3DD!3

I sort of see parallels with today’s society in this and not an anti-racist fairytale with a happy ending, which they obviously seemed to want. McQueen has disappointed me for the first time, probably because he couldn’t be sufficiently detached from the topic and he forgot to spice it up with something. These torturous 12 years seem fairly relaxed and Platt doesn’t experience proper slavery until he’s with Fassbender, who is cutely eccentric and interprets the Word of the Lord in his own special way. And eventually he alone really deals out punishment. Chiwetel Ejiofor (how the heck do you pronounce that?) acts well, but he honestly doesn’t have that much to do and the nomination for an Oscar is a little bizarre. The concept of time passing was poorly intimated, it’s hard to tell how long he was where and if it wasn’t for the title and the granddaughter, it could have easily been like four years. Lifelessly filmed and if it weren’t for Fassbender, I just don’t know. Nothing exceptional, but it’s watchable. P.S.: Hans Zimmer sometimes shines, but the music is mostly pretty ordinary and the gospel overkill is just awful. I said dance! Come on! Get goin’, Platt!

Matthew is on damn good form and he’s delicious in this winning movie. We’ve seen the topic of AIDS and struggling against villainous corporations (“Fuckin’ FDA") many times before, but I can’t remember that it’s ever been served up with such style before. The life that his sickness brings with it is surprisingly fuller and more interesting - after all, he went to Japan and founded a fairly successful business. In terms of acting, this is top league on top form, Jared Leto was more convincing as a woman than as a man! It’s for personal consumption.

We left the comedy part behind us and now we get the sad part. So the viewer isn’t entertained, but he’s still curious. Of course, there’s a touch of S+M in the movie, but it’s an act of despair, not lust, and so the controversy somehow fades. The story of Fido’s life was certainly worth telling and I really liked that scene with the tree. The worst tasteless slap in the face of the whole story is the ending which more or less ruins the catharsis and doesn’t shock but revolts. It seems very forced. Or the loose ends with Jamie Bell and Willem Dafoe. Is it Lars’s work or the censor’s? Shame, maybe the director’s cut will make more sense. Hey Joe.

I’m no expert on online internet games, I don’t even know how to play that dumb, online poker, so I didn’t get any of the references (but I know they were there), the action at places didn’t make sense, and mainly it’s too slow. I didn’t enjoy it and the fact that Ben enjoyed playing this motherfucker simply doesn’t make it for me.

Perfect, movie of the year. For the first time in a long time Marty does a comedy, and he can swim in this medium several times better than today’s would-be Kings of Comedy. The Wolf of Wall Street is a new generation Goodfellas, however strange that sentence sounds. A classic rise and fall of one menial swine with the gift of the gab (and a stock trader license), is served in a lively, entertaining form and the three hours in the theater pass by like nothing. Cocaine, hookers, the language of money (fuck, shit, cunt), all entertainingly delivered, also of course due to the involvement of DiCaprio who found himself here in terms of acting after all those years and gives the best performance in his career. Hill is an incredible slob - in a good way. In terms of effects, a little wobbly, partisan cutting, but it’s hard to say if that wasn’t Marty’s intention. Otherwise, the scene with Matthew McConaughey, where the two of the best actors of last year are in the restaurant... A hymn to capitalism is resounding in my heart. Hmhmhm... boom-boom, hmhmhm... boom-boom, hmmmhmmmhmm hmm hmm hmm hmm hmhmh... oh yeah. P.S.: Yes, of course they were incredible swines, I condemn what they did and they should rot in the hole till they’re dead, if they robbed the state like that, they’d get the electric chair. But they don’t mind regular people being robbed.

Berg serves us with cool action in another bungled Navy Seals raid in Afghanistan. Because it’s based on real events makes the movie that more powerful. Especially the number of hits the heroes take before they really expire. The fairly realistic treatment then slips into Bay-isms, but that doesn’t bother me so much, it’s just that Lone Survivor doesn’t turn out so naturalistic. The cast is excellent, especially Kitsch and Foster are outstanding.

This is something special, it has atmosphere that forces the viewer to watch and even though it’s no nerve-racking adventure, it forces you to “turn the page" and keep gulping down the True Detective. Pizzolatto is a cool writer and the stratification into two timelines and their gradual interlinking is a work of mastership. At least so far. The acting duo is a chapter for itself, Harrelson’s Marty is still a regular cop in the best sense, but McConaughey’s Rust is an awesomely twisted bastard. I can’t wait to see the next episode and it’s been a long time since I’ve had that feeling. Season one: Flawless work with characters and the best possible care in terms of screenplay, direction and acting. A light in the darkness, a story that it one of the oldest ever told, but Pizzolatto managed to deliver it freshly and in his own way. The hallucination scenes just go to augment the mysterious, while very realistic atmosphere. Rust is McConaughey’s lifetime’s role and Woody Harrelson certainly doesn’t lag behind. I’m going to miss this pair. No one episode stands out, they all burn with a strong, eternal flame. Season two: Daddy Colin takes the baton and Nic Pizzolatto shows that he has ideas. This case isn’t so dark, but rather ruthlessly realistic. Erring characters, slowly untangling threads and several storylines. The first season was very up front... mainstream. Not this. This is an epicurean performance with the most layered of characters. Spiced with philosophizing about life. Vince Vaughn’s Frank demonstrates the qualities of an actor who spent half his life making faces in comedies, and here he grabs this cool character by the Adam’s apple. The same revitalizing water as McConaughey drank last year. Excellent music. Has to be watched more than once. A sophisticated masterpiece, I’m already looking forward to what Pizzolatto comes up with next time.Season three: Another case separated into three timelines. Pizzolatto already knows that one should not experiment too much and he writes a story more about partnership than cadavers. Two lost kids, lies and money in the leading roles. Ali’s Hayes is brilliantly acted and even better written. A tough guy who wanted nothing and this nothing drove him not to obsession, but to a life that he is slowly but surely forgetting. When the timelines meet it makes for the most powerful moments of the series (the Viet Cong in the bedroom!). Also quality conversations in the car and partner altercations that cut to the quick. For my taste it’s pushed a bit too far into the black, but that seems to be popular these days. The end is realistic again, but this time quite pleasantly. True Detective still means quality that is worth waiting for.

British justice stands proudly as a lighthouse…blah blah. A pretty interesting court thriller thanks to the British feel. I really like conspiracy stuff and some of the revelations were pleasantly surprising. Bana and Hall fit the role just right, even though the show they put on is nothing special, it leaves in you with a mainly positive sensation.

Cheap nudity, which can’t be saved by stilted monologs and dialogs. It’s boring and empty. Would be controversial, but it’s more on the disgusting side. The truth is that the design is relatively good and the cameraman knows what he is doing, which is nice to see in a Czech production.

Great. I like good fairytales, and this one has a fantastic atmosphere and the dark voice of the narrator adds verve. The music is great, the animation is unusual, it could have been more elaborate, but it's enough.