Drive (2011) by Nicolas Winding Refn.

Yep, it’s art. Apart from that the plot is not that exiting and only few of the characters are very exciting (Gosling and Cranston). The score’s fantastic but there’s a little too much of it.


The Young Victoria (2009) by Jean-Marc Vallée wants to be a love story and a royal biopic at the same time, and neither goes very well. This takes absolutely no chances.


The Grapes of Wrath (1940) by John Ford.

It’s a nice car alright, but they’re driving it 60 percent of the film - which is way too much when you’ve got so many interesting characters having too little screen time.


The Big Sleep (1946) by Howard Hawks.

Humphrey is half Bond and half Sherlock, working on an already closed case - still keeping up the cool facade even after getting beaten up a few times and having watched several people die right in front of him, because he apparently doesn’t have the guts to save them unless a pretty girl is nearby.


The Cook, The Thief, His Wife & Her Lover (1989) by Peter Greenaway.

Cinematography +++
Costumes +++
Michael Gambon (who had the entire script to himself apparently) +++


In Your Hands (org. Forbrydelser, 2004) by Annette K. Olesen.


Barfly (1987) by Barbet Schroeder.

An uninteresting plot following a hell of an alcoholic in the shape of Mickey Rourke in a just as alcoholic environment. He’s chiller than Dude Lebowski.



Directed by Paul Thomas Anderson

Jackie Brown (1997) by Quentin Tarantino.

Ordell Robbie’s (Samuel L. Jackson) hair is half his personality. I love that.


Open Hearts (org. Elsker Dig For Evigt, 2002) by Susanne Bier.

Toe-curling. But has its moments.


Silver Linings Playbook (2012) by David O. Russell.

Cooper is in the game. J-Law is still in the game. De Niro is back in the game. But could’ve lived without Dancing with the Stars and the hollywood feel-good touch in the end.


The King’s Speech (2010) by Tom Hooper has a very uninteresting plot. I mean, who wants to watch a film about a stammering man going to a speech therapist?

Except that man is the soon-to-be-king George VI, and except every single actor and detail in general is great.


Over The Edge (org. Over Kanten, 2012) by Laurits Munch-Petersen and Jacob Ditlev.


Bret McKenzie, 38 years.

Cast Away (2000) by Robert Zemeckis.

1. This film’s fundament is built almost entirely of the talent of Tom Hanks, and Hanks is fantastic.

2. To create a lonelier atmosphere the majority of the film has no background music, which turns out to be a good decision - on the grounds that the music that is involved is classic Hollywood.

3. Honorable mention: Wilson the Volleyball.