gudaulin

A lot of today's movies look like they were made by creators without any problems about heroes who, just like them, don't have real problems, and so they create pseudo-problems. It's just a distorted representation of boredom and consumer society. A typical example in the genre of a film with sexual themes is Shortbus. A film with a strange name, XXY, proves that a film with a similar theme can be made sensitively and with a sense of aesthetics and final catharsis. It's not about some cheap sensationalism, it's about a highly bitter, painful, and laborious process of dealing with a genetic defect and the resulting uncertain sexual identity. Similarly, the issue of homosexuality and tolerance in the field of sex in the 21st century, where seemingly there are no taboo topics, is also addressed there. Many things are only hinted at in the film, but they also prompt reflection. I liked it, even though it's just a small and unassuming film at first glance. Overall impression: 90%.

Angels of the Sun has one major advantage, which is the strong theme of child trafficking and forced prostitution, but at the same time, one big problem. The average script and equally average direction result in the film resembling fictional documentaries that European television and American studios have churned out one after another in recent years. The actors are well chosen in terms of types, but they are again only average, with a few exceptions. Even though one might feel that by giving this film an average rating, they are endorsing the enslavement of poor children and all the vices attached to it, I cannot rate it any higher. Rudi Lagemann is simply an unremarkable director who made an unremarkable film. Overall impression: 55%.

Along with Miloš Forman, Lasse Hallström is one of those European directors who have adapted best to the American environment and have managed to combine European artistic ambition with decent craftsmanship and the commercial interests of major studios. Like Forman, Hallström focused on adaptations of notable works by famous novelists under these new conditions and managed to process them with exceptional care and a sense of detail. The Cider House Rules is a cultivated and sensitive film about coming of age, the search for life values, a sense of duty, and love and friendship. It is not easy to set a film in an orphanage setting and avoid cheap sentimentality, but Hallström, in my opinion, succeeded perfectly. I often come across false tones in similar films, but I didn't hear them here. The film has excellent casting, with Maguire and Caine acting in a measured and precise manner. Both of them are very significant and unmissable actors of their generations. The only flaw in the film's beauty may be the slower pace for some viewers, but it certainly didn't bother me. Irving is not a writer whose works can be easily made into a film, but Hallström succeeded in this case. Overall impression: 95%.

Initially, I gave Jonathan Livingston Seagull 2 stars with the thought that although the film doesn't resonate with me, I just couldn't give it less with such beautiful cinematography and intentions. But with every passing hour, Jonathan Livingston Seagull started to annoy me more and more, so if I hesitated with my review for a little longer, I would end up giving it a Boo! rating. This was regardless of the flood of stars and the blissful enthusiastic reviews. I am quite surprised by these positive reviews because I consider skepticism and resistance to grand ideals and grandiose visions as typical Czech characteristics. On the other hand, I acknowledge that Jonathan Livingston Seagull is cleverly made and ambitious - grandiloquent kitsch. It is kitsch that is so pathetic, overdone, and monstrous that I can hardly find a film equivalent for it. Yet, the potential is there if the work didn't take itself so desperately seriously and saw the story of its protagonist as a satirical allegory. Jonathan Seagull has big problems with the older members of his community who fly according to established methods and established traditions. Every malcontent who understands something valuable a few minutes earlier than others is, understandably, considered in the best case a harmless simpleton and in the worst case a dangerous pest until the others chew it over. But the author conceived it in a completely different way, so we are witnesses to noble-looking boredom, especially in the second half, nicely spiced up with a series of swollen pseudo-philosophical phrases about what was in a past life and what will be in the future. The dialogues almost have the type of blabber you find in Matrix Reloaded. I am not disappointed because I am unfamiliar with the book and after this experience, I have no desire to read it. However, if you want to see beautiful shots of rocky cliffs, circling seagulls, a whale rolling in the sea waves, and listen to Neil Diamond's emotional voice, go for it. However, I would recommend listening to his music on CD or YouTube. I urgently need to cure myself of this meditative mess with some nicely cynical film from Kevin Smith's workshop. Overall impression: 20%.

Getting an Oscar has never automatically meant that its recipient is a top-notch film because the evaluation process was distorted by contemporary criteria and the commercial interests of studio executives who organized the ceremony in the past. Even later, when progressive trends infiltrated the Academy's leadership and the choice was supposed to appreciate the artistic qualities of competing works much more, the decisions were influenced by the conservative perspective of Academy members (usually socially engaged dramas with skillful combinations of noble intentions and sentiment won - for example, comedies and other so-called lighter genres never had much of a chance). A film can indeed be made that exudes the desire for an Oscar, and Thug is that sort of film, because the less real life and genuine emotions there are, the more it corresponds to what is expected from an Oscar-winning film. On the one hand, the film has very high-quality craftsmanship and is set in the problematic environment of a poor slum in Johannesburg. On the other hand, it fails in the credibility of depicting the thought processes and actions of its characters. The small-time crook Tsotsi, with a gang of his buddies from the local gallery, conducts ruthless attacks on defenseless victims in his surroundings. He also has no problem sticking a knife into anyone's belly or pulling the trigger of a gun. One day, even though he doesn't have a driver's license, he steals a car in a luxury neighborhood, seriously wounds its owner, and only later notices a baby in the backseat. Guess what happens next... In my opinion, there is too much emotional kitsch, and there is a lot of Hollywood filler there. The setting in the ghetto is valuable, and the individual characters could be potentially interesting, but considering what was mentioned earlier, the result is worthless. Overall impression: 40%.

Phillip Roth is considered one of the most acclaimed writers in the world today, and each of his literary works evokes enthusiastic reactions from renowned critics. However, literary awards tend to elude him and his books are usually not among the bestsellers. He does use amazing language and can analyze the movements in society and capture the nature of his character excellently, but he is a very unpleasant author because even though he writes with humorous exaggeration, he is sarcastic and ruthlessly cruel to his characters and readers. That is actually how it is with this film. It describes the story of a girl from a successful family and a young man who is still searching for his way in life. But it's not a pleasant romance, but rather a caustic look at a certain social class and its rules. America never had nobility, but it has been and still is socially divided, and its upper class is well protected by social barriers and membership in exclusive clubs. Roth, through Larry Peerce, ridicules the rich manners of the successful Jewish community and the bourgeois attitudes of his protagonist's parents. The girl, although she looks at her parents with a critical view of the rebellious youth of the 60s and finds the conservative ways of the previous generation alien to her, cannot exist without her parents' wealth. The young man Neil, although he instinctively feels resistance to this environment and glosses over the events around him somewhat like Oscar Wilde, cannot offer a meaningful alternative. Overall impression: 80%.

The film showcases an interesting journey that Czech fairy tale films have taken from the 80s to the present day, as well as the path traveled by Hynek Bočan as a director from one of the best Czech fairy tales, Give the Devil His Due, to this title, which could easily compete with Zdeněk Troška's work. While Give the Devil His Due excelled in its script, direction, and casting, this film falters, and the result is terribly clumsy. A few details can be appreciated, but the outcome is desperately average and quickly forgettable. The beloved Jiří Mádl understandably doesn't even come close to the acting prowess of Ondřej Vetchý, and the fact that this film was aired in a prime time slot on Christmas Eve only proves how desperately impotent contemporary Czech fairy tale production has become. Overall impression: 35%.

Alfie is an exemplary selfish person who only uses those around him to satisfy his own needs and feelings while being indifferent to the problems of others. He expresses contempt for the opposite sex, with a sense of superiority and, above all, with maximum cynicism. He strictly follows the motto of having fun and pushing others away. If someone else has a different idea, it is their problem. Unlike the series Californication, this film looks critically at its protagonist and aims to reflect on his style and its consequences. On the other hand, it relies too much on the expected template of one-sided criticism, and its protagonist is too typical. Of course, there is also another side to the story. Of the women who have passed through his bed, I consider only the woman of his fellow patient at the hospital clinic as a victim. Unfortunately, that crowd of bored married ladies and naive fools also has a great deal of blame to bear. It is rather a reflection on the general state of family and sexual relationships in a modern consumer society. Some scenes, such as the pub brawl, which are presumably meant to lighten the film into purely comedic territory, did not fit in the movie, and certainly, more could have been done with the script. But thanks to Michael Caine in the lead role, I ultimately lean toward giving it 4 stars. Overall impression: 70%.

Everyone knows or at least suspects that there is a significant difference between film acting and theater acting. Many famous theater actors had issues when they first acted in front of cameras and had to tone down their gestures and facial expressions. Similarly, many film stars completely failed on the theatrical stage. The same difference applies to the adaptation of a subject in a play and a film. Theater can afford much greater exaggeration and stylization, which would look forced or inappropriate in a film. This is exactly what happened with Bedtime Story, which doesn't deny its theatrical origins, and its gags and acting style clearly belong on the stage. All the scenes where one character doesn't see another, etc., are appreciated or accepted by the audience in the theater, but on screen, they look unnatural. However, this film by Krejčík has three top-notch character actors who also possess immense comedic talent, and they give it their all, passing jokes between each other and it's a joy to watch how they provoke each other to achieve maximum performance. Despite this fact, and considering the above, I choose to give this film a lower rating. It's simply too artificial, and it would work much better as a recording of a theater performance. Overall impression: 65%.

A kaleidoscope of opinions and thoughts on the current economic crisis, from which everyone can understandably choose what matters to them based on their life experiences and political views. However, the main takeaway is that the crisis affects not only bankrupt economies in Southern Europe but also a damn large number of human destinies here in the Czech Republic. According to his own words, a bank manager may think that the crisis means buying a new car not after three years but after five, but a married couple who both lose their jobs and face the distrainer knocking at their door simply see it differently. From the fragments captured by the camera, in my opinion, the Czech elites do not look great, and that is putting it diplomatically...Overall impression: 70%.