gudaulin

While the first movie still tried, in one way or another, to convey a certain message in line with the literary original, the second film is a typical commercial sequel that deliberately abandons anything beyond simple entertainment for children. It relies on the fact that those who liked the original The NeverEnding Story will not be able to resist seeing their favorite characters again. In terms of script quality, it's a forgettable, unremarkable affair, but the film is watchable thanks to decent production design. Unlike the third installment, I don't consider it a crime against children. Overall impression: 40%.

I can fully appreciate these classic studio productions, especially after having seen the fairy-tale kitsch of Troška and the impotent outbursts of the rapidly aging Vorlíček. Naturally, this fairy-tale can be criticized for its cheap sets, but the acting performances are decent and the quality of the literary source undeniable. Overall impression: 60%.

Kevin Smith is the embodiment of American independent film, with his loyal community of fans and his staunch enemies. I have a problem reviewing this movie: without knowledge of the context, Jay and Silent Bob is difficult to consume, or at least the ability to enjoy all the ingredients that Smith mixed into this movie will be diminished in a penetrating way. The director made the film primarily for himself and his loyal fans, as many jokes only work for a good connoisseur of Smith's work and some are not even jokes in the true sense of the word. They are simply reminders of certain movie characters or situations from previous films. Some theater scenes operate on a similar principle, after all, and have their dedicated fan clubs. At the same time, Smith was experimenting a bit with how far he could go in his style of humor and working with pop culture references. Some jokes and references are on the edge of awkwardness and taste. If evangelicals and members of the American religious right had a popularity ranking for their activities, which went as follows: 1. Attacks on abortion clinics, 2. Attacks on homosexuals, 3. Attacks on Kevin Smith, then it is quite likely that after the premiere, Kevin has moved up to first place for many. The problem with the film is its unevenness, as outstanding moments alternate with parts that are rather too far-fetched. The film is certainly not for everyone and every society. Overall impression: 80%.

Witchhammer is an exceptional film in many respects. It is the best film by Otakar Vávra, the darkest and most depressing film of Czechoslovak cinema, and at the same time one of its absolute peaks. Several actors in it received great roles that were the peaks of their acting careers - especially Vladimír Šmeral. The key to the success of the film was the director and the time of its creation. Vávra is one of the most contradictory figures in Czech film history. Talented, knowledgeable in his craft, and with a sense of composition, but on the other hand, supremely pragmatic, adaptable, and opportunistic. The year 1969 was probably the last in which it was possible to freely make films and Vávra, as a knowledgeable person, had no illusions about future developments. He took the opportunity to film what interested him and what he knew intimately - the nature of power and the technology of power abuses. He served political powers for the majority of his life, and thus had plenty of insights, so to speak, first-hand. Several dialogues in the film go to the core and several scenes send shivers down your spine. It is not strictly speaking a historical genre film - the witch trials served only as a starting point for artistic expression. It is also not a story about the Inquisition and a specific time. It is a film about courage and cowardice, manipulation and intimidation. It is not pleasant and its goal is not to entertain. It does not evoke horror, but rather anguish and disgust. Because it became clear during the filming that "this will be a long night," the film does not have any hopeful outcome, and the depressive atmosphere is set from the very beginning by the mercenary song and the subsequent monologue of a fanatic priest. The use of musical motifs is excellent (which is essentially a certainty for Vávra). Overall impression: 95%.

This film is elevated to a four-star level by Oleg Tabakov, probably his best performance on the big screen. The decent script showcases multiple levels of thought and the remarkable contradictions in the value system of a Nazi officer. The film culminates in a raw finale of stoning in a POW camp. Another positive is the pleasantly short runtime, free from unnecessary digressions and sentimental fluff. The scenes in the sand dunes on the Polish coast also add authenticity to the film. Overall impression: 75%.

The series about a guy named Constantine is not among the most famous comic book projects (at least in mass pop culture). Therefore, the vast majority of viewers got acquainted with this (anti) hero only in movie form and can appreciate the dark world of film comics and the cynical one-liners of the casual exorcist. Such viewers will feel that it is almost an "underground" film that goes against established stereotypes of film characters and stories. It is typical for this concept to compare it not with the literary original, but with the Matrix trilogy, and thanks to Keanu Reeves, Constantine is compared to Neo. Which is, of course, a mental mistake. For a minority of viewers familiar with the comics, Constantine will be rather disappointing, because, for understandable commercial reasons, the film went only halfway in portraying the comic book atmosphere. However unlikely it may seem, the comic book is even darker and more cynical, and its humor is more morbid and sarcastic than in the film. But many viewers wouldn't have stood for that. The comic book's purity of style is simply missing. However, Reeves is perfectly suited for his role and Peter Stormare is truly charismatic as the devil. In terms of comic book adaptations, it is definitely a decent film with above-average direction and quality performances. Overall impression: 65%

I have only seen the first episode about the group of five castaways on a small boat in the middle of the ocean, and that was enough for me. The series has great potential based on an attractive theme and a strong story. However, it is too vulgar and based on the most clichéd production techniques used by commercial stations. We get to watch a staged "reconstruction" interspersed with statements from surviving participants of the voyage. The manipulation of the viewer is too evident; it is presented as a show. Such a thing is suitable for a commercial television program after ten o'clock and not for prime time on a public television station. I understand that the survivors wanted to make some money out of their ordeal, but it is done so insensitively even considering the victims that I almost wished on them their suffering on the boat. Overall impression: 25%.

A TV comedy that falls short on all fronts, being only somewhat bearable due to its shorter duration... Overacting by Vladimír Dlouhý, dismal dialogue quality - it's interesting that the more awkward the dialogues, the more the author packs in vulgarisms. Everything feels unfinished and rushed, as if it was filmed during a snack break. Overall impression: 30%.

A well-cast frivolous fairy tale, among the better parts of Czech studio productions. Overall impression: 60%.

For its time, this is a remarkable TV film, despite the minimal budget, based on a quality literary source and is also decently acted. The romance of the sparsely populated wilderness, where different laws apply compared to civilization, is palpable in the film. However, it's true that there was hardly any competition in this theme back then. Overall impression, considering nostalgia: 70%.