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  • Wonder Woman

    Wonder Woman


    It is nice to see how the film maintains it´s pleasant, unsophisticated way and plays it above all not calculated, but very naturally at it´s camp. What is for a superhero blockbuster not self-evident in these days. The film, in it´s mixture of pathos and comedy scenes, in it´s best moments, reminds of Donner's "Superman", especially when worlds are discovered here, but from a female side. More courage would have been nice in many respects, especially in the last act. Nevertheless: 1:0 for DC.

  • What Price Hollywood?

    What Price Hollywood?


    ....well, i should say that´s the UH kind of love for that film and especially for that handling of the melodramatic breakdown as low as the film or specific Cukor can.

  • Rebecca



    And somewhere in this film, i asked myself : "Is Joan Fontaine gettin smaller ? She almost disappears in these halls of Manderlay, where the past is written in every angle of the glorious setting."

    One day i love to see this in a double feature with Cukor's GASLIGHT again, of course in a theatre :)

  • The Silence of the Lambs

    The Silence of the Lambs


    If the potential of a film is measured only by the mise-en-scène, Jonathan Demme´s SILENCE OF THE LAMBS belongs to one the greatest combinations that US cinema has produced in the early 90´s. The choice of the settings surpasses so many Psycho-Thriller before and after. The color dramaturgy is also exquisite. As far as the script is concerned, one might regard the psychological level between Clarice Starling and Hannibal Lecter as relatively simple.
    In any case, more simple and, above…

  • The Lineup

    The Lineup


    "Crime's aggressive and so is the law. Ordinary people of your class don't understand the criminal need for violence."

    The essence of so many Siegel films, here said in a dialogue of a brutal real time thriller on location in a tight way. There is not only a second too much. A brilliant little masterpiece !

  • The Beguiled

    The Beguiled


    Sofia Coppola's adaptation is mainly concerned with the image, the equipment and the score. The rituals of the girls' community are reminiscent to "The Virgin Suicides" or "The Bling Ring". As far as the production is concerned, the film scores. Everything else is locked away and shortened. Contrary to Don Siegel's film, it is more feminine, but this doesn´t change the fact that Don Siegel has made the film, which could be called more feminist. The psychosexual component of this Southern Gothic nightmare is almost irrelevant for Sofia Coppola, or she is not particularly interested in it. In Don Siegel´s outstanding film it´s the heart.

  • The Hunt for Red October

    The Hunt for Red October


    Right in the time between Glasnost and Perestroika it´s almost an Utopia, told from one point of view : The US. So much to the critical part, which is here more than in other "pro Russian US Films" of the 80´s relevant because it leads the film from just this point of view. The approach does not actually exist, because it has already taken place anyway. Nevertheless, the film as a submarine genre film makes it´s cause more than good and that´s because of a great to the ground direction of John McTiernan. Definitly the best of Tom Clancy Movies.

  • A Better Tomorrow II

    A Better Tomorrow II


    The last 20 minutes compensate for a film, which in every respect must be described as failed. The production history provides sufficient information. But the last 20-25 minutes are the absolute madness. Not only the completely crazy mega shoot out at the end, but already before: the scene where Kit is dueling with the killer and the cut combines it with the birth of his daughter totally blows me away !

  • Desperately Seeking Susan

    Desperately Seeking Susan


    Works in many ways, like a continuation of Smithereens, but here with a rather boring Zeitgeist script, which is mainly attributed to Madonna. And this is at the same time, however, the huge success of the film in the 80s. Madonna is also great in her role but everything else fades next to it. Especially the screenplay, with few nice dialogues and ideas, which can bring out from the rest of the cast unfortunately only the minimum. A film that today, if at all, only works as the film in which Madonna has played herself pretty great. But nothing else.

  • Point Break

    Point Break


    In the first minutes of the film you are in the water. The cut connects two worlds, by Special Agent Utah and surfer guru Bodhi. One is dived in waves, the other in the rain. Both could not be more different, but they fuse together during the film, more one is pulled to the other. The film ends on the beach in the waves and in the rain. One world has now completely absorbed the other. And this world is…

  • Alien: Covenant

    Alien: Covenant


    Well, yes. The small Hammer Movie inside David´s castle was nice but it gets pretty annoying when you watch a film and you can see almost every minute how the production company tries to feed the fanboys.
    Especially extensively here from the second part by James Cameron and this is unfortunately more formulaic than all the first four parts of the franchise were ever. The idea to renew a franchise and to give the images of H. R. Giger a mythical story was never a good idea anyway.

  • Prometheus



    Fails also in the second viewing because on one hand Scott wants to get rid of the franchise and tries to make something new but on the other hand he still wants to fulfill prequel qualities. It works unfortunately only conditional and seems all the more ridiculous when the film tries to repeat well-known formulas. It´s not a mess, for this it´s to beautifully designed but the great DNA choir is drowning everything from the second half to the end.