Mahler on the couch

Mahler on the couch

           Mahler on the couch
               Genre: Drama
               Music, composer, psychoanalysis, marital crisis
    In the summer of 1910 seeking the advice of Sigmund Gustav Mahler friend. For the aging raging jealousy tormented musical genius: A love letter has hit him like a blow – addressed to him, but intended for his wife Alma. The sender, a certain Walter Gropius describes to his affair with Alma in detail. Mahler is destroyed. What this young man knows of him and his beloved Alma, of two people who combined the music forever, and fulfilled? Mahler, the acclaimed international star, gets no more sensible note on the paper. The visit to Freud, is to help and encourage all to amazing days.   Title: Mahler on the Couch Country of production: Germany, Austria Year of Production: 2010 Length: 101 (Min.) (# ) Distribution:

Enter the Void

Enter the Void

           Enter the Void
               Genre: Drama
               Death, Tokyo, drugs, Cannes 2009
  To view the truth, at least to get there around not: Whether Gaspar Noe’s new film, Enter the Void suffer now or can not to see him in any case, in which direction whatsoever, an aesthetic border experience, a tug otherwise mostly abandoned nerve, a challenge and a nuisance. It starts with a preamble, which is like a movie guy on speed, a typographical fireworks in bright colors that remain of the name only as a short exercise fragments in memory, and, at drugs and exercise, it will then go in the future. Oscar (Nathaniel Brown) is a small drug dealer in Tokyo, previously he has held himself with odd jobs on the water, but because he wanted his sister Linda (fetch Paz de la Huerta) to accept – the two share a traumatic childhood – he needed rapidly more money and a small apartment. At least, he declares himself and the other his world cope, and of course he was not dependent on – but though Oscar is really the main character of Enter the Void, or at least the center around which herumoszilliert the history of irregular, issue here is not really about him. The main reason is that the perspective of the film is oriented so completely at Oscars perception. The film establishes a first camera view, looking in the narrowest sense, the literary perspective to copy a first-person narrator, we look to shut the world out of Oscars eyes as pure copy of his look, is that open and close lids. This is especially so irritating and disorienting, because it remains so consistently, and while we would like to see the right and left more, you get here, none of the cinematic means – long shots, “establishing shots” and all these things – presents, for otherwise the orientation. shall The viewer is thrown back out to these movements of the head trust, roars through the night, through a Drogentrip and into a near death experience, or perhaps its final death? With a friend Oscar philosophized shortly before or about the effects of dimethyltryptamine, which miss the body of a rush by those substances, which itself also produces the moment of death, “like dying would be the ultimate trip”. And then this is all not so, instead of half-organic, semi-crystalline color and light structures, constantly changing, fuzzy and outshines as on drugs previously staged (2001 – greet Space Odyssey will), you can hear now briefly Oscars voice introspective. speak Then he is silent, his eyes, our eyes fly through walls and obstacles. Scraps of perception of the world lined up together now, like Oscars sister, his friends learn of his death, what happens next, all alternating with memories that tell by and by Oscar and Linda’s life. For the viewer this is an exercise in patience. For these flights of curving, rotating camera about the city happen again and it always looks from one perspective, now often from above, in the memories always from behind Oscar’s back. This leads to a visual experience, in which one can fall into it must be because you want to free themselves from it constantly otherwise. The narrow through the rooms of the city before Tokyo already produced feelings of anxiety is made physically with cinematic means nigh, the action raises the same time this experience into the metaphysical. In all the fragments, flashbacks and snatches of dialogue develops Enter the Void by and by not fail to reflect on suffering, loneliness and physical, not just sexual desire, and the audience is also the view of the camera delivered as we able to be in the world – “Geworfensein” in Heidegger’s degree will be discussed here. So exciting and stressful all this is, it is also too cool, too unemotional, too calculating. In all its aesthetic surface radiates the film willed artifice, mixed the colors of a city model, which has added a friend of Oscar (“Tokyo on Acid”) with the night life out there, until the figures are for the grand finale in a “Love Hotel” take that seems to be only in the model – and that there “Club Sex Money Power” is written, but repeats the motifs of the film, together with any but added nothing new. For as much room for interpretation and enjoyment Gaspar Noé does with this film, he is far too long, pretentious, highly repetitive and redundant piece of film art, sometimes exploitative – a swelling of aesthetic adventure, alternating between Lust and Boredom that you can really appreciate, if possible only in a state artificially induced expansion of consciousness. (Rochus Wolff)
  Title: Enter the Void Original Title: Soudain le vide Country of production: France Production year: 2009 Length: (# ) 162 (Min.)

The Doors

The Doors

           The Doors – When You’re Strange
               Genre: Documentary, Music Film
               Band, Jim Morrison, The Doors, Ray Manzarek, Rock
  How it is with icons: They never die. To the grave of Jim Morrison, lead singer of the legendary rock band “The Doors”, the pilgrimage is still tens of thousands. And in the film by Tom DiCillo’s celebrates the singer skandalerprobte a grand rebirth. The documentation from unpublished archival material boasts emotive live performances as well as by their informational content. Feature film director Tom DiCillo (Living in Oblivion) can be alive – in his first six years of work documentary music history from the founding of the epoch-band to the Morrisons death in 1971. It does this by focusing on today’s interview waived and rely solely on old concert and studio recordings, on time conversations and other archive material. Just because the movie dives so deep into the past, he gives his story a surprisingly fresh look. It comes before one as though one had been there. But of course that is only a meaningful dramatic illusion. The story is interpreted in retrospect, it makes the comment from the off (voiced by Johnny Depp), no doubt. The beauty of it: The story is closed enough to add to a story. But open enough to allow each viewer his own rhyme. Chronologically structured, turns out the story of the Doors as a drama, as exciting as an action game. Despite its dense information content of the film makes the Doors and their singer, the mystery that surrounded her all along. Keyboardist Ray Manzarek, guitarist Robby Krieger, drummer John Densmore and Morrison were the first front man who struck a dark, morbid, psychedelic rock music of the string. The force of experimental excessive pieces such as The End # () or When the Music’s Over was Riders to their trademark – along with catchy numbers such as Light My Fire or on the Storm. The secret of their success is not limited to the unique sound they created in the departure phase of the mid-1960s. The decisive factor was probably the uncompromising way in which Morrison threw himself into his poems, song lyrics and his life as a rock star – although he was burned more than just the finger. Light My Fire , I light my fire, this slogan came from deep within the soul. Whether the fire also could delete it, it did not seem to care. Maybe we can understand the spirit of the best if you look at the beginnings leads in mind. Then take two more former film students. One of them, Ray Manzarek, makes music as a hobby. The other, Jim Morrison writes, alongside poems, running through the lyrics as well. Says one to another: “I like your lyrics, come on ‘times to the sample.” Scarcely a half years later, the shy boy with the angelic face a pop icon and sex symbol has become one. Simply because he followed his inner voice and the lure of LSD – all external rules or prohibitions deliberately mocking. Not megalomaniac and recognition to be addicted to is hard. It seemed everything possible in this time of liberation, in which pursued a rebellious youth, the old authorities to the devil and instigated a cultural revolution, in which no stone was left upon another. (I #) Jim Morrison unites heaven and hell in itself, it is once in The Doors – When You’re Strange. This is aptly. And through the images is impressively told. How gentle and innocent this young man smiling into the camera and how a few years later in the rush to the stage collapses – which gives its tragic fate of emotional force and the film density. One might almost argue that it is ultimately not a law of nature was that Janis Joplin, Jimi Hendrix and Jim Morrison died exactly the same age of 27. Nevertheless, significantly more musicians found their way out of drug addiction, when their were victims. But then lean back and can be of the fire symbolism fascinated with the play of the Film: Before burning is no one is immune. Unless the spark ignites does not arise. (Peter Gutting)
  Title: The Doors – When You’re Strange Original Title: When You’re Strange Country of production: USA Production year: 2009 Length: 86 (Min.) Distribution:

The Descent 2

The Descent 2

           The Descent 2 – The hunt continues
               Genre: Horror
               Sequel, monsters, cave, darkness
  When Neil Marshall in 2005 with his nasty cave horror The Descent, six young women sent to hell, the movie was born, the cave is no climber will ever forget. The small independent production was a hit theaters and DVD and gave director Marshall (Dog Soldiers) the opportunity, his dream project Doomsday to let off the leash. The mash-up was from Mad Max and Escape From LSD to the colossal flop, but enjoys among genre fans whether his craziness and cynicism Satus cult. Director Mr Richard Kelly (Donnie Darko) was similar to it with his Southland Tales. Artistic freedom can also go off to the back. In the sequel to his 2005-spec hits Marshall had then but no director’s ambitions. This item was awarded to Jon Harris (among other things, furious at Cutter Kick-Ass). Marshall is only involved as executive producer. And with the blessing of the original maker could be more or less reassured of things waiting to come to happen. And this year it was finally so far and The Descent: Part 2 is in the starting blocks. And as expected, is The Descent: Part 2 very solid and bloody Genrekost that will disappoint any fan of the original. Nothing original new, but a buy recommendation is very clear! In the town there is excitement Hyett County: Six women in the caves of the Appalachian Mountains disappeared. Only one, Sarah (Shauna MacDonald), has survived and was taken by a motorist to the hospital. Sheriff Vaines (Gavan O’Herlihy) and his deputy visited them once Rios (Krysten Cummings), something about the whereabouts of the other five to learn. Since Sarah can remember anything, Vains decides to take the survivors into a cave where the rescue squad to Dan (Douglas Hodge) believes to find tracks. But what is down there in the darkness there, so no one expected the rescue squad – except for Sarah, whose memory in the worst moment comes back. So, wow! The Descent: Part 2 is really good. Sure, you first must swallow that no one so simple a disaster victim again in that same previous encounters, but this point is accepted, will release The Descent: Part 2, only forward. The great actors are completely convincing, the blood spurts in hectoliters and the atmosphere takes the audience caught immediately. Although the blood looks pretty after 1970 fake blood (that is Orange colored) and one or another false scare points on to obvious, but The Descent: Part 2 is a great, very logical extension, the so many Genrefan tears of joy in the eyes will drive. With this quality, you may get a third part. Did the reviewer it already? Buy recommendation! (Renatus Töpke)
  Title: The Descent 2 – The Hunt Continues Original Title: The Descent: Part 2 Country of production: United Kingdom Production year: 2009 Length: 94 (Min.) Published at: Universum Film format: 16:9 tone / language: Dolby Digital 5.1, German , English EAN: 886 976 512 293 Extras: interviews, B-Roll, Featurette – The creation, making of, deleted scenes, audio commentary

The super cop

The super cop

           The super cop
               Genre: Comedy
               Policeman, Sequel, kidnapping, Cologne, goat
    12 years after “Ballerman 6″ returns the duo Tom Gerhardt and Hilmi Sözer back with “The super cops” on the cinema screens, and is surely the friends of cultivated Fäkalhumors inspire again. The two underdogs from Cologne-Kalk, are the most stupid police officers in Germany and are close to their release. But as you approach so far largest case: The Goat ‘Hennes’ beloved mascot of the first FC Cologne, has been kidnapped.   Title: The super bull Country of production: , Germany Year of Production: 2010 Distribution: Constantin Film Distribution

Rio

Rio

           Rio
               Genre: Animated
               Rio de Janeiro, macaw, parrot
    Behind the animated film “Rio” stands for the team and for the “Ice Age” films is characterized responsible. Blu is a rare blue macaw, who is convinced to be the last of his species. When he learns that there is now a blue macaw in Rio de Janeiro, which also is female, Blu leaves his cage in Minnesota and travels to Brazil. But the first meeting between the Blu tame the wild Ara-Dame Jewel runs anything but happy. Soon, Blu wants back in his cage, secure with his mirror and little bells.   Title: Rio Country of production: USA Production year: 2011 Distribution: Twentieth Century Fox

Helen (DVD)

Helen (DVD)

           Helen (DVD)
               Genre: Drama
               Depression
  In 2020, the second most common disease after depression cardiovascular damage will be. The feared, the World Health Organization WHO. But what does this often concealed suffering? Sandra Nettelbeck’s movie worth seeing is a relentlessly open view. “It was hell,” says Helen title character (Ashley Judd) in retrospect once. But those are harsh words, which remain meaningless, given what we witnessed nearly two hours and sometimes miterleiden. In this well-designed and exciting drama told there is at all regardless entertainment needs no embellishment. Helens Depression is a terrible and inexplicable descent from which there seems to be a long time, no escape. That is the disturbing: no one can be blamed, not bad husband, no mobbing colleagues, no one bad mother and no traumatic experience. Like a black curse breaks from the disease. No one has seen it coming, all of a sudden it is there. The demands from the audience, of course, a certain willingness to face the facts. On the other hand have psychic depths in the film fascinating. Director Sandra Nettelbeck (Mostly Martha) keeps the balance between horror and sympathy very clever. She lets us witness the torture, which is preparing a depressive his closest family. But they can also just watch what happens Helen – in the beauty of melancholy, the pain in the blue-green sea aesthetics of a city. They achieved their goal enlightenment, without the intention that we noticed right: to make us acquainted with the accompanying symptoms of a disease that is still taboo. The film is a director of the heart. He is dedicated to her friend who killed himself after a long mental illness. Helen the story of a successful music professor is at the peak of their professional and personal happiness. It is an inner radiation, which lies in the first minutes of film on her face. But then – they do not know why – their life is totally out of control. Was it the meeting with the young cellist, who suffers from the same disease and it just goes bad? It remains unclear, with good reason, for the suicidal depression, which now breaks even with Helen again, can come out of the blue. It leads into a hole, in which only death seems the only salvation: a seducer with magical attraction. And the seemingly only way the unfathomable inner anguish and panic attacks to an end. Gillian Anderson actually had ( X-Files ) will play the title role. But probably it was fortunate that Ashley Judd (Double Jeopardy stepped in) after its cancellation. The actress had to be treated in the year 2006 include for depression and was dealt a similar offensively as in Germany, the footballer Sebastian Deisler. Probably you have to have experienced similar conditions once to the role so nuanced, and credible to play as the main character: the simultaneity of deepest despair and truth of appearances, this terrible shame about their own failure, this unconditional will and not ability. will deliberately raise Sandra Nettelbeck with Helen a wide audience. It would be like the movie. (Peter Gutting) draw For Sale start giving away cinema zeit.de-three copies of Helen. Anyone who maybe would like to participate and win, you must first “fan” of cinema zeit.de be on Facebook. In the pot raffle will all come, up to Monday, 7 have set in June 2010, 24:00 GMT Clock a “Like” or “Comment” under the lottery-mail. Is not allowed to join staff of kino-zeit.de and Warner Home Video. more than a “Like” or “Comment posted is” decided by lot.   Title: Helen (DVD) Country of production: , Germany, USA, United Kingdom Year of Production: 2009 Length: 114 (Min.) Published at: Warner Home Video format: 16:9 tone / language: Dolby Digital 5.1, German, English EAN: 5051890013118 ( #) Extras: , trailers, deleted scenes

Moon

Moon

           Moon
               Genre: Thriller, Science Fiction
               Robots, solitude, moon, space station, Fantasy Filmfest 2009
  For nearly three years, is Sam Bell (Sam Rockwell) in the service of Lunar Industries Ltd. Selene on the Moon base and then monitored the mechanical removal of the gas helium-3, with the help of some seventy percent of the energy of the earth will be covered. There is not much to do, fully automatic harvesting machines plow the lunar soil and thus gain the valuable energy source, which is then shot with the aid of a shuttle transport to the earth. For Sam, the whole is a boring routine job, by the glamor of the space is hardly something to be stayed, what you see already on the spacesuit of the space worker. Instead of bright white spots are found everywhere and visible traces of numerous maintenance and repair operations. The loneliness that is spoken only broken by occasional contact with the earth and talks to the computer Gerty (Kevin Spacey) is gnawing at the psyche of Sam, who works at the beginning of the film rather neglected. Now, Sam’s time tends slowly to the moon to end in two weeks he will return to Earth, where his wife and daughter, with whom he has an occasional visual and voice contact, are already waiting anxiously for him. But shortly before the return journey to strange occurrences begin to accumulate. And then Sam has a strange accident at a outdoor consequently, his suspicions that something goes wrong on Selene to condense more and more a terrible certainty. For his life has long since taken a different turn when he finds it, he has become a game ball, which is not much more than a slave in the obscure machinations of Lunar Industries … While currently dominate futuristic shooter orgies like Transformers – Revenge of the canvases, forms probably the greatest Moon opposite pole of the genre within science fiction. With a skeleton crew, the driving music by Clint Mansell and a sophisticated story that puts an emphasis on the psychological aspects of loneliness and isolation as well as a devilish twist, which gives the whole a deeply philosophical dimension that drives Duncan Jones’s movie progressing cautiously and remains gripping to the last. The sterile, brightly lit rooms of the moon station, the voice of the computer that can control a mobile manipulator which approaches Sam several times quickly from the back, the emoticons on the screen of Gerty, which should express the “feelings” of the computer and over a leave doubt as to whether he “honestly” thinks (too well the subtle little games in my memory, which once played in Stanley Kubrick’s HAL 9000 in 2001 with the astronauts) are – all that creates a subtle atmosphere of threat that can be felt rather than just name can be materialized in a weird way, driving a subtle confusion. Finally, Sam looks in the literal sense confronted with himself and all that he had been sure of itself, is becoming increasingly fragile, until finally he must know the whole truth about his own existence. Who am I? What makes me as a person? Can I rely on all the things that strikes me as a matter of course? What is the meaning of my life? There are fundamental questions and uncertainties such as these, the Moon is not just an extraordinary science fiction movie, but also a profound reflection on appearance and (as his), make identity and reproducibility. And while the film goes even further, analyzed and, almost incidentally, in passing the fatal mechanism of economic thought, the man perhaps understands more than human capital. The truly shocking thing in mind: The roots of such an inhumane work are already in the Here and Now firmly established, the story is told Moon that is thus only a logical extension of that we observe today was already able to. , Duncan Jones’ feature film debut is a stunning mature work, which has, despite its meager cast in an intelligent manner and lasting effect. Long, much too long could be seen in the science fiction genre nothing even remotely comparable. Perhaps – and this is long overdue – it succeeds Moon, too, all those science fiction fans to lure back into the cinemas, who out of frustration about the senseless slaughter and material effect orgies of the last years of the cinema with his back. (Joachim Kurz)
  Title: Moon Country of production: United Kingdom Production year: 2009 Length: 97 (Min.) Distribution: (# ) Koch Media / 24 Images

Life As We Know It

Life As We Know It

           Life As We Know It
               Genre: Comedy
               Adoption, foster child, fighting cocks, Testament
    Holly and Eric Berenson combines knife after a disastrous date, only two things: their mutual dislike and her godchild Sophie. When Sophie’s parents are killed in an accident, Holly and Eric expects a Überrraschung. The parents have in his will that the two fighting cocks to take care of the little girl.   Title: Life As We Know It Country of production: USA Production year: 2010 Distribution: Warner Bros.

Morning Glory

Morning Glory

           Morning Glory
               Genre: Comedy
               Television, television producer, news, morning TV
    As Becky Fuller, television producer of a local newscast is fired, it looks just as bleak from her career as in her love life is not really existent. By chance, they stumbled on a job offer at “Daybreak” – the last player of all the breakfast TV shows on American television – and decides to bring the show to neatly into shape. As a first measure, it will seek the legendary TV anchorman Mike Pomeroy (on board. Too bad that the old-fashioned news man it as feel it beneath his dignity to fritter away his time with the usual morning show standards, such as gossip, weather, fashion or craft items. And that He categorically refused to work with his new colleague, the former beauty queen Colleen Peck, makes things any easier.   Title: Morning Glory Country of production: USA Production year: 2010 Distribution: Paramount Pictures Australia