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Dernières critiques (3 803)


Catacombes (2014) Boo !

anglais From John Erick Dowdle, I had previously seen only the film Devil, which within its genre managed to function relatively well, featuring a decent atmosphere and a plot that wasn't offensive. However, his subsequent work As Above, So Below represents a dignified fall in quality in every respect, descending somewhere into the lowest levels. I'm not fond of using strongly emotionally charged outbursts of dissatisfaction, but here, the loss of my time really hurts and leads me to want to curse loudly. The film reminds me of a creation by a group of enthusiasts who, without any experience or support, made a video for their own amusement. On the same day I saw Hereditary by the talented Ari Aster, which surpasses Dowdle's chaotic, poorly edited desperation by several classes. On databases, they have nearly identical ratings... Well, I guess I don't have to understand everything... Overall impression: zero out of zero.


Les Valseuses (1974) 

anglais The film is full of famous names that shaped the face of French cinema over the last 50 years, often at the beginning of their stellar careers. However, its interest - and in a way, its importance - lies elsewhere. It adeptly (if unintentionally) captures the transformation that the intellectual left-wing scene underwent since the pivotal protest year of 1968. Originally, the left was a protest movement that opposed the system, aiming to dismantle it or at least radically transform it. Over two decades, the left completely dominated university grounds, with its progressive graduates integrating into the system and gradually becoming the establishment. This brought about a complete transformation not of society itself, but of the themes and approach of the left, which began to accommodate the needs of its affluent and self-assured members. Social and class conflicts receded into the background, making way for ecology, feminism, and minority protection. Jean-Claude and Pierrot are typical heroes of that original anti-system left and representatives of its values. Unconventional, radical, and disregarding traditional morality, they take from people and life what they deem appropriate. The film's director and screenwriter, embodying these characters, views their actions with a kind understanding. They steal a car, and the owner who tries to stop them is depicted as a despicable bourgeois property owner. Women are mere consumer goods for the successful duo, serving exclusively to satisfy their needs. Icons of that era's leftist movement were often self-centered macho men expecting women to admire them and cater to their needs, which is reflected in the film, where women are fascinated by their dominant behavior and allow themselves to be exploited. Depardieu, I believe, never played such a repulsive creature again, despite having numerous negative roles to his name. Regarding the film's cinematic aspects, I see nothing exceptional or deviating from the French film productions of the 1970s. Due to its unpleasant - and from today's perspective, problematic - content, I cannot give it a higher overall impression than 40%.


Les Trois Mousquetaires : D'Artagnan (2023) 

anglais Fans of Dumas' might not agree, but "The Three Musketeers" is at best "just" period-conditioned consumable reading, excessively naive and heavily romanticized. Directors attempting to adapt the book were aware of its limitations and the resulting risks for today's audience, often opting for exaggeration and comedic stylization. Martin Bourboulon takes a different approach, opting for a "serious" adventure-romantic treatment lined with a star-studded cast and solid production design. It's arguably the "dirtiest" and most raw treatment of the material I've encountered so far. Despite all efforts, it falls short. It encounters similar pitfalls as directors of recent Bond films, trying to imbue their hero with deeper psychology and adding more artistic elements, yet still ending up with an overblown action movie featuring an invincible hero who dispatches scores of opponents without batting an eye. Here, in the confrontation scene with the cardinal's guards, the quartet of heroes handles six times the numerical superiority without a scratch (and moreover, in a disadvantageous situation of surprise and encirclement!). The action fight scenes are mostly shot in a confusing manner, but the positives clearly outweigh the negatives. Eva Green as Milady and Vincent Cassel as Athos are reliable highlights. Overall impression: 80%.

Dernière note (6 546)

Tři holky jako květ (2014) (pièce de théâtre filmée)


Les Trois Mousquetaires : D'Artagnan (2023)


Mercredi - Season 1 (2022) (saison) (S01)


L'immortale (2019)


Le Solitaire de Fort Humboldt (1975)


Catacombes (2014)

Boo ! 22/04/2024

La Voix d'Aida (2020)


Majitelé klíčů (2024) (pièce de théâtre filmée)


Far Away : Les soldats de l’espoir (2011)



Dernier journal (2)

Moje topka za rok 2017

Je konec roku a čas bilancování, tak je dobré sestavit minižebříček toho nejzajímavějšího, co jsem viděl v letošním roce.


1. Blade Runner 2049: vizuálně podmanivý futuristický noir ze světa, ve kterém bych nechtěl žít, ale který bych chtěl jako divák navštěvovat častěji. Dospělý a nikoliv pitomý blockbuster.

2. Dunkerk: velkolepá válečná podívaná, která emancipuje pojmy heroismus a vlastenectví. Skvělý střih a promyšlená stavba scénáře.

3. Na shledanou tam nahoře: kultivovanost, silné téma, "smutný" humor, poetika a výtvarná stylizace.

4. To: důstojné zpracování zásadního románu z dílny hororového mága Stephena Kinga. Výborně vybraní dětští představitelé a především krásná Sophia Lillis. Držím palce, ať její talent v mašinérii šoubyznysu nezapadne.


1. Mindhunter: precizně natočený seriál o studii lidského chování se skvěle vymodelovanými postavami, kde hraji roli každý nenápadný detail.

2. Westworld: strhující výpravná mise do nepříliš vzdálené budoucnosti, s komplikovanou strukturou, myšlenkově provokativní, s humanistickým zaměřením, s nejednoznačnými postavami, skvěle obsazená a zrežírovaná

3. Babylon Berlin: ukázka, že i v Evropě je možné natočit výpravný seriál, který splňuje vysoké nároky quality TV produkce. Špinavý noir z výmarovského Německa roku 1929, kdy se vytvářelo podhoubí pro nástup nacismu.

4. Better Call Saul: I třetí série ukazuje, že když se sejde kvalitní scénář s výbornými herci, nemusí ani několik sezón znamenat jakýkoli sešup kvality. Podle mě je Better Call Saul poněkud podceňovaný, což je důsledkem kultovního statusu jeho předchůdce Breaking Bad. Chápu, že vyrovnávat se s jeho popularitou je nevděčné.