Mother (2017)

O relație se deteriorează treptat odată ce străini sunt invitați sa împartă căminul cuplului.

Un film metafora de la un cap la celalalt. Folosește simboluri religioase pline de însemnătate atat pentru oameni religioși cât și pentru atei. E păcat ca filmul a fost respins întocmai pentru acest conținut de oameni ce nu pot sa discearnă adevărul de doctrina.
Chiar și lăsând religia la o parte, filmul este o exagerare poetica a trăirilor unor anume tipuri de femei ca urmare a nașterii unui copil sau deteriorării treptate a ceea ce considera drag.
Sentimentele de sufocare psihologica și panica și teama de o soarta de Cassandra sunt atât de palpabile ca filmul este dificil de urmărit dar cu cinematografia sa atât de impecabila și cu măiestria lui Jennifer Lawrence , cu greu te poți abține sa nu continui.

Scenariu/regie: Darren Aronofsky
Cu: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Brian Gleeson, Domhnall Gleeson

Rating: 10/10

Also read in English

Mother (2017)

A relationship gradually deteriorates once strangers are invited to share the couple's home.

A metaphorical film from one end to the other. It uses religious symbols full of significance for both religious people and atheists. It is a shame that the film was rejected precisely for this content by people who cannot discern the truth from the doctrine.

Even with leaving religion aside, the film is a poetic exaggeration of the experiences of certain types of women as a result of the birth of a child or the gradual deterioration of what they consider dear.

The feelings of psychological suffocation and panic and fear of a Cassandra-typed fate are so palpable that the film is difficult to watch but with its impeccable cinematography and direction and with Jennifer Lawrence's mastery, you can hardly refrain from continuing.

Screenplay / Direction: Darren Aronofsky

Featuring: Jennifer Lawrence, Javier Bardem, Ed Harris, Michelle Pfeiffer, Brian Gleeson, Domhnall Gleeson

Lady Chatterley's Lover (2015)

Lady Chaterley falls in love with a man from a lower social class after her husband returns paralysed from war.

The well-known story of written origin is adapted as accurately as possible in a more contemporary screenplay.

A bit rushed in order to fit in an hour, it lost much of the important details of the novel. Nothing factual really, only some personality traits for some the characters, with Mellors (the above mentioned lover) particularly affected. 

Portrayed with great passion by Richard Madden, it seems to me that many elements of Mellors' personality, such as his conversational wit and rough on the edges talent (i.e. quick, harsh and clever lines), do not translate almost at all into the film. The film manages to keep some of the word exchanges of a more childish nature, which, in the absence of their whole context, do not seem to be anything more than just that. Love is blind but not really that blind, and that is not properly explained in this version of the film. It is not the fault of any of the actors, all of this comes from the script, probably written by someone who did not understand the book. 

Connie, on the other hand, is transposed to the screen by such a delicate Holliday Graingier that I actually forgot that in the book she wasn't quite so perfect.

Even Clifford's character suffers from the lack of detail, but the talented and very versatile James Norton manages to do a lot with very little.

Screenplay: Jed Mercurio (after D.H. Lawrence)

Directed by: Jed Mercury

With: Holliday Grainger, Richard Madden, James Norton, Jodie Comer

You know Richard Madden from Game of Thrones (Rob Stark), Holliday from Borgia (Lucrezia).

Rating: 6/10

Luther (2010-)

A jaded but brilliant detective cannot help but help the victims of injustice, sometimes through less orthodox methods, and often with serious consequences that directly affect him in a dramatic way.

A police series like no other. With an imperfect main character but with good intentions, with an asymmetrical structure (none of the seasons has the same number of episodes, some even have only 2 episodes) and with very different types of interests that vary from homicides and their standard investigations, to vendettas, to fascination over brilliant sociopaths and even to hiding from the law, it is a great TV addiction. 

Unmissable for genre fans and especially for Idris Elba fans!

Production: BBC

Featuring: Idris Elba, Michael Smiley, Warren Brown, Ruth Wilson, Paul McGann, Indira Varma, Sienna Guillory, Patrick Malahide, Aimee-Ffion Edwards, Dermot Crowley

Luther (2010-)

Un detectiv blazat dar genial nu se poate abține din a ajuta pe cei nedreptățiți, câteodată prin metode mai puțin ortodoxe, și adesea cu consecințe serioase ce-l afectează direct în mod dramatic.

Un serial polițist ca nici un altul. Cu un personaj principal imperfect dar cu intenții bune, cu o structura asimetrica (nici unul din sezoane nu are un număr de episoade la fel, unele au chiar și doar 2 episoade) și cu tipuri de interes foarte diferite ce variază de la omucideri și investigațiile standard, la vendete, la fascinați provocate de sociopati geniali și chiar și fuga de lege, e un candidat perfect pentru o noua dependenta TV. 

De neratat pentru amatorii genului și mai ales pentru fanii lui Idris Elba!

Productie: BBC

Cu: Idris Elba, Michael Smiley, Warren Brown, Ruth Wilson, Paul McGann, Indira Varma, Sienna Guillory, Patrick Malahide, Aimee-Ffion Edwards, Dermot Crowley

Rating: 9/10

Also read in English

The Irishman (2019)

The personal story of a so-called Mafia assassin, as told by the actual person to the author of the source book. 

Of big proportions, with multiple narrative threads intersected at different points in time, The Irishman is a mammoth of a movie that only Scorsese could control. It presents the story of a real person - as told in the winter of his life - just as such, without showing any resistance or doubts about its veridicity. In reality, there are doubts due to the content being a bit sensational, especially around the details about the links with Jimmy Hoffa and his disappearance. 

A great effort and a very interesting story that brings together big names, some even returned after retiring from acting (Joe Pesci) or some without even one line of dialogue (Harvey Keitel). This is the third time that the two "giants" - Robert De Niro and Al Pacino - meet in the same scenes (the first time they were in the same film, in The Godfather, they did not actually share scenes at all, Heat is a recognised masterpiece and Righteous Kill did not rise to expectations), this time successfully and showcasing a beautiful friendship that really makes sense. 

Soaked in a lot of history and facts that can actually be verified, the film presents the Italian-mafia character as perceived and understood by Scorsese and also as he demonstrated it in other of his great successes. Less noisy (perhaps due to the slightly more historical character), less dramatic, much more subtle, the film suffers from the lack of an interesting main character. Everything is interesting around it, and all the other very colourful and well-written characters seem to have a natural respect as if born out of merit, but it never becomes obvious to the viewer why that is. And Scorsese, I think, was just as perplexed as he actually attempted to get his characters to explain in their own words the effect of this man as an irrefutable fact that everyone is aware of. 

Joe Pesci is wonderful, strong and fragile at the same time, Al Pacino is as bombastic as usual and very believable, and Robert De Niro worked hard to seem so boring, docile, humble and violent. 

The 3 hours are perfectly excusable. 

Screenplay: Steven Zaillian, Charles Brandt (book) 

Directed by: Martin Scorsese 

Featuring: Robert De Niro, Joe Pesci, Al Pacino, Harvey Keitel, Ray Romano, Bobby Carnavale, Ana Paquin

The Irishman (2019)

Istoria personala a unui asa-zis asasin al Mafiei, asa cum i-a fost povestita de persoana reala autorului cartii sursa.

De mari proportii, cu multiple fire narative intercalate la diferite momente in timp, The Irishman e un mamut de film cum numai Scorsese poate tine sub control. Prezinta istoria unei persoane reale - asa cum a fost povestita in iarna vietii sale - ca atare, fara a arata rezistenta sau dubii legate de veridicitate. In realitate exista dubii datorita continutului un pic senzationalist, mai ales in ceea ce priveste detaliile despre legaturile cu Jimmy Hoffa si disparitia acestuia.

Un mare efort si o istorisire destul de interesanta ce aduce laolalta mari nume, unele chiar reintoarse dupa retragere din actorie (Joe Pesci) sau unele chiar fara nici o linie de dialog (Harvey Keitel). E a doua oara cand cei doi "mari" - Robert De Niro si Al Pacino - se intalnesc in aceleasi scene (prima oara in The Godfather nu au impartit scene deloc iar Righteous Kill nu s-a ridicat la nivelul asteptarilor), de data asta cu success si prezentand o frumoasa prietenie ce chiar are sens.

Imbibat cu multa istorie si fapte ce chiar pot fi verificate, filmul prezinta caracterul italiano-mafiot asa cum Scorsese l-a citit si inteles si prezentat in alte mari succese ale sale. Mai putin zgomotos (poate datorita caracterului ceva mai istoric), mai putin dramatic, mult mai subtil, filmul sufera de lipsa unui personaj principal interesant. Totul e interesant in jurul acestuia, si personajele foarte colorate si bine scrise par sa detina un respect subinteles si castigat pe merit pentru acesta, dar pentru privitor nu devine nicicand evident de ce acest lucru se intampla. Si Scorsese cred ca era la fel de perplex, deoarece incearca sa isi faca personajele sa explice in cuvintele lor efectul acestei personalitati ca un fapt de netagaduit de care toti ceilalti sunt constienti.

Joe Pesci e minunat, puternic si firav in acelasi timp, Al Pacino e bombastic ca de obicei si foarte credibil, si Robert De Niro a muncit mult sa arate atat de natural plictisitor, docil, umil si violent.

Cele 3 ore sunt perect scuzabile.

Scenariu: Steven Zaillian, Charles Brandt (carte)

Regie: Martin Scorsese

Cu: Robert De Niro, Joe Pesci, Al Pacino, Harvey Keitel, Ray Romano, Bobby Cannavale, Ana Paquin

Rating: 8/10

Also read in English

The Sinner (2017-)

Investigations of crimes that have mysterious circumstances as seen through the eyes of detective Harry Ambrose.

An intelligent police series of two seasons so far, with each season entirely dedicated to a single crime. Of an almost incredible complexity, it actually does require an entire season in order to fit each reveal of the multi-layers of the enigmatic killings. The main character is endowed with an above average emotional intelligence and an excellent human reader, with a trivial and more or less average personal story. Like it often happens to any "genius", he is often hindered by obstacles created by people with less ... understanding, who refuse to look beyond the most obvious explanation.

Season 3 should air in February.

Featuring: Bill Pullman, Jessica Biel, Christopher Abbott, Carrie Coon, Hannah Gross, Elisha Henig, Natalie Paul, Dohn Norwood

The Sinner (2017-)

Investigatii de crime in circumstante misterioase prin ochii detectivului Harry Ambrose.

Un serial politist inteligent de doua sezoane pana acum, cu fiecare sezon in intregime dedicat unei singure crime. De o complexitate aproape incredibila, chiar necesita un sezon intreg pentru fiecare dezvaluire a multistraturilor enigmaticelor omoruri. Personajul principal e dotat cu o inteligenta emotionala peste medie si un excelent cititor de oameni, cu o poveste personala banala si plina de probleme mai mult sau mai putin uzuale. Ca orice "geniu" se loveste des de obstacole create de oameni cu mai putina... intelegere, ce refuza sa proveasca mai departe de cea mai simpla explicatie.

Sezonul 3 ar trebui sa apara prin februarie.

Cu: Bill Pullman, Jessica Biel, Christopher Abbott, Carrie Coon, Hannah Gross, Elisha Henig, Natalie Paul, Dohn Norwood

Rating: 9/10

Also read in English

Rough Night (2017)

A bachelorette party takes an unexpected turn.

Somewhat undecided about what genre it belongs to: is it a comedy or a thriller, with none of the options accomplished in any appreciative way.

One positive thing about it though: feminist ideas emerge by proving that intelligent women are capable of being (big) idiots as well.

I can confirm, however, that Scarlet Johansen is not made for comedy, nor for political intrigue.

Kate McKinnon carries the whole comedy almost by herself beautifully (again), sometimes helped by the giggly Jillian Bell as Alice (whenever she's not extremely irritating). But it's too little to save this.

Everything is a little pushed too far, boring at times, stupid other times, so that you tend to forget any of the positives.

Only to watch if you get bored or are big fans of the actors involved.

Directed by: Lucia Aniello

With: Scarlet Johansen, Kate McKinnon, Zoe Kravitz, Jillian Bell

Rating: 6/10

Winchester (2018)

A jaded doctor is in charge of diagnosing the head of the company that produces the Winchester weapon, a necessary act to make it possible for her associates to take over. The pretext they use is the strange custom of the said lady of building new rooms in her house, rooms that do not follow the architecture rules of the times.

Interesting up to a point, and that's because Sarah Winchester really existed, and she seems to have been passionate about architecture in such a way that she used her own home for architectural experiments, experiments she abandoned without demolishing as soon as a new idea obsessed her and  a new change was needed.

In the meantime, her heirs have changed the narrative in order to make money of her story by transforming the resulting house into a so-called haunted house. It was a ridiculous an idea as this movie is.

Helen Mirren appears in a weak and unbecoming role, something that's very uncharacteristic to her. The only person who feels at home is Sarah Snook, already a veteran of the genre, here in the role of the frail (or not?) mother-niece.

It's weak, unconvincing, and it tries to scare through many horror clichés.

It may be suitable for horror marathons with a group of friends who love to laugh together.
Sarah Snook has been in Jesabelle, Predestination and Black Mirror.

You might have seen Sarah Snook in Jesabelle, Predestination and Black Mirror.

Directed by: Michael and Peter Spierig

With: Helen Mirren, Sarah Snook, Jason Clarke

Rating: 5/10

Salem (2014-2017)

Redare fictionalizata a binecunoscutelor evenimente din Salem in secolul al 17-lea, intr-o versiune in care vrajitoria e ceva real.

O imbinare interesanta a evenimentelor reale cu povestea fictiva a vrajitoarelor ce s-au jucat cu sortile puritanilor din Salem. Povestea e complexa, bine scrisa iar supranaturalul si elementele horror sunt inventive, dese si in concordanta perfecta cu contextul povestii. Fanii genului se vor delecta.

Un bonus binevenit este tema muzicala compusa de Tyler Bates (Californication, Sucker Punch) si Marilyn Manson.

Shane West e cunoscut din A Walk To Remember, Seth Gabel din Fringe, Iddo Goldberg a fost pentru scurt timp in Peaky Blinders, Xander Berkeley a fost in multe dar mai recent The Walking Dead, Stuart Townsend era mai cunoscut in urma cu 10 ani, ca protagonist al The League Of Extraordinary Gentlemen si The Queen Of The Damned iar Lucy Lawless a nimeni alta decat Xena.

Creatori: Brannon Braga, Adam Simon

Cu: Janet Montgomery, Shane West, Seth Gabel, Tamzin Merchant, Iddo Goldberg, Lucy Lawless, Ashley Madekwe, Elise Eberle, Xander Berkeley, Stephen Lang,  Stuart Townsend

Rating: 9/10

Also read in English

Salem (2014-2017)

Fictional retelling of the well known events from Salem in the 17th century, in a version in which witchcraft is something real.

An interesting combination of the real events with the fictional story of actual witches that play with the fates of Salem's puritans. The story is complex, well written and the supernatural and horror elements are inventive, frequent and in perfect agreement with the context of the story. Fans of the genre will be delighted.

A welcome bonus is the musical theme composed by Tyler Bates (Californication, Sucker Punch) and Marilyn Manson.

Shane West is known for A Walk To Remember, Seth Gabel for Fringe, Iddo Goldberg was briefly on Peaky Blinders, Xander Berkeley was in many things but more recently The Walking Dead, Stuart Townsend was better known 10 years ago, as the protagonist of The League Of Extraordinary Gentlemen and The Queen Of The Damned and Lucy Lawless is none other than Xena.

Creators: Brannon Braga, Adam Simon

Featuring: Janet Montgomery, Shane West, Seth Gabel, Tamzin Merchant, Iddo Goldberg, Lucy Lawless, Ashley Madekwe, Elise Eberle, Xander Berkeley, Stephen Lang, Stuart Townsend

The Killing Of A Sacred Deer (2017)

A former alcoholic doctor is faced with a difficult choice: which of his wife and two children will have to die to save the others?

A sort of a very clinical and void Sophie's Choice. Yorgos Lanthimos seems to use the same template he used for The Lobster to represent a world where human behaviour is to say the least bizarre. It made sense for The Lobster but for this movie it just seems to be a partial and failed metaphor. In a logical and rational world, feelings and their externalisation seem out of place, but the actions of the characters say a lot. It may be a criticism of today's flat society, but the intrigue worthy of the First Testament is inappropriate and unexplained. Not even the belief in a higher power can explain it simply because of the injustice that accompanies it.

Nicole Kidman has to be praised for how much she manages to express when she says nothing and Barry Keoghan deserved to win all the nominations he received for portraying the sinister Martin.

Screenplay / direction: Yorgos Lanthimos

Featuring: Colin Farrell, Nicole Kidman, Raffey Cassidy, Barry Keoghan, Sunny Suljic, Alicia Silverstone

The Killing Of A Sacred Deer (2017)

Un doctor fost alcoolic este pus in fata unei alegeri dificile: cine dintre sotia sa si cei doi copii va trebui sa moara pentru a-i salva pe ceilalti?

Un fel de Sophie's Choice foarte clinic si vid. Yorgos Lanthimos pare sa foloseasca acelasi sablon din The Lobster pentru o lume unde comportamentul uman e cel putin bizar. Avea rost si sens pentru The Lobster dar pentru filmul de fata pare doar o metafora partiala si nereusita. Intr-o lume logica si rationala, sentimentele si exteriorizarea lor par nelalocul lor, dar actiunile personajelor spun multe. Poate fi o critica la adresa societatii plate de azi, dar intriga demna de Primul Testament este nepotrivita si fara explicatie. Nici macar credinta intr-o putere superioara nu o poate explica prin simpla nedreptate ce o insoteste.

Nicole Kidman trebuie laudata pentru cat de mult reuseste sa exprime cand nu spune nimic iar Barry Keoghan merita sa castige toate nominalizarile primite pentru portretizarea sinistrului Martin.

Scenariu/regia: Yorgos Lanthimos

Cu: Colin Farrell, Nicole Kidman, Raffey Cassidy, Barry Keoghan, Sunny Suljic, Alicia Silverstone

Also read in English

The Boys (2019-)

In an alternate universe in which superpowered people are commonplace, a group of rebels fight to reveal the evil acts of the most popular superhero group.

A little satirical, very bloody, at times comical, The Boys manages to be something original in a sea of superhero productions. It shows them in a new light, which finally actually makes sense: they are people with unusual abilities that have developed and adapted in a particular way precisely because of these powers and because of the scientific context in which they might have been raised and things are no longer only in black and white. They're a wonderful grey, entertaining and devoid of even the shortest moment of boredom.

For those surprised that Simon Pegg has a small and insignificant role: he is happy to appear in any role because it was his long-standing desire to get The Boys adapted.

And fun fact: Jack Quaid (the pseudo main character) is the son of Dennis Quaid and Meg Ryan.

And even more: Eric Kripke is the one who gave us Supernatural.

Creator: Eric Kripke, Evan Goldberg, Seth Rogen

Featuring: Karl Urban, Jack Quaid, Erin Moriarty, Antony Starr, Chace Crawford, Elisabeth Shue, Jennifer Esposito, Simon Pegg

The Boys (2019-)

Intr-un univers alternativ in care oamenii cu superputeri sunt ceva obisnuit, un grup de rebeli lupta sa demasce actele nefaste ale celui mai popular grup de superoameni.

Un pic satiric, foarte sangeros, pe alocuri comic, The Boys reuseste sa fie ceva original intr-o mare de productii cu supereroi. Ii arata pe acestia intr-o lumina diferita, care in sfarsit chiar are sens: sunt oameni cu abilitati neobisnuite care s-au dezvoltat si adaptat intr-un mod aparte tocmai datorita acestor puteri si datorita contextului stiintific in care poate au crescut si lucrurile nu mai sunt doar in negru si alb. Sunt un gri minunat, antrenant si lipsit de si cel mai scurt moment de plictiseala.

Pentru cei mirati ca Simon Pegg are un rol mic si neinsemnat: este fericit ca apare in orice rol deoarece era dorinta lui de mult timp sa se ecranizeze The Boys.

Si fun fact: Jack Quaid (personajul pseudo principal) este fiul lui Dennis Quaid si al lui Meg Ryan.

Si mai mult: Eric Kripke este cel ce ne-a dat Supernatural.

Creator: Eric Kripke, Evan Goldberg, Seth Rogen

Cu: Karl Urban, Jack Quaid, Erin Moriarty, Antony Starr, Chace Crawford, Elisabeth Shue, Jennifer Esposito, Simon Pegg

Also read in English

The House That Jack Built (2018)

Un psihopat cu idei intense de grandomanie prezinta istoria crimelor sale alegand 5 evenimente precise cu importanta pentru evolutia sa.

Inca un film al lui Lars von Trier care a facut publicul de la Cannes unde a fost aratat in premiera sa paraseasca sala de cinema devreme. 

Clar de la inceput, nu este pentru oricine. 

Este si lungut, dar nu asta e problema. 

Problema vine de la scenele greu de urmarit din cauza violentei nefiltrate si socului alegerilor ce nu sunt oprite de nici un tabu. Acestea sunt elementele ce apar in mod frecvent si pot opri audienta din a avea rabdare sa discearna frumosul din dialog sau dinspre finalul peliculei, si nu este ceva de condamnat deoarece regizorul a creat intentionat aceasta situatie in detrimentul propriei sale arte. Si asta probabil din cauza ca realismul si lipsa de filtre fac parte din arta pentru care este cunoscut si artistul nu a vrut sa se contrazica singur... Probabil.

Ma balansez intre consideratia ca regizorul este doar foarte narcisist si grandoman el insusi ori ne arata foarte istet si elaborat cat de usor poate cineva manipula idei despre arta, frumos si umanitate pentru a inteti importanta unor idei gresite, folosite in scopuri contrare ideologiilor initiale. A doua optiune de fapt nu o anuleaza pe prima, deoarece regizorul este cel ce controleaza acea manipulare...

Matt Dillon este extrem de credibil si oribil, probabil a fost si va fi uitat la toate premiile din cauza renumelui negativ al filmului. Portretizarea unui suferind de tulburare obsesiv-compulsiva este extrem de realista si as spune chiar comica. Un pic de umor vine si de la situatiile in care protagonistul pare norocos in situatii foarte riscante.

Nu e un film prost sau urat, va cauza multe ganduri si analize, dar va avea efecte negative in prima instanta, probabil chiar si dupa finalul semi-eliberator. Doar pentru curajosi care stiu la ce sa se astepte!

P.S.: Scenele ce implica animale au aprobarea PETA, deci nu sunt reale.

Scenariu/Regia: Lars von Trier
Cu: Matt Dillon, Bruno Ganz, Uma Thurman, Riley Keough, Sofie Gråbøl, Jeremy Davies

Also read in English

The House That Jack Built (2018)

A psychopath with intense illusions of grandeur presents the history of his crimes by choosing 5 precise events with importance for his evolution.

Another film by Lars von Trier that made the Cannes public where it premiered leave the theatre early.

Clearly from the start, this is not for just anyone.

It's a tad long too, but that's not the problem.

The problem comes from the difficult to watch scenes due to their unfiltered violence and the shock of some of the choices which are not stopped by any taboo. These are the elements that most frequently show up and can stop the audience from having the patience to discern the beautiful in the dialogue or in the scenes towards the end of the movie, and it's not something to condemn because the director intentionally created this situation to the detriment of his own art. And this is probably because the realism and lack of filters are part of the art for which he is well known and the artist did not want to contradict himself ... Probably.

I am torn between the consideration that the director is just very narcissistic and a megalomaniac himself or the idea that he's just showing us very cleverly and elaborately how easily one can manipulate ideas about art, beauty and humanity to enhance the importance of misconceived ideas, used for purposes that are contrary to their initial ideologies. However, the second option doesn't actually cancel the first one, because it is the director who controls the said manipulation ...

Matt Dillon is extremely believable and horrible, he will be and probably has been omitted from all the awards because of the film's negative reputation. On top of that, his portrayal of an obsessive-compulsive disorder sufferer is extremely realistic and I would say even comical. A bit of humour also comes from the situations where the protagonist seems lucky in very risky situations.

It isn't a bad or ugly movie per se, it will cause a lot of thoughts and analysis, but it will have negative effects in the first instance, probably even after the semi-liberating ending. This one is just for the brave who know what to expect!

P.S.: The scenes involving animals have PETA approval, so they are not real.

Screenplay / Direction: Lars von Trier
Featuring: Matt Dillon, Bruno Ganz, Uma Thurman, Riley Keough, Sofie Gråbøl, Jeremy Davies