gudaulin

This film simply got to me with its camera work and atmosphere that resonated with me for a long time. It's a very slow film with minimal dialogue, where the story speaks through images of a landscape scorched by the sun, details capturing sweat on human faces, or emotions emanating from the characters' eyes. This is my second encounter with Walter Salles after his famous Central Station. This guy really knows how to craft a film. Overall impression: 95%. A tragic film about the inability to break free from senseless traditions and blind obedience to the patriarch of one's family.

A comparison with the first film version is entirely appropriate, and the new adaptation unfortunately falls significantly short in many aspects, even though the way the old farmer resolves the situation with two criminal gangs on his property retains its charm. It's not just that Pierre Mondy simply isn't Gabin, and despite all efforts, he doesn't suit the role of a patriarchal, uncompromising farmer. The screenplay of the first version was tighter, more straightforward, and simply cinematic, whereas the new version is more diffuse, talkative, and overly sentimental, almost too reliant on emotions. Overall impression: 50%.

A very decent film that managed to convincingly capture the post-war atmosphere of settling scores with collaborators and uncritical building enthusiasm. The "spirit of the time" is captured in the poem that school children recite to their commanders. The course of events eventually destroys most of the ideals and crushes the main protagonist Tomislav. The film was made deep in the communist era, shortly after Tito's death, so the portrayal of the events at the time is still moderate. The film is also a story about love that overcomes social differences and separation. Overall impression 80%. Very good performances by the actors in the main roles - Vladislava Milosavljevič and Predrag 'Miki' Manojlovič.

A decent crime thriller that is intriguing in terms of direction. While David Fincher is capable of even better films, here he works his magic with the camera, choosing unusual angles, playing with silhouettes behind doors, utilizing shadows to emphasize the atmosphere of the abandoned house. A weaker aspect is the screenplay, which occasionally stumbles (such as the late arrival of the police considering it's a luxurious prominent neighborhood) and above all, spoils the ending of the film. It could have been more imaginative; a similar ending is already familiar to audiences from many other films. As expected, Jodie Foster and Forest Whitaker dominate the cast. Overall impression: 75%.

Originally, I looked forward to the film considering its student nature, but what fails the most in the picture is not the low budget or technical aspect. What fails completely is the script, and the quality of the dialogues is more than embarrassing - these are, however, the basic elements of a film and could have been looked after. The visual aspect is indeed interesting, but clearly only imitates foreign models. Overall impression: 25%.

Even the presence of the proven Delon cannot prevent the realization that the script is overcomplicated and unbelievable, moreover with problematic ethical implications. The fighter for justice is supposed to be a person who cold-bloodedly lies and covers up a murder committed by his friend. Delon is too invulnerable in his role, and it is even comical when he repeatedly emerges from a wrecked car unharmed. The main advantage of the film remains the cast, whether it is the female or male roles cast with acting personalities. Overall impression: 50%.

A very awkward film that is based on a terrible script, where the storyline gets lost. Overall impression 30%. Once again, one of those cunningly terrible movies that can pretend to be better than they actually are for a long time.

The success of some movies is a bit of a mystery to me. Broken Flowers received praise from film critics, and enjoyed success at film festivals and among viewers. That's why I was surprised at how inconspicuous and unexceptional this film is, considering the abundance of other films from the American independent scene. It's not a bad film, definitely not - it's just that in the careers of everyone involved, from the director to the last actor, there are better films. Broken Flowers is neither avant-garde nor provocative nor attractive nor exceptional. The main character, Don Johnston, is also not well-written. I didn't believe in his numerous love affairs and his resourcefulness, and he didn't exude any leftover charisma or mischief in his behavior. This is the resigned, dull man who was recently left by his lover for stagnant adolescence? On the other hand, Broken Flowers does have a great cast and performances, a nostalgic mood, and mild, unintrusive humor. Overall impression: 60%.

An intimate psychological drama for four people plays a game between them on two levels. On one hand, it is the arrival of an unexpected and unwanted guest. The meeting reminds us of old family conflicts and animosity and this storyline addressing the problem of how to get rid of the incoming person as quickly as possible is almost a comedy. The second level of the story begins to unfold after the husband leaves on a business trip. The wife, who feels unused in the household, is going through a midlife crisis and carries bitterness from her abandoned career as a talented pianist and a pubescent young man, who is searching for an anchor point after his father's suicide and longing for love - well, that can be a dangerous combination... The film could have used some script polishing and trimming of a few scenes, but even so, it is an above-average film with quality dialogues and well-developed believable characters. Overall impression 70%. A cheap yet emotional film where everything essential takes place on the journey between the swimming pool, ping-pong table, piano, and a double bed.

A decent TV detective story with strong support from a quality literary source. The author duo of Per Wahlöö and Maj Sjöwall are valued creators of detective novels on an international scale, and such a good story is a solid starting point for a television dramatization. The casting is strong as well, so the only, but significant, criticism remains the distorted portrayal of the country where the detective story takes place. Sweden, which at the time of the film's creation was one of the wealthiest countries in the world with a high standard of living, is depicted as a place where retirees eat pet food, there's dirt everywhere, and obvious signs of scarcity. The investigator's office looks like the small office of a warehouse manager in a 1970s Czech factory, and the exterior scenes were filmed somewhere in a sprawling freight yard. Overall impression: 60%.