Stanislaus

From Beginning to End is very similar in theme to the 2005 short Starcrossed, which also depicts an incestuous relationship between two brothers. The latter, however, was more emphatic and emotionally more intense, perhaps due to its shorter running time. From Beginning to End attempts to chart the evolution of the relationship between the two brothers over as long a period of time as possible, and as a result the film is at times boring and feels tedious. I'm not saying that I was bored the whole time, or that the film didn't give me anything, I am saying that more could have been made of it. As for the music, which irritated some users, I liked it. Still, unfortunately, this is a very average film, and the untapped potential is a pity.

I have to admit that I kept The Intouchables locked away in my "drawer" for a really long time, but I would like to slap myself right now for depriving myself of such a unique film, the kind that isn't made every year. On the one hand, there is tragedy, especially given Phillippe's health and Driss' social background. But all that drama is successfully countered with clever humour and plenty of moments that really warm the heart. The film sees the two worlds (characters) confront each other, with a memorable harmony in the end. In short, a very sweet, funny, but also sad film that holds firmly at the top among today's flood of emotionally blackmailing films.

After Plan 9 from Outer Space, Glen or Glenda is for me the second film from director Edward Wood, and I found it a bit more interesting. As far as the premise goes, it's pretty daring, especially as it deals with transvestitism, but the script was wretchedness, horror and dread. Bela Lugosi, who was supposed to be the main attraction, came across as too affected and in fact, the scenes with him felt like something out of another movie. In short, another treat for "woodophiles" no doubt, for me just a film that deals (albeit clumsily) with a timeless subject.

At first and second glance, a TV movie with a catch-all title that at times reminded me of the (awful) Mountain Medic with some of its shots, but fortunately only reminded me. Otherwise, it's an average film, brisk and witty within reason, set in a Bavarian village that's largely full of narrow-minded rednecks with antediluvian views. The cast was mostly likeable and the soundtrack was really well chosen, especially the last two songs. All in all, a fairly likeable film that doesn't offend and is entertaining at times.

The Three Musketeers is a visually beautiful and rich spectacle in which lovers of eye-candy will find their own. In terms of story and acting, however, it is pure average. I don't exactly do a double take on the pompous and arrogant Musketeer talk, of which there was a serious abundance. Of the actors, I was most impressed by the great Christoph Waltz as Cardinal Richelieu and the funniest character was Planchet.

I've never liked Clint Eastwood, I don't even know why, probably because of his universal tough guy look,but Gran Torino really got me. The story of an old war veteran and an insufferable grouch all rolled into one, whose life takes a visceral turn towards the end, really intrigued me. The film mixes both dramatic and comedic elements and uses them effectively. At first glance, it is a serious drama set in an inhospitable place filled with hatred, but on the other hand, it opens up a warm line with a lighter course. Eastwood is a badass in every way, I have to admit, without disliking him. In short, a raw film that deals with many problems of today's world (racism, loneliness, family, relationships, ...).

Side Effects is a very well made film that stands out especially for its sophisticated script and acting performances. As for the story, I didn't really know how it was all going to turn out until the end, and I kept asking myself questions - mainly, "Who's the biggest jerk on the set?". We're thrown an unspecified scene at the beginning, which reappears about a third of the way through the film, and from then on a very deep case study of a sick woman who is taken on by a renowned doctor, and it changes both of their lives (and more). Who is actually guilty! Jude Law impressed me the most with his role, but Rooney Mara and Catherine Zeta-Jones were also great and convincing. A film whose title is not necessarily related to antidepressants.

Within the films starring Audrey Hepburn, Funny Face is a slightly above-average piece of filmmaking that stands out, thanks in particular to the acting, dancing and singing of the main trio - Hepburn, Fred Astaire and Kay Thompson. Story-wise, this is a simple film, without any depth, but it is so sweetly delivered and acted that it can easily be forgiven and put behind it. There is no shortage of romance, which is enhanced by the Paris setting, and plenty of music and humour, most of which is provided by Astaire (and Thompson). Audrey Hepburn is once again wonderful, endearing and exceedingly chatty (as is her Liza Doolittle). All in all, a likeable and colourful film with a great cast and an enjoyable musical score.

Sleepaway Camp is a horror B-movie like no other. Stupid dialogue, a seemingly good twist that gets lost in the shallow plot, as well as a bunch of wannabe convincing actors. Still, in the end, this film doesn't offend (and of course doesn't impress) and the murders are occasionally imaginative and brutal, but quite expected. I can definitely say that I would never want to find myself at such a camp. In short, an 80's chill-out movie where you can turn off your brain and not think about what's going on.

My third encounter with Pier Paolo Pasolini did not turn out great. The Decameron is a lot like Arabian Nights, which I liked a bit more. I think what bothered me the most were the performances of the actors (or rather "actors") who seemed like some kind of naturals with a mental disorder, otherwise I can't explain the silly grimaces and everything. The story, which is divided into several short stories, isn't bad, but it didn't make me laugh or seem serious, which is a problem in a comedy drama. In short, I don't think I'll ever come around to Pasolini - maybe I should try his films from the 60s, which are more highly regarded.