Green Book

"Driving Mr. Mahershala"? Too bad that Viggo had to fight Rami Malek for the Oscar, as the jury couldn’t give it to anyone else but Rami. Here, Viggo put on a remarkable performance, just like in Eastern Promises. Mahershala is also great. The movie itself, however, is a dime-a-dozen Hollywood template, with a good heart and gorgeous narrative but without a hint of filmmaking inventiveness. (06.03.2019)

The incredibly simple, flat story, is saved from my sheer hatred (which I felt for the idiotic racial jumble The Help) by humor, and by the fact that it’s so stupid and stupider that there is no way it will offend you. The themes of tolerance and self-acceptance do not make much sense. The film, like a forged midcult, avoids everything that is even slightly problematic (or looks at it helplessly as a doctor looking at working nurses), and it always finds a way to get away from it. If I wanted to play at being Žižek, I would see an extraordinary tragedy about how two people help to create a fake version of themselves (supposedly better, yet totally a lie for the person watching). Farrelly's directing is about as progressive as the filter his cameraman uses, but one thing that he has is almost ingenious - the cast. The two idiots are so nice and relaxed that it's hard not to enjoy it for a while. They can convince most people that this film is not as hollow as it seems. Burn after reading. (07.03.2019)

It’s been a long time since I saw a dramatic comedy by American authors that would involve such great acting performances (Viggo is fantastic and Mahershala delivers a decent above-par performance), a great to amazing atmosphere, real friendship between men and moments in which I simply admired both gentlemen’s acting, watching the slightest movements of their faces. Even those alone could tell you a lot about the situation and help you form a well-rounded opinion on what was going on in the USA in the 1960s. The American people are truly absurd and this year’s Oscar ceremony provided a proof of that in form of two movies – this one and the BlackKklansman. An A+ from me for sure. Just keep it up! Self-criticism is important and it is really good that it’s being opened up in the world beyond the Big Pond. On top of that, I’m really glad that Peter Farrelly’s work was rewarded as well because when do you get the chance to win an Oscar if under other circumstances you are making wacky comedies with your brother that are commercially successful and every now and then you pull a prank on somebody and pull your wiener out at a casting interview: Naturally to ease up the situation. In the overall context this is great and congrats on that. Finally, after a really long time a movie was given the Oscar that I was rooting for with my entire heart. (25.02.2019)

An overly calculated and sure-footed Oscar-winning film that ticks off the likely situations to come, and they do come, including the pathetic ending. But the dialogues between Tony and Shirley are hilariously written, there's a great spark between them and I laughed my heart out at times. Viggo plays my peer, always eating like me, getting a pot belly like me, just cute. I'd like him to win an Oscar, more than Rami "look-at-my-brutal-attempt" Malek, and more than Ali, who to me is an actor of one expression. (02.08.2019)

Miss Daisy's driver upside down. A nice, sadly funny and non-conflicting humanly warm film on a serious topic. Just saying nothing that other similarly nice, sadly funny and non-conflicting humanly warm images wouldn't have said already with an equally nice, sadly funny and non-conflicting humanly warm taste. It's not an average movie just because of the working dynamics of the central duo; even if one has to get used to Mortensen in “a true Italian almost parody mode". (27.01.2019)