gudaulin

The Soviet film school essentially produced war films on an assembly line, but 9th Company follows more so the style and content of American war films from the 1980s. In other words, it is a combination of Full Metal Jacket and Platoon, which is also mimicked in the film's title. It is not a cheap imitation, but rather a very solid piece of craftsmanship and, truth be told, one of the best war films of the last decade. Thanks to the large investments in Russian cinema in recent years and coproduction, it is not a financially deprived film either, so viewers can enjoy the military equipment, generously conceived shots of the military base, and large-scale battles. As for casting, acting performances, and directing, I have no significant objections, and for about 70% of the film I thought I was watching a five-star film that stood out for its exceptionally high level of authenticity. I had the opportunity to speak at length with an eyewitness of the Afghan war, who spent eight years in the war zone, and his narrative aligned with the atmosphere of the film. The attack on the transport plane or the ambush of a military convoy in the pass perfectly fits the way the war was fought at that time. The plane destruction scene is also visually impressive. However, the final grand battle comes, which, from the perspective of a popular culture viewer, is again gratifyingly filmed and directed, but it is unrealistic and reminded me of heroic images from the Soviet era, like "the last heroic defenders of Sevastopol resist the fascist superiority." Ultimately, the closing credits depict the nature of this conflict far more soberly when it comes to the number of casualties. Similar open battles were exceptional in the Afghan war because they demonstrated better tactical preparedness and greater firepower of the Soviet army. It is similar, after all, in present-day Iraq. Otherwise, it is interesting to compare this Russian film precisely with American films about the Vietnam War. American films - even those with an anti-war orientation - depict their soldiers as winners, and if an American soldier falls, he must almost inevitably shoot at least ten Vietnamese soldiers before he dies. Russian soldiers die like flies. Bullets find them much more often than they do the Afghan rebels. The primary goal of 9th Company is to portray Russian soldiers as men who are not afraid to die but fulfill their mission and at the same time show that this war was not theirs. Their deployment was decided by the elders of the Central Committee of the CPSU. Today's Russia is not so much following the era of the Soviet Union as it is emphasizing pre-revolutionary Russia and particularly highlighting service to the country and self-sacrifice. At the same time, there is not a single scene in the film where an Afghan civilian clearly dies. The goal of the film is not self-flagellation like in American production; Russian soldiers, after all, fulfill the tasks assigned to them....Overall impression: 80%.

Oasis is a very contradictory film. Among the many positives are the strong cast and the commitment of the actors, who gave their maximum in demanding conditions and with the awareness that they were contributing to a truly exceptional work. The desert environment is naturally attractive, and above all, the story takes place in a taboo environment with taboo heroes. To say that Oasis is a forgotten film is grossly inaccurate because this film never really had a chance in distribution for understandable reasons. The austere filming conditions and the remoteness of the location contributed to a high sense of authenticity. It is not, and considering the limited budget, it could not be a big war movie, but rather an intimate psychological drama of a few soldiers from two enemy armies who are forced to face thirst and a sense of isolation in an extremely difficult environment. However, the weak point of the film is the uneven screenplay. The film gives the impression of being unfinished, as if the money ran out during filming or rather, that there was a ban from higher authorities. At the end, ten minutes of the story are simply missing. At the same time, it is necessary to point out that Zbyněk Brynych was not among the best Czech directors, and there are places where it shows in the film. A typical example is the scenes where exhausted, thirsty soldiers rest exposed to the effects of the sun's rays, while they could have hidden in the shade of nearby ruins... Overall impression: 60%.

The only thing that Lost in Space can boast about is a decent budget and the resulting visual aspect, but the screenplay is like soup served by the Salvation Army. If you are starving, you can gulp it down, but most likely you won't enjoy it. The film lacks stronger dramatic charge, tension, conflict, and it is full of illogicality. Overall impression: 25%. I recommend watching it only if it is the only way to avoid really unpleasant obligations and dirty work, as otherwise, it is a waste of time.

A very romantic but unfortunately quite average film, lacking a more significant screenplay and relying on the presence of several stars in leading roles. Overall impression: 50%.

A dignified adaptation of Remarque's classic war novel. The creators had a limited budget, and the level of effects naturally corresponds to both a television production and the time of creation. However, in terms of content and thought, it is a strong work, well-performed and well-directed. Overall impression: 85%. An authentic look into the dirty trenches of World War I and into the psychology of bitter soldiers stripped of all illusions.

The Muse belongs to a kind of gray comedic average that neither impresses nor offends significantly and, after a while, it more or less fades from your mind. The idea is not bad, but the script needed to be polished in many aspects. The film largely relies on the presence of two female acting stars; Andie MacDowell was at the peak of her popularity at the time, and Sharon Stone was still benefiting from her fame. A few jokes, a few pleasant dialogues, and plenty of filler. Overall impression: 50%.

Martin Frič was one of the great stars of the Czech film industry, and it was not difficult for him to engage the most popular and best actors of his time. Although the screenplay is decent (at least from the perspective of current Czech productions), what sets Strictly Secret Premieres apart is precisely the cast and the performances delivered by the actors. I have to give four stars for Jiřina Bohdalová and Jiří Sovák + the final idea with the tank. Overall impression is 70%.

The text on the DVD cover says that the main protagonist provided a special kind of charity and even a peculiar kind of resistance. I would dare to disagree because she was being paid too well for her service and the occupied homeland was more or less indifferent to her. Claude Chabrol's film takes place in occupied France during World War II and is therefore a unique contribution to retro films from this era. The film's script was inspired by Francis Szpiner's book, which was based on the true life story of Marie-Louise Giraud, one of the last women executed in France. Isabelle Huppert played her character excellently. Her character Marie is a somewhat superficial and frivolous woman who is unhappy in her marriage to a war veteran and disabled person, who works as a mere assistant in construction, while his bitter wife dreams of a more successful life. When a friend asks her for help one day, Marie realizes how she could make a fortune. She develops a unique business approach. However, after being arrested by the police, a sobering reality sets in because the hypocritical authorities need to find a scapegoat to blame for the decline in moral standards and divert attention from their failures. And so, the accused woman is sent to an uncompromising court, while at the same time, Jewish children are being sent to concentration camps in Germany. It is an interesting contribution to the topic of women's emancipation and discussion regarding abortions. Strong script, quality direction, and good acting performances. A realistic, non-romanticized matter. Overall impression: 80%.

Wild Hogs is a transparently calculated mainstream affair for undemanding audiences. However, there are two positives here. Firstly, the presence of several male stars, albeit faded ones, and secondly, the romance of powerful motorcycles and endless roads. Who wouldn't want to roam the American countryside on such a machine? Virtually everyone would - except for me. I barely managed to stay balanced on a tricycle as a child, and currently, I have trouble maintaining balance in a car. Those noisy, devilishly fast machines don't impress me in the slightest, so I can focus on the film essence, which, once again, is mediocre. Overall impression: 25%. This comedy production, where I am always two steps ahead of the screenwriter, simply bores me and is not for me.

A naive and desperately childish spectacle in the backstage of the sci-fi genre, lacking interesting characters and an appealing plot. One of the biggest mistakes of Ben Kingsley in the role of the villain Spoda and Jonathan Frakes, who not only took over the directorial position but also the role of producer. I estimate that this flop disappointed him the most... Overall impression 20%.