"Moulin Rouge!" has always been one of the films I loathed when I was younger. And here I am, reevaluating it positively in the Year of Our Lord MMXXIII. The ostentation and extremization of all the clichés of melodrama, the unapologetically kitsch presentation, the epileptic '90s MTV-style editing… all factors that might sound derogatory, but instead become added values in this absurd operation undertaken by Luhrmann and company. A full commitment to bad taste in every detail, yet it never ends up becoming a parody. On the contrary, it’s a movie that in many ways dignified an iconography that we may now tend to sweep under the rug, but that will likely one day be aligned with the great classics of cinema. At times, it might even be compared to one of Disney’s finest classics, complete with hyper-choreographed musical sequences and the Bohemians working as the fairies/animal sidekicks to the protagonist.
You might think, can the presentation alone compensate for the utter stupidity of the story narrated? Yes and no. Despite the tight pace of the opening scenes, which first overwhelms and then intoxicates the audience, the film suffers from an interminable second act that feels obnoxious to say the least, especially when Kidman suddenly goes from Paris’ most known prostitute to a barefooted nun. The vocal performances of the two leads do not help either, suffering from an unwelcoming stiffness in what was supposed to work as the most emotional beats of the film. Fortunately, it all picks up in the final moments.
As our attachment to the cast deepens, watching episodes remains an enjoyable experience. However, there's a noticeable lack of direction in this season. Unlike the first season, where characters had well-defined individual arcs, the current storyline feels somewhat aimless, as if the writers had no idea of what to do with most of the cast. If Jamie and Roy are the ones to be left there hanging without a clear purpose, as if they had to be included solely due to their popularity, Nate turns out to be the only one to have something meaningful to say.
First in a cycle of short films transposing stories by Roald Dahl. The format is close to that of a video book, with the stories being simply read aloud and the images complementing the narration. The props and sets purposely show off a handmade kind of feeling, in an atmosphere between a pop-up book and a stage play, often breaking the fourth wall. This first story is the lengthiest and most fleshed out of the four, but despite the accomplished visuals stealing most of the show, I found it somewhat repetitive, losing its magic in a few minutes. Still, it's quite a refreshing watch as a relatively new way of storytelling by Anderson.
Out of the Roald Dahl stories picked up by Anderson for this cycle of short films, this is hands down my favorite. The monologue can be a little hard to follow at times, but I found it somewhat poetic in the manner it was staged.
Ralph Fiennes was convincing but I found the story rather dull.
Moderately fun but eventually forgettable.
I wouldn’t expect anything else from a Diabolik live action in 2021. Extraordinarily tacky under all of its aspects, maybe in an attempt to recreate the atmosphere of the 1960s comics? Although there are some inadvertently hilarious moments indeed, I struggled with sleep for most of the running time.
Even worse than its predecessor. And they managed to replace the protagonist with an even less suitable actor. The film has no redeeming quality whatsoever, to the point that it the whole thing can only be perceived as a parody. With the inclusion of Monica Bellucci, we get remarkably close to the line that divides utter trash and exquisite so bad it’s good territory. Unfortunately, a solid 75% of the runtime remains excruciatingly dull.
The stakes in each season have kept escalating, and this latest installment is a wild ride since the very start. This season brought back the same kind of internal conflicts and intrigues that initially drew me into the series, and it was also great to see my faves (Cate and Diane) contributing so extensively this time.
However, I’m not too sure about the way they handled the action in the final episodes. While the overall experience remains exhilarating, it felt like they went a little overboard. I anticipated the Slow Horses would devise a more intriguing and clever resolution. Instead, the climax unfolds in a surprisingly muscular and implausible manner, leaving me somewhat perplexed. It's an undeniably solid show, but I found myself wishing for a more nuanced and satisfying conclusion to complement the series' established depth and complexity.
Roiland’s departure can only be felt in the voice acting. The new actors achieved a striking resemblance with the original voices, and it’s only a matter of episodes until they sound natural to the fans. At times you can barely notice the difference. Although the writing team is mostly the same of the last few seasons, it somewhat felt like this time they were doing all they could to keep the fanbase on board. This manifests in a return to the series' earlier tropes, a nostalgic nod to what initially captivated fans. The result is, again, hit and miss. Some episodes stand out as contenders for one of the best (episode 4), while some some are probably going to enter history as some of the worst ever (episode 8).
A rare gem that could make creative use of the boundless opportunities offered by science (fiction) concepts and the acknowledgment of multiple dimensions and infinite planets. While the narrative ventures into overwhelmingly extravagant territories, it consistently grounds itself in relatable experiences and mundane human dilemmas. The abnormous amount of meta references and movie quotes is also a trademark of the show, although this abundance may border on the tedious at times.
Initially starting with a relatively coherent linear narrative, the shift to a more episodic structure in the fourth season coincided with a perceived decline in writing quality. Despite the occasional solid episodes, the overall seasons tend to be somewhat of a mixed bag, contributing to a sense of inconsistency in the show's trajectory.
It’s probably been the case for the previous seasons as well, but for some reason, it’s getting harder to bear with the over-the-top characters and forced detours. The hook of the show in its first season was the focus on the characters, with an unexpectedly melancholic touch in exploring the two older leads. Unfortunately, this time we’re left with caricatures that have very little to say. Each episode tries to paint a different character as the main suspect, and the diversions are so obvious that sitting through the season felt like a chore. A pity because the musical as the main setting really suits the tone of the series , and the overall direction still shows a few interesting ideas here and there.
An evil British businesswoman orchestrates an unconventional scheme—hiring an amateur soccer coach from the US to undermine and dismantle her ex-husband's team from within. Despite its seemingly improbable premise, Ted Lasso successfully navigates the fine line between fiction and relatability. The show's charm lies in its ability to present situations that feel anything but real, yet consistently deliver relatable emotions that resonate with viewers. The characters, initially painted with broad strokes, gradually reveal depth and nuance, endearing themselves through their struggles and triumphs.
One of the show's strengths is its balance between sugar-coated optimism and grounded storytelling. Although Ted usually manages to infect the whole team with good feelings, at the same time, he does no miracle. Refreshingly, the series resists the temptation to rely on miraculous solutions, offering a season ending that feels surprisingly realistic for a comedy of this kind.
Overall, “Ted Lasso” stands out as a solid 'feel-good' show for the current generation. The episodes are easily bingeable, providing a satisfying blend of humor, heart, and relatable moments.
The film, overall, succeeds in finding the right balance between the human and monstrous dimensions. I found both the post-war setting and the "maritime" dimension chosen for the battles interesting, and the underlying themes are relatively fresh for the genre. Unfortunately, the overall execution feels like a cheesy melodrama, especially in regard to the acting and exposition-heavy dialogue. This may be a somewhat imperceptible issue for overseas audiences, but at the same time it’s been widely recognized as a trademark of Yamazaki’s filmography in Japan.
When Godzilla takes center stage, everything remains electrifying, if not for the chain of three plot twists that killed the mood in the very last few minutes. The first was necessary, as any other kind of resolution would have undermined the film's overarching message, but the other two were truly avoidable both in terms of conception and execution.
A hitman travels the world seeking revenge for an offense. Rather than being a lackluster film, I found it a tad difficult to digest. Despite mocking itself in many instances, it has a very authorial and contemplative style like MUBI’s newest Czechoslovakian dramatic film. There are interesting moments, but overall, I found it a little bland. It might be worth a second viewing, but honestly, I think I’ll pass.
A minimalistic and slow-paced rural thriller that, nonetheless, manages to subtly sow a noteworthy amount of subtext and references for a surprisingly rich harvest in its second half. Despite explaining little and showing off very little, it manages to strike with remarkable tension and charm, leaving a lasting impression on the audience.
Genuinely bland at everything it tries to do, yet I never found myself bored or particularly displeased. The three protagonists work well together and end up getting surprisingly likeable. Somehow, it felt like an early MCU film, ludicrous moments and naive writing included. The central part felt a little rushed, but at the same time, I have a feeling that keeping the running time as short as possible is one of the film's strengths.
A little boy who lost his mother in a fire is tormented by Danny De Vito disguised as a heron. The original title is taken from a Japanese novel from the thirties, but the film's plot is actually a loose adaptation of John Connolly's "The Book of Lost Things." Needless to say, we’re embarking on another journey into a fantastic world full of references and metaphors that only Miyazaki understands without caring about his audience. We’re asked to find our own interpretation, and personally, I saw it more as a tribute to the works that inspired Miyazaki over the years rather than mere references to his own films, as if he is pointing out that each generation’s narrative and cultural baggage are a product of the previous, in a continuous passing of the torch.
The first part, laid-back and contemplative, oddly left a stronger impression on me, aided by the beautiful music and landscapes. However, once the magical journey began, I found the whole thing extremely cloying and narratively disjointed. Certainly, there are various fascinating sceneries and memorable moments, but the whole picture failed to convince me. In short, my basic review of most of Ghibli’s films.
A priest becomes a vampire and lets himself go to all kinds of impulses. The movie is characterized by a heavy dose of black irony and over-the-top performances, living on the edge with its morbid eroticism and eccentric directorial choices. While somewhat lacking in substance, it stands out for its remarkable aesthetic and the seamless fusion of erotic thriller tropes with vampire stereotypes. The result is a visually striking and noteworthy cinematic experience that blurs the line between the bizarre and the brilliant. Probably not the best choice for your first Park.
An intriguing glimpse into a type of relationships that is characteristic of the modern era, a theme that still finds little space within both independent and mainstream cinema. While favoring everyday situations over drama, the characters' lifestyles are distinctive enough to evoke interest in the viewer. Both their flaws and weaknesses are relatable, yet spicy enough to stimulate sympathies and antipathies.
However, I must admit that a bit more fluidity and promiscuity wouldn't have hurt. Relationships consolidate and fall apart rather abruptly, lacking the transitional phases or casual sex that would typically occur in such a context.
Grandma’s Halloween meatloaf that blends elements from Poe’s tales and poems within a modern setting reminiscent of Succession. Although I found it mostly watchable, I’m pretty sure we'll forget about it within two weeks.
The shallow social critique is smeared in your face through the usual clichés, and the characters remain barely sketched caricatures incapable of inspiring any kind of empathy. All characters meet similar deaths and fall victim to similar vices, within similar episodic structures. Even from a visual standpoint, we barely get anything else than the usually glossy look of Netflix series. During the (few) horror moments, things sometimes veer into unintentional comedy territory.
The true charm of the series lies in its milfy antagonist, perfect for the role and fascinating in every incarnation.
It's my fault, because I keep hurting myself with these shows already knowing that they are going to suck. This time the writers barely got enough material for a mediocre Marvel movie but decided to go for a six-episode series instead - and it's only part one. The set-up hinted at infinite possibilities, too bad that all we get characters walking in circles for more cringe-worthy quips and drowsy info-dumps about multiverse rules which, by the way, keep changing with each new movie or TV series.
The second season may be billed as mediocre, but it still manages to outshine that disaster of the first. Especially in the second half, we reach a quite satisfying level thanks to the addition of science fiction dynamics and time loops that despite being derivative, manage to bring a touch of freshness within the MCU context. It's a real pity about the second and third episodes, where the narrative gets lost in unnecessary subplots and McDonald's product placements, thus stealing precious time from the main storyline. The overall result feels rushed and unbalanced. Characters like Brad and Lysa Arryn could have been entirely omitted to focus on the rest.
Mediocre season that still manages to outshine that disaster of the first. Especially in the second half, we reach a quite satisfying level thanks to the addition of science fiction dynamics and time loops that despite being derivative manage to bring a touch of freshness within the MCU context. A real pity about the second and third episodes, where the narrative gets lost in unnecessary subplots and McDonald's product placements, thus stealing precious time from the main storyline. The overall result feels rushed and unbalanced. Characters like Brad and Lysa Arryn could have been entirely omitted to focus on the rest.
"Attack on Titan" undoubtedly lives up to the hype, offering a layered and accessible adventure suitable for audiences of all ages. It manages to maintain a delicate balance between adhering to the traditional "shonen" narrative tropes while skillfully avoiding the most clichéd genre stereotypes.
The series' real allure lies in the depth and ambiguity of its characters. While they may initially appear to fit into the standard anime archetypes, the deliberately slow-burning progression of the story allows for profound introspection and character development. Despite their stylized characteristics, they exhibit a human quality through their inherent contradictions, hardly any of them being unequivocally right or wrong.
In the long run, the plot often adheres to familiar paths without delivering major surprises, but it does throw in unpredictable and grim turns, shedding light on a bleak view of the world and human nature. Choices that initially appear as the obvious things to do may lead to tragedies, keeping no character truly safe. At times, the limited perspective of the characters can even reshape our perceptions of their decisions.
However, one major drawback is the prevalence of fillers and lengthy inner monologues that serve no purpose other than to reiterate the obvious or imposing character traits that could have been suggested through visual storytelling or concrete episodes. Furthermore, as the series progresses, the previously palpable atmosphere of danger surrounding the characters can be compromised by instances of implausible plot armor, possibly due to the characters' soaring popularity within the mainstream audience.
These might be less noticeable when binge-watching the show, but are particularly evident in the second season, where things start to get a little repetitive and the main protagonists’ team gets consolidated. Then, the show luckily makes a remarkable improvement in terms of pacing and risk-taking in its storytelling, reaching its peak from the end of the third season to the first half of the fourth season. The latter, in particular, explores the world of "Attack On Titan" at its bleakest, introducing complex themes and political subterfuges that are not so obvious in this kind of narrative. At this point, there are no clear-cut villains; each side possesses its motivations and questionable beliefs, mirroring the complexities of real-world conflicts.
Unfortunately, the series loses some steam and narrative focus after the first half of the fourth season, with production delays intensifying the sense that these final episodes (and their source material) were developed somewhat on the fly. Despite the fourth season being billed as the "Final Season" in 2020, the series extended into 2022 with an additional run of episodes, concluding with two specials in 2023 to close the plot. This last phase exhibits both highs and lows, at times relying on conventional anime chitchat and fanservice, obvious plot armor for the protagonists, and questionable ways to get them out of problematic situations and successfully "assemble" to save the world.
Overall, the series' ending doesn't venture as boldly as its premise would suggest, but it still found a reasonable compromise between its established worldview and the mainstream audience's expectations. While there remain loose ends, a few wasted character arcs, and some perplexing dynamics (including the key to it all), considering the uncertain pacing and direction the plot was starting to take with its characters... it left me mostly satisfied. It may come out as a little rushed, but considering the huge delays in production, it was definitely time to bring this epic journey to a close.
Ratings:
Season 1: 8
Season 2: 6.5
Season 3: 9
Season 4 Part 1: 8.5
Season 4 Part 2: 6.5
Average: 7.7
Overall, the ending took the direction I expected. It might not be the most courageous turn for the plot to take, and I'm still perplexed about a few minor things (including the key to it all). Still, I thought they reached an acceptable compromise between fans' expectations and the pessimistic aftertaste the series has been known for. There are still loose ends and somewhat wasted character arcs, but considering the huge delays in production and the dubious turn the plot has taken in the second half of the last season... it was definitely time to end it all.
Although I appreciate the attempt to offer something slightly different for once, this is not how you should end a trilogy. Not after they spent the whole second film preparing us for an epic showdown between the two protagonists, with a more enraged and invincible Michael Myers than ever before. In this anticlimactic final chapter, he suddenly becomes a dumb old man hiding in the sewers, getting his ass literally kicked by anyone. The little they could set up throughout the first two movies, it gets conveniently taken care of within the last ten minutes. The remaining two hours are spent on characters who ultimately led nowhere. Well, see you in the next reboot!
The first installment didn't completely win me over, but with this sequel, we find ourselves on a significantly higher level. A larger budget has allowed for more variety and even a touch of twisted artistic flair in the kills and dismemberments. The scenes become increasingly outrageous in a continuous quest for bad taste, all while maintaining a visually striking impact.
What's more, I've observed a noticeable improvement in character development. Though they still adhere to genre stereotypes, they are at the same time full of mysteries to unravel in future installments. While the first film primarily focused on the impact of the practical effects, this time there's a clear intention to create a lore for the character of Art the Clown, with the hope of securing him a spot in the hall of fame of slasher creatures.
Although the production still looks terribly amateurish, I struggle to recall a recent slasher film that entertained me this much. My only complaint is the length. I never got bored, but the last few beats were getting a little repetitive and affected the overall impact of the final battle.
While I appreciated the taste for wit and humor served up in "M3gan," the film only flirts with mediocrity and only offers the bare minimum. The premise hinted at many intriguing possibilities, but, regrettably, everything is ultimately resolved through a couple of monologues and uninspired semi-horrific scenes. It was still enough to keep me entertained, but I doubt it will be remembered for anything other than inspiring TikTok dances.
Solid season despite a somewhat slow start. It was lovely to see again the entire team coming together as a united front to solve the case after all its twists and turns, making for a rewarding viewing experience.
At the outset, I had reservations about River's plot, as it initially appeared to tread familiar genre tropes. However, the show managed to subvert all expectations at the very end, leaving me pleasantly surprised. While I found myself favoring the previous season's "villains" over the more stereotyped Russians, my attachment to the main cast is growing stronger and stronger. I hope most of them will make it alive by the end of the series!! Nobody seems to be really safe.
A Jewish girl tries to survive by making the best use of her bajingo during the German occupation in the Netherlands, even going undercover within the Nazi ranks. The premise of another WWII semi-biopic didn’t feel very appealing, but Verhoeven managed to keep the audience engaged not just by flashing boobs and plot twists every now and then, but also with his signature touch of campy. The film is all but subtle and feels 20 years older than its actual age, with the kitschy soundtrack putting the last nail in the coffin of good taste. Yet it works, turning an otherwise forgettable film into a fairly enjoyable experience. It could have been way shorter, though.
