If I were Josef Goebbels, I’d probably review this film like this (including spoilers): “Another farce made, this time by the Americans. When will they know that successful propaganda can be successful only when the arguments used work to their advantage, and not against them? Here, a homosexual cuts his wrists. Are we to feel akin to him through this? The upbringing of the American nuclear family implodes throughout this film; the father has failed in the upbringing of his family, his white family. How can this be? We would never allow this through our media, yet another fact displaying the fall of the socialist regime. His woman is let to shout at him unpunished, and he has failed in rearing his female child, which rules him at a whim to partake in a vain, American cultural contest which is nonsensical as their child is not Aryan. The child, the female child, rules the male parent? Unheard of in The Reich!The only person to respect in the beginning of this nonsense is the masculine child, who revers Nietzsche, yet has his goal obliterated by gay propaganda. All in all: nothing to see. Even Leni could have jolted life into this mess. Two swastikas down.”

I, on the other hand, like this film, which is a feel-gooder; Steve Carrell plays the best part seen him do so far (much like Adam Sandler in “Punch-drunk Love”), and the script and tempo works much to the film’s advantage. There is almost no soundtrack, and the action is sparse, which also works good. This film is like having a relaxing bath, yet I stayed on my toes as the film challenged me by not being linear. It’s enticing on several levels. All in all, sweet, and the finale is loveable on many a level. I recommend it.

I’ve read the English version, second edition; this edition contains a lot more material than the first, with a lot of reactions on the first edition added. The book as a whole is definitely worth your while, even though Flür is very bitter throughout the second half – which, at times, is fully understandable. It offers a (so far) unique insight into the story of the biggest electronic band of the 70s and 80s, casting light on everything apart from the nerdy, technical details. Too much info on Flür’s current project, though. Strongly recommended for everyone who loves the band or just want an insight into the world of how a band can work at its best and worst.

I love the tracks by SebastiAn and Justice; the rest are ranging from fair to not-my-cuppa-at-all.

Quite a bit of Simian Mobile Disco on here!

As I’ve watched every episode in the series, I was quite hungry to see how this one would make the transition from TV to the cinema. The answer to your question? It did, although flawed. As Carrie and her three compadrinas continue four years after the point where the TV-show ended, I thought of two things: the film started off generally better than the last season of the show, and whoa, this film is almost as much a big commercial for certain designers as “I, Robot“ helped to sell everything from stereos to TV’s. Apart from that, the story circles Carrie, the central character from the show, and at times her friends. As the film is supposed to be a super-sized version of the show, it contains twists that the HBO-format never contained, as well as having everything sex turned way down. All in all, the story is quite thin and at times makes me think the writer/director of this piece should have made room for more input. Still, I don’t think the planned theatrica follow-up will do this film any justice. What cards are left to be played? Charlotte having a child? Will the girls get political? Methinks HBO will have more in store for all of us, rather than more SATC-films.

Eloquently written, painstakingly directed and assembled, this is a story where the scenes are chronologically out of order and the script is bliss. The lives of a few people mix, and we see their every day lives; I shan’t say more about it as that would undoubtedly ruin the plot, but I loved this film. Every actor is great, the direction is sublime and I felt that everybody involved in making this film partook in trying to make the film something great, and not outshine their peers; brilliant, hard to stomach, and highly recommendable.

Horrid Swedish film about a girl growing up and apart from her friends, rummaging through her 1984-ish workplace and boyfriends. Imagine “Flashdance” in a punk rock environment, rehashed by people who should be locked up. Sara Kadefors, I will never forgive you for having written this; the dialogue is f-ing horrible and utterly unbelievable. Yet another example of a film that should have been forcibly quality-controlled before leaving shop.

Despite John Hurt and Elijah Wood, this is a culled effort, combining Donna Tartt’s excellent school-times crime-novel “The Secret History” and “A Beautiful Mind”. Too bad this is full of wordplay in the worst sense, paired with little knowledge of how serial-killers work. This is uninspired, badly directed, tiresome and littered with characters that confuse and – at best – made me laugh at all the wrong places. Do avoid.

Modern Swedish novel about a girl who gets dumped by her boyfriend who’s found somebody else. She cries, hates, disintegrates and goes to San Sebastian for a while where she meets and escapes life as she reviews what’s happened to her, and what her next steps will be. Intelligent, funny and interesting.

Six characters play Bob Dylan during different stages of his career. Never mind that he’s played by a child, by men of different ages and a woman; this is poetry. Actually, poetry and a lot of Dylan’s anger and an explicit insight into his music. As free-wheelin’ as the man himself seems to me, this is very well directed considering Haynes has made me feel that it’s a complete film despite six totally different story-lines being weaved throughout the story. Extra kudos to Blanchett; call me stupid, but I didn’t know it was she until the very last frame of her.