gudaulin

Joss Whedon is not only a name in Hollywood, but a worldwide phenomenon when it comes to original screenwriting. He is bursting with ideas from every direction, and when he manages to bring something to completion, it is often an event. Or maybe not, because he is also able to fascinatingly kill some ideas. If there is something really interesting about The Cabin in the Woods, it's the concept that combines the good old Lovecraft style with modern teen massacre stories and plenty of horror props, all presented with a sympathetic perspective. The trouble is that The Cabin in the Woods is cluttered, and unfinished, oscillating between several genres, and what it does best, namely comedy, is hardly mentioned. Drew Goddard lacks directorial experience and probably even sufficient cinematic sensitivity to give the film a style, comb through Whedon's ideas, and above all, imprint it with atmosphere. Scenes that are potentially horror-inducing do not evoke fear. Those that could be suspenseful are rushed or wasted. The ironic elements do work, but they could be much more effective - they don't even come close to the best works of Sam Raimi. In the end, the film turned out to be a disappointment, although it cannot be said that it is a complete waste of time. I have no problem watching The Cabin in the Woods once, but I won't go back to it. Overall impression: 55%.

It is human to make mistakes, but only a fool would make the same mistake twice, I said to myself last year when I stumbled out of the movie theater after watching Holy Motors during the French Film Festival, feeling disgusted, and looking forward to avoiding similar mistakes in the future. A year has passed and I made the same blunder at the same event. A more detailed investigation would soon reveal to me that behind the name Claire Denis hides the author of an incredible film called Trouble Every Day, which occupies an honorable place among my top ten scariest film experiences. Denis is also an indefatigable worker at film festivals, where her creations are evaluated by a handful of film enthusiasts, so even though the film is featured in red, with only 22 ratings, it is somewhat confusing information. Denis has created a puzzle with her psychological drama through honest effort, which takes the form of a jumble due to the careful rearrangement of scenes - but don't worry, there are also other types of riddles. In some films, you clearly feel that the director doesn't care about the audience and is strictly pursuing their artistic vision. Claire, on the other hand, intentionally confuses the viewer. However, unlike other directors who pull the audience's strings, it is not entertaining. She is simply not Nolan or Lynch. The film drags on unbelievably and instead of making you think and provoking you, it bores. When you glance at your watch for the eighteenth time in five minutes, it is a certain signal that something is not right. With this kind of film, it is better to sit on the edge of the row because when you suddenly feel the urge to go to the bathroom, you are not obliged to disturb several fellow sufferers in the row. When the film finally limps towards its goal, you are already indifferent to where the point is hidden. The final impression is reminiscent of a festering inflammation. Those who are looking for something "different" and feel elevated above the usual film production might enjoy this film. Unlike Carax, Denis is not such a weirdo and her imagination is much more limiting, so don't expect any flight of fancy. Overall impression: 10%.

A bit of simple nonsense for a late evening after a demanding workday, assuming that you suffer from acute insomnia. It's not clever, original, or funny, but on the other hand, it's not offensively stupid or tasteless either. One cannot expect cinematic miracles from music comedies of this kind. The presence of famous people from the music world gives this nonsense more weight than it objectively deserves. The music used in the film is not essential, but it is primarily what keeps the film afloat. Many things can be hidden under the broad embrace of rock 'n' roll, and this music fits comfortably into it. Overall impression: 35%.

France conquered Algeria in the 1830s and it may have been a typical colony in the first decades after its annexation. Over time, however, it became so closely integrated with France that it was regarded as an integral part of France, similar to, for example, the Hawaiian Islands, which are a U.S. overseas territory. In Algeria, there was a large settlement of ethnic French people, and above all, a sizable loyalist Arab minority lived there, which became the basis of a sizable French Muslim community after the war for independence and subsequent exodus to Europe. Thanks to higher birth rates, its significance continued to grow, and today it is the subject of many French artistic works exploring the identity of the second generation of immigrants. The student Farid, who grew up in France and hardly speaks Arabic, is entrusted with resolving property issues in his ancestors' homeland due to his sick father. Upon arrival, he is confronted with the different mentality of the local community, searches for traces of his family's past, and eventually faces problems related to the theft of his documents. This is clearly a personal topic for director Mohamed Hamidi, and he demonstrates great emotional involvement, especially in scenes depicting Algerian society through the visitors of the only local café, where the social life of villagers is concentrated. Homeland is a likable film that avoids excessive sentimentality, but at the same time seeks to humanize Algerians and French Arabs and make their community accessible, as only the medium of film and television allows. At a time when Europe is often facing unnecessary Islamophobia, this is not a bad thing. Jamel Debbouze stands out from the cast alongside the main character as the black sheep of the family clan, similar, for example, to Amelie. Overall impression: 75%.

The filmography of director Nicloux does not exactly inspire great trust, and among his undeniable escapades and sins there is, among others, the unforgettable film Blanche, so I approached his new work with caution. Fortunately, that was unnecessary. The Nun is not a complete failure. It has good camera work, and I accept the cast without reservation. On the other hand, Nicloux is not very inventive in depicting the complex psychology of his characters, the main protagonist simply suffers, and life in the convent and its position in society is reduced to Suzanne's desperate attempt to escape the cage. The pace of the story corresponds to the slow and stereotypical life in the convent. The portrayal of the lesbian superior and her desire for the main protagonist is caricatured in Isabelle Huppert's performance, and I dare to say that was definitely not Nicloux's intention. Diderot's book had an important role in awakening the social elites during the Enlightenment and setting requirements for personal freedom of decision-making. Today, we have different struggles and live with different problems, so I feel that the depicted world bound by strict religious rules and based on a strictly religious view of the world will be distant, unpleasant, and incomprehensible to the current generation. And there is one more thing I should not forget. Suzanne never stopped being a member of the nobility, i.e., a narrowly defined privileged class. As mentioned in the film, poverty is terrible and a huge number of women at that time would gladly have exchanged their hunger and toiling in the fields for a fancy stay behind the walls. Freedom was still a very luxurious commodity in the 18th century, completely inaccessible to the overwhelming majority of the population. Religious supervision, arranged marriages, uncompromising social rules, serfdom, etc., together created a world that was no friendlier or freer than the one in the convent. Overall impression: 60%.

Human sexuality is complex and sometimes its manifestations take surprising forms. Why should a blind lady in her old age give up on erotic experiences? As a twenty-minute short, Clay can convince you that touches and imagination are more than enough for erotic stimulation. Overall impression: 60%.

Take the student sense of humor, immigrant slang, rap, the punk sneer of the Sex Pistols (and for good measure, add half of Johnny Rotten's ass), the stonedness of The Big Lebowski, pop culture jokes from The Simpsons, the hopelessness of panel housing estates, black Driss from The Intouchables, deliberately unpleasant drawings reminiscent of a combination of Andersson's book "Container," shake it up, mix it all together, and you'll get something remotely similar to Round Da Way from this Molotov cocktail. This animated comedy about two slackers from the suburbs who dream of fame in the music business, sex, and a nice warm vacation is not serious, politically correct, and certainly not for everyone. But if you embrace its rules (sorry, anarchy), there’s a good chance you'll be royally entertained. The passionate dance of the police station staff with batons in hand, singing about how handcuffs boost their self-confidence or the rap song of repentant sinners at the very end will easily convince you that the five-star rating scale is sometimes unnecessarily limiting. And there's something else I appreciate. Round Da Way isn't a "hardcore" film, it doesn't go to extremes despite its exasperation. It's like a lively Bart Simpson going through puberty, who you know has a good heart, and in the end, it will (probably) pleasantly surprise you. Overall impression: 95%.

A thought-provoking and emotionally powerful animated short film that uses a rarely used puppet technique. We are taken to the front line of trench warfare, where a medic treats and heals his comrades with the help of letters from loved ones at home. It's not just any ordinary animated film, but rather a small yet impressive piece of art. Overall impression: 80%.

It is professionally made, with a sense and ability to capture the inner drama of the protagonists, but on the other hand, it seems more like a cutout part of a larger film and one subconsciously expects it to have a more significant plot culminating in a powerful point. As a final graduate film school project, it would be awarded 5 stars, but I'm giving it a sober three. Overall impression: 55%.

A charming film anecdote about how in a foreign environment and protected by apparent anonymity, we can let loose somewhat more than in a familiar environment, and we don't even need a dose of alcohol or drugs for it. A dialogue with an apparent stranger conducted in a foreign language leads to the consideration that I will never meet this person again in the future, and so in an incredibly short time, a passionate debate about favorite sexual practices gets going. Overall impression: 80%.