gudaulin

I consider Trainspotting to be one of the best British films of all time, but I admit that if Boyle presented Renton and his gang of ultimate outcasts, slackers, and drug addicts as conscious freedom fighters, opponents of the establishment, consumerism, and the iron lady, I would seriously consider abandoning it and taking a trip to the islands, where I would kick Boyle in the balls. Unfortunately, Nikolaev went precisely in this direction (regardless of the mechanical comparison of directorial qualities, where Boyle acts as a modern jet compared to Nikolaev, who stuck a few chicken feathers on his shirt, jumped around the yard eagerly, and clucked). It is a mixture of unwanted amateurism, naivety, pathos, and screenwriter helplessness. It's Gonna Get Worse sells a romantic view of the underground that deserves a much more sober look. Those pigeons actually wanted to slack off, drink, party, and fornicate a little - actually, quite a lot - and the state power was too stupid to leave them alone. There is nothing uplifting about what they did, and my empathy is frozen in this case. By the way, I remember an article where the editor went on about the case of the hijacking of a Czechoslovak plane to West Germany, and to his unpleasant surprise - actually, quite a big shock - he stated that the Secret Service, which conducted parallel investigations alongside the West German police, acted more correctly than the German investigator who considered the defendants to be a bunch of disgusting hippies. On both the German and Czech sides, there were bourgeoisie who understood each other quite well across the Iron Curtain. Maybe we should stop creating a mythology that is similar to the one created by the communists when they defended their regime, constantly going back to all those proletarians and the heroic struggle of workers on the barricades. Those real histories often correspond to the stale joke when a Soviet soldier, instead of shouting "For Stalin and for the people" heroically fell with a bundle of grenades under the tanks and yelled "That damn ice..." Overall impression: 25%.

Films from the Roma environment are based on three main approaches. The first is exotic romanticization, which is evident in some films from Western Europe, especially France (although the most typical example is probably the Soviet film Gypsies Are Found Near Heaven). The second approach tends to depict the Roma world from activist positions, emphasizing racism and portraying the community as a victim. The third approach looks at this community through the frustration of the white rose and comments on internet discussions. The Way Out tried to do things differently, striving for realism and raw presentation with what it had to work with. It doesn't always succeed, as the screenplay could have been better, but the element of authenticity is noticeable and there was a great effort here to make an honest film. It is an attempt at an honest testimony, and I value that. Overall impression: 75%.

Smoke impressed me in its time as an immensely sympathetic essence of the processes of American independent film. However, the sequel feels more like a compilation of unused shots from the first film and improvisational performances that arose as a spontaneous idea of the creators of Smoke, who got together at an anniversary meeting. Although the first film was not strictly based on a story, here there is no story to speak of at all. It feels disjointed and even though the love for Brooklyn and New York shines through, the appearances by popular American creators and celebrities can't save it. Overall impression: 55%.

This time around, my favorite Spaniard spared us the surrealistic scenes and focused on a realistic depiction of the French countryside of the 1930s with increasing tension, antisemitism, and a creeping authoritarianism. The world of a patriarchal society with distorted interpersonal relationships is seen through the eyes of a city servant who navigates between emotions and the physical needs of several men from different social classes. However, even seemingly banal life in a rural estate can bring risks, and at least one of the local residents hides a dark secret. Buñuel once again proves that he and I are tuned to the same wavelength and almost every film of his evokes a sense of kinship and joy in me. Overall impression: 90%.

I already knew that Tommy Wirkola was a desperate director, and I understood from the trailer that this film is as dumb as a brick, so it's not a surprise. Fortunately, the film doesn't take itself seriously, but practically anything can be hidden under exaggeration. I forgive the film for being stupid, but I can't overlook that it's sometimes tasteless. Hansel & Gretel deserve one star from me for the cast and the animated subtitles. It's the same as The Brothers Grimm, but that film represents a completely different level of filmmaking. It's quite embarrassing that it has significantly lower ratings than this pop culture mishmash. Well, that's the price we pay for the average age of the site's users. Overall impression: 15%.

The Servant represents honest work in the field of psychological drama, excellent acting, and very well-shot scenes, but the whole does not work as one would expect. Simply put, the script contains flaws and the characters undergo strange psychological twists and turns, and their development is equally strange and wild. It gets a 3.5-star rating and this time I lean toward the lower end of it. Overall impression: 65%.

I first saw Apocalypse Now practically at the same time as the similarly famous film Platoon. While Stone impressed me, I had a reserved attitude toward Coppola's war drama. I couldn't help but feel a certain disappointment, which partly came from exaggerated expectations - according to many movie fans, it should have been the greatest war film of all time. The execution is undoubtedly luxurious - Coppola showcases cunning filmmaking full of suggestive scenes, the camera works wonders, and the visual compositions send shivers down your spine. Everyone interested in film direction could learn from the effective use of double exposures and crossfades (the opening scene is characteristic, where the camera focuses on the detail of a helicopter propeller and then transitions to a hotel room, where we observe the spinning fan propeller). The gloomy jungle, the fascinating panoramic shots of tropical landscapes - it all creates what we call atmosphere. The quality actors portray intense characters exposed to extreme conditions. At this juncture, everything was fine and the reputation of Apocalypse Now was not a lie. However, I have a problem with the story. Coppola took it from Joseph Conrad's novel "Heart of Darkness." Its plot takes place in Belgian Congo and anyone familiar with the history of the Congolese genocide and bloody wars of the 20th century regarding the local natural riches will understand that the story of a deranged officer who escapes any control fits perfectly. The same narrative set in the Vietnam War, combined with an American officer, seems inappropriate and exaggerated. Not to mention that Coppola is so carried away by his artistic vision that it seems like he is not shooting a war drama, but rather staging a theater. This theatrical overexertion culminates in the execution of a rebellious officer, reminiscent of a pagan ritual, and it disturbs me to such an extent that the film didn't even come close to a five-star rating from my perspective. Overall impression: 75%.

It doesn't happen very often that a Brazilian film makes an impact at the Oscars. Kiss of the Spider Woman succeeded in doing so at one point. This intimate drama about the unique relationship between two prisoners during the time of the Brazilian military dictatorship doesn't seem to offer much to the average viewer at first glance, as it mostly takes place in the claustrophobic space of a single cell. Political prisoner Arregui is one of those regime opponents who has given both the secret police and the prison administration a hard time. The young homosexual Louis appears to be susceptible to blackmail and manipulation, which is why he is placed in the cell as an informant. Hypersensitive Louis escapes from the inhospitable and stressful environment of the cell into a world of dreams and fantasies in the style of cheap kitschy films from the 1930s and 1940s. Both men gradually find their way to each other despite their personality differences, and a special kind of friendship develops. The film's success and its emotional impact on viewers is largely due to William Hurt's concentrated and outstanding performance as the effeminate Louis, for which the actor even received an Oscar. In addition to the touching story of friendship and sacrifice, the surreal excursions into the intoxicating world of melodramas full of pathos and sentiment impress me personally. Overall impression: 90%.

One rarely sees such an unsentimental yet hopelessly sad film full of anger and bitterness. The loss of a loved one usually hurts. The loss of illusions hurts twice as much. The existing certainties crumble, and the specter of a rival enters the widower's life, a rival against whom victory is impossible and who forces the protagonist to reconsider his view of his previous partnership. The illusion of a functional bourgeois family becomes a strange triangle, missing one side. When there is no escape from the hopeless reality of life into a world of comforting memories, the future loses its meaning as well. The Lover is an intimate psychological drama that works exceptionally well, relying on very little - just two outstanding actors and the grungy reality of a Russian metropolis full of neglected apartment buildings with decaying interiors. Overall impression: 90%.

This should be one of the peak texts from Arnošt Lustig's workshop. I can't confirm that because I haven't read the book but I have to deny that it is one of the strongest films in Czech cinema, and I consider the comparison with The Cremator confusing. The story, or rather the Nazi play with its victims, is extremely transparent in my view in this story. Not that it explicitly hinders perceiving the brutality of lies and manipulation, but it's simply not what it should be. The climax scene, when Kateřina seizes the weapon, is shamefully unused. Here, I might have played with the situation against the original and emphasized the moment when the victim has the executioner in their power. A lot of drama could have been gained from that. I consider the casting of Lenka Fišerová a mistake. A top-notch character actress should have been engaged here. The presence of the demonic Jiří Adamíra in the role of a high-ranking SS officer is definitely a positive aspect, and the actor once again confirms the well-known rule that negative characters are more actor-friendly. Also worth mentioning is Miloš Nedbal, who portrayed a man who went through hell, and that hell also marked him. I have no problem with three stars, but the film did not bring me to emotional heights in the least. Overall impression: 60%.