gudaulin

Getting an Oscar has never automatically meant that its recipient is a top-notch film because the evaluation process was distorted by contemporary criteria and the commercial interests of studio executives who organized the ceremony in the past. Even later, when progressive trends infiltrated the Academy's leadership and the choice was supposed to appreciate the artistic qualities of competing works much more, the decisions were influenced by the conservative perspective of Academy members (usually socially engaged dramas with skillful combinations of noble intentions and sentiment won - for example, comedies and other so-called lighter genres never had much of a chance). A film can indeed be made that exudes the desire for an Oscar, and Thug is that sort of film, because the less real life and genuine emotions there are, the more it corresponds to what is expected from an Oscar-winning film. On the one hand, the film has very high-quality craftsmanship and is set in the problematic environment of a poor slum in Johannesburg. On the other hand, it fails in the credibility of depicting the thought processes and actions of its characters. The small-time crook Tsotsi, with a gang of his buddies from the local gallery, conducts ruthless attacks on defenseless victims in his surroundings. He also has no problem sticking a knife into anyone's belly or pulling the trigger of a gun. One day, even though he doesn't have a driver's license, he steals a car in a luxury neighborhood, seriously wounds its owner, and only later notices a baby in the backseat. Guess what happens next... In my opinion, there is too much emotional kitsch, and there is a lot of Hollywood filler there. The setting in the ghetto is valuable, and the individual characters could be potentially interesting, but considering what was mentioned earlier, the result is worthless. Overall impression: 40%.

Phillip Roth is considered one of the most acclaimed writers in the world today, and each of his literary works evokes enthusiastic reactions from renowned critics. However, literary awards tend to elude him and his books are usually not among the bestsellers. He does use amazing language and can analyze the movements in society and capture the nature of his character excellently, but he is a very unpleasant author because even though he writes with humorous exaggeration, he is sarcastic and ruthlessly cruel to his characters and readers. That is actually how it is with this film. It describes the story of a girl from a successful family and a young man who is still searching for his way in life. But it's not a pleasant romance, but rather a caustic look at a certain social class and its rules. America never had nobility, but it has been and still is socially divided, and its upper class is well protected by social barriers and membership in exclusive clubs. Roth, through Larry Peerce, ridicules the rich manners of the successful Jewish community and the bourgeois attitudes of his protagonist's parents. The girl, although she looks at her parents with a critical view of the rebellious youth of the 60s and finds the conservative ways of the previous generation alien to her, cannot exist without her parents' wealth. The young man Neil, although he instinctively feels resistance to this environment and glosses over the events around him somewhat like Oscar Wilde, cannot offer a meaningful alternative. Overall impression: 80%.

The film showcases an interesting journey that Czech fairy tale films have taken from the 80s to the present day, as well as the path traveled by Hynek Bočan as a director from one of the best Czech fairy tales, Give the Devil His Due, to this title, which could easily compete with Zdeněk Troška's work. While Give the Devil His Due excelled in its script, direction, and casting, this film falters, and the result is terribly clumsy. A few details can be appreciated, but the outcome is desperately average and quickly forgettable. The beloved Jiří Mádl understandably doesn't even come close to the acting prowess of Ondřej Vetchý, and the fact that this film was aired in a prime time slot on Christmas Eve only proves how desperately impotent contemporary Czech fairy tale production has become. Overall impression: 35%.

Alfie is an exemplary selfish person who only uses those around him to satisfy his own needs and feelings while being indifferent to the problems of others. He expresses contempt for the opposite sex, with a sense of superiority and, above all, with maximum cynicism. He strictly follows the motto of having fun and pushing others away. If someone else has a different idea, it is their problem. Unlike the series Californication, this film looks critically at its protagonist and aims to reflect on his style and its consequences. On the other hand, it relies too much on the expected template of one-sided criticism, and its protagonist is too typical. Of course, there is also another side to the story. Of the women who have passed through his bed, I consider only the woman of his fellow patient at the hospital clinic as a victim. Unfortunately, that crowd of bored married ladies and naive fools also has a great deal of blame to bear. It is rather a reflection on the general state of family and sexual relationships in a modern consumer society. Some scenes, such as the pub brawl, which are presumably meant to lighten the film into purely comedic territory, did not fit in the movie, and certainly, more could have been done with the script. But thanks to Michael Caine in the lead role, I ultimately lean toward giving it 4 stars. Overall impression: 70%.

Everyone knows or at least suspects that there is a significant difference between film acting and theater acting. Many famous theater actors had issues when they first acted in front of cameras and had to tone down their gestures and facial expressions. Similarly, many film stars completely failed on the theatrical stage. The same difference applies to the adaptation of a subject in a play and a film. Theater can afford much greater exaggeration and stylization, which would look forced or inappropriate in a film. This is exactly what happened with Bedtime Story, which doesn't deny its theatrical origins, and its gags and acting style clearly belong on the stage. All the scenes where one character doesn't see another, etc., are appreciated or accepted by the audience in the theater, but on screen, they look unnatural. However, this film by Krejčík has three top-notch character actors who also possess immense comedic talent, and they give it their all, passing jokes between each other and it's a joy to watch how they provoke each other to achieve maximum performance. Despite this fact, and considering the above, I choose to give this film a lower rating. It's simply too artificial, and it would work much better as a recording of a theater performance. Overall impression: 65%.

A kaleidoscope of opinions and thoughts on the current economic crisis, from which everyone can understandably choose what matters to them based on their life experiences and political views. However, the main takeaway is that the crisis affects not only bankrupt economies in Southern Europe but also a damn large number of human destinies here in the Czech Republic. According to his own words, a bank manager may think that the crisis means buying a new car not after three years but after five, but a married couple who both lose their jobs and face the distrainer knocking at their door simply see it differently. From the fragments captured by the camera, in my opinion, the Czech elites do not look great, and that is putting it diplomatically...Overall impression: 70%.

Of the entire Pirates of the Caribbean series, only the first film deserves any real recognition, as it represented a quite original blend of adventure, pirate spectacle, romance, and fantasy fairy tale, which rightly impressed audiences worldwide and brought generous profits to the producers. The subsequent installments only tried to squeeze as much as possible from the concept and relied on the classic formula and the support of blockbusters, i.e., a gigantic budget that would cover the script's weaknesses, stars in leading roles that would attract public interest, and of course, the advertising potential of the well-known series. I agree with the idea that the fourth installment represents a departure from the previous concept of an adventure spectacle toward pure comedy, led by Johnny Depp. He is the alpha and omega around which everything revolves, and surprisingly, along with a series of special effects and gags, that's enough to earn the film three stars. This is a classic popcorn movie that serves for immediate relaxation, allowing a couple to indulge in themselves for a while, munching on popcorn or drinking cola, without missing out on anything essential. Overall impression: 55%. Surprisingly, despite its numerous shortcomings, it is a little better than the overly stylized third installation in terms of motifs and production design...

Limitless features an interesting and valuable subject that had great potential for a truly top-notch sci-fi thriller. However, this potential was wasted by an average screenplay that dealt with the subject in the easiest and least risky way for producers, resulting in a technically polished and professionally directed thriller, but one that also amounts to quite an undemanding popcorn movie with logical gaps. It is necessary to ask why the distribution of a commercially extremely interesting drug collapses after the death of the only dealer. How is it possible that the only user manages the correct dosage, and why can users who are pumped by chemicals that greatly enhance cognitive performance not obtain the appropriate substance from the manufacturer given their intelligence quotient? Not to mention that competition between individual geniuses themselves would have much greater potential. However, that would require an extra intelligent screenwriter who would probably have to be on the drugs himself. Many others have mentioned the quality of the cinematography and dynamic direction, and I agree with that and give the film a weaker 4 stars, noting that it could have been significantly better. Overall impression: 70%.

The fate of men has never been easy, even in a time when uncompromising patriarchy ruled. That burden of responsibility and obligations was such a heavy load for many that they were actually unable to engage in a partnership. Even though humans as a species tend to lean towards pair bonding, women are genetically predisposed to seek out the most successful alpha males, leaving the less dominant and less successful ones sadly standing alone. The protagonist of this short story tried cunningly to bypass this, but he encountered the limits of his capabilities. Overall impression of this ironic spectacle: 90%.

A beautifully atmospheric short precisely combining the musical component working with a choir with visually stunning otherworldly visuals, where every second is charged with anticipation, mystery, and fateful choice. It is actually a short fantasy with mysterious content. The film, while stunning visually, only hints at having a plot, allowing for multiple alternative interpretations of what is seen. Overall impression: 90%.