gudaulin

In its time, this film was something like a revelation to me. Thanks to it, I became, when it already seemed that I would finally grow up, a dreamy child again, much to the displeasure of everyone around me... I discovered the works of Jan Švankmajer thanks to it and became a big fan of his. In this film, Švankmajer capitalized on the previous two decades of his artistic work and experiences from his early short films. It is surrealism in its purest form, where it is not so much about the story, but rather about the barrage of artistic installations, artifacts, and ideas, as well as avant-garde animation that pushed the boundaries of what was previously known and possible. The elevator ride impressed me the most with its passing floors filled with a variety of strange creatures and plants created by Švankmajer. He devised an entire alternative world and used old illustrations from Brehm's "Life of Animals" and 19th-century encyclopedias as a starting point for creating creatures that seem to come from a fantasy world. Švankmajer's wife, Eva, also contributed to the film's artistic aspects. Overall impression: 100%. I have seen four more versions of Alice to this day, but none came close to Švankmajer's...

Jan Švankmajer has directed plenty of outstanding short films, but Food is my favorite among all those marvelous whimsies. I have a very personal relationship with food; consuming it is my second favorite activity. This film is not only a geyser of imagination and delightful scenes but also a venomous satire on consumerist lifestyles. There's not a single unnecessary scene or shot; it's an original concept with brilliant artistry and animation. Švankmajer has crafted a masterful film that belongs in the top ranks of animated works. Overall impression: 100%.

It can't be said that Blockbuster doesn't contain several decent jokes (my favorite being the one where Ladislav Smoljak, as the director, demonstrates to a journalist how he'll initiate the bombing of a village and his crew takes the gesture seriously). However, compared to the rest of the films on which Smoljak and Zdeněk Svěrák collaborated as screenwriters, it's clearly lacking, and despite the presence of numerous famous actors and popular singers, it resulted in just an average musical that didn't stand out significantly. Overall impression: 50%.

An intimately written and filmed drama depicting three individuals at the very end of the war, which looks at German soldiers and the Czech resistance through a slightly different lens than was common at the time. The film didn't meet with the understanding of the heads of Czech cinema, not only because of the screenwriter's persona, as Jan Procházka fell out of favor shortly after due to the Soviet occupation and his involvement during the Prague Spring, but also due to the subject matter, which humanizes German soldiers and doesn't portray partisans in a flattering light. Excellent performances, with Iva Janžurová being truly outstanding, and it's good for the audience to see her in a different light than being pigeonholed into the usual comedic roles. Overall impression: 95%. A film with sparing dialogue, but exceptionally strong atmosphere that is simply unforgettable.

An extraordinary film by Karel Kachyňa, which the director then had to smooth over with the authorities for a long time, while the film went straight into the vault. A top-notch screenplay that perfectly captured the essence of the era and the regime, and a superbly crafted atmosphere, culminating in the final scene. Excellent casting led by Jiřina Bohdalová and Radoslav Brzobohatý. It is simply a unique, although somewhat oppressive experience. This is not a film for pleasant entertainment, but rather a haunting nightmare of recent Czech history. Overall impression: 100%.

From a genre perspective, a very well-shot, highly professional film with a problematic political subtext. Essentially a propagandistic film about brave border guards facing sabotage from the West. The atmosphere of the film remains undeniable even after years, as well as the remarkable performances and professional direction. It would be interesting to know to what extent Karel Kachyňa believed in that story at the time of filming. Overall impression: with a significant focus on the craftsmanship, 70%. One of the most significant roles of Radovan Lukavský, to which he himself reluctantly admitted.

A highly unsuccessful attempt at satirical comedy with a fairy tale motif, which failed miserably due to its poor screenplay. It can boast only of an interesting cast. The direction is uninspired, and the humor is scarce. Overall impression: 20%. This film is simply utterly silly. Even the basic element - the owner of a magical genie - doesn't think to utilize its abilities for anything other than turning inconvenient people into monkeys...

I returned to Ferat Vampire after many years, and it cost the film a star. The most valuable thing about it is the idea taken from Josef Nesvadba's story about a car powered by human blood. I don't know if it was his original idea, but I haven't come across anything similar from earlier times. In any case, it is a provocative idea that can be exploited abundantly. Juraj Herz had already had his successful period a long time before this, but in a few scenes, he recalls his better self, the one that filmed Morgiana or The Cremator. The core of the problem is the screenplay. I don't know to what extent it was influenced by censorship bans, but it was created at a time that was unfavorable to horror and sci-fi, as they were considered decadent genres and as such, suppressed. The small budget had a negative impact, and the decorated Škoda car doesn't evoke fear or admiration today, at most a tolerant smile. Jiří Menzel's single-expression acting doesn't help either. A charismatic character actor was needed here. I give it an overall impression of 40%, with the addition that if any Czech film deserves a remake, it is this one.

A provocative, almost subversive, entertaining film about the redemption of an alcohol-soaked criminal, who, along with his accomplice, disguised as Santa Claus, takes advantage of the pre-Christmas shopping atmosphere for some down-to-earth enrichment. Its cynical humor, which undermines the traditional pre-Christmas sentiment of American family films, along with excellent casting led by Billy Bob Thornton, makes this comedy a highly above-average affair. Overall impression: 85%. It's just a pity that the director didn't find understanding from the producer for poking fun at religious rituals and the Christian focus of Christmas celebrations. The original version of the script reportedly contained much sharper humor from the main character.

This nice, slowly flowing retro comedy based on Kathleen Turner's character acting was filmed just a year after the big commercial hit Back to the Future and was clearly inspired by it, both visually and musically. However, the screenplay does not use sci-fi motifs and the arrival in the past is explained by a dreamlike story. It's a professionally made film without any significant weaknesses, but perhaps it's not as flashy on the surface as Coppola's films are known for. It is an unassuming, slightly sentimental, and above all romantic spectacle. The romantic music by John Barry plays a very important role. Overall impression: 75%.