Marigold

The pretty good script filled with nigga antics by the average comedian Lawrence is able to entertain, but unfortunately during the ending it turns into a typical macho action with a lot of stupid cool poses and typical "jokes" (not that the film contains any non-typical jokes, but at least some of them are fun to watch). The editing is good, the acting performances and the action sequences are good, and the whole thing is a slightly dubious but bearable B movie.

When the tricks fade, not even a pile of ashes will be left of The Mummy. Unlike Indiana Jones, this film lacks the essentials that every truly high-quality adventure film has to have – a hero. The local guy is an inflated pretty boy with no charisma. A pretty face doesn't make a good character... Three years ago, the impression was top notch thanks to the technical aspect, now The Mummy seems to me to be decently below average... Compared to Dr. Jones, this Egyptian hunk is driving all over the place...

One world is not enough for me to be happy at the time, but with hindsight I have to evaluate very positively the sparkly duel between Bond and Elektra, which culminates in a really rough demonstration of agent 007 principles. The script is a bit shaky at first - confused, very conversational, but as soon as the plot gets going and the excellent caviar tycoon Zukovsky played by Robbie Coltrane enters the game, the entertainment is taken care of. This time, the main villain "actor" has the surprisingly emaciated face of Robert Carlyle, and in essence it is a rather turbulent fate that attracts attention and sympathy uncharacteristically. The action scenes aren't that crazy, the story keeps a low profile and takes on fewer fantasy elements, and Brosnan has hardened a lot in his expression since GoldenEye, which is a good thing. It fits him. Judi Dench as M definitely proves herself, the chemistry of the feminist hooker boss is great, and John Cleese's new "Q" (actually R) is also more than promising. Plus, the title song GARBAGE is really great! Summarized and put into context: probably the best Brosnan Bond film. Edit 2012: Apted's direction is terribly professorial and boring - it is clear, but the slow and long camera rides and the use of the shot x counter-shot scheme in the frenetic action reveal an old-school director. Moreover, the screenplay that draws Bond to the melodrama contains an excessive amount of pathetic filler. Looking back, I'm a little sad that M, who originally profiled herself as a sharp and ruthless commander, is turning into a bit of a funny grandmother without an edge. There are interesting attempts to experiment with linking Bond's susceptibility to women and the main villain, but with a little poking, it smells like a lot of bad theater in places. Years later, I'm going back to my first impression from the movie theatre. In the context of Brosnan Bond films, this is not the weakest, but the title of the best belongs to the film after. This one's not enough.

An ode to imagination and filmmaking style. Tim Burton has the gift of extraordinary style, which makes his films something otherworldly, teeming with imagination in every detail, in every color. Sleepy Hollow is without a doubt the most artistic horror I've had the pleasure of seeing, with immense visual care in every shot, and every shot has the magic that only real masters of imagination can do. You might argue that Sleepy Hollow is nothing more than a rather haunting story from the late 18th century, mixed with a decent detective story, but in my eyes there's much, much more. As in Burton's latest film, Big Fish, Burton's fascination with the world of rationality and imaginative dreaming and their eternal encounters is evident in Sleepy Hollow. Johnny Depp's Ichabod Crane is not just a cutely insecure character with the self-confident mask and grimaces of an actor from old horror films - he's another of Burton's characters who discovers that not everything is illuminated by rationality and irrationality is an integral part of our world, our lives. But why these analyses? Sleepy Hollow is a film with a perfect horror atmosphere and an irresistibly macabre sense of humor, candy for the eye and soul at the same time. A film that, unlike single-watch thrillers a la The Sixth Sense, does not lose the ever-bewitching magic of moving images. Vivat Buton!

An inhuman blast that gains momentum as the creators realize what themes/plots can be pulled into such a conceived world. Unlike the slightly stuffy Simpsons, Futurama is a naughty space trek for (non)adults.

This is a very decently filmed "survival" film with a big ugly toothy animal in the lead role. I like the perspective with which the creators make fools of the genre clichés, I like the effects, and I like the dense atmosphere... Although I have no excessive sympathy for this kind of film, Harlin has made something that can reliably entertain and frighten me, although the first viewing is hard to beat...

I must confess that, after the huge fuss around The Sixth Sense, I am rather disappointed with the result. It's a nice ghost story, some moments are chilling and the performances of Osment and Willis are excellent. Oddly enough, the final twist seemed far-fetched to me, though very original. Shyamalan obviously has a considerable talent for dramatic gradation of shots as well as the ability to play with the viewer's psyche, but it's not my type of film.

A slightly above-average ghost story without particularly dazzling performances and without a particularly intelligent point. However, all the components are fully functional and free of awkward shenanigans, which makes Stir of Echoes quite fun to watch.

Football: it's not just a game, it's an obsession. And this comedy illustrates it in an excellent way. To see Tibetan monks completely obsessed with a game that is so far removed from their closed world is great. A local Czech man used to frequently watching television cannot imagine what it would be like on the day of the World Cup finals not to have that magic box on the table and have to get it no matter what... A good, relaxing comedy that has a purpose and is above all a celebration of the phenomenon of fandom. The right choice for a group of friends who like Tibet and good comedies.

The story is somewhere on the level of calendar moralities about seduced women, wicked bourgeoisie and innocent rural areas from the 19th century (Juhani Ahoa’s book is said to belong to Finnish neo-romanticism), it is all the more beautiful to observe in Aki’s work a kind of strange ruthlessness and toughness which culminates in a cruel final scene. It is a strange shift from pure optimistic naivety to severe pessimism and the alienation of the ending. Juha is beautiful for its symbolic legibility, the exaggeration and the special tension between the archaic ethos of rendering and a purely (still) current topic. By the way, perhaps the most of all the films, the Kaurismäki desexualization stands out here, as if men and women functioned mainly in the category of innocence vs. corruption. Juha thus fits perfectly into Aki's world, only deliberately externally externalizing some previously hidden elements. As in silent films, gestures are not made here for pragmatic reasons, but only for their aesthetic beauty. In this, the viewing experience with Juha is particularly liberating, because it frees us from the need to seek context and social justification for tragic events. It is a narrative for the joy of the narrative. Film for the joy of film. A bitter search for lost purity. Nothing more, nothing less.