gudaulin

From a historical perspective, there might be a few reservations about this film, but the atmosphere of the rise of Nazism is portrayed authentically, and the casting is well done. The television format of the film didn't allow for any grand spectacle, but here, the focus is primarily on the story and the performances. Robert Carlyle handles the main role excellently; he has matured into a first-class character actor. Overall impression: 80%.

I've only seen the first two seasons, then this format got a bit tiresome for me. The series was preceded by a generous advertising campaign that set expectations very high. 24 is a typical commercial product, with its advantage lying in dynamic editing and a script that revels in dramatic twists, not to mention the lead performance by Kiefer Sutherland. On the other hand, the series is accompanied by a number of script shortcomings, such as the nonsensical and overcomplicated motif of the destroyed plane in the first season. There are also plenty of genre clichés from action movies and the invincibility of the main character. If Jack Bauer can do it, then why do Americans have trouble in Afghanistan, Iraq, and elsewhere? In the second season, the superfluous subplot with Bauer's daughter is evident, and similar criticisms could be found upon closer examination. Nevertheless, the dynamic plot and script twists place the series slightly above average. Overall impression: 60%.

Let's face it, the marketing didn't hold back with slogans like "first time on the screen," "original intertwining of animation and live-action film," etc., while here in the Czech Republic, we know that practically all the ideas and approaches that Robert Zemeckis came up with had already appeared in Czech cinema, in some cases even decades before Who Framed Roger Rabbit. On the other hand, none of those films featured Bob Hoskins in the lead role, didn't have such audience-friendly, gag-packed scripts, and overall didn't have that pleasant Hollywood pop culture packaging. Who Framed Roger Rabbit is a pleasant comedy, but from my perspective, it doesn't have a strong enough script to knock me off my feet. Maybe it's also because I'm not particularly drawn to the films it draws inspiration from and partially parodies. Overall impression: 65%.

Robert Zemeckis' masterpiece, an American variation of how a simpleton stumbled upon happiness without any effort of his own. A comedic journey through the history of modern America, where the main character, an innocent guy with a disability, traverses life and encounters famous figures from American history, even inadvertently playing a role in events like the Watergate scandal. Excellent casting, with situational and verbal humor. Americans love happy endings, but Zemeckis parodies the idea of effortlessly achieved happiness so much through his character that the whole film ends up feeling like a mockery of the traditional American way of life and the American dream. Tom Hanks excels in the lead role. Overall impression: 95%.

I like Joel Coen and Ethan Coen; they're among my favorite directors, but this one didn't quite work for them, and in my view, it resulted in their weakest film to date. It's noticeably weaker than the original version. Their characters this time are just superficial figures, and not even Tom Hanks in the lead role can save it. The biggest weakness is the screenplay overall; the quality of the dialogue is unsatisfactory, and the comedy simply lacks humor. Overall impression: 45%.

Otakar Vávra was an experienced and reliable director, originally trained as an architect, and he had a sense of composition, which is evident in this film. He excelled in crowd scenes, and he also had the support of the leadership of Czechoslovak cinema, so no expense was spared on the production, and he had the best actors at his disposal. Indeed, the film perfectly reflects the nationalistic sentiments of the official ideological doctrine of the time. The anti-German sentiment is clearly evident. At the same time, excellent neorealist films were being made in Italy, and modern cinema was clearly heading in a different direction. Of course, this film doesn't have much in common with medieval Czech history. Nevertheless, it's a decent watch. Overall impression: 60%.

American Psycho is one of those films that can be rated from one to five stars. From a technical standpoint, it's a decently crafted piece with good cinematography, editing, and especially strong acting performances, where most of the cast gives it their all, and it's almost a pity that the same level of performance isn't seen in a stronger film. Even in small roles, quality actors like Chloë Sevigny as the secretary shine. However, the problem lies with the content, which, while superficially flashy, is internally empty and decadent - scenes from the high society milieu, nightclubs filled with glamorous beauties and yuppies in elegant squares are typical. In short, it's a kitschy affair that, while somewhat faithfully capturing Bret Easton Ellis' literary source material, is quite indigestible for me. Overall impression: 40%.

Zardoz is a highly controversial film. Rather, it depends on the approach we have to film production and what we expect from this film. It thoroughly breaks established genre conventions and if we approach it as a classic entertaining spectacle, it will inevitably end badly. It is, in a way, an experiment that is difficult to find parallels to in world film production. Its value lies in its originality and uniqueness, as the commercial effect of a work like this is insignificant and it is more suitable for film festivals or film clubs. It is a dystopian spectacle about a bleak post-apocalyptic world where the elite have decided to isolate themselves from the outside world. The plot is confusing, and the screenwriter and director do not cater to the viewer and burden them with a mosaic narrative style and philosophical implications, making it harder to consume. Sean Connery came to the lead role reluctantly, like a blind man playing the violin, as he simply needed money back then. He didn't understand what the film was really about, and it is a very unique thing in his filmography. It really isn't another Bond film. Overall impression: 80%.

An excellent comedy that draws from a perfect understanding of the Czech "little man" and the vices that were prevalent during the era of building "real socialism." It's a deep study of provincialism spiced up with plenty of mostly well-functioning jokes. A timeless classic of Czech television screens that, for me, will never grow old. On the other hand, it's a specifically Czech theme, because when the film was screened at festivals in Western Europe, the majority of references went over the heads of the audience, causing the film to fade into obscurity. Overall impression: 95%.

Jan Švankmajer considered the so-called gothic novel as one of the starting points of his work, and its elements appeared in a number of Švankmajer's pieces. In The Castle of Otranto, which is both an adaptation of the original gothic novel and a charming mystification, this inspirational source manifests itself perhaps most strongly. It's a humorous affair that seems to have been partially inspired by the theater of Jára Cimrman. Overall impression: 90%.