3DD!3

A great genre piece with excellent dialogs and some snappy one-liners from Mitchum in the main role. Unexpectedly experimental in terms of form. The narration alternates in terms of type and tempo, unraveling the story down to its core and a surprising ending. P.S.: Good old Kirk Douglas rocks in this, one of his first movie roles.

The battle and the whistleblower who starts off Gosling’s case in the movie. Bautista gives a very solid performance and certainly didn’t waste his opportunity to impress. He does a nice job of presenting his character and the horrors that hound him in just five minutes. But it is a shame that none of the shorts were dedicated to Deckard. An anime would have sufficed. After all, he couldn’t just have spent all the meantime sitting in Vegas with his dog, drinking Johnnie Walker Black Label, waiting for The Director's Cut Blade Runner 2049 limited edition. Or did he?

The big black out of 22 is even more spectacular than I had imagined. Watanabe doesn’t mess about at all here. He paints the familiar gloomy atmosphere and lays on one action scene after another. A short that stands up by itself.

Bribe or terrorize? Which works out cheaper? In his demonic role, Leto demonstrates how to save money. He takes a test specimen and eliminates him effectively. Scott is no Villeneuve and his imperfect cuts and the shaking camera rather spoils the end impression, but it’s still really good.

Quite a decent appendix to the Army of the Dead, which looks good and runs pretty smoothly. It’s a no brainer, but the director and the main safe cracker Matthias Schweighofer did a good job. A plot out of nowhere throws out the bait, hooks you, and then you and Dieter just ride together on Nathalie Emmanuel. Prague is fine, but Saint Moritz is even finer. Nothing extra dazzling, but I’d probably rather watch this movie again than the aforementioned Army of the Dead.

Covid-19 ceased to be an issue with the vaccination and it’s time to move on. Toward a future full of pessimists, over-flowing retirement homes and politically correct humor. What do you call a trans woman that walks into an abortion clinic? Her name is Rebecca, and she's a fantastic person. Depression, negativity and suspicion. Although adulthood changed the heroes, they are still the same. The open ending implies where we are headed. To the an era of facemasks and ineffective vaccinations which will help to provide a nice nest egg for our elites. Because preventing old people from dying is what the future holds.

Venom as a pro-migrant agitator and declared bisexual is the surprising revelation of this sequel. Nevertheless, Let There Be Carnage is a tiny bit better than part one. It passes by nicely and is funny in its silly way and its running time is short. As if Serkis simply cut the boring and unfunny bits out. Some of the twists and revelations appear very farfetched and all-of-a-sudden. Stress is on the marital quarrels of the continuously weirdly acting Hardy along with Venom, and all the other things surrounding this just happen to happen, god knows how. It lacks any logic. And it would just be a waste of time to go into analysis of degradation when compared to the source material. P.S.: Harrelson spends his time strangely overacting; this role is acutely uncomfortable for him.

This really has a nicely Die Hard atmosphere about it. Another Christmastide episode brings us the best archer in the world and a dad who’s a bit deaf (at last a character to identify with) in the hunt for an old suit and on the trail of a mysterious murder. Hawkeye is looking promising.

A big disappointment. Apple was really keen, so was I, but it’s been a long time since I’ve seen a book so defiled in its adaptation. The special effects are fantastic and you can see the money that they pumped into this. The problem lies in sheepish scripts that, apart from the title, have nothing to do with the Foundation. The warped psychological histories, the central character’s sex-change, including illogical behavior, and the nonsensical (for a cool mathematician and a robot) shouting and emotional outbursts so clearly demonstrate the harmfulness of our times and the artificial attempts to update (instead of decadence and decline, a dumb terroristic reason) the sub-plots of the book, which just make the movie seem laughable in hindsight. Goyer is incapable of holding our attention and is afraid of re-casting. The emperor clones (the only inventive storyline and it isn’t even in the book) are a perfect example. The Foundation, taking place over the course of thousands of years, should change out the central characters about every two episodes, with Olivaw in the first and last episodes and Seldon making frequent guest appearances. By the way, Harris plays a completely different Sheldon than is described in the book and the only good example of casting is Lee Peace as the middle Emperor. Each time I had to force myself more and more to watch the next episode and each one had me falling asleep more and more. Which doesn’t bode well.

A silent Cage in a semi-amateur parody on pulp slasher books of the seventies. The bizarre-sounding premise is sufficiently robust (a shame it didn’t get into the hands of somebody with more talent) and even though the whole thing doesn’t make any sense at all, when the hero clubs the animatronic emu or weasel that the twisted child raper has turned into, you just won’t care anymore. The entertaining songs, illogical behavior from the killed kids’ and from Cage (pin-ball, energy drinks) are basically bonuses. P.S.: Make yourself a strong drink to watch with.