gudaulin

My relationship with Leviathan is best characterized by the fact that I did not have the courage to watch it for over 3 years, even though it was stored on my computer. I was simply scared of the darkness that emanated from the story. Zvyagintsev's film perfectly characterizes Russia as unchanging over time. The combination of the crown, the sword, and the altar, along with the disdain for ordinary people, creates a very hostile environment in Russian society where the individual means nothing and bows to absolute power. The actions of the church officials are reminiscent of the current patriarch Kirill, who gets along so well with the authorities in the Kremlin. Zvyagintsev hit the nail on the head with the conditions that led to the war in Ukraine. A chilling film and unfortunately very true. Overall impression: 95%.

Luciano Salce was a genius of mediocrity in Italian cinema. The small-town averageness literally radiates from his films, and only the presence of Monica Vitti and Ugo Tognazzi in the lead roles keeps Duck in Orange Sauce afloat over time. After all, they were prominent representatives and interesting types of their acting generation. Duck in Orange Sauce can be viewed as an echo of the sexual revolution of the 60s, which arrived late in Italian cinema (a decade earlier, there was still strong censorship in Italy). Unfortunately, the film, which did not stand out from the flood of loud Italian comedies at the time, has already exhausted itself and practically does not work comedically today. For me, except for the actors, the film has nothing more to offer. Overall impression: 45%.

Death is no more or less than the price of life, and it is one hundred percent true that it awaits us all at the end of our journey. The death of a person and the farewell ceremony usually evoke a wide range of emotions and expose peoples' natures, so it is no wonder that the life experiences of the funeral family provided the screenwriting team with excellent material and an attractive spectacle for viewers. In many places, the series manages to touch upon the most sensitive aspects of our physical existence and social relationships. It touches on the burning topics of social debate, but as the episodes progressed, I began to dislike the pronounced eccentricity of some of the characters. It cannot be denied that screenwriter Alan Ball had the primary voice, who is also the creator of the crazy vampire fantasy full of sexual deviations, True Blood. If it is said about some series that they are written by life itself, here it is evident that the stories are written by a screenwriter. Undeniably well and captivatingly, but ordinary life is a bit different. In the first season, the presence of dark humor served in small doses pleased me, and my attention was caught by the charming Lauren Ambrose in the role of the family's high school student. Overall impression: 80%.

It has been a decent number of years since Hollywood realized that current commercial trends, which brought with them a wave of comic book adaptations and fantasy blockbusters, practically pushed aside the stream of cinema intended for the adult generation. The idea arose to give pop-cultural phenomena an artistic touch by approaching them "seriously," attempting to add some "depth" to them, and everyone can then find their own thing. The result is films that only play at being adult. When it comes to the moment of truth, the naivety and ridiculousness of old comic book characters and stories are revealed in full nudity. The adventures of a man in a rubber suit with a lovely little bat cap, in front of whom everyone around fervently pretends not to recognize the character of an important member of the local elite society by voice or by the exposed part of the face, simply must be processed with a great deal of irony, but Matt Reeves, similarly to Nolan in his trilogy, is not capable of that. Reeves' Batman proudly showcases the game of fate, beats with a two-foot dick, and does not spare any pathos. The connection of completely contradictory genres - noir and superhero epic - also feels out of place, as they require a different approach to the characters. Catwoman cannot be a mysterious femme fatale, and her relationship with Batman lacks the proper erotic dimension. When we overlook the shallow motifs and banal dialogues, the traditionally strong weapons of major studios remain in play, namely production design and cast (I didn't even recognize Colin Farrell as Penguin), but that is not enough for me. I give two stars for the world of Gotham, as well as with other films that play poorly at being adult. Overall impression: 45%.

Several musicals that I gave the maximum number of stars to fall into the category of classics that I saw in my early youth, and I am therefore influenced by nostalgia. Otherwise, it is true that I am not sure about the genre of musicals, it doesn't resonate with me, and I cannot appreciate it. In Fiddler on the Roof, I appreciate the story, cast, camera, and set, i.e., attributes that I can associate with a classic live-action film. Yet the film is hindered by the musical format and length, which logically are related to the inserted songs. The songs are not catchy and do not fall into the category of popular hits, but their quality needs to be appreciated by someone more qualified. As a portrayal of life in the countryside in the czarist empire during the Jewish pogroms, the film is definitely impressive and I have nothing to criticize about its dramatic aspect. Overall impression: 65%.

Not only on a bad road but also in the wrong country, at the wrong place, and at the wrong time. Natalya Vorozhbit wanted to shoot something crucial about a war-torn country, but the result corresponds to either a lack of experience or talent. Something is excessive or missing in all four micro-stories, or rather meetings. I am not satisfied with any of the four parts. The third potentially very strong micro-story is drowned in strange dialogues, the fourth clashes with the rest in terms of atmosphere and outcome, and even there it needed some work on the point. Overall impression: 45%.

I am not among those who need to step on a rusty nail barefoot to test their immune reaction to tetanus, and I am not attracted to mapping blind paths. So it really is a mystery why I thought that I, a secular-oriented individual, could watch a movie, of which approximately one-third is filled with prayers, without consequences. In the British miniseries Time, the hero of the story faces the same dilemma as Anatoly - how to come to terms with oneself and the surrounding world when you have taken a human life? The British teacher undergoes a cleansing test with honor, while Anatoly remains an overgrown child internally, whom the monastery walls and God protect from the complexity of the world, and who until the end does not understand what responsibility for oneself, one's actions, and one's neighbor means. A sad view. Overall impression: 40%.

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%.

The series is incredible. It depicts the investigation of a sexual assault case in a highly believable, factual, and civil manner, which gradually becomes something bigger, more disturbing, and bitter thanks to the tenacity and passion of the police investigator. Unlike typical genre productions, more attention is given to the victims of criminal offenses, and although the often-used manifestly slogan-like feminist element is absent, Unbelievable has a distinctly feminine tone. It is about female intimacy, shame, pain, and memories that turn into a knife that stabs at the most sensitive places. Do not expect action scenes, but rather patient detective work with the necessary dead ends. What sticks with me from the series is Toni Collette's brilliantly acted investigator and an overall good feeling about the project, in which I do not find any significant flaws. Overall impression: 80%.

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%.