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A drama built around a strong female character, and today's feminists would indeed be pleased with the protagonist. A review of the film greatly depends on the viewer's ability to identify with the main character and her value system. Living in the era of late Victorian England, Ursula with her free spirit, desire for independence, and rebellion against social conventions would probably be sympathetic to me. In a conservative society constrained by prejudices and senseless limitations, where only one in a thousand stands out, the presence of such individuals is revitalizing and overall beneficial. However, in a society where Ursula's qualities and value system become common, it may not be easy to have children or a thriving family life. It is a question of whether Ursulas has not multiplied a bit too much in today's Europe. I liked the acting performance of Sammi Davis in The Rainbow. She managed to imbue her character with both the naivety of early youth and sensuality with awakening fierce sexuality. The depiction of the conditions in the education system at that time was also impressive, and the clash of the protagonist's ideals with the bitter reality was quite harsh. Overall impression: 60%.

The era of prohibition and the golden age of escalating organized crime are thoroughly documented in film and television. However, HBO proves that returning to seemingly exhausted material can be very successful if done right. Boardwalk Empire turned out to be one of the most pleasant television surprises in recent years for me. Steve Buscemi is a charismatic boss of a criminal gang, not one-dimensional, but a highly complex human character. Paz de la Huerta is the perfect mafia seductress, and the likable character played by Kelly Macdonald is interestingly torn between two worlds and faced with numerous difficult decisions. You can create a work in a similar environment either in the style of The Untouchables, as a battle between the heroes and villains, or as a comprehensive portrait of society, showcasing the workings of crime in all its forms and levels. Boardwalk Empire is the latter and brilliantly demonstrates how crime was firmly ingrained in the social structure of the United States at that time. You can witness the corrupt practices of politicians, as well as small-time street thieves, prostitutes in brothels, and foot soldiers doing rough work. Here, the characters are not so much positive or negative, but rather people with different interests in varying shades of grey. Overall impression: 95%.

For losing almost two hours of my life to this movie, I have to thank a friend who significantly preferred it over Ridley Scott's Body of Lies. Because I really liked Scott's film, I was expecting something extraordinary and, in a way, it did come. While watching the actions in the world of terrorism, I suffered like an animal at times and shook my head in silent astonishment. The Traitor is not a complete disaster, but compared to Scott's professionally fast-paced popcorn flick, all the dramatic shortcomings, slower pace, and overall dullness of the film, as well as the lack of credibility and false tones in the script, become fully apparent. The final showdown with the army of terrorists seems seemingly impressive, but in reality, it is rather laughable. I was entertained for the first 15 minutes. Overall impression: 25%.

I have a problem with Agnieszka Holland's work. She maintains a decent standard, so her filmography does not include outright disappointments, but she has never truly impressed me. I have never even considered giving any of her films the highest rating. A Girl Like Me: The Gwen Araujo Story is based on a true story, with the whole case of a brutal murder of a transvestite and subsequent trial presenting major potential for a gripping drama with a moral appeal. Unfortunately, the result is a film that will fade from memory in a few days, unlike thematically related films like Soldier's Girl and Boys Don't Cry, which reliably come to mind even years later. This film deserves a fair 3-star rating and nothing more. Overall impression: 60%.

A high-quality psychological drama, and one of the crucial contributions to the discussion about the death penalty. It is valuable in that it does not take sides and does not instructively judge. The main protagonist, a nun, is gifted with heightened sensitivity and empathy, and she experiences both the fear and the accused's attitudes, as well as the pain and understandable hatred of the victims' parents. The condemned is definitely not an innocent victim of the system, but a criminal with whom it is visibly difficult to sympathize. The film gradually touches upon all the fundamental problems associated with the phenomenon of the death penalty. Just as an example, the overwhelming majority of those condemned and executed fall into the category of the poorest, who could not afford to hire expensive lawyers and private investigators capable of effectively challenging any accusation. It is also a fact that executions are carried out at a time when there is political demand for them, to demonstrate the politician's determination to combat crime. The performances of Sean Penn and Susan Sarandon dominate the film. Both belong to the best of what current American cinema has to offer, and they give their characters maximum credibility. Overall impression: 90%.

It is said that films based on real events, especially biographical films, are boring and often made out of duty or calculation. Kinsey shows that things can be done differently. The prerequisite is a strong subject, a quality screenplay, and casting. Kinsey does not deviate from reality in anything essential, and yet it occasionally reaches the grounds of pure comedy - thus, former views on human sexuality may seem absurd to us. In the first scene, a respectable older gentleman vehemently opposes the godless novelty - zippers on trousers that allow godless youth to satisfy their desires anywhere and anytime, which will surely lead our civilization to decline in a short time. The character Kinsey opened the forbidden 13th chamber of knowledge of human sexuality and showed us who we really are, not how narrow-minded interpreters of social morals and religious activists would like to see us. Kinsey used the scientific method of exploration where ignorance, hypocrisy, prejudice, and nonsensical taboos prevailed. He did not corrupt society; he just held up a mirror to it. His work significantly influenced the social atmosphere and the rise of the sexual revolution, as well as women's emancipation. His scientific findings were in some cases adjusted, but no one was able to challenge their fundamental insights. The film is a litmus test of tolerance and open-mindedness. I noticed that some enthusiastic fans of Californication (but not only them) and its promiscuity, emotional emptiness, and shallowness suddenly have great difficulties with Kinsey's sexual openness. The film provided a great acting opportunity for both Liam Neeson and Laura Linney, which they fully utilized. Overall impression: 95%.

Over time, it appears that the peak of Oliver Stone's films, in terms of quality, fell into the 80s, when he came up with two top-notch reflections on devastating wars. Platoon is more well-known and caused a greater impact overall, as Stone filmed it as a direct participant with deep knowledge of the subject. Regardless of perspective, the Vietnam War represented a more significant event and everyone formed their own relationship with it, both in the American and global public. The Salvadoran War remained in the shadow not only of the Vietnam War but also of the concurrently ongoing Iran-Iraq War, which involved a bloody struggle for oil fields. The civil war took place at a time when it clashed with the interests of American society. It was an era of economic growth, newfound confidence, and yuppies. Salvador was a sick country, where 27 families owned the majority of wealth and all political power, and they didn't want to allow any reforms. They collaborated with military leadership to eliminate the opposition or drive it toward illegality. American intelligence agencies were afraid of another embarrassment like Cuba and decided to prevent the regime's downfall at any cost. A wave of brutal violence swept through the country. Stone, as an anti-war activist whose political profile was shaped by the protest-filled 70s, followed the developments with concern and wanted to make a firsthand film with a political message. However, he couldn't find any producers, so the film was made out of enthusiasm and sacrifices from the entire film crew. Despite compromises due to a limited budget, they usually filmed on the first attempt, and the movie is filled with incredible passion. Salvador is not a cheap propaganda film, and its protagonist is not a likable character, but a complex figure. An unreliable and unstable adventurer prone to alcoholism, a leftist at heart but not driven by ideals, and someone who naturally sides with the weaker party in the conflict. At the same time, Stone pays tribute to the journalistic profession at a time when journalists were willing to risk their lives and go against the tide and expectations of the public and employers to pursue the truth. Boyle's colleague dies while attempting to capture the reality of a street battle from up close. A few years later, his colleagues in the Iraq war were satisfied with the official communication from the US army, impressive shots taken by army cameramen, and computer simulations, all from the comfort of a luxury hotel. Overall impression: 95%.

Harrison Ford has an advantage over the vast majority of action performers in that he is a quality character actor. Director Phillip Noyce may never collect laurels at film festivals, but he is a decent craftsman who is occasionally capable of creating a great scene, such as the attack on an American convoy in the middle of a Latin American metropolis. The screenwriter appropriately tamed his imagination, so the story has a beginning and an end without convoluted structures. In the end, it is an average action film with a typically invincible protagonist. The genre's peaks are elsewhere, but Clear and Present Danger is a risk-free choice for a single viewing. Overall impression: 55%.

In this film, two great French actors Noiret and Rochefort got together, who are undoubtedly attractions for any passionate film fan. Moreover, the starting point of the film - dealing with an exceptionally critical family situation - promises a strong drama. Unfortunately, I did not have a great experience with this. The film keeps its viewers at a distance and does not try to engage them emotionally. You can only speculate about the motives of the crime, and if you learn from the perpetrator's mouth that he wanted to give a gift to his girlfriend by murdering the victim, it is practically impossible to identify with him or have an understanding of his attitude. It is also difficult to find understanding for any character in the film because their psychology, interactions, and motivations are inadequately depicted and justified. I don't know what the director wanted to convey to me, perhaps besides the banality that a descendant who committed a crime is still your son. However, even that can be conveyed in a disproportionately more interesting and emotionally engaging way. Overall impression: 45%.

The film cannot deny its connection to the western genre. Its story and conflict are built on the same foundation as the films about famous 19th-century gunslingers. The only difference is that the cowboys have been replaced by railway workers smelling of oil and soot, and the Native Americans and outlaws have become wanderers who want to use the railway for free travel across the endless distances of the American continent. Similar to a classic western, this film is also based on the conflict of two strong individuals and offers the romance of the beautiful American wilderness, unrestrainedness, and freedom, as well as the charm of the old industrial railway viaducts, depots, and steam locomotives. Just like a western, this film also leads the viewer astray with false mythology and non-existent rituals in the real world. The reality of tough and hardened wanderers was surely more down-to-earth, and they probably didn't care about any rules. For Ernest Borgnine, the character of the ruthless train chief was the role of a lifetime in its own way, and even the experienced and famous Lee Marvin can consider this a spectacular role in his long career. Overall impression: 80%.