manicure

VIP

4

This brilliant romantic comedy centers around a college professor who works part-time as a mole for the police (???), posing as a hitman to lure in a series of bizarre characters. Clever without being pretentious, sardonic without being totally misanthropic, and elevated by outstanding performances from the two (three) leads. What more could you ask for?

I appreciate what Rohrwacher is attempting here, and there are indeed plenty of iconic moments and beautiful images, especially in the second half. However, the film as a whole feels uneven, indulging too much in its own ideas while lacking that pinch of personality that would have elevated it beyond a mere homage to the past of Italian cinema. Sometimes dazzling, sometimes plain boring. Reducing the runtime by at least thirty minutes would have resulted in a much more entertaining experience.

There is nothing wrong with this film, but it mostly felt like watching an educational movie without artistic value. The two protagonists are mere tokens in service of the message, and we barely get to learn anything about them as individuals. I also found the two “dreamy” sequences a little forced, as if Garrone wanted to remind his audience that he is an “auteur”. The first one, in particular, was quite terrible.

Terrible hairpieces for a surprisingly solid biopic. Despite the small scale and low budget, the storytelling and dialogues are constantly engaging, striking a good balance in portraying the characters for both their beauties and flaws. High-end business sometimes needs you to be an asshole and try the impossible, aware of the risks and repercussions. The only character that didn’t convince me was the protagonist’s sidekick. He was fun initially but turned out to be a tad bit too cartoony, with a corny aftertaste during his conflicts with the others. The pacing is tight, but I suffered a little from the time jumps and somewhat rushed ending.

A very bland and poorly made John Wick rip-off, where the dog is replaced by grandma's charity bank account falling victim to a phishing scam. Basically, Jason > Keanu, but unfortunately, not enough to turn this complete trainwreck into a watchable trashy movie (that would be "The Pope's Exorcist"). At least it lasted my entire 14-hour flight (I think I fell asleep at least 6 times).

The title alone is enough to perfectly summarize the film. Extremely minimalist out of necessity, but supported not only by Hamaguchi’s usual fine dialogue but also by an inspired visual direction. The only real flaw lies in how the executives of the Glamping company were portrayed. Despite the film pointing out the absence of clear good and evil, those two came across as some kind of Disney movie villain. They showed up for less than five minutes but felt terribly out of place with overarching themes and, especially, the other actors’ natural acting style.

An otherwise bland American comedy elevated by a memorable villain and a couple of classy cameos. The conflicts towards the end felt a little tedious, but the rest was mildly enjoyable.

The deranged diary of a caregiver convinced she can save the souls of her patients. Perhaps a bit too slow, perhaps even a tad bit naive, but crafted with excellent taste in its cinematography, editing, score, and production. The film becomes particularly fascinating when delving into the protagonist’s self-isolation and loneliness. However, it ultimately stays somewhat vague and shallow, giving more space to the eye-candy potential of pairing religious fanaticisms with sophisticated horror.

A man suspected of murder faces an interrogation at a police station populated by singular characters. The film felt more like a drawn-out comedy sketch, mostly unfolding within the confines of a single room through dialogue.

Although the humor wears thin quickly, I found the two lead characters quite amusing to watch. The flashbacks with random people popping in and interrupting were also a nice touch.

Despite the themes related to homosexuality being effectively at the core, I found "All of Us Strangers" to offer a harrowing and poignant portrayal of the profound sense of loneliness and isolation that pervades our society across generations and sexual orientation. While the film incorporates familiar elements already seen in other works, they are reworked and reimagined with remarkable elegance. Although I must admit that, in numerous instances, it resonated with me intellectually and artistically rather than eliciting a raw emotional response (not necessarily a bad thing).

A quirky romcom focused on the emotional journey of a depressed/repressed small business owner. Despite the intriguingly surreal atmosphere and truly remarkable direction, the film felt more impactful in its individual moments rather than as a whole, leaving a sense of incompleteness. Among the standout moments is the use of percussions in the soundtrack to convey the buildup of the character’s stress and anger, together with one of the most memorable phone arguments in movie history.

Bland and derivative in every aspect, even struggling to leave the slightest impression visually. The fragmented pace of the narrative also made me nauseous. The progression is so uneven and mechanical that it felt like they have randomly chopped pieces out of it. Not that I wanted the movie to be any longer, quite the opposite…

It certainly kept me more entertained than the first part, yet I still struggle to get fully invested. Well, it would be absurd to expect surprises from the adaptation of a half-century-old story that we've already seen adapted and readapted in hundreds of other works. Although I understand why some viewers might have found the ending rushed and anticlimactic, I thought the amount of action was just right, capable of keeping the whole thing entertaining without overshadowing the narrative and atmospheric phases. Honestly, a full-blown battle scene would have only bogged it down. If there's anything I wanted to see more, it's the political machinations and squabbles behind the curtains.

A downright ludicrous but genuinely hilarious tale of lowlife blokes whose fates collide in absurd ways. Clearly inspired by early Tarantino, but able to make up for the lack of money and originality with its British humor. It’s a shame that despite the parade of memorable characters, no one besides Statham went on to achieve success.

Visually stimulating and thought-provoking, although a little manipulative in some aspects.

While the satirical elements may come across as tame and simplistic, it's hard to judge without being part of the depicted environment. Nonetheless, I was pleasantly surprised by the engaging portrayal of the frustrated author, whose arrogance and bitterness toward the world hinder his ability to connect with those around him. The family drama surrounding the main storyline unfolds rather mechanically, but finds strength and a degree of authenticity in the overall performance of the cast.

An anthropomorphic tree spoon-feeds a young boy with messages about the complexity of human emotions to prepare him for the world. Despite the banality of most situations and the unimaginative take of the direction, it must be said that the film at least manages to bring up a few interesting topics. It may be too simplistic for grown-ups and definitely too heavy-handed for children, but if you are about the same age as the protagonist, it might teach you a couple of lessons that are not so frequent in preadolescent entertainment.

"The Zone of Interest" is deservedly gaining attention among cinephiles for its indirect approach in addressing the Holocaust. The film limits itself to painting a slice of life of the commandant of the Auschwitz camp, letting only the sound effects allude to the horrors happening beyond the fence. The characters are mostly shown through distant, clinical shots that project an almost voyeuristic allure. Character portrayals are primarily conveyed through distant, clinical shots, creating an almost voyeuristic allure. The film has no plot and is solely made of visual suggestions, perhaps aiming to explore the human capacity (or incapacity) to calibrate their sensitivity and normalize horror through mundane routines. However, despite the initial impact of its presentation, the film ends up feeling dreary and repetitive very quickly, suggesting that a short feature could have been a more suitable medium to convey the message.

There are so many plot holes and illogical twists that I could easily drain my pasta in it, yet I found the movie unexpectedly funny and goofy in a cute way (with the exception of a couple of embarrassing gags like the Denzel one). The reveal comes too soon, though: once the characters realize they are actually in danger, the plot gets all over the place, and the characters keep doing illogical things. Somehow, it was more believable as everyone was convinced to be playing a game.

“Smile” is a tame horror like many others, drawing thematic parallels to movies such as "It Follows" by employing a supernatural element as a metaphor for the relentless transmission of trauma from one victim to the next in an unending chain. While things tend to get inadvertently comical in how they rely on the usual stereotypes, the direction manages to captivate, if not outright fascinate. The inclusion of eerie camerawork and bizarre framing adds to the film's appeal, delivering a handful of genuinely chilling moments.

An unexpectedly sharp dramedy that skillfully delves into the challenges emblematic of the current 20-30-year-old middle class. While things might have gotten slightly manipulative during its final beats, the film as a whole remains finely balanced and funny throughout, speaking up for an existential condition that is often overlooked or misrepresented in mainstream entertainment.

Right after watching, “Oppenheimer” leaves you the lasting impression of having just watched a perfectly crafted film. However, I still find it hard to connect to the material on a personal level. Nolan gives it all, but his tropes look as elegant as they feel mechanical, capable of achieving their effect only superficially. The film leaves you amazed by its achievements as a piece of cinema, but struggles to have an impact on an emotional, human level. Nevertheless, "Oppenheimer" remains a meticulously crafted film, so rich in characters and events that it never feels dragged out despite its three-hour runtime. The first half felt even too fast-paced, frenetically bombarding the audience with so many names, notions, and fanservice for science history nerds that it disorients. Luckily enough, the pacing slows down in the second half, allowing the audience to breathe and connect the dots in preparation for the crescendo in tension accompanying the last beats. Ultimately, despite failing to get a moving insight into Oppenheimer’s inner world, I find it impossible not to be fascinated by the intricate framework built around the character.

A policeman and a mobster collaborate to capture a serial killer. A horrible title for a rather mediocre film, whose banality is accentuated by an unbearably childish protagonist. Not worth anyone’s time.

Here Mads plays a retired soldier who, despite obtaining royal permission to cultivate potatoes in Jutland, encounters a series of formidable challenges. While this might sound like the dullest premise ever, the film unfolds into a gritty and meticulously crafted period piece led by an exceptional cast. The villain might feel a little over the top for the context, yet he manages to steal the show in every scene. I liked that the events tend to evolve on the bitter side diverging significantly from the corny narratives often seen in Hollywood.

The film, admittedly dialogue-heavy and occasionally slow-paced, compensates with a few moments of impactful action that consistently leave a lasting impression.

Toro :metal_tone1:
Stupid as funk, but elegantly flawless in anything it aimed to do.

A cranky teacher beaten down by life finds himself reluctantly playing babysitter to the rebellious students left at boarding school during the holiday season. We already know where the film is headed and how the characters will develop. Yet, everything is written and executed with commendable elegance and taste. The cook’s subplot felt slightly heavy-handed, but other than that, the film strikes a good balance without feeling too rhetorical or schmaltzy, providing the right amount of bittersweet good feelings for the holidays. Despite the early 70s vibes, anything but obsolete.

While pitch-black humor has always been a defining element of Lanthimos' films, his approach has typically leaned towards subtlety and wryness, often paired with deadpan delivery. However, in "Poor Things," there is a noticeable shift towards more straightforward comedy, eliciting laughter from the audience with many moments of humor. Even when the jokes are on the silly and juvenile side, the overall impression is that of encountering a sophisticated work, where the context and, notably, the entire visual and expressive dimension play a crucial role. The runtime could have been more compact (it tires a little towards the end), but we are undoubtedly facing a film playing in a league of its own, capable of fascinating a wide audience despite its quirks and exaggerations. It’s a shame the first part is in black and white, which flattens the stunning visuals and colors of the sets and costumes.

"Past Lives" aims to blend the usual love triangle with relatively modern themes such as emigration and cultural identity within our globalized society. At times, the old flame from Seoul acts more like a symbol of the protagonist’s Korean background coming back after her, rather than a fully developed character. While the main narrative plays out smoothly and is supported by solid writing and realistic dialogue, the surrounding themes felt somewhat sketchy, only partially touching on the true challenges and sacrifices of living abroad for many years. The direction also tends to adhere a little too much to the usual conventions and tropes of independent cinema by fresh film school graduates. In short, an undeniably tasteful and heartfelt film that, could have been much more.

An aspiring mangaka becomes popular by transposing the character of a serial killer he encountered in real life. Flattered, the killer decides to commit a series of crimes inspired by the manga secretly dedicated to him. Life influences art, and art influences life? The central dynamics are quite interesting, and I must say that even visually, I noticed a greater effort compared to the typical Japanese mainstream blockbuster. However, the stereotyped execution and corny writing make the film too toothless and predictable, especially in portraying the killer. Many corny situations seem to be directly taken from a manga... and indeed, it looks like the film itself is also adapted from a manga. Despite the flaws, I found the viewing to be quite entertaining nevertheless, and I am also quite sure it’s going to make some impact on a younger audience.