DaViD´82

Packed with energy (a real risk of leg cramps caused by nonstop stamping to the rhythm). Drummer Full Metal Jacket following the rhythm of the first Rocky movie which, however, often (and above all unnecessarily) scores its own goal by too obvious intensified emotional calculation in the behavior of (intentionally) not nice characters/plot twists. And so the same question can be applied to Whiplash, which the creators themselves indirectly ask the viewer during the footage: Was/is it worth it?

The "pattern" of see-have-fun-forget is applied to a silly fairytale fantasy (with the identical twin of Timothy Olyphant!), which is not taken seriously and is not in any way ashamed nor it apologizes for what it is. An unambitious bullshit with all genre transgressions and clichés. But once in a while it is fun, that is true.

“I give zero fucks about anything, yet I have a strong opinion on everything, even topics I'm not informed on." First thing which comes to my mind is to write that it is Sex in the City (because a comedy drama from the life of four gentle women in New York under the auspices of HBO) for the younger generation, but it would not be fair to this self-proclaimed generational statement, let alone apt. The two series couldn't be more different in terms of style, humor, target and focus. Sex and the City was an unwanted parody of itself (and therefore an excellent guilty pleasure, that is true) about the age of the "pretend we're in our thirties" and not very bright city cows on high heels and their search for guys/clothes/cocktails and… And nothing more. The neurotic Hannah aka Lena, very much and sometimes to her detriment wannabe Woody Allen in a female version. Dunham has definitely a lot to say about this generation of privileged white people "who do not know what else to do", adolescence, self-search, independence, relationships and life as such and is not afraid to say it very openly, hard, to the point, self-ironically, vulgarly and uses strange sexual aspects and practices. The only question is whether what he says (and especially how he says it; whether through his alter ego or his words that are told by life characters) is something you want to hear in the first place. And this is the polarizing point, because for the fact if you like it or not depends on if you can (not) handle the very unique speech of Lena Dunham. It will either get on your nerves (and through it even the whole series, because he is behind the typewriter, behind the camera and in front of it) or not. And in none of those cases it is not surprising, but if nothing else, it's a grateful target for apt sketches | S1: 3/5 | S2: 3/5 | S3: 5/5 | S4: 5/5 | S5: 4/5 | S6: 4/5 |

The Great American Novel about adult problems in the form of an advanced series that does so many things so well that the few things it doesn't do so well is even more striking. First of all, it is very much the same at the beginning (each of the introductory three episodes alone is great, but together they are so the same that they are almost indistinguishable and, as a result, repetitive) and then the "rashamon" approach of an unreliable narrator, who plays the major role along with the characters. In principle, they work with in a very sophisticated way that is well thought out into the smallest details and it is clear, but sometimes even cheap. One thing is that everyone always sees themselves better than others see them and that they remember events differently, color something, adjust it, forget it or hide it, but here the views are often so primarily different (even with regard to the possibility that they both deliberately lie in all their essentials to divert attention) because they are too openly pushed into the viewer's face. Paradoxically, the lines of these two are more interesting when they are not together and the constant "contradictions" of their versions do not distract. And then the biggest snag is bizarre decision to make a live advertisement for the glamor of the redhead and the girl with the sexiest British accent named Ruth Wilson brunette with a mediocre American dialect, grrr... But otherwise, it's an extraordinarily well-played narratively playful dark intimate relationship movie that is unmatched when fully focused purely on characters and dialogs. On the contrary, it does not go that smoothly as it tries to develop a "clever" plot. In any case, it has a charge and an idea, and even in the current tsunami of quality series, it will not be lost. | S1: 4/5 |

(Hothead + short preview the original final scene) × neorealism = a peculiar confession of love for the unrestrainedness of (not only) primeval football (not only) in Sardinia... In any case, the story lines that mirrors the back stage of football is kind of makeweight. And although it is not bad, it does look like from a completely different film.

Japanese Dark Blue World that after outstanding (refreshingly subversive, anti-war and human) first half turns into the nationalist melodrama that in a bombastic way celebrates the true old-fashioned Japanese values. Which wouldn't necessarily be a bad thing if it weren't multiplied ad absurdum by a cheap appealing line from the present (the pre-final scene of the flight is an absolute evil because it is too obvious), that come from nowhere and goes nowhere through a storyline where it's clear from the start what and to whom it is all progressing, and at the same time this line has even incomprehensibly more space than the disproportionately more interesting World War II scenes.

Do you know such nicely written and played overseas unconcealed agitation movies that are against the death penalty? So this is the British equivalent of the same, the only difference is that it opposes the currently frequently criticized historical law in Britain that is controversially interpreted, if you had the slightest share in the (evil) act leading to homage/murder, you can be suited as if you committed the crime yourself.

An absolute disproportion. So many words and so little said. What Perec wants to say is clear soon, but the only thing he wants to share with the world he keeps repeating over and over again. It is true though, that he always uses different words, but how much they want to exploit this idea is simply absurd. On top of that, there is an absolute unbalance of image and sound. Without that repetitive voice-over, it would paradoxically work much (much, MUCH) better, because the image itself conveys the idea more impressively, more playfully and more sophisticatedly than the annoying bunch of empty words, which becomes not only disturbing but completely useless, and therefore even more annoying. In other words, these are two separate units; monotonous radio reading of Perec's work converted into Queysanne's magnificent visual representation of the same. Yeah, and l almost forgot... It keeps repeating.

S1: "Oliver Hughes" (4/5): It is very nice in terms of its civility of simple cheap recombination and fabricated twists, and even more because of how consistent the approach "it can happen to you too" is. And given the pitfalls of the topic of losing a single child, it's surprisingly non-melodramatic and emotionally-draining. And despite all the cold atmosphere of utter chaos, depression and hopelessness, it's not emotionally cold or cynical. In addition, it is an unprecedentedly successful symbiosis of the Scandinavian approach to the genre, in which the barriers between personal drama and criminal sequences are completely blurred. The playwright can do with the fact that people are ... Just people, in other words, there is neither conspiracy nor unnatural big revelations. Nevertheless, I have one reservation; namely, narration through an intertwined "present/years ago" approach, which is generally beneficial and not only a cheap way to stretch the plot to more episodes, but still only about half of the season parts "years ago" often tread the water unnecessarily and it keeps moving forward only thanks to the line from the present. And by far the best is the ending itself, which gets stuck under the skin like almost anything else in this genre. S2: "Webster/Giroux" (3/5): Civility has given way to the will of recombination and offers redemption; that is something completely unknown. Anyway, it's not bad either. It still has a first-class cast, it's emotional not in a cheap way and the topics of losing a child are addressed skillfully (and above all differently). The length is the biggest drawback, as eight episodes are unjustified. And nothing proves it better than the Iraqi troubles covering four episodes, so that the result is something that can be done with a twenty-second phone call.

A Christmas special that, through Sandman-like facehuggers, attempts something quite similar to an episode of Amy's Choice back in the day. However, despite the undeniable qualities of this Holiday Alien Beginning, it managed to do it better; and more subtly.