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I don't necessarily agree with my fellow dislikers of this film that there isn't any quality . Stylistically it's still Nolan ish , my favorite Nolan film , Interstellar , had the same minimalist and dark outlook. I have always thought of Nolan to be one of the most overrated directors out there , mostly due to his rise with some Batman films that were decent but those werent exactly Kubrick level. But that's not what bothers me here . The deeper problem of this film is that it's almost the crowning achievement of the woke media Era, and even a mirror of how is thought about mass migration to the Western world , as described by Douglas Murray. (books like the strange death of Europe ) How is it appropriate in any way , that Europa , a continent that didn't commit any greater crimes than many other cultures and nations out there (humanity is cruel allround ) is totally invaded , literally and culturally. Why is it , that only Europa and all its ancient Western civilizations and stories are made multi cultural and modernized / washed , when the same people that propagate this always shout that others shouldn't white wash , or culturally appropriate African or Asian stories , etc. The Greeks were one of the oldest , and frankly, most special and unique civilizations . The Greeks have made countless contributions to the world at large . As have the Romans. Respect these cultures and their stories . In fact, respect old Europa . Stop destroying its stories , it's values, its civilizations. It's history.

Obviously , content wise not an absolute ten, even though Boll , as a 90s guy myself , is a legend. And Hammer is definitely a dark batmanesque worthy protagonist. But much more than that, the time we are in, especially as Europeans , it's now or never. We need to de brainwash our mass media an send the right " message " again. Truth bomb all over this movie , this is reality.

Reasonable satire from my compatriot, I only wish it was even harsher on Genz insta tok culture . I have to admit I had a good laugh, like when nearing the end one character keeps repeating , you literally killed him. Literally, literally , literally killed him . GenZ and , well even people my age (Millennial ) seem to think when you put literally in front of something it's very impressive. :d Some more highlights in those monologues, " a podcast is a lot of work!!" Shiuldve been more of that in this film . " is it true , you're only hate listening ? " good stuff. God this Era of modern media culture ****. Can't wait for the robots to take over.

Maybe I'm getting old myself or something, but based on the reviews I expected something between Van Sants masterpiece and a more clear cut telling of such a tragedy , Eight Grade ish . But the modern HBO ultra woke vibe (not to be confused with pre 2015 HBO which could be fearless and great ) , I was quickly checking out . What annoys me most is the way there seems to be a checklist in these movies , in their modern urban English , a literal checklist. Some gay bestie, some poor minority victims , some dreams of becoming hip-hop dancing insta queens , if actual suburban American teens are like this. Ouch. At least Euphoria is entertaining while doing this. Now HBO, make me a movie about one of those attacks on Synagogues , or one with a trans attacker (as seen in real life ) , would make original films. But on a quintessential high school shooting we already have Elephant , which was a masterpiece basically. Way beyond modern films now

You could call me a fairly veteran film buff by now, thousands of Indie, Euro, world cinema under the belt , anything goes. A movie like this is in a weird sense , how it was rated by the film press , a bit stereotypical for the woke age . Don't get me wrong the visual style is indeed very appealing. And I'm very used to slow burners and alternative styles of telling a story. But with films like these , especially if they're American or European arthouse, and covering some sort of minority or under represented type of persona / alternative human , they instantly get overrated nowadays. Now, I'm still more fine with a film like these getting a good rating, compared to those thinly veiled anti white things like Get Out and the wave of antifa films these years culminating in one battle after.. But the standards these days just aren't the same anymore. The prime moments **** van Sant or even a Harmony Korine , both close in category to Glow , they were something else. Woke ruined not just good film and TV but more broadly how high the bar needs to be for a 5 star.

This movie is great enough on its own, and funny in strange ways because of the dynamic between Eisenberg en Culkin. But seeing the demonstrations every week, as a European these days , the streets of Amsterdam, Rotterdam, Paris , Berlin and especially the lost city of London ... this movie hit me much harder. The flying of Hamas flags and the hordes of fanatic muslims and the extreme left in Europe and their collective hatred of Jewish people, celebrating the brutal attacks on Israeli youth that started this new cycle ... it makes me fear as a European for Europe . And makes me almost grateful for a film like this also looking at unexpected light sides of all aspects of life and hate.

I applaud anything this decade that tries to do something original, and not be overly woke about it ( like those one word massively overhyped one word horror films from a certain Peele guy ) but that doesn't mean it measures up to past decades of film. Overall the 2020s in American film are so weak that even honest attempts fail. This film has some great actors, that all do a great job. But the script is too scattered to be immersive. People that say something like best horror film this century obviously haven't watched many films, and definitely not European films , Asian, anything outside of the US. This is nowhere near Amer, Berberian Sound Studio, the Colour of your skin , November, Burning, or past US prodigy films like Upstream Color and its follow ups. That's the problem with the woke decade , it has lowered the bar for everyone and everything.

I'm a huge PTA fan , although I think his best works are now behind him probably. Magnolia and There Will be Blood are easy 5 stars , Inherent Vice still a 4 star. But this movie is weird. It's still somewhat PTA , but as some other reviewer called it , feels like Tarantino Light at times . I wouldn't mind so much if it wasn't so blatantly choosing a side in the political spectrum. I dont always agree with Tarantino but at least that guy isn't very woke. This pta movie edges very near unbearable wokeness. White men , as it is customary among liberal elites , are somehow the world's biggest problem . Everyone else is Ghandi and The Virgin Mary mixed into holy beings. Sure. There is fun to be had, some cool scenes and jokes. It's just terribly disappointing to see one of my favorite directors, that hadn't shown much interest in politics sofar , that used to depict most of his characters in extremely rich , multi layered ways , no absolute good or bad most of the time. Now somehow , on the most lazy wokebandwagons. This decade is so disappointing in film. And left liberal people really need to stop living in 1970, the world has changed people. You cause as much problems as the rest of us.

Offerman is stellar , the recent Quaid Renaissance also keeps being fascinating. The source material here... well, I read the review of the family member with interest. The broader problem I have with films like these is way older than this one film . Even before woke, Hollywood was obviously , painfully, left wing. These days it's not even funny anymore (which in the 90s it still was , a running gag ) The movie industry really needs to be more diverse , and I don't mean their colors and pronouns. Where are all the great films and critical studies about antifa , about extreme left wing organizations ? About the many many wrongs within Islam and its wave of extremist teachings now taking over many Western European cities. Where are the films about American cities that were run into the ground through corruption within the Democratic party. I don't see them. I don't even mind being critical of Maga, I don't care. But our media are painfully , horribly , myopic and dumb in terms of politics and a critical view of where western civilization is heading .

I second what some of the other recent reviewers said. Simplicity,authenticity , no woke stuff , story and morale for the ages. River was a truly phenomenal actor already at a young age. Its a bittersweet thing that Joaquin became such a great actor afterwards and my favorite of all time in the decades that followed. Special mention for the beautiful scenery in Oregon , makes the film almost a youth-modern western .

Rewatched this for the first time in twenty years. Hasn't lost much of its punch in the end. As with most Van Sant films , boring stretches. But Elephant does accomplish its main goal, making the attack an almost mundane event on a very average mundane day in school , and the way the movie lulled the viewer into calm before the big moment is clever.

Based on Devs and Ex Machina , I assumed Garland could write and direct some proper stuff. Annihilation, ok fine . Then came Civil War already a bit wokey. But this Men thing is really jumping on the woke (and anti-white ) bandwagon that Hollywood and many media have embraced since ten years ago. My question to Garland , and all these movie people, and writers is this : if you are so keen on pointing out the violence against women ,the flaws of men ( and many films against religion always about Christians) : when can I expect films about the horrors of Islamic regimes , about the UK Pakistani groups and their crimes? Why is Hollywood, and certainly also the Euro movie industry utterly blind about the massive misogyne forces outside of old white Europe? European culture was among the one or two that allowed women to flourish last couple of centuries. I suspect a strong political agenda , perhaps?

Being kind you could call this movie the easier going , more comical, and most definitely more woke version of Ex Machina. Except it lacks all the good parts of Ex Machina , the isolation , the art of having two or three characters constantly out maneuvering each other and not even using action scenes until the end. The 2020s really make even the 00s and the 10s look like golden film eras at this point.

The problem with being NickCage , besides the unbearable weight of talent , is that the man is very versatile. So there are people , maybe even some that like him, but not really movie buffs overall, and they expect every Cage movie to be Con Air . They are mistaken. The surfer is one of Cages many character films, very nuanced yet great yet sometimes sober acting. Cage has always made these kinds of movies going back to ( I would argue ) Red Rock , or even Birdy , even more so Wild at Heart (a range of emotions ) , Adaptation , Joe , Pig , Etc. Only his allround fans , also into the wide variety of art house movies really appreciates his range of acting skills. I'm not saying Con Air wasn't great , it is , but Cage is a phenomenon exactly because he also does movies like the Surfer or Leaving Las Vegas . Great stuff once again.

Maybe not a fair comparison but compared to Whiplash this movie is a snorefest. Way too wieldy tiresome conversations , facts summed up and not enough clever play with actual music. Black Swan is the really entertaining masterpiece , Whiplash was the perfect musical world character study. This is just modern avant garde sorta woke pseudo intellectual trash if you ask me .

Certainly has its moments , some fine acting, but also some very emo exaggerated parts if you consider that this isn't a real person but a fictional character. To be clear , please ignore all the Palestinian apologists complaining about the holocaust references in movies like these,the far left is looking dangerous these days . The exaggerated parts I did found a bit much were the Van Buren family trait of serial ****, the whole drama around the disabled wife and in general the extended scenes with gay innuendo between the two main guys. Much of that reminded me of Andersons The Master where it annoyed me but there it seemed necessary for the script. (And legendary acting between Hoffmann and Phoenix )All in all a decent mash up of Pianist , Master and There will be Blood elements

The whole save the Malaysia files virtual scene with fmv and computer animated corridors and drawers is one of the most 90s things ever made. The blonde Angel file protector corporate Kurt Cobain is absolutely hularious .That , combined with a juicy cast, makes for a very decent 90s experience . Crichton definitely has written better stuff though, I say that as a fan.

Watched this one on an airplane(for the first time ) in corona days so with annoying face mask and everything . And still the movie really gave me a think, and swept me into the little screen , so quite an accomplishment. As far as the wave of afterlife scifis go in the last twenty years , this one is really underrated so far. Future mainstay in "forgotten scifi gems from the .." lists.

I love Gilliams oeuvre , I think Zero Theorem is one of the underrated gems of the last decade and Twelve Monkeys is an absolute masterpiece. However, with Quichote hefinally OverGilliamed himself with Chaos and weird plot intros and outros and artsy twists and turns . The stuff about the super cuddly Muslims was probably what made this the very first Gilliam film I actually had to force myself to finish it. A shame , because with this source and this director... could've been a classic .

Ridiculous ratings . Nice serious story , Cage prime , Nielsen , Wendell Pierce , even Fonda , stellar cast. Real good film , more interesting than the Marky Mark Deepwater thing. Obviously a bit less masterpiecy than Bad Lieutenant but Southern Cage is just awesome.

Strangely enough one of the most convincing ufo documentations I've ever seen . Despite the subject being school children the uniqueness of the location and the available interviews from back in 94 through a psychological lens and the grown up version of these kids confirming all that happened. Incredible. Put me on the path towards James Foxes films and wherever they will lead now.

I do love Garlands visual style, made for SF but storywise his projects are ups and downs so far . In this film the perspective from a press core covering a US war could've been interesting if it weren't for a whining teenager running around. Even Dunst can't salvage that . And the decision to not really tell anything about the origins of war seems real philosophical but is rather lazy. There are many smart stories one could tell about a Woke versus Red versus Libertarian side or any variation of that. To be honest , Southland Tales did a spectacular job with loads of humor . A piece of art that one . Garland should be a cinematography guy maybe , combined with a Richard Kelly / Cronenberg type script writer .

Style over the Substance . Yeah funny enough right . Looking at the reviews I guess many people don't watch too much Arthouse normally. This theme has been done better many times already. The Substance is decently funny at times and takes itself less serious than the overrated Neon Demon , but that's a 3 against a definitive 1 score. Perhaps unfair comparisons but thematically , and with much more depth overall I'd suggest , among others , Under the Skin , La Bete , HolyMotors , Inland Empire , or even American Psycho . There are better films about the human struggle with aging , creating doppelgangers, the superficiality of the insta Era, etc.

The low user ratings are understandable in this case , but do miss a clever film. The irony is that a parody of what world leaders in ivory towers cobble up for the normal folk is made with overdone Arthouse elitist style. But I did like the concept of the ancient grave dwellers (of Europe especially ) being disturbed by globalization etc. Even though I don't think movie elites and culture types are very in touch with how disastrous the global economy and mass migration actually is working out for actual European normal people . Still an interesting film along the lines of Traingle of Sadness .

Better than expected. Modern Dutch films lack the inventiveness and philosophy of the 20th century greats , Max Havelaar , Verhoevens, Spoorloos , or something like an oddball Flodder comedy. After 20 years of uninspired romcoms it's good to see a return to colonial dutch indo territory for a much better movie . At least the best since Martin Koolhovens decent Western. Dutch colonial history is so worldwide and far reaching through the centuries that its odd at times it hasn't delivered more (great) films. Probably a budget problem. They should be more inspired by Belgian films that tend to be small but very mysterious and tough, like Broken Circle , Belgica or Rundskop. If one can take that spirit to New Holland (Oz) , Surinam , Brazil, South Africa and Indonesia .. well one can dream about great historical films.

Amazon is very fierce competition but Flix still manages to outwoke them from time to time, a real feat. Given the many historical errors and , let's say, very lively versions of mail team contributions in a grand scale war , I still wonder.. who in the streaming boardrooms these days gives the final push to say.. what we need is an all non Caucasian cast in, what was still, a very white world back then , and you know what, the stories don't even have to make sense in the Era. Reminds me actually of the recent AI machine searches people came up with , showing pictures of a multi cultural **** squad , because the AI is also convinced that 1940 Germany looked exactly like 2024 Los Angeles.

A decent farewell from on of the most important people in film , Eastwood was barely younger than the existence of the medium film if you think about it. Juror doesn't have the punch **** Turino , Mystic or Unforgiven, but that's OK. For a director that made such classics it was important to leave with something solid , which this is. I loved the open ending , not enough movies use those of use those correctly . Good Grey area handling of complicated ethical questions . Clint is one of my heroes forever, and was a great, great actor and director in his prime .

One of the best (female) revenge fantasies I've ever seen, and I've seen a couple by now . Even the fantasy aspect of it works with the ridiculous beer signed wound magical healing and the unlimited amounts of stamina and blood for the female character . It works because of the vicious scenes , the Grinta , the Old skool (Euro) non woke indie approach , like a more concise Tarantino film. Very enjoyable , epic desert scenes .

Excellent . I'm not particularly fond of England , but the new British wave of films have had some peaks the last years. A field in England , Sightseers, Berberian Sound Studio and that guys fashion film, all great. This one was very Lynchy as well, like a cheap Inland Empire , Thatcher edition.

From the director of Hurt Locker , Point Break and Strange days , all great movies. How did she fall into this woke trap of a script . Sign of the times I guess , and this is a reason why Hollywood is dying now . This script is way too one sided , too pushy in a liberal know it all way and too anti cop in an Era where neither the US or Europe needs those messages anymore. Cops should be allowed to do their work again .

More of a 6 but I was annoyed by the low scores . Critics will give any whoke vehicle a decent 7 but instant one star for an old skool goofy but idiocracy ish outlier . Some villains from Mr Robot , Lebowksy , some Demi Moore , Daddario . Me like I do wonder if the great Darko / Southland tales director ever gets a shot again, he could've turned this script into gold. Kelly were are you

Fascinating experiment where Brody is role playing an African American New Yorker , ultimately a bit too much though. He should stick with the Anderson Indie sortof movies and leave this to , for example , Robert Pattinson. Patto was unironically beter in almost the same role in that weird action film of the Sadie bros .

Great although typical European film about a Galician mountain town and its (historical given) peculiarities. At first , if you read a premise about the story , it seems to be about a horror like neighbour's quarrel. But it's much more about the social struggles of modern European rural zones to keep up with the globalist Era. Which makes it a more important film than just the murder mystery.

Not enough Nick Cage , obviously, too much Gere . Having said that, great music , great dancing , great singing

Impressive and provocative film without being too woke , worth mentioning these days . (Even though even here there was a whole scene / part about incel culture and all that , try provoking Blm / antifa types for a change that would be fresh!) The best elements of the film are the mixup parts of eternal sunshine of the spotless mind clashing with more David Lynch / Cronenberg like time-travel horror. This fusion is about as strange as it sounds and very interesting , quasi romantic but also very tense and scary . French films are still doing their thing in this age , very glad to see that as a fellowEuropean in this over globalist age.

After al those years Millers take on a post apoc blockbuster is even more important than it was in the 80s. With the many failing , lame , and very woke sf films in this decade , without any sign of edgy writing or solid daring action , Mad Max films are all that. What I like about all five films (were up to five already? ) is that each has its own distinct vibe and weird characters , the legendary thunderdome with Tina turner for example . But all five films go with the new techniques , and keep the elements that made the first film a weird legendary classic . Physical action, very brutal but stylish, always believable as actually post apocalyptic , in sharp contrast to all the cringy hungar game and woke aesthetics of late . Mad max movies are a testament to raw , daring , epic science fiction. And now with a female hero that manages to avoid the woke tropes of this era

For now the first film of Junior that reaches the stellar heights of Cronenberg Seniors best films . The film is unsettling , playing with expectations and meta jokes about Euro all inclusive holiday making and , as a great Crostia enthusiast myself , it's beautiful as a picture. Casting and setting is practically perfect . Story is as nasty as Crash, Existenz or Spiders could be . It's a film about consumerism , elitism , and the global tourism paradoxes . SPECIAL shout out to Mia Goth here , pure but very sexy evil

Among Cronenbergs top 3, 4 films . And that says something , man's oeuvre is massive at this point . The trick of this film is the ruthless integration of the ecology / human garbage bin Mashup with Cronenbergs normal themes of exploration of sexuality and human boredom and such . It's like a bit of the Fly , Cosmopolis meeting up with the gravity of Aronofskys " Mother " . And with that last bit I mean the film leaves you with a very eery feeling that humankind is beyond salvation in this iteration of our planet . Just as Arons Mother , I'd say this film is more Eco- Right wing than hippie green left . More Paul Ehrlich , less AL Gore .

Wild. Just wild. Say whatever you want about Korine but it's one of the more innovative directors in the Indie US crowd these last decades . And his movies aren't exactly woke or playing safe , both a big plus . Visually most of Korines films belong to my more memorable big screen experiences

As a European I can honestly say this is one of the most ambitious American movies I ever seen . It even works as a really smart and acid powered vision of the Hurt Locker if you zoom in on the Tavernier theme of an Iraq vet reincarnation of the coming of Jesus , or a 2001 kind of universal error . Guilt , societal fatal breakup welcome to the 21st century say Kelly and Moby .I suspect some of the themes are intended to be on the left side the politics, but surprisingly it's very eerily predictive of all the insane woke years that came after as well , it's about Bush years and extreme leftism all in one go. Genius . In a very weird and original way, and Kelly should've been a lasting director for it instead of being put on the curb after this film. It's not a David Lynch masterpiece even thoughit has multiple references to that genius , but it's special in its own way The film is a clever Mashup of the 00s zeitgeist, pornification of society, the coming of woke , the Bush Era , the extremes of internet , climate change so much in a 3 hours Cannes edition It has a touch of South Park in a way , by slaughtering both left and right wing staple themes , correctly predicting the whole blm / defend police thing and Trump and also being very smart about the big lie of the green revolution the nevergoing to happenalternatives to oil , green not being green, while also quipping about the Cheney reasons for invading Iraq Kelly is really underestimated in his intelligence in a short oeuvre of three headline films The music choices are stellar , Moby hits it put of the park , The Rock and Buffy are hilarious, Stifler is , stunningly , very eery . The film as a whole is a much more ambitious precursor of Don't Look Up , whole also being a hommage to 90s films and David Lynch , Coen stuff , and , I might add , it's a very non woke movie , obviously being pre woke Era This was the ambition of the 90s and 00s wrapped up, culturally and in films . I don't blame the left or right now , but the film hints at technology and internet itself being the reason for humankind to loose its soul indefinitely

Great movie , almost an anti woke counter weight and in that an exception of its era Very ironic that the cases on the murders of iconic rappers in their age of being glorified , like gangster rap was glorified , was also the start of the racial divide in a police department like LA The rest is history, and from LA the racial policies issues went to the rest of the USA and even Europe now. I suspect the main reason for the bad ratings was the films excellent, real life driven analysis of the corrupt black LA cops that worked for death row . The riots after 1992 and cases like OJ made it impossible for white cops to investigate some corrupt black ones , an untold story in the current white cops boogeyman era full of lies A city of lies and now a woke world of lies , where police departments from New York to Paris see their best men leave the force . Excellent Johnny Depp and Whitaker

As a huge Easton Ellis fan, i thought that this film captured his insane humor the best of all the adaptations. The American Psycho film is objectiively better and a great twist on its own, but Informers just has that dark energy of his books, less satire, more of the pain,

Coppola Jr never reached this height again after this film, its a great adaptation **** great book. Very tense and eery atmosphere, almost a better post apocalyptic film then most in that actual genre.

When Zdf makes Schatzings great GermanCliFi book into a long mini series , I didn't expect to see all kinds of Hollywood woke influence , but here we are in the 2020s , even European productions are full woke Instead of having the Norwegian , German and US army protagonist plus a cool native American , we end up with some race swapped Abdul and Kareem as " scientists " . Schade Zdf , real bending to the messed up zeitgeist Other than that it's also way more boring than the novel , missing out on proper weird sf scenes . Budget was still way too low probably

Mixed bag in the end, Esmail made a surprising and stunning debut (I think) with Mr Robot but I saw a steady collection of some of the most left liberal actors around in the cast , and for a reason it turned out , there were some definite "the message" Jordan Peele kind of parts in this film . Some very , ever more , annoying anti white racism. A real shame because the movie has some stunning and not so far off from reality apocalyptic scenes . The little girls obsession with Friends and internet connection is hilarious , the boys creeping porn addiction , the Teslas crashing, the Arab sky messages , I I interesting stuff , really . But far from mr Robot level , I hope this director can one day pull off some new Fight Club meets Donnie Darko thing

Pretentious and no aim / all over the place stories , from a director that showed real vision with Grand Budapest Hotel . Chaos can be a lot of fun and even more interesting than structure but needs a bit more than adoration of recent French history

Nick Cage is a genius, only actor who could've pulled this off. Most impressive feat this time around, is his non verbal masterclass. Cage doesn't need words, just .. expression.

While I appreciate the effort of Mr. Tabrizi to inform the viewers about the link between oceanic subsystems and the global climate system, the omission of overpopulation is a typical ecology for dummies mistake . Back in the 1960s people like Hardin and Ehrlich were not messing around , they were spot on. The fishery problem, or the plastic and climate behemoths are no Mr Robot Evil corp conspiracies but all different versions of the massive human overpopulation. And no there are no silver bullets , not for rich or poor countries equally , every solution takes decades and resources we dont have . So yeah stop eating fish but dont be so woke , naive and one issue about the planet of the humans . Watch Anthropocene instead or HOME by Bertrand.

As a strong believer in the coming eco disaster and climate change, and a strong non believer in Woke politics, this movie gets it wrong, as Clooney as a character, actor and director always does. Clooney has always been all about the elitist Hollywood way of explaining problems, and loves symbolic empty causes and gestures as he showed with his Darfur campaign in the past. The Midnight Sky is overacted, over dramatized and misses the real point about either actual human solutions to eco problems (stopping cuddling and over population for starters ) and makes a Hollywood drama out of surviving a potential disaster, where as reality will be neither Mad Max nor Clooney drama but just tough real problems like running out of clean water, or resources or dealing with all or tech and techno fixes disasters. Clooney is the true salon-socialist or Hollywood democrat, and less a real progressive then he is truly old Hollywood. Monuments Men was probably an even bigger trainwreck.