gudaulin

This history is by no means unknown - at least for someone who is even remotely interested in history and American politics. Additionally, Stone took too large a part of American history to delve into any interesting details, and practically any topic he touches can be found in a more detailed and informed documentary, moreover without ideological bias. Stone's cycle is valuable for something else. It represents a comprehensive view of a member of the American intellectual left on modern US history and its place in the world. This perspective can be interesting for Czechs because Czech society has taken different paths in recent decades and our intellectual elites and journalistic community pretend that such opinions do not exist and if they do, they are outrageous demagoguery. With Stone, of course, one can argue on many points, but he is a creator with a highly developed sense of moral integrity, not a demagogue like Moore. Moreover, the prevailing discourse here has not avoided numerous mental short-circuits and errors oriented toward the opposite side of the political arena. Overall impression: 80%.

I don't know exactly how many Bond movies I've watched so far, but Skyfall is most likely the last one. Sam Mendes and Daniel Craig can't really be blamed for my weak review - I simply got tired of the Bond carousel, and if it hadn't been for its modernization with the arrival of Daniel Craig toward more modern and realistic action films, I might have ended my Bond fandom (which has always represented a marginal part of cinema for me) earlier. Older Bond titles with Sean Connery are, as I have realized during recent reruns, almost unwatchable, and Daniel Craig was the first Bond actor whom I believed in his affiliation with the espionage agency. But no matter how much it is modernized, the foundation remains just as foolish. In the end, all the efforts made to convey fate, tragedy, and greater depth are actually rather bothersome. The film works best in moments when it doesn't take itself seriously and deliberately embraces its trashiness, like in the scene of the cannibalistic iguanas attacking the villains. The behavior of the characters and the main villain's devilish plans are actually similar to a joke, where an inventor explains the mechanism of a brand-new flytrap at the patent office. "It's actually a maze, where the fly wanders through a labyrinth of corridors left, right, left, right..." - "Ah, and at the end...?" the official asks, "another turn?" - "No, at the end, there's a cliff, the fly falls down and breaks its wing."... I appreciate Mendes' sense of visuality, and the beautiful scene with jellyfish in the Chinese metropolis deserves a star all by itself. I also appreciate Craig's ability to play tough guys even at an age when others focus on conversation films, and I appreciate Bardem's ability to play a devilish villain so convincingly that you nod your head in approval, but the rest... there's no use talking about it. Overall impression: 45%.

Once I visited a psychiatrist and anxiously asked him if I was okay, as I am constantly faced with increasingly intense cravings to strangle my children. He assured me that it is a part of almost every parent's fate and that he also experiences it. He said alcohol helps him, and when he doesn't know what to do next, instead of using cutting, stabbing, or shooting weapons, it is better to take out a little ball and squeeze it in the palms until completely calm. Unfortunately, the heroes of Argentine film stories do not use a ball and give full expression to their emotions seasoned with typical South American temperament. I consider this black comedy, which looks at society's flaws and human weaknesses with sarcastic detachment, to be the most pleasant film surprise of 2014. I somehow identified with the humor of Wild Tales and especially envy the protagonist of the first story for his uncompromising efforts because only a few of us have the ability to bring things to a perfect end. Out of the 6 stories, I consider 5 of them to be highly outstanding, while one somewhat does not fit into the overall poetic and comedic style and either the screenwriter should have added a bit more exaggeration and comedic tone, or he should have left it out completely. But that doesn't change the fact that I enjoyed this film about the corruption of the system, albeit differently from the others. Overall impression: 90%.

For two years, The Big Blue has been taking up space on my hard drive without any use and all this time I didn't have the desire or courage to watch it, anticipating that I would significantly dislike this effort from Luc Besson. The time when it had something to offer me is long gone, very long gone. I was not mistaken and when I think about it, I get the impression that my 2 stars are quite a decent expression of my conformity with 84% satisfaction on FilmBooster and enthusiastic comments from many users. What Besson offers me, i.e., music and underwater shots, can be offered to me in a more attractive package by any nature documentary. I don't like its Hollywood sloppiness, it is empty in content and besides, I increasingly mind films that pretend to have greater depth and profound messages where all I see is more posing. Overall impression: 40%.

There are two reasons to pay attention to this short film. The first is the subject matter because the film can be considered an interesting contribution to the current discussion on the risks of Islam as a foreign element in European culture, which often takes on a dangerously hysterical and, dare I say, idiotic dimension in the Czech Republic. This is because the biggest experts on Islam are becoming those who have never seen a Muslim in their lives other than on a TV screen, and the biggest defenders of European democracy are those who would without hesitation immediately abolish most liberal freedoms with relief. The second reason is the charming and promising Hafsia Herzi, who is one of the most promising actresses of French cinema among other young actresses. Overall impression: 65%.

In essence, this is just a comical bachelor story, but it's also likable and with a reasonable duration. In short, nowadays, you have to be careful if a camera's eye is watching you or if Big Brother is not eavesdropping on you. Otherwise, you will struggle to take back your words and actions. Overall impression: 70%.

It feels more like a student prank than a fully-fledged animated film. For the exaggeration and humor contained in the film, it deserves 2 stars, but the rest looks so amateurish that to give more, I would have to slap myself a few times. It somewhat resembles the recent hit A Town Called Panic in terms of its style, but it really is more of an amateur escapade than anything else. Overall impression: 40%.

French Women is a consumer product ideally suited for consumption by dedicated readers of lifestyle magazines and viewers of soap operas. At the film premiere, it was estimated that 95% of women left the movie theater mostly in a elevated mood and with a smile on their faces. I must admit, I was hesitant throughout the entire screening. However, the problem that I didn't like the film isn't a matter of there being a gender difference in perception. In the best case, I expected a smart and funny relationship puzzle, and in the worst case, an imitation of Sex and the City. Instead, I received typical summer brainwashing with cheap and literal humor in a raucous film that has the ability to easily turn provocative "serious" and interesting topics into banalities, and in its quest for audience response, it sometimes sinks uncomfortably low. For example, when a girl on a date wants to make the best impression, she starts experiencing bloating, farting, and vomiting. If you laugh at this moment, don't hesitate to go to the movie theater. The reality and everyday life of ordinary people in this escapism film, where men are consistently reduced to figures and pathetic existences, are displaced in favor of catchphrases and diminished playfulness. The film, however, introduces topics that call for occasional seriousness, tragicomic tones, or reflection, but the director chooses the path of being superficial. To be fair, even a typical relaxing escapism film can be made professionally or amateurishly, and within the framework that the director aimed for, the film works and undoubtedly finds a numerous and satisfied audience. That I originally went to see a different film is ultimately my problem. A separate aspect is the concentration of charming and high-quality French actresses, which is rarely seen and in such numbers perhaps only in Bonello's House of Pleasures. With the exception of Laetitia Casta, any of the present ladies deserves the lead role in their own film. Overall impression: 40%.

We are lucky a few times in life that we get to meet someone with whom we are able to create a harmonious couple when we simply feel that the relationship chemistry works perfectly. Cases where such recognition works both ways are even rarer. And that is exactly what happens to the couple in this film. The contact quickly grows into a game of a love relationship and married life. Both are enchanted by the meeting, but they have reasons to be reserved. Whether it is unwillingness to disappoint their current partner, fear of laborious building of a partnership with an uncertain outcome, or fear of their own failure. With each passing minute, the viewer becomes more and more tense, wondering if the two will dare to go from a harmless game to action. This film is a fun and likable romance, where many a guy would like to be in Gabriel's shoes. Overall impression: 90%.

I'm sorry, Mathieu, but your attempt unfortunately does not fit into the fairly broad definition of what I can still consider a film. I understand that for a gallery visitor, a five-minute view of a painting can greatly shake their imagination and aesthetic sensibility, but for me, it's primarily a static bore. Overall impression: 5%.