gudaulin

Greenaway's film is one of those rare cases when, despite my undeniable stinginess, I would be willing to leave the movie theater after half an hour and forget the money because I saved a bit of my increasingly scarce time. The question is: is it possible to make a film that is supposed to deal with the dark sides of the human soul, sexuality, and the lives of wealthy people unrestricted by social conventions in an unbelievably boring way? Yes. Greenaway proves that with a little effort, it can be done. If I were a producer, I would rather burn the money in the fireplace than invest it in a similar spectacle. It is an immensely self-centered and difficult-to-digest film, primarily intended for the festival circuit audience, for the small circle of true intellectuals, and a considerably larger circle of those who think they are intellectuals so that they can eagerly debate the hidden meanings of the film after seeing it. At the beginning, one character asks another: "Do you think leading directors make their films to satisfy their sexual fantasies?" - the other replies: "I think most of them do." If Greenaway made this film to satisfy his sexual fantasies, then he is a very boring and eccentric patron. This film is neither provocative nor spicy, and in no way is it true to life, because I have encountered a fair number of bizarre characters, sociopaths, and nutcases, but I have never come across anything remotely similar to these film characters. Overall impression: 5%.

Once, meaning in the late 80s, I really liked this crazy comedy, but I have to admit that it features humor of lower quality, somewhat childish. I think that older children and teenagers will enjoy it more. This is one of those cases where the percentage rating is influenced to a significant extent by nostalgia and the age of the reviewers. Some gags are still great today, but some make me cringe, as they are simply on the edge of awkwardness. Overall impression: 60%. However, the first part of the series still has some uncovered qualities, while the last two parts have fallen into the abyss of bad taste...

Typical action nonsense that tries to overuse a single idea. However, I do like Jason Statham, and he does stand out to me from the crowd of wooden actors in action movies in a positive sense. Overall impression: 25%.

The runtime of The Terrace is seemingly frightening for a film. The two and a half hours appear menacing considering the conversational nature of the film, but I was not bored for even a second. The Terrace can be likened to Fellini's La Dolce Vita, with the difference being that Fellini aimed at the lifestyle of modern Italian nouveau riche, whereas Scola targets left-wing intellectuals from the well-off Italian middle class of the 70s. It is characteristic that the story begins at a party where well-dressed gentlemen and ladies gather, savoring a table full of exquisite delicacies and engaging in idle gossip. The film has three levels - firstly, it maps the midlife crisis of several participants in the story, when the weight of age, the risks of illness, societal and professional failures, relationship breakdown, alienation, and loneliness start to weigh heavily on the men in their early fifties. Secondly, the film outlines the emptiness of left-wing beliefs, its erosion in light of dynamic social changes, the enrichment of the middle class, and the expansion of the consumerist lifestyle. Thirdly, the film touches upon the emancipation of women, as the present gentlemen, despite their pseudo-progressive attitudes, struggle to come to terms with the fact that their wives are independent, sometimes even more successful than their exhausted partners. The film is interesting with its subtle psychological portrayal; it has several charming moments and well-crafted dialogues. It presents many excellent observations on life that transcend their time and setting. It is also excellently cast and acted. I liked Jean-Louis Trintignant, who portrays a screenwriter going through a creative crisis, trying to mask his creative impotence through lies. The character of a successful producer without broader intellectual knowledge, who is in a relationship with a typical intellectual, and naturally, his handicap is evident in their life together, is comedically intriguing. Overall impression: 85%.

Jean-Paul Belmondo created his acting reputation and fame precisely with characters of adventurers, detectives, and agents of various kinds, and his character from The Professional is literally the essence of what is typical about Belmondo's acting and what audiences admire. A smart script, dialogue, fights, and a surprising ending. Probably Belmondo's best film. Overall impression: 95%.

A french comedy that belongs to the golden treasury of its genre. A quality script, excellent cast, plenty of humor, and action-packed scenes - simply delight for viewers. Also some of the best roles by Jean-Paul Belmondo and Marlene Jobert. Overall impression: 90%. It's one of those movies that I can always come back to and it never gets boring.

I would say that this is one of Dejdar's best roles, and from the perspective of today's Czech film productions, the film might even deserve a fourth star. An emotional story about someone dying. Overall impression: 65%.

I don't know if it's because I was at the ideal age and mindset when this series was aired, but it's precisely this series of Star Trek stories that I like the most. The optimal casting, the star fleet, and the crew of the Enterprise made me identify with Patrick Stewart and Jonathan Frakes. There are decent scripts for each episode, which are in some cases borrowed from the original TV series from the '60s. Overall impression: 65%. Later mutations, especially Voyager, seemed somewhat cliché with the constant presentation of the same schemes and also with a certain studio "sterility."

I would say that Deep Space 9 is not nearly as bad as it is rumored to be, but the issue is that it tried to break the classic narrative scheme and come up with something new within the Star Trek universe. However, fans of the series are extremely conservative creatures and don't like experiments. Honestly, together with Star Trek: The Next Generation, it is my favorite Star Trek series. Overall impression: 70%.

Within the genre, this is quite an atypical, one could even say original, horror thanks to the combination of a classic theme of demonic possession with a courtroom drama, where the scriptwriter and director provocatively work with the possibility of the existence of irrational supernatural evil in our material world within the framework of the trial. Flashbacks, editing, and music help create a truly oppressive atmosphere, and the excellent cast helped create an above-average genre film. I admit that I had a bit of a problem with the irrational level embedded in our modern world when the film does not appear as a stylized horror fairy tale, but as a story from reality, due to my enlightenment and modernity as a child. Overall impression: 75%.