gudaulin

Escape from the Planet of the Apes already brought some dilution of the conceptual essence of the novel and the first film, although it still maintained decent visuals, quality acting, and overall spectacle, thanks to a relatively generous budget. (Actually, the budget wasn't that generous, but the sets and costumes from the first film were largely reused in the second.) This is clearly a more B-grade piece, content-wise and conceptually, reminiscent of American sci-fi films from the 1950s. Overall impression: 45%.

Planet of the Apes became a phenomenon in the media in its time and was one of the most famous works in the sci-fi genre, and its commercial success resulted in several sequels. Although these sequels brought the producers considerable profit with minimal expenses (they were filmed, of course, using the set and masks from the original movie), they diluted the original strength of the film. Based on the successful novel of the same name by Pierre Boulle from 1963, which, although different from its film adaptation in many aspects, is equally good and I can recommend it for its literary language and intellectual level. The film was expensive for its time and shooting with actors in masks was challenging, especially for Kim Hunter, who had a lot of screen time. The film had extraordinary success not only because of the professional work of the makeup artists who were able to create a perfect illusion of an ape civilization, but also because of the quality screenplay and clever direction. Last but not least, the film struck a chord with the spirit of the time with its dark message about the end of human civilization. The cold war was reaching its peak, which had turned unpleasantly hot in Vietnam, and politically, there was unrest on university campuses and city streets, and various apocalyptic visions were very fashionable... The film belongs to the golden standard of its genre. Overall impression: 95%.

For me, given the high expectations raised by enthusiastic reviews, comments, and high ratings, this was probably the biggest disappointment from Emir Kusturica's body of work, which I otherwise quite enjoy. This allegory simply didn't resonate with me; both the plot and the playfulness with the audience felt too absurd, and the film, in my opinion, was unnecessarily long, with overacting characters. Overall impression: 45%.

An intimately conceived romantic drama, clearly inspired by the theatrical version, whose success is supported by excellent dialogues, a quality screenplay, and top-notch acting performances. Since the film is based on a play, a significant part of the story takes place indoors, somewhat resembling a more expensive television production. All four of the engaged stars deserve the highest rating for their performance, although Julia Roberts lags behind just a bit. It is reliably directed by the experienced Mike Nichols, with visually appealing shots of Natalie Portman dressed as a stripper, which will be sure to attract male viewers. Compared to the theatrical version, the film concludes much more sentimentally and romantically. Overall impression: 90%.

A topic as powerful as the pursuit and capture of one of history's most feared mass murderers understandably makes the acceptance of the film much easier, but it wouldn't be enough on its own if the film had a poor script and direction. Surprisingly, the creators restrain themselves from indulging in cheap depictions of horror in the American production, instead focusing on the psychology of the main characters and the slow progression of the investigation. Of course, the portrayal of Soviet reality in the film is not entirely authentic, and connoisseurs of the era may smirk a few times, but this won't bother the vast majority of viewers. Decent acting performances, quality direction, and good atmosphere. Overall impression: 75%.

Needful Things can essentially be perceived the same as the overwhelming majority of adaptations of Stephen King's works. It is boring and cheap, with a small budget. Those who are unfamiliar with the book may think it's passable, but those who have read it will likely suffer and the deprived ending will provoke a surge of fury. The last 8 pages of the novel, if managed well in terms of screenplay and special effects, would surely push horror fans deep into their seats. Also, if the atmosphere of thickening tension and pervasive evil could be successfully conveyed through a quality script in the film, it would be a top-notch horror affair. Like this, it is only worth an overall impression of 40%. An added positive aspect that contributes 10% to this film is the involvement of Max von Sydow, who truly suited the role of the envoy of hell.

I don't love this production, but Surviving the Game has one major advantage, and that's the casting of the villains. Thanks to them, all the classic weaknesses of a B-grade action spectacle can be endured. Overall impression: 35%.

For me, probably the best Steven Seagal flick, which nevertheless isn't much of a compliment because quality films are rare in his filmography, and the vast majority of his movies have incredibly ludicrous scripts and dull acting performances even by the standards of his genre. Here, too, there are script flaws and obvious nonsense (two terrorists are ordered to "neutralize" a locked-up and bound Seagal, who until then posed zero risk to the raiding party, only allowing him to escape and be killed by him). On the other hand, the direction is brisk, and the film boasts decent casting for an action genre (Tommy Lee Jones, Colm Meaney). Overall impression: 40%.

Bordello of Blood can be summed up much like Demon Knight - it's a straightforward B-movie that knows what it is and doesn't try to be anything else. If viewers are willing to embrace its campy charm, they'll find it satisfying, though it won't leave them awestruck. Unlike Demon Knight, Bordello of Blood leans more heavily into humor, and surprisingly, the mix of horror and comedy works here. The cast, particularly Erika Eleniak, feels right at home in this genre, and their performances help elevate the film, smoothing over some of its rougher patches. Considering its modest goals, it's well-cast and competently executed. Overall impression: 55%.

The glimpse into the exceptional performances of Soviet artists is inherently valuable. If this were a documentary film focused solely on capturing the circus performers without the interference of a clumsy script and forced humor, I would evaluate this piece differently. Unfortunately, the story falls short, and aside from the circus acts, the standout feature is the cast. While the cast is indeed noteworthy, one would prefer to see this old guard of actors in more compelling material. Overall impression: 25%.