gudaulin

Today, the series is more of a museum piece and in a way, a historical curiosity, but in the mid-70s, when it was possible to travel to only a few countries and even going to the "brotherly" country of the Soviets was considered taboo, it was an exceptional project and an invitation to the world of romantic heroes without fear or shame, moreover not burdened by ideological baggage. From the perspective of a contemporary viewer, it is a dragged-out costume spectacle without the necessary pace and poorly filmed fight scenes. However, for me, it has the aforementioned museum value - it captures an entire generation of Slovak actors and it is interesting to see how the creators dealt with exotic locations. I will give it a weak three stars and an overall impression of 50%.

The Magic Voyage of Sinbad is clumsy and naive to the point of misery, and if it does manage to make you laugh, it's unintentional. The only thing that can be positively evaluated is the set design, which the regime truly spared no expense on. Overall impression: 25%.

I never really got into Nineties. If I used to look forward to new episodes of Major Case Squad, when it comes to the prequel, I couldn't help but be disappointed - especially in light of the enthusiasm that swept over viewers and the way Nineties dominated the media and social space. The curse of the Czech basin has been, is, and will be provincialism, which has a negative influence on Nineties in every aspect. This is not how the peak of television creation should look, but rather a run-of-the-mill average. Problematic editing, (below) average camera work, the inability to create and maintain atmosphere and suspense, and excessive dialogue. Nineties is not just retro in terms of theme and time frame, but the series looks like it was filmed in the mid-90s. The modern narrative methods and techniques that have influenced the development of global television in the last three decades have not yet been captured here. Would Danish, Swedish, or British television stations include Nineties in their broadcasts? Would they even air the series in prime time? I'm afraid that apart from Slovakia, no one in the world would bat an eye at Nineties. Just a brief note on Mareš's script: he failed to create a concentrated grand story from an otherwise explosive and attractive material, and an episodic style of work suits him better. Overall impression: 55%.

The Lighthouse is a film where atmosphere is everything and the story is nothing. After the interesting and successful The Witch, Eggers had a free hand and he took advantage of it in his own way. He mocks the popcorn audience with their ideas of horror full of jumpscares and ghosts. Eggers is perhaps the only director who not only heard of Lovecraft and read something from him, but also thought about his work and was inspired by his theoretical foundations. Sartre already knew that hell is not devils, but other people. Put two ultimate sociopaths on a deserted island, give one an illusion of power, and expose the other to humiliation and the result will arrive soon enough. There is nothing, only loneliness, and boredom spiced up by memories of the sound of crushing human bones and failed relationships. Sexual frustration, bitterness, and rising levels of hatred supported by the distillate in the blood. The raging water element invigorates the imagination, just like a superstitious sailor's tales. Eggers impressively works with mythological references, with image and sound, and cleverly avoids literalness. Both actors reward him with excellent acting, the kind you don't see often. All in all, The Lighthouse is one of the most impressive horror films I have had the opportunity to see. Overall impression: 95%.

The ambitions of the main group, i.e., the director, screenwriters, and above all Nicole Kidman, were not exactly small, but I'm afraid that the viewer will only take away a memory of the actress's torn face, who has always been considered a sexy symbol of Hollywood and has no problem enhancing her appearance with the help of plastic surgeons. Here, in the interest of the role, she transformed into a human wreckage permanently soaked in alcohol and presumably supplied with some amphetamines. Destroyer is not a good film, as Karyn Kusama is only a very average director, who sinks the story by focusing on emotional sentiment and attempting a psychological delve into the characters' inner selves, for which she and ultimately the screenwriters do not have the strength. She put the final nail in the coffin of her project with her reluctance to edit. This film should have been at least, I emphasize at least, 20 minutes shorter. Overall impression: 55%.

When the screenwriter miraculously revives a dead character from the past and when you start to feel a certain repetitiveness and fatigue in the endless bloody shootouts between rival gangs in Naples, combined with the feeling that the number of dead is approaching Syrian civil war battles, it occurs to you that it may be time to end the series. Though it still works to some extent. The harsh and tough soundtrack, guys who just need to give you a fierce look to make you drop your wallet and run away in despair, charismatic villains with whom you experienced their victories and defeats in previous seasons. But in the fifth season, the approach of the screenwriter changed, maybe due to fatigue from the subject matter. He started playing strangely with his characters and it no longer adheres to elementary logic. Strange conflicts that make no sense, go against the interests of the actors, deny their psychological profile, and ultimately even the development in previous seasons. It was fine, but it's good to end on the highest note, and the fifth season falls a bit short. Overall impression: 65%.

Very civil and moderate. It's a series that doesn't rush and focuses on the work of the investigative team. The perpetrator of the crime, who wanted to demonstrate his power and invincibility with his act, and thus secure media attention, remains permanently absent. Although the head of the murder department, Jens, has the largest role, the scriptwriter and director-in-one, Tobias Lindholm, focuses on the entire team and the main aspect of his project is the sophisticated, well-functioning, and financially well-oiled system. The criminal was not defeated by a brilliant detective, but by machinery that was willing and capable of systematically searching extensive areas of the seabed for endless months, and involving top scientists from various fields in the investigation. Improvisation has no place in this Danish series. Here, methodicalness and perseverance reign. I would like to give The Investigation a higher rating, but there is one big "but." Lindholm indeed doesn't rush but you may find yourself somewhat bothered at times by the long shots, silences, and pauses, which are supposed to indicate that the protagonists are thinking or that the investigation has reached a dead end. And I say this as a viewer who usually doesn't have a problem with a slow pace. In any case, Lindholm's series represents a counterbalance to the effect-oriented dynamic crime series, and that must be taken into account. Overall impression: 65%.

Other than the three or four WTF moments associated with the activities of Alex's father, who could easily be cast in a Hollywood action blockbuster (twenty such individuals would probably save the Swedish army some work and stop a foreign invasion), I'm giving the film a strong review after careful consideration. It has an undeniable atmosphere, works with a realistic scenario of the origin of a war conflict in 21st-century European space, and does not lack in its production design. It cunningly doses information, starting from the description of everyday work and human relationships, through disturbing hints of an unknown threat, to eventually turning into a hectic fight for life. It also has quality cinematography and a suggestive dark soundtrack. The director knows what he wants and how to achieve it. True, the father is a paranoid lunatic (the film ultimately proves that being paranoid doesn't mean that they are not after you) and the son is a self-conscious introvert, but at first glance, the main characters, who are hard to accept, do not bother me. Mainstream commercial filmmaking would, of course, work with protagonists that you easily identify with and fall in love with, but this film's bet on outsiders only accentuates the audacity and unpredictability of Danel's film. However, I do have one thing to say about the end of the film. World cinema usually deals with similar simulations of conflicts in the style of: on Friday, we were attacked and beaten up, on Saturday, we repelled the blow and paid off our losses with interest, only to hastily restore electricity, revive television broadcasting, and in the evening sit down to watch our favorite soap opera. But in this film, it wouldn't work, and it would only mark the beginning of a very dark and bloody period. Overall impression: 85%.

In prehistoric times, when I was a boy reading Anderson's "Annals of the Time Patrol," I wondered how difficult it is to write (or shoot) sci-fi with time travel themes and not fall into the trap of a time paradox that has the ability to turn the story into an absurd farce. However, the problem of a time paradox is not what makes Looper unbearable in my eyes. Johnson's film is a typical summer blockbuster, which doesn't worry about illogical slip-ups in the script or rushed and bizarre relationship building. It offers potentially interesting themes, but it processes them or barely touches on them in a superficial way. The directing is routine and so is Bruce Willis' performance, which functions as a worn-out template for action heroes. Twelve Monkeys once proved that it is possible to create a smart, cultivated, and entertaining genre film about such a difficult-to-grasp phenomenon as time travel. In comparison to Gilliam's film, Looper is quite a bit worse. Overall impression: 40%.

An engaging, incredibly intense film filled with emotions and energy, and the most interesting premiere of 2021 for me. A luxurious dessert served by a team of British actors led by Stephen Graham. His performance in Boiling Point and his role as a prison guard in the miniseries Time made me consider placing him among my favorite creators. During one hectic evening, the long-standing personal crisis of the chef and restaurant owner culminates, and things start happening... Philip Barantini, without much directorial experience and with a modest budget, managed to shoot a great action film in the space of a restaurant, in which I couldn't find any significant weaknesses. However, if I had to highlight something besides the acting, it would definitely be Lewis's brilliant cinematography; 90 minutes in one shot is not something you see every day. I wish all film enthusiasts Bon Appétit while watching Boiling Point. Overall impression: 90%.