gudaulin

It is nice when myths are debunked, but in doing so, one should not forget about the audience, and when debunking myths, the result should be as close as possible to historical reality. Here, folklore romantics can have their satisfaction and one can only wonder how these bandits enjoyed their outlaw life in the 18th century. Somehow, it escapes attention that it was actually a form of organized crime, that there was dirt, fear, stress, and violence involved. The film itself has not just one or two flaws but fails in the crucial aspects, like the screenplay, which does not create a coherent view of Jánošík as a historical character but rather dissects his sexual life, and it is a succession of genre images that are not always relevant. Action scenes, dialogues, casting (nothing against Jiráček, but Jánošík had to be more charismatic if he wanted to lead a criminal gang)... At times, it was so unbearable that I seriously considered not finishing the film. The final nail in the coffin is the unnecessarily long duration - the almost 140 minutes are truly a punishment for the viewer considering the aforementioned. I have a feeling that the effort to support domestic film and the legend, which has its place in both nations of the former Czechoslovakia, has worked for many users. Overall impression: 40%.

In Clint Eastwood's extensive filmography, Dirty Harry is considered one of the pivotal films that shaped his career, and the role of tough detective Harry is iconic. However, taking a critical look not only at this film but at the entire series with the titular hero that followed, I cannot help but feel that it is a rather average crime movie of its time. If it weren't for the charismatic and rugged Eastwood, there would not have been a demand for these films. The whole plot is inconsistently and unconvincingly built to highlight the role and attitudes of the main character, who criticizes the system. As a result, both superiors and especially political representatives behave like a flock of idiots. Similarly, the psychology of the villain is brushed off, and his behavior is illogical. At the time of its release, the film and its protagonist sparked extensive discussion and criticism from both film critics and journalists, who criticized his political views as brash and resembling those of Judge Lynch. Harry was even branded as a fascist. The fact is that it was the activist 70s that followed the turbulent aftermath of the 1968 events. In hindsight, Harry seems like an innocent likable character, unlike those policemen from the Belmondo crime movies of the 70s and 80s, who shoot gangsters on the streets upon their encounter and beat them in sensitive parts of their bodies because they know best where the guilt lies and they don't need a trial for punishment. Though they do it with a charm and catchphrases, I find them much more problematic. Not to mention José Padilha's films, which seem like a deliberate assault on the liberal state and liberal values using artistic weapons. Overall impression: 60%.

The critical comments from users and their low reviews undoubtedly stem from disappointment that Luc Besson did not make a new Nikita or Leon film - in short, they were expecting a different genre and a different plot. After earning respect in the French film industry with his action films, Besson was able to experiment with different genres and attempted to create a poetic romantic film about the relationship between an angel and a worldly sinner. The problem is that the poetry on the screen does not work very well because the chemistry between Debbouze and Rasmussen does not work for several reasons. Angel-A honestly works only until Angela appears on the screen, and that is unfortunately too soon. This film should have been made as a pure comedy because Jamel Debbouze has great comedic talent and is primarily cast as a performer in movies or TV shows. Rie Rasmussen is primarily a model and celebrity who could probably handle a comedic role, but she has difficulty managing this melodramatic role even as an experienced actress. The film simply presents itself too seriously and tries to sell a relationship where the girl is half a meter taller than her suitor. It is naive, poorly thought out, and ultimately ineffective. In terms of Luc Besson's work, it can be considered an unsuccessful experiment. Overall impression: 40%.

This Czech detective story did not have an easy time during the era of real socialism, as it was mostly affected by regime concessions and ideology. Not to mention that many of the popular genre motifs could not be used in the prevailing system at all. Over time, I think that only two detective stories, coincidentally both from the same director, deserve absolute praise, and this film is one of them, alongside On the Trail of Blood. This is simply a film that has atmosphere from beginning to end, created by the black and white cinematography, the precise actors who truly act and identify with their characters, and above all, it has practically flawless music that perfectly harmonizes with the exteriors full of dirt, mud, dilapidation, and the primitiveness of some characters. It is a drama that occasionally touches upon the genre of psycho-horror, which is rarely explored in Czech cinema, and except for the somewhat theatrical escape-non-escape of the villain at the very end, I find no flaws in it. It is suspenseful, realistic, and Czech. It is typical that while British detective stories often take place in noble mansions and snobbish society, this Czech story takes place on a decaying state farm. :-) Overall impression: 95%.

When it comes to my review, I should start with something positive. I thus confirm that Olga Kurylenko really looks good in the film and is irresistibly sexy in some scenes, so much so that she remotely reminds me of my wife. Secondly, the action scenes are well shot, but that is practically an obligation within the genre nowadays. Then we have the rest. The script is traditionally stupid, as it usually goes in this kind of production, meaning it is full of logical nonsense and unbearable posing in places - the scene of the arms dealer's elimination, alias the Russian president's brother, stupid exaggeration of the main character's invulnerability and superpowers. But all of this could be tolerated within the game and genre. However, this type of film stands and falls with the casting of the main character, and he is simply not charismatic. Moreover, as an assassin who commits assassinations as inconspicuously and elegantly as possible, he is as inconspicuous as a boy who comes to elementary school with an AK-47. The whole mysterious Organization in the background has ridiculous rituals and strange uniformity that makes it easily identifiable and laughable for the moviegoer. For the genre fans to take their action hero seriously, he should be much tougher and more charismatic. Overall impression: 20%.

If you want to explore how close you are to a particular film fan in terms of taste and vision, do not compare tragedies or thrillers, because people all over the world are moved by pitiful orphans and dying old men in essentially the same way. Compare comedies instead, because nations, cultures, and even individuals laugh at completely different things, and while tears of laughter may stream down one person's face, another may be indignant at the sacrilegious mockery of sacred ideals. Even David Zucker's early films, which managed to bring many film viewers to ecstasy, seemed quite sober to me and I gave them a neutral rating of 3 stars. With his latest creations, I openly suffer and with each passing minute, a feeling of despair grows in me over the lack of taste, awkwardness, and missed opportunities for great jokes. It could actually work if it weren't so cheap, dismissive, or exaggerated. But the way it is, I give it a very unconvincing 1 star and a 15% overall impression. I will avoid any further attempts by Zucker.

Certainly a significantly above-average film for its time, not only in its genre. It benefits from the professional approach of the screenwriter and the studio, as well as from the years of experience of the legendary Humphrey Bogart, for whom participating in the film was one of his last roles. He convincingly portrayed his seasoned criminal, thanks in part to the screenplay that aimed to follow the path of a realistic story as much as it could. Nevertheless, I won't give it a maximum rating. This film simply had greater potential, and while many films have too much of something, here I feel like something is missing. The Desperate Hours could have been much more interesting as a psychological-social drama rather than a regular crime film. Overall impression: 80%.

It doesn't make sense to view Gomorrah as an entertaining genre film about the Italian organized crime environment; in fact, it deliberately resigns from that notion and is more of a fictionalized documentary that analyzes the structure, manifestations, and impacts of mafia activities. Extortion, drug trafficking, smuggling, slave labor, manipulation of government contracts, or trade in toxic waste – the film shows it all firsthand and offers a perfect disillusionment about the mafia as some organization with charismatic personalities and a functioning code of honor. These are rather creatures that have emerged from the lowest social strata and have remained mentally at that level as well. The film doesn't have a cohesive plot; it's more of a series of images and stories about how organized crime replaces state structures and controls people's lives. As I mentioned, it doesn't make sense to expect entertainment like in The Godfather from it, but rather a raw look inside. By the way, the investigative journalist who wrote the book of the same name and moved incognito among this assembly in southern Italy is in a worse situation than Salman Rushdie was when the fatwa was declared against him. Overall impression: 90%.

Wanted is like a giant shiny bubble that captures attention and acts as an amusement park attraction, but its lifespan is terribly short and it doesn't leave anything valuable behind. The impressive action scenes can't overshadow the fact that the film is intellectually shallow and doesn't create any functional fantasy world that would engulf the viewer. As a result, the stupidities like bending bullets or superkillers jumping from one skyscraper to another stand out even more. Not that the current cinema doesn't abound in such things, but here everything is subordinate to visuals and action, so in the end, it misses the mark for me. Overall impression: 15%. It's exactly the kind of action movie that completely bypasses me and actually bothers me in practice because a huge amount of energy and financial resources could be used more meaningfully in the film industry...

Jonah Hex is exactly the kind of film that confirms long-held stereotypes about comics being entertainment for early teenagers and desperate people who have mentally regressed to being 15-year-old adolescents in adulthood. It is simply and truly foolish, shallow, and dull to the point that not even the casting of several known and acclaimed actors can save it. The prologue saturated with the scent of gunpowder and uncompromising war may entice, but then an unstoppable downward spiral follows, and to our misfortune, it is not foolish enough to be entertaining on the other hand. Overall impression: 25%.