mirkobozic Reviews

The AristoCats (1970)

An hidden gem

[7/10 · 24 March 2024]

This Disney movie has been out of the spotlight for years due to the onslaught of new material and technologies that helped turn Pixar into an assembly line of wonderful feel-good films like Ratatouille. And then there were other bigger success stories from the Disney Rennaissance like Beauty and the Beast. However, now that the empire is cracking and crumbling due to selling out to modern PC culture and preaching instead of entertaining, it's very comforting to go back to a period when it was all about art and feelings. Directed by Wolfgang Reitherman in 1970, the story is simple: Madame Adelaide, a wealthy elderly Parisian woman decides to leave her vast fortune to her cats and the butler who is supposed to take care of them. However, he plans to sidestep them and, after getting rid of the pack, keep everything for himself. The narrative is remarkably contemporary, since the designer Karl Lagerfeld did the same thing, leaving a part of his fortune to his cat Choupette. However, as long as there are treats and cardboard boxes, pets like that don't care for money unless they can eat it. The other thing that makes this little film stand out among the rest of Disney's hidden catalogue is the jazzy soundtrack: "Ev'ry Body Wants to Be a Cat" is infectiously groovy. Composed by Al Rinker and Floyd Huddleston, it's an instant earworm. The sketchy aesthetics of the movie make you feel as if you were looking at a painting, and the night time scenes of Paris are truly something to behold. Madame Adelaide's mansion and the burgeois bubble the cats are living in resemble The Lady and the Tramp due to the classist premise of the story. Still, it's a very enjoyable experience with the taste of a chocolate praline. If you're not a cat person, this could make you want to reconsider.

First Ladies (2020)

An embarrassing disappointment

[2/10 · 11 March 2024]

Why am I not surprised there are no Republican first ladies here? A biased piece of bland leftist propaganda. Jackie Kennedy was the greatest American first lady certainly, but this looks like a promotional material for the democratic party convention. I know Hollywood isn't particularly sympathetic to conservative Republicans but this is laughable. No surprise people are flocking to Trump. They're running away from this bunch of self-absorbed elitists and "relatability". As a lifelong liberal, I'm embarrassed by this. The whole cultural discourse in the US is a cultural monologue where things are slowly starting to change.

Poirot: How Does Your Garden Grow? (1991) Season 3, Episode 2

A real treat

[8/10 · 5 December 2023]

You could compare "How Does Your Garden Grow?" to a chocolate truffle: small but delicious. It starts with an unusual honour bestowed on the Belgian sleuth, when a rose is given his name at the London Flower Show. But there's nothing usual about him anyway, like his preference for wearing a cologne. That's a rather funny subplot combining vanity with detachment from patriarchal notions of genuine manhood. Miss Lemon does a bit of sleuthing herself instead of being chained to her typewriter. The central plotline is one of the finer ones among the short stories. Miss Barrowby, a wealthy elderly woman, runs into Poirot and decides to hire him due to certain suspicions regarding her investments. After her death, he meets the people who shared the house with her: a related couple, the Russian girl Katrina who acted as Barroby's companion and others. Of course, it's soon discovered that the matriarch was poisoned and everyone is a suspect list, including the dubious Russian companion who disappeared. Anne Stallybrass as Mary Delafontaine and Catherine Russell as Katrina provide excellent performances, while Pauline Moran shows us a rather unexpected, angry side of Ms Lemon. It's definitely one of those episodes I like to revisit.

The Fall of the House of Usher (2023)

Sweet cruelty

[8/10 · 15 November 2023]

Mike Flanagan decided to do a unique take on Edgar Allan Poe's body of work where the title of this series is only a bait: each of the episodes is based on a different story of his, but the axis of this is the one about the Usher family in particular. If you're into gore that's not merely a celebration of hideous violence but something with a more profound background, this is the right thing for you. For all the cruelty and greed unleashed by Madeline and Roderick Usher is what triggers this chain og a bloody meltdown of a powerful dynasty that took their strength for granted until they faced comeuppance for something they thought was a weird anecdote from their past until it wasn't. Madeline is the first to grasp what's behind the tragedies that keep raining down on the family yet it's too bizarre to be true. While it's more or less clear what's going to happen when they first meet the mysterious Verna, they forget about it and fly through life on the wings of power, corruption and wealth. Apart from one, all the characters who die obviously had it coming and Flanagan doesn't feel sorry for any of them. What's more, the demise of each of them is choreographed to bloody perfection and the viewer is treated with several awesome jumpscares. Carla Gugino did a marvelous job as Verna, and there's almost a surreal beauty in Madeline's cold-blooded rationale behind the misery they drowned the world in. This is scathing condemnation of the human condition and a diagnosis of why, no matter what we profess to believe, we'll always choose cheap pleasure fixes and solutions instead of what's good for us and the environment. It's not really schadenfreude, rather a diagnosis: whatever we're suffering from, we helped it grow as big as it did and we're not deserving of redemption since we wouldn't grant it to others either. Flanagan's series is a binge and get yourself a blanket with a hot cup of chilli-spiced hot cocoa before you join the Ushers on the journey into their own unapologetic doom.

The Reading (I) (2023)

High expectations

[3/10 · 18 August 2023]

This is what happens when you fall out with powerful people that launched you, like Oprah, for not doing your homework. And then you have to make do with trash like this to pay your bills. If someone had given her a proper reading on time, she'd do as she was told and still be on the A-list. This mediocre piece is the proof. The plot's substance is as hollow as a carved pumpkin. There are quite a few better directions into which the narrative could have gone. If this is the best Mo'nique is capable of now, maybe it's time to consider a career outside showbusiness. It's hard to imagine this is the same actress from Precious. What a waste.

Queen Cleopatra (2023)

I don't care what they tell you on Netflix, this isn't true

[1/10 · 12 May 2023]

This must be the jewel in the crown of Hollywood's obsession with identity and the perfect example of a whole smogarsboard of mistakes. From the unfortunate trailer that must have been designed with the explicit intent to create controversy- why elser put that silly old woman with her grandma into it?-to the girl power vibe that Jada Pinkett further emphasized with her melodramatic narration. The director seems to have a fundamental misunderstanding of the difference between fiction and documentary. People keep bringing up the example of Liz Taylor, yet the movie never claimed to be a historically correct account, but pure entertainment. This is not the case with this unfortunate concoction that puts Cleopatra into the same basket with other African queens (whatever that means), though neither her ancestry nor her position imply she had anything to do with Egyptian heritage apart from the fact she ruled over the country. If the world's leading Egyptologist who's currently searching for her tomb, Zahi Hawass, calls this a fradulent mess, the only thing viewers whose grandmothers had some basic education can do is to give this self-righteous pile of wishful thinking a skip. In the attempt to make her look more relatable, textured and stronger, Adele James made a fool of herself. I suggest to the director to stick to fiction in the future. If she continues with her wrecking ball-approach to history, who knows how far she might go. Maybe the granny from the trailer knows it, but I don't want to know. Let's hope we can put this traumatic experience to bed soon and I hope the same thing doesn't happen to Adele James' career as well.

Eurovision Song Contest: The Story of Fire Saga (2020)

An entertaining tribute

[9/10 · 12 March 2023]

In order to fully appreciate the spirit of this tribute to European Song Contest, we need to put aside the generic plot elements that merely keep the story together, like unrequited love, daddy issues and childhood dreams and focus on the competition itself. It's a cultural phenomenon from Europe that somehow entirely escaped the American radar while reaching all the way to Australia. However things are starting to change, it's now broadcast in America as well. This spawned the American Song Contest which completely missed the point since the very concept doesn't really work outside a place like Europe. As a European myself, this movie is a great idea to answer basic questions about the competition because this place isn't merely a pile of different countries and political alliances but rich heritage and a cornucopia of identities that uses Eurovision as a platform that celebrates all that. An another thing that's crucial to the experience is the sheer variety of endless glam, kitsch, ballads, hilarious costumes and staging and the occasional cult classic that you see on stage.

"The Story of Fire Saga" is the fruit of Will Farrell's imagination fuelled by his Swedish in-laws that initiated him into what might be called the Eurovision cult because the average finale has more viewers than the Superbowl. A story about two friends from a small town in Iceland determined to take part in Eurovision, they put all their efforts into their band called Fire Saga which does, indeed, end up on the stage of the competition. Rachel McAdams is doing a fine job in the leading role, while they tick all the stereotype boxes (elves? Tick! Everyone is related? Tick! Lots of fish and ice? Double tick!). Their chemistry works but the romantic angle was probably a nod to the audiences that don't start hyperventilating as soon as they hear the sound of Alexander Rybak's violin. To please his target audience, there's music by Cher, Madonna and Black Eyed Peas. For the rest of us there's Celine Dion and ABBA, whose international careers took off after the competition. And to put the cherry on the cake for fans, a singalong with a group of Eurovision royalty like Loreen, Jamala, Salvador Sobral, Netta etc. Graham Norton pops in for a cameoas well, playing-naturally-himself, with the usual jokes at the expense of contestants.

So, what's the final verdict on this? Ferrell tries to please everyone to an uneven success. Americans who can barely tell the difference between The Voice and Eurovision, and diehard fans who will be undoubtedly be pleased by Conchita's rendition of Ne Partez Pas Sans Moi or Sobral crooning on a piano. To my surprise, Will Ferrell can sing when he's not trapped inside a human-sized hamster wheel. True fans take their passion seriously so I wouldn't be surprised if the reaction get polarized either. But that's the hidden intention: to show you why so many people connect over music and that there are so many things that are still hidden in plain sight. As Ferrell brilliantly put it, Europe is more than a big party town. And Saga's karaoke-friendly soundtrack is destined for parties that take place everywhere from London to Tel Aviv before the main event. Before attempting to parody Eurovision, nobody does it better than they themselves. Grasping on this makes Ferrell's film a success.

Harry & Meghan (2022)

Here we go again

[3/10 · 22 December 2022]

The Sussexes have frequently reiterated their desire for privacy on their own terms as the reason for leaving the UK and their senior roles in the Royal Family. However, judging by this self-congratulatory shmoozefest, dishing out on their private life and opinions on anything is their main bread & butter nowadays so they have to sing for their supper when Netflix is the one picking up the (hefty) tab. We get to hear everything from the very start of the relationship, through the wedding to their life nowadays. There are moments that are utterly embarrasing-Meghan's mock-curtsying or her complete lack of understanding of Harry's family tradition. And then there are moments that are touching and genuine, like Harry's confessions about his past mistakes and the psychological scars left from his mother's passing and the way he was treated by the media. Everything else is tacky self-victimisation, and talk about racism sounds as if this was the first time ever that issue was raised in public. They tried to channel Diana's Panorama interview with their visit to Oprah, but it backfired since this is not how The Firm settles its inside issues. Upcoming projects are a premonition of future embarassments. It will certainly test the limits of how much more of these two we're able to handle. After you've pushed yourself through all episodes, one thing is for sure: the Sussexes heavily overestimated their appeal overseas which is perfectly illustrated by Harry's meme-worthy reaction to Beyonce's message. It shows that in their case the court is somewhere else, and the Queen is still alive and well. Netflix certainly made enough money on this to trust them with more content. But I'll be reconsidering my subscription if they continue with it.

Swimming Pool (2003)

The distress of inspiration

[10/10 · 15 August 2022]

As I write this, I'm sitting in a writer's residence overlooking a giant cave full of trees, and it's quite a beautiful distraction from my manuscript, though not nearly like the sight of Ludivine Sagnier sunbathing in a bikini. Charlotte Rampling shines in the role of a famous novelist looking for inspiration for her new book in a house in the south of France. From the very moment the owner's young daughter comes into the scene she's a vivid counterpart to Rampling's sudbdued Sarah, who is looking for peace, while Julie is looking for fun. This subtly stressful cohabitation hits its peak when Julie's fling turns into a crime scene. Suddenly stuck in a situation neither of them can escape from, the two women must find a way to put their differences aside to solve the problem. Ozon's characters aren't either archetypes nor stereotypes: each is infused with specific individual qualities. Sarah Morton is someone authors might identify with, to a certain point of envy even: a writer's block is easier to tackle in a French villa than a drab, depressing apartment in London. Or at least, it's easier to find an exuse, since the distractions tend to be so exquisite. Unless they turn extreme into a real-life crime plot. From my desk, there's a good view of a little chapel on the hill devoted to Christ's suffering and crucifixion. Just like Ozon's lovely movie: suffering with a view to kill for.

Borgen (2010–2022)

The future is female

[4/10 · 9 June 2022]

I remember being delighted when I heard about a new season coming. There are several things that come up to your mind when it comes to the re-iteration of Borgen. First and foremost, that the leading actress is a perfect example of how a single character can carry the weight of the whole project on her shoulders and do it with poise and success. Birigitte Nyborg (Sidse Babett) is back and this time the drama is even bigger and the stakes are higher, though some people from before are missing, like the Pilou Asbaek. The story involves a discovery of oil in Grenland which puts the differences between Copenhagen and Reykyavik into focus, and brilliantly portrays the tensions and issues that are a constant presence between each capital city and provinces globally. What ensues is a scandal-ridden, strenuous game of ambition and diplomatic balance at the cost of Nyborg's own peace of mind, when her son suddenly turns into an eco-activist. But Nyborg knows better this time and hires a brilliant spin doctor to take care of her reputation while she's trying to stop, as her boss brilliantly put it, the ice from melting underneath her feet. In tune with the theme of politics, the show is burdened by political correctness that's occasionally mocked but otherwise defines the whole structure of the new season: almost every character in a position of power (be it in the media or politics) is female, whereas the men are reduced to lackeys and assistants mocked for their sense of fashion. As Nyborg brilliantly put it, it's all about tags and power. But in the sterilized political environment of Borgen, women are their own worst enemy, since it's all reduced to passive-agressive catfights once men are moved to the sidelines. My own favourite moment must be the talk show where Brigitte and Magnus talk about environmental politics, and she reminds him who's still washing his laundry and cooking dinner for him. This is the moment where she finally lets go of the mask behind which a real human being is hiding, at the cost of public embarassment. Also, a brilliant point about the hypocrisy of green politics nowadays, maligned by Greta Thunberg wannabes everywhere. The romantic subplot in Grenland doesn't add much to the story. The death of the fisherman could have made for at least one more episode all on its own, but it was untangled too late to add more weight, seemingly simply cut out when it started to get seriously interesting. Let's hope for a new return, I can never get enough of shows like Borgen.

Toscana (II) (2022)

Under the Danish sun

[3/10 · 28 May 2022]

If you feel flashbacks while watching this, it's because it resembles Diane Lane's Under The Tuscan Sun to a t. You got it all: the scenery, the wine, the food, the emotions, the script that might trigger an allergy to mozarella since it's incomprehesively cheesy. It seems that the director couldn't read anything into the serene Mediterannean scenery but mediocre, predictable love stories and family feuds, with an additional focus on food that's not about artisan approach but "about love" (we know Italians love their pasta, no need to emphasize). The plot is simple: a successful Danish chef returns to Italy to tend to his father's legacy in the form of a semi-derelict castle (sic!) and can't help himself but sneer at the local approach to food. Eventually he makes friends with locals, falling in love while reconnecting with his past in the process. The difference between his depressing personality and the passionate, slightly defensive approach of his ltalian love interest are predictable at best and ridiculous at worst. Just like Lane's film, this might fit the best to 24Kitchen. And it's a perfect example of what I started calling location porn: when the scenery is beautiful, an intelligent script is rather a tiresome drag than a prerogative. Too bad. If you enjoy love stories and can't afford a trip to Tuscany to indulge in the food, wine and sun, there are always films like this. That's, more often than not, all they're good for.

Miss Fisher's Murder Mysteries (2012–2015)

Flappers and guns

[4/10 · 22 May 2022]

Miss Fisher wants you to know that she's got a working brain underneath her bob, a sense for expencive style and can live a perfectly serene existence without a husband and children. And yes, there's a petite gun in her purse if you threaten her while she sleuths around, solving murder mysteries. From the first time you see the show, it's clear where most of the budget went: the costume department. There's a resemblance to films with music stars where the plot is merely a filler between the numbers in the soundtrack. Here though, there's a bigger picture, the plot tends to make sense and just like the Titanic, hits the iceberg in the shape of bad writing, consisting of corny, pseudo-feminism that makes Carrie Bradshaw sound like Margaret Atwood. Filled with self-help adjectives like "strong", "smart", "brave" etc, the writers unmistakably point out a woman is perfect just the way she is, povided she's flirty, wears a slinky dress and can fly a propeler plane in a heartbeat if she needs to. In this case that does happen more often than not, due to all sorts of cases involving men frequently depicted as homicidal abusers. We are left to wonder how Miss Fisher can afford her luxurious lifestyle since she doesn't seem to be on anyone's payroll. All this puts more emphasis on supporting characters with more depth and sympathy to them, like detective Jack (Fisher's permanent flirt), FIsher's shy assistant Dot and her devoted boyfriend Hugh. The whole gang is usually involved in smartly solving cases and the chemistry works. Our titular character might not be Miss Marple (though she's technically a spinster too) but on the other hand, you can hardly imagine St Mary Mead as a place where someone like Phryne Fisher would settle down. Unless her car breaks down, so she needs to have it fixed. And Marple prefers tea over gin anyway, so they'd hardly make friends ayway ;) It's more or less clear it's aimed at a female audience but others might enjoy the whole drama of it as well.

Agatha Raisin: Kissing Christmas Goodbye (2021) Season 4, Episode 1

Agatha Raisin's Christmas

[4/10 · 8 May 2022]

From the very start, the plot of the episode kept ringing bells for me until I remembered that this is a very similar case to Hercule Poirot's Christmas, and that the culprit is usually someone from the family. The wealthy mother that requires protection from her greedy children looks like a drunk obese, dressed for holiday season. Her attitude and behavior don't suggest someone living in all that splendor, rather someone in charge of dusting the library. From the very moment they come into the picture, you can see these people are up to no good. There's a subplot about a coven of pagans using the grounds for their secret rites which doesn't add too much to the story itself. It's supposed to give it a dark undertone but just like the killing weapon itself, it's rather a parody than something convincing. But it's obviously a Christmas flick, so if you don't expect too much (not much to add to manor house whodunnits anyway), you'll have a good time since Agatha's friends are a lovely bunch and seeing them throwing a dinner party is delightful, with all the ornaments, food and even the fake snow isn't as annoying as I expected it to be.

The Mirror Crack'd (1980)

Perfect casting!

[5/10 · 29 April 2022]

This 1980 version of Agatha Christie's classic whodunnit has, like other versions, its own qualities and in this particular case, it's about the casting: Elisabeth Taylor was a great choice for Marina Gregg since she exudes a similar melodramatic glamour, which is over-the-top as much as it needs to be. The diva fights between her and Kim Novak are one of the best features of the movie, with the bickering and the witty quips. Rock Hudson is the hidden gem of the movie, with arguably the best performance but it's quite a difficult feat to overshadow Taylor even for actors of a much higher wattage than him. He's very convincing as a devoted husband and a firm support for a mentally shattered woman hiding behind the diva, trying to built an another new persona for herself in English countryside. His own desperation at the seriousness of the situation is palpably touching, with the the inevitable breakdown looming in the end. Angela Lansbury plays the leading role, and in the whole gallery of actresses having had played the amateur sleuth she's not one of the most convincing ones: her Marple occassionally seems rather silly than serious, which makes it difficult to appreaciate her as someone level-minded enough to solve the case. When she confronts Jason with the truth about the case, she makes the impression of a scout coming cover to sell a tin of cookies. Edward Fox plays one of her numerous nephews who's suprsingly the detective in the case, and he looks way too old for an aunt/nephew vibe here. Considering sleuthing, Lansbury gave her tour-de-force as the marvelous small-town amateur detective Jessica Fletcher. But it's certainly worth seeing this since there are certain parallels between Taylor's Cleopatra and Marina Gregg.

Servant of the People (2015–2019)

An unexpected gem

[10/10 · 1 March 2022]

Whoever ridiculed or doubted comedian Zelensky's ability to properly do the job of a president who's not fictional, might have had changed their mind after the recent events. And yes, it's a pretty accurate description of someone in the midst of a corrupt political system entangled with personal interests. Zelensky is genuinely funny and he's proven himself beyond the tv show too, from music to dancing. I'll never forget the video where he might as well pull off "All the single ladies", in leather and stillettos. Definitely have a look. And with the remarkable qualities he displayed recently, I bet Netflix will be streaming The Servant again. Don't be surprised if you see a film trailer with him either, I just wonder who'll play the leading man.

Vienna Blood (2019– )

Sherlock turns into Scherlock

[8/10 · 4 January 2022]

This crime series is (similar like The Forest) a show leaning heavily on already existing patterns: Sherlock and Watson, or, a bit less known, Grantchester (the difference being that there we have a priest and a detective). But that's not necessarily a bad thing, though with Sherlock and Watson there's no reluctance and defensive energy in their relationship, unlike in this particular example. The two central characters are a young doctor and student of Sigmund Freud (which provides for a bit of a Sheldon Cooper vibe to him), and a rough detective who seems to be drowning in bitterness and depression. Initially the detective dismisses his aspiring partner completely, but soon realises there's more to him than meets the eye with the repetitive phrase "welcome to the case!". They deal with several bizarre murder cases one of which has hints of Jack the Ripper phenomenon. One of the undoubtedly charming aspects of the show is Vienna's fin-de-siecle scenery, equally important for the overall effect like London's Art Deco architecture for Hercule Poirot. The costume department deserves every praise (the detective's bowler hat is a brilliant idea). Also, very importantly, in comparison to Sherlock and the rest is dealing with the dangerous shift in Viennese society towards Jews and the subtle hints about what is about to happen in not so distant future. And how much bravery it takes to refuse to collaborate with your butchers while you still can. An unexpected discovery, not least due to the focus on stereotypes and hatred.

Queer Eye: Showdown at the Broken Spoke (2021) Season 6, Episode 1

Finally!

[9/10 · 2 January 2022]

Queer eye has always been the perfect antidote for blues of all sorts and I simply can't decide who is the best of the 5 guys, they're all equally funny and gorgeous. But still, Jonathan takes the crown as the show's trademark personality. They perfectly complement each other within their own expertise and the people they get to work with are very special indeed. The one thing I'd change is Karamo's preference for t-shirts with political slogans. We should show attitude and values through our actions and not t-shirts that are more appropriate for high school activists and Trump supporters.

The Forest (2017)

White wolves, white lies

[7/10 · 26 December 2021]

This crime series steadfastedly follows in the footsteps of other European whodunnits on Netflix: a small town near a big, dark forest, lots of people with secrets and pasts that should remain hidden. After the ascent of shows like Dark and Black Spot, this one naturally joined into a trio that keeps the same aesthetics and mood. There are even more similarities, both in Black Spot and and Forest everything revolves around the disappearance of a girl where the officer in charge of the investigation happens to be her mother. That's not necessarily a bad thing though it does kill some suspence, making you feel you've seen it before. Here, they're on the hunt for the murderer of the missing girl, Jennifer. That unfolds a sequence of events that lead to tragic consequences. The colors are dark and foggy, the scenery is suitably cold and frightful. There are annoying and predictable details, like the wolf who plays a deux ex machina whenever there's a need for it. There's a lack of attractive and genuinely charismatic characters. One of the few is Oceane, a girl who likes to get into trouble and just can't let it go even when things go terribly wrong. The teacher Eve is the one that the subtle strings of the case somehow always come back to, but for a character central like that, they should have recast, because what we see is someone rather bland and almost autistic. The case and the investigation itself are exciting and keep you on your toes till the very end, which is the most important thing after all. So if you look past a few weak spots, you might get an enjoyable binge.

Coming Out Colton (2021)

Cute& curated

[4/10 · 17 December 2021]

The new Netflix series is about Colton, an American NFL player who had all the preconditions for living a glitzy life: a good-looking athlete, well-off, beloved and a Bachelor tv alumni, where he dated more then 30 equally attractive young women. Things went south when, in a relationship with his ex from the show, he did stuff anyone with a working brain would be ashamed of, to the extent of a restraining order. So in this instance, we have a yet another reality show where he lets us take part on his coming out journey through several episodes.

What I liked about the show is that it's conceived as a series of coming-out encounters where he shares his true identity with the people who play the most important role in his life. Which is great because it's no easy road to take even for people like him, so it might show pointers for people who are still in the closet. And emphasing the importance of accepting the LGBT community as a support system was particularly a great idea. The stuff I didn't particularly like at all though is that it all felt a little bit scripted, anti-climactic and easy-going. It seemed to me that all those people were a bit cornered by Netflix into warmly accepting and embracing this Colton they didn't know existed. Either that or they were prepared beforehand, since it was a bit too smooth even for me. Not sure if things would go so well off camera in any family. The show might have had some more genuine character if the girl in question had been present to share side of the story, which would add value as a narrative about abused women in relationships or marriages with closeted men. And it was a bit too obvious that the show was sponsored by Carhatt.

Single All the Way (2021)

Rainbow cheese

[4/10 · 4 December 2021]

Netflix' own "Single All the Way" finally gives the LGBT coomunity their own cheesy holiday rom-com that's far from "Love, Actually" but it's filled with all your standard Christmas cliches: a close-knit family with quirky traditions, the weird aunt and the jolly grandchildren, the proverbial single guy and a big Christmas tree, all set in a romantic little town full of snow and a cosy pub. The main character is habitually single during holiday season so his mother sets him up on a blind date with a rather handsome skiing instructor. The over-the-top family dynamic combined with a level of acceptance and embracing of his sexual orientation and private life tends to be a bit too much at times. That provides for quite a few cringe-worthy scenes where everyone's rooting for a romantic spark between the two main characters. The father is portrayed as an old-fashioned character that's rather progressive in his views which tends to be unlikely in small communities. Anyway, you get exactly what you expect, with a twist of the romantic couple being gay. Which nowadays isn't that progressive but putting it in context like this just might be. If it weren't that polished to scare off any provoking interpretations that might be unsuitable for children. But that's what your standard Christmas movie is like anyway, right?

Jasmim Hotel (2016)

Room with a view

[10/10 · 3 October 2021]

This short but precious little gem tells a story of two roommates at a flat in Sao Paulo, a male prostitute and a poor man from the countryside who came to find a job, and is visibly desperate about his situation, whereas the other one has a rather cool attitude about himself and what he's doing for living. It's a story about two contradictory mindsets and values, compressed into a short format that leaves little space for exaggeration and narrative development. However, the initally cool roommate slowly changes his relationship to the other guy, faced with his unspoilt honesty and criticism. It's a perfect example of a narrative with an increasing tension and surprising climax. A pleasant surprise, I almost wish it was longer.

Firebird (I) (2021)

Stravinsky's triangle

[7/10 · 28 September 2021]

If you've seen Ang Lee's Brokeback Mountain you won't feel very compelled to see this, but you should. The main premise is quite similar: two lovers in an extremely homophobic environment form a bubble where their love can thrive through stealing time from their own ordinary obligtions to keep their love alive. The context is slightly different, since we're dealing with a Cold-War airforce in Russia where homosexuality is punishable by prison. The two male leads are conving and attractive, with erotic scenes on the right side of tasteful. As usual, epilogues in these sorts of stories tend to be predictable, but as with everything else, it's the road that matters, not the goal. Also, the fact that it's based on a true story lends it some more weight to keep it from turning into an amalgam of Titanic and Brokeback Mountain.

Sign (2016)

Distilled love

[10/10 · 21 September 2021]

"Sign" took me by surprise: I expected something corny, littered with stereotypes or banal prejudice. Instead, what I got was a story that compressed into a breathtaking short movie what the usual romantic films need at least 90 mins to accomplish. It's a love story that starts in an unassuming encounter that's defined by the sign language the two men need to communicate. The passion evolves into something so profound that the other one decides to learn sign language in order to create a bond without communication barriers. The view with no sign language proficiency might find the storyline occasionally puzzling, but the scenes of the two men's social life that swings between the one's sensorily unimpaired friends and his own, where the other one feels like a stranger. It's a perfect metaphor for problems we encounter in our own communication-sensorily impaired or not. The director of this little gem teaches us that sometimes, the barrier of speech is easier to mend than an emotionally impaired heart. And that it's never too late unless we decide it is.

Midnight Diner: Tokyo Stories (2016–2019)

Delightful

[10/10 · 21 June 2021]

What would you get if you mixed Jim Jarmusch's Coffee and cigarettes with a set design by Edward Hopper and Woody Allen-style array of characters? Tokyo Stories. I discovered it by chance on Netflix, and boy, am I glad I did. A very simple concept with a grand impression on the viewer. The main character tying all episodes together is called Master, a wise middle-aged man running a late-night food joint frequented by various colorful characters, sharing their life stories over a bowl of food prepared by the Master from the few simple ingredients in his pantry. The more you watch, the more you crave Asian food carefully placed at the center of each episode. Watch this and you won't be only binging on Midnight Diner but also on a bowl of miso. You have been warned. And now hit the "play" button. 😉

Halston (2021)

Glamour, drama, bananarama

[7/10 · 19 May 2021]

Roy Halston is one of those designers like Elsa Schiaparelli: they rise, they shine, and slowly dissapear into obscurity only to re-appear at some point in the future as a fashion oddity appealing to celebrities. Ewan MxGregor did a brilliant embodiment of the titular character, the drama-queen personality and his ego the size of the Empire State. It's primarily to this that his imminent end grows to such a disastrous embarassment, alienating him from all the people that cared for him the most. But it's the supporting characters that paint a much more joyful side of the 1970s decadence: Lisa Minelli and Elsa Schiaparelli, frolickimg around and bursting with joy and enthusiasm, constantly trying to save Halston from himself. One can't help but comparing the movie to Bohemian Rhapsody and its treatment of Mercury's sexual orientation. Here, the director throws Halston's insatiable sex drive in your face straight at the beginning of the movie, An unnecessary and superficial trick that rather portrays a desperate and depraved man, rather than one looking for emotional bonding. This is a classic American success story and a cautionary tale about the traps of fame. There are designers who aren't gay, or into drugs, but you ouldn't tell that from "Halston". This highly bingeable series will make you google 1970s fashion, Bianca Jagger and Studio 54. All of those way too everestimated from today's point of view. Only Liza Minelli proves to be larger than life in the movie, which is the best and worst thing about it.