gudaulin

For me, given the high expectations raised by enthusiastic reviews, comments, and high ratings, this was probably the biggest disappointment from Emir Kusturica's body of work, which I otherwise quite enjoy. This allegory simply didn't resonate with me; both the plot and the playfulness with the audience felt too absurd, and the film, in my opinion, was unnecessarily long, with overacting characters. Overall impression: 45%.

An intimately conceived romantic drama, clearly inspired by the theatrical version, whose success is supported by excellent dialogues, a quality screenplay, and top-notch acting performances. Since the film is based on a play, a significant part of the story takes place indoors, somewhat resembling a more expensive television production. All four of the engaged stars deserve the highest rating for their performance, although Julia Roberts lags behind just a bit. It is reliably directed by the experienced Mike Nichols, with visually appealing shots of Natalie Portman dressed as a stripper, which will be sure to attract male viewers. Compared to the theatrical version, the film concludes much more sentimentally and romantically. Overall impression: 90%.

A topic as powerful as the pursuit and capture of one of history's most feared mass murderers understandably makes the acceptance of the film much easier, but it wouldn't be enough on its own if the film had a poor script and direction. Surprisingly, the creators restrain themselves from indulging in cheap depictions of horror in the American production, instead focusing on the psychology of the main characters and the slow progression of the investigation. Of course, the portrayal of Soviet reality in the film is not entirely authentic, and connoisseurs of the era may smirk a few times, but this won't bother the vast majority of viewers. Decent acting performances, quality direction, and good atmosphere. Overall impression: 75%.

Needful Things can essentially be perceived the same as the overwhelming majority of adaptations of Stephen King's works. It is boring and cheap, with a small budget. Those who are unfamiliar with the book may think it's passable, but those who have read it will likely suffer and the deprived ending will provoke a surge of fury. The last 8 pages of the novel, if managed well in terms of screenplay and special effects, would surely push horror fans deep into their seats. Also, if the atmosphere of thickening tension and pervasive evil could be successfully conveyed through a quality script in the film, it would be a top-notch horror affair. Like this, it is only worth an overall impression of 40%. An added positive aspect that contributes 10% to this film is the involvement of Max von Sydow, who truly suited the role of the envoy of hell.

I don't love this production, but Surviving the Game has one major advantage, and that's the casting of the villains. Thanks to them, all the classic weaknesses of a B-grade action spectacle can be endured. Overall impression: 35%.

For me, probably the best Steven Seagal flick, which nevertheless isn't much of a compliment because quality films are rare in his filmography, and the vast majority of his movies have incredibly ludicrous scripts and dull acting performances even by the standards of his genre. Here, too, there are script flaws and obvious nonsense (two terrorists are ordered to "neutralize" a locked-up and bound Seagal, who until then posed zero risk to the raiding party, only allowing him to escape and be killed by him). On the other hand, the direction is brisk, and the film boasts decent casting for an action genre (Tommy Lee Jones, Colm Meaney). Overall impression: 40%.

Bordello of Blood can be summed up much like Demon Knight - it's a straightforward B-movie that knows what it is and doesn't try to be anything else. If viewers are willing to embrace its campy charm, they'll find it satisfying, though it won't leave them awestruck. Unlike Demon Knight, Bordello of Blood leans more heavily into humor, and surprisingly, the mix of horror and comedy works here. The cast, particularly Erika Eleniak, feels right at home in this genre, and their performances help elevate the film, smoothing over some of its rougher patches. Considering its modest goals, it's well-cast and competently executed. Overall impression: 55%.

The glimpse into the exceptional performances of Soviet artists is inherently valuable. If this were a documentary film focused solely on capturing the circus performers without the interference of a clumsy script and forced humor, I would evaluate this piece differently. Unfortunately, the story falls short, and aside from the circus acts, the standout feature is the cast. While the cast is indeed noteworthy, one would prefer to see this old guard of actors in more compelling material. Overall impression: 25%.

From Jaroslav Soukup's films aimed at the young and for the young, this piece stands out as the best, although it's evident where the director was inevitably heading. On the other hand, the 1980s are captured decently in the film, and I can even say that many specific scenes from the factory environment, where incidentally I started at the same position as the film's protagonists, perfectly align with my experiences and memories. These include scenes from the union meeting where Lukáš Vaculík and Sagvan Tofi found themselves in the role of troublemakers, as well as experiences with petty thefts in their surroundings. Overall impression: 50%.

A folk comedy, critiquing the widely spread misdeeds of the time in the style of local satire, designed to make the audience laugh while avoiding the core issues. Thanks to a decent cast, it's a tolerable affair, with memorable performances by Petr Kostka and Jorga Kotrbová. Overall impression: 45%.