gudaulin

I don't know exactly how many Bond movies I've watched so far, but Skyfall is most likely the last one. Sam Mendes and Daniel Craig can't really be blamed for my weak review - I simply got tired of the Bond carousel, and if it hadn't been for its modernization with the arrival of Daniel Craig toward more modern and realistic action films, I might have ended my Bond fandom (which has always represented a marginal part of cinema for me) earlier. Older Bond titles with Sean Connery are, as I have realized during recent reruns, almost unwatchable, and Daniel Craig was the first Bond actor whom I believed in his affiliation with the espionage agency. But no matter how much it is modernized, the foundation remains just as foolish. In the end, all the efforts made to convey fate, tragedy, and greater depth are actually rather bothersome. The film works best in moments when it doesn't take itself seriously and deliberately embraces its trashiness, like in the scene of the cannibalistic iguanas attacking the villains. The behavior of the characters and the main villain's devilish plans are actually similar to a joke, where an inventor explains the mechanism of a brand-new flytrap at the patent office. "It's actually a maze, where the fly wanders through a labyrinth of corridors left, right, left, right..." - "Ah, and at the end...?" the official asks, "another turn?" - "No, at the end, there's a cliff, the fly falls down and breaks its wing."... I appreciate Mendes' sense of visuality, and the beautiful scene with jellyfish in the Chinese metropolis deserves a star all by itself. I also appreciate Craig's ability to play tough guys even at an age when others focus on conversation films, and I appreciate Bardem's ability to play a devilish villain so convincingly that you nod your head in approval, but the rest... there's no use talking about it. Overall impression: 45%.

I'll put it plainly - the vast majority of so-called American teen comedies are crap: poorly cast, badly acted, vulgar, and desperately unimaginative, all following a tired formula. Objectively, this film is no gem either; it relies on familiar clichés, the characters' behavior is entirely predictable, and the resolution can be guessed within the first ten minutes. However, it does have a pleasant and effective cast (both leads demonstrate why they later became stars) and maintains a certain level of quality. In the land of the blind, the one-eyed man is king. Overall impression: 45%.

A bizarre bit of screenwriting that is influenced by Tarantino's famous film Pulp Fiction in terms of mixing genres, and shuffling the chronology of the story with several parallel character stories that get roughly the same amount of space in the film and are endowed with cool characteristics. Humor, as typical for Tarantino's films, is combined with violence and human suffering. There are also several crimes, dead bodies, one severed penis, and somewhat raunchier language - basically, everything that a cultured viewer nurtured by Bergman and Fellini likes. The film has a very reasonable runtime and fast pace, but it does not have as well-written dialogues as early Tarantino films, lacks black humorous lines, and the director's inexperience is noticeable in the film. Overall impression: 65%.

I still have not seen 12 Angry Men, so I have no comparison to make, but Michalkov's modern version is very high quality and it was one of the strongest experiences in the past year. Excellent acting on a level that is rarely seen, well-written characters that depict the cross-section of contemporary Russian society and speak volumes about the atmosphere of modern Russia, and an intense dramatic conflict that keeps the viewer uncertain until the very end and forces them to think. Excellent camera work and clever direction, which alternates static shots from the gym with flashbacks from war-torn Chechnya. By the way, the action scenes make up only a very small part of the film, but they are among the best that have been produced in the field of war films in recent years. The script cleverly and gradually reveals the motivations and characteristics of the individual jury members, as well as the criminal act itself. In two or three cases, the director went too far in his attempt to make the plot more attractive, for example, the scene with a knife cutting a cigarette is exaggerated, but Michalkov has to be credited with true mastery and his film, despite some minor flaws, is among the best that European cinema can currently produce. Overall impression: 90%.

The film is shot decently, with exceptional care, and it can be seen that if not the director himself, then the producer was definitely counting on a festival award - after all, the subject matter is the sort where the creators claim a film award in advance. However, my 4 stars are rather meant as my appreciation of the formal qualities rather than an expression of emotional solidarity with the film. It has a strong story and theme, and yet I watched a film that didn't touch me emotionally in any way, and what's more, it didn't surprise me at all. It has exactly what one would expect, and while Hunger from the workshop of Steve McQueen, which is rated worse on FilmBooster, got under my skin and made me think about the film and come back to it in memories, in the case of 12 Years a Slave, I feel like I just ticked off having seen it. Overall impression: 70%. Sometimes the term film academism appears in film comments - I would say that it fits quite well with this film.

For most critics, the film Brazil represents the peak of Gilliam's work, while Twelve Monkeys is considered too mainstream, where Gilliam's creative vision was hindered by strict producer oversight. The truth is that Brazil is indeed a pinnacle work in certain aspects (especially in terms of its visual design), but it is also very unbalanced, narcissistic, and difficult for most viewers to comprehend. On the other hand, Twelve Monkeys is an exceptionally balanced genre film, built upon a strong theme, an intelligent script with a highly emotive plot, and a superbly crafted tragic yet ambiguous final scene. Even a disciplined Gilliam presents his viewers with absurd ideas from his workshop (the punishment chair), Orwellian situations (scientists with gifts above Cole's tortured body), and plenty of clever shots with a sense of composition (Cole's ascent into the abandoned city with wild animals on the ledges of the buildings). The excellent cast is led by Bruce Willis, who delivered top-notch character acting without wrestling holds and punches, unlike in his other films. The crazy Brad Pitt showcased once again that he has a very impressive range as an actor, beyond just a handsome face. We also get the demonic David Morse in a small role. There are no weak performances here. For me, this is the absolute pinnacle of the sci-fi genre. Overall impression: 100%. Excellent work with the time paradox within the genre. Even the very tragic theme of a hero desperately trying to stop a catastrophe is lightened in several scenes with small sarcastic jokes.

An attempt to build on the American school of classic detective stories in the noir style. It has a very good cast with the central duo of Dana Medřická and Jaroslav Marvan, as well as a decent script, but it is somewhat outdated and the actors in the supporting roles are not as good. Overall impression: 60%.

1408 is not exceptional either in terms of script quality or directorial approach, but at the same time, it is an honest genre film without unpleasant mistakes and pandering. In the flood of endless teenage massacres, inconspicuous vampire and zombie slasher films, and cheap thefts of famous films from the past, this psycho-horror feels honestly old-fashioned according to the rules of the old genre school. In addition, Cusack acts excellently and Samuel L. Jackson complements him very well in the smaller role of the hotel manager. The appropriate duration and several decent special effects scenes with a functioning atmosphere make this film an above-average work in its genre. Overall impression: 70%.

This is a film that cannot deny that it was shot by a documentary filmmaker. It features the use of non-actors, authenticity of the environment, and realism of experienced situations. This film clearly does not aim to entertain, nor does it want to move you in a cheap way, shock, or demonize you. The director simply tries to send a message about what the migration flow from Africa is like and what motivates it. The dialogues may sound bookish and educational here and there, and the slow pace and documentary style will not appeal to everyone, but personally, I lean towards a small fourth star. Overall impression: 70%. It is a film that was ahead of its time and if it had received more attention from viewers, perhaps they would not have been so surprised because the flow of immigrants had already been attacking southern Europe for quite a few years, it just didn't seem to concern us back then.

1864 is a project that I approached with confidence. Danish television production rightly has a good reputation, churning out one international success after another, and in addition, considering the size of the country, it is capable of carrying out ambitious large-scale productions. The subject offered a journey into understanding historical events, the significance of which had so far escaped me. I like similar topics, as history has been my hobby since high school. The series is well-cast and full of familiar faces and it has an appropriate set design - so why only two stars? It is because I feel that something is wrong with the scriptwriting. At the end of the first two episodes, I found myself staring at the screen with a blank look and unable to remember what had just happened. Yet, the series offers many powerful themes. It is the story of a confident country that fell victim to self-delusion of exceptionalism and nationalist fervor, and in the end, it cost them dearly. However, if you can't connect with the characters in the series, if you can't appreciate the effort of the script to connect events from the second half of the 19th century with the present, and if you prefer fantasy elements, then you will simply not get into the series. In the end, I only appreciated the well-directed war scenes. There were quite a few of them, including truly massive ones, but the journey to get there was long and exhausting. Overall impression: 45%.