gudaulin

The best film by Miloš Forman that he made before leaving for overseas. At the same time, a sophisticated and uncomfortably effective sarcastic allegory on real communism in the Czech environment. Lots of venomous lines, humorous situations, and great acting, as well as clever filmmaking that helped Forman succeed in the world. Move the bed closer to the fire so that he warms up. Despite the undisputed cruelty of many scenes, I really like this film. The foreign producer was desperate at the time of selecting the girls for the beauty queen competition, but evidently didn't understand that the director was after something completely different. Overall impression: 95%.

The basic problem of the film is its clutter, fragmentation, and unbalanced script. On the other hand, the positives include the originality and humor of some scenes, as well as the attractiveness of certain bizarre characters and micro-stories. Overall impression: 55%.

This British endeavor teeters precisely on the edge between genius and awkwardness. It is highly stylized, eccentric, and the actors overact to the point of catastrophe, but despite all this, it is highly amusing and original. It is true, however, that if the dialogue and characters were just a tiny bit more eccentric, I would rate it much lower. The series greatly benefits from excellent dubbing, which is no longer a given these days. The individual voices fit the actors' faces perfectly. Overall impression: 90%. Arthur Bostrom's French with his unforgettable catchphrases added one more star to the series.

Inu, The Oil Lamps may not be, but it is still a significant above-average in Czech cinematography and one of the best pieces by Juraj Herz, who had talent and creativity to spare at the time. Excellent performance by Janžurová in the lead dual role and proof that she is not just a good comedian, but also a top-notch character actress. Remarkable visual aspect of the film, which utilizes the rarely used Art Nouveau style and contributes significantly to creating a mysterious atmosphere. Ester Krumbachová did a great job...Overall impression 90%. An example of a film where the camera, sound, and set design are in unique harmony.

For me, Temné slunce is the worst work from Vávra's filmography, and considering the qualities of the crew and the resources invested, it is one of the worst films of the decade... A propagandistic piece that formally imitates the original Krakatit, but completely alienates itself from its idea - it is effectively a manipulative film that was politically favored and had an appropriately exaggerated budget. The actors did not want to be involved in the project twice, for example, Magda Vašáryová played the most embarrassing character of her film career and she played it poorly, by the way. Overall impression 10%.

Hitler's men are both in terms of content and form the pinnacle of documentary production, and the series can be considered as a benchmark for other documentary projects. It is a precise matter, and throughout the extensive work, I have not found a single error. Guido Knopp has dedicated many years to the issue of World War II and Nazi Germany and is currently one of the best experts on the subject. Czech Television has aired his work, including the related series Hitler's Warriors. Knopp digs mercilessly into the painful past of his country and does not shy away from even the most painful places. Overall impression: 100%.

Unrivaled best adaptation of Kurt Vonnegut's novel. An exceptionally powerful film with an interesting theme, a clever screenplay, and a star-studded cast. For me, Nick Nolte delivers his best performance. The film, and maybe it's not worth adding the word "surprisingly", hopelessly failed on the American film market and was not particularly appreciated by film critics. It is a tragicomic story of a man who sacrificed his entire life, his past and future, and even his personal identity in the name of a higher purpose, namely victory in war, and ultimately paid for it with the irony of fate. Overall impression: 90%.

When something is done for the third time, usually you already know how to do it, and even though the previous two installments of the series were not bad in any way, the third Indiana Jones represents the real peak of this mini-series and in a way also one of the peaks of its genre, which is adventure film. It doesn't take itself seriously, and that is extremely important, while also having a sufficiently high budget and an inventive screenplay that doesn't let the viewer breathe for a moment, with a great cast led by experienced Ford and Sean Connery. The two of them complement each other perfectly, resulting in a fascinating spectacle. The scene of the tank battle or the rescue in the underground labyrinth will stay in the viewer's memory for a long time. Another excellent music. Overall impression: 100%.

From a formal point of view, i.e., from the perspective of the film craft, there is not much to criticize about the film, almost nothing. It is an emotionally and extremely expensive blockbuster, which rightfully belongs in film history, especially with its opening 15-minute battle sequence. There could be endless things to say about Steven Spielberg's directing abilities, about how he can work with visual composition, build up a scene, and direct actors - and it would all be praise. However, what concerns me more is the formulaic script, the same problem I had with Spielberg's Schindler's List. When I compare this film to Klimov's drama Come and See, for example, I clearly feel Spielberg's superficiality. To label this film as just a popcorn flick would be grossly unfair, as there are incomparably worse films of its kind. It is undoubtedly an attempt at a serious war drama, but I fail to understand why Spielberg is not satisfied with real stories and real war history and feels the need to produce fiction. Sometimes the unnecessary pathos also bothered me, especially toward the end. Overall impression: 70%.

After elementary school, Jan Svěrák decided to take a risk and try out a substance that had not yet been tested in the Czech Republic, which was a genre mix between parody, comedy, love story, adventure film, and philosophical allegory. While The Elementary School is a stylistically pure retro comedy, which was written with certainty, Accumulator 1 had a difficult time finding an audience in the Czech Republic due to its genre ambiguity. This was partially due to the risky casting, which cast Petr Forman in the lead role, and his co-star was also an unknown actress in the Czech Republic. Additionally, at the time of its release, the Czech Republic was not sufficiently saturated with Hollywood action productions, which Svěrák evidently made fun of. The cosmopolitan film, to a large extent, unfairly earned a reputation as a weaker film both from critics and audiences. On the other hand, the film's budget and the technical aspect, which was especially demonstrated in scenes from a parallel reality behind a TV screen, are at a very respectable level. It is not a bad film, even if only for its originality and uniqueness among Czech films and the high professionalism of the screenwriter and director. Overall impression: 75%.