Beautiful camera work and interestingly high-strung in theory - if only Otto Meyer would be able to deliver a single halfway relatable human interaction. So we get a bunch of strange Heimatfilm-robots performing bizarre rituals up there in the alps. Sounds great, I know, and it is at least amusing for a while and not even without the occasional emotional out of nowhere close-up that hits you with a brig... but still, the stilted line delivery especially of Albert Rueprecht wore me down rather fast.
About half of this is just a single, long, dense night of pitch-black despair, with the only light provided by the continuing apocalypse illuminating the sky. Bodies desperately clinging together and still being torn apart. Alone in the dark. When the sun eventually rises, the film goes on for almost another hour and, despite a welcome Scott Glenn interlude, loses some of its steam.
Still, a touching film. Not completely un-cringy (like when the son, after mostly silently tagging along,…
This is so dull and witless - every attempt at a joke that tries to move beyond "nazis are evil but also stupid" falls completely flat - that it took me some time to realize just how terrible it is even beyond its unappealing surface. Turning Hitler into a clown is in itself no reason for moral outrage. But installing Hitler as a dematerialized, ahistoric metacinematic gadget while at the same time positioning Elsa as the bearer of historical truth,…
Not a good film with its in principal rather decent evocation of New Hollywood textures and pacing constantly being derailed by, among other things, a terribly oomphy score and Phoenix`s one note power acting (the scenes with him and De Niro are interesting, though: film history repeating itself, first as tragedy, then as farce). Still, and not at all surprisingly, it`s not nearly as bad as the discourse surrounding it. To call JOKER a film about "incel culture" and male…