gudaulin

I have mentioned several times that I am not really fond of classic detective stories that revolve around a sophisticated criminal and an even smarter detective who doesn't need a team of colleagues, and for whom uncovering the culprit is primarily an intellectual feat. As the years go by, my aversion to the world of better people where these stories usually take place only intensifies. Such detective stories represent a stylized spectacle with stereotypical characters, typical settings, and beloved props, and in my opinion, it is too artificial and bourgeois. Therefore, I accepted my daughter's invitation to the movie theater with certain hesitation and assumed that it would be somewhat uninspiring. However, it was a pleasant surprise. Director Johnson, who is also behind the screenplay, does indeed like detective stories, but he is not afraid to play with the rules and turn the genre into a bit of a parody. Light exaggeration is omnipresent, and the cast members clearly enjoy their roles and add a dose of ironic detachment to their performances without turning the film into a blatant parody. The result should satisfy not only fans of the genre but also those who find the classic formula of detective stories somewhat cliché. The choice of Daniel Craig for the role of detective is daring because he would be more suitable for the tough American school or the opposite side of the law, but it works. In addition, the members of the wealthy family are charming in their animosity and shortcomings. Overall impression: 75%.

At the Třeboň Anifilm festival, Adama was screened in the category of films for children and youth, which is quite bold, because even many war films for adult audiences contain more optimism and less depression than this animated film. In the second half, when the plot transitions to the war zone, it becomes a truly bleak and dark affair. Adama lacks the ability to captivate - it is a typical arthouse film that requires more attention, but it is very well executed in terms of visuals and has a strong anti-war message. The film can be considered as animation school and a showcase of brilliant artistic style. Sand animation is rarely seen. Overall impression: 75%.

This psychological drama with a slower pace, in an unusual international co-production, tells a story from an Israeli kibbutz in the 70s, where there is a conflict between an individual who longs to escape the restrictive environment and a collective that manipulates him and tries to impose their idea of happiness and lifestyle on him. The film comes across as too harsh an indictment of the kibbutz, who were actually organized on a voluntary basis and formed the most functional attempt at an egalitarian community built on the principles of nationalism and social program. The kibbutz naturally could not withstand the growing and individualistic society, but the fact that they still exist testifies to the fact that it was and still is the best-organized project of its kind, which has nothing to do with real socialism. A similar story about a nonconforming individual doesn't have to be only from the environment of religious sects or ideologically oriented communities, as it can be, for example, the rebellion of children against their parents who want to dictate their lifestyle, and it can have many other versions. Overall impression: 60%.

Current cinema has a lot of problems, but perhaps the most threatening of all is political correctness, which reeks of self-censorship and self-deception. In the end, it annoys the viewer by leading to predictable points and dulling the edge of satire, humor, and serious drama that aims to criticize social disorder. It is precisely the political incorrectness and absolute unpredictability of the behavior of the film characters that significantly elevates Adam's Apples above today's film productions. The psychological battle between a passionately believing priest, a cynical technocrat in the form of a local doctor, and, above all, a discharged convict active neo-fascist Adam is presented in an unusual form of tragicomedy, which often teeters on the furthest boundary of what we can label as socially acceptable. However, that is precisely what makes it valuable to me, and very few films in recent years have given me as much joy as this one. Overall impression: 95%.

Was it love? Or could it have been love when it was dictated by the political situation, the dominance of one party that was able and willing to buy a woman for two bottles of cognac? What would a love relationship between an Israeli soldier and a Palestinian woman during the intifada be like? In any case, Vláčil proves why he is considered by many to be the most talented director in the history of Czech cinema. I have seen many films that more or less successfully played at being artistic, but this doesn't have to pretend to be anything. This is a genuine artistic gem, which may not be appreciated by fans of action films due to its slow pace and attention to detail, but film enthusiasts will find it satisfying. I fully believe in all of Vláčil's characters, I have no complaints about the depiction of the atmosphere of the Moravian borderland, and above all, I appreciate that Vláčil doesn't make it easy for the viewer, goes against expectations, and doesn't shy away from a raw, sometimes even cynical portrayal of the characters. Here there are no positive heroes in the true sense of the word, everyone has some smudge of the bad Czech aspects, boorishness, or rough plebeianism. And on the German side, there is stubbornness, hatred, and fear. Overall impression: 95%.

Andy Garcia's life project, through which he expressed his love for Cuba, where he comes from, and expressed his relationship to the Cuban revolution, the past and present of Cuba, and a bit of Cuban culture. The dramatic storyline of one family and the conflict between three sons divided by political opinions work very well, especially the unfulfilled love relationship of the main character when politics once again separates the lovers. I was a bit disappointed by the relatively unremarkable use of the environment of the best Havana cabaret, as I expected the film, where the main character is a cabaret singer and artist, to be full of musical numbers, and distinctive dance and music creations. I was expecting a new Cabaret. Surprisingly, it is quite lacking, as the Fico Fellova club only serves as a background for displaying fateful political events. Andy Garcia in the lead role acts reliably, but I still get the feeling that compared to his early films, he has lost a bit of his spark. Overall impression: 80%. The political dimension of the film is interesting, somewhat limiting the result. Andy Garcia proves that as an immigrant, he simply does not understand certain events and characters of Cuban history because he cannot even understand them. He does not understand the essence of the Cuban revolution, its roots, and the motivation of its participants. His characters are members of the Cuban social elite, and dissatisfaction with the Batista regime is mainly perceived as dissatisfaction with the lack of political rights during the dictatorship period. The Cuban revolution was motivated by social inequality and anti-Americanism typical for Latin America as a whole. The interference of the US government in the internal politics of the continent's countries was simply highly unpopular, and Garcia, as a successful American citizen and well-positioned member of the upper-middle class, does not admit it. For example, his portrayal of Che Guevara as a cynical murderer is one-dimensional, and it is essentially a negative caricature that greatly flattens this character. Che Guevara was not only a Jacobin revolutionary who could put his defeated enemies against the wall without blinking an eye but also a brilliant intellectual, and unlike Castro, who was a power manipulator and practical politician, he was a person who truly believed in the ideals of the revolution.

I only gave it 2 stars, which does not indicate any enthusiasm, but I will start with what works well in my view of the film. Firstly, the presence of Alain Delon. He was at the peak of his career at that time, and his minimalist acting in the roles of tough guys rightfully gained a lot of success with the audience. Secondly, the presence of the second movie star, Charles Bronson, also contributes to the film. No one expects character acting from him, and he was very solid in typical roles of adventurers with a strong fist. Thirdly, the typical 60s visual style, from the hairstyles and costumes to cars - for those who like this era, this film is a feast for the eyes. The chemistry between the two main characters works decently, and the film is a celebration of male friendship. Unfortunately, that's where the list of positives ends. The main obstacle is the overly complicated and far-fetched screenplay, which requires its characters to have completely twisted mental processes and relies heavily on extreme coincidences. The surprising resolution falls into the category that can only elicit a forgiving smile and sarcasm. Upon closer inspection, one cannot help but notice numerous logical gaps and absurdities that bring the film to its knees. On the other hand, it is not a film that makes me angry or that I consider a waste of time. Overall impression: 45%.

The French Detective is similar to the famous gangster film by director Mann, and the comparison of these films in the same genre answers why I consider the American film to be an undisputed genre classic and a true embodiment of a quality crime thriller, with excellently shot action scenes. Meanwhile, the French film is just mediocre, and even the presence of the famous Lino Ventura does not help this time. In fact, I should say that Ventura represents the only reason why you should waste your time with this old film. Ventura lacks a strong and charismatic opponent. Of the other characters, only Ventura's superior is worth remembering, who allowed himself to be tamed too much by the influence of the powerful and by the political order. Although seemingly nothing is missing from the ingredients that make up a proper crime story, the result is a very average dish. Overall impression: 55%.

For a long time, I neglected documentary series that relied on perfect cameras and panoramic shots, so I can afford to give Aerial Cities the highest rating. I simply haven't tired of this style yet. The series is built on impressiveness and effectiveness, and the camera delightfully focuses on monumental skyscrapers, industrial complexes, and technically sophisticated and daring architectural elements. It also includes shots of natural beauty, military complexes, and all elements that reinforce the feeling of American exceptionalism, prosperity, and strength. You will, of course, not find any examples of the decline of American cities such as Detroit there, nor any other troubling elements that would testify to problems or deficiencies. However, the series is truly convincing in what it aims to be, and the views captured from drones or helicopters are fascinating and at least entice you to ponder a tourist trip for exploration. Overall impression: 90%.

Just an average film, but nonetheless a showcase of colorful characters portrayed by a whole array of well-known and talented actors. The three detective stories about small Czech crimes are otherwise easily forgettable. Fortunately, the film is helped by a slightly ironic detachment with which Jiří Vala, as the husband, comments on the events and characters around him ("we don't have heroin here, so we'll at least take some alginate"). Overall impression: 50%.