gudaulin

A film about human rights, which don't simply fall from the sky, even in the oldest European democracy. Practically everything - the performances, expressive techniques, and editing - is subordinated to a documentary approach, as if we were watching archival television footage of a demonstration. The shaky camera moves from place to place, creating the impression of a war reporter's work. This is an example of a politically engaged film, based on a true event. Overall impression: 85%.

This dull costume film, unearthed from a cobweb-covered corner of the video rental store, tries to capitalize on the legacy of a scandal-ridden author of erotic writings. However, it can't even remotely approach the quality of the American film Quills with Geoffrey Rush or Marquis de Sade with Daniel Auteuil. It has a lousy script, second-rate actors, uninspired direction, and a low budget - and incidentally, the erotic tension is not what I had imagined. The only noteworthy aspect is the finale, which unintentionally entertains with its twist. Overall impression: 25%.

The film is a mess... The life story of the adventurer, charmer, mystifier, and manipulator Grigori Rasputin is so fascinating that it is unbelievable how such an incredibly average film could be made based on such material. It takes real directorial talent for that... One can only wonder what someone like Miloš Forman could have done with this subject matter... The only reason to watch Rasputin is the excellent performance by Alan Rickman in the lead role. Greta Scacchi is so unremarkable that I felt sorry for Rasputin having to interact with the Tsarina. Even the actors in supporting roles were not interesting when it came to their acting performance, so the film will quickly fade from the memories of most viewers. The only positive may be the effort to stick to historical facts and avoid fictionalizing. However, the downfall of the Tsarist Empire is merely a backdrop for personal drama, so the film does not hold up even as a teaching aid for history lessons. Overall rating, with (significant) regard for Rickman's performance: 45%.

If Rabbit on the Moon is indeed Jorge Ramírez Suárez's debut, then it's a promising start. While there are currently much better films in the political thriller genre, such as Syriana, Rabbit on the Moon is still a decent effort. The film lacks star actors, special effects, and intense action. The director relies on a natural acting style and a realistic portrayal of the story. Perhaps the plot point of Julia's escape from captivity is somewhat implausible. The film could also benefit from a slightly faster pace. Overall rating: 60%.

I admit that I'm a bigger fan of British dry conversational humor than the kind produced by the ensemble under Jay Roach's direction. However, as a rational person, I also know that the humor used in this film is (unfortunately) above average nowadays. I didn't notice any fart jokes, just a moderate amount of vulgarity and only one fall from a chair. The plus of the film is the participation of Robert De Niro and Dustin Hoffman, with most of the best jokes arising from the clash of their differing value systems as fathers. On the other hand, Barbra Streisand's performance doesn't resonate with me and deducted about 10% from the film. Compared to the first installment, I see a clear increase in quality, so those who enjoyed the first film won't be disappointed. Overall rating: 55%.

It's a pity, as the potential of this film was much, much greater than the bland result. It was missing only a little to become an imaginative A-list intimate thriller that, while not fully matching, could certainly come close to the quality of Phone Booth. The original idea and quality cast are commendable. Rachel McAdams, and especially Cillian Murphy, raise the film's level by 20%. Up until Lisa's escape from the plane, the film's atmosphere is excellent, and the tension is palpable. However, after that, the screenwriter and director run out of ideas, and the quality plummets like a parachutist without a parachute. The characters' actions lose all logic and credibility. The final showdown in the father's house is just a collection of the most worn-out genre clichés. In Scream, Wes Craven had a lot of fun with them, but here he succumbed to them. I'm sure that parodying the ending was not his intention this time. Overall rating: 60%.

A pleasant surprise. I noticed Lena Headey as a talented actress in Aberdeen, but Douglas Henshall overshadowed her with his performance. His portrayals of a down-and-out individual and a loving partner are believable, and his attempts to fix his messed-up life are genuinely amusing. It's a well-made romantic comedy about how it's never too late to start over, which probably won't induce fits of laughter but will leave you with a good feeling. Overall impression: 80%.

Old honest filmmaking of the 60s when film stars managed without getting paid millions of dollars and imitations of Japanese martial arts, just as car chases managed without digital special effects, all without detracting from the quality of the result. This classic detective story relies on the performances of Steve McQueen and Robert Vaughn, but even the actors in the supporting roles are not bad. The high-quality economical dialogues, tension, and carefully built atmosphere are unfortunately somewhat devalued by the unfinished script where the actions are subordinate to the needs of the future plot (a very important witness in a mafia trial guarded by a single policeman, hitmen referred to as professionals only injuring the victim with a single shot and leaving without confirming if they succeeded, and so on). Overall impression: 80%.

A great film that relies on Javier Bardem's gripping performance (without exaggeration, the role of a lifetime). The story is about how members of sexual minorities and non-conformist individuals always have it difficult, especially in a totalitarian dictatorship. This film about sobering up from political and life illusions is depressing and, due to the slow pace of storytelling and the film language used, it is not a film for everyone. Some scenes - the interrogation, the banquet in a crumbling church, or the escape by balloon - contain surreal elements. Johnny Depp is kind of only there, but he did seem to have enjoyed the role. The slimy investigator will stay in your head for a long time. The film can be criticized for some formal shortcomings, but considering Bardem's acting concert, I give it 5 stars. Overall impression 90%.

King Rat is strong mainly because of its source material; the film adaptation didn't avoid certain simplifications, and I had issues with the casting. Nevertheless, the story of an insignificant soldier's rise, who demonstrated extraordinary adaptability and entrepreneurial skills in the cramped conditions of a POW camp, only to later realize that social status can't be overcome in everyday life and class differences function reliably, is so powerful that it warrants five stars. Overall impression: 90%.