gudaulin

The Joneses would like to be a smart satire that targets the consumerist lifestyle and the American dream, but the film lacks balls and loses points by operating within the well-established safe framework of mainstream American films produced by calculating managers of big studios. The film doesn't work as comedy or drama because, at crucial moments, it lacks the courage to truly bite, be cynical, and be merciless. However, it is a professionally made film that is unquestionably above-average, and for about 3/4 of it, I thought I was watching a movie that I would give 4 stars to, even though they would be weaker, they would still be achieved. But then came Steve's confession to lies and manipulation, after which the film basically became a cheap morality tale, and the final happy ending topped it off. But then I reflected and realized that the film fails in what it wants to be (among other things because it's absurd for top-paid stars, who are famous for their consumerist lifestyle, to shoot an anti-consumerist satire), but on the other hand, it works very well as a romantic love story with an original plot. It's solidly cast and acted (I would like to note that I don't particularly like Demi Moore, but here she matched the type and acting required of her). Overall impression: 70%.

This film was inspired by the Soviet science fiction novel published in the early 70s by a group of authors under a pseudonym. The sci-fi genre didn’t thrive in the ideologically constrained cultural environment, and mostly survived on the fringes until the mid-80s. The story had a horror tone, where a group of scientists, backed by the political and military elite of a country, conducted experiments on children to create a genetically modified race capable of colonizing Mars. The television adaptation is a typical regional studio production with a minimal budget, and thus couldn't impress except through the performances of the actors involved. The screenplay logically cut out a lot of literary material, leaving a stripped-down version that deserves no more than 2 stars, mostly for the amazing potential this title had. I can imagine that in the hands of a capable director with a love for the genre, like the young Herz, it could have been a dark and immensely impactful film. Overall impression: 35%. It's a shame that this is probably the only adaptation of this novel. If a major studio had taken it on, sci-fi and horror fans could have rejoiced...

A historical television studio play about a real figure from ancient history, the last Roman emperor who practiced old pagan cults and attempted to reverse the shift towards monotheistic religion. This film is simply poorly written; it doesn’t work as a drama, and instead of building towards any catharsis, it stalls and bores. Regarding historical figures from thousands of years ago, we obviously know very little, but even what is known about Julian completely contradicts the portrayal the screenwriter attempts to sell to the audience. Julian, played by Rudolf Hrušínský, is depicted as perpetually absent-minded, emotionally unstable, and entirely incapable of managing the empire. The only thing the play can offer is top-notch casting. I fear that this, along with respect for an old title from the television archive, is what led to its high rating, because otherwise, it is rightfully a forgotten affair. Overall impression: 25%.

I considered this movie suitable for watching together with my partner. But after about 15 minutes, she gave up and said she would rather do household chores. I bravely persevered until the end only because the alternative of cleaning the house made me feel nervous. However, I did not fall in love or sympathize with this French comedy about customs officers affected by the European Union's disaster without internal borders. It is not offensive, stupid, or downright dysfunctional. On the other hand, if a television station airs the title on a weekday at 9:30 in the morning, it has no illusions about its audience potential - it simply won't be a blockbuster. The humor used in the movie did not appeal to me because of its excessive literalness and straightforwardness. Moreover, I like it when such humor is presented more civilly. Here, for a greater effect, it was exaggerated by a few percent more than I consider reasonable. Overall impression: 45%.

When Lourdes appeared in the lineup of the French Film Festival, I strongly considered going to the movie theater to see it - mainly because of Sylvie Testud, a charismatic actress who, since Fear and Trembling, has repeatedly proven that her films are worth watching and that beneath the appearance of a gray mouse lies a wide artistic talent. However, even then, my instinct and experience warned me that this time there would be too little of Sylvia in Lourdes and too many delays, meditation, and prayers. For the most part, I was mistaken because in Lourdes there was ultimately too much of only the former. On the other hand, there was remarkably little of everything else, including human sadness, pain, and hope. A runtime of 96 minutes may seem reasonable in a time when two-hour action movies have become the norm, but the problem is what it is, or rather what it isn't, filled with. The content and message of Lourdes could easily fit into a 50-minute medium-length film. The rest is filler caused by Jessica Hausner's unwillingness to edit. With this lady, you can count on the fact that when she plays a karaoke song for you, you will enjoy it to the last note, and when lunch is served, you can also eat it and finish it with the film characters. Lourdes is very static and slow. To such an extent that films about permanently paralyzed lives that take place in a bed or on a chair (The Diving Bell and the Butterfly, The Sea Inside) are explosions of excitement and dynamism compared to it. Jessica Hausner takes the position of a (seemingly) impartial observer who casually records the events surrounding a pilgrimage to a famous site. We see the hopes and doubts of its participants and we can root for the main character to make her moment of happiness last as long as possible. However, this interesting and undoubtedly powerful film falls apart due to the aforementioned "watering down" of the subject. It is exactly the kind of film that, due to the director's self-centeredness, subjectively feels twice as long as it actually is. Overall impression: 40%.

A bit of an animated version of Inception, slightly mixed with Cronenberg's eXistenZ. While both of the mentioned titles thrilled me equally despite their different style and content, I remained indifferent to Paprika. Only a few East Asian films appeal to me and tune into me correctly emotionally. I simply come from a different cultural circle and I feel things differently. Paprika has a fairly simple theme - the plot revolves around a stolen device for researching human dreams, but it has heavy and confused processing, which emphasizes the visually overloaded abundance of glaring colors. This one star is only for the film's potential, which in my opinion could be used much more effectively and with incomparably greater impact. Overall impression: 25%.

A standard and therefore unsurprising purely American film about how when you hit rock bottom, you can always grit your teeth, get back up, and move on. It is characteristic of this film to overlook, or rather dismiss with a short scene at an Alcoholics Anonymous meeting, the truly interesting critical stages of battling addiction, which primarily reach the psychological level. Otis Blake was once a big star in the country scene, selling out big halls and releasing successful records. But today, at the age of 57, he is barely functional and there isn't much left of his former glory. What little remains only angers him with reminders of the times of abundance. Because Blake never thought about saving money, his income dissipated in a bohemian lifestyle, lawyer fees, and in the pockets of ex-wives. His body, exposed to the long-term effects of a destructive lifestyle, begins to fail him and his motivation to achieve new professional and life goals is nonexistent. At that moment, a sympathetic, interesting lonely woman with a small child comes into his life. What will happen? Jeff Bridges is a reliable actor who suits this type of role, and since Secretary, Maggie Gyllenhaal has been developing into a unique and noticeable type of actress who stands out from the stereotypes of genre films. Crazy Heart is a slightly above-average romance with a highly above-average cast, which serves you a proper dose of country music as a treat. Overall impression: 60%.

Mogadishu Welcome can't hide that it appears as a TV film, which stands out especially when compared to The Baader Meinhof Complex. Nevertheless, it effortlessly surpasses that untidy and financially deprived film production. The strength of the title lies in the subject matter, in the incredibly dramatic situation of the hijacking of an airplane and its risky journey through several countries' airports. The film captures both the conflicts inside the airplane with a gradually intensifying atmosphere full of fear, as well as scenes from Chancellor Schmidt's staff, on whose shoulders rested political responsibility and the weight of decisions, and last but not least, it also focuses on the preparation of the task force team for the raid. The film provides a comprehensive picture of events that once significantly influenced the domestic political situation in Germany, the world's perception of terrorism, and aviation security standards. The film evenly distributes its attention among all the players involved, allowing the viewer to have a vivid overview of all ongoing events. Overall impression: 80%.

Woody Allen, the author of the famous bon mot that the brain is his second favorite organ, once expressed his attitude toward the sexual revolution by directing a playful episodic film called Everything You Always Wanted to Know About Sex * But Were Afraid to Ask. He looked at sexuality from a comedic, lighthearted perspective. The authors of this film approach the topic from the other side and depict a world of dark sexual fantasies somehow associated with violence and full of negative human emotions, ranging from fear, and desire for revenge, to the lowest form of hatred. I relegate many well-known and successful horror titles to the cinematic basement, but this morbid journey beyond the generally tolerated and known world surprisingly resonates with me, even though none of the stories are without their flaws - there is always something missing, or moved a bit further, compared to how I would imagine the stories' points. In the end, it is still quite an entertaining and original plaything, though with the warning that it truly isn't for everyone, and I can easily imagine its categorical rejection. I can say that as a dog lover, I appreciated the third story the most, about a peculiar cute friend and dog teeth in action. Overall impression: 70%.

A sensitively directed and acted drama is hidden under the somewhat confusing title about the role that the factor of time and distance plays in our lives and relationships. The young married couple, played by Gael Garcia Bernal and Michelle Williams, have every reason to feel happy and secure. They are financially secure, have good jobs and prospects, and are additionally bonded by the strongest tie - a child. However, demanding work leads to a lack of communication and when Gael's character has to travel on a business trip to faraway Thailand, an unexpected love affair occurs. Although the momentary infatuation ends with the new start of the plane and return home, it serves as a reminder of the risk that anyone who undergoes long-term separation is exposed to. Members of various professions could tell stories about it. The film tells us that what happens between partners is beautiful but fragile and may not last long. It is often limited by time and space. In this case, the losses were not so great and painful, but it may not always turn out that way. Overall impression: 80%.