gudaulin

In the 80s, major studios in America came up with a barrage of action films that overshadowed the more artistic creations of the 70s and successfully filled movie theaters even in Europe. It was a period when European national cinemas could produce their own films, which, however, didn't reach distribution and merely filled the drawers of production companies. Luc Besson introduced the concept of a European action thriller, which may not have thrilled critics, but it renewed fans' trust in the ability of European creators to deliver gratifying entertainment to theaters. The film has a strong story, fascinating characters, and pervasive tension. Anne Parillaud became a recognized actress, offered several opportunities by Hollywood and overseas, and a remake of lesser quality was even made in America. Overall impression: 80%.

During the flood of films of both better and worse quality, one rarely has the opportunity to return to what they have already seen, and I personally only do it with films that I remember as remarkable and strong. I saw this film during its premiere in the mid-90s, and even though I wasn't a teenager anymore, it impressed me as a cleverly and impressively directed popcorn movie with an excellent cast and an emotionally perfectly functioning screenplay. The film hasn't changed, but the genre has gone through rapid development, and above all, I have changed, so this kind of action genre doesn't affect me the way it did years ago. Nowadays, I prefer a dynamic and realistic style, like the one director Greengrass promotes, so my favorite films include the Bourne trilogy, Green Zone, and Blood Diamond. Luc Besson's films are overly marked by the effort to cater to a mass audience, so they are naive, unrealistic, almost comic book-like, sometimes sentimental, and overall calculated. What remains is an excellent cast, with Jean Reno creating a star status for himself after a significant minor role in La Femme Nikita and being catapulted among the best French actors at a relatively mature age, and also gaining a few roles in Hollywood. Gary Oldman, on the other hand, created the wonderful character of a perversely debauched corrupt cop, who holds an honorable place in his gallery of villains. Young Natalie Portman also showed in this film why she would become a world-famous film celebrity in a few years. Overall impression: 55%.

Friends was and remains the flagship of all sitcoms and from the beginning, the series had exceptional commercial success practically wherever it was shown. Top screenwriters were involved in it and that amounted to the teamwork of ten to twelve screenwriters and the series also had strong advertising support. Its success was based on the model of six well-defined contrasting characters, and it relied on humor derived from the attitudes and thinking of teenagers, which the characters still maintained in adulthood. The immutability of the behavior of the famous six is typical even in later seasons. They still fall in love, break up, argue, and reconcile, as if they were sixteen years old, even though they are in their thirties. A child or marriage is merely a backdrop. The laid-back atmosphere that radiated from the series, along with plenty of wordplay and the performances of the main characters led to success. I would give the first season 95%, but over time, the series somewhat became repetitive with the same patterns. Overall impression: 65%.

One of a series of films attempting to deal with the painful Vietnam syndrome, symbolized by the unsuccessful military campaign in Vietnam, with many dead, missing, and disabled soldiers, and ultimately, the alienation of Vietnam veterans in American society during the 70s and 80s. Unlike Platoon, which was full of wartime action, the crucial part of this drama unfolds after the main protagonist's return home. The life of the paralyzed young man is full of bitterness, and Oliver Stone knows how to work with human emotions very well. Moreover, he intimately understands the subject matter, having his own war experience in Vietnam. One of his best films and also one of the finest films about the Vietnam War. Tom Cruise delivers a solid performance, and this was one of the movies that propelled him to stardom. Overall impression: 85%.

Whether due to the cast, script, or the performances, I must say that this comedy stands above average Czech productions, and I give it four stars with a clear conscience. The theatrical inspiration is evident, but that's not essential. Ivan Trojan portrays his character very convincingly; after all, he has it well-trained from the theater stage. It's not an exceptional film, but a decent, relaxing comedy without awkward moments or cheap pandering. Overall impression: 70%.

From the point of view of action, ingenuity, and special effects quality, Terminator 2 set the bar so high that even the biggest optimists couldn't expect the third one to surpass it. Even the funeral speeches that the aging Schwarzenegger no longer had it and couldn't handle his part were not confirmed. Terminator is his life role and for the third time, he performed it surprisingly well. Kristanna Loken is painfully clumsy as an actress, but just like Schwarzenegger in the past, that is an advantage in this Terminator role - moreover, she is really beautiful and that's what casting her was all about. The film may not surprise you with anything significant, but on the other hand, it won't disappoint either. It's an above-average action sci-fi with a reasonable runtime and a pleasantly suspenseful ending, which, more than the previous two parts, leaves the back door open for a possible fourth film. The best from the cast is the likable Claire Danes. Unlike its predecessors, this film probably won't stick in your memory, but it's definitely not a waste of time. Overall impression: 75%.

The flagship of the 90s psychothriller genre, which blended traditional crime thriller with a horror atmosphere and morbid details. The Silence of the Lambs managed to transcend genre limitations, winning five Oscars for its "depraved" genre and garnering enthusiastic reviews from film critics. Several fortunate moments converged during the film's production - a clever script that, despite the bizarre nature of its antiheroes, navigates within a realistic setting; a skillful director who crafted the film's allure not through frantic action or bloody, naturalistic violence, but through a carefully constructed atmosphere brimming with tension, uncertainty, and fear. Naturally, the excellent casting also contributed to its success, with the seemingly fragile Jodie Foster and the typographically precise Anthony Hopkins, who embodied the monstrous charm of Lecter and became the most captivating serial killer in film history. Overall impression: 95%.

The Thirteenth Floor is a soberly crafted sci-fi film without pandering to pop culture or cheap effects; instead, it relies on a strong emotional story and quality acting. It stands out as one of the most intriguing pieces of its genre from the late 90s. In essence, it aligns much more with the cyberpunk subgenre than the much more famous Matrix trilogy or Johnny Mnemonic. A pleasant watch even for those not particularly fond of sci-fi. Overall impression: 90%. A film for the more thoughtful audience, unfazed by a slower pace of storytelling...

The film undeniably possesses atmosphere, but it's a typical case where style overshadows a lackluster substance. A positive aspect is Richard Gere's performance in the lead role, one of the few instances where he truly acts rather than just being a star, notably portraying a civilian character... Overall impression: 65%.

Original, with a polished script, clever, humorous, and brilliantly acted. Alongside Man on the Moon, probably Jim Carrey's best film. It's a movie that denounces the phenomenon of reality shows and any manipulation of humans, as well as consumerist lifestyles built on commerce and ubiquitous advertising. While Peter Weir hasn't made any bad films, this is the pinnacle of his work so far. Overall impression: 95%.