gudaulin

Gomorrah gives a completely new dimension to the famous saying "See Naples and Die." Endless trash and poverty-ridden panel housing estates, communities that adhere to outdated and morally unacceptable norms, failing institutions, fear, corruption, and hopelessness - all of this is part of the world dominated by Gomorrah. American series tend to romanticize organized crime, relativize its crimes, and give them an entertainment label, smoothing them over and trivializing them. The authors of Gomorrah take a different approach by demystifying organized crime. At the head of the clan is a wealthy family without education or good taste (a single shot of a kitschy family portrait hanging on the wall speaks for itself) with a very peculiar conception of universal and personal morality. The gang boss considers his subordinates as consumable material and without hesitation sacrifices many of them to strengthen his personal prestige. Although the screenwriter follows the fates of the gang members, his aim is not so much to capture personal dramas as it is to describe the functioning of the mafia as a whole, as a pathological organization that parasitizes on and breaks down society. The viewer will probably not identify with the members of Gomorrah but rather observe them like fish in an aquarium. Overall impression: 90%.

The main role in the historical epic film is not played by the character of the famous Sun King, nor even the character of his court composer Lully, but rather the era of the peak of French absolutism, when Louis' exclusive position was reflected in his cultural activities. The greatest monarch of his era had to have everything be the best. Through his lifestyle, behavior, and activities, he demonstrated the exceptional nature of his position and his personality. The characters of the story are in the background, while the foreground is filled with the opulent splendor of baroque decoration, noblewomen's robes, theater sets, and the king's costumes. The film showcases the entire cultural epoch, its most distinctive and majestic form. It can practically be considered a musical film interwoven with period music. Overall impression: 80%.

My one and only star testifies to the fact that I completely didn't get the film. The sweet face of Elle Fanning and her diligent acting performance are not to blame. Barnz's direction didn't impress me, but the reason for rejecting the film lies elsewhere. I generally don't like this kind of emotional manipulation, because it rarely succeeds in mixing the ingredients in a way that the result doesn't seem like a chef's hand slipped with the sweetener or onions. Phoebe in Wonderland is a typical representative of a large group of American films, where children are portrayed differently than is known from personal experience. They are mentally more mature than their age would suggest. Most American cinema tends to perceive children as little adults who need to be respected and considered equal in their own way. But the fact that little adults cannot compete with the big folk in everything is obvious. Especially not in responsibilities - they are best not burdened by them at all. Hollywood cinema has been assuring us for a decade or so that the quality of parenting depends on how much parents love and care for their children to make them happy - not on how capable they are of raising them, instilling moral principles, preparing them for independent life, adulthood, and the ability to start their own family and succeed in a parental and partnership role. I have the feeling that most American film productions spread the idea that the most important thing in life is the feeling of happiness, not the satisfaction of effort and fulfilled responsibilities. Overall impression: 25%.

I do not take dance drugs and it definitely cannot be said about me that I am the target group, even though I occasionally watch The Chemical Brothers on YouTube and highly appreciate several of their videos. The problem with Don't Think is that what would work wonderfully on the surface of a several-minute music video appears monotonous in the form of a full-length film and despite all efforts, it cannot evoke the same feelings as being at a concert. Where I would prefer to watch the performers on stage, the camera repeatedly attacks the crowds of trance-induced Japanese people. Watching the concert must have been a fascinating spectacle, with laser effects, video mapping, and the musical expression of The Chemical Brothers. Yes, I would have quite liked to have been there. However, in my living room, it's just not the same, no matter how hard I try. If they divided the film into 20 music videos, my rating would be different. Like this, unfortunately, my overall impression is only 45%.

Tarantino's approach to his film The Hateful Eight can be compared to the intercourse of long-term partners. They know their pleasures, they know what to expect from each other, they have perfected their technique over the years, they no longer rush, and they no longer have anything to prove or fight for. At the same time, it never occurs to them to get rid of their controversial practices, nor do they feel any need to conform to general norms and demands of good manners. With the isolated environment and the limited number of characters who do not trust each other and search for a "weak link" among themselves, the film reminded me of Tarantino's debut. Here and there, the focus is mainly on exposing the characters in a borderline situation. For about 3/4 of the film, we follow eight characters trapped in a cabin in the middle of the mountains, cut off from civilization by a snowstorm. They all have evident and hidden reasons to be on guard, the three-hour duration is filled with dialogues, sometimes seemingly banal, other times punctuated with inappropriateness, vulgarities, and racist remarks. For many viewers, it may be tormenting boredom, but I have no problem with that when it comes to Tarantino. He is too experienced a filmmaker to fill the time with static shots and boredom. He is artistically inventive enough to skillfully dose tension and, from the minimum offered to him, extract the maximum. He can ultimately rely on a strong cast that plays with enthusiasm and considers it an honor to be a part of the film. The actors pay tribute to the cult director, they enjoy it, and lightly overact to highlight mostly the negative characters. The director presents the viewer with a sophisticated cat-and-mouse game but that is where the first stumbling block is hidden. It turns out that the game is somewhat purposeless, or rather does not make much sense, once the resolution is revealed. It is as if the villain tried to break into a house that nobody guards or locks in a convoluted way. The desired result could have been achieved in a much less complicated way, but then it would have been a different film for a different audience. The second problem, which, however, will not bother a large group of Tarantino fans, is the depiction of violence. Violence has always been Tarantino's trademark, and his typical screenwriting and directing feature is the use of violence as a source of humor. On the other hand, in The Hateful Eight, it is clearly evident that Tarantino has not matured. The gratuitousness of certain scenes is striking. A man who has several potential adversaries and should save every bullet that may come in handy for his survival joyfully turns a corpse's head into a bloody mess. Why? Simply because the bloodied floor and tissue remnants all around look impressive. You either deal with this or pick yourself up and move on. Despite the mentioned criticisms, I must say that it is the most likable and interesting Tarantino film since Jackie Brown. Tarantino still has something to offer, and his wild pulp aesthetics, together with the brilliant acting of the cast involved, are worth seeing. Jennifer Jason Leigh deserves a mention. She is already at an age when agents don't often contact Hollywood actresses anymore, and this was an opportunity she did not want to miss. Overall impression: 60%. I have something to add after watching Django Unchained, which I haven't fully digested yet: I have no reason to change my claim that The Hateful Eight is Tarantino's best film since Jackie Brown. However, even this insight does not change the fact that his films are burdened with mannerisms, self-centeredness, and an effort to cater to the presumed expectations of his fans. The long scene where Major Warren vividly describes the execution of a Southern officer's son simply does not deserve a fourth star for its degradation. Tarantino once again proves that he has no limits when it comes to lowering the bar of good taste.

With a few exceptions, I generally don't like these types of movies. This film is shot professionally and has a good cast, so it gives the impression of a solid genre spectacle, but one it cannot fulfill. The director seems to have no clear idea of which genre he wants to be part of. Even a top-notch crime thriller would not be ashamed of the opening scene of the assassination, and the film initially appears serious and repeatedly returns to this expression. But while the murders may look brutal, suddenly a serious scene is followed by shots from a crazy grotesque, and in my opinion, this change of tone does not work at all for the film. Genre hybrids sometimes work and they can be charming, even irresistible. Unfortunately, Jack Reacher isn't one of these in my opinion. The ending is also predictable and completely undermines the feeling of the scenes that were done well. Overall impression: 25%.

One of the many Nordic titles influenced by Trier's Dogma 95. A real environment, a handheld camera, and a believable and, in its own way, banal story devoid of any decorative and manipulative elements typical for entertaining film fiction. The film suggests the feeling of a documentary. Denis may command respect with his giant muscular physique, but he struggles in his romantic relationships and is under the influence of his dominant and manipulative mother. The years pass relentlessly, and Denis decides to escape from the seemingly comfortable environment of the "mom hotel" at all costs. He travels all the way to Thailand to find love and a new home. An encounter with his mother becomes inevitable. Teddy Bear is actually quite an ordinary film in terms of content, and I'm not sure if it would work as successfully if it didn't feature the striking presence of Kim Kold in the role of the gentle giant with a good heart, who moves us with his clumsiness. Overall impression: 60%.

This is a film that cannot deny that it was shot by a documentary filmmaker. It features the use of non-actors, authenticity of the environment, and realism of experienced situations. This film clearly does not aim to entertain, nor does it want to move you in a cheap way, shock, or demonize you. The director simply tries to send a message about what the migration flow from Africa is like and what motivates it. The dialogues may sound bookish and educational here and there, and the slow pace and documentary style will not appeal to everyone, but personally, I lean towards a small fourth star. Overall impression: 70%. It is a film that was ahead of its time and if it had received more attention from viewers, perhaps they would not have been so surprised because the flow of immigrants had already been attacking southern Europe for quite a few years, it just didn't seem to concern us back then.

Films that try to capture human life often fail to grasp and convey that which is essential, record life milestones, and capture the fateful decisions, successes, and failures of their protagonist. I think Barney's Version succeeded wonderfully thanks to the quality screenplay and above all Paul Giamatti, who managed to embody conviction and humanity in Barney. He evokes understanding where others would provoke outrage, he can move you without cheap sentiment and can make you laugh, and you tend to believe in his passion, naivety, pain, and uncertainty. It is my repeated encounter with Giamatti's character acting when I approvingly give a thumbs up. The film follows the romantic struggles of a man who has had three marriages, and two divorces, and briefly tried out the role of a widower. Amidst all the tumultuous events in his life, he is accompanied by a desire for a fateful great love and finding the ideal partner for a lifetime. The viewer meets Barney during his bohemian period and follows him to a bitter end filled with illness and loneliness. Nevertheless, it is ultimately a positive, optimistic work, which I give an overall impression of 85%.

As in the past many times, I will be a rebel in this case as well and I will give End of Watch an unflattering report card. The fashion of films shot with a shaky handheld camera in a pseudo-documentary style has never appealed to me and in many cases, it just feels plain wrong. I could count on the fingers of one hand when a similar style used in a film had a legitimate reason. While the camera on a policeman could still be clumsily justified, on the criminal's side it looks like a failed joke and it's simply absurd. The macho behavior of the policemen is not sympathetic to me, the glorification of their work is obvious, and the pathos is at times unbearable. Although the film mentions that many policemen never fire a shot outside of training, both protagonists are busier than a frontline soldier during an offensive. The result is remarkably reminiscent of a failed reality show on an American commercial station. Overall impression: 25%.