Filmmaniak

Two intertwined stories, so different from each other that it doesn't even seem possible to connect them. Judge for yourself - on the one hand a serious drama about a Syrian refugee trying to get asylum in Finland and looking for his sister, who got lost somewhere near the Hungarian border, and on the other hand a grotesquely absurd comedy about an aging businessman leaving his wife, selling his shirt shop and buying a worthless, dirty restaurant with matching staff. Aki Kaurismäki was nevertheless able to combine the two events very naturally in the last third of the film into a funny and conscious comedic-dramatic mix, with opinions about the refugee crisis, as well as dry jokes that will knock your socks off. There are a few needless things (for example, the characters of three stereotypical skinheads), but these are really just details.

An unadulterated, magnificent adventurous family film that pays homage to its genre and has a great chance of becoming a children's classic, which in a few years may have a status similar to that which The NeverEnding Story has today. Breathtaking visual and tricks, a gripping, moving and emotional story and a number of excellent, dynamically directed passages.

Sacha Baron Cohen once again boldly pushes the boundaries of film humor and tests what else the audience can endure. I had a really good time, although I admit that for many people, it will be hard to tolerate this film. For some it may be Comedy of the Year, for others embarrassing and disgusting hogwash. I recommend the film especially if you have a sense for black, vulgar and incorrect humor, you often go to the cinema, you've seen and can endure a lot of stuff, you find most comedies to be not very good or harsh enough, and you liked Cohen's previous films. The Cohen - Strong brotherly duo works great.

Sometimes it’s a little thinner than the first one, sometimes there’s "more of the same" and as a result it’s outrageous fun, if Zoolander's very specific style of humor combining goofiness, sophistication, bizarre craziness and absurdity is your thing. In any case, it is a shot in the dark for those who liked the first Zoolander. The sequel is something very similar - total mischief filmed by people who have significant filmmaking skills, are not stupid, have a sense of comedic timing and a variety of humor styles from comedians to serious faces through manic creation, to all of the possible subtypes of satire and parody. The film has a slower start, there are a few dead spots and not all of the jokes work, but I laughed almost continuously during the last twenty minutes.

Reflections on the social present and the life of the social bottom in a small town, as well as an ingenious satire on Czech behavior, wrapped in a B movie horror comedy about a carnivorous hole in the ground... The Greedy Tiffany is a multi-genre mix, all of the components of which are in perfect proportional interplay - terror, tension, humor and social criticism are all present in the right proportions and work together above all expectations. There are some problems with it, but even so, it is an extremely good film. The film should be appreciated for the fact that someone dared to adapt to the Czech environment truly unconventional film and genre elements. He succeeded, and a film was created that not only entertains, but one that also has something to say. This was truly a big and pleasant surprise.

Ex Machina is an intelligent and sophisticated blend of science fiction and thriller. It is a stunning, ambitious and extremely exciting spectacle, the course of which cannot be predicted in advance - it usually develops in completely unpredictable and unprecedented ways. The film is relatively successful in developing a philosophical discourse on artificial intelligence and the risks associated therewith. It addresses the question of humanity's confidence in advanced technology and whether there is a line beyond which the distinction between a robotic being endowed with artificial intelligence and man as such is blurred. The film is very current and realistic, whilst relying on the possibilities of the Internet and the technologies of today, and on current scientific knowledge in the field of robotics, bio-mechanics and software engineering. In addition, it is really well filmed, brilliantly written, the acting is first-class and the technical aspects are excellent. Alexi Garland, I applaud you.

Jan Prušinovský was able to shoot a drama that realistically captures the Czech social present through authentic locations and believable characters, without manipulating or emotionally blackmailing anyone. If all serious Czech filmmaking reached at least three quarters of this level, we would be doing great. The actors are excellent, the film is very high quality both technically and in terms of its craft, and the directing is top-notch.

A bold and strong film. Following the example of the Way of the Cross of Jesus Christ, the main protagonist, fooled by Christian ideology, sets out on her own path to destruction. The mostly static scenes, shot in long, undivided shots, captivate the audience with their impressiveness, convincing acting and the strikingness (and perversity) of the ideas presented in them. All the while the film proclaims that the Catholic Church is evil, only to eventually take a different stance in the final quarter of an hour and prepare a confusing twist, which, however, is fundamentally at odds with the beliefs that it had promoted until then. But that's also the only complaint I have about the film.

Richard Linklater filmed his life's work. The magical and nostalgic story was filmed continuously for twelve years with the same actors, who aged with it. Thanks to this, the film is unique and deserves to be written in the history of cinematography in golden letters. And it’s amazing. However, I can't shake the feeling that as a normal film, made via the usual method, Boyhood would not have done nearly as well. It is a bit slow in places and 166 minutes is really a lot for a relatively normal drama from the life of one family. Only its form is enchanting and extraordinary, for which Linklater deserves endless praise. Because this is no longer just a movie - it's life.

Every year, two to three films are made in the Czech Republic that are really good (especially compared to the rest of domestic production). Fair Play is one of them. Powerful stories about being powerlessness in the days of socialism, about intimidation, blackmail and manipulation through an uncompromising regime have been told many times, but never in connection with sports. The directing is very precise and clean, and there is no lack of attention to detail and elaborate dialogues. Judit Bárdos in the main role of a talented athlete, Aňa Geislerová as her mother and Roman Luknár in the role of a strict coach also deserve praise. Satisfaction.