gudaulin

A depressive view of society that goes to the dogs. If some of the participants in the documentary had a feeling of hope that things would turn for the better, it only took half a year and Vladimir Vladimirovich's decision to start a war in Ukraine to make it definitively clear that Russia is turning toward a regime similar to North Korea. Freedom-minded residents of the Russian Federation are now fleeing in droves through Finland and Georgia into emigration. This night will not be short. Overall impression: 75%.

The hardest hammer hitting German organized crime does not seem to be a genius detective or a tough investigator of the local criminal police, but rather a settled and whipped family guy with a big heart who cannot refuse his manipulative selfish wife's crazy ideas for an easy life, even when they lead to his disfigurement. His behavior and appearance lead to Arthur's underestimation by others, but whoever has luck and fortune on their side can really deal with the wheel of fate. Comparisons to Fargo may come up during the first superficial impression, but Fargo is much more grounded in the real world, while in the German case, we are in the genre of stylized black-on-black comedy, where exaggeration and randomness sometimes turn into absurdity. If you forgive the comedy for frequently subjecting its characters to truly ugly things, then I can recommend the series with a clear conscience. Solidly cast, acted, and narrated. Overall impression: 75%.

The age of adolescence is not only a period of tasting forbidden fruit and first sexual experiments, but also a stage of life where you don't yet feel bound by adult ethics, the temptation of power over others is too enticing, and courage is lacking to show compassion, especially when your friends consider kindness as weakness. Once, the esteemed investigator of the Israeli police suffered harassment that left his left eye damaged. When a multiple murder leads him back to the high school where he experienced so much adversity, demons from the past resurface and he is determined to conduct the investigation disregarding regulations and consequences. The series excels at working with characters, is unpredictable, and fully exploits the attractive school environment with its horny teenagers indulging in all manner of vices associated with their age. Throughout my review process, I oscillated between four and five stars, but as time went on, the otherwise good script began to work with character psychology which was somewhat unbelievable, and the last episode was clearly rushed and unresolved. In the end, I leaned toward a lower rating. Overall impression: 85%. However, Israeli production once again demonstrates remarkably high quality.

London at the beginning of the 19th century, as the capital of a flourishing empire where the sun never sets, has its best days ahead. However, even then, it is perceived as a center of intrigue, determining the state of the world, despite temporary difficulties caused by the Napoleonic Wars. At the same time, it is a place where no one has just one master. Except for James Delaney, who serves only himself, his revenge, and his path to success. His fate can be understood as the story of a deprived nobleman, stripped of nobility, similar to the Count of Monte Cristo. Delaney is an adventurer with a dirty past, present, and future, who has no issues crossing the boundaries of the law and the moral standards of the time. He is surrounded by allies from the lower classes, who are comfortable with such morals. The series can be criticized for focusing on a cool style and effects, but at the same time, it presents such an interesting mix of conflicts, with a plot full of twists and such intriguing characters, both outwardly and inwardly dirty, that I gladly overlook these flaws. The cast is luxurious, and Tom Hardy's performance as a tough guy who goes after what he wants is perfectly fitting and is one of the significant roles of his career. I had a great time with it, and I would love to see a meaningful continuation of this project. Overall impression: 90%.

I understand the need to continue a successful series with another season, but in my opinion, the continuation did not succeed, and what's more, it to some extent negates the excellent script of the first season with a new perspective on an old case that led the detective to jail in the first season. It is less believable, even though the series copies the format and style of the previous season, it simply lacks that drive and charismatic supporting characters. Moreover, no offense to Trine Dyrholm, but she is not the attraction like Ulrich Thomsen's bulldog-like, uncompromisingly rough style as an angry father who crushes suspects without regard for consequences. Even the three stars I give it are not very convincing. Overall impression: 55%.

Take the worst elements and genre clichés from westerns, add the innocent face of Franco Nero and his blue eyes, mix thoroughly, shake well, and you have Django. Corbucci's Django belongs to the category of films that would be very difficult to parody because it is so bad that it is an unintentional parody of itself. I understand the positive reactions as guilty pleasures, but any defense of Django as a significant western film is beyond reality and ordinary human judgment. To understand how terrible the film actually is, you only need about 2 minutes when you start seeing the overacting and desperate non-acting of the supporting actors, unfortunately including the main female role. For Django to be presented as fun entertainment, it would have to have purposeful work with parody elements. Django lacks a meaningful script, or any motivation explaining the characters' behavior - actually, it lacks everything. By the way, the spaghetti western in its essence was a purely consumable B-movie product of Italian cinema, lacking the ambitions of producers, and it is only thanks to the genius of Sergio Leone, who managed to cross the boundaries in several cases and give the spaghetti western a positive dimension, that we owe the fact that the spaghetti western is not synonymous with film rubbish. Overall impression: 20%.

The Pirates of the Caribbean films were never clever but they were funny, entertaining, and catchy. In my opinion, with the fifth film of the series, they reached a stage of rotting where it hardly affects me anymore. The film doesn't even offend me and just evokes indifference and boredom. Perhaps I'm slightly concerned about the IQ of the target audience. If this kind of silly infantile entertainment can justify its existence and fill up cash registers, society is not heading toward a brighter future... Overall impression: 20% for the set design and special effects.

Honeymood is a comedy that you will enjoy if you have a tendency toward mischief. Otherwise, it has the ability to cause awkwardness and disgust. The majority of comedic situations are connected to the bride's escapades, who is over thirty but mentally stuck at seventeen. Delayed puberty dangerously intertwines with a hysterical personality state, so you get to observe sudden mood swings, affectation, manipulativeness, and stubbornness, which should have warned Noam long before he voluntarily put on the noose... I mean, the ring. The bride is simply an annoying toxic person, which is especially highlighted in comparison to Noam's ex-girlfriend, who is three orders of magnitude more sympathetic than Eleanor. Meanwhile, the filmmakers steer this obvious tragedy toward a romantic reconciliation and comforting happy ending, which seems as trustworthy to me as Donald Trump's tax return. Overall impression: 55%.

Projects by Guy Ritchie usually stand out for their playfulness and lightness, which this time has been replaced by straightforward action full of violence, testosterone, developed musculature, and a sullen gaze à la Sylvester Stallone on the face of Jason Statham. Although he is not usually cast by directors in roles of intellectuals, here his unchanging frosty expression is a bit of a shame. The simple story about a journey to get revenge wouldn't bother me if Ritchie hadn't made it into such a popcorn flick. Supermen who knock down six opponents with six shots from dozens of feet away belong in fairy tales that I don't appreciate. Additionally, I get the impression that the team of screenwriters did not do a good job in this case, and a few times I incredulously raised my eyebrows at the strange shortcut in the plot or the behavior of the characters. However, Ritchie is too good of a director to make an outright bad film, especially since this one appeared at just the right time after the forced fasting imposed by the COVID epidemic. Within the genre, it is clearly above average, and any fan of action spectacles can confidently add a fourth star to my overall impression of 60%.

The film is as cold as a dog's snout and lacks tension in many places, which one would expect in a spy drama. Many people have already written about the unfortunate choice of casting Adolf Hitler's character. Hitler was at the peak of his popularity and his physical and mental strength at that time, and he had nothing in common with the Nosferatu vampire presented in the film. On the other hand, Jeremy Irons is exactly right in the role of Chamberlain, but I'm afraid that's the only thing that will stick in the memory of viewers in the long term. Personally, I don't like it when foolishness like an SS officer attacking a member of the British diplomatic mission at the summit meeting during the Munich conference appears in a realistically-looking historical drama, on which the attention of the world public was focused. That person could consider himself extremely lucky if he ended up only in a concentration camp and not directly in front of the firing squad. Overall impression: 55%.