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Rififi: 8/10
(Jules Dassin, 1955)

Amazing heist sequence, as you might know. The rest was far from the brilliance of this core element, but still enjoyable.

 

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5/10

It wasn't totally bad, you get a few good laughs, slightly fewer scares and a proof Zellwegger can't do horror. We also get to see pre-fame Bradley Cooper when he still had his own hair.
 

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Crazy Rich Asians: 6/10
(Jon M. Chu, 2018)

I knew what I was in for, but the vulgar display of wealth still grossed me out after a while. And the lead characters seemed awfully bland, especially Nick, who was just a boring, spineless wuss. But Michelle Yeoh and Awkwafina are in it, so it's not all bad, and the humour worked well for the most part.



Btw/ I remember thinking it was very weird (and borderline racist) that this movie got distributed as "Crazy Rich" and with a different, less asian tinged poster by Warner Bros. Germany (and subsequently also in Switzerland and Austria):

 

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Underwater (2020) - 6/10

Standard 'we go somewhere we don't belong and find something scary' flick. In this case a drilling company has set up shop in the Mariana Trench.

I normally like this genre but this movie disappointed. It misses a good setup and building of tension. I guess the makers intend is to plunge you directly into action and let you be part of the total panic and bewilderment of the characters and in that case it works, the movie is certainly not boring, but for me it wasn't enjoyable that way.
 

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Slap Shot, 8/10 - Surprised how well this movie holds up, its theme is actually quite relevant to today. Ultimately it tries to have it both ways by tut-tutting the violence while simultaneously revelling in it, but at least it makes you think. It also has a lot of verve, a propulsive energy that sweeps you along with it, as well as some nice performances.

175845
 

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Finally watched some – Zombie genre defining – classics by George A. Romero:

NIght Of The Living Dead: 10/10
(1968)


Dawn Of The Dead: 9/10
(1978)


Day Of The Dead: 8/10
(1985)
 

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Blue Ruin: 8/10
(Jeremy Saulnier, 2013)

High on tension and low on dialogue, this emotionally dark twist on the revenge thriller stands out because there's never any gratification. Everything is inevitable. Although Jeremy Saulnier doesn't shy away from gore, he's far more interested in the fallout that violence causes.

 
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