gudaulin

I don't know if the last episode of the TV series can be considered representative enough to evaluate the whole phenomenon of Inspector Kojak, but I wanted to revive this character that I used to watch in the distant past for myself. It's not downright bad, but compared to the modern series of the past two decades, it clearly lags behind. It's just a kind of average filler of television broadcasting, whereas captivating works look different and tell their stories completely differently. Overall impression: 45%.

The initial showcase of hunting in the style of native hunters built up my expectations, but the following scenes, where Hanna first demonstrates her murderous abilities, hit me like a cold shower. Then, after Hanna massacred the numerous inhabitants of the super-secret military base full of elite agents, my interest fell similarly to the mercury in a thermometer placed in a freezer. This film is not artsy or at least alternative-looking by intent or through its casting. Yes, Saoirse Ronan and Cate Blanchett belong to the top league within their generation of actors. But then what? The content is just as foolish as countless other action films produced purely for commercial reasons. I don't find anything original or intelligent in the film, the point feels like it's from a sci-fi C-movie, and some of the characters, such as the albino killer, relegate Hanna to the realm of pure trash. It takes itself too seriously to be a parody, and if Wright attempted to deviate from the usual genre paths, he desperately failed. Soderbergh went much further in Haywire, and yet he, too, only remained halfway. For me to take a film seriously, it must have a solid foundation and a plot - and in that aspect, Hanna loses on all accounts and only confirms my biases towards the action genre. So I categorically discard it. I'm sorry, Ronan, maybe next time. Overall impression: 10% for both actresses.

My evaluation and review are only provisional since I have only had the opportunity to see a single episode so far, but based on that, I consider the series to be underrated on FilmBooster. I understand the hesitation, as it is difficult to orient oneself in the abundance of characters with exotic-sounding names and court intrigues, and one can easily get lost in it. However, I enjoyed the setting and style and definitely did not get bored with it. It is a costume detective story, somewhat influenced by a romanticized approach, but whatever - for now, it deserves around 75% and 4 stars.

I have heard some people say that this could have been a perfect crime story if Jewison hadn't wasted so much energy on the racial issue. The trouble is that the core of the director's interest lay precisely in the problem of racism; after all, it was written in the 60s, and the film can be considered as a current political contribution to the passionate debate about this issue. The film was clearly intended to function as a social drama, where the crime plot serves only as a background or starting point for engaged social criticism. With the passage of time, the film works excellently, exactly as Jewison intended - and it serves as a testimony to a time when racism had an incomparably greater influence on American society than it does today. Add to that two top-notch character actors who seized the opportunity, and you have a film to which I do not hesitate to give the maximum number of stars. Overall impression: 90%.

Powder Blue may have the purest intentions, but it is so emotionally overloaded and contains characters that appear so untrustworthy that not even the presence of Forest Whitaker or the diligent performances of other actors can save it. I don't believe in this film, and I don't believe in its protagonists either. Instead of capturing my heart, I'm at most puzzled by it. It didn't please me, and I won't please its creator either. Overall impression: 25%.

It is understandable that upon closer inspection, a few flaws in the beauty of the film can also be found. But this time, I won't be nitpicking. If a recent emotional extortionist of the worst kind really infuriated me, the creators of this bitter comedy about the life of a physically disabled person with a view of the cemetery took it in the right direction. With life, one needs to deal with issues, and when (as long as) it is possible, also enjoy it as much as possible. Come As You Are skillfully works with elements of tragedy, black humor, absurdity, and the calmness of the road movie genre. The journey of three physically disabled friends in search of their first and possibly last sexual experience could have been made in Hollywood as an emotionally manipulative sentimental lament, but luckily, Geoffrey Enthoven took a different path and is always ready to dismiss a heated scene with detachment or sarcastic wit. Conversely, whenever it seems that the film is becoming too comedic or derailing, it sensitively reminds us of how things really are and freezes the smile on our faces. Overall impression: 90%.

Bollywood and Euro-American cinema have been influencing each other for some time now. While foreign influence benefits the production of Indian studios and the quality is improving, it works much worse in the opposite direction. The Best Exotic Marigold Hotel may have been hailed by the Brits, but unfortunately, this film is uncomfortably close to being a creation of the Bollywood dream factory. The casting was successful - how could it not be, when Madden enlisted a star-studded team composed of the most popular actors of the older generation. The concept is not bad either, and an interesting spectacle could have been created based on it. However, as others have stated, the film could be forgiven for its little bit of pathos, fairytale-like elements, and occasional clichés, but what about the rest? Because there is not just a little bit of it, but heaps. I am willing to forgive a few flaws in the film, but India is portrayed in a way that corresponds to almost all conceivable cultural stereotypes, it is so vividly colored that it hurts. The characters function more like figures and the whole film is characterized by its focus on the surface. Everything is simplified and they play it safe. The film is made in a cultured way because after all, it is intended for a more mature generation. However, it unhealthily drowns itself in ostentatious sentimentality, and its happy ending is not much different from a children's hiding game or the final scene of Lemonade Joe. Many dialogues in the final twenty-minute segment beg for sarcastic mockery. As the minutes go by, The Best Exotic Marigold Hotel becomes more of an unwanted caricature of itself. Overall impression: 45%.

When two people fight, a third laughs. Even after almost three decades since its premiere, it is still a pleasant and functional comedy with several excellent moments resulting from the mutual rivalry of two swindlers in one arena. Glenne Headly is a good actress, but she lacks that little bit of charisma to keep up with her colleagues, so the majority of the runtime is rightfully dominated by Steve Martin and Michael Caine. It is not so surprising that the seasoned British veteran performs better on screen, embodying his character with charm and nobility. His American counterpart, on the other hand, tends to overplay his portrayal of an uneducated brute. It is paradoxical that even though Caine plays a polished man from a higher class, he actually comes from a neglected working-class housing estate. Overall impression: 65%.

Sure, modern technology can work wonders, and thanks to it, film special effects have reached an incredibly high level. This fairy tale has a solid budget and therefore is capable of offering a spectacular spectacle. Moreover - and I find this appealing - it is not affected by that overly sweet Disney style. It can be dark and at times it even crosses the line into the horror genre. On the other hand, if you compare Jack the Giant Slayer to the successful film Stardust, you quickly notice Jack's weaknesses. It lacks lightness, functional humor, and the charisma of the characters. What troubles Jack the most is the lack of chemistry between the main protagonists and, above all, the painful casting mistake in the role of Jack. Overall impression: 55%.

In the distant past, Hollywood producers discovered that betting on children is a sure bet. Adorable cunning little girls in the 1930s reconciled quarrelsome parents and mended family disputes. Clever boys with lots of ideas and unwavering enthusiasm saved family businesses from decline. The genre improved, and already clever children became even smarter, until it reached today's sad endings, when girls assign tasks to lawyers and give lessons in psychology and ethics to the adult world. Emotional blackmailing has been done in many movies, but this title took it to the extreme. It is so transparently manipulative that not only does it not work on me, but it literally offends me. It ruined my mood for a very long time and I will not be even a bit merciful towards it. Go to hell with this overused kitsch. Overall impression: 0 out of 0.