Automatic translation of drunkmen's movie reviews on the Zone 5300 IFFR blog
Maybye the most unimpeachable attempt at the festival this year.
It all adds up to a long, abominable - but unimpeachable - piece of crap.
A film that denies effervescence. This script fails to meet it's potential in the end. Whip-smart but aimless.
A very unsettling flick.
Authentic, dazzling and entertaining.
It is spellbinding and substantial.
It does not result in an okay tale, no doubt the movie is endowed with a
tableau of sparks. While the movie is an attempt full of innocence, it is in
the end a sentimental picture. It is a melange of intentions, perhaps the
acting suffers from flawed dialog.
The emotions of 'The Adventure of Iron Pussy' are philosophical. The style of the film challenges effervescence, probably the most structural experience to hit the screen. The story is a study that reiterates all effect and message with a few magical moments.
The script is an examination of laughs, no doubt it is rather forgettable. It is totally flat.
Simply put, enjoyable but frivolous junk.
Singular yet cliche-driven.
Not exuberant, but still it is more of an
unimpeachable flick than an engrossing movie.
This movie has some sincere
parts.
The casting is naturalistic. The tale is inspirational, albeit Hendrik Hölzemann manages to turn it into something remarkable.
I expected a lot from this picture. A story that shows realism. 'Land of Plenty' works on a social level. Poignant, upbeat and impressive.
It comes down to one slow doodle.
As much as it lacks zest, I didn't find a few moments elegaic. The perceptive attempt is most of the time harmless.
A tough letdown.
This work is a celebration that denies finesse. It
doesn't produce a gratifying flick, however the motivation of it compels
viewers to accept symbolic rigor. The messages of the movie are enjoyable,
still the filmmaking actually was vulgar. It attacks an analysis of humor.
It is a movie full of redemption. Brad McGann makes it outlandish and visionary. 'In My Father's Den' is a tableau of layouts.
Scumptious but aimless.
The script is an exercise of intentions, arguably
the most political film in Rotterdam this year.
It fails to deliver in the
end.
It has some groundbreaking shots. The composition is absolutely great as is the cinematography.
I heard the flick is more of an emotional story than a realistic picture. Engaging but outrageous fun.
The tale is literate and unsettling. Even if it is a rather gripping flick, it is most of the time harmless.
The motivations of 'Team America: World Police' are caustic. The sacrifice of it reflects on meditation, no doubt it is pretentious. This attempt is an examination of stereotypes. A must see.
Intangible, distinctive and invigorating.
A movie that analyses
indulgence. Not very exuberant, but perhaps the project works more on a
physical than on a visceral level. The movie is utterly disjointed with its
suggestion of associations. It is a kaleidoscope of pitfalls.
A clever virtuoso achievement.
Liorah who saw the first screening told me it was simply great. 'Bombón - El Perro' is a myriad of semanticlaughs with lots of irreverent attitudes, perhaps Carlos Sorín's direction will not be to everyone's taste. Though this script promotes an exploration of guilt, I thought it was overwrought.
Shattering yet old. More of a smart tale than a bizarre film.
The flick has some edgy elements. The attempt ultimately suffers almost deftly from a buoyant certain imbalance. A must see.
Encouraging but languid.
It is a story full of loss, but the script is
rather flawed by cliche-ridden dialog.
The picture is a study of pitfalls.
This script is a very sensual movie. Despite the fact that the lighting is ambitious, it does not make an amusing movie.
My expectations were high but it is most of the time aimless. An overrated, somewhat virtually irreverent, cloudy bore.
What a profane drag.
'Three... Extremes' created a lot of buzz from critics, so my expectations were high. The almost inherently urgent experience is totally facile. The messages of it are entertaining, perhaps the most auditory story to hit theaters lately.
I heard the work is elegaic, bizarre and buoyant, so I wanted to see the attempt. 'The Edukators' is a melange of stereotypes. It is an exercise of moods, however the composition doesn't result in a good picture.
What a stereotypical drag.
Edgy but flat.
It falls short of emotion in the final part. Not very
engaging, however it is an examination that raises concerns on insight and
style with some remarkable pitfalls.
The intentions of this story are entertaining. The attempt is utterly profane with its kaleidoscope of politicallayouts. The movie works on many levels. A rather perplexing picture.
The script promotes an exploration that obscures all vulgarassociations. It does not make an entertaining flick. It is most of the time pointless, but 'Familia rodante' has some impressive parts.
An exuberant, perhaps virtually thoughtful, sentimental doodle.
A tough letdown.
Even if it is a melange of effects, it doesn't result in
an amusing tale.
The project is transparent yet harmless. Even if the
message of it reverberates meditation, I can't say it is honest. The idea is
absolutely great as is the cinematography, perhaps Paul Bush manages to turn
it into a suggestion of depth.
The festival paper called it more of a naturalistic movie than a caustic picture. The film is urgent and sincere with lots of buoyant moments. A movie that concerns grace, however it is slightly facile. Intangible, slick and outlandish.
The somewhat profoundly visionary flick fails to deliver in the end. It lacks visceral realism. Ambitious but cloudy.
What an overwrought doodle.
The motivations of 'Hotel' are intriguing. This story is an attempt full of laughter, no doubt it is frivolous. It is an exploration of intellectualsparks with some unsettling associations.
I heard it is nice, so I wanted to see what the buzz is about but the script becomes painful and disjointed. 'Izo' evades a tableau of attitudes. The movie is a study of sacrifices, arguably the most subliminal movie at the festival since a long time.
The work works on both a cultural level and a formal level. The film has some absorbing parts, but still the acting is totally overrated. A must see.
A very haunting tale.
This attempt is a must see. It does not produce a
cool project, still the mood of the flick compels us to examine cultural rigor.
I heard a lot of good things about it. An achievement.
Kim Soo-Huyn makes it unimpeachable and authentic. It is a melange of stereotypes. More of a spellbinding story than a thought-provoking picture.
The effects of it are smooth. Not enjoyable, surely the movie suffers somewhat deftly from an upbeat structural imbalance. The movie is most of the time aimless.
A rather compelling script.
As much as the lighting is beauty-induced, it
ultimately fails to transfer indulgence.
'Samaritan Girl' is singular. Although a
film that reiterates consistency, it actually was a predictable attempt. The
tale is an analysis of zest, albeit Kim Ki-Duk's direction isn't profound for
everyone.
It is a lesson of morals. Despite the fact that it is a story full of satisfaction with a few sensual scenes, I can't say '2046' is exhilarating or substantial.
I expected a lot from this movie. The composition is truly great and the filmmaking is evocative. The picture is pristine, magical and invigorating, but perhaps it is a bit infantile. A must see.
Cliche-driven and emotional junk.
The script is flawed by flat dialog in the final shots. It is a kaleidoscope of emotions, probably the most semantic flick in Rotterdam. 'Verborgen gebreken' works on so many different levels.
This experience resonates a celebration that affirms effervescence, never the less the lighting is most of the time harmless. The styles of it are encouraging.
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