gudaulin

Both the screenwriter and director try to deceive the viewer and present them with false clues to understand the motivation of the main character. In principle, it is one of the forms of the disease called the mid-life crisis. The awareness that life is slipping through your fingers, gnawing at you from a wrong life choice, bitterness, and the inability to get out of the programmed ride can gradually lead to hatred and becoming short-circuited. Mikael may not have achieved what Michael Douglas did in Falling Down within a few hours, but his gradual descent into damnation is possibly even more chilling. Kristian Levring plays with changing moods and heads toward increasingly oppressive positions, and Ulrich Thomsen excels in one of his typical roles, and he undoubtedly has a talent for similar dark and destructive characters. Overall impression: 75%.

I read Petronius' "Satyricon" quite a while ago, and at that time, it struck me as a remarkable work and a testimony to its era, when I believe I had no trouble understanding the author's intention, even though the novel only survives in fragments. Frankly speaking, what Federico Fellini wanted to convey with this film is not so clear to me now, although the film doesn't lack the director's typical style. It's a completely indigestible piece for the average viewer, a creation that occasionally arises when an artist gains too privileged and independent a position, allowing them to disregard the interests of producers and audiences. The individual images are exceptionally colorful, but the whole lacks any depth and direction. For me, it's the weakest Fellini I've had the opportunity to watch so far. A decadent, self-indulgent play that doesn't even function as a timeless allegory of the hedonism of societal elites. Overall impression: 35%.

I accept this as a low-demand stylish genre film, but I strongly reject the idea that it is some kind of deep analytical probe into the state of the American prison system and at the same time a strong and convincing psychological drama. I don't have exaggerated visions of American incarceration, which has largely passed into the hands of private companies that try to maximize profits at the expense of their sheep. It is exaggerated, filmed for effect, and emotionally manipulative, as is often the case in this current of American film productions. Brutality from the guards is purposeless, and a whole series of scenes would not stand up to a realistic approach. But as I mentioned above, if it comes to entertainment, it will certainly not offend, and as a low-budget B-movie, it is definitely a bullseye from the creative team. Overall impression: 60%.

Sometimes in 1985, I discovered Kryl, who fascinated me with his political and critical lyrics, and subsequently, I started listening to other singer-songwriters who opposed the regime. Even then, I was aware of the existence of dissent, but I was not familiar with the term "underground" in practice. My first encounter with the underground, or rather with what identified with it, had a tangible dimension for me. In 1988, I participated in a nationwide round of a high school competition, which, as was customary at the time, took place under the patronage of the so-called Socialist Union of Youth and required certain rituals that appear ridiculous from today's perspective, such as wearing the uniform of the Union. Before entering the local pub, I wisely took off my provocative red tie, but my blue shirt still shocked the present comrades and unmistakably classified me somewhere in the despised regime's riffraff. Subsequently, they vividly demonstrated to me what gliding at low altitudes looks like without an engine. Regardless of this painful experience, I would not have found my way to the underground anyway. It was too noisy, dirty, and smoky from cheap cigarettes in my eyes. Sometimes, from my perspective, it seemed unnecessarily poseurish. Paradoxically, the 90s did the most harm to it in my eyes when the nature-rebelling unofficial underground cultural scene merged with the polished official world of media celebrities and political top figures. It happened through Václav Havel and some individuals from the former dissent. The band The Plastic People of the Universe experienced a strange comeback, even though it was clearly evident that musically, they were stuck somewhere in the 70s and were not progressing. In certain circles, it was fashionable at the time to identify with their heritage, and it was considered good form to attend their concerts and boast about reading Ivan Martin Jirous's books, which usually ended up somewhere in a corner of the library. The first episodes of FU rely on sentiment and reference to the classic underground of the 70s and 80s, paradoxically reminding me more of the atmosphere of the 90s. The series has confirmed to me that I am out of sync with the world of the classic underground in terms of feeling, and its holiest symbols are rather repulsive to me. Moreover, the nearly 40-episode series is a project that is too ambitious for my taste, its scope scares me, not to mention the content, which invokes indifference in me and at times even repels me. Overall impression: 45%.

I returned to Ferat Vampire after many years, and it cost the film a star. The most valuable thing about it is the idea taken from Josef Nesvadba's story about a car powered by human blood. I don't know if it was his original idea, but I haven't come across anything similar from earlier times. In any case, it is a provocative idea that can be exploited abundantly. Juraj Herz had already had his successful period a long time before this, but in a few scenes, he recalls his better self, the one that filmed Morgiana or The Cremator. The core of the problem is the screenplay. I don't know to what extent it was influenced by censorship bans, but it was created at a time that was unfavorable to horror and sci-fi, as they were considered decadent genres and as such, suppressed. The small budget had a negative impact, and the decorated Škoda car doesn't evoke fear or admiration today, at most a tolerant smile. Jiří Menzel's single-expression acting doesn't help either. A charismatic character actor was needed here. I give it an overall impression of 40%, with the addition that if any Czech film deserves a remake, it is this one.

Originality and sophistication are expected from Luis Buñuel, so my review of this film, which is more avant-garde compared to its romantic storyline towards the mainstream, is somewhat sober, but I was, nevertheless, satisfied. Buñuel had a long history in Latin America and he knew the mentality of the local people and the essence of the functioning of the political system like the back of his hand, and it shows in the film. There is a piece of Buñuel himself, a piece of Marquez devoid of the overlay of magical realism, and a piece of good old Benito Traven. When I was in high school, I was very interested in the culture and history of Latin America, and I think this film captures the atmosphere of the regimes there in the 1950s quite well. The dramatic storyline is intense, and at the end of the film, the protagonist faces a difficult decision where none of the options are clear. Overall impression: 75%.

Several musicals that I gave the maximum number of stars to fall into the category of classics that I saw in my early youth, and I am therefore influenced by nostalgia. Otherwise, it is true that I am not sure about the genre of musicals, it doesn't resonate with me, and I cannot appreciate it. In Fiddler on the Roof, I appreciate the story, cast, camera, and set, i.e., attributes that I can associate with a classic live-action film. Yet the film is hindered by the musical format and length, which logically are related to the inserted songs. The songs are not catchy and do not fall into the category of popular hits, but their quality needs to be appreciated by someone more qualified. As a portrayal of life in the countryside in the czarist empire during the Jewish pogroms, the film is definitely impressive and I have nothing to criticize about its dramatic aspect. Overall impression: 65%.

Zombies don't scare me in horror movies and probably that's why they don't work as part of comedy either. The most impressive part came right at the beginning, where the instructional film about the origin of the zombie apocalypse and its pacification set the bar quite high somewhere between 3 and 4 stars. However, as the minutes went by, I got more and more bored and the style of humor style simply wasn't for me. The set design diligently stylizes the story in the retro style of the 50s, the golden era of consumerism and mass culture television. However, the result resembles television productions from the late 50s. It's a nice family film for everyone, but also average, and even though it tries to aim at many flaws from conformism to militarism to small-town mentality, it only scratches the surface. The presence of Carrie Ann Moss is a plus, as the role really suits her, and as a mom with a gun exterminating child zombies, she is flawless. By the way, my kids had a great time. The children's audience or those who watch Fido without high expectations, burdened by the fatigue of a long day, may be quite satisfied with it. Overall impression: 45%.

Critiques of high society and the conflict between plebeians and the aristocracy are common film subjects, and honestly, Griffin Dunne's film does not provide anything fundamentally new and is not a top film. The most interesting aspect of it is the subject matter, but the first half is drawn out and lacks any compelling dramatic storyline, sometimes desperately so. It is more like a series of scenes about how the wealthy are bored, and entertained, and how they use those down below as their toys. The second half does bring the necessary conflict and can be emotionally gripping at times, but even here, the script mostly stays on the surface and does not present a systematic critique of what is seen. Evil comes from a psychopathic individual, not from the principles of wealth and social differences. On one hand, it is excessively predictable in the conclusion - the villain must be portrayed as an unacceptable creature, on the other hand, it rounds off the edges of the social conflict, and the conforming ending is rather socially naive. The first few minutes gave hope for a dark satire that cuts to the core... Overall impression: 55%.

When watching Fifty Dead Men Walking, I remembered a similar Spanish production called Wolf, where the main character infiltrated the ranks of the Basque separatist organization ETA. That comparison did not go well for Fifty Dead Men Walking because Wolf seemed much more cinematic and better developed. In the case of the British film, the screenplay seemed somehow unfinished, and the important motives for the protagonist's actions and decisions were either concealed or untrustworthy. Additionally, the real Martin McGartland was driven by much less altruism in his activities than the film tries to convince the viewer of, and his motivations were more down-to-earth. The whole process of breaking and recruiting a collaborator for the British security services is very rushed and in practice, Martin's decision based on such an offer would be pure foolishness. Of course, the film heavily relies on the environment in which it takes place, namely a war-torn and terrorized country, and it is based on true events, although, as is quite common and logical, it partly interprets them according to its own interpretation. Even though I would like to give it four stars, it seems too much like a TV film to me and I am disappointed by the wasted potential. Overall impression: 65%.