Malarkey

What to think of a movie that begins with a scene where some French nymphomaniac sleeps with some French dude in Škoda Octavia RS? She wasn’t bad looking but I also cannot say that she was that nice to look at. Meanwhile, a Muslim family got thrown in the mix and the creators started to make fun of Muslims so that they would show that Muslims are actually completely fine, progressive, and can laugh at an intelligent joke. At the same time, the movie tells the whole story with that typical French gradation which works really well in their comedies. The only difference is that all of that wannabe humor is so superficial that I actually felt sick. I felt as if the movie was trying to tell us how great Muslims actually are. That they aren’t really bad and that we can experience a lot of fun with them. Really?

A great French drama during which I was actually looking forward to the end because it was clear to me that some emotional bomb was gonna come. And that’s despite the fact that the whole story was one huge depression. Family, friends, drugs, kitten… Momentary dull scenes, in the end, overpowered the powerful ones, in which the slight smile on the lips of a young boy says everything in the moment. The finale of the movie once again confirmed the quality of French filmmakers.

I got exactly what I expected; a beautiful Czech fairytale filmed in the picturesque locations of Český Krumlov. And I didn’t even mind that the story kept happening in the same streets over and over. Cities used to be a never-ending web of little alleys where even the most experienced cartographer could get lost. Anyhow, it’s still a shame that a fairytale this gorgeous with an incredible storytelling and great lines for both kids and adults can be ruined by Lucie Bílá, who should have made this international, but I’d definitely manage without her. Along with her, the otherwise good festive atmosphere was ruined by the final shot of Heaven. Somehow, I just didn’t get why she paid a visit to this fairytale and I can’t see anybody appreciating it. But whatever, I’ll manage. The fairytale isn’t about Lucie Bílá, it’s about everything else happening throughout the movie. That’s why I’m giving it four stars and I’m happy that Czech fairytales can still be pleasant and original.

I remember when Paul Potts was a fresh YouTube sensation; not only the video, but also his life story. So I’m not surprised that the British came up with these script orgies and filmed a biographical movie about him. Every interesting story deserves to be told. And if you like small town streets (in this case in Wales) and English humor, then you can expect Boychoir to be the right fit for you.

I like England, but enough is enough. This was as if abunch of good English actors confused a movie for a theatre stage. This is an absolutely average romantic comedy, which I only came across because of the actors, but after watching it, I’d have rather not even discovered it. The castle wasthe only actual upside.

Jiřina Bohdalová along with her tired appearance ruined an otherwise solid crime film with some real Prague scum.

Bérénice Bejo and Cédric Kahn got into their marital war at full speed. And even though the movie didn’t really explain why, it kept hinting that it’s got something to do with money and the house they live in. The French showcased how the humanity is dominated by the desire for money and the pursuit of an even bigger fish nowadays.I liked how the creators searched for the good and bad sides of both parents, supported it with some very strong dialogue moments and showed the impact it all has on their two children.At times, I thought to myself that as a spectator, I was witnessing the absolutely classic affected female behavior, but also the ignorant male approach. The French put on quite the show this time and I’m not going for five stars only because, in my opinion, there was almost no punchline at all. And this does not happen with French movies.

The Scandinavians have a gift of telling stories from the dark side of contemporary humanity. I Blodet is another one of these movies, but this one doesn’t stir any emotions and I haven’t felt that heavy mood that makes me sick to the stomach from how realistic the movie is. The main character didn’t give a damn about anything and it projected onto the movie. I wouldn’t have related to this when I was eighteen and I didn’t relate to it now. On the other hand, I know that there’s people who would like it, so to each their own.

At first glance, a boys’ choir isn’t a topic that would interest everyone. But for me, jazz in Whiplash was the same thing. However, after I was done watching Whiplash, I was completely knackered out, but after this movie, I just felt that there wasn’t anything inherently good or bad about it. Just very average with the whole choir flare.

The Americans have finally decided to shoot a narrative sci-fi movie that, even though it’s lacking action, can still leave such a mark on the sci-fi genre that you’ll never be able to forget it. It even has innovative ideas and premises that aren’t cliché and they’re not based on a brand, unlike the comics movies industry. Arrival is a filmmaking triumph of the year. Not only does it come up with an interesting thought, it also turns it into a whole array of original ideas. For example, for a whole hour and a half, I thought that I was keeping up, but then in the last half an hour, I was completely lost and I had to keep thinking about the movie for the rest of the evening. That hasn’t happened to me in a long time and I’m always glad when it does. I think Denis Villeneuve is one of the most essential American (Canadian) contemporary filmmakers. Plus, I must thank Jóhann Jóhannson, the master of minimalism, for being extraordinary once again and choosing Max Richter to compliment his non-music. As I was saying, a movie that is genius as far as the idea goes, but also the production’s ration of sound to visuals, thus meeting all the requirements for high-quality science fiction.