Isherwood

The admirable purity of the genre (the filmmaking enthusiasm is gushing from it) doesn't quite match the script, which doesn't limp in motivations or dialogue (on the contrary, the simplicity is a good thing). Yet, paradoxically, I would have liked to see even more broken arms, and gunshots to the head, and overall I would have actually gone a bit harder in the fanboy exhibition because the great technical aspect encourages it like few other things. A weaker four stars. I'll be happy to watch selected moments again.

The creative pose, unmasked by the unique technical possibilities of the film medium, flirting with the European arthouse, is about to divide the audience in 3, 2, 1...

The emotions are about as warm as a winter morning. The characters without a personal story may evoke viewer antipathy, but the economical handling of characters who have sold out to ratings numbers works a treat because these stalkers remain something detached for most of us, coming to us through spicy TV shots, even in ordinary reality. Also, Gyllenhaal's sleazy character works so well that you don't really care which way you're supposed to view the protagonist, which emerges in the end as the main trump card of the creative narrative, and you sort of even accept the pre-credits finish at its mercy. 4 ½.

Eastwood's precise shot, which is likely to be mistaken for pathos when defending the American way of thinking, stands out above all. This is due to the fact that, despite a significant part of the runtime being spent on the battlefield, it manages to retain a civilian atmosphere, rather giving Kyle's extraordinary "skill" lip service because, at his core, the protagonist remains that pure American redneck who, in Cooper's excellent, paunchy Texan delivery, blathers on about defending the country, and yet you know he means it with unapologetic sincerity; its length and the empty brothers storyline are the only things that the film can be faulted for. Even J. Edgar wanted to look like this.

It's nice to see a film that makes you laugh out loud, quietly lament its hipster message, and yet only really makes you think by having (almost) everyone sing at the end.

A theme squeezed from Frederick Forsyth's novels, two talking heads, and blockbuster thriller suspense. The subject is so pure that it's a wonder no Hollywood studios are holding a race to see who can get this on the screen first. 4 ½.

Martin Dušek found a banal theme and creative humility. The result is a typically "Dušek-style" funny spectacle, but this time also one that is endlessly sad, about a man whose life and (unfulfilled) dreams are lived by countless people everywhere. The film is a social drama, but it masks it incredibly well for the entire runtime. 4 ½.

The idea and creative enthusiasm are admirable, while the financial infusion and HBO's sniveling dramaturgy are less so. It's actually very hard not to succumb to it.

This was great! Vanderbilt's script is directed by Emmerich with such gusto and punch that I was bouncing in my seat with excitement. The concept of The Rock and Die Hard is distilled into an ideal mix that isn't afraid to weave in action and healthy exaggeration that is ideally put together. Emmerich loves America, but at the same time, he carries in his heart a piece of a sneering European who knows how to sarcastically poke this idol. The acting is top-notch, especially Tatum dispelling the slight awkwardness, and the white tank top at the end is well deserved. Also, the little girl is the best child element in action since Iron Man 3. In a way, it’s a precise hit in every genre discipline. 4 ½.

A superb dramatization and high-octane exhibition of filmmaking adrenaline that once again elevates pseudo-documentary realistic authenticity to a full-blown blockbuster experience. Although Greengrass goes about this unlike anyone from the numerous rows of his many "copy & paste" colleagues, it's a bit of a safe bet on his part, with the camera looking over his shoulder and whizzing between faces just long enough for you to know who he's thinking of. It's not boring at all, but it does last about fifteen minutes longer than audiences would like. Then it would be a fuller experience. And let's face it, when was the last time you saw a Navy SEALS presentation this short and impactful? PS: Hans Zimmer is thanked in the credits, but as the central motif unfolded, I kept subconsciously waiting for the black hood to appear. 4 ½.