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I cannot review this film completely objectively - the problem is not that I consider the subject matter to be too "feminine" or that there is no trace of romance in me. However, I am a descendant of the plebeian society and plebeian ancestors, so instead of being moved by noble manners and witty sparkling dialogues, I feel like grabbing a pitchfork, poking Mr. Bingley in the backside, and shouting: "To the Bastille!" Besides, I get the feeling that the creators did not capture Jane Austen's essence very well. In reality, she was more like an English Chekhov of the late 18th century. She had her own thoughts about the manners and conventions of the confined aristocratic society, and her novels can be read more as a gentle social satire on contemporary morality. However, the humor in the film shifted more toward romantic comedy than satire. Keira Knightley is perfect for her role - delicate, fragile, romantic, and charming. However, her male counterpart lacks the charisma that Colin Firth showed ten years earlier. The cinematography and the selection of exteriors are very good, and the period music accompaniment is pleasant as well. Overall impression: 70%.

The potential was great, as the topic of emigration and the associated troubles of integration into society and navigating in a foreign environment offered plenty of opportunities, especially when the director chose several interesting personalities. However, Boková's approach reliably destroyed that potential. The result is bloated, and full of filler, mainly because the director forgot to edit, but above all, she let her sheep talk about whatever came to mind, so instead of a thematic documentary, it turned into a pub conversation about nothing at times. The duration of 114 minutes is ridiculous, and with a reasonable edit, an interesting documentary of about 45 minutes could have been created. Overall impression: 35%.

I once liked the atmospheric and decadent film The Company of Wolves, and this is not the first time that Jordan enters the world of romantic fantasy. However, it seems to me that his later work does not come close to the quality of that early film. Byzantium is a compromise on all fronts between a commercially pleasing popcorn spectacle and an alternative interpretation of myths from the world of the undead with an artistic touch. The problem is that the chosen position satisfies neither side. Art fans will (rightfully) criticize Byzantium for the shallowness of its motifs, the inability to imprint true destiny, and the tornness and tragedy of losing the most precious thing that can never be regained. Commercially-minded viewers, on the other hand, will criticize the film for being tiresome. Both groups can then criticize Jordan's loosely presented mythology of the world in which Jordan's protagonists operate. It's not a disaster, as the body of Gemma Arterton and the melancholic face of Saoirse Ronan save the film along with the quality of the cinematography and music. Overall, it is a film that rather raises hopes rather than fulfilling them. It is simply frustrating to look forward to something that never comes. Overall impression: 55%.

The opening scene in the crypt of the ossuary and the subsequent assassination clearly entice, and the director sets the bar high and makes it known that the presence of the star Ventura will not be his only advantage. This is a film that respects the atmosphere and has style. However, its weakness lies in the script. The murders of high-ranking judicial officials are not investigated by a team of well-equipped specialists from the criminal investigative team, as one would expect in a politically exposed case, but rather by a lonely commissioner equipped with a pencil and a notebook. Until about halfway through, the drama represents a more or less classic narrative about a criminal case, which, despite detours and minor problems, leads to a specific culprit and the resolution of the case. However, then the director changes gears and we find ourselves in a world of conspiracy theories and hints of complex and extensive conspiracies, and the film increasingly falls into paranoia, which culminates in a bloody question mark. The truth is that Francesco Rosi worked with very specific feelings of concern from the Italian left about the development inspired by Pinochet's coup in Chile, which took place just two years before the filming preparations. In the mid-70s, Italian society was indeed going through a protracted crisis of the political system and the economy, and the country was exhausted from strikes, demonstrations, and political assassinations. So, in terms of "feeling," Rosi's piece works, but in terms of content, it contains logical somersaults. If the commissioner argues with journalists and opposition MPs about essential evidence, then the viewer sees nothing but helpless perplexity and a growing sense of threat and loss of trust in the institutions on the part of the protagonist. If you want to give the film a chance, do not expect a film based on action or a film that provides significant revelations. But as a dark experience, it can work. Overall impression: 75%.

Cadillac Records tells the great story of African-American blues and the beginnings of rock 'n' roll, depicting the events surrounding those who were the first to truly break free from the fate of the African-American ethnicity and emancipate themselves through success in show business. It is the success of the first African American stars, who have made their mark in the consciousness of the widest audience and left their imprint in music history, including their scandals and extravagant lifestyles characteristic of those who have risen from nothing. For a viewer who doesn't care about this music, the movie will be of no interest. For a fan who loves the soundtracks of the 50s and 60s and knows the names and biographies of famous artists of that era by heart, Cadillac Records doesn't really have much to offer either because a knowledgeable viewer will likely quickly notice the superficiality, unfinished characters, and overall average screenplay. Rather than an exciting ride into the pop past, Cadillac Records, directed by Darnell Martin, is simply an illustration of the events surrounding one record company whose owner had the intuition and courage to break societal taboos and appeal to a different clientele. American critics brutally tore the film apart, but Cadillac Records is fine for a one-time watch. As it is well known, critics feast the most on what is expected to deliver a lot and involve well-known names. The truth is that Beyoncé is not and will never be a good actress, and Adrien Brody may have charisma, but he doesn't have much to work with; nevertheless, it easily deserves 3 out of 5 stars. Overall impression: 55%.

From my perspective, it's more of a musical feature that deviates from my idea of a documentary as a carrier of information. I would imagine that a film like this would contain a lot of behind-the-scenes information from friends, producers, competitors, and family members. In reality, it is full of songs in a studio arrangement, which are sung in full. However, fans of the band can easily give it two additional stars. Nevertheless, the atmosphere of the 60s can be felt in the film. Overall impression: 60%.

I would like to go to Camille's sculpture exhibition, but this biographical film about the bitter fate of an artist who stands out from the crowd only confirms that this genre requires a special approach because otherwise, the stories of potentially fascinating personalities easily turn into noble boredom. That is exactly what happened with Nuytten's film in my opinion. Not even the engagement of the charming Isabelle Adjani in the lead role or the presence of the famous Gérard Depardieu as her co-star helped at all. As I have a weakness for Isabelle, she could not help me at all with the tormentingly slow passage of time, although her performance is certainly not bad. But that's not enough to make a great film. Camille Claudel looks like a typical creation of someone who is convinced that high art must be directly proportional to the number of microsleeps that the poor viewer undergoes while watching. This needed some editing, a better screenwriter, more original direction... and so much more. Overall impression: 25%.

From today's perspective, it is an average film that, in my opinion, wants to show Canaris in a better light than would correspond to his actual motives and actions. After all, not enough time had passed since the end of the war, and the creators did not maintain the necessary distance. They were also fulfilling a societal task, which was to diminish German responsibility for World War II and to show resistance against Hitler and Nazism. Overall impression: 55%.

Practically every significant type of cinema has gone through a period of interest in drug topics and made a few films where it was teeming with meth and meth-heads. Candy is a quite late product of the genre, which already has its strongest and most provocative films behind it. It is by no means as original and darkly sarcastic as Trainspotting, nor is it too raw or professionally up to standard to make its mark on the history of the respective genre or cinema in general. Only the casting of the central duo is worth mentioning, with Heath Ledger becoming a celebrity, particularly due to his premature end, and Abbie Cornish being so sweetly blond and likable, in addition to delivering a decent performance. Perhaps only two scenes stick in my memory, especially Candy's written confession in the empty shack, and that is very little for such an emotional topic. Overall impression: 60%. In my opinion, Candy is a bit too optimistic, ending with a significant happy ending (because in the meth world, it truly represents a film happy ending). By the way, I didn't believe in the mutual emotions in that scene. If they had truly gone through meth hell, something else would have been reflected in their eyes. And most likely, they wouldn't have crossed paths at all.

Even the experienced and mature Atkinson did not avoid mistakes, errors, and blunders during his career. This especially applies to the early stage of his television career. Canned Laughter is not necessarily bad, but it is clear that Atkinson was only exploring the possibilities and limits of his comedy. It is no coincidence that out of the three characters he portrayed in the micro-story, fans appreciate the arrogant boss the most - he is played calmly, without awkward overacting, which the Mr. Bean clerk from the same office did not avoid. Overall impression: 50%.