Berichten uit februari, 2016 weergeven

The title stands for 4 girls, 3 days, 2 cities, 1 chance. The movie has been described as the British answer to the very successful American ensemble movie Go (1999, Doug Liman). Another way to describe it would be a Girl Ritchie movie: a comedy thriller in the style of Guy Ritchie, starring girls instead of guys.
4321 was written and co-directed by Noel Clarke (Adulthood), who also has a cameo and whose image on some movie posters is bigger than those of the girls. His movie has a multiple thread script: it's about a diamond heist and a couple of middlemen who are used by the thieves to shake off the police; and it's also about four girls who once were inseparable but now decide to go their own way. Things take an unexpected turn when one of the middlemen accidently drops a diamond in one of the girls' handbag.
The girls all have their own mini-movie: the suicidal Shannon, the prudish Cass, the militant feminist Kerrys and the pragmatic Jo. The four vignettes are …

Pauline à la Plage

PAULINE A LA PLAGE (1983, Eric Rohmer)
One of Rohmer's finest movies, the third in a cycle of six movies - known as 'comedies et proverbes' - realised by this director between 1981 and 1987. All six movies feature women confronting life and are an illustration of a proverb from French classic literature, in this particular case a verse from Perceval, le comte du Graal by 12th century poet Chrétien de Troyes: "Qui trop parole, il se mesfait" (*1).

Pauline is a 15-year old, inexperienced girl who spends her summer holiday with her older and more experienced cousin Marion in Normandy. Marion is a real man eater, but at the same time she thinks she never experienced true love and is therefore still dreaming about that one ecstatic, passionate love that would drive both her and her lover crazy. While Pauline is having her first tender love affair, Marion feels the desired burning love for a middle aged man called Henri, a heartless Casanova and part-time philosopher. P…

Young Frankenstein


Young Frankenstein, Mel Brooks’ satirical salute to 1930's classic horror (in particular the 1931 Hollywood version of Mary Shelly’s novel) was his first movie to be hailed by so-called 'serious’ critics. The Producers and Blazing Saddles had brought him fame and money, but critical reactions had been divided. Many critics didn't know what to think of Brooks. Like the influential Roger Ebert wrote: "His movies weren’t just funny, they were aggressive and subversive, making us laugh even when we really should have been offended." 

Young Frankenstein changed everything - at least for a while. There are a few irreverent jokes plus a couple of references to the seize of the monster’s sexual apparatus (monstrous!), but otherwise it’s almost family entertainment.

Gene Wilder (who co-wrote the script with Brooks) is Dr. Frankenstein’s grandson, who insists on being called Fronk-en-steen because he doesn’t want to be confused with the notorious …