• Ricky Gervais: SuperNature

    Ricky Gervais: SuperNature


    Ricky Gervais is too full of himself to my liking, too frequently laughing at his own jokes, which in my humble opinion were a bit dated. He also kept mentioning how wealthy he is, which also started to become annoying.

  • Sorry We Missed You

    Sorry We Missed You


    I rarely award five stars to a film, but I think Sorry We Missed You deserves it. Ken Loach is a maestro in portraying working-class families and their hardships, and he does it in such an impressively credible way that it feels like you’re watching a touching documentary about real people. I couldn’t keep my eyes dry, but I also laughed out loud a few times. And to think that Ken Loach was in his early eighties when he made…

  • Prisoners of the Ghostland

    Prisoners of the Ghostland

    I’m fond of surrealism and absurdism, but this felt like weirdness for the sake of weirdness, which made it feel pretentious and arty-farty. I quit watching when I had reached my 15-minute checkpoint without being convinced.

  • The Unbearable Weight of Massive Talent

    The Unbearable Weight of Massive Talent

    I usually know within about 15 minutes whether a film is going to work out for me or not. This one didn’t. It felt too forced and contrived, and I didn’t like the humor. Even Nic Cage couldn’t save the day this time. So I quit watching.

  • Pig



    The black humor of Pig’s fairly absurd plot soon becomes subordinate to finely crafted drama, featuring convincing performances, atmospheric cinematography and Nic Cage in the kind of role that suits him best: a tortured, disillusioned recluse. A slow-burn film that perfectly fits a sultry summer evening.

  • Nobody Knows I'm Here

    Nobody Knows I'm Here


    I’ve got a weak spot for films featuring a recluse who is disillusioned in humanity because of a traumatic experience. Nadie Sabe Que Estoy Aquí is an atmospherically filmed, small-scale story based on that theme. I loved touches such as the red glow in scenes where the main character is in his element. A charming watch.

  • Violent Summer

    Violent Summer

    Started watching this, but the theatrical overacting that was common in those years (possibly more so in Italian films) quickly started to get on my nerves, so I stopped watching. But I won’t judge the whole film because of that, so I won’t add a rating.

  • The Mystery of Marilyn Monroe: The Unheard Tapes

    The Mystery of Marilyn Monroe: The Unheard Tapes

    An interesting but flawed documentary, promising more than it can deliver.

    I guess Monroe and the Kennedys were more or less like Amber Heard and Johnny Depp avant la lettre: intrigues between intense personalities, involving sex and drugs.

    I suspect that Monroe suffered from borderline personality disorder and/or attachment disorder, accompanied by depression, presumably caused by her troubled childhood, while the Kennedys were celebrated politicians as well as power-abusing, privileged womanizers.

    In the end it probably wasn't a matter of…

  • Licence to Kill

    Licence to Kill

    After seeing this film in the movie theatre as a youngster, I was in love with Carey Lowell. ❤️❤️

  • Twin Peaks

    Twin Peaks

    One of the finer works of maestro Lynch. I totally loved the first season, but my interest diminished a little during the second season, although the finale was grandiose.

  • The Northman

    The Northman


    Sorry, this one didn’t work for me. I turned it off after watching about fifteen or twenty minutes. I hate it when actors talk as if they’re in a Shakespearean stage-play, combined with matching theatrical overacting. The CGI was also not convincing.

  • Sorry to Bother You

    Sorry to Bother You


    Sorry to Bother You was an intriguing watch. I liked the surrealism, the absurdist humor, the sneer towards capitalism, and the matching, pleasantly weird soundtrack. 

    I do think the momentum got lost in the second half of the film, where the scenario started to drag and the humor faded out, which is a pity.