Automatic translation of drunkmen's movie reviews on the Zone 5300 IFFR blog
I heard a lot about this movie. The movie is a movie full of cohesion with a few unsettling scenes. 'Palindromes' is smart and memorable, perhaps the most personal tale to hit theaters lately. It does not produce a cool flick, never the less the mood of it resonates grace. Honest, fascinating and absorbing.
'The Shutka Book of Records' is sincere, but perhaps Aleksandar Manic turns it into something compelling and dazzling. The cinematography is distinctive as is the soundtrack.
The Daily Tiger said 'the messages of this movie are visionary', so I wanted to see it. A transparent, perhaps ironically entertaining, flat drag.
A must see.
Though the picture is a myriad of sacrifices and pitfalls with
lots of outlandish stereotypes, it lacks humor in the end.
It is a story
full of laughter. Not invigorating, still the flick has some substantial
moments.
I heard a lot about this movie. The movie works on a formal level. 'Adolphe' is more of an inspirational script than an intriguing attempt, perhaps the filmmaking becomes an overwrought project.
The film fails in it's narrative analysis. The tale suffers somewhat profoundly from a smooth certain imbalance.
Itgenerated a lot of buzz from critics, so my expectations were high but the picture is most of the time pointless. 'Cavite' challenges a suggestion of semanticlaughs. This movie is a melange of motivations, perhaps the most personal story at the festival this year. It doesn't result in an entertaining experience, no doubt the execution is enjoyable. A rather evocative picture.
More of a poignant attempt than a magical flick.
It is an exploration of
morals. An attempt that denies zest, but still it is schematic. While the
intention of the movie evades effervescence, I thought it was harmless.
Perceptive, upbeat and enjoyable.
The movie is a kaleidoscope of auditoryinsights, surely Hendrik Hölzemann makes it unimpeachable and haunting. It is a script full of depth. More of a realistic film than a groundbreaking story.
The tale is insightful and memorable with some vulgar elements. 'Land of Plenty' is utterly cloudy with its analysis that depicts indulgence.
Untarnished yet frivolous.
More of an intangible attempt than an elegaic picture.
The emotional flick
is totally disjointed.
This script works on a visual level. The effects of
the project are buoyant.
Marcel who saw the first screening told me 'Howl's Moving Castle' was excellent, so my expectations were high. The execution is bizarre as is the dialog. It is a kaleidoscope of stereotypes, never the less the casting actually was vulgar and facile. It has some thoughtful parts.
The movie is truly amazing.
In short, a big achievement.
A very sensual film.
'06/05' is flawed by an uneventful plot in the final
parts. Despite the fact that the movie is a study of laughs, it is most of the
time pointless. This attempt is engrossing but flawed, but it is rather
painful. The motivation of the story reflects on grace, arguably the most
structural tale to hit the big screen since a long time.
It emanates a celebration of styles. Not very exuberant, albeit a flick that denies catharsis. Whip-smart, encouraging and remarkable.
A must see.
This picture is a film full of meditation. While the moods of it are ambitious, I can't say 'Team America: World Police' is scumptious or gripping.
More of an eloquent script than a literate attempt.
It ultimately suffers
a bit from pretentious lighting, no doubt the movie is a melange of
stereotypes.
The experience is convincing.
Authentic, smooth and engaging. An ensemble piece.
The tale works on so many levels, still it is schematic. It is an examination of symbolicintentions.
I expected a lot from this story. Maybye the most legitimate movie in Rotterdam.
I heard a lot of good things about it. The composition is okay and the acting is fine. The urgent movie does not produce a decent flick. More of a philosophical picture than a remarkable script.
I saw a thought-provoking interview with Samuel Fuller, so I wanted to see what the buzz is about. The film has some fascinating shots. Samuel Fuller manages to transform it into an exercise of guilt. As much as the attempt is absorbing yet forced, it is most of the time aimless.
It falls short in the end, however Susanne Bier's direction will not be to everyone's taste. This project is a lesson of pitfalls.
The movie resonates a tableau of sparks. The emotion of 'Tropico de cancer' reverberates finesse, but perhaps the casting is in the end an old movie.
This outrageous picture is a doodle.
A rather profound tale.
The story is a myriad of layouts. Not
entertaining, still it is a script full of realism with lots of exhilarating
attitudes. Though a film that concerns suspense, I didn't find it clever. The
messages of 'Three... Extremes' are slick.
Probably the most poignant flick at the filmfestival lately.
Evocative, engaging and buoyant.
The story is a melange of pitfalls. It
evades a kaleidoscope of sacrifices and sparks. Not exuberant, never the less
the execution is beauty-induced and the filmmaking is simply stunning. The
experience works on both a visual and on an intellectual level.
Many people are talking about this movie, so I wanted to see 'Cinéma Invisible - Het Boek'. It is most of the time harmless, perhaps the film is a lesson of moods. It is spellbinding, perhaps the most emotional tale to hit theaters this year. A very memorable movie.
The insight of this story reverberates meditation. Though the script lacks laughter, it suffers actually from a facile composition in the final reel. As much as an attempt that raises questions about finesse, I didn't find it exhilarating. Intangible, profound and urgent.
In short, it is a truly terrific picture.
'Late Bloomer' is a celebration of innocence with some philosophical associations. The movie is utterly cliche-driven.
Upbeat but painful fun.
The attitudes of it are exhilarating. The flick is a tale full of loss.
It is a tableau of stereotypes. It actually was cliche-ridden, albeit this project is groundbreaking but ungainly. '10e chambre, instants d'audiences' has some insightful elements. More of a gripping film than a thoughtful attempt.
Simply put, a must see.
Outlandish, enjoyable and irreverent.
The movie is an exercise of sparks,
surely the dialog doesn't make a nice script.
A story that reiterates
cultural rigor, however Jessica Hausner manages to turn it into a lesson of
sociallayouts.
It is realistic and unsettling with a few toothless scenes, but it is profane. The impressive picture is most of the time pointless. Whip-smart yet aimless.
It attacks a study of sin. Gianni Amelio's direction isn't caustic for everyone. Not very engaging, no doubt the soundtrack is brilliant as is the script.
I expected a amazing flick because many people are talking about this movie but the work is most of the time harmless. The movie works on both a formal level and a personal level. It is a tableau of associations.
More of a subversive attempt than a poignant film.
A rather substantial tale.
The attitude of the movie emanates finesse.
'So Cute' suffers profoundly from an emotional imbalance. The emotions of it are
clever, maybye the most semantic story in Rotterdam. Though this script is a
suggestion of guilt, it is somewhat flawed by a pretentious plot in the end.
It is elegaic but stereotypical. Though the picture is a movie full of humor with lots of slick effects, I found 'Parapalos' very compelling.
An achievement.
It is an analysis of motivations, still the script is
totally frivolous with its examination that examines all intention and
message.
It falls short of suspense in the final part, but still the
attempt has some shattering scenes.
The film does not produce a pleasant flick. This experience is unimpeachable, but perhaps it is slightly schematic.
Absorbing, untarnished and naturalistic. A big letdown.
A very edgy story.
An attempt that affirms catharsis. 'Stand van de maan' is endowed
with an exploration of pitfalls. While it works equally well on a visceral and
a structural level, I can't say it is atmospheric or emotional. The acting is
reasonably decent and the cinematography is singular.
The movie ultimately suffers from sentimental acting. It is a tableau of moods, surely Paula van der Oest makes it dazzling and pristine. It is more of a magical picture than an evocative flick, probably the most auditory tale at the festival since a long time. Eloquent yet aimless.
Perceptive, entertaining and smooth.
Not invigorating, albeit the style of
the movie resonates indulgence.
'Simon' is in the end a disjointed script.
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