Just saw "My Suicide" at the Berlin Film Festival, where it was hidden in the "Generation" section for children's and youth-related movies. It is hard to describe the story and visual experience of this movie in just a few lines, so to spare you an extensive review, I'll just say this: "My Suicide" is one of the most powerful, most inventive and most thought-provoking movies in years, constructed in a tour-de-force of virtuoso editing (finishing this movie after principal photography took three years) that will blow the mind of any real film lover on this planet. And it is the most insightful, intelligent movie I have ever seen on the topic of teenage suicide. "My Suicide" is surely not only the best film of the entire festival, but one of the best films of this year - if somebody is daring enough to pick it up and distribute it properly. I pray for all movie freaks out there that somebody does.
Reviews
10 Reviews
Klassentreffen
(2004 TV Movie)
Outstanding TV movie with great script, direction and cast
20 August 2004
I strongly disagree with the earlier comment from the user Buscherl. I think "Klassentreffen" is an exquisite example for all the strong points of a good German TV movie, producing great work under the constraints of a very limited budget, and thus concentrating on narration and characters.
It has a story anyone can relate to, provided one is open enough to empathize with the strong, realistic characters who are greatly developed by the actors and the dialog writing. The amazing script brings an interesting twist to the movie with its structural device of telling the multi-character story not completely chronological, but for one character after another - an ingenious narrative technique, which adds suspense and gives better opportunity to get to know and judge the characters one at a time. The subtle direction is also very good, reaching a touching highpoint with a nostalgic scene in a music classroom that borders on pure movie magic.
Perfected by a great ensemble cast performance, "Klassentreffen" is an outstanding German TV movie and a definite recommendation for everyone who has learned that life doesn't always turn out as planned or expected - shortly, for all of us.
It has a story anyone can relate to, provided one is open enough to empathize with the strong, realistic characters who are greatly developed by the actors and the dialog writing. The amazing script brings an interesting twist to the movie with its structural device of telling the multi-character story not completely chronological, but for one character after another - an ingenious narrative technique, which adds suspense and gives better opportunity to get to know and judge the characters one at a time. The subtle direction is also very good, reaching a touching highpoint with a nostalgic scene in a music classroom that borders on pure movie magic.
Perfected by a great ensemble cast performance, "Klassentreffen" is an outstanding German TV movie and a definite recommendation for everyone who has learned that life doesn't always turn out as planned or expected - shortly, for all of us.
The Matrix Revolutions
(2003)
Honestly, what were they thinking?
31 October 2003
Having seen "Matrix Revolutions" today at a press screening in Germany, I can't help to be disappointed, and very much so. Considering the vast possibilities of the storyline after the end of "Reloaded" (when the idea of a Matrix within the Matrix seemed almost certain and the fate of Neo had just gained an immensely multi-layered dimension), what the Wachowski Brothers now present as a conclusion is too simple and easy to believe. It almost feels like their audience understood better what potential lay in their story than they did themselves. And that can never be a good thing.
An O.K. movie if you just take it for itself and judge it by the usual standards - and if you can still enjoy the awesome visual style and the pitch-perfect action sequences - "Matrix Revolutions" is almost a complete failure seen as the closure of the trilogy that has already revolutionized modern cinema. Seldom have I felt this let down by a movie that was supposed to fulfill high expectations. The Wachowskis, after all, may not be as brilliant as we always thought them to be. Sad, but true.
An O.K. movie if you just take it for itself and judge it by the usual standards - and if you can still enjoy the awesome visual style and the pitch-perfect action sequences - "Matrix Revolutions" is almost a complete failure seen as the closure of the trilogy that has already revolutionized modern cinema. Seldom have I felt this let down by a movie that was supposed to fulfill high expectations. The Wachowskis, after all, may not be as brilliant as we always thought them to be. Sad, but true.
Strong contemporary portrait of political and media abuse
24 November 2002
Apart from its general and still (i.e. now more than ever) valid attacks on the scrupelous tactics of tabloid journalism, this movie is also very valuable as a time piece about German society in the 1970's, when the country was shaken by fear of terrorist assassinations and everything considered anti-Democratic (meaning left-wing). In this way, the film not only takes into question the missing morality of tabloid journalists, but also the loss of human rights in a society bothered with questions of homeland security (parallels to the current situation in the U.S. are obvious). Katharina Blum is not only destroyed by the merciless press abusing her for sensationalist journalism, but also by a police and judicial system that doesn't value an individual's right of privacy anymore, and even less the principle of innocent until proven otherwise.
A film of exceptional quality (even though the acting isn't convincing at some times), "Die verlorene Ehre der Katharina Blum" is strongly recommended to every thinking movie fan with an interest in the abuse of power in our not-so-democratic society.
A film of exceptional quality (even though the acting isn't convincing at some times), "Die verlorene Ehre der Katharina Blum" is strongly recommended to every thinking movie fan with an interest in the abuse of power in our not-so-democratic society.
Glitter
(2001)
The star vehicle's final declaration of creative bankruptcy
22 September 2001
Spending more than ten seconds of thought on "Glitter" is already setting a world record, since you've clearly outdone the producers by then. There were star vehicles before, depending for their drawing power mostly on the big name on the poster. But at least there was something else in them. Anything. "Glitter" is hollow on the inside, and on its surface it got nothing but Mariah Carey. Which is next to nothing considering the complete absence of acting skills this amazing singer presents here. Anything in this movie, from plot to script to setting to characters, is the product of one lame session of five-second brainstorming. Picking up every first line that came to their heads, the writers put together dialogue without any depth or meaning whatsoever, leaving some cardboard figures of characters behind even good actors couldn't have done anything with (not that there are any good actors in this one). Blaming "Glitter" for its formality is almost an insult to all decently unimaginative movies, whose makers just couldn't think of anything better. With "Glitter", no one even bothered to think.
The next cinematic revolution. Period.
3 July 2001
Whatever you may have expected "Final Fantasy" to look like: You were right. Apart from being the most-realistic looking animation movie ever made, it also creates a visual style so fast, energetic, creative and in its detail nothing short of perfect that you leave the theater completely dazzled, closing your eyes for the next couple of hours to keep the pictures from slipping out of your memory. Combining a well-tailored action story in best Hollywood style (greatest apocalyptical scifi since "Aliens", by the way) with all the trademarks of Japanese Anime genius, "Final Fantasy" is the perfect synergy of two cinematic cultures, combining philosophy and entertainment until they become one. One is not often given the chance to witness something like this. You had "The Matrix", now you have "Final Fantasy". The next cinematic revolution. Period.
The Mummy Returns
(2001)
If you thought the first one was great, this one's not one step down the ladder
3 May 2001
Okay, the story of "The Mummy" was stupid, and the story of "The Mummy returns" is no more than a lame excuse for another movie. But, thank God, the movie is completely aware of its silliness, and thanks to that (and therefore full credit to writer/director Stephen Sommers), the second part is exactly as great as the first one. The dialogue is still witty, self-ironic and very funny (sometimes even more so than the first time), tongue-in-cheek allusions to a whole bunch of other movies (from Titanic to Alien and back) will leave you howling for more, and except for a small step on the break in the middle (with 123 mins., the movie's a bit too long), it's rollercoaster par excellence. Bonus point: The sometimes crappy visual f/x of part one is first rate this time. All in all one of the rare occasions where a movie successfully makes fun of its own stupidity, and thus turns out to be exactly the ride you wanted it to be. Thumbs up!
Charlie's Angels
(2000)
Simply the best Action-Comedy in a long, long time
23 October 2000
I must admit I was very skeptical before I attended this movie. But it only took twenty seconds, and all my doubts were blown away. Seeing the impressions of "T.J. Hooker - The Movie" on the TV-Screen in this airplane gave me the first of plenty good laughs, which combined with perfectly stylish action scenes and unbelievably high pacing. Not for one second I got bored in any way, but instead felt purely entertained in a way I didn't feel for a very long time. This great combination of nonstop action and comedy from start to finish is the best Blockbuster movie of the year. Absolutely hilarious.
Gladiator
(2000)
Ancient Rome lives again, supercool Crowe in this summer's certain Smash-hit
2 May 2000
"Gladiator" certainly is one of the very few movies this year everybody's been waiting for. And the waiting was sure worth it. In short, "Gladiator" gives you everything you might expect from it. It does not deliver less, neither does it deliver more: Half-hearted attempts to put more weight on the political issues of the Roman Empire don't work very well, and comments on the decadence that led the Empire into its destruction seem too much put on. These things only speed down a plot that is so action-packed, it would have satisfied the audience without that much thought-provoking stuff.
In fact, it will make the audience cheer and yell for more, just like a long time ago in the Colosseum. Ridley Scott delivers visual images that are so intense and powerful, so detailled and simply HUGE, you feel like they were made for battlefield paintings the size of the Empire State Building (horizontal, that is). But the most unforgettable thing about "Gladiator" is Russell Crowe. His performance is simply beyond human. When Crowe stands in the dusty arena of Rome's Colosseum, making his already legendary revenge oath, you are simply blown away by his tremendous charisma. A look into his eyes, and you think that the concept of honor was not invented for him, but by him. After you have seen "Gladiator" you will certainly know what ancient Rome looked like (especially when it was Partytime in the Colosseum). You will not understand Rome's political situation, for the movie gives wrong facts (intendedly) and just doesn't work in this direction. But hey, nobody wants politics in this movie, anyway. It rocks, you will enjoy it, and you will yell for more. A Gladiator's work: Give the audience what it wants to see. They will love you for it.
In fact, it will make the audience cheer and yell for more, just like a long time ago in the Colosseum. Ridley Scott delivers visual images that are so intense and powerful, so detailled and simply HUGE, you feel like they were made for battlefield paintings the size of the Empire State Building (horizontal, that is). But the most unforgettable thing about "Gladiator" is Russell Crowe. His performance is simply beyond human. When Crowe stands in the dusty arena of Rome's Colosseum, making his already legendary revenge oath, you are simply blown away by his tremendous charisma. A look into his eyes, and you think that the concept of honor was not invented for him, but by him. After you have seen "Gladiator" you will certainly know what ancient Rome looked like (especially when it was Partytime in the Colosseum). You will not understand Rome's political situation, for the movie gives wrong facts (intendedly) and just doesn't work in this direction. But hey, nobody wants politics in this movie, anyway. It rocks, you will enjoy it, and you will yell for more. A Gladiator's work: Give the audience what it wants to see. They will love you for it.
At First Sight
(1999)
Horrible
21 May 1999
Sorry for everyone who liked this movie, but in my eyes it's absolutely horrible. The characters are unrealistic, the emotions are overdosed to the maximum and the screenplay throws in so many standard story cliches that you stop counting when passing 100. Just a few examples:
1. The Sorvino character needs an eternity to even recognize that the man who gave her a massage and talked to her for ten minutes is blind. 2. Val Kilmer is the baddest screen-blind I have ever seen. And for the first hour of the movie he is permanently smiling, in a way that makes me want to smash his face. 3. What the hell is the father doing in this movie anyway? Here you got the greatest standard plot device ever, and it serves absolutely no purpose.
I could go on and on, but I got better things to do than talking about this crap.
1. The Sorvino character needs an eternity to even recognize that the man who gave her a massage and talked to her for ten minutes is blind. 2. Val Kilmer is the baddest screen-blind I have ever seen. And for the first hour of the movie he is permanently smiling, in a way that makes me want to smash his face. 3. What the hell is the father doing in this movie anyway? Here you got the greatest standard plot device ever, and it serves absolutely no purpose.
I could go on and on, but I got better things to do than talking about this crap.
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