Marigold

Fred Pytl's residential monster cabaret with an elephant grandmother, a gerontophilic bride, a necrophile metal-head and the pedophile devil Bertík. On earth it is possible, in the astral plane it is astral garbage filmed as a Saturday television party with a Vampire and its grave sewers. The scariest part of this is the number of non-flowing dialogues, from which Bela Lugosi would also grow old.

Kosinski is still a much better designer than the narrator, but I'm quite pleased that, unlike Tron, the action scenes have massive energy. What are still miserable are the dialogues, especially the key ones, cut boringly in shots / counter-shots sequences. It feels like there was a comic book first. Kosinski sculpturally frames the characters somewhere and then lets them chant a text, which unfortunately lacks speech bubbles for being iconic and striking. Like all of the objects in Oblivion, the actors act more for aesthetic purposes. And you know what? I don't give a fuck. The scale is epic, clean and shiny, the clinical and illuminated visual is breathtaking in every detail, the hypnotic sound waves of M83 give it an inconvenient depth... I consider the first half an hour or so to be the captivating audiovisual trip that I expect from current sci-fi films (and usually don't get). As soon as the inevitable comes along and the story unfolds, Oblivion drowns in the familiar twists and unfinished ideas (will anyone pay Duncan Jones his royalties?)... but the action goes away, the image is overflowing with the sort of pomp I haven't seen in a long time (forget the experiments by Prometheus that are short of breath) and those few noticeably unsuccessful attempts to "make a thrilling story" will be destroyed by the bulldozer of the ultimate design. Finally, I understand what some viewers liked about Tron - Oblivion is also a brilliantly designed "sci-fi musical", this time with music that drew me in and sometimes, in collaboration with the image, gave me a taste of unadulterated euphoria from the big screen. It can be seen that it was supposed to be / wanted to be more than just a breathtaking spectacle, that someone wanted to move the promising indie trend of intelligent sci-fi to a blockbuster format and buried it with "fanzine" storytelling... but sometimes even a failed intention can offer enough space for spectator delight. Oblivion and I are an effective team. [75%]

One two, Kim Jong-Un is coming for you. I hope that Fadeyev's heirs get some royalties for the second “The Young Guard" robbery, which is just as spiritually mature as the first one... there it could be excused by Brezhnev, who still stunk, but the heroic North Korean army, which will be taken out of service by a piece of pork, is only a poor cover for screenwriting dementia and directing incompetence. A disgusting example of unforgettable agitation. I want more burgers, more wars, more comrades, more fun.

How do you combine the ultra-pathos of shot-up flags in the glow of evening twilight and a "down to earth" thriller about a highly trained bulldozer that someone hibernated during Reagan's time? You can’t. That's what it's all about. I enjoyed the references to similar 90s films (a tumultuous steady cam, president family guy and a soundtrack on the edge of long strings and pompous walls of breaths). What I really don't like is the total lack of overview - not only in the ode to US sovereignty and the flawlessness of its watch dogs (Butlers), but especially in the image of the North Korean enemy, who is so boringly truncated to a hateful and brutal core that the fight with them lacks anything emotional, and the enemy is completely uninteresting. Alternating solid action with theatrical (and de facto completely dehumanized) speeches soon ceases to entertain. A comparison with Die Hard is out of the question - this film looks much more outdated at its core - and where it tries to look more modern, it clashes with its simplicity. It's a pity, I was really rooting for it and had a great time for the first half hour. [50%]

I wonder who the real cannibals are... A combination of cinema verité and film à thèse. Heart of Darkness transferred into (post) modernity, a film that, with its limited possibilities, constantly tries to reflect on itself (the documentary is actually a transfer of the principle of film itself into the fictional world) and raises the question of instinct / violence / civilization mechanisms that supposedly keep us away from our primitive nature, but in fact they are constantly subject to it (often in the name of nobility). It's not deeply academic - rather clearly schematic - and in places it is not filmed very deftly, but it just makes sense and it has a message - if we can abstract from the outrage that someone has the audacity to kill a pig or a turtle in the name of the film, we will soon find out that film consciously deals with this "just outrage". More precisely, what hides behind it.

Raimi continues beyond the surreal Evil Dead 2 carnival into the realm of infantile pleasure and unfettered phantasmagoria. Campbell is the greatest hero to have ever worn household goods, and of the whole trilogy, I enjoyed this film the most. Probably even from the whole of Raimi's filmography. A festival of jokes and knee-deep fiction, in which the technical imperfection seems to me to be an integral part of the game. The much more perfect (and built on the same plot), whilst paradoxically less playful and imaginative, Oz: The Great and Powerful, is evidence of this.

I have already seen more useless remakes, and I quite understand that after the festival of Raimi's bloody surrealism and genre phantasmagoria, which culminated in the brilliantly unruly and nonchalantly campy Army of Darkness, Fede Alvarez wanted to go his own way. In the first half of the film, thanks to the dense atmosphere and unruly gore violence, he is quite successful, but it can't be tightened without irony, especially with the eruption of clichés at the end. Exaggeration is missing just like Ash's hand, blood sprays all the way to the next hall, but it all just fades out over time. When the new version came up with a "new" story, it should have tried to at least get something out of it (drug dumplings motif). It did not do so, and so the result is barely above average. This composition of old familiar motifs simply lacks any added value other than beautifully hysterical babes. But while all of Evil Dead was a totally misogynistic trilogy at its core, Alvarez eventually ruined it completely unnecessarily. Bleeding girls with a chainsaw are cheesy, but they can’t beat Ash with a shotgun...

Enter the void of masturbation fantasies of lovers of beach bitch parties, tits, beer and guns aesthetics. A fluorescent dream on the edge between anti-thesis and interest in the artificial mythology of MTV clips. Hypnotic, engaging, provocative, subversive (Britney Spears meets Pussy Riot) and most importantly - James Franco was born for the role of the Alien. "This is the fuckin' American dream. This is my fuckin 'dream, y'all! All this sheeyit! Look at my sheeyit!"

A raw romance about a girl without legs and a guy who has a serious problem with aggression. Audiard shot something in moderation that isn't inherently absolutely measured... and it just works. Legs off, knocking out teeth, broken bones and somewhere in between the love rusts a little. Romance as it should be. Really good.

Something about it has fatally aged and rotted (the performances, the fog everywhere, the senselessly sped-up scenes), but the crazy ending that is kicked off by the brilliant idea with the gramophone and the screen is the essence of disgust and inventiveness.