gudaulin

I personally divide Allen's filmography into four periods: the lively comedic beginnings, when Woody utilized his stand-up comedy experience, a more serious era, when he dropped the clownish facade and attempted to delve into psychological dramas and complex characters, and the audience subsequently rewarded him with indifference. Then came Allen's golden creative period, framed by The Purple Rose of Cairo and symbolically concluded with Hollywood Ending. During this time, I could have given around 4 stars to his films every time, and Woody brought me joy with every new piece. Since 2002, he has been in a period where it is difficult to find a unifying element and generalizing assessment cannot be used. I have had a love-hate relationship with Allen since then. Sometimes he can surprise me, and for example, I rank Match Point and Cassandra's Dream very highly among his works. However, there are also titles where I shrug my shoulders and say, "Well, you've made your regular yearly film again, but I've already seen this, albeit better, in pale blue from you several times. You're getting a little tiresome, despite all your merits." The above perfectly applies to You Will Meet a Tall Dark Stranger. Similar Woody films quickly fade from my memory and leave nothing behind. This time, Woody surprisingly stumbled in an area that is traditionally his strong suit - casting. Sir Anthony Hopkins as Allen's alter ego doesn't work, and I also consider Josh Brolin's casting a misstep, as he suits different genres and characters. This is a case of a film that is teeming with famous names and faces, but the end result is lackluster. I consider this comedy as evidence of a trend where Woody increasingly relies on templates, flattens them, and presents banalities. Overall impression: 45%.

I admit, I don't like films made in the style of Dogme 95 - just like any other dogma, they limit possibilities and narrow the space for cinematic expressions. The Hunt represents a rare case where it works, and thanks to its exceptionally strong theme, we don't have to deal with the set or the language of cinema. For the movie experience, only he, his work, and his friends are enough. Nothing is and can be the same as before. Apparent certainties collapse like a house of cards, and an uncertain future remains, along with the certainty that one can only rely on oneself. Thomas Vinterberg carefully constructs his drama, building it on solid foundations and portraying his characters convincingly psychologically. From the heated clash in the church, where one would expect the scene to end with an uncompromising fight behind the church gates, the previously flawlessly functioning machinery begins to stutter somewhat. I don't believe in miraculous happy endings, even tainted by a lonely avenger. Public opinion is much quicker with its judgments than justice, and it doesn't care about the presumption of innocence. It doesn't carry out the rehabilitation of its victims, and it doesn't shy away from spreading the wildest rumors extensively. If it goes that far, there is no way back. The more passionately you defend yourself, the more suspicious you will appear to those around you. Guilt can be proven, but innocence cannot. In real life, the only solution is burning bridges and moving to an anonymous foreign environment. Sometimes retreat can mean a bitter victory. To elaborate on the fact that Mikkelsen represents one of the greatest acting talents of the current European scene would be to state the obvious. Despite certain shortcomings, I don't hesitate to give this film the highest rating. Overall impression: 90%.

Veber's situational comedy usually relies on the contrast of mismatched pairs, and A Pain in the A... does not deviate from this definition. It is precisely the foundation of this film that allows its humor to work so well, that Veber returned to it in his old age and filmed a remake of the film for which he once wrote the screenplay. Before him, Americans also used the same material and commissioned the famous Wilder to improve the studio's budget and get the most out of the meeting between a cold-blooded killer tasked with a key mission in his career and an ambitious troublemaker. It is customary to praise the original version and criticize - as film fans say - unnecessary remakes. However, I will not do this in the case of A Pain in the A...; over time, I have seen all three versions and do not consider any of them to be artistic failures. Not even A Pain in the Ass, although film critics and fans ritually shot it down. Each version has its strengths and weaknesses. The combination of the best elements from all three films would result in a great action movie. Lino Ventura's presence is amazing in A Pain in the A... He was not a comedic actor, but the role of a cold-blooded killer suits him perfectly. He does not overact, and you simply believe in his character. The desperation in his eyes looks authentic and creates even more amusement. On the other hand, there is Jacques Brel. I do like him as a chansonnier - although he is essentially trying to play a comic character seriously, it comes off as rather annoying here. I have a fixation on Pignon as a likable character, but in Brel's performance, he represents such a bothersome individual that I would gladly punch him. Overall impression: 80%.

The success of a film or series largely depends on the ability of its creators to evoke a sense of identification with their heroes and their actions. Even seemingly highly controversial characters are molded according to the same rules. Today's screenwriter has no problem giving even a serial killer cool qualities, humanizing him with humor, and since he is assigned to kill other much less agreeable villains and on the other hand helps the weaker, the viewer has no problem liking him. Such an approach fits perfectly with the story of Walter White from Breaking Bad. His psychological transformation from an exemplary citizen, caring father, and husband into a dangerous manipulator and cynical criminal was not understood by everyone. The Paperboy evokes negative reactions from many viewers after watching and receives hesitant comments from movie fans - more critical than one would expect from a film of these qualities. It is certainly not an exceptional film, even within its category, but it is an above-average genre film. Its most valuable aspect is precisely what repels so many viewers - the violation of genre conventions, unpleasant characters that provoke you, and whose actions anger you. The film does not strive for likability in any way and I appreciate that. This is also related to its ability to surprise. Daniels' thriller is not made according to a template and I consider that a significant plus. Overall impression: 75%.

Even simple stories that have been told a thousand times can be made in an original way, and In Search of a Midnight Kiss belongs to the minority of films that can pleasantly surprise. It is unconventional and provocative like Kevin Smith's early films, it chose a black-and-white camera and can depict an interesting atmosphere with it, and it is able to offer unfamiliar actors who can captivate. And most importantly, it is not artificial and shallow. I believe in the thought processes and decisions of these characters, even though Sara Simmonds exudes such dominance and self-centered arrogance in the first few minutes that I would have left immediately had I been in Wilson's place. In Search of a Midnight Kiss is a bittersweet romance about emotional maturity in the shadow of Hollywood studios, filmed in the spirit of the best traditions of the American independent scene. Overall impression: 80%.

Brendan and the Secret of Kells had already convinced me that Tomm Moore is a creator whose work is worth following. It is a joy to see a film that can work with fairytale motifs and appeal to adults without relying on pop culture references. The film, which cleverly combines Irish mythology with the present, manages to avoid cheap sentimentality while telling stories that directly invite emotional manipulation. A bonus is the original visual design, which not only surpasses what Disney has achieved in animated films but also defies the standards of contemporary American animation and computer graphics. Personally, I give it a thumbs up and I would just add a warning: Song of the Sea is not suitable for young children due to how it is made, and not just because it is shown in its original language. The ballad-like story and philosophical depth will appeal more to older viewers. Overall impression: 90%.

As you can see, Strange Days has received awkward reviews and comments on this database. Many people struggle with this dark-action crime story with a sci-fi theme. Personally, I claim that I thoroughly enjoyed this cyberpunk-influenced affair with dirty characters and an apocalyptic urban atmosphere that has long ceased to control itself. Traditionally excellent, Fiennes delivers a fantastic performance and Juliette Lewis had not yet been affected by drug experiments and plastic surgery at this point. I actually only have two objections. Cyberpunk traditionally portrays strong female characters and it is said that Kathryn Bigelow has balls. However, her heroine is perceived as powerful as a larger military unit and that action part is somewhat exaggerated and cheaply flashy because of her. And the knife firmly embedded in the back of the unlucky hero would mean premature termination of the fight and actually the end of the movie's story, not a prelude to an impressive twist in the battle. Overall impression: 75%.

The initial reactions were not only positive, but enthusiasm was also evident in them as if a sports club from a small town struggling at the bottom of the league had triumphed over the champions from the big city. Expressions like "finally, a world-class Czech film" and the like appeared. Because such praise has resonated throughout the Czech Republic several times before, and I subsequently had to adjust my high expectations, I approached the film with caution. Nevertheless, my verdict this time is: after a long time, several months to be precise, this is my best movie theater experience, and since the success of The Way Out last year, this is the first Czech film that is worth going to the movie theater for. This is primarily due to the excellent acting of the Hádek brothers and the attractive portrayal of the community of small-town outsiders - people without education, without what they need, and often unfortunately without responsibility and social intelligence. Both film brothers have their own plans; Užovka's plan is more ambitious, but also somewhat sensitive to external threats. I see a weakness in the script, as I don't really know what the director's focus is. A conflict between the brothers terminated by a divine intervention? Friendship divided by a prison wall? Even here, I don't see a significant dramatic conflict; in the harshly pragmatic environment of Czech society, Užovka's decision seems rational, and the director creates a moral dilemma that, I'm afraid, doesn't actually exist for the majority of viewers. The film touches on a number of issues, but it never goes to the core. What's worse, the ending feels helpless and, moreover, unconvincing. I understand the rise of certain nobodies in films. The antihero of an American drama I recently watched, Nightcrawler, is an example of a character whose transformation from a meaningless nobody to a dangerous player who fiercely pursues his goals is quite believable. But Užovka is not a big player, and in the real world, someone like him is not destined to play the role of a boss. Overall impression: 65%.

With the word "funeral" we associate respect for the deceased, the pain of the bereaved, tears, and regret over the departure of a loved one. However, the creators of British black comedy were able to unleash a much wider range of emotions on a small scale and, above all, they demonstrated that a properly conceived funeral can bring unexpected surprises and experiences, starting with the exchange of the deceased and the revelation of the deceased's sexual desires. For a truly adrenaline-filled unconventional experience, all you need is to assemble a suitable list of mourners. The old grumpy uncle definitely has to be there, next to whom the grandfather from The Simpsons feels like Mother Teresa, as well as the hypochondriac with a fascinating ability to make faux pas, the slimy playboy, the dwarf with shady intentions... Just a glimpse of this bizarre cast is enough for you to begin to suspect where the local gathering is headed. Moreover, only a few of the attendees are gifted with the ability to solve logistical problems such as fitting two corpses into a single coffin, and only the mentally strongest can cope with the arrival of the deceased back among the mourners. Add in a few seemingly innocent props, like a tube of pills which, however, hides a strong hallucinogenic drug instead of an innocent remedy - and the disaster is complete. Along with that, we get the traditional dry British conversational humor, like: "I have a feeling that my father's funeral was attended by far more friends than he had while alive." That's exactly the kind of humor that appeals to me, and I forgive the one toilet humor scene with a touch of Frank Oz. I just slightly dislike the more vulgar language, as I associate British films of a similar nature with a certain nobility. Overall impression: 90%.

Originally, I gave this film  4 stars, but then I thought about it and realized how many films have recently annoyed or simply disappointed me and how rare it is to come across a film that has all the signs of a precise craft, has a clearly legible signature, and deals with a strong theme. I'm not saying that this is the best De Sica film I've ever seen, and I'm not saying that this is the best piece of Italian neorealism, and for a while, I struggled with whether De Sica went a little too far into cheap sentimentality. But in the end, I think he balanced it excellently, and the creative courage that is demonstrated by daring to cast non-actors in the lead roles is something I generally appreciate. Umberto D. is a film about the desperate struggle to maintain dignity in a situation where you have no tricks up your sleeve and your fate amounts to constantly giving in, tightening your belt, and losing everything you used to love and care about. It is a  film strong in its details, and convincing, and where the key issue, of course, is how digestible the story of an old helpless man in a hopeless situation will be for you. Personally, I claim that after quite a long time, this is a film that truly brought me joy. Overall impression: 90%.