gudaulin

This is certainly not a documentary, but rather a TV play on a popular disaster theme (the title itself exudes a certain sensationalism and grandiosity). An eruption, giant waves, or a flu pandemic would be insignificant episodes in terms of species survival. For so much disaster at once, the play is somewhat short, and the actors don't have the opportunity to create characters with whom the audience could identify. The "acts of God" are presented with great simplification, which can be forgiven in a dramatic show. Overall impression: 50%, considering the special effects, which are above average for a show of this kind.

Strong dramatic material elevates this otherwise average television affair in terms of production quality and budget to a four-star level. Jiřina Bohdalová and Radoslav Brzobohatý deliver decent performances, though in Kachyňa's The Ear, for example, they were a class better. Norbert Frýd wrote intriguing dialogue that truly conveys the oppressive atmosphere of the Protectorate. Overall impression: 70%.

Undoubtedly the best film by Sequens, though the five stars are really for the subject matter, as the assassination of the Reich Protector is an incredibly compelling and powerful artistic theme. This time, history wrote the screenplay... Despite all his efforts, Sequens never ranked among top Czech directors, but since he worked with top actors, aimed for a realistic reconstruction, and avoided cheap sentimentality, a great film was made. Overall impression: 90%.

The documentary is more interesting for its subject matter than for the quality of its execution. Gustáv Husák, as the most significant communist leader of the second half of the 20th century, is an extremely fascinating figure. His life allows for mapping all the significant historical upheavals in Czechoslovakia, making it a highly valuable subject for a documentarian. A man who went from the pinnacle of politics to the torture chambers of state security, where he faced the real threat of the death penalty, later becoming a beacon of hope for reformers among communists, and eventually a symbol of collaboration and "normalization" - what more could you want? However, the creators somewhat skim the surface, giving space mainly to sentimental recollections of colleagues and family friends, instead of providing room for historians and archival material studies. The family life and health issues (such as his eye disease) remain out of focus. The potential of this film was much greater. Overall impression: 50%.

A typical case where film critics and fans sharply disagreed; immediately after its release, I believe it had an 80% rating. I really liked it on the big screen. After leaving the movie theater, I would have given it a 75% overall impression, but I'm convinced that on a second viewing, my rating would drop by about 15%. Films like this are akin to meeting a charming girl who shows up to the second date without makeup... Decent acting and special effects, visually flashy, but the script and dialogue quality are nothing to write home about.

A fairy tale classic that relies on the acting mastery of Jiří Sovák and Rudolf Hrušínský, based on the eponymous work by Jan Drda. The 1950s are somewhat evident in the film, and the sets are a bit kitschy, but overall, my impression is 75%. This is largely due to a number of enchanting dialogues and memorable quotes, like "You can't even hang yourself here!"

This handling of the classic fairy tale seems somewhat unfortunate to me, and especially the "modernization" where disco is danced at the royal ball still makes me cringe. Additionally, Jan Hrušínský, I fear, is the weakest actor in the whole family clan. On the other hand... Considering the performances of the other actors, a few catchy songs, and especially the post-November fairy tale productions that have brought the average down significantly, an overall impression of 50% seems sufficient.

This film had such poor reviews at its premiere and such a lukewarm reception from film fans that I avoided it by a wide margin and only watched it years later on television. Maybe because I expected nothing, I was pleasantly surprised. The result, admittedly, is not dazzling, and there are certainly much better films in the genre, but it’s enough for a 60% overall impression. I actually suffered at times with the film version of Mr. Bean, and Johnny English is at least a class better. Although the film suffers from inconsistency, the dull moments are interspersed with genuinely funny ones, and most importantly, Rowan Atkinson can do more than just Bean-like grimaces; his acting range is much broader.

Yes, I was quite entertained. However, the question is whether a documentary should primarily aim to provide information... This piece is very far from the classic concept of a documentary, and the term "documentary" wouldn't come to mind at all in relation to Supervolcano. The film features only fictional characters and is set in the near future, so it's more of a science fiction "what if..." scenario, portrayed as a disaster drama. It has a decent budget for a TV project, good special effects, and a passable atmosphere. On the downside, it has a long runtime and only average acting performances. Overall impression: 70%.

The Salton Sea is neither flawless nor groundbreaking. It's simply a well-made genre film with a functional script and a range of interesting, fully realized characters. The film ventures into uncertain territory with its attempts at psychological, artful scenes, but fortunately, the crime storyline prevails, featuring wild, tragicomic camera excursions into a bizarre community of addicts. Val Kilmer delivers a strong performance, Deborah Unger provides reliable acting, and the repulsive criminal types portrayed by Vincent D'Onofrio and Luis Guzmán, create a mix that can satisfy even more discerning film fans. Overall impression: 75%.