gudaulin

All of Alfred Hitchcock's films, including his most famous ones, naturally need to be judged in the context of the era in which they were made, because the ravages of time have logically left their mark on them. Nevertheless, in my opinion, many of them are a cinematic treat and contemporary filmmakers rarely come close to matching their quality. His films are usually a safe bet for me. Therefore, I was even more disappointed with this particular one because, in my eyes, it just didn't work at all and I had a hard time even finishing it. The incredibly naive and predictable script is to blame, and it is as if it had been written 20 years earlier. The direction is still reliable and the cast is stellar, but that doesn't change the fact that in the scenes that were supposed to be suspenseful, I could barely hold back laughter. Hitchcock certainly didn't intend to write a parody, just a slightly lighter thriller. He ended up making more of those later on. Overall impression: 40%.

The novel of the same name by the Strugatsky brothers, in my opinion, is not their best work and at that time, science fiction did not have an easy time under the leadership of Soviet cinema. There was no tradition, suitable special effects, and a budget were not available, and neither the screenplay nor the direction were able to accurately convey the atmosphere of the literary work into a film. Today, this film is valuable mainly for collectors and genre fans as a kind of curiosity. Just the fact that it was filmed by a state studio, where there is a vast plain, even though the story takes place in the middle of high mountains. The current rating, I think, is slightly influenced by users' nostalgia. Overall impression: 40%.

The overall functional sitcom humor is unfortunately spoiled by the characters. Such a unique collection of small-town folk in the peak of their age is something one rarely comes across and one can only speculate considering the well-known fact that people usually change for the worse, to what extent they have reached in their snobbery and bourgeois posing in their old age. After watching three episodes, I felt the urge to join the punks somewhere on a channel, but due to my age and parental position, I could not afford to do it. Therefore, I am done with this series. :-) Overall impression: 40%.

Even my third encounter with Darren Aronofsky's work did not end well, although this time it's not so much the director's fault as it is the subject matter, whose setting and characters simply repel me. I consider wrestling to be a degrading form of entertainment, although it is primarily a problem of audience demand for new gladiatorial matches. Moreover, I have no particular love for Mickey Rourke, and with the honorable exception of Angel Heart, none of his films have thrilled me. To top it all off, his protagonist did not seem sympathetic to me in the slightest, and he had only himself to blame for his fate. He chose it and paid the price. His casting, however, fits - given his boxing antics and personality, he is cast perfectly type-wise. The film certainly does not delve into any great depth, it is predictable, and the characters, whether the protagonist or the stripper who, of all people, is also a caring mother and yearns to escape from this rotten environment, have a bit of a kitschy feel. Overall impression: 45%.

With his two previous feature films, George Clooney set the bar so high that he created great expectations which Leatherheads didn't quite fulfill. It's definitely not a bad movie, but this romantic comedy set in the world of sports certainly did not have the ambition to try for an Oscar or change the perspective on cinema. There are a few sports that I don't particularly enjoy, such as boxing or American football, but fortunately, the American football setting serves as a background for the conversational shootouts between George Clooney and Renée Zellweger, which significantly contribute to the film. It's a good relaxation film with a solid cast and some decent jokes. Overall impression: 60%.

The script for Salt probably lay somewhere in a dusty drawer of a Hollywood studio for a few decades because not only its theme but also its spirit belongs to the times of the hardest Cold War and is more paranoid than most famous propaganda films of that time. According to its author, NATO and the USA are crawling with super-secret Russian agents in high positions, including the position of the American president. The main protagonist is a product of women's emancipation and the gender movement to such an extent that she not only equals but also easily outperforms James Bond, so it is no problem for her to eliminate the security of both the Russian and American presidents, storm the heavily guarded bunker where the American president is supposed to take shelter in case of a nuclear conflict, and, above all, she takes down dozens of agents of various kinds. The action is not bad, and I consider it considerably of a higher quality and more entertaining than, for example, The Expendables. But in order for me to actually like this film, it would have to stop pretending to be so serious and stylize itself more into the form of Mr. & Mrs. Smith. But everything is taken deadly seriously and for real, which sounds incredibly foolish with such absurd exaggeration. Average action films are more realistic than this, and on top of that, while Angelina Jolie fits perfectly with her appearance to portray glamorous ladies, I would rather tend to believe in Craig as a super assassin. Overall impression: 25%.

Kevin Smith often walks a fine line of taste and intentionally provokes the mainstream in his films. However, those who enjoyed the slackers in his early comedies and were not offended by the film Jay and Silent Bob Strike Back will easily enjoy Zack and Miri Make a Porno, even though Smith is being provocative with the title alone. I like his humor and I am open to it, but in this case, I came across boundaries that somewhat spoiled my enjoyment of the film. Smith knows when to slow down and tone down a situation that threatens to become outright vulgar, but paradoxically, I am more bothered by the lack of chemistry between the main characters and, above all, their strange relationship. I am willing to believe many things, but I don't intend to believe in romantic lovemaking in front of the camera and a bunch of onlookers. While I consider Chasing Amy to be an excellent romance, where the relationship between the two partners is believable despite all the twists and bizarre situations, in this film, it is an artificial and purposeless construction with occasional sympathetic humor and exaggeration. Overall impression: 55%.

A series with an alternative style of humor focused more on a minority of connoisseurs than on mainstream audiences. If I didn't know that it was American, I would consider it a typical BBC product. Many current sitcoms have crazy and wild humor like in The IT Crowd, whereas this show is the complete opposite of such productions. I have always considered myself a fan of dry humor, but here it is taken to the extreme. Lines delivered with absolute detachment, a distinctly phlegmatic manner, constantly bored faces with minimal emotions, and events unfolding at the same pace. The liveliness is brought by some of the rap songs, however. Some moments and especially catchphrases are truly fantastic, but some get lost in that apathetic delivery. Overall impression: 65%.

American movies and especially series often try to convince me that life is incredibly happy and that problems barely exist, and if they do occur, an infinite amount of love and the friendships around us easily solve them. Adversely, this film piles up too many problems on its characters, so they are not just ordinary heroes, but instead are very unlucky and have many problems. Family suicide, marital infidelity including an illegitimate child, drug experimentation, serious illness, difficulties with sexual identity, mid-life crises... the list could go on. Each of these problems deserves its own film, and here they are piling up on the participants all at once. I didn't fully understand some of their emotional states and events. Because of this thematic fragmentation and garishness, I won't give it more than 3 stars, even though the film is decently crafted and features excellent performances. Sigourney Weaver is absolutely convincing in the role of the mother, as she is one of the best actresses of her generation. Imaginary Heroes is an intimate psychological drama filmed without unnecessary pathos, sentimentality, and cheap gestures. Overall impression: 65%.

It is pointless to speculate why this film was made. In the United States, European cinema makes up a completely insignificant portion of the television market and hardly gets into movie theaters at all. European films are shown in a network of movie theaters targeting an audience of connoisseurs, and if someone claims to be more knowledgeable about European cinema, it is a sign of snobbery or intellectualism. American viewers are very self-centered and want to see their own stars, and American producers want to make money, so they routinely produce American versions of quality European films. Most of the time, these are second-rate imitations, and it is no different in this case. The fact that both films share the same director does not change anything. In Three Fugitives, it is clear how important the casting of the main characters is. Depardieu and Richard are simply missing, thanks to whom the original worked so well. Those who are unfamiliar with the original film can easily give it 3 stars, but I couldn't help but be disappointed. Overall impression: 40%.