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Almut Getto created something only a few filmmakers are able to - an intimate portrait of young people falling in love for the first time. Although it all happens with one of the protagonists being HIV-positive, this is not another melodramatic movie about AIDS. No! "Fickende Fische" is first and above all a love story among two 16 year olds with all the normal problems, and AIDS being "just" one of them. Getto and her young actors perfectly walk the narrow line between intimate feelings and unrelenting fate - and manage to make the viewer an intimate part of this relationship.

Just as if we were one of the protagonists ourselves we feel our heart beat as they touch almost unknowingly for the first time; and feel with them each and every step of the following relationship.

"Fickende Fische" is a small movie. One of those that ask the audience to become a 16 year old boy or girl and fall in love again - and to deal with AIDS not in an AIDS-movie, but tragically and comically at the same time in a little big love story.

Great initial idea, but the final short could have made more out of it. It lacks a bit on the plot-side. The acting suffers in parts from the non-professional actors (at least I think they are non-professional), and there could have been done more with camera and editing. Some of the jokes are pretty good, but on the other hand I was hoping for a more witty, sarcastic approach.

But in the whole, it is a rather entertaining short film that may especially attract aspiring filmmakers who ever dreamed of being Steven Spielberg...

I am not that great a fan of director Herbig's hit-tv-show "Bullyparade", but I loved the movie. It was hilarious for most of the time, with just a few length in storytelling and character development (if you could call it characters). I especially liked the strange humour that was almost pythonesque. Unfortunately some of the funny scenes were based on great ideas, but badly performed (which is true to most of the tv-show). In the end it gets more and more into the mood of Indiana Jones rather than a western-spoof, but it doesn't distract to much from the story.

I was impressed by the use of CGI (e.g. the train), which were produced by a young German company and looked pretty convincing. An important step for German FX-companies into the digital realm. Also the music was a great fun, with a lot of memorable comedy-moments and spoofs of great western-fanfares.

As a great admirer of Soderbergh's work I think 'The Limey' is a climax in his visual dynamics and non-chronological narration, that he already suggested in 'Out Of Sight'. 'The Limey' is a cool thriller full of suspense and deep meanings, and with Terence Stamp you've got a great actor whose stone-like face remains unforgettable.

However, as often with Soderbergh's stories, there is a strong lack of real emotional bond to the viewer and we look upon it from a rather unaffecting distance. But despite that, it's a stylish and wonderful work. And Steven Soderbergh continues to be one of America's most interesting directors who developed his own style of narration ever more and more with each of his films, now culminating in 'The Limey'.

Some viewers may be disturbed by the way Soderbergh edited this story, but as soon as you can follow along and 'take a look between the cuts', you'll realize a detailed and marvellous character study that has been perfectly set up by the director and his cast. And it's also beautyfully photographed.

Believe me, I've seen a lot of movies (each year a try to watch about 200 films I have not seen before), but American Beauty surpasses everything. It's the best picture I've ever seen. I never before focused on one single film as my favorite (there were always about 1,000 fav films), but with American Beauty it is different. It's just perfect, brilliant, marvelous, divine. Every single frame is adorable - and yet, it's so simple - there is no need for hoards of extras, for elaborate sets or meaningful events in the course of the story. Just a few strange people, people just like us. This film features some of the best acting performances ever to be seen on screen, esp. Kevin Spacey, Annette Bening, Wes Bentley & beautiful Thora Birch. Witty & intelligent dialogue that's rare in today's cinema, and the structure of Alan Ball's script is just perfect - the best plot narration I can imagine. Marvellous cinematography - one of the rare pictures in current cinema that denies fast-paced camera moves, but instead just sits there in static images that tell you so much more than every camera move ever could. I'd like to say more about that film, but my breath is still taken from watching it the fifth time last night. Besides, I fail further words that could describe it. It's just masterly accomplished regarding any aesthetics, the contents, the acting, the photography, the editing, the story, the art in itself...

A grateful bow to first-timer Sam Mendes and his crew.

When I first saw the trailer to that film, I liked it and wanted to see it, but I didn't expect that much - maybe not more than great imagery and great acting, cause I feared the story would be too much adapted to the needs of the "millenium"-audience.

Gosh! Was I wrong!

Well, of course that film shows excellent photography and marvellous performances (esp. by Foster and a surprisingly brilliant Chow Yun Fat), but there's so much more to it. The whole film is so nobel, so raised, even divine. Everything is so wise. And whenever I expected the filmmakers to give in to some kitsch-moments or some inappropriate action-sequence, they did not. Andy Tennent was wise enough, not to destroy his atmosphere by means of pleasing an audience that would rather see some action than some intelligent dialogue.

And there was no kitsch, not one second of it.

As a whole it's just brilliant, unforgettable. I guess, I could spend my whole life watching films like this. It was a cinematic experience that I haven't had felt for quite a long time.

Marvelous acting, excellent photography, cinematic brilliance. Those are just a few of the words, that describe this movie. It's a shame that it did not receive the attention it should have. Not even at the Academy Awards where only Egoyan received a nomination. Titanic is not half as great as The Sweet Hereafter. So go and get it... and watch it and watch it and watch it. It'll be an unforgettable experience. Because of its subtle atmosphere it seems as silent as a silent film, but its so rich in character and story development - with great actors in the lead. Don't miss it.