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Today at the Movies
Das Kinoprogramm wird wöchentlich aktualisiert. Die Kinokasse ist Mo-Fr ab 13:30 und Sa-So ab 11:30 Uhr geöffnet. Ermäßigte Tickets gibt es nur an der Kinokasse (Ausnahme: bei Kinder- und Familienfilmen auch im Online-VVK). Reservierung empfohlen. Reservierte Tickets müssen bis 15 min vor Beginn abgeholt werden. Bitte beachtet die Angaben zu den Sprachversionen. Filme ohne Kennzeichnung sind auf Deutsch.
Miller is such a wildly inventive filmmaker that it’s been easy to forget that he keeps making movies about the end of life as we know it. It’s a blast watching his characters fight over oil, water and women, yet while I’ve long thought of him as a great filmmaker it’s only with FURIOSA that I now understand he’s also one kick-ass prophet of doom.
Manohla Dargis, The New York Times
Nobody does emotionally trenchant, character-driven, nitro-powered action like him. After 45 years in the business, George Miller is still showing everyone how it’s done. What a privilege to witness him.
John Nugent, Empire
FURIOSA runs on a high-octane philosophical perspective that finds hope in a hopeless place. Also, a lot of cars go fast and shit blows up. It’s a win-win.
David Fear, Rolling Stone
What Berger has created with ROBOT DREAMS is not just one of the finest animations of recent years; it’s also one of the most persuasive love letters to the city of New York.
Wendy Ide, The Guardian
Its radical sweetness arises from a wellspring of empathy. Its radiant colors and lucid conception of vulnerability in the face of a largely inconsiderate world, sink deep beneath the skin in the liminal space between the soul and the heart that can make animation such a wondrous medium. Berger’s ROBOT DREAMS is its stunning reality.
Robert Daniels, The Playlist
We have met the enemy and it is us. Again... Rarely have I seen a movie that made me so acutely uncomfortable or watched an actor’s face that, like Kirsten Dunst’s, expressed a nation’s soul-sickness so vividly that it felt like an X-ray.
Manohla Dargis, The New York Times
Forget EX MACHINA , this is Alex Garland’s best film yet.. Garland may have just delivered one of the most vicious and unrelenting watches of the year, one that I’ll keep debating and untangling both in my head and with others for a good long while.
Matt Donato, Collider
Emma Stone gives a hilarious, beyond-next-level performance in Lanthimos’s toweringly bizarre comedy: Everything in it – every frame, every image, every joke, every performance – gets a gasp of excitement.
Peter Bradshaw, The Guardian
Das Aufregendste, was es seit langer Zeit im Kino zu sehen gab: In dem fantastischen Film erweckt Schauspielerin Emma Stone eine roboterhafte Frauenkreatur meisterhaft zum Leben. Ein Wunder der Selbstfindung.
Wolfgang Höbel, Der Spiegel
Stuffed with rude delights, spry wit, radical fantasy and breathtaking design elements, the movie is a feast. And Emma Stone gorges on it in a fearless performance that traces an expansive arc most actors could only dream about.
David Rooney, The Hollywood Reporter
POOR THINGS is the best film of Lanthimos’ career and already feels like an instant classic, mordantly funny, whimsical and wacky, unprecious and unpretentious, filled with so much to adore that to try and parse it all here feels like a pitiful response to the film’s ambitions.
Ryan Lattanzio, IndieWire
Emma Stone in Poor Things © 2023 Searchlight Pictures All Rights Reserved
It’s an alchemic combination, this continuing collaboration between Lanthimos and Stone, a working relationship that started with THE FAVOURITE ... Two talents that could hardly be described as risk-averse in the first place, together they unleash in each other an extra level of uninhibited artistic daring that, one suspects, must be rooted in an uncommon degree of mutual trust.
Wendy Ide, The Guardian
Yorgos Lanthimos & Emma Stone on the set of Poor Things . Photo by Atsushi Nishijima © 2023 Searchlight Pictures All Rights Reserved
Denis Villeneuve treats each shot as if it were a painting. Every design choice seems handed down through millennia of alternative human history, from arcane hieroglyphics to a slew of creative masks and veils meant to conceal the faces of those manipulating the levers of power, nearly all of them women.
Peter Debruge, Variety
Möge die Macht in dir sein: Im zweiten Teil seiner »Dune«-Saga dringt Denis Villeneuve tief ins Herz der Finsternis vor. Seit Stanley Kubrick hat kein Regisseur mehr mit solcher Präzision einen Film als Welt entworfen.
Tobias Rapp, Der Spiegel
An expansion and a deepening of the world built off of Herbert’s prose, a YA romance blown up to Biblical-epic proportions, a Shakespearean tragedy about power and corruption, and a visually sumptuous second act that makes its impressive, immersive predecessor look like a mere proof-of-concept. Villeneuve has outdone himself.
David Fear, Rolling Stone
A colossal blockbuster that justifies its scale: Part Two is a triumphant - and tragic - look at the cost of power... Villeneuve’s film is a grand success, working on an even broader canvas than the first Dune - but it’s tinged with deep mournfulness, a quality that sets it apart from its blockbuster contemporaries.
David Sims, The Atlantic
Bigger, wormier and way far out:
Timothée Chalamet and Zendaya make an appealing pair in Denis Villeneuve’s follow-up film, and the actors fit together with tangible ease... The sequel resumes the story boldly, delivering visions both phantasmagoric and familiar. The art of cinematic spectacle is alive and rocking, and it’s a blast.
Manohla Dargis, The New York Times
How Do You Live? - Wie lebt ihr? aka Der Junge und der Reiher / Studio Ghibli & Hayao Miyazaki-Anime im Kino Intimes Schaufenster