Marigold

It is too bad about the overly raw form, because that is what sometimes unnecessarily takes the viewer out of the plot (instead of pulling him in). Otherwise, this parallel Albanian-Serbian journey to freedom represents an engaged current political drama in an optimal form. There's context, creative perspective, very plastic characters and critical urgency. Paskaljević has capitalized on years of experience and is steadfast with honor in an extremely difficult genre – he does not push the viewer anywhere, and yet affects emotions without much awkwardness. At this year's Karlovy Vary festival, a pleasant revelation amongst the politically themed films. [IFF KV 2010]

Totally wrong. You can't do dystopia built on such a challenging narrative trick as an inner monologue, while possessing animation that even an amateur adventure would be ashamed of. Flatness and rigidity stand out all the more because the dubbing is more than awkward. For me, this is unwatchable eclecticism, and the more it steals from dystopian classics, the more it makes it much more hard to digest. Halfway through, I just gave up...

I've started reading the book, the film was first... despite the fact that in its complexity it cannot and does not want to match Larsson's juggernaut, it belongs in the top league given its atmosphere and processing. Oplev is an excellent stylist who films in a simplified form, but with a sense of logic and pace. I really, really like how the script cleverly shifted Mikael from a confident seducer to a closed weirdo – the Rapace/Nyqvist duet is absolutely excellent for the film's purposes. By the way, Noomi is extraordinarily charismatic and played Lisbeth perfectly. The film has very high quality equivalent for everything that it lacks from the book. The result is a contagious and catchy detective story... although it lacks the socially critical dimension of the original, it moves in its genre quite sovereignly. It's a very difficult challenge for Fincher...

A captivating and very gradual flight through loneliness and lost identity. A soft camera, sensitive directing, dreamy music and Sam Rockwell, whose performance of the schizophrenic "mind-fucking" (as he called it) looks like an air ballet. Moon may not be philosophically or deeply spectacular, but with all the imperfections and indie smudges from tar, this is a film that is easy to fall in love with.

The most significant cliché wrapped in talk of space-time and causality, served in a Bollywood pompous three-pack. From my point of view, a bloated boring bubble which, after bursting, leaves nothing but a musty smell of sweet phrases and sly jokes about life and everything else. We can compare it to The Fountain, we can compare it to Eternal Sunshine of the Spotless Mind, we can compare it to The Butterfly Effect... regarding the first one on the list, Mr. Nobody lacks visually and in terms of acting, for the second his ideas are not good enough, and for the third he does not have the tension. A film that declares that life is a playground, but instead of playing, it pretends to be something it can't be. Thank you, not interested.

The incredible has become a deed. An entertaining satire and a kind idyll with strong characters and a screenplay that does not make your stomach twist. Without any exaggeration or embarrassing variety, Sedláček managed to make an intelligent film which, with certain aspects, subscribes to the new wave (authenticity, celebration as a space of satirical expression of characters), and with certain aspects it remains entirely contemporary. Above all, however, all of the aspects entertain and hit on more general phenomena. It's unfortunate that there are a few moments in the film when Sedláček started looking for humor elsewhere than in the non-exciting and straight-forward flowing life of a small village. Other than that, I like his film, despite the fact that he does too many things at once. The film mysteriously functions as a satire, a love story and a village idyll. Rather than a scathing Forman critique of public affairs, let's look for a correlation with the kind drollery of Vančura or Chevallier.

My impressions are somewhat contradictory: on the one hand, the wonderful idea of expanding the expressionist image of a monster, which reflects the essential dilemmas of the Weimar Republic, a bizarre intermediate stage between the creature and the savior. However, Ševčík offers only very schematic answers to all the burning questions in a selected visual, great composition, in the play of light and darkness. He reduces the characters to the level of symbols of "good", "evil", "innocence", and does not offer complex psychological portraits. In the end, however, the viewer is not much wiser than at the beginning. Yes, a well-versed fan of German expressionism will be delighted, and it also warms the soul that a Czech film is finally coming to movie theatres that does not go with the flow and evokes controversial impressions. Personally, I would like to watch Normal: The Düsseldorf Rippe in detail once more time to see if my constructions have support in what was filmed. Part of me feels that Ševčík made a lot of promises, served a full tray of treats for "literate" viewers, but under the selected audio-visual, this is far from a film that can satisfactorily answer its own questions. However, I emphasize: we have not had such a stimulating Czech film for years. Hosanna.

Greenlandic cinema is indeed in its infancy, as the film Nuummioq, which was successfully screened at this year's Sundance, is the first film made on the island. The pioneering wandering is clearly visible in the film, both in the technical component and in the somewhat unbalanced scenario. Carpenter Malik learns that he has an incurable disease, but due to the fact that he is a withdrawn individual, he is unable to share his grief with his loved ones other than through a journey through the rugged landscape of Greenland. The Old Testament strict exteriors and very good non-actors are even more humanized by the aforementioned imperfection, and the result is a quirky and pleasant film that reveals more than enough about the nature of the people of Greenland. [KVIFF 2010]

If this film could evoke as much terror and participation as it evokes unwanted laughter and awkwardness, it would be a historical event. There is no point in rejoicing that Kohout is not entirely a blunderer in terms of the visuals, given that the characters speak and act unconceptually and misguided for 80 minutes. A terribly boring and troubled film in which there is no emotion and tension. The dedication to Hitchcock seems like a cynical burst of coffins after an infernally failed funeral.

If this film is surreal, then children's imagination is also surreal. Give a mischievous youth the appropriate characters and he will invent the same amount of none-sense. Mix in an adult experience with a rubbish plot and you have A Town Called Panic, something like Wallace and Gromit on light drugs, cut with the crazy kinetics of South Park. A very pleasant regression and cleansing.