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Reviews
Starve Acre (2023)
Worked Better in Theory than in Practice
As a fan of folk horror, small-production films, and Matt Smith & Morfydd Clark, I admit I might have had too high expectations. Especially since it took two years between the first limited release and the wide release on streaming platforms, the sheer anticipation raised my hopes even more.
With all that in mind, I still feel the film missed its potential because the thing with small production is that it relies on atmosphere-building and a good storyline. And both of those aspects could have been better.
For instance, regarding the atmosphere, I think they succeeded in portraying grief as raw, lasting, and sometimes merged with magical thinking and anger. Sometimes, it's bearable, and the characters even manage to squeeze a smile and get excited about things they work on or even an unexpected family visit. The grief is ever-present but fluctuating in intensity, which feels realistic, unlike Hollywood cliches that tend to go over the top. However, the film lacks in creating suspense due to the pacing and some scenes that feel disjointed. When you think it will pick up and elevate the tension, it moves to another scene.
Which brings us to another issue of storytelling. While the overall idea is good, the film would have benefited from a more developed lore. You quickly learn there is a lot at stake, but they never tell you why, and it somewhat obscures the characters' motivations. Without knowing more about mythology, we fail to see the appeal and the temptation of some choices they make. For this reason, I believe it was challenging to wrap up the film in a satisfactory way, and they chose a tried and "safe" route instead. In theory, it could have worked great, but in practice, it feels stretched and even forced at some times.
The problems might have roots in the original material - Andrew Michael Hurley's book of the same name, as some works of literature are untranslatable to movie screen. Or perhaps the author failed to develop the mythology sufficiently, so the movie crew did not have much to work with. I still haven't read it but intend to, which means that, despite its shortcomings, the film succeeded in provoking some curiosity. And if you drop your expectations - which, sadly, was impossible for me - it may work even better, who knows?
The Pod Generation (2023)
Very nice, but could have been deeper
First of all, let me say how much I have enjoyed both main characters, as well as the cinematography and dialogues.
Rachel and Alvy, despite their flaws, were very believable and sweet people, so their journey quickly becomes relatable, even if we do not have parenting aspirations, nor do we live in a society that is as technologically advanced.
Speaking of technology, I love that it was represented in a way that feels like a slightly upgraded (or perhaps downgraded?) version of our own reality, instead of going over the top. Overtly futuristic aesthetics, such as in Blade Runner, wouldn't have worked in this case, so I'm happy they decided to keep it familiar. Kinda reminiscent of a Black Mirror episode in its non-pretentious approach.
However, unlike (most episodes of) Black Mirror, I think it lacked a further exploration of the topic, specifically the long-term consequences of growing your baby in artificial and supposedly advanced conditions.
We are told that these children have the inability to dream and that dreams, in general, are now recognized as an unnecessary addition to the human psyche. While it very well may be true, the question of whether we should rid our children of this experience in advance feels a bit more relevant than this movie gives it space.
It also begs another question: What else these kids may be missing out on? Story-wise, what's the point of introducing this subplot, as it ultimately does not affect the characters?
The same goes for social commentary. Some women agree with the new method of childbirth, others protest it, but we never find out what they have against it.
Furthermore, we see that the main company is very questionable in terms of the education they provide for children, and they even tried to remotely starve Rachel and Alvy's baby when they stole the pod. But, once the baby is born, it seems like our main characters are entirely at peace and have gotten over everything so quickly that they even send the pod back to the company.
Again, as we relate to our characters' journey, I was pleased that they got their happy ending, but the resolution of the main conflicts never seems to occur, nor are there deeper consequences of anything that happens.
Jeanne du Barry (2023)
What is it with movies about French monarchy?
For some reason, movies about the French monarchy, particularly the fall of it, tend to miss out on the bigger picture and feel like family drama that just happens to be set in Versailles. With some adjustments, these stories would work equally well in different settings and even have the same emotional impact they were going for.
It doesn't matter whether it is a Hollywood or European production, the problem remains the same. Jeanne du Barry suffers from the same lack of storytelling that plagued Coppola's Marie Antoinette. The wider social and political context is simply left out.
The budget doesn't seem to be an issue, as the sets and costumes are top-notch, however, we just fail to see the importance the main characters have outside of the court and their personal intrigues. This is a shame, cause if anything is interesting about the French monarchy, then it is how it affected common people, not their family troubles.
So, if we are optimists, we could say that Maiwenn (and Coppola for that matter) simply does not have the directorial capacity to tackle a more serious political drama. However, if we are pessimists, it easily comes off as the whitewashing of the French monarchy, particularly with the annoying narration that tries to provide the political context of the French Revolution and society at the time in two or three sentences.
You could say it was a romance movie and as such it didn't aim for a broader political message. But even if we watch it as a love story, it does not provide the context to make the romance believable. We never find out WHY the king is so smitten by Jeanne, other than her being a beautiful woman. But the kings in general tend to surround themselves with attractive women, so what is it exactly that makes this one stand out from the rest?
Jeanne's motivations are even more obscure despite her being the central character of the movie. She says she craves adventure but then settles for the most boring and life-draining routine of the court. She starts off as an opportunist with some moral compass, but that character development is dropped as soon as she meets the king and remains the loving wifey stereotype for the rest of the movie.
I won't spoil it here, but at one point, it seemed like there was going to be some falling out between her and the king, so we hoped to see a clever and cunning side of her character, but the very next minute the very same annoying narration "convinces" us that everything is fine and no one is an a$$hole there.
If you enjoy period costumes and aesthetics of 18th century Versailles, then this is an eye candy for you. Otherwise, it does not have much to offer.
Depp V Heard (2023)
Post-truth
This nearly three-hour documentary about a specific court case turns out to be much more than that - a reflection of ways in which power, charisma, and social influence control the narratives and worldviews of so many of us.
Moreover, it delves into the effect of social media on the court of public and, if that wasn't concerning enough - the court of law as well. More often than not, we like to believe we have transgressed the times when a charismatic individual could persuade the whole of society in whatever he wanted them to believe, but now and then, we get a harsh reminder that we are as vulnerable to manipulation as we have ever been. Perhaps even more so with the (mis)information spreading faster than ever.
However, and unfortunately so, this project seems plagued by the very lack of the broader picture it aims to criticize. The UK trial is only briefly mentioned and, while we do see the effect of social media unfold in front of us, the real mechanism behind it is never explained. An expert commentary on PR strategies and domestic abuse could have filled in the gaps.
In conclusion, although it tackles important topics, it still could have been much more. Perhaps the producers were afraid of making the "wrong" people angry. Or maybe they believed that putting the mirror in front of us will suffice in making us rethink our perception of truth and justice. Only time will tell.
Faithfully Yours (2022)
Dumb and dumber
And I don't mean just the two of the main characters, but literally everyone - from all of the characters to writers and director.
No one acts in their best interest, and it can't even be explained away as panic, as everyone is calm, just irrational.
For instance, a character lies to the police about something that the police wouldn't really care about, but - for NO reason whatsoever - makes sure to tell the truth to another character who would be upset about it.
Another character pulls an extremely risky and unnecessary stunt in a situation that could have been handled in thousand different ways and each one of them would've made more sense.
Oh, and when it comes to police, nothing about their investigation makes any sense. It feels like the writers asked a six-year-old what they imagine a police investigation looks like, and they actually put it that way in a script.
However, my "favorite" parts were two lame red herrings; one of which is explained away in a pretty silly manner and another one is forgotten as soon as it happens. Can't say much without spoiling it but IF (for whatever reason) you decide to watch it, it will leave you wondering: "What the hell was the meaning of that peculiar detail if it's never going to be mentioned again?"
I feel like I could go on and on about it, and still wouldn't be able to cover all the messy parts of the plot. Pacing which is extremely off and wooden acting do not help. Just avoid it.
Infinity Pool (2023)
Self-awareness
"There cannot be separate objects or entities that have all their properties in common." This is a description you get when you google Leibniz's law, otherwise known as The principle of identity of indiscernibles. In other words - if it walks, talks, and looks like you, plus it shares your experiences, then it probably IS you. Whether you like it or not, whether you care for it or not
But it's just one of the few philosophical dilemmas Brandon Cronenberg deals with in this project. Perhaps the more important question would be how far would we go if we had unlimited chances to destroy previous versions of ourselves and start anew. Would we become better or worse? Would it even matter after a while?
If there is no god, then everything is permissible. Except in our modern society, there are multiple gods whose power is based on their richness. So their word is the law, and in the end, everyone's the dancing monkey, even seemingly scary government officials. And that's where it gets political and hits close to home, even though it's set in an imaginary country.
However, while the characters never get the necessary self-awareness to use their privilege for the better, this does not seem to be the case with Brandon Cronenberg. I'd say this is a huge step forward from Possessor, which relied too much on explicit content and the shock value. While graphic depictions of violence are indeed present here as well, this time they serve the narrative and psychological horror that is at the centre of the experience.
Maybe what sticks with me the most is the unnerving scene where Mia Goth's character is reading the review of the book written by Alexander Skarsgard's character, while she and the rest of the bloodthirsty characters taunt him slowly from behind his back. Makes you wonder whether this imaginary review is based on a real one about Cronenberg's previous movies.
Whether this may be the case or not, I think Brandon Cronenberg truly found his voice and I sure hope to see what's next in store.
The Pale Blue Eye (2022)
Boring and messy
The best quality about this movie is Christian Bale's standard good performance. And kudos for talented Harry Melling who portrayed Edgar Allan Poe and nailed his looks. Poor guy also obviously did the best he could do with the horrible lines he was given, but that was not enough to make his character likeable.
Yes, you read it right. They somehow managed to turn Poe, one of the most intriguing and mesmerizing figures in the history of literature, into this annoying and wimpy sidekick.
The rest of the characters are simply forgettable, with the exception of Gillian Anderson's who's even more cringe-inducing than this version of Poe. Yet another talent wasted with this mess of a script.
Story-wise, it is bad to a point that even the characters seem disinterested in the supposed big conundrum revolving around them. No one seems particularly impacted by the murder mystery, nor their personal relationships. We know that the characters (dis)like each other because we are told so, but we are shown absolutely nothing. Those little pieces of interaction between them convey zero emotion and character development.
The whole atmosphere is as dull as it gets. Not gloomy, not depressing, but monotonous like weather report. I think they were going for period piece, gothic novella and film noir at once, but it's none of it. Not even a glimpse of either of those genres. Just something that drags on for what seems like forever, and somehow still manages to omit the important pieces of information.
Still amazed how they persuaded this cast to participate in this project and honestly it is the only reason I gave it 4 stars.
Significant Other (2022)
What to do if you're anxious?
Explore that ominous looking cave. Immediately. By yourself. No way there's some wild beast in there.
What to do if you're anxious in the woods and see an unnaturally mutilated animal?
Just chill, eat your lunch. Don't go to town. That's for weaklings.
What to do if you're anxious and your boyfriend has just been killed by an alien
You're no anxious no more, now you're calm, plotting your revenge. Serve it cold. Throw that guy off a cliff. It's not like he's twice your size AND murderous alien.
He can't be killed?
Keep trying. If an action doesn't get the results you've been hoping for, it's gotta work next time. I promise. Don't go to town. Don't call authorities. That's for weaklings, remember.
What to do if you find a girl with concussion and memory loss?
Chill, take her to your camp in the woods. Don't drive her to a town. She doesn't need a doctor like immediately. Whatever you do, NEVER EVER go to town.
Some people die. Oh bummer, cause later we'll learn they've travelled the world. This is important, cause who'd care about them otherwise.
But at least the killer is a comedy relief, so that's a jackpot. Double jackpot, cause now apparently he loves you! Oh, and love is the most powerful thing in the universe. No one said that ever before. EVER!
Alien invasion, you say?
No worries, your parents got divorced. This teeny tiny invasion and impending Earth destruction got nothing on you.
Aliens have superpowers and advanced technologies?
Who cares? You've got your panic attacks. (Yup, they're back now.) But worry not, you're gonna use them to your advantage. That's gonna teach them a lesson.
Invasion still happened and the alien that can't be killed REALLY can't be killed?
Whaaaat? Who would have thought so? Well, I guess you CAN go to town now.
P. S. On a more serious note, I know how real and severe panic attacks are, and I'm not trying to downplay that. This is just a commentary on how they've been used as a superpower in this movie.
Two stars for acting and that little twist in the middle, before everything turns to a joke.
The Wonder (2022)
The power of narratives
The feelings of grief, guilt, and entrapment subtly gloom over the characters throughout the movie. Intergenerational trauma and collective remembrance of poverty, depravity, and disease lurk behind every corner. But this movie is not just about feelings. It's more of a story about the stories. Particularly stories we tell ourselves to make sense of circumstances, both present and past.
Narratives have existed as long as humankind, and they have helped us gain control over trauma, confusion, and loss. Whether we seek them in religion, science, or art, their power persists through time and across cultures. They can heal or make us sick; they can put us in a (mental) cage or set us free. And after everything is said and done, they will persevere even long after we're gone.
Past is not just about what has happened, but about what we believe has happened. This movie is an artistic study of both psychological and anthropological effects of belief in the narrative. And it nurtures this self-awareness; at the beginning, we are reminded that we are about to witness a story. Nothing more, nothing less. Can narratives destroy lives? How about saving them?
That being said, I will explore a few of the main characters and the symbolism attached to each one of them.
SPOILERS BELOW:
Anna is a victim of false narratives. First, her brother creates a story to justify the unjustifiable and to persuade her to participate in the incestuous relationship. After he dies, the family falls victim to another dogmatic narrative; this one rooted in the misinterpretation of faith. Anna's parents are both abusers and victims. They've been taught that their children can find salvation only in the afterlife and that they're forced to suffer in this life. While they believe they do the best thing for Anna, their actions are actively pushing her to her untimely death. All because of a story.
Lib Wright represents the switch in the paradigm. Unlike Anna's family and the village community that blindly follows the preexisting narrative of religion, Lib is writing her own story. Her story is based on her observations and conclusions, as it is pointed out during one of her interactions with Kitty. During that same conversation, we are once again reminded that it is all about the different stories created through different perspectives. Lib is there to set Anna free from her cage, both literally and metaphorically. Even the nickname they settle with - "Lib" as opposed to the much more common "Lizzie" or "Betty" - is associated with liberation and liberty. Liberation is finally achieved as she creates a new narrative that helps Anna break free from the imposed guilt.
Will Byrne is, perhaps, the most straightforward character since, as a journalist, he creates the narratives - thousands of them, as we learn from one of his first interactions with Lib. And he seems to be the most aware of the power of narratives, as he continually reminds Lib that she's not to believe everything she's told. In one scene, he brings a gift to Anna - a toy that, when spun, creates an optical illusion of a bird being in and out of a cage. It is again symbolic of Anna's imprisonment in the cage of a narrative created through collective trauma. When she asks whether the bird is free or caged, Will replies it's up to her to decide, further hinting that taking control of the narrative is a necessary step toward liberation.
And finally, there is Kitty, whose voiceover we hear in the opening scene and who breaks the fourth wall a couple of more times throughout the movie. She's both a witness to changing paradigms and a storyteller that passes the narrative through generations and finally to the audience of the movie. When we first meet her, she's illiterate and as ill-informed as the rest of the rural community which encourages Anna's starvation. Throughout the movie, she gradually learns to read and to create her perspective on matters. The story we hear is neither Anna's nor Lib's, but Kitty's, as she's the bridge between the narrative stuck in time and the progressive view that Lib introduces to the community. In the final scene, she stares at the camera and asks: "In? Out?" It is both a question for the audience, as well as her reflection on what has truly happened. Anna died IN one narrative, which was necessary for her to get OUT of it, and explore other narratives.
Luckiest Girl Alive (2022)
A beautiful approach to sensitive matters
I have to say, I had my fair share of the doubt during the first 30 minutes or so, because it started off as a typical rom com with a quirky protagonist.
But I'm glad I gave it a chance, because once it picks up, it's done masterfully. I was afraid at some point it would slide to "who done it" kind of a thriller, but fortunately that never happened.
That is not to say there isn't mystery. It's just properly balanced, so it never feels over the top. Characters are believable and much more nuanced than you typically get in this type of dramas.
We all heard a stories like this, but they are rarely explored respectfully and without going over the top. However, this movie manages to do it.
I'm glad the writers didn't go for twists and turns, but stayed true to the message they wanted to deliver. And it is a message we all need to hear.
The Nowhere Inn (2020)
Vanity project
Imagine being young and seeing Inland Empire for the first time and deciding to become a director.
This is probably what you'd have made - the inspiration is obvious, you're onto something but not quite there. And you don't get there even by the end of the movie.
The atmosphere is a bit off, at times weird for the sake of being weird, mostly boring, repetitive, and just a tad bit pretentious.
It's fine - we all have to start somewhere and I would've been probably more generous with my rating hadn't I realized that the character of St. Vincent and her friend are very much real people playing themselves. Or at least some version of themselves they think it's cool.
Bearing that in mind, all of the potential symbolism goes down the drain once you realize there are NO characters and there is NO story. It's just a vanity project to show how offbeat these women are.
I've seen people commenting online that you have to *know* St. Vincent's career and persona in order to get this movie. I'm sorry, but it's just an excuse for bad filmmaking.
What makes Inland Empire great is that you don't have to know anything about David Lynch, because the film speaks for itself. This does not speak for anyone. Just avoid it.
We're All Going to the World's Fair (2021)
Dark side of YouTube
The inspiration from the "weird" corner of YouTube is present from the first scene and remains throughout the entire movie, intercepted only by the short glimpses into the depressing lives of content creators.
How far would you go for the attention of your viewers? In which ways does this attention harm young and volatile? What poses a more serious threat - creepy guys watching you online or your own loneliness that pushed you into this mess?
While on a certain level, it does manage to successfully illustrate the vulnerability and mental health issues in teens, it completely fails as a horror movie.
The part of the problem is that it brings nothing new into YouTube horror lore. The final result completely relies on the overused tropes of YouTube's "dark" corner.
It would've worked better as drama about the mental health risks in teens oversharing on social media, but that would require much more serious exploration of the broader context.
Anatomy of a Scandal (2022)
Entertaining but naive
Haven't reed the source material, so I'm not sure who's at fault here, but a serious topic such as this one deserved much better approach.
If you particularly enjoy court dramas and are willing to suspend your disbelief, it might work for you. Otherwise, not so much.
The abuse of privilege is an important topic, but the message is lost along the way as we see the characters making the worst possible decisions one after another.
Some weird editing choices and overacting contribute to overall naivety behind this project. I can't say too much without spoiling it, but you'll recognize it once you see it.
El páramo (2021)
Instant classic
One of the thing I adore about Spanish cinema is that it is as poignant as it's tense at the same time.
It's one of those movies that will slowly creep up to you and stay there for a long time. We witness the horrors of war without seeing the actual war and that's not even the bleakest aspect of the movie.
Isolation, fear and hopelessness are present from the very first scene and they are here to stay in the same way the characters are stuck in the wasteland.
Both claustrophobic and agoraphobic, it bravely explores the depths of human despair, as seen through the eyes of an innocent boy, who is forced to quickly mature.
At times it's reminiscent of The Witch (2015), It Comes At Night (2017), The Wind (2018) and even Pan's Labyrinth (2006). If you enjoyed any of those, definitely check this one out.
Skin Walker (2019)
Grotesque in a cringey way
The first half is fine. At first you don't know what's going on, but then little by little, you start to get the idea. Maybe you'll guess the twist along the way, but good cinematography, sound effects and acting will probably keep you invested in the story enough to carry on. At least for a while.
And then in the second half, it falls on its face. And keeps falling deeper and deeper. I won't spoil it here, but you'll know it when it happens... and keeps happening.
It becomes grotesque to the point it loses its edge and gets laughable instead of creepy. You won't die out of fear, but cringe might just do the job.
Hide and Seek (2021)
Not *that* bad, but something is missing
The suspense was fine, as well as the acting. There were some nice little twists now and there and it was not predictable.
Is someone messing with the main character or is he messing with others? Is he losing his mind? Who is the villain and what do they want? Enough to keep you guessing til the very end.
However, it feels like it was meant to be a three hours movie and somehow it got cut into less than hour and a half.
As a result, there are subplots that literally go nowhere, underdeveloped characters and motivations, background stories that never get explored in a meaningful way, very vague hints at something possibly important about the characters and so on.
Haven't seen the original Korean movie yet, but this one kinda makes want to do it in order to place all the missing pieces together.
Synchronic (2019)
The most heartwarming sci-fi movie I have ever seen
As a huge fan of Justin Benson and Aaron Moorhead, I couldn't wait for this one to come out. And once again, they didn't fail.
Since the story itself is a bit more straightforward than their previous movies, it does not rely on huge twists (although the ending itself is pretty ambiguous), but it is still original and entertaining. Visually stunning and unique, yet so true to Benson's and Moorhead's aesthetics.
The heart of the movie, however, is the dynamic between characters. And, my God, it's absolutely enchanting; I have to say probably the most heartwarming sci-fi movie I have ever seen. Anthony Mackie and Jamie Dornan have incredible bro-chemistry, as they effortlessly portray true friendship between two men, without relying on clichés and toxic masculinity tropes.
There is also some masterfully done social commentary, without it being on the nose and yet successfully portraying the horrors of human history and perhaps future (such as racism and war).
Not sure why it got such mixed reviews, probably from those unfamiliar with Benson's and Moorhead's work or from those who expected a bit more complicated narrative. But I don't think the emotional impact would have been the same, had they added more twists and turns to the story.
Possessor (2020)
Wasted potential
I went into this believing it would be one of those "you either love it or you hate it" kind of movies. And yet, somehow, it managed to turn out mediocre in every sense, except for its gore.
Even the artistic imagery, which is arguably the strongest aspect of the movie, doesn't seem too original. Nicolas Winding Refn and Panos Cosmatos come to mind, especially Cosmatos' "Mandy", also starring Andrea Riseborough. I swear if someone showed me dreamy sequences from both "Mandy" and "Possessor" - I would have had hard time guessing which is which.
Since there is no character development, by the time gory scenes come up, they don't affect you on the emotional level; they just make you physically sick. After that - the snoozefest continues and once again you're stuck with surviving, yet utterly lifeless characters, as they drag themselves on from one scene to another.
At one point, it seemed it would tackle philosophical notions of free will and identity more seriously, but, alas, that story gets dropped almost as soon as it starts. The lines between identities do get blurry from time to time, but it is resolved pretty quickly and in a way that leaves no room for further exploration of the matter.
"Possessor" could have become an instant classic, had its dread originated from the existential aspect of the story. However, Cronenberg chose the other path - cheap shock value with little payoff storywise.
El desorden que dejas (2020)
A high school or a prison?
It started off well - teacher moving into small town, secretive citizens, family drama and a big mystery to be solved. However, it quickly falls apart, due to poorly written characters.
The students are unrealistically cruel and unbelievably brave to openly show said cruelty. They act like actual prison inmates rather than ordinary teenagers. On the other hand, all of the teachers are incredibly irrational, immature and too easily tricked into playing by student rules - begging them for mercy, sharing their most intimate secrets with random kids, getting into fist fights etc.
I thought there would be some social commentary on how all the kids' parents are rich and influential, so the school is forced to put up with their bs, but, alas, we quickly learn that at least some of the kids are from poor background. When they DO try to make a social commentary, it feels forced and flat.
By the end of the second episode, no one acts like a genuine human being (and I don't mean in the intentional "Lynchian" sense) and rather like a plot device, so it is easy to lose interest. Which is a shame - it could have easily turned out great, if they had toned it down a bit.
Dark Shadows (2012)
Lighthearted and entertaining
I went to a cinema without high expectations, since I didn't enjoy Burton's latest work 'Alice in Wonderland'; however, I was pleasantly surprised. Sure, it isn't a masterpiece, or as brilliant as some of the Burton's best work, such as 'Ed Wood', but it was entertaining enough. I haven't watched the original series, so maybe I'm not competent enough to judge, but I must say that as a fan of classical vampire movies (and novels), I wasn't disappointed. Yes, it's a comedy, but not a slapstick kind of comedy. And, yes, it actually does have that dark Gothic appeal which is desired in this type of movie.
Depp delivers a standard good performance; however, there is nothing especially new, iconic or unique about it. In my opinion, Eva Green stands out and quite possibly steals the show. As for the rest of the cast, they all did pretty much impressive job, especially Michelle Pfeiffer.
Visuals are stunning, as usual when it comes to Tim Burton. Soundtrack is amazing as well: a perfect combination of Danny Elfman's original score and songs popular at the time.
*SPOILERS BELOW*
I expected this movie to be a typical 'good guy vs. bad guy' (or in this case 'bad girl') flick and one of the biggest reasons why I was pleasantly surprised is that it didn't turn out to be like that. Many characters are 'evil' in different ways and almost all of them have some dark secrets. Sure, Angelique did some pretty nasty stuff, but in the end the audience can sympathize with her (just as they can sympathize with Gary Oldman's Dracula). After all, most of her evil actions were caused by an unrequited love. In the end, Barnabas told her she was incapable of love, but I think that she proved him wrong by (literally) giving him her heart. On the other hand, Barnabas was almost as mean as Angelique. I'm not talking about him killing the construction workers and hippies; after all he's a vampire and that's his way of survival. However, I didn't think what Julia had done was so unforgivable and that he justifiably killed her. Yes, she tried to use him (for both sexual and 'immortal' purposes), but she did that because she was messed up and generally weak, not because she had genuinely evil intentions. Also, using hypnosis on a loyal fisherman in order to change his mind and having sex with Angelique to "save Vicky's honor" (what the
!) wasn't very honorable of him. Don't get me wrong, I don't mind Barnabas being mean, I actually like it; I just didn't see that coming in this kind of move.
I find the whole 'Carolyn turning into werewolf' thing somewhat forced and rushed and I wish they had more time to develop that subplot or to remove it completely.
Ending with Vicky begging Barnabas to bite her and him first refusing and then doing it when she's about to die kind of reminded me of those 'Twilight' movies (which I absolutely dislike), but luckily it lasts for only a couple of minutes and doesn't ruin the whole experience. And those who haven't seen 'Twilight' most likely wouldn't mind that scene at all.
In the end, I have to say that 'Dark Shadows' isn't a film that will stay in your mind for a long time or haunt your dreams, but given a fair chance, it can make you laugh and amuse you for two hours.
I give it 6/10.
New York, I Love You (2008)
Beautiful movie about usual people
When I first I heard of this movie, I thought it would be lighthearted "Sunday afternoon entertainment", such as "Valentine's day". Though I always had great admiration for some of the participants in this project, my expectations weren't high. But I was wrong. And I'm really glad I was wrong, because watching it was a very special experience.
Some of the segments made me smile, some almost drove me to tears and one even left me with deep feeling of uneasiness. The point is all of them evoke emotions in viewer. If you expect some epic drama or a movie with strong social message, you may get disappointed, but if you would like to watch warm and inspiring little movie about everyday people, their love, hopes, dreams and struggles, you're in the right place. I personally found some characters easier to relate to, than the others, but there's no doubt that each and every one of them was well written (and portrayed as well). You may not know their past or entire story, but aspects of their life presented in a five minutes or so, say a lot about them.
In modern cinematography unfortunately isn't usual to find a movie that represents human soul with all its layers and little details, because the most beautiful messages should not be presented through special effects, nor received by eyesight only. They should be received by heart itself and this movie succeeded in sending such message.
The Libertine (2004)
One of my favorites *spoilers*
I find this movie beautiful, intriguing, touching and somewhat disturbing. Pretty much artistic, yet appealing to different types of audience. However, most likely it won't be enjoyable for everyone, because of explicit content and perhaps disturbing images.
Director Lawrence Dunmore did an amazing job and created something that could easily be considered as a masterpiece. Johnny Depp gave a standout performance (one of the best in his career; he should have won Oscar for it), as well as Samantha Morton, John Malkovich and Rosamund Pike.
I've heard many people complaining how "dark" the movie is, as if it was filmed in shadows. But that's what XVII century was like - shady, dark and dirty.
One of the best aspects of the movie is both physical and psychological metamorphosis of the main character. In the first part of the movie we see a man who has everything, but values nothing. Most people around him like him only because he's well known, gorgeous looking and influential person. Those who do really know him, such as his wife and mother, truly love him the way he is, but he doesn't seem to care much about them As the movie proceeds he finds true love, that, as he said, teaches him "how to love life", but he becomes ill and everyone begins to avoid him. Ironically, the only people who are there for him at that point are the ones whose love he had never appreciated.
One could possibly say it's a shame that it hadn't been a major Hollywood project, because more people would have heard of it, but I think it's better this way, since it has avoided some of the boring Hollywood clichés.