gudaulin

Down with Love parodies both the golden 60s and the film production of major American studios from that era. Additionally, it mocks fashionable feminism and the gender movement. There was certainly more potential in this material, but the film doesn't rank among the top, yet its pleasant and functional cast makes it an attractive spectacle. Renée Zellweger and Ewan McGregor simply belong to the top, and it shows. Overall impression: 70%.

Fans of George Lucas are fundamentally divided into two groups: a minority that shrugs at how the director managed to film the provocative and visionary art-house sci-fi THX 1138 and then could slip into producing pop-cultural crap like Star Wars, and the majority who admire the amazing, entertaining, colorful, and playful Star Wars, only to later discover that Lucas had previously made some strange pseudo-sci-fi without rhyme or reason, with heroes using a peculiar vocabulary, in stark settings, which bears no resemblance to his later great blockbusters. I myself belong to the first group. THX 1138 captivated me with its atmosphere of a dehumanized, robotized world, afraid of emotions and feelings, where the individual is reduced to a sum of money. It's a creative work that precisely reflected the contemporary anxieties among the American intellectual elite at universities. Overall impression: 90%.

This decent but overly routine thriller relies on a quality star cast led by Harrison Ford and the professional, experience-backed direction of Robert Zemeckis. It's good entertainment for one viewing, but I don't feel the need to revisit this film. In this case, I also disliked the combination of the criminal case with paranormal elements. Overall impression with narrowed eyes: 70%.

A successful attempt to utilize the werewolf motif in a horror set in modern American settings, relying on a very decent cast, with Jack Nicholson in particular delivering his traditionally excellent performance, utilizing his expressive facial expressions to create a strong impression and tension in individual scenes. Overall impression: 80%.

Sex, Lies, and Videotape became a big surprise of 1989, and its commercial success and critical acclaim catapulted Steven Soderbergh into the filmmaking elite of the United States. The film, based on a clever script full of interesting dialogues, is a tragicomedy dealing with the fates of several middle-class Americans who struggle with their sexual and family lives. It's an unassuming but powerful film that leaves a lasting impression on the viewer. Andie MacDowell had big success with the film, establishing herself as a movie star and starring in several successful hits in the 90s. Overall impression: 80%.

No matter how much my impression is worth four stars, I wasn't that impressed with this Steven Soderbergh film. It contains several interesting scenes, and a range of interesting characters, and speaks about an extremely interesting topic. However, I was bothered by the deliberately shaky digital camera, the use of filters in some cases, and a few motifs in the screenplay also seemed off. Most of all, the scene where a high-ranking government official - practically at the level of a minister in the American hierarchy, closely involved with the activities of secret services - frantically searches for his daughter in drug dens bothered me. If this were to happen in real life, it would discreetly be resolved with the help of relevant officials and "specialists." The scenes in Mexico about the connection between the drug cartel and the highest positions of power in the country are powerful. Overall impression: 75%. In any case, the film has a very decent ensemble cast.

The film catapulted Renée Zellweger into the acting elite and rehabilitated the romantic comedy genre, which had been somewhat profaned by a series of average American comedies. It is a pleasant mix of situational and conversational humor and a great cast, with both male leads shining alongside Zellweger. A fierce competition unfolded over the main role, as the slender Renée simply did not fit the author's and producer's vision, but Zellweger demonstrated an admirably adaptable performance within the American acting industry, gaining experience firsthand by gaining weight and traveling to Britain to work at a similar publishing house. Colin Firth, in the role of a serious and wooden lawyer, somewhat parodies the previous roles that made him famous, and Hugh Grant revels in the negative role of an incorrigible womanizer, which, as he claims, is far more in line with his natural disposition than the roles of naive romantic youngsters that brought him fame. We also get peasant music and an appropriate dose of romance. Overall impression: 85%.

The only reason for the sequel to the adventures of the quirky Bridget was the hefty profits from the original film, so the producers thought, "Why not squeeze some more dollars or euros out of the audience?" It's not that Renée Zellweger was any less charming or Colin Firth any less dry, and it's not like there wasn't any romance or humor in the film, but the screenwriter seems to be frying on burnt oil, and overall it lacks the originality of the first installment. Overall impression: 45%. Unlike the original Bridget, this film is good for just one viewing; there's no point in returning to it. However, if I weren't comparing it to the first one, I'd add another star...

In Roman Polanski's filmography, this is a relatively lesser-known piece, especially compared to The Fearless Vampire Killers or Rosemary's Baby. However, it's one of his best films - personally, I rank it third after The Pianist and the drama Death and the Maiden. It's a fateful psychological drama of a couple torn apart by sexual passion, jealousy, and mutual dependence, which escalates into hatred. Strong performances and a script that manages to depict the pathology of a love relationship without delving into unnecessary vulgarity. Overall impression: 85%.

The Fearless Vampire Killers is considered a celebrated film classic, but I must admit that when I saw it, I was somewhat disappointed. The individual ingredients are intriguing, and one could write at length about the beautiful sets, all the horror clichés and elements that Roman Polański incorporated and parodied in the film. However, as a whole, the film didn't quite work for me. I'll even admit with a blush that The Vampire Wedding by Jaroslav Soukup, though understandably of significantly lower cinematic quality, provided me with more entertainment value. Polanski is indeed an above-average director but a below-average actor. I'm not sure if that's the reason why I feel somewhat distant from The Fearless Vampire Killers. Overall impression: 50% with consideration for the director's persona.