novoten

I can't resist any part of the mutant universe, including Wolverine's solo movies or the much-derided X-Men: Apocalypse, and even where I'm on the fence about a given film (X-Men: The Last Stand), I can still enjoy it over and over. And yet now, half a day after seeing this film, I cannot imagine that stories from this world will continue to be told. Logan, in a hundred and one ways, serves as the final chapter, the most human and believable one. It is a bloody, uncompromising, and depressing chapter, but precisely because of that, the clear message of the entire X-Men saga resonates much louder than I dared expect. Remembering almost any scene tightens my heart and I nostalgically immerse myself in the times when seventeen years ago, as a teenager unfamiliar with comics, I went to the local cinema for something called X-Men and in an empty cinema first discovered what adamantium is. Hugh Jackman made it happen, and has done so now more responsibly than ever. Except that back then, it was for the first time; this time it's definitely the last.

The best Oscars I've ever seen, right until the very end. The presenting duo was perfectly paired, the awkward moments were completely gone, and the host was on fire. All of Jimmy Kimmel's trademarks (from Guillermo del Toro to the feud with Matt Damon to Mean Tweets) worked perfectly, the acceptance speeches were just the right balance of emotion and appropriateness, and the deserving winners received their well-earned statuettes. But then came the moment when the creators of one of the best films in recent years are literally robbed of the final award and it was given instead to the weakest nominee. Not only do I never want to see that again, but it soured the entire ultra-positive impression of the entire evening.

The memory of Christina Grimmie is still too painful. The not very well-known singer had not only a beautiful and powerful voice, but also a likable presence, friendliness towards her fans, and – as The Matchbreaker proves – great comedic timing. Christina's unnecessary death at the hands of a crazy "fan" tarnishes the impressions of this inventive independent romantic comedy and a rejuvenated paraphrase of the excellent The Heartbreaker, which in this country has been seen by only about five and a half viewers.

I admire Martin Scorsese for reaching for matters of the heart without hesitation, even after audience-pleasing films like The Wolf of Wall Street or Shutter Island, knowing that it may not be successful commercially. And as is customary with matters of the heart, one reluctantly leaves out, limits, or shortens one's expectations. The fight for truth, against suffering, and with one's own ego, is portrayed in a way that is a destructive spectacle, thanks in large part to a phenomenal performance from Andrew Garfield. It raises a hundred and one questions, but mostly focuses on the same topic, which inevitably becomes tiresome even for the most accommodating viewer given the copious running time. Through Rodrigo Prieto's captivating camera work, Silence is visually stunning, but due to the sluggish screenplay, it is a bit challenging to engage in conversation about it.

I wasn't sure about the one-sided focus on pitying orphaned or abandoned Indian children, but when the motives increase with each passing minute, it turns into a whole different story. Saroo is not only searching for family and answers, but also himself, and in the portrayal by a seasoned Dev Patel, I believe him in this role to the very last minute. When combined with Nicole Kidman's well-received dramatic comeback, this year's academic underdog becomes a surprisingly ambitious piece, easily surpassing some of the overly obvious favorites.

Definitive proof that Omar Sy is the king of dramedies with a social subtext. The Intouchables could have been a coincidence, Samba could have been god luck, but this time it's a sure bet. On his home turf, this walking breath of optimism simply can't be surpassed. And even though the twists may seem expected and overly emotional, a smaller but more important idea about fully enjoying life emerges throughout the whole story, opening one's eyes. And that's when tears really start to sting.

Audiovisually, it is an experience where the years of hard work can be seen down to the last second. And yet you don't just need to meet the script halfway, but most of the way – and that may still not be enough. For those tuned into pure evil, for viewers open to breathtaking introspective stimuli.

Social, racial, and sexual themes are targeted too blatantly, in response to all the criticisms aimed at the previous Oscars. The viewer must root for Chiron, whether they want to or not, because his most crucial scene partner is surprisingly the overacting Naomie Harris. However, I also have an issue with the overall form. It is cleverly chosen, although I cannot decide whether its partial imitation of Richard Linklater's Boyhood is an advantage or a disadvantage. It remains painfully empty when clumsily skipping over plot fragments that interest me much more than the main character's relationship with his unteachable mother. I am still struggling with Moonlight because, while I was enchanted by the exceptional performances of Mahershala Ali and André Holland, they were unable to shake off the loud impression of drama for the sake of drama.

A drama that does not hold your hand, forces you to read between the lines, and does so on a canvas over two hours long that does not begin with careless and ordinary dialogues full of chatter. Casey Affleck has found the role of his life, Michelle Williams shines even in a smaller space, and Kenneth Lonergan has created a drama that is almost too absolute and overwhelming to be heartfelt. Still, I wish him all the success in the awards season.

Robert Zemeckis is considered a visionary, but at the core, he is and will always be old-fashioned. And that old-fashionedness is insidious, because Allied pretend to be a Moroccan war trifle for a while, later transforms through intense action interludes into an honest drama, and then doesn't recoil from flirting with a good amount of tension. Over time, additional layers of storytelling are added, and in the end, there remains a taste of a pleasantly genre-defying spectacle that makes one forget about the overly drawn-out pace of the first act.