gudaulin

I acknowledge that in this case, I am not entirely objective and could add another star. However, the rating is directly proportional to the disappointment this film brought me. I discovered the novel of the same name at 14, read it in one sitting, and in the following months, I succumbed to uncontrollable fits of laughter in completely inappropriate situations. This war satire, full of dry British humor, makes other comedies pale in comparison... But in the film version, that biting, sarcastic humor completely disappeared, leaving anti-war propaganda full of strange allegories, poorly edited to boot. Not even the famous John Lennon could save it. Overall impression: 25%.

A cinematic delicacy that belongs to the golden treasury of world cinema. Even if Alfred Hitchcock had made nothing else, he would still deserve a monument carved in marble. The shower scene or the fall down the stairs are, for me, symbols of perfect direction, while the slowly turning chair in the basement symbolizes horror as a distinct genre. Anthony Perkins is excellent, and he never managed to surpass his performance and essentially remained trapped in the role of the deranged Norman. The ingredients in this film are balanced so well that it became a delicacy... The extraordinarily impressive music is also worth mentioning. Overall impression: 100%.

The script of this semi-amateur, underfunded mess is as full of holes as the Titanic after hitting the iceberg, the dialogues are at the level of pub regulars after fifteen beers, the acting performances are like a school play, and it's hard to imagine more clichés in the given genre. However, for those who are satisfied with a view of powerful machines and need an adrenaline rush, they might end up pleased. From the perspective of film history, it's significant only because the movie marked the beginning of Mel Gibson's career. Overall impression: 25%.

A typical example of the poorer, commercially oriented animated productions primarily aimed at the American TV market. Only the skilled animation and drawing keep this work from receiving a Boo! rating. Showing this to children is a crime against their aesthetic sensibilities... Overall impression: 20%.

If the term "mainstream" can be applied to documentary filmmaking, then this medium-length film would be a typical case thereof... It neither offends nor impresses, and above all, it cannot decide whether it wants to be an exploration into the lives of Danish residents and their relationship with children or an advertisement for a Danish toy manufacturer... Overall impression: 50%.

When confronted with the flood of television and film productions, it's crucial to value every minute. A friend of mine advocates the theory that if a film doesn't catch his interest within five minutes, it's not worth watching. I broke this rule and gave Hulk a full thirty-five minutes, but it offered me little in return. It simply didn't engage me, perhaps except for the charm of young Jennifer Connelly, and that's too little. The start was too slow, and the overly psychological dialogues for a comic book story weren't my cup of tea. I can't judge the entire film, but from what I saw, I wouldn't give Hulk more than a 40% overall impression...

This is certainly not a documentary, but rather a TV play on a popular disaster theme (the title itself exudes a certain sensationalism and grandiosity). An eruption, giant waves, or a flu pandemic would be insignificant episodes in terms of species survival. For so much disaster at once, the play is somewhat short, and the actors don't have the opportunity to create characters with whom the audience could identify. The "acts of God" are presented with great simplification, which can be forgiven in a dramatic show. Overall impression: 50%, considering the special effects, which are above average for a show of this kind.

Strong dramatic material elevates this otherwise average television affair in terms of production quality and budget to a four-star level. Jiřina Bohdalová and Radoslav Brzobohatý deliver decent performances, though in Kachyňa's The Ear, for example, they were a class better. Norbert Frýd wrote intriguing dialogue that truly conveys the oppressive atmosphere of the Protectorate. Overall impression: 70%.

Undoubtedly the best film by Sequens, though the five stars are really for the subject matter, as the assassination of the Reich Protector is an incredibly compelling and powerful artistic theme. This time, history wrote the screenplay... Despite all his efforts, Sequens never ranked among top Czech directors, but since he worked with top actors, aimed for a realistic reconstruction, and avoided cheap sentimentality, a great film was made. Overall impression: 90%.

The documentary is more interesting for its subject matter than for the quality of its execution. Gustáv Husák, as the most significant communist leader of the second half of the 20th century, is an extremely fascinating figure. His life allows for mapping all the significant historical upheavals in Czechoslovakia, making it a highly valuable subject for a documentarian. A man who went from the pinnacle of politics to the torture chambers of state security, where he faced the real threat of the death penalty, later becoming a beacon of hope for reformers among communists, and eventually a symbol of collaboration and "normalization" - what more could you want? However, the creators somewhat skim the surface, giving space mainly to sentimental recollections of colleagues and family friends, instead of providing room for historians and archival material studies. The family life and health issues (such as his eye disease) remain out of focus. The potential of this film was much greater. Overall impression: 50%.