THE COMEBACK TRAIL

Watchable. The comedy is set in Tinseltown so contains inside jokes like: "I've always wanted to kill a producer." or showing how putting an actor in near death situations immediately brings forward his Oscar chances. The vicious plan is predictable but fun, though not original ever since Mel Brooks shot "The Producers" about ones who wanted to flop. Whether the contentious relationship within the family or the menacing gang, the film fails to amuse. I guess it's down to inept direction since the actors are decent, the script rather good although those jokes about frail elderly people? I'm not sure. The mid-credit is a trailer of the "Killer Nuns" mentioned in the opening and is not bad.

CREATION STORIES

Recommended. Co-written by Irvine Welsh, it's fun "Trainspotting" style but largely based on facts. Lots of tunes by Sex Pistols, Oasis and other greats means you rock out to the riveting soundtrack. For me, it was the first time I'd heard David Bowie's "Rebel Rebel" - I had heard covers only before without realising who sang the original. And music does matter. The protagonist is Alan McGee - a legend and the kingpin of the punk music industry but remarkably he produced all those bands just out of love for music, money rarely followed. The movie dazzles you with a myriad of visual effects and ever-changing scenes. You even get to see goosebumps rising on his hand or a primary school teacher jacking up. The story shows how pure luck makes history. I loved every minute of the film. 

Director Nick Moran says Benedict Cumberbatch was offered Malcolm McLaren's part but turned it down because it was going to be just one morning's job. More of the big shots failed to turn up. So Nick ended up performing the role himself. He had met Malcolm McLaren once before so he knew how to act. And he was brilliant. Then he kept directing in the wig for the rest of the day. The director seemed a bit concerned about the vulgar vocabulary used by the characters. He needn't be. Poles are accustomed to swear words. Funnily, the movie's a UK-Polish co-production since the UK producers lacked funds. The Polish co-producer is a long-time friend of the director's. The Polish chap met him in Morocco in 2005 when he was working as a photographer taking stills for some movie and noticed someone bent down walking up a rocky hill - that was Nick Moran looking for his passport. The producer says his first time in London was in gastronomy but the second time he landed at Heathrow he knew where to direct his steps. 

ESCAPE ROOM: TOURNAMENT OF CHAMPIONS

Watchable. Starts with a summary of the events from part one. Very handy since the first instalment was so forgettable. This one is better, no longer ludicrous. It is inventive but some room ideas are pervertedly cruel, e.g. acid rain. One of the characters is a copy of Amanda from "Saw" and she even bears the same name. The film's recorded in Atmos but the sound does not stand out in any way. The ending resembles Cronenberg's "eXistenZ". The whole film is a mixture of creativity and derivativity. Clearly part three is on the cards. I'm curious what it's going to bring. Hopefully a solution. I have a feeling the series will wear down if kept on for too long. 

SUPERNOVA

Watchable. The first half drags, only stunning images of lochs, moors and the Highlands in all sorts of lighting kept me watching. Mid-way through you realize a protagonist plans a suicide and the reasoning behind the decision validates the movie more than the initial complaints about the satnav or other silly disputes. From the moment the couple reach the house, you start getting occasional amusing bits, e.g. a hilarious scene where a guy falls from his bed.

THE WAR WITH GRANDPA

Recommended.  A grandpa taking over the boy's room turns the family's life topsy-turvy. "Home Alone" meets "National Lampoon's" in this hilarious - look at the mum's run-ins with the police, for one - family comedy. While Polish cinemas will show the movie only in Polish dubbing, the translation is top-notch, with lots of puns, and for foreigners - a lot of the film is self-explanatory. Fine performances in all roles whether big or small, adult or minor ensure continuous entertainment. Extra materials from the set and deleted scenes can be seen in the mid-credit.

BLACK WIDOW 3D

Recommended. Not only for 3D being even slightly better than 2D, but mostly to catch more details, connections and Easter Eggs. Also parts of the film are no less touching when seen again. The use of music is special - unexpected for the kind of action underscored, but never off. Whistling between the two young women resembles the Mockingjay whistle from "The Hunger Games". The 3D version is superior not just for gimmicks like a blade right in front of your eyes. The three dimensions make it easier to spot visual minutiae e.g. of Taskmaster learning from a video (of Hawkeye and Black Panther fighting in "Captain America: Civil War"). Natasha and Yelena do look like sisters. Also, both of them and Melina all have their hair braided hair at the family reunion - in 3 different styles, also evoking associations with: Russia - braided hair symbolised honour and pride, Ukraine's former Prime Minister oppositionist Yulia Tymoshenko, or Princess Leia from "Star Wars". White costumes, though directly mimicking the "Black Widow: Deadly Origin" comic book, also echo Star Wars troopers - known for their blind obedience. Yelena is wearing a vest on it, bought by herself, rendering her more of a Han Solo character. The Red Room evokes "Shining" where the room meant murder. The Polish translation into "komnata" instead of "pokój" deprives the film of this connotation. As for characters, it was only this time I realized it was Valentina, not Melina in the post-credit. Another thought that occurred to me was that though written and shot before the Covid pandemic, severing the nose nerve carries so much meaning nowadays. The remote system Dreykov applies to "make or break kings" round the globe from Russia is more obvious after the Cambridge Analytica scandal and the shady company's connections with Russia. Also, from the photos outlining the history along with the opening credits, we know he's someone close to Putin. The feminist layer manifests a number of references I overlooked at the first viewing. "Where's an Avenger when you need one?" sounds like a phrase women use saying: "Where's a man when you need one" - spot on, taken most Avengers are male. Dreykov talking of Natasha as of someone he raised brings to mind domestic violence against women, while Red Guardian's behaviour and talk to Yelena signifies the importance of fathers taking care of their children. Lined up little girls with their mascots look just like human trafficking victims we've heard of in real life. "Why the aggression?!" is a common man's reaction when a woman acts the way he does. Finally, Natasha defending her little sister is kind of protecting her younger self. This movie is profound like hardly any other superhero blockbuster. It moves deeply and at the same time plays with numerous social, political and pop culture references.

TRES VEROES (THREE SUMMERS)

Watchable. A typical contemporary Brazilian story of a strong woman among the rich. Madá, acted by Regina Casé, is the highlight of this uplifting tale. She's vivacious and has an amiable manner and it's her that makes the movie worthwhile. The film itself could do with a better pacing, South American way it's unhurried which deprives the plot of much of the amusement and some suspense it could have otherwise. It retains some humour in the boat trip scene, where the guide lists who's in prison and who isn't. A handful of v istas of the majestic coastline are the icing on the cake.

ZUZEL (SPEEDWAY)

Watchable. Tomasz Ziętek as Lowa is superb as an actor and athletic enough to act as a sportsman. Authentic sports people appear in supporting roles. Arthur Reinhart triples as the producer, set designer - decent, especially the rope gives an impression the protagonist is going to kill himself - and cinematographer - the best aspect of the movie, e.g. gradual colour saturation, aquatic optical effects. However, the best ones appear too early and the whole film is in dark hues which makes you weary. Sound effects are top-notch but the speedway ones repeat over and over, only the dog barking in the residential area stands out after a while. The technicalities don't save the trivial plot with natural but banal dialogues. About one hour in, the action livens up, when Lowa has a change of heart, for a while. Showy but weary.

BLITHE SPIRIT

Watchable. Set in 1937 which is well recreated but the whole thing feels theatrical - no wonder, it's based on Noël Coward's play of the same title. The protagonist is a writer haunted by his deceased wife's ghost inadvertently summoned during a seance. He's at his wits' end as the interloper attempts to ruin his marriage. It's all aptly acted, especially by Leslie Mann as the ghost. She's an American, while Isla Fisher, impersonating the living wife, is an Australian. That explains how this British play has lost its Britishness in the acting process. The movie delivers quality visuals, e.g. cards swirling in the air. The twists announced by the apparition do take place. What pervades the movie is sarcasm rather than humour as such. At least that part's definitely British.

THE UNHOLY

Recommended. Based on James Herbert's book "Shrine", this supernatural horror induces fear through some jump scares, though unusual ones, and guarantees suspense. It also offers surrounding sound effects, even though recorded in ordinary Dolby. Music by Joseph Bishara, the composer behind "The Conjuring" and "Insidious" series, gives you the creeps till the very end of the end credits. The sense smuggled in the undertones that behind many priests there's Satan - "Right behind a shrine, the Devil builds a chapel" - renders it quite relevant to the contemporary revelations about the crimes of the Church.

W JAK MORDERSTWO

Recommended. Based on the crime comedy novel by Katarzyna Gacek and scripted by herself, together with director Piotr Mularuk. The opening typography already manifests originality, next comes a perfect character exposition - you effortlessly and effectively learn who is who together with their personality types. Dorota Roqueplo has designed costumes and they are memorable. Magda's outfits look casual but graceful and the police detective wears a macintosh coat resembling that of Columbo's. Magda's clothes even match interiors, also carefully designed. Attention to detail extends to music and sound effects. "Kung Fu Fighting" is used ingeniously. The "Pink Panther Theme" is the accidental sleuth's mobile ringtone. At some point a peacock's shriek is heard on entry to a posh residence, shortly to be repeated as Weronika's. Humour ranges from situation type, e.g. Magda's hiding dancing on stage, to verbal, e.g. "Skontland Yard". You're rewarded for being observant, e.g. spotting ul. Zdrady (Betrayal Street). You can bet on the twists of action. Superb performances on absolutely all parts mean it's excellently directed. The movie's well-paced too. The structure is impeccable. Maybe a perfect crime doesn't exist. But a perfect crime comedy does.

SCIEMA PO POLSKU

Watchable. Kurka Wodna Productions (the company's name could be translated as: 'Blimey Productions') was such a witty name I was immediately hopeful it might be a quality comedy. Far from that. How is it even possible to release a movie that sexist?! It's all about girls being dumb but with big silicon tits which they often show naked or are made to present to the director by deception or violence. The movie he's telling them he's shooting is about a perv. But the true perv is the director himself. At least it's sensibly cut, fast-paced and has a surrounding sound - though some of the dialogue is incomprehensible, even if you speak perfect Polish.

The director, Mariusz Pujszo, is a cinematic case of the Dunning-Kruger effect: the worse the movie, the more confident the director is. At the same time, even though he was so full of himself, he instructed his team and friends to put high notes for the movie on Filmweb. Hapless ordinary viewers will be less inclined to do that. Anyway, don't trust the Filmweb rating too much.

DIE HEINZELS - RUCKKEHR DER HEINZELMANN (THE ELFKINS - BAKING A DIFFERENCE)

Watchable. The tale is engaging, characters distinct and the action is saving a confectionery so all sorts of pastries make the film sweet and yummy. It's all endearing but the storyline - about a vicious developer - is pretty standard. In Poland, it's all dubbed in Polish, unfortunately including songs. Only "Helping Hand" - the final song accompanying the end credits - is in English. To me, the tale was lovely but derivative. But children in the audience loved it.

LUCA 3D

Walked out. The 3D doesn't make much difference. I'm not sure if it's 3D or merely the second viewing that let me see more details, especially of dishes, e.g. basil on pasta. Also, I noticed that Bruno in the picture the boy shows to his companion resembled Gomez Addams from "The Addams Family". The reheated serving doesn't engage that much, though the Italian songs are catchy and blissfully in the original language. 

RETFAERDIGHEDENS RYTTERE (RIDERS OF JUSTICE)

Watchable. The title refers to a gang name but you don't doubt for a minute the actual riders of justice are our four protagonists. It's a brutal revenge story, a crime comedy, and a psychological drama, with an almost fairy-tale ending. While the unpredictability of the action is a forte, this genre combination takes you from one extreme to another and I sometimes had the impression the moviemakers didn't quite know what they wanted to achieve. It's convincingly acted but some of the humour is low-brow. Unfortunately, those bottom-end gags prey on your mind the longest. On a deeper level, the film tackles the role of pure chance in life and, which is psychologically true, how we always try to find sense in random incidents. One scene, where imaginary fire can be seen on Markus' trousers, wonderfully reflects Otto's fear of him. Unsurprisingly, you get another fantastic performance by Mads Mikkelsen, but also by Nikolaj Lie Kaas, Lars Brygmann, Nicolas Bro as the members of this motley crew. The whole thing is original, engaging, entertaining but flawed.

PIXIE 

Watchable. The idea must have come from the changing face of the Emerald Island, traditionally associated with green pastures. This movie sets the record straight about the seemingly peaceful country. It puts together elements of what people know about Ireland and throws in a bunch of wannabe drug dealers (the leads) set against a gang of priests - the Church, after all, has been getting away with a few thousand years of paedophilia - vaguely threatening the rivals on TV when talking about "the Lord". Drug dealing and big-time murder are the core of action which doesn't ring very true. And the movie definitely fails on a few points: cinematography, actors, direction. All that means it does not make for such compelling viewing. And the vexing ending is the straw that breaks the camel's back. Wasted priest gang potential.

Available on Internet platforms.

FRITZI - EINE WENDEWUNDERGESCHICHTE (FRITZI - A REVOLUTIONARY TALE)

Recommended. It's based on the children's book "Fritzi war dabei" but throughout this deeply moving animated tale, I kept analyzing whether it was meant for kids at all. Set in 1989, it tells of a German girl of the same age I was in back then. I also had a foxterrier and I loved going to Sassnitz in Insel Rügen on holidays where I stayed at Kinderferienlager Juri Gagarin. In the film, Fritzi attends Juri Gagarin Schule. So on the one hand, I guess it may appeal to the now-adults who remember those days, on the other, the heavy political subject, which reminded me both of women's protests in Poland not so long ago and of also animated "Persepolis", feels too serious for the little'uns. At the same time, the events are shown through a schoolgirl's eyes and the very animation style is perfectly suitable for all ages. The tale is captivating though woeful most of the time which is softened by the delightful dog, appearing also in the end credits.

THIS IS SHORT

NEW POINT OF VIEW

FLOWERS BLOOMING IN OUR THROATS

Switched off. Shapes and colours change when adults are made to play childish games with their hands. No content. 

LES NOUVEAUX DIEUX (NEW GODS)

Watchable. Top-notch animations and quality music mixed with real footage - as the director claims - about an incel whose loneliness and deprivation of love and sex led him to a terrorist act. Sadly, I can't make out what the guy actually did and whether he died or killed someone or both, making the film form over substance. 

AWARD CEREMONY

These two are, respectively, the 1st and 2nd prize winners. The ceremony was dull blabber. A brief compilation of all 23 contestants was worthwhile. The Audience Award went to "The Problem of the Hydra" which I had reviewed before.

CIOTKA HITLERA (HITLER'S AUNT)

Switched off. Nothing much happens and whatever events are taking place, they create no suspense, it just plods along. Much attention was put into set decoration and costumes for the realism of the time but I doubt a real war was so boring. Run-of-the-mill script, typical for Polish Television historical productions, and direction depriving the film of any potential emotions.

Seen online, cinematic reception might differ.

CUDAK

Watchable. Another Polish movie recreating the reality of the second world war convincingly. The protagonists are musicians and music is integral to "Cudak"'s appeal. The story's plausible therefore engaging. The not very clear ending feels rough-edged.

Seen online, cinematic reception might differ.

BLACK WIDOW

Recommended. A spin-off, occasional links to the main series are thrown in here and there but the focus is on her background and can be easily seen as a separate story. One armed with a smart script. If you're looking for action, there's no shortage. Like the other films in this series, it offers a number of obligatory fights shot at all angles. At the same time, it takes the mickey out of Black Widow's pose - to a hilarious effect. Witty lines are rare but there are some, e.g.: "You're a good friend." "That's what every guy wants to hear." But it's touching a good few times as well. The whole thing is well-constructed: The backstories are explained always at the right time. At some point, masks are pulled off which resembles a "Game of Thrones" scene - the nano mask appears in "Captain America: The Winter Soldier" but in "Black Widow" it's just before a kill. Shot in Norway, Budapest, Morocco, Bahamas (pretending Cuba), it offers a range of vistas. But this blockbuster, though entertaining on the very superficial level, delves into a range of serious topics so gently it doesn't feel forced for a second. What you get is worldwide manipulation and mind control from Russia - via implants and a scattered army of special female agents at the behest of a swine-like fat chap talking of girls as of "free resources". Olga Kurylenko cameos as Dreykov's daughter - the former model acts a character so deformed I didn't recognize her. Anyway, women's stories are different. Ironic, then, that the script has been written by two men and one woman. The women topic entails extremely brutal practices, with relevance to real life but treated so lightly, you don't feel the burden, even when you absorb them on the intellectual level. Women must be obedient or they are killed. Female organs removal takes place which means men take away women's reproductive rights. Women fight each other until they understand they're mind-controlled and they won't fight back because those who control them act like or smell like family. One scene was so suggestive my nose got runny all of a sudden. The "This time of the month?" question is asked too - really, all issues women face are mentioned - skillfully, briefly yet memorably. Women gaining free will is a big issue. The movie boasts Atmos sound but that won't matter. Imax isn't necessary either. It's a superhero flick with a story and profound social undertones even if well camouflaged by action. The scene after the 'pay-roll' makes you wonder if she's dead for real and then you hear sobbing which, subsequently, turns out to have a different cause. The post-credit is a must-see.

THE HITMAN'S WIFE'S BODYGUARD 

Watchable. Ryan Reynolds, Samuel L. Jackson and Salma Hayek reprise their roles in the sequel of "The Htman's Bodyguard". The movie was shot in the UK, Bulgaria, Croatia and Italy, as if the action itself wasn't dynamic enough. Having lost his licence, former triple A rated bodyguard Michael Bryce, undergoes a therapy and to try to recover he heads to a holiday spot only to discover that Darius Kincaid needs him again. Just like in the first part, the plot is far-fetched but the actioner's fully enjoyable due to music, twists of action and the protagonists' banter - poorly translated into Polish, some jokes went missing in the subtitles. A funny point in the plot is that a virus spreads from Italy to the rest of Europe, just like it happened during the Covid-19 pandemic over a year ago, though the filming started in 2019 so that's most likely just a coincidence. And in the movie, Italy hosts computer servers instead of harbouring a disease. There's an early mid-credit and a post-credit shot which ends this comedy.

MIDSOMMAR DIRECTOR'S CUT

Watchable. The director has put the main focus on Dani. This version is steeped in psychology - everyone's, especially Dani and Christian's, motives are complex and the villagers are more conniving than in the standard version. I didn't quite get in the mood but that let me analyze ominous signs better: when the plane is touching the ground on landing, it's like an earthquake, next the road is shown upside down and in the village, some buildings have roofs sloping in one direction - the protagonists' world is about to be first shaken, then turned upside down, both because of the villagers' twisted minds. An offering hole in the ground at first seems to be a fresh grave. Seen for the second time though, it's not horrifying and the corpses look fake. There's also less ambiguity in Ari Aster's version through going so deep into the characters so there's less to fear, the film's even touching at times.

TROCHE RAJU (A LITTLE BIT OF PARADISE)

Watchable. It's a documentary so a true Silesian family is portrayed. And it's appalling. Children's privacy is violated - their intimate parts are not concealed. Indoctrination into killing animals takes place. Only cute cats and a puppy dog kept me watching.

The 20-minute film took 3 months to shoot. There were many versions of the film, one had 50 minutes.

MOJ SYN ZAMYKA SIE W LAZIENCE (MY SON LOCKS HIMSELF IN THE BATHROOM)

Watchable. An actors' film on complex family relations - a new form, no new content. Thought-out costumes are the most memorable bit. 

Before finding the location, the director kept seeing his own family home, couldn't escape that image. 

STANCJA (THE LAST ROOM ON THE LEFT)

Recommended. The English title plays on the title of 2009 slasher "The Last House on the Left, the original, Polish one, doesn't evoke such connotations. Nevertheless it's a dark comedy with a wonderful script, actors, with an attention to details such as a sound effect of a creaky door or an awkward wall picture playing cheesy music. The script is extremely creative and the story has lots of twists. On the other hand, I'm impressed with the house owner character who's a strong woman, she's the one who deals with all those weirdos after all. 

Pałac Duchnice near Warsaw made for the interior, while the exterior was of a building in Milanówek. The director didn't accept the locations where he entered and immediately felt some evil inside, as if someone had been murdered there or the like. "Sporo z tego przeżyłem" ("I've been through much of that") - said director Adrian Apanel who had lived in and looked for such places both in Poland and in Scotland. He's a fan of genre cinema. "Obrzydliwe? W porównaniu do niektórych miejsc, jakie widziałem i w jakich mieszkałem to jest OK." ("Disgusting? In comparison to some places I've seen and lived in it's OK.") - kept joking the director. E.g. for 2 weeks he rented from an old lady who by accident let the same room to 2 people and then let both live there to decide who'd be a better tenant. After the 2 weeks he rejected himself. 

TURBO LOVE

Recommended. This 7-minute delight is an actors' film combined with animation to form a fast-paced comedy. It's utterly creative and best enjoyed on a big screen allowing you to read all the lines, e.g. "How to trick people into thinking you're possessed" on the side options of Utube.

The creator, Alicja Jasina, calls it a sharp satire on vlogging. She adds maybe next one will be on unwrapping parcels - those are normally long and boring videos. This short film took about a year to write, not continuously, she would create commercials in the meantime.

The screening of the 4 short films was arranged in a fascinating, contrasting order: poor house - posh house - heavy subject matter- light in style. All four had wonderful actors.

US AGAIN

Recommended. The short film preceding "Raya and the Last Dragon" expresses both longing for youth and joy of life at any age and is bound to tug on your heartstrings. Shown through dance, with the city looking real in the background, it recreates the "Singin' in the Rain" iconic street post scene, though without a song. I felt deeply moved within 7 minutes.

RAYA  AND THE LAST DRAGON

Recommended. This animated blockbuster, made from 400 individual homes, dazzles from the opening with a wide array of visual contexts: pictorial books, Disney fairy-tales, Chinese puppet theatre, Barbie films, realistic backdrops at times. The movie draws on the artistic and musical traditions of the East and the West. Shiny outfits give the impression of silk. People of all shapes and sizes inhabit the realm. The separate lands evoke both China before it was united and "The Game of Thrones" where the peoples also competed and differed both geographically and culturally. Music by James Newton Howard derives from Chinese and Western music and, over the end credits, from African and Native American melodies. Atmos sound quality ensures you don't miss a note. The story is complex but lucid and abounds in adventures. It educates on international co-operation and explains how our attitudes create our world and how we depend on one another. Every evil has its source and our lack of understanding of others' motives leads to disagreement. Facial expressions of humans and dragons attract. A cute beetle is used as a vehicle. There is witty banter, e.g.: "I'm awfully hungry." "Dried seaweed?" "Not that much." but also several touching moments and a tear-jerking finale. Sisu, dubbed in the original by Awkwafina, in Polish is dubbed in much the same voice - I'm impressed with the attention to detail Disney put in it. 

LOKAL ZAMKNIETY - OFFICIAL PREMIERE

Watchable. Energetic drinks were handed in on entry so my first thought was the movie might be hard to survive without one. I was proven wrong. The crime story is engaging. But the comedy is not funny at all, partly due to poor direction, partly because of stereotypical characters. After a year of the pandemic, writer-director Krzysztof Jankowski got even the Covid details wrong, e.g. you hear that someone went to hospital after he had lost his sense of smell - doesn't make sense, does it? What I couldn't help but see all the time was poor lighting used, what's worse never changing through the film. The production company was called Ego Movies and taken the ropey quality of this offering, their egos must be overblown. 

Director's initial idea was to put the protagonist's wife in more than just two scenes, she was to storm into the brothel. The number of shooting days meant cutting it out. So the movie could have been worse and only the low budget saved the remains of grace. Chabior, Damięcki, Solarz didn't turn up at the premiere. They had acted fine, taken the circumstances. As for shooting during the pandemic, the 30-strong film crew was tested a few times and no contagion was found. Sebastian Stankiewicz, whose friends made the movie, won a pizza voucher in the business card prize draw. Marta Długokęcka was offered to act in the film but turned them down because she carefully selects the roles assuming later you are recognizable by them. I didn't recognize her face, nor did I find any film titles in which she acted. Snacks: 1 vegan, 4 vegetarian, 1 with fish were all provided by Zdrówko Restaurant from Legionowo and the 5 I tasted were really good. Better than the movie. 

POMIEDZY

Watchable. This 23-minute documentary, designed for school workshops, could do with a better cut. The opening with war images is immediately engaging, though not all protagonists are refugees. The middle is some blabber about what they do in Poland, with only occasional cultural trivia, e.g. Vietnamese nightlife is vibrant, streets are crowded and noisy so in Poland, empty streets at night feel sad. Still, the jokes over the end credits are the best. The whole thing is disappointing, too little entertainment and too much superficiality.

One of the protagonists passed away of Covid before he managed to see the film.

The film is already available on Heinrich Boell's Youtube channel, sadly in Polish only.

THOSE WHO WISH ME DEAD

Watchable. This movie shot in New Mexico has an unusual setting where a firewoman and a couple of survival experts are forced to fend against ruthless hitmen chasing a boy witness across woods. An inventive and engaging plot with some practical tips on surviving a wilderness fire. Only the creation of Angelina Jolie's character as a run-of-the-mill troubled superfit ultrasmart heroine detracts from this irregular story.

BEZ KONCA - EXHIBITION

The exhibition has opened at EC1 Łódź to commemorate Krzysztof Kieślowski's 80th anniversary of birth. I'm not going to Łódź but, as one of few media at a conference preceding the opening, I'm forwarding what I learnt. 

Since dialogue or monologue is typical for Kieślowski's films, the exhibition has been designed as a dialogue as well. You'll find scripts, letters, memorabilia, and recordings where you can listen to someone your age in 1970 answer Kieślowski's 3 fundamental questions.  

He overworked himself. In the past, lots of movie posters used to hang in cities because a poster was a make it or break it for an upcoming release. He smoked a lot and was withdrawn - the exhibition poster by Andrzej Pągowski reflects both. In the past, lots of movie posters used to hang in cities because a poster was a make it or break it for an upcoming release. While he often painted posters promoting the director's films, Kieślowski wasn't always happy about them. When Pągowski painted a double shoelace for "Podwójne życie Weroniki" ("The Double Life of Veronique"), Kieślowski didn't like it but didn't demand a change, unlike Wajda who would insist on specific alterations whenever he didn't like the artist's poster.

Scriptwriter Jacek Bromski commented on the lack of censorship on the Internet which has changed the perception of art nowadays. According to him, Kieślowski would put grassroots work (as I'd describe Polish pozytywizm) values into his films, he believed you have to build.

KRAJ (THE LAND)

Switched off. This random assembly of scenes that could take place in Poland is awfully amateurish due to theatrically looking sets, sometimes inadequate, e.g. a company which has embezzled a million is located in a derelict building. Poor actors, overlong dialogues, gross unfunny jokes don't raise the level of this production. Most importantly, it's a motley of incidents with no single protagonist to root for.

Seen online, cinematic reception might differ.

MY DARLING VIVIAN

Watchable. I guess you must be a big fan of Johnny Cash to be even interested in who his first wife was. Well, a very happy couple who led a perfect family life is dull to follow and the minutiae given by all four daughters are excessive. I continued intrigued by the life of Americans in the 50s and 60s. Then, when acrimonies arose, it became finally engaging on more than just the cultural level. At the end, you are finally told why the film had to be made and it becomes clear why it dwells on happiness for so long.

Seen online, cinematic reception might differ.

THIS IS SHORT

NEW POINT OF VIEW

LA SIESTA DEL CARNERO (THE RAM'S NAP)

Watchable. Cooking Chilean dishes in Spain, google-mapping, modern witchcraft - engaging, visually attractive but what's the meaning of all this? Seems to lack a point.

SOL

Recommended. The theme of the family takes centre stage for this wonderful drama with the delightful character of Solange (an excellent performance by Chantal Lauby). She's extravagant, smart, a trickster - though in good faith. She drives the movie

KAPTEIN SABELTANN OG DEN MAGISKE DIAMANT (CAPTAIN SABRETOOTH AND THE MAGIC DIAMOND)

Watchable. This cheerful Norwegian cartoon transports you to tropical islands, though with European houses, with realistic backgrounds, especially greenery and glistening water. While the plot consists of a standard set of adventures, distinct characters, including an extravagant pirate cook, lively dialogue - translated by Bartek Fukiet for the Polish dubbing - make it all engaging. Polish songs mar the pleasure but I loved the rhythms that surrounded me during the end credits. Before the credits, a protagonist announces a new adventure so I guess a sequel is on the cards. May be fun again.

OSTATNI KOMERS (LOVE TASTING)

Watchable. Released in time for the end of the school year, it's a very easy-on-the-eye movie about a bunch of numpties. Little is known in the story, least of all why one of the girls has a curator. The film is just an excerpt from the lives of 15-18-year-olds who spend the beginning of the summer smoking joints, having sex, dancing - good techno and some attractive dancing mean it's easy to follow this... no-story. There's no beginning, no ending, no plot as such. Young movie makers are well versed in acting, directing, shooting, sound making, editing. Authentic dialogue gives it a reality check. They just have nothing to say. This movie is typical for the generation: plenty of ways to say things with nothing to tell about. 

SPIRAL: FROM THE BOOK OF SAW

Watchable. In this spin-off, the focus is on the police investigation rather than the victims. Also, the victims are cops. Recorded in Atmos but separating the speech - heard from the screen and other sound effects which are audible from the side. Gore is everywhere, like in all of the poorer parts of the Saw franchise. The action is faster which results in no suspense. No one gets a chance to live so their sacrifices are invalid. As for the plot, I got a hint of who the murderer was, next came a red herring, finally my first suspicion got confirmed. Article 8 mentioned throughout the film bears no relevance to any existing law. Chris Rock produced, starred in the film, and even had a personal hairstylist. Jigsaw would have had his own opinion about this celebrity, sadly he's long dead. Like one of the protagonists said, "I'm underwhelmed".

THE CONJURING: THE DEVIL MADE ME DO IT

Recommended. This instalment of the franchise has a storyline varying from the previous as to the origins of the evil they're dealing with and because of the action focused round an investigation. It's scary from early on to the end of the music accompanying the end credits. No Atmos but the sound effects are impressive and succeed in frightening the viewer anyway. Quality horror.

10 JOURS SANS MAMAN (10 DAYS WITHOUT MUM)

Watchable. The plot resembles "De l'autre côté du lit" ("Changing Sides"), another French comedy, from 2008, with Sophie Marceau and Dany Boon - I preferred the earlier one. In the new one, the mum's gone from home for a holiday only and the career rival differs. Most importantly though, the change of actors detracts from the fun. Also, the story's on the sad side at times so I shed a tear every now and then. But I did laugh as well, especially at the sports tribune scene, where all families argue. It is entertaining after all.

MIASTO

Watchable. Having seen the trailer, I expected a crime thriller. Far from that. The movie is set in Bydgoszcz in two alternative times. A communist-era set-up is apt for film noir. And the visual layer, under Jan Jakub Kolski's artistic supervision, moving gradually from the grey reality towards higher contrast noir, all consistent with a grainy texture, uses a number of effects in an attempt to keep the viewer interested. Derelict buildings, a cobbled street, a canal - all shot in Bydgoszcz - ooze character. The downsides are: a barmaid wears a modern-fashion nose-ring - unheard of in communist times, the narrative pads out, I seriously considered walking out, it dragged so badly, and it all feels amateurish - with the exception of cinematography. Last but not least, famous and talented Polish comedian Stanisław Tym doesn't get even one funny line to say, instead, his looks are emphasized to make his face resemble frog's - lame and shame on the director to defame the renowned personality so badly.

LE VOYAGE DU PRINCE (THE PRINCE'S VOYAGE)

Watchable. An animated tale tackling our relationship with nature through an alternative reality. The concept of intelligent apes and the capture reminded me of "Planet of the Apes" but this film is totally different, not an actioner for sure. It's slow, observant. To me it was tedious, I broke it up a few times to be able to finish. I did watch till the end because I was intrigued to learn more about the characters and their world.

Seen online, cinematic reception might differ.

ADN (DNA)

Watchable. The first half focused around the funeral is sad but shot French drama way so you are forced to watch family members' close-ups, bickering, squabbling which leads the plot nowhere. The second half about searching for one's roots on a personal level and an inconvenient part of the history of France on a socio-cultural-national level is more touching. Still, the finale feels like a morality play addressed to the French.

THIS IS SHORT

NEW POINT OF VIEW

THE PROBLEM OF THE HYDRA

Watchable. A fascinating short artistic documentary about an animal so unusual I had to google if it actually exists. It does. Only slightly annoying music detracts from this wonderful artistic-scientific film.

SPACER Z ANIOLAMI (WALK WITH ANGELS)

Watchable. The beginning of this documentary is chaotic. It takes time to assemble the events in your mind since the film isn't helpful. Instead of an investigation - which finds a simple explanation, not unlike cases in Europe, you're taken for a walk through Africa: magic rituals, poverty, dumpsters where recycling is carried out both by working people and by scavenging birds. No conclusion to the search for the missing kid. Only a skillful cut combines the story into one long walk so that it eventually makes sense. The whole thing may be of interest to those who have no clue about Africa.

BERLIN ALEXANDERPLATZ

Recommended. This adaptation of Alfred Döblin's 1929 novel changes the protagonist into a modern-day refugee and strikes religious tones differently than in the literary piece, where the narrative was dominated by Franz's semblance to Job. That's still present in the movie, but he mostly wants to redeem his sins by being a good man. The opening is a kind of baptism in the water - the good man is (re)born. Next, he goes through the Stations of the Cross - manifested by a neon sign. As we hear in the narrative, "he stumbled and fell 3 times" and that happens step by step. On a secular level, some people get a raw deal in life and the film makes it clear who bears the brunt. It also deals with the vicious circle of economy: European countries sell guns to dictators, next people run from war and in their safe countries sell drugs to tourists. "Ich bin Deutschland" is some food for thought. While the book was inspired by film montage, this plays a role in the cinematic production too. Repetitions of the same effects in varying scenes make it all the more intriguing. Heavy breathing is heard in the opening, closing and at the running scene. Air shots are used extensively, including a woman and a man in the woods twice but in different configurations. Vierte Teil (Part Four) opens with a war-drums-like techno beat. It's contemporary Berlin so there's regular club techno too. Colours are used artistically, e.g. pitch black and snow-white skin of two lovers or a red sea and next red shower water. The adaptation proves the book is omnitemporal. Time will show whether the movie fills this criterion too. Speaking of time, it lasts 3 hours but not 1 minute is overlong.

LUCA 

Watchable. An American cartoon with the action set in Italy of mid-twenty-century. Nostalgia after the country of someone's ancestors? Italian banter, songs, culture, e.g. boys dreaming of a Vespa, a pasta devouring competition. It's sometimes tongue-in-cheek, e.g. they exclaim: "Santa mozzarella!" or "Santa ricotta!" It's a Disney animation so you can admire wonderfully translucent sea waters. Story-wise though, two boys who happen to be sea monsters - as a representation of nerds - after a series of muck-ups, end up making friends with others - obligatory for the genre - but also learn a lesson on how different people may react to "others". The story continues in the pictures in the end credits which, in turn, are followed by an amusing post-credit with Uncle Ugo. Sacha Baron Cohen dubs Uncle Ugo in the original. In Poland however, it's only dubbed in Polish.

DAD YOU'VE NEVER HAD

Watchable. A reunion with a father is no new subject. But this documentary, very personal, shot over one week, manages to present within half an hour the whole history behind it, the father's personality and world view, as well as how it has affected his daughter and other family members. Her exploration of his flat indicates the life she could have had. Early on he remarks: "Opowieść jest najważniejszą walutą" ("A tale is the most important currency") - not directly relevant to the case but some food for thought.

OSTATNI GWIZDEK (THE LAST WHISTLE)

Watchable. Another half-an-hour short film. Nothing new in a father-son relationship on the screen, nothing new in a coach-trainee relationship, finally a father doubling as a coach is no original protagonist either. The creator used to swim himself, having been to a sports school so the story's relevant to him and to growing up. But it's simple and derivative. Wonderful pictures of the sea at twilight and one picture-perfect shot looking like a postcard from a tropical island compensate for the very average plot. 

A curious fact from the Q&A after the film is that the actor who played the coach, Przemysław Bluszcz, doesn't know how to swim.

CHODZMY W NOC (INTO THE NIGHT)

Watchable. At first, I couldn't make out what this 30-minute film was about. But the teenage girls' relationship, the wonderfully shot club scene: the shabby wall with paint flaking off, dance close-ups, all both reflecting the atmosphere and presenting the characters together with natural dialogue eventually got me engaged in the story.

The teenage actresses are so convincing you can't tell it's their film debut (both for Kamilla Baar and for Nel Kaczmarek), and an acting debut for one (Nel Kaczmarek since Kamilla Baar had acted in the theatre before).

SOLAR VOYAGE

Watchable. A visual feast and a humorous biography of a genius engineer who didn't manage to profit from his invention. The most creatively depicted tale - due to the protagonist having withdrawn. The only drawback is that it lacks a strong message.

The director, now a lecturer of some technical subject, had studied graphics before. 

All the above four short films were professionally produced but lacked in the script.

MAGNEZJA (MAGNESIUM)

Recommended. By Maciej Bochniak, known for his earlier surprise marvel "Disco Polo". This time he has created another fantastical alternative Poland. The cinematography is stylised to resemble old photographs. Together with iconic images, costumes by Dorota Roqueplo, hairstyling, locations, specifically built set decoration it creates a kind-of-western based on the history of the Polish East. Outstanding performances by Maja Ostaszewska, Borys Szyc, Bartosz Bielenia each in an astonishing character, but also by everyone else, whether the role big or small. Italian songs with lyrics matching the events are tongue-in-cheek in this multicultural imagery. As for the plot, numerous twists of action, suspense, characteristic protagonists and a constant game with cultural associations totally absorb you. 

THIS IS SHORT

NEW POINT OF VIEW

DAS SPIEL (THE GAME)

Watchable. An interesting concept to depict a football referee as a show/film director. Quality editing - the 17' film was shot at 4 different stadiums. I guess you need to be a football spectator yourself to appreciate it more.

A PERFECT ENEMY

Watchable. Gripping from early minutes. As soon as a girl asks for a lift, you know she's going to play an elaborate psychological subterfuge, like in "The Hitcher". The movie's not all-enticing though, especially the first half. As the girl talks about the squalor and brutality of her childhood - watch out for gross-out bits - the repulsion she provokes feels pointless in the movie and only the finale clarifies the purpose of that part. Nevertheless, constant mind-game playing is intriguing. The girl, Texel Textor, is played with relish by Athena Strates - I bet the name isn't coincidental. Both lead actors: Tomasz Kot and Athena Strates are absolutely superb as the multi-layered characters. The second half keeps you on the edge of your seat and the finale ties up all seemingly loose ends. Even the end credits move in the opposite direction we're used to. Those looking for an intelligent psychological thriller will be satisfied

GODZILLA VS. KONG 3D

Watchable. Every generation seems to have their own Godzilla and their own King Kong. The current time is one for cross-overs. So the movie joins the storylines of Godzilla and Kong films of recent years and refreshes the viewers' memory reminding them of the main ideas - much needed and well done, however far-fetched such a cross-over is. The looks of the monsters are detailed and are really the only reason to bother. Maybe also for other decent visual effects and quality electronic music which livens up the tedious action. Underlit settings make all the film wearingly dark. The 3D is standard. All characters are two-dimensional. The story is monstrously (pun intended) de-braining. Not only is the plot quite rudimentary, but it is also full of holes and relies solely on special effects. 

LUCA 

I've seen it already but, due to a publication ban, I'll post the review no earlier than 16 June at 6 p.m. CET.

SCRIPT FIESTA

Three events are still available on Facebook. Two of them are:

EROTICA 2022 

Kaja Klimek's first question was to the point: about the cooperation between book writers and screenwriters. No one answered it, instead they talked about how they had got in touch. Luckily Kaja insisted. Olga Tokarczuk, before her Nobel prize then, wanted "the new surrealism", which is apparently a trend in literature now, to translate into the film. The writers worked on the set too, ensuring the actors say everything the way they intended. They also stayed in the wood, enjoying a holiday. Anna Kazejak wrote not about the future but about a reality where women are pressured on what they can or can't do and her protagonist slips out from this reality. Ilona Witkowska mentioned the perspective of our lives in the face of the climate disaster to be 30 years instead of 70 years. Naked scenes require a careful approach since once you get them wrong, you ruin them forever. The answers to the question about what writing is to them were interesting but of no practical value so I'm not quoting them.

Consecutive translation into English means it's better watched non-live so that you can skip one version to save time, the interpretation is sometimes incorrect. Though, on the other hand, it occasionally clarifies the Polish authors' meandering answers.

JAK POWSTALA EUFORIA

The meeting with Ron Leshem on how "Euphoria" came into being was more factual. His first advice was: re-writing the script several times takes 5-10 years so pick up what you're passionate about. Also, remind yourself over and over again of the one idea that the script originated from. He finds research more exciting than writing. He normally chooses the bodies he wants to be inside and feels compassion for. Once he's written, he doesn't want to be in that world anymore. He prefers to learn about new worlds. Only putting a mirror in front of the viewer's face and disturbing them can become an art. He remarks that nowadays lives of 17-year-olds and 40-year-olds don't differ much. "Euphoria" is a new quality because, while cinema has happened to present teenagers as adults, TV used to paternalise them, educate etc. Israeli series, with 100 scenes per episode, have 1/5 of the budgets usual in Europe. On the other hand, he once wrote a pilot on espionage which was adapted into Korean. American producers wanted "Euphoria" to be more like "Skins", more comic. But HBO got a new president, who was courageous enough. Sam Levinson fought his own addiction in his youth. Ron Leshem wasn't a 17 like this himself. For Sam, it was his personal story. Series producers require a tried and tested structure, that's why they use an algorithm. E.g. Tarantino follows an algorithm in his movies. TV is even more obsessive, they require the "Saving the cat" structure. That means drama writers need to know how it's going to develop and end. Exploring all possible journeys of a character requires a thought that lasts 6-7 hours, not our usual 20 seconds. In a drama, every disaster has a purpose and every evil has a reason so he finds comfort and solace in writing. And also because that gives him solitude as opposed to working as an executive with 300 other people. Netflix and HBO invest billions of dollars a year into the content. Every American home has an average of 4 different streaming services. There's a potential for watching TV in autonomous, self-driving cars. For the first time in history, there's a global platform for television. So cultural differences in shows stand out. He advises not to write before you've got the treatment and to go back to one-liners. If there's a problem, such strong roots will show what's not working. If a Hollywood executive calls your work brilliant, you won't hear from him once you leave the room. It's better when they have remarks what needs correcting - their ideas needn't be taken seriously but they point to where there's an issue. Otherwise, you'll be writing endless drafts. When you know your focus time - his is from 6 a.m. to noon - don't answer emails, don't waste that time. You have to work with someone you feel comfortable with. He also talked of the importance of "door opening" by renowned writers for the yet unknown ones. 

Kaja Klimek's comment about the interpreter sums up her English: "He's really the best. It's a great translator." Her pronunciation was comprehensible but sometimes off. Jan Kłoczko's overinterpretation was off too and sometimes even distorted the sense of what Ron Leshem said. At least Kaja Klimek's questions were to the point, smart and worth asking. Just as were Ron Leshem's answers.

THIS IS SHORT

NEW POINT OF VIEW

EX-NIHILO

Watchable. A poorly produced satire on film-making in the guise of creating a science fiction movie. Too theatrical in the form and too philosophical in the content. And while it's clear it's a satire, it's not amusing at all.

DRØMMEBYGGERNE (DREAMBUILDERS)

Watchable. The Danish cartoon about breaking and mending family ties is engaging, realistic in the daytime part and convincing in the dream layer. The story's immediately engaging, adventurous but not overloaded, even with several tender moments. Most importantly, anyone can relate to the events. The chess that split them, then brings them together, by means of the broken chessboard and scattered pieces. Sadly, the animation lacks detail. Colour divisions and scope could be better too. In Poland, it's dubbed in Polish only. No subtitled version.

POLICE (NIGHT SHIFT)

Watchable. I considered walking out from this French drama about police officers' daily lives but waited to find out what would happen to the expelled asylum seeker and to the lovers. Neither of the subplots gets concluded though. It's annoying how blondie Virginie Efira doesn't act, she just is there. Omar Sy as Aristide doesn't help. It's just a gloomy drama about day-to-day life of the police: home and work. Erik's character counterbalances Virginie and Aristide's approach but everyone is so sluggish nothing much is possible to happen anyway. A number of social issues are diluted by the poor direction of Anne Fontaine. Clear shots of the city at night add realism. But it's overloaded with the mundane already.

A QUIET PLACE PART II

Watchable. John Krasinski directs and appears as Lee again. Monsters turn up just a few minutes in. Sound and silence effects are adopted depending on whose eyes and ears we follow. Mild jump shocks make it more of a post-apocalyptic thriller rather than a horror. The movie drags till action starts in the second half. Plot developments are too much in your face, e.g. fire, water, sound enliven the action at the same time in the various locations the protagonists are in. The ending comes in time but with no conclusion. The money-making machinery is still in motion. Quality music accompanies the end credits. Recorded in Atmos but when watched in a Dolby room, the sound was so-so.

ETE 85 (SUMMER OF 85)

Recommended. Just about every time director François Ozon shoots, he scores. After being bang on target with ":'Amant Double" ("The Double Lover"), the man with the golden touch continues his run of success with "Été 85" ("Summer of 85"). Set in Normandy, which provides the scenic backdrop of cliffs, and reflecting the 80s to the point where even the film is grainy and as if aged, apart from obligatory clothes, hairstyles, boys wearing jewellery, music of the time. What's more, one of the lead characters is named Alexis, the name he prefers to shorten to Alex, anyway one most associated with a character from "Dynasty" - a long running TV series aired from 1981. The makers play with details. The movie's based on a novel and a protagonist writes one. In Alex's room you notice a poster of "The Awakening" which reads: "They thought they buried her forever". In the dance scene, his moves initially resemble David's and, even more remarkably, the song lyrics go: "Can you hear me?" "I am fighting to be free" "I am dying. I am crying." The film starts with a hot boy's intro which immediately throws a mystery into the puzzle. Soon another hottie turns up. In the middle, the announced death happens. The second half is grieving. The ending ties up loose ends. Nothing is left to chance.

SNIEGU JUZ NIGDY NIE BEDZIE (NEVER GONNA SNOW AGAIN)

Watchable. Another movie by Szumowska, known for "Body/Ciało" - which I walked out from and "Twarz" ("Mug") - which I loved. There's a line between original and weird. The new production is on the weird side. And it vastly consists of erotic dances and voyeurism - like in "Twarz" ("Mug") - has Małgorzata Szumowska run out of ideas? Snow and nuclear fallout in Chernobyl look the same so you can interpret the title optimistically that there won't be any disaster like that again or pessimistically that the climate change will render snow a thing of the past. Still, the topic is: spoilt rich housewives. A number of famous actors, e.g. Agata Kulesza, Maja Ostaszewska, Katarzyna Figura, Weronika Rosati and others are barely recognizable due to effective disguises. Wooden lead (Alec Utgoff) detracts from their efforts.

THE LITTLE THINGS. 

Watchable. Consulted by retired Sgt. Stanley White, it may well be grounded in reality. Star cast: Denzel Washington, Remi Malek, Jared Leto - all ensure a quality thriller. Remi Malek transforms his character from exuding confidence to a sheepish look when he's sitting at the pool in the ending. Jared Leto is convincing both as a weirdo and as an ambiguous personality. The beginning of the movie is a little confusing, hard to make out how many crimes they're solving and how many suspects they have. Soon, however, suspense comes in and quiet tension lasts till the very ending. The finale brings a mixture of satisfaction and frustration - is this the ending I wanted? Mixed-period interior designs, cars, town areas render the story timeless.

THIS IS SHORT

NEW POINT OF VIEW

MY LITTLE BLACK GIRL

Watchable. A smart film on being black. The guy tells seemingly his daughter but, through the position of the camera, the viewer, how to be a decent person. I agree with most of the rules. He sees faults on both sides: black and white. But first he tells his daughter not to support all the things that black people do and later, in the end credits, he dedicates the film to criminal George Floyd - doesn't he know who the guy was? On the other hand, "If you're in trouble, call the cops. That was a good one. But that's true! I mean, who are you supposed to call? Batman?" - that's truly a good one. Scary how it works. They can clearly only rely on each other.

12. PRZEGLAD NOWEGO KINA FRANCUSKIEGO 2021 (THE 12TH NEW FRENCH CINEMA SCREENING 2021)

This year's screening will be held in Warsaw on 18-25 June and in 13 other cities on different dates. Among the films on offer are "Le Voyage du prince" ("The Prince's Voyage") and "Été 85" ("Summer of 85"). Animated "Le Voyage du prince" ("The Prince's Voyage") will be screened in two versions to choose from: subtitled or dubbed in Polish and will be on general release later on. In Ozon's latest "Été 85" ("Summer of 85") he returns after over 30 years to what was going to be his first movie. It'll be on general release as well.

Other screenings are scheduled to come in the wake of the French one: Cinema Italia Oggi and Tydzień Filmu Niemieckiego (German Film Week) in July, for the first time a Scandinavian cinema screening will take place too.

LE DISCOURS (THE SPEECH)

Watchable. Verbal introduction by Benjamin Lavernhe replaces opening credits. This adaptation of Fabcaro's novel of the same title is a very observant satire on family, relationships and social gatherings. As common in French cinema, the film deals with inconvenient memories in a light way. It boasts an excellent performance by Benjamin Lavernhe as the male lead who takes on many roles within one person's scope of experiences. The movie raises a few smiles and occasional laughs. At the same time, its admirable insight brings out the truth on how much relationships matter to us. Also, everyone can refer to the situations, regardless of the culture you come from, which gives it a reality check. But however smart and spot on the remarks are, the fact the protagonist reflects on them giving a constant commentary means it's a little overtalked which is tiring after 1,5 hours. Popular music ensures a pleasant background to the story.

THE CROODS: A NEW AGE

Recommended. In Poland, it's only dubbed in Polish so you won't hear Nicolas Cage, Emma Stone or Ryan Reynolds voicing the characters in the original. At least all songs and occasional captions are in English. The movie tells about cultural and physical differences between social classes but successfully shows how both need the other, can inhabit the land together peacefully and have fun. Attitudes to life and to the other societal group are depicted - cleverly and entertainingly. The environmental issue of governing water resources plays a big part too, as does the crisis of masculinity and the re-emerging of women power. The plot is so eventful, the pictures so rich in detail - all admirably creative - that I felt overstimulated at some point but that is exactly when some hyperactive kids in the audience finally got quiet. Colours, invented animals, picture-perfect plants, with the prevalence of fruits and flowers, dazzle you. But most importantly, even though I haven't seen part one, now I love the troglodytes, the Bettermans and their pets and want to see more of them. Funny at times, e.g. "It's not my hand", at other times outrageous but never lacking in ingenuity. 

TOM AND JERRY

Recommended. Can a rom-com-cum-career-comedy with superimposed cartoon animals actually work? Well, written by the numbers, it does not bring any surprises but amuses, e.g. when Ben apologizes to Peeta or when Tom and Jerry try to put a guilt trip on Kayla, moves you to tears with love issues and glues you to the screen throughout with numerous developments. Kayla lands a job by her wits but proves she's really good with people. The hotel director is every beginner's dream boss and is played spot on by Rob Delaney. I adored the barman Cameron (Jordan Bolger) - the counterbalance of reason when the cat, the mouse, the dog, elephants and peacocks wreak havoc in the hotel. The girl porter (Patsy Ferran) resembles Loona Lovegood from the "Harry Potter" series. The cat and the mouse make faces wonderfully. Indian wedding attires manage to bring even more colour. Set in NYC, the movie was shot not only in the US but also in Battersea Park, London. In Poland, it's only dubbed in Polish. At least all songs and occasional captions are in English. Altogether, it's good fun. There's a post-credit.

MORTAL KOMBAT

Watchable. The new version of the sci-fi flick based on a video game, shot in Japanese, Chinese and English in South Australia, finally offers decent CGIs. Sadly, it's all shot in a dark palette. The actors are fine but the shoddy plot doesn't offer much. One curious bit is when an extremely brutal character draws a comic book and remarks that every artist is twisted. The 1995 film at least had a nice soundtrack. Pretty standard orchestrations in the new one disappoint. Fantastic "Techno Syndrome 2021" runs only over the end credits.

DRUGA POLOWA (THE SECOND HALF)

Watchable. A truly amusing comedy of errors with some hilarious lines and social satire, especially on footballers. Hot young Maciej Musiał is just amazing as a silly celebrity. Cezary Pazura shows off his impressive muscles. All other lead actors are perfectly cast too. Attractive cinematography. Only two elements detract from this enjoyable rom-com: the pointless sad mention of the orphanage and the homeless man - equally useless in the story, especially that the scene with him picking up the Lotto ticket doesn't find a conclusion. It just looks as if the editor forgot to cut out the loose ends. The film finishes with the scenes shown along with the early end credits.

Polish national representation footballers with their wags saw the movie first and declared there was nothing fake in it.

NOMADLAND

Watchable. Must have been written by a very positive person. I was struck by how kind to each other they all are. The story doesn't present anything I wouldn't have known before. It clarifies what kind of people American inland nomads are and demonstrates how they regain control of their lives and deaths. But it's all too flat emotionally. You watch the whole thing in the same slightly low mood. Visually unimpressive. I don't understand why Frances McDormand recommended seeing it on "as big a screen as you can".

CRUELLA

Recommended. This blockbuster is meant for the big screen. The baddie is played with relish by Emma Thompson. The star of the show, though, is Emma Stone as plucky Estella. Both ladies get brilliant support from a vast array of actors, most notably Paul Walter Hauser and Joel Fry as Estella's partners in crime. Emma Stone not only acts in this new take on the famous story but is also an executive producer, together with Glenn Close, who impersonated Cruella De Vil before in "101 Dalmatians" and "102 Dalmatians". The new tale is set in London's West End but parts were shot also at the Tower of London. While the baroness epitomises posh fashion, it's punk that rules. Estella aka Cruella paired with the second-hand shop owner Artie wear Vivienne Westwood-style outfits. However, the "no future" punk decree here turns into "the future". The movie abounds in the music of the time, e.g. Suzi Quatro, The Doors, Queen etc., though contemporary band Florence and the Machine sing "Call me Cruella" over the end credits. The movie contains clever pop culture references, e.g. a fiery entrance reworks the "Hunger Games" trope, a feminist version of a famous Star Wars revelation is played out at some point, the concrete balcony scene is reminiscent of Emma Stone's earlier "Birdman", the protagonist has double-colour hair and laughs like Harley Quinn. The movie's shot with panache and features an impressive arsenal of visual effects, twists of action, mind-blowing costumes and make-ups with which to dazzle viewers. As for the plot, Cruella's vicious obsession with Dalmatians gets a new angle. Armed with a cracking script, the protagonist uses an elaborate subterfuge to perform an amazing sting against the heartless baroness. Because of the complexity of the plot and the issue of power presented the adult way it'll appeal to grown-ups more than to kids. Also, the history of fashion will be incomprehensible to the little ones. There's a wonderful mid-credit. I loved all about this movie. It's just spotless - apart from the Dalmatians. In Poland, both subtitled and dubbed versions are on. 2D only.

THE FATHER

Recommended. Anthony Hopkins didn't give anyone a fighting chance in this year's Oscar race. He won it hands down. You witness the terrifying gradual loss of control of his life, at the same time you also lose track as a viewer. The story superbly steers you both ways: puts you in the mind of a person with Alzheimer's and questions the reality through the underlying conflicts which raises your suspicion as to what's going on. There's also a moral conundrum for the other party involved. The whole thing is quietly profound. Several scenes touch you deeply. The ending is shattering.

Revamped Kinoteka now boasts improved sound systems, fragrant flowers in the hallway, a legible, clear and enticing price list. Due to low daytime ticket prices for seniors (12 zl), the cinema was pretty full even in the early afternoon.

THIS IS SHORT

NEW POINT OF VIEW

YOLLOTL (HEART)

Watchable. Rainforest and its sounds are marred by fake ghostly heavy breathing. Not much of a story. Animated insertions, looking almost 3D were of some interest.

SIMILAR IMAGE

Watchable. From the description, it was meant to present the sounds of nature. You hardly get any sounds, they're of poor technical quality, they're nearly replaced by marks inserted on the visuals on the computer. I only watched till the end to see Ukraine. It appears to be a poor, backwards country with littered woods.

NEVER GROW OLD (2019)

Watchable. A bunch of cold-blooded villains terrorise a small town in this budget western. All characters are two-dimensional. It takes time to make out the order of events. It also drags so badly it had me switching to other tabs.

The movie on mojeekino.pl was barely audible - watching it was a gruelling experience.

WRATH OF MAN

Recommended. Guy Ritchie's latest is heavy-loaded action with a mind-boggling puzzle beside a heist, all registered in the world's best sound: 7.1 which makes impact even in a 5.1 screening room. First I was apprehensive because of Jason Statham - he's got the same no-emotion stance and face in every movie. But exactly this works perfectly here, where the hero's poker face is a prerequisite. The multi-layered plot shows the same event from varied angles, going to and fro in time and switching between protagonists. But from among all Ritchie's films I've seen I don't recall any other with such sound. It's a masterpiece: surrounding, multi channeled, absolutely state-of-art. The sound effects and sound editing are Oscar worthy. What stays with you are also the low end tones of the track from the end credits.  

WOLKA

Recommended. Don't read any synopsis! Within the story, information is released gradually so any knowledge of the content may detract from the pleasure. Convincing performances on all parts, with Olga Bołądź as the lead superbly enacting putting to use the thinking conditioned by her protagonist's past 15 years. Stunning panoramic views of the depicted country, not even touristy areas, just landscapes, deserve a large screen and complement the smart, eventful and well-justified plot.

I saw the movie in a screening room which has a laser projector (in Warsaw, it's Helios Blue City room 4) which ensured the colours were exactly the way the cinematographer intended.

ALONE

Watchable. A zombie actioner starring agile Tyler Posey. What's new in the genre which refuses to die? Well, the protagonist is locked in his flat for over 7 weeks. One of early scenes includes an awesome helicopter crash. The hero's family is mentioned being somewhere out there via phone. Zombies are regular, no novelty here. The main characters' names are Aidan and Eva as if they were the first humans in the upcoming new world, post apocalyptic Adam and Eve. Climbing provides for a handful of curtain hangers. 1 hour in comes a major twist with wonderful Donald Sutherland. A satisfactory finale.

Seen online, cinematic reception might differ but, at least in Poland, the movie's only available online anyway.

THIS IS SHORT

NEW POINT OF VIEW

LIHKKU!

Watchable. An 8-minute documentary. First you are made to listen to what you hear if you're coming from a culture presumed to be inferior - whether you make caustic remarks or express your admiration doesn't matter as long as you underline the person's origins. But the Sami attires the girl doesn't like mentioned are truly beautiful. At the same time, it's a local Swedish issue - I, for one, couldn't tell the difference between a Swede and a Sami.

CRUELLA 

I've seen it already but, due to a publication ban, I'll post the review at or past 3 p.m. Polish time (GMT+1) on Wednesday 26th.

THE WORLD TO COME

Walked out. Based on a literary work - too literally: recited lines, the lead thinking her diary aloud, all characters talking in the same style with no emotions, slow pace, fake-looking snowing. 

But it was very pleasant to be surprised by a courteous welcome drink at Kinoteka cinema. 

GENIUSZE (ADVENTURES OF A MATHEMATICIAN)

Watchable. Only Poles can turn the heated issue of the creation of the atomic bomb into a lukewarm tale. The only good point is the realistic recreation of the time and place. But the movie drags, contains lots of pointless scenes and lines. At the same time, it fails to inform properly on the historical events and figures. You spend 2 hours wondering where it's headed. The lead actor is Philippe Tłokiński, the same as in "Kurier" ("The Resistance Fighter") and the movie is on the same level: poorly acted, emotionally flat, shot in dull colours, with no music apart from a party and in a car. Inept editing means that not only is it protracted but e.g. music at a party gets cut off abruptly mid-tune to transport you to a quiet empty room. 1 hour 16 minutes in the movie the use of atomic fuel for space rockets is mentioned which reawakens your interest but the topic is dropped immediately only to reappear in a written note at the end. 

AMATORZY

Watchable. Theatre is a poor subject for the cinema. So is Down syndrome - such people are ugly and there's no denying that. But the movie's technically professional so easy to follow. Timely editing by Agnieszka Glińska and Barbara Fronc provide good dynamics, all able-bodied and -minded actors give fine performances, Wojciech Solarz, Anna Dymna and Mariusz Bonaszewski stand out, cinematography by Michał Popiel-Machnicki makes the backgrounds visually attractive. The film depicts clashes between both groups of people and as if accidentally poses some questions. Is sexism inherent to intellectually-challenged people? How much do we tolerate just because someone is disabled?

Both seen online, cinematic reception might differ.