Malarkey

The Polish continue their successful streak with Netflix, delivering another solid film. From a technical standpoint, there’s really not much to fault—it’s well-made and has plenty of entertainment value. However, the ratings don’t quite reflect that, and I think it’s partly because, after a series of high-quality Polish films, the bar has been set really high. Perhaps the filmmakers got a little too ambitious here. The story is a fictional one, but it’s set in a very real time period, referencing not just one athlete but an entire phenomenon of athletes fleeing from a communist regime to the West. The acting is top-notch, with Eryk Kulm and Eryk Lubos delivering brilliant performances, and Adrianna Chlebicka holding her own as well. But the fictional angle feels a bit odd, and the screenplay doesn’t offer many surprises—it’s a mix of things we’ve seen before. At nearly three hours long, the film can feel like it’s dragging, but it’s worth sticking it out—the ending is genuinely beautiful.

Tim Burton is finally off the leash again, and honestly, it was about time. Where better to let loose than with the world he first introduced us to, packed with his signature quirky ideas? And he absolutely delivers. A sequel more than 35 years later is a bold move, but as a fan of Burton’s work, I can confidently say it was worth the wait. The only drawback for me was the somewhat rushed script. It opens up a bunch of storylines, then scrambles to tie them all together for an epic, totally off-the-wall finale that feels very Burton-esque. But by the end, you realize some things didn’t quite need to be there, didn’t make much sense, or were just unnecessary. Case in point: Monica Bellucci. Let’s be real—there are obvious reasons why Burton included her, but she didn’t add much to the story. That said, I’m still satisfied. This is what filmmaking should be—full of creativity, fun, and humor, with a cast that’s clearly having a blast.

When you have to start a Tim Burton film several times to get through it, you know something’s off. I finally managed to finish Big Eyes, and to be fair, the story seemed tailor-made for Burton—personal, unique, and quirky. Casting Amy Adams and Christoph Waltz was a smart move too; they were solid in their roles. But everything else felt like Burton was making a TV movie. It lacked his usual creative flair, and the script seemed flat, almost like it was written by a beginner. It’s rare for me to watch a biopic and feel like I’ve seen it all before, but with Big Eyes, I couldn’t shake that feeling.