gudaulin

I liked Sirový's earlier trips to Alaska much more, even though they were in black and white. This piece isn't poorly cast, but it has a weaker script. However, it reliably reaches three stars. Overall impression: 55%. Nowadays, it's an ideal film for ten-year-old boys.

The only thing this concentrated boredom can boast about is its cast full of well-known names. But what good is that when they have nothing to act? The script is as weak as a hunger striker after a month-long fast, and the direction is as routine and convincing as a smile from an advertising agent. Overall impression: 35%.

Action movies aren't usually my cup of tea, but this one is really worth it. It primarily relies on a well-developed script that isn't aimed at viewers with the mentality of an overgrown ten-year-old, and on the unconventional, more civilian portrayal of the main character. Matt Damon fits perfectly in the role of the disoriented agent and is in excellent physical shape. The film maintains a high pace, sustained tension, and an atmosphere of unpredictability. After watching it a second time, I'm raising my rating to 90% and adding a fifth star.

A famous war film that later saw several weaker imitations. It relies on charismatic actors, skillful direction, and its distinction from other war films of its time. With all due respect to its creators, the "dirty dozen" is merely a highly idealized view of war reality from a film studio. The combat action is naive and exaggerated. If German units were as clueless as depicted, Poland alone would have been enough to defeat them. Combat units similar to the "dirty dozen" were used by all Axis and Allied countries. They typically had lower combat morale but significantly higher brutality, especially on the German and Soviet sides, where they were used for the dirtiest tasks. Overall impression: 50%.

A routinely made conversational comedy from the golden Protectorate era of Czech cinema (Nazi authorities generously supported film studios, and they still had resources at that time). These salon projects never had anything to do with real life, but that's ultimately the essence of the success of film projects even today. This film is elevated to an acceptable level by the ironic perspective of Adina Mandlová and the acting professionalism of Jaroslav Marvan. Overall impression: 50%.

The main strength of the film is its strong, emotionally charged story, which has the potential to captivate especially female audiences - and, of course, me, an incurable softie. Accusations of emotional manipulation are not warranted this time, as the screenplay faithfully reflects the book it’s based on, which in turn portrays the cultural chasm between Western modernity and a society shaped by Islamic law - Sharia - and local traditions. In that world, children after a parental separation automatically belong to the father. The depicted story is not exceptional; it reflects the experiences of many women who married into areas governed by conservative Islamic ideology. The film's execution and acting performances are standard, thus not exceeding the average. Overall impression: 70%.

It is rare to find such a textbook example of product placement in the film industry as in this little movie. However, I must admit that I wasn't bored at all by this bloated advertisement for NOKIA. The film's advantages are its fast pace and reasonable runtime. Although I am sensitive to poorly written scripts and plot inconsistencies, in this case, these shortcomings didn't bother me. Kim Basinger, as the main star, attracts attention about as much as my grandmother in a nightgown, but even that is not a hindrance. If you don't have high expectations, the film offers a decent chance for entertainment and represents a light genre above average. Overall impression: 65%.

Everyone has their own taste boundaries, so no one needs to despair if they like this mess. As for me, I can say I had a better time even on the toilet after catching dysentery... This is one of those worse teenage comedies, embodying scriptwriter and acting incompetence. It's especially baffling why the actresses playing the girl protagonists spent all their allowance on clothes and hairstyling instead of paying for at least a week's acting course. Overall impression: 10%.

The pinnacle of Bob Fosse's work and one of the peaks in the musical film genre. It's not a musical in the true sense, though it employs some musical elements. The film builds on the contrast between the highly liberated artistic atmosphere of Berlin's cabaret scenes, full of decadence and provocation, and the mire of the economic crisis accompanied by the collapse of the Weimar Republic's political system and the rise of radical totalitarian ideologies. For Liza Minnelli, it was the role of a lifetime, making her a top-tier star. The evocative period atmosphere is created almost effortlessly, using extras and detailed camera shots. Excellent music, song lyrics, editing, cinematography, and acting performances. A film with substance. Overall impression: 100%.

A bitter tragicomedy about a man who lacked greater adaptability to attain happiness, but also the energy and courage to confront the injustices of our world, and so his life attitude became escapism. During the communist period, he decides to seek asylum in a monastery, and when fate brings him back to the world outside the monastery walls years later, he finds that while the government has changed, the people who continue to remain morally on edge have not. Despite sincere efforts to reintegrate and rebuild broken bonds with his family, he ultimately chooses to escape again into the asylum of the microcosm of a religious sect. It's not a bad movie, but from the creator of the format, Jerzy Stuhr, I would have expected more developed characters and more intense conflicts. Perhaps even more black humor. In many cases, the characters are merely outlined and do not undergo any development. It needed more work on the screenplay and the quality of the dialogue. Overall impression: 65%.