Babel (2006) by Alejandro González Iñárritu.

Long, strong, emotional, unjust. Fuck Governments and society and shit.


City Island (2009) by Raymond De Felitta.

An ex-con is brought home by his father to build an additional bathroom in a shed in the garden. All members of the family smoke in secrecy and despise each other.

At the end of the final scene, the only scene where something exciting happened, the DVD stopped playing. No matter what I did I could not make it play the ending of the film. I was pretty annoyed.
  Later that same evening I made it work on a computer instead… and regretted it right away. The ending was classic hollywood. They lived happily ever after, totally contrary to the rest of the film. It made no sense.


Chronicle (2012) by Josh Trank has a quite different view on superpowers than most superhero movies, which makes it interesting. The first half of the film explores three high school students’ highly informal attitude to their newly gained superpowers. The second half loses control and ends up, as most superhero action movies do, causing immense havok in a big city. And what’s up with the cheesy ending in Tibet?

The blending of telekinesis plot-wise and camera techniques art-wise is really great. This and especially DeHaan and B. Jordan’s acting performances keep the film from being a failure.


I am the literary equivalent of a Big Mac and fries.
Stephen King

Jarhead (2005) by Sam Mendes is a depressing war story based on a former Marine soldier A. Swafford’s (Jake Gyllenhaal) happy days in Saudi Arabia and Kuwait. He and the rest of the foot soldiers had no part to play in the war. They just walked around in a desert, losing their girlfriends and losing their mind.

You don’t really root for any of the characters (maybe except Brian Geraghty), and as is the custom of war flicks people curse and talk about masturbation far too much.

It did leave an impression though.


The Outsiders (1983) by Francis Ford Coppola is a youth flick about crying men, class struggle, Tom Cruise before he became a celebrity, cheesy poetry and the pros and cons in regards to grease and dying hair.


I do agree you can’t just make movies three hours long for no apparent reason. For a romantic comedy to be three hours long, that’s longer than most marriages.
David Fincher

I Almost Had A Weakness

Elvis Costello, 60 years

Howl’s Moving Castle (org. Hauru no ugoku shiro, 2004) by Hayao Miyazaki never attempts to hold your hand. You just don’t know what’s going on at times. At other times it’s too romanticized to take seriously.

But in all things considered a beautifully crafted film with a lot of funny and interesting characters (looking at you, derpy Calcifer!)


(note to self: watch in English next time for the sake of Chr. Bale, E. Mortimer and Bacall)

Holy Smoke (1999) by Jane Campion.

There’s some amazing characters and some amazing actors playing them, but apart from that this film ends up as a surrealistic depressing comedy. But if want to see Kate Winslet naked and Harvey Keitel staggering around wearing a red dress and one single rubber boot, then watch it.


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) +++