gudaulin

Unfortunately, this film left me completely cold from an emotional perspective. However, it is decently directed, and the performances within the framework of the script are convincing, displaying typical characteristics of the American independent scene. But I do have a certain problem with the script, or rather with what is put in the characters' mouths and how they are instructed to behave... I didn't go to a Catholic school, let alone in the 70s, and I cannot exclude the possibility that the whole story, which carries autobiographical elements, unfolded in rough outlines. But... Boys who want to kidnap an adult puma and place it in the teacher's room are not immature teenagers, but rather incredible idiots, and that is far from being the only motif that seems far-fetched to me. I simply couldn't identify with the characters. Overall impression: 55%.

A rather imaginative elaboration of the motif of the mysterious story by the genre classic Ray Bradbury, which I had the opportunity to read some time ago. There are certainly many reservations - for example, that the script is unfinished and the direction is weak - but since I approached The Gathering from the beginning as a small genre film primarily intended for the television screen, I didn't have exaggerated expectations that would lead to disappointment. Overall, it is an average film in its genre, i.e., a mysterious drama with elements of horror. Christina Ricci is charismatic even when the script doesn't work well for her, and the combination of Christian mysticism with supernatural horror is functional. Overall impression: 50%.

The Good Girl isn't particularly exceptional, but in the category of American independent cinema, it represents a decent above-average. Unlike big studio genre films, it manages to convey a glimpse of the real America of ordinary people, who make a living with mundane, unremarkable jobs. I believed in Jennifer Aniston as the tired and life-weary saleswoman - it's interesting that this is the first role of one of the highest-paid female TV stars where I took her performance seriously. Alongside Jake Gyllenhaal, the experienced John C. Reilly in the role of a somewhat down-to-earth husband is noteworthy. Overall impression 65%.

The basic problem of this documentary is revealed to the viewer right from the beginning - if two people tell the same story, their accounts can differ significantly, and even if they are not intentionally lying, both can be very far from reality. This film is a personal confession of Robert Evans, who was a significant figure in American cinema (and tabloids) in the past half-century. The role of a producer is immensely important, even more important than the role of a director, because without production, there is no film, and the producer influences the production and final form of the film. Evans enabled the creation of a number of interesting films and could provide many interesting testimonies. Unfortunately, like many others who have decided to make it big, he suffers from considerable self-centeredness, and this is noticeable in the documentary. The film simply lacks opposition. For example, Evans describes the breakdown of his family caused by his wife's infidelity, but he doesn't mention how many women passed through his bedroom at the same time. After all, Evans was known as one of the biggest womanizers in Hollywood. In the second half of the film, where he describes, for example, how he had to sell his luxurious mansion for millions of dollars after a cocaine scandal, and temporarily lost the roof over his head, his self-pity becomes rather embarrassing. The most amusing part of the film is the final scene, where Evans imitates the acting style of the temperamental intellectual Woody Allen. Overall rating: 60%.

A decent British comedy on the eternal topic of love relationships, which uses more of a French situational comedy than the classic British dry humor. Decent in terms of acting, with mostly unfamiliar actors. Overall impression: 60%.

Slightly subpar thriller where a traditional psychopath seeks revenge on unsuspecting victims for (supposed) past wrongdoings. A similar storyline, with minor adjustments, has been used in dozens or rather hundreds of films, and Primadona doesn't stand out in any way. The only allure and strength of the film is the mature charm of Jennifer Beals in the lead role as a singer going through a midlife crisis and confronted with the realization that her career has peaked. The acting performances and direction are not extraordinary, but they maintain a certain standard, and the film truly suffers from being assembled from recycled material. Overall impression: 45%.

A pleasant and smart comedy that relies on the typical advantages of British cinema, namely a certain soberness, rather dry British humor, quality acting performances, and original ideas. Especially in the first half, I even considered giving it five stars a few times. Although the dialogues are not overflowing with catchphrases and the individual scenes are not full of crazy gags, the absurdity of what is seen reliably brings a smile to one's face, as prisoners in a strictly guarded prison, all of them convicted for the worst crimes, namely murders, rehearse an opera performance about a serial killer with an ambitious theater group. Unfortunately, especially in the second half, the script slides from humorous exaggeration to sentimentality, especially in the banquet scene, where the air simply shimmers with mutual understanding, friendship, and love, where a little healthy cynicism wouldn't hurt. Of course, the whole scenario is unrealistic, as it would be difficult for, let's say, the head guard to rehearse a performance with his inmates without losing all authority and distance. Overall impression: 75%.

The relationship between an aging man and a young girl is one of the highly frequented topics in world cinema. From a series of similar films, Posluhovačka doesn't stand out significantly. It is a film that is more suitable for a television screen rather than the movie theater. The story is processed in a chamber manner and its resolution is not surprising. However, the faces of the actors are unfamiliar, especially Jean-Pierre Bacri who possesses a decent amount of character acting and experience, so his character can be believed. Moreover, the screenplay does not contain any illogical tricks like in Hollywood. So overall, it's rated at 50%.

Schachter's film does not hide the fact that it follows the emotionally engaged tradition of Hollywood, which cleverly attacks the viewer's sentiment. The script goes straight to the point and shows the protagonist - a young man with a speech impediment and physical disability, armed with determination and supported by a devoted mother - obtaining a job at a trading company and gradually gaining the trust of the neighborhood residents as a door-to-door salesman. He becomes a part of their lives, witnesses breakups and reconciliations, occasionally helps by chance, and directs or reconciles people. The pace of time changes, people age, and door-to-door sales become an anachronism, overwhelmed by phone and internet sales. The protagonist must cope with a serious illness and eventually the death of his mother, which he manages with the same inner strength with which he faces his disability. Without a doubt, this film is not a drama in the spirit of neorealism, but a tearjerker that looks at the world positively and mostly sees its characters in a rosy light. Moreover, it is just a TV movie, as its budget certainly did not attract any records. However, Macy managed to imprint not only humanity but also persuasiveness onto his character. Objectively, it may be worth 3 stars, but from a subjective point of view, I would gladly add one more star because the emotional manipulation here is not cheap, and the film gives hope to millions of disabled people throughout the world. Overall impression: 70%.

A pseudo-historical film with a problematic script and acting performances, and an underestimated budget. Rutger Hauer played one of his typical routine villains. A forgettable superficial matter. Overall impression 20%.