MichaelObe

This is the worst motion picture which I watched in IMAX ever. Someone needs to go back to vineyards.

Italy, 1983. To the villa of Professor Perlman (Michael Stuhlbarg), the father of 17-year-old Elio (Timothée Chalamet), arrives assistant Oliver (Armie Hammer) for the summer. Everyone loves him: from the maid Mafalda to local beauties. But most of all he is sympathetic to the young Elio, who can not fully determine his feelings for the guest. Italian director Luca Guadagnino presents the adaptation of the novel by André Asiman about the first love and its complexities. "Call me by your name" - like a long-awaited trip to a country house from a noisy megapolis. Here, the silence of a summer day is broken only by the call for lunch or a horn of a bicycle. Peaches are ripening on branches, pending until they are ripped off. The pool is always filled with water and waits for someone. Here you go out for breakfast, when everyone has already had lunch. And the nights are as hot as everyday life: discos, walking with friends, swimming in the lakes. And in this idyll he invades, americano, riotous and bright, like a wind on a rocky cliff, bringing confusion to Elio's plans for the summer. Oliver introduces the professor's son to new feelings and experiences, which are unknown to him. But Guadagnino does not go into tragedy, he adapts Asiman's novel brightly and sometimes funny. The filmmaker took the best of Asiman's novel and smoothed out the rough erotic edges, so the scenes of the intimate closeness of the characters were shot as decently as possible, and even the episode with peach can not be called very vulgar. Guadagnino removed from the adaptation the girl Vimini, who was sick with leukemia, he decided to concentrate on the feelings of the main characters, and not on the secondary lines. But also the director deliberately excluded Elio and Oliver's meeting 15 years later, so as not to turn the film into a complete statement, but leave a feeling of understatement, as well as between the characters themselves. During one of the dinners at the villa, one of the Perlman's guest says the phrase: "Cinema is not a reflection of reality, but a filter for it." That Asiman in the novel and Guadagnino in the film created a partly fabulous story of the first love with its difficulties and delights. "Call me by your name" - a coming of age drama (magical in its atmosphere), a movie about growing up through the first experience and about what it means to be alive and free.

Alan Alexander Milne (Domhall Gleeson) returns from the World War I to his beloved wife Daphne (Margot Robbie). Three years later, the couple has a boy, whose name is known to every child on the planet - Christopher Robin Milne. He was one of the character in the most famous series about the bear Winnie the Pooh written by his father-writer. But a very few people know that behind the process of creating this fairytales was a tragic story that changed the destinies of Milne and his son. Simon Curtis in the director's chair and it means that film will support by beautiful cinematography and sentimentalism. As in his previous films ("My Week with Marilyn", "Woman in Gold"). But this movie about the border of public creativity and personal life, about where to stop and do not translate the child's fantasy into commerce. And let the methods of the british director are obvious and chaotic sometimes, but he was able to show the sold childhood of a writer's son. Milne just tried to give the world a fairytale, which world needed so much, he did it all. A beautiful film that skillfully speaks about what had to go through both Alan Milne and Christopher Robin Milne before revealing the adventures of Winnie the Pooh.

12-year-old Miguel Rivera dreams to be a musician, but his family is against this, because the family business of the shoemaking. The problem is that Miguel's great-great-grandfather abandoned his wife and daughter for the musician's career, and since then in the Rivera's house any melody is banned. There comes the Mexican Day of the Dead, and Miguel secretly goes to the city square to participate in the talent contest, but he does not have a guitar. He decides to "borrow" the instrument in the crypt of his idol - Ernesto de la Cruz - but, touching guitar, Miguel falls into the world of the dead. And if he does not get out of there until the morning, he will forever remain a skeleton. Pixar is surprising again. This time - the ability to tell a very grown-up story by kids' language. As in the Oscar-winning "Inside Out", here we go on a journey, where the ultimate goal is homecoming, back to the family. Add to this juicy Mexican melodies, brilliant animation, and Pixar's sense of humor and you will get an unforgettable cocktail of all possible emotions. It is clear that the "Oscar" is already in their pocket.

Taika Waititi was the best choice to make the third movie in the Thor series. After Branagh's standard first one and Taylor's second one (both are very boring), Waititi's Ragnarok looks like acid rain in the moonlight. So, Chris Hemsworth is very funny in this role and Mark Ruffalo still is ridiculous as Hulk/Dr.Banner. Also Mr. Goldblum plays Mr. Goldblum, and Cate Blanchett is magnificent as Hela. Ragnarok does not want to be something more than fun and in this is the excellence of movie. Thor: Ragnarok: very fun, a bit stupid, and entertaining movie with great cast.

The Kenneth Branagh's version of the classic Agatha Christie's detective is not necessary, isn't it? The Film with script like this and with cast like this (Depp, Dench, Pfeiffer, Dafoe, Gad...) could make any movie better or at least stronger. But, instead of working with actors, Branagh is drunk on attention himself (and his mustache). As a result, film is not good as it could be, is not mysterious as a version of 1974 with Bergman and Finney and is not fresh as Branagh wanted to.

In the early 1990s, the AIDS epidemic in France reached its peak. Not indifferent Paris activists, members of the Act Up movement, organize street demonstrations, trying to resist the established silence in society and the reluctance of pharmaceutical companies to share research results. Being in the past an activist of such a movement, director Robin Kampillo creates an almost documentary portrait of the era when the desire to live, not survive, was spoken out loud. The film does not just talk about the problem of HIV infection, it screams about it. Loud and clear. That is why it is more painful to perceive that little has changed in more than twenty years. Kampillo, from the very first scene, throws us into the thick of events, allowing us to become a viewer of the debates about methods of dealing with the suppression of the issue. Here the are: a self-confident Sophie (Adele Haenel), criticizing Sean (Nahuel Pérez Biscayart) and Max (Félix Maritaud) for overly aggressive methods, and imagining himself the leader Thibault (Antoine Reinartz), for whom any appearance on TV is already a victory. In this audience there are also newcomers, among whom Nathan (Arnaud Valois), who care about the fate of AIDS patients, and they are ready to help in organizing any protest action. The director does not divide the guys on the right and the guilty, the voice of everyone is important here, after all, the main thing - what are you manifesting, and not with what. If in "Philadelphia" Jonathan Demme show AIDS too Hollywood, and Gus Van Sant in "Milk" told the story of one person through the prism of the struggle for freedom, the French "Beats per minute" is closest to the British drama "Pride"(2014), about the campaign "Lesbians and Gays Support the Miners". Kampillo succeeded in alternating important protests scenes and intimate episodes of the relationship between the two heroes. Neither long timing nor episodic publicism do not make it difficult to perceive the picture not only as a film-action, but also as a personal statement of a real participant of already distant events.

Thirty years after the events of the original film, a new line of replicants was created, more humble and subordinate. The corporation is headed by Mr. Wallace (Jared Leto). Officer LAPD K (Ryan Gosling) learns top-secret information that threatens the existence of the whole world. Trying to find answers to his questions, Kay begins looking for the former "blade runner" Rick Deckard (Harrison Ford), who disappeared without a trace 30 years ago. The extraordinary work of Roger **** deserves all sorts of praises and awards (Oscar winner finally?), and Denis Villeneuve continued the film of Sir Ridley Scott with dignity. This is a Denis's own film, which hardly fit into the standard understanding of the sequel. But a very long timing (~2 hours 43 minutes) is able to tire even those who are very pleased with the movie.

This sequel, unfortunately, is worse than the first part, but the action is still at a high level. Matthew Vaughn maede the cover version of his first film, added more parody to the spy movies like James Bond series. Julianne Moore as a mad lover of burgers, plus soft parody of Trump. Colin Firth is a bit ridiculous resurrected, and Elton John stole the film. Funny & cheeky movie for one viewing.

A screen adapation of the biblical story of Noah was the first bell that Aronofsky finally broke away from reality. If you expect from him a story like Black Swan or The Wrestler, it will shock you and make you think. Movie should not be missed!