Marigold

An excellent action film with sci-fi admixture. McTiernan proves that he's not just an annoyed skilled director, but that he can enjoy the action nicely. I really like the work with the camera in the first part of the film, when our beautiful and muscular heroes are spied on (thermographic shots and camera raids are excellently used, which give a very cramped impression). The atmosphere of a bunch of mercenaries, which become game in the middle of the forest, is flawlessly dense and convincing. It's hard to judge whether the absence of acting is a bad thing, because some of Arnold's grimaces just belong to the golden fund of the acting anti-talent and sort of help make the film into a cult classic. I don't like action films, but I enjoyed this one...

That's how you make an iconic show... Humor on the edge between pubescent fun and intellectual innuendo, characters like from a bad trip and a story that has no regard for the sci-fi genre. The Lister-Rimmer duo sparkles like a grinder, Cat adds flair and a dance pace to everything... and Kryten? He's cleaning Rimmer's underwear. Those who haven't seen this have missed out on the pinnacle of humorous series creation... And it ended with the best... How many good shows have done that?

A pleasant "student" classic that can entertain willingly (excellent script and great acting) - even unintentionally (cute naivety of some scenes and replicas, dubious age of the main actors). It's interesting how much this light satire retains its validity in certain aspects... And above all, it can still make the audience laugh. If it weren't for the stupid final run and the immortal gnaw of "we'll keep running forward" (apparently implanted later), it would be the perfect comedy...

Of all the "mobster films", I like this DePalm epic from the "right side" of the law the most. I'm impressed by fair cop Sean Connery and the insecure but always determined Kevin Costner... The creators managed to create a very suggestive atmosphere of 1930s Chicago, in which it was not very clear who the law was and who to enforce the law for. The story of the four incorruptibles who decide to go on a foolish crusade against Al Capone is filmed briskly, with time left to illustrate the characters and the relationships between them. Some brutal scenes are particularly impressive and the quote from Eisenstein is perfect... In short, a fine Hollywood drama that has everything. Personally, I don't like godfather glorification of mafia families; subconsciously I'm just on the side of Eliot Ness and Jim Malon.

It is a pity that Zdeněk Svěrák was unable to write a natural and credible love triangle. Dark Blue World lives up to all aspects except the love storyline... Which is a problem, because the tone of the film relies heavily on it. The more problematic the relationship between men and women sounds, the better the mutual friendships that old Mr. Svěrák simply "has in his hand" sound all the better. The transitions from the English battlefields to the communist prison are also excellent, creating a very bitter and sarcastic touch for the film. Maybe Dark Blue World was too ambitious a project... Although, despite all the negatives, it's still a great film.

For me personally, the best film of the Svěrák family duo... Not only because of the wonderful cast, but also because this film has a completely unrepeatable atmosphere, spirit and wit... Although other scripts by Zdeněk Svěrák are excellent, this one has the greatest hallmark of authenticity, naturalness and loving nostalgia for me. The characters are written completely plausibly, and they are also perfectly believably acted; this creates a unique panopticon, which Jan Svěrák brought to life with a range of funny and tragic stories, thus joining the best tradition of European film - as if through a spell, everyday things become exceptional, magical, captivating. The Elementary School has a bit of boyish mischief in it, a bit of childish naivety, and a bit of an adult view of the world. It is a film magically naïve and yet does not lack perspective and the third dimension. Probably the most beautiful portrait of childhood and adult "heroes" I have ever seen. The Elementary School ranks at the very top of my post-revolutionary rankings next to Hřebejk's Divided We Fall.

Undoubtedly, the interesting theme of artificial worlds is a little banalized in this film and presented in a rather ill-conceived state, but if I look at it as a low-budget project on the edge between A and B cinema, it is really very decent. It is difficult to expect from such a film any visual style and anything other than "light" special effects, but on the other hand, if the filmmakers had done more with the story (I guessed the point too soon and the ending was really stupid!), it could have been excellent science fiction.

Raw, suggestive, cynical, absurd, moving. Darko Bajič used a similar principle in his film to the one Emir Kusturica used in the phenomenal Underground – a mix of exaggeration, parable and documentary faithful "removal" of reality. Unlike Kusturica's monstrous fresco, however, his War Live is more of an intimate story of a group of filmmakers trying to make a film about the world around them during the bombing of Belgrade. Closed in the illusory safety of the studio, guided by very material motives. However, the surrounding events change not only their attitude towards the emerging film, but above all to the surrounding events. Inside the studio, a model of Serbian society is created, with all the absurdities and nonsense that they rattle with the "big" world. Bajič's film goes from the opening black-comedy to strong dramatic tones, which, without hysteria and patriotic pathos, give an insight into the war situation from perhaps one biased point of view – from the point of view of ordinary people. At first, the relatively distinct tone of the film is complicated in the course of it, the symbolic plane seems to fade away until it all culminates in a Fellini's tangle, when the film you are watching merges with the film that is being told. Bajič is obviously a great filmmaker, gifted with a talent for filming a big topic with ease that does not formalize it, but on the contrary gives it an impressive touch. Add in the great acting performances and excellent editing, and we have a film that is really worth seeing...

My first great adventure film, and if it wasn't for Indiana Jones and the Last Crusade, it would have remained the greatest. Spielberg has a rare talent for combining a thrilling story, a mystically chilling atmosphere, superbly rendered characters, and a narrative push-off into an explosive whole that is funny, haunting, thrilling and emotional. Dr. Jones, a man of two faces versus Hitler's evil realm in an environment of mysterious and ancient forces. Iconic from the first to the last second, fabulously filmed, the acting, the sound, the tricks... It's kind of a fairy tale, kind of a horror film, and every inch the adventure ride that turns grown men into little boys and little boys into big heroes... So, what do the ladies say?

I feel like Spielberg let himself be seduced by the gloss and forgot that Indy's magic is equally part of the action and the story. There is plenty of the first in The Temple of Doom (perhaps even a surplus), but the second is a great weakness. The whole thing is built too straightforwardly, without real gradation and any noticeable shift. The environment has a rather dull and backdrop impression, so everything must be saved by the divine Harrison and his boyish charisma. Another problem for me is the screaming beauty Kate Capshaw, who, though I don't hit women, I would like to slap. Her role is what it is, it’s acted great, but it doesn't work for me. And one more negative point for that little kid, who is typically an infantile smirk at the child viewers. Yet at least the feast scene and a few other sequences make Jones' second adventure unforgettable.