Remedy

Once again Jordan Peele didn't refrain from his typical contrasts and semi-hidden meanings, and that strong commitment to his work will forever (logically) be his trademark. Thank goodness that engagement isn't as spastic and annoying as it was in Us, which was a mega-miss and made me almost embarrassed for him. Nope is definitely the most cinematic work he's done to date, in terms of quality of craft and especially mise-en-scene. Peele can build a scene like few others, he's almost unmatched in that. The problem is that on some levels the script doesn't even give seemingly satisfactory answers, which unfortunately costs it credibility overall and the viewer is forced to wonder if he’s pulling some of the meanings out of his ass. And the "problem" is also that I started thinking this way only after the viewing, because the bulk of the film is, plain and simple, electrifying and absorbing. During the greatest audiovisual highlights, I was put in mind of Nolan or Villeneuve (probably the latter the most). Jordan Peele will probably never make a typical blockbuster (unlike those two), and his work will always be somewhat on the fringes of Hollywood production, but his narrative skill is so polished that I'll be quite interested in every one of his efforts to follow. Seen and experienced in IMAX. [75%]

I was just waiting for the dude to build, like, a barn or a chemical plant and finally get some serious voyeurism going. An extraordinarily bad film (not in the sense of having a bad effect on the viewer, because it doesn't have any effect) that is neither arthouse, nor alternative, nor original, nor festival, nor bizarre. It's just bad and boring. The only moment I identified with a character was the Rooney Mara eating seance she puked after. That amount of pie and depression would probably get anyone. [10%]

One of the best adapted works based on Stephen King. Some passages are "softer" compared to the book, which I appreciated, oddly enough, because when I read it some 10 years ago, it made my gorge rise quite a bit at times. Kathy Bates as the most ardent fan of a successful writer is absolutely second to none, and James Caan is absolutely divine with his rational approach full of desperation. Scary, shocking, intense, and suspenseful all the way to the rooftop (or should I say basement...). [85%]

Probably one of the best fantasy tales I've seen. Perhaps only Stardust has similarly resonated with me, and it too wasn't afraid to take a slightly different path in its film adaptation than mainstream audiences would expect. The Princess Bride stands out above all for its great characters, who (thank goodness!) are not one-dimensional or cookie-cutter, with very few exceptions. In fact, thanks to their imperfections and flaws, they are much closer to real characters, which often results in unexpectedly funny and touching moments. It's really a very nice fairy tale. [85%]

A hilarious Kevin Smith religious romp that abounds with excellent casting and occasional (un)expected outbursts of violence. If it's satire, it's really only a little bit, more likely just another Kevin Smith comedy with lots of unexpected revelations and life wisdom. Any allusions to religious beliefs here are merely used by Kevin Smith for his purpose, and it has to be said that he does so rather humorously most of the time. "No ticket." [75%]

A real washout, unfortunately not in a good way. From the narrative techniques, to the portrayal of the characters, to the technical execution, it's average at best, in objective terms more like below average. Milla Jovovich is likewise bland and flat in her performance like in Resident Evil; here, unfortunately, it's a lot of severed limbs worse. I felt a slight glimmer of hope at the beginning, when it started out as a military survival film (though the dialogue awfully grated on the ears), but after the transition into the "fantasy world" there wasn't really much to praise about it. That is to say, nothing at all. [30%]

The best possible mix of nostalgia and honestly heavy-handed filmmaking, which is breathtaking in its peak moments. All of which is also bolstered by a very good script that opens old wounds here and there, but does it in a totally founded and sensitive way, which "only" adds to the mosaic of all the things that are delightful about this film. The final mission is a technical, emotional, and considerably cathartic experience, and I wouldn't be afraid of the superlative that this has one of the most impressive final sequences I've ever seen. Thanks, Tom and everyone else. [95%]

A wonderfully atmospheric allegory on the theme (most likely) of dealing with PTSD and trying to step out of your own shadow. Indeed, it's very suspenseful and audiovisually captivating almost the entire time, it's just that the denouement is somewhat... well, beefy. Don't look for any great complexities, just enjoy the atmosphere and then you might actually quite like it. [60%]

David Leitch has managed to mix up a fresh and very likable action movie whose formal flourishes and novelties are right at the edge of feeling annoying and self-indulgent. It's still mannerist as hell, but it all happens within a coherent story that builds quite well. It's not just another mindless parade of fights and brutality (although both are there in spades, and it works), because it feels much more like a strong auteur film. [80%]

Scott Derrickson has got the touch like few others. It's shot in exactly that unsettling thriller tone, plus it has top-notch sound design. Narratively, it's maddeningly unbelievable (from the kid fights to the phone gags to the final showdown), but overall it holds together by the skin of its teeth in some weird way. It's not much, but for unpretentious one-time viewing it's doable. [60%]