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Is this a case that an intellectual and sophisticated aesthete like Paolo Sorrentino made a common genre film? Nope. He cleverly and with subtle sarcasm pulls the viewer's strings. It somewhat reminded me of the Coen brothers and their film No Country for Old Men, in terms of how it deals with audience expectations. However, Sorrentino's approach is more intimate, and slower, and his film has a distinctly Arthouse nature. No, The Consequences of Love is not primarily about crime, but rather about the feeling of the worst possible defeat in life, and above all, it is a film about revenge. Revenge beyond the grave, where the key to understanding the whole film lies in the opening scene, where the anti-hero looks out the window and watches a funeral procession. When you realize that you died ten years ago, you don't have to worry about the consequences anymore. Toni Servillo delivers a focused performance and proves that he belongs to the elite of the current Italian acting scene. Overall, this drama seemed to me the second most likable film by Sorrentino, although it certainly isn't for everyone. Overall impression: 80%.

A must-watch for horror fans and a pleasant opportunity for others to get acquainted with the essence of the genre, typically presented in an above-average manner. With numerous episodes, there are inevitably some lackluster ones, but the majority feature imaginative stories, often with surprising twists and the appropriate atmosphere. The half-hour runtime prevents the "fluffy padding" common in feature-length films. A significant advantage is the chosen light-hearted approach, where the creators play with genre clichés and audience expectations in a slightly parodic spirit. Overall impression: 80%.

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%.

A full-length film shot in the style of the TV series Tales from the Crypt, which probably won't please those viewers who expect real fear from horror movies, because in terms of story and execution, Demon Knight simply cannot be taken seriously. On the other hand, it is evident that this is exactly the goal of the filmmakers, that it is a kind of tribute to cheap B-movie productions and that the actors and the whole crew probably had a good time during shooting. Practically everyone involved is overacting, intentionally or not, and surprisingly, it fits well in this spectacle. When watching Demon Knight, one cannot have high expectations. It is not a great film, but rather a relaxing affair for late evenings. Overall impression: 50%.

Michel Ocelot is a self-taught talent in the world of animated film, who ignores trends and commercial compromise. His films have never been among the hits and have not garnered the interest of the mass audience, but they regularly appear at film festivals and are sought after by connoisseurs who appreciate the artistic aspects and originality. Ocelot, thanks to his roots and interest in other cultures, is a globetrotter who frequently incorporates cultural references from other continents and eras into his work. This is also true in Tales of the Night, where we follow six fairy tale stories. However, be warned, even though there are princes, princesses, and other supernatural beings, it is more in the form of classic myths and ballads, which will be appreciated - thanks to its idiosyncratic non-childish humor - by more mature viewers. These stories are set in Central Africa, the Caribbean region, Mexico during the Aztec Empire, Tibet, and medieval Europe. Viewers can appreciate the fascinating sunrise on the peaks of the Himalayas or the hero's journey into the gloomy realm of the dead. Personally, it was a great experience with an interesting filmmaker, but I would recommend something completely different to parents of young children. Overall impression: 90%.

A nice surprise in the form of a reliably made old-school crime film set in the world of American galleries, which I find more interesting than the more famous Bullitt case by the same director. It is a realistic story of an insignificant underworld member who has never been able to properly get going and is terrified at the idea of a trial and subsequent imprisonment, which could mean the end of his family's security in his old age. From there, it's only a step away from collaborating with the police, but give the devil a finger and he'll want the whole hand, and that already feels bad and there is too much at stake. Several criminal offenses, several characters whose fates intertwine, unpredictability, and decent acting performances. In the end, there is a cynical touch in the form of a suggestive dialogue between a policeman and his snitch. Overall impression: 80%.

Les Cowboys is one of the many variations on the theme of family breakdown. Underage Kelly disappears in the midst of a public celebration and her parents discover that it is due to a romance with a young Muslim man who flirts with fundamentalism. Running away from home is supposed to solve the conflict between the mundane world of the parents and the idealized world of the Islamic community, living according to the best traditions of the Muslim community. The couple disappears in the chaotic terrain of scattered Islamic groups throughout Europe. While the mother quickly comes to terms with her daughter's voluntary departure and is able to look forward to her grandchildren, whom she has never seen, the search for his daughter becomes an obsession for the father. He sacrifices friends, his wife, belongings, and his entire support system in his quest to rescue her from the clutches of the seducer. The first part, told from the father's perspective, is realistic, bitter, and compelling – with the underlying message that the least sympathetic character is the arrogant, frustrated, and violent father, who behaves like a bull in a china shop. Bin Laden would undoubtedly be a more pleasant companion, and Mullah Omar might have more empathy. In the second part, the son takes on his father's mission, and the story moves to the remote regions of the Middle East, specifically the Afghanistan-Pakistan border, where the frequently mentioned words are Al-Qaeda, Taliban, and Jihad. This part of the film is more visually appealing, but at the same time, in many ways significantly less credible and clearly forced. The speed at which Kid, who is approached by a specialist in negotiating kidnapping victims, becomes his companion must elicit at least a minimal level of awareness in those familiar with how delicate and dangerous the environment is, where a single mistake can destroy months of effort and, at most, elicit an understanding smile. Les Cowboys is part of the current of French cinema that attempts to grapple with the new ethnic and multicultural situation in France. It may not be entirely convincing, but it does at least raise new questions. Personally, I had a problem with the film's fragmented storytelling, with leaps of several years, and I couldn't help but feel that the most important things were being resolved off-camera. There are a number of titles that deal with similar issues more successfully artistically and thematically. I would instead recommend Not Without My Daughter, Horses of God, and many others. Overall impression: 55%.

The series of Spielberg's projects, which made the director famous, no longer excites me today, but if I had to name a title that I consider crucial in his early creative period, it would be Jaws. Spielberg showed himself to be a great storyteller here, who masterfully worked with tension and human fear of the unknown. From a basically very simple plot, he made a gripping genre film that could become a textbook for aspiring filmmakers, and a number of scenes still amaze today with the filmmaker's impressive cleverness. I consider the underwater scenes filmed from the shark's perspective or the view of the fisherman on a broken pier particularly well-crafted, as he experiences a transformation from the hunter to the hunted in a split second. Overall impression: 90%.

I have not read the book and honestly, I do not even want to familiarize myself with it after watching Silberling's film. The film had an exclusive cast with a whole pleiad of well-known Hollywood names. It also had a magnificent production with a variety of special effects and a scene that indicates that the crew did not have to make any compromises regarding the budget. However, from my point of view, the result is very poor and my one star is only for the set design, which sometimes does its own thing regardless of the plot. The Victorian gloom of the film sets and costumes is more effective than the grimaces of the main villain played by Jim Carrey. I have no problem with his performance, he is simply an actor who adapts to the requirements of the script and the director, but the level of stylized exaggeration was dysfunctional and unbearable for me. Even a three-year-old child would realize in his uncle Olaf's disgusting grimace and vocabulary after three-tenths of a second that something is not right, and here all the adults pretend to believe even his least probable charity. It's simply too overexposed and for me, it would work if at least half of the actor's performance was toned down. I haven't even mentioned ingredients such as the youngest member of the Baudelaire family, that typical American innocent angel type, who already disgusts me with the first smile and whom I would dispatch without hesitation. Overall impression: 25%.

The name Marilyn Monroe still resonates with film fans around the world and is to a certain extent a symbol of American post-war cinema. Her involvement in film is associated with the legend of a versatile and talented actress who was limited in her career by Hollywood studios, who imposed upon her roles of a naive and foolish blonde, despite her desire for more significant character roles. Here she had a unique opportunity to showcase her talent, and the result is tragic, even though those around her, led by her husband as the screenwriter, did their utmost to accommodate her. Arthur Miller even considered the film to be a grand gift to his wife. She repaid him with constant conflicts on set, hysterical outbursts, and chronic tardiness. Even on screen, it is evident that was not able to carry her part, despite the support of others. No, her capabilities were best suited for typecast roles, such as the sweet Sugar in Some Like It Hot. The Misfits is a film about the definitive end of the West as a territory of cowboys, cows, and freedom. The cowboys in the film survive as car mechanics or perform rodeo shows for the curious. They are not interested in romance, and they are ready to cash in on the last remaining herd of wild mustangs in the area, which represents a symbol of independence in a world bound by rules and obligations. Typically, I find fault with the script, which is saved by the performances of the talented actors. Here, I must praise the script, but despite the interesting cast, there seems to be a lack of chemistry, and instead of feeling a connection, it seems like they were actually ready to slap each other. Overall impression: 65%.