gudaulin

This is what decent commerce looked like in the 60s. It was definitely not top-quality, but rather a pleasant above-average leisure film. Today, That Man from Rio is hopelessly exhausted. If you compare it to The Man from Acapulco, which still has something to say and is worth seeing, you will notice a significant qualitative difference. What remains functional to this day is Jean-Paul Belmondo's performance, who practically stole the film for himself, and from his energetic escapades, you will understand what his charm consisted of and why he became one of the most significant French film stars of the 20th century. It is also worth mentioning the presence of the tragically deceased nurse Catherine Deneuve. Although the script does not prescribe anything for Françoise Dorléac other than being a playful devil by the side of the main protagonist, you can still tell that she had talent and could have proven a lot in cinema. The script is nonsense, and you can see logical gaps wherever you look, but that was not what this spectacle was about. As a comedy, That Man from Rio doesn't work well for me because the humor is not very clever, and so only the cast really engraves itself into one's memory. Overall impression: 40%.

I have read Gordon's book and, in particular, I saw an excellent series many years ago, which became a big cult hit for me at the time, thanks to its typical dry British humor. The 1950s movie, compared to the series, sticks much more to the literary source, but it significantly lags behind the series in terms of the cast and entertainment value. The series simply set the bar too high. Overall impression: 60%.

In my opinion, tough heroes, macho guys, and a completely different genre than comedy suit director Sam Peckinpah better, but he did more than a good job with this humorous story from a time when the Wild West stopped being wild and cowboys and adventurers were replaced by traders, businessmen, and their staff. It's not a crazy comedy where you laugh out loud, but rather a film where a light smile appears on your face every now and then. The film is not strong in plot, but rather in the atmosphere of a remote corner of the country, a desert where foxes say goodnight and where you damn well have to earn every bit of your livelihood. With its nostalgic mood, this film connects to a much more well-known film from Peckinpah's filmography, Pat Garrett and Billy the Kid. The end of an era is clearly defined by the arrival of the automobile, which means the end of a world where movement is governed by horses. Overall impression: 75%.

I either haven't seen Deray's film or I have completely blocked it out after a few decades, so I don't have the ability to compare the approaches of both directors and decide which one is more effective. Guadagnino's film seems somewhat dull, muted, and unremarkable to me. A Bigger Splash was supposed to be a combination of thriller and psychological drama, but the director would have had to work much more with the characters, play a sophisticated game full of hints, dose information, and veiled conflicts, which gradually and inevitably bubble to the surface only to explosively erupt in an emotional outburst, instead of using lengthy shots of the sunny Italian nature. Only the character of the not inherently evil, but self-centered, possessive, and hedonistic producer works as it should (I'm afraid mostly thanks to the performance of the acting chameleon Ralph Fiennes rather than the director's guidance). Dakota Johnson's Lolita only gets enough space to show off her naked body and send provocative looks, which is questionable considering the immodest duration. Tilda Swinton is a casting mistake. I consider her an interesting actress destined for special categories of roles such as androgynous or asexual beings and broken women whirled through life, but with the knowledge that a) she won't read this and b) I am at a sufficient distance away. I have to say that I cannot imagine Tilda as a sexual object arousing desire and jealousy. Matthias Schoenaerts fails to act as a counterpart to Ralph Fiennes on the same level, and this lack significantly sinks the dramatic conflict. It also wouldn't hurt to cut out about 12 minutes of runtime. A Bigger Splash is watchable, but apart from Fiennes and the soundtrack, it quickly evaporates from the mind. Overall impression: 55%.

Let's face it, we watch movies mainly for the spectacle and entertainment. When Alexander Payne made his film About Schmidt, it was a film about a midlife crisis and therefore much more digestible to the average viewer than an intimate drama about old age, illness, dying, and loneliness, albeit with carefully measured subtle humor. This is simply too unpleasant a subject that we want to push out of our consciousness and not be reminded of it by a film drama. About Schmidt is a realistic film without cheap effects and shocking twists, with a slow narrative based on high-quality dialogue and Jack Nicholson's excellent performance. The screenwriter cleverly chose the main character's commentary in the form of letters addressed to a little boy in Central Africa, whom he sponsors. The way the events unfold after the protagonist's retirement is also how it happens in real life. The creators indeed chose a protagonist who is a member of the well-off managerial class in a significant insurance company, with decent financial security for old age, so average American retirees are certainly different and face many more problems. But it would be really difficult to make this kind of film in the American mainstream studio system, even though it was made possible solely because a star like Nicholson was involved. Movie fans will surely remember him from a series of epic films and various villains, where his expressive acting stood out, but in About Schmidt, he was able to display a vast range of emotions, and his performance might even be considered one of his best. Overall impression: 90%.

I didn't see the film during its release in movie theaters and I only watched it now as part of filling gaps in the world of cinema. Therefore, I cannot be influenced by any nostalgia and I can easily compare Cameron's famous film with the current offerings in the respective genre. The main advantage of The Abyss was undoubtedly its cutting-edge special effects, which, understandably, lose their shine with the passing years, exposing the triviality of the plot and the hopelessness of the screenplay. Moreover, the concept of the cute aliens who wave at you in a friendly manner and are so kind that you would immediately move them into your living room really bothers me, and I am only open to it in the case of E.T. The remaining aspect is Cameron's precise direction, which earns The Abyss a three-star rating, although just barely due to its overlong duration. In the last third, the film dragged on so much that I longed for Cameron's finances to run out and for him to quickly stop the film... Overall impression: 50%. I can't help but also point out the absence of any deeper thoughts in the film. This really isn't 2001: A Space Odyssey.

Regarding Accattone being Pier Paolo Pasolini's debut film, it is surprisingly mature and of high quality, showcasing Pasolini's great directorial talent. At the same time, it fully reveals the left-leaning direction of this filmmaker, which is evident in the depiction of the living conditions of his characters. The stumbling block, however, is Pasolini's approach to the film's characters, as the protagonist, a pimp, is portrayed as a somewhat boastful and frivolous young man, who is nevertheless difficult to feel sympathy towards. This ultimately leads to the tragic ending of the film. According to Pasolini, prostitution is primarily a result of social deprivation, which is somewhat oversimplified. Overall impression: 65%.

The viewer realizes that what comes around goes around when watching how the flawless machinery of the organization of contract killers begins to creak, mistakes and inexplicable failures start piling up, and the gang boss starts to feel like he's in hot water. For many years, he sent others to eternity, now he is succumbing to paranoia, thinking that someone is trying his own tricks on him. The movie is a carefully crafted work in every aspect, and it is a joy to watch especially thanks to the amazing camera work. I won't give it five stars due to the overly constructed script - the assassinations may be perfectly combined games, but in real life, they would likely fail. Otherwise, I have no objections. The hesitant reviews of many are rather related to the fact that they expected a somewhat different genre and a different kind of spectacle. It is not an action film in the least, and certainly not in the spirit of the famous Hong Kong action movies. It is also more suited for a festival audience than for regular pop culture fans. Overall impression: 80%.

Regarding this pseudo-comedy, it is clearly visible how reviewers are influenced by the well-known and highly valued name of the director. If an unknown director had made a similar film, it would certainly have a rating of less than 50% and possibly hover around 40%. It is, indeed, by far the weakest film I have seen from Bergman so far. The comedy has a promising theme, but the execution is decidedly weak. Simply put, it is not funny. If the funniest part is supposed to be the sentence that a cellist must primarily be able to spread her legs, then it's a disaster. The film attempts to imitate classical French farce and American slapstick, but it all falls flat. It is influenced by theatrical mannerisms, the dialogues lack creativity, and where there should be wit, there is only awkwardness. Overall impression: 25%.

The main benefit of this musical set in a competition for a new Broadway musical is the very decent choreography. Unfortunately, it doesn't reach the quality of the best musical pieces, such as West Side Story, Singin' in the Rain, or Cabaret. In particular, a comparison with Fosse's All That Jazz springs to mind, who literally overshadowed Richard Attenborough. West Side Story triumphs thanks to its more prominent music. while All That Jazz with its script and the performances. A Chorus Line is undoubtedly slightly above average, but there's a lack of a melody that would stick in my memory and which I would later hum or notable vocal performances. By the way, unlike the choreographer and director portrayed by Michael Douglas, I would probably choose differently. Overall impression: 70%.