“Seaman 2”, “Comte Monte Cristo”, “Magic City” and five other films today in cinemas

September entered and with him brought 8 in, one more enjoyable than the other. These are four new films and four reissues that premiere today on Greek cinematographers. They stand out the French entertainment epic era “The Count Monte Cristo”, the return, after 35 years, of “The Beetlezoumi” by hand Tim Burton and the French political judicial drama “Goldman Case”, while from the reissues Monty Python will freely share hilarious laughter, with the merciless satire “The Brotherhood of the Knights of the Hellenic Bank” and the thrill of the “Magic City”, seventy years from its first screening, which also marked the directorial debut of Nikos Kundurus, but also of George Founta, Thanasis Vengou. Komis Monte Cristo (“Le Comte de Monte-Cristo”) Seasonal adventure, French production of 2024, directed by Mathieu Delapur and Alexandre de la Pateille, with Pierre Nine, Pierfransco Favino, Anais Demousier, Ana Maria Bartolomei, Lauren Lafitte et al. For the umpteenth time Alexander Dumas’ novel is transferred to the large screen, this time perhaps more impressive than ever, exuberant, epic, which fully justifies the term entertainment cinema and will entertain for three hours the general public to whom it is addressed. The directorial duo Mathieu Delapor – Alexandre de la Pateille undertakes yet another adaptation of literary work, an adventure of time, a historical drama, a story of revenge, having as exclusive guide the text of Dumas, a face-to-face cast, the support of a production that has nothing to be jealous of Hollywood – instead it will certainly cause a envy there in the hills of Los Angeles. That is, all the ingredients that ensure commercial success, even though the film was also applauded by the demanding audience of the Cannes Festival, where it was shown out of competition. Especially the public, who does not know the history of the classic novel, will enjoy it even more, as the two directors, who may respect the text of Dumas as sacred, but do not add anything special, are content with romance and satisfying adventure, the certainty of academic approach, while avoiding as the devil the frankincense the dark aspects of history and characters. And at the same time the imposing setting – really sometimes it impresses – that seems to fall heavy and crush the dramatic power. The story follows Edmond Dantes, a young sailor who sees his dreams come true, but on the day of his marriage, because of a conspiracy organized by his supposedly friends, he is unjustly imprisoned. After 14 years, in a dark cell of a castle, he escapes with the help of another prisoner who reveals to him the location of a hidden treasure. Rich now, but frustrated and angry by people, Dantes reappears in Paris society as a mysterious and majestic Count Monte Cristo, with the sole purpose of his life, to take revenge on those who destroyed the best years of his life and stole his youth love. The robust narrative, which constantly stimulates interest, the rhythms that rarely make a belly, despite the almost three-hour duration of the film, but also the faithful adaptation of the script to the original text, will lure the general public into a romantic adventure period, which may be conventional, but will give a delightful evening, honoring a species, which, in recent years, has been in decline. This will also help perfect costumes, fairy tales, the work done in many characters, highlighting fears, hatred and of course thirst for power. Perhaps that is why all of the film’s imperfections and weaknesses go aside, as it is obvious that the public needs to unwind with one if not another decent entertainment film. The charming Pierre Nine, may have left out of the film set the flame of his youth, but shows sufficient for the central role, unlike the female presence, Anais Demousier, Ana Maria Bartolomei, who steals the performance, while most of the second roles are also outstanding. With little words, Marseille, 1815. Edmond Dantes’ dreams materialize one after another and are ready to marry his beloved Mercedes. But his success causes jealousy. Betrayed by opponents but also by those who considered friends and denounced as a member of a conspiracy, he is imprisoned without trial and without hope of return. Beetlejuice Beetlejuice Comedy of fiction, American production of 2024, directed by Tim Burton, with Michael Keaton, Winona Ryder, Jenna Ortega, Justin Therou, Monica Belucci, Willem Dafoe Mrs.The re-emergence after five years of Tim Burton and from the sympathetic but inferior of the expectations “Dambo”, is certainly an event for movie lovers and especially for lovers of the peculiar director. So after 35 years barton, after securing Michael’s participation Keaton, he made the decision to present the long-awaited sequel of the “Scartzoumi”, which the fans of the film have been waiting for many years. Tim Burton’s melancholy “monsterly” and full of nightmares and dreams of cinema, has his own story, as the dark tentacles of the mind, his fair and great heart, the adult childishness of the genius director have more interest than the whole of his work. And here, in the sequel of macabre comedy he returns with his heart, after his completed partnership with Disney, while he also exhausts the seventh decade of his life. This, moreover, nostalgia – all right, Barton’s heavy name – sent the film to Venice, with which the festival opened. Starting to unwrap the ball of his story from where he left it, Burton introduces us to his heroes. Lydia, middle-aged now, has her own ghost exorcism show on TV. When her father is killed returning from a journey, Lydia and her young and opportunistic fiancé, her rebellious teenage daughter and stepmother Delia will return to the fatherly home for the funeral. When her daughter opens the other world’s gate in the attic, Lydia will have to face the demons and protect her family. Burton’s nostalgic mood, his love for his hero and the seasons, which still cinema was the creator’s and the result of group collaboration, which gave an unprecedented reputation to the original film, have gone unreturned, despite the director’s expectations. The film, having something of the ignoble of the 1988 Gothic horror comedy, the spirit world and the suggestive sets, is particularly friendly, despite the abundance and ghostliness of the worms thrown from everywhere, but it lacks the necessary rejuvenation, the frenzy anarchist humor, the power that will go one step further to the myth. Any freshness is due to the presence of Lydia’s rebellious daughter, Astrid (Jenna Ortega), who yearns to reconnect with her dead father, but also to Monica Belucci’s presence, the role of his former wife Sketrozoumi, a demonic, full of staples, undead woman, sucking souls. On the contrary, one of the main elements of the first film, Michael Keaton – Beetrozum, on which the expected imaginative twists, which is the handmade effects of history, seem to have been trapped in a suit that still smells of mothball, losing an important part of emotion and fun. The result ultimately, despite Burton’s remarkable nostalgic and cinematic effort, is just a well-stung film of the genre, without any radical new direction, without finally the juice, which must have a film and even a demand maker. A few words… After an unexpected family tragedy, three generations of the Dietz family return to Winter River. Still haunted by the Beetle, Lydia’s life is overturned when her rebellious teenage daughter, Astrid, accidentally opens up the attic the gate to the other world. Goldman’s case (“Le Processes Goldman”) Judicial drama, French production of 2023, directed by Cedric Khan, with Aryan Vorthalter, Artur Harari, Patrick Pino, Nicolas Briancon etc.Extremely interesting French judicial drama, based on true facts and the personality of Pierre Goldman, a left intellectual activist, who in the 1970s was convicted of many robberies, and was also charged with the murder of two people and killed mysteriously, probably by parastate organizations. Cedric Khan (“The Prayer”, “A Better Life”) places his story within a busy courtroom, managing to put the viewer into it, with his documentary style. Granted, its monitoring seems exhausting, as the densely written script and historical references require the spectator’s full loyalty, which again is almost certain to escape several extensions of the subject. In April 1976, the second trial of far-left activist Pierre Goldman, who had been sentenced to a life sentence, for four armed robberies, one of which resulted in the murder of two pharmacists, begins. He advocates his innocence, without wanting to defend his character or other secondary events and stands in the incidents, arguing with his young lawyer. Goldman, who has become an idol of the intellectual left, personalities of art and letters are in the room to support him, insists on his innocence, disdaining prosecutors and judges, in a trial full of tensions and emotional charge. In a court room, more like a theater scene, Khan largely follows the form of a dramatized documentary film, is not limited to the facts, testimonies or legal arguments and fiorities, but instead he seems to focus the ideas, policies, historical events of the time. Eventually, they are “trialed” – judged by the public, through an overcrowded scenario, from which the necessary breaths are missing. The observations for a time – from the depreciation of May ’68 to the arbitrary tactics of authorities, police and the regime, quite penetrating although sometimes they seem to be drowned by stormy dialogues. Aryan Vorthalter’s robust interpretation of the role of Goldman, an indestructible revolutionary, who does not back off at anything and asks for no one’s sympathy, one of the film’s trumps, that escalates and culminates the agony in the finale. In 1976 the second trial of Pierre Goldman, a far-left activist who had been sentenced to life imprisonment for four armed robberies and the death of two pharmacists begins. In the last trial he supports his innocence and within a few weeks he becomes an idol of the intellectual left. Strange Darling (“Strange Darling”) Thriller, American production of 2023, directed by J. T. Molner, with Willa Fitzgerald, Kyle Galner, Barbara Hersey, Ed Begley J., Bianca Santos Mrs. Wild thriller, relying mainly on overthrowing the core of the film genre he represents, as he particularly flirts with the slasher Horror and reversing the roles in the bloody hunt “the cat with the mouse”, creating a flush, a curious charm to the public and especially the young. Screenwriter, actor and director J. T. Molner, in this second film, which has been widely advertised online and has distracted praise from iconic writer Stephen King, disoriented the viewer, to throw him into the deep, with his non-linear narrative, which further stimulates interest and chills. The story, which refers to real incidents, but is Molner’s invention, wants a young woman to have a sexual encounter with a police officer, who she accuses of serial killer, while she, after playing with him, tries to stab him, but she doesn’t succeed, as he shoots her in the ear. The first hour of the film, of the 90 minutes of total duration – includes chapters 3, 5, 1, 4 and 2, in this order – resulting in the great revelation that this is actually the wanted murderer, a dangerous fugitive, known as the “Electric Lady”. Mulder, following an unconventional narrative and giving an attractive iridescent style to night shooting, which combines decisively with a blinding realism a day, having as director of photography the well-known actor Giovanni Ribisi, I’m sure he’ll make a sense, having at his disposal a strong cast, led by the frantic Willa Fitzgerald. The film, it seems, aims to challenge the prejudices of viewers about gender roles, which achieves to a certain extent, but rather mainly with the impression and a dose of immeasurance of the director, who puts his “I” above all. And this results in a ambiguous meaning for the woman’s attitude to sex, faith, and infidelity, while most of the time strangely charming film remains on the surface, on the bloody skin. A few words… Nothing is as seen in a one-night stand that will soon evolve into a bloody chase… The movies are still on: “Monty Python and the Holy Grill” The classic unrepeatable comedy of geniuses Monty Python returns to reissue to remind us of the times when cinema could awaken through hilarious stories, a merciless anarchist humor. In 1975, in the first virtually here, their film, the immortal company of Terry Gilliam, John Cleese, Graham Chapman, Eric Eidle, Michael Palin and Terry Jones, will butcher the legend of King Arthur and the Knights of the Round Table, in their quest for the Holy Grail and at the same time will demolish the reality of the 1970s, proving that things will go worse and worse. Prophesing and warning about the coming of Thatcher and Thatcherism, Monty Python leave nothing standing and with a demonous cheer, successive gangs and incredible ideas will offer us a film experience and laughter to tears. Magic City In his directorial debut, Nikos Kundouros, heavily influenced by Italian neorealism, will make his best film, although Drakos is considered his iconic creation. 70 years ago, the young director, who has just returned from Makronisos and decides to make his first film, around the adventures of a group of wrestlers, who lives in a slum in Athens, with a natural setting of the notorious Minister. Kundouros highlights a Greece of misery and despair, the margin, which remained – and at the command – outside cinema, as only the distorted economic growth and the creation of the bourgeoisie were shown. Excellent effort, which sometimes resembles a faithful copy of Italian films of the time, even the Western impositions on popular entertainment, highlighted by the music of Manos Hatzidakis, while the contribution of Kostas Theodoridis’ black and white photography is important. George Fountas in the lead role is a revelation, which will give him next year the famous role of Miltos in “Stella”, while Thanasis Vengos, a friend of Kundouros from Macronissos, will make his first appearance at the cinema. Later zen premier Andreas Douzos on his debut and the baked Mimis Fotopoulos and Stephen General, along with Margaret Papageorgiou and Eva Bika, as well as Manos Katrakis, who appears in the first shots and is the narrator of the film, compose a wonderful cast, from which the popular faces of the time are not missing. Finale touching, like the reminders offered by Kundouros’ handmade film, which is reprinted in digital copies. Little Story for a Love (“Krotki Film o Milosci”) One of the stories of Christophe Kislofki’s “Decalogue”, which became an autonomous film in 1988, in a reissue with restored digital copies. The famous Polish director masterfully balances between the voyeur and the familiar, cold distanced and emotional charge, sinking viewers into the inner world of the protagonists. A subcutaneous comment on the nature of people and the problem of relationships, which can only be redeemed by the power of love. A lonely and introverted young man watches through his telescope the everyday life of a beautiful neighbor. Something that evolves into obsession, which when revealed causes emotional conflicts and reversals. An excellent example of Kislovsky’s writing, which has Sbignew Prysner in music and Vitold Adamek in photography, and is prominently starred by Grazina Zapolovska and Olaf Lubazenko. Cure (“Kyua”) The film with which Kiyoshi Kurosawa, “the black prince of the Japanese new wave” was introduced in the West in 1997 is an suggestive psychological, harsh thriller, focusing on the personality of a detective who investigates a series of heinous murders. Enchanting, captivating narrative, perfect frames, wonderful illuminations and a marvelous protagonist place the viewer in a grim universe where evil has the form of repulsed desires and demand urgent satisfaction. In Kurosawa’s best film, which has nothing to do with Akira’s memorable synonym, he stars Koji Yakuso, who we recently enjoyed in Venters’ last film.