gudaulin

This dark thriller is mainly driven by Jeff Bridges' performance, and for a movie fan, the presence of a young Sandra Bullock at a time when she was not yet a star is interesting. Although the screenplay is not among the best in the genre, the film does have a tense atmosphere and the villain's cynical demeanor captivates the audience. Overall impression: 60%.

I watched this series at the beginning of the 90s. At the time, it had a decent charm for me, as it was a series that represented a breath of fresh air compared to the classic series from worse authors. The chemistry between the two main characters worked well, the dialogues sparkled, and especially Bruce Willis delivered his famous lines. I would say it was Cybill Shepherd's best role. I haven't seen all the episodes, so I have no idea if the series had a downward tendency towards the end. Nevertheless, the unique mix of romance, comedy, and crime made a good impression on me. Overall impression: 60%.

Experts know that Soviet animated films are not only made by Vyacheslav Kotenochkin but that excellent Soviet cartoons have been made since the 1950s. However, Kotenochkin provided a slapstick style reminiscent of American animation, and the average viewer associates Soviet animated films specifically with him. It is playful, sometimes poetic, and typically Russian - as seen in the scene where the wolf ends up in a chicken coop and a chorus of Russian vocalists is heard, and instead of imagining a rooster and chickens, one imagines scenes from films with Russian costumes and headscarves. Overall impression: 95%. Whenever this appears on TV, I am transported back to my childhood for a moment...

A visually stunning film where the camera utilizes all the possibilities offered by the exotic environment of the Latin American jungle and indigenous tribes. A grand historical film about the spread of European culture and power in South America. Overall impression: 90%.

Winter Sleepers was my first encounter with the extraordinary German director Tom Tykwer. Around one car accident, he managed to unfold an interesting psychological game, but even then I realized what was later confirmed to me in his other films. Watching his movie means meeting a beautiful girl, arranging a date with her, and later finding out that she is a transvestite. In other words, the form in Tykwer's works definitely means more than the content. The drama that Tykwer unfolded did not have a dignified ending from my perspective. Overall impression: 65%.

With the television play itself, I have no problem at all - it is strong dramatic material with a quality screenplay, great cast, and excellent acting performances. The author obviously has the right to an artistic interpretation of historical events - neither he nor the viewers of that fateful March in Berlin were present. Of course, the play is also helped by the fact that it was Rudolf Hrušínský's last role, so it is a kind of solemn matter. If Emil Hácha was anyone's victim, it was primarily of his own political views and personal profile. Emil Hácha was undoubtedly an educated intellectual with a sense of art and literature, but at the same time a conservative authoritarian bureaucrat who spiritually stagnated somewhere in the second half of the 19th century, a conservative Austro-Slavist, and an opponent of liberal democracy and the democratic liberal-democratic current represented in Czech society, for example, by Masaryk, Beneš, Peroutka, or Čapek. He was simply a supporter of privileged casteism, traditional values, orders, and national entities. He had a lukewarm relationship with the Czechoslovak Republic and actually did not regret its end very much. He longed for the old good Austria-Hungary with a strong influence of the Catholic Church. As a typical conservative, he admired authorities of all kinds, so he obediently served Masaryk and Beneš, just as he obediently served the Nazis and would have obediently served anyone else. Even during the occupation, he used to pay homage to Masaryk's grave, but not because he agreed with his political views or in protest, but simply because Masaryk represented an unquestionable authority of his kind. It is characteristic that in the 1930s, Hácha maintained very close relationships with a number of prominent Nazi lawyers, as he was, among other things, a guest of Reich Minister W. Funk. And he did not mind at all that these people supported Nazi totalitarianism. Hácha was never a fascist, but he belonged exactly to the political circles of the classic conservative right, which brought fascists to power in Italy and Germany. Hácha became president only thanks to the support he had in Germany, due to Germany's dominant influence during the period of the 2nd Republic, it was precisely the German government that practically decided on the appointment of the Czech president. Hitler preferred Hácha over the pro-Nazi František Chvalkovský, who, by the way, was the minister played by František Němec in the television play. Hitler despised Hácha and considered him a spineless official who would ensure the smooth running of the protectorate. And that's exactly what happened. Hácha was undoubtedly a collaborator, he represented an activist pro-German element, and he lived with the idea that the Czech nation would be rewarded with decent treatment by Germany through friendliness and loyalty. Since 1942, Hácha was gradually excluded from political life by a severe illness, but that does not change anything about his pathetic role in the protectorate era. He never really felt like a politician himself, he was and remained a bureaucrat, he saw his election to the office of president as a bureaucratic honor when retiring. As a legal bureaucrat, he meticulously and mechanically adhered to legal forms, even in a situation where the law became a political instrument of totalitarian power... Overall impression of the television play: 80%.

This is a film with sober ratings and average reviews, but for me, it is Tony Scott's best film and one of those rare cases of action-packed spy drama that I can really appreciate. It's quite typical that this film has much lower ratings than a series of absurdly exaggerated action-packed films. Of course, the screenplay has its flaws here and there, which is why I am not giving it a five-star rating, but Robert Redford is excellent, the film maintains tension practically throughout, with dynamic editing that has nothing to do with choppiness, and especially the parts set in Beirut are precise in terms of action. Overall impression: 85%.

A very strong, deeply human film on an emotional level. It is essentially an intimate drama about a woman who decides to make a great personal sacrifice to help her dying grandson and starts working in the erotic industry. At times amusing, at times sad, but never cheaply sentimental or emotionally manipulative. It is very well acted, with appropriate length and a believable screenplay. One of those unassuming but high-quality films that stay in one's memory. Overall impression: 80%.

I prefer pure natural science documentaries over this sort of infiltration by philosophies or religions of any kind. Overall impression: 50%. However, I have to admit that giant wasps represent an attractive subject and the camera work was decent.

I haven't read the book, but the movie is quite unengaging even by Stephen King adaptation standards, and lacks atmosphere, pace, and suspense. For me, it's worth a weak two stars. This film's rating is probably boosted by the presence of the famous horror specialist Romero in the director's chair. It's a B-movie through and through, and the quality of the special effects is low. Overall impression: 35%.