Reviews

"Pandora and the Flying Dutchman" (1951), directed by Albert Lewin and starring the mesmerizing Ava Gardner and James Mason, is a cinematic treasure that transcends the boundaries of time and reality, presenting a love story that is as eternal as it is beautiful. This film, digitally, painstakingly restored to its original Technicolor glory, captivates audiences with its mystical allure and the notion that love can indeed transcend time, allowing souls to reunite across different timelines.

The film's narrative, based on the legend that inspired Wagner's "Flying Dutchman," is set against the picturesque backdrop of a Spanish town in the 1930s. It weaves a tale of the doomed sea captain, played with brooding intensity by James Mason, and the enchanting Pandora Reynolds, portrayed by Ava Gardner in a role that seems tailor-made for her. Their love story is not just about the connection between two individuals but also about the mystical bond that defies the constraints of mortal existence.

The supernatural and hyperreal allure of the film is brought to life through its stunning visuals. The cinematography by Jack Cardiff, celebrated for his work on films like "Black Narcissus" and "The Red Shoes," adds a layer of dreamlike quality to the narrative, making the impossible seem possible and the magical seem real. The use of Technicolor not only enhances the visual appeal but also accentuates the film's thematic elements, with colors that seem to burst forth from the screen, adding depth and emotion to the story.

James Mason and Ava Gardner deliver performances that are nothing short of transporting. Mason's portrayal of the tormented Dutchman and Gardner's embodiment of the enigmatic Pandora are both nuanced and powerful, capturing the essence of their characters' eternal search for redemption and love. Their chemistry is palpable, making their impossible love story resonate with viewers on a deeply emotional level.

The film's exploration of themes such as fate, destiny, and the cyclical nature of love is executed with a poetic grace that is both thought-provoking and deeply moving. The narrative is enriched with literary references and surreal imagery, from the tangled fisherman's net to the headless Greek statue, which serve to underscore the film's exploration of the mystica.

"Pandora and the Flying Dutchman" is a testament to the power of cinema to explore complex themes through the lens of fantastical storytelling. It is a film that not only entertains but also invites reflection on the nature of love, the inevitability of fate, and the possibility of finding each other again, across different timelines. In this beautiful Technicolor film, Lewin, Mason, and Gardner have created a timeless masterpiece that continues to enchant and inspire, proving that true love knows no bounds.

10/10.

Apocalypse Now, directed by Francis Ford Coppola, is a mesmerizing cinematic masterpiece that takes viewers on an unforgettable odyssey through the depths of madness and despair. Released in 1979, this film stands as a timeless exploration of the consequences of war, expertly crafted with a vision that transcends the genre's boundaries. With a gripping narrative and stunning visuals, the movie immerses its audience in a world where reality blurs with the chaotic horrors of war.

One of the most compelling elements of Apocalypse Now is the brilliant use of Willard's voice-over narration, penned by the talented Michael Herr. The narration not only provides insights into the psyche of the protagonist but also serves as a window into the madness that ensues as he journeys up the Nung River. Herr's writing infuses Willard's narration with a poetic quality, capturing both the physical and psychological turmoil experienced by the characters. It becomes the thread that ties together the fragmented events, deepening the film's intensity and giving a poignant perspective to the turmoil unfolding on screen.

Coppola and his collaborator, George Lucas, intentionally aimed to create a film that transcended the traditional war genre. In their pursuit of an archetypal tale, they transformed Apocalypse Now into a modern-day Greek Myth, an allegorical journey that examines the psychological descent into madness at all levels. By blurring the boundaries between reality and hallucination, they craft vivid portraits of characters who are grappling with their own inner demons as they navigate the unforgiving landscape of war. This approach elevates the film beyond a simple depiction of a conflict; instead, it becomes a timeless exploration of humanity's capacity for darkness.

The visual mastery displayed in Apocalypse Now further enhances its status as a cinematic landmark. The breathtaking cinematography by Vittorio Storaro captures the ethereal beauty and chaos of the Vietnamese landscape, juxtaposing moments of calm with explosive violence. Deliberate use of lighting and color schemes heightens the atmospheric tension, immersing the audience in a world filled with dread and uncertainty.

From the exceptional performances of the cast, particularly Martin Sheen's riveting portrayal of Captain Willard, to the haunting soundtrack that seamlessly blends with the narrative, every element of Apocalypse Now contributes to its status as an extraordinary piece of filmmaking. Coppola's meticulous direction and dedication to exploring the human psyche set it apart, making it a true work of art that challenges conventional storytelling and leaves a lasting impact on anyone who watches it.

Apocalypse Now stands as a testament to the power of cinema to capture the complexities of the human experience. With its exploration of madness and the timeless themes it tackles, this film is not just a war movie but a profound exploration of the human condition. It transfixes viewers, challenging them to confront the darkness lurking within, and in doing so, solidifying its place as a true classic.

'Out of the Blue' (1980) is a powerful and captivating film that dives deep into the complexities of human emotions and the search for hope amidst despair. Directed by Dennis Hopper, this hidden gem of a movie remains as relevant and thought-provoking today as it was upon release. The film not only stands on its own merit but also draws intriguing parallels to other iconic works like 'Five Easy Pieces' and 'The Last Detail'.

'Out of the Blue' tells the story of Cebe (Linda Manz), a troubled teenager trying to navigate a world filled with disillusionment and soul-crushing events. Linda Manz delivers an unforgettable performance, showcasing her raw talent and capturing the essence of Cebe's complexities with stunning authenticity. She portrays the character's rebellion, vulnerability, and longing for connection in a way that resonates deeply with the audience.

Much like 'Five Easy Pieces', 'Out of the Blue' explores the theme of societal disillusionment and the effects it has on individuals. Both films delve into the exploration of characters who refuse to conform to societal norms, exhibiting a rebellion against the systems that hold them back and seeking personal liberation. In both films, the protagonists struggle with their emotions and their place within a world that feels oppressive, ultimately sparking a quest for identity and self-discovery.

Furthermore, 'The Last Detail' and 'Out of the Blue' both feature powerful, thought-provoking endings that leave a lasting impact on the viewer. While 'The Last Detail' examines the complexities of friendship and the pursuit of redemption, 'Out of the Blue' explores the utmost depths of human emotions, reminding us that hope can emerge even from the darkest of circumstances. Both films successfully challenge us to question our own belief systems and societal norms.

This brings us back to 'Out of the Blue,' a film that unapologetically confronts difficult subject matter, including alienation, rebellion, addiction, and loss. Dennis Hopper's direction shines through, masterfully capturing the malaise of the era against the backdrop of a poignant and thoughtfully written screenplay.

With its powerful performances, compelling storytelling, and brilliantly unpredictable narrative, 'Out of the Blue' is an underrated masterpiece that deserves to be celebrated and remembered. It pushes the boundaries of what independent cinema can achieve and leaves an indelible mark on the viewer's mind.

'Out of the Blue' (1980) is an exceptional film that tackles challenging themes with a raw intensity rarely seen in cinema. Drawing parallels to 'Five Easy Pieces' and 'The Last Detail,' it serves as a testament to the enduring power of movies that challenge, provoke, and inspire. If you are a fan of thought-provoking storytelling and stellar performances, 'Out of the Blue' is a must-watch - especially in its glorious recent 4K restoration.

If you're looking for the meaning of the word "cringe", look no further. 6 Episodes will drive home exactly what cringe means. This fluff piece of a TV show is embarrassing on an epic level, and one has to wonder how it ever got made.

Surely, no streaming service in their right mind would spend money on this concoction. Six episodes of a glossy show don't produce themselves for free. What studio would greenlight a pitch such as this? And why?

Hence, the question is: who paid for it? Christiano Ronaldo himself, perhaps? Hmmm...

The upside is: this monstrosity of a TV show demonstrates very well how money has destroyed football.

Road movies don't necessarily need to cross the United States. This one is heading East or rather: cross-crossing the Balkans, or parts thereof. An exploration of a country, coming of age, and ambient landscapes. It reminded me of Lynne Ramsay's brilliant Morvern Callar (2002) somewhat, and that's good company. Not your typical road movie or coming of age story then, and a strong debut by Eni Sendijarevic.

Words fail to describe this film, it has to be seen to be experienced. Visually, aurally and emotionally engaging to a degree rarely seen. Do yourself a favor and watch it on a big screen, in a dark room, with no distractions - a theater, basically.

I saw Sangue Azul at Berlinale film festival in February 2015. Huge screen, great projection, and a public that is here to celebrate movies. Perfect circumstances you'd think. And they were, for me. This is the kind of movie that you have to dive into, and let yourself go. I did, and was totally swept into the world created by director Lírio Ferreira. Just briefly, the story revolves around a prodigal son, who returns to his native island,far off in the Atlantic waters between Brazil and Africa, as a member of a circus troupe. He had left as a child 20 years earlier, and his return opens up all sorts of wounds and desires. Will he re-assimilate, or will he not? The thing is, it's not really about the plot - the movie is much more observational, sensual, magical, and in many ways, intentionally vague. It does not offer all the answers, we are invited to draw our own conclusions. Some might criticize it for that, but to me, that is something I like. Think Terrence Malick's movies, in that those, too, are rather observational, as opposed to being clearly plot- or character-driven. Similarly to Malick's movies, the film has breathtaking camera work and magical images (by Mauro Pinheiro Jr.). It was an intense and very cinematic experience. I was, frankly, a little disappointed that the applause after the movie presentation wasn't more enthusiastic, since the director was there, and in my book, he gave us a beautiful masterpiece.

I've just watched this fine example of a gritty Noir at Berlinale. I'm a lousy movie critic, but just to give you an idea: think "Chinatown", minus the sun-drenched California landscape. The protagonist has to fight various factions, and gets to feel like being but a pawn in a game bigger than him. The setting is Romania, in 2002, it is gritty, dark, and pretty gray, for the most part. Quite atmospheric, and realistic - chillingly so, as a lot of the plot was informed by real events, as the director confirmed during a Q&A after the viewing. The cinematography and color palette is just right for the occasion, the camera is often close to the characters. The actors do a fine job in my book. I recommend this movie, and I'm curious to see what it'll stir up in Romania once it is released there.

"Durchfahrtsland" is one of those movies that quietly and steadily pull you into their world. It is unobtrusive in the way it observes its subjects, yet at the same time, very close and intensely observant. The camera seems to be always there in the room, but without ever being in the way. It appears the director was almost able to make herself invisible, and yet her occasional voice over reminds us of her laconic presence and quite adds to the experience. The photography is beautiful, and the whole movie is filled with a sense of longing and melancholia. I can but highly recommend watching it. I missed it in theaters myself, unfortunately, but just caught it on TV (Phoenix, Germany).

I am one of the happy few to have seen this documentary on the great photographer Robert Frank. The director Mr. Fox paints a very intimate portrait of his subject, mostly through the use of interviews and archival footage. It turns out that unfortunately, Mr. Frank now feels that he got a little TOO personal, and is allowing the film to be shown only 3 times a year. The irony is, the same thing happened to Robert Frank himself, when he did a documentary on the Rolling Stones in the 70s, called 'Cocksucker Blues'. It subsequently got banned by the Stones, to the great dismay of Mr. Frank. So please, Robert, let this film be widely released. It gives great insight into how one of history's most distinguished photographers thinks. Since this only of interest to admirers of his work, I think it would do no damage to him if it was seen by many - it is definitely worth it. Especially since for all his grumpiness, Mr.Frank exhibits a very charming sense of humor.