gudaulin

I remember the comic by Riad Sattouf "One day you will be an Arab", where he processes his childhood experiences in the Syrian countryside. He describes the murder of a girl by her closest relatives as a punishment for an unacceptable love affair. The murderers became the most respected individuals in the local community and were presented as a moral example of society. Ali Abbasi didn't intend to make a regular thriller about a mentally disturbed sociopath. He was intrigued by the religious motive of purifying society from sin, which the perpetrator defended during his rampage in court, as well as the support of a significant part of the Iranian public that he enjoyed. Through his protagonist, the journalist Rahim, whom he confronts with the incompetence and prejudices of the local authorities, the director presents a bitter testimony of how the Iranian religious regime appears and operates. Abbasi, as an immigrant from the country where he spent his adolescence, understands and thanks to him, the Iranian realities look authentic, even though it was naturally filmed elsewhere. Audiences should not be surprised that it reveals more than usual in terms of both intimacy and violence, in order to create a compelling effect. The thriller element works smoothly thanks to the appropriate use of music and editing. The acting is flawless. Overall impression: 90%.

From time to time, a person unexpectedly comes across a gem of a series that takes unexplored paths and combines something you previously assumed couldn't be reconciled. At first glance, the town of Fortitude is a typical representative of the beloved Nordic noir genre. It boasts impressive shots of the desolate, harsh, and freezing landscape sparsely populated by people with complicated characters, whom fate has somehow brought there. It's not advisable to pry into their pasts, and it's better not to have any grand illusions about their motivations. When a shocking murder of one of the community members occurs, the darkness that was safely hidden deep within them begins to seep to the surface. In addition to the thriller aspect, gradually, a no less significant science fiction and horror element begins to make itself known. Its charm for me lies in the fact that it is seamlessly integrated into the series and gives off a believable civilian impression. Fortitude belongs to the series that don't rush and play with atmosphere. It explores the nature of individual characters, doesn't rely on gimmicks, and yet still manages to surprise. Superbly cast, written, and directed - what more can you ask for? Overall impression: 90%.

A worn-out joke that answers the question of who will be the next James Bond with a lesbian black woman, is coming true in the adaptation of Neil Gaiman's masterpiece – the comic book series about the ruler of the realm of dreams. The creative team has eagerly embraced all the fashionable ideological trends that excite American urban liberal elites. In one scene, a character tells his agent that he will sell the film rights to his novel on the condition that the producer guarantees equal representation of all races and genders. It sounds like an ironic shot at oneself. Unfortunately, the filming of the series followed this logic, so we encounter arbitrary changes in the gender of Gaiman's characters. In one episode, the medieval and early modern London is teeming with black characters and, above all, homosexual characters, and visually, half of the characters are same-sex couples. The LGBT phenomenon is presented schematically and clumsily, artificially grafted onto stories that resist it, and in a concentration that is at least disturbing. If Netflix wanted to cater to the needs of the LGBT community, it could have adapted better source material. This is just a mutilation of a comic book classic. The above-mentioned is, indeed, the most visible deformation of the series at first glance, but I have a much bigger problem with its literalness. Gaiman's comics are meant for adult readers, working with suggestions, and their greatest strength lies in the stirring of imagination. The Sandman series chews over, trivializes, and strips away its internal tension. It dilutes the philosophical overlay of the work into a consumable form for American teenagers. At times (like in the case of the cute dragon serving to restore Sandman's power), the series is disgustingly sentimental. On the other hand, in potentially strong scenes, it relies on actors who cannot transfer the charisma of comic book characters into the film world (Gwendoline Christie as Lucifer as Sandman's most dangerous opponent simply doesn't work). To be fair, Tom Sturridge in the lead role is spot-on and the final standalone episode works well. As for the rest – am I really supposed to be outraged that the writers (unlike in the Lucifer series, where the creators completely destroyed the comic book source material) more or less stick to the main storyline defined by Gaiman? I cannot find the quality of the screenwriting work, only remnants of myths and reflections of Morpheus' world. Overall impression: 45%.

At the age of 13, I was an avid reader of romantic knight literature and if at that time, when Walter Scott's character Ivanhoe was my role model, I had also seen Schaffner's The War Lord, I would definitely have liked this drama from the early Middle Ages. Unfortunately, a few decades have passed since then, and romanticism in literature or on the silver screen no longer means much to me. The War Lord is a film of its time, and it fits into a series of high-budget historical stories inspired by Hollywood works that relied on famous names and breathtaking sets. It is precisely the set that is the reason why I ultimately give it three stars because the half-hour siege of the fortress is impressive even today. Even more so knowing that digital special effects did not contribute to the final impression. Everything else is stale - the love story is melodramatic, the pace is dragging, and the conflict between the two brothers is too pathetic and contrived. Fans of historical fantasy will be somewhat bored by The War Lord. Expressive means simply looked different back then. In the same year, Charlton Heston played the titular role in the film The Agony and the Ecstasy, which is a film from the golden age of cinema, it is timeless, and I can only recommend it to film fans. The War Lord is watchable, but more so as a way of mapping individual film eras and styles. Overall impression: 55%.

I am occasionally overcome by a bout of bad conscience about the fact that I do not know Slovak dramatic works, and this was supposed to fill in some of the gaps. If a TV station had filmed the story of a communist official who ended his life in a Nazi prison in 1973, the television adaptation would have looked essentially the same. A similarly cheap set design, identical shots of talking heads, and essentially nothing has changed in production methods over 35 years, which is a sad realization. I was also bothered by details such as the dialogue lines of Clementis's lawyer, who as a proven comrade would hardly utter certain phrases, even if it were a few hours before his client's execution under such extreme conditions. Overall impression: 35%.

I have great respect for the social dramas of the Dardenne brothers, but there has always been something missing or excessive for me in their films. Yet this drama, set in a corporate environment, resonated with me so much that I accepted it without reservations and with enthusiasm. For me, this is the most crucial film by the sibling duo. The seemingly artificially created situation corresponds to the conflicts that unions and management resolve in collective bargaining in companies when they have to decide between preserving jobs or increasing wages. One of the world's best actresses in the lead role is just the icing on the cake. Overall impression: 90%.

I might be a heretic for it, but I will not join the large fan club of this film. I have, let's say, a reserved relationship towards Adam McKay's work, we don't understand each other, and Don't Look Up is unfortunately no exception. In my eyes, satire should be smart and sophisticated above all. However, this film is kneaded from the same material that it wants to make fun of. It is a pop culture comedy for viewers who are satisfied with little effort in character development, who want to have things served nicely, and, above all, who want to reinforce their view of the world. The film has such a strong cast that I was almost certain I would give it at least three stars, but in the last third, it really annoyed me. If there are comments comparing Don't Look Up to Wag the Dog, with the claim that Don't Look Up is superior, I see it the other way around. Wag the Dog defeats McKay's film not by one or two horse lengths, but at least by a whole stadium. Overall impression: 45%.

Immediately after watching the movie - albeit reluctantly and with considerable hesitation - I awarded the film a dirty four stars because there is never enough criticism of greed and spinelessness. However, I am writing this comment sometime later, when the shortcomings of the script have fully revealed themselves. While it does analyze the causes of the economic crisis of the memorable year 2008, it does so in a somewhat cumbersome and less understandable way for the average viewer. The Big Short does not work as a captivating story with charismatic characters, such as in The Wolf of Wall Street, nor is it an intimate drama that exposes human characters to the core in a borderline situation, as was the case in Margin Call. In the realm of movies depicting the nefarious activities of financial institutions and discussing the crisis of trust in modern Western society, this film simply does not belong to the top tier. Overall impression: 60%.

Well, there are many ways of securing oneself for old age. Some invest in gold, others pay for pensions, and some still want to squeeze the most out of a theme that once celebrated unexpected success with its direct coarse humor. In the first The Visitors, the main characters were already middle-aged. Jean Reno was 45 when he was looking for his future wife, and the sequel, which is supposed to directly follow their former escapades, is 23 years apart. Age is not crucial, although the fatigue of the material cannot be denied. The sequel lacks spark, ideas, and originality. Jean-Marie Poiré was already in deep decline and the comedic star Clavier didn't have his best day when writing the screenplay. Jean Reno does not get the necessary space, and Clavier's comedic entries rely on primitive and sometimes embarrassing physical "humor." Many characters, including those from real history, have incredible potential but remain shamefully unused. One cannot forget about The Scoundrel or That Night in Varennes, which managed to get the most out of the attractive era of the French Revolution. If something keeps the film afloat, it is the presence of a number of well-known French actors - apart from the main duo, for example, Sylvie Testud in the role of Robespierre's sister. But otherwise, it's pretty damn bad. Overall impression: 30%.

I have heard words of praise about Oriol Paulo's work, but for some reason, I hadn't watched any of it. The first two episodes were captivating and gave me the feeling that I was watching a scriptwriter's polished gem in the hands of a director who has a good sense for the genre and a perfectly studied understanding of modern thrillers. However, with each subsequent episode, doubts and sobering thoughts gradually began to creep in. The way Paulo works with characters, the transformations they go through, the challenges they have to face, and the (inevitably fatal) obstacles they must overcome, strikingly resemble the creation of Latin American soap operas, of course, on a completely different production and craftsmanship level. It's the same emotional manipulation, shocking and far-fetched twists, melodramatic elements built for effect, excessive complexity, and, last but not least, the same reliance on attractive faces and enticing bodies of actors of both genders. It must be noted that they are not limited to their attractive appearance, as the selected ensemble also delivers solid acting performances. If you don't mind the overall exaggeration and excessive plot twists, and you are capable of switching off your brain at the appropriate moments, The Innocent can provide you with an intoxicating experience. For me, three stars and an overall impression of 50% is a messy compromise between obvious craftsmanship and mediocre content. Paulo didn't offend me, but one look into his creative workshop was enough for me...