Lima

Perhaps too bold an artistic vision. Misunderstood, incomprehensible and self-absorbed, but also visually captivating and worth watching for its uniqueness and inimitability. In any case, the weirdest sci-fi ever to hit the cinema screens.

MacFarlane deserves 4* just for the way he deals with one pseudo-star of the Twilight franchise in the final seconds. I loved the bear, I loved the relaxed Mark Wahlberg, I loved the clever pop culture references to all sorts of things. It was a pretty nice one-off. I was also intrigued by that mom who obviously mistook the film, probably lured by the children's title, sitting next to me with her little girl. About 10 minutes in, during one of the dialogues, which was full of orals and anals, she went rushing out of the theatre :o)

I am terribly happy for any film that shatters the conventional view of the brutal post-war purge of the Sudetenland, but why is it done in such an uninteresting way as in this case? This is a rudimentary fable in which the characters utter unnatural and screwed-up dialogue (I had the same problem with Habermann's Mill, and lo and behold, the same screenwriter!), and Ondřej Vetchý's character and his German wife spend the vast majority of the runtime fleeing the wrath of the Revolutionary Guards, from place to place, over and over again, until the film becomes monotonous and tiresome. The icing on the cake is the unintentionally funny ending, which slips into self-parody. There aren’t many films about post-war displacement, but comparisons can still be made, and both Adelheid and the problematic Habermann's Mill are of much greater narrative and emotional value. I feel sorry for Ondřej Vetchý, who played his role with dignity and passion, unfortunately, in a bad film.

This is the kind of humour that Martin Lawrence does today. Crude jokes, and Rudy Ray Moore's stand up routines are embarrassing. It doesn't even work as a parody of blaxploitation; or as a parody of anything else for that matter, nothing works here at all. And on top of that, it’s boring as shit. Next time, I will be very cautious about films that Quentin Tarantino passionately recommends.This is the kind of humour that Martin Lawrence does today. Crude jokes, and Rudy Ray Moore's stand up routines are embarrassing. It doesn't even work as a parody of blaxploitation; or as a parody of anything else for that matter, nothing works here at all. And on top of that, it’s boring as shit. Next time, I will be very cautious about films that Quentin Tarantino passionately recommends.

This film was part of a midnight blaxploitation screening. The audience, lulled by previous nights of somewhat sleazy stunts, looked forward to laughing at the film's silliness and having some fun at the filmmakers' expense. But those initial smiles soon faded. There's nothing funny about this movie and nothing to laugh at. Thematically and in focus, it resembles Scott's American Gangster, though of course it lacks his filmmaking skill, but even so, this saga of the rise and fall of a black mob boss is not without some excellent scenes and builds up fantastically in the last act. The surprise is all the greater because the director's chair was occupied by a guy who became famous for movies like "Deadly Ice Cream Attacks the United States".

The police and snitch era of normalisation was nasty, that's for sure (I had my share of it), but if we have to deal with the past in this way, I'd rather not. The unnatural dialogues are toe-curling, as if they were written by a young conservative who admires Václav Klaus, or like watching a two-hour long agitprop. And Mádl is an uncharismatic acting tragedy. If you want the secret police theme, better watch Špaček’s Walking Too Fast, and when it comes to wiretaps, you won’t make a mistake with Kachyňa’s The Ear.

A short animated version of Oscar Wilde's bleak tale, where the contrast of the world of a living gilded statue that would give itself away to suffering and the sad reality of the contemporary world of the poor stands out beautifully. Jitka Walterová's animation and Gustav Doré's contemporary gloomy graphics stand in the same contrast.

A miners' song from the late 19th century transformed into simple animated pictures. In terms of animation, it’s not very captivating, but it’s still quite impressive.

Impressive simple animation, where we just watch the full detail of a face and its transformation, wrinkles etc., depending on time and life lived. All this accompanied by sounds like the screams of a newborn baby and so on. Very short, but powerful.

An animated pub song; bleak, dark and superb. The drawings were made by Eva Švankmajerová, and the great voice acting was done by Miloš Kopecký. It is as if you were watching a short animated version of one of the stories in Váchal's Horror Story, and it produces the same joy as Zeman's The Sorcerer's Apprentice.