Marigold

Ivan Reitman's rather troubled attempt to build on the success and playful nature of Ghostbusters... There are only a few really humorous spots in the film, and overall it lacks the style and gradation of ghost films. David Duchovny gives the impression of an annoyed willing person who desperately doesn't want to make fun of himself, so Julianne Moore (I just love that girl :o)) and the sympathetically screaming clown Orlando Jones save the acting aspects. However, the certain perspective that Reitman does well does come at times, and Evolution is truly fun in those moments. When I sum up the film as a whole, I certainly don't feel any bitterness, just the kind of stupid aftertaste that you get on your tongue when you witness a missed chance. Evolution could have been an excellent action sci-fi comedy, but in the end, it's just a decent movie.

I understand that this is a legend for VHS nostalgics and witnesses, but Blood Sport soberly offers nothing interesting at all (perhaps just a demonstration of a few exotic fighting styles). The story is about nothing, the acting performances unbearable (especially Jean-Claude's attempts to vent great emotions encourage the peristalsis of the intestines in a thunderous way), and the fights are kind of static, uninteresting... I don't know, Van Damme's style doesn't do anything for me. The only stronger emotion was the uncomfortable clutching in those sensitive male parts when the main star did the splits. Essentially zero aesthetic impression. And if it was already scratching at the window timidly, it surely got destroyed by the synthetic soundtrack from the 1980s. No, I really don’t like this...

I'm no martial arts connoisseur, but Tony Jaa's talent must be recognized by even a hardened retired pacifist. There are more reasons why this flying Thai man is such a discovery – first, he understands his craft and, unlike Europeans like Jean Claude van Damme, adds that unmatched Asian artistic impression to the technical design. Watching its relaxed dynamics of movements is an aesthetic experience comparable to an excellent dramatic performance. If we add the fact that it is full-contact, without wires and without major technical knick-knacks (the rawness of some shots is clearly visible!), it is difficult to catch your breath when watching the main actors do the stunts. Secondly: Tony Jaa is a very interesting visual type... mixture of Indian and Asian with boyish charm. Thirdly: Tony Jaa can't act, but he can't act in a way that isn't outrageous. Ong-Bak: The Thai Warrior is entirely subordinate to the skills of the main persona, the story cheerfully rusts on the sidelines, and the screenwriter leans on the maximum of archetypes that have released the set for the main star. Who enjoys it indeed. There are all sorts of punches and kicks flying through the air, and it kind of doesn't matter that it's not going anywhere and that the point of the film is one big B the size of India. Ong-Bak is great action entertainment, relaxation that amazes with perfect action scenes, entertains with Prachya Pinkaew’s non-artificial attempts at modern direction and gives the viewer a door to the world of Thai pop music and hip hop. The result is 105 minutes of adrenaline fun and experiences that are not forgotten...

It's a great story for guys who never grow up. The engaging, witty and superbly filmed story about a poor man who has become a knight has humor, emotion and tension, despite its totally crazy portrayal of the Middle Ages... simply everything you want from a knight. The cast is brilliant – I was absolutely smitten by Paul Bettany as the mercury Chaucer, but even the handsome hero Heath Ledger has charisma and fits into the role of the dreamer William just like the well-balanced sword fits into his hand. To think of this film as a historical documentary about chivalry is indeed a historical mistake – it's a parody, satire, exaggeration, comedy... just thrilling fun with perfect music, great stunts and yes... completely crazy realities and costumes, which I calmly attribute to exaggeration. I can take it without babble when it is offered to me in such a light form. Maybe more than once. Not you? Well, I feel sorry for you, because this Medieval Age rocks!

Beautiful nonsense, from which Marty Feldman's wide-angle gaze emerges as a phantom, the sleek comic charm of Gene Wilder (whose seriousness in fact evokes Leslie Nielsen), several really beautiful sketches and situations... well, perhaps also the cruel musical-opera music that accompanies us throughout the film. I'm reluctant to call this a parody because, taken as a result, the film parodies itself... It is a great pity that the level fluctuates considerably from the dead spots from which the perspective disappears, to the really excellent passages in which all the nonsense is sold with British seriousness and moderation. The influence of the British humorist school simply cannot be denied, and that is very, very good.

A whimsy summer with Vlasta Burian? Yeah, something like that. At its core, it's a mute grotesque with sound, even if the few dialogues only play an episodic role. The main aspects are the brilliant situational gags, as well as the wonderfully dusty atmosphere of the ponderous French countryside, which are meant for readers of Chevallier's Zvonokosy. Stylish music also plays an important role... Somehow, the message of a peaceful life, where the crackling of the American journal is not at all appropriate, is followed with a certain "bitter-sweetness". An old film for the soul. But as beautifully old as that hunched old lady with the goat that accompanies us in it.

Hynek Bočan is probably a Satanist in every way. How else do you explain such a sympathetic hell headed by the absolutely characterful Lucifer in the very crazy package of Karel Heřmánek? This story is moldy. If it weren't for the hideous Princess Adélka and her castrate chants, it wouldn't have a single mistake. It's got something naturalistic and non-fairytale in it, and yet it caresses like a wolf's tail. Moreover, it has truly top-notch choreography that will not get lost even next to something Pirates of the Caribbean (isn't Peter Koza responsible for it?). The characters besides the aforementioned grazed princess are one and the same, especially Janek, the devil with the rank of a crow and the choleric General Nárožný... Oh, and also the bark of Václav Vydra. He became more human. Just like this entire fairytale non-fairytale.

A pretty good spectacle that reduced the thought potential of Swift's masterpieces to the necessary minimum, but added form to what it had lost his spirit – there's really something to see, and the excellent Ted Danson in the lead role is able to evoke sympathy for the character with the fate and various elements of Dr. Gulliver. Moreover, even the few key notions of screenwriter Simon Moore have been preserved. I had a great time, which is rarely the case with television "narrative" films.

Decent. True, I only saw the second part, but I absolutely didn't feel like I'd missed anything. After a while of starring all around me, the still quite attractive plot with the mass murder and the voices of the dead enticed me. There is no creepiness to speak of here - the spirits that appear remind most of Master Hopkirk, and there is also such a decent flock of them that there are no shocks like in The Sixth Sense. But the acting performances of the experienced Ted Danson and the even more experienced Jack Palance are above average, the directing is pleasantly routine (it exactly fits the script) and the point is frankly quite surprising. It’s just a fun film without unnecessary attacks on the tastes of revered spectators. Solid average.

Undoubtedly crazy nonsense and a scripted mess (especially in the introduction, which forced me to rethink the meaning of the word "pathos"), but to my astonishment, I could not get away from the rather wildly patched and violently pointed affair, also because there are a lot of excellent actors (Malkovich, DiCaprio, Irons) and unintentionally amusing parts (the ragged and in some places cheap design, Depardieu, who is working on Obelix through Porthos). I prefer to keep quiet about the raping of history and Dumas, and about the lack of perspective. However, I can't deny that I enjoyed it. And thanks to the soundtrack, it's an extremely pleasant experience.