Daniel Karlsson

Kansas City Confidential (1952)

Action-thrilled, well-made - must-see noir

Very positively surprised; great and original script, very good acting especially by Payne, flawless dialog, good photo, action, romance and suspense, even morals...what more is to ask from a film?

Payne's voice, expressions and lines seem an early copy of Clint Eastwood in the 1970s. I would be very surprised if Eastwood and potentially also the directors he worked with did not get inspired from Payne here, and potentially in other movies, as an ideal super tough but morally good person.

Agree with other reviewers that the first half is the best - with impressive suspense, acting, and especially dialog - but it ends quite well too. Overall one of the best of the genre.

Khesht va Ayeneh (1966)

Important, powerful yet frustrating cornerstone of early Iranian cinema

As the other reviews tend to the extreme (vote 1 and 10, respectively), I feel obliged to provide another take at this early Iranian film. My verdict is between those of the other commentators, and they both have valid points. The experience will also depend on your understanding of Iranian history and society.

Actually the film is rather unique and difficult to judge. It appears amateurish at times, at other times it comes off as a true masterpiece, then there is the overly long and repetitive middle section with the baby which would benefit from cuts in the editing. Indeed the weakness is the overly long scenes and lack of focus. The plot centers on fear and responsibility, apparently influenced by political events of the time. Yet one of the topics would have been sufficient.

Nevertheless I recommend this film (especially viewed in wide screen in the cinema) for any serious film enthusiast. There are some masterful and moving shots and scenes, not the least the outdoor scenes in Tehran and the scenes at the orphan clinic. For me, the best scenes are at the end, the hypocrisy revealed at the TV store and the ending when the main character leaves everything behind and takes to the road in the sunset.

Deus e o Diabo na Terra do Sol (1964)

Not worth watching

I saw this film on the premise of that it according to critics is the "best Brazilian film of all times". Critics are way too generous to this young auteur influenced by Eisenstein and other masters, mixing genres and styles but only achieving an amateurish, confused, pretentious and quite tasteless work. It is messy, low-budget and is overall not worth watching despite a handful of nice shots and moments. In an accompanying interview to the film, the director Rocha, with Marxist rhetoric, blame European colonists for Latin America's economic problems and justifies the movie's content as "the aesthetics of hunger". To me, more than anything else, it shows the madness of religion and cults and how they attract people in desperation.

Le mystère Picasso (1956)

An important and unique portray of Picasso's genius

This is not a perfect film; it could have been better produced. But it is very important for stunning insights into how Picasso thinks and works, saved on camera.

When we look at a painting we see only the end result of a creative process. This film uniquely (to my knowledge) shows the previous steps in that process. How a picture evolves out of a trial process that produces several masterpieces, which are consumed and transformed into the end result - and, of which only the end result remains.

In this process you will witness many stunningly beautiful works. The motives are typical: homes, bulls, goats, women and landscapes in Spain. It seems as if Picasso's greatest weakness was that he overworked his paintings to a degree that they in some cases became less masterly than mid-way into a process - in some cases it even leads to the ruin of a whole work and the painter has to start fresh again.

For the joy and unique insight of Picasso's creative process that the film brings, it needs to be preserved and watched for all future generations.

La double vie de Véronique (1991)

An artistic masterpiece

Any true cinéaste is not obliged to overlook this masterwork. Although Kieslowski is a highly skilled director with a respectable list of great films on his resume, this is my favorite of his oeuvres.

The photo is fantastic. Every shot could have been disassembled and put up in a photo exhibition. The music is excellent. The story is a little diffuse in an interesting way and very rich in its scope for interpretation. Actually the film is so much broader than just confined to a single story. And this is like life; life is not always as grandiose as we think or wish it to be, but the simple things can be beautiful. It covers many small things in life, and like Kieslowski's other films, the approach is steady yet light-handed, relaxed. It is poetic, it is about love, about life, about mysteries.

It is a tragedy to not take advantage of an opportunity that comes into one's way, maybe once in a life time - and we suffer regret. Iréne Jacob has similarities to Juliette Binoche, probably Kieslowski's type of ideal woman: independent and beautiful. Like for example Binoche in the Blue film of the Dekalog, the women in his films have adopted to loneliness. But they cannot handle it completely - nobody can.

In the end, it is sense of utter satisfaction to have completed this film that does not disappoint on any single point. It leaves me with yet stronger motivation to learn French - to be able to see this masterpiece without subtitles.

The Grand Budapest Hotel (2014)

Weak and rather pointless movie with a luxury wrapping

In contrast to other reviewers, I am quite disappointed of this film. It is a rather weak comedy aimed at a British/American audience with limited knowledge of Central Eastern Europe's cultures and languages - and its bare content may therefore appear exotic and hilarious. The whole actually resembles Swedish comedy movies from the 80s, but with modern aesthetics.

The weakest link is the script and especially the dialog. The film starts of in an extreme tempo, as fashionable nowadays, probably not to risk boring any potential young and inexperienced viewers, maybe to appear smart and fresh - with the consequence of the audience losing half of what is going on. The extraordinarily many famous actors do not reach anywhere to potential - instead it seems like squeezing in as many stars as possible in roles that do not offer full scope for their talent.

The second character, Zero Moustafa, as young played by an Indian-looking (apparently Latino) actor, as old by a white Caucasian (why?), may ring fresh with current political news for a British/American audience as he is a refugee who has had to leave his home country due to war - and due to this fact the constant nonsense-speaking Gustave excuses himself for a "racist" remark. And then they run around lightly clad in the snow together for much of the rest of the movie.

For me, not finding anything funny, the only joy is the great cinematography, the photo and the music. The whole show is certainly wrapped in luxury paper - it feels like a waste with such weak content. But dollar-wise it might still be a success

The Story of Film: An Odyssey (2011)

An odyssey of cinema inventiveness...

...rather than, what I initially thought, an odyssey through the greatest films ever made (but partially that as well).

The best part of the film is the interviews. Here the director shows that he certainly is knowledgeable and he manages to get some interesting people on the screen to tell some interesting things.

The footage is weird, avant-guard-style perhaps but could also be called amateurish, low budget with weird shots (interviewee heads are cut off and zoom-in on their mouths etc).

The director should learn how to pronounce French accurately; it turns to some embarrassing mistranslation like "400 asses" instead of "400 blows" if I heard correctly.

It is a long odyssey, might not be in everybody's taste, not even film buffs', but for those who have the time it still offers some good points like the interviews plus mentioning of cinema inventiveness and the important, sometimes lost, films that contributed to the evolution of cinema.

Boys' Night Out (1962)

Very dated

This film is quite similar to "Let's make love" by Billy Wilder starring Marilyn Monroe. Just like in that movie, the married men are so boyish one could wonder how they got married in the first place. Of course, that is part of the comedy in this "sex" farce. The contextual environment and the mentioning of the word "sex" are the only aspects that by any means are "dirty" and could have been questionable in the American cinema of the 50s. However, graphically there is nothing arousing except for a short kissing scene. Although the film starts off entertainingly and promising, it drags out way too long and the ending is nothing but corny. To that comes weak dialog without a single memorable line. I would suggest checking out the Monroe film instead, unless one is a fan of Kim Novak.

Badjävlar (1971)

Well done, but anti-capitalistic

A well-done movie, which I enjoyed watching; most of all I was enchanted by the terrific acting of Ernst Günther. However, as it kept rolling and the anti-capitalistic message became more evident I lost interest in the main story. In a way, it's not unique in that sense since most Swedish (as well as many other European) films I have seen from the 60s are of the same political color. I am sure it must have been more interesting in its time since it deals with a political issue which is not up for discussion today, but at the end it came across as just simply annoying to me; how can capitalism be blamed for the reason that a couple wasted money on a house they didn't own, and their incapability to take legal actions?

Piedras (2002)

Mixed bag

I had looked forward to more from this one. It is worth seeing, since it deals with parts in life many people come in contact with, such as breaking-up-couples, how to start over etc. It had some interesting parts for me, in that sense. It is more mainstream than I had thought. I feel that it is aimed at a large audience; it is populist in the modern South American movie style, and that includes the fact that it is slightly over-sentimental, and not completely non-Hollywood. And something that disturbed me is the overly bias for the bizarre family situations (for example, all young men in the movie are gay, and the families are all split up); I already had enough of the prostitutes, transvestites, you name it, in Almodovar's films...do I have see it in all modern Spanish films? Maybe it has something to do with historical reasons (the Franco years etc.), and clashes between the new contra old traditions in Spain today. To sum up; it was worthwhile, but no masterpiece.

Garden State (2004)

Another point of view

I do not agree with the comment that "movies like this are rare". When I was in the theater I had the impression of "I've seen it before - and it disgusts me". There are plenty of American movie clichés in Garden State. For instance, there is the character played by Natalie ; a pretty girl who in the beginning takes initiative to get closer to a little nerdy guy, who is a stranger to her, and who seemingly is not attracted to her (something which from a simply biological point of view is rather implausible). In addition, there are a lot of, in my point of view, corny, pretentious, predictable and not-at-all-funny jokes and supposed-to-be-romantic moments. Even the camera movements seemed pretentious to me at times. Furthermore, the story just seemed to go nowhere. I was just so disgusted that I couldn't finish it but had to leave the theater in advance. Unfortunately.

The 39 Steps (1935)

Thrilling adventure despite technical flaws

I agree with an earlier comment about this film...it feels like it's ahead of its time. I felt like it was made in the 60s, especially in relation to Truffaut and the French New Wave at that time.

There are several flaws regarding camera work and special effects, but I still regard it as an almost magical adventure. I just saw the film in a theater. I had seen this film before not remembering the title, but having the scenes of the film mesmerized in my mind - I had even dreamed that I was in it. The story goes on rather rapidly, and in that sense perhaps less credible, but there are so many good moments that keep you interested from the beginning to the end. Like in a Truffaut film, there is attention to details, and warm and wonderful twists. There is quite a lot of romance and humor too, which makes it warm.

Not perfect, but highly recommended.

En kärlekshistoria (1970)

Swedish

I had seen Roy Andersson's latest film "Sånger från andra våningen" (2000) before I saw this. Both were highly acclaimed in Sweden. I had expected quite a different film this time; after all, it was a love story, and since the director were younger when he made "En kärlekshistoria" I thought it would be somewhat more easygoing. That wasn't at all the case.

There are several similarities between the two. There is a main plot about a 15 year old boy, working as a car mechanic assistant, who falls in love with an even younger girl. But that isn't the only thing this movie is about. Rather, it seems like Andersson shows a pessimistic view of the general problems of love in our society; lonely people, couples that quarrel, marriages that break up. Similar to his later film, it is shot slowly and very beautifully, and with a dominant depressive mood floating over it. This particularly depressive feeling which I dare to refer to as a mood characteristic of the whole Swedish society. The conversations are also very Swedish. It could be seen as criticism of the society; or just a twisted documentation of it with black humour (probably more plausible).

I couldn't stand that the topic of love was described in this way. Love is the highest source of happiness. This film is completely without exaltation. Again; very Swedish.

3/5.

Train de vie (1998)

Barely decent and rather pointless

Unartistic/mainstream, unfunny, pointless. This film has more in common with standard modern Hollywood than French filmmaking; over-structured and over-timed, and lack of atmosphere, emotions and charm. The cinematography is mediocre; ok but nothing to be impressed about. It has some interesting twists, like Jews becoming Nazis and communists, and, perhaps, a hidden irony over those ideologies. It's not getting anywhere though. It's not an art film and I wouldn't recommend it for family entertainment either. Overall, it's decent, but not worth seeing in my opinion considering the supply of other movies.

2/5

Model Shop (1969)

Decent, but not magical

Holding 'Lola' as one of my favorite films, I didn't want to miss this. 'Model Shop' is supposed to be the sequel to Lola, taking place in LA. There is feeling, and obvious New Wave elements, but unfortunately what works in Paris in black and white (or Nantes, for that matter) doesn't work as good in Los Angeles. It works, but it's not as successful.

The acting is alright, nothing to really complain about, except that the love story between Aimée and Lockwood is too chilly. Lockwood says that he loves her, and already that is doubtful, but when he is in Aimée's apartment he hardly touches her; rather looking down or away, without any passion at all. He seems rather weary.

What seems to have started of well, turned out to be pretty uninteresting and dull. The magic from Lola (the film) is missing. The various ways in which this movie was connected to the earlier film were pretty silly. The script is good - for the most of the time. The ending could have been made much better. Recommended to Demy fans, others can spend their time watching something else.

3/5

Der siebente Kontinent (1989)

Depressing and boring

This didn't work for me. Haneke might be a master of making the audience feel bad during watching. I wouldn't say I only like films with a happy end. But this so cold and without tension. So cold it hurts. And eventually makes you feel sick. The emotions in the film are of the dark side. 'The Piano Teacher' is even stronger, and would be recommended prior to this film. 'The Seventh Continent' gives rise to several questions without answers, and without letting you try to answer them. It's slow and boring; I had a hard time trying to focus on the film instead of thinking of other things. The scenes fit loosely together and it's by far too many close-ups for my taste; the whole film is filmed in a short-range perspective.

Wouldn't recommend the movie to anyone except those interested in the subject. 2/5

La luna (1979)

Flawed masterpiece

Bertolucci's strength lies in the camera work. This film is one of the most beautiful I have seen, definitely on the top 50 of beautiful films. It often looks like watching a painting, with great harmony of colors.

Bertolucci, like in many of his other films, take parts both from heavy art house cinema and mainstream Hollywood cinema. The characters are very much Hollywood, especially in the horrible first 30 minutes. The beginning (except the scenes from the house at the sea) is simply awful. Again, like in other B. films, the beginning is too rapid, unrealistic and uninteresting, an, imho disturbing, element typical for the film noir during the 1930/40s, but it's even worse than that since the dialog as well is awful during that part.

After that, the movie is very captivating and impressive. Also sexually provocative at times. Sometimes twisted but in a relaxed way. Definitely worth seeing.

Jag är nyfiken - En film i gult (1967)

Never ending crap

This film was probably inspired by Godard's Masculin, féminin and I urge you to see that film instead.

The film has two strong elements and those are, (1) the realistic acting (2) the impressive, undeservedly good, photo. Apart from that, what strikes me most is the endless stream of silliness. Lena Nyman has to be most annoying actress in the world. She acts so stupid and with all the nudity in this film,...it's unattractive. Comparing to Godard's film, intellectuality has been replaced with stupidity. Without going too far on this subject, I would say that follows from the difference in ideals between the French and the Swedish society.

A movie of its time, and place. 2/10.

Un homme et une femme (1966)

Ahead of its time

Visually impressive with extremely high photo quality of its time. The camera movements are still impressive by today's standards. It's hard to believe, if it weren't for a few details, that this picture was actually made in the 60's.

Apart from the visually, there is a great dialog, a very charming Anouk Aimée in the first half, good acting, lovable story with 'real feelings', a small but adequate portion of philosophy and a director that pays great attention to details. Trintignant is not my favorite actor but he played his role very well in this film.

Why can't American romantic films be more like this?

4+/5

Tristana (1970)

One of Buñuel's 10 best

I like all films by Buñuel, and I don't think any of his films are boring. Yet, even if they could be very remarkable, some films are much "cheaper", less perfect than others, maybe because they were on a more limited budget. Tristana, though, is one of the perfect ones, in terms well-made:ness. I haven't got much to complain about this film. There is only one piece of music, and obviously Buñuel didn't put much music in his films, but it's acceptable, perhaps a good thing. The acting is very good. Rey is very good. I find the most impressive things to be the script and the dialog, which are fantastic.

Not the most surrealistic work, yet, probably one of Buñuel's ten most well-made.

Cabaret (1972)

Flawed with highlights

Minnelli does a wonderful performances, and it is too bad that most other actors and actresses in the crew do not match up. The stage scenes are top and impressive, especially the "money makes the world go around" song. Otherwise there are obvious Hollywood flaws. The Nazi rising is over-explicit, as like the audience is children told all through the film that "Nazism is bad". The script could have been better. A bad script often restraints the actors from performing well. The direction could have been better as well. Nevertheless, it is entertaining, and worth seeing for Minnelli and the musical parts.

3.5 / 5

Ur kärlekens språk (1969)

Mmm...

Not that bad. Made as an "information film" (Swe. upplysningsfilm) about sex, biologically and socially, during the 60's, I have to say that for its purpose it's well all right. Pretty amusing to sit through, never boring, but ridiculous and nerdy indeed sometimes.

But I think what the Swedes really need, is not an information film about sex, but an information film about love.

3/5

The Dreamers (2003)

Godard and Hollywood

Well crafted. The movie connections are a delight for movie lovers, especially fans of the French New Wave, such as myself. What I most dislike with the film is the American boy. Seen in many Hollywood films all the way back to Capra's days, focus is on a very shy (especially for his age, if he would be in his early teens I would find it more plausible) and insecure boy over 20 years of age, satisfied with his state of life - undesperate despite the fact that he has no friends, with a golden heart - the angel of good moral himself who has the right answers for everything, and then comes this beautiful girl and falls in love with him (the girl taking initiative and leading him all the steps to sex of course - well doesn't happen every day, I doubt it ever happens in real life), suddenly everyone starts to like him and he's a 'winner' in the end. Sort of a 'the kind nerd wins'. I just can't buy that anymore. But ok; this isn't a typical 'kind nerd wins' movie, but the those annoying elements were obvious, from the initial beginning to the end, when Matthew speaks about that they should "fight with brains - not guns".

Otherwise, we have a few pretty beautiful scenes photoed with colorful and sharp film, and the text intro and the last scene, that fades to black and white during Piaff's song (which fitted extremely well there), stand out. Apart from that the cinematography doesn't impress too much. The sound fits well. Garrel managed to satisfy my view of a typical Paris-1960 young man, frequently smoking. Could have been without the incest, made the movie aim for a little too much perhaps, although the combination of two men and a girl was successful. Eva Green was pretty good as well, I particularly liked her imitation from the Dietrich film. Also the Louvre-race is a treat.

I feel that Bertolucci missed something about Godard's highly intellectualism. This film is definitely on a lower level than Godard's films, regardless of epoque in his life. Very little classical music, art, quotes, philosophical material, poems...but on the other hand I guess that's not the intention of the film. The script is ok but not by any means impressive. A caleidoscope and nice treat for film buffs rather than a perfectly-framed masterpiece. Hopefully, it might also help introducing the New Wave to the modern audience.

7

Cléo de 5 à 7 (1962)

Un film pour la vie, et pour moi

• A personal reflection.

Le dîner de cons (1998)

Average

I guess they have to make films like this for the main stream audience to like it. A few funny scenes, but personally I don't find these kind of jokes particularly funny. It's a matter of taste I guess, if you like laughing at stupid people. It's not a very good comedy though, I don't think so. On the other hand, not much to complain about, except that it is empty. Disappointing for being a French film, but still better than similar Hollywood stuff.

2 out of 4