made a very quiet and disturbing film.
Most of Lynn's movies have that quiet side, as in a movie, "We need to talk about Kevin". and that's what gives her films a magical visual character, and make you enjoy it. this film talk about the "Joaquin Phoenix" the killer hack, who tries to save a little girl, and lives with his old mother, and very fun.
The basic story of the film is simple, but beyond the details, colors, and tranquility, there is another world of psychological and historical exhaustion suffered by Joaquin. the stages of his childhood, which was somehow harsh, and created this man. Joaquin swung between the desire to live and suicide for salvation, and it lasts for the duration of the film, even the last scene, Ramsey's making a moment, that Joaquin shoots his head, then we find out he was fancy dying.
The film makes the viewer tense of psychologically and visually, and that's its magnificence. addition to the many details created by the actors and their dialogues, especially "Joaquin, Judith".
The film is great, I loved it.
Poirot (1989)
The gray cells
The gray cells, English rituals, clean suits, and of course the genius of Agatha Christie that created this character.. Hercule Poirot.
It's a favorite series for me, I still been watch them as separate episodes. what I really like about this series, is the logical analysis of this man, his thoughts and quiet, and the series in general has a special pattern.
I think I'm going to keep loving this show and this character.
Friends (1994)
Pure Comedy
I would recommend this series to anyone who likes comedy series.
Six friends living a common life, with their details, their dreams, and their thoughts, and the most beautiful are the moments of their frustration that is based on pure comedy.
24 years after the first episode, Friends still show cool. it's the best.
Victoria (2015)
The Great movie, one shot
I think that film Victoria is one of the few films in Europe which attracts attention from its beginning until the end, for reasons related to the style of the film (one shot). Secondly, it's a film about the youth crisis and the stage of the search for meaning in discovering a new life. Thirdly, it is the idea of the experience itself, which is what made Victoria go into the adventure in a criminal case that doesn't mean anything to her. but I believe that the essence it, it's the human good that has been shattered on the rock of positive law, that were originally produced by the institutions of power.
The story of the film is the story of Victoria, she is a young woman, in a strange city. She's trying to find a relationship for her loneliness, In the scene of entering the movie inside a nightclub, but she failed. Victoria meets a four guys in the street, everyone is deeply concerned and they try to hide it with fun.,and begins a story of the film.
In the end, everyone dies and Victoria stays alive.
The film tackled the whole community problem within Europe through a short story. that what we think is evil, is only another way of expressing the good that is inside us and the only social law that is neglected for human beings.
Victoria is a film of the quality of nervous tension, calm and emotion at the same time.