gudaulin

Mogadishu Welcome can't hide that it appears as a TV film, which stands out especially when compared to The Baader Meinhof Complex. Nevertheless, it effortlessly surpasses that untidy and financially deprived film production. The strength of the title lies in the subject matter, in the incredibly dramatic situation of the hijacking of an airplane and its risky journey through several countries' airports. The film captures both the conflicts inside the airplane with a gradually intensifying atmosphere full of fear, as well as scenes from Chancellor Schmidt's staff, on whose shoulders rested political responsibility and the weight of decisions, and last but not least, it also focuses on the preparation of the task force team for the raid. The film provides a comprehensive picture of events that once significantly influenced the domestic political situation in Germany, the world's perception of terrorism, and aviation security standards. The film evenly distributes its attention among all the players involved, allowing the viewer to have a vivid overview of all ongoing events. Overall impression: 80%.

Woody Allen, the author of the famous bon mot that the brain is his second favorite organ, once expressed his attitude toward the sexual revolution by directing a playful episodic film called Everything You Always Wanted to Know About Sex * But Were Afraid to Ask. He looked at sexuality from a comedic, lighthearted perspective. The authors of this film approach the topic from the other side and depict a world of dark sexual fantasies somehow associated with violence and full of negative human emotions, ranging from fear, and desire for revenge, to the lowest form of hatred. I relegate many well-known and successful horror titles to the cinematic basement, but this morbid journey beyond the generally tolerated and known world surprisingly resonates with me, even though none of the stories are without their flaws - there is always something missing, or moved a bit further, compared to how I would imagine the stories' points. In the end, it is still quite an entertaining and original plaything, though with the warning that it truly isn't for everyone, and I can easily imagine its categorical rejection. I can say that as a dog lover, I appreciated the third story the most, about a peculiar cute friend and dog teeth in action. Overall impression: 70%.

A sensitively directed and acted drama is hidden under the somewhat confusing title about the role that the factor of time and distance plays in our lives and relationships. The young married couple, played by Gael Garcia Bernal and Michelle Williams, have every reason to feel happy and secure. They are financially secure, have good jobs and prospects, and are additionally bonded by the strongest tie - a child. However, demanding work leads to a lack of communication and when Gael's character has to travel on a business trip to faraway Thailand, an unexpected love affair occurs. Although the momentary infatuation ends with the new start of the plane and return home, it serves as a reminder of the risk that anyone who undergoes long-term separation is exposed to. Members of various professions could tell stories about it. The film tells us that what happens between partners is beautiful but fragile and may not last long. It is often limited by time and space. In this case, the losses were not so great and painful, but it may not always turn out that way. Overall impression: 80%.

I could say that this is a horror comedy, but that would mean that fear would have to mix with laughter, and that is not true in this case. It is actually a crazy comedy with a popular zombie theme. At first, it feels quite fresh and funny, but soon the ideas run out and in the second half, the film falls into tiresome stereotypes. Overall impression: 45%. If you are a fan of trashy horror productions, you can give it any number of stars you want. The screenwriter knew exactly what he was doing.

After the commendation of The Unfaithful Wife by film critics and the favorable reactions of the audience, Chabrol decided to return to the proven cast, genre, and subject. Michel Bouquet may have been born as a murderer, and he was perfectly suited for roles of unsympathetic men; but here, the script prescribed him a psychologically demanding role of a man who cannot cope with a guilty conscience. One uncontrolled outburst of emotions will forever change his life and condemn him to the role of a mental wreck tormented by doubts. Traditionally cold and psychologically convincing, Chabrol enriched the film with a grotesque dimension and ingeniously conceived social criticism, which we know, for example, from Buñuel's films. The feeling of guilt leads Masson to confession, which, however, as soon becomes apparent, those around him do not care about at all. In the eyes of his loved ones, a social scandal is apparently less acceptable than murder. It is not important what things objectively are, but how they appear on the surface. Where another director would have made a crime drama, Chabrol presents a psychological study of traditional middle-class values, where the moral dilemma of the (anti)hero clashes with the tough pragmatism and the feignedness taken to a pathological dimension. Overall impression: 75%.

I really like British costume conversational comedies cast with proven actors like Colin Firth or Stephen Fry. In this case, my expectations were too high, and accordingly, disappointment followed. I understand that not every author can write dialogues as brilliantly crafted as the king of bon mots, Oscar Wilde, but this is seriously a level that would fit into a Czech operetta from the 1930s. I don't know if the level of the theatrical source, the work of the screenwriter, or even the director himself had a greater impact on this. The result is an ordinary and forgettable title that simply lacks the stamp of quality that I am used to from British works. Overall impression: 45%.

Three times is enough. I revived the slogan of uncompromising morality followers who, after the 3rd crime, are willing to send pickpockets to life imprisonment, and applied it to a series of classic Bond films. I told myself that if any old Bond title has a chance of success with me, it will be Goldfinger, which features a truly charismatic villain and is based on a book that I read as a teenager, so I should feel at least some nostalgia for it. However, I definitively verified the fact that the phenomenon of Bond films only started to become at least partially interesting to me with GoldenEye. This is unattractive, and outdated, with a long-expired warranty, but surprisingly still has a great reputation. The power of the brand does a lot. Overall impression: 40%.

You have to admit that Marine Vacth is charming and exudes a "decently provocative" sexuality, and she could instantly become one of the classic Bond girls from the past. Marine works as a model, as she knows how to pose and present herself well. Unlike other models, she is undoubtedly capable of delivering some acting performance, albeit limited. She simply doesn't look like the new Marion Cotillard. These types of girls are often heavily utilized in film in their youth and usually disappear from the screen at a certain age... As for the film itself - it is strange that I want to write again about Marine's sensuality... Ozon is undoubtedly a professional, but this film is not among his best pieces. It is unfinished, superficial, and psychologically implausible. A comparison with thematically related Belle de Jour by Buñuel logically suggests itself, but Buñuel clearly had something else in mind and his film was more thought-provoking, while Young & Beautiful perhaps only tempts masturbation... Ozon evidently aimed to provoke viewers with the theme of an underage prostitute from a respectable middle-class family. In France, as well as anywhere else in Western Europe, prostitution at a lower level is usually practiced by drug addicts and other "lowlifes," while at the higher level, it is composed of emigrants who cannot afford to lose their social prestige. A girl from a better family will damn well reconsider risking the loss of moral integrity, which could have a devastating impact on her professional career and current and future family. Isabelle doesn't offend me, but I also don't make excuses for her and her behavior, and I don't seek complex meanings where there most likely aren't any. Of course, you can endlessly debate the torn inner soul of a girl and talk about a deep dive into the female psyche, but I, on the other hand, see a bored Euro-brat, well materially provided for, who never knew real problems thanks to her family background, and consequently, responsibility... Considering Marine's physique, I remain at three stars, but without any enthusiasm. Overall impression: 50%.

Costa-Gavras has never been the type of director to mind the label of an activist creator, especially one with a clear political profile. He makes this perfectly clear with his new film. Even the title, which deliberately evokes associations with the world-famous title by Karl Marx, connects the world of bankers and financial corporations with the world of political ideas. While Oliver Stone once made Wall Street, where his left-wing political convictions occasionally flashed through the dialogue of a suspenseful thriller about an unscrupulous stockbroker, Costa-Gavras made a film that proudly embraces leftist ideals and sometimes transitions into straightforward proclamations. The (anti)hero of the film turns to the camera and addresses the audience in key moments, thinking out loud and revealing even what would normally remain cloaked in diplomatic phrases. Paradoxically, he becomes a more interesting character than Stone's Gordon Gekko, who is essentially a one-dimensional predator driven by the pursuit of profit. Marc Tourneuil, on the other hand, is a player with more complex motivations and thought processes, aware of the consequences of his actions but determined to stay in the game and to win. With his drama about the rise of an intelligent and ambitious careerist against the backdrop of a power struggle in a globally influential bank, Costa-Gavras has become the spokesperson for those who increasingly observe scandals in the world of high finance with disgust – the irresponsibility and arrogance of the elites, the ruthlessness with which speculators conduct their shady dealings on or beyond the edge of the law. It is important to realize that the described managerial and business practices were not invented by the author of the source material; he drew on intimate knowledge of the environment and specific cases. Gad Elmaleh, known primarily in France, handled the demanding role with honor and is well on his way to breaking into the club of internationally acclaimed film stars. Despite a few minor reservations (such as the rather unnecessary romantic fling with a supermodel, which dilutes the main storyline), I argue that Capital is a film that has balls and has arrived at the right time, marked by an economic crisis and its repercussions. Sometimes it's good not to hold back and to say what needs to be said for it to be heard. Overall impression: 90%.

If I didn't know that I was watching a Czech documentary, directed and produced by Czechs, I would have been convinced that I was watching American work. An American guide, a professional modern style, and a high level of production. After all, Misha Votruba has been in the USA for a long time and has learned a lot of things. These are typical talking heads, staticness, and lack of expression when it comes to Czech documentary films. The creators know how to evoke and maintain attention, even though their methods are somewhat "manipulative." The film warns against manipulation, but it doesn't shy away from manipulative practices and suggestive techniques borrowed from advertising. Add to that the scatteredness and argumentative inconsistency, and I can only give it a mere 2 stars. Overall impression: 40%. It's a typical case where the form overwhelmingly outweighs the content.