Change Your Image
popvoid
Reviews
The Reef: Stalked (2022)
Not as bad as some here say, but that doesn't mean much
It looks like this one got a lot of bad reviews. One person accused all the people that gave it ten stars of working on the movie. Some certainly were but not all. You can always check this by seeing how many other movies that person reviewed. It the movie in question is the only one they reviewed, you know they're a plant. If they've reviewed a few movies, then it just means their opinions are different from your (I did find one ten star reviewer who appears to be legit). One reviewer headlined their review "CGI lacking," which I assume means they didn't like the fact that the movie used a real shark. The only CGI shark I saw was in the poster and that scene isn't in the movie. Too bad, the poster makes it look far more exciting than it is. I've certainly seen far worse, but that doesn't mean I think this movie is worth watching.
Curtiz (2018)
The subject deserved better
A film about Curtiz is certainly worth making. It's too bad the makers of this film were more in interested in talking about Casablanca and demonstrating their camerawork than examining the title's subject. Before say much more, I do want to say that, contrary to one of the reviews here, Curtiz was no one-hit wonder, nor was Casablanca the only good film he made. This is the man who made Mildred Pierce and The Breaking Point-both now considered noir classics-along with Flamingo Road, The Proud Rebel, and King Creole, Elvis Presley's best movie. Yes, he was a bastard, but he knew how to make a movie. This is really a movie about the making of Casablanca, not about the director. They do portray him as a jerk, but it's mostly a sympathetic profile. I don't know if it was the director or the cinematographer, but the constant camera movement gets tiresome. One scene in particular has several people around a table talking. Instead of using the camera to show who is saying what, the camera constantly circles the table with little regard to who's speaking. Even Godard would have rejected this approach. The film is mainly in black and white, except for the occasional red or blue light. It's an attractive film, but sometimes it's best to reign in your fun for the sake of storytelling. I didn't hate this film, but I left it feeling indifferent to the film.
Kamera o tomeru na! (2017)
How to handle a lunchbox budget
Making a decent movie on a minuscule budget is always a tough job.The easiest approach is the found footage approach, but we're all bored with that already. This film manages to find a way to do it on a ridiculously low budget, while parodying the found footage films at the same time. It's clear from some of the user reviews that not everyone watched the film all the way through, while a few were disappointed that it didn't turn out to be the batch of cliches that they were expecting. One person even said "I think it has a lot of potential if someone makes into (sic) a genuinely scary zombie movie with good acting." Talk about missing the point! This is a horror comedy, and if you don't like horror comedy, you aren't going to like this one. But, speaking as someone who has probably seen more horror movies than nearly anyone on the planet, this was a refreshing alternative to business as usual. The did more with their tiny budget than I've ever seen done. Not to mention some spectacular casting choices. Worth a look. Especially if you are interested in seeing how much a clever filmmaker can do with very little money.
Bye Bye Birdie (1995)
Decent adaptation, but not a home run.
This TV adaptation of Bye Bye Birdie has a few things going for it. Vanessa Williams is sensational, and Jason Alexander, surprise, surprise, is a good singer and adequate hoofer. It follows the original play far better than the film, although, it also takes liberties with it. And doesn't have to pull its punches to quite the same extent as the movie did (1963 was kind of crossover year, where attitudes and mores were beginning to loosen up, but American movies were still stuck in the fifties.The TV version also gets rid of that horrible sped-up ballet that nearly ruins the movie version (the play had another ballet entirely, which is not in either the film or the TV version).
On the minus side, as good as Jason Alexander is, he wasn't right for the part. I'm not sure Dick Van Dyke was either, but he was better. George Wendt adds nothing to the mix, especially when compared to Paul Lynde. The character of Kim McAfee is pared back down to its original content, which is just as well. Chynna Phillips is woefully miscast as a teenager and really can't compete with Ann-Margert (who could?). Marc Kudisch's Conrad is a good imitation of Conway Twitty, who was the original template for Conrad (not Elvis), although Jesse Pearson (who looked like he was imitating Elvis) was better.
On the balance, worth watching if you're interested in Broadway musicals and their adaptations, but it's not a must-see.
Tumbbad (2018)
I'd probably give this a slightly higher rating
I'm only giving this three stars in an attempt to counteract the obvious vote rigging here. This film does not deserve 10 stars, but, under normal circumstances, I'd give it a six or seven. The fact that it has over 200 review ten-star reviews, all saying the same thing, is about the most obvious example of rating rigging I've ever seen. It's too bad, because I know a lot of people will see these reviews and decide to skip this film---I almost did. In spite of that, it's not a bad little horror film. I'd classify it as fairy-tale horror, similar to the 2017 Basque film ERREMENTARI or the 1967 Soviet film VIY. If you're into that sort of thing, I'd say check it out. Two other things it has going for it are its length, which at 1 hour and 44 minutes is almost a short subject by Indian film standards, and the fact that it doesn't stop the action for some silly song-and-dance number. The film is also has an interesting structure, with the action taking place during three different times in a man's life. The twist---if you can call it that---is clever and very much in keeping with its fairy-tale like narrative.
Dark Signal (2016)
Mediocre film uses jump shocks badly
This is a fairly forgettable film. It has some interesting ideas, but mostly fails. Some of the camera-work is good, and the lead actresses are good, but the director seems to think that sticking in a jump shock every few minutes constitutes good horror filmmaking. To make matters worth, each of these shocks is punctuated by a loud musical screech. In the hands of a talented director, these types of shocks can be very effective, but here they are just annoying and actually interfere with the flow of the story.
Ein Praktikant fürs Leben (2010)
Funny if predictable romantic comedy
Ingo Rasper, the writer-director of "Fashion Victims" is back with a made-for-TV romantic comedy that addresses--at least, peripherally--a real problem in Germany. Roman Knizka plays Ben Kremer, a young man who finds himself stuck in a never-ending loop of intern jobs. In Germany (and, I suspect, here in the US as well) many companies save on employee costs by hiring young people as "interns" rather than offering them full positions. This practice reached such a level in Germany that people in their twenties and early thirties are sometimes referred to as the "Intern Generation" (Generation Praktikum).
In "Ein Praktikant fürs Leben," which translates as "Intern for Life" our protagonist thinks he's on his way to a full-time job, only to discover that the company wants him to continue as an intern. He decides to try looking for a real job, but soon finds himself stuck in another intern position; this time at a powerful finance company. With a little luck, he becomes the boss's personal assistant, and soon discovers that the receptionist with whom he is falling in love is also the boss's mistress.
If this story sounds vaguely familiar, it's because we've seen it before in Billy Wilder's "The Apartment." It would be a little unfair to compare Ingo Rasper's film to that classic. Taken on its own terms, "Ein Praktikant fürs Leben" is a sweet little trifle; forgettable, but enjoyable. Roman Knizka, who also starred in "Fashion Victims," is likable as the put-upon Ben Kremer. The always stunning Anna Brüggemann seems slightly out of her element here as the gullible receptionist, but holds her own nonetheless. Rasper drops clues throughout the film that we are not to take this story too seriously. It is easy to see where things are heading, and Rasper does nothing to foil these expectations. It is not about surprises; it is about love.
Der Traum von Lieschen Müller (1961)
Fun period piece from West Germany
Der Traum von Lieschen Müller is the story of a young woman who works at a bank. Her job is mundane, and she wishes for something better in life. One evening, she falls asleep at work, and is transported to the world of her dreams, where she has unlimited wealth and can do whatever she wants. But will she find happiness? This film is similar in structure to The Wizard of Oz: the dream sequences are in color while the "real" world is black & white, and the people she meets in her everyday life reappear in new roles in her dream world. ("Lieschen Müller" is a German slang term for an average woman. Somewhere between "Susie Homemaker" and "Jane Doe.") Der Traum von Lieschen Müller is by no means a great movie, but it is a fun movie. The color sequences are reminiscent of the work of Frank Tashlin; that is, vivid and very much a product of their times. Director Helmut Käutner has a lot of fun with this film, using nearly every film trick in the book to tell the story. The sets and costumes are properly amazing, and the song numbers, while dated and a little corny, are enjoyable nonetheless.
If you feel like taking a trip back in time to the early sixties, this is an easy way to do it.
Frei nach Plan (2007)
Overlooked gem of a film
Three middle-aged sisters come together to celebrate their headstrong and often demanding mother (played by Christine Schorn). Iris (Corinna Harfouch) has chosen to live at home and take care of mom, while the happily married, and naive Marianne (Kirsten Block) lives just down the hill with her husband and son. The third sister is Anne (Dagmar Manzel), and free-spirited woman who has made a living as a singer but is seeing that life reaching its twilight. All aspects of the impending birthday celebration are carefully planned, but how often do things really go according to plan? To the best of my knowledge, "Frei Nach Plan" never received a U.S. theatrical release, and that's a shame because this film deserves more attention that it has received. The four main actresses represent some of the top talent in Germany, and they are all excellent here. The story is funny and sad; sometimes shifting quickly from one to the other. The cinematography is excellent, and the music matches the action well.
I really believe that the reason this film is not better known is the fact that it is about middle-aged women and not young hotties. If you are looking for an action film with lots of explosions and gore, this is not the film for you, but if you like good acting and adult situations, then I can recommend "Frei Nach Plan."
Das Wunder des Malachias (1961)
Be Careful What You Wish For
Father Malachias, offended by the bar and brothel next to his church, prays the building (and all its inhabitants) onto a rock in the North Sea. What follows proves to be more than the padre bargained for.
Based on the book by the Scots writer, Bruce Marshall, this movie was directed by Berhard Wicki--easily one of West Germany's best post-war directors. Wicki uses a technique of having the camera follow various people talking as they cross paths that Fellini would put to even better use a couple years later in "8½." the tone of the film is similar to Billy Wilder's "Ace in the Hole," with a harsh cynicism toward the human tendency to exploit events for profit.
The films stars Horst Bollmann. This is his first film, and it shows. He would eventually become a good actor, but here he was still learning his craft--under fire, so to speak. Wicki reportedly finished this film only seven hours before it premiered, and this shows as well. The film has a few rough spots and scenes that could have used retakes. Nonetheless, the film is fun to watch and stands as a one of the better films to come out of Germany during the sixties.
Mitfahrer (2004)
Deserve more attention
I really don't understand why this film did not get any distribution in the US. Maybe it was because we don't really like to share our rides with other people, so the concept would have little meaning--I don't know. I do know that this is an exceptionally interesting movie. The acting is superb, the directing is spot on, and the camera-work is great. The film never resorts to simple answers, allowing every character to have more than one facet. The character of Peter (strikingly played by Ulrich Matthes) is certainly creepy, but the film shows us his social awkwardness and loneliness. We understand the Carolin's anger (Carolin played by the always lovely Anna Brüggemann), but we also see that she has demons of her own to contend with. I really wish more people could see this film. If you don't speak German, the German DVD does have English subtitles. That might help. If you find a copy of this (and you have a multi-region DVD player), by all means, see it.
Zwölf Winter (2009)
Good taut thriller
12 Winter played in San Francisco as part of the Berlin and Beyond Film Festival. At the time, I thought that it reminded me a lot in style and approach to a German TV movie. This is not really a slight; German TV movies are often very good. Then I found out that it is, in fact, a German TV movie. The film is based on the true story of a band of very methodical and patient bank robbers, who managed to avoid capture by creating a series of misleading clues as to their identities. How they did this is pretty remarkable. I think the film adheres fairly faithfully to the facts of the case. Perhaps this is a good thing, but a little more dramatic license might have increased the tension in some scenes. Nonetheless, it is an exciting film, reminiscent at times of the crime films of the 1950s. It is well acted and directed.
Oktoberfest (2005)
An Altman Movie, German-style
This movie owes a lot to the films of Robert Altman, specifically films like Nashville, and Short Cuts. The action takes during the final day of the 2004 Oktoberfest in Munich. The film follows the stories of band leader Max, and his disillusioned wife Birgit, a pair of dishwashers from Cameroon, two young women whose friendship is strained during the event, a trio of young Italian men out to have a good time, a divorced father and his two children, a newlywed couple from Japan, a ghost train ride owner who can no longer make ends meet, and a disturbed young man who seems to be playing psychological games with the head of fair security.
The various stories intermingle and criss cross during the day. It is a lot to keep track of, but Johannes Brunner keeps the action moving smoothly throughout the film. Barbara Rudnik plays the aging and disappointed Birgit and is the sexiest older woman this side of Helen Mirren. Anna Brüggemann plays the daughter of the ghost train ride owner and she brings a hip tomboyish quality to the role.
While the film is mostly in German, The Japanese speak Japanese, the Italians speak Italian, and these two groups speak English when talking to others. This gives the film the feeling that you are visiting an event that is truly international.
With films like this, where you are following the lives of several people over a one day period--and I would include in this list older films, such as Grand Hotel and The Longest Day--they work best when, at the end of the film, you feel like you've been on a journey yourself. In this regard, Oktoberfest succeeds admirably.
Most of the music for the film is provided by Raimund Ritz and Rainer Kühn, and adds an interesting, dream-like quality to the the action. Thomas Riedelsheimer's cinematography is remarkably good, without ever showboating or drawing attention away from the story.
The main flaw in the film is that, at 100 minutes, many of the stories inevitably receive short shrift. We would like to learn more about the Cameroonian dishwashers and their relationship to Max and Birgit. Characters seem to have fairly extensive back stories, but often we are not privy to enough of the details to completely work out what is going on. Brunner seems to assume that his audience is German, so important events involving a bomb that was planted at the Oktoberfest back in 1980 are never fully explained. Also, director Brunner occasionally slips in scenes that display the interior turmoil of individual characters. In some places this works just fine, but in other places, you'll end asking "What was that?"
If you like this sort of multiple story, day's journey kind of film, then Oktoberfest my be just the film you are looking for.
The Vanishing (1993)
Inferior US version of Dutch film
Others have said it already, but since there still seem to be some people who think this remake is worth watching, I feel the need to reiterate: skip this movie and watch the original. Both films were made by the same director. The major difference between the two is an ending on the Dutch film that will chill you to the bone, versus the predictable Hollywood version of the story.
Young Playthings (1972)
Weird sexploitation
Joe Sarno specializes in languid, introspective sex films. This is one of his best. It's a slow film, and as the action gets more and more bizarre, the tape recording that the players are following gets harder to understand, until by the end it takes a couple viewings to catch what's being said. Definitely not for most people's taste.