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) +++


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.