gudaulin

I am really at a loss as to how to review this. It's not a bad TV show at all, but it's like a crime series got mixed up with a completely different genre. There's a bit of The X-Files and a bit of a dark horror series in it. As a detective story, it's completely off the rails and highly unlikely. Writers and directors usually come up with these kinds of plots when a series is losing viewership and the original excitement of the cycle runs out. If Demons on Our Shoulders were part of a horror series, I wouldn't hesitate to give it two stars, but here the black magic and demon hunting very much got in the way for me. Overall impression: 45%.

Based on my previous experience with Ingmar Bergman, I can say that he is useful rather for those who want to commit suicide or for those who want to increase the profits of antidepressant manufacturers, rather than for viewers who want to genuinely laugh. I went into this movie with hidden concerns because Bergman's comedy All These Women, which I've seen in the past, is by far the worst film from him that I've watched. The truth is that I didn't laugh once, which, however, doesn't say much about the quality of the movie. In fact, Smiles of a Summer Night is a pleasant historical comedy that may not be hilarious, but it leaves a positive impression. The dialogue is nicely polished, with sparks flying between the characters, and the screenplay is quite interesting. Overall impression: 60%.

Greenaway's film is one of those rare cases when, despite my undeniable stinginess, I would be willing to leave the movie theater after half an hour and forget the money because I saved a bit of my increasingly scarce time. The question is: is it possible to make a film that is supposed to deal with the dark sides of the human soul, sexuality, and the lives of wealthy people unrestricted by social conventions in an unbelievably boring way? Yes. Greenaway proves that with a little effort, it can be done. If I were a producer, I would rather burn the money in the fireplace than invest it in a similar spectacle. It is an immensely self-centered and difficult-to-digest film, primarily intended for the festival circuit audience, for the small circle of true intellectuals, and a considerably larger circle of those who think they are intellectuals so that they can eagerly debate the hidden meanings of the film after seeing it. At the beginning, one character asks another: "Do you think leading directors make their films to satisfy their sexual fantasies?" - the other replies: "I think most of them do." If Greenaway made this film to satisfy his sexual fantasies, then he is a very boring and eccentric patron. This film is neither provocative nor spicy, and in no way is it true to life, because I have encountered a fair number of bizarre characters, sociopaths, and nutcases, but I have never come across anything remotely similar to these film characters. Overall impression: 5%.

Noticeably weaker than the first installment, with the humor occasionally slipping into awkwardness. However, it's still somewhat watchable within the genre of Italian screwball comedies. Overall impression: 40%.

Once, meaning in the late 80s, I really liked this crazy comedy, but I have to admit that it features humor of lower quality, somewhat childish. I think that older children and teenagers will enjoy it more. This is one of those cases where the percentage rating is influenced to a significant extent by nostalgia and the age of the reviewers. Some gags are still great today, but some make me cringe, as they are simply on the edge of awkwardness. Overall impression: 60%. However, the first part of the series still has some uncovered qualities, while the last two parts have fallen into the abyss of bad taste...

The best film by Zdeněk Troška, a high-quality adventure fairy tale without the usual kitschy baggage typical of Troška's fairy tale creations of the last decade. Overall impression: 70%.

Typical action nonsense that tries to overuse a single idea. However, I do like Jason Statham, and he does stand out to me from the crowd of wooden actors in action movies in a positive sense. Overall impression: 25%.

In terms of screenplay and direction, it's not an exceptional piece, but it features a quality cast and, above all, it is strong thematically. General Eliáš is a forgotten figure in Czech national history. A courageous man with a tragic fate. It is a good thing that this TV play reminded us of him. Overall impression: 70%.

The runtime of The Terrace is seemingly frightening for a film. The two and a half hours appear menacing considering the conversational nature of the film, but I was not bored for even a second. The Terrace can be likened to Fellini's La Dolce Vita, with the difference being that Fellini aimed at the lifestyle of modern Italian nouveau riche, whereas Scola targets left-wing intellectuals from the well-off Italian middle class of the 70s. It is characteristic that the story begins at a party where well-dressed gentlemen and ladies gather, savoring a table full of exquisite delicacies and engaging in idle gossip. The film has three levels - firstly, it maps the midlife crisis of several participants in the story, when the weight of age, the risks of illness, societal and professional failures, relationship breakdown, alienation, and loneliness start to weigh heavily on the men in their early fifties. Secondly, the film outlines the emptiness of left-wing beliefs, its erosion in light of dynamic social changes, the enrichment of the middle class, and the expansion of the consumerist lifestyle. Thirdly, the film touches upon the emancipation of women, as the present gentlemen, despite their pseudo-progressive attitudes, struggle to come to terms with the fact that their wives are independent, sometimes even more successful than their exhausted partners. The film is interesting with its subtle psychological portrayal; it has several charming moments and well-crafted dialogues. It presents many excellent observations on life that transcend their time and setting. It is also excellently cast and acted. I liked Jean-Louis Trintignant, who portrays a screenwriter going through a creative crisis, trying to mask his creative impotence through lies. The character of a successful producer without broader intellectual knowledge, who is in a relationship with a typical intellectual, and naturally, his handicap is evident in their life together, is comedically intriguing. Overall impression: 85%.

Jean-Paul Belmondo created his acting reputation and fame precisely with characters of adventurers, detectives, and agents of various kinds, and his character from The Professional is literally the essence of what is typical about Belmondo's acting and what audiences admire. A smart script, dialogue, fights, and a surprising ending. Probably Belmondo's best film. Overall impression: 95%.