gudaulin

The film is as cold as a dog's snout and lacks tension in many places, which one would expect in a spy drama. Many people have already written about the unfortunate choice of casting Adolf Hitler's character. Hitler was at the peak of his popularity and his physical and mental strength at that time, and he had nothing in common with the Nosferatu vampire presented in the film. On the other hand, Jeremy Irons is exactly right in the role of Chamberlain, but I'm afraid that's the only thing that will stick in the memory of viewers in the long term. Personally, I don't like it when foolishness like an SS officer attacking a member of the British diplomatic mission at the summit meeting during the Munich conference appears in a realistically-looking historical drama, on which the attention of the world public was focused. That person could consider himself extremely lucky if he ended up only in a concentration camp and not directly in front of the firing squad. Overall impression: 55%.

It is naturally just a coincidence, but Michaela Pavlátová managed to finish the film and send it for distribution at the ideal time when the dramatic events of the fall of the pro-Western regime fueled by American and European money are still fresh in people's minds. The visual aspect may not be innovative but thank God for that because Czech animated films have been stagnating due to lack of funding for many years. There isn't much to argue against the story, which is based on Petra Procházková's experiences and information gathered from her contacts with Afghan women, except perhaps to note that the scene where Afghan women are running toward freedom en masse is just an illusion. Procházková encountered only a small percentage of women who have been slightly or more Westernized (and not even close to one hundred percent) and desire some Western achievements, and essentially, the vast majority of Afghan women are actually quite content in their comfortable domestic cage. Overall impression: 75%.

A depressive view of society that goes to the dogs. If some of the participants in the documentary had a feeling of hope that things would turn for the better, it only took half a year and Vladimir Vladimirovich's decision to start a war in Ukraine to make it definitively clear that Russia is turning toward a regime similar to North Korea. Freedom-minded residents of the Russian Federation are now fleeing in droves through Finland and Georgia into emigration. This night will not be short. Overall impression: 75%.

A person is a social creature and as such is forced to play social roles practically throughout their entire life. Denying them brings misunderstanding, isolation, and contempt from others. We are simply much less free than we think in our pride. The protagonist of the film, Gawain, is not an exemplary knight - in fact, he doesn't even aspire to that position and knightly virtues are somewhat meaningless to him. However, when confronted with the royal court and the wishes of the royal majesty himself, he commits an act out of zeal that signifies the end of his previous life. David Lowery dismisses fans of commercial fantasy fairy tales and maliciously strips his film of all the usual genre elements that audiences enjoy in such productions. Instead, he serves a slow, visually embellished journey of his hero in pursuit of fulfilling his destiny. It's a journey where Lowery systematically tears down Gawain and deprives him of any nobility and heroism. In return, he makes him deeply human and, as shown in the final confrontation with the Green Knight, willing to accept his fate. I saw the film as part of the Karlovy Vary Film Festival late in the evening, which didn't do me any favors, as I struggled to stay awake. Due to the intimate nature of the work, I couldn't avoid a few micro-naps, which cost it a star. An afternoon screening might have propelled The Green Knight to the highest rating, as the director made a positive impression on me. I would reward it with 80% and recommend seeing the film, ideally on the big screen where its visuals shine.

For the creation of The Sinner, viewers can thank Jessica Biel's desire to prove that she can handle more challenging character roles. However, those who are familiar with the previous seasons of the show know well that the key character and the reason for the continuation is the character of Detective Harry Ambrose. His ability to sense shadows where others have clarity, his empathy towards all involved parties, and above all, his drive to delve deep into understanding why things happened the way they did, make him a character capable of succeeding where teams of professionals with powerful institutions behind them fail. I consider the fourth season to be the most successful and mature. This is also due to the skillfully executed mysterious storyline, which has become somewhat of a trademark for The Sinner. However, the viewer must be prepared for a slower pace and a journey filled with sadness and human tragedies hidden behind the seemingly harmonious facade of the local community. Bill Pullman is brilliant as usual. Overall impression: 90%.

I understand the need to continue a successful series with another season, but in my opinion, the continuation did not succeed, and what's more, it to some extent negates the excellent script of the first season with a new perspective on an old case that led the detective to jail in the first season. It is less believable, even though the series copies the format and style of the previous season, it simply lacks that drive and charismatic supporting characters. Moreover, no offense to Trine Dyrholm, but she is not the attraction like Ulrich Thomsen's bulldog-like, uncompromisingly rough style as an angry father who crushes suspects without regard for consequences. Even the three stars I give it are not very convincing. Overall impression: 55%.

An attempt to capture the European Tinder generation, which is meant to appeal to its members. In my eyes, it fails because it clings too much to everything that is photogenic and attractive, and the dramatic aspect of the project suffers as a result. It is a typical example of a film where the director presents characters that, according to his opinion, I should identify with and root for, while I see them in a completely different light. If I were to rely solely on my emotions, I would categorically discard the film without hesitation. I did not see eye to eye with my favorite Audiard this time. It is strange that the Finnish film Games People Play, which deals with the same age group burdened by similar emotional instability and social unanchoredness, captivated me and earned a full five stars. In this film, with the partial exception of Nora, whom the director manipulates in a different way than I would have imagined, everyone was terribly annoying, including the explicit depiction of eroticism. I never thought I would end up as a moralist, but here I have the impression that I see a lot of self-centered, immature thirty-year-olds who are setting themselves up for loneliness and will not be able to form functional families. Overall impression: 35%.

An engaging, incredibly intense film filled with emotions and energy, and the most interesting premiere of 2021 for me. A luxurious dessert served by a team of British actors led by Stephen Graham. His performance in Boiling Point and his role as a prison guard in the miniseries Time made me consider placing him among my favorite creators. During one hectic evening, the long-standing personal crisis of the chef and restaurant owner culminates, and things start happening... Philip Barantini, without much directorial experience and with a modest budget, managed to shoot a great action film in the space of a restaurant, in which I couldn't find any significant weaknesses. However, if I had to highlight something besides the acting, it would definitely be Lewis's brilliant cinematography; 90 minutes in one shot is not something you see every day. I wish all film enthusiasts Bon Appétit while watching Boiling Point. Overall impression: 90%.

I would like to borrow my opening words from elsewhere: "Overwrought and poorly told phantasmagoria"... because they succinctly and accurately characterize what you can expect from the series. According to Alex de la Iglesia, he worked on the series for 6 years, reserved only a maximum of one week for the screenplay based on the result, and it took him the longest time to convince the producers to invest finances and studio support in such garbage. Honestly, I am amazed that the series was created under the patronage of HBO, which usually sets the bar for quality high. I like storytelling and enjoy it, but Alex is a terrible storyteller. It cannot be claimed that the problem lies in the subject itself, it is rather about its execution, about Alex's superficial approach to the material. He wastefully indulges in ideas only to thwart their potential. The mystery genre relies on emotions much more than on rationality, but that does not mean that no laws should apply to it, and that the behavior of the characters will not be guided by any logic. I am surprised by the decent rating on FilmBooster because Alex's lack of restraint and inconsistency moves the genre from horror or fantasy to grotesque in many places... but to each their own. I will not in the least accommodate the carelessly shot mishmash with poor effects and a stupid screenplay, there are others for that. Overall impression: 10%.

The film is about a band that is characterized as anti-capitalist, and it doesn't seem absurd to the musicians to perform in the Eurovision competition, which has been considered for many years as a symbol of the most bizarre and extravagant pop music, as a heavily commercialized tasteless show. This really scared the capitalist magnates... I remember how some bands and individuals from the music industry were able to truly provoke and unsettle the establishment in the 60s to 80s. This is a harmless storm in a teacup. They're a group that looks like a bunch of introverted students from a theological faculty, who came to preach about morality, without costumes. If this is what rebellion looks like according to millennials, then we're screwed, ladies and gentlemen, and the elites can relax. Being a pop star was never their goal, and they're successfully mystifying that and it's taking them a long time. A documentary about young rebels shouldn't be boring, but unfortunately, A Song Called Hate manages to do that. Not to mention how ridiculous the band members are in their authentic anxiety about their "bold" protest and what they are actually afraid of. Facing censorship and career pressures or even physical attacks today means holding different opinions and rebelling in countries other than Israel. The editors of Charlie Hebdo could say something about it. This group knows too little about the complex situation in the Middle East and the issue of Palestine, where I really wouldn't want to act as an arbitrator. Overall impression: 35%.