Reviews

"Traktoristy" (Tractor-drivers) is a strange movie from classic Soviet director Ivan Pyriev. On one hand, it is a pure stalinist propaganda of the workers class, and like hundreds of other period movie of that time (the movie was set in 1939), and it sure did mean to prepare people for the upcoming war and raise the fighting spirit of the nation. On the other hand, if one can abstract from the propagandistic nature of the film, it is possible to see the powerful cinematographic side of it. Over-the-edge performances, fast soc-realistic camera work, sincere pathos of the heroes - it has everything for which Eisenstein's films are famous. And it isn't a coincidence, as Pyriev started his career under the wing of the maître. Interestingly, the movie was re-edited during the Khruschev's dethronement of Stalin's cult as it appeared to be too pro-stalinist (which is absolute truth). Only recently there has been re-edition of the original in Russia. Seeing the film, we see the expression of Soviet mythology. In this sense it is a really scary film, because nothing is real. It can be somehow compared to the images of war heroes and usual people painted on ancient vases - it's an idealized image of life. This movie's antonym in cinema history is Waida's "Man of marble", which helps to understand the rise and fall of communist mythology in retrospective. Probably having more interest for cinematography students than for average viewers, Ivan Pyriev's "Traktoristy" still remains forgotten classic of soc-realism.

Recently top 50 national critics (in Russian edition of Empire magazine) have named the top 100 best films in Russia/USSR history. Not many cinephils have argued about the 1st place, with Alexei German's "My Friend Ivan Lapshin" taking the top spot. Another two of his films also took their place in the rating ("Check-up on the Roads" - arguably the best Russian film about WWII, and "Khrustalyov, My Car!"). Shamefully not so famous outside Russia, Alexei German is certainly one of the brightest (and pretty much hated by soviet ideologists) directors in his homeland, sharing pantheon with the likes of Dziga Vertov, Sergey Eisenstein, Marlen Huciev, Iosif Kheifits, Andrey Tarkovsky and many more wonderful names.

"My friend Ivan Lapshin" is not an easy film to watch. It's dark atmosphere of early Stalin years, one might call it soviet film noir. But in contrast to classical American noirs, "Lapshin" adds much more realistic tones; shot in black and white with hand cameras it sometimes looks like half-documentary, making it closer to french Nouvelle Vogue. Still, New Wave directors had so many poetry in their works, you can hardly find some in German's movies. German shows life as it is, without any adorns. In this sense, maybe Italian neorealism is the closest cinematographic example you can find when looking for comparisons. But still you can't find any exact compares because German creates cinematic structures out of time and any particular school. He doesn't follow any genres' principles and cinematic rules.

"Lapshin" concentrates on a very short period of life of police detective Ivan Lapshin. Plot story takes place in a small Russian provincial town, in the middle of the 1930ies, the beginning of the horrible era of Stalin's political repressions. The story is told by an adult man who was a boy at that time and who remembers Ivan Lapshin in the light of childhood's memories. You won't find any particular political message here, although film has been banned right after the end of shooting and German received many official warnings. It is very hard to distinguish the true meaning of the movie, because every single motive, every idea is hiding in communication between characters. Police investigation is just an external part of the script which softly covers existentialistic relations. Deep emotions are hiding in outwardly bleak and unfriendly world that we see on the screen. These people are just living their usual lives and are very mixed up. They seem to be lost in time and space, and simply don't understand that they are part of emotionless system that eats their souls, system that corrupts people's being - and camera catches this atmosphere without excess words, just like child's memories sometimes can't be described with them. But even so it can't destroy the very essence of a man. People are brave, and not because they act bravely, but because they are protecting human relations, don't let them roll into madness, which is hiding in every corner. It's a strange and beautiful film. Every single actor (even Andrey Mironov who was already on pick of his fame at the moment) played his career's best role.

Just like "Berlin Alexanderplatz" helps to understand the existentialistic being of post-war Germans, "Lapshin" helps to understand the core of the strange Russian soul that suffered so much during the age of horror, of the people who got so many psychological traumas, but who fought for their right to live a normal life.

First, I must say that I absolutely love Coens' films (those real Coens), but I can't not to admit that No Country for Old Men is very far from their standart of movie-making. It's a good film, well cast, well made, well filmed, actors play good (and Bardem plays very good) but there is something that doesn't make it those Coens I'm used to (or have been used to even). See, once you start making movies for big audience, for big money you will never stop... even if you try. And it doesn't look to me if Coens tried. Their entry to mainstream was painful, Intolerable Cruelty and then Ladykillers were really very disappointing. But at that time Coens already had a reputation of top class filmmakers (who they are in fact!). So that's why came this project - amazing PR campaign, only lazy critic (especially American one, especially in those big shiny movie magazines or some central newspapers) didn't call it an Oscar contender in best picture (means it finally fits all Academy's standarts). Film doesn't have philosophy - it has one simple idea which is chewed by every mind, by every critic (and wannabe critics, who represent much bigger army in today's world of information). And, furthermore, it doesn't have the style. It has a great picture, which is a very different thing. It's absolutely beloved by so many people because finally Coens have a film that suits everyone. It suits critics, it suits Academy, it suits producers and it suits masses who now discuss the genius of Coens and run on IMDb to cast their "10" vote to make it 23d best picture ever made. I feel sad that Coens went the same way that Scorsese.

It's really pretty scary film. It is about few brave American soldiers, who represent all possible mainstream macho and caper gangsters clichés, but at the same time all are absolutely positive. And the film is positive, too. I don't know, maybe it is true that Eastwood and Hutton weren't let to make the film they wanted, maybe some parts didn't survive under producers (read - censors) heavy scissors, but is very wrong that Kelly's Heroes is seen like a positive movie in the end. Released the same year with Catch-22 and MASH, it looks like a real propaganda. People are living American way of life (cinematic one at least), they don't care whom do they have war with, but at the same time we see people around celebrating. It's a real holiday of happy life, Americans came! And Americans are happy, too, and even this survived nazi is happy. Indeed, who cares about the war, when you have the money. And how about that phrase Big Joe says to German about the stupid war, and that he doesn't know whom and what for are they fighting... says after Kelly's Heroes have killed around 50 Germans themselves. In the end it is a light western mixed with some war action. Doesn't even smell as a satire. And it's not about war for God's sake. I don't know how can this film be named as one of the greatest war movies.

I've been thinking about what should be the name of my review's summary but I'm not going to invent bicycle here, because "Matserpiece" is still the most appropriate word to describe Terry Gilliam's "Brazil". Many times in my life I have encountered people who've never been able to understand this film. Actually I almost never argued because it's certainly different kind of movie-making. Different view. And it's not for everyone. I recently purchased the collector's DVD box and was stunned once again by the level of Gilliam's visual aesthetics. I've had pleasure seeing only one of his films in cinema - "Fear and Loathing in Las Vegas" - and it's a big pity because "Brazil" is certainly worth it, too. But behind the perfect visual picture there's much more. And this is something that can't be seen by those people who don't understand the film, because they aren't able to correlate the exterior look and it's inner contents. Often compared to other geniuses of surrealism like Luis Bunuel, Marco Ferreri, David Lynch and even Federico Fellini, Gilliam continues tradition of brilliant and stunning imagery while also attempting to express the workings of the subconscious. But Gilliam's touch adds new lines to the cinema of sur, extending it with amazing Python-style sense of humour. Actually surrealism, in my opinion, is impossible without the thin humour and it maybe makes Gilliam the last great cinema surrealists of the XXth century. Before purchasing DVD, last time I've seen Brazil was about 5 years ago and thought that I've remembered it very clear. But when I rewatched it, it's been quite different experience. There's something in this film that makes possible reviewing it multiple times and find new details and plot treats. In general, it's a unique dystopian avant-garde that can't be compared to anything else. Unitary sample as they say.

I've seen this film several times at different age and I still think it's one of the most hilarious black comedies. Tom Hanks in his comedy period combined with Joe Dante's ability for spectacle movie-making brings great results. Hanks is Ray Peterson who just got few weeks of vacation and instead of leaving his small town, decides to stay at home for timeless relaxation. But his plans are interrupted as strange things start to happen in his neighborhood. The Burbs can be described as suspenseful sitcom, as some thrilling episodes go together with sudden laughs. The overall atmosphere is stylish as it manages to mix the atmosphere of an average American small town with Gothic spooks into one big hilarious shake. Pity they don't make such comedies these days anymore.

Screening adaptation of Martin Cruz Smith same name novel is a good example of the 80s Cold War mystery thriller. A film that caused a lot of talks in it's time as it was strictly banned by Soviets (as all of those films actually). Certainly the filming crew never got permission to shoot Gorky Park in Moscow as relations between two countries were on the last peak of confrontation. It has views of real-time Russian capital of course but the main material has been shot in Helskinki. It doesn't spoil the mood of the 80ies Moscow though, because with the help of good montage it succeeds to regain needed atmosphere. First time I had the chance to see it in the 90ies already and wasn't disappointed. What this film really lacks to stand in a line of great spy films is it's not first-grade direction. William Hurt is great as always and the story itself is very much intriguing. It's not a simple spy-movie, it also tries to unfold the nerve of it's time by showing the inner world of characters divided by the Wall. Supporting cast, including Brian Dennehy, Lee Marvin, Joanna Pacula is also very good. In general, despite some directorial flaws, Gorky Park is not silly at all, and including few smart plot twists, it represents the best features of the genre.

If to choose things that influenced Parker's masterpiece, there must be "Faust" and noirs of the 40ies-50ies. It's just simple like that but at the same time it isn't. It doesn't mean Parker's picture is a licentious screening of Goethe's tragedy or stylized retro-noir. It is a unique piece of cinema that had never been done before or after. Having received rather controversial reviews buy American critiques, it's been underrated from the very release. It got it's cult meaning only years later, when it has been recomprehended around the world. But even today many people see only movie's external cover not willing to think on it's deep philosophical issues. In my opinion, this this certainly Mickey Rourke's best role and it's a big pity seeing what he did with his career. De Niro makes a very memorable cameo as Mephisto. In fact, the whole casting seems to be just perfect, from cold-eyed Charlotte Rampling to magnifying Lisa Bonet. For those who think that Hollywood of the 80ies was becoming commercialized and too viewer-friendly, Angel Heart is a living evidence that it also gave birth to such transcended pieces of cinema. 10 out of 10.

Everyone knows that french have invented noir, but they haven't limited it with urbanistic policiers and crime stories. Henri-Georges Clouzot's films are a living proof of this fact. "Salaire de la Peur" is one of his 3 famous masterpieces (other two are "Quai des Orfèvres" and "Les Diaboliques") all of which had an enormous influence on world cinematography. One of Empire's editors Ian Nathan had put "Salair de la Peur" among top 10 greatest actions/adventures of all time. His top 100 list might be controversial, but this is something where I totally agree with him. Clouzot's film became a milestone in many genres, among which are thrillers, actions, adventures and dramas. But even these 4 genres are not enough to describe the depressing and thrilling atmosphere of "Salair de la Peur". If your synonym for adventure is Indiana Jones, then you'll be surprised by the dark philosophy of this film (even though I love Indy myself). Indeed, the best word to describe this movie is noir. Noir at it's best. 10 out of 10.

Russell is an interesting director, in his films he almost always manages to raise philosophical questions and pass them through his cognitive aspirations, mainly linked with labyrinths of human psychology and soul. Some his movies are difficult to understand, but there are some where is no need for even trying. Altered States is one of them and even always-brilliant William Hurt can't save the day. This could've been the anthem for LSD generation... on the other hand, is it really possible to make anthem for such kind of thing? Ken Russell tried it in his own specific way. He obviously wanted to say something. But he loses this something somewhere in the middle of the movie, between the terms of Christianity, darwinism, Indian cults and cosmology. Hard to say whether it is just inability to film such book or Russell couldn't form his own vision but what this movie manages to be is a great illustration of delirious searches for the meaning of life with the help of hard drugs. Scary in a way. And very average from cinematographic point.

I always thought that "Cleopatra" is the example of bad epic movie. It was set in the early 60-ies when Hollywood lived through it's worst years: the committee influence was still high and producers found new genre - dumb but impressive and very expensive epic. Happily, these times were soon over... till today. I'm not saying it's too bad, I think Hollywood just needs to live through another crisis to become better again. Braveheart, Gladiator, Troy, King Arthur... I never could understand what's the meaning in these movies. But when I saw Alexander I thought for the moment - cinema is dead. Ann it's very symptomatically that it comes from such cult director as Stone. Everybody is in this s**t now. Hope it won't last too long.

Henri Verneuil's film may be not so famous as Parallax View, 3 Days of the Condor or JFK but it is certainly not worse and sometimes even better than these classic representatives of the genre. Action takes place in fictional western state where fictional president has been killed. After several years of investigation, special government commission decides that president was killed by a lone gunman. But one man - prosecutor Volney, played by Yves Montand - thinks there's something more to be investigated and so the film starts. This movie doesn't deal with some exact theories, but it embraces the whole structure of relationship between government and society in today's world. Such film could be made only in the 1970-ies but it will never lose it's actuality. Furthermore, it's even a bit frightful how precise are it's oracles. 10 out of 10.

First of all I wanna say that I'm not an expert in these kind of movies... among recent (or not so recent already) teenage comedies I've seen only American Pie, Road Trip and Dude, Where's My Car? Road Trip and Dude were certainly a hilarious and even thin in some moments. It is said that EuroTrip is from creators of Road Trip and it can be seen in many moments.

The whole movie is a fine sample of modern teen comedy in my opinion. Of course it's very stupid and filmmakers mixed everything (for example, set locations in Amsterdam were shot in France), and episode in Bratislava is certainly funny but annoys and offends many people who know that Eastern Europe is not like this of course and it is understandable. Actually many people would find it offensive, so my advise to them - just forget about it all - it's just a dumb movie that must bring you some laughs. But if you don't like teenage comedies in general, then don't watch it, cause it has nothing new - all the same clichés. 4 out of 10

When you visit museum of Sherlock Holmes in London, Baker St., first thing that you see on the second floor is a number of pictures of all actors who ever played Holmes in the movies, and in the middle of that compilation you can see the biggest photo - the photo of Vasiliy Livanov.

All world cinematographers (including British ones) have admitted that Vasiliy Livanov is the best Sherlock Holmes that ever appeared on screen. And it is true. There were made several movies about the adventures of Sherlock Holmes and Dr.Watson for Russian TV in the late 70-ies and early 80-ies, including such films as The Meeting, The Hound of the Baskervilles, Bloody Script and many more (about 10 total number). Livanov as Sherlock, Vitaliy Solomin as Watson, Rina Zelenaya as Mrs.Hudson, Borislav Brondukov as Inspector Lestrade all make these series directed by Igor Maslennikov an all-time masterpiece. Almost all of actors started their careers in theaters (Livanov, Solomin and Zelenaya continued giving performances even after their success on the big screen) which gave films amazing atmosphere of reality. The images of old London were carefully reconstructed in Baltic cities almost untouched by time which gave movies a lot of similarities with real XIX century London. All movies (it wouldn't be right to call them episodes) are set on very high level, and from the opening unforgettable music score they charm every viewer. It's very hard to distinguish the best film of the series, every of them has something unique. The Hound of the Baskervilles for example has the greatest number of participating celebrities, including Nikita Mikhalkov (internationally known for directing and playing in such movies like An Unfinished Piece for Mechanical Piano, The Barber of Siberia, Oscar-winning Burnt by the Sun etc.), Oleg Yankovskiy (Nostalgia by Tarkovskiy), Evgeniy Steblov and many more. This set of movies is a must-see for everyone whether you've read the book or not. It's rather difficult to find these movies with English subtitles but they exist and trust me, they worth searching for them. 10 out of 10 for all films.

When you visit museum of Sherlock Holmes in London, Baker St., first thing that you see on the second floor is a number of pictures of all actors who ever played Holmes in the movies, and in the middle of that compilation you can see the biggest photo - the photo of Vasiliy Livanov.

All world cinematographers (including British ones) have admitted that Vasiliy Livanov is the best Sherlock Holmes that ever appeared on screen. And it is true. There were made several movies about the adventures of Sherlock Holmes and Dr.Watson for Russian TV in the late 70-ies and early 80-ies, including such films as The Meeting, The Hound of the Baskervilles, Bloody Script and many more (about 10 total number). Livanov as Sherlock, Vitaliy Solomin as Watson, Rina Zelenaya as Mrs.Hudson, Borislav Brondukov as Inspector Lestrade all make these series directed by Igor Maslennikov an all-time masterpiece. Almost all of actors started their careers in theaters (Livanov, Solomin and Zelenaya continued giving performances even after their success on the big screen) which gave films amazing atmosphere of reality. The images of old London were carefully reconstructed in Baltic cities almost untouched by time which gave movies a lot of similarities with real XIX century London. All movies (it wouldn't be right to call them episodes) are set on very high level, and from the opening unforgettable music score they charm every viewer. It's very hard to distinguish the best film of the series, every of them has something unique. The Hound of the Baskervilles for example has the greatest number of participating celebrities, including Nikita Mikhalkov (internationally known for directing and playing in such movies like An Unfinished Piece for Mechanical Piano, The Barber of Siberia, Oscar-winning Burnt by the Sun etc.), Oleg Yankovskiy (Nostalgia by Tarkovskiy), Evgeniy Steblov and many more. This set of movies is a must-see for everyone whether you've read the book or not. It's rather difficult to find these movies with English subtitles but they exist and trust me, they worth searching for them. 10 out of 10 for all films.

When you visit museum of Sherlock Holmes in London, Baker St., first thing that you see on the second floor is a number of pictures of all actors who ever played Holmes in the movies, and in the middle of that compilation you can see the biggest photo - the photo of Vasiliy Livanov.

All world cinematographers (including British ones) have admitted that Vasiliy Livanov is the best Sherlock Holmes that ever appeared on screen. And it is true. There were made several movies about the adventures of Sherlock Holmes and Dr.Watson for Russian TV in the late 70-ies and early 80-ies, including such films as The Meeting, The Hound of the Baskervilles, Bloody Script and many more (about 10 total number). Livanov as Sherlock, Vitaliy Solomin as Watson, Rina Zelenaya as Mrs.Hudson, Borislav Brondukov as Inspector Lestrade all make these series directed by Igor Maslennikov an all-time masterpiece. Almost all of actors started their careers in theaters (Livanov, Solomin and Zelenaya continued giving performances even after their success on the big screen) which gave films amazing atmosphere of reality. The images of old London were carefully reconstructed in Baltic cities almost untouched by time which gave movies a lot of similarities with real XIX century London. All movies (it wouldn't be right to call them episodes) are set on very high level, and from the opening unforgettable music score they charm every viewer. It's very hard to distinguish the best film of the series, every of them has something unique. The Hound of the Baskervilles for example has the greatest number of participating celebrities, including Nikita Mikhalkov (internationally known for directing and playing in such movies like An Unfinished Piece for Mechanical Piano, The Barber of Siberia, Oscar-winning Burnt by the Sun etc.), Oleg Yankovskiy (Nostalgia by Tarkovskiy), Evgeniy Steblov and many more. This set of movies is a must-see for everyone whether you've read the book or not. It's rather difficult to find these movies with English subtitles but they exist and trust me, they worth searching for them. 10 out of 10 for all films.

When I first saw this movie I was magnetized by its unique atmosphere. Luc Besson created amazing out-of-genre movie. "Subway" inherits traditions of european films of the 70-ies and has something new and magnetic at the same time; and it is certainly Besson's most european film. Maybe it is the reason of it's not so high ratings by american critique. Strange, but Lambert's early and best roles in "Subway" and Marco Ferreri's "I love you" are crossed out by his later films. Talking about "Subway", this movie stands in a row of other films of the middle and the end of the 80-ies that were last before the sunset of european cinematograph and the wind of pan-american influence. And although many american movies are real masterpieces, two traditions can't be mixed. This is one of those cult films that create amazing style that can't be repeated. And although I find "Leon", "Nikita" and "5th element" really good movies, they all were commercial projects. And "Subway"... well, who saw it, they will understand. And maybe not. 10 out of 10.

This is the best movie about human relationship. The best tragicomedy ever! Danelia's masterpiece. Kikabidze's and Mkrtchan's best roles. I presume this is the bset soviet and russian film. Shame that many ppl in the world didnt see it!!!