RSS feed for Raphael Georg
  • The Bourne Identity

    The Bourne Identity


    In a time where spy-action thrillers were nothing but worn-out 007 movies, or aimlessly trying to keep running franchises like Mission Impossible before they discover their real voice, among others focused on countless dramatic or satirized attempts of countless clichés and names brands that already exist; comes what many decided nowadays to call it the beginning of the franchise that destroyed action cinema for years. While some of that might be arguable for the real stinky kind of films that…

  • Hobson's Choice

    Hobson's Choice


    When the names and words like “David Lean” and “comedy” get maybe putted together it may just sound complete off, but then you know that Lean’s genius was also in the scope reach of making comedies in cinema, and in nothing short of superb form, needless to say. Either being with his unfortunately forgotten and deliciously charming Blithe Spirit, or in this case here, with the outrageously funny, strongly dramatic-themed and nothing less than constantly amusing and charming Hobson’s Choice.…

  • Crime Wave

    Crime Wave


    How interesting is the fact to notice that in the only two Noir films that master André De Toth directed on his entire career, this one and the excellent Pitfall, both movies came to share a common familiar story handling inside the genre, with the family-core at the center of everything. Is almost as if it were the way that De Toth faced the world that these genres portray, the characters that inhabit it, and the victims that bare their…

  • Hickey & Boggs

    Hickey & Boggs


    Before the world would receive and forever love the immensely loveable charismatic buddy-cop duo like Riggs and Murtaugh, we had a duo of two boring private investigators performed by the invidigated monster of Bill Cosby and the biggest Robert Redford look-a-like that no one ever heard of, Robert Culp, Hickey & Boggs, the main title-duo behind a movie that no one nowadays would like to give credit for how great it actually is, and still shows to be. Be it for…

  • Coogan's Bluff

    Coogan's Bluff


    And so it began, the Siegel-Eastwood era of old-school classic cinematic badassery being created and performed on the screen with the display of a sheer unity between director and star in complete synch of creative-vision on top of the story and character they had at their hands to work with. Some would only like to remember and classify Coogan’s Bluff just as a Dirty Harry’s rehearsal, though a bit of true, is also its very own thing above and underneath…

  • Duel



    How funny is the fact that the film that launched Steven Spielberg’s carrier as a moviemaking director is nowadays mostly only remembered as an old cult-classic and oftenly getting named and compared to his later first big hitting success by calling it “Jaws on wheels”. But as Duel’s big little legacy proves how it’s way much more than just that, because while Jaws is a forever masterful horror-monster movie classic, Duel is a HAND-biting suspense and a unstoppable thrilling experience…

  • Bloody Spear at Mount Fuji

    Bloody Spear at Mount Fuji


    I don’t know how much far of a stretch would be to call it this wonderful Tomu Uchida’s film as a anti-samurai film, or at least is the most “anti” of everything one might know or recognize as a Jidaigeki period piece Samurai film as it leaves all its real Samurai violence traces and even the thematic moral drama discussions of its "genre"'s traces to the very end final minutes of the film, leaving the rest up until them to…

  • Triple Threat

    Triple Threat


    “Less talk, just die”

    That kind of direct to home video B-mayhem project that manages to be more excitingly interesting and re-watchable that many theatrical release films of the genre tend to get nowadays. Props to director Jesse V. Johnson for always get this thin plot projects with less than respected martial-artists actors like Scott Adkins and make the best out of its components in genre entertaining results. This may not even be far from its best, but the material…

  • From Up on Poppy Hill

    From Up on Poppy Hill


    If wasn't kind of impressive enough the fact of Gorô Miyazaki’s From Up on Poppy Hill be an exemplary animation that has the courage and creative benevolence to showcase human factors as real and simple with extreme naturalness among its so seemingly bland small elements, but of extreme importance in modulating the palpable and creative realism present in all of Studio Ghibli animations. Where we can see the most banal things like a baby breastfeeding or boys peeing in a…

  • Shadows



    “The film you have just seen was an improvisation” says the latter text by the end scene, which I think it got used just the same as a emotional health certification for the viewers to feel better after watching the great amount of harsh truths and reality displayed on the screen in Shadows. Because it also gets kind of hard to believe on how this much of scenic planning and all on top note form performances displayed on screen on…

  • Land of the Pharaohs

    Land of the Pharaohs


    When I go around in saying how much of a versatile freak of a master Howard Hawks was in his cinematic lifetime, I mean business taking the vast range of specialties he had conjured up in multiple different genres, and managing to leave his unique brand of character deepen narratives in all of them, while bringing it said genre into all of its full best potential. But not only by simply investing in each of these different types of films,…

  • Spectre



    While Skyfall till this day gets continuously hailed by many as one of the best films of the franchise, to not mention the hyped freaks who call it the very freaking best, like chill the hell out; the poor ugly duckling Spectre seems either to be involuntarily forgotten as a bad sequel of that big hit outing success, or preferred to be so for HOW BAD HORRIBLE DISGUTING INSULTING it is as a successor FOR THE MASTERPIECE OF SKYFALL. Like…I…