Byzantium

I can’t grasp that Byzantium is basically a play. That completely blows my mind because as a conservative Czech person, I can’t imagine that there would be vampires in a play and that it would all be fairly modern. In any case, this story proved that it can work, at least for a movie. It might be very intimate which is something I can’t say about the actors, but I really enjoyed it. And the actors are exactly why I enjoyed it. Saoirse Ronan and Gemma Arterton were such a combo that even if the movie had been a total flop, those two girls still would have made me happy. Luckily, the movie wasn’t a total flop and so the 118 minutes flew by so quickly that returning to this movie is a total must. (24.08.2014)

It’s a small, atmospheric film with fantastic camera work and locations, exactly the type that feels abstract and timeless, and it's not just because of its vampire theme. Maybe if someone less charming than Gemma Arterton played the main character, it could easily have a lower rating, because, though it is a visual feast, the film doesn't quite know what it wants to say. Or maybe it does, but it does so inconsistently that the audience doesn't know if it's a vampire melodrama about a teenage girl dealing with her place in society, or a bloody orgy with severed heads. But it is strong in terms of acting and visually captivating, so it's definitely worth watching. (15.12.2013)

It’s certainly long. This story of vampire brothel madam Gemma Arterton (the performance of her life) has many memorable moments that make Byzantium fascinating to watch, but that isn’t enough. Too many wistful gazes from Saoirse Ronan, too much claptrap about the burden of being immortal. Captivating music, visuals excellent. (31.08.2013)

I once liked the atmospheric and decadent film The Company of Wolves, and this is not the first time that Jordan enters the world of romantic fantasy. However, it seems to me that his later work does not come close to the quality of that early film. Byzantium is a compromise on all fronts between a commercially pleasing popcorn spectacle and an alternative interpretation of myths from the world of the undead with an artistic touch. The problem is that the chosen position satisfies neither side. Art fans will (rightfully) criticize Byzantium for the shallowness of its motifs, the inability to imprint true destiny, and the tornness and tragedy of losing the most precious thing that can never be regained. Commercially-minded viewers, on the other hand, will criticize the film for being tiresome. Both groups can then criticize Jordan's loosely presented mythology of the world in which Jordan's protagonists operate. It's not a disaster, as the body of Gemma Arterton and the melancholic face of Saoirse Ronan save the film along with the quality of the cinematography and music. Overall, it is a film that rather raises hopes rather than fulfilling them. It is simply frustrating to look forward to something that never comes. Overall impression: 55%. (26.02.2019)

A melancholic vampire tale for advanced phlegmatic people. Jordan's Interview with the Vampire was at the very beginning of everything I can imagine, and to this day my fascination with its perfection still influences me. It was therefore impossible to hope that Byzantium would even come close to that mark, but the more such projects, the better it will be to forget the civil war that Twilight sparked in the genre. Jordan thus deserves a big thanks at least for this fact. Given that it is minimally atmospheric and original in its own way, Byzantium offers an interesting variation of the Fanny Hill story and great costumes. There is thus no reason to condemn this project. (02.12.2013)