highnemonkey Reviews

World on a Wire (1973)

Spy-Fi

[8/10 · 7 April 2021]

"Welt am Draht" has become a sleeper hit of sorts, a seemingly lost masterpiece by a renown filmmaker, practically unavailable for decades and even inspiring a worldwide hit during its absence. And having seen it for the first time recently, I feel comfortable saying that the cult status it holds is well deserved.

During the early 70s, when Sci-Fi was making its leap from late-night out-of-space-horror to serious storytelling, incorporating other genres, Fassbinder brought his vision of a computerized world to the screen. Digital inhabitants in a digital city find cracks in their world and slip through to the other side. Much like "Blade Runners" Androids would do ten years later, the "identity units" stretch towards the limits of their being and make us question, where the line between us and them really lies. Even further so when Fassbinder turns the story upside down halfway through - quite literally, what was up is now down and where once was an empty sky, now another limit, another "them", awaits. While the whole spoiler/twist-business has seemingly become a big thing with major Hollywood-mysteries, led by twist-aficionado M. Night Shyamalan, it is wonderful to watch how this film pulls off a movie-twist without much effort.

Fassbinder is masterfully setting up a trap and leading us to the hole which we are then pushed into: The whole first part leads us to believe that we are watching anything but a Science-Fiction film. Just as the beforementioned "Blade Runner", "Welt am Draht" heavily recalls Film Noir-vibes. The Fedoras, cigarette smoke, drinks, femme fatales in dark bars - its all there. Witnesses with vital information missing in action, a lone hero fighting through a jungle of non-cooperating officials - check. As the smoke is slowly lifting, we draw conclusions and believe we are watching a industry-thriller about corruption in high ranks. The James Bond-feel (our hero Stiller snoops around company offices in a tuxedo when returning straight to the office after a hungover all-nighter) adds to our suspicion. Karl Heinz Vosgerau makes for a phenomenal antagonist, with Peter Fonda-eyes and a smirk that convinces you that something sketchy is going on without letting you know just exactly what.

The whole first part is a masterclass in how to distract the audience, making them connect dots that are not there, feel smart while being totally mislead. Are we watching a spy-movie? Well, we have a political mole as well as a media-mole. All the while, Stiller senses there must be another mole. Not from the outside, but from above. So, if we believe in that cryptic "above", in Stillers vision of puppet masters beyond our reach, this is what makes all the difference in our perception of the film. Is it a thriller or Sci-Fi? We have to see through the characters eyes and decide for ourselves.

As if this isn't enough on our plate, Fassbinder can not go without his native topos, the paralyzing drama of human relations. From secretary Gloria Fromm, a suppressed woman making her way towards the light, all the way to the nosey caretaker, the futuristic setting does not keep Fassbinder from weaving in his little meditations of the human soul.

Fassbinder-companion and behind-the-camera-magician Michael Ballhaus balances the swirling story in steady images that feature some impressive shots without showing off.

Once the cat is out of the bag, the second half lacks some energy and pales in comparison to some Sci-Fi-classics that came after.

Nonetheless, this movie deserves more attention. Not just from that hipster-smartass at your party, trying to sell this movie merely as the basis for "Matrix". No, "Welt am Draht" is much more than a "basis", that was taken and then built upon. It can very well stand tall and proudly on its own legs. "Welt am Draht" is Sci-Fi at its best.

The Nightmare (2015)

Spooky mental health-drama against a techno-backdrop. Not more, not less

[6/10 · 8 February 2021]

What is this film? Part horror, part mystery, part coming of age, think "David Lynch makes an ET-reboot targeted at high schoolers". This wide spectrum of genres gives the film a nice flow, because it allows the director to mold the story in any way that he pleases. The viewer is kept on the edge of the seat, while the story is taking turn after turn.

Still, a little more focus would have been beneficial. Take, for example, the bold claim I found on the back of the DVD: "The ultimate Berlin-movie of this generation". Whoever sits down to watch "Der Nachtmahr" with this expectation is bound to be disappointed. To be fair, it features some very impressive scenes of raves and clubs but this is simply a back drop, to draw this to the foreground is merely a marketing move. Same goes for the mystery elements. There is enough material to break the wall between reality and fiction but if you are looking for dark, mind-bending mystery, there is other places to look.

I, as a viewer, brushed aside the mystery, the raving, the strobe effects and under all the rubble, found the beautiful story of Tina and "her" nightmare. Whatever it is, she is bound to it; the more people are trying to drive it out, the stronger their bond becomes; until it becomes clear that, while ugly and inapt for posh Berlin suburbia, it is a peaceful companion that Tina learnes to love and live with.

Surrounded by people pushing her around for the sake of "mental health" and fitting into suburbian society, a teenager emancipates into a young adult with a healthy attitude towards the darker sides of life... This might not be a good promotional slogan but viewing "Der Nachtmahr", this is what I will remember.

Sörensen hat Angst (2020 TV Movie)

Watching a rollercoaster - not riding it

[5/10 · 1 February 2021]

Bjarne Mädel has become one of Germanys best known faces on the screen by bringing a light-heartedness into everyday characters, extracting the humour in human relations and communication without ridiculing those around him. This film, in which he stepped up to the directors chair, breathes that very sense of humour: Miscommunication, absurd, short-spoken encounters, mixed in with the rural wasteland that seems to be the perfect backdrop for this kind of humour-set up.

But - it all feels like you have seen it before. Crime shows are a major part of german television and many have tried it with a comedic spin. One of the first shots gives us a car passing by somebody, then: a wide-angle long shot of the car braking and backing up. One of the few bold camera moments and it feels like something out of comedys standard kit. Take "La Isla Minima", the spanish hit crime film, which has seen its german remake already but, with its rural setting and bearish town folk makes for a good comparison: The drone-shots it used might look outdated in a few years, reminding us of that short period in film history when drones became easily accessible and were used until the fascination wore off, but, they give the film a consistent look and unique feeling, which Sörensens design lacks.

So, Mädel, the creative mind he seemingly is, probably backed up by executives trusting in the power of his name, was bold enough to not only rely on the "crime but with funny characters"-formula but move on, which I highly welcome. But oh, the kind of path he would choose to go down I did not expect.

The nature of the crime I shall not mention here for the sake of leaving future viewers unprepared and neutral. It is sinister.

There is no border as to how dark a crime story can go but if you want to keep up a comedic spin, try to stay light. Fargo has its dark, underlying sinisterness, as well as many scandinavian crime productions but what Katenbüll has in store for us wipes the smile off your face and replaces it with nothing. The dialogue tries to get you laughing (which does not even work too well, with some jokes - ordering food/a cup of coffee - the authors were even lazy enough to recycle) and then goes back to the main plot which is diving deeper and deeper into darkness. They might have been aiming for a rollercoaster-ride experience with these ups and downs but this kind of experience only works if the viewer becomes the passenger. Overwhelmed by this huge spectrum of emotions and conditions, the viewer becomes a bystander, merely watching the winding rail but not feeling the highs and lows in their guts.

It is not us, it is Sörensen himself who is going on the rollercoaster. From the heights of sparkling comedic exchanges to the lows of panic attacks, we watch director/star Mädel display all he has in store as an actor but, personally, I did not feel attached.

Contrast is good, contrast is needed in a script. But if the evil outweighs the fun by so much, the viewer feels like he is watching a dramatic piece and the comedy feels out of place.

The more interesting feats of the characters were woven in as side plots to gain another minute or two but nothing ever comes to life. Sörensens colleague Holstenbeck might have been interesting but as soon as Sörensen leaves the frame, her role becomes lifeless.

Lets just skip discussing the dialogue. The sheer zombie-like script-reading can be excused for the younger part of the cast, yet with the older, appearantly experienced actors, it is a shame how directors still stick to the dogma of reading a script off a page instead of giving room, letting actors talk how real people talk and breathing life into words. Old news in German Film.

The Whispering Star (2015)

Smart, floating, boring

[5/10 · 15 January 2021]

We are flying through space. Pale interior, vintage technology, beyond the window: thousands of stars in a big black nothing. This is what dreams are made of. But, as our hero, Yoko, reveals to us, these scenarios of escapism are not always as exciting as they might seem in the beginning. In the distant future, while Yoko and her sole digital companion travel through space as intergalactic delivery pilots, Yoko tells the sad tale of men's invention of teleportation. Teleportation? "Amazing!", one might think. But, Yoko recalls, when exotic destinations were easily within reach, they quickly lost their charm. When going to the beach is merely another push on a button away, half the fun is gone. Anticipation is the magic word which unfolds its meaning as we get older.

The same goes for Sci-Fi movies. New worlds, far away galaxies and unimaginable creatures all have their appeal. During the run of "Avatar" people spent 2,78 billion Dollar in movie tickets for a good 2 ½ hours of teleportation. But the easier these worlds come to life, the more powerful the CGI-Gods become, the quicker we will be bored and left with a hunger. Horror movies have come a long way from cheap costumes and shadow play to gore and jump-scares. Have they become better? Not necessarily. And so it also happens to Sci-Fi. Better effects, a more perfect immersion, does not equal a more satisfying escape experience.

Funny side note: Star Wars actually tried reworking its visuals with a more technical approach, rising the images "up-to-date", thus making the illusion and escapism more real. The outrage over it is even more known than the outcome itself.

So, Yoko teaches us: Teleportation to the beach, as good as it is, does not satisfy our need for relaxation. And just the same: visual effects do not satisfy our need for good Sci-Fi. Popping in the latest CGI-fest does not necessarily tickle our brains area that craves deep thinking.

So, writer/director Sion Sono puts a spin to his futuristic scenario. Everything feels a bit outdated, the set design is more reminiscent of a 1950s Sci-Fi film. It lets us focus on the content, not the shining outside of the set. In this contrast, a distant day which feels like yesterdays future, the perfect androids that have taken over the world seem helpless. Opening up parcels, finding film strips, feathers or old photographs, they wonder "What the hell is this?". And so do we wonder also: Well, yeah, why in the world do these things have any value? The old scheme, android vs. human, technology vs. romanticism, here it is. This is emphasized by fantastic camera work which takes a human, subjective view and guides us through a world which is not clean and shiny but alive and breathing.

The films filming location, whose background can hardly be ignored, hit me with a cynical note: What a bold move to film a movie in the ruins of the Fukushima region and discuss human virtues vs. technical perfection - In a place where human error lead to an unspeakable disaster which probably would have been avoided by any cold hearted android.

So, is this a masterpiece? Not in my opinion. Did I enjoy it? No. While it makes you think of the genres greats (especially the on-bord computers appearance is straight out of 2001) it falls behind in direct comparison. It lacks focus, throws in too many things instead of being concise with the questions it poses. A computer going through Platos cave allegory? Well, this might be an interesting thought but in this film it simply falls short and leaves you scratching your head.

Oh and it's boring. Let's not forget about that. It is really boring at times.

Waxworks (1924)

Hailed for expressionistic looks, worth a rewatch for exploration of human violence

[8/10 · 11 December 2020]

The early days of cinema - fun times! The author and directors really seemed to fool around, try out and explore themselves and the art of film instead of merely producing an entertaining flick. They are 'auteurs', a term and way of seing filmmakers which only caught on later. Let's look at the story - a young author finds a job at a fair, writing stories for a show of wax figures. The showroom is not excactly Madame Tussauds, it comes off somewhat shady. Possibly not every aspiring authors dream gig but he seems intrigued and finds it to be a good playground. Why would one tell such a story? Who knows - might be that this was the spirit of Henrik Galeen, writer of the movie we are seeing... Our hero seems to be wandering around town looking for a job. He finds work at the fair, probably nothing he foresee in his own biography. So, while at his gig, he writes stories about just that - twisted biographies, changing roles, uncertainty. Espescially the first two episodes struck me: in both, characters are changing roles, for both of them it turns out to be a life-saving measure.

This is the kind of sub-concious movie experience that one can have, but does not have to. If you want, read this as the writers sub-text, if you don't, go ahead, enjoy the movie for what it is!

And there is much to enjoy! I just saw the recent digitalization and boy, it looks crisp and beautiful, the condition of the images and the polishing that has been done to it is wonderful. The sets are amazing, the first episode really uses the studios capacities for a charming, dreamlike oriental setting. And while it is the third episode that is remembered in film history, the second one, about Ivan the Terrible, is the one that impressed me the most. The acting is terrifying. The presence of the tsar is incredible, the way Conrad Veidt fills a set is something only seen in the silent era. This episode goes on to explore cruelty and violence. Ivan is the embodiment of violence, (after beforementioned role-swapping) a man dies in his place and it leaves him cold, the man is literally dying on the steps while Ivan enters to join a feast. And then - he wonders while nobody feels like dancing. He uses his only way of expression, violence, to force his will onto people, making the feast continue and eventually even getting his love interest back into his arms.

Ivans ending is fittingly cruel. In his struggle with the hourglass we see all symptoms of a man fighting for his life - fear, begging, giving up, madness. After having decided about many peoples life, Ivan was certain he may decide about his own. And so he continues to believe he has the power over his own life and death, by turning the hourglass, turning and turning and turning...

Extremely Wicked, Shockingly Evil and Vile (2019)

This seasons must have: True Crime & Fashion!

[6/10 · 11 December 2020]

It would be wrong to say I did not enjoy this movie at all. Yet, it had that feeling of being something straight out of the studios laboratory. Murder mysteries have gained popularity in recent years, as well as "period" pieces that focus on fashion and lifestyle. This threw both together, as other productions have before to great success. The acting is alright, the plot linear and engaging, surprisingly it opts to neglect the grittiness and explore the human and juristical dimensions of the case, which was nice. I am sorry but still - it just feels like producers were trying to surf the wave of recent true crime successes and eyeing a GQ story for Zac Efrons wardrobe.

Clergy (2018)

Sin is crouching at your door

[7/10 · 9 November 2020]

Why do some films hit us harder than others? In my experience, it is often dependent on the height from which we fall in the course of the film. As I had no information prior to pressing "Play", the two hours were a shocking ride through a haunted house. The clergy is never glorified yet the flaws its members have change throughout the movie and with it the general tone. For the first act it seemed as quite an amusing comedy: Priests are getting wasted, being called to duty in full booze, getting away from police control, the local construction project turns into a disaster...in short, these guys are nothing else then your normal underachieving losers, the comedic undertone springs from the fact that people still trust in them and they still hold power in society. But how is that comedic? Should it not be terrifying? The film goes on to explore that question and begins a journey downwards into human failure. These things exist, no question. And they are not to be excused. What made me respect this movie a lot and probably made those images hit harder is the fact that they are embedded into the wider universe of the clerical society, with century-old structures that have established perversions, pitfalls and meanders. And generation after generation, the mold within the church survives: Abuse brings new abuse, abstinence brings craving, power brings corruption, charity turns to greed. And in the characters that face their demons and superiors, admit their crimes and turn their back, we find pure human hearts, unaffected by the clergical structure, fighting to overcome societies inherent evil, that does not spare the church but lures in every part of human life: "[...]sin is crouching at your door. It wants to rule you, but you must overcome it." (Gen 4:7)

Die Nibelungen: Kriemhild's Revenge (1924)

Winter has come

[9/10 · 15 June 2020]

A deserved conclusion to the two part epic Lang started with "Siegfried".

Having started to watch "Game of Thrones" lately, I could not help finding the relationship these two works seem to have. What impressed me with the series was a range of female characters, some exceeding the often-used attribute "strong" by being straight violent. Kriemhild is one of these. The first moments of the movie are set in a icy wintery castle, the association was inevitable for me - winter has come in the kingdom of Gunther.

Kriemhild is an emancipated woman, not by careful development but by force, by revenge and circumstances. We see the former white princess change into a dark entitiy, which cannot even be shook by entering a savage mayhem such as Etzels camp. Not just unintimidated, she takes the scene, dominating each frame like a dark angel and places herself high above the male-lead kingdoms. This is not a fight between civilized Gunther and savage Etzel, this is a fight fueled by vengance. Kriemhild is neither a goodie nor a baddie, she is a natural force awakened.

In a rare moment we see her transformed back into the white princess - in her bedroom, all by herself, stripped of cloak and mask, she is again the snow white, innocent girl. We can imagine that this is her true self but after this short glimpse, she goes back to her dark self and sets out to finish the inevitable. To achieve this, Daenerys, pardon, Kriemhild forges a bond with the leader of a barbaric horse tribe.

The action propelles into a devastating war that knows no winners, losers or heroes. In the end, both parties proclaim: "Blood cries for blood!". But no matter how often Kriemhild urges "Hand over Hagen and you are free!", the easy way is not and option - in the end, the seeming nobleman and their loyalty appear as stubborn and violent as the barbarians, bringing needless pain and violence.

One of the lessons that one can take from Game of Thrones is deeply rooted in this epic already - in a world where magic and spells (Alberics magic hat) and even dragons are real, the real destructive forces are peoples battles for power.

Die Nibelungen: Siegfried (1924)

Waking a female tempest

[9/10 · 3 June 2020]

Many of us have a natural shyness of silent movies, especially if they are of origin that is not ones native country. But browsing through literature or online what often catches our eyes is stills - frozen moments that are touching and do not just let us see a moment but rather let us hear, smell and feel the moment they capture and those surrounding it.

Movies are just that - moving images. And this one is a superb example, a wisely crafted arrangement of moving images. Some of these scenes have the masterful arrangement of classicist paintings (Kriemhild vowing vengeance) and the emotion of a romantic one (Siegfried in the woods). Some choose strange views (on the drawbridge) that must have been incorperations of the arts of preceding decades.

Note also the driving force that are the female leads. Cheated and raped, the dark colored, earthy Brunhilde unleashes hell and awakens the natural force that is the bright, flowery Kriemhild. This story is a thunderstorm of female qualities.

Wonderfully edited (Hagens line "The hunt is over!" gives me shivers) and with characters that seem a bit flat but are cleverly arranged in relations of dilemma, this movie is overflowing with wonderful moments that it is still alive and breathing in every vengeance-movie you see these days.

The German Lesson (2019)

A study on duty and responsibilities

[8/10 · 12 May 2020]

Its probably no secret that the individuals 'duty' is one of the main themes in this movie. And it gracefully manages to keep a consistent theme throughout the story without watering it down.

The main character is burdened with duties from all sides: He shall report traitors, while at the same becoming one by whistle-blowing on the artist. The artists begs him to keep quiet, which in turn means to dishonor his father and break an obligation of biblical proportions. His sister puts the responsibility of staying in an abusive family on him, while his brother forces him to keep quiet about his hiding place - by threat of breaking his skull.

Wherever the child goes, he is presented with things he must not do, there are rare occasions of uncoditional love, mostly his interactions with humans are: '...but you must not...!'. He experiences life not in freedom but within the boundaries of duties.

No wonder his knowledge of obligations fills hundreds of pages.

So, in all these situations, with opposing forces of obligations, which one would be the right thing to do? Speak or keep quiet? Reveal or hide? A or B?

In retrospect, these questions are easy to answer. But this movie puts us in the head of a child without an omniscient perspective, just at the beginning of orienting his moral compass, with magnetic forces pulling on either side.

Its a tragedy, really.

A Rainy Day in New York (2019)

The ease is gone...

[6/10 · 12 May 2020]

I loved the Woody Allen movies I have seen, even in their darker moments they flow with ease, a sense of airiness that perfectly transmits the moments of falling in love, which are numerous in the films he directed. Yet, in this one I felt that very ease was gone. It is an intriguing experience to watch this movie with the allegations against Woody Allen in the back of your head. Maybe a piece of art can be seperated from the creator, maybe it cannot, this is one of cinemas biggest questions since "Me Too" started rolling. Even if you try to seperate it and see the movie for what it is (the option I try to pick), with this movie it felt impossible. The character of Ashleigh is just so flat, it makes you quite uncomfortable. A naive puppet, put there to provide some laughter and prey for fellow men. This was quite bugging, as the relationship between Ashleigh and Gatsby could have been fantastic material for Allen to mould his dialogues out of (just their first encounter already explores the boundaries of their relationship - how well do they interact? How well do they share goals?). Love triangles, New York City, humor between the lines, this movie had all the ingredients but somehow managed to turn up the heat in some places while also undercooking the whole thing. In my experience, the good Woody Allen films worked excactly the other way around.

Maybe Allen tried to deliberately violate everything that is expected in a post-Me Too-movie. That could have been a great move to make you question these unwritten laws of character definition. But it just felt like you are watching a very dumb girl being abused without noticing it. Plus, the two main characters and their love for 'old stuff' was quite unbelievable.

At the local cinema it was advertised as the best Woody Allen flick in decades and boy, I think, they just fooled me into buing a ticket.

Nova Lituania (2019)

Good acting & strong looks, weak script

[5/10 · 12 May 2020]

The idea is intriguing - with great foresight, a lithuanian intellectual of the 1930s fears the conquest of his country and, as a plan C ("A" being resistance, "B" being surrender) plans acquisition of territory overseas and founding a "New Lithuania", which would allow the nation a safe retreat in the years to come.

This is the stuff of strong films: danger in the back, hope in the front. But after the starters gun is heard, the movie does not really pick up speed. The character presenting the idea of colonisation to his students, superiors and the viewer as well, is slightly fainthearted, which makes him more interesting but at the same time he is the one responsible for pressing the accelarator in the story. I wanted him to succeed, I wanted him to be bold and present his idea with confidence, I wanted to see people ethusiastic for his plans, I wanted to see them built Nova Lithuania.

The man fails. The movie, starting off with a comedic-fantastic look at geopolitics, zooms in on the personal life of figures in history. The idea of Nova Lithuania is just an idea, it needs people to breath and these people are paralised by hesitation, doubt and structures of power.

The ending scene is stronger than most of what I have seen in a long time. The government has chosen a path and watch how things start rolling. And we as viewers are there with them, the utopia is broken, we find ourselves reconnected to the real timeline as we, just as they do, realise the historic dimension of their moment: What could have been and what will be.

Mamma Mia! Here We Go Again (2018)

A spoiled girls wet dream

[3/10 · 12 May 2020]

Alright, this is one more review among, let me check, at this point its 745 in total. Who's gonna read this? To just add one aspect that I found annoying: the portrayal of the local greeks (I'm not even greek, so don't think that'd be my motive). Lazy-ass island bums, just going through their dull days until young Donna comes, rolls up her sleeves and straightens that beautiful mansion that she occupied. In fact, all of these characters are spoiled brats, which I would even let slip, considering it's just entertainment. But nonetheless its quite annoying watching them rambling around Europe on planes and boats and wanting me to get involved in their pretended problems.

I know I know, nobody wants to have a fine movie spoiled by a sourpuss with his cultural science bullcrap. I also don't like it. But this is not even a fine movie. We've seen it all, so why do another one? Come on, they're even repeating songs from the first one! Who cares about Young Donna anyways? And what bet did Andy Garcia loose that made him degrade himself to a cartoonish mediterranean stereotype?

Orecchie (2016)

Smiling at absurdity

[8/10 · 26 September 2019]

Have you ever found yourself walking city streets, surrounded by millions of strangers, wondering if everyone except yourself is going mad? Marcello, the hero of this comedy, is. Something about his world is wrong, he feels it, we feel it, too, but neither can point towards the reasons or explanations. People die, people get entangled in others business, ATMs malfunction, street performers do their shtick, modern life is absurd.

Do we accept it and walk on smiling? Do we revolt? Or do we retreat into solitude, believing we alone hold the key to this absurd world and everyone else is a loon?

Aseptically shot we get a smooth introduction to these questions. Not a philosophical masterpiece but much deeper than I initially expected. And while the frame on the screen and our mind widens, the big question narrows down: Once you realised how absurd life is - Do you want to isolate yourself in arrogance or face each day with a smile?

Jupiter's Moon (2017)

Not only Hollywood goes for look over script...

[5/10 · 8 January 2019]

What a letdown. The first 20 minutes had me on the edge of my seat, the movie throws you directly into the action, introduces characters well, delivers fast paced action beautifully shot, which reminded me of "Children of Men". So there I was, presented an intriguing mixture between social commentary and superhero entertainment. What followed? A script that wants to much and lacks the boldness to go one way but decides to stumble upon many. The images are intriguing but even after half of the movie I got a bit bored of it. It stretched so long that in the end I didnt even care what happened. Well, even if I had cared - what was I waiting for? Where was all of this going? Sure, a kid being hunted down by a policeman and protected by a doctor - but you couldnt go any better way with a set up like this?

Modern superhero movies and Hollywood in general often faces the judgement of hiding a weak script behind grandiose looks - I dont see why this movie shouldnt be judged and found guilty by the same sentence.

The Other Side of Everything (2017)

Not going to make a point on the content

[7/10 · 25 April 2018]

By the time I checked, there were two reviews of this title: One giving it a 1/10, criticising the use of "fictitious" or "distorted" facts in the film; the other giving it a 10/10 for the "realistic" approach. As a non-expert I will not be commenting the political content of this film, may others do it, scholars or eye witnesses. Yet it is an amazing documentary, weaving personal and historical content together into a strong storyline that is accesible at all times and moving in ways you did not expect. The director manages to tell the meta-story of Serbia while linking it to the micro-story of her mother, a way of story telling which is beautiful to watch but hard to pull of.

Das Wirtshaus im Spessart (1958)

Perfect sunday-afternoon flick

[8/10 · 11 April 2018]

I do not remember the last time I was so positively surprised by a movie as I have been with "Das Wirtshaus im Spessart". When I went to the cinema to see it, my expectations were low. But actually this one is a fantastic adventure film! The story drags you in right aways and is told in a fast pace, held together by good camera work and jump edits. The colours have this irresistable look of 50s german cinema with colours brighter then reality, especially in the brand new digitalised version I saw, looks fresh after all these decades. Some of the jokes work even 60 years later, such a silly feel good-humour it catches you by surprise at times because as a modern viewer you're not used to it anymore - but refreshed each time. The love story is corny to a likable degree. The songs are rare, short and memorable which makes them enhance the story instead of interrupting it. The acting is what you'd expect - in the best way possible. If you get a chance to see this, at the movies or on a lazy afternoon zapping - catch it. Won't change your life but guaranteed to give a good time!

The Captain (2017)

Tries to be deep but lacks seriousness

[5/10 · 4 April 2018]

Halfway through I was thinking about leaving the cinema, which I never do. The sheer brutality of the images is unbearable at times and I consider it reassuring to my mental condition that it is. But what was more unsettling is this feeling that the movie chose this serious setting simply to get away with disgusting violence. Of course this is not a new discussion, Inglorious Basterds, which I loved, comes to mind. But while IB did not pretend to be serious, this one seemingly does. It takes the absurdly-cruel parts of other great films (think of the jammed executioners gun in Schindlers List and others) and throws them together, making you think of these great movie-moments and forgiving that this one actually is not very good. The first act was great, threw us into the story right away, it catches the viewer. But then? It pretends to be a study on the brutality of men but is it? What we see are not men. These are monsters. Everything that would link their behaviour to that of normal people is gone. No backstory, no motivations explained. Anything that would make the viewer go "shit, that could be me!" is taken out in favour of evil monsters from planet Nazi in a galaxy far far away raging around. This depiction of fascism as a mere costume of evil has always bugged me. And while Inglorious Basterds or even the Indiana Jones movies with their Nazis do not try to be serious I could enjoy the stereotypical bad guys portrait in them. This movie on the other hand pretends it has something important to tell about human psyche. But it does not, there is better ones that actually tell you WHY people get brutal and don't just show images that make you go: "Wow. That was cruel". The images are moving but only in a way that "Saw" or "Hostel" are moving. If you make a movie set in Nazi-Germany be aware of the seriousness of the topic and dont let viewers get away with the sheer impression that the Nazis were unmotivated, alien monsters with just an inherent evilness.

Surprisingly the credits rocked me. They made me perplexed, they made me laugh, they gave me a real feeling of absurdity but as they continued, they made me scared, they left me thinking. Everything I was lacking before - it was in the credits.

First Love (1970)

A poem of a film

[9/10 · 7 March 2018]

I saw this for the second time yesterday in a local cinema. On the big screen it was all the more impressing.

This is a very good adaption of Turgenjews story. What I mean by that is that, not only did it ewoke the same feelings that the novella gave me, it used the possibilieties of cinema to amplify them even. The directing is superb, with each shot you feel right there, the cinematography is poetic and connects rural Russia to the very soul of the characters. The acting is deep and the last scenes had me close to tears. On the downside it has some of the more out of place shots and this awkward feeling some of the european productions of that era had.

If you liked Turgenjews novella, definetly see this. If you have ever been a teenager desperatly in love, you need to see it just as much.

Personal Shopper (2016)

Aims big, falls short, leaves you okay

[6/10 · 30 January 2018]

There are so many things going on at once in this film: It sets of as a drama, turns into a suspense film, than throws in crime...The script somewhat ties it together and, even though I left the cinema disappointed and confused as to what to make of this film that seemed like a mess, the more I thought about it, the more it made sense to me. The images are nice, it has this indie-feel to it but doesnt try too much but focuses on the action. Overall maybe a bit too long. I wouldnt even know if I would suggest you to see it. Lets just say: If somebody forces you or if you happen to pay for a ticket - you're going to have a good time.

In the Fade (2017)

Thank god this isn't a Hollywood production...

[8/10 · 26 January 2018]

I really wanted to see this but know that expectations for films can be a negative momentum that might destroy the enjoyment of the movie.

So, throughout the first act I was somewhat disappointed. Altough it is indeed a devastating scenario, it felt like the movie did not trust me to feel bad enough already - dark colours, endless rain and a camera that does not dare to move away from Diane Krugers face...It annoyed me that the creation of a uncanny atmosphere felt so forced.

Yet, as the movie progressed, I was more and more amazed. The 2nd act brought in new camera work, longer, steady shots that brought stability into the images as the characters tried to find theirs. The transistion of the court speaking the sentence and Katja getting her tattoo was one of the most memorable edits I have seen in a long time. Overall the courthouse scenes had a really defined feel and setting to them, which underlined the characters strong play.

The third act made me afraid, I was expecting it to turn out like a usual "tough woman goes maverick"-thriller. Not that I don't enjoy that, I have just seen it too much and it would seem undeserving for this story. But: This isn't a Hollywood production! The character was insecure, realistic, tangible, we could not see it coming how this drama would turn out but neither could the characters - and thats how life is. At times, we have no idea how to deal with tragedy, guilt, death, we're helpless in the face of institutional justice but also do not find ways to bring justice ourselves and when we are faced with our enemies, we might even doubt if we are the right ones to judge them. Hollywood gives these big questions simple answers, this movie does not.

After a bumpy start I grew to like this a lot.

Daria (1997–2002)

This serious show oozes 90s MTV and it's awesome.

[10/10 · 19 January 2018]

Back in the 1990s MTV used to be a driving force in world wide subculture. This show is a timeless container for the spirit of grunge, early internet, high school-horror and teenage angst. The characters are so well-crafted, it is actually shoking and surprising throughout the whole series. Many cartoons tried character development, more mature narratives and reoccuring themes but in Daria it feels unforced and fits so well. I would not even describe the cartoon with a "serious tone", its simply not a quirky kids show. The relationship between Daria and Jane, which has its ups and downs, is beautifully displayed and closer to real human experience than I have seen in almost anything. Daria is the cynical teenage proto-hipster that might have inspired many after her (when College Humor made a fake real-action-trailer Aubrey Plaza was an unsurprising casting) but has moments that make her more vivid, self-reflecting and plastic than most of the Simpsons. Even the stereotypes like Quinn show depth at times that catches you by surprise and make you forget you're watching a teenage cartoon.

Entertaining, serious, poetic, rewatchable, funny, cool - Daria has it all.

Step Brothers (2008)

Ferrells madness on the leash works perfect!

[8/10 · 19 January 2018]

If you belong to the team of haters of Ferrell movies, first of all: What are you doing here? And second: Give this a shot! This might be the finest McKay-Ferrell-collab yet. I am aware of the public opinion for these kinds of comedies, they get silly, nasty, annoying at times. To me, this one stands out as the finest, because it walks the thin line that divides the teams of haters and lovers.

The dimwitted, silly, yelling characters - they are all there but they are placed in a perfectly normal environment. The parents are normal American grown-ups that bring the more crazy aspects of the story back to the ground and enhance the fun of them. One-week-TV-bans are a parental measurement which we all remember too well - but as a reaction to the loony schtik of the step brothers it feels almost "too normal". We all remember running up the stairs as loud as possible, arguing about our favourite dinosaurs or being taken to dull apointments in the backseat - but seeing to grown up men in these positions feels really out of place. So many moments feel like: "I've seen this before - but here it feels weird.". I mean, look at the movie poster. We've all taken photos like this as kids. But with grown ups it just looks - in spirit of this film I'll choose to speak immature - gay.

And this is what breathes magic into this flick and attests the fine feeling for comedy McKay and Ferrell have: Taking well-known bits of human life and throwing them in uncommon territory. To me this uncanny absurdity is one of the basics of comedy.