Open Water sells itself as based on a true story, making use of no special effects whatsoever and links itself to a similar project called The Blair Witch Project. It milks a concept made popular by Steven Spielberg’s Jaws and anxiously tries to combine it with a big dose of realism by making use of a handheld digital home-cam. In the country of origin (the US that is) Open Water became an unexpected hit. The idea was promising, using a very low budget ($130,000 to be precise), but what a disgrace! Note: this review is full of spoilers. On purpose!
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Pablo Picasso once stated: “Good artists borrow; great ones steal”. That is what actress, comedienne and writer Nia Vardalos must have thought whilst penning down the script for her latest. Now, it would go too far to claim she is actually stealing, but her screenplay for Connie and Carla is far from original. There are an incredible amount of references to all kinds of movies, and not just because all of those films deal with men in drag. Anyone remembers Some Like it Hot or Victor/Victoria? Add a dash of Cabaret and Tootsie and there you go: a ‘new’ film is born.
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It’s been called the “Icelandic Donnie Darko” and to a certain extent that description is fairly accurate, though it lacks the surrealist elements that gave Donnie Darko that mystifying quality. None the less, Nói is steeped in the magic realism of the Icelandic landscape. Tragic and absurdly comic, it is a film about the existential condition of human existence. Oh, you got to love a movie that can work Kierkegaard into the script!

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Based on a true story, this is a moving depiction of the legal battle by Ramon Sampedro against the government of Spain for the right to be allowed assistance in taking his own life. Sampedro, who became a quadriplegic after an accident in his early 20’s, believes passionately that he should not be forced to live life without dignity. And by refusing to use a wheelchair or be dependent upon anyone more than he has to, Sampedro’s dilemma raises the controversial and timely questions of who exactly should determine when a person’s quality of life is unacceptable. Should anyone be forced to go on living when they no longer choose to do so?
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François Ozon is a director who’s films can be described as intensely atmospheric if nothing else. He enjoys a cult like following and dominates the French film industry in international sales and distribution. His latest film, “5×2″, while not as disastrous as the “painful to watch”, 8 femmes (2002), it is yet another style over substance Ozon production.

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This movie is a must see for anyone who is fascinated by sex, by the history of modern sex research or by America’s prudish hypocrisy regarding sexuality. That does cover everyone on this site, right?
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Every time Johnny Depp delivers a new performance, I cannot help but wonder how long he will be able to keep up his mannerisms. They were fun ( and even required) in Tim Burton’s Sleepy Hollow; they were unique and even helped Depp get his Oscar nomination for Pirates of the Caribbean; they got annoying in films like The Ninth Gate, Chocolat and Secret Window. The thing is, Depp doesn’t need such methods; he is a good actor anyway. For the role of Peter Pan author J.M. Barrie, all it took was a Scottish accent, as far as I was concerned. And thank God, Depp restrains himself here, something that may actually lead to another Oscar nomination for Best Actor in a Lead Role.
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In a selfless act to explore the murky depths of obscure films, I have taken on the gruelling mission to submit myself regularly to what cinema has to offer on the lowest shelf and in its darkest recesses. Normal rules don’t apply here, neither do good taste and common sense; this is Cinema Obscura.

I couldn’t have picked a better movie than this one to start what will surely become a chastising experience for me. Well, movie is a big word here, it’s more a short film. I decided to pay attention to some of the obscurest that cinema has to offer, without submitting myself to vomit-inducing perversities (well, not if I can help it). From Ed Wood’s (now)cult films to Troma Movies to flicks that were barely worth the video they were copied on, all in an attempt to steer clear from mainstream cinema. I’m not an outspoken pulp lover, but I am intrigued by this dark undercurrent in moviemaking that manages to stay alive and maintain such a devoted following. These movies become good because they are so bad, but just being plain bad is not enough, though.

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In a selfless act to explore the murky depths of obscure films, I have taken on the gruelling mission to submit myself regularly to what cinema has to offer on the lowest shelf and in its darkest recesses. Normal rules don’t apply here, neither do good taste and common sense; this is Cinema Obscura.

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What the hell is going on with Denzel Washington? I cannot help wondering why he isn’t far more picky when it comes to the parts he chooses. He is cast – no, he lets himself be cast – as the eternal good guy, and judging by his performance in for instance Training Day, he is far more convincing as a baddie. And the Academy people seem to agree with me on this. With Man on Fire, Denzel reprises his countless parts as the good guy and anxiously tries to squeeze a dark, tough edge into his character, but is restricted by the truly lousy screenplay, that was, by the way, surprisingly jotted down by Brian Helgeland (LA Confidential, Mystic River)
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