Change Your Image
oglydoglin
Reviews
The Pianist (2002)
Blows away that Disney-Holocaust Spielberg melodrama.
The longer the 2nd WW is behind us, the more films and books fill in our perception of that event. The most important aspect to The Pianist is: it blows away that Disney-Holocaust Spielberg epic. Polanski is very modest here, and that suits him and the film. The fact that the things we don't see, but only suggested with, are even more horrific than the horror we do get to see is a fantastic approach. It is seldom we can see a picture where one has to think, an fill in, instead of being fed. But there is a downsize: the story stays very close to the book, in fact, it adds nothing new to it, except for the stunning images. With the same imagination we use in the film, we can read the book and get the same result.
But then again, the longer ago the event is, the more important nowadays it is for people to go and see this very solid and integer picture. If you are really up to it, go and see the Russian epic called "Go And See", and then you will have a truly visual experience what war against an innocent young man is really about...
A.I. Artificial Intelligence (2001)
here it is: worst movie ever
It is a nice way to pass your time: rent a camp-movie from the 7ties, get a crate of beer, invite your friends, and laugh your head off. Look no more, here it is: the most ridicule camp movie of our new millennium has arrived. Everything is there: already outdated special effects, a musical score that is obviously made to cover up the total lack of fresh and creative visual settings, and the Magnum Opus of, indeed, robotlike actors -that goes for the humans as well as robots acting robots. Spielberg doesn't like people, he must be scared of emotions, he can only make cliché's into very expensive cliché's. Every dollar spent on this one is a shame -except for a good evening of total and utter camp.
Coup de torchon (1981)
A mirror of human nature.
This very intelligent-made film is not what it seems. Many viewers can't seem to overcome the so called change after 20 minutes or so. It is clear that Lucien Cordier (Philippe Noiret) is very well aware of who and what he is -from the beginning of the film. The mere fact that he acts in function of his later deeds, makes this film not a "real time" story, but something of a far more mythological nature. He is destiny, in a biblical sense of the word. The crimes he commits are what his victimes deserve. As in many European films, they tell you not just the story, but an Idea behind it. In my opinion, he is some sort of a Jesus, but with all to human deficits. He uses human means to act as a God, in order to make us aware of our own deeds. Everyone he kills think they can get away with their "sins". His deeds are revolting, -but that is the whole point: he is us, used by the director who holds nothing but a mirror in front of human nature. The lack of his morality, is a nothing else than a clue for Taverniers view on humanity. Typically a great film, that should be viewed more than once!